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Journey to Impurity: Fighting Against Menstrual Restrictions in Nepal

Posted on August 22, 2021

Statement
In Nepal, and according to Hinduism, the entry into adulthood is tied to a loss of purity.  In some rural areas, menstrual women are exiled for a week, a practice known as Chhaupadi Partha. When they are on their period they are not allowed to enter their houses, visit the temples, attend festivities, cook, touch specific fruits and trees, or eat with their own family. Sometimes, they are not even allowed to look or talk to any male relative.

Every year, women die from following this tradition, bitten by animals or choked from the fumes in the small, non-ventilated huts they stay in during their periods. Although Chhaupadi Partha has existed for decades, Nepali society is trying to change. In August 2017, for the first time in history, the country criminalized the isolation of the menstrual women with a three-month jail sentence or a 3,000 rupee fine ($30), or both, for anyone that forces a woman to follow the custom.

In Kathmandu, a new generation of young people is reinventing traditions, making them their own. Some people from rural areas have started to question these practices and became activists, and a growing number of them lead organizations and are empowering young girls in rural areas and teaching them about hygiene. Some villages are already liberated from the practice. Last May 2018, Menstrual Hygiene Day was celebrated the first time in Kathmandu with the theme ‘Education about menstruation changes everything’. “Since I was a kid I have it clear, I was not going to go to the hut to sleep as my mother and sisters,” says Radha Paudel, a Menstrual Activist of Nepal and an author. “I’m sure the solution is in the education and in the younger minds, and that step by step we’re going to achieve what we are dreaming of”.

Bio
Maria Contreras Coll is a documentary photographer based in Barcelona, Spain.

Maria has the need to tell people’s stories from an intimate perspective. She is especially interested in gender issues and how women are re-defining social structures in different countries and religions. She is a National Geographic Explorer 2020-2021 and a member of Women Photograph, and she is currently participating in a three-year program as a mentee to James Estrin, senior staff photographer at The New York Times and co- creator of Lens Blog, and Ed Kash, member of VII Photo Agency.

After finishing her degree in Fine Arts in Barcelona, she studied a postgraduate degree in Photojournalism at the Autonomous University of Barcelona as a valedictorian. She spent the next year working on the refugee and migrant crisis in Europe, traveling and living in the Spanish enclave of Melilla, Greece, France, Germany, and Morocco. She lived in Nepal during 2017 and 2018 to document how women are fighting against menstrual restrictions in the country. She is currently working on a long term project about sexual violence in her country, Spain, with Joana Biarne’s Grant support, and exploring the concepts of women and religion in different parts of the world thanks to the support of National Geographic.

Her work has been published in The New York Times, The Washington Post, Marie Claire among others, and shown in cities such as Dubai, London, or Barcelona. She is a guest lecturer at the Autonomous University of Barcelona and has recently been awarded a POYLatam for her work in Nepal.

Formal Education
2015 to 2016 Valedictorian of Postgraduate Degree in Photojournalism at the Autonomous University of Barcelona
2010 to 2014 Major in Image Studies, Bachelor of Fine Arts at the University of Barcelona

Languages
Maria Contreras is a Spanish, native speaker, a Catalan, native speaker, speaks advanced English, conversational Portuguese and  basic conversational Nepalese.

Publications And Clients
The New York Times, The Washington Post, GEO, Marie Claire, Al Jazeera, 6Mois, Causette, Internazionale, Le Temps, Le Figaro, Open Society Fundations, Vice Media, El Pais, El Mundo, El Diario, Diari Ara, La.Vanguardia, Pear Video.

Maria Contreras Coll was a finalist for the 2020 Chervinsky Award.

 

View Maria Contreras Coll’s website.

House on Fire

Posted on August 17, 2021

Statement
Spanning sculpture, assemblage, and photography, Kendall Pestana’s is an ongoing photographic series of constructed domestic spaces and internal landscapes that consider psychological space and the ways in which the body houses trauma. A response to the prevalence of American rape culture as well as recent backsliding of women’s rights, House On Fire is a deeply personal and visceral testament to feminine resilience. Utilizing the male-dominated visual language of surrealism in conjunction with the gendered implications of craft arts and domesticity, this ongoing body of work is a defiant reclamation of the home as an exploration of bodily space and autonomy through the lenses of gendered violence, illness and objectification.

