March | April 2005 - Boston Photography Focus

March | April 2005Volume 29, Number 2SNAPSHOTSMar. 1 NEO: Liz Daly opens (see page 1)Mar. 16 Roberts, Olin, and Gilbert Lecture (see page 2)Mar. 20 PRC Student Exhibition Closes (see page 1)Apr. 1 NEO: Rania Matar opens (see page 1)Photographic Resource Centerat Boston University832 Commonwealth AvenueBoston, MA 02215Non-ProfitUS PostagePAIDBoston, MAPermit No. 1839Apr. 5 Horenstein Lecture and Booksigning (see page 2)Apr. 7 Land/Mark exhibition opens (see page 1)Apr. 11 Presenting Your Work Workshop (see page 3)Apr. 11 PRC Curator Portfolio Review (see page 3)May 7-8 Mother’s Day Portrait Extravaganza

education programs at the prcGALLERY CONVERSATIONLand/Mark: A GalleryConversation withPRC Curator Leslie K. Brownand Special GuestsThursday, April 21, 2005, noon832 Commonwealth Avenue,Boston, MA 02215Free admission.Join us for this free gallery talk by PRCCurator Leslie K. Brown and invited guests.In conjunction with the Boston CyberartsFestival. Land/Mark is a group exhibition,curated by Brown, featuring artists who engagephotography with location-based technologiesand systems. For more information, pleaseturn to page 6.PRC CURATOR PORTFOLIOREVIEWS*Please Note Format Change*This spring, due to their amazing popularity,we are changing the format of our scheduledPRC Curator Portfolio Reviews in order toaccommodate more artists. Reviews with PRCCurator Leslie K. Brown are 30 minutes long,Below you will find the review dates as well asthe time when you can call reservation; reservationsare accepted on a first-call, first-servedbasis. It is highly recommended that you bringsupporting materials (resume, images, andstatement). You must be a PRC member toparticipate in the reviews and members areallotted one review per year.Review Date: Monday, April 11, 2004 (call infor reservations at 10 am, Friday, March 18)Review Date: Monday, May 23, 2005 (call infor reservations at 10 am, Friday, April 15)LECTUREAn evening with:Nancy Roberts, photographerDebra Olin, printmakerCelia Gilbert, poetPart of the Word and Image SeriesCo-Presented by NESOP'sGallery OneWednesday, March 16, 2005, 7pmBoston University School of Communications640 Commonwealth Avenue, Auditorium 101,Boston, MAFree Admission.Nancy Roberts is a photographer living inCarlisle, MA. Her work in autobiographical, concentratingon self-portraiture, family pictures, andthe integration of words and imagery using oldsnapshots, letters, and journal entries. Recentlyshe has created fabric pieces also using words andimages. She taught photography for several yearsat the Art Institute of Boston and Milton Academy.In 1997 she was an award winner from theNew England Foundation for the Arts. She is theauthor of Recognitions: Images of a Woman Artistpublished by Zoland Books and The BendingMoment (with D'Anne Bodman) published byNightwood Press. Please visit www.nancyrobertsphotography.comDebra Olin is a printmaker, living and workingin Somerville, MA. She received her MFA fromMassachusetts College of Art and her BA fromthe University of Cincinnati. Debra has shown inexhibitions across the U.S., South Africa andCuba. Her work is in the permanent collectionsof the Boston Public Library, Temple Israel,Brookline, MA, YIVO Institute, NYC, andHarvard’s Fogg Art Museum. Debra was recentlyawarded the Rappaport Prize, the largest publicannual award to an individual artist in New England.Celia Gilbert is the author of three books ofpoetry, An Ark of Sorts, winner of the first JaneKenyon Chapbook Award, Bonfire,and Queen ofDarkness. Her poetry has appeared in, amongother places, Poetry, The NewYorker, Southwest Review, TinHouse, and Ploughshares and hasbeen frequently anthologized. Sheis also an artist who works as aprintmaker and painter.Copyright © 2005, Nancy RobertsLECTURE ANDBOOKSIGNINGHenry HorensteinHumansTuesday, April 5, 2005, 7pmBoston University College of Arts and Sciences725 Commonwealth Avenue, Boston, SecondFloor, Room 224$7 members/ $10 non-members/$5 full-time students and seniorsCopies of Humans will be available forpurchase at the event for $40.“Mystery and a curious disorientation is a firstreaction upon viewing the most recent manifestationof Henry Horenstein's photographic art. Byall accounts, this should not be the case. His subjectmatter is the human body of which we allhave intimate knowledge, albeit at least with ourown. The strangeness of Horenstein's imagery isthat he has concentrated on the extreme close-upscrutiny of the human body, turning it from theouter layers of distinct personalities and individualsinto universal landscapes with flesh substitutingfor soil and hair acting as foliage. This visualtest of our sensibilities has a basis for explanation.We are so used to our own bodies that we see, butdon't really observe ourselves. Except for notingsomething out of the ordinary, such as theappearance of a bruise or blemish, we see throughourselves as we go about the private activities ofdressing, bathing, and seeing our reflection in themirror. We gaze on the bodies of others in admiration,envy, or eros, but rarely with the dispassionateintensity of these photographs.”From the Foreward by Robert Flynn JohnsonKehrer Verlag Heidelberg, 2004Henry Horenstein is a photographer, author, andeducator who has published over thirty books forchildren (A Is For?) and adults including classictexts (Black and White Photography; A Basic Manual,new edition now available!) and monographs(Creatures, Canine, Aquatics). Horenstein’s workhas been exhibited Internationally and within theUnited States at venues such as Robert KleinGallery, Boston, MA; Paul Kopeikin Gallery, LosAngeles, CA; Sarah Morthland Gallery, NewYork, NY; Kathleen Ewing Gallery, WashingtonD.C.; Edward Carter Gallery, New York, NY; andJohn Cleary Gallery, Houston, TX. Photographsby Henry Horenstein can be found in many publicand private collections including FidelityInvestments, Boston, MA, Fogg Museum of Art,Cambridge, MA, High Museum of Art, Atlanta,GA, Library of Congress, Washington D.C.,Museum of Fine Arts, Houston, TX, Museum ofthe Rhode Island School of Design, Providence,RI, and Polaroid Collection, Cambridge, MA.Henry is a professor at the Rhode Island Schoolof Design.For more information, please visit www.humansbook.comHenry Horenstein, cover image from Humans, Henry Horenstein, 2004. Courtesy Clifford•Smith Gallery.LECTUREMary Virginia SwansonPresenting Your Work to theFine Art CommunityMonday, April 11, 2005, 6pmBoston University School of Communications640 Commonwealth Avenue, Auditorium 101,Boston, MA$7 members/ $10 non-members/$5 full-time students and seniorsSwanson’s Marketing Guidebook for Photographerswill be available for purchase at theevent for $45. Please call 617-975-0600 forreservations and book pre-ordersDuring this informative lecture, Mary VirginiaSwanson will provide insights into the most effectiveavenues for introducing your work to thegallery and museum professionals. She will discussthe value of the national and international juriedexhibitions, as well as portfolio review events suchas FotoFest, Photolucida, Review Santa Fe andEuropean festivals as realistic avenues to industryprofessionals. Important gallery trade shows suchas AIPAD’s The Photo Show and PhotoLA/NY/SF will be discussed from the perspectiveof helping artists to determine which dealers willbe most appropriate for their work. Effective selfpromotionmaterials will be shared with participants,as well as visuals providing insights intoportfolio review events towards making the mostof your participation. Valuable handouts will beprovided to all who attend.Mary Virginia Swanson is a leader in the fields ofmarketing and licensing fine art photography. Itwas during her tenure heading special projectsat Magnum Photos that she recognized theopportunities for artists to develop second marketsfor their work, and in 1991 she foundedSWANSTOCK, an innovative agency managinglicensing rights for fine art photographers. Nowconsulting, lecturing and conducting workshops,Swanson is committed to bringing photographyand photographers to new markets.For more information please visit her website,www.mvswanson.com23

