Self-Published Photobook Exhibition
• Paula Tognarelli
Executive Director and Curator, Griffin Museum of Photography
• Karen Davis
Curator/Co-Founder, Davis Orton Gallery
Books listed alphabetically by artist’s first name
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Photographer is responsible for all aspects of his/her book except when others credited.
Covid Woman is a hero for our pandemic times. A home health care worker with PTSD from coping with her client’s deaths develops an emotional survival strategy in which she gains superpowers. She has a mask large enough to protect her from fear, boots that sterilize everything she walks on, and when she paints on her eye mask she can see the virus. She fights the never-ending battle for community, equity, and self-sacrifice for the greater good. The book is printed using a laser printer on plain office paper, and sewn together using black thread and an ancient broken-down sewing machine.
Amy Shapiro has created art in abandoned industrial spaces, New York City streets, the Black Rock Desert in Nevada, and other American iconic landscapes. Decades ago she began her art career as a performance and installation artist, however photography now is her primary creative medium. Her process of taking night photographs echoes the time spent making other types of artwork in semi-legal and unusual circumstances. She has received multiple grants from the Burning Man organization, and has shown her photographs at Gallery 263, Sage Gallery, the Davis Orton Gallery, the Vermont Center for Photography, The Curated Fridge, The Midwest Center for Photography, Superchief Gallery, Viridian Gallery, and the Head On Photo Festival. Amy is co-owner of Luxlab in New York City which serves the photographic arts community. She has a BFA in painting from the School of Visual Arts, and has attended the Advanced Track Program at the International Center of Photography.
Through the Prism of Humanity is a journey through Peru, Cuba and Morocco. Here I present people in their everyday lives, reminding us how both simple and subtle all our lives can truly be.
I have had the opportunity to experience multiple lifestyles, classes, cultures, traditions, and customs in my life. This helps me understand, empathize, and build relationships with people. Traveling quenches my thirst for such experiences. There is something satisfying about travelling to a new country where there are no old habits to rely on. Only moments that force my senses to react to every activity and encounter.
It’s a rush that injects new perspective at the expense of my comfort zone. A path to unrealized growth and an opportunity to conquer fear and experience a piece of myself that may not have existed before.
Ananeya Abebe is a documentary, travel, and portrait photographer based out of Alexandria, VA. Ananeya’s photography aims to help seize moments so that they’re not lost to you. He also wants to challenge you to see people, places, and things in ways that may not have been initially apparent. To not only see but also feel how a single moment can evoke lasting impressions. His passion for photography and ultimate satisfaction derives from the ability to help individuals connect to images.
Cape Cod and the Islands:
Light Beyond Vision
I want to challenge what we think of as real in a photograph. This isn’t literal, documentary work. It’s about capturing spaces as we dream them and wish them to be.
A distant lighthouse silhouetted against the clouds of an approaching storm. A trawler tossed onto the rocks during a Nor’easter. A shop specializing in Buddha statues. A waterfront mansion with a surprising connection to the Civil Rights movement. In Cape Cod and the Islands: Light Beyond Vision this is the Cape and Islands of summer as we remember them in the dark, cold, midwinter of New England.”
The panoramas in this book have been shot in infrared light using a unique photographic approach that renders otherwise invisible light into brilliant, haunting, surrealistic landscapes.
Andrew child is an author and fine art photographer based in suburban Boston, Massachusetts. His specialty is a unique niche in color, infrared, panoramic photography. His work has been described by J. Fatima Martins in Artscope Magazine as, “gorgeous [with] complex intentional creative choices and technical construction of the images that shift Child from being just a documentary photographer to storyteller.”
Andrew is the author of two, large-format, photography books which showcase his color infrared panoramas.
• Cape Cod and the Islands: Light Beyond Vision, 2019
• Havana: Light Beyond Vision, 2016
Arnold Clayton Henderson
The Oakland Flats. Photographs:
Wandering with Kids Through Their World, not my Own
8 x 9.5”
soft cover $27.94, hard cover: $46
In the late 1960s I volunteered to create a darkroom and a photography program for the Oakland (CA) Boys’ Club (now Boys’ and Girls’). This is the branch down in the largely segregated urban core, the zone of the then-rising Black Panthers. I wandered all over with the kids, out in their real world, while playing hooky from my own world of graduate studies. In my ‘poetic’ documentary, the boys explore their world—and are shaped by it. So my emphasis here is on evoking the images they are growing up with. I express in images and journal entries my wonderment at the joy they can still find in this landscape of weapons in a shop window and graffiti on abandoned storefronts. This became The Oakland Flats. Photographs: Wandering with Kids Through Their World, not My Own.
Arnold Clayton Henderson began photography in the mid-1960s, joining by 1965 the staff of The Studio, a group of photographers at the University of California at Berkeley, headed by Dave Bohn. The group’s 1968 exhibit at the then-new Friends of Photography gallery in Carmel brought public attention and the book Studio 1968. Individually, Arnold was quickly taken up by San Francisco’s Focus Gallery. His 1970 ‘solo’ exhibition there was a back-room adjunct to Eikoh Hosoe’s landmark US exhibition of Ordeal by Roses. But he was also a poet (Academy of American Poets award) and he quickly left California to combine the teaching of literature, photography, and creative writing at the experimental and multidisciplinary Livingston College of Rutgers. It is no surprise, then, that Arnold’s photographic books over the years include poetic texts, and that his black-and-white film-based photos themselves have a poetic and perhaps intellectual quality.
Eye-catching, colorful, hand-painted!
This best describes the creative signage seen on the shops in the Kenyan urban settlements. The designs and slogans are created by young artists referencing traditional as well as pop culture themes. Found everywhere, this popular artwork livens up what would otherwise be a drab environment in the densely populated poorer areas of Nairobi.
Betty Press is a documentary photographer, well-known for photographs taken in Africa where she lived and traveled for many years. Currently living in Mississippi she has turned to documenting the state she now lives in.
