Doug DuBois

Doug DuBois


November 5 – December 18, 2005

The Vigil, a 3-channel video & audio installation created by Doug DuBois in collaboration with his brother, Luke DuBois, presents a meditative contemplation on the passing of life as witnessed by their late grandmother during her final days.

The Vigil opens and closes with my grandmother’s teasing resistance to my attempts to video tape her on the eve of her 92nd birthday. The middle section presents intimate and abstract images of her final days in the hospital as her body shuts down and we await her death. During the five days of our vigil we shared a terrible and disquieting space of longing for a life lived. The Vigil is about this experience and the limited consolation offered by the body left behind.

Doug DuBois has exhibited at the Museum of Modern Art in NYC, SITE Santa Fe, Silver Eye Gallery in Pittsburgh, Blue Sky Gallery in Portland, and at the Getty Museum in Los Angeles. His work is in the collections of the Museum of Modern Art, the San Francisco Museum of Modern Art, the Victoria and Albert Museum, and the Center for Documentary Studies at Duke University . He has received grants and fellowships from the National Endowment for the Arts, The MacDowell Colony, Yaddo, and Light Work. His images have been published in the New York Times Magazine, Double Take, The Pleasures and Terrors of Domestic Comfort, Flesh and Blood, and The Spirit of Family. Doug’s video works include Loss Prevention, co-directed and edited with Jeanne Finley and John Muse in 2000, which premiered at the New York Video Festival in Lincoln Center and has been shown at the Guggenheim and the Cinematheque in San Francisco. The Vigil was first installed at Pittsburgh Filmmakers Gallery in 2004.

Inaugural Regional Triennial of Photography & Related Media


September 23 – October 23, 2005

The Center for Photography at Woodstock is proud to present its inaugural Regional Triennial of Photographic Arts to highlight the tremendous talent of those artists working with photography & related media in the extended Hudson Valley region.

Since it was founded in 1977, CPW has provided opportunities for artists from our surrounding area who are working within the photographic arts. Seeking to build upon that commitment – to promote and support artists in our region – and the dramatic increase of artists living and working throughout the extended Hudson Valley over the past 5 years, we established the Regional Triennial to spotlight the diverse wealth of image-makers who call this part of New York State home. In doing so, what is revealed is that some of the most creative and unique artistic voices working today live in our own backyard!

Earlier this year, CPW invited a panel of nine leading figures in the region’s photographic community to each nominate three of the most interesting artists for inclusion. Representing a section of upstate New York from Beacon to Albany, the nominators included educators (and artists themselves): Stephen Shore (Bard College, Annandale-on-Hudson), Kathy High (Rensselear Polytechnic Institute, Troy), and Leah Gilliam (Bard College); museum and gallery professionals: Neil Trager (Director, Samuel Dorsky Museum at SUNY New Paltz), Carrie Haddad (Carrie Haddad Gallery, Hudson), and Todd Spire (New York North Arts, Beacon); and artists: Robert Flynt (Red Hook), Fawn Potash (Catskill), and Craig J. Barber (Woodstock).

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The nominated artists are diverse, both geographically and artistically. Their work reflects the broad range of contemporary practices within the photographic arts – from Olivia Robinson’s (Troy) cutting-edge interactive media art to Eric Lindbloom’s ( Poughkeepsie ) pristine gelatin silver prints of the Pinewoods. They take inspiration from their surroundings as seen in the seductive encaustic-laden works of Jeri Eisenberg (East Greenbush) as well as from historical sources as reflected in Angelika Rinnhofer‘s (Beacon) series centered around Christian martyrs and in the inquisitive, complex narratives presented by the collaborative team of Kahn/Selesnick (Coxsackie). They address our current political landscape seen in Tim Davis’ (Tivoli) bold didactic photographs and explore the disjuncture of information as depicted in the photographic & video work of Barbara Ess (Elizaville). They reflect upon the institutional environments such as the museum as revealed in Chad Kleitsch‘s (Rhinebeck) sparse interiors and their work examines the controls and limitations of video and memory as projected in the changing variables of Zachary Powell‘s (Ghent) video work.

While no single exhibition can fully define or represent the entire breath of artists working in photography who live in our region today (and we are fortunate to have hundreds!), the inaugural Triennial shines light on a group of artists who exemplify what is being done regionally as well as globally and who range from accomplished luminaries to those just beginning their professional artistic careers. The works exhibited here is as varied as the artists themselves, defying any trend or oversimplified ‘regional’ categorization. With this exhibit and the corresponding issue of PHOTOGRAPHY Quarterly, the Center for Photography at Woodstock is honored to present a glimpse of the strength and depth of this region’s photographic arts community!

