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PHOTOBOOKS!!2011
Photographers and Photobooks
November 18 to December 18, 2011
Reception: Saturday, November 19 6-8pm
Above: photobooks by best of show artists:
Jonathan Lipkin, Sara Macel, Amanda Penecale and David Morris Cunningham.
The self-published photobook provides an extraordinary opportunity for photographers to present their work directly to the public. The photobook itself can be a work of art. The Davis Orton Gallery is pleased to present twenty outstanding photobooks selected through an international photobook competition. Photographs by four “best of show” artists will also be exhibited.
All photobooks and prints will be available for sale during exhibition and all books will be available for the next year in the Photobook 2011 Catalog.
20 Artists, Photobooks and Websites
Khamra Obscura by Jon Michael Anzalone
Conversations with Dan McNulty in Jersey City by Andrew Bovasso
Remembrance of Things Present by David Morris Cunningham (BOS)
Cleavage by Bethany Fancher
Light Source by Deena Feinberg
The Dancer as the Invisible Girl by Ellen Feldman
Urban Woods by Dorothy Gantenbein
Nocturnes by Frank Gimpaya
Looking Up by Michael Hunold
House Portrait: Harrison Inside by Miki Iwamura
Natural History by Nikki Johnson
Livingston County by Jonathan Lipkin (BOS)
May the Road Rise to Meet You by Sara Macel (BOS)
Food by Mary Parisi
Trust in Passing Hours by Amanda Penecale (BOS)
I Am Because We Are: African Wisdom in Image and Proverb by Betty Press
Stations of the Scale by Andrea Rosenthal
Areth: An Architectural Atlas by Adam Ryder
Postcards from an Irish Holiday by Orla Sloyan
The Boston Years: The Music Scene in Photographs by Cathy Vanaria.
*A project from Mexico, Mexico in Your Senses, initiated by photographer Willy Sousa,
that resulted in both a book and an international exhibition, will also be exhibited.
PHOTOBOOK 2011 CatalogThe PHOTOBOOK 2011 Catalog will remain on the gallery site for one year.
Street Photography / Surveillance
October 14 to November 13, 2011
Reception: Saturday, October 15, 6-8 pm
Tomoko Daido
Garbage Man, 7″x7″, silver gelatin print, Tomoko Daido
Bojune Kwon
The Neurosis in the City 6 (Brooklyn Bridge) 42″ x 28″, pigment print by Bojune Kwon
With Portfolios by Gary Duehr and Susan A. Barnett
CCTV1 from series Closed Circuit 17″ x 22″ pigment print on watercolor paper by Gary Duehr
The Tree from series Not In Your Face, 12″x18″, pigment print by Susan A. Barnett
About the Artists and Their Work
Tomoko Daido discovers suspicious and mysterious sites as she walks for hours around the city. Whether in the US or Japan, her black and white images, made with both a medium format camera and a plastic camera, suggest a parallel world to the everyday we inhabit. For Tomoko, there is a thrill and an instantaneous response to each find. This is followed by contemplation through the slow photographic process of the darkroom. “The fixed image becomes an interface between what was there and my perception of what was there.” (photograph: “Feliz”, 7″x7″, silver gelatin print by Tomoko Daido)
Bio
Born in Japan, Tomoko Daido lives and works in New York City. She is a member of the photographers’ group, 35MINUTESMAN, and has exhibited at Geoffrey Young Gallery in Great Barrington, Fordham University’s Center Gallery and APS Studio 35 in Tokyo. Tomoko’s book, White Elephant (2007) was selected for inclusion in PHOTOBOOK!!2010, an exhibition of twenty outstanding photobooks at the Davis Orton Gallery in 2010.
Bojune Kwon, in his series, Neurosis, restructures reality to present the overwhelming impact of the city. Each photograph in this series, digitally built from hundreds of individual exposures, is a location familiar to most as an iconic view of New York but this time seen through the eyes of a newcomer, adjusting to a very fast paced, impersonal world. ”In spite of the flood of people that inhabit the city, I am often struck by the difficulty of making real connections with others.”
Bio: Bojune Kwon is a fine arts and commercial photographer living and working in New York City. Kwon, whose fine arts work in black & white and color centers on the built environment, has received several international awards for his images including from the Sappi/Magno Intensity Photographic Competition and the Epson International Photographic Pano (Panoramic) Awards. Born in Korea, Bojune studied photography at Seoul’s Kyung-Il University and holds a Masters degree from New York City’s School of Visual Arts in digital photography. (photograph: “The Neurosis in the City 1″ 42″ x 28″ [and other sizes] by Bojune Kwon)
Gary Duehr‘s series, “Closed Circuit” is based on closed circuit television (CCTV) from anonymous global sources, “Closed Circuit” examines the ubiquitous state of Big Brother’s watchful eye. Just as the footage—taken from hotels and airports and parking lots and elevators—possesses an air of anonymity, so do the subjects, who are reduced to faceless projections. The closer the CCTV zooms in, the less concrete information remains. Shadowy bodies float through glaring spaces: they could be anyone doing anything, any where at any time. Duehr points out, “The very process of singling them out, sometimes with a red target for emphasis, gives their mundane behavior a sinister tint. Recorded, ID’d, processed. tagged. Who can keep their heads above the deluge?” (photograph: CCTV-2 from Closed Circuit by Gary Duehr. Pigment prints on watercolor paper, 17 ” x 22 “)
Bio In 2007 Gary Duehr was chosen as a Best Emerging Artist in New England by the International Association of Art Critics. In 2003 Duehr received an Artist Grant in photography from the Massachusetts Cultural Council, and his work has been featured in museums and galleries including the Institute of Contemporary Art, Boston, MA; Exit Art, Umbrella Arts, and New York Arts, New York, NY; Gallery Tsubaki, Tokyo, Japan; SKC Gallery, Belgrade, Yugoslavia; and Museo Nacional de Bellas Artes, Havana, Cuba. Past awards include grants from the LEF Foundation and the Rockefeller Foundation. His public artworks include a photo installation funded by the Visible Republic program of New England Foundation for the Arts, and a commission from the MBTA (Massachusetts Bay Transit Authority) for a permanent photo installation at North Station. Duehr has written about the arts for journals including ArtScope, Art New England, Art on Paper, Communication Arts, Frieze, and Public Culture.
