November | December 2003 - Boston Photography Focus

November | December 2003
Volume
Non-Profit
US Postage
S N A P S H O T
November 1
PAID
Boston, MA
Permit No. 1839
Paul Taggart online exhibition opens
November 7
2003 PRC Benefit Auction
November 17
Susan Meiselas lecture and booksigning
November 21
Vaughn Sills and Pele Cass exhibition opens
November 25
Polly Brown and Jane Bernard lecture
December 1
Amber Davis online exhibition opens
December 3
David Hilliard lecture
December 4
John Paul Caponigro lecture
Photographic Resource Center
at Boston University
832 Commonwealth Avenue
Boston, MA 02215
27,
Number
6
M I S S I O N S TAT E M E N T
The Photographic Resource Center is guided by a philosophical inquiry into the role of photographic media in the
formation of human knowledge and experience. By emphasizing new work, ideas, and methods, and by creating opportunities for interaction among the diverse communities that
it serves, the Photographic Resource Center strives to be a vital
international voice in understanding the past and shaping
the future of photography.
B O A R D
O F
D I R E C T O R S
Rick Grossman, President
Mark Young, Vice President
Robert Birnbaum
Marvin F. Cook
Jim Fitts
David Gordenstein
Michael Jacobson
Keith Johnson
Lou Jones
Emily Kahn
Rodger Kingston
Gary Leopold
Walt Meissner
Kim Sichel
Jonathan Singer
Bernard Toale
Charles Zoulias
S TA F F
Terrence Morash, Executive Director
Ingrid Trinkunas, Coordinator of Programs and Administration
Leslie Brown, Curator
Alice Hall, Librarian
G E N E R A L I N F O R M AT I O N
Photographic Resource Center at Boston University
832 Commonwealth Avenue, Boston, MA 02215
Tel 617-975-0600
[email protected]
Fax 617-975-0606
prcboston.org
H O U R S
Tuesday–Friday: 10–6pm
Thursday: 10–8pm
Saturday–Sunday: 12–5pm
Closed Mondays
A D M I S S I O N
Adults: $3
Students (with valid ID) and Seniors: $2
Members, children under 18, and school groups
are admitted free. Admission is free on Thursdays
and on the last weekend of every month.
P U B L I C T R A N S P O R TAT I O N
Take the Green Line “B” train to BU West, four stops west
of Kenmore Square.
A Note from the Director
PRC Announcements
As you know, the PRC Benefit Auction is the organization’s most significant fundraising event of the year.
With the generous support of over 160 artists collectors and gallerists, and with the in-kind support of
numerous companies, the auction raises nearly 40% of the PRC’s annual operating income. Nevertheless,
I would be remiss in not noting that the majority of the PRC’s budget is supported by other means. Notably,
the PRC counts on income generated through individual donations and memberships. As we continue to
develop invigorating programming for this photographic community, we need your support more than ever.
The past two years have spawned a number of initiatives that benefited the regional photography community.
Among the highlights are the following:
• Redesigned and expanded, the PRC newsletter, in the loupe, provides members with timely
information, critical essays, book reviews, and insightful interviews. In September 2002, an issue
of the publication was inserted into 85,000 Sunday New York Times in the greater Boston area,
greatly raising awareness of the PRC.
• Prcboston.org, developed in May 2002, expands the PRC’s reach by bringing the organization
and its resources to web visitors’ fingertips. Web visitation has more than tripled in the past year as
a result. In September 2003, taking advantage of this increased web attendance, a monthly online
exhibition series featuring emerging photographers was initiated.
• Curator Leslie Brown’s diligent work has resulted in several outstanding exhibitions, the reinstatement
of the popular PRC Student Exhibition, and the development of Northeast Exposure (see page 8).
Amazingly, over 500 artists have been presented in PRC programming in the past year.
• The reinvigorated PRC lecture series featured two outstanding presentations by photographers
Bruce Davidson and Steve McCurry (Co-Sponsored by the ASMP), and includes nearly a half
dozen talks, including Susan Meiselas’s November 17th lecture, this fall and winter.
D E S I G N C R E D I T S
This issue of in the loupe was designed by Irma S. Mann,
Strategic Marketing, Inc. of Boston (www.irmamann.com).
It was printed by Cambridge Offset Printing.
From the Good News/Bad News Department,
we must report that our favorite emailer, Ingrid
Trinkunas, will be leaving the PRC November
15th. During her 4 years as the Coordinator
of Programs and Administration, Ingrid became
a household name as she deftly organized workshops and lectures, corresponded with PRC
members, and handled the diverse and numerous
tasks that are inherent to non-profit organization
administration. What’s next for Ingrid? School!
This January, Ingrid will return to Boston
University to pursue a Masters in Education
with a focus on bilingual education. Please join
us in wishing her good luck as she begins this
next chapter of her life.
Welcome Emily Gabrian
While Ingrid will be missed, we are happy to
announce that support is on its way. Upon her
• Finally, the PRC relocated to its newly renovated storefront facility which, in addition to greatly
increasing the organization’s street visibility, features such amenities as better visitor access and
a climate control system. The new gallery’s unique inaugural exhibition, Your Work Here, introduced hundreds of new people to the organization.
Gourmet Caterers
Hasselblad
Harpoon Brewery
Helicon Design
Henrietta’s Table
Mark Hunt Backdrops
Hunter Editions
Ilford
Jameson & Thompson Framers
Kabloom
KISS 108 FM
Robert Klein Gallery
Lee Gallery
E.P. Levine
Luminos Photo. Corp.
Irma S. Mann Strategic Marketing
Massachusetts College of Art
Massachusetts Cultural Council
MassEnvelopePlus
MCS Frames
Merry Maids
Museums Boston
Bee Digital
National Endowment for the Arts
Nielsen & Bainbridge Co.
Nikon Inc.
Nylon Magazine
Olympus
Panopticon, Inc.
Perfecta Camera, Corp.
photocurator.org
Photography in New York
Polaroid Corporation
Rialto
Rouge
Royal Sonesta Hotel
Sandy’s Music
Sebastian’s Catering
Skinner, Inc.
Sonya’s Catering
Spectrum Select Printing
WBUR
Howard Yezerski Gallery
Zeff Photo Supply
Zona Laboratories
Zoo New England
The Friends of the PRC, an all-volunteer group
of photography lovers who exist to support
the PRC, are looking for more members. If you
are interested in photography and would like
to be more involved with the PRC, then you may
be interested in becoming a Friend. The group is
free and open to all. The next meetings, occurring
at 7 p.m. at the PRC, are: December 18, 2003,
January 19, 2004, and February 23, 2004. Please
call Friends of the PRC President, Bruce Myren,
at 617-719-5674, for more details.
PRC Holiday Hours
Please note that the PRC will be closed for
Thanksgiving, November 27-30, 2003. As
well, the PRC will be open by appointment
only December 20, 2003-January 22, 2004
due to the end-of-the-year holidays and the
installation of our January exhibition.
Amber Davis, Sasha and his Fathers playing cards, Newton
MA, August 2003, archival color inkjet print, 30 x 40 inches,
Courtesy the artist.
The PRC announces the next installments in the Northeast Exposure online series. Starting this
September, we began showcasing new work by regionally-tied photographers on prcboston.org.
In the first month alone, we’re thrilled to announce that almost 400 hits were registered. The
virtual gallery is by invite only and features a selection of images—usually project oriented—
a biography, artist and curator statements, and a link to related websites.
