Syracuse University’s own Doug DuBois received a thorough write-up in The Irish Times about his current exhibition My Last Day At Seventeen, which is on view through December 23 at the Sirius Arts Centre in Cobh, Co. Cork, Ireland.
We’re proud to say that many of the prints from this exhibition were made at Light Work/Community Darkrooms. For more information about printing with us, visit our Digital Services page.
Transforming Video
Anneka Herre, Carl Lee, Jennifer Hsu, Mike Celona, and Yvonne Buchanan
November 4, 2012 at 2:00pm
Free and open to the public
TONY: 2012 video artists use single-channel and immersive installations to explore issues related to the environment, culture, race and our relationship with technology. Join the Everson Museum of Art for Transforming Video, an artist screening and discussion of what inspires these artists and how they transform their ideas using the medium of video.
Presenting artists include Anneka Herre, Carl Lee, Jennifer Hsu, Mike Celona, and Yvonne Buchanan.
More info at www.everson.org
Light Work Employee to be Honored with Fellowship and Reception
We are proud to announce that Light Work’s own James Suits recently received the SUNY Thayer Fellowship. Suits, a Syracuse based SUNY Empire State College student studying fine art, will be honored tonight at a reception at Central Arts Gallery, where he will share the work that won him the fellowship.
Reception hosted by SUNY Empire State College.
Refreshments will be served. Please RSVP.
Date: 10/24/2012
Time: 5:30pm
Location: Central Arts Gallery, 6333 State Route 298, 3rd Floor East Syracuse , NY 13057
Cost: free
Contact Name: Michelle Moretin
Contact Phone: (315) 460-3142
Contact E-mail: Michelle.Moretin@esc.edu
Thayer Fellowship
The Thayer Fellowship was established in 1985-86 by the late Walter N. Thayer, chairman of Whitney Communications, New York City, in honor of his wife, Jeanne C. Thayer, a SUNY trustee from 1974 to 1984 and an active supporter of the arts. The Thayers wanted to assist SUNY’s most talented young artists at the most difficult period of time for a young professional, when the struggle to make a living can overwhelm even the most dedicated individual. The fellowship helps the artist take advantage of important opportunities. Nearly 100 applications for the awards are received each year. The applications are evaluated by a panel of experts in the various arts disciplines. The finalists are then interviewed in person by the panel, and their work is reviewed during performances, readings, screenings and exhibitions. At the end of this process, the jury panel determines the winner.
ASMP WNY‘s 2012 Photography Business Bootcamp, a five-part series hosted by Newhouse School at Syracuse University and Light Work. Mark your calendars!
Community Darkrooms Member Spotlight
Ben Cleeton – Second Generation Member
Nineteen-year-old Ben Cleeton is a second generation Community Darkrooms member, student at Onondaga Community College, intern at the Syracuse Parks and Recreation Department, and a photographer with an impressive eye for detail, composition, and tonality ranges.
When Ben became interested in photography he was quickly steered to Community Darkrooms by his father, Bill Gandino, who first came through our doors in the 1980s when he was a staff photographer at Syracuse University. Gandino has work in the Light Work Permanent Collection and he taught black-and-white courses for Community Darkrooms from 1982–1990. His best-attended class was a Landscape Photography and Wine Tasting course that was supposed to be a few hours in duration but lasted much longer.
Gandino’s guidance to Community Darkrooms proved valuable for Ben – he has flourished both in the traditional black-and-white darkroom, where he enjoys printing class assignments on his favorite paper, and in the digital lab where he applies the skills he learned in the darkroom to his digital files. “I like to be able to come into Community Darkrooms and immerse myself in my work” Ben explains, “someone is always here to help me with technical questions, and it is reassuring to ask for the opinion of another member when I have aesthetic questions about my work.”
Community Darkrooms has the second round of fall workshops and classes starting next week! Take a look at www.communitydarkrooms.com and sign up for a positive do-it-yourself learning experience.
Underage #4, 2010, Ohm Phanphiroj
Ohm Phanphiroj’s recent photographic work focuses on underage prostitution in Bangkok, Southeast Asia’s “City of Angels.” His project Underage draws attention to an overlooked group in the discussion of prostitution in Thailand–local boys…Most of the boys confront the camera from the center of the frame in a stance of little-boy bravado…Some of the subjects turn away from the camera conveying a sense of introspection and sadness. No matter the pose or expression, their youthfulness is haunting.
–Jennifer Pearson Ymashiro, Director of honors and a lecturer in the Department of Art at Miami University Hamilton
Read the rest of the essay in Contact Sheet 167: The Light Work Annual 2012.
Subscribe to Contact Sheet here.
Through the simple and profound gesture of literally tearing up photos–snapshots of family vacations and daily life–Sherry Millner reveals hidden complexities of photography as, in her hands, the photographic image is cast free, no longer domesticated and fixed within a conventional habitus. Shards of images combined in a collage-like compositional matrix resonate in a different rhetorical register, pluralizing reference…Here, one absence stands for another, marked by the tear.
–Thomas Zummer, scholar, artist, and curator
Read the rest of the essay in Contact Sheet 167: The Light Work Annual 2012.
Subscribe to Contact Sheet here.
Untitled (sign 1), 2011, Calla Thompson
…Calla Thompson has achieved something quite remarkable in her Asylum series. With the seemingly simple, yet decidedly deliberate, decision of creating her photomontages within the tondo format, she has managed to conflate these two major aspects of pictorial configuration. The desire to bridge contradictions is not only apparent in Thompson’s formal choices but also in the title for her series as well as her subject matter. She wants “asylum” to be understood in its multiple and contradictory meanings, as a safe haven, refuge or sanctuary in a “Storm without end” on the one hand, and as an institution or place where one is held against one’s will on the other.
– Andrea Inselmann, curator
Read the rest of the essay in Contact Sheet 167: The Light Work Annual 2012.
Subscribe to Contact Sheet here.