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Natural History

Posted on September 18, 2018

Natural History is a series of completely candid single exposure images that merge the living and the dead to create allegorical narratives of our troubled co-existence with nature. Ghost-like reflections of modern visitors viewing wildlife dioramas are juxtaposed against the antique taxidermied subjects housed behind thick glass, their faces molded into permanent expressions of fear, aggression or fleeting passivity. After decades of over-hunting, climate change, poaching and destruction of habitat, many of these long dead diorama specimens now represent endangered or completely extinct species.

During the summer of my ninth and tenth years, my mother, in lieu of hiring a babysitter, kept me captive in our hometown Natural History Museum all day, every day. She functioned as a vibrant and quirky volunteer curator while I spent very long, solitary weeks communing with the museum’s animals, both living and dead, as well as operating the ancient manual elevator for employees and rummaging through the museum’s disheveled collection of mite riddled, century old periodicals and books housed in a private storage. I have since harbored an immense affection for all things old and musty and mysterious, particularly preserved animals whose half dead/half alive presence is at once fascinating and unnerving.

In 2008, during a long anticipated visit to the American Museum of Natural History in New York, I accidentally created an intriguing image while “snapshotting” their dioramas. A reflection of my husband, inadvertently rendered in the glass and framed behind a large ostrich, gave me pause. A few months later, I began to frequent diorama exhibits around the country furtively aiming at capturing these narratives. It is both exhilarating and humbling to be the catalyst for these truly alchemical images which are set against a century old stage and born of random timing and fractured light.

 

 

Traer Scottis an award winning fine art and commercial photographer and author of seven books including Nocturne: Creatures of the Night (Princeton Architectural Press, 2014), Finding Home; Shelter Dogs and Their Stories (Princeton Architectural Press, Fall 2015) and Wild Babies; Photographs of Baby Animals from Giraffes to Hummingbirds (Chronicle Books, 2016). Her work is exhibited around the world and has been featured in National Geographic, Life, Vogue, People, O, on the NY Times Lens Blog, Behold and dozens of other national and international print and online publications. Her first solo museum show Natural Historywas exhibited at the University of Maine Museum of Art in 2015. Traer was the recipient of the 2010 Rhode Island State Council for the Arts Photography Fellowship Grant and the 2008 Helen Woodward Humane Award for animal welfare activism. She lives in Providence, Rhode Island with her husband, daughter and adopted dogs: a pit bull and a baby basset hound.

Website

Las Sobras/ The Shadows

Posted on September 18, 2018

Las Sombras/The Shadow

“I picked the dead coyote up off the road. It had been hit by a car, probably at dawn that morning. It was surprisingly heavy, but its coat was finer and softer than I had imagined. I was worried it would not fit under the enlarger and that my paper wouldn’t be wide enough, and it was going to be hard work digging a hole to bury it afterwards.

In the mid 19thcentury the daughter of a biologist, an English woman called Anna Atkins (1799-1871) began a decade-long obsession with collecting and documenting algae and seaweed.  They were the earliest form of photography, pictures made without a camera, ‘photogenic drawings’ or photograms, in which the subject is laid on light sensitized paper and exposed to light, in this case the sun, using a process known as cyanotype. She self-published this collection in a series of volumes called ‘British Algae’.  They were beautiful, otherworldly images of white amorphous shapes floating on a deep blue background. She labeled them in neat Victorian handwriting with their classifying genus and species.

When I first put a eucalyptus leaf on a piece of photographic paper in the dark, in an art school in Australia roughly 130 years later, my fate was sealed – my own obsessions set in motion.  The natural world is full of wondrous things to look at and to chronicle and catalogue. In my own way, I have devoted myself to that end.

After I laid the coyote on the photographic paper and gently stroked the dirt and pebbles off its glossy coat and arranged its tail, I thought about Anna arranging her seaweed with the same care and with the same anticipation.

These images are the ghostly shadows of the remains of living creatures, burned onto photographic paper with light and with love, to make a lasting impression.”

– Kate Breakey

 

Kate Breakey is internationally known for her large-scale, richly hand-colored photographs including her acclaimed series of luminous portraits of birds, flowers and animals in an ongoing series called Small Deaths published in 2001 by University of Texas Press with a foreword by noted art critic, A. D. Coleman.  Since 1980 her work has appeared in more than100 one-person exhibitions and in over 60 group exhibitions in the US, France, Japan, Australia, China, and New Zealand. Her work is held in many public institutions including the Center for Creative Photography in Tucson, the Museum of Photographic Arts in San Diego, the Museum of Fine Arts in Houston, the Wittliff Collections at Texas State University in San Marcos, the Austin Museum of Art, and the Australian National Gallery in Canberra.   Her third book, Painted Light, published by the University of Texas in 2010, is a career retrospective that encompasses a quarter century of prolific image making.

Her collection of photograms, entitled ‘Las Sombras / The shadows’ was published by University of Texas Press in October 2012.   This series is a continuation of her lifetime investigation of the natural world which in her own words is ‘brimming with fantastic mysterious and  beautiful things.

