January | February 2006 - Boston Photography Focus

January | February 2006
V o l u m e 3 0 , N u m b e r 1

M I S S I O N S T A T E M E N T
The Photographic Resource Center (PRC) at Boston University
is an independent non-profit organization that serves as
a vital forum for the exploration and interpretation of new
work, ideas, and methods in photography and related media.
The PRC presents exhibitions, fosters education, develops
resources, and facilitates community interaction for local,
regional, and national audiences.
B O A R D O F D I R E C T O R S
Rick Grossman, President
David Gordenstein, Vice President
Cathy England
Andrew Epstein
Roger Farrington
Jim Fitts
Michael Jacobson
Keith Johnson
Lou Jones
S T A F F
Terrence Morash, Executive Director/Editor
Leslie Brown, Curator
Michael Christiano, Education Coordinator
Emily Gabrian, Programs Coordinator
Alice Hall, Librarian
Laura Bernier, Work/Study Assistant
Christian Ling, Work/Study Assistant
Katherine Cummings, Intern
Katie Ellison, Intern
Briana Gerard, Intern
Lissa Rivera, Intern
Jenny Stonewall, Intern
Rodger Kingston
Gary Leopold
Susan Lewinnek
Walt Meissner
Bruce Myren
Eliot Salloway
Kim Sichel
Jonathan Singer
G E N E R A L I N F O R M A T I O N
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
H O U R S
Tuesday–Friday: 10–6pm
Thursday: 10–8pm
Saturday–Sunday: 12–5pm
Closed Mondays
A D M I S S I O N
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.
P U B L I C T R A N S P O R T A T I O N
Take the Green Line “B” train to the BU West, three stops
west of Kenmore Square.
C O V E R I M A G E
Surendra Lawoti (Somerville, MA), District Chief Peter St. Clair
(Appointed October 31, 1977), from the series “Fire,” C-print,
(original in color), 40 x 30 inches, Courtesy of the artist
D E S I G N C R E D I T S
This issue of the In the Loupe was designed by Todd
Fairchild (www.toddfairchild.com) and printed by
Millenium Graphics.
Armed with an idea, enthusiasm, and a
$3,500 budget, artist Chris Enos filed the
paperwork to incorporate the Photographic
Resource Center on October 6, 1976. Aiming
to serve as both a central information
source for photography-related events, and a
champion of a New England region characterized
by a strong tradition of photographic
activity, the PRC quickly gained interest and
support. Enos and fellow Board members
A.D. Coleman and Jeff Weiss published
Volume 1/Issue 1 of the PRC Newsletter, the
organization’s first public offering, in September
1977 (the newsletter was renamed
in the loupe in September 1996). The PRC
was born.
While much has changed in the three
decades of the PRC’s existence, its mission
continues to reflect the ideals of its founders
and those who followed; the interests of
the PRC’s community continue to serve as
guiding forces for the organization. Now, as
we enter 2006, I am thrilled to announce
a yearlong celebration of the organization’s
30th anniversary, one in which we will both
honor the history and accomplishments of
the organization, as well as celebrate the
photography of today and the future.
How will we celebrate the 30th anniversary
In short, this milestone will inform everything
the PRC undertakes in 2006. Breaking
down the various programmatic offerings:
RESOURCES
Since its inception, the PRC has sought to
inform the community of photographyrelated
events, services, and infor- mation.
In this anniversary year, we plan
on enhancing all of the PRC’s
public resources. The newsletter
has and will adopt several
improvements in the coming
year. In addition to expanding
the publication and a
design that better emphasizes
the photographs,
look for the book
reviews and interviews
to become regular
features. Concerning
the latter, we are
planning a special
issue for the late
a year to
summer/fall that will highlight a number of
individuals who were instrumental to the
PRC’s 30 years of success. The library is also
expected to see dramatic improvements as
we develop a more effective digital card catalog
and security system, as well as increase
our number of acquisitions. The website
will continue to serve as a vital and efficient
information source as we explore additional
ways to implement this technology
in serving the mission. Among the various
improvements in the works are web-based
teacher resources to accompany exhibitions
and major education programs as well as
podcast interviews with photographers and
photography professionals.
EDUCATION
On the heels of a successful education
challenge appeal, a marked increase in all
education programs is underway, as you will
begin to see from this newsletter. One exciting
announcement, developed for the 30th
anniversary, is the re-adoption of a major
lecture series. From February to June and
beginning again in September, the PRC will
host some of the most influential photographers
of our time (see within for information
on photojournalist Antonin Kratochvil’s
February presentation). Also re-introduced
are the PRC’s master workshops, which
offer the opportunity for members and the
general public to develop their photography
skills under the guidance of those who have
perfected the craft. Most exciting is the
development of youth education programming—both
shorter term programming relative
to the exhibitions as well as more comprehensive
long-term programs (expected
fall 2006).
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
Apple
Ardon Vinyl Graphics
Art New England
ArtsMedia
ASMP
Associated Press Photos
Becket Papers
Bonni Benrubi Gallery
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
CompUSA
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

celebrate
EXHIBITIONS
A longtime organizational strength, the exhibitions
program will continue to feature new
ideas and trends in contemporary photographic
activity while developing exhibition
opportunities for regional photographers.
The PRC’s curated exhibitions remain the
focal point of presentation programming
with a special 30th anniversary exhibition
being planned for fall 2006. Online presentation
programming will continue to be led
by Northeast Exposure Online, the popular
monthly program that features emerging
photographic artists from the region.
Best regards,
Terrence Morash,
Executive Director
SPECIAL EVENTS
While we will be observing the PRC’s
30th anniversary throughout the year, a
celebratory event marking the birth date
will be hosted this fall. However, rather
than focusing on the organization and its
contributions, it will equally aim to honor
the photography community which it serves.
It will truly be a celebration for all of us.
This note serves as an outline for the PRC’s
activities in this important coming year—a
teaser, if you will. Clearly, there is no better
time for those living in this region to be
interested in photography. From the gamut
of programs in development here at 832
Commonwealth Avenue, to the fabulous
exhibitions, events, and more being presented
at organizations throughout this area,
New England remains a stronghold for the
study and practice of photography. We are
proud to further the PRC’s important role
in this community, and look forward to celebrating
with you over the coming months.
Hasselblad
Harpoon Brewery
Helicon Design
Henrietta’s Table
Hotel Commonwealth
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
Miller Block Gallery
Museums Boston
Bee Digital
National Endowment for
the Arts
Nielsen & Bainbridge Co.
Nikon Inc.
Nylon Magazine
Olympus
Palm Press
Panopticon, Inc.
Perfecta Camera, Corp.
photocurator.org
Photograph
Polaroid Corporation
Rialto
Rouge
Royal Sonesta Hotel
Sandy’s Music
Sebastian’s Catering
Skinner, Inc.
Sonya’s Catering
Spectrum Select Printing
Stanhope Framers
WBUR
Howard Yezerski Gallery
Zeff Photo Supply
Zona Laboratories
Zoo New England
1

2 | announcements
Stuart Whitehurst closing Blake Ogden’s photograph at the
2005 PRC benefit Auction. Photograph by Howard Granat.
$107k Grossed at
PRC Benefit Auction
The 2005 PRC Benefit Auction was a resounding
success. With over 300 people thoroughly
enjoying themselves throughout the evening,
over $107,000 was raised for the PRC’s programming—$12,000
more than the successful
2004 auction. Representing nearly 40% of
our annual budget, this income will allow
us to produce the exhibitions, education
programming, and resources that define the
PRC’s important role within the photography
community. Of course, this success is entirely
due to the incredible generosity of the businesses,
collectors, volunteers, and, most of all,
artists, who selflessly contributed to this event.
We are honored and thankful for their support,
and look forward to another successful
event in 2006!
Education Program
Challenge a Success
Thanks to contributions from nearly 80
friends of the PRC, including the matching
gift of our angelic anonymous supporter, more
than $83,000 was raised to fund education
programming at the PRC! In addition to
allowing us to hire Education Coordinator
Michael Christiano, it allows us to further
enhance and expand our adult education
programming, while developing new youth
education programming. Bravo to all of you
who made this campaign a resounding success.
PRC Bids Farewell to
Marv Cook
While most members of the PRC’s Board
of Directors are identifiable figures in the
photography/arts community, Boston University’s
longtime Vice President of Planning,
Budgeting and Information Marv Cook has
been a somewhat of a less recognizable force.
Appointed to the Board by BU in 1996, Marv
joined the PRC with little knowledge
of photography. Nevertheless, few people have
contributed more to the organization over the
past 10 years. A finance guru, Marv worked
with the staff to hone and guide the organization’s
budget practices. In addition, Marv
has served as an invaluable liaison between
BU and the PRC—lending his guidance on a
gamut of activities. As he begins a well-earned
retirement after three decades at BU, all of us
here at the PRC wish him well and thank him
for all of his hard work.
PRC Now Accepting Entries to the
PRC Members’ Exhibition
Gather those slides and burn those discs! The
postmark deadline for entry into the 2006
PRC Members’ Exhibition is Saturday, February
18th. Don’t miss this opportunity to show
your work to guest juror Jeanine Fijol, PDN
Photo Editor and to possibly be featured in
the highly competitive and respected exhibition
and newsletter spread. Turn to page 8
for more information including this year’s
entry form.
Designer Out, Designer In
After designing each issue of in the loupe since
its redesign in November 2001, artist Emily
Gallardo is hanging up her mouse due to time
constraints and her burgeoning hand-made
greeting card business. Emily’s keen design
sense has been appreciated by all of us over
the past 4 years. While she will be missed,
we wish her continued success! Taking over
design duties for Emily is Todd Fairchild. A
photographer himself, Todd is excited to dive
in; this January/February issue is his maiden
in the loupe design. For more information on
Todd, visit www.toddfairchild.com.
Bookstore Now Open
Well, a “bookstore” may be an overstatement.
Truly, it is a bookcase in the PRC lobby.
Nevertheless, the PRC is now selling various
titles, old and new, including signed copies
of publications from recent book signings.
Support the PRC while supplementing your
monograph collection. Stop by the PRC to
see what’s available.
PRC Installation Hours
Please note that the PRC will be open by
appointment only January 23-February 2 due
to the installation of DOCUMENT. See page 3
for exhibition details.
Participate in the PRC’s Monthly
Critique Groups
The monthly Critique Group is a chance to
relax and discuss your work with other photographers.
Informal presentation and discussion
sessions meet on the third Wednesday of
the month, 7-9pm at the PRC. All are welcome,
no matter your expertise, age, or interest.
For more information or to get on the
group’s email list, contact Jeremiah Johnson
at jeremiah_Johnson@graffiti.net. The next
meeting dates are Wednesday, January 18,
2006 and Wednesday, February 22, 2006.

