November | December 2003 - Boston Photography Focus

November | December 2003 

Volume 27, Number 6 

SNAPSHOT 

November 1 

Paul Taggart online exhibition opens 


2003 PRC Benefit Auction 


Susan Meiselas lecture and booksigning 


Vaughn Sills and Pele Cass exhibition opens 


Polly Brown and Jane Bernard lecture 

December 1 

Amber Davis online exhibition opens 


David Hilliard lecture 


John Paul Caponigro lecture 

Photographic Resource Center 

at Boston University 

832 Commonwealth Avenue 

Boston, MA 02215 

Non-Profit 

US Postage 

PAID 

Boston, MA 

Permit No. 1839

MISSION STATEMENT 

The Photographic Resource Center is guided by a philosophical 

inquiry into the role of photographic media in the 

formation of human knowledge and experience. By emphasizing 

new work, ideas, and methods, and by creating opportunities 

for interaction among the diverse communities that 

it serves, the Photographic Resource Center strives to be a vital 

international voice in understanding the past and shaping 

the future of photography. 

BOARD OF DIRECTORS 

Rick Grossman, President 

Mark Young, Vice President 

Robert Birnbaum 

Marvin F. Cook 

Jim Fitts 

David Gordenstein 

Michael Jacobson 

Keith Johnson 

Lou Jones 

STAFF 

Terrence Morash, Executive Director 

Ingrid Trinkunas, Coordinator of Programs and Administration 

Leslie Brown, Curator 

Alice Hall, Librarian 

GENERAL INFORMATION 

Photographic Resource Center at Boston University 

832 Commonwealth Avenue, Boston, MA 02215 

Tel 617-975-0600 prc@bu.edu 

Fax 617-975-0606 prcboston.org 

HOURS 

Tuesday–Friday: 10–6pm 

Thursday: 10–8pm 

Saturday–Sunday: 12–5pm 

Closed Mondays 

Emily Kahn 

Rodger Kingston 

Gary Leopold 

Walt Meissner 

Kim Sichel 

Jonathan Singer 

Bernard Toale 

Charles Zoulias 

ADMISSION 

Adults: $3 

Students (with valid ID) and Seniors: $2 

Members, children under 18, and school groups 

are admitted free. Admission is free on Thursdays 

and on the last weekend of every month. 

PUBLIC TRANSPORTATION 

Take the Green Line “B” train to BU West, four stops west 

of Kenmore Square. 

COVER IMAGE 

Vaughn Sills, Eggshells, 2003, Singer Edition Iris 

print from Polaroid Type 55 negative, 20 x 25 inches, 

Courtesy the artist. 

DESIGN CREDITS 

This issue of in the loupe was designed by Irma S. Mann, 

Strategic Marketing, Inc. of Boston (www.irmamann.com). 

It was printed by Cambridge Offset Printing. 

A Note from the Director 

As you know, the PRC Benefit Auction is the organization’s most significant fundraising event of the year. 

With the generous support of over 160 artists collectors and gallerists, and with the in-kind support of 

numerous companies, the auction raises nearly 40% of the PRC’s annual operating income. Nevertheless, 

I would be remiss in not noting that the majority of the PRC’s budget is supported by other means. Notably, 

the PRC counts on income generated through individual donations and memberships. As we continue to 

develop invigorating programming for this photographic community, we need your support more than ever. 

The past two years have spawned a number of initiatives that benefited the regional photography community. 

Among the highlights are the following: 

• Redesigned and expanded, the PRC newsletter, in the loupe, provides members with timely 

information, critical essays, book reviews, and insightful interviews. In September 2002, an issue 

of the publication was inserted into 85,000 Sunday New York Times in the greater Boston area, 

greatly raising awareness of the PRC. 

• Prcboston.org, developed in May 2002, expands the PRC’s reach by bringing the organization 

and its resources to web visitors’ fingertips. Web visitation has more than tripled in the past year as 

a result. In September 2003, taking advantage of this increased web attendance, a monthly online 

exhibition series featuring emerging photographers was initiated. 

• Curator Leslie Brown’s diligent work has resulted in several outstanding exhibitions, the reinstatement 

of the popular PRC Student Exhibition, and the development of Northeast Exposure (see page 8). 

Amazingly, over 500 artists have been presented in PRC programming in the past year. 

• The reinvigorated PRC lecture series featured two outstanding presentations by photographers 

Bruce Davidson and Steve McCurry (Co-Sponsored by the ASMP), and includes nearly a half 

dozen talks, including Susan Meiselas’s November 17th lecture, this fall and winter. 

• Finally, the PRC relocated to its newly renovated storefront facility which, in addition to greatly 

increasing the organization’s street visibility, features such amenities as better visitor access and 

a climate control system. The new gallery’s unique inaugural exhibition, Your Work Here, introduced 

hundreds of new people to the organization. 

If you enjoy such programming and organizational developments, I urge you to help support the PRC by 

making a tax-deductible contribution, renewing your membership, and/or introducing friends to the organization. 

Your support will directly help increase the number of programs that we offer, enhance our capability 

as a resource, and generally further the mission of the organization. We hope to hear from you. 

Best regards, 

Terrence Morash 

Executive Director 

Support 

The programs and exhibitions of the Photographic Resource Center are made possible through the 

generous support of its members, Boston University, various government and private foundations, 

and corporations including: 

Adesso 

American Printing 

Ardon Vinyl Graphics 

Art New England 

ArtsMedia 

ASMP 

Associated Press Photos 

Becket Papers 

Boston Beer Company 

Boston Bluegrass Union 

Boston Cultural Council 

Boston Park Plaza Hotel 

Boston University 

Calumet Photographic 

Cambridge Offset Printing 

The Charles Hotel 

Christie’s 

City of Boston 

Paula Cooper Gallery 

Crestar Mfg. 

Deborah Bell Photographs 

Dixie Butterhounds 

Eastman Kodak 

Epson 

Filene’s 

FleetCenter Neighborhood Charities 

Fox River Papers 

Gallery Naga 

Gay’s Flowers and Gifts 

Gourmet Caterers 

Hasselblad 

Harpoon Brewery 

Helicon Design 

Henrietta’s Table 

Mark Hunt Backdrops 

Hunter Editions 

Ilford 

Jameson & Thompson Framers 

Kabloom 

KISS 108 FM 

Robert Klein Gallery 

Lee Gallery 

E.P. Levine 

Luminos Photo. Corp. 

Irma S. Mann Strategic Marketing 

Massachusetts College of Art 

Massachusetts Cultural Council 

MassEnvelopePlus 

MCS Frames 

Merry Maids 

Museums Boston 

Bee Digital 

National Endowment for the Arts 

Nielsen & Bainbridge Co. 

Nikon Inc. 

Nylon Magazine 

Olympus 

Panopticon, Inc. 

Perfecta Camera, Corp. 

photocurator.org 

Photography in New York 

Polaroid Corporation 

Rialto 

Rouge 

Royal Sonesta Hotel 

Sandy’s Music 

Sebastian’s Catering 

Skinner, Inc. 

Sonya’s Catering 

Spectrum Select Printing 

WBUR 

Howard Yezerski Gallery 

Zeff Photo Supply 

Zona Laboratories 

Zoo New England 

PRC 

Announcements 

Farewell Ingrid 

From the Good News/Bad News Department, 

we must report that our favorite emailer, Ingrid 

Trinkunas, will be leaving the PRC November 

15th. During her 4 years as the Coordinator 

of Programs and Administration, Ingrid became 

a household name as she deftly organized workshops 

and lectures, corresponded with PRC 

members, and handled the diverse and numerous 

tasks that are inherent to non-profit organization 

administration. What’s next for Ingrid? School! 

This January, Ingrid will return to Boston 

University to pursue a Masters in Education 

with a focus on bilingual education. Please join 

us in wishing her good luck as she begins this 

next chapter of her life. 

