Griffin Museum of Photography

Tree Talk

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The natural world figures prominently in childhood, more so before the Internet, Gameboy, fear of predators and frequent litigation stunted daily play. Perhaps it is the spontaneously creative imagination of children that sees nature as a stage with magical possibilities. The internal censor that inhibits and arrives with adulthood is years away from landing on their shoulders. The enchanted forest exists for the young at heart.

What child hasn’t dreamed of climbing into treetops perched on a limb for a bird’s eye view? A hand-made swing hung from the strong arm of our backyard maple was my heart’s desire. Instead, Sears Roebuck assembled our swing set on delivery. A tree whose thick circumference can conceal during a game of “Hide and Seek is the best hiding place in the eyes of a child. The weeping willow on our front lawn became a readymade clubhouse. It’s drooping branches doubled as long flowing hair and mane as we galloped on mops down the driveway.

In fiction, television programming and cinema, trees are often portrayed as living prescient beings. There’s something in us that wants to believe that trees can talk, to each other and to visitors. One example, in the children’s story “The Giving Tree,” author Shel Silverstein tells of one tree that provides for a lifetime of “asks” from one small boy. The tree gives and gives by its own will until eventually one little old man asks for the tree to sacrifice its own existence. And the tree gives.

Hollywood has definitely perpetuated the idea that trees talk. Remember the cantankerous old apple tree in the “Wizard of Oz” that slapped Dorothy and the Scarecrow for picking apples. “How would you like someone to come along and pick something off of you?” a tree asks Dorothy. What of Groot, a tree-like being from the “Guardians of the Galaxy” movie and comic book? He’s not the most loquacious of trees as the only words he can utter are “I am Groot,” but he is an expert in “quasi-dimensional super-positional engineering.” While not an actual tree, Agent 13, played by Bill Murray, in “Get Smart” was always shown in a tree costume with his face poking out from a knothole. “I get it. Who wants to talk to a guy in a tree?” says Agent 13 to Agent 86. Other trees include Tolkien’s Ents, the twisted oak of “Pan Labyrinth,” Harry Potter’s Whomping Willow, Disney’s Grandmother Willow from “Pocahontas”, and the beast from “A Monster Calls” to name a few of visual media’s animated tree-beings.

Suzanne Simard, professor at the University of British Columbia and a forest ecologist, has been studying trees and how they communicate. Through her research she concludes that trees talk not with words but through a symbiotic underground root system called mycorrhizal (soil fungus) networks. The “Mother Trees” (also called Hub Trees) are the largest trees in the forest. These Mother Trees protect “the family” as they direct the root systems to guide nutrients to saplings and other plant life that have need. They can also instruct the latticed fungi to make space for growing seedlings. The root systems connect to many species of trees no matter if deciduous or cone bearing.

The Mother Trees warn of climate change and predators on the network. For instance, if insects attack a tree, all the trees are on alert. When giraffes eat acacia tree leaves, found mostly in Australia and Africa, a warning chemical goes out to other trees that are downwind. These trees then release toxic tannin that protects the leaves from being eaten. Here we have trees communicating. We have trees revealing information. We have trees calling attention to something. I call it “Tree Talk.”

In this exhibition called “Tree Talk” the Griffin Museum of Photography brings 66 photographers who converse with trees. The exhibit has been organized to flow as a narrative from the beginning to end of the passageway. In this way the trees all talk to each other. We hope our audience enjoys the exhibition and that all of the trees give up their secrets to you.

The photographers include: Roger Archibald, Frank Armstrong, Craig Becker, Karen Bell, Patricia A. Bender, Anne Berry, Meg Birnbaum, Todd Bradley, Joy Bush, Jessica Chen, Robert Dash, Adam Davies, Adrienne Defendi, L. Aviva Diamond, Barbara Diener, Benjamin Dimmitt, Estelle Disch, Alex Djordjevic, Ken Dreyfack, Mitch Eckert, Carol Erb, Diane Fenster, Kev Filmore, Doug Fogelson, Connie Gardner Rosenthal, Conrad Gees, Linda Haas, Law Hamilton, Charlotta Hauksdottir, Jeanne Hildenbrand, Mark Indig, Carol Isaak, Diana Nicholette Jeon, Doug Johnson, Amy Kanka Valadarsky, Susan Keiser, Sandra Klein, Karen Klinedinst, Brian Kosoff, David Kulik, Susan Lapides, Mark Levinson, Susan Lirakis, Aline Mare, Kevin Miyazaki, Colleen Mullins, Arthur Nager, Bernie Newman, Marcy Palmer, Jane Paradise,  Paula Riff, Gordon Reynolds, Gail Samuelson, Holly Roberts, Wendi Schneider, Jean Schnell, Tony Schwartz, Sara Silks, Richella Simard, David Whitney, Vicky Stromee, Dawn Watson, Nina Weinberg Doran, Dianne Yudelson and Mike Zeis.