CPW would like to thank the all of the nominators and artists nominated for their enthusiastic participation in this project!  

The fall issue of PHOTOGRAPHY Quarterly will present the work of all twenty-two nominated artists, including those in this exhibition as well as Julia Christensen, Lynn Davis, Carlos Loret de Mola, Giovanni diMola, Drie Gallant, Danny Goodwin, Jared Handelsman, Kathryn Hartman, David Lebe, Tanya Marcuse, Jeff Milstein, Jaanika Peerna, & Laura Gail Tyler.

The Inaugural Regional Triennial of Photographic Arts is made possible in part with support from the Ulster County Legislature, the New York State Council on the Arts, a State Agency, CPW members, & individuals.

[one_third first]"Inaugural Regional Triennial of Photography & Related Media" September 3 - October 23, 2005Tim Davis[/one_third] [one_third]"Inaugural Regional Triennial of Photography & Related Media" September 3 - October 23, 2005Barbara Ess[/one_third] [one_third]"Inaugural Regional Triennial of Photography & Related Media" September 3 - October 23, 2005Chad Kleitsch[/one_third] [one_third first]"Inaugural Regional Triennial of Photography & Related Media" September 3 - October 23, 2005Zachary Powell[/one_third] [one_third]"Inaugural Regional Triennial of Photography & Related Media" September 3 - October 23, 2005Olivia Robinson[/one_third] [one_third]"Inaugural Regional Triennial of Photography & Related Media" September 3 - October 23, 2005Jeri Eisenberg[/one_third] [one_third first]"Inaugural Regional Triennial of Photography & Related Media" September 3 - October 23, 2005Kahn/Selesnick[/one_third] [one_third]"Inaugural Regional Triennial of Photography & Related Media" September 3 - October 23, 2005Eric Lindbloom[/one_third] [one_third]"Inaugural Regional Triennial of Photography & Related Media" September 3 - October 23, 2005Angelika Rinnhofer[/one_third]

Jim Campbell

Jim Campbell


September 3 – October 23, 2005

Educated as an electrical engineer at M.I.T., new media artist Jim Campbell explores sensory perception through technology. In the Ambiguous Icons series displayed here, Campbell creates custom grids of L.E.D. lights diffused by Plexiglass to approximate the appearance of grainy video.

The works featured in the exhibition focus on the point when motion becomes intelligible, and the chaos and binary coding are transformed into meaningful information. Additionally, Campbell ’s work often features subjects alluding to family portraiture or media representation: “Church on Fifth Avenue” uses slowed-down video footage of a Lower Manhattan crosswalk in front of a church shot during the week following September 11, 2001 . While technically complex in their execution, the pieces are quiet, contemplative explorations into how we see the world today.

He writes of his work, “Wave Modulation”, “This work incorporates low resolution and time variation to look at the notion of visual abstraction. The image gradually changes its speed over a 20-minute period, going from real time to still. This time processing takes place live, such that the still images that are seen at the end of the cycle are always different.” And of “Church On Fifth Avenue”: “A matrix of 32 x 24 (768) pixels made out of red LEDs displaying a pedestrian and auto traffic scene in NY from an off street perspective. There is a sheet of diffusing Plexiglass angled in front of the grid. As the pedestrians move from left to right the figures gradually go from a discrete representation to a continuous one (or metaphorically from a digital representation to an analog one).”

Jim Campbell is a San Francisco-based new media artist. His work has been exhibited nationally and internationally in solo shows at Site Santa Fe in NM; The Berkeley Art Museum in Berkeley, CA; and the Nagoya City Art Museum in Japan; and in group shows at the Whitney Museum of American Art in NYC; the Fabric Museum in Philadelphia, PA; the Wexner Art Center in Columbus, OH; and the Ars Electronica in Linz, Austria; among others. Public collections featuring his work include the San Francisco Museum of Modern Art in San Francisco, CA; and Austin Museum of Art in Austin, TX. Additionally, Campbell received a Guggenheim Fellowship Award, a Rockefeller Foundation Fellowship Award, and two Langlois Foundation Grants. His work is represented by the Hosfelt Gallery in San Francisco , CA .

