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Paul Szynol: Solitude of Travel

Posted on March 3, 2019

Statement
“Solitude of Travel” documents a period of persistent travel: in the space of a decade, I passed through some 60 countries on 4 continents, often repeatedly and for prolonged periods of time.  I traveled without any overarching reason or direction, but I think even then I suspected that the pressing impulse to board yet another flight had to do with confronting a stubborn (and maybe endemic to immigrants) sense of displacement.

Steady movement through national boundaries gave me an illusion of global familiarity: new places seemed immediately recognizable upon arrival, if only by virtue of sharing features and characteristics with somewhere else I’d visited. But, at the same time, each location felt distant and inaccessible. And the sense of separation spread to places where I had lived for years, so that my connection to any one spot weakened and faded. It was a liberating sense of disorientation, and a disorienting sense of liberty. It was also deeply isolating: paradoxically, as I grew attached to new places, I simultaneously felt connected to everywhere and nowhere.

The photographs I took during this time are a testament to the constant sense of remove.  I think of them as a set of anti-postcards: whereas the typical travel photo celebrates arrival at recognizable destinations, usually in saturated color, most of the black and whites in this series document places that aren’t on the tourist map.  Moreover, though the pictures ostensibly document places, in reality they capture my own sense of steady separation: they are invariably framed from a distance, and, in all of them, the ultimate destination I might have longed—that is, the elusive sense of home and immersion—remains unreachable.

Bio
Paul is a filmmaker as well as a media and tech lawyer. His films have been featured on the New York Times Op-Docs, the Atlantic, and the New Yorker, and have been shown at festivals internationally, including AFI Docs, Big Sky, Clermont-Ferrand, Doc NYC, Slamdance, and TIFF. His photos have been exhibited in the US and Europe, including ICP in New York City and the Leica Gallery in Warsaw.

Paul was born in Warsaw, Poland, and moved to NYC at the age of 12, the year that the city’s transit fare rose from 75 cents to 90 cents; 33 previously unknown Bach pieces were found in an academic library; and Canon demoed its first digital still camera. Besides New York City and Warsaw, he’s lived in San Francisco, Los Angeles, Alexandria (VA), Berkeley, New Haven, Philadelphia, NJ, DC, and, for shorter periods, Kampala and Berlin. During his seven drives across the US, he’s visited the vast majority of the contiguous states, and, by train, plane or automobile, he’s also visited some 60 countries. He likes stray dogs, fair use, depressing movies, trains, Greene and Kundera, Uganda, open source software, the Oxford comma, and occasionally translating Polish poetry to English.

Paul is a graduate of Columbia University, where he studied history and philosophy, and Yale Law School, where he focused on free speech and intellectual property, and watched a lot of reruns and depressing movies.

Website

 

William Glaser: My Father, the Cowboy Actor

Posted on February 22, 2019

Statement
My Father, The Cowboy Actor

On December 19th, my Father made a surprise visit to my apartment in New York City. He got in late the night before from Flagstaff, Arizona and stayed the night at an old friend’s apartment in the Upper West Side. When he called me, I wasn’t sure what to expect or what to say since I hadn’t seen him in several years. When he came to my apartment, I made a portrait of him, and subsequently followed him around while he showed me what stood in place of his favorite bars, restaurants, and stores he used to peruse when he lived in New York City. After a week of being with my Father again, I realized I had to follow him back to his cabin in rural Arizona to photograph him and live with my Father for the first time.

For the first twenty-three years of my life, I never had a stable nor strong relationship with my Father. He was a distant member of our family that paid for our expenses, demanded time to see us on the weekend but was pushed away due to family dynamics and my preferred affiliation for my Mother. His career as an actor in New York City lasted twenty-five years, and upon the release of his children to higher education in places far from our hometown, he promptly left to become a cowboy just outside Flagstaff, Arizona. It’s only now that I’m beginning to comprehend the broken connection I have with my Father that I never cared to fix or understand. The man, my Father, Charles Glaser, is an enigmatic character and I attempt to comprehend his being and our relationship through Photography and Dialogue. By revisiting Charles’s old letters, documents and living with my Father in the desert, I attempt to trace my Father’s psychological journey while photographing his current self and the high desert that surrounds him.

Bio
William Glaser received his BFA in Photography from The Savannah College of Art & Design and travels extensively across the United States. William’s photographs celebrate regional- specific individuals and objects while exploring possible narratives.

