Tag Archives: Photographic Resource Center

Filter Photo Festival Week: Beth Gilbert

This week, I am sharing a few of photographers that I met at the Filter Photo Festival in Chicago….

Beth A. Gilbert presented a body of work in Chicago, Scarred Land, that looks at civilization’s impact on the environment, especially after the affects of war. The project focuses on Israel and the scarred landscape that reflects the trauma of conflict.  Beth lives and works in Boston and earned a BA in art with a concentration in photography from Simmons College, Boston. She worked for a professional, full-service photo lab, Color Services in Needham, MA as Assistant Digital Technician for 5 years. Beth now works for herself providing digital photographic post-production services. In the fall of 2013, Beth will be attending the Rochester Institute of Technology to pursue a Master of Fine Arts degree photography. Her work has been exhibited at the Photographic Resource Center at Boston University, the Danforth Museum of Art, and the Hadassah Gallery in Jerusalem. In addition, she has played a key role in the production of numerous photographic exhibitions for both nationally and internationally recognized artists.


 Restaurant Interior, Dead Sea, Israel 2010




My photographs are primarily landscape based, dealing with the environment, the ways in which human beings affect it and leave their mark upon it. One major influence reflected in the subject matter of my photographs is my interest and background in political science/middle eastern studies. My images have also been inspired by the work of Jem Southam, whose photographs capture a balance of the natural landscape and the intervention of man within it, following the cycles of decay and renewal, documenting the changes over days, months and years. Since the focus of my imagery relies heavily on society and civilization’s impact upon the environment, I am sensitive to my process being as non-invasive as possible- staying true to the unaltered landscape. I have a desire for my photographs to be ‘pure’, as in true to the original medium. My employment of a traditional tool of landscape photography, the 4×5 camera, and using minimal alterations to compliment my ideology fits in well with my artistic expression and vision. In 2010, I decided to take my ventures in photography further, and extended my vision to Israel.

 A Different Viewpoint, Gilbon, Israel 2010 

The photographs in this series entitled Scarred Land, which were all produced in Israel, deal with war, the damage it inflicts upon the terrain, and the natural recovery over time. The battle sites and military training zones depicted have not been memorialized or preserved in any way, and are now naturally recovering from the inflicted trauma as well as being reclaimed by the earth. The focus of the imagery on war zones is to portray to the viewer that this is how we, as human beings, treat each other and the world we live in.

 Charred Landscape, Gamla, Israel 2010 

We are a unique species defined by our intelligence: the ability of abstract thought, understanding, selfawareness, communication, reasoning, learning, having emotional knowledge, retaining, planning, and problem solving. This intelligence enables us to create/invent ever growing technologies through which to better our lives. Unfortunately, some of these technologies are also implemented for the purpose to assault one another and to defend ourselves, which in turn damages the Earth. In my opinion the rationale for going to war with another nation, state or people: whether it be over resources, religious ideology, cultural differences, or power is completely absurd. If everyone took the time to look at the larger picture, the traumas inflicted during war and in its aftermath have detrimental repercussions for not only us and future generations, but for the planet we inhabit and all of its living beings. Therefore, the ramifications are not advantageous to anyone or thing and we could eventually be the means to our own demise.

 Fire-Ravaged Ruins, Gamla, Israel 2010 
Barbed wire bush, Dead Sea, Israel 2010 

Abandoned Outpost, Dead Sea, Israel 2010 
(Un)Occupied Territory #1, Dead Sea, Israel 2010 
(Un)Occupied Territory #2, Dead Sea, Israel 2010 
Trenches from the ’48 and ’67 Wars, Jerusalem, Israel 2010 
Imbedded Plastic from Explosion, Golan Heights, Israel 2010 
Debris, IDF Firing Zone, Gamla, Israel 2010 
IDF Training Grounds, Golan Heights, Israel 2010 
Trench Entrance, Jerusalem, Israel 2010 
Syrian Sentry Post, Golan Heights, Israel 2010 
Fire-Scorched Valley, Gamla, Israel 2010 

The Space Between Exhibition at the PRC

The Photographic Resource Center in Boston is opening a new exhibition, The Space in Between, featuring the work of Stefanie Klavens, Daniel Feldman, and Lynn Saville.  Curated by Erin Wederbrook Yuskaitis,the Program & Exhibition Manager of PRC, it runs from November 15th – January 10th, 2012.

