Photo Nominal 1991

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MEREDITH ALLEN DAVID HENSEL ALLISON STEPH EN ALTHOUSE BARBARA AMES ROBERT ANDERSON ALICIA BAILEY GARY BAKKEN CRAIG BARBER RACHEL BLISS JAMIE BLOOMQUIST GLORIADEFILIPPSBRUSH CARLAC. CAIN CAROL ANN CAMPBELL GAYE CHAN JONATHAN CLARK MARK DAUGHHETEE SUSAN DETROY MICHAEL DOUBRAVA CHRISTOPHER FAUST JESSICA HINES HOTKA NANCY HUTCHINSON TERRY MCHENRY KATZ PHILIP KREJCAREK MARIA LUPO ANNE ARDEN MCDONALD HOWARD ROSENFELD ELISE MITCHELL SANFORD STEVEN SKOPIK ROBBIE STEINBACH SILVIA TACCANI CRAIG TEVIS SHELLBURNE THURBER CAROLE TOPALIAN BOB WALDEN SANDY CROCE WARNER CORINNE WHITAKER

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The FORUM Gallery Staff: Dan R. Talley, Gallery Director Michelle Henry, Gallery Assistant

We gratefully acknowledge the following busi足 nesses and organizations for their support of this exhibition:

Student Assistants: Bruce Bogart Gerald Egana Kim Erickson Nelida Ruiz

Sponsors: Anderson Photographic, Inc.

Bush Industries, Inc.

Dorian's Plus

Jones Tasty Bakers Co., Inc.

Marine Midland Bank N.A.

Development Committee: Nancy Bargar William Disbro Carole Fasso Mike Fitzpatrick Robert Hagstrom John Hiester Cletus Johnson Gloria Lasser Julia Militello Alberto Rey Lois Strickler William Waite Gary Winger The FORUM Gallery at Jamestown Community College 525 Falconer Street Jamestown, New York 14701 (716) 665-9107

Gallery Hours: Tuesday through Saturday, 10:00 a.m.

till 5:00 p.m.

(Wednesday and Thursday till 8:00

p.m.)

Friends: Arts Council for Chautauqua County

Carnahans

Register Graphics, Inc.

Supreme Beverages, Inc.

This exhibition is part of The FORUM Gallery's Visual

Arts Initiative which is made possible through funds

provided by the Ralph C. Sheldon Foundation, Inc. Ad足 ditional funds for this exhibition were provided by the

Faculty Student Association of Jamestown Community

College.

The FORUM Gallery is an Associate Member of the

National Association of Artists' Organizations.

Unless otherwise noted, illustrations have been sup足 plied by the artists. All dimensions are listed in inches

with height preceding width, then depth.

Catalog design : Pattie Belle Hastings Catalog production: Michelle Henry, D. R. Talley Production assistant: Nelida Ruiz Printing: Arkwright Printing, Fredonia, NY 息 1991, The FORUM Gallery

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DIRECTOR'S STATEMENT

CURATOR'S STATEMENT

PhotoNominal '91, a national exhibition organized In selecting the works for this show, the

by The FORUM Gallery with help from Ms. Sandy decisions I made were based on my Skoglund, presents work by 37 photographers who personal preference for pictorialism, explore the possibilities inherent in photographically storytelling, and formal control within generated images from antique printing process­ the medium . I looked for emotional hon­ es that allude to the medium's origins, to the latest esty in my choices, and included as in technologically generated pictures. many different attitudes as possible within that idea. In general, I thought This is the first year we have presented PhotoNomi­ the work submitted for this show was nal. I conceived this exhibition as an alternative to consistently ambitious, sophisticated, The Citizen's Eye, the gallery's exhibition of local and worthy of attention. photography which had been held annually for the past six years. This new title and exhibition format is Sandy Skoglund not necessarily intended to be a permanent replace­ New York, New York ment for The Citizen's Eye, but rather, it is intended to demonstrate other exhibition possibilities.

Sandy Skoglund is an artist and educator who lives and works in New York City. Ms. I initiated this new direction for several reasons. Pri­ Skoglund first gained international notoriety marily, I felt that by presenting some alternatives, with her elaborately staged photoworks Re­ the gallery's board and constituents could better an­ venge of the Goldfish and Radioactive alyze and formulate directions for future programs.

Cats. Her recent work has evolved to in­ Secondly, we have developed and scheduled Per­ clude painting and large-scale installation sonal Territory: Artists from the Southern Tier, an pieces. exhibition that exclusively presents work in a variety of mediums by artists who live and work in the im­ mediate two-county area. It seemed imprudent to schedule exhibitions back-to-back that would segre­ gate local photography from local works in other mediums.

Sandy Skoglund selected the work included in Pho­ toNominal '91 from slides submitted by over 200 art­ ists from the US and Canada. Her selections chal­ lenge, provoke, prod, and stimulate us into looking at the multitude of possibilities that exist within the photographic medium.

I extend my warmest thanks to Sandy Skoglund, the participating artists, and the businesses in our area who have contributed to this project. Your efforts have produced an incredibly strong exhibition.

DanR. Talley Special Project Director The FORUM Gallery

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I Know What You Are Thinking About Use Only As Directed, Nexus Contemporary Art Cen­ ter, Atlanta, GA, 1988.

Me addresses the concerns of self­ Group exhibition at the Olean Public Library, Olean,

identity; self-image; and self­ NY, 1988.

representation through the use of found

Skin!, Hallwalls, Buffalo, NY, 1988.

imagery in the media.

-MA

Reviews, Publications, Catalogs and Awards:

·1 Know What You Are Thinking

About Me, 1990, canvas, color laser

copy, vinyl type, faux pearls, guache.

"Use Only As Directed: by Hildreth Ann Budd, Art Pa­

pers, Nov/Dec, 1988.

42nd Western New York Exhibition, catalog, The Buffa­ lo Fine Arts Academy, Albright-Knox Art Gallery, Buffa­ lo, NY 1988.

Selected Exhibitions:

Education:

Mythic Moderns, Real Art Ways, Hartford,

M.F.A., State University of New York, Buffalo, NY,

CT 1990.

1988.

Forrest Avenue Farewell, Nexus Contempo­

B.F.A., Hartford Art School, University of Hartford, CT,

rary Art Center, Atlanta, GA, 1989.

1986.

Modern Love, A.R.C. Gallery, Chicago, IL,

1988.

Meredith Allen, detail, I Know What You Are Thinking About Me, 1990,

canvas, color laser copy, vinyl type, faux pearls, guache.

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D A V 10

HENSEL

ALLISON

Navajo Community College, Tsaile, AZ,

I've tried to take a look at America (including land 1978.

beyond the United States' borders) through my The Indiginous Southwest, White Oak Gal­ camera's viewfinder I am defining moments of lery, Alburquerque, NM, 1975.

time midway between our nation's culture and provincialism. I choose to document the transitory Reviews, Publications, Catalogs and

stage of a national culture, these characteristics Awards:

of provincial life. Thus I meander across the face "A Portfolio of Winning Photographs," Natu­

of America, a wanderlust with a purpose, employ­ ral History, American Museum of Natural

ing my camera, capturing on film the flavor of History, New York, NY June, 1990.

American life as it evolves into the 21 st century.

"The Roving Eye," by Melanie Brubaker,

Scene Magazine, Columbia Daily Tribune, -DHA Columbia, MO, February 8, 1990.

"David Allison : La Versatilidad en la Photo­ -Groom (flanked by two sisters), photographed grafia" Norte, Seccon-C-Gente, Chihuahua, in 1979, printed in 1990, glass Cibachrome pho­ Mexico, September 10, 1988. tograph, 16 x 24 inches.

"Photographer Captures Contemporary Southwest/One Eye Open," by Dr. LeRoy Selected Exhibitions:

Perkins, Albuquerque Journal, Albu­ Four by Four 4 Artists, 4 Media, Guadalupe Cultural

querque, NM, August 20, 1978.

Arts Center San Antonio, TX, 1990.

"David Allison," by William Peterson, Art­ 11th Annual Jurored Art Exhibition, The Salina Art space, Contemporary Southwestern Arts Center Salina, KS, 1990.

Quarterly, Albuquerque, NM, Winter 1981 ­ Toys, 18th Annual Toys Designed by Artists, The Ar­ 82. kansas Art Center, Little Rock, AK, 1990.

Borderwork, Fox Fine Arts Center, Main Gallery, Uni­ Education: versity of Texas at EI Paso, EI Paso, TX, 1990.

M.F.A. Candidate, University of Missouri,

David Allison's Survey of Photographic Works, 1972­ Columbia, MO, 1991

1989, Jessie Wilson Galleries, Anderson University,

M.A., University of Iowa, Iowa City, lA,

Anderson, IN, 1989.

1966.

David Allison Color Photographs, Stocker Center, Lo­ B.A., University of iowa, Iowa City, lA,

rain County Community College, Elyria, OH, 1982.

1962.

One Eye Open, Ned A. Hatathli Cultural Center,

David Hensel Allison, Navajo Last Supper, 1979, glass Cibachrome print, 16 x 24 inches. This photo­ graph is not included in the ex­ hibition.

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S T E P HEN ALTHOUSE

While visiting my childhood farm in Pennsylvania during a past Christmas vacation, I spent some time reflecting in myoid room. Zebra Street was created during that time by placing myoid toy car upon the zebra rug which hung in that room of good memories.

