A Closer Look: Lucas Foglia

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Lucas Foglia
Cardin in the Rain, Virginia, 2006
Archival inkjet print, 7.5 x 10 in. on 9.5 x 12 in. paper
Shipped in a 14 x 18 in. mat
Edition of 50, signed and numbered by the artist

Light Work is pleased to announce a limited edition print by photographer Lucas Foglia as part of the 2014 Fine Print Program.

Lucas Foglia’s photographs explore the relationships between people, economy, and wilderness in rural America. Foglia grew up on a small family farm in New York and graduated from Brown University and the Yale School of Art. His first book, A Natural Order (Nazraeli Press, 2012), was published to critical acclaim. Focusing on people who responded to environmental concerns and the recession by moving off the grid in the rural southeastern United States, the book includes this memorable portrait of a woman named Cardin, photographed during a rainstorm in Virginia. Photographs from A Natural Order have been exhibited internationally and are in the permanent collections of the Museum of Fine Arts Houston, Houston, TX; Berkeley Art Museum, Berkeley, CA; Philadelphia Museum of Art, Philadelphia, PA; Victoria and Albert Museum, London, UK; and Museum of Modern Art Library, New York, NY. Foglia participated in the Light Work Artist-in-Residence Program in 2007.

All proceeds from our Fine Print Program go directly to supporting artists working in photography.

Browse the new prints and books online at www.lightwork.org/shop

Artists On The Light Work Experience: Susan Worsham

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This is the fourth piece of our multi-part blog installment featuring a photographic artist, and previous Light Work Artist-In-Residence. This week we hear from Susan Worsham. The statement that follows is Worsham’s answer to our questions, folded together into a series of captivating memories.

I remember showing executive Director Jefferey Hoone and some of the Light Work staff pictures that I had made around Syracuse during my residency. Someone said and everyone agreed that I had made Syracuse look like the south. That was an eye opener for me, and I realized from that experience that I bring “home” with me wherever I go and it is in every portrait and picture that I make. That simple observation opened up a bigger world for me in my head. That I could make work anywhere.

Light Work has now become like a second Home to me and with that comes all of the support that a family brings. It is now a part of my history and is intertwined with my roots as a growing artist. In turn I am a part of Light Work’s long history of supporting artists, one that does not stop once the month long residency is over.

I remember my first night in the artist’s apartment was spent staying up late with a large stack of Light Work’s publication Contact Sheet all over the bed, reading about all of the artists that had come before me.

Just two years after my residency I now hold Contact Sheet number 168 in my hands. An exhibition catalog of my own that not only holds my work, but my personal story as well. To accompany this catalog Light Work gave me my first solo show in the same gallery that as a visiting artist I walked by everyday and wondered what my work would look like on it’s walls.

The recorded voice of my oldest neighbor from my childhood street greeted me through speakers in the gallery’s ceiling making the exhibit more than just a collection of photographs, but again a home away from home.

Just three months later it was because of Light Work that I had my first solo show in my hometown at Candela Books + Gallery. In attendance were neighbors from my childhood street telling me how proud my mother would have been. Many were holding my Light Work Contact Sheet as they looked at the work on the walls. The work that was printed at Light Work.

This summer I had a room in The Ogden Museum of Southern Art filled with my work and again I traveled to Light Work where they helped me print the photographs.

I try to get back once a year to make work in Syracuse and visit my friends at Light Work. Many of the accomplishments that I have made in my career would not have been possible without their support.

Susan Worsham was born in Richmond, Virginia. She took her first photography class while studying graphic design in college. In 2009 Susan was nominated for the Santa Fe Prize For Photography, and her book “Some Fox Trails In Virginia” won first runner up in the fine art category of the Blurb Photography Book Now International Competition. In 2010 Susan was awarded the first TMC / Kodak Film Grant, and was an artist in residence at Light Work in Syracuse, New York. Her work is held in private collections, and has been exhibited at the Corcoran Museum during FotoWeek D.C, The Photographic Center Northwest, Dean Jensen Gallery, and most recently at the Danville Museum in Virginia. Susan was named one of PDN’s 30 Emerging Photographers To Watch in 2011.

