Shows Archive

Home Views

Posted on August 7, 2021

The overarching idea behind this exhibition revolves around a very broad interpretation of “home” through the eyes of eleven photographers in ten solo exhibitions and one video.

Joy Bush – Places I Never Lived in the Main Gallery
Bush Statement
Bush Bio
View Joy Bush’s website

Anton Gautama – Selections from Home Sweet Home in the Main Gallery
Gautama Statement
Gautama Bio
Celina Lunsford Essay

Judi Iranyi – Mantel in the Founders Gallery
Iranyi Statement
Iranyi Bio
View Judi Iranyi’s website

Charles Mintz – Lustron Stories video
Mintz Statement
Mintz Bio
View Charles Mintz’s website

Colleen Mullins – The Bone of Her Nose in the Atelier Gallery
Mullins Bio
Mullins Statement
View Colleen Mullins’ website

Roberta Neidigh – Property Line in the Main Gallery
Neidigh Statement
Neidigh Bio
Neidigh CV
View Roberta Neidigh’s website

Jane Szabo – Somewhere Else in the Main Gallery
Szabo Statement
Szabo Bio
View Jane Szabo’s website

Brandy Trigueros – There’s No Other Like Your Mother in the Griffin Gallery
Trigueros Statement
Trigueros Bio
View Brandy Trigueros’ website

Kathleen Tunnell Handel – Where the Heart Is: Portraits from Vernacular American Trailer and Mobile Home Parks in the Main Gallery
Tunnell Handel Bio and Statement
View Kathleen Tunnell Handel’s website
Curator’s Essay
Catalog available for $24.95

Ira Wagner – Twinhouses of the Great Northeast in the Main Gallery
Wagner Bio and Statement
View Ira Wagner’s website

Melanie Walker – Wanderlust in the Atelier Gallery
Walker Statement
Walker Bio
View Melanie Walker’s website

The Women’s Postcard Project: I’m Speaking

Posted on August 4, 2021

This outdoor exhibition at the Griffin Museum of Photography is placed on two large banners outside on the museum’s building. One is on the Winchester Rotary Terrace wall and one is outside on the back wall of the museum overlooking Judkin’s Pond. The museum’s back wall can be seen from across the pond on opposing shores. This exhibition is drawn from over 1300 postcards – from women and girls ranging in age from 6 to 99 years old, all received by the artist, Joan Lobis Brown who conceived and executed this project.

As Joan Lobis Brown states, “These women have drawn, collaged and written heartfelt, inspiring, humorous and poignant responses.

Originally this project was created to celebrate 2020 the 100th anniversary of the passage of the 19th amendment giving women the right to vote. The goal was to give as many women as possible a voice, with the hope that a collective wisdom would inspire other women.

Due to the pandemic, many celebrations including exhibitions of this project were indefinitely postponed or cancelled in their entirety.

However, our Vice President elect, Kamala Harris’s words during the vice-presidential debate, “I’m Speaking” give the project a new, meaningful, far-reaching and momentous focus. In fact, “I’m Speaking” is the new sub-title of this project.

We are aiming for 1,500 plus postcards, but there is no limit! To date, we have over 1300 postcards from girls and women in 49 states. As the pandemic dissipates, we will again reach out to women and girls from all over the United States.

There are 12 variations of the postcard, so each postcard is important for the construction of the presentation.

There are 6 different shades of pink – and 12 different postcards (with the position of the image either on the left or right).

The mosaic formed by the different colors, image placement, different handwriting, drawing and ink color, represent the diversity and individuality of each woman. The entire wall when seen from a distance represents the strength, wisdom and beauty of women in general.

Women and girls are invited to participate – to write, draw or collage – on the pink blank part of the postcard – something they would tell their younger selves. Something she wished she had known as a younger woman.

The postcards are anonymous. Each woman is asked to sign only with her initials and age. Some women choose to write their full names. An analysis of the answers by age group is ongoing.” – JLB

This exhibition is presented to the public by the Winchester Cultural District and the Griffin Museum of Photography.

