The Griffin Museum of Photography announces that every exhibition season we will showcase one photography artist book. For our exhibitions’ reception on July 13th at the Griffin Museum we begin this initiative displaying Diana Nicholette Jeon’s artist book until September 1, 2017.
24th Juried Exhibition for Instagram
We received so many wonderful submissions for our 24th Annual Juried Exhibition, we decided to assemble a selection of artists for a curated Instagram exhibition. This exhibition will be displayed on our Instagram @griffinmuseum. The 24th Juried Instagram exhibition will be posted over the course of August 22 through October 31, 2018. Follow us!
There are 34 images as part of the virtual exhibit. The artists of the 24th Juried Exhibition for Instagram are (included are their instagram handles or website):
Susan Lewinnek, Nelson Armour @nwarmour, Sarah Belclaire @SarahRedShoes, Sally Bousquet @srbousque, Jo Ann Chaus @joannchaus, Natalie Christensen @natalie_santafe, Margo Cooper www.margocooper.com, Ken Dreyfack @kdreyfac, Dan Farnum @dan_farnum, Eugene Goodale @gene.goodale, Robert Johnson @rojo.elblues, Irene Imfeld, Al Levin, Jackie Molloy @jackiemolloy13, Gregory Jundanian @gjmassis, Matthew Kamholtz @mkamholtz, Tira Khan @tirakhan, Brian Malloy @brianmalloyphotographer, Steven Muller @259studio11, Nadezda Nikolova-Kratzer @cometsandfog, Zoe Perry-Wood @zoe_photos, Jaye Phillips @jayerphillips, Sarah Anthony @sarahbunny888, Nataly Rader @natalyrader, Astrid Reischwitz, Suzanne Revy @suzannerevy, Karin Rosenthal @karin_rosenthal_photography, Glen Scheffer @hi_i_found_your_camera @pastfuturepast, Nancy Scherl @nancyascherl, Michael Stepansky, Sal Taylor Kydd @sal.taylorkydd, Jim Turner, Lee Bass @leewbass, Timothy Wilson.
Susan Lapides: Crustaceans
Artist: Susan Lapides
Title: Crustaceans
Artist Statement
In 2006, I began photographing my daughters and nieces with lobsters before we ate them for dinner. Lobsters are quite abundant in St. George, a small fishing town on the Bay of Fundy in New Brunswick, Canada, where we spend our summers, so lobster became just another meal and an adventure for my girls. They would always sit on the deck caressing the lobsters’ shells, trying to make them go to “sleep.”
What struck me was how differently each girl responded to the lobster. Some cradled it, some squirmed with their shoulders held tight, some raised it over their head as if to say: “this is just how one holds a lobster”.
Historically, there is a genre of photographic portraits of fishermen poising with their “Big Catch”, which symbolizes their masculinity. In my portraits the lobsters hold a metaphorical weight that shows how the girls engage with this weird alien creature in a way that reflects their personality.
There are many hidden layers and emotions in this improbable juxtaposition of a young girl and a lobster. There is nothing dainty or girly about holding a lobster, yet some of the girls make it so. My photographs show how these young women both defy and meet the expectations placed on them. The images also reveal the power dynamics between the girls and these creatures, which, although seemingly dangerous, will become dinner.
Bio
The photographs of Susan Lapides focus on people, culture, and place. The rugged landscape of the Bay of Fundy has inspired her three current bodies of work. They are St. George, Crustaceans, and “turq,” A Meditation.
A fine art photographer with a strong background in editorial photography, Lapides has exhibited her work widely, including solo exhibitions at Fidelity Investments (Boston), the Griffin Museum of Photography and the Saint John Art Centre in New Brunswick, Canada. Her fine art work is held in corporations and private collections throughout the United States, Canada, and France. Her editorial images have appeared in Life, Smithsonian, and many other national periodicals. Lapides graduated from Tufts University and the Museum of Fine Arts School. She resides in Boston and visits New Brunswick, Canada as often as she can.
http://susanlapides.com
susan at susanlapides dot com
J Felice Boucher: Wabi Sabi, Deified and Animals
Artist – J. Felice Boucher
Critic – Griffin Museum of Photography
Statement
The body of work “Wabi Sabi” is the earliest work of these images. It came about because of my interest in perfection and how the Japanese view and honor imperfection. “Wabi-sabi represents a comprehensive Japanese world view or aesthetic centered on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of beauty that is “imperfect, impermanent, and incomplete .”*
The majority of people do not have symmetrical faces . So I began creating a new person by cutting and flipping the image so that I was using the same side of my model’s face for both sides which created a new person. However, in some of the images I started adding something that was not perfect or symmetrical.
