Gerard H. Gaskin

 

GERARD H. GASKIN

Statement
You can’t go to Paris to do the runway, you can’t go to Broadway. But to become known that’s what it’s all about. The people who participate want to be liked, accepted, and loved; they go to the balls to be seen.”

– Marcel Christian, appointed grandfather and historian of the House Ballroom Society.

My photographs explore ball culture, 50+ year tradition of pageantry in the U.S., where working-class African-American and Latina/o queer from urban inner cities come together to examine what it means to be gendered and sexed. Born in Harlem as a forum for queer “kings” and “queens” to express themselves, Balls include competitions in which participants vie in categories such as “butch queen sex siren”, “transman body”, and “femme-queen big girl realness”. Here, young adults are part of houses with glamorous names like Blahnik and Xtravaganza. They scrabble together dimes and dollars to build their next outfit; with street drugs, they morph their own bodies to an internal vision of soft curves and high voices; and by necessity, they play doctor, shrink, beautician, and health adviser to one another. Often ousted by their biological families, they also mentor each other, teaching them how to walk with a switch in a pageant. Although the balls are ostensibly about fashion and prestige, they are also structured around building family and manifesting selfhood. Building upon the 1990 documentary film “Paris is Burning” by Jennie Livingston, this ongoing project seeks to deepen and update that landmark film by adding visual image that capture the complex and rich lives of this community. My work documents marginalized communities in an effort to bring honor to their existence, as well as to provide a critical journey for those who have not yet seen this world. As individuals and as a society, I believe we struggle most with what is unseen and/or what we are afraid to see. Thus, I am interested in making images that challenge the viewer to address their own relationship to the subjects and what that interaction reveals. Building upon the 1990 documentary film “Paris is Burning” by Jennie Livingston, my ongoing project seeks to deepen and update that landmark film by adding visual image that capture the complex and rich lives of this community.

Bio
A native of Trinidad and Tobago, Gerard H. Gaskin has worked a freelance photographer since receiving his BA from Hunter College in 1994. His images have appeared in such publications as The New York Times, Newsday, Pilitiken, Black Enterprise, Ebony, King, Teen People, Caribbean Beat and Inc. Magazine. His photographs have been exhibited across the country including at the Brooklyn Museum and Queens Museum of Art, and abroad in Goethe-Institute Accra (Accra, Ghana) and Fototeca de Cuba Habana (Vieja, Cuba) among others. Additionally his photographs are included in the collections of the Museum of the City of New York, the Schomburg Center for Research in Black Culture and the Queensborough Community College Art Gallery. He was a 2002 recipient of a NYFA Fellowship in Photography and a 2005 Queen Council on the Arts Individual Artists Award and in 2010 he was an Artist-in-Residence at Light Work (Syracuse, NY).

Website
gerardhgaskin.com

 

Charles Lindsay

CARBON

November 2, 2011 – February 5, 2012

car•bon [kahr-buhn] (noun): A widely distributed element that is the physical basis of all living organisms. Carbon atoms are able to link with each other and with other atoms to form infinite varietes of chains and rings. Carbon occurs in a pure state as diamond and graphite, and in an impure state as charcoal.

A photographer, musician, and installation artist who originally trained to be a geologist, Charles Lindsay is fascinated by the aesthetics of scientific imaging and the great experiment that is life on earth. His work harnesses the organic, the sensory, and the mechanized to explore our perception of the universe and the evolution of symbols. At the heart of “CARBON” is a hybrid camera-less process Lindsay invented. This imaging technique fuses mark making with photography, utlizing a unique carbon based emulsion that he electrifies, freezes, and manipulates in many ways. The fantastically detailed negatives are scanned at high resolution, digitally processed, and then printed or animated. A similar analog to digital transformation occurs in his sound works, beginning with field recordings he gathers in remote environments and then processes.

