January | February 2006 - Boston Photography Focus
January | February 2006 - Boston Photography Focus
January | February 2006 - Boston Photography Focus
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<strong>January</strong> | <strong>February</strong> <strong>2006</strong><br />
V o l u m e 3 0 , N u m b e r 1
M I S S I O N S T A T E M E N T<br />
The Photographic Resource Center (PRC) at <strong>Boston</strong> University<br />
is an independent non-profit organization that serves as<br />
a vital forum for the exploration and interpretation of new<br />
work, ideas, and methods in photography and related media.<br />
The PRC presents exhibitions, fosters education, develops<br />
resources, and facilitates community interaction for local,<br />
regional, and national audiences.<br />
B O A R D O F D I R E C T O R S<br />
Rick Grossman, President<br />
David Gordenstein, Vice President<br />
Cathy England<br />
Andrew Epstein<br />
Roger Farrington<br />
Jim Fitts<br />
Michael Jacobson<br />
Keith Johnson<br />
Lou Jones<br />
S T A F F<br />
Terrence Morash, Executive Director/Editor<br />
Leslie Brown, Curator<br />
Michael Christiano, Education Coordinator<br />
Emily Gabrian, Programs Coordinator<br />
Alice Hall, Librarian<br />
Laura Bernier, Work/Study Assistant<br />
Christian Ling, Work/Study Assistant<br />
Katherine Cummings, Intern<br />
Katie Ellison, Intern<br />
Briana Gerard, Intern<br />
Lissa Rivera, Intern<br />
Jenny Stonewall, Intern<br />
Rodger Kingston<br />
Gary Leopold<br />
Susan Lewinnek<br />
Walt Meissner<br />
Bruce Myren<br />
Eliot Salloway<br />
Kim Sichel<br />
Jonathan Singer<br />
G E N E R A L I N F O R M A T I O N<br />
Photographic Resource Center at <strong>Boston</strong> University<br />
832 Commonwealth Avenue, <strong>Boston</strong>, MA 02215<br />
Tel 617-975-0600 prc@bu.edu<br />
Fax 617-975-0606 prcboston.org<br />
H O U R S<br />
Tuesday–Friday: 10–6pm<br />
Thursday: 10–8pm<br />
Saturday–Sunday: 12–5pm<br />
Closed Mondays<br />
A D M I S S I O N<br />
Adults: $3<br />
Students (with valid ID) and Seniors: $2<br />
Members, children under 18, and school groups<br />
are admitted free. Admission is free on Thursdays<br />
and on the last weekend of every month.<br />
P U B L I C T R A N S P O R T A T I O N<br />
Take the Green Line “B” train to the BU West, three stops<br />
west of Kenmore Square.<br />
C O V E R I M A G E<br />
Surendra Lawoti (Somerville, MA), District Chief Peter St. Clair<br />
(Appointed October 31, 1977), from the series “Fire,” C-print,<br />
(original in color), 40 x 30 inches, Courtesy of the artist<br />
D E S I G N C R E D I T S<br />
This issue of the In the Loupe was designed by Todd<br />
Fairchild (www.toddfairchild.com) and printed by<br />
Millenium Graphics.<br />
Armed with an idea, enthusiasm, and a<br />
$3,500 budget, artist Chris Enos filed the<br />
paperwork to incorporate the Photographic<br />
Resource Center on October 6, 1976. Aiming<br />
to serve as both a central information<br />
source for photography-related events, and a<br />
champion of a New England region characterized<br />
by a strong tradition of photographic<br />
activity, the PRC quickly gained interest and<br />
support. Enos and fellow Board members<br />
A.D. Coleman and Jeff Weiss published<br />
Volume 1/Issue 1 of the PRC Newsletter, the<br />
organization’s first public offering, in September<br />
1977 (the newsletter was renamed<br />
in the loupe in September 1996). The PRC<br />
was born.<br />
While much has changed in the three<br />
decades of the PRC’s existence, its mission<br />
continues to reflect the ideals of its founders<br />
and those who followed; the interests of<br />
the PRC’s community continue to serve as<br />
guiding forces for the organization. Now, as<br />
we enter <strong>2006</strong>, I am thrilled to announce<br />
a yearlong celebration of the organization’s<br />
30th anniversary, one in which we will both<br />
honor the history and accomplishments of<br />
the organization, as well as celebrate the<br />
photography of today and the future.<br />
How will we celebrate the 30th anniversary<br />
In short, this milestone will inform everything<br />
the PRC undertakes in <strong>2006</strong>. Breaking<br />
down the various programmatic offerings:<br />
RESOURCES<br />
<br />
Since its inception, the PRC has sought to<br />
inform the community of photographyrelated<br />
events, services, and infor- mation.<br />
In this anniversary year, we plan<br />
on enhancing all of the PRC’s<br />
public resources. The newsletter<br />
has and will adopt several<br />
improvements in the coming<br />
year. In addition to expanding<br />
the publication and a<br />
design that better emphasizes<br />
the photographs,<br />
look for the book<br />
reviews and interviews<br />
to become regular<br />
features. Concerning<br />
the latter, we are<br />
planning a special<br />
issue for the late<br />
a year to<br />
summer/fall that will highlight a number of<br />
individuals who were instrumental to the<br />
PRC’s 30 years of success. The library is also<br />
expected to see dramatic improvements as<br />
we develop a more effective digital card catalog<br />
and security system, as well as increase<br />
our number of acquisitions. The website<br />
will continue to serve as a vital and efficient<br />
information source as we explore additional<br />
ways to implement this technology<br />
in serving the mission. Among the various<br />
improvements in the works are web-based<br />
teacher resources to accompany exhibitions<br />
and major education programs as well as<br />
podcast interviews with photographers and<br />
photography professionals.<br />
EDUCATION<br />
On the heels of a successful education<br />
challenge appeal, a marked increase in all<br />
education programs is underway, as you will<br />
begin to see from this newsletter. One exciting<br />
announcement, developed for the 30th<br />
anniversary, is the re-adoption of a major<br />
lecture series. From <strong>February</strong> to June and<br />
beginning again in September, the PRC will<br />
host some of the most influential photographers<br />
of our time (see within for information<br />
on photojournalist Antonin Kratochvil’s<br />
<strong>February</strong> presentation). Also re-introduced<br />
are the PRC’s master workshops, which<br />
offer the opportunity for members and the<br />
general public to develop their photography<br />
skills under the guidance of those who have<br />
perfected the craft. Most exciting is the<br />
development of youth education programming—both<br />
shorter term programming relative<br />
to the exhibitions as well as more comprehensive<br />
long-term programs (expected<br />
fall <strong>2006</strong>).<br />
Support<br />
The programs and exhibitions of the Photographic Resource<br />
Center are made possible through the generous support<br />
of its members, <strong>Boston</strong> University, various government and<br />
private foundations, and corporations including:<br />
Adesso<br />
American Printing<br />
Apple<br />
Ardon Vinyl Graphics<br />
Art New England<br />
ArtsMedia<br />
ASMP<br />
Associated Press Photos<br />
Becket Papers<br />
Bonni Benrubi Gallery<br />
<strong>Boston</strong> Beer Company<br />
<strong>Boston</strong> Bluegrass Union<br />
<strong>Boston</strong> Cultural Council<br />
<strong>Boston</strong> Park Plaza Hotel<br />
<strong>Boston</strong> University<br />
Calumet Photographic<br />
Cambridge Offset<br />
Printing<br />
The Charles Hotel<br />
Christie’s<br />
City of <strong>Boston</strong><br />
CompUSA<br />
Paula Cooper Gallery<br />
Crestar Mfg.<br />
Deborah Bell<br />
Photographs<br />
Dixie Butterhounds<br />
Eastman Kodak<br />
Epson<br />
Filene’s<br />
FleetCenter Neighborhood<br />
Charities<br />
Fox River Papers<br />
Gallery Naga<br />
Gay’s Flowers and Gifts<br />
Gourmet Caterers
celebrate<br />
EXHIBITIONS<br />
A longtime organizational strength, the exhibitions<br />
program will continue to feature new<br />
ideas and trends in contemporary photographic<br />
activity while developing exhibition<br />
opportunities for regional photographers.<br />
The PRC’s curated exhibitions remain the<br />
focal point of presentation programming<br />
with a special 30th anniversary exhibition<br />
being planned for fall <strong>2006</strong>. Online presentation<br />
programming will continue to be led<br />
by Northeast Exposure Online, the popular<br />
monthly program that features emerging<br />
photographic artists from the region.<br />
Best regards,<br />
Terrence Morash,<br />
Executive Director<br />
SPECIAL EVENTS<br />
While we will be observing the PRC’s<br />
30th anniversary throughout the year, a<br />
celebratory event marking the birth date<br />
will be hosted this fall. However, rather<br />
than focusing on the organization and its<br />
contributions, it will equally aim to honor<br />
the photography community which it serves.<br />
It will truly be a celebration for all of us.<br />
This note serves as an outline for the PRC’s<br />
activities in this important coming year—a<br />
teaser, if you will. Clearly, there is no better<br />
time for those living in this region to be<br />
interested in photography. From the gamut<br />
of programs in development here at 832<br />
Commonwealth Avenue, to the fabulous<br />
exhibitions, events, and more being presented<br />
at organizations throughout this area,<br />
New England remains a stronghold for the<br />
study and practice of photography. We are<br />
proud to further the PRC’s important role<br />
in this community, and look forward to celebrating<br />
with you over the coming months.<br />
Hasselblad<br />
Harpoon Brewery<br />
Helicon Design<br />
Henrietta’s Table<br />
Hotel Commonwealth<br />
Mark Hunt Backdrops<br />
Hunter Editions<br />
Ilford<br />
Jameson & Thompson<br />
Framers<br />
Kabloom<br />
KISS 108 FM<br />
Robert Klein Gallery<br />
Lee Gallery<br />
E.P. Levine<br />
Luminos Photo. Corp.<br />
Irma S. Mann Strategic<br />
Marketing<br />
Massachusetts College<br />
of Art<br />
Massachusetts Cultural<br />
Council<br />
MassEnvelopePlus<br />
MCS Frames<br />
Merry Maids<br />
Miller Block Gallery<br />
Museums <strong>Boston</strong><br />
Bee Digital<br />
National Endowment for<br />
the Arts<br />
Nielsen & Bainbridge Co.<br />
Nikon Inc.<br />
Nylon Magazine<br />
Olympus<br />
Palm Press<br />
Panopticon, Inc.<br />
Perfecta Camera, Corp.<br />
photocurator.org<br />
Photograph<br />
Polaroid Corporation<br />
Rialto<br />
Rouge<br />
Royal Sonesta Hotel<br />
Sandy’s Music<br />
Sebastian’s Catering<br />
Skinner, Inc.<br />
Sonya’s Catering<br />
Spectrum Select Printing<br />
Stanhope Framers<br />
WBUR<br />
Howard Yezerski Gallery<br />
Zeff Photo Supply<br />
Zona Laboratories<br />
Zoo New England<br />
1
2 | announcements<br />
Stuart Whitehurst closing Blake Ogden’s photograph at the<br />
2005 PRC benefit Auction. Photograph by Howard Granat.<br />
$107k Grossed at<br />
PRC Benefit Auction<br />
The 2005 PRC Benefit Auction was a resounding<br />
success. With over 300 people thoroughly<br />
enjoying themselves throughout the evening,<br />
over $107,000 was raised for the PRC’s programming—$12,000<br />
more than the successful<br />
2004 auction. Representing nearly 40% of<br />
our annual budget, this income will allow<br />
us to produce the exhibitions, education<br />
programming, and resources that define the<br />
PRC’s important role within the photography<br />
community. Of course, this success is entirely<br />
due to the incredible generosity of the businesses,<br />
collectors, volunteers, and, most of all,<br />
artists, who selflessly contributed to this event.<br />
We are honored and thankful for their support,<br />
and look forward to another successful<br />
event in <strong>2006</strong>!<br />
Education Program<br />
Challenge a Success<br />
Thanks to contributions from nearly 80<br />
friends of the PRC, including the matching<br />
gift of our angelic anonymous supporter, more<br />
than $83,000 was raised to fund education<br />
programming at the PRC! In addition to<br />
allowing us to hire Education Coordinator<br />
Michael Christiano, it allows us to further<br />
enhance and expand our adult education<br />
programming, while developing new youth<br />
education programming. Bravo to all of you<br />
who made this campaign a resounding success.<br />
PRC Bids Farewell to<br />
Marv Cook<br />
While most members of the PRC’s Board<br />
of Directors are identifiable figures in the<br />
photography/arts community, <strong>Boston</strong> University’s<br />
longtime Vice President of Planning,<br />
Budgeting and Information Marv Cook has<br />
been a somewhat of a less recognizable force.<br />
Appointed to the Board by BU in 1996, Marv<br />
joined the PRC with little knowledge<br />
of photography. Nevertheless, few people have<br />
contributed more to the organization over the<br />
past 10 years. A finance guru, Marv worked<br />
with the staff to hone and guide the organization’s<br />
budget practices. In addition, Marv<br />
has served as an invaluable liaison between<br />
BU and the PRC—lending his guidance on a<br />
gamut of activities. As he begins a well-earned<br />
retirement after three decades at BU, all of us<br />
here at the PRC wish him well and thank him<br />
for all of his hard work.<br />
PRC Now Accepting Entries to the<br />
PRC Members’ Exhibition<br />
Gather those slides and burn those discs! The<br />
postmark deadline for entry into the <strong>2006</strong><br />
PRC Members’ Exhibition is Saturday, <strong>February</strong><br />
18th. Don’t miss this opportunity to show<br />
your work to guest juror Jeanine Fijol, PDN<br />
Photo Editor and to possibly be featured in<br />
the highly competitive and respected exhibition<br />
and newsletter spread. Turn to page 8<br />
for more information including this year’s<br />
entry form.<br />
Designer Out, Designer In<br />
After designing each issue of in the loupe since<br />
its redesign in November 2001, artist Emily<br />
Gallardo is hanging up her mouse due to time<br />
constraints and her burgeoning hand-made<br />
greeting card business. Emily’s keen design<br />
sense has been appreciated by all of us over<br />
the past 4 years. While she will be missed,<br />
we wish her continued success! Taking over<br />
design duties for Emily is Todd Fairchild. A<br />
photographer himself, Todd is excited to dive<br />
in; this <strong>January</strong>/<strong>February</strong> issue is his maiden<br />
in the loupe design. For more information on<br />
Todd, visit www.toddfairchild.com.<br />
Bookstore Now Open<br />
Well, a “bookstore” may be an overstatement.<br />
Truly, it is a bookcase in the PRC lobby.<br />
Nevertheless, the PRC is now selling various<br />
titles, old and new, including signed copies<br />
of publications from recent book signings.<br />
Support the PRC while supplementing your<br />
monograph collection. Stop by the PRC to<br />
see what’s available.<br />
PRC Installation Hours<br />
Please note that the PRC will be open by<br />
appointment only <strong>January</strong> 23-<strong>February</strong> 2 due<br />
to the installation of DOCUMENT. See page 3<br />
for exhibition details.<br />
Participate in the PRC’s Monthly<br />
Critique Groups<br />
The monthly Critique Group is a chance to<br />
relax and discuss your work with other photographers.<br />
Informal presentation and discussion<br />
sessions meet on the third Wednesday of<br />
the month, 7-9pm at the PRC. All are welcome,<br />
no matter your expertise, age, or interest.<br />
For more information or to get on the<br />
group’s email list, contact Jeremiah Johnson<br />
at jeremiah_Johnson@graffiti.net. The next<br />
meeting dates are Wednesday, <strong>January</strong> 18,<br />
<strong>2006</strong> and Wednesday, <strong>February</strong> 22, <strong>2006</strong>.
