Welcome to the MICA Photography Department
For many years, photography was a black and white art. Or sepia and cream, or a range of beautiful grays. This exhibition honors those aspects of photography by seeking monochrome work that does not depend on bright color. Digital prints, traditional gelatin silver work, and alternative process images are all welcome. We are Honored that Karen E. Haas, the Land Curator of Photographs at the Museum of Fine Arts, Boston, will be the juror for this exhibition. As her many years in the field of museum photography attests, Karen is an expert on black and white photography. Karen will choose 40 photographs for display at PhotoPlace Gallery from February February 25th through March 21st. She will also select up to 35 additional photographs for the gallery’s Online Annex. All selected work will be included in an exhibition catalog available for purchase. To help artists defray costs, PhotoPlace Gallery offers to mat and frame work selected for exhibition free of charge, providing artists print their images to our pre-cut mat and frame sizes. Submission fee: $30 for five photos, $7 each additional photo.
PhotoPlace Gallery’s mission is to support contemporary fine art photography as a means of creative expression and cultural insight. PhotoPlace Gallery sponsors exhibition opportunities through international juried exhibits in Middlebury, Vermont, through our published exhibition catalogs, and on this website. To help defray artists’ expenses, we provide free matting and framing of accepted photographs for the duration of our exhibitions, providing they are sized to fit our pre-cut mats.
PhotoPlace Gallery is located at 3 Park Street in Middlebury, Vermont, just a few doors down from the Sheldon Museum in the center of town.
Hours: Tues. – Fri. 11-4, Sat. by appointment
3 Park Street
Middlebury, VT 05753
Upon graduating from MICA in 2005, I was awarded the Meyers Traveling Fellowship. With this grant, I travelled to Cuba and completed a photography project “Jovellar y Infanta”. In 2006, I applied for and was awarded a Fulbright grant to spend a year in Panama working on a project that examined how Panamanians were locally by a global trade route: The Panama Canal. During my time in Panama I met the artist Gustavo Araujo who introduced me to the photographer Sandra Eleta. I stayed in Panama for the following two years working as Sandra’s darkroom master printer and helped to found Cambio Creativo, an organization that facilitates creative workshops in the community of Coco Solo in Colon, Panama. I also had my first solo exhibition at the Diablo Rosso Gallery in Panama City and was included in the publication “25 under 25, Up and coming American Photographers” published by powerHouse books.
In 2008 I assisted for photographer Chan Chao, who was working on a project in Panama, and he told about Syracuse University’s MFA in Art photography, with impressive faculty and generous fellowships. In 2009 I applied and was awarded a Full Fellowship. During my years at SU I spent time off from classes traveling back and forth from Syracuse to Cuba to Panama. I began working on a long-term project based in Cuba: “Everything Arrives”. I also organized and ran a bilingual afterschool photography program for Syracuse youth and worked at Light Work / Community Darkrooms, fine-tuning my digital printing skills.
I have recently moved to Brooklyn, New York, and am looking forward to the creative opportunities that a large city like New York City offers. I continue to work with Cambio Creativo, am a team member of Estudio Nuboso, and work as a freelance photographer and videographer. I will begin teaching at International Center for Photography this winter.
I have been living in Boston since graduating MICA and working at non-profit called AIDS Action Committee. For the past year and a half I have been working in their Development department doing grant writing and sponsorships. All the while I have been keeping up my photo practice while also becoming more involved and interested in urban planning, particularly in the area of “alternative” transportation (i.e biking, walking, transit, etc). My current project is a blog called Cycle Style Boston (www.cyclestyleboston.com), which is my attempt to combine my photo work with transportation issues. It features photos of everyday people who rides bikes in and around Boston for transportation. I ultimately came around to my decision to
pursue Urban Planning as a career because I am exciting about the possibilities for positive social and environmental change that can happen when we start to rethink our urban environments and transportation systems, and I want to be a part of that change.
Wing Young Huie’s many photographic projects document the socioeconomic and cultural realities of American society. Whether in epic public installations or international museum exhibitions, he creates up-to-the minute societal mirrors of who we are, seeking to reveal not only what is hidden, but also what is plainly visible and seldom noticed. His most well known works—Frogtown (1995), Lake Street USA (2000), and The University Avenue Project (2010), produced by Public Art Saint Paul—transformed Twin Cities’ urban areas into public photo galleries, reflecting the everyday lives of thousands of its citizens in the midst of some of the most diverse concentrations of international immigrants in the country. The Minneapolis StarTribune named Wing “Artist of the Year” [PDF] in 2000, stating, “Lake Street USA is likely to stand as a milestone in the history of photography and public art.” His five published books: The University Avenue Project, Volume 1, The University Avenue Project Volume 2, Looking For Asian American: An Ethnocentric Tour, Lake Street USA, and Frogtown: Photographs and Conversations in an Urban Neighborhood. Lake Street USA was hailed by the Minneapolis StarTribune as one of 25 great books ever published about Minnesota.