Welcome Emily Gabrian 

While Ingrid will be missed, we are happy to 

announce that support is on its way. Upon her 

Amber Davis, Sasha and his Fathers playing cards, Newton 

MA, August 2003, archival color inkjet print, 30 x 40 inches, 


NOVEMBER 

Featured Photographer: Paul Taggart 

www.prcboston.org/taggart.htm 

From documenting streetkids in Mexico to AIDS 

in Tanzania, the young free-lance photojournalist 

Paul Taggart has already seen the world many 

times over. Currently dividing his time between 

Boston and Brooklyn, the native Oklahoman 

recently signed to World Picture News Photo 

Agency. Taggart has studied at the Art Institute 

of Boston, the Maine Photographic Workshops, 

and several schools of film and television. 

Taggart’s work can be seen in People Magazine, 

the Boston Phoenix, Stuff@Nite, and an upcoming 

exhibition at Lou Jones Studio. Featured online 

are selections from a recent project for the CARE 

Foundation on Malaria in Africa as well as 

images from his ongoing work documenting the 

Louisiana State Penitentiary at Angola. 

graduation from the 

Art Institute of Boston 

in December, current 

PRC work/study student 

Emily Gabrian 

will be joining the 

PRC staff as its Programs 

Coordinator. 

A Missouri native, 

Emily has been working 

part-time at the 

PRC since Fall 2002 

and is ready to Emily Gabrian 

quickly take over 

many of the position’s responsibilities, including 

correspondence with PRC members. A photographer 

herself, Emily has had an extremely active 

collegiate career. In addition to her stint at the 

PRC, she directed AIB’s Gallery South, served 

as a Studio Assistant for both Michael Conway 

and Christopher James, and curated several exhibitions. 

As many of you already know, she is a 

terrific and welcome addition to the PRC staff. 

Upcoming PRC Exhibitions 

Northeast Exposure: Vaughn Sills and Pelle Cass 

November 21-December 19, 2003 

Opening Reception: Thursday, November 20, 2003, 5:30-7:30 p.m. 

Gallery Talk: Thursday, December 4, 2003, 6:30 p.m. 

The PRC announces the next installments in the Northeast Exposure online series. Starting this 

September, we began showcasing new work by regionally-tied photographers on prcboston.org. 

In the first month alone, we’re thrilled to announce that almost 400 hits were registered. The 

virtual gallery is by invite only and features a selection of images—usually project oriented— 

a biography, artist and curator statements, and a link to related websites. 

DECEMBER 

Featured Photographer: Amber Davis 

www.prcboston.org/davis.htm 

A resident of Somerville, Amber Davis received 

her MFA in Computer Arts, Photography, 

and Design at the University of Massachusetts 

at Amherst in 1998 and then taught on the 

faculty of Princeton University. Currently, 

she teaches photography and new media at 

Massachusetts College of Art. For the past 

seven years, Davis has been photographing 

her family: her gay father, lifelong partner, 

mother and stepfather as well as community 

friends. This online exhibit showcases some 

of her most recent collaborative portrait work 

with gay-parented families, mostly located 

in the suburbs surrounding Boston. Taken 

with medium and large format cameras, the 

end results are large lush ink jet color prints. 

Be a Friend! 

The Friends of the PRC, an all-volunteer group 

of photography lovers who exist to support 

the PRC, are looking for more members. If you 

are interested in photography and would like 

to be more involved with the PRC, then you may 

be interested in becoming a Friend. The group is 

free and open to all. The next meetings, occurring 

at 7 p.m. at the PRC, are: December 18, 2003, 

January 19, 2004, and February 23, 2004. Please 

call Friends of the PRC President, Bruce Myren, 

at 617-719-5674, for more details. 

PRC Holiday Hours 

Please note that the PRC will be closed for 

Thanksgiving, November 27-30, 2003. As 

well, the PRC will be open by appointment 

only December 20, 2003-January 22, 2004 

due to the end-of-the-year holidays and the 

installation of our January exhibition. 

Paul Taggart, From the Malaria series. Courtesy and copyright 

the artist. 

Davis’s work has been featured in many gay, 

lesbian, and transgendered publications, such 

as Arts & Understanding and the Advocate. 

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education programs at the prc 

LECTURES 

natures of those who have made this road 

their home. 

Jane Bernard is a documentary and editorial 

photographer whose work has appeared in 

U.S. News and World Report, the L.A. Times, 

and the Washington Post. She has worked as 

a staff reporter for the Albuquerque Journal and 

photographed for the U.S. Geological Survey 

book The Grand Canyon, 100 Years of Change. 

Polly Brown is a social-documentary photographer 

whose photo-essays and editorial work have 

been published in the New York Times Magazine, 

Mother Jones, and Psychology Today. She is the 

co-author of City Limits, a book on the 

people and neighborhoods of Boston. She 

was an Associate Professor of Photography 

at the International Center of Photography 

in New York and at the University of Hawaii. 

Her work has been exhibited worldwide and 

is in the permanent collections of the Fogg Art 

Museum, the Rose Museum, Polaroid Corporation, 

among many. She has received numerous 

grants, including a National Endowment for 

the Arts Fellowship. 

David Hilliard 

Co-Sponsored by the New England School 

of Photography 

Wednesday, December 3, 2003, 7 p.m. 

College of Communications, Auditorium 101, 

640 Commonwealth Avenue, Boston, MA 

Free to the Public. 

David Hilliard makes space and time meld in 

the mini dramas he constructs in his multiple 

panel compositions of color saturated C-Prints. 

In his work, Hilliard depicts panoramic views 

of ordinary scenes he sets up over a sequence 

of multiple photos. However, instead of tracking 

across the scene in a straight linear fashion, 

he distorts the space by pulling the image plain 

in unexpected directions, creating a wide-angle 

view of his subjects and the space they inhabit. 

His scenes take place in suburban lawns, 

gymnasiums, and florist shops and the people 

within them, seem emotionally distant. In 

contrast, the colors of his images are rich, 

saturated, and intoxicating. 

Hilliard has been a lecturer and faculty member 

at Yale University and Harvard University 

in addition to his career as a photographer. 

His work has been exhibited in numerous 

solo and group shows in the United States 

and beyond. Currently, Hilliard’s latest work 

is on display at the Bernard Toale Gallery, 

Boston, MA in the exhibition David Hilliard: 

New Work (Nov 12-Dec 24). 

John Paul Caponigro 

Co-Sponsored by the New England School 

of Photography 

Thursday December 4, 2003, 6 p.m. 

Photonics Center, Auditorium 206, 

8 St. Mary’s Street, Boston, MA 

Reservations Required. 

Please call 617-975-0600 

John Paul Caponigro is respected internationally 

as one of the most prominent artists working 

From the series Carnival Strippers, courtesy of Susan Meiselas/Magnum Photos. 

Susan Meiselas 

Lecture and Booksigning 

Monday, November 17, 2003, 6 p.m. 

Photonics Center, Auditorium 206, 

8 St. Mary’s Street, Boston, MA 

$7 Members/$10 Non-Members 

$5 Full-Time Students and Seniors 

Reservations Recommended. 

Please call 617-975-0600. 

Susan Meiselas is a photojournalist and social 

documentarian who has gone to places and 

been in situations where many others have 

dared not go. Her courage, strength, and 

strong convictions have led her to India, Chile, 

Nicaragua, and El Salvador, and her coverage 

of hostilities in Central America earned her 

the Robert Capa Gold Medal from the Overseas 

Press Club in 1979. Meiselas’s early work was 

published in two books—Carnival Strippers 

and Nicaragua. In 1996, she completed project 

integrating her work into the 100-year photographic 

history of Kurdistan in the book 

Kurdistan: In the Shadow of History. In 2001, 

she explored a New York s&m club in Pandora’s 

Box. Most recently, she explored the 60-year 

history of outsiders’ relationships with the 

Dani, an indigenous people of the highlands 

of Papau in Indonesia, in Encounters with the 

Dani. In addition to still photography, Meiselas 

has co-directed two films, and wrote, photographed 

and produced a third. Her written 

articles have appeared in a long list of prestigious 

books, journals, and papers. As if it weren’t 

enough, her dedication and strong belief in 

education have led her to develop curricula 

using photography and animated film for 

the New York City public school system, 

and, as artist-in-residence for the South 

Carolina and Mississippi Arts Commissions, 

she set up film and photography programs 

in rural southern schools. 

