Reception Recap: 2018 Newhouse Photography Annual

By Andrea Henderson

2018 Newhouse Photography Annual is on view in Light Work’s Hallway Gallery through July 27, 2018. Exhibiting student photographers include Marianne Barthélemy, Colleen Cambier, Bryan Cereijo, Haoyu Deng, Kathleen Flynn, Shweta Gulati, Chase Guttman, Shuran Huang, Joshua Ives, Evan Jenkins, Zachary Krahmer, Fiona Lenz, Tingjun Long, Claudia McCann, Todd Michalek, Moriah Ratner, Jessica Sheldon, Erika Sternard, Ashley Tucker, Austin Wallace, and Cassie Zhang.

Selfies with artists, echoes of laughter, and brief photo-explanatory conversations filled the Light Work Hallway Gallery on March 29, 2018, as students, staff, and community members took in the 2018 Newhouse Photography Annual. Light Work proudly hosted the exhibition of more than 25 stills by graduate and undergraduate students from the S.I. Newhouse School of Public Communications Multimedia Photography and Design Department. Their work—talented in vision and accomplished in technique—covered a range of topics, including images from the Syracuse refugee community, holiday traditions, and various styles of portraiture.



Light Work partnered with Newhouse’s MPD department to encourage students to create quality work in the community and to then produce a group show in this space to exhibit their work to the general public. The last time Newhouse students showcased work in the Light Work Hallway Gallery was 11 years ago, but Lorraine Branham, Dean of the Newhouse School, said she is delighted to return to Light Work and hopes that the next such collaboration occurs well before another decade passes.



Photography graduate student Zachary Krahmer traveled to Colombia last year and captured photos of the women and men fighting in the civil war there and the aftermath of the battles. He chose to use wet plate photo processing to create images that document conflict resolution groups within Colombia. Krahmer shot more than 80 stills, but for the Light Work exhibition he chose two from his series, Santa Lucia, Ituango Municipality, Colombia/Maritza, Member of the 18th Front of FARC, Colombia, days before demobilization.



For the Newhouse Photography Annual display, students chose to shoot a wide variety of subjects. Shuran Huang said the community always inspires her to produce photos that reflect the souls of societies and the people who add life to common activities. This explains her affinity with Collin’s Barber and Beauty Shop, a three-generation African-American salon that has serviced the Syracuse community for half a century.

A large crowd including faculty and local photographers attended and expressed enthusiasm about the students’ work. And so did Dean Branham, who walked through the exhibit greeting students with excitement and satisfaction.



She said the photographs, “show us how many great possibilities there are for collaboration and what great opportunities there are for our students. And I hope going forward that we will make the most out of these kinds of opportunities. I’m so proud of the work that they have done here.”

During the formal part of the reception, Light Work director Shane Lavalette acknowledged the Newhouse students’ work and expressed his gratitude for their participation. “This really shows the diversity of not only photography now, but of visual storytelling, and I’m excited to follow the work of all the students.”



To see all the images, visit the Hallway Gallery at Light Work in the Menschel Media Center on Waverly Avenue. The 2018 Newhouse Photography Annual exhibition will be up until July 27, 2018.

Tim Maul on Artist Keren Shavit’s “Broken Kayfabe”

2014 Light Work Artist-in-Residence Keren Shavit’s Rabbits (a.k.a. Oryctolagus Cuniculus) is part of AKIN: Keren Shavit & Eva Marie Rødbrom, the first exhibition in Urban Video Project‘s 2018-2019 curatorial program. AKIN will on view at the UVP Everson Museum of Art architectural projection venue from February 15 through March 31, 2018. Vanguard filmmakers Keren Shavit and Eva Marie Rødbrom will be present for an indoor screening of additional selections of work and a Q&A with the audience on Thursday, March 8 at 6:30pm in Watson Theater at Light Work.

UVP is a multi-media public art initiative of Light Work and Syracuse University, and an important international venue for the public presentation of video and electronic arts. For more event and exhibition information, please visit www.urbanvideoproject.com.

Given Shavit’s current exhibition with UVP, we decided to dig into our archives and share the following essay about her work, written by Tim Maul, and originally published in Contact Sheet 182: Light Work Annual 2015. Tim Maul is an artist and art writer who lives in New York, NY.

