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Julie McCarthy’s – Edna

Posted on November 19, 2015

Julie McCarthy’s series Edna at Steepletop is a biographical portrait of the late poet, Edna St. Vincent Millay. McCarthy photographed the poet’s home as she left it for over two years.

McCarthy’s Edna at Steepletop will be featured in the Griffin Museum’s Atelier Gallery at the Stoneham Theatre in Stoneham, MA, November 12-January 31, 2015. It runs parallel to the theater’s production of “Christmas on the Air.” A reception is November 19th, 2015, from 6:30-8:30pm. The artist will be present and give an informal talk about the exhibition.

McCarthy focuses on the details that depicted Millay’s bohemian lifestyle, books piled high on tables, a blue box containing a braid of red hair tied with a blue ribbon. “When I finished, I felt that I had been in an intimate conversation with a brilliant and complicated woman,” states McCarthy, “the photographs convey a sense of mystery and time gone by. I chose details of her home that, to me, depicted Millay’s inner life and the dichotomies that describe her character”

“Edna St. Vincent Millay’s poetry commonly regarded the notion of memory. She’s referred to herself in I Think I Should Have Loved You Presently as “a ghost in marble of a girl you knew,” now resonating differently as we meet her through McCarthy’s intimate photographs,” says Frances Jakubek, Associate Director of the Griffin Museum, “The conversation bounces between past and present, temporal and everlasting, a concept that Millay would often reference as something doomed. The typewriter belonging to Millay stands sturdily by the bedside that has been empty for years. The photographs in this series act as another layer of Millay’s observance of death through the objects that outlived her.”

McCarthy grew up in New York City, acquired a BA in Education with the knowledge that she may never want to teach. In other ways, McCarthy spread her knowledge by receiving a Masters Degree in counseling and spent her career in social work, much of that time as a bereavement counselor. Her background in Hospice instilled her interest in learning about other people’s stories and she has used photography as the medium to tell her own.

McCarthy currently lives and works in Stockbridge, MA. She has studied at the Main Photographic Workshops and learned about photography through jobs at local newspapers and workshops around the country. Her work has appeared in national publications such as The Sun, Shots, and has been exhibited at the Monmouth Museum, Norman Rockwell Museum and many others. In 2015, she was the artist in residents at Chesterwood, home of the sculptor, Daniel Chester French.

Meggan Gould Viewfinders

Posted on September 17, 2015

Albuquerque-based photographer and educator Meggan Gould’s photographs are often fashioned from her considerations of vision and how we look at the world at large as well as how photography is used to document and speak to our surroundings. In “Viewfinders” Gould focuses on the camera apparatus itself. “Histories of looking are embedded in the [viewfinder] glass in the form of dust and scratches; etched and painted lines and text discipline and direct our sight,” says Gould. “Viewfinders are meant to be looked through,” she says. “What happens if our vision is arrested at these thresholds?” she asks. She answers, “Each camera becomes a miniature universe.”

A series of Meggan Gould’s photographs called “Viewfinders,” is featured at the Griffin Museum at Digital Silver Imaging, 9 Brighton St., Belmont, MA, on October 15, 2015 through December 31, 2015. An opening reception will take place November 5, 2015 from 6-8 p.m.

Meggan Gould is an Assistant Professor of Art at the University of New Mexico. She received her MFA from the University of Massachusetts – Dartmouth, and her BA from the University of North Carolina at Chapel Hill. She studied and taught photography at Speos, Paris Photographic Institute. Her photographs have been featured in solo and group exhibitions throughout the United States and internationally. She was a resident artist at Light Work in 2009.

Patrick Nagatani: Themes and Variations

Posted on September 11, 2015

For more than 30 years Patrick Nagatani has been sharing his narratives through the photographs he makes. Nagatani’s images take you on fascinating journeys that explore history, personal philosophy, culture, spirituality, fantasy and reality. Images from seven major bodies of work that Nagatani has completed are presented at the Griffin Museum as well as a literary and photographic novel, “The Race,” that he is currently creating with other artists.

