March | April | May 2009 - Boston Photography Focus

March | April | May 2009 

Volume 33, Number 2 

the newsletter for the Photographic Resource Center at Boston University

the prc mission 

The Photographic Resource Center (PRC) at Boston 

University is an independent non-profit organization 

that serves as a vital forum for the exploration 

and interpretation of new work, ideas, and methods 

in photography and related media. The PRC presents 

exhibitions, fosters education, develops resources, 

and facilitates community interaction for local, 

regional, and national audiences. 

BOARD OF DIRECTORS 

Cathy England, President Arlette Kayafas 

Eric Almquist 

Nancy King 

Marc Elliott 

Gary Leopold 

Andrew Epstein 

Susan Lewinnek 

Roger Farrington 

Walt Meissner 

Peter Fiedler 

Les Nanberg 

Rick Grossman 

Olivia Parker 

Michael Jacobson 

Neal Rantoul 

Lou Jones 

Kim Sichel 

Emily Kahn 

Jonathan Singer 

David Karp 

Bob Watts 

Staff 

Jim Fitts, Executive Director/Executive Editor 

Leslie K. Brown, Curator/Editor 

Jason Landry, Interim Education Manager 

Cate Brennan, Programs Coordinator 

Alice Hall, Librarian 

Vincent Marasa, Preparator 

Jennifer Uhrhane, Godowsky Curatorial Fellow 

from the Director 

Late in 2008, I was contacted by the Center for Digital Imaging Arts at 

Boston University (CDIA) to see if the PRC would agree to be included 

as part of their practicum program. I have been an instructor at the 

CDIA for a few years, so I had first hand knowledge of the program and 

its value to the organizations involved. CDIA students select from a 

number of non-profit organizations and produce a multi-media presentation 

free of charge. Two students, Kristi Wedertz and Eric Corriveau, 

spent several weeks photographing PRC activities—ranging from the 

Keeping Time exhibition in our gallery to the Larry Fink lecture. 

When Jason Landry and I had the opportunity to see a rough cut of 

the multi-media piece, I was immediately moved by two things. First, 

the quality of the work by Kristi and Eric and secondly, by the images 

they captured of the PRC’s youth outreach students working on their 

assignments. 

Work-study and Interns 

Laura Cashavelly (AIB alum) 

Kassisa Karr (BU) 

Ariel Kessler (MassArt) 

Aaron Ramsey (NEIA) 

Michelle Simunovic (BU) 

Madeleine Gredd Smith (Northeastern) 

Tiffany Smith (U of Buffalo alum) 

General Information 

Photographic Resource Center at Boston University 

832 Commonwealth Avenue, Boston, MA 02215 

Tel 617-975-0600 prc@bu.edu 

Fax 617-975-0606 prcboston.org 

Hours 

Tuesday–Friday: 10–6pm, Saturday–Sunday: 12–5pm 

Thursday: 10–8pm, Closed Mondays 

It is one of life’s great joys to see firsthand the moment a young talent 

creates a work of art — or in the case of our outreach students, a great 

photograph. We so often see the result, but rarely see the students 

deeply involved in the process of creating an image. The multi-media 

presentation is a great primer on the PRC as well as a chance to see 

the next generation of photographers. I encourage you to view it for 

yourself. We have a link posted to the presentation on the PRC web 

site on the “About the PRC” page, under the “information” header. 

Jim Fitts, Executive Director 

Admission 

Adults: $3, Students (with ID) and seniors: $2 

FREE: members, children under 18, member schools, 

BU students, faculty, and staff, as well as groups with 

appointments. Thursdays and the last weekend of 

every month are also free. 

Public Transportation 

Take the Green Line “B” train to the BU West, 

four stops west of Kenmore Square. 

Cover image 

Matthew Swarts, detail of Untitled, 2006, Pigmented 

inkjet on aluminum panel, 42 x 30 inches 

Design Credits 

This issue of the in the loupe was designed 

by James Weinberg > weinbergdesign.com 

and printed by Millennium Graphics. 

Two students from one of our Youth Outreach photography 

programs in action. Photograph by Kristi Wedertz, 

Center for Digital Imaging Arts at Boston University (CDIA)

ANNOUNCEMENTS 

Installation & Summer Hours 

Please note, the PRC will be in installation from March 16 – 26 

and May 12 – 21, and thus the gallery will be closed and the 

library open by appointment only. After the close of the 2009 

Juried Exhibition, the PRC gallery and library will be dark late 

June/early July through mid-September. 

PRC Flickr Site Surpasses 30,000 views 

and check out the PRC Blog 

Our PRC Flickr site (online at www.flickr.com/photos/prcboston) 

is the place to check out images of our receptions, exhibitions, 

lectures, and workshops. To date, we have over 2,000 images that 

have been viewed over 30,000 times. The PRC blog is a huge success! 

Since launching officially in May, we have written over 160 

posts and had over 25,000 visits. Surf on in and/or subscribe to the 

PRC blog – bostonphotographyfocus.org. In addition, we have also 

created Myspace and Facebook profiles, look for us and see you 

online! 

PRC Announces New Juried Opportunity 

Inaugural Publication Competition to be judged 

by Blind Spot Editor and Publisher, Dana Faconti 

The PRC is pleased to offer another opportunity for PRC members, 

a print publication. Printed as a full-color insert into our fall 2009 

newsletter, the inaugural PRC Juried Publication competition will 

feature one image per selected artist and contact information. The 

postmark and drop-off deadline for entries will be April 1, 2009. 

Please turn to page 9 for an entry form. 

Monthly Portfolio Reviews with the PRC Curator 

Below you will find dates for 30-minute monthly portfolio reviews 

(and corresponding call-in reservation information) with the PRC’s 

Curator, Leslie K. Brown. Reservations are accepted on a first-call, 

first-served basis. You must be a PRC member to participate in the 

reviews and members are allotted one review per year. Please note, 

there will be no review date in March. 

Review Date: Monday, May 4 

Call in for reservations at 10 am 

Friday, April 17 

Review Date: Monday, June 15 

Call in for reservations at 10 am, 

Friday, May 15 

New Portfolio Review Event—Mark your Calendars! 

In order to accommodate the increased demand for this program, 

the PRC is teaming up with The Griffin Museum of Photography to 

host this premiere event that will take place in early May 2009. Turn 

to page 12 for more information and put May 8th & 9th on your 

calendars! 

Were you there Check out our flickr site for images 

of exhibitions, events, and more. To date, 

we have over 65 sets, over 200 friends, 2,000 images, 

and 30,000 views! ©2009 by Yahoo! Inc. FLICKR and 

the FLICKR logo are trademarks of Yahoo! Inc. 

4 > www.prcboston.org

EXHIBITIONS 

2009 PRC Student Exhibition 

Through March 15, 2009 

Opening reception, Thursday, February 5, 5:30-7:30 pm 

Join us in celebrating regional talent with the 9th annual 

PRC Student Exhibition! Visit and be astounded at the future 

of photography as seen in close to 100 pieces. Please visit 

prcboston.org/studentexhibition.htm, for descriptions 

and images from the 19 schools and programs that are 

currently Institutional Members of the PRC. 

Syntax (Part of the Boston Cyberarts Festival) 

March 27 – May 10, 2009 

Opening reception, Thursday, April 2, 5:30 – 7:30pm 

This group exhibition brings together work that addresses 

the concept of digital information and systems—their 

meaning and aesthetics. Syntax considers artists who 

address or create new forms of digital language via 

computer programs or via some sort of digital processing 

or selection. The show is presented in conjunction with 

the biennial Boston Cyberarts Festival (April 24 – May 

10, 2009), a region-wide celebration of art and technology. 

Artists include Patricia Ambrogi, Leigh Brodie, Benno 

Friedman, Meggan Gould, Brian Piana, Mark J. Stock, Luke 

Strosnider, and Matthew Swarts. Please turn to page 16 for 

an essay and images. 

