Home Grown

Fellowship Recipients 2005 – 2014

Curated by Ariel Shanberg & Helena Kaminski

Featuring Craig J. Barber, Karen Davis, Isaac Diggs, Tara Fracalossi, Danny Goodwin, Deb Hall, James Heil, Yumiko Izu, Chad Kleitsch, Kristina E. Knipe, Mark Lyon, Tanya Marcuse, Jennifer Lynn Morse, Harvey Osterhoudt, and Phil Underdown

On view: November 15, 2014 – January 25, 2015

Opening reception: Saturday 5-7pm, November 15, 2014

Press release →

The phrase “home grown” connotes something special. It fills one’s mind with images of something nurtured and cared for. It acknowledges a particular value that while it could have come from somewhere else, the local nature of its origins enhances its substance.

For this exhibition CPW has invited the past decade’s worth of Photographers’ Fellowship Fund recipient to share their “home grown” work which they have produced since receiving their respective fellowships. With an exciting range of approaches and interests, they represent the ever growing vibrancy of artistic inquiry and dialogue that can be found in upstate New York and is nurtured by CPW.

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Since 1980 CPW has provided direct monetary support on an annual basis to photographers who live and work in upstate New York through the Photographers’ Fellowship Fund. Established to strengthen and encourage artists who do not have access to the resources and forms of support typically found in major metropolitan areas, the Fellowship often serves as the first form of major recognition in its recipient’s careers. As of 2014, CPW has granted over $77,000 to 86 photographers. Fellowship winners are free to use the funds however they deem necessary. Each year a different distinguished professional in the field is invited to select the Fellowship recipient. We are particularly grateful to the jurors who initially selected the artists represented here; Peter Barberie, Sharon Bates, Leslie K. Brown, Hannah Frieser, Howard Greenberg, Willis E. Hartshorn, Larissa LeClair, Liliana Porter, Laurel Ptak, and Sasha Wolf.

This survey’s scope encapsulates a fervent period of time in which the area has experienced a surge of creative energies brought by a new wave of artists who chose to call upstate New York home. Those featured in the exhibition, range in age from their early twenties to mid-sixties, reflecting the depth of creative vitality that resides here. While the themes that run throughout the works featured in Home Grown reflect many of the major trends and concerns currently being explored in the broader art-world, they also reflect a particular regional profile – an awareness of the symbiotic bond and the tensions that exist between man and nature, and a fascination with practitioners of the region’s long-standing cultural traditions.

 –       Ariel Shanberg, 2014


"Home Grown: Fellowship Recipients 2005-2014", November 15, 2014 - January 11, 2015Craig J. Barber

"Home Grown: Fellowship Recipients 2005-2014", November 15, 2014 - January 11, 2015Karen Davis

"Home Grown: Fellowship Recipients 2005-2014", November 15, 2014 - January 11, 2015Isaac Diggs 

"Home Grown: Fellowship Recipients 2005-2014", November 15, 2014 - January 11, 2015Tara Fracalossi

"Home Grown: Fellowship Recipients 2005-2014", November 15, 2014 - January 11, 2015Danny Goodwin

"Home Grown: Fellowship Recipients 2005-2014", November 15, 2014 - January 11, 2015Deb Hall

"Home Grown: Fellowship Recipients 2005-2014", November 15, 2014 - January 11, 2015James Heil

"Home Grown: Fellowship Recipients 2005-2014", November 15, 2014 - January 11, 2015Yumiko Izu

"Home Grown: Fellowship Recipients 2005-2014", November 15, 2014 - January 11, 2015Chad Kleitsch

"Home Grown: Fellowship Recipients 2005-2014", November 15, 2014 - January 11, 2015Kristina E. Knipe

"Home Grown: Fellowship Recipients 2005-2014", November 15, 2014 - January 11, 2015Mark Lyon

"Home Grown: Fellowship Recipients 2005-2014", November 15, 2014 - January 11, 2015Tanya Marcuse

"Home Grown: Fellowship Recipients 2005-2014", November 15, 2014 - January 11, 2015Jennifer Lynn Morse

"Home Grown: Fellowship Recipients 2005-2014", November 15, 2014 - January 11, 2015Harvey Osterhoudt

"Home Grown: Fellowship Recipients 2005-2014", November 15, 2014 - January 11, 2015Phil Underdown





a collaborative project featuring Carl Gunhouse, Matthew Schenning, and Jason John Würm

June 28 – August 31, 2014

Press release →

While much of contemporary street photography needs time before its true essence fully develops, for styles and ideas to transform into something unfamiliar, thus igniting our imaginations and sense of nostalgia, the images in Work In Progress On In Progress Work need no time to resonate.

