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Eugeniya Tsoy: The Journey to the Edge of Eternity

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We had the opportunity to talk to Evgeniya Tsoy about her series, The Journey to the Edge of Eternity, currently on view in our 2024 Vision(ary) exhibition. The work explores the region of Kamchatka Peninsula in the Russian Far East. An interview with the artist follows.

Follow Evgeniya on Instagram: @tsoy_photo_

All images © Evgeniya Tsoy. Courtesy the artist.

Evgeniya Tsoy (Евгения Цой) is an art photographer who lives in Russia in the city of Kazan. She was born in 1983. She graduated from the Institute of Chemical Technology in 2007 and worked as an engineer. Since 2012, she has been engaged in photography, and since 2022, she had been studying art photography and contemporary art. She has participated in more than 10 Russian an foreign exhibitions.

The Journey to the Edge of Eternity

Kamchatka is a place of incredible beauty and energy. Here, time seems to have stopped and frozen between thousand-year-old volcanoes and the ocean, wrapped in fogs that plunge you into oblivion. It is a checkpoint on the edge of eternity—an interworld in which it is easy to get confused and, in the dissipated fog, to see this world in a new way.

Reality is nothing more than the perception of this world by our consciousness. In my series, I seek the gap between how we are used to seeing the reality around us and what else it could be. By reassembling individual elements of the overall picture of reality into a new plot, I create a different metaphysical space or object. This approach allows me and the viewer to detach from the usual visual clichés and try to see something from a new angle.

Evgeniya, your series The Journey to the Edge of Eternity explores the mystical aspects of The Kamchatka Peninsula in Far Eastern Russia. What drew you initially to this place?

Kamchatka with its unique and pristine nature has long attracted me. This remote peninsula at the edge of Russia has always seemed to me a special place. The first thing that struck me when I first visited Kamchatka was its grandiose and unspoiled landscape. Volcanoes, hot springs, vast snow-covered expanses – all this creates a feeling that you have ended up on another planet. Time seems to stand still here, and human presence is almost imperceptible. But in addition to this, Kamchatka also has a deep cultural and historical subtext. For me, Kamchatka is not just a picturesque landscape, but a place where ancient cosmogonic ideas and modernity intertwine, where man tries to find his place in this powerful natural world. The process of creating this series for me is a kind of spiritual journey, a meditation on the relationship between man and nature.

The title is so poetic. What is the inspiration behind it?

The parking sign in the middle of the volcanoes became the key in choosing the title. There, the fog suddenly descended and a state of timelessness appeared, as if you found yourself in the eternity of the thousand-year-old valleys and volcanoes. This sign looked very strange, inorganic, but at the same time very metaphorically stopped you right there, in that place.

Human constructions amidst deserted landscapes are a recurrent motif in your project. It really sets up quite an intriguing, almost dystopian/sci-fiesque tone for the series. What do you look for when choosing things and places to photograph in the context of this work?

I am interested in places where human presence is felt, but humanity itself is absent. This creates a sense of abandonment, of a disrupted balance. I like this contrast between the artificial and the natural, between civilization and the pristine environment, which really gives an dystopian undertone. This is an intentional artistic device that I use to prompt the viewer to reflect on the place of man in this world, on the balance between technology/progress and nature. In the series there is one work with a person, it is necessary for the person to enter this space, as a wanderer and a participant in the events.

You mention creating a “different metaphysical space” in your work. Could you elaborate on how you achieve this in your photography?

When I talk about creating a “metaphysical space”, I mean that I am trying to go beyond the usual documentation of the landscape and form a sense of an alternative reality in the viewer. This space is familiar to us, but at the same time alien to our everyday life. And this is primarily a choice of locations, I am looking for places where human presence is combined with a pristine, almost alien environment. In many shots from the series, there is also fog, which helps to create this otherness of the space.

Can you describe a memorable experience or moment while developing this work that significantly shaped the course of the project?

At the very beginning of the trip, I found myself on the shore of the Pacific Ocean during a thick fog, there was a sense of timelessness, as if it had stopped here. Playground, campsites, objects on the beach and other traces of human presence – all of a sudden it all looked completely different. And the Pacific Ocean at the same time calmed with its monotonous sound of waves and stirred with its power and might. That state and feeling from that place became the leitmotif of the whole trip and left an imprint on the frames taken there.

Kamchatka is known for it seismic activity and volcanic eruptions, how do you adapt your photographic techniques or practice to such unpredictable environment?

During my trip, there were no eruptions or any strong seismic activity. I try to find a balance between a documentary approach and a more contemplative, artistic vision. It is important for me not just to record events, but to convey the sense of primordial power and beauty of these places.

Is there something about his place you think people should know or that you’d like to seize the opportunity to share?

Yes, I would like to show the peculiarity of this region. Volcanoes cannot leave anyone indifferent. And nature itself is also very diverse here, it’s like a laboratory for creating our planet. Immutable beauty, through which you seem to touch eternity. In the interweaving of different elements in this place, an extraordinary energy is felt. The power and might of the ocean, the grandeur of the volcanoes, the centuries-old beauty, in the midst of which we are even less than a grain of volcanic sand. And also the rich cultural heritage of the indigenous peoples of Kamchatka – Itelmens, Koryaks, Evens and other ethnic groups. Their ancient traditions, beliefs and shamanic practices, closely connected with nature, are of great interest and value. I would like to find myself there again and pay more attention to this.

Griffin State of Mind: Catching Up with Anne Eder

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We had the wonderful opportunity to talk to multidisciplinary artist and educator Anne Eder on this special Q&A for our Griffin State of Mind interview series. Eder has been an integral part of our education programming, generously offering her expertise on alternative photographic processes. We are thrilled to have her back for two unique workshops on lumen prints and cyanotype this summer both in person and online at the museum.

Keep reading to stay up to date with the artist’s latest ventures and insights.

Portrait of Anne Eder. Courtesy the artist.

Anne, thank you for this interview. Before we start, how have you been spending your summer?

Anne Eder: Well, it’s been a very busy summer. I have had public installations of sculptural work, a show at Vermont Center of Photography, and a panel presentation and workshop for the Experimental Photo Festival in Barcelona. I’ve taught nearly every day for a number of institutions. Not much down time. What time I get I spend with my fabulous chihuahua, The Brain, woods walking, doing research, and trying to find time for my own arts practice. 

What is something you have been really excited to teach in your workshops lately?

