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Ward Home in collaboration with Pittsburgh Filmmakers/Pittsburgh Center for the Arts presents
Picture This! Opportunity, Independence, Success
Pittsburgh Center for the Arts
6300 Fifth Avenue
Pittsburgh, PA 15232
January 14 - 21, 2011
Reception: January 21, 2011, 6:00 – 9:00 PM
Picture This! is a juried photography exhibit that will feature the works of professional photographers at Pittsburgh Center for the Arts in Shadyside. As a component of the collaboration, students from Pittsburgh Filmmakers will mentor Ward Home youth as they take part in a photography workshop taught by PF/PCA in preparation for the exhibit. Photos from PF students and the Ward Home teens will be presented in conjunction with the juried exhibition.
The exhibit wll culminate with Ward Home’s Gala event, January 21st at Pittsburgh Center for the Arts. The proceeds from the event will help Ward Home maintain and expand programs that allow continual creation of nurturing and constructive environment for teens, allowing them to grow into independent adults.
Since Robert B. Ward founded Ward Home in 1905, their continuing mission has been to prepare at-risk young adults to live independently while contributing to society. Supported by generous donations, Ward Home operates three Supervised Independent Living sites in Pittsburgh and provides In-Home services for teens in foster care or living independently.
Each year, Ward Home teaches and counsels approximately 150 teen moms, teen girls and teen boys critical life-skills, such as how to get an education, prepare for employment, manage their safety and well-being, and plan for their future. Ward Home’s dedicated staff has an impressive record of success. ALL of their recent graduates were accepted to college or chose to serve in the United States Armed Forces.
Ward Home’s goal is to create an environment where young adults can picture a different future for themselves. A future filled with promise and accomplishment, independence and opportunity. For more information about please visit: www.wardhome.org.
ELIGIBILITY
This exhibition is open to all artists in the region.
Work submitted must be original. Work should either be created specifically for this exhibition or suited to the theme. Work should have been produced within the last two years.
Two-dimensional work must be exhibit-ready, professionally presented and ready to hang. Work that differs from the digital image it represents will be rejected. PCA reserves the right to remove work that is deemed unfit to hang or stand.
Linda Benedict-Jones teaches courses in the history of photography. She is the Curatorial Chair, Exhibitions & Curator of Photography, Carnegie Museum of Art. Prior to this, she served as the Executive Director of Silver Eye Center for Photography in Pittsburgh, Pennsylvania. She also served as Curator of Education at Pittsburgh's Frick Art & Historical Center, as well as Guest Curator at Pittsburgh's Carnegie Museum of Art, where she co-curated the major exhibition Pittsburgh Revealed: Photographs Since 1850. Prior to moving to Pittsburgh in 1993, Benedict-Jones was Curator of the Polaroid Collection in Cambridge, Massachusetts and before that Director of Polaroid's Clarence Kennedy Gallery. She earned a Master's Degree in Visual Studies from Massachusetts Institute of Technology in 1982.
Include with the submission form:
1 · DIGITAL ENTRY *
All work will be juried by digital submission.
Artists may submit up to five (5) pieces for consideration.
All files must be in jpg format. Resolution should be set at 300 dpi with the longest side of the image no more than 8 inches. Files must be named using last name followed by first initial followed by two-digit number followed by title of piece.
Example: SmithJ01Title.jpg
Each entry must be represented by one full digital image that accurately reflects the work submitted.
Digital images must be submitted on a CD. Discs should be sent in a jewel case. Both disc and case must be labeled clearly with the artist’s name.
2 · TRANSCRIPT OF WORKS
Include a list of works represented in the application portfolio as a separate .doc or .pdf document. Include artist's name, title of work, date, medium, and dimensions. Include a one-sentence description of the work if necessary.
3 · ENTRY FEE:
Please include a $5 check or money order with your submission, made payable to PF/PCA.
AWARDS: First Place: $100.00, Second Place: $75.00, Third Place: $50.00
INSURANCE: Work will be insured while on exhibit at PCA. A Condition Report will be completed by each artist for all work exhibited.
SALES: PCA Shop handles all sales from exhibitions. A portion of sales from Picture This! will benefit Ward Home.
CALENDAR:
November 11, 2011: Digital Submissions Post mark Deadline Due to PCA
December 2, 2011: Notification of Artists
January 9, 2012: Drop-off Artwork at PCA
January 14 – 21, 2012: Exhibition on View
January 21, 2012: Ward Home Gala
*Application materials will not be returned.