“My influences range from bizarre bio-forms and insect polyrhythms to fluorescent minerals and galactic super-structures. The bioluminescent comb jellyfish is a prime example. Making art is a way to explore pattern recognition and modes of perception and communication. What are the visceral and emotional responses to these stimuli? How does our mind grasp a new experience or process an unfamiliar shape that subconsciously elicits fear? I am intrigued by the idea that so much of our most trusted knowledge is based on images from beyond our normal scope of vision. With this in mind I am interested in our rapid evolutionary arc from early primates to astronauts and the increasing role devices play in ‘seeing’. How will we evolve as as a species, will biology and artificial intelligence merge and what does life on earth suggest about what intelligent life might look or sound like elsewhere in the universe? Conceptually, I become most curious when ideas reach beyond the anthropocentric to suggest worlds with vastly different evolutionary paths from our own. The implication inherent to CARBON is the existence of species of consciousness other than our own.”

Imbued with the clarity of vision possessed by explorers throughout the ages, Charles Lindsay’s CARBON project is a journey into mysterious and uncharted realms. He presents his art both as physical touchstones from psychological journeys and as catalysts to activate the viewer’s senses, offering access to hidden dimensions which fill us with wonder and a curiosity for the unknown.

Charles Lindsay spent ten years covering environmental issues as a photojournalist in Asia before moving back to the U.S. Solo exhibitions of CARBON have previously appeared at the Dennos Museum in Michigan, the Sun Valley Center for the Arts in Idaho, and Visions West Gallery in Colorado. Lindsay’s work was included in Lyle Rexer’s book The Edge of Vision: The Rise of Abstraction in Photography (Aperture 2009) and in the accompanying exhibition at the Aperture Foundation in NYC. His multimedia performances and electronic and experimental music was most recently presented at New York University’s Frederick Lowe Theater. Lindsay’s work can be found in the permanent collections of the Museum of Fine Art, Houston; The Philadelphia Museum of Art, and the Hewlett Packard Contemporary Art Collection.

A visual artist as well as a photo journalist, Lindsay’s photographs have appeared in numerous international publications including The New York Times Magazine, Blind Spot, Aperture, Men’s Journal, Sports Illustrated, CPW’s PQ, and others. He has been profiled on National Public Radio, and CNN International. He has lectured at the American Museum of Natural History, Pratt Institute, and the Open Center in New York, among others. Four monographs on his work have been published to date including Mentawai Shaman: Keeper of the Rain Forest (Aperture 1992). Recently appointed to the Executive Committee of Musicians for the Environment, a branch of the Electronic Music Foundation, Lindsay is also the recipient of a 2010 Guggenheim Fellowship for Photography and is the first artist-in-residence at the renowned SETI Institute.

charleslindsay.com

Carla Shapiro

Rewriting Loss

September 9 – October 10, 2011

In honor of those who died on 9/11, I hand copied the obituaries of 2500 of the victims of the World Trade Center from The New York Times.

Each obituary was written in black ink on white vellum, a stiff translucent paper. I wrote for four hours a day for five months. As I wrote I became intrigued with the words that represented each person and reated a project that was full of peace rather than death. The handwritten pages were hung in the country air to weather away as the wind and sun faded the writing and the rain and snow washed them clean. Over time, as the written words washed away the papers became “prayer flags”. Prayer flags, originating in Tibet, are visual reminders of prayer; they are left to sway in the wind, and each snap and flutter is an utterance of prayer.

Over the course of one year, I photographed these obituaries – in early light, in darkness, in the rain, as the leaves fell, and as it snowed. They were photographed in stillness. They were photographed when it was hot and when it was cold, as they moved and as they froze. They were photographed with the rebirth of spring.

For twelve months the obituary-prayer flags hung in lines across the stream in my backyard in Chichester, New York. In each season they moved in the breeze, generating song throughout their movement, and creating patterns of light and dark as they became part of the life around them. Each day I saw a new story, as every sheet of vellum became free of its words and transformed into the pure whitness I waited for – my way of honoring those who had died.

