Photography Quarterly #92

NYSCA

This publication is made possible in part with generous support from the Catskill Mountain Foundation, individuals, CPW members, subscribers, PQ advertisers, & with public funds from the New York State Council on the Arts, a state agency.

PHOTOGRAPHYQuarterly staff

Editors, Kate Menconeri & Ariel Shanberg

Editorial Assistant, Liz Glynn

Ad Manager,Larry Lewis

Editorial Interns, Rachael Cohen & Veronica O'Keefe Typesetting, Emily Owen, Ruder Finn, Inc.

PHOTOGRAPHYQuarterly is published four times a year by the Center for Photography at Woodstock in cooperation with the Catskill Mountain Foundation.

The Center for Photography at Woodstock is a not-for-profit 50 I (c) 3 arts and education organization dedicated to contemporary photography and related media. Founded in 1977, CPW engages photographers and their audiences through programs in education, exhibition, residency, publication, fellowship, and services for artists.

The Catskill Mountain Foundation was established in 1997 as a not-forprofit foundation to focus on arts, education and sustainable living. CMF operates a multi-theater film, performing arts center, a bookstore, art gallery, an elder hostel, and an organic community farm and farm market. It publishes the Catskill Mountain Region Guide, which focuses heavily on the arts in the region.

PHOTOGRAPHYQuarterly is printed by Ruder Finn Printing, Long Island City, NY and distributed by Ubiquity Distributors, Brooklyn, NY.

PHOTOGRAPHYQuarterly #92, Vol. 22, No. 3 ISSN 0890 4639. Copyright ©2005. Center for Photography at Woodstock, 59 Tinker Street, Woodstock, NY 12498.

Text & Images ©2005 Julia Christensen, Rachael Cohen, Lynn Davis,Tim Davis, Giovanni Di Mola, Jeri Lynn Eisenberg, Barbara Ess, Orie Gallant, Danny Goodwin, Jared Handelsman, Kathryn Hartman, Kahn/Selesnick, Chad Kleitsch, David Lebe, Eric Lindbloom.Allen Maertz, Carlos Loree de Mola, Tanya Marcuse, Kate Menconeri, Jeffery Milstein, Jaanika Peerna, Zachary Powell, Angelika Rinnhofer, Olivia Robinson, Ariel Shanberg, Laura Gail Tyler.

All photographs and texts reproduced in PHOTOGRAPHYQuarterly are copyrighted by the artists and writers. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, without written permission from the Center for Photography. The opinions and ideas expressed in this publication do not represent official positions of CPW

SUBSCRIBE:to receive PHOTOGRAPHYQuarterly four times a year USA $25 / Canada & Mexico $40 / International $45. Please make checks payable to CPW; MCNISA/AMEX accepted.T 845 679 9957 I F 845 679 6337 I info@cpw.org / www.cpw.org

CPW STAFF

Executive Director, Ariel Shanberg Program Director, Kate Menconeri

Operations Manager, Larry Lewis Program Associate, Liz Glynn Arts Administration Interns, Rachael Cohen & Veronica O'Keefe

DIRECTOR EMERITUS Colleen Kenyon

BOARD OF DIRECTORS

Daniel Cooney, Susan Ferris, Nancy Glowinski, W.M. Hunt, Diane Love, David Maloney, Kitty McCullough, Yossi Milo, Emma Missouri, Dion Ogust, Robert Peacock, Kathleen Ruiz,Ariel Shanberg,Alan Siegel, Gerald Slota, Bob Wagner

ADVISORY BOARD

Koan-Jeff Baysa,Philip Cavanaugh,Brian Clamp, Darren Ching, Julie Galant, Howard Greenberg - Founder, Sue Hartshorn, Doug James, Julia Joern, Ellen Levy, Sarah Hasted Mann, Alison Nordstrom, Gloria Nimetz, Sandra Phillips, Lila Raymond, Miriam Romais, Ernestine Ruben, Neil Trager, Rick Wester

REGIONAL TRIENNIAL OF THE PHOTOGRAPHIC ARTS introduction

4-5

NOTED BOOKS rachael cohen so imagecredits: cover ©Carlos Loret de Mola, Isobel Grey (detail), 200I, C-print, 20x27".

22 image-makers selected by leading figures in the field

Dear Reader,

You might say we think pretty highly of our part of New York State.

The extend_ed Hudson Valley has always been an important location for artists - inspiring the Hudson River School in the 19th Century, the Byrdcliffe Art & Craft Colony at the turn of the 20th Century, and attracting diverse creative types from poets, artists, writers, musicians, and others in droves in the 60s and 70s. In the past years we've witnessed a renaissance; a growing number of artists working in the photographic arts have made our part of New York their home.

And so we've done what any proud arts organization would do when it thinks its grass is some of the greenest -we've established a Regional Triennial of the Photographic Arts! In embarking on this adventure we assembled a regional panel of nine leading figures in the field to let us know who they think are the most exciting upstaters' for our inaugural event.

We were wowed by the results! The following pages reveal the full breadth of what's going on in the photographic arts today, representing the full spectrum, young and old, traditional and conceptual, antiquarian processes and cutting edge technologies.

This project simply would not be possible without the enthusasitic participation of the nominators. We extend our deepest thanks to them.

To present the rich array of artists selected for the 2005 Inaugural Triennial of the Photographic Arts we also had to expand this issue of the PQ from its traditional 32 pages to 56 and for that we greatly thank our publishing partner, Catskill Mountain Foundation.

Along with the Triennial feature, this issue includes a wonderful review of Tanya Marcuse's new book Undergarments & Armor by Rachael Cohen and a spotlfght on Allen Maertz's series, Encyclopedia.

This issue marks our first year in full-color and we've chosen to honor the anniversary by giving the cover of the Quarterly a new look.

So turn the page, look over the fence, and check out CPW's backyard!

-Ariel & Kate, Editors

Top Row (L-R): ©Chad Kleitsch, Untitled (BlueArch) (detail), 2003, digital C-print, 30x40", CourtesyAriel Meyrowitz Gallery,NYC ©Zachary Powell, Video Still from The One & The Three, or Game of the Four Immortals I Ensori, 2002, DVD Video, 15-20 minutes variable from 64 minutes of footage recorded in England,Florida, New York, and Thailand. Bottom Row (L-R): Cover of book Undergarments &Armor (detail) by Tanya Marcuse; ©Allen Maertz, Chimpanzee (detail), 2003, from the series Encyclopedia, digital print. 46x44".

CRAIG J. BARBER, known for his platinum/palladium pinhole photographs, has spent over 20 years picturing the cultural landscape.His work has been included in numerous exhibitions including those at the Victoria and Albert Museum in London and the International Center for Photography in NYC.

