Becoming Muses

curated by Akemi Hiatt & Lindsay Stern

June 11 – August 28, 2011

Since 1997, Emily and Madeline Sparer (b. 1985 and 1988), Rochelle, Heather, and Brittany Roman-Green (b. 1985, 1986, and 1988), and Rachel, Daniel, and Natalie George (b.1994, 1997, and 1999), have welcomed master photographers and CPW’s workshop students into their homes, engaging the CPW community in their roles as models, muses, teaching assistants, and hosts to workshops led by such luminaries such as David Hilliard, Andrea Modica, and Jock Sturges.

The instructors and students often maintained communication with the families after the workshop had formally concluded, resulting in the familiesí accumulating an impressive collection of gifted prints which charts their children’s growth in Woodstock – from childhood, to adolescence, to the teenage years, and up to young adulthood.

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What does it mean to be invited to grow up in front of many lenses, over many years? How did the roles that these young women and men adopted come to shape their understanding of photography, and that of the photographers they assisted?

With the exhibition Becoming Muses, we sought to address these questions as we began to learn more about the experiences that the models, instructors, and workshop students had while working with each other. For many of the students, this exhibition was an opportunity to revisit work that was created numerous years ago and made in an educational environment without the original intention of being shown publicly. In diving into the models’ personal image archives and working with former students and instructors, a multifaceted exhibition emerged.

Emily and Madeline Sparer spoke to the aspect of play they enjoyed as young girls in Andrea’s workshops. The costumes, props, and theatrics set against the idyll of their Woodstock home alongside the Millstream, all worked to cast an atmosphere of girlhood fantasy over the day. Yet as Emily notes “As we got older, [the photo shoots] became less about the clothes and more about the art, more about the process, more about bringing out a different side of ourselves.” This increasing awareness of self and of the camera shifted the models’ relationship to students. They became assistants in more ways than one, acting intuitively as both as generous hosts and informed teachers, often with workshop participants who had no prior experience photographing models. Brittany Roman-Green describes the experience as being “comfortable” and “fun,” and that although sometimes she questioned how she would look in a photograph, “…the photographers really do a phenomenal job at painting the scene they envision.”

The influences of the instructors can be seen in the images, as well as their differing teaching styles. David Hilliard taught by example and demonstration. While teaching an environmental portraiture workshop in 2010, he was compelled to make Weather Gathering, a multi-paneled photograph focused on Heather during class. Andrea Modica assisted students one-on-one as opposed to shooting for herself; as such, her influence is represented by this portrait of a young girl in Croton-on-Hudson who is close in age to the Sparers & Roman-Greens when they first became involved with CPW’s workshops and whose expression and place in the light evokes the subtle twist between reality and fantasy that is so emblematic of Modica’s work. Jock Sturges, known for his work with the nude, had his students shoot clothed models to learn how to achieve a connection with a subject regardless of the situation, creating poetic and evocative portraits of girlhood and sisterly bonding.

CPW’s workshops have long been known as a place free from everyday distractions where photographers can come to expand their craft, skills, and vision under the mentorship of a leading image-maker in an intimate and inspiring surrounding. Each artist in the exhibition brought their own perspectives and creative tools to the class. While in many instances students were shooting identical subject matter in identical locations, the resulting images in Becoming Muses speaks to the remarkable uniqueness of each photographer’s creative vision and way of seeing. The exhibition highlights the range in style, presentation, and process that each artist chose: the hinged diptych by Carlos Loret de Mola and the close-range series by Patricia Decker, for example, emphasizes the girls’ private surroundings and stages of growth, while images by Jennifer May, Lawrence P. Lewis, and Lydia Panas suggest an atmosphere of dress up and woodland play that characterized their early involvement with the workshops. In all cases, the varying themes develop and give way to new methods of representation and changing experiences as the years go by and the students and instructors arrive anew each summer.

The Woodstock Photography Workshops foster a community that often lasts beyond the weekend event. Students and instructors repeatedly return, relationships are solidified over years and reinforced by additional classes at CPW and a shared passion for photography. For the Sparer and Roman-Green girls, the workshops are now a beacon to return to after moving away from Woodstock. When the George children became workshop models in 2006, they joined what has, in many ways, become an annual family reunion. The exhibition Becoming Muses is also a reunion of sorts, for the instructors and students, for the models and muses, and for the images they made together. These pictures, which were created over more than a decade, are a testament not only to CPW’s commitment to photographic education and to the community that the center has thrived in for 34 years, but also to the deep generosity of spirit of the Sparer, Roman-Green, and George families which nourish that vision.

– Akemi Hiatt and Lindsay Stern, April 2011

Akemi Hiatt served as CPW’s Program Associate from 2009 to 2013. Lindsay Stern has worked as the Center’s Education Coordinator since 2010.


