Featuring CPW’s Artists-in-Residence from 2012-2014
Daniel Ballesteros, Endia Beal, Maria Buyondo, Caleb Ferguson, Jungeun Lee, Ratna Khanna, Mijoo Kim, Kathya Maria Landeros, Alma Leiva, Noritaka Minami, Kameelah Janan Rasheed, Danielle Scruggs, Susan Surface, Joanna Tam, Sherwin Rivera Tibayan, Rodrigo Valenzuela, Jessica Vaughn, and Wenxin Zhang
On view: October 24, 2015 – January 24, 2016
Artists reception: 4-6pm, Saturday, November 14, 2015
Sherwin Rivera Tibayan
MADE IN WOODSTOCK VII
on view: October 23, 2015 – January 24, 2016
artists reception: Saturday 4-6pm, November 14, 2015
The Center for Photography at Woodstock (CPW) is pleased to announce Made in Woodstock VII featuring work by CPW’s artists-in-residence from 2012-2014.
Mark Lyon Awarded the 2015 Photographers’ Fellowship Fund.
The Center for Photography at Woodstock (CPW) is delighted to announce that Mark Lyon of Malboro, NY has been awarded the 2015 Photographers’ Fellowship Fund.
Vince Aletti, curator, writer, and Photography Critic at The New Yorker selected this year’s recipient for CPW’s prestigious honor. Lyon’s winning portfolio entitled Bay Views is an ongoing series that examines the relationship between self-service car wash bays and the adjoining landscapes.
Lyon was presented with the $2,500 fellowship on Thursday October 8th at CPW’s 2015 Vision Award and Benefit Auction held at Affirmation Arts in New York City.
This year’s applicant pool included submissions from over a dozen counties and nearly 50 towns, cities, and villages and 15 counties in upstate New York.
Aletti named Tim Freccia (Hudson, NY) the 2015 finalist. He will receive tuition scholarship towards a workshop at CPW in 2016; and Honorable Mention citations were given to Craig J. Barber (Woodstock), Anna Clem (Stone Ridge), Jordanna Kalman (Poughkeepsie), Jill Skupin Burkholder (Palenville), and Phil Underdown (Albany).
Juror Aletti remarked, With more than 80 entrants vying for this year’s Fellowship Fund awards, narrowing the field down to a single winner and one runner-up was a challenge. All the more so because the quality of the work was consistently high, a fact that’s reflected in my decision to name five honorable mentions–all photographers who had submitted work I did not want to go unrecognized. I was impressed with the wide range of approaches, technically and conceptually, and the intelligence and commitment that went into so much of the work I saw.
An evening with Jen Davis
Jen Davis is a New York based photographer. Her first monograph titled Eleven Years, published by Kehrer Verlag (Germany) was released in the Spring of 2014 accompanied by her first solo show in NYC at ClampArt. She received an MFA from Yale University and BFA from Columbia College Chicago. Davis is represented by Lee Marks Fine Art, IN and ClampArt, NY.
To learn more about Jen visit jendavisphoto.com.
Admission: $7 / $5 CPW members, students, & seniors
An evening with Doug Menuez: Fearless Genius: A Work in Progress Update
Doug Menuez spent 30 intense years traversing the globe after leaving art school for photojournalism, later becoming one of the most successful advertising photographers in the US. Starting at the Washington Post and then freelancing for Time, Newsweek, Life, Fortune, and People, he covered assignments ranging from the famine in Ethiopia, to sports and celebrities, to the AIDS crisis. His award-winning advertising commissions have allowed him to finance his personal fine art documentary work, including his books Heaven, Earth, Tequila: Un Viaje al Corazón de México, Transcendent Spirit: The Children of Uganda, and the recent Fearless Genius: The Digital Revolution in Silicon Valley 1985-2000, published by Simon & Schuster/Atria Books last year, with an correlating exhibition traveling worldwide since 2012, most recently at the Computer History Museum in Silicon Valley. Menuez’ archive was acquired by Stanford University Library.
To learn more about Doug visit menuez.com.
Admission: $7 / $5 CPW members, students, & seniors
An evening with Connie Imboden
Connie Imboden’s photographs have been exhibited extensively around the world, and featured in publications such as Aperture and View Camera. Her work is represented in the permanent collections of the Museum of Modern Art in NY, and the Bibliotheque Nationale in Paris, amongst others.
To learn more about Connie visit connieimboden.com.
