The Photography Artist Book Initiative

Statement
The photographs in Treasures are of simple objects from my mother’s home that I have known all of my life. My mother has always been very particular about how she likes her things—every item has its place, every task has its way of being done. Inevitably, these things and this way have become part of my life as well.  The truth is, I am uncomfortable talking about my work as it reveals parts of myself that would be easier left unexamined. In photographing my mother’s personal items, I thought I was merely documenting objects. Instead, it has turned out to be a portrait not only of my mom, but also of me and of our relationship. It’s not that these things are her ‘Treasures’ per se, it’s that because she thought these things were so important to take care of, and there were so many rules around how these things were to be handled, they felt as if they were more important than me.So while this collection of photographs started out as an act of curiosity, it now feels like one of acceptance. I realize now that this work is not about me being less important than these items, but more about my fears—fears of not only becoming my mother, but also of affecting my son through the lessons I have learned from her.  These objects that we live with, that we build our lives around, that we give breath to, eventually become part of our lives—and tell our stories.  -BH

Bio
Bootsy Holler (American, b. 1969) is a fine art photographer. Her work examines the nature of identity, the reimagined family album and the deep secrets we all keep.

Bootsy is an intuitive artist who has been a working photographer for over 25 years in music, editorial, advertising and art. Best known for her remarkably sensitive style of portraiture, she has been noticed and awarded by the Society of Photographic Journalism (SPJ) and Association of Alternative News-media (AAN).

She received her BA with a concentration on Textiles from Western Washington University, Bellingham. After a career as a freelance Director, Producer and Photographer she relocated to Los Angeles to focus on fine art.

Bootsy has exhibited in 17 solo shows and over 30 group exhibitions at institutions such as The Center for Fine Art Photography, Ogden Museum, Benham Gallery, The New Space Photo Center, Photo Center Northwest, and Fotofever, Paris. Her fine art has been featured in publications including PDN, NPR, Lenscratch, Rangefinder, Fraction Magazine as well as Seattle Weekly, The Stranger, Santa Barbara News-Press, and Real Simple Magazine.

Her Visitor series was selected for Critical Mass Top 50 in 2011. She has been commissioned by commercial companies to design and produce art for their creative advertising spaces and has work in the Grammy Museum permanent collection, as well as in private collections around the United States and Europe. In 2019 she published her second monograph TREASURES objects I’ve known all my life.

View Bootsy Holler’s Website

Purchase directly from Bootsy Holler

The Artist on Artist Books

It’s satisfying and intimate to hold something handmade and precious in your hands and look at the photographs within, one by one. It’s a solitary activity, and slow. It gives you time to really look and feel and maybe reflect. You’re close to the photos, with no glass in between. And there’s the mystery of what might be found on the next page.

We look at so many photos on screens. It involves one sense: sight. When you look at photos in a book, you’re sensing with your eyes, ears, nose and skin.

Some of the photographs I make are close and intimate looks at the world, and it feels right, somehow, to look at them in a handmade book instead of on a wall or a screen. I print mostly on gampi and apply gold leaf to the backs of the prints. I like for people to touch the prints because the paper feels so yummy and there’s the surprise of seeing the gold. A book is perfect for this. – RLL

The Artist on Her Bodies of Work

Liable to Disappear

It’s the crux of life, of holding something in my hand for a moment and then — it’s gone. Like others, I’ve lost people and animals I loved, failed at relationships, felt utterly disappointed with humanity, lost parts of my body to cancer, and watched the ongoing destruction of nature. And so I see that the world offers up infinitely precious and fleeting moments. I must notice, and drink it in. – RLL

Requiem for Small Creatures

With this project I hope to honor the lives and mark the passing of an often overlooked class of animals, Insecta.

Some scientists think we are witnessing a massive extinction of insects, and one long-term study estimated we have lost 40 percent of their biomass. I want to serve as a witness and documentarian of this sad state. Millions of insect species inhabit the world, but there are not enough entomologists or funding to record them all, or even to document the loss of entire species. But I can gather information from museums and other collections on insects that have disappeared from the planet in recent history, or that are critically endangered or suspected to be extinct, into a photographic record, which does not currently exist.

Some people wonder why we should care that the world has lost so many insect species when there are so many left. Others of us feel each loss diminishes the rest of life on earth. In spirit and in health, we all are connected.