In 2011 she self-published an award-winning photobook I Am Because We Are: African Wisdom in Image and Proverb that portrayed a life-affirming portrait of the African people. She was twice granted a Mississippi Visual Artist Grant and received a statewide photography award. Her photographs have been widely exhibited, selected for many juried competitions, collected and published in many magazines. In 2019 she spent a year in Kenya photographing urban culture and social injustice, evacuating back home in April. The resulting project They Were Us was selected for 2020 Critical Mass Top 50.
During the pandemic lockdown she has turned her creative spirit to making handmade artist books featuring photographs from all her various projects.
A spectrum is a defined band of colors, as seen in a rainbow, produced by separation of the components of light by their different degrees of refraction according to wavelength. As a night photographer, the elements of color and light play vital roles in creating prolific photographs. ‘Dark Spectrum’ is a collection of stories that traverse the entire spectrum of colors, through the medium of night photography. This visual journey will inspire wonder and will make you notice the magic that comes with the setting sun.
BPHOTOGRAPHY was founded by Brandon Movall in late 2016 as a way to artistically express his view on the world around him. He quickly found his niche in night photography, as his time during the day was dedicated to his full time job as a civil engineer.
Brandon’s capacity to see the world as an engineer and as a self-taught photographer brings a unique sense of style and imagination to every image he captures. Brandon’s work is only limited by nighttime, but he encompasses a variety of themes and techniques in his work, including urban photography, landscape photography, astrophotography, and light painting. This unique balance of engineering and art has led to Brandon’s work being featured in a variety of solo and juried exhibitions around the world, including at Artios Gallery (New York, NY), the Midwest Center of Photography (Wichita, KS), and the Glasgow Gallery of Photography (Glasgow, UK).
Monument Avenue Richmond
Grand Boulevard of the Lost Cause
Printer: Edition One
In Richmond, Virginia, Black Lives Matter demonstrations focused on Monument Avenue with its statues of Confederate generals. Being from Virginia, I had long been aware of the debate surrounding these totems of the Confederacy, with some calling for their removal, and others, for contextualization in situ.
But it became clear to me in early July that the end of the road was approaching for Monument Avenue. On July 10th, protesters toppled Jefferson Davis from his pedestal, and a two days later I drove down to Richmond to document the last days of the grand boulevard of the Lost Cause.
Born in Virginia, Brian Rose moved to New York City in 1977 to attend Cooper Union. In 1980, he and Edward Fausty photographed the Lower East Side of Manhattan, supported by a New York State CAPS grant, and participated in a survey of the Financial District, funded by the NEA.
Rose has undertaken several projects in Europe including documenting the Berlin Wall and the Iron Curtain, the rebuilding of Berlin, and the urban landscape of Amsterdam.
In response to the election of Donald Trump, Rose photographed Atlantic City, the scene of Trump’s bankrupt casinos. That work was published by Circa Press in 2019. In 2020, at the height of the Covid-19 pandemic, Rose photographed Williamsburg, Brooklyn, and self-published “In Time of Plague,” a comprehensive documentation of the neighborhood.
Rose’s images have been collected by the Museum of Modern Art and the Metropolitan Museum, and he has produced nine books.
Tracy Artist website
Eisworth Artist website
@britlandtracy @kellyeeisworth @pardonmycreep
Pardon My Creep
8.5 x 5.5” pages: 68, images: 34, perfect bound, soft cover, USA Printing,
$18, To Purchase
PARDON MY CREEP is an investigation of intimacy, desire, and the performance of the self in the digital age. Weaving together found photographs of couples alongside messages they have received from men via online dating apps, artists Kellye Eisworth and Britland Tracy explore contemporary notions of relationships, both real and imagined. Each unanswered message offers a glimpse into the effect of digital mediation on human connection. The emotions conveyed in their words range from sad, thoughtful, bored, aggressive, and desperate. Some messages feel cold and impersonal, like automated form letters; others are inundated with aggressive, masculine bravado. Some men seem to genuinely want to connect. Placed together in conversation, their words become a surrogate for the connection the other is seeking. The photographs were purchased online or in flea markets. Forsaken or forgotten by their subjects, they no longer function as personal mementos. Instead they serve as visual aides to describe the intimacy the messages are hoping to produce.
Britland Tracy is a visual artist from the Pacific Northwest whose work engages photography, text, and ephemera to illuminate the infrastructures of human connection and discord. She has published two artist books, Show Me Yours and Pardon My Creep, and exhibited at the Griffin Museum of Photography in Winchester, MA, Rule Gallery in Marfa, TX, the Lucie Foundation in Los Angeles, CA, the Photographic Center Northwest in Seattle, WA, and the CU Art Museum in Boulder, CO, as well as a number of other experimental and collaborative spaces. She holds an MFA from the University of Colorado, where she continues to teach remotely while living and making in Marfa, Texas.
Kellye Eisworth is a Los Angeles-based artist utilizing the photographic medium to explore themes of memory, pain, vulnerability, and the concepts of innate and constructed identity. Employing the conventions of traditional studio portraiture, her work focuses on the human body as a cultural and individual text to be read. Eisworth has exhibited her work across the country, including First Street Gallery in New York, NY; the MPLS Photo Center in Minneapolis, MN; and The Center for Fine Art Photography in Fort Collins, CO. She has also been featured in several online and print publications, such as Lenscratch, Analog Forever, and Fraction Magazine. A Louisiana native, she received her BFA in photography from Louisiana State University in 2012 and an MFA in interdisciplinary media arts at the University of Colorado in 2016. Eisworth currently serves as an editor and managing director at Lenscratch.
My favorite photography quote is from Dorothea Lange: “A camera is a device that teaches you to see better without a camera.” Diane Arbus: “I really believe there are things nobody would see if I didn’t photograph them.” My personal quote: “Sometimes you don’t take a photograph. The photograph takes you.”