Erin Wederbrook states:  The Space in Between focuses on societal built environments in urban settings. The images capture supposedly empty or vacant scenes in public spaces where humans are present without being pictured. The very absence of human subjects forces the viewer to contemplate the space in between these human-made structures. While firmly rooted in the 21st century, these photographs also portray a
timeless feel, as if the artists froze the frame at the initial moment
of abandonment, preserving a particular constructed expression of
culture for generations to come.



 Daniel Feldman, Stefanie Klavens, and Lynn Saville explore these issues through architectural images that very clearly display what humans are capable of while also revealing a deeper level of cultural vulnerability.

images by Stefanie Klavens

images by Daniel Feldman

images by Lynn Saville

Pelle Cass

I am a long time fan of Pelle Cass’ work.  His photographs are inventive, conceptual, and manage to reinterpret what is right in front of us by using multiple images to create new realities.  Pelle just opened a show at Gallery Kayafas of his new project, Strangers.  These portraits are made up of numerous close-up photographs, when combined, reveal minutely observed facts add up to something new and strange. The exhibition runs through November 24th, 2012.

Pelle has had solo shows in the Boston area at Gallery Kayafas, Stux Gallery, the Griffin Museum of Photography, the Photographic Resource Center at Boston University, and Harvard’s Fogg Museum print room. He has also had solo shows at the Frank Marino Gallery, NYC and the Houston Center for Photography in Texas. His work is owned by the Fogg Art Museum, the Addison Gallery of American Art, the Polaroid Collection, the DeCordova Museum, Lehigh University Art Galleries, the Peabody Essex Museum, and the Museum of Fine Arts, Houston. He was Winner: Top 50, Critical Mass, Photolucida, Portland, OR, in 2008 and 2009, and was awarded Yaddo Fellowships (Saratoga Springs, NY) in 2010 and 2012. He was born in Brooklyn, NY, and lives in Brookline, Massachusetts.

Two of my favorite series are Selected People and Pins.  In Selected People, Pelle “orders the world and exaggerates its chaos.” Taking dozens of photographs of the same location, he selects what color palette or point of view he wishes to present. With Pins, Pelle rephotographs images from Architectural Digest and covers them with pins to create a new way of looking at space.


image from Selected People 

image from Pins

Strangers:
I think of these pictures as non-portraits. They say nothing of the personality or psychology of the people who sat for them, even though they are very detailed and closely observed. So why bother? At first, I was simply curious about what a portrait is. I thought it might be revealing to remove the variables of personality and identity from the portrait. 

 The sitter is basically unrecognizable, even though each picture is nothing but a set of photographic facts about that person. This emptying of identity happens when, after taking dozens of extreme close-ups of a particular person’s face, I blend the fragments into a new face. The shiny noses, wrinkled foreheads, and swirls of hair, take on a strange intensity when reassembled. 

 My aim is to use extreme photographic precision in a spontaneous, almost messily expressionistic way, to discover, perhaps, a whole new set of human emotions housed in a new anatomy, but also to discover something about the nature of the photographic portrait.