Made between 2011-2013, the images in this exhibition engage our curiosity and speak to the vibrancy and culture of a city in constant flux, one that adapts daily to global influences and events, migration and immigration— a place that is zoned and rezoned, invaded and evacuated, modeled and remodeled until the skies are jagged with concrete peaks. In the chaos of its unique transformations, New York stands to serve as a sample of so many cities that are forced to transform in the face of the future.

Work in Progress On in Progress Work’s  original incarnation as the Tumblr site dtwnbklyn.tumblr.com , where Carl Gunhouse, Matthew Schenning, and Jason John Würm anonymously share their photographs on a daily basis, breaks the traditional, linear model of photojournalism, creating a multi-dimensional narrative investigating the complexities of urban renewal. The images below are a live feed from the Tumblr site; an archive that expands on a daily basis.

[alpine-phototile-for-tumblr src=”user” uid=”http://dtwnbklyn.tumblr.com/” imgl=”fancybox” style=”wall” row=”6″ size=”120″ num=”12″ highlight=”2″ align=”center” max=”100″ nocredit=”1″]

Gunhouse, Schenning, and Würm share a deep interest in history and a passion for straight-photography. With a group aesthetic rooted in New York City street photography from the 1960’s and 1970’s, the nature of the project owes its inspiration to Bernice Abbot, whose fascination with the modernization of New York in the late 1930’s led to the publication of her book Changing New York.

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While the work remains anonymous on the Tumblr site (seen in the above grid), in the accompanying catalog, and in the gallery, one may differentiate the photographers through subtle stylistic shifts. Gunhouse often points his camera toward cultural artifacts that speak specifically to area businesses that are threatened by the influx of box stores with corporate logos and homogenous mannequins. In addition, his unique approach to portraiture is evidenced not only by the proximity between him and his subject, which speaks to a direct and open interaction, but by the captions which often include quotations from the dialogue between the two.  Schenning’s photographs oscillate between the minutia and the monumental depicting dynamic compositions of roads converging with scaffolding, faux reflections of the setting sun or details of textures and  discarded objects.  For Würm, a sense of tension pervades his images that seem to capture life in both its highest and lowest moments, where forces of authority are challenged and individual histories are embedded in images that reinforce the rapidity of this work in progress.

For this incarnation of Work In Progress On In Progress Work, the photographs have been printed on an adhesive paper that is affixed to the walls in a site-specific installation. In addition, a tablet located in the gallery allows visitors to scroll through the expansive archive at dtwnbklyn.tumblr.com and view the project in its original iteration. To mimic the Tumblr site and emphasize the nature of this work in progress, new photographs will be added to the gallery walls throughout the duration of the exhibition. An accompanying catalog printed by Waal-Boght press is for sale in the gallery.

Bringing this exhibition to gallery walls allows for something the city does not—pause. Its impermanence speaks by its very nature to the essence of the project, and allows for introspection, education, and awareness of the impact that urban renewal has on residents both new and old. These still images allow us time to examine the complexity of each frame; each moment that are such tiny fractions of the vastness that make Brooklyn the thriving place that it is.


"Work In Progress On In Progress Work", June 28 - August 31, 2014Carl Gunhouse

"Work In Progress On In Progress Work", June 28 - August 31, 2014Matthew Schenning

"Work In Progress On In Progress Work", June 28 - August 31, 2014Jason John Würm



The Space Between


Curated by Henry Jacobson

Featuring Laura El-Tantawy, Henry Jacobson, Chip Litherland, Florence Oliver, Kerry Payne, Mark Peterson, Sofia Verzbolovskis, and the two collectives, Echo/Sight, and Tiny Collective.

