• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar
  • Skip to footer

Griffin Museum of Photography

  • Log In
  • Contact
  • Search
  • Log In
  • Search
  • Contact
  • Visit
    • Hours
    • Admission
    • Directions
    • Handicap Accessability
    • FAQs
  • Exhibitions
    • Exhibitions | Current, Upcoming, Archives
    • Calls for Entry
  • Events
    • In Person
    • Virtual
    • Receptions
    • Travel
    • PHOTOBOOK FOCUS
    • Focus Awards
  • Education
    • Programs
    • Professional Development Series
    • Photography Atelier
    • Education Policies
    • NEPR 2025
    • Member Portfolio Reviews
    • Arthur Griffin Photo Archive
    • Griffin State of Mind
  • Join & Give
    • Membership
      • Become a Member
      • Membership Portal
      • Log In
    • Donate
      • Give Now
      • Griffin Futures Fund
      • Leave a Legacy
      • John Chervinsky Emerging Photographer Scholarship
  • About
    • Meet Our Staff
    • Griffin Museum Board of Directors
    • About the Griffin
    • Get in Touch
  • Rent Us
  • Shop
    • Online Store
    • Admission
    • Membership
  • Blog
  • Visit
    • Hours
    • Admission
    • Directions
    • Handicap Accessability
    • FAQs
  • Exhibitions
    • Exhibitions | Current, Upcoming, Archives
    • Calls for Entry
  • Events
    • In Person
    • Virtual
    • Receptions
    • Travel
    • PHOTOBOOK FOCUS
    • Focus Awards
  • Education
    • Programs
    • Professional Development Series
    • Photography Atelier
    • Education Policies
    • NEPR 2025
    • Member Portfolio Reviews
    • Arthur Griffin Photo Archive
    • Griffin State of Mind
  • Join & Give
    • Membership
      • Become a Member
      • Membership Portal
      • Log In
    • Donate
      • Give Now
      • Griffin Futures Fund
      • Leave a Legacy
      • John Chervinsky Emerging Photographer Scholarship
  • About
    • Meet Our Staff
    • Griffin Museum Board of Directors
    • About the Griffin
    • Get in Touch
  • Rent Us
  • Shop
    • Online Store
    • Admission
    • Membership
  • Blog

Ruth Lauer Manenti: On Orlando Artist Book

Posted on September 29, 2017

book and hand turning pages

I was in Telluride, Colorado taking photographs. The year had been a difficult one. I had experienced hardship, loss, scandal, disappointment and illness. I had become fragile and untrusting.

In Telluride I read Orlando by Virginia Woolf. The book begins with Orlando as a young nobleman and an attendant and favorite of Queen Elizabeth I. After the queen’s death he falls in love with a Russian princess and because she was not a member of the English aristocracy the relationship was not allowed. Yet, so in love was Orlando that he cared not for his reputation and the two lovers plan an elopement to Russia arranging to meet by a bridge at midnight. But the princess doesn’t come, leaving Orlando alone on the coldest night of the early seventeenth century.

As an outcast Orlando becomes a recluse and returns to writing poetry. After several years, he shows his epic poem to a famous poet, Nicholas Greene, who is dismissive of the manuscript. A few months later Mr. Greene comes out with a new book. Inside the book Orlando discovers his own poem under Greene’s name. These two betrayals cause Orlando such great despair that he sleeps for seven days and seven nights. Those near him tried to rouse him and still Orlando slept. When he awakens he sees that his body has transformed into that of a female, and continues to live on as a woman.

While reading this novel I would pause to look through the windows. The assortment of windows, at different times of day brought a variety of views altering the landscapes and surroundings, at times summoning me to leave the indoor world, step outside and go walking. It was breezy outside. There was beauty in every direction. As the winds blew around me, the winds moved within me and as the clouds passed through the sky, so did the ups and downs of the last year. Orlando had turned me into a poet….. and what was scandal compared with poetry? As a poet I could see the mountains as I never before had. The low lands where the streams flow and the high mountain peaks covered with snow even in July, sung like ascending and descending musical scales. Life had to be that way. For valleys are the natural lows, the depressions that fall beneath the earth’s surface, and peaks are the natural highs that flower in their prime and allow for views of grandeur and understanding. I thought to myself, “I’ll be alright.”

While sleeping I was aware of the fresh air of the high altitude and when I awoke, though it had been 7 hours and not days my sorrow had turned into a pebble thrown from a high cliff down to where it could no longer be seen, where it would, without a word, land and disappear leaving just the slightest trace, good enough to have served a purpose.

These photographs were taken on walks inspired by my reading of Orlando last spring.

–Ruth Lauer Manenti

BIO
Ruth received a BFA in painting from The School of Visual Arts in NYC and an MFA in drawing, printmaking and painting from the Yale School of Art, where she later taught drawing and printmaking. She also taught drawing, painting, and printmaking at Dartmouth College in Hanover, New Hampshire. Ruth’s work has been exhibited at the Bill Maynes Art Gallery, the Lower East Side Printshop, John Michael Kohler Arts Center, Paula Cooper Gallery, The Griffin Museum of Photography, Dartmouth College and Le Salon Vert in Geneva, Switzerland. Ruth was a recipient of the 2016 New York Foundation for the Arts grant in photography.

Ruth’s work has been collected by the New York Public Library as well as many private collections including Lois Conner, Louise Fishman, An-My Lê, Frances Barth, Bruce Gagnier, Sylvia Mangold, Seane Corn, Dan Walsh, Chris Martin, Connie Hansen and Russell Peacock.

 

 

 

 

Blythe King: Image Transfers and Hand Cut Collages

Posted on September 14, 2017

Artist Statement
My current work started as an archival exercise, isolating and distilling the cultural messages packed into the pages of American mail-order catalogs, with a sharp focus on popular portrayals of women. Over the past three years, I’ve created two distinct yet related series of portraits from these catalogs. My collage portraits are hand-cut from the original 1940’s catalog pages, and feature reworked fashion models as super-heroines and goddesses. My image transfer portraits incorporate elements of collage, photography, and calligraphy, and depict women from 1970’s bra ads as fierce deities, and 1940’s models as compassionate ones. As a unified body of work, this collection of contemporary portraiture combines a documentation of popular representations of women in advertising with an attempt to obliterate the collective meaning of this representation.

My academic background is in Religious Studies, with a Buddhism and Art concentration. My art reconciles this background with my interest in the effects of popular culture on feminine identity. In school, I was most influenced by my study of Zen painting and calligraphy and Japanese woodblock prints. Along with my preference for paper, the aesthetic of my portraits is largely informed by my interest in the art of Japan, including my use of negative space and the way I sign my pieces with a red ink seal. Also, the expressiveness of the eroded edges of my image transfers recalls brushstrokes in Japanese ink painting and calligraphy. Currently, as a professor of World Religions, I have a renewed interest in Hindu imagery, especially depictions of female deities. I notice parallels between the poses, gazes, and hand gestures of fashion models in advertising and deities in Buddhist and Hindu art. As a result, the way I combine religious imagery with commercial images of women, creates a pantheon of sorts. The women featured in my work strike me as familiar, but with a difference; they stand out to me because I see something out of the ordinary in them. After years of working with these catalogs, I’ve developed an emotional relationship with the models, many of whom reappear in the catalogs year after year. I see in their poses a dignity and strength that stands in sharp contrast to contemporary representations of women in advertising. My impulse is to reinterpret their roles as divine beings, thereby activating a subjectivity that the original context of these images obscures.