"Becoming Muses", June 11- August 28, 2011Justyna Badach

"Becoming Muses", June 11- August 28, 2011Sparky Campanella

"Becoming Muses", June 11- August 28, 2011Patricia Decker

"Becoming Muses", June 11- August 28, 2011Gene Fischer

"Becoming Muses", June 11- August 28, 2011Dennis Gaffney

"Becoming Muses", June 11- August 28, 2011Ed Garbarino

"Becoming Muses", June 11- August 28, 2011Emma Dodge Hanson

"Becoming Muses", June 11- August 28, 2011David Hilliard

"Becoming Muses", June 11- August 28, 2011Edwin Huddle

"Becoming Muses", June 11- August 28, 2011Lawrence P. Lewis

"Becoming Muses", June 11- August 28, 201Jennifer May

"Becoming Muses", June 11- August 28, 2011Andrea Modica

"Becoming Muses", June 11- August 28, 2011Carlos Loret de Mola

"Becoming Muses", June 11- August 28, 2011Dion Ogust

"Becoming Muses", June 11- August 28, 2011Lydia Panas

"Becoming Muses", June 11- August 28, 2011Jock Sturges

"Becoming Muses", June 11- August 28, 2011Marty Wohl




Carlos Loret de Mola

Being Upstate

April 9 – May 30, 2011

This exhibition presents a selection of photographs from a project that I began in 2006 and am just now completing.

In titling it “Being Upstate”, I am not suggesting that I know that much about Upstate New York. It is not really about New York State at all. I use the phrase “being upstate” as a way to characterize my life here and this project is essentially my response to that catagorization.

I began by photographing the landscape because of its strong presence in the art traditionally associated with the Hudson River Valley. I soon got distracted from it and began wondering what the hell I am doing here. I took a portrait of myself in my underwear standing by the stairwell of the old farmhouse I live in. That image became the bellwether for where this project was headed.

“Being Upstate” was originally conceived as a book project, so the images were never intended to stand on their own and tell some complete story. The relationship between the images, their layout and how they would unfold from page to page would define the narrative.

When presented with the opportunity to exhibit this project, I wanted to create a more flexible way to experience it. I wanted to fill a space with images that could relate to one another in a more random, non-linear manner. One could walk into a gallery and begin at any point, gravitating to whatever image or cluster of images that called out to them first. From there they could go in any direction because where they began would relatie to otehr images on other walls in any order. The story would unfold differently for every viewer depending on how they wish to follow it , but in the end it is the same story. One ould even just sit in the middle and take it all in as a whole, giving the viewer a broad feeling for the project without gravitating to specific images.

Many will go from wall to wall in a conventional clockwise order and that is fine but after they get to the supposed end they will realize that , unike a book, there is no structured sequence to this experience. My hope is that the viewer will then wander through the room, just as I wandered through notions and experiences while making these images and bringing them all together as one piece.

Photography allows for unconventional ways to tell stories. We can rely on consciounses and awareness to have a story unfold with no plot, no line, just images that pose questions and suggst answers. Being Upstate is an attempt at autobiography. It relays experiences, emotions and responses through subtle and often elusive connections between the images. The thing I value most about working working with photography in this manner is that the stories are mutable. The narrative can only be hinted at, never explicated.

– Carlos Loret de Mola, 2011

Carlos Loret de Mola was born in Havana, Cuba and currently makes his home in Hudson, New York. He received a Bachelor of Visual Arts from Georgia State University. After a decade-long career of freelance photography and digital imaging in New York City, he relocated to Hudson, where he began his current body of work. His photographs have been exhibited at the Samuel Dorsky Museum of Art (New Paltz, NY); the Hyde Collection (Glens Falls, NY); Rayko Photo Center (San Francisco, CA) and at the Atlanta Photography Gallery (Atlanta, GA). Loret de Mola’s work was selected for CPW’s inaugural Regional Triennial of the Photographic Arts and published in our magazine PQ in 2005. His photographs have also been exhibited at and are in the collections of such institutions as the Museum of Fine Arts (Houston, TX).

The Frustration of Expression

curated by Dorota Czerner in collaboration with iNDIE

November 13 – December 23, 2010

Curated by Dorota Czerner and featuring works by former participants in the iNDIE Media Program, The Frustration of Expression brings back to Woodstock one of the most renowned voices in contemporary video art and an artist who spent his formative artistic years in Woodstock, New York, home to one of the nation’s longest running artist colonies.

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The exhibition features Gary Hill’s Wall Piece (2000) a complex multifaceted installation which features the artist hurtling himself against a wall, uttering a single word from a prepared monologue. With each impact a strobe flashes, both complicating and articulating the moment Hill simultaneously hits the wall and utters a word.