A native of South Australia, Kate moved to Austin, Texas in 1988. She completed a Master of Fine Art degree at the University of Texas in 1991 where she also taught photography in the Department of Art and Art History until 1997.  In1999, she moved to Tucson, Arizona. In 2004 she received the Photographer of the Year award from the Houston Center for Photography. She now regularly teaches at the Santa Fe Photographic workshops, and The Italy ‘Spirit into Matter’ workshops.

Her landscape images – selected from a life-time of photographing all over the world – were published by Etherton Gallery in a Catalogue entitled  ‘Slow Light’. She currently works with gold-leaf to produce a modern day version of an archaic process called an Orotone, and also uses encaustic wax, a continuation of her interest in ‘blurring lines’ between media.

 

Website

R. J. Kern: The Unchosen Ones, Out to Pasture

Posted on September 18, 2018

Statement
The Unchosen Ones takes place on the sidelines of county fair animal contests in Minnesota in 2016. These county fairs lead up to the Minnesota State Fair, one of the largest and best-attended expositions in the world.

One isn’t born a winner or loser, but a chooser. This theme I explore in this series.

As we look at them, they look back, allowing us to think about how we choose winners and the repercussions for the ones not chosen.

The project consists of over 60 portraits made at 10 Minnesota county fairs in 2016. The photographs showcase the subject facing the camera, allowing the viewer to decide what connects and distinguishes these subjects.

With a vantage point straight onto the figures, the direct stance portrayed develops a typology, showcasing individual styles and characteristics. With a serial and systematic approach, the human condition is exposed in real-time. – R. J. Kern

Statement
Out to Pasture
 serves as a secondary, deeper glimpse of The Unchosen Ones, offering insight into the cultural landscape these animals call “home.”

This work explores how we see animals in a place, how we shape that place, and how it shapes us. The pastoral environment not only serves as backdrop for better understanding the cultural and physical landscape which have shaped this species, but human behavior is often mirrored in response. – R. J. Kern

Bio
R. J. Kern (b. 1978) is an American artist whose work explores ideas of home, ancestry, and a sense of place through the interaction of people, animals, and cultural landscapes.

His work has been exhibited in a number of notable exhibitions, including at the Museum of Modern Art (Tbilisi, Georgia), National Portrait Gallery (London, UK), and the Yixian International Photography Festival (Anhui, China) among others.

Awards and accolades include CENTER 2017 Choice Award Winner, Curator’s Choice (First Place), PDN’s 30 2018, Critical Mass 2018 Top 50, the 2017 TAYLOR WESSING Photographic Portrait Prize (Finalist), and he is the recipient of two Artist Initiative Grants from the Minnesota State Arts Board (2016, 2018).

Kern’s work has been presented in a number of publications, including a feature in National Geographic (November 2017), with his series The Unchosen Ones and Out To Pasture. In 2018, Kern published his first monograph with Kehrer Verlag titled, The Sheep and the Goats, awarded one of  “The Most Beautiful German Books 2018,” by Stiftung Buchkunst.

Public collections holding his work include the Center for Creative Photography, the Griffin Museum of Photography, the Plains Art Museum, the Museum of Fine Arts, Houston, and the Museum of Fine Arts, St. Petersburg. He is represented by the Klompching Gallery in New York and Burnet Fine Art in Minnesota.

He lives and works in Minneapolis, Minnesota.

Website

Sal Taylor Kydd: Keepsakes

Posted on July 27, 2018

Keepsakes soft cover letterpress book in a custom case

Limited Edition of 15, signed and numbered by the artist 2016, 13 folios, 7 x 9   $975 (contact the museum)

Keepsakes is a limited edition hand-made artist’s book. Each book contains 13 folios featuring archival pigment prints, text set in letterpress, and botanical print-transfers. Text and cover illustration were printed by the artist on the Vandercook Universal letterpress at Maine Media Workshops & College. Each book also comes with a limited edition platinum-palladium print. The book is presented in a hand-made box by Richard Smith of Camden Maine.

The premise of the book and the photographs within it was to explore the notion of the keepsake as “an object kept for the sake of the giver.” It explores how we preserve memories and how the discoveries we make when exploring the natural world, rekindle that sense of  wonder we remember from our childhood. It also nods to the secrets and mysteries contained within the landscape, as both a reflection of time’s passing but also our collective memory.

The title poem, Keepsakes, runs throughout the book from folio to folio spanning the entirety of the book. The photographs are paired with the poems as echoes of experience, as opposed to more literal illustrations. This sequencing of image and text, or absence of text, or image, sets up a pacing of the material that allows the viewer to experience the book in a series of steps, each folio can stand on its own as a keepsake, or be experienced collectively with the others in the book.

ARTIST STATEMENT

My work is an exploration of the emotionality of place. The quest to understand what we mean by home has been central to my work, together with a desire to understand how personal history and memory is embedded in the landscape and in the objects we value.