The next body of work depicted in the slide show here are from “Deified.” These are my most recent work and are images created from a hodgepodge of interests; my love of light, design, graphics, faces, painting, etc. So created each image after being moved for different reasons; by the beautiful face of teller at a bank and asked her if she would model for me (Goddess), and then I ended up photographing her sister (Blue Scarf), or loving the wall paper made up of maps in an old sea captain’s house in Harpswell, Maine (The Map Room), or loving the profile of an amazing waitress I met at a restaurant (Artist’s Muse), or the grace of my son’s friends daughter (The Quiet Girl ), or the mysteriously beautiful woman who was the girlfriend of my neighbor (Cardinal Sin), or the quiet observing personality of my granddaughter (Blue Bird). So each time moved by something, somewhere, someone.
I named this body of work “Deified” because the women in the images have been transformed from mere mortals to goddess-like beings or deities…making them divine. I create these images for myself; my place of quiet…my form of mediating.
The last body of work shown here is “Animals.” These images followed “Wabi Sabi” and came about after reading a book on death and dying; Living Meaningfully, Dying Joyfully by Geshe Kelsang Gyatso. I wanted to create images of beauty and death.
felice at feliceboucher dot com
Brunswick , ME
* wikipedia
J. Felice Boucher CV
Select Recent Exhibitions & Publications & Awards
2016: Professional Photographers of America “International Diamond Photographer of
the Year”
2016: Canon Par Excellent Select Award ( One photographer in the country is chosen by
~International Canon to receive a $6000 camera)
2015: Professional Photographers of America “New England Photographer of the Year”
2016, 2015, 2014: Maine Professional Photographers Assoc. “Photographer of the Year”
2015: Professional Photographers of America, North East District, Highest Scoring Print
1Case, 1″ + 2″” Places in Portraits
2014: Professional Photographers of America, North East District, Highest Scoring Print,
only score of 100, “Canon Par Excellence Award” (Awarded $5000 of equipment)
2014 : Still Point Gallery, “Best of Show” Summer Issue
2014: Professional Women Photographers 39’• Anniversary Juried Show NY
2014: Professional Photographers of America, International Print Competition 2nd Place – portraits
2013: Professional Photographers of American Platinum Award
2012: Pace Galleries, F[Yeburg Academy, “Strangers & Others” Group Show
2012: March B+W Magazine, Special Color Juried Edition
2012: San Francisco International Photograph Juried Exhibit (only 40 images chosen
Internationally)
2012 : PhotoPiace, Middlebury, VT, “Poetic Objects” Juried Photography Show
2011: Professional Women Photographers 36th Anniversary Juried Show
2011: Photographers Master Cup, 5th Annual Photography International Awards
Education:
Professional Photographers of America; Masters, Craftsman, Certified
Maine College of Art; BFA
Ellen Toby Slotnick: Traces
Delving into the past has long been a passion for photographer Ellen Toby Slotnick. It began with photographing on archaeological excavations, and then photographing the recovered artifacts. Years later, Slotnick is still photographing what has been left behind: abandoned churches, schools, farmhouses and the artifacts they hold. Fine art photographer, Slotnick started out as an archaeological photographer in Israel documenting excavations and photographing finds for publication. Her current work, Traces, reflects her early interest in what is left behind, in this case, in Rugby ND where individual farms are rapidly disappearing. Slotnick’s fascination with Rugby began in 2013 and called her back for the next three years.
Ellen Toby Slotnick’s Traces will be featured in the Griffin @SoWa in Boston, MA, September 14 – November 12, 2017. The gallery is located at 530 Harrison Ave, Boston, MA. A reception will take place on First Friday as part of FlashPoint Boston, October 6, 2017 from 6 – 8 PM.
