January | February 2004 - Boston Photography Focus

January | February 2004Volume 28, Number 1SNAPSHOTJanuary 2Jen Kodis online exhibition opensJanuary 19Friends of the PRC meetingJanuary 22Concerning the Spiritual in Photographyopening receptionJanuary 31Singer Editions WorkshopFebruary 1Mori Insinger online exhibition opensFebruary 19Leslie Brown gallery talkFebruary 23Friends of the PRC meetingPhotographic Resource Centerat Boston University832 Commonwealth AvenueBoston, MA 02215Non-ProfitUS PostagePAIDBoston, MAPermit No. 1839

MISSION STATEMENTThe Photographic Resource Center is guided by a philosophicalinquiry into the role of photographic media in theformation of human knowledge and experience. By emphasizingnew work, ideas, and methods, and by creating opportunitiesfor interaction among the diverse communities thatit serves, the Photographic Resource Center strives to be a vitalinternational voice in understanding the past and shapingthe future of photography.BOARD OF DIRECTORSRick Grossman, PresidentMark Young, Vice PresidentRobert BirnbaumMarv F. CookJim FittsDavid GordensteinMichael JacobsonKeith JohnsonLou JonesSTAFFTerrence Morash, Executive DirectorLeslie Brown, CuratorEmily Gabrian, Programs CoordinatorAndrew Brilliant, Managing EditorAlice Hall, LibrarianMaria Daskalopoulos, Work/Study AssistantVanessa Merino, Work/Study AssistantSarah Ryan, Work/Study AssistantElizabeth Schneider, Work/Study AssistantKatie Depew, InternKelly Kleinschrodt, InternPaige Largay, InternGENERAL INFORMATIONPhotographic Resource Center at Boston University832 Commonwealth Avenue, Boston, MA 02215Tel 617-975-0600 prc@bu.eduFax 617-975-0606 prcboston.orgHOURSTuesday–Friday: 10–6 p.m.Thursday: 10–8 p.m.Saturday–Sunday: 12–5 p.m.Closed MondaysEmily KahnRodger KingstonGary LeopoldWalt MeissnerBruce MyrenKim SichelJonathan SingerBernard ToaleCharles ZouliasA Note from the DirectorIt is not uncommon for people to express surprise at the number of programs the PRC producesafter learning of our three person full-time staff. As flattered as we are by these statements, the truecredit goes to the individuals who regularly donate their time and experience to the organization. Fromthe analysis and advice of our Board of Directors, to the expertise of Librarian Alice Hall, to theinvaluable labor provided by our interns, the PRC could not function without its volunteers.As many of you know, our most active volunteer group, the Friends of the PRC, was re-formed inthe spring of 2002 to help generate new programming and to provide support of the PRC’s existingbenefit events. Led by President Bruce Myren and Secretary David Karp, the Friends provide invaluableplanning and personnel support for such programs as the Mother’s Day Portrait Extravaganza and thePRC Benefit Auction, where they recently served such disparate roles as bid-takers and clean-up crew.It is impossible to express how important this group has been to the PRC’s programming over thepast 18 months.With this issue of in the loupe, I am pleased to announce the group’s latest contribution—a ManagingEditor. In an effort to further improve upon the quality and timeliness of the bi-monthly newsletter,photographer and Friend Andy Brilliant has volunteered to serve this important role for the organization.Starting immediately, Andy will assist us in all aspects of production, helping to alleviate thetime spent by the staff on this time-demanding project. We are truly excited by this developmentand hope that it will further increase the value of this publication.Joining the Friends of the PRC is a great way to support the organization, and a terrific opportunityto spend time with those who have a common interest in photography. If you are interested in beingpart of the Friends of the PRC, please call Bruce at 617-719-5674. We hope to see you soon.Best regards,Terrence MorashExecutive DirectorSupportThe programs and exhibitions of the Photographic Resource Center are made possible through thegenerous support of its members, Boston University, various government and private foundations,and corporations including:PRCAnnouncementsSuccessful PRC BenefitAuction a Glitzy AffairBy all accounts, the 2003 PRC Benefit Auctionwas a truly glamorous event. Over 300 peopleenergized Boston University’s striking 808Gallery on November 7th as the PRC hosted itsmost important fundraising event of the year.As anticipated, Skinner auctioneer StuartWhitehurst used his persuasive charm to enticean enthusiastic crowd into lively and competitivebidding throughout the night and EastMeets West’s outstanding fare (four stars for theTorte Moscarpone) threatened to steal theshow. As we are sure those in attendance wouldagree, the 2004 auction will be a can’t-missaffair. The auction was a fundraising success aswell and surpassed our projection by raisingnearly $85,000 in support of the organization’sprogramming. We thank the scores of artists,businesses, and collectors for their significantcontributions and we look forward to continuingthe auction’s excellence in 2004.PRC Members’ ExhibitionWhile we are months away from the submissiondeadline for the PRC Members’ Exhibition (generallylate April), it is not too soon to start preparingyour work for review. Be sure to look at theMarch/April issue of in the loupe, for detailedinformation about submitting your work.Many Clicks for PRCWeb ExhibitionsWe are happy to report that after barely 4 months,Northeast Exposure Online, a monthly web-basedexhibition program featuring emerging regionalphotographers, is a grand success and is attractingan average of 500 viewers per month. Don’tworry if you missed the first four presentations.Dylan Vitone (September), Marla Sweeney(October), Paul Taggart (November), and AmberDavis’s (December) presentations are all