presentations | 3<br />
EXHIBITIONS IN THE GALLERY<br />
DOCUMENT:<br />
Contemporary Social Documentary Work from<br />
Greater <strong>Boston</strong><br />
FEBRUARY 2-MARCH 26, <strong>2006</strong><br />
Opening Reception:<br />
Thursday, <strong>February</strong> 9, 5:30-7:30pm<br />
THE BU ART GALLERY WILL ALSO BE HOSTING<br />
A RECEPTION FROM 6-8PM<br />
Open House for College Art<br />
Association:<br />
Thursday, <strong>February</strong> 22, 5:30-7pm<br />
THIS RECEPTION WILL OCCUR AT BOTH THE<br />
BU ART GALLERY AND THE PRC<br />
DOCUMENT showcases recent social<br />
documentary work from <strong>Boston</strong> and<br />
on <strong>Boston</strong> through the eyes of 9<br />
emerging and early mid-career photographers. The exhibition aims to<br />
spotlight a new generation of <strong>Boston</strong> documentary photographers as<br />
well as consider a variety of projects and unique approaches to the idea<br />
of social documentary work and the “document.” DOCUMENT is<br />
held in conjunction with <strong>Boston</strong>-themed offerings at the <strong>Boston</strong> University<br />
Art Gallery and <strong>Boston</strong> University’s College of Fine Arts. Please<br />
see page 10 for an essay on this 21st-century view of “<strong>Boston</strong> by <strong>Boston</strong>ians”<br />
and to the right for more information on related exhibitions and<br />
programs by partner institutions.<br />
Above: Surendra Lawoti (Somerville, MA), District Chief Peter St. Clair (Appointed October 31,<br />
1977), from the series “Fire,” C-print (original in color), 2005, 40 x 30 inches, Courtesy of the<br />
artist. Above Right: Ben Gest, Chuck, Alice, and Dale, 2003, printed 2004, pigmented ink jet<br />
print, 40 x 40 inches, Courtesy of the artist and Stephen Daiter Gallery, Chicago, IL<br />
THROUGH JANUARY 22, <strong>2006</strong><br />
As family and friends return home after<br />
the holidays, it’s a great time to get out and<br />
go to a gallery. This group show highlights<br />
emerging and mid-career photographers who<br />
engage and challenge the genres of narrative<br />
and group portraiture. Featured artists<br />
include Julie Blackmon, Ben Gest, Jessica<br />
Todd Harper, Amy Montali, and Sage Sohier. Within their groupings,<br />
these artists—all of whom use their own family and friends in interiors—investigate<br />
ideas of the self and the group as well as the dynamics<br />
of relationships and situations. See how your family pictures stand up!<br />
Visit www.bu.edu/prc/groupportrait for more information.<br />
A CELEBRATION ON COMMONWEALTH AVENUE!<br />
DOCUMENT is held in conjunction with the <strong>Boston</strong> University Art Gallery’s<br />
exhibition A Photographic Portrait of <strong>Boston</strong>, 1840-1865, and will coincide with<br />
the College Art Association’s (CAA) national conference, which will be held<br />
in <strong>Boston</strong>, <strong>February</strong> 22-25. In addition, <strong>Boston</strong> University’s School of Visual<br />
Arts is also sponsoring and hosting a juried BFA show featuring work by New<br />
England area art programs in <strong>Boston</strong> University’s 808 Gallery. Altogether,<br />
these offerings make for many great reasons to get off at the BU West T-stop<br />
(or f-stop as we like to call it)!<br />
BOSTON UNIVERSITY ART GALLERY: 855 COMMONWEALTH AVENUE<br />
A Photographic Portrait of <strong>Boston</strong>, 1840-1865, <strong>February</strong> 10 - April 2, <strong>2006</strong><br />
BOSTON UNIVERSITY 808 GALLERY: 808 COMMONWEALTH AVENUE<br />
New England Regional BFA Exhibition, <strong>February</strong> 14-25, <strong>2006</strong><br />
EXHIBITIONS ONLINE<br />
Northeast Exposure Online — The PRC announces the next installments of Northeast Exposure Online (NEO). The virtual gallery is by invitation only and features a selection of images,<br />
a biography, artist and curator statements, and links.<br />
JANUARY<br />
Sarah Sorg<br />
www.bu.edu/prc/sorg.htm<br />
A graduate of Massachusetts College<br />
of Art, Sara Sorg received her MA<br />
with teacher’s certificate in art and<br />
education from Columbia University<br />
in 2001. Currently, Sorg is a resident of Bangor, ME and teaches high<br />
school art and photography at the Maine Central Institute in Pittsfield,<br />
ME. Her work has been featured at the Bangor Public Library as well<br />
as many venues in MA, including the Cambridge Art Association,<br />
Essex Art Center, and the Fitchburg Art Museum. Featured online are<br />
images from a new series of night photographs. Sorg draws upon her<br />
imagination and interest in astronomy in her stunning images of local<br />
towns, neighbor’s houses, and fields. The images are quiet, still meditations<br />
on the seeming perfection of the world above, combined with the<br />
fleeting, humble domestic realm below.<br />
Sarah Sorg (Bangor, ME), Neighbor and Stars, 2005, Gelatin silver print, 16 x 20 inches,<br />
Courtesy and copyright Sarah Sorg<br />
FEBRUARY<br />
CJ Heyliger<br />
www.bu.edu/prc/heyliger.htm<br />
A graduating senior at the Art<br />
Institute of <strong>Boston</strong> and a native<br />
of Colorado, CJ Heyliger has<br />
been featured in Taking In: The<br />
Best of AIB <strong>Photography</strong> and multiple shows at AIB’s Gallery South. In<br />
addition, he was juried twice into the PRC Student Exhibition and also<br />
featured on the cover of the 2004 student issue of in the loupe. Currently,<br />
he is studio manager and digital printer for Peter Vanderwarker<br />
and darkroom assistant to Jack Lueders-Booth. Featured online will<br />
be selections from his project on industrial cities in New England,<br />
begun in <strong>January</strong> 2005. From Lowell, MA to Lewiston, ME, Heyliger<br />
is tracing the current condition of cities that once boasted large fiber<br />
industries along with their attendant system of mills, canals, dams and<br />
railroads. In his skillfully composed and printed gelatin silver prints,<br />
Heyliger hopes to offer a current document of this post-industrial<br />
past—from dormant and dilapidated sites to converted museums and<br />
high-end lofts—during this important time of transition.<br />
CJ Heyliger (Brookline, MA), Millyard, W.S. Libbey Mills, Lewiston, Maine, 2005, Gelatin silver<br />
print, 16 x 20 inches, Courtesy of the artist
4 | education<br />
LECTURE/BOOK-SIGNING<br />
The cover of Steven B. Smith’s book The Weather and a Place<br />
to Live.<br />
The Weather and a Place to Live<br />
Photographs of the Suburban West<br />
by Steven B. Smith<br />
Thursday, <strong>January</strong> 26, <strong>2006</strong>, 7:00pm<br />
BOSTON UNIVERSITY’S COLLEGE OF<br />
COMMUNICATIONS, AUDITORIUM 101,<br />
640 COMMONWEALTH AVENUE, BOSTON<br />
FREE FOR MEMBERS, FULL-TIME STUDENTS, AND<br />
SENIORS / $5 NON-MEMBERS<br />
COPIES OF SMITH’S BOOK CAN BE PURCHASED<br />
FROM THE PRC FOR $40<br />
Join Steven Smith, professor of photography<br />
at the Rhode Island School of Design, for a<br />
discussion of his new book The Weather and a<br />
Place to Live, which recently earned the Center<br />
for Documentary Studies/Honickman First<br />
Book Prize. This compelling work portrays<br />
the manmade landscape of the western United<br />
States, where we come face to face with the<br />
surreal intersection of the American appetite<br />
for suburban development and the resistant,<br />
rolling, arid country of the desert West. Mr.<br />
Smith will be on-hand to sign copies of the<br />
book following the talk.<br />
PANEL DISCUSSION<br />
To Document Lives<br />
Thursday, <strong>February</strong> 2, <strong>2006</strong>, 7:00pm<br />
BOSTON UNIVERSITY’S COLLEGE OF<br />
COMMUNICATIONS, AUDITORIUM 101,<br />
640 COMMONWEALTH AVENUE, BOSTON<br />
FREE TO THE PUBLIC<br />
The exhibition DOCUMENT features innovative<br />
social documentary work by <strong>Boston</strong><br />
area artists. Several featured artists have used<br />
their work to explore the lives of people often<br />
marginalized by society. Join these artists for a<br />
discussion on what issues compel them to create<br />
projects and how they execute their work.<br />
Among other topics, panelists will address<br />
how and why they select their subjects and<br />
gain access into their worlds, and how they<br />
decide to present those worlds to the public.<br />
Speakers include Chris Churchill, Lisa Kessler,<br />
and Michael Manning.<br />
PROFESSIONAL SEMINAR:<br />
Answering the Call (for entries): A<br />
How-To Guide with Leslie Brown<br />
and Jim Dow<br />
Tuesday, <strong>February</strong> 7, <strong>2006</strong>, 7:00pm<br />
BOSTON UNIVERSITY’S SARGENT COLLEGE,<br />
ROOM 101,<br />
635 COMMONWEALTH AVENUE, BOSTON<br />
$10 MEMBERS/$20 NON-MEMBERS/FREE FOR<br />
FULL-TIME STUDENTS AND SENIORS<br />
Back by popular demand, the PRC’s survival<br />
guide for submitting work to a call for entry!<br />
Find out how you can develop a strong presentation<br />
and stand out from the masses.<br />
Experience the jurying process first-hand<br />
as PRC curator Leslie Brown goes through<br />
examples and offer an insider’s perspective.<br />
This will be a fun, lively, and insightful evening.<br />
Don’t miss out on this opportunity<br />
to hone your submission for the <strong>2006</strong> PRC<br />
Members’ Exhibition.<br />
FILM SCREENING<br />
Film still from PEEPING TOM<br />
PEEPING TOM<br />
Co-presented with the<br />
Coolidge Corner Theatre<br />
Special introduction by <strong>Boston</strong><br />
Phoenix film critic Peter Keough<br />
Monday, <strong>February</strong> 6, <strong>2006</strong>, 7:30pm<br />
THE COOLIDGE CORNER THEATRE<br />
290 HARVARD STREET, BROOKLINE<br />
$6.50 CCT AND PRC MEMBERS<br />
$9.50 GENERAL ADMISSION<br />
This seminal shocker from 1960 nearly<br />
destroyed the career of director Michael Powell<br />
(THE RED SHOES), but is every bit as<br />
good as the thriller that came out just one<br />
year later, PSYCHO. Mark Lewis grew up as a<br />
guinea pig for his father, a biologist who sadistically<br />
tortured his son so he could film the<br />
reactions. Now Mark is a creepy loner whose<br />
only companion is his trusty camera. But this<br />
peeping Tom is not obsessed not with naked<br />
bodies—he’s out to capture the true look of<br />
fear. And he uses his camera to frighten and,<br />
yes, kill the young ladies he spots through the<br />
lens. (Michael Powell, 1960, with Carl Boehm<br />
and Anna Massey)
education | 5<br />
LECTURE<br />
ANTONIN KRATOCHVIL<br />