A booksigning will follow Meiselas’s lecture. 

Copies of Encounters with Dani and the recently 

reprinted Carnival Strippers will be available for 

sale that evening. 

American Route 66: 

Home on the Road 

A Lecture-Presentation by Polly Brown 

and Jane Bernard 

Tuesday, November 25, 2003, 6 p.m. 

School of Education, Boston University, 

Auditorium 130, 

2 Sherborn Street, Boston, MA 

$7 Members/$10 Non-Members 

$5 Full-Time Students and Seniors 

Reservations Required. 

Please call 617-975-0600. 

Route 66 is a historic and mythical highway. 

Uniquely American, it has become a symbol 

of mom-and-pop diners, apple pie, and the 

adventure of the open road. For three years, 

photographers Polly Brown and Jane Bernard 

traveled the road to document, through photographs 

and first-person accounts, the American 

spirit, so evident in the playful and determined 

Photograph by David Hilliard. Courtesy of the Bernard Toale Gallery. 

2 

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education programs at the prc 

WORKSHOPS AND SEMINARS 

Do you believe in love at first sight? 

Proposing a Photography 

Workshop at the PRC 

Do you have a special interest or a specialty in photography 

that you would like to share with others? Please 

follow the details below for submitting a workshop proposal. 

Additional details can be found on prcboston.org. 

All workshop proposals should contain: 

1. A one paragraph description (100 words or less) 

briefly explaining the workshop. 

2. A course outline detailing the timeline, format, 

themes, teaching methods, and technical 

requirements needed for the workshop. 

3. A resume, curriculum vita, or biography. 

Please email materials to prc@bu.edu (make the subject 

"Workshop Proposal"), or mail to: 

Program Proposal 

Photographic Resource Center 

832 Commonwealth Avenue 


You will be contacted within 3 weeks of your submission. 

Should you have questions about submitting a proposal, 

or wish to know the teacher payment guidelines, please 

contact the PRC. 

® 

with digital media processes. He combines 

his background in painting with traditional 

and alternative photographic processes using 

the digital platform. It makes sense that John 

Paul learned to paint before he could talk. 

His father, Paul Caponigro — considered one 

of the foremost landscape photographers of the 

20th century — creates pictures characterized 

by a luminous, transcendent quality. 

A native of Boston, but raised in New Mexico, 

Caponigro returned to New England to attend 

Yale University. He later finished his BA at the 

University of California at Santa Cruz, finally 

settling in coastal Maine, where he remains. 

His work is included in many public and 

private collections, such as the Princeton University, 

the Houston Museum of Fine Arts, 

and the Estee Lauder. He teaches at many 

well-known workshops around the world and 

lectures at universities, museums, and conferences. 

Caponigro’s work is widely published 

in periodicals like Camera Arts, Art News, and 

Photographers Forum. In addition to his artistic 

endeavors, Caponigro is one of Canon USA’s 

Explorers of Light and Epson’s Stylus Pros. 

His clients include Canon, Epson, Imacon, 

Kodak, Adobe, Epson and Apple. 

Polly Brown, American Route 66. 

Portfolio Reviews 

Monthly Portfolio Reviews with the PRC Curator 

Below you will find dates for our monthly 

portfolio reviews (and corresponding call-in 

reservation information) with the PRC’s Curator, 

Leslie Brown. As before, the reviews are 

45 minutes long and scheduled on the hour 

beginning at 9:00 am with the last one at 3:00 p.m. 

Reservations will be accepted on a first-call, 

first-served basis. It is highly recommended that 

you bring supporting materials (resume, images, 

and statement). 

Review Date: Monday, December 15, 2003 

(call in for reservations at 10 a.m., Friday, 

November 21) 

Review Date: Monday, January 26, 2004 

(call in for reservations at 10 a.m., Friday, 

December 12) 

ADESSO 

SMALA SOFA. Design: Pascal Morgue. 

Innovation and subtle luxury… Ligne Roset. 

Select furniture and lighting designs in stock for immediate delivery. 

NEW EUROPEAN FURNITURE, LIGHTING AND ACCESSORIES 

200 Boylston Street, Boston (adjoining the Four Seasons Hotel) 

tel 617-451-2212 - www.adessoboston.com 

Open 10-6 Monday–Saturday, 12-5 Sunday 

4 5

Recent Additions to the PRC Library 

As many of you know, the PRC’s library is an invaluable 

resource for those living in the Boston area, particularly 

area college students. Boasting over 4,000 volumes, 

including many rare and vintage items, it is a terrific 

place to spend an afternoon discovering more about 

the world of photography. This fall, we are pleased 

to announce the addition of number of titles to the 

Aaron Siskind Library Collection. 

Aperture, Photography Fast Forward, Aperture, 2002 

Barney, Mathew, The Cremaster Series, Guggenheim Museum, 2002 

Borham, Piere, Andre Kertesz: His Life and Works, Bullfinch Press 

Dworzak, Thomas, Taliban, Trolley, 2003 

Dubin, Steven, Arresting Images, Routledge, 1992 

Fairbrother, Trevor, Family Ties, Peabody Essex Museum, 2003 

Jodice, Mimmo, Mediterranean Photographs, Aperture, 1995 

Fontecuberta, Joan, Karelia Milagros and Company, 

Fundacion Telefonica, 2002 

Freedman, Jill, Firehouse, Doubleday and Company, 1977 

Gagnon, Marie-Eve, Un Chevieuila la Fenetre, Daziboa, 2003 

Graham, David, Land of the Free, Aperture, 1999 

Goldin, Nan, Ten Years After, Scalo, 1998 

Greenfield, Lauren, Girl Culture, Chronicle Books, 2002 

Hurley, Jack, Portrait of a Decade, 

Louisiana State University Press, 1974 

Izu, Kenro, Sacred Places, Arena Editions, 2001 

Jasmin, Paul. Hollywood Cowboy. Arena Editions, 2002 

Kinsey Institute, Peek: Photographs from the Kinsey Institute, 

Arena Editions, 2000 

Markus, Kurt, Boxers,Twin Palms Publishers, 1998 

Mikhailov, Boris, Boris Mikhailov, Phaidon Press Ltd., 2002 

Mills, Joseph, Joseph Mills Inner City, Nazraeli, 2003 

Pinney, Christopher, Photography’s Other Histories, Duke University 

Press, 2003 

Prince, Douglas, All Possible Worlds, 

Northern Kentucky University Press, 2000 

Ruff, Thomas, Thomas Ruff, Essor Gallery London, 2001 

Tillmans, Wolfgang, Still Life, Harvard University Art Museum, 2002 

Villegas, Jose Luis, Home is Everything, Cinco Puntos Press, 2002 

Weber, Bruce, A House is not a Home, Bulfinch Press, 1996 

Wenders, Wim, Pictures from the Surface of the Earth, 

Schirmer Art Books, 2003 

Nothing can replace the power of a great photograph. 

THE TENTH JURIED EXHIBITION 

See this year’s winners on exhibit 

December 11 through February 27, 2004. 

67 Shore Road, Winchester, MA. 

For details call 781-729-1158 or visit griffinmuseum.org. 

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Northeast Exposure 

Vaughn Sills and Pelle Cass 

November 21-December 19, 2003 

Beginning with this gallery presentation of 

work by Vaughn Sills and Pelle Cass, the PRC 

is proud to launch a new exhibition series— 

Northeast Exposure. This new program showcases 

new works and new directions by mid-career 

and emerging regionally-tied photographers. 

Interspersed between the popular themed shows 

for which the PRC has become known, the 

month-long solo, duo, or small group offerings 

allow the PRC to spotlight the depth and wealth 

of talent in New England. Sill’s contribution 

is from her latest series, “Beyond Words,” 

on which she has been working during her 

summer breaks from teaching. Over half 

of the pieces displayed are the results of her 

most recent sojourn at her family’s cottage 

in Prince Edward Island. Cass’s work has all 

been completed in the last year, after an over 

10-year hiatus from photography. 

For the past 10 years, Sills has been an Assistant 

Professor of Photography at Simons College. Born 

in Quebec, this Cambridge-based photographer 

and former English major earned a MFA from 

Rhode Island School of Design. Sills is perhaps 

best known for her project “One Family,” in which 

she documented four generations of a rural 

Georgian family, over a period of 20 years. 