NOVEMBER
DECEMBER
Featured Photographer: Paul Taggart
www.prcboston.org/taggart.htm
Featured Photographer: Amber Davis
www.prcboston.org/davis.htm
From documenting streetkids in Mexico to AIDS
in Tanzania, the young free-lance photojournalist
Paul Taggart has already seen the world many
times over. Currently dividing his time between
Boston and Brooklyn, the native Oklahoman
recently signed to World Picture News Photo
Agency. Taggart has studied at the Art Institute
of Boston, the Maine Photographic Workshops,
and several schools of film and television.
Taggart’s work can be seen in People Magazine,
the Boston Phoenix, Stuff@Nite, and an upcoming
exhibition at Lou Jones Studio. Featured online
are selections from a recent project for the CARE
Foundation on Malaria in Africa as well as
images from his ongoing work documenting the
Louisiana State Penitentiary at Angola.
A resident of Somerville, Amber Davis received
her MFA in Computer Arts, Photography,
and Design at the University of Massachusetts
at Amherst in 1998 and then taught on the
faculty of Princeton University. Currently,
she teaches photography and new media at
Massachusetts College of Art. For the past
seven years, Davis has been photographing
her family: her gay father, lifelong partner,
mother and stepfather as well as community
friends. This online exhibit showcases some
of her most recent collaborative portrait work
with gay-parented families, mostly located
in the suburbs surrounding Boston. Taken
with medium and large format cameras, the
end results are large lush ink jet color prints.
Terrence Morash
Executive Director
Adesso
American Printing
Ardon Vinyl Graphics
Art New England
ArtsMedia
ASMP
Associated Press Photos
Becket Papers
Boston Beer Company
Boston Bluegrass Union
Boston Cultural Council
Boston Park Plaza Hotel
Boston University
Calumet Photographic
Cambridge Offset Printing
The Charles Hotel
Christie’s
City of Boston
Paula Cooper Gallery
Crestar Mfg.
Deborah Bell Photographs
Dixie Butterhounds
Eastman Kodak
Epson
Filene’s
FleetCenter Neighborhood Charities
Fox River Papers
Gallery Naga
Gay’s Flowers and Gifts
Be a Friend!
Northeast Exposure: Vaughn Sills and Pelle Cass
November 21-December 19, 2003
Opening Reception: Thursday, November 20, 2003, 5:30-7:30 p.m.
Gallery Talk: Thursday, December 4, 2003, 6:30 p.m.
Best regards,
Support
graduation from the
Art Institute of Boston
in December, current
PRC work/study student Emily Gabrian
will be joining the
PRC staff as its Programs Coordinator.
A Missouri native,
Emily has been working part-time at the
PRC since Fall 2002
Emily Gabrian
and is ready to
quickly take over
many of the position’s responsibilities, including
correspondence with PRC members. A photographer herself, Emily has had an extremely active
collegiate career. In addition to her stint at the
PRC, she directed AIB’s Gallery South, served
as a Studio Assistant for both Michael Conway
and Christopher James, and curated several exhibitions. As many of you already know, she is a
terrific and welcome addition to the PRC staff.
Upcoming PRC Exhibitions
If you enjoy such programming and organizational developments, I urge you to help support the PRC by
making a tax-deductible contribution, renewing your membership, and/or introducing friends to the organization. Your support will directly help increase the number of programs that we offer, enhance our capability
as a resource, and generally further the mission of the organization. We hope to hear from you.
The programs and exhibitions of the Photographic Resource Center are made possible through the
generous support of its members, Boston University, various government and private foundations,
and corporations including:
C O V E R I M A G E
Vaughn Sills, Eggshells, 2003, Singer Edition Iris
print from Polaroid Type 55 negative, 20 x 25 inches,
Courtesy the artist.
Farewell Ingrid
Paul Taggart, From the Malaria series. Courtesy and copyright
the artist.
Davis’s work has been featured in many gay,
lesbian, and transgendered publications, such
as Arts & Understanding and the Advocate.
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education programs at the prc
LECTURES
natures of those who have made this road
their home.
Jane Bernard is a documentary and editorial
photographer whose work has appeared in
U.S. News and World Report, the L.A. Times,
and the Washington Post. She has worked as
a staff reporter for the Albuquerque Journal and
photographed for the U.S. Geological Survey
book The Grand Canyon, 100 Years of Change.
Polly Brown is a social-documentary photographer
whose photo-essays and editorial work have
been published in the New York Times Magazine,
Mother Jones, and Psychology Today. She is the
co-author of City Limits, a book on the
people and neighborhoods of Boston. She
was an Associate Professor of Photography
at the International Center of Photography
in New York and at the University of Hawaii.
Her work has been exhibited worldwide and
is in the permanent collections of the Fogg Art
Museum, the Rose Museum, Polaroid Corporation, among many. She has received numerous
grants, including a National Endowment for
the Arts Fellowship.
David Hilliard
Co-Sponsored by the New England School
of Photography
Wednesday, December 3, 2003, 7 p.m.
College of Communications, Auditorium 101,
640 Commonwealth Avenue, Boston, MA
Free to the Public.
David Hilliard makes space and time meld in
the mini dramas he constructs in his multiple
panel compositions of color saturated C-Prints.
In his work, Hilliard depicts panoramic views
of ordinary scenes he sets up over a sequence
of multiple photos. However, instead of tracking
across the scene in a straight linear fashion,
he distorts the space by pulling the image plain
in unexpected directions, creating a wide-angle
view of his subjects and the space they inhabit.
His scenes take place in suburban lawns,
gymnasiums, and florist shops and the people
within them, seem emotionally distant. In
contrast, the colors of his images are rich,
saturated, and intoxicating.
Hilliard has been a lecturer and faculty member
at Yale University and Harvard University
in addition to his career as a photographer.
His work has been exhibited in numerous
solo and group shows in the United States
and beyond. Currently, Hilliard’s latest work
is on display at the Bernard Toale Gallery,
Boston, MA in the exhibition David Hilliard:
New Work (Nov 12-Dec 24).
John Paul Caponigro
Co-Sponsored by the New England School
of Photography
Thursday December 4, 2003, 6 p.m.
Photonics Center, Auditorium 206,
8 St. Mary’s Street, Boston, MA
Reservations Required.
Please call 617-975-0600
John Paul Caponigro is respected internationally
as one of the most prominent artists working
From the series Carnival Strippers, courtesy of Susan Meiselas/Magnum Photos.
Susan Meiselas
Lecture and Booksigning
Monday, November 17, 2003, 6 p.m.
Photonics Center, Auditorium 206,
8 St. Mary’s Street, Boston, MA
$7 Members/$10 Non-Members
$5 Full-Time Students and Seniors
Reservations Recommended.
Please call 617-975-0600.