Anne Eder: SO many things haha! I have my core classes in sustainable photography and plant-based printing that I will always love but I also teach a number of classes that are more about investigating new ways of making connections between media and disciplines. I love the crosslinking that happens when you see things as not separate, but part of the bigger picture.

All images © Anne Eder.

Ephemerality is an important component in your art — something that stands in contrast to society’s mainstream production mindset. How has that manifested in your work lately?

Anne Eder: A good deal of the work I make is designed to go back to the earth. My sculptural work is organic, and after functioning as public art, it is allowed to decompose on site. When that isn’t possible I take it to my “Boneyard”, and there I can document the entropic phase photographically. It does make it harder for me as an artist in what is essentially a capitalistic art marketplace, but I need to walk my talk when it comes to a sustainable practice. Not all of my work is ephemeral—I do print platinum/palladium which is considered very permanent and stable, but realistically that’s only as stable as the paper it is printed on, how it’s stored, if it has been free of accidents like fire or flood. I think there are lots of ways to make art viewing even more visceral by embracing its ephemeral nature and durational constraints.

In an interview with Craig Stover at the ArtShow, you mentioned you’ve always sort of felt “out of the Zeitgeist.” Has that feeling changed? And what is the Zeitgeist today?

Anne Eder: I would say that the current Zeitgeist is about the political, and we do need work that addresses inequality, gender identity, climate change, and so many other concerns. However, it shouldn’t be all that is available. Art is so much more than that, so much bigger. It operates on a deeper level, fires the imagination, is appreciated in ways that are wordless, nonliteral, larger than our own bodies. There is also a place for wonder, inspiration, and contemplation. I don’t stay interested in work that tells me what to think, preferring that which invites me to ask questions and spend time deciphering layers of meaning. I also need tactility, and my work reflects that.

© Anne Eder. (Detail)

Given your interest in the natural world in shaping our core mythologies, from what myth-busting sessions would today’s society really benefit from? What about the art-world?

Anne Eder: I’m not entirely sure what you are asking here. Do you mean do we have myths that should be challenged? Of course, but I am more inclined to think of folklore, myth, and fairy tales as being positives in our lives, though admittedly there are those that show their age and consciously or unconsciously contribute to the codification of outdated social mores. In the art world — I challenge the myth of the archival, that is to say, to notion that art should last forever. Art will never be truly archival, and we are ephemeral beings, so it seems an unrealistic goal. I view art as experiential and time based, and also resist the commodification of the arts for many reasons.

Last but not least, what should the role of photography education be today?

Anne Eder: That’s a huge can of worms and there are a lot of angles to consider. I think that beyond the technical skills one expects from education that there needs to be an ethical education and exploration, especially in photography, which as a medium tends to have endemic ethical issues. These range among other things, from power dynamics and rights of the photographer and subject to the environmental impact of what we do. I also feel that education in general needs to be more empowering. Rather than trying to attain perfection, I prefer to allow for experimentation and encourage my students to make mistakes. The only way to discover anything new is to form a hypothesis and try to prove it. Inevitably, they will not all work, but that is what leads to invention. I think that as an educator I try to convey the spirit of discovery that dominated its inception as a medium, that excitement. 

© Anne Eder

Daniel Court: Watersong

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We had the opportunity to ask Daniel Court a few questions about photography and his project, Watersong, currently on view at our annual outdoor exhibition, Vision(ary): Portraits of Cultures, Communities and Environments.

An interview with the artist follows.

All images © Daniel Court. Courtesy the artist.

Daniel James Court is a British photographer based in Washington DC, USA. He received his BFA in Visual Communication from Bath Spa in 2012 and his MFA in Photography from Aalto University of Arts in 2021. His series ‘Neither Here Nor There’, documenting the closure of the Calais ‘Jungle’ refugee camp in Northern France, was exhibited at the Pitt Rivers Museum in Oxford in 2019 and was featured in Storytelling Exhibitions: Identity, Truth and Wonder, a book by Philip Hughes (Bloomsbury UK). His graduate series ‘The Place of No Crows’ received a ‘Finalist’ award from Blurring the Lines 2021 and was featured in their annual publication. He had his first solo show at Hippolyte Korjaamo, Helsinki, in June 2021. His photographs have been exhibited in Finland, Greece, Lithuania, Turkey, and the UK.

Website: www.danieljamescourt.com
Instagram: @danieljamescourt

Daniel, let’s imagine we traveled all the way to Finland to accompany you on a shooting day for your project Watersong. (Thanks for inviting us!). What drew you initially to document the culture of wild swimming?

I grew up in London, where swimming basically meant going to an indoor swimming pool. I moved to Helsinki in 2016 and experienced a completely new kind of swimming culture. Finland has a large archipelagic coastline and nearly 200,000 lakes, so you are almost always close to a body of water. Swimming in nature is, therefore, a huge part of the culture, whether its combined with the sauna as a more social activity, or a solitary morning swim before work.

Initially, I overlooked swimming as a subject, even though I often photographed my partner and friends during sauna and swimming sessions. Over time, as swimming became a more significant part of my daily life, it became a kind of respite from the overstimulation of technology, work and the urban environment. When I started to think about swimming in this way, and why it was so meaningful for me, I began to consider that there was an interesting project here.

What are your photo essentials to capture a day of swimming?

Camera, towel and bathing suit (optional).

We are met by a lake upon arriving (or is it a coastline?). What’s the first thing we do to immerse ourselves in the environment and prepare for a day of shooting?

In and around Helsinki, it’s most likely the sea; if we’re more inland, then it’s a river or a lake. Whenever I’m swimming with friends, I’ll almost always make some portraits but since last summer, I have started to actively seek regular swimmers to photograph. When I work this way, meeting people for the first time, we usually just talk and swim together first, before I begin taking any photos. I try to keep photo shoots somehow as natural as possible.

What pose should we do, if any, if you wanted to take a portrait of us?

I’ve never been great at posing, I usually try to just observe people while I am with them until there’s a moment or an action that feels like it could be a photograph. Of course, I might move the subject to better compliment the lighting or scenery.

The wind echoes. The conversation deepens. You begin to tell us: How has your exploration of Watersong impacted your understanding of the human-nature relationship in combating the “extinction of experience,” as you mention in your artist statement?

The ‘extinction of experience’ posits that technology and urbanization have led to a disconnection from natural environments. And as people have less direct contact with nature in their daily lives they tend to have less concern about environmental destruction. So it’s important that nature remains tangible and accessible, for both personal and environmental well-being.

