(Installation view with a glimpse of works by Jesseca Ferguson and Ron Cowie)

As a curator, I spend a lot of time researching ideas for new shows and jotting down ideas for exhibitions as they come to me. “Doors of Perception…” is perhaps a little bit different because I have been thinking about curating a show like this one for many years.

The seed for this show was planted in a workshop at the George Eastman House in Rochester, a few years ago.  Simply titled, “1839,” the workshop, led by photographer and Process Historian Mark Osterman, served as a hands-on introduction to the historic photographic processes from 1839: photogenic drawing, daguerreotype, and Bayard’s process.  A seamless integration of making photographs (in the gardens and darkroom) and viewing photographic objects in the Eastman House’s collection, the workshop was a thorough and rewarding education in historic processes.

At the end of the workshop, I had the chance to see Mark Osterman’s studio, which he shares with his wife, photographer, and teacher, France Scully Osterman.  Having taught so many students historic processes over the years, France had a lot of insight into students and practitioners of alternative processes. During that visit, she said something that really stuck with me.  She said that a lot of people learn alternative processes and think that that’s it; “but you need to have something to say,” she pointed out. In other words, the historical process is not an end in and of itself. It’s only the beginning. To make compelling artwork, one still needs to have something to say. Read the rest of this entry »

By Fran Gardino, Volunteer Workshop Assistant

I guess you could call me middle-of-the-road with regard to promoting my fine art photo work.  I have self-published three photo books, designed and posted an evolving website and participated in a seemingly endless series of local art shows.  I’ve also had two portfolio reviews and licensed several of my photos for relatively small fees. Like many in the audience, I decided that it’s about time for a boost and an update.  The PRC’s “Finding Your Audience” workshop with Mary Virginia Swanson — or Swanee, as she likes to be called — was just the ticket.

A multi-media presentation and Mary Virginia Swanson? Count me in.

A number of years ago, I attended a photo lecture given by an aging Doc Edgerton at the Museum of Fine Arts, Boston.  During his lecture, Doc mentioned that despite his many years on the case, there were still plenty of strobe photography opportunities waiting out there, in particular, the photographing of complex wing movements of a large variety of hummingbirds in South America.  Even in his old age, Doc was still seeking lifetime challenges and inspiring all of us in the audience to do the same.

Similarly, Swanee, although much younger than Doc was at the time of his MFA lecture, showed an intense video slide presentation that was both inspirational and full of challenges, useful concepts and practical hints.  Her presentation was specifically designed for those of us that feel the need to exhibit our work in galleries, museums, etc., sell, and self-publish our best photos in printed books and on the web.

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As a young girl, I spent my weekends in my grandfather’s darkroom.  Both a professor of photography and amateur photographer, my grandfather instilled in me the basic knowledge of camera and darkroom processes.  In high school, I competed in a number of state and regional art competitions.  The positive responses I received for my photographs, and the loving support from my family encouraged me to pursue a degree in photography.

In 2012, I received my Bachelor of Fine Arts in photography and art history from Massachusetts College of Art and Design.  My most successful body of work, Noise, explores the urban landscape in response to societies surreal alienation and my search for connection within it.  These images speak at once to the present and the past.  Taken with a small format camera and high-speed film, the enlarged grain enhances the contemporary experience, as I perceive it, distorted and indifferent.

In the summer of 2011, I completed a curatorial internship at the Danforth Museum of Art.  While at the Danforth, I worked primarily on the preparation of the New England Photography Biennial.  That same year, I curated my first student photography exhibition at Massachusetts College of Art and Design.  From these experiences I realized my passion lay in arts administration and exhibition studies with a concentration in photography.  I hope my internship at the PRC will provide me with knowledge of each career path and keep me actively involved in the photographic community.

You can view more of my work on my website: www.mariahazoti.com

Issue #1: How to Build Awareness for Your Work

By Cindy A Stephens

We are witnessing the democratization of photography.  The rise and rapid adoption of digital technology has made photography accessible to the masses in a way that wasn’t possible a generation ago.

Millions of images are now shared on social media sharing sites by hobbyists as well as emerging photographers and established pros.  Some work is superb and other images are merely mediocre.

The result of this seismic shift is that it is increasingly difficult to stand out in a very crowded marketplace.  Technical know-how and creative genius is no longer sufficient to becoming an established fine art or commercial photographer.  Marketing acumen — the ability to differentiate you as an artist — is now a required skill for photographers.

Free-lance photographer David H. Wells tells me that marketing is as important a skill for a photographer as the actual photographing.

“I would argue that marketing is more important [than photographic skill], proven by the wild success of many photographically mediocre artists who have great marketing systems,” David says.

I found it startling that David spends only 10% of his time photographing.  The other 90% is spent on marketing activities.  Like many photographers, he has multiple revenue streams including stock photography, assignments, and teaching workshops and he spreads his marketing efforts across them.

