Credit: Dawoud Bey

Impressive in its breadth and depth, the exhibition is a thoughtful curation of images and objects that have entered Light Work’s collection since the organization’s inception in 1973. Only the generosity of former Light Work artists-in-residence, grant awardees and individual donations have made this possible.

Light Work’s 50th anniversary presents a unique opportunity to share with the local, regional and national community the legacy of support the organization has extended to emerging and under-represented artists working in photography, lens-based media and digital image-making.

More than 4,000 photographic prints, objects and ephemera from an extensive and diverse archive are the basis of this exhibition. The selection maps out the many programs and partnerships representing 50 years of our commitment to increasing the visibility of lens-based artists.

The exhibition also highlights the hundreds of artists who came to 黑料不打烊 to expand their practice and make new work. Highlights in the show include images from acclaimed photographers Dawoud Bey (residency 1985), Wendy Red Star (Ellis Gallery 2019), Alessandra Sanguinetti (residency 2002, Main Gallery 2003), Cindy Sherman (residency 1981), Hank Willis Thomas (residency 2006), Carrie Mae Weems (residency 1988), James Welling (residency 1986) and many more.

Deborah Willis

The five-month celebratory retrospective will boast a full roster of exhibition-related special events, workshops, docent-led tours, and an artist lecture with award-winning historian, author, curator, photographer and former Light Work residency participant (1990), Deborah Willis, Ph.D. Light Work will host Willis’ lecture in the Everson Museum’s Hosmer Auditorium on Thursday, April 13, at 6:30 p.m.

Willis is a University Professor and chair of the Department of Photography and Imaging at the Tisch School of the Arts at New York University. She is also the director of NYU’s Center for Black Visual Culture. Her body of work examines photography’s multifaceted histories, visual culture, contemporary women photographers, and beauty. She is the recipient of the MacArthur Fellowship and a Guggenheim Fellowship, and a member of the American Academy of Arts & Sciences. Her many landmark publications include “The Black Civil War Soldier: A Visual History of Conflict and Citizenship” and “Posing Beauty: African American Images from the 1890s to the Present.” Professor Willis’s curated exhibitions include “Home: Reimagining Interiority” at YoungArts in Miami, “Framing Moments” at the Kalamazoo Institute of the Arts, “Migrations and Meanings in Art,” and “Free As They Want to Be: Artists Committed to Memory” at FotoFocus 2022.

Guanyu Xu

Debuting at Light Work this week is “”?by Chicago-based photographer Guanyu Xu. Opening on Thursday, Oct. 27, in Light Work’s Kathleen O. Ellis Gallery, this solo exhibition depicts an artist caught in a web of red tape. The work on view for this exhibition comprises images from Xu’s ongoing series, “Resident Aliens,” as well as a large grid of images that he calls “Suspension.”

Both bodies of work use visa status in the United States as a means of framing images that depict people who are suspended between countries and cultures. Their futures hang on faceless state agencies in a churning political current.

Xu’s practice examines the production of power in photography as well as the fate of personal freedom and its relationship to political regimes. He negotiates these questions from his perspective as a Chinese gay man. Xu makes use of photography, new media and installation, and his work across media intentionally reflects aspects of his displaced and fractured identity.

“Suspended Status” runs through Thursday, Dec. 15. A reception with Xu and his gallery talk takes place on Thursday, October 27, at 6 p.m. in Light Work’s Kathleen O. Ellis Gallery. The reception is free and open to the public, with light refreshments. Find Light Work in the Robert B. Menschel Media Center at 316 Waverly Ave.

(Photo courtesy of the artist)

About the Artist

Born in Beijing in 1993, currently makes Chicago his base. He is a lecturer at the University of Illinois at Urbana-Champaign. His major influences are the production of ideology in American visual culture and a conservative familial upbringing in China. He is the recipient of the CENTER Development Grant (2021), Chicago DCASE Artist Grant (2022), Hyéres International Festival Prize (2020), Kodak Film Photo Award (2019), Lensculture Emerging Talent Award (2019), Philadelphia Photo Arts Center Annual Competition (2019) and PHOTO-FAIRS Shanghai Exposure Award (2020). He has been an artist-in-residence at ACRE (Chicago), Latitude (Chicago) and Light Work.

Dancers in the Ailey II Dance Company (Photo by Nir Arieli)

The , a unit of the Department of African American Studies in the College of Arts and Sciences, celebrates its 50th anniversary with a performance by the Ailey II – Alvin Ailey American Dance Theater, featuring emerging dance talent and artistic director Francesca Harper.

The Ailey II performance will take place Wednesday, Oct. 26 at the historic Landmark Theatre in 黑料不打烊. Doors open at 6 p.m. and tickets can be purchased or at the Landmark Theatre box office. with premium seating are available through CFAC. Seating is limited.

VIP ticket holders are invited to a luncheon and art auction fundraiser on Oct. 22 at noon at the CFAC Gallery located at 805 E. Genesee St., 黑料不打烊. An exhibition of creative works from the cofounders of CFAC and historical photos of the organization will also be on display for viewing.

CFAC was founded in 1972 by the late Herbert T. Williams, professor of African American studies at 黑料不打烊, in collaboration with other faculty and students, as well as local artists and City of 黑料不打烊 residents.

Under the leadership of the Department of African American Studies, CFAC has become a thriving hub in 黑料不打烊 and the greater community for developing and promoting creative exploration of the African diaspora. Its mission is to exalt cultural and artistic pluralism by collecting, exhibiting, teaching and interpreting the visual and expressive arts. In addition to Williams, CFAC founders include Shirley Harrison, Jack White, George Campbell Jr., Mary Schmidt Campbell, David MacDonald and Basheer Alim.

“For 50 years, CFAC has helped share, preserve and continue the histories and stories of the African diaspora through the arts,” says Tanisha M. Jackson, Ph.D., executive director of CFAC, creator of Black Arts Speak and professor of African American studies. “We are proud of the community we serve, the setting for dialogue and interaction we provide, and the incredible programs and artists we support.”

CFAC planted its roots in a small storefront, then relocated to a converted auditorium on the East side of 黑料不打烊, before finally settling into its current space in the heart of the Connective Corridor, where the building now functions as a multidisciplinary community art center and venue for community members to gather in the spirit of creative expression.

Public programming offered by CFAC includes exhibitions, film screenings, gallery talks, workshops and courses in studio and performing arts, and more. CFAC also offers a robust that provides a gateway to the arts to middle school and high school students in the community.

In addition to the Ailey II performance, CFAC will celebrate its 50th anniversary with a variety of additional events. To learn more about events, . For more information about the gallery or tickets to the Ailey II performance, contact cfac@syr.edu. To support CFAC artistic and educational programming, .

?

“Caribbean Dreams” runs through Thursday, Oct. 13. The reception with Samantha Box and her gallery talk takes place on Thursday, Sept. 1, at 6 p.m. in the Kathleen O. Ellis Gallery. The reception is free and open to the public, with light refreshments. Find Light Work in the Robert B. Menschel Media Center at 316 Waverly Ave. in 黑料不打烊.

Construction #1(1), 2018 (Photo by Samantha Box, courtesy of Light Work)

About “Caribbean Dreams”

How can artwork be risky? In artistic practice—as opposed to the way that art-speak often reduces “risk” to non-meaning and/or applies the term ubiquitously—risk is often about expectations. This meaning is front and center in Samantha Box’s new solo exhibition. In conversation with exhibition curator Dan Boardman during a studio visit, Box reflected on her new body of work. “I started to really appreciate risk in the last couple of years of this work, when I started to want to make pictures that were going into spaces that felt strange, wild and uncharted,” Box says. “I had to give myself permission to make pictures that made sense only to me—a total risk.” With “Caribbean Dreams,” Box deftly traverses this edge, expanding her approach to making images and to her new subject matter. This allows her to blend personal, familial and relevant regional materials into raw, experimental and unpredictable compositions. She fills each image with discovery, intuition and restless innovations that explore and overlay multiple diasporic Caribbean histories and identities.

Exhibition Catalog

Samantha Box’s exhibition catalog, “Contact Sheet 218,” and signed limited-edition fine prints titled “Tropical Family Portrait, 2020” will be available for purchase after the reception and in Light Work’s online shop.

Samantha Box (portrait courtesy of the artist)

Artist Biography

is a Jamaican-born, Bronx-based photographer. She has exhibited work at the DePaul Art Museum, Houston Center of Photography, the ICP Museum and the Leslie-Lohman Museum of Gay and Lesbian Art. Box has been an artist-in-residence at both the Center of Photography at Woodstock and Light Work. She received an M.F.A. in advanced photographic studies from the International Center of Photography/Bard College (2019) and a certificate in photojournalism and documentary studies from the International Center of Photography (2006). She has twice received the NYFA Fellowship in Photography (2010 and 2022)

Related Programming

Light Work hosts supplemental programming in its gallery spaces to support exhibition-related events, conversations and tours. With great excitement, we announce the “2022 Light Work Grants in Photography: Carlton Daniel, Jr. Lacey McKinney, Sarah Phyllis Smith”?will be on view concurrently in Light Work’s Hallway Gallery.

Gallery Hours, Admission and General Information

Find Light Work’s galleries in the Robert B. Menschel Media Center, 316 Waverly Ave., 黑料不打烊. Gallery hours are Monday through Friday from 10 a.m. to 5 p.m. and Saturday and Sunday from 1 to 9 p.m. Light Work closes on all major holidays. Contact Light Work to schedule a guided tour of the galleries or the Light Work Lab. Follow Light Work on, and . For general information, please visit , call 315.443.1300, or email info@lightwork.org.

Parking
Limited metered parking is available on Waverly Avenue and paid parking is available in the Booth Parking Garage. Visit ?for more information on parking and directions to the galleries.

Crowd No. 1 (Image by Melisa Catanese)

An opening reception with Catanese will be held on Thursday, March 24, from 5-7 p.m.? An artist talk with Catanese will begin at 6 p.m. and be followed by a Q&A with reception guests. Signed copies of her exhibition catalog, “Contact Sheet 216,” will be available for purchase after the talk. The reception and artist talk are free and open to the public.

The exhibition is on display in Light Work’s Kathleen O. Ellis Gallery,? located in the , 316 Waverly Avenue, through July 22. Visit the for more information on gallery hours.

About the Exhibition

Catanese borrows the title of the exhibition from literature. In Shirley Jackson’s famous short story, a village casually embarks on a yearly ritual of selecting an individual and then stoning them to death. Catanese’s “The Lottery” teases out similar themes regarding ritual, culture and the diffused accountability of a mob.

Image by Melissa Catanese

Catanese’s work blends anonymous photographs, press clips and images from NASA’s archive with her own. Single images resemble sentence fragments that Catanese completes with her sequences. Sometimes seamlessly blending in, Catanese’s own images also act as punctuation throughout the work. This creates a sensation of call and response between the archival material and Catanese’s own images that brings to mind the Chauvet Cave in southeastern France. There, brilliant cave paintings date back 37,000 years. Over this enormous stretch of time, additional visitors added their own marks to the cave murals, sometimes with gaps of more than 5,000 years. The idea that collaboration can reach across time, decoding or willfully rethinking, is present throughout “The Lottery.”

makes artist’s books and installations from photographic images, both personal and anonymous. For some years, she has been editing images from Peter J. Cohen’s photography collection of more than 30,000 vernacular and found anonymous photographs spanning the early to mid-20th century. Catanese combines photographs from her own archive with Cohen’s found images to create elliptical narratives. In doing so, she questions photographic authorship and the apparent transparency of the photographic image’s meaning. Her readings become personal, intuitive and openly poetic. She is the author of “Dive Dark Dream Slow” (2012), “Dangerous Women” (2013), “Hells Hollow Fallen Monarch” (2015) and “Voyagers” (2018). Catanese holds a B.F.A. from Columbus College of Art and Design (2001) and an M.F.A. from Cranbrook Academy of Art (2006). She has exhibited work at Aperture Foundation (New York City), Cleveland Museum of Art, Mulhouse Biennial of Photography (Mulhouse, France), No Found Photo Fair (Paris) and Pier 24 Photography (San Francisco). Catanese is the founder of Spaces Corners, an artist-run photography bookshop and project space in Pittsburgh. Her teaching appointments include, most recently, the University of Pittsburgh.

The exhibition runs through Thursday, March 10, at Light Work, located in the Robert B. Menschel Media Center, 316 Waverly Ave. A reception with the exhibiting artists will be held on Thursday, March 3, from 6-7 p.m. and is free and open to the public.

Image by Tori Sampson, who took Best of Show honors

The exhibiting artists are Alice Adams, Luke Anaclerio, Lauren Bertelson, Marijke Pieters-Kwiers, Abigail Fritz, Corey Henry, Erik Liu, Qirui Ma, Paola Manzano, Tori Sampson, Keqin Wang and Sarah Winn. Artist and activist Jay Simple served as juror and selected images for Best of Show and Honorable Mention awards. Sampson took Best of Show honors, with Wang as Runner-up. The Honorable Mention award went to Pieters-Kwiers.

“Over the course of nearly two years what we have known as ‘normal’ has been disrupted, at times for better and for worse. Through these moments artists, like those included in this exhibition, have rededicated themselves to exploring, documenting, analyzing and engaging with aspects of the human experience,” says Simple. “Looking into these moments we find the breadth and complexity of our contemporary moment as we struggle and strive to come to terms with the mutuality of our isolation, the need for radical care of ourselves and the relationships and connections that we hold dear. Melancholy and joy resonate in this space and hint that we must abandon a didactic aesthetic to embrace the nuanced complexity that arises from what a friend once called ‘the bittersweet quality of being alive.’ This is far from a defeated stance, and it is a recognition of the power artists have to show us our resiliency through adversity.”

Laura Heyman, associate professor of art photography in the Department of Film and Media Arts, speaks to the importance of the annual collaboration. “Art photography’s close partnership with Light Work benefits students in so many ways. All of our students become members, with access to Light Work labs and their exceptionally skilled staff. In addition to giving students the space to imagine how their thesis work might develop over the following months, the Photography Annual show introduces their work to their peers, the local community and the renowned curators and critics who jury the exhibition,” she says.

“Light Work is an invaluable intellectual, professional, and technical resource for art photography students, providing them with an extraordinary and unique range of real-world skills and experiences,” Heyman says.

Many students work with Light Work throughout their undergraduate careers and become an integral
source of the energy, passion and excitement that define the organization.

Gallery hours are: Monday-Thursday, 10 a.m. to 9 p.m., Friday, 10 a.m. to 6 p.m., Saturday and
Sunday, 1 p.m. to 9 p.m. Contact Light Work at 315.443.1300 or info@lightwork.org to schedule a guided tour of the galleries or the Light Work Lab.

Installation view of “My Favorite Software Is Being Here” by Alison Nguyen on the Everson Museum of Art fa?ade.

Light Work’s ?presents “,” a group exhibition featuring the work of filmmakers Lana Z Caplan, Ross Meckfessel, Alison Nguyen and Matt Whitman. The installation will be on view from Jan. 27-March 26 at UVP’s outdoor projection site on the north facade of the at 401 Harrison Street, Thursday through Saturday, from dusk until 11 p.m.

“No Emoji for Ennui” explores the difficult-to-define emotional tenor of our time—one that often leaves us overstimulated and underwhelmed at the same time it demands endless positivity. The seductive surface of the touchscreen shatters and the polygon meshes underlying our shared social reality peek out from under the digital skin.

What does it feel like to be a person in a world in which our sense of self has been thoroughly disoriented by technological entanglement and co-opted by neoliberal capital?

By turns unsettling, contemplative, humorous and filled with existential dread, the resulting show is a collective selfie of who and what we are now.

Along with the exhibition, UVP will host a free screening of the “No Emoji for Ennui” program, followed by a Q&A with the filmmakers, on Thursday, Feb. 24, at 6:30 p.m. ET.

For those unable to attend in person, we will offer the screening a second time as a .?“No Emoji for Ennui” is the second exhibition in the UVP 2021-22 season, titled “It’s Not a Bug, It’s the Future.” More information is available at

Plaza Projection Schedule

• Jan. 27-Feb 5: Lana Z Caplan,”Autopoiesis”
• Feb. 10-19: Ross Meckfessel, “Estuary”
• Feb. 24-March 5: Alison Nguyen, “My Favorite Software Is Being Here”
• March 10-19: Matt Whitman, “CAN’T ANSWER YOU ANYMORE (ON FACES)” and “HOW MUCH LONGER”
• March 24-26: combined loop

About the Film and Artist Biographies
In order of exhibition screening schedule:

Lana Z Caplan, “Autopoiesis”
2017 | 7:15

#aerialskiers #PyeongChangWinterOlympics #divers #LeniRiefenstal #Olympia #OpticalIllusions #SpeculativelyGeneratedOuterSpace #SelfHypnosis #SunRa #SpaceIsThePlace #4ECognition #AssaultByHashtags #MeToo #BlackLivesMatter #StillMarching #GiletJaune #Brexit #IdeasofUtopia #AfroFuturism #HashtagActivism #YouAreASystem #ConstantlyBuffeted #Maintain #LoveWins

works across various media, including single-channel films and videos in essay form, interactive installations, video art and photography. Her work is inspired by notions of utopia and the relationship of the present to history and memory. Caplan has exhibited and screened at Anthology Film Archives (New York), Antimatter Film Festival (Victoria, British Columbia), Arte Contemporáneo (Mexico City), Chicago Underground Film Festival, CROSSROADS Film Festival, IC Docs (Iowa City), Inside Out Art Museum (Beijing), Microscope Gallery (New York), Moving Image Festival (Scotland), Museo Tamayo, Oberhausen International Short Film Festival and San Francisco Cinematheque’s Alchemy Film. Caplan’s work is represented by Gallery NAGA (Boston) and her films are distributed by Collectif Jeune Cinéma (Paris) and Filmmaker’s Cooperative (New York).

Ross Meckfessel, “Estuary”
2021 | 12:00 | 16mm stereo sound

When you question the very nature of your physical reality it becomes much easier to see the cracks in the system. “Estuary” charts the emotional landscape of a time in flux. Inspired by the proliferation of computer-generated social media influencers and the growing desire to document and manipulate every square inch of our external and internal landscapes, Meckfessel considers the ramifications of a world where all aspects of life are curated and malleable. As time goes on, all lines blur into vector dots.

is an artist and filmmaker who works primarily in Super 8 and 16mm film. His films often emphasize materiality and poetic structures while depicting the condition of modern life through an exploration of apocalyptic obsession, contemporary ennui and the technological landscape. His work has screened internationally and throughout the United States, including in the Antimatter Film Festival (Victoria, British Columbia), IC Docs (Iowa City), Internationales Kurzfilm Festival Hamburg, New York Film Festival, San Francisco Cinematheque’s CROSSROADS Film Festival, The Artifact Small Format Film Festival (awarded best 16mm film) and Toronto International Film Festival.

