VIEWFIND 11: Women Photographers

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Women Photographers






Elizabeth Mead, Untitled Williamsburg G2 03, 2020 (Detail)

Alanna Airitam Penny Ashford Mary Ellen Bartley Virginia Beahan Stacey Evans Pam Fox Cynthia Henebry Sally Mann Elizabeth Mead Amanda Means Holly Morrison Angela Franks Wells


“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 12 women photographers, including Alanna Airitam, Penny Ashford, Mary Ellen Bartley, Virginia Beahan, Stacey Evans, Pam Fox, Cynthia Henebry, Sally Mann, Elizabeth Mead, Amanda Means, Holly Morrison, and Angela Franks Wells.

VIEWFIND 11 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 women photographers create a window into a disparate yet collective focus of vision, interest and way of seeing.

The thirty-six 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

Amanda Means, Light Bulb 2 (Detail), 2019 (p 66-67)


Alanna Airitam

Saint Strivers (from The Golden Age series), 2017 Archival inkjet print, finished with hand-painted varnish

36 x 24 inches

Edition 2/10 Price: $3,500 unframed

48 x 32 inches Edition 1/3 Price: $10,200 unframed


Alanna Airitam

Saint Nicholas (from The Golden Age series), 2017 Archival inkjet print, finished with hand-painted varnish

36 x 24 inches

Edition 4/10 Price: $4,500 unframed

48 x 32 inches

Edition 1/3 Price: $10,200 unframed


Alanna Airitam

Saint Madison (from The Golden Age series), 2017 Archival inkjet print, finished with hand-painted varnish

36 x 24 inches

Edition 4/10 Price: $4,500 unframed

48 x 32 inches

Edition 1/3 Price: $10,200 unframed


Alanna Airitam Statement

My practice is focused on researching historical and contemporary narratives of representation, heritage, identity, stereotypes and the erasure or manipulation of history through portraiture and vanitas still life subjects. I make photographs that reference the long history of racial and cultural inequality, while contemporary in the desire to move into the future with honor and grace.

Weary from experiencing how people of color are treated, I feel called to create images of people who look like me presented with reverence and dignity. I began working on The Golden Age during the spring of 2017, during which time I came to recognize ways I’ve allowed negative projections of others to hold me back artistically. I would spend time in museums admiring the lighting in European Renaissance paintings, while feeling how far the whole experience was from my own reality. I understood how uncomfortable I was in art spaces, that in so many unspoken ways I didn’t belong.

It became important to create work as a tribute to Black culture while addressing how we’ve been omitted from art history. The Harlem Renaissance was our Age of Enlightenment, and I wanted my work to reflect the connections between the two periods. The Dutch Renaissance arose in Haarlem, Netherlands from the Eighty Years’ War with Spain, as the Harlem Renaissance was birthed from the remnants of the Jim Crow and Great Migration north. To pay homage to the Harlem Renaissance while recognizing 17th century Dutch portraiture, 1 named the portraits as saints, with a street name or notable Harlem landmark as a way to commemorate the significance of this time (e.g. Saint Sugar Hill, Saint Madison, Saint Strivers)

1 have continued my research into areas of history, identity and representation with newer projects such as Crossroads (2018-2019), created during the Trump administration as a way to reclaim power and turn our backs on the systemic dehumanization of Black and Brown lives. Crossroads challenges people of color to reject a system that continues to oppress us and look collectively for new expressions that are inclusive and powerful. How to Make a Country (2019) and Take a Look Inside (2019) are reminders of our past and who we are within the context of history. These works asks the viewer to acknowledge the contributions and sacrifices Black women have made to create the generational wealth of American white families and the infrastructure of economy that has made the United States one of the most prosperous countries in the world.

During the time of this pandemic, I continue to create symbolic works reflecting current issues in historical contexts such as the vanitas triptych White Privilege (2020). Created just after George Floyd’s murder, this work is a direct reflection of the lack of awareness and avoidance of responsibility that comes inherent with white privilege and how it affects every aspect of this country’s history, culture and our lives,

I am currently working on two new projects. Colonized Foods (2021-present) takes a look at the dark history of the every day foods we eat and how they became part of our diets. Ghosts (2021-present) is a series of self-portraits started during Covid. These self-portraits were created with the focus on self during isolation and using the medium of photography as a source of play and the need for rest which is often unafforded to women of color.


Alanna Airitam

Abbreviated CV

Lives and works in Tucson, Arizona


Select Collections

Center for Creative Photography, Tucson, AZ Common House Social Club, Richmond, VA

The Fifth Avenue Hotel, New York, NY

Virginia Museum of Fine Art, Richmond, VA

Select Exhibitions

2022 Center for Creative Photography. Solo. Tueson, AZ. USA Candela Gallery, “Coming Down to Earth” Richmond, VA, USA Saint Lawrence University. “Subject-Object” Canton, NY. USA

2021 Louis Carlos Bernal Gallery, “American Renaissanco” Tucson, AZ, USA Tucson Museum of Art. “Still Here: Still Life Imagery in the Permanent Collection” Tucson, AZ. USA Colorado Photographic Arts Center (CPAC). “Reflecting Voices” Denver, CO. USA Pentimenti Gallery. “Making Marks I Figural Identity, transfiguration, and receptive tactility” Philadelphia, PA, USA

2020 Bread & Salt Gallery. “San Diego Art Prize 2020” San Diego, CA. USA Catherine Edelman Gallery. “Photography & _____” Chicago, IL. USA Athenaeum Art Center. “How to Make a Country” San Diego, CA. USA Candela Gallery. “The Golden Age” Richmond, VA. USA

