VIEWFIND 11: Volume 2

Page 1

2 PAGE BOND GALLERY 804-359-3633 P.O. Box 14551, Richmond, VA 23221

Accompanying our previous catalog, VIEWFIND 11: Women Photographers, this second installment of VIEWFIND continues our focus on the medium of photography and the photographers we are lucky enough to work with and whose practices we respect.




Shane Rocheleau, Ja’Quan, 2022 (Detail)



“Photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing.” - Susan Sontag, On Photography

Page Bond Gallery is pleased to present, VIEWFIND 11, photo-based works by 14 men photographers, including Peter Cochrane, David Douglas, Elijah Gowin, John Grant, David Halliday, Michael Kolster, Robert Llewellyn, Hullihen Moore, Shane Rocheleau, Gordon Stettinius, Brian Ulrich, Joshua White, William Glaser Wilson, and William Wylie.

VIEWFIND 11: Volume 2 features a collection of both traditional and conceptual themes, from documentary explorations of colloquial spaces, to portraiture, to the bold enterprises of mother nature and ordinary household objects. These images exist as keepsakes reason, empathy and attraction to ideas of form, questions of presence, reminders of impermanence and ideas of memory. The selection of works by established, mid-career and emerging photographers create a window into a disparate yet collective focus of vision, interest and way of seeing.

The twenty-eight pictures range in subject matter and format, including images of rural and urban landscapes, still life, figurative and domestic scenes. The decisive moment of a photographer’s capture is a miraculous merger of art and science. A photograph’s piercing and historical elements reach us in a singular, indexical format that has the capability of captivating truth, accessibility and experience. Over spans of time and geography, the photographic image evidences our collective experiences, slicing time into a visual language and miniature realities.

“Finally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads – as an anthology of images. To collect photographs is to collect the world.”

– Susan Sontag, On Photography

Opposite Page

William Wylie, Olive trees and harvest nets, San Pietro, Italy 22-315 (detail), 2022


The Sensual World—Year 1, Fall, 2022. Archival Inkjet Print

20 x 25 inches

Edition of 7 $2,000 unframed

32 x 40 inches Edition of 5 $3,500 unframed

40 x 50 inches Edition of 3 $4,500 unframed

Peter Cochrane

The Sensual World—Year 1, Winter, 2022. Archival Inkjet Print

20 x 25 inches

Edition of 7 $2,000 unframed

32 x 40 inches Edition of 5 $3,500 unframed

40 x 50 inches Edition of 3 $4,500 unframed

Peter Cochrane

Peter Cochrane Statement

I am a studio-based, still life photographer and site-specific installation artist. I use photography to find new information and forms when translating three dimensions into two. These still images, along with architectural installations, provide an opportunity to slowly discover new stories woven together through autobiography, archaeology, and science fiction. Each project begins with extensive materials research to find the best medium for the idea—from the historical stories that embody every item in view to the narrative effects of light, color, and shadow.

My work has appeared in Headmaster, The San Francisco Chronicle, Vast Magazine, Hyperallergic, Brink, Artslant, the MoCP lecture series, the de Young Museum, the Vermont Center for Photography, the Tokyo International Photo Awards, and others. I am a recipient of the Snider Prize and have been a finalist for several awards including the Hopper Prize, the Fine Art Photography Award, the Exposure Award, and the Kodak Photo Film Award. In 2022 I was nominated for The Shpilman International Prize for Excellence in Photography. I have held several solo exhibitions nationally, and my work is in public and private collections including the Museum of Contemporary Photography.


Peter Cochrane

Abbreviated CV


MFA Virginia Commonwealth University, Richmond, VA

BA Art / Art History, San Francisco State University, San Francisco, CA


2022 Blue Hour, Candela Gallery, Richmond, VA - November 4 - December 22, 2022 Beyond the Frame, Museum of Contemporary Photography, Chicago, IL - July 8 - October 23 Spring Fever, 1708 Gallery, Richmond, VA

2021 Darkroom, Museum of Contemporary Photography, Chicago, IL Bloom, Page Bond Gallery, Richmond, VA Osiris, Page Bond Gallery, Richmond, VA

The Wild Beasts, Artfields, 4/23 - 5/1, 2021 Viewfind 10, Page Bond Gallery, Richmond, VA

2020 Represent, See.Me, [Online]

Fallout, Grundwald Gallery, University of Indiana, Bloomington, ID

2019 Cabin Fever, 1708 Gallery, Richmond, VA Medusa, permanent installation, Andytown (downtown), San Francisco, CA

The Shape of Things, University of the Arts, Helsinki, Finland

The Shape of Things, The Anderson Gallery, Richmond, VA Minotaur, [Sentanyl], Walnut Creek, CA Beware of Dog, FAB Gallery, Richmond, VA

The Wild Beasts, Page Bond Gallery, Richmond, VA

The Wild Beasts, The Anderson Gallery, Richmond, VA

2018 Memento Vivere, Richmond, VA

2017 A Continuum, The Great Highway Gallery, San Francisco, CA

2015 Osiris (Installation), Incline Gallery, San Francisco, CA


2022 The Shpilman International Prize for Excellence in Photography, Nominee

2021 Film Photo Award, Finalist

2020 Hopper Prize, Finalist

2020 VCUArts Adjunct Faculty Grant

2020 Fine Art Photography Award, Nominee - Conceptual Category

2019 Kodak Film Photo Award, Finalist

2019 The Hopper Prize, Finalist


David Douglas

Invented Landscape at Fort Ward, 2022 Mixed media on panel 50 x 50 inches $6,500


David Douglas

American Carnival, 2022 Mixed media on panel 69 x 50 inches $8,500


David Douglas Statement

Working at the intersection of drawing, painting and photography, David A. Douglas creates large-scale works that explore the power of place. Depicting personally significant landscapes on a monumental scale, Douglas offers the viewer the opportunity to enter his visual world and experience the potency that underlies each moment. Amplifying the inner beauty within the ordinary, Douglas’ works resonate with the intensity of a poem, simply stated yet somehow glowing with life from the inside out.

