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Street Photography and the Urban Scene

Ellen Feldman 

Zelda Zinn

Portfolio Showcase
Amy Shapiro & David Curtis

June 25 to July 24, 2016


 Ellen Feldman, Urban Zips

EllenFeldman BigFootBig Foot by Ellen Feldman

Zelda Zinn, NY Revelations 

Zelda Zinn, NY Revelation - 0297D1NY Revelation 0297D1 by Zelda Zinn


Portfolio Showcase
theme: Street Photography & the Urban Scene: What’s New?

Amy Shapiro, Welcome to New York 1985 – 2005

Amy Shapiro-1984 Alphabet CityAmy Shapiro-1984 Alphabet City

David Curtis, Auto-Reflections

Auto-Reflection 5 by David CurtisAuto-Reflection 5 by David Curtis 


About the Artists


Ellen Feldman, Urban Zips   (more images)

EllenFeldman, Excavators

EllenFeldman, Excavators

“Urban Zips” combines Ellen Feldman’s interest in abstract expressionist painting with her longstanding work in street photography.  It is Barnett Newman’s work that inspired this project. He created “zips”: paintings in which a field of one color is bisected by one or more thin bands—or zips—of another color. In this series Feldman creates her own zips: one or more “slices” from her street photographs bisect a field of color (pavement, wall, or other urban surface). As the series has progressed, she has relaxed the grip of Newman’s modernism and refocused my attention on the grit of city life.

Bio

Ellen Feldman’s fine art photography reflects her background in film studies—in the primacy of physical gesture and frozen motion, of movement cut by the frame, and of bold color.

Her photographs have appeared in recent solo exhibits at the French Cultural Center, Boston, MA, the Griffin Museum of Photography, Winchester, MA (satellite galleries), and the Davis Orton Gallery, Hudson, NY and were featured in Women 360, South Shore Art Center, Cohasset, MA. She has published a popular photo/comic book of a dancer incorporated into a Fantastic Four comic: The Dancer as the Invisible Girl, and two books of street photography.

Feldman is Photography Editor of the Women’s Review of Books, published by Wellesley College. She holds a Ph.D. in Cinema Studies from New York University.

Zelda Zinn, NY Revelations  (more images)

NY Revelation 0251 by Zelda ZinnNew York Revelation 0251 by Zelda Zinn

“The question is not what you look at, but what you see.” HD Thoreau

Zelda Zinn’s New York Revelations is an exploration of the intersection of space and time in the urban environment.  In the fall of 2014, Zinn moved from Los Angeles to New York. She found the city messy and unpredictable as she became part of the crowd, navigating New York on public transport and on foot. As she struggled to learn her way around and adapt to the close proximity and exposure she felt, she photographed strangers on subway platforms and street corners, spaces very different from her former home.

In the quiet of her apartment, Zinn closely examined what she had shot. Enlarging her images to the pixel level, she began to paint over portions of a photograph in digital white – concealing some elements – highlighting or revealing others. These altered images, New York Revelations, offer the viewer insight into her process of untangling the clutter and chaos in her adopted city. In this way, Zinn also invites the viewer to engage with the empty spaces and examine the skeletal remains.

Bio: Zelda Zinn, now of Brooklyn, via the west coast and Texas, views photography as one of many tools available to artists, and likes to get her hands dirty with other media such as printing, painting, and making sculpture. Recent solo exhibitions of her photography include: WorkSpace Gallery, Lincoln NE; Soo VAC, Milwaukee WI and Art-Merge, Los Angeles CA. Group shows include Shoestring Press, Brooklyn NY; Walker Fine Art, Denver CO; and Jeffrey Leder Gallery, Long Island City NY.

She has been featured in online and print media publications including: Ain’t Bad Magazine, Plates-to-Pixels and Lenscratch.  Zinn holds an MFA in photography from the University of New Mexico and also credits artist’s residencies at the Santa Fe Art Institute and Vermont Studio Center with having a profound impact on her art making.