“Each vacated farmhouse, church or school I came upon was vacated for basically the same reason. Economics,” says Ellen Toby Slotnick. She goes on to say, “The business of farming has become such that it is far more cost-effective to farm square miles rather than square acres. So consortiums were formed and fields were planted where families had lived. The families moved into town. The remnants of the lives that inhabited the structures make each and every building tell its own story,” she says.
Ellen’s work is held at the Danforth Museum of Art, Newton-Wellesley Hospital and in private collections internationally. She is a 2016 Finalist in Critical Mass, an international portfolio online competition.
Ellen holds a BS degree in photography from Rochester Institute of Technology. She also holds an MBA from Simmons College in Boston.
Gregory Albertson, Amy Rindskopf, Jane Yudelman: Unscene
Unscene – A scene that was seen, but not. The three bodies of work in this show, Unchartered Constellations, The Intimacy of Distance, and Terra Novus (New Land), all are depicting things that are there and not there at the same time.
Unscene will be on display in the Griffin’s satellite gallery, The Griffin@SoWa at 530 Harrison Ave from July 11 through September 12, 2017. A reception will take place on August 4, 2017 from 6-8 PM.
Jane Yudelman, in Unchartered Constellations, has made space-scapes out of problematic spectral highlights that presented while photographing snow. What we get, instead, are galaxies where our imagination can go and contemplate what is and what could be.
Gregory Albertson’s series, The Intimacy of Distance, is made of ethereal landscapes taking us somewhere between earth and the moon, between here and there. In his images, made from stacked-focused shots of bark, we can go to places unknown, places we might begin to recognize from our dreams, and if we use all our senses, we might be aware of stardust echoing back our journey from places where we might have come.
Amy Rindskopf’s series, Terra Novus (New Land), tethers us right here to Mother Earth. Her images draw us in to the plants that nurture us, the fruits that feeds us. Her landscapes undulate from the kitchen table and take us to places where we can contemplate the earth and the sun, and give thanks for the harvests that keep us strong.
Rachel Loischild: Not As Of Yet Stories of Aftermath and the Unknown
Not as of Yet: Stories of Aftermath and the Unknown quietly explores ideas of both literal aftermaths alongside surreal images of unknown circumstances, the ambiguous nature of these photographs offering the viewer space for their own serenity or anxieties. The combinations of these landscapes become representations of Rachel Loischild’s history and perturbations. The exhibition runs during FlashPoint Boston.
Not As of Yet started in 2011 after Hurricane Irene caused the Connecticut River to overflow its bounds flooding its low-lying banks. After the water receded, the river left its silt and clay clinging to all it touched. The destructive waters marking the flood line of about nine feet, visually desaturating the lower half of the world, destroying crops, homes and affecting all it touched, creating a surreal environment Loischild could not ignore – or fully understand.
In this work, Rachel aims to reinterpret the standard trope of the inviting bucolic large format landscape photograph. Still drawing the viewer in visually, but instead of inviting the viewer to visit the awe-inspiring vista of a national park, she presents subtle unsettling views of what has happened, both real and imagined. These photographs meander from the aftermath of hurricanes to the settings of the Catholic churches sex abuse, from visual mountains created in the building of a suburban mall to alien abduction, from the effects of floods to the venues of her childhood nightmares, from the disrupted terrain of new growth after a highway was rebuilt to the disquiet experienced as a woman when walking alone – the scheme of societal dangers imposing on one’s psyche. Altogether these images serve as quiet landscapes waiting for the viewer. This ongoing series of landscape based photos shot on film with a 4×5 camera explores the emotional complexity of the history of these spaces.
Rachel Loischild is a Boston-based artist and photographer as well as a Massachusetts Cultural Council Fellow in Photography. She holds her MFA in photography from Pratt Institute and her BA in studio art from Clark University. Her work has been widely shown nationally at galleries and museums, and internationally at the Jounju Photo Festival in Korea, she was also recognized by the Inge Morath Foundation in IM magazine for her photo essay Estate Sales and in Landscape Stories magazine of Italy for her project Drive-in. Her work is held in numerous collections including the Yale University’s Beinecke Rare Book & Manuscript Library and the Canadian based Magenta Foundation for Photography. Additionally, Loischild is a recent recipient of the City of Boston Arts Opportunity grant. Rachel teaches photography at Clark University and is the Assistant Professor of Visual Arts at Pine Manor College.