– Carla Shapiro, 2011

Carla Shapiro was born in Manhattan. She is a Chichester-based visual artist who has been working in photography for over 25 years, creating bodies of work about women, aging, 9/11, beauty and decay. She holds a BFA from Syracuse University and currently teaches graduate students at the Pratt Institute Her work has been shown nationally and internationally. She has received the Fellowship Fund in 2003 from the Center for Photography at Woodstock, the Golden Light Awards at Maine Photographic Workshops, New Jersey Council on the Arts, New York Foundation for the Arts, NYFA SOS Grant, The O’Conner Foundation, and Pratt Institute. She has received residencies from the MacDowell Colony and Yaddo, among others.

carlashapiro.com

CAMP: Visiting Day

curated by Ariel Shanberg

June 11 – August 28, 2011

The exhibition CAMP: Visiting Day is inspired by the Catskill’s historic ties to sleep away camps and features artists who knowingly revisit the magical realm where youth reigns, adulthood emerges, secret selves are revealed, an identity is transformed.

The artists featured in CAMP: Visiting Day bring a reflective perspective to this charged landscape. Infused with personal memories and experience, they use photography and video to draw the curtains back on a world experienced by some, mythologized by many.

The experience of sleepaway camp goes far beyond the concept of summer vacation. Sandwiched between the close and start of school, nestled within the intense heat of summer, sleepaway camp is a condensed stew of character shaping separation anxiety and identity formation, with emphasis on outdoor physical activities. The experience is intended to provide a sense of community and fostered networks of relationships that extended into adulthood. Started in the early years of the twentieth century as a refuge from urban environments, summer camps combined Native-American and American folklore, sports, and arts and crafts activities. Within the contexts of religious groups, camps were established to help foster and reinforce group identity and engender their own allegiances. In modern times specialized camps have emerged, focusing on honing skill sets and interests ranging from specific sports to the arts and sciences as well as those designed to alter personal behaviors ranging from sexual orientation to body weight and fitness.

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In 1981, while her daughter attended Camp Pinecliffe in Maine, Gay Block made layered and endearing portraits of the young women at this all-girl camp. Wondering “what ever happened to those friends whose lives we knew intimately well for a few short months each year after we scattered back to our ‘real lives,'” Block chose to track down these women now in their late 30s and early 40s and see where they are now. Her resulting diptychs in the series entitled The Women the Girls are Now and video entitled Camp Girls offer a unique opportunity to find the threads that connect the images of these girls whose shared experiences have impacted the women they are today.

For Adrain Chesser, the surprise of finding his boyhood boy scout camp ground following its foreclosure, bought and transformed into a camp for adult gay men was too perfect. Returning to southern Florida from the west coast, Chesser spent time camping and photographing and staging images that echoed his own transformative experiences as a young boy at the very same campground.

As much as camp can be about togetherness, embedded in its experiences is the trials of separation. The shock and fear that can be found in being thrust into such an alien setting as camp can be defining along with the suddenness of being alone. In his 2001 video Nail Biter artist Anthony Goicolea graphically reminds us of those terrifying experiences. Filled with references to folklore and tall tales, Nail Biter calls to mind the affect of hearing those (or perhaps being) one of those haunting tales told around a campfire.

Long before her landmark documentary project Thin, Lauren Greenfield traveled to Camp Shane in Catskill, NY to photograph the young boys and girls who go there to literally transform themselves – at weight loss camp. Greenfield’s photographs reveal the pressures, social structures, and mutual struggles and triumphs these campers experience.

In her series The Cruel Story of Youth, Jennifer Loeber travels back to the camp where she spent summers as a teen. Nestled within the woods of Massachusetts, Rowe camp is grounded in the ideals of a counter-cultural past and freed from the forced constraints of a conventional camp experience. Loeber’s photographs reveal a society of teenagers empowered through otherwise impossible freedoms and celebrate a community where no ideas are too absurd and eccentricity is the rule, not the exception.

Finally in Albert J. Winn‘s stark black-and-white photographs, the haunting underpinnings of a camp emerge. Winn’s images of empty bunks, mess halls, swimming pools and basketball courts are filled with the echoes of joyful experiences, all the while an unabiding sense of loss intermingles with strong visual references to camps of another nature.

– Ariel Shanberg, June 2011

Ariel Shanberg has served as the Executive Director of CPW since 2003.