I aim to emphasize the importance of biodiversity and the link to human life, and to raise awareness of actions we can take to promote insect survival. I am working on gaining permission to photograph collections throughout the world and seeking funding to carry out this ambitious project. I also plan to contribute my straight photographs to public databases such as the Encyclopedia of Life. – RLL

Bio

After teaching school a few years, I decided to do something else. I loved the kids, but I hated having my days fragmented by ringing bells. I ordered a graduate catalog from the University of Texas in Austin and started reading through the pages, looking for inspiration. When I got to “photojournalism,” I got all excited. At the time, I hoped I might change the world through daring exploits in the field. So I studied photography at UT and earned a master’s degree in journalism/photojournalism. It was my great fortune to study with J.B. Colson, Dennis Darling, Maggie Steber and Larry Schaaf, and to be able to spend time looking at photographs at the Harry Ransom Center.

Through the years, I worked in small-town newspapers and some magazines, and did just about every job: writing, designing, shooting and editing. I taught briefly at Schreiner University in Kerrville, Texas, and at Austin Community College. I curated several shows at Photography 414 in Fredericksburg, Texas, including an exhibit of Imogen Cunningham’s work. For that project, I dug into the Library of Congress archives for excerpts from old letters between Imogen and her family and friends, including her fellow photographers Ansel Adams and Minor White.

My documentary photo book, Don’t Make Me Go to Town: Ranchwomen of the Texas Hill Country, was published in 2011 by the University of Texas Press. The platinum prints from the project were exhibited in several places in Texas. I was honored to be invited to speak at the Texas Book Festival as well as independent bookstores and a women’s conference in Texas, and to sign books at the Humanities Texas Book Fair. After that hoopla died down, I decided to pursue a different kind of photography, something more expressive and personal, perhaps the result of having cancer, losing my mother, having my daughter graduate and leave home, hitting midlife and moving to a tiny town in the mountains.

I’ve been working with platinum printing and gold leaf since studying with the amazing Dan Burkholder in 2009. I work in my studio in northern New Mexico with platinum/palladium and pigment printing, cyanotypes, gold leaf, Japanese papers and hand coloring. My recent teachers are two of my favorite photographers, Keith Carter and Kate Breakey, and the lovely artists (and amazing people) Carol Panaro-Smith and James Hajicek.

I’m honored that my work resides in numerous private collections. – RLL

Recent Honors
2019

13th Julia Margaret Cameron Award for Women Photographers, Honorable Mentions for Liable to Disappear in three professional categories: Fine Art, Nature, Alternative Processes, juried by Elisabeth Bondi

2018

Critical Mass 200 finalist, with Liable to Disappear

Griffin Museum of Photography’s 24th Juried Members’ Exhibition, juried by Richard McCabe, “Romance” from Liable to Disappear

Scott Nichols Gallery, San Francisco, “Hope Springs Eternal” group show, “White Birds Flying” from Liable to Disappear

First place, “Celebration of Light,” Center for Photographic Art, Carmel, juried by Richard Gadd, “Romance” from Liable to Disappear

PhotoPlace Gallery, group show at the gallery in Vermont, juried by Ann Jastrab, “Storm over the Jemez”

Artists’ Residency in Norway, Light Grey Art Labs, multimedia collaboration with composer and musician Emily Cardwell

Radius Books editing workshop, Santa Fe, with David Chickey, Alex Webb and Rebecca Norris Webb

Mary Virginia Swanson, Master Class, Tucson

Website

cate wnek | the salty years | an artist book

limited edition of 8, signed and numbered by the artist:

I. mini diorama
II. tunnel book
III. star accordion
IV. butterfly pamphlet

to be presented in a handmade, custom case by Richard Smith.

the salty years is a collection of 4 handmade artist books and poem, exploring the ephemeral reality of the rapid passage of time for a parent of a child. plentiful days recede like dissipating ripples, cascading into years.
emotional ups and downs parallel the rising and fall of the tide. in this series, one discovers how though one can’t keep every moment as a memory, it is an overwhelming feeling of realization and recognition which lingers and restores. It is as cool as the salty breeze, raising goosebumps.

the salty years . . .

running downhill,

into saltwater sprays,

sea waves lift and

buoy me afloat

i am lighter for the jaunt.

as the heaviness rolls out

with the tide.