Feelings and ideas experienced in my life are conjured through arranging and composing special objects which have a great deal of personal significance.

The result is a variant form of the self­ portrait; a melange of my past and present experiences and emotions. The medium of photography is used as a documentor of these assemblages.

-SA ·Zebra Street, 1980, silver gelatin print, 17 x 13 inches.

Stephen Althouse, Zebra Street, 1980, silver gelatin print,

Selected Exhibitions:

17 x 13 inches.

Solo exhibition at the Focal Point Gallery,

City Island, NY 1989.

Solo exhibition at the International Photog­

raphy Hall of Fame and Museum, Oklaho­

ma City, OK, 1988.

Solo exhibition at the Galeria 2 V's, Lima,

Peru, 1988.

Solo exhibition at the Municipalidad de Mir­

aflores, Lima, Peru, 1988.

Reviews, Publications, Catalogs and

Awards:

The Language of Visual Art, by J.F Meyers,

published by Holt, Rinehart & Winston,

1989.

Art Today, by Faulkner et aI., published by

Holt, Rinehart & Winston, 1987

The Photo Review, Philadelphia, PA, 1989.

Photo Paper, Pittsburgh, PA, 1989.

Education:

M.F.A., Virginia Commonwealth University,

Richmond, VA, 1975.

B.F.A., University of Miami, Miami, FL,

1970.

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In these life/art dramas I parody art work of another time, placing myself within sets that have some contempo­ rary props. The intent is to show present-day concerns-things that I think about. In Madonna the working mother is divided and rushes out the door looking back at the Rapheal Ma­ donna...

-BA

'Madonna, 1990, hand-colored Ekta­ color print, 14 x 11 inches.

Selected Exhibitions:

Solo exhibition at the Danville Museum,

Danville, VA, 1990.

Solo exhibition at James Madison Unversi­ ty, Harrisonburg, VA, 1989.

Current Works '89, Amon Carter Museum,

Kansas City, MO, 1989.

Solo exhibition at BC Space Gallery, Lagu­ na Beach, CA, 1988.

Light Images '88, Chrysler Museum, Nor­ lold, VA, 1988.

Art Reach '88, National Congress 01 Art and

Design, Salt Lake City, UT 1988.

Barbara Ames, Madonna, 1990, hand-colored Ektacolor print, 14 x 11 inches.

Education:

Ed.D., University 01 Virginia, Charlottesville,

Va, 1978.

M.A.E., Virginia Commonwealth University, R;chmond, VA, 1970.

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R a B E R T A N o E R s a N

Robert Anderson, Altered Ladies II, 1990, computer photo·construction, 21 x 27 inches.

Art is a technique of communication using foamcore in certain areas to elevate and and the image is the artists tool. The add depth.

-RA development of this image always takes place sequentially until the work ·Altered Ladies II, 1990, computer photo­ is complete. It's been said that a work construction, 21 x 27 inches. of art is never finished-it just stops in interesting places. My work represents Selected Exhibitions:

sequences within a progression. A cy­ OK South Gallery, Bay Harbor, FL, 1989.

cle is set up by me to investigate a cer­ Littlejohn-Smith Gallery, JYC, 1989.

tain theme or themes. Each individual New Technology Artworks, Texas A&M University, TX,

piece in the series grows sequentially, 1989.

like links in a chain. The initial investi­ American Print Survey, University of Wisconsin, WI,

gations are concerned with content, fol­ 1989.

lowed by composition. Two or three im­ Computer Art/Electronic Imaging, SI. Louis Community

College, 1989.

ages are appropriated from art Electronic Media Exhibition, Eastern Washington Uni­ historical sources, digitized in a particu­ versity, 1988.

lar color sequence and combined in a color graphics computer The elements Reviews, Publication, Catalogs and Awards:

of the composition are arranged for "Robert Anderson," by Sam Kirby, Airbrush Action

strength of design with a paint program Magazine, NJ, November 1986.

and the original colors of the images "Notable New Jersey Artists," State of the Arts, PBS­ are dramatically changed at this time.

TV 1985.

In the next sequence the composition "Robert Anderson," Arts, NJ, 1984.

goes through several image processing "Artists and Media," by David Shirey, New York Times,

NY 1984.

programs that I use to further distort and solidify the work.

Education:

The composition at this point is broken M.F.A., Pratt Institute, Brooklyn, NY 1972.

into segments and transferred to a pho­ B.S., State University of New York, Brockport, NY

tographic media. After the individual­ 1969.

prints are made, it is then reassembled,

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B A I L E Y

Columns is one of several multiple image pieces tel, museum board in painted wooden that I completed during 1989 and 1990. When frame, 34 x 48 x 1/2 inches. working with multiple imagery, elements poten­ tially enter and leave each picture, sometimes Selected Exhibitions: Recent Works, solo exhibition at Rosewood travelling into the next picture, sometimes not.

Art Center, Kettering, OH, 1991 Iconslelements have, in addition to their object­ (Con)sequences, solo exhibition, 2JC at Pi­ ness, other connotations. The icons/elements

rate, Denver, CO, 1990. have an ability to directly participate in the narra­ Musings, solo exhibition at Foothills Art tive. Formal considerations such as placement, Center Golden, CO, 1990. relative scale, color etc. can enhance and/or di­ Horse/Woman, solo exhibition at New Im­ minish the interactive possibilities of the selected age Gallery, Harrisonburg, VA, 1988. icon/elements.

Horse/Woman, solo exhibition at San Fran­ cisco State University, San Francisco, CA,

1987 When working with photography and painting, the

Affirmations/Celebrations, solo exhibition at photographic image lays down one map, or set of

directions. Icon/elements assume a life of their Photo Mirage Gallery, Denver, CO, 1987 own. Their interactions with one another create a

Reviews, Publications, Catalogs and

narrative. The selection and/or placement of ob­ Awards:

jects (icon/elements) is often one way as record­ Exploring Color Photography, by Robert

ed by the camera but is free to change with the Hirsch, Published by William R. Brown, Oe­ later application of pigment to the photographic buque, lA, 1989.

image.

California Arts Review, 2nd edition, The

Krantz Co., Chicago, IL, 1989.

International Catalogue of Contemporary

Grids embody references to horizontal (passive)

Art, Vol. 2, Artsearch, Inc., Denver, CO,

with vertical (authoritarian) . Grids establish a bar­ 1989.

rier, or barriers. Grids impose a sense of order

Teabags become a metaphor for transformation, "Close to the Bone," by Kraig Saunders,

Planet X Reader & Advisor, Vol. 1 No. 1

and are also female objects.

February 1984.

-AB

-Columns, 1989, silver gelatin print, black and

white xerox on rice paper oil, acrylic, pencil, pas-

Education:

B.F.A., University of Colorado, Boulder, CO,

1981

Alicia Bailey, Columns, 1989. silver gelatin print, black and white xerox on rice paper, oil, acrylic, pencil, pastel, museum board in painted wooden frame, 34 x 48 x 1/2 inches.

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My work spins off in several directions simultaneously. Some of it falters quick­ ly, while other directions turn into a se­ ries of photographs and eventually into a cohesive body of work. Occasionally I will work for many months or more on a single project, yet all the while other ideas are pushing to get out. Some of my work continues for years...elongated by the complexity of their formation. Such is the case with the hand-colored photograph series en­ titled Persistence of Vision. I do not consciously seek the visual or emotion­ al circumstances needed to create the photographs in this body of work. I stumble into them almost by accident.

Gary Bakken, Untitled excerpt from the series titled Persis­ This process of discovery is very slow tence of Vision, hand-colored silver gelatin print, 8 x 8 inches. and has caused me to work on this par­ ticular series for the last six years. graph with the highly subjective process of hand­ The photographs in this series are not coloring, helps create the balance of "real" and about objects or things, but of time and "unreal" present in these photographs. The pro­ place. They are a recognition; a draw­ cess of hand-coloring is in support of the idea ing together of the present and inde­ and not the end in itself. scribable feelings from my past. The -G8 nature of the subject matter forces these photographs to be highly person­ ·Untitled excerpt from the series titled Persis­ al and potentially confusing to the casu­ tence of Vision, hand-colored silver gelatin print, al observer...as they occasionally are to 8 x 8 inches. me. The photographs in this series are Education: not necessarily definitive finished state­ M.F.A., University of Wisconsin, Milwaukee, WI, 1989.

ments. Often, they are open ended M.A., University of Minnesota, Duluth, MN, 1987

questions with elusive answers.

B.S., Montana State University, Bozeman, MT 1978.

The photographs in this series begin as uncropped, silver gelatin prints from a 2 1/4 negative. Each print is made by us­ ing colored pencils to create multiple layers of colors. These layers are then mixed together by carefully rubbing them with a cotton ball, cotton swab, or occasionally, with a tooth pick. Combin­ ing the relative "objectivity" of the un­ manipulated black and white photo-

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alteration of visual perspective present­ ed by the camera, it lends itself well to the "familiar, but...?" idea previously stated. In addition, the camera is "view­ finderless" and unique in its internaliz­ ing process. One has to mentally pre­ visualize the image without the assis­ tance of a "normal" viewfinder, there­ fore becoming more at one with the camera.