presentations | 3
EXHIBITIONS IN THE GALLERY
DOCUMENT:
Contemporary Social Documentary Work from
Greater Boston
FEBRUARY 2-MARCH 26, 2006
Opening Reception:
Thursday, February 9, 5:30-7:30pm
THE BU ART GALLERY WILL ALSO BE HOSTING
A RECEPTION FROM 6-8PM
Open House for College Art
Association:
Thursday, February 22, 5:30-7pm
THIS RECEPTION WILL OCCUR AT BOTH THE
BU ART GALLERY AND THE PRC
DOCUMENT showcases recent social
documentary work from Boston and
on Boston through the eyes of 9
emerging and early mid-career photographers. The exhibition aims to
spotlight a new generation of Boston documentary photographers as
well as consider a variety of projects and unique approaches to the idea
of social documentary work and the “document.” DOCUMENT is
held in conjunction with Boston-themed offerings at the Boston University
Art Gallery and Boston University’s College of Fine Arts. Please
see page 10 for an essay on this 21st-century view of “Boston by Bostonians”
and to the right for more information on related exhibitions and
programs by partner institutions.
Above: Surendra Lawoti (Somerville, MA), District Chief Peter St. Clair (Appointed October 31,
1977), from the series “Fire,” C-print (original in color), 2005, 40 x 30 inches, Courtesy of the
artist. Above Right: Ben Gest, Chuck, Alice, and Dale, 2003, printed 2004, pigmented ink jet
print, 40 x 40 inches, Courtesy of the artist and Stephen Daiter Gallery, Chicago, IL
THROUGH JANUARY 22, 2006
As family and friends return home after
the holidays, it’s a great time to get out and
go to a gallery. This group show highlights
emerging and mid-career photographers who
engage and challenge the genres of narrative
and group portraiture. Featured artists
include Julie Blackmon, Ben Gest, Jessica
Todd Harper, Amy Montali, and Sage Sohier. Within their groupings,
these artists—all of whom use their own family and friends in interiors—investigate
ideas of the self and the group as well as the dynamics
of relationships and situations. See how your family pictures stand up!
Visit www.bu.edu/prc/groupportrait for more information.
A CELEBRATION ON COMMONWEALTH AVENUE!
DOCUMENT is held in conjunction with the Boston University Art Gallery’s
exhibition A Photographic Portrait of Boston, 1840-1865, and will coincide with
the College Art Association’s (CAA) national conference, which will be held
in Boston, February 22-25. In addition, Boston University’s School of Visual
Arts is also sponsoring and hosting a juried BFA show featuring work by New
England area art programs in Boston University’s 808 Gallery. Altogether,
these offerings make for many great reasons to get off at the BU West T-stop
(or f-stop as we like to call it)!
BOSTON UNIVERSITY ART GALLERY: 855 COMMONWEALTH AVENUE
A Photographic Portrait of Boston, 1840-1865, February 10 - April 2, 2006
BOSTON UNIVERSITY 808 GALLERY: 808 COMMONWEALTH AVENUE
New England Regional BFA Exhibition, February 14-25, 2006
EXHIBITIONS ONLINE
Northeast Exposure Online — The PRC announces the next installments of Northeast Exposure Online (NEO). The virtual gallery is by invitation only and features a selection of images,
a biography, artist and curator statements, and links.
JANUARY
Sarah Sorg
www.bu.edu/prc/sorg.htm
A graduate of Massachusetts College
of Art, Sara Sorg received her MA
with teacher’s certificate in art and
education from Columbia University
in 2001. Currently, Sorg is a resident of Bangor, ME and teaches high
school art and photography at the Maine Central Institute in Pittsfield,
ME. Her work has been featured at the Bangor Public Library as well
as many venues in MA, including the Cambridge Art Association,
Essex Art Center, and the Fitchburg Art Museum. Featured online are
images from a new series of night photographs. Sorg draws upon her
imagination and interest in astronomy in her stunning images of local
towns, neighbor’s houses, and fields. The images are quiet, still meditations
on the seeming perfection of the world above, combined with the
fleeting, humble domestic realm below.
Sarah Sorg (Bangor, ME), Neighbor and Stars, 2005, Gelatin silver print, 16 x 20 inches,
Courtesy and copyright Sarah Sorg
FEBRUARY
CJ Heyliger
www.bu.edu/prc/heyliger.htm
A graduating senior at the Art
Institute of Boston and a native
of Colorado, CJ Heyliger has
been featured in Taking In: The
Best of AIB Photography and multiple shows at AIB’s Gallery South. In
addition, he was juried twice into the PRC Student Exhibition and also
featured on the cover of the 2004 student issue of in the loupe. Currently,
he is studio manager and digital printer for Peter Vanderwarker
and darkroom assistant to Jack Lueders-Booth. Featured online will
be selections from his project on industrial cities in New England,
begun in January 2005. From Lowell, MA to Lewiston, ME, Heyliger
is tracing the current condition of cities that once boasted large fiber
industries along with their attendant system of mills, canals, dams and
railroads. In his skillfully composed and printed gelatin silver prints,
Heyliger hopes to offer a current document of this post-industrial
past—from dormant and dilapidated sites to converted museums and
high-end lofts—during this important time of transition.
CJ Heyliger (Brookline, MA), Millyard, W.S. Libbey Mills, Lewiston, Maine, 2005, Gelatin silver
print, 16 x 20 inches, Courtesy of the artist

4 | education
LECTURE/BOOK-SIGNING
The cover of Steven B. Smith’s book The Weather and a Place
to Live.
The Weather and a Place to Live
Photographs of the Suburban West
by Steven B. Smith
Thursday, January 26, 2006, 7:00pm
BOSTON UNIVERSITY’S COLLEGE OF
COMMUNICATIONS, AUDITORIUM 101,
640 COMMONWEALTH AVENUE, BOSTON
FREE FOR MEMBERS, FULL-TIME STUDENTS, AND
SENIORS / $5 NON-MEMBERS
COPIES OF SMITH’S BOOK CAN BE PURCHASED
FROM THE PRC FOR $40
Join Steven Smith, professor of photography
at the Rhode Island School of Design, for a
discussion of his new book The Weather and a
Place to Live, which recently earned the Center
for Documentary Studies/Honickman First
Book Prize. This compelling work portrays
the manmade landscape of the western United
States, where we come face to face with the
surreal intersection of the American appetite
for suburban development and the resistant,
rolling, arid country of the desert West. Mr.
Smith will be on-hand to sign copies of the
book following the talk.
PANEL DISCUSSION
To Document Lives
Thursday, February 2, 2006, 7:00pm
BOSTON UNIVERSITY’S COLLEGE OF
COMMUNICATIONS, AUDITORIUM 101,
640 COMMONWEALTH AVENUE, BOSTON
FREE TO THE PUBLIC
The exhibition DOCUMENT features innovative
social documentary work by Boston
area artists. Several featured artists have used
their work to explore the lives of people often
marginalized by society. Join these artists for a
discussion on what issues compel them to create
projects and how they execute their work.
Among other topics, panelists will address
how and why they select their subjects and
gain access into their worlds, and how they
decide to present those worlds to the public.
Speakers include Chris Churchill, Lisa Kessler,
and Michael Manning.
PROFESSIONAL SEMINAR:
Answering the Call (for entries): A
How-To Guide with Leslie Brown
and Jim Dow
Tuesday, February 7, 2006, 7:00pm
BOSTON UNIVERSITY’S SARGENT COLLEGE,
ROOM 101,
635 COMMONWEALTH AVENUE, BOSTON
$10 MEMBERS/$20 NON-MEMBERS/FREE FOR
FULL-TIME STUDENTS AND SENIORS
Back by popular demand, the PRC’s survival
guide for submitting work to a call for entry!
Find out how you can develop a strong presentation
and stand out from the masses.
Experience the jurying process first-hand
as PRC curator Leslie Brown goes through
examples and offer an insider’s perspective.
This will be a fun, lively, and insightful evening.
Don’t miss out on this opportunity
to hone your submission for the 2006 PRC
Members’ Exhibition.
FILM SCREENING
Film still from PEEPING TOM
PEEPING TOM
Co-presented with the
Coolidge Corner Theatre
Special introduction by Boston
Phoenix film critic Peter Keough
Monday, February 6, 2006, 7:30pm
THE COOLIDGE CORNER THEATRE
290 HARVARD STREET, BROOKLINE
$6.50 CCT AND PRC MEMBERS
$9.50 GENERAL ADMISSION
This seminal shocker from 1960 nearly
destroyed the career of director Michael Powell
(THE RED SHOES), but is every bit as
good as the thriller that came out just one
year later, PSYCHO. Mark Lewis grew up as a
guinea pig for his father, a biologist who sadistically
tortured his son so he could film the
reactions. Now Mark is a creepy loner whose
only companion is his trusty camera. But this
peeping Tom is not obsessed not with naked
bodies—he’s out to capture the true look of
fear. And he uses his camera to frighten and,
yes, kill the young ladies he spots through the
lens. (Michael Powell, 1960, with Carl Boehm
and Anna Massey)

education | 5
LECTURE
ANTONIN KRATOCHVIL
Thursday, February 16, 7:00pm
Antonin Kratochvil, Bush Meat Market, 2004,
from the book [VANISHING].
BOSTON UNIVERSITY PHOTONICS CENTER, AUDITORIUM 206, 8 ST. MARY’S STREET, BOSTON
$10 MEMBERS/$15 NON-MEMBERS/FREE FOR FULL-TIME STUDENTS AND SENIORS
In celebration of its 30th anniversary, the PRC presents a new lecture series featuring nationally
and internationally renowned artists working in photography and related media and photo-historians.
Czech photographer Antonin Kratochvil, a founding member of VII Photo Agency and
one of the premiere photo-journalists of our time, kicks off the series with a discussion of his
work. Over the past 25 years, his assignments have taken him around the world and on diverse
assignments. His work has appeared in The New York Times Magazine, Newsweek, Time, Conde
Nast Traveler, Geo, Mother Jones, Smithsonian, Time, Natural History and the United Nations
Choices magazine. His books include Broken Dream, Incognito, and Vanishing (read PRC Education
Coordinator Michael Christiano’s book review on page 9). He has earned numerous awards
including the Infinity Award from the International Center of Photography for the “Journalist
of the Year” (1991), the Leica Medal of Excellence for outstanding achievement in documentary
(1994), the World Press Photo winner in the Portrait Series (1997), and the Alfred Eisenstadt
Award (1998) administered by Columbia University under a grant from Life magazine.
Read Michael Christiano’s review of Kratochvil’s book on page 9.
Antonin Kratochvil, photographed by Matt Bruggmann