Admission: $7 / $5 CPW members, students, & seniors
June 27-September 7, 2015
curated by Rachel Adams
featuring William Lamson, Melanie Schiff, Barry Stone, Richard T. Walker, and Letha Wilson with works by Aaron Siskind, Edward Weston, and Minor White
“A picture of a field can be simply a picture of a field; its significance can only be materialized by human experience.” – Tim Cresswell
Can we truly represent a place? Scores of artists, both professional and amateur, continuously attempt to answer this question. While many succeed, with our rapidly changing landscape and the overflow of natural imagery, one could argue that the significance of place has dissolved over the years. Yet landscape is closely linked to our notions of identity, history, cultural and personal memory and experience, and the artists in this exhibition capture place in new ways that reference what we once thought and still think the American landscape (truly) is.Continue Reading...
Artists such as Ansel Adams, Minor White, Edward Weston and Aaron Siskind helped define traditional notions of landscape photography in the mid-twentieth century, and the latter three have photographs in the exhibition, exposing the similarities and differences between artists working now and then with this theme. Continuing to prove a tantalizing subject, the magnetic pull of the environment ensnared each artists’ interests differently. They expand upon traditionalism found within the early works by Siskind, Weston, and White and create works that move fluidly between fictive and non-fictive spaces. Challenging and enhancing collective knowledge and existing articulations of landscape, each artist allows new processes, and methods of display to be in the forefront of their work without losing sight of the actual landscape.
William Lamson performs with and manipulates natural elements, while invoking the grandeur of the American landscape. His actions, on and off camera, create interventions that solicit a new sense of place while acting as catalysts for future examination. In Untitled (Mylar), Lamson follows a Mylar emergency blanket as it skims along the desert, pushed and pulled by the wind. The simple action of tracking the blanket across the desert challenges previous ideologies of how one interacts with the desert. Similarly, Melanie Schiff documents the current conditions of her personal landscape in and around her home in Sunland-Tujunga, Los Angeles. Her haunting photographs act as both landscape and still life—experimenting with the notion of the man-made juxtaposed with natural environments. Clay Birds, documents an outdoor shooting range and the bright orange marks ingrained in the hill by the clay pigeons. Her instinctual approach captures this tension that she alternatively manipulates with double exposures, motion or cropping, alerting the viewer to unusual quotidian scenes.
Richard T. Walker’s practice contemplates the spaces of the American West through a merging of performance within the landscape. As he examines and calls into question our longstanding relationship with the sublime, Walker explores the bond between man and nature, often times placing himself as the lone figure in the scene. While music continually informs his practice, the score in Walker’s recent work the predicament of always (as it is) is more prominent, pushing the imagery past questioning the sublime and, in fact, defining human experience amidst the landscape.
Manipulation, addition, and subtraction of the landscape after the fact are common elements within Barry Stone and Letha Wilson’s respective practices. Stone reflects on our perception and how it continually shifts. By manipulating the digital code embedded in a photograph, he creates new and altered landscapes. Referring to this as ‘data-bending,’ the results ensure the viewer sees the world quite differently. Stone sometimes creates a glitch across the image or bright color shifts or slight variations that are almost imperceptible, allowing the works to depict liminal landscapes that walk the line between fiction and reality. Wilson’s manipulations are quite opposite, in both form and process. While photographing well-known landscapes such as the Grand Tetons as well as generic rocks, shrubs and trees, Wilson subjects the photograph to a physical process including pleating, cutting, bending, and dipping in cement. These sculptural works allude to the romanticism and mythology associated with the landscape while creating new constructions and interpretations of the landscape.
The artists in Mine.Yours.Ours. reinvigorate the concept of landscape as a site for appropriation and the formation of identity. While referencing Woody Guthrie’s iconic folk song This Land is Your Land in the title, the artists expand upon romantic themes often associated with landscape painting and photography and directly raise the question of photography’s ability to document a place and add to its collective history. In writing about Melanie Schiff’s work, Beth Capper observed, “Landscapes are man-made observations that operate to make nature a container for human memory.” From poetically performing in the landscape to digitally altering the code of a photographic file to marrying a print with concrete, the artists capture and illuminate these spaces, adding to the collective memory of the American landscape and, in turn, making them mine, yours, ours.
– Rachel Adams, 2015
Rachel Adams is the Associate Curator for the University at Buffalo Art Galleries. She was most recently the fourth Curator-in-Residence at Disjecta Contemporary Art Center in Portland, OR.
2015 PHOTOGRAPHY NOW PURCHASE PRIZE:
The Center for Photography at Woodstock is pleased to announce that the 2015 PHOTOGRAPHY NOW Purchase Prize has been awarded to Morgan Ashcom for his photograph, Untitled (Leviathan #10), 2010 from his series Leviathan.
This acquisition marks the first acquisition of Mr. Ashcom’s work by a public collection.
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