My work reflects a constant self­ examination, an internal processing of my spiritual and visual relationship to the world and my immediate environ­ ment. It is a visual response to my emotions.

-CB Craig Barber, Beth's Flowers, 1987 silver gel­ atin print, 11 x 8 1/2 inches.

'Beth's Flowers, 1987 silver gelatin print, 11 x 8 1/2 inches.

In exploring pinhole photography, the photogra­ Selected Exhibitions:

pher departs from a world of high tech, equip­ Solo exhibition at Level Three Gallery, Phil­ ment-oriented photography to one of simplicity, adelphia, PA, 1991 .

where the photographer constructs his/her own Solo exhibition at the Fogg Art Museum,

camera (a handsome cardboard box) and begins Harvard University, Cambridge, MA, 1990.

a profoundly personal exploration of the medium.

Solo exhibition at Texas Tech University,

Along with the simple pleasure of working with a Lubbock, TX , 1990.

camera that has been personally constructed to Pinhole Masters, Puchong Gallery, New

one's own needs, the photographer is presented York, NY 1990.

with an infinite depth of field , thereby allowing the International Polaroid Biennial, Photokina,

exploration of the juxtaposition of "near/far;" thus Cologne, Germany, 1990.

Solo exhibition at the C. E. Rynd Gallery,

creating a surreal or dreamlike quality to the im­ Seattle, WA, 1989.

ages.

Reviews, Publications, Catalogs and

Using a pinhole camera I explore my idea of Awards:

dream environments ; places that feel familiar, Barbara Hitchcock, Section 5, Polaroid

but...? I believe the majority of us exist in our en­ Corp., 1990.

vironments yet never truly examine them; work­ Shots, Issue #20,1990.

ing with the pinhole camera, I visually explore in­ Photometro, Vol. 8, No. 79, 1990.

habited urban environments and offer an Shots, Issue #17 1989.

Pinhole Journal, Vol. 4, No.3, 1988.

alternative viewpoint of these spaces.

Because the pinhole inherently vignettes, it lends itself well to a dreamlike quality. Also, due to the

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R A c H E L B L I s s

Rachel Bliss... works in an idiosyncratic style, attacking the surfaces of a variety of materials to create confrontational works of emotional depth and power.

Often based on personal experience with rape victims and abused children, the works are figurative, two and three­ dimensional, multi-media responses.

Inspiration for her work comes from Kathe Kollwitz, Francis Bacon, and Fri­ da Kahlo.

Currently, she is working with a large number of non-traditional materials in­ cluding nail polish, human hair, and burning. Her work experiments with the treatment of surfaces of both two­ dimensional pieces and small sculpted figures. The small figures are burned materials of various sorts. A piece in­ volving the figures usually employs a large number of them, evoking a "death camp" silence. While still evolving, the work displays a clearly recognizable Rachel Bliss, Too Late, 1990, drawing onto photographic style, that of powerful, dreamlike, paper, 5 x 3 1/2 inches. Photo by Joseph Painter. sometimes nightmarish, images that are not easily forgotten.

-Excerpted from a biographical sketch supplied by the artist.

·Too Late, 1990, drawing onto photo­ graphic paper, 5 x 3112 inches.

Selected Exhibitions: Bliss Group Show, Nazareth Arts Center, Rochester, NY 1990.

Works on Paper, Perkins Center for the Arts, Moorestown, NJ, 1990.

Works on Paper, Beaver College Art Gal­ lery, Glenside, PA, 1990.

Hoyt National Show, Hoyt Institute of Fine

Arts, New Castle, PA, 1990.

.viewings, North Philadelphia Space, Phila­

delphia, PA, 1989.

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Jamie Bloomquist, The Redhead Series I, 1990. Cibachrome print, lOx 10 inches.

The redhead series was an idea that I played with for quite a while. I thought that I could say something about all redheads in a few portraits. Almost a year later, I shot this image as the first of a series of six. At the end, the sev­ enth and final image was one sitting with all six subjects. When they were all put together and released as a body of work it brought more of a response than I had envisioned in the beginning.

This work was my way of showing the unique personality of redheads that sets them apart in this exclusive group.

I am still shooting redheads and contin­ ue the project. I have yet to do a self­ portrait. I also have red hair -.IB

·The Redhead Series I, 1990, Cibach­ rome print, 10 x 10 inches.

Selected Exhibitions: HI. T Honors Show, Rochester Institute of Technology Student Gallery, Rochester, NY 1990.

Bloomquist/Kahley, North Light: Studio I, Rochester, NY 1990.

Reviews, Publications, Catalogs and

Awards:

Ad, RIT/Kodak National Poster, 1990.

Ad, Newsweek/Sharp, New York, NY Feb­ ruary, 1990.

Education: B.F.A., Rochester Institute of Technology, Rochester, NY 1990.

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GLORIA DEFILIPPS BRUSH

Clarence Kennedy Gallery, Cambridge, MA, 1988.

I have always been drawn to things Solo exhibition at the Contemporary Arts Center, New

which are approxi mations of some idea Orleans, LA, 1987

of reality, because they inevitably func­ Visual Paradox, John Michael Kohler Arts Center, She­ tion as a foil for that "reality." boygan, WI, 1987

These photographs are parallel con­ Reviews, Publications, Catalogs and Awards:

structions, images which borrow and "Miniature World of Gloria DeFilipps Brush," Holt Con­ excerpt their schema and details from ferlPolaroid, PhotoEducation, Vol. 6, No. 1, Cam­ other regions of existence. bridge, MA, 1989.

"Miniatures Enchant," by Kelly Wise, The Boston

Globe, December 1, 1988.

"Gloria DeFilipps Brush at MC Gallery," by Chris Wad­ dington, Artpaper, Minneapolis, MN, April, 1988.

"Photographing Small Scale Objects: History, Context

& Format," by Gloria DeFilipps Brush, Leonardo, Vol.

20, No. 3, Berkeley, CA, 1987

"Making Art: Interviews with Ten Minnesota Artists,"

Margaret Todd Maitland, MAEP, Minneapolis Institute

of Arts, 1986.

Bush Foundation Artist Fellowship.

National Endowment for the Arts Photography Fellow­ ship.

Fellowships from the McKnight Foundation/Film in the

Cities and the Minnesota State Arts Board.

Each is a channel for the exploration of expectation and recognition.

-GDB -Untitled (2870), 1990, silver gelatin print, 10 x 13 1/2 inches. Courtesy of MC Gallery, Minneapolis, MN.

Selected Exhibitions:

Selections from the Graham & Susan Nash

Collection, Los Angeles County Museum of

Art, Los Angeles, CA, 1990.

Object is Subject, Indiana State University

at Terre Haute, Terre Haute, IN, 1989.

The New Surrealism, Center for Photogra­ Education:

phy at Woodstock, Woodstock, NY, 1988.

M.F.A., School of the Art Institute of Chicago, 1972.

Solo exhibition at the Polaroid Corporation

B.F.A., School of the Art Institute of Chicago, 1968.

Gloria DeFilipps Brush, Untitled (2870), 1990, silver gelatin prinl, lOx 13 1/2 inches. Courtesy of MC Gallery, Min­ ~";"'_ _-'" neapolis, MN.

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Selected Exhibitions:

John Pfahl once said in a lecture that he photo­ Solo exhibition at Texas Tech University,

graphed "things that are too big to bring home."

Lubbock, TX, 1990.

That is how I feel about the people I photograph.

National Exposure '90, Sawtooth Galleries,

They are the kind of people I would like to bring Winston-Salem , NC, 1990.

home and stare at indefinitely. However, I Photograph as Document, Downey Mu­ wouldn't have room for all of them and staring is seum of Art, Downey, CA, 1989.

taboo, so I photograph them and stare later Current Works, Society for Contemporary

Photography, Kansas City, MO, 1989.

I like to refer to the people I photograph as Solo exhibition at Emporia State University,

"weekend exhibitionists." Anyone displaying full­ Emporia, KS, 1988.

Illuminance, Lubbock Fine Arts Center, Lub­ time "weirdness" would receive little acceptance bock, TX, 1989.

in Oklahoma. These are people vying for a little recognition, usually in the form of public events, Reviews, Publications, Catalogs and

contests, or parades. Whatever the case may be, Awards:

the events are usually held on weekends so the National Exposures '90, catalog, Sawtooth

winners may bask in their "fifteen minutes of Galleries, October, 1990.

fame" but then it's back to normal and back to MAAAlNational Endowment for the Arts,

work on Monday. catalog , 1988.

-eee

·The Kingpins, 1989, silver gelatin print, 20 x 16 inches.

Education:

M.F.A., University of Oklahoma, Norman,

OK, 1983.

'Baby Derby Winner, 1989, silver gelatin print, 20 x 16 inches.

Carla C. Cain, The Kingpins,

1989, silver gelatin print. 20 x 16

inches.

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CAMPBELL

Carol Ann Campbell, Fuschsia Two, 1989, mixed media, 21 x 31 inches. Photo by California Media Group.

art. Her award-winning pieces have been exhibit­ Carol Ann Campbell's off-loom weav­ ed in numerous shows and currently hang in ings are designed to evoke warm emo­ tions in the viewer In her more tradi­ many private collections throughout California. tional pieces she used woven and dyed -Excerpted from a biographical sketch supplied fibers to recreate moods. In her more by the artist. contemporary work she adds the ele­ ment of photographic images woven into the fabrics to engage the imagina­ 'Fuschsia Two, 1989, mixed media, 21 x 31 tion of the viewer Because of the rich inches. tactile quality of the work, she calls it Selected Exhibitions:

two-and-a-half-dimensional.

