Griffin Museum of Photography

Grace Weston: Art·tri·bu·tion

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artrəˈbyo͞oSH(ə)n/
Made up noun by the curator.

Overarching Idea
The action of regarding something (in a photograph) as referencing an art piece, art medium, art form, art style, movement or artist. Made up definition by the curator.

Grace Weston – In our on-line gallery selections from Short Stories/Tall Tales

Artist Statement
In this ongoing series, “Short Stories/Tall Tales,” the artwork addresses anxieties common to adulthood through child-like fantasy scenes. The use of miniature characters, constructed sets and vivid colors allows Weston to play with weighty issues in a lighter way. The selections for Art·tri·bu·tion from Short Stories/Tall Tales either have references to an artist, art piece(s) or art style or movement.

Grace Weston Biography
Grace Weston creates narrative photography in her studio with staged vignettes that combine humor with psychological themes. A 2015 Artist Trust Fellowship Award recipient (Washington), Grace was nominated in both 2014 and 2012 for Portland Art Museum’s Contemporary Northwest Art Awards. In 2012, her work was received with acclaim in her first European solo show at Paci Contemporary in Brescia, Italy. Grace received honorable mentions in the International Kontinent Awards 2013 and Center Forward 2013. She was a finalist in PhotoEspana’s Descubrimientos 2009 and one of the Whatcom Museum (Washington) 2008 Photography Biennial’s “Nine to Watch”. The Oregon Arts Commission honored Grace with an Individual Artist’s Fellowship in 2006. Public collections include those of the Portland Art Museum, University of Oregon, Seattle Public Utilities Portable Artworks Collection, Photographic Center Northwest, Portland Community College, 4 Culture King County, and the City of Seattle. She has exhibited widely in the United States, as well as in Europe and Scandinavia. Her work has been featured in print magazines in Italy, Spain, China, and the Netherlands, as well as on many international online magazines. Grace’s work is included in the book Microworlds, published in 2011 by Laurence King Publishing (UK).

Grace has also been commissioned to create her unique style of staged narrative photography in the editorial world, illustrating writings in “O the Oprah Magazine” and “Discover Magazine”, and creating the cover imagery for CDs, books and several city magazines, including “Portland Monthly”, “Seattle Metropolitan”, and “Pittsburgh Magazine”.  In July 2013, Seattle’s weekly paper The Stranger featured one of her images as the cover.

Gallery representation includes Paci Contemporary (Brescia, Italy), Wall Space Gallery (Santa Barbara, CA), and on-line through Photo-Eye’s Photographer’s Showcase (Santa Fe, NM).

Arttribution

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artrəˈbyo͞oSH(ə)n/
Made up noun by the curator.

Overarching Idea
The action of regarding something (in a photograph) as referencing an art piece, art medium, art form, art style, movement or artist. Made up definition by the curator.

Featured photographers:

Tami Bahat – Dramatis Personae in the Main Gallery

Mark Chen & Shiao-Nan Chen – Renewed in the Main Gallery

Niki Grangruth & James Kinser – Muse in the Main Gallery

Torrie Groening – Grand Scenarios and Out of Studio in the Main Gallery

Calli P. McCaw – Imagine That in the Griffin Gallery

Lori Pond – Bosch Redux in the Atelier Gallery and Main Gallery

Grace Weston – selections from Short Stories/Tall Tales in the on-line Critic’s Pic Gallery

 

Read what Elin Spring writes on “Art-tri-bu-tion.”

What Boston Globe’s Mark Feeney writes on “Art-tri-bu-tion.”

 

The Divers

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We all remember that suspenseful moment. The one right before you jump, when your feet are still on the ground, and time slows down as you contemplate leaping into the unknown water below. For some, the experience is one of play and excitement. For others the recollection may incite different feelings, possibly of anxiety and fear or of wonder at what lies beneath in the water below. These images, culled from Arthur Griffin’s archives, are frozen transitory moments depicting divers suspended in air and swimmers floating in water. Now frozen in time, Arthur Griffin has captured these brief moments in between take off and landing and just before they sliced the water. The images are reminiscent of childhood, of places hidden in the woods reserved for summer vacations, or of public city pools, where children gather to keep cool. Arthur’s photographs are reflections of a familiar experience; one that many can recollect.