With Wall Piece as the exhibitions “center piece”, the five selected alumni of the iNDIE Media Program working with Czerner and iNDIE Director Russell Richardson, have created newly commissioned pieces both in response to Hill’s work and focused on addressing “the frustration of expression”, particularly in connection to having grown up in Woodstock. Their video installations, created specifically for this exhibition, explore the terrain of adolescent expression and the obstacles – both external and internal – to that expression. The development of these pieces can be followed on VIMEO by clicking here, as Richardson accompanies his former students and uses his own camera to capture the complex process of artistic creation

With the Aquarian paradise tangled before them in beaded necklaces, young people of Woodstock grow up knowingly listening through the gap between myth and reality.

The disjuncture between the town, and its own essential happening, generates nostalgia for the absent story.

“True life is absent. But we are in the world. All metaphysics arises and is maintained in this alibi” (Emmanual Levinas).

Teenage rebellion embodies rejection of the fake. Desire for a true life. Truly spoken – truly experienced. Every trajectory of acquiring an identity reveals both: a negation, and a yearning turned towards “the elsewhere, the otherwise, and the other”.

Yet ingress into the metaphysical space is never easy.

There, at the threshold, lies trepidation.

There, is breaking the boundaries of social acceptability, pushing against the predictabilities of the physical world. Testing the veracity of words and spaces, of textural and textual objects. Walking the line of trust.

There, is violence comparable to breaking through one’s own walls.

In flashes of flesh – flashes of light.

Breakthrough fragments of identity surface intimate worlds, expressed by the flow of images weaving themselves from the other side.

Like summer fireflies, their expressive energies illuminate the darkened field.

– Dorota Czerner, 2010

Born in Wroclaw, Poland, in 1966, Dorota Czerner is a writer and poet who currently serves as the editor of Open Space magazine. She actively collaborates on numerous mixed-media performances and audio/visual projects and is in the process of writing an experimental novel entitled a place of dunes.

Established in 1999, iNDIE provides hands-on educational offerings which allows youth between 16 and 23 years of age to come together, work on media projects – chiefly video – and interact with mentors from the local community. CPW is pleased to have had a history of collaborating with the program since its inception including hosting special screenings and curated exhibitions.


"The Frustration of Expression", curated by Dorota Czerner, on view November 13 - December 23, 2010Gary Hill

"The Frustration of Expression", curated by Dorota Czerner, on view November 13 - December 23, 2010Marilla Abrahamsen

"The Frustration of Expression", curated by Dorota Czerner, on view November 13 - December 23, 2010    Will Lytle

"The Frustration of Expression", curated by Dorota Czerner, on view November 13 - December 23, 2010Anthony Morelli

"The Frustration of Expression", curated by Dorota Czerner, on view November 13 - December 23, 2010Kaela Smith

"The Frustration of Expression", curated by Dorota Czerner, on view November 13 - December 23, 2010Taima Smith



Lothar Osterburg


November 13 – December 23, 2010

My work is driven by images which are burned into my memory and which persistently resurface.

I recreate these images by building small-scale scenes quickly and intuitively from readily available, found materials. Continuously undoing and re-doing, I allow my imagination to fill gaps in my knowledge or to completely transform the image. I then photograph the scenes, finally printing them as photogravures. Cleared of superfluous detail by time, and altered during their recreation, the remembered images take on a timeless, archetypal quality.

In the “Piranesi” project, I celebrate both the artistic process and my own lineage as printmaker. From a singular starting point – the memory of Giovanni Batista Piranesi’s Carceri print series of imaginary prisions – I developed my own imaginary space, which I document and assemble into a stop motion animation film accompanied with music by Elizabeth Brown. From the photographs of a model, I produce photogravure plates, which, inspired by Piranesi, I then rework into a second version. Like “Piranesi”, who was influenced by the Roman ruins in the creation of his imaginary prisons, I bring my own experiences and memories into my created world through a process which is similar to the constant transformations that cities like New York or Rome have undergone. Building everything with found materials and reusing my own sculptures, plates, video, and prints, Piranesi is the product of a continuous and multi-layered rebuilding of an imaginary world formed by glimpses of the past.

