The Griffin Museum at Cambridge Homes

R. Lee Post has been finding appearances of Anima Mundi when photographing in the natural world. Anima Mundi is described by Jungian psychologist as “that soul-spark, that seminal image, which offers itself through each thing in its visible form.”

A series of Post’s photographs, Anima Mundi, is featured at the Griffin Museum at The Cambridge Homes in Cambridge MA, September 9 through November 3, 2014.

“In unexpected places I discover and photograph fantastic faces, lyrical dancers, cartoon characters, archetypal figures and sometimes surreal or demonic subjects, “ says Post. “These appearances are often like Rorchach imagery with multiple interpretations.” She adds, “By photographing my interpretations of Anima Mundi, I hope to encourage others to see more soulfully and become more aware that spirit permeates everything.”

R. Lee Post is a Cambridge-based photographer and a graduate of Rhode Island School of Design receiving her MFA in photography studying with Harry Callahan and other photography greats.

Sean Sullivan has been photographing “old school hot rods, muscle cars, custom and classic cars” for well over a decade. The bold colors and clean lines of the classic car scene drew him to local car cruise nights during his summers and to various auto shows.

A series of Sullivan’s photographs, Classic Style, is featured at the Griffin Museum at Aberjona River Gallery in Winchester, MA, January 28 through March 18, 2014. An opening reception with the artist will take place on February 11, 2014 from 6 – 7:30 PM.
Simultaneously, Panopticon Gallery in Boston is featuring six of Sullivan’s images in its emerging artist gallery.

The Griffin Museum of Photography has produced a catalog to accompany Sullivan’s exhibition. After the exhibition at the Aberjona Gallery, Sullivan’s photographs will move to the Griffin’s Gallery at the Cambridge Homes in Cambridge, MA from March 25 – May 20, 2014.

“I am drawn to a car’s intricate details,” says Sullivan. “I truly believe the details set the cars apart from each other.” He adds, “By using the frame to compose images that possess a strong graphic quality, I am enabling the viewer to focus in on these incredible details that otherwise go unnoticed.”

Sean is a Boston-based photographer and a graduate of Northeastern University. His work has been featured in the Improper Bostonian Magazine and Northeastern University Magazine. He specializes in location photography for events, editorial and fine art clients.

As an accomplished photojournalist, Arthur Griffin was a storyteller and captured universal experiences and emotions in his photographs.

The Globe Years, an exhibit of photographs from the Arthur Griffin archives highlights the growing career of Arthur Griffin and his time at The Boston Globe. Rotogravures and original prints will be displayed at the Cambridge Homes, located at Mt Auburn St in Cambridge, MA. The exhibition will be on view from January 23 – March 20, 2014.

Arthur Griffin worked at The Boston Globe from 1929-1946, when there was no more exciting place to be in the city of Boston, day or night. This was also a time of significant transition for the newspaper business, when photography and journalism merged and photojournalism was launched. Photography was playing an ever-increasing role in the production of newspapers and rotogravure was becoming more popular. The rotogravure process made for better reproduction of photographs than the photoengraving process used for the reproduction of photographs.

In 1935, with a mass circulation of more than 100,000 and the accessibly of the high speed, high definition press, the Globe was ready for its first rotogravure…and so was Griffin. Jimmie Krigman, a fastidious co-worker senior to Arthur in the art department, was put in charge and asked Arthur to join him. Griffin was to design the layouts of the roto’s pages, displaying the various photographs selected by Krigman.

Griffin decided not only to design layouts but to try his hand at photographs as well. From the relative isolation of artistic creation, of interminable draughtsmanship, Griffin was suddenly thrown into the rough-and-tumble competition of journalism. The Globe’s Rotogravure section was in competition with the best that the Hearst organization could offer. Taking the new position was risky and demanding. The pictures required photographic skill and the "big picture story," to which Arthur aspired, demanded inventiveness, foresight and imagination.

Over a three-year period, Griffin made his mark as one of New England’s first cameramen and photojournalists. He was the first to work exclusively with the new 35 millimeter camera, a German Contax he could ill afford to buy. All the news photographers of the day used a large box camera with a bellows, called a Speed Graphic. Compared with the 35mm, it was cumbersome to hold, heavy to carry and slow, as it required a change of plate for every two pictures. News cameramen preferred the Graphic for speed and production. With a deadline hanging over him, a photographer had only to develop the one film. With the 35mm, the photographer had to develop the roll, select the negatives and then print, all requiring more time. The rotogravure, however, was published only once a week. Speed of production was not the prime consideration, quality of image was. The 35mm camera permitted Griffin to make multiple exposures quickly, preserve the best and discard the worst.

From 1935 to 1946, Griffin’s photographs, "firsts" and feature stores appeared almost weekly on the Globe’s Sunday Rotogravure covers and double spreads. He authored stores on "unknowns" such as architect Royal Barry Wills, scientist Dr. Edwin H. Land, and other New Englanders who would become forces in their own field. He documented the "first" and the "last" events, the "new" and the "old" and the "eternal." In black and white and in color, Griffin captured the essence of Boston and New England, her people and heroes, streets and landmarks, culture and commerce, natural disasters and war years, her work and leisure, and of course her weather. During his Globe years, his antics, experiences and stories became as legendary as his photographs.