 

"CAMP: Visiting Day", June 11- August 28, 2011    Gay Block

"CAMP: Visiting Day", June 11- August 28, 2011Adrain Chesser

"CAMP: Visiting Day", June 11- August 28, 2011Anthony Goicolea

"CAMP: Visiting Day", June 11- August 28, 2011Lauren Greenfield

"CAMP: Visiting Day", June 11- August 28, 2011Jennifer Loeber

"CAMP: Visiting Day", June 11- August 28, 2011Albert J. Winn

 

 

Becoming Muses

curated by Akemi Hiatt & Lindsay Stern

June 11 – August 28, 2011

Since 1997, Emily and Madeline Sparer (b. 1985 and 1988), Rochelle, Heather, and Brittany Roman-Green (b. 1985, 1986, and 1988), and Rachel, Daniel, and Natalie George (b.1994, 1997, and 1999), have welcomed master photographers and CPW’s workshop students into their homes, engaging the CPW community in their roles as models, muses, teaching assistants, and hosts to workshops led by such luminaries such as David Hilliard, Andrea Modica, and Jock Sturges.

The instructors and students often maintained communication with the families after the workshop had formally concluded, resulting in the familiesí accumulating an impressive collection of gifted prints which charts their children’s growth in Woodstock – from childhood, to adolescence, to the teenage years, and up to young adulthood.

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What does it mean to be invited to grow up in front of many lenses, over many years? How did the roles that these young women and men adopted come to shape their understanding of photography, and that of the photographers they assisted?

With the exhibition Becoming Muses, we sought to address these questions as we began to learn more about the experiences that the models, instructors, and workshop students had while working with each other. For many of the students, this exhibition was an opportunity to revisit work that was created numerous years ago and made in an educational environment without the original intention of being shown publicly. In diving into the models’ personal image archives and working with former students and instructors, a multifaceted exhibition emerged.

Emily and Madeline Sparer spoke to the aspect of play they enjoyed as young girls in Andrea’s workshops. The costumes, props, and theatrics set against the idyll of their Woodstock home alongside the Millstream, all worked to cast an atmosphere of girlhood fantasy over the day. Yet as Emily notes “As we got older, [the photo shoots] became less about the clothes and more about the art, more about the process, more about bringing out a different side of ourselves.” This increasing awareness of self and of the camera shifted the models’ relationship to students. They became assistants in more ways than one, acting intuitively as both as generous hosts and informed teachers, often with workshop participants who had no prior experience photographing models. Brittany Roman-Green describes the experience as being “comfortable” and “fun,” and that although sometimes she questioned how she would look in a photograph, “…the photographers really do a phenomenal job at painting the scene they envision.”

The influences of the instructors can be seen in the images, as well as their differing teaching styles. David Hilliard taught by example and demonstration. While teaching an environmental portraiture workshop in 2010, he was compelled to make Weather Gathering, a multi-paneled photograph focused on Heather during class. Andrea Modica assisted students one-on-one as opposed to shooting for herself; as such, her influence is represented by this portrait of a young girl in Croton-on-Hudson who is close in age to the Sparers & Roman-Greens when they first became involved with CPW’s workshops and whose expression and place in the light evokes the subtle twist between reality and fantasy that is so emblematic of Modica’s work. Jock Sturges, known for his work with the nude, had his students shoot clothed models to learn how to achieve a connection with a subject regardless of the situation, creating poetic and evocative portraits of girlhood and sisterly bonding.

CPW’s workshops have long been known as a place free from everyday distractions where photographers can come to expand their craft, skills, and vision under the mentorship of a leading image-maker in an intimate and inspiring surrounding. Each artist in the exhibition brought their own perspectives and creative tools to the class. While in many instances students were shooting identical subject matter in identical locations, the resulting images in Becoming Muses speaks to the remarkable uniqueness of each photographer’s creative vision and way of seeing. The exhibition highlights the range in style, presentation, and process that each artist chose: the hinged diptych by Carlos Loret de Mola and the close-range series by Patricia Decker, for example, emphasizes the girls’ private surroundings and stages of growth, while images by Jennifer May, Lawrence P. Lewis, and Lydia Panas suggest an atmosphere of dress up and woodland play that characterized their early involvement with the workshops. In all cases, the varying themes develop and give way to new methods of representation and changing experiences as the years go by and the students and instructors arrive anew each summer.