Susan A. Barnett started her project, “Not In Your Face”, as a dialogue with the viewer about judgment… how we make assumptions and decisions based upon what people wear, their choices in accessories and style considerations. Each of her subjects reveal parts of themselves that advertise their hopes, ideals, likes, dislikes, political views and personal mantras.While in each image, the t-shirt is starkly evident, these photographs are not about the t-shirt per se but about identity, validation and perception. In shooting from the back, Barnett challenges expectations about the portrait as in image of the face with equally revealing portraits of individuals through not only the message on the shirt but body type, dress and demeanor. (photograph: I’m Muslim from Not in Your Face, 18″ x 12″ pigment print by Susan A. Barnett.)
Bio: Susan A. Barnett has exhibited her work at, among others, Clampart Gallery, Griffin Museum of Photography, New York Photo Festival, Capital One Corporate Gallery , Houston Center for Fine Art Photography, Philadelphia University of the Arts Gallery, Pacific Center NW, and Espace Dupon. Her series “Not In Your Face” has been seen in Lensculture, Popular Photography Magazine, Lenscratch, Social documentary.net, Heinz Foundation vimeo, Pittsburgh Tribune, PDN, Oitzarisme, Fotovisura, Artslant, and Projekt 30. “Not In Your Face” has won awards from Photo Review , IPA, Px3, Pollux awards, WPGA, Texas Photographic Society, Photo World Annual Awards, Critical Mass, Hey Hot Shot Contender and New York Photo Festival. The book “Not In Your Face” will be published in 2012 from the Silas Finch Foundation, New York.
Exhibition: September 9 to October 9, 2011
Reception: Saturday, September 10, 6-8 pm
Book Signing: Saturday, October 1, 6-8 pm
“salt & truth” by Shelby Lee Adams, Candela Books, 2011
Shelby Lee Adams, photographer
salt & truth
Black and white photographs from Shelby Lee Adams’ new book “salt & truth” Candela Press, 2011 – to be released October 2011 and Shelby’s recent color work.
“It is the total inclusive spirit of the mountaineer living in the hollers that motivates and interests me…..The culture is very multi-layered in expressing the fullness of life.”
Robbie and Tyler on Wrecker, 2003 © Shelby Lee Adams
Steve and Francis © Shelby Lee Adams
Salt & Truth is the fourth book from photographer Shelby Lee Adams. A collection of 80 new photographs, taken over the past eight years and which continue a project the artist has been working on now for over 30 years. Together these powerful images of the hollow dwellers of eastern Kentucky, represent a singular access to a world that is historically not very trusting of outsiders, by a photographer who is widely recognized as a master of the medium.
Using multiple strobes and a large format camera, Adams achieves both a special quality of light and a depth of field that keeps everything in focus. Adams’s composition – marked by sharp division of space and clarity of detail – places the viewer in the role of omniscient visitor to this otherwise private moment – juxtaposing both claustrophobic familial closeness and the wide open space of the landscape itself. Adams himself, having grown up in Kentucky and familiar with the mountain culture, is both an insider and an outside observer – a dichotomy the documentary photographer must frequently confront.
Shelby Lee Adams bio
Shelby Lee Adams was born in 1950 in the Appalachian Mountains of Eastern Kentucky. A photographer renowned for his environmental portraiture, Appalachia is not only Adams’s birthplace, but the subject of his photographs as well. Adams was awarded a Guggenheim Fellowship in 2010. His work has been featured in three monographs: Appalachian Portraits (1993), Appalachian Legacy (1998), andAppalachian Lives (2003).
Adams’ photographs are represented in many major permanent collections; including the Art Institute of Chicago, Chicago, Illinois; International Center of Photography, New York, New York; Musee De L’Elysee Lausanne, Lausanne, Switzerland; The Museum of Modern Art, New York, New York; The National Gallery of Canada, Ottawa, Canada; Stedelijk Museum, Amsterdam, Netherlands; Time Life Collection, Rockefeller Center, New York, New York; Victoria and Albert Museum, London, England; Whitney Museum of American Art, New York, New York.
(above :Lloyd Deane and Grandbaby © Shelby Lee Adams)
August 5 to September 4, 2011
Reception: Saturday, August 13, 6-8 pm
Jeff Jacobson, photographer
Melting Point and The Last Roll
Photographs from Jeff’s book “Melting Point” Nazraeli Press, 2006 and his latest series/upcoming book, “The Last Roll”
Jeff Jacobson’s photographs are disorienting, mysterious and beautiful. Composed in the camera with no additional manipulation, they pull us in to an unreal world that emerges from the every day.
From “Melting Point”
Shanghai, China, 2002, 17″ x 22″ by Jeff Jacobson
Los Angeles, California, 1993, 40″ x 60″ by Jeff Jacobson
Melting Point
In his book, Melting Point (Nazraeli Press, 2006), Jacobson writes of over 20 years observations of what he describes as “a meltdown period, when old norms of politics, religion and even photography are changing…. In working from the paradox of a curious melding of beauty and fear these photographs emerged.” Of Melting Point, Mark Feeney in the Boston Globe writes: “For all his theatricality, Jacobson is as much realist as expressionist. In strictly visual terms, these images are highly arresting. Seen also in technical terms, they become objects of wonder.”
From “The Last Roll”
Untitled, from The Last Roll, 17 x 22″ by Jeff Jacobson
Untitled, from The Last Roll, 17 x 22″ by Jeff Jacobson
The Last Roll
In 2004, Jeff Jacobson was diagnosed with lymphoma. After each chemo session, he and his wife, Marnie Andrews, would retreat to their home in the Catskills from their apartment in New York. By 2005 they gave up their apartment and moved to the mountains, permanently. As Jeff recovered, “my photographic universe expanded to the yard, the street, the river and into Woodstock.” In 2006, Kodak announced it had discontinued the film, Kodachrome, that Jeff had used throughout his career. He purchased and stored as much film as he could.
