FOR U M

PHOTO I

MEREDITH ALLEN DAVID HENSEL ALLISON STEPH EN ALTHOUSE BARBARA AMES ROBERT ANDERSON ALICIA BAILEY GARY BAKKEN CRAIG BARBER RACHEL BLISS JAMIE BLOOMQUIST GLORIADEFILIPPSBRUSH CARLAC. CAIN CAROL ANN CAMPBELL GAYE CHAN JONATHAN CLARK MARK DAUGHHETEE SUSAN DETROY MICHAEL DOUBRAVA CHRISTOPHER FAUST JESSICA HINES HOTKA NANCY HUTCHINSON TERRY MCHENRY KATZ PHILIP KREJCAREK MARIA LUPO ANNE ARDEN MCDONALD HOWARD ROSENFELD ELISE MITCHELL SANFORD STEVEN SKOPIK ROBBIE STEINBACH SILVIA TACCANI CRAIG TEVIS SHELLBURNE THURBER CAROLE TOPALIAN BOB WALDEN SANDY CROCE WARNER CORINNE WHITAKER

NOMINAL

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The FORUM Gallery Staff: Dan R. Talley, Gallery Director Michelle Henry, Gallery Assistant

Student Assistants: Bruce Bogart Gerald Egana Kim Erickson Nelida Ruiz

Development Committee: Nancy Bargar William Disbro Carole Fasso Mike Fitzpatrick Robert Hagstrom John Hiester Cletus Johnson Gloria Lasser Julia Militello Alberto Rey Lois Strickler William Waite Gary Winger

The FORUM Gallery at Jamestown Community College 525 Falconer Street Jamestown, New York 14701

(716) 665-9107

Gallery Hours: Tuesday through Saturday, 10:00 a.m. till 5:00 p.m. (Wednesday and Thursday till 8:00 p.m.)

We gratefully acknowledge the following busi­nesses and organizations for their support of this exhibition:

Sponsors: Anderson Photographic, Inc. Bush Industries, Inc. Dorian's Plus Jones Tasty Bakers Co., Inc. Marine Midland Bank N.A.

Friends: Arts Council for Chautauqua County Carnahans Register Graphics, Inc. Supreme Beverages, Inc.

This exhibition is part of The FORUM Gallery's Visual Arts Initiative which is made possible through funds provided by the Ralph C. Sheldon Foundation, Inc. Ad­ditional funds for this exhibition were provided by the Faculty Student Association of Jamestown Community College.

The FORUM Gallery is an Associate Member of the National Association of Artists' Organizations.

Unless otherwise noted, illustrations have been sup­plied by the artists. All dimensions are listed in inches with height preceding width, then depth.

Catalog design: Pattie Belle Hastings Catalog production: Michelle Henry, D. R. Talley Production assistant: Nelida Ruiz Printing: Arkwright Printing, Fredonia, NY

© 1991, The FORUM Gallery

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DIRECTOR'S STATEMENT

PhotoNominal '91, a national exhibition organized by The FORUM Gallery with help from Ms. Sandy Skoglund, presents work by 37 photographers who explore the possibilities inherent in photographically generated images from antique printing process­es that allude to the medium's origins, to the latest in technologically generated pictures.

This is the first year we have presented PhotoNomi­nal. I conceived this exhibition as an alternative to The Citizen's Eye, the gallery's exhibition of local photography which had been held annually for the past six years. This new title and exhibition format is not necessarily intended to be a permanent replace­ment for The Citizen's Eye, but rather, it is intended to demonstrate other exhibition possibilities.

I initiated this new direction for several reasons. Pri­marily, I felt that by presenting some alternatives, the gallery's board and constituents could better an­alyze and formulate directions for future programs. Secondly, we have developed and scheduled Per­sonal Territory: Artists from the Southern Tier, an exhibition that exclusively presents work in a variety of mediums by artists who live and work in the im­mediate two-county area. It seemed imprudent to schedule exhibitions back-to-back that would segre­gate local photography from local works in other mediums.

Sandy Skoglund selected the work included in Pho­toNominal '91 from slides submitted by over 200 art­ists from the US and Canada. Her selections chal­lenge, provoke, prod, and stimulate us into looking at the multitude of possibilities that exist within the photographic medium.

I extend my warmest thanks to Sandy Skoglund, the participating artists, and the businesses in our area who have contributed to this project. Your efforts have produced an incredibly strong exhibition.

DanR. Talley Special Project Director The FORUM Gallery

CURATOR'S STATEMENT

In selecting the works for this show, the decisions I made were based on my personal preference for pictorialism, storytelling, and formal control within the medium. I looked for emotional hon­esty in my choices, and included as many different attitudes as possible within that idea. In general, I thought the work submitted for this show was consistently ambitious, sophisticated, and worthy of attention.

Sandy Skoglund New York, New York

Sandy Skoglund is an artist and educator who lives and works in New York City. Ms. Skoglund first gained international notoriety with her elaborately staged photoworks Re­venge of the Goldfish and Radioactive Cats. Her recent work has evolved to in­clude painting and large-scale installation pieces.

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II II II 1111 II II II II II M ERE D I T H A L L E N

I Know What You Are Thinking About Me addresses the concerns of self­identity; self-image; and self­representation through the use of found imagery in the media. -MA

·1 Know What You Are Thinking About Me, 1990, canvas, color laser copy, vinyl type, faux pearls, guache.

Selected Exhibitions: Mythic Moderns, Real Art Ways, Hartford, CT 1990. Forrest Avenue Farewell, Nexus Contempo­rary Art Center, Atlanta, GA, 1989. Modern Love, A.R.C. Gallery, Chicago, IL, 1988.

Use Only As Directed, Nexus Contemporary Art Cen­ter, Atlanta, GA, 1988. Group exhibition at the Olean Public Library, Olean, NY, 1988. Skin!, Hallwalls, Buffalo, NY, 1988.

Reviews, Publications, Catalogs and Awards: "Use Only As Directed: by Hildreth Ann Budd, Art Pa­pers, Nov/Dec, 1988. 42nd Western New York Exhibition, catalog, The Buffa­lo Fine Arts Academy, Albright-Knox Art Gallery, Buffa­lo, NY 1988.

Education: M.F.A., State University of New York, Buffalo, NY, 1988. B.F.A., Hartford Art School , University of Hartford, CT, 1986.

Meredith Allen, detail, I Know What You Are Thinking About Me, 1990, canvas, color laser copy, vinyl type, faux pearls,guache.

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111111 II II II II II II II D A V 10 HENSEL ALLISON

I've tried to take a look at America (including land beyond the United States' borders) through my camera's viewfinder I am defining moments of time midway between our nation's culture and provincialism. I choose to document the transitory stage of a national culture, these characteristics of provincial life. Thus I meander across the face of America, a wanderlust with a purpose, employ­ing my camera, capturing on film the flavor of American life as it evolves into the 21 st century. -DHA

-Groom (flanked by two sisters), photographed in 1979, printed in 1990, glass Cibachrome pho­tograph, 16 x24 inches.

Selected Exhibitions: Four by Four 4 Artists, 4 Media, Guadalupe Cultural Arts Center San Antonio, TX, 1990. 11th Annual Jurored Art Exhibition, The Salina Art Center Salina, KS, 1990. Toys, 18th Annual Toys Designed by Artists, The Ar­kansas Art Center, Little Rock, AK, 1990. Borderwork, Fox Fine Arts Center, Main Gallery, Uni­versity of Texas at EI Paso, EI Paso, TX, 1990. David Allison's Survey of Photographic Works, 1972­1989, Jessie Wilson Galleries, Anderson University, Anderson, IN, 1989. David Allison Color Photographs, Stocker Center, Lo­rain County Community College, Elyria, OH, 1982. One Eye Open, Ned A. Hatathli Cultural Center,

David Hensel Allison, Navajo Last Supper, 1979,

glass Cibachrome print, 16 x 24 inches. This photo­

graph is not included in the ex­hibition.

Navajo Community College, Tsaile, AZ, 1978. The Indiginous Southwest, White Oak Gal­lery, Alburquerque, NM, 1975.

Reviews, Publications, Catalogs and Awards: "A Portfolio of Winning Photographs," Natu­ral History, American Museum of Natural History, New York, NY June, 1990. "The Roving Eye," by Melanie Brubaker, Scene Magazine, Columbia Daily Tribune, Columbia, MO, February 8, 1990. "David Allison : La Versatilidad en la Photo­grafia" Norte, Seccon-C-Gente, Chihuahua, Mexico, September 10, 1988. "Photographer Captures Contemporary Southwest/One Eye Open," by Dr. LeRoy Perkins, Albuquerque Journal, Albu­querque, NM, August 20, 1978. "David Allison," by William Peterson, Art­space, Contemporary Southwestern Arts Quarterly, Albuquerque, NM, Winter 1981 ­82.

Education: M.F.A. Candidate, University of Missouri, Columbia, MO, 1991 M.A., University of Iowa, Iowa City, lA, 1966. B.A., University of iowa, Iowa City, lA, 1962.

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II II II II II II II II II II S T E P HEN

While visiting my childhood farm in Pennsylvania during a past Christmas vacation, I spent some time reflecting in myoid room. Zebra Street was created during that time by placing myoid toy car upon the zebra rug which hung in that room of good memories.