Keren Shavit’s forthcoming publication Broken Kayfabe will defy casual interpretative reading of its challenging assembly of images and text. Culled from her extensive archive of self-produced photography and video, Broken Kayfabe constitutes a metafictional tale centered on a cast of characters inhabit- ing a clique of young people working in a greasy, fast-food chain in Haifa, Israel. The ravaged individuals that populate Shavit’s images are not directed in any imposed mis en scene but function as puzzle pieces moving within a dense narrative concerning the group’s fixations on the Von Erich professional wrestling dynasty, which they fantasize joining. Peti, (“gullible” in Hebrew) the central female character, is the haunted peg this morphing story is hung upon. Her initial goal to attend the Von Erich match in Israel (an actual event) is thwarted, and she emerges as a mutable, tragic figure in a maelstrom of lurid and o en distressing photographic content. The symbols (fast- food employee cap) and markers (eating, food) dispensed throughout Broken Kayfabe are highly unstable signifiers exemplified by the Von Erichs themselves, their history fraught with deception, suicide, and internal struggles over legitimate use of the Von Erich name. Shavit has built an array of oblique documentation into a construct that, despite the seriality of any page, will deflect narrative by radically dissociating image and text.


Keren Shavit, from Broken Kayfabe

Attracted to hermetic clans, Shavit courts acceptance and inserts herself into family units and social groups that o en exhibit unusual behavior or militant disregard for conventional norms. Once within, Shavit documents and mediates events captured on a battery of cameras: moving, still, and iPhone. Shavit’s project originates more from cinema than still photography, threading through the documentaries such as Joe Berlinger and Bruce Sinofsky’s Brother’s Keeper (1992) and primitivists like the Kuchar brothers, early John Waters, Harmony Korine’s Gummo, and the unsettling oeuvre of David Lynch. Lynch’s sumptuous dream film Mulholland Drive (2001) corresponds with the glamor-deprived Broken Kayfabe with its embedding of symbols like a blue key, an empty sign that, when pro red, returns the labyrinthian plotting back to mystery genre with its (false) promise of final revelations and a restoration of visual order.

Shavit’s still photographs, produced by a range of amateur technologies, are blunt and harrowing. Favoring raw texture and high contrast color, her reflexive in-camera compositions appear organized around our discomfort. While coy or voyeuristic portraiture o en maintains a self-preserving distance from its subjects, Shavit situates herself in the action located in unspecified claustrophobic settings. Unlike the supine addicted families of emaciated beautiful losers in Corrine Day’s or Jessica Dimmock’s photography, Shavit’s people, when not in repose, engage in hectic activities where aging bodies crowd into a frame awash in garish patterns amid accumulations of clutter. In both content and lurid coloration, a resemblance exists between Shavit’s images and British photographer Richard Billingham’s notorious 1996 body of work around his troubled working-class family. Billingham’s pictures cruelly recall a grotesque Monty Python skit depicting “the worst family in Britain,” with Mum ironing a cat with the son, played by fantasy director Terry Gilliam, screaming for baked beans from a couch.


Keren Shavit, from Broken Kayfabe

Shavit’s pursuit and integration with perceived outsiders are primary source material gathering repurposed, for the artist, into the unwinding tale of Peti and her circle. Scavenging her own corpus and deleting any explanatory backstory precedes an image’s enlistment into Broken Kayfabe performing a surrealist act of detournement upon her own production, and in this Shavit emerges as highly original. Shavit’s pageant of glistening bearded men, cavorting seniors, wrestlers, monstrous rabbits, and haggard fast-food employees may be interpreted as a dream world or alternative universe. Indeed, Broken Kayfabe is an amalgam of doppelgängers, tangential distractions (Hitchcock’s “MacGuns”), and enough recurring symbols to hold us in paranoid thrall. Employing multiple perspectives and imaging formats can suggest avant-garde cinema at its most hallucinatory, but I propose that Broken Kayfabe, in its structure, relates closely to the autism or Asperger’s condition, where the slippage between what is seen and what is named resists even temporal registration into contextual narrative. Individuals with these disorders may construct densely plotted, hand-rendered epics resembling storyboards or pictograph friezes not to express or communicate, but to slow reception of a delirious exterior world where language and appearance never align.

Kayfabe (pronounced kay-fabe) is a term pro wrestling insiders use for active plot, storyline, and events inside the ring. A broken kayfabe applies to an incident in the match that temporarily ruptures the fourth wall between the wrestlers and an audience that expects a continuation of the agreed action that the sport’s emotional and physical content is real. Aficionados of wrestling have detected a growing trend of these, perhaps, intentional lapses within the ring and speculate online how it will alter the future of the industry. Keren Shavit’s Broken Kayfabe project occupies a similar, convulsive space between the documented fact and the elaborate action it purports to illustrate.