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Find a signed limited-edition print by Susan Worsham for sale in the Light Work Shop.

Stay tuned for next week’s feature, with Lucas Foglia.

A Closer Look: John Chervinsky

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John Chervinsky
The Analysis, 2005
Archival inkjet print, 10 x 8 in. on 12 x 9 in. paper
Shipped in a 18 x 14 in. mat
Edition of 50, signed and numbered by the artist

John Chervinsky is a self-taught photographer. He is also an engineer working in the field of applied physics and spent eighteen years running a particle accelerator at Harvard University. He has collaborated with museums, using accelerator technology in the analysis of art. He currently works for Harvard’s Rowland Institute, founded by Polaroid’s Edwin H. Land. Since it first opened at the Griffin Museum of Photography in 2005, his Experiment in Perspective series has been traveling the country including solo exhibits at Fermi National Accelerator Laboratory Art Gallery, Batavia, IL; Michael Mazzeo Gallery, New York, NY; and Blue Sky Gallery, Portland, OR. His work is held in numerous public and private collections including the Museum of Fine Arts, Houston, TX; Museum of Art, Portland, OR; and Fidelity Investments Collection, Boston, MA. Chervinsky participated in Light Work’s Artist-In-Residence Program in 2012.

Browse the new prints and books online at www.lightwork.org/shop

Artists On The Light Work Experience: Jim Stone

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This is the third piece of our multi-part blog installment featuring a photographic artist, and previous Light Work Artist-In-Residence. This week we hear from Jim Stone

How did your residency experience at Light Work influence your work? What progress did you make while here?

As a result of Light Work’s support I was able to make a significant body of new work, prints from which ended up in museum collections across the country and internationally.

How did your residency experience at Light Work influence your career? What came next?

My residency led directly to the 1993 monograph “Stranger Than Fiction” that was for Light Work, I believe, a kind of model for future collaborative mid-career projects. Although it is impossible to quantify, I cannot overstate the importance of Light Work’s sponsorship on my career.

Jim Stone turned to photography while studying engineering at MIT. His photographs have been exhibited and published internationally, and collected by the Museum of Modern Art, Boston’s Museum of Fine Arts, the Smithsonian American Art Museum, and the Los Angeles County Museum of Art, among many others. Six of his books, A User’s Guide to the View Camera, Darkroom Dynamics, A Short Course in Photography and A Short Course in Digital Photography (with Barbara London), Photography and Photography, the Essential Way (London, Stone, Upton), are in wide and continued use for university-level courses, and there have been three artist’s books published of his photographs, Stranger Than Fiction (Light Work, 1993), Historiostomy (Piltdown Press, 2001), and Why My Pictures are Good (Nazraeli Press, 2005).

Stone has received awards from the Massachusetts Arts Council, The New England Foundation for the Arts, The San Francisco Foundation, and the National Endowment for the Arts. He was the editor of Polaroid’s Newsletter for Photographic Education, and taught formerly at the Rhode Island School of Design and Boston College. Currently he is Professor of Photography at the University of New Mexico.

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Find a signed monograph by Jim Stone for sale in the Light Work Shop.

Stay tuned for next week’s feature, with Susan Worsham.