– Lothar Osterburg, 2010

Lothar Osterburg is a sculptor, photographer, animator, and a master printer in etching and photogravure. Since 1993, he has been running his own studio in New York City, where he has collaborated with Adam Fuss, Lee Friedlander, Laurie Simmons, and many more. A three-time MacDowell Colony Fellow, Osterburg was a resident at the Virginia Center for the Creative Arts, the Liguria Studies Center, and Anderson Ranch. His work has been shown at venues such as the Fitchburg Museum of Art (Fitchburg, MA), the 2nd Print Biennial at ICPNA (Lima, Peru), Moeller Fine Art and Lesley Heller Gallery (both in NYC). His work is in the collections of the New York Public Library, the Art Institute of Chicago, and the Fine Arts Museum of Houston, among others. Awards include a 2010 John Simon Guggenheim Memorial Foundation Fellowship, a 2010 Academy Award in Art from the American Academy of Arts and Letters, and two NYFA grants. He has taught at Bard College since 1999 and at Cooper Union since 2002.

About the Process

Photogravure is an intaglio printmaking process or photo-mechanical process known for producing rich blacks and infinite grays.

To produce a photogravure, a copper plate is coated with a light-sensitive gelatin tissue which had been exposed to a film positive, and then etched, resulting in a high quality intaglio print that can reproduce the detail and continuous tones of a photograph.

The earliest forms of photogravure were developed in the 1830s by the original pioneers of photography itself, Henry Fox Talbot in England and NicÈphore NiÈpce in France. They were seeking a means to make prints that would not fade, by creating photographic images on plates that could then be etched. The etched plates could then be printed using a traditional printing press. These early images were among the first photographs, pre-dating daguerreotypes and the later wet-collodion photographic processes. Fox Talbot worked on extending the process in the 1850s and patented it in 1852 (‘photographic engraving’) and 1858 (‘photoglyphic engraving’).


Installation View of "partlycloudymostlysunny" June 12 - September 12, 2010

Andrew Neumann


June 12 – September 12, 2010

— Introductory statement by Francisco J. Ricardo, Ph.D.

If we were pressed to summarize the major practices of 20th century visual art, they could arguably fall into three principal ones: representation – depiction of experience as sensed in the world; formalism – experiments based on geometric or color regularity, but also including conceptual art of the 1960s and 70s; and process – art that makes explicit the manner of its construction, as exemplified by Abstract Expressionism, action painting, and many post-World War II directions in modern sculpture. Despite the tendency of some artists to blend some of these dimensions, each tradition from Cubism to postmodern hyperrealism has remained remarkably loyal to one or another of these directions, and rarely more than one.

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The historical regularity of this pattern is what enables us to understand why the work of Andrew Neumann produces an insistent sense of uncanny refusal to fall into one of these patterns, for it comprises and equal synthesis of all three major modalities of art while maintaining them all in continual tension. There are, for example, undeniably evident forms of representation in the photographic and filmic realism contained in these works. Likewise, the rectilinear structure in the composition of elements of each work confirms a marked attention to formal considerations. No less obviously, Neumann’s Industrial Wall Panels make visible the perspective of the observer by integrating it within the electronic and kinetic mechanisms of the actual construction – all of which signals an emphasis on process where the work is reconfigured not as a higher kind of object but rather as a new kind of subject through the shift in emphasis from the finished work to a demonstration and enactment of the primordial processes of the observer in the filmic sculptures that perform their own gaze. But in all works, we can sense engagements with new temporalities and points of observation subtly embedded in a treatment of the image that is simultaneously filmic and sculptural.
– Francisco J. Ricardo, Ph.D.,
Rhode Island School of Design

This work reflects issues concerning the uses of technology, language, and transmission of power in both its various corporeal and elusive modes. These works, which I call Industrial Wall Panels, re-contextualize the technologically derived icons and place them in a new environment that allows one to question their original use and see the possibilities of organizing these icons/objects into a new language with a completely re-defined hierarchy.

I am interested in technology and its use as a representational model. With this work I am attempting to develop a specific iconography that reflects upon the recent evolution of technology while at the same time pulling it out of context and questioning its main function as a reflection of the authoritative and corporate powers that it is most clearly aligned and supported by.

By deconstructing these technologies, and reorganizing them into new formal “Panels”, I am questioning the value of the objects, disregarding any protocol (which is at the heart of any system) and exploring the relationship between technology and the world it is meant to serve.

True, a certain mechanical aesthetic is prominent, employing, for example, video capture and kinetic movement of sculptural elements, but the principal engagement happens in a kind of space between a captured moment and the current moment of motion, or between an observable aspect of the sculptural object and the same component viewed through the works video-retinal act of self-observation. This kind of engagement defines a space within which the technology of the video or kinetic sculpture is experienced less as an artifact of the technology than as a highly formal bridge into perpetual questions of depth, objecthood, and presence.