Website

What I Know So Far

Posted on January 29, 2019

Statement
I am a self-described wallflower, rooted in the private mysteries of home and family. My images are my story, as told by a mostly reliable narrator.  The subjects I photograph are gathered from my immediate surroundings:  my children, our beloved dog, household artifacts, and the natural world outside our door.  Individually, each image is a story in itself.  Taken as a whole, this work is a fable of motherhood, love, and the inevitability of loss.

Though my pictures are personal documents of my life as I imagine it, I construct each vignette to be allegorical.  I build scenes like miniature stage sets, often tucked into quiet corners of my house, using the natural light of a hallway window to illuminate them. While my themes come out of my experience watching my children grow up and away, I try to avoid specific references to our time or place.  An antique bowl and the collar of a soldier’s uniform are clues to my history, but they are not meant to lead all viewers to the same conclusion. My subjects are commonplace, but I make them iconic through carefully balanced compositions.  The inherent stillness of this formality is often contradicted by a sense of impending drama. My work is meant to be deceptively calm and forcefully serene.  I like the underlying tensions at play and the uncertainty they create: formality versus familiarity, the mix of the real with make believe, the mundane made beautiful.

Inevitably, each of these quiet moments will slip away, leaving the image as proof of an enduring narrative.  Within families there are moments of intimacy and solitude.  The present is continually falling into the past.  Love and loss are inextricably linked.  -JH

Bio
Jackie Heitchue’s nomadic childhood spanned the country, from the suburbs of Los Angeles to Ohio and Virginia.  Finally settling in New England with her husband and children, the move felt like a homecoming, a sentiment borne out by a newly unearthed family lineage of Puritans, indentured servants, and an unfortunate Salem witch.  Ruminating over these historic connections while engrossed in the daily minutia of child-rearing, Jackie became fascinated with the universal themes of family and motherhood that connect one generation to the next. She began photographing her son and daughter as they grew and changed over the years.  While her images are deeply personal, they also stand as allegories for the milestones that all families traverse.

Heitchue has worked as a photographer most of her life.  After graduating with a BFA from the Corcoran School of Art, she was an award-winning photojournalist for a chain of newspapers in the suburbs of Washington, D.C.  From there, she worked as a master printer at the Library of Congress, and taught photography to high school students in Virginia. Her current work has shown in several galleries in New England, including a solo show at the Griffin Museum of Photography.  Farther afield, her work was selected for publication and exhibition in the Portfolio Showcase at the Center for Fine Art Photography in Colorado.  She has also shown at the Southeast Center for Photography in South Carolina and the Candela Gallery in Virginia.

Website

Elin Spring, What Will You Remember

J. Felice Boucher: Center of Quiet

Posted on January 2, 2019

Statement
My fine art photography is still and direct, and closely parallels my meditation practices. All sense of time and place is set aside when I focus on a photograph’s creation. Although much of my time is invested in commercial photograph my fine art work is grounded in my passion of photography, painting, design and color.

Bio
J. Felice Boucher has been a photographer with a career that has spanned 27 years. She earned her BFA from the Maine College of Art, as a non-traditional student and single mother of two young children.  And was awarded the Master Degree, Craftsmanship Certification by the Professional Photographers of America. She opened her photography business and photographed weddings, portraits and commercial projects both locally and around the country for over 23 years. Recently she has given up the wedding and portrait work and now focuses on real estate photography and her fine are work. Her fine art photography has appeared in museums, galleries and private collectors. 

Into the Night In the Middle of Nowhere

Posted on December 29, 2018

Article Harvard Magazine, July August 2019

Mark Feeney’s Globe Review

What Will You Remember’s Review

Statement
For over a dozen years I have gone to a place in Southern New Hampshire, in August and photographed the night. Beginning around 10pm the stars appeared: thousands of them- a sight so enchanting I stand there in silent awe. These are long exposures, 45 minutes to an hour and strange things happen: mists come and cover the lens, stars streak and moons rise and fall. No ambient light intrudes other than my flashlight or the occasional house lights. More recently I’ve gone to the Southwest where the night sky is too brilliant to imagine. Amoung the great rocks and giant saguaros, another kind of magic takes hold and once more, my handheld flash lights shape the image.

Bio

Received a BFA from Syracuse University, MA from Rutgers University, and MFA from Syracuse University (all in Visual Arts).

Painter, photographer. Writes art criticism and articles on the visual arts for arts magazines. Photography teacher for over twenty-five years at New York University.