Yosemite Renaissance V, Ansel Adams Gallery, Yo­

semite, CA, 1990.

After earning a Bachelor of Arts in de­ sign from UCLA, Campbell studied Education:

dyes and fabrics while working as a B.A., University of California at Los Angeles, Los An­ dyer for a New York designer For the­ geles, CA, 1978.

last 10 years she has created her own

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Selected Exhibitions:

Solo exhibition at The Contemporary Mu足 seum, Honolulu, HI, 1991

International Shoebox Sculpture Exhibition, University Art Gallery, Honolulu, HI, 1991

Against the Tide, Nexus Contemporary Art

Center Atlanta, GA, 1990.

Anything But The Obvious, Los Angeles

Contemporary Exhibitions, Los Angeles,

CA, 1990.

Angel on Folding Chair, 1986-1988

First hampered by ignorance, then pampered by bliss, Now checking it twice, and making lists.

Downfall, uproar, upchuck, downpour, missing records, but "Who's keeping score?"

Education:

M.F.A., San Francisco Art Institute, San Francisco, CA, 1982.

B.F.A. , University of Hawaii, Honolulu, HI , 1979.

I come up for air, dressed in wash-n-wear to chase my tale of the Angel on Folding Chair.

-GC

-Angel on Folding Chair, 1987, silver gelatin

print, 16 x 20 inches.

Gaye Chan, Angel on Folding Chair, 1987 silver gelalin prinl, 16 x 20 inches.

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Selected Exhibitions: The photographs I made in the American American Scenes, New Performance Gallery, San Fran­ West reflect varying facets of my personal cisco, CA, 1990. vision. The subjects are more often intimate National Works on Paper Exhibition, McNeese State Uni­ than monumental in scale. Yet to perceive versity, Lake Charles, LA, 1990. the natural poetry of things is no small un­ National Exposures '90, SaW100th Galleries, Winston­ dertaking and expression even in simplest Salem , NC, 1990. terms often seems beyond our grasp. I ad­ Greater Midwest International, Missouri State University, mire the camera's ability to preserve subtle Warrensburg, MO, 1990. detail and nuance of light while, paradoxi­ Seventh Juried Photographic Exhibition, Monterey Mu­ cally, clarifying the essential structure-the seum of Art, Monterey, CA, 1990. soul-of things seen.

Ten Years, Photo Gallery International, Tokyo, Japan, 1989.

In recent years I have felt drawn to work in deserted places where forms are laid out Reviews, Publications, Catalogs and Awards: like so many bare bones. People came, "Contemporary Coup," by Cathy Curtis, Los Angeles took what they wanted or found nothing, Times, Los Angeles, CA, August 4, 1989.

and went away-leaving only mood and "Photography Contest Winners," Photo Metro, San Fran­ mystery. The photograph might offer no so­ cisco, CA, October 1988.

lutions and may itself be an enigma. But "Jonathan Clark," Photo Gal/ery International Letter '87,

Tokyo, 1987

lovingly produced, it can yield a kind of met­ "Doing It the Hard Way," by Bob Lyhne, Palo Alto Times

aphor of experience while giving unique Tribune, Palo Alto, CA, December 22, 1984.

pleasure to the eye.

"Press Books," by Richard-Gabriel Rummonds, American

-JC Book Col/ector, March/April1983.

'Woman, Taos, 1981 silver chloride print, Education: 71 12 x 9 1/2 inches.

B.A., Photography, University of California, Santa Cruz, CA, 1973.

Jonathan Clark, Woman, Taos, 1981 , silver chlo­ ride print, 7 112 x 9 1/2 inches.

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MARK

DAUGHHETEE

Mark Daughhetee, Revenge of Icarus, 1989, toned silver gelatin print, 27 x31 inches.

Somnus and Revenge of Icarus are part of a broader

series of work that takes an off kilter glance at concept

and object and blends them with allegory.

Solo exhibition at the Anchorage Museum of

History and Art, Anchorage, AK, 1989.

Solo exhibition at the Alaska State Museum,

Juneau, AK, 1987

Third Western States Exhibition, Brooklyn Mu­ Revenge of Icarus mixes myth and metaphor in comic

seum, Brooklyn, NY 1987

tableau . The modern day Icarus, now a tethered arm­ chair traveler, floats through the air as he enjoys his fa­ Reviews, Publications, Catalogs and

vorite pastime- capturing and killing birds. With one in

Awards:

the hand he beckons to the two birds in the bush hop­ "When Art and Morality Clash," by Beau Bren­ ing to kill them both on his chairside stone.

dler, Anchorage Times, Anchorage, AK, July

22, 1990.

Somnus, for the Roman God of sleep, pictures my

"Art or Obscenity: Local artists aware of how

young son Zane as he begins his journey through life.

'dangerous' images can be," by Linda Billing­ The cloaked figures are the pillars of life that will steer

ton, Anchorage Daily News, Anchorage, AK,

him. Each holds a "significant object" and guiding light.

May 13, 1990.

Zane dreams of his future.

Mark Daughhetee: Alaskan Artists a Solo Ex­

-MD

hibition Series 1989, by Dr. Rudolf Spengler,

Anchorage Museum of History and Art, An­ ·Somnus, 1989, toned silver gelatin print, 27 x 31

chorage, AK, 1989.

inches.

The Tallahassee Florida National, Florida

State University Gallery and Museum, Talla­ hassee, FL, 1989.

·Revenge of Icarus, 1989, toned silver gelatin print,

"Juneau artist featured in solo exhibit at State

27 x 31 inches.

Museum," by Betsy Longenbaugh, Juneau

Empire, Juneau, AK, 1987

Selected Exhibitions:

Two person exhibition at the University of California Cen­ Education:

ter Gallery, Santa Barbara, CA, 1991.

B.F.A., California State University, Humboldt,

Alternatives '90, Ohio University, Athens, OH, 1990.

Arcata, CA, 1976.

AIDS: The Artist's Response, Wexner Center for the Visu­ al Arts, Columbus, OH, 1989.

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Oregon Historical Center, Portland, OR, 1990.

As an artist I am blessed with an unre­ 12th Annual Magic Silver Show, Murray State Universi­ lenting drive to produce images. I have

ty, Murray, KY, 1990.

been taking photographs for more than

Eugene-Irkutsk, A Day in the Life, Photolone, Eugene,

thirty years. (The) origins for imagery

OR,1990.

rest in the enormous amount of time I

Arcadia Drive Still Lifes, Lane Historical Museum, Eu­ spent watching black and white movies gene, OR, 1990.

as a child.

Self-Reflections, Tempe Art Center, Tempe, AZ., 1990.

The past three years I have been using

Education:

35 mm black and white infrared film to

University of Oregon, Eugene, OR, 1988-'90.

B.A., Depauw University, Greencastle, IN, 1968.

photograph my dog. Turning my eye to­

ward my dog has not been so much

about her as an individual dog or even

dogs in general (but) ...about me and

my work as a photographer. Out of the

situation emerges a relationship be­ tween animal, environment and human.

A three-way relationship intermingles

with form and abstraction. Some imag­ es express one part of the combination

more vividly than the others. I feel the

photographs play a different role in

showing the relationship. Within this

context feelings arise...these feelings

are intended to lapse from human to

animal, not resting in the particular It is

at the point of confusion that I am most

excited and find the work most inspir­ ing.

Recently I have begun to see more

than my personal interpretations reflect­ ed in the photographs... 1plan to contin­ ue working in the same series. I as­

sume I will understand my images

more as I keep working.

-SD (excerpt)

Susan Detroy, Isabel Series #36, 1990, infrared silver gelatin print, 10 x 8 inches.

·Isabel Series #36, 1990, infrared sil­

ver gelatin print, 10 x 8 inches.

Selected Exhibitions: 15th Annual Friends of Photography, Uni­ versity of Oregon Photograph Museum, Eu­ gene, OR, 1990.

Visual Chronicle of Porlland Acquisitions,

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MICHAEL

Since childhood, the type of art that has affected me the most has always been that which attempted to tell a story.

However, I realized at an early age that the most powerful , believable stories in­ variably were fictions incorporating great exaggerations and the farthest departures from the mundane possible.

The most convincing "true stories" were, it seemed to me, the handiwork of the most energetic liars. This ex­ plains my choice of photography, the liars medium, as a vehicle for invention: the photographer can present the view­ er with an object of absolute fabrica­ tion, yet have it accepted unconditional­ ly as fact, due to our general belief in a sort of sacred inviolability of the photo­ graph.

-MD

Michael DouBrava, Untitled, 1988, silver gelatin print, 10 x 10 inches.

'Untitled, 1988, silver gelatin print, 10 x 10 inches.

Selected Exhibitions:

The Portrait, Birmingham Art Association,

Birmingham, AL, 1990.

Negotiated Reality, Birmingham Art Associa­ tion , Birmingham, AL, 1990.

New Alabamians/New Works, Auburn Univer­ sity, Auburn, AL, 1990.

Six Emerging Photographers, Hellstrom-Venz

Alternative Art Space, Birmingham, AL, 1989.