Alison Nguyen, “My Favorite Software Is Being Here”
2020-21 | 19:47

A collaboration between Nguyen and a machine learning program created with Achim Koh, Andra8 is a simulacral subaltern created by an algorithm and raised by the internet in isolation in a virtual void. From the apartment where she has been “placed,” Andra8 works as a digital laborer, surviving off the data from her various “freemium” jobs as virtual assistant, data janitor, life coach, aspiring influencer and content creator. As she multitasks throughout the day, Andra8 is monitored and surveilled, finding herself overwhelmed by a web of global client demands. Something begins to trouble Andra8: Her life depends on her compulsory consumption and output of human data—or so she’s been told. Andra8 explores the implications of such an existence, and what happens when one attempts to subvert them.

is a New York City-based artist whose work spans video, installation, performance and new media. Her screenings include Ann Arbor Film Festival, Channels Festival International Biennial of Video Art, CPH:DOX, Edinburgh International Film Festival, e-flux, International Film Festival Oberhausen, Microscope Gallery, Open City Documentary Festival, San Francisco Cinematheque’s CROSSROADS Film Festival and True/False Film Festival. Nguyen’s residencies and fellowships include BRIC, the International Studio & Curatorial Program, The Institute of Electronic Arts, Signal Culture, Squeaky Wheel Film and Media Art Center, and Vermont Studio Center. Her grant awards include the Foundation for Contemporary Art, New York State Council on the Arts (NYSCA) and The New York Community Trust. In 2018, Filmmaker Magazine?featured Alison Nguyen in their . In 2021, she received a NYFA/NYSCA Artist Fellowship in Video/Film.

Matt Whitman, “CAN’T ANSWER YOU ANYMORE (ON FACES)”
2019 | 2:19 | Super8 film transferred to video | Silent | Color

Matt Whitman, “HOW MUCH LONGER (ON BALLONS)”
2019 | 2:27 | Super8 film transferred to video | Silent | Color

These poetically elliptical, darkly humorous pieces feature extreme close-ups of the detritus of online interaction—emojis, gifs—shot on Super8 film. This medium’s low resolution and prominent film grain defamiliarize the textureless screen images while out-of-sync framerates create a fluttering, off-kilter vision of the present as future past.

is a New York City-based artist working with moving images, photography, installation, writing and performance. He has exhibited and screened his work widely at such sites as 8 fest (Toronto), Anthology Film Archives (New York City), Brooklyn Film Festival (New York City), Ethan Cohen Gallery (New York City), La MaMa (New York City), SF Cinematheque (San Francisco), The Front (New Orleans), The Kitchen (New York City), The Lab (San Francisco) and Unexposed Microcinema (Durham, North Carolina). He has taught at Parsons School of Design since 2014.

Additional Works Featured in the Screening and Q&A Events

Tulapop Saenjaroen, “People on Sunday”
Thailand | 2020 | 20:53

“People on Sunday” is a reinterpretation, a response and an homage to the 1930 German silent film, “Menschen Am Sonntag.” However, this response arises from a different context, different country, different era and different working conditions. “People on Sunday” comprises episodic stories of moving-image-related workers who work in the same performance-art-video project about free time.

is an artist and filmmaker currently based in Bangkok, Thailand. His recent works investigate the correlations between image production and production of subjectivity, as well as the paradoxes intertwining control and freedom in late capitalism. In combining the genres of narrative and the essay film, he explores subjects such as tourism, self-care and free labor. Saenjaroen received an M.F.A. in fine art media from The Slade School of Fine Art and an MA in aesthetics and politics from California Institute of the Arts.

Saenjaroen has exhibited and screened his work internationally at sites including 25FPS (Zagreb, Croatia), Asia Culture Center (Gwangju, Korea), Bucharest International Experimental Film Festival, CROSSROADS at SFMOMA, FICVALDIVI (Chile), Harvard Film Archive, Images Festival (Toronto), International Film Festival Rotterdam, International Short Film Festival Oberhausen, Locarno Film Festival, Moscow International Biennale for Young Art, Museum of the Moving Image (New York City), Open City Documentary (London) and Seoul International New Media Festival.

Support for this exhibition comes from the with the support of the New York State Legislature. The related event is co-sponsored by the 黑料不打烊 School of Art Visiting Artist Lecture Series.

Each year, following an international call for submissions, Light Work selects 12 to 15 artists for a one-month residency to pursue creative projects. To date, more than have participated in the residency program, and many have gone on to achieve international acclaim.?

A patron takes in a Light Work photo exhibition.

This grant signals national recognition that champions Light Work’s nearly 50-year legacy of advocacy through exhibitions, publication of the print publication Contact Sheet, a state-of-the-art community-access digital services lab, and comprising more than 4,000 photo-related objects and images.?

“We are honored by this generous recognition from the NEA,” says Dan Boardman, Light Work’s director. “This funding helps us continue to create transformative moments for artists, gallery visitors, students, educators and the public during this tenuous time in the arts community.”

GAP awards reach communities in all parts of the country, large and small, and with diverse cultural and economic backgrounds. These awards represent 15 artistic disciplines and fields: Artist Communities, Arts Education, Dance, Design, Folk and Traditional Arts, Literary Arts, Local Arts Agencies, Media Arts, Museums, Music, Musical Theater, Opera, Presenting and Multidisciplinary Works, Theater, and Visual Arts.

“The National Endowment for the Arts is proud to support arts projects that help support the community’s creative economy,” says Ann Eilers, NEA’s acting chair. “Light Work is among the arts organizations nationwide that are using the arts as a source of strength, a path to well-being and providing access and opportunity for people to connect and find joy through the arts. The supported projects demonstrate how the arts are a source of strength and well-being for communities and individuals, and can open doors to conversations that address complex issues of our time.”

For more information on other funded projects, .

A reception for Henkel and his gallery talk takes place on Thursday, Nov. 4, at 6 p.m. in the Kathleen O. Ellis Gallery. The reception is free and open to the public, with light refreshments.

About the Exhibition?

Whatever is discarded, broken and damaged draws James Henkel to it. The objects he collects, assembles, or deconstructs are humble, common and often no more than the scale of the human hand. Both the patina of wear and the handling that was often the source of the object’s destruction are clearly present. He presents pieces of ceramic pots, bowls, bricks, toys, combs and well-worn books in their broken fragments. Completely useless now, they remain a testimony to someone’s life. This is what Henkel elevates by photographing these found objects so directly. Tension abounds in his work between the humble and the monumental, between play and decay, between high and low. The artist cross-references grander ideas from art history, painting, and sculpture, while also pointing back to the simpler but profound experience of photographing an ordinary life.

James Henkel

James Henkel has lived his life around artists and creatives. His wife and daughter are both artists and he is professor emeritus at the University of Minnesota’s Department of Art. In his years as an undergraduate, he discovered the Penland School of Craft in North Carolina. He has remained closely tied to the school and now lives nearby. The potters, weavers, bookbinders, and artisans of Penland have influenced his thinking as he challenges the relationships between art, craft, function, and beauty. Henkel photographs objects as containers of memory. He uses his camera to focus our attention and to share a sense of wonder. Those too invested in hierarchies will miss it. This is what artists do: expose our blind spots and encourage us to see.

Over the last three months, Light Work staff have taken incremental steps toward pre-pandemic “normal.” At Light Work, there has been a progression from essential staff only to a green light on welcoming Light Work’s community of photographers and photo enthusiasts into the Kathleen O. Ellis, Hallway Galleries and lab.

For Light Work and arts institutions across the nation, the last year brought unprecedented trials that Light Work has tried to meet with a determined and creative dexterity and an unwavering commitment to support, amplify and #keepartgoing.

Light Work’s reopening includes a communitywide invitation to students, educators, local organizations and University partners to schedule use of the main gallery, library and lab studio for exhibition-related art-making, workshops, class discussions or staff-guided tours.

Light Work’s community partnerships comprise organizations that cultivate safe spaces for inquiry and critical dialogue and their approaches to both exhibitions and the ideas presented in the works are creative and interdisciplinary.

The Fall 2021 exhibition schedule offers a diverse intersection of thematic insights and photographic methods. Please join Light Work for “” (Kathleen O. Ellis Gallery, Aug. 23-Oct. 14), “” (Hallway Gallery, Aug. 23-Oct. 14), “2021 Horizons: New Film Out of?Central New York” (UVP| Everson Plaza, Sept. 30), and “Hito Steyerl: Strike” (UVP| Everson Plaza, Sept. 16-Dece. 11).

members also have cause for celebration.? In preparation for welcoming the community back into the photography lab, the staff reconfigured the space. The staff have established new best practices for using state-of-the-art workspaces, darkroom, lighting studio and printers. The new guidelines ensure a safe, productive workflow that will support the needs of its members, workshop participants and artists-in-residence. Light Work adheres to the most up-to-date COVID-19 safety protocols to protect patrons, artists, students and staff.

The exhibitions run through Sept. 4, Thursday through Saturday from dusk to 11 p.m. on the northern facade of the .?The schedule can be found below.

In recognition and celebration of Juneteenth, UVP launched the 2021 Summer Review earlier this month with “” from award-winning filmmaker Ephraim Asili. “Fluid Frontiers” is the fifth and final film in the series entitled “The Diaspora Suite,” exploring Asili’s personal relationship to the African Diaspora. “Fluid Frontiers” explores the relationship between concepts of resistance and liberation, exemplified by the Underground Railroad, Broadside Press and artworks of local Detroit artists.

2020-21 Summer Review Schedule
UVP Everson | Everson Museum Plaza
Thursday through Saturday | dusk-11 p.m.

• Through July 3:
• July 8-17:
• July 21-31:
• Aug. 5-14:
• Aug. 19-Sept. 4:

Sponsors
Support for this exhibition comes from the? with the support of Governor Andrew M. Cuomo and the New York State Legislature.

Photo by Meryl Meisler

presents ,” an exhibition of her photography of her life in and around New York City in the 1970s and 1980s.? Meisler’s?exhibition?will be on view in the Kathleen O. Ellis Gallery through July 23, 2021. Mary Lee Hodgens, associate director of Light Work, will moderate a virtual conversation and Q&A with Meisler on Thursday, April 29, at 6 p.m. to 7 p.m. ET.

In Light Work’s early days, during the 1970s and 80s, many artists arrived for their monthlong residency with no specific plans for using their time. With only a camera and a vague idea of exploring, they walked the streets of 黑料不打烊, open to the synchronicity of what might happen. Incredible photographs ensued and the artists often called them gifts. Grateful to land in the right place at the right time, they discovered images on their contact sheets that startled and delighted them. But they also saw photography as more than random luck. It was both a collaboration and a conversation. They saw themselves as witnesses.

Over the same decades, Meryl Meisler was photographing her life in and around New York City with the same sense of exploration and possibility as those pioneering Light Work AIRs. Retiring from decades as a public school art teacher, Meisler began to unearth and rethink her own archive. Part time capsule of the 1970s and 1980s and part memoir, “” is an invitation to join her for a wild ride—disco nights, punk bars, strip clubs, Fire Island, family, friends and neighbors, and suburban Long Island. Her exuberant celebration of human connection is particularly poignant now, when we can take none of these gatherings for granted. Meisler clearly celebrates with her subjects. These are her people: she is not an outsider but a participant. She depicts our own shared humanity, humor, and joy.

“I want to show you who I am,” she says now. “My identity as a woman, Jew, lesbian, middle-class teacher, Baby Boomer, New Yorker, liberal, American—and so much more—influences how I perceive and create art about the world around me. I’ve only just begun revealing my huge photography archive. Stay tuned, the best is yet to come!

In addition to installation views on Light Work’s website we invite you to bring Meisler’s exhibition to your doorstep. Copies of “Best of Times, Worst of Times“ exhibition catalog, ?are available in the Light Work shop.?

Please note:?Light Work’s galleries are currently closed to the general public as part of our ongoing effort to stop the spread of COVID-19. We encourage patrons to visit our ?and to check out our , including an interview with exhibiting artist Meryl Meisler. Light Work is located in the Robert B. Menschel Media Center at 316 Waverly Avenue, 黑料不打烊, New York, 13224.

was born 1951 in the Bronx and raised on Long Island, New York. Inspired by Diane Arbus, Jacques Henri Lartigue, her dad Jack and grandfather Murray Meisler, she studied photography with Cavalliere Ketchum at The University of Wisconsin–Madison, and with Lisette Model in New York City.

Meisler frequented and photographed the legendary New York discos. A 1978 CETA Artist Grant supported her portfolio on Jewish identity. Upon retiring from 31 years as a New York City public school art teacher, she began releasing previously unseen work, including her books, “A Tale of Two Cities: Disco Era Bushwick” (Bizarre, 2014), “Purgatory & Paradise: SASSY ‘70s Suburbia & The City” (Bizarre, 2015) and “New York PARADISE LOST: Bushwick Era Disco” (forthcoming 2021).

Meisler has received support from Artists Space, CETA, China Institute, Japan Society, LMCC, Leonian Foundation, Light Work, NYFA, Puffin Foundation, VCCA, and Yaddo. She has exhibited at the Brooklyn Historical Society, Brooklyn Museum, Dia Art Foundation, MASS MoCA, New Museum, New York Historical Society, Whitney Museum, and numerous public spaces. Her work is in the collections of AT&T, American Jewish Congress, Bibliothèque Nationale de France, Brooklyn Historical Society, Columbia University, Emory University, Islip Art Museum,? Library of Congress, Pfizer, Reuters and many museums’ artist book collections. Meisler lives in New York City and Woodstock, New York. ClampArt represents her work.

Aaron Turner, Courtesy of Kat Wilson Photography

will exhibit more than 20 works by Arkansas-based photographer Aaron Turner in its first main gallery show of 2021. “Aaron Turner: Black Alchemy, Backwards/Forwards” will be on view in the Kathleen O. Ellis Gallery through March 4, 2021. Mary Lee Hodgens, associate director of Light Work, will moderate a virtual conversation and Q&A with Turner on Thursday, Feb. 18, from 6-7 p.m. ET.

In the solitude of the studio, the artist is never alone. Quite the contrary for Aaron Turner. Sidney Poitier, Martin Luther King Jr., Marvin Gay, Frederick Douglas and others all move up and through the layers of cut paper and projections. The artist handles, arranges, touches both objects and beloved figures, seeking, listening, directing and responding. Some of these juxtapositions seem random, fluid, almost falling through space, but this is precisely the process Turner invites us to witness.

“We are excited to have Aaron Turner back at Light Work with an exhibition of selections from his ongoing Black Alchemy series,” says Hodgens. “When he was here as an Artist in Residence in 2018, he intrigued us with his studio practice and his process of building a photograph, often combining methods of collage and abstraction. He is also a painter and sculptor and his ease with multiple media creates great energy and cross-pollination of ideas. Turner’s work is elegant and formally striking, deeply conversant in the work of both predecessors and contemporary colleagues, and he tells important stories about people of color from the Arkansas and Mississippi Deltas.”

Aaron Turner, “Black Alchemy Vol. 2”

In addition to installation views on Light Work’s website, we invite you to bring Turner’s exhibition to your doorstep. Copies of the “Black Alchemy, Backwards/Forwards” exhibition catalog, are available in the Light Work shop.?

Please note: Light Work’s galleries are currently closed to the general public as part of our ongoing effort to stop the spread of COVID-19. We encourage patrons to visit our and to check out our , including an interview with exhibiting artist Aaron Turner.

About the Exhibition

Aaron Turner’s Arkansas Delta community and family taught him to know and understand African American history, honor its heroes and respect his elders. The simple and profound gift of this upbringing has allowed him to pursue the role of Black artist and activist in our culture with unapologetic, single-minded intensity. Turner is in many ways acknowledging, standing on and building from this foundation in his work. With deep affinity for the formal qualities of black-and-white photography, Aaron Turner uses his large format camera and the alchemical darkroom process to move back and forth between abstraction, still life, collage and appropriated archival images to literally take apart and then reconstruct his photographic images. The color black itself has a presence in this work—infinite, elegant, unknowable. Turner is also a painter; his use of large swaths of black is both a metaphor for race and related to abstraction and its emphasis on process, materials and color itself as subject.

About Artist Aaron Turner

Besides his studio practice, Aaron Turner is a teacher, curator, writer, founder of the Center for Photographers of Color (CPoC) at the University of Arkansas and host of the CPoC podcast. Active in the photo and contemporary art community, he often uses these platforms to discuss his primary muses: other Black artists and activists. Bring a pen and notebook, because Turner is a name dropper in the best sense and you will want to look up these painters, sculptors, photographers, athletes and activists whom he reveres, some hallowed and some obscure (for now). His generosity reminds one of artists like Deborah Willis, Carrie Mae Weems and Zanele Muholi, who all—understanding art and power—have made it their business to bring a community of artists along with them through the doorway and into the spotlight. He too arrives en masse: perhaps his greatest tribute to his elders in the Arkansas Delta.

General Information?

Find Light Work’s galleries in the Robert B. Menschel Media Center, 316 Waverly Ave., 黑料不打烊. Follow Light Work on , ?and . For general information, please visit , call 315.443.1300 or email info@lightwork.org.

Dan Lyon, “Purgatory,” 2020, courtesy of Light Work

The exhibition will run through March 4 at Light Work. As Light Work’s galleries remain closed to the public because of the COVID-19 pandemic, patrons are encouraged to exhibitions online and participate in online events.

The exhibiting artists are Sam Bennett, Li Chen, Kate Hall, Torian Love, Dan Lyon, Neva Knoll, Jillian McHugh, Natalie Richard, Alana Swaringen, Bailey Thurmond, Sarah Vinette and Ally Walsh.

Gregory Eddi Jones, founding editor and publisher of In the In-Between, served as juror and selected images for Best of Show and Honorable Mention awards. Dan Lyon was awarded Best of Show, and Honorable Mention honors were awarded to Kate Hall, Sarah Vinette and Ally Walsh.

Ally Walsh, “Untitled,” 2020, courtesy of Light Work

“There is a tense anxiety in many of these photographs, and for good reason, given the turmoil of the world in recent past and the uncertainties of the future,” says Jones. “Questions of ‘Who are we?’ ‘Where are we coming from?’ and ‘Where are we going?’ are programmed into nearly all forms of critical photographic inquiry, and the work of these students is no exception.”

“The annual Light Work exhibition is always an important experience for students working toward their senior thesis projects,” says Laura Heyman, associate professor of art photography in the Department of? Transmedia and coordinator of the art photography BFA program. “These projects are yearlong (and sometimes longer), in-depth photographic explorations of a self-chosen topic. In the process of working through their ideas, students often experiment with form and concept, and the projects change considerably over the course of the year.

Kate Hall, “Untitled,” 2020, courtesy of Light Work

Heyman says the Light Work exhibition is both a moment students begin to materialize their research more concretely and a professional opportunity to have their work presented in a setting that’s widely known and well-respected. It’s also a great demonstration of the relationship between the art photography program and Light Work, as students have spent a good part of the past three years there, working in the lab, attending exhibitions and artist lectures, and often working with the artists in residence.

