In The Loupe - Boston Photography Focus

Boston University Art Gallery 

855 Commonwealth Avenue 

Boston, Massachusetts 02215 

617/353-3329 

in the loupe 

November | December 2001 

Volume 25, Number 6 

November 2 – December 16, 2001 

the newsletter for the Photographic Resource Center at Boston University 

ESTHER BUBLEY 

American Photojournalist 

SNAPSHOT 

November 6 Personal Photographic 

Growth: a lecture with Richard Newman 

(see page 2) 

November 8 Opening reception for 

Voyages (per)Formed (see page 1) 

November 9 Members Project Room 

exhibition begins (see page 1) 

November 10 Pat Hunt workshop: 

The State of the Stock Photography Industry 

Today (see page 2) 

November 30 Abe Morell lecture 

(see page 2) 

Photographic Resource Center 

at Boston University 

602 Commonwealth Avenue 

Boston, MA 02215 

Non-Profit 

US Postage 

PAID 

Boston, MA 

Permit No. 1839

MISSION STATEMENT 

The Photographic Resource Center is guided by a philosophical 

inquiry into the role of photographic media in the 

formation of human knowledge and experience. By emphasizing 

new work, ideas, and methods, and by creating opportunities 

for interaction among the diverse communities that 

it serves, the Photographic Resource Center strives to be a vital 

international voice in understanding the past and shaping 

the future of photography. 

BOARD OF DIRECTORS 

Rick Grossman, President 

Mark Young, Vice President 

Robert Birnbaum 

Marvin F. Cook 

Andrew Epstein 

Joanne P. Evans 

Roger Farrington 

Lou Jones 

Emily Kahn 

Rodger Kingston 

John Stomberg 

Charles Zoulias 

STAFF 

Terrence Morash, Executive Director 

Leslie Brown, Curator 

Alice Hall, Librarian 

Ingrid Trinkunas, Coordinator of Programs and Administration 

Sarah English, Editorial Assistant 

Alisa Mazur, Editorial Assistant 

Rohini Sandesara, Editorial Assistant 

GENERAL INFORMATION 

Photographic Resource Center at Boston University 

602 Commonwealth Avenue, Boston, MA 02215 

Tel 617-353-0700 prc@bu.edu 

Fax 617-353-1662 www.bu.edu/prc 

HOURS 

Tuesday–Sunday: 12–5pm 

Thursday: 12–8pm 

Closed Mondays 

ADMISSION 

Adults: $3 

Students (with valid ID) and Seniors: $2 

Members, children under 18, 

and school groups are admitted free. 

PUBLIC TRANSPORTATION 

Take the Green Line “B” train to Blandford Street, one stop 

west of Kenmore Square. 

COVER IMAGE 

Abelardo Morell, Old Travel Scrapbook and Postcard: The 

Tower of Pisa, 2000. Image courtesy of the artist and the 

Southeast Museum of Photography. 

DESIGN CREDITS 

This issue of in the loupe was designed by Irma S. Mann, 

Strategic Marketing, Inc. of Boston (www.irmamann.com). 

It was printed by Cambridge Offset Printing on Mohawk 

Superfine Ultrawhite 80# text. 

A Note from the Director 

Over these difficult past few months, I have been moved by the response of the cultural community. 

As we all question our perceptions of ourselves and the world, the arts continue to provide insightful 

investigations of and responses to, both disheartening and encouraging, the unfolding events. While each 

of us lost a step in the wakes of these tragedies, it is important that we continue to create, instigate, 

facilitate and support culture. It is our hope that the PRC will serve as a forum where creativity is fostered 

and community is strengthened. 

This redesigned newsletter, made possible by the generosity of Gary Leopold and Irma S. Mann, Strategic 

Marketing, Inc., provides a new face and voice for the PRC. In addition to the timely information that 

has been the hallmark of in the loupe, we have added more extensive editorial content. Among the significant 

changes is the addition of a feature article. This issue includes an excerpt from Alison Nordström’s 

catalogue essay for the upcoming exhibition Voyages (per)Formed. In future issues, we will publish original 

exhibition essays, historical accounts, critical theory and editorial commentary, providing a context for 

understanding PRC programming and contemporary issues in photography. 

This issue also marks the debut of INSIGHT, a new section which highlights photographers and other 

arts professionals from the region. We are thrilled to initiate this section by interviewing Abelardo Morell, 

one of four contemporary artists featured in Voyages (per)Formed. With each new in the loupe, it is our 

hope that INSIGHT will further illustrate and celebrate New England’s rich photographic community. 

Advertising is also new to in the loupe. As funding for non-profit arts organizations becomes increasingly 

difficult to secure, this advertising represents a valuable source of newsletter support. While we urge you 

to patronize these generous corporate supporters, we assure you that all advertising will be treated with 

the utmost sensitivity. 

We thank all of you who make the PRC possible and are pleased to present this valuable resource to 

you. Please let us know your thoughts on the PRC and this new newsletter. 

Sincerely, 

Terrence Morash 

Executive Director 

Support 

The programs and exhibitions of the Photographic Resource Center are made possible through 

the generous support of its members, Boston University, various individual donors, corporations 

and government and private foundations, and corporations including: 

Adesso 

American Printing 

Ardon Vinyl Graphics 

Art New England 

artsMedia 

Associated Press Photos 

Becket Papers 

Boston Beer Company 

Boston Cultural Council 

Boston Park Plaza Hotel 

Boston University 


Calumet Photographic 

Cambridge Offset Printing 

The Charles Hotel 

Christie’s 

Paula Cooper Gallery 

Crestar Mfg. 

Arthur Dion 

Jim Dow 

Eastman Kodak 

Jesseca Ferguson 

Filene’s 

FleetCenter Neighborhood Charities 

Fox River Papers 

Gay’s Flowers and Gifts 

Gourmet Caterers 

Hasselblad 

Harpoon Brewery 

Helicon Design 

Henrietta’s Table 

Mark Hunt Backdrops 

Hunter Editions 

Keith Johnson 

Deborah Kao 

KISS 108 FM 

Robert Klein 

Lina Kutsovskaya 

Rachel Lafo 

Lee Gallery 

E.P. Levine 

Joanne Lukitsh 

Luminos Photo. Corp. 

Irma S. Mann Strategic Marketing 

Massachusetts College of Art 

Massachusetts Cultural Council 

MassEnvelopePlus 

Ted Marrazzo 

MCS Frames 

Merry Maids 

Inge Milde 

Museums Boston 

Bruce Myren at Bee Digital 

Partners & Simons 

New England School of Photography 

National Endowment for the Arts 

Nielsen & Bainbridge Co. 

Nikon Inc. 