Statement
Often a hyperawareness within me detects something elusive that could happen to my children, or me — however protected I imagine us to be. In Raising Goosebumps, I have found a way forward through the fears and vulnerabilities of motherhood. For me, the creative process serves to offset the heartache I feel witnessing my children’s growing pains and the frustrations they struggle to overcome. This discomfort sparks my visual fascination. Within the images, I am transported to an alternate world where I can face the fragility more bravely. Seeing beauty through the camera’s lens, I experience the kind of awe and wonder that raises goosebumps on my skin. Through all this, I am able to go deeper into myself to find new ways of navigating our bumpy days. – CW

CV

group shows

2019

Panopticon Gallery (Boston), First Look Portfolio Showcase

Aperture Gallery (NYC), Lensculture Art Photography Awards

2018

LoosenArt/Millepiani (Rome, Italy), Surfaces

Beacon Gallery (Boston, MA), Nature & Vitality

The FENCE, New England Regional Photographers Showcase

Griffin Museum, 24th Annual Juried Members’ Exhibition (Juried by Richard McCabe)

Photoplace Gallery, Water (Juried by Ann Jastrab)

The Curated Fridge (Curated by J. Sybylla Smith)

2017

Photoplace Gallery, Celebrating the Creative Process (Juried by Kat Kiernan)

2016

The Curated Fridge (Curated by Caleb Cole)

awards + honors

Finalist, Art Photography Awards, Lensculture, 2018

Honorable Mention, Water, Photoplace Gallery, June 2018

Directors Award, Celebrating the Creative Process, Photoplace Gallery, December 2017

Photo of the Day, Don’t Take Pictures, December 2017

National Geographic Your Shot, Daily Dozen, Editor’s Pick (2015)

Top 100 Photographers to Watch in 2015, Clickin Moms (2015)

Mom.me – Our 50 Favorite Mom Photographers (2014)

bodies of work

raising goosebumps, ongoing, delving inward to balance uncertainty with wonder

long form, ongoing, word and image pairings by date and time

cloud 9, complete, a mother seeing the world through child-like eyes

related experience

Artist Talk, Raising Goosebumps, Griffin Museum of Photography, August 2018

Offset/Shutterstock, Contributing Photographer, Ongoing

Adobe Premium Stock, Contributing Photographer, Ongoing

bibliography

2018

Phoblogopher, “Cate Wnek’s Intimate ‘Raising Goosebumps’ Serves as an Experiential Escape”

Lensculture, Interview: Raising Goosebumps, Cate Wnek

Dodho, Interview: Fever by Cate Wnek

C-41, Have you ever had goosebumps? Come inside the kaleidoscope world of Cate Wnek

24th Annual Juried Members’ Exhibition, Griffin Museum of Photography Exhibition Catalog

Celebrating the Creative Process, Photoplace Gallery Exhibition Catalog

Water, Photoplace Gallery Exhibition Catalog

Aspect Initiative, Featured Artist

2016

Exquisite Corpse, Vol 2: Extended Play, Maine Media Workshops + College

publications

Wnek, C. (November 2015) “ My Foray into Film.” Lemonade & Lenses.

Wnek, C. (August 2015) “Life Lessons in Film.” One-Twenty-Five.

Wnek, C. (March/April 2015) “Learning through Experimentation.” Click Magazine.

DPI Magazine (2015)

Maine Home & Design (August 2013, May 2013, February 2013, December 2012, September 2012)

education

Low Residency Online Program, International Center for Photography (2017-2018)

MFA Semester 1, Maine Media Workshops (2016-2017)

Visual Books for Photographers, Cig Harvey, Maine Media Workshops (2017)

Personal Story, Cig Harvey, Maine Media Workshops (2016)

Dark Room Studies, Thurston Howes, Maine College of Art (2015)

MBA, University of Maine (2001)

B.A., Colby College (1996)

professional affiliations

ClickPro

The Griffin Museum of Photography

Portland Museum of Art

Website

Keepsakes soft cover letterpress book in a custom case

Limited Edition of 15, signed and numbered by the artist 2016, 13 folios, 7 x 9   $975 (contact the museum)

Keepsakes is a limited edition hand-made artist’s book. Each book contains 13 folios featuring archival pigment prints, text set in letterpress, and botanical print-transfers. Text and cover illustration were printed by the artist on the Vandercook Universal letterpress at Maine Media Workshops & College. Each book also comes with a limited edition platinum-palladium print. The book is presented in a hand-made box by Richard Smith of Camden Maine.

The premise of the book and the photographs within it was to explore the notion of the keepsake as “an object kept for the sake of the giver.” It explores how we preserve memories and how the discoveries we make when exploring the natural world, rekindle that sense of  wonder we remember from our childhood. It also nods to the secrets and mysteries contained within the landscape, as both a reflection of time’s passing but also our collective memory.