“Over the years, art photography student projects have covered an incredible range of subjects, from deeply personal explorations of self and family, to topics like local environmental disasters and our current political landscape,” says Heyman. “This year is no different, but the Light Work exhibition feels more important than ever as a marker and in recognition of the amazing work our students are doing under very difficult, complicated circumstances.

Sarah Vinette, “Untitled,” 2020, courtesy of Light Work

Jones, this year’s juror, is a photographic artist, writer and publisher living between Philadelphia and New York City. He holds a BFA from Rochester Institute of Technology (2010) and an MFA from Visual Studies Workshop (2016). In addition to his photographic practice, Jones has contributed writing to Afterimage, Foam, LensCulture, Paper Journal and Unseen Magazine. He is the founding editor and publisher of In the In-Between, an independent platform for 21st century photography.

Alinka Echeverría (photo courtesy of the artist)

presents “,” a solo exhibition of work by Mexican-British multimedia artist and visual anthropologist Alinka Echeverría. Echeverría’s exhibition will be on view in the Kathleen O. Ellis Gallery at Light Work through Dec. 10. Copies of Echeverría’s exhibition catalog, “,” are available in the Light Work shop.

Please note: Light Work’s galleries are currently closed to the general public as part of our ongoing effort to stop the spread of COVID-19, however 黑料不打烊 students, faculty and staff who are cleared to be on campus may visit the exhibitions during gallery hours. We encourage patrons to visit our and to check out our , including an interview with exhibiting artist Alinka Echeverría. Light Work is located in the Robert B. Menschel Media Center at 316 Waverly Avenue.

“” is the culmination of artist Alinka Echeverría’s extensive research into the representation of women and femininity since the origins of the medium of photography. “With few exceptions, the place of women was before the lens, not behind it,” she says. As Echeverría immersed herself in the colonial archives of the Nicéphore Nièpce Museum in France, work she embarked on in 2015, the aesthetics of the fetishized and exoticized depiction of women both intrigued and appalled her. Directly referencing the “inventor of photography,” Nicéphore Niépce, Echeverría titles this work more broadly as “Fieldnotes for Nicéphora” (incorporating the “a” at the end to feminize the name that he had adopted for its meaning: victorious)—thereby explicitly reframing the legacy of this white, male pioneer of photography to a feminist and postcolonial perspective.

Light Work is mindful of installing the exhibition amidst an ongoing global pandemic, as we all work to reimagine how physical gallery spaces exist (or don’t) and perhaps expand how works on walls may take on new forms. With that in mind, Echeverría has opened up the ways in which she would normally exhibit photographic work in a gallery. She revisits past collage work innovatively, re-adapting stills from a video piece as large-scale photographic prints and pages from a photobook project, brought to life here as a continuous stream of images wrapping around three of the gallery walls.

?Alinka Echeverría, Extract from “Fieldnotes for Nicephora,” 2015-2020

Echeverría reframes the photographs to examine how she can alter their purpose both through their context and materiality. “As a link between the past and the present, the photographic archive makes time resurface by way of stored visual forms,” Echeverría explains. “In my view, an active reframing allows them to acquire a certain contemporaneity with the new interpretations brought by our contemporary gazes as practitioners and viewers.” Echeverría’s works in “Heroine” are both visually arresting and profoundly thoughtful—urging viewers to investigate the complexities of the photographic object itself as well as the ways in which its creation, reproduction, and distribution has been problematic since the early 1800s.

is a Mexican-British artist and visual anthropologist working in multiple media. She holds a master’s degree in social anthropology from the University of Edinburgh. After working on HIV prevention projects in rural East Africa, she completed a postgraduate degree in photography from the International Center for Photography in New York in 2008. She has exhibited widely, including solo exhibitions at Arles’ Les Rencontres de la Photographie, The California Museum of Photography, Johannesburg Art Gallery, The Montreal Museum of Fine Arts and Preus Museum (Norway’s National Museum of Photography).

She is the recipient of the 2020 MAST Foundation for Photography Grant and in recent years she has received the BMW Art & Culture Residency at the Nicéphore Niépce Museum, as well as FOAM Museum’s Talent award and the HSBC Prize for Photography. The Lucie Awards voted her International Photographer of the Year and she was a finalist for the Musée de l’Elysée’s Prix Elysée for mid-career artists. Several public collections and institutions hold her work, including BMW Art & Culture France, FOAM Museum, Houston’s Museum of Fine Arts, LACMA, The Montreal Museum of Fine Arts, Musée de l’Elysée, Musée Nicéphore Niépce, and the Swiss Foundation of Photography. In 2017 she was the presenter for a three-part series for BBC Four called “The Art That Made Mexico.”

“We are proud to be one of the inaugural recipients of the Black Equity and Excellence grant and commend CNYCF for their financial commitment to a corrective investment in marginalized communities that have disproportionately experienced systemic divestment,” said Tanisha Jackson, Community Folk Art Center’s executive director. “Like many arts institutions across the nation, we are navigating the challenges of serving our mission during a global pandemic. We are extremely grateful for this grant as we work to realize new creative ways to promote and develop artists of the African Diaspora during this challenging time.”

Community Folk Art Center

Hailing an invest minimum of $1 million over the next few years, the , was established in response to the tragedies and ensuing national conversation on race that has brought to light a common truth—that anti-Black racism is still woven into the fabric of our country. The allocation of the dollars will focus on building community dialogue, increasing the capacity of Black-led organizations that are supporting historically underserved communities, and supporting projects that counteract systemic racism. It also encourages dialogue that will strengthen race-related matters and support social and educational growth in the community.

“The structural racism we see today did not happen on its own—and as a civic leader in the Central New York region, we must use our platform and resources to take action,” said Dashell Elliott, program officer at the Foundation. “We believe that this positive step forward will help to harness today’s energy—and outrage—by focusing on solutions.”

A representation of work from the 2021 Light Work Artists-in-Residence.

Each year, supports at least a dozen emerging and underrepresented artists working in photography and related media with month-long residencies and a total of over $60,000 in support. In addition to being awarded an unrestricted stipend of $5,000, each artist receives access to technical and professional resources. While the COVID-19 pandemic has constrained our ability to physically host artists in 黑料不打烊 this coming year, Light Work has responded innovatively to offer continued support in the form of remote residencies.

With great pleasure, Light Work announces the following : Liz Johnson Artur, Danielle Bowman, Sabiha ?imen, Steven Molina Contreras, Larry Cook, Jeremy Dennis, Odette England, Dionne Lee, Daniel Ramos, Aida Silvestri (in partnership with Autograph ABP), Marion Wilson and Guanyu Xu. This diverse group of lens-based and multimedia artists represents the breadth of important and innovative work in the field today. We’re pleased to again partner with Autograph of London (U.K.) to support the residency of Aida Silvestri. This international arts organization’s sponsorship of one of our artists is the latest in a longstanding collaboration that dates from 1996.

The COVID-19 pandemic continues to significantly affect our global artist community, many of whose members are now facing unexpected loss of income and cancellation of exhibitions, grants and residency opportunities. In response to this, Light Work has shifted our residency to a remote format that maintains the same level of robust and intentional artist-guided support.

Citing the effects of the ongoing pandemic, Light Work’s director Shane Lavalette says, “Canceling or postponing our support to emerging and underrepresented artists is simply not an option—in fact, it’s even more essential that we are there for the photographic community right now. Instead, we are deeply committed to being the best international remote residency program for image-makers. In order to do so, we asked artists about the ways in which we can best support their practice during this difficult time, and as a staff we have come together to work to creatively reimagine how we can accomplish this from afar. Despite the geographic distance, we’re thrilled to be able to work closely with this incredible group of artists in 2021.”

The remote residency experience will support artists in developing their artistic practice from their home or designated studio space. In addition to the stipend, artists will benefit from technical, professional and creative support, as well as the extraordinary freedom to determine their own residency’s shape and timing. Our AIR participants can use their month to pursue their projects: photographing, scanning, printing, editing for book projects and working closely with our staff for feedback and conversation. Light Work staff will use the flexibility of virtual support to expand the artist’s networks through discussion groups and educational programming. A special edition of Contact Sheet: The Light Work Annual presents the work of each Artist-in-Residence with an accompanying commissioned essay. Each Artist-in-Residence also makes a donation of their work that becomes a part of the .

Launched in 1976, this competitive program now usually receives about 1,000 applications annually. Following an international call for submissions, Light Work selects 12 to 15 artists and invites them to 黑料不打烊 for one month to pursue creative projects. To date, more than 500 artists have participated in the Light Work Artist-in-Residence Program, and many have gone on to achieve international acclaim. The artists who receive this distinction embody Light Work’s mission of providing direct artist support to emerging and underrepresented artists working in photography and digital imaging.

Find a list of past Artists-in-Residence online at .

Pay $15 for a single pass or $30 for a season pass to all four lectures (a savings of $30 for package pricing). Light Work Lab membership is not required. Passes are nonrefundable and cannot be exchanged with other Lab classes or workshops. Light Work processes registrations on a first-come, first-served basis.

Courtesy of Hannah Price from “Semaphore Series,” 2018.

The series begins on Tuesday, Oct. 13, at 6 p.m. ET, with photographer and filmmaker Hannah Price. A moderated Q&A follows her remote talk, “Project Less.” Hannah Price’s practice comprises photography and film. She uses her work to document relationships, race politics and misperception. Price has received international recognition for her photo project “City of Brotherly Love” (2009-12), a series on the men who catcalled her on the streets of Philadelphia.

The second lecture is on Tuesday, Oct. 20, at 6 p.m. ET, with photographer Irina Rozovsky. Rozovsky believes there is something to photograph most anywhere and considers the camera a third eye. For years, she has made pictures by wandering in far-flung places. She has explored questions of migration, diaspora, rootlessness and personal versus political freedom in Cuba, Israel and former Yugoslavia. Rozovsky is based in Athens, Georgia.

The third lecture is on Tuesday, Oct. 27, at 6 p.m. ET, with photographer S. Billie Mandle. Mandle conducts extensive research into the histories and politics of each of her subjects, which include a home for refugees, a hospital for the mentally ill and the California Missions. She will talk about her recent book, “Reconciliation,” made over ten years of photographing confessionals throughout the United States. The book offers a queer perspective on religious spaces as they relate to the fallibility of faith and forgiveness. Mandle is an associate professor of photography at Massachusetts College of Art and Design.

The fourth and final series event is Tuesday, Nov. 16, at 6 p.m. ET with photographer Lesley A. Martin. She will be in conversation with acclaimed photographer Penelope Umbrico. Martin is publisher of The PhotoBook Review, a newsprint journal dedicated to the photobook. Her writing on photography has appeared in publications that include American Photo, Aperture, FOAM?and Lay Flat. She has edited more than 75 photography books and is creative director at Aperture Foundation.

All proceeds from Light Work’s educational programs support their ongoing mission of advocacy for emerging and underrepresented artists working in photography.

Film still from “Homegoing” (2019)

Light Work’s (UVP) will host , Sept. 3-5. In partnership with , the two-day showcase highlights films by 2020 CNY Short Film Competition winners, including? Issack Cintrón, Carlton Daniel, Kathryn Ferentchak and Charles Stulck. The exhibition will be on view at UVP’s outdoor architectural projection site on the facade of the at 401 Harrison St., Thursday through Saturday, from dusk until 11 p.m.

Exhibition patrons visiting the plaza must maintain a social distance of at least 6 feet between individuals at all times, except for groups visiting from the same household. We encourage everyone to wear face masks to safeguard the public health and as an extension of our commitment to help flatten the COVID curve.

“Exhibiting these works is an extension of our commitment to supporting emerging artists,” says Urban Video Project director Anneka Herre. “We are excited to offer this unique public platform to graduates of film programs from area universities, including 黑料不打烊 and SUNY Oswego. We extend our congratulations to this year’s award recipients and wish them success with their future projects and careers.”

is an annual contest open to recent graduates of local colleges and universities and permanent area residents with a background in film or media production. The competition seeks to provide aspiring filmmakers with the resources and training necessary to develop and produce a professional short film in Central New York, which they can submit to festivals for critical and commercial consideration.

By drawing upon the unique cultural and geographic characteristics of the Central New York region, winning filmmakers explore a variety of storytelling perspectives. The Innovation Group of CNY Arts administers the competition, now in its second year of operation. A grant from Empire State Development and the CNY Regional Economic Development Council supports the competition. The CNY Arts in the Windows Program supports the screenings, in turn funded, in part, by the County of Onondaga and New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

About the Works

“础辫辞肠补濒测辫蝉别…狈辞飞?”

2019 | 15 min | HD Video

Director: Charles Stulck

Alma Mater: SUNY Oswego

Follow a blossoming romance between two individuals with opposing perspectives on the topic of the end of the world as the filmmaker examines independence, self-preservation, co-existence, identity and fear of humanity.

Filmmaker Charles Stulck graduated from SUNY Oswego with a B.A. in film and creative writing. Shortly thereafter, he ran away from the snowy tundras of Upstate New York to sunny Los Angeles to further his career in the entertainment industry. In LA, Stulck worked as a staff writer for Apelles Entertainment and was mastering coordinator at Deluxe Technicolor and an operations manager at VER. His script was a finalist at Script Pipeline. With his literary manager, Andrew Kersey, Stulck is currently shopping feature scripts around to numerous production companies.

“Homegoing”

2019 | 13 min | HD Video

Director: Carlton Daniel Jr.

Alma Mater: 黑料不打烊

Carlton Daniel Jr.

Junior balances the expectations of working at his father’s funeral home and a night out with friends. When grief intrudes on his closest relationships, Junior must face the full circle of life, forcing him to see the world as it truly is.

Indie filmmaker Carlton Daniel Jr., is a writer, director and producer in Los Angeles, CA. Reimagining a reality free from injustice and oppression, Daniel seeks to correct misconceptions of contemporary Black life as a queer Black artist. In 2016, he earned an M.F.A. in film and dramatic writing from 黑料不打烊. Daniel’s work explores themes of surrealism, sexuality, class and Afro-diasporic identity. His award-winning short, “Monogamish” (2017), screened at more than 20 film festivals including Atlanta, Outfest and Palm Springs. Daniel is currently developing his first feature film.

“Early Bird”

2019 | 14 min | HD Video

Director: Issack Cintrón

Alma Mater: SUNY Oswego

Issack Cintrón

In 1976, Elliot, a stoic cleaner, must tie up a nuisance of a loose end for Ben. However, when Ben reveals this involves some highly sought-after money, a high-stakes treasure hunt ensues.

Issack Cintrón is a filmmaker, musician and founder of You So Stupid Productions. His filmography explores various genres, including romantic-comedy (“Hotline”), social-thriller (“Fruta Extra?a”), neo-Western (“Early Bird”), and adventure (“Eddie, Milo, and The Box”). As a proud Afro-Latino who specializes in screenwriting and directing, Cintrón decries the long-standing absence of people of color in film and television. He works to combat this lack of representation by creating unique, enlightening and riveting stories in which resonant and fully realized characters exist in narratives beyond race, inequality and injustice even as they remain conscious of those issues. Ultimately, Issack is eager to create art regardless of the medium. His latest project is “The Gallery,” a series of short documentaries that profile rising, independent artists.

“I Wish”

2019 | 11 min | HD Video

Director: Kathryn Ferentchak

Alma Mater: 黑料不打烊

Kathryn Ferentchak

Adapted from the 1973 short story by novelist Bill Pronzini, “I Wish” is a tale about David, a curious teenager with Down Syndrome, who escapes his mother’s watchful eye for a few hours to explore a lonely stretch of the Lake Ontario shoreline.

Raised in Colorado, Kathryn Ferentchak will always carry the dynamic scenery of the Rocky Mountains with her. She began working on independent films at 16, and from there, her passion led her to a B.F.A. in film from 黑料不打烊 and an exciting career in the entertainment industry. Her directorial debut, “Osiris” (2017), did very well on the festival circuit, taking several awards.

Light Work is again offering its full line of services to artists, including printing, scanning and retouching. Visit for a complete list of service rates and stock papers. In addition, Light Work is extending all lab memberships that were valid when it closed its doors, as well as offering free service memberships for new and returning clients.

However, Light Work is not yet open for visitors to the facility for do-it-yourself printing and scanning. Though the number of new COVID-19 cases in 黑料不打烊 and across the state is low, Light Work is proceeding cautiously regarding a physical reopening of the Lab and exhibition spaces to the public and will wait for clearance from New York State and 黑料不打烊.

Over the period the lab was closed, the lab team instituted cleaning routines for the facility and enacted safety protocols such as protective partitions, social distancing signage, hand sanitizer stations and free distribution of masks to staff.

“We have spent the last month preparing and recalibrating, testing out new materials and implementing social distancing rules to make our space safer for our staff,” says Light Work lab manager Dan Boardman. “We are ready for your printing, scanning and retouching inquiries. It is very rewarding for us to work with artists from all around the world, and we are looking forward to helping you with your next project.”

Light Work, located in the Robert B. Menschel Media Center, is a nonprofit, artist-run organization dedicated to the support of artists working in photography and electronic media. Light Work is a member of the Coalition of Museum and Art Centers at 黑料不打烊 (CMAC). For more information, visit, call 315.443.1300 or email info@lightwork.org, and follow on , and .

Light Work has received a federal CARES Act grant to help the nonprofit, artist-run organization weather the COVID-19 pandemic.

The National Endowment for the Arts (NEA) has awarded a $50,000 grant as part of the . Light Work is one of 855 organizations that the NEA selected from 3,100 applicants nationwide that requested $157 million with $45 million available in direct assistance. The non-matching funds support staff salaries, fees for artists or contractual personnel, and facilities costs.

“The NEA has been an important funding partner with Light Work for nearly 50 years,” says Jeffrey Hoone, Light Work’s executive director. “We are extremely grateful for this grant as we continue our core mission to support emerging and underrecognized artists during this challenging time.”

The CARES Act recognizes the nonprofit arts industry as an essential sector of America’s economy. The NEA awarded funds to nonprofit arts organizations across the country to help these entities and their employees endure the economic hardships caused by the forced closure of their operations due to the spread of COVID-19. The grants support exemplary projects in artist communities, arts education, dance, design, folk and traditional arts, literary arts, local arts agencies, media arts, museums, music, musical theater, opera, presenting and multidisciplinary works, theater and visuals arts.

During the past five months, Light Work has navigated the challenges of COVID-19 pandemic-related closure and tallied numerous successes. This emergency grant helps Light Work continue to deliver on a 48-year legacy of advocacy through exhibitions, an awarding-winning publication (Contact Sheet), a state-of-the-art community-access digital services lab and a permanent collection comprising more than 4,000 photo-related objects and images. Light Work remains devoted to serving the artists and the community in meaningful and safe ways. Staff and board eagerly anticipate reopening with new exhibitions, online educational opportunities and remote print services that include safety protocols.

