Archive for the “PRC Members” Category



Many ideas related to pushing photography beyond the wall were discussed on January 7, 2015. Sharing her projects “WebAffairs”, “The State of Ata”, and “Shelter in Plates”, Chantal Zakari covered themes of the language of the pixel, negotiation of public space, ethics of photography, and responding to sacred images. Joining in the discussion, four presenters talked about using photography to make connections and engage with others.







Chris Yeager showed his images of “The Book of Honk”, portraits of those who take part of the Honk parade. Becoming increasing more engaged with the group over 4 years, Chris makes these portraits juxtaposing the colorful characters and costumes against start white backgrounds.

“It was refreshing to show my project to people who take photography seriously. I appreciated the compliments and even more so the great questions about my intent and where I was taking it. I don’t get enough opportunity to think about those things with other people. I’ll definitely come back and do some more viewing.” – Chris Yeager



Tom Wojciechowski showed two projects. One uses photography to create text with light writing creating complex comments on society.  The other project engages text from gravestones to bring out hidden messages from our everyday world.





Meg Bergstrand has engaged with prisoners gaining an understanding of slang, which she then crafts into logos. Meg engaged the audience as she considers how to use photography to create a book.



Charlie Taylor discussed his work at Wally’s Jazz Club seeking advice on how to continue to connect in this venue to bring it to life in photography.


Whether we make images of people on the street or interact with subcultures our discussions covered how projects change over time as we learn more about our subjects, the public and ourselves. We were asked to consider how to bring photography project full circle from making the image to giving back.

Check out the full Flickr site Here:

-Lydia A. Harris

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The theme for December’s Nights at the PRC, Identity and Portraiture, drew a broad range of presenters and lively participation from an audience of over 30 fellow photographers. Caleb Cole, the host for the evening, presented photos from his series “Other People’s Clothes,”  which is the product of his exploration of private moments of expectation and a visual expression of his experiences stepping into the shoes of the types of people he sees on a daily basis. Caleb also presented work from his new series “Blue Boys,” currently on view at Gallery Kayafas, which continues his exploration of how to visually express identity and personal experiences. Throughout the evening, six presenters shared their work related to the theme of Identity and Portraiture. Some photographers focused on traditional portraiture, while others presented work that questions how we identify ourselves or others through appearance, physical objects or location.

– Alyssa Minahan

Portrait & Identity Night

The evening’s host Caleb Cole.

Portrait & Identity Night

Presenter Renee Ricciardi.

Portrait & Identity Night

Caleb Cole commenting on a presenters work.

Below are some quotes from presenters about their experiences at December’s Nights at the PRC:

I came with specific questions regarding the presentation of my work and went home with some really good suggestions from Caleb and the group.” – Kathleen Gerdon Archer.  Kathleen is an honors graduate of Montsserat College College of Art with a BA in Painting, which has a had a profound influence on her photographic work. Her latest solo show was at The Carnery Gallery at Regis College in Weston, MA, with other solos shows at The Kingston Gallery, The Copley Society of Art and the Griffin Museum. Her work has also appeared in group shows at The Danforth Museum and Endicott College.

Nights at the PRC are a great opportunity to meet other photographers, get feedback and new ideas. This one was lots of fun, and it was a nice bonus to see Caleb’s recent work.” – Daniel Jackson. Daniel Jackson’s work has appeared in solo shows at the MIT Museum and Newton Free Library, as well as in group shows at the Griffin Museum, PhotoPlace Gallery and the PRC. His work is in the permanent collection of the MIT Museum, Griffin Museum of Photography and Computer Science and Artificial Intelligence Laboratory.

For me, Nights at the PRC are one of the most important functions of the year.” – Skip Schiel. A participatory photographer, photographing while engaging in struggles for justice, peace, right treatment of the environment, and enlightenment, Skip Schiel makes photos for publications, exhibits, slide shows, and individual use. His current projects include a photographic examination of conditions in Palestine & Israel, searching for the seeds of the new Detroit miracle, and Twilight, an exploration of light. Since 1990, Skip has taught at the Cambridge Center of Adult Education, ranging from basic photography to digital darkroom and photographic field workshops concentrating on light in photography. He has also taught photography at the Landscape Institute formerly at Harvard, the Quaker Palestine Youth Program in Palestine, filmmaking for 10 years at Boston College, and various workshops at Quaker gatherings.