Susan Meiselas is a photojournalist and social
documentarian who has gone to places and
been in situations where many others have
dared not go. Her courage, strength, and
strong convictions have led her to India, Chile,
Nicaragua, and El Salvador, and her coverage
of hostilities in Central America earned her
the Robert Capa Gold Medal from the Overseas
Press Club in 1979. Meiselas’s early work was
published in two books—Carnival Strippers
and Nicaragua. In 1996, she completed project
integrating her work into the 100-year photographic history of Kurdistan in the book
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Kurdistan: In the Shadow of History. In 2001,
she explored a New York s&m club in Pandora’s
Box. Most recently, she explored the 60-year
history of outsiders’ relationships with the
Dani, an indigenous people of the highlands
of Papau in Indonesia, in Encounters with the
Dani. In addition to still photography, Meiselas
has co-directed two films, and wrote, photographed and produced a third. Her written
articles have appeared in a long list of prestigious
books, journals, and papers. As if it weren’t
enough, her dedication and strong belief in
education have led her to develop curricula
using photography and animated film for
the New York City public school system,
and, as artist-in-residence for the South
Carolina and Mississippi Arts Commissions,
she set up film and photography programs
in rural southern schools.
A booksigning will follow Meiselas’s lecture.
Copies of Encounters with Dani and the recently
reprinted Carnival Strippers will be available for
sale that evening.
American Route 66:
Home on the Road
A Lecture-Presentation by Polly Brown
and Jane Bernard
Tuesday, November 25, 2003, 6 p.m.
School of Education, Boston University,
Auditorium 130,
2 Sherborn Street, Boston, MA
$7 Members/$10 Non-Members
$5 Full-Time Students and Seniors
Reservations Required.
Please call 617-975-0600.
Route 66 is a historic and mythical highway.
Uniquely American, it has become a symbol
of mom-and-pop diners, apple pie, and the
adventure of the open road. For three years,
photographers Polly Brown and Jane Bernard
traveled the road to document, through photographs and first-person accounts, the American
spirit, so evident in the playful and determined
Photograph by David Hilliard. Courtesy of the Bernard Toale Gallery.
3
education programs at the prc
Do you believe in love at first sight?
WORKSHOPS AND SEMINARS
Proposing a Photography
Workshop at the PRC
Do you have a special interest or a specialty in photography that you would like to share with others? Please
follow the details below for submitting a workshop proposal. Additional details can be found on prcboston.org.
All workshop proposals should contain:
1. A one paragraph description (100 words or less)
briefly explaining the workshop.
2. A course outline detailing the timeline, format,
themes, teaching methods, and technical
requirements needed for the workshop.
3. A resume, curriculum vita, or biography.
Please email materials to [email protected] (make the subject
"Workshop Proposal"), or mail to:
Program Proposal
Photographic Resource Center
832 Commonwealth Avenue
Boston, MA 02215
You will be contacted within 3 weeks of your submission.
Should you have questions about submitting a proposal,
or wish to know the teacher payment guidelines, please
contact the PRC.
®
with digital media processes. He combines
his background in painting with traditional
and alternative photographic processes using
the digital platform. It makes sense that John
Paul learned to paint before he could talk.
His father, Paul Caponigro — considered one
of the foremost landscape photographers of the
20th century — creates pictures characterized
by a luminous, transcendent quality.
A native of Boston, but raised in New Mexico,
Caponigro returned to New England to attend
Yale University. He later finished his BA at the
University of California at Santa Cruz, finally
settling in coastal Maine, where he remains.
His work is included in many public and
private collections, such as the Princeton University, the Houston Museum of Fine Arts,
and the Estee Lauder. He teaches at many
well-known workshops around the world and
lectures at universities, museums, and conferences. Caponigro’s work is widely published
in periodicals like Camera Arts, Art News, and
Photographers Forum. In addition to his artistic
endeavors, Caponigro is one of Canon USA’s
Explorers of Light and Epson’s Stylus Pros.
His clients include Canon, Epson, Imacon,
Kodak, Adobe, Epson and Apple.
4
Polly Brown, American Route 66.
Portfolio Reviews
Monthly Portfolio Reviews with the PRC Curator
Below you will find dates for our monthly
portfolio reviews (and corresponding call-in
reservation information) with the PRC’s Curator,
Leslie Brown. As before, the reviews are
45 minutes long and scheduled on the hour
beginning at 9:00 am with the last one at 3:00 p.m.
Reservations will be accepted on a first-call,
first-served basis. It is highly recommended that
you bring supporting materials (resume, images,
and statement).
Review Date: Monday, December 15, 2003
(call in for reservations at 10 a.m., Friday,
November 21)
Review Date: Monday, January 26, 2004
(call in for reservations at 10 a.m., Friday,
December 12)
SMALA SOFA. Design: Pascal Morgue.
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Select furniture and lighting designs i n s t o c k for immediate delivery.
ADESSO
NEW EUROPEAN FURNITURE, LIGHTING AND ACCESSORIES
200 Boylston Street, Boston (adjoining the Four Seasons Hotel)
tel 617-451-2212 - www.adessoboston.com
Open 10-6 Monday–Saturday, 12-5 Sunday
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Recent Additions to the PRC Library
As many of you know, the PRC’s library is an invaluable
resource for those living in the Boston area, particularly
area college students. Boasting over 4,000 volumes,
including many rare and vintage items, it is a terrific
place to spend an afternoon discovering more about
the world of photography. This fall, we are pleased
to announce the addition of number of titles to the
Aaron Siskind Library Collection.
Graham, David, Land of the Free, Aperture, 1999
Goldin, Nan, Ten Years After, Scalo, 1998
Greenfield, Lauren, Girl Culture, Chronicle Books, 2002
Hurley, Jack, Portrait of a Decade,
Louisiana State University Press, 1974
Izu, Kenro, Sacred Places, Arena Editions, 2001
Jasmin, Paul. Hollywood Cowboy. Arena Editions, 2002
Kinsey Institute, Peek: Photographs from the Kinsey Institute,
Arena Editions, 2000
Markus, Kurt, Boxers,Twin Palms Publishers, 1998
Aperture, Photography Fast Forward, Aperture, 2002
Barney, Mathew, The Cremaster Series, Guggenheim Museum, 2002
Borham, Piere, Andre Kertesz: His Life and Works, Bullfinch Press
Dworzak, Thomas, Taliban, Trolley, 2003
Mikhailov, Boris, Boris Mikhailov, Phaidon Press Ltd., 2002
Mills, Joseph, Joseph Mills Inner City, Nazraeli, 2003
Pinney, Christopher, Photography’s Other Histories, Duke University
Press, 2003
Dubin, Steven, Arresting Images, Routledge, 1992
Prince, Douglas, All Possible Worlds,
Northern Kentucky University Press, 2000
Fairbrother, Trevor, Family Ties, Peabody Essex Museum, 2003
Ruff, Thomas, Thomas Ruff, Essor Gallery London, 2001
Jodice, Mimmo, Mediterranean Photographs, Aperture, 1995
Tillmans, Wolfgang, Still Life, Harvard University Art Museum, 2002
Fontecuberta, Joan, Karelia Milagros and Company,
Fundacion Telefonica, 2002
Villegas, Jose Luis, Home is Everything, Cinco Puntos Press, 2002
Freedman, Jill, Firehouse, Doubleday and Company, 1977
Wenders, Wim, Pictures from the Surface of the Earth,
Schirmer Art Books, 2003
Gagnon, Marie-Eve, Un Chevieuila la Fenetre, Daziboa, 2003
Weber, Bruce, A House is not a Home, Bulfinch Press, 1996
Nothing can replace the power of a great photograph.
THE TENTH JURIED EXHIBITION
See this year’s winners on exhibit
December 11 through February 27, 2004.
67 Shore Road, Winchester, MA.
For details call 781-729-1158 or visit griffinmuseum.org.