Light Work at The Photography Show 2018, Presented by AIPAD

Light Work is proud to exhibit at the longest-running exhibition dedicated to the photographic medium, The Photography Show presented by AIPAD, April 5-8, 2018 at Pier 94 in New York City.

Find us at The Photography Show to view and purchase limited-edition prints from our Fine Print Program, as well as a selection of signed photobooks. All purchases will begin or renew your subscription to Contact Sheet!

For a preview of what we’ll be showing, visit our profile on Artsy.

See you soon, NYC!

A Conversation with Justyna Badach

Justyna Badach, refugee, Philadelphia-based artist and museum professional, has brought her work to Syracuse. Badach’s Land of Epic Battles solo exhibition, on display now at Light Work, explores the hyper-masculine world of Islamic State group recruitment videos and exposes the futility of war.

Being able to create art about violence and masculinity is important to Badach, both as a woman and as an immigrant. Land of Epic Battles is a series of large, handmade dichromate prints composed using film stills from IS training videos. The Daily Orange talked with Badach about her work before her February 1 opening reception. The exhibition is on view through March 2, in the Kathleen O. Ellis Gallery.

Jony Sampah: Can you please tell me what you’re working on?

JB: Well, I’m still working on the Land of Epic Battles series. There are a couple images in that series that I’m working on printing. And then, there’s a couple of offshoots of that body of work that I’m developing currently.

JS: How would you characterize your art? What is the mission of your art?

JB: Well, I have a research-based practice that involves looking at masculine tropes and how they’re communicated through popular culture. So, this is sort of the foundation of my work, and also I am looking at how I, as a woman artist, fit into the long history of masculine tropes within art.

Untitled Video Still (Palmyra #2), 2016

JS: What influenced this project?

JB: I actually have been working with appropriated imagery for a bit. In 2001 I had another body of such work in a solo show at White Columns. It was called Untitled: Epic Film Stills. And those were from movies like Wyatt Earp and Young Guns. I was also going through those films and looking for the single frames of landscape that appeared to be unclaimed, and primarily I was interested in that because I am an immigrant, a refugee, and the space of those films was very macho. It seemed to be very much tied into how I could access that space, both metaphorically and physically, as a woman and an immigrant, and kind of appropriate that history for myself. I was looking for these landscapes that were empty and I was picking up the single frames out of those movies. So I was working both as a censor and an editor within the context of those films. What I found is that these films seemed to fall into several categories, like mountains, plateaus, sunrises, and sunsets. And the images tended to look very similar from one film to the other. So those were then arranged into these kinds of sequences and printed (they were color, kind of very bright colors reflecting colder color). At that time it was still filmed that was being used, so very much a palette of Hollywood cinema. And then they were printed and mounted to curved aluminum so that they look like sculptural forms that float in space, resembling drive-in movie screens. I had a solo show of that work at White Columns in New York City that opened the Friday right before September 11th. So this show had been open for three days when the bombing occurred. The gallery is on 13th street, so the show closed, and I always felt like the work was cursed. The pieces were purchased, but they weren’t really shown again after that. I had put that work aside and started another body of work that involved the interiors of men’s homes and how they create these museums of the self.

Untitled Video Still (Killing the Apostates in Revenge for the Monotheists, Khurasan), 2016

JS: What are your long-term goals as an artist?

JB: My long-term goals are to continue making work, to push the boundaries of the medium, and to also push the boundaries of what kind of work is considered acceptable for a woman to create. A lot of the work that I do, the response that I get is like, when I was doing my bachelor series, people would ask me if my husband was okay with that, as if I need permission. And with this work, a lot of people ask, “Are you scared?” The idea of a woman working with subject matter that is violent, or to some extent threatening, is not readily out there. I think if a man were doing this work, it would have a very different response because there is this tradition of glorification of war. Most of those tableau-type paintings were done by men and it was, again, geared for a male audience. As a woman, I’m interested that we also live in a world that’s affected by war and violence. So I think it is important to have the female voice in that conversation. And so for me, that’s my goal: to really interject the female voice into what is essentially a global situation that we are also part of and yet oftentimes we are left out of the conversation.

JS: How did your relationship with Light Work start?

JB: I had a residency at Light Work in 2011 and that was the start of the relationship. I spent a month there working on printing the bachelor series and they’ve been tremendously supportive throughout my time as an artist. They’ve printed for me and John Mannion, who’s the printer there, is a huge resource. I just find them to be very open and willing to take on challenging work. I think because they’re a non-commercial space. They don’t have to worry about work that might be challenging or confrontational and yet important in terms of the dialog. I get their publication, Contact Sheet, and I just feel like they are a beacon for really important work that’s happening. They’ve had a lot of foresight in terms of recognizing artists who are doing important work and getting their foot in the door and giving them support at really critical stages in their careers.