Spending time in nature is a big part of the Finnish identity and culture; therefore, I think it’s no coincidence that the natural waters in Finland are said to be some of the cleanest in the world. There’s generally a deep respect for nature and a strong discourse around the idea that nature should be accessible to all (every man’s right). This relationship is very a positive one and it’s something I wanted to explore in this project.

We take a moment to absorb the water sounds around us. Would you recommend photography as a way of reconnecting with nature?

In the past I have struggled with anxiety and depression and both photography and being in nature have helped in a really profound way. But during times when I really wanted or needed to be in nature, it was the intention of going to take a photo that got me on my feet and out the door, so I think photography can be a great catalyst for engaging with nature.

Lastly, could you share some memorable moments or locations that have left a lasting impression on you during the creation of Watersong?

My partner’s family are originally from Eastern Finland, very close to the Russian border. Behind her grandparents’ old house, a short walk through the forest they have a sauna by a small lake. The lake is surrounded by extremely dense undergrowth that comes right up to the water’s edge, so the lake is almost completely inaccessible apart from a small clearing by the sauna. It’s one of my favorite places to swim in the evenings, especially when the sun is setting, it’s quiet, the water is cold and the light is amazing. I recently made a few photographs here which I am excited to show in the near future.

Sarah Kaufman: Devil’s Pool

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We are thrilled to introduce Sarah Kaufman on this virtual trip/interview to Devil’s Pool — an unsanctioned swimming hole in Philadelphia’s Fairmount Park. The prjoect is currently fetaured on our annual outdoor exhibition, Vision(ary): Portraits of Cultures, Communities, or Environments.

All images courtesy © Sarah Kaufman.

Sarah Kaufman (b. Philadelphia, PA) holds a BA from Haverford College and an MFA from Virginia Commonwealth University. Solo exhibitions of her photography include Saint Joseph’s University, Haverford College, Bowdoin College, Notre Dame University, Soho Photo, and the Silver Eye Center. Kaufman’s projects have been reviewed and featured in ARTnews Magazine, The Philadelphia Inquirer, Visual Studies Journal, Huck Magazine, and more. She has participated in group exhibitions internationally and permanent collections include Haverford College, The Pennsylvania Convention Center, and Procreate Projects UK. Her first monograph, Devil’s Pool, was published by Daylight Books. Kaufman is an Associate Professor in Art at Ursinus College and she lives and maintains a studio in Philadelphia.

Kaufman’s Instagram: @sarahkaufmanphoto

© Sarah Kaufman.

Devil’s Pool

Curiosity about revealing the human body in unselfconscious moments has long driven my photography and research. My recent work, Devil’s Pool, explores the body out in nature and looks at how the landscape can allow us to exist freely in our physical selves, absorbed in the experience of place. Devil’s Pool, an unsanctioned swimming hole in Philadelphia’s Fairmount Park, magnetically draws people from all over, and this work explores the complex, layered story that unfolds here.

The film photography project, spanning seven years, investigates how people relate to their environment and affirms the human need and impulse to commune with the natural world. The work pictures a diversity of human form, celebrating the body interacting with nature and recognizes traditions that follow both the landscape and bathing throughout art. The photographs highlight the value of access to green spaces within an urban setting, and a sense of discovery and revelry through connecting to nature.

Through photographing at Devil’s Pool, I began to see the landscape, both tamed and wild, as a fundamental force that fosters our potential to be fully present within ourselves and our surroundings.

© Sarah Kaufman.

Imagine we’re going on a photo trip to Devil’s Pool together. What aspects of this unique landscape first captivated your interest, and how has it influenced, as you say, your approach to capturing the human body in nature?

I fell in love with the high rocks and sloping woods around Devil’s Pool, draped with human figures of all shapes and sizes, lounging freely, interacting with the landscape and with each other. It was this broad, idyllic view of the body in nature that drew me in. Knowing that this scene was unfolding within Philadelphia’s city limits made it that much more compelling to me.

© Sarah Kaufman.

What photo essentials do you always bring along? And what gets your creative process going when in nature?

I pack my Rolleiflex twin lens camera, and a flash/mount to soften the sometimes intense shadows in the dappled sunlight, extra film, and I wear sneakers/clothes that I don’t mind wading in. As I hike toward Devil’s Pool the sounds of radio beats and steady splashing make their way up the trails and fill me with a sense of urgency. No matter how many times I have arrived at Devil’s Pool, I am always struck with a sense of awe as the woods opens up into the confluence of creeks, cliffs, sky, and people.

© Sarah Kaufman.

Upon arriving at Devil’s Pool, what’s the first thing you typically do to immerse yourself in the environment and prepare for a day of shooting?

I usually sit down on a rock and just take it all in for a while and maybe have a snack. Slowing down to load film and set up my camera helps me ease into it and then I begin wandering around and talking with people as they hang out and I begin photographing, asking if it’s OK to make pictures as I go. I carry postcards of my work to share and offer an idea of what I am doing. I often exchange email addresses so that I can send people images of themselves. And of course, if someone lets me know that they do not want to be photographed, either through words or body language, I respect that.

If you’ve packed something to eat, what would it be?

Lots of water when it’s hot out! And granola bars.

© Sarah Kaufman.
© Sarah Kaufman.

We see through your photographs that Devil’s Pools attracts diverse groups of people. How do this mix and their interactions with the landscape inspire your photographic storytelling?

I see the experience of being in the woods in the city as an antidote to some of the daily stressors of urban life. I understand the nature, giant rocks, trees, waterfall, and deep green pool, as a force that brings people together, that has called people to the place and to each other, fostering a sense of awe and connection. I see this landscape as equalizing, in a way, bringing about the shared experience of nature pictured in my images.

© Sarah Kaufman.

How has this project shaped your understanding of solitude, community, and the connection between humans and our environment?

I have lived in cities my whole life, Philadelphia, Richmond, VA, and Brooklyn, and have always valued access to parks, community gardens, and other green spaces. But looking so intensely at how people relate to a single location was a new experience that became more and more intoxicating as time went on. My own connection to Devil’s Pool deepened; I am familiar with the shapes of rocks, the dips and turns of the outflowing creek, and the particular way that people tend to relate to each of these natural features. I notice the changes brought by storms, floods, seasons, years, and human touch. My investment in this place has heightened my understanding that people need nature in their lives. I completed the project in fall of 2020 — photographing at Devil’s Pool through the pandemic summer I saw this need made all the more visible and pressing, especially for city dwellers.

What photographers or other visual artists have influenced you as an artist? And as a human being?