See more on Joan Lobis Brown’s web page.

The Women’s Project on Joan Lobis Brown’s website

Photography Atelier 34

Posted on July 26, 2021

Photography Atelier is a 12-session portfolio and project building course for emerging to advanced photographers offered through the Griffin Museum of Photography. Now in its 25th year, the Atelier class 34 was led by photographer Molly Lamb.

Exhibiting photographers of Photography Atelier 34 are:

Lora Brody Sisters

My hand-made Ziatype photographic images explore relationships between sisters, opening a window into their personal narratives.

Joy Bush Places I Never Lived

While photographing the facades of houses in a sleuth-like fashion, I fantasize about who lives there and what life is like on the inside. It is about imagining my life, and who I would be, in a different place.

Marcy Cohen The Birds, the Sky and the Sea

This series is about escaping the loneliness and horror of the pandemic through an enhanced connection with the natural world. The subject matter birds, the sky and the sea are metaphors for a world beyond everyday concern and are intended to provoke positive emotions during dark times.

David Comora The Space Between is both stimulus and response – a space to
experience the world anew.

Kathy DeCarlo-Plano Quiet

Images that find the tranquility, quietness and peace that is to be found in the world.

Miren Etcheverry My Father’s Story

This project is about my father’s story. In 1940, when he was 15 years old, he escaped German occupied France to join General de Gaulle’s Free French forces.

Eric Frere Color at the End of the Tunnel is a series of images taken at Maverick T Station over the pandemic during the winter and spring. It captures the transition from a sense of despair to a glimmer of hope.

Cassandra Goldwater Surface Tensions

Goldwater’s project explores surfaces as boundaries.

Deborah Kaplan Syllabary for a Natural World

It has been said that if we do not have a word for something, it is unacknowledged, hard to bring into consciousness as an actual thing in the world. This series, Syllabary for a Natural World, reaches back to prehistoric expressions of mark making to explore the innate complexity and language of the natural world, to restart a process of abstraction and understanding.

Matthew Kaufman Barren Riches

My images focus on the beauty inherent in the variety of un-adorned structure of trees and the relation of trees to their surroundings.

Carole LoConte Tedesco – They Existed

This project arose out of my lifelong interest in the visual language of death, having grown up around colonial New England cemeteries and the powerful imagery carved on gravestones. I photograph them as a way of honoring those lives and remembering, even in a small way, the people who lived them.

Rebecca Loy Reflections

This series uses flowers to represent our humanity and how we seek to come to terms with our reflections, both inside and out.

Maureen McKeon Passing Through is a contemplation of transition, impermanence, and remembrance as I enter the final stage of my life.

Camille Neville In ‘Musings’ I used my love of music and my own experiences as a musician to help spark creativity in my photography.

Hope Pashos – Ordered Chaos

Long exposure photography takes many moments of chaos and synthesizes them into one, singular, moment of order. Each is a series of movements captured as one frozen split second, never to be captured the same way again.

Anne Piessens Origin Stories

These handmade collage images interpret fragments of my family ancestry, as experienced by girls and women.

Anne Smith Duncan Are You Listening? Do You See Me?

Research indicates that trees communicate with each other through scent, vibrations, and underground symbiotic networks. Their “wood-wide-web” mimics our human neural and social networks.

Mike Slurzberg Greenscapes looks at green energy devices, and considers their influence on the world we see.

Lynne Stuart Lamson Reflecting on Water explores the rippled reflections on the water and the intricate designs within the water’s surface in an effort to be present in the moment, to gain new perspectives, and to wonder.

Aimee Towey-Landry Wandering Along the Horizon is an exploration of constructed color, light, and shadow evoking sculptural qualities and movement.

Maria A. Verrier Can’t You Hear Me

A buried voice comes alive in the making of these images, piecing together subconscious rumblings. Like a dream, the succession of images attempts to reconstruct the ideas, emotions, and sensations of a seventeen-year-old’s chaos.