A Closer Look: James Welling

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James Welling
Tile Photograph 8, 1985/2013
Silver gelatin print, 10 x 8 in. on 14 x 11 in. paper
Shipped in a 18 x 14 in. mat
Edition of 50, signed and numbered by the artist

James Welling‘s work centers on an exploration of photography, shuffling the elemental components of the medium to produce distinctly uncompromising results. During his career, Welling has experimented with different photographic mediums, including Polaroids, silver gelatin prints, photograms, and digital prints, exploring the tensions of and between representation and abstraction. This dramatic print comes from Welling’s abstract explorations from the 1980s, reproduced by the artist himself as a one-of-a-kind silver gelatin print exclusively for Light Work. Welling has had solo exhibitions at Künstnernes Hus, Oslo, Norway; Musée départemental d’art contemporain de Rochechouart, France; Regen Projects, Los Angeles, CA; and David Zwirner Gallery, New York, NY, as well as a touring retrospective with the Wexner Center for the Arts, Columbus, OH. His work was included in the Metro Pictures inaugural exhibition and featured in the 2008 Whitney Biennial in New York. He has also exhibited in group exhibitions at the Whitney Museum of American Art, Museum of Modern Art, and the Metropolitan Museum of Art in New York. Welling participated in Light Work’s Artist-In-Residence Program in 1986.

Browse the new prints and books online at www.lightwork.org/shop

Artists On The Light Work Experience: Suzanne Opton

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In honor of our 40th Anniversary, Light Work asked previous Artists-in-Residence for their thoughts on their Light Work experience. We started with a small group, a few of the artists selected for our current exhibition 40 Artists / 40 Years: Selections from the Light Work Collection. Each week, these statements will bring you a new perspective on Syracuse, Light Work, and the active space we create for our visiting artists.

The second piece of this multi-part blog installment features photographic artist, and previous Artist-In-Residence, Suzanne Opton.

How did your residency experience at Light Work influence your work? What progress did you make while here?

When I came to Light Work I was in the middle of making my “Soldier” photographs at nearby Fort Drum. I hadn’t decided how to present the images and I was a complete Photoshop novice. [Master Printer] John Mannion patiently walked me through the process and helped me define and produce the color palette I was looking for.

How did your residency experience at Light Work influence your career? What came next?

The Contact Sheet put me on the map. I had many requests and opportunities as a result of the extensive Light Work mailing list. Thereafter I exhibited the work in New York, Germany, Switzerland, etc. Despite the political nature of the images, they were widely collected by museums and private collectors.

Light Work presented the first of the Soldier billboards in Syracuse and thereafter, in partnership with Susan Reynolds and with NYFA fiscal sponsorship, I presented billboards in eight American cities. When the billboards were censored by CBS Outdoor at the Republican convention, the story was prominent in the NY Times and picked up in media around the world.

Suzanne Opton’s work has been exhibited internationally, and is featured in the permanent collections of the Bibliothèque Nationale de France in Paris; the Musée de’Elysée in Lausanne, Switzerland; and the Museum of Fine Arts in Houston. She has received grants from the Vermont Council on the Arts, the National Endowment for the Arts, and the New York Foundation for the Arts. Her work has appeared in a variety of publications including Orion, The New York Times, Time, Newsweek, and Fortune.

Opton teaches at the International Center of Photography and the Cooper Union. She participated in Light Work’s Artist-in-Residence program in September 2005.

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Find a a signed monograph by Suzanne Opton for sale in the Light Work Shop.

Stay tuned for next week’s feature, with Jim Stone.

Announcing Light Work’s 2014 Subscription Program

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Light Work is pleased to announce our 2014 Subscription Program, including limited-edition prints by James Welling, John Chervinsky, Lucas Foglia, Irina Rozovsky, signed copies of Strangely Familiar by Peter Mitchell, and a newly designed Contact Sheet. Purchase any print in our Fine Print Program or the Book Collectors Offer and receive a one-year subscription to Contact Sheet.

Great Cause / Great Art
Light Work, an artist-run, non-profit organization has been supporting emerging and under-recognized artists working in photography since 1973. Help us continue that support in get something in return.

Browse the new prints and books online at www.lightwork.org/shop

Artists On The Light Work Experience: Carrie Mae Weems

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In honor of our 40th Anniversary, Light Work asked previous Artists-in-Residence for their thoughts on their Light Work experience. We started with a small group, a few of the artists selected for our current exhibition 40 Artists / 40 Years: Selections from the Light Work Collection. Each week, these statements will bring you a new perspective on Syracuse, Light Work, and the active space we create for our visiting artists.