Alex Uncapher, Untitled, Inkjet print, 11 x11 inches, Professional 

Digital Photography Certificate, Class of 2008, Center for 

Digital Imaging Arts at Boston University 

EXPOSURE: The 14th Annual 

PRC Juried Exhibition 

May 22 – June 28, 2009 

Opening reception, Thursday, May 21, 5:30 – 7:30pm 

The PRC proudly presents its 14th Annual PRC Juried 

Exhibition—dubbed EXPOSURE. Begun in 1996, the PRC 

Juried Exhibition highlights midcareer artists and “ones 

to watch.” Our guest juror, American Photo Magazine Editor 

Russell Hart, will select between 10 and 15 artists for exhibition. 

For more about Hart and the PRC Juried Exhibition, 

please our web site at prcboston.org/juriedexhibition.htm. 

We will be announcing the winners online in April. Look 

for a full spread on the winning artists in the summer 

issue of the PRC newsletter. 

www.prcboston.org > 5

MEMBER EVENTS 

Join other PRC members 

at these upcoming events! 

Member Event at AIPAD sponsored 

by the Young Professionals of the PRC 

Saturday, March, 28, 2009, 6am – 11pm (deadline March 16) 

Park Avenue Armory, New York City 

$40 per member; limit 53 people; AIPAD admission not included 

The Young Professionals of the PRC is sponsoring a bus trip to 

AIPAD (Association of International Photography Art Dealers), the 

annual show of photography dealers in New York. On Saturday, 

March 28th, a chartered bus will leave from the PRC at 6am, and 

return to Boston that evening, arriving back at around 11pm. Cost 

is $40 per person, not including admission to the AIPAD show. To 

sign up, or for more information, contact the PRC at 617.975.0600. 

More than 75 of the world’s leading fine art photography galleries will 

present a wide range of museum quality work by contemporary, modern 

and 19th century masters at the Park Avenue Armory at 67th Street and 

Park Avenue in New York City. The AIPAD Photography Show New York 

is the longest running and foremost exhibition of fine art photography. 

(From www.aipad.com) 

The PRC has put together a 

special spring series of three 

new “Behind the Scenes” 

events. Prices range from $150 

to $350 per event, and package 

deals are available. Reservations 

are required, and space is 

limited. For reservations or more 

information, please contact the 

PRC at 617.975.0600. 

Behind the Scenes at AIPAD 

Friday and Saturday, March 27 and 28, 2009 

Park Avenue Armory and various locales around New York City 

$350 per person 

Join us for a series of private tours, studio visits, presentations, 

and dinners with fellow collectors and photography professionals, 

including curators and photographers. We will meet for a studio 

visit on Friday afternoon, followed by a private dinner nearby with 

special guests. On Saturday morning, we will meet at AIPAD and 

learn what selected photography insiders consider new and exciting 

at this year’s show (aipad.com/photoshow). The AIPAD fair itself 

runs from March 26 through March 29. Show admission is included 

in the PRC event charge of $350. Please RSVP by March 13th. 

Lecture and Private Dinner Reception with 

Alessandra Sanguinetti 

Thursday, April 16th, 2009 

Lecture at 7pm with dinner to directly follow 


832 Commonwealth Avenue, Boston, MA 


Gary Leopold talks about ISM’s corporate collection at a Behind 

the Scenes event last summer. Photograph by Leslie K. Brown. 

Enjoy a private dinner reception with one of America’s most exciting 

new photographers. The event will take place on Thursday, April 

16th at the PRC and will directly follow her lecture at Boston University’s 

College of Communication (Hall 101). The price of the event 

is $150 per person and is limited to 25. Please RSVP by April 7th. 

A View of Private Collections 

Week of May 11th, 2009 (specific date and locations to be announced) 

6 – 9 pm 

Back Bay, Boston 


Several close friends of the PRC have generously invited us to view 

their collections in their Back Bay homes. This “Back Bay Stroll” is 

self-directed and includes a reception at one of the venues. Price 

is $175, and space is limited. Please RSVP by May 1st. 

Tina Barney talks to guests at a Behind the Scenes special 

dinner last spring. Photograph by Jim Fitts. 


EXHIBITIONS ONLINE 

The PRC announces the next installments in the Northeast Exposure Online 

(NEO) series. The virtual gallery is by invitation only and features a selection of 

images, artist and curator statements, and links. You can sign up for the PRC’s 

free monthly email from the bottom of the PRC homepage, prcboston.org, or 

check back every month to see who is featured. We also invite you to visit, 

bookmark, and explore the archived exhibition pages from the past five years 

available via the main NEO site, prcboston.org/ne.htm. 

NEO > MARCH 2009 

www.prcboston.org/cole.htm 

Caleb Cole, February is Dental Month, from the 

series “Other People’s Clothes,” 2008, Archival Ink 

Jet Print, 13 x 19 inches, courtesy of the artist 

Caleb Cole (Brighton, MA) is a 2008 graduate of New England School of Photography 

with triple honors. Prior to coming to NESOP, he earned his BA in Sociology and Gender 

Studies from Indiana University. Among Cole’s recent exhibitions are a solo show at the 

Artists Foundation as well as group show for NESOP’s 40th anniversary. He currently 

works at Boston College and also does freelance shooting and post-production work. 

Featured online will be selections from his fascinating ongoing body of portrait work that 

merges photography and performance. For the series “Other People’s Clothes,” Cole finds 

or buys other people’s clothes and creates a persona and a narrative based on his initial 

reaction to the garments. Using props and lighting, he shoots in a variety of locations and 

always brings the clothes back to the thrift store or locale from which they came. 

NEO > APRIL 2009 

www.prcboston.org/schubert.htm 

Erik Schubert, Pyramid, from the series “How to 

Win Friends and Influence People,” 2006/2007, 

archival inkjet print, 41 x 53 inches, courtesy of 

the artist 

A 2007 MFA graduate of Massachusetts College of Art and Design (Cambridge, MA), 

Erik Schubert has taught photography at Greenfield Community College and was the 

Digital Labs Photography Coordinator at Endicott College in Beverly, MA. He has shown 

in several juried exhibitions in Boston such as Boston Young Contemporaries, the 2007 PRC 

Student Exhibition, and EXPOSURE: The 13th Annual PRC Juried Exhibition. Recently, he had 

a solo show, Thinking Big, at the Slocumb Gallery at East Tennessee State University 

in Johnson City, TN and is currently featured in an online show, Doppelgänger, in the 

We Can’t Paint Projects Gallery. Inspired in part by Dale Carnegie’s book How to Win 

Friends and Influence People and his businessman father, Schubert has been collecting 

and documenting scenes and ephemera of corporate aspirations and failure. Featured 

online will be selections from this series that considers the visual effects and detritus 

of our business-centered society. 

NEO > MAY 2009 

www.prcboston.org/lewy.htm 

Part of the Boston Cyberarts Festival 

Michael Lewy, Drawing # 12, 2007, from the 

series “City of Work,” Cyanotype, 16 x 22 inches, 

Courtesy of the artist and the Boston Drawing 

Project at Carroll and Sons 

Michael Lewy (Jamaica Plain, MA) earned his MFA from the Massachusetts College of Art 

and Design in 1996. Featured in the 2005 DeCordova Annual, he has won a fellowship from 

the Vermont Studio Center and the Calumet Emerging Photographers Award. His book, 

Chart Sensations, was published by J & L Books in 2004 and shown at several national 

galleries. Lewy’s video work will be highlighted at Carroll and Sons this spring. Featured 

online will be selections from his magnum opus “City of Work,” including cyanotypes, 

Powerpoint charts, and videos. Using computer programs and 3D rendering software, 

Lewy inserts himself into a world of his creation, thereby commenting upon the world 

and language of corporate culture (and likely his own desk job). He currently works at 

Massachusetts Institute of Technology in an administrative position. He submits that he 

always wears his suit when he is making art. 


