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.

Read more

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.

Continue Reading...

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




juried by Kira Pollack

April 13 – June 16, 2013

Press Release →

In the midst of the fast-paced, deadline-riddled TIME office, taking a day to thoughtfully review the entries to Photography Now 2013 was an inspiring respite.

Drawing more than 265 entries from around the world, the submitted work spread across all disciplines of photography — from studied portraiture and moody documentary to new and varied artistic approaches to conceptual photography.

The review process introduced me to many new voices and signatures. In the end, however, the work that rose to the top often revealed a sense of place – either through compelling environmental portraiture or empty, subtle landscapes.

Continue Reading...

Ilona Szwarc’s terrific series American Girls places girls living in the United States with their lifelike dolls, posing the pairs within their personal and familiar environments. Szwarc’s pictures are both strange and revealing, touching on themes of identity and culture. The portraits evoke an element of fantasy; do the girls look like their dolls or do the dolls look like the girls? Robin SchwartzAmelia’s World and Animal Infinity depicts the photographer’s daughter, Amelia, photographed with animals of all varieties. Aiming to capture the stories humans often relate to the animal kingdom, Schwartz’ photographs set animals as participants in these dream-like fables.

Alinka Echeverria’s pictures in her project Becoming South Sudan are illuminating portraits of an emerging South Sudanese national identity. Looking at Echeverria’s portrait of a young schoolgirl in uniform, we see a quiet power and resilience — the same qualities visually expressed both by Schwartz’ daughter and the young girls of Szwarc’s American Girls. Gary Grenell’s portraits, meanwhile, reflect a sense of neighborhood and community. Taken in the five blocks surrounding Green Lake Park in Seattle, Grenell’s work isolates people in their environments, offering the photographer’s personal vision of an area meaningful to him.

Other artists in the exhibition use photography to explore even more personal journeys. Beth Chucker’s series, A Work in Progress documents her own journey with IVF through the viewpoint of the patient. Her quiet, emotional pictures show a different perspective on a topic without a familiar visual identity. Ayala Gazit’s project, Was It a Dream is a search through photography as memory and the action of photographing the “un-photographable.” Gazit’s emotionally charged pictures show a sense of absence and loss of the brother she never met before he committed suicide.

Samantha VanDeman’s project Forgotten Hotels is a poetic approach to documenting abandoned hotel interiors that have sat vacant for ten to thirty years. The images of empty rooms are jarring reminders of a past that has been lost and serve as emotional portraits of place. On the other hand, Noah Addis’ series Future Cities does just the opposite, showing overpopulated growth settlements and unplanned expansion in the world’s major cities. There is an artfulness to his pictures which reveals itself as one begins to notice the distinct hallmarks of civilization sprinkled among his vast landscapes.

Each of these projects represents a poignant look at the distinctly visual minds of these emerging photographers. Their bold voices offer a promising glimpse of what we may come to expect in the future.

– Kira Pollack, 2013
 Director of Photography, TIME Magazine

Kira Pollack is the Director of Photography at TIME Magazine. Since Pollack joined TIME in October 2009, the brand’s photography has been recognized with awards including the World Press Photo of the Year and the Visa D’Or award as Visa Pour I’Image. In March 2011, she established TIME’s photography site LightBox, which is dedicated to the culture of images and provides a forum for conversation on photography. Previously, Pollack was the deputy photo editor for the New York Times Magazine as well as the associate photo editor at The New Yorker. In October 2011, she was named the photo editor of the year at the Lucie Awards.