The first piece of this multi-part blog installment features photographic artist and Syracuse resident Carrie Mae Weems.

How did your residency experience at Light Work influence your work? What progress did you make while here?

I was already on a certain visual path, so the residency didn’t influence my work or the direction of the work. However, it did provide me with valuable time and resources to work, to think, to play, to consider, to photograph, to print and to imagine the possible. For it’s extraordinary support and the encouragement that came with it, I remain deeply grateful.

How did your residency experience at Light Work influence your career? What came next?

The Light Work photographic community is extensive and Contact Sheet goes out to literally hundreds of photographers, collectors, and institutions, so when my work appeared in Contact Sheet, I received dozens of phone calls and letters from people, institutions and curators who learned about the work for the first time. It was a wonderful surprise. Out of these contacts came a number of lectures, publications and exhibitions.

Anything else you want to share about your experience?

Well, I got a man. I married Jeff Hoone. So the residency not only changed the scope of my career, but it changed my life.

Light Work remains one of the most important non-profit organizations in this country; it’s clear commitment to artists is both remarkable and singular.

Carrie Mae Weems was born in Portland, Oregon, in 1953. Weems earned a BFA from the California Institute of the Arts, Valencia (1981), and an MFA from the University of California, San Diego (1984), continuing her studies in the Graduate Program in Folklore at the University of California, Berkeley (1984–87). Weems’s vibrant explorations of photography, video, and verse breathe new life into traditional narrative forms: social documentary, tableaux, self-portrait, and oral history. Eliciting epic contexts from individually framed moments, Weems debunks racist and sexist labels, examines the relationship between power and aesthetics, and uses personal biography to articulate broader truths. Whether adapting or appropriating archival images, restaging famous news photographs, or creating altogether new scenes, she traces an indirect history of the depiction of African Americans of more than a century. Awards include the Anonymous Was a Woman Award (2007); Skowhegan Medal for Photography (2007); Rome Prize Fellowship (2006); and the Pollack-Krasner Foundation Grant in Photography (2002); among others. Weems’ work is included in many prestigious public collections, such as the Metropolitan Museum of Art and the Museum of Modern Art in New York, the Art Institute of Chicago, the San Francisco Museum of Modern Art, and the Centro Andaluz de Arte Contemporaneo in Sevilla, Spain, among many others.

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Find a print by Carrie Mae Weems for sale in the Light Work Shop.

Stay tuned for next week’s feature, with Suzanne Opton

Light Work Celebrates Artists with Billboards Around Syracuse

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Light Work is excited to unveil a series of billboards around the city of Syracuse!

In conjunction with our current exhibition 40 Artists / 40 Years: Selections from the Light Work Collection, we have placed seven billboard locations across the city. Each billboard celebrates the work of an artist that had an integral experience as an Artist-In-Residence with Light Work. Additionally, many of the works highlighted are currently being exhibited as part of the current exhibition in the Kathleen O. Ellis Gallery at Light Work.

The forty pictures in this exhibition represent each year that Light Work has been supporting artists from 1973-2013. They stand in for the hundreds of other artists who have participated in our Artist-in-Residence, exhibition, publishing, and grant programs and stand out as the reason we do what we do.

Light Work always has been, and continues to be, an alternative arts organization run by artists for the benefit and support of other artists. Working in collaboration with Community Darkrooms at Syracuse University, Light Work has concentrated on supporting emerging and under-recognized artists, giving them the opportunity to create new work, and then making that work part of the ongoing dialogue about contemporary art.

LightWork_Sanguinetti_billboard
Alessandra Sanguinetti

LightWork_Gossage_billboard
John Gossage

LightWork_Weems_billboard
Carrie Mae Weems

LightWork_Foglia_billboard
Lucas Foglia

If you haven’t seen the billboards already, here is where you can find them:

Click here to view a handy Google Map with the locations and featured artists.

