Griffin Museum of Photography

Not Waving But Drowning

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Artist Statement
Not Waving But Drowning is a look inside an Evangelical marriage. These images show the truth of a life lived in the confines of oppressive gender roles, cult-like manipulation, and the isolation of Fundamentalism. 

Each image is equivalence for the unseen, for the reality behind facade. Despite the smiles and appearance of perfection, Complementarianism is an abusive system in which a wife serves her husband as a helpmeet, remains silent, and prays for her spouse to become a better man.

I use self-portraiture to share my own experience within the Fundamentalist Lifestyle without being explicitly autobiographical. My chosen medium of collodion used with contemporary digital media represents the outdated behaviors and rules imposed on women by Fundamentalism. 

The image titles come from The Awakening by Kate Chopin and are sequenced by their titles’ place within the story. Unlike the character of Mrs. Pontellier, I choose to thrive in my freedom. I seek to unmask, to reveal truth. Growing up in Fundamentalist Christianity, I endured the cognitive dissonance of wearing the smiling facade to mask the oppressive truth. By unmasking that truth, I set myself free from the burden of my silence. This is my protest. I will no longer be silent. I choose to live. – MRP

Artist’s Statement of Purpose as submitted to the John Chervinsky Scholarship
Since I began graduate school in Boston in 2012 I have been on a journey of deconstruction of faith and reclaimation of my life for myself which catapulted me into a divorce in 2014.  I knew then that I would eventually tell the story of this final step in leaving behind the faith I was raised in and an abusive situation. Not Waving But Drowning tells the story of my marriage and my escape.  It is my own stand against oppression of any people by religion or other factors.

Although my work has been about my own journey I believe in the power of photography to change and empower people.  I feel that it is more important than ever to stand up and tell my story openly.  When I left my husband many people believed I should run away and hide in shame.  Instead, living the life that is right for me, free from the stifles of religion has brought me joy I never imagined.

I want to share my photography with a larger audience, and to continue developing my career as an emerging photographer.  The grant money would allow me to finish printing and framing this series, which would enable me to exhibit the series in its’ entirety. -MRP

Bio
Michelle Rogers Pritzl was born and raised Southern Baptist in Washington DC area.  She fell in love with photography in a high school darkroom and has been making images ever since.  Pritzl received a BFA from the Corcoran College of Art and Design in 2001, a MA in Art Education from California State University in 2010, and a MFA in Photography from Lesley University College of Art, where she studied with Christopher James, in 2014.   Her work explores the tension between past and present in our psychological lives as well as the photographic medium itself, often working in a digital/analogue hybrid and using historic alternative processes.

Pritzl has been widely exhibited in New York, New Orleans, Fort Collins, Boston and Washington DC, as well as internationally.  Pritzl was a Critical Mass Top 250 finalist in 2013, 2014, and 2017; she has been featured in Lenscratch, Fraction Magazine, Diffusion Magazine, Lumen Magazine, Shots Magazine, Your Daily Photograph via the Duncan Miller Gallery amongst others. 

Pritzl has taught photography and drawing in both high school and college for the last 12 years, including as an adjunct instructor at Lesley University College of Art, and leading workshops at the Griffin Museum of Photography and Vermont Center for Photography.  She lives on a farm in the Finger Lakes with her husband John and their son. 

View Michelle Rogers-Pritzl’s website.

Single Figure

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Artist Statement
The news stories and famous faces that I photographed number in the thousands. I had a front row seat on life itself. I covered the great and near great, and the homeless eating out of dumpsters. I filmed kings and queens, presidents, and princes of the church. I recorded militants and pacifists, and great revelations in medicine. My camera and I were witness to the wise counsel of the experts of our time. I had a great passion for covering television news during the journalistically exciting period of the 50’s through the 80’s, a time that produced a constant flood of headline stories. You never knew what the next phone call would bring.

However, artists, sculptors, photographers, and other creators of art, can hold their work in their hands or stand back and behold it with their eyes. That’s not the case for a photojournalist or producer of television news. Our work is so fleeting. Unless it is a story of a very unusual news event that gets played over and over, once the film or tape runs on the news—it’s gone forever. Great effort and creativity vanishes, for the most part never to be seen again—only remembered. Knowing this motivated me, if possible, to try and capture the essence of the moment with my still camera.

Although miles and miles of film and videotape have traveled through my motion picture cameras recording the great and the extraordinary, I have actually gained a deeper sense of satisfaction of my life’s work through the still camera. If I was fortunate enough to have the time or presence of mind while filming for television to also make an image or two with my Leica or Nikon, either a portrait, landscape, or some other related image, I could eventually make a memorable print, hang it on the wall and say, “I did that—I was there!” – DM

Bio
David Marlin’s career in broadcast television spanned 4 decades filming the faces and events of our time.  As a photojournalist for both television and print, he has won dozens of awards, principally for CBS News and 60 Minutes.