2019 Quint Gallery. “Crossroads” San Diego, CA. USA Bread & Salt. “Xquisite Corpse” San Diego, CA. USA

2018 Art Miami/Catherine Edelman. Miami, FL. USA

Catherine Edelman Gallery. “How do you see me?” Chicago, IL. USA San Diego Art Institute. “ABOUT FACE.” San Diego, CA. USA

Awards & Recognition

2021 Silver List

2020 Critical Mass Top 50 Finalist

2020 Michael Reichmann Project Grant Award Recipient

2020 San Diego Art Prize Recipient


Penny Ashford Ice Dancers, Antarctica, 2018 Archival pigment print Edition of 10 29 3/4 x 40 inches $1800 framed


Penny Ashford

Midnight, 2020 Archival pigment print Edition of 10 25 3/4 x 35 inches $1800 framed


Penny Ashford

The Enormity, Antarctica, 2018

Digital archive print Edition of 10 29 3/4 x 40 inches $1800 framed


Penny Ashford Statement

Penny Ashford finds inspiration in nature and travel. Water is a favorite subject, particularly the movement, light and color of the sea. Literally immersed in her subject, Ashford employs an underwater camera, which changes the traditional horizon line from a straight horizontal line to a fluid and moving line. Extreme close-ups of bubbles and eddies turn into abstracted forms with biomorphic structure and composition. Her camera is an extension of her eye and is carried with her on her travels to various locations in the world.


Penny Ashford

Abbreviated CV

Lives and works in Wilmington, DE


2015 Classwork, International Center of Photography, New York, NY 1986 BA, Mount Holyoke College, South Hadley, MA

Select Collections

Memorial Sloan Kettering Hospital

Blue Cross Blue Shield Rhode Island Rhode Island Womens and Infant Hospital

Select Exhibitions

2018 Vanishing Ice, Solo Exhibition Page Bond Gallery, Richmond, VA

Permanent Installation at Memorial Sloan Kettering Hospital, NYC View Find 7, Page Bond Gallery, Richmond, VA

2017 Cat Perkins, Southport, CT

Sunni Spencer, New York, NY

2016 United States Naval Observatory, Home of the Vice President, Joseph Biden, Washington, DC Sea Star Beachwear, Southampton, NY

Reflections of Nature, Artful Living, Washington, DC

2015 Refresh, Page Bond Gallery, Richmond, VA

Spirit of Water, Antique and Artisan Gallery, Stamford, CT

2012 Cade Tompkins Project, Swifty’s, New York, NY

Cade Tompkins Project, Arthamptons Fair, Bridgehampton, NY

2011 Cade Tompkins Project, Next Air Fair, Chicago, IL

Pulse: Late Night at the New World Symphony

2010 Elements of Nature, Cade Tompkins Project, Providence, RI

Picturing an Ethical Economy, Trinity Wall Street, New York, NY

Coleman Center for Creative Studies, Newport Art Museum, Newport, RI Pink is the New Black, Cade Tompkins Project, New York, NY

2009 Cade Tompkins Project, Editions/Artist Book Fair, New York, NY

Save the Children: Photographs of Ethiopia, Gallery R’Pure, New York, NY

Online Features

2015 “To Do: Spirit of Water at the Antique and Artisan Gallery,” Tory Burch Daily Blog “Spotlight on Penny Ashford,” Hanover Avenue, Ann Ainsley’s The Stylistic Blog

2012 “Meet the Photographer: Penny Ashford,” Tory Burch Daily Blog


Mary Ellen Bartley

Reading Color #16, 2019 Pigment print Edition 7/7 17 x 22 inches $3400 unframed
Mary Ellen Bartley Reading Color #25, 2020 Pigment print Edition 5/7 17 x 22 inches
Mary Ellen Bartley Reading Color #32, 2020 Pigment print Edition 3/7 17 x 22 inches $3400 unframed

Mary Ellen Bartley Statement

Reading In Color is an exploration of the tactile and formal qualities of printed “pulp” paperback books-- a word that connotes both the content and material of the physical pages. Drawn to their formal qualities and aesthetic as intellectual objects, Bartley has used books in her compositions since 2004. Over the years, she has worked with various libraries and collections to source books for her series, including Jackson Pollock’s personal collection, as well as the Beale women of Grey Gardens. For Reading In Color, Bartley sourced her collection of “pulp” from The Strand, a beloved independent bookstore in New York City. Searching through the bins of forty-eight-cent paperbacks for “pulp,” Bartley amassed hundreds of titles belonging to this popular American mass-marketed genre. A decidedly more vibrant and extroverted palette than her earlier series, the stacks and arrangements in Reading in Color focus on the single design element of dyed page-edges, creating a tension in the concealed themes and untethered narratives of the books.

As still life compositions, her works oscillate between abstraction, sculptural assemblage and color studies; as photographs, they exist as portraits of hidden histories and repurposed fiction in their segments of color.