NEW MFA 

IN PHOTOGRAPHIC & ELECTRONIC 

M E D I A 

AT ONE OF THE NATION’S TOP COLLEGES 

OF ART AND DESIGN 

Led by internationally renowned media scholar Timothy Druckrey, MICA’s 

newest MFA program explores the reverberating social and artistic uses 

of optical and electronic media technologies, and the opportunity to work 

directly with influential artists and theorists from around the world. 

Ranked in the top 4 of 220 graduate schools of art and design by U.S. News & World Report, MICA offers 10 programs leading 

to the MFA, MA, and post-baccalaureate certificate – a diverse and dynamic community of artists and thinkers who are shaping 

the world of art and design. 

FOR MORE INFORMATION, VISIT WWW.MICA.EDU/PROGRAMS 



EDUCATION 

The Blue Room, by Eugene Richards, published by Phaidon 

Press, www.phaidon.com 

SPRING LECTURE SERIES 

You may have seen their books or their 

exhibitions at various galleries and museums, 

but it is through lectures that you 

play witness to their true genius. Last fall 

we were intrigued by the creativity of 

Barbara Crane, stunned by the emotionally 

charged imagery of Paul Fusco, and entertained 

by a legend, Larry Fink. Join us this 

spring for a whole new series of dynamic 

and influential photographers 

Guest accommodations are generously provided by 

the Hotel Commonwealth, official hotel sponsor of 

the Photographic Resource Center’s Lecture Series 

LECTURE/BOOK SIGNING > Eugene Richards 

Thursday, March 5, 7pm 

$10 Members/$15 Non-Members/$5 Full-time Students/ 

Free for Students of Institutional Members 

Boston University’s Photonics Center – Auditorium, 206, 8 St. Mary’s St, 

Boston, MA 

Join us in welcoming back internationally renowned social-documentary 

photographer Eugene Richards for a lecture and discussion 

of his new book, The Blue Room. Richards, a Massachusetts 

native, studied photography with Minor White after completing 

a degree in English and Journalism. Following a five-year period 

working as a social worker and reporter in eastern Arkansas, 

Richards published his first book, Few Comforts or Surprises, in 

1973. Since then he has worked as a freelance editorial photographer 

for such publications as Life, National Geographic, and the New 

York Times Magazine. 

Richards’s subsequent books include Dorchester Days (1978, republished 

by Phaidon Press in 2000), a portrait of the Boston 

neighborhood where he was born; Cocaine True, Cocaine Blue (1994), 

a study of the impact of hardcore drugs on American society; 

Stepping Through the Ashes (2002), an elegy to those who lost their 

lives on September 11, 2001; and, most recently, The Fat Baby, an 

extensive monograph on Richards’s most important photo stories, 

published by Phaidon Press in 2004. Among numerous honors, 

Richards has been the recipient of a Guggenheim Fellowship, the 

Kraszna-Kraus Book Award, the W. Eugene Smith Grant in Humanistic 

Photography, several National Endowment for the Arts 

Grants, and the Robert F. Kennedy Lifetime Achievement Journalism 

Award. 


EDUCATION 

Alessandra Sanguinetti/ Magnum Photos 

2008 Juror Lesley A. Martin gives her seminar to a 

packed audience. Photograph by Leslie K. Brown 

LECTURE > Alessandra Sanguinetti 

Thursday, April 16, 7pm 

$10 Members/$15 Non-Members/$5 Full-time Students/ 

Free for Students of Institutional Members 

Boston University’s College of Communication, Hall 101 

640 Commonwealth Ave, Boston, MA 

Magnum Photographer Alessandra Sanguinetti will be coming to 

the PRC to lecture about her recent projects, including the ongoing 

series of photographs following the lives of the young cousins 

Guillermina and Belinda as they grow up on their family’s farm 

outside Buenos Aires. Sanguinetti has collaborated with the girls 

since 1999, capturing the various transitional moments that occur 

from childhood to adulthood. 

Born in Argentina, Sanguinetti was the recipient of a Guggenheim 

Fellowship and a Hasselblad Foundation grant. Her work is in the 

public collection of the Museum of Modern Art, New York, NY; the 

Museum of Fine Arts Boston, Boston, MA; the International Center 

for Photography, New York, NY; and the San Francisco Museum of 

Modern Art, San Francisco, CA. Her monograph, On the Sixth Day 

was published by Nazraeli Press in 2006. She is represented by 

Yossi Milo gallery in New York, NY. 

Getting Published in Photography 

Magazines with Russell Hart 

Wednesday, March 18, Noon 

$10 Members/$20 Non-Members/ $5 Full-time Students/ 

Free for Students of Institutional Member Schools 

Boston University’s Sargent College, Auditorium 102 

635 Commonwealth Ave, Boston, MA 

It’s hard being a photographer these days. Emerging art photographers 

struggle to find galleries that will sell their prints, while 

photojournalists and editorial photographers are losing many 

of the print media outlets that once published their work. Photography 

magazines may not pay handsomely, but they do offer 

a venue for these and other types of work, and can be a great 

source of “exposure” if not a stepping stone to further publishing 

opportunities. Hart will discuss what editors at photography 

magazines are actively looking for, what kind of over-the-transom 

work catches their eye, and how decisions are made about which 

images will be featured. 

Russell Hart is Executive Editor at American Photo magazine and 

serves as Editor of American Photo On Campus. In addition to his 

numerous magazine stories and posts on the AP blog, State of the 

Art, Hart oversees many of their technical reviews and organizes 

the “Editor’s Choice” issue. This year, he will be on the jury of AP’s 

“Emerging Artist” and “Student Portfolio” showcases. Co-author of 

the popular textbook Photography with Henry Horenstein, he has 

taught at the School of the Museum of Fine Arts, Boston; Tufts 

University, Medford, MA; and Mount Ida College, Newton, MA. His 

personal work is included in numerous collections. 


EDUCATION 

Annual PRC Portfolio Review Day, 2008, Jim Fitts and 

Rania Matar. Photograph by Michael Christiano. 

Portfolio reviewer Pia Francesca Schachter meets with a 

participant. Photograph by Michael Christiano. 

NEW ENGLAND PHOTOGRAPHY 

PORTFOLIO REVIEW EVENT 

May 8th & 9th 2009, Location TBD – Stay Tuned! 

In order to accommodate the increased demand for this 

program, the PRC is teaming up with The Griffin Museum 

of Photography to host this premiere event that will take 

place in early May 2009. Through our joint efforts, we 

will be able to provide you with more reviewers to choose 

from at this year’s event. A space for informal portfolio 

sharing will also be provided so you can network with 

peers, both old and new. Be sure not to miss this opportunity 

to have your work reviewed by some of the most 

influential photography professionals from the region. 

Learn how to improve your work, refine your portfolio, 

and take your photography to the next level. A list of 

reviewers, dates, location, and registration information 

will be available shortly. This is leading up to be one of 

the most anticipated events of the year! Please check the 

Upcoming Programs page of prcboston.org for updated 

information later in the spring. 

PRC members participate in the member portfolio sharing. 

Photograph by Michael Christiano. 

PRC members Jo Sandman and Pelle Cass share their work while 

waiting for their next review. Photograph by Michael Christiano. 


Through May 17, 2009 

Don’t miss this exclusive East Coast presentation of works from the world’s 

foremost collection of contemporary Chinese art. Experience paintings, sculpture, video, 

photography and more by China’s most influential artists. Their works provide unique and 

often provocative insights into the extraordinary changes taking place in China today. 

161 Essex Street | Salem, MA 01970 

978-745-9500 | pem.org 

MEDiA PArtnEr 

Organized by the University of California, Berkeley Art Museum and Pacific Film Archive; 

supported by Carmen M. Christensen and other generous donors 

Made possible at PEM by ECHO (Education through Cultural and Historical Organizations) 

Breathing (Part 1 of 2) (detail), 1996, Song Dong. Sigg Collection. 