Selected through our Portfolio Showcase Call for Work,
the gallery is also featuring
portfolios by Amy Shapiro and David Curtis

Amy Shapiro, Welcome to New York 1985-2005   (more images)

1994 Don Quijote by Amy Shapiro

1994 Don Quijote by Amy Shapiro

Amy Shapiro has created works of art outside the mainstream for thirty years.  In this newly released series, Shapiro documents performance art, interactive art installations and street culture in the Lower East Side, East Village, Williamsburg and Meat Packing District in New York City during the controversial process of gentrification. In retrospect the series of photographs defines a particular chapter in the story of an ever-changing city. The project portrays the spirit, the artists, the neighborhoods and the unique time period in which they worked.

Shapiro is a Head On Photo Festival 2016 Finalist. She has received art honorarium grants from the Burning Man organization in 2005, 2006, 2008 and 2009. She has a BFA from the School of Visual Arts and is co-owner of Luxlab.

David Curtis, Auto-Reflections   (more images)

Auto-Reflection 10 by David Curtis

Auto-Reflection 10 by David Curtis

In David Curtis’s Auto-Reflections, automobile reflections separate, distort, yet combine distinct structures from the organized chaos of New York City. A car’s surfaces become sectional canvases; alternate, converging universes bizarrely grounded in the same reality. Depending on light, curvature, opacity, and texture of a car’s glass and metal, the reflections distort the external world along with the car’s interior, merging them into a diaphanous, illusory universe.

David Curtis, Poughkeepsie NY, originally from the UK, wrote, produced, and directed science, technology, and health programming for Public Television at WNET/Channel Thirteen. Later, at the University of Illinois’ National Center for Supercomputing Applications, he directed video and multimedia communications. Since returning to New York he has developed a body of work consisting of street portraits, urban narratives, and cityscapes. A number of his images have been exhibited both nationally and regionally. His photobook, In the Moment: City Spaces, City Spaces, was exhibited at Davis Orton Gallery’s 6th annual photobook exhibition.


 Word and Image
Mixed Media and Photography

Fern T. Apfel

Miriam Goodman 

Portfolio Showcase
Kim Llerena and Tim Brill

May 14 to June 19, 2016

 Reception: Saturday, May 14, 5-7pm


Fern T. Apfel, Word and Image – mixed media  (more images)

Youth/Knowledge by Fern ApfelYouth/Knowledge, 14″ x 16″ mixed media: collage & acrylic by Fern Apfel

Miriam Goodman, After a Certain Age – photography   (more images)
Names Grew Elusive by Miriam GoodmanNames Grew Elusive by Miriam Goodman


Photography Portfolio Showcase

Kim Llerena, Ekphrasis   (more images)

Kim Llerena, PhotogeniaKim Llerena, Photogenia

Tim Brill, The Teddy Bear Series   (more images)

Tim Brill-Maybe we could have done betterMaybe we could have done better by Tim Brill


About the Artists


Fern T. Apfel-Rest with us a few days, Feast with us tonight.Fern T. Apfel, Word and Image

As a contemporary art-­maker, Fern T. Apfel of Kinderhook NY is drawn to both abstraction and image. Her unique and transporting approach developed gradually. First, came the serendipitous purchase of a postage stamp.

I had just finished a picture, but felt something was missing. I took a break and went to the post office stamps and the postmaster handed me one with a bluish green landscape called Alaskan Highway. I quickly went back to my studio and pasted the stamp in the upper left hand corner of the painting. And that’s how it all began.”

Collaged words were to follow when she found an old school primer. Instantly attracted to it, she started to cut up the words. After pasting random words into a few pictures, it struck her that she could make the words make sense. She put together a short poem.

As I rearrange words from another time and place, my pictures are a reminder of the relationship between our past and our present. I began my first narrative by trying to write what is-­ just the facts. But now it changes with each piece. Sometimes I open a book and see one word that I love, and start with that word. Sometimes I fall in love with the type, or the color of the page. Sometimes things I’m thinking about influence the thread of a story.”

Over the years, Apfel regularly returns to the book as image. At Davis Orton Gallery she focuses on work she has created where books, diaries and envelopes, rummaged from flea markets, garage sales and used book stores, are her source material for both image and word. (Above: Rest with us a few days. Feast with us tonight. 27″ x 16″; mixed media: collage and acrylic.)