This transformation of image and meaning offers the viewer an opportunity for a shift in perspective. Through collage and image transfer, I layer various materials and markings, like old paper, fingerprints, and gold rings, suggesting that through a process of transformation, we may see more clearly the work of culture on women’s bodies. My work considers the influence of the exterior, projected feminine ideal on interior ideas of identity, and ways in which the values of the dominant culture are encoded in commercial images of women. I find that these models of femininity are worth another look to allow for other ways of seeing them.

Bio

Blythe King’s art reconciles her background in Religious Studies with her interest in the effects of popular culture on female identity. Featuring reworked images of fashion models from American mail-order catalogs from the 1940’s and 70’s, Blythe’s collage and image transfer portraits suggest that through a process of transformation, we may see more clearly the work of culture on women’s bodies.

In 2013, Blythe transitioned from owning and running a creative online retail business, working with vintage textiles, to a renewed dedication to her art practice, working with images of women from vintage catalogs. Since then, her work has been exhibited throughout Virginia, including the Virginia Museum of Contemporary Art, and nationally, including galleries and art centers in Pennsylvania, Illinois, Georgia, South Carolina, and Washington D.C.

Blythe was born in Pittsburgh, PA, and currently lives and works in Richmond, VA.

http://cargocollective.com/blytheking

Exhibitions

2017 New Waves 2017, Virginia Museum of Contemporary Art, Virginia Beach, VA

Other Worlds, SE Center for Photography, Greenville, SC

33rd Annual Juried Exhibit, National Collage Society, Union Street Gallery, Chicago Heights, IL

CHOP SHOP, Candela Gallery, Richmond, VA

Pieced Together, Sulphur Studios, Savannah, GA

Curriculum Lab, Studio Two Three, Richmond, VA

Work 2017, True F. Luck Gallery, Visual Arts Center, Richmond, VA

2016 Solo Exhibition, How to Take a Compliment, Richmond Public Library Main Branch, Richmond, VA

J. Sergeant Reynolds Community College Faculty Art Show, Richmond, VA

Bling it Out, Iridian Gallery at Diversity Richmond, Richmond, VA

Flesh + Bone II, Hillyer Art Space, Washington D.C.

Wings from Chains, Athenaeum Gallery, Northern Virginia Fine Arts Association (NVFAA), Alexandria, VA

Poetic Logic, Sweetwater Center for the Arts, Sewickley, PA

Trending: Contemporary Art Now!, Target Gallery/Torpedo Factory, Women’s

Caucus for Art (WCA) exhibition, Alexandria, VA

Within Reach, Artspace Gallery, Richmond, VA

Work 2016, True F. Luck Gallery, Visual Arts Center, Richmond, VA

2015 Refresh, Page Bond Gallery, Richmond, VA

Work 2015, True F. Luck Gallery, Visual Arts Center, Richmond, VA

2014 Undiscovered, Gallery Flux, Ashland, VA

Work 2014, True F. Luck Gallery, Visual Arts Center, Richmond, VA

2013 5th Annual Juried Art Show, Riverviews Artspace, Lynchburg, VA

Think Small 7, Artspace, Richmond, VA (Biennial International Miniature Invitational)

Devotion, Liz Afif Gallery, Philadelphia, PA

Abstraction and Reality, Fredericksburg Center for the Creative Arts (FCCA), Fredericksburg, VA

All Media Show, FCCA, Fredericksburg, VA

Radius 250, Artspace, Richmond, VA

All Media Show, Art Works, Richmond, VA

Fellowships/Awards

2016 Second Place Award, All Media Show, Crossroads Art Center, Richmond,VA

2013 Best in Show Award, All Media Show, Art Works, Richmond, VA

Honorable Mention Award, All Media Show, FCCA, Fredericksburg, VA

2000-03 Graduate School Fellowship Award, University of Colorado, Boulder, CO

1999 Outstanding Student of Art/Art History Award, University of Richmond, Richmond, VA

Publications

2017 6th International Photography Annual, Manifest Gallery (forthcoming)

2016 Trending: Contemporary Art Now!, Women’s Caucus for Art, CreateSpace

Independent Publishing Platform, p. 54, 2016.

Kolaj Magazine Issue #15, Spring 2016

Alexandria Quarterly Spring 2016 Issue

The Adroit Journal Summer 2016 Issue

Teaching Experience

2013- present Art Educator, The Visual Arts Center of Richmond, Richmond, VA

2013- present Adjunct Professor, J. Sargeant Reynolds Community College, Richmond, VA

2000-02 Graduate Teacher, University of Colorado, Boulder, CO

Education

2003 University of Colorado, Boulder, CO

M.A. Religious Studies, Buddhism and Art concentration, magna cum laude

1999 University of Richmond, Richmond, VA

B.A. Religious Studies and Studio Art, cum laude

Related Experience

2004-13 iSockits / blytheking.com, etsy.com/shop/blytheking

Founder of iSockits, an online retail business offering a line of fabric sleeves

made from repurposed materials and tailored to fit a range of personal electronic

devices. Featured in Macworld Magazine (January 2011), Frankie Magazine

(January 2011, August 2010), and Antigravity Magazine (May 2009)

 

Liz Steketee: Gray Matters

Posted on September 10, 2017

On October 11, 2017, the Griffin Museum opens with “Gray Matters,” an exhibition of photographs by Marina Font, Francie Bishop Good, Sandra Klein, J. Fredric May, Liz Steketee and Colleen Woolpert. This exhibition is shown under the overarching title called “Gray Matters” and opens during FlashPoint Boston. Six solo exhibits will be featured in the Main Gallery, Atelier Gallery and the Griffin Gallery of the Griffin Museum of Photography in Winchester, MA.

J. Fredric May, in the Atelier Gallery at the Griffin, will exhibit “Apparition: Postcards from Eye See You” and Liz Steketee, will exhibit “Sewn” in the Griffin Gallery. Francie Bishop Good exhibits “Comus,” Marina Font’s exhibit is called “Mental Maps, Colleen Woolpert exhibits pieces from her series “Persistence of Vision” and Sandra Klein exhibits photographs from her “Noisy Brain” series.

“Gray Matters” will showcase at the Griffin Museum of Photography in Winchester, MA from October 11 – December 3, 2017. An opening reception takes place on Wednesday, October 11, 2017, 7 – 8:30 p.m. There will be a gallery walk with the artists at 5:45 PM on October 11, 2017.  In SoWa Boston for FlashPoint Boston through January three 48″x48″ sidewalk color vinyls will be on view featuring Francie Bishop Good, Sandra Klein and Marina Font photographs.

“Assembling the “Gray Matters” exhibition came out of a personal realization that none of us escape the aging process,” says Paula Tognarelli, executive director of the Griffin Museum of Photography. “As an aging female and as the daughter of a parent with dementia, I’ve had first hand experience of how our culture regards its elderly. I wanted an exhibition that started conversations on the value of elders coupled with a focus on how the brain influences a quality of life. Gray matter includes the regions of the brain that are the nuts and bolts of muscle control, memory, speech, perception, hearing and emotions.”

