Point of View
photo-based art and books
Women Photographers Collective
of the Hudson Valley
October 8 to November 13, 2022
Reception: Sat.,October 8, 5:30-8pm
also 2nd Saturday Hudson Gallery Crawl
See images, artist statements and bios for
all exhibiting artists
ONLINE BOOK CATALOG
Books by seven Collective artists
In Point of View, the Collective’s second exhibition, Davis Orton Gallery has invited each artist to present work from her own point of view. In this way, the exhibition represents personal choice and includes old and new images using a variety of processes.
The artists of the collective are a diverse group who range from street photographers to alternative process practitioners to abstract imagemakers. They include professors, journalists, curators, published authors and fine arts exhibitors all enjoying the camaraderie and professional support the Collective provides. Artist-Writer-Teacher Kay Kenny whose studio is in Saugerties NY initiated the group and is its primary facilitator.
The growing Collective, now twenty, was formed in early 2021 as a way for Hudson Valley women photographers to network and support each other in their creative work, especially to counteract the isolation and disconnectedness of the pandemic.
Gail Albert • Ana Bergen • Patt Blue • Karen Davis
Shari Diamond • Jill Enfield • Lori Grinker
Maria Fernanda Hubeaut • Kay Kenny • Lois Linet
Dorothea Marcus • Anne Arden McDonald • Meryl Meisler
Charley Mitcherson • Jan Nagle • Susan Phillips
Carla Shapiro • Ruth Wetzel
interiors, portraits, still lifes, cityscapes
Saturday, September 10, 5:30-8pm
also 2nd Saturday Hudson Gallery Crawl
September 3 to October 2, 2022
(selected through call for portfolios)
Suzette Dushi & Wenda Habenicht
Hudson: It’s Complicated
I Am the Weather (daily notes on turning seventy)
About the Artists and Their Work
Cassandra Goldwater, Inferences
Cassandra Goldwater’s photography includes found objects – trash and treasures – the play of light and shadow on surfaces from attic to basement, and the natural world in all its mystery, beauty, and peculiarities.
Her series of montages “Inferences” are informed by Plato’s Republic and its parable of the cave – the idea that shadows and light both hide and shape “truth”- Roger Ballen, and Xu Bing, whose work often juxtaposes culture, history and the perception of realities.
In “Inferences,” Goldwater creates seamless links between the disparate parts of her world and her photographs – an interplay, between that world and her imagination.
Cassandra Goldwater uses photography to wrestle with current events and histories both personal and political. While many of her images combine found objects, she is also drawn to the interplay of the natural environment and imagination.
Her photographs and sculptures have been featured at the Davis Orton Gallery, Hudson NY, and have been exhibited in group shows at the Griffin Museum of Photography, Winchester MA, DeCordova Museum, Lincoln MA, Bedford MA Library, LexArt, Creative Connections Gallery and Lexington MA Open Studios Her commentary on the photographic work of Jennette Williams and Jellen van Meene appears in the Women’s Review of Books.
Ms. Goldwater studied photography at the DeCordova Museum, New England School of Photography, New Hampshire Institute of Arts and Science and Griffin Museum of Photography. She has studied with Cig Harvey at Santa Fe Workshops and Sean Kernan at the North Country Workshops.
Ellen Feldman, Encounters
Encounters combines Ellen Feldman’s roots in street photography with her more recent exploration of constructed images, or montage. In her street photographs, she catches people in their environment; she look for gesture and expression, fleeting juxtapositions, color, and nascent drama or narrative.
In this series, she presents single-frame street photographs that capture montage-like juxtapositions of subjects, as well as actual montages, which are constructed from entire photos or their fragments. Sometimes the artificial nature of montage is hard to detect; other times it is celebrated.
In both her street photography and her composites, the subject is generally the grit of urban life. She seeks out the complication of visual properties, such as scale, perspective, line, color, and the relation of figure to ground. While the results may veer toward abstraction, her reality-based sources and suggestions of narrative are always present.
Ellen Feldman is a fine arts photographer, whose work includes street photography and long-term projects. Her work reflects her film studies background—in the primacy of physical gesture, bold color, and a sense of narrative.
Feldman’s photographs have appeared in solo exhibits at the Griffin Museum of Photography, Winchester, MA (satellite galleries), the Davis Orton Gallery, Hudson, NY, and the French Cultural Center, Boston, MA; and many juried exhibits.
