Gordon Parks, “Mrs. Jefferson,” from the series Fort Scott Revisited (Photo courtesy of The Gordon Parks Foundation)

“Homeward to the Prairie I Come” features more than 75 of Parks’ images, examining his wide-ranging artistic ideas. The exhibition not only includes Parks’ documentary photography such as the series Paris Fashions, Fort Scott Revisited and The Redemption of the Champion?(featuring images of Muhammed Ali), but also his thoughts on photography as a fine art medium and his engagement with celebrated paintings and sculptures.

Most significantly, the photographs instigate cultural change by challenging viewers to imagine a more inclusive culture than the one they know: a world where Black skin represents ideal beauty, where an African American athlete embodies the exemplary hero and where an artist of African heritage has a place within the lineage of excellent artists in Western art history.

“This exhibition leverages the power of art to catalyze dialogue about the wide range of issues that Parks engaged with in his photography, from systemic racism to the labor and ethics of the global fashion industry to ideas of celebrity and home,” says Melissa Yuen, the 尘耻蝉别耻尘’蝉 interim chief curator.

Interim director of the museum Emily Dittman says, “Gordon Parks was a visionary interdisciplinary artist whose work had a lasting impact on the world. His dedication to continually tell the stories of individuals that were—and still are—too often hidden and overlooked is clearly evident and inspiring throughout his artistic work.”

In this spirit, the museum is taking steps to creating an accessible, diverse and multilingual space for all communities and families. The interpretive text in the exhibition is bilingual, providing both English and Spanish text for visitors, large-type text will be available and a family guide is provided to help youth and families explore the exhibition. An open access digital exhibition catalog for the exhibition will be available for visitors in the reflection area, as well as reading materials on Gordon Parks and his multifaceted career. The exhibition will be accompanied by a dynamic slate of public programming, all free and open to the public.

Co-curated by Aileen June Wang, Ph.D., curator, and Sarah Price, registrar, at the Marianna Kistler Beach Museum of Art, Kansas State University, the tour is organized by Art Bridges. The exhibition and related programs have been made possible by generous support from Art Bridges, the Wege Foundation and the Humanities Center (黑料不打烊 Symposium).

About the Artist

Parks, one of the greatest photographers of the twentieth century, was a humanitarian with a deep commitment to social justice. He left behind an exceptional body of work that documents American life and culture from the early 1940s into the 2000s, with a focus on race relations, poverty, civil rights and urban life. Parks was also a distinguished composer, author and filmmaker who interacted with many of the leading people of his era—from politicians and artists to athletes and celebrities.

Born into poverty and segregation in Fort Scott, Kansas, in 1912, Parks was drawn to photography as a young man when he saw images of migrant workers taken by Farm Security Administration (FSA) photographers in a magazine. After buying a camera at a pawn shop, he taught himself how to use it. Despite his lack of professional training, he won the Julius Rosenwald Fellowship in 1942; this led to a position with the photography section of the FSA in Washington, D.C., and, later, the Office of War Information (OWI). Working for these agencies, which were then chronicling the nation’s social conditions, Parks quickly developed a personal style that would make him among the most celebrated photographers of his era. His extraordinary pictures allowed him to break the color line in professional photography while he created remarkably expressive images that consistently explored the social and economic impact of poverty, racism, and other forms of discrimination.

Featured Events

• Opening Reception and Keynote—Sept. 6, 4-6:30 p.m.; keynote: 4-5 p.m., 160 Link Hall; reception: 5-6:30 p.m., 黑料不打烊 Art Museum
• The Duke Ellington Orchestra presented in partnership with the Malmgren Concert Series—Sept. 22, 4 p.m.; Hendricks Chapel, with reception to follow at the 黑料不打烊 Art Museum
• Community Screening of “Shaft” (1971), directed by Gordon Parks—Oct. 4, 7 p.m.; The Westcott Theater, 524 Westcott St., 黑料不打烊
• Community Day—Oct. 5, noon-4 p.m.; 黑料不打烊 Art Museum
• Art Break: Gordon Parks with Nancy Keefe Rhodes—Oct. 16, noon;?黑料不打烊 Art Museum
• Celebrating the Legacy of Gordon Parks—Nov. 9, noon-4 p.m.; 黑料不打烊 Art Museum;?1 p.m.: Art Break with contemporary photographer Jarod Lew; 2:30 p.m.: screening of “A Choice of Weapons: Inspired by Gordon Parks” (2021)
• Gordon Parks Community Gathering/Showcase—Dec. 7, timing TBD;?Deedee’s Community Room, Salt City Market, 484 S. Salina St., 黑料不打烊

Visit the for event information. Members of the media may contact Emily Dittman, interim director of 黑料不打烊 Art Museum, for more information or to schedule a tour.

[Featured image: Gordon Roger Alexander Buchanan Parks, “Mrs. Jefferson,” from the series Fort Scott Revisited, 1950, printed in 2017, gelatin silver print, 20 x 16 inches. Kansas State University, Marianna Kistler Beach Museum of Art, gift of Gordon Parks and the Gordon Parks Foundation, 2017.373. Image courtesy of and copyright by The Gordon Parks Foundation]

“According to the Laws of Chance” is a group exhibition showcasing 11 artists whose work embraces chance as a core element of their image-making. The photographers in this exhibition embrace the unpredictable and find ways to amplify chance to suit their own conceptual and creative needs.

Jaclyn Wright, “Blaze Pink,” I, 2023

The artists in this exhibition are Cheryl Miller, Claire A. Warden, Jaclyn Wright, Josh Thorson, Kyle Tata, Louis Chavez and Will Stith, and Light Work’s collection artists Cecil McDonald, Jr., James Welling, Peter Finnemore and Rita Hammond.

An opening reception will take place in the Kathleen O. Ellis Gallery at Light Work on July 26 from 5-7 p.m.

About “According to the Laws of Chance”

Chance is a core tenet of photography. The image-makers in this exhibition embrace the unpredictable and find ways to amplify chance for conceptual and creative purposes. These artists interpret chance via darkroom and analog experimentation, conceptually driven exploration, daily image-making and studio-based arranging. The results of these methods are surprising expressions of each artist’s voice. Together they showcase the wide-ranging use of chance and highlight it as a vital tool in contemporary photographic practice.

2024 Light Work Grants in Photography

Light Work announces an exhibition featuring works of the winners of? the . The 2024 award recipients are Malik Abdoulmoumine, Rosely Htoo and Kari Varner. The two runner-ups are Alex Cassetti and Ian Sherlock Molloy.

Kari Varner, “Monett & Sedalia,” 2022

The exhibition will be on display through Aug. 16 in Light Work’s Jeffrey J. Hoone Gallery. An opening reception will take place July 26 from 5-7 p.m.