2016
NJSCA Artist Fellowship for Works on Paper.

2015
Arthur Griffin Legacy Award, Griffin Museum,

2009
Honorable Mention in FineArts Photography Lucie Awards.

Four-time recipient of NJSCA fellowship award. Numerous one-person shows, most recently in Hunterdon Museum of Art Clinton, NJ, Medellin, Columbia, Taipei,Taiwan, Lubbock, Texas and New York City. Curated several exhibits, including ”Memory & Loss”, a five-person photo-based exhibit at the Mary Anthony Gallery in New York City. Her work is in several notable corporate, museum and private collections. Recent publications about her work include Photography’s Antiquarian Avant-Garde, by Lyle Rexer, Abrams Publishing, Light & Lens,Photography in the Digital Age, & Photographic Possibilitiesby Robert Hirsch, Focal Press as well as several other photography books. Photo Insider Magazinefeatured an interview with her about her work in their June issue 2001.

Her co-curated exhibit (with Orville Robertson) “Manifestations: Photographs of Men”, opened at the Southeast Museum of photography in 2004.

Collections include Pfizer Corporation, New York, NY, The Buhl Collection, New York, NY, Southern Alleghenies Museum, Loretto, PA, Colombo Centro Americano, Medellin,Colombia, Prudential Insurance Company, Newark,NJ, Milwaukee Art Museum, Milwaukee, WI, Bristol-Meyers Squibb, Lawrenceville, NJ,  Taiwan Photo-Fest, Taipei, Taiwan, Nantong Museum, China, Brooklyn Museum Artist Books Collection, Newark Public Library Artist Books Collection, Philadelphia Free Public Library, PNC Corp., New Brunswick, NJ, and Provident Bank, NJ

Website

Serás mis ojos

Posted on December 29, 2018

What Will You Remember’s Review

Mark Feeney’s Globe Review

Lenscratch Article


Statement
I have lived in California since 1998, but Buenos Aires remains my home – it anchors and feeds my soul.

I’ve always believed that we are three-dimensional beings, constantly living in the context of place. Everything we experience, everything we recall is intractably embedded in a specifc node of time and space. In my quest to adapt to living in the United States – in a place that is not mine, I began to lose my connection to myself, my identity and my grounding.

On one of my trips to Buenos Aires in 2011 with my camera in hand, I decided to revisit the place I knew so well and start at the beginning. I photographed things that have been a very important part of my life – family photographs, my first communion dress, my aunt’s house, places I’d visited with my father who passed away when I was a teenager. Like a jig saw puzzle, the pieces started coming together, re-creating my history and journey, reconstructing a life that had begun to feel no longer in sharp focus.

Just as I started this reconstruction of time and place, my aunt was diagnosed with Alzheimer’s. When I told her about my project, she told me how much she enjoyed photography when she was young and with tears in her eyes, she said “I am so happy you decided to photograph your home and collect your memories, because I am losing mine… so go out there, see for me, remember for me, you shall be my eyes”.

I am her eyes now, but also mine. As she slowly forgets who she is, I remember who I am. This journey has allowed me to rediscover the universal quest of self, collecting the pieces that had been left behind and occupying the spaces that had been left vacant. -ER

Bio

Eleonora Ronconi was born and raised in Buenos Aires, Argentina. Her work focuses on memory, family and documenting the idea of home,  based on her experiences as an immigrant.

After four years in Medical School, she had a change of heart and received a BA in Scientific Literary Translation and Conference Interpreting in her hometown of Buenos Aires.

She has taken intensive photographic workshops at Santa Fe Photography Workshops, Maine Media Workshops and LACP among others. Workshop instructors included Sam Abell, Ed Kashi, Mary Ellen Mark and Cig Harvey.

Her work has been selected to participate in several exhibitions at the Triton Museum, Griffin Museum, Building Bridges Art Gallery, Rayko Photo Center, Verve Gallery and San Francisco Arts Commission in the US, Festival de la Luz in Buenos Aires, and Fotofever in Paris among others. Her first solo exhibition was in her native Buenos Aires in 2009.

Her photographs have been featured in publications such as A Photo Editor, Aesthetica Magazine, Le Journal de la Photographie, Palo Alto Weekly, Lenscratch and Fraction Magazine among others.

She has resided and worked in California since 1998.