Andrew Wang Always an Outsider is a visual exploration of how the feeling of racism has become a pervasive thought in my life.

Jeanne Widmer The Longing of Silence

With this series, I am exploring some of the feelings of the pandemic: hemmed in with no end in sight, longing for family, for one on one contact with friends, for freedom from fear, and for ways I could comfort the many children and teenagers struggling and losing so much during those long days.

Photography Atelier Website

Dylan Everett

Posted on July 14, 2021

Statement
The preface to Oscar Wilde’s The Picture of Dorian Gray is a series of aphorisms about art and beauty, including the declaration that “all art is at once surface and symbol.” If all art is at once surface and symbol, I create symbolic surfaces. Through the use of photo-collage, still life, and re-photography, my pictures collapse figure and ground into surface. Drawing from a range of references – my personal life, literature, art, pop culture – and cultural signifiers, these surfaces are loaded with symbols. The viewer is invited to decode these symbols, or at least to try. The symbols in my images often function as homages to the people and things that I love or admire: LGBTQ-identified creative figures, gay icons, and personal relationships. In one instance, this manifests as a room constructed of cyanotypes inspired by John Dugdale; in another, a grisaille room winks to George Platt Lynes’ black-and-white male nudes that remained hidden until after his death; rose wallpaper hints at the titular setting of James Baldwin’s Giovanni’s Room. This series of homages is held together by an aesthetic that strips away any sense of hierarchy among cultural signifiers. In my fabricated spaces, there is no distinction between highbrow and lowbrow, personal or famous, historical or contemporary. The resulting photographs are layered, symbolic works that simultaneously speak to contemporary art and culture, while questioning classic ideas of taste, sensuality, and beauty.

Bio
Dylan Everett (b. 1994 in New Jersey) is an artist/photographer working with still life and photo collage. He received an MFA in Photography from the Rhode Island School of Design in 2019, and a BA in Visual Art from Brown University in 2016. In 2020 he was a recipient of the West Collection LIFTS Grant and Acquisition Award; he was previously awarded the Digital Silver Imaging Portfolio Prize in 2018, and was named second place for the 2019 Lenscratch Student Prize.

Dylan Everett is a recent finalist for the John Chervinsky Scholarship 2020.

CV
Education
2019 MFA, Photography, Rhode Island School of Design, Providence, RI

2016 BA, Visual Art, Brown University, Providence, RI

Exhibitions
2021 Photography is Dead – Candela Gallery, Richmond, VA

2020 Fear Environmental Mayhem Ahead – The Icebox Project Space, Philadelphia, PA

2019 The Curated Fridge Autumn 2019 Show – The Curated Fridge, Somerville, MA

In Close Range – ClampArt, New York, NY

Graduate Thesis Exhibition – Rhode Island Convention Center, Providence, RI

2018 New Photography – Sol Koffler Gallery, Providence, RI

2017 Photography Triennial – Woods Gerry Gallery, Providence, RI

2016 2nd PULP Showcase – FotoFilmic, Bowen Island, BC, Canada

Vanitas – LoosenArt LAB-A, Cagliari, Italy

Performing Decay – The Open Aperture Gallery, Newport, RI

Spring Arts Festival – Granoff Center for the Creative Arts, Providence, RI

36th Annual Juried Student Exhibition – David Winton Bell Gallery, Providence, RI

2015 Accretion/Avulsion (solo) – Granoff Center for the Creative Arts, Providence, RI

35th Annual Juried Student Exhibition – David Winton Bell Gallery, Providence, RI