Although the works appear to be photographs, Douglas’ method incorporates drawing and painting techniques as well. Trained first as a painter, Douglas came to use photography in mid-career, primarily as an offshoot of his work as a teacher. Although he now collects his imagery through a camera lens, his pieces still come into being through a process much more akin to painting. Image fragments are brought together with conscious attention focused on formal compositional elements. While drawn from specific and personally impactful landscapes, a finished work will most likely be made of parts from multiple places at once and is a depiction more of the artists’ vision rather than a specific place. In this way, Douglas imbues each scene with a luscious and beautifully confounding incongruity. These qualities are subtle. One has to look closely, but the reward is layered and sublime.

These images tell stories. Large enough to imaginatively enter, the places Douglas creates are deeply grounded in the natural world. But traces of humanity are featured as well, with houses, benches, clotheslines, random debris and even figures sparsely populating the environment. Viewed through a diffuse light, these additions seem both random and purposeful, capturing frozen moments, implying action and meaning, a sense of the past and the future.

As artist and storyteller, Douglas creates markers for viewers to follow. Questions are asked and open- ended answers are thoughtfully posed. What might be happening here? What makes me notice what I notice? What gives meaning to this randomness? What makes the ordinary extraordinary? Where am I, and how does it feel to be in this place? These works are deeply engaging and elementally familiar, comforting and disquieting, moments of life lived into by artist and viewer alike.


David Douglas

Abbreviated CV


1984 MFA Painting, James Madison University, Harrisonburg, VA 1981 BA Virginia Intermont College, Bristol, VA


Chrysler Museum of Art Virginia Museum of Fine Arts

Cedar Rapids Museum of Art Academy Art Museum

Danville Museum of Fine Arts and History Georgetown University Collection of Art Shepherd Center The Christopher and Beverly With Collection The Richard Marks Collection

James Madison University Virginia Intermont College

Dominion Energy The Washington Post NewMarket Corporation

Marriott Corporation Episcopal High School White and Case

Gray Rust St. Amand Moffett Brieske L.L.P. Bishop Mark Andrus


2022 “Small Studies from Virginia Landscapes” National Institute of Health , Washington D.C. “New Works” Angie Newman Johnson Gallery , Alexandria VA 2021 ”Selections from Shadows of Place” Page Bond Gallery, Richmond VA “Shadows of Place” Danville Museum of Fine Arts and History, Danville, VA 2020 “Come Together Right Now : “The Art of Gathering” Chrysler Museum of Art 2019 “Marcy’s Yard” Angie Newman Johnson Gallery, Alexandria Va. {solo exhibition) “View Find” Page Bond Gallery, Richmond, VA (group exhibition)


Elijah Gowin

Tip for a Joke, 2019 Archival Inkjet Print Edition of 10 17 x 12 inches $1,500 unframed 22 x 16 inches $2,500 unframed


Elijah Gowin Clown, 2019 Archival Inkjet Print Edition of 10 17 x 12 inches $1,500 unframed 22 x 16 inches $2,500 unframed


Elijah Gowin

Statement - Shooting Star, Inc.

Made during a 2019 artist in residency at the Missouri State Fair, this collection of images looks at games of chance and portraits of youth culture. Today’s children and adolescents are often described as having a mixture of anxiety and great uncertainty about the future. In a world where school shootings, violent culture wars, and climate change have become normalized, one can easily understand their fears. Titled “Shooting Star, Inc.,” in reference to the name of the target manufacturer of the fair shooting games, this publication pulls together photographs to question whether hope can survive if the games, like life, are rigged against them.


Elijah Gowin

Abbreviated CV


1996 MFA in photography from the University of New Mexico 1990 BA in Fine Arts from Davidson College


Corcoran Gallery of Art

Los Angeles County Museum of Art Center For Creative Photography

Princeton University Museum of Art Michener Museum

Light Work at Syracuse University Sprint Corporation

Rhode Island School of Design Museum Of Art Colby College Museum of Art Houston Museum of Fine Art

Nelson-Atkins Museum of Art Virginia Museum of Fine Art Capital One Carnegie Museum of Art


2018 Altering Nature: Pictures of a Changing Environment, Tracey Morgan Gallery, Asheville, NC Kansas City Flatfile and Digitalfile, H&R Block Artspace, Kansas City, MO

2017 View Find, Page Bond Gallery, Richmond, VA

A Shared Elegy, Grunwald Gallery of Art, Indiana University, Bloomington, In. A Surrender Against Reality, UMKC Gallery of Art, Kansas City, MO Birds in the Hand, PGI, Tokyo, Japan.

Mudras, Leedy-Voulkos Art Center, Kansas City, MO.

Unbound6!, Candela Gallery, Richmond, VA.

Birds of a Feather, Robert Mann Gallery, New York, NY.