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7
Northeast Exposure
Beginning with this gallery presentation of
work by Vaughn Sills and Pelle Cass, the PRC
is proud to launch a new exhibition series—
Northeast Exposure. This new program showcases new works and new directions by mid-career
and emerging regionally-tied photographers.
Interspersed between the popular themed shows
for which the PRC has become known, the
month-long solo, duo, or small group offerings
allow the PRC to spotlight the depth and wealth
of talent in New England. Sill’s contribution
is from her latest series, “Beyond Words,”
on which she has been working during her
summer breaks from teaching. Over half
of the pieces displayed are the results of her
most recent sojourn at her family’s cottage
in Prince Edward Island. Cass’s work has all
been completed in the last year, after an over
10-year hiatus from photography.
For the past 10 years, Sills has been an Assistant
Professor of Photography at Simons College. Born
in Quebec, this Cambridge-based photographer
and former English major earned a MFA from
Rhode Island School of Design. Sills is perhaps
best known for her project “One Family,” in which
she documented four generations of a rural
Georgian family, over a period of 20 years.
Her work is included in the DeCordova
Museum, Harvard University’s Carpenter
Center for the Arts, and Polaroid Collections.
Created in her studio using settings that recall
miniature stages, this new work features natural
objects from her surroundings—a squirrel’s
skeleton, a shell, a moth—along with her family’s
1932 Oxford English dictionary open to the
corresponding word or expression. Although
digitally printed from 4 x 5 Polaroid film, the
lush Iris prints are not altered; the hovering
dream-like still lifes are set against a sea of black
velvet and held in place by a bevy of bric-a-brac.
Vaughn Sills and Pelle Cass
November 21-December 19, 2003
8
Cass studied photography at the University
of New Mexico, Minneapolis College of Art,
and School of the Museum of Fine Arts,
Boston. From 1978 to 1990, he was very active
in the regional scene. Represented by the Stux
Gallery and Frank Marino Gallery, Cass was
featured in numerous solo shows, such as at
the Fogg Art Museum’s Print Room, and group
shows, including a George Eastman House
traveling exhibition “The Photographer’s Hand.”
His earlier still-life work is found in the Fogg
Art Museum, Addison Gallery of Art, and
Polaroid Collections. In 1991, due in part
to the needs of a growing family, Cass stopped
photographing to return to school, earning
a BA in Art History from the University of
Massachusetts, Boston, and eventually pursuing
a career in publishing. Cass resumed photographing in September 2002. Influenced by his
own writing and his work at textbook publisher
Bedford/St. Martin’s, Cass utilizes printed materials to create collages and assemblages, which
he then photographs using a medium format
or 4 x 5 view camera.
Today, an overriding theme of collecting and
categorizing seems to pervade the zeitgeist.
If almost to make up for image and information
overload, artists ingest a plethora of icons, and
become hunter-gatherers, neatly, or not so
neatly, placing objects into cubbyholes. The
buzzword of “archive” informs many exhibitions
and art historical texts. Indeed, photography
has been at the forefront of this discussion
given its unique indexical role as well as its
various functions and applications. For example,
August Sander’s systematic documentation of
types of people and Bernd and Hilla Becher’s
anthologies of architectural forms have seen
renewed scholarly interest. Likewise, related
topics such as unique museums and specific
collections have been the subject of numerous
photography projects and exhibitions. Both
Cass and Sills tackle large concepts such as
beauty, order, language, and meaning, but
do so in very individual ways. This essay will
briefly contrast Sills and Cass’s working style
and their methodology in order to broach
some of these larger issues.
Sills and Cass’s choice of titles for their series
speak to their interests. Sills’s phrase “Beyond
Words” speaks to the inability of labels to
describe and capture the essence of any object
and its constellation of attributes. Sills’s series
is also very personal; she remembers thumbing
through this very dictionary as a child, crossreferencing words and concepts, and the wonder
and awe with which she beheld her natural
discoveries. Admittedly, if Cass were to title
this selection of works, it would be the essence
of the George Santayana handwritten quote
he so beautifully deconstructed to then reconstruct: “Everything in nature is lyrical in its
ideal essence, tragic in its fate and comic in its
existence.” Similar to museum or archeological
photographers, Sills and Cass’s chosen objects
(or reproductions thereof ) are photographed,
often isolated, and presented for study. Both
artists concentrate on variants of the quotidian:
Sills, the natural, and Cass, the manmade.
Each photographer’s work hearkens back to
earlier styles and genres in histories of photography and art. Sills’s work lies in the still life
Opposite page: Pelle Cass, Every headline in the Boston Globe,
12/12/02, 2003, Gelatin silver print, 15 x 15 inches, Courtesy
the artist.
Above: Vaughn Sills, Moth, 2002, Singer Edition Iris print from
Polaroid Type 55 negative, 25 x 20 inches, Courtesy the artist .
tradition and references the concept of “vanitas.”
Known for their mastery of this genre, Dutch
renaissance painters introduced “vanitas”
or fleetingness of life into their compositions
via an errant fly, a decomposing piece of fruit,
or skull. Sills’s skeletons and out of their element entities also remind us that still-life in
French, “nature morte,” literally means “dead
nature.” Sill’s minimalist approach also recalls
early photographic experiments. The simple
arrangements and single-hued aesthetics are
akin to the photograms of lace and leaves
of William Henry Fox Talbot and the cyanotypes of sealife by Anna Atkins. (Interestingly,
many of photography’s first practitioners had a
close connection to botany and other natural
sciences.) Cass himself willfully acknowledges
a debt to German early-twentieth century collage artist Kurt Schwitters’s concept of “Merz.”
Coined from the word “commerce,” Merz
referred to both the materials—cut and torn
paper and scraps of rubbish—and the subject—
a sly critique on consumer culture. Like Merz
and later installation and performance photography, Cass’s work slides between the sculptural
and the conceptual—the end result becoming
an entirely new artistic entity.
In creating their compositions, both Sills and
Cass operate with specific intellectual conceits
in mind. Cass’s titles reveal his procedure:
Every headline in the Boston Globe, 12/12/02;
Sweaters (J. Crew catalogue); Pictures and
Mirrors (Crate and Barrel catalogue). To Cass,
nothing is immune from being dissected and
regurgitated: advertising circulars, water bottle
9
photograph
September/October 2003 $5
Vaughn Sills, Populus (poplars, Latin), 2002, Singer Edition
Iris print from Polaroid Type 55 negative, 25 x 20 inches,
Courtesy the artist.
plastic, renowned poems by Kenneth Koch,
or even a critical study of the 20th century
novel. Sills’s repetition of the book form—much
like a running bass in music—unites her series
aesthetically and conceptually. The dictionary,
seems alternately confident and shy, sometimes
bursting forth and other times hiding behind
its camouflage. Most of the time, Sill’s family’s
dictionary takes the starring role, but she has
also begun to highlight other reference books
further questioning the relationship between
object and referent (a French and Latin dictionary
also make appearances). Other words that surface
on the weathered pages also inform our apprehension of the object, by chance or design:
Fern appears on the same page as Feminine
and Onions occurs along with the keyword
of Open. Associations build upon associations,
just like the growing roots and tendrils of Sill’s
beloved “objet trouvés.”
Sills and Cass also practice a form of recycling.
Cass reminds us that expensive jewelry pictured
in a magazine or scenes of Hawaii from an old
calendar are simply images and ink on paper.