Following its presentation at CPW, this exhibition traveled to the Rennsselaer Polytechnic Institute in Troy, NY.




curated by Ariel Shanberg

July 2 – August 21, 2005

One can imagine that if play were absent from our lives, the world in which we live would be a much smaller, narrower universe. The unknown has been discovered, the familiar expanded, the indescribable expressed, as the result of countless hours spent playing, experimenting, or doing things with no particular consequence other than it seemed fun at the time.

It has led to profound concepts, breathtaking accomplishments, and as this exhibition purports, great works of art. Though play has often led to notable creative works, it was not until the Surrealist and Dada artists introduced play, chance, and experimentation as art that the value of play was recognized. Avoiding pretensions of seriousness, the eight artists gathered for the exhibition “PLAY” offer us, at first glance, playful gestures, silly observations, and/or inconsequential and bizarre experimentations. They invite us to be amazed, humored, and satisfied before we need to ask “what is it about?” And yet with further consideration, their works reveal a variety of complex investigations into social and personal concerns, elements of chance, and careful observations. Play, as utilized and/or examined by the artists in this exhibit emerges specifically from the type of activity that comes from childhood – games, toys, competition, role-playing, etc. All adults themselves, these artists affirm the premise that through a re-visitation of playful exploration, by taking the seemingly circuitous route, new realms as well as forgotten ones can be discovered.

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For the British photographer and curator Sian Bonnell the mundane setting of one’s daily surroundings is a source of great inspiration. Through her alterations of domestic landscapes in her series “Everyday Dada”, Bonnell creates renewed wonderment by introducing actions that suggest the possibility of a housewife gone mad, or a child’s play gone curiously array, and which inspire us to consider the aesthetic potential of your average lunch meat sandwich. Artist Doug Holden’s art-actions hold a similar allegiance to Dada (which called for the celebration of life through art, often through the act of turning notions of art upon its head). Employing randomness and playful behavior in his artwork, as seen through the kickball toss that is the central action of his two-channel video piece “Ball”, Holden both creates and disrupts the visual occurrence of a ball passing between the two video monitors, not unlike the child who both builds a sandcastle only to find utter satisfaction in owning its destruction.

The wife/husband team, Mary Magsamen & Stephan Hillerbrand, have engaged in a type of competitive play within their collaborative works, which began following years of individual art making. Often through the guise of childish behaviors and games, together they create pieces that depict themselves continuously competing to one up or excise the other. In “air hunger”, a photography and video installation, they create an ethereal womb-like environment where between the snap of bubbles, and the exhalations and inhalations, we learn what is at stake in their activity is nothing less then life itself.

Children playing often find themselves to be a source of attention for photographers as well as doting parents. In capturing the acts of pure enjoyment and thrill, the photographer creates the opportunity to celebrate, reclaim, or in some cases call into question the play of our youth. Since 1999 Alessandra Sanguinetti has returned to her family in Argentina to work collaboratively with two young female cousins for the series “The Adventures of Guille and Belinda and the Enigmatic Meaning of Their Dreams”. Together they visually recreate their dreams and echo the vital role “playing” serves – to explore what cannot always be expressed verbally, and pay homage to the unbridled possibilities that fill the young women’s minds before the impositions of social and cultural orders alter their innocent freedom. Considering the impact and the influence the objects we play with holds in molding the persons we become, William Laven offers a straight-on examination of the toy models of war planes marketed for children’s play. His work reflects on how the tools of war are presented as familiar and comfortable. In producing each piece at a scale of 1/72 to its real life counterpart, Laven creates a mid ground between the toy and the actual warplane in which their influence can be explored.

For many of us, as the years between youth and adulthood grow, an air of supposed maturity or sophistication seems to dictate our behavior, preventing potential slurps of spaghetti, spontaneous races down crowded sidewalks, and so on. In Meredith Allen’s sugary rich landscape images from the “Melting Ice Pop” series, she reveals the doorways that play can open. Allen allows the subject of her photograph to go beyond the brink, and holds against the desire to capture perfection, and instead records the moment at which things seem to come apart. The result of which is an excitement of the senses – of sight, smell, touch and even taste – and the resurrection memory unattainable by a linear approach.

While much of the play in this exhibition has been performed by the artists themselves in or prior to the creation of the work, multi-media artist Olivia Robinson’s interactive work is dependent on our active engagement, inviting us to play by shaking, cranking, and clicking her work! In bringing us into an intimate sphere through contact with the familiar objects that she has “hacked” electronically and/or manually (the Magic-8 ball, a music box, and the stereoscopic View Master), Robinson reveals bits and pieces of the personal – her body, her loves, and her travels as recorded over the past few weeks prior to this exhibition.

