Griffin News

Atelier 33 | Bonnie Newman

Posted on March 9, 2021

Bonnie Newman‘s collection Impressions: Cape Cod is showing in the Griffin Main Gallery until March 26, 2021, as a part of the Atelier 33 exhibition. To learn more about her abstract visions of Cape Cod’s landscapes, we asked her a few questions.

Which of these images was the impetus for this series? How did it inform how you completed the series?

I started experimenting with ICM (intentional camera movement) last spring, as a way to “capture the spirit” of landscapes and help me see familiar places differently and more powerfully. I knew I wanted to explore the “dreaminess” of ICM for the Atelier project.

How has your photography changed since the beginning of the COVID-19 pandemic? Has the Atelier been a motivator to persevere through these trying times?

My photography has blossomed during COVID. I could wander alone
with my camera for hours at a time and connect with my environment
in new ways. The Atelier provided the venue to push myself more
deeply in this direction I was already heading.

How does your process for shooting landscape scenes influence the final pieces?

I have chosen places that speak to me, and love shooting in the early morning light. I’ve shot literally hundreds of photos utilizing ICM, and have chosen a very select few that capture the spirit I am seeking.

What do you hope we as viewers take away from viewing your work?

I hope to share the serenity and the ephemeral nature of beautiful
environments and encourage people to see landscape in a new way.

Tell us what is next for you creatively.

I hope to continue shooting landscapes in ways that help us to see our natural world differently—using both ICM and multiple exposures. I also am considering utilizing these same techniques with close-ups of natural elements, such as leaves or plants.

Visit Bonnie Newman‘s website to see more of her work.

Atelier 33 | Jim Turner

Posted on March 8, 2021

Jim Turner‘s collection Seeing in Threes is on display in the Griffin Main Gallery as a part of the Atelier 33 exhibition, open until March 26, 2021. We wanted to learn more about Jim’s innovative and insightful way of representing nature, so we asked him a few questions.

Which of these images was the impetus for this series? How did it inform how you completed the series?

One of the exercises we did in the early part of the Atelier was a “conversation” with another artist where we explored someone else’s artistic approach then created our own work as inspired by theirs. I chose Brigitte Carnochan as my artist to explore. I have always admired her work and I share her appreciation of the beauty of the natural world and of the intricate patterns and detail found in nature. One of the things she talks about is slowing the viewer down so that they can appreciate the beauty in an image in more detail. A method she has used to accomplish this is to divide images into triptychs so the viewer can appreciate each panel on its own in addition to as a part of a cohesive whole. As I applied this idea to some of my own photographs I was immediately struck by how much I felt that certain images were significantly enhanced by converting them into triptychs. Two of these early attempts, “Daffodils” and “Maple Leaves” were the impetus to make a series of botanical triptychs my project for the Atelier.

How has your photography changed since the beginning of the COVID-19 pandemic? Has the Atelier been a motivator to persevere through these trying times?

Unfortunately, like most of us, my options for photography have been very limited since the beginning of the pandemic. I seldom go much further than our own backyard or local gardens. The Atelier was a lifesaver, it kept me focused and allowed me to interact regularly with other like-minded and supportive photographers.

What do you hope we as viewers take away from viewing your work?

I hope that viewers will be surprised and pleased, as I am, by the hidden beauty in what we often regard as everyday things.

Tell us what is next for you creatively.

I would like to continue to expand my series of botanical triptychs while I’m waiting for the inspiration for my next project.

To see more of Jim Turner’s work, visit his Instagram, @Jim_Turner_Photos.

Atelier 33 | Lisa Cassell Arms

Posted on March 6, 2021

Lisa Cassell-Arms’ collection Aide Memoir (An Aid to Memory) is currently on view in the Griffin Main Gallery as a part of the Atelier 33 exhibition, open until March 26, 2021. Lisa’s Atelier work centers around the curious truth of gardens and the way they can be a source of reflection and comfort for its visitors. To learn more about her process of creating Aide Memoir, we asked Lisa a few questions.

How has your photography changed since the beginning of the COVID-19 pandemic? Has the Atelier been a motivator to persevere through these trying times?

For me, the Atelier has been a game changer. Pre-Covid, I was creating photos and working very much on my own. Ironically, it was the lockdown itself that allowed me to participate remotely in the Atelier. I don’t live in MA, so under normal circumstances I wouldn’t have been able to take part. The benefit of working through projects with feedback from our instructor Meg, along with sharing perspectives and ideas with others in the Atelier was invaluable and will propel me forward.

What do you hope we as viewers take away from viewing your work?