Witness and The Book of May Be

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Witness

The time is 5AM on a late summer morning, at the change of seasons when the earth is warm and the air is cool and a fog has risen. These trees, standing tall for over a hundred years in the hills of New Hampshire, were destroyed by a freak storm in the spring of 2016. Witness, a series of images in both print and artist book, invite us to honor and remember, to enter in and be present to the wonders all around us. Trees bear witness, holding the mysteries of the world told through folklore and fantasy, science and study, revealing secrets and answers, offering comfort and healing. Past events and processes are recorded in the rings of growth, marking time, age and conditions. Not just metaphor, communities of trees take care of their own, nurturing and protecting by a symbiotic network rooted below the surface, spread by threads of fungi, connecting one tree root system to another. This connectivity is echoed through out the natural world.

Arches water color paper for binding, band and 3 fold cover wrap
8.25 x 14 inches, concertina binding
Belly band of paper with image detail
Nine images ©2012 printed on Epson Hot Press Natural paper
Archival cardboard box

Limited edition, excluding 2 artist books, 2 exhibition copies
Edition #1-2 $275.00
Edition #3-4 $300.00
Edition #5-6 $325.00
Edition #7-8 $350.00
Edition #8-10 $375.00

The Book of May Be

As if waking from a dream state, “The Book of May Be” explores malleability of memory. This diminutive body of work, nested in a slipcase and wrapper, is a series of 2 x 2 inch diptychs, each in conversation with its partner and in relation to the other snippets of image and memory. These images string along like an old film strip, collaged from bits and pieces of story, sounds, smells, places and people creating a visual tone poem. Though we think of life as linear, it is always in a flow state, shape-shifting as in a lucid dream where memory, time, and place converge out of sequence and clouded recall.  Maybe it was, maybe it wasn’t, maybe it will be…

36 images, 2 in x 2 in accordion fold
Epson Ultra Premium Presentation Matte Paper
Four fold wrapper/slip case, various materials, by Linda Lembke
Archival cardboard box

Limited edition, excluding 2 artist books, 2 exhibition copies
Edition #1-2 @ $200
Edition #3-4 @ $250
Edition # 5 @ $275
Edition # 6 @ $350

Bio

Dawn Watson is an artist and activist. Her work examines the fragility of both the natural environment as well as our relationship to it and to each other. After twenty-five years as a dancer and choreographer, Watson transitioned to photography, finding affinity in the visual storytelling offered by both live performance and the captured image. She has exhibited her photographs and artist books throughout the United States including The Griffin Museum of Photography, Albrecht-Kemper Museum, Tilt Gallery, Tang Museum, and a solo exhibition at the Los Angeles Center for Photography.

 

Linda Morrow: Echoes of Ovid II Artist Book

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Artist Bio
Linda Morrow can say that photography is in a sense her voice and often her meditation. She retired early from teaching college English in order to focus more on the visual image which may explain her interest in book-making. She has in recent years begun working with alternate structures for the photobook such as the concertina, the pivoting panel and the map book. Her intention always is to make [photographs] that inspire the mind and engage the heart. Linda lives in Long Beach, CA.

CV of Exhibitions

Artist Statement for Echoes of Ovid II – a pivoting panel book
When my turn came up to work with one of the models in a workshop with Kim Weston, I chose to photograph her outside in Kim’s greenhouse where his tomato plans were flourishing that summer. Soon I realized that a leitmotif was offering itself that I could develop in terms of women in nature, women whose lyrical shapes and curves could mingle with lines and shadows of the vegetative. Over time I continued the project, working with models in my own garden in California and in gardens I found in Louisiana and New Mexico and seeking to make images that would suggest a fine line between the feminine and the botanical. Margaret Langhans was commissioned to write the poem called “Metamorphosis,” and the project was complete: in the story by Ovid, Daphne’s transformation into a tree is touchstone for each portrait in the series.”