Feldman created the photobook “We Who March: Photographs and Reflections on the Women’s March, January 21, 2017,” with contributions by thirty photographers. She created a photo/comic book: “The Dancer as the Invisible Girl,” and two books of street photos: “Les Mystères de Paris / Paris Mysteries” and “A Week in Prague: Wall People / Street People.”
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.
Karen Davis, Hudson: It’s Complicated
Hudson NY, beyond tourist magnet, is a diverse little city by most social and economic indicators; it deserves a portrait as challenging as it is. I have lived in Hudson for over thirteen years. Since my first day in town, place by place, I have been building a personal photographic portrait of the city.
“Hudson: It’s Complicated” is a series of montages created from photographs of Hudson that I made during the pandemic. Walking its streets and alleys, I photographed domestic buildings, commercial buildings, garages, carriage houses, front, side, and back yards, storefronts, parks, and objects I’d find laying around.
Each montage is composed of three photographs: a large image over two smaller images. Much as I experience Hudson, I set out to create unity and division within each piece. First, he viewer may encounter the montage as a single image. A few seconds more, and the montage breaks into its three component parts–offering a broader or more complicated view. And that is the point.
Karen Davis’s work is featured at the Massachusetts Museum of Contemporary Art and in the collections of Center for Photography at Woodstock; Lishui Museum of Photography (China); Houghton Rare Books Library, Harvard University and corporate and private collections. The second edition of her word and image book, Still Stepping: A Family Portrait, was published in 2022. Davis, of Hudson NY, is a Critical Mass 2018 finalist and recipient of the 2009 Artists Fellowship Award-CPW. Her photographs and artist books have appeared in numerous solo, featured and group exhibits throughout the country.
Karen is curator/co-founder of Davis Orton Gallery in Hudson NY, which exhibits photography, mixed media and photobooks. She has taught portfolio development at Radcliffe Seminars, Harvard University, Lesley University and the Griffin Museum of Photography and other photo-based courses including photobook workshops and word and image art courses at the Art Institute of Boston, Tufts University’s X-College and Suffolk University.
Moira Barrett, I am the Weather (daily notes on turning 70)
Algorithm: n., a rule (or set of rules) specifying how to solve a problem.
- As a snapshot of your environment, take a daily photo of the sky with your iphone.
- Using a sophisticated, interchangeable lens camera, take an intellectually challenging self-portrait daily that is a response to or in relationship to that day’s sky photo.
- Pair the photographs placing the sky photo above the self-portrait.
- Repeat for a set period of time: one year.
Moira Barrett notes, “The days pass and I grow older and perhaps even wiser. With the pandemic we have all grown used to noticing and marking the small things in our lives: the morning light, the cup on the table, the wrinkle. We have all felt confined in some way, yet one constant is the changing sky, always visible, never still.”
Barrett has passed a milestone – 70. Each day she records and memorializes her relationship to the world. She does this as a daily practice to keep her mind and creativity moving and as a way of coping with upheaval and uncertainty. Each day she reflects on her environment and wonders: “How much of my inner climate will I reveal; am I a reflection of my world, or is the world reflecting me?”
Moira Barrett is a fine art photographer based in New England. She uses traditional and photo-transfer techniques, video, and construction to address issues of self, memory, relationships and aging.
Her work has been featured in numerous exhibitions and galleries, including Cambridge Art Association’s BLUE, RED, Northeast Prize, and 2019 Open Photo Exhibit; the Davis Orton Gallery of Hudson, NY; NAVE Gallery of Somerville, MA; Susan Maasch Fine Art Gallery of Portland, ME; and Boston Young Contemporaries juried show. Dana Hoey has reviewed her work in the Women’s Review of Books.
Moira is married to Johanna Schulman, a retired financial planner and artist, lives in Cambridge, MA and is the parent of Annie Barrett, Assistant Coach for Women’s basketball at NYU. Originally from Rochester, New York, she has a BA in Art from SUNY Buffalo and an MFA in Visual Arts from Lesley University College of Art and Design.
Portfolio Showcase: Memory and Dreams
Selected through our International Call for Portfolios
Suzette Dushi, Phantasm
Suzette Dushi’s “Phantasm” is a series of surreal tableaus which blend fantasy with reality. Here, photographs of old, broken and discarded mannequins are collaged with cutouts and snippets from magazines, newspapers, pamphlets or any other found images to create a strange and extraordinary world. Inanimate objects become part of a real world creating tension and discomfort. Her imaginary characters become actors on a stage. Dushi’s work invites the viewer to imagine, suggest a narrative and engage emotionally with these tableaus which are fragments of a fantastical and occult world created by her subconscious.
