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Posted on August 30, 2013

Photography Atelier 18
Class Participants
– September 29, 2013

Opening reception Sept 12, 2013 6:30 – 8:30

Clouds, mountain
Nancy Fulton
Two trees, house at sunset
Bob Avaikian
Reflection on a car
Larry Raskin

Master hugging student
Karen Davis
Lace
Jeanne Wells
woman in netted hat and same woman with a beard
Gail Samuelson

Ferns
Nan Collins
Abandoned medicine cabinet
Ellen Slotnick
Two men. one with blue nail polish
Meg Birnbaum

Marching band
Sue Darcy-Fuller
Window and wall
Rich Perry
Cross stitch and quilt
Astrid Reischwitz

Plant
Amy Rindskopf
Young girl in barn
Diane Davies

The Photography Atelier 18 will present an exhibit of student and faculty artwork from September 12th through September 29rd, 2013. 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 Gallery, 67 Shore Road, Winchester, Massachusetts 01890.

On Thursday, September 12th, the public is invited to attend the artists’ reception from 6:30 to 8:30 p.m.

Work by the Photography Atelier 18 members includes: Bob Avakian’s "Between Night and Day," landscapes from Martha’s Vineyard and Cape Cod taken between dusk and dawn; Nan Campbell Collins’ "Wildwood" images of the mysterious dimensions of veiled as well as luminous light, shape and form experienced within a wildwood; Diane Rubino Davies’ series of fine art child portraits, "In Plain View;" Sue D’Arcy Fuller’s photo essay tells a story of her own city, Medford, Massachusetts, through images of the people who live, work and praise there; Nancy Fulton’s landscapes at the beginning of the wet in Ngorongoro Crater, Tanzania, Africa, "The Rains of Ngorongoro Crater;" Rich Perry’s photographs of the structures of the 1920s and 30s on Route 66 in Oklahoma as they were in March 2013, "Route 66, Oklahoma – The Past in the Present;" Larry Raskin images of the shapes, colors and the play of light reflected in the vehicles we use and see every day, "Reflections on the Move;" Astrid Reischwitz’s "Bedroom Project" which brings intimate spaces into public view; Amy Rindskopf’s images of "Spring in the Greenhouse;" Gail Samuelson’s "Head Shots" – an homage to loved ones which includes vintage hats, WWII shoulder boards, and fake beards; Ellen Slotnick’s "Paradox," interior photographs from abandoned homesteads and farmhouses in North Dakota; Jeanne Wells’ "Winter Gardens,"a series of glass ambrotypes; course assistant Meg Birnbaum’s photographs documenting "The Boston Sisters of Perpetual Indulgence" and instructor Karen Davis’s "Touch," portraits of moments of connection.

About the class:
Photography Atelier, in its seventeenth 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 Karen Davis, will be happy to discuss the Photography Atelier at the reception on September 12th with anyone interested in joining the class.

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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