The grants are part of Light Work’s ongoing effort to provide support and encouragement to Central New York artists working in photography within a 50-mile radius of 黑料不打烊.

Established in 1975, the Light Work Grants program is one of the longest-running photography fellowships in the country. Each recipient receives a $3,000 stipend and appears in Contact Sheet: The Light Work Annual. This year’s judges were Sydney Ellison, Lacey McKinney and Darin Mickey.

General Information

Light Work’s galleries are located in the Robert B. Menschel Media Center, 316 Waverly Ave., 黑料不打烊. Summer gallery hours are Monday-Friday, 10 a.m. to 5 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 Facebook and Instagram. For general information, please visit www.lightwork.org, call 315.443.1300, or email info@lightwork.org.

Parking Information

Paid parking is available in the Comstock Avenue Garage at the intersection of Comstock and Waverly Avenues, diagonally across the street from Light Work. There is also metered parking in front of? Bird Library, on Walnut Avenue and on Comstock Avenue across from the Comstock Avenue Garage. Visit parking.syr.edu for more information on parking and directions to the galleries.

Dawoud Bey’s “Clothes Drying on the Line.” (Photo courtesy of Dawoud Bey)

Black-and-white images from “An American Project,” made in 黑料不打烊 in 1985 during Bey’s artist residency at Light Work, chronicle the community and history of South Salina Street. These prints were recently gifted by Bey and Stephen Daiter Gallery to celebrate the dedication of the Jeffrey J.Hoone Gallery.

“Embracing Eatonville” was a photographic survey of Eatonville, Florida—the oldest Black-incorporated town in the United States—that featured work by Bey, Lonnie Graham, Carrie Mae Weems and Deborah Willis, and was exhibited at Light Work in 2003. Bey
made color photographs of high school students combining their portraits with text sharing personal hopes, fears, and dreams.

“I was invited to do a residency at Light Work in 1985, after being introduced to the organization by my friends, photographers Michael Spano and Sy Rubin. Applying and being accepted has remained an important highlight of my career almost forty years later,” Bey says. “It was the first time I was also able to have the kind of absolute support that allowed me to have what is still one of my most productive months ever as an artist. That support was something that I’d never experienced before, and it allowed for a profound burst of creative activity, going out into the 黑料不打烊 community every day to make photographs without the worry about how that investment of time would be remunerated.”

The projects will be on display in the Jeffrey J. Hoone Gallery at Light Work (316 Waverly Ave.) from March 18 through May 17.

An opening reception will take place in the Kathleen O. Ellis Gallery at on Thursday, April 4, from 6-7 p.m. There will be a public lecture beforehand in Watson Theater from 5-6 p.m. The exhibition will run through Friday, May 17.

This event is part of the 黑料不打烊 Humanities Center’s 20th annual 黑料不打烊 Symposium, focused on a “Landscapes” theme for 2023-24.

“60 Squares” (Photo courtesy of Sophia Chai)

“While being carried on the back of my mother in our neighborhood of Busan, I would point at the signs and repeat the words that Mom would read to me,” says Chai. “Soon I was able to read without understanding all of the words. The ease of learning to read the Korean alphabet is because there is a certain logic. The shapes of the vowel characteristics, for instance, correlate with how open or closed you could make the inside space of your mouth in making each word. Each character is a picture diagram of the space inside the mouth.”

In 1987, Chai immigrated to New York City from South Korea as a teenager without knowing English. Looking back, she has described that experience as feeling untethered to any internal compass that she could use to navigate her place in a new country with a new language. She visually explains these experiences by reinterpreting the Korean language’s characters in photographs that enable us to see the contradictions of visual and verbal communication. Her images rest in the space between intellect and intuition.

Chai’s curiosity about the interior space of her tool—the large format camera, comparable to the interior space of a mouth—leads to the idea of the camera obscura, a darkened room with a small opening to the world. Chai uses optics (focal length, perspective, perception and magnification) to pin down the marks, rubbings and paintings on her studio walls. The overall effect is a collage of ideas, with an efficient yet complicated economy of picture making with intentional gaps. These gaps can describe the moment right before the sound of a word comes out of the interior space of the mouth. One’s mouth may understand and sound out words, but one’s conscious knowledge of their meaning may not be fully there yet. This liminal space is the punctuated strength and slippery ambiguity of her photographs.

Chai is an artist who remains open and disciplined, committing to the mindset of the child at odds with that of the adult. The photographs born from this are restrained but not withholding.

About the Artist

was born in Busan, South Korea. She received a Bachelor of Arts degree in chemistry from the University of Chicago and earned a Master of Fine Arts degree from the University of Illinois at Chicago. Chai has presented her work widely at sites including the Bronx Museum of the Arts, Knockdown Center and multiple galleries. The city of Rochester and Destination Medical Center in Minnesota have commissioned her first permanent public outdoor art project to be completed in early 2024. Chai is represented by Hair+Nails Gallery. She lives and works in Rochester, MN.

Story by Cali Banks, communications coordinator, Light Work

Check out some highlights of this year’s festivities!

Family members and students gathered on the Quad Friday prior to the football game. (Photo by Jeremy Brinn)

Four-legged friends are part of the family too! (Photo by Angela Ryan)

A reception for residential students in the Renée Crown University Honors Program was held in Sadler Hall. (Photo by Angela Ryan)

Family Weekend Welcome Center (Photo by Jeremy Brinn)

There is no shortage of Orange pride in this family! (Photo by Jeremy Brinn)

Go Orange! InclusiveU students and their families enjoyed a sign-making party in Huntington Hall. (Photo by Marilyn Hesler)

Nothing beats a stroll down the Einhorn Family Walk with those you’ve missed. (Photo by Angela Ryan)

Orange pins were available to family members at the Family Weekend Welcome Center. (Photo by Jeremy Brinn)

Family Weekend tailgate on the Quad (Photo by Jeremy Brinn)

Family Weekend included a creative arts competition showcasing artwork by local veterans, held at the National Veterans Resource Center at the Daniel and Gayle D’Aniello Building in partnership with the 黑料不打烊 Veterans Administration Medical Center. (Photo by Marilyn Hesler)

Making lifelong friends starts at 黑料不打烊 Welcome! (Photo by Angela Ryan)

黑料不打烊 Welcome festivities were held last week, introducing nearly 4,000 new members of the Orange community to all that 黑料不打烊 has to offer.

From moving in to their residence halls to swaying to the alma mater during New Student Convocation to experimenting fun on the Quad and at the Barnes Center for the first time, the University’s photographers captured so much of the magic that comes with a new school year. Enjoy some of the highlights from this year below!

