Curated by: Ariel Shanberg and Helena Kaminski

Featuring work by 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

The Center for Photography at Woodstock is pleased to announce its upcoming exhibition Home Grown, which spotlights the 15 photographers who have received CPW’s Photographers’ Fellowship Fund award over the past 10 years. 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.

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. 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. To date CPW has granted over $77,000 to 86 photographers.  A similar grant program provided by Light Work (Syracuse, NY) supports those living and working in Western New York.

This survey’s scope of 2005-2014 encapsulates a fervent period in which the area experienced a surge of creative energies brought by a new wave of artists who chose to call upstate New York home.

Home Grown will feature works created by the photographers after having received their respective fellowship awards. 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.

Using the antiquarian wet-plate collodion process to create hand-crafted tintypes for his series Working the Land, Craig J. Barber’s (Woodstock, NY) artwork mimics his subjects’ own physical labors. Seeking to honor those who choose to farm, hunt, forage, garden, or otherwise sustain themselves using the natural resources of the Earth, Barber’s subjects inhabit a realm of their own separate from the increasingly controversial world of mass/corporate production. Barber was selected by the artist Liliana Porter to receive the Photographer’s Fellowship Fund in 2005.

Karen Davis (Hudson, NY) chronicles the never ending story of ‘the procedure’ – the reinvention and focusing of the body’s health, well-being, and personal image. Davis’s series Little Procedures uses the ephemera and experiences of rendering the physical self as context for sharing her personal narrative. Hannah Frieser, the then director of Lightwork in Syracuse, NY selected Davis as the Fellowship recipient in 2009.

Inspired by the dual nature of Los Angeles, Isaac Diggs (Newburgh, NY) juxtaposes the violent side of the city with the beauty of the surrounding landscape; the awesome sun with its consequential shadows. His photographs question whether the actions of a population are unrelated to, or a direct result of the imposing urban landscape. The images featured in this exhibition are a continuation of the portfolio 2011 juror Peter Barberie, curator of photographs at the Philadelphia Museum of Art, selected, inspired by the “breadth of motifs within the series”.

In her series Archive Tara Fracalossi (Valatie, NY) compiles the daily assault of images, knowledge, and experiences into simple photographs, which she then reconfigures, repeats, and realigns to recreate the endless stream of personal observations and insight in photographic grids. Fracalossi’s winning portfolio was an early iteration of this ongoing series, which artist Liliana Porter selected in 2005.

Danny Goodwin (Delmar, NY) explores the philosophical construct of object-oriented ontology, whereby all things and people are objectified, equalized, and all relations between objects are distorted in the same way as human consciousness distorts its reality. This equalization and distortion is quite evident in Goodwin’s Decoys: stock graph paper is distorted by passing through a subject, which itself is a fabrication; ultimately all the objects, though photographed in a straight-forward commercial style are not what they seem. Goodwin received the Fellowship grant in 2006, selected by the founding Director of the Albany International Airport Art & Culture Program Sharon Bates.

Throughout the United States, there are few vantage points for experiencing nature that still allow free, unrestricted access. Although most would agree that nature cannot be ‘owned’, just as it cannot be controlled, our society is driven by economics and private ownership is the ultimate iteration of success. Simultaneously technology and its ever growing presence in our lives, further isolates us from the natural world. With her series Keep Out Deb Hall (Ganesvoort, NY) questions how our digital habits and need to own, can impact our involvement in the environment, and its political support. Hall was selected as the Fellowship recipient in 2012 by Willis Hartshorn, Director Emeritus at the International Center for Photography.

James Heil’s (Woodstock, NY) unique eye lends itself to narration. His documentary images are almost written – special attention is given to context and place, drawing the viewer into the frame and advocating for his subject. Heil’s photographs were selected for the Fellowship grant in 2007 by Howard Greenberg, CPW’s founder and owner of the Howard Greenberg Gallery in NYC.