Bio
Kendall Pestana (b. 1998) is an interdisciplinary artist based in Acton, Massachusetts. In May 2020, Kendall received her BFA in Photography from Massachusetts College of Art and Design with departmental honors. Spanning sculpture, photography, and animation, her work is an investigation of bodily space through the lenses of gendered violence, illness, and objectification. In July, she was featured in ArtConnect Magazine and was named among Lenscratch’s Top 25 Artists to Watch.

Kendall was a finalist for the Griffin Museum of Photography’s Chervinsky Award 2020.

CV

View Kendall Pestana’s website.

 

Raufaser

Posted on August 17, 2021

Artistic Statement
How much can we control the past within us? Against the background of the biographies of my grandparents Irmgard Adam and Fritz Konrad I am concerned with the phenomenon of transgenerational traumatization researched in epigenetics. What is meant is the passing on of individually experienced traumas, which continue to have an effect over several years and which can reveal themselves in the self-image, in the emotional experience, in the unconscious action of future generations. I ask myself the accompanying questions: What does this mean for our generation and its descendants, what does it mean for myself? How much trauma experience of our ancestors is still in us today? How important it is to know the biographies of our grandparents better? Inspired by the confrontation with my own identity, I came across photographs, letters, documents and interviews, traveled together with my mother to fateful places in my grandparents life. As grandson I opened the small box of Irmgard Konrad’s memories: her fears, despair and loneliness keep the indescribable drama awake, but also her positive attitude to life, her social skills, her love and her tireless fight against fascism are part of the family memory and a reminding legacy at the same time. Raufaser is a photographic case study that uses own documentary photography and archival material to investigate my ancestors history. With this body of work, I want to raise awareness of how the aftermath of war and crisis can affect the generations that follow, and examine how collective memory is shaped and influenced. Creating a new sense of identity by confronting with himself with the past, spanning four generations, provides the basis for a detailed investigation of postmemory, mental health, war and history. Raufaser is a certainly a very personal story, however for me it is inseparably interwoven with our collective history as germans.

Project Statement
“It can’t have been experienced by a single person,” my grandmother sums up in a video interview for the Moses Mendelssohn Center in Potsdam in the mid-1990s. I have often heard her say this sentence. My grandmother was one of the few Holocaust survivors who were able and willing to talk about it. With her children and even more with her grandchildren. So there was a lot that was not new to me, which she told historians as well as many young people up to a ripe old age. Born in 1915 in Breslau, Silesia, politicized in the socialist youth movement, active in resistance against the Nazis, she survived the Auschwitz-Birkenau extermination camp, almost two years of forced labor for Siemens in the Ravensbrück women’s concentration camp, and the “death march” thanks to the solidarity of other prisoners. After the liberation of the village of Kritzow in Mecklenburg by the Red Army, my grandmother went to France, hoping to find members of her family there. In Paris, she experienced for the first time again what a life in freedom feels like, only clouded by the uncertainty about the fate of her childhood love Fritz. Back in Germany in 1947 and finally reunited with him again after five years of separation, they both married a little later in Leipzig and had a daughter, my mother, in 1948. Now I am looking for traces of their eventful life, with its incredibly difficult but also beautiful times. I look for them on the outside and I look for them on the inside, deep inside me. I am interested in the phenomenon of transgenerational traumatisation, which is researched in epigenetics, i.e. the passing on of individually experienced traumas that continue to have an effect over several years and that can reveal themselves in self-image, in emotional experience, in the unconscious actions of subsequent generations. How important is it to know the biographies of our grandparents more precisely? Inspired by the confrontation with my own identity, I come across photographs, letters, documents and interviews and finally travel with my mother to fateful places in her life. On the journeys, the pictures find me, I hold on to them. As a grandson I open the boxes of my grandmother’s memories and live through her fears, despair and loneliness. They kept the indescribable drama alive for many decades. But my box of memories is also marked by her boundless love, her positive attitude towards life, her social competence, her tireless fight for humanism, against fascism and war.

Bio
Daniel Seiffert was born in 1980. Before studying photography at Ostkreuz School for Photography in Berlin, he earned a Master ’s degree in Political Science, Communication and African Studies from universities in Berlin, Potsdam and Lisbon.

Among others, Seiffert received the prestigous C/O Talents Award, Canon Award for Young Professional Photographers and has been nominated for international FOAM Paul Huf Award.

His work was widely exhibited internationally like C/O Berlin, ParisPHOTO, PhotoEspana. His self-published book “Kraftwerk Jugend” was shortlisted for the Dummy Award of 5th International Photobook Award Kassel and has been part of book shows at Le Bal Paris and at the Brighton Photo Biennial.