SEE THE WORK OF FAMOUS PHOTOGRAPHERS.BEFORE THEY’RE FAMOUS.THE ELEVENTH JURIED SHOW.On exhibit February 25 through May 15, 2005.Opening Reception, February 24, 2005, at 6 PM.67 Shore Road, Winchester, MAFor details call 781-729-1158 or visit griffinmuseum.org"Understanding" by Doug Mindell4 5

LAND/MARK:LOCATIVE MEDIA ANDPHOTOGRAPHY April 8-May 5, 2005An exhibition in conjunction with the Boston Cyberarts FestivalBy Leslie K. Brown, PRC CuratorAnyone who knows me realizes that I amterrible at directions. I have also been known, via some sort of weirdmagnetic ability, to destroy computers and other technologicaldevices. Perhaps for these reasons, mapping, instruments, and thetheories that surround them have long interested me. Uniting geography,media, and photography actually has a long history and thus abefitting topic for a festival celebrating art and technology. Longitude,draped in tales of sea adventures and socio-political aims, is aproduct of our modern world; standard time, an important factor incalculating where you are, was only instituted in 1883 as system formaintaining railroad timetables. Photography famously entered intothese histories through the four "Great Surveys" of the United StatesGeographical Survey of the late 19th century. Landscape photographerssuch as Timothy O’Sullivan accompanied scientists under theauspices of the War Department and the Department of the Interior(under which the same Geological Survey oversees GIS and Landsatphotos today) across parallels and meridians into the West. Even withall of this cultural baggage swirling in my head, or perhaps because ofit, I still manage to get lost.Using the parsed phrase “Land/Mark” and locative media and geographicalsystems as a starting point, this group show features work byMargot Kelley, Brooke Knight, Josh Winer, and the new media, globalpublic art project Yellow Arrow (yellowarrow.org), but also points tovarious other exhibition and events related to mapping all over thecity. Held in conjunction with the Boston Cyberarts Festival (April22-May 8), this gallery showing represents the third time the PRC hasjoined local organizations since the festival’s founding in 1999.Owing to publication schedules, I am struck by the fact that mostpeople will read this essay before the actual art is even installed. Thisirony—an exhibition that at first glance is about place and specificity—actuallyserves to elucidate a very important point. That is,although you could visit the places pictured in the photographs ondisplay, that meeting and interaction is subjective, changing, andalways new. The artists too use the devices and systems in ways contraryand sometimes at odds with their invention. The big brotherall-seeing modernist “eye” and theories related to the panopticon andsurveillance, represented here by satellites and cell towers, are offeredup for discussion at every angle.Recently, there has been an explosion in the artworld addressing theidea of mapping—expanding, personalizing, obfuscating, and evenundermining cartographic impulses and ideas. Critics have taught usthat maps are social constructions and can be a way of inscribingauthority onto the land. New art forms, with a nod to Fluxus, Situationists,performance art, and the French flâneur, encounter and performurban areas in a blending of psychology and geography dubbedpsychogeography. Simultaneously, regular folks inspired by the democraticand relatively free (in principle) nature of locative media, adaptand use these tools for recreational uses that sometimes verge on theartistic. The Degree Confluence Project (confluence.org) for example,seeks to visit "each of the latitude and longitude integer degree intersectionsin the world, and to take pictures at each location." Forthem, the act of getting there is enough, and with all corners of theearth seemingly accounted for, they delight in "discovering" newplaces sometimes literally in a backyard. Another project (geosnapper.com)encourages amateur photographers to capture a beautifulscene and post the coordinates online so others can re-visit (and possiblyre-take and re-experience) their photograph.A map cannot begin to convey the overwhelming sum of its parts.The artists here address the idea of interfacing with technology andlarger networks to determine or showcase location, but they alsoremind us about another important factor in the equation, the individual,and by extension community. Humans constantly alter theirenvironment, and no landscape is neutral. The photograph serves asevidence of "having-been-there" but also serves as a mark, a smalleffort, but almost universal and innate urge, on the part of a humanbeing to capture, command, alter, show, and share. Another themethat also emerges in this exhibition is that of gaming. (A modern-daymerging of art with orienteering, scavenger hunts, and road rallies?)In both geocaching and Yellow Arrow, citizens become modern-dayexplorers ferreting out treasures and new experiences. Most notably,all of the works insert the human element, positively and negatively,back into the landscape and back into the technology. These artistsparticipate in some form of marking the land while showing themarks already on it.Margot Kelley (Cambridge, MA), N 42° 21.459 W 71° 04.225, 2002, C-print mounted on aluminum, 16 x 20 inches. Courtesy of the artist.A Short Dictionary Digression: What are all these letters?Many of these numbers, symbols, signs, devices, etc. function much likehyperlinks, allowing us to key into a larger "system." Consider thisdigression a map for some of the technological terms in this essay.Of all of these, GIS is perhaps the most umbrella of the terms, a geographicinformation system which at its most general level is a computersystem designed to manage location data.GPS, or global positioning system, was originally developed by the USDepartment of Defense. It consists of a constellation of at least 24earth-orbiting satellites (with 3 extras) with atomic clocks. The receiverneeds at least 4 satellites locked in to determine its position and througha fairly simple mathematical calculation know as trilateration. Fromthis, GPS can determine your approximate location, give or take 6-20feet, in terms of latitude, longitude, and altitude. Interestingly, thehandheld GPS device actually uses its own inaccuracy to determinewhere you are. On May 1, 2000, Bill Clinton announced that "SelectiveAvailability" (a sort of scrambling of signals to consumers) would beturned off, allowing GPS to be even more accurate.SMS, or short messaging service, was originally designed for use withGSM (Global System for Mobile Communications). Akin to Wifi(wireless fidelity), cell phones are basically radios. The cellular systemlinks the city through towers by creating "cells," usually about 10 mileswide. When thought of in this way, such technology is territorial(roaming in and out of range) and functions by constantly locatingwhere you are.The Landsat program is the oldest system for acquiring earth imageryfrom space. The current satellite Landsat 7 has been in orbit since1999 and can collect and transmit over 500 images per day. Althoughmanaged by NASA, its data is collected and distributed by the USGeological Survey.M ARGOT K ELLEYKelley’s project (as well as the subject of her forthcoming book fromthe Center for American Places) deals with and is inspired by thegame of Geocaching. A true product of the current era, this 21st centurytreasure hunt began when one man decided to try to test whetherthe government had indeed lifted their denigration of GPS data, byhiding and then posting coordinates of a hidden box to an internetgroup. Geocaching (pronounced geo-cashing) as stated on the FAQof the website geocaching.com: "cache in computer terms is informationusually stored in memory to make it faster to retrieve, but theterm is also used in hiking/camping as a hiding place for concealingand preserving provisions." Currently, there are close to >>67