2016 Back at Water’s Edge, Robert Mann Gallery, New York, NY

2011 Robert Mann Gallery, New York, NY. September-October 2011.


John Simon Guggenheim Memorial Foundation Fellowship, 2008. Puffin Foundation Grant, 2007.

Charlotte Street Foundation Award, Kansas City, MO. 2006.

Fellowship 2000, Silver Eye Center for Photography, Pittsburgh, PA. April 2000. Light Work Residency Grant, Syracuse University, Syracuse, NY. May 1998.


John Grant

Cleome, 2019 Archival pigment print on fine art paper Edition 1/10 14 x 14 inches $850 unframed


John Grant

White Cleome, 2019

Archival pigment print on fine art paper Edition 1/10 14 x 14 inches $850 unframed


John Grant Statement

In his botanical work, Grant has further refines his digital technique. Unlike traditional photography, which demands the artist shoot film to be brought back into the darkroom and developed into an image, Grant goes out into the world and takes his subject home with him. Collecting blossoms from his personal spring gardens and across Central Virginia’s naturally bountiful landscape, Grant returns to the studio to scan the botanical material at a high resolution.

These hauntingly detailed floral studies embrace the often clichéd or sentimental botanical portrayal, presenting objects in ways that infuse them with an enigmatic quality that expands expectations and tweaks the imagination. The artist began focusing on flowers nearly 12 years ago with his botanical works receiving recognition worldwide. Grant’s works can be found from the cover of Stephanie Meyer’s New Moon, to the gallery walls at Kew Gardens, London, where he placed in two categories of the International Garden Photographer of the Year competition.

Adapted from John Grant’s 2018 exhibition, Attraction, at Second Street Gallery


John Grant

Abbreviated CV


BA University of Virginia, College of Arts and Sciences, Charlottesville, VA


University of Virginia Hospital, Charlottesville, Virginia

United States Federal Reserve, Richmond, Virginia

Capital One, Richmond, Virginia

Martha Jefferson Hospital, Charlottesville, Virginia National Institutes of Health, Bethesda, Maryland University of Virginia School of Law, Charlottesville, Virginia


2019 Skyward, solo show at Piedmont Virginia Community College, Charlottesville, Virginia

2018 Attraction, solo show at Second Street Gallery, Charlottesville, Virginia

2018 Herald 4, 12 paintings, Richmond Virginia Public Library, curated by David R. White In the Garden, PanopticonGallery,Boston,Massachusetts

2017 View Find 6, Page Bond Gallery, Richmond, Virginia

2016 Dreams, Center for Fine Art Photography, Director’s Honorable Mention, Ft. Collins, Colorado Imagined Realities, Photo Place Gallery, Middlebury, Vermont Iconic Memory: Capturing the Fugitive, Chroma Gallery, Charlottesville, Virginia Flowers, Follies and Other Rites of Spring, Warm Springs Gallery, Warm Springs, Virginia

2015 Space Jamz, Humble Arts Foundation Galactica, solo show, Chroma Gallery, Charlottesville, Virginia Herald 3, main public library, Richmond, Virginia

2014 Open Studio Event, sponsored by Kiernan Gallery, Lexington, Virginia

2013 Message in a Bottle, Angelo Gallery (solo), Charlottesville, Virginia View Find, Page Bond Gallery (group), Richmond, Virginia

2012 The Unreal, Kiernan Gallery, Lexington, Virginia Botanical, Manifest Gallery, Cincinnati, Ohio (group)

2011 Reveries and Beyond, (solo), River District Arts, Sperryville, Virginia (solo)


2011 International Garden Photographer of the Year, Second in two categories

2010 International Garden Photographer of the Year, Winner, Portfolio Award, Kew Gardens, London


David Halliday

Stacked Paper, 2021

Archival Pigment Print, signed & dated en verso Edition of 10 + 2AP 38 3/4 x 22 1/2 inches $3,600 unframed


David Halliday

Fish on Blue, 2013 Archival Pigment Print, signed & dated en verso Edition of 10 + 2AP

21 1/4 x 39 inches $3,200 unframed 33 x 59 inches $4,800 unframed


David Halliday Statement

Our homes are the repository for the objects with which we identify. David Halliday makes photographs that express the commonplace and the unexpected. Using color with subtlety and vibrancy, he never ceases to intrigue viewers, as his subjects are transported from the mundane into a realm of fantastical beauty. His images range from striking in their simplicity to timelessly elegant to head-scratching. His work has a quirky and inviting quality that’s translated not only through his subjects, but also through the engaging colors and tones he uses in his printing.


David Halliday

Abbreviated CV


1998 Penland School of Crafts, Penland, North Carolina

1988 The Maine Photographic Workshops, Rockport, Maine

1976 Syracuse University, New York

1976 Wooster School Community Art Center, Danbury, Connecticut


New Britain Museum of Art, New Britain, CT

Museum of Fine Arts, Houston, TX

San Antonio Museum of Art, San Antonio, TX

Santa Barbara Museum of Art, Santa Barbara, CA

Banana Republic

Hunter Museum of American Art, Chattanooga, Tennessee

New Orleans Museum of Art Banana Republic


2019 Still Life Like, Carrie Haddad Gallery, Hudson, NY

2019 At Play, Hodges Taylor, Charlotte, NC

2018 Photography, Carrie Haddad Gallery, Hudson, NY

2016 25th Anniversary Exhibition, Carrie Haddad Gallery, Hudson, NY

2015 Photography 2015, Carrie Haddad Gallery, Hudson, NY

2014 A Nod to the Past, Carrie Haddad Gallery, Hudson, NY

2013 Threadbare/New Photographs, Arthur Roger Galley, New Orleans, LA McMurtrey Gallery, Houston, TX

2012 The Past Still Present, Ogden Museum of Southern Art, New Orleans, LA

2010 Arthur Roger Gallery, New Orleans, LA Wessel+O’Connor Fine Art, Lambertville, NJ

Julie Heller Gallery, Provincetown, MA Graficas Gallery, Nantucket, MA


Michael Kolster

Tuileries (1fr9), 2019 Archival Pigment Print Edition 1/10 15 1/2 x 15 1/2 inches $2,500 unframed