Bio: Fern T. Apfel, described by the Schenectady Gazette as a “gentle postmodernist,” is represented in the permanent collections of The Hyde Collection, Glens Falls, NY, The Tang Teaching Museum at Skidmore College, Saratoga Springs, NY, the University Art Museum at SUNY Albany, The Albany Institute of History & Art, The Shaker Museum: Mount Lebanon, NY, The Columbia County Museum & Library, Kinderhook, NY, The Art Students League of New York and numerous private collections.

In 2015, Apfel of Kinderhook NY, won The Hyde Collection Purchase Prize at the Artists of the Mohawk Region exhibition at SUNY Albany. Apfel has also exhibited at the Samuel Dorsky Museum, The Tang Teaching Museum and Art Gallery, The Albany Institute of History & Art, & The Butler Institute of American Art. Apfel has exhibited alongside Ellsworth Kelly in The Collage Show at the Spencertown Academy.

She is a two-time recipient of the Individual Artists Grant from the New York Foundation for the Arts and Twin Counties Cultural Fund Decentralization Program. Apfel has a Bachelor of Science in Art Education from the State University College at New Paltz and studied at the Art Students League of New York.

Miriam Goodman, After a Certain Age

Miriam Goodman, She stopped looking into the mirror and began looking into her past.Miriam Goodman, She stopped looking into the mirror and began looking into her past.

Miriam Goodman confronts us with what it is like to be aging and female. Her work is very poignant. She is able to bring a serious, as well as a lighthearted approach to the topic of aging. On one hand, she’s grappling with the frustrating and challenging aspects of aging, while on the other hand, she is able to laugh at herself.” Paula Tognarelli, Director: Griffin Museum of Photography.

Miriam Goodman (1938-2008) was a “writer who takes pictures”.

“In his book with John Berger, “Another Way of Seeing”, photographer Jean Mohr asked 10 people to interpret a picture. None of them agreed on its meaning. . Pictures are ambiguous.  Adding text to the image invites you to see the picture in a specific way; adding text makes the image concrete, particular, more personal.” Miriam Goodman 

 In this portfolio and multi-media presentation, Goodman tells the story of a woman getting older through the objects she handles and the spaces she moves through. As a group portrait –the project includes the perceptions of many women, and sometimes their language.   She gathered these perceptions by soliciting responses from other artists and friends. (Multimedia development: Lenni Armstrong.)

Bio Miriam Goodman was a poet, editor, photographer, and teacher. She was the first photography editor of the Women’s Review of Books and founder/co-coordinator of the Word & Image Lecture series sponsored by Lesley Seminars and The Center for Photographic Exhibition of the New England School of Photography. Her photographs have appeared in exhibition and on book jackets, in literary magazines, CD packaging and on the web. She was the author of three books of poetry including “Commercial Traveler” 1996, Garden Street Press, “Signal: Noise” 1982, and “Permanent Wave”, 1977 Alice James Books.


Selected through our Portfolio Showcase Call for Work,
the gallery is also featuring
portfolios by Kim Llerena and Tim Brill

Kim Llerena, Response to the sky at nightKim Llerena, Ekphrasis

In this body of work, verbal descriptions of visual artworks as well as passages relating to art, excerpted from books and essays, have been transcribed into pages of Braille. Each page is photographed in a way that interprets an essential element of the text that it features, layering description onto description and questioning what exactly is lost or gained in translation.

The transfiguration of tactile code into printed image serves as a metaphor, both for the power of photography to aestheticize the mundane and for the limitations inherent in the act of recording the world in two dimensions. (above: Kim Llerena, Response to the Night Sky  Prose written by the artist.)

Bio  Kim Llerena’a work often engages photography’s indexical and aesthetic properties as a means to critically examine dual implications of the medium: memory and aspiration, translation and description, art and snapshot.

Llerena exhibits nationally in addition to serving as faculty at American University. She was a semifinalist in the 2016 Print Center 90th Annual International Competition in Philadelphia, a finalist for the 2014 Trawick Prize in Bethesda, and a semifinalist for the 2013 Sondheim Artscape Prize in Baltimore.

Tim Brill, The Teddy Bear Series   

Tim Brill, Is He Gone?