6 | education
LECTURE/BOOK SIGNING
Art or Document: Changing
Perceptions of Documentary
Photography Since the 1970s
Thursday, February 23, 2006, 7:00pm
BOSTON UNIVERSITY’S
COLLEGE OF COMMUNICA-
TIONS, AUDITORIUM 101,
640 COMMONWEALTH
AVENUE, BOSTON, MA
$5 MEMBERS
$10 NON-MEMBERS
FREE FOR FULL-TIME STU-
DENTS AND SENIORS
Mark Rice, Chair of
the American Studies
Department at St. John Fisher College and
author of Through the Lens of the City: NEA
Photography Surveys of the 1970s, discusses the
transformation of documentary photography
in the 1970s. Dr. Rice will address the diminishing
line between documentary and fine art
photography facilitated by the NEA Surveys,
and the lasting impact on the photo industry.
Dr. Rice will be available after the lecture to
sign copies of his book.
Above: The cover of Mark Rice’s book Through the Lens of the
City: NEA Photography Surveys of the 1970s.
MASTERS WORKSHOP
Creating a Documentary Project
with Michael Hintlian
Saturday, February 25, 10:00am-4:00pm
BOSTON UNIVERSITY’S
COLLEGE OF ARTS AND
SCIENCES, ROOM 226
725 COMMONWEALTH
AVENUE, BOSTON, MA
$55 MEMBERS/$95 NON-
MEMBERS/$45 FULL-TIME
STUDENTS AND SENIORS
RESERVATIONS REQUIRED.
PLEASE CALL 617.975.0600
Join Michael Hintlian for a day long workshop
on the process of crafting a documentary
project—from conception, planning, and
execution to publishing the final body of
work. Mr. Hintlian will spend the first portion
of the workshop discussing, step-by-step,
this process with examples from his recent
book Digging: The Workers of Boston’s Big Dig.
During the second portion of the workshop,
participants may present their own projects,
or project concepts for review and discussion.
Above: The cover of Michael Hintlian’s book Digging
PORTFOLIO REVIEWS
Monthly Portfolio Reviews with the
PRC Curator
Review Date: Monday, February 13, 2006
CALL IN FOR RESERVATIONS AT 10 AM,
FRIDAY, JANUARY 20
Review Date: Monday, March 6, 2006
CALL IN FOR RESERVATIONS AT 10 AM,
FRIDAY, FEBRUARY 17
These are the dates for 30-minute monthly
portfolio reviews (and corresponding callin
reservation information) with the PRC’s
Curator, Leslie Brown. Reservations are still
accepted on a first-call, first-served basis. It is
highly recommended that you bring supporting
materials (resume, images, and statement).
You must be a PRC member to participate
in the reviews and members are allotted one
review per year.

ook review | 7
[VANISHING]
Millbrook: de.MO, 2005
233 pages. Hardback.
ISBN: 0-9705768-3-8. $54.00
REVIEWED BY MICHAEL CHRISTIANO,
PRC EDUCATION COORDINATOR
Vanishing represents a life’s work of Antonin
Kratochvil’s and includes 16 powerful photoessays
compiled over two decades. The images
in the essays suggest the devastating effect
humanity has had on its environment and on
its own kind. It presents a world where people
and places are poised on the verge of extinction.
Included are images of cyanide gold
mining in Guyana, war-torn Beirut, poaching
and the black market trade in Congo,
the effects of chemical waste in Louisiana, oil
spills in the Ecuadorian jungle, Chernobyl,
the Angolan diamond trade that funded the
nation’s bloody civil war, the killing fields in
Cambodia, and Iraq, among others.
Kratochvil presents the human subjects of his
photographs with a genuine sense of empathy
and understanding. His sensibilities seem
attuned to their plight and were probably
honed through his own childhood experiences,
having been raised under totalitarian
rule in Czechoslovakia.
Antonin Kratochvil, Poisoned Earth, Mahdia, 2004
The black and white images presented in
Vanishing are stark and compelling. Kratochvil
alternates vast land and cityscapes with intimate
portraits, thus capturing the breadth of
afflicted environments as well as the vulnerability
of individual lives. This variation in perspective
is especially clear in Birds-Eye-View,
an aerial view of the Dow plant in Louisiana’s
“Cancer Alley,” when compared to Poachers, a
portrait of three poachers taken in the Congo.
While the first image presents the magnitude
of the situation, Poachers presents the explicit
humanity of people who have violated the
sanctity of their local flora and fauna.
Michael Persson’s poetic essays deftly connect
the images in the book. Persson and Kratochvil
have collaborated previously and the cohesiveness
of their respective contributions demonstrates
a familiarity with each other’s work.
Persson skillfully weaves together historical
information, first person narrative from those
involved, official documentation, metaphor
and vivid literary imagery to provide a context
for Kratochvil’s images. Persson’s words make
palpable the desolation and desperation felt
by many of the subjects as evidenced in the
following stanza from bohemia_the memories of
things lost:
A fine rain falls and the afternoon, like the
town, is grey.
It’s grey in the sky,
grey on the ground,
grey in the faces of the people here.
When set against Persson’s description
Kratochvil’s image of Bohemians Watching
Demolition, a scene depicting passers-by casually
taking in the destruction of a building,
possesses an even deeper psychological profile.
The dusty mist that shrouds the proceedings
seems to reflect the inner turmoil of the Bohemian
people who have seen the past glory of
their nation faded, crumbled, like the building
before them.
As stated in the opening essay “This body of
work offers nothing in the way of answers,
neither is it a sermon in hopes of brighter
days.” The hope of this book comes in exposing
the plight of those afflicted, both human
and environment, which are inextricably connected,
to the world. It suggests a hope that
awareness will bring to the fore a desire to act.
The only remaining question is will humanity
heed the call.
KRATOCHVIL LECTURES AT THE PRC ON FEBRUARY 16TH. TURN TO PAGE 6 FOR DETAILS.

8 | opportunity
Paul Weiner, Safe Haven, 2002, Cibachrome print, 24 x 20
inches. Courtesy of the artist. After being selected for the
2005 PRC Members’ Exhibition, Somerville’s Weiner
received a 2005 Massachusetts Cultural Council Artist
Grant for Photography.
On the organization’s 30th anniversary, the
PRC is pleased to present the 11th annual
2006 PRC Members’ Exhibition. A showcase
for the outstanding talent displayed by our
members, the exhibition is a great opportunity
to view a slice of the best and brightest as well
as see topics in which contemporary minds
are engaged. With only 10-20 people selected
from the close to 300 expected entries, the
PRC Members’ Exhibition is a highly competitive
and nationally revered program. Winners
will be highlighted in the May/June issue of
in the loupe, which is distributed to over 2,500
visitors, members, museums, and university
and college libraries all over the United States.
Guest jurors represent esteemed curators,
photographers and photography professionals
from the region and beyond. Past guest
jurors of the PRC Members’ Exhibition have
included: Alison Devine Nordström, Curator
of Photography, George Eastman House International
Museum of Photography and Film;
Rachel Rosenfield Lafo, Director of Curatorial
Affairs, DeCordova Museum and Sculpture
Park; Deborah Kao, Curator of Photography,
Harvard University’s Fogg Art Museum; Richard
Woodward, Editor at Large, Doubletake
Magazine; Edward Earle, Curator of Digital
Media, International Center of Photography,
Diana Gaston, formerly Associate Director of
San Francisco Camerawork and Curator at the
Museum of Photographic Arts in San Diego,
and Chris Enos, artist, educator, and Founder
of the PRC.

DOCUMENT:
Contemporary Social Documentary Work from Greater Boston
February 2 - March 26, 2006
BY LESLIE K. BROWN, PRC CURATOR
Mariliana Arvelo (Cambridge, MA), Untitled, Newton, MA, 2005, C-print, (original in color),
24 x 30 inches, Courtesy of and copyright Mariliana Arvelo

Installation shot of Jaimi Laird touching James Patten’s piece at
the Piano Factory Gallery, July 2005. James Patten (Cambridge,
MA), “Tactile Photograph” of Mariliana Arvelo’s Nagala’at
performers II, Watertown, MA, 2004, CNC laser etching on
wood, 2005, 15 x 24 inches, Courtesy of the artists.
DOCUMENT showcases recent social
documentary work from Boston on Boston
through the eyes of 9 emerging to early midcareer
photographers. The title of this exhibition,
DOCUMENT, is itself a call to arms as
well as a record. As a verb, the word “document”
implies the act of furnishing factual
support or portraying what is in front of you.
As a noun, “document” references the proof
or evidence. Any exhibition itself is all of these
things and more—a time capsule of what is
deemed important at that time, culturally and
aesthetically, by both the artists and the curator.
Unfortunately, social documentary work
rarely finds its way into galleries, commercial
or non-profit, and increasingly so, the press.
Nevertheless, Boston has a long tradition of
documentary work, burgeoning especially
in the 1970s and 80s—from its production
to exhibition, collection, and publication. 1
Acknowledging the important endeavors
that have come before, and even the recent
National Millennium Survey (1995-2000), this
exhibition respectfully offers up for consideration
a new slate of regional photographers,
methodologies, and projects. 2 Borrowing
a phrase from the prospectus of the NEAfunded
“Boston Photo-Documentary Project”
from the early 1980s of which PRC founder
Chris Enos was a part, the photographers
featured in DOCUMENT build upon this
groundwork and equally serve as “historians
of the present.” 3
DOCUMENT is held in conjunction with
the Boston University Art Gallery’s exhibition
A Photographic Portrait of Boston, 1840-1865
(February 10 - April 2, 2006) and will coincide
with the College Art Association’s (CAA)
national conference, which will be held in
Boston, February 22-25, 2006. In addition,
Boston University’s School of Visual Arts is
sponsoring and hosting a juried BFA show for
CAA featuring work by 14 New England area
art programs in the 808 Gallery. Interestingly
enough, almost all of the photographers in
the PRC’s show are not originally from this
area. Given this region’s strength in education,
photographers are often drawn to the city
and stay, lending their unique perspectives to
Greater Boston.
BOSTON AND
THE DOCUMENT SCENE
Admittedly so, DOCUMENT offers forth a
very wide swath of topics and approaches.
While this selection does hope to be an
introduction to socially-oriented and sociallyconscious
work going on in and about the
city today, it does not claim to be complete.
It concentrates on people-based work and
saves the natural and built environment (two
elements very unique in and to Boston) for
another project and future consideration.
Likewise, just as each selected topic differs
vastly—ranging from Somerville firefighters
to the homeless in Chinatown—so does each
photographer’s method. A number of photographers
use one particular group or person
to elaborate on issues that are specifically
Boston-related, and others showcase issues
that affect the whole nation through a local
connection. Several photographers incorporate
a significant amount of text and context; others
aim for minimalism and overall aesthetic
effect. This balance between “art” and “document”
is an ongoing debate within academia
and documentary photography and recapitulated
periodically. Indeed, several current
artistic trends are reflected here—interactivity,
the grid, the solo, close-up portrait—but the
photographers attempt to reference or use
them for other aims.
As the PRC beings to celebrate its 30th anniversary,
and we look back to 1976, it is wise
to ingest the lessons learned from the 1970s
photographic documentaries when considering
the work and photographers in DOCU-
MENT. As Mark Rice, chair of the American
Studies department at St. John Fisher College
(Rochester, NY) points out in his insightful
study Through the Lens of the City: NEA
Funded Photography Surveys of the 1970s:
[…there is no] “one correct way to undertake
a survey…[no] laundry list of sociological
topics that need to be answered.” 4 Later, he
goes on to remind us of the importance of
these surveys to documentary and art photography
today:
“In part because of these projects, photography
has shaken free from the impossible
burden of objectivity. We are more apt than
our predecessors were to recognize that all
photographs are art and documents, mirrors
and windows, traces and transformations.
Representations of place are inherently
political, and art is always social.” 5
Together, the works and photographers in
DOCUMENT share many of these key sensibilities
and urges. Elements that further unite
the work are the photographers’ passionate
involvement and relationships, often repeated
and often long-term, with their topics and
their subjects. Like any good documentarian
or photojournalist, their desires go beyond
simply clicking the shutter, and it shows.
Their projects are self-conscious and often
self-funded. Most of the projects were born
out of a personal desire to know or experience
more about a certain group or community
matter. Accordingly, many of the artists are
highly involved with a whole host of activist,
support, and charitable organizations.
Furthermore, each of these undertakings
represents only one of many issues in which
the photographers are interested. In order
to fuel such missions, they hold day jobs as
adjunct professors and educators as well as
professional, commercial, and editorial photographers.
What follows is a brief synopsis
of the photographers and projects featured in
DOCUMENT.
MARILIANA ARVELO AND
JAMES PATTEN (Cambridge, MA)
Mariliana Arvelo and James Patten exemplify
a unique partnership and approach to social
documentary. Arvelo began this project
through Jaimi Lard, a remarkable woman
who was born completely deaf with almost
no vision and works in public relations for
the Perkins School for the Blind in Watertown,
MA (perhaps best know for its famous
alumna, Helen Keller). Through Laird,
Arvelo was introduced to a larger deaf-blind
community centered around the Deaf Blind
Contact Center and began to photograph
and learn sign language. Based on Arvelo’s
compelling color photographs, her partner
Patten then designed a computer program to
produce a series of “tactile photographs” on
wood panels through a CNC laser etching
process. The result is a photographic relief
that can be touched and is truly interactive
and educational for people of all abilities.
Born in Caracas, Venezuela, Arvelo graduated
in 2002 from the New England School
of Photography, specializing in editorial
photography and photojournalism. Her
work has appeared in several international
publications and been exhibited at the Danforth
Museum of Art (Framingham, MA),
the ARC Gallery (Chicago, IL), and the
Gallery at the Piano Factory (Boston, MA),
among others. Originally from Virginia,
Patten has exhibited or performed in venues
such as Art Interactive (Cambridge, MA),
Museum of Modern Art (New York, NY),