Thursday, <strong>February</strong> 16, 7:00pm<br />
Antonin Kratochvil, Bush Meat Market, 2004,<br />
from the book [VANISHING].<br />
BOSTON UNIVERSITY PHOTONICS CENTER, AUDITORIUM 206, 8 ST. MARY’S STREET, BOSTON<br />
$10 MEMBERS/$15 NON-MEMBERS/FREE FOR FULL-TIME STUDENTS AND SENIORS<br />
In celebration of its 30th anniversary, the PRC presents a new lecture series featuring nationally<br />
and internationally renowned artists working in photography and related media and photo-historians.<br />
Czech photographer Antonin Kratochvil, a founding member of VII Photo Agency and<br />
one of the premiere photo-journalists of our time, kicks off the series with a discussion of his<br />
work. Over the past 25 years, his assignments have taken him around the world and on diverse<br />
assignments. His work has appeared in The New York Times Magazine, Newsweek, Time, Conde<br />
Nast Traveler, Geo, Mother Jones, Smithsonian, Time, Natural History and the United Nations<br />
Choices magazine. His books include Broken Dream, Incognito, and Vanishing (read PRC Education<br />
Coordinator Michael Christiano’s book review on page 9). He has earned numerous awards<br />
including the Infinity Award from the International Center of <strong>Photography</strong> for the “Journalist<br />
of the Year” (1991), the Leica Medal of Excellence for outstanding achievement in documentary<br />
(1994), the World Press Photo winner in the Portrait Series (1997), and the Alfred Eisenstadt<br />
Award (1998) administered by Columbia University under a grant from Life magazine.<br />
Read Michael Christiano’s review of Kratochvil’s book on page 9.<br />
Antonin Kratochvil, photographed by Matt Bruggmann
6 | education<br />
LECTURE/BOOK SIGNING<br />
Art or Document: Changing<br />
Perceptions of Documentary<br />
<strong>Photography</strong> Since the 1970s<br />
Thursday, <strong>February</strong> 23, <strong>2006</strong>, 7:00pm<br />
BOSTON UNIVERSITY’S<br />
COLLEGE OF COMMUNICA-<br />
TIONS, AUDITORIUM 101,<br />
640 COMMONWEALTH<br />
AVENUE, BOSTON, MA<br />
$5 MEMBERS<br />
$10 NON-MEMBERS<br />
FREE FOR FULL-TIME STU-<br />
DENTS AND SENIORS<br />
Mark Rice, Chair of<br />
the American Studies<br />
Department at St. John Fisher College and<br />
author of Through the Lens of the City: NEA<br />
<strong>Photography</strong> Surveys of the 1970s, discusses the<br />
transformation of documentary photography<br />
in the 1970s. Dr. Rice will address the diminishing<br />
line between documentary and fine art<br />
photography facilitated by the NEA Surveys,<br />
and the lasting impact on the photo industry.<br />
Dr. Rice will be available after the lecture to<br />
sign copies of his book.<br />
Above: The cover of Mark Rice’s book Through the Lens of the<br />
City: NEA <strong>Photography</strong> Surveys of the 1970s.<br />
MASTERS WORKSHOP<br />
Creating a Documentary Project<br />
with Michael Hintlian<br />
Saturday, <strong>February</strong> 25, 10:00am-4:00pm<br />
BOSTON UNIVERSITY’S<br />
COLLEGE OF ARTS AND<br />
SCIENCES, ROOM 226<br />
725 COMMONWEALTH<br />
AVENUE, BOSTON, MA<br />
$55 MEMBERS/$95 NON-<br />
MEMBERS/$45 FULL-TIME<br />
STUDENTS AND SENIORS<br />
RESERVATIONS REQUIRED.<br />
PLEASE CALL 617.975.0600<br />
Join Michael Hintlian for a day long workshop<br />
on the process of crafting a documentary<br />
project—from conception, planning, and<br />
execution to publishing the final body of<br />
work. Mr. Hintlian will spend the first portion<br />
of the workshop discussing, step-by-step,<br />
this process with examples from his recent<br />
book Digging: The Workers of <strong>Boston</strong>’s Big Dig.<br />
During the second portion of the workshop,<br />
participants may present their own projects,<br />
or project concepts for review and discussion.<br />
Above: The cover of Michael Hintlian’s book Digging<br />
PORTFOLIO REVIEWS<br />
Monthly Portfolio Reviews with the<br />
PRC Curator<br />
Review Date: Monday, <strong>February</strong> 13, <strong>2006</strong><br />
CALL IN FOR RESERVATIONS AT 10 AM,<br />
FRIDAY, JANUARY 20<br />
Review Date: Monday, March 6, <strong>2006</strong><br />
CALL IN FOR RESERVATIONS AT 10 AM,<br />
FRIDAY, FEBRUARY 17<br />
These are the dates for 30-minute monthly<br />
portfolio reviews (and corresponding callin<br />
reservation information) with the PRC’s<br />
Curator, Leslie Brown. Reservations are still<br />
accepted on a first-call, first-served basis. It is<br />
highly recommended that you bring supporting<br />
materials (resume, images, and statement).<br />
You must be a PRC member to participate<br />
in the reviews and members are allotted one<br />
review per year.
ook review | 7<br />
[VANISHING]<br />
Millbrook: de.MO, 2005<br />
233 pages. Hardback.<br />
ISBN: 0-9705768-3-8. $54.00<br />
REVIEWED BY MICHAEL CHRISTIANO,<br />
PRC EDUCATION COORDINATOR<br />
Vanishing represents a life’s work of Antonin<br />
Kratochvil’s and includes 16 powerful photoessays<br />
compiled over two decades. The images<br />
in the essays suggest the devastating effect<br />
humanity has had on its environment and on<br />
its own kind. It presents a world where people<br />
and places are poised on the verge of extinction.<br />
Included are images of cyanide gold<br />
mining in Guyana, war-torn Beirut, poaching<br />
and the black market trade in Congo,<br />
the effects of chemical waste in Louisiana, oil<br />
spills in the Ecuadorian jungle, Chernobyl,<br />
the Angolan diamond trade that funded the<br />
nation’s bloody civil war, the killing fields in<br />
Cambodia, and Iraq, among others.<br />
Kratochvil presents the human subjects of his<br />
photographs with a genuine sense of empathy<br />
and understanding. His sensibilities seem<br />
attuned to their plight and were probably<br />
honed through his own childhood experiences,<br />
having been raised under totalitarian<br />
rule in Czechoslovakia.<br />
Antonin Kratochvil, Poisoned Earth, Mahdia, 2004<br />
The black and white images presented in<br />
Vanishing are stark and compelling. Kratochvil<br />
alternates vast land and cityscapes with intimate<br />
portraits, thus capturing the breadth of<br />
afflicted environments as well as the vulnerability<br />
of individual lives. This variation in perspective<br />
is especially clear in Birds-Eye-View,<br />
an aerial view of the Dow plant in Louisiana’s<br />
“Cancer Alley,” when compared to Poachers, a<br />
portrait of three poachers taken in the Congo.<br />
While the first image presents the magnitude<br />
of the situation, Poachers presents the explicit<br />
humanity of people who have violated the<br />
sanctity of their local flora and fauna.<br />
Michael Persson’s poetic essays deftly connect<br />
the images in the book. Persson and Kratochvil<br />
have collaborated previously and the cohesiveness<br />
of their respective contributions demonstrates<br />
a familiarity with each other’s work.<br />
Persson skillfully weaves together historical<br />
information, first person narrative from those<br />
involved, official documentation, metaphor<br />
and vivid literary imagery to provide a context<br />
for Kratochvil’s images. Persson’s words make<br />
palpable the desolation and desperation felt<br />
by many of the subjects as evidenced in the<br />
following stanza from bohemia_the memories of<br />
things lost:<br />
A fine rain falls and the afternoon, like the<br />
town, is grey.<br />
It’s grey in the sky,<br />
grey on the ground,<br />
grey in the faces of the people here.<br />
When set against Persson’s description<br />
Kratochvil’s image of Bohemians Watching<br />
Demolition, a scene depicting passers-by casually<br />
taking in the destruction of a building,<br />
possesses an even deeper psychological profile.<br />
The dusty mist that shrouds the proceedings<br />
seems to reflect the inner turmoil of the Bohemian<br />
people who have seen the past glory of<br />
their nation faded, crumbled, like the building<br />
before them.<br />
As stated in the opening essay “This body of<br />
work offers nothing in the way of answers,<br />
neither is it a sermon in hopes of brighter<br />
days.” The hope of this book comes in exposing<br />
the plight of those afflicted, both human<br />
and environment, which are inextricably connected,<br />
to the world. It suggests a hope that<br />
awareness will bring to the fore a desire to act.<br />
The only remaining question is will humanity<br />
heed the call.<br />
KRATOCHVIL LECTURES AT THE PRC ON FEBRUARY 16TH. TURN TO PAGE 6 FOR DETAILS.
8 | opportunity<br />
Paul Weiner, Safe Haven, 2002, Cibachrome print, 24 x 20<br />
inches. Courtesy of the artist. After being selected for the<br />
2005 PRC Members’ Exhibition, Somerville’s Weiner<br />
received a 2005 Massachusetts Cultural Council Artist<br />
Grant for <strong>Photography</strong>.<br />
On the organization’s 30th anniversary, the<br />
PRC is pleased to present the 11th annual<br />
<strong>2006</strong> PRC Members’ Exhibition. A showcase<br />
for the outstanding talent displayed by our<br />
members, the exhibition is a great opportunity<br />
to view a slice of the best and brightest as well<br />
as see topics in which contemporary minds<br />
are engaged. With only 10-20 people selected<br />
from the close to 300 expected entries, the<br />
PRC Members’ Exhibition is a highly competitive<br />
and nationally revered program. Winners<br />
will be highlighted in the May/June issue of<br />
in the loupe, which is distributed to over 2,500<br />
visitors, members, museums, and university<br />
and college libraries all over the United States.<br />
Guest jurors represent esteemed curators,<br />
photographers and photography professionals<br />
from the region and beyond. Past guest<br />
jurors of the PRC Members’ Exhibition have<br />
included: Alison Devine Nordström, Curator<br />
of <strong>Photography</strong>, George Eastman House International<br />
Museum of <strong>Photography</strong> and Film;<br />
Rachel Rosenfield Lafo, Director of Curatorial<br />
Affairs, DeCordova Museum and Sculpture<br />
Park; Deborah Kao, Curator of <strong>Photography</strong>,<br />
Harvard University’s Fogg Art Museum; Richard<br />
Woodward, Editor at Large, Doubletake<br />
Magazine; Edward Earle, Curator of Digital<br />
Media, International Center of <strong>Photography</strong>,<br />
Diana Gaston, formerly Associate Director of<br />
San Francisco Camerawork and Curator at the<br />
Museum of Photographic Arts in San Diego,<br />
and Chris Enos, artist, educator, and Founder<br />
of the PRC.