Through my process I focus on the photographic object, the platinum-palladium print, or the hand-made book, as a keepsake of experience. It provides me in a very tangible and tactile way, a tool to record the discoveries and memories that I am trying to preserve.

Working with alternative processes, the element of time is not inconsequential, it takes time to make a print, a process that gives opportunity for discovery and serendipity. In each of the steps, there is a tangible connection with nature and the natural elements that are brought into the print, which mirrors the content of the work. The artistry of “making” a photograph becomes itself an act of becoming and invention. – STK

BIO

Originally from the UK, photographer and artist Sal Taylor Kydd earned her BA in Modern Languages and has an MFA in Photography from Maine Media College. She has exhibited nationally, including in shows at the A. Smith Gallery in Texas, The Soho Gallery in New York and solo shows at the Pho Pa Gallery in Portland and Gallery 69 in Los Angeles. Sal has self-published a book of poetry and photographs entitled Just When I Thought I Had You, now part of the Getty Collection and has authored and created a number of hand-made artist books, notably Cadence, Late Love and most recently Keepsakes. Her artist books are represented by Priscilla Juvelis, Inc. Sal and her family reside in Rockport, Maine where she is on the board of Maine Media Workshops and College.

C.V.

 

SOLO/TWO PERSON SHOWS

Hiraeth May 2018 Zoots Gallery, Camden ME
Hiraeth 2017 Kingman Gallery, Deer Isle, ME
Momentary Certainties 2017 Pho Pa Gallery, Portland ME
Unspoken 2017 Pascal Hall, Rockport ME
Keepsakes 2016 Pascal Hall, Rockport ME
Origins 2016 Gallery 169, Santa Monica, CA

SELECT GROUP SHOWS

Found March 2018 Maine Media Gallery, Rockport ME
Fresh Start Art Show 2018, Los Angeles
Fine Wine & Fine Books 2017 Minnesota Center for Book Arts,
13th Annual National Alternative Processes Competition 2017 Nov 4, Soho Gallery, NYC.
The Door Between, Book Arts & Historic Processes 2017 Maine Media Gallery,
Forsaken 2017 SE Center for Photography, Greenville, SC
Fall Line Fifty Photobooks 2017 Fall Line Press, Atlanta GA
23rd Juried Exhibition 2017 The Griffin Museum of Photography, Winchester MA,
Summertime 2017 A Smith Gallery, Johnson City, TX
Of Memory, Bone & Myth 2016 Colonel Eugene Myers Gallery, Grand Forks, MD,
A River Runs Through It, 2016 Keystone Gallery, Los Angeles, CA,
Earl with Mack 2015 A Smith Gallery, Johnson City, TX
Magic 2014 A Smith Gallery, Johnson City, TX

PUBLICATIONS

Maine Home & Design Found Objects, 2018
The Hand Magazine Issue, 2017, #19 feature
Don’t Take Pictures Magazine, 2017, Filter Festival Feature
The Hand Magazine, 2017, Cover feature.
Hawk & Handsaw, 2017, Batrachomany Wagenaar & Kydd
Portland Press Herald, 2017, Two Artists 
Feature Shoot, 2016, Return to Photography’s Roots
Diversions LA 2016, LA Show Review
We Choose Art, 2016, Artist Interview
Artful Amphora, 2016, Women Around Town
Make Photo Art, 2016, Artist Interview
Silvershotz Magazine, 2016, Review
L’Oeil Magazine, 2016, Show Review
Maine Media College, 2015, Artist Interview

AWARDS

Runner Up, San Francisco Book Festival, Just When I Thought I Had You
Honorable Mention, Julia Margaret Cameron Alternative Process Awards 2018
Best Photobooks, 2017, Fall Line Fifty Award Just When I Thought I Had You
Jurors Award for Magic, A Smith Gallery, Johnson City, TX 2014,

TALKS

Maine Media MFA Interview 2016
Pecha Kucha May 2018

EDUCATION

2016 Maine Media College, Rockport MFA in Photography
1996 NE Institute of Art, Boston, PDip. Broadcast Journalism
1993 Manchester University, England BA Hons. Modern Languages

website

Jennifer Shaw: The Space Between

Posted on July 27, 2018

I am photographing my life. It is as simple and complex as that. Presently, my life is overrun by exquisite little creatures known as children. As they explore the elements with carefree abandon, I observe with camera poised, balanced between protection and permission. – JS

I work from a place of intuition, capturing the action as it unfolds and stealing sidelong glances at the details of our environments. The images are juxtaposed to create an introspective narrative, mining the richly ambiguous state of parenthood, akin to the murky realm between a river’s glittering surface and its hidden undercurrents. Through the camera’s lens I am transported, traversing the spaces between shadow and light, dreams and reality, delight and disquiet.

Bio
Jennifer Shaw is a fine art photographer whose work is based on both a world observed and a world constructed, often focusing on the fleeting and personal within the sphere of her immediate surroundings. She grew up in Milwaukee, Wisconsin and earned a BFA in photography at the Rhode Island School of Design. Upon graduation she moved to New Orleans in pursuit of the artist’s life, where she currently teaches the disappearing art of darkroom photography at the Louise S. McGehee School and serves as creative director of PhotoNOLA, in addition to chasing after two young sons.