Arthur Griffin, who founded the Griffin Museum in 1992, had a more than 60-year career in photojournalism. Originally trained as an illustrator, he picked up his first camera – a second-hand Brownie – in 1929, igniting a lifetime passion for photography. Griffin, who went on to be known as New England’s photographer laureate, died in 2001 at age 97.

The public is welcome to view the exhibit Monday through Sunday from 11 a.m. to 4 p.m. Please check in with the receptionist.

After her career as a psychotherapist, Stromee found refuge in the natural world and through photographing, turned chaos into satisfying connections.

A series of her photographs, Intimate Details, is featured at the Griffin Museum at Aberjona River Gallery in Winchester, MA, September 12 through November 7.

“When I slow down, watch, and wait, life unfolds its mysteries and things that are familiar to me give way to fields of color, shape, and texture.” says Stromee. “I begin as the observer, watching as ephemeral patterns emerge and dissolve, each moment a unique confluence of light and object. And then, life’s chaos resolves into a deeply satisfying feeling of connection.
She adds, “In this series I’ve created intimate portraits that give form to the magic and mystery that I feel, and challenge the viewer to experience the extraordinary that is in the ordinary.”

Vicky has lived in Tucson since 1976 when she moved there to pursue a Master’s Degree in Counseling at the University of Arizona. When she retired from a long career in counseling, she turned her attention to photography, ultimately finding her niche in photographing natural subjects. Growing up immersed in the arts, watching images emerge in the darkroom and spending afternoons lying under the baby grand piano feeling the resonance of sound waves, Stromee was influenced to make the images she does today.

Vicky’s work hangs in galleries, as well as in private and corporate collections from Vermont to Oregon. Her work has been featured at Waxlander Gallery in Santa Fe and she has gallery representation through PhotoPlace Gallery in Middlebury VT and art+interiors in New York.

Horn Pond in Woburn, MA. has been influential in Sean Gold’s life and evolution as a photographer.

After moving from the city to the suburbs in third grade, Horn Pond became his refuge. More than a decade later, he would roam the woods near the pond taking pictures. After he became a professional photographer, he returned to the pond to measure his photographic achievements.

A series of his photographs, Horn Pond, is featured at the Griffin Museum at Aberjona River Gallery in Winchester, MA, August 15 through October 22.

“Horn Pond was my training ground, from novice to professional,” says Gold. “It is the place I went when I felt inspired to create, or to just do anything other than what I was doing. It was there that I learned first hand that you need a higher shutter speed if you are going to catch that Great Blue Heron going for a fish, or a small aperture to make sure that whole scene, from one end of the pond to the other, is in focus”.

“These images tell, or rather show, that story,” he adds. “This is part of my evolution, from my compositions, to my subject matter, to my processing. And as they say in science, for it to be a viable experiment there must be only one variable and that was my knowledge and passion.”

Gold is a professional photographer from Boston. He began with photographing landscapes, and shortly after added wildlife. He recently has started photographing people.

Together with photographer David Gartner, he shot the images for an architectural book celebrating the 15th anniversary of Sunny Isles, FLA, A Source of Community Pride –The Architecture of Sunny Isles Beach.

Ellen Feldman is a fine arts photographer whose on-going emphasis is spontaneity. This is reflected in her street photography and her long-term project photographing a dancer.

A series of her images, A Dancer in Her Studio 1986 – 2011, is featured at The Griffin Museum at the Cambridge Homes, 360 Mount Auburn Street, Cambridge, MA, March 5 through May 20. An opening reception with the artist is March 12, 6-7 p.m.

“Nicole Pierce, modern dancer and choreographer extraordinaire, has been a favorite subject of mine for over 10 years,” says Feldman. “I photograph her on Sunday mornings every few months – sometimes more frequently.

“I’m free to shoot while Nicole puts together her weekly dance class at Greene Street Studios in Cambridge. She doesn’t stop to pose for me, so in a sense my process is the same as when I am photographing in city streets, “ Feldman adds. “I like the spontaneity of the ever-changing present, never quite sure what the next instant will bring.”

All the photos in the exhibit are black and white digital prints, originally from negatives, slides, or a digital source.

Feldman, of Cambridge, MA, has studied photography at the Maine Photographic Workshops, Fine Arts Work Center of Provincetown, and the Photography Atelier, Lesley University. She holds a bachelor’s degree in music from Barnard College and a Ph.D. in Cinema Studies from New York University.

Feldman is the photography editor of the Women’s Review of Books, a monthly journal published by Wellesley College, and a member of the Cambridge Art Association, and ‘soupgroup,’ an ongoing collaboration and critique group.

She is also a film scholar. Her paper, The Conversation: A Study in Surveillance, was awarded third place in the 2006 National Paper Prize Competition sponsored by the University Film and Video Association

Feldman’s recent work includes photographing toy characters in urban settings. She also has three self-published books, Les Mysteres de Paris/Paris Mysteries, A Week in Prague: Wall People /Street People; and The Dancer as the Invisible Girl.

The public is welcome to view the exhibit Monday through Sunday from 11 a.m. to 4 p.m. Please check in with the receptionist.