The world around us is rich with images that – – whether lush, harsh, amusing, or
banal – – are nevertheless revealing, no matter where we are, without the need to seek out exotic venues. I want to be more attentive to this world around us and I want viewers of my photographs, as the quote from Lange says, to come away feeling that the photographs have assisted them in sharing that attention. If the viewer feels as though they’ve been taken somewhere — whether they have entered into the world of the photograph or the world of the photograph has entered into them — then I have succeeded. The ultimate goal, however, is not to take the viewer somewhere else, but to have the viewer return and feel more present where they are, wherever they are.
When I was fifteen my summer camp provided a photography workshop with a walk-in darkroom. This was my introduction to the technical side of photography. Later I would set up my own photo equipment in the family bathroom. After college and some years pursuing writing, I returned to photography, as if reconnecting with an old friend. I moved to color, using a rental color darkroom in mid-town Manhattan. When I went digital everything could be done at home. It was a pleasure to have the extra time to work but I did miss the creative fellowship and hustle-bustle of the darkroom. Since then I have had photographs in a number of group shows in seven different countries, and a photo book in the Indie Photo Book Library, now housed at the Beinecke Rare Book & Manuscript Library at Yale University.
Struck by the transparent and gently flowing water that merges what is above and below its surface into fanciful compositions, I made these photographs along the River Stour in Canterbury, England. My goal was to capture the clarity and slow-moving serenity of this chalk river–one of only about 200 in the world.
Carolyn McIntyre Norton’s handmade artist’s books showcase her photographic investigations into the defining qualities of specific types of rivers and grasslands.
She shows her work nationally and internationally and has taught visual arts at the university level for 13 years in Mississippi, Maryland, Texas, and the UAE.
Norton earned her MA and MFA in printmaking and digital arts from Stephen F. Austin State University in Texas. She studied photography and earned a BFA in graphic design from Virginia Commonwealth University
Laia Gabriel, Designer
Anna Adell, Text
Jose Gomez Isla, Text
Pedro Soler, Translation into English
Printer: The Folio Club
7,8 x 12 / 20 x 31 cm
images: 35 (mostly panoramic)
Printer: Folio Club-Barcelona
Night Years is a self-publish Monographic book that gathers together the photographic stories in which I worked between the years 2006 and 2012 when I used to think about the images by day and went hunting them at night.
It comprises the series: “I am not promising you a wonderful world “ and “Monuments”
The book is a special print edition limited to 22 books, signed and numbered, with a photography included, signed and numbered limited to 25 copies, housed in a hand-made box,lined with pink binding fabric.
Cristina Fontsaré was born and raised in Barcelona. She studied Fine Arts at the University of her home town specializing in sculpture. She discovered photography almost by accident in her early thirties, when she was studying a master´s degree in Landscape Architecture that led her to document topographies and places in different stages of transformation.Since then, she is devoted to photography. She works on long term projects, creating visual stories of universal themes with a personal approach.
She exhibits nationally and internationally. Her work is in numerous public collections and has been published and featured in: The Guardian, Don´t Take Pictures, Light Leaked, Pryme Editions, Ours Photo Mag, A Women´s thing Mag, Light a Journal for Photography and Poetry, F-stop Mag, Dish Rag Mag, Polaroid of the Day, Noice Magazine, LF, La Fotografia, The Hand Magazine, Subjectively Objective, Fraction Magazine, AnalogForeverZine, Passengers Journal and Lenscratch.
Considered black and white photographs taken in New York City locations Alfred Stieglitz may have placed his feet, in a spirit he championed. His contributions to the “art” of photography became a critical turning point in showing us what is possible. This is not simply an homage to one of our crafts great early masters, rather a study of process, thought, and practice. His words and clues are as important to me as his imagery and craftsmanship. Alfred Steglitz was once asked “How does a photographer learn?”. He answered without even a second’s hesitation – “By looking”. So, I did.
On becoming a practicing photographer, i’ve come to realize the most beautiful thing about art is making it. I’m a fifty-something husband, father, and son living in New York.
This Is Not a Sawtooth Hanger:
Essays On Photography, Art and the Creative Process
Gary Schwartz – foreword
Melissa Tandysh – cover design
8.2 x 8.2”
“This Is Not a Sawtooth Hanger” is for artists who haven’t yet found their “voice” – who know what they like but aren’t entirely sure why (or how best to express it). What are you trying to say? Does the work actually say that? If not, how come?
This book, of course, can’t answer those questions for you but I hope it helps. It is a window into what I’ve tried to do as a photographer. You, as an artist, are on a different path but sometimes hearing about another person’s thought processes, goals, successes and failures can lead to your own moments of clarity. Saying to yourself “That’s interesting but it’s not my thing” can open a door to self-discovery. I hope you find these essays and photographs interesting but more importantly, I hope they inspire you to think more critically about your own work.
Doug is a photographer, writer, illustrator, and printmaker currently living in Hudson, MA. He has published two books of photographs and a book of essays about photography, art and the creative process. Most of what he knows comes from collaboration with fellow artists, teachers and mentors (Arthur Meyerson, Nick Johnson, Jay Maisel, Karin Rosenthal, Arno Minkkinen and Billie Mandle). His work has been selected for over 80 juried exhibitions and acquired by the Danforth Art Museum and numerous private collections.
In 1974 Ladakh opened up its borders to tourists.
The tourists came with money and the vision of a better, Western world. Traditional communities, which up to that time had lived happily in harmony with Nature started to change irreversibly.
This is the last moment to hear the silent mantra. It is barely audible, fading away in the hubbub, and returning after a while, only to dissolve in the stridor of the street.
You can still hear that mantra in some of the monasteries, in the monastery schools, in the more distant villages, but year by year it is becoming fainter…
Jakub Śliwa is a documentary photographer specialising in the Indian subcontinent. He was born in Kraków (Poland). Graduate of the Jagiellonian University Institute of Oriental Studies and the Łódź Film School.
His photographs have been published worldwide in magazines and scholarly publications. He has been awarded numerous prizes at photographic competitions and festivals. He works as a photographer with art conservation specialists and archaeologists, using specialist photographic tech- niques to make records of artworks, conservation projects, and archaeological research. He lecturers in photography at Collegium Da Vinci, Poznań (Poland) and conducts special photographic expeditions.