Feelings and ideas experienced in my life are conjured through arranging and composing special objects which have a great deal of personal significance. The result is a variant form of the self­portrait; a melange of my past and present experiences and emotions. The medium of photography is used as a documentor of these assemblages. -SA

·Zebra Street, 1980, silver gelatin print, 17 x 13 inches.

Selected Exhibitions: Solo exhibition at the Focal Point Gallery, City Island, NY 1989. Solo exhibition at the International Photog­raphy Hall of Fame and Museum, Oklaho­ma City, OK, 1988. Solo exhibition at the Galeria 2 V's, Lima, Peru, 1988. Solo exhibition at the Municipalidad de Mir­aflores, Lima, Peru, 1988.

Reviews, Publications, Catalogs and Awards: The Language of Visual Art, by J.F Meyers, published by Holt, Rinehart & Winston, 1989. Art Today, by Faulkner et aI., published by Holt, Rinehart & Winston, 1987 The Photo Review, Philadelphia, PA, 1989. Photo Paper, Pittsburgh, PA, 1989.

Education: M.F.A., Virginia Commonwealth University, Richmond, VA, 1975. B.F.A., University of Miami, Miami, FL, 1970.

M A M

ALTHOUSE

Stephen Althouse, Zebra Street, 1980, silver gelatin print, 17 x 13 inches.

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Barbara Ames, Madonna, 1990, hand-colored Ektacolor print, 14 x 11 inches.

In these life/art dramas I parody art work of another time, placing myself within sets that have some contempo­rary props. The intent is to show present-day concerns-things that think about. In Madonna the working mother is divided and rushes out the door looking back at the Rapheal Ma­donna... -BA

'Madonna, 1990, hand-colored Ekta­color print, 14 x 11 inches.

Selected Exhibitions: Solo exhibition at the Danville Museum, Danville, VA, 1990. Solo exhibition at James Madison Unversi­ty, Harrisonburg, VA, 1989. Current Works '89, Amon Carter Museum, Kansas City, MO, 1989. Solo exhibition at BC Space Gallery, Lagu­na Beach, CA, 1988. Light Images '88, Chrysler Museum, Nor­lold, VA, 1988. Art Reach '88, National Congress 01 Art and Design, Salt Lake City, UT 1988.

Education: Ed.D., University 01 Virginia, Charlottesville, Va, 1978. M.A.E., Virginia Commonwealth University, R;chmond, VA, 1970.

R C HMO N o V A

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II II II II II II II II II II R a B E R T A N o E R s a N

Art is a technique of communication and the image is the artists tool. The development of this image always takes place sequentially until the work is complete. It's been said that a work of art is never finished-it just stops in interesting places. My work represents sequences within a progression. A cy­cle is set up by me to investigate a cer­tain theme or themes. Each individual piece in the series grows sequentially, like links in a chain. The initial investi­gations are concerned with content, fol­lowed by composition. Two or three im­ages are appropriated from art historical sources, digitized in a particu­lar color sequence and combined in a color graphics computer The elements of the composition are arranged for strength of design with a paint program and the original colors of the images are dramatically changed at this time. In the next sequence the composition goes through several image processing programs that I use to further distort and solidify the work. The composition at this point is broken into segments and transferred to a pho­tographic media. After the individual­prints are made, it is then reassembled,

Robert Anderson, Altered Ladies II, 1990, computer photo·construction, 21 x 27 inches.

using foamcore in certain areas to elevate and add depth. -RA

·Altered Ladies II, 1990, computer photo­construction, 21 x 27 inches.

Selected Exhibitions: OK South Gallery, Bay Harbor, FL, 1989. Littlejohn-Smith Gallery, JYC, 1989. New Technology Artworks, Texas A&M University, TX, 1989. American Print Survey, University of Wisconsin, WI, 1989. Computer Art/Electronic Imaging, SI. Louis Community College, 1989. Electronic Media Exhibition, Eastern Washington Uni­versity, 1988.

Reviews, Publication, Catalogs and Awards: "Robert Anderson," by Sam Kirby, Airbrush Action Magazine, NJ, November 1986. "Notable New Jersey Artists," State of the Arts, PBS­TV 1985. "Robert Anderson," Arts, NJ, 1984. "Artists and Media," by David Shirey, New York Times, NY 1984.

Education: M.F.A., Pratt Institute, Brooklyn, NY 1972. B.S., State University of New York, Brockport, NY 1969.

B L 0 OM F E L D N J

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II II II II 1111 L -­A Lie I A B -A I- E Y

Columns is one of several multiple image pieces that I completed during 1989 and 1990. When working with multiple imagery, elements poten­tially enter and leave each picture, sometimes travelling into the next picture, sometimes not. Iconslelements have, in addition to their object­ness, other connotations. The icons/elements have an ability to directly participate in the narra­tive. Formal considerations such as placement, relative scale, color etc. can enhance and/or di­minish the interactive possibilities of the selected icon/elements.

When working with photography and painting, the photographic image lays down one map, or set of directions. Icon/elements assume a life of their own. Their interactions with one another create a narrative. The selection and/or placement of ob­jects (icon/elements) is often one way as record­ed by the camera but is free to change with the later application of pigment to the photographic image.

Grids embody references to horizontal (passive) with vertical (authoritarian) . Grids establish a bar­rier, or barriers. Grids impose a sense of order Teabags become a metaphor for transformation, and are also female objects. -AB

-Columns, 1989, silver gelatin print, black and white xerox on rice paper oil , acrylic, pencil, pas-

Alicia Bailey, Columns, 1989. silver gelatin print, black and white xerox on rice paper, oil, acrylic,

pencil, pastel, museum board in painted wooden frame, 34 x 48 x 1/2 inches.

tel , museum board in painted wooden frame, 34 x 48 x 1/2 inches.

Selected Exhibitions: Recent Works, solo exhibition at Rosewood Art Center, Kettering, OH, 1991 (Con)sequences, solo exhibition, 2JC at Pi­rate, Denver, CO, 1990. Musings, solo exhibition at Foothills Art Center Golden, CO, 1990. Horse/Woman, solo exhibition at New Im­age Gallery, Harrisonburg, VA, 1988. Horse/Woman, solo exhibition at San Fran­cisco State University, San Francisco, CA, 1987 Affirmations/Celebrations, solo exhibition at Photo Mirage Gallery, Denver, CO, 1987

Reviews, Publications, Catalogs and Awards: Exploring Color Photography, by Robert Hirsch, Published by William R. Brown, Oe­buque, lA, 1989. California Arts Review, 2nd edition, The Krantz Co., Chicago, IL, 1989. International Catalogue of Contemporary Art, Vol. 2, Artsearch, Inc., Denver, CO, 1989. "Close to the Bone," by Kraig Saunders, Planet X Reader & Advisor, Vol. 1 No. 1 February 1984.

Education: B.F.A., University of Colorado, Boulder, CO, 1981

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II II II II II II II II 1111 yG A R B A K K E N

My work spins off in several directions simultaneously. Some of it falters quick­ly, while other directions turn into a se­ries of photographs and eventually into a cohesive body of work. Occasionally I will work for many months or more on a single project, yet all the while other ideas are pushing to get out. Some of my work continues for years.. .elongated by the complexity of their formation. Such is the case with the hand-colored photograph series en­titled Persistence of Vision. I do not consciously seek the visual or emotion­al circumstances needed to create the photographs in this body of work. I stumble into them almost by accident. This process of discovery is very slow and has caused me to work on this par­ticular series for the last six years.

The photographs in this series are not about objects or things, but of time and place. They are a recognition; a draw­ing together of the present and inde­scribable feelings from my past. The nature of the subject matter forces these photographs to be highly person­al and potentially confusing to the casu­al observer...as they occasionally are to me. The photographs in this series are not necessarily definitive finished state­ments. Often, they are open ended questions with elusive answers.

The photographs in this series begin as uncropped, silver gelatin prints from a 2 1/4 negative. Each print is made by us­ing colored pencils to create multiple layers of colors. These layers are then mixed together by carefully rubbing them with a cotton ball, cotton swab, or occasionally, with a tooth pick. Combin­ing the relative "objectivity" of the un­manipulated black and white photo-

Gary Bakken, Untitled excerpt from the series titled Persis­tence of Vision, hand-colored silver gelatin print, 8 x 8 inches.

graph with the highly subjective process of hand­coloring, helps create the balance of "real" and "unreal" present in these photographs. The pro­cess of hand-coloring is in support of the idea and not the end in itself. -G8

·Untitled excerpt from the series titled Persis­tence of Vision, hand-colored silver gelatin print, 8 x 8 inches.

Education: M.F.A., University of Wisconsin, Milwaukee, WI, 1989. M.A., University of Minnesota, Duluth, MN, 1987 B.S., Montana State University, Bozeman, MT 1978.

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Craig Barber, Beth's Flowers, 1987 silver gel­atin print, 11 x 8 1/2 inches.

In exploring pinhole photography, the photogra­pher departs from a world of high tech, equip­ment-oriented photography to one of simplicity, where the photographer constructs his/her own camera (a handsome cardboard box) and begins a profoundly personal exploration of the medium. Along with the simple pleasure of working with a camera that has been personally constructed to one's own needs, the photographer is presented with an infinite depth of field , thereby allowing the exploration of the juxtaposition of "near/far;" thus creating a surreal or dreamlike quality to the im­ages.