If you visit or encounter any of the installations, please snap a photo and share it with us via Instagram, Twitter, or Facebook with the hashtag #lightworkbillboard for a chance to win a subscription to our publication Contact Sheet.

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Light Work extends a special thanks to CNY Arts for their partnership and support on this project.

Join us for a reception for 40 Artists / 40 Years on Thursday, September 26th from 5-7pm at Light Work. More information at www.lightwork.org

Fall 2013 Workshops

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Sign up for Fall 2013 workshops at Light Work / Community Darkrooms.

Each semester Light Work / Community Darkrooms offers a series of workshops and classes to help you build your photographic skill set.

Firm Foundations: 5 Week Workshops

Studio Lighting
Tuesdays, September 17-October 15, 6-9 pm.
This fast-paced, hands-on course will show you how to work in the studio using the equipment available at Community Darkrooms. Aside from the technical aspects of studio work, you will be encouraged to express your own creativity and use lighting to further enhance your work. You only need to bring your camera; all necessary equipment will be provided.

Introduction to Lightroom 5
Tuesdays, September 17-October 15, 6-9 pm.
This course will provide an introduction to the basic layout, tools, and modules of the program, giving you a foundation to build on, as well as the knowledge to export and publish your work.

Alternative Processes
Thursdays, October 3-31, 6-9 pm.
Learn how to make cyanotype prints, salt prints, and photograms in this hands-on workshop that explores simple yet effective alternative processes. This includes historic and contemporary work, as well as the traditional black and white development process.

Introduction to InDesign
Thursdays, October 3-31, 6-9 pm.
New to InDesign? This class will teach you the basics of creating engaging print designs and page layouts that output professionally, letting you design with confidence. Learn to navigate the program, understand the tools, create, edit, and save files.

Introduction to Photoshop
Tuesdays, October 29-November 26, 6-9pm.
If you are new to Photoshop, or just need a refresher course on the basics, this is the foundation for you. Whether you want to size files, import, export, or read a histogram, this course covers the basics.

Understanding Your Digital Camera
Thursdays, November 14-December 12, 6-9 pm.
This course will help you understand how digital cameras work, and what features and settings will enhance your images. You will need to bring your digital SLR (or advanced point-and-shoot) as well as your camera instruction manual.

Single Session Classes

Using Flash Effectively
Sunday, September 22, 1-4pm.
Your flash can be your best friend or your worst enemy, depending on how you use it. Learn flash techniques that will help you flesh out, rather than flatten, your subjects. Bring your camera and plenty of extra batteries.

Camera Basics
Sunday, October 6, 1-4 pm.
This will be a simple overview of how to use your digital camera. There will be a few short lectures before heading outside to the beautiful Syracuse University campus where you will be free to photograph an array of subject matter, practice learned techniques, and ask questions as you go.

Making the Most of Your Scanner
Sunday, November 10, 1-4 pm.
Learn how to use your camera to make the best possible images. You will review file types and sizes, learn the difference between the Imacon and flatbed scanner, discover the 3F format, and make adjustments to create a final scan. Bring a hard drive and your film.

LWCDLabBWFall2013

To guarantee your place in the class, payment must be received at least three days prior to the start of the workshop.

Find more detailed information at www.communitydarkrooms.com

2013 Light Work Grants in Photography

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2013 Light Work Grants:
Laura Heyman, Jared Landberg, Janice Levy
August 19 – October 25, 2013
Light Work Hallway Gallery
Reception: Thursday, September 26, 5-7pm

Light Work is pleased to announce that the recipients for the 39th annual Light Work Grants in Photography are Laura Heyman, Jared Landberg, and Janice Levy. The Light Work Grants in Photography program is a part of Light Work’s ongoing effort to provide support and encouragement to artists working in photography. Established in 1975, it is one of the longest-running photography fellowship programs in the country. Each recipient receives a $2,000 award, has their work exhibited at Light Work, and published in Contact Sheet: The Light Work Annual. The judges for this year were Christopher Gianunzio (Assistant Director, Philadelphia Photo Arts Center), Akemi Hiatt (independent curator), and Chuck Mobley (Director, SF Camerawork).