Shaw’s photographs have been featured in B&W, American Photo, Shots, Light Leaks, The Sun, and Oxford American magazines, and online publications including NPR, Fraction Magazine, One One Thousand and Lenscratch. Her first monograph, Hurricane Story (Chin Music Press), was named a best photo book of 2011 by photo-eye and Brain Pickings. North Light Press published her second monograph, Nature/Nurture, in 2012. Shaw’s work is exhibited widely and held in collections, including the New Orleans Museum of Art, the Ogden Museum of Southern Art, and the Museum of Fine Arts Houston.

website

Review on “What Will You Remember” by Suzanne Révy

Rachel Fein-Smolinski: The Infinite Internal

Posted on June 25, 2018

The 2017 award for the John Chervinsky Emerging Scholarship has gone to photographer Rachel Fein-Smolinski

The judges, said, “We are pleased to award the 2017 John Chervinsky Scholarship to Rachel Fein-Smolinski. Rachel’s plunge into science-and-visual-expression, her experimentation with imagery and presentation in the service of her ideas, and a special energy all come through in her uniquely provocative work. While not a requirement of this award, and quite different in form, she and John share the spirit of scientific inquiry, making this all the sweeter.”

John Chervinsky Emerging Photographer Scholarship awards 2017 Press Release

Fein-Smolinski submitted The Infinite Internal for consideration for the scholarship. Fein-Smolinski says of the body of work:

“The Infinite Internal has three chapters: “The Sex Lives of Animals without Backbones”, “A Science of Desirable/Detestable Bodies”, and “The Prosthetic Practice for the Healing of Imaginary Wounds” that integrate disparate imagery, from highly stylized documents, photographs, videos of dissections, and sourced diagrams from scientific education materials used to create spaces that probe the relationship that intellectualism has with authority, gender, sexuality, and psychology. Intellectualism has historically been a saving grace for disenfranchised cultural groups, heavily associated with people of Jewish descent and those who identify as women. As someone who is both of those things, I have been carrying out my own experiments, spending time with DIY scientists and creating installation spaces that visualize science fiction stories of DIY biology and medical procedures that appropriate the authority of the bio-medical field. I print large format images created through microscopy and coat them in resin. Resin being a substance that is used in the preservation of organisms. I use clinical lighting like x-ray viewing machines to show transparencies that I produce in the darkroom on lith-film from archival scientific educational slides, carry out at home dissections of organs and organisms, grow crystals which I document via time-lapse, use alternative printing processes that reference the history of women in science like cyanotypes referencing Anna Atkins botany prints and black and white documentation of physical principles appropriated from an archive of scientific educational slides, referencing Berenice Abbot’ s work producing images for MIT’s Physics department. A vital aspect of this work is the installations, which address the images as objects themselves, amongst a world of objects that hold visual pleasure on the same level as intellectual rigor, using institutional, experimental, educational, and commercial display methods.”

Rachel Fein-Smolinski’s Statement of Purpose:

“My work is about pleasure, neurosis, objectivity and subjectivity. It is about the visceral and visual satisfaction associated with the history of the documentation and depiction of bio- medical phenomena. I use a mixture of the visual indulgence of high commerce, the sacred and compulsive laboratory space, and the expansive mode of science fiction and its ability to appropriate the authority of knowledge to create speculative installation spaces in the visual field. I look at what the relationship between neurosis, intelligence, subjectivity, objectivity and visual indulgence is within the history of the pursuit of knowledge.

The history of science has held fast to the aesthetic of objective authority, with observation as the primary source of knowledge in scientific inquiry. I scrutinize the bio-medical and techno-scientific gaze, using its authority to create discreet objects, incorporating photography, video and sculpture to search for the neurotic impetus within the fields of intellectual pursuit.

I use an alter-ego, a caricature of a neurotic, intellectual hero, constructed from cultural signifiers, as a Jewish woman, raised with a cultural identity that idealizes intellect to the point of fetishization. This is a stylized performance of a masculine archetype (yes, I am exploring what it means to be a woman through the usage of masculinity and its historical relationship to authority) used in science fiction, tv doctor dramas, and retellings of the histories of technological advancement. Intellectual inquiry is a socially acceptable form of obsessive, and scopophilic (visually indulgent) behavior. It is a space where unhealthy impulses are sublimated into the field of intellectual pursuit. All is forgiven if the hero’s brilliance outshines their character flaws.