Using a pinhole camera I explore my idea of dream environments ; places that feel familiar, but...? I believe the majority of us exist in our en­vironments yet never truly examine them; work­ing with the pinhole camera, I visually explore in­habited urban environments and offer an alternative viewpoint of these spaces.

Because the pinhole inherently vignettes, it lends itself well to a dreamlike quality. Also, due to the

N e w Y 0 r

alteration of visual perspective present­ed by the camera, it lends itself well to the "familiar, but...?" idea previously stated. In addition, the camera is "view­finderless" and unique in its internaliz­ing process. One has to mentally pre­visualize the image without the assis­tance of a "normal" viewfinder, there­fore becoming more at one with the camera.

My work reflects a constant self­examination, an internal processing of my spiritual and visual relationship to the world and my immediate environ­ment. It is a visual response to my emotions. -CB

'Beth's Flowers, 1987 silver gelatin print, 11 x 8 1/2 inches.

Selected Exhibitions: Solo exhibition at Level Three Gallery, Phil­adelphia, PA, 1991 . Solo exhibition at the Fogg Art Museum, Harvard University, Cambridge, MA, 1990. Solo exhibition at Texas Tech University, Lubbock, TX, 1990. Pinhole Masters, Puchong Gallery, New York, NY 1990. International Polaroid Biennial, Photokina, Cologne, Germany, 1990. Solo exhibition at the C. E. Rynd Gallery, Seattle, WA, 1989.

Reviews, Publications, Catalogs and Awards: Barbara Hitchcock, Section 5, Polaroid Corp., 1990. Shots, Issue #20,1990. Photometro, Vol. 8, No. 79, 1990. Shots, Issue #17 1989. Pinhole Journal, Vol. 4, No.3, 1988.

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Rachel Bliss... works in an idiosyncratic style, attacking the surfaces of a variety of materials to create confrontational works of emotional depth and power. Often based on personal experience with rape victims and abused children, the works are figurative, two and three­dimensional, multi-media responses. Inspiration for her work comes from Kathe Kollwitz, Francis Bacon, and Fri­da Kahlo.

Currently, she is working with a large number of non-traditional materials in­cluding nail polish, human hair, and burning. Her work experiments with the treatment of surfaces of both two­dimensional pieces and small sculpted figures. The small figures are burned materials of various sorts. A piece in­volving the figures usually employs a large number of them, evoking a "death camp" silence. While still evolving, the work displays a clearly recognizable

Rachel Bliss, Too Late, 1990, drawing onto photographicstyle, that of powerful, dreamlike, paper, 5 x 3 1/2 inches. Photo by Joseph Painter.sometimes nightmarish, images that

are not easily forgotten.

-Excerpted from a biographical sketch supplied by the artist.

·Too Late, 1990, drawing onto photo­graphic paper, 5 x 3112 inches.

Selected Exhibitions: Bliss Group Show, Nazareth Arts Center, Rochester, NY 1990. Works on Paper, Perkins Center for the Arts, Moorestown, NJ, 1990. Works on Paper, Beaver College Art Gal­lery, Glenside, PA, 1990. Hoyt National Show, Hoyt Institute of Fine Arts, New Castle, PA, 1990. .viewings, North Philadelphia Space, Phila­delphia, PA, 1989.

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-­ - - - ­JAM I E - -B -LOOMQU -1ST

The redhead series was an idea that I played with for quite a while. I thought that I could say something about all redheads in a few portraits. Almost a year later, I shot this image as the first of a series of six. At the end, the sev­enth and final image was one sitting with all six subjects. When they were all put together and released as a body of work it brought more of a response than I had envisioned in the beginning. This work was my way of showing the unique personality of redheads that sets them apart in this exclusive group. I am still shooting redheads and contin­ue the project. I have yet to do a self­portrait. I also have red hair

Jamie Bloomquist, The Redhead Series I, 1990. Cibachrome -.IB print, lOx 10 inches.

·The Redhead Series I, 1990, Cibach­rome print, 10 x 10 inches.

Selected Exhibitions: HI. T Honors Show, Rochester Institute of Technology Student Gallery, Rochester, NY 1990. Bloomquist/Kahley, North Light: Studio I, Rochester, NY 1990.

Reviews, Publications, Catalogs and Awards: Ad, RIT/Kodak National Poster, 1990. Ad, Newsweek/Sharp, New York, NY Feb­ruary, 1990.

Education: B.F.A., Rochester Institute of Technology, Rochester, NY 1990.

pN E w o R T R

111111 1111_11 II_II GLORIA DEFILIPPS BRUSH

I have always been drawn to things which are approximations of some idea of reality, because they inevitably func­tion as a foil for that "reality."

These photographs are parallel con­structions, images which borrow and excerpt their schema and details from other regions of existence.

Each is a channel for the exploration of expectation and recognition. -GDB

-Untitled (2870), 1990, silver gelatin print, 10 x 13 1/2 inches. Courtesy of MC Gallery, Minneapolis, MN.

Selected Exhibitions: Selections from the Graham & Susan Nash Collection, Los Angeles County Museum of Art, Los Angeles, CA, 1990. Object is Subject, Indiana State University at Terre Haute, Terre Haute, IN, 1989. The New Surrealism, Center for Photogra­phy at Woodstock, Woodstock, NY, 1988. Solo exhibition at the Polaroid Corporation

Clarence Kennedy Gallery, Cambridge, MA, 1988. Solo exhibition at the Contemporary Arts Center, New Orleans, LA, 1987 Visual Paradox,John Michael Kohler Arts Center, She­boygan, WI, 1987

Reviews, Publications, Catalogs and Awards: "Miniature World of Gloria DeFilipps Brush," Holt Con­ferlPolaroid, PhotoEducation, Vol. 6, No. 1, Cam­bridge, MA, 1989. "Miniatures Enchant," by Kelly Wise, The Boston Globe, December 1, 1988. "Gloria DeFilipps Brush at MC Gallery," by Chris Wad­dington, Artpaper, Minneapolis, MN, April , 1988. "Photographing Small Scale Objects: History, Context &Format," by Gloria DeFilipps Brush, Leonardo, Vol. 20, No. 3, Berkeley, CA, 1987 "Making Art: Interviews with Ten Minnesota Artists," Margaret Todd Maitland, MAEP, Minneapolis Institute of Arts, 1986. Bush Foundation Artist Fellowship. National Endowment for the Arts Photography Fellow­ship. Fellowships from the McKnight Foundation/Film in the Cities and the Minnesota State Arts Board.

Education: M.F.A., School of the Art Institute of Chicago, 1972. B.F.A., School of the Art Institute of Chicago, 1968.

Gloria DeFilipps Brush, Untitled (2870), 1990, silver gelatin prinl, lOx 13 1/2 inches. Courtesy of MC Gallery, Min­

~";"'__-'" neapolis, MN.

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John Pfahl once said in a lecture that he photo­graphed "things that are too big to bring home." That is how I feel about the people I photograph. They are the kind of people I would like to bring home and stare at indefinitely. However, I wouldn't have room for all of them and staring is taboo, so I photograph them and stare later

I like to refer to the people I photograph as "weekend exhibitionists." Anyone displaying full­time "weirdness" would receive little acceptance in Oklahoma. These are people vying for a little recognition, usually in the form of public events, contests, or parades. Whatever the case may be, the events are usually held on weekends so the winners may bask in their "fifteen minutes of fame" but then it's back to normal and back to work on Monday. -eee

·The Kingpins, 1989, silver gelatin print, 20 x 16 inches.

'Baby Derby Winner, 1989, silver gelatin print, 20 x 16 inches.

Selected Exhibitions: Solo exhibition at Texas Tech University, Lubbock, TX, 1990. National Exposure '90, Sawtooth Galleries, Winston-Salem, NC, 1990. Photograph as Document, Downey Mu­seum of Art, Downey, CA, 1989. Current Works, Society for Contemporary Photography, Kansas City, MO, 1989. Solo exhibition at Emporia State University, Emporia, KS, 1988. Illuminance, Lubbock Fine Arts Center, Lub­bock, TX, 1989.

Reviews, Publications, Catalogs and Awards: National Exposures '90, catalog, Sawtooth Galleries, October, 1990. MAAAlNational Endowment for the Arts, catalog, 1988.

Education: M.F.A., University of Oklahoma, Norman, OK, 1983.

Carla C. Cain, The Kingpins, 1989, silver gelatin print. 20 x 16

inches.

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11111111111111111111 CAROL ANN CAMPBELL

Carol Ann Campbell, Fuschsia Two, 1989, mixed media, 21 x 31 inches. Photo by California Media Group.

Carol Ann Campbell's off-loom weav­ings are designed to evoke warm emo­tions in the viewer In her more tradi­tional pieces she used woven and dyed fibers to recreate moods. In her more contemporary work she adds the ele­ment of photographic images woven into the fabrics to engage the imagina­tion of the viewer Because of the rich tactile quality of the work, she calls it two-and-a-half-dimensional.