They walk among us, the poor souls whose perceptions of reality differ so sharply from our own. The more they document their observations, the more they reinforce and deepen their conviction that they see what the rest of us are blind to.
Clearly, they are delusional…aren’t they?
We can never really know what others are thinking, nor know definitively whether their perceived reality match ours. Mostly, they overlap, but there are fringes, small and large, where perceptions of reality take very different turns. Some veer far off the conventionally understood rails.
The images and the story idea for Wipers came out of musing over what passersby may be thinking, especially those whose “normal” is decidedly different from our own.
James Mahoney is a Cambridge, MA writer/photographer. His photographs and other visual work are in private collections in the US and England, and have appeared in juried shows at Davis Orton Gallery, Griffin Museum of Photography, and Black Box Gallery, Portland, OR.
James’s creative direction and writing have driven marketing communications, advertising, and promotion for Fortune 25 corporations, niche companies, and nonprofits.
My work is about revealing an interpenetrating and unseen world. I work with single-use and iPhone cameras because their limitations give me what I want: images that refuse the hard-and-fast restrictions of borders, and also are closer to the fluid way our minds work. I use no digital or optical manipulation, although I do crop.
I’m attracted to odd juxtapositions (although I don’t know they’re odd at the time I take the photograph); to formal composition that doesn’t insist on its formal qualities; to groupings of buildings in the city that seem to “speak” in their aggregations of cubes; to the collapse of foreground and background, inside and outside — and always to the ravishment of color.
I’ve always been deeply interested in images and text and have worked with the two in a number of ways, most recently in CITY OF SHRINES Los Angeles, a book that isn’t a collection of literal shrines but is instead about making meaning out of everyday life. The brief texts are like haikus, playful and poetic.
I am a longtime writer and a late-life photographer. I pursue both arts with equal devotion, and sometimes bring the two together, as here in CITY OF SHRINES Los Angeles. My photographic work has been published as a monograph, OVERSPILLING WORLD (Distanz Verlag, Berlin, 2016/17) and as portfolios in Aperture, Art Journal, et al. I have had solo museum and gallery shows at USC Fisher Museum of Art and in Los Angeles, New York, Mexico, Seoul, Korea, Berlin, Milan. Forthcoming: a monograph SEEING THINGS Los Angeles (working title) from Distanz Verlag, 2021. My literary books include the two volumes of THE WRITER ON HER WORK, as well as the hybrid memoir/essay books PHANTOM LIMB and WHITE MATTER. In OPTIC NERVE, a book of my poetry, I experimented with inserting a photograph the size of a stanza inside the body of a poem. In 2016, I was the proud recipient of the REDCAT AWARD, “given annually to individuals who exemplify the creativity and talent that define and lead the evolution of contemporary culture. I live in Downtown Los Angeles’ Little Tokyo and at my second home in San Miguel de Allende, Mexico.
Simple Truths (and Complex Lies)
10 x 24”
Mixed media and mixed metaphors…
Part autobiography, part confession, and part critique, the Simple Truths (and Complex Lies) project looks both inward and outward, blending inquiry and absurdity, and borrowing from post-modernism, Dada, and sixties experimentalism (with some Ernie Kovacs, Spike Jones and Mad Magazine thrown in to keep things moving).
While diverse in materials, methods, and presentation, these pieces share a common goal which is to present information to the viewer in unanticipated ways. Sub-themes within the overall Truths project investigate self-portraiture, sexual relationships, sacred cows, regular cows, the history of art and photography, and a few uniquely human attributes such as greed, lust, pretense, and regret.
Much, but not all, of this is enclosed in a layer of ironic humor that may help buffer steadily increasing evidence that nihilism actually makes a lot of sense.
(Or not.). Jay Boersma, 1987 (rev 2020)
Jay Boersma is a photographer, artist, and teacher. A portion of his Simple Truths portfolio is part of the permanent collection of photography at the Art Institute of Chicago and his Changing Chicago work is featured in the Museum
of Contemporary Photography at Columbia College Chicago. He received the MFA in Photography at Rhode Island School of Design, where he studied with Harry Callahan and Aaron Siskind, and the BA in Photography/Art at Columbia College Chicago. For twenty years, he was a tenured professor of photography and art at the University of Illinois and Governors State University. This was followed by fifteen years as the creative director of online operations at a major print and digital publisher. A technological early-adopter, he developed and employed Internet technologies to teach art before the Web existed but the core of his creative life began with, and remains, photography.
The moment I learned of the word “Sonder” was when I realized what my photography means. John Koenig came up with new terms for things previously lacking in The Dictionary of Obscure Sorrows. Sonder is the profound feeling of realizing that everyone, including strangers we pass in the street, has a life as complex as our own.
Learning the word “Sonder” gave meaning to the photography I had been doing for decades. I had been searching for understanding, and “Sonder” gave me a definition. Sonder allowed me to see the long years of labor in the stoop of an older man on the sidewalk. It let me feel more deeply the wonder and imagination of a young girl reaching skyward in a restaurant window. And it helped me think more of the pain, the battles, and the pride in the percussion of a man beating his bare chest.
Born in the Midwest, Jeff Larason has been a street photographer since the ’80s. His street photography reflects his interest in places and the ways people interact with their environment.
Larason has been a “hip shooter” from early on, rarely looking through the lens to make an image. He is a founding member of the Boston Streets Collective, a group of street photographers. His recent book project, “Sonder,” was started, in part, with an iPhone, a camera that allows him proximity without affecting the subject.
Professionally, Larason has made a career in radio and television and highway safety for the Commonwealth of Massachusetts.
Growing up in a small town in Texas, I dreamed of living on a farm, surrounded by animals. Many decades later, I discovered that my childhood fantasy farm is just up the road from my home in the Boston suburbs. I have spent four years happily photographing the animals and getting to know their personalities and human-like qualities—their curiosity, their enjoyment of affection and their irrepressible appetites. This time has enriched my understanding of these animals and heightened my awareness of the cruelty with which farm animals are treated by the food industry.