Nagatani’s exhibition, Themes and Variations, is featured in the Main Gallery, Atelier Gallery and Griffin Gallery at the Griffin Museum in Winchester October 8 through November 29, 2015. An opening reception with the artist takes place on October 8, 7-8:30 p.m. Patrick Nagatani will give a gallery talk and tour of Themes and Variations at 5:00 PM. The talk is FREE for members, $10 nonmembers.

“….For Nagatani, a photograph could be more than a document of reality. He made photographs, used mixed media — always trying to stretch photographic conventions,” says Barbara Hitchcock, curator and organizer of the exhibition Patrick Nagatani: Themes and Variations, an independent Curator and former Curator of the Polaroid Collection.

Patrick Nagatani says, “There’s a certain edge to photography that’s really restricting.” He goes on to say, “It’s a controlled medium, especially in the process. And I just want to throw that control out as much as possible.”

Once a graduate student of Robert Heinecken’s at UCLA, Nagatani’s resistance to the constraints of traditional photographic practice is in keeping with his training. Time spent in Hollywood learning from models and sets for movies, among them Blade Runner and Close Encounters of the Third Kind, also influenced his desire to push boundaries. He envisioned a more expansive, plastic kind of photography.

For his creative photography, Nagatani has received numerous awards, among them, the Aaron Siskind Foundation Individual Photographer’s Fellowship, The Kraszna-Krausz Award for his book Nuclear Enchantment, the Leopold Godowsky Jr. Color Photography Award, the Eliot Porter Fellowship in New Mexico, the California Distinguished Artist Award from the National Art Education Association, and National Endowment for the Arts Visual Artist Fellowships in 1984 and 1992.

A professor of Art and Art History at the University of New Mexico where he taught for 20 years, Nagatani retired in 2006. The Society of Photographic Education conferred upon him the Honored Educator Award in 2008, and, in 2003, New Mexico’s then Governor Bill Richardson presented Nagatani with the “Governor’s Award for Excellence in the Arts.” Nagatani has served as a panelist for the Illinois Art Council, Southern Arts Federation, Massachusetts Council on the Arts and Humanities, Mid-Atlantic Arts Foundation, California Arts Council, and the National Endowment for the Arts. He remains an active member of the Atomic Photographer’s Guild.

Patrick Nagatani: Themes and Variations was partially drawn from Desire for Magic – Patrick Nagatani 1978-2008, the exhibition and monograph, curated by Michele M. Penhall, Curator of Prints and Photographs at the University of New Mexico Art Museum, Albuquerque. That exhibition traveled to the Japanese American National Museum in Los Angeles and was exhibited at the Clay Center for the Arts and Sciences of West Virginia.

The Griffin Museum of Photography is pleased to offer a distinctive and expanded version of the initial exhibition.

Dead 50 Years

Posted on September 3, 2015

The music revolution was a vital and integral component of the sixties San Francisco art scene. Herb Greene photographed the rock musicians and other members of San Francisco’s cultural milieu during the height of its creative productivity. Greene, a friend of many of San Francisco’s most influential musicians, worked as few photographers have: not as a documenter from the outside, but as a participant within the music scene he was photographing.

Many of Greene’s photographs have become signature portraits of these musicians. His revealing portraits of The Jefferson Airplane, Jeff Beck, The Pointer Sisters, The Grateful Dead, Janis Joplin, Led Zeppelin, Carlos Santana, Sly Stone, Rod Stewart and many others helped create astonishing family album for an entire generation.

A series of Greene’s photographs featuring the Grateful Dead called “Dead 50 Years,” is featured at the Griffin Museum at Digital Silver Imaging, 9 Brighton St., Belmont, MA, on September 21, 2015 through October 9, 2015. An opening reception will take place October 1, 2015 from 6-8 p.m. There will be live music, very light fare and a wine tasting at the opening reception.