Alison Nordstrom 

Nylon Magazine 

Olympus 

Panopticon, Inc. 

Perfecta Camera, Corp. 

Photo Curators Resource 

Photography in New York 

Polaroid Corporation 

Rialto 

Sebastian’s Catering 

Sonya’s Catering 

Jerry Spagnoli 

Spectrum Color Labs, Inc. 

Betsy Urrico 

WBUR 

Howard Yezerski Gallery 

Keitaro Yoshioka 

Zeff Photo Supply 

Zona Laboratories 

Zoo New England 

PRC 

Announcements 

PRC Introduces 

Its New Curator 

Our epic search for a Curator is complete. This 

month, we are happy to welcome Leslie Brown 

to the PRC staff. Born and raised in the 

photography heartland of Rochester, New York, 

Leslie arrives to us after serving as the Associate 

Curator of Education at the Cheekwood 

Museum of Art in Nashville, Tennessee. Prior 

to joining the Cheekwood Museum of Art, 

she received her Master of Arts in Art History 

with a specialization in Modernism and the 

History of Photography 

from the University of 

Texas at Austin. At the 

PRC, she will play a key 

role in defining and executing 

the organization’s 

curatorial and programmatic 

vision. 

Upcoming Exhibitions 

Voyages (per)Formed 

November 9-December 20, 2001 

Leslie Brown, photographed 

by Gordon Brown. 

Opening Reception: November 8, 5:30–7:30pm 

Bakalar and Klebenov Galleries at the PRC. 

Curated by Alison Nordström, Director 

and Senior Curator of the Southeast Museum 

of Photography 

Voyages (per)Formed is an exhibition comprised of 

old and new photography. Part of the exhibition 

is a survey of photographic albums collected by 

middle-class, Gilded Age Americans traveling 

overseas before the first World War. During these 

pre-Kodak years, few tourists traveled with cameras, 

choosing instead to buy mass-produced 

images from tourist-catering photographic 

establishments and converting them into travel 

albums for display in their homes. Voyages 

(per)Formed focuses on these albums as a common 

device used for organizing, storing, and sharing 

photographs, and as one of the few remaining 

instances in which nineteenth century photography 

can be found in the context it was originally 

used and understood. The second part of the 

exhibition is comprised of contemporary work by 

Carol Flax, Peter Goin, Abelardo Morell and 

Lorie Novak. Invited to contribute their interpretation 

of the travel images, each artist developed 

an artwork that helps identify the complex 

meanings held by these albums. The results are as 

varied as the artists themselves and demonstrate 

the diversity of photographic art-making today. 

Complimentary beverages will be provided at the 

opening courtesy of the Boston Beer Company. 

Carole Schulze Palermo, Satiro Danzante, San Vito Lo Capo, 

from Tourism in the XXI Century, 2000. 

In addition to her curatorial and exhibition coordination 

duties, Leslie will spearhead the new feature 

article section of in the loupe as well as reintroduce 

such popular programs as monthly portfolio 

reviews for members. Details concerning these programs 

will be announced in the January/February 

issue of in the loupe. Please join us in welcoming 

Leslie to New England and the PRC. 

Library Plugged In 

After months of development, we are happy to 

announce that a digital card catalog has been 

added to the PRC’s Aaron Siskind Library. 

Visitors to the PRC will now be able to quickly 

and easily search the nearly 3,500 books, periodicals 

and multimedia items currently housed 

in the library. While it is currently only available 

at the PRC, we will be making the digital card 

catalog accessible via the PRC website in the 

coming months. We thank the numerous work 

study students and interns who dutifully constructed 

the database. 

Kate Freedberg and Carole 

Schulze Palermo 

November 9–30, 2001 

Members Project Room: An informal space 

curated and installed by members. 

With their exhibition, Freedberg and Palermo 

Schulze take us on an enchanted journey through 

Italy. Freedberg presents selections from Firenze, 

Turismo, Italy 1998-2000, a series about tourism 

in Florence, Italy. Having lived off and on in 

Florence throughout her life, and traveled there 

Satellite Venues Developed 

With the overwhelming demand for the 

Members Project Room exhibition slots, we are 

beginning to develop satellite exhibition venues 

for PRC Members’ artwork. If you own a location 

and wish to show photographic work, 

please call Ingrid Trinkunas at 617-353-0700. 

Stay Connected 

As many of you know, the PRC sends regular 

announcements via its email subscriber list. This 

list not only serves as a good source of information, 

but it also provides helpful reminders of 

scheduled events such as PRC openings and lectures. 

To add your name to the list, please send 

your email address to prc@bu.edu. 

often, she has seen the tourism industry grow 

tremendously, changing the city in the process. 

She is interested in the ways tourists experience 

their destination through the medium of guidebook, 

tour guide, and especially the camera. 

Palermo Schulze presents work from the series 

Tourism in the XXI Century, Sicily 1999-2001. 

This series is of photographs made in the excavations 

of temples and ruins and in natural 

landscapes employing tourist souvenirs to alter 

commonly accepted perceptions. She aims to 

recall antiquity with all of its retold mistakes of 

historical facts that make legends become truisms. 

1

education programs at the prc 

WORKSHOPS 

LECTURES 

The State of the Stock 

Photography Industry Today 

with Pat Hunt, Stock Photography Consultant 

from Port Authority, Inc. 

Saturday, November 10, 9am–5pm at the PRC 

$130 members/$150 non-members 

Reservations required. Please call 617-353-0700. 

The PRC, in collaboration with Port Authority 

Inc., presents an in-depth, full-day workshop on 

the stock photography industry. Like many 

aspects in the photography world, the traditional 

stock photography industry has been revolutionized 

by the World Wide Web. The workshop will 

present the history and current state of the 

industry, a visual show of best sellers, overview 

of today’s markets, preparation of one’s images 

(agency, portal, or self), preparation for launching 

oneself (copyright, releases, captioning, key 

wording, contracts), and visuals of future trends. 

Port Authority Inc. is a consulting agency that 

through consultations, lectures, and continual 

research, helps artists find their creative vision 

and connect them with potential clients. Their 

unique strategic system hones the needs unique 

to individual talent and successfully matches 

both need and the talent. Pat Hunt is Port 

Authority’s stock consultant. She has been working 

in the industry for over 20 years. She initially 

founded her own stock agency, Light Sources 

Stock, that offered conceptual photographs to 

the imaging industry. After several successful 

years, her company merged with the industry 

giant, Index Stock Imagery. As VP and Sales 

Director of Index Stock Boston she developed a 

clear understanding of the needs of stock photo 

buyers. Her knowledge, extensive experience, 

and commitment to photographers, make her a 

gold mine of information for any photographer 

interested in succeeding as a stock shooter. 