My book is both a memoir of my experiences and an attempt to contribute in a small way to better treatment of animals that I have come to view as similar to my pets. I am contributing all proceeds from the sale of my book to charitable organizations with an emphasis on those whose goal is to mitigate the barbarism of the factory farm industry.
Judy Brown follows her career as Professor of Physics at Wellesley College and Research Scientist at the MIT Media Lab with a combination of her long-time passions for animals and photography. She loves spending time with animals, photographing them and getting to know their individual behavioral quirks. Her “Elliott” portfolio of a spirited pony in his stall has been given a number of solo shows including two in Griffin Museum of Photography satellite galleries and an MIT Architecture Department Tele-exhibit. Images from her book “Weatherbury Farm” were in a two person show at the Griffin Museum satellite gallery, SOWA, Boston in the spring of 2017. Her photographs have been selected for over two dozen juried exhibitions including recently Texas Photographic Society 29: The International Competition, a traveling exhibition, the 26th Annual Juried Members’ Exhibition, Griffin Museum of Photography, and the 6th Annual Goup Show (Online), Davis Orten Gallery. She is a Fellow of the Acoustical Society of America and a 2019 Critical Mass 200 Finalist.
Goose River Field Notes
Richard Reitz Smith, designer
Printer: Conveyer Studio
Goose River Field Notes is a limited edition, 72-page book of color photographs and essays that explores the themes of time and personal history. The photographs record a year of my walks along the three-mile-long river that begins in the mountains, flows through my backyard and ends in the sea. The field notes are my observations of geology, hydrology, history, botany, geomorphology, weather, wildlife and my memories.
Judith O’Dell is a visual artist and writer who lives in Rockport, Maine, and Laporte, Pennsylvania. Her interests in history, geography, geology, hydrology, botany, physics and wildlife are reflected in her photographs and writing. Judy graduated from Immaculata University with a BA in Economics. She has had a long career as a Certified Public Accountant (CPA) working with privately owned businesses, so she is naturally curious about the industries that were once in these places and how people made their living there. She earned her MFA from Maine Media College in 2020 and continues to photograph not only the beauty but also the stories and memories in her backyards.
Exhibitions include Montpelier Museum, Thomaston, ME; Prairie Village Museum, Rugby, ND. Maine Photography Show, and others. Her essays appear in various anthologies. In 2020 she published Goose River Field Notes, a book of photographs and essays.
When We Weren’t Watching
7” x 7”
When Covid-19 shut down much of the world I live in, I decided to create another one- a world of little tableaux fashioned from plastic figures & other mundane objects. I shot most of them on my bedroom dresser top, my quarantine studio.The scenes are intended to be engaging & often funny. They depict events that might have happened “When We Weren’t Watching.”
A native of Cleveland, OH, Julie Mihaly attended Vassar College before earning a BFA & MFA in photography from SFAI. After teaching photography at NYC’s School of Visual Arts, Mason Gross School of Art at Rutgers Univ., et al., Mihaly contributed her talents as a photo director, editor, researcher & writer to magazines ranging from “Vanity Fair” to “Garden Design.” Her work has been included in numerous invitational & juried exhibits for which she’s also been awarded grant monies & an international competition 1st prize She currently lives & works in the Hudson River Valley.
Between Two Worlds
Melinda Prophet, one work of poetry
Hilary Mank, several works of verse
Devi Randolph, several works of poetry
While in the throes of grief, I sought to visually express what was so difficult for others to hear. I had suffered a traumatic loss. I was experiencing Post Traumatic Stress Disorder resulting in severe brain disfunction. Feeling trapped and in a continual state of transition, I was caught between the life I once had and the one I hoped to live.
Grief and trauma affect nearly everyone, yet collectively we haven’t learned to tell the truth about our pain. I share my experience as well as my creative process as a means of companionship, offering confidence, conviction, and hope; a way to navigate painful traumatic events with understanding. ’Between Two Worlds,’ is intended to act as a prompt to tell our stories, to foster the courage to do so in the face of what cannot be transformed.
As an artist working in photography, I am interested in visually expressing human emotion with all its intricacies and complexities. I illustrate the language of the subconscious mind and use the medium to dig deep into the psyche.
A lifetime of artistic exploration feeds my perspective and my process. I often intertwine digital captures of diverse artistic elements and layer them in my imagery. I employ a unique blending process giving the work dimension, portraying the depth of emotional experience.
Actively seeking to express deep-seated emotion in a visual way has empowered me and those I work with in many ways. Expression leads to understanding which gives both the participants and the viewer voice. I feel strongly that it is our strength to express the deepest part of ourselves, our internal struggles, and invisible wounds, to validate and honor the pain we carry in our hearts.
Photographs 1970 – 2010
Foreword by Rex Granum, Carter Deputy White House Press Secretary
Copyediting by Bob Land
Design by Anneli Anderson
8.5 x 9”
Perfect bound, soft cover
Printer: BANG Printing
Working as a photojournalist at my first daily newspaper job in 1970, I was assigned to photograph a governor’s debate to be held at an Atlanta middle school. The debate was to be between a wealthy, well-known Atlanta Republican and a relatively unknown Democratic state senator named Jimmy Carter.
Seemingly a lopsided matchup, I listened as Carter rose to rhetorically demolish his challenger within minutes. On that evening, we were witnessing the birth of a consequential political and humanitarian life.
For me, it was the beginning of a long term project…a very long term project.
Fifty years and hundreds of thousands of photographs later, I present ” Jimmy Carter – Photographs 1970 – 2010 “. President Carter refers to the book as “an extraordinary collection” with wife Rosalynn saying “it has captured the history of our family”.
All profits from the book are donated to the Carter Center’s global initiatives.
Ken Hawkins is a photojournalist who has covered politics, disasters, and con ict zones— including in Vietnam, Nicaragua, and El Salvador—since 1970, working globally for publications and agencies such as TIME, Sports Illustrated, Fortune, Forbes, Paris Match, Stern, the New York Times, Newsweek, Wired, and the British Broadcasting Corporation. For over two decades, his work was represented by the premier photo agency SYGMA Paris/New York.