Mary Ellen Bartley

Abbreviated CV

Lives and works in Sag Harbor, NY


BFA Purchase College, SUNY

Select Collections Center for Creative Photography, Tuscon, AZ Guild Hall Art Museum, East Hampton, NY McEvoy Family Collection, San Francisco, CA Parrish Art Museum, Watermill, NY The Watermill Collection, Watermill, NY Walker Art Center, Minneapolis, MN

Select Exhibitions

2022 The Image Gardeners, McEvoy Foundation for the Arts, San Francisco, CA The Image and the Photographic Allusion, Oakland University Art Gallery, Rochester, MI 2021 Still Life/ Life Still, Highland Center for the Arts, Greensboro, VT Summer Reading, Center for Book Arts, New York, NY Scene in a Library, Penumbra Foundation, New York, NY (solo) 2020 Volumes, Galerie Pugliese Levi, Berlin, Germany (solo) Reading in Color, Page Bond Gallery, Richmond, VA (solo) Return to Summer Reading, The Drawing Room, East Hampton, NY (solo) 2020 Vision, Southampton Arts Center, Southampton, NY Interpretation, Studio 11, East Hampton, NY 7 Things Again and Again, Yancey Richardson, online exhibition viewing room (solo) The Armory Show 2020, New York, NY Vision 2020, Richard Levy Gallery, Albuquerque, NM View Find 9, Page Bond Gallery, Richmond, VA

2019 Reading in Color, Yancey Richardson Gallery, NY (solo) Qualities of Light, Center for Creative Photography, Tuscon, AZ What is an Edition Anyway?, McEvoy Foundation for the Arts, San Francisco, CA Parrish Perspectives, Recent Acquisitions in Context, Parrish Art Museum, Watermill, NY Recess, Page Bond Gallery, Richmond, VA


New York Foundation for the Arts, Project Grant, 2021 Museo Morandi, Visiting Artist, Bologna, Italy winter 2020 Penumbra Foundation, Publication Collaboration, Penumbra Library Project, 2019, New York, NY The Pollock Krasner House and Study Center, Visiting Artist, Winter 2018, Springs, NY Queens Museum, Reanimation Library, Visiting Artist, January-April 2017, Queens, NY Visual Studies Workshop, Project Room Artist in Residence, April 2016, Rochester, NY Watermill Center, Artist in Residence, February 2015, Watermill, NY Fotobook Festival Kassel, 2015 Book Dummy Award, Reading Robert Wilson shortlisted. Photolucida Critical Mass 2013 Top 50 Photographers


Virginia Beahan

Gram and John in Pool, Floating Shelter Island, NY, 2005 Chromogenic development print Edition of 10 28 1/2 x 33 1/4 inches $4000 framed


Virginia Beahan

Celebrating My Mother’s 90th Birthday, Lyme, New Hampshire, 2003 Chromogenic development print Edition of 10 28 1/2 x 33 1/4 inches $4000 framed


Virginia Beahan

My Mother and Her Lover, 2004 Chromogenic development print Edition of 10 28 1/2 x 33 1/4 inches $4000 framed


Virginia Beahan Statement

Photographs from Home

When my aging mother came to live with us in New Hampshire, I began making photographs of my family in much the same way we had when I was a child. I wanted to capture these ordinary moments again, and the intense, fleeting beauty of the tiny realm that nurtures and sustains us.


Virginia Beahan

Abbreviated CV

Lives and works in New Hampshire


1968 Pennsylvania State University, BA in English 1984 Tyler School of Art at Temple University, MFA in Photography

Select Collections

Columbus Museum of Art, Columbus, OH

Corcoran Museum of Art, Washington, D. C.

Fogg Museum, Harvard University, Cambridge, MA Hood Museum, Dartmouth College, Hanover, NH

J. Paul Getty Museum, Los Angeles, CA

List Visual Arts Center, Massachusetts Institute of Technology, Boston, MA Los Angeles County Museum of Art, Los Angeles, CA

Metropolitan Museum of Art, New York, NY Museum of Contemporary Art, San Diego, CA

Museum of Fine Arts, Boston, MA

Museum of Fine Arts, Houston, TX

Nevada Museum of Art, Reno, NV

Rose Art Museum, Brandeis University, Waltham, MA

San Francisco Museum of Modern Art, San Francisco, CA Santa Barbara Museum of Art, Santa Barbara, CA

Smithsonian American Museum of Art Spencer Museum of Art, University of Kansas, Lawrence, KS

The Art Museum, Bowdoin College, Brunswick, ME

The Art Museum, Princeton University, Princeton, NJ

The RISD Museum, Providence, RI Whitney Museum of American Art, New York, NY Wilson Centre for Photography, London, England

Select Exhibitions

2019 Between the Future and the Past: Photographs of Cuba, Nearburg Gallery, Dartmouth College

2018 A History of Photography: From the Museum’s Collection, Museum of Fine Arts, Houston, TX, Between the Future and the Past: Photographs of Cuba, Fine Art Galleries, Kroc Institute for Peace and Justice, University of San Diego, San Diego, CA (solo)

2017 (un)expected families, Museum of Fine Arts, Boston, MA, 2017-18

Virginia Beahan, Joslyn Art Museum, Omaha, NE, 2017 (solo)


John Simon Guggenheim Memorial Foundation Fellowship Marion and Jasper Whiting Foundation Fellowship New England Foundation for the Arts Fellowship Distinguished Lecturer Award, Dartmouth College


Stacey Evans

Billboards, Pennsylvania, 2:15:43PM, 2010

Archival pigment print Edition of 12 17 x 22 inches $800 unframed


Stacey Evans

Passenger, Virginia, 1:37:57PM, Northeast Regional Route, 2012 Archival pigment print Edition of 12 27 x 36 inches $1400 unframed


Stacey Evans

Basic City, Virginia, 2:44:54PM, Summer, 2009 Archival pigment print

Edition of 12 17 x 22 inches $600 unframed


Stacey Evans Statement

I photograph while in motion, usually from Amtrak trains. This perspective on the earth – both tethered and gliding – provides a unique vernacular to record the passing of time through the years, seasons, and light. The elevated platform of the train reveals soft, hidden scenes normally unseen. As the landscape shifts, I focus on an approaching detail, patiently watching and waiting as patterns in nature and the built environment align to form something new and fleeting.