The Woodstock Photography Workshops foster a community that often lasts beyond the weekend event. Students and instructors repeatedly return, relationships are solidified over years and reinforced by additional classes at CPW and a shared passion for photography. For the Sparer and Roman-Green girls, the workshops are now a beacon to return to after moving away from Woodstock. When the George children became workshop models in 2006, they joined what has, in many ways, become an annual family reunion. The exhibition Becoming Muses is also a reunion of sorts, for the instructors and students, for the models and muses, and for the images they made together. These pictures, which were created over more than a decade, are a testament not only to CPW’s commitment to photographic education and to the community that the center has thrived in for 34 years, but also to the deep generosity of spirit of the Sparer, Roman-Green, and George families which nourish that vision.

– Akemi Hiatt and Lindsay Stern, April 2011

Akemi Hiatt served as CPW’s Program Associate from 2009 to 2013. Lindsay Stern has worked as the Center’s Education Coordinator since 2010.

 

"Becoming Muses", June 11- August 28, 2011Justyna Badach

"Becoming Muses", June 11- August 28, 2011Sparky Campanella

"Becoming Muses", June 11- August 28, 2011Patricia Decker

"Becoming Muses", June 11- August 28, 2011Gene Fischer

"Becoming Muses", June 11- August 28, 2011Dennis Gaffney

"Becoming Muses", June 11- August 28, 2011Ed Garbarino

"Becoming Muses", June 11- August 28, 2011Emma Dodge Hanson

"Becoming Muses", June 11- August 28, 2011David Hilliard

"Becoming Muses", June 11- August 28, 2011Edwin Huddle

"Becoming Muses", June 11- August 28, 2011Lawrence P. Lewis

"Becoming Muses", June 11- August 28, 201Jennifer May

"Becoming Muses", June 11- August 28, 2011Andrea Modica

"Becoming Muses", June 11- August 28, 2011Carlos Loret de Mola

"Becoming Muses", June 11- August 28, 2011Dion Ogust

"Becoming Muses", June 11- August 28, 2011Lydia Panas

"Becoming Muses", June 11- August 28, 2011Jock Sturges

"Becoming Muses", June 11- August 28, 2011Marty Wohl

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PHOTOGRAPHY NOW 2011

curated by Vince Aletti

April 9 – May 30, 2011

I hadn’t really planned it that way, but I began judging the entries for Photography Now, the Center for Photography at Woodstock’s 2011 exhibition, only 10 days after returning from two weeks in Amsterdam as a judge for this year’s World Press Photo awards.

The two experiences could not have been more different, but the first definitely affected the second. In Amsterdam, I was one of nine judges sitting in a darkened room viewing and voting on more than 100,000 images as they flashed by on a big screen. Although there were categories in portraiture, nature, and sports, most of what we saw was hardcore photojournalism, recapping 2010 in disaster and death: Haiti, Mexico, Bangkok, Chile, Pakistan, the Gulf of Mexico. Wherever there were earthquakes, floods, riots, drug murders, assassinations, stampedes, oil spills–and intrepid photographers to cover them. The work was often hard to look at; the process relentless, intense, and exhausting. But if arriving at a consensus for the final awards was often frustrating, the exchange among the judges was always spirited and, in the end, exhilarating.

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After that, judging just over 300 submissions for the CPW exhibition was a breeze. Although much of the work dealt with serious topics, there were no severed heads, no mass graves. I was grateful to see happy children, hummingbirds in flight, a series of wooded landscapes; even if the work was disappointing or ludicrous, it wasn’t painful. And the solitary nature of the process–clicking through images on my home computer screen, with no one else to explain, exclaim, or complain to–made it much faster. But after Amsterdam, I missed the interplay of opinions, or a persuasive colleague’s nudge to go back and look at something again. In a sense, I continued to channel that colleague and kept a running list of entries that deserved a second look, one or two of which made it through to the final ten.

Early on, I began to make a mental list of dos and don’ts for photographers who enter competitions. Do focus on one coherent body of work, but know when you’ve made your point. Don’t include everything–edit and edit again; unless you’re truly brilliant, less is usually more. Do stop to consider where your talents lie–what is it that you’re actually good at? Throwing a bunch of disparate images into a portfolio and leaving it up to the judge to decide what’s best only means that the good gets tossed out with the bad. Don’t (over)explain; if the work doesn’t speak for itself, your artist’s statement won’t make up for it. But do have something to say, and a distinctive, personal way of saying it.