I have always loved looking at painting, especially the work on painters who picture what appears to be everyday life, real bodies, messy moments of beauty and vulnerability. A few that come to mind are Philip Pearlstein, Laura Krifka, and Aaron Gilbert. I’ve also always loved Justine Kurland’s photographs from around 2005-2010, living on the road with her small son, exploring the American landscape.

Growing up in Philadelphia, in a neighborhood that suffered from a lot of violence at the time has also affected me. That experience has influenced how I see the Wissahickon Park as providing an alternative world, accessible to city people, directly adjacent to those realities of city life.

© Sarah Kaufman.

This project has evolved over 7 years. How has it changed? And what advice do you have for photographers working on long-term projects?

Spending so many years on this allowed me to pause at certain moments to take stock, reflect, and figure out where to go next with the work. I would stop photographing for a time and look at small prints, seeking out feedback on the images and the arc of the project. About mid-way through I realized that I wanted to make a book. The series had grown and I was beginning to identify different types of images that could weave together in sequence, telling a longer story about this place and its people. Some of the first images I made at Devil’s Pool were of tiny, languid figures, moving across the landscape, highlighting its drama and grandeur. Some of the last were close portraits, focused more on individuals, their experiences at Devil’s Pool, and my interactions in collaboration with them.

© Sarah Kaufman.

What final thoughts or messages do you hope viewers take away from your photography at Devil’s Pool?

The more intense or immediately eye-catching images of jumping and diving often reveal a raw, visceral interaction with the landscape that holds an edge of adrenalin and danger. I am equally interested in the quieter moments of contemplation that happen at Devil’s Pool and the sensory experiences of feeling and listening to the cool water and the rhythmic splashing of jumpers in the background. I also see communion with nature manifest in the images of play and social connection that to me, appear to be fostered by a shared experience of the place. In my photos, the water, rocks, and trees affect how people hold their bodies and interact with each other. I like to imagine the spiritual potential within each of these modes of connecting with the landscape and with each other.

Courtesy of Sarah Kaufman.
Courtesy of Sarah Kaufman.

Vision(ary) | Rob Hammer

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We spoke to artist Rob Hammer about this project, Barber Shops of America, currently on view at the Griffin Museum’s annual public outdoor exhibtion, Vision(ary). An interview with the artist follows.

Rob Hammer is a documentary and commercial photographer from upstate New York. He has lived in many places throughout the USA, including California, Colorado, and currently North Carolina. Throughout his career, he has photographed some of the best athletes on the planet, like Kobe Bryant and Shaquille O’Neal, for clients such as Nike and Adidas. When not on assignment, he devotes his time to long-term documentary projects that focus on niche aspects of American culture, resulting in photography books. Barbershops of America, American Backcourts, and Roadside Meditations are a few notable examples, as well as his current project documenting real working cowboys on historic cattle ranches in the American West. He is also a dedicated fly fisherman, duck hunter, and backcountry snowboarder.

Website: www.robhammerphotography.com

Instagram: @robhammerphoto

All images © Rob Hammer. Courtesy the artist.
Map of Barber Shops photographed.

Project Statement

In the heart of our communities, where the pulse of daily life beats strongest, lies the timeless sanctuary of the neighborhood barbershop—a beautiful but dying piece of American history. This series seeks to document the spirit of these vibrant spaces that serve as more than mere grooming parlors—they are cultural landmarks, social hubs, and intimate storytellers of our collective narrative.

Each barbershop bears the unique imprint of its neighborhood, reflecting the diverse tapestry of the people it welcomes in all corners of our great country. The scent of Barbicide mingles with candid chatter, creating an atmosphere rich with camaraderie and shared experience. Here, individuals from all walks of life come together, bound by the common ritual of grooming, but leave with much more: tales exchanged, wisdom imparted, and bonds forged.

The barbers themselves, skilled artisans and confidants, are custodians of tradition, yet constantly adapt to the evolving styles and desires of their clientele. Through my photographs, I aim to preserve the essence of these barbershops as microcosms of our neighborhoods. Each image is a window into a world where generations converge, where laughter and debates resonate against the backdrop of walls steeped with a patina earned only after decades of faithful service. It is a celebration of the ordinary moments that weave the fabric of our daily lives, elevating the mundane to the extraordinary.

In an era of rapid change, these neighborhood barbershops stand as resilient anchors, embodying a sense of continuity and community. They aren’t merely a place to get a haircut; they are a refuge of authenticity in an increasingly digital world—timeless establishments that can never be replaced or duplicated.

Going into this project, Barber Shops of America, why did you choose to depict your feelings of the dying american spirit through a series of barbershops and not of another american staple?

At first it was probably just sentimental reasons that grew from my appreciation for
old school barbershops. Then the longer the project went on, it became obvious that barbershops
are such an important part of the greater American culture. If you break it down further though,
barbershops aren’t just a place to get your haircut. They are about friendship, human interaction,
and community. How can you replace an institution that grew in and with a neighborhood, town, or
city for decades? The friendships and memories that formed in each one are priceless.

Walk us through your photographic process. Did anything inspire you or impact you to create it? Did you face any challenges?

There are always challenges with a project of this size. A year or so into shooting I decided the project would only be complete if shops were documented in all 50 states of the USA. So thought
had to be given not only to funding travel, but more importantly, to the locations of these traditional
shops that have been in business for 40, 50, 60 years? Most of them don’t have a telephone number,
let alone a website or social media page. It was only through extensive travel (35k miles a year) on
back roads to small towns that I was able to find these places that have become a staple in their
communities.

How did you connect and interact with the different subjects and people in these photographs?

Each place was different. Some barbers were more than happy to spend hours
sharing their whole life story. And others did nothing more than allow me to briefly be in their shop
to take pictures. After 13+ years working on this project it’s incredible to think about the people
I’ve met and what occurred after walking through the shop doors. A number of them took me to
lunch, invited me to dinner in their homes, and in one particularly memorable case, my photograph
of a barber in Kansas was used for his obituary. It’s crazy to count how many barbers mention that
they regularly have 3 generations of families coming in for haircuts. Where else does that happen?

How did these communities that you photographed impact you?

Barbershops are a great equalizer. No matter who you are or how much money
you make, the price and service are the same. Each person is met with a friendly smile as they walk
through the door by a barber they have known their entire lives. To be a fly on the wall for those
interactions is an experience and education like no other. If you were to close your eyes and just
listen, the chatter slowly gives clues to where you are in the world. Stick around and you find out
the intricacies of each community. Candid conversations reveal so much that you’d never know otherwise and that gives you a deeper appreciation for people that live drastically different lives
from your own.