The title poem, Keepsakes, runs throughout the book from folio to folio spanning the entirety of the book. The photographs are paired with the poems as echoes of experience, as opposed to more literal illustrations. This sequencing of image and text, or absence of text, or image, sets up a pacing of the material that allows the viewer to experience the book in a series of steps, each folio can stand on its own as a keepsake, or be experienced collectively with the others in the book.

ARTIST STATEMENT

My work is an exploration of the emotionality of place. The quest to understand what we mean by home has been central to my work, together with a desire to understand how personal history and memory is embedded in the landscape and in the objects we value.

Through my process I focus on the photographic object, the platinum-palladium print, or the hand-made book, as a keepsake of experience. It provides me in a very tangible and tactile way, a tool to record the discoveries and memories that I am trying to preserve.

Working with alternative processes, the element of time is not inconsequential, it takes time to make a print, a process that gives opportunity for discovery and serendipity. In each of the steps, there is a tangible connection with nature and the natural elements that are brought into the print, which mirrors the content of the work. The artistry of “making” a photograph becomes itself an act of becoming and invention. – STK

BIO

Originally from the UK, photographer and artist Sal Taylor Kydd earned her BA in Modern Languages and has an MFA in Photography from Maine Media College. She has exhibited nationally, including in shows at the A. Smith Gallery in Texas, The Soho Gallery in New York and solo shows at the Pho Pa Gallery in Portland and Gallery 69 in Los Angeles. Sal has self-published a book of poetry and photographs entitled Just When I Thought I Had You, now part of the Getty Collection and has authored and created a number of hand-made artist books, notably Cadence, Late Love and most recently Keepsakes. Her artist books are represented by Priscilla Juvelis, Inc. Sal and her family reside in Rockport, Maine where she is on the board of Maine Media Workshops and College.

C.V.

SOLO/TWO PERSON SHOWS

Hiraeth May 2018 Zoots Gallery, Camden ME
Hiraeth 2017 Kingman Gallery, Deer Isle, ME
Momentary Certainties 2017 Pho Pa Gallery, Portland ME
Unspoken 2017 Pascal Hall, Rockport ME
Keepsakes 2016 Pascal Hall, Rockport ME
Origins 2016 Gallery 169, Santa Monica, CA

SELECT GROUP SHOWS

Found March 2018 Maine Media Gallery, Rockport ME
Fresh Start Art Show 2018, Los Angeles
Fine Wine & Fine Books 2017 Minnesota Center for Book Arts,
13th Annual National Alternative Processes Competition 2017 Nov 4, Soho Gallery, NYC.
The Door Between, Book Arts & Historic Processes 2017 Maine Media Gallery,
Forsaken 2017 SE Center for Photography, Greenville, SC
Fall Line Fifty Photobooks 2017 Fall Line Press, Atlanta GA
23rd Juried Exhibition 2017 The Griffin Museum of Photography, Winchester MA,
Summertime 2017 A Smith Gallery, Johnson City, TX
Of Memory, Bone & Myth 2016 Colonel Eugene Myers Gallery, Grand Forks, MD,
A River Runs Through It, 2016 Keystone Gallery, Los Angeles, CA,
Earl with Mack 2015 A Smith Gallery, Johnson City, TX
Magic 2014 A Smith Gallery, Johnson City, TX

PUBLICATIONS

Maine Home & Design Found Objects, 2018
The Hand Magazine Issue, 2017, #19 feature
Don’t Take Pictures Magazine, 2017, Filter Festival Feature
The Hand Magazine, 2017, Cover feature.
Hawk & Handsaw, 2017, Batrachomany Wagenaar & Kydd
Portland Press Herald, 2017, Two Artists 
Feature Shoot, 2016, Return to Photography’s Roots
Diversions LA 2016, LA Show Review
We Choose Art, 2016, Artist Interview
Artful Amphora, 2016, Women Around Town
Make Photo Art, 2016, Artist Interview
Silvershotz Magazine, 2016, Review
L’Oeil Magazine, 2016, Show Review
Maine Media College, 2015, Artist Interview

AWARDS

Runner Up, San Francisco Book Festival, Just When I Thought I Had You
Honorable Mention, Julia Margaret Cameron Alternative Process Awards 2018
Best Photobooks, 2017, Fall Line Fifty Award Just When I Thought I Had You
Jurors Award for Magic, A Smith Gallery, Johnson City, TX 2014,