MK223_Mahjong_ITL_MECH.indd 1 

1/23/09 3:20:21 PM

INTERVIEW 

Bela Kalman working on his latest book Béla Kalman, Family Dinner, Chicago, 1957, 

from the book, The Third Eye 

An Interview with Béla Kalman 

by Jim Fitts, Executive Director 


October 22, 2008 

Béla Kalman enjoys a unique perspective on Boston. His 

fourteenth floor condominium overlooks both Copley 

Square and the Back Bay. But the most unique perspective 

Béla enjoys comes from his career as a photographer in 

both Europe and America, including owning a very successful 

photography studio in Boston on Newbury Street 

for twenty-two years. 

Cate Brennan, Jason Landry, and I spent an afternoon 

last fall with Béla discussing his career and asking him 

questions about a few of his more intriguing photographs. 

Béla started off by telling us that being “87 years old isn’t 

easy.” Béla’s enthusiasm and energy makes you wonder if 

that is true. 

He has published ten books. His eleventh book on Matisse, 

he says will be his last. 

I was aware that Béla had worked for Life Magazine and I 

wanted him to expand on that experience. 

“I was working at this commercial studio in Chicago 

schlepping around as an assistant. After a year I wrote a 

letter to the Henry Luce, the head of Time Life, telling him 

that I am here in America and I’m ready to work for your 

magazine . . . please give me a chance to show you what 

I can do. My aunt and uncle who came years earlier said, 

‘You are a fool, this isn’t how America works. Low and 

behold, two weeks later I got a registered letter to report 

to get an assignment at the Time Life bureau.’” “You can 

work for us if you have a story,” they told Béla. “I sat in 

their library and I came up with sixteen story ideas.” 

“It was the first anniversary of the 1956 Hungarian Revolution 

and Life Magazine wanted to have a spread of Hungarians 

who settled in America and how they were doing after 

one year. I had a journalist with me, my English wasn’t 

that good at the time. Their research department came 

up with thirty six families for me to contact. One of them 

was a doctor’s family with eleven children and his wife 

was pregnant with their twelfth child.” 

Throughout his long career, Béla has had the opportunity 

to meet and work with many of the photographic heroes 

of the 20th century “I photographed Karsh in 1957 in the 

style of the portraits he made,” Béla says. “I met his wife a 

few years back and told her about it. She asked me for a 

copy of the photograph. I made her a 16x20. She thought 

it was nice because she didn’t know him in 1957 when the 

image was made.” 

“We went to sixteen places. We shot all day, from 8am until 

8pm, shoot, shoot, shoot, shoot. I had thee cameras with a 

wide angle, normal and a telephoto hanging on my neck. I 

was dead tired by 8pm. We’d have dinner, go to the airport 

and then we’d be off to the next destination.” 

“I have all the Life Magazine negatives. I handed them over 

to them and they handed them back a few years later. 


INTERVIEW 

Sixteen interviews and sixteen pictures were going to be 

published. Five minutes before press they stopped the 

press. The 1917 Russian Revolution’s 50th anniversary 

coincided with this Hungarian article. They cut the article 

out and put in sixteen pages of the Russian revolution. I 

was a Life Magazine photographer, but my pictures never 

appeared in the magazine. 

The image reproduced here is from that never-printed article. 

Béla told me that the image was lit from one light bulb 

that hung from the ceiling. 

I asked Béla about his photograph of Japanese master 

artist, Shiko Munakata. “In 1959, I did this portrait for 

New York Times Magazine. Mr. Munakata allowed me take 

some pictures. He made these life-size pictures, and this 

man was about five feet. Each time he had his brush he 

made this grunt . . . Buh, Buh. 

Shortly afterward, Béla moved to Boston. “In 1960, I came 

to Boston because I was bored with my job in New York 

City and I read an advertisement in the New York Times 

help wanted section. A creative advertisement photographer 

is wanted in Boston for one of the leading advertising 

studios. I had an interview and the interviewer said there 

is a Prudential Center being built with sixteen floors of 

advertising agencies.” 

For twenty-two years Béla worked for every major advertising 

agency in Boston. 

Béla’s published work covers a wide variety of topics including 

travel photographs as well as his photographs of 

flowers. 

“In Hungary I had a portrait studio. One day another 

photographer called me and said there was a flower show. 

Would you mind coming with me to photograph the various 

booths. On Saturday afternoon I went to the flower 

show, the first photograph I made was of Gerbera Daisies, 

which even today is his signature image.” 

“There is an orchid grower and gardener in Hyannis, 

Massachusetts and when the idea came that there were 

enough varieties of orchids to photograph, I made a book. I 

sent the idea to Bulfinch and a sampling of images and low 

and behold, they called me at 7pm one evening and told 

me that they wanted to publish my book. I fell off whatever 

I was sitting on. This was the easiest book to publish.” 

Béla then added, “Books are not good business; you get a 

very small percentage of return.” 

Béla Kalman, Munakata at Work, New York City, 1959 

from the book, The Third Eye 

When asked about his book of photographs of Tuscany, 

Béla stated, “I went to Tuscany five times. My favorite image 

from that book is the lone tree on the top of the hill. 

To spot this is the trick. To travel on the road and stop the 

car and see something as you are driving. In this case, my 

wife was driving.” 

At the end of our interview I asked Béla if there was any 

advice he might have for young photographers. He replied, 

“I think that the less you shoot, the more sophisticated you 

are with your subject. That is what artistic photography is 

all about. Today taking a photograph is entirely different, 

because the moment after you shoot it you can see it.” 



SYNTAX 

March 27 – May 10, 2009 

Opening reception, April 2, 5:30 – 7:30pm 

“I eagerly await new concepts and processes. I believe that the electronic image 

will be the next major advance. Such systems will have their own inherent and 

inescapable structural characteristics, and the artist and functional practitioner 

will again strive to comprehend and control them.” 1 — Ansel Adams, 1981 

This group exhibition considers artists and photographers that 

address the language of digital information—its meaning and 

aesthetics—in their work. Many of the artists in Syntax mine the 

popular realm and include internet image searches, social and 

networking sites, or the media in their process-oriented arsenal. 

Others look to the natural world, seeking to envision a twentyfirst-century 

digital version of nature or mathematical equations 

to visualize using 3D rendering programs. Still others consider 

the basic building block of the digitally-rendered image—the pixel—or 

the essence and ontology of a programmatically-produced 

product. As one of the artists in the exhibition Benno Friedman 

states, “In looking at a photograph, how many pixels can be removed 

or altered before the familiar becomes the unrecognizable At 

what point does a photograph cease to be” 

Syntax seeks to deconstruct digital language, but does not leave 

us down a metaphorical worm hole. After the requisite parsing 

and processing, the artists actively resurrect and recombine their 

raw materials using programs such as Photoshop, flash, or selfauthored 

code. One can certainly imagine if Ansel Adams were alive 

today that he would enjoy seeing his photographs realized as histograms 

by Luke Strosnider as well as the digital revolution as a whole. 

Syntax is held in conjunction with the region-wide 2009 Boston 

Cyberarts Festival (April 24 – May 10). This is the fifth time the 

PRC has joined close to forty regional venues in participating in 

this biennial festival celebrating art and technology. More information 

on all of the exhibitions and events can be found online at 

bostoncyberarts.org. 

Interestingly enough, the PRC participated in the very first Cyberarts 

Festival in 1999 by hosting a digitally-themed version of 

our annual juried exhibition. Selected by International Center 

of Photography’s Curator of Digital Media, Edward Earle, and 

the PRC’s Sara Dassell, the works broadly interpreted the “new 

media” genre, but in most cases the artists explored the translation 

of the photographic image into the then new medium of 

computer-generated prints. Duly noting Boston’s cutting-edge 

heritage—which earned the area around Route 128 the moniker 

“the fertile crescent”—the jurors stated in the PRC newsletter, 

“The elegantly printed Iris Ink Jet image on a fine rag paper is the 

1990’s answer to the 1890’s platinum print.” 2 It seems appropriate 

then, that ten years after the first Cyberarts festival, the PRC 

should return to beginnings and meditate on the syntax of digital 

language itself. — Leslie K. Brown, PRC Curator 

Leigh Brodie, Pixels Enlarged and Replaced, #4, Archival 

inkjet print, 20 x 24 inches, courtesy of the artist

ABOUT THE 

ARTISTS 

Meggan Gould, coke+can, mona+lisa, from the series “Go ogle,” 

2006, Lightjet prints, 10 x 8 inches each, courtesy of the artist 

Patti Ambrogi 

(Born 1950, Albany, NY; resides Rochester, NY) 

“[‘Cover Girls’] explores the digital pixel that seductively creates the illusion 

in the photograph, and our easy surrender of belief as we read photographs. 