Solo exhibition at Belleville Area College,

Belleville, IL, 1986.

Solo exhibition at Belleville Area College,

Belleville, IL, 1985.

Reviews, Publication, Catalogs and

Awards:

"Portraits at Art Association Define the Face of

Art itself," by James R. Nelson, Birmingham News, Birmingham, AL, October 14, 1990.

New Alabamians/New Works, catalog, Auburn University, Auburn, AL, 1990.

Education:

B.A., Southern Illinois University, Carbondale,

IL, 1987

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CHRISTOPHER

The landscape as I view it is more than a standard format's view. There are many dynamic elements that can be missed by a typical angle of view-a rectangle or a square. Although my work is primarily with the landscape, it is not confined within the typical genre of the panoramic format.

-CF

FAUST

Louis, MO, 1990.

McKnight Fellowship Recipients, Film in the Cities, SI.

Paul, MN, 1990.

Contemporary Landscapes, Alias Gallery, Atlanta, GA,

1990.

Childhood Memory, Photo Central, Hayward, CA,

1989.

Reviews, Publications, Catalogs and Awards:

"The Extended Image," by Kate Jordahl, Photo Metro,

San Francisco, CA, 1989.

"The Landscape," by Eric Renner, The Pinhole Jour­

·Fresh Plowed Field, 1988, silver gel­ nal, December, 1989.

atin print from Cirkut negative, 7 x 40 "Landscape Issue," by Dan Prices, Shots Magazine,

inches.

May/June, 1990.

Selected Exhibitions:

Annual Juried Show, Photo MetroNision

Gallery, San Francisco, CA, 1990.

Katherine Nash, The Landscape, University

of Minnesota, Minneapolis, MN, 1990.

Roadside Architecture, The Forum, St.

Education:

M.S., University of Wisconsin, La Crosse, WI , 1980.

B.A., SI. Cloud State University, MN, 1978.

Christopher Faust, Fresh Plowed Field, 1988, silver gelatin print from Cirkut negative, 7 x 40 inches.

Continuous panoramic view divided into two parts for catalog only.

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National Exposures '90, Sawtooth Building,

It seems shocking when in the course of a life­ time the average person will have slept for nearly Winston-Salem , NC, 1990.

25 years. One third of our life is spent dreaming.

Sandler-Hudson Gallery, Atlanta, GA, 1989.

With this amazing fact, it seems obvious that Artists in Georgia: 1988, Nexus Contempo­ rary Art Center, Atlanta, GA, 1988.

such an enormous percentage of time and expe­ New Photographics '87, Sarah Spurgeon

rience must be of serious importance. This natu­ Gallery, Central Washington University, El­ ral function, as involuntary but necessary for lensburg, WA, 1987

health as is breathing, has always held a special

fascination for me. Some of my earliest memories Reviews, Publications, Catalogs and revolve around awakening from dreams of which Awards: I can still remember to this day. This interest "Take Only Pictures-Leave Only Foot­ eventually led me to make work about the dream prints," by John Cunnally, Number Twelve,

Memphis, TN, September, 1990.

state...

National Exposures '90, catalog, Winston­

The photographs have been made with black and Salem, NC, 1990.

Nexus Magazine of the Arts, Wright State

white infrared film and the prints have been se­ University, Dayton, OH, 1990.

lectively toned and hand-colored. Only one nega­ Artists in Georgia: 1988, catalog, Atlanta,

tive has been used to make each print-the sub­ GA, 1988.

jects in my imagery were really present at the New Photographics '87 catalog, Ellens­ moment in time when the photograph was made burg, WA, 1987

and were not superimposed. It is my way of say­ Light Sensitive V, catalog, Gainesville, FL,

ing that we find what we look for.

1984.

-JH (excerpt)

Education: M.F.A., University of Illinois, Champaign­ 'Untitled (Dream Series), 1989, hand-colored, selec­ Urbana, IL, 1984.

tively toned silver gelatin print, 16 x 20 inches.

B.F.A., Washington University, SI. Louis,

Selected Exhibitions: MO,1982.

Jessica Hines, Untitled

(DreamSe­

ries), 1989,

hand-colored, selectively toned silver gelatin print, 16 x 20 inch­ es.

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Reviews, Publications, Catalogs and Awards:

"Camera Brings World to Life," by Jennifer Heath,

Rocky Mt. News, Denver, CO, August 28, 1987

"Art Expo to Take Over Republic Tower," by Jennifer

Images from the Wall extends chrysa­ Heath, Rocky Mt. News, Denver, CO, September 11

lis, the central persona in my work. She 1987

Chrys·a·lis n. The hard-shelled pupa of a moth or butterfly.

is at the same time Maiden, Mother and Crone. She is the embryo sharing the Education:

same moment of existence with its own M.F.A., University of Colorado, Boulder, CO, 1986.

adulthood-the adult suffering the M.A., University of Northern Colorado, Greeley, CO,

1972.

same uncertainty about survival with its B.A. , University of Northern Colorado, Greeley, CO, own prenatal being. And while chrysalis 1970. protects her precious contents within, she is also the first barrier to the free­ dom without. If the winged spirit within is not strong enough to break out, she will never fly.

It is hoped that experiencing chrysalis is to witness transformation and the participation in struggle. Ancient wis­ dom occurs concurrently with pre­ cognitive innocence. Chrysalis is a twentieth century fetish harboring a spirit near the brink of self-destruction, desperate to culminate in fullness.

-H ·From the Wall #C-4, 1990, C-print, 48 x 30 inches. Courtesy of Payton-Rule Gallery.

Selected Exhibitions:

True West, Payton-Rule Gallery, Denver,

CO, 1990.

For the Love of Art, Denver Art Museum,

Denver, CO, 1990.

International Women 's Day, Erector Square

Gallery, New Haven, CT 1988.

Obrazy, Galeria Rysuntu, Poznan, Poland,

1987

Decadent-X, Objects Gallery, Chicago, IL,

1987

Light Sensitive VI, Gainesville, FL, 1985.

Naked, Boulder Center for the Visual Arts,

Boulder, CO, 1985.

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Hotka, From the Wall #C-4, 1990, C-print, 48 x 30 inch­ es. Courtesy of Payton-Rule Gallery. Photo by Photo­ craft Laboratories.

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NANCY

HUTCH

N SON

The series entitled Simulated Wood is intended 'Simulated Wood: Soil Conservation to document a range in the possible occurrence Service, 1989, partially hand-colored of this decorative device in contemporary society. silver gelatin print, 8 1/4 x 5 1/2 inches Found objects made of simulated wood are sec­ in simulated wood frame. ond-generation signifiers and, in this case, "pic­ Selected Exhibitions:

tures within the picture:" by portraying objects The Winners' Circle, Sawtooth Galleries,

made of authentic wood, they conjure up images Winston-Salem, NC, 1991.

of trees and feelings for nature within the people Light Sources: Five Indiana Photographers, who live and work with them.

Evansville Museum of Arts and Sciences,

Evansville, IN, 1991

By selectively hand-coloring the areas of simulat­ Simulated Wood: Photographs, Pima Com­ ed wood in a photograph, I attempt to re-create munity College, Tuscan, AZ, 1990.

the experience a person has when, casually Nancy Hutchinson: Photographs, University

glancing about, he or she is suddenly struck by of Nevada School of Medicine, Reno, NV,

the sight of a familiar signifier, in this case, simu­ 1989.

Hutchinson & Olin: Photographs, Quincy

lated wood. At that moment, the scene before the College, Quincy, IL, 1988.

person seems to pale, and the signifier itself Everyday Objects, Palo Alto Cultural Cen­ comes forward, both visually and with meaning. ter, Palo Alto, CA, 1985.

-NH

Education:

M.S., Purdue University, W. Lafayette, IN,

1980.

BA, Purdue University, W. Lafayette, IN,

1971

Nancy Hutchinson, Simulated Wood: Soil Conservation Service, 1989, partially hand­ colored silver gelatin print, 8 114 x 5 1/2 inches in simulated wood frame.

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TERRY

MCHENRY

KATZ

Midwest Photography Invitational VI, University of Wis­ These are fictional photographic imag­ consin, Green Bay, WI, 1990-1991 .

es of a world where anything can hap­ National Exposures '90, Sawtooth Galleries, Winston­ pen. The images are surreal scenes Salem, NC, 1990.

with vibrant color The subject matter Six Ideas in Photography, Grand Rapids Art Museum,

can be seen as a humorous or a dis­ Grand Rapids, MI, 1989.

turbing view into a possible future. A major change of scale is achieved Reviews, Publications, Catalogs and Awards:

through the use of a industrial park "An Overview: Photo Show Challenges and Satisfies

model and various toys, fake and real the Eye: by Tom Patterson, Winston-Salem Journal,

food, plastic animals and so on.

Winston-Salem , NC, October 7 1990.

"Show Reflects Changes in Teaching Photography," by

-TMK

Genie Carr, Winston-Salem Journal, Winston-Salem ,

NC, September 27 1990.

Midwest Photography Invitational VI, catalog, Universi­ ty of Wisconsin, Green Bay, WI , 1990.

National Exposures '90, catalog, Sawtooth Galleries,

Selected Exhibitions:

Winston-Salem, NC, 1990.

Spacial Relations, San Diego Art Institute,

Magic Silver Show, catalog , Murray State University,

San Diego, CA, 1990.