On view: June 28 – September 15, 2014 (extended)

Opening reception: Saturday 5-7pm, June 28, 2014

Press release →

Contrary to popular belief and common hyperbole, the Smartphone has not changed photography. Photography is still inherently about the recording of something real, something that existed in time and space.

Regardless of manipulation and editing – the image begins with a lens capturing some thing. What has changed, radically, and in a very short time period, is the landscape of photography – the space, physical and social, cultural and historical, in which we collectively approach the medium.

The rise of Instagram, which married the social network to smartphone photography, and now boasts over 75 million daily users, has popularized the notion of the camera/phone as first and foremost a communication device, rather than an image-making device. Photographers, or “iPhoneographers,” now aim to project themselves into the ether of the internet, engaging in an international, web-based exchange. Words have been replaced by photographic imagery, and the space in which these smartphone photo-dispatches operate has created an unprecedented freedom for professionals and amateurs alike.

The Space Between brings together a collection of images, photographic messages that represent a group of photographers whose use of smartphone photography reflects a conscious entry into the socially networked, shared simulacrum of reality. They move beyond the parameters of traditional photography and reposition the work within a broader socio-cultural dialogue.

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Writer and social satirist, David McMillan, writes of the current obsession with social networking sites as a new common human drive. Following in the traditions of Nietzsche and Freud, he dubs this new drive “The Will to Connect.” He describes a sense of identity dependent on its recognition by, and in, the other, but beyond the traditional desires of love and friendship. This new identity must be recognized en masse. We put up a post and watch eagerly as the “likes” roll in. The rise of socially networked photography has evolved, naturally, along the same lines as the socially networked collective psychology, and images now call to the Internet, as Abraham once called out to God, “I am here.”

The artists in this section each explore this drive photographically, whether in a literal sense, as with Kerry Payne’s project Instant Love Story, in a metaphysical sense illustrated beautifully in Florence Oliver’s dreamlike, Neo-Pictorialist work, or self-reflexively in the marriage of both the inner world and the physical location found in Henry Jacobson’s work, Postcards Home. They each use Smartphone photography to share their experiences, using abstraction, beauty, and formal/archetypal imagery. Their work comments on the nature of the new medium, the inherent qualities of imagery emerging from a device designed to collect, organize, and share personal experience.

The physical form the camera has taken additionally informs the content of this work. Always on us, they provide an indiscriminate intimate invitation into our personal space, connecting repeatedly to the networks we walk through everyday, pinging the apps of companies to share their owner’s location, not to mention other personal data, asking for a response in kind – information of every variety. This work offers a contemplation of the Smartphone’s impact on its owner’s personal interactions, and on the current shared structure of our technologized society, through the prism of the personal and the intimate.

The photographers represented here all come out of the documentary tradition. Their work, having always existed in a public forum, focuses on issues concerning broad swaths of the population. However, in each case, the Smartphone and the public forum of Instagram have led to a thoughtful (re)examination of the nature of public through the prism of photography.

These photographers, working in the public space of Smartphone photography, seek to engage the viewer directly, without the filter of magazine editors and the reliance on written narrative to carry a “reader” through a story. The images are the stories here, and as such are no longer bound by the hindrance of the written word. The image adopts a multiplicity of meanings – a reference to, and a freedom from, the traditional bonds of documentary photography.

The most literal iteration of this paradigm is Mark Peterson’s project – Politics in Black and White. One of America’s preeminent political photographers, Peterson originates these photographs on a DSLR while shooting on assignment for magazines, covering campaigns, rallies, and scandals. But for this work he repurposes those images within his Smartphone, creating an otherworldly effect that highlights the absurdity of American politics. The images recall the B-movie and sci-fi posters of 1950’s Hollywood, a time when America was politically naïve.