In “Noisy Brain,” Sandra Klein examines her 21st century brain that is constantly analyzing the world around her. She also hopes to understand the universal mind. She says, “As I watch my mother experience dementia, I am stunned by the changes in the aging brain.  In creating a narrative that focuses on layers of thinking, I ponder the noises that are yet to come.”

Sandra Klein was born in Elizabeth, New Jersey and received a BFA from Tyler School of Fine Arts in Philadelphia, PA and an MA in printmaking from San Diego State University. After working as a teacher, her art focus moved from printmaking into mixed media and fine art photography. Her practice involves conceptual imagery that explores memory and personal narratives. Her layered, often three dimensional photographs have been shown across the United States in venues such as the Center of Fine Art Photography in Colorado, Candela Gallery in Virginia, A Smith Gallery in Texas, Tilt Gallery in Arizona, Southeast Center of Photography in North Carolina, and Building Bridges, Arena 1 Gallery and the Los Angeles Center of Photography in Los Angeles. Her work has been featured on Lenscratch, A Photo Editor, Musee Magazine, What Will You Remember, and in Diffusion magazine, and is held in public collections. She will be in a four-person show at the California Museum of Art, Thousand Oaks in September 2017. She lives and works in Los Angeles.

Marina Font couples exploration of the human mind with female identity. Using metaphoric means she considers the biologic, psychological and social aspects of the female body and the intersections of these planes. She says, “With this series, I aim to approach what lies beyond control and reason, exploring, through the act of drawing with thread, embroidery, fabric and appropriated crochet pieces onto the photographic surface, the intricate mysteries of the psyche. Through these works I intend to shed imaginary light on the female experience in order to build idealized and fantastical connections to the forces of the unconscious.”

Born and raised in Argentina, Marina Font studied design at the Escuela de Artes Visuales Martin Malharro, Mar del Plata, Argentina. In the summer of 1998 she studied photography at Speos Ecole de la Photogrphie in Paris, followed by completing her MFA in Photography at Barry University, Miami in 2009. For the past ten years she’s has been working on photo-based works that explore issues of identity, gender, territory, language and the forces of the unconscious. Her work is held in several collections including the MDC Museum of Art + Design, Miami, The Lowe Art Museum at the University of Miami, The Boca Raton Museum of Art, The Girls’ Club Collection, Fort Lauderdale, The Bunnen Collection, Atlanta, FoLA, Fototeca Latinoamericana de Fotografia, Buenos Aires, Argentina and various important private collections around the world.

She has exhibited in numerous one-person and group shows in galleries, cultural institutions and museums including The Boca Raton Museum of Art (with RPM Projects), The Consulate General of Argentina in New York, The Deering Estate at Cutler, Miami The Appleton Museum, The Museum of Florida Art, The Nova South Eastern University, The Baker Museum, The Art Center South Florida and the Andy Gato Gallery at Barry University to name a few. She just had her fourth solo show at the Dina Mitrani Gallery, Miami. She lives and works in Miami Beach, Florida since 1997 and is represented by the Dina Mitrani Gallery.

Francie Bishop Good uses “a staccato of media” to create “a hybrid form of portraiture.” She begins with images from her mother’s and her yearbooks. She and her mother went to the same high school in Allentown, Pennsylvania. The artist says, “I cross-pollinate painting, photography, drawing, and collage with digital layering. The source material of photographs from yearbooks is something very personal yet universal. I am transforming the imagined. “Comus” was and still is the title of the yearbooks from Allentown High School.”

Born in Bethlehem, PA, Good lives and works in Fort Lauderdale, FL. Her work has been exhibited throughout the US, Europe and Latin America and is included in public and private collections in the US. Her work has appeared in publications, including The Miami Herald, Art in America, and ARTnews, among others. She is represented by David Castillo Gallery in Miami, FL. Francie Bishop Good did her undergraduate work at Philadelphia College of Art, received her BFA at the University of Boulder and her Masters at Florida Atlantic College.

In 2012 J. Fredric May experienced an aortic aneurysm. His sight was irreversibly altered losing 46% of his vision rendering him legally blind. His limited vision did not stop him from producing artwork. Independent curator J. Sybylla Smith says that May’s photographs are “a hybrid of analog and digital processes that are the result of his explorations.” Additionally she says, “May begins with vintage portraits which he scans and puts through data corruption software. He then creates layered composites and prints these as cyanotypes. He bleaches and tones his cyanotypes with a mixture of photo chemicals and tea. Ultimately, he digitizes the altered cyanotypes and creates an archival pigment print.”

Fredric May is a former photojournalist and filmmaker who has traveled all over the world, telling visual stories with a signature style of bold color and confrontational composition. He resides in Palm Springs, CA with his wife.

Liz Steketee uses family photographs to speak on identity and truth telling. She deconstructs, cuts and rebuilds photographs into personas with newly conceived histories, narratives and characteristics. Memories and truth become distorted with her use of threads, everyday moments from her life, photomontage and juxtaposition. She says of her work, “I break the rules of traditional photography by mixing elements and materials that do not necessarily belong together. I allow subjects to express emotions or information long repressed, causing a shift in expectations. Finally, I explore the traditions of sewing and photography colliding and establishing new ground. This work carries subtexts for me such as, the notion of truth in photography, the connection between photographs and memories, and the visual history and impact of the tradition of portraiture.”

A resident of San Francisco, Stekette lives with her husband and two children. She maintains her own art practice and teaches at the San Francisco Art Institute where she graduated with an MFA and received the prestigious John Collier Award. In 2011, Nazraeli Press published Steketee’s work in a One Picture Book, Dystopia.

Colleen Woolpert’s “Persistence of Vision” includes photography, video, and interactive objects and installations that explore how we visualize the unseen and navigate the unknown. The Griffin Museum chose to highlight three artworks from this series.

Colleen Woolpert is an interdisciplinary artist, designer, photo educator, and stereograph specialist based in Kalamazoo, Michigan. She creates still and moving images as well as interactive objects and installations that explore the nuances of vision—from visual perception itself to abstract concepts like imagination, wonder, and doubt.

Recipient of both an Individual Artist Grant and a Community Arts Grant from the New York State Council on the Arts (NYSCA), other recognition includes Juror’s Selection from Darren Ching (Klomching Gallery) in Same But Different at the New York Center for Photographic Art and a Top Knots Award from Photo District News. Her work has been curated into exhibitions at the Griffin Museum of Photography, Humble Arts Foundation, Dumbo Arts Center, and Light Work, among other venues, and her editorial photographs have appeared in many publications including The New York Times, Bicycling, Martha Stewart Weddings, and The Chronicle of Higher Education. Colleen received her MFA from Syracuse University and BA from Western Michigan University, where she currently teaches in the Photography and Intermedia Department.

J. Fredric May: Gray Matters

Posted on September 10, 2017

On October 11, 2017, the Griffin Museum opens with “Gray Matters,” an exhibition of photographs by Marina Font, Francie Bishop Good, Sandra Klein, J. Fredric May, Liz Steketee and Colleen Woolpert. This exhibition is shown under the overarching title called “Gray Matters” and opens during FlashPoint Boston. Six solo exhibits will be featured in the Main Gallery, Atelier Gallery and the Griffin Gallery of the Griffin Museum of Photography in Winchester, MA.

