Robert & Shana ParkeHarrison

Exhibition: November 5, 2016 – January 8, 2017

Gallery reception on Saturday, November 5, starting at 6pm with Q&A at 7pm

The Center for Photography at Woodstock is pleased to present the eponymous exhibition Robert & Shana ParkeHarrison, featuring fourteen images from the pivotal series, The Architect’s Brother and Counterpoint. Based in nearby Saratoga Springs, the ParkeHarrisons have traveled their photographs around the world. We are excited to show their work in a comprehensive view closer to home.

The photographs by Robert and Shana ParkeHarrison have intrigued audiences since the collaborative couple burst onto the art scene in the 1990s. Seductive in materials and narrative alike, the charismatic images from The Architect’s Brother Series draw us into their fantastical, sepia-colored world. It is impossible to resist the quixotic protagonist, who unhindered by his ill-fitting business suit is determined to heal the physical wounds of our Earth. Blindly optimistic and purposeful, he labors away to counter society’s environmental misdeeds, to dance for healing rain, or to mend nature’s gaping wounds.  The images in the Counterpoint Series continue his yearning to understand and reverse mankind’s broken relationship to nature. Bursting with color, this series broadens The Everyman’s engagement with others, yet stays true to his unfettered drive to observe, protest and take initiative.

Robert and Shana ParkeHarrison have matured their work into a means of environmentally concerned, visual self-expression: “Our imagery appears timeless, otherworldly and surreal. Employing a poetic visual language, we layer our work with multi-meanings and interpretations. This work continues our twenty-year investigation of the triangular interaction of nature, technology and human existence. As collaborative artists we work within the tradition of tableau photography. We transform our prints using hands-on painterly techniques, thus freeing our photographs from traditional conventions of photography.”


Robert ParkeHarrison studied photography at the Kansas City Art Institute and the University of New Mexico. In 1999 he was the recipient of a John Simon Guggenheim Fellowship. Shana ParkeHarrison received a degree in painting from William Woods College. She went on to study dance history and metalsmithing at University of New Mexico.

The ParkeHarrisons’ collaboration has developed organically over the past eighteen years. In 2000 they began to publicly claim co-authorship of their images. In 2007 the ParkeHarrisons were awarded the Nancy Graves Foundation Fellowship.

“The Architect’s Brother,” a museum exhibition of 45 of their images, traveled throughout the United States, Canada, and Europe. Currently their images are included in various group exhibitions, including “The Missing Peace: Artists Consider the Dalai Lama,” “Imaging a Shattered Earth: Contemporary Photography and the Environmental Debate” and “Envisioning Change,” an exhibition in conjunction with the United Nations Environment Program’s World Environment Day.

Their works are included in numerous collections including Los Angeles County Museum of Art, Whitney Museum of American Art, Museum of Fine Arts Houston, San Francisco Museum of Modern Art, The Art Institute of Chicago and the International Museum of Photography at George Eastman Museum. Currently they have a large mural on view at the Worcester Art Museum, entitled, These Days of Maiuma.

They have two monographs published by Twin Palms Publishers, The Architect’s Brother and Counterpoint. They are represented by Catherine Edelman Gallery in Chicago and Slete Gallery in Los Angeles.



Robert & Shana ParkeHarrison will be on view from Saturday, November 5, 2016 through Sunday, January 8, 2017. CPW galleries are free & open to the public Wednesday – Sunday, 12pm – 5pm and by appointment. CPW is located at 59 Tinker Street, Woodstock, New York 12498.


Tune into WGXC 90.7-FM, Greene and Columbia County community radio, for Chad Weckler’s The Art of the Hudson Valley program. The program will feature Robert and Shana ParkeHarrison on Thursday, November 3 at 2pm. Listen at home as they will stream live!