The Teddy Bear Series explores experiences that diminish our innocence. The Teddy Bear is a timeless and powerful expression of innocence both in itself and as a trigger for memories of an earlier time. That time could be a specific memory of youth or a society’s collective memory of the past. (Above: Is He Gone? by Tim Brill)

Bio: In the studio, Tim Brill of Portland OR combines traditional painting and modern photographic sensibilities to create his images. He has exhibited his photographs in solo exhibitions at Wall Space Gallery, Seattle, WA and Camerawork Gallery, Portland OR and in group shows including: A. Smith Gallery, Johnson City, TX; PhotoPlace Gallery, Middlebury, VT and Kiernan Gallery, Lexington, VA. Brill’s work has been published online in Lenscratch (January 2015) and the Wall Space Gallery Flat File.



Plant Life/Landscapes
Indigenous, invasive. Leaves, vines, branches and bramble

Karen Bell

Dana Matthews 

Portfolio Showcase
Angilee Wilkerson and Michael O’Shea

April 9 to May 8, 2016

 Reception: Saturday, April 9, 6-8pm
  plus
Gallery Stroll BeLo3rd 


Karen Bell, Flotsam & Jetsam   (more images)

Spider by Karen Bell, from Flotsam & JetsamSpider by Karen Bell

Dana Matthews, Cyanotypes – an homage to Anna Atkins  (more images)

early spring, cyanotype by Dana MatthewsEarly Spring (cyanotype) by Dana Matthews


Portfolio Showcase

Angilee Wilkerson, The Vanishing Blackland Prairie   (more images)

Angel Wilkerson-AfterlightAfterlight by Angilee Wilkerson

Michael O’Shea, Invasive    (more images)

Michael O'Shea - Invasive 01Invasive 1 by Michael O’Shea


About the Artists

Karen Bell, Flotsam & Jetsam

Green Leaves by Karen BellGreen Leaves by Karen Bell

For several years Karen Bell has been exploring natural curiosities – dead birds, feathers, insects, reeds, twisted vines, shards of ice – photographed during her wanderings, or gathered and brought back to her studio where they get incorporated into her life and into her magical Flotsam and Jetsam prints.

Bell also creates layered images using vellum tacked loosely over inkjet paper. The effect is not unlike the rich density one observes when walking en plein air:  There is always so much to see, but it is impossible to focus on it all at once. As the vellum image ‘floats’ above the lower image, the translucent barrier forces the viewer to accept the conundrum as the two images merge into one.

Bio:  Karen Bell’s photographs are in the collections of, among others, the New York Public Library, Brooklyn Museum of Art (artist books and photographs), Pfizer Pharmaceutical and National Park Service, Ellis Island Immigration Museum. Recent exhibitions include: Small Works 2015, Alex Ferrone Gallery; 10th Anniversary Retrospective: Ten years of Creations at Moulin a Neff, Auvillar, France; Wild as Heart: Our Affair with Nature at Artspace, Raleigh NC and Visions of Nature, Brooklyn Botanic Garden. Her artist book, Flotsam and Jetsam was exhibited at Davis Orton Gallery and the Griffin Museum of Art in PHOTOBOOK 2014.

Bell has been an instructor of photography at the Brooklyn Botanic Garden for over ten years and recently inaugurated Seeing New York Through the Lens, a series of private photography workshops. Bell is co-director of Plein Air Portugal, a painting and photography workshop offered in Travanca do Monte, Portugal.

Dana Matthews, Cyanotypes: an homage to Anna Atkins

Night Shower by Dana Matthews from Cyanotypes: an homage to Anna Atkins

“Contemporary life has mangled our ancient psychic connection to the natural world.” Dana Matthews wants her landscapes, made in jungles, rain forests and on coastlines around the world, to help restore that fundamental connection. These beautiful, pristine places are on the verge of destruction, development or degradation. Once gone, their healing power, both psychological and physical, is lost forever.

Matthews creates her environmentally friendly prints using the 19th century process, cyanotype. She coats 100% cotton paper with ferric ammonium citrate and potassium ferricyanide then uses sunlight for exposure and available water sources for development.  This series was inspired both by the nineteenth century photographer Anna Atkins and Matthew’s love of horticulture. Anna Atkins is considered the first person to publish a book with photographic images and also the first female photographer. She published her books of British algae in 1843. Not only are they important scientific specimens but also beautiful works of art. (above: Night Shower by Dana Matthews.)