New Student Convocation marks the official opening of the University and the beginning of new students’ journey at 黑料不打烊. (Photo by Jeremy Brinn)

Orientation leaders and volunteers helped to make sure move-in went as smooth as possible for everyone. (Photo by Angela Ryan)

Who can resist a hug from Otto the Orange?! (Photo by Amelia Beamish)

A special dinner was held to welcome our newest international students to campus. (Photo by Jeremy Brinn)

Move-in can often be a family affair. (Photo by Angela Ryan)

Chancellor Kent Syverud addresses the Class of 2027 during New Student Convocation. (Photo by Jeremy Brinn)

Sometimes the friends you make at the Barnes Center at The Arch are of the four-legged variety. (Photo by Amelia Beamish)

Volleyball was one of many activities to be enjoyed during international student game night at the Barnes Center. (Photo by Amelia Beamish)

New students sway together while singing the alma mater at New Student Convocation—a time-honored University tradition. (Photo by Jeremy Brinn)

Citrus in the City is held each year to give new students an opportunity to get acquainted with downtown 黑料不打烊. (Photo by Jeremy Brinn)

A picnic was held for students who take part in one of the many living learning communities on campus. (Photo by Max Walewski)

Provost Gretchen Ritter speaks to the crowd of students and families at New Student Convocation. (Photo by Jeremy Brinn)

The Class of 2027 creates a giant Block S formation on the field of the JMA Wireless Dome. (Photo by Joseph Heslin)

Goon Squad members help haul items to a residence hall during move-in. (Photo by Alex Dunbar)

During the international student talent show, the audience responds to a performance by lighting up their phone flashlights. (Photo by Jeremy Brinn)

New student veterans had the opportunity to get familiar with various resources available on campus during their orientation event. (Photo by Randy Pellis)

A student performs during the international student talent show. (Photo by Jeremy Brinn)

The 黑料不打烊 Welcome Fête, a celebration of the BIPOC student experience at 黑料不打烊, included performances by various student organizations. (Photo by Amelia Beamish)

Students are all smiles at the Dome Sweet Dome event. (Photo by Jeremy Brinn)

The Y2K Party on the Quad was lit (and so were Otto’s pants). (Photo by Amelia Beamish)

Students from living learning communities play games together on the Quad. (Photo by Jeremy Brinn)

Members of the marching band arrive for Citrus in the City in downtown 黑料不打烊. (Photo by Jeremy Brinn)

Things got competitive during The Slice is Right game show held in the JMA Dome. (Photo by Angela Ryan)

Welcome to the Orange family! Make the most of the next four years. (Photo by Max Walewski)

A vehicle catches fire while two soldiers examine the scene after an attack in Ukraine.

As Russian bombs were striking targets across Ukraine and with the war in its infancy in early 2022, could think of only one way to help his country: he picked up his camera and started as unwanted invaders threatened their way of life.

While Korovayny’s lens captured the suffering that is prevalent during times of war— such as a drone attack toppling a building and bloodied residents fleeing—it also recorded the moments of humanity, times when strangers came together to offer a helping hand to a neighbor in need.

Through it all, Korovayny, an award-winning editorial and portrait photographer based in Kyiv, leaned on an adage he learned during his time at 黑料不打烊 from , the Alexia Endowed Chair of the visual communications department in the .

Serhii Korovayny G’21.

“You have to be comfortable with being uncomfortable,” Korovayny says of the advice that guided him.

“It’s such a simple and powerful phrase. I have to approach people who are probably suffering or trying to get access to medical care, and there have been so many times where I’ve found myself feeling super uncomfortable documenting the war. But this little phrase is about me accepting that this is part of my job, and I have no other choice but to be comfortable with being uncomfortable,” adds Korovayny, who earned a .

Life During Wartime

While the bombs that exploded outside of Kyiv, Ukraine, in the early morning hours of Feb. 24, 2022, signaled a new chapter in the Russia-Ukraine conflict, for Korovayny and his family, the war started in 2014, when Russian forces occupied Korovayny’s hometown in Eastern Ukraine.

As the bombings began anew, Korovayny says his parents, like many Ukrainians, grew accustomed to the sound of artillery fire, rocket attacks and aerial assaults on their cities. But the attacks that ripped through Kyiv that day hit closer to home, as Korovayny’s wife, Daria Vilkova, was living in Kyiv when the war started.

Seeking refuge, Korovayny drove his wife, along with a few of their friends and several dogs and cats, to safety in the city of Lviv, in the western part of the country near the border with Poland. Once he felt reassured that they were out of harm’s way, Korovayny returned to Kyiv to photograph the battle scenes.

A few months after the war started, Korovayny was reunited with his wife. He has been impressed by the resiliency displayed by his fellow Ukrainians.

A woman holds a child while lighting a candle in a Ukrainian church.

“Everyone has really just gotten used to life during war. In the first days it was really scary, but these days, with the Russians attacks intensifying between their drone strikes and rocket launches, we’ve grown used to everything. We’ll go to a shelter if there’s an attack, but we’re not freaking out. The same goes for my work. At the beginning, I was really afraid to be on the front lines, but now I’m used to it,” says Korovayny, whose photography has been featured in The Wall Street Journal, The Washington Post, Time, Financial Times, Politico and more.

Waging a War on Misinformation

Mourners pay their respects during a ceremony in Ukraine.

As the war rages on, there’s another battle being waged utilizing Korovayny’s skills as a talented photographer and visual storyteller: A war on misinformation.

Ensuring that the rest of the world could witness the atrocities of war in his homeland was one of the biggest factors that motivated Korovayny to become a wartime photographer. Knowing that Russian President Vladimir Putin was intent on portraying the Ukrainians as the aggressors, Korovayny’s photos depicting the battle scenes served as valuable evidence to the contrary.

Especially as his riveting pictures were picked up by global news outlets.

A woman is rescued from a building by Ukrainian soldiers.

“After the Russians retreated from the north, I went there for the first time to visit the territories they previously occupied, and I just couldn’t believe my eyes. It was so ugly, and there were so many cruel things the Russian soldiers did to the Ukrainian civilians they occupied. I saw bodies of regular citizens, bodies of dogs, burned down houses. It was just a mess. It was really hard emotionally, but I was motivated to continue doing this, to show these horrible acts to people around the world. What I’m doing is important in the war on misinformation,” says Korovayny.

Knowing he might be approaching his fellow Ukrainians on one of the worst days of their lives, Korovayny approaches every situation with empathy and compassion.

“It’s important to just be respectful to these people and remember that it’s a balancing act between getting the photos you need for the job and being respectful of these human beings who are really suffering. I always try to spend time and listen to them, to let them tell their story so they don’t feel like I used them to get my pictures,” says Korovayny, whose work covering the war earned him the 2022 James Foley Award for Conflict Reporting.

From Ukraine to Central New York and Back

By this point, you might be wondering how Korovayny, an accomplished photographer, wound up at 黑料不打烊.