The framework, or panel has always been constructed of plywood. Originally, these panels were painted “industrial gray”, so the base material was already being transformed/acted upon, and any “organic qualities” were rejected or dismissed. For the past few years, in a desire to “strip away the veil” of the object, as it were, I started exposing in part the raw material itself, the plywood. This led to further contradictions between materials. Much of the most recent works have rid themselves of the painted veil completely, leaving the frameworks in a natural state, devoid of any technological connections, and those objects/icons placed on the frame hopefully have an even deeper ironic value.

Another main interest of mine, as a practitioner of avant-garde film methods and ideologies, has involved the observation, manipulation, and dissection of the “cinematic apparatus”; the film camera and projector. In electronic media, the connection is not as cleanly defined or direct; although the camera and monitor/projector are the basic mediators of the image, a great deal of electronic manipulation can occur with ease and immediacy. With the wall panels that incorporate cameras and monitors, the project was to allow the “apparatus” to be evident to the observer, and allow for the experience of optical apperception, perception, and misperception to be integral to the work itself. My project thus uses a deconstruction of technology as a transparently instrumental medium to highlight the rupture between machine (which serves the user in a dedicated mode) and user (whose subjective perspective is shaped by its use), embedding a sense of subjectivity into the mechanism itself.

The Video Projections draw upon another series of related issues. From a technological standpoint, these works are based on real-time manipulation and interaction. I designed a system where a computer program controls a small video switcher via the serial port, enabling interruptions in real-time between a variety of video sources. In essence, it works like an optical printer for video; the great advantage being that it operates in real time, and even lets one “improvise” and manipulate in real-time.

My work is about developing a new schema by presenting and integrating a variety of contradictory set of signs, visual references, and textual notions in an attempt at hybridization that will hopefully provoke in viewers a new relationship to mechanistic visualization.

– Andrew Neumann, 2010

Andrew Neumann is a Boston-based artist who works in a variety of media, including sculpture, film and video installation, and electronic/interactive music. In 2004, he received a Guggenheim Fellowship, and in 2006, a LEF Grant. He has recently had one-person shows at bitforms Gallery (Seoul, Korea), the DeCordova Museum (Lincoln, MA), bitforms Gallery (NYC), and numerous shows for the Boston Cyberarts Festival. His videos have been shown on PBS, The Worldwide Video Festival, and Artist Space. He has had solo music/video performances at Isseu Project Room, Experimental Intermedia, and Roulette, all in NYC. Neumann has also been an artist-in-residence at Visual Studies Workshop (Rochester, NY), The MacDowell Colony (Peterborough, NH), YADDO (Saratoga Springs, NY), Art/OMI (Chatham, NY), and the Experimental Television Center (Owego, NY).

Landscape Forever

curated by Dion Ogust

Presented in collaboration with the Woodstock Land Conservancy.

January 9 – February 28, 2010


Human beings need nature.

We enter the woods, the mountains, the shadows, and streams, leaving behind the noise of our constructed worlds, the chatter of our minds. Here, something else rules. The terrain, the wildlife, the mosquitoes, snakes, and bears – here, we are the visitors. The natural world reveals the fact that we are part of something else. In all its profusion, nature shows us to ourselves.

Human beings need art.

Art is the expression of our uniquely human vision, our beauty and grace, our ugliness and discomfort, our confusion and our insight. We may shock one another, or we may profoundly encourage one another. Either way, we are communicating our deepest secrets. In all its profusion, art shows us to ourselves.

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In Woodstock, these two human needs are intertwined. Here, we are surrounded both by the mountains and by a history of respect for art and the creative imagination. Two of the vital organizations working to support and protect these precious resources are the Woodstock Land Conservancy and the Center for Photography at Woodstock.

A few years ago it struck me that these two groups could expand and enhance their efforts by bringing the resources of the CPW to help document, describe, and exhibit the rich environments WLC works to save. Ten photographers who live and work in our region were invited to spend time photographing various landscapes – open fields, rocky terrains, meandering streams, lush forests, and more – all sites which are now protected through the efforts of the Conservancy.

Over a period of four seasons in 2009, these artists have responded to the settings with their own individual inquiries and techniques. Some are cerebral in their approach, while others are purely visual. Each eye sees a different story, reveals different layers. Their work has developed over the past year, just as the terrain itself has changed throughout the seasons.

During an especially shaky and unsettling time in the world at large, we can see very clearly how much we need to work together. This project has helped CPW and WLC reach out to groups within the community including children from the Woodstock Elementary School.  For their part, the artists spoke of finding themselves anchored in the sanctuary of the natural world, looking closely, paying attention, and returning with a message locked in a little box we call a camera.

In looking at the landscape, we all have different points of view. Our varied interpretations are not a problem, they’re a gift, enhancing life for all of us.