David learned his photographic skills in Boston’s old black and white studios of the 40’s and 50’s and as a Signal Corps photographer during the Korean War. Television news and documentaries influenced his style, and for years he was considered New England’s top network cameraman.

Covering television news also gave David many opportunities to use his skills as a still photographer. He made hundreds of portraits of newsmakers and well-known personalities while on network assignments. Five of Marlin’s portraits have recently been acquired by the National Portrait Gallery at the Smithsonian in Washington, DC.

In addition to traveling throughout New England to photograph many of the nature studies seen on the network’s “Sunday Morning” program, some of the most memorable stories that Marlin filmed include the Andrea Doria lying on it’s side before it sank in the Atlantic, presidential candidate Edmund Muskie weeping in the New Hampshire snow, President John F. Kennedy at the Summer White House in Hyannisport, and Ted Williams hitting a memorable home run in his final at bat for the Red Sox.

David Marlin’s filming career has been wide-ranging, starting at the end of the newsreel era and continuing through the production of images on videotape and computers. As a film editor, lighting director, and wire service photographer, his work has been used to communicate and inform. As a Director of Photography he has filmed, produced, and directed corporate, educational, and documentary programs for a blue-chip client list including the Harvard Business School, Polaroid, Charrette, Cross Country Group, Institute of Contemporary Art, and the Alfred P. Sloane Foundation.

 

Haven’t We Met?

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Curator’s Statement:

Haven’t We Met?

These photographs possess a dreamlike, other-worldly sensibility. In dreams, where they begin and end, and what takes place, is often imperceptible. There is an element of peculiarity and also beauty. But as in dreams, and in waking life, circumstances and people shift, appear and disappear in an instant.

We don’t know these people or places, though they could easily be characters who play in any of our lives. Some of the realities are found, some are constructed. The ambiguous nature of the photographs makes them unrecognizable or foreign, but in many ways there is a relatability that implies we may have all been in these places with these figures before.

The more specific imagery is peppered with slivers of moments and action invoking fear, nostalgia, thoughts around memory, and an alternate world that the human mind may be incapable of interpreting.

Including the work of: Harlan Crichton, Alexa Cushing, Amy Fink, Ross Kiah, Vanessa Leroy, Jaclyn Lowe, Caterina Maina, Kevin Moore, Evan Perkins, Kendall Pestana, Tavon Taylor, and Ronghao Zhang.

By Ben Carroll, Curator

This online exhibition was featured on our Instagram, @GriffinMuseum.

 

Ben Carroll is a photographer based in Boston. He is the recipient of a residency from Arteles Creative Center in Hämeenkyrö, Finland where he will spend the month of January. Rooted in ideas of perception, memory and emotionality, Ben’s work centers on domestic life with his husband of 17 years and the impact of mental illness. He was a finalist for the City of Boston’s Fay Chandler Emerging Artist Award, and received the Jury’s Choice Award at the Small Stones Festival of the Arts in Grafton, MA. In 2020, Ben will earn his B.F.A. in photography from Massachusetts College of Art and Design in Boston.

Industrial Gothic The Seattle Gas Works

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Statement
I have always been drawn to the monumentality of structures such as these; initially to the magnificent grain elevators that rise above the plains of the mid-west and now more recently to these stunning industrial forms in Seattle. The Seattle Gas Works are structural marvels that have an enduring visual interest for me on two scales, for their sheer enormity and for their careful attention to minute detail.

These structures are the sole survivors of this era of gas works in the United States. As well, they are a unique landmark for the City of Seattle. They are well-known in the preservation community as outstanding examples of industrial archeology, adaptive reuse and urban landscape design.

In 1975 Paul Goldberger wrote in the New York Times that “Seattle is about to have one of the nation’s most advanced pieces of urban landscape design. The complex array of towers, tanks and pipes of the gas works forms a powerful industrial still life … serving both as a visual focus for the park and as a monument to the city’s industrial past. The park represents a complete reversal from a period when industrial monuments were regarded, even by preservationists, as ugly intrusions on the landscape, to a time when such structures as the gas works are recognized for their potential ability to enhance the urban experience.” (NY Times, 8/30/75)

Bio
Lee Cott studied architecture at Pratt Institute and Harvard University.  After a 45-year career as a founding principal at Bruner/Cott & Assoc., Architects in Cambridge, Massachusetts and professor at Harvard’s Graduate School of Design, he now devotes his creative energies to his life-long involvement with photography. Lee’s recent photographs of barn structures, farm stands, iconic Boston buildings and the industrial constructions at the Seattle Gas Works are all crafted with the same sense of delicacy to portray extraordinary beauty in familiar, ordinary and conventional structures.