"Photography Now 2013" juried by Kira Pollack, April 13 - June 16, 2013Noah Addis

"Photography Now 2013" juried by Kira Pollack, April 13 - June 16, 2013Beth Chucker

"Photography Now 2013" juried by Kira Pollack, April 13 - June 16, 2013Alinka Echeverria

"Photography Now 2013" juried by Kira Pollack, April 13 - June 16, 2013Ayala Gazit

"Photography Now 2013" juried by Kira Pollack, April 13 - June 16, 2013Gary Grenell

"Photography Now 2013" juried by Kira Pollack, April 13 - June 16, 2013Robin Schwartz

"Photography Now 2013" juried by Kira Pollack, April 13 - June 16, 2013Ilona Szwarc

"Photography Now 2013" juried by Kira Pollack, April 13 - June 16, 2013Samantha VanDeman




PR: Photography Now 2012

Press Release

Photography Now 2012

Photography Now 2012

Opening reception: March 10, 2012, from 5-7pm

Gallery hours: Wednesday – Sunday, 12-5pm and by appointment

The Center for Photography at Woodstock (CPW) is pleased to announce Photography Now 2012, juried by Natasha Egan, Director of the Museum of Contemporary Photography at Columbia College Chicago.

Read more

Photography Now 2004


curated by Ariel Meyerowitz

February 7 – April 4, 2004

Press release →

As a gallerist, I regularly view artists’ portfolios in an effort to find the diamond in the rough and as a means of keeping my finger on the pulse of today’s photography trends.

In CPW’s annual juried call for entries, I reviewed over 218 submissions from photographers of all ages and levels of experience. I expected to find a certain thematic consistency, but such was not the case. What I saw reminded me that photography has no boundaries. The eight photographers chosen for this exhibition are a wonderful affirmation of its diversity.

Representing the social documentary tradition, Lewis Steven Silverman turns his camera toward the solitary figure – an elderly man seated on a park bench, a man meditatively raking sand, a person kneeling in prayer under an archway – each composition exudes respect for the intimacy of the moment captured. Jelisa Ljn Peterson creates a compelling essay of an African village which beckons the viewer to participate with Peterson’s subjects as they crouch on the ground behind a pile of socks for sale, sit along the railing of a boat heading out to sea, or walk along a flooded road beside a truck full of passengers.

Nate Larson creates a visual and text-based diary of incidents shown with related objects that signify prophecy and a personal event in his own life. Catherine Day’s multi-media pieces of an abandoned house, a flowing river, a porch and garden, accompanied by an object from each site, take the viewer on a journey to a place perhaps from Day’s past, which conjure familiar associations.

Art Murphy’s architectural photographs of bridges, train tracks, and industrial pipes are atmospheric and graphically striking. Doris Mitsch makes great use of a new medium – Scanography – to transform flowers, grass, shells, and bird’s nests into layers of fabric, cresting waves, tentacles, or skin.

Liz Wolfe’s colorful diptychs and triptychs are mysterious double entendres. Suggestively placing an octopus on a doll’s head, pubic hair inside a doll’s lingerie, a beaded cactus on top of sequined underwear, she seems to be questioning difficult issues of young sexuality. Finally, Peter Tytla meticulously crafts collages from his own photographs – rusting cars, gas station signage, cats, abandoned shacks, and nude women set against picturesque landscapes. The end results are fascinating, fetishistic scenes of sexy, junkyard art.

Thanks to all who entered the competition for sharing your work with me. A special thanks to the Center for Photography at Woodstock for the invitation to jury this exhibition and for being so helpful.

– Ariel Meyerowitz, 2004

Ariel Meyerowitz, was born in NYC in 1971 to photographer, Joel Meyerowitz, and works-on-paper artist, Vivian Bower. She began working in the art community in 1991 as an intern at the Friends of Photography / Ansel Adams Center in San Francisco, CA. She went on to work for the Scott Nichols Gallery, and in 1995 upon returning to NYC, worked as the Associate Director at the James Danziger Gallery. With more than ten years experience in the field, Ariel opened her own gallery in 2000, which is currently located in the art district in Chelsea. Specializing in 20th & 21st century photography, the gallery’s inventory is eclectic ranging from contemporary conceptual work to classic vintage prints. Genres include: abstraction, color and black & white landscape, architecture / industrial scenes, still life and flora, social documentary, sports, science, fashion and more. Since its debut, the gallery has garnered a reputation in the critical press as well as the community at large as a respected, up and coming gallery, showcasing both established and emerging photographers.