Abelardo Morell 

Friday, November 30, 2001, 6pm 

635 Commonwealth Avenue, room Sergeant 101 

Boston University Campus 


Reservations recommended. 

Please call 617-353-0700. 

Fifteen years ago, the birth of his son changed 

the way that Abelardo Morell perceived his 

world. At that moment, he began to define the 

photographic vision that has characterized his 

brilliant body of work. Featured in the exhibition 

Voyages (per)Formed (see page 1), and known 

internationally for such work as his unique camera 

obscura series, he will spend the evening 

talking about his work, his life, and his love of 

photography. Please join us for this fascinating 

evening lecture. Don’t miss our interview with 

him on page 11 of this issue of in the loupe. 

Personal Photographic 

Growth: Revisiting a 

“Photographic Diary” 

One Year Later 

with Richard Newman 

Tuesday, November 6, 6pm 

725 Commonwealth Avenue, room CAS 211 

Boston University Campus 


Reservations recommended. 

Please call 617-353-0700. 

How do make sure you stay motivated and grow 

as a photographer How do you stop the voice 

in your head that says, “I really want to take 

photographs, but I don’t know what to photograph” 

The best way to achieve personal growth 

in photography is to make photographs, but, it’s 

hard to stay motivated or focused on photographic 

projects. The catch 22 syndrome only 

holds you back in your photography. This seminar 

is designed to show you how a photographic 

diary will sharpen your visual senses and bring 

you a new level of satisfaction and motivation in 

your art. Richard Newman has been photographing 

and printing for over 20 years. In addition to serving 

as Marketing Manager for Calmark, he has written 

articles for Outdoor Photographer, Professional 

Photographer Magazine and Rangefinder. He 

teaches workshops with The Calumet Institute, The 

Santa Fe “Workshops on the Road” Program, and the 

Texas Photographic Society. 

Let’s create some brand chemistry together. Visit partnersandsimons.com or call Chris at 617 330 9393. 

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When photographers reflect on the 

history of their craft, it is often in terms of a 

narrow received canon of work made with 

artistic intent in the United States or Northern 

Europe. A few hundred names, a few 

schools or movements, and a couple of ground breaking exhibitions 

and publications are constructed into a seamless and progressive 

narrative that arrives triumphantly at modernism as apotheosis. 

This phenomenon seems to leave post-modern photography at a 

loss. Its references are as often literary as they are visual. Its appropriations 

are less commonly from the canon than from the cornucopia 

of vernacular mass media and popular culture: newspapers, 

cinema, television, advertising, and snapshots. Rather than homages 

to the masterful examples of a canonical aesthetic, we find pastiches 

that utilize the emotional power of familiar images to empower 

the work that appropriates them. It was with this notion in mind 

that the contemporary components of Voyages (per)Formed were 

imagined and situated. 

 

The new work commissioned for Voyages (per)Formed offers 

new vocabularies for thinking about old photographs. Their proximity 

to the work they comment on contributes to discourse within 

the exhibition and indeed let us experience the past in fresh ways. 

Nineteenth century photographs of exotic and beautiful places were 

intended to seduce and compel. They continue to do so today, and 

coupled with their fragility, rarity and association with the rich, are 

easy to romanticize, especially in the hushed and rarefied setting of 

a museum. The sheer visual interest of these 

wonderful objects would be impossible to contest 

with words alone. The power of the new art 

is that it allows us to see through the stereotypes 

and begin to unpack them as ways to 

understand the present. 

Abelardo Morell depicts the material 

nature of a special selection of nineteenth century 

albums. Working at the Boston Public 

Library with material from the forty six volume 

William Vaughn Tupper scrapbooks, he has 

isolated particular images or page spreads of 

images to convey a concentrated sense of the 

The following is an excerpt from Alison 

Nordström’s catalogue essay for the exhibition 

“Voyages (per)Formed” (see page 2 for more 

details). While the complete essay provides a 

much more critical examination of the ideas 

behind the exhibition including a fascinating 

examination of the Gilded Age travel album 

and its place in American society, we have 

decided to publish a selection which focuses on 

the contemporary interpretations of the material 

by Abelardo Morell, Lorie Novak, Peter Goin 

and Carol Flax. We highly encourage everyone 

to purchase a copy of the catalogue or to read the 

essay during their visit to the PRC. Catalogues 

can be purchased from the PRC. Nordström 

is the Director and Senior Curator at the 

Southeast Museum of Photography in Daytona 

Beach, Florida. 

albums’ weight, texture and age. His use of a 

long exposure time and a large format camera 

gives him an exquisitely detailed negative 

from which to make 16" by 20" black and 

white prints. In some cases, Morell has juxtaposed 

the Tupper pages with period postcards from the Library collection. 

In every case, careful lighting emphasizes aspects of the 

object we would not see without the artist’s guidance. A raking horizontal 

light contrasts the rough fibrous material of the album page 

with the cool poreless surface of the albumen print mounted on it 

and the print becomes a surreally artificial construction fully 

detached from the world it inhabits. In one image, strong lights on 

either side of an open album of Egypt form a pyramid in the center 

of the spread, simultaneously underlining and obscuring the photographed 

pyramids of Gizeh that drew the tourist, mark the exotic, 

and are the subject of the image on the page. At the edge of Morell’s 

image and returning both the photographer’s gaze and our own are 

William Vaughn Tupper and his family. Thus Morell’s photograph 

of a photograph conflates the original image-buyers with the image 

that they bought, not in an innocent belief in photographs as evidence 

but in a knowing way that comments on the earlier circumstance 

of picture-making and reveals Morell’s own. […] In an even 

more complex instance, a period souvenir postcard laid on an album 

page almost completely obscures the portrait underneath it. Only 

the unreadable edge of the album’s photograph and the album 

maker’s handwritten identification “Alexandra, Princess of Wales” 

are visible on the page, while a nameless Burmese girl stares back at us, 

her selfhood reduced to the ethnographic caption “Karen Beauty.” 

The materialized incongruity of this juxtaposition 

manifestly demonstrates the physical 

act of mediation while raising issues of class, 

identity and the ability of these photographs 

to level and commodify their subjects. 

 

In a similar fashion, though to greatly different 

effect, Lorie Novak deconstructs nineteenth 

century photographs of travel by emphasizing 

and juxtaposing their details in new ways. 

Her signature layering of images, achieved 

through a combination of re-photography and 

(left ) Abelardo Morell, Old Travel Scrapbook and Postcard: 

Alexandra, Princess of Wales, 2000. Image courtesy of the 

artist and the Southeast Museum of Photography. 

