Archive for the “Meet Our Interns” Category
I have always been interested in telling a story. I hold a BA in Communications Sciences from the Wilhelms Universität of Münster, Germany, but it is through photography that I have found a passion in storytelling through visual aesthetics. This passion is what finally made me aim for a photography career.
Looking at a photograph and being surprised by elements not obvious to the eye has always fascinated me, but it is the ability of capturing time, emotions, milestones, a way to discover and express myself, and perhaps making the viewer think about the context of an image, that drives me to create through photography.
The strong light and high color contrast of the natural scenes of my birthplace, Mexico, have always nurtured my desire to express myself through images. Its shapes, compositions, sunlight, vivid colors, and diverse cultural artistic expressions have influenced the way I make photographs.
Through shooting events since 2011 as a volunteer for the Photographic Resource Center, I had the opportunity to get to know the motivated and professional staff at this organization, which helped me discover the work of brilliant artists. I want to learn the behind-the-scenes process of running an organization like the PRC, learn even more about art itself, and keep nurturing my desire to create.
Born in Mexico, Helena Goessens grew up between Madrid and Mexico City and received a BA degree from the Wilhelms Universität of Münster, Germany in Communication Sciences. She moved to Boston in 2003 with her husband and three children. She recently graduated from the Digital Photography Program at Boston University Center of Digital Imaging Arts, and she is currently starting her own photography business serving the metro Boston area.
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For as long as I can remember, I have been captivated by leaves. Their venations, forms, and tonalities inspired a faithfulness to capture what I see as the beautiful and distinctive material of everyday life. My photography documents those simple yet profound truths I find in nature as they take shape before my eyes. I see the natural world as not merely the backdrop to life, but emblematic of life itself; a vital element at the core of our living world that exceeds our own existence. In my photographic odes to nature I explore the detailed, the painterly, and the spiritual, examining the tensions therein between sensitivity and strength. For me, photographing is a poetic burst of inner feelings, an attempt to create something that honors the connection between nature and self.
I am interested in all aspects of photography and curatorship. I hope to become an art director someday, and I feel this internship will give me valuable insight into a photographic institution. As a photographer I was so excited to stumble upon the PRC, an intimate haven in which to explore new ideas in photography as network of communication that enhances our world with beauty, dialog, and invention.
Hilary Falcon is a photographer studying photojournalism at Boston University. Her work is an exploration of the connections between the natural world and the self. Attempting to honor nature’s authenticity, Falcon strives to document the paradoxes of everyday life that are mirrored in nature. Much of her work examines the tensions between sensitivity and strength, the qualities of color, and the delicate, detailed core of the living world.
You can follow her recent work at http://hilaryfalcon.blogspot.com/
and view her photojournalistic portfolio at http://people.bu.edu/hafalcon
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Not an artist but an art enthusiast, Meredith Hoobler is the new PRC intern for the spring 2012 semester. An art history major and business minor at Boston University, she is new to the arts industry and ready to absorb all of the knowledge with which the PRC can provide her. Also a volunteer at the Museum of Fine Arts, she is ready to switch gears to a small, non-profit organization focusing on one main medium. Interested in arts administration as well as the artistic side of the industry, she is hoping to gain valuable knowledge of running a smaller organization.
The PRC interested her because of the overlapping positions of each of the staff members—everyone contributes and works with each other to get the necessary preparations done for exhibitions, membership, and all other workings of the non-profit. She is excited to learn about all the facets that make up this organization.
Meredith enjoys fashion photography, particularly how the images can capture the movement of the garment while emphasizing the stillness of the moment in which the photographs were taken. She is also inspired by any photography that challenges the viewers to delve deeper past the surface meaning. The photographs that confuse, offend, and challenge the viewers are the ones that leave a strong, lasting impression.