archivedat www.prcboston.org/ne.htm. Please visit prcboston.org,or see page 2 for information aboutour January and February presentations.Photo Critique GroupThis informal group meets once a month tolook at each other’s work and provide feedbackand encouragement. We have helped each otheredit work prints, choose photographs for shows,or simply provide additional viewpoints/suggestionsabout ongoing work. We meet on approximatelythe 3rd Tuesday or Wednesday of eachmonth from 7–9 p.m. at the PRC. Some upcomingdates are: Wednesday, January 21; Tuesday,February 17; Wednesday, March 24; and Tuesday,April 20. We welcome new members; feelfree to come with or without photographs toshow. If you are interested in attending, pleaseemail me, Stephanie Wratten, at stephanie@wrattenphotography.com.Get Involved!The Friends of the PRC, an all-volunteer groupof photography lovers who exist to support thePRC, is looking for more members. If you areinterested in photography and would like to bemore involved with the PRC, consider becominga Friend. The group is free and open to all.The next meetings will be on January 19 andFebruary 23 starting at 7 p.m. at the PRC.Please call Friends of the PRC President, BruceMyren, at 617-719-5674, for more details.PRC Holiday HoursPlease note that the PRC will be open by appointmentonly from December 20, 2003 to January 22,2004 due to the end-of-the-year holidays and theinstallation of our January exhibition.20x24 Polaroid Portrait EventThis Valentine’s DayWe are pleased to host a very special portraitevent this winter. This Valentine’s Day, acclaimedphotographer Keitaro Yoshioka will use theMassachusetts College of Art 20x24 Polaroidcamera to create stunning large format portraitsas a benefit event for the PRC. Sitting timesare extremely limited, so please make yourreservations early. Please see page 11, or visitprcboston.org for more details.ADMISSIONAdults: $3Students (with valid ID) and Seniors: $2Members, children under 18, and school groupsare admitted free. Admission is free on Thursdaysand on the last weekend of every month.PUBLIC TRANSPORTATIONTake the Green Line “B” train to BU West, four stops westof Kenmore Square.COVER IMAGECarol Golemboski, detail of Cheiromancy (Palm Reading),from the Psychometry series, 2003, toned gelatin silver print,17 1/2 x 17 inches, Courtesy of the Robert Klein gallery.DESIGN CREDITSThis issue of in the loupe was designed by Irma S. Mann,Strategic Marketing, Inc. of Boston (www.irmamann.com).It was printed on Mohawk paper by Cambridge Offset Printing.AdessoAmerican PrintingArdon Vinyl GraphicsArt New EnglandArtsMediaASMPAssociated Press PhotosBecket PapersBoston Beer CompanyBoston Bluegrass UnionBoston Cultural CouncilBoston Park Plaza HotelBoston UniversityCalumet PhotographicCambridge Offset PrintingThe Charles HotelChristie’sCity of BostonPaula Cooper GalleryCrestar Mfg.Deborah Bell PhotographsDixie ButterhoundsEastman KodakEpsonFilene’sFleetCenter Neighborhood CharitiesFox River PapersGallery NagaGay’s Flowers and GiftsGourmet CaterersHasselbladHarpoon BreweryHelicon DesignHenrietta’s TableMark Hunt BackdropsHunter EditionsIlfordJameson & Thompson FramersKabloomKISS 108 FMRobert Klein GalleryLee GalleryE.P. LevineLuminos Photo. Corp.Irma S. Mann Strategic MarketingMassachusetts College of ArtMassachusetts Cultural CouncilMassEnvelopePlusMCS FramesMerry MaidsMuseums BostonBee DigitalNational Endowment for the ArtsNielsen & Bainbridge Co.Nikon Inc.Nylon MagazineOlympusPanopticon, Inc.Perfecta Camera, Corp.photocurator.orgPhotography in New YorkPolaroid CorporationRialtoRougeRoyal Sonesta HotelSandy’s MusicSebastian’s CateringSkinner, Inc.Sonya’s CateringSpectrum Select PrintingStanhope FramersWBURHoward Yezerski GalleryZeff Photo SupplyZona LaboratoriesZoo New EnglandSkinner Auctioneer Stuart Whitehurst wowing the crowd during the 2003 PRC Benefit Auction. The auction raisednearly $85,000 for the PRC. See article, page 1. Photograph by Bruce Myren.1

Upcoming PRC ExhibitionsEducation Programs at the PRCWORKSHOPS AND SEMINARSDo you believe in love at first sight?Seminar on Fine Art DigitalPrintmaking at Singer Editionswith Jonathan SingerSaturday, January 31, 2004, 1–4 p.m.Singer Editions300 Summer Street, #44, Boston, MAMembers/Non-MembersPlease call 617-975-0600 for reservations.Back by popular demand! Join us for an afternoonto celebrate fine art digital printmakingwith the owner of Singer Editions, JonathanSinger. Participants will be given a guided tourthrough the evolution of fine art digital printing,watch state-of-the-art equipment at work,view samples from Singer Editions’ own collection,experience the “how and why” of velvetyIris prints and come to a better understandingof the relationship between printer and artist asthey work toward the common goal of a perfectprint. This is a great opportunity to demystifydigital printmaking and obtain an overview ofthe field as it stands today.Affiliated with Nash Editions in California,Singer Editions collaborates with artists to createthe highest quality fine art prints. This seminartakes place at Singer Editions’ state-of-theartstudio in Boston’s historic waterfront area.2Northeast Exposure OnlineJANUARYFeatured Photographer: Jen Kodiswww.prcboston.org/kodis.htmA photographer with a distinct sociologicalbent, Jen Kodis has been working on a projectthat touches on themes of community, class,and education. Functioning somewherebetween participant and observer, Kodis hasbeen photographing adult education classesand other groups sharing common interests.Almost as if she was studying animal behavior,seemingly mundane scenes become oddarrangements—leading one to wonder whois really being watched and studied. Sincegraduating from RISD with a BFA in 2000,she has assisted photographer Henry Horensteinand