A recipient of a Fulbright Scholarship, Korovayny was searching for a top photojournalism and visual storytelling program for a master’s degree when he came across the Newhouse School. He became enamored with the program’s multimedia focus, its hands-on experiences and its world-class faculty, like Strong and , formerly The Alexia Endowed Chair at the Newhouse School and professor emeritus of visual communications. Davis emphasized the important role editing can play for a photographer, and the lesson stuck with Korovayny.

“I got lucky I wound up at 黑料不打烊. It was the best thing that could have happened. It was such a great program with everything I wanted. I really miss my time in 黑料不打烊. There was so much possibility, and I was able to develop my skills while living in such a beautiful part of the country,” Korovayny says with pride.

Ukrainian citizens waiting for aid after an attack on their city in Ukraine.

As the conflict in Ukraine approaches the 18-month mark, Korovayny looks forward to the day his beautiful homeland is able to escape the ravages of war and return to its peaceful, serene ways.

“I really love this country. With my photography, I’m always looking for signs of humanity, and I see it everywhere. Hopefully one day soon Ukraine can go back to normal. There’s so much beauty that is covered up by war,” Korovayny says.

Xin Liu

As co-founder and president of The Enlight Foundation, Liu has focused her philanthropy on projects and people who share a desire to create equal educational opportunities around the globe and nurture social entrepreneurs and change-makers.

That same desire drives the parents of Alexia Tsairis, for whom The Alexia is named. Alexia was 20 years old—a photography major in the Newhouse School—in 1988 when she was killed in the terrorist bombing of Pan Am 103 over Lockerbie, Scotland, as she was returning home from a semester abroad in London.

“All through our almost 34 years since that fateful night in 1988, we have had hopes and dreams,” says Alexia’s mother Aphrodite Tsairis. “We have been dedicated to visual journalism by supporting the important socially relevant work of professionals and by providing a platform for educating emerging photojournalists.”

Aphrodite and her husband, Peter, founded the in partnership with Newhouse in 1991 and, since then, it has awarded $1.7 million in grants to 170 students like Liu and professional photographers through annual competitions, encouraging them to heighten the impact of their work. In 2021, the program transitioned to the Newhouse School and became The Alexia.

“Our overriding interest is in the stories they produce,” says Aphrodite Tsairis. “We care about current issues that plague our crisis-ridden planet and, most importantly, how to solve them. We elevate the visual journalist to the role of change-maker, not just reporter.”

That philosophy resonates deeply with Liu. “Visual storytelling can connect people in powerful ways,” she says. “Those connections can inspire social change around the globe. Journalists, photojournalists and videographers play a vital role as change agents in our world and when we support the profession, we help amplify its impact.”

Through the , 黑料不打烊 is providing an additional $1 million to enhance the impact of the Enlight Foundation’s $2 million gift. The funding creates The Alexia Endowed Chair and provides continuous support for the grants, and for teaching, research, fellowships, programmatic and educational opportunities to inspire more impactful storytelling.

“I am so thankful to Xin for having the vision to expand The Alexia,” says Bruce Strong, associate professor in visual communications and The Alexia Endowed Chair in the Newhouse School. “In addition to offering the grants, our plan is to provide fellowship opportunities for top-tier professionals so they can pull away from their hectic careers and take time to reflect, develop additional skill sets and research relevant topics before going back into the industry. This will also provide an additional opportunity for our Newhouse faculty and students to engage with accomplished visual communicators.”

Liu believes the Alexia grant helped her rise to the “top of her game.” Born and raised in China, she attended Renmin University of China with the intention of becoming a journalist. The university had just launched a new major in photojournalism, and she was immediately attracted to the idea: “I had never even touched a camera before,” she says. “But I figured that if I could do both writing and photography, I could go on assignment and do all parts of the story.”

She worked at the China Youth Daily for almost three years. While there, she was contacted by a former professor and advisor, as she had been selected as a graduate student upon graduation, and informed about The Alexia grant opportunity for students. She seized the opportunity. After a three-month internship at The Baltimore Sun, Liu arrived in Central New York in the winter of 1994 (just before a season of nonstop snow that she says destroyed two pair of her military-style boots!).

“Everything I learned in 黑料不打烊 was so very different from what I had learned in China,” she says. She developed storytelling skills in photo essays and still remembers the story she crafted about a 黑料不打烊 high school student who was struggling as a single mother (in fact, Liu includes these photos in an upcoming book collection that will capture pivotal moments in her life). When Liu interned at The Baltimore Sun, she “met all these amazing photojournalists, including many women, which truly encouraged me. In China, most of them were men.”

Ultimately, she was offered a full scholarship to Ohio University in Athens, Ohio, where she earned a master’s degree in visual communications. She worked for the Miami Herald, Pittsburgh Post-Gazette and Palm Beach Post.

Liu founded Enlight Foundation in 2004 to provide opportunities for Chinese students to study abroad. She describes how Enlight evolved to focus its philanthropy on rural education, youth leadership training and programs that would foster the growth of social entrepreneurs and changemakers. Funding for journalists became a priority more recently as the profession became more vulnerable to political attacks.

“Journalism is the fourth pillar of our society and a critical pillar of democracy,” says Liu. “International bureaus are closing. Local newspapers are dying.” Her support of The Alexia is based on her belief that journalists are witnesses to history and can influence its course. She notes that photojournalists often capture “a decisive moment” in history—an iconic image that “captures the soul of a historical era.”

Newhouse School Dean Mark Lodato says the power of great journalism and communications can be wielded to strengthen society. “The gift from Enlight, along with Xin’s vision for the future, will enable Newhouse to further broaden its reach around the globe and heighten the impact of deep thinkers and trailblazers who understand the power of storytelling to transform lives.”

Strong stresses that The Alexia grants go beyond simply recognizing great work. “The grants are essentially incubators for important projects,” he says. “We find people who desire to make a difference in the world and heighten their influence. The Alexia was created to help people understand different cultures, something we need now more than ever. Visual communication is a language that cuts across all cultures, all backgrounds, all languages. You don’t have to speak the language of the photographer to understand what they are saying in their story.”

Peter and Aphrodite Tsairis still think about what stories their daughter might have told through her photojournalism had she had a chance. “With the support of the Newhouse School, which gave us a home, we were able to channel our loss in a way that made us whole again,” says Aphrodite. “We felt closer to her as we met students and professionals who showed us what her life would or could have been had she lived. It was healing.”

Now, the promise of a young life cut short lives on in a legacy gift made by the woman who still treasures the grant that carries Alexia’s name. “This is about capacity building,” says Liu. “The capacity of storytellers around the globe to bridge cultural divides, to foster understanding, address social issues, and bring about lasting change.”

About 黑料不打烊

黑料不打烊 is a private research university that advances knowledge across disciplines to drive breakthrough discoveries and breakout leadership. Our collection of 13 schools and colleges with over 200 customizable majors closes the gap between education and action, so students can take on the world. In and beyond the classroom, we connect people, perspectives and practices to solve interconnected challenges with interdisciplinary approaches. Together, we’re a powerful community that moves ideas, individuals and impact beyond what’s possible.