I hope that viewers will take a few moments to imagine themselves in the quiet, early dawn of the garden, and allow a kind of free-association as they take in the shapes, shadows and clipped forms. And then let their gaze wander to the edges where the mood shifts and where the path may be harder to discern.

What is the significance of documenting both the cultivated and the wild or natural space?

I’m interested in the contrast between cultivated space, where human presence (and control) on the landscape is evident, and where we have historically retreated for comfort and healing; and the wild space beyond the edges of the garden, where human presence fades and nature is unbounded. Placing them side by side invites a contemplation of two very different natural spaces.

Tell us what is next for you creatively.

The project I’m working on currently is a series of merged landscape images, inspired by antique stereoscope cards. The aged cards have a slightly unreal quality that has always intrigued me. In my series, I pair landscape images that I’ve shot in different parts of the world, at different times, so that when placed together, they enter into a conversation with one another. The visual dialogue between forms suggests a new, hybrid land.

For more of Lisa Cassell-Arms’ work, visit her website and her Instagram, @SeasonsInVermont.

Atelier 33 | Amir Viskin

Posted on March 5, 2021

In this highlight of the At elier 33 exhibition, we take a closer look at the work of Amir Viskin. His series, Ephemeral Abstractions is currently on view in the Griffin Main Gallery until March 26, 2021. Drawing inspiration from natural aspects of everyday life, Amir’s work reflects a new appreciation for the world around us in these unprecedented times. We asked Amir a few questions for some insight into his collection.

Which of these images was the impetus for this series? How did it inform how you completed the series?

One of the images that was an impetus for this series is “untitled – ice, frost, leaf.” During the fall I experimented with Macro photography, in an effort to photograph ephemeral elements (ice, frost…), and use them to construct abstract images evocative of imaginary landscapes. This led to a series of abstract compositions in which I also used symmetry and superposition.

How has your photography changed since the beginning of the COVID-19 pandemic? Has the Atelier been a motivator to persevere through these trying times?

I am first and foremost an outdoor photographer. The pandemic forced me to look for creative opportunities indoors or close to home. That meant finding small objects (stones, ice cubes, milkweed pods), or using Macro photography to get close (frost on a leaf, dew on a spiderweb). The Atelier was a welcoming, safe space in which to create, share ideas with my other talented colleagues and overcome the challenges of isolation.

What do you hope we as viewers take away from viewing your work?

I hope that they view my images as an opportunity to reflect on the shifting meaning of permanence, of what lasts and what disappears, and what is important in this new “normal.”

What did you discover about yourself and your surroundings through the art of abstracting reality?

I became more aware of the beauty of small and ephemeral objects, and their ability to open an internal conversation on the meaning of time and space.

Tell us what is next for you creatively.

I plan to continue using light, abstraction of composition as tools to explore the challenges we face as we begin to process the meaning of our collective experience this past year.

You can see more of Amir Viskin’s work on his website.

Atelier 33 | Angela Douglas-Ramsey

Posted on March 4, 2021

Angela Douglas-Ramsey‘s collection Carbon Copy is currently on display as a part of the Atelier 33 exhibition in the Griffin Main Gallery until March 26, 2021. Interested to know more about her deeply personal project of photographing her relationship with her daughter, we asked her a few questions.

Which of these images was the impetus for this series? How did it inform how you completed the series?

The image that is the foundation of my project is called “Looking Forward.” It embodies everything the project is about. My daughter is coming into the adult world as I watch. It is bittersweet. This project is ongoing. My goal is to continue it until she leaves for college. The Atelier helped me expand the way I photographed this project. My daughter and I do a daily “call and response.” It is a funny and meaningful visual conversation with a preteen and her mother.

How has your photography changed since the beginning of the COVID-19 pandemic? Has the Atelier been a motivator to persevere through these trying times?

Oh my gosh, yes, so much. I started creating self portraits and working on my thoughtful work. As a documentary photographer, when the pandemic hit, I had no more projects. I had to reinvent myself. The spring was a very trying time for me and photography gave me a purpose. I feel lucky to have gotten the last spot in the Atelier. The class has taught me so much. I see photography is a different way. Meg has been a great teacher. I have been challenged with each assignment and enjoy the challenges.

How has this project brought you closer to your daughter? Did you find yourself photographing your family in a different way than you did prior to the pandemic?

Yes. We go on photo walks together and giggle a lot during our portrait sessions. I could create an entire zine of our funny outtakes. Pre-Covid, I only documented my family. Now, I pose and use more of a narrative approach to tell stories within my family.

What do you hope we as viewers take away from viewing your work?