 

BY 

A LISON N ORDSTRÖM 

 

(top) Isis, Vache Hathor & Roi Psamitik, Osiris and Horus sur les Crocodiles from the album Lower Egypt and the Pyramids, December 21, 1892 – March 

8, 1893, G. Legekian, albumen prints, both 11x8.5", 1890. William Vaughn Tupper Scrapbook 26:44-45, Boston Public Library. (bottom left) Bourse de 

Commerce (Stock Exchange), from the album Belgium Bruxelles Bruges Ostende, unidentified photographer, albumen print 10x8," 1890. William Vaughn Tupper 

Scrapbook 5:03, Boston Public Library. (bottom right) Untitled photograph and Ascension du Pyramide from the album Lower Egypt and the Pyramids, 

December 21, 1892 – March 8, 1893, albumen prints 4x5.5", and 10.5x7", 1890. William Tupper Scrapbook 26:20, Boston Public Library. 

4 5

projection, encourages the viewer to think 

about the way these images came to be. 

Working, like Morell, with the Tupper 

material at the Boston Public Library as well 

as with collections at the Southeast Museum 

of Photography, the Alkazi Foundation and 

Daniel Wolf, Novak produced five large iris 

prints that literally place the past in the 

present and the present in the past. She also Museum of Photography. 

purposefully and analytically juxtaposes the exotic with the familiar, 

using, for example, the New Hampshire countryside as the contrasting 

backdrop for projections of images of Egyptian women she 

has re-photographed from the albums. In one particularly telling 

image, Novak herself appears in front of two nineteenth century 

photographs projected into a corner. On the left, three Arabs decorate 

the face of a pyramid, standing and sitting at different heights 

that Novak’s hands hold. The spine of 

the book separates tourist and guide, a 

bifurcation that is further emphasized 

by the parts of the image projected on 

Novak’s hands and bare arms: another 

female tourist on the right, the body of 

the Arab camel wrangler on the left. 

Here too, Novak’s authorial presence 

in the frame is integrated, clear and 

essential to the meaning of the work. There is no doubt that the 

sense of the past these new pictures make is her own. 

 

Even more directly, Peter Goin turns his and our attention to 

the photographic object through his construction of three oversized 

albums that sequence fragments of nineteenth century images and, 

(left) Carol Flax, detail from the interactive installation 

Journeys 1900/2000, fabricated album with projected video 

and sound. Image courtesy of the artist and the Southeast 

There is no doubt that the sense of the past 

these new pictures make is her own. 

that unconsciously echo the placement of angels in a classical nativity. 

On the right, nineteenth century tourists are hauled up a pyramid 

by anonymous Egyptians. Novak herself stands at the center, 

her body obscuring the corner interstice that suggests the spine of a 

book, her multiple shadows interacting with the equally shadowy 

figures of the now long dead travelers and their guides. An Arab 

peers over her shoulder; a woman with a parasol seems almost to 

scale Novak’s body. The artist wears camouflage clothing and a neutral 

expression but neither reduces the confrontational nature of her 

presence and her gaze. 

“Our Party December 1892– 

February 1893,” the photograph of the 

Tupper family in front of the Sphinx 

that intrigued Abelardo Morell, receives 

a different but equally complex treatment 

in Novak’s hands. In her work, 

a detail from the photograph is isolated: 

a young woman with long sleeves and a 

corsetted waist sits awkwardly on a camel; 

an Arab man holds the camel’s head still 

for the camera. The image is projected 

onto the blank pages of an empty book 

like their nineteenth century counterparts, require that pages be 

turned to experience them. The binding and method of construction 

of these albums is authentic to nineteenth century practice, and the 

books’ spare re-photography of telling details is enhanced by their 

outsize dimensions. (The largest album opens to more than nine feet 

across) and their lush and substantial copper covers. Inside, the photographs 

are straight takes from a number of albums in the Southeast 

Museum of Photography collection, showing details that emphasize 

people but could be almost random selections. Each of the three 

books is tellingly titled: Material Culture, 

The Vicarious and the Visual, and Signifying 

the Moment, and this imposition of the 

artist’s thoughts through words is also 

apparent in his most powerful device. Each 

page carries carefully placed phrases that 

simultaneously remind us of the artist’s role 

as commentator, draw our attention to particular 

aspects and components of each 

image and purposefully challenge the powerful 

nostalgia of the reproduced old photographs 

they bear […]. 

(left) Peter Goin, photo silkscreen print, 2000. Image 

courtesy of the artist and the Southeast Museum of 

Photography. 

(left) Lorie Novak, iris print, 46x35", 2000 (detail). Image courtesy of the Southeast Museum of Photography. 

In Goin’s investigatory work, his placement of the text is 

reminiscent of the way such early photographers as Bonfils, Bourne 

and Beato captioned and signed their photographs, using an empty 

place like a roof or a wall to claim and display ownership. Here the 

claim is of authorship. Goin’s reading of past images may be intentionally 

open to multiple interpretations, but the fact that such 

reading is done at all is the essential method of the work, and is 

clearly expressed in the graphic and personalizing marks that tell the 

story he has found. 

Perhaps the most complex of these readings of the past is 

Journeys: 1900/2000, a computer driven installation by Carol Flax 

that places the museum visitor simultaneously in the roles of wonderstruck 

traveler, covetous voyeur, and oblivious cultural imperialist. 

Flax is less concerned with nineteenth century images of travel 

per se, than she is with their relationship to the received knowledges 

of the travel experience and to the way that experience was and is 

shaped by the values travelers brought along with their bags and 

Baedekers. Her interactive production utilizes video, sound, still 

images and a fabricated album, that, wired and programmed, forces 

the viewer to become the traveler by placing him or her in the center 

of these multiple media. Using extracts from nineteenth century 

memoirs and guidebooks, and video images of trains, boats and 

6 7

even camels, Flax emphasizes the judgmental and ethnocentric views 

held by many nineteenth century tourists that shaped and were shaped 

by the photographs they bought. Since the piece requires the physical 

involvement of its viewers, they are forced to consider how the 

nineteenth century notions that the piece lays out may resemble their 

own today. 

 

At times and for some, the story may be one of the traveler’s 

superiority or power. Photographs, as visual bits of culture contact, 

may be, like the image of the barbarian in the parlor, domesticated 

completely into the world view of their owner. Their very challenge to 

the travelers’ received notions may be dismissed by the embracing ideology 

by which they are understood. Yet the story of a journey may be 

more open than that. Stories may also be vehicles through which some 

kind of admirable understanding is begun. Despite the paucity and 

incompleteness of our knowledge of the world, despite, in fact, the 

likely impossibility of truly knowing cultures not our own, our worlds 

are more connected than before the stories began. 