12 | DOCUMENT
Claire Beckett (Jamaica Plain, MA), Specialist Takia Rust,
1164th Transportation Company, Framingham, MA, From
the series “National Guard,” 2005, C-print, (original in color),
24 x 20 inches, Courtesy of the artist
the Museo Guggenheim Bilbao (Bilbao,
Spain), the Ars Electronica Center (Linz,
Austria), among many other international
venues. Patten is currently completing his
Ph.D. at the Massachusetts Institute of
Technology’s Media Lab. Their websites are
arvelophoto.com and jamespatten.com.
CLAIRE BECKETT
(Jamaica Plain, MA)
Since 2004, Claire Beckett has been photographing
members of the Massachusetts
National Guard. Traveling to a variety of
training camps in the Greater Boston area—
from Dorchester, to Hingham, Framingham,
and the cape—Beckett usually stays the weekend
along with these soldiers in training. The
MA National Guard recently made headlines
for its decline in numbers and recruitment
efforts in malls. Beckett’s concern for this
group stems in part from a curiosity about
war and those that represent our country and
us. Most importantly, perhaps, she is interested
in the attendant personal transformation
that often goes along with someone’s service,
before and after they enter conflict. Beckett’s
project calls into question many issues, from
the balance of civilian and military life (these
forces refer to themselves “M-day” or Mobilization
day soldiers) to the role of the military
and war in society.
Originally from Chicago, IL, Beckett earned
a BA in Anthropology from Kenyon College
(Gambier, OH) and is expected to earn her
MFA in photography from Massachusetts College
of Art this spring. From 2002-2004, she
was a Peace Corps Volunteer and AIDS educator
in the Republic of Benin in West Africa.
SUZI CAMARATA (Boston, MA)
What began as a project for Suzi Camarata’s
studies at the Art Institute of Boston in 2001,
has since grown into a deep relationship with
the ethnically and economically-diverse neighborhood
she calls home, Mission Hill. For 3
years, she has photographed the businesses
that line Tremont Street and Huntington Avenue
for a community calendar to benefit Mission
Hill Main Streets. Part of the National
Trust for Historic Preservation’s Main Street
Program and a non-profit, the Mission Hill
neighborhood joins 18 other designated areas
sponsored by the city of Boston. From the
Hispanic-oriented Fuentes Market rebuilt
after a fire to a Somalian store turned coffee
shop which continues to act as a local outpost
for social counseling, the establishments represent
a microcosm of Boston and its development.
Even these short 5 years, the area has
begun to show signs of gentrification, with
artist live/work spaces and chain businesses
beginning to replace the very same enterprises
she first documented.
Born in Korea, Camarata grew up in Japan
and Dallas, TX. She holds a BA in political
science from the University of Rochester
(Rochester, NY) and pursued studies in
photography at Art Institute of Boston. Her
exhibitions include solo shows at Gallery Diablo
in Mission Hill and group exhibitions at
venues such as Panopticon Gallery (Waltham,
MA) and the Texas Photographic Society (San
Antonio, TX). Camarata is a freelance commercial
photographer, specializing in portraits
and weddings. Her website is camarataphotography.com.
CHRIS CHURCHILL (Amesbury, MA)
Christopher Churchill’s project focuses on
the Patrick O’Hearn Elementary School in
Boston’s Dorchester neighborhood. The
school sits on Dorchester Avenue—in close
proximity to potential inner city issues—and
serves children from diverse ethnic, linguistic,
and ability backgrounds in grades K-5.
The co-founder of the school, Dr. William
Henderson has been an educator in Boston
for the past 33 years, and the principal of
O’Hearn for the last 16. Many of the school’s
over 220 students qualify for a free or discounted
lunch. With a relatively low student
to teacher ratio, the school itself boats a high
level of parental involvement. Churchill’s
stunning portrait of Dr. Henderson, who is
visually-impaired, shows him posed pensively
in his school’s halls, the raking light streaming
through the windows. O’Hearn is nationallyrecognized
for its full-inclusion program—
integrating students with general, special, and
gifted needs together—and Churchill’s images
reflect this unique diversity.
Born in Maine, Churchill graduated from the
Maine Photographic Workshops in 1998 then
moved on to study with John Goodman and
Gus Kayafas in Boston. His recent exhibitions
include a two-person show at Phillips Exeter
Academy (Exeter, NH) and a solo show at the
Salt Institute of Documentary Studies (Portland,
ME). Both exhibits focusing on a body
of work created on the criminal unit of the
Augusta Mental Health Institute. Churchill’s
work can be found in many collections and
galleries including the Boston Public Library,
The Addison Gallery of American Art (Andover,
MA), the Boston Drawing Project at the
Bernard Toale Gallery and the DeCordova
Museum Corporate Art Program (Lincoln,
MA). His editorial and commercial clients
include Boston Magazine, The Sunday Globe
Magazine, Harvard University, Hill Holliday
Advertising Agency and The Federal Reserve
Bank. Churchill currently teaches various
one-week classes at the Maine Photographic
Workshops. His most recent project is a
series on religion in America. His website
in www.christopherchurchill.com.
Suzi Camarata (Boston, MA), Fuentes Market, From the series
“Inside Mission Hill” and the 2004 Mission Hill Main Streets
Calendar, C-print, (original in color), 2003, 12 1/4 x 12 1/4
inches, Courtesy of the artist and copyright Suzanne Camarata

DOCUMENT | 13
Christopher Churchill (Amesbury, MA), Dr. Bill Henderson,
from the series “Patrick O’Hearn Elementary School,
Dorchester, MA,” 2005, gelatin silver print, Courtesy of
and copyright Christopher Churchill
LISA KESSLER (Boston, MA)
From 2002 to 2004, Lisa Kessler photographed
the sexual abuse crisis in Boston’s
Roman Catholic Church as a project titled
“Heart in the Wound.” In Boston alone over
800 people reported abuse to the church
(it is estimated that 100,000 were abused
nationally). Kessler took great care to show
the whole gamut of the crisis from the protests
at the Cathedral of the Holy Cross in the
South End (just down the street from where
Kessler lives) to Cardinal Bernard Law’s resignation
in December 2002 and Bishop Sean
O’Malley’s installation, to the settlements,
support groups, and eventual legislation.
Through the project, Kessler aimed not only
to document and shed light on this pivotal
period and issue in her sensitive black and
white images, extensive interviews, and short
film on DVD, but most importantly to use
it as a platform from which to discuss child
sexual abuse in general.
Originally from New York, Kessler is a freelance
documentary and editorial photographer
and educator with almost 20 years of experience.
Currently teaching at Northeastern
University and the Maine Photographic
Workshops, she holds a BA in history from
Brown University and a MS in journalism
and photojournalism from Boston University.
Kessler was a finalist in the 2005 Artist Grant
Program for Massachusetts Cultural Council,
and in 2004 received an Honorable Mention
for the Honickman Foundation First
Book Prize in photography from the Center
for Documentary Studies at Duke University
(Durham, NC) for this project. An early version
of “Heart in the Wound” received the
2002 Award of Excellence from the Pictures
of the Year International competition in the
Magazine News Story category. Kessler’s work
is in the permanent collection of the Philadelphia
Museum of Art. She has exhibited at
the Danforth Museum of Art (Framingham,
MA), Scollay Square Gallery (Boston, MA),
Boston Arts Academy, and the Birmingham
Civil Rights Institute (Birmingham, AL).
SURENDRA LAWOTI
(Somerville, MA)
Surendra Lawoti’s project, “Fire,” presents
firefighters from the five fire stations in his
adopted hometown of Somerville, MA.
Lawoti approaches his work by spending
countless hours listening to the stories of the
firefighters. He is interested in their experiences
in confronting the wrath and unpredictability
of the fires, as well as the uncertainties,
close calls, and losses. From the piercing stare
of District Chief Peter St. Clair (Appointed
October 31, 1977) to the casual integrity of
Firefighter William James Powers (Appointed
October 12, 1969), Lawoti approaches each
person with a close-up, straightforward effect
and style. Currently, he is expanding this project
by photographing the firefighters of the
neighboring city of Cambridge, MA.
A native of Nepal, Lawoti came to the US
in 1994. He received his BA in photography
from Columbia College Chicago and his
MFA in photography from Massachusetts
College of Art this past spring. Featured in a
number of solo and group exhibitions, Lawoti
has received grants from Artadia (2002) and
Chicago’s Department of Cultural Affairs
(2001 and 2002). His work is included in the
LaSalle Bank Collection, Ruttenberg Collection,
and the Citibank Corporate Collection.
Lawoti has taught for the Marwen Foundation,
which offers after-school programs to
underprivileged Chicago-area high school
students. In addition, he has taught at Massachusetts
College of Art’s high school summer
program as well as the Cambridge School
of Weston’s summer art program. Currently,
he is an adjunct professor of Photography at
Montserrat College of Art (Beverly, MA) and
also works for Color Services, Inc (Needham,
MA). He was recently accepted into the Boston
Drawing Project at the Bernard Toale Gallery
(Boston, MA). Lawoti’s website is www.
surendralawoti.com.
Lisa Kessler (Boston, MA), Prostrate, Boston, MA, May 2002, From
the series “Heart in the Wound,” 2002, gelatin silver print, 16 x 20
inches, Courtesy of and copyright Lisa Kessler
MICHAEL MANNING
(Cambridge, MA)
Michael Manning’s featured project began
in the winter of 2002/2003 with his desire
to discover for himself how the economy and
cuts in social programs were affecting people
living on Boston’s streets. On his first day out,
he met Lee, the leader of a group of homeless
persons, self-titled “La Familia,” generally
living near Chinatown. After a bit of testing,
Lee allowed him into their world. The next
day Manning returned to find out that one of
the group, Ramiro, or Papa as Lee called him,
had suffered a serious head injury and was
taken to the hospital. Ramiro spent almost 2
months at Spaulding Rehabilitation Center,
during which time his family often undertook
the long trek to visit him. Only minutes after
his release back to the street, Ramiro started
drinking again. “La Familia” continues to look
after each other, a true family in every sense
of the word. (As an apt coda, Lee will get her
first apartment this December.) Manning’s
project is an insightful, human look into a
world we often see in Boston, but sadly is
often overlooked.
A Cambridge-based photographer with over
15 years of experience, Manning has been
awarded four 1st place awards from the New
England Press Association. Originally from
New York, Manning attended Nova Scotia
College of Art and Design and graduated
from the Art Institute of Boston. He has