“At this challenging moment for arts organizations across the country, Light Work is extremely grateful to receive support from the NEA as part of the CARES Act,” says Light Work Director Shane Lavalette. “This grant will offset some of the pandemic’s financial impacts and ensure that we can continue to provide artists with support they need through this difficult and uncertain time.”

Like many cities across the nation, 黑料不打烊 is poised for a reimagining of arts engagement within its sites. Arts and culture are vital parts of the city’s dynamic economy. In the Greater 黑料不打烊 area, arts and culture generate more than $130 million in economic activity; support more than 5,000 full-time jobs; provide $110 million in household income; and deliver $20 million in local and state government revenue. This NEA funding helps support those jobs and nonprofit organizations during this time of great need.

“All of us at the National Endowment for the Arts are keenly aware that arts organizations across the country are hurting, struggling and trying to survive. Our supply of funding does not come close to meeting the demand for assistance,” says NEA chair Mary Anne Carter.

Congress established the NEA in 1965 as the independent federal agency whose funding and support allow Americans to participate in the arts, exercise their imaginations, and develop their creative capacities. Through partnerships with state arts agencies, local leaders, other federal agencies and the philanthropic sector, the Arts Endowment supports arts learning, affirms and celebrates America’s rich and diverse cultural heritage, and extends its work to promote equal access to the skills in every community across America. Visit ? to learn more.

About Light Work

Light Work is a nonprofit, artist-run organization dedicated to the support of artists working in photography and electronic media, located in the Robert B. Menschel Media Center, 316 Waverly Ave., 黑料不打烊. Light Work invites groups and individuals to schedule tours of the exhibitions and facility and to attend gallery talks. Limited metered parking is available on Waverly Avenue and paid parking is available in Booth Parking Garage. Light Work thanks 黑料不打烊 and Robert B. Menschel and Vital Projects, as well as the Andy Warhol Foundation, CNY Arts, the Central New York Community Foundation, JGS (Joy of Giving Something Inc.), the National Endowment for the Arts, the New York State Council on the Arts and the subscribers to Contact Sheet for their ongoing support of its programs. Light Work is a member of the Coalition of Museum and Art Centers at 黑料不打烊.

Follow Light Work on , and . For general information, visit, call 315.443.1300 or email info@lightwork.org.

With the contributions of Black photographers and photojournalist allies, UVP’s act of solidarity had appeared each night for more than three weeks, offering viewers on the plaza an opportunity to witness the passions, frustrations and determination driving the protest movement in 黑料不打烊.

UVP extends its appreciation to the many photographers and artists who made images of the marches, rallies and actions organized by Last Chance For Change, Raha 黑料不打烊 and YouthCuseBLM. The photographs by , , Kollina Dacko, , and chronicled the protesters’ unwavering commitment to condemn and root out police violence, systemic racism and state-sanctioned violence.

Those who journeyed to the museum’s plaza provided powerful feedback that reaffirms art as an indomitable tool in challenging injustice and inequity. “We appreciate the work of the photographers covering the movement in 黑料不打烊 and the willingness to have a solidarity display,” says Rannette Releford, director of , which hears complaints about police misconduct. “This was a perfect example of how important this movement is to our community and the choices an organization can make to show support. We appreciate being showcased in the ‘In Solidarity’ installation because accountability and transparency are necessary to improve relations. You cannot have one without the other, and for far too long, neither has been a top priority to the 黑料不打烊 Police Department.”

At the launch of the collaborative project, UVP Director Anneka Herre spoke of the location’s importance: “It is not a coincidence that UVP’s? site is proximate to where many of the protests are happening along the downtown law enforcement and legal corridor. This corridor of civic buildings was created through an urban renewal program that displaced a population of Black citizens who are also disproportionately affected by the criminal justice system. It is incumbent upon us to use this site in ways that amplify the voices of those who are doing the difficult work of making change and to add our own voice to that call.”

For those who did not have the opportunity to see the installation in person at the Everson plaza, “In Solidarity” has been added to Light Work’s 2020-21 exhibition calendar. It will be on view in the Hallway Gallery at Light Work in late fall. The show will run concurrently with Matthew Connor’s exhibition in the Kathleen O. Ellis Gallery.

Please note that at this time Light Work is closed temporarily to the public and all scheduled opening receptions and artist talks have been canceled as part of Light Work’s commitment to helping flatten the COVID-19 curve.

About the Urban Video Project

a program of Light Work in partnership with the Everson Museum of Art and Onondaga County. This outdoor architectural projection site offers public presentation of film, video and moving image arts, using cutting-edge technology to bring art of the highest caliber to 黑料不打烊. It is one of the few projects in the United States dedicated to ongoing public projections and adds a new chapter to Central New York’s legacy as a major birthplace of video art.

Using a large permanently installed projector and all-weather sound system, UVP’s outdoor architectural projection site on the north fa?ade of the Everson Museum of Art transforms the adjoining Onondaga County Community Plaza into a massive, year-round video installation every Thursday through Saturday night. For general information, visit, call 315.443.1369 or email info@urbanvideoproject.com.

The Visitors, by Doireann O’Malley

Explore gender, technology, and extinction with Berlin-based artist Doireann O’Malley. Light Work’s Urban Video Project (UVP) is presenting

Light Work commissioned 翱’惭补濒濒别测’蝉 new work for an exhibition at UVP as the third and final installment of the trilogy Prototypes, which explores the potential for emerging technologies to radically transform our understanding of embodiment, gender and life itself. This is the first UVP exhibition to feature 360 video, which allows viewers to control the point of view of the video across 360 degrees by clicking, tapping and dragging over the video.

Virtual Streaming Event

In the spirit of resilience, creativity, and community building in this time of social distancing, Urban Video Project offers exclusive screening content. For a limited time, UVP will share virtual access to Doireann 翱’惭补濒濒别测’蝉 Prototypes, a feature film that combines elements of 翱’惭补濒濒别测’蝉 multichannel works, Prototype I: Quantum Leaps in Trans Semiotics through Psycho-Analytical Snail Serum and Prototype ll: The Institute on UVP’s platform. The link will go live on Saturday, April 18 at midnight and stay live until Sunday, April 19 at 11:59 p.m.

翱’惭补濒濒别测’蝉 Prototypes series interrogates trans semiotics through psychoanalytic practices, speculative technologies, and live-action role-playing, addressing wider philosophical concerns relating to biology, gender embodiment, sexuality, utopianism and biomolecular advancement in human evolution. The Department of Transmedia in 黑料不打烊’s College of Visual and Performing Arts will host a live online artist’s talk Tuesday, April 28, at 2:30 p.m., with UVP commissioned artists Doireann O’Malley. This event is part of the Transmedia Lecture Colloquium Lecture Series.

翱’惭补濒濒别测’蝉 Prototypes, a multi-screen film installation, interrogates trans semiotics through psychoanalytic practices, speculative technologies, and live-action role-playing, addressing wider philosophical concerns relating to biology, gender embodiment, sexuality, utopianism, and biomolecular advancement in human evolution.

Of this work, O’Malley says, “The destabilization of the gender binary is a threat to the construction of western dualistic philosophical binary systems and is at play to deconstruct much more than simply gender. I think it’s problematic to speak about what it means to be transgender as it is obviously a subjective and individual experience for people. I am interested in exploring this occurrence of unstable or shifting genders.”

Join us on our virtual platform to engage this challenge of normative gender concepts.

About the Work

Set in a liminal time when humans have vacated the world, New Maps of Hyperspace_Test_01 dwells on systems theory, climate care, digital consciousness, and data mining. In an entirely simulated space, colorful, swirling point clouds coalesce into a strangely beautiful post-apocalyptic landscape: a water basin and derelict bureaucratic building materialize. The computer-generated voice of the narrator guides us through the morphing, shape-shifting halls of the abandoned data and research center, where we encounter server racks, experimental incubators, and the solitary holographs of humans whose consciousness was uploaded before climate disaster killed off biological life. We learn the narrator was once human and is now trapped in the server. The work ends with a breakdown of the simulation: error messages replace the simulated world. The work crashes and begins again.

Prototypes is a multi-screen film installation, a series of dreamscapes interrogating trans semiotics through psychoanalytic practices, speculative technologies, and live-action role-playing, addressing wider philosophical concerns relating to biology, gender embodiment, sexuality, utopianism, and biomolecular advancement in human evolution.

About the Filmmaker ?

The artist Doireann O’Malley

Doireann O’Malley is a visual artist originally from Ireland, based in Berlin since 2009. They use dreaming, writing, moving, filmmaking, 3D imaging, and Virtual Reality through collaborative practices to explore the psychological and social implications of feminist technofuturism. Their most recent body of work, the Prototypes series, explores new perspectives on trans identity through non-hierarchical associative thinking, systems theory, cognitive science, machine learning and the idea of quantum transformation. O’Malley received the prestigious Berlin Art Prize 2018 and is the recipient of several grants. Recent solo exhibitions include Disappearances at Image Movement, Berlin (2015), Prototypes at Dublin City Gallery, The Huge Lane, Ireland (2015), and The Visitors at Stadium, Berlin (2019). Recent group presentations include Body Works at Sopot State Gallery (2019), G?teborg International Biennial for Contemporary Art (2019), and Invisible Realness at PS120, Berlin (2019).

Sponsors
Light Work commissioned this work for UVP. The project also received support from Berlin Program for Artists and the National Sculpture Factory Cork, Ireland. Additional support for this exhibition comes from? the (NYSCA) with the support of Governor Andrew M. Cuomo and the New York State Legislature.

About Urban Video Project

a program of Light Work in partnership with the Everson Museum of Art and Onondaga County, is an outdoor architectural projection site dedicated to the public presentation of film, video, and moving image arts. It is one of few projects in the United States dedicated to ongoing public projections and adds a new chapter to Central New York’s legacy as one of the birthplaces of video art, using cutting-edge technology to bring art of the highest caliber to 黑料不打烊. Using a large on-site projector and permanent all-weather sound system, UVP’s outdoor architectural projection on the north fa?ade of the Everson Museum of Art transforms the adjoining Onondaga County Community Plaza into a year-round massive nighttime video installation every Thursday through Saturday. For general information, please visit, call (315) 443-1369 or email info@urbanvideoproject.com

Please note that UVP has temporarily suspended its outdoor architectural projection site at the Everson Museum as part of a commitment to helping flatten the COVID-19 curve. Consistent with this effort, until further notice, all scheduled exhibitions on the Plaza and in-person artist talks in the Hosmer Auditorium at the Everson are canceled. UVP’s exhibition of Commissioned 360 Video Work is moving online, and will stream on UVP’s website through May 23. Once mandated social distancing lifts, UVP will resume the 2020 Wayward Bodies exhibition calendar.

Amera, a young Yazidi bride gets ready for her wedding celebration inside of a makeshift beauty parlor within the Bajed Kandala displacement camp in Iraqi Kurdistan. Currently home to over 9,000 Yazidis, those living in the Bajed Kandala camp do their best to live “normally,” celebrating weddings, birthdays and religious holidays as they are able. This image was made on December 29, 2018. Photo by Maranie Staab

Artists are nothing if not adaptable, especially when facing challenges. In that spirit of resilience, creativity and community, presents the “,” featuring work by photography students in the S.I. Newhouse School of Public Communications.

In response to concerns around COVID-19, Light Work has closed to the public and canceled all scheduled on-site exhibitions, tours and artist talks until further notice. This exhibition can be viewed online at .

This exhibition comprises more than 30 thematically diverse photographs by Newhouse’s multimedia photography students. The exhibition represents various approaches to photographic practice and technique and showcases the range of images that today’s students are producing.

The exhibiting artists are Michelle Abercrombie, Cher Beckles, Zoe Davis, Renee Deemer, Haoyu Deng, Crystal Fang, Sofia Faram, Madeline Foreman, Hannah Frankel, Chelsea Hurd, Joshua Ives, Adam Kassman, Zach Krahmer, Jordan Larson, Sam Lee, Dan Lyon, Lauren Miller, Paul Nelson, Kai Nguyen, Laura Oliverio, Jessica Ruiz, Liam Sheehan, Maranie Staab, Doug Steinman and Jessica Stewart.

Journalist Michael Kamber, who founded the Bronx Documentary Center, served as juror and selected images for Best of Show and Honorable Mention awards. Maranie Staab took Best of Show and Honorable Mentions went to Hannah Frankel, Joshua Ives and Sam Lee.

“This was a really tough group to jury: the work was beautifully created, smart and full of emotion. There were a half dozen photos that I went back and forth over trying to decide the winner. However, my background is in journalism and this dictated my final choices. For the first prize, I chose the photo of the Yazidi bride. The photo is an extremely powerful representation of all the Yazidis have been through—you can see the trauma and sadness in the bride’s face. Still, there is resilience, power, and a hint of anger to the moment as well. The composition—the bride surrounded by empty dresses—adds to the photo’s emotion. I also liked that the photo was captioned and gave me the crucial context I needed,” Kamber stated.

Photo by Sam Lee

“Hannah Frankel’s aging biker is beautifully seen—the photographer moving in close for a telling detail in wonderful light and shadow. As is often the case, this gives as much information—and makes a more striking photo—than a full-length portrait might. As for the chair in the storefront from Joshua Ives, I’m particularly drawn to social landscapes and I feel this photo is just such an image, with a strong, layered composition and excellent use of color that speaks of the America in which we live. Sam Lee’s photo of the young woman laying next to the man intrigues and strikes me on several levels. It is the type of deeply psychological portrait—with a wonderful composition—that leaves me wanting to know much more of their story: a very strong photo with great use of light, shadow and shape. As I said, the selection of 30 photos that I saw, was very strong and marked, in particular, by an understanding of light, and of the moment. These are the elements that make a great photo—they are missing in much of the work I see these days and it is great to see them in evidence at Light Work.”

Kamber has worked as a journalist for more than 25 years. Between 2002 and 2012, Kamber worked for The New York Times, covering international conflicts, including those in Afghanistan, Congo, Iraq, Liberia, Somalia and Sudan. He has also worked as a writer and videographer for the Times, which twice nominated his work for the Pulitzer Prize. Nearly every major news magazine in the United States and Europe has published his photos, as well as many newspapers. In 2011, Kamber founded the , a space dedicated to education and social change through photography and film.

Exhibiting artist Pacifico Silano contemplates pain and photography’s role in the struggle for queer
visibility while celebrating enduring love, compassion, and community

Stay Connected! Visit ? online to see … , a solo exhibition of photographs by Brooklyn-based artist Pacifico Silano. Through the appropriation of photographs from vintage gay pornography magazines, Silano creates colorful collages that explore print culture and the histories of the LGBTQ+ community. His large-scale works evoke strength and sexuality while acknowledging the underlying repression and trauma that marginalized individuals experience. Born at the height of the AIDS epidemic, Silano lost his uncle to complications from HIV. “After he died,” says Silano, “his memory was erased by my family due to the shame of his sexuality and the stigma of HIV/AIDS around that time period.”

Silano set out to create art that reconciles that loss and erasure. His exhibition somberly contemplates pain and photography’s role in the struggle for queer visibility, while celebrating enduring love, compassion and community. Copies of Silano’s exhibition catalog, are available to collectors in the Light Work Shop.

Works from Pacifico Silano’s show The Eyelids Has Its Storms

… borrows its title from a Frank O’Hara poem. O’Hara’s musings and observations about everyday queer life inspired Silano’s artistic practice. “The eyelid has its storms,” the poem begins. “There is the opaque fish-scale green of it after swimming in the sea and then suddenly wrenching violence, strangled lashed, and a barbed wire of sand falls onto the shore.” O’Hara’s deeply visual poem, like Silano’s work, evokes duality—in memory, in the present and future, shimmering beauty and umbral violence often occur at once.

In collaging, Silano fragments, obscures and layers images that he has rephotographed from these magazines. He reassembles and ultimately recontextualizes these images, removing the overtly explicit original content. “These new pictures-within-pictures are silent witnesses that allude to absence and presence,” says Silano. He sees them as stand-in memorials, both for the now-missing models as well as those who originally consumed their images. Silano meditates on the meaning of the images and tearsheets that he collects over time. What continually excites him is precisely the? “slipperiness” of representation and meaning in photography as our culture shifts. “The lens that we read [images] through today gives them new context and meaning,” he observes. “In another 30 or 40 years, they might very well mean something completely different.”

About the Artist

Pacifico Silano

Pacifico Silano is a lens-based artist born in Brooklyn. He has an MFA in Photography from the School of Visual Arts. His group shows include the Bronx Museum, Museo Universitario del Chopo in Mexico City, Oude Kerk in Amsterdam, and Tacoma Art Museum. His solo shows include Baxter ST@CCNY, The Bronx Museum, Fragment Gallery in Moscow, Rubber-Factory, and Stellar Projects. Aperture, Artforum, and The New Yorker have reviewed his work. Silano’s awards include the Aaron Siskind Foundation’s Individual Photographer’s Fellowship, Finalist for the Aperture Foundation Portfolio Prize, and First Prize at Amsterdam’s Pride Photo Awards. His work is in the Museum of Modern Art’s permanent collection. Silano participated in Light Work’s Artist-in-Residence Program in 2016. Tune into

General Information?

The Kathleen O. Ellis Gallery is temporarily closed to the public as part of our commitment to helping flatten the COVID-19 curve. All scheduled receptions and artist talks are canceled until further notice. We encourage you to visit , check out our and tune into the recently launched Today’s Artists. On Photography.

Light Work is located in the Robert B. Menschel Media Center at 316 Waverly Avenue, 黑料不打烊, New York, 13224. Follow Light Work on , , and . For general information, please visit, call (315) 443-1300, or email info@lightwork.org.

Find the on the most popular streaming services! Light Work will also move to more streaming platforms over the coming days. Just search for our podcast on your preferred service and subscribe!

The podcast platform is quickly becoming a staple in new virtual spaces with an urgent charge to offer creative respite to quarantined people and others. Spaces that provide a means to create community, reflect and share. The growing scale and diversity of podcast entries suggest that art and cultural institutions are recognizing an opportunity, if not a need, to tell their stories through more advanced— and widely accessible—channels than ever before. Though COVID-19 has put the kibosh on the intimacy of two people in a recording studio with a microphone, technology also alleviates the necessity of being in the same physical space. Podcast service platforms offer a multitude of ways to produce quality content while still adhering to social distancing regulations.

“We see the Light Work podcast launch as an extension of the organization’s long-standing commitment
to generating greater exposure for emerging and underrepresented artists,” said Cjala Surratt, who
coordinates communication at Light Work. “We are thrilled to join the growing number of arts and
cultural organizations that are finding creative ways to share artists’ work with their patrons and
蝉耻辫辫辞谤迟别谤蝉.”