– Dion Ogust, 2009

Manhattan-born visual artist  Dion Ogust moved to Woodstock in 1988, bringing with her a wealth of experience in animation, film, and photography. In the ensuing two decades, she has become a sought-after freelance photographer and photojournalist, establishing her own studio in the historic arts colony.

Critically acclaimed for her portraiture, Ogust specializes in creating images of writers, musicians and actors, as well as families. Her work has appeared on numerous book and CD covers and her video commissions have been featured on websites, on television and in a variety of public presentations and venues. Ogust’s award-winning photography has appeared in international and regional publications including The New York Times, Time Magazine, Acoustic Guitar, Hudson Valley Magazine, House, and the Woodstock Times. 

She has served on the Board of Directors of the Center for Photography at Woodstock from 2001-2007 and she participates in the Onteora High School’s Student Mentor Program.

This project marks her first curatorial endeavor.

The Woodstock Land Conservancy (WLC) is committed to the permanent protection and preservation of open lands, natural resources, scenic areas, and historic sites in Woodstock and the surrounding eastern Catskills.

We believe that it is the places we love most that bring us together as a community, and that everyone benefits from conservation of the forests, fields, wetlands, and streams that keep the air and water clean, support farming, logging, and tourism, and are home to diverse wildlife.

WLC works with landowners who want to protect and determine the future use of their land. By offering alternatives to selling land for development that both respect private pro perty rights and can provide substantial tax benefits and financial advantages, we support the needs of landowners and local communities while protecting natural resources.  WLC often collaborates with other conservation groups, businesses, and local and state agencies to achieve our goals.  

This exhibition was made possible in part by funds from the County of Ulster’s Ulster County Cultural Services & Promotion Fund administered by the Dutchess County Arts Council. 

Additional funds have been provided by the New York State Council on the Arts and the Andy Warhol Foundation for the Visual Arts.

Manhattan-born visual artist Dion Ogust moved to Woodstock in 1988, bringing with her a wealth of experience in animation, film, and photography. In the ensuing two decades, she has become a sought-after freelance photographer and photojournalist, establishing her own studio in the historic arts colony.

Critically acclaimed for her portraiture, Ogust specializes in creating images of writers, musicians and actors, as well as families. Her work has appeared on numerous book and CD covers and her video commissions have been featured on websites, on television and in a variety of public presentations and venues. Ogust’s award-winning photography has appeared in international and regional publications including The New York Times, Time Magazine, Acoustic Guitar, Hudson Valley Magazine, House, and the Woodstock Times.

She has served on the Board of Directors of the Center for Photography at Woodstock from 2001-2007 and she participates in the Onteora High School’s Student Mentor Program.

This project marks her first curatorial endeavor.


Landscape Forever, Dion Ogust, January 9 - February 28, 2010Richard Eldeman

Landscape Forever, Dion Ogust, January 9 - February 28, 2010     Gay Leonhardt

Landscape Forever, Dion Ogust, January 9 - February 28, 2010  Bill Miles

Landscape Forever, Dion Ogust, January 9 - February 28, 2010    Yva Momatiuk & John Eastcott

Landscape Forever, Dion Ogust, January 9 - February 28, 2010Fawn Potash

Landscape Forever, Dion Ogust, January 9 - February 28, 2010Peter Schoenberger

Landscape Forever, Dion Ogust, January 9 - February 28, 2010Carla Shapiro

Landscape Forever, Dion Ogust, January 9 - February 28, 2010Williams & Russ




Installation View of "Vanitas", January 9 - February 28, 2010

Justine Reyes


January 9 – February 28, 2010

Taking inspiration from Dutch Vanitas paintings, these photographs incorporate personal artifacts within the traditional construct of still life. Pairing objects that belonged to my grandmother with my own possessions combines present and past and speaks to memory and personal legacy.

Both the decomposition of the natural (such as rotting fruit and wilting flowers) and the breakdown of the man-made objects reference the physical body and mortality. These objects bear witness to a spiritual trace or imprint that is left behind or residual. The insertion of subtle contemporary details (like the saran wrap, the family portrait, etc.) locates the work in a specific time and place. It also lightens the weight of both the art historical references and the family history.

Much of my work explores the power of objects to bear witness to intangible ideas and emotional truths. Moreover, my work often explores how identity is shaped by our relationship to and our personal idea of home. This body of work employs the iconography and symbols of common everyday objects as a means of communicating memory and the passing of time.

Justine Reyes lives and works in New York. In 2000 she received BFA from Syracuse University and in 2004 she received her MFA from the San Francisco Art Institute. Reyes’ work revolves around issues of identity, history, and time; and examines our relationship to these themes within the context of a post 9/11 world. Using photography and installation, she examines family, the idea of leaving and returning home, and the longing to hold on to things that are ephemeral and transitory in nature.