Bio-medical exploration is a fantasy of constant visibility. To see is to know, and to know is to succeed. With techniques like dissections, bodies are eviscerated so that the spectator can incorporate the sight of the others’ internal organs into their own body of knowledge. Or microscopy, where an imaging apparatus is used to augment the viewer’s vision in order to look at, and infer new knowledge from, otherwise invisible mechanisms, ideally infinitely. However, as there is no such thing as a purely objective gaze—observation is always tied to a host of psychological associations. To see is to concurrently project and consume. Through this play-acting of biological experiments and procedures, I tease out the role of visual pleasure in intellectual inquiry, resulting in installation spaces that reproduce the clinical, experimental, and educational. In this way, I explore what Foucault described in his 1963 book The Birth of the Clinic: An Archaeology of Medical Perception, as “…that region of ‘subjective symptoms’ that—for the doctor—defines not the mode of knowledge, but the world of objects to be known.” ”

 

The Deconstructed Self

Posted on May 30, 2018

The Deconstructed Self

This series was inspired by a decision to move from my lifelong home in Kentucky to Santa Fe, New Mexico. The impetus for the move was unplanned and occurred at a time when I was also dealing with the decision to leave behind my professional identity as a psychotherapist.  The bright light and deep shadows of the Southwest immediately drew me in and I began to explore the urban landscape with my camera.

My photographs are a study of color fields, geometric shapes, negative space and light. My long-time work as a psychotherapist and love of abstract painting has influenced my work; I am using the symbols and spaces of the Southwest to reveal psychological metaphors – closed and open doors, shadows, and swimming pools are some of the subjects that draw me in.  These images are shot in a banal suburban landscape; I am interested in the places that others pass by, and I want to draw attention to the drama that others overlook. My images emphasize what is happening within the frame, yet they also ask the viewer to contemplate what exists just beyond the edges and cannot be known.

For me, these symbols and spaces touch on a part of the self that exists in the unconscious mind – reminding us that there is always something just below the surface of awareness threatening to reveal something new.

Bio

Natalie Christensen is a photographer based in Santa Fe, New Mexico and is a frequent contributor to online contemporary and fine art photography magazines, has won several regional awards, and shown work in the U.S. and internationally including London, Dusseldorf, New York and Los Angeles. She is one of five invited photographers for the exhibition The National 2018: Best of Contemporary Photography at the Fort Wayne Museum of Art and has recently been named one of “Ten Photographers to Watch” by the Los Angeles Center of Digital Art.  In addition to pursuing her interests in art and design, Natalie worked as a psychotherapist for over 25 years and has been particularly influenced by the work of depth psychologist, Carl Jung. This influence is evidenced in her photographs, as shadows and psychological metaphors are favored subjects.

Everywhere And All At Once

Posted on May 27, 2018

Artist – Kevin Hoth

Critic – Griffin Museum of Photography

Artist Statement for Everywhere And All At Once
Ansel Adams said–somewhat cheekily–the hardest part of photography is knowing where to stand. This is
essentially an acknowledgement of the importance of the camera’s coordinates in space or the vantage point of the maker. I use a mirror within the landscape as a way to combine two vantage points – in front and behind me – in one frame. Representation of photographic seeing tends to be from one vantage point or coordinate in space – you extend a ray from your eye to the scene. I’ve often felt this is a representational limitation since what we may experience as seeing is a three dimensional, multi-sensorial experience. By creating images that combine multiple scenes–albeit from the same vantage point–my aim is to create a two-dimensional image that evokes a more whole representation of seeing. The series locked into place when I realized I could line up horizon lines from these multiple spaces or line up objects–clouds and rocky peaks, for instance–to unify different spaces within the singular frame. Though the idea of landscape may carry with it certain metaphors, I use the landscape as a sort of blank canvas or background layer (to use the language of Photoshop) devoid of social cues or commercial symbols. I use a circular mirror as a reference to the shape of the eyeball and to the fact that all images — whether formed in the brain or projected onto the capture plane — are created optically as true circles. -KH

Bio
Kevin Hoth is a photographer whose work focuses on three distinct areas: the manner in which multiple spaces can be formed into a singular frame, how emptiness can be visualized and depicted, and how meaning is ascribed in photographic representations. Kevin’s work has been shown in over eighty exhibitions nationally and internationally including most recently at Walker Fine Art (Denver, CO), The Houston Center for Photography, The Center For Fine Art Photography (Fort Collins, CO), The Colorado Photographic Arts Center (Denver, CO), and online in Humble Arts Foundation New York’s Year In Reverse. Fraction magazine also recently featured his portfolio Everywhere And All At Once in Issue 105. Kevin has made photographic work for over twenty years spanning diverse processes such as polaroid manipulations, digital manipulations, film photography, and video installation art. Funfacts: He did a stint as a full-time graphic designer for Amazon.com, made an interactive garment way back in 2006, and played bass in a Seattle band during grad school that did a studio gig at KEXP-FM. Kevin was born and raised in Wisconsin, but has lived in Spain, Nantucket, Georgia, South Carolina, Utah, New Mexico, and regular Mexico. Kevin has taught graphic design, multimedia art, and photography at numerous universities and currently teaches in the Technology, Arts and Media Program at the University of Colorado Boulder. He lives with his daughter Anya in Boulder, CO and gets regularly woken up by coyote cries, owl hoots, and horse whinnies.