ROBERT FLYNT, a nationally recognized artist, has exhibited at the Museum of Modern Art, SFCamera-work, and Clampart. His work is held in many collections, including those of the Metropolitan Museum of Art and the Los Angeles County Museum of Art. Monographs include CompoundFroaure.

LEAH K. GILLIAM is the Director of the Integrated Arts Program, Division Chair of Arts, and an Associate Professor of Film and Electronic Arts at Bard College. Her work has been presented at the New Museum of Contemporary Art, the Studio Museum in Harlem, and the Museum of Modern Art.

CARRIE HADDAD, owner and director of the Carrie Haddad Gallery in Hudson, NY, has been representing artists of the Hudson Valley region for over 12 years.A pioneer of the region's gallery scene, Haddad's exhibits include painting, sculpture, works on paper, and photography. Haddad recently partnered with Ramon Lascano to launch the Haddad Lascano Gallery in Great Barrington, MA.

KATHY HIGH is the Arts Chair and professor of video and new media at Rensselaer Polytechnic Institute in Troy, NY. Her work has been shown around the world at such venues as the Berlin Film Festival and the Guggenheim.She is also the founder and editor of FELJX:A Journal of Media Arts and Communication.

FAWN POTASH, a photographic artist, educator, and curator, has been exhibited and collected worldwide. Her imagery has been published in Harper's,The New Yorker,and Art News.For over a decade Potash lead CPW's Workshop program as the On-Site Manager.

STEPHEN SHORE, Director and professor of the Photography Program at Bard College, is an internationally respected artist. Recipient of two NEA grants and a Guggenheim Fellowship, Shore has had solo exhibitions at the Metropolitan Museum of Art and the Art Institute of Chicago. Books include Stephen Shore:PhotographsI 9731993.

TODD SPIRE is the editor of NYNArts.com, a website devoted to promoting fine art in the Hudson Valley. He is also the founder of Spire Studios, an artist studio and gallery complex in Beacon,where he currently resides.

NEIL C. TRAGER, a curator, educator, and photographer, is the Founding Director of the Samuel Dorsky Museum of Art at SUNY New Paltz which holds a collection of over 2,500 works.Trager has taught photography at a number of colleges and his own photography is held in numerous collections including the University of Texas at Austin and the Museum of Modern Art.

r.......gional tri nnial

The Center for Photography at Woodstock is proud to present its inaugural Regional Triennial of Photographic Arts to highlight the tremendous talent of those artists working with photography & related media in the extended Hudson Valley region.

Since it was founded in 1977, CPW has provided opportunities for artists from our surrounding area who are working within the photographic arts. To build upon our commitment - to promote and support artists in our region - and given the dramatic increase of artists living and working throughout the extended Hudson Valley over the past 5 years, we established the Regional Triennial to spotlight the diverse wealth of image-makers who call this part of New York State home. In doing so, what is revealed is that some of the most creative and unique artistic voices working today live in our own neck of the woods!

In early 2005, CPW invited a panel of nine leading figures in the region's photographic community to each nominate three of the most interesting artists for inclusion. Representing a section of upstate New York from Beacon to Albany, the nominators included educators, museum and gallery professionals, and artists.

The nominated artists are diverse, both geographically and artistically.Their work reflects the broad range of contemporary practices within the photographic arts -from cuttingedge interactive media art to pristine gelatin silver prints. They take inspiration from their surroundings as well as from historical sources. They explore the orld th ough a single lens and construct complex m~ d m works. They work collaboratively and ini:lependentl}'- address our current political landscape and revisit Iconic representations. They reflect upon institutional environments, such as the museum and examine the controls and limitations of video and memory.

While no single presentation can fully define or represent the entire breadth of artists working in photography who live in our region today (and we are fortunate to have hundreds!), the inaugural Triennial shines light on a group of artists who exemplify what is being done regionally as well as globally, and who range from accomplished luminaries to those just beginning their professional artistic careers. The works featured here are as varied as the artists themselves, defying any trend or oversimplified 'regional' categorization. With this issue of PQ and the corresponding exhibition (September 3-October 23, 2005), the Center for Photography at Woodstock is honored to present a glimpse of the strength and depth of this region's photographic arts community!

JLJLIACHRISTENSEN

selectedby Kathy High

Christensen began investigating How Communities are Re-Using the Big Box in 2004.Throughout the spring and summer of 2004, she traveled over 17,000 miles around the country in her car visiting the sites and meeting the people who are transforming empty buildings used by businesses such as Wal-Mart, K-Mart, and Target, into useful structures for their community. She has been collecting a growing number of photographs, interviews, stories, and documents relating to the renovations, and has been giving presentations in communities about how towns are dealing with this common situation.

The Calvary Chapel, in Pinellas Park, FL, near St. Petersburg, has been residing in an old Winn-Dixie grocery store for the last seven years. They moved into the space with a congregation of roughly 700 people, and today they have a congregation of over 2000 adults and 600 children. They hold three weekend services, as well as a Wednesday evening service. A variety of youth and social groups are a lively part of this congregation, and the numerous classrooms accommodate the many young church-members.

The church moved into the Winn-Dixie when the grocery store left during the 15th year of their 20-year lease.The Calvary Chapel had previously been meeting in a I 0,000 square foot warehouse. Before that they met in a private school, and before that they met in a Sons of Italy Hall. Their coming move to the retired Wal-Mart across the street will enlarge their space greatly and accommodate their ever-growing numbers.

Julia Christensen, originally from Kentucky, received her BA in Integrated Art from Bard College. She received her MFA in Electronic Music and Recording Media at Mills College, and her MFA in Electronic Art at Rensselaer Polytechnic Institute. She has been a featured lecturer at the Los Angeles Forum on Architecture and Urban Design,Yale University School of Architecture, the Stanford University School of Art, and the Center for Land Use Interpretation's Northeast Regional Office. Julia also helped produce and maintain the Thursday Night Special concert series for several years in Oakland, CA, Tivoli, NY, and Kingston, NY. Her installation work.has been shown at the Lincoln Center in NYC and she has performed as a musician at experimental venues such as 2 I Grand and t~e Observatory in Oakland, CA.

©Julia Christensen. CalvaryChapel:Signage,2004, inkjet, 24x 18''.

CALVARYCHAP.LL

©Julia Christensen, CalvaryChapel:Exterior,2004, inkjet, 24x 18"

©Julia Christensen, CalvaryChapel:Interior,Hallway,2004, inkjet, 24xl8".

LYNN DAVIS

selected by Carrie Haddad

"For over twenty years I have been traveling to the western coast of Greenland to witness and capture images of icebergs as they calve off the huge glacier that rims Disko Bay, then float with monumental dignity into the outer reaches of the Arctic Sea where they melt into water, then into air and sky, before they once again become ice and water. These luminous circular journeys have become increasingly melancholy and haunting as one of the largest glaciers in the northern hemisphere disappears from the accelerating effects of global warming.