14 | DOCUMENT
Michael Manning (Cambridge, MA), Lee on the corner, Frances
and Churro stay warm on the grate, 2003, From the series “La
Familia,” 2003, gelatin silver print, 14 x 21 inches, Courtesy
of and copyright Michael Manning
exhibited at the Boston Architectural Center,
Fidelity Corporation (Boston, MA), and the
Danforth Museum of Art (Framingham, MA),
for which he was juried into the biennial New
England Photographers twice and won
a purchase award in 2005. A former staff
photographer to CNC publications, he has
also contributed to the Associated Press,
New York Times, Rolling Stone, Boston Magazine,
and the Boston Globe, among others.
Manning’s other projects include an inside
look at a large Greek Orthodox Church in
Watertown, MA, the festival of Cosmas and
Damien in East Cambridge, MA, and an
ongoing series on his own family. His website
is michaelmanningphoto.com.
AMBER DAVIS TOURLENTES
(Somerville, MA)
For the past eight years, Davis has been
photographing her family: her gay father, his
lifelong partner, mother and stepfather as well
as other gay-parented families. This project,
“Families on Stage,” features selections of
images of Boston area gay-parented families
taken during Family Week in Provincetown,
MA over the course of 4 years (2002-2005).
Sponsored by the Family Pride Coalition—a
unique non-profit organization that supports
legislation, funding, and research regarding
LGBT families—the weeklong conference
draws thousands and garners national attention.
Taken on stage at the local town hall,
each portrait serves to put forth a muchneeded
candid glimpse of the gay family,
which recently shifted demographically to
the Boston suburbs. Davis plays with expectations
of documentary work with her frank
compositional choices and sheer repetition.
A unique blending of art and activism, Davis’
project takes on increased meaning given the
ruling on gay marriage in our state, but also
speaks to how we all picture ourselves as and
within family.
A native of Boston’s South End, Davis
received her MFA in Photography and Computer
Arts at the University of Massachusetts
at Amherst in 1998 and then taught at Princeton
University (Princeton, NJ). Currently,
she teaches photography and new media at
Massachusetts College of Art and Emerson
College (Boston, MA). She is involved with
many activist and support groups such as
HRC (Humanity Rights Campaign), Families
Like Mine, and COLAGE (Children of
Lesbians and Gays Everywhere). Davis’s work
with gay-parented families has been featured
in countless solo and group exhibitions and
gay, lesbian, and transgendered targeted publications.
In 2005, she received one of five
individual grants in photography from the
Massachusetts Cultural Council. Her website
is amberdavisphotographer.com.
CONCLUSIONS
Each of the photographers in DOCUMENT
has expressed to me, on various occasions and
in various ways, an assortment of sentiments
beginning with the same verb: “remember….”.
Remember the issues behind the
photos. Remember the subjects. Remember
Amber Davis Tourlentes (Somerville, MA), detail of Families
On Stage, one family from the Boston area out of the series
“Family Portraits,” Archival ink jet print, (original in color),
2002-2005, dimensions variable, Courtesy of the artist
that these people are sharing their lives. I
encourage you, as readers and viewers, to consider
this advice as well. What do the subjects
give (or not give) to the photographer and
by extension, to us What do we take from
this documentary encounter What could or
should we give back to them The photographs
on display in the gallery represent only
the tip of the iceberg for the photographers
and for the PRC. Inspired by the exhibition,
we have planned an extensive menu of educational
programs (see page 4), school tours, and
an online component with additional information,
interviews, and links. As an added
resource, in the gallery and online, the PRC
presents what hopes to be an ever-expanding
annotated timeline of past and current documentary
projects by Boston photographers
focusing on Boston. As this goes to press, even
more outreach efforts are in the works. Philosophically,
these educational offerings are as
much a part of the exhibition as anything else.
Seen through the eyes and lenses of these 9
artists and their distinctive interests, sensibilities,
and methods, I hope a larger picture of
Boston and some of the social issues before us
at this particular time will come into focus.
Beginning with the opening of the gallery
exhibition, we encourage you to visit the
online component to DOCUMENT at www.
bu.edu/prc/document. In addition, a special
display of publications related to the themes
in the exhibition will be available in the
PRC’s Aaron Siskind library.

DOCUMENT | 15
ENDNOTES
1
Two key publicly-funded projects in Boston
were produced under the auspices of the
National Endowment for the Arts (NEA)
and the Massachusetts Bay Transportation
Authority (MBTA). Sponsored by the Artists
Foundation, the “Boston Photo-Documentary
Project” focused on the areas of the
Leather District and the Fort Point channel
neighborhood between 1980 and 1982. It
included PRC founder Chris Enos, Richards,
Kipton Kumler, John Rizzo, Sage Sohier,
and Jim Stone. Another project concerned
the dismantling of the Orange line elevated
train and included photographers David
Akiba, Jack Lueders-Booth, Lou Jones, Linda
Swartz, Melissa Shook, among others (1984-
1987). The images from these surveys are
archived respectively at the Museum of Fine
Arts, Boston and the Boston Public Library.
Other projects related to Boston included
the “Outer Boston Project” (1980), focusing
on the areas between Route 128 and I-495,
sponsored by the Art Institute of Boston and
a survey of Brockton (1981), sponsored by
the Brockton Art Museum; both were NEA
funded. For a complete list of NEA funded
projects see Mark Rice, Through the Lens of the
City: NEA Photography Surveys of the 1970s,
Jackson: University of Mississippi Press,
2005. An important social and documentary
photography collection, which is now on
permanent deposit at Harvard University’s
Fogg Art Museum, was recently honored with
an exhibition in fall 2005 titled, A New Kind
of Historical Evidence: Photographs from the
Carpenter Center Collection. A unique documentary
publication, DoubleTake magazine
was founded in 1995 by Harvard Social Ethics
Professor of Dr. Robert Coles, and called
Somerville’s Davis Square its home from 1999
until it ceased publication in 2003 and closed
its doors in 2004. For an excellent overview
of Boston documentary work, including its
exhibition, collection, and publication, see the
DeCordova Museum and Sculpture Park exhibition
catalogue Photography in Boston: 1955-
1985, Boston: MIT Press, 2000. The PRC
aims to have an extensive, ongoing annotated
timeline on display in the gallery and online
of documentary projects concerning Boston
by Boston area photographers.
2
Frank Gohlke and Barbara Nofleet were
two Boston-area photographers invited to
participate in the National Millennium Survey,
a project involving 35 photographers and
15 writers overseen by Jim Enyeart, one of
the first organizers of the NEA photography
surveys in the 1970s. The resulting traveling
exhibition, Photographers, Writers, and the
American Scene: Visions of Passage, was sponsored
by the Museum of Photographic Arts in
San Diego, CA, and was shown locally at the
Massachusetts College of Art in 2003.
3
Rice, 50.
4
Ibid, 198.
5
Ibid, 217.
Addison Gallery of American Art
Young America
The Daguerreotypes of
SOUTHWORTH & HAWES
28 January through
9 April 2006
ADDISON presents a Landmark Exhibition
Southworth & Hawes,
[Unidentified Bride], ca. 1850,
daguerreotype, whole plate, 8 1/2 x 6 1/2 in.,
George Eastman House Collection
Organized by the George Eastman House International Museum of Photography and Film and the International Center
of Photography, Young America was made possible by a major lead grant from the Henry Luce Foundation, with
additional support from M&T Bank, Nixon Peabody LLP and the National Endowment of the Arts. The Addison’s presentation
of Young America has been generously funded by the Mollie Bennett Lupe & Garland M. Lasater Exhibitions
Fund, and by Alan G. Schwartz, PA ’48 and Steven L. Schwartz, PA ’72.
Phillips Academy 180 Main Street Andover MA 01810 978.749.4015
www.addisongallery.org