JS: How do you think Light Work has helped you bring your art to the world or achieve your goals as an artist?

JB: For me, when I did the residency, it was a huge help to have a month to work on just my own work. I tend to be pretty rigorously focused on work but having the time to just be there, seven days a week, working on things, was really great. I tend to think that I could get more done than I do and so sometimes I’m really frustrated. Because I have all these ideas for work that I can’t produce as quickly as I have the ideas. So having the support of their staff was really crucial. And I did have a lot to do with that body of work, more than I thought before I arrived. And out of that residency, I basically had a traveling solo show and a publication and an artist’s book. So, they were hugely important. I think had I not had that residency, it probably would’ve taken me a year, maybe even a year and a half, to finish all the work that I did in a month there. And then in this case, I feel like we’re in a precarious time right now due to this discussion of ISIS and the global network of terrorism and what it means, and also of men, and how the social changes are taking place now in terms of where men fit into society, and what drives joining these groups and getting immersed in this dark culture on the web and becoming consumed in it. I think it is an important discussion to have. Because there are clearly changes happening in the social fabric on the global scale and these terrorist groups are symptoms of that. I feel like much of the discussion revolves around government propaganda or trying to calm the masses, yet it’s not really addressing what’s driving people to join these kinds of groups. So I think that Light Work, rather than pushing work that’s decorative or easy, has taken a huge step. And again, the catalog is a huge thing for me, to have the work together in book form along with this larger body of work. Because the images are not singular. They’re meant to be seen as more than one or two images. So the opportunity to have a sequence of images together, which is how I tend to work, is really important to understanding the work overall. And it’s really important, what they’re doing for me as an artist now that the work has come together as a body.

“Land of epic Battles” exhibition, Kathleen O. Ellis Gallery, Light Work, Syracuse
Photograph: Julie Herman

“Land of Epic Battles” exhibition, Kathleen O. Ellis Gallery, Light Work, Syracuse
Photograph: Julie Herman

JS: Let’s talk about gender. You previously mentioned how your work is influenced by you being a woman. How do you think being a woman makes you view these things differently?

JB: There’s a philosopher, Alain de Botton, and in The School of Life, he talks about changes in current society in terms of rituals that propel people from being children into adults. So, he says that, traditionally, mandatory military service in Eastern Europe served as a kind of ritual as you went from being a child to being an adult and marked a certain stage. Once you passed through this stage there was a level of respect and belonging, but now many of these societal spaces have been dislodged. That military service no longer exists for men. For women, he also talks about how marriage and childbearing are no longer important. But he says that women have adapted better to the breakdown in these social norms and in many ways they have benefited women. But men somehow have kind of become boys who are lost. So, they’re looking for a sense of belonging. Botton says there are actually two places that men could go: either to this global consumerist, competitive market that’s essentially about making money and accumulating wealth, but with no point. You’re just accumulating and competing for the sake of competing, but there is no meaning attached to it. Or you drop out. And he talks about the many boys who drop out and what they’re drawn to. The body becomes this point of sacrifice. It’s something that’s basically used up. And so, in that respect, as a terrorist somebody can easily say “okay” to blowing oneself up, since the body is this useless thing to be sacrificed, it has no meaning. That could be something attractive for somebody in that frame of mind. As a woman, I think often times I’m somebody looking from the outside in at a violent culture and trying to understand that. And I think in many ways, as I said before, women are fundamentally affected by male culture because we’re still living in a male culture. And so, the decisions that men make about wars, about conflict, women suffer the consequences of that and yet have very little voice. And I think there’s a cultural glorification of conflict and consumerization of conflict. Even reality TV is all about driving conflict, right? As a way of selling to audiences. I’m trying to understand all that, and as a woman, I feel like it’s just such a dangerous territory to be slipping into culturally and socially.

Untitled Video Still (Ahmed al-Rifi Shrine Ta Afar), 2016

JS: Why did you choose to bring your art to Syracuse?

JB: I think amazing art happens in many places. If I were interested in a commercial gallery, Syracuse probably is not the place because there just isn’t the collector base. But you guys here at Syracuse University have an amazing art history program. You guys have an amazing school of journalism, there’s also an amazing art program. You guys are actually in a place where there is a lot happening. This kind of belief that art only happens in big cities, I think is foolish. I don’t think that big cities are necessarily the best places to make art. And I don’t think that the audiences for art are necessarily the best in big cities because you’re essentially competing with so many different things. Sometimes work that’s more difficult and requires a little bit more time of the viewer is just going to get glossed over in a big city because there are flashier, easier things to see. So, I think Syracuse actually is a really great place with a lot happening. There’s a huge intellectual community, and it’s very highly respected, and a network of people who are doing really great things. So I’m really excited to be here.