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By Jessica Ladd, PRC Fall 2012 Intern

When it comes to imagination, there are no limits to how far our minds can take us. I recently had the exciting opportunity to observe an exhibit by Lynn Goldsmith at the Griffin Museum of Photography in Winchester. This body of work, entitled The Looking Glass, highlights the psychological relationship between what we see and what we imagine while exploring the issue of identity.   Taking on the role of various make believe characters, Goldsmith places herself in her images to represent her numerous fictional identities. A new adventure awaits the viewer as they jump from one photograph to the next. In other exhibits by contemporary photographers, I have found there to be a lack of imagination and creativity. Goldsmith, however has broken this barrier, exposing what lies in the deepest and most private corners of her imagination. But in portraying numerous fictional characters, is Goldsmith attempting to represent what is in her own head, or perhaps what lies deep in the minds of us all? We all have dreams, fantasies, and worlds that we travel to when reality becomes too much to bear. Is it possible that we can identify with any of Goldsmith’s multiple figures of her imagination?

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This review of The Space in Between was written during the exhibition’s run at the PRC Gallery (November 15, 2012 – January 19, 2013). The show has now moved to a second venue at the Atlantic Wharf Gallery  downtown as a PRC satellite exhibit. We invite you to visit The Space in Between to experience its new configuration this spring. This satellite exhibition will be on view from January 28 – March 22, 2013. The Atlantic Wharf Gallery at 290 Congress St. is open every day from 7 am – 10 pm.

By Jessica Ladd, PRC Fall 2012 Intern

When we think of places like shops and houses, we expect there will also be people to fill them. So what happens when three different photographers decide to challenge this idea? In the most recent exhibit on display at the Photographic Resource Center, photographers Stefanie Klavens, Lynn Saville, and Daniel Feldman showcase work that explores the idea of empty spaces where humans are present without being physically pictured. Through the use of architecturally-focused photography, they have depicted manmade locations that would normally be buzzing with people, but are captured completely empty. Yet, the viewer can sense a human presence just out of reach. Where did everybody go? Why is this location void of the usual hustle and bustle of everyday life?

In her body of work entitled How We Live, Stefanie Klavens has selected spots that would normally be filled with people, but strangely, are completely barren and desolate.These locations range from a bar in Reno to an elegant restaurant and even an abandoned apartment that seem to have been caught in a post-apocalyptic state. Weren’t places like these built so that people could come together and socialize?  Where is the usual crowd? Upon closer inspection, signs of a human presence beings to emerge. Holiday decorations line the walls of an empty bar, while white graffiti stands out against the brick wall of an abandoned building. Vibrant yellow sunflowers and pink Gerber daisies give life to a seemingly empty flower store while cars surround a hotel pool without any swimmers. While these images lack any human beings, they serve as a clear representation of how we as a society live. In a way, they serve as portraits exhibiting the unique lifestyles of people in this day and age. In her artist statement, Klavens states that these “intimate, frozen moments become pieces in a jigsaw puzzle that reflects our culture and how we choose to go about our lives.”

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By Stefanie Klavens, PRC Workshop Assistant

On December 1, a group of 13 eager photographers descended on the PRC for a two day Location Lighting Workshop™ taught by Rick Friedman. Tables were set up, pictures flew off the walls, and in short order, the PRC Gallery was transformed into a classroom and shooting space. The workshop began with an in-depth slide presentation of Rick’s work, where he walked us through the step-by-step details of how he created his shots and approached each assignment. What inspired me the most was his ability to walk into a job, and with very little prep time, come up with both great concepts and lighting that looks so sophisticated you would never know it was done on the fly with lightweight, compact Speedlites. Rick’s energy and enthusiasm were contagious, and it definitely set the tone for the entire weekend.

After the slides, Rick and his long-time assistant, Keiko Hiromi, brought out cases of equipment and the hands-on aspect of the workshop began. What happens when you turn loose a bunch of inquisitive shooters on a table full of gear? Let’s just say it was a little like trying to herd cats. We split up into groups of two and three and began working with our flash units mounted on our cameras. We experimented with bouncing flash into reflectors and nearby walls and a variety of light modifiers and diffusers, such as FlashBenders, hand-held and camera mounted bounce cards, pots and pans. (OK, so maybe I exaggerate a little…) No more “deer caught in the headlights” shots—under Rick’s guidance, on-camera flash became a tool to create soft, flattering light.