“Coming to the twin realizations that my time on the planet and my supply of film are both finite had a liberating effect on me.” Since then, Jeff has concentrated on what he holds most dear: his family, home and the earth. The Last Roll is a project that is just about complete and will be the content of his next book. Many of the images from this series will be seen for the first time at the Davis Orton Gallery.
Jeff Jacobson bio
Jeff Jacobson trained as a lawyer and practiced as an ACLU attorney in the South in the early 70’s. It was at that time that his interest in photography grew as he photographed southern jails and rural areas. After completing a workshop with Charles Harbutt in 1974, Jacobson quit the law and devoted all his energies to photography. By 1976 he was photographing in color and experimenting with strobes and long exposures, a now familiar technique that he pioneered.
Jeff’s photographs are in the permanent collections of many museums in the United States and Europe including: the Whitney Museum of American Art, The San Francisco Museum of Modern Art, The Walker Arts Center, Minneapolis MN, George Eastman House, Rochester NY and the Smithsonian Institute. His work has been published in magazines including: The New York Times Magazine, Fortune, Time, Geo, Stern and Life. His photographs have been published in two monographs: My Fellow Americans, University of New Mexico Press (1991) and Melting Point, Nazraeli Press (2006). Jacobson was a Magnum photographer from 1978-1981. He left Magnum to help found Archive Pictures. He has been awarded grants from the National Endowment for the Arts and the New York Foundation for the Arts.
Jeff Jacobson is a highly respected teacher. He has taught workshops at the International Center for Photography, Anderson Ranch, and The Center for Photography at Woodstock; he also offers private intensive workshops from his home in the Catskills.
June 24 to July 31, 2011
Reception: Saturday, June 25 6-8pm
Closing Reception: Saturday, July 30, 5-8pm
Theaters and the Theatrical
Stefanie Klavens, photography
“The Art of the Movie Theater: A Disappearing American Tradition”
Nandita Raman, photography
“Cinema Play House” – Old Cinemas (built 1930′s to 60′s) in India
PortfolioX2 photographers
An innovative exhibition format that combines electronic and hands-on portfolio presentations. See “PortfolioX2 Submissions” for all the information. Next deadline: August 31: Street Photography and Surveillance.
About the Artists and the Work
Stefanie Klavens
During Hollywood’s golden age nearly every American city and town had its own movie palace. Designed in a wide range of flamboyant architectural styles, America’s historic theaters have entertained millions, first as vaudeville houses and later as movie theaters. After WWII, many downtown palaces closed. Some architectural treasures have been saved, finding new life as performing arts centers, but most are lost forever.
“My attachment to these theaters is both artistic and personal. I’ve had a long-held interest in 20th-century American popular culture and, growing up in Baltimore, I went to the Senator, a 900 seat theater built in 1939. Not surprisingly, it was among the first venues I photographed.”
From the ornate city palace to the intimate small-town movie house, Klavens strives to record this rapidly vanishing era in American social history using long exposures in interiors and the light at dusk for exteriors to bring the beauty of these theaters to life.
Bio
Boston-based photographer Stefanie Klavens’ recent solo exhibits include the National Heritage Museum, Lexington, MA and New England Institute of Art, Brookline, MA. She has exhibited at the Judi Rotenberg Gallery, Photographic Resource Center, Boston Center for the Arts, and the Danforth Museum. Her work has appeared in Yankee Magazine, the Boston Globe, and on the cover of Harper’s Magazine.
A Massachusetts Cultural Council Artist Grant finalist, Klavens received her BFA and Fifth Year Certificate from the School of the Museum of Fine Arts, Boston, Massachusetts.
Nandita Raman
India has a long association with cinema. The first indian feature film was made in 1899. Today the country is one of the largest film producers, making more than a thousand films a year, for an audience of 3.6 billion.
Nandita Raman’s mother’s family owned the first talkies cinema in her hometown, Varanasi, India. Most of the single screen theaters that were built were designed by the owners themselves. Some were designed practically, while others provided an opportunity for owners to express their fancies. In the 1990’s, when home video became popular in India, many theaters including Raman’s family’s closed down. While cinema halls are coming back across India, they are standardized multiplexes.
Raman photographs the old cinema halls in India built between 1930 and 1960. She is interested in the idiosyncrasies that exist in the cinema spaces. “These theaters seemed to contain cues to the psyche of the people who built and who occupy them. It is these cues that I’m interested in; manifestations of interaction between the space and the people, over time.”
Bio
Nandita Raman is a reciepient of the Sarai Independent study Fellowship ’06 and the Daylight/ CDS Project Prize, 2010. She has exhibited in India and the United States, most recently atArtpost in South Bend, Indiana. This Spring the Snite Museum of Art at the University of Notre Dame acquired an edition of the entire series of her Cinema Play House photographs. They will be exhibited at the Snite Museum, Fall 2011. Nandita has published in Moment, Elle India, Flair Italy, Outlook, and Timeout Delhi. Raman, born in Varanasi, India, comes from a graphic design and filmmaking background and is currently pursuing MFA at ICP-Bard in New York City.
Michael Hunold
Michael Hunold photographs are a visual diary of his day-to-day working life as a lamp operator – electrician in the world of motion picture and television production. “I am interested in the life of working people behind the screen and the environment in which illusions are manufactured. My photographs are a private response to the way the production process, especially light and the process of lighting, transform the working spaces (locations, soundstages, sets) and machinery into places and objects of potential beauty and mystery.”
Allison Leach
In this series of photographs, Allison Leach depicts fictitious explorers of her creation who never got anywhere nor found anything. She bases her reenactments on a mixture of actual failed explorers (Scott, Livingstone), amalgamations of incompetent historical expeditions (Franklin Expedition, Donner Party), and fantastical disasters of her own whimsy. “My constructed photographs examine both the hubris of Western exploration and, reflexively, the power of photography itself.”
Allison Leach’s photography has been exhibited in London and New York City, and is represented in the permanent collection of the Smithsonian Museum (Washington, D.C.). She has received numerous awards for her commercial portrait work, including publication in several Communication Artsphotography annuals. She has been commissioned byVanity Fair, Time, Fortune, Interview, Esquire, The New York Times Sunday Magazine(among others), and served as a Contributing Photographer for People Magazine for seven years. Leach, who lives and works in upstate New York, is a MARK10 artist of the New York Foundation for the Arts (NYFA) and has served on the faculty of The Rocky Mountain School of Photography, Missoula, Montana since 2004, where she teaches Studio Lighting and Editorial Portraiture each summer.