Stacey Evans

Abbreviated CV

Lives and works in Charlottesville, VA


1995 Savannah College of Art and Design, Bachelor of Fine Arts in Photography 1993 Virginia Commonwealth University, Art Foundation Program

Select Collections

Center for Creative Photography, Tucson, AZ

University of Virginia Medical Center, Charlottesville, VA University of Virginia Law School, Charlottesville, VA Martha Jefferson Hospital, Charlottesville, VA Capital One, Richmond, Virginia

Select Exhibitions

2020 This Familiar Space, Second Street Gallery, Charlottesville, VA 2017 Ways of Seeing, Second Street Gallery (Curator: Tosha Grantham) Charlottesville, VA 2016 Yearnings, New City Arts (Curator: Leslie Ava Shaw) Charlottesville, VA 2016 Passing Through, Fleda A. Ring Artworks, Roanoke, VA 2016 LoopLab, McGuffey Art Center, Charlottesville, VA 2015 Inside Out, Piedmont Council for the Arts, Charlottesville, VA 2013 Between Here and There, Writer Hous, Charlottesville, VA 2012 Passenger, Chroma Arts Laboratory, Charlottesville, VA 2011 En Route, Baker Gallery, Woodberry Forest School, Orange, VA 2010 Tracking People, Piedmont Virginia Community College, Charlottesville, VA 2010 Roads and Rails, Page Bond Gallery, Richmond, VA

2009 TrainScapes, Downtown Transit Center, Charlottesville, VA 2004 Chaotic Control, Riverviews Artspace, Studio Gallery, Lynchburg, VA 2003 Mixed Bag, University of Virginia Medical Center, Charlottesville, VA 2002 Digital Impressions, University of Virginia Cancer Center, Charlottesville, VA 2001 Digital Impressions, Photo Arts, Charlottesville, VA 2000 Visions, Shenandoah Vally Art Center, Waynesboro, VA


2013 Semi-Finalist: 1708 Gallery, Feed

2013 Scholarship Recipient: LOOK3 Education Week

2012 Funded: Kickstarter Campaign for I Ride Trains

2011 Finalist, Earth Through the Lens

2011 The Puffin Foundation Grant

2011 Honorable Mention, Professional Women Photographers’ 35th Anniversary


Pam Fox

Five Small Oranges, 2018 Pigment print Edition of 6 23 1/4 x 29 1/2 inches $1000 unframed


Pam Fox

Six Cherries, 2018 Pigment print Edition of 6 17 x 22 inches $1000 unframed


Pam Fox Apple and Grapes, 2018 Pigment print Edition of 6 17 x 22 inches $1000 unframed


Many of the flowers that I photograph I grow myself and gather from my yard in the morning before I begin to work. Time acts quickly on these plants, and I only have a brief period to arrange each image. As I create my tabletop photographs, I want to capture these botanicals in ways that are not merely decorative, but that animate the life force inherent in the flowers and plants.

I photograph using the most fleeting of light sources: sunlight moving through fabric. Lit from behind, these botanical arrangements cast shadows forward. Objects behind the loosely woven fabric distort as shapes break down and foreground, background, and fabric merge. The resulting images are ambiguous, yet unmanipulated photographs.

I recently become interested in Ikebana, the Japanese art of flower arranging. Ikebana practitioners spend time at eye level with their arrangements and work with a quiet focus to find the ideal placement of each element. If successful, the arrangement can enhance the essence of the materials used and can allude to intangible concepts such as the tension between permanence and ephemerality.

Discovering how similar the practice of Ikebana was to my own intuitive way of working was gratifying. Making this connection is an expansion upon my study of the mid-century, pacific-northwest artists Mark Tobey and Morris Graves whose artwork is also grounded in both spirituality and the natural world.

Pam Fox Statement

Abbreviated CV

Lives and works in Richmond, VA


1990 MFA, Photography, Virginia Commonwealth University, Richmond, VA

1980 BFA, Communication Arts, Virginia Commonwealth University, Richmond, VA


Elliott Professor of Fine Arts, Hampden-Sydney College

Select Collections

Virginia Museum of Fine Arts, Richmond, VA

Select Exhibitions

2019 View Find 8: A Group Exhibition, Page Bond Gallery, Richmond, VA


2015 18th Annual Theresa Pollak Prize, Photography

Virginia Commission for the Arts Fellowship Grant

Virginia Museum Fellowship

Pam Fox

Cynthia Henebry

Mavis In the Backseat, 2013 Archival inkjet print Edition 5/7 40 x 50 inches $5000 unframed


Cynthia Henebry

Mavis & Marshall, 2013 Archival inkjet print Edition 6/7 32 x 40 inches $4200 unframed


Cynthia Henebry

July 15, 1975, 2013 Archival inkjet print Edition 3/7 32 x 40 inches $2800 unframed


Cynthia Henebry Statement

Since 2011, I have been engaged in a photographic investigation of the relationship between the chaos and conflict that can exist in the adult world and the internal life of the child. My own autobiography guides this process, and informs the choices I make about the people I work with as well as decisions about how to depict them, and how to let them depict themselves.

I think a lot about growing up: how to do it well, and what happens when the parts of us that are meant to grow up don’t. How the eternal children that live within us pass things onto the children we are in charge of helping to grow up now: grief, joy, fear, isolation, anger, abandonment, pride. How we are all walking around with seven year old parts of ourselves manifesting as we trying to parent actual seven year olds, or run corporations, or uphold the law, or deliver the mail. I marvel at this every single day.