It is, after all, through story, as Barry Lopez reminds us, “that 

we embrace the great breadth of memory, that we can distinguish what 

is true, and that we may glimpse, at least occasionally, how to live without 

despair in the midst of the horror that digs and unhinges us.” If 

travelers’ tales bring us together, even a little, if the work in this exhibition 

helps us consider how we know and have known the foreign and 

the strange, we are better for it, and we can, then, journey on. 

(top) Abelardo Morell, Old Travel Scrapbook: The Pyramids, 2000. Image courtesy 

of the artist and the Southeast Museum of Photography. 

MARLENE DIETRICH 

PHOTOGRAPHS BY 

HORST AND HOYNINGEN-HUENE 

STEICHEN MAN RAY BEATON KARSH PENN AVEDON RITTS 

OCTOBER 21, 2001–JANUARY 6, 2002 

MUSEUM OF FINE ARTS, BOSTON 

Tickets on sale now! Call NEXT Ticketing at 617-542-4MFA. 

Become a member for free tickets. 

617-267-9300 / Open 7 days a week / www.mfa.org 

Sponsored by Media sponsor is 

Horst P. Horst, Marlene Dietrich, New York, 1942. Gelatin silver print. 

Courtesy Horst Estate, © The Condé Nast Publications Inc. 

8 9

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photography events in new england and beyond 

EXHIBITIONS 

MASSACHUSETTS 

Addison Gallery of American Art 

Secret Games:Wendy Ewald Collaborative Works with Children, 

1969-1999 (thru Dec 30). Tue-Sat, 10-5; Sun, 1-5. 

Phillips Academy, Andover, MA 01810. 978-749-4015. 

www.addisongallery.org 

Arlington Center for the Arts 

Afterimage: Hand-colored Photography (thru Nov 30). Mon-Fri, 

9-6. 41 Foster St, Arlington, MA 02474. 781-648-6220. 

www.acarts.org. 


Esther Bubley: American Photo-Juornalist (Nov 2-Dec 16). 

Tues-Fri 10-5pm, Sat & Sun 1-5pm. 855 Commonwealth 

Avenue, Boston, MA 02215. 617-353-3329. 

DeCordova Museum and Sculpture Park 

Two Views of Cuba: Photographs by Lou Jones and Peter Kayafas 

(Jan 19-Mar 17, 2002) in the James and Audrey Foster Galleries 

and Cindy Sedlmeyer: This is Not a Cloud (opens mid-Jan, 2002) 

in the Window Gallery. Tue-Sun, 11-5. 51 Sandy Pond Road, 

Lincoln, MA 01773. 781-259-8355. www.decordova.org. 

Fitchburg Art Museum 

Out on a Limb: Brian Fallon Crowley Photographs (thru Jan 6, 

2002). Tue-Sun, 12-4. 185 Elm Street, Fitchburg, MA 

01420. 978-345-4207. info@fitchburgartmuseum.org. 

Gallery One at the New England School of Photography 

Workshop Show (Dec 10-Jan 4, opening reception Th, Dec 

13, 7-9pm) Mon-Fri 9-5. 537 Commonwealth Avenue, 

Boston, MA 02215. 617-437-1868. 

EDUCATION 

Gallery One at the New England School of Photography 

Thoughts of a Human: Visual to Verbal. A lecture by Susan 

Baker co-hosted by the Photographic Resource Center. Susan 

Baker, a graduate of the Rhode Island School of Design, is 

known for incorporating text into her paintings and sculpture. 

Her recent books are The History of Provincetown (Verve 

Editions), Provincetown Dogs (Univ. Press of New England), 

and Following Proust. Thursday, November 8, 7:30pm, 

location tba. 617-437-1868. 

Harvard University Art Museums, Fogg Museum 

Light Conversations: Seminars with Contemporary Photographers. 

These intimate seminars offer the opportunity for a limited 

audience to interact with contemporary artists, discussing 

aspects of their work from original objects in the Fogg’s 

Mongan Center. November 5 – Michale Spano, 

ENTRIES/OPPORTUNITIES 

Cambridge Art Association National Prize Show. Call for 

entries. Open exhibition juried by Lisa Dennison, Deputy 

Director and Chief Curator, Solomon R. Guggenheim 

Museum, NY. The exhibition will be held May 3-June 24, 

2002 at the Kathryn Schultz Gallery and University Place 

Gallery, Cambridge, MA. Open to all artists residing in US 

18 yrs or older. All work must have been completed within 

the last two years. All media accepted, except videos. Jurying 

is by slides. Entry form and slides must be postmarked 

January 18, 2002. Best in Show wins $2000. For more 

information contact: Jodi Hays Gresham, Cambridge Art 

Association, 5 Lowell Street, Cambridge, MA. 617-876- 

0246. Cambridgeart@mindspring.com. 

www.cambridgeart.org. 

Winter Wonderland: The Frosty World of Snowdomes. 

Call for entries. 2 nd Annual Benefit Exhibit (December 10, 

2001-January 11, 2002) organized by the Arlington Center 

for the Arts. Exhibit is to benefit the Gibbs Gallery and 

related exhibition programs. All entries must be for sale. 

Artists can keep up to 60% of sale price. Two types of works 

The Gallery at Newbury College 

Stories: Photographs by Helen Goodwin (Nov1-Dec14). 

Mon-Th 9-9, Fri 8-5, Sat 9-5, Sun 1-9. Academic Center, 

129 Fisher Avenue, Brookline, MA 02445. 617-730-7070. 

www.newbury.edu. 

Harvard University Art Museum 

Fogg Museum 

You Look Beautiful Like That: The Portrait Photography of 

Seydou Keïta and Malick Sidibé (thru Dec 16). Mon-Sat 

10am-5pm, Sun 1-5pm. 32 Quincy Street, Cambridge, MA 

02138. 617-495-9400. 

McMullen Museum of Art at Boston College 

Hope Photographs (thru Dec9). Mon-Fri 11-4pm, Sat, Sun 

12-5pm. Devlin Hall, 140 Commonwealth Avenue, 

Chestnut Hill, MA 02467. 617-552 8100. 

www.bc.edu/artmuseum 

Museum of Fine Arts 

The Look: Images of Glamour and Style, Photographs by Horst 

and Hoyningen-Huene in the Gund Gallery (thru Jan 6, 2002). 

Sophie Ristelhueber: Details of the World in the Foster and 

Rabb Gallery (thru Jan 21, 2002). Mon-Fri, 10-4:45; Thur 

and Fri after 5pm only West Wing is open; Sat-Sun, 10-5:45. 