What is meant to entice, once used and consumed,
enters a landfill or recycling plant. Still, Cass
creatively reuses this foltsam and jetsam of
everyday life—often scattering it with a sense
of chance recalling the Surrealists thrown in
with a definitive sense of Dada-esque humor.
(Even his crumpled garbage bags or t-shirts on
which he rests his detritus often peek cheekily.)
On the other hand, Sills’s black velvet background is precious, as are her carefully chosen
items. For a brief moment they enter as actors,
into her darkened theatre, playing the part of
the penultimate. Indeed, an extinct to anthropomorphize also extends to the objects themselves,
animated by their puppetry and placement.
After the portrait session, Sills returns her items
to the natural elements, replanting flowers and
returning sealife to their watery habitat. In
several compositions, Sills almost completely
obscures the dictionary, either by hiding it
behind vegetation or sprinkling moss upon it.
In Indian Pipe and Nid (nest, French), for
10
Pelle Cass, "Everything in Nature…" (quotation by George Santayana), 2003, Gelatin silver print, Courtesy the artist.
example, the debris and dirt covers and encapsulates the tome as if reclaiming it for the forest.
With these artworks presented here, one is
reminded of a whole host of systems and theories
of naming—post-modern linguistics, biblical
references, Plato’s theory of forms, and Linnaeus’s
system of nomenclature to name a few. New
words, steeped in contemporary cultural references, make headlines every time they enter
the newest dictionary edition. We are thus
reminded that what appears static and timeless—language—is constantly changing and
shifting in a primordial verbal soup. Indeed,
these literary pictures both use and reference
language and other works of literature. One
might be reminded of writer Jorge Luis Borges’s
short story Library of Babel, in which he imagines an infinite library containing all books and
all words ever written with man acting as “the
imperfect librarian.” The marks and symbols,
while constantly attempting to refer to the
outside world, compound and confound
each other. What is often meant to simplify
and clarify, however, often becomes cyclical
and imprecise.
Simply put, Sills and Cass open the discussion
as to how we as humans relate to and make
sense of the world. Sills attempts to verbalize
her intent: “I chose these things because of their
extraordinary beauty—and because they hold
the mystery of life and death.” Cass explains
the epiphany that occurs when his bits and
pieces become a black and white photograph:
“I recognize something of beauty that I’ve
never seen before, but that has been staring
me in the face every day of my life: the world.”
In the end, despite all the attempts to cull and
categorize, these artists equally celebrate the
inexact, the in-between, and the ineffable.
Therein lie the auspices of art.
© Rineke Dijkstra, Almerisa, Leidschendam, The Netherlands, December 9, 2000. Courtesy of Marian Goodman Gallery, New York
photograph the bi-monthly USA guide to exhibitions, private dealers, auctions, events, resources, news and lots more.
One-year subscription: $35 US, $40 Canada, $70 all other. Payment in US funds on a US bank or Amex, MC, Visa.
photograph 64 West 89th Street, New York, NY 10024 212/787-0401 [email protected] l Visit our website at
www.photography-guide.com for the latest info, hundreds of links, and where to find the works of over 1500 artists.
11
insight
An Interview with
Rosamond Purcell
Rosamond Purcell is known for her cross-disciplinary work bridging science
and art. She photographs myriad museums, collections, oddities, and objects
from nature. For her fascinating photography projects, she has teamed up with
famed evolutionist Stephen Jay Gould and author, actor, and magician, Ricky
Jay, for the book, Dice: Deception and Destruction. Owls Head, Purcell’s book
about the Maine junkyard from which most of her recent objects were found,
was recently published by The Quantuck Lane Press. The following interview
took place at the Tufts University Gallery, where Purcell’s photographs, studio,
and recreation of 17th Century naturalist Olaus Worm’s Wunderkammer, are
on display. The exhibition "Two Rooms", is viewable through December 14th.
Why photography? Why art?
Throughout college, I wanted to be a writer.
However, after college, no one really responded
to my writing. Then, I was given a Polaroid
camera by Dennis [Purcell] and discovered that
photography worked for me. In one frame,
I could compress many thoughts and effects
without having to write a word. What would
take paragraphs to do in writing, I could do in
a single frame. Almost immediately, I had much
more positive feedback in photography than
I ever had in writing. I mean, I had photographed
for only a couple of years and Minor White
gave me an exhibition. I used Polaroid materials
for years before I ever learned to print as Dennis
realized it was the only way to jump-start someone who wasn’t even interested in photography.
What happened immediately was that none
of the prints were really what I had in mind.
It was almost as if I was looking at something
other than what was showing up on the film.
I had to learn to get in synch with what was
there and with my expectations for it on film.
The materials, the camera, and the lens are
going to give you something. The best you
can do is put yourself in the way of what you
think you want out of it. For a long time,
my photography was very experimental. Now,
I know what the lens can do for me and I am
pretty sure what the film will do.
12
Do you feel your photographs are more about
process than product?
No. I am definitely goal-oriented. I am after
the product. I am very concerned that the
process be in service to the product, but
I am not a mucker-about in the darkroom.
How do you classify yourself, your work?
[Rosamond gestures towards her studio installation.] I didn’t set out to do this. Everything
starts out as an experiment—one thing happens,
and then another. With the photography,
Dennis coached me and coached me until
I got a picture that, unto itself, looked really
good. I was amazed, so I kept on working.
It’s about continuity really. For example, in
the junkyard, I would find something great,
and then I would find something else great,
and then I would find 17 things. I learned how
to edit what I found. As the things piled up,
I simply had to put the scrap metal on the
wall so I could see what I had. I didn’t start out
saying, "I am a sculptor. I will build this wall."
I started out saying, "I have to see my materials.
For heaven’s sake, they’re all piled up!" Installing
[the studio] here at Tufts is really the third time
I have had to do so. First, it was in my studio,
then it went to Santa Monica, now it’s here,
now its going to travel elsewhere. In the studio,
it was just on the wall and I built it in order to
fit what I had and where I was. This [installation] is different than my actual studio because
Chris Enos. Photograph by Terrence Morash.
it is being presented as an art piece. It is a stage.
Installing the studio as an artwork, knowing
that people will be looking at it, is much harder
to do, psychologically.
It is interesting that the installation of the
studio and the photographs are truly similar.
I think it has to do with the strands of philosophy
that I am using. At the same time that I became
interested in natural history collections, I found
the junkyard. Those two places, the derelict,
antique yard, and the preserved, partial human
and animal remains, were two strands of my
interest. In natural history museums, everything
is kept in categories, in systems, in collections,
by type. And that is not something that I am
interested in. I am interested in melting the
systems, in reposition things. That is why my
natural history photography does not appeal
to scientists. Because I am taking things out
of context.
Now that the contents of your studio are
on the road, how does this change your work?
Is this a new chapter?
It’s curious, I don’t quite know what I am doing
[in the studio]. I am really puzzled. I am sort
of thinking, "Was the purpose of this studio
to put this collection together? Was it in order
to do this? Am I done?" Once something gets
out in the world, it is a lot harder to think that
you had anything to do with it. [At Tufts] we
were putting this show together for many, many
days. Really hard work with hammers and nails.
At one point, when they were working on
the lights, I stepped out. When I returned five
minutes later, [the studio installation] was a
different place. It was no longer the place where
I was working, it was the place that was going
to be on display. Once something is on display,
I don’t have any purpose. Of course, I also think
it’s okay if I don’t figure out [what’s next] for a
few days. I recently finished writing Owls Head,
which I truly enjoyed. Perhaps, I will write
another book.