Writer, Matt Nannis writes about Herb Greene and his photos of the Grateful Dead in an essay called “Language of the Dead.” He says, “The collected work of one Herb Greene dances upon.…pages comprised [of] ones and zeroes in such a manifest as never before seen. The emotions, the moments, the good times and the hardships of a storied guild of brothers that put the music and those willing to respond to [music] before all other things. Herb Greene was there when the fellowship was spread across Palo Alto. He was there at the peak when they were at their best and most illustrious. He was there at the beginning when they were their subtlest and unostentatious. He captured the glory that sang from their lips and their instruments.”

Nourish

Posted on August 27, 2015

“Nourish” is an exhibition consisting of five photographers’ work that is inspired by food as subject matter. Each artist makes a connection with food in a unique way.

“Nourish” assembled by the Griffin Museum of Photography is brought to the Lafayette City Center Passageway from September 11 through January 3, 2016. The Passageway links Macy’s with the Hyatt Regency Hotel. An artist reception date is to be determined.

Amy Rindskopf of Winchester focuses on the aftermath of a meal, while Francine Zaslow chooses unknown foods from different cultures. Brookline artist David Weinberg bridges his fascination with ancient manuscripts and fruits and vegetables that he photographs in his studio. Lynn Karlin photographs the bounty from her Maine farm in a way that depicts a quiet and sculptural still life reminiscent of the Dutch masters. David Lancaster of Lexington photographs in his kitchen using the day’s simple light while preparing the evening meal.

PHOTOGRAPHY ATELIER 22

Posted on August 27, 2015

The Photography Atelier 22 and Atelier 2.0 will present an exhibit of student artwork from September 10th to September 28th, 2015. The Atelier is a course for intermediate and advanced photographers offered by the Griffin Museum of Photography. The Atelier 2.0 is a peer and facilitator critique class. You are invited to come view the photographs at the Griffin Museum, 67 Shore Road, Winchester, Massachusetts 01890.

On Thursday, September 10th, 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 18 members of this group show is varied and inspiring — from our relationship with animals, landscapes, and still life arrangements, to exploding light bulbs and motherhood — the show is very satisfying feast for the eyes and soul.”

Work by 2015 Atelier members includes:
Meredith Abenaim: The One Love Project, images exploring mothering an only child; Gregory Albertson: Terra Incognita, alternative landscapes of unexplored worlds; Amy Thompson Avishai: Long Days, Short Years, photographs of her two young daughters that explore time passing and the freedom to be; Vicki Diez-Canseco; Miren Etcheverry: Recollection, revisiting collected objects and recalling the memories they evoke; Roger Galburt: Bulb Spirits, photographs of normal incandescent light bulbs, broken and exposed to air, quickly releasing white smoke; Jess Hauserman: Either, Or, diptychs discussing the public restroom experience through gender ideologies; Tira Khan: What Was/What Is: Remembrance of My Father, photographs layering past memories with present day landscapes; Lee Kilpatrick: Patterns of Prosperity, a panoramic view of consumer choice in the United States; Cheryl Prevost: Abstract Elements, abstracted relationships of natural elements manifested throughout nature; Amy Rindskopf: Left Over, images from a quiet kitchen; Janet Smith: Sticks & Stones, tranquil and whimsical images of these found objects; Joseph Staska: Dream Boats-Abandoned Ships, a photo series of boats representing lost dreams; Donna Tramontozzi: When Animals Meet, images of moments when humans and animals connect; Piet Visser: Eye of the Storm, photographs celebrating solitude and tranquility in a frantic and complicated world; Andrea Waxler: Horses, Top Hats and Old Hollywood, power, elegance, grace, and a touch of Old Hollywood; David Whitney: The Nature of Cities, images capturing interactions between natural and urban environments; Julie Williams-Krishnan: Seven-Eight, laying straight images of childhood objects.