JS: What is your opinion on the NEA/NEH/CPB cuts and how do you think they affect people’s attitudes towards the arts?

JB: I actually am a museum professional. I work at the Philadelphia Museum of Art. So, the Trump budget on the arts affects me on so many levels as an artist, but also as somebody who is entrusted with caring for the cultural heritage of this country and keeping it safe and visible for future generations. The NEA has been an easy target for ultra-conservative politicians and groups since the 1980s. It’s very sad because, I think on many levels, how a society treats its art programs and cultural programs speak volumes about who they are and what that society values. If you look at countries that have corrupt governments, or governments that are weak and falling apart, they also tend to lack art, funding. And in many ways, the arts are intricately tied to innovation and to intellectual development in this country. People come specifically to the United States because of the arts. People go to museums, they want to go to the MET, they want to go see Lincoln Center. And so the cuts are a huge step backward. But I also think the arts are an easy target because it is easy to say, “Well, the arts don’t serve a purpose.”

Untitled Video Still (Killing the Apostates in Revenge for the Monotheists, Khurasan), 2016

JS: My last question is, how do we get people to care about the arts?

JB: I think dialog is important. There will always be people who are not going to care. Art is a little bit like a gift, and the person needs to be ready to receive it. You might be giving them the gift today, but they might not be ready to receive it until ten years from now. But that doesn’t mean that you shouldn’t give it to them. Because in ten years they might have this awakening and say, “Wow, I remember when I saw that and that’s what that meant.” So I think it’s important to engage people in the dialog. And it’s important to have art that not necessarily just about them.

I know there’s a push for creating work that people see themselves in and, yes, that is important. But it’s also important that people see others in the work because they need to step outside of their own mind and be able to step into the mental space of somebody else. It’s just as important that they inhabit a world that’s completely unfamiliar, foreign, that they didn’t realize existed. That’s how you expand yourself and your psyche.

Justyna Badach’s family arrived as refugees in the United States in 1980. She currently resides in Philadelphia, where she is an artist, educator, and museum professional. Her work has been exhibited extensively in the United States and abroad and is in the permanent collections of Cranbrook Art Museum, Portland Art Museum, Museet for Fotokunst Brandts, Odense, Denmark. Her artist book is in the Special Collection at the Rice University Library, Houston, TX, Temple University, Philadelphia, PA and Haverford College. Her work has been exhibited internationally, including; Queensland College of Art Griffith University in Brisbane, Art Wonderland Space in Copenhagen and the Temple of Hadrian in Rome to most notably in the US at the Corcoran Gallery, D.C., Portland Art Museum, James A. Michener Art Museum, Doylestown, PA, and Catherine Edelman Gallery, Chicago among others. Badach participated in the residency program at Light Work in 2012.

Light Work Receives 2018 NEA Art Works Grant

National Endowment for the Arts (NEA) Chairman Jane Chu announced on Wednesday, February 7 that Light Work is one of 936 not-for-profit national, regional, state, and local organizations nationwide to receive an NEA Art Works grant. In its first 50 years, the National Endowment for the Arts awarded more than $5 billion in grants to recipients in every state and U.S. jurisdiction.

Today, the NEA announced awards totaling more than $25 million in its first major funding announcement of the fiscal year 2018, including an Art Works award of $40,000 to Light Work to support Light Work’s Artist-in-Residence Program and production of Contact Sheet: The Light Work Annual. The Art Works category focuses on the creation of art that meets the highest standards of excellence, public engagement with diverse and excellent art, lifelong learning in the arts, and the strengthening of communities through the arts.

“It is energizing to see the impact that the arts are making throughout the United States. These NEA-supported projects, such as this one to Light Work, are good examples of how the arts build stronger and more vibrant communities, improve well-being, prepare our children to succeed, and increase the quality of our lives,” said NEA Chairman Jane Chu. “At the National Endowment for the Arts, we believe that all people should have access to the joy, opportunities, and connections the arts bring.”

Light Work’s director Shane Lavalette commented, “Thanks to the National Endowment for the Art’s sustaining support of our residency program, we are able to offer today’s emerging and under-recognized artists the time, space, and resources they need to develop their important new work. We’re continually grateful to the NEA for their recognition of Light Work as one of the leading arts organizations in the country.”