[one_half first]"Photography Now 2004", curated by Ariel Meyerowitz, February 7 - April 4, 2004Catherine Day[/one_half]

[one_half]"Photography Now 2004", curated by Ariel Meyerowitz, February 7 - April 4, 2004Nate Larson[/one_half]

[one_half first]"Photography Now 2004",  curated by Ariel Meyerowitz, February 7 - April 4, 2004Doris Mitsch[/one_half]

[one_half]"Photography Now 2004", curated by Ariel Meyerowitz, February 7 - April 4, 2004Art Murphy[/one_half]

[one_half first]"Photography Now 2004", curated by Ariel Meyerowitz, February 7 - April 4, 2004Jelisa Lyn Peterson[/one_half]

[one_half]"Photography Now 2004",  curated by Ariel Meyerowitz, February 7 - April 4, 2004Lewis Steven Silverman[/one_half]

[one_half first]"Photography Now 2004",  curated by Ariel Meyerowitz, February 7 - April 4, 2004Peter Tytla[/one_half]

[one_half]"Photography Now 2004", curated by Ariel Meyerowitz, February 7 - April 4, 2004Liz Wolfe[/one_half]

Beyond Words – Photography Now



juried by Debra Singer

March 23 – May 19, 2002

This winter the Center sent out an international call to photographers posing the question – If the unthinkable, the unknowable happens, what do you – as a photographer – do?

How does a major event (personal, social, collective, national, global) change your life, your family, and your world? And how do you show that visually? How do we come together – in our home, in our community, in America, and in our world? How do you visualize your fears and your hopes?

Juror Debra Singer selected nine artists who connect in diverse ways to the healing power of art and the creative process. Through picture making these photographers illuminate pathways that address with compassion and experience issues we wish we could ignore but can’t. They confront sorrow, loss, life changes, and an uncertain world. They remind us of our fragile existence and of our humanity.

Continue Reading...

Maureen Beitler celebrates the ephemeral nature of life and shows us beauty and magic in what may seem another mundane ritual of daily life. Sonia Targontsidis’ meditative color images reveal subtle gestures and expressions that remind us of our humanity, possibility and transience. Anne Savedge reveals a new place through distortions to evoke personal meaning. Jean Collier Hurley, a breast cancer survivor, links her experience with the demolition of a 38-year-old church in San Francisco. By memorializing the destruction of the sacred parish home, Hurley hopes to find herself and others strength in what remains behind and presents a visual metaphor for the battle she won. Patricia Richards learned from her father to look for the opportunity in every difficult situation. Her photographs chronicle, with poignant sorrow, the passing of this man, and looks for a door to go forward from here.

Gregory Van De Rostyne explores the creative process as a way to search for his origins. Michael Marshall juggled science and art until he became aware that art provided a road to understanding. His images document what he has discovered and what he still questions. Jackie Clark transformed shock, confusion, and the need to put things “back in place” by making pictures. After the heartbreaking events of September 11th she united with fellow on-lookers at the site where the twin towers once stood and documented the face of sorrow and loss. Bruce Sheftel, responding to the tragedy on September 11, 2001, shows us the magnitude of the tragedy unfolding as seen on the television by observers in a local waiting room at the Philadelphia hospital.

How has the world changed since 9/11? Since last spring? Since last week? Many people now talk of the world as “pre” and “post” 9/11 as if it is an entirely different place. There are things happening every day that catapult our lives – without notice, without warning. In only an instant all we know may change – with a word, a look, a hope – for better or for worse. This hasn’t changed – and we carry on – the best we know how.

Does art meditate challenging times?

How do you channel your own energy to focus on the positive when your world is turned upside down?

What guides your forward?