worked at a community learningcenter. Recently, she starting managing casesfor Goodwill Industries of Rhode Island.Kodis has exhibited at the Danforth Museumof Art’s New England Photographers and TheCopley Society’s biennial Manifest as well asnationally juried shows at Philadelphia’s PrintCenter and Kansas City’s Society of ContemporaryPhotography.FEBRUARYFeatured Photographer: Mori Insingerwww.prcboston.org/insinger.htmCurrently a Ph.D. candidate in Sociology anda freelancer photographer, Insinger unites aninterest in social research with a background inart. He received his BA in sociology and BFAin photography from the University of Michiganand is now writing his dissertation for theUniversity of Pennsylvania. A resident ofBoston’s South End, he has been activelyinvolved in community-related art projects,including the Boston Center for the ArtsSouth Enders show and the Boston PublicLibrary’s South End Gallery. Insinger’s workhas also shown in the Boston Drawing Project,the Cambridge Art Association, the SouthShore Art Center, and Art Complex Museum.Top: Mori Insinger, Atelier 505 Construction Site fromTremont Street, 23 March 2003, color photograph,Copyright Mori Insinger. Bottom: Jen Kodis, Untitled fromthe series Inhabitants (Red Cross, Community CPR, NorthSmithfield RI), 2003, silver gelatin print, 13 x 19 inches,Courtesy the artist.The projects featured online will includepanoramas that document the construction ofa new residential and performing arts complexadjacent to the Boston Center for the Arts andan environmental portrait series featuringSouth End artists in their studios. In thesestudies, Insinger marries a keen sense of compositionwith an eye for the sociology ofspaces and those that inhabit them.Concerning the Spiritualin PhotographyJanuary 23–March 14, 2004Opening reception: Thursday, January 22,5:30–7:30 p.m.Gallery talk: Thursday, February 19, 6 p.m.with Leslie K. BrownApproaching photography literally as a “medium,”the uniting concept of the show is how differentartists utilize and exploit the inherentmechanics of light-sensitive media to achievespiritual effects and allusions. This group showof contemporary responses will be complementedby a selection of historical photographsfrom the Sir Arthur Conan DoyleSpirit Photography collection from the HarryRansom Humanities Research Center, Universityof Texas at Austin.Portfolio ReviewsMonthly Portfolio Reviews withthe PRC CuratorBelow you will find dates for our monthly portfolioreviews (and corresponding call-in reservationinformation) with the PRC’s Curator, LeslieBrown. As before, the reviews are 45 minuteslong and scheduled on the hour beginning at9:00 a.m. with the last one at 3:00 p.m..Reservations will be accepted on a first-call,first-served basis. It is highly recommended thatyou bring supporting materials (resume, images,and statement).Review Date: Monday, February 23, 2004 (callin for reservations at 10 a.m., Friday, January 16)Review Date: Monday, March 29, 2004 (call infor reservations at 10 a.m., Friday, February 20)ADESSOSMALA 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 ACCESSORIES200 Boylston Street, Boston (adjoining the Four Seasons Hotel)tel 617-451-2212 - www.adessoboston.comOpen 10-6 Monday–Saturday, 12-5 Sunday3

Concerning thein PhotographyJanuary 23-March 14, 2004 | By Leslie K. Brown, PRC CuratorA group exhibition featuring photographically-based work of Bill Armstrong,Carol Golemboski, Jane Marsching & Deb Todd Wheeler, Lauren O’Neal,Daniel Ranalli, Jo Sandman, Chrysanne Stathacos, and Shannon Taggart,along with historical spirit photographs from the Harry Ransom HumanitiesResearch Center, the University of Texas at Austin.The title of this exhibition is a nod to theearly-twentieth century painter WassilyKandinsky’s landmark book, Concerning theSpiritual in Art (1911), in which he heraldedartists as the leaders of a new spiritual age.A selection of vintage photographs of purportedspirits, séances, and otherworldlyphenomena traces and illuminates a specificepisode in cultural history, while the contemporarywork demonstrates that such concernsstill haunt our minds. Broadly interpretingthe idea of the “photographic,” the unitingconcept is how different practitioners, historicaland present-day, utilize, exploit, and referencethe inherent mechanics of light-sensitivemedia to achieve spiritual effects and allusions.Many of the makers are from NewEngland or have ties to Boston, an area thatgave rise to spirit photography itself as well asone of the most famous spirit mediums of alltime. In this essay, I will briefly outline spiritualism’smajor tenets, concentrating mostlyon the modern manifestations. It is my hopethat this staging highlights what has beenunique to photography since its invention: itssimultaneous straddling of science, magic,and art.The Medium is the MessageThe seemingly strange phenomena of spiritualismand spirit photography can actuallyteach us a lot about how photography wasand still is conceived. Interestingly enough,the language of photography’s inventors andits “cultural reception,” as historian TomGunning points out, was distinctly otherworldly.These two ontological roles ofphotography occurred simultaneously, withoutnecessarily contradicting one another.Even today, photography continues to explorethe farthest regions of the universe; our onlyproof of the existence of these objects orphenomena is photographs of things wecould never “see” with our naked eyes.Photography, spiritualism, and spirit photographyall came into being within a meretwenty years (with the canonical birth yearsof 1839, 1848, and 1861 respectively).As many critics have noted, nineteenth andearly-twentieth-century spiritualists clothedthemselves in the language and trappingsof modern advances in technology, such