Cott has photographed throughout the United States, Europe, Asia and South America. Images from an early travel portfolio, Prairie Vernacular, were published in Design and Environment magazine. Lee has lectured on architecture and urban design at Harvard University, The Boston Museum of Fine Arts, The Peabody Essex Museum, The Graham Foundation and The Boston Public Library using color images made over the course of his lifetime. He has exhibited at juried shows at the Concord Art Association and the Chautauqua Annual Exhibition of Contemporary Art as well as the Griffin Museum. This year, Homage to Serra #3, was included in the Krakow Witkin Gallery’s annual AID’S Benefit Auction. In January, 2020 a photograph of Lee’s will be included in the Cambridge Art Association’s Broken Beauty invited exhibition and in March 2020 he will have a solo exhibit of his recent work at the Concord Public Library.

Lee is a self-taught photographer. He has recently studied at the New England School of Photography, The Maine Media Workshops and at the Griffin Museum of Photography’s Ateliers 28 & 30 with Meg Birnbaum and the Advanced Critique with Emily Belz

View Lee Cott’s website.

October All Over

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Statement
October All Over is the culmination of several years spent living in, working in, and documenting the Southern Oregon cannabis industry prior to legalization and during the time shortly after. I began this series in 2014 and stopped in the fall of 2017. I started with no motive or intention that was specific to photography. In the way I prefer to work, I was just there and had a camera that could fit in my pocket. I certainly wasn’t given an assignment. 

Sometime late in 2015 or early 2016, the realization that things wouldn’t remain as they were started to sink in. The industry was rapidly changing and continuing to operate in a dubious legal manner was becoming more difficult than it was even prior to legalization. Around this same time, the idea that capturing this may serve as some kind of “first person” historical account began to develop. I realized that this was the end of an era and the beginning of something much different. 

Up until that point, any concept or idea of a project, if there could be one, was always rather open ended: “people living and working in this crazy underground industry from the perspective of someone also embedded in it”. Since I was doing the work and living a similar life as everyone else, it just made sense. Some part of me still wanted to portray a narrative that remained personal, while also making clear that this was in one sense a dying industry; or at least one that had for better or worse shed its chrysalis and emerged as something very different. -KS

Bio
Kyle Souder is a Portland, Oregon based photographer. From 2009-2014 Kyle played bass in math-rock band Duck. Little Brother, Duck! During this time, he toured the US and Japan. It was through these frequent travels, often finding himself on the other side of the camera, that his infatuation with the alchemy of candid photography was rekindled. Kyle prefers to work in the vein of documentary and candid based photography. He is deeply infatuated by the pursuit of serendipitous moments, often finding the camera more capable than his philosophy education in helping to make sense of our shared reality. Kyle recently was awarded a scholarship to attend the CENTER’s 2019 Santa Fe Review.

Kyle is currently working on a book that is an extension of his series October All Over.

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Publication 

“Photographers: Color” Eyeshot, September 2019 

Freeman, Jesse “Jesse’s Visual Interviews: Kyle Souder” Japan Camera Hunter, April, 2019 

ACCCG Press, “ANTIBody Vol. 1” ACCCG Collective Publication, May 2019 

Awards and Recognition 

Attended – CENTER Santa Fe Review 2019 

Short List – Athens Photo Festival 2019 

Westlands

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Statement
Showcasing California’s Central Valley, Westlands uses documentary photography to examine the danger drought and water policies represent to farming. The valley has been a productive food-growing region for decades, but water shortages and complicated laws have placed the region’s farms—and subsequently its communities and culture—in precarious conditions. Moving beyond simplified narratives of environmentalist versus farmer or government versus worker, Westlands reveals the complex story of fragile ecosystems, a growing population, and the need for social responsibility and sustainable solutions. The lessons suggested in these breathtaking photographs apply not just to California but to worldwide conversations about water usage and rights.

Bio
Randi Lynn Beach came from Brooklyn, NY. She migrated west after receiving a B.A. from New York University. Along the way, she lived in Albuquerque, Tucson, Denmark, San Francisco and travels extensively to pursue projects she is passionate about. 

An award-winning photojournalist, she has had her photography featured in everything from Rolling Stone, to the Washington Post, to People, to the New York Times. Her documentaries have been featured in A Photo Editor, Popular Photography, NPR and the Huffington Post as well as being recognized by the Webby Awards. Most recently she finished Westlands, a water story which was featured internationally in film festivals and recently won a Telly for Social Responsibility. Westlands, a Water Story was published by UNM Press. 

View a link to the book. 

View Randi Lynn Beach’s Instagram.

View Randi Lynn Beach on Behance. 

View Randi Lynn Beach’s Website.