The series proposes to align the language of technique and the construction 

of the representation to build deeper significations within the structure of the 

photograph itself.” — PA 

Patti Ambrogi tackles iconic images of women in media in her series 

“Cover Girls.” Frames of video and stills are distilled to their essence 

and re-animated using graphic icons. These elements are specifically 

chosen so as to comment upon the person or situation. Each pixel, 

Ambrogi explains, “is re-signified as an image”—Barbie trinkets, for 

example, make up Jon Benet and flower parts congregate into Marilyn. 

(In the image reproduced here, Martha is composed of 50,000 gingerbread 

cookie crumbs, one for each dollar she profited from insider 

trading.) These pieces are then represented as large canvases and flash 

animations, mesmerizing the viewer with looped re-presentations of 

ideological information. 

Ambrogi is an Associate Professor at the School of Photographic Arts 

at Rochester Institute of Technology. She holds an MFA from the Visual 

Studies Workshops in Rochester, NY. Recently, her work has been 

shown at Light Work’s gallery in Syracuse, NY and the Pyramid Gallery 

in Rochester, NY. Additionally, her video pieces have been shown extensively 

at conferences, including the Society of Photographic Education, 

Visual Communications, and the International Conference on the Arts 

and Humanities. She is the founder of the Media Café at RIT, a digital 

arena that showcases and promotes the production of temporal work 

that crosses disciplines and media. 

Leigh Brodie 

(Born 1979, Denver, CO; resides Austin, TX) 

“My work takes the form of digital images, videos, and installations. With them, 

I examine both the creation and translation of digital information. I am fascinated 

by how the digital makes our infinite world finite and transforms lived 

experience into the discrete. . . . I approach the idea of digitality from both sides of 

the equation looking at how information is encoded and decoded.” — LB 

Leigh Brodie experiments with digital information—how it is presented, 

translated, and outputted. Most of her work involves information that 

is cut up and passed through some sort of instruction set or program, to 

then be assembled again in an entirely novel manner. In the series on 

display at the PRC, “Pixels Enlarged and Replaced,” she presented her 

husband’s cousins and grandmother with photographs of themselves 

and conducted a survey regarding their reaction to the image. Each pixel 

in the image was either reduced or enlarged based upon her family members’ 

answers (how positively or negatively they responded) and then the pixel 

was put back in the order they were removed, in rows or in a clockwise 

spiral. Beautiful in their decay, the results recall the degradation of an 

image when incorrectly transmitted or processed. 

Brodie is a 2007 MFA graduate of the School of the Museum of Fine Arts, 

Boston. She received an NEA Grant in Extending Creativity and Digital 

Media in 2008 as well as the SMFA’s Karsh Prize in Photography in 2006. 

Her recent exhibitions include showings in the Texas Biennial at Women 

and Their Work in Austin, TX; Double Take at Eyebeam in New York, NY; 

Pixel Pops: Wide Open at the Krannert Museum at the University of Illinois 

at Urbana-Champaign; and Circuitry at Axiom Gallery in Boston.

Patti Ambrogi, Martha, 2008, Inkjet Print, 

22x30 inches, courtesy of the artist 

Patti Ambrogi, Martha, (detail) 2008, 

Inkjet Print, 22x30 inches, courtesy 

of the artist 

Benno Friedman 

(Born 1945, New York, NY; resides Sheffield, MA) 

“Software is today’s magic wand, allowing all of us to become wizards … 

[but] what is a photograph Instead of eliminating all of the scratches and 

dust marks on a photograph, one could choose to eliminate everything but the 

scratches and dust marks; the result would be no less a photograph.” — BF 

For the past twelve years, Benno Friedman has been converting his analog 

photographs into digital files. By creating tension between form and 

content he calls into question the nature of imagemaking itself, both on 

the computer and in our minds. Photographic elements seem to misbehave 

in Friedman’s world—overlapping, obscuring, or blurring each 

other—almost as if Photoshop had been hacked and the tools took on a 

life of their own. In the end, each composition becomes its own discrete 

universe, a visual equivalent to a metaphysical Buddhist koan. 

A graduate of Brandeis University, Friedman has both worked as a commercial 

photographer and shown at the Whitney Biennial. Exhibited 

extensively, Friedman’s work can be found in the collections of the 

Museum of Modern Art in New York, NY; National Museum of American 

Art in Washington, DC; and the George Eastman House in Rochester, 

NY, among others. His most recent solo exhibition, Real Photos, Visual 

Queries, was on display at the Suffolk University Art Gallery at the New 

England School of Art and Design in Boston. 

Meggan Gould 

(Born 1976, Westerly, RI; resides Topsham, ME) 

“Although these contemporary landscapes may be composed of gifs and jpegs, 

bits and bytes, as opposed to the trees, bushes, and buildings of conventional 

landscape, they are nonetheless a new arena laden with visual stimuli within 

which we move—scrolling, moving backwards or forwards, opening and closing 

new windows on new imagery and new paths.” — MG 

To create the images in “Go ogle,” Gould created a code (for those curious, 

a combination of Perl, Python, and ImageMagick) that automatically 

grabs and downloads the 100 most recent images from a search term 

inputted to google.com. It then averages the pixel size and color and 

then resizes and flattens the results. The end products, what Gould calls 

a cross between “Boolean logic and the popular imagination,” are usually 

amorphous, but occasionally a recognizable image emerges from 

the digital ether. Often, Gould tries to test the limits of the search by 

performing searches that “don’t work” in interesting ways, such as seen 

in the combination “landscape + photograph.” Two iterations of the “Go 

ogle” series will be shown: one which charts the change of four words, 

such as “mugshot,” over the course of four months and a selection of images 

featuring two or more words, such as “mona + lisa” or “img + 1172.” 

Gould is a 2005 MFA graduate of the University of Massachusetts at 

Dartmouth and currently teaches at Bowdoin College in Brunswick, ME. 

Included in the Rhizome Net and New Media Collection at New York’s 

New Museum, she has shown at a variety of international venues. Most 

recently, she was featured in the 2008 Biennial Exhibition at the Center 

for Maine Contemporary Art in Portland, ME. 


Brian Piana 

(Born 1975, Houston, TX, resides Houston, TX 

“The Internet provides individuals, groups, and organizations a worldwide 

multimedia forum for expression, promotion, branding, and sales. My work 

uses deconstructed abstractions of actual web sites to create new compositions 

in a removed, off-line environment.” — BP 

Brian Piana creates abstracted versions of both static web sites as well as 

flash animations that reference the experience of surfing the Internet. 

Barack’s Twitter takes as its source then candidate Obama’s twitter page, 

an example of the President-Elect’s deep use of social media. (In a twist 

of fate, both Obama’s and Britney Spears’s twitter pages were recently 

hacked in January.) In another print, Shopping for a Designer Wallet 

(2005 | 2007), we see two page-by-page renderings of a common retail 

quest performed two years apart. In one of his animations, Browsing for 

Dannielle Tegeder, Piana playfully abstracts the much-repeated activity of 

researching online. Creating in effect a new media “map,” he includes 

variations on the referenced site’s design and the browser’s path in his 

formal arrangements. Forms pop up and are repeated, sounds blink and 

blip, resulting in striking new visual narratives. 

Piana holds an MS in Visualization Sciences from Texas A&M and an 

MFA in Photography and Digital Media from the University of Houston, 

where he currently teaches. He has shown at several national juried 

shows at a variety of venues, including the Phoenix Gallery and SOHO20 

in New York, NY and the Art Center at Stephen F. Austin State University 

in Nacogdoches, TX. In 2008, he showed extensively with Fotofest in 

Houston, TX, including their Biennial Fine Print Auction and the group 

exhibition Mechanical Perception. 

