Ratna Khanna



Khanna produces billboards and houses made of mirrors and situates them in the local landscape. She is interested in using the three-dimensional object in the form of the mirror sculpture to articulate a two-dimensional image. In her exploration of the Hudson Valley she intends to employ the landscape as a medium in and of itself, using the mirrors as a tool to explore issues of culture, place, and the concept of home.

Based in Rochester, NY, artist Ratna Khanna holds an MFA in Photography and Imaging Arts from Rochester Institute of Technology (RIT) and a BFA in Liberal Arts from the University of Pennsylvania. She has held positions as a photographer, designer, teaching assistant, photojournalist, artist’s apprentice, studio manager, and photo editor. A recipient of numerous awards and scholarships, her work has appeared in online publications Photography Served and Urbanautica, among others.


Caleb Ferguson



Curiosity and understanding drive my photographic pursuit; photography is simultaneously my subjective reaction and impression on the world around me. Although my work is often placed in the documentary or photojournalism fields, I do not label myself as either. Photography is a pursuit, a way of life, and I am constantly wandering and watching while hoping to capture a part of life that I think helps to better understand humanity. Appearing in all of my photographs, people are the key essential ingredient and attraction. I am interested in people and understanding how our ordinary lives connect with others. Political in nature, carefully considered in content, I seek to engage and force participation in understanding the fragile and changing world around us. Filled with difference, the world is a constant source of wonder and allows my own curiosity to lead me through life engaged and concerned.


Caleb Ferguson is a freelance photographer based in New York City. He graduated from Eugene Lang College at The New School for Liberal Arts in 2010 with a BA in Urban Studies. He has worked on assignment for publications including The New York Times and the Wall Street Journal. In addition, Caleb has produced multiple photo essays for the Global Oneness Project and his work on the Occupy Movement has been exhibited by the International Center of Photography (NYC) as well as the Greene County Council on the Arts (Catskill, NY). His photographs have been featured in the New York Times, The Wall Street Journal, The Village Voice, and Newsday.



Kameelah Rasheed



There is limited photographic evidence that my family ever existed.

Photographs were lost when we were unlawfully removed from our home in 1998. Some photographs were water-damaged or accidentally trashed before we packed seven lives and accompanying articles into a burgundy station wagon and made our home in a 450-square foot illegal attachment where my grandfather died, alone, nine years prior of stomach cancer. Given my experiences with displacement and loss, my work is rooted in an experimental documentary practice where I use original images as well as archival and found pieces to craft autobiographic pieces that stitch narratives from fragments. At times, traditional photographs can give the illusion of totality and cohesion. I was arrested in a particular temporal space. I am not whole or complete, nor is my history. Through the use of fragments and found images, I create work containing multiple pasts in the present. These pieces emphasize both the fractured state of memory as well as the layered nature of autobiographical narratives. As a photographer who also works as an archaeologist and an archivist, I am always mining and excavating pasts.

An attempt to conjure my family back into existence, in Memories: No Instructions for Assembly, I weave together orphaned photographs found at garage sales, photos stolen from the Facebook pages of estranged family members, 1970s magazine pages, water-damaged images salvaged during my family’s 10-year bout with homelessness, and original photography to re-imagine a lost family history. Working in the tradition of the archaeologist and the archivist, I sample as well as reorganize existing materials into a series of diptychs to produce a non-linear narrative that dances between vivid and vague memories. Where no memory can be accessed, 35mm shots with scratched, underexposed, and degraded surfaces have been substituted.

In the closing line of Harryette Mullen’s “S*PeRM**K*T”, she writes, “speed/readers skim the white space of this galaxy,” an observation of the manner in which the reading and viewing of certain “texts”—visual included—has become a hasty affair; one in which the audience quickly reads and generalizes, rather than slowly extracting the nuances. My work revives a patient engagement with art by welcoming the viewer into an unfamiliar space where they must navigate between the concrete and ephemeral. Through this navigation, the audience also becomes an archeologist of my family’s pasts. As Memories: No Instructions for Assembly is a re-imagining of my family’s narrative, it also functions as an installation where I recreate the living room space of my childhood home adorned with the framed diptychs and replica artifacts. The evolving product is the installation itself, the photographs of the exhibition, the diptychs, and my process notes in the form of a hand-bound archaeological dig book.

Originally from East Palo Alto, California, Kameelah Rasheed is a photographer, archivist, arts and culture journalist, editor, curator, and instructor based in Brooklyn, NY. Her work has been exhibited at venues such as Brooklyn Artist Gym, The New York Public Library (both in NYC), Artist Proof Studio (Johannesburg, South Arica), and The Fridge (Washington, D.C.). Her solo exhibition The Imagined Archive was presented at Real Art Ways (Hartford, CT) in 2013. A 2006 Fulbright grant recipient, Rasheed’s work has appeared in U.S. and African publications including the SF MoMA Blog, ITCH Magazine, F-Stop, and Neo-Griot, among many others. She has been awarded artist residencies by the Center for Book Arts (NYC) and Real Art Ways (Hartford, CT). Kameelah is a writer and editor for Spector Literary Magazine and Liberator Magazine> She is also the founder of The Souls of Black Folks, a transmedia storytelling project dedicated to building an archive of religion and spirituality of Black people and people of African descent in North America, and the co-founder and curator of the Mambu Badu Photography Collective.


The Web Is A Lonely Place

PR: The Web is a Lonely Place, Come Play


artists: Christopher Baker, Petra Cortwright, Jon Rafman, Rafael Rozendaal, & Kate Steciw,

curated by Akemi Hiatt

On view: January 12 – March 31, 2013
Opening reception: Saturday January 12 from 5-7pm


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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.

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Nina Kuo

Nina Kuo


September 25 – November 7, 1999

This mixed media installation addresses gender stereotypes in conventions of femininity prevalent in Chinatown.

Nina Kuo’s Chinese style dresses incorporate film stills from the 1940s – 1950s that evoke the post World War II era of Hong Kong movies, where Western and Eastern notions of romance met highly stylized emotions associated with dramas, family struggles, sacrifice, self denial, and virtue that middle class citizens may question as they seek a renewal of their own heritage and fantasies.

In Chi Pao these film still images are juxtaposed with the artists’ own version of middle class portraits, posing contemporary gestures with past models of global Asian pop culture.

The alluring photo dress monitors the evolution of the Chinatown voyeur inspired by Hollywood glamour, fast food, and everyday fashion. These transformed images reveal a deja vu sensation of how time flirts with Chinese American values.