Her work is included in the DeCordova 

Museum, Harvard University’s Carpenter 

Center for the Arts, and Polaroid Collections. 

Created in her studio using settings that recall 

miniature stages, this new work features natural 

objects from her surroundings—a squirrel’s 

skeleton, a shell, a moth—along with her family’s 

1932 Oxford English dictionary open to the 

corresponding word or expression. Although 

digitally printed from 4 x 5 Polaroid film, the 

lush Iris prints are not altered; the hovering 

dream-like still lifes are set against a sea of black 

velvet and held in place by a bevy of bric-a-brac. 

Cass studied photography at the University 

of New Mexico, Minneapolis College of Art, 

and School of the Museum of Fine Arts, 

Boston. From 1978 to 1990, he was very active 

in the regional scene. Represented by the Stux 

Gallery and Frank Marino Gallery, Cass was 

featured in numerous solo shows, such as at 

the Fogg Art Museum’s Print Room, and group 

shows, including a George Eastman House 

traveling exhibition “The Photographer’s Hand.” 

His earlier still-life work is found in the Fogg 

Art Museum, Addison Gallery of Art, and 

Polaroid Collections. In 1991, due in part 

to the needs of a growing family, Cass stopped 

photographing to return to school, earning 

a BA in Art History from the University of 

Massachusetts, Boston, and eventually pursuing 

a career in publishing. Cass resumed photographing 

in September 2002. Influenced by his 

own writing and his work at textbook publisher 

Bedford/St. Martin’s, Cass utilizes printed materials 

to create collages and assemblages, which 

he then photographs using a medium format 

or 4 x 5 view camera. 

Today, an overriding theme of collecting and 

categorizing seems to pervade the zeitgeist. 

If almost to make up for image and information 

overload, artists ingest a plethora of icons, and 

become hunter-gatherers, neatly, or not so 

neatly, placing objects into cubbyholes. The 

buzzword of “archive” informs many exhibitions 

and art historical texts. Indeed, photography 

has been at the forefront of this discussion 

given its unique indexical role as well as its 

various functions and applications. For example, 

August Sander’s systematic documentation of 

types of people and Bernd and Hilla Becher’s 

anthologies of architectural forms have seen 

renewed scholarly interest. Likewise, related 

topics such as unique museums and specific 

collections have been the subject of numerous 

photography projects and exhibitions. Both 

Cass and Sills tackle large concepts such as 

beauty, order, language, and meaning, but 

do so in very individual ways. This essay will 

briefly contrast Sills and Cass’s working style 

and their methodology in order to broach 

some of these larger issues. 

Sills and Cass’s choice of titles for their series 

speak to their interests. Sills’s phrase “Beyond 

Words” speaks to the inability of labels to 

describe and capture the essence of any object 

and its constellation of attributes. Sills’s series 

is also very personal; she remembers thumbing 

through this very dictionary as a child, crossreferencing 

words and concepts, and the wonder 

and awe with which she beheld her natural 

discoveries. Admittedly, if Cass were to title 

this selection of works, it would be the essence 

of the George Santayana handwritten quote 

he so beautifully deconstructed to then reconstruct: 

“Everything in nature is lyrical in its 

ideal essence, tragic in its fate and comic in its 

existence.” Similar to museum or archeological 

photographers, Sills and Cass’s chosen objects 

(or reproductions thereof) are photographed, 

often isolated, and presented for study. Both 

artists concentrate on variants of the quotidian: 

Sills, the natural, and Cass, the manmade. 

Each photographer’s work hearkens back to 

earlier styles and genres in histories of photography 

and art. Sills’s work lies in the still life 

Opposite page: Pelle Cass, Every headline in the Boston Globe, 

12/12/02, 2003, Gelatin silver print, 15 x 15 inches, Courtesy 

the artist. 

Above: Vaughn Sills, Moth, 2002, Singer Edition Iris print from 

Polaroid Type 55 negative, 25 x 20 inches, Courtesy the artist . 

tradition and references the concept of “vanitas.” 

Known for their mastery of this genre, Dutch 

renaissance painters introduced “vanitas” 

or fleetingness of life into their compositions 

via an errant fly, a decomposing piece of fruit, 

or skull. Sills’s skeletons and out of their element 

entities also remind us that still-life in 

French, “nature morte,” literally means “dead 

nature.” Sill’s minimalist approach also recalls 

early photographic experiments. The simple 

arrangements and single-hued aesthetics are 

akin to the photograms of lace and leaves 

of William Henry Fox Talbot and the cyanotypes 

of sealife by Anna Atkins. (Interestingly, 

many of photography’s first practitioners had a 

close connection to botany and other natural 

sciences.) Cass himself willfully acknowledges 

a debt to German early-twentieth century collage 

artist Kurt Schwitters’s concept of “Merz.” 

Coined from the word “commerce,” Merz 

referred to both the materials—cut and torn 

paper and scraps of rubbish—and the subject— 

a sly critique on consumer culture. Like Merz 

and later installation and performance photography, 

Cass’s work slides between the sculptural 

and the conceptual—the end result becoming 

an entirely new artistic entity. 

In creating their compositions, both Sills and 

Cass operate with specific intellectual conceits 

in mind. Cass’s titles reveal his procedure: 

Every headline in the Boston Globe, 12/12/02; 

Sweaters (J. Crew catalogue); Pictures and 

Mirrors (Crate and Barrel catalogue). To Cass, 

nothing is immune from being dissected and 

regurgitated: advertising circulars, water bottle 

8 

9

photograph 

September/October 2003 $5 

Vaughn Sills, Populus (poplars, Latin), 2002, Singer Edition 

Iris print from Polaroid Type 55 negative, 25 x 20 inches, 


plastic, renowned poems by Kenneth Koch, 

or even a critical study of the 20th century 

novel. Sills’s repetition of the book form—much 

like a running bass in music—unites her series 

aesthetically and conceptually. The dictionary, 

seems alternately confident and shy, sometimes 

bursting forth and other times hiding behind 

its camouflage. Most of the time, Sill’s family’s 

dictionary takes the starring role, but she has 

also begun to highlight other reference books 

further questioning the relationship between 

object and referent (a French and Latin dictionary 

also make appearances). Other words that surface 

on the weathered pages also inform our apprehension 

of the object, by chance or design: 

Fern appears on the same page as Feminine 

and Onions occurs along with the keyword 

of Open. Associations build upon associations, 

just like the growing roots and tendrils of Sill’s 

beloved “objet trouvés.” 

Sills and Cass also practice a form of recycling. 

Cass reminds us that expensive jewelry pictured 

in a magazine or scenes of Hawaii from an old 

calendar are simply images and ink on paper. 

What is meant to entice, once used and consumed, 

enters a landfill or recycling plant. Still, Cass 

creatively reuses this foltsam and jetsam of 

everyday life—often scattering it with a sense 

of chance recalling the Surrealists thrown in 

with a definitive sense of Dada-esque humor. 

(Even his crumpled garbage bags or t-shirts on 

which he rests his detritus often peek cheekily.) 

On the other hand, Sills’s black velvet background 

is precious, as are her carefully chosen 

items. For a brief moment they enter as actors, 

into her darkened theatre, playing the part of 

the penultimate. Indeed, an extinct to anthropomorphize 

also extends to the objects themselves, 

animated by their puppetry and placement. 

After the portrait session, Sills returns her items 

to the natural elements, replanting flowers and 

returning sealife to their watery habitat. In 

several compositions, Sills almost completely 

obscures the dictionary, either by hiding it 

behind vegetation or sprinkling moss upon it. 

In Indian Pipe and Nid (nest, French), for 

Pelle Cass, "Everything in Nature…" (quotation by George Santayana), 2003, Gelatin silver print, Courtesy the artist. 

example, the debris and dirt covers and encapsulates 

the tome as if reclaiming it for the forest. 