After earning a Bachelor of Arts in de­sign from UCLA, Campbell studied dyes and fabrics while working as a dyer for a New York designer For the­last 10 years she has created her own

art. Her award-winning pieces have been exhibit­ed in numerous shows and currently hang in many private collections throughout California.

-Excerpted from a biographical sketch supplied by the artist.

'Fuschsia Two, 1989, mixed media, 21 x 31 inches.

Selected Exhibitions: Yosemite Renaissance V, Ansel Adams Gallery, Yo­semite, CA, 1990.

Education: B.A., University of California at Los Angeles, Los An­geles, CA, 1978.

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II II II II II II II 111111 GAY E c HAN Angel on Folding Chair, 1986-1988 First hampered by ignorance, then pampered by bliss, Now checking it twice, and making lists.

Downfall, uproar, upchuck, downpour, missing records, but "Who's keeping score?"

I come up for air, dressed in wash-n-wear to chase my tale of the Angel on Folding Chair. -GC

-Angel on Folding Chair, 1987, silver gelatin print, 16 x20 inches.

Selected Exhibitions: Solo exhibition at The Contemporary Mu­seum, Honolulu, HI , 1991 International Shoebox Sculpture Exhibition, University Art Gallery, Honolulu, HI , 1991 Against the Tide, Nexus Contemporary Art Center Atlanta, GA, 1990. Anything But The Obvious, Los Angeles Contemporary Exhibitions, Los Angeles, CA, 1990.

Education: M.F.A. , San Francisco Art Institute, San Francisco, CA, 1982. B.F.A. , University of Hawaii , Honolulu, HI , 1979.

Gaye Chan, Angel on Folding Chair, 1987 silver gelalin prinl, 16 x 20 inches.

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II II II II II II II II II II J o N A T H A N c L A R K The photographs I made in the American Selected Exhibitions: West reflect varying facets of my personal American Scenes, New Performance Gallery, San Fran­vision. The subjects are more often intimate cisco, CA, 1990. than monumental in scale. Yet to perceive National Works on Paper Exhibition, McNeese State Uni­

versity, Lake Charles, LA, 1990.the natural poetry of things is no small un­National Exposures '90, SaW100th Galleries, Winston­dertaking and expression even in simplest Salem, NC, 1990.terms often seems beyond our grasp. I ad­Greater Midwest International, Missouri State University,mire the camera's ability to preserve subtle Warrensburg, MO, 1990.detail and nuance of light while, paradoxi­Seventh Juried Photographic Exhibition, Monterey Mu­

cally, clarifying the essential structure-the seum of Art, Monterey, CA, 1990.soul-of things seen. Ten Years, Photo Gallery International, Tokyo, Japan,

1989. In recent years I have felt drawn to work in deserted places where forms are laid out Reviews, Publications, Catalogs and Awards: like so many bare bones. People came, "Contemporary Coup," by Cathy Curtis, Los Angelestook what they wanted or found nothing, Times, Los Angeles, CA, August 4, 1989. and went away-leaving only mood and "Photography Contest Winners," Photo Metro, San Fran­mystery. The photograph might offer no so­cisco, CA, October 1988. lutions and may itself be an enigma. But "Jonathan Clark," Photo Gal/ery International Letter '87, lovingly produced, it can yield a kind of met­Tokyo, 1987 aphor of experience while giving unique "Doing It the Hard Way," by Bob Lyhne, Palo Alto Times pleasure to the eye. Tribune, Palo Alto, CA, December 22, 1984. -JC "Press Books," by Richard-Gabriel Rummonds, American

Book Col/ector, March/April1983. 'Woman, Taos, 1981 silver chloride print,

Education:71 12 x 9 1/2 inches. B.A., Photography, University of California, Santa Cruz, CA, 1973.

Jonathan Clark, Woman, Taos, 1981 , silver chlo­ride print, 7112 x 9 1/2 inches.

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II II II II II II II II II II MARK DAUGHHETEE

Mark Daughhetee, Revenge of Icarus, 1989,

toned silver gelatin print, 27 x31 inches.

Somnus and Revenge of Icarus are part of a broader series of work that takes an off kilter glance at concept and object and blends them with allegory.

Revenge of Icarus mixes myth and metaphor in comic tableau. The modern day Icarus, now a tethered arm­chair traveler, floats through the air as he enjoys his fa­vorite pastime- capturing and killing birds. With one in the hand he beckons to the two birds in the bush hop­ing to kill them both on his chairside stone.

Somnus, for the Roman God of sleep, pictures my young son Zane as he begins his journey through life. The cloaked figures are the pillars of life that will steer him. Each holds a "significant object" and guiding light. Zane dreams of his future. -MD

·Somnus, 1989, toned silver gelatin print, 27 x 31 inches.

·Revenge of Icarus, 1989, toned silver gelatin print, 27 x 31 inches.

Selected Exhibitions: Two person exhibition at the University of California Cen­ter Gallery, Santa Barbara, CA, 1991. Alternatives '90, Ohio University, Athens, OH, 1990. AIDS: The Artist's Response, Wexner Center for the Visu­al Arts, Columbus, OH, 1989.

Solo exhibition at the Anchorage Museum of History and Art, Anchorage, AK, 1989. Solo exhibition at the Alaska State Museum, Juneau, AK, 1987 Third Western States Exhibition, Brooklyn Mu­seum, Brooklyn, NY 1987

Reviews, Publications, Catalogs and Awards: "When Art and Morality Clash," by Beau Bren­dler, Anchorage Times, Anchorage, AK, July 22, 1990. "Art or Obscenity: Local artists aware of how 'dangerous' images can be," by Linda Billing­ton, Anchorage Daily News, Anchorage, AK, May 13, 1990. Mark Daughhetee: Alaskan Artists a Solo Ex­hibition Series 1989, by Dr. Rudolf Spengler, Anchorage Museum of History and Art, An­chorage, AK, 1989. The Tallahassee Florida National, Florida State University Gallery and Museum, Talla­hassee, FL, 1989. "Juneau artist featured in solo exhibit at State Museum," by Betsy Longenbaugh, Juneau Empire, Juneau, AK, 1987

Education: B.F.A., California State University, Humboldt, Arcata, CA, 1976.

J u N E A u A K

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II II II II II _111111 s u SAN D E T ROY

As an artist I am blessed with an unre­lenting drive to produce images. I have been taking photographs for more than thirty years. (The) origins for imagery rest in the enormous amount of time I spent watching black and white movies as a child.

The past three years I have been using 35 mm black and white infrared film to photograph my dog. Turning my eye to­ward my dog has not been so much about her as an individual dog or even dogs in general (but) ...about me and my work as a photographer. Out of the situation emerges a relationship be­tween animal, environment and human. A three-way relationship intermingles with form and abstraction. Some imag­es express one part of the combination more vividly than the others. I feel the photographs play a different role in showing the relationship. Within this context feelings arise... these feelings are intended to lapse from human to animal, not resting in the particular It is at the point of confusion that I am most excited and find the work most inspir­ing.

Recently I have begun to see more than my personal interpretations reflect­ed in the photographs... 1plan to contin­ue working in the same series. I as­sume I will understand my images more as I keep working. -SD (excerpt)

·Isabel Series #36, 1990, infrared sil­ver gelatin print, 10 x 8 inches.

Selected Exhibitions: 15th Annual Friends of Photography, Uni­versity of Oregon Photograph Museum, Eu­gene, OR, 1990. Visual Chronicle of Porlland Acquisitions,

Oregon Historical Center, Portland, OR, 1990. 12th Annual Magic Silver Show, Murray State Universi­ty, Murray, KY, 1990. Eugene-Irkutsk, A Day in the Life, Photolone, Eugene, OR,1990. Arcadia Drive Still Lifes, Lane Historical Museum, Eu­gene, OR, 1990. Self-Reflections, Tempe Art Center, Tempe, AZ., 1990.

Education: University of Oregon, Eugene, OR, 1988-'90. B.A., Depauw University, Greencastle, IN, 1968.

Susan Detroy, Isabel Series #36, 1990, infrared silver gelatin print, 10 x 8 inches.

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II II II II II 1111111111 MICHAEL DOUBRAVA

Since childhood, the type of art that has affected me the most has always been that which attempted to tell a story. However, I realized at an early age that the most powerful , believable stories in­variably were fictions incorporating great exaggerations and the farthest departures from the mundane possible. The most convincing "true stories" were, it seemed to me, the handiwork of the most energetic liars. This ex­plains my choice of photography, the liars medium, as a vehicle for invention: the photographer can present the view­er with an object of absolute fabrica­tion, yet have it accepted unconditional­ly as fact, due to our general belief in a

Michael DouBrava, Untitled, 1988, silver gelatin print, 10 sort of sacred inviolability of the photo­x 10 inches. graph.

-MD

'Untitled, 1988, silver gelatin print, 10 x 10 inches.

Selected Exhibitions: The Portrait, Birmingham Art Association, Birmingham, AL, 1990. Negotiated Reality, Birmingham Art Associa­tion, Birmingham, AL, 1990. New Alabamians/New Works, Auburn Univer­sity, Auburn, AL, 1990. Six Emerging Photographers, Hellstrom-Venz Alternative Art Space, Birmingham, AL, 1989. Solo exhibition at Belleville Area College, Belleville, IL, 1986. Solo exhibition at Belleville Area College, Belleville, IL, 1985.