The launch features with artists whom Light Work has worked with on exhibitions over the past seven years. The first interview in the series highlights current Kathleen O. Ellis gallery exhibiting artist . The series will release at least four new episodes each year, along with other special audio content. Tune in to listen to this incredible group of artists: George Awde, Justyna Badach, Robert Benjamin, Gideon Barnett, Michael Bühler-Rose, John Edmonds, For Freedoms, Todd Gray, Karolina Karlic, Jason Lazarus, Nicola Lo Calzo, Mary Mattingly, Aspen Mays, Raymond Meeks, Jackie Nickerson, Kristine Potter, Keisha Scarville, Pacifico Silano, Xaviera Simmons, Miki Soejima, Wendy Red Star, Rodrigo Valenzuela, Letha Wilson, Stanley Wolukau- Wanambwa and Suné Woods.

To support the development of the podcast, consider purchasing a limited-edition print, signed book, and Contact Sheet subscription from (note: shipments will take longer than usual) or by directly to Light Work. If you can’t offer financial support right now, simply help them by to the podcast with friends or on your social media pages to expand the Light Work audience.

In conjunction with Abu Hamdan’s exhibition, filmmaker Ana Naomi De Sousa presents a screening and talk, ,” on Friday, March 27, at 5:15 p.m., in Slocum Hall Auditorium. De Sousa will relate her experience as a research fellow in Forensic Architecture working on the Saydnaya Project, which used “ear-witness” testimony of survivors of Syria’s infamous Saydnaya prison to reconstruct its architecture. Her lecture will include screenings, including excerpts from “Saydanya” (2016) and Lawrence Abu Hamdan’s “Walled Unwalled” (2018). The auditorium is wheelchair accessible and we provide CART services for the talk. To make other accommodation requests or ask questions about facilities, please email info@urbanvideoproject.com or call 315.443.1369. All portions of this exhibition and indoor screening with filmmaker Ana Naomi De Sousa are free and open to the public. Light refreshments at the event.

is an award-winning documentary filmmaker and writer whose work addresses history, spatial politics, and identity. Her documentaries include “Angola – Birth of a Movement” (2012), “The Architecture of Violence” (2013) and “Hacking Madrid” (2015). As a collaborator with Forensic Architecture, she was the filmmaker on the 2016 Saydnaya Project. She has written for Al Jazeera English, The Funambulist, and The Guardian, among others. Her latest short, about a women-led rainforest conservation project in Ecuador, aired on Al Jazeera English in February 2020 as part of the a “Women Make Science” series.

Lawrence Abu Hamdan: Walled Unwalled

“Walled Unwalled” comprises an interlinking series of narratives that derive from legal cases whose evidence individuals heard or experienced through walls or doors, bleeding through these seemingly impermeable barriers.

Employing reenactment, projection, and performed monologue, Abu Hamdan staged the entire piece inside a trio of sound effects studios in the Funkhaus in East Berlin, which was previously the broadcast headquarters for the GDR state radio and once broadcast propaganda throughout the Eastern Bloc and over the Berlin Wall.

Abu Hamdan (b.1985, Jordan) is an artist and audio investigator based in Beirut, Lebanon. His background as a touring musician led him to develop a deep interest in sound and its intersection with politics, which he now includes in his practice. His audio investigations have been used as evidence at the UK Asylum and Immigration Tribunal and for advocacy by organizations such as Amnesty International and Defense for Children International. The artist is affiliated with the Forensic Architecture Department at Goldsmiths College London, where he received a Ph.D. in 2017. Abu Hamdan is the author of “[inaudible]: A Politics of Listening in 4 Acts.” Recent solo exhibitions include Eindhoven (2014), the Hammer Museum in Los Angeles (2018), Portikus in Frankfurt (2016), the Tate Modern in London (2018), The Showroom in London (2012), and Van Abbemuseum.

In 2019, Abu Hamdan was among three finalist nominees for Britain’s most prestigious award in the visual arts, the Turner Prize. The three finalists mutually assessed one another’s work as very different but equally important politically, and together they petitioned the award committee, in the name of “commonality, multiplicity and solidarity,” not to select a single winner. The committee accepted this request awarded the 2019 Turner Prize jointly to all three finalists for the first time ever.

This exhibition and event continue UVP’s 2019-20 programming year, “Wayward Bodies,” featuring artists who explore the entanglement of the body, space, and power.

This event is co-presented with the 黑料不打烊?; College of Visual and Performing Arts?; ??and the??in Newhouse;?, the Peter A. Horvitz Endowed Chair in Journalism Innovation at Newhouse; and??at 黑料不打烊.

It was made possible through the support of the ?as part of the official program for?.

The (NYSCA), with the support of Governor Andrew M. Cuomo and the New York State Legislature, has supported this exhibition.

Sabrina Toto, Untitled, 2019

announced the exhibition of photographs by seniors from the art photography program in the Department of Transmedia in the The exhibition runs through Saturday, March 7, at Light Work, with a reception with the exhibiting artists to be held on Thursday, Jan. 30, from 5-7 p.m.

The reception is free and open to the public, and includes refreshments. Gallery hours are Monday through Thursday from 10 a.m.-9 p.m., Friday from 10 a.m.-6 p.m. and Saturday and Sunday from 1-9 p.m. We invite educators and community groups to schedule of exhibitions with our curatorial staff. The gallery closes on 黑料不打烊 and Federal holidays. Light Work is located in the Robert B. Menschel Media Center at 316 Waverly Avenue in 黑料不打烊. Visit for information about parking and directions to the galleries.

The exhibiting artists are Nathan Baldry, Andrea Bodah, Kali Bowden, Molly Coletta, Laura D’Amelio, Ohemaa Dixon, Jordyn Gelb, Charlotte Howard, George Lambert, Samantha Lane, Meilin Luzadis, Timmy Ok, Jamie Pershing, Duke Plofker, Eliot Raynes, Scott Robinson and Sabrina Toto.

Laura D’Amelio, Spaulding, 2019

Jon Feinstein, independent curator and co-founder of Humble Arts Foundation, served as juror and selected images for Best of Show and Honorable Mention awards. Laura D’Amelio took Best of Show and Honorable Mention went to Timmy Ok.

Feinstein notes, “It was an honor to review thesis work by seniors from the art photography program at 黑料不打烊. While I didn’t have the opportunity to see it develop over the course of the year, diving in makes me want to know more, to spend more time with each series, to see it continue to grow and evolve. The photographs in this exhibition demonstrate a thoughtful range of approaches, from Honorable Mention Timmy Ok’s mysterious yet empathetic portrait of his brother to Sabrina Toto’s sad yet optimistic photos of her newly divorced parents. I selected Laura D’Amelio as Best in Show. D’Amelio photographs objects that she finds in repo’d cars, whether it’s discarded family photos or a weathered Spalding Basketball, transforms them into living portraits. Congratulations to all of the photographers on their thoughtful and sophisticated work.”

Laura Heyman, associate professor of art photography in the Department of Transmedia, spoke to the importance of the annual collaboration, saying, “Art photography’s close partnership with Light Work benefits students in so many ways. All of our students become members, with access to Light Work Labs and their exceptionally skilled staff. On any given day, students may be working alongside major international artists, forging important relationships and learning how to print, edit and exhibit work by watching working artists do the same thing. Students get to test these skills in the annual TRM Light Work exhibition, which is not only the first exhibition for many art photography majors, but also an important learning opportunity for them. In addition to giving students the space to imagine how their thesis work might develop over the following months, the TRM Annual show introduces their work to their peers, the local community and the renowned curators and critics who jury the exhibition. Light Work is an invaluable intellectual, professional and technical resource for art photography students, providing them with an extraordinary and unique range of real-world skills and experiences.”

Timmy Ok, Flower, 2019

Many students work with Light Work throughout their undergraduate careers and become an integral source of the energy, passion and excitement that defines the organization. The Light Work staff and community congratulate all of these young artists on their accomplishments and wish them the best in their bright futures in the field of photography.

The emphasizes creativity, intellectual development and the acquisition of skills to build professional, technical and visual abilities within the broad and varied field of photography. Art photography students exhibit their work nationally and establish careers working with art galleries, advertising, educational institutions, fashion, magazines, museums, photo studios and other visual industries.

“Trap and Lean-to 14” by Dionne Lee.

is presenting “,” a solo exhibition of photographs by Oakland-based artist Dionne Lee, through March 7. A multimedia artist, Lee employs video, collage, photography and sculpture to explore American landscape and her place within its complex history.

As an African American woman, she sees the natural world as a place of refuge and tranquility as well as one of racial violence, danger, and vulnerability. More broadly, her work acknowledges the terror of climate change, mass migration and humanity’s ongoing drama of survival. Duality is a frequent feature of Lee’s work, as she notes that “two things can be true at once.”

A reception and gallery talk with Lee will take place on Thursday, Jan. 30, at 6 p.m. in the Kathleen O. Ellis Gallery. Signed copies of the exhibition catalog, Contact Sheet 205, will be available to collectors after the talk. The reception is free and open to the public; refreshments will be available.

Gallery hours are Monday through Thursday, 10 a.m. to 9 p.m., Friday, 10 a.m. to 6 p.m., and Saturday and Sunday, 1 to 9 p.m. Light Work closes on all 黑料不打烊 and federal holidays. Light Work is located in the at 316 Waverly Ave., 黑料不打烊.

Lee’s process is both organic and intuitive. She often manipulates found imagery in the darkroom. The exhibition contains many fragments of photographs from her many wilderness survival manuals and vintage color magazines that contain majestic views of “the great outdoors.” The survival manuals offer detailed, step-by-step directions on building a lean-to or foraging for food and water. Lee has become adept at these skills herself, thus reclaiming her connection to the earth and salvaging nearly lost ancestral skills and knowledge. As the earth continues to shift beneath our feet, Lee asks what determines survival: not just who has what, but who knows how.

Dionne Lee

Lee’s darkroom practice conveys the same sense of intervention and disruption. With a forceful irreverence for the sacred silver gelatin printing process, she deconstructs photography itself. Lee draws with graphite directly on prints before and after she exposes them. She pulls negatives across the scanning bed to create painterly abstractions. She tears, crumples, solarizes and double-exposes fragments of information, challenging photography’s purpose and authorship as well as any idealized and colonialist view of the earth.

Related events

Light Work’s (UVP) is presenting a special short exhibition of Lee’s work to accompany her solo exhibition. Lee’s piece “” grapples with ideas of power, agency, the fragility and resilience of land, and racial histories. In her work, she considers the complications and dual legacies that exist within representations of American landscape. This work is displayed at UVP’s outdoor architectural projection site on the’s north facade from Jan. 29–Feb. 1.

About the artist

Dionne Lee, born in New York City and based in Oakland, received an M.F.A. from California College of the Arts in 2017. In New York City, she has exhibited her work at Aperture Foundation and the school of the International Center of Photography. Her exhibitions throughout the Bay Area include Aggregate Space, Interface, LAND AND SEA and the San Francisco Arts Commission. In 2016, the Anderson Ranch Arts Center awarded her a graduate fellowship and she received the Barclay Simpson Award. She was Art Forum Magazine’s Critics’ Pick in 2017 and 2019. In 2019, she was Artist in Residence at Woodstock’s Center for Photography and a finalist for the SFMoMa SECA and San Francisco Artadia awards. She currently teaches photography at the San Francisco Art Institute and Stanford University.

Exhibition catalogue

Contact Sheet 205 includes an essay by Mary Lee Hodgens. The catalog is available for purchase online in the Light Work shop at .

Kelly Gallagher

Light Work’s is hosting a screening of “Marlin said to me: ‘Maria, don’t worry, it’s just a movie,’” a feature-length episode of the TV show and a post-screening conversation on Thursday, Nov. 21, from 5:30 to 8 p.m. in the Everson Museum of Art’s Hosmer Auditorium.

Curated by feminist filmmakers Jennifer Reeder, Kelly Sears and Lauren Wolkstein, “Marlin said to me” is a mashup of short films created in the aftermath of 2017’s revelations about Harvey Weinstein and the subsequent #MeToo movement.

Urban Video Project Director Anneka Herre will moderate the post-screening Q&A with experimental animator and filmmaker , assistant professor of film in the College of Visual and Performing Arts’ .

The founder of Purple Riot Studios, Gallagher has been producing for the past decade original and colorful handcrafted films and animations that explore overlooked histories and movements of resistance and perseverance. Her award-winning films and commissioned animations have screened at the Ann Arbor Film Festival, the Black Maria Film Festival, the Cuban Institute of Cinematographic Art and Industry, The National Gallery of Art, the Museum of Modern Art, the Sheffield Doc/Fest, the Smithsonian Institution and the Sundance Film Festival.

Thursday’s event is free and open to the public. The auditorium is wheelchair accessible. Light refreshments will be provided before and after the program.

The screening is held in conjunction with the exhibition “Hold/Release,” featuring short experimental works by Reeder, Sears and Wolkstein that investigate the female body through tropes and traps of cinematic production. The exhibition is on view at UVP’s architectural projection site on the Everson Museum of Art Plaza through Dec. 21, every Thursday through Saturday, from dusk to 11 p.m.

The New York State Council on the Arts has provided funding for the exhibition with the support of Gov. Andrew M. Cuomo and the New York State Legislature. The artist’s talk is co-sponsored by the Department of Transmedia.

Filmmaker Jennifer Reeder, director of “Knives and Skin.”

Where is Carolyn Harper? The coming of age thriller “ () by award-winning filmmaker Jennifer Reeder will be presented by Light Work’s Urban Video Project (UVP) on Thursday, Nov. 7, from 5:30–8 p.m. The free indoor screening will take place at Watson Hall Auditorium in the Robert B. Menschel Media Center.

A post-screening conversation and Q&A with Reeder will be moderated by Anneke Herre, instructor of transmedia core in the Department of Transmedia and director of . The auditorium is wheelchair accessible and CART services are available by reservation (please request by Nov. 1 if needed) by calling 315.443.1369 or emailing info@urbanvideoproject.com. Light refreshments will be served before and after the program. The screening, artist talk and Q&A are free and open to the public.

Paid parking is available in the Booth Garage at the intersection of Comstock and Waverly Avenues.? Metered parking is also available in front of Bird Library, on Walnut Avenue and on Comstock Avenue. For additional parking information, .

The Plot (Thickens)?

A missing girl shakes up a small town, join us to follow the investigation. Steeped in macabre humor and queer feminist attitude, Reeder’s “” follows the investigation of a young girl’s disappearance in the rural Midwest, led by an inexperienced local sheriff. Unusual coping techniques develop among the traumatized small-town residents with each new secret revealed. The ripple of fear and suspicion destroys some relationships and strengthens others. The teenagers experience an accelerated loss of innocence while their parents are forced to confront adulthood failures. This mystical teen noir presents coming of age as a lifelong process and examines the profound impact of grief.

The main characters’ girlhood is a place of transcendence but also transgression in a movie that embraces its own style. Reeder’s teen noir draws on a rich cultural DNA of genre classics, from the surreal horror of David Lynch to high school classics like John Hughes’ “The Breakfast Club” and Mark Waters’?“Mean Girls,” giving them a decidedly feminist spin. Reeder also peppers the drama with female empowerment messages and subtle homages to feminist icons including Angela Davis, Yoko Ono and Chantal Akerman.

About the Filmmaker

Reeder constructs personal fiction films about relationships, trauma and coping. Her award-winning narratives borrow from a range of forms, including after-school specials, amateur music videos and magical realism. These films have shown around the world, including at the Sundance Film Festival, Berlinale, the International Film Festival of Rotterdam, South by Southwest, the Wexner Center and in The Whitney Biennial. She is the recipient of Rockefeller and Creative Capital grants. She currently teaches in the School of Art and Art History at the University of Illinois in Chicago.

This screening, held in conjunction with the exhibition , features short experimental works by Reeder, Kelly Sears and Lauren Wolkstein investigating the female body through tropes and traps of cinematic production. The exhibition will be on view at Light Work UVP’s architectural projection venue on the Plaza from Nov. 7-Dec. 21, 2019, every Thursday through Saturday from dusk to 11 p.m.

Also in conjunction with the exhibition, a special indoor screening of a program curated by the three artists titled “?will screen on Thursday, Nov. 21, at 6 p.m. inside the Everson Museum with participating filmmaker Kelly Gallagher in attendance.

Sponsors

This exhibition was supported by the ?with the support of Gov. Andrew M. Cuomo and the New York State Legislature. The artist lecture is co-sponsored by the Department of Transmedia in the College of Visual and Performing Arts.

About Urban Video Project

a program of Light Work in partnership with the Everson Museum of Art and Onondaga County, is an outdoor architectural projection site dedicated to the public presentation of film, video and moving image arts. It is one of the few projects in the United States dedicated to ongoing public projections and adds a new chapter to Central New York’s legacy as one of the birthplaces of video art, using cutting-edge technology to bring art of the highest caliber to 黑料不打烊.

Using a large venue projector and permanently installed all-weather sound system, UVP’s outdoor architectural projection site on the north fa?ade of the iconic Everson Museum of Art transforms the adjoining Onondaga County Community Plaza into a year-round massive video installation every Thursday through Saturday night. For general information, please visit, call 315.443.1369 or email info@urbanvideoproject.com.

“Bundles of Wood,” a solo exhibition by Italian photographer Nicola Lo Calzo, documents the rich local history of the Underground Railroad in Central New York.

presents ,” a solo exhibition by Italian photographer Nicola Lo Calzo, which documents the rich local history of the Underground Railroad in Central New York. Since 2010, Lo Calzo has traversed Atlantic coastal areas to research buried memories of the African Diaspora. “Bundles of Wood” is on view at Light Work, Aug. 26 to Oct. 17. A gallery reception will be held Friday, Oct. 11, 5-7 p.m.

Lo Calzo will visit campus for an artist talk and conversation with playwright Kyle Bass at 6 p.m. on Friday, Oct. 11. Lo Calzo and Bass will explore the intersection of .” Lo Calzo’s lecture is part of the series, whose theme is Silence.

Light Work is located in the . The exhibition and reception are free and open to the public. Refreshments will be served.

Lo Calzo was born in Torino, Italy, in 1979 and now lives and works in Paris, West Africa and the Caribbean. For seven years he has engaged in a photographic project about the memories of the slave trade. This ambitious, still ongoing project includes documentation of the descendants of the African diaspora in America, Cuba, Haiti, Suriname, the Caribbean, and West Africa.

In his artist’s statement, Lo Calzo asks, “How is it possible that the world organized the social, political, and moral consensus around the slave trade for four centuries, and how is it possible to erase this tragedy from the collective memory of Western countries and even from textbooks? Have the memories of slavery, discarded by history, survived to this day and, if so, in what forms and in what places? How do these memories, repressed by some and preserved by others, define our everyday relationships, our perception, and the place of everyone in society?”

In September 2017, Lo Calzo participated in a monthlong residency at Light Work, during which he researched and documented Central New York’s own rich history of the Underground Railroad. “Bundles of Wood” is the resulting photo essay, tracing a clandestine network active up to the American Civil War. In Lo Calzo’s photographs, echoes of slavery linger and reverberate across the centuries. Slaves and “conductors” on the Underground Railroad used the phrase “bundles of wood” as a secret code to communicate “incoming fugitives were expected.”