Dana Mueller, Camp Pine Grove #II

Dana Mueller, Camp Pine Grove #II

Dana Mueller

Camp Pine Grove #II,
Cumberland County, Pennsylvania, 2009
From the The Devil’s Den series
Website – DanaMueller.net

Dana Mueller was born and raised in Thuringia, East Germany until the fall of the Berlin Wall. She received her MFA in Photography from the Massachusetts College of Art + Design. Awards include St. Botolph Foundation Grant, first place Visual Art Exchange Award, second place in the Hotshot International Next Perspective Award, and Faculty Development Grants, Art Institute of Boston. Her work has been extensively exhibited, including the Le Lieu Unique/ National Center for Contemporary Arts, Nantes, France, the Pavillon de Bagatelle, Paris, France, Rick Wester Fine Art (NY), the Photographic Resource Center (MA), Gallery 360, Northeastern University (MA), Danforth Art Museum (MA), Black Cloud Gallery (IL) and Visual Art Exchange (NC). Recent publications include Purpose (France), Artscope, The Boston Globe, The Wall Street Journal and The New York Photo Review. Mueller currently teaches at the Art Institute of Boston, Northeastern University and the Massachusetts College of Art + Design.

Jason Reblando, Looking Over Fence

Jason Reblando, Looking Over Fence

Jason Reblando

Looking Over Fence,
Chicago, 2008
From the Lathrop Homes series
Website – JasonReblando.com

Jason Reblando is a photographer and artist based in Chicago. He received his MFA in Photography from Columbia College Chicago and a BA in Sociology from Boston College. His photographs have been published in the New York Times, Bloomberg Businessweek, Camera Austria, Nueva Luz, Bauwelt, and PDNedu. His work has been exhibited in the Singapore International Photo Festival, the Photographic Resource Center at Boston University, the Houston Center for Photography, the Light Factory in Charlotte, the Hyde Park Art Center in Chicago, and the Minnesota Center for Photography. His work is collected in the Museum of Contemporary Photography's Midwest Photographers Project, the Milwaukee Art Museum, and the Philadelphia Museum of Art.

Sarah Malakoff

Sarah Malakoff’s photographs explore the idea of home, but I am drawn to the formal study of spaces that are more than just rooms, they are rooms with elements of quirky expression, each with a surprise twist.  I have to admit it, I’d like to hang out in these homes and meet the people who created these spaces.  The lack of human evidence makes the work feel like a movie set, ready for the drama to unfold. Sarah was awarded a spot in the 2009 Critical Mass top 50 portfolios with the project, Living Arrangements, and also exhibited it at the Griffin Museum of Photography.

Sarah lives and works in Boston,
Massachusetts and teaches at the University of Massachusetts Dartmouth.  She received her Master of Fine Arts
from the School of the Museum of Fine Arts.  She has had numerous solo
exhibitions including the Sol Mednick Gallery in Philadelphia, PA, the Griffin Museum
of Photography in Winchester, MA, Howard Yezerski Gallery in Boston, MA and
Plane Space in New York, NY.  Her
photographs have recently been shown at the Carnegie Museum of Art in
Pittsburgh, The DeCordova Museum, The Portland Museum of Art, The Danforth
Museum of Art, The Smith College Museum of Art, The Photographic Resource
Center, and Photo Center Northwest.
LIVING ARRANGEMENTS: My
photographs are examinations of the home as both a refuge from and at times a
re-creation of the outside world. 
In my images, architecture and furnishings appear as uncanny symbols of
culture, family, and nature.  With
the intentional exclusion of human occupants, my subjects spark curious
speculation of their own.  The
private and personal are expressed in part by objects and signifiers which are displayed
versus those which are hidden; what is allowed inside, and what is kept
out.  For example, doors and
windows both frame exterior views and keep the elements at bay.  Land, weather, and wildlife are ever
present on the other side of the wall even as they are brought safely inside in
the form of pattern, simulation, and domesticated animals.  Ironically, both indoors and out
equally project artifice.
    
These pictures speak to notions of comfort, class, and style as well as universal attempts to control and transcend our environment. Tensions, and often humor, appear between absence and presence, old and new, real and surreal, permanent and transient, genuine and artificial, the domestic and the natural worlds. The desire to resolve these tensions drives the viewer to create their own narrative and imagine possible inhabitants.