DOCUMENT:<br />
Contemporary Social Documentary Work from Greater <strong>Boston</strong><br />
<strong>February</strong> 2 - March 26, <strong>2006</strong><br />
BY LESLIE K. BROWN, PRC CURATOR<br />
Mariliana Arvelo (Cambridge, MA), Untitled, Newton, MA, 2005, C-print, (original in color),<br />
24 x 30 inches, Courtesy of and copyright Mariliana Arvelo
Installation shot of Jaimi Laird touching James Patten’s piece at<br />
the Piano Factory Gallery, July 2005. James Patten (Cambridge,<br />
MA), “Tactile Photograph” of Mariliana Arvelo’s Nagala’at<br />
performers II, Watertown, MA, 2004, CNC laser etching on<br />
wood, 2005, 15 x 24 inches, Courtesy of the artists.<br />
DOCUMENT showcases recent social<br />
documentary work from <strong>Boston</strong> on <strong>Boston</strong><br />
through the eyes of 9 emerging to early midcareer<br />
photographers. The title of this exhibition,<br />
DOCUMENT, is itself a call to arms as<br />
well as a record. As a verb, the word “document”<br />
implies the act of furnishing factual<br />
support or portraying what is in front of you.<br />
As a noun, “document” references the proof<br />
or evidence. Any exhibition itself is all of these<br />
things and more—a time capsule of what is<br />
deemed important at that time, culturally and<br />
aesthetically, by both the artists and the curator.<br />
Unfortunately, social documentary work<br />
rarely finds its way into galleries, commercial<br />
or non-profit, and increasingly so, the press.<br />
Nevertheless, <strong>Boston</strong> has a long tradition of<br />
documentary work, burgeoning especially<br />
in the 1970s and 80s—from its production<br />
to exhibition, collection, and publication. 1<br />
Acknowledging the important endeavors<br />
that have come before, and even the recent<br />
National Millennium Survey (1995-2000), this<br />
exhibition respectfully offers up for consideration<br />
a new slate of regional photographers,<br />
methodologies, and projects. 2 Borrowing<br />
a phrase from the prospectus of the NEAfunded<br />
“<strong>Boston</strong> Photo-Documentary Project”<br />
from the early 1980s of which PRC founder<br />
Chris Enos was a part, the photographers<br />
featured in DOCUMENT build upon this<br />
groundwork and equally serve as “historians<br />
of the present.” 3<br />
DOCUMENT is held in conjunction with<br />
the <strong>Boston</strong> University Art Gallery’s exhibition<br />
A Photographic Portrait of <strong>Boston</strong>, 1840-1865<br />
(<strong>February</strong> 10 - April 2, <strong>2006</strong>) and will coincide<br />
with the College Art Association’s (CAA)<br />
national conference, which will be held in<br />
<strong>Boston</strong>, <strong>February</strong> 22-25, <strong>2006</strong>. In addition,<br />
<strong>Boston</strong> University’s School of Visual Arts is<br />
sponsoring and hosting a juried BFA show for<br />
CAA featuring work by 14 New England area<br />
art programs in the 808 Gallery. Interestingly<br />
enough, almost all of the photographers in<br />
the PRC’s show are not originally from this<br />
area. Given this region’s strength in education,<br />
photographers are often drawn to the city<br />
and stay, lending their unique perspectives to<br />
Greater <strong>Boston</strong>.<br />
BOSTON AND<br />
THE DOCUMENT SCENE<br />
Admittedly so, DOCUMENT offers forth a<br />
very wide swath of topics and approaches.<br />
While this selection does hope to be an<br />
introduction to socially-oriented and sociallyconscious<br />
work going on in and about the<br />
city today, it does not claim to be complete.<br />
It concentrates on people-based work and<br />
saves the natural and built environment (two<br />
elements very unique in and to <strong>Boston</strong>) for<br />
another project and future consideration.<br />
Likewise, just as each selected topic differs<br />
vastly—ranging from Somerville firefighters<br />
to the homeless in Chinatown—so does each<br />
photographer’s method. A number of photographers<br />
use one particular group or person<br />
to elaborate on issues that are specifically<br />
<strong>Boston</strong>-related, and others showcase issues<br />
that affect the whole nation through a local<br />
connection. Several photographers incorporate<br />
a significant amount of text and context; others<br />
aim for minimalism and overall aesthetic<br />
effect. This balance between “art” and “document”<br />
is an ongoing debate within academia<br />
and documentary photography and recapitulated<br />
periodically. Indeed, several current<br />
artistic trends are reflected here—interactivity,<br />
the grid, the solo, close-up portrait—but the<br />
photographers attempt to reference or use<br />
them for other aims.<br />
As the PRC beings to celebrate its 30th anniversary,<br />
and we look back to 1976, it is wise<br />
to ingest the lessons learned from the 1970s<br />
photographic documentaries when considering<br />
the work and photographers in DOCU-<br />
MENT. As Mark Rice, chair of the American<br />
Studies department at St. John Fisher College<br />
(Rochester, NY) points out in his insightful<br />
study Through the Lens of the City: NEA<br />
Funded <strong>Photography</strong> Surveys of the 1970s:<br />
[…there is no] “one correct way to undertake<br />
a survey…[no] laundry list of sociological<br />
topics that need to be answered.” 4 Later, he<br />
goes on to remind us of the importance of<br />
these surveys to documentary and art photography<br />
today:<br />
“In part because of these projects, photography<br />
has shaken free from the impossible<br />
burden of objectivity. We are more apt than<br />
our predecessors were to recognize that all<br />
photographs are art and documents, mirrors<br />
and windows, traces and transformations.<br />
Representations of place are inherently<br />
political, and art is always social.” 5<br />
Together, the works and photographers in<br />
DOCUMENT share many of these key sensibilities<br />
and urges. Elements that further unite<br />
the work are the photographers’ passionate<br />
involvement and relationships, often repeated<br />
and often long-term, with their topics and<br />
their subjects. Like any good documentarian<br />
or photojournalist, their desires go beyond<br />
simply clicking the shutter, and it shows.<br />
Their projects are self-conscious and often<br />
self-funded. Most of the projects were born<br />
out of a personal desire to know or experience<br />
more about a certain group or community<br />
matter. Accordingly, many of the artists are<br />
highly involved with a whole host of activist,<br />
support, and charitable organizations.<br />
Furthermore, each of these undertakings<br />
represents only one of many issues in which<br />
the photographers are interested. In order<br />
to fuel such missions, they hold day jobs as<br />
adjunct professors and educators as well as<br />
professional, commercial, and editorial photographers.<br />
What follows is a brief synopsis<br />
of the photographers and projects featured in<br />
DOCUMENT.<br />
MARILIANA ARVELO AND<br />
JAMES PATTEN (Cambridge, MA)<br />
Mariliana Arvelo and James Patten exemplify<br />
a unique partnership and approach to social<br />
documentary. Arvelo began this project<br />
through Jaimi Lard, a remarkable woman<br />
who was born completely deaf with almost<br />
no vision and works in public relations for<br />
the Perkins School for the Blind in Watertown,<br />
MA (perhaps best know for its famous<br />
alumna, Helen Keller). Through Laird,<br />
Arvelo was introduced to a larger deaf-blind<br />
community centered around the Deaf Blind<br />
Contact Center and began to photograph<br />
and learn sign language. Based on Arvelo’s<br />
compelling color photographs, her partner<br />
Patten then designed a computer program to<br />
produce a series of “tactile photographs” on<br />
wood panels through a CNC laser etching<br />
process. The result is a photographic relief<br />
that can be touched and is truly interactive<br />
and educational for people of all abilities.<br />
Born in Caracas, Venezuela, Arvelo graduated<br />
in 2002 from the New England School<br />
of <strong>Photography</strong>, specializing in editorial<br />
photography and photojournalism. Her<br />
work has appeared in several international<br />
publications and been exhibited at the Danforth<br />
Museum of Art (Framingham, MA),<br />
the ARC Gallery (Chicago, IL), and the<br />
Gallery at the Piano Factory (<strong>Boston</strong>, MA),<br />
among others. Originally from Virginia,<br />
Patten has exhibited or performed in venues<br />
such as Art Interactive (Cambridge, MA),<br />
Museum of Modern Art (New York, NY),
12 | DOCUMENT<br />
Claire Beckett (Jamaica Plain, MA), Specialist Takia Rust,<br />
1164th Transportation Company, Framingham, MA, From<br />
the series “National Guard,” 2005, C-print, (original in color),<br />
24 x 20 inches, Courtesy of the artist<br />
the Museo Guggenheim Bilbao (Bilbao,<br />
Spain), the Ars Electronica Center (Linz,<br />
Austria), among many other international<br />
venues. Patten is currently completing his<br />
Ph.D. at the Massachusetts Institute of<br />
Technology’s Media Lab. Their websites are<br />
arvelophoto.com and jamespatten.com.<br />
CLAIRE BECKETT<br />
(Jamaica Plain, MA)<br />
Since 2004, Claire Beckett has been photographing<br />
members of the Massachusetts<br />
National Guard. Traveling to a variety of<br />
training camps in the Greater <strong>Boston</strong> area—<br />
from Dorchester, to Hingham, Framingham,<br />
and the cape—Beckett usually stays the weekend<br />
along with these soldiers in training. The<br />
MA National Guard recently made headlines<br />
for its decline in numbers and recruitment<br />
efforts in malls. Beckett’s concern for this<br />
group stems in part from a curiosity about<br />
war and those that represent our country and<br />
us. Most importantly, perhaps, she is interested<br />
in the attendant personal transformation<br />
that often goes along with someone’s service,<br />
before and after they enter conflict. Beckett’s<br />
project calls into question many issues, from<br />
the balance of civilian and military life (these<br />
forces refer to themselves “M-day” or Mobilization<br />
day soldiers) to the role of the military<br />
and war in society.<br />
Originally from Chicago, IL, Beckett earned<br />
a BA in Anthropology from Kenyon College<br />
(Gambier, OH) and is expected to earn her<br />
MFA in photography from Massachusetts College<br />
of Art this spring. From 2002-2004, she<br />
was a Peace Corps Volunteer and AIDS educator<br />
in the Republic of Benin in West Africa.<br />
SUZI CAMARATA (<strong>Boston</strong>, MA)<br />
What began as a project for Suzi Camarata’s<br />
studies at the Art Institute of <strong>Boston</strong> in 2001,<br />
has since grown into a deep relationship with<br />
the ethnically and economically-diverse neighborhood<br />
she calls home, Mission Hill. For 3<br />
years, she has photographed the businesses<br />
that line Tremont Street and Huntington Avenue<br />
for a community calendar to benefit Mission<br />
Hill Main Streets. Part of the National<br />
Trust for Historic Preservation’s Main Street<br />
Program and a non-profit, the Mission Hill<br />
neighborhood joins 18 other designated areas<br />
sponsored by the city of <strong>Boston</strong>. From the<br />
Hispanic-oriented Fuentes Market rebuilt<br />
after a fire to a Somalian store turned coffee<br />
shop which continues to act as a local outpost<br />
for social counseling, the establishments represent<br />
a microcosm of <strong>Boston</strong> and its development.<br />
Even these short 5 years, the area has<br />
begun to show signs of gentrification, with<br />
artist live/work spaces and chain businesses<br />
beginning to replace the very same enterprises<br />
she first documented.<br />
Born in Korea, Camarata grew up in Japan<br />
and Dallas, TX. She holds a BA in political<br />
science from the University of Rochester<br />
(Rochester, NY) and pursued studies in<br />
photography at Art Institute of <strong>Boston</strong>. Her<br />
exhibitions include solo shows at Gallery Diablo<br />
in Mission Hill and group exhibitions at<br />
venues such as Panopticon Gallery (Waltham,<br />
MA) and the Texas Photographic Society (San<br />
Antonio, TX). Camarata is a freelance commercial<br />
photographer, specializing in portraits<br />
and weddings. Her website is camarataphotography.com.<br />
CHRIS CHURCHILL (Amesbury, MA)<br />
Christopher Churchill’s project focuses on<br />
the Patrick O’Hearn Elementary School in<br />
<strong>Boston</strong>’s Dorchester neighborhood. The<br />
school sits on Dorchester Avenue—in close<br />
proximity to potential inner city issues—and<br />
serves children from diverse ethnic, linguistic,<br />
and ability backgrounds in grades K-5.<br />
The co-founder of the school, Dr. William<br />
Henderson has been an educator in <strong>Boston</strong><br />
for the past 33 years, and the principal of<br />
O’Hearn for the last 16. Many of the school’s<br />
over 220 students qualify for a free or discounted<br />
lunch. With a relatively low student<br />
to teacher ratio, the school itself boats a high<br />
level of parental involvement. Churchill’s<br />
stunning portrait of Dr. Henderson, who is<br />
visually-impaired, shows him posed pensively<br />
in his school’s halls, the raking light streaming<br />
through the windows. O’Hearn is nationallyrecognized<br />
for its full-inclusion program—<br />
integrating students with general, special, and<br />
gifted needs together—and Churchill’s images<br />
reflect this unique diversity.<br />
Born in Maine, Churchill graduated from the<br />
Maine Photographic Workshops in 1998 then<br />