Which barbershop of the photographs in this series do you feel speaks to you the most and why?

Tony’s in Brooklyn has been a working barbershop for over 200 years! It’s a special
place. Of the 1000’s of barbershops I’ve been in, none compare to the feeling that Tony’s offers. The
place is so weathered with age that you might think it’s a movie set. Unfortunately Tony passed
away recently, but he moved here from Italy decades ago, and worked his whole life as a barber
supporting his family. It was sad to hear of Tony’s passing, but I’m grateful to have documented his
time capsule of a shop so his legacy can live on.

What equipment did you use the most during the series?

That’s changed a lot. For a long time I only shot on Nikon, but switched completely
over to Sony about 4 years ago. In the beginning I was actually using strobes to light but noticed
that they ruined the unique feeling each shop offered. After that realization I stripped it back to two
cameras and two lenses. Some combinaton of a wide and a longer lens. In general I think people
obsess too much about the gear. Just go out and shoot. The more you have the more it slows you
down and causes you to overthink everything.

Please tell us the stories behind these three photographs and why you chose to click the shutter at that exact moment.

Ⅰ. McLean’s Barbershop – Hyannis, MA.
The color palette and textures of this shop are awesome. Very little has changed there
since they opened decades ago. I love this photograph because it shows a very quiet
moment between two old friends. It’s so subtle that you might not even notice their
smiles if you look too quickly. It defines the relationship that exists between a barber and
customer(friend) that has sat in his chair once a month for his whole life.


II. Cuts and Bends Barbershop – Oakland, CA
Kenneth is such an interesting guy. He loves to read books, which is why his shop is
literally filled with them. The shop is a direct reflection of him. It’s also a second home.
You’ll never see another shop like his. There is so much happening in there, but you can
also feel his calming presence in this photograph.


Ⅲ. Syndicate Barbershop – Long Beach, CA

Compared to some of the other shops in this series, Syndicate is fairly new, but it’s a 1/1. Incredible shop. This photo was taken during their 20 year anniversary party. So many people from the local community and beyond came out to show their support. Which is a huge testament to the relationships that have grown there over the years. It’s fun to think about places like Syndicate having their 40th, 50th, 60th year anniversary parties

.

Vision(ary) | Susan Lapides’ St. George: Ebb and Flow

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We talked to Susan Lapides about her project Ebb and Flow documenting the Bay of Fundy’s and ecosystem. The project captures the region’s unpredictable tidal changes with great force and beauty, offering a unique look to the lives of the peoples living with the ebb and flow of the tides. Currently on view at our annual public outdoor exhibition, Vision(ary).

Instagram: @susanlapides

Website: www.susanlapides.com

An interview with the artist follows.

All images © Susan Lapides. Courtesy the artist.
Project Statement

St. George: Ebb & Flow is my tribute to the residents of a rural community on the Bay of Fundy, home to the highest tides in the world. I return each summer to this place I love, curious about what’s changed. As a fine art photographer with skills learned as a professional editorial photographer, I was inspired to document this moment in time—especially the transitions in the age-old fishing industries as they rapidly reinvent themselves to keep pace with climate change and global demands. Each year I return with a fresh perspective, seeking to find intimate moments that feel iconic to the maritime experience: the deep connection to the natural world, the rhythm of the tides, and the mesmerizing, shifting beauty. This project evolved to create an in-depth feeling of the human presence in New Brunswick, Canada. Many thanks to the community for opening their doors and sharing their stories.

Please describe your photographic process, your editing process, and what type of gear you carried around with you the most during this project.

“Evening Walk” and  Granite Town are a few of the earliest photographs in this series, captured in 2006 and 2007 using a Mamiya 645 camera. Shortly thereafter, due to the challenges of accessing film and processing in New Brunswick, I transitioned to digital photography. Different 35mm cameras as the technology improves, using a 24-70mm zoom lens, alongside a long zoom lens that remains in my bag 98% of the time.

Due to the constant shift of the tides, the water remains at 50 degrees even in mid-summer, distinguishing this area from typical beach communities. Boating here demands a keen awareness of tides and currents.

What particularly about the maritime environment do you find the most intimate?

The term ‘Maritimes,’ used to describe Canada’s eastern provinces, conjures images of water and nature. The Bay of Fundy, with its expansive skies and mesmerizing play of light and color, never fails to captivate me. The constant movement of its 26-foot tides, ebbing and flowing every 6 hours, reveals the ocean floor and then blankets the beach anew. In St. George, residents deeply appreciate this natural beauty while also respecting its power: the tides are formidable, the currents unpredictable, and the coastal ledges pose hazards.

While working on this project, how did you develop the connection you have now with both the residents of the community and the environment?

St. George, New Brunswick, Canada, is a small town where everyone knows each other, often connected through distant relations. When my family arrived 20 years ago, we were outsiders, but the community welcomed us warmly. Making friends and connections happened organically through the tight-knit community.

How do you think that your work/photos impacted the community and how did it help you grow as an artist? 

This photographic body of work is the result of listening to the community’s stories about the changes they’ve experienced. I aimed to create a lasting document that preserves the collective memory of the people and industries of St. George and New Brunswick. My goal was to produce a document that residents will cherish and share as they pass down their stories to future generations.

I am deeply honored and thrilled that this summer, 2024, John Leroux, manager of collections and exhibitions at Beaverbrook Art Gallery, is exhibiting this work. And in collaboration with Goose Lane Editions, they will be publishing ‘St. George: Ebb &Flow’ this summer.

Out of the photos of this series, which one photo resonates the most with you and your personal experience and why? 

Evening Walk — A front swept through, pushing a bank of clouds across the bay with strong gusts. Peter and our daughter, who was outside playing lacrosse, hurried up onto the point, with Daisy bounding alongside them. I grabbed my Mamiya, but realizing I couldn’t catch up, I stopped in the field above and captured just one frame. Then I stood looking upward watching the storm race onward.

Salmon Factor — Madonna is my nickname for this photo. For this project, I aimed to document the fishing industry, both on the water and in the factories. I particularly cherish the moment captured of the woman laughing on the left side of the frame, perhaps reacting to the photographer’s presence. Another woman, with her head tilted and covered in a green hoodie, appears almost biblical in her contemplation. Deep in thought, she seems unaware of my presence, diligently trimming each fillet as it moves down the conveyor belt.