I hope the viewers see the relationship between a mother and a daughter. I hope they see the love and see the pull. The pull that my daughter is slowly starting to do.

Tell us what is next for you creatively.

I will continue to work on my long term projects. I have a new motivation for all of them. I am also working on a new self portrait project. I am still very much in the research phases and look forward to creating images in the coming months.

For more of Angela Douglas-Ramsey’s work, visit her and her Instagram, @AngelaDouglasPhoto.

Atelier 33 | Julia Arstorp

Posted on March 3, 2021

In this highlight of the Atelier 33 exhibition, we interviewed Julia Arstorp about her collection Invisible Threads, on display in the Griffin Main Gallery until March 26, 2021. This series captures the deeply personal moments shared between the artist and her daughter while revisiting memories from her family’s past.

Which of these images was the impetus for this series? How did it inform how you completed the series?

I would say it’s the image of my daughter wearing a fur coat that belonged to my mother from the early 60’s. I very much feel this project was a collaborative effort with my daughter. I love how that photograph has the imprint of three generations and results in such a joyful image.

How has your photography changed since the beginning of the COVID-19 pandemic? Has the Atelier been a motivator to persevere through these trying times?

Before COVID I never took self portraits but with social distancing I had to
place myself in front of the camera which, at first, was uncomfortable.
Ultimately, I found that it added to the project and brought me a different
perspective on my work. I also found that focusing on a project about
family history helped to anchor me during these stressful times. And yes,
the Atelier was a key motivator to keep me on track.

How has your Atelier work helped you to keep the family tradition alive of passing down stories to each generation?

I grew up on stories told by my grandmother and mother. And while clearing out my mother’s house, we found boxes that held pieces of my family history – everything form scrapbooks and letters to my great grandfathers spectacles and my great grandmothers wedding dress. This project allowed me the time to work on a body of work about these family memories and stories and, equally important, share the process with my daughter.

I hope my work speaks to the connections and identity we find through childhood memories and family stories. The blending of past and present that helps us see we’re part of an ongoing story.

Tell us what is next for you creatively.

I really see myself as both a photographer and a printer. I’ll continue working on new prints – mostly platinum palladium and cyanotype. I’ll also continue documenting the neighborhood and small knit community my family has lived in these past 30 years and continue focusing on family stories.

Visit Julia Arstorp’s website and check out her Instagram, @JuliaArstorp to see more of her work.

Illuminating the Archive of Arthur Griffin: Photographs 1935-1955, Part II

Posted on March 2, 2021

“When looking at different photographers who have all these different ways of doing it, you can see how they exist in the world. You get a little sense of who they are and how they’re thinking. What’s going on in this person’s head? I want to know more.” Emily Kask, photojournalist

The Art of Photojournalism

By Madison Marone

shooters — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Outside of Trinity Church on Easter: Boston, Massachusetts**

Introduction

The mission of the Griffin Museum of Photography is to encourage a broader understanding and appreciation of the visual, emotional, and social impact of photographic art. As an Exhibitions Assistant for the museum, I’ve been inspired to interpret Arthur Griffin’s photography with a contemporary eye. My intention is to highlight and provide context for his work so viewers may experience it in new and exciting ways.

Illuminating the Archive of Arthur Griffin: Photographs 1935-1955, views the region’s cultural heritage, traditions, and aesthetic through the lens of Griffin’s lesser-known work. The six-part exhibition explores how photography affects the way we relate to and understand the past. Each exhibit features historical, sociological, and creative interpretations of photographs from the museum’s collection. This installment focuses on the relevance of his time as a photojournalist.

AG Archive- shoveling — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Valentine’s Day Blizzard of 1940, Beacon Hill snow removal: Boston, Massachusetts**

Arthur Griffin’s legacy lives on through the Griffin Museum of Photography. He is remembered as a successful photographer for the Boston Globe and a New England photojournalist for Life and Time magazines. Griffin was a pioneer in the use of color film, providing the first color photos to appear in the Saturday Evening Post. His work captures the essence and vibrancy of mid-20th century New England.

The adage, “a picture is worth a thousand words,” encapsulates the basis of photojournalism: the art of telling a story through photographs. Griffin spent many years as a photojournalist covering human interest stories, politics, celebrities, and sports. These photographs were printed in newspapers and magazines distributed locally and across the nation.

The following images are separated into sections covering three major themes present in Griffin’s work: capturing emotion, composing energetic shots, and establishing a sense of place. The exhibit features insights from Emily Kask, a contemporary New Orleans-based photojournalist whose work is featured in papers such as the New York Times and Washington Post. She shares her thoughts on documenting sensitive moments, the creative process, and growing as a photographer. Each section begins with an interview excerpt to gain insight into the perspective of a photojournalist.