140,000 geocaches found in over 200 countries and an estimatedmillion users. Each cache is usually a water-proof plastic box thatcontains a logbook, some trinkets (you take one and leave one), andsometimes a disposable camera. (Interestingly, many caches are hiddenin film canisters and a new “webcam cache” has now debuted.) Afterthe cache is found, the discoverer is invited to post to the website, andinclude any comments and pictures.As Kelley explains in the book’s preface, “Because geocaches are designatedby latitude and longitude, hunting for them involves the curiousexperience of simultaneously knowing exactly where you are goingbut having no idea where it ‘really’ is or what it will look like untilyou finally arrive. While that experience was common for explorers inearlier eras, it has become a rarer and rarer experience in our mediasaturatedworld.” When photographing, Kelley underscores this, thusyou actually will never see any caches in her photographs, but thesentiment, a detail, a moment, that perhaps this person (known onlyby a username) wanted to share with the world. Among the locations/photographsare a dock near Alfred Stieglitz’s home in LakeGeorge, the underpass to a popular Boston subway T-stop, and even acache on a classified government site in the Arizona dessert. In herpoetic descriptions that accompany each photograph, Kelley toucheson everything from natural history to philosophy in guiding us visuallyin how people, seen and unseen, mark the land.Kelley has a diverse background that includes a Ph.D. in AmericanLiterature from Indiana University and a MFA in photography fromMassArt. She currently teaches literature at Bentley College. As a partof the Nature & Inquiry artist group related to MassArt’s SIM (Studiofor Interrelated Media) program, she collaborated on the award-winningartwork “Invisible Ideas,” a GPS-enabled Artwalk through theBoston Public Gardens and Common for the Copley Society of Artheld during the 2003 Boston Cyberarts Festival.nates of where foot meets pavement—an oft-overlooked interface—were later notated and then overlaid over the scene. To these tools, alllocations are just a collection of numbers and thus, via a sort of democraticleveling, the Empire State Building becomes the same as TimesSquare. Cracks in the sidewalk, the elevation of a step, and the grainof granite seem both alien and monumental. Likely, his act of photographingwas quite humorous to passers-by, a bizarre twist on thetourist photograph (“I was literally standing here”). Hung in a2-column grid, 4 frames high, the shape of the final display evenalludes to the height of buildings and the shape of Manhattan.Knight’s other work “Every Environment is Text Rich #2” was completedsimultaneously with Landmarks. Using a digital video camera atthe same locations, he spelled out title phrase by moving thecamera in the shape of each letter. In new series created for this exhibition,he will select minute intersections of latitude and longitude,and make rubbings of the ground—literally and metaphorically"traces"—combining them with photographs of the sky above.Knight’s background in literature combined with a long-standinginterest in semiotics has led to his current work with words andimages. His art often deals with writing, and involves the act ofinscribing onto a variety of substrates. Almost all of his pieces addresstechnology and most interface with the internet, with some existingonly in that space. (See more online at brookeknight.com.) Knightreceived his MFA in photography from California Institute of Artsand is currently an Assistant Professor of New Media at EmersonCollege. Regionally, he has shown at Art Interactive in Cambridge,ArtSpace in New Haven, and University of Maine.J OSH W INERWiner’s work is a part of an ongoing series depicting landscapes influx. Using a view camera in the tradition of 19th century Westernphotographers, Winer travels to scenes of earth as raw material or byproduct:a Quincy quarry filled in with excess dirt from the Big Dig,a gravel pit in Vermont, and a stockpile of road salt under a bridge inChelsea. While the photographers of the US geological surveys documentedfor the purposes of expansion, namely the railroad, Winer’swork addresses in part New England’s penchant for reclamation,transformation, and the automobile. Here the land is a discursivespace, Winer claims, and "Through these very acts of excavating theearth and creating new landscapes, the earth itself becomes an agentof our ambitions and desires."Josh Winer (Boston, MA), 42° 57’ 11N, 073° 12’ 24W, 2004, C-print, 40 x 50 inches,Courtesy of the artist and Clifford•Smith GalleryWiner received his MFA in photography from Massachusetts Collegeof Art in 2004. He has served as the media stockroom manager at theSchool of the Museum of Fine Arts, Boston and the Boston Photo Collaborative.Recently, he accepted a position as Lab Manager andAdjunct Faculty at the Art Institute of Boston. His first solo show wasat Clifford•Smith Gallery in October 2004.Y ELLOW A RROWAs stated on their website, yellowarrow.org, Yellow Arrow merges"sticker culture with wireless media, creating an interactive forum forpeople to leave and discover messages pointing out what counts in theirenvironment." Participants place arrows drawing attention to locationsand sites of their choosing, and are invited to post photographs to theirwebsite. Each arrow has a unique code, and by sending a text-message(SMS) from a mobile phone to a number a short message becomesattached to a site. If someone encounters an arrow when amblingabout, he or she can send the code to the number and immediatelyreceive the point associated with it. Cities from Berlin to Zürich to SanFrancisco are included in their database, with new additions addeddaily. Through this location-based exchange, the group asserts, “the YellowArrow becomes a symbol for the unique characteristics, personalhistories, and hidden secrets that live within our everyday spaces.”Remarkably, after learning about Yellow Arrow, I began to notice themeverywhere: on the BU Bridge (text = "Perspective helps us see the way.We choose bicycles to discover every angle in our urban playground"),and in a classroom at the Art Institute of Boston. On display at thePRC will be a live-feed slideshow from their online photographic database,which during the Cyberarts Festival will showcase only Bostonarea arrows. In a city known for its established landmarks, this projectputs the control in the hands of the people who know it well. Newlandmarks will be created and the city activated in a recipe that is onepart subjective mapping, one part annotated environment. In essence,Yellow Arrow allows Boston to curate itself and every person to be apart of an artistic act.Yellow Arrow first emerged during the 2nd PsyGeoConflux conferencein May 2004, launched completely in the Fall, and mostrecently participated in Art Basel in Miami. Yellow Arrow has beenfeatured in Wired Magazine, Metropolis, Mass Appeal, TimeOut NY,and countless international publication publications including LeFigaro, Liberation in France, RAI in Italy and Diari de Barcelona inSpain. Yellow Arrow is a project initiated by Counts Media, a mobileart, entertainment and theatre company based in New York City.