Mark J. Stock 

(Born 1973 in MI; resides Newton, MA) 

“I am a scientist and an artist. For scientific research, I develop numerical 

methods and write computer programs that simulate natural phenomena— 

usually fluid motion. These programs, being very expensive and complex 

data manipulators, can be retasked with wholly artificial initial conditions 

to create never-before-seen structures that still contain familiar, natural 

elements.” — MS 

Blurring the line between code and art, for each and every new piece, 

Stock writes a new program that often addresses some element of fluid 

dynamics. These sometimes take the computer up to a week to process 

and the result is then pulled into a 3D rendering program called Radiance. 

In a sense, this action could be seen as using a photo studio of gigantic 

proportions: Stock can choose the direction of the light, select the focal 

plane and f-stop, and light with the radiance of 500 suns. His newest 

pieces reach further into the metaphorical and are akin to philosophers’ 

thought experiments. Midnight in the Bathtub of Good and Evil, for example, 

is a representation of a battle between armies of fluids cast in mathematical 

terms. In Inside the Bomb, we are transported to the interior of a 

bomb to witness the frenetic results of an explosion, mere milliseconds 

after it went off. A densely woven thicket of black, white, and gray lines, 

the piece Perpetuity questions the directionality of time. 

Stock holds a PhD in Aerospace Engineering from the University of 

Michigan. A member of the Collision Collective, he has shown locally 

at MIT’s Stata Center in Cambridge and Axiom Gallery in Jamaica Plain. 

Stock also shows extensively internationally, participating in several 

SIGGRAPH events, galleries, and traveling shows.

Luke Strosnider 

(Born. 1977, Baltimore, MD; resides Rochester, NY) 

“My desire to re-envision Ansel Adams’s landscapes comes from an interest 

in both the technology of imaging and the types of information with which 

images can provide us. Not only can we use photographs to interpret the 

landscape, we can use methods of interpreting photographs to envision new 

concepts of the landscape. As new photographic technologies emerge, so too 

emerge new ways of seeing information and, thus, seeing images.” — LS 

Luke Strosnider created the artist-book Ansel Adams | New Landscapes 

by scanning many of Adams’s most well-known images and then considering 

their histograms in Photoshop. In choosing the final pieces, 

he evaluated the histogram for visual forms that either reinforced or 

challenged traditional notions of land forms in the pictures or the titles. 

Certainly, knowing of Adams’s own use of what could be called a programmatic 

approach to printing and exposure, the Zone System, and 

the fact that he wished for others to re-interpret his negatives, Adams 

would have certainly wholeheartedly approved. 

Luke Strosnider, Ansel Adams | New Landscapes, Hardcover artist’s 

book, Archival inkjet prints, 23 pages, Edition of 25, 2006, 17 x 11 

inches, courtesy of the artist 

Strosnider holds a MFA from the Visual Studies Workshop as well as 

degrees in History and American Studies from George Washington 

University in Washington, DC. A critic as well as an artist, he has published 

pieces in Afterimage, Rochester’s City Newspaper, and the Amsterdam 

Spoke. His work has been shown at venues such as Columbia College in 

Chicago, IL; Hallwalls Contemporary Arts Center in Buffalo, NY; and 

the Photographic Center Northwest in Seattle, WA. 

Brian Piana, Barack’s Twitter, 2007, Inkjet Print, 15 x 24 inches, 

courtesy of the artist 

opposite page: Benno Friedman, Untitled, 2008, Inkjet 

Print, 11 x 14 inches, courtesy of the artist 

Mark J. Stock, Inside The Bomb, 2007, Digital C-Print, 24 x 24 inches, 

courtesy of the artist

Matthew Swarts, Untitled, 2006, pigmented inkjet on 

aluminum panel, 42 x 30 inches, courtesy of the artist 

Matthew Swarts 

(Born 1970, Plainfield, NJ; resides Somerville, MA) 

“I am curious about the perceptual conversation that occurs when the screen is 

negotiated to see the underlying image, and vice versa. In short, I am attracted 

to the way in which the drawn screen holds the viewer at a certain distance 

from the image.” — MS 

Matthew Swarts is fascinated by mark making—from human, computer, 

to somewhere in-between. While his previous work dealt primarily with 

the internet—showcasing odd internet word searches—Swarts newest 

series hits closer to home and engages the mark of his own hand and 

found graphics with an old family album. After his grandfather passed 

away, Swarts began making high resolution scans of doodles and patterns 

which he then transformed in Photoshop and overlaid over family 

photographs. The resulting aesthetic lattices both invite and repel the 

viewers, creating a dense and complex matrix through which to confront 

issues of memory. 

Notes: 

1.) Ansel Adams, The Negative (Boston: Little Brown and Company, 1981), Introduction. 

2.) Edward Earle and Sara Dassell, “Exploring New Technologies,” PRC Newsletter, 23, 

No. 3 (May/June 1999): 2. 

After majoring in philosophy at Princeton, Swarts earned his MFA from 

Massachusetts College of Art and Design in 1997. His work has been included 

collections such as the DeCordova Museum of Art, Lincoln, MA; 

Museum of Fine Arts, Boston, MA; Library of Congress, Washington, DC: 

and the Polaroid Collections. A recipient of a Light Work residency, he 

currently teaches at Ramapo College of New Jersey. 


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listings 

in the loupe listings deadlines 

JUNE / JULY / AUGUST 

APRIL 8 

Addison Woolley Gallery and 

Center for Photographic Inquiry 

John Fahnley: It’s Only Rock’n Roll 

(thru Mar 22). Tue – Sat, 11–5; Sun 1–5. 

87 Market St. Portland, ME 04101. 

207-775-0678. www.addisonwoolley.com 

Art Complex Museum at Duxbury 

Duxbury Art Association Winter Juried Show 

(thru Apr 13). Wed – Sun, 1–4. 189 Alden 

Street, Duxbury, MA 02331. 781-934-6634. 

www.artcomplex.org 

Belmont Gallery of Art 

Photography by Richard A. Chase (thru Mar 20). 

Tue, Thu, Fri 8–4. Belmont Cultural Council, 

P.O. Box 292, Belmont, MA 02478. 

617-484-0304. www.belmontgallery.org 

Bowdoin College Museum of Art 

The Image Wrought: Historical Photographic 

Approaches in the Digital Age (thru Apr 5). 

Tue – Wed, Fri – Sat,10–5; Thu, 10–8:30; 

Sun 1–5. 9400 College Station, 

Brunswick, ME 04011. 207-725-3275. 

www.bowdoin.edu/art-museum/index.shtml 

Brickbottom Gallery 

BAA Members Exhibition (Apr 16 – May 16). 

Thu – Sat, 12–5. 1 Fitchburg Street, 

Somerville, MA 02143. 617-776-3410. 

www.brickbottomartists.com 

Bromfield Art Gallery 

Artist Bio (Apr 1 – 25). Wed – Sat, 12–5. 450 

Harrison Avenue Street, Boston, MA 02118. 

617-451-3605. www.bromfieldgallery.com 

Brookline Arts Center 

Art from the Minot Rose Garden (thru Mar 20); 

Fluff: The Mayor of Monmouth Street, 

Photographs by B.D. Colen (Mar 29 – Apr 24). 

Mon – Fri, 9–4:30. 86 Monmouth Street, 

Brookline, MA 02446. 617-566-5715. 

www.brooklineartscenter.com 

Cambridge Art Association 

Thomas Diaz (thru Apr 7). Mon – Fri, 

8:30–4:30. Wainwright Gallery, 1 Broadway 

Street, Cambridge, MA 02142. 617-876-0246. 

Tue – Sat, 11–5. Kathryn Schultz Gallery, 

25R Lowell Street, Cambridge, MA 02138. 