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By Anna Linehan, PRC Intern, Summer 2011
Paris Visone’s Culture of Looking
Suffolk University Art Gallery, through September 12
The title of Paris Visone’s Culture of Looking bears a weighty universality, suggestive of broad sociological implications and a wide scope seemingly antithetical to the deeply personal and individual nature of its subject matter, the intimate sphere of the photographer’s own family and friends. The concepts of “time and life,” writes Visone (in a statement on her website), “are vast yet narrow, complicated yet clean. These photos are what exist in-between.” Taking her own family as a point of departure, Visone’s deceptively simple snapshots illuminate this interstitial space that she describes, the interaction of private and public life, of family and cultural identity, memory and change. Her photographs appear honest, direct and untouched, with a consistently frontal and centralized approach to her subjects, whose engagement with the photographic moment alternates between disarming self-awareness and casual disregard of the camera. Dense with descriptive detail, each large, vivid digital color print reads simultaneously as an objective, investigative document for social analysis—in which the photographer’s family becomes representative of general social truths and “types,” exemplary of the issues, relationships, gendered and generational roles of the 21st century American family—and, on the other hand, as an extremely personal record of the places and people most important to the artist, an affectionate, subjective and individualized portrait of a single family, lovingly photographically preserved at their most ordinary moments. Culture of Looking derives its subtle complexity and compelling tension from this relay of oppositional terms, ideas and photographic categories (portraiture vs. documentary, public vs. private, subjective vs. objective, depiction of unique individuals vs. the delineation of a social typology), so that each image at once bursts with cultural significance and also provides a blank slate upon which the viewer may project his or her own memories and experiences of family and society.
Read the rest of this entry »
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Another of our new group of interns, Fiona will be working primarily in the library with Stefanie Maclin. Here’s Fiona:
I am a recent graduate of Brookline High School and will be attending Pratt Institute in the Fall. I have a deep adoration for photography, which will be my major at Pratt. My freshman year of high school I took an analog photography course and quickly fell in love. My favorite activities aside from taking pictures are traveling and cooking. In general I prefer to shoot analog but I absolutely enjoy shooting digital from time to time. I photograph anything that moves me, which ranges from the faint shadow of a tree to my father glued to his computer screen. The following are a few photographs from my portfolio [click to open larger versions for viewing]:
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Another one of our new crew of summer interns at the PRC, Matthew Reitman is a Boston University student with a major in Photojournalism and a minor in International Relations. Inspired by his travels, Matthew often photographs subjects in their natural surroundings, in attempt to capture their unique essence. He hopes to one day use his photography skills to shed light on various social issues across the world. In addition to the photos below, feel free to view more of Matthew’s work at http://www.finalcrit.com/photography/mreitman.
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By Todd Danforth, PRC Intern, Spring 2011
Cover of Stephanie Roberts' The Art of iPhoneography
A book arrived at the PRC recently that caught my attention. The Art of iPhoneography: A Guide to Mobile Creativity by Stephanie Roberts is a perfect look into the legitimacy of iPhone photography in a world saturated with camera phones. If you are an iPhone user, this book is THE sine qua non, compiled with all the latest must-have photography applications and how to use these applications and your iPhone to the fullest.
The book, shaped much like the iPhone, is a rich source packed with creative suggestions, insights, and ideas. Roberts allows her readers to not only understand the technicalities of the iPhone and its photography applications, but to discover their own voice as well. Guidelines throughout the book keep you motivated and excited to start shooting, and continue shooting everyday! She also introduces other iPhoneographers and their work.
Whether Stephanie Roberts is a pioneer of iPhoneography or not, it is quite apparent that the ability to snap a photograph and share it on the go almost instantaneously has become a sensation among iPhone users. Start defining, broadening, and sharing your unique and creative vision today by reading The Art of iPhoneography.
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[This review was written by Alissa Darsa, one of our Fall 2010 Interns who is continuing on with us to carry out an e-marketing/e-commerce project (details coming soon).]
Veruschka, dress by Kimberly, New York, January 1967 Photograph Richard Avedon © The Richard Avedon Foundation
Richard Avedon (1923–2004) is credited with redefining the industry of fashion photography in a career that spans more than sixty years. His photographs, on display at the Museum of Fine Arts, are iconic portraits of celebrities and models alike, captured in vibrant images that changed the face of the American woman.
Avedon had what many considered a singular relationship to fashion. Though he stated that you cannot separate fashion from the world, he believed fashion merely provided the textile, pattern, and color against which to portray his true subjects—women. Throughout his career, Avedon remained captivated by women, what was going on in their heads, under their hats, and behind their eyes. While the textiles may have been secondary, it is clear from his photographs that Avedon’s subjects derived emotions from their clothes. These women allowed themselves to be defined by fashion, which served as a vehicle through which they exuded joy, drama, and glamour.