TALKS

Maine Media MFA Interview 2016
Pecha Kucha May 2018

EDUCATION

2016 Maine Media College, Rockport MFA in Photography
1996 NE Institute of Art, Boston, PDip. Broadcast Journalism
1993 Manchester University, England BA Hons. Modern Languages

website

Witness

The time is 5AM on a late summer morning, at the change of seasons when the earth is warm and the air is cool and a fog has risen. These trees, standing tall for over a hundred years in the hills of New Hampshire, were destroyed by a freak storm in the spring of 2016. Witness, a series of images in both print and artist book, invite us to honor and remember, to enter in and be present to the wonders all around us. Trees bear witness, holding the mysteries of the world told through folklore and fantasy, science and study, revealing secrets and answers, offering comfort and healing. Past events and processes are recorded in the rings of growth, marking time, age and conditions. Not just metaphor, communities of trees take care of their own, nurturing and protecting by a symbiotic network rooted below the surface, spread by threads of fungi, connecting one tree root system to another. This connectivity is echoed through out the natural world.

Arches water color paper for binding, band and 3 fold cover wrap
8.25 x 14 inches, concertina binding
Belly band of paper with image detail
Nine images ©2012 printed on Epson Hot Press Natural paper
Archival cardboard box

Limited edition, excluding 2 artist books, 2 exhibition copies
Edition #1-2 $275.00
Edition #3-4 $300.00
Edition #5-6 $325.00
Edition #7-8 $350.00
Edition #8-10 $375.00

The Book of May Be

As if waking from a dream state, “The Book of May Be” explores malleability of memory. This diminutive body of work, nested in a slipcase and wrapper, is a series of 2 x 2 inch diptychs, each in conversation with its partner and in relation to the other snippets of image and memory. These images string along like an old film strip, collaged from bits and pieces of story, sounds, smells, places and people creating a visual tone poem. Though we think of life as linear, it is always in a flow state, shape-shifting as in a lucid dream where memory, time, and place converge out of sequence and clouded recall.  Maybe it was, maybe it wasn’t, maybe it will be…

36 images, 2 in x 2 in accordion fold
Epson Ultra Premium Presentation Matte Paper
Four fold wrapper/slip case, various materials, by Linda Lembke
Archival cardboard box

Limited edition, excluding 2 artist books, 2 exhibition copies
Edition #1-2 @ $200
Edition #3-4 @ $250
Edition # 5 @ $275
Edition # 6 @ $350

Bio

Dawn Watson is an artist and activist. Her work examines the fragility of both the natural environment as well as our relationship to it and to each other. After twenty-five years as a dancer and choreographer, Watson transitioned to photography, finding affinity in the visual storytelling offered by both live performance and the captured image. She has exhibited her photographs and artist books throughout the United States including The Griffin Museum of Photography, Albrecht-Kemper Museum, Tilt Gallery, Tang Museum, and a solo exhibition at the Los Angeles Center for Photography.

Artist Bio
Linda Morrow can say that photography is in a sense her voice and often her meditation. She retired early from teaching college English in order to focus more on the visual image which may explain her interest in book-making. She has in recent years begun working with alternate structures for the photobook such as the concertina, the pivoting panel and the map book. Her intention always is to make [photographs] that inspire the mind and engage the heart. Linda lives in Long Beach, CA.

CV of Exhibitions

Artist Statement for Echoes of Ovid II – a pivoting panel book
When my turn came up to work with one of the models in a workshop with Kim Weston, I chose to photograph her outside in Kim’s greenhouse where his tomato plans were flourishing that summer. Soon I realized that a leitmotif was offering itself that I could develop in terms of women in nature, women whose lyrical shapes and curves could mingle with lines and shadows of the vegetative. Over time I continued the project, working with models in my own garden in California and in gardens I found in Louisiana and New Mexico and seeking to make images that would suggest a fine line between the feminine and the botanical. Margaret Langhans was commissioned to write the poem called “Metamorphosis,” and the project was complete: in the story by Ovid, Daphne’s transformation into a tree is touchstone for each portrait in the series.”

Linda Morrow’s Website

I was in Telluride, Colorado taking photographs. The year had been a difficult one. I had experienced hardship, loss, scandal, disappointment and illness. I had become fragile and untrusting.

In Telluride I read Orlando by Virginia Woolf. The book begins with Orlando as a young nobleman and an attendant and favorite of Queen Elizabeth I. After the queen’s death he falls in love with a Russian princess and because she was not a member of the English aristocracy the relationship was not allowed. Yet, so in love was Orlando that he cared not for his reputation and the two lovers plan an elopement to Russia arranging to meet by a bridge at midnight. But the princess doesn’t come, leaving Orlando alone on the coldest night of the early seventeenth century.