Lo Calzo has exhibited his photographs widely in museums, art centers and festivals, most notably the Afriques Capitales in Lille, the Macaal in Marakesh, the Musee des Confluences in Lyon, the National Alinari Museum of Photography in Florence, and Tropen Museum in Amsterdam. Many public and private collections hold his work, such as the Alinari Archives in Florence, the National Library of France in Paris and Pinacoteca Civica in Monza Tropen Museum in Amsterdam.

Kehrer has published three of Lo Calzo’s books: “Regla” (2017), “Obia” (2015), and “Inside Niger” (2012). He is also a contributor to the international press, including Internazionale, Le Monde, The New York Times, The New Yorker, and The Wall Street Journal. In 2018 Lo Calzo received the Cnap Grant and a nomination for the Prix Elysee 2019-2020.

The artist lecture and conversation was funded in part by the .

In conjunction with the exhibition “Bundles of Wood,” the will host a lunch time lecture with Lo Calzo on Thursday, Oct. 10, noon to 12:30 p.m. Lo Calzo will discuss his research, artistic practice and photographing the rich local history of the Underground Railroad during his residency at Light Work in 2017.

Andy Warhol

The has honored Light Work with a $100,000 multi-year programming grant. Distributed over the next two years, these funds will support Light Work’s renowned residency and exhibition programs, offering support and visibility to emerging and under-recognized artists working in photography and image-based media.

This is the second Warhol Foundation grant that the 46-year-old arts institution has received, following the first in 2015.

The highly coveted Andy Warhol Foundation grants focus on serving the needs of artists by funding the institutions that support them. In total, 42 organizations nationwide will receive more than $3.6 million in support of scholarly exhibitions, publications and visual arts programming, including artist residencies and new commissions.

“We’re extremely grateful to the Warhol Foundation for their recognition of Light Work as one of the leading arts organizations in the country,” says Light Work Director Shane Lavalette. “With their ongoing funding of our programs, we will continue to focus on our mission of providing direct support to artists.”

One testament to Light Work’s artist-centered mission comes from award-winning photographer, author, curator and former artist-in-residence Debra Willis, who reflects on the benchmark importance of the organization in her early career. “During my month-long residency at Light Work I discovered what many artists had already known—Light Work is a place where photographers are embraced, supported and treasured,” Willis says. “Whenever photographers talk to me about their work and the place where they feel most comfortable, Light Work is evoked as a spiritual-like place where photographers can be totally involved in their work.”

About the Andy Warhol Foundation for the Visual Arts

In accordance with Warhol’s will, The Andy Warhol Foundation’s mission is the advancement of the visual arts. The foundation’s primary focus in making grants is to support the creation, presentation and documentation of contemporary visual art, particularly work that is experimental, underrecognized or challenging in nature, emphasizing that the foundation “believes that arts and culture are a fundamental part of an open, enlightened society.”

The foundation manages an innovative and flexible grants program while also preserving Warhol’s legacy through creative and responsible licensing policies and extensive scholarly research for ongoing catalogues raisonnés projects. To date, the foundation has given more than $200 million in cash grants to more than 1,000 arts organizations in 49 states and abroad and has donated 52,786 works of art to 322 institutions worldwide. For more information, see . For more on the selected organizations and projects receiving funding, visit the .

About Light Work

Light Work is an artist-run alternative arts organization for the benefit and support of other artists. Working in collaboration with Community Darkrooms at 黑料不打烊, Light Work supports emerging and underrecognized artists, giving them the opportunity to create new work and include that work in the ongoing dialogue about contemporary art. Light Work has been fortunate to work with some of the most important artists of our time in the early stages of their careers, and they in turn have gone on to illuminate the work of others who deserve wider recognition. Follow Light Work on Twitter, Instagram and Facebook. For general information, visit , call 315.443.1300 or email info@lightwork.org.

Shane Lavalette

, photographer, independent publisher and director of , is one of 111 artists, along with 12 organizations, to be awarded $3.168 million in funding from The Pollock-Krasner Foundation in its 2018-19 grant cycle. The foundation’s average grant to each artist ranges from $25,000 to $30,000. This year’s grantees include artists from 18 states, Puerto Rico and 17 countries.

The award—which the foundation states can be used to support the production of new work, exhibition preparation and other expenses—will bolster Lavalette’s artistic practice in the year to come. “I’m deeply honored to receive this award from the Pollock-Krasner Foundation,” Lavalette says. “I want to extend my gratitude to the foundation and board for their generous support of my work—this grant will absolutely help to propel it forward. I’m happy to be a part of the incredible legacy of the foundation, which continues to make meaningful impacts on the careers of so many artists through this important program.”

Lavalette’s photographs have been shown widely, including exhibitions at the High Museum of Art, the Center for Documentary Studies at Duke University, the Aperture Foundation, the Montserrat College of Art, The Carpenter Center for Visual Arts at Harvard University, The Center for Photography at Woodstock, the Kaunas Gallery, Le Ch?teau d’Eau, Fotostiftung Schweiz, Musée de l’Elysée and Robert Morat Galerie, in addition to being held in private and public collections. Lavalette is author of two monographs: “One Sun, One Shadow” (Lavalette, 2016) and “Still (Noon)” (Edition Patrick Frey, 2018).

The Pollock-Krasner Foundation—based in New York and operating internationally—was established in 1985 through the generosity of Lee Krasner, a leading abstraction expressionist painter and spouse of Jackson Pollock. The foundation provides grants to artists that allow them to create new work, purchase needed materials and pay for studio rent, as well as their personal and medical expenses. Since its inception, the foundation has awarded $75 million to 4,500 artist grantees in 77 countries.

Past recipients of Pollock-Krasner grants have acknowledged their critical impact in allowing concentrated time to work in the studio and prepare for exhibitions. “At the core of the Pollock-Krasner Foundation’s mission is fostering the work and development of artists, and our 2018-19 grant and award recipients highlight the impact we can have due to Lee Krasner’s legacy,” says Ronald D. Spencer, chairman and CEO of the Pollock-Krasner Foundation.

To provide additional support, the foundation maintains an up-to-date and comprehensive Grantee Image Collection representing the work of artists who have received grants since 1985. For more information, including guidelines for grant applications, visit the foundation’s website: .

“Culture Capture: Terminal Addition”

Light Work’s presents “”? by the New Red Order (NRO), an Indigenous artist collective. The NRO’s core contributors are Adam Khalil (Ojibway), Zack Khalil (Ojibway) and Jackson Polys (Tlingit), and they use video and performance to collectively challenge European settler and colonialist tendencies—such as “playing Indian”—with what they call “sites of savage pronouncement,” the purpose of which is to shift potential obstructions to Indigenous growth and agency.

Light Work commissioned “Culture Capture: Terminal Addition” for UVP and the New Red Order created this work during their monthlong visit to 黑料不打烊 in December 2018. The piece will be on view at the Urban Video Project’s architectural projection site on the north facade of the through April and May 2019.

on Thursday, April 18, at 6:30 p.m. in the Everson Museum of Art’s Hosmer Auditorium. The auditorium is wheelchair accessible, and the event will offer CART services for hard of hearing audience members. The screening and Q&A are free and open to the public. Light refreshments will be served after the program.

Half tongue-in-cheek absurdism and half deadly earnest, “Culture Capture: Terminal Addition” continues the New Red Order’s ongoing project of “culture capture,” recruiting viewers to participate in a program of practical strategies to counter the “salvage mindset,” which sets aside indigenous culture and sovereignty by consigning it to the past, thereby removing it from the present.

These strategies include using new, accessible technologies, such as smartphone apps that produce 3D scans of objects, ?both of indigenous material that museums and other institutions may hold and public monuments that celebrate the ideals of a region’s European settlers.

As the title of the work, “Terminal Addition” highlights the difference between addition and removal. The concept of “removal” is central to current debates about whether to remove problematic historical monuments—for example, Confederate war monuments in the South. It was also in the name of the Indian Removal Act, signed into law by President Jackson, which resulted in the displacement and death of thousands of Native peoples in what we now call the “Trail of Tears.” Both present removal as a quick fix. With?“Culture Capture: Terminal Addition,” the NRO recognizes that acts of removal inevitably contain contradictions, and proposes an additive approach instead.

NRO virtually captures objects and then subtly alters and repurposes them. The resulting spectral projection transforms their meaning and “repatriates” them.

With “Culture Capture: Terminal Addition,” the New Red Order order invites viewers to join indigenous peoples as cultural accomplices. The stakes are high: in the face of impending ecological catastrophe and unprecedented global inequality, the futures of Indigenous Peoples are bound up with a livable future for all.

Shot in and around 黑料不打烊,?“Culture Capture: Terminal Addition” uses local archives, collections and locations, including the Columbus Monument in downtown 黑料不打烊, the Saltine Warrior on the 黑料不打烊 campus, as well as 黑料不打烊’s archive of the work of James Earl Fraser, the artist who created the widely known “End of the Trail” and “Indian Head Coin.” This project was made possible through the support and collaboration of the , , and .

About the filmmakers

Adam Khalil (Ojibway) is a filmmaker and artist who lives and works in Brooklyn, New York. His practice attempts to subvert traditional forms of ethnography through humor, relation and transgression. Khalil’s work has been exhibited at Lincoln Center, the Museum of Modern Art, Sundance Film Festival, Walker Arts Center and Whitney Museum of American Art. Khalil has received various fellowships and grants, including Flaherty Professional Development Fellowship, Gates Millennium Scholarship, Sundance Art of Nonfiction, Sundance Institute Indigenous Film Opportunity Fellowship and UnionDocs Collaborative Fellowship. Khalil received a B.A. from Bard College.

Zack Khalil (Ojibway) is a filmmaker and artist from Sault Ste. Marie, Michigan, currently based in Brooklyn, New York. His work often explores an indigenous worldview and undermines traditional forms of historical authority through excavating alternative histories and innovative documentary forms. He recently completed a B.A. at Bard College in the Film and Electronic Arts Department, and is a Gates Millennium Scholar and UnionDocs Collaborative Fellow.

The Khalil brothers’ acclaimed debut feature film “” has screened at museums and in festivals around the world.

Jackson Polys (Tlingit) lives and works between what are currently called Alaska and New York. His work examines the limits and viability of desires for indigenous growth. He began carving with his father, Tlingit artist Nathan Jackson, from the Lukaax.ádi Clan of the Lk?óot K?wáan, and had solo exhibitions at the Alaska State Museum and the Anchorage Museum before receiving a B.A. in art history and visual arts and an M.F.A. in visual arts, both from Columbia University. He taught at Columbia (2016-17) and was advisor to Indigenous New York with the Vera List Center for Art and Politics.

Jackson received a 2017 Native Arts and Cultures Foundation Mentor Artist Fellowship.? His individual and collaborative works reside in collections of the Burke Museum, Cities of Ketchikan and Saxman, Field Museum, and the ?bersee Museum-Bremen, and have appeared at Artists Space, Hercules Art/Studio Program, James Gallery, Ketchikan Museums, Microscope Gallery and the Sundance Film Festival.

This exhibition was supported by the with the support of Governor Andrew M. Cuomo and the New York State Legislature.

This will be the third exhibition in UVP’s 2018-19 programming year, titled “The Past Keeps Happening.” During the year, we’ll feature artists whose work explores the ways in which past imagining of the future and future reflections on the past are always at odds with the lived present.

a program of Light Work in partnership with the Everson Museum of Art and Onondaga County, is an outdoor architectural projection site dedicated to the public presentation of film, video and moving image arts. It is one of few projects in the United States dedicated to ongoing public projections and adds a new chapter to Central New York’s legacy as one of the birthplaces of video art, using cutting-edge technology to bring art of the highest caliber to 黑料不打烊.

RB_2014_LW_67 002

The opening reception will be held on Friday, March 22, from 5-7 p.m., featuring a gallery talk with Robert Benjamin at 6 p.m. Signed copies of “River Walking” exhibition catalog, Contact Sheet 201 will be available to collectors after the talk. Light Work is located in the Robert B. Menschel Media Center at 316 Waverly Avenue, 黑料不打烊. The exhibition and reception are free and open to the public. Refreshments will be served.

A self-taught photographer and poet, Robert Benjamin’s work, often centered around his family, offers a simple and honest consideration of what it means to live and to love with intention. “I think you have to love your life, and you have to have the courage to find the world beautiful,” says Benjamin. Enchanted by color and the beauty of photography itself, Benjamin uncovers poetry in the everyday.

Benjamin never wanted a career in photography. He simply felt that he needed to make pictures. According to Benjamin, one of the great joys of being a photographer is working with cameras. He appreciates the elegance of mechanical objects deeply—their feel, their smell, their sound. Cameras are “exquisite little machines”—like typewriters, he says. Benjamin has been writing poems on his Smith-Corona Clipper longer than he’s made photographs. His poems echo the sensitivity and humble directness of his photographs. More recently, Benjamin has begun pairing what he aptly calls “small photographs” with “small poems,” a selection of which are included in this exhibition.

It’s often a mystery why a picture captivates us. A long-time friend, the widely admired photographer Robert Adams, has written about Benjamin’s portrait of his son, Walker, in his recent book, “Art Can Help.” The photograph possesses everything that embodies Benjamin’s work—a convergence of time, poetry, color, love and mystery. Adams writes, “In the distance, the rain is coming our way and the light is about to change. There is, just now, no place on earth exactly like this one.”

Benjamin grew up in Northern Illinois around suburbs, cornfields, lakes and the remaining prairies. After a brief encounter with college, he traveled—criss-crossing America, eventually to Paris, finally settling in New York City. There, he decided that photography was what he wanted to do. With the absence of any academic training or community he followed his own direction—creating a style and interest that continues to this day. His photos and poems grew intuitively, and draw on the experience of everyday life, far removed from the art world. In 2010, he agreed to a show of his work at the Denver Art Museum. In 2011, the museum and Radius Books published the book of this work, “Notes from a Quiet Life.” Benjamin continues to write and photograph. He and his family live in Colorado.

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.

“The arts enhance our communities and our lives, and we look forward to seeing these projects take place throughout the country, giving Americans opportunities to learn, to create, to heal and to celebrate,” says Mary Anne Carter, acting chairman of the National Endowment for the Arts.

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

Every year Light Work invites between 12 and 15 artists to come to 黑料不打烊 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,?.

Light Work is located in the Robert B. Menschel Media Center, 316 Waverly Avenue. The exhibition and reception are free and open to the public. Refreshments will be served.

??work boldly addresses themes of labor, power and representation. For a Chilean artist living in America at a moment in which the president of the United States continues pressing for a border wall, the underlying narrative of Valenzuela’s work—of immigration and the struggles of the working class—is as charged as ever.

The title of the exhibition, “American Type,” refers to a 1955 essay in which art critic Clement Greenberg frames the work of abstract expressionist painters such as Pollock, Kline, Motherwell, and Rothko as distinctly American. Greenberg proposed that post-war American painting was more about the act of painting itself than about any complex idea of representation. Valenzuela finds it interesting to challenge this concept and, as he puts it, to contemplate?“how much the absence of content has become the American gold.”?He doesn’t argue that abstraction is necessarily without subject or emotion, but Valenzuela questions Greenberg and art world elitism more generally by making his own subversive abstractions that he imbues with social-political meaning.

Valenzuela’s approach to representation in his work draws our attention to the extensive labor of his artistic process. Every aspect of his work shows a trace of his own labor, from the building of studio assemblages, to the photographic steps that lead to the final prints. Even the wooden frames that hold the work have been cut, assembled, and painted by his hand. Labor is inherent in the making of all art, but for Valenzuela it becomes a compelling central subject.

Valenzuela lives and works in Los Angeles, California. He studied art history and photography at the University of Chile (2004), holds a B.A. in philosophy from The Evergreen State College (2010), and an M.F.A. from the University of Washington (2012). Recent residencies include Bemis Center for Contemporary Arts (Omaha, Nebraska), Center for Photography (Woodstock, New York), Core Fellowship at the Museum of Fine Arts (Houston, TX), Light Work (黑料不打烊), MacDowell Colony (Peterborough, New Hampshire), and Skowhegan School of Painting and Sculpture in Maine. Recent solo exhibitions include?Future Ruins?at Frye Art Museum (Seattle, Washington), Galerie Lisa Kandlhofer (Vienna, Austria, 2018),?Work in Its Place?at Jordan Schnitzer Museum of Art (Eugene, Oregon, 2018),?New Land?at McColl Center (Charlotte, North Carolina, 2017),?American-Type?at Orange County Museum (Santa Ana, California, 2018),?Labor Standardsat Portland Art Museum (Portland, Oregon, 2018), and?Prole?at Ulrich Museum of Art (Wichita, Kansas, 2016). Valenzuela is an assistant professor in the Department of Art, University of California at Los Angeles, and recipient of the 2017 Joan Mitchell Award for Painters and Sculptors. He participated in Light Work’s Artist-in-Residence Program in August 2017.

Tyanna Asia Seton, Untitled, 2018

Light Work announces the 2019 Transmedia Photography Annual exhibition, featuring photographs by seniors from the art photography program in the Department of Transmedia in the College of Visual and Performing Arts.

The exhibition will be on view in the Hallway Gallery at Light Work from Jan. 14–March 1. There will be an opening reception on Thursday, Jan. 31, from 5-7 p.m. Refreshments will be served. Light Work is located in the Robert B. Menschel Media Center.

The exhibiting artists are Pat Boland, Chloe Conklin Woodrow, Mollie M. Crandell, Catherine E. Doherty, Nicolo Orson Gilmore, Charlotte Lester, Nick Polyzoides, Tyanna Asia Seton, Siyaka Taylor-Lewis and Junxiu Wang.

Barbara Tannenbaum, chair of prints, drawings and photographs, and curator of photography at the Cleveland Museum of Art, served as juror to select images for Best of Show and Honorable Mention awards. Tyanna Seton took Best of Show and Honorable Mentions went to Mollie M. Crandell, Charlotte Lester and Siyaka Taylor-Lewis.

“Beginning artists, whether painters, writers or photographers, are often told to start by making art about the things they know. But it is hard to see one’s backyard, family member, friend or neighborhood, with fresh eyes,” Tannenbaum says. “Harder still to bring the viewer—who is a stranger—into that world and make them feel like a participant rather than a voyeur. Yet that is what Tyanna Seton, Mollie Crandell, Charlotte Lester and Siyaka Taylor-Lewis have accomplished. Each chose to address one of the most complex subjects: the human condition.”

Professor Laura Heyman, of the Department of Transmedia, notes the importance of the annual collaboration. “In addition to giving students the space to imagine how their thesis work might develop over the following months, the TRM Annual show introduces their work to their peers, the local community, and the renowned curators and critics who jury the exhibition.”