J. Fredric May, in the Atelier Gallery at the Griffin, will exhibit “Apparition: Postcards from Eye See You” and Liz Steketee, will exhibit “Sewn” in the Griffin Gallery. Francie Bishop Good exhibits “Comus,” Marina Font’s exhibit is called “Mental Maps, Colleen Woolpert exhibits pieces from her series “Persistence of Vision” and Sandra Klein exhibits photographs from her “Noisy Brain” series.

“Gray Matters” will showcase at the Griffin Museum of Photography in Winchester, MA from October 11 – December 3, 2017. An opening reception takes place on Wednesday, October 11, 2017, 7 – 8:30 p.m. There will be a gallery walk with the artists at 5:45 PM on October 11, 2017.  In SoWa Boston for FlashPoint Boston through January three 48″x48″ sidewalk color vinyls will be on view featuring Francie Bishop Good, Sandra Klein and Marina Font photographs.

“Assembling the “Gray Matters” exhibition came out of a personal realization that none of us escape the aging process,” says Paula Tognarelli, executive director of the Griffin Museum of Photography. “As an aging female and as the daughter of a parent with dementia, I’ve had first hand experience of how our culture regards its elderly. I wanted an exhibition that started conversations on the value of elders coupled with a focus on how the brain influences a quality of life. Gray matter includes the regions of the brain that are the nuts and bolts of muscle control, memory, speech, perception, hearing and emotions.”

In “Noisy Brain,” Sandra Klein examines her 21st century brain that is constantly analyzing the world around her. She also hopes to understand the universal mind. She says, “As I watch my mother experience dementia, I am stunned by the changes in the aging brain.  In creating a narrative that focuses on layers of thinking, I ponder the noises that are yet to come.”

Sandra Klein was born in Elizabeth, New Jersey and received a BFA from Tyler School of Fine Arts in Philadelphia, PA and an MA in printmaking from San Diego State University. After working as a teacher, her art focus moved from printmaking into mixed media and fine art photography. Her practice involves conceptual imagery that explores memory and personal narratives. Her layered, often three dimensional photographs have been shown across the United States in venues such as the Center of Fine Art Photography in Colorado, Candela Gallery in Virginia, A Smith Gallery in Texas, Tilt Gallery in Arizona, Southeast Center of Photography in North Carolina, and Building Bridges, Arena 1 Gallery and the Los Angeles Center of Photography in Los Angeles. Her work has been featured on Lenscratch, A Photo Editor, Musee Magazine, What Will You Remember, and in Diffusion magazine, and is held in public collections. She will be in a four-person show at the California Museum of Art, Thousand Oaks in September 2017. She lives and works in Los Angeles.

Marina Font couples exploration of the human mind with female identity. Using metaphoric means she considers the biologic, psychological and social aspects of the female body and the intersections of these planes. She says, “With this series, I aim to approach what lies beyond control and reason, exploring, through the act of drawing with thread, embroidery, fabric and appropriated crochet pieces onto the photographic surface, the intricate mysteries of the psyche. Through these works I intend to shed imaginary light on the female experience in order to build idealized and fantastical connections to the forces of the unconscious.”

Born and raised in Argentina, Marina Font studied design at the Escuela de Artes Visuales Martin Malharro, Mar del Plata, Argentina. In the summer of 1998 she studied photography at Speos Ecole de la Photogrphie in Paris, followed by completing her MFA in Photography at Barry University, Miami in 2009. For the past ten years she’s has been working on photo-based works that explore issues of identity, gender, territory, language and the forces of the unconscious. Her work is held in several collections including the MDC Museum of Art + Design, Miami, The Lowe Art Museum at the University of Miami, The Boca Raton Museum of Art, The Girls’ Club Collection, Fort Lauderdale, The Bunnen Collection, Atlanta, FoLA, Fototeca Latinoamericana de Fotografia, Buenos Aires, Argentina and various important private collections around the world.

She has exhibited in numerous one-person and group shows in galleries, cultural institutions and museums including The Boca Raton Museum of Art (with RPM Projects), The Consulate General of Argentina in New York, The Deering Estate at Cutler, Miami The Appleton Museum, The Museum of Florida Art, The Nova South Eastern University, The Baker Museum, The Art Center South Florida and the Andy Gato Gallery at Barry University to name a few. She just had her fourth solo show at the Dina Mitrani Gallery, Miami. She lives and works in Miami Beach, Florida since 1997 and is represented by the Dina Mitrani Gallery.

Francie Bishop Good uses “a staccato of media” to create “a hybrid form of portraiture.” She begins with images from her mother’s and her yearbooks. She and her mother went to the same high school in Allentown, Pennsylvania. The artist says, “I cross-pollinate painting, photography, drawing, and collage with digital layering. The source material of photographs from yearbooks is something very personal yet universal. I am transforming the imagined. “Comus” was and still is the title of the yearbooks from Allentown High School.”

Born in Bethlehem, PA, Good lives and works in Fort Lauderdale, FL. Her work has been exhibited throughout the US, Europe and Latin America and is included in public and private collections in the US. Her work has appeared in publications, including The Miami Herald, Art in America, and ARTnews, among others. She is represented by David Castillo Gallery in Miami, FL. Francie Bishop Good did her undergraduate work at Philadelphia College of Art, received her BFA at the University of Boulder and her Masters at Florida Atlantic College.

In 2012 J. Fredric May experienced an aortic aneurysm. His sight was irreversibly altered losing 46% of his vision rendering him legally blind. His limited vision did not stop him from producing artwork. Independent curator J. Sybylla Smith says that May’s photographs are “a hybrid of analog and digital processes that are the result of his explorations.” Additionally she says, “May begins with vintage portraits which he scans and puts through data corruption software. He then creates layered composites and prints these as cyanotypes. He bleaches and tones his cyanotypes with a mixture of photo chemicals and tea. Ultimately, he digitizes the altered cyanotypes and creates an archival pigment print.”

Fredric May is a former photojournalist and filmmaker who has traveled all over the world, telling visual stories with a signature style of bold color and confrontational composition. He resides in Palm Springs, CA with his wife.

Liz Steketee uses family photographs to speak on identity and truth telling. She deconstructs, cuts and rebuilds photographs into personas with newly conceived histories, narratives and characteristics. Memories and truth become distorted with her use of threads, everyday moments from her life, photomontage and juxtaposition. She says of her work, “I break the rules of traditional photography by mixing elements and materials that do not necessarily belong together. I allow subjects to express emotions or information long repressed, causing a shift in expectations. Finally, I explore the traditions of sewing and photography colliding and establishing new ground. This work carries subtexts for me such as, the notion of truth in photography, the connection between photographs and memories, and the visual history and impact of the tradition of portraiture.”

A resident of San Francisco, Stekette lives with her husband and two children. She maintains her own art practice and teaches at the San Francisco Art Institute where she graduated with an MFA and received the prestigious John Collier Award. In 2011, Nazraeli Press published Steketee’s work in a One Picture Book, Dystopia.