Image Credit: Robert and Shana ParkeHarrison, The Clearing, 2001, photogravure, 32 x 28″ (detail)



Exhibition: July 23 – October 16, 2016

Gallery reception on Friday, July 29, starting at 6pm
Artist talk with CPW artists-in-residence Jared Thorne and Sheida Soleimani, starting at 7pm

Curated by Sarah Lewis

The Center for Photography at Woodstock is pleased to present Race, Love, and Labor, an exhibition of work by CPW’s artist-in-residence. Curated by Sarah Lewis, the traveling exhibition will be on display at CPW from July 23 through October 16, 2016. The public reception will be held on Friday, July 29 at 6pm, followed directly by an artist talk, starting at 7pm.

The artists whose work is featured in this exhibition are Endia Beal, William Cordova, LaToya Ruby Frazier, Tommy Kha, Deana Lawson, Alma Leiva, Gina Osterloh, Dawit L. Petros, Tim Portlock, Xaviera Simmons, and Joanna Tam.

Press release →

If I could do it, I’d do no writing at all here. It would be photographs; the rest would be fragments of cloth, bits of cotton, lumps of earth, records of speech, pieces of wood and iron …
— James Agee

It is impossible to separate the history of photography from the history of labor, love, and race in America. At the advent of photography, a deal was struck: the medium would document both the intimacies we cherish and their cost in human toil. It is a paradox that Frederick Douglass would remind us of during the Civil War: photographs were instruments used to erase part of the human family and it would take images of human dignity and determination to rectify it. The labor of photography is to wrestle with this legacy. It is not work but labor: a means through which we birth ourselves anew.

This exhibition, culled from the collection of the Center for Photography at Woodstock’s Artist-in-Residency program, displays images by artists, who understand the needs of labor in the fullest sense of the word. They are part of a 15-year-old tradition at the Center for Photography at Woodstock, which offers artists of color one of the requirements for a sterling creative practice — embryonic time to probe deeply, unfettered by distractions. At the 20th anniversary of the Center for Photography’s partnership with the Samuel Dorsky Museum of Art at SUNY New Paltz, it is a moment to not only honor this residency, but to examine the themes that have emerged from the resulting, irreplaceable pictures.

A reflective look at the CPW collection shows how photographers, working with a vast range of aesthetics, play a critical role in the labor of becoming and the work it entails — on the land and within our inner worlds. This exhibition includes a range of such photographs, from pictures by LaToya Ruby Frazier, whose fierce portrayals of the consequences of work on wellbeing and human dignity sears the soul with a light that Walker Evans could have never anticipated, to images by Deana Lawson who expertly shows a hard won self-possession through her pioneering portrayal of nude forms. Here too are images of the full landscape of self-determination movements. In William Cordova’s photographs of archival materials, it is as if an archeologist has found the Black Panthers and Young Lords in both sites and hidden sights in Peekskill and Albany, NY. Gina Osterloh’s pen-and-ink fabricated triptych shows us what comes of will and determination of another kind — the will required to create an inner landscape of ambitions.

What unites these images is an animating sense of what it means to live in this lineage of photography’s paradox — to reduce and to exult. These photographs, the gift of a moment in time through a unique residency, show us where a future path may lead. My gratitude goes to my three colleagues — Dorsky director Sara Pasti, Dorsky curator of exhibitions Daniel Belasco, and the (former) executive director of the Center for Photography at Woodstock, Ariel Shanberg — for the honor of organizing this show, and to the artists for entrusting me to present their images as a new constellation.

— Sarah Lewis, 2014

Sarah Lewis is the Assistant Professor of History of Art and Architecture and of African and African American Studies at Harvard University. Before joining the faculty at Harvard, she held curatorial positions at The Museum of Modern Art, New York, the Tate Modern, London and taught at Yale University School of Art. Her scholarship been published in many journals as well as in The New Yorker, the New York Times, Aperture, Artforum and in publications for the Smithsonian, The Museum of Modern Art, and Rizzoli.

Lewis is also the guest editor of the “Vision & Justice” special issue of Aperture (Summer 2016) and author of the bestseller, The Rise: Creativity, the Gift of Failure, and the Search for Mastery. Lewis’ board service includes the Andy Warhol Foundation of the Visual Arts and Creative Time. She received her bachelor’s degree from Harvard, an M. Phil from Oxford in Economic and Social History, and her Ph.D. in History of Art from Yale. She lives in Cambridge, MA and New York City.