With each pilgrimage to Greenland I have become more aware of the relationship of form to emptiness, a realization of impermanence and transformation where every iceberg is unique, an arena that not only challenges and informs my visual aesthetic, but introduces me to the transparent realities of my own birth and death."

Lynn Davis was born in Minneapolis, MN and lives and works in Hudson, NY. She earned her BFA from the San Francisco Art Institute in I 9 70 and apprenticed with photographer Berenice Abbot. Davis has photographed natural landscapes and ancient spiritual monuments for over thirty years and her work has been shown in Europe, Asia, Australia, Latin America, and the United States, including Edwynn Houk Gallery in NYC (where her work is represented);). Paul Getty Museum in Santa Monica, CA; Robert Klein Gallery in Boston, MA;Whitney Museum in NYC; and Corcoran Gallery of Art in Washington D.C. Davis' work is held in collections worldwide - the uggenheim, ICP, the Buhl Collection, the Museum of Modern Art, and the Whitney, are just a few! She has Pf lished three monographs: Bodywork, Monument, and American Monument. In 2005 Davis became the ftrst Jihotographer to receive an Academy Award from the American Academy of Arts and Letters.

©Lynn Davis, Iceberg#4, Disko Bay,Greenland,1988, gsp, 28x28". CourtesyEdwynn Houk Gallery,NYC.

©Lynn Davis, Iceberg# 12, Disko Bay,Greenland,1988, gsp, 28x28". CourtesyEdwynnHouk Gallery, NYC.

©Lynn Davis, Iceberg#9, Disko Bay,Greenland,1988, gsp, 28x28". Courtesy EdwynnHouk Gallery, NYC.

TIM DAVIS

selected by Stephen Shore

MY LIFE IN POLITICS

1. U.S. Stretched

"Broader strokes getting my Gorbachev on. Jupiter rules America's symbol: the Coverup. Bald eagle comb over, re-graced exexecs. Language will be smeared by image, eventually, but still show through the cracks."

2. Connecticut Senate Floor

"That's the budget in blue.A picture of a filibuster, so the Senators are on Blackberries or in the can, or getting counted. Every photograph is a filibuster, a running commentary to nobody occupying attention but not space, and also a thing to block the other side -the unseen, the unattended, and the arch -from speaking."

3. Founding Father's Crotch

"How the Beaux Arts said to manufacture manhood. Unintimidatingly flaccid and unembarrassingly fulgent. The Great Compromise as opening theme and fertile crescendo. DNA standing for Do Nothing Attributable. Democracy, No one Argues, is as sexy as stenography. Hear ye, Hear ye, Being everything to everyone means getting no one's knickers in a twist."

4. Press Only

"Attempting journalism I discovered documentary. Invited to the press conference but lacking sat. phone and dig. back, I got narrowly locked out. Locked, that is, face to face with a Delphi of reaction shots. I couldn't hear the announcements, but noted the annunciation."

s. Circuit City

"O cards to play, 0 sleeves. A black sheep on a bleak ship walks into a bar, and acts as you'd expect: stunned to see anyone in the room.An allegory and an embarrassed snicker walk into a bald spot, 0 cramped chest of knowing you're the wrongest possible person for the job."

Tim Davis, based in Tivoli, NY, earned his MFA from Yale University in 200 I and his BA from Bard College in I 991. He teaches photography at Bard College and has exhibited in NYC at Greenberg Van Doren Gallery, where his work is represented, the Museum of Modern Art, Brent Sikkema Gallery, Edwynn Houk Gallery, and Julie Saul Gallery. Additionally, he has shown at the Photographic Resource Center, Boston, MA; White Cube, London, England; and the Photographer's Gallery, London, England. Do~ pffotographs are in numerous public and private collections including those of the Guggenheim, the Hirshhorn, the Whitney, the Walker JttCenter, and the Yale University Art Gallery. His work has been published in Aperture, Blindspot,Art in America, The New York Times, and The Village Voice.

Opposite Page: U.S. Stretched, 2002, 30x38"; This page (from top): Connecticut Senate Floor, 2002, 48x60"; Press Only. 2004, 20x24";Circuit City, 2004,30x38"; FoundingFathers'Crotch, 2004, 11x 14". All images are C-Prints, from the series My U(e in Politics.Courtesy GreenbergVan Doren Gallery,NYC.

GIOVANNI DI MOLA

selectedby Robert Flynt

©Giovanni Di Mola, TheAft.ermath,2003, C-Print, 8x6" each.

"Photography is my main means of communication and expression. Having grown up with immigrant parents who were farmers from southern Italy that didn't speak or write English, communicating in the language wasn't easy and to this day still isn't. In my later teens and early twenties, closeted and deeply religious, this medium allowed me to go places I was fearful of or felt were too taboo to enter. It's been a way of revealing, through uncovering, the sometimes unnoticed and quiet inner beauty of human beings, as well as their emotional, and at times, uncomfortable places. Since moving out of the busy, claustrophobic, manic setting of NYC for the open sky and natural surroundings of the northern regions of NewYork state, I've moved away from my earlier investigations in portraiture and subject and been drawn to the more abstract and ephemeral. It's opened me up to a new way of working and new forms of expression. I am finding inspiration in active investigation. Anywhere and everywhere I look there is the evidence of art waiting to be processed and captured. The camera has become not only a recorder of images, but also a divining rod. I feel blessed, excited, and more than ever, driven to create!"

Giovanni Di Mola lives and works in Hudson, NY. He studied in NYC at the School of Visual Arts, Parsons School of Design, and the Fashion Institute of Technology. His work has been exhibited at Eustace & Zamus Gallery and Carrie Haddad Gallery both in Hudson, NY; as well as in NYC at Galerie Lelong, Yossi Milo Gallery, and Leslie Lohman Gallery. DiMola's images have appeared in Italian Vogue, Mixer, and recently GENRE magazine. Giovanni has worked for photographers john Dugdale, Arthur Cohen, and Monica Stevenson,as we// as with organizations including Broadway Cares/Equity Fights Aids.

©Giovanni Di Mola, North Truro,2002, C-Print, 8x6" each.

JERILYNN EISENBERG

selectedby CraigJ.Barber

©Jeri Eisenberg, Vine, 2005. pigmented Inkjet on Koza Paper with Encaustic, 36 x 44".

A SOJOURN IN SEASONS: SKETCHING WITH LIGHT AMONG TREES

"I live in the Hudson River Valley, home to the landscapes of the sublime depicted in perhaps the first true American school of painting.As a photographer, I feel no need to revisit these once grand vistas, or to seek out the majestic mountain ranges and rushing rivers of the American West that provided a more modern notion of the sublime. Rather, it is the common wooded landscape of my day-to-day life that captures my attention. Many of my images are from an area about twenty miles from my home and many are from an area within a twenty-minute walk of my back door. Others are from farther flung places that are generally more ordinary than spectacular, places that I just happen to be for one prosaic reason or another.