Privileged

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Artist Statement
Privileged

Privileged

priv·i·leged

priv(ə)lijd

adjective

having special rights, advantages or immunities.

As a career photojournalist, I have been photographing issues about immigration for decades. My intimate experience with this subject has allowed me to witness the hypocrisy of today’s immigration policies.  It has also made me keenly aware that I too am an immigrant, a white immigrant. In this time of heightened scrutiny of immigrants from some parts of the world I am deeply troubled by what is happening and at the same time acutely aware of the advantages being a white immigrant has granted me.

My project “Privileged” is a reaction to the disparities I recognize because of the color of my skin.

In “Privileged” I juxtapose staged photographs of my white skin with images I have taken, while working as a photojournalist, that speak to different aspects of immigration. “Privileged” represents my personal experience as well as the current “sacredness” of white United States of America and the perceived ”invasion”  by people who do not look liked the privileged group.

Note: the skin images have been partially re-touched to give a “pristine” fake reality leaving the hidden part of each image un-retouched.

Bio
Born in Göteborg, Sweden, Ann Inger Johansson primarily uses documentary photography to look at social, political and environmental issues, from today’s heated debates about immigration to the long-term consequences of climate change.

Ann has 20 years of experience working as a freelance photojournalist for publications such as The New York Times, The Wall Street Journal, The Guardian, Le Monde, The Smithsonian and Der Spiegel among many others.

Ann was commissioned by Klimahaus, a 200,000 sq. ft. educational space about climates and climate change in Bremerhaven, Germany, ​to travel to six countries and document people living in different climate zones.  Her work can be seen throughout “The Journey” exhibition.

Her photographs are part of The Museum of Photographic Arts, San Diego, permanent collection and she recently exhibited in group shows at FotoNostrum in Barcelona, Spain and at the Houston Center for Photography in Houston, USA.

Ann Inger Johansson is based in Los Angeles.

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Professional Summary

Ann Inger Johansson has 20 years of experience working as a freelance photojournalist. Ann is committed to a long-term project visually connecting causes, effects and impacts of climate change globally with the ultimate goal of making all aspect of climate change relatable on a personal level.

Professional Experience 1998 – Present

Photographing news, features, and portraits within the United States and internationally on a full-time basis for numerous clients including Associated Press, Bild am Sonntag, The Chicago Tribune, Der Spiegel, Getty Images, The Globe and Mail, Handelsblatt, Klimahaus Museum, Le Monde, Los Angeles Times, Medecins Sans Frontieres, MSNBC.com, New York Times, Pacific Institute for Women’s Health, The Smithsonian Magazine, The Wall Street Journal, Stern Magazine, UCLA Health System and UNICEF.

Public Collection

The Museum of Photographic Arts, San Diego, CA.

Book Publication

Johansson, A. (2015). CAUSE + CELEB: 90 Portraits + 40 Causes = 1 Mission . San Rafael, CA: Channel Photographics.

Exhibitions

2019
13th  Julia Margaret Cameron Award Exhibition, FotoNostrum, Barcelona, Spain.
2017
Annual Juried Membership Exhibition, Houston Center for Photography, TX, USA.
2015
Solo Exhibition. CAUSE+CELEB, The Braid, Santa Monica, CA, USA.
2009
Annenberg Space for Photography, Picture of the Year International Slide Show.

Publications

Author: Morelli, Jenny. USA: CSR en ny trend . Fotografisk Tidskrift 6.  2012.
Author: Smith, Rosalind, The Path of Ann Johansson; A Life Dedicated to Recording Humanity, Shutterbug . 2005.

On-line Publications

The Guardian . Climate Visuals photography award 2019: winners and shortlisted . 2019.
Author: Smithson, Aline. Privileged . Lenscratch , Fine Art Photography Daily . 2018.

Dab Art’s Quarterly Arts Publication GENESIS.2018.

Awards & Recognition

2019

Climate Visuals Photography Award 2019. Winner

14th  Julia Margaret Cameron Award, Honorable Mention, Landscapes & Seascapes, Series, Flooded,
14th  Julia Margaret Cameron Award

Prix de la Photographie Paris, Honorable Mention, Portrait Series, Illuminated

Prix de la Photographie Paris, Honorable Mention, Street Photography, Coal Transporters

International Photography Awards, 2nd  Place, Portrait Series, Illuminated

International Photography Awards, Honorable Mention, Portrait Single, Illuminated

International Photography Awards, Honorable Mention, Deeper Perspective, The Face of Coal

International Photography Awards, Honorable Mention, Feature story, The Face of Coal

International Photography Awards, Honorable Mention, Environmental Single, Coal Burned

International Photography Awards, Honorable Mention, Environmental Single, Coal Coked

International Photography Awards, Honorable Mention, Environmental Single, Coal Extracted

International Photography Awards, Honorable Mention, Environmental Single, Coal Transported

International Photography Awards, Honorable Mention, People, Children, Coal Transported

International Photography Awards, Honorable Mention, Environmental Single, Flooded

International Photography Awards, Honorable Mention, Environmental Single

International Photography Awards, Honorable Mention, People, Street Photography, Coal Transported

International Photography Awards, Honorable Mention, Environmental Single, Oil Extracted

International Photography Awards, Honorable Mention, Environmental Series, Flooded

International Photography Awards, Honorable Mention, Environmental Single, Innundated

13th  Julia Margaret Cameron Award, Winner, Portrait Series.