May 12 to June 19, 2011
Reception: Saturday, May 14, 6-8 pm
Overlays
Amy Madden, mixed media, “Batik Weeds”
Inspired by both contemporary feminist artists and practitioners of traditional domestic arts, in this series of small works Amy Madden handprints flora onto paper; makes rubbings of textured surfaces, layers and scrapes beeswax, applies washes of color; overlays patterns and forms to define space and finally adds sewing by hand or machine. The intimate size of these paintings, the use of traditional feminine practices such as embroidery and the use of thread, wax and tacks all add to the delicacy and tactility of each piece.
Laura Radwell, photo-based abstracts,
“Impressions of Berlin and Other Works”
Laura Radwell’s attention is drawn to “strangely poignant” variations in color and geometry found in the surface deterioration of common objects. “The work begins when she photographs aspects of the world, for instance corroded metal, textured tree bark, chipping paint, that point to imperfection and impermanence. From these photographs, she creates a palette, layering them as if applying colors from tubes of paint. The images begin to lose their literal quality and are transformed into abstractions that invite the viewer to suspend habitual perception. Something imagined is created out of something real. Radwell’s most recent work is based on her impressions of Berlin, a city she has explored intensely over the past decade. Here her process is also informed by the compelling details of history she finds everywhere.
PortfolioX2
An innovative exhibition format that combines electronic and hands-on portfolio presentations. See “PortfolioX2 Submissions” for all the information. Next deadlines: May 11 and August 31.
AND PortfolioX2: (see images below)
Robert Kalman: photography - Larreynaga
Gordon Stettinius and Terry Brown: photography - Mangini Studio Series
The Davis Orton Gallery introduces a new gallery initiative, portfolioX2 (portfolio times 2) that combines electronic and hands-on portfolio presentations by two photographers. For more information (next deadline: March 23, next theme: “Overlays”) see “PortfolioX2 Submissions“.
Person/Persona: photographs by Meg Birnbaum
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Meg Birnbaum’s ‘Person/Persona’ is a series of diptychs exploring the transformative power of costume-wearing and the creation of alter egos. “When I first started working on this project, I thought that I was simply fascinated with performers performing. But it unwittingly became a positive lesson for me in the infinite ways of finding community and building personal connections.”
Some of the personae are the individual’s original creations; some are familiar historical figures; some exist only on paper; and some only on stage. She found her subjects by attending historical reenactments and performances, talking to friends, and internet searches. Meg invited each person to write a paragraph or two about the chain of events that led to their particular choice of persona and about the impact it has had in their lives. Some people have shared inspiring stories of overcoming very personal struggles, and most feel that costumes have been the bridge to a changed, more fulfilled and happier life.
Bio
Meg Birnbaum is a graphic designer and fine art photographer based in Massachusetts. She has work in the permanent collections of the Museum of Fine Art, Houston TX, the Lishui Museum of Photography in China, Meditech Corporation, Nicolet College (WI) and the corporate program of the DeCordova Museum. Recent exhibits include: Gallery Tanto Tempo, Kobe, Japan; the Griffin Museum of Photography, Winchester MA, the Lishui Photography and Culture Festival, Lishui, China. Her series “Corn Dogs and Blue Ribbons” was the inaugural exhibition at the Davis Orton Gallery in 2009. She is represented by Gallery Tanto and Photo-Eye Gallery, Photographer’s Showcase, Santa Fe NM.
Axeman Who Will Be 70 In The Year 2010:
Mixed Media by Howard Saunders
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According to Howard Saunders “On a cold and rainy day on Cape Cod, I had nothing to do, no implements to speak of, no paper upon which to render ideas I didn’t know I had. But there were all these brown paper bags from the Wellfleet Market. And there was a personal history of some kind of artist who was yet to find his voice.”
Thus Axeman Who Will be 70 in the Year 2010 was born on brown paper bags. What started as a hand-made 46″ x 56″ collage became transfigured into a book, a 62 page, full-color illustrated mixed media book, funded with a grant from kickstarter. AxeMan ( Saunders alter ego) makes a fifty-plus year circuitous journey from east to west to east as he hangs around the perimeter of the art world, the cultural revolutions, and in the center of the political arena. The faux memoir form (Saunders does not have a steel head) allows him flights of fancy but stays well within the chronicle of his own life.
Now, his escape/retirement in 2007 from a think tank after thirty years has allowed him to look for a constituency/audience with no parameters other than his imagination and his desire to tell (and draw) a story.
And now, Axeman; the exhibition. Here Saunders has recreated 18″ x 24″ mixed media pieces which started as scans of details from the book. To this he has added (by hand) new text, new drawings, paint and newly collaged elements moving the myth of Axeman to the gallery walls. The phrase ‘repurposed’ has been planted on the work by the literary journal Reconfigurationsof the University of Denver which has also published an electronic version of the entire book.
PortfolioX2: on hdtv and in open portfolio box
Robert Kalman and Gordon Stettinius & Terry Brown
The Davis Orton Gallery introduces a new gallery initiative, portfolioX2 (portfolio times 2) that combines electronic and hands-on portfolio presentations by two photographers. For more information (next deadline: March 23 – next theme: “Overlays”) see “PortfolioX2 Submissions“.
To our 2010 exhibiting artists – many thanks for a great year!
| (in rows top to bottom, left to right) Sylvia Plachy, Elliot Ross, David Moore, Vaughn Sills, Mary Kocol, Ernie Button, Rose Marasco, Dawn Southworth, Rebecca Doughty, Judith Black, Nina Bachinsky Gimmel, Lisa Kessler, Moira Barrett, David Drake, John Chervinsky, Karen Bucher, Cara Barer, Jaye R. Phillips, Lisa DahlAlso photobook artists, not pictured: Ellie Brown, Emily Corbato, Tomoko Daido, Matilde Damele, Janet Delaney, Tom Feher, Deena-Mariam Feinberg, A.E. Fournet, Peter Hoang, Nathan Larimer, Fritz Lierdtke, Henrik Malstrom, Isabelle Marcelli, Karen Marshall, Eva Koleva Timothy |
PHOTOBOOK!! 2010 EXHIBITION
The Photographer and the Self-Published PhotoBook
November 18 to December 19, 2010
Opening reception Saturday, November 20, 2010, 6 to 8 p.m.