Reviews, Publication, Catalogs and Awards: "Portraits at Art Association Define the Face of Art itself," by James R. Nelson, Birmingham News, Birmingham, AL, October 14, 1990. New Alabamians/New Works, catalog, Auburn University, Auburn, AL, 1990.

Education: B.A., Southern Illinois University, Carbondale, IL, 1987

B R M N G H A M A L

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II II II II II II II 111111 CHRISTOPHER FAUST

The landscape as I view it is more than a standard format's view. There are many dynamic elements that can be missed by a typical angle of view-a rectangle or a square. Although my work is primarily with the landscape, it is not confined within the typical genre of the panoramic format. -CF

·Fresh Plowed Field, 1988, silver gel­atin print from Cirkut negative, 7 x 40 inches.

Selected Exhibitions: Annual Juried Show, Photo MetroNision Gallery, San Francisco, CA, 1990. Katherine Nash, The Landscape, University of Minnesota, Minneapolis, MN, 1990. Roadside Architecture,The Forum, St.

Louis, MO, 1990. McKnight Fellowship Recipients, Film in the Cities, SI. Paul, MN, 1990. Contemporary Landscapes, Alias Gallery, Atlanta, GA, 1990. Childhood Memory, Photo Central, Hayward, CA, 1989.

Reviews, Publications, Catalogs and Awards: "The Extended Image," by Kate Jordahl, Photo Metro, San Francisco, CA, 1989. "The Landscape," by Eric Renner, The Pinhole Jour­nal, December, 1989. "Landscape Issue," by Dan Prices, Shots Magazine, May/June, 1990.

Education: M.S., University of Wisconsin, La Crosse, WI , 1980. B.A., SI. Cloud State University, MN, 1978.

Christopher Faust, Fresh Plowed Field, 1988, silver gelatin print from Cirkut negative, 7 x 40 inches. Continuous panoramic view divided into two parts for catalog only.

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II II II II II II II II II II J E S S I C A

It seems shocking when in the course of a life­time the average person will have slept for nearly 25 years. One third of our life is spent dreaming. With this amazing fact, it seems obvious that such an enormous percentage of time and expe­rience must be of serious importance. This natu­ral function, as involuntary but necessary for health as is breathing, has always held a special fascination for me. Some of my earliest memories revolve around awakening from dreams of which I can still remember to this day. This interest eventually led me to make work about the dream state...

The photographs have been made with black and white infrared film and the prints have been se­lectively toned and hand-colored. Only one nega­tive has been used to make each print-the sub­jects in my imagery were really present at the moment in time when the photograph was made and were not superimposed. It is my way of say­ing that we find what we look for. -JH (excerpt)

'Untitled (Dream Series), 1989, hand-colored, selec­tively toned silver gelatin print, 16 x 20 inches.

Selected Exhibitions:

Jessica Hines, Untitled

(DreamSe­ries), 1989,

hand-colored, selectively

toned silver gelatin print, 16 x 20 inch­

es.

H I N E S National Exposures '90, Sawtooth Building, Winston-Salem, NC, 1990. Sandler-Hudson Gallery, Atlanta, GA, 1989. Artists in Georgia: 1988, Nexus Contempo­rary Art Center, Atlanta, GA, 1988. New Photographics '87, Sarah Spurgeon Gallery, Central Washington University, El­lensburg, WA, 1987

Reviews, Publications, Catalogs and Awards: "Take Only Pictures-Leave Only Foot­prints," by John Cunnally, Number Twelve, Memphis, TN, September, 1990. National Exposures '90, catalog, Winston­Salem, NC, 1990. Nexus Magazine of the Arts, Wright State University, Dayton, OH, 1990. Artists in Georgia: 1988, catalog, Atlanta, GA, 1988. New Photographics '87 catalog, Ellens­burg, WA, 1987 Light Sensitive V, catalog, Gainesville, FL, 1984.

Education: M.F.A., University of Illinois, Champaign­Urbana, IL, 1984. B.F.A., Washington University, SI. Louis, MO,1982.

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11111111111111111111

II II II II II II II II II II H o T K A

Chrys·a·lis n. The hard-shelled pupa of amoth or butterfly.

Images from the Wall extends chrysa­lis, the central persona in my work. She is at the same time Maiden, Mother and Crone. She is the embryo sharing the same moment of existence with its own adulthood-the adult suffering the same uncertainty about survival with its own prenatal being. And while chrysalis protects her precious contents within, she is also the first barrier to the free­dom without. If the winged spirit within is not strong enough to break out, she will never fly.

It is hoped that experiencing chrysalis is to witness transformation and the participation in struggle. Ancient wis­dom occurs concurrently with pre­cognitive innocence. Chrysalis is a twentieth century fetish harboring a spirit near the brink of self-destruction, desperate to culminate in fullness. -H

·From the Wall #C-4, 1990, C-print, 48 x 30 inches. Courtesy of Payton-Rule Gallery.

Selected Exhibitions: True West, Payton-Rule Gallery, Denver, CO, 1990. For the Love of Art, Denver Art Museum, Denver, CO, 1990. International Women 's Day, Erector Square Gallery, New Haven, CT 1988. Obrazy, Galeria Rysuntu, Poznan, Poland, 1987 Decadent-X, Objects Gallery, Chicago, IL, 1987 Light Sensitive VI, Gainesville, FL, 1985. Naked, Boulder Center for the Visual Arts, Boulder, CO, 1985.

Reviews, Publications, Catalogs and Awards: "Camera Brings World to Life," by Jennifer Heath, Rocky Mt. News, Denver, CO, August 28, 1987 "Art Expo to Take Over Republ ic Tower," by Jennifer Heath, Rocky Mt. News, Denver, CO, September 11 1987

Education: M.F.A., University of Colorado, Boulder, CO, 1986. M.A., University of Northern Colorado, Greeley, CO, 1972. B.A. , University of Northern Colorado, Greeley, CO, 1970.

Hotka, From the Wall #C-4, 1990, C-print, 48 x30 inch­es. Courtesy of Payton-Rule Gallery. Photo by Photo­craft Laboratories.

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II II II II II II II II II II NANCY HUTCH N SON

The series entitled Simulated Wood is intended to document a range in the possible occurrence of this decorative device in contemporary society. Found objects made of simulated wood are sec­ond-generation signifiers and, in this case, "pic­tures within the picture:" by portraying objects made of authentic wood, they conjure up images of trees and feelings for nature within the people who live and work with them.

By selectively hand-coloring the areas of simulat­ed wood in a photograph, I attempt to re-create the experience a person has when, casually glancing about, he or she is suddenly struck by the sight of a familiar signifier, in this case, simu­lated wood. At that moment, the scene before the person seems to pale, and the signifier itself comes forward, both visually and with meaning. -NH

'Simulated Wood: Soil Conservation Service, 1989, partially hand-colored silver gelatin print, 8 1/4 x 5 1/2 inches in simulated wood frame.

Selected Exhibitions: The Winners ' Circle, Sawtooth Galleries, Winston-Salem, NC, 1991. Light Sources: Five Indiana Photographers, Evansville Museum of Arts and Sciences, Evansville, IN, 1991 Simulated Wood: Photographs, Pima Com­munity College, Tuscan, AZ, 1990. Nancy Hutchinson: Photographs, University of Nevada School of Medicine, Reno, NV, 1989. Hutchinson & Olin: Photographs, Quincy College, Quincy, IL, 1988. Everyday Objects, Palo Alto Cultural Cen­ter, Palo Alto, CA, 1985.

Education: M.S., Purdue University, W. Lafayette, IN, 1980. BA, Purdue University, W. Lafayette, IN, 1971

Nancy Hutchinson, Simulated Wood: Soil Conservation Service, 1989, partially hand­colored silver gelatin print, 8 114 x 5 1/2 inches in simulated wood frame.

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II II II II II II II II II II TERRY MCHENRY KATZ

These are fictional photographic imag­es of a world where anything can hap­pen. The images are surreal scenes with vibrant color The subject matter can be seen as a humorous or a dis­turbing view into a possible future. A major change of scale is achieved through the use of a industrial park model and various toys, fake and real food, plastic animals and so on. -TMK

'Bats and Ants, 1989, Cibachrome print, 30 x 30 x 1 inches.

Selected Exhibitions: Spacial Relations, San Diego Art Institute, San Diego, CA, 1990. 10th Annual Awards Exhibition, Museum of Photographic Arts, San Diego, CA, 1990. International Art Competition, Pyramid Gal­lery, New York, NY 1990. 10th Annual Juried Exhibition, Orange County Center for Contemporary Art, Santa Ana, CA, 1990.

Midwest Photography Invitational VI, University of Wis­consin, Green Bay, WI, 1990-1991 . National Exposures '90, Sawtooth Galleries, Winston­Salem, NC, 1990. Six Ideas in Photography, Grand Rapids Art Museum, Grand Rapids, MI, 1989.

