Welcome to the MICA Photography Department
The fourth annual (e)merge art fair will take place October 2 – 5, 2014, in Washington, DC, at the Capitol Skyline Hotel.
(e)merge is the only art fair that gives free exhibition space to artists without gallery representation. If you are an artist who is currently unrepresented by a gallery, (e)merge is your forum for discovery.
The (e)merge Artist Platform presents a vetted selection of works by independent artists displayed throughout the hotel’s public areas. The 2014 (e)merge Vetting Committee members are: AI WEIWEI, artist, Beijing; MIKA YOSHITAKE, assistant curator, Hirshhorn Museum and Sculpture Garden, Washington, DC; and JEFFREEN M. HAYES, director, Rebuild Foundation, Chicago, St. Louis & Omaha.
The Phillips Collection, Washington, DC, will present the second annual Phillips Collection Emerging Artist Prize at the 2014 edition of (e)merge. Museum Director Dorothy Kosinski and Curators Klaus Ottmann and Vesela Sretenović will select the winner from works on display at the (e)merge art fair. The Phillips Collection Emerging Artist Prize is made possible by the generous support of Hank and Carol Brown Goldberg.
ONLINE APPLICATIONS ARE NOW BEING ACCEPTED.
The application deadline is May 30 and notifications will be sent out in June.
Katie McDonough Kutil 2003Katie McDonough Kutil graduated in 2003 and continued running the photography business that helped her put herself through MICA. The work focused mostly on weddings, as well as product photography for local businesses. She had always been interested in design and letterpress printing, and there was a void in the market at the time for custom wedding invitations. Turns out she liked the design side of weddings better than the photography side and went to work for nationally acclaimed brand Paper Source at their location in Georgetown DC designing custom invitations. Feeling like Paper Source didn’t give her enough creative freedom, In 2005 she took a job as a custom designer for a small stationery boutique here in Baltimore, where she went on to become a partner. Chellé Paperie moved off the avenue into a larger event space they shared with a florist, and Katie started studying floral design, and freelancing for the florist they shared space with. In 2009 Katie‘s business partner moved cross country and they decided to close Chellé Paperie. Katie continued doing custom invitation and stationery design but added her new found love of floral design to her business model. She now operates her boutique floral and stationery design business Petal and Print out of the home she shares with her husband, two dogs and newborn daughter. She loves photography and continues to use the skills she learned at MICA to further her business, and occasionally still takes on work as a lifestyle / product photographer.
Given enough time, nature has an uncanny ability to erase evidence of human activity. But as Joshua Dudley Greer’s series Point Pleasant illustrates, not everything we do can be undone, and grave danger can lurk within placid places.
Greer’s images depict seemingly unremarkable scenes in the woods of West Virginia, landscapes pockmarked by concrete igloos. The images were taken at McClintic Wildlife Management Area, part of what once was West Virginia Ordnance Works, a military facility that manufactured and stored trinitrotoluene (TNT) during World War II.
Today at 1:15 in M010, writer and critic Pete Brook will be discussing his Prison Photography publishing platform. Please join us for a lively lecture and discussion.
From Pete’s website:
“I believe the United States needs to pursue large-scale prison and sentencing reform.
We must stop warehousing people and be creative with rehabilitation. Prisons in the US are socially and economically unsustainable. As they exist, prisons are a liability. Often discussions on prison issues are framed incorrectly. Sometimes prisons are ignored. Problems also exist in other countries.
Cameras and their operators function in recording, and to some degree, interpreting the stories of (and within) prison systems. How varied is the imagery?
If a camera is within prison walls we should always be asking; How did it get there? What are/were the motives? What are the responses? What social and political powers are at play in a photograph’s manufacture? And, how is knowledge, related to those powers, constructed?
Prison Photography also concerns itself with civil liberties, ethics and social justice as they relate to photography and photojournalism.”