aswireless telegraphy, electricity, medicine,and chemistry. (Even the women’s movementand politics had a voice in Spiritualism, asmost mediums were females of the radical persuasion.)Mediums and spirit photographersfollowed the example of the dark chamberaccordingly, mimicking and recasting variousaspects of the photographic process in theiractions and language. Indeed, there appears tobe a photographic corollary for every clairvoyantcomponent: from performing only in thedark to the psychic acting as a highly sensitizedconduit.Modern audiences and visitors, especially professionalphotographers, to this exhibitionmight ask: How can anyone take the historicalimages (most of which seem obvious productsof double exposures) seriously? Notwithstanding,we could just as easily ask ourselves thesame about our obsession with science fiction(as we go to press, the Disney film HauntedMansion topped the box office). Even in theface of tremendous advances in science andtechnology, the human psyche is stillentranced by the paranormal and its attendantproof. Snopes.com, a website that chroniclesurban legends, devotes a whole section tosupernatural stories and faked photographscirculated on the Internet. In fact, suchswirlings of prophetic photographs as well asan interest in the afterlife seem to proliferateClockwise from top left: Lauren O'Neal, Common Visions,Saint on Door, 2002, projection from slide, Courtesy of theartist; Jane Marsching and Deb Todd Wheeler, Stain, 2003,digital video still, Courtesy of the artists; Shannon Taggart,full caption to come; Bill Armstrong, Untitled, #423 fromthe Infinity Series, 2002, C-print, 20 x 20 inches, Courtesy ofthe artist; Daniel Ranalli, Buddha #3, 2002,tones gelatin silverprint, photogram/cliché verre, 16 x 16 inches, Courtesyof DNA Gallery.4 5Lauren O'Neal, Common Visions, Saint on Door, 2002, projection from slide,Courtesy of the artist.

Chrysanne Stathacos, Nara, Japan, 2001, from The AuraProject, 2001, Polaroid, Courtesy of the artist.Spirit, Allison Ferris notes a renewed prominenceof ghosts in today’s society and theircorresponding artistic incarnations. MarkAlice Durant and Jane Marsching’s CollegeArt Association panel on photography andthe paranormal later developed into a themedissue of the Art Journal. Admittedly, the historicalcomponent of the present exhibitionCameraland.pdf still missingwas originally conceived several years ago, andonly now comes to fruition. It is apt then toconclude this essay by questioning: Why thissudden interest in spirits? The avant-garde(and academia) has long aligned itself with thebizarre, delving into the vault of cultural historyfor inspiration. Today, as many photographersare moving from the darkroom to the“lightroom,” a new beginning for light sensitivemedia is heralded. The contemporaryartists in this exhibition reset the clock, showcasingand playing with some of photography’smost essential qualities and techniquesat a time when they are being radically redefined.Much like encountering an imageemerging in the developer or witnessing aPolaroid appear before our eyes, we are stillentranced by photography’s magical essence.This gathering, in a dimly lit and darklypainted room, conjures a chorus of voices,hopefully reminding us again of photography’s—andby extension our own—ongoingrelation to the unknown.Visit the online exhibition component atprcboston.org for color reproductions from theshow and a selection of spiritualism and spiritphotography links.Selected BibliographyArt Journal, Themed Issue: Photography and theParanormal, including essays by Mark AliceDurant, Louis Kaplan, Karl Schoonover, AlisonFerris, and Jane D. Marsching, CollegeArt Association, Fall 2003Ferris, Alison, The Disembodied Spirit, exhibitioncatalogue, with essays by Tom Gunning,Pamela Thurschwell, and Ferris, BowdoinCollege Museum of Art, 2003Gamwell, Lynn, Exploring the Invisible: Art, Science,and the Spiritual, Princeton UniversityPress, 2002Gunning, Tom, “Phantom Images and ModernManifestations: Spirit Photography, MagicTheater, Trick Films, and Photography’sUncanny,” Fugitive Images: From Photography toVideo, edited by Patrice Petro, Indian UniversityPress, 1995Houdini, Harry, A Magician Among theSpirits, 1924Krauss, Rolf H., Beyond Light and Shadow,The Role of Photography in Certain ParanormalPhenomena: An Historical Survey, NazraeliPress, 1994Polidoro, Massimo, Final Séance, The StrangeFriendship Between Houdini and Conan Doyle,Prometheus Books, 2001Tietze, Thomas R., Margery, Harper & RowPublishers, 1973Tuchman, Maurice, The Spiritual in Art: AbstractPainting 1890-1985, exhibition catalogue, LosAngeles County Museum of Art and AbbevillePress, 1986insightAn Interview with Deborah Martin KaoWhy photography?For me, it was because of Carl Chiarenza. I wasworking in the BU art history department’s slidelibrary thinking about going to grad school. I wasinterested in medieval art, but really unsurewhether or not I would pursue a career in art history.I started sitting in on some classes and tookone of Carl Chiarenza’s. Carl’s “integrated history”approach—˜thinking about photo in the contextof the history of picture making—really set me off.It was a revelatory moment for me. I realized thatthe medium encapsulated a broad range of fascinatingideas and that it was not just connected tothe modern world, but that it connected back tothese earlier traditions that I knew a little bitabout having been an undergrad art history major.Carl is a very inspirational teacher and, for me, alife-long mentor. He’s on the collections committee[at the Fogg]. He earned his Ph.D. from Harvard.He was at the Fogg in the late sixties, earlyseventies, when Davis Pratt was first curator ofphotography at Carpenter Center and then at theFogg. He and Davis co-curated the