With these artworks presented here, one is 

reminded of a whole host of systems and theories 

of naming—post-modern linguistics, biblical 

references, Plato’s theory of forms, and Linnaeus’s 

system of nomenclature to name a few. New 

words, steeped in contemporary cultural references, 

make headlines every time they enter 

the newest dictionary edition. We are thus 

reminded that what appears static and timeless—language—is 

constantly changing and 

shifting in a primordial verbal soup. Indeed, 

these literary pictures both use and reference 

language and other works of literature. One 

might be reminded of writer Jorge Luis Borges’s 

short story Library of Babel, in which he imagines 

an infinite library containing all books and 

all words ever written with man acting as “the 

imperfect librarian.” The marks and symbols, 

while constantly attempting to refer to the 

outside world, compound and confound 

each other. What is often meant to simplify 

and clarify, however, often becomes cyclical 

and imprecise. 

Simply put, Sills and Cass open the discussion 

as to how we as humans relate to and make 

sense of the world. Sills attempts to verbalize 

her intent: “I chose these things because of their 

extraordinary beauty—and because they hold 

the mystery of life and death.” Cass explains 

the epiphany that occurs when his bits and 

pieces become a black and white photograph: 

“I recognize something of beauty that I’ve 

never seen before, but that has been staring 

me in the face every day of my life: the world.” 

In the end, despite all the attempts to cull and 

categorize, these artists equally celebrate the 

inexact, the in-between, and the ineffable. 

Therein lie the auspices of art. 

© Rineke Dijkstra, Almerisa, Leidschendam, The Netherlands, December 9, 2000. Courtesy of Marian Goodman Gallery, New York 

photograph the bi-monthly USA guide to exhibitions, private dealers, auctions, events, resources, news and lots more. 

One-year subscription: $35 US, $40 Canada, $70 all other. Payment in US funds on a US bank or Amex, MC, Visa. 

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www.photography-guide.com for the latest info, hundreds of links, and where to find the works of over 1500 artists. 

10 

11

insight 

An Interview with Rosamond Purcell 

Rosamond Purcell is known for her cross-disciplinary work bridging science 

and art. She photographs myriad museums, collections, oddities, and objects 

from nature. For her fascinating photography projects, she has teamed up with 

famed evolutionist Stephen Jay Gould and author, actor, and magician, Ricky 

Jay, for the book, Dice: Deception and Destruction. Owls Head, Purcell’s book 

about the Maine junkyard from which most of her recent objects were found, 

was recently published by The Quantuck Lane Press. The following interview 

took place at the Tufts University Gallery, where Purcell’s photographs, studio, 

and recreation of 17th Century naturalist Olaus Worm’s Wunderkammer, are 

on display. The exhibition "Two Rooms", is viewable through December 14th. 

Why photography? Why art? 

Throughout college, I wanted to be a writer. 

However, after college, no one really responded 

to my writing. Then, I was given a Polaroid 

camera by Dennis [Purcell] and discovered that 

photography worked for me. In one frame, 

I could compress many thoughts and effects 

without having to write a word. What would 

take paragraphs to do in writing, I could do in 

a single frame. Almost immediately, I had much 

more positive feedback in photography than 

I ever had in writing. I mean, I had photographed 

for only a couple of years and Minor White 

gave me an exhibition. I used Polaroid materials 

for years before I ever learned to print as Dennis 

realized it was the only way to jump-start someone 

who wasn’t even interested in photography. 

What happened immediately was that none 

of the prints were really what I had in mind. 

It was almost as if I was looking at something 

other than what was showing up on the film. 

I had to learn to get in synch with what was 

there and with my expectations for it on film. 

The materials, the camera, and the lens are 

going to give you something. The best you 

can do is put yourself in the way of what you 

think you want out of it. For a long time, 

my photography was very experimental. Now, 

I know what the lens can do for me and I am 

pretty sure what the film will do. 

Do you feel your photographs are more about 

process than product? 

No. I am definitely goal-oriented. I am after 

the product. I am very concerned that the 

process be in service to the product, but 

I am not a mucker-about in the darkroom. 

How do you classify yourself, your work? 

[Rosamond gestures towards her studio installation.] 

I didn’t set out to do this. Everything 

starts out as an experiment—one thing happens, 

and then another. With the photography, 

Dennis coached me and coached me until 

I got a picture that, unto itself, looked really 

good. I was amazed, so I kept on working. 

It’s about continuity really. For example, in 

the junkyard, I would find something great, 

and then I would find something else great, 

and then I would find 17 things. I learned how 

to edit what I found. As the things piled up, 

I simply had to put the scrap metal on the 

wall so I could see what I had. I didn’t start out 

saying, "I am a sculptor. I will build this wall." 

I started out saying, "I have to see my materials. 

For heaven’s sake, they’re all piled up!" Installing 

[the studio] here at Tufts is really the third time 

I have had to do so. First, it was in my studio, 

then it went to Santa Monica, now it’s here, 

now its going to travel elsewhere. In the studio, 

it was just on the wall and I built it in order to 

fit what I had and where I was. This [installation] 

is different than my actual studio because 

Chris Enos. Photograph by Terrence Morash. 

it is being presented as an art piece. It is a stage. 

Installing the studio as an artwork, knowing 

that people will be looking at it, is much harder 

to do, psychologically. 

It is interesting that the installation of the 

studio and the photographs are truly similar. 

I think it has to do with the strands of philosophy 

that I am using. At the same time that I became 

interested in natural history collections, I found 

the junkyard. Those two places, the derelict, 

antique yard, and the preserved, partial human 

and animal remains, were two strands of my 

interest. In natural history museums, everything 

is kept in categories, in systems, in collections, 

by type. And that is not something that I am 

interested in. I am interested in melting the 

systems, in reposition things. That is why my 

natural history photography does not appeal 

to scientists. Because I am taking things out 

of context. 

Now that the contents of your studio are 

on the road, how does this change your work? 

Is this a new chapter? 

It’s curious, I don’t quite know what I am doing 

[in the studio]. I am really puzzled. I am sort 

of thinking, "Was the purpose of this studio 

to put this collection together? Was it in order 

to do this? Am I done?" Once something gets 

out in the world, it is a lot harder to think that 

you had anything to do with it. [At Tufts] we 

were putting this show together for many, many 

days. Really hard work with hammers and nails. 

At one point, when they were working on 

the lights, I stepped out. When I returned five 

minutes later, [the studio installation] was a 

different place. It was no longer the place where 

I was working, it was the place that was going 

to be on display. Once something is on display, 

I don’t have any purpose. Of course, I also think 

it’s okay if I don’t figure out [what’s next] for a 

few days. I recently finished writing Owls Head, 

which I truly enjoyed. Perhaps, I will write 

another book. 

12 

13

photography events in new england and beyond 

EXHIBITIONS 

in the loupe listings deadlines 

EDUCATION 

MASSACHUSETTS 

American Textile History Museum 

Runway Madness! The Fashion Photographs of Lucian 

Perkins (thru Jan 4). Tue-Fri, 9-4; Sat-Sun, 10-5. 

491 Dutton St., Lowell, MA 01854. 978-441-0400. 

www.athm.org 

Amy H. Carberry Fine Arts Gallery 

at Springfield Technical Community College 

Coming Home: New Images by Keith Sikes (thru 

Nov 26). Tue-Fri, 12:30-4:30; Sat, 10-2. 1 Armory 

Sq., Springfield, MA, 01102. 413-775-5258. 

www.stcc.mass.edu/arts/FineArtsGallery.html 

Art Complex Museum at Duxbury 

Photoplay: Three Alternative Photographers, Walter 

Crump, Susan Haas, and Laura Blacklow (thru Jan 11). 

Wed-Sun, 1-4. 189 Alden St., Duxbury, MA 02331. 

781-934-6634. www.artcomplex.org 

The Art Institute of Boston 

Henryk Tomaszewski: Visual Linguist (Nov 13–Jan 26). 

Mon-Sat, 9-6; Sun, 12-5. 700 Beacon St., Boston, MA 

02215. 617-585-6600. www.aiboston.edu 

Bernard Toale Gallery 

Preview/Review-New and Recent Works by David 

Hilliard, Jocelyn Lee, Abelardo Morrell, Deborah Bright, 

Virginia Beaham and Laura McPhee (thru Nov 9); 

David Hilliard: New Work (Nov 12-Dec 24). Tue-Sat, 

10:30-5:30. 450 Harrison Ave., Boston, MA. 