Image courtesy of Light Work UVP: (right to left) Emanuel Almborg’s “Every Crack Is a Symbol” and Crystal Z Campbell’s “On the Way to the Moon, We Discovered the Earth.”

Light Work’s(UVP) program is presenting “URBAN RENEWAL,” a two-person exhibition featuring the work of multimedia artists Emanuel Almborg and Crystal Z Campbell, through Dec. 22 at UVP’s outdoor projection site on the north fa?ade of the 401 Harrison St., 黑料不打烊, Thursday through Saturday, from dusk until 11 p.m.

This is the second exhibition in Light Work UVP’s 2018-19 season, “The Past Keeps Happening.” The exhibition is supported by the with the support of Gov. Andrew M. Cuomo and the New York State Legislature.

In conjunction with the exhibition, an with Almborg and Campbell will take place at Light Work’s Watson Theater on Thursday, Nov. 29, from 6:30-8:30 p.m. This event will feature additional work and a conversation with Emanuel Carter Jr., a faculty member at SNUY-ESF; Lanessa Chaplin, project counsel for the Central New York chapter of NYCLU; and Yusuf Abdul Qadir, director of the CNY Chapter of NYCLU, exploring how issues conveyed in the exhibition relate to 黑料不打烊’s own history and legacy of urban renewal. A reception will follow.

The auditorium is wheelchair accessible, and CART services are available by reservation (by Nov. 14) by calling 315.443.1369 or emailing info@urbanvideoproject.com.

Also, on Nov. 16, during the Everson Museum’s free Third Thursday event, Anneka Herre, UVP director and instructor in the Department of Transmedia in the College of Visual and Performing Arts, will engage with visitors in an open-ended discussion about the works that UVP presents.

About the Artists
Emanuel Almborg is Swedish artist living and working in Stockholm. His research-based work explores themes of collective action, political economy and radical pedagogy, manifesting in a range of practices and media, from moving image and installation-based work to publications to participatory programs. He received his M.F.A. from Goldsmiths University in London and participated in the Whitney Independent Study Program. He has exhibited internationally, including shows at Gallery 400 (Chicago), Gasworks (London), Konsthall C (Stockholm, Sweden), Participant Inc. (New York City) and Whitechapel Gallery (London).

Crystal Z Campbell is a multidisciplinary artist and writer of African American, Filipino and Chinese descent. She is a former social worker. Her practice incorporates archival material and historical traces to question the politics of the witness. Recent works include investigations of Henrietta Lacks’ immortal cell line, the 1921 Tulsa Race Massacre, and gentrification via a 35mm film relic salvaged from a now demolished black civil rights theater in Brooklyn. Campbell exhibits internationally, including past exhibitions at de Appel Arts Centre in Amsterdam, Project Row Houses in Houston, SculptureCenter in New York City and Studio Museum of Harlem. Her honors, fellowships and residencies include the Flaherty Film Seminar, M-AAA Innovations Grant, MacDowell Colony, Rijksakademie, Skowhegan, Smithsonian, Sommerakademie Paul Klee, Whitney Museum Independent Study Program and Yaddo. Campbell is a current Drawing Center Open Sessions Fellow, recipient of the prestigious Pollock-Krasner Award and a third-year Tulsa Artist Fellow.

About the Works
“Every Crack Is a Symbol (Charlotte Street Project)”
Director, Emanuel Almborg 2015 | 30 min. | HD video

“Every Crack is a Symbol (Charlotte Street Project)” is a short film that takes as its starting point two events and two kinds of representation of a South Bronx neighborhood in 1980. The horror film “Wolfen” is about killer wolves living in the ruins of the South Bronx. “People’s Convention” videotaped an attempt to bring together a large coalition of different left social movements and community activists. Both films were shot at the same location, the horror film six months before the protest camp commenced. Both use the urban decay of the South Bronx as backdrop and symbol to generate images, one of demands and radical politics, the other of killer ghost wolves in the ruins of the urban crisis. The horror story of wolves parallels the urban struggles around and against real estate, finance and neo-liberal policies in the early 1980s.

“On the Way to the Moon, We Discovered the Earth”
Director, Crystal Z Campbell 2012 | 9 min. 49 sec. loop | digital video

“On the Way to the Moon, We Discovered the Earth” is a historical remix of The New York Times edition printed during the New York City Blackout in 1977, an event unofficially credited as the birth of hip-hop, a movement that was already well underway but advanced with equipment looted during the riots.

“Futures for Failures”
Director, Crystal Z Campbell 2011 | 1 min. | found footage

“Futures for Failures” is double narrative of failure: architectural and social. Archival footage from a demolition of the Pruitt-Igoe Building in St. Louis manifests that failure. Meanwhile, a voice-over recounts a moment of contagious laughter erupting during a stranger’s funeral. The film is a conversation between the disappeared and the disappearing.

“Go-Rilla Means War”
Director, Crystal Z Campbell 2017 | 19 min. 21 sec. | 35mm film transferred to 2K, original stereo sound

With 35mm film salvaged from a now-demolished black civil rights theater in Brooklyn, “Go-Rilla Means War” is a cinematic parable about gentrification and the intersections of development, cultural preservation and erasure.

About Urban Video Project
a program of Light Work in partnership with the Everson Museum of Art and Onondaga County, is an outdoor architectural projection site dedicated to the public presentation of film, video and moving image arts. It is one of few projects in the United States dedicated to ongoing public projections and adds a new chapter to Central New York’s legacy as one of the birthplaces of video art, using cutting-edge technology to bring art of the highest caliber to 黑料不打烊.

Using a large venue projector and permanently installed all-weather sound system, UVP’s outdoor architectural projection site on the north fa?ade of the iconic Everson Museum of Art transforms the adjoining Onondaga County Community Plaza into a year-round massive video installation every Thursday through Saturday night.

For more information, visit, call 315.443.1369 or email info@urbanvideoproject.com.

“Extended Forecast” will be supplemented with an indoorand other works on Thursday, Oct. 18, at the Everson Museum. Harris’ film, “still/here” depicts civic neglect and apathy in the northside neighborhoods of his hometown of St. Louis, Missouri, in which working class and working poor black and African-American populations inhabit almost exclusively.

In speaking about the broad goals of his work, Harris says, “These are films that are not there to tell an easy story or to narrate a palatable history. They’re there to really make you think about and explore cinema’s fundamental relationship to American racial identity, pushing us to turn the medium inside out and see how to stretch its potential for new conversations about film and race.”

Writing in Cinema Scope, Michael Sicinski notes, “It is somewhat galling that the film [“still/here”] is not better known. If it did find a wider audience, I could see it very easily being recovered as one of the significant avant-garde works of the past decade.”

Harris will be present for a Q&A following the screening in the Hosmer Auditorium. The auditorium is wheelchair accessible and CART services for the intro and Q&A portions are available by reservation (please make request by 10/4) by calling 315.443.1369 or email info@urbanvideoproject.com. All portions of this exhibition and indoor screening with filmmaker Christopher Harris are free and open to the public.

This is the first exhibition in UVP’s 2018-19 programming year, whose title is The Past Keeps Happening, taken from a comment by Harris in conversation with film and media theorist, Terri Francis. During the year, UVP will feature artists whose work explores the ways in which the past’s imagining of the future and the future’s reflections on the past are always at odds with the lived present.

About the works

“Sunshine State” (Extended Forecast)

2007 | TRT: 8:00 | 16mm transferred to digital video

Somewhere in a quiet outer suburb of the Milky Way Galaxy, we live our lives in the pleasant warmth of our middle-of-the-road star, the Sun. Slowly but surely we will reach the point when there will be one last perfect sunny day. The sun will swell up, scorch the earth, and finally consume it.

“28.IV.81 (Bedouin Spark)”

2009 | TRT: 3:00 | 16mm transferred to digital video

This piece approximates a small child’s fantasy world in the dark. In a series of close-ups, the nightlight is transformed into a meditative star-spangled sky. An improvisation, edited in-camera and shot on a single reel. The stars swirl in silence.

“Distant Shores”

2016 | TRT: 3:00 | 16mm transferred to HD video

The specter of other voyages haunts a sunny afternoon on a tour boat in Chicago.

This exhibition was supported by the (NYSCA) with the support of Governor Andrew M. Cuomo and the New York State Legislature.

The work of Christopher Harris articulates African American historiography through the poetics and aesthetics of experimental cinema. His work employs manually and photo-chemically altered, appropriated moving images, staged re-enactments of archival artifacts, and interrogations of documentary conventions.

Christopher Harris has exhibited widely throughout North America and Europe. Sites of solo exhibitions and screenings include Autograph ABP in London, the Gene Siskel Film Center in Chicago, MICROSCOPE Gallery in Brooklyn and the Wexner Center for the Arts in Columbus, Ohio. He has participated in group exhibitions at the Artists’ Film Biennial at the Institute of Contemporary Arts in London, the Art Institute of Chicago and the San Francisco Museum of Modern Art. Film festivals include Ann Arbor Film Festival, Edinburgh International Film Festival, International Film Festival Rotterdam, and VIENNALE-Vienna International Film Festival. The 2018 Flaherty Film Seminar featured his work, “The Necessary Image.”

Harris received a Creative Capital Grant in 2015 and an Alpert/MacDowell Fellowship in 2017.

Light Work Lab’s educational opportunities for adults, offered in their state-of-the art, member-based, community-access DIY makerspace, are led by experienced and supportive instructors. Novice or professional, workshops are open to all skill levels. Both workshops are one-day offerings.

Registration for summer workshops is $40 for lab members or $60 for non-members. Spaces are limited; early registration is encouraged as spots fill quickly. Day of drop-in registration is unavailable for summer workshops. Registration information and full descriptions for the Making Reproductions of Art and Large Format Printing workshops can be found online at Light Work or by calling 315.443.1300 or via email at services@lightwork.org.

Making Reproductions of Artwork

Saturday, July 28, noon to 3 p.m.

Instructors: Amrita Stützle and Rachel Fein-Smolinski

Cost: $40 members and $60 non-member, includes admission and all materials.

All skill levels welcome; space is limited. Info: 315.443.1300

Learn how to use our Epson 10,000 large format printers. In this three-hour single-session workshop, learn how to properly color manage your files and printing environment. This workshop will cover proper resolution, sharpening, exposure and fidelity to teach you how to make beautiful large scale inkjet prints.

Rachel Fein Smolinski is an artist living and working in 黑料不打烊. She received a B.F.A. in photography from the San Francisco Art Institute in 2014, and an M.F.A. from the school of Visual and Performing Arts at 黑料不打烊 in 2017. The recipient of numerous residencies, and fellowships, she has exhibited in San Francisco, Oakland and Los Angeles, California; Buffalo, 黑料不打烊 and Ithaca, New York; and Berlin, Delaware.

Amrita Stützle is an Austrian born artist who works in photography and video. She received a B.F.A. in art photography from the College of Visual and Performing Arts at 黑料不打烊. Her work takes a cinematic approach at investigating the contemporary American service industry and the fleeting American Dream. She is currently the lab manager at Light Work.

Large Format Printing

Friday, August 3, 4 to 7 p.m.

Instructors: John Wesley Mannion and Rachel Fein-Smolinski

Cost: $40 members and $60 non-members, includes admission and all materials.

All skill levels welcome; space is limited. Info: 315.443.1300

Learn how to use our Epson 10,000 large format printers. In this three-hour single-session workshop, learn how to properly color manage your files and printing environment. This workshop will cover proper resolution, sharpening, exposure and fidelity to teach you how to make beautiful large scale inkjet prints.

John Wesley Mannion is an artist and teacher who has been helping artists from around the world make the most of their work for over 15 years. He is currently the master printer at Light Work, an artist-run, nonprofit organization that provides direct support through residencies, publications, exhibitions, a community-access maker-space and other related projects to emerging and under-represented artists working in the media of photography and digital imaging. Mannion also teaches in the Transmedia Department at 黑料不打烊 and has exhibited his own work nationally, including at the Everson Museum, Griffin Museum and Munson-Williams-Proctor Arts Institute museum.

For more information regarding this Light Work workshops and classes, visit Light Work Workshops at lightwork.org.

For this unique online auction, Light Work is offering hand-selected, limited-edition prints and signed books, curated by Phil Block, who co-founded Light Work with Tom Bryan in 1973

Raise Your Paddle and Bid!??has partnered with Paddle8 to for an??of more than 60 limited-edition, archival fine prints and signed books.?Bidding on lots will be open through May 1. Proceeds benefit Light Work and support its mission of supporting emerging and under-represented artists working in photography through residencies, publications, exhibitions and a community-access digital lab facility.

For this unique online auction, Light Work is offering hand-selected, limited-edition prints and signed books, curated by Phil Block, who co-founded Light Work with Tom Bryan in 1973. All purchases include a one-year subscription to Light Work’s journal,?Contact Sheet. The 2018 Light Work benefit auction catalog boasts an offering of diverse works by internationally acclaimed and award-winning photographers. Bidding begins between $280 and $2,400.

?includes works by?Carrie Mae Weems, John Edmonds, Matt Eich, Lida Suchy, Wayne Lawrence, Zanele Muholi, Paul D’Amato, Christian Patterson,?Doug DuBois,?Lucas Foglia,?Ann Hamilton,?Leslie Hewitt,?Mark Klett,?Shane Lavalette,?Andrea Modica,?Mark Steinmetz,?William Wegman,?James Welling, and more.

Ben Russell, “Good Luck (Portraits),” 2017

Due to the 140-minute duration of the piece, the reception will precede the film at 5 p.m. The screening, opening with an introduction by the filmmaker, will start promptly at 5:30 p.m. Russell will join us in person to introduce the film and for a brief a Q&A following the screening. The event is free and open to the public.

This event is held in conjunction with the exhibition of the related new commissioned work “Good Luck (Portraits)” at UVP’s outdoor architectural projection venue on?the Everson Museum Plaza. The exhibition will be projected onto the northern facade of the at 401 Harrison St.?through May 26, Thursday-Saturday, dusk-11 p.m.

ACCESSIBILITY
The screening will take place in a wheelchair-accessible auditorium. The film is subtitled for all spoken dialogue. CART services for the intro and Q&A portions are available upon advance request; call: 315-443-1369 or email: info@urbanvideoproject.com

“Good Luck” takes the audience on a mind-bending journey deep into the unforgiving copper mines of Serbia and emerging thousands of miles away among an illegal band of gold miners in the Suriname jungle.

?GOOD LUCK (PORTRAITS)
Derived from a four-channel installation first presented in Kassel, Germany, in 2017 at the international art biennial, documenta 14, this single-channel looping projection presents a series of intimate black-and-white S16mm portraits of miners, as recorded between a state-owned large-scale underground copper mine in the war-torn state of Serbia and an illegal gold mining collective in the tropical heat of Suriname. Made in the style of Andy Warhol’s “Screen Tests” and filmed on site (both under-and-aboveground), these hand-processed portraits are accompanied by a visceral soundscape drawn from the chaotic working environment of the men pictured. ?In “Good Luck (Portraits),” the film’s subjects briefly pause in the infinite labor of mineral extraction to give us a subjective vision of their inner selves—a vision controlled by their own hand. ?Here is the human foundation of capital, revealed.

ABOUT THE ARTISTS

(b.1976, USA) is an artist and filmmaker whose work lies at the intersection of ethnography and psychedelia. His films and installations are in direct conversation with the history of the documentary image, providing a time-based inquiry into trance phenomena and evoking the research of Jean Rouch, Maya Deren and Michael Snow, among others. Russell received a 2008 Guggenheim Fellowship, a FIPRESCI International Critics Prize (IFFR 2009) for his first feature film “Let Each One Go Where He May.” His second feature film, “A Spell to Ward Off the Darkness”?(co-directed with Ben Rivers), premiered at the Locarno International Film Festival in 2013. Curatorial projects include “Magic Lantern” (Providence, USA, 2005-2007), “BEN RUSSELL” (Chicago, USA, 2009-2011), and “Hallucinations” (Athens, Greece, 2017). He currently resides in Los Angeles. In the summer of 2017 he was an exhibiting artist in documenta 14.

About 黑料不打烊

黑料不打烊 is a private, international research university with distinctive academics, diversely unique offerings and an?undeniable spirit. Located in the geographic , with a global footprint, and?, 黑料不打烊 offers a quintessential college experience. The scope of 黑料不打烊 is a testament to its strengths: a pioneering history dating back to 1870; a choice of more than 200 majors and 100 minors offered through 13 schools and colleges; nearly 15,000 undergraduates and 5,000 graduate students; more than a quarter of a million alumni in 160 countries; and a student population from all 50 U.S. states and 123 countries. For more information, please visit .

There will be an opening reception on Thursday, March 29, from 5-7 p.m. with an artist talk at 6 p.m. This event is free and open to the public. Refreshments will be served. Light Work is located in the Robert B. Menschel Media Center at 316 Waverly Ave.

“Rubberlands” follows the trajectory of Karlic’s earlier work, which explored the automobile industry in Michigan. “Rubberlands” proceeds from Midwest cities like Detroit and Akron, Ohio—once the rubber capital of the world—which serve as entry points to networks of globalization. Connecting the company archives of Henry Ford, Goodyear, Goodrich, General Tire and Firestone, she traces the evolution of an industry that relies heavily on outsourcing of the “Hevea brasiliensis” (Amazonian rubber tree). Her photographic fieldwork in Brazil has taken her to manufacturing plants in Salvador and Itaparica, Michelin rubber plantations in the Atlantic forest, a fisherman’s village on the coastal rivers of Itubera in Bahia and the vestiges of Henry Ford’s planned community in the Amazon.

Karolina Karlic, “Emilly Farias in the Michelin Rubber Groves,” April 2014, Michelin Rubber Plantation, Bahia, Brazil

Karlic reveals threatened landscapes, sites of reforestation and working factories against the backdrop of their surrounding communities; scenes where living things are transformed into assets and removed from their life worlds to supply the demands of capital. By weaving together historical archives and contemporary renderings of environs shaped by production, Karlic moves beyond capturing a static place and time—and instead, configures a dynamic space for contemplating the inextricable social and personal bonds surrounding labor and natural resources. Here, she invites the viewer into a new imaginary where historical consciousness is critical to reflecting on our relationship to consumption.

was born in Wroclaw, Poland, and immigrated to Detroit in 1987. She holds an M.F.A. from the California Institute of the Arts and a B.F.A. from the Minneapolis College of Art and Design. She is an assistant professor in the art department at the University of California, Santa Cruz, where she currently resides. Karlic’s work focuses in on labor, industry, diaspora, environmental concerns and the effects of social upheaval, and has led her to capture imagery all over the world, including the United States, her native Poland, Ukraine, Sierra Leone, French Polynesia and Brazil. She has been the recipient of numerous fellowships and awards, including the John Simon?Guggenheim Memorial Foundation Fellowship as well as the Cultural Exchange International Fellowship of the Los Angeles Department of Cultural Affairs and Sacatar Foundation. Karlic participated in Light Work’s Artist-in-Residence Program in June 2013.