first exhibitionof photography that was held at the Fogg. In manyways, Carl is the institutional memory of photographyhere at Harvard. He tells this great storyabout getting his dissertation topic approved. Evidently,his dissertation advisor was abroad at thetime that he was choosing his topic. Carl wrotehim indicating that he wanted to write aboutAaron Siskind. His dissertation advisor wrote backsomething like, “I can’t get enthused about a livingartist,” but eventually Carl made the case. I believethat Carl’s dissertation on Siskind was not only thefirst on a photographer, but may have been theHarvard art history department’s first dissertationon a living artist. Carl was a trailblazer.Compared to many museum curators, you have avery close relationship with working artists. Whatdraws you to them?I think part of it is institutional. When I first cameto the Fogg, I learned as much as I could aboutthe history and tradition of the institution. Itquickly became clear that Davis Pratt had alwayshad a close relationship with artists. In glass casesthat were in our public study room, Davis wouldmount regular installations of emerging or contemporaryartists’ work. His relationship with photographersallowed him to put together a uniquecollection of contemporary photography despitelimited funds. In the mid-seventies, he receivedone of the first NEA grants to actually acquireworks. He initiated a series of exhibitions calledContemporary Photographs where he showcasedwork by artists such as Diane Arbus. It wasbecause of this legacy that I felt responsible touphold that over 25-year commitment to contemporaryphotography. Because we no longer havethose glass cabinets, I began to think about otherways we could use our public viewing room tokeep that continuity of interest in contemporaryphoto. We began the series Light Conversations:Seminars with Contemporary Photographers tobring something of a choreographed studio visitinto the museum. The series has been incrediblypopular.How do you see new work?I receive a lot of unsolicited material from artiststhat often languishes in skyscrapers around myoffice until I can get some help to sort through it.In some ways, that is one of the least effective waysof getting material in front of me. I regularlyreview artist portfolios in the museum and makestudio visits. We keep active contemporary artistfiles in the department, even for artists whosework is not in our collection and we will referencethem for our own or student exhibition and publicationideas. Another way that I have learnedabout artists is through dealers. For example, in1996, Howard Yezerski got in touch with me andasked if I wanted to take a road trip with him toNew York City to meet John Coplans and GarySchneider. I didn’t know Gary’s work then, butsince, we have been supporters of his work andhave acquired some major pieces. This February,we’re opening a retrospective with a catalogue ofhis work.What is your acquisitions philosophy?The easy answer is you can justify any acquisitionas “filling a hole” or “augmenting your collection.”[laughs] Any collection, bottom line, has to dowith the interests of the curator who is building itand the donors who support it. I think that workingin a university art museum, there are decisionsthat I make that might be different than those Iwould make if I were working at the MFA or the[Metropolitan Museum of Art]. I’m always thinkingabout the different ways in which students andscholars use photography as art and as visual culture,and how the objects in the collection relate toeach other. I’ll give you an example of some recentacquisitions and why I made those acquisitions:Following a survey of daguerreotypes across Harvard,Melissa Banta from the Weissman PreservationCenter wrote a book and organized an exhibitionabout the remarkable and unique collections.Among the objects she had in the book and in theshow were the infamous daguerreotypes of Africanslaves that were commissioned by natural historianLouis Agassiz, who believed in the separation ofhuman races. Considering the problematic nature ofthese items, and the revitalized interest in daguerreotypesby contemporary artists, I decided to maketwo acquisitions for the museum. The first, whichwe displayed in the study room during thedaguerreotype exhibition, was a large four-panelpiece by Carrie Mae Weems, which appropriatedand made commentary about the Agassiz images.The second was a major piece by Jerry Spagnolicalled 1/2 a Pack of Firecrackers, which was muchmore of a conceptual piece. Both served as aresponse to the book and exhibition as well as a currenttrend in the medium.In a past issue of in the loupe, Barbara Norfleetnoted her concern about the Fogg taking over theCarpenter Center archive. What are your thoughtson this concern and how do you see the archive?I think anybody who expended the amount of creativeenergy and spent the amount of time that Bobbiedid putting that collection together withoutmuch institutional support would be apprehensive.That collection is her baby. She made it happen byforce of will and vision. She not only put togetherthis amazing collection, but she also spent a greatdeal of time championing living artists through regularexhibitions at the Carpenter Center. We’rebeginning to conduct oral histories with Bobbie andwe have staff working on all aspects of the collection.While there are some parts of it that we can’tyet make publicly accessible because of conservationconcerns, , most of the Carpenter Center’s collection,even the parts that haven’t been completelyprocessed yet, are currently accessible to the public.It is interesting to note the common history betweenthe Fogg and Carpenter Center collections. DavisPratt was the founding curator of both collections.He started out at the Carpenter