13th  Julia Margaret Cameron Award, Honorable Mention, Documentary & Reportage Series.

13th  Julia Margaret Cameron Award, Honorable Mention, Landscapes & Seascapes Series.

2018

Dab Art’s Quarterly Arts Publication GENESIS.

12th  Pollux Award. Winner, Landscapes & Seascapes Series.

12th  Pollux Award. Honorable Mention, Segregation & Human Rights Series.

12th  Julia Margaret Cameron Award. Honorable Mention, Landscapes & Seascapes Series.

12th  Julia Margaret Cameron Award. Honorable Mention, Segregation & Human Rights.

2008

Press Photographers of Greater Los Angeles. First Place, Photo Essay.

Press Photographers of Greater Los Angeles. First Place, Feature Coverage.

Press Photographers of Greater Los Angeles. Third Place, Portrait Personality.

2004

National Press Photographers Association. First Place, The Arts.

Speaking Engagements / Workshops / Judging

2018 Open Show – Pasadena East LA.

2017 Guest Speaker, Emerson College Los Angeles Center, CA.

2015 Portrait photography workshop, FOTOFUSION, FL.

2015 Documentary photography workshop, FOTOFUSION, FL.

2014 Judging RICOH Theta 360 Degree Camera Competition.

Professional Affiliations

American Society of Media Photographers.
National Press Photographers Association.
Press Photographers of Greater Los Angeles.
Svenska Fotografers Förbund (Sweden).
Society of Environmental Journalists.
SoCal Science Writing

Sora Woo: Life Companion

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Statement
This series has been made over three years, while I was visiting home, South Korea, for summer and winter break. My grandmother was attending to the care of my grandfather who suffered from dementia. They were married for sixty years, each other’s lifetime companions, and then my grandmother became the caregiver whose work was unrelenting. These photographs reflect their bond, but also my grandmother’s struggle and fatigue. Their world was centered at home because my grandfather often gets out of control when he is outside of the house. My work continued after my grandfather’s death observing my grandmother’s new experience being alone. Photographing in such a limited environment has made me pay close attention to subtleties of gesture and the meaning for spatial relationships between them. – Sora Woo

Bio
Sora Woo (b.1991) is a visual artist and photographer based in Brooklyn, New York. Her works concentrate on observing the spatial relationship between humans and place. Woo is interested in discovering the threads of human interaction and what occurs after the absence of a person. Woo’s photographs capture a moment in the slow process of the passage of time. She not only depicts the passing of time, but also points out the physical and spiritual aspects of the “Irreversible”. Sora received her MFA from Pratt Institute, New York in 2018 and BFA from the School of Visual Arts, New York in 2015.

View Sora Woo’s website at www.sorawoo.com.

Lifetime Companion: Photographs by Sora Woo
by Allen Frame

The intimate domestic space shown in Sora Woo’s photographs of her grandparents at home in South Korea is both a physical and psychological space.  Physically, the place is the grandparents’ apartment, which provides context for their relationship. The space they occupy sitting or sleeping frames their activity, but more revealing is the particular space in between them. They sit in close proximity but are often at different angles, as if in different worlds or states of mind, and in fact, they are indeed separated by the grandfather’s condition of dementia. Woo’s grandmother is his caregiver, and her devotion and sense of duty are indicated by her constant, close presence.  In the photograph of them posed together, facing front, she is gazing directly at the photographer, while his eyes are turned away.  His focus is elsewhere. The important space of this work is the internalized space of this difference in mental acuity and all that it implies; the grandfather is in his own reality, while the grandmother is attuned to his condition, responsible for his welfare, and living with her own response, which includes a loyal sadness and her own fatigue.

The photographer, who was reared by these grandparents, has disappeared into the role of observer; no longer the child being taken care of, she is now the photographer with empathy for the situation, and perhaps, curiosity to see her grandfather in the role she once played herself, the innocent to be looked after. The pictures are about three kinds of memory, the one the photographer, who has left to study in the U.S. and has now come back to make photographs, brings with her in reacting to a new set of circumstances; the memory that the grandmother has for the 60 years in which her life was joined with her husband’s; and the grandfather’s memory, now fixed in an experience of the present.