By photographing these tree-filled landscapes with a purposefully oversized pinhole or a radically defocused lens, however, I capture them as they are not often seen. The images are firmly grounded in the natural world, a particular place, a particular season, a particular time, but by obscuring detail, only the strongest brush strokes emerge. The images become sketches with light, literally and figuratively. I print these soft-focused images digitally on Japanese Kozo paper, with the barest hint of color in certain values, reminiscent of traditional split-toned photographs. I infuse the large-scale prints with encaustic medium, making the delicate paper at once both more translucent and better able to stand on its own. Without glass or frame, the work is more immediate and intimate. Through the depiction of a succession of seasons, the work echoes life's temporal cycles. It succeeds for me when it provides fragmentary glimpses of the beauty that exists in the everyday natural world - when it consoles, despite the awareness of this beauty's transience."

Jeri Lynn Eisenberg, formerly an attorney, lives and works in the upper Hudson Valley,where she teaches at Sage College of Albany. She recently completed her MFA at the Art Institute of Boston at Lesley University and has participated in workshops at the International Center of Photography, Santa Fe Photographic Workshops, the Woodstock Photography Workshops, and more. She has exhibited widely over the past ten years, both regionally and across the country, including New York venues Galerie BMG in Woodstock, Carrie Haddad Gallery in Hudson, Gallery I 00 in Saratoga Springs, and Albany Center Galleries in Albany. Jeri has received Individual Artist Grants through the New York Council on the Arts, numerous Special Opportunity Stipends through the New York Foundation for the Arts, and artists' residency awards. Her work is held in public and private collections.

BARBARAESS

selected by Robert Flynt& Stephen Shore

"This pinhole re-photograph of an ancient ziggurat was taken from a New York Times article about historic sites that might be destroyed during the Iraqi invasion. The newspaper reproduction itself got torn. It recalled images of the Tower of Babel and the Twin Towers, and the loss and confusion associated with them. The low resolution of the pinhole photograph perhaps further emphasizes a sense of the fragility of the physical world:'

Barbara Ess was born in Brooklyn,NY and currently lives in Elizaville,NY. Ess studied English and Philosophyat the Universityof Michigan before attending film school in London,where she began making experimental films. Upon her return to NY she became involvedwith music, performance,and making artists' books and photographs.Over the last twenty years there have been numerous exhibitionsof her work throughout the United States and Europe,as well as Japan and Australiaincludingsolo shows at the High Museum of Art, Atlanta, GA;Curt Marcus Gallery,NYC;CEPAGallery,Buffalo,NY; the New Museum of ContemporaryArt, NYC;and FaggionatoFineArts, London,England.Her work has been the subject of cover stories in Artforum and Art in America magazines, and her book, I Am Not This Body, published by Aperture in 200 I, was selected as one of the top ten photography books of the year by the Village Voice. Her work is in the collectionsof the Art Institute of Chicago,the Whitney Museum, the San FranciscoMuseum of Modern Art, and the Pompidou Center I Musee d'Art Moderne, Paris.Ess currently teaches photographyat Bard College.

ORIEGALLANT

selectedby Todd Spire

"In the absence of the living, there still exists a life. Every abandonment has a heartbeat; a pulse that makes it both unique and alive.As an artist, my goal is to document that heartbeat, to convey what it is to experience a place that has been abandoned by man.

Part of the heartbeat of abandonment can be seen in the decay. It's a fascinating process to watch a structure be reclaimed by nature. On first glance, it's no more than the way a tree will sometimes grow in the crack of a floor. It's grass on carpet, and flowers in empty bathtubs. Look closer, however, and you'll see roots destroying floorboards, vines peeling away paint, rainwater softening walls, and whole ecosystems of moss merging with rugs. It's a razing so different than the violent tearing down process human beings can employ. My goal is to establish an emotional attachment to a building's demise.

Part of the heartbeat of an abandonment is in the objects left behind. Every object tells a story. The simplest things -a chair, sheets of paper, forgotten keys - cry out for explanation. I try to provoke that thought process and engage the viewer with the objects as though they were three dimensionally present -to let the object speak, as it will to the viewer for the space it inhabits.

The series of prints in this portfolio are part of a larger series called Larks and Katydids. I enjoy the feeling of returning many times to a structure to get a shot to be truthful -meaning the photograph feels just as it feels inside the site. None of the objects are staged, everything is as I've found it, and was left as it was discovered."

Orie Gallant has shown her work throughout the Hudson Valley at venues including Spire Studios in Beacon, NY and in exhibitions including: Intricate Emptiness: An Exploration of Forgotten Spaces, Five Point Asylum, Larks and Katydids, and Bulletproof II.

©Orie Gallant,Couchand Bird,2003, digitalC-print, Bx10".

DANNY GOODWIN

selectedby Kathy High

"For a number of years I've worked on projects that relate, both directly and obliquely, to the United States intelligence community and attendant issues such as surveillance, secrecy, deception, and violence. My most recent work represents a flatfooted attempt to symbolically invert the lens of the global surveillance apparatus. Small-scale models of the homes of highranking members of the current and previous Bush admihistrations - based on satellite images - float clumsily around the room, bumping into each other, tethered to large Myl.ar balloons and suspended beneath crudely constructed wireless video cameras. The "live" video image, received and displayed in an adjoining room on small monitors, is convincing - or at least compelling - in its grainy, abbreviated description. The fragile and hermetic relationship among the object of surveillance, the observer, and the mediating technology in this work mirrors the deeply flawed and politicized contemporary process by which intelligence is gathered, analyzed, and utilized."

Daniel Goodwin earned his MFA from Hunter College and his BA from the University of North Texas in Denton. He is an Albany based artist working primarily in photography and video installation and currently holds the position ofAssociate Professor ofArt and Head of the Combined Media program at the University at Albany, State University of New York. His work has been widely exhibited at venues including White Columns in NYC; Momenta Art in Brooklyn, NY; Art Resources Transfer in NYC; the Cooper Union in NYC; the Brooklyn Museum ofArt in Brooklyn, NY; the California Museum of Photography in Riverside, CA; Proposition Gallery in Belfast, Ireland; and Washington Project for the Arts in Washington, D.C. Goodwin's work has been reviewed in ArtReview, Influence Magazine, Albany Times Union, and The Brooklyn Rail.

©Danny Goodwin, ActionableIntelligence,installation view at Jack the Pelican Presents, Brooklyn.NY, 2003, cardboard,acrylic,foam, mylar balloons,monofilament,NTSC wireless video cameras.

©Danny Goodwin, Home of GeorgeW Bush,Crawford,TX, 2003, 7 color pigment inkjet on Somerset Velvet, 40x50".