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 By Jessica Ladd, PRC Fall 2012 Intern

Since opening in 1971, the Panopticon Gallery has become one of the oldest fine art photography galleries in the United States specializing in contemporary, modern, and vintage photography.  Their goal is to represent established and emerging photographers who are focused on developing and expanding their careers. They also regularly assist collectors in buying, selling, and locating photographs along with supporting local educational institutions. On October 25th, I had the privilege of attending the Panopticon Gallery’s Fall Photography Salon, where photographers represented by gallery owner Jason Landry were able to show off their most recent work. The artists-Lindsey Beal, Heidi Kirkpatrick, Stella Johnson, Roger Farrington, Alexander Harding, and Bill Franson-all had very different ideas, making each of their portfolios unique.  Throughout the night, I was able to talk with and interview each photographer and learn more about his or her artistic style.  My goal was to learn what each of their portfolios was about, if there was a message they were trying to convey, and what inspired them to create their personal style of photography.

Interestingly enough, both Heidi Kirkpatrick and Lindsey Beal have incorporated themes involving contemporary and historical women’s issues, feminism, and sexuality into their work. Their images highlight the delicate shapes and gentle curves of the female body through unique photographic methods such as transparent imagery on film, sculpture, and 3D mixed media objects. But while the overarching themes of Beal and Kirkpatrick’s work are similar, vast differences set them apart from one another. Kirkpatrick’s work depicts the world experienced by women, along with exploring various areas of the female body in detail, such as faces, arms, legs, breasts, hands, and hair. The subjects in her images range from infants to full grown women, symbolizing the different stages of female’s life.  In a non-traditional approach to photography, Kirkpatrick has transferred these vintage images onto three-dimensional objects including wooden blocks, ceramic spheres, and even mahjong tiles. When I inquired as to why she had chosen such a unique way to display her work, she said that she wanted to give both the objects and photographs a second life. “Only part of their story is being told,” she stated, “The rest is out of reach.” This idea caused me to view the items in a new light, and not as old things, but symbols of another era. What purpose did these objects serve before they were altered? Who are the women in these photographs? What stories do they have to tell? The answers to these questions are, unfortunately, lost with time, but through her creative process, Kirkpatrick has indeed given them a ‘new life.’

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By Meredith Hoobler, PRC Fall 2012 Intern

Walking down the hallway leading to the Ori Gersht: History Repeating exhibition, I hear unidentifiable sounds, looming, heavy sounds that immediately envelop me. Directly ahead is a grey wall that displays one of Gersht’s many prints. I am immediately drawn into the photograph depicting an explosion, Blow Up. The suspenseful work depicts flower petals and fragments of glass being blown in every direction, looking as though they will scratch the print itself. Distracted by this violent and vivid image, I walk up to what appears to be a painting. I hear a shot and whip my head around, immediately disoriented and confused as to why I hear gunshots in the Museum of Fine Arts. What I think is a photograph has just started to move; the screen depicts a previously hanging pomegranate that is now splattering its contents all over the floor, the objects sprawled below like blood dripping from a wound. It swings like a pendulum gushing its juices on everything in its path.

Continuing through the rest of the show, I experience many mixed emotions. It is apparent that the works were arranged for aesthetic impact, but I only focus on their subtle undertones.  I inspect the visual aspects of the work that accompany the written descriptions and feel a complicated combination of emotions: I am inspired, horrified, impressed, and confounded.  On my first visit, expecting to spend only a half hour in the exhibition, I stay an absurd three hours in the two-room gallery viewing the two-dimensional works and three digital productions.

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By Meredith Hoobler, PRC Fall 2012 Intern

Exhibition planning, design, and execution is one of those tasks that simultaneously makes curators want to pull their hair out and jump around like a little girl who just received her first doll. It is complicated yet surprisingly simple, and its success depends on a few very important skills. Over the months I have worked at the Photographic Resource Center, I have been constantly working with Erin Wederbrook Yuskaitis, the Program & Exhibition Manager. Working on so many different projects at the PRC it has been easy for me to pick up the important aspects of exhibition development, through Erin discussing her tasks with me, and my own observations.

Everything fell into place for me personally when I interviewed Erin for a profile article. Sitting down with her at an isolated location away from work really allowed us to converse about her thoughts about the upcoming exhibit, The Space in Between: Daniel Feldman, Stefanie Klavens, and Lynn Saville. This one exhibit taught me in only two short months about approximately a yearlong journey that ends with an opening night.

First and foremost, you need substance. You need to get that spark, light bulb, or flash of an idea, usually triggered by seeing an artist’s work. Once you have the idea, brainstorming steps in. What other artists could pair or complement this one, should it be a solo show, which works are the most influential, powerful, or able to be applied to your theme? This step’s time period is infinite and depends on individual timelines, a boss or department’s deadline, or the organization where the show is to be installed and exhibited. Erin explained the difference in timelines to me based on institution size. Smaller nonprofits such as the PRC have much less time in planning. A year is ideal, but usually the curator and small support staff have under a year to complete the exhibition process. A larger museum typically requires years of planning and research done by a much larger staff of professionals and interns.

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