Michael Kolster

Palais Royal (2fr3), 2019 Archival Pigment Print Edition 3/10 15 1/2 x 15 1/2 inches $2,500 unframed


Michael Kolster Statement - Paris Park Photographs

These photographs, encouraged by Eugène Atget’s efforts a century earlier, trace the features, both fixed and in flux, that define the public spaces we visit or move through in our daily lives. While photographs cannot substitute for the pleasures of seeing the world with our own eyes, they can remind us of the benefits of paying closer attention, even if momentarily, to our shared surroundings. It is my hope that, as we open our eyes to the places we think we already know, we may turn to each other with a similar generosity and see the world anew.

The photographs appear in Paris Park Photographs, a 120-page monograph published by George Thompson in 2022.


Michael Kolster

Abbreviated CV


1992 M.F.A., Photography, Massachusetts College of Art, Boston, MA 1989 Certificate, Documentary Photography full-time program International Center of Photography, NYC 1985 B.A., American Studies, Williams College, Williamstown, MA, concentration in Math/Computer Science


The American University of Paris Brown University Bell Gallery, Providence, RI Capital One Financial Corporation Center for Creative Photography, Tucson. AZ deCordova Sculpture Park and Museum, Lincoln, MA Eastman Museum of Photography and Film, Rochester, NY Fitchburg Art Museum, Fitchburg, MA

Fleming Museum, University of Vermont, Burlington High Museum, Atlanta, GA

The Huntington Library, Art Collections and Botanical Gardens, San Marino, CA Maine Museum of Photographic Arts, Portland, ME Museum of Contemporary Photography, Chicago, IL

The Polaroid Corporation

Portland Museum of Art, Portland, ME

Princeton University Museum of Art, Princeton, NJ Smith College Museum of Art, Northampton, MA Telfair Museums, Savannah, Georgia

Williams College Museum of Art, Williamstown, MA


2022 Home and Other Realms, University of New England Art Gallery, Portland, Maine

2020 Paris Parks, Metanoia Gallery, Paris, France

2019 Take Me to the River, Telfair Museums, Savannah, Georgia

2018 Paris Parks, Artspace Herndon, Herndon, Virginia

Hawaiian Plastiglomerates, Lehman Gallery, Brooks School, N. Andover, MA

2017 Take Me to the River, Combes Gallery, The American University of Paris, France

2015 Take Me to the River, Gallery 263, Cambridge, MA

2014 Proving Ground, PhoPa Gallery, Portland, Maine


2023 Residency Fellow, Ucross Foundation, Clearmont, WY

2021 Faculty Research Award (Subvention), Bowdoin College

2018 Artist Teaching Resident, Brooks School, No. Andover, MA

2014 Finalist (with collaborator Matthew Klingle), Lange-Taylor Prize, CDS, Durham, NC

2013 John Simon Guggenheim Memorial Foundation Fellow

2012 Residency Fellow, Virginia Center for Creative Arts, Amherst, VA


Robert Llewellyn

Generation, 2001 Archival Pigment Print Edition of 15 20 x 30 inches $1,200 unframed


Robert Llewellyn

Sea Change, 2006 Archival Pigment Print Edition of 15 20 x 30 inches $1,200 unframed


Robert Llewellyn Statement

I make digital photographs and print them with pigmented inks on archival cotton watercolor paper. I photograph my collected botanical and animal artifacts and build constructions of found objects that refer to life on Earth.

My mission with this new work is to look at familiar objects that reveal the interdependance of all life on this planet. By studying these objects I find they often call out to me as something new, and my experience is as if seeing them for the first time.

When I view these artifacts over time they begin appear as unrelated “landscapes”. My insight is that all life has a plan, evidence of which can be found in my work. Going forward, I will be exploring our civilization as we advance through the “scientific” age.


Robert Llewellyn

Abbreviated CV


BS Engineering Science, University of Virginia, Charlottesville, VA


Capital One Services, Richmond, VA

Dominion Energy, Richmond, VA University of Virginia Health System, Charlottesville, VA Sentara Martha Jefferson Hospital, Charlottesville, VA The Federal Reserve Bank, Richmond, VA Lewis Ginter Botanical Gardens, Richmond, VA Boar’s Head Resort, Charlottesville, VA


2013 Natures’s Design, The Botanical Photographs Of Robert Llewellyn, Greenville Museum of Art, Greenville, NC

Flower, Page Bond Gallery, Richmond, VA 2012 Natural Wonders, Page Bond Gallery, Richmond, VA 2012

Seeing Trees, Lewis Ginter Botanical Gardens, Richmond, VA 2012 2011 Flora Photographica, United States Botanical Garden, Washington, DA 2011