Curriculum Vitae
Kevin Hoth lives and works in Boulder, CO
He is represented by Walker Fine Art, CO

Education
University of Washington, M.F.A. Photography, Seattle, WA (1999)
University of Wisconsin. B.S. Art, Madison, WI (1994)

 Select Exhibitions (Photography unless otherwise noted)
* Indicates Solo Shows

**Indicates Two-person Shows

Year In Reverse. Humble Arts Foundation. http://hafny.org/ (2018)

Members Juried Show. Houston Center for Photography. Houston, TX. Juror: Rebecca Senf of the Center for Creative Photography (2017)

Juried Members Show 2017. Colorado Photographic Arts Center. Denver, CO. Juror: Rebecca Robertson, Photo Editor PDN/Photo District News (2017)

Landscape 2017: Center for Fine Art Photography. Fort Collins, CO. Juror: Lisa Holpe of Museum of Fine Arts, Houston (2017)

Flipside: An Alt Angle to Photo Processes. Art Students League of Denver. Denver, CO. Juror: Samantha Johnston, Director, Colorado Photographic Arts Center (2017)

Postcards From El Camino Real, Wonder Press, Boulder, CO (2016)

Ice. 530 Gallery, 530 Santa Fe Drive, Denver, CO* (2016)

Postcards From El Camino Real. Charleston Music Hall, Charleston, SC* (2015)

Mobiles – Madelife, Boulder, CO* (2013)

Emptiness and Presence – Steel Wool Gallery, Denver, CO* (2012)

iWorld – Colorado Photographic Art Center, Lakewood, CO (2012)

Month of Photography – Faculty Show, The Art Institute of Colorado, Denver, CO (2011)

Members Juried Show – Colorado Photographic Art Center, Denver, CO (2011)

Mid-Winter Digital Art Show – Boulder Digital Arts, Boulder, CO (2011)

Under The Influence – Faculty Show – Rocky Mountain College of Art and Design, Lakewood, CO (2010)

Recent Work – The Art Institute of Charleston, Charleston, SC* (2009)

Faculty Show – The Art Institute of Charleston, Charleston, SC (2009)

Recent Work – The Art Institute of Charleston, Charleston, SC** (2008)

The Imagist – Rebekah Jacob Gallery, Charleston, SC (2008)

The Other Side – Robert Lange Studios, Charleston, SC (2007)

iShow – Modernisme Gallery, Charleston, SC (2007)

Reorientation II – REDUX Contemporary Art Center. Charleston, SC (2007)

The Changing Face of Charleston – City Gallery at Waterfront Park, Charleston, SC (2007)

Animal Time – REDUX Contemporary Art Center, Charleston, SC* (2006)

Piece, Out – Chase St. Warehouse, Athens, GA* (2005)

HeadSpinning – Lyndon House Arts Center, Athens, GA. Group show of artwork made for music packaging with designer for music acts such as REM, Drive-by Truckers (2005)

Embedded: Living With Technology – ATHICA, Athens, GA. Interactive sound garment (2005)

SOUTHWorks Annual Juried Show – Oconee Cultural Arts Foundation, Watkinsville, GA. Merit Award (2005)

Bodies in Crisis – ATHICA, Athens, GA. Video piece (2005)

Regime Change V.4 – Virtual art at athica.org. online video piece Casualties of War (2004)

Tips on Running An Orderly Household: The Big Hole Under My House. RELATIVE: Photographing Domesticity ATHICA Gallery, Athens, GA. html piece (2004)

Shoreline Drift – Redux Studios, Charleston, SC. Video projections (2003)

28th Annual Lyndon House Juried Exhibition – Lyndon House Arts Center, Athens, GA. (2003)

Product: Comments on Consumer Culture – ATHICA, Athens, GA. Digital audio piece (2003)

Make Alias: Orange Man – The Grit, Athens, GA* (2000)

Las Afueras de Oaxaca (The Outskirts of Oaxaca) – The Photographic Center Northwest. Seattle, WA.* (1999)

Publications
Fraction Magazine: Issue 105 – Portfolio Showcase (2017)

Fraction Magazine: Issue 98. http://www.fractionmagazine.com/issue-98 (2017)

Resist. Ello, Not For Print Issue No. 2. Ello.co/notforprint (2017)

Future Isms. Humble Arts Foundation. http://hafny.org/group-show-51-future-isms (2016)

Winter Pictures. Humble Arts Foundation. http://hafny.org/group-show-48-winter-pictures/ (2016)

100 Mile Radius Landscape Photography Competition. One of ten international

finalists. http://www.100mileradius.info (2015)

Colab – Autos. Terratory Journal. http://www.terratory.org/collaboration/#/autos/ (2015)

Video Screenings & Collaborations
Unfolding – Eye Level Art, Charleston, SC. Video / dance collaboration (2009)

w/ The Charleston Symphony Orchestra. Aaron Copland Opera. (2008)

The Gibbes Museum, Charleston, SC. (2007)

w/ Nomos String Trio – Halsey Institute for Contemporary Art, College of Charleston, Charleston, SC. (2007)