Linda Morrow’s Website

States of Grace

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Wendi Schneider’s “States of Grace” will showcase in the Griffin Gallery of the Griffin Museum on March 6th through April 10, 2018. The reception will be March 8th from 7 – 8:30 PM. Wendi will do an informal talk on “States of Grace” at 6:15 PM.

Artist’s Statement

In States of Grace, I illuminate beauty amidst the chaos. I’m calmed by the simplicity of a graceful line and the stillness of the suspended moment and am compelled to share an impression of the serenity I find there. I capture the ephemeral movement of light on organic forms, to preserve that mystical moment that stills time for me. Photographing intuitively – what I feel, as much as what I see – and informed by a background in painting and art history, I portray a personal interpretation by layering the images digitally with color and texture, to find balance between the real and the imagined.

The images are printed digitally with archival pigment ink on vellum. White gold, silver or 24k gold leaf is then applied behind the image, creating a silken luminosity on the print’s surface. Throughout history, civilizations have prized the use of precious metals for their beauty and sanctity. The leafing process suffuses the intrinsic value of the treasured subjects with the implied spirituality of the gold. The perception of luminosity varies as the viewer’s position and ambient light change. Within the limited edition, the prints may differ in color or texture, and, as the effect of gilding inherently varies, each of the limited edition prints is unique.

Paula Tognarelli, executive director of the Griffin Museum says, “There is an elegance that emanates from Wendi Schneider’s photographs. It can be seen in the turn of a flamingo’s neck, in hanging fog or flick of a betta fish tail. Schneider’s photographic gestures are not rare sightings but daily gifts from the natural world for those with the patience to see them.”

About the Artist

“I’m still drawn to the scent of oils and turpentine. The aroma evokes glimpses of my mother and grandmother at their easels at my childhood home in Memphis, coffee-with-chicory nights in the Newcomb studios in New Orleans, the inherited easel by the window overlooking Park and 35th St. in New York, and finally to it’s current home in Denver. I tend to see the world in vignettes, and am calmed by the visual balance of a good composition. I struggle to balance my need for solitude with time for interaction, and my anxieties with confidence. After years of creating images for book covers, Victoria Magazine and others, designing for print and web, art directing, and various artistic endeavors, I’m compelled to share an impression of the serenity I find in the simplicity of a graceful, organic line and the stillness of a suspended moment. My current work employs only tools of the earlier process – the luscious, soft brushes, nestled near my mother’s paint-splattered easel.”

Wendi Schneider is a visual artist currently working in photography and precious metals. Born in Memphis, she holds an AA in Art History from Stephens College in Columbia, MO and a BA in Painting from Newcomb/Tulane in New Orleans. She turned to photography in the early ‘80s to capture moments of her models for her paintings. Missing the sensuality of oils, she began layering glazes on her photographs to create a more personal interpretation. After she photographed, designed and produced the award-winning re-creation of the 1901 Picayune’s Creole Cook Book for The Times-Picayune, she moved to New York, where she photographed nearly 100 book covers and was a major contributor to the original Victoria Magazine. She moved to Denver in 1994, and after several decades of photography, design and art direction for clients, she recently returned to fine art photography.

Gilded vellum photographs from her current series States of Grace have been exhibited in more than 60 venues, including A Gallery For Fine Photography, The Griffin Museum of Photography and the Berlin Foto Biennale, and featured in Diffusion, B&W Magazine, Silvershotz, Adore Chroma, and as a Rule Breaker on Don’t Take Pictures. A Critical Mass finalist in 2017, Schneider has been honored by the International Photography Awards, the International Color Awards, the Gala Awards and the Julia Margaret Cameron Awards. She is represented by A Gallery For Fine Photography in New Orleans and Galeria Photo/Graphic in San Miguel de Allende, Mexico.