moved on to study with John Goodman and<br />
Gus Kayafas in <strong>Boston</strong>. His recent exhibitions<br />
include a two-person show at Phillips Exeter<br />
Academy (Exeter, NH) and a solo show at the<br />
Salt Institute of Documentary Studies (Portland,<br />
ME). Both exhibits focusing on a body<br />
of work created on the criminal unit of the<br />
Augusta Mental Health Institute. Churchill’s<br />
work can be found in many collections and<br />
galleries including the <strong>Boston</strong> Public Library,<br />
The Addison Gallery of American Art (Andover,<br />
MA), the <strong>Boston</strong> Drawing Project at the<br />
Bernard Toale Gallery and the DeCordova<br />
Museum Corporate Art Program (Lincoln,<br />
MA). His editorial and commercial clients<br />
include <strong>Boston</strong> Magazine, The Sunday Globe<br />
Magazine, Harvard University, Hill Holliday<br />
Advertising Agency and The Federal Reserve<br />
Bank. Churchill currently teaches various<br />
one-week classes at the Maine Photographic<br />
Workshops. His most recent project is a<br />
series on religion in America. His website<br />
in www.christopherchurchill.com.<br />
Suzi Camarata (<strong>Boston</strong>, MA), Fuentes Market, From the series<br />
“Inside Mission Hill” and the 2004 Mission Hill Main Streets<br />
Calendar, C-print, (original in color), 2003, 12 1/4 x 12 1/4<br />
inches, Courtesy of the artist and copyright Suzanne Camarata
DOCUMENT | 13<br />
Christopher Churchill (Amesbury, MA), Dr. Bill Henderson,<br />
from the series “Patrick O’Hearn Elementary School,<br />
Dorchester, MA,” 2005, gelatin silver print, Courtesy of<br />
and copyright Christopher Churchill<br />
LISA KESSLER (<strong>Boston</strong>, MA)<br />
From 2002 to 2004, Lisa Kessler photographed<br />
the sexual abuse crisis in <strong>Boston</strong>’s<br />
Roman Catholic Church as a project titled<br />
“Heart in the Wound.” In <strong>Boston</strong> alone over<br />
800 people reported abuse to the church<br />
(it is estimated that 100,000 were abused<br />
nationally). Kessler took great care to show<br />
the whole gamut of the crisis from the protests<br />
at the Cathedral of the Holy Cross in the<br />
South End (just down the street from where<br />
Kessler lives) to Cardinal Bernard Law’s resignation<br />
in December 2002 and Bishop Sean<br />
O’Malley’s installation, to the settlements,<br />
support groups, and eventual legislation.<br />
Through the project, Kessler aimed not only<br />
to document and shed light on this pivotal<br />
period and issue in her sensitive black and<br />
white images, extensive interviews, and short<br />
film on DVD, but most importantly to use<br />
it as a platform from which to discuss child<br />
sexual abuse in general.<br />
Originally from New York, Kessler is a freelance<br />
documentary and editorial photographer<br />
and educator with almost 20 years of experience.<br />
Currently teaching at Northeastern<br />
University and the Maine Photographic<br />
Workshops, she holds a BA in history from<br />
Brown University and a MS in journalism<br />
and photojournalism from <strong>Boston</strong> University.<br />
Kessler was a finalist in the 2005 Artist Grant<br />
Program for Massachusetts Cultural Council,<br />
and in 2004 received an Honorable Mention<br />
for the Honickman Foundation First<br />
Book Prize in photography from the Center<br />
for Documentary Studies at Duke University<br />
(Durham, NC) for this project. An early version<br />
of “Heart in the Wound” received the<br />
2002 Award of Excellence from the Pictures<br />
of the Year International competition in the<br />
Magazine News Story category. Kessler’s work<br />
is in the permanent collection of the Philadelphia<br />
Museum of Art. She has exhibited at<br />
the Danforth Museum of Art (Framingham,<br />
MA), Scollay Square Gallery (<strong>Boston</strong>, MA),<br />
<strong>Boston</strong> Arts Academy, and the Birmingham<br />
Civil Rights Institute (Birmingham, AL).<br />
SURENDRA LAWOTI<br />
(Somerville, MA)<br />
Surendra Lawoti’s project, “Fire,” presents<br />
firefighters from the five fire stations in his<br />
adopted hometown of Somerville, MA.<br />
Lawoti approaches his work by spending<br />
countless hours listening to the stories of the<br />
firefighters. He is interested in their experiences<br />
in confronting the wrath and unpredictability<br />
of the fires, as well as the uncertainties,<br />
close calls, and losses. From the piercing stare<br />
of District Chief Peter St. Clair (Appointed<br />
October 31, 1977) to the casual integrity of<br />
Firefighter William James Powers (Appointed<br />
October 12, 1969), Lawoti approaches each<br />
person with a close-up, straightforward effect<br />
and style. Currently, he is expanding this project<br />
by photographing the firefighters of the<br />
neighboring city of Cambridge, MA.<br />
A native of Nepal, Lawoti came to the US<br />
in 1994. He received his BA in photography<br />
from Columbia College Chicago and his<br />
MFA in photography from Massachusetts<br />
College of Art this past spring. Featured in a<br />
number of solo and group exhibitions, Lawoti<br />
has received grants from Artadia (2002) and<br />
Chicago’s Department of Cultural Affairs<br />
(2001 and 2002). His work is included in the<br />
LaSalle Bank Collection, Ruttenberg Collection,<br />
and the Citibank Corporate Collection.<br />
Lawoti has taught for the Marwen Foundation,<br />
which offers after-school programs to<br />
underprivileged Chicago-area high school<br />
students. In addition, he has taught at Massachusetts<br />
College of Art’s high school summer<br />
program as well as the Cambridge School<br />
of Weston’s summer art program. Currently,<br />
he is an adjunct professor of <strong>Photography</strong> at<br />
Montserrat College of Art (Beverly, MA) and<br />
also works for Color Services, Inc (Needham,<br />
MA). He was recently accepted into the <strong>Boston</strong><br />
Drawing Project at the Bernard Toale Gallery<br />
(<strong>Boston</strong>, MA). Lawoti’s website is www.<br />
surendralawoti.com.<br />
Lisa Kessler (<strong>Boston</strong>, MA), Prostrate, <strong>Boston</strong>, MA, May 2002, From<br />
the series “Heart in the Wound,” 2002, gelatin silver print, 16 x 20<br />
inches, Courtesy of and copyright Lisa Kessler<br />
MICHAEL MANNING<br />
(Cambridge, MA)<br />
Michael Manning’s featured project began<br />
in the winter of 2002/2003 with his desire<br />
to discover for himself how the economy and<br />
cuts in social programs were affecting people<br />
living on <strong>Boston</strong>’s streets. On his first day out,<br />
he met Lee, the leader of a group of homeless<br />
persons, self-titled “La Familia,” generally<br />
living near Chinatown. After a bit of testing,<br />
Lee allowed him into their world. The next<br />
day Manning returned to find out that one of<br />
the group, Ramiro, or Papa as Lee called him,<br />
had suffered a serious head injury and was<br />
taken to the hospital. Ramiro spent almost 2<br />
months at Spaulding Rehabilitation Center,<br />
during which time his family often undertook<br />
the long trek to visit him. Only minutes after<br />
his release back to the street, Ramiro started<br />
drinking again. “La Familia” continues to look<br />
after each other, a true family in every sense<br />
of the word. (As an apt coda, Lee will get her<br />
first apartment this December.) Manning’s<br />
project is an insightful, human look into a<br />
world we often see in <strong>Boston</strong>, but sadly is<br />
often overlooked.<br />
A Cambridge-based photographer with over<br />
15 years of experience, Manning has been<br />
awarded four 1st place awards from the New<br />
England Press Association. Originally from<br />
New York, Manning attended Nova Scotia<br />
College of Art and Design and graduated<br />
from the Art Institute of <strong>Boston</strong>. He has
14 | DOCUMENT<br />
Michael Manning (Cambridge, MA), Lee on the corner, Frances<br />
and Churro stay warm on the grate, 2003, From the series “La<br />
Familia,” 2003, gelatin silver print, 14 x 21 inches, Courtesy<br />
of and copyright Michael Manning<br />
exhibited at the <strong>Boston</strong> Architectural Center,<br />
Fidelity Corporation (<strong>Boston</strong>, MA), and the<br />
Danforth Museum of Art (Framingham, MA),<br />
for which he was juried into the biennial New<br />
England Photographers twice and won<br />
a purchase award in 2005. A former staff<br />
photographer to CNC publications, he has<br />
also contributed to the Associated Press,<br />
New York Times, Rolling Stone, <strong>Boston</strong> Magazine,<br />
and the <strong>Boston</strong> Globe, among others.<br />
Manning’s other projects include an inside<br />
look at a large Greek Orthodox Church in<br />
Watertown, MA, the festival of Cosmas and<br />
Damien in East Cambridge, MA, and an<br />
ongoing series on his own family. His website<br />
is michaelmanningphoto.com.<br />
AMBER DAVIS TOURLENTES<br />
(Somerville, MA)<br />
For the past eight years, Davis has been<br />
photographing her family: her gay father, his<br />
lifelong partner, mother and stepfather as well<br />
as other gay-parented families. This project,<br />
“Families on Stage,” features selections of<br />
images of <strong>Boston</strong> area gay-parented families<br />
taken during Family Week in Provincetown,<br />
MA over the course of 4 years (2002-2005).<br />
Sponsored by the Family Pride Coalition—a<br />
unique non-profit organization that supports<br />
legislation, funding, and research regarding<br />
LGBT families—the weeklong conference<br />
draws thousands and garners national attention.<br />
Taken on stage at the local town hall,<br />
each portrait serves to put forth a muchneeded<br />
candid glimpse of the gay family,<br />
which recently shifted demographically to<br />
the <strong>Boston</strong> suburbs. Davis plays with expectations<br />
of documentary work with her frank<br />
compositional choices and sheer repetition.<br />
A unique blending of art and activism, Davis’<br />
project takes on increased meaning given the<br />
ruling on gay marriage in our state, but also<br />
speaks to how we all picture ourselves as and<br />
within family.<br />
A native of <strong>Boston</strong>’s South End, Davis<br />
received her MFA in <strong>Photography</strong> and Computer<br />
Arts at the University of Massachusetts<br />
at Amherst in 1998 and then taught at Princeton<br />
University (Princeton, NJ). Currently,<br />
she teaches photography and new media at<br />
Massachusetts College of Art and Emerson<br />
College (<strong>Boston</strong>, MA). She is involved with<br />
many activist and support groups such as<br />
HRC (Humanity Rights Campaign), Families<br />
Like Mine, and COLAGE (Children of<br />
Lesbians and Gays Everywhere). Davis’s work<br />
with gay-parented families has been featured<br />
in countless solo and group exhibitions and<br />
gay, lesbian, and transgendered targeted publications.<br />
In 2005, she received one of five<br />
individual grants in photography from the<br />
Massachusetts Cultural Council. Her website<br />
is amberdavisphotographer.com.<br />
CONCLUSIONS<br />
Each of the photographers in DOCUMENT<br />
has expressed to me, on various occasions and<br />
in various ways, an assortment of sentiments<br />
beginning with the same verb: “remember….”.<br />
Remember the issues behind the<br />
photos. Remember the subjects. Remember<br />
Amber Davis Tourlentes (Somerville, MA), detail of Families<br />
On Stage, one family from the <strong>Boston</strong> area out of the series<br />
“Family Portraits,” Archival ink jet print, (original in color),<br />
2002-2005, dimensions variable, Courtesy of the artist<br />
that these people are sharing their lives. I<br />
encourage you, as readers and viewers, to consider<br />
this advice as well. What do the subjects<br />
give (or not give) to the photographer and<br />
by extension, to us What do we take from<br />
this documentary encounter What could or<br />
should we give back to them The photographs<br />
on display in the gallery represent only<br />
the tip of the iceberg for the photographers<br />
and for the PRC. Inspired by the exhibition,<br />
we have planned an extensive menu of educational<br />
programs (see page 4), school tours, and<br />
an online component with additional information,<br />
interviews, and links. As an added<br />
resource, in the gallery and online, the PRC<br />
presents what hopes to be an ever-expanding<br />
annotated timeline of past and current documentary<br />
projects by <strong>Boston</strong> photographers<br />
focusing on <strong>Boston</strong>. As this goes to press, even<br />
more outreach efforts are in the works. Philosophically,<br />
these educational offerings are as<br />
much a part of the exhibition as anything else.<br />
Seen through the eyes and lenses of these 9<br />
artists and their distinctive interests, sensibilities,<br />
and methods, I hope a larger picture of<br />
<strong>Boston</strong> and some of the social issues before us<br />
at this particular time will come into focus.<br />
Beginning with the opening of the gallery<br />
exhibition, we encourage you to visit the<br />
online component to DOCUMENT at www.<br />
bu.edu/prc/document. In addition, a special<br />
display of publications related to the themes<br />
in the exhibition will be available in the<br />
PRC’s Aaron Siskind library.
DOCUMENT | 15<br />
ENDNOTES<br />
1<br />
Two key publicly-funded projects in <strong>Boston</strong><br />
were produced under the auspices of the<br />
National Endowment for the Arts (NEA)<br />
and the Massachusetts Bay Transportation<br />
Authority (MBTA). Sponsored by the Artists<br />
Foundation, the “<strong>Boston</strong> Photo-Documentary<br />