Since 2017 he is part of the artist colletive Apparat.
As a father of two daughters he currently lives and works as a freelance photographer and picture editor in his hometown Berlin on commissioned and personal projects.

Daniel Seiffert was a finalist for the Griffin Museum of Photography’s Chervinsky Award 2020

Awards / Grants
2020 Athens Photo Festival, Shortlist
2019 Finalist Emergentes Award, Festival Encontros da Imagem, Braga, Portugal
2019 Finalist Portraits – Hellerau Photography Award
2018 Kolga Photo Award, Shortlist Documentary Photo Project
2015 LensCulture Emerging Talent Award
2014 Grant Stiftung Kulturwerk VG Bild-Kunst
2014 Grant HAUS am KLEISTPARK
2013 selected for CIRCULATION(S) Festival de la jeune photographie europeenne, Paris
2012 selected for Emergentes | DST 2012 Award, Festival Encontros da Imagem Braga, Portugal 2012 C/O Berlin Talents 28 Award
2012 Nomination for FOAM Paul Huf Award
2012 Kassel Photobook Dummy Award 2012, Shortlist
2009 Canon Profifoto Förderpreis 1/09 for CTRL – Research Surveillance
2005 ASA working grant, Images Davida, Rio de Janeiro, Brasil

Exhibitions
2020Guardas de Miramar, Festival Encontros da Imagem, Braga, Portugal
2019 Raufaser, “Die Anderen Sind Wir. Bilder einer dissonanten Gesellschaft”, Museum of Modern Art, BLMK Cottbus 2019 Guardas de Miramar, “Portraits – Hellerau Photography Award”, Pumpenhaus Dresden
2018 Trabanten, “Sharing Space(s)”, feldfünf Metropolenhaus, Monat der Fotografie OFF, Berlin
2018 Trabanten, Kolga Tbilisi Photo Award, Georgia
2018 Trabanten, „Keep your Eyes peeled”, Gallery Weekend, aff Galerie Berlin
2017 Trabanten, „Ein Tag in Berlin – 30 Jahre danach“, Fotogalerie Friedrichshain
2017 Kraftwerk Jugend, Rencontres internationales de la photographie en Gaspésie, Quebec/Canada
2017 Trabanten, Festival Internacional de Fotografia de Viseu, Portugal
2017 Keep your eyes peeled, Gallery Weekend Berlin, AFF Gallery, Berlin
2015 Kraftwerk Jugend, European Month of Photography, Goethe Institut, Minsk, Belarus
2015 LensCulture Emerging Talents 2015, San Francisco Camerawork Gallery, USA
2014 Exhibition Photography Grant Tempelhof-Schöneberg, Galerie Haus am Kleistpark, Berlin
2013 Kraftwerk Jugend, “Tracks and Traces – C/O Talents”, ParisPHOTO, Goethe Institut Paris, France
2013 Uncertain Futures, exhibition of international photography, Gallery of Photography Dublin, Ireland

2013 C/O Talents 2012, Abbeye de Neumunster, Luxembourg
2013 Tracks and Traces – C/O Berlin Talents, PHotoEspaña, Goethe Institut Madrid
2013 Screening, CIRCULATION(S), Lodz Fotofestiwal, Poland
2013 CIRCULATION(S) Festival de la jeune photographie europeenne, Parc de Bagatelle, Paris 2012 Tulca Festival of Visual Art Galway, Ireland
2012 Brighton Photo Biennial / Photobookshow
2012 Kraftwerk Jugend, C/O Talents 28, Postfuhramt, Berlin
2012 Kammerspiel, F’Stop Festival, Leipzig
2012 Photobook Dummy Award 2012. F’Stop Festival, Leipzig
2012 Photobook Dummy Award 2012. Le Bal, Paris
2012 5. Jahrgang Ostkreuzschule, Galerie Büchergilde Frankfurt/Main
2012 Kraftwerk Jugend, Galerie Sprechsaal, Berlin
2012 Photo 12 – Werkschau für Fotografie, Screening, Zürich, Schweiz
2011 SCHAU. Ostkreuzschule für Fotografie. Klasse Ute Mahler, Berlin
2011 Das Geheimnis bleibt. Modefotografie von Ute Mahler und Schülern, Halle/Saale
2011 STRG K Choreographie einer Stadt, Forum Factory, Gallery Weekend, Berlin
2011 Klopfzeichen, Unikum, Klagenfurt, Österreich
2010 Trennungen/Seperazione/Locevanje, Villach, Österreich
2010 Canon Profifoto Förderpreis, Visual Gallery, Photokina Köln
2010 Geschichts Codes 2010/Einheitsbild, ARD Hauptstadtstudio, Berlin
2007 Close Up! Junge Fotojournalisten auf der 57. Berlinale, C/O Berlin
2006 Imagens Davida, Hotel Nicacio, Rio de Janeiro, Brasil

View Daniel Seiffert’s website.

