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

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“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.

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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.


"Mine.Yours.Ours." curated by Rachel Adams, on view June 27 - September 7, 2015Willam Lamson

"Mine.Yours.Ours." Curated by Rachel Adams. On view June 27th - September 7th, 2015. Melanie Schiff

"Mine.Yours.Ours." curated by Rachel Adams, on view June 27 - September 7, 2015.Barry Stone

"Mine.Yours.Ours." curated by Rachel Adams, on view June 27 - September 7, 2015.Richard T. Walker

"Mine.Yours.Ours." curated by Rachel Adams, on view June 27 - September 7, 2015.Letha Wilson



PR: Mine.Yours.Ours.



on view: June 27 – September 7, 2015
opening reception: Saturday 6-8pm, June 27, 2015

The Center for Photography at Woodstock (CPW) is pleased to announce Mine.Yours.Ours. curated by Rachel Adams, Associate Curator for the University at Buffalo Art Galleries, and featuring work by artists William Lamson, Melanie Schiff, Barry Stone, Richard T. Walker, and Letha Wilson.

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Claire Rosen

Birds of a Feather

on view February 7 – April 5, 2015


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Birds of a Feather is a portrait series of live birds ranging from the common Parakeet to the exotic Hyacinth Macaw.

The birds are photographed against complementary vintage and historical reproduction wallpaper to encourage optical illusion and visual blending.  The birds mirror the careful, self-conscious poses of humans in a comical and unexpected way. Posed, the birds anthropomorphize as we attribute human emotion and intent to their expressions.

– Claire Rosen, 2014


Claire Rosen’s (b. 1983) transportive & whimsical imagery utilizes universal themes of dreams, fairy tales and mythology to visually symbolize the many facets of the human condition. She received a liberal arts degree from Bard College at Simon’s Rock in 2003, and a fine art degree in photography from the Savannah College of Art and Design in 2006.

Rosen’s work has been exhibited internationally and can be found in a number of public and private collections. In 2013, Claire had her first solo museum show at the Savannah Museum of Art in Georgia.  Her fine art work has been included in a number of juried group shows at Aperture Gallery, Center for Maine Contemporary Art (CMCA), Consensus, MOPLA, Photoville Atlanta, Boston & Brooklyn Fence and PhotoPlace Gallery.

She has received numerous awards; most recently in 2012 & 2013 was included in Forbes 30 Brightest under 30 for Art & Design. Her photography has been featured in publications such as Beautiful/Decay, Complex Art+Design, Creative Quarterly Journal, PDN‘s Emerging Photographer issue, Slate Magazine Behold and The World Photography Organization.

In addition, Rosen has taught workshops and lectured about the creative process through institutions such as B&H, ICP, Savannah College of Art and Design, and the School of Visual Arts, among others. Rosen is a successful and multi-faceted commercial photographer whose work entails constructing unique campaigns and installations for well-known brands; and she has received sponsorships from brands such as Dynalite, Hahnemühle USA, and liveBooks.


Special thanks to Hahnemühle for its support of this exhibition.


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, 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’s top 20. She is also the editor for Photography&, 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



Nick Albertson

Nick Albertson


on view: April 5 – June 15, 2014

reception:  Saturday 5-7pm, April 5, 2014

The Center for Photography at Woodstock (CPW) is pleased to announce its spring 2014 exhibition One-Hundred Count featuring works by Nick Albertson and on view from April 5 – June 15, 2014.

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Tabula Rasa


Curated by Ariel Shanberg

Featuring Anouk Kruithof, Sara Skorgen Teigen, and Sonja Thomsen

February 8 – March 30, 2014

Press release →

Tabula Rasa, which is Latin for ‘blank slate’, brings forth three dynamic visual artists whose explorations pull at the seams of photographic language. Anouk Kruithof, Sara Skorgan Teigen, and Sonja Thomsen represent a growing interest in forgoing the practice of injecting new images into the overflowing stream that subsumes us on a daily basis. Rather, through their site-specific photo-based installations, each expands on the language of memory, the veracity of photographic impression, and the infinite space held in between and around the photograph.

Through their practice, the artists in Tabula Rasa subvert the imposing and hegemonic nature of the traditional exhibition space directly engaging and subsuming its walls. In combining elements of audience engagement, the temporal, and site-specific spectacle, they also cumulatively transcend the borders of what is a knowingly arcane object – the photographic print – exploring the literal and figurative space in and around the photograph. The cavernous voids, which consistently appear in each of their photo-based installations, reveal the physical, emotional, and intellectual gaps within photography a terrain that ultimately serves as a mirror to our own projections.