617-876-0246. Mon – Fri, 11–5; Sat, 9–1. 

University Place Gallery, 124 Mt. Auburn 


www.cambridgeart.org 

Carpenter Center for the 

Visual Arts Sert Gallery 

Agnès Varda: Les Veuves de Noirmoutier 

(Mar 12 – Apr 12). Tue – Sun 1–5. 24 Quincy 


www.ves.fas.harvard.edu 

Carroll and Sons 

David Hilliard: New Photographs (thru Mar 28). 

Tue – Sat 10–6. 450 Harrison Avenue, 

Boston, MA 02118. 617-482-2477. 

www.carrollandsons.net 

Center for Maine Contemporary Art 

Janetta Jennings: Liberty Canning Factory 

(thru Mar 14). Tue–Sat, 10–5; Sun, 1–5. 

162 Russell Avenue, Rockport, ME 04856. 

207-236-2875. www.artsmaine.org 

The Chazan Gallery at Wheeler 

Emerging Artists (thru Mar 19). Tue – Sat, 

12–5; Sun 3–5. 228 Angell Street, 

Providence, RI 02906. 401-421-9230. 

www.chazangallery.org 

Clark Art Institute 

Women’s Work (thru Apr 19). Tue – Sun, 10–5. 

225 South Street, Williamstown, MA 01267. 

413-458-2303. www.clarkart.edu 

Clark Gallery 

Alain Gerard Clement: Recent Work 

(Mar 4 – 28); Float (Apr 1 – 30); David 

Jordano: Faith & Fury (May 2 – 30). Tue – Sat, 

10–5 and by appointment. 145 Lincoln 

Road, Lincoln, MA 01773. 781-259-8303. 

www.clarkgallery.com 

Danforth Museum of Art 

Robert Atler: La Defense; Abelardo Morrell 

(Mar 4 – May 3); Wed – Thu, 12–5; Fri–Sat, 

10–5; Sun, 12–5. 123 Union Avenue, 

Framingham, MA 01702. 508-620-0050. 

www.danforthmuseum.org 

David Winton Bell Gallery at 

Brown University 

Student Exhibition (Mar 14 – 29). Mon – Fri, 

11–4; Sat–Sun, 1–4. List Art Center, Brown 

University, 64 College Street, Providence, 

RI 02912. 401-863-2932. www.brown.edu/ 

Facilities/David_Winton_Bell_Gallery 

Dugan Gallery at UMass Lowell 

The BIG Show (Mar 9 – Apr 2). 

Mon – Thu, 11–4. 883 Broadway St, Lowell, 

MA 01854. 978-934-3491. 

www.uml.edu/dept/art/gallery.htm 

Fitchburg Art Museum 

Shooting Blind: Photographs by the Visually 

Impaired (thru Mar 17). Tue – Sun, 12–4. 

185 Elm Street, Fitchburg, MA 01420. 

978-345-4207. 

www.fitchburgartmuseum.org 

Fort Point Arts Community Gallery 

In and Out (Mar 6 – Apr 10). Mon – Wed, 

9–3:30; Thu, 9–6; Fri, 9–3:30. 300 Summer 

Street, Boston, MA 02110. 617-423-4299. 

www.fortpointarts.org 

Gallery Kayafas 

Daniel Ranalli: Blackboard and Photograms; 

Bill Armstrong: Renaissance (both thru Mar 28); 

Joe Johnson: Mega Churches (Apr 2 – May 9). 

Tue – Sat, 11–5:30. 450 Harrison Avenue 

#37-39, Boston, MA 02118. 617-482-0411. 

www.gallerykayafas.com 

Griffin Museum of Photography 

Pull of Gravity: Photographs by Emmet Gowin 

and Elijah Gowin (thru Mar 29). Tue – Thu, 

11–5; Fri, 11–4; Sat – Sun, 12–4. 67 Shore 

Road, Winchester, MA 01890. 781-729-1158. 

www.griffinmuseum.org 

Hallmark Museum of 

Contemporary Photography 

Josephine Sacabo: Lux Perpetua (Infinite Light); 

Colin Finlay: A Matter of Conscience; Susan 

Bozic: The Dating Portfolio (all thru Mar 29); 

Blake Fitch: Expectations of Adolescence; 

Stan Sherer: Life Studies (both open Apr 2). 

Thu – Sun, 1–5. 85 Avenue A, Turners Falls, 

MA 01376. 413-863-0009. www.hmcp.org 


LISTINGS 

Hood Museum of Art at 

Dartmouth College 

Focus on Photography: Works from 1950 

to Today (thru Mar 8). Tue – Sat, 10–5; 

Wed, 10–9; Sun, 12–5. 

Wheelock Street, Dartmouth College, 

Hanover, NH 03755. 603-646-2808. 

www.hoodmuseum.dartmouth.edu 

Institute of Contemporary Art 

Momentum 13: Eileen Quinlan (opens Mar 18). 

Tue, Wed 10–5; Thu, Fri, 10–9; 

Sat, Sun, 10–5. 100 Northern Avenue, 


www.icaboston.org 

Jaffe-Friede and Strauss Galleries at 

Dartmouth College 

Erik Weeks: Photographs (thru Mar 23). 

Tue – Sat, 12:30–10; Sun, 12:30–5. 

Hopkins Center for the Arts, Dartmouth 

College, 6041 Lower Level Wilson Hall, 

Hanover, NH 03755. 603-646-3651. 

www.hop.dartmouth.edu 

Khaki Gallery 

James Paradis: Inside out – Outside in 

(thru Mar); Wally Gilbert: In Color and Beyond 

(Apr). Tue – Sat, 12–5. 460 Harrison Avenue, 


www.khakigallery.net 

Massachusetts Museum 

of Contemporary Art 

These Days: Elegies for Modern Times 

(Apr 4 – Spring 2010). Mon, Wed – Sun, 

11–5, closed Tue. 1040 Mass Moca Way, 

North Adams, MA 01247. 413-662-2111. 

www.massmoca.org 

MIT Dean’s Gallery 

Selections from the Permanent Collection 

(thru Mar 27). Mon – Fri, 9–5. Sloan School 

of Management, Rm. E52-466, 50 Memorial 

Drive, Cambridge, MA 02139. 617-253-7761. 

web.mit.edu/deansgallery 

MIT List Visual Art Center 

Melanie Smith: Spiral City & Other Vicarious 

Pleasure (thru Apr 5). Tue, Wed, 12–6; 

Thu 12–8; Fri – Sun, 12–6. 20 Ames Street 

Building E15, Atrium Level, Cambridge, 

MA 02139. 617-253-4680. 

web.mit.edu/lvac/www/general/index.html 

Montserrat Gallery 

Seth Butler: Tattered (Mar 20 – Apr 15). Mon 

– Fri, 10–5; Thu, 10–8; Sat, 12–5. 23 Essex 

Street, Beverly, MA 01915. 978-921-4242 x3. 

www.montserrat.edu/galleries/montserrat 

Museum of Fine Arts, Boston 

Photographic Figures (thru May 10). Mon – 

Tue, 10–4:45; Wed – Fri, 10–9:45; Sat – Sun, 

10–4:45. 465 Huntington Avenue, Boston, 

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

Nesto Gallery, Milton Academy 

Emma Raynes: Estou Te Esperando 

(May 5 – May 29). Mon – Fri, 8:30–3:30. 

Science Building, Lower Level, 170 Centre 

Street, Milton, MA 02186. 617-898-2563. 

www.milton.edu/academics/pages/Visual_ 

arts/visual_nesto.asp 

New England School of Photography – 

Center for Photographic Exhibitions 

Tom Petit Memorial Show (thru Mar 13); 

Lisa Garner (Mar 23 – Apr 24); Ken Lee: Silent 

Balance (Apr 27 – May 29). Mon – Fri, 9–5. 

537 Commonwealth Avenue, Boston, 

MA 02215. 617-437-1868. www.nesop.com 

Panopticon Gallery 

“A Way of Life”: Images by Jon Edwards 

(thru Mar 3); In a Different Light 

(Mar 5 – Apr 6). Tue–Sat, 11–6. 