Atelier 2.0 artists include Bob Avakian, Nan Collins, James Hunt, David Feigenbaum , Astrid Reischwitz, Amy Rindskopf and Ellen Slotnick

About the class:
Photography Atelier, in its nineteenth 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 10th with anyone interested in joining the class.

Photo critique is a critically important element of the Photography Atelier and is the main focus of Atelier 2.0. There are invited guest speakers every other class who discuss their photographic trajectory and creative process.

Carol Isaak, Myanmar Tapestry

Posted on August 26, 2015

Because Myanmar (formally called Burma), abuts southern China, it is
easy to imagine that one is an extension of the other. But, nineteen
thousand foot high mountains divide the two countries, creating by
necessity distinct cultures. In Myanmar, although primarily a Buddhist
country, there is also a vibrant under-culture of animism, identified
by “nat shrines” dedicated to the spirits of local heroes, who have
attained a state in which they can answer prayers. Myanmar is a place
in which the religion(s) and the society in general are completely
intertwined. Weaving together the profoundly religious aspects of the
Burmese people with their love of storytelling manifests in the puppet
theater, which is the value carrier of cultural myth and is also
employed to safely voice political criticism. The images in Myanmar
Tapestry are drawn from aspects of this complex society.

Carol Isaak Layers of Illusion

Posted on August 26, 2015

Carol Isaak ‘s photographs are what she calls “optical jokes about three dimensional space that is compressed into two dimensions eliciting questions about the subject.”

Isaak’s’ Layers of Illusion will be featured in the Griffin Museum’s Atelier Gallery at the Stoneham Theatre in Stoneham, MA, August 27-November 5, 2015. It runs parallel to the theater’s productions of “A Funny Thing Happened on the Way to the Forum” and “Luna Gale.”

A reception is September 3, 2015, from 6:30-8:30pm. The artist will be present and give an informal talk about the exhibition.

“The portfolio Layers of Illusion is an inquiry into what is hidden and what is revealed; what is real and what is artificial; what is on top and what is underneath, and how we identify those aspects that are juxtaposed in these photographs,” says Issac. “Some of the images are painted onto tarpaulins covering something else, some are translucent, or perhaps they are pierced.”

Originally from New York City, Isaak attended Cooper Union where she first experienced photography. Isaak currently lives in Portland, Oregon. Selections from her work have been featured in exhibitions in Lishui, China; PhotoPlace Gallery, Middlebury, Vermont; A Smith Gallery Texas; Blue Sky Gallery; University of Oregon Law School Gallery, and Camerawork Gallery in Portland, Oregon.

See more of Carol Isaak’s work in the Virtual Gallery

Steven Duede: Critic’s Pic

Posted on July 7, 2015

Statement:
In much of my work I’m dealing with subjects that are in a transitory state. The Evanescence series features images from composted organic materials. In this body of work I’m exploring the mechanics of transition through time, neglect and natural decomposition. I hope to establish images that can be beautiful and chaotic. Subjects that in their own specific way function as a part of a transient process. This ongoing series has been developed over the past two years and included are some of the newest selections.

Bio:
Having studied painting and photography at the Kansas City Art Institute, then, for a time owning and operating a small music shop and gallery, I’ve devoted much of life to making art and working in creative environments. For years I worked in painting and mixed media before transitioning from those disciplines to working exclusively in photography. I’ve been living and working in the Boston area since 2001.

Mark Thayer

Posted on July 7, 2015

This seascape series began in January of 2014. I live on the north shore of Massachusetts, within sight of the ocean, and I’ve spent many hundreds of hours patrolling the New England coastline, observing and discovering the personalities of its many beaches and rocky shores. The weather, the tide, and the terrain all play a part in how that interaction between land, sea and atmosphere displays itself. Remarkably, even with all those variables, each spot exhibits a unique character.