The self-published photobook is an exciting new avenue for photographers to present their work directly to the public. In addition, the photobook itself can be a work of art. As part of the Davis Orton Gallery’s commitment to showcasing the work of contemporary photographers, the Gallery presents a juried, international photobook competition.
20 photobooks
(all books and prints will be available for sale during exhibition)
Photographs by ‘best of show’ artists
12 month online catalog
CLICK HERE (opens new window)
JUROR: PAULA TOGNARELLI
Paula Tognarelli is the Executive Director and Curator of the Griffin Museum of Photography in Winchester, MA. The Griffin Museum of Photography is a small photography museum whose mission is to promote an appreciation of photographic art and a broader understanding of its visual, emotional and social impact. Ms. Tognarelli is an avid collector of photography books.
PHOTOBOOK!! 2010 artists including four Best of Show (BOS)
Cara Barer, The Book’s Story (BOS)
Moira Barrett, 100 Images
Ellie Brown, Two Girls: My Sisters 1996-2006
Karen Bucher, Interior Nature (BOS)
Emily Corbato, Absolution of the Wind
Lisa Dahl, Discarded Dreams (BOS)
Tomoko Daido, White Elephant
Matilde Damele, Soul Boxing
Janet Delaney, In the Kitchen
Tom Feher, In the Navel of the Moon
Deena-Mariam Feinberg, East End
A.E. Fournet, Summer Water
Peter Hoang, After Deep Silence
Nathan Larimer, Imprint
Fritz Liedtke, Skeleton in the Closet
Henrik Malmström, On Borrowed Time
Isabelle Marcelli, Devenir Sujet
Karen Marshall, With a Rollieflex The 1970′s
Jaye R. Phillips, Currents (BOS)
Eva Koleva Timothy, Lost in Learning
Two Hudson Artists:
Transformations: photographs by Nina Bachinsky Gimmel
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“I find myself transfixed by the details of my subjects’ transformation within the cycle of life.” In this series, Nina Bachinsky Gimmel presents a photographic study of the strange and imperfect form of food. These images show the bizarre, alien and sculptural side of what we eat. Some show vegetables in the slowly decaying forms we normally overlook or discard. They are the opposite of the idealized forms we see every day in magazines and supermarkets–where looks of perfection are rendered to entice appetites. Yet they are more captivating.
Bio
A graduate of Bard College with a BA in Fine Art Photography, Nina Bachinsky Gimmel’s work has been featured in galleries throughout the Hudson Valley and Brooklyn, New York and is in several private collections. Nina’s photographs have also appeared commercially in Town & Country Magazine, New York Magazine, Inside Out, Dinner Where, Chronogram and a number of food blogs. She has studied with Stephen Shore, Larry Fink, An-My Le & Tim Davis and works with various photographic mediums including digital, medium & large format.
Recent Work: Drawings & Paintings by David Drake
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David Drake’s drawings and paintings are strongly influenced by his printmaking background. While his subject matter is eclectic, as with printmaking, it is shape and the gestural line that guides his imagery. Moving back and forth between drawing and painting, Drake will stay with a single object or idea, expanding or contracting the world around it through a series of works. He has recently included text in some of his pieces, which confide to the viewer elements of his thought process in the midst of the work’s creation.
Bio:
David Drake received his BFA in printmaking from the Cleveland Institute of Art where he studied with Carroll Cassill, Ralph Woehrmann and Robert Jergens. After graduating, he taught in Cleveland Public Schools and began a life long practice of painting and drawing. Among the galleries he has exhibited in are the Maryland Federation of Art, Annapolis; Neville Sargeant Gallery, Chicago; Southern Vermont Art Center, Manchester; and the Cabane Gallery, Phoenecia NY. His work is represented in private and corporate collections throughout the country.
“I look for what’s hidden beyond the surface, when silence speaks.”
The Davis Orton Gallery is honored to present an exhibition of black & white and color photographs by Sylvia Plachy. “Apparitions” is a collection of photographs of the ephemeral.
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Sylvia Plachy’s works are in the permanent collections of MOMA, the San Francisco Museum of Modern Art, the Minneapolis Institute of Arts, the Metropolitan Museum of Art, and the Bibliotheque Nationale. One of her photographs, “The Confrontation,” is currently featured in the MoMA exhibition: “Pictures by Women: A History of Modern Photography.” She has had one-person shows at the Whitney Museum at Philip Morris, the Queens Museum, the Minneapolis Institute of Fine Arts, and in galleries around the world.
Plachy has been awarded a Guggenheim Fellowship, a Lucie – WIPI Distinguished Photographer’s Award, and is the 2010 recipient of the Dr. Erich Salomon Award from the German Society for Photography honoring “lifetime achievement” in photojournalism.
For over eight years The Village Voice published a weekly uncaptioned, black and white photograph of Plachy’s work under the heading:”Sylvia Plachy’s Unguided Tour,” which later became a book by the same title, (Aperture, 1990) and for which she won an International Center of Photography Infinity Award. Other books include Red Light,with Jim Ridgeway (1996), Signs and Relics (2000), Self Portrait with Cows Going Home (2004) which received the Golden Light Award, Goings on About Town: Photographs from the New Yorker(2007), and Out of the Corner of My Eye: de Reojo (2007). She publishes regularly in periodicals including the The New Yorker, The Village Voice, Time, Smithsonian, and. GEO.
Seeing and Believing
An Experiment in Perspective – Photographs by John Chervinsky
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John Chervinsky’s still lifes are presented in the manner of a science demonstration or imaginary physics experiment. Chalk markings on blackboards are juxtaposed with real objects to create tensions between the physical world and the imaginary constructs that we use to define it. With the illusory effect of the chalk that he creates, the markings appear to have depth, or to be floating in space, or on the surface plane of the photograph. Rather than instructional, the chalk markings and blackboards place the work into the world of ideas. “I see these photographs as posing questions without easy answers. My intent is not to express a single, narrow perspective, but to, among other things, expose the fallacy of doing so.”