Whether relating to the exhibition’s theme as a point of departure or exploration, the artists featured remind us of the immeasurable value and the enormous potential for discovery that resides in “play”.

-Ariel Shanberg, 2005

Ariel Shanberg has served as the Executive Director of CPW since 2003.

[one_half first]"PLAY", curated by Ariel Shanberg, July 2 - August 21, 2005Meredith Allen[/one_half]

[one_half] "PLAY", curated by Ariel Shanberg, July 2 - August 21, 2005Doug Holden[/one_half]

[one_half first]"PLAY", curated by Ariel Shanberg, July 2 - August 21, 2005Mary Magsamen & Stephen Hillerbrand[/one_half]

[one_half]"PLAY", curated by Ariel Shanberg, July 2 - August 21, 2005Alessandra Sanguinetti[/one_half]

[one_half first]"PLAY", curated by Ariel Shanberg, July 2 - August 21, 2005Sian Bonnell[/one_half]

[one_half]"PLAY", curated by Ariel Shanberg, July 2 - August 21, 2005William Laven[/one_half]

[one_half first]"PLAY", curated by Ariel Shanberg, July 2 - August 21, 2005Olivia Robinson[/one_half]

Photography Now 2005


curated by W.M. Hunt

May 7 – June 19, 2005

Jurying a photography competition is a breathless ride on an emotional roller coaster.

It is a very intense day. Bear in mind that the job at hand is looking at and evaluating over 3000 images in a compressed period of time, defining and refining your critical criteria as you go along.

What I look for is something new, and I am filled with the hope that I will be taken to someplace surprising. Photographs can do that; they can transport you. They can provoke you. The subject matter may be emotionally unsettling or aesthetically lush and seductive.

This year’s Photography Now competition had many delights. The submissions I reviewed showed that contemporary photography overwhelmingly consists of very good, well-made work. I am especially pleased to present work by photographers, which I believe rose to the top.

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Jeff Krolick‘s color landscapes are classic, like Eliot Porter’s, formal with very subtle shifts of color. Richard Gilles‘ panoramic graffiti covered factory interiors seem impossible, garishly colored, and alien. Beth Lilly‘s black and white studies of trees are described as monsters in her titles with nature artfully but delicately distorted (by telephone wires).

The portraits I’ve selected range from Ethan Levitas‘ subway cars, unexpectedly and formally presented like a fashion shoot as if on seamless paper, to Michelle Sank‘s images of adolescents seeming to offer uncanny previews of the subjects as adults.

The compassion brought to Amalia Mendez‘s long form photo essay is intimate and touching. As heartfelt but more delightful are the giddy and sweet groupings in Gerald Forster‘s work with a sense of delight that transcends this work’s ethnographical origins.

The abstracted dreamlike nature of Ron Diorio‘s stylish studies is subdued and engaging. This is work that lingers in my memory.

Margarida Correia creates a special kind of visual story telling which imaginatively and uniquely combines vernacular, still life, and portrait photography. This is the work I have selected for the 2005 Director’s Prize.

I am very pleased to present these image-makers in Photography Now 2005 and hope their work will surprise and delight you too.

-W.M. Hunt, 2005

W.M. HUNT is a NY-based collector, curator, and consultant, a champion of photography. He is the Director of Photography at the estimable Ricco/Maresca Gallery in NYC. His Collection Dancing Bear has been profiled in The New York Times, Art News, and more. “Look Here – Collection Dancing Bear” will be one of the featured exhibitions at the Rencontres d’Arles in France this summer. Hunt produces and moderates a series of panels for Photo District News entitled Your Picture … and has presented lectures at the Museum of Fine Art Houston, The Cleveland Museum, The Columbus Museum, and Boston University. He is an adjunct professor at the School of Visual Arts, the Chairman of the Center for Photography, and the former Chairman of Photographers + Friends United Against AIDS.