617-482-2477. www.bernardtoalegallery.com 

Boston Athenaeum 

Millennial Boston: 15 Artists Views the City. Works by 

Margot Balboni, Walter Crump, Michael David, Steve 

Dunwell, Christina Fritsch, Todd Gieg, Eileen Gillespie, 

Philip Jones, Eric Lewandowski, Tricia Neumyer, 

Wellington Reiter, Peter Scott, Peter Stempel, Peter Vanderwarker, 

John Woolf (thru Nov 29). Mon–Fri, 9-5:30; 

Sat, 9-4. 10 1/2 Beacon St., Boston, MA 02108. 

617-227-0270. www.bostonathenaeum.org 

Boston Public Library 

Venezuelan Fishing Villages “Pescadores” (thru Nov). 

BPL, Boston Room, 700 Boylston St., Boston, MA 

02116. 617-536-5400. www.bpl.org 

Davis Museum and Cultural Center 

at Wellesley College 

Toward One: Printmaking in Germany 1945-1990 

(thru Jan 18, 2004). Print Study Corridor (thru Dec 19). 

Prints and Photographs from the Museum’s earliest 

photography collection, presented in conjunction with 

four Wellesley classes. Tue-Sat, 11-5; Sun, 1-5. Wellesley 

College, 106 Central St., Wellesley, MA 02481. 

781-283-2051. www.wellesley.edu/DavisMuseum/ 

DeCordova Museum and Sculpture Park 

DeCordova collects gifts from Stephen and Sybil Stone, 

including photography (thru Jan 18). Tue-Sun, 11-5. 

51 Sandy Pond Rd., Lincoln, MA 01773. 

781-259-8355. www.decordova.org 

Elysium Mons Gallery 

Anna, photography by Leah Zimmerman and In Progress, 

photography by Suzanne Shannon (thru Nov 20). 

Tue-Thu 6-9; by appt. 38 Harlow St., Worcester, MA 

01605. 774-230-4064. 

Essex Art Center 

10th Annual Juried Show 2003, including Photographs 

(thru Dec 12). Tue-Thu, 10-7; Fri, 10-3. 56 Island 

St., Lawrence, MA 01840. 978-685-2343. 

www.essexartcenter.com 

Gallery One at New England School of Photography 

The Ruth Spiers Nickse Memorial Photography Exhibit: 

A Celebration of Ruth’s Life, Vision, and Talent with 

Featured works by her Friends and Colleagues (thru 

Dec 5); Workshop Show (Dec 15- Jan 30). Mon-Fri, 

9-5. 537 Commonwealth Ave., Boston, MA 02210. 

617-437-1868. www.nesop.com 

Griffin Museum of Photography 

Jan Staller: A Retrospective (thru Nov 28) and Thomas 

McGovern: Hard Boys and Bad Girls (Nov 6-Jan 15) 

in Emerging Artist Gallery. Tue-Sun, 12-4. 67 Shore 

Rd., Winchester, MA 01890. 781-729-1158. 

www.griffinmuseum.org 

Lee Gallery 

Working Nine to Five: Vintage Photographs of People at 

Work by Bourke-White, Hines, Lange, Weegee and others 

(thru Nov 5); It’s Snowing!!! Vintage Photographs by 

Stieglitz, Strand, Webb, Bisson, Freres, and others 

(Nov 12- Dec 31). 19th and 20th Century Photographs 

(ongoing). Mon-Fri, 10-5:30. 9 Mount Vernon St., 

2nd Floor, Winchester, MA 01890. 781-729-7445. 

www.leegallery.com 

Massachusetts College of Art 

Photographers, Writers and the American Scene (thru 

Dec 13). Mon-Fri, 10-6, Sat, 11-5. David and Sandra 

Bakalar Gallery, 621 Huntington Ave., Boston, MA. 

617-879-7333. www.massart.edu 

Massachusetts Museum of Contemporary Art 

(MASS MoCA) Fantastic! featuring Gregory Crewdson 

(thru Spring 2004); Alain Bubler: Plug in City (thru 

Spring 2004). Mon-Sun, 11-5; closed Tue. 87 Marshall 

St., North Adams, MA 01247. 413-664-4481. 

www.massmoca.org 

McMullen Museum of Art at Boston College 

Reflections in Black: Smithsonian African-American 

Photography Art and Activism (thru Dec 7). Mon-Fri, 

11-4; Sat-Sun, 12-5. 140 Commonwealth Ave., 

Chestnut Hill, MA 02467. 617-552-8100. 

www.bc.edu/arts 

Mead Art Museum at Amherst College 

Off the Beaten Track: Contemporary Mindscapes (thru 

Dec 18): Tue-Sun, 10-4:30; Thu, 10-9. Intersection 

of Rte. 9 and South Pleasant St., Amherst, MA. 

413-542-2335. www.amherst.edu/mead 

MIT Museum Main Gallery 

Flashes of Inspiration: The Work of Harold Edgerton; 

Holography: The Light Fantastic (ongoing); Knowing 

Where to Stand: Photographs by Anne Whiston Spring 

(thru Jan 30). Tue-Fri, 10-5; Sat-Sun, 12-5. 

265 Massachusetts Ave., Cambridge, MA 02139. 

617-253-4444. web.mit.edu/museum 

Panopticon Gallery 

Rock ‘n’ Roll Music Photographs by Herb Greene and 

Ron Pownall (thru Jan 30). Mon-Fri, 10-6; Sat, 11-5. 

435 Moody St., Waltham, MA 02453. 781-647- 

0100. www.panopt.com 

January/February issue: 

November 21, 2003 

March/April issue: 

February 13, 2004 

Peabody Essex Museum 

Vanished Kingdoms: The Wuslin, Photographs of Tibet, 

Mongolia, and China 1921-25 (Nov 1-Feb 1). 

Mon-Sat, 10-5; Sun, 12-5. East India Sq., Salem, MA 

01970. 978-745-9500. www.pem.org 

Peabody Museum of Archeology and Ethnology 

Portraits from China, 1923-1946: Photographers 

and their Subjects (thru Mar 15). Mon-Sun, 9-5. 

11 Divinity Ave., Cambridge, MA 02138. 

617-496-0099. www.peabody.harvard.edu 

Radiant Light Gallery 

Blends: The Surreal Photography of Douglas prince, 

Loretta Young-Gauthier, Ed Freeman, Kabe Russell 

et al (thru Nov 21). Sat 12-7; first Fri, 5-9. 615 

Congress St., Suite 409, Portland, Maine 04101. 

207.252.7258. www.radiantlightgallery.com 

Robert Klein Gallery 

Aaron Siskind and Carl Chiarenza (thru Nov 15); 

Gallery Selections (Nov 20-Dec 24). Tue-Fri, 

10-5:30; Sat, 11-5. 38 Newbury St., Boston, MA 

02116. 617-267-7997. www.robertkleingallery.com 

Smith College Museum of Art 

Photographing Undomesticated Interiors (thru Jan 4). 

Tue-Sat, 10-4; Sun, 12-4. Smith College, 

Northampton, MA 01063. 413-585-2760. 

www.smith.edu/artmuseum 

Song of Myself Gallery 

Brad Fowler, Revolving Exhibition of Black and 

White Photographs (ongoing) 349 Commercial St., 

Provincetown, MA 02657. 508-487-5736. 

www.songofmyself.com 

South Shore Art Center 

Works on Paper: National Juried Show (Nov 7-Dec 31). 

Mon-Sat, 10-4; Sun, 12-4. 119 Ripley Rd., Cohasset, 

MA 02025. 781-383-2787. www.ssac.org 

The Somerville Museum 

Lost Theaters of Somerville (thru Mar). Thu, 2-7; 

Fri, 2-5; Sat, 12-5. 1 Westwood Rd., Somerville, 

MA 02143. 617-666-9810. www.LostTheaters.org 

Tisch Gallery of Tufts University 

Rosamond Purcell: Two Rooms (thru Dec 14); 

Common Ground: Photographers on the Street (thru 

Dec14). Tue-Sat, 12-8; Sun, 12-5. Aidekman Arts 

Center, 40 Talbot Ave., Medford, MA 02155. 