In the end, the work that most interested me was experimental and process-oriented – in several cases (notably, Bradly Dever Treadaway, Mariah Doren & Johanna Paas, Anne Arden McDonald), photographs that involved drawing, collage, or chemical effects. At a time when digitally captured and enhanced photographs can achieve new levels of flawlessness, I find myself increasingly drawn to handmade, inherently flawed images. Certainly, that’s what stood out from the submissions this year–work with some complexity and ambiguity, work that was constructed or crafted, work with a very individual voice. No question, some of the effects that I was most taken with–the lovely, ghostly layering in Matthew Dols‘s Sentimentalist series, Chad Kleitsch‘s celestial lights–were the result of sophisticated digital techniques. But I wasn’t judging the means, I was concerned with the results.

I’ve always been interested in the photographic portrait and ended up choosing two very different approaches to that genre. Yo Imae makes classically straightforward but remarkably sensitive black-and-white pictures of solitary figures that remind me of Judith Joy Ross, and Rita Barros, working in color, arranges close-up details of a person and his environment into an intriguing, Hockney-esque puzzle. But other entries in portraiture didn’t engage me as much as the ones that, even when they didn’t foreground process, flirted with abstraction and mystery: Christa Kreeger Bowden‘s studies of intricate nests and roots; Robin Dru Germany‘s jewel-like, half-underwater views of a luminous seashore; and Mikhail Gubin‘s shots of the flickering spirits behind a grimy window.

No matter the style, the photographers that stopped my clicking finger and made me look closely more than once had one thing in common: a satisfying sense of resolution. They may already have moved onto other subjects and other styles, but with this group of images they found the ideal way to resolve form and content, intellect, and emotion.

– Vince Aletti, April 2011

Vince Aletti reviews photography exhibitions for The New Yorker’s “Goings on About Town” section and writes a regular column about photo books for Photograph. He is the winner of the 2005 Infinity Award in writing from the International Center of Photography, where he was an adjunct curator for the museum’s 2009 “Year of Fashion,” including Avedon Fashion 1944-2000 and Weird Beauty: Fashion Photography Now. Male, a book of photographs and other artwork from Alettiís collection, was published by Andrew Roth’s PPP Editions at the end of 2008, following exhibitions of that work at New York’s White Columns and Vancouver’s Presentation House. The Disco Files 1973-1978, a collection of Aletti’s weekly columns on disco, was published in spring 2009 by DJhistory in the UK.

 

"Photography Now 2011", April 9 - May 30, 2011Rita Barros

"Photography Now 2011", April 9 - May 30, 2011 Christa Kreeger Bowden

"Photography Now 2011", April 9 - May 30, 2011 Matthew Dols

"Photography Now 2011", April 9 - May 30, 2011Mariah Doren and Johanna Paas

"Photography Now 2011", April 9 - May 30, 2011Robin Germany

"Photography Now 2011", April 9 - May 30, 2011Mikhail Gubin

"Photography Now 2011", April 9 - May 30, 2011      Yo Imae

"Photography Now 2011", April 9 - May 30, 2011Chad Kleitsch

"Photography Now 2011", April 9 - May 30, 2011Anne Arden McDonald

"Photography Now 2011", April 9 - May 30, 2011Bradly Dever Treadaway

 

Carlos Loret de Mola

Being Upstate

April 9 – May 30, 2011

This exhibition presents a selection of photographs from a project that I began in 2006 and am just now completing.

In titling it “Being Upstate”, I am not suggesting that I know that much about Upstate New York. It is not really about New York State at all. I use the phrase “being upstate” as a way to characterize my life here and this project is essentially my response to that catagorization.

I began by photographing the landscape because of its strong presence in the art traditionally associated with the Hudson River Valley. I soon got distracted from it and began wondering what the hell I am doing here. I took a portrait of myself in my underwear standing by the stairwell of the old farmhouse I live in. That image became the bellwether for where this project was headed.