Reviews, Publications, Catalogs and Awards: "An Overview: Photo Show Challenges and Satisfies the Eye: by Tom Patterson, Winston-Salem Journal, Winston-Salem, NC, October 7 1990. "Show Reflects Changes in Teaching Photography," by Genie Carr, Winston-Salem Journal, Winston-Salem, NC, September 27 1990. Midwest Photography Invitational VI, catalog, Universi­ty of Wisconsin, Green Bay, WI , 1990. National Exposures '90, catalog, Sawtooth Galleries, Winston-Salem, NC, 1990. Magic Silver Show, catalog , Murray State University, Murray, KY 1990. Six Ideas in Photography, catalog by Gretchen Garner, Grand Rapids Art Museum, Grand Rapids, MI, 1989.

Education: B.S., William James College, Grand Valley State Uni­versity, Allendale, MI , 1983.

Terry McHenry Katz, Bats and Ants, 1989, Cibachrome print, 30 x 30 x 1 inches.

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II II II II II II II II II II pPHI L I KREJCA R E K

The emphasis of my work over the past five years has been on the role of color in perfor­mance photography. I create situations where a moment in a fictitious theatrical production is documented as a tableaux. Color has been uti­lized for dramatic effect as well as for formal con­cerns of composition.

The choice of subject matter has been to utilize objects which could be animated as if they were actors on a stage. The scenarios are personal childhood memories and adult fantasies created for the performance.

My goal with this work is to create a mystery around which only one frame is given as aclue. -PK

·Petrified Children, 1989, Ektacolor print, 16 x 20 inches.

Selected Exhibitions: Photospiva, Spiva Art Center, Joplin, MO, 1990.

Philip Krejcarek, Petrified Children,

1989, Ektacolor print, 16 x 20 inches.

National Exposures '90, Sawtooth Galleries, Winston-Salem, NC, 1990. Current Works '90, Leedy-Voulkos Art Cen­ter, Kansas City, MO, 1990. Midwest Photography Invitational VI, Uni­versity of Wisconsin, Green Bay, WI, 1990. Alternatives '90, Ohio University, Athens, OH,1990.

Reviews, Publications, Catalogs and Awards: "Multiple exposures of excitement," by Lau­ra Caruso, The Kansas City Star, Kansas City, MO, November 4,1990. "An Overview: Photo Show Challenges and Satisfies the Eye," by Tom Patterson, Wins­ton-Salem Journal, Winston-Salem, NC, October 7 1990. "Lensmen of Vision," by Anne Leighton, Fo­lio Weekly, Jacksonville, FL, June 1990. Photography on the Edge, catalog, Mar­quette University, Milwaukee, WI, 1988.

Education: M.F.A., University of Wisconsin, Milwaukee, WI, 1973.

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II II II II II II II II II II MARIA LUPO

My work explores the themes of aliena­tion, isolation and invasion. I place ob­jects mostly constructed from paper in a landscape setting to invade, but these objects are isolated and alienat­ed from their own kind. The objects in­vade the cool forest much like an unno­ticed UFO landing. In addition, the work has a formal aspect that questions the two-dimensional surface of a photo­graph by manipulation of the space through the placement of objects in the photograph. -ML

·Multiple Beings, 1988, silver gelatin print, 11 114 x 10 114 inches.

Selected Exhibitions: Window installation at the Artists Book Works, Chicago, IL, 1991 Solo exhibition at the Trenton City Museum, Trenton, NJ, 1990. Emerging Artist Series, The Bauhouse, Bal­timore, MD, 1990. Alien Art Forms, The Michigan Gallery, De­troit, MI, 1990. Women Artists Series, Rutgers University, New Brunswick, NJ, 1987 The New Jersey Fellowship Exhibition, Mor­ris Museum, Morristown, NJ, 1986.

Reviews, Publications, Catalogs and Awards: "Diversity in a Trenton Group Show," by V Raynor, New York Times, New York, NY August 26, 1990. TAWA at Ellarslie, catalog, Trenton, NJ, 1990. ''Tracking the Trends," by Wasserman/ Landau, Pavilion Gallery, Mt. Holly, NJ, 1986. "1985-1986," Women Artist Series, by B. K. Smith, Rutgers University, New Brunswick, NJ,1986. "NJSCA Award, Grants, Fellowships," Her­ald News, Passaic, NJ, 1984.

Education: M.F.A. , Hunter College, New York, NY 1984. B.A., Rutgers University, Newark, NJ, 1980.

Maria Lupo, Multiple Beings, 1988, silver gelatin print, 111/4 x 10 1/4 inches.

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111111111111111111­ANNE ARDEN MCDONALD

For once I want to know what bones know-what we can only know after we have died. I have many fantasies that I cannot achieve in life as I have known it-including being able to breathe un­der water and fly-that I may only be able to achieve after death. In my pho­tographs, I watch myself achieving these goals. My photographs are about my fantasies. -AAM

·Untitled Self·Portrait #3, 1988, silver gelatin print, 4 x 20 inches.

Selected Exhibitions: Autonomy and Alchemy, Icarus and Angels, Soho Photo Gallery, New York, NY 1990. Curator's Choice, Ledel Gallery, New York, NY 1990. Photo-Derived, Fine Arts Gallery, Indiana University, Bloomington, IN, 1989. Annual Juried Exhibition, San Diego Art In­stitute, San Diego, CA, 1989. Annual Juried Exhibition, Matrix Gallery, Sacramento, CA, 1990.

Education: BA, Wesleyan University, Middletown, CT, 1988.

Anne Arden McDonald, Untitled Self-Portrait #3, 1988, silver gelatin print, 4 x 20 inches

NEW YO R K N Y

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_______ 111111 HOWARD ROSENFELD

The pursuit of perfection is one of many aesthetic motivations, certainly the most forlorn and least likely of suc­cess...but peculiarly suited to the medi­um of photography, at least as it used to be thought of not so long ago in the Weston/Adams heyday. I still think of it that way. Nothing gives me more satis­faction than the discovery of an image which by its form, context. or personal resonance, permits me to freeze 'forev­er' in glazed perfection my conception of beauty. Perhaps because of this love of the glazed (sharp, glossy) image, I am also very much interested in anoth­er artistic medium...ceramics.

I believe that there is something inher­ently basic in the human desire for, and appreciation of, any "perfect" accom­plishment, whether that perfection is accomplished in stone, aural phenome­non (music), pigment, or chromogenic aniline dyes (Cibachrome). If you look back at human history, the significant remains of the past are, most impres­sively, those of an artistic nature... Most of the rest of history can be expressed in terms of the ebb and flow of the so­called rule of law, in other words, the body-count of human misunderstand­ings.

Obviously, this conception of the artist's role in life places the artist on a very high pedestal and saddles him or her with an extraordinary responsibility to civilization (long-term). to his medium, and, most of all, to himself or herself. Along with this responsibility comes the marvelous feeling of not only being able to appreciate but to create beauty. I do not think that humanity will ever run out of the need for beauty (new and old) ... if for no other reason than that of humanity's own constant destruction of

the beauty of the past...think of the fire-bombing of Dresden, or Caucescu's destruction of ancient Romania, for recent examples. I suppose it is possible that the future might evolve into a "Clockwork Orange"... Hitler almost succeeded in this direction and his official art certainly reflected the Nazi crushing of the creative spirit. If history ever does so evolve, civilization will have ceased to exist, and art along with it. -HR (excerpt)

'Ruin IV, 1987 Cibachrome printlFujichrome original, 16 x 20 inches.

Selected Exhibitions: Southwest '90, Museum of Fine Arts, Santa Fe, NM, 1990-'91 33rd Annual Juried Competition, Chautauqua Art Asso­ciation, Chautauqua, NY 1990. Introductions '89·'90, Long Beach Museum of Art, Long Beach, CA, 1990. Demolition Series, Grants Pass Museum of Art, Grants Pass, OR, 1989. 1989 Architectural Photographs, American Institution of Architects, St. Louis, MO, 1989. The Glass Eye, Northeast Missouri State University, Kirksville, MO, 1989.

Education: Institute of Design, Chicago, IL, 1955-'56. Illinois Institute of Technology, Chicago, IL, 1950-'55.

Howard Rosenfeld, Ruin IV, 1987 Cibachrome print' Fujichrome original, 16 x 20 inches.

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II II II II II II II II II II ELISE MITCHELL SANFORD

Elise Mitchell Sanford, Jan Bixler as Jean Harlow, from The Stuff of Dreams series, 1990, selenium-toned silver gelatin print, 20 x 16 inches.

For the past four years, my work has dealt with issues of being female and aging. These are is­sues I am dealing with in my own life. I live in a culture that denies age and values youth and am surrounded with media that fills our eyes, ears and minds with the need to stay young beautiful and rich. Where does that leave someone be­yond the age of thirty-five -especially if those physical attributes that society tells us we need to be "accepted" are changing-aging? My purpose in The Stuff Of Dreams series is to show the strength of aging-to show strong. mature wom­en in fantasy roles who have a sense of their own humanity. identity. and humor (With this begin­ning. I am now expanding this work for a book and am also investigating the role of fantasy in mature males.) -EMS

·Jan Bixler as Jean Harlow, from The Stuff of Dreams series, 1990, selenium­toned silver gelatin print, 20 x 16 inch­es.