Avenue of the Arts, 465 Huntington Avenue, Boston, MA 

02115. 617-267-9300. www.mfa.org. 

Panopticon Gallery 

A Greek Portfolio: Photographs by PRC member Constantine 

Manos (thru Nov 10). Mon-Fri, 10-6; Sat by appointment. 

435 Moody St, Waltham, MA. 781-647-0100. 

www.panopt.com. 

December 3 – David Armstrong. Mongan Center, 11:30- 

12:30am. Free Admission. 32 Quincy Street, Cambridge, 

MA 02138. 

Karin Rosenthal will be teaching a workshop on 

photographing the nude in the landscape in Maui, 

Hawaii in February 2002. For further information, 

contact the Maui Photo Workshops at 800-314-2994 or 

www.mauiphotoworkshops.com. 

The Maine Photographic Workshops. 

World-renowned photographer Mary Ellen Mark will lead 

a 10-day documentary photo workshop in Paxaca, Mexico, 

February 10-20, 2002. Join other advanced photographers 

as you explore this colonial Mexican city, its pre-Hispanic 

yet modern culture and its outlying villages. Also, explore 

Cuba in spring 2002! The Maine Photographic Workshops 

is authorized by the U.S. Treasury to hold photo, film, music 

eligible: Snowdomes AND Original art relating to the theme 

of winter (including photography). Curated by Pam Shanley, 

artist and ACA Facilities Manager and Susan Berstler, Artist 

and Gallery Committee Member. Curatorial process from 

original work to be dropped off November 27, 28, 2001. 

For more information call 781-648-6220. 

Aspects of Boston Harbor: An Artist’s View. Call for entries. 

An art show sponsored by the USS Constitution Museum 

(December 8, 2001-January 2, 2002). Works submitted must 

focus on some aspect of the Boston Harbor, be it topographical, 

physical, social, environmental, historical, or spiritual. All 

media accepted, including photography. Work should measure 

no more than 54” width or height. May submit up to 4 

works. Original work must be submitted November 16-19, 

2001. Juror to be announced. For more information call the 

Director of Retail Operations at 617-426-1812, ext. 144. 

Illuminance. Call for entries. A competition sponsored by 

the Buddy Holly Center Fine Arts Gallery, Lubbock, TX. 

Open to all artists nationwide using photographic processes. 

in the loupe listings deadlines 

January/February issue: 

November 15, 2001 

March/April issue: 

January 15, 2001 

Peabody Essex Museum 

The Master Prints of Edward S. Curtis: Portraits of Native 

America (thru Mar 17, 2002) and Kenro Izu: Sacred Places 

(thru Dec 2). Mon-Sat, 10-5; Sun 12-5. Peabody Essex 

Museum, East India Square, Salem, MA 01970. 

800-745-4054. www.pem.org. 

ELSEWHERE IN NEW ENGLAND 

Hood Museum of Art 

Reservation X: The Power of Place (thru Dec 16). Tue-Sat, 

10-5; Wed, 10-9; Sun, 12-5. Wheelock Street, Dartmouth 

College, Hanover, NH 03755. 603-646-2808. 

www.dartmouth.edu/~hood. 

Photography Gallery- URI Fine Arts Center 

Photographing the Contemporary Landscape: Part Two, There, 

Not Here Includes photographs by PRC members Erik 

Gould and Mark Klett (Nov 6 thru Dec 16). Tue-Fri, 12-4; 

Sat-Sun, 1-4. 105 Upper College Rd, Kingston, RI 02881. 

401-874-2627. 

and dance workshops in this fascinating country. Join acclaimed 

photographers Keith Carter, Sylvia Plachy, Costa Manos, Alex 

Webb and many others as you discover the colorful streets and 

warm-hearted people of Cuba. This is a unique opportunity to 

tell Cuba’s story through your camera. For more information, 

call The Maine Photographic Workshops at 1-877-577-7700 

or visit our web site at www.theworkshops.com. 

Art Institute of Boston at Lesley College 

The Office of Continuing and Professional Education 

has recently introduced their new website 

www.aiboston.edu/EXTRA complete with all their new 

Fall and Winter workshop listings in Digital Media Design 

and Photography. Additional inquiries can be made to 

Diana Arcadipone, Associate Dean, 617-585-6729. 

Juried by Judy Dater, artist and currently instructor of 

photography at UC Berkeley Extension Program. May submit 

1-3 works. Jurying thru slides. Slides due November 26, 

2001. Juror Awards $1500, Purchase Awards $1000. For 

more information contact the Buddy Holly Center, 1801 

Avenue G. Lubbock, TX 79401. 806-767-2686. 

Vision 2002. Call for entries. Organized by the Santa Fe 

Center for the Visual Arts. Comprises of several separate 

competitions. The Project Competition, honors photographers 

with long-tem projects and those who work in series. 

Vision Awards, honor individual works by photographers 

working in color and black and white. Photographic 

Teaching Awards, rewards high school, college or postgraduate 

level educators of photography. Light Mentorship 

Program, looks for promising photographers, to help conceptualize 

the next step in their career. For more information 

visit www.santafeworkshops.com or for prospectus send business 

size self addressed envelope to Vision 2002, PO Box 

2483, Santa Fe, NM 87504. 

Abe Morell, photographed by Terrence Morash 

An Interview with Abelardo Morell 

insight 

Abelardo Morell is an acclaimed photographer whose work has appeared in over 50 galleries, institutions 

and museums including the Museum of Modern Art, the Metropolitan Museum of Art, and 

the Museum of Fine Arts Boston. He has received numerous awards and grants including a Cintas 

grant, an NEA fellowship, and a Guggenheim Foundation grant. Born in Havana, Cuba, he has 

been a professor at the Massachusetts College of Art since 1983. He lives in Brookline, Massachusetts 

with his wife Lisa McElaney, a filmmaker, and his two children Laura and Brady. 

How did you get into photography 

I went to Bowden College in 1967 and was hoping 

to do well in engineering, but I had no talent 

and flunked a couple of courses. I was really desperate 

and took a photography course in 1969. It 

was clear that I wanted to be an artist. My energy, 

my voice, my whole being became awakened by 

photography. There was no question that I 

wanted to do it forever. I just didn’t know how to 

make a living at it and how to keep doing it. 

Do your children continue to influence your work 

Less so, but the work I began to do in 1986 still 

influences what I do now. The thing that I learned 

was that paying attention to, and taking your time 

with, close-by things reveals a lot. My children 

and childhood are no longer part of my pictures, 

but the same kind of wide-eyed curiosity remains. 

In your camera obscura series, which image 

was the most satisfying to make 

I have favorites, but I am not sure if I can name 

one. One of the early ones that I like very much 

is the Empire State Building. It’s still satisfying. 