 “I had been wanting to talk about my photographs that deal with the concept of identity for a long time. The PRC offers an excellent platform for photographers to show their work and discuss it with a group of local artists. I had never shown this identity series to anyone, but after the night at the PRC I was able to gather opinions, ideas, and useful feedback about the work.” – Renee Ricciardi. Renée Ricciardi is a Boston based artist and photographer. She received her Bachelors of Fine Arts in Photography from the Massachusetts College of Art and Design and is the 2013 Morton Godine Travel Fellowship recipient. Renée is currently working on a personal assignment photographing apiaries, beekeepers, and organic food in cities across Italy.

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On January 21, 2012, the PRC Board of Directors approved by unanimous vote a new mission statement for the organization. The new statement affirms our commitment to our members and the photographic community with updated language that is shorter and more focused on our core work. The new statement is:

The Photographic Resource Center (PRC) is a vital forum for the exploration, interpretation, and celebration of new work, ideas, and methods in photography. We inspire our members and the broader community with thought-provoking exhibits, educational programs, and resources that support the advancement of the photographic arts.

We look forward to your comments!

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Look for portfolios by Mona Miri and Lisa Kessler of Boston, and newly minted Guggenheim Fellow Katherine Turczan of Minnesota. Plus an interview by Howard Bossen with Concord-based photojournalist Ivan Massar in our Retrospect section.

When a new issue of LOUPE goes to the printers, the old issue is prepared for storage and online access in PDF form. Issue one is already available (link); issue two, featuring Justin Newhall, Julia Curtin, and Lori Grinker, with an essay by Vicki Goldberg, will be released electronically in June.

Remember, the best way to get LOUPE is to become a member of the PRC. It is available for purchase at the gallery, and in select college and art libraries in New England and across the country. But by becoming a member you get it delivered to your postal address three times a year. That and all the other benefits of membership are yours for the modest entry-level price of $50 per year for individuals.

Take a good look at the PRC and LOUPE. And return here to BPF for extended content, plus reader feedback.

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Blue sky. As in, "blue sky" thinking. As in, the sky's the limit.

At a PRC board retreat this winter, one section of the day-long discussion centered around future planning—how do the board members, the leaders of this organization, envision its future? Provoking the session were a variety of open-ended questions about photography and the role of an organization that calls itself, as we do, a “resource center” for photography.

I believe that the board has a critical voice in the PRC’s direction. I also believe that as a membership organization we have a responsibility to listen to our constituency. We cannot function as an organization if we don’t consider, and do our best to meet, the interests of those who join us as members. You pay your money, you have a right to expect something in return. And we have an obligation to listen. While we can’t serve everyone all the time, we can mediate between points of highly concentrated interest and identify common ground among our members’ diverse passions.

We must make the most of the limited resources we have in order to provide the most valuable resources to our audiences. We want to know what you want and expect from the PRC. Call it a feedback loop, call it a membership survey, call it a desperate plea for blog traffic, or call it fodder for what I am planning as a “Vision Night” at the PRC this fall; I pass the following questions along to you, gentle reader, in hopes of stirring up a set of ideas that will grow into visions, discussions, and eventually new directions for this organization. Please contribute your thoughts here on the blog, and I will return to the list at intervals over the coming months.

(These are in no particular order, though the number may help organize responses.)

  1. What is the current state of photography as an art form? As a form that has value and meaning to our culture?
  2. Where do you see photography heading?
  3. Is the PRC in its current state still relevant? If so, how do we keep it relevant? If not, how to make it relevant again (if it every was)?
  4. What do you want or need from an organization dedicated to photography? Are you getting it?
  5. If you are not a member, what would induce you to become one?
  6. How do you envision the PRC in five years? Farther out (15 years)?

Just for reference, here’s our existing mission statement:

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.

Thank you for helping us envision the new PRC.

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Cover of Loreti's book. Click on the image to go to Blurb.

Back in September I received a lovely little self-published book from Belmont-based photographer and teacher Tony Loreti. He offered to donate it to the PRC Library, and we’re happy to accept it. I should have passed it along to our librarian at that point, but it’s been kicking around my desktop since then, refusing to go until I paid it proper attention. Certain books are like that—they refuse to be ignored.