CV

SOLO EXHIBITIONS 
2019 Seras mis ojos, Griffin Museum of Photography, Winchester, MA
2011 Online exhibition “Emerging Artist”, VERVE Gallery, Santa Fe

GROUP EXHIBITIONS (select)
2019 Context, Filter Photo, Chicago, IL
2018 Colorado Photographic Art Center, Denver, CO
2017 Fotofever, Paris
2017 California Rising, Fabrik Gallery, Culver City, CA
2017 Foresaken, SE Center for Photography, Greenville, SC
2017 LACP, Annual Juried Exhibition, Los Angeles, CA
2017 All Women Are Dangerous, Building Bridges Art Gallery, Bergamot Station, Los Angeles, CA
2017 9Topics, Arthill Gallery, London, UK
2016 Same but different, New York Center for Photographic Art, NY
2015 Fotofever Fair, Fabrik Projects Booth, Paris
2015 The Rights of Summer, Ripe Art Gallery, Huntington, NY
2015 Still, A Smith Gallery, Johnson City, TX
2015 Portfolio Showcase, Davis Orton Gallery, NY
2014 Poemas revelados, Escuela Argentina de Fotografía, Festival de la Luz, Buenos Aires, Argentina
2014 Illuminate the Arts, Street Art Project, San Francisco, CA
2014 The Perimeter of the World, Rayko Gallery, San Francisco, CA
2014 20th Juried Exhibition, Griffin Museum of Photography, Winchester, MA
2014 Open Show LA
2014 Six Shooters, Venice Arts, Los Angeles, CA
2013 MobileMagic Exhibit, LightBox Gallery, Astoria, OR
2013 19th Juried Exhibition, Griffin Museum of Photography, MA
2013 Paper @ The Adobe, Adobe Gallery, Castro Valley, CA
2013 New Directions: Beautiful My Desire, Wall Space Gallery, Santa Barbara, CA
2013 Take Me Away, San Francisco Arts Commission, SF City Hall
2012 (Un)familiar, APA SF Curator’s Voice Exhibition, Carte Blanche, San Francisco, CA
2012 Altered images, Prix de la Photographie, Paris
2012 MOPLA + Smashbox Group Show, Smashbox Studios, Culver City, CA
2012 Statewide Photography Exhibition, Triton Museum of Art, Santa Clara, CA
2012 iSpy: Camera Phone Photography, The Kiernan Gallery, Lexington, VA
2011 Dreams, Center for Fine Art Photography, Fort Collins, CO
2011 9 photographers, The Lightroom Gallery, Berkeley, CA
2011 Portraits, Adobe Gallery, Castro Valley, CA
2011 The Pints & Pixels Competition, MOPLA, Hollywood, CA
2011 Pixels@OCCCA, Orange County Center for Contemporary Art, Santa Ana, CA
2011 Human+Being, Center for Fine Art Photography, Fort Collins, CO
2011 Annual Juried Exhibition, Center for Photographic Art, Carmel, CA
2010 Dominant Color, The Worldwide Photography Gala Awards
2010 Por(trait) Revealed, RayKo Gallery, San Francisco, CA
2010 Annual Exhibition, Palo Alto Art Center, CA
2010 Gala Exhibition for the 10th Anniversary of the Friends of Hue Foundation, San Jose, CA
2009 Magic in the Mix, Photo Central Gallery, Hayward, CA
2008 Group Book exhibition, ModernBook Gallery, Palo Alto, CA

AWARDS
2018 Top 200, Critical Mass
2018 Director’s Choice, Colorado Photographic Art Center
2016 Honorable mention and Juror’s Selection, Same but Different, NY
2015 Best in Show, The Rights of Summer, NY
2012 Finalist Critical Mass
2012 Honorable Mention, (Un)familiar, APA SF Curator’s Voice Exhibition, Carte Blanche Gallery, San Francisco
2012 Honorable Mention, Altered Images, Prix de la Photographie Paris
2012 Honorable Mention, Statewide Photography Exhibition, Triton Museum of Art, Santa Clara
2011 Honorable Mention, What happens at night, Terra Bella exhibition
2010 Special Mention of the Jury, Dominant Color, The Worldwide Photography Gala Awards
2010 Third place and Special Mention of the Jury, Palo Alto Weekly Contest

PRINT
2015 Adore Chroma Magazine, January Issue
2013 Aesthetica Magazine, Issue 55 (printed and online feature)
2013 Fraction Yearbook 2012
2012 The Santa Clara Weekly
2011 P1xels publication, OCCCA April Issue
2011 Center for Photographic Art Juried Exhibition Catalog
2010 Palo Alto Weekly
2009 Tri-City Voice Newspaper
2009 Department of Labor, Maine
2008 Newsletter Friends of Hue Foundation