Every year Light Work invites between twelve and fifteen artists to come to Syracuse to devote one month to creative projects. Over 400 artists have participated in Light Work’s Artist-in-Residence Program, and many of them have gone on to achieve international acclaim. The residency includes a $5,000 stipend, a furnished artist apartment, 24-hour access to our state-of-the-art facilities, and generous staff support. Work by each Artist-in-Residence is published in a special edition of Contact Sheet: The Light Work Annual along with an essay commissioned by Light Work.

For more information on projects included in the NEA grant announcement, visit arts.gov/news.

To learn more about the 2018 Artists-in-Residence, read our announcement on the Light Work Blog.

To become a supporter of Light Work yourself, consider making a contribution by beginning or renewing your subscription. We encourage you to help us achieve our goal of matching the NEA’s generous support. Contribute today and get something back in return. Browse limited-edition prints, signed books, and Contact Sheet at  www.lightwork.org/shop

All subscriptions will assure that you receive the NEA-supported issue of Contact Sheet: The Light Work Annual 2018 next summer. Preview spreads from Contact Sheet 192: Light Work Annual 2017 online here.

Light Work, UVP, and PAL Project Awarded Grants from Joy of Giving Something, Inc. (JGS)

Light Work, Urban Video Project (UVP) and Photography and Literacy Project (PAL Project) are pleased to announce the receipt of $300,000 in grants from the Joy of Giving Something, Inc. (JGS). Distributed over the next three years, the funds will support education initiatives, artist residencies, and exhibitions dedicated to the photographic arts. Light Work will receive $150,000 and PAL Project and UVP will receive $75,000 respectively.

The JGS grant will help Light Work continue to realize a core vision of supporting emerging and under-recognized photographers who are exploring different photographic narratives and technical approaches to the medium. Light Work Director, Shane Lavalette stated, “We’re absolutely honored that JGS has recognized Light Work to be among the nation’s most impactful artistic programs, and are thrilled to receive this significant award at a moment in which the support of creative work by artists is as crucial as ever.”


Stephen Mahan (right), director of SU’s PAL Project, discusses a photo with a Fowler student. photo credit: John Dowling

PAL Project Director, Stephen Mahan, spoke to the opportunity for growth the grant affords the organization. “With this generous grant from JGS Inc., PAL Project’s Syracuse University mentors will continue and expand their ongoing mission to give voice and empower Syracuse city youth through the use of photography and creative writing. Application of this grant towards scholarships, exhibitions, publications and photographic equipment will foster the development of our student’s potential and self-esteem, giving our students greater opportunity to utilize their creativity, energy, and voice in self-satisfying and socially relevant directions. This funding allows us to grow the Project into a more robust curriculum with a wider reach. We are very thankful.”


Installation view of “Fireworks (Archives)” by Apichatpong Weera

In anticipation of the grant announcement, Urban Video Project Director, Anneka Herre stated, “UVP is truly excited to receive this recognition and support from JGS to put towards the strengthening of our uniquely public moving image exhibition and events programming. Given both current threats to funding in the arts and the importance of public art in creating dialogue, these funds come at an opportune time and mean a great deal to us.”

Established in 1999 by the late Howard Stein, The Joy of Giving Something, Inc. (JGS), is a foundation dedicated to the photographic arts. The Joy of Giving Photographs from the JGS collection are made available as loans to major museums around the world. JGS is also committed to advancing the arts in education. Working in partnership with museums, schools, and community organizations across the country, JGS has established scholarships to support students pursuing post-secondary studies in photography or media art. Additionally, through its Resolution program, JGS provides opportunities for teens to publish and exhibit their work in the context of social awareness.

Reflecting on this legacy Light Work, Executive Director, Jeffrey Hoone stated, “Over 20 years ago I worked with Howard Stein to form The Joy of Giving Something, Inc. (JGS) as a charitable institution to support programs in photography and forward-looking projects in the arts. Before Mr. Stein passed away in 2011, JGS supported a wide range of exhibitions, publications, and educational programs. Mr. Stein generously donated his substantial photography collection to JGS and through a series of auctions, the Foundation has raised funds to continue the charitable work in the arts that Mr. Stein started so many years ago. As a board member of JGS, it is a great honor to continue the good work of Mr. Stein and to be able to support the next generation of image makers and forward-thinking artists.”

Light Work and Urban Video Project Artists Awarded MacArthur Foundation ‘Genius’ Grants

Light Work and Urban Video Project congratulate 1985 Light Work Artist-in-Residence Dawoud Bey and 2010 Urban Video Project (UVP) artist Trevor Paglen on winning the prestigious MacArthur Foundation 2017 “Genius” Grant!