[one_third first]"Photography Now 2005",selections by W.M. Hunt, Director of Photography, Hasted Hunt Gallery, May 7 - June 19, 2005Margarida Correia[/one_third][one_third]"Photography Now 2005",selections by W.M. Hunt, Director of Photography, Hasted Hunt Gallery, May 7 - June 19, 2005Ron Diorio[/one_third][one_third]"Photography Now 2005",selections by W.M. Hunt, Director of Photography, Hasted Hunt Gallery, May 7 - June 19, 2005Gerald Forester[/one_third][one_third first]"Photography Now 2005",selections by W.M. Hunt, Director of Photography, Hasted Hunt Gallery, May 7 - June 19, 2005Richard Gilles[/one_third][one_third]"Photography Now 2005",selections by W.M. Hunt, Director of Photography, Hasted Hunt Gallery, May 7 - June 19, 2005Michelle Sank[/one_third][one_third]"Photography Now 2005",selections by W.M. Hunt, Director of Photography, Hasted Hunt Gallery, May 7 - June 19, 2005Amalia Mendez[/one_third][one_third first]"Photography Now 2005",selections by W.M. Hunt, Director of Photography, Hasted Hunt Gallery, May 7 - June 19, 2005Beth Lilly[/one_third][one_third]"Photography Now 2005",selections by W.M. Hunt, Director of Photography, Hasted Hunt Gallery, May 7 - June 19, 2005Ethan Levitas[/one_third][one_third]"Photography Now 2005",selections by W.M. Hunt, Director of Photography, Hasted Hunt Gallery, May 7 - June 19, 2005Jeffrey Krolick[/one_third]

Framing War


curated by Judy Ditner

April 9 – April 24, 2005

The movement from photojournalism to art photography travels a well-worn path, but it is a difficult one to negotiate if specific information is not to fall by the wayside. It is especially difficult when the situation is not only recent but still at issue, for as “art” takes center stage, “news” is pushed to the margins. [1]

The sites of the newspaper, magazine, book, and gallery and museum have very specific differences in the way journalistic photographs are presented and understood, and each has its own set of questions, drawbacks, and advantages.

In a magazine or newspaper, the editors decide which photographs to publish, and how to present them; their placement, size, and the accompanying text all influence how photographs are read. In a magazine context, many of these decisions can be beyond the photographer’s control. The obvious advantage of this type of publication is that the readership is very large, and as a result, the mass media are a fundamental part of the business. In a book, or museum or gallery, on the other hand, the photographer has more control over which images are used and how they are shown. The photographs reach a smaller audience, but that audience has a chance to spend more time with them and to contemplate the issues in a different way because each context implies a distinct type of looking.

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“Framing War” investigates the shifting contexts of contemporary war photography – from news to books and exhibitions – through an examination of photographs from the war in Iraq by Alexandra Boulat, Ron Haviv, Gary Knight, and Antonin Kratochvil. These photographers acted both as embedded and independent photojournalists during the war, and their coverage of this conflict has been widely published and exhibited internationally. These four photographers are also among the founding members of VII Photo Agency, a photographic cooperative founded in September 2001 and are highly respected photojournalists and contract photographers for major news weeklies in the United States and Europe.

The photographs in “Framing War” were taken during the U.S.-led war on Iraq in March and April 2003. The specificity of this selection helps to limit the discussion to images produced during and leading up to the official war, and reflects an attempt to keep the pool of images relatively narrow. Their experiences of the war varied widely, and the work they produced imparts disparate views of the war, both in the events they photographed, and the way in which they chose to record and present the photographs.

Alexandra Boulat covered the war, and the days and weeks leading up to it, from Baghdad, documenting the climate and tension in the city as its people prepared for war. Unlike the majority of her colleagues in Iraq, Boulat chose to cover the events on film rather than digitally. In this exhibition, nine of her photographs from the series “Iraq through the fall” are presented. Several of her photographs from this series are strangely absent of people: a photograph of candles set on the Tigris river by peace activists; a Baghdad cityscape, the sky blackened by oil smoke; children’s laundry drying on a terrace while oil fires burn in the background; a bombed out area in a civilian neighborhood in Baghdad. Even her photograph of a dead child is abstracted and serene. The caption is crucial. “A young girl lies, wrapped in a white sheet on the marble table in the mortuary washing room of a Shiite Mosque. She was killed by a bomb blast during the coalition bombing of Baghdad.” The image is a quiet statement of loss. It speaks of death poetically rather than directly. There is an air of sadness and mourning in the blue-green light that illuminates the scene.

Antonin Kratochvil presents “Hell in Basra”, a series of eighty black-and-white photographs, projected as a digital slideshow on the gallery wall. Kratochvil’s photographs focus on the experience of the Iraqi population in the southern city of Basra as British forces made their way towards the capital. The digital format allows for the presentation of a large number of images, which together create a more complete picture. In this sense, “Hell in Basra” functions like an extended digital photographic essay, and each photograph is enriched within the context of the others. Kratochvil’s photographs are never balanced; there is usually a disproportionate amount of sky or ground, and faces are usually cropped off around the edges of the frame. These visual tensions created by Kratochvil evoke and reinforce feelings of confusion and insecurity.