(For more information visit www.countsmedia.com.) Their combinedbackground includes photography, experimental live performance,urban exploration, computer programming and location-basedstorytelling. >>Brooke Knight (Winchester, MA), Landmarks series, Empire State Building, 1999, Ink jetprint, 11 x 14 inches. Courtesy of the artist.B ROOKE K NIGHTIn his series Landmarks, Knight traveled to well-known New YorkCity cultural and civic attractions. Instead of looking up, the waymost visitors do when ingesting culturally dictated spaces or becomelost, he looked down and photographed the sidewalks. The coordi-The only indication of specificity comes via Winer’s choice of titlinghis compositions using their GPS coordinates. This point of entry,however, is paradoxical, and ultimately invites and releases viewers.We could return to the vicinity, but similar to the Greek philosopher’sadage that "one can never step into the same river twice," oncerecorded, these landscapes have indelibly changed. These piles arebuilding blocks and leftovers from other sites, destined to move andbe torn down at will. One is struck by the lunar quality of many ofthe scenes (an imprint from a construction vehicle might be likenedto a moon rover) and consider how minimal can a landscape actuallybe? Viewers are plunged into the picture plane with little or no notionof the place—the periphery becomes the focus—and we apprehendthe place-in-itself. Although initially alluding to the hand of man andcommercial and political ambitions, agency sometimes seems transferredto the earth. Sand and rocks fall, and ultimately, gravity andentropy take over. Thus we witness the land being marked, and alsomarking itself.Yellow Arrow #g3034 by “newurban.”“Oh, if only I had the words of the poetHenry Wadsworth Longfellow. But sometimes,you just don't need to say a thing.”Photo courtesy of “newurban” andyellowarrow.org.89

ConclusionsClearly, something new is happening—these artworks here stretch theboundaries of what is known as the photographic and geographic—andterritories need to be redefined, if not leveled. (Interestingly, both of terms,photographic and geographic, reference mark making—literally meaninglight and earth writing.) Remarking on new technologies begetting newmaps in You are Here: Personal Geographies and Other Maps of the Imagination,writer Stephen S. Hall offers that new delineations “lend themselvesto a form of bushwhacking that is more interior, philosophic, imaginative.”kanarinka, one of the founders of a local art collective of a psychogeographicalbent, likewise ponders, “Cartographers used to make maps.Artists used to make pictures. What do we do now?…”The hunting origin of the photographic term "snapshot" helps in navigatingthis topic. This urge underlies this exhibition and is an apt coda for thisessay. Guided by an internal compass and armed with unexposed film, thisconnotation serves us well in thinking about the changed topography (physically,politically, and culturally) that we now inhabit and our urge to locateand capture it photographically. I leave you then where we began: lost, buthopefully liberated. A quotation, then, to conclude: the “Bellman’s Speech”from Lewis Carroll’s Hunting of the Snark (1876), in which a group of adventurerssearch for a legendary, fictional, beast using a plain sheet of paper:He had bought a large map representing the sea,Without the least vestige of land:And the crew were much pleased when they found it to beA map they could all understand."What's the good of Mercator's North Poles and Equators,Tropics, Zones, and Meridian Lines?"So the Bellman would cry: and the crew would reply"They are merely conventional signs!"Other maps are such shapes, with their islands and capes!But we've got our brave Captain to thank"(So the crew would protest) "that he's bought us the best--A perfect and absolute blank!"SELECTED BIBLIOGRAPHYHarmon, Katherine. You are Here: Personal Geographies and Other Maps of the Imagination.New York: Princeton Architectural Press, 2004.kanarinka, “Maps and Ovens: An Incomplete Dictionary of Mapping Practices,”Cartographic Perspectives, Special edition: “Maps and Art” edited by Denis Wood,publication forthcoming.Kelley, Margot Anne. Local Treasures: Geocaching Across America, Stauton, VA: Centerfor American Places, publication forthcoming (October 2005, ant.).Solnit, Rebecca. Wanderlust: A History of Walking. New York: Penguin Books, 2000.Glowlab, www.glowlab.com, the hub of psychogeographic practices and sponsor ofPsy.Geo.Conflux conferences. Note that the next conference will be held in Providence,in Mid May. Visit provflux.blogs.com for more info.MAPPING Related Events, Exhibitions, and PerformancesSeveral community partners are also hosting programs and events related tomapping and the urban environment. We encourage everyone to visit them all.GEOCACHESIn order to point to other events and locations and as an act of artistic geocaching,Margot Kelley will be hiding several geocaches in or near the followingplaces: 1.) the PRC 2.) 199 Gallery in Lowell 3.) inside of "One Pixel"4.) Space 200, featuring iKatun with the Institute for Infinitely Small Things.Visit geocaching.com to learn how to begin finding and participating in her“cARTographic multi-cache.”EXHIBITION: On the MapApril 22-June 24, 2005119 Gallery, 119 Chelmsford Street, Lowell, MA119gallery.orgCurated by 119 Gallery Director Mary Ann Kearns, On the Map explores realand virtual maps and places. The artists featured are printmaker and composerDeborah and Richard Cornell, new media artist John Craig Freeman,and cartographer and printmaker Steven R Holloway. Cornell's installation iscreated with the assistance of the Scientific Computing and VisualizationGroup at Boston University. On the Map is the first exhibit in the new 119Gallery in Lowell.PUBLIC INSTALLATION ANDPERFORMANCE: One PixelA “satellite” component of theexhibit On the Map, One Pixel is acollaborative public installation thatwill be staged in the Fenway area ofBoston during the Boston CyberartsFestival. Participants and volunteerswill be directed to visit and documentwith various means theapproximately 30 x 30 meter areaon the ground that is represented bya single pixel in a Landsat7 satelliteimage. A “Performance Map” bycartographer Steven R Holloway,One Pixel is meant to demonstratethat the spirit of a living place cannotbe appreciated without directexperience.Steven R Holloway, One Pixel “PerformanceMap”: the mapping, observation,and reading of one pixel. First performancein Knoxville, TNSPEAKER SERIES:Floating Points 2: Networked Art in Public Spaces at Emerson CollegeBill Bordy Theater, 216 Tremont Street, Boston, MAAll events take place at 7pm and will be streamed live on the internetFree and open to the publicFor more information, links to the artists’ sites, and sponsorship please visitinstitute.emerson.edu/floatingpointsEmerson College and Turbulence.org co-present Floating Points 2, a fourpartspeaker series that explores the ways artists use wireless and networkingtechnologies (Internet, WiFi, GPS, etc.) to transform our interactions withone another and our urban and natural environments by taking their workout of the desktop PC and into the streets.March 30: Pete Gomes and the collaborative team of Jeff Knowlton &Naomi Spellman will talk about their recent projects, that engage the landscapeof the internet, wireless technologies, databases, computer editing,portable computers, GPS as well as local surroundings.April 27: Part of the Boston Cyberarts Festival, a panel of internationallyrenownedartists—Julian Bleecker, Elizabeth Goodman, Andrew Shoben ofGreyworld, and Teri Rueb—will discuss new directions in locative, networked,ubiquitous, and mobile media. Rueb will debut a newTurbulence.org commission.PERFORMANCE/SHOWING: iKatun and the Institute forInfinitely Small ThingsSpace 200, 200 State Street, Boston, MA and ???Be on the lookout for the local art collective iKatun (ikatun.com) and theInstitute for Infinitely Small Things’ temporary laboratory at Alternative Current’s(alternativecurrents.com) new Space 200 in Fanueil Hall as well as publicexpeditions around the city. Donned in their white lab coats and usingadvertising phrases such as "Just do it" as starting points, the Institute willvisit Boston landmarks and Cyberarts sites and invite participants on anurban journey of critical cartography. To contribute a corporate commandand photographic documentation visit corporatecommands.com. To find outthe exact times and location of the expeditions, see infinitelysmallthings.net.Visit bostoncyberarts.org or pick up a special edition of the Boston Phoenix for acomplete listing of all events.Mississippi, 1998 ©Peter Kayafas Strawberry Suit, 2004 ©Tama HochbaumMARCH 1 - 26, 2005Peter Kayafas Selected PhotographsTama Hochbaum Claire with Flowers, closely notedAPRIL1 - 30, 2005Thomas Gustainis Pin-wheel RomanticismSilas Shabelewska Roads1011