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interview | 17
INSIGHT: STAN TRECKER
Montserrat College of Art President Stan Trecker
holds an MFA in photography and printmaking
from the School of the Art Institute of Chicago,
an MBA from Indiana University, a BFA
from Columbia College and a BS in Business
Administration from Miami University. Trecker’s
11-year tenure as Executive Director of the
Photographic Resource Center (1980-1991) was
marked by tremendous growth for the organization
and the photography community including
a successful capital campaign that resulted,
among other benefits, in the development of the
PRC’s first comprehensive facility. Trecker left
the PRC to serve as the Art Institute of Boston’s
President—a post he held until he joined Montserrat
in 2003. He lives in Brookline with his
wife, Anne, and daughter. He is also the father
of two grown daughters.
Why photography
I started my career in banking. I had an MBA
and was working for a large bank in Chicago.
Coincidentally, one of my banking colleagues
was an active photographer and had a darkroom
in her home. She introduced me to
photography. I bought a camera and decided
to take a course at Columbia College. Eventually,
I decided that I didn’t want a long term
banking career. At the same time, my teacher
was organizing a semester class in Oaxaca,
Mexico. I jumped at the opportunity. For
six months, all I did was take pictures, talk
to other people about photography, and get
to know a new culture. It was life changing.
After I entered the graduate program at the
Art Institute of Chicago. During those years,
I was trying to figure out what I could do to
make a living. I started to realize that there
were arts institutions that needed people with
business skills. I got a job as the business manager
of MoMing Dance and Arts Center in
Chicago, which was doing cutting edge work,
mostly in contemporary dance. It allowed me
to see and be around people who were creating
new work all of the time. After I got my
degree, I started looking around the country
at photo organizations that might need my
skills. There were two jobs. One of them was
the Director of the PRC, and the other was
the Director of San Francisco Camerawork.
I applied for both, and I was offered both.
One of my teachers, Joyce Neimanas, told me
that she had great respect for the people at
the PRC. I interviewed and liked it. That was
really why I came.
Shortly after you arrived, the PRC began
growing dramatically. Why
The biggest thing that sparked the PRC to
grow and be more visible were the lectures.
We brought in people like Arnold Newman,
John Szarkowski, Bill Wegman, David Hockney
to [Boston University’s Morse Auditorium]
at least once a month. Even the most
casual person interested in photography could
get excited about hearing Hockney or Wegman
speak. It gave the institution a bigger
presence. Its success allowed us to think about
a new space, a better space, a larger space, a
library, an exhibition space, and gave us the
wherewithal to attract some new Board members
who had significant wealth themselves or
who could raise money.
When I came on as Director, the Board was
wonderful in its knowledge and commitment
to photography. Carl Chiarenza, Bart Parker,
and Jim Stone and others were absolutely
dedicated to the PRC and to photography.
However, there wasn’t a whole lot of business
experience and fund raising capacity involved
[on the Board]. Then John Parker, because of
Olivia [Parker] and Jack Naylor jumped in.
They enjoyed people like Don Perrin, who
was one of the few non-artists on the board,
and brought a real professionalism to the
board that was new to the institution. John
worked his way into being the President of the
Board, pretty rapidly. When we started thinking
about a capital campaign, John and Jack
were the ones that knew how to it.
What was your crowning achievement at
the PRC
Leading organizations like [the PRC] is a
labor of love. However, I tend to look back
at those years as some of the best that I have
had in my career because it was exciting.
Anita Douthat, who came on as the Curator
when we built the new space [602 Commonwealth
Avenue] was absolutely dynamic in
what she wanted to do, and did programming
that helped set the PRC apart. What a wonderful
curator! The building and opening
of the space, and the programming that
started to build from there, were the best
moments. It was really a wonderful time for
the organization.
What was your most challenging moment
The later years, 88, 89, when federal and state
funding started to dry up. The state was going
through its fiscal cycle, and the NEA was
facing censorship pressures. A lot of institutions,
not just the PRC, started to level off.
Some places closed. Taking an organization
and starting to scale it back was really tough.
Stan Trecker photographed by Terrence Morash.
The institution never had an endowment. It
was raising money year to year to survive, still
does, which makes [the organization] very
venerable to the vagaries of outside forces.
Those were the toughest times.
What’s going on at Montserrat
We are exploring exciting possibilities for
new facilities and have initiated the College’s
first-ever multi year fund raising campaign, to
which our supporters are really responding.
We have a show up right now called Plastic
Princess: Barbie as Art (through February 11).
Our curator, Leonie Bradbury put together
this show of artists around the country who
use Barbie as a theme in their art. It talks
about women’s’ issues and all sorts of really
pretty interesting stuff. It’s a terrific show and
getting a lot of public attention.
What do you think about the PRC’s direction
right now
The shows are still really wonderful and I love
the way that you are using the web to build
audience for what you are doing. I would give
attention to audience building activities, like
lectures—allowing you to introduce yourself
to new supporters and to get the name out
there. The PRC has a lot of respect in the
Boston community. I continue to hear that.
You have a good base to build on.
Thank you.
Thank you.
Insight presents interviews with photography
luminaries from the New England photography
community. To suggest individuals to be interviews
in future issues, please email prc@bu.edu.

photography events in new england
MASSACHUSETTS
Alpha Gallery
Gyorgy Kepes: Paintings and Photographs (Jan 7-Feb 1). 38 Newbury
Street, Boston, MA 02116. 617-536-4465. www.alphagallery.com
Addison Gallery of American Art
Young America: The Dauguerreotypes of Southworth and Hawes
(Jan 28-April 9).Tue-Sat, 10-5; Sun, 1-5. Phillips Academy, 180
Main Street, Andover, MA 01810. 978-749-4015.
www.andover.edu/addison
Arlington Center for The Arts
Beastyfeast (thru Jan 20). Mon-Fri, 9-6. 41 Foster Street, Arlington,
MA 02474. 781-648-6220. www.acarts.org
Art Institute of Boston
Language of Vision: The Work of Gyorgy Kepes (thru Jan 3). Mon-Fri,
9-6; Sat, 9-5; Sun, 12-5. 700 Beacon Street, Boston, MA 02215.
617-585-6600. www.aiboston.edu
Bernard Toale Gallery
American Pitbull: Photographs by Marc Joseph (Jan 5-Feb 11). Opening
Reception: Jan 6, 5:30-7:30. Gallery Talk: Jan 7, 1:30-3:30.
Tue-Sat, 10:30-5:30. 450 Harrison Avenue, Boston, MA 02118.
617-482-2477. www.bernardtoalegallery.com
BF Annex
Photographs by John Chervinsky (Feb). Opening Reception: Friday,
Feb 3, 5:30-7:30. Tue-Sat 9:30-5:30. 450 Harrison Ave. #57
Boston, MA 02118. 617-451-3344. www.bfannex.com
Boston Society of Architects/AIA, The Architects Building
What Remains: Photographs by Christian Waeber (thru Jan 31). 52
Broad Street, Boston, MA 02109. 617-951-1433. www.cwaeber.com
Boston University Art Gallery
A Photographic Portrait of Boston 1840-1865 (Feb 10-Apr 2). Opening
Reception: Feb 9, 6-8. Tue-Fri, 10-5; Sat-Sun, 1-5. College of
Fine Arts, 855 Commonwealth Avenue, Boston, MA 02215. 617-
353-3329. www.bu.edu/art
Cambridge Art Association
Soul’s Chalice: Charles Bandes, Paul Giquere and Jennifer Maestre
(Jan 5-31). Opening Reception: Jan 14, 12-2. Simple Gifts: Juried
by Michael Price, CAA Members Show (Feb 8-28). Opening
Reception: Feb 11, 12-2. Tue-Sat, 11-5. Kathryn Schultz Gallery,
25 Lowell Street, Cambridge, MA 02138. 617-876-0246. www.
cambridgeart.org
Carpenter Center for the Visual Arts
Modest Sublime (thru Jan 5). Mon-Sat, 9am –11:30pm, Sun,
12- 11:30pm. 24 Quincy Street, Cambridge, MA 02138.
617-495-3251. www.ves.fas.harvard.edu
Center for Photographic Exhibitions at New England School
of Photography
Allison Evans: Black and White Prints (Jan 2-27); John Watkins:
Platinum Prints (Jan 2-27); Jason Gavann: Color Animal Portraits
(Feb 6-Mar 3). Mon-Fri, 9-5. 537 Commonwealth Avenue,
Boston, MA 02215. 617-437-1868. www.nesop.com
Countway Library at Harvard Medical School
Dorothy Simpson Krause: Ars Longa-Vita Brevis (thru Feb 3).
Mon- Fri, 9am-5pm. 1st Floor Exhibit Area, 10 Shattuk St., Boston
MA. 02115. 617-432-2147
Danforth Museum of Art
New England Currents: Bruce Bemis, Light Sculpture (thru Jan
8); Boston Printmakers: The New England Landscape, Alternative
Approach (Jan 29-Apr 2). Opening Reception: Jan 29, 2-4. New
England Currents: Womankind (Feb 15-Mar 19). Opening Reception:
Feb 19, 3. Wed-Sun, 12-5. 123 Union Avenue, Framingham,
MA 01702. 508-620-0050. www.danforthmuseum.org
Davis Museum and Cultural Center
On the Edge: Contemporary Chinese Artists Encounter the West
(Feb 15- Jun 3). Tue-Sat, 11-5; Sun, 1-5. Wellesley College, 106
Central Street, Wellesley, MA 02481. 781-283-2051. www.wellesley.edu/DavisMuseum/
DeCordova Museum and Sculpture Park
Saga: The Journey of Arno Rafael Minkkinen (thru Jan 8); Photographs
1897-2005 (thru Jan 8); John Huddleston: Killing Ground,
Photographs of the Civil War and Changing American Landscape
(thru Jan 8). Robert Arnold: Zeno’s Paradox (thru Jan 8). Great
Buys: Museum Purchaces (thru Sep). Software Art (Jan 28-Apr
16). Tue-Sun, 11-5. 51 Sandy Pond Road, Lincoln, MA 01773.
781-259-8355. www.decordova.org
Essex Art Center
Alfredo Conde: objects, wall paintings and works on paper (Jan
13-Feb24); Monhegan and More: Ralph Bush, Kelly Haines and
Mark Hayden (Jan 13-Feb 24). Opening Reception: Jan 13, 5-
7. Tue-Thu, 10-7; Fri, 10-3. Main Gallery and the Elizabeth A.
Beland Gallery, 56 Island Street, Lawrence, MA 01840. 978-685-
2343. www.essexartcenter.com
Fitchburg Art Museum
Chester Michalik: Photographs of Contemporary Japan (thru Jan
2); Collection and Directions: Acquisitions in the Twenty-First
Century (thru Feb 12); Inspiring Minds Through Art (thru Feb
19); The Civil War Remembered: Photographs and Artifacts (Jan
22- Apr 2). Tue-Sun, 12-4. 185 Elm Street, Fitchburg, MA 01420.
978-345-4207. www.fitchburgartmuseum.org
Fort Point Arts Community Gallery
The Wheels Project: Ken Richardson, Jasen Strickler, Andrew .K.
Warren (thru Jan 14). Energy Fools the Magician: Andrew Neumann,
Rob Reeps (Jan 20-Feb 25). Mon-Fri, 10-3; Tue-Fri, 5-9;
Sat, 12-5. 300 Summer Street, Boston, MA 02110. 617-423-4299.
www.fortpointarts.org
The French Library/ Alliance Francaise
Paris: Regards Pensifs (thru Jan 3). Mon,Tue,Thu, 10-6; Wed 10-8;
Fri-Sat, 10-5. 53 Marlborough Street, Boston, MA 02116. 617-
912-0400. www.frenchlib.org
Judy Ann Goldman Fine Art
Arbor: Benefit Exhibition for Armenia Tree Project with paintings,
drawings and photographs (Jan 11-Feb 4). Opening Reception:
Jan 14, 4-6. Tue-Sat, 10-5:30. 14 Newbury Street, Boston,
MA 02116. 617-424-8468. http://www.judygoldmanfineart.com
Gallery Artists Studio Projects
Not Just a House: curated by Samantha Fields (thru Jan 14). Thu-
Sat, 11-5; Sun-Wed by appointment. 362 Boylston Street, Brookline,
MA 02445. 617-731-2500. www.g-a-s-p.net
Gallery at Spencer Lofts
Good Harbor: Photographs by John Kennard (Feb 4-25).
Opening reception: Feb 4, 3-6PM. Saturdays , 3-5PM and by
appointment (978-505-7660). 60 Dudley Street, Chelsea, MA.
Info: galleryspencerlofts@yahoo.com
Gallery Kayafas
Herb Greene: Brief Encounters with the Dead (thru Jan 14); Gary
Duehr: Memorial Drive (Jan 17-Feb 25); Dutch Huff: New Work
(Jan 17-Feb 25); Barbara Gallucci (Jan 31-Feb 26). Tue-Fri, 1-5:30;
Sat, 12-5:30. 450 Harrison Avenue, Suite 223, Boston, MA 02118.
617-482-0411. www.gallerykayafas.com
Gallery Naga
Lana Z Caplan: Dual and Jaclyn Salvaggio Kain: Pieces of Millie
(Jan 6-28). Tue-Sat, 10-5:30. 67 Newbury Street, Boston MA
02116. 617-267-9060. www.gallerynaga.com
Griffin Museum of Photography
Images by Peter Urban (thru Jan 2); A Dream Half Remembered:
Images by Ken Rosenthal (Jan 3- Mar 19); The Body Familiar:
Current Perspectives of the Nude (Jan 12- Mar 19). Tue-Sun, 12-
4. 67 Shore Road, Winchester, MA 01890. 781-729-1158. www.
griffinmuseum.org.
HallSpace
I Protest: In the spirit of free speech and visual expression (thru Jan
7). Fri-Sat, 12-5; Mon-Thu, by appointment. 31 Norfolk Avenue,
Boston, MA 02119. 617-989-9985. www.hallspace.org
Howard Yezerski Gallery
Su Yang: Photographs from the Butterfly Series (Jan 6-Feb 7);
Gary Schneider: Nudes (Feb 10-Mar 14). Tue-Sat, 10-5:30.
14 Newbury Street, Boston, MA 02116. 617-262-0550.
www.howardyezerskigallery.com
Institute of Contemporary Art
Utopia, Utopia=One World, One War, One Army, One Dress
(thru Jan 16). Momentum 5: Paul Chan (thru Jan 16). Wed-Fri,
in the loupe listings deadlines
March/April issue:
February 2, 2006
May/June issue:
April 3, 2006
12-5; Thu, 12-9; Sat-Sun, 12-5. 955 Boylston Street, Boston, MA
02115. 617-266-5152. www.icaboston.org
Iris Gallery
The 2nd Annual Botanical Show (thru Jan 3); 2005 Retrospective
(Jan 13-Feb). Thu-Mon, 12-6 or by appointment. 47 Railroad
Street, Great Barrington, MA 01230. 413-644-0045. www.irisgallery.net
Judi Rotenberg Gallery
Introductions 2006: George Rosa & Lorna Williams, & Installation
by Harvey Loves Harvey (Jan 5-28). Opening Reception: Jan
5, 6-8. Tues-Sat, 10-6. 130 Newbury Street, Boston, MA 02116.
617-437-1518. www.judirotenberg.com
Khaki Gallery
Nahid Khaki: Beach Blues (thru Jan 28); Inscapes (thru Feb 28).
Opening Reception: Jan 7, 6-8. Mon-Sat, 10-6. 9 Crest Road,
Wellesly, MA 02482. 781-237-1095. www.nahidkhaki.com
Kingston Gallery
Mary Lang (Jan 3-Jan 28). Opening Reception: Jan 6, 5-7:30.
Gallery Talk: Jan 28, 3. 450 Harrison Avenue, Boston, MA 02118.
617-423-4113. www.kingstongallery.com
Massachusetts College of Art, Bakalar Gallery
Michael Queenland (thru Jan 10); Selections ‘06 (Jan 23-Mar 11);
Shintaro Miyake: The Beaver Project (Feb 8-Mar 18). Mon-Fri,
10-6; Sat, 11-5. 621 Huntington Avenue, Boston, MA 02115. 617-
879-7000. www.massart.edu
Massachusetts Museum of Contemporary Art
Becoming Animal: Contemporary Art in the Animal Kingdom
(thru Feb). Mon-Sun, 11-5, closed Tue. 87 Marshall Street, North
Adams, MA 01247. 413-664-4481. www.massmoca.org
Mead Art Museum at Amherst College
Duane Michals: Photography and Reality (Jan 20-Apr 16).
Tue-Sun, 10-4:30; Thu, 10-9. Intersection of Route 9 and South
Pleasant Street, Amherst, MA, 01002. 413-542-2335. www.
amherst.edu/mead
Miller Block Gallery
Eric Lebofsky: Book Club (thru Jan 17); Scott Peterman:
Recent Photographs (thru Jan 17). Tue-Sat, 10:30-5:30. 14
Newbury Street, Boston, MA 02116. 617-536-4650.
www.millerblockgallery.com
Mills Gallery at the Boston Center for the Arts
After (Feb 3-Mar 19). Opening Reception: Friday, Feb 3, 6-8
Wed-Thu, 12-5; Sat-Sun, 12-10; Sun, 12-5. 539 Tremont Street,
Boston, MA 02116. 617-426-8835. bcaonline.org
MIT Museum
Scientific Settings: Photos of MIT Labs (thru Jan 6); Finding
Form: The Art of Richard Filipowski (thru Feb 17);
COLLISIONbox #2: Cars and Stars (Jan 20-Feb 24); Scopes,
Station Wagons and Solder: Unexpected Images From the Rad
Lab and RLE Collections (thru Jun). Tue-Fri, 10-5; Sat-Sun 12-5.
265 Massachusetts Avenue, Cambridge, MA. 617-253-4444.
http://web.mit.edu/museum/
Montserrat Gallery
Plastic Princess: Barbie as Art (thru Feb 4). Mon-Thu, 11-7;
Fri, 11-5; Sat, 12-4. 23 Essex Street, Beverly, MA 01915.
978-921-4242. www.montserrat.edu/galleries/index.shtml
National Heritage Museum
Teenage Hoboes in the Great Depression: Materials from the UYS
Family Collection (thru Feb 19). Blue Monday: Doing Laundry