Marianne Barthelemy, “It Was Spring”

is presenting the 2018 Newhouse Photography Annual, featuring work by photography students in the . Juried by Lauren Steel (visuals director, Verbatim Agency), the exhibition is a collection of more than 25 photographs by Newhouse School, multimedia photography and design department students. Thematically diverse and representing various approaches to photographic practice and technique, this collaboration showcases the breadth of images that today’s students are producing. Selected works will be on view in the Hallway Gallery at Light Work through July 27. There will be an opening reception on Thursday, March 29, from 5-7 p.m.

Light Work is located in the Robert B. Menschel Media Center at 316 Waverly Ave. The exhibition and reception are free and open to the public. Refreshments will be served.

Exhibiting student photographers are: 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, Erika Sternard, Ashley Tucker, Austin Wallace and Cassie Zhang.

Steel awarded “Best of Show” to Barthélemy for “It was Spring.” Reflecting on the selection Steel stated:?“The reason I chose this image/diptych is that the texture, color palette, lighting and composition all seemed to complement each other perfectly. It is a melancholy image that I feel is relatable in numerous situations. There is a yearning to know more, but then also the ability to make up your own story, which shows how complex this image is. I was impressed with the different approaches in the overall group of images from classic photojournalism through to fine art. It is always hard to pick a favorite when there are so many different genres to choose from, so for me personally, I chose the one I connected with most and that my eye kept going back to.”

Juror Bio

Lauren Steel is a founder and visuals director at , which focuses on linking authentic storytellers with social impact initiatives. She works with an exclusive group of world-renowned photojournalists, many of whom have won numerous awards and recognitions, including World Press Photo, POYi, OPC and the Pulitzer Prize. She graduated from Boston University with a bachelor of science in photojournalism. After college, she began work at LIFE magazine as a photo and art assistant, expanded into photo research and worked on such special book projects as The New York Times best-seller “One Nation.” Steel also worked for Rolling Stone and ImageDirect before moving to Getty Images in 2003 as an entertainment assignment editor.

About 黑料不打烊

黑料不打烊 is a private, international research university with distinctive academics, diversely unique offerings and an?undeniable spirit. Located in the geographic , with a global footprint, and?, 黑料不打烊 offers a quintessential college experience. The scope of 黑料不打烊 is a testament to its strengths: a pioneering history dating back to 1870; a choice of more than 200 majors and 100 minors offered through 13 schools and colleges; nearly 15,000 undergraduates and 5,000 graduate students; more than a quarter of a million alumni in 160 countries; and a student population from all 50 U.S. states and 123 countries. For more information, please visit .

The Department of Transmedia Colloquium Series?will present a special artist talk and Q&A with current ?Jess T. Dugan Tuesday, Jan. 23, at 2:15 p.m. in the Shemin Auditorium, Shaffer Art Building.

Dugan will discuss the trajectory of her work over the past decade, motivations for making photographs, and experience as a working artist. She will speak in detail about “Every Breath We Drew” and her recently completed project, “To Survive on This Shore: Photographs and Interviews with Transgender and Gender Nonconforming Older Adults,” which she has been working on since 2013.?The presentation will take place at the Shemin Auditorium. The talk and Q&A?are?free and?open to students and community members.

St. Louis–based photographer? is an artist whose work explores issues of gender, sexuality, identity and community.?She has been photographing within LGBTQ communities for the past decade and is deeply committed to the transformative power of photographic portraiture.

“Although my investigation surrounding identity was born out of personal experience, my focus has continually expanded outward, centering around the process through which we each come to know our authentic selves and the difficulties that arise when we assert those selves within constraining environments,” she says. “Formally, I use medium and large-format cameras, natural light and a slow working method to combine a traditional style of photographing with contemporary subject matter.?My work does not attempt to provide definitive answers; rather, it invites viewers to engage with others in an intimate, meaningful way, requiring them to reflect on their own identities in the process.”

Dugan holds an M.F.A. in photography from Columbia College Chicago, a master of liberal arts in museum studies from Harvard University, and a B.F.A. in photography from the Massachusetts College of Art and Design.

Dugan’s work has been exhibited internationally at the Smithsonian National Portrait Gallery, the Aperture Foundation, the Museum of Contemporary Photography, the San Diego Museum of Art, the Cornell Fine Arts Museum at Rollins College, the Catherine Edelman Gallery, the Griffin Museum of Photography and at many colleges and universities nationwide. Dugan was the recipient of a Pollock-Krasner Foundation Grant and was selected by the White House as a 2015 Champion of Change. Dugan’s first monograph, “Every Breath We Drew,” was published in 2015 by Daylight Books and coincided with a solo exhibition at the Cornell Fine Arts Museum. Her second monograph, “To Survive on this Shore,” will be published in 2018 by Kehrer Verlag and will coincide with a solo exhibition at projects+gallery in St. Louis.

Her photographs are in the permanent collections of the Museum of Fine Arts, Boston; the Museum of Fine Arts, Houston; the Harvard Art Museums; the Birmingham Museum of Art; the Grand Rapids Art Museum; the Cornell Fine Arts Museum at Rollins College; the DePaul Art Museum; Fidelity Investments; JP Morgan Chase; and the Kinsey Institute for Research in Sex, Gender and Reproduction. Her work is also included in the Midwest Photographer’s Project at the Museum of Contemporary Photography in Chicago. Dugan is represented by the Catherine Edelman Gallery in Chicago.

About 黑料不打烊

Founded?in 1870, 黑料不打烊 is a private international research university?dedicated to advancing knowledge and fostering student success through teaching?excellence,?rigorous scholarship and interdisciplinary research. Comprising 11?academic schools and colleges, the University has a long legacy of excellence?in the liberal arts, sciences and?professional disciplines that prepares?students for the complex challenges and emerging opportunities of a rapidly?changing world. Students enjoy the resources of a 270-acre main?campus and?extended campus venues in major national metropolitan hubs and across three?continents. 黑料不打烊’s student body is among the most diverse for an?institution of its?kind across multiple dimensions, and students typically represent?all 50 states and more than 100 countries. 黑料不打烊 also has a long legacy of?supporting veterans and is home to?the nationally recognized Institute for?Veterans and Military Families, the first university-based institute in the?U.S. focused on addressing the unique needs of veterans and their?families.

John Edmonds, “Untitled (Du-rag 3),” 2017

?will host an opening reception for “,”?an exhibition by New York City-based photographer , and “”?on Thursday, Nov. 30, 2017 from 5-7 p.m. Reception guests are invited to join artist John Edmonds at 6 p.m. for an in-gallery talk about his photographic portrait series, creative process and the intersection of?art, politics and Black identity. Edmonds will also be signing of copies his “Anonymous” exhibition catalog,?.

Selected from over 4,000 photographs, “New Voices” represents a conceptually and technically diverse collection of images by former Light Work artists-in-residence. The exhibition highlights works by?,?,?,?,?,?,?,?,??and?. is an extensive and diverse archive for the mapping of trends and developments in contemporary photography. This noteworthy collection includes all genres of expression found in contemporary photography, including documentary, abstract, experimental and conceptual work.? Both exhibitions will be on view through Dec. 14.

The opening reception will be held at Light Work in the??at 316 Waverly Ave. Free 2-hour parking is available directly across the street from the gallery on Waverly Avenue. Paid parking is available in the Booth Garage at the intersection of Comstock and Waverly Avenues, diagonally across the street from Light Work. This event is?free and open to the public. Refreshments will be served.

A still from one of Kevin Jerome Everson’s films

The filmmaker will be present for a special screening (黑料不打烊 premiere) Nov.?16 at 6:30 p.m. in the Everson’s Hosmer Auditorium of the related feature-length film “Erie” (2010), which was created during a residency at Hallwalls in Buffalo. Poetic and contemplative, “Erie” consists of a series of single-take 16mm shots in and around communities near Lake Erie, including Niagara Falls, Buffalo, Cleveland and the artist’s hometown of Mansfield, Ohio. The scenes relate to Black migration from the South to the North, realities affecting workers and factories in the automobile industry; contemporary conditions, theater, and famous art objects.

The screening will be followed by a Q&A with the audience and reception.

Both the event and exhibition are free and open to the public.

Everson says of his practice, “With a sense of place and historical research, my films combine scripted and documentary elements with rich elements of formalism. The subject matter is the gestures or tasks caused by certain conditions in the lives of working class African Americans and other people of African descent.”

Everson’s films have received wide acclaim and have been exhibited internationally at film festivals including Sundance, Toronto, Venice, Rotterdam, Berlin, New York, Ann Arbor, AFI and Oberhausen; and at cinemas, galleries and museums including the Museum of Modern Art and the Whitney Museum of American Art, New York; Whitechapel in London and REDCAT, Los Angeles.

Nando Alvarez-Perez, “Post-industrial Living Situation 1 (Self-Centered World),” 2017

Light Work Lab is located in the??at 316 Waverly Ave. The talk and Q&A?are?free and?open to students and community members.

California-based artist, and educator? explores ways photographic objects relate to death, memorials, the kitschy reproduction of art objects with architectural structures, photographs and textiles. ?A convergence of photography and sculpture, Alvarez-Perez’s artistic approach involves using modular framing systems in conjunction with wallpapers, fabric prints and carpets. His photographic installations respond architecturally and materially to space—pushing the traditional experience and scope of the medium.

Reflecting upon his body of work, Alvarez-Perez states, “I think of each photograph as a discrete but ambiguous unit of symbolic meaning, and when you start putting those units together larger structures emerge. Totems are familiar cultural objects which act as matrices of significance, complex structures of symbols that have the practical effect of forcing images into physical proximity to one another in a way that individually framed images cannot, but also, and maybe this is a bit naive in today’s hyper-commodified art climate, act as reminders of the less practical, more spiritual dimensions of art objects. The use of an ancient physical structure of symbols is an interesting avenue to explore to me in a time which seems to be accelerating towards some imagined and idealized future built on perpetual newness. The title and the works are about recognizing that there is no escaping history, the past and the future exist simultaneously and that what we call the ‘now’ is just a temporal term for where those two things meet and express themselves.”

Buffalo, New York, native Alvarez-Perez studied the history of cinema at Hunter College in Manhattan and received his B.A. in film studies and special honors from the Thomas Hunter Honors Program. In 2014, he graduated from the San Francisco Art Institute, where he was awarded the Master of Fine Arts Fellowship in Photography. His work has been shown throughout the West Coast and was featured in Salón Boricua as part of the 4th Poly/Graphic Triennial in San Juan, Puerto Rico. In 2016, he had solo exhibitions at CEPA Gallery in Buffalo, Tmoro Projects in Santa Clara, California, and was commissioned for a project at John McNeil Studio in Berkeley, California. Most recently, his work was exhibited at the inaugural edition of UNTITLED Art Fair in San Francisco as well as part of the exhibition, “Insights: New Approaches to Photography Since 2000,” at Photofairs SF.

“Untitled-Girl with Snake, Rabun, Ga.,” 2016

The curated works of “New Voices” explore a wide variety of approaches to the medium, both conceptually and technically. The exhibition?is currently on view in the Hallway Gallery at Light Work?through Dec. 14 with an opening reception Thursday, Nov. 30, 5-7 p.m.? This event is free and open to the public. Refreshments will be served.

Light Work’s collection is an extensive and diverse archive for the mapping of trends and developments in contemporary photography. This noteworthy collection includes all genres of expression found in contemporary photography, including documentary, abstract, experimental and conceptual work. The collection also serves as an important document of Light Work’s history of support for emerging artists and their creative process.

“New Voices: Recent Acquisitions from Light Work Collection” artists are also featured in “Light Work Annual: Contact Sheet 187, 192.” Copies of the Light Work Annual 2017 are available for purchase via the .

John Edmonds, “Untitled (Du-rag 3),” 2017

“All the work that I make is from a very personal place,” says Edmonds of his process. “It starts with me.” In “Anonymous,” Edmonds combines two distinct series of portraits, both of which conceal the identities of their subjects. We know these men. Though faces are obscured, some of these images, taken during Edmonds’ residency at Light Work are of men from 黑料不打烊, New York. The photographs comprise striking formal studies of individuals wearing hoods on the street, photographed from behind. Edmonds further embeds himself in this work by photographing his subjects wearing his own hoodies and jackets. With little visual clues to guide us, we may only learn from the artist that the obscured individuals in fact vary in race, gender and age. Another interesting aspect of Edmond’s pictures is that despite the anonymity, they are photographically descript. The portraits are made in the bright daylight and the clarity and detail of the fabric offer a sense of closeness, implicating the viewer with the feeling of approaching a stranger from behind. While acknowledging that his work begins from a personal place, Edmonds emphasizes the necessity of the viewer in the completion of an image.

For Edmonds, the personal is political: “I hope my work can reflect the reality of this country right now,” he says. Indeed, we can quickly read his suite of images as a statement on the unjust death of Trayvon Martin and how individuals of color continue to face issues of racism, safety and injustice in systemic ways. Through an emphasis on form and repetition, Edmonds’ work engages viewers in conversations of visibility in society.

Edmonds is an artist working in photography whose practice includes fabric, video and text. He received his M.F.A. in photography from Yale University School of Art and his B.F.A. in photography at the Corcoran School of Arts and Design. He is most recognized for projects where he focused on the performative gestures and self-fashioning of young black men on the streets of America, as well as his evocative portraits of lovers, close friends and strangers. He has held residencies at the Center of Photography at Woodstock, Woodstock, New York; The Skowhegan School of Painting & Sculpture, Skowhegan, Maine; FABRICA: The United Colors of Benneton’s Research Center, Treviso, Italy; and Light Work, 黑料不打烊, New York. Edmonds lives and works in Brooklyn.

Students work in the Portfolio and Professional Practice class.

Open to photographers of all skill levels, Light Work?Lab is a DIY member-supported, community-access photography maker space. Workshops and classes are generally on weekends and evenings in an effort to accommodate the even the busiest schedules. All fall educational programming is held in the Light Work Lab, located in the Robert B. Menschel Media Center at 316 Waverly Ave.

Registration for fall classes is $110 for members and $175 for non-members, with the exception of the Nov. 1-day Large Format Printing Workshop, which is $50 for members and $75 for non-members. Registration fees include materials costs. Spaces are limited; early registration is encouraged as spots fill quickly. Day of drop-in registration is unavailable for fall lab classes.

Membership, class registration information and full descriptions for the all Light Work Lab educational programming can be found online at? or by calling 315.443.1300 or via email at info@lightwork.org.

Portfolio and Professional Practice
Oct. 1-22 / Sundays, noon-3?p.m.
Instructor: Gabe Conte
Skill level: Beginner/ Intermediate

Learn how to create a professional portfolio in print and online. This class will cover and review application processes, writing artist statements and how to use websites and social media as part of your artistic process.

Instructor

photographs have been shown widely, including exhibitions at 555 Gallery (Boston), Candela Gallery (Richmond), Filter Space (Chicago), Museo Nacional de Arqueología y Etnología (Guatemala City), photo-eye Books & Prints (Santa Fe), Webber Represents (London) and are held in notable public collections including the Museum of Modern Art Library, Museum of Contemporary Photography, New Mexico Museum of Art, and the Nelson-Atkins Museum of Art. Additionally, his words and images have been published with GEO, National Public Radio, Oxford American, Photo District News, among others.

Advanced Photoshop
Oct. 2-23 / Mondays, 6-9?p.m.
Instructor: Amrita Stützle
Skill level: Intermediate / Advanced

Take the next step in adjusting and manipulating your images with Adobe Photoshop. This course will introduce workflow techniques and concepts for adjusting color and tone with selection tools and layer masks, compositing, cloning and printing through Print-Tool. The first two hours of this course will be instruction followed by one hour of open studio time.

Instructor? is an artist who works in photography and video. She received a B.F.A. in art photography from the at 黑料不打烊. Her work takes a cinematic approach to?investigating the contemporary American service industry and the fleeting American Dream. She is currently the lab manager at Light Work.

Adobe Lightroom
Oct. 2-23 / Mondays, 6-9?p.m.
Instructor: Gabe Conte
Skill level: Beginner/ Intermediate

Learn how to use Adobe’s amazing image editing and management software. Efficiently organize, enhance and share your digital photos by understanding the Lightroom workflow. Everything from storage, to color adjustments, cropping, printing and sharing on the web happens easily with Lightroom.

Instructor Gabe Conte is profiled above.

Studio Portrait Lighting
Oct. 3-24 / Tuesdays, 6-9?p.m.
Instructor: Hal Silverman
Skill level: Intermediate / Advanced

Learn how to use all the equipment in the Lighting Studio to create beautiful and engaging photographs. Lighting techniques will focus on the art of portraiture and topics will include posing, lighting set-ups and camera settings. The first two hours of each class will be instruction, followed by one hour of open studio time

Instructor Hal Silverman graduated from 黑料不打烊’s with a bachelor of science in illustration photography. A brief assignment shooting national advertising and catalog illustrations under deadline pressure for Macy’s taught him the importance of organization and meticulous preparation. After a few years of shooting and learning in the studio of another nationally respected commercial photographer, Silverman?opened his own shop in 1989.

Introduction to Photoshop
Oct. 3-24 / Tuesdays, 6-9?p.m.
Instructor: Rachel Fein-Smolinski
Skill level: Beginner

Learn the foundations of adjusting and manipulating your images with Adobe Photoshop. This course will introduce workflow techniques and concepts for adjusting color and tone, resizing, saving, and printing your photographs through Print Tool. The first two hours of each class will be instruction, followed by one hour of open studio time.

Instructor? is an artist who works in photography, video and installation. She received a B.F.A. in photography from the San Francisco Art Institute in 2014, and in 2017 an M.F.A. in art photography from the College?of Visual and Performing Arts at 黑料不打烊, where she taught photography and media theory courses. Her work uses sci-fi and adopts the authoritative aesthetics of biology and medicine to deal with neurosis and intellectualism. She has exhibited internationally, and is the recipient of numerous awards, including the 2016 Constance Saltonstall Fellowship in Ithaca, New York, and the 2016 Berlin Fall Semester Residency. She is currently the digital services coordinator at Light Work.

Large Format Printing
One-Day Intensive Workshop
Nov. 4, 2- 5 p.m.
Instructors: John Mannion, Rachel Fein-Smolinski
Skill level: Intermediate/ Advanced

Learn how to use Epson large-format printers. In this three-hour session, learn how to properly color manage your files and printing environment. This workshop will cover proper resolution, sharpening, exposure and fidelity to teach you how to make beautiful large-scale inkjet prints.

Instructor John Wesley Mannion? is an artist and educator based in 黑料不打烊, and throughout his career has worked with artists to make the most of their work in preparation for publication and exhibition. For the past 15 years he has been the master printer at Light Work. He also teaches in the transmedia department at 黑料不打烊 and has exhibited his own work nationally, including the Everson Museum, Griffin Museum and Munson Williams Proctor Museum.

A bio of instructor?is?above.