As an outcast Orlando becomes a recluse and returns to writing poetry. After several years, he shows his epic poem to a famous poet, Nicholas Greene, who is dismissive of the manuscript. A few months later Mr. Greene comes out with a new book. Inside the book Orlando discovers his own poem under Greene’s name. These two betrayals cause Orlando such great despair that he sleeps for seven days and seven nights. Those near him tried to rouse him and still Orlando slept. When he awakens he sees that his body has transformed into that of a female, and continues to live on as a woman.

While reading this novel I would pause to look through the windows. The assortment of windows, at different times of day brought a variety of views altering the landscapes and surroundings, at times summoning me to leave the indoor world, step outside and go walking. It was breezy outside. There was beauty in every direction. As the winds blew around me, the winds moved within me and as the clouds passed through the sky, so did the ups and downs of the last year. Orlando had turned me into a poet….. and what was scandal compared with poetry? As a poet I could see the mountains as I never before had. The low lands where the streams flow and the high mountain peaks covered with snow even in July, sung like ascending and descending musical scales. Life had to be that way. For valleys are the natural lows, the depressions that fall beneath the earth’s surface, and peaks are the natural highs that flower in their prime and allow for views of grandeur and understanding. I thought to myself, “I’ll be alright.”

While sleeping I was aware of the fresh air of the high altitude and when I awoke, though it had been 7 hours and not days my sorrow had turned into a pebble thrown from a high cliff down to where it could no longer be seen, where it would, without a word, land and disappear leaving just the slightest trace, good enough to have served a purpose.

These photographs were taken on walks inspired by my reading of Orlando last spring.

–Ruth Lauer Manenti

Ruth’s work has been collected by the New York Public Library as well as many private collections including Lois Conner, Louise Fishman, An-My Lê, Frances Barth, Bruce Gagnier, Sylvia Mangold, Seane Corn, Dan Walsh, Chris Martin, Connie Hansen and Russell Peacock.

Bio
Dianne Yudelson is an award winning photographic artist. Her images have been published in over 50 countries on 6 continents including Washington Post, International New York Times, The New Yorker, CNN, The Huffington Post, Slate Magazine, and the Daily Mail. Dianne’s work has been exhibited in Spain, France, Scotland, Georgia, Malaysia, Thailand, and all throughout the United States. Dianne is a two time Critical Mass Finalist, a Julia Margaret Cameron Award winner and her honors include “Photographer of the Year” titles from three acclaimed international competitions; Black and White Spider Awards, International Color Awards, and World Photography Gala Awards

“My fascination with photography began upon the realization that, in addition to being a wonderful means of documentation, photography can also be used as a fine art medium. My style is eclectic as I embrace the challenge of exploring varied subjects and forms of expression. When inspiration lays a new path before me, I gladly take a detour. I am motivated to create by the hope of evoking emotion that continues to resonate across time.” – DY

About the Artist Book
Dianne Yudelson’s artist book of her “Antique Aviary” images will be on display at the Griffin Museum from September 7, 2017 – October 1, 2017. Dianne created her artist book as a vehicle for viewing “my birds” in an aviary grouping. The accordion book is handmade, printed and editioned by the artist using Hahnemühle Fine Art paper with cover images printed on 100% cotton, and all archival materials.  The book is 5.25” square. This “mini exhibit” book can be hand held or displayed standing; when open flat it measures 5’4” in length. The pages are double thickness and there are images on both sides of the book with 20 birds in the aviary. Dianne’s book is held together by a handmade band and enclosed with a signed letter of authenticity within a handsome gray box. The book is a limited edition with 6 now available.

Statement on Antique Aviary
As a very young girl my fondest memory was sitting on my grandmother’s porch while she showed me the tintypes of my great grandmother and other loved ones. Holding these tintypes in my hand and gazing into the eyes of my ancestors while hearing stories of my grandmother’s childhood was an experience I hold dear to my heart. These tintypes were my first exposure to the “Art” of photography. My series “Antique Aviary” is a melding of my lifelong passion for birds, my wildlife photography and my deep appreciation of the tintype image

– Dianne Yudelson

Book price $280 (includes shipping).

The Griffin Museum of Photography announces that every exhibition season we will showcase one photography artist book. For our exhibitions’ reception on July 13th at the Griffin Museum we begin this initiative displaying Diana Nicholette Jeon’s artist book until September 1, 2017.