CONTACT INFORMATION
Rachael Cooper, PCA Assistant to the Director, rcooper@pittsburgharts.org
Webinar on MFA Photography Programs in the United States: Visual Studies Workshup/SUNY Brockport and Rebecca Nolan on the Savannah College of Art And Design
November 17, 2011
9:30 PM East Coast (6:30 PM Pacific Time)
register by November 15 (space is limited) registration $3.00
go to http://www.vasa-project.com/workshop/view.php?ws_sel=MFA%20programs
BLACK & WHITE – 2012 Themed Exhibition
Entries Accepted: Through Friday, December 16th 6pm
Exhibition: Friday, February 3rd through 26th
THE JUDGE:
Chris Bennett, Newspace Executive Director
Newspace Center for Photography invites photographers to submit images for our Annual Themed Exhibition with the theme “Black & White”. This year we want to investigate and celebrate the beauty of black and white photography in all its glory, exploring the many methods and techniques available to photographers today, be it alternative process, digital, or traditional film.
EXHIBITION DETAILS
Those accepted into the show will be notified within one week after the deadline and will be posted on our website. Selected photographers will exhibit at Newspace from Friday, February 3rd through Sunday, February 26th, 2012 with an opening reception Friday, February 3rd 6-9pm.
ENTRY DETAILS
To enter you can fill out the entry form and mail it in with your cd of images OR you can use our new online entry system below.
The entry fee is $10 per image and you may enter as many images as you like. Newspace members may enter two images at no charge. To submit your two free members images you must fill out the entry form and submit it with your images on a CD. (Sorry we are unable to customize the online system to accommodate this) All other entries may use this form or our new online entry system below. Entry materials will not be returned.
If using the mail in form, the images need to be 300 dpi jpg files no larger than 7 inches in its longest dimension. Each jpg file must be titled with your last name, first initial, “underscore” and the correlating number to match the entry form. For instance Mike Smith would be SmithM_1.jpg. The CD itself must be labeled with the photographer’s name. Materials will not be returned. Sorry no slides or prints.
Instructions and guidelines for online entries will be found once you log into the online system.
Send your completed entry form with a CD of images to:
Newspace Center for Photography
Members’ Showcase
1632 se 10th ave.
Portland, OR 97214
Link to the site here: http://newspacephoto.org/gallery/call-for-entries
On Friday, October 28th, Point Park welcomed photographer Christin Boggs to come speak about her work for our Speaking Light series, which seems to be growing in popularity with every lecture. After the peer portfolio reviews that occur an hour before the lecture, which had an improved turnout of student portfolios this month, we gathered into the JVH auditorium for Christin Boggs to speak about her new work, Slow & Steady. Christin explained that her work is primarily food subject matter because food has been a topic of interest for her since she was young. After being a child of the unhealthy fast food culture and learning the unfortunate nutritional facts of these types of products, she began to try to eat healthier and research her diet more. For most of her college career, she made interesting images that artistically displayed food, one of them being a set of images of a potato being eaten bite by bite next to a set of images of french fries being eaten piece by piece. She also created a project where she made a calendar and for each day, she placed an image of her breakfast that morning. Although she enjoyed creating images in this way, she found that she was hating the monotonous nature of her eating habits and that she was eating out of necessity rather than enjoying the food. She decided to search for something more.
The solution to her relationship with food was found locally. She started researching how to participate in the locally grown food movement and eventually started working on
some of these community supported agriculture (CSA) farms. In her second year of grad school, she had photographed about 30 farms around Rochester where she is originally from. She found that she loved working with the food that was being grown on these farms and the care that was being taken with it. It started mending her relationship with food in general and fueled her inspiration to photograph this subject matter even more. Her passion for locally grown food took her all the way to Ireland this past summer, where she went as a visiting artist to Cow House Studios, an art program which is located on a working farm in Wexford. She continued to capture images of the farms in Ireland just as she had in the United States and went out of her way to research other community farms she could visit while she was there.
Although this was a lecture from a photographer on her most recent work, I found that it was more of an inspirational talk for helping find one’s passion in life. Not every person’s passion is going to be for food and local farming like Christin’s, but she was a great example of what passion looks like. She is dedicated to her work in a way that every photographer needs to be. There needs to be a drive to research our subject matter or to go out of our ways to make the most exceptional art that we can. This passion should be the fuel for what we do and what we make, and although Christin may not have come out and said that, any person could see how she admired and loved what she had created as she spoke of her images. It was nice to hear her stories that came along with her images and not just how she took them. She proved that photography is a lifestyle and something that the true artist needs to commit a great amount of their time to.
If you would like to see more of Christin Boggs’s work, you can check out her website at christinboggs.com and if you would like to attend a Speaking Light lecture, we have one more this semester with Filippo Tagliati on November 18th.