JOHN BORSTEL & WILL KNIPSCHER
“Master of Fine Arts: Two Ways”
Thursday, Dec 5th, 7:30-9:00 PM
Stone Tower at Glen Echo Park
$15 at the door (or buy tickets via link below)
William Knipscher and John Borstel were both established members of Photoworks faculty, when they decided to advance their educations by pursuing MFA (Master of Fine Arts) degrees. They chose contrasting paths: Will enrolled in Baltimore’s Maryland Institute College of Art (MICA) — one of the region’s elite studio programs — for a discipline-specific focus on photography. John chose the low-residency Interdisciplinary Arts Degree Program at Vermont’s Goddard College, a pioneer in progressive education. They will discuss their recent experiences in these programs and share work from their graduate portfolios.
To celebrate Photoworks’ 40th Anniversary, we’ve put together an outstanding series of six photography lectures, featuring master photographers, award-winning teachers, internet innovators, and celebrated photography collectors. Join us on 6 individual Thursdays at Photoworks Gallery (Arcade Building @ Glen Echo Park) from 7:30-9:00 PM for these exciting and informative events. $15 per individual lecture or subscribe to the 6-lecture series for $75 and save $15!
Photoworks is a vibrant and unique resource for photographers. Our philosophy is simple: Creative dialogue with fellow photographers, an intimate learning environment, and outstanding faculty are the ingredients for creative growth. Through diverse programming – including weekly classes, weekend workshops, open darkrooms, digital labs, monthly critique sessions, lectures, and regularly changing gallery exhibits — members of the Photoworks community find common ground with other professional and student photographers and cultivate their technical skills and artistic vision.
Distinguished by its program of small classes taught by a faculty of leading commercial and fine art photographers who are committed teachers and mentors, Photoworks is housed in a brand new studio equipped for black & white film development and printing, a digital classroom, a studio area and an exhibition gallery. Photoworks operates in cooperation with the Glen Echo Partnership for Arts and Culture Inc.
Franklin Furnace: The Art of Performance Documentation is the second installment of the six-part lecture series Jump Over Time: Uses of Documentation Video. The series explores a wide range of creative uses of video documentation as an idiom and form used by media artists. When does the video documentation of an event shift from witness to evidence? If a performance is designed for the camera is the urgency, the live-ness, of the performance obliterated? When the video maker’s intent is to re-present a specific historic period, action, or happening, can reenactments be considered documentation? Selected works as well as visiting artists and archivists will speak to the many ways archives—brimming with mediated experiences—are critical to cultural determination, memory, and practice.
Admission to the lecture is free. The Albin O. Kuhn Library Gallery is located on the first floor of the Albin O. Kuhn Library.
Martha Wilson is a pioneering feminist artist and gallery director, who over the past four decades created innovative photographic and video works that explore her female subjectivity through role-playing, costume transformations, and “invasions” of other people’s personae. She began making these videos and photo/text works in the early 1970s while in Halifax in Nova Scotia, and further developed her performative and video-based practice after moving in 1974 to New York City, embarking on a long career that would see her gain attention across the U.S. for her provocative appearances and works. In 1976 she also founded and continues to direct Franklin Furnace, an artist-run space that champions the exploration, promotion and preservation of artists’ books, installation art, video, onliine and performance art, further challenging institutional norms, the roles artists play within society, and expectations about what constitutes acceptable art mediums.
Wilson, a native of Newtown, Pennsylvania, who has lived in New York since 1974, is esteemed for both her solo artistic production and her maverick efforts to champion creative forms that are “vulnerable due to institutional neglect, their ephemeral nature, or politically unpopular content.” Described by New York Times critic Holland Cotter as one of “the half-dozen most important people for art in downtown Manhattan in the 1970s,” Wilson remains what curator Peter Dykhuis calls a “creative presence as an arts administrator and cultural operative.”
Written into and out of art history according to the theories and convictions of the time, Wilson first gained notoriety thanks to the attention of curator Lucy R. Lippard, who placed Wilson’s early efforts within the context of conceptual art and the work of women artists. Commenting on Wilson’s first projects, art historian Jane Wark wrote in 2001:
“In her conceptually based performance, video and photo-text works, Wilson masqueraded as a man in drag, catalogued various body parts, manipulated her appearance with makeup and explored the effects of “camera presence” in self-representation. Although this work was made in isolation from any feminist community, it has been seen to contribute significantly to what would become feminism’s most enduring preoccupations: the investigation of identity and embodied subjectivity.”