Although, when I look at some of these pictures 

now, it feels quite unlike the tragedy that happened 

on the 11th. [The photos] have upside 

down buildings and I have a weird feeling like I 

am playing around with the city in an imaginative 

way and that other people are playing in a 

destructive way. 

Have the recent events changed your views of 

photography 

It makes things a little more poignant. It makes 

you want to be a more conscious artist. Not that I 

want to make pictures of Afghanistan, but work 

that has more seriousness. The Boston Public 

Library has two very tall books with weird bindings. 

The other day, I was thinking that these 

books are like the World Trade Center. I am trying 

to make a picture of them without making light of 

it. It’s an interesting problem. How do you quote 

something that happened without being simpleminded 

about it I think art gives positive energy. 

I remember reading something about David 

Hockney that I liked. Someone asked him why he 

didn’t do work about all of the friends that he lost 

to AIDS in the ‘80s. His response was, “Well, 

what I do is make paintings of flowers.” A 

response can also be positive and beautiful. I tend 

to be in that camp. 

Have you ever returned to Cuba 

I haven’t. I left in ‘62 when I was 14. However, 

there is a chance that I will go back in January. It 

all depends on how the world is doing. There is a 

book about Cuba being put out with all kinds of 

artists and writers and I have been asked to go. I 

am a little apprehensive, but I think it is important 

that I go back with a sense of it not being a 

political trip. I shy away from any political stance. 

It’s my way to survive the crisis. 

How do you feel about this sudden prevalence 

of Cuban culture 

I think it has been good to have communication, 

but my more cynical self sees it as a new colonialism. 

It’s exotic and the latest fad. Cuba, Cuba, 

Cuba all the time. I worry about these things 

because next it will be Vietnam, Vietnam, 

Vietnam all the time, or Boston, Boston, Boston 

all the time. I am generally feeling positive about 

it, but I do worry that a lot of work that comes 

out of there seems to be stereotypical. If I go back 

there, I will try not to make something in a documentary 

style, but something personal. 

What do you enjoy about teaching 

I like the energy of young people. The good 

ones make you think about what you believe 

in. Sometimes it’s a pain in the ass, but they 

remind you of the energy that you began with. 

Like my children have reminded me of younger 

times, good students remind you of your original 

inspiration. 

Learn more about Abelardo Morrell during his PRC lecture on 

November 30. See page 2 for details. 

11

phonelines: member news from near and far 

12 

Congratulations to all 

for your recent successes. 

Please keep us informed of 

your news and triumphs. 

Abelardo Morell’s exhibition Rediscovering the 

Ordinary was shown at The Art Center in St. 

Paul’s School, Hargate,MA, thru October 20. 

Composite Photographic Constructions, a solo 

show of David Underwood’s photographs, 

was exhibited at Art and Soul in Charleston, 

SC, in August and September. 

Fran Osborn-Blaschke had an exhibition 

titled Ever So Bumble at Espresso Royale Caffe, 

Boston, MA, until September 30. 

Moments and Images, an exhibit of Arlington’s 

Great Meadows by Harvey Coté was shown from 

August 24 thru September 24 at the Emerson 

Umbrella Center for the Arts, Boston, MA. 

During the month of September, Nadine 

Wallack exhibited work at the Back Alley 

Café, and running until November, she has 

an exhibit at B. Cummings Hair Salon. 

A photo essay from Richard H. Goldman’s 

The Missing Generation portfolio, appears 

in this fall’s issue of DoubleTake Magazine. 

Bill Franson’s work appeared in numerous 

exhibitions throughout the country. He received 

the second prize in the Texas Photographic 

Society’s 10 th National Competition which 

was held in conjunction with Photosynthesis 

VII in Austin, TX. His work was on display 

at One Congress Plaza in Austin and will be 

part of a year long exhibition traveling within 

the state of Texas. Franson also had work 

appear in a group exhibition at Ashforth 

Warburg, in conjunction with the Off Center 

Photography Group, in New York, NY. An 

expanded show will move to the Woodstock 

Center, NY on November 3, 2001. In addition, 

through the month of November, twenty of 

his pieces are on display at the Massachusetts 

General Hospital as a part of a group exhibition 

in the Cancer Center. 

David Prifti, Lance Keimig, Walter Crump, 

and Karin Rosenthal, alongside other artists, 

had work exhibited in the 8th Annual 

Photography Show at the Rice/Polak Gallery, 

MA, through October. 

Margins: New Photographs, an exhibition of 

work by Oscar Palacio, was at Elias Fine Art 

in Allston, MA, during the months of 

September and October. 

Gary Duehr infused David Square, MA, 

with hundreds of images of its inhabitants 

in a photo installation during September. 

Constructions, an exhibition at the Arlington 

Center for the Arts featured works by Walter 

Crump. The show ran through September. 

Manifest 2001: A Juried Exhibition of Contemporary 

Photography organized by the Copley 

Society, invited Rachel Rosenfield Lafo and 

Olivia Parker to be part of the jury. This show 

featured numerous artists’ works, including 

Jennifer Kodis, Walter Crump, Jonathan 

Bailey, second prize winner Eric Swenson, 

and fourth prize winner Sarah Malakoff. 

Lillian Immig Gallery at Emmanuel College, MA, 

exhibited Pinhole Madness, featuring works by 

Ri Anderson, Walter Crump, and Jesseca 

Ferguson. This show ran through October. 

Things I Have to Tell You, a book of photographs 

by Nina Nickles and writings by 

teenage girls was published this past summer. 

She also photographed the covers of the 

two books, You Hear Me and Waiting for 

Christopher. In addition, she had two prints 

included in the Danforth Museum of Art’s 

New England Photographers 2001, had a print 

exhibited in the Newburyport Art Association 

Regional Show, for which she received Honorable 

Mention, was exhibited in a member show at 

the Greek Institute in Cambridge, MA, and was 

part of the summer show at the Skirt Gallery, 

Allston, MA. 

Gallery NAGA, Boston, MA, exhibited Camera 

Work through September, which featured works 

by four artists, including David Prifti. 

For the entire month of October, the Newton 

Free Library, MA, exhibited Out of Context, 

and exhibition of architectural photographs 

by Peter Vanderwarker. 

The Jazz Gallery is featuring works by Ken 

Franckling in a show titled Visual Jazz, 

through November 10, 2001. 

The Greek Institute is featuring Greek inspired 

work by two artists in a show titled Skopelos: 

Two Views. One of the two artists is Jesseca 

Ferguson. The show will run until November 

8, 2001. Ferguson also had a show at the Beacon 

Gallery which ran through October 7, 2001, 

titled Theatre of Memory. 