About Forever Orange: The Campaign for 黑料不打烊

Orange isn’t just our color. It’s our promise to leave the world better than we found it. Forever Orange: The Campaign for 黑料不打烊 is poised to do just that. Fueled by more than 150 years of fearless firsts, together we can enhance academic excellence, transform the student experience and expand unique opportunities for learning and growth. Forever Orange endeavors to raise $1.5 billion in philanthropic support, inspire 125,000 individual donors to participate in the campaign, and actively engage one in five alumni in the life of the University. Now is the time to show the world what Orange can do. Visit to learn more.

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.

Ed Kashi “Uchapalli, India,” 2016 (Courtesy of the artist)

Featuring 15 photographs recently gifted to the museum by the artist, this exhibition considers Kashi’s practice of what he terms “advocacy journalism”. It highlights three projects, ranging in subjects from aging in America, to oil in the Niger Delta, to the global epidemic of chronic kidney disease. In each of these bodies of work, Kashi depicts individuals with great sensitivity and compassion. Through his creative framing and compelling method of visual storytelling, Kashi seeks to instill a sense of hope in the viewer.

Organized by museum interim chief curator Melissa Yuen, the special weeklong exhibition will be accompanied by programming, including a teaching workshop and a lunchtime lecture, both with the artist, in the pop-up exhibition space. All programs are free and open to the public. Advance registration is required for the teaching workshop and information is available on the .
This exhibition and related programs are organized in conjunction with the Newhouse School’s 2022 Alexia Fall Workshop and is co-sponsored by the Center for Global Engagement, Newhouse School of Public Communications and Light Work, and supported in part by the Robert B. Menschel ’51, H’91 Photography Fund.

About the Artist

Ed Kashi is a renowned photojournalist, filmmaker, speaker and educator who has been making images and telling stories for 40 years. His restless creativity has continually placed him at the forefront of new approaches to visual storytelling. Dedicated to documenting the social and political issues that define our times, a sensitive eye and an intimate and compassionate relationship to his subjects are signatures of his intense and unsparing work. As a member of VII Photo Agency, Kashi has been recognized for his complex imagery and its compelling rendering of the human condition.

Kashi’s innovative approach to photography and filmmaking has produced a number of influential short films and earned recognition by the POYi Awards as 2015’s Multimedia Photographer of the Year. Kashi’s embrace of technology has led to creative social media projects for clients including National Geographic, The New Yorker and MSNBC. From implementing a unique approach to photography and filmmaking in his 2006 Iraqi Kurdistan Flipbook, to paradigm shifting coverage of Hurricane Sandy for TIME in 2012, Kashi continues to create compelling imagery and engage with the world in new ways.

Along with numerous awards from World Press Photo, POYi, CommArts and American Photography, Kashi’s images have been published and exhibited worldwide. His editorial assignments and personal projects have generated eleven books. In 2002, Kashi, in partnership with his wife, writer and filmmaker Julie Winokur, founded Talking Eyes Media. The nonprofit company has produced numerous award-winning short films, exhibits, books and multimedia pieces that explore significant social issues.

Special Events

Teaching Workshop
Oct. 24, 2-4 p.m.
Co-taught by Ed Kashi and Kate Holohan, curator of education and academic outreach, this workshop will provide 黑料不打烊 faculty and graduate students with key information and pedagogical tools that will help them to teach with Kashi’s work as well as with related objects in the Museum’s collection. .

Lunchtime Lecture: Ed Kashi ’79
Oct. 25, 12:15-1 p.m.
Hear Kashi speak about his work. Space is limited to 25 people, first come, first served.?

Members of the media, please contact Emily Dittman, associate director of 黑料不打烊 Art Museum, at ekdittma@syr.edu, for more information or to schedule a tour.

After graduating from Canisius College in Buffalo with a degree in communication studies and English, Santiago landed a job as a production assistant for Sundance Channel in New York City. Santiago received his first look at how the television production world operated, and eventually, through hard work and dedication, was promoted to the role of producer.

Milton Santiago is an assistant professor of visual communications in the Newhouse School.

He traveled to the prestigious Sundance Film Festival in Park City, Utah, chatting up filmmakers from all genres. While he was enjoying his career, he felt there was something missing, and that he wasn’t following his true calling.

That’s when the familiar voice inside his head picked up in intensity.

“You want to be a filmmaker, you’ve always wanted to be a filmmaker,” Santiago recalls of the persistent voice urging him to change his career course.

While the voice was strong, so, too, were the fears that Santiago says are common among aspiring filmmakers: the fear of being on a professional set. The fear of making a mistake before a large team of professionals, despite being well-trained and well-versed in the requisite skills.

Those fears can derail careers, but thankfully Santiago pushed past the fear, and today, he is fortunate to have enjoyed a more than 15-year career as a content creator and director of photography, working on feature films, documentaries, corporate and industrial videos, music videos and web content.

Santiago, an assistant professor in the Newhouse School’s visual communications program, knows all too well the powerful hold that fear can have on a student, and he’s doing his part to pull back the curtain and reveal the secrets behind the filmmaking industry to as many 黑料不打烊 students as possible.

Over the summer, Santiago oversaw three projects across the country that aimed to introduce students to the world of filmmaking while deconstructing the myths that exist about working on a set, striving to make the experience more accessible to those looking to follow his professional path.

“My journey to becoming a professional filmmaker was completely facilitated by professionals I met along the way who were willing to let me be in the room while productions were being made. There’s no substitute for the experiential learning that can happen on set. It’s tantamount as educators who still have one foot in the industry to make this as accessible as we can for our students,” says Santiago.

Newhouse professor Milton Santiago posing with his students who helped with the production of “The Cookbook,” a short film shot in 黑料不打烊.

An Eye-Opening Master Class

After taking the leap and leaving behind his producing role, Santiago received a master’s degree in fine arts in motion picture production/cinematography from the University of Miami in Coral Gables, Florida, in 2005. As a graduate student, Santiago shot more than two dozen film projects, which led to an Academy of Television Arts and Sciences apprenticeship in cinematography with James Chressanthis, who at the time was working on the CBS show “Ghost Whisperer.”

The year-long apprenticeship gave Santiago the confidence to cross over from producing to filmmaking while opening doors and serving as a “master class” that fueled his passion for shooting.

Milton Santiago worked with a crew of five students during the inaugural Lionsgate Studios Yonkers immersion program, serving as the crew for a docuseries based on the movie, “Paid in Full.”