“Light Work Executive Director Jeff Hoone was thrilled to see former Urban Video Project and Light Work artists among the list of this year’s grant recipients, stating, “The visual arts have always been very important to the cultural climate of the University and we are very proud that the MacArthur Foundation has recognized so many of the artists who have participated in the programs at Light Work and the Urban Video Project. It is a great benefit for our students to have had contact with these important artists, and we look forward to building on these strengths and successes in the future.”

Each of the 24 “Genius” Grant recipients are selected for having “shown extraordinary originality and dedication in their creative pursuits and a marked capacity for self-direction.” Grant Fellows will receive a $625,000 award from the foundation “as an investment in their potential,” paid out over five years with no strings attached.

The 2017 “Genius” Grant awardees join an illustrious cohort of former Light Work and Urban Video Project affiliated artists, including Robert Adams, Wendy Ewald, LaToya Ruby Frazier, Ann Hamilton (UVP), Alfredo Jaar, Inigo Manglano-Ovalle (UVP), Fazal Sheikh, Cindy Sherman, Bill Viola (UVP), Carrie Mae Weems, and Deborah Willis.

Reflecting on this legacy, Light Work Director Shane Lavalette stated,

“For over forty years, Light Work has been an important place for artists from around the world to conduct artistic research, develop new projects, and exhibit their work as part of our programs in Syracuse. The MacArthur Foundation’s continued recognition of numerous artists whom we’ve had the pleasure of working with underscores the significance of the work they have contributed to the field and the value of supporting such creative minds. We certainly can’t take any credit for their genius, but we’re thrilled to get to know so many brilliant artists and to be able to be a part of their legacies.

Dawoud Bey, “Jason,” from The Eatonville Portfolio, 2003

Dawoud Bey was selected by the MacArthur Foundation Grants committee for his “expansive approach to photography that creates new spaces of engagement within cultural institutions, making them more meaningful to and representative of the communities in which they are situated.” He participated in a Light Work residency program in 1985. In 2009 Bey’s photographs were part of Embracing Eatonville, a group exhibition in the Robert B. Menschel Photography Gallery in Syracuse University’s Schine Student Center. Bey’s limited-edition archival print, Five Children, was part of the Fine Print Program, and selected images from his body of work are part of Light Work’s expansive permanent Collection.

Born in Queens, Dawoud Bey began his formal training by apprenticing to local commercial and fashion photographer Levy J. Smith and later studied at the School of Visual Arts. He completed his undergraduate work at Empire State College and his MFA in Yale University’s graduate photography program. A former Guggenheim and NEA fellow, Bey is currently Distinguished College Art and Associate Professor of Art at Columbia College Chicago, where he has taught since 1998.

The Studio Museum in Harlem hosted Bey’s first one-person exhibition in 1979. He has since had numerous exhibitions worldwide, including The Art Institute of Chicago, The Barbican Centre in London, the Detroit Institute of Arts, the High Museum of Art in Atlanta, the Los Angeles County Museum of Art, the National Portrait Gallery in London, the Wadsworth Atheneum in Hartford, the Walker Art Center in Minneapolis, the Wexner Center for the Arts in Columbus, the Whitney Museum of American Art in New York City, and the Yale Art Gallery in New Haven.

Installation view: Trevor Paglen “Code Names”

Trevor Paglen was selected by the MacArthur Foundation Grants committee for his “documentation of hidden operations of covert government projects and examining the ways that human rights are threatened in an era of mass surveillance.” Paglen’s Code Names was part of Urban Video Project’s architectural video installation at the Everson Museum of Art in 2010.

Paglen is an artist, writer, and experimental geographer whose work deliberately blurs lines between social science, contemporary art, journalism, and other disciplines to construct unfamiliar yet meticulously researched ways to see and interpret the world around us. His visual work has been exhibited at Pittsburgh’s Andy Warhol Museum, Berlin’s Transmediale Festival, Philadelphia’s Institute of Contemporary Art, the Istanbul Biennial (2009), San Francisco Museum of Modern Art (SFMOMA), and the Taipei Biennial (2008). Numerous publications have also featured his work, including Aperture, Art Forum, Modern Painters, Newsweek, The New York Times, and Wired. Paglen has received grants and commissions from Art Matters, Artadia and the Eyebeam Center for Art and Technology, and Rhizome.org. He is the author of three books. He holds a B.A. from the University of California, Berkeley, an M.F.A. from the School of the Art Institute of Chicago, and a Ph.D. in geography from UC Berkeley.
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For more information about these and all of Light Work’s artists, please visit our Artist Index, Artist-in-Residence Program, Exhibtions,Chronology, and Collection.