The collaborative aspects of the work are significant, and point to my interest in the grey areas between the children and me, then and now, truth and metaphor. Both the research and the experiential aspects of making the work explore the idea that the child is fundamentally “Other” to the adult, and attempt to articulate the consequences of this elemental yet universal disconnect.


Cynthia Henebry

Abbreviated CV

Lives and works in Richmond, VA


2014 MFA, Photography, Virginia Commonwealth University, Richmond, VA 1995 BA, Bates College, Lewiston, ME

Select Collections

Virginia Museum of Fine Arts, Richmond, VA Capital One, Richmond VA Private collections in NY, VA, NC

Select Exhibitions

2018 Kemper Museum of Contemporary Art, Kansas City, MO 2017 Art Museum of South Texas, Corpus Christi, TC Tacoma Art Museum, Tacoma, WA

2016 Outwin Boochever Competition, National Portrait Gallery, Washington, DC Solo exhibition, Sweetbriar College, Amherst, VA

2015 The Ones We Love, Camden Image Gallery, London Fusion: Art of the 21st Century, Virginia Museum of Fine Arts, Richmond, VA View Find 4: Photography, Page Bond Gallery, Richmond, VA Portraits Expanded, Brattleboro Museum and Art Center, Brattleboro, VT

2014 Camera Club of New York, Annual Juried Exhibition and Competition, Second Place, New York, NY This May Have Happened, David Weinberg Gallery, Chicago, IL Documentary: 19th Annual Photography Exhibition, Photo Center NW, Seattle, WA MFA Thesis, Anderson Gallery, Richmond, VA View Find, Page Bond Gallery, Richmond, VA

2013 These Rhythmic Seasons, group show curated by Nomadique, The Metropolitan Building, Queens, NY Philadelphia Photo Arts Center 4th Annual Competition and Exhibition, Philadelphia, PA Unbound!, Candela Gallery, Richmond, VA Emerged, Page Bond Gallery, Richmond, VA The Meeting of Parallel Lines, MFA Candidacy Show, Black Iris Gallery, Richmond, VA View/Find: The Photograph, Page Bond Gallery, Richmond, VA International Photographers Exhibition, Viewpoint Gallery, Halifax, NS Joyce Elaine Grant Exhibition, Texas Women’s University, Denton, TX. Juror: Sarah Kennel


Finalist, Outwin Boochever Portrait Competition, “The Outwin 2016: American Portraiture Today.” Camera Club of New York, Annual Juried Exhibition and Competition VCU Graduate Research Grant Review Santa Fe, Top 100 Finalist, Critical Mass Finalist, Taylor Wessing Portrait Prize, London Slow Exposures 2012, Honorable Mention Artists Wanted: Finalist, Exposure


Sally Mann

Untitled (Virginia), 1996 Gelatin silver print 30 x 38 inches Edition of 5 NFS


Sally Mann

Untitled, Antietam #20, 2000 Gelatin silver enlargement print 38 x 48 inches Edition of 5 NFS


Sally Mann

Untitled, Manassas #28, 2001 Gelatin silver enlargement print 38 x 48 inches Edition of 5 NFS


Sally Mann Bio

Sally Mann (born in Lexington, Virginia, 1951) is one of America’s most renowned photographers. She has received numerous awards, including NEA, NEH, and Guggenheim Foundation grants, and her work is held by major institutions internationally. Her many books include At Twelve (1988), Immediate Family (1992), Still Time (1994), What Remains (2003), Deep South (2005), Proud Flesh (2009), The Flesh and the Spirit (2010), Remembered Light (2016) and Sally Mann: A Thousand Crossings (2018). In 2001 Mann was named “America’s Best Photographer” by Time magazine. A 1994 documentary about her work, Blood Ties, was nominated for an Academy Award and the feature film, What Remains, was nominated for an Emmy Award in 2008. Her bestselling memoir, Hold Still (Little, Brown, 2015), received universal critical acclaim, and was named a finalist for the National Book Award. In 2016 Hold Still won the Andrew Carnegie Medal for Excellence in Nonfiction. The National Gallery of Art presented a critically lauded show, Sally Mann: A Thousand Crossings, in 2018. Comprised of 109 prints and several videos, A Thousand Crossings addresses complex issues relating to the American South and will travel internationally until the beginning of 2020. Mann is represented by Gagosian Gallery, New York. She lives in Virginia.

“Few photographers of any time or place have matched Sally Mann’s steadiness of simple eyesight, her serene technical brilliance, and the clearly communicated eloquence she derives from her subjects, human and otherwise – subjects observed with an ardor that is all but indistinguishable from love.”

— Reynolds Price, TIME


Sally Mann

Abbreviated CV

Lives and works in Lexington, Virginia


1974 Bachelor of Arts, Literature, summa cum laude, Hollins College

1975 Master of Arts, Creative Writing, Hollins College

Select Collections

Art Institute of Chicago, Illinois

Baltimore Museum of Art, Maryland

Birmingham Museum of Art, Alabama

Chrysler Museum of Art, Norfolk, Virginia

Cincinnati Art Museum, Ohio

Cleveland Museum of Art, Ohio

Columbia Museum of Art, South Carolina

J. Paul Getty Museum, California

Harvard Art Museums/Fogg Museum, Massachusetts

Hirshhorn Museum and Sculpture Garden, Washington, D.C.

The Metropolitan Museum of Art, New York

Milwaukee Museum of Art, Wisconsin

Minneapolis Institute of Art, Minnesota

Museum of Modern Art, New York Museum of Photographic Arts, San Diego, California

National Gallery of Art, Washington, D.C.