Seeing Trees, Speak! Gallery, Charlottesville, VA 2011 2010 Trees, “Silo Installation, Firnew Gallery, Hood, VA 2010 2009 Seeing Trees, Darrin-McHone Gallery, Harrisonburg, VA 2009

Remarkable Trees of Virginia, George Washington National Monument, Washington’s Birthplace, VA 2008 Remarkable Trees of Virginia, Norfolk Botanical Gardens, Norfolk, VA 2008 Remarkable Trees of Virginia, Lewis Ginter Botanical Gardens, Richmond, VA Remarkable Trees of Virginia, Edith J. Carrier Arboretum, Harrisonburg, VA 2008


Hullihen Moore

Menokin-1, 2013 Archival pigment print Edition of 30 22 x 17 inches $800 unframed


Hullihen Moore

Menokin-2, 2016 Archival pigment print Edition of 30 22 x 17 inches $800 unframed


Hullihen Moore Statement

Hullihen Williams Moore is a Virginia photographer who is well known for his landscape images that show the wonder, power, and beauty of the wildness of nature in Virginia and the nation.

More than fifteen years ago Hullie visited Menokin, the ruin of the home of Declaration of Independence signer Francis Lightfoot Lee in the Northern Neck of Virginia. He has returned again and again to photograph every aspect of the site.

His images reveal how life may have been and raise questions as well. In Menokin-1 we see where a picture must have been, perhaps a portrait. But of who? His Menokin-2, the weathered remains of the primary mantel, reveals fine woodwork and carving and also hint at why many great colonial homes burned to the ground.


Hullihen Moore

Abbreviated CV


LL.B., University of Virginia, Charlottesville, VA B.A., Washington and Lee University, Lexington, VA


Capital One Services Richmond, VA Shenandoah National Park Trust, Charlottesville, VA

The Menokin Foundation, Warsaw, VA University of Virginia Health, Charlottesville, VA Virginia Museum of Fine Arts, Richmond, VA


2014 “Menokin Remains/ Menokin Details.” St. Botolph Club, Boston, MA 2006-2011 “Shenandoah: Views of Our National Park,” Virginia Museum of Fine Arts, Traveling Exhibit 2009 “2D-3D,” Gallery 606, Ashland, VA

“This land is Our Land,” Richmond International Airport, Richmond, VA 2005 “Images of Nature,” Gallery 5800, Richmond, VA


Shane Rocheleau

Ja’Quan, 2022

Archival Inkjet Print Edition of 7 + 2AP 22 x 27 1/2 inches $3,000 unframed


Shane Rocheleau

Looking South down Lafayette St., 2022

Archival Inkjet Print Edition of 7 + 2AP 22 x 27 1/2 inches $3,000 unframed


Shane Rocheleau

BioShane Rocheleau (MFA, Virginia Commonwealth University) is an American photographer whose work confronts the endemic position of toxic masculinity and white supremacy within the American experience. His work has been exhibited in the United States, Spain, Russia, Brazil, Australia, Ukraine, The United Kingdom, India, and Germany, and his photographs have been featured in a wide variety of online and print publications, including Aperture’s The PhotoBook Review, Dear Dave Magazine, The Heavy Collective, Paper Journal, and The Washington Post. Rocheleau’s three monographs – You Are Masters Of The Fish And Birds And All The Animals (2018), The Reflection In The Pool (2019), and Lakeside (2022) – are published by Gnomic Book and variously collected by the Museum of Modern Art, the Vogue Italia Collection, Fondazione Teatro Regio di Parma, and Tate Britain, amongst others. Rocheleau currently lives and works in Richmond, Virginia.


Shane Rocheleau

Abbreviated CV


2007 Master of Fine Arts, Photography and Film, Virginia Commonwealth University, Richmond VA

2005 Post Baccalaureate Certificate, Fine Arts, Maryland Institute College of Art, Baltimore MD

1999 Bachelor of Arts, English and Psychology, Saint Michael’s College, Colchester VT


Candela Books and Gallery, Richmond VA

Fondazione Teatro Regio di Parma, Parma ITALY

Harvard Library, Cambridge MA

High Museum of Art, Atlanta GA

Huis Marseille - Museum for Photography, Amsterdam NETHERLANDS

London College of Communication, London ENGLAND

Museum of Modern Art, New York NY

Pacific Northwest College of Art, Portland OR

Philadelphia Museum of Art, Philadelphia PA

Stanford University, Green Library, Stanford CA

Tate Britain, London ENGLAND

The Cleveland Museum of Art, Cleveland OH Vogue Italia Collection, Milan ITALY


2023 Lakeside, Climo-Lipson Gallery, UVA, Charlottesville VA

2021 CHARTA Photobook Festival, Rome ITALY

2019 Photo Vogue Festival, Milan ITALY

Time After Time, QUAID Gallery, Tampa FL

2018 Unbound7!, Candela Books and Gallery, Richmond VA Arctic Arts Festival, Harstad NORWAY

2017 On Freedom, Aperture Gallery, New York NY

Photography Festival Bialystok INTERPHOTO, Bialystok POLAND

Porto Photo Fest, Porto PORTUGAL

Gazebook: Sicily Photobook Festival, Sicily ITALY

The Indian Photography Festival (IPF) – Hyderabad, Hyderabad INDIA

Encontros D Imagem, Braga PORTUGAL

Tbilisi Photo Festival, Tbilisi GEORGIA

GETXOPHOTO International Photography Festival, Getxo SPAIN

Voies Off Festival, Arles FRANCE

Copenhagen Photo Festival, Copenhagen DENMARK

Belfast Photo Festival, Belfast NORTHERN IRELAND

Fotoleggendo Festival, Rome ITALY


Fantasy Fest Key West FL, 2009 (Notes from Route 1 series)