ONLINE
2017 Underexposed Magazine, April
2015 Photo of the Day, Don’t Take Pictures
2015 Lenscratch, Finding Home
2013 Wall Space Gallery Flat File (Of Lights and Shadows)
2013 Wall Space Gallery Flat File (Once Upon A Time)
2012 Fraction Magazine
2012 F Stop Magazine
2012 June, July and August Le Journal de la Photographie
2012 OriginArte, Buenos Aires, April feature
2011 Dead Porcupine Magazine, Italy
2011 Lenscratch Blog  August

Website

Overboard

Posted on December 29, 2018

Statement

I am now privileged to be a full-time fine art photographer, having transitioned from a 40 year career in biomedical research. While the camera is my principal tool of discovery, the stages of my work have not changed. The discovery (now of light, color, and form), the development of the idea highlighted by the discovery (now in image enhancement, printing, revision, and editing), and the public presentation (now online and in galleries), remains much the same process as my previous career with many of the same rewards. I am lucky to have discovered that contemporary photography represents just as vibrant a community as does contemporary scientific research.

What is it that attracts my eye that I wish to communicate? In research, much of my work was directed at the function of cell membrane proteins. The membranes of a cell are an interface that separates its compartments, and as a result, are where all the communication to and from is focused. In discovering my photographic images, I put myself at a similar interface – the eyepiece, the lens, the monitor, the printer – and search for visual information coming and going. I have become fascinated by how the flat surface of a boat hull along its waterline – or even on a decaying plant – can hold accumulated residues, scratches, wrinkles, and scrapes that can convey the space of a landscape or seascape, or the passage of time. The patterns of wear and oxidized paint flowing from drain holes on the boat hulls have provided indisputable records of pollutants entering the sea, and offer another portal of information.

As I have searched for landscape imagery along boat hull waterlines, I have been struck by evidence of the record of water pollution. The waterline is sometimes interrupted by drains and scupper holes from which the outflow leaves traces of various corrosives, rust, and pollutants disgorged from within. The drain hole is the concentrated source of these pollutants that are diluted once they enter the sea. The color and forms introduced by the interaction of the pollutants with the boat’s bottom paint provide iconic symbols of man’s disturbance of nature, and are inescapable evidence of the downside of the sailor’s voyage upon the sea.

Bio
Richard Alan Cohen grew up in Portland and attended Bowdoin College in Brunswick where he co-majored in art and science. Having always maintained an interest in art, he has now transitioned from a 40-year career in cardiovascular research to being a full-time fine art photographer. The aspects of discovery (now of subject, light, and color in the field) as well as the imagination and creativity involved in the development of the concept of each image (now in editing and printing), are very similar in the two careers, with many of the same rewards. Richard has exhibited his photographs in numerous solo and group shows at venues including 555 Gallery, Panopticon Gallery, the Griffin Museum of Photography, Galatea Gallery, and Sohn Fine Art.

Based on his experience as a youth in and around boatyards, many recent images are derived from photographs of the sides of boat hulls sitting in their cradles. The waterline is perceived as an horizon, and imperfections and encrustations accumulated during the passing seasons provide the abstract details of imagined landscapes, perhaps those that could be seen from the boats themselves as they sailed. He has also perceived abstract landscapes in the dying fronds of agave cacti in his series, “Agave Night Visions”, and has visualized landscapes also in mossy, rotting tree stumps in “Moonlit”.

CV

Solo Shows

2018

Gallery on the Green, Canton CT “Along the Waterline”

2016

Gallery on the Green, Canton CT “Objectives of Desire: Vignettes”

SOWA First Friday Morse Editions

Galatea Gallery, Boston “Objectives of Desire”

2015

SOWA First Friday Morse Editions

2014

SOWA First Friday Morse Editions


Two-Person Juried Show

2017

“Waterlines”. Westport Free Library, sponsored by the Westport (MA) Art Group, Awarded by Karen Davis of Davis-Orton Gallery, Hudson, NY.


Five-Person Juried Shows

2018

Panopticon Gallery, Boston. First Look 2018. Six “Waterline” images selected by gallery director, Kat Kiernan.

Sohn Gallery, Lenox MA. 7th Annual Juried Show, Jurors: Ann Jon, Wayne Alpern, Jonas Dovydenas, and Susan Wissler. 4 selected images, Waterlines-3 and -11, Overboard-1 and-3.

Group Juried Shows

2018

Plymouth Center for the Arts, 8th Annual Fine Art of Photography Open Juried Exhibition, Jurors: Mark Chester, Suzanne Revy, Bob Singer, Selected Image: “Overboard-3”.

New England Collective IX juried exhibition, Juror: Marni Elyse Katz. Selected image: “Passage-Black Spruce Bog”

Griffin Museum of Photography: Photographic Abstractions, Lafayette City Gallery juried exhibition, Juror: Paula Tognarelli. Selected image: “Agave Night Vision-9”.