Murray, KY 1990.

10th Annual Awards Exhibition, Museum of Six Ideas in Photography, catalog by Gretchen Garner,

Photographic Arts, San Diego, CA, 1990.

Grand Rapids Art Museum, Grand Rapids, MI, 1989.

International Art Competition, Pyramid Gal­ lery, New York, NY 1990.

Education:

10th Annual Juried Exhibition, Orange B.S., William James College, Grand Valley State Uni­ County Center for Contemporary Art, Santa versity, Allendale, MI, 1983.

Ana, CA, 1990.

'Bats and Ants, 1989, Cibachrome print, 30 x 30 x 1 inches.

Terry McHenry Katz, Bats and Ants, 1989, Cibachrome print, 30 x 30 x 1 inches.

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National Exposures '90, Sawtooth Galleries,

The emphasis of my work over the past five Winston-Salem, NC, 1990.

years has been on the role of color in perfor­ Current Works '90, Leedy-Voulkos Art Cen­ mance photography. I create situations where a ter, Kansas City, MO, 1990.

moment in a fictitious theatrical production is Midwest Photography Invitational VI, Uni­ documented as a tableaux. Color has been uti­ versity of Wisconsin, Green Bay, WI, 1990.

lized for dramatic effect as well as for formal con­ Alternatives '90, Ohio University, Athens,

cerns of composition.

OH,1990.

The choice of subject matter has been to utilize objects which could be animated as if they were actors on a stage. The scenarios are personal childhood memories and adult fantasies created for the performance.

My goal with this work is to create a mystery around which only one frame is given as a clue.

-PK ·Petrified Children, 1989, Ektacolor print, 16 x 20 inches.

Selected Exhibitions:

Photospiva, Spiva Art Center, Joplin, MO, 1990.

Reviews, Publications, Catalogs and

Awards:

"Multiple exposures of excitement," by Lau­ ra Caruso, The Kansas City Star, Kansas

City, MO, November 4,1990.

"An Overview: Photo Show Challenges and

Satisfies the Eye," by Tom Patterson, Wins­

ton-Salem Journal, Winston-Salem, NC,

October 7 1990.

"Lensmen of Vision," by Anne Leighton, Fo­

lio Weekly, Jacksonville, FL, June 1990.

Photography on the Edge, catalog, Mar­ quette University, Milwaukee, WI, 1988.

Education: M.F.A., University of Wisconsin, Milwaukee, WI, 1973.

Philip Krejcarek, Petrified Children, 1989, Ektacolor print, 16 x 20 inches.

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MARIA

LUPO

Education: My work explores the themes of aliena­ M.F.A. , Hunter College, New York, NY 1984. tion, isolation and invasion. I place ob­ B.A., Rutgers University, Newark, NJ, 1980. jects mostly constructed from paper in a landscape setting to invade, but these objects are isolated and alienat­ ed from their own kind. The objects in­ vade the cool forest much like an unno­ ticed UFO landing. In addition, the work has a formal aspect that questions the two-dimensional surface of a photo­ graph by manipulation of the space through the placement of objects in the photograph.

-ML

·Multiple Beings, 1988, silver gelatin print, 11 114 x 10 114 inches.

Selected Exhibitions: Window installation at the Artists Book

Works, Chicago, IL, 1991

Solo exhibition at the Trenton City Museum, Maria Lupo, Multiple Beings, 1988, silver gelatin print, 111/4 x 10 1/4 inches.

Trenton, NJ, 1990.

Emerging Artist Series, The Bauhouse, Bal­

timore, MD, 1990.

Alien Art Forms, The Michigan Gallery, De­

troit, MI, 1990.

Women Artists Series, Rutgers University,

New Brunswick, NJ, 1987

The New Jersey Fellowship Exhibition, Mor­

ris Museum, Morristown, NJ, 1986.

Reviews, Publications, Catalogs and Awards: "Diversity in a Trenton Group Show," by V

Raynor, New York Times, New York, NY

August 26, 1990.

TAWA at Ellarslie, catalog, Trenton, NJ,

1990.

''Tracking the Trends," by Wasserman/

Landau, Pavilion Gallery, Mt. Holly, NJ,

1986.

"1985-1986," Women Artist Series, by B. K.

Smith, Rutgers University, New Brunswick,

NJ,1986.

"NJSCA Award, Grants, Fellowships," Her­

ald News, Passaic, NJ, 1984.

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ARDEN

MCDONALD

For once I want to know what bones know-what we can only know after we have died. I have many fantasies that I cannot achieve in life as I have known it-including being able to breathe un­ der water and fly-that I may only be able to achieve after death. In my pho­ tographs, I watch myself achieving these goals. My photographs are about my fantasies.

-AAM ·Untitled Self·Portrait #3, 1988, silver gelatin print, 4 x 20 inches.

Selected Exhibitions: Autonomy and Alchemy, Icarus and Angels, Soho Photo Gallery, New York, NY 1990.

Curator's Choice, Ledel Gallery, New York,

NY 1990.

Photo-Derived, Fine Arts Gallery, Indiana

University, Bloomington, IN, 1989.

Annual Juried Exhibition, San Diego Art In­ stitute, San Diego, CA, 1989.

Annual Juried Exhibition, Matrix Gallery,

Sacramento, CA, 1990.

Education:

BA, Wesleyan University, Middletown, CT,

1988.

Anne Arden McDonald, Untitled Self-Portrait #3, 1988, silver gelatin print, 4 x 20 inches

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HOWARD

ROSENFELD

the beauty of the past...think of the fire-bombing The pursuit of perfection is one of many of Dresden, or Caucescu's destruction of ancient aesthetic motivations, certainly the most forlorn and least likely of suc­ Romania, for recent examples. I suppose it is possible that the future might evolve into a cess...but peculiarly suited to the medi­ "Clockwork Orange"... Hitler almost succeeded in um of photography, at least as it used this direction and his official art certainly reflected to be thought of not so long ago in the the Nazi crushing of the creative spirit. If history Weston/Adams heyday. I still think of it ever does so evolve, civilization will have ceased that way. Nothing gives me more satis­ faction than the discovery of an image to exist, and art along with it. which by its form, context. or personal -HR (excerpt) resonance, permits me to freeze 'forev­ 'Ruin IV, 1987 Cibachrome printlFujichrome er' in glazed perfection my conception of beauty. Perhaps because of this love original, 16 x 20 inches. of the glazed (sharp, glossy) image, I Selected Exhibitions:

am also very much interested in anoth­ Southwest '90, Museum of Fine Arts, Santa Fe, NM,

er artistic medium...ceramics.

1990-'91

33rd Annual Juried Competition, Chautauqua Art Asso­ I believe that there is something inher­ ciation, Chautauqua, NY 1990.

ently basic in the human desire for, and Introductions '89·'90, Long Beach Museum of Art, Long

appreciation of, any "perfect" accom­ Beach, CA, 1990.

plishment, whether that perfection is Demolition Series, Grants Pass Museum of Art, Grants

accomplished in stone, aural phenome­ Pass, OR, 1989.

non (music), pigment, or chromogenic 1989 Architectural Photographs, American Institution

aniline dyes (Cibachrome). If you look of Architects, St. Louis, MO, 1989.

The Glass Eye, Northeast Missouri State University,

back at human history, the significant Kirksville, MO, 1989.

remains of the past are, most impres­

sively, those of an artistic nature... Most Education:

of the rest of history can be expressed Institute of Design, Chicago, IL, 1955-'56.

in terms of the ebb and flow of the so­ Illinois Institute of Technology, Chicago, IL, 1950-'55.

called rule of law, in other words, the body-count of human misunderstand­ ings.

Obviously, this conception of the artist's role in life places the artist on a very high pedestal and saddles him or her with an extraordinary responsibility to civilization (long-term). to his medium, and, most of all, to himself or herself.

Along with this responsibility comes the marvelous feeling of not only being able to appreciate but to create beauty.

I do not think that humanity will ever run out of the need for beauty (new and old) ... if for no other reason than that of humanity's own constant destruction of

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ELISE MITCHELL SANFORD

·Jan Bixler as Jean Harlow, from The Stuff of Dreams series, 1990, selenium­ toned silver gelatin print, 20 x 16 inch­ es.

Selected Exhibitions:

Magic Silver Show, The University of North­ ern Iowa, Cedar Falls, lA, 1991.

The Artist Views the Human Form, Clary­ Miner Gallery, Buffalo, NY 1990.

The Stuff of Dreams, Seigfred Gallery, Ath­ ens, OH, 1990.

Plastic Camera Show, Casa Nueva, Ath­ ens, OH, 1989.

Art Student Group, O'Hooley's, Athens, OH,

1987

Reviews, Publications, Catalogs and

Awards:

The Artist Views the Human Form, catalog,

Clary-Miner Gallery, Buffalo, NY, 1990.

Finalist, Ruttenberg Award Competition,

1990.

Elise Mitchell Sanford, Jan Bixler as Jean Harlow, from The Stuff of Dreams series, 1990, selenium-toned silver gelatin print, 20 x 16 inches.

Education:

M.F.A., Ohio University, Athens, OH, 1990.

BF.A., Ohio University, Athens, OH , 1988.