Born in Istanbul, Turkey, artist Suzette Dushi lives and works in New York and Long Island.
Her photographs have appeared in various group exhibitions including the Istanbul Biennial, the Islip Art Museum and the 13th and 17th Julia Margaret Cameron Award for Women Photographers. They have appeared in print and online publications including DekUnu Magazine, F-Stop Magazine, Tint Journal and ArtAscent Magazine where she was awarded Gold Artist for her series, “Winter.” Her photographs are held in private collections in the US and abroad.
Dushi studied photography at the International Center of Photography. She is a graduate of New York University with a degree in Marketing and worked as a financial analyst in banking.
Wenda Habenicht, Diptychs
Wenda Habenicht’s “Diptychs” is an ongoing series of two equal size images, paired and placed side-by-side. Eliminating the separation between photographs allows her images to merge and flow into each other. It’s is the relationship with one another that makes the whole greater than the sum of its parts.
Coming from a background of building wood constructed sculpture, she often begins her diptychs with subjects of architecture or structures that define and manipulate space. Her process is to juxtapose unexpected images to create a work that transforms the subjects into a new context or scenario. In this way she entices the viewer to visually enter and ponder the curious and mysterious space and logic of her photographs.
Born in Elkhart, Indiana, Wenda Habenicht grew up in Boulder, Colorado and attended Beloit College in Wisconsin before moving to New York City to earn her MFA at Columbia University.
Wenda’s outdoor sculpture installations have appeared throughout the US. Her first large scale outdoor sited work was built in 1982 at The Midwest Coast, Art and Agriculture in Caledonia, Illinois and was followed by outdoor sculpture installations built and exhibited in the Eastern & Midwestern United States and Canada. While living in Brooklyn, she created numerous works of architecturally and/or anthropomorphically derived sculpture, often participatory and many of which were sited outdoors. Her work has been reviewed in numerous journals and newspapers in the US and Canada.
After a twenty-two year hiatus from making art, Wenda started working in photography for the first time in 2012 and from there, returned to building sculpture and creating works on paper.
Memory and Dreams
July 23 to August 28, 2022
Reception: Saturday, July 23, 5:30-8pm
Portfolio Showcase Photographers
(selected through international competition)
Annette LeMay Burke & Ann Prochilo
There Is No Place Like Home
Selections From a Visual Memoir
The Stone Goddesses Series
Moments Through Time – A Moment in Time
June 11 to July 17, 2022
May 7 to June 5, 2022
Reception: Saturday, May 14, 5:30-8pm
Portfolio Showcase: Flower! Flowers!
In Lieu of Flowers and The Way Home
About the Artists and Their Work
Vaughn Sills, Inside Outside
In “Inside Outside,” Vaughn Sills juxtaposes the human-inhabited environment with the wild, untamed natural world. Domestic life is represented by flowers in vases and alludes to women’s work in gardens and in the home; the outside world is seen in the images (placed behind the flowers) of her landscapes and seascapes.
The work also relates to mortality and beauty. The landscapes and seascapes she makes are part of her series about grieving for her mother. Flowers, their beauty so ephemeral, remind us of death and contrast with the feeling of eternity and infinitude implied by the sea and rolling hills.
The planet’s emergency today inevitably adds a third layer of meaning. The seas are rising; the shores will be submerged – all by our hand. The farmer’s field pollutes local streams and ponds; many of the glorious flowers Sills purchases are delivered to the flower market by trucks and airplanes that contribute to climate change. Sills notes: ‘We can no longer assume that the natural world we have known is eternal.”
Vaughn Sills’ photographs explore how our physical and social environments influence and reflect our deepest inner experiences.
Sills’ photographs have been exhibited in art, history and botanic museums and galleries; they are in the collections of the Smithsonian American Art Museum, DeCordova Museum, Harvard Art Museum, the Polaroid Collection, and the Eaton Vance Collection, among others. Several significant awards include two Artist’s Fellowships in Photography by the Massachusetts Cultural Council. Other grants and awards have come from the Artadia Dialogue for Art and Culture, the Polaroid Foundation, and The New England Foundation for the Arts. Her books, Places for the Spirit, Traditional African American Gardens (2010) and One Family (2001) have earned awards from the Garden Writers Association and the Magazine Association for the Southeast.