Colleen Woolpert’s “Persistence of Vision” includes photography, video, and interactive objects and installations that explore how we visualize the unseen and navigate the unknown. The Griffin Museum chose to highlight three artworks from this series.

Colleen Woolpert is an interdisciplinary artist, designer, photo educator, and stereograph specialist based in Kalamazoo, Michigan. She creates still and moving images as well as interactive objects and installations that explore the nuances of vision—from visual perception itself to abstract concepts like imagination, wonder, and doubt.

Recipient of both an Individual Artist Grant and a Community Arts Grant from the New York State Council on the Arts (NYSCA), other recognition includes Juror’s Selection from Darren Ching (Klomching Gallery) in Same But Different at the New York Center for Photographic Art and a Top Knots Award from Photo District News. Her work has been curated into exhibitions at the Griffin Museum of Photography, Humble Arts Foundation, Dumbo Arts Center, and Light Work, among other venues, and her editorial photographs have appeared in many publications including The New York Times, Bicycling, Martha Stewart Weddings, and The Chronicle of Higher Education. Colleen received her MFA from Syracuse University and BA from Western Michigan University, where she currently teaches in the Photography and Intermedia Department.

Francie Bishop Good, Sandra Klein, Marina Font, and Colleen Woolpert: Gray Matters

Posted on September 4, 2017

On October 11, 2017, the Griffin Museum opens with “Gray Matters,” an exhibition of photographs by Marina Font, Francie Bishop Good, Sandra Klein, J. Fredric May, Liz Steketee and Colleen Woolpert. This exhibition is shown under the overarching title called “Gray Matters” and opens during FlashPoint Boston. Six solo exhibits will be featured in the Main Gallery, Atelier Gallery and the Griffin Gallery of the Griffin Museum of Photography in Winchester, MA.

J. Fredric May, in the Atelier Gallery at the Griffin, will exhibit “Apparition: Postcards from Eye See You” and Liz Steketee, will exhibit “Sewn” in the Griffin Gallery. Francie Bishop Good exhibits “Comus,” Marina Font’s exhibit is called “Mental Maps, Colleen Woolpert exhibits pieces from her series “Persistence of Vision” and Sandra Klein exhibits photographs from her “Noisy Brain” series.

“Gray Matters” will showcase at the Griffin Museum of Photography in Winchester, MA from October 11 – December 3, 2017. An opening reception takes place on Wednesday, October 11, 2017, 7 – 8:30 p.m. There will be a gallery walk with the artists at 5:45 PM on October 11, 2017.  In SoWa Boston for FlashPoint Boston through January three 48″x48″ sidewalk color vinyls will be on view featuring Francie Bishop Good, Sandra Klein and Marina Font photographs.

“Assembling the “Gray Matters” exhibition came out of a personal realization that none of us escape the aging process,” says Paula Tognarelli, executive director of the Griffin Museum of Photography. “As an aging female and as the daughter of a parent with dementia, I’ve had first hand experience of how our culture regards its elderly. I wanted an exhibition that started conversations on the value of elders coupled with a focus on how the brain influences a quality of life. Gray matter includes the regions of the brain that are the nuts and bolts of muscle control, memory, speech, perception, hearing and emotions.”

In “Noisy Brain,” Sandra Klein examines her 21st century brain that is constantly analyzing the world around her. She also hopes to understand the universal mind. She says, “As I watch my mother experience dementia, I am stunned by the changes in the aging brain.  In creating a narrative that focuses on layers of thinking, I ponder the noises that are yet to come.”

Sandra Klein was born in Elizabeth, New Jersey and received a BFA from Tyler School of Fine Arts in Philadelphia, PA and an MA in printmaking from San Diego State University. After working as a teacher, her art focus moved from printmaking into mixed media and fine art photography. Her practice involves conceptual imagery that explores memory and personal narratives. Her layered, often three dimensional photographs have been shown across the United States in venues such as the Center of Fine Art Photography in Colorado, Candela Gallery in Virginia, A Smith Gallery in Texas, Tilt Gallery in Arizona, Southeast Center of Photography in North Carolina, and Building Bridges, Arena 1 Gallery and the Los Angeles Center of Photography in Los Angeles. Her work has been featured on Lenscratch, A Photo Editor, Musee Magazine, What Will You Remember, and in Diffusion magazine, and is held in public collections. She will be in a four-person show at the California Museum of Art, Thousand Oaks in September 2017. She lives and works in Los Angeles.

Marina Font couples exploration of the human mind with female identity. Using metaphoric means she considers the biologic, psychological and social aspects of the female body and the intersections of these planes. She says, “With this series, I aim to approach what lies beyond control and reason, exploring, through the act of drawing with thread, embroidery, fabric and appropriated crochet pieces onto the photographic surface, the intricate mysteries of the psyche. Through these works I intend to shed imaginary light on the female experience in order to build idealized and fantastical connections to the forces of the unconscious.”

Born and raised in Argentina, Marina Font studied design at the Escuela de Artes Visuales Martin Malharro, Mar del Plata, Argentina. In the summer of 1998 she studied photography at Speos Ecole de la Photogrphie in Paris, followed by completing her MFA in Photography at Barry University, Miami in 2009. For the past ten years she’s has been working on photo-based works that explore issues of identity, gender, territory, language and the forces of the unconscious. Her work is held in several collections including the MDC Museum of Art + Design, Miami, The Lowe Art Museum at the University of Miami, The Boca Raton Museum of Art, The Girls’ Club Collection, Fort Lauderdale, The Bunnen Collection, Atlanta, FoLA, Fototeca Latinoamericana de Fotografia, Buenos Aires, Argentina and various important private collections around the world.

She has exhibited in numerous one-person and group shows in galleries, cultural institutions and museums including The Boca Raton Museum of Art (with RPM Projects), The Consulate General of Argentina in New York, The Deering Estate at Cutler, Miami The Appleton Museum, The Museum of Florida Art, The Nova South Eastern University, The Baker Museum, The Art Center South Florida and the Andy Gato Gallery at Barry University to name a few. She just had her fourth solo show at the Dina Mitrani Gallery, Miami. She lives and works in Miami Beach, Florida since 1997 and is represented by the Dina Mitrani Gallery.

Francie Bishop Good uses “a staccato of media” to create “a hybrid form of portraiture.” She begins with images from her mother’s and her yearbooks. She and her mother went to the same high school in Allentown, Pennsylvania. The artist says, “I cross-pollinate painting, photography, drawing, and collage with digital layering. The source material of photographs from yearbooks is something very personal yet universal. I am transforming the imagined. “Comus” was and still is the title of the yearbooks from Allentown High School.”

Born in Bethlehem, PA, Good lives and works in Fort Lauderdale, FL. Her work has been exhibited throughout the US, Europe and Latin America and is included in public and private collections in the US. Her work has appeared in publications, including The Miami Herald, Art in America, and ARTnews, among others. She is represented by David Castillo Gallery in Miami, FL. Francie Bishop Good did her undergraduate work at Philadelphia College of Art, received her BFA at the University of Boulder and her Masters at Florida Atlantic College.