Laura Heyman
Laura Heyman — Stevens Yvens, Grand Rue, March 2011

Laura Heyman submitted a group of photographs from her on-going series, Pa Bouje Ankò: Don’t Move Again. Since 2009 the artist has been traveling to Haiti to set up a free, outdoor portrait studio in Port-au-Prince. Heyman is interested in questioning whether it is possible for a first world artist to produce work in the third world without voyeurism or objectification. Her project has continued to evolve over the years and now includes various expanding populations tied to future development and reconstruction.

Laura Heyman is an artist and curator based in Syracuse, New York. Her work has been exhibited at Philadelphia Photo Arts Center, Philadelphia, Gallery 511, New York, NY, The Deutsches Polen Institute, Darmstadt, Germany, Ampersand International Arts, San Francisco, California, Light Work Gallery, Syracuse, New York, P.S. 122, New York, NY, Senko Studio, Viborg, Denmark, and The National Portrait Gallery, London, UK. She is the recipient of a Light Work Mid Grant in Photography, NYFA Strategic Opportunity Stipend, and a Silver Eye Fellowship. Her most recent curatorial project, Who’s Afraid of America featuring the work of Justyna Badach, Larry Clark, Cheryl Dunn, LaToya Ruby Frazier, Zoe Strauss and and Tobin Yelland, was exhibited at Wonderland Art Space, in Copenhagen, Denmark.

Jared Landberg
Jared Landberg — Adirondack Power and Light, 2010

Jared Landberg is captivated by remnants, abandoned structures, overgrown paths, found ephemera, and expansive views. His site-specific photographic projects capture what is left behind in the wake of progress. Past photographic essays have included a nuclear power plant, mental health asylum, and a government munitions base. Landberg is currently photographing the community of Cortland, New York and the Hydrofracking controversy. The artist plans to create a book of photographs, archival and found photos, maps and an assortment of texts.

Jared Landberg is a photographer and bookbinder based in Syracuse, New York. He was a graduate fellow at Syracuse University and received his MFA in photography in 2010 and his BFA in photography from Indiana University in 2005. He has recently exhibited in the Syracuse area at the Everson Museum’s Fit to be Bound exhibition as well as various local galleries. He has worked as a consultant on book projects with past Light Work residents Christian Patterson and Valerio Spada in addition to assisting and consulting photographer Lucinda Devlin. Jared’s influences range from photographers such as Robert Adams, Jem Southam, Lewis Baltz, and Frank Gohlke to the writings of J.B. Jackson, Paul Virilio, and Leo Marx. He currently photographs the landscape of central New York State, with a large format camera, natural light, and flash, using both B&W and color film. His imaging intent is that of historic preservation through documentation of place with a focus on the colloquial subtlety, and personal as well as collective narratives regarding societal theories, place, and it’s usage.

Janice Levy
Janice Levy — Falcon Market, Riyadh, KSA, 2011

Janice Levy submitted a series of photographs taken in Riyadh, Kingdom of Saudi Arabia. While living in Riyadh for ten months the artist taught photography at the largest all women university in the world, Princess Nora bint Abdulrahman University. Saudi Arabia invests in the illusion of wealth and prosperity but Levy’s photographs show something entirely different. “In addition to revealing the neglect of the underclass, the photographs reflect my own reaction to living in a nation where isolation causes xenophobia, adherence to Sharia law justifies oppression of women, and an absolute monarchy hides its dictatorial power behind a veneer of paternalism.”