Sills lives and works in Cambridge, Massachusetts and Prince Edward Island, Canada — where she not only photographs, but quilts and gardens following in the footsteps and learning from the many women before her. Most recently, she’s taught at the Griffin Museum of Photography, and before that at Simmons University, where she is an Associate Professor Emerita of Photography.
Laurie Peeks, In Lieu of Flowers & The Way Home
Laurie Peek created her series, In Lieu of Flowers, in memory of her thirty-seven-year-old son, Jackson R. Turner, who drowned in Tulum, Mexico in July 2020. Because of covid there was no funeral. Drawing on her experience with loss and impermanence, her layered images of flowers, many grown in her garden, serve to honor, not only her son but also her mother, grandmothers, teachers and friends whose funerals she could not attend. “These are the flowers I did not send; they are meant, as well, for those who’ve experienced a similar loss, especially in these covid times,” she says.
The Way Home series grew out of In Lieu of Flowers. Brighter, bolder, reaching out of the frame…. the images signify that life is regaining its richness and meaning as Peek slowly accepts her new reality.
Printed on velum, In addition to her layers of imagery, Peek adds the hand-made, labor intensive element of gilding the backs of her prints with gold and silver metallic leaf. The result are luminous and represent expressions both of profound grief and a celebration of life.
Photographer Laurie Peek of upstate New York brings her poetic eye to everyday phenomena. In her recent work, In Lieu of Flowers and The Way Home, she draws on her experience of loss and impermanence.
Solo shows include: Car Parts: Metallic Transports, Union Arts Center, Sparkill, NY and Rockland Reverso, Rockland Center for the Arts, West Nyack, NY. Recent international group shows include: Abstract Views, International Garden Photographer of the Year, Kew Gardens, London, UK and Barcelona 2021 Foto Biennale, FotoNostrum Gallery, Spain. Her work has been published and reviewed in print and online at, among others, Lensratch 3-2-2022, The Photo Review 2019 Competition issue, and Fraction Magazine 10th Anniversary issue.
A practicing fine art photographer for over twenty years, Peek’s experience in photography is deep. This includes an MFA in photography from Visual Studies Workshop/SUNY Buffalo and work as a photo archivist, photo librarian, photojournalist and gallery manager.
Georgia Landman, Perfect Imperfection
‘Perfect Imperfections’ is about objects Georgia Landman finds in nature that are in a state of decay. When she picks up a leaf, branch or flower she’s astonished by the patterns, intricate details and colors they hold. Fascinated by the aging process, she feels a connection between these objects and how humans age. While people lament their wrinkles, she finds beauty in every stage of life.
Landman approaches photographing her objects as making portraits. She pose them and takes away anything distracting so that they can shine for what they are. Examining her finished work, she sees details that are barely visible to the eye. It is her hope that looking at her Perfect Imperfection images, people will become more comfortable with the topic of aging, and, on occasion, pause to pick up and smell a decaying rose.
A contemporary fine art and freelance photographer, Georgia Landman (American) of New Concord, New York was born in Thessaloniki, Greece, grew up in The Netherlands and moved to the US in 2001.
She has exhibited her work at the Griffin Museum of Photography, Winchester MA; Vermont Center of Photography, Brattleboro VT; Gutstein Gallery, Savannah GA, and Tivoli Artists Gallery, Tivoli NY. Recent shows in Upstate New York include: The Dig, Millerton, Spencertown Academy Gallery; Thompson-Giroux Gallery, Chatham, and Churchtown Dairy.
Landman earned her BFA in photography at Savannah College of Art and Design (SCAD) in Savannah, GA, graduating summa cum laude in 2010.
Janine Menlove, Flower Power
Janine Menlove is drawn to photomontage because of its ability to create a narrative of both personal and global reference within a composition of diverse and fragmented visual information. It can breakdown limitations between imagination and reality. Her goal is to offer a slice of beauty and whimsy in our chaotic and divided world. The essential ingredient in her work is the flower—an object that suggests a sense of occasion, contemplation and love.
Janine Menlove has worked as a photographer and managed a commercial photography studio and business for over 30 years. Her work has been published nationally and internationally in brochures, annual reports, magazines and books. Janine lives and works in Northwestern Yonkers. She is an artist member and represented at the Upstream Gallery, Hastings-on-Hudson.