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Originally shown under the title Race, Love, and Labor: New Work from the Center for Photography at Woodstock’s Artist-in-Residency Program, this exhibition is an excellent example of curatorial collaborations between CPW and the Samuel Dorsky Museum of Art drawn from CPW’s permanent collection. These exhibitions have their genesis in The Dorsky’s longstanding relationship with CPW, which began in June 1995 when CPW delivered 895 photographs on long-term loan to the SUNY New Paltz campus. Since then, the collection has grown to more than 1,800 objects.

The exhibition began at the Dorsky in 2014. Its final stop will be at the Staller Center for the Arts at Stony Brook University in 2017. A fully illustrated catalogue accompanies the exhibition. The catalogue includes a curatorial statement by Lewis, and texts by Dorsky Museum Director Sara Pasti and former CPW Director Ariel Shanberg. Designed by William van Roden, the catalogue is published by The Dorsky Museum and distributed through SUNY Press. Major funding for the publication is provided by the Howard Greenberg Photography Endowment at The Dorsky Museum.


Race, Love, and Labor will be on view from Saturday, July 23, 2016, through Sunday, October 16, 2016. CPW galleries are free & open to the public Wednesday – Sunday, 12pm – 5pm and by appointment. CPW is located at 59 Tinker Street, Woodstock, New York 12498.

Image Credit: LaToya Ruby Frazier, Mommie, 2008, gelatin silver print, 14 5/8 x 18 1/4″



April 30 – June 19, 2016
Gallery Opening: Saturday, April 30, 5-7pm

Juried by James Estrin

Featured Artists: Aisha Jemila Daniels, Hernease Davis, Jess T. Dugan, Odette England, Bin Feng, Angela Jimenez, Elise Kirk, Amiko Li, Liz Obert, Carlos Saavedra, and Margeaux Walter

Press release →

Photography now? There is no dominant approach to photography today. Artists use many different techniques and distribute their images in a myriad of manners.

The exhibit “Photography Now” is a juried show — 11 photographers were chosen from almost 500 entries. The images that I was most attracted to address issues surrounding identity and representation. The photographers in this exhibit grapple with questions about how race, ethnicity, gender, sexual orientation, age, brain chemistry and even our own memories shape how we see ourselves and how others see us.

They have sidestepped simplistic ideas and the limited visual imagery often used in their areas of interest and instead challenge the cliché-ridden view of the world where some peoples are treated as symbols and rarely seen as fully rounded human beings.

These photographers employ techniques from photograms to fictional staging, from documentary approaches to self portraiture, but they are all exploring what it means to be human, and how we form our sense of self in relation to how society defines us. For me what ties these photographers together is that they are fully immersed in the search for meaning in their lives. There is little distance, and no cynicism in their work.

Since the invention of roll film, photography has been a folk art open to all who could afford a camera. Today, photographers often distribute, market and publish their own work with little concern for curators, photo editors or book publishers. The weakening of the gatekeepers, who had previously defined the photographic canon, has allowed a more diverse group of artists to find audiences — more people of color, more women, more artists who identify as LGBTQ. This trend, on display in this exhibit, is worth celebrating.

As photography approaches the end of its second century, there are also lessons to be learned from its early years. In the 1800s photography was singular. It was rarely divided between vernacular, art, and documentary.

What should be important in photography now, is what people have to say, and how well they state it, not artificial distinctions or market definitions of worth as opposed to what is truly of value.

— James Estrin

James Estrin is a senior staff photographer for The New York Times. He is also a founder of Lens, the Times’s photography blog. Estrin and David Gonzalez are the co-editors of Lens. Estrin has worked for The Times since 1987 and was part of a Pulitzer Prize winning team in 2001. In addition to photographing, editing and writing, he produces audio and video for Estrin is an adjunct professor at the City University of New York Graduate School of Journalism and also teaches at the School of Visual Arts Digital Photography Masters program. He attended Hampshire College and the graduate program at the International Center of Photography.