While both Sofia Verzbolovskis and Laura El-Tantawy bring a personal approach to the documentary format, Laura El-Tantawy truly departs from her journalistic alter-ego and documents the events and landscapes of both her native Egypt and England as a visceral experience of the times. Her images address the tumultuous Egyptian climate from the perspectives of both the insider and the outsider capturing the range of emotions from looming quiet to religious fervor. Sofia Verzbolovskis starts from the traditions of street photography, for which the Smartphone has become the ideal tool. But with a playful, lyrical tone she shoots her surroundings and sends them out to a mass of anonymous Instagram followers, a daily document of life.

In Tiny Collective, we witness the emergence of a public dialogue that could not have existed even four years ago, before the launch of Instagram. They communicate with each other as a constant Smartphone salon. They influence each other just as the French artists of the late Impressionist period influenced early German Expressionists, but do so instantly, in real time across continents. Their rapid exchange is witnessed by thousands of followers, providing a constant stream of creative conversation between the members of Tiny Collective, alongside their devoted viewership. Their work, installed here in salon-style serves as a physical nod to their digital collective, momentarily freezing their Smartphone-based dialogue on the gallery wall.

Chip Litherland and the collaborative Echo/Sight are two of the purest examples of artists to emerge singularly through the Smartphone photography. The medium’s elasticity, the ability to untether the image from time and space, the integration of millions of realities, allows them to create bodies of work of and by the Web.

Rooted in photojournalism, Chip Litherland layers location upon location, texture upon color, to create a reality that evokes the work of the Speculative Fiction writer and “noir prophet” William Gibson on acid, designed more naturally for the web than for reality itself – the viewer “jacked in” to Litherland’s supersaturated psychedelic mindscape. All of this occurs on the Smartphone, which operates as both his paint and his canvas. Each new slice of reality presents itself to him, ready to integrate into his hyper-real vision.

Echo/Sight (a collaboration between photographers Danny Ghitis and Daniella Zalcman) dwell within the same visual idiom as Litherland, but as an international collaboration they create a single image representing two visions as one. Collaboration, the ideological foundation on which the internet itself was built, has become so fundamental to Smartphone photography that Echo/Sight has become a regularly used (Instagram) noun – #echosight, used to refer to when two images from two different photographers in two different places are blended together and shared as one single photograph. The idea is so elemental to Smartphone photography that photographers all over the world, almost immediately began making their own #echosights and sharing them under the communal hashtag. Since its inception, Ghitis and Zalcman’s vision for Echo/Sight has expanded to include other photo-duos, turning their Instagram page into a virtual gallery, hosting weekly international collaborations.

In taking the images out of their native digital format and placing them within the context of a traditional gallery exhibition, we have the opportunity to examine the current relationship of photography in the context of this shared virtual platform and the implications it has on the historical significance of the photograph as document and as art.

These eight individual artists and two collectives gathered here, with varied methodologies, practice within this dynamic space while simultaneously commenting on its unique characteristics – creating a dialogue between the personal image and its public persona. The result is a new relationship to photography, a detachment from the constraints of photographic reality, and a self-reflexive acknowledgment of each artist’s occupation of this bourgeoning photographic landscape.

– Henry Jacobson, 2014


"The Space Between: Redefining Public and Personal in Smartphone Photography" curated by Henry Jacobson, June 28 - August 31, 2014Laura El-Tantawy

"The Space Between: Redefining Public and Personal in Smartphone Photography" curated by Henry Jacobson, June 28 - August 31, 2014Henry Jacobson

"The Space Between: Redefining Public and Personal in Smartphone Photography" curated by Henry Jacobson, June 28 - August 31, 2014Chip Litherland

"The Space Between: Redefining Public and Personal in Smartphone Photography" curated by Henry Jacobson, June 28 - August 31, 2014Florence Oliver

"The Space Between: Redefining Public and Personal in Smartphone Photography" curated by Henry Jacobson, June 28 - August 31, 2014Kerry Payne

"The Space Between: Redefining Public and Personal in Smartphone Photography" curated by Henry Jacobson, June 28 - August 31, 2014Mark Peterson

"The Space Between: Redefining Public and Personal in Smartphone Photography" curated by Henry Jacobson, June 28 - August 31, 2014Sofia Verzbolovskis

"The Space Between: Redefining Public and Personal in Smartphone Photography" curated by Henry Jacobson, June 28 - August 31, 2014Echo/Sight

"The Space Between: Redefining Public and Personal in Smartphone Photography" curated by Henry Jacobson, June 28 - August 31, 2014Tiny Collective



Nick Albertson

One-Hundred Count

on view April 5 – June 15, 2014

 Press Release →

Rubber bands, plastic straws, paper napkins, and other various everyday household items are the basis of my artistic practice.