insightGeorge FifieldAn Interview withGeorge Fifield is a media arts curator, writer, teacher and artist. He is the founderand director of Boston Cyberarts Inc., a nonprofit arts organization that producesthe Boston Cyberarts Festival. He is Curator of New Media at the DeCordovaMuseum and Sculpture Park in Lincoln, MA. He was executive co-producer for“The Electronic Canvas” an hour-long documentary on the history of the mediaarts, presently going to national PBS distribution. Fifield founded VideoSpace, acollective of Boston Area media artists who have organized and presented exhibitionsof video art throughout New England. In addition, Fifield writes on a varietyof media, technology and art topics for numerous publications. He lives inJamaica Plain, Massachusetts with his wife Lynne Adams Fifield.Why photography? Why the arts?It’s a little tricky. Many years ago, I was theonly member of the PRC who didn’t own acamera. My first really serious art form waselectrographics. I started a company called PlasticImage on Thayer Street before there wereany galleries in 1975. We had a color Xeroxmachine. It was sort of like photography andthe only place I could get shows were photographygalleries. The print galleries would look atit and say, “This is a copy,” and I would say,“No, that’s the original.”But they didn’t get it.We had the finest color Xerox machine on theEast Coast. We had artists coming from NewYork and Montreal, and we supported ourselvesby doing high-end copies for architecture andengineering firms. But with the recession in1980 and ’81, all of the engineers went broke,and we did too. It was a long fun run though.How did you start working in this media tobegin with?I studied art in college, painting. I was also reallyinterested in Duchamp and the like. However, Inoticed that there was a sort of thrill of beingone of the first to use a new technology. Youcould see it in people like Nam Jun Paik, and inthe first half dozen years, video artists managedto anticipate all the directions in which mediaarts was going to go in the next 20 years, by justexploring all of its attributes.Your career seems to have corresponded withthe growth and development of video andother media art. What led to your role as anew media curator/explorer?I was doing Plastic Image for a few years and wassupporting myself as a graphic designer andmaking video work, but at some point I realizedthat I hated clients. So, I decided that it wastime for a career change. I came to realize,through a mentor, that curating was an art form.I started writing and doing shows, and that ledto a position at the DeCordova [Museum andSculpture Park]. My first show there was in thesummer of ’93.Given the importance of technology in theBoston area, do you find "new media" workto be more less accepted?It comes and it goes. All of sudden everyone willdiscover video art, and then everyone will discovercomputer art, and then everyone will discoverweb art, and then it is declared dead. I findthat very funny, because as soon as the new technologycomes out, you find artists working in it.It’s a honeymoon period.Exactly, but the core interests of the artists innew media, not all artists, but a small subset ofartists, is always there trying to get a hold of themedia. At the same time you’re finding artistswho have come to it a little later, but are able tostand on the shoulders of those who went before.The work by the first people [to try a new formof media] sometimes is not so exciting as theyare often just showing off what the technologycan do. The second wave of people start integratingit into an aesthetic spiritual meaning withsome success. Finally, there is a third group whosees it as a tool and has something really meaningfulto say. That’s where you see great art.There are a few people, like Nam Jun Paik, whojust make great art right off the bat. I actuallywrote an essay about this cycle using a historicalperspective. In early 15th century Florence,Bruneschelli made art work that merely showedoff what perspective can do. This evolved overtime, with Masaccio, later, making perfect worksof art using perspectival space. It changed thewhole pattern of western art for centuries.How did you realize the first Boston CyberartsFestival?The first year of Cyberarts, in 1999, was modeledon a “festival” that had been done by agroup of Newbury Street galleries, which all hadjewelry shows at the same time. I got a two-yearMassachusetts Cultural Council for a CulturalEconomic Development Grant to plan anddevelop the first Cyberarts Festival; it was a considerableamount of money. [The MassachusettsCultural Council] were very unbelievably supportive.At the time, I thought if I could gettwenty art organizations to participate, [the festival]would be a big success. That first year, wehad sixty organizations! Clearly, this was a conversationwhose time had come. Everybody wasthinking about it, but they didn’t have a frameworkin which to present it.What is the festival’s audience?Last festival, we had 60,000 visitations at the variousvenues. We did some demographic surveysand found that the audience was people in boththe arts community and technology community.The technology community, which is hugearound here, wants to see what’s being done withwhat they are producing. Also, the companies arecoming back around to that point of view. Therewere some people who instantly got it, like[Polaroid’s] Ed Land. He understood that if youwanted to catch people’s eye and show them thatthis invention of his was more than just a toy,give it to artists and show what they did with it.What are some of the trends or themes that areemerging in this year’s festival?The PRC is actually doing one, which is this ideaof manipulating the data strings that are comingat us from all these high level technologies, likeGPS and satellite photographs. There are all thesetechnological eyes out there that we can start takingadvantage of making art with. We had onesuch piece in the last festival. We have a halfdozen such pieces this year.The two other things that we are doing for thisfestival is a conference on dance and technology,and, something that I have gotten really excitedabout, gaming. Gaming, because here is thiscommercial medium that is full of potential.There’s a whole group of moviemakers who aregetting the games, but then using the gamingenvironment as a movie set. One gamer will actas the camera, while other gamers will come anddo scripted things—not shooting each other, butperforming. They then put dialogue on top of it,and put it on the web as a movie. They are usingthe game engines to make a different art formaltogether!Wonderful. Thank you.Thank you.1213