As I approach the end of my first half-year in Boston, I realize more and more how little I’ve entered the community. Rather, how very much community there is to enter, and how every step into it suggests the greater distances and myriad directions yet to travel. Like false peaks as you climb mountains. I’m grateful for the patience and indulgence of many people as I fit all the pieces together, though each time I think I see the narrowing end of a trail, the path of discovery turns a corner and a new panorama opens for me. No complaints, just a new scene to absorb.

This is also a moment at the PRC when we’re looking at what we did then in order to create programming now. As we consider 35 years of existence, 35 years of providing resources to the photography community of Boston in the form of information, exhibitions, publications, insight, and inspiration, we must remember how much we’ve forgotten, or have never known. We can still be taken aback by how many facets there are to the spectrum of photographic practice. Knowing it all is impossible. Knowing all of Boston’s contributions to photographic history would be herculean. Grasping a significant fragment of it takes dedication and diligence. We aspire to comprehensiveness, but will inevitably fall short of being encyclopedic. Please bear with us.

I don’t know Tony personally (though how can I dislike someone whose mailing address puts him on Slade Street!). But I’m pleased to see what he’s seen during the last three decades and shared in his book. Arranged chronologically, it covers ground from Allston, Charlestown, and East Cambridge to Roxbury, North End, and South Boston. (I don’t know what that sentence means geographically, whether it’s inclusive or meaningful in terms of representing Boston, but it sounds good and all of those places appear in A Boston Portrait along with many others among about 75 reproductions.) I enjoy the Boston he’s portraying, and I almost recognize it (the newbie talking again). He has a good sense of how close he needs to be to capture the energy and vividness of the lives he has encountered. He seems to be at ease in the city, and with its people in a great number of circumstances. These street photographs are of an engaged, embracing nature; they are exquisitely pedestrian, in that they honor life at street level.

Thanks, Tony, for contribuing to the PRC and to the visual history of Boston. And for helping me deepen my knowledge about the city.

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Jane Paradise, At the Museum, San Francisco, 2009, from the series "Not Quite Strangers"

Northeast Exposure Online is back, in a redesigned presentation that will facilitate viewer access to the great work of our regional membership.

The October installment of the new NEO goes live today and features work by Jane Paradise. Jane has been interested in situational recording and the social landscape for some time. Her ongoing investigation “Not Quite Strangers” considers moments of anomaly, moments between here and there when we have, as Laurie Anderson once chanted, “gotten stuck in one of those abstract trances”—neither estranged nor entirely present.

(Jane, by the way, was entirely present for our Portrait Night earlier this week. She showed her efforts at portraying the city of Provincetown as she knows it, from over fifty years of visits, not as the tourist mecca most people envision.)

Paradise on NEO

Fans, historians, and artists shown during NEO’s first lifespan please note: There are nearly seventy portfolios in the NEO archives; we are in the process of uploading them all into the new design, which is searchable by date and name. We appreciate your patience as this process is underway.

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Our wonderful sister organization En Foco is hosting a portfolio review on Saturday, September 25. They are offering Early Bird registration effective until August 29 (they just extended it); they are also offering an additional discount to PRC members as part of our Connections agreement. Please check out this opportunity here.

En Foco Executive Director Miriam Romais and Program Director Marisol Díaz Photo: © Bonnie Portelance, 2005

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Kyohei Abe, Imaginary Scape, Untitled #3, 2008, from the Gallery 339 exhibition "In Review"

I finished my fourth set of PRC portfolio reviews yesterday. Since my first set of reviews in May I’ve met and reviewed work by 27 photographers who have been willing to update their PRC memberships to have a chance to spend a half-hour presenting themselves and their images to me face-to-face. I feel honored and privileged by this, and I believe that the exchange of favors is mutually beneficial. The PRC can certainly get something in the form of new work to show on walls, on-line, or in print; in fact, five of the 27 have already been featured in Spotlights on our site, and several more will appear in forthcoming issues of NEO, our rejuvenated online portfolios (starting next month), and Loupe, our redesigned magazine, the first issue of which will appear in October. The reviews are critical—the best, most effective means for us to learn what our members are doing, how they are shaping the evolution of the medium.