Any questions regarding the artwork can be directed to the Griffin Museum at 781-729-1158 or via email to photos@griffinmuseum.org.

We want to thank the Downtown Boston Improvement District and Lafayette City Center for their continued support of the Griffin Museum of Photography. We have enjoyed every moment you have allowed us to exhibit here.

Paula Tognarelli
Executive Director and Curator
Griffin Museum of Photography
January 22, 2018

There will be an artist talk and reception on May 5, 2018 from 4-6 PM. Talk at 4 PM. Reception at 5 PM.

“Tree Talk” is an exhibition of 66 photographers from all over the world who have featured trees as themes in this exhibition.  As part of ARTWEEK six photographers will talk about their work in the exhibition and how trees impact their lives. Those photographers are Jessica Chen, Conrad Gees, Jane Paradise, Doug Johnson, Tony Schwartz and Mike Zeis. The program will then open up to the audience to discuss the importance of trees in their lives and how trees communicate with each other and with the people. The exhibition is brought to the public by the Griffin Museum of Photography and is curated by the director and curator Paula Tognarelli. The exhibition is located in the Lafayette City Center Passageway in Boston’s Downtown Crossing. An exhibition artist reception is from 5-6 PM.

Tony Schwartz: Travels to China and Tibet

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Photographer, Tony Schwartz has been photographing all over the world since 2003. In the exhibition, Travels to China and Tibet, Schwartz presents his audience with a curated selection of photographs of his travels around China and Tibet in 2007.

Travels to China and Tibet will be on view at the Griffin at 530 Harrison Avenue in SOWA, MA, November 16 – February 2, 2018. A reception will be held on January 12th  from 6-8pm.

“As long as I can remember I have been involved in the visual arts. This started with drawing as a child, and has included sculpture, oil painting and film photography. Since 2003 my artistic passion has been photography,” writes Schwartz.

“Much of my work includes images that are converted from color to monochrome….the use of sepia tones for this exhibition seemed to fit best with the nations visited and the subject matter of the images. This exhibition includes images acquired in China and Tibet in 2007. Though China has, in recent years, emerged in many ways into modernity, I chose to focus on images that reminded me of that nation’s rich past.”

Before devoting himself fully to photographic art Tony was an academic veterinary surgeon and immunologist.  He has been on the faculties of several universities, most recently, the Tufts Cummings School of Veterinary Medicine in North Grafton, MA. There, he served as Professor and Chair of the Surgery Department and as an Associate Dean until retiring in 2005. He resides in Boston, MA and Peru, VT with his wife Claudia. Tony is represented by 3 Pears Gallery in Dorset VT. His work has been juried into many national exhibitions and has a permanent exhibition on view at Tufts Cummings School of Veterinary Medicine. Tony has had solo and two-person exhibitions at Southern Vermont Arts Center, Copley Society of Art, South Shore Arts Center, Dark Room Gallery, Gallery Seven, Photographic Resource Center, and the Museum of Fine Arts, Boston. He has produced two photobooks, Same Yet Different (2013) and Claudia’s Doll and Other Windows (2016).  For his photographic work, he has received awards from Boston Camera Club, Cape Cod Art Association, New England Camera Club Conference, and South Shore Arts Center.

Website

Into the Moon’s Room

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Virginia photographer Rebecca Biddle Moseman, in her series ‘Into the Moon’s Room,’ tells the story of “a boy’s honor and oath to his deceased aunt to carry on the story they created and threaded together about a black bird, and the moon.”