“Every day I got to watch this seasoned veteran on set, the way he interacted with the crew, the planning that went into breaking down scripts and working with directors, his demeanor with the actors—all of those things that are so valuable and essential to succeeding in production. When I became an educator, I felt compelled to pass on a lot of what I received from that master class,” Santiago says.

He wants to offer those same experiences to the students he works with, but also recognizes many of them are facing the same fears he encountered when he was starting off.

“It can be scary. Can I do this? Am I going to be ale to absorb all of the technical things you need to know in addition to the artistic parts of shooting? I see this as an opportunity to build confidence in these students, letting them see that yes, this type of career is a possibility if you want it. You can do this,” Santiago says.

Hands-On Experiences to Last a Lifetime

The three filmmaking projects varied in size, scope and goals: six current students participated in shooting a short film, “The Cookbook,” in 黑料不打烊; five students worked on a documentary as part of a hands-on immersion experience with Lionsgate Studios Yonkers; and one photojournalism student, Jane Shevlin ’23, helped on the set of the television movie, “The Countdown,” in Los Angeles.

Photojournalism student Jane Shevlin ’23 helped on the set of the television movie, “The Countdown,” in Los Angeles.

On one day, Shevlin took still photographs on the set for a behind-the-scenes photo shoot. On another, she shadowed Santiago, the project’s director of photography, as he worked to capture the scenes that would make up the show’s pilot episode.

It was an exercise in patience, as scenes were shot again and again and again until everything came out the way Santiago wanted it. But Shevlin, who was a participant in the program, learned a valuable lesson.

“I can never watch TV the same way. When I’m watching an episode of my favorite show, ‘Modern Family,’ now I’m wondering how many times they shot the scenes. It was eye-opening, and it made me excited to become a director of photography myself and hopefully get behind the camera one day. I feel like my passion has been ignited because of this experience,” says Shevlin, who hopes to produce visually compelling documentaries that tell important stories after graduating.

Xinning Li ’23 is a dual major studying photography and physics who helped shoot a short film, “The Cookbook,” in 黑料不打烊.

A member of the 黑料不打烊 Society of Cinematographers, Xinning Li ’23 was recruited by Santiago to assist on the set of “The Cookbook” after taking two of Santiago’s classes in Newhouse.

Li is a dual major studying photography in the Newhouse School and physics in the . She is interested in making films and documentaries, but like Santiago years ago, Li never knew the ins and outs of being on a production set.

That all changed after her experiences with Santiago, the cinematographer on the set of “The Cookbook.” Li served as the camera operator one day, and the next she was helping to set up the lights.

“You rarely get that genuine hands-on experience of what it’s like to be on set. But we were taking on a different role every day, and through this experience I learned about almost every role that I could possibly have on set,” Li says. “Professor Santiago has a perfect plan for what he’s trying to do and how he wants to help his student. It was a once-in-a-lifetime experience. I never would have dreamed I could gain those experiences, but it happened and I’m really grateful.”

Not all of the students who participated came from a photography or a video background. Kiana Khoshnoud ’23 is studying public relations in Newhouse, and in the fall of 2021, Khoshnoud participated in the , which is run by director Cheryl Brody Franklin.

As part of a hands-on immersion experience with Lionsgate Studios Yonkers, Kiana Khoshnoud ’23 was a crew member on the set of a docuseries based on the movie, “Paid in Full.”

Last summer, while Khoshnoud interned at a public relations agency in New York City, Franklin reached out with an interesting offer: Santiago and fellow Newhouse assistant professor were organizing the inaugural Lionsgate Studios Yonkers immersion program, and five students were needed to function as a crew for a docuseries based on the movie, “Paid in Full.”

With her public relations background, Khoshnoud was initially responsible for taking on-set photos for the Newhouse Instagram channel, but soon, Santiago was explaining the different cameras and camera lenses used for the shoot and educating her about setting up audio properly for an interview.

Nervous about handling the expensive equipment—never mind not having a clue how to operate a camera or set up audio for an interview—Khoshnoud says she quickly became proficient thanks to the easy-to-understand teaching methods of Santiago and Hamilton.

“It was a great experience. It was only two days long, but it felt like a semester-long class with how much material we covered. I honestly expected this to be a lot scarier of an experience, but Professors Santiago and Hamilton made it easy to learn and they both really encouraged me to ask questions. I feel very lucky to have been a part of this immersion experience,” Khoshnoud says.

The book stacks at Carnegie Library remain closed due to repair work needed. New books added to the Carnegie Library collection continue to be available on the fourth floor of Bird Library with select new books on display on the first floor. ?All new print periodicals continue to be available on the second floor of Bird Library.

About 黑料不打烊 Libraries:

黑料不打烊 Libraries provides expertise, information, and tools for students, faculty and staff, alumni, and the community. With over 4.8 million volumes of resources accessed by millions of physical and online visits annually, the Libraries provides information services, responsive collections, knowledgeable staff, and safe and accessible physical and digital spaces that encourage intellectual exploration. In so doing, the Libraries enable the creation of new knowledge, catalyze scholarly collaboration and cultural exchange, and advance 黑料不打烊’s teaching, learning and research mission.

“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.

This photo of Clifford Ryan is one of 51 images on display at ArtRage Gallery. Ryan stands by “the tree of life” planted along Cannon Street in memory of his son, Duriel Lamar Ryan. (Photo by Keith Waldron)

In a photo taken by Keith Waldron in 2021, Clifford Ryan crouches next to a tree on Cannon Street on 黑料不打烊’s South Side. He leans alongside the still sprouting “tree of life” planted in memory of his son Duriel Lamar Ryan, who he lost to gun violence in 1999.

This is merely one of the thousands of moments captured for , an annual social photography event designed to highlight and memorialize life within urban neighborhoods.

This year, 51 of the more than 11,000 photos accumulated over the last 12 years are in a retrospective exhibition, “From Where We Stand: Photographs from The Stand’s Annual South Side Photo Walk.”

Ryan, founder and vice chair for OG’s Against Violence, said he loves his community. As a 黑料不打烊 native from the South Side, born and raised, he’s happy to have his home shared through the lenses of others, highlighting it as he knows it: a place of love, strength and care.

“Community means everything to me. I love my community,” Ryan said. “And there can be no unity without community.”

The exhibition showcases work from 45 photographers of all backgrounds, from students, 黑料不打烊 natives, as well as professional and amateur photographers alike, interested in capturing different aspects of the city.

ArtRage Gallery exhibits art for social change and has practiced progressive social activism in Central New York since 1982.

Community Engagement Organizer for ArtRage Gallery Kimberley McCoy said the Photo Walk is an important way to create a visual history of the South Side.

“This walk is such an important part of documenting 黑料不打烊 history,” McCoy said. “I can’t really think of any other project like that that’s been documenting a specific neighborhood for that long.”