Sue Michlovitz: Aqua Muse

Posted on August 17, 2021

Statement
In Aqua Muse, Sue Michlovitz has used her images of water to represent the creative inspiration and mysteries within the medium. Water provides both solace and excitement for her being. She has selected the accordion structure to express flowing of water. Within the accordion structure, she has sewn in four signature inserts of water scenes in varying color palettes. The book has 30 original digital photographs printed on Hahnemuhl Photo Rag Duo using archival inks. This book was made with the design assistance of Eliot Dudik, during a two-week workshop at Maine Media Workshops & College, July-August 2021.

sue's bookThrough an artist book, Michlovitz expresses her images in a form that can be viewed, and handled, two essential sensory experiences for me. The viewer can turn pages at their own pace and have space and time to absorb the content, leave it open to study when walking by the table. The printed book form is particularly potent as an alternative to the world hyper-stimulation, computer screens and superfluous movement. She creates a physicality of experience within the presence of images, including the sound and feel of turning pages. Click video to left.

 

Bio
Sue Michlovitz is a visual artist living in Camden, Maine. Her interests as an artist are in photography and book arts. Her work often shows scenes that may go unnoticed by others.

She has shown her photographs at State of the Art Gallery ( Ithaca, NY), Camden Public Library (Camden, Maine), Arts in the Barn, Cushing Historical Society (Cushing, ME). Two of her books, Breathe in Water andWe Were Told to Be Quiet are currently being shown with the Mid-Coast Maine Book Arts Group at the Michael Good Gallery (Rockport, ME)

In May 2021, Michlovitz completed her Master of Fine Arts (MFA) in Media Arts at Maine Media College, Rockport, ME.

View Sue Michlovitz’ website.

 

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
cover of catalog

 

 

 

 

 

 

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

Winchester Cultural District Logo

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.

CV

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

 

 

 

 

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Floor Plan

Amy Rindskopf's Terra Novus

At the market, I pick each one up, pulled in by the shapes as they sit together, waiting. I feel its heft in my hand, enjoy the textures of the skin or peel, and begin to look closer and closer. The patterns on each individual surface marks them as distinct. I push further still, discovering territory unseen by the casual observer, a new land. I am like a satellite orbiting a distant planet, taking the first-ever images of this newly envisioned place.

This project started as an homage to Edward Weston’s Pepper No. 30 (I am, ironically, allergic to peppers). As I looked for my subject matter at the market, I found that I wasn’t drawn to just one single fruit or vegetable. There were so many choices, appealing to both hand and eye. I decided to print in black and white to help make the images visually more about the shapes, and not about guessing which fruit is smoothest, which vegetable is greenest.

Artistic Purpose/Intent

Artistic Purpose/Intent

Tricia Gahagan

 

Photography has been paramount in my personal path of healing from disease and

connecting with consciousness. The intention of my work is to overcome the limits of the

mind and engage the spirit. Like a Zen koan, my images are paradoxes hidden in plain

sight. They are intended to be sat with meditatively, eventually revealing greater truths

about the world and about one’s self.

 

John Chervinsky’s photography is a testament to pensive work without simple answers;

it connects by encouraging discovery and altering perspectives. I see this scholarship

as a potential to continue his legacy and evolve the boundaries of how photography can

explore the human condition.

 

Growing my artistic skill and voice as an emerging photographer is critical, I see this as

a rare opportunity to strengthen my foundation and transition towards an established

and influential future. I am thirsty to engage viewers and provide a transformative

experience through my work. I have been honing my current project and building a plan

for its complete execution. The incredible Griffin community of mentors and the

generous funds would be instrumental for its development. I deeply recognize the

hallmark moment this could be for the introduction of the work. Thank you for providing

this incredible opportunity for budding visions and artists that know they have something

greater to share with the world.

Fran Forman RSVP