Website

LENSCRATCH Wendi Schneider

Davis Orton Gallery 8th Annual Self Published Photobook Show

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PHOTOBOOK 2017 is an annual competition open to photographers in the United States and abroad who have self-published a photobook. This competition was offered by Davis Orton Gallery in Hudson NY for the eighth year. The competition results were exhibited at Davis Orton Gallery and forty two books are now traveling to the Griffin Museum of Photography. Karen Davis, co-director of the Davis Orton Gallery in Hudson, NY and Paula Tognarelli, executive director and curator of the Griffin Museum of Photography were the jurors for Photobook 2017.

8th Annual Photobook Exhibition 2017 is featured in the Main Gallery at the Griffin Museum March 8 – April 1, 2018. An opening reception with the artists takes place on March 8, 7 – 8:30 p.m.

An informal gallery talk by Wendi Schneider will take place on March 8 at 6:15 PM

For the 8th Annual Photobook Exhibition, jurors Karen Davis and Paula Tognarelli chose 42 Photobooks to be exhibited at the Griffin Museum are:
Ave Pildas — People on Stars
Bill Westheimer — Momento – Capturing Moments and Memories
Bruce Morton — Forgottonia – The Audience
Catharine Carter — Journey
Charlie     Lemay — Seeing
Deena Feinberg — Finding Myself in the Mornings
Eliot Dudik and Jared Ragland — Or Give Me Death 2016
Ellen Kok — Cadets
Ellen Feldman — We Who March: Photographs and Reflections
on the Women’s March, January 21, 2017
Irene Imfeld — Zone of Transformation: Nature in the High Desert
Jaye Phillips — Clay Fire
Jeff Evans — Seeing Double
— Palindrome
Kay Kenny — Dreamland Speaks: Three Romantic Novels
Lawrence Schwartzwald — Reading New York
Linda Morrow — Blue Mandala
Lydia Harris — The Fool’s Reach
— A View of Collier Heights
Marcy Juran — Saltmarsh Seasons
Mark Farber — North Truro Air Force Station
Mark Peterman — Some Days We Caught Rainbows
— The Things That Affect Our Lives Everyday
Matthew Crowther — The Lonely Hunter
Michael Bogdanffy-Kriegh — Meditations
Mike Callaghan — you are all of this except for
Michael Hunold — All We See
Nancy Edelstein — Friday Night Dinners
Nancy Baron — Beautiful Trailer Town
Nancy Oliveri — Gowanus
Nat Raum — What Are You Looking At?
Negar Latifian — O-AB+B+A-B-O+A+AB-
Patrick Cicalo — L’Image Trouvee
Phillip Buehler — (UN)THINKABLE
Robert Dash — On an Acre Shy of Eternity
Robert Pacheco — People Under My Eyelids
Shawn Bush —  A Golden State
Silke Hase — Traumbilder with Tristan Stull
Tara Wray — Come Again When You Can’t Stay So Long
Thomas Pickarski — Adventures of Otto, a Tiny Toy Dinosaur
William Ash — Tsukiji – Tokyo Fish Market Suite
Walter Phillips — Being at peace, making a pie
Yelena Zhavoronkova — Memories in Red

View Davis Orton Gallery website:

View online catalog

There are growing options available for self-publishing a book such as on-demand (blurb, lulu, viovio, iphoto, etc.); small run offset or web printing/publishing firms, binderies. For the competition if photobooks submitted had been hand-made/bound, they had to be available in multiples of at least 25. Entrants could submit up to three different titles that are self-published photography books of any size, format, or style: hard cover, soft cover, case-wraps, landscape, portrait, square, color, black and white. Submissions were judged on the basis of: cover design, strength of the photography, subject matter of the book, page layouts, editing and sequencing and emotional impact of the overall book. All Submissions had to be original works of authorship created by the photographer who submitted the book.