In 2012 J. Fredric May experienced an aortic aneurysm. His sight was irreversibly altered losing 46% of his vision rendering him legally blind. His limited vision did not stop him from producing artwork. Independent curator J. Sybylla Smith says that May’s photographs are “a hybrid of analog and digital processes that are the result of his explorations.” Additionally she says, “May begins with vintage portraits which he scans and puts through data corruption software. He then creates layered composites and prints these as cyanotypes. He bleaches and tones his cyanotypes with a mixture of photo chemicals and tea. Ultimately, he digitizes the altered cyanotypes and creates an archival pigment print.”

Fredric May is a former photojournalist and filmmaker who has traveled all over the world, telling visual stories with a signature style of bold color and confrontational composition. He resides in Palm Springs, CA with his wife.

Liz Steketee uses family photographs to speak on identity and truth telling. She deconstructs, cuts and rebuilds photographs into personas with newly conceived histories, narratives and characteristics. Memories and truth become distorted with her use of threads, everyday moments from her life, photomontage and juxtaposition. She says of her work, “I break the rules of traditional photography by mixing elements and materials that do not necessarily belong together. I allow subjects to express emotions or information long repressed, causing a shift in expectations. Finally, I explore the traditions of sewing and photography colliding and establishing new ground. This work carries subtexts for me such as, the notion of truth in photography, the connection between photographs and memories, and the visual history and impact of the tradition of portraiture.”

A resident of San Francisco, Stekette lives with her husband and two children. She maintains her own art practice and teaches at the San Francisco Art Institute where she graduated with an MFA and received the prestigious John Collier Award. In 2011, Nazraeli Press published Steketee’s work in a One Picture Book, Dystopia.

Colleen Woolpert’s “Persistence of Vision” includes photography, video, and interactive objects and installations that explore how we visualize the unseen and navigate the unknown. The Griffin Museum chose to highlight three artworks from this series.

Colleen Woolpert is an interdisciplinary artist, designer, photo educator, and stereograph specialist based in Kalamazoo, Michigan. She creates still and moving images as well as interactive objects and installations that explore the nuances of vision—from visual perception itself to abstract concepts like imagination, wonder, and doubt.

Recipient of both an Individual Artist Grant and a Community Arts Grant from the New York State Council on the Arts (NYSCA), other recognition includes Juror’s Selection from Darren Ching (Klomching Gallery) in Same But Different at the New York Center for Photographic Art and a Top Knots Award from Photo District News. Her work has been curated into exhibitions at the Griffin Museum of Photography, Humble Arts Foundation, Dumbo Arts Center, and Light Work, among other venues, and her editorial photographs have appeared in many publications including The New York Times, Bicycling, Martha Stewart Weddings, and The Chronicle of Higher Education. Colleen received her MFA from Syracuse University and BA from Western Michigan University, where she currently teaches in the Photography and Intermedia Department.

Leslie Sheryll: Pick Your Poison

Posted on September 3, 2017

Statement
Leslie Sheryll: Pick Your Poison

These images were created from 19th century tintypes that I scan and alter. I name each woman so that she has her own identity. Women during that era were restricted to defined social norms and their identity was that of their husbands or fathers. In this series the women are enclosed in spheres. This refers to Darwin’s work in biological determination and the belief that women were the weaker sex. At the time it was believed that men and women inhabit separate spheres. A woman’s sphere was at home as wife and mother. If a woman desired to go beyond her sphere she found her choices limited. Botanical illustration was permitted, as long as it was to confirm the existence of God. Once the study progressed from illustration to science men took over. This also occurred in other fields, for example medicine. Originally women, some known as healers and midwives were dependent upon for healing the sick. Eventually, as women gained too much knowledge men made the practice of medicine their own. My use of plants combines both botany and medicine. Here I use poisonous plants. Sometimes plants heal and sometimes they kill. Though beautiful, these plants try holding these women “in place”. Luckily, women are strong and were not held in place.

Archival Digital Prints Edition of 10

Resumé Leslie Sheryll

Exhibitions/ Awards/ Web /Publications

2017 Griffin Museum of Photography, Online exhibition participant in “Gray Matters.”

2017 Gallery Vivid Foto in Barcelona (Oct. 2017)

10th Edition of the Julia Margaret Cameron Award for Women Photographers

2017 The Gala Awards 10th Pollux Award winner for Children category Series: Sugar and Spice

2017 Arts Council of Princeton, Group Show (Oct. 2017) Princeton, New Jersey

2017 Float Photo Magazine, Female Gaze, Series: Botanicals

2017 Bent But Unbroken, Group Exhibition, Charles H. Wright Museum of African American History, Detroit, Michigan

2017 10th Edition of the Julia Margaret Cameron Award for Women Photographers, winner alternative process

2017 L’Oeil de la Photographie Series:Pick Your Poison http://www.loeildelaphotographie.com/en/2017/04/22/article/159947873/leslie-sheryll-pick-your-poison/

2017 Riverview, article/interview by Sally Deering “Superwoman Soars at 107 Bowers

2017 Untitled Space, She Inspires, Group Show New York, New York

2017 A Stitch in Time, Finalist Art Scene Today online competition http://artscenetoday.com/juried-exhibitions/stitch-time/

2017 107 Bowers Gallery & ArtSpace, Group Show, SUPERWOMAN, Jersey City, N.J.

2017 Nasty Women Group Show/Fundraiser, Knockdown Center, Queens, New York

2016 Impressa Magazine, On Line Publication http://www.impressaphoto.com/voided-leslie-sheryll/

2016 Berlin Foto Biennale, Berlin, Germany

2016 Underexposed Magazine, Series: Botanicals

2016 L’Oeil de la Photographie Series Mother Nature http://www.loeildelaphotographie.com/en/?s=leslie+sheryll

2016 Houston Center for Photography, 34th Annual Juried Membership Exhibition, Houston, Texas

2016 Der Greif Magazine, Series: Mother Nature, 9th Edition

2016 Magna The Working Large Show, Group Show, Tivoli Artists Gallery, Tivoli, New York

2016 Heaven Art and Antiques, Group Show, Asbury Park, New Jersey

2016 Picturing The Garden State (Now), Gallery Bergen, Group Show, Paramus, New Jersey

2016 Finalist Focus, Photo l.a. exhibition, Los Angeles, California

2015 L’Oeil de la Photographie Series The Cult of Womanhood http://www.loeildelaphotographie.com/en/?s=leslie+sheryll

2015 The 8th Edition of the Julia Margaret Cameron Awards For Women Photographer – Cult of Womanhood Series Finalist

2015 Finalist Charles Dodgson Black & White Award

2015 The 7th Edition of the Julia Margaret Cameron Award for Women Photographers, Portrait finalist, Berlin Germany

2015 Focus l.a. Finalist

2014 Viridian Gallery, Juried Show, New York, New York

2012 Mana Fine Art, Group Show, Jersey City, New Jersey

2010 Newark Museum, Juried Show, Make Something Beautiful, Newark, New Jersey

2009 Viridian Artists Gallery, Juried Show, First Place Winner, New York, New York

2009 Vermont Photo Workplace, Group Show, Middlebury, Vermont

2009 Causey Contemporary, Group Show, Brooklyn, New York

2008 Jersey City Museum, SPRAWL, Group Show, Jersey City, New Jersey

2007 Hoxie Gallery, Group Show, Westerly, Rhode Island

2007 About Photography, Group Show, Victory Hall, Jersey City, New Jersey

2007 Crossroads Gallery, Group Show, Kansas City, Missouri.

2007 Ch’i Contemporary Fine Art Gallery, Group Show, Brooklyn, New York

2006 Jersey City Artist’s Tour, Public Library, Group Show, Jersey City, New Jersey

2005 Jersey City Artist’s Tour, Victory Hall, Group Show, Jersey City, New Jersey

1985 Charlotte Crosby Kemper Gallery, Group Show, Kansas City, Missouri.

1978 WomanArt Gallery, Group Show, NY, New York

1975 University of Kansas, Group Show, Topeka, Kansas

 