2013 Rising Waters 2.0: More Photographs of Sandy – Museum of the City of New York, NY

Grants/Awards
2020 LIFTS Grant and Acquisition Award – West Collection

2019 Lenscratch Student Prize, Second Place

2018 DSI Portfolio Award – Digital Silver Imaging

Graduate Student Project Grant – Rhode Island School of Design

Graduate Fellowship – Rhode Island School of Design

2017 Graduate Fellowship – Rhode Island School of Design

2016 Seventh Annual Manifest Prize Semi-Finalist – Manifest Gallery

Minnie Helen Hicks Award for Excellence in Visual Arts – Brown University

Round 4 Juried Showcase Winner – ArtSlant

Acquisition Award Shortlist – The Annex Collection

Marlene Malik Award – Brown University

Julie Sloane Memorial Fund Award – Brown University

Creative Arts Council Grant – Brown University

2015 Creative Arts Council Grant – Brown University

Publications and Press
2021 Photography is Dead, Candela Gallery

“LIFTS Recipient: Dylan Everett,” West Collection

“Portfolio Feature: Dylan Everett,” Float Magazine

“Dylan Everett,” Yolanda Josef Projects

2019 “2019 Lenscratch Student Prize: Second Place,” Lenscratch

2018 Manifest Exhibition Annual, Season 13 – Manifest Gallery, v.1 – Rhode Island School of Design

View Dylan Everett’s Website

Hard Breath Volume 2

Posted on July 6, 2021

Project Statement
At the height of the AIDS epidemic experimental drug treatments lead to the invention of modern antiretroviral medications that keep the virus suppressed, but these drugs would have never become available had there not been individuals willing to receive them on an experimental basis. This body of work titled Hard Breath Volume 2 is the second iteration in a series of works exploring the body as artifact and its preservation. In January of 2019 I enrolled as a volunteer in a year-long experimental drug study aimed at treating and suppressing the HIV virus in a way not yet attempted by medical researchers using broadly neutralizing antibodies. During the study I received multiple day-long infusions of two new experimental HIV drugs over several months. To create a record of this process I gave a Polaroid camera to nurses and visitors and asked them to take pictures of me since I was not capable of making a portrait of myself on my own. When I was capable of making photographs on my own during the process I captured my surroundings – hallways, clocks, vials of blood, and the people who helped and supported me. The original polaroid photographs are kept in a red research binder along with thorough original documentation including blood work indicating the detectability of HIV in my body.

Participating in this study and the construction of this photographic record is about making a contribution to the future of HIV treatment – to make it easier for others and perhaps unnecessary one day. This work took on a greater urgency for me in the current wake of the COVID-19 pandemic where the search for a vaccination is at the forefront of medical research. The importance of volunteers willing to put their bodies and livelihoods on the line for the benefit of their fellow humans cannot be ignored. I believe I wouldn’t be alive if there weren’t similarly minded people to develop and test the antiretroviral drugs we have today that keep me alive, and I wish there was more of a record of those who give the gift of their bodies and their stories so that others may hold onto theirs. These photographs are, for me, a small push forward in that direction.

Bio
Logan Bellew is a photographer and installation-focused artist based between Brooklyn, New York and Nicosia, Cyprus. The practice of conserving artifacts, stories, and histories form the conceptual core of his work and uses investigative ideologies and autobiographical experiences to develop the deep personal narrative that concerns his work to this day. He is also an active volunteer with the AIDS Solidarity Movement of Cyprus where he was a representative for AIDS Action Europe and helps facilitate island-wide HIV education, public speaking, testing, and outreach campaigns. Logan is currently working to document the experience of volunteering in medical research before and in the wake of the COVID-19 Pandemic.

Logan earned an MFA in photography from the University of New Mexico and currently teaches at the State University of New York in New Paltz and Arizona State University. His photographs, videos, and installations are exhibited and published internationally including the International Association of Photography and Theory in Cyprus, Primal Sight – a contemporary survey of black and white photography – and the Museum of Modern Art’s artist book collection among others. He is one of the first international recipients of a residency with the Visual Artist’s Association of Cyprus.

Logan Bellew is a recent finalist for the John Chervinsky Scholarship 2020.

View Logan Bellew’s website.