13
photography events in new england and beyond
in the loupe listings deadlines
EXHIBITIONS
M A S S AC H U S E T TS
American Textile History Museum
Runway Madness! The Fashion Photographs of Lucian
Perkins (thru Jan 4). Tue-Fri, 9-4; Sat-Sun, 10-5.
491 Dutton St., Lowell, MA 01854. 978-441-0400.
www.athm.org
Amy H. Carberry Fine Arts Gallery
at Springfield Technical Community College
Coming Home: New Images by Keith Sikes (thru
Nov 26). Tue-Fri, 12:30-4:30; Sat, 10-2. 1 Armory
Sq., Springfield, MA, 01102. 413-775-5258.
www.stcc.mass.edu/arts/FineArtsGallery.html
Art Complex Museum at Duxbury
Photoplay: Three Alternative Photographers, Walter
Crump, Susan Haas, and Laura Blacklow (thru Jan 11).
Wed-Sun, 1-4. 189 Alden St., Duxbury, MA 02331.
781-934-6634. www.artcomplex.org
The Art Institute of Boston
Henryk Tomaszewski: Visual Linguist (Nov 13–Jan 26).
Mon-Sat, 9-6; Sun, 12-5. 700 Beacon St., Boston, MA
02215. 617-585-6600. www.aiboston.edu
Bernard Toale Gallery
Preview/Review-New and Recent Works by David
Hilliard, Jocelyn Lee, Abelardo Morrell, Deborah Bright,
Virginia Beaham and Laura McPhee (thru Nov 9);
David Hilliard: New Work (Nov 12-Dec 24). Tue-Sat,
10:30-5:30. 450 Harrison Ave., Boston, MA.
617-482-2477. www.bernardtoalegallery.com
Boston Athenaeum
Millennial Boston: 15 Artists Views the City. Works by
Margot Balboni, Walter Crump, Michael David, Steve
Dunwell, Christina Fritsch, Todd Gieg, Eileen Gillespie,
Philip Jones, Eric Lewandowski, Tricia Neumyer,
Wellington Reiter, Peter Scott, Peter Stempel, Peter Vanderwarker, John Woolf (thru Nov 29). Mon–Fri, 9-5:30;
Sat, 9-4. 10 1/2 Beacon St., Boston, MA 02108.
617-227-0270. www.bostonathenaeum.org
Boston Public Library
Venezuelan Fishing Villages “Pescadores” (thru Nov).
BPL, Boston Room, 700 Boylston St., Boston, MA
02116. 617-536-5400. www.bpl.org
Davis Museum and Cultural Center
at Wellesley College
Toward One: Printmaking in Germany 1945-1990
(thru Jan 18, 2004). Print Study Corridor (thru Dec 19).
Prints and Photographs from the Museum’s earliest
photography collection, presented in conjunction with
four Wellesley classes. Tue-Sat, 11-5; Sun, 1-5. Wellesley College, 106 Central St., Wellesley, MA 02481.
781-283-2051. www.wellesley.edu/DavisMuseum/
14
E D U C AT I O N
Essex Art Center
10th Annual Juried Show 2003, including Photographs
(thru Dec 12). Tue-Thu, 10-7; Fri, 10-3. 56 Island
St., Lawrence, MA 01840. 978-685-2343.
www.essexartcenter.com
Gallery One at New England School of Photography
The Ruth Spiers Nickse Memorial Photography Exhibit:
A Celebration of Ruth’s Life, Vision, and Talent with
Featured works by her Friends and Colleagues (thru
Dec 5); Workshop Show (Dec 15- Jan 30). Mon-Fri,
9-5. 537 Commonwealth Ave., Boston, MA 02210.
617-437-1868. www.nesop.com
Griffin Museum of Photography
Jan Staller: A Retrospective (thru Nov 28) and Thomas
McGovern: Hard Boys and Bad Girls (Nov 6-Jan 15)
in Emerging Artist Gallery. Tue-Sun, 12-4. 67 Shore
Rd., Winchester, MA 01890. 781-729-1158.
www.griffinmuseum.org
Lee Gallery
Working Nine to Five: Vintage Photographs of People at
Work by Bourke-White, Hines, Lange, Weegee and others
(thru Nov 5); It’s Snowing!!! Vintage Photographs by
Stieglitz, Strand, Webb, Bisson, Freres, and others
(Nov 12- Dec 31). 19th and 20th Century Photographs
(ongoing). Mon-Fri, 10-5:30. 9 Mount Vernon St.,
2nd Floor, Winchester, MA 01890. 781-729-7445.
www.leegallery.com
Massachusetts College of Art
Photographers, Writers and the American Scene (thru
Dec 13). Mon-Fri, 10-6, Sat, 11-5. David and Sandra
Bakalar Gallery, 621 Huntington Ave., Boston, MA.
617-879-7333. www.massart.edu
Massachusetts Museum of Contemporary Art
(MASS MoCA) Fantastic! featuring Gregory Crewdson
(thru Spring 2004); Alain Bubler: Plug in City (thru
Spring 2004). Mon-Sun, 11-5; closed Tue. 87 Marshall St., North Adams, MA 01247. 413-664-4481.
www.massmoca.org
McMullen Museum of Art at Boston College
Reflections in Black: Smithsonian African-American
Photography Art and Activism (thru Dec 7). Mon-Fri,
11-4; Sat-Sun, 12-5. 140 Commonwealth Ave.,
Chestnut Hill, MA 02467. 617-552-8100.
www.bc.edu/arts
Mead Art Museum at Amherst College
Off the Beaten Track: Contemporary Mindscapes (thru
Dec 18): Tue-Sun, 10-4:30; Thu, 10-9. Intersection
of Rte. 9 and South Pleasant St., Amherst, MA.
413-542-2335. www.amherst.edu/mead
DeCordova Museum and Sculpture Park
DeCordova collects gifts from Stephen and Sybil Stone,
including photography (thru Jan 18). Tue-Sun, 11-5.
51 Sandy Pond Rd., Lincoln, MA 01773.
781-259-8355. www.decordova.org
MIT Museum Main Gallery
Flashes of Inspiration: The Work of Harold Edgerton;
Holography: The Light Fantastic (ongoing); Knowing
Where to Stand: Photographs by Anne Whiston Spring
(thru Jan 30). Tue-Fri, 10-5; Sat-Sun, 12-5.
265 Massachusetts Ave., Cambridge, MA 02139.
617-253-4444. web.mit.edu/museum
Elysium Mons Gallery
Anna, photography by Leah Zimmerman and In Progress,
photography by Suzanne Shannon (thru Nov 20).
Tue-Thu 6-9; by appt. 38 Harlow St., Worcester, MA
01605. 774-230-4064.
Panopticon Gallery
Rock ‘n’ Roll Music Photographs by Herb Greene and
Ron Pownall (thru Jan 30). Mon-Fri, 10-6; Sat, 11-5.
435 Moody St., Waltham, MA 02453. 781-6470100. www.panopt.com
January/February issue:
November 21, 2003
March/April issue:
February 13, 2004
Peabody Essex Museum
Vanished Kingdoms: The Wuslin, Photographs of Tibet,
Mongolia, and China 1921-25 (Nov 1-Feb 1).