Dianne Yudelson Antique Aviary Artist book

Posted on August 26, 2017

Bio
Dianne Yudelson is an award winning photographic artist. Her images have been published in over 50 countries on 6 continents including Washington Post, International New York Times, The New Yorker, CNN, The Huffington Post, Slate Magazine, and the Daily Mail. Dianne’s work has been exhibited in Spain, France, Scotland, Georgia, Malaysia, Thailand, and all throughout the United States. Dianne is a two time Critical Mass Finalist, a Julia Margaret Cameron Award winner and her honors include “Photographer of the Year” titles from three acclaimed international competitions; Black and White Spider Awards, International Color Awards, and World Photography Gala Awards

“My fascination with photography began upon the realization that, in addition to being a wonderful means of documentation, photography can also be used as a fine art medium. My style is eclectic as I embrace the challenge of exploring varied subjects and forms of expression. When inspiration lays a new path before me, I gladly take a detour. I am motivated to create by the hope of evoking emotion that continues to resonate across time.” – DY

About the Artist Book
Dianne Yudelson’s artist book of her “Antique Aviary” images will be on display at the Griffin Museum from September 7, 2017 – October 1, 2017. Dianne created her artist book as a vehicle for viewing “my birds” in an aviary grouping. The accordion book is handmade, printed and editioned by the artist using Hahnemühle Fine Art paper with cover images printed on 100% cotton, and all archival materials.  The book is 5.25” square. This “mini exhibit” book can be hand held or displayed standing; when open flat it measures 5’4” in length. The pages are double thickness and there are images on both sides of the book with 20 birds in the aviary. Dianne’s book is held together by a handmade band and enclosed with a signed letter of authenticity within a handsome gray box. The book is a limited edition with 6 now available.

Statement on Antique Aviary
As a very young girl my fondest memory was sitting on my grandmother’s porch while she showed me the tintypes of my great grandmother and other loved ones. Holding these tintypes in my hand and gazing into the eyes of my ancestors while hearing stories of my grandmother’s childhood was an experience I hold dear to my heart. These tintypes were my first exposure to the “Art” of photography. My series “Antique Aviary” is a melding of my lifelong passion for birds, my wildlife photography and my deep appreciation of the tintype image

– Dianne Yudelson

Book price $280 (includes shipping).

Tricia Gahagan, 11:11 Mirroring Consciousness

Posted on August 7, 2017

Photographer John Chervinsky, whose work explored the concept of time, passed away in December of 2015, following a typically resolute battle with pancreatic cancer. The modesty and unassuming character John conveyed in life belies the extent to which he will be missed, not only by his family and friends, but also by the entire photographic community of which he was so proud to be a part.

The John Chervinsky Emerging Photographer Scholarship was announced in June 2016 to recognize, encourage and reward photographers with the potential to create a body of work and sustain solo exhibitions. Awarded annually, the Scholarship provides recipients with a monetary award, a Master class with Mary Virginia Swanson, an exhibition of their work at the Griffin Museum of Photography, and a volume from John’s personal library of photography books. The Scholarship seeks to provide a watershed moment in the professional lives of emerging photographers, providing them with the support and encouragement necessary to develop, articulate and grow their own vision for photography.

The first year in 2016, 166 photographers submitted applications to be considered for the scholarship.

After much thought and consideration the judges (Leslie K. Brown, Barbara Hitchcock, Mary Virginia Swanson and Richard Levy), chose Tricia Gahagan as the first recipient of the John Chervinsky Emerging Photographer Scholarship.

The judges also put forth a group of six finalists they felt should be noted, each of whom were ranked at the highest level by no less than 3 out of 4 Judges. The Finalists are: Vanessa Filley, Ville Kansanen, Wen Hang Lin, Katie Mack, Tiziana Rozzo and Rebecca L. Webb.

One of the judges, Mary Virginia Swanson said, “In viewing the applications to the Inaugural John Chervinsky Emerging Photographer Scholarship, I could not help but think of John and his creative practice.”

She went on to say, “Within the applications there were dozens of compelling projects that bore evidence of exploration of both ideas and process. Upon viewing Tricia Gahagan’s project “11:11 Connecting With Consciousness” and reading her applications documents, I felt she had achieved that and more; I sense she is approaching her project with deep and profound contemplation. Gahagan envisions life’s most complex issues in this series of simple images, affording the viewer a path towards their own contemplative journey.”

The call for new submissions will occur on August 1, 2017. The exhibition for Gahagan will open  September 7, 2017.

Artist Bio – Tricia Gahagan

Gahagan is a fine art photographer born and raised in Providence, RI. She is a first-time recipient of the John Chervinsky Emerging Photographer Scholarship from The Griffin Museum of Photography. Her work has been exhibited and published throughout the United States and internationally. She began her career in fine art photography after over a decade in marketing and advertising. In 2012 she attended Corcoran College of Art & Design then continued to the New England School of Photography in Boston. She then went on to study under Joyce Tenneson and Cig Harvey.In addition to her art she is a contributor to LA Yoga and Boston Yoga magazines and serves on the board of New

Harmony Farm. Gahagan is based out of Newbury, MA with her young family. When she’s not behind her camera she loves doing yoga, hiking, and meditating.

 Artist Statement

How often do we pause and pay attention to the messages the world is mirroring back to us?

“11:11 Mirroring Consciousness” illustrates the introspective significance of the moment; the notion that every experience, relationship, decision, and habit is a mirror. These found moments capture this mirror and freeze space from within consciousness; nothing is constructed. They are subtle, hidden moments that reveal insights, guidance, and answers.

Each image appears as a question, a paradox, a koan: a means to challenge the limits of the analytical mind and engage contemplation. They blur the lines between perception and illusion, darkness and light. Their contrast coupled with silence necessitates a heightened awareness to look deeper inside while witnessing the everyday world around us.

John Chervinsky Scholarship Award Finalists 2016

Posted on August 7, 2017

Photographer John Chervinsky, whose work explored the concept of time, passed away in December of 2015, following a typically resolute battle with pancreatic cancer. The modesty and unassuming character John conveyed in life belies the extent to which he will be missed, not only by his family and friends, but also by the entire photographic community of which he was so proud to be a part.

The John Chervinsky Emerging Photographer Scholarship was announced in June 2016 to recognize, encourage and reward photographers with the potential to create a body of work and sustain solo exhibitions. Awarded annually, the Scholarship provides recipients with a monetary award, a Master class with Mary Virginia Swanson, an exhibition of their work at the Griffin Museum of Photography, and a volume from John’s personal library of photography books. The Scholarship seeks to provide a watershed moment in the professional lives of emerging photographers, providing them with the support and encouragement necessary to develop, articulate and grow their own vision for photography.