617-627-3518. www.tufts.edu/as/gallery 

University Gallery at University 

of Massachusetts, Amherst 

Aftermath: Images from Ground Zero/Joel Meyerowitz 

(thru Dec 12). Tue-Fri, 11-4:30; Sat-Sun, 2-5. Fine 

Arts Center, University of Massachusetts, 151 Presidents 

Dr., Amherst, MA 01003. 413-545-3670. 

www.umass.edu/fac/universitygallery 

Williams College Museum of Art 

Nicole Cohen: My Vie en Rose (ongoing); Group 

Faculty Show (thru Dec 14). Tue-Sat, 10-5, Sun, 

1-5. 15 Lawrence Hall Dr., Williamstown, MA 

02116. 413-597-2429. www.williams.edu/WCMA 

Worcester Art Museum 

Bill Viola, Video Installation (ongoing); Gift of 

Light: Photographs in the Jaos Scholtz Collection 

(thru Nov 30). Wed-Sun, 11-5; Thu, 11-8; Sat, 

10-5. 55 Salisbury St., Worcester, MA 01609. 

508-799-4406. www.worcesterart.org 

ELSEWHERE IN NEW ENGLAND 

100 Pearl Gallery 

Stephen Petergorsky-Photographs (thru Nov 29). 

Mon-Fri, 9-8; Sat, 9-3. 100 Pearl St., Hartford, 

CT 06103. 860-233-1932. 

Bowdoin College Museum of Art 

The Disembodied Spirit (thru Dec. 7). Tue-Sat, 

10-5; Sun, 2-5. Walker Bldg., Upper Park Row, 

Brunswick, ME 04011. 207-725-3275. 

www.academic.bowdoin.edu/artmuseum 

Currier Museum of Art 

Focus on the Soul: The Photographs of Lotte Jacobi 

(thru Jan. 4). Mon, Wed, Fri, Sun 11-5; Thurs. 

11-8; Sat 10-5. 201 Myrtle Way, Manchester, NH. 

603-669-6144. www.currier.org 

Davidson Art Center at the Center for the Arts 

at Wesleyan University 

Performing Images, Embodying Race: The Orientalized 

Body in Early 20th Century U.S. Performance 

and Visual Culture (thru Dec 12). Tue-Sun, 12-6, 

closed Nov 26-30, special hours Oct 15, 12-8. 

22 Church St., Middletown, CT 06459. 860-685- 

3355. www.wesleyan.edu/dac 

Fine Arts Center Galleries at the University of 

Rhode Island 

Carl Chiarenza: Selected Works (Nov 4 – Jan 31). 

Tue-Fri, 12-4, 7:30-9:30; Sat, Sun 1-4. 105 Upper 

College Rd., Suite 1. Kingston, RI 02881. 

401-874-2627. www.uri.edu/artgalleries 

RISD Museum of Art 

Interior Drama: Aaron Siskind’s photographs of 

the 1940’s (Nov 14-Jan 25); The New York School: 

Aaron Siskind in Context (Nov 7- Jan 25); Aaron 

Siskind; From Chicago to Providence 1951-91 (thru Jan 

11); Contemporary Photography featuring Uta Barth, 

Nan Goldin, Annu Palakuhanathu Matthews, Shimon 

Attic, and Francesca Woodman. 224 Benefit St., Providence, 

RI 02903. 401-454-6500. www.risd.edu 

Salt Institute for Documentary Studies 

Aucocisco Radio: An Audio and Photographic tour 

of Portland Harbor by Salt faculty (thru Dec 6). 

Mon-Fri, 11:30-4:30. 110 Exchange St., Portland, 

ME 04112. 207-761-0660. www.salt.edu 

University of Maine Museum of Art 

Jonathan Bailey: Seeing Bangor (thru Jan 17). 

Tue-Sat, 9-6; Sun, 11-5. Norumbega Hall, 

40 Harlow St., Bangor, ME 04401. 207-561-3350. 

www.umma.umaine.edu 

Yale Center for British Art 

Traces of India: Photography, Architecture and the 

Politics of Representation (thru Jan 11). Tue-Sat, 

10-5; Sun, 12-5. 1080 Chapel St., New Haven, 

CT 06520. 203-432-2800. www.yale.edu/ycba 

EDUCATION 

The Boston Photo Collaborative offers innovative 

photography classes for beginner, intermediate, 

and advanced levels, amateurs and professionals 

in black and white, color, digital and alternative 

processes. In addition to these high quality classes, 

the Collaborative runs several community-based 

youth and senior programs. Darkroom rental is 

also available. For more information, please visit 

www.bostonphoto.org or call 617-524-7729. 

67 Brookside Avenue, Jamaica Plain, MA 02130. 

The Cape Cod Photo Workshops offers a wide variety 

of courses on photography. For more information 

please contact Cape Cod Photo Workshops at 508- 

255-6808. P.O. Box 1619, N. Eastham, MA 02651. 

Center for Photography at Woodstock offers 

the Woodstock Photography Workshops including 

vision, landscape, still life, photojournalism, fine 

printing, alternative processes, portfolio review, professional 

development, figure, portrait, editorial and 

fine art. For more information, please visit www.cpw.org, 

email info@cpw.org or call at 845-679-6337. 

59 Tinker Street, Woodstock, NY 12498. 

The Essex Art Center offers classes in all artistic 

media, including photography. For more information, 

please visit www.essexartcenter.com or call 978- 

685-2343. 56 Island Street, Lawrence, MA 01840. 

Horizons to Go Travel Programs offers classes 

in all artistic media, including photography. For 

more information, please visit www.horizons-art.com 

or call 413- 549-2900. Horizons to Go!, P.O. 

Box 2206, Amherst, MA 01004. 

The Maine Photographic Workshops offers a large 

variety of Photography workshops. The MPW 

is a year-round college and learning center for 

filmmakers, photographers, actors, writers, digital 

artists and creative professionals. They offer 250 

one-week workshops and master classes. Within 

MPW, Rockport College came into existence in 

1996 and now offers an Associate of Arts degree, 

a Master of Fine Arts degree and a one-year Professional 

Certificate program. For more information, 

please visit www.theworkshops.com or call 

1-877-577-7700. 2 Central Street, PO Box 200, 

Rockport, ME 04856. 

Nubar Alexanian facilitates Photography Critique 

Groups for working professionals, teachers, and 

other serious photographers who wish to expand 

or rekindle a personal vision and/or take the next 

step in their work. Groups meet once a month for 

10 months.For more information please contact 

Millicent Harvey at mhphoto1@comcast.net 

Peters Valley Craft Center offers a wide variety 

of 2-5 day workshops in photography. Courses 

range from photographing 2-D and 3-D work; 

printing cyanotypes, platinums, and palladiums; 

darkroom alchemy; still life and environmental 

portraiture; pinhole photography; self-promotion; 

and hand-painted B&W photography. For more 

information and workshop catalogues, please visit 

www.pvcrafts.org or call 973-948-5200. 19 Kuhn 

Road, Layton, New Jersey 07851. 

The Santa Fe Workshops is committed to providing 

a nurturing, positive, challenging, and experiential 

photographic and digital environment in which 

image-makers of all skill levels, ages, and nationalities 

can explore and achieve their potential. The Santa Fe 

Workshops is a vital, year-round educational center. 

From beginners to working professional photographers, 

they become immersed in a supportive environment 

that nourishes technical mastery, daring play, 

and creative expression. For more information, please 

visit www.santafeworkshops.com or call 505-983-1400. 

P.O. Box 9916, Santa Fe, NM 87504. 

John Sexton Photo Workshops offers a wide variety 

of courses on photography. For more information, 

please visit www.johnsexton.com. 291 Los Agrinemsors, 

Carmel Valley, CA, 93924. 

Snow Farm, The New England Craft Program 

offers classes in all artistic media, including photography. 

For more information please visit www.snow 

farm-art.org, or call at 413-268-3101. 5 Clary Road, 

Williamsburg, MA 01096. 