National Museum of Modern Art, Tokyo, Japan

North Carolina Museum of Art, Raleigh San Francisco Museum of Modern Art, California

Smithsonian American Art Museum, Washington, D.C. Solomon R. Guggenheim Museum, New York

Tokyo Metropolitan Museum of Photography, Japan Virginia Museum of Fine Arts, Richmond, Virginia

Whitney Museum of American Art, New York

Awards & Honors

Lucie Awards, Achievement In Fine Art, 2022

Winner, Prix Pictet, 2021

Inductee, International Photography Hall of Fame, 2021

Centenary Medal, Royal Photographic Society of Great Britain, 2020 Honoree, Gordon Parks Foundation, 2018

Winner, Andrew Carnegie Medal for Excellence in Nonfiction, 2016 Finalist, National Book Award, 2015

Honorary Fellowship, Royal Photographic Society of Great Britain, 2012 Speaker, Cy Twombly Memorial, Museum of Modern Art, 2011


Elizabeth Mead

Untitled Williamsburg G2 03, 2020

Archival pigment print on paper, mounted Edition of 5 18 3/8 x 26 3/8 inches $2000 framed


Elizabeth Mead

Untitled Williamsburg G2 02d, 2020

Archival pigment print on paper, mounted Edition of 5 18 3/8 x 26 3/8 inches

$2000 framed


Elizabeth Mead

Untitled Williamsburg G2 03c, 2020

Archival pigment print on paper, mounted Edition of 5 18 3/8 x 26 3/8 inches

$2000 framed


Fictional Reality: The Photograph and Its Object

In this current series “Fictional Reality: The photograph and Its Object”, I move back and forth between paper objects and the photographs I make of them. Reflections and transmitted light, glowing edges and silhouetted forms help them teeter between their being as objects and their being as phenomena of shadow and light. I use light, focal length, and implied relations of scale in the photographs to construct the beholder’s relation to the sculpture in a way that I consider to be the most important visual effects they produce while at the same time offering a view that is absolutely different from any beholder’s empirical experience of the sculpture. For instance, the shallow depth of field I use to emphasize a sculpture’s contour is not a feature of a real, human view of the object. The choice of lens and the presence (in most cases) of the horizon line as pictorially low and close in relation to the object, remake its relation to human scale in a curious, fictional way. I have come to see these divergences, between the sculptural and the photographic, as basically internal to the work as a whole.

Paper and string are modest materials. They are temporal. These are simple, innocent moments where the sober gesture of a fold or bend can evoke the fullness of a body part or create an architectural space for us to fall into. The way light reflects along the edge of the paper sets a line moving in space while the sweep of the plane absorbs the light’s warmth, which models its exterior and transmits a warmer light into its surface, so that the interior glows. A slight glisten from the Tyvek bound to the inside surface shifts the state of exterior to interior, reminding us of an inside and an outside. Loops and ends of string perform gestures, pulling the paper taught, dangling at its side. A subtle difference, a materiality that allows for containment on the one hand and quiet assertion on the other. All the while the fact that this is mere paper and string never quite escapes our mind, creating a tension between, on one hand, what simply is, these modest materials, and the thing or space we enter, on the other.

It is important that the light in the photograph not be artificial. The only light source is from my studio window. The object and the photograph are instantly and clearly recognizable as in and of the world we share while at the same time bodying forth one that is fictional. Important too is that the digital image is not cropped. Framing the object within the moment the image is shot ties the fictional space of the photograph back again to the world we inhabit registering it at a particular moment in time.

Elizabeth Mead Statement

Elizabeth Mead

Abbreviated CV

Lives and works in Williamsburg, VA


1991 MFA Southern Methodist University, Dallas, Texas 1985 BFA Philadelphia College of Art, Philadelphia, Pennsylvania

Select Collections

Meadows Museum of Art, SMU, Dallas, Texas President’s Collection, William & Mary, Williamsburg, Virginia Wolf Law Library, William & Mary, Williamsburg, Virginia

Select Exhibitions

2023 Dana L. Wiley Gallery, Dayton, OH

2021 Rawls Museum Arts, Courland, Virginia, “Fictional Reality: The Photograph and Its Object” 2016 Boliou Gallery, Carleton College, Northfield, Minnesota, “signatures/thoughts”

2013 Material Museum, UCL, London, England, “Material Matter(s)” Slade Gallery, UCL, London, England, “Around Round Rectangular Perspectives” Linda Matney Gallery, Williamsburg, Virginia, “ Various Objects: Things on the Horizon” 2009 Virginia Art Center, Tidewater College, Portsmouth, VA: “spaces/places/senses/ places/senses spaces” Seldon Gallery, Norfolk, Virginia: “Constellations: Sculpture and Drawings by Elizabeth Mead” Thompson Gallery, Furman University, Greenville, South Carolina: “Agglomerated Spaces: Sculpture and Drawings by Elizabeth Mead” The Gallery at the Macomb Center for the Performing Arts, Clinton Twp., Michigan: “The space between: New Work by Elizabeth Mead”

Awards Artist Registry (by invitation), The Painting Center, New York, New York, 2016-present Brooklyn Prize Award for Outstanding Artwork in the “Drawing Lines Across Mediums” Exhibition at SiteBrooklyn, New York

The Charles H. Taylor Arts Center, Hampton, Virginia, “Artist Who Teach” Merit Award Alexandria Museum of Art, “28th September International,” Alexandria, Louisiana, Honorable Mention


Amanda Means

Light Bulb 2, 2019 Pigment print, mounted 31 x 26 inches Edition 4/5 $6500 unframed


Amanda Means

Light Bulb 3, 2019 Pigment print, mounted 31 x 26 inches Edition 2/5 $5500 unframed


Amanda Means

Light Bulb 4, 2019 Pigment print, mounted 20 x 24 inches Edition AP2 $4500 unframed


Amanda Means Statement

Amanda Means has spent much of her artistic career exploring the mysterious and inspiring nature of ordinary household objects -- most noteworthy are the drinking glass and the light bulb. Specifically, the light bulb is an ordinary object and might be easily forgotten; however, Means penetrates the object with such vibrancy that we are enlivened in its presence. The light bulb truly becomes the symbol of “idea” or “inspiration” in her hands.