Silver gelatin print

11 x 14 inches

Edition of 25

$1,200 unframed

16 x 20 inches

Edition of 20

$1,600 unframed

20 x 24 inches Edition of 15 $2,000 unframed

Gordon Stettinius

Gordon Stettinius

Justin Verlander, 2004 (Miss Americana series)

Silver gelatin print

11 x 14 inches

Edition of 25

$1,200 unframed

16 x 20 inches

Edition of 20 $1,600 unframed

20 x 24 inches

Edition of 15 $2,000 unframed


Gordon Stettinius

Statement - Notes from U.S. Route 1

Notes from U.S. Route 1 is an ongoing photographic survey of an historic American highway running from Fort Kent, Maine along the Canadian border down over 2,000 miles to Key West, Florida and connecting most of the major cities along the east coast.

After it was superseded by U.S. Interstate 95 in the 1950’s as the main north-south thoroughfare on the east coast, Route 1 has been evolving the character of the blue highways that William Least Heat Moon wrote so entertainingly about. Traveling these roads, a person will find mostly two lanes throughout, with the occasional interruption by a turnpike or major thoroughfare around the larger cities.

If you happen to have an interest in the state of this nation- and you should - then all the vital signs of our economy and social condition can be found along Route 1. Tensions abound, of course, but so does beauty. Pastoral scenes are punctuated by urban blight. Religion is found alongside temptation. Cafes and vegetable stands and city parks versus fast food and strip clubs and roadside attractions. Motorcycles and local traffic and semi-trailers and congestion. Some places along Route 1 seem to have reclaimed their dignity by not succumbing to the crush of commerce and the lure of the tourist dollar while some places seem as though they have become profoundly distressed and inhospitable. But no matter who you are, you have to stop occasionally and stretch your legs.

Awash in nostalgia and the ghosts of tourism from decades past, you drive this collection of secondary roads and you experience a slight temporal shift...time bends and memories of childhood vacations come to mind, memories of college roadtrips, places that remind you of other places... Instead of feeling isolated while hurtling down any major interstate, on the slow roads in the summertime, with no real destination, you can put the windows down and stop whenever you like. Whenever you hear the lonesome call of a pool table or need a shot of caffeine.

Where to stop is the perpetual question. There is always the sense of adventure when driving a long distance. But adventure can be a bit like the angel over your shoulder whereas intellectual laziness and corporate homogeny will be the devils perched on your other shoulder, and always they are slugging it out... What should it be? A small probably clean and possibly charming local hotel for the night? Or maybe the predictably adequate but generally innocuous Super 8 down the road? A café named for Dixie Lee? Or the Starbucks that seems like it is actually following you around? Choices. The traveler on slow roads has all manner of choices. And so the trip comes to resemble its maker.


Gordon Stettinius

Abbreviated CV


1988 B.A. Studio Art / B.A. History, University of Virginia, Charlottesville, VA


Telfair Museums, Savannah, GA

Virginia Museum of Fine Arts, Richmond, VA

Santa Barbara Museum of Art, Santa Barbara, CA

Capital One, Richmond, VA

Mariners Museum, Newport News, VA

Rourke Art Gallery Museum, Moorhead, MN

Longwood University, Farmville, VA

Photo Media Center, Erie, PA Collection Photographica, Malmo, Sweden

John Cleary Collection, Houston, TX


2019 Miss Americana, Griffin Museum of Photography, 2019

2016 Mangini Studio, with Terry Brown, Images Vevey festival, Vevey Switzerland Rayko’s Annual Plastic Camera Show, featured artist, Rayko, San Francisco, CA

2015 Mangini Studio, a collaboration with Terry Brown, Page Bond Gallery, Richmond, VA 2014 Signals, Saints and Side Roads, Robin Rice Gallery, New York, NY, 2014 Mangini Studio Series, a collaboration with Terry Brown, Page Bond Gallery, Richmond, VA 2010 Route 1, Robin Rice Gallery, New York, NY Route 1, Page Bond Gallery, Richmond, VA

2009 Super Natural!, West Of the Moon, Flagstaff AZ 2006 Recent Work, Robin Rice Gallery, NY

2004 Low Fidelity, Capital One Galleries, Rich, VA 2002 Circus Royale, Page Bond Gallery, Richmond, VA 2000 12 Pictures, Collegiate Gallery, Richmond, VA


Mangini Studio, featured at Images Vevey photography festival, Vevey, Switzerland, 2016 Mangini Studio, featured at Les Rencontres d’Arles, photography festival, 2015 Theresa Pollack Award, Excellence in the Arts, 2009 Golden Light Award, Maine Workshops, 2003 & 2004


Brian Ulrich

Wal Mart, Landfill and Historic Battlegrounds, Colonial Heights, 2014 Archival Inkjet Print Edition of 7 + 2AP 22 x 27 1/2 inches $3,000 unframed


Brian Ulrich

Campbell’s Bridge, Appomattox River, 2020 Archival Inkjet Print Edition of 7 + 2AP 22 x 27 1/2 inches

$3,000 unframed


Brian Ulrich

BioBrian Ulrich’s photographs portray contemporary consumer culture.