Gallery on the Green, 31st Annual Open Juried Exhibition, Juror: Melanie Carr. Selected image: “Passage-Sumac”

Fotofoto Gallery, Huntington, NY, 14th National Juried Competition, Juror: Charles Riley. Selected image: Waterline-11. 

2017

Gallery on the Green, Canton, CT, Artists Association, 50th Annual Open Juried Exhibition, Juror, Lisa Hayes Williams, New Britain (CT) Museum of American Art, Selected image: “Waterline-15”.

Ashton Gallery, San Diego, CA, Orange is the New Black, Juror: Jenna S. Jacobs, San Diego Museum of Contemporary Art, Selected image: “Psyche”.

Griffin Museum of Photography: “The Visual Metric”, Juror, Paula Tognarelli, Lafayette Center Gallery, Selected image: “Finale”

Westport Art Group: “Treasure”, Juror, Karen Davis, 3 selected images from “Objectives of Desire: Vignettes”, awarded two-person show.

Davis-Orton Gallery: 3rd Annual Group Show, Juror, Paula Tognarelli, Selected image: “Bilge drain”.

2016

Griffin Museum of Photography: “Space” exhibition, Lafayette Center Gallery, Juror, Paula Tognarelli, Selected image: “Psyche”

Gallery on the Green, Canton, CT, Artists Association, 44th Annual Open Juried Exhibition, Selected image: “Snail Pool”

Robert Lincoln Levy Gallery, Portsmouth NH, New Hampshire Artists Association, Open Juried Exhibition, Selected image: “Frames”, Juror’s honorable mention

2015

Atelier 21 at The Rockport Art Association, Griffin Museum of Photography

2014

Atelier 21: Griffin Museum of Photography

Media coverage

2017

Don’t Take Pictures: Rule Breakers, featured Waterlines, curated by Kat Kiernan, August 30, 2017, https://goo.gl/LdmvaU

2015

aPhotoEditor, featured Ambiguity of Cityspace, curated by Jonathan Blaustein, November 6, 2015, https://goo.gl/a2xEQ3

Awards

2018

Griffin Museum of Photography: 24th Annual Juried Exhibition, Director’s Award: Paula Tognarelli, Griffin Museum Solo Show awarded June/July 2019.

International Fine Art Photography Awards, Nominee, Abstract Category: Overboard

2017

Neutral Density Awards, Honorable mention (Conceptual category): Alien Portraits

Neutral Density Awards, Honorable mention (Conceptual category): Waterlines

Neutral Density Awards, Honorable mention (Conceptual category): Overboard

2016

Neutral Density Awards, Honorable mention (Conceptual category): Objectives of Desire: Ginza

Neutral Density Awards, Honorable mention (Conceptual category): Objectives of Desire: Vignettes

2015

Neutral Density Awards, Honorable mention (Conceptual Category): Ambiguity of Cityspace,

Neutral Density Awards, Honorable mention (Conceptual Category): What the Dummies Can Tell Us

Education

Bowdoin College, Brunswick, Maine: Graduation with Art Minor, 1972.

Photoshop and printing training, William Morse, 2013-2017.

Atelier 21 with Meg Birnbaum at Griffin Museum of Photography, 2014.

D65 Creativity workshop with John Paul Caponigro and Seth Resnick, Cushing Maine, 2016.

Juried Memberships

Galatea Gallery, Boston. MA  2015-2017

Gallery on the Green, Canton, CT 2016-

Gallery Representation

Kingman Gallery, Deer Isle, Maine. Gallerist: Anne Page

Website

PhotoSynthesis XIV

Posted on December 29, 2018

PhotoSynthesis XIV is a collaboration of the Burlington High School and Winchester High School facilitated by the Griffin Museum of Photography.

By creating photographic portraits of themselves and their surroundings, students from Burlington High School and Winchester High School have been exploring their sense of self and place in a unique collaborative program at the Griffin Museum.

In its fourteenth year, the 5-month program connects approximately 20 students – from each school – with each other and with professional photographers. The goal is to increase students’ awareness of the art of photography, as well as how being from different programs and different schools affects their approach to the same project.

The students were given the task of creating a body of work that communicates a sense of self and place.  They were encouraged to explore the importance of props, the environment, facial expression, metaphor, and body language in portrait photography.