Project” focused on the areas of the<br />
Leather District and the Fort Point channel<br />
neighborhood between 1980 and 1982. It<br />
included PRC founder Chris Enos, Richards,<br />
Kipton Kumler, John Rizzo, Sage Sohier,<br />
and Jim Stone. Another project concerned<br />
the dismantling of the Orange line elevated<br />
train and included photographers David<br />
Akiba, Jack Lueders-Booth, Lou Jones, Linda<br />
Swartz, Melissa Shook, among others (1984-<br />
1987). The images from these surveys are<br />
archived respectively at the Museum of Fine<br />
Arts, <strong>Boston</strong> and the <strong>Boston</strong> Public Library.<br />
Other projects related to <strong>Boston</strong> included<br />
the “Outer <strong>Boston</strong> Project” (1980), focusing<br />
on the areas between Route 128 and I-495,<br />
sponsored by the Art Institute of <strong>Boston</strong> and<br />
a survey of Brockton (1981), sponsored by<br />
the Brockton Art Museum; both were NEA<br />
funded. For a complete list of NEA funded<br />
projects see Mark Rice, Through the Lens of the<br />
City: NEA <strong>Photography</strong> Surveys of the 1970s,<br />
Jackson: University of Mississippi Press,<br />
2005. An important social and documentary<br />
photography collection, which is now on<br />
permanent deposit at Harvard University’s<br />
Fogg Art Museum, was recently honored with<br />
an exhibition in fall 2005 titled, A New Kind<br />
of Historical Evidence: Photographs from the<br />
Carpenter Center Collection. A unique documentary<br />
publication, DoubleTake magazine<br />
was founded in 1995 by Harvard Social Ethics<br />
Professor of Dr. Robert Coles, and called<br />
Somerville’s Davis Square its home from 1999<br />
until it ceased publication in 2003 and closed<br />
its doors in 2004. For an excellent overview<br />
of <strong>Boston</strong> documentary work, including its<br />
exhibition, collection, and publication, see the<br />
DeCordova Museum and Sculpture Park exhibition<br />
catalogue <strong>Photography</strong> in <strong>Boston</strong>: 1955-<br />
1985, <strong>Boston</strong>: MIT Press, 2000. The PRC<br />
aims to have an extensive, ongoing annotated<br />
timeline on display in the gallery and online<br />
of documentary projects concerning <strong>Boston</strong><br />
by <strong>Boston</strong> area photographers.<br />
2<br />
Frank Gohlke and Barbara Nofleet were<br />
two <strong>Boston</strong>-area photographers invited to<br />
participate in the National Millennium Survey,<br />
a project involving 35 photographers and<br />
15 writers overseen by Jim Enyeart, one of<br />
the first organizers of the NEA photography<br />
surveys in the 1970s. The resulting traveling<br />
exhibition, Photographers, Writers, and the<br />
American Scene: Visions of Passage, was sponsored<br />
by the Museum of Photographic Arts in<br />
San Diego, CA, and was shown locally at the<br />
Massachusetts College of Art in 2003.<br />
3<br />
Rice, 50.<br />
4<br />
Ibid, 198.<br />
5<br />
Ibid, 217.<br />
Addison Gallery of American Art<br />
Young America<br />
The Daguerreotypes of<br />
SOUTHWORTH & HAWES<br />
28 <strong>January</strong> through<br />
9 April <strong>2006</strong><br />
ADDISON presents a Landmark Exhibition<br />
Southworth & Hawes,<br />
[Unidentified Bride], ca. 1850,<br />
daguerreotype, whole plate, 8 1/2 x 6 1/2 in.,<br />
George Eastman House Collection<br />
Organized by the George Eastman House International Museum of <strong>Photography</strong> and Film and the International Center<br />
of <strong>Photography</strong>, Young America was made possible by a major lead grant from the Henry Luce Foundation, with<br />
additional support from M&T Bank, Nixon Peabody LLP and the National Endowment of the Arts. The Addison’s presentation<br />
of Young America has been generously funded by the Mollie Bennett Lupe & Garland M. Lasater Exhibitions<br />
Fund, and by Alan G. Schwartz, PA ’48 and Steven L. Schwartz, PA ’72.<br />
Phillips Academy 180 Main Street Andover MA 01810 978.749.4015<br />
www.addisongallery.org
Create your angle.<br />
Art New England Magazine’s<br />
Artists Directory<br />
Promote your artwork and reach the galleries and museums of<br />
New York and New England - over 30,000 readers - and the<br />
global art community through Art New England’s Web site.<br />
Deadline: <strong>February</strong> 3, <strong>2006</strong><br />
All Media Welcome<br />
For more information<br />
Call: Jenni at 617.782.3008<br />
E-mail: jwilliamson@artnewengland.com<br />
Visit: www.artnewengland.com
interview | 17<br />
INSIGHT: STAN TRECKER<br />
Montserrat College of Art President Stan Trecker<br />
holds an MFA in photography and printmaking<br />
from the School of the Art Institute of Chicago,<br />
an MBA from Indiana University, a BFA<br />
from Columbia College and a BS in Business<br />
Administration from Miami University. Trecker’s<br />
11-year tenure as Executive Director of the<br />
Photographic Resource Center (1980-1991) was<br />
marked by tremendous growth for the organization<br />
and the photography community including<br />
a successful capital campaign that resulted,<br />
among other benefits, in the development of the<br />
PRC’s first comprehensive facility. Trecker left<br />
the PRC to serve as the Art Institute of <strong>Boston</strong>’s<br />
President—a post he held until he joined Montserrat<br />
in 2003. He lives in Brookline with his<br />
wife, Anne, and daughter. He is also the father<br />
of two grown daughters.<br />
Why photography<br />
I started my career in banking. I had an MBA<br />
and was working for a large bank in Chicago.<br />
Coincidentally, one of my banking colleagues<br />
was an active photographer and had a darkroom<br />
in her home. She introduced me to<br />
photography. I bought a camera and decided<br />
to take a course at Columbia College. Eventually,<br />
I decided that I didn’t want a long term<br />
banking career. At the same time, my teacher<br />
was organizing a semester class in Oaxaca,<br />
Mexico. I jumped at the opportunity. For<br />
six months, all I did was take pictures, talk<br />
to other people about photography, and get<br />
to know a new culture. It was life changing.<br />
After I entered the graduate program at the<br />
Art Institute of Chicago. During those years,<br />
I was trying to figure out what I could do to<br />
make a living. I started to realize that there<br />
were arts institutions that needed people with<br />
business skills. I got a job as the business manager<br />
of MoMing Dance and Arts Center in<br />
Chicago, which was doing cutting edge work,<br />
mostly in contemporary dance. It allowed me<br />
to see and be around people who were creating<br />
new work all of the time. After I got my<br />
degree, I started looking around the country<br />
at photo organizations that might need my<br />
skills. There were two jobs. One of them was<br />
the Director of the PRC, and the other was<br />
the Director of San Francisco Camerawork.<br />
I applied for both, and I was offered both.<br />
One of my teachers, Joyce Neimanas, told me<br />
that she had great respect for the people at<br />
the PRC. I interviewed and liked it. That was<br />
really why I came.<br />
Shortly after you arrived, the PRC began<br />
growing dramatically. Why<br />
The biggest thing that sparked the PRC to<br />
grow and be more visible were the lectures.<br />
We brought in people like Arnold Newman,<br />
John Szarkowski, Bill Wegman, David Hockney<br />
to [<strong>Boston</strong> University’s Morse Auditorium]<br />
at least once a month. Even the most<br />
casual person interested in photography could<br />
get excited about hearing Hockney or Wegman<br />
speak. It gave the institution a bigger<br />
presence. Its success allowed us to think about<br />
a new space, a better space, a larger space, a<br />
library, an exhibition space, and gave us the<br />
wherewithal to attract some new Board members<br />
who had significant wealth themselves or<br />
who could raise money.<br />
When I came on as Director, the Board was<br />
wonderful in its knowledge and commitment<br />
to photography. Carl Chiarenza, Bart Parker,<br />
and Jim Stone and others were absolutely<br />
dedicated to the PRC and to photography.<br />
However, there wasn’t a whole lot of business<br />
experience and fund raising capacity involved<br />
[on the Board]. Then John Parker, because of<br />
Olivia [Parker] and Jack Naylor jumped in.<br />
They enjoyed people like Don Perrin, who<br />
was one of the few non-artists on the board,<br />
and brought a real professionalism to the<br />
board that was new to the institution. John<br />
worked his way into being the President of the<br />
Board, pretty rapidly. When we started thinking<br />
about a capital campaign, John and Jack<br />
were the ones that knew how to it.<br />
What was your crowning achievement at<br />
the PRC<br />
Leading organizations like [the PRC] is a<br />
labor of love. However, I tend to look back<br />
at those years as some of the best that I have<br />
had in my career because it was exciting.<br />
Anita Douthat, who came on as the Curator<br />
when we built the new space [602 Commonwealth<br />
Avenue] was absolutely dynamic in<br />
what she wanted to do, and did programming<br />
that helped set the PRC apart. What a wonderful<br />
curator! The building and opening<br />
of the space, and the programming that<br />
started to build from there, were the best<br />
moments. It was really a wonderful time for<br />
the organization.<br />
What was your most challenging moment<br />
The later years, 88, 89, when federal and state<br />
funding started to dry up. The state was going<br />
through its fiscal cycle, and the NEA was<br />
facing censorship pressures. A lot of institutions,<br />
not just the PRC, started to level off.<br />
Some places closed. Taking an organization<br />
and starting to scale it back was really tough.<br />
Stan Trecker photographed by Terrence Morash.<br />
The institution never had an endowment. It<br />
was raising money year to year to survive, still<br />
does, which makes [the organization] very<br />
venerable to the vagaries of outside forces.<br />
Those were the toughest times.<br />
What’s going on at Montserrat<br />
We are exploring exciting possibilities for<br />
new facilities and have initiated the College’s<br />
first-ever multi year fund raising campaign, to<br />
which our supporters are really responding.<br />
We have a show up right now called Plastic<br />
Princess: Barbie as Art (through <strong>February</strong> 11).<br />
Our curator, Leonie Bradbury put together<br />
this show of artists around the country who<br />
use Barbie as a theme in their art. It talks<br />
about women’s’ issues and all sorts of really<br />
pretty interesting stuff. It’s a terrific show and<br />
getting a lot of public attention.<br />
What do you think about the PRC’s direction<br />
right now<br />
The shows are still really wonderful and I love<br />
the way that you are using the web to build<br />
audience for what you are doing. I would give<br />
attention to audience building activities, like<br />
lectures—allowing you to introduce yourself<br />
to new supporters and to get the name out<br />
there. The PRC has a lot of respect in the<br />
<strong>Boston</strong> community. I continue to hear that.<br />
You have a good base to build on.<br />
Thank you.<br />
Thank you.<br />
Insight presents interviews with photography<br />
luminaries from the New England photography<br />
community. To suggest individuals to be interviews<br />
in future issues, please email prc@bu.edu.
photography events in new england<br />
MASSACHUSETTS<br />
Alpha Gallery<br />
Gyorgy Kepes: Paintings and Photographs (Jan 7-Feb 1). 38 Newbury<br />
Street, <strong>Boston</strong>, MA 02116. 617-536-4465. www.alphagallery.com<br />
Addison Gallery of American Art<br />
Young America: The Dauguerreotypes of Southworth and Hawes<br />
(Jan 28-April 9).Tue-Sat, 10-5; Sun, 1-5. Phillips Academy, 180<br />
Main Street, Andover, MA 01810. 978-749-4015.<br />
www.andover.edu/addison<br />
Arlington Center for The Arts<br />
Beastyfeast (thru Jan 20). Mon-Fri, 9-6. 41 Foster Street, Arlington,<br />
MA 02474. 781-648-6220. www.acarts.org<br />
Art Institute of <strong>Boston</strong><br />
Language of Vision: The Work of Gyorgy Kepes (thru Jan 3). Mon-Fri,<br />
9-6; Sat, 9-5; Sun, 12-5. 700 Beacon Street, <strong>Boston</strong>, MA 02215.<br />
617-585-6600. www.aiboston.edu<br />
Bernard Toale Gallery<br />
American Pitbull: Photographs by Marc Joseph (Jan 5-Feb 11). Opening<br />
Reception: Jan 6, 5:30-7:30. Gallery Talk: Jan 7, 1:30-3:30.<br />
Tue-Sat, 10:30-5:30. 450 Harrison Avenue, <strong>Boston</strong>, MA 02118.<br />
617-482-2477. www.bernardtoalegallery.com<br />
BF Annex<br />
Photographs by John Chervinsky (Feb). Opening Reception: Friday,<br />
Feb 3, 5:30-7:30. Tue-Sat 9:30-5:30. 450 Harrison Ave. #57<br />
<strong>Boston</strong>, MA 02118. 617-451-3344. www.bfannex.com<br />
<strong>Boston</strong> Society of Architects/AIA, The Architects Building<br />
What Remains: Photographs by Christian Waeber (thru Jan 31). 52<br />
Broad Street, <strong>Boston</strong>, MA 02109. 617-951-1433. www.cwaeber.com<br />
<strong>Boston</strong> University Art Gallery<br />
A Photographic Portrait of <strong>Boston</strong> 1840-1865 (Feb 10-Apr 2). Opening<br />
Reception: Feb 9, 6-8. Tue-Fri, 10-5; Sat-Sun, 1-5. College of<br />
Fine Arts, 855 Commonwealth Avenue, <strong>Boston</strong>, MA 02215. 617-<br />
353-3329. www.bu.edu/art<br />
Cambridge Art Association<br />
Soul’s Chalice: Charles Bandes, Paul Giquere and Jennifer Maestre<br />
(Jan 5-31). Opening Reception: Jan 14, 12-2. Simple Gifts: Juried<br />