photography events in new england and beyondEXHIBITIONSMASSACHUSETTSAddison Gallery of American ArtGirls’ Night Out (thru Apr. 3). Tue-Sat, 10-5; Sun, 1-5.Phillips Academy, Andover, MA 01810. 978-749-015.www.andover.edu/addisonArt Institute of BostonThe Fat Baby: Photographs by Eugene Richards (Feb 2-Mar 9). Mon-Fri, 9-6; Sat, 9-5; Sun, 12-5. 700 BeaconStreet, Boston, MA 02215. 617-585-6600.www.aiboston.eduBernard Toale GalleryDavid Goldes (thru Mar 26) Opening reception: Mar4, 5:30-7:30. Tue-Sat, 10:30-5:30. 450 HarrisonAvenue, Boston, MA 02118. 617-482-2477.www.bernardtoalegallery.comBoston Arts AcademyFourth World (Cuarto Mundo) (thru Apr 8).Sandra & Philip Gordon Gallery,174 Ipswich Street, Boston, MA 02215.617-635-6470. artsacad.boston.k12.ma.us/Cambridge Art AssociationOpen Photography and Sculpture (Apr 7-28). Openingreception: Apr 9. Tue-Sat, 11-5. Kathryn SchultzGallery, 25R Lowell Street, Cambridge, MA 02138.Mon-Fri, 9-6; Sat, 9-1. University Place Gallery, 124Mt. Auburn Street, Cambridge, MA 02138. 617-876-0246. cambridgeart.org/index-new.shtmlCambridge Muticultural Arts CenterStill Present Pasts: Korean Americans and the ForgottenWars (thru Mar 19). Mon-Fri, 10-6. 41 Second Street,Cambridge, MA 02141. 617-577-1400, x12.www.cmacusa.orgClifford•Smith GalleryHenry Horenstein, Humans (Apr). Tue-Sat, 11-5:30.450 Harrison Avenue, Boston, MA 02118617-695-0255. www.cliffordsmithgallery.comConcord Art AssociationMember s Juried II (thru Mar 3). Tue-Sat 10-4:30;Sun12-4. 37 Lexington Road, Concord, MA 01742.978-369-2578. www.concordart.org.David Rockerfeller Center at Harvard UniversityLife is a Catwalk: photographs by Jaime Avila (thru Jun30). 61 Kirkland Street, Cambridge, MA 02138.DeCordova Museum and Sculpture ParkPretty Sweet: The Sentimental Image in ContemporaryArt (thru Apr 17). Tue-Sun, 11-5. 51 Sandy PondRoad, Lincoln, MA 01773. 781-259-8355.www.decordova.orgFitchburg Art MuseumAndy Warhol: Intimate and Unseen (thru Jun 5); KenroIzu: Sacred Places (Apr 3-Jun 5) Tue-Sun, 12-4.185Elm Street, Fitchburg, MA 01420. 978-345-4207.www.fitchburgartmuseum.orgFogg Art MuseumHighlights from the Carpenter Center Photography Collection(thru Mar 20); Selected Photographs from theFogg Art Museum Collection (thru Apr 10). Mon-Sat,10-5; Sun 1-5. 32 Quincy Street, Cambridge, MA02138. 617-495-2325.www.artmuseums.harvard.edu/fogg/The French Library and Cultural CenterHorst Hamann: Paris Vertical (thru Mar 3). Mon-Thu,10-6; Fri-Sat, 10-5. 53 Marlborough Street, Boston,MA 02116. 617-912-0400. www.frenchlib.orgGallery KayafasPeter Kayafas: Selected Photographs. (thru Mar 26).Tama Hochbaum: Claire with Flowers. (thru Mar 26).Silas Shabelewska: Roads. (Apr 1-30). Thomas Gustainis:Pin-wheel Romanitcism. (Apr 1-30).Tue-Fri, 1-5:30; Sat, 12-5:30. 450 Harrison Avenue, Suite 61,Boston, MA 02118. 617-482-0411.Gallery NagaDavid Prifti: Trace. (Mar 4- 26). Opening ReceptionMar 4. Tue-Sat, 10-5:30. 67 Newbury Street, BostonMA 02116. 617-267-9060. www.gallerynaga.comGriffin Museum of PhotographyJurried Show. (thru May 15). Tue-Sun, 12-4. 67 ShoreRoad, Winchester, MA 01890. 781-729-1158.www.griffinmuseum.orgGrossman Gallery, School of the Museumof Fine ArtsStudent Annual Exhibition (thru Mar 12). Fifth YearExhibition (Apr 11-May 7). Open Studios (Apr 10).Mon-Sat, 10-5; Thu, 10-8. 230 The Fenway, Boston,MA 02115. 617-369-3718. www.smfa.eduHerter Art Gallery at University of MassachusettsSmall World (thru Mar 4). Mon-Fri, 11-4; Sun: 1-4.125a Herter Hall, University of Massachusetts,Amherst, MA 1003. 413-545-0976.Howard Yezerski GalleryBill Burke (thru Mar 15); Lalla Essaydi (Mar 18-Apr19). Tue-Sat, 10-5:30. 14 Newbury Street, Boston,MA 02116. 617-262-0550. www.howardyezerskigallery.comInstitute of Contemporary ArtLikeness: Portraits of Artists by Other Artists (thru May1). Wed-Fri, 12-5; Thu, 12-9; Sat-Sun, 12-5. 955Boylston Street, Boston, MA 02115. 617-266-5152.www.icaboston.orgIsabella Stewart Gardner MuseumChairs by Dayanita Singh (thru May 8). Tue-Sun, 11-5.280 The Fenway, Boston, MA 02115. 617-566-1401.www.gardnermuseum.orgLillian Immig Gallery at Emmanuel CollegeMemory Streams (Apr 6-May 21). Opening reception:Apr 21, 5-7:30. Mon-Sat 10-4, Cardinal CushingLibrary, 2nd Floor, 400 The Fenway, Boston, MA02115, 617-735-9992. www.emmanuel.edu.Lee GalleryTodd Webb & Samuel Gottscho: Vintage Photographs ofNew York City from the 1930s & 40s (Mar-Apr). Mon-Fri, 10-5:30. 9 Mount Vernon Street, 2nd Floor, Winchester,MA 01890. 781-729-7445.www.leegallery.comMassachusetts College of Art, Bakalar GalleryBrad Kahlhamer: Let’s Walk West (thru Mar 16). Mon-Fri, 10-6; Sat, 11-5. 621 Huntington Avenue, Boston,MA 02115. 617-879-7000. www.massart.eduMcMullen Museum of Art at Boston CollegeTree: The New Vision of the American Forest. (Apr 14-Jul 12). Mon-Fri, 11-4; Sat-Sun, 12-5. 140 CommonwealthAvenue, Chestnut Hill, MA 02467. 617-522-8100. www.bc.edu/bc_org/avp/cas/artmuseum/Mead Art Museum at Amherst CollegeQuicker Than a Wink: Photographs of Harold Edgerton(thru Apr 3); Town and Country: Modern Life in America(thru May 29). 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/meadMIT List Visual Art CenterPavel Braila (thru Apr 10). Tue-Thu, 12-6; Fri, 12-8;Sat-Sun; 12-6. 20 Ames Street Building E15, AtriumLevel, Cambridge, MA 02139. 617-253-4680.web.mit.edu/lvacMIT Museum Main GalleryConstructing Stata: Photographs by Richard Sobol (thruJun 15); The Clipper Ship Era (thru Jul 10). Tue-Fri,10-5; Sat-Sun, 12-5. 265 Massachusetts Avenue, Cambridge,MA 02139. 617-253-4444.web.mit.edu/museumin the loupe listings deadlinesMay/June issue:March 4, 2005July/August issue:May 13, 2005Montserrat GalleryDiagnostic Arts (thru Apr 9). Mon-Thu, 11-7; Fri, 11-5; Sat, 12-4. 23 Essex Street, Beverly, MA 01915.978-921-4242.www.montserrat.edu/galleries/index.shtmlMuseum of Fine Arts, BostonPhotographs by Hiroshi Sugimoto: The Sylvan Barnetand William Burto Collection. (thru Jun 23). Mon-Tue,10-4:45; Wed-Fri, 10-9:45, Sat-Sun, 10-5:45. 465Huntington Avenue, Boston, MA 02115. 617-267-9300. www.mfa.orgNational Heritage MuseumDeep Inside the Blues. Photographs by Margo Cooper(thru Jun 5). Mon-Sat, 10-5; Sun, 12-5. 33 MarrettRoad, Lexington, MA 02421. 781-861-6559.www.monh.orgPanopticon GalleryA Lifetime of Photography: Photographs by Ernest C.Withers (thru Mar 5); Cuba, Hay Luz y Sombra("Cuba, There is Light and Shadow") (Mar 10- Apr 23)Opening reception: 6-8. Mon-Fri, 10-6; Sat, 11-5.435 Moody Street, Waltham, MA 02453. 781-647-0100. www.panopt.comPeabody Essex MuseumThe River Beneath the Lake (thru Apr 24). Tue-Sat, 10-5; Sun, 12-5. East India Square, Salem, MA 01970.978-745-9500. 866-745-1876. www.pem.orgPeabody Museum of Archeology and EthnologyBreaking the Silence: Nineteenth Century Indian Delegationsto Washington, D.C. (Apr 12-Sep 30). Openingreception Apr 14, 5-7. Mon-Sun, 9-5. 11 DivinityAvenue, Cambridge, MA 02138. 617-496-0099.www.peabody.harvard.eduRobert Klein GalleryPaul Ickovic (thru Mar 19); Olivia Parker (Mar 24-Apr30). Opening reception: Mar 24, 6-8.Tue-Fri, 10-5:30; Sat, 11-5. 38 Newbury Street,Boston, MA 02116. 617-267-7997.www.robertkleingallery.comSouth Shore Art CenterImages 2005:24th Annual Juried Photography Exhibition(thru Mar 5). Mon-Sat, 10-4; Sun 12-4. 119 RipleyRoad, Cohasset MA 02025. 781-383-2787.www.ssac.orgTisch Gallery at Tufts UniversityGirl Culture by Lauren Greenfield (thru Mar 27). Tue-Sun, 11-5; Thu 11-8. Aidekman Arts Center, 40 TalbotAvenue, Medford, MA 02155. 617-627-3518.www.tufts.edu/as/galleryUniversity Gallery at University of MassachusettsAbigail Cohen: One Cycle of My Journey (thru Apr 6).Tue-Fri, 11-4:30; Sat-Sun, 2-5. Fine Arts Center, Universityof Massachusetts, 151 Presidents Drive,Amherst, MA 01003. 413-545-3670.www.umass.edu/fac/universitygalleryELSEWHERE IN NEW ENGLANDAlva deMars Megan, Chapel Art Centerat Saint Anselm CollegeJuried 05 Student Exhibition (Apr 1-Apr 26). Openingreception: Mar 31, 6-8. Tue- Sat, 10-4, Thu until 9,100 Saint Anselm Drive, Manchester, NH 03102. 