Students met with Tara Sellios, a Boston artist who received her BFA in photography with a minor in art history from the Art Institute of Boston in 2010. Recent solo exhibitions include Sinuous at C. Grimaldis Gallery, Baltimore, Testimony at Blue Sky Gallery, Portland and Luxuria at Gallery Kayafas, Boston. She is a Massachusetts Cultural Council fellowship recipient and was named an emerging photographer to watch by Art New England magazine. Tara is represented by Gallery Kayafas and currently lives and works in South Boston.

Asia Kepka met with students in February and discussed her photography journey especially her project “Horace and Agnes”. Kepka studied set design in Lodz, Poland. A graduate of New England School of Photography in Waltham, MA, she has worked for such publications as Wired, Fortune, Time, The New York Times Magazine, and many more. Her work has been exhibited in galleries and museums in the United States and Europe.

Alison Nordstrom, the former curator of the George Eastman House in Rochester, N.Y., and photographer Sam Sweezy gathered with students for a one-on-one discussion of their work and a final edit was created for the exhibition at the museum.

“In collaboration and through creative discourse these students have grown,” said Paula Tognarelli, executive director of the Griffin Museum. “We are very pleased to be able to share this year’s students’ work. We thank the mentors and teachers for providing a very meaningful experience for the students. We also want to thank the Griffin Foundation and the John and Mary Murphy Educational Foundation, whose continued commitment to this project made learning possible. To paraphrase Elliot Eisner, the arts enabled these students to have an experience that they could have from no other source.’’

Photography Atelier 29

Posted on December 29, 2018

The  Photography Atelier 29 will showcase at the Griffin from March 7 – April 4, 2019. The reception will take place on March 10, 2019  from 4:00 – 6:00 PM.  Ralph Mercer’s Myths and Jennifer Georgescu’s Mother Series also run from March 7 – April 4, 2019 with receptions on March 10, 2019 from 4:00 – 6:00 PM. The Chervinsky Award presentation will take place at 6-6:15 PM on March 10, 2019.

The Atelier is a course for intermediate and advanced photographers offered by the Griffin Museum of Photography. You are invited to come view the photographs at the Griffin Museum, 67 Shore Road, Winchester, MA 01890.

Photography Atelier Instructor and Photographer Emily Belz said, “It has been my immense pleasure to work with the photographers of Atelier 29. Seeing each student’s individual work evolve over the 12 weeks of the course was inspiring; many risks were taken and boundaries pushed, and the resulting portfolios showcase the diverse interests and talents of these 21 photographers. I am honored and humbled to have taken part in the evolution of this work, and to lead the Atelier, a workshop with such a long and meaningful history for photographers in the Boston area and beyond. My thanks to Dennis Geller for his stellar assistance during the course, and to the Griffin Museum of Photography for providing emerging-to-advance photographers the incredible opportunity to build their work and present it to the public in the Museum’s galleries.”

The 21 photographers of Photography Atelier 29 include: Anthony Attardo, Carole Smith Berney, Becky Behar, Terry Bleser, Ann Boese, Dawn Colsia, Frank Curran, Tim H. Davis, Mark Farber, Dennis Geller, Sarah Gosselin, Janis Hersh, Tira Khan, Bruce Magnuson, Amy Pritchard, Astrid Reischwitz, Darrell Roak, Leann Shamash, Susan Swirsley, Amir Viskin and Jeanne Widmer.  


Anthony Attardo says that his focus is on the gracefulness of spaces and structures in the southern New Hampshire towns.

Carole Smith Berney‘s botanical photographs isolate a small piece of nature to reveal its uniqueness.

Becky Behar‘sphotographs of her daughter are inspired by Dutch master painters.

Terry Bleser‘s photography serves as a means for personal exploration and advocacy for the natural world.

Ann Boese says that she frequently photographs the landscape and her work is rooted in the agricultural world.

Dawn Colsia photographs on her daily walks with her dog around Jamaica Pond.

Frank Curran‘s photographs feature the solitary figure within the urban environment.

Tim H. Davis‘ photographs provide a glimpse into an ever-changing city.

Mark Farber’s photographic work is about place, as inhabited or shaped by people.

Dennis Geller‘s photographs tell an elusive story of an alien world, just next door to the real world in which we live.

Sarah Gosselin‘s images of feathers represent a person’s inherent strength and the tension between what is shown to others and  internal life.

Janis Hersh‘s photographs contrast the architectural elements of life at the high school she tutors at in Boston.

Tira Khan‘s photographs are inspired by the short story, The Yellow Wallpaper, published in 1892 by Charlotte Perkins Gilman, in which the protagonist sees a woman trapped inside her bedroom wallpaper. The wallpaper becomes a metaphor for the social mores of the Victorian era.