In my work I strip utilitarian objects of their functions, repurposing them to create visceral experiences. Items with little visual intrigue are organized so as to have a powerful aesthetic impact.

The tension between the inherent uniformity of the mass-produced everyday materials I engage with and my subsequent arrangement of them drives my practice. My photographs borrow from the tradition of the Readymade as well as from the exalted subjectivity of Modernist painting and sculptures.

– Nick Albertson, 2014


Nick Albertson (b. 1983, Boston, Massachusetts) received his MFA in Photography at Columbia College Chicago. He received his BA in Photography from Bard College in 2006. His work has been exhibited in Chicago, Portland, Seattle, and New York as well as internationally at the Pingyao International Photo Festival. He is represented by Aspect/Ratio Projects in Chicago.



Photography Now 2014


Juried by Julie Grahame

April 5 – June 15, 2014

Press release →

Reviewing well over 500 entries was quite a challenge, but the level of creativity, and the diversity of topics and of methods made it an enjoyable one.

Amongst the international pool of entries were explorations of personal politics; social commentary; conflicts with/love of nature; health, and healthcare issues; and a whole host of “seeking beauty within the mundane.” There was not much levity or joy. There was a lot of ice. Perhaps unsurprisingly, with the onslaught of ephemeral digital imagery, there were a lot of entries using alternative processes.

For this year’s installment of Photography Now, I sought out thoughtful series that demonstrated a different perspective to that which I regularly see. Each one of those selected is a little twisted.

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Thomas Jackson’s Emergent Behavior features hovering sculptures made from unnatural items such as non-biodegradable plastic cups and artificially processed cheeseballs, these amazing installations created for the camera evoke swarms and colonies. Teeming creatures are both fascinating and discomforting and these images echo those feelings. Jackson’s project serves as a harbinger to the growing efforts of bio-engineers who increasingly turn to nature for inspiration.

Marcus DeSieno’s Parasites combines micron technology with old photographic processes to scrutinize otherwise invisible creatures, examining the unseen world of bugs around and inside us and confronting the artist’s not-uncommon fear of these parasitic microscopic organisms in the process.

Romy Eijckmans made my heart sing with Living Light. Her camera-less images are made using the bioluminescence of fireflies in an “outdoor darkroom” resulting in twinkling, cosmic patterns. The resulting collaboration between Eijckmans and her fireflies invite us to engage the natural world in sparkling fashion.

William Miller also utilizes an object for something other than what it was originally intended. Recycling an abandoned project long since considered a failure, Miller folded, crumpled, sliced, and scanned old negatives that didn’t work as initially planned. Allowing the physical aspects of the film to manifest, Miller opened the doors for both us and himself to see photography anew.

I am wary of self-portraits-exploring-childhood-experiences, but the colorful, wistful, frank images by Jung S. Kim are not as trite as such projects can often be.Kim references various characters from Korean folk tales, projecting her experiences onto them. Though the viewer may have no familiarity with these tales per se, the images are compelling and the titles provide enticing clues.

In a self-reflective project that is less fanciful, Linda Alterwitz’ While I Am Still uses P.E.T. scans, M.R.I.’s, radiographs, and sonograms, re-captured, and layered with other imagery. Using her personal experiences of medical testing she creates these intense but fragile images that echo how one must feel undergoing such procedures, mind drifting as the body is explored.

Farideh Sakhaeifar’s series Workers Are Taking Photographs seems straightforward at first but initial viewing belies a greater dynamic. The making of these images entails the artist having to leverage her position as an Iranian woman of higher social class than the subjects of her photographs – laborers – in order to get them to comply in making a self-portrait. As environmental portraits, they are powerful on their own, yet with the cultural elements considered, they give us an insight into a side of Iranian culture we don’t see too often.