Capturing Emotion

Madison: How do you capture emotion in your shots? What do you do to make people feel comfortable?

Emily: In terms of working past those awkward and sensitive moments, it’s really about intention and being honest with people about why you want to be there. Spending and committing that time… Photography can be so socially therapeutic. You get to push past these expectations and norms. I can be sent to rural Mississippi to someone’s house that I don’t know and three hours later we’re crying in their living room together. That’s so weird and I love that. It’s socially challenging and not what we feel like we’re supposed to do as human beings… I want to be able to cry with people. I want to be connected with people from all walks of life.

AG Archive- house demolitionist — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**House demolitionist Abe Boudreau: Enfield, Massachusetts**

Photojournalism helps build a connection between the reader and the subject of a story. Images depicting the lives and feelings of others animate news reports, making them compelling and emotionally palpable. Capturing the warmth, excitement, sorrow, or intensity of a moment in a photograph creates empathy and understanding among people. Seeing the humanity of others in this way allows us to transcend time and space. Photojournalism adds vibrancy to current events, historical moments, and the experience of strangers.

Griffin had the ability to capture this vibrancy. His affection for the people and communities he worked with comes across in the following photographs. A lighthouse keeper is seen diligently cleaning the beacon, engaged in his unique line of work. Children gather for a photo that captures the joy and simplicity of youth. A candid and curious moment at the Museum of Natural History is preserved. Actress Gertrude Lawrence beams in her Cape Cod garden. And a Nantucket man smiles benevolently towards the camera. These emotional images help connect readers from all walks of life with the larger stories being told.

AG Archive- lighthouse keeper — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Boston Light lighthouse keeper: Boston, Massachusetts**

AG Archive- Playing in water — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Playing in the South End: Boston, Massachusetts**

AG Archive- Children at the Natural History Museum — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Natural History Museum 1942: (Berkeley Street) Boston, Massachusetts**

AG Archive- Gertrude Lawrence at summer home — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Actress Gertrude Lawrence at her summer home: East Dennis, Massachusetts**

AG Archive- Nantucket man — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Jim Coffman hosted clam bakes on Nantucket for over 30 years: Siasconset, Massachusetts**

Composing Energetic Shots

Madison: How do you energize your photos?

Emily: Back when I was first starting out, Melissa Little said something at a conference like “photograph adjectives, not verbs.” That always stuck with me. It helps put my brain in a new spot. ‘How does this feel’ rather than ‘what is this.’ I can photograph someone walking or singing or riding a horse, but how are they doing it? How is it being done? That’s what is going to resonate rather than just being a fact. Of course, journalism has to be factual, but in order to make it visually compelling, there has to be this level of humanity, this whole other element that is going to draw you in and engage you.

AG Archive- Hurricane of 1938 cleanup — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Children cleaning after the Hurricane of 1938, inspiring hope: Sommerville, Massachusetts**

Photojournalism can relay the energy of a story through the composition of a shot. Excitement is evoked by dramatic lighting, unique camera angles, and catching an important moment. These techniques help convey the movement and thrill of a scene. Photographs show how something feels in addition to what actually happened. They frame the story in a way that words can’t express.

While working as a sports photojournalist, Griffin often attended baseball games, track meets, and boxing matches. He photographed the atmosphere of crowds as they cheered on their favorite teams. Memorable moments, such as hitting a home run, are forever preserved in his work. These images allow people to feel the energy of the game rather than just read about it.

The following images tell energetically different stories. Spirited cheerleaders are photographed from a sideways angle, emphasizing their excitement. Track star, John Baricom, is seen moments before winning a race, his face filled with determination. A boxer in a spotlit ring recovers between rounds. Baseball fans are viewed from a low angle with the sky as their backdrop. A skier is backlit by the sun, creating an angelic glow as she descends the mountain. Photojournalists have the ability to dramatize and document these kinds of fleeting moments. Their artistic choices enhance our understanding of the scene.

AG Archive- Winchester high school cheerleaders — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**High school cheerleaders rouse the crowd during a game: Winchester, Massachusetts**

AG Archive- Dartmouth track star — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**The moment before** **Dartmouth track star John Baricom breaks his own record and wins the race: Hanover, New Hampshire**

AG Archive- Boxer in the ring — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Golden Gloves boxing match between rounds: Lowell, Massachusetts**

AG Archive- baseball fans at Fenway — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Baseball fans absorbed in the game at Fenway Park: Boston, Massachusetts**

AG Archive- Skiing in New Hampshire — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Gracefully skiing down Cannon Mountain: Franconia, New Hampshire**

Establishing Sense of Place

Madison: How have you grown as a photographer?