Matthews will also exhibit wearable art – cyanotype shirts.

Poppies, cyanotype shirt by Dana Matthews

Bio   Dana Matthews of the Hudson Valley in upstate New York has worked for over twenty years to create photographs and installations that are related to the environment and the sensitive time that we live in. She uses traditional and alternative processes such as wet-plate collodion, cyanotypes and gelatin silver printing.

Dana’s work has been exhibited in museums and galleries across the United States and is represented in several domestic and international collections. Recent exhibitions include work at the Noorderlicht Photo Festival, Fries Museum, Leeuwarden Holland and solo shows at Urban Zen, Los Angeles CA;  and chashama gallery in Chelsea, NYC. A photographic installation as well as still life photographs were included in “Freak Antique” at Delaware Center for the Contemporary Arts. Photographs from her “Bordello” series were recently published in the book “Nude Art Today” by Editions Patou and “One Farm; One Decade” recently published in Burn Magazine.


Selected through our Portfolio Showcase Call for Work,
the gallery is also featuring
portfolios by Angilee Wilkerson and Michael O’Shea

Angilee Wilkerson, The Vanishing Blackland Prairie

Angelee Wilkerson-MilkweedMilkweed by Angilee Wilkerson

The Vanishing Blackland Prairie examines natural terrain, indigenous life and culturally ascribed value within one of the most endangered ecosystems in the country—the grasslands and Eastern Cross Timbers of north Texas and south Oklahoma– an unprotected land that is often and wrongly assumed to offer little in the way of transcendental beauty due in large part to the absence of monumental spectacle such as mountains and waterfalls.

Wilkerson’s work reveals the prairie to be a delicate ecosystem, wondrously connected to the region’s woods, thickets, floodplains and waterways. Countless relationships abide here. The raptor hunting in the prairie grasses relies on the woods for nesting. The migrating monarch depends almost exclusively on prairie milkweed – overlooked beauty and alterations within this compromised environment.

Bio  Angilee Wilkerson of Denton, Texas is an artist, adjunct professor and professional editorial photographer. Her work frequently examines the nature of alteration through landscape. Her photographs have been exhibited nationally and internationally and featured in publications including: The Photo Review; Photo District News, Photographer’s Forum; and The Wall Street Journal. In addition to photographing prairie lands, waterways and woods, Angilee is a certified Texas Master Naturalist. She champions Texas prairie restoration, donating her time to education, outreach, and service dedicated to the beneficial management of natural resources and natural areas within the North Texas area.

Michael O’Shea, Invasive

Michael O'Shea - Invasive 04‘Photography is an art of observation. It has little to do with the things you see, and everything to do with the way you see them.’ – Elliot Erwitt

In nature and in art there often needs to be conflict. Michael O’Shea of Valatie NY looks for less obvious beauty in nature. In this series, he understands that these vines are inherently destructive, yet beauty is there. O’Shea often takes his photographs from a different perspective. For example, in Invasive, he found himself lying on the ground, crawling in amongst the vines themselves. (Invasive 4 by Michael O’Shea)

Michael, thirty years after art school, has, in the past three years been focussing his attention on photography. He has exhibited his photographs in several juried exhibitions at the CCCA Gallery/Hudson NY; Spencertown Academy/Spencertown NY, Riverview Cafe/Stuyvesant NY and DYAD Wine Bar/Kinderhook NY.



Thanks to our 2015 Exhibiting Artists.

see 2015 Exhibitions

Kay Kenny, Miska Drascoczy, Mark Lyon, Robin Michal, Thomas Holton, Edie Bresler,
Mary Beth Meehan, Eleanora Ronconi Keith Johnson, Ruth Wetzel,
Steffen Kloster Poulsen,Peter Stern, Rebecca Clark, Daniel Mosher Long,
Bridget Murphy Milligan, Neil C. Jones, Gail Samuelson, Sharon Arnold,
Ellen Cantor, Norm Diamond/Photobook2015 best-of-show: Mara Catalan,
Annna Leigh Clem, Keron Psillas, Andi Schreiber,
Photographers of The Plural “I” Group Show and PHOTOBOOK 2015