Bio
John Chervinsky is a self taught photographer and engineer. Since it first opened at the Griffin Museum of Photography in 2005, his “Experiment in Perspective” series has been traveling the country including solo exhibits at Fermi National Accelerator Laboratory Art Gallery, Batavia IL, Peer Gallery, NYC and Blue Sky Gallery, Portland OR. His work is held in numerous public and private collections including the Museum of Fine Arts, Houston; Museum of Art, Portland OR; and Fidelity Investments Collection. Chervinsky spent eighteen years running a particle accelerator at Harvard and has collaborated with museums, using accelerator technology in the analysis of art. He currently works for Harvard University’s Rowland Institute for Science, originally founded by Polaroid’s Edwin H. Land. His diverse scientific background is evident.
Cerealism – Photographs by Ernie Button
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“Art is shaped by a person’s life experiences and I am no different.” Through early childhood, raised by a single mother who struggled to keep food on the table, it was the small things that counted for Ernie Button. “Brand name cereal was a luxury item; Cap’n Crunch made for pure breakfast heaven.” For Button, today’s cornucopia of cereals with their colorful marshmallows and bland brown objects means “playtime.” In an homage to childhood and photography, he has construct a cereal world of landscapes and portraits that have both a magical quality and an odd sense of ‘reality’. Much of Ernie Button’s imagery focus on the individual nature of objects and the unique qualities that each possesses. “My images often provide a voice to objects that are ignored and are frequently overlooked or taken for granted.”
Bio:
A resident of Phoenix AZ, Ernie Button’s photographs have be exhibited widely in solo and group exhibitions. His work has been featured at Lishui International Photography Festival, Lishui, China, Modified Arts, Phoenix AZ, Rayko Photo Center, San Francisco, CA, Mesa Contemporary Arts, Mesa AZ, Silver Eye, New Works Gallery Online, Jen Bekman Gallery / Hey Hot Shot! NYC and Anchorage Museum of History and Art. He is the recipient of many awards including the 2009 Professional Development Grant from the Arizona Commission on the Arts. Among others, his work is in the collections of the Lishui Museum of Photography, Phoenix Commission on the Arts, and Southeast Museum of Photography.
Tender Buttons: Women’s Domestic Objects – Rose Marasco
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Rose Marasco’s work as a photographer flows from an internal exploration of how people construct meaning in their everyday lives and environments. In her series, “Tender Buttons, ” she is inspired by the material culture of the domestic past – everyday objects women have made, used for work, collected, or arranged. “The objects have particular grace to which I respond. They contain a mystery about who owned them and what secrets each object might hold.” She reveals their power through the choices she makes to present them.
Bio
Rose Marasco’s photographs are in public collections including the Portland Museum of Art, Fogg Art Museum, New York Public Library, Fidelity Collection and Polaroid Collection. Among the honors she has received are Exhibition of the Year, New England Historical Association; Artists Fellowship, Maine Arts Council; and a MacDowell Colony Fellowship. Rose in a professor of photography at the University of Southern Maine and has lectured widely. In 2005 she received the Excellence in Photographic Teaching Award from the Santa Fe Center for Photography.
Burnt Offerings – Dawn Southworth
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Dawn Southworth’s mixed media constructions are rich with cultural symbols, natural history references and intrinsic materials that speak of life’s richness and complexity. In addition to painting and drawing, she works her materials with obsessive and repetitive methods including stitching, cobbling, and assorted fastening and wrapping techniques, along with repeated piercing and cutting and archaic marking methods with fire and burning tools. Her constructions linger like a memory, where experience and time are compressed into lasting personal and collective histories.
Bio:
Dawn Southworth’s work is widely collected and exhibited. It has been featured in solo exhibition at Addison Gallery of American Art, DeCordova Museum, the Fuller Craft Museum and the DNA Gallery, Provincetown and in group shows at the Southern Ohio Museum, Lancaster Museum of Art, Peligro Gallery, New Orleans and GASP Gallery, Boston. Dawn is a recipient of the Berkshire Taconic Foundation: Artist Resource Trust Fellowship, Blanche E. Colman Award and an NEFA/NEA Fellowship.
Beyond Words photographs by Vaughn Sills
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In this series of tableaus, Sills joins together the world of nature, objects found outside her family’s Prince Edward Island cottage, with the world of intellect, a 1932 Oxford English dictionary. “I chose the objects – a squirrel’s skeleton, poplar saplings, broken egg shells lying on the forest floor - because of their extraordinary beauty and because they seem to hold the mystery of life and death.” Sills opens the aging pages of the dictionary to the word for the object, then, using wire, pushpins, tape and thread, as the “grammar” with which she works, she creates fragile constructions that, like each object, is delicate and cannot last. “Although words fall short of conveying the miraculous presence of the object, they matter; they name what I see, they describe a color, a shape, an attribute. Thus in my photographs I wish to portray not only the beauty of the object but the lure and beauty of language itself.”
Bio
Vaughn Sills has exhibited her work in galleries and museums throughout the East Coast and Southern US. Her work is in a number of collections, including the DeCordova Museum, Polaroid Collections, and Fidelity Investments. She has been awarded grants from Artadia Dialogue for Art and Culture, the Polaroid Foundation, Massachusetts Cultural Council, and New England Foundation for the Arts. Her book, One Family, was published in 2001 by the University of Georgia Press. Places for the Spirit, Traditional African American Gardens will be published in fall, 2010 by Trinity University Press. Sills is a professor of photography at Simmons College.
Recent Work paintings by David Moore
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For over thirty years, David Moore has explored the daily ritual of place, realized in his paintings by dramatic lines, gesture, and color which become micro and macro metaphors for topographical and biological synapses. Much of Moore’s recent work has been inspired by the Ceide Fields in Ballycastle, County Mayo, Ireland which he visited during a residency at the Ballinglen Arts Foundation. These are the oldest known field systems in the world, over five and a half millennia old. It is a unique Neolithic landscape of world importance, which has changed our perception of our Stone Age ancestors. The remains of stone field walls, houses and megalithic tombs are preserved beneath a blanket of peat over several square miles.