Emily: I have become a better photographer with the more personal life experiences I’ve had. That’s what’s so key about doing this kind of work, you can find an 18-year-old who makes beautiful photographs, but when it comes to documentary work, you’re not going to be able to achieve the same level of empathy with someone who hasn’t had those life experiences. There’s a tenderness to it you get from getting older.

AG Archive- General Store after Hurricane of 1938 — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**General Store after the Hurricane of 1938: Wareham, Massachusetts**

Creating a “sense of place” is an essential element of story building. In photojournalism, this involves taking photos of the settings in which the news unfolds. Establishing shots help to set the mood, capturing the aura of a scene. This gives viewers a framework to better understand the context of a story. They are especially effective if the viewer has never been to the location or shared the same experiences.

Griffin lived in Massachusetts, but he was often on assignment across New England. The following photographs establish scenes in a variety of news stories he covered. The first features the silhouette of a lone man walking through Copley Square after a snowstorm. The second is a birds-eye view of a celebratory parade held for Bette Davis’ visit to New Hampshire. The third takes the perspective of onlookers during a fire in the Berkshires. And the final two show the Hurricane of 1938’s devastating aftermath. These establishing shots capture the essence of the larger story being told.

AG Archive- snow in Copley Square — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Copley Square after the snowstorm: Boston, Massachusetts**

AG Archive- parade for Betty Davis — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Parade for Bette Davis: Littleton, New Hampshire**

AG Archive- fire in the Berkshires — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Fire in the Berkshires: Massachusetts**

AG Archive- aftermath of the Hurricane of 1938 — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Hurricane of 1938 aftermath: Wareham, Massachusetts**

AG Archive- beach after the Hurricane of 1938 — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Swift’s Beach “where four cottages were” before floating away during the Hurricane of 1938: Wareham, Massachusetts**

Final Thoughts

“Photographing and spending time with someone starts to break things down to that human-level… We get used to our lives every day. But your life is important, both the way you exist in the world and the larger issue. I think everyone needs to be reminded of that sometimes.” Emily Kask

AG Archive- painting buoys — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Painting lobster buoys: Port Clyde, Maine**

Photojournalism is an art form that adds a visual element to news stories. It fosters a connection between individuals and communities across the nation. Images that capture emotions, convey energy, and establish a sense of place have the ability to bring current and historical events to life. Griffin’s work allows us to look back on these stories with fresh eyes, illuminating the past one photograph at a time.

Thank you to Emily Kask for taking the time to share insights on the art of photojournalism. Her work and contact info can be found on her website.

Special thanks to the Boston Public Library for digitizing a large portion of the Arthur Griffin Archive so it may be accessible to the public. If you would like to view more photos and library material, visit the Boston Public Library for the Digital Commonwealth and the Digital Public Library of America.

Madison Marone is an Exhibition Assistant at the Griffin Museum of Photography and a graduate student pursuing her MSc in museum studies at the University of Glasgow. She holds a BA in film studies and sociology from the University of Vermont. Her interests include early to mid-20th-century art history, film theory, and exhibit design.

References:

Kask, Emily. Personal Interview. 22 February 2021.

Kenny, Herbert A., et al. New England in Focus: Through the Eyes of the Boston Globe. A. Griffin, 1995.

All images on this webpage © copyright 2021 by the Griffin Museum of Photography. All rights reserved. No part of this webpage may be reproduced in any manner whatsoever without written permission of the museum except in the case of brief quotations from the written material with citation.

Illuminating the Archive of Arthur Griffin: Photographs 1935-1955, Part I

Posted on February 16, 2021

“The Griffin is the embodiment of founder Arthur Griffin’s passion — to promote an appreciation of photographic art and a broader understanding of its visual, emotional, and social impact. Arthur’s goal was to share with visitors his enthusiasm for a medium that is diverse, imaginative, and informative.” -The Griffin Museum of Photography

Winter Traditions

By Madison Marone

AG Archive - winter barn — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Stowe, Vermont**

AG Archive - winter fence — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Lincoln, Massachusetts**

Introduction

As an Exhibitions Assistant at the Griffin Museum of Photography, I became curious about the stories and situations surrounding Arthur Griffin’s work. After looking through the archives, I noted that his photography has both artistic and historical value. This inspired me to curate the following exhibit reflecting on winter traditions in New England. Engaging with Griffin’s work helps frame our understanding of the past and deepen our appreciation of the present. The intention of this exhibition is to highlight and provide context for his photography so viewers may experience it in new and exciting ways.