Gary Knight presents a digital sequence of 189 photographs taken during a two-day battle, to secure a strategic position just outside of Baghdad. This work, simply titled “The Bridge”, is projected at a rate of one frame per second, lending a feeling of urgency and immediacy. Since many of the pictures were taken within a short time frame, their sequencing animates them and pulls the viewer through the scene in what feels like real-time. The digital presentation is more true to the digital format that Knight used to record the photographs, and functions like digital contact sheet, unedited, and revealing. When projected as a series of still photographs, they retain the impact of a still image. This impact is combined with a more immediate sense of time – the viewer moves with the photographer through the scene, and becomes more aware of the photographer’s movements and choices through the sequencing of the images.

Ron Haviv’s “Iraq 2003” tracks and records the events and operations of a U.S. military unit during the war. This series of still photographs is accompanied by sound that Haviv recorded on the scene, music, and audio footage recorded from news broadcasts. Through Haviv’s sequencing and use of narrative sound, “Iraq 2003” situates the photographs in a context from which they cannot be separated. Haviv was assigned to the First Marine Division, Tank Scouts from 29 Palms, California at the beginning of the war, transferring to the Third Battalion, of the Seventh Marines (3-7 Marines) just four days before fall of Baghdad. Although taken while embedded in these units, Haviv’s photographs do not present a glorified version of the events, but rather strike a balance between criticism and compassion. His combined use of sound and digital reflects the changing way photojournalists are working in the field.

In addition to the photographs and multimedia presentations, “Framing War” presents magazines and books in which these pictures were published, to prompt the viewer to consider how the context in which one encounters photographs of war affects one’s response to the images and the events. The aim of this exhibition is to raise questions and engage debate regarding how photographs of war and conflict can be presented responsibly, to the viewing public, the photographed subject, and within the larger historical context of the events.

– Judy Ditner, 2005

Judy Ditner is a graduate student at the Center for Curatorial Studies, Bard College. The exhibition “Framing War” was organized as part of her M.A. thesis project. Before attending Bard, Judy worked as an independent curator and managed a private photography collection in Toronto, Canada. She has a long-standing interest and involvement with photography, receiving her B.F.A. in Photography Studies from the School of Image Arts at Ryerson University in 2002.

[one_half first]"Framing War", curated by Judy Ditner, April 9 - April 24, 2005Alexandra Boulat[/one_half]

[one_half]"Framing War", curated by Judy Ditner, April 9 - April 24, 2005Ron Haviv[/one_half]

[one_half first]"Framing War", curated by Judy Ditner, April 9 - April 24, 2005Gary Knight[/one_half]

[one_half]"Framing War", curated by Judy Ditner, April 9 - April 24, 2005Antonin Kratochvil[/one_half]

1. Martha Rosler, “Wars and Metaphors,” Decoys and Disruptions Selected Writings, 1975-2001, (Cambridge, Mass: MIT Press): 2004, 246.

Shifting the Political: Portraits of Power


curated by Ariel Shanberg

November 1 – December 21, 2004

The five artists assembled in this exhibition examine and reveal power in under-represented locations.

By doing so, they provide a dialogue on representations of power in and through the medium of photography. Power comes in many shapes and sizes. Along with being recognized in attributes such as wealth, authority, knowledge, athletic excellence, and self-determination, power is found in representation. To be depicted is a way of being empowered as is determining who and/or what is to be represented. An image’s ability to represent or frame a historical/social memory, and to define a person, place, or time is an enormous power. Though the emergence of photography democratized representation to a degree, it has continued to propagate visual tropes of other visual art practices. As we find ourselves in an era where the controls over how and what is represented have increased simultaneous to the democratization of image publishing and distribution created by the Internet, the discussion of locations of power and the politics of representation are most pertinent.