B.A., Tulane University, New Orleans, LA, 1951

For the past four years, my work has dealt with issues of being female and aging. These are is­ sues I am dealing with in my own life. I live in a culture that denies age and values youth and am surrounded with media that fills our eyes, ears and minds with the need to stay young beautiful and rich. Where does that leave someone be­ yond the age of thirty-five -especially if those physical attributes that society tells us we need to be "accepted" are changing-aging? My purpose in The Stuff Of Dreams series is to show the strength of aging-to show strong. mature wom­ en in fantasy roles who have a sense of their own humanity. identity. and humor (With this begin­ ning. I am now expanding this work for a book and am also investigating the role of fantasy in mature males.)

-EMS

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Through the use of such elements as ·Untitled #6, 1990, silver gelatin print/mixed me­ repeated black voids which obscure diums, 24 x 62 x 1 inches. photographic information contained in Selected Exhibitions: the pieces, and through iconographic Faculty Exhibition, Handwerker Gallery, Ithaca Col­ forms which explicitly refer to inaccessi­ lege, Ithaca, NY 1990.

ble photographic space outside the Void. Redeye Gallery, Rhode Island School of Design,

frame, I am trying to make contact with Providence, RI , 1989.

the epistemological vacancy which Earth, Clay, Loam, Bayard-Ewing Gallery, Providence,

seemingly undergirds all communica­ RI , 1989.

tive acts. What I seek in my work is to Two person exhibit'on at the Bayard-Ewing Gallery,

have the viewer undergo visually pre­ Providence, RI, 1989.

cisely that which cannot easily be ver­ Group exhibition at Bethume Hall, State University of

New York, Buffalo, NY

balized, an experience of logical col­ lapse prompted by a sort of conceptual Education: opacity and perceptual impenetrability.

M.FA, Rhode Island School of Design, Providence,

In short, this work is about "not getting RI , 1989.

it." By reaching such a null point of per­ MA, University of Wisconsin, Madison, WI , 1985.

fect symbolic entropy, it is my hope that BA , University of Delaware, Newark, DE, 1983.

one may be brought to the impassible internal limit of all thought systems­ the "no-thing," the absence, the abyss.

-SS

Steven Skopik, Untitled #6, 1990, silver gelatin print/mixed mediums, 24 x62 x 1 inches.

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sympathize with and respect anyone who, confronted with a portrait camera, is aware of the consequences..."

-RS (excerpt)

'Olive, 1988, silver gelatin print, 16 x 20 x 1 inches.

Robbie Steinbach, Olive, 1988, silver gelatin print, 16 x 20 x 1inches.

Selected Exhibitions:

Magic Silver Show, University of Northern

Iowa, Cedar Falls, lA, 1990.

Photospiva '90, Spiva Art Center, Joplin,

MO,1990.

National Exposures '90, Sawtooth Galleries,

Winston-Salem, NC, 1990.

Images '90, Images Gallery, Cincinnati, OH,

1990.

FotoFest '90, Houston, TX, 1990.

Woman in Her Place, Erector Square Gal­ lery, New Haven, CT 1989.

Self-portraits and portraits of women form the main body of my photographic work. This work began as a way to examine my life and has been extended to raise questions about the lives of of other women. Women of the 1980's are often Reviews, Publications, Catalogs and

faced with an ambiguous status as some of their Awards:

roles change, and other roles remain traditional.

"A Woman of Choices," by Manda Seaver,

Photography, with its decided realism and its ren­ Communique, Augustana College, Rock Is­ dition of static detail, gives me a way to examine land, Il, April 1989.

my feelings about being a woman in our time.

"Collection of Photos," Salima Keegan, ed.,

Hayden's Review, Arizona State University,

Photographer Anne Noggle has influenced me Tempe, AZ, Spring '89, issue 4.

"Female Artists...," Quad-City Times, Dav­ through her work. She is concerned with the "in­ enport, lA, March 8, 1987

version of public and private faces." In her self­ "Photos Capture Diverse Images," Quad­

portraits and her portraits of middle-aged women City Times, Davenport, lA, September 14,

in their homes, she "in the very act of making por­ 1986.

traits to please herself rather than the sit­ ter...courts social and personal risks, at the same Education:

time priding herself on the transparency of her M.F.A., University of Iowa, Iowa City, lA,

motives and ambition." (J .Z. Grover in her intro­ 1990.

duction to Noggle's Silver Lining). I have also MA, University of Iowa, Iowa City, lA,

strived to invert public and private faces, and to 1989.

court personal and social risks in my portraits of B.A., University of Northern Iowa, Cedar

Falls, lA, 1970.

women and my self-portrayals.

This photographic examination is not always easy for the photographer or the subject. Photog­ rapher Irving Penn says, "I myself have always stood in awe of the camera. I recognize it for the instrument it is, part Stradivarius, part scalpel. I

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Cross VI (Veronica wipes the face of Christ) is the sixth piece from a series in progress based on the Station of the Cross.

Hudson, NY 1989.

Reviews, Publications, Catalogs and Awards:

"Silvia Taccani, Bruce Gallery Edinboro University of

Pennsylvania," by Robert Raczka, New Art Examiner,

June 1990.

What interests me in the cross is the New Works Grant, Connecticut Commission on the

paradoxical nature of its evocative pow­ Arts & New Haven Department of Cultural AHairs,

er Even when taken in its simplest 1990.

form, as intersecting lines, it is both the Sequence (con)Sequence (sub)versions of photogra­

coming together of separate entities as phy in the '80s, Julia Ballerini, ed., Aperture Books in

association with Edith C. Blum Art Institute, Bard Col­ well as the divider of space. It thus be­ lege, 1989.

comes a plus sign or extends into axes "Silvia Taccani's vibrant mosaics," by Kelly Wise, The

or cardinal points defining direction and Boston Globe, August 9,1989.

spatial relationship, a way of organizing "Silvia Taccani at Cummings Arts Center, Connecticut

the world so peculiar to humans.

College, New London," by Jude Scwendenwien, Art

New England, March, 1989.

The sixth Station refers to the legend of Curator's Choice Award, Center for Photography at

Veronica who, moved by the sight of Woodstock, 1989.

Christ carrying the cross, wiped the "Artist's Medium is the Polaroid," by Carolyn Battista,

blood and perspiration from his face The New York Times, December 4, 1988.

with her veil. Immediately his true like­ Education:

ness appeared on the cloth . It is fasci­ B.F.A., Rhode Island School of Design, Providence,

nating how well the subject of this Sta­ RI,1980.

tion functions as a metaphor for photography; its assumed truthfulness, its power to create such likeness that it is often used as surrogate reality and, especially in my case, its instantaneity.

-ST (excerpt) ·Cross VI (Veronica wipes the face of Christ), 1990, Polaroid SX-70 (600) prints, 96 x 93 x 1 inches.

Selected Exhibitions:

Provocations: Challenging Contemporary

Photographs, Robert Klein Gallery, Boston,

MA,1990.

Solo exhibition at the Robert Klein Gallery,

Boston, MA, 1989.

Solo exhibition at the Second Street Gal­

lery, Charlottesville, VA, 1989.

Self and Shadow, Burden Gallery, Aperture

Foundation, New York, NY 1989.

Silvia Taccani, Cross VI (Veronica wipes the face of Sequence (con)Sequence (sub)versions of Christ), 1990, Polaroid SX-70 (600) prints, 96 x93 x 1 photography in the '80s, The Edith C. Blum inches. Photo by Patrick Burns.

Art Institute, Bard College, Annandale-on-

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TEVIS

Myth has always been about the powers that in­ .Flaming Fish, 1989, gelatin silver fluence human existence, the forces that are in­ print, 19 x 15 inches. escapable and uncontrollable. These forces are Selected Exhibitions:

no longer natural ones. Nationalism rises and Let the Work Speak for Itself, Chicago

ebbs with tidal regularity. Cultural inertia resists Women's Art Caucus, Oekalb and Chicago,

any variation. Individuals are bantered about by IL, 1990.

the yin of dispassionate technocracy and the Photography-From Fact to Symbol, Jack­ yang of hot-blooded zealotry. (Calling these forc­ sonville, FL, 1990.

es man-made would be underestimating them, Images Member Show, Images Gallery,

implying they could be easily countered.) Con­ Cincinnati, OH, 1990.

temporary mythology must explore the relation­ Two person exhibition at Iowa Wesleyan

ships between these forces. This requires new College, Mount Pleasant, lA, 1989.

characters, as well as a reinterpretation of old One person exhibition at Fielding Gallery,

Sedalia, MO, 1989.

symbols.

Three person exhibition at the Society for

Photographic Education Gal!ery, Kansas

The flaming fish series anthropomorphizes the City, MO, 1988.

narrow-visioned ideologue found too often in con­ temporary politics. The flaming fish moves in one Education:

direction, burning with its one true cause, without M.F.A., University of Iowa, Iowa City, lA, examining the true complexities of the world. It is 1991 a primitive creature with limited responses and limited perceptions.

-CT

Craig Tevis, Flaming Fish, 1989, gelatin silver print, 19 x 15 inches.