His work has been included in numerous group exhibitions at venues such as the Museum of Modern Art; Pier 24 San Francisco; Art Institute of Chicago; the Walker Art Center; the Museum of Contemporary Photography; the San Diego Museum of Art; the Haifa Museum of Art; the Krannert Art Museum; the New York Public Library; the Carnegie Museum; the Aperture Foundation, among others.

In 2009, Ulrich was awarded a John Simon Guggenheim Memorial Fellowship. The Aperture Foundation and the Cleveland Museum of Art collaborated to publish his first major monograph, “Is This Place Great or What”, in 2011, which was later included in The Photobook: A History Volume 3(2014). The Anderson Gallery published the catalog Closeout: Retail, Relics and Ephemera(2013). Aperture also published his work as part of the “MP3: Midwest Photographers Project” in 2006.

He is currently an Associate Professor at the Rhode Island School of Design.


Brian Ulrich

Abbreviated CV


2004 MFA, Photography Columbia College Chicago 1996 BFA, Photography University of Akron


Art Institute of Chicago, Chicago, IL

Akron Art Museum, OH

Baltimore Museum of Art, MD

Cleveland Museum of Art, OH

DeCordova Museum and Sculpture Park, Lincoln, MA

Eastman Museum, Rochester, NY

Fitchburg Art Museum, Fitchburg, MA

Haggerty Museum of Art, Milwaukee, WI

Hood Museum of Art, Hanover, NH

J. Paul Getty Museum, CA

Milwaukee Art Museum, WI

Museum of Contemporary Art, San Diego, CA

Museum of Fine Arts, Houston, TX

Museum of Contemporary Photography, Chicago, IL

Nerman Museum of Contemporary Art, KS

New York Public Library, New York, NY North Carolina Museum of Art, NC


2023 TBA, Casper College, Casper, WY

2018 Magic Lanterns, Clark University, Worcester, MA

2017 Charge! Kentucky College of Art and Design, Louisville, KY

2016 The Centurion Robert Koch Gallery, San Francisco, CA

2015 The Centurion George Eastman Museum, Rochester, NY Copia Quinzaine Photographique Nantaise Festival, Nantes, France


2021, 2020, 2019, 2017 Professional Development Fund Rhode Island School of Design

2017 Rhode Island State Council on the Arts Merit Recipient

2016 Imagemaker Award, Society for Photographic Education

2010 Artist–In–Residence, Light Work, Syracuse, NY

72 Joshua White Gliese 163 c, 2019 Archival Pigment Print Edition 1/5 8 x 8 inches $800 framed 16 x 16 inches $1,000 framed 30 x 30 inches $2,000 framed
Print Edition
Joshua White Trappist - 1 d, 2019 Archival Pigment
1/5 8 x 8 inches $800 framed 16 x 16 inches $1,000 framed 30 x 30 inches $2,000 framed

Joshua White

Statement - There Are Other Worlds Than These

I listen to, read, and share Carl Sagan’s Pale Blue Dot as often as I can. Currently there are more than 55 exoplanets that could possibly support life as we know it. I love science, and space, and exploration, and the quest for knowledge, but I wonder if we put too much faith in the hope of an exit plan, somewhere to go if things don’t work out here.

I am often asked what these images are “of.” The photographs themselves are not of any celestial object. The photographer Minor White encouraged students to “not only photograph things for what they are but for what else they are,” and I often follow that advice. Each photograph in this series is named after a potentially habitable exoplanet, each representing a meditation on these other worlds and our ever expanding understanding of the universe.


Abbreviated CV


2011 MFA – Photography – Arizona State University

2008 BFA – Photography – Northern Kentucky University


Current Associate Professor & Photography Program Coordinator, Appalachian State University, Boone, NC


McCorquodale Transfer, Charleston, SC

Northern Kentucky University School of the Arts, Highland Heights, KY Davidson College, Davidson, NC

Mark Klett Archive, Northlight Gallery, Arizona State University, Tempe, AZ


2022 Through Our Lens, Curator Simone El Bey, Cain Center for the Arts, Cornelius, NC Reimagining Earth, Curator Elizabeth Allen, Northlight Gallery, Arizona State University, Tempe, AZ

2019 A Photographic Survey of the American Yard, Page Bond Gallery, Richmond, VA

2018 The New River, Solo, Wilkes Art Gallery, Wilkesboro, NC Conversations in Silence, with Maggie Flanigan, Tyler School of Art, Temple University, Philadelphia, PA

2017 A Photographic Survey of the American Yard, Whitney Center for the Arts, Sheridan College, WY

A Photographic Survey of the American Yard, Solo, Dearborn County Arts Council, Lawrenceburg, IN

The Curator Awards Show, Group Exhibition, Photo District News The Curator contest winners, Milk Gallery, New York, NY

2016 A Photographic Survey of the American Yard, Solo, FotoFocus Biennial, Northern Kentucky University, Highland Heights, KY

A Photographic Survey of the American Yard, Solo, Ashe County Public Library, West Jefferson, NC Wunderkabinett, Four-person show, The Light Factory, Charlotte, NC

A Photographic Survey of the American Yard, Solo,Davidson College, Spencer Lobby – Chambers Building, Davidson, NC

2015 A Photographic Survey of the American Yard, Griffin Museum of Photography, Winchester, MA Arizona State University Alumni Exhibition, Northlight Gallery, Phoenix, AZ UnBound4!, Candela Books + Gallery, Richmond, VA