Bio
David Moore earned his MFA degree in painting at Bard College, NY, where he also studied Theosophy, Sufism, music, photography, and the luminist paintings of the Hudson Valley. He has received residencies at the MacDowell Colony, Yaddo, Millay Colony, Blue Mountain Center, the Edward F. Albee Foundation in Montauk, NY, and the Ballinglen Art Center in Ballycastle, County Mayo, Ireland. Recent honors include the prestigious Pollock/Krasner Award and a Painting Fellowship from the Massachusetts Cultural Council. David’s musical experience has also influenced his paintings. For the past 35 years he has revived the lost art of playing the Musical Saw. He records and performs across the country, and has been featured at Boston Symphony Hall, on ‘The Today Show’, and NPR performing jazz, blues, folk, and alternative music.
Seeing Pink: photographs by Lisa Kessler
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Seeing Pink:
Lisa Kessler explores the idea of the color pink in America. “Pink is simply a color, but it is also an idea, one that confines and liberates, and ultimately holds a mirror to our culture.” Her documentary-style photographs examine our notions of what is real and what is fake; what is biologically determined and what is socially created. Kessler captures pink as the color of love, sweetness, and vulnerability but also of power, eccentricity and pornography. Just as the the idea of pink can represent a wide spectrum of meaning, her photographs provoke a similarly broad array of emotions.
Bio:
Lisa Kessler’s photographs are in the permanent collection of the Philadelphia Museum of Art. She was a finalist for the Honickman Foundation First Book Prize in Photography, Center for Documentary Studies for her work on the clergy sex abuse crisis. Her short film “Heart in the Wound,” exploring the impact of that crisis through the voices of survivors, premiered at the Boston International Film Festival in 2009 and was shown at the Fear No Film Festival in Salt Lake City, Utah. “Facing Peace,” a documentary portrait series in collaboration with families surviving violence was exhibited at Lesley University in 2008. Kessler teaches photography at Montserrat College of Art and is currently preparing “Seeing Pink” for book publication.
Animal: photographs by Elliot Ross
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Animal:
Elliot Ross explains that each image in Animal “is not only a portrait of a non-human animal; it is, in many ways, both a self-portrait (for each of us has, to some degree, DNA in common with other species) and also a question: What can be knowable and what is unknowable of individuals of other animal species?” Ross photographs his subject animals and applies digital imaging techniques he describes as “akin to sculpting with light.” He strips away their actual surroundings to show them against a black background that adds depth, cognition and personality. Thus each of his numbered beings is a subjective and mysterious work which grows out of the objective record that a photograph represents.
Bio:
Elliot Ross’s work is in the collections of the Bibliothèque Nationale, Paris, San Francisco Museum of Modern Art, Musée de la Photographie, Charleroi, Belgium and the Art Museum, University of California, Berkeley. Images from “Animal” were recently exhibited in a solo show at the Griffin Museum of Photography, Winchester MA and in group shows: “New Visionaires,” New York Photo Festival, Brooklyn and “The Museum of Unnatural History,” ClampArt, New York. Schilt Publishing, Amsterdam will publish the artist’s book “Animal” in the fall of 2010.
Mary Kocol and Rebecca Doughty
May 6 – May 30, 2010 Reception: Saturday, May 8, 6 – 8p.m.
Gardens & Arboreta: photographs by Mary Kocol
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Gardens and Arboreta
Mary Kocol photographs the landscapes of the Northeast coming back to life – the short-lived and fresh color transformations in spring and early summer. This series was made with a plastic Diana camera. Kocol has been making pictures with this toy camera for over twenty years. “I’m intrigued by how the plastic lens interprets light – with luminescent color and soft glare.” Light is an important subject in Kocol’s work and the distinctive soft focus of the camera lends a surreal, nostalgic, and ephemeral quality to her photographs.
Bio
Mary Kocol is a fine art and editorial photographer in Boston. A recipient of the Guggenheim Fellowship (1993), she has received many grants for photography, animation and filmmaking. In 2009 she was a finalist in the International Garden Photographer of the Year competition, Kew Gardens, England. Most recently, Kocol has exhibited at Gallery Naga, Boston, MA and the Julia Margaret Cameron Museum, Isle of Wight, England. Her work is in the collections of the J. Paul Getty Museum, Museum of Modern Art, Victoria and Albert Museum and many others public and private collections. Editorial clients include The New York Times Magazine, Boston Magazine, and Doubleday.
Short Stories: paintings by Rebecca Doughty
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Short Stories
Drawing is at the core of Rebecca Doughty’s work. As a kid, Doughty absorbed the print and moving pictures of the time– comics and funnies, Looney Tunes and MAD. The images that most intrigued her were wry and deceptively simple, a description that well applies to Doughty’s work. “I studied the protagonists engaged in their curious adventures, the humor and satire, and the deeper, darker subtexts.” The animal characters that inhabit Doughty’s paintings and drawings represent a kind of theatre, where stories and complex human predicaments are told through subtle gestures. “I find within the limits I’ve set regarding materials and scale, there’s a mine of expressive possibilities.”
Bio:
Rebecca Doughty has been making paintings and drawings since the 1980’s. Her work has been exhibited at The Drawing Center – New York City, the Boston Drawing Project, DeCordova Museum, Clark Gallery, and the Schoolhouse Gallery, Provincetown. She has received fellowships from Ucross Foundation, The Ballinglen Arts Foundation in Ireland, and awards including The Massachusetts Cultural Council, The Berkshire-Taconic Community Foundation, and Blanche E. Colman Foundation. Her work is in numerous public and private collections.
April 1 to May 2, 2010 -
hours: Thursdays – Sundays, noon to 6 pm
Reception: Saturday, April 10, 6 – 8p.m.
photographs by Judith Black and Moira Barrett
Judith Black – In My Own Backyard
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Artist Statement:
Using images of family as a touchstone for memories reveals a deep collective need to make our personal narratives and memoirs a true representation of the past, which of course they can never be. In thinking about how to make sense of almost 30 years of photographing my immediate family and self, I realized that the photographs I exhibited were our family album made public, or perhaps the reverse, my “art” made useful within the domestic space. The photographs are actual physical memories, evoking stories, truths and lies, all of which are ever changing.* For this exhibit, I work with one theme, one location, one space in which many of my photographs have been taken: the backyard.