Coal Country

Posted on June 22, 2021

About Jon Chase –

I have been a staff photographer at Harvard University for the past 27 years. I got my start in photography by taking a six-week introductory course at Rochester Institute of Technology in 1973. Following that, I came to the Boston area and moved to Newton Corner, where I

began to photograph my neighbors in an old apartment building. This led to my obtaining a grant from the Mass. Foundation for the Humanities to produce a book of photos and interviews with people on all sides of what became a city-wide controversy when a developer bought the property. In 1987, The Fight for Newton Corner was published and distributed free of charge to every town and city planner in Massachusetts.

I subsequently moved to Cambridge and worked for several newspapers as well as Associated Press in Boston. In Cambridge I again photographed my neighbors, this time in a residential hospice on my block over a period of two years. Other projects include prison inmates at the Billerica House of Correction, coal miners and local people in Appalachia, and orphanages and flood victims in China. I have always felt an affinity for people living outside the mainstream, and that has been the focus of almost all my personal work.

I am a strong believer in combining words with photos, both to provide historical context and to add anecdotal information that personalizes the images. I have done that with my photographs of coal miners, which are mostly portraits, but which also document a specific time in the history, often violent, of coal mining in those areas of Kentucky, Virginia, and West Virginia known as Coal Country.

I live in Acton with my wife Louisa, with my adult daughter Maya living nearby. – JC

Statement
See photograph descriptions.

View Jon Chase’s website

Life Narrated by Nature

Posted on June 22, 2021

Statement
What if we were able to let go of our egos, to believe we are one small part of the natural world, taking what we need instead of all we can get, giving all we can so all the other species of flora and fauna on this precious Earth can live, too? I walk in the shade of trees, in meadows and alongside streams and on mountaintops, listening to birds and insects and coyotes and the wind and sometimes silence, smelling green, dirt, rocks, the ocean, the deer that bedded down in the leaves the night before, feeling the sun and snow — and I feel happy and so lucky to be here. This is how I survive the news of the day. It’s what I need, and what we all really need in our lonely, disconnected souls: to open our arms to the Earth’s wonders, to wrap our hearts around the solace it offers, to tread gingerly, paying attention, with gratitude.

Photographs in this exhibit include work from the projects “Liable to Disappear” and “We are everything, we are nothing,” and are printed by the artist with archival pigment on gampi with gold leaf and gold/palladium leaf.

About Rhonda Lashley Lopez –
Rhonda Lashley Lopez began printing with platinum/palladium and gold leaf in 2009 and since that time has experimented with a multitude of papers and ways of printing that help convey her messages based on a life narrated by nature.

She began working seriously in photography while earning a master’s degree, specializing in photojournalism, at UT Austin. Back then, she shot with film and printed in the darkroom. She worked in newspapers, as photographer, writer and editor, and completed a documentary photo book, Don’t Make Me Go to Town: Ranchwomen of the Texas Hill Country, published by UT Press in 2011. She taught journalism and photojournalism in college settings and worked as an editor at Austin Monthly.

After the publication of the book, which coincided with personal joys and tragedies and a move to a tiny town in the Rocky Mountains, she decided to pursue a different kind of photography, something more expressive and personal. In that quiet space, surrounded by trees and mountains, she was able to give voice, through photography, to her experiences.

A book of Lashley Lopez’ work is being published this year by Datz Press in an edition of 100 handmade books, with a special edition of 20 to follow.

Exhibits and Honors
Upcoming: Monograph to be published by Datz Press in September 2021

Upcoming: Griffin Museum of Photography, solo exhibit, September – October 2021

Publication of photos from “Liable to Disappear” by Emergence Magazine, accompanying articles by Terry Tempest Williams and Lucy Jones – 2020

Datz Museum, Seoul, South Korea: “Philosopher’s Stone,” four-person exhibit, through August 2020

Truth and Beauty Gallery, Vancouver, online gallery solo exhibit, March – April 2020

Center for Creative Photography “Qualities of Light” exhibition and inclusion in permanent collection, Dec. 2019 – May 2020

Photography at Oregon, Eugene, two-person exhibit, Dec. 2019 – Jan. 2020

Center for Photographic Art, Carmel, International Juried Exhibition, Nov. 2019 – Jan. 2020