Bruce Magnuson explores Chelmford, Massachusetts at night with a nod to Edward Hopper.

Amy Pritchard explores the impermanence of both the seemingly permanent landscape and herself, through long
exposure self portraits set in areas that are experiencing high levels of erosion.

Astrid Reischwitz photographs in her late grandmother’s room.

Darrell Roak is drawn to photographing abandoned structures and spaces.

Leann Shamas photographs Irma, her 95 year-old mother, in a centuries worth of hats.

Susan Swirsley photographs are a collaboration between herself as photographer and Mallika, a movement and visual artist.

Amir Viskin says that he uses “abstraction as a means to move beyond a conventional representation of mundane landscapes.

Jeanne Widmer photographs the unguarded moments of childhood.

Photography Atelier 29 Website

In Your Mother Tongue: A Word and Image Dialogue

Posted on December 27, 2018

The idea behind this exhibition was to say that there are many ways of communicating. Some people do best with the written or spoken word. Others are visual communicators using pictures or signals to converse. We wanted a vehicle that would speak to this concept and sent out a call for entry for  an exhibition called “In Your Mother Tongue: A Word and Image Dialogue.” Our thinking was that two artists would submit as one collaborative entry. We requested two photographers or a photographer and a poet (or writer), or two poets, a poet and a writer, or two writers submit as one entry.  We only received submissions that were either by two photographers, a photographer and either a writer or poet and two photographers that each communicated with two painters. We received no submissions of an interchange between two writers.

The artist collaborations for “In Your Mother Tongue: A Word and Image Dialogue” are listed here:

Alina Marin-Bliach and Zoe Gonzalez
Edward Boches and Barbara Boches
Joy Bush and Stephen Vincent Kobasa
Richard S. Chow and Georgina Marie
Gina Costa and Yvette Meltzer
Adrienne Defendi and Angelika Schilli
Alex Djordjevic and Andrej Djordjevic
Yorgos Efthymiadis and Arlinda Shtunii
Diane Fenster and Miles Stryker
Kev Filmore and Kate Gallagher
Bill Gore and Ann Nicholson Brown
Linda Grashoff and June Goodwin
Michal Greenboim and Leslie Jean-Bart
Law Hamilton and Lauraine Alberetti Lombara
Law Hamilton and Alexanderia Eddy Casey
Silke Hase and Tristan Stull
Rohina Hoffman and David M. J. Hoffman
Evy Huppert and Angus Scott
Leslie Jean-Bart and Steven Gentile
Diane Nicholette Jeon and Nina Weinberg Doran
Marcy Juran and Ellen Hoverkamp
Karen Klinedinst and Richard Manly Heiman
David Kulik and Stephanie JT Russell
Stephen Levin and Leah Aronow-Brown
Yvette Meltzer and Gail Spilsbury
William Nourse and Lisa Goren
Jane Paradise and Rich Perry
Jaye Phillips and Denise Lynch (2 entries)
Lee Post and Tom O’Leary
Susan Rosenberg Jones and Steven Gentile
Susan Rosenberg Jones and Brahna Yassky
Karin Rosenthal and Ellen Jaffe
Tony Schwartz and Victor Schwartzman
Lisa Paulette Silberman and Erica Silberman
Vicky Stromee and Catherine Harold
Jane Szabo and Elline Lipkin
Neelakantan Sunder and Diana Sunder
JP Terlizzi and Joshua Sarinana
Stephen Tomasko and Daniel Sapp
David Underwood and Susan O’Dell Underwood
Cate Wnek and Susan DeWitt
Julie Williams-Krishnan and Yuyutsu Sharma
Jonas Yip and Wai-lim Yip
John Yrchik and Eileen Sypher
Dianne Yudelson and James Yudelson

Our rules asked that within each pairing there needed to be an idea that connected the collaboration. Each team found his/her own partner. We did not provide a limitation on theme. We chose submissions that best answered our call for entry and showed an interchange of ideas. As jurors and “readers” we saw exchanges where the topic was the unifier. We saw definite dialogue between collaborators. We saw submissions where the collaborators spoke in different “languages” per se, yet we as jurors could follow intent. Connection was truly happening. Each artist spoke in the language that felt more natural; either as word or image. In other words each spoke in their “Mother Tongue.”

We leave it up to you dear readers to decide how you communicate best. Perhaps you will discover that you have a natural affinity for all language. We hope you enjoy the challenge of this exhibition as viewer and participant.

 

 

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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