in America (thru Mar 4). Mon-Sat, 10-5; Sun, 12-5. 33 Marrett
Road, Lexington, MA 02421. 781-861-6559. www.monh.org
Onyx Hotel
Fashion: Style Throughout History (thru Feb 1). 9-8 Daily. 155
Portland Street Boston, MA 02114.617 557-9955
Out of the Blue Gallery
Big Photos: Sabrina Cass (Jan 13-20). Opening Reception:
Jan 13, 7. Mon-Sun, 12-6. 106 Prospect Street, Cambridge, MA
02139. 617-354-5287. www.outoftheblueartgallery.com Color Photography:
Ellie Lobovits (Feb). 1369 Coffeehouse, 757 Massachusetts
Avenue, Cambridge, MA 02139. 617-576-4600.
Panopticon Gallery
Shadows in Time: Traditional photographs by Paul Wainwright
(thru Jan 14). Mon-Fri, 10-6; Sat, 11-5. 435 Moody Street,
Waltham, MA 02453. 781-647-0100. Holiday Show: Photographs
From the Gallery Collection (thru Jan 21). Tue-Sat, 11-6. 502c
Commonwealth Avenue, Boston, MA 02215. 617-267-8929.
www.panopt.com
Peabody Essex Museum
The Yachting Photography of Willard B. Jackson (thru Nov 19,
2006). Tue-Sat, 10-5; Sun, 12-5. East India Square, Salem, MA
01970. 978-745-9500. 866-745-1876. www.pem.org
Peabody Museum of Archeology and Ethnology
Pusan, Korea, 1954- 1954: The Photographs of Rodger Mashutz
(Feb 15- Sep 10). Mon-Sun, 9-5. 11 Divinity Avenue, Cambridge,
MA 02138. 617-496-0099. www.peabody.harvard.edu
Rhys Gallery
Peeling Back the Curtain: TTBaum, Zoe Sundra, Natalie Lachall
(Jan 13-Feb 4). Opening Reception: Jan 13, 6-9. Sat, 12-5, or by
appt. 70 Northampton Street #105, Boston, MA 02118. 617-541-
2534. www.therhysgallery.com
Robert Klein Gallery
Bill Jacobson (Jan 12-Feb 18). Opening Reception: Jan. 12, 6-8.
Tue-Fri, 10-5:30; Sat, 11-5. 38 Newbury Street, Boston, MA
02116. 617-267-7997. www.robertkleingallery.com
The Rose Art Museum of Brandeis University
“Post” and After: Contemporary Art from the Brandeis Art
Collection (thru Apr 9). MS 069, 415 South Street, Waltham, MA
02453-2728. 781-736-3434. www.brandeis.edu/rose
University Gallery at UMass Lowell
Lowell Stack: Sweet Nothings & Hardware Supplies, Installation
by Doug Bell (Jan 25-Feb 24). Opening Reception: Feb 1, 3-5.
Tue-Fri, 9-4, Sat, by appointment. McGauvran Student Union,
First Floor, 71 Wilder Street, Lowell, MA 01854. 978-934-3491.
www.uml.edu/dept/art
Williams College Museum of Art
Beautiful Suffering: Photography and the Traffic in Pain (Jan 28-
Apr 30). Tue-Sat, 10-5; Sun, 1-5. 15 Lawrence Hall Drive, Suite 2,
Williamstown, MA 02116. 413-597-2429. www.wcma.org
Zeitgeist Gallery
Kosovo Punk, Photographs by Stu Sherman (Jan 23-Feb 5). Opening
reception: Jan 28, 3-6. Tue-Sun, 1-7. 1353 Cambridge Street,
Cambridge, MA 02138. 617-876-6060. www.zeitgeist-gallery.org
ELSEWHERE IN NEW ENGLAND
The Aldrich Contemporary Art Museum
Catherine Opie: 2004 Larry Aldrich Award Exhibition (Jan 22-
Jun 19).Tue-Sun, 12-5. 258 Main Steet, Ridgefield, CT 06877.
203-438-4519. www.aldrichart.org
Center for Maine Contemporary Art
Andrea Sulzer: “Free Hand” (Jan 8-Feb 25); Underexposed (Feb3-
25). Opening Reception Feb 3, 5-8. 162 Russell Avenue, P.O Box
147, Rockport, ME 04856. 207-263-2875. www.artsmaine.org
Furchgott Sourdiffe Gallery
Winter Woods (thru Jan 24). Tue-Fri, 9:30-5:30; Sat 10-4. 86 Falls
Road, Shelburne, VT 05482. 802-985-3848. www.fsgallery.com
Portland Museum of Art
Mararet Bourke- White: The Photography of Design, 1927- 1936
(Jan 19- March 20). Tue, Wed, Sat-Sun, 10-5, Thu-Fri, 10-9. Congress
Square, Portland, ME 04101. 207-775-6148.
www.portlandmuseum.org
Radiant Light Gallery
Tableau Vivant: Rolf Koppel’s Still Lifes (thru Jan 15). Sat,
12-6:30. 615 Congress St., Suite 409, Portland, ME 04101.
207-252-7258. www.radiantlightgallery.com
Rhode Island School of Design, Museum
Theatricality in Paris 1848-1900 (thru Jan 15). Tue- Sun, 10-5.
224 Benefit Street, Providence, RI 02903. 401-454-6502. www.
risd.edu/museum
University of Rhode Island Photography Gallery
States of Siege: a consideration of re-enactment photography
(thru Mar 12); Remains of the Campaign by Don Pollack (thru
Mar 12); American Journal: A collection of offbeat small town
road trips by Mary Haggerty (Jan 24-Mar 12). Tue-Fri, 12-4, 7:30-
9:30; Sat-Sun, 1-4. Fine Arts Center Galleries, 105
Upper College Road, Kingston, RI 02881. 401-874-2775. www.
uri.edu/artgalleries
Three Rivers Community College
Boy’s Life: photographs by Dan Long (thru Jan 12). Mon-Fri 9-9.
Mohegan Campus Exhibition Space, 7 Mahan Drive, Norwich, CT.
860-885-2345. www.trcc.commnet.edu
University of Maine Museum of Art
Melonie Bennett (thru Jan 14). Tue-Sat, 9-6; Sun, 11-5. Linda
G. and Donald N. Zillman Gallery. Norumbega Hall, 40 Harlow
Street, Bangor, ME 04401. 207-561-3350. www.umma.umaine.edu
Wadsworth Atheneum Museum of Art
Double Exposure (Jan 14-Jun 18). Tue-Fri, 11-5; Sat-Sun,
11-5. 600 Main Street, Hartford, CT 06103. 860-278-2670.
www.wadsworthatheneum.org
ENTRIES/OPPORTUNITIES
Atlantic Center For the Arts 2006 Artist-in-Residence
Program. Willam Duckworth, composer, Sharon Olds, poet,
and Laura Owens, Visual artist. Deadline is January 27,
2006. 1414 Art Center Ave., New Smyrna Beach, FL
32168. 386-427-6975. For more information visit
www.atlanticcenterforthearts.org.
Artspace Call for Artists. February 1st is one of Artspace’s bi-annual
deadlines for exhibition proposals for the following programs:
works on paper, creating a solo installation in the project room, or
the John/Jane Project spaces, devising a slide show for the nighttime
projection screen, or curating a group exhibition in the untitled
gallery. Guidelines available at www.artspacenh.org. Arts Administration
Fellowship. The Connecticut Commission on Culture and
Tourism is offering one-year fellowship for recent college graduates
who are looking for additional training in the arts administration
field. Please contact Tamara at tdimitri@ctats.org for application
information. 50 Orange Street, New Haven, CT. 203-772-2709.
Decordova Museum and Sculpture Park Corporate Program
Fellow. Send resume, artist statement, slides, and self addressed
envelope to the address above. Deadline February 27. For more
information corporatefellow@decordova.org or www.decordova.org.
781-259-3639, 51 Sandy Pond Rd., Lincoln, MA 01773.
Houston Center For Photography The Houston Center For
Photography 2006 Fellowship Competition. Juried by Fred Baldwin
and Wendy Watriss Co-founders of FotoFest. Two recipients will be
awarded $1,000 in February. Deadline Friday, January 6. Applications
available at www.hconline.org/fellow_call_o6.html. 713-529-
4755, 1441 West Alabama, Houston Texas 77006.
Griffin Museum of Photography Call for entries for juried
exhibition. Arthur Griffin Legacy Awards. Juror Bonni Benrubi of
the Bonni Benrubi Gallery, New York. All entries must be received
between Dec. 29, 2005 – Jan. 28, 2006. For guidelines: www.
griffinmuseum.org or SASE. 781-729-1158, 67 Shore Road
Winchester, MA 01890.
Maine Photographic Workshops Workshops will be held in
Oaxaca, Mexico. The following workshops include: Lisa Kessler-
A personal Vision, January 8-21; Stella Johnson- Documentary
Photography, March 4-18; and Costa Manos- The Magic
Moment, March 5-11. For more information call Kerry Curran:
1-877-577-5500 ext 303, or visit www.theworkshops.com.
Massachusetts Audubon’s Moose Hill Gallery Call to Artists
for OUTRAGE: Origins, Exploitation and the Changing Perceptions
of Birds. “Outrage” will open February 1-April 16, 2006.
Deadline for submissions is January 25th, 2006. Please send or
deliver entries to Moose Hill Wildlife Sanctuary, 293 Moose Hill
St., Sharon, MA. 02067. Entry fee is $15.00. Awards to “Best in
Show” and two “Honorable Mentions”. For more information, e-
mail Jan Goba at jngoba@massaudubon.org or call (781)-784-5691
ext. 8107. www.massaudobon.org
Massachusetts Cultural Council Youth Reach 2006. Application
Deadline Feb. 8,2006. Information and Training Sessions: Nov.1-
Dec. 15. For more information go to www.massculturalcouncil.org.
10 St. James Avenue, 3rd Floor 617-727-3668.
Panopticon Gallery The Elements a juried exhibition. The theme
of the exhibition is the Elements (earth, water, air, & fire). Exhibition
will be held on May 4- July 8, 2006. Deadline submissions-
March 25. Each applicant may submit up to 15 images, no smaller
the 8x10. No slides or digital files will be accepted for review. For
more information www.panopt.com or call Dina 781-647-0100.
435 Moody Street, Waltham, MA 02453.
PowerHouse Books 2nd Annual PowerHouse Portfolio Review.
Event held on March 19, 10:30-5:30. Registration fee- $250 before
February 28, $300 after March 1, and $160 for student rate. For
registration form go to www.powerhousebooks.com/portfolioreview/
212-604-9074, 68 Charlton Street, New York, NY 10014.
Texas National Art Competition 2006 is accepting entries for
their annual juried show. This year’s juror is Paul Branch a second
generation New York School painter. His paintings and prints are
in major collections across North America. The exhibition will be
up from April 8-30 and the entry postmark deadline is January
27. There will be cash awards for 1st-3rd place as well as honorable
mention. Submissions should be made in the form of slides. For
more information and an entry form please visit www.art.sfasu.edu
or contact baileysl@sfasu.edu.
Texas Tech School of Art The SRO-Photo Gallery hosts a
competition to fill eight photographic art solo exhibition slots each
year. Slide portfolios are viewed and considered by a committee of
the Photography Division of the School of Art and the Director of
Landmark Arts. We look for strong portfolios of creative photography
in all styles, techniques, and aesthetic approaches. Entries
should include: PowerPoint of 20 images, artist statement, and one
page resume. Deadline: March 24, 2006. photogallerysro@yahoo.
com Box 42081 Lubbock, TX 79409. 806-742-3825.
www.art.ttu.edu
SlowArt Productions Call for Entries: Direct Art Magazine Fall
Annual Book Edition. Twenty-six awards of over $22,000 in value,
including cover and feature articles. Postmarked deadline March 31,
2006. www.slowart.com PO Box 503, Phonicia, NY 12464.
Smithtown Township Arts Council 27th Annual Juried Photography:
The Intimate Portrait. Juror, Joyce Tenneson. Works
must have been completed within the past 2 years. Application
Deadline Feb 15, 2006. Limit 3 entries/photographer. Entry fees-
$45/3 entries, $30/3 entries with membership. Prizes include $500
first place, $200 second place. Jpeg on CD only, no slides. For
more information: www.stacarts.org. 660 Route 25A, St. James, NY
11780. 631-862-6575.
Soho Photo Gallery Second Annual Alternative Processes Competition.
Silver prints and Digital prints will not be accepted. We
cannot accept free-standing work or images larger in any dimension
then 5 feet. All work will be judged from 35 mm slides or CDs.
Entries must be received by March 10. The juror is Christopher
James. First and Second place winners will receive cash awards $150
and $100, third place $50. For more information visit www.sohophoto.com.
212-226-8571, 15 White Street, New York, NY 10013
South Shore Art Center Call for Entries: “White, Black &
Shades of Gray: National Juried Exhibition,” April 7-May 21,
2006. Entry Deadline March 6. $1200 cash awards. Entry fee-
$25/3slides, $35/4 slides, $45/5 slides. SASE to South Shore Art
Center. www.ssac.org. 781-383-2787, 119 Ripley Road, Cohasset,
MA 02025.