Illuminating the Archive of Arthur Griffin: Photographs 1935-1955, views the region’s cultural heritage, traditions, and aesthetic through the lens of Griffin’s lesser-known work. This six-part exhibition explores how photography enhances our relationship with and understanding of the past. Each exhibit features historical, sociological, and creative interpretations of photographs from the museum’s collection.

AG Archive - sugar sap buckets — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Collecting maple sap: Wilmington, Vermont**

This installment focuses on the history of winter traditions in New England. The following photographs depict specific situations where people came together to work and celebrate the season. In the first section, farmers and their families gather to create maple syrup. The second section explores the trend of “sugaring-off parties,” while the third details the annual Dartmouth Winter Carnival. Griffin’s work captures the spirit of these communities as they persevere through the coldest months and find joy in their traditions. Griffin’s photos do more than document moments gone by, they invite us to see ourselves in them.

Maple Sugaring

Collecting sap and turning it into maple products remains one of the oldest traditions in New England’s history. Indigenous North Americans discovered the process long before Europeans arrived in the region. It has continued to evolve and grow into the industry we know today.

Maple sugaring became a way for farmers to supplement their income over the winter months. They could sell syrup, candies, and sugary treats both locally and nationwide. The whole family would partake in the maple sugaring process. It involved tapping maple trees, hanging buckets, gathering sap, and retrieving it with animal-drawn sleds. The sap was boiled down into syrup, filtered, and bottled for storage or sale.

Griffin often visited Vermont and New Hampshire to document these farmers. His work provides a sense of connection with these communities as they labor to create income from this culinary treat. Photographs of children accentuate the fact that this duty is often inherited and passed down through generations. The last portrait of this section humanizes and honors an individual farmer in a style reminiscent of Dorthea Lange.

AG Archive - tree sap — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Tapping trees: New London, New Hampshire**

AG Archive - buckets of sap — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Gathering maple sap: Marlboro, Vermont**

AG Archive - cow pulling syrup — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Gathering maple sap: Wilmington, Vermont**

AG Archive - pouring sap — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Gathering maple sap: New Hampshire**

AG Archive - sap to syrup — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Boiling sap into syrup: Vermont**

AG Archive - drinking syrup — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Testing the syrup: West Brattleboro, Vermont**

Sugaring-Off Party: 1941

Sap harvesting season in New England ranges from February to April, coinciding with the coming of spring. One of the ways to celebrate this seasonal change is a “sugaring-off” party. These parties often include music, dancing, and of course, eating syrup-based sweets. Variations of sugaring-off parties have been held since maple sugaring began. Certain indigenous tribes developed sacred rituals and maple dances to honor the first full moon of spring, known as the Sugar Moon. The tradition of hosting sugaring-off parties is still alive today.

On April 5th, 1941, Griffin visited Franconia, New Hampshire. Bette Davis was in town for the world premiere of her movie “The Great Lie” and to celebrate her birthday. The day began with a sugaring-off party hosted by Wilfred “Sugar Bill” Dexter and his wife Polly. Celebrities and writers gathered to take part in the festivities.

Griffin documented the setting of the party as well as those in attendance. Establishing shots show sugar being prepared in big kettles while crowds gather around. Medium shots of buffet lines feature people tasting treats and conversing. Through these images, this vintage scene comes alive. They enable viewers to sense the joyous energy of a sugaring-off party.

AG Archive - snow syrup candy — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Drizzling hot syrup on packed snow to make “sugar snow”: Franconia, New Hampshire**

AG Archive snow syrup — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Wilfred “Sugar Bill” Dexter (*right*): Franconia, New Hampshire**

AG Archive - sap pouring — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Fresh maple sugar heated in kettles: Franconia, New Hampshire**

AG Archive - Sap tasting — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Treats included doughnuts, sugar snow, pickles, maple taffy, and coffee: Franconia, New Hampshire**

AG Archive - maple candy — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Sugaring-off party: Franconia, New Hampshire**

Dartmouth Winter Carnival: 1939

Meanwhile, another form of winter festivities was taking place in New Hampshire: the annual Dartmouth Winter Carnival. The carnival was created in 1910 and is still going strong. What began as a weekend to promote winter sports on campus quickly turned into what National Geographic Magazine called the “Mardi Gras of the North.” Over the years, specific activities included ice sculpture contests, beauty pageants, slalom races, dances, polar plunges, and ice skating shows. Due to COVID-19 restrictions, 2021’s “Level Up: Carnival Rebooted” takes place online in the form of videos and virtual gaming. The carnival continues to be a celebratory part of Dartmouth’s identity.