Mon-Sat, 10-5; Sun, 12-5. East India Sq., Salem, MA
01970. 978-745-9500. www.pem.org
Williams College Museum of Art
Nicole Cohen: My Vie en Rose (ongoing); Group
Faculty Show (thru Dec 14). Tue-Sat, 10-5, Sun,
1-5. 15 Lawrence Hall Dr., Williamstown, MA
02116. 413-597-2429. www.williams.edu/WCMA
Worcester Art Museum
Bill Viola, Video Installation (ongoing); Gift of
Light: Photographs in the Jaos Scholtz Collection
(thru Nov 30). Wed-Sun, 11-5; Thu, 11-8; Sat,
10-5. 55 Salisbury St., Worcester, MA 01609.
508-799-4406. www.worcesterart.org
ELSEWHERE IN NEW ENGLAND
Peabody Museum of Archeology and Ethnology
Portraits from China, 1923-1946: Photographers
and their Subjects (thru Mar 15). Mon-Sun, 9-5.
11 Divinity Ave., Cambridge, MA 02138.
617-496-0099. www.peabody.harvard.edu
Radiant Light Gallery
Blends: The Surreal Photography of Douglas prince,
Loretta Young-Gauthier, Ed Freeman, Kabe Russell
et al (thru Nov 21). Sat 12-7; first Fri, 5-9. 615
Congress St., Suite 409, Portland, Maine 04101.
207.252.7258. www.radiantlightgallery.com
Robert Klein Gallery
Aaron Siskind and Carl Chiarenza (thru Nov 15);
Gallery Selections (Nov 20-Dec 24). Tue-Fri,
10-5:30; Sat, 11-5. 38 Newbury St., Boston, MA
02116. 617-267-7997. www.robertkleingallery.com
Smith College Museum of Art
Photographing Undomesticated Interiors (thru Jan 4).
Tue-Sat, 10-4; Sun, 12-4. Smith College,
Northampton, MA 01063. 413-585-2760.
www.smith.edu/artmuseum
Song of Myself Gallery
Brad Fowler, Revolving Exhibition of Black and
White Photographs (ongoing) 349 Commercial St.,
Provincetown, MA 02657. 508-487-5736.
www.songofmyself.com
South Shore Art Center
Works on Paper: National Juried Show (Nov 7-Dec 31).
Mon-Sat, 10-4; Sun, 12-4. 119 Ripley Rd., Cohasset,
MA 02025. 781-383-2787. www.ssac.org
The Somerville Museum
Lost Theaters of Somerville (thru Mar). Thu, 2-7;
Fri, 2-5; Sat, 12-5. 1 Westwood Rd., Somerville,
MA 02143. 617-666-9810. www.LostTheaters.org
Tisch Gallery of Tufts University
Rosamond Purcell: Two Rooms (thru Dec 14);
Common Ground: Photographers on the Street (thru
Dec14). Tue-Sat, 12-8; Sun, 12-5. Aidekman Arts
Center, 40 Talbot Ave., Medford, MA 02155.
617-627-3518. www.tufts.edu/as/gallery
University Gallery at University
of Massachusetts, Amherst
Aftermath: Images from Ground Zero/Joel Meyerowitz
(thru Dec 12). Tue-Fri, 11-4:30; Sat-Sun, 2-5. Fine
Arts Center, University of Massachusetts, 151 Presidents Dr., Amherst, MA 01003. 413-545-3670.
www.umass.edu/fac/universitygallery
100 Pearl Gallery
Stephen Petergorsky-Photographs (thru Nov 29).
Mon-Fri, 9-8; Sat, 9-3. 100 Pearl St., Hartford,
CT 06103. 860-233-1932.
Bowdoin College Museum of Art
The Disembodied Spirit (thru Dec. 7). Tue-Sat,
10-5; Sun, 2-5. Walker Bldg., Upper Park Row,
Brunswick, ME 04011. 207-725-3275.
www.academic.bowdoin.edu/artmuseum
Currier Museum of Art
Focus on the Soul: The Photographs of Lotte Jacobi
(thru Jan. 4). Mon, Wed, Fri, Sun 11-5; Thurs.
11-8; Sat 10-5. 201 Myrtle Way, Manchester, NH.
603-669-6144. www.currier.org
Davidson Art Center at the Center for the Arts
at Wesleyan University
Performing Images, Embodying Race: The Orientalized Body in Early 20th Century U.S. Performance
and Visual Culture (thru Dec 12). Tue-Sun, 12-6,
closed Nov 26-30, special hours Oct 15, 12-8.
22 Church St., Middletown, CT 06459. 860-6853355. www.wesleyan.edu/dac
Fine Arts Center Galleries at the University of
Rhode Island
Carl Chiarenza: Selected Works (Nov 4 – Jan 31).
Tue-Fri, 12-4, 7:30-9:30; Sat, Sun 1-4. 105 Upper
College Rd., Suite 1. Kingston, RI 02881.
401-874-2627. www.uri.edu/artgalleries
RISD Museum of Art
Interior Drama: Aaron Siskind’s photographs of
the 1940’s (Nov 14-Jan 25); The New York School:
Aaron Siskind in Context (Nov 7- Jan 25); Aaron
Siskind; From Chicago to Providence 1951-91 (thru Jan
11); Contemporary Photography featuring Uta Barth,
Nan Goldin, Annu Palakuhanathu Matthews, Shimon
Attic, and Francesca Woodman. 224 Benefit St., Providence, RI 02903. 401-454-6500. www.risd.edu
Salt Institute for Documentary Studies
Aucocisco Radio: An Audio and Photographic tour
of Portland Harbor by Salt faculty (thru Dec 6).
Mon-Fri, 11:30-4:30. 110 Exchange St., Portland,
ME 04112. 207-761-0660. www.salt.edu
University of Maine Museum of Art
Jonathan Bailey: Seeing Bangor (thru Jan 17).
Tue-Sat, 9-6; Sun, 11-5. Norumbega Hall,
40 Harlow St., Bangor, ME 04401. 207-561-3350.
www.umma.umaine.edu
Yale Center for British Art
Traces of India: Photography, Architecture and the
Politics of Representation (thru Jan 11). Tue-Sat,
10-5; Sun, 12-5. 1080 Chapel St., New Haven,
CT 06520. 203-432-2800. www.yale.edu/ycba
E D U C AT I O N
The Boston Photo Collaborative offers innovative
photography classes for beginner, intermediate,
and advanced levels, amateurs and professionals
in black and white, color, digital and alternative
processes. In addition to these high quality classes,
the Collaborative runs several community-based
youth and senior programs. Darkroom rental is
also available. For more information, please visit
www.bostonphoto.org or call 617-524-7729.
67 Brookside Avenue, Jamaica Plain, MA 02130.
The Cape Cod Photo Workshops offers a wide variety of courses on photography. For more information
please contact Cape Cod Photo Workshops at 508255-6808. P.O. Box 1619, N. Eastham, MA 02651.
Center for Photography at Woodstock offers
the Woodstock Photography Workshops including
vision, landscape, still life, photojournalism, fine
printing, alternative processes, portfolio review, professional development, figure, portrait, editorial and
fine art. For more information, please visit www.cpw.org,
email [email protected] or call at 845-679-6337.
59 Tinker Street, Woodstock, NY 12498.
The Essex Art Center offers classes in all artistic
media, including photography. For more information, please visit www.essexartcenter.com or call 978685-2343. 56 Island Street, Lawrence, MA 01840.