“A photobook relies on the image to form visual sentences,” says Paula Tognarelli, executive director and curator of the Griffin Museum of Photography. “A photobook that is produced well can transport us in time and place just as any book produced with the written word.”

Photography Atelier 27

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The Atelier Photography 27 and Davis Orton Gallery’s 8th Annual Self-Published Photobook Show will showcase at the Griffin from March 8 – April 1, 2018. The reception will take place on March 8, 2018 from 7:00 – 8:30 PM

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 Meg Birnbaum shared, “The Photography Atelier has such a long and rich history, I’m honored to be leading this workshop for emerging photographers with Amy Rindskopf assisting. The talent among the 15 members of this group show is varied and inspiring — from our relationship with architecture, memory, color, light and objects, the landscape, and portraits — the show is very satisfying feast for the eyes and soul.”

The photographers of Photography Atelier 27  include: Bruce Berzin, Teresa Bleser, Donna DeLone, Barbara Dowd, James Collins, Dennis Geller, Laurie Gordon, Tamar Granovsky, Jackie Heitchue, Vicki McKenna, Jeff Mulliken, Amy Rindskopf, Katalina Simon, Janet Smith and Christy Stadelmaier.

Bruce Berzin’s “The Paris I Know” project helped him see how the interrelationship of Paris’ buildings, bridges, people and the river that winds through, makes the city the magnet that it has always been for artists, writers and musicians.

 Teresa Bleser says of “Sea Change” that she captures the varied ways the ocean transforms in response to weather.

Donna DeLone says that “The Ripening” is her metaphoric expression of the aging process for women.

Barbara Dowd photographs close ups of the relics at “Johnson’s Quarry.” The derricks, steel cables, drills, and tools in her photographs were used in excavations begun over 100 years ago.

James Collins’ camera provides an up-close peek at his fellow patio dwellers in “Patio Life.”

In Dennis Geller’s “Projections” light is “a voice, one that called to [him] as [he] walked down the street, or when [he] woke too early and went stumbling around an almost-dark house.”

Laurie Gordon’s “Afterglow” is a photographic metaphor for the fluidity of relationships and the shifting stages of life.”

Tamar Granovsky’s “Siren Song” centers on the desert landscape of California’s Salton Sea—a place where life barely whispers.

Jackie Heitchue’s “Invented Inventory” is a series of self-portraits cataloguing the thoughts, feelings, and attributes she’s uncovered at a crossroads in her life.

Vicki McKenna photographs The Scranton Lace Company in her series “Resilience.” She’s interested in the stories implicit in the remnants of the buildings.

Colors communicate the spirit of the Mexican culture in Jeff Mulliken’s “Puerta Vallarta Colors.”

Amy Rindskopf’s, “Catches My Eye”, features objects from her studio. “I find myself moving closer and closer, seeking to share what draws me in. A wrinkle here, a dent there, I am fascinated by the small details that make each [object] unique.”

Katalina Simon photographs the form and details of machines that were built during the Industrial Revolution and are on display at the Charles River Museum of Innovation in Waltham and at the Waterworks Museum in Chestnut Hill.

Janet Smith photographs a collection of scraps of paper and early morning light in her series “Early Light.”

In “Screen Houses of Plymouth County,” Christy Stadelmaier photographs 100-year-old barns called screen houses that were used to sort cranberries long before today’s automated harvesting technology.

About the class:
Photography Atelier, in its twenty-third year, is a unique portfolio-making course for emerging to advanced photographers. In addition to guidance and support in the creation of a body of work, the class prepares artists to market, exhibit, and present their work to industry professionals.

Each participant in the Atelier presents a final project in the form of a print portfolio, a photographic book or album, a slide show, or a mixed media presentation. In every Atelier, students hang a gallery exhibition and produce work for their own pages on the Atelier website. To see the photography of present and past Atelier students and teachers, please visit www.photographyatelier.org. Instructor Meg Birnbaum will be happy to discuss the Photography Atelier at the reception on March 8th with anyone interested in joining the class.