Center and was itscurator of photography for almost six years before hebecame the first curator of photography at the Fogg.The collection that he had formed at the CarpenterCenter was to be the nucleus of the Fogg collection.Then, the Carpenter Center decided to retain thatcollection and hire Bobbie to take it in a new direction.While I imagine that may have been difficultfor Davis, in retrospect I think ultimately it was thebest thing that could have happened because twofascinating and very different people spent 25 yearsor more assembling two collections that are complimentaryin interesting and in unexpected ways.Surprisingly, there was only one duplicate imagebetween the Carpenter Center and Fogg Collections.What project are you currently working on?I am currently working on the Gary Schneider retrospective(February 28, 2004-June 13, 2004). As Itend to do more historic projects, it is a very different,exciting, and somewhat nerve-wracking role for me tobe among the first major commenters on his work.Thank you Debi.89

10photography events in new england and beyondEXHIBITIONSMASSACHUSETTSArt Complex Museum at DuxburyPhotoplay: 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.orgBernard Toale GalleryNicholas Nixon: Views; Honeymoon Suite byPenelope Umbrico (Jan 7–Feb 14). Opening receptionJan 10, 5:30–7:30. Tue-Sat, 10:30–5:30. 450Harrison Ave., Boston, MA. 617-482-2477.www.bernardtoalegallery.comBoston Public Library150th Annual Boston Police Department’sPhotographs from the Boston Police DepartmentArchives (Feb). 700 Boylston St., Boston, MA02116. 617-536-5400. www.bpl.orgBoston University Art GalleryCalifornia Dreamin’: Camera Clubs and thePictorial Photography Tradition (Jan 30–Mar 28).Tue–Fri, 10–5; Sat-Sun, 1-5. 855 CommonwealthAvenue, Boston, MA 02215. 617-353-3329.www.bu.edu/artColdwell BankerFirst Exposure, photographs by Annette Stafford(Dec 3–Mar 1). Mon–Fri, 9–7; Sat–Sun, 9–5.1730 Massachusetts Ave., Cambridge, MA 02138.617-864-4430Davis Museum and Cultural Centerat Wellesley CollegePrints from the Permanent Collection in Print StudyCorridor (ongoing). Tue–Sat, 11–5; Sun, 1–5.Wellesley College, 106 Central St., Wellesley, MA02481. 781-283-2051.www.wellesley.edu/DavisMuseum/DeCordova Museum and Sculpture ParkDeCordova collects gifts from Stephen and Sybil Stone,including photography (thru Jan 18). Self-Evidence:Identity in Contemporary Art (Feb 7–May 30)Jo Yarrington: Jirimani (Feb 7–May 30) Tue–Sun,11–5. 51 Sandy Pond Rd., Lincoln, MA 01773.781-259-8355. www.decordova.orgGallery One at New EnglandSchool of PhotographyWorkshop Show (Dec 15–Jan 30). Susan Clain(Feb 2–Mar 8) Mon–Fri, 9–5. 537 CommonwealthAve., Boston, MA 02210. 617-437-1868.www.nesop.comGriffin Museum of PhotographyThomas McGovern: Hard Boys and Bad Girls(Nov 6–Jan 16) in Emerging Artist Gallery. 10thJuried Exhibition (Dec 11–Feb 27). Tue–Sun, 12–4.67 Shore Rd., Winchester, MA 01890. 781-729-1158. www.griffinmuseum.orgLee GallerySelections from the Collection (ongoing) Mon–Fri,10–5:30. 9 Mount Vernon St., 2nd Floor,Winchester, MA 01890. 781-729-7445.www.leegallery.comMassachusetts Museum of Contemporary Art(MASS MoCA)Fantastic! featuring Gregory Crewdson (thru Spring2004); Alain Bubler: Plug in City (thru Spring2004). Mon–Sun, 11–5; closed Tue.87 Marshall St., North Adams, MA 01247.413-664-4481. www.massmoca.orgMead Art Museum at Amherst CollegeCloth Only Wears to Shreds: Textiles and Photographsfrom the Ulli Beier Collection (Feb 5 - May 16).Tue–Sun, 10–4:30; Thu, 10–9. Intersection ofRte. 9 and South Pleasant St., Amherst, MA.413-542-2335. www.amherst.edu/meadMIT Museum Main GalleryKnowing Where to Stand: Photographs by Anne WhistonSpirn (thru Jan 30). Tue–Fri, 10–5; Sat–Sun,12–5. 265 Massachusetts Ave., Cambridge, MA02139. 617-253-4444. web.mit.edu/museumPanopticon GalleryRock ‘n’ Roll Music Photographs by Herb Greene andRon Pownall (thru Jan 30). Mon–Fri, 10–6; Sat,11–5. 435 Moody St., Waltham, MA 02453.781-647-0100. www.panopt.comPeabody Essex MuseumVanished 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.orgPeabody Museum of Archeology and EthnologyPortraits from China, 1923-1946: Photographersand their Subjects (through Mar 15). Mon–Sun,9–5. 11 Divinity Ave., Cambridge, MA 02138.617-496-0099. www.peabody.harvard.eduRobert Klein GallerySebastiao Salgado and Lewis Wickes Hine (January 8–February 21). Opening reception: Thursday, January8, 6–8 p.m..Tue–Fri, 10–5:30; Sat, 11–5. 38Newbury St., Boston, MA 02116. 617-267-7997.www.robertkleingallery.comSmith College Museum of ArtIn Focus: A Brief History of Photography(Jan 16–April 4). Tue–Sat, 10–4; Sun, 12–4.Smith College, Northampton, MA 01063.413-585-2760. www.smith.edu/artmuseumSong of Myself GalleryBrad Fowler, Revolving Exhibition of Black and WhitePhotographs (ongoing). 349 Commercial St.,Provincetown, MA 02657. 508-487-5736.www.songofmyself.comThe Somerville MuseumLost 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.orgWilliams College Museum of ArtAntoin Sevruguin and the Persian Image(Jan 10–May 2); Mostly Photography: Work since1980 from the Permanent Collection (Jan 31–June13); American Dreams: American Art to 1950 (ongoinguntil March 30). Tue–Sat, 10–5, Sun, 1–5. 15Lawrence Hall Dr., Williamstown, MA 02116.413-597-2429. www.williams.edu/WCMAELSEWHERE IN NEW ENGLANDFine Arts Center Galleries at the University ofin the loupe listings deadlinesMarch/April issue:January 23, 2004May/June issue:March 12, 2004Rhode IslandCarl Chiarenza: Selected Works (Nov 4–Jan 31).Color, Time and Space Photographs by Stephen Lawson(Feb 5–March 7). 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/artgalleriesRadiant Light GalleryBody, Soul and Architecture (Nov 28–Jan 15).Kiss of Fire: The Images of Barbara Nitke(Feb 14–April). Sat 12–7; first Fri, 5–9. 