Avedon’s style, often described as exuberant, is beautifully displayed in a series of photographs, magazine covers, and advertisements that encompass almost six decades. Separated by decade, the exhibition reads not only as a tribute to Avedon’s genius in the medium, but also as an historical testament to the dynamic lifestyle of the twentieth-century woman.
Photographs taken in Paris immediately following World War II express an uninhibited desire to recapture France in its pre-War glory and his images communicate a profound sense of optimism amidst cancan dancers and casinos. During the 1960s Avedon’s photographs vividly represented the transformative years defined by sexual liberation and social upheaval; his images keenly depict the confident women that encapsulated the era. Throughout his career, Avedon captured of some of the most recognizable faces in the fashion industry.
Avedon’s unique exploration of the American woman, whether modeling on the streets of Paris or posing for the cover of Vogue, remains poignant today. More than anything, Avedon knew how to create a captivating image, one that was innovative in its style and remarkable in its representation. These are the images that shaped American consciousness and Avedon is still remembered as a revolutionary in his profession.
[The exhibition continues at the MFA until January 17. Link here for more information.]
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Nicholas Nixon, Bebe with Clementine, Brookline, 2003
[The following review is by Ryan Cooley, a graduate student at Clark University and one of our outstanding crew of interns this fall semester.]
Longtime Boston-area photographer Nicholas Nixon rose to the forefront of the photography community in 1975, when his work was featured in the landmark exhibition New Topographics: Photographs of a Man Altered Landscape at the George Eastman House. Since then, Nixon’s work has shown all over the world and gained him representation at prominent galleries like Yossi Milo (NYC) and Fraenkel (San Francisco). He has taught photography at the Massachusetts College of Art for the last 35 years. His exhibition Nicholas Nixon: Family Album is his second at the Museum of Fine Arts Boston since 1988.
Nicholas Nixon, The Brown Sisters, 1996
Nicholas Nixon, The Brown Sisters, 1976
The exhibition includes pictures that Nixon has made over the past thirty-six years. One portion of the show features The Brown Sisters, perhaps his most famous work. The series documents Nixon’s wife Bebe and her three sisters. Since 1975 the four women have assembled annually; each year Nixon documents them, always positioned in the same order. This consistency creates an even template on which you may scrutinize the sisters for their growth and change. Inconsistencies arise as the years go on; an intensified closeness between two sisters, the shadow of Nixon and his view camera being cast over the face of his wife. Such details in individual images become obvious only by comparison to the others. The series hangs on a freestanding wall in the center of the MFA’s Herb Ritts gallery, with the images installed as a six by six grid of 8 x 10-inch gelatin silver prints. This installation truly forces you to see individual picture in relation to the series as a whole. Each photograph is appreciated only relatively, as its meaning is tied to the photographs before it as well as the ones to follow.
Nicholas Nixon, Clementine, Cambridge, 1986
The other portion of the exhibit features pictures of Nixon’s family over thirty years. The show’s title comes through in the work. Nixon’s images are nostalgic, but he maintains nostalgia while giving you an artful and intimate portrait of a foreign familial experience. Nixon’s work is technically magnificent, though it is the way that Nixon conveys a sense of time that is truly the foundation of his work. The large format camera captures the details that reflect a sense of time–tiny wrinkles emerging on a hand, or prepubescent peach fuzz on an arm or leg. Nixon is very deliberate in the frames that he creates. The relationships and dynamic observed in the pictures are unambiguous. Nixon’s images capture the poignant, playful and challenging moments of daily life with family.
Nicholas Nixon, Bebe, Cambridge, 1980
Though not installed in a way that they might be juxtaposed, Nixon’s Bebe, Cambridge, 1980 and Bebe & Louis, Brookline, 2010 complimented each other in a way that was unique to the show. The former image shows Nixon’s wife as a young woman, lying in a bathtub, with light very gently falling over her body. As you look at the latter image, you’ll see her thirty years later, this time lying on a chair in the backyard with the family dog, under much harsher light. Looking at the photographs one after the other, you are taken on Bebe’s trip from early adulthood through parenthood with a certain intimacy that Nixon is known for capturing. Nixon embraces each tiny wrinkle and imperfection, not to emphasize old age, but to provide you with an unfiltered and deeply personalized document of his family’s thirty-year journey.
Nicholas Nixon: Family Album will be on view at the MFA until May 1, 2011.
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