For years Paul Shambroom has traveled across the United States photographing representations of power in non-traditional guises. In his series Meetings, Shambroom provides us with glimpses of our political power structure at its most fundamental levels. He attends town council meetings during which he creates a portrait of the presiding officers. Utilizing Photoshop, he subtly heightens elements in his images to evoke religious paintings and portraits of the Renaissance. In doing so he reveals not only the foundation of our democratic power structure, but the historic practices of compositional arrangement used to invoke authority within those depicted, albeit with a honest, humorous look at the mundane trappings of modern existence as seen in the often pedestrian settings he photographs. For the past four years Gillian Laub, best known for her portraits of models, athletes, and celebrities, has photographed the silent majority of the Israeli/Palestinian conflict who find themselves caught in between the politicians, extremists, and factional leaders. The modern face of war is a sanitized portrayal of ministers, generals, and the thankful liberated who stream across various media outlets. It is rare to see representation of those who bare the physical and psychological scars of what is often someone elses decision. In her democratic approach of photographing both Israelis and Palestinians in a straightforward style, combined with quotes from each images subject, Laub’s project creates a forum in which the voices of citizens are given a platform and heard. Positioning themselves as assets to civic action and dialogue, Two Girls Working have asked, “What do you wear that makes you feel powerful?” to over 280 women across the country in their project Trappings. During Trappings sessions‚ events that combine aspects of salon gatherings, group therapy, and empowerment sessions, they create visual and audio portraits of women who share their use of clothing to instill and evoke strength, authority, comfort, and sex appeal. With their approach of openly exploring the relationship of women to power within the construction of personal identity and an emphasis on presenting their subjects‚ individual voices amongst a collective whole, they reveal how power is constructed and employed within the everyday lives of women. Prior to the emergence of photography, sculpture was one of the dominant visual art forms used to signify power. Tim Lehmacher’s series Pli (Folds) explores the vocabulary of sculpture used to visually depict and/or instill notions of power. In his explorations, Lehmacher examines the practices of artists, distilling the image down to three core elements – subject, environment, and viewpoint. His uniform approach creates an opportunity for viewers to contemplate what communicates power within the visual arts of sculpture and photography. In asking such questions as: where is power found?, who determines or defines representation?, in being represented is one empowered?, and what tools are used in the visual depiction of power?, the artists in Shifting the Political bring awareness to the breath of power’s definition and its proximity to us all.

-Ariel Shanberg, 2004

Ariel Shanberg has served as the Executive Director of CPW since 2003.

[one_half first]Shifting the Political: Portraits of Power curated by Ariel Shanberg, CPW November 1 - December 21, 2004Gillian Laub[/one_half] [one_half]"Shifting the Political: Portraits of Power", curated by Ariel Shanberg, CPW, November 1 - December 21, 2004Tim Lehmacher[/one_half] [one_half first]"Shifting the Political: Portraits of Power", curated by Ariel Shanberg, CPW November 1 - December 21, 2004Paul Shambroom[/one_half] [one_half]"Shifting the Political: Portraits of Power", curated by Ariel Shanberg, November 1 - December 21, 2004Two Working Girls: Tiffany Ludwig & Renee Piechocki[/one_half]

f|r|a|m|e – analysis of movement


curated by Ariel Shanberg

June 26 – August 22, 2004

This exhibition presents artists whose work contemplates the intersection of motion and content, and movement and intent, by examining the architecture of the motion picture.

Implicit in their work is a contemplation of the still frame and the echo of Eadweard Muybridge’s ground breaking work of the 1870’s, which brought forth the ability to both reduce movement to a series of sequential frames and at the same time led to the ability to represent motion through the continuous projection of film.

Each of the artists in f|r|a|m|e create motion studies with a similar obsession as Muybridge, who in his pursuit to record physical movement by animals and humans alike, photographed gestures ranging from the subtle to grand. The revolutionary technological advancements brought on by Muybridge’s explorations and that of his peers, directly changed how we have come to understand and experience time and movement.

Yet the artists in f|r|a|m|e go beyond homage or reference. Operating in reverse of Muybridge’s development of bringing the still frame towards the motion picture, 100 years after his death, they reclaim the motion picture as a series of still frames. Their efforts create a forum in which the viewer can consider technology’s impact on our experience of time and movement through the subjectification of individuality, athleticism, history, culture, and the human body within the still moving frame.

-Ariel Shanberg, june 2004

Ariel Shanberg has served as the Executive Director of CPW since 2003.