Reyes has shown her work both nationally and internationally. She participated in Proyecto Circo at the 8th Havana Biennial in Havana, Cuba and took part in Contemporary Istanbul in Istanbul, Turkey. In 2008 Reyes was an artist in residence at both St. Mary’s College of Maryland and here at the Center for Photography at Woodstock where her series “Vanitas” began. In 2009 Reyes’s “Guayabera” series was included in Queens International 4 at The Queens Museum of Art. Reyes was recently awarded the Individual Artist Initiative (IAI) from the Queens Council on the Arts and a workspace residency from the Lower Manhattan Cultural Council (LMCC) for 2009-2010.

Martin Munkacsi

Ode to Munkacsi

November 4 – December 20, 2009

With the passing of Joan Munkacsi in December 2008, our community and the photography world at large lost a dear friend and a passionate supporter of one of the most defining artistic voices of the 20th century.

An internationally recognized expert in vintage jewelry and a highly respected writer who notably served many years as the editor of James Beard’s cook books, Joan left all who were graced to know her bedazzled with her intelligence, humor, and generosity.

The Center for Photography at Woodstock was particularly fortunate to have Joan Munkacsi as a friend. Over the years she served as a member of our board of directors, volunteered as copy editor of our publication, PHOTOGRAPHY Quarterly, and generously made her father’s work available for our annual benefit auction. In 1992, Joan contributed an eloquent article on her father’s oeuvre entitled The Man Who Loved Women: Martin Munkacsi in issue 54 of PHOTOGRAPHY Quarterly.

It is impossible to say whether or not Martin Munkacsi’s legacy would have remained in relative obscurity had Joan not picked up the mantle. Certainly some passionate outsider may have rekindled our attentions toward such a revolutionary artistic voice, but none would have championed his work with the same level of dedication that Joan gave as she shared her father with the rest of the world.

On July 14, 1963, the legendary Hungarian photographer Martin Munkacsi (b. 1896) died after suffering a heart attack while attending a soccer game at Randall’s Island. His New York City-born daughter, Joan, was suddenly left fatherless and saddled with the stewardship of his photographic legacy at the age of 15.

Once billed as “the highest paid photographer in America”, Munkasci had single-handedly revolutionized the look and feel of fashion photography under the watchful eyes of Carmel Snow and Alexey Brodovitch at Harper’s Bazaar. His approach was exuberant, spontaneous, and full of a zest for life –his models leapt, ran, and turned cartwheels on the beach and even in the rain.

Although he was very successful, Munkacsi had never saved any money (in his later years, Joan recalled her father pawning cameras to buy her birthday presents). The radical changes he introduced to photography, which had gone on to influence the likes of Henri Cartier-Bresson and Richard Avedon, had by the late 1950’s become standard practice. The once-illustrious Munkacsi suffered a string of misfortunes – a third divorce, his failing health – which forced him to cut back on assignments. At the time of his death, his work was virtually forgotten and his legacy was in shambles after years of neglect.

Over her lifetime, Joan worked diligently to cement her father’s place within the photographic canon by writing about his work and partnering with Howard Greenberg Gallery, which has represented Martin Munkacsi since organizing an exhibition of his work in 1984. In 1992, she helped the Aperture Foundation publish a definitive monograph of his work, and in 2007, she assisted the International Center of Photography in mounting a major retrospective in New York City entitled Think While You Shoot (a Munkacsi catch-phrase). In the year before her passing, Joan also helped to obtain a long-lost cache of over 4,000 fragile glass plate negatives that had been missing since her father’s death in 1963.

CPW’s exhibition of over two dozen modern prints of Munkacsi’s work reflect upon his major influences (fashion, street photography, his deep love for athleticism, the outdoors, and women), and features key points in his professional photographic career. Munkacsi worked for such publications as Berliner Illustrirte Zeitung, the precursor to Life magazine and Harper’s Bazaar, and he was an enormous player in revolutionizing the aesthetics of fashion photography and magazine art direction. His signature approach is evident in his very first assignment for Harper’s, in which Lucille Brokaw runs towards him on the beach, as a “typical American girl in action, with her cape billowing out behind her” (Martin Munkacsi: An Aperture Monograph, p.47)

Richard Avedon said that Munkacsi “bought a taste for happiness and honesty and a love of women to what was, before him, a joyless, lying art. He was the first. He did it first, and today the world of what is called fashion is peopled with Munkacsi’s babies, his heirs.”