Horizons to Go Travel Programs offers classes
in all artistic media, including photography. For
more information, please visit www.horizons-art.com
or call 413- 549-2900. Horizons to Go!, P.O.
Box 2206, Amherst, MA 01004.
The Maine Photographic Workshops offers a large
variety of Photography workshops. The MPW
is a year-round college and learning center for
filmmakers, photographers, actors, writers, digital
artists and creative professionals. They offer 250
one-week workshops and master classes. Within
MPW, Rockport College came into existence in
1996 and now offers an Associate of Arts degree,
a Master of Fine Arts degree and a one-year Professional Certificate program. For more information,
please visit www.theworkshops.com or call
1-877-577-7700. 2 Central Street, PO Box 200,
Rockport, ME 04856.
Nubar Alexanian facilitates Photography Critique
Groups for working professionals, teachers, and
other serious photographers who wish to expand
or rekindle a personal vision and/or take the next
step in their work. Groups meet once a month for
10 months.For more information please contact
Millicent Harvey at [email protected]
Peters Valley Craft Center offers a wide variety
of 2-5 day workshops in photography. Courses
range from photographing 2-D and 3-D work;
printing cyanotypes, platinums, and palladiums;
darkroom alchemy; still life and environmental
portraiture; pinhole photography; self-promotion;
and hand-painted B&W photography. For more
information and workshop catalogues, please visit
www.pvcrafts.org or call 973-948-5200. 19 Kuhn
Road, Layton, New Jersey 07851.
The Santa Fe Workshops is committed to providing
a nurturing, positive, challenging, and experiential
photographic and digital environment in which
image-makers of all skill levels, ages, and nationalities
can explore and achieve their potential. The Santa Fe
Workshops is a vital, year-round educational center.
From beginners to working professional photographers, they become immersed in a supportive environment that nourishes technical mastery, daring play,
and creative expression. For more information, please
visit www.santafeworkshops.com or call 505-983-1400.
P.O. Box 9916, Santa Fe, NM 87504.
John Sexton Photo Workshops offers a wide variety
of courses on photography. For more information,
please visit www.johnsexton.com. 291 Los Agrinemsors, Carmel Valley, CA, 93924.
Snow Farm, The New England Craft Program
offers classes in all artistic media, including photography. For more information please visit www.snow
farm-art.org, or call at 413-268-3101. 5 Clary Road,
Williamsburg, MA 01096.
South Shore Art Center offers classes in all artistic
media, including photography. For more information,
please visit www.ssac.org or call 781-383-2964. 119
Ripley Rd., Cohasset, MA 02025.
E N T R I E S / O P P O RT U N I T I E S
The Cambridge Art Association (Cambridge,
MA) announces a call for entries for its National
Prize Show to be exhibited May 3- June 24, 2004.
The juror will be Bob Fitzpatrick, Director of the
Museum of Contemporary Art, Chicago, IL. Eleven
prizes will be awarded including the Best of Show
Award of $2000 and ten other awards. Only slides
will be accepted (no videos). The deadline for
submissions is January 23, 2004. For a prospectus
send a SASE to the Cambridge Art Association,
located at 25 Lowell Street, Cambridge, MA
02138, email [email protected],
or visit www.cambridgeart.org
The Print Center (Philadelphia, PA) announces a call
for entries open to all photographic artists. The juror
will be Darsie Alexander, Curator of Prints, Drawings and Photographs at the Baltimore Museum
of Art. Up to $2,000 in purchase awards, for the
Print Center’s permanent collection up to $3,000
in cash, materials, and purchase awards selected
by the juror and individual donors, as well as
two awards granting a solo exhibition at The Print
Center. Entries must be postmarked by November
15, 2003. The exhibition, Prospects, 78th Annual
International Competition: Photography, will run
April 24-June 26, 2004. The Print Center is located
at 1614 Latimer Street, Philadelphia. PA 19103,
email [email protected], or www.printcenter.org.
15
phonelines: member news from near and far
Congratulations to all for your
recent successes. Please keep us informed
of your news and triumphs.
Jonathan Bailey is currently part of a three person
exhibition at the Freedman Gallery at Albright College,
Reading, PA, December 2003 through January 2004.
He was also included in the annual juried Awards
Exhibition at The Center for Photographic Art, Carmel,
CA through October 2003.
Lorenza Lucchi Basili was part of a group show in San
Francisco, CA, through the Artists’ Television Network,
during October and November 2003. The exhibition
Intervals: (themes and variations on) relational space,
featured film, video, performance, sound, installations
and photographs.
Melonie Bennett and Judy Ellis Glickman exhibited
their photographs in the exhibition, Relative MomentsMoments in Time, at the June Fitzpatrick Gallery,
Portland, ME, during August 2003.
this fall including: Millennial Boston: 15 Artists View the
City at the Boston Athenaeum, Boston, MA, through
November 2003; Through A Hole at the Belan Gallery,
Lawrence, MA through October 2003; and Photoplay:
Three Alternative Photographers at the Art Complex,
Duxbury, MA, through November 2003.
Boston, MA, presented a solo exhibition of Lyssa Palu-ay’s
work during September and October 2003.
Gary Duehr was part of an exhibition at the Hall Space
Gallery, Boston, MA, during September and October 2003.
The Peabody Essex Museum, Boston, MA, recently featured John O’Reilly in an exhibition entitled Family Ties.
Neeta Madahar exhibited her work at Project Space
at the New England School of Art and Design, Boston,
MA, during October 2003. From November 2003
through February 2004, she will be part of ContructionCoincidence?, and exhibition at the Momentum Gallery,
Berlin, Germany.
Robin Radin received the Massachusetts Cultural Council Grant in Photography exhibit at Boston City Hall.
The Mayor’s Office Gallery will feature her work during
September and October 2003.
Annu Palakunnathu Matthew recently exhibited
An Indian from India at the University of the Arts
Gallery, Philadelphia, PA, from August through
September 2003. This exhibition will also be shown
at Malboro College, Marlboro, VT, from October
through November 2003. Other work will be shown
at the Hera Gallery, Wakefield, RI October 2003.
The University of Rochester, Rochester, NY, is hosting
the exhibition Carl Chiarenza: Recent Large Scale Work, in
the Harnett Gallery, during October and November 2003.
Oscar Palacio is showing new photographs in the 2003
Foundation on Parade exhibition at the St. Botolph
Club, Boston, MA from October 28-November 7.
His work is also included in Photographing Undomesticated Interiors exhibition at the Smith College Museum
of Art from October 20-January 4.
Walter Crump was featured in a number of exhibitions
The Brant Gallery in Massachusetts College of Art,
The River Gallery, Ipswich, MA, hosted an exhibition of
Ed Monnelly and Dorothy Kerper Monnelly’s landscape
photographs during October 2003.
The French Library and Cultural Center, Boston, MA,
presented Soirees d’Elegance, an exhibition by Marigold
Randall, during October 2003.
The Hastings College Art Gallery, Hastings, NE, hosted
an exhibition that included work by Rebecca Sittler
during September and October 2003.
The Boston Art Festival held in September 2003, including various PRC members, including Guillermo SrodekHart and Bob Souther.
Additionally, Bob Souther had a photographs featured in
a special insert in the Boston Magazine’s September issue.
David VanBuskirk presented his work in the exhibition
Patterns in the Andes; Celebrating Inca Weavers Today at the
Bixby Library, Vergennes, VT, during October 2003.
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