The first year in 2016, 166 photographers submitted applications to be considered for the scholarship.

After much thought and consideration the judges (Leslie K. Brown, Barbara Hitchcock, Mary Virginia Swanson and Richard Levy), chose Tricia Gahagan as the first recipient of the John Chervinsky Emerging Photographer Scholarship.

The judges also put forth a group of six finalists they felt should be noted, each of whom were ranked at the highest level by no less than 3 out of 4 Judges. The Finalists are:
Vanessa Filley, Ville Kansanen, Wen Hang Lin, Katie Mack, Tiziana Rozzo and Rebecca L. Webb.

One of the judges, Mary Virginia Swanson said, “In viewing the applications to the Inaugural John Chervinsky Emerging Photographer Scholarship, I could not help but think of John and his creative practice.”

She went on to say, “Within the applications there were dozens of compelling projects that bore evidence of exploration of both ideas and process. Upon viewing Tricia Gahagan’s project “11:11 Connecting With Consciousness” and reading her applications documents, I felt she had achieved that and more; I sense she is approaching her project with deep and profound contemplation. Gahagan envisions life’s most complex issues in this series of simple images, affording the viewer a path towards their own contemplative journey.”

The call for new submissions will occur on August 1, 2017. The exhibition for Gahagan and the six Finalists will open on September 7, 2017.

Photography Atelier 26

Posted on August 7, 2017

The Photography Atelier 26 will present an exhibit of student artwork from September 7th to October 1, 2017. 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.

On Thursday, September 7th, the public is invited to attend the artists’ opening night reception from 6:30-8:30 p.m. at the Griffin Museum.

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 19 members of this group show is varied and inspiring — from our relationship with the past to emotions, memory, objects, poetry, science and the landscape — the show is very satisfying feast for the eyes and soul.”

Work by 2017 Atelier 26 members includes:
Tony Attardo, Diane Bennett, Terry Bleser, Edward Boches, Judy Brown, Larry Bruns, Fehmida Chipty, Megan Cronin, Erik Eskedal, Kay Goodman, Claudia Gustafson, Donald Harbison, Janis Hersh, Cynthia Johnson, Charles Mazel, Coco McCabe, Amy Rindskopf, Darrell Roak, and Maria Verrier.

Tony Attardo: “Just as He Left It” is a series of photographs that are crafted to express the honor and dignity of Joseph L. Attardo by capturing moments, settings and the personal objects that define who he was and how he lived.

In Terry Bleser’s ‘Brink of Change’, the photographs emerge as little postcards from sleep-born anxieties over moving to a new city.

‘Without you” Diane Bennett says that in after her husband passed away, she picked up her camera and found scenes that reflected her sadness, isolation, and grief and became a source of comfort.

Edwards Boches’: Seeking Glory: are portraits that celebrate the strength and courage it takes to be a boxer.

Judy Brown is an animal photographer  concentrating on farm animals in the project, “Far from the Madding Crowd“.  It is her hope that these photographs might be useful to an organization working for better treatment of farm animals.

Larry Bruns has photographed light and space in “Christina’s Home” the subject of Andrew Wyeth’s iconic painting, “Christina’s World.”

Femida Chipty studies and captures color and light as they bring new vision and thought to ordinary architectural shapes like doors and windows.

‘Shadow Land’ finds Meghan Cronin exploring one of the things that we all have in common, we all cast shadows.

Erik Eskedal: In ‘Junkyards: The Transcendental Automobile’ there is the mystery of countless stories as the native growth slowly enshrouds these battle-scarred metal icons.  The breeze speaks with ghostly whistles and inspires the art of transcending automobiles.

In “Fire, Air, Earth, Water” Kay Goodman explores relationships between elements

Claudia Gustafson, In the series ’The Space Between’ I am re-enacting my dreams. To create these images, I use metaphors and symbols. I write poetry, sketch my visions, and then I capture them with my camera using toy and vintage lenses to create a blur reality.

Donald Harbison remembers the woods as his ‘Sanctuary‘ growing up. His photographs explore memories that are still raw but muted by time.

 Janis Hersh‘s ‘Season Prelude’ focuses on the largely un-noticed scenes and transitions that occur as a town on Cape Cod wakes from a very long and quiet winter season and readies for summer.

Cynthia Johnston’s work, ‘In the Quiet Hours’, features landscapes lit by ambient lighting and by mysterious evening skies.

 Charles Mazel: Light under Light explores the stunning visual dimension of fluorescence that is around us all the time, but unseen beneath the sea of white light in which we live.

Coco McCabe: In “T time” a commute can be an intensely private time in the most public of places. It’s that tension that I am capturing in this series of photographs: the aloneness in a crowd, the pause in a rush, the emptiness in a station after hours.

In “Interstellar,‘ Amy Rindskopf discovers an earth-bound journey through the stars

In “Mother Nature’s Easel”, Darrell Roak represents his “continuing wonder of Mother Nature and her artistic hand at molding all of her created parts and pieces in just the right places”.

Maria Verrier – What you say and what I hear is not the same. The diptychs in ‘The In-between’ are intended to represent my own fractured ability to communicate all that is hidden beneath.

About the class:
Photography Atelier, in its twenty-second 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 September 7th 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 26 Website

  • « Go to Previous Page
  • Page 1
  • Interim pages omitted …
  • Page 40
  • Page 41
  • Page 42
  • Page 43
  • Page 44
  • Interim pages omitted …
  • Page 70
  • Go to Next Page »

Primary Sidebar

Footer

Cummings Foundation
MA tourism and travel
Mass Cultural Council
Winchester Cultural District
Winchester Cultural Council
The Harry & Fay Burka Foundation
En Ka Society
Winchester Rotary
JGS – Joy of Giving Something Foundation
Griffin Museum of Photography 67 Shore Road, Winchester, Ma 01890
781-729-1158   email us   Map   Purchase Museum Admission   Hours: Tues-Sun Noon-4pm
     
Please read our TERMS and CONDITIONS and PRIVACY POLICY
All Content Copyright © 2025 The Griffin Museum of Photography · Powered by WordPress · Site: Meg Birnbaum & smallfish-design
MENU logo
  • Visit
    • Hours
    • Admission
    • Directions
    • Handicap Accessability
    • FAQs
  • Exhibitions
    • Exhibitions | Current, Upcoming, Archives
    • Calls for Entry
  • Events
    • In Person
    • Virtual
    • Receptions
    • Travel
    • PHOTOBOOK FOCUS
    • Focus Awards
  • Education
    • Programs
    • Professional Development Series
    • Photography Atelier
    • Education Policies
    • NEPR 2025
    • Member Portfolio Reviews
    • Arthur Griffin Photo Archive
    • Griffin State of Mind
  • Join & Give
    • Membership
      • Become a Member
      • Membership Portal
      • Log In
    • Donate
      • Give Now
      • Griffin Futures Fund
      • Leave a Legacy
      • John Chervinsky Emerging Photographer Scholarship
  • About
    • Meet Our Staff
    • Griffin Museum Board of Directors
    • About the Griffin
    • Get in Touch
  • Rent Us
  • Shop
    • Online Store
    • Admission
    • Membership
  • Blog

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