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Afrikans is an extensive photographic project that documents indigenous black people of African descent throughout the African continent and her diaspora. Aisha Jemila Daniels aims to instill self-love and pride within Afrikan culture by counteracting westernization, loss of Afrikan identity and the consequent exploitation of Afrikan culture.

Hernease Davis’ ongoing project A Womb of My Own (Mistakes Were Made in Development) combines analog photographic processes with performance to create images that emphasize self-care through artistic process. She uses self-portraits to reflect meditation, anger, and rest in response to the June 17th massacre of a prayer group at the historic Mother Emmanuel A.M.E. Church.

In the series Every Breath We Drew, Jess T. Dugan explores the power of identity, desire, and connection. The portraits of herself and others examine the intersection between private and individual identity, and the search for intimate connection with others. Dugan works within the framework of her queer experience and a constructed sense of masculinity, while showing the reflection of self as the ultimate intimate connection. (courtesy of Catherine Edelman Gallery)

The series Excavations by Odette England explores the invisible social space of familial storytelling through photographs that connect these stories over time, much like the processing and recording of remains within an archaeological excavation. England examines how the narratives of a family continue to be repeated, reinterpreted, and blurred by using the artistic process of lightly hand-sanding each photograph. (courtesy of KlompChing Gallery)

Bin Feng’s series The American Dream explores the idea of the American Dream from an eastern male gaze through the use of iconic elements such as the archetypical white picket fence. The subject of each photograph is portrayed in various activities of daily life in order to convey a subtle bicultural shock.

Racing Age is a documentary series about master’s track and field athletes, who are retired and in their seventies or older. Angela Jimenez’s images defy visual stereotypes by showing these athletes as fierce and competitive. Their fully capable human bodies perform athletic feats that would have seemed impossible only a decade ago.

Elise Kirk’s series Mid— explores a personal and cultural tension between rootedness and restlessness, and the space between movement and stasis set against a backdrop of her native Midwest. Her work is rooted in the belief that our greatest hopes and potentials would be realized, if we could just move to another place in some different time.

Amiko Li‘s project Maiden Voyage experiments with highly romanticized and idealized imagery as inspired by the depiction of reserved, quiet, and flawless women in Japanese manga. He uses his photographs to explore the ideal of femininity by posing as vulnerable and powerless in self-portraits.

As an artist who suffers from bipolar disorder herself, Liz Obert exposes the hidden diseases of depression and bi-polar disorder. Her project Dualities offers the viewer a glimpse into the internal and external lives of her subjects in the hopes that it will create an understanding of these diseases.

Carlos Saavedra‘s project The Earth Mothers is based on a group of women called “The Mothers of Soacha,” who denounced the disappearance and death of their children after the Colombian Army had denounced them as guerillas. His images depict the women covered in earth, suspended in another medium and another world as a symbol of the interconnectedness of all life.

Sign Language uses photography as a means of understanding and reckoning with a world flooded with images. Margeaux Walter creates photographs that explore how identity exists in a state of flux, rather than static or fixed. The series investigates new ways to reconcile identity with the constant bombardment of consumer culture, advertising and images.


Photography Now 2016 will be on view from Saturday, April 30, 2016, through Sunday, June 19, 2016. CPW galleries are free & open to the public Wednesday – Sunday, 12pm – 5pm and by appointment. CPW is located at 59 Tinker Street, Woodstock, New York 12498.

Image Credit: Bin Feng, The American Dream – Starring Jackie Chan and John Cusack, Dragon Blade 3D IMAX will be released in February 2015, 2015 (detail) from the series The American Dream, digital c-print, 40×60”


Richard Edelman

Stolen Portraits

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

Curated by Hannah Frieser

Richard Edelman: Stolen Portraits, features fictional portraits of creative talent from the region. Titled after the sitter and often taken at the sitter’s home or studio, the portraits contain elements of authenticity while being entirely imaginary in their narrative. Edelman considers the images collaborations with the sitters. He explains, “They greatly influence these portraits with their ideas, their attitude, and their generosity of character before the camera. This process is very much a collaboration for which I take the credit. Hence the name, Stolen Portraits.

