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PR: New Exhibitions at CPW

PRESS RELEASE

Richard Edelman: Stolen Portraits
Welcome: Page by Page
Common Sense(s)

February 20 – April 10, 2016
Gallery Reception: Saturday, February 20, 2016, 5-7pm

The Center for Photography at Woodstock (CPW) is pleased to announce three new exhibitions featuring over 70 artists, including local mainstay Richard Edelman and artists as far away as Colombia and Russia.

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Made In Woodstock VII

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

Press Release →

 

"Made in Woodstock VII" on view October 23, 2015 - January 24, 2016Daniel Ballesteros

"Made in Woodstock VII" on view October 23, 2015 - January 24, 2016Endia Beal

"Made in Woodstock VII" on view October 23, 2015 - January 24, 2016Maria Buyondo

"Made in Woodstock VII" on view October 23, 2015 - January 24, 2016Caleb Ferguson

"Made in Woodstock VII" on view October 23, 2015 - January 24, 2016Ratna Khanna

"Made in Woodstock VII" on view October 23, 2015 - January 24, 2016Mijoo Kim

"Made in Woodstock VII" on view October 23, 2015 - January 24, 2016Kathya Maria Landeros

"Made in Woodstock VII" on view October 23, 2015 - January 24, 2016Jungeun Lee

"Made in Woodstock VII" on view October 23, 2015 - January 24, 2016Alma Leiva

"Made in Woodstock VII" on view October 23, 2015 - January 24, 2016Noritaka Minami

"Made in Woodstock VII" on view October 23, 2015 - January 24, 2016Kameelah Janan Rasheed

"Made in Woodstock VII" on view October 23, 2015 - January 24, 2016Danielle Scruggs

"Made in Woodstock VII" on view October 23, 2015 - January 24, 2016Susan Surface

"Made in Woodstock VII" on view October 23, 2015 - January 24, 2016Joanna Tam

Sherwin Rivera Tibayan

"Made in Woodstock VII" on view October 23, 2015 - January 24, 2016Rodrigo Valenzuela

"Made in Woodstock VII" on view October 23, 2015 - January 24, 2016Jessica Vaughn

"Made in Woodstock VII" on view October 23, 2015 - January 24, 2016Wenxin Zhang

 

 

 

PR: MADE IN WOODSTOCK VII

PRESS RELEASE

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.

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Stranger than Fiction

Stranger Than Fiction

curated by Chau V. Tran

Like a movie set or an imaginary world created in childhood game play, the eerily verisimilar space in Mayumi Terada’s Dollhouse 02-8, and Allen Bryan’s Tea Party oscillates between the artificial and tactile realities, public and private spaces, and the tension of time and space.

These still yet disquieting and ambiguous spaces, too unsettling for human presence, are situated where locality and time have become disjointed and distorted.

Mayumi Terada creates familiar, austere and intimate domestic spaces in her series Dollhouse. Made from wood, Styrofoam, and clay, Terada then photographs this seemingly simple, miniature world with atmospheric natural light. These interiors, though devoid of human presence, evoke an uncanny sense of lingering existence through small objects such as a curtain, a window overlooking scenic beauties, or in this photograph, a bathtub. As with most of the photographs in her series Dollhouse, the room and its sparse trappings are entirely white, confined and almost empty, no decoration, no history. Light permeates the interior gloom through a small window at the corner of the wall and the only object is partly bathed in soft light. The window gives a glimpse of other possibilities beyond this sparse, uninhabited space, but all that comes out of it is white, blinding light. Terada’s photograph defies any rational judgment of scale and proportion. The fabricated minimal design, the mundane everyday object, and the stark contrast of light and shadows, work together to create places that spring out of one’s memories. Her images operate between the realm of reality and recollection, of real and fiction. They puzzle such questions as when and where; of what might have been and may have disappeared; of something seemingly real but appearing at odds with reality.

 

Tea Party is a part of Allen Bryan’s series Comforts of Home, in which he seeks to portray the constant influx of human living spaces. If Mayumi Terada builds up her empty, melancholic miniature world as if she was reminiscing for something that was lost, Bryan uses digital imaging tools to reorganize fragments of everyday life. Unlike the stark spaces Terada crafts in her photographs, Bryan creates panoramic photographs of extremely clustered domestic spaces, using various images with different light sources, perspectives, and depth of fields. The more time one spends looking at the photograph, the more the space gradually unfolds, and what seems to be, at first glance, a normal scene from everyday life, turns out to be a seamless flow of contradictions. Found objects whose nature contradicts their associated placement confound expectations. This juxtaposition, within a realm where interior and exterior space folds in on each other, creates a scene of quiet chaos. The familiar, shielded nature of a domestic space is confronted by the unsettling elements that it contains in Bryan’s photograph.

 

With the series Dollhouse, Mayumi Terada sought to make photographs of spaces from her childhood memories while Allen Bryan’s Comforts of Home is the result of the artist’s search for a connection between the different spaces that he had photographed over the years. Just as time distorts our view of the past, we can never produce an exact photographic representation of the reality of those spaces when their image in our mind already grows pale. What these photographs offer is not a person or an object in a specific place at a specific time, but something that is hidden unconsciously in our thoughts and imagination, something that defies time and space, fiction and reality.

– Chau V. Tran, Fall 2014
Arts Administration Intern

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"Tides of the Past"

Tides of the Past

Tides of the Past

Curated by Brittany Juravich

Water has always been a symbolic and literal source of energy and renewal for me.