2014 Slideluck San Francisco V, Invitational, Curator Patrick Witty – Director of Photograph for Wired Magazine, Heron Arts, San Francisco, CA View Found, Art Avenue, Greenville, NC

The Red Clay Survey, Huntsville Museum of Art, Huntsville, AL Things With Wings, PhotoPlace Gallery, Middlebury, VT

2014 North Carolina Artists Exhibition,Duke Energy Center for the Performing Arts, Raleigh, NC Take Flight, Kiernan Gallery, Lexington, VA Formicidae, Roy C Moore Gallery, University of North Georgia Oakwood, GA

77 Joshua

William Glaser Wilson

Prospect Park, 2019 Archival Inkjet print Edition 1/3 + 1 AP 40 x 50 inches $7000 framed


William Glaser Wilson

Puppeteer, 2020 Archival Inkjet print Edition 2/3 + 1 AP 40 x 50 inches $9000 framed


William Glaser Wilson Statement

William Glaser Wilson (b.1994) is an artist based between Savannah, Georgia and Manhattan, New York whose practice utilizes photography, sculpture, painting, and installation to portray our collective struggles and pleasures through constructed environments.


William Glaser Wilson

Abbreviated CV


Virginia Commonwealth University, MFA Savannah College of Art and Design, BFA


2019 A Place Between, CCAN Gallery at Trinity College, Hartford, CT

2017 Deep: Stories of Savannah, Savannah Cultural Arts Gallery, Savannah, GA

2022 NOT EVEN HOME WILL BE WITH YOU FOREVER, Field Projects Gallery, New York, NY Unbound 11, Candela Gallery, Richmond, VA Supernatural, The Gutstein, Savannah, GA Splinters in the Ongoing Normal, Project Gallery V, New York, NY Oly, The Anderson, Richmond, VA

2021 104th Exhibition, Greenwich Art Society, Greenwich, CT People Places Things, Project Gallery V, New York, NY Fool’s Paradise, The Anderson, Richmond, VA View Find 10, Page Bond Gallery, Richmond, VA Photography is Dead. Long Live Photography, Candela Gallery, Richmond, VA

2020 VCU MFA Photo + Kinetic Imaging Virtual Introduction, Candela Gallery, Richmond, VA SCAD Open Studios, Savannah College of Art & Design, Savannah, GA Unbound9, Candela Gallery, Richmond, VA


2018 Critical Mass: Top 200 Lucie Foundation: ‘Emerging Artist’ & ‘Photo Made’ Shortlist


William Wylie

Olive trees and harvest nets, San Pietro, Italy 22-315, 2022 Archival pigment print Edition of 15 15 x 19 inches $2,000 unframed


William Wylie

Olive trees, spinning, San Pietro, Italy 22-321, 2022 Archival pigment print Edition of 15 15 x 19 inches $2,000 unframed


William Wylie


William Wylie’s photographs, films and works on paper have been shown both nationally and internationally. His work can be found in the permanent collections of the Metropolitan Museum of Art, National Gallery of Art, Smithsonian American Art Museum, The Philadelphia Museum of Art, Virginia Museum of Fine Art, and Yale University Art Museum, among others. He has published five books of his work: Riverwalk, Stillwater, Carrara, Route 36, Pompeii Archive and A Prairie Season. His awards include a Guggenheim Fellowship, a VMFA Professional Fellowship and the Yale Gallery of Art’s Doran / LeWitt Fellowship. He lives in Charlottesville, VA and is the Commonwealth Professor of Art at the University of Virginia.


William Wylie

Abbreviated CV


1989 MFA, University of Michigan, Ann Arbor, Michigan.

1986 BFA, Colorado State University, Fort Collins, Colorado.


Amon Carter Museum, Fort Worth, Texas

Capitol One Corporation, Richmond, Virginia

Center for Creative Photography, Tucson, Arizona

Colorado Historical Museum, Denver, Colorado

Davidson College Art Museum, Davidson, North Carolina deCordova Museum, Lincoln, MA

Denver Art Museum, Denver, Colorado

Metropolitan Museum of Art, New York, NY

Museo del Marmo, Carrara, Italy

Museum of Fine Arts, Boston, MA

Museum of Fine Arts, Houston, TX

National Gallery of Art, Washington, DC

Nelson-Atkins Museum of Art, Kansas City, Missouri

Nevada Museum of Art, CLUI Archives, Reno, NV

New Mexico Museum of Art, Santa Fe, New Mexico

New Orleans Museum of Art, New Orleans, LA

Philadelphia Museum of Art, Philadelphia, PA

Princeton University Art Museum, Princeton, New Jersey

St Louis Art Museum, St Louis, Missouri

Smithsonian American Art Museum, Washington DC Virginia Museum of Fine Arts, Richmond, Virginia


2022 Other People’s Pictures: Selections from the Robert and Kerstin Adams Collection, Denver Art Museum, Denver, CO

Antiquity & America: Artists, Collectors, and the Ancient Mediterranean, Bowdoin College Museum of Art, Brunswick, ME


2014 Yale University Art Museum Doran/LeWitt Italian Residency

2012 Yale University Art Museum Doran/LeWitt Italian Residency

2011 Virginia Museum of Fine Arts Fellowship

2005 John Simon Guggenheim Memorial Fellowship

90 VIEWFIND 11 Volume 2 Catalog Design Rachel Crawford, Registrar Back Cover John Grant, Cleome, 2019 PAGE BOND GALLERY 804-359-3633 P.O. Box 14551, Richmond, VA 23221
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