The Light Bulb is not a new subject for Means, she has spent much studio time creating black and white gelatin silver prints of a great variety of light bulbs, and has had the fortunate opportunity to explore the power of large format Polaroid film with the color light bulb as its focus.

Recently, due to the limited resource of large format color Polaroid film and her desire to revisit her beloved subject matter, the artist has chosen to work with a digital camera. Means uses many different color gels and numerous exposures to create these sensual, energy-filled glimmering globes. She describes feeling a visceral connection to the glowing light and sublime color emanating from these works. Much like a painter, Means mixes many different color gels to create these wondrous hues. The light bulb is transformed from its massproduced origins to an object of unique beauty and limitless potential.


Amanda Means

Abbreviated CV

Lives and works in upstate New York


1979 Apeiron Workshops, Millerton, NY: Intensive study with Ralph Gibson

1978 SUNY Buffalo, NY: MFA in Visual Studies

1969 Cornell University, Ithaca, NY: BA

Select Collections

Addison Gallery of American Art

Akron Art Museum, Akron, OH

Albright-Knox Art Gallery, Buffalo, NY

Avon Collection of Women Photographers, New York, NY

Cleveland Museum of Art, Cleveland, Ohio

MIT List Visual Arts Center, Boston, MA

Museum of Fine Arts, Boston, MA

Museum of Fine Arts, Houston, TX

National Gallery of Canada, Ottawa, Canada

National Museum of Photography, Film and Television, Bradford, England Nicola Erni Collection, Switzerland

San Francisco Museum of Modern Art, San Francisco, CA

St. Lawrence University, Canton, NY

The Los Angeles County Museum of Art, Los Angeles, CA

Whitehead Collection of Art, Boston, MA

Whitney Museum of American Art, New York, NY

W.M. Hunt - Collection Dancing Bear, New York, NY

Select Exhibitions

2021 Light Years!, University Art Gallery/University of Massachusetts Dartmouth, New Bedford, MA

2018 FOLDED REFOLDED CRUSHED CRACKED, Howard Yezerski Gallery, Boston, MA

2015 Biophilia, Nina Freudenheim Gallery, Buffalo, NY

2013 Glass + Light, Joseph Bellows Gallery, La Jolla, CA

2011 Glass + Light, Second Street Gallery, Charlottesville, VA

Howard Yezerski Gallery, Boston, MA

2009 Grounds for Sculpture, Trenton, NJ

Howard Yezerski Gallery, Boston, MA

Nina Freudenheim Gallery, Buffalo, NY

2008 Amanda Means Polaroid Light Bulbs, Bergdorf Goodman, NYC

Ricco/Maresca Gallery, New York, NY

St. Olaf College, Northfield, MN

“Looking at Leaves,” The Harvard Museum of Natural History, Cambridge, MA Gallery 339, Philadelphia, PA


2017 Guggenheim Fellowship, recipient in photography


Holly Morrison Virginia Coal, 2019 Archival pigment print Edition of 5 28 1/2 x 40 inches $2000 unframed


Holly Morrison Cleave, 2020 Archival pigment print Edition of 5 40 x 26 1/2 inches $2000 unframed


Holly Morrison

Burning Bowl, 2020 Archival pigment print Edition of 5 28 1/2 x 40 inches $2000 unframed


The use of the human figure in landscape photography has roots that can be traced back to the development of landscape painting. However, the relationship of figure to landscape in western culture has traditionally been one of dominance in relation to tenets of individualism and manifest destiny. The hubristic separation between humans and nature has led to the degradation of ecosystems, contamination by human industry, to anthropogenic climate change. As a response to the entanglements between human and nonhuman entities, I have selected images to represent peril, trepidation, and wonderment with a desire to create a porosity between culture and nature. I have set images to create a restless sensory movement from rumination to rumination, to subvert a perspective of dominance, to reveal a sense of vulnerability and instability, and underscore the crisis of the human epoch.

Holly Morrison Statement

Holly Morrison

Abbreviated CV

Lives and works in Richmond, VA


MFA Printmaking, Cranbrook Academy of Art, Bloomfield Hills, MI

BFA Painting & Printmaking, Kansas City Art Institute, Kansas City, MO


Associate Professor, Department of Painting + Printmaking School of the Arts, VCU, Richmond, VA

Select Collections

Ball State University Museum of Art, Muncie, IN

Capital One Financial Corporation, Richmond, VA

Cleveland Institute of Art, Jessica R. Gund Memorial Library, Artists’ Book Collection; Cleveland, OH

Cleveland Public Library, Louis Stokes Wing, public art commission, Cleveland, OH

Cranbrook Academy of Art Museum, Bloomfield Hills, MI

Detroit Institute of the Arts, Detroit, MI

The Federal Reserve Bank, Cleveland, OH

Louisiana State University, Hill Memorial Library Rare Book Collection; Baton Rouge, LA Muskegon Museum of Art, Muskegon, MI