Griffin attended the carnival of 1939, the same year F. Scott Fitzgerald visited with Budd Schulberg to work on a screenplay for the movie “Winter Carnival.” Dartmouth was still an all-male college at that time. In an effort to attract female attendees, the school held a “Queen of Snows” beauty pageant from 1923 to 1973. Students were encouraged to bring dates from their hometown and neighboring colleges. On Friday afternoon, Hanover station would be bustling with reuniting couples, aspiring movie stars, and performers. The weekend was full of outdoor activities during the day and parties at night.

The following photographs capture the exciting atmosphere of the Winter Carnival. Griffin’s work depicts a sense of vitality, movement, and youthful enthusiasm. These images show a community coming together in celebration of friendship and the winter season.

AG Archive - couple travel — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Friday at Hanover Station: Hanover, New Hampshire**

AG Archive - couples hanging out — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Friday night fraternity party: Hanover, New Hampshire**

AG Archive - slope skiing — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Saturday morning slalom Race: Hanover, New Hampshire**

AG Archive - winter dancing — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Dance at the Delta Tau Delta house: Hanover, New Hampshire**

AG Archive - snow queen — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**The 1939 “Queen of Snows” Dorothy Gardner: Hanover, New Hampshire**

AG Archive - snow queen and court — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**The “Queen of Snows” and her court: Hanover, New Hampshire**

AG Archive - snow sculpture — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**Prize-Winning Snow Sculpture: Hanover, New Hampshire**

AG Archive - kiss — *Photo by Arthur Griffin, © Griffin Museum of Photography, All rights reserved*
**A goodbye kiss: Hanover, New Hampshire**

Final Thoughts

In the year 2021, we may feel extra nostalgic for big gatherings and celebrations. We have had to alter and revise our own traditions and make sacrifices for the greater good. But, we will persevere. Through this experience, we will find even deeper meaning in the connections we have with one another. Engaging with Griffin’s work can help us celebrate our communities, remember our history, and keep traditions alive in our hearts.

References:

Pickert, Kate. “A Brief History of Maple Syrup.” Time, Time, 16 Apr. 2009, time.com/3958051/history-of-maple-syrup/.

“Maple Sugaring History.” New England Maple Museum, 14 Mar. 2020, www.maplemuseum.com/maple-syrup-history/.

Ely, Christina. “Maple Sugaring During a Full Sap Moon.” The Farmers’ Museum, 2011, thefarmersmuseum.blogspot.com/2011/02/maple-sugaring-during-full-sap-moon.html.

Kelly, George. “Bette Davis Eyes Sugar Hill.” New Hampshire Magazine, 1 Mar. 2012, www.nhmagazine.com/bette-davis-eyes-sugar-hill-2/.

Bald, Barbra. The North Star: Bette Davis, 4 Nov. 2008, newhampshireadventures.blogspot.com/2008/11/north-star-bette-davis.html.

Rhodes, Jennie. “‘The Broken Country and Long Winter’: The History of the Winter Carnival.” The Dartmouth, 8 Feb. 2019, www.thedartmouth.com/article/2019/02/rhodes-carnival-history.

Desai, Nicholas. “Fitzgerald Visits Hanover.” The Dartmouth Review, dartreview.com/fitzgerald-visits-hanover/.

A Tribute to photographer David Pace

Posted on October 23, 2020

Yesterday Diane Jonte-Pace, David Pace’s wife let us all know that David had passed away after 6 weeks of hospitalization to bring his leukemia into remission. David had hopes of a bone marrow transplant. What a tragic loss for his family and friends and our photography community.

Here is Diane’s message about David’s passing.

Dear friends,
This is Diane Jonte-Pace, David’s wife. I write with sad news. After more than 6 weeks of hospitalization at Stanford, David passed away this morning. The chemotherapy was ineffective at bringing his leukemia into remission – a requirement for the bone marrow transplant he had hoped to receive. On Monday morning David told me and our daughters that he loved us, and asked the medical team to end the interventions. He requested palliative care for a peaceful death. He spent his final day at home. Our daughters and I were by his side. I know how much he appreciated the support he received from you, his Facebook community. I thank you all for being part of his life. I will continue to monitor his Facebook account periodically. With sorrow and gratitude for your friendship. – Diane

In a few days we open with a collaborative exhibition between David Pace and Stephen Wirtz called WIREPHOTO. David was to do an upcoming exhibition talk and book signing. He called to ask if he could do the talk from the hospital but we told him to focus on getting well and we rescheduled the talk for much later. One never knows what is around the corner.