603-641-7470.David Winton Bell Gallery at Brown UniversityCharles Long: More Like a Dream Than a Scheme (thruMar 6). Mon-Fri, 11-4; Sat-Sun, 1-4. List Art Center,Brown University, 64 College Street, Providence, RI02912. 401-863-2932.www.brown.edu/Facilities/David_Winton_Bell_GalleryThe Flinn Gallery at Greenwich LibraryPhoto Sensitive (thru Mar 10). Mon-Wed 10-5, Thu 10-8; Fri-Sat, 10-5; Sun 1-5. 101 West Putnam Avenue,2nd Floor, Greenwich, CT. 203-622-7947.www.flinngallery.com.Icon: Contemporary Art GalleryMichael Kolster: Photographs (thru Mar 5). Mon-Fri 1-5;Sat 1-4. 19 Mason Street, Brunswick, ME 04011. 207-725-8157.Kimball Jenkins EstateWheels: Photographs by Ken Richardson, Jasen Strickler,and Andrew Warren (thru Mar 24). Tue: 11-5; Wed: 11-8; Fri: 11-5. 266 North Main St., Concord, NH03301. 603-225-3932. www.kimballjenkins.comMcGowan Fine Art GalleryPhotography Today at Wiggin & Nourie P.A.(thru Mar25). 670 North Commercial Street Suite 305. Concord,NH. 603.225.2515. www.mcgowanfineart.comPortland Museum of ArtMargaret Bourke-White: The Photography of Design,1927-1936 (thru Mar 20); 2005 Portland Museum ofArt Biennial (Apr 6-Jun 5).Tue, Wed, Sat-Sun, 10-5,Thu-Fri, 10-9. Congress Square, Portland, ME 04101.207-775-6148. www.portlandmuseum.orgThe Lamont Gallery at Phillips Exeter AcademyWithin Without- Final Exposure: Portraits from DeathRow by Lou Jones (thru Mar 9). Mon 1-5, Tue – Sat 9-5. Phillips Exeter Academy, Exeter, NH 03833. 603-777-3461.Rhode Island School of Design, MuseumChazans’ Choice: Gifts of Contemporary Art to the RISDMuseum (thru Apr. 24); Consent to Gravity: FrederickSommer’s Photographs and Musical Scores (thru May 22).Tue- Sun, 10-5. 224 Benefit Street, Providence, RI02903. 401-454-6502. www.risd.edu/museumRobert Hull Fleming MuseumDefining American Photography (thru Apr 24). Tue-Fri,12-5; Sat-Sun, 1-5. University of Vermont, 61 ColchesterAvenue, Burlington, VT 05405. 802-656-0750.www.flemingmuseum.orgSalt Institute for Documentary StudiesIn This Moment…(thru Apr 2). Mon-Fri, 11:30-4:30.110 Exchange Street, Portland, ME 04112. 207-761-0660. www.salt.eduSilvermine Guild Arts CenterInspired Frames of Nature: Joseph Jurson: Black andWhite Photography (thru Mar 13); Current Trends inCharacter Development (Mar 20-Apr 21). Tue – Sat 11-5; Sun 1-5. 1037 Silvermine Road, New Canaan, CT203-966-5617. www.silvermineart.org.Tremaine Gallery at the Hotchkiss SchoolTen Years of Mardis Gras (thru Mar 8). Mon-Sat 10-4,Sun 12-4. 11 Interlaken Road, Lakeville, CT 860-435-2591. www.hotchkiss.org.University of Rhode Island Photography GalleryBeyond Black and White, Photographs by Jonathan Bailey(thru Mar 10). Tue-Fri, 12-4, 7:30-9:30; Sat-Sun,1-4. Fine Arts Center Galleries, 105 Upper CollegeRoad, Kingston, RI 02881. 401-874-2775.www.uri.edu/artgalleriesUniversity of New Hampshire Art GalleryThe Prospect of Light: Images from Pinhole and PlasticCameras (thru Apr 20). Wed, 10-4; Thu, 10-8; Sat-Sun,1-5. Paul Creative Arts Center, University of NewHampshire, Durham, NH 03824. 603-862-3712.www.unh.edu/art-gallery.htmlEDUCATIONLesley University Seminars offers an evening workshopwith Karen Davis, Elizabeth Buckley, and NancyHart on The "I" in the Mirror: A Women’s Workshopin Self-Portraiture, Thursdays, March 24, April 7 and21, 7-9pm. Non-credit, $125. This workshop willexamine how artists visualize themselves through photographyand other art forms. Presentations, discussions,and exercises will encourage creative explorationin a variety of forms, such as artist books, collage, exhibition,and electronic media, giving a context for participantsto create their own artwork. For more informationon Lesley Seminars visithttp://www.lesley.edu/ce/ls/arts.html For a catalog or aquestion contact Allyson Gill, assistant directoragill@mail.lesley.edu 617-349-8609Photographic Arts: 2005-2006 Workshops are nowopen for enrollment. They offer photography workshopsin throughout Europe lasting one to two weekslong, beginning in March. For more informationplease contact Photographic Arts Workshops, P.O. Box1791, Granite Falls, WA 98252. 360-691-4105.www.barnbaum.com/School of the Museum of Fine Arts, Boston is nowoffering the Pre-College Art Program High SchoolSummer Studio. July 11-August 5. For more informationplease contact 617-267-1219 or visit their websitewww.smfa.eduNight Skye Photo Workshops, taught by LanceKeimig are offering their second photo tour to The Isleof Skye and Orkney Islands in Scotland in June. InJuly, they will return to the west of Ireland to photographthe diverse landscapes and ancient abbeys bothby day, and at night. For more information call 781-424-7018 www.thenightskye.com/wrkshp.html,www.thenightskye.comENTRIES/OPPORTUNITIESThe Trustees of the Public Library of BrooklineMassachusetts are sponsoring a juried photo contest aspart of the Town of Brookline’s tercentenary anniversary.All Brookline residents are invited to participatein this event: grade school (grades 4-8) and highschool (grades 9-12) students; adult amateur and professionalphotographers. We will accept black &white, or color images, digital or film. All photosmust be printed on photographic paper and matted onwhite mats, no larger than 11"x14" or smaller than8"x10". Photos will be accepted from Jan 1, 2005until the library closes on July 1, 2005. Entries arerestricted to one photograph per person. Brooklinephotographers Nick Nixon and Abe Morell will be thejudges. Mail or deliver your photo with a completedentry form and caption sheet to: Picturing Brookline,Public Library of Brookline, 361 Washington St.,Brookline, MA 02445. Contest winners will beannounced by Oct.1, 2005. Contest brochures areavailable at all Brookline libraries. For more information,call 617-730-2377 or go to our website:www.picturingbrookline.com. A pdf of the contestbrochure is available on the website.Westmoreland Art Nationals: 31st Juried Fine Artand Photography Exhibition.Westmoreland Art Nationals is having a call forentries. The deadline date is March 18. It is open to allartists over 18, two-dimentional art, three-dimensionalart, and photography are being accepted. Work musthave been executed within three years of submission,and previous works that have been submitted to WestmorelandArt Nationals cannot be submitted again.There is a jury fee of $35 and artists can enter up to 4pieces. Exhibition dates are Westmoreland CountyCommunity College in Youngwood, PA June 4-15,and Westmoreland Arts & Heritage Festival, inGreensburg, PA, July 1-4 2005. For more informationcontact 724-834-7474, www.artsandheritage.com,info@artsandheritage.com.Panopticon Gallery in Waltham is having a call forentries in an upcoming juried exhibition. The subjectmatter is/are on tree(s). The landscape in which thetree is photographed can be anywhere. Any photographicmedia is acceptable, including digital. Theeach applicant can submit up to 15 pieces, each in agrouping of five, for each grouping a new applicationmust be filled out. Submissions must be in print formno smaller than 8x10 inches and no bigger than 11x14inches. No slides or digital files will be accepted. Submissiondeadline is March 28, 2005. The selectionswill be made by the staff of Panopticon Gallery. Formore information contact 617-267-8929 11am-6pmThurs-Sat. www.panopt.comThe 2005 Photo Review Photography CompetitionDavid Schonauer, the Editor of American Photo magazine,will be the juror for the 2005 Photo Review PhotographyCompetition. An entry fee of $25 for up tothree prints, slides, or images on CD and $5 each for upto two additional prints, slides, or images entitles allentrants to a copy of the catalogue. All entries must bereceived by mail between May 1 and May 15, 2005. Formore information contact the The Photo Review, 140East Richardson Avenue, Suite 301, Langhorne, PA19047. www.photoreview.org