South Shore Art Center offers classes in all artistic 

media, including photography. For more information, 

please visit www.ssac.org or call 781-383-2964. 119 

Ripley Rd., Cohasset, MA 02025. 

ENTRIES/OPPORTUNITIES 

The Cambridge Art Association (Cambridge, 

MA) announces a call for entries for its National 

Prize Show to be exhibited May 3- June 24, 2004. 

The juror will be Bob Fitzpatrick, Director of the 

Museum of Contemporary Art, Chicago, IL. Eleven 

prizes will be awarded including the Best of Show 

Award of $2000 and ten other awards. Only slides 

will be accepted (no videos). The deadline for 

submissions is January 23, 2004. For a prospectus 

send a SASE to the Cambridge Art Association, 

located at 25 Lowell Street, Cambridge, MA 

02138, email cambridgeart@cambridgeart.org, 

or visit www.cambridgeart.org 

The Print Center (Philadelphia, PA) announces a call 

for entries open to all photographic artists. The juror 

will be Darsie Alexander, Curator of Prints, Drawings 

and Photographs at the Baltimore Museum 

of Art. Up to $2,000 in purchase awards, for the 

Print Center’s permanent collection up to $3,000 

in cash, materials, and purchase awards selected 

by the juror and individual donors, as well as 

two awards granting a solo exhibition at The Print 

Center. Entries must be postmarked by November 

15, 2003. The exhibition, Prospects, 78th Annual 

International Competition: Photography, will run 

April 24-June 26, 2004. The Print Center is located 

at 1614 Latimer Street, Philadelphia. PA 19103, 

email info@printcenter.org, or www.printcenter.org. 

14 

15

phonelines: member news from near and far 

Congratulations to all for your 

recent successes. Please keep us informed 

of your news and triumphs. 

this fall including: Millennial Boston: 15 Artists View the 

City at the Boston Athenaeum, Boston, MA, through 

November 2003; Through A Hole at the Belan Gallery, 

Lawrence, MA through October 2003; and Photoplay: 

Three Alternative Photographers at the Art Complex, 

Duxbury, MA, through November 2003. 

Boston, MA, presented a solo exhibition of Lyssa Palu-ay’s 

work during September and October 2003. 

The River Gallery, Ipswich, MA, hosted an exhibition of 

Ed Monnelly and Dorothy Kerper Monnelly’s landscape 

photographs during October 2003. 

Jonathan Bailey is currently part of a three person 

exhibition at the Freedman Gallery at Albright College, 

Reading, PA, December 2003 through January 2004. 

He was also included in the annual juried Awards 

Exhibition at The Center for Photographic Art, Carmel, 

CA through October 2003. 

Lorenza Lucchi Basili was part of a group show in San 

Francisco, CA, through the Artists’ Television Network, 

during October and November 2003. The exhibition 

Intervals: (themes and variations on) relational space, 

featured film, video, performance, sound, installations 

and photographs. 

Melonie Bennett and Judy Ellis Glickman exhibited 

their photographs in the exhibition, Relative Moments- 

Moments in Time, at the June Fitzpatrick Gallery, 

Portland, ME, during August 2003. 

The University of Rochester, Rochester, NY, is hosting 

the exhibition Carl Chiarenza: Recent Large Scale Work, in 

the Harnett Gallery, during October and November 2003. 

Walter Crump was featured in a number of exhibitions 

Gary Duehr was part of an exhibition at the Hall Space 

Gallery, Boston, MA, during September and October 2003. 

Neeta Madahar exhibited her work at Project Space 

at the New England School of Art and Design, Boston, 

MA, during October 2003. From November 2003 

through February 2004, she will be part of Contruction- 

Coincidence?, and exhibition at the Momentum Gallery, 

Berlin, Germany. 

Annu Palakunnathu Matthew recently exhibited 

An Indian from India at the University of the Arts 

Gallery, Philadelphia, PA, from August through 

September 2003. This exhibition will also be shown 

at Malboro College, Marlboro, VT, from October 

through November 2003. Other work will be shown 

at the Hera Gallery, Wakefield, RI October 2003. 

Oscar Palacio is showing new photographs in the 2003 

Foundation on Parade exhibition at the St. Botolph 

Club, Boston, MA from October 28-November 7. 

His work is also included in Photographing Undomesticated 

Interiors exhibition at the Smith College Museum 

of Art from October 20-January 4. 

The Brant Gallery in Massachusetts College of Art, 

The Peabody Essex Museum, Boston, MA, recently featured 

John O’Reilly in an exhibition entitled Family Ties. 

Robin Radin received the Massachusetts Cultural Council 

Grant in Photography exhibit at Boston City Hall. 

The Mayor’s Office Gallery will feature her work during 

September and October 2003. 

The French Library and Cultural Center, Boston, MA, 

presented Soirees d’Elegance, an exhibition by Marigold 

Randall, during October 2003. 

The Hastings College Art Gallery, Hastings, NE, hosted 

an exhibition that included work by Rebecca Sittler 

during September and October 2003. 

The Boston Art Festival held in September 2003, including 

various PRC members, including Guillermo Srodek- 

Hart and Bob Souther. 

Additionally, Bob Souther had a photographs featured in 

a special insert in the Boston Magazine’s September issue. 

David VanBuskirk presented his work in the exhibition 

Patterns in the Andes; Celebrating Inca Weavers Today at the 

Bixby Library, Vergennes, VT, during October 2003. 

S I N G E R E D I T I O N S 

Fine Art Digital Printmaking 

collaborative printing archival inks color and b&w natural papers 

new york . boston 1.800.761.3142 www.singereditions.com 

become a member of the prc 

The Photographic Resource Center is a membership-supported, privately operated organization. In this period of dwindling government and 

foundation support, your membership provides critical income to support our programming and educational mission. Join for the 

obvious benefits listed below, but also for the more subtle perks. PRC members enter the network of the New England photographic 

community, which includes commercial and artistic photographers, collectors, scholars, philanthropists, and critics, to name a few. If you 

love photography and are interested in supporting our vital mission, join us—your tax-deductible membership does make a difference. 

PRC MEMBERSHIP CATEGORIES AND BENEFITS 

Individual ($45) 

• Unlimited free admission for one cardholder 

• Invitation for two to opening receptions, members-only 

previews and special events 

• Annual subscription to In the Loupe 

• Opportunities to present work in the annual Members 

Exhibition 

• Discounts at PRC lectures and workshops 

• Discounts on portfolio reviews with 

photography professionals 

• 10% discount on PRC exhibition catalogues and 

other products 

• Discounts at area darkrooms and retail photographic 

merchants 

• CONNECTIONS (free admission to, or discount at, 

select photography institutions across the country. 

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(photocopy of ID required) 

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one mailing) 

Supporter ($125) 

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gallery talks 

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(Corporate Member rental rates will apply) 

Contributor ($300) 

• Supporter benefits plus 

• Choice of photographic print from the Contributor 

Members Print Program level 

Benefactor ($600) 


• Choice of a photographic print from the Benefactor 

Members Print Program level or two prints from the 

Contributor level 

Patron ($1,200) 


• Choice of photographic print from the Patron Members 

Print Program level or a combination of prints from the 

Contributor and Benefactor Members Print Program levels 

(to equal $1,200) 

Angel ($2,400) 


• Choice of photographic print from the Angel Members 

Print Program level or a combination of photographic 

prints from the Contributor and Benefactor Members Print 

Program levels (to equal $2,400) 

• Invitation to annual Director’s Dinner 

• Invitation to private reception with PRC Board of Directors 

• Additional invitations to all previews and openings upon 

request 

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Corporate 

For information on becoming a Corporate Member, 

please contact the PRC. 

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■ Employer’s matching gift form enclosed 

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■ New Membership ■ Membership Renewal 

Payment Method(check one): ■ Visa ■ Mastercard 

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Return this form, or the requested information, with payment 

(and copy of ID, if required) to: Membership Office, Photographic 

Resource Center, 832 Commonwealth Avenue, 


The Photographic Resource Center is a non-profit, 501(c)3 

corporation and membership fees are tax-deductible as allowed 

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November | December 2003 - Boston Photography Focus

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