The series includes collaborations with Rebekah Creshkoff, Jen Dragon, Mikhail Horowitz, Elaine Mayes, Wayne Montecalvo, Fawn Potash, Keiko Sono, and many more.

Edelman is the principal of Woodstock Graphics Studio in Saugerties, NY, specializing in creative production work for artists. Venues for recent solo exhibitions include the Davis-Orton Gallery in Hudson, NY, Galerie BMG in Woodstock, NY, and the Pinscreen Studio in Palensville, NY. Edelman’s photographs are included in public collections of the Metropolitan Museum of Art, the Canadian Centre for Architecture, the Brooklyn Museum, the Bibliothèque Nationale, and the Samuel Dorsky Museum, while other work can be found at the MoMA artist book collection, the Whitney Museum of American Art, and the Sackner Archive of Concrete and Visual Poetry.

Welcome: Page by Page

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

Welcome: Page by Page, curated by CPW’s new Executive Director Hannah Frieser, showcases artist books by an international cadre of photographers. The exhibition examines the art form of the small-edition book as a poignant expression of personal vision. CPW invites the viewer to come to the relaxed setting of the newly updated gallery and engage directly with the art. The viewer is encouraged to handle the highly collectible and sometimes fragile books. The books on display range in topic from a courageous self-examination in the face of cancer to the whimsical exploration of disposable cups. Two artists explores dreams, another finds global truth in the exploration of international travel, while yet another mourns the disappearance of her father-in-law.

The exhibition includes New York State artists Niki Berg, Anna Leigh Clem, Michael Bogdanffy-Kriegh, Scott McCarney, Raymond Meeks, Qiana Mestrich, and Keith Smith. Other artists range from Ekaterina Anokhina (Russia), Antic-Ham (Korea), Joshua Deaner (US), Erika Diettes (Colombia), Susan kae Grant (US), Lauren Henkin (US), Ron Jude (US), Ferit Kuyas (Switzerland), Nate Larson (US), Diana Matar (UK), Kevin Miyazaki (US), Carlos Javier Ortiz (US), Marni Shindelman (US), Francis Van Maele (Ireland), Wan-Gyo Yi (Korea), and Philip Zimmermann (US).



Common Sense(s)

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

Common Sense(s), features a compilation of photozines and related ephemera by over 50 artists. Curated by CPW’s Juan Madrid and artist Carlos Loret de Mola, the exhibition examines what constitutes a “zine” in contemporary photographic practice. This exhibition amalgamates obsessions and issues, structure and chaos, sense and nonsense, into a visual assault reflective of the photozine itself. Artists and publishers include 3 Dot Zine, Adrian Octavius Walker, Akemi Hiatt, Alejandro Cartagena, Amanda Chestnut, Anna Leigh Clem, Bob Civil, Curtis Hamilton, Dan Boardman, David Schoerner, Downgrade Magazine, Ed Panar, Elle Pérez, Empty Stretch, Erica Christmas, Evan Ortiz, Everything Is Collective, Fryd Frydendahl, Ginevra Shay, Halfling Zine, Louie Palu, Mambu Badu, Megawords Magazine, Meghan Boilard, Meron Menghistab, Michael Max McLeod, Michael McCraw, Mohamed Sadek, Oranbeg Press, Papersafe, Patrick Bresnan, Rob Hornstra, Ron Jude, Sasha Phyars-Burgess, Stephanie Segura, Suzanna Zak, Tammy Mercure, Terranova, Trevor Clement, Varvara Mikushkina, and VUU.

Special thanks to the Tea Shop of Woodstock for their sponsorship of this project. Hot tea will be served throughout the exhibition. CPW received general project support from the New York Council on the Arts, the National Endowment for the Art, the Warhol Foundation, and our members.