or call 215-891-0214.Camera Club of New York announces its 2005National Photography Competition. The competitionis open to all US residents 18 years or older exceptmembers of the Camera Club of New York or theirfamilies, and employees. Sylvia Plachy renowned photographer,documentarian will be the Juror. An entryshould consist of 6 slides with a fee of $35.00. Deadlinefor receipt of slides is June 17, 2005. Chosen artistwill receive a one-person exhibition in the AlfredLowenherz Gallery and a cash award of $300.00.Other finalists will participate in a group show. Sendself addressed stamped envelope for prospectus to,2005 National Photography Competition, CameraClub of New York, 853 Broadway, New York, NY10003 or visit their website www.cameraclubofnewyork.orgto download an entry form.Stebbins Gallery’s Fifth Annual Juried PhotographyExhibit. (Apr 2-30), juried by Ed Mason. Open Satand Sun. Zero Church Street, Harvard Square, Cambridge,MA 02138. Artists can submit up to 3 entries,$10 for each entry, and they must be in by Mar 26,during the hours of 11-5.The pieces must be framesand be ready for hanging. There will be an Artists'Reception April 10, from 2-4, for those who have beenselected. For more information contact 617-623-1740or barnardam@aol.com.A new project by the Northeast Sustainable EnergyAssociation (NESEA), called Images of Sustainability,is being assembled as part of the upcoming BuildingEnergy conference in March of 2005. NESEA is invitinganyone interested to submit photos that give livingexamples of their view of sustainability to the conferencewebsite at www.be05.org. The photos will be displayedas a continuously running slide show in a specialroom at the conference in March. For more informationplease contact Jamie Wolf, Wolfworks Inc.860-676-9238 jwolfworks@aol.com.The Danforth Museum of Art presents it juried competition,New England Photographers 2005. Four jurorswill view slides from artists over 18 years of age livingin the New England area. The deadline for submissionsis March 11, and the exhibit will run May 19through Septemeber11, 2005. For more informationplease visit www.danforthmuseum.org.Wadsworth Atheneum Museum of ArtEllen Carey/Matrix 153: Photography Degree Zero (thruApr 24); Contemporary Art: Floor to Ceiling, Wall toWall (thru Apr 24). Tue-Fri, 11-5; Sat-Sun, 11-5. 600Main Street, Hartford, CT 06103. 860-278-2670.www.gallerykayafas.comwww.wadsworthatheneum.org14 15

phonelines: member news from near and farWe applaud the following PRC memberachievements. To have your recent successesappear in Phonelines, please email us atprc@bu.edu by March 18th.Meg Birnbaum exhibited 19 photographs at theNewton Free Library for the month of December.She also had two photographs accepted intothe South Shore Art Centers exhibit NativeFlora: botanical treasures of the Northeasternseaboard, and one photograph accepted into theTexas Photographic Society's 20th annual membersonly exhibit.Walter Crump and Jesseca Ferguson were twoof four artists featured in An Exhibition of PinholePhotography curated by Marek Lomnicki atthe Museum of the History of Photography inKrakow, Poland http://www.mhf.krakow.pl (4812) 634-59-32. The exhibit ran January 14through February 27, 2005.Paul Cary Goldberg has a solo exhibition of hisNight Watch series at the Cape Ann Museum inGloucester, MA from March 1 through June30th. The opening reception will be on March12th. His photographs are now in the permanentcollection of: the Museum of Fine Arts,Boston; the DeCordova Museum; the ClevelandMuseum of Art and the Boston Public Library.He also recently received a Massachusetts CulturalCouncil Grant through the GloucesterCultural Council.Lynne Guimond Findlay had two photographson display at the NH Society of PhotographicArtists Members Group Exhibit, running January15 -February 27, 2005 at the Exeter TownHall Gallery; Exeter, NH. In addition, one photographicwork was selected for the BiennialRegional Jurors' Choice Competition at Thorne-Sagendorph Art Gallery; Keene, NH. The showruns January 22 - March 6, 2005.Linda J. Hirsch’s photographs of Cuba werejuried into NHAA and NAA shows, as well ascurated into a 10-person Cuban photography/video show opening March 10th at PanopticonGallery in Waltham. That exhibit runs throughApril 23, 05. Hirsch is seeking additional venuesfor a group show (including work by Cuban colleagues)which she has curated, and for a benefitevent which would bring together photography,music, and videos by colleagues living here andin Cuba. In Dec. 2004, Hirsch witnessed anddocumented the first-ever coming-of-age rituals(B'nai Mitzvot) of two young men from Cienfuegos,held at Havanna's largest synagogue, thePatronato. This was the goal and the highlight ofa three year project which included fundraisingby Jewish groups in the US and education onsitein Cienfuegos.Isa Leshko’s work has been accepted in the2005 Krappy Kamera exhibit, running March 1through April 2. The Soho Photo Gallery islocated at 15 White Street in NYC.Michael Seif will be exhibiting his photographsin a solo show, Four Places at Sasaki Associates inWatertown, MA. The show, with photographs ofIndia, New York City, Vinalhaven, ME, andVenice, will run from March 31 through June 6,2005. For more information, please call 617-926-3300.Kathy Tarantola's Panoramic Color Landscapesof New England are on display at the HynesConvention Center at 900 Boylston Street in theRotunda Art Gallery through May 30th, 2005.Please visit her website at www.ktphoto.combecome a member of the prcDo you love photography? If the answer is yes, then you belong at the Photographic ResourceCenter. A non-profit organization serving the community since 1976, the PRC challenges with itsthought-provoking exhibitions; inspires with its distinctive education programs; informs with itswide-ranging resources; and tantalizes with its unique special events. Whatever your level of interest,the PRC can make it click!NamePhoneEmailAddressAddressPRC MEMBERSHIP CATEGORIES AND BENEFITSCityIndividual ($45)• Unlimited free admission for one cardholder• Invitations to exhibition opening receptions, members-onlypreviews, and special events• One-year subscription to in the loupe, the PRC bi-monthlynewsletter• Monthly portfolio reviews with the PRC Curator and guestphotography professionals• Opportunity to submit work for the juried PRC Members’Exhibition• Opportunity to post information about yourself onprcboston.org• Discounts on PRC lectures and workshops• Discounts at select regional merchants• CONNECTIONS—free admission to or discounts atnumerous photography institutions nationwideStudent/Senior ($25)• Individual benefits for full-time students and senior citizens(age 60 and over). Verification required.Family ($60)• Individual benefits for two (two membership cards,one mailing address)Supporter ($125)• Individual benefits plus:• Invitations to special receptions and cocktail parties• Four guest passes for one-time free admission to the PRC• Eligibility to rent the Center for private functions• Annual PRC Benefit Auction catalogueContributor ($300)• Supporter benefits plus:• Credit ($300) for use in the Members Print ProgramBenefactor ($600)• Supporter benefits plus:• Credit ($600) for use in the Members Print ProgramPatron ($1,200)• Supporter benefits plus:• Credit ($1,200) for use in the Members Print ProgramAngel ($2,400)• Supporter benefits plus:• Credit ($2,400) for use in the Members Print Program• Invitation to annual Director’s Dinner• Invitation to private reception with PRC Board of Directors• Free admission to all PRC lectures and workshopsVisit prcboston.org for details about CONNECTIONS and member discounts.State■ 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,Photographic Resource 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 at617-975-0600.16 17