Having grown up near Lake Ontario in New York, I have been aware of its vastness, mystery, and beauty throughout my life. Although it is in a constant state of motion, and change, it provides me with a sense of peace and grounds me no matter where I find myself. Each of the artworks on view here, selected from CPW’s Permanent Print Collection, elicited specific personal memories through the techniques and visual approaches the photographers used to explore water as an element in the landscape and as a visual metaphor for the world that we live in.

In Robin Dru Germany’s (Slaton, TX) Galveston: Pressed, from her series Surface Tension, she explores not only the quietness that can be found on the surface of the water but also the mystery of the unknown world that lies deep below what the natural eye can. Germany uses encaustic paint to create a rippled texture over the printed image creating an effect that mimics the surface texture of the water. The enigmatic nature of the photograph illustrates the tension between the underwater world and the world above.

For Jeffrey Milstein (Kingston, NY) the ocean serves as a source of discovery in his photograph Block Island Dune, Moonrise. This image was taken early in his career, one night while climbing up the sand dune at Block Island along the coast of Rhode Island. Milstein wanted to capture the beauty and essence of that moment with the moon rising over the horizon of the water and night sky. Though inspired by the specificity of the location, there is a universal sense of familiarity to it. The sand dunes frame our view of the ocean and glowing moon suggesting an entrance to another world that promises a new journey ahead.

Jeannette Rodríguez-Píneda (Queens, NY) incorporates water both literally and illustratively in How Lovely Wetness Makes My Flesh. A self-described “nomadic explorer”, Píneda harvests elements from the natural world and utilizes historic photographic processes to evoke a multi-sensory experience for her audience. Through discovery and the use of natural elements, Píneda has created a piece that is as mysterious and beautiful as the world it references.

Each artist featured here has been drawn to water as a creative element in their artistic process. Whether they use this element in their work to symbolize a sense of wonder, discovery, and experiences in their lives or are simply marveled by its nature they invite us as viewers of their work to consider our own experiences, memories, and relationships to this vital element of life.

-Brittany Juravich, Summer 2014
Arts Administration Intern

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Race, Love, and Labor

RACE, LOVE, AND LABOR:
New Work from the Center for Photography at Woodstock’s Artist-in-Residency Program

curated by Sarah Lewis

on view August 27  – December 14, 2014

at the Samuel Dorsky Museum of Art at SUNY New Paltz

The Samuel Dorsky Museum of Art at SUNY New Paltz presents Race, Love, and Labor: New Work from the Center for Photography at Woodstock’s Artist-in-Residency Program, an exhibition of new work from the
Center for Photography at Woodstock’s (CPW) Artist-in-Residency Program. Curated by Sarah Lewis, the exhibition will be on display at the museum from August 27 through December 14, 2014, in the Sara Bedrick Gallery. The public opening reception is Sept. 6, 5–7 p.m.

A special panel discussion with Lewis, CPW Executive Director Ariel Shanberg, and artists LaToya Ruby Frazier, Tommy Kha, and Deana Lawson, will be held on September 27, at noon, in the Student Union Building, Room 62/63, on the SUNY New Paltz campus.

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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

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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.

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saramacel.com

PR: Tabula Rasa

PRESS RELEASE:

TABULA RASA

artists: Anouk Kruithof, Sara Skorgan Teigen, & Sonja Thomsen
curated by Ariel Shanberg

on view: February 8 – March 30,  2014
opening reception: Saturday February 8, 2014 from 5-7pm

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Lawrence Getubig

I WANT TO BE ACTION FIGURE

on view: October 30 – December 29, 2013

reception: Saturday November 16, 4-6pm

Press Release →

Many of the components that drive me as an artist today are the same childhood forces that kept me riveted as a kid.

Western, and more specifically American science fiction and fantasy movies, television shows, cartoons and superhero comic book escapades became regular imports growing up in the Philippines in the 1970s and 80s. I absorbed these almost as fast as they arrived. The narratives became more personal as I integrated my own projected character playing with the action figure toys associated with these western mythologies.

My cardboard cutout series explores a photographic and sculptural approach, referencing the action figure toys I used to play with. From those childhood play sessions, I have become aware that I seldom identified as the hero, but instead projected myself as either an enamored ingénue like in romance comics, as a loyal adoring sidekick, or as the cohort that would get into trouble but eventually rescued by the hero.

Now conscious of my own boyhood wanderlust and yearning for placement in these fictionalized spaces of America and American characters, and the way I identified in those escapist realms, I question how those make-believe roles live on with me in the real world as an adult Filipino American gay man.

Revisiting those narratives, I draft, sculpt and then photograph black cardboard cutout landscapes, including myself, the superheroes and fantasy male lead characters of my youth. These photographs are about examining attitudes, especially mine, regarding desire and American masculinities in these genres of fiction. They are about how I wanted to be amongst those action figures, and much more.

Lawrence Getubig is an artist and photographer based in Alexandria, VA. He received his MFA from The School of the Museum of Fine Arts, Boston in conjunction with Tufts University in 2008, under the mentorship of Jeannie Simms and Bonnie Donohue. He has taught at various higher education institutions, including Maryland Institute College of Art, Baltimore and Kendall College of Art and Design, Grand Rapids. He is interested in American pop culture, masculinity, cartoon superheroes, science fiction and fantasy and how these function as currencies in global transactions of escapist consumption and identity construction. Getubig was an artist-in-residence at CPW in 2009.

lawrencegetubig.com