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SHELLBURNE THURBER

Long, solitary drives have always been my primary form of therapy, When I'm feeling overwhelmed by "urban blight", desensitized and over stimulated, I take a road trip to clear my head and get myself back on track, With nothing more difficult to contend with than choosing a direction and staying on the road , my mind is left to wander I do my best problem solving and creative think­ ing at these times, The motels, by the act of staying in them, become a part of the process, Shellburne Thurber, Motel Room with Red Carpet, 1987 Ektacolor print, 20 x 24 inches,

Removed from the clutter of my life, I'm free to be anyone I want to be, think ex­ actly as I please, Since no one knows where I am, I can 't be disturbed, The 'Motel Room with Red Carpet, 1987, Ektacolor print, 20 x 24 inches, anonymity of these temporary environ­ ments provides me with a clean slate, a Selected Exhibitions: virgin plate to etch a new identity on, an opportunity to re-invent my life even if Modern Life, The Center for Photography, Woodstock, NY 1990, only for a night. I think of these photo­ Witnesses: Against Our Vanishing, Artists Space, New graphs more as self-portraits, psycho­ York,NY 1989, logical interiors, brain scans; less as Solo exhibition at Eastern Washington University, Che­ straight ahead, descriptive shots of mo­ ney, Washington , 1989, tel rooms , Interior Spaces-Work by Contemporary New Eng/and Artists, Danforth Museum of Art, Farmingham, MA,

On another level, I can't help wonder­ 1987 ing what kind of knowledge these im­ Solo exhibition at the Chapel Gallery, Newton, MA, 1986, placable surfaces are withholding , In Boston Now: Photography, Institute of Contemporary my belief that spaces take on the spirits Art, Boston, MA, 1985, of the people who inhabit them, I often catch myself speculating on the nature Reviews, Publications, Catalogs and Awards: of the energy in these rooms , They've Witnesses: Against Our Vanishing, catalog , New York, undoubtedly witnessed the full range of NY December, 1989, human emotion and experience and yet "Shellburne Thurber at Chapel," by Thomas Frick, Art one is given no clue as to the nature of in America, New York, NY October, 1986, it. Inevitably, I comb these rooms look­ Boston Now: Photography, catalog , Institute of Con­ ing for some vestige, some hint of for­ temporary Art, Boston , MA, 1985, mer life but they've been swept clean, Education: any trace of previous occupancy totally Diploma, School of the Museum of Fine Arts, Boston, eradicated , MA, 1983, -ST BFA, Tufts University, Medford, MA, 1975,

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TOPALIAN

'Hanging Out-Los Angeles, 1990, One of the first pictures I ever took was of my silver gelatin print. 11 x 14 inches. family at Disneyland in 1956. I was seven years old and didn't want to be anywhere else on earth.

Selected Exhibitions:

Disneyland had just opened and my time there Seven Western States, Long Beach Art As足 was pure joy, every moment special. At the end sociation, Long Beach, CA, 1990.

of our day, I assembled my parents and my From Fine Arts to Commerce, The Art Store

brothers. Looking through the viewer of a Kodak Gallery, Los Angeles, CA, 1990.

Brownie, I nervously pushed the shutter. A won足 Counterpoint, Hill Country Arts Foundation,

derful, scary, significant moment. I couldn't make Ingram. TX, 1990.

the day last longer, but for the first time I could National Exposures '90, Sawtooth Building

capture and express a special moment and take Gallery, Winston-Salem, NC 1990.

it with me.

Exhibition 1990, Berkeley Art Center

Berkeley, CA, 1990

California Works 1990, California State Fair,

Thirty-four years later, that same feeling is with Sacramento, CA, 1990.

me when I shoot. Unobtrusive as possible, I search for unguarded moments between subject Education:

and environment, seeking to translate a chaotic Brooks Institute of Photography, Santa Bar足 abundance of small, random incidents and emo足 bara, CA, 1981

tions into a meaningful and textured image. My B.A., California State University, Northridge,

goal for each image is honesty, sincerity, vitality, CA, 1970.

intensity of feeling, and freshness of vision.

My photographs are an intersection of subject, time, and place, an invitation to the viewer to create a narrative.

-CT

Carole

Topalian,

Hanging

Out-Los

Angeles,

1990, silver gelatin

print, 11 x

14 inches.

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This photo is from a group of still-life photos (photo sculptures) that are about consumerism, technology and nature.

-8W 'Untitled, 1981, color photograph, 10 x 7 inches.

Selected Exhibitions: Solo exhibition at Long Island University,

Brooklyn, NY, 1990.

Solo exhibition at the Queensborough Pub足 lic Library, Queens, NY 1989.

Group exhibition, Polaroid Photographs,

Los Angeles Photography Center, Los An足

geles, CA, 1989.

Solo and group exhibitions at Queensbo足

rough College, Queens, NY 1984, 1985,

1986.

Group exhibition at The Salmagundi Gal足 lery, New York, NY 1986.

Group exhibition at Small Works, New York

University, New York, NY 1985.

Reviews, Publications, Catalogs and Awards: Studio Photography Magazine, December,

1988.

The Amicus Journal, Summer, 1988.

Grant, New York State/Queens Council on

the Arts, 1988.

Bob Walden, Untitled, 1981, color photograph, lO x 7 inches.

Education: A.A., Orange Coast College, Costa Mesa, CA, 1978.

B.A. , University of Cincinnati, Cincinnati, OH, 1971 .

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SANDY CROCE WARNER

Selected Exhibitions: I like making these pictures which are a little con­ Solo exhibition at the New Works Gallery, fusing , a little pretty and sometimes, just down­ Chicago, IL, 1991 right weird.

Solo exhibition at the Old Firehouse Gal­

lery, Madison, SO, 1990.

I find this series particularly exciting because I Solo exhibition at the Photo-Four Gallery, S.

am baSically collaging, which I have always loved Holland, IL, 1990.

to do. I see my work as collaging with the assis­ Solo exhibition at the Lincoln Gallery, Aber­ tance of mirrors. Collaging real information, "stuff" deem, SO, 1990.

that is actually there at that given time, and pho­ Governor's Residence 1987-'88 Art Collec­

tographing it so it forms a disjointed yet unified tion, Governor's Residence, Columbus, OH,

1987-88.

situation all on one piece of film .

Reviews, Publications, Catalogs and

The work grew out of an arts residency where the Awards:

high school students were my first participants. I "Photographs," by T Barrett, The New Art

was attracted to the playful element these young Examiner, May, 1988.

individuals could bring to my photographs. Since Governor's Residence 1987- '88 Art Collec­

then, I have continued to use people as part of tion, catalog , 1987

the image. I feel it becomes very apparent that New Photographics '87, catalog, Ellens­ these black and white images have been "col­ burg, WA, 1987

laged" by using the human body, plus it keeps that playful element alive.

-SCw ·Dave, 1988, silver gelatin print, 11 x 16 inches.

Sandy Croce Warner, Dave, 1988, silver gelatin print, 11 x 16 inches.

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WHITAKER

COR IN N E

Joseph Campbell: "Enduring being is...as indifferent to the accidents of time as water boiling in a pot is to the destiny of a bubble."

Two person exhibition at Grant's Pass Museum of Art,

Grant's Pass, OR, 1990.

Solo exhibition at Southern Light Gallery, Amarillo, TX,

1990.

30th Essex International, Salon of Photography, Es­ There is no "other side;" therefore no one sex, England, 1990.

can return from what is not. The body, the Inspirations, Los Angeles County Museum of Art, Los

bones, slowly retreat to the void from which Angeles, CA, 1989.

they came, each step forward in time a The Photograph as Document, Downey Museum of

giant step back into space. Forward is back­ Art, Downey, CA, 1989.

ward, and tomorrow but the road to yester­ In Search of the American Experience, Museum of the

day.

National Arts Foundation, New York, NY 1989.

David Smith: "Are you afraid of rawness, for rawness and harshness are basic forms of U.S. nature, and origins are both raw and vulgar at their time of creation?"

Robert Brain: An anthropologist as he might describe his wife's make-up: "A red dye mixed with wax on her lips, blue, green or white pigments mixed with petroleum jelly on her eyelids, and soot and pig's fat on her brows and lashes."

Reviews, Publications, Catalogs and Awards:

Folio Weekly, Jacksonville, FL, April 16,1990.

New York Times, Long Island Edition, March 18, 1990.

Daily Courier, Grant's Pass, OR, July 19, 1990.

1990 Visual Arts Catalogue, 37th Arts Festival of Atlan­ ta, GA, 1990.

California Art Review, American References, Inc., Chi­ cago, IL, 2nd edition, 1989.

New York Art Review, American References, Inc., Chi­ cago, IL, 3rd edition, 1988.

Education:

BA, Wellesley College, Wellesley, MA, 1956.

Surgeon Richard Selzer The body "is the stillest place that ever was. Why, when the blood sluices fierce as Niagara, when the brain teems with electricity, and the num­ berless cells exchange their goods in ceaseless commerce why is it so quiet?"

Rainer Maria Rilke: "Then, from His place of ambush, God leapt out."

-Excerpted from Responsive Reading sup­ plied by artist. ·Elegy #29, 1990, silver gelatin print, 14 x 11 inches. From the collection of the Mu­ seum of Photographic Arts, San Diego, CA. Selected Exhibitions:

Humans Being, Newspace Gallery, Los An­

Corinne Whitaker, Elegy #29, 1990, silver gelatin print, geles, CA, 1990.

14 x 11 inches. From the collection of the Museum of Games, Toys and Destruction, B.C. Space

Photographic Arts, San Diego, CA. Gallery, Laguna Beach, CA, 1990.

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