Nelson Atkins Museum of Art, Kansas City, MO

Newport Harbor Art Museum, Newport Beach, CA

Progressive Corporation, Cleveland, OH

Southern Graphics Council Archive, University of Mississippi; Oxford, MS

State Library of Victoria, Rare Book Collection; Melbourne, Australia

Wesleyan University Museum of Art, Middletown, CT

Select Exhibitions

2022 WOMEN VIEW: Celebrating Women Photographers

2021 View Find, Page Bond Gallery, Richmond, VA

2020 Sequester, Virginia Museum of Fine Arts, Richmond, VA

2019 Text Me, Page Bond Gallery, Richmond, VA

2018 View Find 7, Page Bond Gallery, Richmond, VA

Nigel Rolfe: The Time is Now, Red Brick Art Museum, Beijing, China

2017 Current Art Fair, Page Bond Gallery, Richmond, VA

2016 Flux, SGCI Annual Conference, Portland, OR

View Find, Page Bond Gallery, Richmond, VA

1st International Biennale of Graphic Art Łódź, Łódź, Poland

Artlink 37th National Print Exhibition, Artlink Contemporary Gallery, Fort Wayne IN

2015 Veno-Gard Kunst, Venøy island, Selje, Norway

Arctic Action, Longyearbyen, Svalbard

2014 YouYou Contemporary Art Center, Guangzhou, China

2013 87th Annual International Competition, The Print Center, Philadelphia, PA

View Find, Page Bond Gallery, Richmond, VA (curated)


Angela Franks Wells

Rags, 2006

Copperplate photogravure Edition of 5 14 x 14 inches $1200 unframed


Angela Franks Wells Smithy, 2006

Copperplate photogravure Edition of 5 14 x 14 inches $1200 unframed


Angela Franks Wells

Tongs & Pliers, 2006

Copperplate photogravure Edition of 5 14 x 14 inches

$1200 unframed


Angela Franks Wells Statement

Labor is the foundation for which all life is built. We labor physically, mentally, and often without recognition. Raised by a machinist and a mechanic, the physicality of life in work, love, family, and play were emphasized daily and engrained in my being. We were always doing something. Dirty and cracked hands, metal shavings in hair, navy blue pants and shirts, steel toed boots, aprons, custom fit ear plugs, gloves, goggles, singe marks, tears in fabric, stains, aching muscles, cuts, bruises, burns, motor oil, solvents, dirty red rags, over-time, crossword puzzles with coffee, MAC tools calendars and mugs, tool boxes, hearty appetites and laughter, bear hugs, and tired smiles…this is what I come from.

There exists amongst us a group of skilled, talented, and dedicated individuals who take pride in doing a job right. They are masters, journeymen, and apprentices. They are blue collar. They use tools and work with their hands as well as their minds. Quality supersedes quantity in their efforts. Amid the smell of grease and solvents, the sound of clashing metal, and the taste of sweat, you can find a community of labor. This community exemplifies the core of being human. These images are part of a series which explores the oftenturbulent lives of the independent service provider; the individuals who have spent a lifetime learning and developing their skills and struggle to produce a service of labor through love of their craft. The reputation of their work is their livelihood.

My artwork captures and reflects that which embodies the essence of these laborers. Through countless visits and conversations about lessons in life I am slowly given entry into these communities. I engage the individuals, the space, the tools, and the objects looking for the quintessence of this way of life that lingers as activity continues. The process of copper plate photogravure embraces the power of the photographic image and the dimensionality of printmaking, as well as craftsmanship, dedication to skill, and creates beauty in an unlikely space. This technique, which takes many days to complete and requires much patience, commitment, and hard work, is a continuation of the communing with this subculture that has not only entranced me, but also created me.


Angela Franks Wells

Abbreviated CV

Lives and works in Greenville, NC


2006 M.F.A. Photography, School of Art, Arizona State University, Tempe, AZ

2000 B.A., Studio Art and Psychology, Scripps Women’s College, Claremont, CA

Select Collections

University of Wisconsin—Stephens Point

Arizona Organ Donor Society Northlight Gallery

Scripps College Library, Artist Book collection

Select Exhibitions

2019 Parts & Labor, Page Bond Gallery, Richmond, VA

2016 Seeing Light in Pike County, Slow Exposures Pop-up exhibition, Elliot Helms House Tenant Building, Zebulon, GA. Curator: John Bennette

2015 Seeing Light, Edna Carlsten Gallery, University of Wisconsin-Stevens Point, Stevens Point, WI Surface Tension, Erwin Gallery, East Caroline University, Greenville NC

2013 Copper Mine, Rowe Arts Galleries, University of North Carolina, Charlotte, NC (W/ Jason Lee)

2011 Copper Mine, Maison Fine Art and Antiques, Cottonwood AZ parts & labor. ArtSpace Gallery, College of Southern Nevada, NV Copper Mine, 515arts Phoenix, AZ

2010 Instantaneous, 515arts, Phoenix, AZ

2009 Happy Hour 9-5: new works from parts & labor. Tilt Gallery, Phoenix, AZ

2008 Somewhere. 515arts, Phoenix, AZ

2007 Brown Bagger, 515 arts Phoenix, AZ

2007 parts & labor, Tilt gallery, Phoenix, AZ

2006 parts & labor, MFA Thesis Exhibition, Harry Wood Gallery, Arizona State University

11 Women Photographers Catalog Design Rachel Crawford, Registrar Opposite Page Pam Fox, Six Cherries (Detail), 2018 PAGE BOND GALLERY 804-359-3633 P.O. Box 14551, Richmond, VA 23221

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