Using photography as a democratic tool in a different setting and falling under the category of “things we see everyday” I chose Natan Dvir’s Coming Soon for his humorous photographs that highlight the bizarre intrusion of advertising into the urban landscape, to which we have become so inured. These temporary hoardings are too big to really even take in. Their massive messages are ultimately subliminal. Dvir’s photographs reveal an understanding of how to make images on the street, a skill I value greatly and which not all can attain.

Simplistic or convoluted, there are successful combinations of beauty, the surreal, and multiple messages in the chosen projects and each command a closer look.

– Julie Grahame, 2014

Julie Grahame is the publisher of aCurator.com, a full-screen photography magazine, and the associated aCurator blog, named one of the ten best photo sites by the British Journal of Photography and one of Life.com’s top 20. She is also the editor for Photography&Architecture.com, and represents the Estate of Yousuf Karsh. Born in London, England, Grahame emigrated in 1992 to manage the New York office of a photo syndication agency representing 400+ photographers and collections. She is a contributing writer for Photo District News’ magazine Emerging Photographer



"Photography Now 2014" juried by Julie Grahame, April 5 - June 15, 2014Linda Alterwitz

"Photography Now 2014" juried by Julie Grahame, April 5 - June 15, 2014Marcus DeSieno

"Photography Now 2014" juried by Julie Grahame, April 5 - June 15, 2014Natan Dvir

"Photography Now 2014" juried by Julie Grahame, April 5 - June 15, 2014Romy Eijckmans

"Photography Now 2014" juried by Julie Grahame, April 5 - June 15, 2014Thomas Jackson

"Photography Now 2014" juried by Julie Grahame, April 5 - June 15, 2014Jung S. Kim

"Photography Now 2014" juried by Julie Grahame, April 5 - June 15, 2014William Miller

"Photography Now 2014" juried by Julie Grahame, April 5 - June 15, 2014Farideh Sakhaeifar



Sara Macel

Sara Macel

May the Road Rise to Meet You

on view February 8 – March 30, 2014
 Press Release →
For the past forty years, my father has traveled around America as a telephone pole salesman. May the Road Rise to Meet You is a pseudo-documentary and biography of his professional life, recreated as a collaboration between father and daughter to create a visual document of the life he has led separate from our shared family experience.

In popular mythology, few professions are as emblematic of this mobile, ambitious and commercially-minded nation as the traveling salesman. As the Internet and outsourcing make this once ubiquitous occupation obsolete, May the Road Rise to Meet You explores the life of a businessman alone on the road. On a larger scale, this project explores the changing nature of “the road” in American culture and in the history of photography. We were traveling north on I-45 through Texas, when I asked my dad what it was like dealing with customers.  He told me: “There’s that old saying that you don’t know someone until you walk a few miles in their moccasins.”  It was in that spirit that I put myself in my father’s size 10 boots. What I found in chasing this enormously elusive male figure is that I can never fully know my father or what it is like to be a man alone on the road. In the same way that a family photo album functions to present an idealized version of a family’s history, these photographs tell the story of how we both want his life on the road to be remembered.

– Sara Macel, 2014


Sara Macel is an artist and photographer based in Brooklyn, NY. She received her MFA in Photography, Video & Related Media at the School of Visual Arts in 2011 and her BFA in Photography + Imaging from New York University’s Tisch School of the Arts in 2003. Her work has been widely exhibited and is in various private collections, including the Cleveland Museum of Art, Harry Ransom Center, and the Center of Photography at Woodstock. Recently, she was named a winner in Magenta Foundation’s Flash Forward, one of the Top 50 Photographer’s in Photolucida’s Critical Mass Award, winner in the New York Photo Festival Invitational, and finalist in FotoVisura Spotlight Awards. In 2012, Sara received the Individual Photographer’s Fellowship Grant from the Aaron Siskind Foundation. Her first monograph, May the Road Rise to Meet You, was published by Daylight Books in 2013. In addition to her freelance work, Sara currently teaches photography at SUNY Rockland.