The rest of the Speaking Light schedule goes as follows:
November 18 – Filippo Tagliati
January 27 – John Holmgren
February 24 – Tom Persinger
March 30 – Stephen Chalmers
As always, the lectures begin at 6 p.m. in the JVH auditorium on the second floor of Thayer and there is a peer portfolio review session an hour before each lecture at 5 p.m. right outside the JVH. Come join us and share your work and even more importantly, show your appreciation for your fellow photographers. A special thanks to Christin Boggs for coming to speak with us; it was greatly appreciated! Thank you to everyone that attended and see you November 18th for Filippo Tagliati!
"The Internet provides an expansion of what photography can be." - Andy Adams
We have just started the panel discussion entitled Photo 2.0- Online Photographic Thinking. Andy Adams serves as the moderator, a photographer who likes to share photographic ideas and promote photographic discussions throughout social media and the Web. If you haven't heard of him, look up Flak Photo on Twitter or Facebook. I just did and I'm already hooked.
The panelists are three photographers Mr. Adams looks up to: Amy Stein, Molly Landreth and Philip Toledano.
Alas, I must pay attention. Check out Flak Photo and join the discussions!
- Camelia Montoy
Junior Photojournalism
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| From left: Madeline McKain (junior photography), Camelia Montoy (junior photojournalism), Remington Brooks (junior photography) and Patrick Millard (professor). |
6. Jurors:
Jaime Ferreyros, iPhoneographer/TV Producer
Laurie Escobar, Assistant Director, Diana Lowenstein Fine Arts, Miami
Aida Tejada, Professional Photographer/Artist
Gerardo Gonzalez-Quevedo, Co-Owner Artspace Gallery Miami/Artist
Once you pay the submission fee, you will be directed to the submission page (no more than three images).
Remember to include artist’s name and title of each image.
iPhoneography Miami 2012 Submission – $20
Jamie Russell
Scene Sur / Real Seen
Since photography’s inception in the early nineteenth century, people have been captivated by its ability to portray reality. People were able to see new lands, people of different cultures, and many other experiences that they could have never seen under any other circumstance. However, once photography became more accessible to the general public, people learned that a photographer had the ability to manipulate what appears to be true. Since this discovery there has been constant debate about whether photographs are true representations of reality or not. Many artists today use this to their advantage and thrive.on the fact that viewers can never be sure whether the photograph is an accurate depiction.of reality or a clever ploy implemented by the photographer to alter the viewer’s perception of a situation. Jeff Hutchens has been creating work on the surreality of life in China for the past few.years in a series called Scene Sur / Real Seen. These works are a perfect example of a photographer’s ability to alter a person’s perception of reality.
Hutchens captures what he calls “quiet moments in China’s obscure corners” in dream-like photographs that make China seem like an entirely different world than the one we, as Americans, live in. Although the people in the images are doing normal daily activities, like riding a bike, walking to work, or attending a party, the way the images are captured make the viewer feel distanced from the person in the image. The person in front of them makes the viewer feel as though they are different, and the person pictured is an other in a foreign world where nothing is quite as is at home. Many Americans are pictured with something that allows other people to identify with them, such as a baseball cap supporting their favorite sports team, a famous restaurant behind them, their beloved dog, or their place of work. None of the people pictured in the images shot in China have an identity. Because of this, China appears to be a cold place where no one is particularly friendly; a place where the identity of the individual is lost to the mass of the country and the day to day life of the commoner.
In Figure 1, the men pictured are clearly in an urban environment because of the tall apartment building and decaying blue fence, which are the main focus of the photograph. The men in the image are stripped of their identities- you cannot see their faces, what they’re wearing, or even where they’re going. The dark tones and soft focus augment the somber, isolated feeling of the image. The individuals in Figure 2 remain nameless, without identity, and without purpose; they simply show the comings and goings of the vast number of people that pass through the vividly colored space, and represent the masses immersed in their culture; who are no longer seen as individuals. Figure 3 shows a large group of people at what appears to be a party or festival celebrating the people’s heritage, which once again puts the individual into a non-individualized group. The identity of the people is lost to their environment, which Hutchens effectively conveys throughout this series of images.
Hutchen’s work is often a hybrid between documentary-style photography and fine art photography. This shooting style worked to his advantage in this series because those who have viewed his work before know him as a straight-forward artist and wouldn’t expect him to create such an opinionated piece of work. Although the images appear dream-like, romantic, and pleasant at first, after looking at the images for some period of time, the viewer realizes how disconnected they are from the people photographed throughout.the entire series and eventually become disenchanted with it all.
Although China has its faults, just as every other country, it is often thought to be a colorful, bustling, center of the world, with interesting and important people; however in this series it is depicted as a lonely, impersonal place, with impolite and miserable people; which is why this series is a 
perfect example of the photographer’s ability to alter one’s 
perception of reality.
Figure 1
Figure 2
Figure 3
The River Project - Art Prize 2011 - Excerpt from Filippo Tagliati on Vimeo.