©Danny Goodwin, Home of Paul D. Wolfwitz, ChevyChase,MD, 2003, 7 color pigment inkjet on Somerset Velvet, 40x50".

JAREDHAN DELSMAN

selected by Fawn Potash

ROADSIDE LANDSCAPES

"I am currently working on a series of landscape photograms made along the road where I live in the Catskills. The road is curvy, causing the headlights of passing cars to illuminate the forest landscape and expose my photographic paper to the sweep of lights and shadows. The speed of the car, whether it has brights on, and the number of cars in succession, all contribute to the particular character of each print.

My first photograms were of rocks. I began making them while working on photo documentation of my sculpture in which I displaced a rock from its former place, showing where it was connected to the ground. My rock photograms showed an in-between space analogous to that disclosed in my sculpture. Impressed by the directness of the photogram, I started experimenting by exposing paper to forest moon shadows as I walked to sculpture sites at night. Ever since that time the photogram has been an important aspect of my work."

©Jared Handelsman, RoadsideLandscape,2004, gelatin silver print, 40x50".

©Jared Handelsman, RoadsideLandscape#I 2, 2004, gelatin silver print, 40x50".

Jared Handelsman resides in Catskill,NY. He earned his MFA from Mason Gross School of Art at Rutgers University and his BA from VassarCollege.His work has been shown at the Kent/er InternationalDrawingSpace in Brooklyn, NY; the ProvincetownArt Associationin Provincetown,MA; the CatskillMountain Foundationin Hunter, NY; the InquiringMind Galleryin Saugerties,NY; the Cape Museum of Art in Dennis,MA;ZimmerliArt Museum at Rutgers University,Hunter Collegein NYC; and Elana Zang Gallery in Shady, NY.Jared has participated in residencies at Yaddo, Macdowell Colony for the Arts, and ProvincetownFine Arts Work Center.Awards include a New York Foundationfor the Arts RCCA Special Opportunity Stipend and his work has been published in the Cape Cod Times, Princeton Architectural Press, and the Woodstock Times.

KATE HARTMAN

selected by Leah K. Gilliam

"I have moved through photography, film, and digital video. I currently create work that draws on my background of the visual but also incorporates installation, performance, and interactivity. I am interested in how the concepts of data and information have influenced our sense of aesthetics. I am exploring how appearance and presentation can invoke trust. I am drawn to the use of collecting, sampling, and participation. I strongly connect to the idea of art as communication."

Kate Hartman received her BA in film and electronic media from Bard College in 2003. She has created over six videos and site specific performance pieces including Ceiling Fan at Hearty Roots Farm Benefit in Tivoli, NY; Januaries at Waterworks Players Theater in Farmville, VA; and Fragments of Thought at the Islip Art Museum in Islip, NY and the George Eastman House in Rochester, NY.

THE DREAM .HOTLINE

The Dream Hotline was an effort to compile a database of dreams. It was launched on November 1, 2002 out of Bard College in Annandale-on-Hudson, NY. Dreams were collected via 24-hour hotline, email, submission forms, and interviews. The goal of 1000 dreams was reached on December 31, 2002. Dream Hotline Representatives handled the collection and archiving of all dream materials. All dreams collected were used for artistic purposes.

nicholas richard KAHN/SELESNICK

selected by Fawn Potash

THE APOLLO PROPHECIES

The Apollo Propheciesdocument a mystical ellipsis in the space-time continuum: mid-20th century American and RussianAstronauts and a lost Edwardian-era lunar expedition have all journeyed to the moon using the various technologies available to them in their respective eras. Upon the bleak cratered landscape they encounter one another-with the Edwardians apprehending the arrival of the 'nauts as gods fulfilling a long-awaited prophecy. Employing the narrative techniques of Italian early Renaissance religious fresco, Kahn/Selesnick depict the lunar explorers traveling to the moon, surveying the lay of the land, and returning to Earth in a sequence of multiple sequential episodes all contained along the spectrum of one long, continuous black-and-white panoramic photograph IO inches high by 48 feet long.

In addition to the panorama, for which images of live actors in sets and shots of miniature models were combined, the project includes other documentation of these lunar voyages: a cabinet containing moon rocks and the chemical apparatus for precipitating Edwardian Moon Paste from them; other sculptural artifacts, portraits of the various explorers and astronauts, drawings and schematic notes of the various spacecraft and spacesuits, ranging from chamber pot-equipped wooden sleds and buffalo skin coats to titanium-strutted rovers and pressurized nylon, hallucinatory video footage, and visionary text furnishing fragments of cosmology and hagiography.

©Kahn/Selesnick, LunarPanorama(detail - L:~ Off), 2004, Quadtone (archival) digital print, I0"x48'. CourtesyYanceyRichardsonGallery,NYC.

©Kahn/Selesnick, LunarPanorama(detail - trip), 2004, Quadtone (archival) digital print, I0"x48'. CourtesyYanceyRichardsonGallery,NYC.

Apollo Prophecies began its development in 2002 while Kahn/Selesnick were artists-in-residence at Toni Morrison's Atelier Program at Princeton University. Atelier Program and Princeton Physics student Erez Lieberman contributed the text to the project. •

KAHN/SELESNICKI Nicholas Kahn and Richard Selesnick received their BFAs from Washington University.Their collaborative works have been widely exhibited in solo shows at the YanceyRichardson Gallery, NYC; Paul Kopeikin Gallery, Los Ange/es,CA; Lisa Sette Gallery, Scottsdale,AZ; Carrie Haddad Gallery, Hudson, NY; Pepper Gallery,Boston,MA; and the Royal Photographic Society,Bath, England.Group shows include those at the Museum of PhotographicArts, San Diego, CA; the Brooklyn Museum, NY; and the National Portrait Gallery,Washington,DC. They have published two books, Scotlandfuturebog and City of Salt, and their work has been featured in Albany Times Union, Aperture, Art in America, The Village Voice, Harper's, The New York Times, Boston Globe, and Provincetown Arts. Their work is in public and private collections including those at the Los Ange/es County Museum of Art, Boston Public Library, and the Houston Museum of FineArts.

CHAD KLEITSCH

selected by CarrieHaddad

©Chad Kleitsch. Untitled #25, 2002, digital C•prim, ed# 1/10, 30x40". CourtesyAriel Meyerowitz Gallery,NYC.

WHITE BOX

"Institutional spaces are designed to influence the way we think and feel. I am interested in exploring the basic visual elements of this environment and how those elements affect our perceptions. The project's purpose is to examine the relationship between the installation or physical space and intellectual space, or the idea of institutions/museums. During an exhibition installation the influences of the gallery space, artwork, and cursory materials together create a particular frame of perception. This frame prescribes what is inclusive and exclusive, what is and is not art: simply put, how choice is formulated. My images show these subtle aesthetic priorities that are based on preconceptions of space."