“Being Upstate” was originally conceived as a book project, so the images were never intended to stand on their own and tell some complete story. The relationship between the images, their layout and how they would unfold from page to page would define the narrative.

When presented with the opportunity to exhibit this project, I wanted to create a more flexible way to experience it. I wanted to fill a space with images that could relate to one another in a more random, non-linear manner. One could walk into a gallery and begin at any point, gravitating to whatever image or cluster of images that called out to them first. From there they could go in any direction because where they began would relatie to otehr images on other walls in any order. The story would unfold differently for every viewer depending on how they wish to follow it , but in the end it is the same story. One ould even just sit in the middle and take it all in as a whole, giving the viewer a broad feeling for the project without gravitating to specific images.

Many will go from wall to wall in a conventional clockwise order and that is fine but after they get to the supposed end they will realize that , unike a book, there is no structured sequence to this experience. My hope is that the viewer will then wander through the room, just as I wandered through notions and experiences while making these images and bringing them all together as one piece.

Photography allows for unconventional ways to tell stories. We can rely on consciounses and awareness to have a story unfold with no plot, no line, just images that pose questions and suggst answers. Being Upstate is an attempt at autobiography. It relays experiences, emotions and responses through subtle and often elusive connections between the images. The thing I value most about working working with photography in this manner is that the stories are mutable. The narrative can only be hinted at, never explicated.

– Carlos Loret de Mola, 2011

Carlos Loret de Mola was born in Havana, Cuba and currently makes his home in Hudson, New York. He received a Bachelor of Visual Arts from Georgia State University. After a decade-long career of freelance photography and digital imaging in New York City, he relocated to Hudson, where he began his current body of work. His photographs have been exhibited at the Samuel Dorsky Museum of Art (New Paltz, NY); the Hyde Collection (Glens Falls, NY); Rayko Photo Center (San Francisco, CA) and at the Atlanta Photography Gallery (Atlanta, GA). Loret de Mola’s work was selected for CPW’s inaugural Regional Triennial of the Photographic Arts and published in our magazine PQ in 2005. His photographs have also been exhibited at and are in the collections of such institutions as the Museum of Fine Arts (Houston, TX).

carlosloretdemola.com

Made in Woodstock V

January 15 – March 27, 2011


Featuring work by CPW’s artists-in-residence from 2007-2009

Made in Woodstock V is the fifth installment of the Center for Photography at Woodstock’s (CPW) series featuring work created by recent participants of WOODSTOCK A-I-R, CPW’s residency program for artists of color working in the photographic arts.

Established in 1999, WOODSTOCK A-I-R is a workspace residency program which provides participants with time, facilities, space, and the critical & technical support necessary to move forward. The program encourages the pursuit of creative risk-taking in an inspiring and supportive environment where, working without distraction, photographic artists can focus intensely on their own work, continue works in progress, layout their goals for the future and break new creative ground. Each resident spent 2-4 weeks in Woodstock, staying at the Villetta Inn at the historic Byrdcliffe art colony. With quiet and solitude, yet enlivened by a community of fellow artists, WOODSTOCK A-I-R participants work in the idyllic environment of Woodstock- a gathering place renowned for its vibrant cultural history.

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Representing the broad range of photographic practices and interests that WOODSTOCK A-I-R helps realize, the 18 artists featured in MIW V engage in an inspired and deeply self-aware dialogue on history, politics, representational concerns, and more. As no two residencies are the same, the exhibition reveals the intensely diverse, dynamic interests of the artists as a group, and addresses each image-makers own particular story and voice.

William Cordova’s (Miami, FL) sets of photographs acknowledge, document, and archive the marginalized histories of the Young Lords and Black Panther Party.

LaToya Ruby Frazier (New Brunswick, NJ) turns the camera on her own family, negotiating complex and fraught familial relationships as both subject and photographer.

A mixed- media artist, Tia-Simone Gardner (NYC) investigates psychological relationships to locations and spaces and the idea of home.

In his cardboard cutout series, Lawrence Getubig (Keysville, VA) reexamines the fantasy genres and narratives of childhood by casting himself as a character in relation to the typical white American male hero.