Selected Exhibitions: Magic Silver Show, The University of North­ern Iowa, Cedar Falls, lA, 1991. The Artist Views the Human Form, Clary­Miner Gallery, Buffalo, NY 1990. The Stuff of Dreams, Seigfred Gallery, Ath­ens, OH, 1990. Plastic Camera Show, Casa Nueva, Ath­ens, OH, 1989. Art Student Group, O'Hooley's, Athens, OH, 1987

Reviews, Publications, Catalogs and Awards: The Artist Views the Human Form, catalog, Clary-Miner Gallery, Buffalo, NY, 1990. Finalist, Ruttenberg Award Competition, 1990.

Education: M.F.A., Ohio University, Athens, OH, 1990. BF.A., Ohio University, Athens, OH, 1988. B.A., Tulane University, New Orleans, LA, 1951

A T H E N s o H ___ II II II II

II II II II II II II II 1111 s T E V E N s K o P I K

Through the use of such elements as repeated black voids which obscure photographic information contained in the pieces, and through iconographic forms which explicitly refer to inaccessi­ble photographic space outside the frame, I am trying to make contact with the epistemological vacancy which seemingly undergirds all communica­tive acts. What I seek in my work is to have the viewer undergo visually pre­cisely that which cannot easily be ver­balized, an experience of logical col­lapse prompted by a sort of conceptual opacity and perceptual impenetrability. In short, this work is about "not getting it." By reaching such a null point of per­fect symbolic entropy, it is my hope that one may be brought to the impassible internal limit of all thought systems­the "no-thing," the absence, the abyss. -SS

·Untitled #6, 1990, silver gelatin print/mixed me­diums, 24 x 62 x 1 inches.

Selected Exhibitions: Faculty Exhibition, Handwerker Gallery, Ithaca Col­lege, Ithaca, NY 1990. Void. Redeye Gallery, Rhode Island School of Design, Providence, RI , 1989. Earth, Clay, Loam, Bayard-Ewing Gallery, Providence, RI , 1989. Two person exhibit'on at the Bayard-Ewing Gallery, Providence, RI, 1989. Group exhibition at Bethume Hall , State University of New York, Buffalo, NY

Education: M.FA, Rhode Island School of Design, Providence, RI , 1989. MA, University of Wisconsin, Madison, WI , 1985. BA, University of Delaware, Newark, DE, 1983.

Steven Skopik, Untitled #6, 1990, silver gelatin print/mixed mediums, 24 x62 x 1 inches.

T HAC ANY ---- .-----­

II II II II II II II II II II ROB B E STEINBACH

Robbie Steinbach, Olive, 1988, silver gelatin print, 16 x 20 x 1 inches.

Self-portraits and portraits of women form the main body of my photographic work. This work began as a way to examine my life and has been extended to raise questions about the lives of of other women. Women of the 1980's are often faced with an ambiguous status as some of their roles change, and other roles remain traditional. Photography, with its decided realism and its ren­dition of static detail, gives me a way to examine my feelings about being a woman in our time.

Photographer Anne Noggle has influenced me through her work. She is concerned with the "in­version of public and private faces." In her self­portraits and her portraits of middle-aged women in their homes, she "in the very act of making por­traits to please herself rather than the sit­ter...courts social and personal risks, at the same time priding herself on the transparency of her motives and ambition." (J .Z. Grover in her intro­duction to Noggle's Silver Lining). I have also strived to invert public and private faces, and to court personal and social risks in my portraits of women and my self-portrayals.

This photographic examination is not always easy for the photographer or the subject. Photog­rapher Irving Penn says, "I myself have always stood in awe of the camera. I recognize it for the instrument it is, part Stradivarius, part scalpel. I

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sympathize with and respect anyone who, confronted with a portrait camera, is aware of the consequences..." -RS (excerpt)

'Olive, 1988, silver gelatin print, 16 x 20 x 1 inches.

Selected Exhibitions: Magic Silver Show, University of Northern Iowa, Cedar Falls, lA, 1990. Photospiva '90, Spiva Art Center, Joplin, MO,1990. National Exposures '90, Sawtooth Galleries, Winston-Salem, NC, 1990. Images '90, Images Gallery, Cincinnati, OH, 1990. FotoFest '90, Houston, TX, 1990. Woman in Her Place, Erector Square Gal­lery, New Haven, CT 1989.

Reviews, Publications, Catalogs and Awards: "A Woman of Choices," by Manda Seaver, Communique, Augustana College, Rock Is­land, Il, April 1989. "Collection of Photos," Salima Keegan, ed., Hayden's Review, Arizona State University, Tempe, AZ, Spring '89, issue 4. "Female Artists... ," Quad-City Times, Dav­enport, lA, March 8, 1987 "Photos Capture Diverse Images," Quad­City Times, Davenport, lA, September 14, 1986.

Education: M.F.A., University of Iowa, Iowa City, lA, 1990. MA, University of Iowa, Iowa City, lA, 1989. B.A., University of Northern Iowa, Cedar Falls, lA, 1970.

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Cross VI (Veronica wipes the face of Christ) is the sixth piece from a series in progress based on the Station of the Cross.

What interests me in the cross is the paradoxical nature of its evocative pow­er Even when taken in its simplest form, as intersecting lines, it is both the coming together of separate entities as well as the divider of space. It thus be­comes a plus sign or extends into axes or cardinal points defining direction and spatial relationship, a way of organizing the world so peculiar to humans.

The sixth Station refers to the legend of Veronica who, moved by the sight of Christ carrying the cross, wiped the blood and perspiration from his face with her veil. Immediately his true like­ness appeared on the cloth . It is fasci­nating how well the subject of this Sta­tion functions as a metaphor for photography; its assumed truthfulness, its power to create such likeness that it is often used as surrogate reality and, especially in my case, its instantaneity. -ST (excerpt)

·Cross VI (Veronica wipes the face of Christ), 1990, Polaroid SX-70 (600) prints, 96 x 93 x 1 inches.

Selected Exhibitions: Provocations: Challenging Contemporary Photographs, Robert Klein Gallery, Boston, MA,1990. Solo exhibition at the Robert Klein Gallery, Boston, MA, 1989. Solo exhibition at the Second Street Gal­lery, Charlottesville, VA, 1989. Self and Shadow, Burden Gallery, Aperture Foundation, New York, NY 1989. Sequence (con)Sequence (sub)versions of photography in the '80s, The Edith C. Blum Art Institute, Bard College, Annandale-on-

Hudson, NY 1989.

Reviews, Publications, Catalogs and Awards: "Silvia Taccani, Bruce Gallery Edinboro University of Pennsylvania," by Robert Raczka, New Art Examiner, June 1990. New Works Grant, Connecticut Commission on the Arts & New Haven Department of Cultural AHairs, 1990. Sequence (con)Sequence (sub)versions of photogra­phy in the '80s, Julia Ballerini, ed., Aperture Books in association with Edith C. Blum Art Institute, Bard Col­lege, 1989. "Silvia Taccani's vibrant mosaics," by Kelly Wise, The Boston Globe, August 9,1989. "Silvia Taccani at Cummings Arts Center, Connecticut College, New London," by Jude Scwendenwien, Art New England, March, 1989. Curator's Choice Award, Center for Photography at Woodstock, 1989. "Artist's Medium is the Polaroid," by Carolyn Battista, The New York Times, December 4, 1988.

Education: B.F.A., Rhode Island School of Design, Providence, RI,1980.

Silvia Taccani, Cross VI (Veronica wipes the face of Christ), 1990, Polaroid SX-70 (600) prints, 96 x93 x 1 inches. Photo by Patrick Burns.

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II II II II II II II II II II CRAIG TEVIS

Myth has always been about the powers that in­fluence human existence, the forces that are in­escapable and uncontrollable. These forces are no longer natural ones. Nationalism rises and ebbs with tidal regularity. Cultural inertia resists any variation. Individuals are bantered about by the yin of dispassionate technocracy and the yang of hot-blooded zealotry. (Calling these forc­es man-made would be underestimating them, implying they could be easily countered.) Con­temporary mythology must explore the relation­ships between these forces. This requires new characters, as well as a reinterpretation of old symbols.

The flaming fish series anthropomorphizes the narrow-visioned ideologue found too often in con­temporary politics. The flaming fish moves in one direction, burning with its one true cause, without examining the true complexities of the world. It is a primitive creature with limited responses and limited perceptions. -CT

.Flaming Fish, 1989, gelatin silver print, 19 x 15 inches.

Selected Exhibitions: Let the Work Speak for Itself, Chicago Women's Art Caucus, Oekalb and Chicago, IL, 1990. Photography-From Fact to Symbol, Jack­sonville, FL, 1990. Images Member Show, Images Gallery, Cincinnati, OH, 1990. Two person exhibition at Iowa Wesleyan College, Mount Pleasant, lA, 1989. One person exhibition at Fielding Gallery, Sedalia, MO, 1989. Three person exhibition at the Society for Photographic Education Gal!ery, Kansas City, MO, 1988.