Handful Series – Canopy Studio, Athens, GA. Video piece for curated modern dance event (2005)

Cathode Ray Tube – Nuci’s Space, Athens, GA. One-hour video score mixed live with Jazz/Rock quartet accompaniment (2005)

Butterfly Effect 3 – Seney-Stovall Chapel. Athens, GA. Collaborations with composers. (2004)

Athens Film Festival and Music Video Showcase – Athens, GA (2004)

Spoleto Festival USA – Charleston, SC. Shoreline Drift video screened (2004)subMERGEd – Port City Center, Charleston, SC. Live Video Mixing Performance (2004)

Commandeering Spaces – City of Charleston, Charleston, SC. Video projection on downtown building (2004)

Once Twice Festival – The Johns Hopkins Digital Media Center, Johns Hopkins University. Baltimore,MD. (2004)

Bellevue Art Museum Film and Video Festival – Bellevue Art Museum, Bellevue, WA. Video The Body Photographs screened (1999)

The Butterfly Effect 2 – Seney-Stovall Chapel, Athens, GA. Video Projections for four new classical compositions performed live (2003)

Hyper-Caligari – LaGrange College, GA. Video for an electronic musical score by professor Mitch Turner (2003)

Crossover – Canopy Studio, Athens, GA. Video projections for a dance, visual, and music performance (2003)

Puzzle – School of Music, University of Georgia. Video projection piece for electronic musical score (2003)

Visceral: The Subjective Body – Looping BUTOH performance by WHITE CRANE STYLE at ATHICA (2003)

All Small – Eyedrum Gallery, Atlanta, GA. (2002)

New Season – Museum of New Art, Detroit, MI. Yard Work shown (2002)

The Butterfly Effect – Seney-Stovall Chapel, Athens, GA and Atlanta, GA. Two hour-long evenings of new classical composers performing alongside my original video work. (2002)

Looping BUTOH – Electric Performance Night, Eyedrum Gallery, Atlanta, GA. Collaborative performance as White Crane Style (2002)

Japancakes – Nuçi’s Space. Athens, GA. 60-minute video projection for the band Japancakes (2001)

TOG – New Media Institute. Athens, GA. Video accompaniment to live webcast of Powerbook audio duo (2001)

New Music & Dance: Movement + Sound / Composition + Abstraction – Roger Dancz performance hall, School of Music, UGA, and Ballroom Studios, Atlanta, GA. (2001)

Film and Video Festival – Plan B Evolving Arts, Santa Fé, New Mexico. Video piece screened (2001)

TOG – X-ray Café, Athens, GA. Video Performance with laptop music duo (2001)

The Orng Drum – Eclectic Electric, Lyndon House Arts Center, Athens, GA. Self-produced video, movement and sound piece with live musical accompaniment (2001)

Performances
Pecha Kucha – Boulder Museum of Contemporary Art, Boulder, CO (2010)

Slideluck Potshow – Boulder Museum of Contemporary Art, Boulder, CO (2010)

Knee Jerk: A History – ATHICA, Athens, GA. Solo slideshow performance (2005)

Tips on Running An Orderly Household: The Big Hole Under My House – Solo slideshow performance for RELATIVE: Photographing Domesticity ATHICA Gallery, Athens, GA. (2004)

LANGUAGE HARM – Atlanta Poets Group at Eyedrum Gallery. Atlanta, GA. Solo performance with video (2004)

Tips on Running an Orderly Household (The Big Hole Under My House) – INFO DEMO #5, ArtSpot,Atlanta, GA. Solo slideshow performance (2003)

How to Get That Old-Timey Feeling – ATHICA, Athens, GA. Solo slideshow performance at ATHICA for the closing reception of Visceral: The Internal Body (2002)

My Acne – ATHICA, Athens, GA. Solo slideshow performance for Visceral: The Subjective Body (2002)

How to Talk to Small Children – ArtSpot, Atlanta, GA. Solo slideshow performance (2002)

How to Get That Old-timey Feeling – ArtSpot, Atlanta, GA. Solo slideshow performance (2002)

My Acne – Eyedrum, Atlanta, GA. Solo slideshow performance (2002)

Verge vs. The Orange Man – 10th Annual Mental Health Benefit. School of Music, University of Georgia. Athens, GA. Collaborative performance with modern dance company (2000)

Relevant Professional Experience
Instructor (August 2014 – Currently)

Technology, Arts & Media Program, ATLAS Institute, The University of Colorado, Boulder, CO. As fulltime Faculty, I have developed and taught our new IMAGE curriculum (Photography and Digital Image making, critical evaluation, and theory) as we have become a Major (previously a Certificate and Minor program). I oversee three adjunct instructors and make sure they are following my curriculum as well as collaborating with me on developing course content. I also teach my course Alternative Digital Imaging and my newest course Video Art Installation.

Freelance Photographer / Videographer (1999—Currently)

Self-employed freelance work in commercial photography, digital imaging, video production.