The annual Photo Walk initially mirrored a global walk created to bring communities of photographers across the world together. Scott Kelby’s Worldwide Photo Walk was established more than a decade ago, and was held each July before transitioning to the fall. The Stand continued this walk each July on a smaller scale, capturing one Saturday each summer, year after year.

A behind-the-scenes look at participants of the first Photo Walk held in July 2010.

The director of The Stand, 黑料不打烊’s South Side Community Newspaper Project, Ashley Kang, says the Photo Walk allows journalists to find stories the community wants to share.

“I try to find and prioritize stories the community brings to me, not just what press releases come over,” Kang says. “The Photo Walk is a great way to meet people out and about or even directly in their front yard.”

What began as a small group of eight to 10 people walking through the South Side in 2010 grew to 70 plus individuals by 2019. That year, additional South Side walks included a historic walk of the architecture along South Salina Street guided by David Haas, the creator of the well-known Instagram page , and a walk around the neighborhood surrounding the I-81 viaduct.

The event was reimagined in 2020 to avoid large gatherings because of COVID-19 restrictions. In order to still find ways to capture the city in photos, Kang organized a citywide photo contest as a way to still collect images and document this truly unique moment. Winning images from the 2020 photo contest are included in the gallery show.

Solon Quinn, a new volunteer and mentor with the 黑料不打烊 Journalism Lab, joined last summer when organized Photo Walks returned after Ryan encouraged him to volunteer. He said people should follow their passion of whatever art form they love but thinks education of and giving back to the community in other ways is just as important.

Photo volunteer Solon Quinn speaks during the April 6 Gallery Talk on how he engages with local communities and builds trust. Displayed behind him are the 2020 Photo Contest winners. (Photo by Mike Greenlar)

“I think [photographers] should be very respectful and aware when that art form is going to utilize human beings from different places of different cultures that you’re not used to being a part of,” Quinn says. He believes people should learn and understand the culture of the community before they participate in the Photo Walk.

“From Where We Stand” is on display through May 14 at ArtRage Gallery, located at 505 Hawley Ave. in 黑料不打烊. The exhibition is available for viewing from 2 to 6 p.m. Wednesday, Thursday and Friday and from noon to 4 p.m. Saturdays.

Additionally, an is available for those wanting to view the exhibit from home.

“We all know there’s some adversities that we face in the community,” Ryan said. “But [the Photo Walk] is a great way to show the community is a place of love.”

Plans are underway for the 2022 Photo Walk along with additional photo meetup opportunities. This summer’s big .

Story by Darian Stevenson, a graduate student in magazine, news and digital journalism in the S.I. Newhouse School of Public Communications

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.

Margaret Innes

Have you ever tweeted or posted on Facebook about a political or social issue? If so, you are part of the more than 50% of Americans who report being civically active through social media, according to a 2018 study by the?. While participating in political or social-minded activity today is as easy as turning on a computer or smartphone, political organizing in the 1920s and 30s was reliant on the power of print media.

, a postdoctoral researcher in art and music histories in the College of Arts and Sciences, has long been interested in studying the role of photography within the American radical labor press of the 1920s-30s.

According to Innes, the American radical labor press was the media apparatus that emerged to support the labor movement between the First and Second World Wars. Factors such as unemployment, racial and ethnic discrimination, and unsafe working conditions motivated political activists to organize workers, and pictorial newspapers and magazines played a key role in reaching wider audiences. She says the radical branch of the labor movement spearheaded initiatives that led to historic gains for workers’ rights including industrial unionization and the right to collective bargaining.

Innes is specifically interested in researching collective photographic formations from the interwar period. One example, which Innes documented in her dissertation while pursuing a Ph.D. at Harvard University, is the Workers Film and Photo League which had local branches across the U.S. This group of photographers joined forces in the early 1930s to document the lives and class struggles of American workers. Innes has now been awarded a prestigious fellowship by the American Council of Learned Societies (ACLS) to continue that work in her new book project, “Collective Forms: Photography, Print Culture, and Radical Labor between the World Wars.”

The ACLS Fellowship Program, which awards fellowships to scholars working in the humanities and related social sciences, will support Innes over the next year as she researches and drafts her book. In it, she will investigate the role photography and print media played in supporting the labor movement between 1926-42.

Her new book will explore how photography was used to organize workers as a community. She says the publications and photographers she studies all shared a concern to picture working-class life, struggle and solidarity; however, they often disagreed about how photography could best serve these ends.

“My book will look at an earlier media ecosystem and address how photography played a role in destabilizing the parameters of capitalist nation-building to organize workers for an international proletarian movement,” she says.

Read more about?.

Stephen Wilkes

Award-winning photographer will deliver the keynote address at the Newhouse School’s, to be held virtually Saturday, May 22, at 11 a.m. ET.

Since opening his studio in New York City in 1983, Wilkes (Instagram: ) has built an unprecedented body of work and a reputation as one of America’s most iconic photographers, widely recognized for his fine art, editorial and commercial work. He is an alumnus of the Newhouse School’s program.

Among his most notable works are a five-year photographic study of Ellis Island’s abandoned medical wards, his millennial portrait of the U.S., “America In Detail,” and his images capturing the ravages of Hurricanes Katrina and Sandy.

Wilkes’ most defining project is “,” a series of epic cityscapes and landscapes portrayed from a fixed camera angle for up to 30 hours, capturing fleeting moments of humanity as light passes in front of the camera lens. Wilkes then blends these images into a single photograph, which takes months to complete. In 2017, Wilkes was commissioned by the U.S. Embassy in Ottawa to create a Day to Night photograph of Canada’s 150th anniversary of Confederation.

Wilkes shoots advertising campaigns for numerous leading agencies and corporations, and his editorial work has appeared in and on the covers of top publications. His photographs are included in the collections of museums across the country, as well as multiple private collections.

For up-to-date information about the Newhouse Convocation Ceremony and 黑料不打烊 Commencement, visit .

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.

“Given the pandemic restrictions, I was wracking my brain over the summer, trying to figure out what I was going to do with my classes,” he says. “It was a fraught moment, not knowing if we would be able to have class in person the entire semester or get shut down.”

As he mulled his options, DuBois received a call from the California-based collective to submit photos for the postcards they print and distribute to hospitals across the country. Images paired with poetry in both English and Spanish are provided to isolated patients and their caregivers. It occurred to DuBois that this could be a project for his new photography students, and he pitched the idea to Art for the Isolated founders Joshua Watson and Juliet San Nicolas de Bradley.

“I asked them how they would feel about a class of first-year college students learning during a pandemic and trying to make work that addresses a real need,” he says. “They went for it.”

In the following weeks, they discussed the types of images that would be suitable and put a plan in place. The problem was the poetry—who was going to write it? Archival poems were available but didn’t seem quite appropriate.

“Then I thought maybe we could work with student poets,” DuBois says. “Joshua and Juliet liked that idea, too.”