Ken has served on the boards of several nonprofit agencies relating to the arts, social action, and photojournalism. He was a founding member of the Atlanta Photojournalism Seminar in 1973 and worked with the organization for thirty years. Ken also served as the Atlanta/Southeast chapter president of the American Society of Media Photographers (ASMP), sitting on its national board and executive committee, and serving as ASMP’s national secretary.
Hawkins lives in Lake Oswego, Oregon, with his wife, Dana, and Zeke, their black Lab. He has two sons, Will and Ben.
The Hidden Life of Books:
James Weldon Johnson
4.25 x 5.25”
Hand-bound accordion book
Printed by Artist
Cover: hard cover
Edition size: 25
The Hidden Life of Books: James Weldon Johnson Archives
I grew up with books; my mother was a voracious reader, and raised her children to cherish books. The book is a living memoir, a repository of memory and meaning that goes beyond the story that lay within. My work captures the physical body of the book as if it is a living figure with a spine, the leather cover is skin, and the pages flesh. The physical traits reflect the life of the book, both good and bad, exposing bumps, bruises, withering age, or a child’s scribble. How often have you found a special memento in the pages of a book that floods your senses with memories?
Laura Migliorino is a Professor of Art at Anoka-Ramsey Community College near Minneapolis. She has received numerous grants from the Jerome Foundation, several Minnesota State Arts Board grants, and various exhibition prizes. In 2017 Migliorino was the Community College Humanities Affiliated Fellow at The American Academy in Rome. Migliorino is Fulbright Fellow at The British Library
Her work is in the permanent collection of the Walker Art Center, Weisman Museum in Minneapolis, The Minnesota Center for Book Arts and The Warehouse in Atlanta. She has exhibited internationally for over 30 years. Migliorino’s work has been featured in the Huffington Post, DOMUS Magazine, Pittsburgh Post Gazette, The News Hour with Jim Lehrer, and DWELL Magazine.
Migliorino holds a BFA from the School of the Art Institute of Chicago; her MFA is from the University of Minnesota.
COVID NINE ZINE
Alison Pereto, assembly assistant
2.75 x 4.25”
Single sheet, folded
Printed by artist
Edition of 50
I was invited to participate in a pandemic-themed zine project with 44 other artists, called “We Hope This Finds You As Well As Can Be Expected”. Zines are self-made, self-published small magazines, often photocopied and often hand-drawn or lettered. Each participant was to make a size, produce 45 copies, and send them to the organizers, and they would send a complete set of zines back to each person. There were a wide variety of zines, some more heavy on writing, some poetry, some images. Mine was the only photo-based zine.
Lee Kilpatrick is a fine art photographer and the director of the Washington Street gallery and studios in Somerville, MA. His work is documentary candids in both digital and film. He depicts people in everyday but intimate situations; the focus of the photograph is the subjects’ interaction, or lack of interaction, with their environment. Along with conventional formats, he also uses panoramic photography, presenting a closer view of the subject set in a wide view of the environment.
Kilpatrick’s recent work includes “A Case Of You,” documenting his sister who died at 42 after years of mental illness and alcoholism, and “Together”, panoramic photographs of people engaged in familiar, repeated social gatherings.
Loda Photos from 2018 to 2020
hardcover, dust jacket
This is a portfolio book containing conceptual photos and documentary photos taken by Loda Choo. One side is showing conceptual photos, and the other side is describing documentary photos – all in one book.
Loda Choo is a photographic artist. After self-studying photography for about 10 years, she started making photographic art including Conceptual compositions, working with common objects like fruits, cups, foods, flowers, etc. describes her art as a reflection of the world where we are living.
Choo was Born and raised in Seoul, South Korea and lives in Austin, TX, USA.
I very much enjoy creating images that have an impact, in Color or B&W, Landscape or Street. Interacting with people and capturing images of people on the street is what feeds me. Each person is unique and when captured on camera they can make for interesting viewer conversation. The ultimate satisfaction for me is to watch peoples’ reactions upon first seeing my images with intense Landscape colors or subtle tones of B&W.
It is Environmental People Portraits that often invoke a reaction in the brain where one does not expect to see people strange to our way of life. But that is what makes the world go around. To me Black & White images depict the beauty and/or character of each individual without regard for the color of their skin, the color of their clothing or the color of their particular surroundings.
Louis very much prefers capturing images that provoke an inner emotional response which often means B&W Street photography which has inspired many dramatic images of unique scenes, individuals or locations of which many have become famous classics in many circles which has earned Louis multiple Awards.
Louis enjoys creating images that have an impact and finds capturing environmental street portraits very gratifying. Louis tries to catch that special glow given off by each person which means most of the time capturing individuals involved in their daily routines and not posed. His Personal Style involves the use of subtle tones and luminance values which set his images apart from many others.
Louis has written many photographic articles and has published well over 6 low volume, high quality photo books as well as many portfolio series of prints in limited numbers.
“Waterfront” often conjures images of luxury resorts, opulent homes, and pristine beaches. Near the city, however, the intersection of land and water is shared with industry and infrastructure, including pipes, piers, ports, parking lots, and power plants. Some views are beautiful and some not so much.
My urban landscapes explore the water’s edge in and around Boston. With an aesthetic more architectural or industrial than picturesque or pastoral, I portray how humankind uses such prized real estate.
Mark Farber’s work is about place, as inhabited or shaped by people. His contemporary landscape photographs examine the built with the natural environment. He works in collections and finishes each project with a hand-made artist book and/or cased portfolio.
Mark has studied at the New England School of Photography, Massachusetts College of Art and Design, Griffin Museum of Photography, Provincetown Fine Arts Work Center, and Truro Center for the Arts at Castle Hill. His work has been included in juried exhibits at Davis Orton Gallery (NY), Perspective Gallery (IL), Plymouth Center for the Arts (MA), PhotoPlace Gallery (VT), Chatham Creative Arts Center (MA), and Fine Arts Work Center Gallery (MA).