Three photographs by Martha Hoffheimer 

and three photographs by Patricia Hogan, 

were exhibited in a juried members exhibition 

titled The Abstracted Image, at The Firehouse 

Art Center Gallery. This show was sponsored 

by the Women’s Caucus for the Arts. The show 

ran through October 15, 2001. 

Nubar Alexanian will have a publication of 

his book on Gloucester, MA, this November. 

An excerpt of the book is currently showing 

online on the Digital Journalist. A large show 

exhibiting his work will open at the Cape Ann 

Historical Museum in Gloucester,MA, on 

November 3, 2001. 

The Current Works 2001 exhibition at the 

Society for Contemporary Photography, Kansas 

City, accepted one photograph by Donna 

Hamil Talman and two photographs by Tony 

Debone. They will be on display through 

November 24, 2001. 

The Kingston Gallery featured 13 artists’ works 

in a show titled See 13 @ Kingston throughout 

the month of September. Among the featured 

artists was Mary Lang. 

Child’s Play, an exhibit on display at The 

Gallery of the Newton Free Library during 

the month of September, featured work by 

Mary Lang and Karen Davis. 

Valerie Matthews and Linda Haas were two 

of the many artists involved in the 9th Annual 

Cambridgeport Artists Open Studios on 

September 8-9, 2001. 

The Cambridge Multicultural Arts Center is 

featuring work by Annu Matthew in a show 

titled Memories of India and work by Jaye 

Phillips in a show titled Spirited Resilience: 

Artists from Mexico. The shows run until 

December 6, 2001 and November 9, 2001, 

respectively. 

During the summer months of July and 

August, Lance Keimig had work on display 

at the Pepper Gallery, Boston, MA. 

Through September, 2001, Jules Place 

presented an exhibition titled Life in Black & 

White. Among the five artists featured were 

Henry Horenstein and Angela Coppola. 

The panel of judges for the Golden Light 

Book Award included Philip Trager and 

Constantine Manos. 

The Animal as Muse: Divine to Demonic will be 

on exhibition through November 2, 2001 at 

the New Art Center featuring works by many 

artists, including Heather Bohm-Tallman, 

Henry Horenstein, Rosamond Purcell, and 

Paul Weiner, who curated this show as well. 

Cuba 2001 is an exhibition showing at Thayer 

Academy displaying works of Linda J. Hirsch. 

Donna Hamil Talman received a 2001 

Creative Arts Fellowship from the 

Worcester/Mass Cultural Commission. 

Running until December 16, 2001 at the 

Robert Hull Fleming Museum, is the show 

titled Weaving the Patterns of the Land: 

Preserving Inca Textile Traditions displaying 

photographs taken by David VanBuskirk. 

The Gallery at Newbury College is displaying 

photographs by Helen Goodwin through 

December 14, 2001. 

An installation in the Cyclorama at the Boston 

Center for the Arts was done by Robert Goss 

and will remain there until August 31, 2002. 

Photographs by Keith Johnson were on display 

from September through October, 2001, 

at the Robert C. May Gallery at the University 

of Kentucky. 

Adam Pachter had work recently exhibited in 

the Frances N. Roddy exhibition at the Concord 

Art Association Gallery, Concord, MA and at 

the Fall Salon at the University Place Gallery 

in Cambridge, MA. Both ran through October, 

2001. 

become a member of the prc 

The Photographic Resource Center is a membership-supported, privately operated organization. In this period of dwindling government 

and foundation support, your membership provides critical income to support our programming and educational mission. Join for the 

obvious benefits listed below, but also for the more subtle perks. PRC members enter the network of the New England photographic 

community, which includes commercial and artistic photographers, collectors, scholars, philanthropists, and critics, to name a few. If you 

love photography and are interested in supporting our vital mission, join us—your tax-deductible membership does make a difference. 

PRC MEMBERSHIP CATEGORIES AND BENEFITS 

Individual ($45) 

• Unlimited free admission for one cardholder 

• Invitation for two to opening receptions, members-only 

previews and special events 

• Annual subscription to In the Loupe 

• Opportunities to present work in the annual Members 

Exhibition and Members Project Room 

• Discounts at PRC lectures and workshops 

• Discounts on portfolio reviews with 

photography professionals 

• 10% discount on PRC exhibition catalogues and 

other products 

• Discounts at area darkrooms and retail photographic 

merchants 

• CONNECTIONS (free admission to, or discount at, 

select photography institutions across the country. 

Student ($25) 

• Individual benefits for full-time students only 

(photocopy of ID required) 

Family ($60) 

• Individual benefits for two (two membership cards, 

one mailing) 

Supporter ($125) 

• Family benefits plus 

• Four guest passes for one-time free admission 

• Annual PRC exhibition catalogue (when available) 

• Invitations to special receptions, cocktail parties and 

gallery talks 

• Eligibility to rent the Center for private functions 

(Corporate Member rental rates will apply) 

Contributor ($300) 

• Supporter benefits plus 

• Choice of photographic print from the Contributor 

Members Print Program level 

Benefactor ($600) 


• Choice of a photographic print from the Benefactor 

Members Print Program level or two prints from the 

Contributor level 

Patron ($1,200) 


• Choice of photographic print from the Patron Members 

Print Program level or a combination of prints from the 

Contributor and Benefactor Members Print Program levels 

(to equal $1,200) 

Angel ($2,400) 


• Choice of photographic print from the Angel Members 

Print Program level or a combination of photographic 

prints from the Contributor and Benefactor Members Print 

Program levels (to equal $2,400) 

• Invitation to annual Director’s Dinner 

• Invitation to private reception with PRC Board of Directors 

• Additional invitations to all previews and openings upon 

request 

• Free admission to all PRC lectures and workshops 

Corporate 

For information on becoming a Corporate Member, 

please contact the PRC. 

Name 

Phone 

Email 

Address 

Address 

City 

State 

ZIP 

■ Employer’s matching gift form enclosed 

Company Name 

■ New Membership ■ Membership Renewal 

Payment Method(check one): ■ Visa ■ Mastercard 

■ Check enclosed (payable to Photographic Resource Center) 

Credit Card # 

Expiration Date 

Signature 

Return this form, or the requested information, with payment 

(and copy of ID, if required) to: Membership Office, 

Photographic Resource Center, 602 Commonwealth Avenue, 

Boston, MA 02215 

The Photographic Resource Center is a non-profit, 501(c)3 

corporation and membership fees are tax-deductible as allowed 

by law. For information on tax-deductible portions of your 

membership, please contact the Membership Office at 

617-353-0700. 

13

In The Loupe - Boston Photography Focus

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