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.Continue Reading...
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.