“Oh, to go where the clouds sleep, where the moons dance and the stars weep. I went into the moon’s room, Zoom, Zoom. There were stars in his closet and clouds in his bed, and lying in the corner a black bird with her feathery black head.”

“Into the Moon’s Room” will be on view in the Griffin Museum’s Atelier Gallery at the Greater Boston Stage Company in Stoneham, MA, January 18 – April 29, 2018. A reception will be held on March 29, 2018 from 6:30-8pm.

“Moseman is an active observer,” says Paula Tognarelli, the executive director of the Griffin Museum of Photography. “She sees through an artist’s eye that tunes her experience of the world around her. Through her art making she questions, compares, responds and articulates using the language of the photograph. Moseman’s sons are quite natural participants in her storytelling.”

Moseman received her BA in art from Virginia Tech in 1997, and her MFA in graphic design from the Rochester Institute of Technology (RIT) in 2001. She has been a professional graphic designer for the past 20 years, and a freelance/ fine art photographer for the past six years.

Website

“Into the Moon’s Room”, by Suzanne Révy on “What Will You Remember”.

I Could Not Prove the Years Had Feet

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Photographer, Suzanne Révy has been photographing her two sons through the different stages of maturation. In her newest series, I Could Not Prove the Years Had Feet, Révy makes images around her home in response to the changing relationship she has with her sons as they transition into adulthood.

 I Could Not Prove the Years Had Feet will be on view in the Griffin Museum’s Atelier Gallery at the Stoneham Theatre in Stoneham, MA, November 8 – January 17, 2018. This show extended from January 14 to January 17. A reception will be held on November 8th from 6:30-8pm.

“My teenage boys seem to have gone into their rooms, and I’m not sure they’ll be coming out until they leave for college. As a parent, I have witnessed each chapter in their lives and have created a visual diary of photographs showing their creative and imaginative play, their explorations in the woods behind the house, trips to local pools or amusement parks, and—- more recently– their changing bodies, interior spaces and ubiquitous technologies,” writes Révy.

“They are hurtling toward an emotional departure from childhood at an alarming pace, and each chapter of their lives has proven to be fleeting and ephemeral. The selections presented are part of a third portfolio of images that were begun when my children were toddlers. The photographs are traces of the perils and poignancy in the day-to-day life of a family with two growing boys.”

Suzanne Révy grew up in Los Angeles, California. After high school she moved to Brooklyn, NY where she earned her BFA in photography from the Pratt Institute. While there, she was immersed in making and printing black and white photographs. After art school, she worked as a photography editor in magazine publishing at U.S. News & World Report and later at Yankee Magazine. With the arrival of two sons, she left publishing, and rekindled her interest in the darkroom. Her work has been exhibited at the Griffin Museum of Photography in Winchester, MA, the Fitchburg Art Museum in Fitchburg, MA, the Danforth Museum of Art in Framingham, MA, the Workspace Gallery in Lincoln, NE, the Camera Club of NY in New York City, the New Hampshire Institute of Art in Manchester, NH, and the New England School of Photography in Boston where she is currently a member of the faculty. She is represented by the Panopticon Gallery in Boston.

Artist Statement

Sticks and stones, sheets and pillows. windows and shades are a few of the mundane objects that furnish, surround and illuminate the spaces we inhabit. My teenage boys have grown up in this suburban comfort, but as they have matured, a gnawing sense of their impatience with the familiar has emerged. My own fear is that their adolescence will slip into adulthood with a sense of haste— imperceptibly, and absent any fanfare or ceremony.

The boys have been my muses since childhood, but in recent years, they seem to have retreated into their rooms, becoming physically and emotionally less available. Turning my camera toward the prosaic and recognizable along with quick glimpses of their bodies and gestures, I search for deeper meaning in the spaces we share and in the objects we have all touched. These pictures have eased the tension between the trepidation and the elation I feel as my sons grow away and ultimately depart.

The images presented here are selections from an ongoing series called I Could Not Prove The Years Had Feet, which is the third of three visual diaries exploring the perils and poignancy of day to day life in a growing, changing family.

Website

Ruth Lauer Manenti: On Orlando Artist Book

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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

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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

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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

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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

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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

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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

 

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