Floating — For many of us, scuba diving is a recreational sport, but diving to install and repair salmon cages or herring weirs or the underside of ship hulls requires an industry that meets the demands of working divers. It’s inherently risky work. In this photograph, Warrick is taking a moment to relax after removing his tank, weight belt, and mask.

About the artist

Susan Lapides is an American photographic artist renowned for her exploration of community dynamics and sense of place through time-based projects. Through her portraits and landscapes, Lapides delves into social, cultural, and community dynamics. A graduate of Tufts University/School of the Museum of Fine Arts, Lapides embarked on a distinguished career as an editorial photographer on assignment for esteemed publications such as Smithsonian, Life, Time, Forbes, The New York Times, and People. She has received awards from the American Society of Media Photographers and has photographed notable figures including President Barack Obama. After 30 years, she transitioned from a career as a documentary photographer to emerge as a fine art photographer.

Lapides has held solo exhibitions at venues such as Sunbury Shores and Beaverbrook Art Gallery in New Brunswick, Canada, and the Griffin Museum of Photography in Winchester, Massachusetts. Her work has been featured in group exhibitions at Foley Gallery in New York City, the Newport Art Museum, Brand Library and Art Center in Los Angeles, CA, and Oceanside Museum in San Diego, CA. Lapides’ photographs are housed in numerous private and public collections.

Currently residing in Cambridge, Massachusetts, Lapides splits her time between her urban base and the coastal community of St. George, New Brunswick, where she finds inspiration for her ongoing artistic endeavors.

Vision(ary) | Angela Rowlings

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Angela Rowlings (she/her) is a documentary and portrait photographer based in Boston, Mass. and Prince Edward Island, Canada, where she has been documenting the intersection of culture and climate. We had the chance to speak to hear about her career photographing Boston’s diverse cultural festivals. Her project documenting New England’s first all-female mariachi band is on view at the Griffin’s annual outdoor exhibition, Vision(ary).

Website: https://angelarowlings.photoshelter.com/index

Instagram: https://www.instagram.com/angelarowlings

About her project

Veronica Robles is a mariachi singer, musician, and folkloric dancer who co-founded and directs the Veronica Robles Cultural Center (VROCC), a space dedicated to programming for arts and culture for Boston’s Latino community while also welcoming residents of all backgrounds. Veronica, who has performed mariachi music since she was a teen in Mexico City, realized her dream of starting New England’s first all-female mariachi band. She balances her community work at VROCC with an increasing number of mariachi performances. Veronica says her work honors the memory of her daughter, Kithzia, who passed away as a teen.

While documenting many events around Boston for more than 20 years, I have witnessed Veronica showing up for the community consistently and enthusiastically in many ways. Through the arts, she has helped to foster a sense of cultural pride in Boston’s youth with Latin American heritage. She exudes warmth and acts as a bridge between these cultures and the broader Boston community by organizing events such as her annual Día de los Muertos (Day of the Dead) celebration and offering dance, music, entrepreneurship, and leadership classes. Her love of community shown via music and dance mirrors my own that’s expressed photographically.

Running a successful cultural center while simultaneously leading an all-women mariachi band with a full calendar of events is no easy feat. My photos are meant to pay tribute to Veronica’s contributions and offer inspiration to others, particularly women, who are trying to juggle all that life brings us.

Veronica Robles, center, and members of her all-female mariachi band help each other get ready to perform during the VIP recepion for Immersive Frida Kahlo in Boston on February 9, 2022.
What inspired you to create this project, and how do you personally connect to your work? What do you hope to get out of it? 

I met Veronica Robles long ago while working on a different project. After photographing many of her organization’s events over the years, I thought, why haven’t I done a project about Veronica herself? She’s amazing and gives so much to various communities in and around Boston. She saw a need for cultural education and decided to fill it. VROCC offers dance and music classes for youth, but they’ve expanded to offer various types of business and cultural workshops for adults as well. Meanwhile, Veronica also founded an all-female mariachi band made up of women from different cultures. One of my favorite things about being a photographer is meeting incredible people and learning new things while documenting their lives.

Veronica Robles performs with her all-female mariachi band during the VIP recepion for Immersive Frida Kahlo in Boston on February 9, 2022.
Do you believe this project helped you grow as an artist and how?

As an independent photojournalist, you have the liberty to photograph the way you want, in theory. However, there are paid assignments, editing, research for other projects, grant writing, and life to juggle at the same time. Sometimes you can’t photograph a part of the story due to scheduling conflicts, so you must seek alternative ways to tell the story. It’s taught me to check in frequently with the people I’m photographing. The best way to cover a story is by showing up and talking with people face to face. People open up so much more when you’re present.

What photographic and editing process did you go about using? What type of gear do you bring most often with you during these series?

I photograph with one DSLR and one mirrorless camera and two or three lenses. To me, the gear is less important than paying attention to light and anticipating moments. My background working at newspapers forced me to photograph in all types of light. Sometimes key moments happen in the worst light and you must find a way to make something beautiful in tough situations. When editing, I select images that both advance the narrative and help the collective piece flow. Sometimes it’s necessary to eliminate a favorite photo because it’s repetitive or has a similar feel to another.

An altar honoring loved ones, including Kithzia López-Robles, daughter of Veronica Robles, is a part of the Día de los Muertos celebration at the Veronica Robles Cultural Center on October 30, 2021 in East Boston, Massachusetts. Robles has dedicated her community work in memory of her daughter.
How do you think or hope these photographs will impact its viewers?

Veronica is someone who has faced challenges as many people do, yet she is constantly inventing opportunities for herself and the community around her. She pushes herself creatively and professionally and encourages others to grow. Although her focus is on programming, education, and events in the Latinx community, she brings her music and dance to everyone and offers a welcoming environment for people of all backgrounds. Hopefully viewers get a glimpse of her life and will be inspired by her creativity and generosity of participation in Boston and surrounding areas.

Veronica Robles, left, and members of her all-female mariachi band return to their dressing room after performing in the VIP recepion for Immersive Frida Kahlo in Boston on February 9, 2022.
How do you go about interacting and connecting to your subject? 

I’ve known Veronica for most of my career, so we already had a friendly connection prior to this project. Coming from a background covering news, I prefer when people don’t pay attention to me or my cameras as I work, since my goal is to capture authentic scenes. During longer projects, there is often downtime between photographing moments. I use this time to ask questions or chat with people I’m photographing to get to know them and have them get to know me a bit.

Which three photographs of this series personally speak the most volume to you as the photographer?