Yet if these photographs celebrate the work of a maverick and a visionary of his field, they necessarily pay tribute to his most indefatigable and ardent supporter, Joan Munkacsi. She was the primary force in championing her father’s remarkable contributions to the field and ensuring that his legacy was not forgotten. As such, this exhibition celebrates and remembers Joan Munkacsi, a dear friend and passionate advocate, who embodied the exuberance and joie de vivre evident in so much of her father’s vision in herself.

Special thanks to the Howard Greenberg Gallery, Lester Nafzger, and Bob Wagner for their help and support in making this exhibition possible.


Installation View of "Woodstock Generation" August 8 - October 25, 2009

Dennis Stock

Woodstcok Generation

August 8 – October 25, 2009

Woodstock Generation chronicles a chapter in American history; a time when the quest for new social systems drove young hippies into the most remote regions of the United States, forging a new way of life in the form of communes.

Faced with the alienation they felt within a changing American culture and the conventions of their former generation, and filled with a utopian ideal and an anarchistic temperament, these young rebels created intentional communities on the fringes of society.

Dennis Stock spent the entire year of 1969 visiting alternative communities in Colorado, New Mexico, and California. These communities ranged from the hip to the political to the spiritual; from the transient camp to the large and self-sufficient rural community, many of which took on names as if they were cities: New Buffalo and Lorien in New Mexico and Wheeler’s Free and Drop City, California. Each commune was different: a collection of individuals living together with some shared passion or practical function such as music, art, environmental concerns, political concerns, sexual liberation, the practice of Eastern religions, draft resistance, or fear of the apocalypse.

The photographs of “Woodstock Generation” portray a simpler life, closer to the Earth: the members of one commune clear the dry soils of the desert highlands dressed in only loin cloths while a young woman in an urban community bakes bread barefoot, and on a commune elsewhere, young lovers ride a horse in the nude. Stock remarks, “All my hippy pictures are about a search for a better life. I had a predisposition toward what they were trying to accomplish”.

Though the hippies were negatively portrayed in the news media of the 1960s and 1970s and at times blamed for the deterioration of American society, the ideals of the hippy commune were quintessentially American: a pioneering outlook which fits into the country’s heritage dating back as far as the Pilgrims. Dennis Stock playfully demonstrates this neo-Americanism in his Portrait of Couple in Gothic Style, 1969, his reinterpretation of the iconic Grant Wood painting American Gothic.

Dennis Stock can be considered somewhat of a nomad, spending his life photographing a wide range of subjects from movie stars to musicians, bikers, and hippies. All of his subjects shared a non-conformist approach to life which interested and inspired him: “I like being on the road. The photography I like, and the worlds I like are based on discovery… The photographers I admire most are the curious ones.”

Born in New York City in 1928, Dennis Stock’s photography evokes the spirit of America. In 1947 he became an apprentice to Life magazine photographer Gjon Mili after he won first prize in Life’s “Young Photographers” contest. As a result, in 1951 Robert Capa invited Stock to join Magnum Photos, the most world renowned of photographic cooperatives whose mission is to chronicle the world and interpret its peoples, events, issues and personalities. Capa encouraged Stock to move to Hollywood to shoot production stills on movie sets. There he created some of his most iconic photos of celebrities including James Dean, with whom Stock formed a close friendship.

From 1957 to 1960 Stock made lively portraits of jazz musicians, including Louis Armstrong, Billie Holiday, Sidney Bechet, Gene Krupa and Duke Ellington for his book Jazz Street. In 1968 Stock took a leave of absence from Magnum to create Visual Objectives, a film production company, and shot several documentaries. In the late 1960s and early 70s he documented the hippy movements of California and the American West and the subcultures of bikers, travelers, and motor-home owners along the country’s interstate highways. Today Stock concentrates on tulips: “Each of us needs to have a reverence for life. The object of our reverence should be life itself. In terms of photography, tulips are my perfect subjects.”

Dennis Stock has taught numerous workshops and exhibited his work widely in France, Germany, Italy, the United States and Japan.

He has worked as a writer, director and producer for television and film, and published numerous books of his work including: Portrait of a Young Man, James Dean, 1956; Jazz Street, 1960; The Happy Year, 1963; California Trip, 1970; The Alternative, 1970; Edge of Life, 1972; Brother Sun, 1974; The Circle of Season, 1974; America Seen, 1980; San Francesco d’Assisi, 1981; Provence Memories, 1988; Made in USA, 1995; James Dean: Per sempre giovane, 2005. His photographs have been acquired by many major museum collections including The National Gallery of Art, Washington DC; The Art Institute of Chicago, IL; and the Musée d’Art Moderne de la Ville de Paris.

Dennis Stock resided in Woodstock, New York and Sarasota, Florida. He was married to the author Susan Richards. Dennis passed away on January 11, 2010. “Woodstock Generation” marked the last exhibition of his work that he worked on during his life time.