phonelines: member news from near and far
We applaud the following PRC member
achievements. To have your recent successes
appear in Phonelines, please email us at
prc@bu.edu by February 2, 2006.
John Chervinsky is launching his new website, www.chervinsky.
org. Please visit to see new images and information on his three
upcoming exhibitions, one is a solo exhibition at the BF Annex
in Boston’s South End during the month of February. Nine of his
images will also be appearing in current edition of Salamander, a
national literary magazine for “poetry fiction and memoirs”.
Jack Dzamba was selected as a finalist in the “Photography Competition
2005”; an international photography contest organized by
TCB-Cafe Publishing of San Francisco, and along with the other
Finalists, will be featured in a fine art book publication and exhibition,
Like Sand From Orchid’s Lips, scheduled for Spring 2006.
Dutch Huff is exhibiting a continuing series of photographs from
his Strength in Numbers project at Gallery Kayafas (Boston, MA)
from January 17th through February 25. The Strength in Numbers
series was also shown in Philadelphia, PA at Gallery Siano during
the month of November 2005. This project and others can be
viewed on Dutch’s website, www.dutchhuff.com
Nick Johnson gave a talk about his work at the “Four Artists-
Four Weeks” event at the Indian Hill Gallery in Pawlet, VT on
Nov. 20th. He will also be in an upcoming 4 person show at the
Towne Art Gallery at Wheelock College, 200 the Riverway, Boston
MA. Feb. 7- March 4th, 2006. The artist reception will be on Feb.
11, 2-4.
Tricia O’Neill has received this year’s Stephen D. Paine Scholarship
Fund based on the strength of her photographic series “The
Body Shop”. The award is based on talent and the promise of
future work. She plans to use the scholarship money to continue
her photographic study of the places that the working-class conduct
their work. She has also been recently hired as the official mural
painter for the Boston Red Sox for the next two years. Please visit
Tricia’s website at www.triciaoneill.com
Elaine Sakiris’s work The Identity Series, was featured at the
Gallery at Stel’s during December 2005. www.stelsinc.com
Jim Stone’s Why My Photographs are Good was published by
Nazraeli Press in November. A solo exhibition, “Idiom Savant”
featured his work during October 2005 at Washington University’s
Des Lee Gallery, St. Louis. He and his wife Linda, are happy to
announce the birth of their twin girls, Amber and Jade, on July
12, 2005.
John S. Tilney, Jr. had two pieces accepted at the 26th Annual
Parfitt Memorial juried Photo Exhibition at the Robert Lincoln
Gallery in Portsmouth, N.H. One of the pieces received and Honorable
Mention Award in the exhibit that ran in Sept. and Oct.,
2005. Mr. Tilney also had one piece accepted at the 12 Annual
juried show at the Essex Art Center in Lawrence, MA (juror: Howard
Yezerski), as well as two pieces in the 10th Annual National Art
Exhibition at St. John’s University in New York.
Images of Cuba at Zoellner Gallery, Lehigh University, Bethlehem,
PA. (thru Jan 4) This year Mari has received best in photography
award in The Worcester Arts Biennial (juried by Nick Capasso),
third prize in Worcester Artist Group Exhibition (juried by Susan
Stoops), and honorable mention in The Concord Art Association
Roddy Competition (juried by Catherine French). In 2006, she
will have an exhibition of her series Home Altars, a part of a twoperson
show at Fototeca, the national photography museum of
Cuba in Havana. Currently she is showing her photographs in the
Cambridge Art Association Exhibition RED (thru Jan 19).
David VanBuskirk’s photographs, Our Seasons, are on display
at the Barnes and Noble Café, Dorset Street in South Burlington,
Vermont through January 2006. VanBuskirk will be at Barnes and
Noble for a “Meet the Artist” reception on January 22nd from
4-5p.m., and he is announcing his new website www.vanbuskirkphotos.com
Paul Wainwright has a solo show titled Time Shadows at the
Panopticon Gallery in Waltham, MA (thru Jan 14). Wainwright
also has two photographs that were included in the 14th Annual
American Photography Competition hosted by the Hubbard
Museum of the American West in Ruidoso Downs, NM (thru Jan
29). For more information www.paulwainwrightphotography.com
become a member of the prc
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interest, the PRC can make it click!
Meri Seder, Finalist, 2001 and recipient, 2003 of the Massachusetts
Cultural Council Artist Grants Awards in photography,
has six images in Viajeros: North American Artist/Photographer’s
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