Lecturer (January 2011 – August 2014)
Technology, Arts & Media Program, ATLAS Institute, The University of Colorado, Boulder, CO. Teaching Digital Media 1 courses covering html, css, Dreamweaver, Photoshop, GarageBand, Final Cut Pro, and After Effects. I also teach Fundamentals of Digital Design (the history and practice of graphic design) and my new course Alternative Digital Imaging (a blend of analog and digital image making within an experimental context).

Photography Instructor (Fall semester 2011)
Photography 2/3/4 – Advanced Traditional Black and White Photography. Naropa University. Boulder,CO

Photography Faculty (June 2010 – May 2011)
Photography Dept., The Art Institute of Colorado, Denver, CO. Teaching Digital Photographic Illustration 2, Web Portfolio2, Principles of Digital Photography.

Adjunct Motion Design Instructor (May 2010 – August 2010)
Taught video editing with Final Cut Pro. Communications Design Dept., Rocky Mountain College of Art & Design, Lakewood, CO

Photography Faculty (April 2007—December 2009)
The Art Institute of Charleston, Charleston, SC. As adjunct professor, teach core courses in Photography and digital imaging, studio, lighting, and fine art photography. I was responsible for designing my own course outlines and syllabi, creating relevant class projects and writing and coordinating exams. During this time teaching I continued to do my own independent research including gallery exhibition and related freelance commercial work.

Related Activities
(2017) Curator – Student Work from TAM for Month of Photography 2017. ATLAS Institute, Universityof Colorado, Boulder, CO

(2015) Curator, The End of Light exhibition. Month of Photography 2015 Show. Madelife, Boulder, CO

(2013) Guest Panel – Advanced Studio Arts Final Critique. Naropa University, Boulder, CO

(2013) Guest Portfolio Reviewer. American Institute of Student Architects. University of Colorado, Boulder, CO

(2012) Contributing Cinematographer – TINY: A Story About Living Small (http://tiny-themovie.com/) Documentary film, which premiered at SXSW in the spring of 2012 and has shown and continues to be shown at many film festivals across the country

(2010, 2011) Guest Artist – Visual Arts Department. Naropa University, Boulder, CO

(2008) Panelist, Creatives in the Commercial World, Think-Tech Conference, Trident Tech, North Charleston, SC

(2008) Judge, City Paper Annual Photography Contest

(2008) Guest Speaker, Alterman Studios, January

(2007) Guest Speaker for Visual and Computational Thinking, College of Charleston Art History Department

(2007) Discussion Moderator and Panelist, iShow: You Are Where, Modernisme Gallery

(2006-2007) Board Member, REDUX Contemporary Art Center

(2006) Panelist, Contemporary Art & Business, REDUX Contemporary Art Center

(2006) Guest Speaker for Contemporary Art course, College of Charleston Art History Department

(2005) Panelist, Embedded: Living with Technology, ATHICA, Athens, GA.

Website

Quién? Qué? Dónde?

Posted on May 25, 2018

“Quién? Qué? Dónde?” means  “Who? What? Where?” in Spanish.  Spanish is one of the worlds’ most commonly spoken languages and is often chosen as the second language one learns. The name was chosen for this portrait exhibition in order to underscore the complexities of all of our diverse roots. A portrait photograph can inspire many questions and if we look hard and long enough, the answers as well.

The 70 photographers in the exhibition are:
Mim Adkins, Roger Archibald, Gary Beeber, Sheri Lynn Behr, Karen Bell, Patricia Bender, Anne Berry, Rebecca Biddle Moseman, Meg Birnbaum, Lana Z. Caplan, Bill Chapman, Jo Ann Chaus, Moesia Davis, Adrienne Defendi, Cindy Dominguez Crockett, Ken Dreyfack, Nicholas Fedak II, Diane Fenster, Colleen Fitzgerald, Carole Glauber, Audrey Gottlieb, Tamar Granovsky, Michal Greenboim, Linda Haas, Law Hamilton, Amy Herman, Keiko Hiromi, Rohina Hoffman, Margaret L. Holmes, Evy Huppert, Timothy Hyde, Carol Isaak, Jessica James, Roger Carl Johanson, Cynthia Johnston, Marky Kauffmann, Tira Khan, Lee Kilpatrick, Cassandra Klos, David Kulik, Susan Lapides, J.K. Lavin, Joan Lobis Brown, Yvette Meltzer, Iaritza Menjivar, Judith Montminy, Robert Moran, Ruth Nelson, Zoe Perry-Wood, Suzanne Révy, Katherine Richmond, Susan Rosenberg Jones, Gail Samuelson, Joshua Sariñana, Wendi Schneider, Tony Schwartz, Geralyn Shukwit, Ron St. Jean, Vicky Stromee, Jane Szabo, JP Terlizzi, Kai Toppa, Donna Tramontozzi, David Underwood, Aurélien Vanhollebeke, Nina Weinberg Doran, Susan Wilson, Carol Wontkowski, Dianne Yudelson and Charlyn Zlotnik.

What I Know So Far

Posted on May 24, 2018

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.

 

 

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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