by Michael Price, CAA Members Show (Feb 8-28). Opening<br />
Reception: Feb 11, 12-2. Tue-Sat, 11-5. Kathryn Schultz Gallery,<br />
25 Lowell Street, Cambridge, MA 02138. 617-876-0246. www.<br />
cambridgeart.org<br />
Carpenter Center for the Visual Arts<br />
Modest Sublime (thru Jan 5). Mon-Sat, 9am –11:30pm, Sun,<br />
12- 11:30pm. 24 Quincy Street, Cambridge, MA 02138.<br />
617-495-3251. www.ves.fas.harvard.edu<br />
Center for Photographic Exhibitions at New England School<br />
of <strong>Photography</strong><br />
Allison Evans: Black and White Prints (Jan 2-27); John Watkins:<br />
Platinum Prints (Jan 2-27); Jason Gavann: Color Animal Portraits<br />
(Feb 6-Mar 3). Mon-Fri, 9-5. 537 Commonwealth Avenue,<br />
<strong>Boston</strong>, MA 02215. 617-437-1868. www.nesop.com<br />
Countway Library at Harvard Medical School<br />
Dorothy Simpson Krause: Ars Longa-Vita Brevis (thru Feb 3).<br />
Mon- Fri, 9am-5pm. 1st Floor Exhibit Area, 10 Shattuk St., <strong>Boston</strong><br />
MA. 02115. 617-432-2147<br />
Danforth Museum of Art<br />
New England Currents: Bruce Bemis, Light Sculpture (thru Jan<br />
8); <strong>Boston</strong> Printmakers: The New England Landscape, Alternative<br />
Approach (Jan 29-Apr 2). Opening Reception: Jan 29, 2-4. New<br />
England Currents: Womankind (Feb 15-Mar 19). Opening Reception:<br />
Feb 19, 3. Wed-Sun, 12-5. 123 Union Avenue, Framingham,<br />
MA 01702. 508-620-0050. www.danforthmuseum.org<br />
Davis Museum and Cultural Center<br />
On the Edge: Contemporary Chinese Artists Encounter the West<br />
(Feb 15- Jun 3). Tue-Sat, 11-5; Sun, 1-5. Wellesley College, 106<br />
Central Street, Wellesley, MA 02481. 781-283-2051. www.wellesley.edu/DavisMuseum/<br />
DeCordova Museum and Sculpture Park<br />
Saga: The Journey of Arno Rafael Minkkinen (thru Jan 8); Photographs<br />
1897-2005 (thru Jan 8); John Huddleston: Killing Ground,<br />
Photographs of the Civil War and Changing American Landscape<br />
(thru Jan 8). Robert Arnold: Zeno’s Paradox (thru Jan 8). Great<br />
Buys: Museum Purchaces (thru Sep). Software Art (Jan 28-Apr<br />
16). Tue-Sun, 11-5. 51 Sandy Pond Road, Lincoln, MA 01773.<br />
781-259-8355. www.decordova.org<br />
Essex Art Center<br />
Alfredo Conde: objects, wall paintings and works on paper (Jan<br />
13-Feb24); Monhegan and More: Ralph Bush, Kelly Haines and<br />
Mark Hayden (Jan 13-Feb 24). Opening Reception: Jan 13, 5-<br />
7. Tue-Thu, 10-7; Fri, 10-3. Main Gallery and the Elizabeth A.<br />
Beland Gallery, 56 Island Street, Lawrence, MA 01840. 978-685-<br />
2343. www.essexartcenter.com<br />
Fitchburg Art Museum<br />
Chester Michalik: Photographs of Contemporary Japan (thru Jan<br />
2); Collection and Directions: Acquisitions in the Twenty-First<br />
Century (thru Feb 12); Inspiring Minds Through Art (thru Feb<br />
19); The Civil War Remembered: Photographs and Artifacts (Jan<br />
22- Apr 2). Tue-Sun, 12-4. 185 Elm Street, Fitchburg, MA 01420.<br />
978-345-4207. www.fitchburgartmuseum.org<br />
Fort Point Arts Community Gallery<br />
The Wheels Project: Ken Richardson, Jasen Strickler, Andrew .K.<br />
Warren (thru Jan 14). Energy Fools the Magician: Andrew Neumann,<br />
Rob Reeps (Jan 20-Feb 25). Mon-Fri, 10-3; Tue-Fri, 5-9;<br />
Sat, 12-5. 300 Summer Street, <strong>Boston</strong>, MA 02110. 617-423-4299.<br />
www.fortpointarts.org<br />
The French Library/ Alliance Francaise<br />
Paris: Regards Pensifs (thru Jan 3). Mon,Tue,Thu, 10-6; Wed 10-8;<br />
Fri-Sat, 10-5. 53 Marlborough Street, <strong>Boston</strong>, MA 02116. 617-<br />
912-0400. www.frenchlib.org<br />
Judy Ann Goldman Fine Art<br />
Arbor: Benefit Exhibition for Armenia Tree Project with paintings,<br />
drawings and photographs (Jan 11-Feb 4). Opening Reception:<br />
Jan 14, 4-6. Tue-Sat, 10-5:30. 14 Newbury Street, <strong>Boston</strong>,<br />
MA 02116. 617-424-8468. http://www.judygoldmanfineart.com<br />
Gallery Artists Studio Projects<br />
Not Just a House: curated by Samantha Fields (thru Jan 14). Thu-<br />
Sat, 11-5; Sun-Wed by appointment. 362 Boylston Street, Brookline,<br />
MA 02445. 617-731-2500. www.g-a-s-p.net<br />
Gallery at Spencer Lofts<br />
Good Harbor: Photographs by John Kennard (Feb 4-25).<br />
Opening reception: Feb 4, 3-6PM. Saturdays , 3-5PM and by<br />
appointment (978-505-7660). 60 Dudley Street, Chelsea, MA.<br />
Info: galleryspencerlofts@yahoo.com<br />
Gallery Kayafas<br />
Herb Greene: Brief Encounters with the Dead (thru Jan 14); Gary<br />
Duehr: Memorial Drive (Jan 17-Feb 25); Dutch Huff: New Work<br />
(Jan 17-Feb 25); Barbara Gallucci (Jan 31-Feb 26). Tue-Fri, 1-5:30;<br />
Sat, 12-5:30. 450 Harrison Avenue, Suite 223, <strong>Boston</strong>, MA 02118.<br />
617-482-0411. www.gallerykayafas.com<br />
Gallery Naga<br />
Lana Z Caplan: Dual and Jaclyn Salvaggio Kain: Pieces of Millie<br />
(Jan 6-28). Tue-Sat, 10-5:30. 67 Newbury Street, <strong>Boston</strong> MA<br />
02116. 617-267-9060. www.gallerynaga.com<br />
Griffin Museum of <strong>Photography</strong><br />
Images by Peter Urban (thru Jan 2); A Dream Half Remembered:<br />
Images by Ken Rosenthal (Jan 3- Mar 19); The Body Familiar:<br />
Current Perspectives of the Nude (Jan 12- Mar 19). Tue-Sun, 12-<br />
4. 67 Shore Road, Winchester, MA 01890. 781-729-1158. www.<br />
griffinmuseum.org.<br />
HallSpace<br />
I Protest: In the spirit of free speech and visual expression (thru Jan<br />
7). Fri-Sat, 12-5; Mon-Thu, by appointment. 31 Norfolk Avenue,<br />
<strong>Boston</strong>, MA 02119. 617-989-9985. www.hallspace.org<br />
Howard Yezerski Gallery<br />
Su Yang: Photographs from the Butterfly Series (Jan 6-Feb 7);<br />
Gary Schneider: Nudes (Feb 10-Mar 14). Tue-Sat, 10-5:30.<br />
14 Newbury Street, <strong>Boston</strong>, MA 02116. 617-262-0550.<br />
www.howardyezerskigallery.com<br />
Institute of Contemporary Art<br />
Utopia, Utopia=One World, One War, One Army, One Dress<br />
(thru Jan 16). Momentum 5: Paul Chan (thru Jan 16). Wed-Fri,<br />
in the loupe listings deadlines<br />
March/April issue:<br />
<strong>February</strong> 2, <strong>2006</strong><br />
May/June issue:<br />
April 3, <strong>2006</strong><br />
12-5; Thu, 12-9; Sat-Sun, 12-5. 955 Boylston Street, <strong>Boston</strong>, MA<br />
02115. 617-266-5152. www.icaboston.org<br />
Iris Gallery<br />
The 2nd Annual Botanical Show (thru Jan 3); 2005 Retrospective<br />
(Jan 13-Feb). Thu-Mon, 12-6 or by appointment. 47 Railroad<br />
Street, Great Barrington, MA 01230. 413-644-0045. www.irisgallery.net<br />
Judi Rotenberg Gallery<br />
Introductions <strong>2006</strong>: George Rosa & Lorna Williams, & Installation<br />
by Harvey Loves Harvey (Jan 5-28). Opening Reception: Jan<br />
5, 6-8. Tues-Sat, 10-6. 130 Newbury Street, <strong>Boston</strong>, MA 02116.<br />
617-437-1518. www.judirotenberg.com<br />
Khaki Gallery<br />
Nahid Khaki: Beach Blues (thru Jan 28); Inscapes (thru Feb 28).<br />
Opening Reception: Jan 7, 6-8. Mon-Sat, 10-6. 9 Crest Road,<br />
Wellesly, MA 02482. 781-237-1095. www.nahidkhaki.com<br />
Kingston Gallery<br />
Mary Lang (Jan 3-Jan 28). Opening Reception: Jan 6, 5-7:30.<br />
Gallery Talk: Jan 28, 3. 450 Harrison Avenue, <strong>Boston</strong>, MA 02118.<br />
617-423-4113. www.kingstongallery.com<br />
Massachusetts College of Art, Bakalar Gallery<br />
Michael Queenland (thru Jan 10); Selections ‘06 (Jan 23-Mar 11);<br />
Shintaro Miyake: The Beaver Project (Feb 8-Mar 18). Mon-Fri,<br />
10-6; Sat, 11-5. 621 Huntington Avenue, <strong>Boston</strong>, MA 02115. 617-<br />
879-7000. www.massart.edu<br />
Massachusetts Museum of Contemporary Art<br />
Becoming Animal: Contemporary Art in the Animal Kingdom<br />
(thru Feb). Mon-Sun, 11-5, closed Tue. 87 Marshall Street, North<br />
Adams, MA 01247. 413-664-4481. www.massmoca.org<br />
Mead Art Museum at Amherst College<br />
Duane Michals: <strong>Photography</strong> and Reality (Jan 20-Apr 16).<br />
Tue-Sun, 10-4:30; Thu, 10-9. Intersection of Route 9 and South<br />
Pleasant Street, Amherst, MA, 01002. 413-542-2335. www.<br />
amherst.edu/mead<br />
Miller Block Gallery<br />
Eric Lebofsky: Book Club (thru Jan 17); Scott Peterman:<br />
Recent Photographs (thru Jan 17). Tue-Sat, 10:30-5:30. 14<br />
Newbury Street, <strong>Boston</strong>, MA 02116. 617-536-4650.<br />
www.millerblockgallery.com<br />
Mills Gallery at the <strong>Boston</strong> Center for the Arts<br />
After (Feb 3-Mar 19). Opening Reception: Friday, Feb 3, 6-8<br />
Wed-Thu, 12-5; Sat-Sun, 12-10; Sun, 12-5. 539 Tremont Street,<br />
<strong>Boston</strong>, MA 02116. 617-426-8835. bcaonline.org<br />
MIT Museum<br />
Scientific Settings: Photos of MIT Labs (thru Jan 6); Finding<br />
Form: The Art of Richard Filipowski (thru Feb 17);<br />
COLLISIONbox #2: Cars and Stars (Jan 20-Feb 24); Scopes,<br />
Station Wagons and Solder: Unexpected Images From the Rad<br />
Lab and RLE Collections (thru Jun). Tue-Fri, 10-5; Sat-Sun 12-5.<br />
265 Massachusetts Avenue, Cambridge, MA. 617-253-4444.<br />
http://web.mit.edu/museum/<br />
Montserrat Gallery<br />
Plastic Princess: Barbie as Art (thru Feb 4). Mon-Thu, 11-7;<br />
Fri, 11-5; Sat, 12-4. 23 Essex Street, Beverly, MA 01915.<br />
978-921-4242. www.montserrat.edu/galleries/index.shtml<br />
National Heritage Museum<br />
Teenage Hoboes in the Great Depression: Materials from the UYS<br />
Family Collection (thru Feb 19). Blue Monday: Doing Laundry
in America (thru Mar 4). Mon-Sat, 10-5; Sun, 12-5. 33 Marrett<br />
Road, Lexington, MA 02421. 781-861-6559. www.monh.org<br />
Onyx Hotel<br />
Fashion: Style Throughout History (thru Feb 1). 9-8 Daily. 155<br />
Portland Street <strong>Boston</strong>, MA 02114.617 557-9955<br />
Out of the Blue Gallery<br />
Big Photos: Sabrina Cass (Jan 13-20). Opening Reception:<br />
Jan 13, 7. Mon-Sun, 12-6. 106 Prospect Street, Cambridge, MA<br />
02139. 617-354-5287. www.outoftheblueartgallery.com Color <strong>Photography</strong>:<br />
Ellie Lobovits (Feb). 1369 Coffeehouse, 757 Massachusetts<br />
Avenue, Cambridge, MA 02139. 617-576-4600.<br />
Panopticon Gallery<br />
Shadows in Time: Traditional photographs by Paul Wainwright<br />
(thru Jan 14). Mon-Fri, 10-6; Sat, 11-5. 435 Moody Street,<br />
Waltham, MA 02453. 781-647-0100. Holiday Show: Photographs<br />
From the Gallery Collection (thru Jan 21). Tue-Sat, 11-6. 502c<br />
Commonwealth Avenue, <strong>Boston</strong>, MA 02215. 617-267-8929.<br />
www.panopt.com<br />
Peabody Essex Museum<br />
The Yachting <strong>Photography</strong> of Willard B. Jackson (thru Nov 19,<br />
<strong>2006</strong>). Tue-Sat, 10-5; Sun, 12-5. East India Square, Salem, MA<br />
01970. 978-745-9500. 866-745-1876. www.pem.org<br />
Peabody Museum of Archeology and Ethnology<br />
Pusan, Korea, 1954- 1954: The Photographs of Rodger Mashutz<br />
(Feb 15- Sep 10). Mon-Sun, 9-5. 11 Divinity Avenue, Cambridge,<br />
MA 02138. 617-496-0099. www.peabody.harvard.edu<br />
Rhys Gallery<br />
Peeling Back the Curtain: TTBaum, Zoe Sundra, Natalie Lachall<br />
(Jan 13-Feb 4). Opening Reception: Jan 13, 6-9. Sat, 12-5, or by<br />
appt. 70 Northampton Street #105, <strong>Boston</strong>, MA 02118. 617-541-<br />
2534. www.therhysgallery.com<br />
Robert Klein Gallery<br />
Bill Jacobson (Jan 12-Feb 18). Opening Reception: Jan. 12, 6-8.<br />
Tue-Fri, 10-5:30; Sat, 11-5. 38 Newbury Street, <strong>Boston</strong>, MA<br />
02116. 617-267-7997. www.robertkleingallery.com<br />
The Rose Art Museum of Brandeis University<br />
“Post” and After: Contemporary Art from the Brandeis Art<br />
Collection (thru Apr 9). MS 069, 415 South Street, Waltham, MA<br />
02453-2728. 781-736-3434. www.brandeis.edu/rose<br />
University Gallery at UMass Lowell<br />
Lowell Stack: Sweet Nothings & Hardware Supplies, Installation<br />
by Doug Bell (Jan 25-Feb 24). Opening Reception: Feb 1, 3-5.<br />
Tue-Fri, 9-4, Sat, by appointment. McGauvran Student Union,<br />
First Floor, 71 Wilder Street, Lowell, MA 01854. 978-934-3491.<br />
www.uml.edu/dept/art<br />
Williams College Museum of Art<br />
Beautiful Suffering: <strong>Photography</strong> and the Traffic in Pain (Jan 28-<br />
Apr 30). Tue-Sat, 10-5; Sun, 1-5. 15 Lawrence Hall Drive, Suite 2,<br />
Williamstown, MA 02116. 413-597-2429. www.wcma.org<br />
Zeitgeist Gallery<br />
Kosovo Punk, Photographs by Stu Sherman (Jan 23-Feb 5). Opening<br />
reception: Jan 28, 3-6. Tue-Sun, 1-7. 1353 Cambridge Street,<br />
Cambridge, MA 02138. 617-876-6060. www.zeitgeist-gallery.org<br />
ELSEWHERE IN NEW ENGLAND<br />
The Aldrich Contemporary Art Museum<br />
Catherine Opie: 2004 Larry Aldrich Award Exhibition (Jan 22-<br />
Jun 19).Tue-Sun, 12-5. 258 Main Steet, Ridgefield, CT 06877.<br />
203-438-4519. www.aldrichart.org<br />
Center for Maine Contemporary Art<br />
Andrea Sulzer: “Free Hand” (Jan 8-Feb 25); Underexposed (Feb3-<br />
25). Opening Reception Feb 3, 5-8. 162 Russell Avenue, P.O Box<br />
147, Rockport, ME 04856. 207-263-2875. www.artsmaine.org<br />
Furchgott Sourdiffe Gallery<br />
Winter Woods (thru Jan 24). Tue-Fri, 9:30-5:30; Sat 10-4. 86 Falls<br />
Road, Shelburne, VT 05482. 802-985-3848. www.fsgallery.com<br />
Portland Museum of Art<br />
Mararet Bourke- White: The <strong>Photography</strong> of Design, 1927- 1936<br />
(Jan 19- March 20). Tue, Wed, Sat-Sun, 10-5, Thu-Fri, 10-9. Congress<br />
Square, Portland, ME 04101. 207-775-6148.<br />
www.portlandmuseum.org<br />
Radiant Light Gallery<br />
Tableau Vivant: Rolf Koppel’s Still Lifes (thru Jan 15). Sat,<br />
12-6:30. 615 Congress St., Suite 409, Portland, ME 04101.<br />
207-252-7258. www.radiantlightgallery.com<br />
Rhode Island School of Design, Museum<br />
Theatricality in Paris 1848-1900 (thru Jan 15). Tue- Sun, 10-5.<br />
224 Benefit Street, Providence, RI 02903. 401-454-6502. www.<br />
risd.edu/museum<br />
University of Rhode Island <strong>Photography</strong> Gallery<br />
States of Siege: a consideration of re-enactment photography<br />
(thru Mar 12); Remains of the Campaign by Don Pollack (thru<br />