WIREPHOTO wouldn’t be the first exhibition for David at the Griffin Museum. We exhibited his Burkina Faso: Night and Day in January to March of 2013. David came to Winchester to share his experiences of the brickyards of Karaba and dancing under the stars in the darkness of night in Bereba where the camera flash is the only light. It was a full audience. Those guests still tell stories about his spirited lecture and photographs.

We are committed to keeping David’s photography and spirit of community alive for future audiences. We will speak his name, of his photos and of his journey often, to celebrate this man who danced to life under the stars to a West African Pop beat.

Michael Darough | Finalist, Arnold Newman Prize

Posted on October 15, 2020

As one of Maine Media’s finalists for the 2020 Arnold Newman Award for New Directions in Portraiture, Michael Darough‘s powerful series, The Talk, is on the walls of the Griffin until October 23rd. We wanted to know more about Michael and the work, so we asked him a few questions.

Installation view of Michael Darough‘s The Talk on the walls of the Grffin.

Tell us about what inspired the body of work? What was the first image in the series?

The Talk was inspired by the lives of different men and women that I would see on TV. These ideas for my photographs came from conversations I have had with family and friends when I was younger and within the last few years. The issue of systemic racial inequality, especially in regard to the criminal justice system, is not new. It felt like an appropriate time for me to begin to visually articulate those discussions and personal thoughts.

I believe one of the first images in my series was Remembering Gordon. This image was based on the photograph of Gordon or Whipped Peter, as he is commonly known, an enslaved African American man who escaped captivity in 1863. The image depicts lash marks across Gordon’s back; his head is turned profile while his hand is positioned on his hip. Although my photograph does not completely mirror the original material, I considered the composition and his body language when arranging my image.

Thinking about how this has been an ongoing problem in our country, I started looking at the root of this issue and how I might use historical imagery as a reference point to begin this work. I then transitioned to contemporary figures in the news to help guide how I was photographing myself.

Did your ideas about the work change over the course of creating the images? What did you learn from creating the series?

This project went through a couple variations before arriving at the current group of images. Conceptually, ,the idea did not change. I knew I wanted to create work about people who were victims of excessive force. Visually it was different at the start of the project in comparison to the photographs that are on exhibit at the Griffin Museum of Photography. When I started taking photos, all of them were in color and focused more on objects and less on the person. After constant re-shoots I arrived at a version that felt comfortable for the subject matter. I think what I learned most was how to work with lighting, explore storytelling and figuring out a way to direct my viewer through subtle changes.

While all of these situations pictured in the talk are of others, the images are self-portraits. How did your sense of self change when shooting the work?

Previously, I had explored self-portraiture in my work but those images were illustrating stories and memories from my life; these photos are addressing the lives of others. Considering the Information surrounding my portraits, it’s frustrating. I spend my time looking at the details surrounding the deaths of these men at the hands of law enforcement. By the time I would finish shooting and editing there would be another incident. Sometimes during this process, I would find another individual that I overlooked. Although I felt compelled to take on these roles and photograph myself, the cycle of violence feels frustrating.

What would you like us as viewers to take away from seeing The Talk?

This systemic issue within our criminal justice system has been affecting the black community for years. The talk is not something new, it is just a discussion that is currently being had in mainstream culture. I want individuals to look at the work and recognize this problem and feel compelled to have the necessary and uncomfortable conversations needed to fix it.

Can you talk a bit about what being a finalist in the Newman Awards means to you?

This was a great exhibition that I am happy to be a part of. The jurors selected a diverse group of work from talented photographers, addressing their respective content in creative ways. I think that each of us strived to explore new ways to work with portraiture. The imagery, while different, that emerged from our individual bodies of work came together nicely. I’m happy that I was selected as one of the finalists for the Arnold Newman Prize.

What is next for you creatively?

I’m going to explore this idea a little further. While I don’t see this project going on for several years, I do have a few more stories and perspectives to share. I am hopeful that through people marching in the streets, artists addressing this issue and individuals pushing for legislation to help protect individuals, there won’t be a reason for me to make this work. I’m not sure about all the details surrounding my next series but I do have plans to continue to pursue portraiture; probably photographing other’s, not myself.

To see more of Michael Darough‘s powerful work, log onto his website. You can follow him on Instagram @michaeldarough

Griffin News

The Art of Photojournalism

Introduction

Capturing Emotion

Composing Energetic Shots

Establishing Sense of Place

Final Thoughts

Winter Traditions

Introduction

Maple Sugaring

Sugaring-Off Party: 1941

Dartmouth Winter Carnival: 1939

Final Thoughts

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