502c Commonwealth Avenue, 


www.panopt.com 

Peabody Essex Museum 

Mahjong: Contemporary Chinese Art from 

the Sigg Collection (thru May 17); India’s 

Contemporary Artists Mine Their Traditions 

(opens Apr 4). Daily, 10–5. 

161 Essex Street, Salem, MA 01970. 

978-745-9500. www.pem.org 

Portland Museum of Art 

Backstage Pass: Rock and Roll Photography 

(thru Mar 22); Portland Museum of Art 

Biennial (opens Apr 8). Tue – Thu, Sat, 

Sun, 10–5; Fri, 10–9. 7 Congress Square, 

Portland, ME 04101. 207-775-6148. 

www.portlandmuseum.org 

RISD Museum of Art 

Yousuf Karsh: Portraits of Artists (thru Aug 

2009). Tue – Sun, 10–5. 224 Benefit Street, 

Providence, RI 02903. 401-454-6502. 

www.risd.edu/museum.cfm 

Robert Klein Gallery 

Henry Horenstein: Animalia (thru Mar 28); 

Bill Jacobson: Some Planes (thru May 9). 

Tue – Fri, 10–5:30; Sat, 11–5. 38 Newbury 

Street, Boston, MA 02116. 617-267-7997. 

www.robertkleingallery.com 

The Rose Art Museum at 

Brandeis University 

Saints and Sinners (thru Apr 5); Robbins 

and Becher: Portraits (opens Apr 29). Wed, 

12–5; Thu, 12–8; Fri – Sun, 15–5. 415 South 

Street, Waltham, MA 02454. 781-736-3434. 

www.brandeis.edu/rose 

Saint Joseph College Art Gallery 

BLINK! Photography by Ellen Carey (opens 

Apr 3). Tue, Wed, Fri, Sat, 11–4; Thu, 11–7; 

Sun, 1–4. 1678 Asylum Avenue, 

West Hartford, CT 06117. 860-232-4571. 

www.sjc.edu/artgallery 

Smith College Museum of Art 

Thin and Girl Culture: Photographs by Lauren 

Greenfield (thru Apr 26). Tue – Sat, 10–4; 

Sun, 12–4; Second Fri, 10–8. Northampton, 

MA 01063. 413-585-2760. www.smith.edu/ 

artmuseum 

Thorne-Sagendorph Art Gallery 

at Keene State College 

Emerging Art, the Annual KSC Art Student 

Exhibition (Apr 18 – May 9). Sat – Wed, 12–4; 

Thu – Fri, 12–7. 101 Wayman Way, Keene, 

NH. 603-358-2720. www.keene.edu/tsag 

Tufts University Art Gallery, Aidekman 

Arts Center 

A Tapestry of Memories: The Art of Dinh Q. Lê 

(thru Mar 29) Tue – Sun, 11–5; Thu, 11–8. 

Aidekman Arts Center, 40 Talbot Avenue, 

Medford, MA 02155. 617-627-3518. 

www.tufts.edu/as/gallery 

University Gallery at UMASS Amherst 

Sheron Rupp: Dialogue With a Collection 

(thru Mar 29). Tue – Fri, 11–4:30; 

Sat – Sun, 2–5. Fine Arts Center, University 

of Massachusetts, 151 Presidents Drive, 

Amherst, MA 01003. 413-545-3670. 

www.umass.edu/fac/universitygallery 

Williams College Museum of Art 

Beyond the Familiar: Photography and the 

Construction of Community (thru Mar 8); Liu 

Zheng: The Chinese (thru Apr 26). Tue – Sat, 

10–5; Sun, 1–5. 15 Lawrence Hall Drive, 

Suite 2, Williamstown, MA 02116. 

413-597-2429. www.wcma.org 

Worcester Art Museum 

Beyond: Visions of Planetary Landscapes 

(Mar 28 – May 24). Wed – Fri, Sun, 11–5; 

Thu, 11–8; Sat, 10–5. 55 Salisbury Street, 

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member news & Opportunities 

CONGRATULATIONS! SHARE YOUR NEWS WITH 

US! SEND YOUR UPDATES TO PRC@BU.EDU ATTN: 

PHONELINES BY THE NEXT LISTING DEADLINE, APRIL 8. 

Meg Birnbaum has been invited to arrange the donation 

of three new photographs into the permanent collection of 

the Museum of Fine Arts in Houston. Additionally, she was 

recently nominated as one of the Daily Candy’s Sweetest 

Things for 2008. 

William Doherty’s photographs were recently published 

in B&W Magazine’s 2008 Portfolio Contest as well as in their 

2008 Single Image Contest. 

Jack Dzamba recently had a photo exhibition and book 

signing at Paula Barr in Chelsea for his most recent book, 

Paris in Boston. 

Stella Johnson recently returned from Oaxaca, Mexico 

where she taught a class on documentary photography for 

the Art Institute of Boston at Lesley University. In addition, 

she presented her book, AL SOL, at both the Manuel Alvarez 

Bravo Center in Oaxaca and at the Art Center of Morelos in 

Cuernavaca, Morelos, Mexico in January. Johnson will also be 

teaching a class, Nurturing Your Personal Vision, in Cuzco, 

Peru this August (photoexperience.net). 

Ellen Rennard’s photographs were recently selected to appear 

in a group exhibition at Project Basho in Philadelphia, which 

opened on January 10th and also highlighted on December 

22nd’s Flak Photo (flakphoto.com). 

Lay Flat, a new print publication devoted to promoting the best in 

contemporary fine art photography and writing on the medium, 

invites photographers and writers from across the globe to submit 

their work to be considered for upcoming issues. Each issue 

is assembled by Shane Lavalette in close collaboration with a 

co-curator. The inaugural issue includes writings by Tim Davis, 

Darius Himes, Cara Phillips, Eric William Carroll, Jason Fulford 

as well as an interview with Boston-based artist Mike Mandel. 

These texts are accompanied by 20 unbound photographs from a 

selection of international photographers, which were co-curated 

with Chicago-based photographer Karly Wildenhaus. For more 

information about Lay Flat and guidelines for submissions, please 

visit www.layflat.org 

The National Competition for Photographs and Photo-Based 

Artwork at Umbrella Arts in New York is announcing a call 

for entries for their upcoming exhibition BED, which opens 

on June 11th and goes until July 11th. Conceived by New York 

photographer, educator, and author Harvey Stein, the show will 

explore the physical and conceptual connotations of the bed. 

Entries must be received by April 13, 2009. For specification and 

procedural information, please visit www.umbrellaarts.com or 

call 212-505-7196. 

Jonathan Spath is currently exhibiting his most recent work, 

Photographs of Stone: and the math with, at the Rotunda Gallery 

in the John B Hynes Veterans Memorial Convention Center, 

on display through April 21st. Additionally, a public reception 

with Spath was held on Wednesday, February 25th from 

5:30-7 pm. 

Harvey Stein recently exhibited 23 large scale black and white 

prints from his new book, Movimento: Glimpses of Italian Street 

Life, at the Almanac Gallery in Hoboken, New Jersey. The show 

is scheduled to travel to numerous other locations during 

2009 and 2010. 

Remi Thornton’s photograph, The Public Works Station 2008, 

recently appeared in the RISD New England Alumni Biennial 

2009 at the Arsenal Center for the Arts from January 8th to 

February 22nd. 


PARTING SHOT 

Despite incredibly bad weather and numerous flight delays, on 

December 11th Larry Fink lectured to a capacity crowd at Boston 

University’s College of Arts and Sciences. He kept the crowd rapt 

with stories and insights from his time spent photographing the 

recent Presidential campaign candidates. He also entertained 

the crowd with an impromptu harmonica solo when the video 

projector experienced technical difficulties. 

Photograph by Kristi Wedertz, Center for Digital Imaging Arts 

at Boston University (CDIA) 

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March | April | May 2009 - Boston Photography Focus

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