Griffin Museum of Photography

Dianne Yudelson Antique Aviary Artist book

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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

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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

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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

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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

Diana Nicholette Jeon

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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

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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

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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

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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

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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

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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.

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