The Atelier was conceived by Holly Smith Pedlosky in 1996 and taught by Karen Davis for 7 years. The workshop was previously offered at Radcliffe Seminars, Harvard University and Lesley Seminars and in the Seminar Series in the Arts, The Art Institute of Boston (AIB), both at Lesley University.

Photography Atelier 27 Website

The Photobook 8th Annual Self-Published Photobook exhibition artists can be found here:

Wendi Schneider will have an informal talk on her exhibition in the Griffin Gallery called “States of Grace at 6:15 PM on March 8, 2018.

Vivien Goldman: Tidelines

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Statement for Tidelines
At the confluence of the Atlantic Ocean and Nauset Inlet at ebb tide on the Outer Cape, the outgoing tide stencils mountain ranges and deserts on the sand, leaving strands of sea weed and small stones scattered in its wake. Just after sunrise or in the gloaming, the sky creates mountains of its own. It is the world transforming itself into other realities, every day, again and again, each day different from the last. It is a continual and endless re-creation of the world at low tide.

I return to this land where the tide washes ashore every day and night, sweeping wide the sand between the marsh and dune. It is a challenge to return again and again to find the familiar landscape utterly remade. I am unable to preserve these ephemeral displays except by taking note and watching. Perspective challenges the eye to make sense of scale and of everyday familiar shapes that have been distorted by the tide.

– Vivien Goldman

Bio
Vivien Goldman is a fine art photographer who lives in Brookline, MA and spends much of the year on Cape Cod photographing. She began her career as a large format black & white photographer, and several years ago incorporated color and digital technology into her practice. She has exhibited her work in group and solo shows nationally and internationally including the 4th Biennial of Fine Art and Documentary Photography in Berlin, Germany; the New York Photo Festival, PRC in NYC exhibition in Brooklyn, NY, and the Danforth Museum’s Community of Artists annual exhibition in Framingham, MA. She has had solo exhibitions of her work at Hebrew College and the Boston Psychoanalytic Society and Institute in Newton, MA. Her work has been exhibited at PhotoPlace Gallery and Darkroom Gallery in Vermont, and she was a finalist in the 7th and 8th Annual Julia Margaret Cameron Competitions of Women Photographers.

Vivien was a Project Manager for International Development Projects at the Harvard Institute for International Development before going back to graduate school and earning an MLIS at Simmons College with a major in photographic archives.  She has studied photography at the Maine Media Workshop, the New England School of Photography, and attended numerous workshops on the zone system, darkroom and alternative processes.

Website

Tree Talk On-Line Exhibition

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The “Tree Talk On-Line Exhibition” features photographs by 47 photographers on view in our Virtual Gallery located on the Griffin’s website. The photographers are: Jan Arrigo, Zia Ayub, Gary Beeber, Sheri Lynn Behr, Theo Carol, Richard Alan Cohen, Lisa Cohen, Dawn Colsia, Sandi Daniel, Adrienne Defendi, Melissa Eder, Deena Feinberg, Michele Fletcher, Nancy Fulton, Erik Gehring, Lauren Grabelle, Arthur Griffin, Emily Hamilton Laux, David Hebden, Tracy Hoffman, Timothy Hyde, Cathy Immordino, Lee Kilpatrick, Barbara Kyne, Scott Lerman, Erica Martin, Alysia Macaulay, Yvette Meltzer, Larry Merrill, Robert Moran, Jan Nagle, Eleanor Owen Kerr, Roseanna Prevost, Becky Ramontowski, Robin Repp, Suzanne Révy, Albert Rodrigo, Susan Rosenberg Jones, Don Russell, Joshua Sarinana, Sara Silks, JP Terlizzi, Stephen Tomasko, Donna Tramontozzi, Julie Williams-Krishnan, Yelena Zhavoronkova, Mike Zeis, and Charlyn Zlotnik

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