Janice Levy is a professor of photography in the Department of Media, Arts, Sciences and Studies, in the Roy H. Park School of Communications at Ithaca College, Ithaca, New York. In 1990 she was awarded the prestigious three-year National Kellogg Fellowship Award for Leadership. The Honickman First Book Award recognized her work twice. In 2004, she was among eleven finalists for her work Out of Place, photographs from Madagascar. In 2012 she was highly ranked among 49 semi-finalists for her Saudi Arabia photographs. International Photographic Awards (IPA) awarded her an honorable mention in 2013. Publications include What I See Who I Am: disabled students explore their world through photography with the help of photography students at Princess Nora University. Recent exhibitions include Les Yeaux du Monde, Charlottesville, VA; Gallery Notre Dame, Dijon, France; Les Amis du 7, Dijon, France. She was interviewed by NPR’s Robin Young for Here and Now about her experiences teaching and living in Saudi Arabia and was the keynote speaker for the 18th Julia Reinstein Symposium, Elmira College, Elmira, New York.

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Find more information about Light Work Grants in Photography:
www.lightwork.org/grants.

Light Work Moves Forward

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For 40 years, Light Work’s mission has been to support artists working in photography and related media. Concentrating our support on emerging and under recognized artists, we will continue to focus on our international Artist-in-Residence program, exhibitions, the publication of Contact Sheet, and operating a state-of-the-art community access photography and computer lab.

In order to strengthen our core goals we are in the process of reorganizing our staff to better serve the current and future needs of artists. Over the past year we have completely redesigned our website, www.lightwork.org, as a platform for publishing more work by artists in our programs, established a new graphic identity, and redesigned Contact Sheet. The new design of Contact Sheet will debut with the Light Work Annual issue this summer in honor of our 40th anniversary.

In the reorganization process Jeffrey Hoone continues in his role of Executive Director. Hoone has been in a leadership position at Light Work since 1980 and will concentrate on finance and fundraising, strategic planning, and participate in selecting artists for all Light Work programs. Reflecting on the reorganization Hoone says, “Light Work has always been an organization run by artists, for artists, and the changes we are making signal our continuing effort to respond to the changing needs of artists in order to put us in the best position to meet those needs.”

Shane Lavalette has been promoted to Director and will be responsible for all administrative, artistic, fundraising, and operational activities at Light Work. Lavalette was a former Artist-in-Residence at Light Work and in his previous position as Associate Director he led the process to redesign our website and establish our new graphic identity. “This year we are looking back to celebrate Light Work’s long history of supporting artists, yet it is also a time of excitement for what the future holds,” says Lavalette.

Mary Lee Hodgens has been promoted to Associate Director and will work on all technical and artistic operations including exhibitions, publications, and the Artist-in-Residence program. Hodgens is an eighteen-year veteran at Light Work and brings her considerable skills and institutional knowledge into a leadership position. “We are always changing to keep up with the artists and their needs. It’s exciting to be part of the process,” says Hodgens.

John Mannion, who has been with the organization for twelve years, has been promoted to the new position of Master Printer and will be responsible for setting the standards for digital printing and scanning services. He will be providing all pre-press work for Contact Sheet and will provide individual service to all visiting artists and prime digital service customers. “Working with over 150 artists personally has lead to a clear method and practice to make the best prints possible,” says Mannion. “I am happy to be able to provide more support to our artists.”

Anneka Herre will continue in her position of Technical Producer for the Urban Video Project. The UVP is Light Work’s newest program that presents ongoing public art video projections and exhibitions on the outside of the Everson Museum of Art in Syracuse. Information about UVP’s activities can be found online at www.urbanvideoproject.com

Julie Herman, James Suits, and Andrew Frost continue in their role as part-time support staff for customer care, administrative operations, and digital services.

In order to further enhance our digital and traditional photo lab operations we are currently searching for a full-time Digital Services Manager and a full-time Photo Lab Manager. In addition we will be adding two part-time positions of Exhibition Coordinator and Communications Coordinator. Information about these job postings can be found online at http://lg.ht/LWHiring

We are very excited about all of these positive changes at Light Work and we will continue to keep you informed about our progress in future e-mail newsletters, on our blog, and through social media, so please stay tuned.

Light Work