[one_half first]Maureen Beitler[/one_half] [one_half]Jackie Clark[/one_half] [one_half first]Jean Collier Hurley[/one_half] [one_half] Michael Marshall[/one_half] [one_half first]Patricia Richards[/one_half] [one_half]Anne Savedge[/one_half] [one_half first]Bruce Sheftel[/one_half] [one_half]Sonia Targontsids[/one_half] [one_half first]Gregory Van De Rostyne[/one_half]

Common Boundary

Common Boundary

curated by Sandra S. Phillips

featuring Angela Cappetta, Hideo Kobayashi, Jonathan Moller, Marla Sweeney, Margaret Sartor, Ricardo Valverde, and Terri Warpinski

April 11- Sunday, May 23, 1999

Common Boundary features artists were selected from the international community by curator, Sandra S. Philips, Curator of Photographs for the San Francisco Museum of Modern Art. This show features work by ANGELA CAPPETTA (New York, NY); HIDEO KOBAYASHI (Tokyo, Japan); JONATHAN MOLLER (Oberlin, OH); MARLA SWEENEY (Austin, TX); MARGARET SARTOR (Durham, NC); RICARDO VALVERDE (Los Angeles, CA); and TERRI WARPINSKI (Eugene, OR).

The photographs are color, black-and-white, digital, collage, and mixed media. The artists deal with issues of space, borders, and boundaries within the arenas of community and town, family and friends, culture and art.

Angela Cappetta‘s bold color prints reveal a narrative of the life of a young Latina girl coming of age in Brooklyn, NY. Jonathan Moller‘s precise black-and-white images tell a story of the uprooted Mayan people in Guatemala and members of the Communities of Population in Resistance. Marla Sweeney‘s large color prints capture a sense of place and reveal with humor and irony America’s small town communities.

Hideo Kobayashi‘s large conceptual work focuses on the power and nature of objects. Southern-based artist, Margaret Sartor pictures family and friends in our ragged and tender unpredictable world. Ricardo Valverde paints and manipulates the surface of his black and white imagery to play opposing forces of reality and fantasy. Terri Warpinski‘s Field Studies series combines photographs with drawing, paint, mapping, and digital imaging to deconstruct the landscape and reevaluate the relationship between local and universal.

– the Center for Photography at Woodstock

Sandra S. Phillips has been the curator of Photography at the San Francisco Museum of Modern Art since 1987. She lectures and teaches at the San Francisco State University. Prior to her work in San Francisco she was the Curator of Vassar College Art Gallery, Poughkeepsie, NY. She has served as a consultant for PBS and lectured widely on photography at places as the International Center for Photography, the Metropolitan Museum of Art, and abroad. Exhibitions curated for SFMOMA include Photography After Modernism: Extensions into Contemporary Art; Police Pictures: The Photograph as Evidence; Commonplace Mysteries; Crossing the Frontier: Photographs of the Developing West; William Klein, New York, 1954-1955; and Dorthea Lange. She has served as the juror of the Statewide Competition and Exhibition of Photography, Triton Museum, Ca; Vision of Excellence, San Francisco Art Institute; the Second Tokyo International Photo Biennial; and Photographic Collectibles Symposium, 1997.

[one_half first]"Common Boundary", curated by Sandra S. Phillips, April 11- Sunday, May 23, 1999Angela Cappetta[/one_half] [one_half]"Common Boundary", curated by Sandra S. Phillips, April 11- Sunday, May 23, 1999Hideo Kobayashi[/one_half] [one_half first]"Common Boundary", curated by Sandra S. Phillips, April 11- Sunday, May 23, 1999Jonathan Moller[/one_half] [one_half]"Common Boundary", curated by Sandra S. Phillips, April 11- Sunday, May 23, 1999Marla Sweeney[/one_half] [one_half first]Margaret Sartor[/one_half] [one_half]"Common Boundary", curated by Sandra S. Phillips, April 11- Sunday, May 23, 1999Ricardo Valverde[/one_half] [one_half first]"Common Boundary", curated by Sandra S. Phillips, April 11- Sunday, May 23, 1999Terri Warpinski[/one_half] [hr]