During reviews I strive to give back something personal, something inspired by what I’m experiencing at the moment. Honest responses, insights, advice, references—in the best cases, work strikes a chord with me and I am in synch with both photographs and maker, but in all cases I remain open to what is in front of me. All work reveals something about the medium. Anyone who comes to a review has questions about their practice. My job is to identify, even help frame the questions, and point the way toward answers and increased knowledge. These encounters can be introductory exchanges in some long conversations about photography.

Regarding the process of selecting work from reviews, I was struck by a show that is still on the walls of Gallery 339 in Philadelphia, having opened there in June. In Review includes ten artists who met with the gallery’s representatives during reviews in the latter part of 2009 and early 2010. There was no organizing principle given for the show other than “our intent…to preserve a sense of the depth and variety that we saw [in the reviews].…Collectively, the works of the ten artists in In Review suggest a medium that is engaged in a lively, complex, and intelligent dialogue about meaningful issues.” The Gallery 339 staff are dead-on in their assessment of these events as being “inconsistent at times, yet exciting in their diversity,” and that “the sessions…offer a messy yet more complete view of what is happening in contemporary photography.”

I have participated in professional portfolio reviews in Houston, Portland, New Orleans, on-line, and elsewhere for many years, and have often wanted to do a show just like this, a show that reflects the Protean, prodigiously multifaceted nature of photographic creativity. A show that also suggests the enormous challenges facing any curator of contemporary photography (let alone contemporary art as a whole), the challenge of an embarrassment of riches and far too few opportunities for utilization (not to mention shipping costs).

Here’s the breakdown of the artists in the show. I was curious to know if any of them were from New England, and was pleased to see not only past exhibitors but also current members among an international crew.

Kyohei Abe, Rochester, Michigan (no PRC exhibits found to date); Peter Ainsworth, London, United Kingdom (no PRC exhibits); Gabriel Benaim, Tel Aviv, Israel (current member, not shown at PRC); John Chervinsky, Somerville (active member, exhibitor and frequent contributor to PRC); Chang Kim, New York City (no PRC exhibits); Joel Lederer, New York City (no PRC exhibits found); Isa Leshko, Houston, Texas (active member, contributor to auctions, selected by former PRC curator Leslie Brown for 2005 New England Photography Biennial at the Danforth Museum of Art); Hannah Price, Philadelphia, Pennsylvania (no PRC exhibits); Dustin Ream, Philadelphia, Pennsylvania (no PRC exhibits found); Phillip Toledano, New York City (no PRC exhibits).

All of this commentary reflects me acclimating to the conditions “out East.” I want to share with readers some of the concerns that underlie the process of guiding photography into an organization, a process that may seem mysterious, inexplicable, or frustrating to an observer. Believe me, it’s not rocket science or the United Nations, but it has a lot to do with knowledge, relationships, and a desire, on both sides of the table, to communicate.

[Thanks to PRC intern Lindsay Rogers for her background research on the artists.]

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I write for COLOR now and then (most recently a profile on Jerome Liebling in issue #9, dated September 2010 but on the stands for nearly a month already), and as a result they send me multiple copies of each new issue. Just arrived is issue #10 (November already?), the annual presentation of winners in their color portfolio contest.

494 photographers entered nearly 9,000 images, vying for 115 Spotlight, Excellence, and Merit awards chosen by judge Henry Rasmussen. Notable among the twenty Spotlight winners, each of whom will receive a multi-page spread in a regular issue of COLOR during 2011, was Brookline’s own Rania Matar, who hereby proves herself as adept with color as she is with black-and-white. Please look for her portfolio during the next twelve months; I’m guessing that the work is of teenage girls in their bedrooms, but that’s just a guess. (Rania, if you read this, let us know what they’ll be publishing and when.)

Among a large handful of New Englanders who were published in the issue as Excellence and Merit award winners was C. E. (Christopher) Morse of Cumberland, Maine, whose records of painterly decaying surfaces so impressed our executive director during a portfolio review that he ended up acquiring one from the photographer.

Congratulations to Rania and Christopher, past and continuing PRC members getting their work out there!

link to COLOR online

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