Working within environmental portraiture, Daniel Handal (NYC) explores a small but burgeoning subculture of young adults who are actively engaged in farming, raising livestock, and living sustainably in the Hudson Valley.

Wayne Hodge’s (NYC) video and photo-based collages critique the influence of historical theater on contemporary visual culture and its role in transforming ideologies of race.



Jeannette Louie’s (West Orange, NJ) articulates the psychology behind emotional states such as boredom, dread, and inattention with photo-collages that evoke the odd, random thought processes of the subconscious.

Hee Jin Kang’s (NYC) photographs of abandoned mattresses in New York City elevate the mundane and everyday into observational poetry.

In an homage to the surrealist artist Claude Cahun and her partner Marcell Moore, the collaborative team of Tarrah Krajnak (Winooski, VT) & Wilka Roig (Ithaca, NY) address representational trends of women within photography.

Deeply struck by the deaths of 7 friends and family in a brief period of time, Emily Hanako Momohara’s (Cincinnati, OH) Koden series contemplates the ritual of bereavement by creating dual portraits of herself and a shadow representing aspects of those who have passed on.

Ricardo Morales-Hernández’s (Lidra, Puerto Rico) superimposed and heavily worked images remake and review history and its artifacts.

Dawit L. Petros (NYC) creates diptyches that address notions of presence and absence within natural environments, addressing the tension between one’s self and surroundings.

Using cutting-edge video gaming technology and referencing tropes of American landscape painting, Tim Portlock’s (Philadelphia, PA) constructed cityscapes examine the changing relationships between communities and urban planning.

Justine Reyes’ (NYC) grouping of photographs tenderly display a set of drawers filled with her uncle’s possessions, presenting memento mori which speak to themes of memory and familial legacy.

Kanako Sasaki (Sendai, Japan) works out of the representational tradition of Japanese ukiyo-e paintings as she poses and photographs herself in a dreamlike, “floating” world.

Lupita Murillo Tinnen’s (Plano, TX) Mourning Sickness series reveals the photographer in a vulnerable, emotionally intense, and cathartic private performance as she deals with grief surrounding her 3-year struggle with infertility.

Inspired by the Hudson River School of Art and drawing from cultural references of the iconic, the monumental, and the symbolic, Donna J. Wan’s (Menlo Park, CA) large-scale photographs of the natural world question and subvert traditional perceptions of landscape.

CPW’s artists-in-residence build upon existing genres, while injecting their own personal inquiries and perspectives. MIW V champions these 18 talented artists of color and provides a forum for a visual engagement with a wide yet interconnected range of photographic methods, interests, and subject matter. Together, they celebrate and enrich Woodstock’s historic role as a home, community, and source of inspiration for generations of artists – past, present, and future.

 

"Made in Woodstock V", January 15 - March 27, 2011William Cordova

"Made in Woodstock V", January 15 - March 27, 2011LaToya Ruby Frazier

"Made in Woodstock V", January 15 - March 27, 2011Tia-Simone Gardner

"Made in Woodstock V", January 15 - March 27, 2011Lawrence Getubig

"Made in Woodstock V", January 15 - March 27, 2011Daniel Handal

"Made in Woodstock V", January 15 - March 27, 2011Wayne Hodge

"Made in Woodstock V", January 15 - March 27, 2011Hee Jin Kang

"Made in Woodstock V", January 15 - March 27, 2011Krajnak & Roig

"Made in Woodstock V", January 15 - March 27, 2011Jeannette Louie

"Made in Woodstock V", January 15 - March 27, 2011Emily Hanako Momohara

"Made in Woodstock V", January 15 - March 27, 2011Ricardo Morales-Hernández

"Made in Woodstock V", January 15 - March 27, 2011Dawit L. Petros

"Made in Woodstock V", January 15 - March 27, 2011Tim Portlock

"Made in Woodstock V", January 15 - March 27, 2011Justine Reyes

"Made in Woodstock V", January 15 - March 27, 2011Kanako Sasaki

"Made in Woodstock V", January 15 - March 27, 2011Lupita Murillo Tinnen

"Made in Woodstock V", January 15 - March 27, 2011Donna J. Wan

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