615 CongressSt., Suite 409, Portland, ME 04101.207.252.7258. www.radiantlightgallery.comRISD Museum of ArtInterior Drama: Aaron Siskind’s photographs of the1940’s (Nov 14–Jan 25); The New York School:Aaron Siskind in Context (Nov 7–Jan 25); AaronSiskind; From Chicago to Providence 1951–91(thru Jan 11); Contemporary Photography featuringUta Barth, Nan Goldin, Annu PalakuhanathuMatthews, Shimon Attic, and Francesca Woodman.224 Benefit St., Providence, RI 02903.401-454-6500. www.risd.eduSalt Institute for Documentary StudiesStudent Exhibition (Dec 19–Feb 21). Mon–Fri,11:30–4:30. 110 Exchange St., Portland, ME04112. 207-761-0660. www.salt.eduUniversity of Maine Museum of ArtJonathan Bailey: Seeing Bangor (thru Jan 17).Tue–Sat, 9–6; Sun, 11–5. Norumbega Hall, 40Harlow St., Bangor, ME 04401. 207-561-3350.www.umma.umaine.eduYale Center for British ArtTraces of India: Photography, Architecture and the Politicsof Representation (thru Jan 11). Tue–Sat, 10–5;Sun, 12–5. 1080 Chapel St., New Haven, CT06520. 203-432-2800. www.yale.edu/ycbaEDUCATIONThe Boston Photo Collaborative offers innovativephotography classes for beginner, intermediate,and advanced levels, amateurs and professionals inblack and white, color, digital and alternativeprocesses. In addition to these high quality classes,the Collaborative runs several community-basedyouth and senior programs. Darkroom rental isalso available. For more information, please visitwww.bostonphoto.org or call 617-524-7729. 67Brookside Avenue, Jamaica Plain, MA 02130.The Cape Cod Photo Workshops offers a widevariety of courses on photography. For moreinformation call 508-255-6808. P.O. Box 1619,N. Eastham, MA 02651.Center for Photography at Woodstock offers theWoodstock Photography Workshops includingvision, landscape, still life, photojournalism, fineprinting, alternative processes, portfolio review,professional development, figure, portrait, editorialand fine art. For more information, pleasevisit www.cpw.org, email info@cpw.org or call at845-679-6337. 59 Tinker Street, Woodstock, NY12498.The Essex Art Center offers classes in all artisticmedia, including photography. For moreinformation, please visit www.essexartcenter.com orcall 978-685-2343. 56 Island Street, Lawrence,MA 01840.Horizons to Go Travel Programs offers classes inall artistic media, including photography. Formore information, please visit www.horizonsart.comor call 413-549-2900. Horizons to Go!,P.O. Box 2206, Amherst, MA 01004.The Maine Photographic Workshops offers a largevariety of photography workshops. The MPW is ayear-round college and learning center for filmmakers,photographers, actors, writers, digital artistsand creative professionals. They offer 250 one-weekworkshops and master classes. Within MPW, RockportCollege came into existence in 1996 and nowoffers an Associate of Arts degree, a Master of FineArts degree and a one-year Professional Certificateprogram. For more information, please visitwww.theworkshops.com or call 1-877-577-7700. 2Central Street, PO Box 200, Rockport, ME 04856.Nubar Alexanian facilitates Photography CritiqueGroups for working professionals, teachers, andother serious photographers who wish to expandor rekindle a personal vision and/or take the nextstep in their work. Groups meet once a monthfor 10 months. For more information please contactMillicent Harvey at mhphoto1@comcast.net.Peters Valley Craft Center offers a wide variety of2-5 day workshops in photography. Coursesrange from photographing 2-D and 3-D work;printing cyanotypes, platinums, and palladiums;darkroom alchemy; still life and environmentalportraiture; pinhole photography; self-promotion;and hand-painted B&W photography. For moreinformation and workshop catalogues, please visitwww.pvcrafts.org or call 973-948-5200. 19 KuhnRoad, Layton, NJ 07851.The Santa Fe Workshops is committed to providinga nurturing, positive, challenging, and experientialphotographic and digital environment inwhich image-makers of all skill levels, ages, andnationalities can explore and achieve their potential.The Santa Fe Workshops is a vital, yearroundeducational center. From beginners toworking professional photographers, they becomeimmersed in a supportive environment that nourishestechnical mastery, daring play, and creativeexpression. For more information, please visitwww.santafeworkshops.com or call 505-983-1400.PO Box 9916, Santa Fe, NM 87504.John Sexton Photo Workshops offers a wide varietyof courses on photography. For more information,please visit www.johnsexton.com. 291 LosAgrinemsors, Carmel Valley, CA, 93924.Snow Farm, The New England Craft Programoffers classes in all artistic media, including photography.For more information please visitwww.snowfarm-art.org, or call at 413-268-3101. 5Clary Road, Williamsburg, MA 01096.South Shore Art Center offers classes in all artisticmedia, including photography. For more information,please visit www.ssac.org or call 781-383-2964.119 Ripley Rd., Cohasset, MA 02025.ENTRIES/OPPORTUNITIESThe Cambridge Art Association (Cambridge,MA) announces a call for entries for its NationalPrize Show to be exhibited May 3–June 24, 2004.The juror will be Bob Fitzpatrick, Director of theMuseum of Contemporary Art, Chicago, IL.Eleven prizes will be awarded including the Bestof Show Award of $2000 and ten other awards.Only slides will be accepted (no videos). Thedeadline for submissions is January 23, 2004. Fora prospectus send a SASE to the Cambridge ArtAssociation, located at 25 Lowell Street, Cambridge,MA 02138, email cambridgeart@cambridgeart.org,or visit www.cambridgeart.org.Nothing can replace the power of a great photograph.THE TENTH JURIED EXHIBITIONSee this year’s winners on exhibitDecember 11 through February 27, 2004.67 Shore Road, Winchester, MA.For details call 781-729-1158 or visit11