Chad Kleitsch, a resident of Rhinebeck, NY, earned his BA in Photography from Bard College in I 991. He has had solo exhibitions at the Ariel Meyerowitz Gallery in NYC, where his work is represented; Carrie Haddad Gallery in Hudson, NY; and E] Gallery in NYC. Group shows include those at the Art Institute of Chicago; Time Space Limited in Hudson, NY; Samuel Dorsky Museum in New Paltz, NY; Upstate Art in Phoenicia, NY;Wendy Cooper Gallery in Madison, WI; Margaret Bodell Gallery in NYC; and Kanazwa College of Art, International Art Exhibition in Kanazwa,Japan. Kleitsch is the recipient of a 1993 Merchant & Ivory Grant, and has lectured at Yale University and Sarah Lawrence College. He has taught at Bard, Columbia Green, and La Guardia Colleges.Additionaly Chad's work has been featured in Hearts and Hands by Jonathan King, Weird U.S., Bystander: A History Of Street Photography by Joel Meyerowitz, and reviewed in The New York Times, The New Yorker, Time Out, Albany Times Union, and Fortune Magazine.

©Chad Kleitsch,Untitled#I, 2002, digitalC-print, ed# I/ I 0, 30x40". CourtesyAriel MeyerowitzGallery,NYC.

DAVID LEBE

selected by Robert Flynt

MORNING RITUAL

"I made these pictures in our bath and bedroom while Jack did his morning rituals and ablutions. They were made during June, July, and August of 1994, whenever the light permitted. Over the years of HIV and AIDS, caring for each other, and ourselves, I had noticed that these preparations for the day had become a poignant and focused time for us.The prints were made between November 27, 1995 and April 4, 1996.

Since much has changed since 1994, I would now adq that when I made these pictures there was no effective treatment for AIDS and our life expectancy was short. I had no reason to believe that either of us would be alive now in 2005."

David Lebe was born in NYC and resides in Ghent, NY. He has presented his work internationally in solo exhibitions at Carrie Haddad Gallery in Hudson, NY; Catherine Edelman Gallery in Chicago, IL; XYZ Gallery in Belgium; and in group shows at the Philadelphia Museum of Art, Los Angeles County Museum of Art, and Musee des Beaux Arts de Montreal. Albin 0. Kuhn Library and Gallery at the University of Maryland, Baltimore County, published a catalog of his work, which resides in the collections at the Philadelphia Museum of Art, the J.Paul Getty Museum, Allentown Art Museum, and the Museum of Fine Arts in Houston.

This page ©David Lebe, MorningRitual#35, 1994; Opposite page (top-bottom) MorningRitual#29, 1994; MorningRitual#I, 1994; MorningRitual#f 2, 1994; MorningRitual#2, 1994.AII images are 5x6" gelatin silver prints. Courtesy Carrie Haddad Gallery,Hudson,NY.

ERIC LINDBLOOM

selected by CraigJ.Barber, Carrie Haddad, & Neil Trager

"The Pinewoods photographs are from a series I've been working on out in the Cape Cod National Seashore over the last few years."

Jean Giono had it right: True mysteries are hidden in the light."'

Eric Lindbloom earned his BA at the (!niversity of Michigan and studied independently with photographer Paul Caponigro from 1969-1971. A long-time resident of Poughkeepsie, NY, Lindbloom has had over twenty solo exhibitions, including those at Steve Amedee, NYC: Gallery 292, NYC; the Center for Photography at Woodstock, NY;Vassar College Art Gallery, Poughkeepsie, NY; the Samuel Dorsky Museum of Art, SUNY New Paltz, NY; and Carrie Haddad Gallery, Hudson, NY. Group shows include those at Lightwork in Syracuse, NY; Camerawork in San Francisco, CA; the Friends of Photography in Carmel, CA; the Philadelphia College of Art, PA; and the World Trade Center Museum in Osaka.Japan. He is the recipient of a New York State Council on the Arts CAPS Fellowship, an Individual Artists Fellowship from the Dutchess County Arts Council, and a CPW Photographers' Fund fellowship. Books of his work include Angels at the Arno and The River That Runs Two Ways. His work is in collections at the Bib/iotheque Nationale, Paris, France; Library of Congress, Washington, DC; the Museum of Fine Arts, Houston, TX; and the New York Public Library, NYC.

From left to right; ©Eric Lindbloom, Pinewoods #37, N. Truro, MA, 2003; Pinewoods #33, Wellfleet, MA, 2003; Pinewoods #II, N. Truro, MA, 2001; and Pinewoods #8, N. Truro, MA, 200 I. All prints are from the series Pitch Pine and are I Ox IO" gelatin silver prints,

.CARLOS LORET DE MOLA

selected by Craig J.Barber

"Photography can be a lonely pursuit. Collaboration is always possible, and even essential for some, but a photographer can choose to work completely independent of others. It's about wanting to go it alone and working in a medium that is compliant to that desire. In fact, being alone is an essential part of my work.

I tend to be more of an observer than a participant. Perhaps it is because of my background. Being an immigrant means that home is elsewhere but sometimes there is no sense of. home. My connection with the culture in which I was born is tenuous. I was raised as an American and I speak and_think in English, but it's hard not to feel you're from somewhere else. Visiting my place of birth to connect with my roots is difficult for political reasons. So I am left with the veiled impressions of my parents and their contemporaries who have created a vast communal memory of a place that might have existed. We tend to flock toward our own kind, particularly when uprooted. I cannot relate to this disconnected legacy, so I'm usually found along the periphery as a watchful outsider.

Being on the outside informs my vantage point as an artist. My photographs might begin with an empty space: a room, a landscape, or something left behind. I look for remnants of experiences and I'll often arrange the picture to suggest a previous human presence. But my involvement is after-the-fact, recording what might have been. There's something exciting about not actually belonging to the scene. It allows you to be detached, to observe, to create a story out of nothing.

©Carlos Loreede Mola,Bedroom,2004, C-print, 20x26".

©Carlos Loree de Mola, Sign,2004, C-print, 20x26".

My past is more notion than memory and that can be isolating. I try to deal with that sense of isolation aesthetically in the photographs. I'm interested in how color can have an emotional or evocative function. I try not to give the scenes a specific time or place. Photographs can reference the where and the when of a scene, but my own memories are unspecific, subject to interpretation and doubt. Since I have no feelings of certainty, I would rather focus on possibilities. These scenes are not empty; they are open."

Carlos Loret de Mola was born in Havana, Cuba, and currently makes his home in Hudson, NY. He received a Bachelor of Visual Arts from Georgia State University in 1982 and has also studied with Nathan Lyons at Rencontres lnternationales de la Photographie in Aries, France. A~er a decade-long career of freelance photography and digital imaging in NYC, Carlos relocated to Hudson, where he began his current body of work. His photographs have been exhibited in group shows at the Great Mattress Factory Show in Atlanta, GA;the Joyce Elaine Grant Photography Exhibition at Texas Woman's University, and at the Atlanta Photography Gallery. His work is in the collection at the Museum of Fine Arts, Houston, TX.