Mar 12); American Journal: A collection of offbeat small town<br />
road trips by Mary Haggerty (Jan 24-Mar 12). Tue-Fri, 12-4, 7:30-<br />
9:30; Sat-Sun, 1-4. Fine Arts Center Galleries, 105<br />
Upper College Road, Kingston, RI 02881. 401-874-2775. www.<br />
uri.edu/artgalleries<br />
Three Rivers Community College<br />
Boy’s Life: photographs by Dan Long (thru Jan 12). Mon-Fri 9-9.<br />
Mohegan Campus Exhibition Space, 7 Mahan Drive, Norwich, CT.<br />
860-885-2345. www.trcc.commnet.edu<br />
University of Maine Museum of Art<br />
Melonie Bennett (thru Jan 14). Tue-Sat, 9-6; Sun, 11-5. Linda<br />
G. and Donald N. Zillman Gallery. Norumbega Hall, 40 Harlow<br />
Street, Bangor, ME 04401. 207-561-3350. www.umma.umaine.edu<br />
Wadsworth Atheneum Museum of Art<br />
Double Exposure (Jan 14-Jun 18). Tue-Fri, 11-5; Sat-Sun,<br />
11-5. 600 Main Street, Hartford, CT 06103. 860-278-2670.<br />
www.wadsworthatheneum.org<br />
ENTRIES/OPPORTUNITIES<br />
Atlantic Center For the Arts <strong>2006</strong> Artist-in-Residence<br />
Program. Willam Duckworth, composer, Sharon Olds, poet,<br />
and Laura Owens, Visual artist. Deadline is <strong>January</strong> 27,<br />
<strong>2006</strong>. 1414 Art Center Ave., New Smyrna Beach, FL<br />
32168. 386-427-6975. For more information visit<br />
www.atlanticcenterforthearts.org.<br />
Artspace Call for Artists. <strong>February</strong> 1st is one of Artspace’s bi-annual<br />
deadlines for exhibition proposals for the following programs:<br />
works on paper, creating a solo installation in the project room, or<br />
the John/Jane Project spaces, devising a slide show for the nighttime<br />
projection screen, or curating a group exhibition in the untitled<br />
gallery. Guidelines available at www.artspacenh.org. Arts Administration<br />
Fellowship. The Connecticut Commission on Culture and<br />
Tourism is offering one-year fellowship for recent college graduates<br />
who are looking for additional training in the arts administration<br />
field. Please contact Tamara at tdimitri@ctats.org for application<br />
information. 50 Orange Street, New Haven, CT. 203-772-2709.<br />
Decordova Museum and Sculpture Park Corporate Program<br />
Fellow. Send resume, artist statement, slides, and self addressed<br />
envelope to the address above. Deadline <strong>February</strong> 27. For more<br />
information corporatefellow@decordova.org or www.decordova.org.<br />
781-259-3639, 51 Sandy Pond Rd., Lincoln, MA 01773.<br />
Houston Center For <strong>Photography</strong> The Houston Center For<br />
<strong>Photography</strong> <strong>2006</strong> Fellowship Competition. Juried by Fred Baldwin<br />
and Wendy Watriss Co-founders of FotoFest. Two recipients will be<br />
awarded $1,000 in <strong>February</strong>. Deadline Friday, <strong>January</strong> 6. Applications<br />
available at www.hconline.org/fellow_call_o6.html. 713-529-<br />
4755, 1441 West Alabama, Houston Texas 77006.<br />
Griffin Museum of <strong>Photography</strong> Call for entries for juried<br />
exhibition. Arthur Griffin Legacy Awards. Juror Bonni Benrubi of<br />
the Bonni Benrubi Gallery, New York. All entries must be received<br />
between Dec. 29, 2005 – Jan. 28, <strong>2006</strong>. For guidelines: www.<br />
griffinmuseum.org or SASE. 781-729-1158, 67 Shore Road<br />
Winchester, MA 01890.<br />
Maine Photographic Workshops Workshops will be held in<br />
Oaxaca, Mexico. The following workshops include: Lisa Kessler-<br />
A personal Vision, <strong>January</strong> 8-21; Stella Johnson- Documentary<br />
<strong>Photography</strong>, March 4-18; and Costa Manos- The Magic<br />
Moment, March 5-11. For more information call Kerry Curran:<br />
1-877-577-5500 ext 303, or visit www.theworkshops.com.<br />
Massachusetts Audubon’s Moose Hill Gallery Call to Artists<br />
for OUTRAGE: Origins, Exploitation and the Changing Perceptions<br />
of Birds. “Outrage” will open <strong>February</strong> 1-April 16, <strong>2006</strong>.<br />
Deadline for submissions is <strong>January</strong> 25th, <strong>2006</strong>. Please send or<br />
deliver entries to Moose Hill Wildlife Sanctuary, 293 Moose Hill<br />
St., Sharon, MA. 02067. Entry fee is $15.00. Awards to “Best in<br />
Show” and two “Honorable Mentions”. For more information, e-<br />
mail Jan Goba at jngoba@massaudubon.org or call (781)-784-5691<br />
ext. 8107. www.massaudobon.org<br />
Massachusetts Cultural Council Youth Reach <strong>2006</strong>. Application<br />
Deadline Feb. 8,<strong>2006</strong>. Information and Training Sessions: Nov.1-<br />
Dec. 15. For more information go to www.massculturalcouncil.org.<br />
10 St. James Avenue, 3rd Floor 617-727-3668.<br />
Panopticon Gallery The Elements a juried exhibition. The theme<br />
of the exhibition is the Elements (earth, water, air, & fire). Exhibition<br />
will be held on May 4- July 8, <strong>2006</strong>. Deadline submissions-<br />
March 25. Each applicant may submit up to 15 images, no smaller<br />
the 8x10. No slides or digital files will be accepted for review. For<br />
more information www.panopt.com or call Dina 781-647-0100.<br />
435 Moody Street, Waltham, MA 02453.<br />
PowerHouse Books 2nd Annual PowerHouse Portfolio Review.<br />
Event held on March 19, 10:30-5:30. Registration fee- $250 before<br />
<strong>February</strong> 28, $300 after March 1, and $160 for student rate. For<br />
registration form go to www.powerhousebooks.com/portfolioreview/<br />
212-604-9074, 68 Charlton Street, New York, NY 10014.<br />
Texas National Art Competition <strong>2006</strong> is accepting entries for<br />
their annual juried show. This year’s juror is Paul Branch a second<br />
generation New York School painter. His paintings and prints are<br />
in major collections across North America. The exhibition will be<br />
up from April 8-30 and the entry postmark deadline is <strong>January</strong><br />
27. There will be cash awards for 1st-3rd place as well as honorable<br />
mention. Submissions should be made in the form of slides. For<br />
more information and an entry form please visit www.art.sfasu.edu<br />
or contact baileysl@sfasu.edu.<br />
Texas Tech School of Art The SRO-Photo Gallery hosts a<br />
competition to fill eight photographic art solo exhibition slots each<br />
year. Slide portfolios are viewed and considered by a committee of<br />
the <strong>Photography</strong> Division of the School of Art and the Director of<br />
Landmark Arts. We look for strong portfolios of creative photography<br />
in all styles, techniques, and aesthetic approaches. Entries<br />
should include: PowerPoint of 20 images, artist statement, and one<br />
page resume. Deadline: March 24, <strong>2006</strong>. photogallerysro@yahoo.<br />
com Box 42081 Lubbock, TX 79409. 806-742-3825.<br />
www.art.ttu.edu<br />
SlowArt Productions Call for Entries: Direct Art Magazine Fall<br />
Annual Book Edition. Twenty-six awards of over $22,000 in value,<br />
including cover and feature articles. Postmarked deadline March 31,<br />
<strong>2006</strong>. www.slowart.com PO Box 503, Phonicia, NY 12464.<br />
Smithtown Township Arts Council 27th Annual Juried <strong>Photography</strong>:<br />
The Intimate Portrait. Juror, Joyce Tenneson. Works<br />
must have been completed within the past 2 years. Application<br />
Deadline Feb 15, <strong>2006</strong>. Limit 3 entries/photographer. Entry fees-<br />
$45/3 entries, $30/3 entries with membership. Prizes include $500<br />
first place, $200 second place. Jpeg on CD only, no slides. For<br />
more information: www.stacarts.org. 660 Route 25A, St. James, NY<br />
11780. 631-862-6575.<br />
Soho Photo Gallery Second Annual Alternative Processes Competition.<br />
Silver prints and Digital prints will not be accepted. We<br />
cannot accept free-standing work or images larger in any dimension<br />
then 5 feet. All work will be judged from 35 mm slides or CDs.<br />
Entries must be received by March 10. The juror is Christopher<br />
James. First and Second place winners will receive cash awards $150<br />
and $100, third place $50. For more information visit www.sohophoto.com.<br />
212-226-8571, 15 White Street, New York, NY 10013<br />
South Shore Art Center Call for Entries: “White, Black &<br />
Shades of Gray: National Juried Exhibition,” April 7-May 21,<br />
<strong>2006</strong>. Entry Deadline March 6. $1200 cash awards. Entry fee-<br />
$25/3slides, $35/4 slides, $45/5 slides. SASE to South Shore Art<br />
Center. www.ssac.org. 781-383-2787, 119 Ripley Road, Cohasset,<br />
MA 02025.
phonelines: member news from near and far<br />
We applaud the following PRC member<br />
achievements. To have your recent successes<br />
appear in Phonelines, please email us at<br />
prc@bu.edu by <strong>February</strong> 2, <strong>2006</strong>.<br />
John Chervinsky is launching his new website, www.chervinsky.<br />
org. Please visit to see new images and information on his three<br />
upcoming exhibitions, one is a solo exhibition at the BF Annex<br />
in <strong>Boston</strong>’s South End during the month of <strong>February</strong>. Nine of his<br />
images will also be appearing in current edition of Salamander, a<br />
national literary magazine for “poetry fiction and memoirs”.<br />
Jack Dzamba was selected as a finalist in the “<strong>Photography</strong> Competition<br />
2005”; an international photography contest organized by<br />
TCB-Cafe Publishing of San Francisco, and along with the other<br />
Finalists, will be featured in a fine art book publication and exhibition,<br />
Like Sand From Orchid’s Lips, scheduled for Spring <strong>2006</strong>.<br />
Dutch Huff is exhibiting a continuing series of photographs from<br />
his Strength in Numbers project at Gallery Kayafas (<strong>Boston</strong>, MA)<br />
from <strong>January</strong> 17th through <strong>February</strong> 25. The Strength in Numbers<br />
series was also shown in Philadelphia, PA at Gallery Siano during<br />
the month of November 2005. This project and others can be<br />
viewed on Dutch’s website, www.dutchhuff.com<br />
Nick Johnson gave a talk about his work at the “Four Artists-<br />
Four Weeks” event at the Indian Hill Gallery in Pawlet, VT on<br />
Nov. 20th. He will also be in an upcoming 4 person show at the<br />
Towne Art Gallery at Wheelock College, 200 the Riverway, <strong>Boston</strong><br />
MA. Feb. 7- March 4th, <strong>2006</strong>. The artist reception will be on Feb.<br />
11, 2-4.<br />
Tricia O’Neill has received this year’s Stephen D. Paine Scholarship<br />
Fund based on the strength of her photographic series “The<br />
Body Shop”. The award is based on talent and the promise of<br />
future work. She plans to use the scholarship money to continue<br />
her photographic study of the places that the working-class conduct<br />
their work. She has also been recently hired as the official mural<br />
painter for the <strong>Boston</strong> Red Sox for the next two years. Please visit<br />
Tricia’s website at www.triciaoneill.com<br />
Elaine Sakiris’s work The Identity Series, was featured at the<br />
Gallery at Stel’s during December 2005. www.stelsinc.com<br />
Jim Stone’s Why My Photographs are Good was published by<br />
Nazraeli Press in November. A solo exhibition, “Idiom Savant”<br />
featured his work during October 2005 at Washington University’s<br />
Des Lee Gallery, St. Louis. He and his wife Linda, are happy to<br />
announce the birth of their twin girls, Amber and Jade, on July<br />
12, 2005.<br />
John S. Tilney, Jr. had two pieces accepted at the 26th Annual<br />
Parfitt Memorial juried Photo Exhibition at the Robert Lincoln<br />
Gallery in Portsmouth, N.H. One of the pieces received and Honorable<br />
Mention Award in the exhibit that ran in Sept. and Oct.,<br />
2005. Mr. Tilney also had one piece accepted at the 12 Annual<br />
juried show at the Essex Art Center in Lawrence, MA (juror: Howard<br />
Yezerski), as well as two pieces in the 10th Annual National Art<br />
Exhibition at St. John’s University in New York.<br />
Images of Cuba at Zoellner Gallery, Lehigh University, Bethlehem,<br />
PA. (thru Jan 4) This year Mari has received best in photography<br />
award in The Worcester Arts Biennial (juried by Nick Capasso),<br />
third prize in Worcester Artist Group Exhibition (juried by Susan<br />
Stoops), and honorable mention in The Concord Art Association<br />
Roddy Competition (juried by Catherine French). In <strong>2006</strong>, she<br />
will have an exhibition of her series Home Altars, a part of a twoperson<br />
show at Fototeca, the national photography museum of<br />
Cuba in Havana. Currently she is showing her photographs in the<br />
Cambridge Art Association Exhibition RED (thru Jan 19).<br />
David VanBuskirk’s photographs, Our Seasons, are on display<br />
at the Barnes and Noble Café, Dorset Street in South Burlington,<br />
Vermont through <strong>January</strong> <strong>2006</strong>. VanBuskirk will be at Barnes and<br />
Noble for a “Meet the Artist” reception on <strong>January</strong> 22nd from<br />
4-5p.m., and he is announcing his new website www.vanbuskirkphotos.com<br />
Paul Wainwright has a solo show titled Time Shadows at the<br />
Panopticon Gallery in Waltham, MA (thru Jan 14). Wainwright<br />
also has two photographs that were included in the 14th Annual<br />
American <strong>Photography</strong> Competition hosted by the Hubbard<br />
Museum of the American West in Ruidoso Downs, NM (thru Jan<br />
29). For more information www.paulwainwrightphotography.com<br />
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Meri Seder, Finalist, 2001 and recipient, 2003 of the Massachusetts<br />
Cultural Council Artist Grants Awards in photography,<br />
has six images in Viajeros: North American Artist/Photographer’s<br />
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