My favorite photo is of Veronica singing during the Día de los Muertos event as a man hugs his son. The man had recently lost his father and embraced the child in a touching moment. Veronica dancing through the streets of East Boston with the children captures her relationship with the community. And the photo of Veronica facing the clouds shows a dreamer at work. Veronica is always pushing herself out of her comfort zone, trying new things, and uplifting others.

Vision(ary) | Sandy Hill: American Lawn Decor

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Posted on June 24, 2024 (Edit)

Sandy Hill‘s charming portrayal of quirky and sometimes surreal world of yard decorations across New England and New York are not simply a light-hearted invitation to see yards as canvases for personal and cultural expression. As the artist notes, they are also windows into the lives of those who create them.

We had the opportunity to talk to the artist about her project, American Lawn Decor, currenly on view in our exhibition Vision(ary), on view through Septemver 15, 2024.

Sandy Hill grew up in a small town in Northeastern Ohio. The natural beauty as well as the rustic farms in the area provided the inspiration for her interest in photography. In fact, her first newspaper cover was taken at one of these farms and later a significant photography project revolved around an old family farm in upstate New York while she studied Documentary Photography at RIT.

Hill was a photographer for several daily newspapers and a wire service in the greater Boston area. She was also a public relations photographer for the University of Rochester. She had a solo exhibit in winter of 2021/2022 at The Griffin Museum of Photography called “The Gift”.

Her work has been included in multiple juried exhibits including several by the Griffin Museum and The Curated Fridge. The South X Southeast Gallery, The Southeast Center for Photography, Lenscratch, RIT Honor Show, and The Center for Fine Art Photography have also included her photographs in exhibits.

Her current work in portraiture has grown out of her interest in illustrating the stories of different people and learning about different cultures as well as a curiosity about others.

Website: https://sandyhillphoto.com/work

Instagram: @sandy_hill_photography

American Lawn Decor

After a tumultuous year filled with isolation and conflict I decided to search for the innocence and optimism that I’ve always associated with our country, even as we hold different views, beliefs or backgrounds. I found signs of this in the joy of yards adorned with unique decorations. The many different perspectives on what constitutes beauty or humor continue to intrigue and draw me to a door to find out who lives or works there. Rarely have the residents turned down my request for a quick portrait, and they stand with dignity and pride, humor or mystery, near a fictional world created for us to enjoy.

My intention was to avoid judgment. Rather I felt the need to search for a connection to people who share my country, and regardless of beliefs, views or background chose to celebrate life during a pandemic and beyond.

I continue to work on this project and I hope to extend the area I cover beyond the New England and New York regions.

This work was inspired by a desire to renew my own hopes and optimism for our country by looking beyond the headlines and finding a positive commonality. It is also my hope that these photographs can perhaps help us realize that we can find connections even during times that seem to be driving us apart.

We can find ways to appreciate one another even if it’s something as simple as a lawn decoration.

What inspired you to create this project, and how do you personally connect to your work? What you hope to get out of it and grow as an artist. 

I was inspired to start these portraits during Covid as a way to step away from social media and television’s perspective of our population, and to connect with people (while masking and safely distancing). It gradually morphed into a project about finding something positive to focus on in others instead of differences and flaws. I hoped to regain some optimism for our country and humanity. I grew to recognize that we need to find ways to get past differences and headlines and find ways to connect to others even as they hold different opinions and backgrounds.


What type of camera and gear do you bring most often with you during these series? 

My Nikon usually, or sometimes a little Olympus I keep with me for spontaneous shots

How do you think or hope these photographs will impact its viewers?

Ideally, I really hope they help viewers to step away from the hate, anger and judgement so prevalent in our times, and recognize the joy of humanity in others. I feel it is so important for our country to figure out how to overcome the divisiveness and remember how to talk to one another with respect, and maybe a start would be appreciating something as simple as creativity with lawn decor. This is also just a small attempt to celebrate something light and fun during dark times.

Which three photographs of this series personally speak the most volume to you as the photographer and what in your mind makes a good photograph?

I think what defines a photograph that I feel good about taking includes something beyond just the surface appeal. It can vary widely from news images to street photography, fine art and documentary. Ultimately I know it when I see it or feel an emotional response to it.

1. The woman by the fence:

2. The man with the Statue of Liberty because of the uniqueness of the decor and his obvious pride:

3. The woman with the flamingos was very kind to let me photograph her. She’d recently suffered a terrible loss and the flamingos were connected to that. So that image speaks to me of loss, love and strength during hard times. It is what I consider the strongest image because of the resilience and love I see in it. I feel it speaks to the times and what we need now more than ever

Vision(ary): Cheryl Clegg: The Endangered Lobstermen

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We had the pleasure of speaking to Vision(ary) artist, Cheryl Clegg about her adventures photographing lobster fishermen along the coasts of Maine.

Cheryl Clegg graduated with a BFA from the Rochester Institute of Technology and chose Boston to start her photography career. During Cheryl’s time in the Boston area she has maintained a commercial photography studio for over 30 years, and has continued to pursue personal projects. Cheryl’s work has appeared in newspapers, annual reports, magazines, billboards, and catalogs. Cheryl’s personal work has been included in many juried group exhibitions including ASmith Gallery, Vermont Center for Photography, Davis Orton Gallery, Texas Photo Society, SE Center for Photography, Praxis Photo Arts Center. Solo exhibitions have included Schoodic Arts for All (Maine), The Wotiz Gallery & Newton Library (Mass.). Cheryl resides in Newton, MA & Corea, Maine with her husband & 5 kids.

Website: www.cleggphoto.com
Follow Cheryl Clegg on Instagram: @cherylcleggphoto

The Endangered Lobstermen

The Endangered Lobstermen is a series of portraits depicting the men, women, and children who lobster fish off the coast of Maine. They face the risk of losing their livelihood and way of life due to changes and challenges in the lobster industry. Each lobster boat operates as an individual business, with fishers self-employed and navigating these challenges while grappling with the uncertainty of lobstering’s future profitability. This ongoing series documents the families in Maine’s lobstering villages, showcasing the human side of the industry amidst new regulations and the impacts of climate change.

Let’s start talking about the intersection of photography and preserving family legacy. How do you feel about being a photographer documenting a long line of lobster fishermen? And what aspects of this generational connection do you find most compelling to document?