The gravity of these sensibilities overlapping in a confined space is evoked by quiet, subtle shifts in the positions and gestures of the two companions in their daily routines.  Their actions are now circumscribed by the grandfather’s condition, but their dignity and individuality are still apparent. The profound meaning of this dedication between two people, and of the careful and precise scrutiny by the photographer, builds through the series, each image adding depth and insight into a moving, clear vision of the final stages of a lifetime.

 

여기 60년의 세월을 함께 한 노부부가 있다.
할아버지는 치매에 걸려 집 밖으로 나갈 수 없고
그런 할아버지 곁엔 항상 할머니가 있다.할 일이라곤 달력 보기, 화투, 담배밖에 남지 않은 할아버지는
하루에도 수십 번 했던 행동을 반복하고 질문하는데,
할머니는 기꺼이 그 외로운 싸움을 함께 한다.
이제 그들에게 세상은 집이 되었고
그 작은 공간에서 펼쳐지는 24시간은 잔잔하지만 치열하다.2011년 징후들로 시작된 이 소리 없는 전투가 이제는 일상이 된 부부는
각자의 일과에 충실하며 하루를 살아낸다.
여전히 달력만 보고 화투만 치고 담배만 태우는 할아버지
그리고 그런 할아버지 곁에서 곤히 낮잠을 청하는 할머니,
그 풍경 속엔 두 개의 서로 다른 궤적이 얽혀가며
펼쳐지는 모습이 보이는 것 같다.무엇으로도 설명하기 어려운 그 풍경을 응시하며
손녀가 할 수 있었을 것이라곤
그저 그 모습을 기록하는 것밖엔 없었는지도 모른다.
꾹꾹 하고 누른 셔터 소리 너머로 다양한 이름의 감정선들이
잠시 한지점에 이미지가 되어 모였다.
많은 것들이 묻어 나오는 사진 속엔 묘한 떨림마저 들어있다.2013년부터 시작되어
2016년 할아버지의 장례식을 다녀온 할머니의 모습으로 끝나는
Life Companion (인생의 동반자) 시리즈는,
실제 작가가 본인의 외할머니, 외할아버지의
일상을 체험하며 기록한 일종의 투병기로써,
오랜 세월 속 축적된 유대감으로 묵묵히 서로를 지키며 이별을 동행하는
노부부의 애틋한 풍경을 우리에게 담담히 보여주고 있다.

City Streets at SoWa

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Statement
Street photography has a cinematic character that has always attracted me, combining elements of photojournalism, documentary and pure surprise to catch unguarded moments of everyday life.

Spontaneity, immediacy, serendipity and empathy all come into play. But to me what makes for impactful street photos is visual tension, the interplay between subjects themselves or between them and their surroundings. Visual tension gives a photo intimacy and depth, inviting the viewer to pause and decipher possible meanings; it offers a glimpse of the photographer’s intention while providing opportunity for imagination.

So I look for the “click point” in a simple situation — the visceral second that suggests a story and evokes the humor, sadness, beauty, irony, mystery or absurdity of human nature in action. People’s eyes, dress, body language, and relationships to objects and each other are some of the things I seek out that might resonate with a viewer. Whether shot indoors or out, my work is candid and intuitive, neither staged nor manipulated.

My usual kit is minimal: Contax G2 with 28mm and 45mm Zeiss lenses, Contax T3 with a 35mm Zeiss lens, or Nikon N70 with a 24mm lens. I shoot film (Tri-X 400 and T-Max 3200) because I like its distinctive look and the fact that it forces me to pay close attention, and I prefer black and white because it reduces visual complexity and focuses the eye. – JL

Bio
Lustenader has been published in Black & White magazine, and had solo exhibitions at Umbrella Arts Gallery in New York, In An Instant Gallery in Florida, and Dartmouth College. He also been in over forty  juried exhibitions, including the Salmagundi Art Club of New York; Your Daily Photograph; Center for Fine Art Photography; New York Center for Photographic Art; Black Box Gallery; Greg Moon Art Gallery; WPGA Pollux (“Photographer of the Year”), Charles Dodgson and Jacob Riis Awards; Cape Cod Art Association; Texas National Art Competition; Camera USA National Photography Award; Minneapolis Photo Center; Colorado Photographic Arts Center; and the Boca Raton Museum of Art. Three of his photos are in the permanent collection of the Municipal Museum in Malaga, Spain.

Jim Lustenader is a New Hampshire resident.

All photographs are available as Silver Gelatin prints.