Mark brings a lifelong focus on sustainability from a 40-year business career in clean energy, primarily solar. He divides his time between Brookline and Truro, Massachusetts.
Considering the intimate cycles of identity, self-preservation and mortality, my art practice focuses on fragmentation, rearrangement and reinterpretation.
This recent work interrogates the subtlety of gesture and the subtlety of difference in a moment when frameworks of relationships are at once prominently visible and exhaustively hidden.
Mike Callaghan is an artist focused on fragmentation, rearrangement and reinterpretation.
Mike’s work has appeared in solo and group exhibitions throughout North America and Europe, including among others, Griffin Museum of Photography, Marin Museum of Contemporary Art, Reece Museum, Soho Photo Gallery, Gallery 44, Propeller Gallery, Elysium Gallery, Rotterdam Photo Festival and PhotoIreland.
His work has appeared in a number of publications, including ZYZZYVA, Der Greif, BlackFlash, Drain, Crooked Teeth, Barzakh, Otoliths and The Shanghai Literary Review.
Mike earned an MFA from the San Francisco Art Institute.
7.8 x 7.8”
pages: 14 double-page spreads
images: 20 + photocollages
Binding method: Hand-made leporello, an accordion-pleat style consisting of 14 double-page spreads
Printer: RM Phoenix
Edition of 25
There are numerous photobooks and series of photographs that document the ravages of time or the progress of ill health, be they testimonies of witnesses or self-portraits. But how does one convey by photographic means the feelings of helplessness and the sense of alienation from oneself and others generally experienced by hospital patients? This photobook constitutes such an attempt. It is about an intensely personal experience with which most people who have been hospitalized will identify.
The work is informed by the need to preserve the confidentiality and privacy of patients and staff, the technical limitations of the iPhone 6 used, as well as the severely weakened state of the photographer herself. The photographs were taken during an extended stay in hospital following major surgery for lung cancer; the pandemic broke out soon afterwards and gave the project added relevance.
Mireille Ribière’s creative work draws on her background in language and literature, and her research in photo narrative and the relationship between text and image. She does with images what one does with words – that is combine them, layer them, string them together. That is why the photobook has become her medium of choice.
She has produced six photobooks to date and her work has been shown in group exhibitions in the US (Davis Orton Gallery 2013), the UK (London 2012, 2018; Sheffield 2015, 2016), Ireland (Cork 2018), France (Arles 2016, 2017; Le Havre 2018), Portugal (Porto 2017), Italy (Venice 2019), Germany (Krefeld 2020), as well as in Mexico City (2019) and South Africa (Johannesburg 2014, 2018; Cape Town 2019).
Ribière was born in France and lives in England.
Motion is the truth of our existence. We are ever in motion, while our minds struggle to pause reality in order to grasp it. Realizations, epiphanies, and memories all feel static when one goes to recall them. The dance consciousness plays with stillness and motion is like most rules of our reality — harmony exists within the paradox.
The photographs in this collection are metaphors for awarenesses had in daily life. Whether a mundane awareness such as remembering an old memory, or a meaningful epiphany had while flying high above land in an airplane, each work can symbolize these important moments within human consciousness; the cognizance that leads us down the paths of life and the relationship between our minds, physical space and time we occupy.
Roslyn Julia is a photographic artist. Drawn to the medium of photography through her sense of awe, the theme can be found in all of her images. She received her Bachelor of Fine Arts in Photography from the School of Visual Arts in Manhattan in 2013 and is currently based in the Finger Lakes Region of New York State. In 2020, she was included in ARTPIL’s 30 Under 30 Women Photographers to watch list and Midwest Center of Photography’s Emerge 20 – 2020 exhibition.
She is a photobook lover with five books of her own work published, three of which are self-published. In 2019, she co-founded a small independent publishing company called Goldenrod Editions where she will continue to publish photobooks of her own work and others. Her photographic work has been shown nationally and internationally, including an online exhibition at Aviary Gallery and featured in many publications.
The woods behind my house, during this period of Sheltering in Place, have felt timeless. Walking through them I touched an atmosphere of majesty that made me feel humble. That humility made me think of monks devoting their life to that which is beyond the ordinary world yet here, not far away, all the while striving to be egoless. Thoughts like these passed through my mind as I was getting lost in this familiar upstate NY landscape. The process of taking pictures at such a globally fragile time brought a peace to the passing days and months. The images contain a mix of emotions of 2020, some calm and optimistic, and others desperate. I used red string to hold the book together as red is sacred in the Buddhist tradition. Red is the color of the robes worn by the monks silently signifying the joys and sorrows of life.
I received an MFA in painting and drawing from the Yale School of Art in 1994. Eight years ago, I inherited a large format camera from someone I greatly admire. I taught myself how to use the camera and gradually accomplished what I was striving for in drawing and painting, through photography. Since breaking my neck in a car crash at the age of twenty, I have developed a strong spiritual life and practice to adapt a way of life simpler and more ritualistic than I had known before. My mother was also an artist. I realize, now that she has passed, that part of my determination as an artist is to reward her for her efforts and to create a continuum. I live in the Catskill mountains with my husband who is a nurse at the nearby hospital.
Samuel Spear Jr
So Much To See, So Little Time
Teresa Johnson – Graphic Design
Barry Mason – Photo Editing
Kenya Spear – Copy Editor
10 x 12”
Printer: Edition One
To me travel photography is street photography in another country. Whether it’s a photo of monks training at a monastery in the Shaolin Mountains of China, or the earnest faces of people hearing Bishop Desmond Tutu at the 100 Anniversary of the Anglican Church of Ghana in Accra, my book takes readers far from conventional tourist traps and captures the cultural complexities of cuisine, entertainment, music and lives well lived. It also reflects my interest the relationship between history, and world religions.