Announcing the 2018 Light Work Artists-in-Residence

Every year Light Work invites between twelve and fifteen artists to come to Syracuse to devote one month to creative projects. Over 400 artists have participated in Light Work’s Artist-in-Residence Program, and many of them have gone on to achieve international acclaim.

The residency includes a $5,000 stipend, a furnished artist apartment, 24-hour access to our state-of-the-art facilities, and generous staff support. Work by each Artist-in-Residence is published in a special edition of Contact Sheet: The Light Work Annual along with an essay commissioned by Light Work. Work by former Artists-in-Residence is also part of the Light Work Collection.

We are pleased to announce the 2018 Light Work Artists-in-Residence!

Atong Atem
Atong Atem

Khalik Allah
Khalik Allah

Jess Dugan
Jess Dugan

Preston Gannaway
Preston Gannaway

Fumi Ishino
Fumi Ishino

Andrew Jackson
Andrew Jackson

Justine Kurland
Justine Kurland

Kate Ovaska
Kate Ovaska

Paul Mpagi Sepuya
Paul Mpagi Sepuya

Guillaume Simoneau
Guillaume Simoneau

Aaron Turner
Aaron Turner

Vasantha Yogananthan
Vasantha Yogananthan

See past Artists-in-Residence at www.lightwork.org/air
Applications are now open for 2019. Apply at lightwork.slideroom.com

The Inaugural Light Work Photobook Award

Light Work is pleased to announce a new partnership with publisher MACK to honor an artist with the Light Work Photobook Award. The inaugural recipient is a photographer Mahtab Hussain, for his monograph You Get Me?. Hussain previously participated in Light Work’s Artist-in-Residence Program in March 2015 as part of a yearly partnership Autograph ABP in London. The publishing of You Get Me? has also been made possible with support from Arts Council England.

The Light Work Photobook Award is given each year to an artistic project that deserves international attention. As with all of Light Work’s programs, in selecting the artists to receive this recognition an emphasis is made to highlight emerging and underrepresented artists of diverse backgrounds.

Mahtab Hussain is an artist who uses photography to explore the important relationship between identity, heritage, and displacement. He earned his B.A. from Goldsmith College, University of London, and two M.A.s from Nottingham Trent University and City University London. Hussain’s artwork has been shown across many venues including the Birmingham Museum and Art Gallery, Library of Birmingham, New Art Exchange Nottingham, Sumarria Lunn Gallery, Galerie Huit – Arles Open Photography Salon, and Viewfinder Gallery Brixton. Hussain is the recipient of numerous awards and commissions including Arts Council England, Arts Humanities Research Council (AHRC), Curators Choice Award, Culture Cloud at New Art Exchange, Nottingham and Format 13 Portfolio Review Award.

Press for this groundbreaking project includes features in The New York Times, British Journal of Photography, BBC News, Buzz Feed, and The Guardian, among others.

Mahtab Hussain
You Get Me?
MACK/Light Work, 2017
Hardcover, 120 pages
ISBN: 978-1-910164-84-6
First Edition

Photographed over a nine-year period, You Get Me? by British artist, Mahtab Hussain is a book centered on the experiences of young working-class South Asian Muslim men in contemporary Britain. Largely a book of portraits, it also documents the local environments of these men, picking up on manifest signs of multicultural identity. The photographs in You Get Me? are interspersed with evocative extracts from Hussain’s numerous conversations with Muslim men, principally in London, Nottingham, and Birmingham. Bringing issues of identity, masculinity, displacement and belonging to the fore, the book addresses concrete experiences of these men against a backdrop of derogatory media representations. Confronting the politics surrounding immigration and identity in Britain, Hussain at once celebrates the implicit agency of his photographic subjects, while recognizing their struggle to determine a sense of self.

Pre-Order a first edition SIGNED copy of our 2018 Book Collectors Offer You Get Me? by Mahtab Hussain and you will also receive a complimentary subscription to Contact Sheet (a $115 value) for only $75!

Light Work at The Photography Show 2017, Presented by AIPAD

Light Work is proud to exhibit at the longest-running exhibition dedicated to the photographic medium, The Photography Show presented by AIPAD, March 30 – April 2, 2017 at Pier 94 in New York City.

Find us at The Photography Show to view and purchase limited-edition prints from our Fine Print Program, as well as a selection of signed photobooks. All purchases will begin or renew your subscription to Contact Sheet!

For a preview of what we’ll be showing, visit our profile on Artsy.

See you soon, NYC!