©Carlos Loreede Mola,IsabelGrey,200 I, C-print, 20x27".

TANYA MARCUSE

selected by Neil Trager

UNDE.RGARME.NTSAND ARMOR

"Beginning in 2002 I traveled to archives and museums in the U.S. and England, photographing undergarments, armor, and the museum forms that populate the storerooms. This included objects like breastplates, helmets, corsets, bustles, mannequins, and dress forms. The earliest objects date to the 14th century, and no object is dated past 1900, ruling out the possibility of a living owner. I see these garments and suits of armor as sculptures of the body that, like a carapace, outlast their wearers.These personal effects adorned, constricted, and protected the body all at once. Now they are archived as artistic and cultural artifacts, shells of the bodies that once inhabited them. The project extends my long-standing interest in sculpture and the body, and presence and absence."

Tanya Marcuse is a Barrytawn-based photographer who received her BFA from Oberlin and MFA from Yale University Art School. She currently teaches at Simon's Rock. Her photographs have been exhibited nationally, most notably in one and two person exhibitions at the Yoshii Gallery and the Daniel Silverstein Gallery in NYC, as well as group shows at the New Museum of Contemporary Art, and the Corcoran Museum of Art Tanya was awarded a 2002-2003 Guggenheim Fellowship in Photography, the George Sakier Memorial prize, Thomas j. Watson Fellowship, and a National Foundation for the Advancement in the Arts Award. Her photographs are in the collections of the Whitney, the Corcoran Museum of Art, The Metropolitan Museum of Art, and the Ubrary of Congress.Her book Undergarments and Armor was published by Nazraeli Press in 2005.

From left to right. ©Tanya Marcuse, Corset with Silk Ribbon, (880s, from the Museum at the Fashion Institute of Technology, NYC; Cuirass,Mid 4th Cenwry 8.C., Greek, from the Metropolitan Museum of Art. NYC; LayeredBustle,c. I 873. Austrian, from the Costume Institute at the Metropolitan Museum of Art, NYC; Sabbotonand Greave,c. 1525, Germany, from the Higgins Armory Museum,Worcester, MA All prints are 2002-2004, Sx4" platinum/palladium. CourtesyHemphill FineArts, Washington,DC.

JEFFERYMILSTEIN

selected by Fawn Potash

INDUSTRIAL ARCHEOLOGY II: TRANSFORMATIONS

"My photography is influenced by my experience as a graphic designer and an architect. Color and strong graphic composition are important elements in my work.

Exploring the waterfront in Kingston, NY, I was fascinated by huge piles of bent and twisted metal at Millens Steel in the Rondout. The heaps of radiators, copper roofing, bent bicycles, and lawn chairs have a strange and fascinating beauty, like giant anonymous sculptures. They speak of society's propensity for waste. In a cycle of life and death, much of this detritus will be heading for China where it will be transformed into countless shiny new products."

Jeffrey Milstein lives and works in Kingston, NY. His work has been the subject of solo shows at the Donskoj Gallery in Kingston,NY; Blue Sky Gallery in Portland, OR; and the Comunita di San Leo/ino in Florence,Italy; as well as group shows at the Portland Art Museum and the Mark Woolley Gallery, also in Portland, OR. His work has been published in Photo Review, Chronogram, and American Photography Annual, and his photographs are held in numerous collections including those of the George Eastman House, the Samuel Dorsky Museum, and the Center for Photographyat Woodstock.

Clockwise from top left; ©Jeffery Milstein, Recycling#I, 2003; Recycling#3, 2003; Recycling#5, 2003; Recycling#8, 2003. All prints are 20x20" or 28x28" pigment prints.

"There is information out there. It consists of tiny units that can be boiled down to little particles-particles of dust, crystals, digital bits, dots, points of energy, moments of presence. There is breath, rhythm, and tone, underlying and overlooking all-something to hold onto, something to hum along with, something to get lost within, in order to come clear again and again. This is the vision that inspires my artwork, which incorporates drawing, photography, video, digital imaging, and sound.

The creative process is a haphazard path of starts and stops, movements left and right, dances back and forth, along a path where each step ·only remembers the last. Each step bumps up against other steps and in the end something emerges that shows intelligence within itself, but doesn't build on a fixed explanation. I hope my art will expand the way we see."

jaanika Peerna was born in Estonia and lives & works in Cold Spring, NY. She studied at Tallinn Pedagogical University, the University ofArt and Design in Helsinki, Finland, and SUNY New Paltz, where she received her MFA in lntermedia Design. She has exhibited her work internationally in Finland, Estonia, and the United States. Shows in New York include those at the Katonah Museum ofArt, the Garrison Art Center, VanBrunt Gallery in Beacon, and Estonia House in NYC. Her work has been reviewed in publications including The New York Times.

JAAN IKA PEERNA

selected by Todd Spire

From left to right; ©Jaanika Peerna, Waterba/1,2005, still from single channel video projection; Kokkulohti,2003, still from single channel video on LCD screen; Westvesi,200-4,still from single channel video on LCD screen.

ZACHARY POWELL

selected by Leah K. Gilliam

"Video acts as a screen on which to play out ideas, organize knowledge, and understand how one's attempt to universalize always falls short on the particular. While memory is a primary aspect of my work, it does not formulate itself as a temporal, diaristic history, but rather a spatial configuration in which knowledge is articulated. To situate this method, I have drawn largely on the mnemonic tradition that Frances Yates traces in The Art of Memory. Originally the practice of Ancient Greek orators to memorize their speeches, the concept of a "memory space;• in which one could organize one's thoughts spatially, evolved until the 17th century and was a central aspect of a number of Hermetic projects.

Since 2000, I have been making works primarily concerned with the representation of place, often including two or more countries within one work. While most landscape films that attempt to cover a great deal of ground tend to depict a universalized world, I have chosen to break up each strand of my videos (through combinatory or iterative programming techniques on DVD) to reveal how the editing process furthers the author's own preconceptions. As each screening may produce a different set of videos, or re-order those videos to create new juxtapositions, the viewer is invited to compare his/her reading of the work to others or, through multiple screenings, how his/her conception of the work changes cumulatively through new iterations.As with The Art of Memory, such a process aims to organize thought and to engage with the world, but to do so dynamically, from a number of shifting and contingent perspectives."

Zachary Powell was born London, UK and currently lives in Ghent, NY. He is a recent graduate of Bard College's Film and Electronic Media program. He serves as the IT Director and LAMP Programmer for the UK-based f,rm Nomad Information Concepts. Currently, Powell is working on a DVD entitled Suture/Sutra, shot in Bangkok, Thailand, and Columbia County, NY.