Education: M.F.A. , University of Iowa, Iowa City, lA, 1991

Craig Tevis, Flaming Fish, 1989, gelatin silver print, 19 x 15 inches.

o ASS A

II II II II II II II II II II SHELLBURNE THURBER Long, solitary drives have always been my primary form of therapy, When I'm feeling overwhelmed by "urban blight", desensitized and over stimulated, I take a road trip to clear my head and get myself back on track, With nothing more difficult to contend with than choosing a direction and staying on the road, my mind is left to wander I do my best problem solving and creative think­ing at these times, The motels, by the act of staying in them, become a part of the process,

Shellburne Thurber, Motel Room with Red Carpet, 1987 Ektacolor print, 20 x 24 inches,Removed from the clutter of my life, I'm

free to be anyone I want to be, think ex­actly as I please, Since no one knows where I am, I can 't be disturbed, The 'Motel Room with Red Carpet, 1987, Ektacolor anonymity of these temporary environ­print, 20 x 24 inches, ments provides me with a clean slate, a virgin plate to etch a new identity on, an Selected Exhibitions: opportunity to re-invent my life even if Modern Life, The Center for Photography, Woodstock,

NY 1990,only for a night. I think of these photo­Witnesses: Against Our Vanishing, Artists Space, Newgraphs more as self-portraits, psycho­York,NY 1989,logical interiors, brain scans; less as Solo exhibition at Eastern Washington University, Che­

straight ahead, descriptive shots of mo­ney, Washington , 1989,tel rooms, Interior Spaces-Work by Contemporary New Eng/and

Artists, Danforth Museum of Art, Farmingham, MA, On another level, I can't help wonder­1987 ing what kind of knowledge these im­Solo exhibition at the Chapel Gallery, Newton, MA, placable surfaces are withholding , In 1986, my belief that spaces take on the spirits Boston Now: Photography, Institute of Contemporary

Art, Boston, MA, 1985,of the people who inhabit them, I often catch myself speculating on the nature

Reviews, Publications, Catalogs and Awards:of the energy in these rooms, They've Witnesses: Against Our Vanishing, catalog , New York,undoubtedly witnessed the full range of NY December, 1989,

human emotion and experience and yet "Shellburne Thurber at Chapel," by Thomas Frick, Art one is given no clue as to the nature of in America, New York, NY October, 1986, it. Inevitably, I comb these rooms look­Boston Now: Photography, catalog , Institute of Con­ing for some vestige, some hint of for­temporary Art, Boston , MA, 1985, mer life but they've been swept clean, any trace of previous occupancy totally Education:

Diploma, School of the Museum of Fine Arts, Boston,eradicated , MA, 1983,-ST BFA, Tufts University, Medford, MA, 1975,

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II II II II II II II II II II CAROLE TOPALIAN

One of the first pictures I ever took was of my family at Disneyland in 1956. I was seven years old and didn't want to be anywhere else on earth. Disneyland had just opened and my time there was pure joy, every moment special. At the end of our day, I assembled my parents and my brothers. Looking through the viewer of a Kodak Brownie, I nervously pushed the shutter. A won­derful, scary, significant moment. I couldn't make the day last longer, but for the first time I could capture and express a special moment and take it with me.

Thirty-four years later, that same feeling is with me when I shoot. Unobtrusive as possible, I search for unguarded moments between subject and environment, seeking to translate a chaotic abundance of small , random incidents and emo­tions into a meaningful and textured image. My goal for each image is honesty, sincerity, vitality, intensity of feeling, and freshness of vision.

My photographs are an intersection of subject, time, and place, an invitation to the viewer to create a narrative. -CT

Carole Topalian, Hanging

Out-Los Angeles,

1990, silver gelatin

print, 11 x 14 inches.

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'Hanging Out-Los Angeles, 1990, silver gelatin print. 11 x 14 inches.

Selected Exhibitions: Seven Western States, Long Beach Art As­sociation, Long Beach, CA, 1990. From Fine Arts to Commerce, The Art Store Gallery, Los Angeles, CA, 1990. Counterpoint, Hill Country Arts Foundation, Ingram. TX, 1990. National Exposures '90, Sawtooth Building Gallery, Winston-Salem, NC 1990. Exhibition 1990, Berkeley Art Center Berkeley, CA, 1990 California Works 1990, California State Fair, Sacramento, CA, 1990.

Education: Brooks Institute of Photography, Santa Bar­bara, CA, 1981 B.A., California State University, Northridge, CA, 1970.

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This photo is from a group of still-life photos (photo sculptures) that are about consumerism, technology and nature. -8W

'Untitled, 1981, color photograph, 10 x 7 inches.

Selected Exhibitions: Solo exhibition at Long Island University, Brooklyn, NY, 1990. Solo exhibition at the Queensborough Pub­lic Library, Queens, NY 1989. Group exhibition, Polaroid Photographs, Los Angeles Photography Center, Los An­geles, CA, 1989. Solo and group exhibitions at Queensbo­rough College, Queens, NY 1984, 1985, 1986. Group exhibition at The Salmagundi Gal­lery, New York, NY 1986. Group exhibition at Small Works, New York University, New York, NY 1985.

Reviews, Publications, Catalogs and Awards: Studio Photography Magazine, December, 1988. The Amicus Journal, Summer, 1988. Grant, New York State/Queens Council on the Arts, 1988.

Education: A.A., Orange Coast College, Costa Mesa, CA, 1978. B.A. , University of Cincinnati , Cincinnati , OH, 1971 .

Bob Walden, Untitled, 1981, color photograph, lO x 7 inches.

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II II II II II II 11111111 SANDY CROCE WARNER I like making these pictures which are a little con­Selected Exhibitions: fusing, a little pretty and sometimes, just down­Solo exhibition at the New Works Gallery,

Chicago, IL, 1991right weird. Solo exhibition at the Old Firehouse Gal­

I find this series particularly exciting because I am baSically collaging, which I have always loved to do. I see my work as collaging with the assis­tance of mirrors. Collaging real information, "stuff" that is actually there at that given time, and pho­tographing it so it forms a disjointed yet unified situation all on one piece of film.

The work grew out of an arts residency where the high school students were my first participants. I was attracted to the playful element these young individuals could bring to my photographs. Since then, I have continued to use people as part of the image. I feel it becomes very apparent that these black and white images have been "col­laged" by using the human body, plus it keeps that playful element alive. -SCw

·Dave, 1988, silver gelatin print, 11 x 16 inches.

lery, Madison, SO, 1990. Solo exhibition at the Photo-Four Gallery, S. Holland, IL, 1990. Solo exhibition at the Lincoln Gallery, Aber­deem, SO, 1990. Governor's Residence 1987-'88 Art Collec­tion, Governor's Residence, Columbus, OH, 1987-88.

Reviews, Publications, Catalogs and Awards: "Photographs," by T Barrett, The New Art Examiner, May, 1988. Governor's Residence 1987- '88 Art Collec­tion, catalog, 1987 New Photographics '87, catalog, Ellens­burg, WA, 1987

Sandy Croce Warner, Dave, 1988, silver gelatin print, 11 x 16 inches.

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II II II II II II II II II II COR IN N E WHITAKER

Joseph Campbell: "Enduring being is...as indifferent to the accidents of time as water boiling in a pot is to the destiny of a bubble."

There is no "other side;" therefore no one can return from what is not. The body, the bones, slowly retreat to the void from which they came, each step forward in time a giant step back into space. Forward is back­ward, and tomorrow but the road to yester­day.

David Smith: "Are you afraid of rawness, for rawness and harshness are basic forms of U.S. nature, and origins are both raw and vulgar at their time of creation?"

Robert Brain: An anthropologist as he might describe his wife's make-up: "A red dye mixed with wax on her lips, blue, green or white pigments mixed with petroleum jelly on her eyelids, and soot and pig's fat on her brows and lashes."

Surgeon Richard Selzer The body "is the stillest place that ever was. Why, when the blood sluices fierce as Niagara, when the brain teems with electricity, and the num­berless cells exchange their goods in ceaseless commerce why is it so quiet?"

Rainer Maria Rilke: "Then, from His place of ambush, God leapt out."

-Excerpted from Responsive Reading sup­plied by artist.

·Elegy #29, 1990, silver gelatin print, 14 x 11 inches. From the collection of the Mu­seum of Photographic Arts, San Diego, CA.

Selected Exhibitions: Humans Being, Newspace Gallery, Los An­geles, CA, 1990. Games, Toys and Destruction, B.C. Space Gallery, Laguna Beach, CA, 1990.

Two person exhibition at Grant's Pass Museum of Art, Grant's Pass, OR, 1990. Solo exhibition at Southern Light Gallery, Amarillo, TX, 1990. 30th Essex International, Salon of Photography, Es­sex, England, 1990. Inspirations, Los Angeles County Museum of Art, Los Angeles, CA, 1989. The Photograph as Document, Downey Museum of Art, Downey, CA, 1989. In Search of the American Experience, Museum of the National Arts Foundation, New York, NY 1989.

Reviews, Publications, Catalogs and Awards: Folio Weekly, Jacksonville, FL, April 16,1990. New York Times, Long Island Edition, March 18, 1990. Daily Courier, Grant's Pass, OR, July 19, 1990. 1990 Visual Arts Catalogue, 37th Arts Festival of Atlan­ta, GA, 1990. California Art Review, American References, Inc., Chi­cago, IL, 2nd edition, 1989. New York Art Review, American References, Inc., Chi­cago, IL, 3rd edition, 1988.

Education: BA, Wellesley College, Wellesley, MA, 1956.

Corinne Whitaker, Elegy #29, 1990, silver gelatin print, 14 x 11 inches. From the collection of the Museum of Photographic Arts, San Diego, CA.

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