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Posted on January 5, 2017

Kampala Boxing Club
Sean Kernan
January 11 – March 3, 2017
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Sean Kernan was looking for experience not photographs when he happened upon a small boxing club in Kampala, Uganda. His involvement with this place and its people captured his attention, he began photographing and his method of shooting and seeing was challenged. “For me the great gift of the place was that it did not allow any of my visual habits to operate,” says Kernan. “I had to intuit when to swing a camera around at the last moment to catch something I’d seen out of the corner of my eye. I was cut off from constructs and ideas and projected into a realm of pure seeing.”
Sean Kernan’s series, Kampala Boxing Club, is featured in the Griffin’s satellite gallery, The Griffin@Digital Silver Imaging, from January 11th through March 3rd 2017. A reception will take place on January 19, 2017 from 6­8pm. The reception is free and open to the public.

Kernan says, “The room itself had an austerity that was almost monastic. The ring was wood planking worn smooth as the floor of a Zen temple by years of shuffling feet. The air was frenetic with shouts and blows, the smell of sweat and dust, sound of music and honking from the street outside, gold-colored light flung like buckets of color against the walls.” He goes on, “In the seeming chaos there was purpose in the clash of strategies and bodies. This was a place where a poor boy from Africa could make a chance for himself using just his body and his determination.”
Sean Kernan is a widely exhibited photographer, writer and pioneering teacher. He is the author of three monographs; The Secret Books, (with Jorge Luis Borges), Among Trees, (with Anthony Doerr), and Darrell Petit: In Stone. His explorations of creativity and photography have been published as “Looking into the Light: Creativity and the Photographer.” He collaborated with Choreographer Alison Chase in a theater/dance/, multimedia piece “Drowned,” at MASS MoCA and the Miller Theater in New York. He has produced two film documentaries, The Kampala Boxing Club, about boxing in Africa, and Crow Stories, about the Crow Tribe in Montana.

His exhibitions of photography include: Centre Regional de la Photography, France; The Alexandrian Library, Egypt; William Benton Museum, Connecticut; Sala Bustos, Kunsthaus Santa Fe, and Museo de la Ciudat, Mexico; Wesleyan University, Connecticut and the Whitney Museum, New York. His photographs have been published in the “New York Times Magazine,” “Smithsonian,” “New York Magazine,” “Bloomberg Business,” “Communication Arts,” “Graphis,” and in magazines in China, Iran, Italy and Switzerland. He has taught and lectured at the New School/Parsons, Art Center Pasadena, Yale Medical School, ICP, University of Texas, and both the Maine and Santa Fe workshops. He has written for “Communication Arts,” “Graphis,” “Lenswork,” among others.

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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.

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