©Zachary Powell, video stills from The One & The Three, or Game of the Four Immortals I Ensori,2002, DVD. 15-20 minutes variable from 64 minutes of footage recorded in England,Florida, New York, and Thailand.

ANGELIKA RINNHOFER

selectedby Todd Spire

FELSEN FEST

"Growing up Catholic in Germany, gothic depictions of saints, often eerie and gruesome, were part of my upbringing. The fear of eternal pain and suffering was instilled in me very early on. Nuremberg, the city that Hitler chose to establish his party conventions, but also where Albrecht D(.irer lived and practiced his art, is my hometown. Felsenfesthas been greatly shaped by a recent trip to Nuremberg.

Each society and each ideology has martyrs but none depicts them like Christianity. Tortured saints are shown either while their agony is occurring, or after they endured pain and death and are now safe in h~aven, still suggesting the ways of their suffering by carrying a palm frond and the torture device.

I create images that refer to these representations -their historical accuracy set aside. If Renaissance portraiture is about the linking of beauty and psychological insight, paintings and sculptures of martyrs are symbols for strength of character and morality. With FelsenfestI examine depictions of Christian martyrs. My Renaissance style photographs do not give insight into my models' psyche; do my images of martyrs give insight into their lives, character, and legends? I hope to make the viewer aware of the subjectivity of art and history, and to evoke critical examination of images with these unusual depictions of well-known icons. How important are facts, and how reliable are stories and legends?

Joseph Beuys wrote in 1985:' Art is the only still unconsumed function that derives from profoundly historical past but returns as the future, as the totality of self-aware-man.'

This is the contemporary tradition in which I understand my work."

Angelika Rinnhofer, born in Nuremberg, lives and works in Beacon, NY. She completed a Professional Apprenticeship at Foto Bischof & Broehl in Nuremberg, Germany and studied at the Fachoberschulefur GestaltungArt School,also in Nuremberg. She has exhibited her work at the Lo~ in Millbrook, NY; the Beacon Artists Union, NY; the Howland Cultural Center,NY; the Goethe Institute, LosAngeles,CA; Photokina,Cologne, Germany; and Colorado PhotographicArts Center,Denver, CO.In 2005 she received a Dutchess CountyArts Council Individual Artist Fellowship and a Light Work Artist Residency.She has been published in Pulse, Chronogram, PHOTOGRAPHY Quarterly, Denver Rocky Mountain News, and German Rolling Stone. Her work is in the collections ofthe Center for Photographyat Woodstock and Light Work.

©Angelika Rinnhofer, Beatrice, 2005, C-print, 40x30".

OLIVIA ROBINSON

selectedby Kathy High

"As a kid, when I held a Fisher Price View-Master to my eyes, the small half inch slides became mountain-sized three dimensional worlds that I fell into. In The Letter, I hoped to capture the same vastness, intimacy and delight I found in the View-Master images as a child. Not originally meant as an art piece, I created The Letter for a long distance friend. Through experimenting with facial expressions and stereoscopic self portraits, this 3D mail invites playful participation within an intimate world enveloped by a handheld toy."

Olivia Robinson, a resident ofTroy, NY, earned her MFA in 2004 from Rensselaer Polytechnic Institute and her BFA from Maryland Institute College of Art. She has been in exhibitions and performances at the Boston Cyberarts Festival, the Corcoran Museum in Washington, DC; Deep Listening Space in Kingston, NY; the Center for Contemporary Art in Seattle, WA; and the Baltimore Museum of Art. Robinson has participated in residencies at the Center for Land Use Interpretation in Wendover, Utah; the Atlantic Center for the Arts in New Smyrna Beach, Florida; and been awarded grants and fellowships from the Pauline Oliveros Foundation, Rensselaer Polytechnic Institute, and the Maryland State Arts Council. She has presented lectures and workshops at the Massachusetts College of Art and the Maryland Institute College of Art, and works professionally as a computer programmer for artists. In addition Olivia has been a costume designer, video arts instructor, and is the co-director of Little Big Bang, a community based not-for-prof,t performance troupe.

©Olivia Robinson, The Letter, 2002, installation views, Viewmaster, slide film, fabric.

LAURAGAILTYLER

selected by Stephen Shore

"Our environment is continuously altered by amazing accomplishments in engineering and by expansive developments. My work addresses some of the cliched ideals that we associate with our building efforts and some of the limitations we encounter as we build higher and farther. I am interested in the associations we have with simple architectural structures such as the bridge, the tower, and the house. I create images of these generic icons by fabricating and photographing model structures made from impermanent materials that originate from childhood crafts and reference fantasy and imagination. I am interested in the combined meanings of these materials with icons from architecture, and the tensions created between images of grand structures constructed of something so obviously small and impermanent. I do not simply wish viewers to enter into the spaces I have created; instead, I want the pictures to offer some degree of resistance and to suggest limitations.

The images I create break down into two groups: architecture that is motivated by security or protection and structures, which are driven by ego and ambition. I began with a series of bridges that I constructed out of sugar. I was interested in the ambition involved in these structural feats of engineering and the optimistic goal to span and to connect. The use of sugar was important for its fantastical associations and for its obvious lack of structural integrity. My goal was not to show what the bridges were

©Laura Gail Tyler,Untitled(castle),2005, gelatin silver print, 24x30".

spanning, rather to show them as a construct of questionable longevity. Currently, I am working on a series of residential developments and military fortifications made of sand, paper, pumpkins, and other transient materials. While these structures share in the ambitions and persistence of ever expanding development, they also touch upon issues of stability and protection.

In earlier photographs, I focused on the initial, undamaged structure. As the work has progressed, I have relinquished some control over the photographs in a way that parallels the checks and balances of our environment. I have introduced water, fire, decomposition, and even the damage incurred by household pests as forces that erode my constructions. The latest photographs depict a moment when the structure is being consumed but is still identifiable."

Laura Gail Tyler,a resident of Tivoli, NY, received her B.A. from Bard College and an M.F.A.in Photographyfrom Yale University.Her work has been exhibited at venues including the Houston Center for Photography,TX; the Society of Contemporary Photography in Kansas City, MO; Van Brunt Gallery in Beacon, NY; and the Samuel Dorsky Museum of Art at SUNY New Paltz, NY.Tyler'saccoladesinclude a 2004 CPW Photographer'sFellowship and a 2005 Houston Center for PhotographyFellowship.

©Laura Gail Tyler,Untitled(houses),2005, gsp,24x30".

New Locationfor The PhotographyShow!

7th Regiment Armory • Park Avenue and 67th Street • New York, New York

February 10-12, 2006

The Association of International Photography Art Dealers From daguerreotype to digital, AlPAD members have consistently been at the forefront of defining fine art photography. The Photography Show, sponsored by AlPAD, has become an annual event essential to all who are interested in fine art photography.

The PhotographyShow sponsored by