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Published Work
2020
Black & White Magazine: “Single Image Contest”

2019
Black & White Magazine: “Single Image Contest” (2 photos)

2018
Black & White Magazine: “Looking Back–Looking Forward”and “Single Image Contest”

2017
Black & White Magazine: “Looking Back–Looking Forward”

Gallery Representation
Soho Photo Gallery, New York City

Truth and Beauty Gallery, Vancouver, Canada: limited edition prints

Solo Exhibitions
2020: Griffin Museum of Photography — SOWA Gallery, Boston, MA: “City Streets;” curator: Paula Tognarelli, Executive Director

2019: Converse Free Library, Lyme, NH: “Serendipity”

2017: Umbrella Arts Gallery, New York City: “Street Walking;” curator: Harvey Stein, photographer

2016: Dartmouth College: “Paris In A Second”

2012: In One Instant Gallery, Florida: “Street Walking”

Juried Exhibitions
2020
Worldwide Photography Gala Awards, Barcelona: Honorable Mention, 14th Pollux Award: “Street,” “Black & White,” “People Series”

Black Box Gallery: “Black and White;” juror: Todd Johnson, director

2019
Your Daily Photograph.com: “Editions of Five”

All About Photo Awards: Finalist, “Street”

Miami Photo Center Visual Excellence Awards/Art Basel: Finalist, “Street” series

14th B&W Spider Awards: Nominee, “People;” Honorable Mention, “People,” “Silhouette”

Black Box Gallery: “Photo Shoot;” juror: Todd Johnson, director

Analog Film Photography Association: 2019 Exhibition (2 photos)

Black Box Gallery: “Cars and Dogs;” juror: Todd Johnson, director

Black Box Gallery: “Black and White;” juror: Todd Johnson, director

Worldwide Photography Gala Awards, Barcelona: Honorable Mention, 13th Pollux Award

Soho Photo Gallery National Competition; juror: Julie Grahame, photo curator and consultant

YourDailyPhotograph.com: “Vintage”

Greg Moon Art: “After Dark 8” (2 photos); jurors: Isabel Samaras, Janet Webb, Greg Moon

Black Box Gallery: “Taking Pictures;” juror: Todd Johnson, director

Black Box Gallery: “Black & White;” juror: Todd Johnson, director

Salmagundi Art Club of New York — Non-Members Show: Certificate of Merit (2 photos)

2018
Monochrome Awards: Honorable Mention (2 photos)

New York Center for Photographic Art: “Urban Suburban Rural” (2 photos); juror: Kay Kenny

YourDailyPhotograph.com: “My Private Paris;” juror: Agathe Gaillard, Paris gallery owner

13th B&White Spider Awards: Nominee, “People,” “Photojournalism,” “Fashion”

Black Box Gallery: “Gray Scale;” juror: Todd Johnson, director

Black Box Gallery: “Focus: Shadow and Light;” juror: Todd Johnson, director

Black Box Gallery: “Taking Pictures;” juror: Todd Johnson, director

2017
12th B&W Spider Awards: Honorable Mention, “People”

Specto Art Space: “Black & White” inaugural exhibition

Worldwide Photography Gala Awards: Honorable Mention, 10th Pollux Award

LensCulture Network Gallery: curated show of top photographers

Worldwide Photography Gala Awards: Finalist, Charles Dodgson Black & White Award

Worldwide Photography Gala Awards, London: Finalist, 9th Pollux Award

New York Center for Photographic Art: “Black & White;” juror: Mark Sink, curator

Black Box Gallery: “Black & White;” juror: Todd Johnson, director

Morean Arts Center: “The Journey;” juror: Sam Abell, photographer

2016
Black Box Gallery: “Framed: Shadow & Light;” juror: Todd Johnson, director

11th B&W Spider Awards: Honorary Fellow and Nominee, “People”

Worldwide Photography Gala Awards: Finalist, 8th Pollux Award

Black Box Gallery: “Photo Shoot;” juror: Todd Johnson, director

Cape Cod Art Association: “Children Being Children;” juror: Kelly Bennett, photographer

Center for Fine Art Photography: “Black & White;” juror: Rod Smith

Center for Fine Art Photography: “Night” — Curator’s Honorable Mention; jurors: Sean Corcoran, Hamidah Glasgow

2015
Black Box Gallery: “Photo Shoot;” juror: Todd Johnson, director

Worldwide Photography Gala Awards: Finalist, 7th Pollux, Charles Dodgson and Jacob Riis Awards; juror: Frank Meo, director at Foundartists.com

Cape Cod Art Assoc.: “Fluent in Photography”

39th Annual Elden Murray Photo Exhibition: Outstanding work by a first-time entrant

CORE New Art Space: “Losing Love;” juror: Niza Knoll

2014
Worldwide Photography Gala Awards, 6th Pollux Award: Photographer of the Year, 3rd International Biennial of Fine Art and Documentary Photography in Malaga, Spain