Yumiko Izu (Red Hook, NY) photographs in quiet contemplation, allowing her subject matter to silently reveal their past lives. The skulls’ physical gaze passed long ago, however their spiritual gaze resonates within the stillness & isolation of the frame. For Izu, the imperfections in layers of bone hold secret fragments. Howard Greenberg selected Izu to receive the Fellowship in 2007.

Using plates from Sally Eauclaire’s consequential book The New Color Photography (Abbeville, 1981), Chad Kleitsch (Rhinecliff, NY) analyzes the transformation of photography over the past three decades in his latest body of work. He comments on the semantic notion of photography – chemicals affected by photons of light – and juxtaposes it with the digital inkjet medium, which he considers a new art form with its own unique aesthetics. Independent curator Laura Ptak selected Kleitsch’s for the Fellowship in 2010.

Kristina E. Knipe’s (Kingston, NY) photographs portray her mentor Erika DeVries and her family. Taken from the intimate point of view of a student, caretaker, and friend, the images are serene, imbued with subtle but deliberate changes in light and framing. Colorful and bright, they present an environment full of children and an atmosphere of optimism. Knipe was selected for the Photographer’s Fellowship in 2013 by Larissa Leclair, founder of the Indie Photobook Library.

Photographing at night, Mark Lyon’s (Maybrook, NY) indexical approach to self-service car wash bays transforms these mundane locales into alien-like environs. Identically composed, and produced with exposures lasting upwards of 8 minutes long, the resulting images become windows to an eerie industrial realm, illuminated only by available light that staggers across the frame in unfamiliar colors. Lyon received the Photographer’s Fellowship Award in 2008 when he was selected by Leslie K. Brown, then-curator of the Photographic Resource Center.

Tanya Marcuse’s (Barrytown, NY) photographs are meticulous constructions. Working over the course of days or weeks, she weaves together fresh plant material with detritus, creating textile-like structures dense with organic matter. Her large prints become tapestries, where order confronts chaos, and a narrative of cyclical abundance and scarcity emerges. Marcuse was selected for the Fellowship award in 2006 by founding Director of the Albany International Airport Art & Culture Program Sharon Bates.

Redefining personal narrative, Jennifer Lynn Morse (Kingston, NY) draws on her recent experiences in the Hudson Valley to extract emotive portraits from her subjects. The photographs for which Sasha Wolf, founder and owner of her eponymous gallery in New York City, awarded Morse the 2014 Fellowship, feature local photographer John Dugdale, with whom Morse worked closely for three years. Through her photography she not only seeks to honor local artists, but also to explore the enlightening spiritual presence felt throughout her journey in the region.

Presented in brightly colored volumes, Harvey Osterhoudt’s (Kingston, NY) images are photographed plainly. The artist’s own voice is purposefully muted, and nothing stands out as extraordinary or special. Any inference drawn from the work, the artist concludes, is the direct result of the viewer’s own mind for he has asserted himself to be absent. Osterhoudt uses this method to allow the viewer to reflect on their personal perspective, inclination, and prejudice. His work was selected in 2007 by juror Howard Greenberg.

Exploring the tension between nature and man-imposed environment, Phil Underdown (Albany, NY) describes himself as a photographer “of a crime scene where I am both chronicler and perpetrator”. His love of the environment prompted him to inhabit a rural environment, and to be conscious of his impact on it. But, his convictions are tested when diligent beavers begin to threaten his home, and he is forced to reconcile the mythologies of nature with his decision to trap the beavers: A Trapper’s Lament. Leslie K. Brown selected Underdown in 2008 for his series which examined the tension of an imposed airport on an unyielding landscape.

Home Grown will be on view from Saturday November 15, 2014 through Sunday January 11, 2015. Please note that CPW will be closed from Wednesday December 24, 2014 through Thursday January 1, 2015.

CPW galleries are free & open to the public Wednesday – Sunday, 12 – 5PM and by appointment. CPW is located at 59 Tinker Street, Woodstock, New York.

CPW invites groups and individuals to schedule tours and gallery talks of the exhibition Home Grown: Fellowship Fund Recipients 2005 – 2014.

To request high resolution images for press reproduction and interviews with the exhibition artists, contact CPW by emailing