phonelines: member news from near and farCongratulations to all for yourrecent successes. Please keep us informedof your news and triumphs.The Print Center in Philadelphia, PA featuredPaul Cary Goldberg’s Night Watch: GloucesterHarbor and Bremner Benedict’s Wanderlust.Both featured gallery talks by the photographers.Dates of the show are November 21through January 23.Michael Hintlian won The Griffin Award fromthe Griffin Museum of Photography as partof their 10th Juried Exhibition.Nick Johnson was part of a group exhibitionat the Brush Art Gallery in Lowell, MA wherehe won 2nd place. The show ran fromNovember through December 2003. He wasalso part of a group exhibition at the GriffinMuseum of Photography in Winchester, MAfrom December 2003 through February 2004.Isa Leshko recently participated in The BrushGallery Black and White Photography JuriedShow in Lowell, MA, November 16th throughJanuary 3rd. Her work was also part ofThe Essex Art Center Annual Juried Show whichran October through December 12th inLawrence, MA.Eric Lewandowski was recognized in anOctober issue of The Boston Herald.Fitchburg State College exhibited a collectionof photographs by Charles A. Meyer titledWitnessing Conflict: Photos from the Balkans,Kosovo and South Africa. The exhibit ranOctober 29th through December 12th.Work by Neeta Madahar was shown atCarpenter Center for the Visual Arts at HarvardUniversity December 2 through January 11.At the Purdy Hicks Gallery in London, herwork was also in the Christmas Exhibition.A photograph by Charles Martin appearedin the December 2003 Black and WhiteMagazine: For Collectors of Fine Photography.It accompanied a review of the Deborah Williscurated show featured in three locations inOakland, CA.Three members had work honored by theMaine Photographic Workshops as 2003Golden Light Award Winners. JonathanMoller received the Golden Light Awardfor his work Our Culture is Our Resistence:Repression, Refuge, and Healing in Guatemala.Pamela Ellis Hawkes received an award in theDigital category for her work, People, Placeand Things. In the Top 50 Listing was alsoLynne Jaeger Weinstein.Marjorie Nichols had six photographs acceptedby the ARTWORKS gallery in New Bedford,MA for their Holiday exhibit that ran Novemberthrough First Night.Individual ($45)S I N G E R E D I T I O N SFine Art Digital Printmakingcollaborative printing archival inks color and b&w natural papersnew york . boston 1.800.761.3142 www.singereditions.combecome a member of the prcThe Photographic Resource Center is a membership-supported, privately operated organization. In this period of dwindling government andfoundation support, your membership provides critical income to support our programming and educational mission. Join for theobvious benefits listed below, but also for the more subtle perks. PRC members enter the network of the New England photographiccommunity, which includes commercial and artistic photographers, collectors, scholars, philanthropists, and critics, to name a few. If youlove photography and are interested in supporting our vital mission, join us—your tax-deductible membership does make a difference.PRC MEMBERSHIP CATEGORIES AND BENEFITS• Unlimited free admission for one cardholder• Invitation for two to opening receptions, members-onlypreviews and special events• Annual subscription to In the Loupe• Opportunities to present work in the annual MembersExhibition• Discounts at PRC lectures and workshops• Discounts on portfolio reviews withphotography professionals• 10% discount on PRC exhibition catalogues andother products• Discounts at area darkrooms and retail photographicmerchants• CONNECTIONS (free admission to, or discount at,select photography institutions across the country.Student ($25)• Individual benefits for full-time students only(photocopy of ID required)Family ($60)• Individual benefits for two (two membership cards,one mailing)Supporter ($125)• Family benefits plus• Four guest passes for one-time free admission• Annual PRC exhibition catalogue (when available)• Invitations to special receptions, cocktail parties andgallery talks• Eligibility to rent the Center for private functions(Corporate Member rental rates will apply)Contributor ($300)• Supporter benefits plus• Choice of photographic print from the ContributorMembers Print Program levelBenefactor ($600)• Supporter benefits plus• Choice of a photographic print from the BenefactorMembers Print Program level or two prints from theContributor levelPatron ($1,200)• Supporter benefits plus• Choice of photographic print from the Patron MembersPrint Program level or a combination of prints from theContributor and Benefactor Members Print Program levels(to equal $1,200)Angel ($2,400)• Supporter benefits plus• Choice of photographic print from the Angel MembersPrint Program level or a combination of photographicprints from the Contributor and Benefactor Members PrintProgram 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 uponrequest• Free admission to all PRC lectures and workshopsCorporateFor information on becoming a Corporate Member,please contact the PRC.NamePhoneEmailAddressAddressCityState■ Employer’s matching gift form enclosedCompany NameZIP■ New Membership ■ Membership RenewalPayment Method(check one): ■ Visa ■ Mastercard■ Check enclosed (payable to Photographic Resource Center)Credit Card #Expiration DateSignatureReturn this form, or the requested information, with payment(and copy of ID, if required) to: Membership Office, PhotographicResource Center, 832 Commonwealth Avenue,Boston, MA 02215The Photographic Resource Center is a non-profit, 501(c)3corporation and membership fees are tax-deductible as allowedby law. For information on tax-deductible portions of yourmembership, please contact the Membership Office at617-975-0600.1213