“So Much to See, So Little Time” began as a travel book to provide a record for my family of the many places I’ve been fortunate to see. The interesting and intriguing people, the many cultural experiences, the behind-the-scenes look at events — these are the focus of my travelogue. The book is a testimony to both my love for travel and my ongoing evolution as a street photographer and artist.
Samuel Spear is a former New York based computer consultant who first picked up a camera in the early 1970s. “For many years, as soon as I saved enough, I bought a plane ticket going somewhere,” he said, describing his first love — travel. Over time, the travel and the many photographs taken with each trip evolved from tourist taking pictures to full-fledged street photographer. Now, retired and living in Delray Beach, Fla., Sam fully embraces life as “… an amateur street photographer.”
Thanks to COVID-19, Spear’s trips to far-flung destinations are limited. However, he remains active in the Delray Beach arts community and has exhibited photographs from China, Cuba, Ghana, the United States and other parts of the world at the Spady Cultural Heritage Museum, the Arts Garage in Delray Beach, and other galleries and exhibition spaces throughout South Florida. Besides, this travelogue, Spear’s work has recently appeared in Black & White Photography Magazine.
Ruth Ozeki, contributing author
Polina Barskova, contributing author
Shai Zauderer, book designer
Printer: Studley Press
For the past thirteen years, I have been intensively photographing family members, friends and acquaintances over intervals of time, then combining these photographs, along with earlier images in my personal archive, to make composite portraits. Half of the portraits are made using backdrops of collaged newspaper, always contemporary to the time the photograph was made. I hope that these images speak to the complexity of temporal experience, as well as to human survival, mortality and regeneration.
Sandra Matthews’ photographs are in public collections including the Victoria and Albert Museum (London), the Harvard University Art Museums, Smith College Museum of Art, Henry Art Gallery, Block Museum of Art and the Women in Photography International Archive at Yale University.
Matthews is co-author of Pregnant Pictures (Routledge, 2000), a cultural history of photographs of pregnant women in the U.S. In 2010 she founded, and edited for ten years, the Trans Asia Photography Review, an online scholarly journal devoted to the discussion of historical and contemporary photography in all regions of Asia.
Carolyn Eckert, designer
April M. Watson, writer
8.75 x 11.5″
Binding method: Case
Printer: Silver Street Media
For many years, I have started my day by walking my dog in the Meadows section of Northampton, Massachusetts. I had driven by this land hundreds of times before I ever began to explore it in detail.
Bordered by the Connecticut River, this area lies just to the north of the Holyoke Range of small mountains; the Summit House is almost always in view.
Watching the unbridled pleasure that the dog takes in running, sniffing, and exploring, reminds me of the beauty of being in the present moment. The landscape changes with the light, the weather, and the season. Things live, grow, die, and decay. As the dog and I age, I can’t help but see how much this cycle is like that of our own lives.
Stephen Petegorsky is an artist and freelance photographer based in Florence, Massachusetts. Born in New York City, he graduated from Amherst College and later received his M.F.A. in Photography from Rhode Island School of Design. He has taught at Amherst College, Smith College, Hampshire College, and the University of Connecticut.
His work has been exhibited internationally and is in collections throughout this country as well as in Europe. Since 1998 he has volunteered with the Polus Center for Social and Economic Development, a human services agency that works internationally to improve the lives of victims of conflict and people with disabilities.
Most known for his black and white landscapes, he has for many years made images based on photographs of cleared and stained animal specimens typically found in natural history museums and university Biology departments.
Dragon Swallows Moon is first and foremost a work of reorientation. The book is intended as a kind of hypertext narrative of many branching meanings, a truth-seeking method and vehicle: an indeterminate ramble that if read through page by page slowly opens up the the possibility of finding one’s way.
Pairings of photographs and text one-liners are interspersed with concise, abstract drawings that work as pause or punctuation in the image and text narrative.
The photographs are culled from more than 40 years of photography, from the streets of 1978 India to Times Square 2019, from late-night TV to remote areas of the French Pyrenees, from film to digital and back again.
Tim Trompeter began his journey as a visual artist with painting, color theory and philosophy studies at the University of Colorado in Boulder and progressed to graduate work at Flinders University in South Australia under conceptual artist Donald Brooke.
A year of solo backpacking through Southeast Asia, India and the Himalayas with camera and sketchbook paved the way for his settling in New York City in 1979 with the intention to study abstract painting at the Art Student’s League of New York. Things evolved quickly, and in 1983 he moved to Paris, where he worked for a decade as a fine art, fashion and portrait photographer while collaborating on projects with poets associated with the Language movement. He returned to NYC in 1990.
He currently lives and works in NYC and in Cottekill, NY
The Pennsic War
Size (inches): 7×7″ & 12×12″ (2 sizes)
soft cover and hard cover
$58.95 or $179.95 – 2 sizes
The Society for Creative Anachronism’s mission is to research and recreate the arts and skills of pre-17th century Europe. The Pennsic War is their largest event. It is a celebration, a university, displays of performance and craftsmanship, martial competition and epic field battles, and much more.
I first attended Pennsic to photograph my sister in her first year fighting in heavy armor. What I found was a place and time where who you are in the real world is put aside. Friendships are made, alliances are forged, titles are conferred, ancient crafts are passed on to new generations, battles are won and lost.
Upon arriving at The Pennsic War it is customary to be asked, “Have you been to Pennsic before?” If the answer is yes, the response is, “Welcome home.”
(Note: There is a small soft cover and a large hard cover version of this book.)
Boston based artist Tricia Neumyer has often found her work attracted to concepts of play. As a photographer and book artist, this is sometimes as straightforward as photographs of toys or as interactive as self-portrait paper dolls. The work presented here is a multi-year documentary of The Pennsic War, an annual reenacting event held by The Society for Creative Anachronism. With a traditional Bachelor’s of Fine Arts from the Photography Department of The Massachusetts College of Art and Design, and Master of Fine Arts from the School of the Museum of Fine Arts, Boston, at Tufts University, as well as study at The North Bennett Street School’s Bookbinding program, Neumyer’s art practice is a hybrid of analog and digital techniques—from traditional bookbinding to digital image manipulation.