Work selected for Diffusion X photography publication, 2020

IPA International Photo Awards, honorable mention in professional categories: fine art, nature and editorial-environmental, 2019

Shortlisted for Hariban Award, International Collotype Competition, 2019

Artist’s books on exhibit at Griffin Museum of Photography in Winchester, Mass., 2019

13th Julia Margaret Cameron Award for Women Photographers, honorable mentions for fine art, nature and alternative processes, 2019

Critical Mass 200 finalist, 2018

Griffin Museum of Photography, 24th Annual Members’ Juried Exhibition, July- September 2018

Scott Nichols Gallery, San Francisco, group show, March-April 2018

PhotoPlace Gallery, Middlebury, Vermont, group show, June 2018

Center for Photographic Art, online group show, first place award, 2018

Curatorial Work
I curated a number of shows at Photography 414 in Fredericksburg, Texas, including an exhibit of Imogen Cunningham’s photographs, which included copies of correspondence between the artist and fellow photographers Ansel Adams, Minor White and others. —

Documentary Work
Publication of Don’t Make Me Go to Town: Ranchwomen of the Texas Hill Country, University of Texas Press, 2011; a documentary work with interviews and photographs Bullock Museum of Texas History, Austin, Texas, talk and book signing, 2017 Schreiner Museum, Kerrville, Texas, talk, print exhibit, book signing, 2011 Schreiner University, Kerrville, Texas, talk, print exhibit, book signing, 2011 Texas Book Festival, featured speaker and book signing, 2011 Texas Humanities Book Fair, 2011 Women’s conference, Hondo, Texas, featured speaker and book signing, 2011 Photography 414, Fredericksburg, Texas, individual show, Don’t Make Me Go to Town, platinum prints, 2009 Numerous other talks and book signings associated with Don’t Make Me Go to Town

Journalism
I worked in newspapers and magazines in Texas on and off from the late 1980s to 2009, and worked at every editorial job, beginning as a writer of birth announcements and fishing reports to layout to photographer, photo editor, web editor, features editor, copy editor and finally managing editor.

Teaching
I taught journalism and photojournalism at Schreiner University in Kerrville, Texas, and journalism at Austin Community College. (In my earlier career I taught special education in public elementary and high schools, and GED classes in my community.)

EDUCATION

M.A. Journalism: Photojournalism The University of Texas, Austin, 1996

B.S. Education, Elementary and Special Education Texas A&M University, Kingsville, 1984, cum laude

View Rhonda Lashley’s Website.

Autobiography

Posted on June 19, 2021

Statement

Artist Book, 3.5”x4” closed, 1 of 3 unique editions

Autobiography is a word and image accordion book started as a b&w film self-portrait series. When I saw a narrative of growth and hope, it became a book. I’m drawn to accordion books by their likeness to miniature gallery walls. Even tiny accordion books make the viewer feel as though they’re walking through them, as their eyes move along the accordion to experience them when fully open. In this book I also considered rhythm and musicality to aid in this movement between images.

Bio
Elizabeth Buckley is a photography based Artist-Educator, whose current preoccupations are image sequencing, assemblage, social and cultural considerations and humor. She often presents her work in handmade artist books and installations. In addition to digital photography, she has also worked in graphic design, set design for theatre, and enjoys mixed media and experimental photographic processes. Buckley has exhibited her work nationally. Most recently, Buckley taught Digital Imaging, Illustration, and InDesign to Fashion Communication and Merchandising Students at Lasell College. In the past, she taught extensively in the Photography & Media Arts Dept. at Chester College of New England (Chester, NH). The highlights of her time there was facilitating a study
abroad residency in Ireland at the Burren College of Art (Ballyvaughan, County Clare), and guiding advanced students in Directed Study projects. Buckley earned her MFA in Interdisciplinary Art from Goddard College (Plainfield VT) in 2005, which informs her current art practice and teaching. She also holds a BA in Photography from Salem State University (Salem MA).

Elizabeth Buckley teaches the Photography Atelier beginning in the Fall 2021.

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