No other zone on earth so clearly conveys the pulse of our living planet. To stand at the edge of the sea, feeling the tug of a receding wave, is to have a finger on that pulse. This boundary layer, this ecotone, gives life to a third, and wholly mesmerizing, environment. The shore exerts is influence over the ocean openly and often flamboyantly as it trips each successive swell, while the sea molds sand and stone with a (sometimes only marginally) more patient hand.

One goal of these images is to reveal the relationship between wet an dry that goes deeper than an all-encompassing landscape. I search for personality traits, quirks, and tells that are peculiar to each seaside locale without ignoring the vastness to which it is connected.

Another more personal goal is to share my lifelong love for these places. I’ve played in the surf as a kid and later with my own kids. I’ve been soothed by it’s calm and humbled by it’s strength. We all have witnessed the incredible power of the ocean, yet I am often more impressed by it’s subtleties and little surprises. I still get a powerful sense of anticipation and a little adrenaline spike every time I approach the coast. Some of it comes from my expectation of new photographs and the rest from somewhere more primal.

Mark Thayer
Fine Art Photographer

A 1978 graduate of the New England School of Photography in Boston, Massachusetts, Mark Thayer began shooting commercial assignments while still in school. After a successful stint as staff photographer for a Boston-area advertising firm, he opened his own studio in 1983, and acquired such noted clients as Bose Audio, Titleist Golf, Bell Helmets, Raleigh Bicycles, Fischer Skis, Chase Bank, Hewlett Packard and American Express, to name just a few.

Mark developed a love of fine art photography in school and has never lost the desire to express his personal vision. His focus has been primarily on natural and urban landscapes.

After decades of building large portfolios of fine art photography, Mark finally decided to seek public venues for his art. He had his inaugural show at the True North Gallery in Hamilton, Massachusetts in September of 2012. He has since shown at several corporate gallery spaces in the Boston area.

Mark lives in Beverly with his wife Andi, he is an avid mountain biker and cross-country skier, and enjoys a fine IPA.

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Floor Plan

Amy Rindskopf's Terra Novus

At the market, I pick each one up, pulled in by the shapes as they sit together, waiting. I feel its heft in my hand, enjoy the textures of the skin or peel, and begin to look closer and closer. The patterns on each individual surface marks them as distinct. I push further still, discovering territory unseen by the casual observer, a new land. I am like a satellite orbiting a distant planet, taking the first-ever images of this newly envisioned place.

This project started as an homage to Edward Weston’s Pepper No. 30 (I am, ironically, allergic to peppers). As I looked for my subject matter at the market, I found that I wasn’t drawn to just one single fruit or vegetable. There were so many choices, appealing to both hand and eye. I decided to print in black and white to help make the images visually more about the shapes, and not about guessing which fruit is smoothest, which vegetable is greenest.

Artistic Purpose/Intent

Artistic Purpose/Intent

Tricia Gahagan

 

Photography has been paramount in my personal path of healing from disease and

connecting with consciousness. The intention of my work is to overcome the limits of the

mind and engage the spirit. Like a Zen koan, my images are paradoxes hidden in plain

sight. They are intended to be sat with meditatively, eventually revealing greater truths

about the world and about one’s self.

 

John Chervinsky’s photography is a testament to pensive work without simple answers;

it connects by encouraging discovery and altering perspectives. I see this scholarship

as a potential to continue his legacy and evolve the boundaries of how photography can

explore the human condition.

 

Growing my artistic skill and voice as an emerging photographer is critical, I see this as

a rare opportunity to strengthen my foundation and transition towards an established

and influential future. I am thirsty to engage viewers and provide a transformative

experience through my work. I have been honing my current project and building a plan

for its complete execution. The incredible Griffin community of mentors and the

generous funds would be instrumental for its development. I deeply recognize the

hallmark moment this could be for the introduction of the work. Thank you for providing

this incredible opportunity for budding visions and artists that know they have something

greater to share with the world.

Fran Forman RSVP