[one_half first]"f|r|a|m|e - analysis of movement", curated by Ariel Shanberg, June 26 - August 22, 2004Kenseth Armstead[/one_half]

[one_half]"f|r|a|m|e - analysis of movement", curated by Ariel Shanberg, June 26 - August 22, 2004Justyna Badach[/one_half]

[one_half first]"f|r|a|m|e - analysis of movement", curated by Ariel Shanberg, June 26 - August 22, 2004Jona Frank[/one_half]

[one_half]"f|r|a|m|e - analysis of movement", curated by Ariel Shanberg, June 26 - August 22, 2004Jennifer & Kevin McCoy[/one_half]

[one_half first]"f|r|a|m|e - analysis of movement", curated by Ariel Shanberg, June 26 - August 22, 2004Ray Rapp[/one_half]

[one_half]"f|r|a|m|e - analysis of movement", curated by Ariel Shanberg, June 26 - August 22, 2004Karina Aguilera Skvirsky[/one_half]

[one_half first]"f|r|a|m|e - analysis of movement", curated by Ariel Shanberg, June 26 - August 22, 2004JoJo Whilden[/one_half]

FRESH: Youth Culture in Contemporary Photographs


curated by Nancy Barr & Carlo McCormick

April 16 – June 13, 2004

The artists in FRESH: Youth Culture in Contemporary Photographs have made the theme of youth and youth culture an integral part of their artistic practice in either brief investigations or in extended series spanning the past ten years.

Several of the photographers in this exhibition were not consciously drawn to the subject per se, nor have thought of it as it’s own select genre. But for all of these artists, their interests in various contemporary sub cultural phenomenon—urban lifestyles, modern tribes, the underground, as well as the constructs of gender, race, and identity—combined with aesthetic methodologies of staged photography, portraiture, or documentation – have led them knowingly or unknowingly to the subject.

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FRESH attempts to define the emergence of this genre and includes seven artists who were selected for their diversity in aesthetic approach, age, and cultural perspective. The portraits of Dawoud Bey and Dennis Olanzo Callwood, the staged photographs of teenage girls by Justine Kurland, and the documentary photographs and films of graffiti kids and skateboarders by Cheryl Dunn comment on the constructs that define youth during adolescence. The other artists featured document the social practices and lifestyles emerging as distinct cultures, but from the photographer’s perspective as an insider. The trials, exploits, and collective passions of young adults are evident in the work of Ari Marcopoulos, Ryan McGinley, and Nick Waplington, who photograph youth collectives—snowboarders, global nomads, and underground urban dwellers.

From staged scenes and portraiture to real time visual chronicles, the exhibition reveals the disparate worlds common to contemporary culture and representative of youth as a complex state of mind and being.

– Nancy Barr & Carlo McCormick, 2004

Nancy Barr is an assistant curator in the department of Graphic Arts at the Detroit Institute of Arts. She has curated numerous exhibitions for the museum including “Dawoud Bey: Detroit Portraits”, “Where the Girls Are: Woman Photographers from the DIA’s Collection”, and “Images of Identity: Photographs of Native Americans”. Her publications include articles for Big magazine, The Bulletin of the Detroit Institute of Arts, and dialogue. Barr’s future projects for the DIA include organizing an exhibition of work by Robert Frank and portraiture by contemporary African photographers.

Carlo McCormick is a writer on art and popular culture based in NYC. Currently the Senior Editor for Paper Magazine, Carlo’s work has also appeared in Artforum, Art in America, Aperture, and Interview, among many publications. He has curated numerous shows including “The LP Show” (1999) for Exit Art in NYC and is currently working on an exhibition about Baseball for the Queens and Bronx Museums, in addition to an exhibition about 1980s art for the Grey Art Gallery.


[one_half first]"FRESH: Youth Culture in Contemporary Photographs", curated by Nancy Barr & Carlo McCormick, April 16 - June 13, 2004Dawoud Bey[/one_half] [one_half]"FRESH: Youth Culture in Contemporary Photographs", curated by Nancy Barr & Carlo McCormick, April 16 - June 13, 2004Dennis Olanzo Callwood[/one_half] [one_half first]"FRESH: Youth Culture in Contemporary Photographs", curated by Nancy Barr & Carlo McCormick, April 16 - June 13, 2004Cheryl Dunn[/one_half] [one_half]"FRESH: Youth Culture in Contemporary Photographs", curated by Nancy Barr & Carlo McCormick, April 16 - June 13, 2004Justine Kurland[/one_half] [one_half first]"FRESH: Youth Culture in Contemporary Photographs", curated by Nancy Barr & Carlo McCormick, April 16 - June 13, 2004Ari Marcopoulos[/one_half] [one_half]"FRESH: Youth Culture in Contemporary Photographs", curated by Nancy Barr & Carlo McCormick, April 16 - June 13, 2004Ryan McGinley[/one_half] [one_half first]"FRESH: Youth Culture in Contemporary Photographs", curated by Nancy Barr & Carlo McCormick, April 16 - June 13, 2004Nick Waplington[/one_half]