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For Dutch artist Anouk Kruithof (New York City/Berlin, Germany) photography serves as the starting point for infinite possibilities. Spanning the width of CPW’s main gallery, Kruithof’s 30 foot long Wall of Fading Memory, a color-coded construct consisting of hundreds of photographs taken by the artist and cropped in to single color bricks, untethered from their narrative meaning, floats across the space. Its presence, undeniably cloud-like, hovers elusively, conjuring meanings and associations while remaining ungraspable. The inherent weight of the photographic archive is further mined through Never Ending Pile of a Past and Fragmented Entity two pieces that bring to mind the interactive works of Cuban-American artist Félix González-Torres (1957 – 1996) while remaining steeped in the playful and self-referential irony that pervades Kruithof’s practice and simultaneously seduces and confounds viewers.

With her Wall Explorations, which combine drawing and photography, abstract and natural forms, Sara Skorgan Teigen (Oslo, Norway) facilitates an unending conversation. With each articulation, whether rendered as an installation, collage, or artist book, she continuously re-morphs the primal elements. Re-constituting relationships, scale, and dimensionality, Teigen’s temporary works suggest contemporary cave drawings, an attempt to link ourselves with what was, what is and what will be. Each carnation of her work ultimately acts like an aquifer for the flow of ideas and observations – momentarily contained but never fixed.

Lacuna a site-specific installation by Sonja Thomsen (Milwaukee, WI) visually articulates the gaps of memory and time that are part of the medium’s legacy. Evoking an antiquarian “smart wall”, a selection of images Thomsen arranges directly on the wall are created as removable stacks, which visitors are invited to take, shifting and altering the inherent nature of the installation from the moment the first image is peeled off. As the stacks recede, the specifics fade, ultimately leaving an embossed impression, articulating the universal over the local, on a clean surface.

With each installation, the cognitive maps that the artists in Tabula Rasa renders, invite social interaction and provide us as viewers and consumers of imagery the opportunity to engage in spatial thinking and decode. The tactical analogue nature and experiential qualities surrounding their works notably defies the propensity towards the screen as the fetishized mode of image delivery today. Collectively Kruithof, Teigen, and Thomsen stand on the edge of photographic language and practice, reconstituting the medium and its place in the 21st century.

– Ariel Shanberg, 2014

Anouk Kruithof

Sara Skorgen Tiegen

Sonja Thomsen



Selections from the Permanent Print Collection



In harmony with the Center for Photography at Woodstock’s (CPW) mission, to support artists working in photography and related media and engage audiences through opportunities in which creation, discovery, and learning are made possible, CPW maintains and builds a permanent print collection.

The focus of the collection is contemporary voices in photography and related media that CPW has supported, collaborated, and worked with. In recent years the collection has grown to include historic works spanning the late 1800s to modern times so as to increase access and understanding by audiences in our region.

Through the generous gifts of artists and individual donors the collection has grown to include work by: Shelby Lee Adams, Ruth Bernhard, Albert Chong, Fred Cray, Jed Devine, James Fee, Larry Fink, Charles Gatewood, Graciela Iturbide, Kenro Izu, Christopher James, Antonin Kratochvil, Nina Kuo, Elliott Landy, Mary Ellen Mark, Sheila Metzner, Andrea Modica, Bill Owens, Gilles Peress, Sylvia Plachy, Lilo Raymond, Eugene Richards, Stephen Shore, Lorna Simpson, Carlos Somonte, William Wegman, among others. In addition, CPW maintains a unique holding of prints by Woodstock photographers such as Manual Komroff, and the

Gaede/Stiebel Archive of images and audiotapes of the Woodstock Maverick Festivals. CPW’s collection is housed in, archived, and cared for by the Samuel Dorsky Museum of Art at SUNY New Paltz, where it has been held on extended loan since 1996. Today, CPW’s collection features over 1,750 contemporary photographs. This exhibition provides a glimpse into how CPW’s collection has grown since it was established in 1980. The main avenues through which it has grown being our Artist-in-Residence program, Photography Now exhibition acquisition prize, individual donations and works donated from previous exhibitions.


PR: Hillerbrand + Magsamen


Hillerbrand + Magsamen


on view: October 30 – December 29, 2013

reception: November 16, 2013 from 4-6pm
CPW is proud to present Family Portrait an exhibition featuring the works of the husband and wife team of Stephen Hillerbrand and Mary Magsamen.

Steeped in Fluxus practice, which calls for the blurring of boundaries between the intersection of art, life, and ritual, Hillerbrand+Magsamen’s work incorporates humor, performance, photography, video, and everyday objects. They expand their personal life into a contemporary art conversation about family dynamics, suburban life, and American consumer excess.

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PR: Lawrence Getubig


Lawrence Getubig

on view: October 30 – December 29, 2013

reception: Saturday November 16, 2013, from 4-6pm

The Center for Photography at Woodstock is pleased to announce the first solo exhibition of Lawrence Getubig’s project I Want to be Action Figure in our galleries from October 30 – December  29, 2013.

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