Nadine Boughton

The Annenberg Center for Photography’s IRIS Nights will be featuring a lecture with Nadine Boughton on Thursday evening, April 19th in Los Angeles. Tickets are available here at noon today, Pacific Standard Time, and tomorrow at 9:30am. The lecture accompanies the exhibition, Digital Darkroom that takes a look at the intersection of art and technology. Nadine grew up in Rochester, New York, under the shadow of George Eastman’s Kodak Tower. She studied photography with Garry Winogrand, and at Visual Studies Workshop, Rochester, NY, and Lesley University Seminars, Cambridge, MA. She currently lives in Gloucester, MA where she teaches photography, collage and creative writing.

Nadine’s unique approach to image making has garnered her recognition as one of the Top 50 portfolios in the Critical Mass 2011 competition, Photolucida, and her collages will be exhibited at Photo Center Northwest, Seattle, WA, Newspace Center for Photography, Portland, OR and RayKo Photo Center, San Francisco, CA. Her work has been exhibited at the Davis Orton Gallery, Hudson, NY, the Boston Drawing Project/Carroll & Sons Gallery, Panopticon Gallery, Bromfield Gallery, Photographic Resource Center, Griffin Museum of Photography, Danforth Museum of Art, in the Boston area. Her work was featured in Plates to Pixels on-line gallery.

TRUE ADVENTURES IN BETTER HOMES: When I recently discovered men’s adventure magazines of the 1950’s and early 1960’s at a flea market, I found them shocking, funny, ambiguously rich artifacts of popular culture. Seeing them as narratives from the collective psyche, I wondered how they would speak in an environment of orderly homes with sunny patios depicted in women’s magazines of the same era. This portfolio reveals a collision of two worlds: men’s adventure magazines or “sweats” meets Better Homes and Gardens.

These photocollages are set against the backdrop of the McCarthy era, advertising, sexual repression, WWII and the Korean War. The cool, insular world of mid-century modern living glossed over all darkness, which the heroic male fought off in every corner.

My intention is to show how the inner psyche reflects the culture at large. I am drawn to the tension of opposites: inner and outer spaces, wildness and domesticity, the sweat and the cool.

With a background in psychology, I am always interested in what lies beneath appearances. The predator theme so present in the “true” adventures led me to explore “who” or “what” is breaking through. Whether the metaphor is that of bats or whales, this “other” carries not only our deepest fears but our deepest desires. We meet ourselves.

Minor Characters: Paolo Morales, Ana Lerma, and Emily Holzknecht

I thought I’d celebrate some terrific thesis portrait work that recently opened in Boston. Paolo Morales, Ana Lerma, and Emily Holzknecht all explore their own interior relationships as they search for a photographic relationship with strangers. Inconsequential characters take on leading roles in their exhibition, Minor Characters.

Minor Characters is a BFA thesis exhibition on view at the Art Institute of Boston Gallery at University Hall in Cambridge, Massachusetts. Ana, Emily and Paolo are three portrait photographers in search of connections. Lerma’s photographs strangers on the streets of Boston and New York in search of a reflection of a photographic encounter. Holzknecht’s portraits of strangers as well as those close to her explore a relationship between the photographer and the photographed. Morales’ pictures of acquaintances physically interacting explore relationships of struggle and power. The exhibition is on view from March 20-24, 2012.

Paolo Morales is a photographer and BFA candidate at the Art Institute of Boston. He has exhibited work at the Detroit Center for Contemporary Photography, Kings Highway Library, C Street Gallery, Trevor Day School and Gallery 44, among others. His editorial work has appeared on the cover of College Magazine. In 2010, he curated a show entitled Select Gender at the Farmani Gallery in Brooklyn. He lives in New York and Boston.

Emily Holzknecht was born and raised in northern New Jersey and is currently a BFA candidate at The Art Institute of Boston. Her interest in humanity and narrative lead her to develop a strong interest in the photographic portrait and its power to simultaneously reveal and obfuscate. Her work has been exhibited at the Photographic Resource Center and Laconia Gallery in Boston.

Ana Lerma is a contemporary photographer. Raised in the suburbs of Las Vegas, NV she moved to Boston to pursue a photography degree at The Art Institute of Boston at Lesley University.