Cheryl Clegg: My immediate thought is, as photographers isn’t that what we do? Preserve family legacies? Give it our own family or if we are taking family portraits for others we are preserving a moment in time and documenting the family for future generations. I love seeing all of the generations together and to hear the stories. One long timefishermen’s comments: “I was six years old baiting bait bags for my grandfather right here in Wonsqueak Harbor.”  To give you an idea as to how large Wonsqueak Harbor is- if you blink while driving out of Schoodic National Park, you have missed it. The fact that the lobstering tradition and way of life  is passed down from generation to generation is unique in our society today.  In some of the families I have met, lobstering goes as far back as 7 or 8 generations.  I think this is unique in today’s society.

Guide us through your photographic process. How do you interact with your subjects when preparing a photoshoot? And how do you portray the sense of kinship and camaraderie among these individuals?

CC: My feeling is that every person or group of people are different and in most cases I have a very short time to connect with people. I tend to work fast, as people are busy and don’t have much time (or attention span) to be in front of the camera.  When you get a group of people together that know each other, they fall into place.  My hope is that their familial relationships with each other will come through visually.

Thinking about the loss of the photograph as an object and your project being about conservation and resilience, do you think it’s important to give these pictures to the people you photograph as a token of family history and preservation?

CC: Yes, I do think it is important for the families to have these pictures for their own personal family archives.  I hope that the files I have given them are printed and hanging in their homes.

You mention in your statement that “the Maine lobster industry is facing a multitude of challenges.” Which ones do you sense are the most pressing for these communities at the moment?

CC: The challenges the lobstermen face, be it off shore wind (which takes up ocean space & potentially affect the natural aqua culture), climate change or regulations to protect the endangered right whale are immediate and ongoing.  New regulations and closures are not just in the distant future, just last week there was an increase to the size of catchable lobsters.

How has photographing these communities impacted you personally? Have there been any moments or stories that particularly resonated with you during your project?

CC: I think each story that I hear is impactful. The families are tight knit and lobstering is a way of life, starting at a very young age. One of the most heart wrenching stories I have heard was a young father who said, “This small fishing town has given me opportunities in my life that I never thought I would have. When I found out I was going to be a father, this town helped me to overcome addiction of prescription pain killers. Lobster fishing has given me the opportunity to provide for myself, my two children, my stepson and it has allowed me to become a foster parent to my nephew.
Without the lobster industry there are no other options for me to provide for my family in the community or the surrounding communities.”

As you photograph these communities throughout the years, have you already started to notice the impacts of climate change through your interactions with these people and with the environment?

CC: Yes. I have seen the impact of the tidal surges. This past January, the astronomical high tides caused severe damage.  Fishermen’s warfs (where their lobster traps are stored and where they work on gear) and work shacks washed out to sea all along the coast. Many are rebuilding, but many are not, changing how they work or for some changing how they make a living.

What have been the biggest challenges throughout the execution of this project?

CC: I’d say one of my biggest challenges is making sure I have the correct information and creating awareness for the industry outside of the state of Maine.

If you don’t mind us asking, how do you handle seasickness?

CC:  I have gone out to haul quite a few times but have never acquired my “sea legs.”  I do pay the price for being on the boat, that is for sure. My trick for these photos….most are shot on shore or close to shore.

John Chervinsky Emerging Artist Scholarship Award | Bridget Jourgensen

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The Griffin Museum of Photography is thrilled to announce the winner of the 2024 John Chervinsky Emerging Photographer Scholarship, Bridget Jourgensen. Her series Homeshadows captivated this year’s jury to earn her a monetary award, an upcoming exhibition and artist talk at the Griffin Museum as well as a volume from the collection of photographer John Chervinsky.

Over 281 photographers submitted applications to be considered for the scholarship this year. The jurors, Arlette and Gus Kayafas, Frazier King and Bruce Myren have selected Bridget Jourgensen as the 2024 recipient of the John Chervinsky Emerging Photographer Scholarship.

Wrist
Light Switch
Fan

The exhibition of Homeshadows will be December 11, 2024 – January 5, 2025. We will announce programs and artist reception later this fall.

Homeshadows is a study of solitude.  Over the course of a year and at the height of the pandemic in 2020, I found myself in a new home and very much alone on a day-to-day basis.   As an introvert and sometimes anxious person, it was a bit of a dream come true.  But while I wasn’t exactly lonely, I was yearning to use my time creatively and feel connected to something while the world outside raged.    I began to document the light and shadows that streamed through the windows of my house.  Everything in my home was new to me, and I had the pleasure of watching the seasons unfold from the inside.  I sometimes put myself in the images to round out the developing narrative.  I worked to capture light and manage composition with great attention to mood and detail in order to convey the sense of solitude, beauty, and mystery that I was experiencing during this period of time.  Although I had been taking photographs for many years, this was my first intentional series and attempt at cohesive storytelling through images.

About Bridget Jourgensen: 

My love of photography began as a young girl leafing through my mother’s Vogue magazines and feeling enthralled by the lush images within. As a pre-teen I made images of my family with a Kodak Instamatic 100, and documented the mundane details of my day-to-day life. It seemed that everything looked more glamorous printed on 4×4 squares, accompanied by strips of eerie negatives. I was hooked.

As an adult photographing a world which is increasingly complex, my lens seeks out simple, quiet subjects that are familiar yet presented in a distinctive way. Influenced by the work of Vivian Maier, Gordon Parks, and Sally Mann, I’m drawn to photographing people in the world around me. Whether that world is within my own four walls or a country I’ve never stepped foot in, my desire to observe others is the foundation for a great deal of my work. By sharing my images, I hope to spark human connections and emphasize our commonality through a moment captured in time.

About the John Chervinsky Emerging Photographer Scholarship

Photographer John Chervinsky, whose work explored the concept of time, passed away in December of 2015, following a typically resolute battle with pancreatic cancer. The modesty and unassuming character John conveyed in life belies the extent to which he is missed, not only by his family and friends, but also by the entire photographic community of which he was so proud to be a part. The John Chervinsky Emerging Photographer Scholarship was announced in June 2016 to recognize, encourage and reward photographers with the potential to create a body of work and sustain solo exhibitions. Awarded annually, the Scholarship provides recipients with a monetary award, an exhibition of their work at the Griffin Museum of Photography, and a volume from John’s personal library of photography books. The Scholarship seeks to provide a watershed moment in the professional lives of emerging photographers, providing them with the support and encouragement necessary to develop, articulate and grow their own vision for photography.

We extend our gratitude and thanks to our jurors for their work in reviewing submissions and selecting our winner, and thank you to the artists who submitted their work for consideration.

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