*Abstract from a paper delivered at National Conference on Liberal Arts and the Education of Artists: School of the Visual Arts, New York City, New York, 2002
Bio:
Judith Black is a professor of Photography at Wellesley College. Her research and work examine the self and family in the genre of family portraiture. Her photography has centered on black and white large format portraiture of her immediate and extended family. Black received a B.F.A. degree from Quincy College, Quincy, IL and an M.S. in Visual Studies at M.I.T. Early on, a Guggenheim Fellowship enabled her to pursue her work documenting her family. Her photographs have appeared in numerous national and international exhibitions and publications over the past 20 year and is in museum collections nationally, including the Museum of Modern Art in New York, the San Francisco Museum of Modern Art, the Polaroid International Collection, the Davis Museum and Cultural Center, and the Houston Museum of Fine Art.
Moira Barrett – Thicker Than Water
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Artist Statement:
In life, we all struggle to find a place of comfort and connection, whether it is in our biological families or the circle of friends that we call our families. We all come into and leave this world alone; each of us falling prey to a feeling of separation that can only be relieved by finding our own point of kinship with others. In “Thicker Than Water,” I explore these points of connection and alienation as they pertain to my own family. As a lesbian couple with an adopted Chinese daughter, we each try to make connections that will comfort us and define who we are. Although we find warmth in our created family, it is not always enough to protect us from the undercurrent of alienation that runs through us all. We must work hard to maintain the connections that keep us grounded and feeling that we are loved. My aim is to explore the push and pull of these contrasting feelings as expressed in our family dynamic, while we question and test our identities and relationships.
Bio:
Photographer Moira Barrett is studying for her MFA in Visual Arts at Lesley University/Art Institute of Boston (AIB.) A graduate of Buffalo State University with a BA in Art, over the years, she has worked in a variety of positions in the graphic arts industry including silkscreen artist, color lab manager, and photo retoucher while completing coursework in photography and graphic design. Moira is married to Johanna Schulman, a financial planner, lives in Cambridge, MA and is the parent of Annie, age 11.
November 21 to January 3, 2010 – Holiday Art Fair and Exhibition
Small Works including: mixed media and painting by Nancy Hart, photographs by Emily Corbato, Polaroid transfer prints by Carol Krauss, fiber-art by Cassandra Goldwater, jewelry by Flo Shulman and photobooks by Andrea Rosenthal, Meg Birnbaum, Emily Corbato, Mark Orton and Karen Davis. (left: “Jeanne”, mixed media by Nancy Hart)
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October 23 to January 3, 2010
Nadine Boughton, Emily Corbató, Carol Krauss
Gallery 1: The Pleasures of Modern Living
Photocollage by Nadine Boughton
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selected images from exhibition
Using vintage magazines and materials, Boughton scans and compose digital collages, piecing together fragments of memory into new narratives. ”My intention is to blend the nostalgia for the past with the darkness beneath ‘the pleasures of modern living.’ I am interested in the portrayal of women and domestic culture; the illusion of security; food as an object of desire and comfort; and the grip of materiality.”
Nadine Boughton, a native of Rochester, NY, studied photography with Garry Winogrand and at the Visual Studies Workshop/Rochester and Lesley and Radcliffe Seminars. “The Pleasures of Modern Living” was recently exhibited at the Griffin Museum of Photography. Her work has also appeared at the Danforth Museum of Photography and Boston area galleries including: Panopticon, Nave and Bromfield.
Gallery 2: Constructions
Photographs by Emily Corbató and Carol Krauss
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selected images from exhibition
Emily Corbató and Carol Krauss’s elegant black and white photographs of buildings in steel and wood, modern and traditional are unified by skeletal structures, form and light. Side-by-side, Frank Gehry’s MIT Stata Center for the “intelligence sciences” and the anonymously built barn in New England can be viewed with a fresh perspective.
Emily Corbato has exhibited throughout New England and the US. Her work is in private and public collections including the Massachusetts Institute of Technology, Museum of Computer History (CA) and the Fitchburg Art Museums. An exhibition of her landscapes from Plum Island, MA, “Absolution of the Wind”, can be seen at Boston University: Rubin-Frankel Gallery, through December 21, 2009. She has been an Artist/Scholar at Women’s Studies Research Center, Brandeis University since 2001.
Carol Krauss is an award winning photographer who has exhibited throughout New England. Krauss is currently President of the Board of Emerson Umbrella Center for the Arts where she maintains a studio. In addition to her freelance and publication work, she teaches black and white photography in Concord MA.
September 11 – October 18, 2009
Corn Dogs, Blue Ribbons and the American Pastoral
Photographs by Meg Birnbaum
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selected images from exhibition
Artist Statement:
This is a portfolio of photographs taken over a two-year period at fourteen summer fairs in New England ranging in size from small 4H events to giant ‘expos’. I was immediately attracted to the young members of 4H and Future Farmers of America. The deep connection with their animals was particularly intriguing and, for me, enviable. Coming from an urban area, I was surprised and delighted by how open and generous the 4H and FFA communities were.
I found fairs to be a complicated balance of startling innocence and huckster sleaze. Everything is for sale, from whirlpool baths to religious salvation. So many disparate elements, and all exist in harmony against a backdrop of gleeful screams, bells and whistles, mixed with the pungent essence of livestock and the aroma of fried food. “We’ll fry anything,” one sign read, and indeed they do: fried dough, fried Oreos, and fried cheesecake just for starters.
This project presents an emotional and somewhat wistful visual record of this long-standing American tradition. I shot with black and white film using extremely basic plastic “toy” cameras because I wanted to lose sharp detail and capture just a fleeting moment, the broad stroke, a distillation of my experience during those hot summer days and nights.
Meg Birnbaum is a graphic designer and fine art photographer based in Massachusetts. She has work in the permanent collection at the Museum of Fine Art, Houston, the corporate program of the DeCordova Museum and the art collection of Meditech Corporation. Corn Dogs and Blue Ribbons has been exhibited at the Griffin Museum of Photography and Montserrat College of Art.
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