Verum Ultimum Gallery: “Streetwise;” juror: Jennifer Cutshall, director

Texas National Art Competition: Annual exhibition at Stephen F. Austin State University; juror: Jerome Witkin, artist

Starcatcher Gallery: Juried into permanent collection

Flow Art Space: “Encroaching City;” juror: Melissa Metzler, director

eXel Photo Magazine: Finalist, first print edition; juror: David Hirsch, publisher

2013
Flow Art Space: “Perceptions;” juror: Melissa Metzler, director

Worldwide Photography Gala Awards — “Love:” Honorable Mention; juror: Tom Atwood

Camera USA: National Photography Award; jurors: Harry Benson and Christopher Rauschenberg, photographers; Ron Bishop, gallery director

Minneapolis Photo Center: “What We Photograph;” juror: Cig Harvey, photographer

Colorado Photographic Arts Center: “Street View;” juror: Anne Kelly, Photo-eye Gallery

2012
Minneapolis Photo Center: “The Human Condition: A Survey of Humanity;” juror: Annie Griffiths-Belt, National Geographic

Flow Art Space: “Retro;” juror: Melissa Metzler, director

Boca Raton Museum of Art: 61st Annual All-Florida Competition and Exhibition

2011
Projekt30: Finalist and Exhibitor, “Melancholy: At the Bottom of Everything, Forever”

Minneapolis Photo Center: “Where in the World”

JPG Magazine: Best of Photo Challenge, “Working for a Living”

Still Point Art Gallery: “Destinations”

Creative Arts Workshop: “Seeing Seeing: Capturing a Moment”

Art League of Bonita Springs Annual Show: Honorable Mention

Permanent Collections
Three photos in the Municipal Museum of Malaga, Spain

Lectures
Eastman Photo Guild: “Paris In A Second–The Art of Street Photography”

Alliance Francaise: “Paris In A Second–The Art of Street Photography”

ArtNaples Contemporary Art Fair: “The Art of Seeing: Contemporary Photography and Developing Trends in Collecting”

Self-Published Books
Paris In A Second, editions one and two; Street Walking

Jon Horvath: This is Bliss

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Artist Statement
This Is Bliss is a transmedia narrative project investigating the vanishing roadside geography and culture of a rural Idaho town named Bliss. The project is philosophically rooted in a broad consideration of how entrenched mythologies of place and traditional mythologies of happiness collide, and are frequently confounded, in a location that bears a complex narrative of booms and busts and reflects the complicated history of American Idealism and Manifest Destiny.

The richly complex historical significance of Bliss is evidenced by its positioning on the Oregon Trail, its emergence as a town during the construction of the first railroads in the continental US, its positioning on the Snake River Valley, which was investigated photographically by the likes of Timothy O’ Sullivan and Ansel Adams and hosts the site of daredevil Evel Knievel’s failed attempt to jump a gorge with his motorcycle in 1974, as well as being the home town of Holden Bowler, the inspirational namesake for J.D. Salinger’s quintessential malcontent Holden Caulfield in “The Catcher in the Rye”. Bliss’ apex, however, came in the mid-20th century during the height of road trip America and only began to diminish when Interstate-84 was constructed, redirecting vehicular traffic away from a once thriving community. As a result, Bliss has been in slow economic decline ever since, a familiar story plaguing small towns in America for decades. All that remains in Bliss is two gas stations, a small school, a church, a diner, and two saloons to service its 300 current residents. Through a varied response to its contemporary landscape and inhabitants, This Is Bliss contrasts romantic visions of the American West with its contemporary reality and considers how the heights of idealism are obtained on both a personal and cultural level.

Bio
Jon Horvath is an interdisciplinary artist routinely employing systems-based strategies within transmedia narrative projects. He received his MFA in Photography from UW-Milwaukee in 2008, and a BAS in both English Literature and the History of Philosophy from Marquette University in 2001.

Horvath’s work has been exhibited internationally in solo and group shows at venues including: The Print Center (Philadelphia), FIESP Cultural Centre (Sao Paolo, Brazil), Gyeonggi Art Center (Suwon, South Korea), OFF Piotrkowska (Lodz, Poland), Newspace Center for Photography (Portland), the Haggerty Museum of Art (Milwaukee), INOVA (Milwaukee), Colorado Photographic Arts Center, Manifest Gallery (Cincinnati), Johalla Projects (Chicago), and The Alice Wilds (Milwaukee). His work is currently held in the permanent collections of the Philadelphia Museum of Art and the Haggerty Museum of Art, and is included in the Midwest Photographers Project at the Museum of Contemporary Photography. Horvath currently teaches in the New Studio Practice program at the Milwaukee Institute of Art & Design

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