Donna Tramontozzi: Optical Shards
During the rush of everyday life, one forgets about the visual beauty that light creates. Donna Tramontozzi’s photographs are a representation of those moments that disappear.
Optical Shards by Donna Tramontozzi, is featured in the Griffin Museum @ Colson Gallery in Easthampton, MA from June 9, 2017 through August 27, 2017. The gallery is located at 116 Pleasant Street, Easthampton. MA. The exhibit will run with Love Song: Intimate Portraits by Arnold Skolnick that runs through end of June, followed by Eyes of Western Mass. with reception on July 14, 2017 from 6-8 PM.
Tramontozzi says of her work, “When I photograph reflections, I muse on feelings I had forgotten to feel, details I must have missed, dreams I can’t quite recall, conversations I don’t understand, and places I didn’t experience in my rush through life. Just out of reach, but for me, still worth pursuing.”
Currently based in Boston, Tramontozzi has studied at the Santa Fe Photographic workshops and has participated in Atelier 22, 23 and 24 at Griffin Museum of Photography. Her work has also been part of the juried show, Projections! Art on the Brewery Wall, at the Jamaica Plain Open Studios. Her photo has also been featured as the cover of the best selling textbook. Currently, Donna is a corporator on the Griffin Museum Board of Directors.
Ioana Moldovan: Aging Romania
Aging Romania
Critic: Griffin Museum of Photography
Statement
Romania’s population is getting older with each generation. Economic instability and lack of job prospects have decreased the country’s birthrate and at the same time people simply live longer than they used to 100 or even 50 years ago. Romania’s aging population is a topic of public discussion but only in terms of money. Pension fund deficits are making news headlines at least twice a year within governmental budget decisions. Public policies regarding the elderly though are seldom thought of, let alone planned and approved by public authorities.
Is longevity a gift in Romania or rather a commodity that expires if people’s money run out?
About
Ioana Moldovan is a freelance photojournalist, documentary photographer and writer based in Bucharest, Romania. Her work has been published by The New York Times, Al Jazeera English, Huffington Post, LensCulture, Radio France Internationale and Vice among others. She has also worked on multimedia projects funded by the European Commission and Friedrich Ebert Foundation.
In 2016 she took part in the Eddie Adams Workshop and was awarded The Bill Eppridge Memorial Award for Excellence and Truth in Photographic Journalism. The U.S. Embassy in Bucharest presented her with the “Women of courage” award for outstanding achievement in highlighting truth through photojournalism.
Ioana Moldovan was one of the ten Eastern-European photographers selected for a Masterclass in Documentary Photography by the Dutch NOOR Photo Agency. Her photos have illustrated books, were shown in theatre shows, accompanied an international event at the Grand Palais Museum in Paris, France and some were selected in the Top 40 of The Most Powerful Photographs Ever Taken on BuzzFeed.
website: http://ioanamoldovan.com
“Unscene” – Griffin Museum of Photography POP-UP at Pearl Street Gallery, Chelsea
Part of Chelsea Art Walk, at Pearl Street Gallery (100 Pearl Street, Chelsea)
Gallery hours are June 17th and 18th, 12:00 – 6:00 pm
Opening Reception: June 17th 2017, 6:00 – 8:30 pm
Unscene – A scene that was seen, but not. The three bodies of work in this show, Unchartered Constellations, The Intimacy of Distance, and Terra Novus (New Land), all are depicting things that are there and not there at the same time.
Jane Yudelman, in Unchartered Constellations, has made space-scapes out of problematic spectral highlights that presented while photographing snow. What we get, instead, are galaxies where our imagination can go and contemplate what is and what could be.
Gregory Albertson’s series, The Intimacy of Distance, is made of ethereal landscapes taking us somewhere between earth and the moon, between here and there. In his images, made from stacked-focused shots of bark, we can go to places unknown, places we might begin to recognize from our dreams, and if we use all our senses, we might be aware of stardust echoing back our journey from places where we might have come.
Amy Rindskopf’s series, Terra Novus (New Land), tethers us right here to Mother Earth. Her images draw us in to the plants that nurture us, the fruits that feeds us. Her landscapes undulate from the kitchen table and take us to places where we can contemplate the earth and the sun, and give thanks for the harvests that keep us strong.