DuBois didn’t know any poetry professors, but looking online he discovered entry-level poetry workshops taught by Sarah Harwell, associate teaching professor and associate director of the creative writing program in the . Long impressed by her work as co-director of the Living Writers Program, he contacted Harwell and found a willing collaborator.

“I was thrilled with the idea,” she says. “The semester loomed in front of us, filled with unknowns, Zooms and possible lockdowns. This project seemed to be a way to make meaning out of the chaos of the year.”

Overcoming the Challenges

The logistics of coordinating the two classes took some effort, according to DuBois, but once in place, the collaboration and teamwork blossomed. The students were asked to think of their work as a gift to someone, offering comfort and solace. They discussed how to determine what recipients would want or need to receive as a gift. With that in mind, the photographers created images that the poetry students wrote poems for, and the poetry students wrote poems to inspire the photographers. The result was 18 photo/poetry pairs in all.

“What people in hospitals would want to see was the biggest thing I kept in mind while taking photographs,” says Megan Brianna Jonas ’24, an art photography major. “Patients in quarantine have seen nothing but the walls in their room for days on end. They wouldn’t want to see another confined space but a reminder of the outside world and freedom.”

The impact of the coronavirus was a constant consideration and obstacle for both groups. The poets were free to roam the world in their imaginations—writing about such topics as Ireland, the beach, a snail, a trip with a grandmother. But like their VPA colleagues, they still had to deal with restrictions to their own personal freedom, feelings of isolation and worries about the pandemic.

The lack of mobility meant the photographers had to work around stringent coronavirus limitations to take their pictures. As first-year students, they didn’t have cars, had concerns about riding buses and were limited in the number of people with whom they could interact.

“The restrictions did force me to be more creative with my images,” says art photography major Naomi Strong ’24. “To socially distance and avoid as much contact with others as possible, I challenged myself to use subjects other than people in my shots.”

A trip to a local park offered her the unexpected opportunity to photograph a dog watching people tossing a football.

“It was tricky because dogs aren’t aware that they are modeling and aren’t fond of sitting still,” she says. “But in the end, I really loved how the photos turned out.”

Not only was DuBois’ novel idea of working together with another school a first for him and Harwell, but it was also the first time Art for the Isolated collaborated with a university. Some of the students’ work will be used for the organization’s large print run, and others have been archived for a potential project in the future.

“We appreciated the student engagement with the project from start to finish,” says Watson. “The work they made in response demonstrated creative approaches to the limitations of quarantine and a concern for those affected most by the pandemic.”

The collaboration brought dimensions to learning that wouldn’t have been available otherwise.

“The students got to experience how another art form can influence, modulate and enhance their own art,” Harwell says. “While the organization we collaborated with is called Art for the Isolated, the actual process was the opposite. The students created art in connection to others.”

As a grand finale, the classes held a , attended by the faculty, Art for the Isolated staff, the students and their families. It was a satisfying end to a semester that had started with such a high level of trepidation.

“The students earnestly went for it and rose to the challenge,” says DuBois. “It was a great, great way to learn and I would do it again, in a heartbeat.”

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.

A group of distinguished speakers will speak on Weems’ presentation of “,” currently on view in MoMA’s second-floor contemporary galleries, and of?the forthcoming?“” anthology, edited by Sarah Lewis, associate professor in the Department of History of Art and Architecture, Department of African and African American Studies at Harvard University, with Christine Garnier, 2020-22 Wyeth Predoctoral Fellow, Center for Advanced Study in the Visual Arts, National Gallery of Art.

A limited number of seats for this virtual webinar event have been reserved for 黑料不打烊. To request a seat, complete this . The forum will be by the general public on Feb. 8.

Carrie Mae Weems

The forum will open with “That’s When All Will See,” from “The Democracy! Suite by the Jazz at Lincoln Center Orchestra led by Wynton Marsalis.

The forum’s featured speakers will include Weems; Sarah Lewis; Carrie Lambert-Beatty, professor of history of art and architecture and of art, film and visual studies at Harvard University; Deborah Willis, University Professor and chair of the Department of Photography and Imaging at the Tisch School of the Arts at New York University; Agnes Gund, president emerita and life trustee of MoMA and chair of PS1’s Diversity, Equity, and Inclusion Committee; Thelma Golden, director and chief curator of The Studio Museum in Harlem; Robin Kelsey, dean of arts and humanities and Shirley Carter Burden Professor of Photography in the Department of History of Art and Architecture at Harvard University; Huey Copeland, BFC Presidential Associate Professor in the History of Art at the University of Pennsylvania and Andrew W. Mellon Professor at the National Gallery of Art; Thomas J. Lax, curator, Department of Media and Performance at MoMA; Jennifer Blessing, senior curator of photography at the Solomon R. Guggenheim Museum; Kimberly Juanita Brown, associate professor of English and creative writing at Dartmouth College; and Richard J. Powell, John Spencer Bassett Distinguished Professor of Art and Art History at Duke University. The forum is co-organized by Lewis and Roxana Marcoci, senior curator at MoMA, and the Forums on Contemporary Photography are made possible through the generous support of the Joseph M. Cohen Family Collection.

“To be honored by one’s peers is the greatest honor of all,” says Weems. “I’m deeply moved and profoundly humbled by this recognition.”

Weems, who has been called one of the most influential visual artists of our time, began her three-year role as 黑料不打烊’s Artist in Residence on Feb. 1, 2020. A ?(a.k.a. “Genius” grant) recipient and the first African American woman to have a retrospective at the Guggenheim Museum,?Weems has used multiple mediums (photography, video, digital imagery, text, fabric and more) to explore themes of cultural identity, sexism, class, political systems, family relationships and the consequences of power.

Through image and text, film, video, performance and her many lectures, presentations and culturally significant convenings with individuals across a multitude of disciplines, Weems has created a complex body of work that centers on her overarching commitment to helping us better understand our present moment by examining our collective past. Weems has sustained an ongoing dialogue within contemporary discourse for more than 35 years.

Weems has participated in numerous solo and group exhibitions at major national and international museums, including MoMA, New York; The Whitney Museum of American Art, New York; the Frist Center for Visual Art, Nashville; The Cleveland Museum of Art; Solomon R. Guggenheim Museum, New York; The National Gallery of Art, Washington, D.C.; The Walker Art Center, Minneapolis; and the Centro Andaluz de Arte Contempora?neo in Seville, Spain.

She is represented in public and private collections around the world, including the Metropolitan Museum of Art, New York; Museum of Fine Arts, Houston; MoMA, New York; Tate Modern, London; Whitney Museum of American Art, New York; National Gallery of Canada; and the Museum of Contemporary Art, Los Angeles.

In addition to the MacArthur Fellowship, Weems has received numerous other fellowships, grants and awards. In July 2020, Weems was recognized by 黑料不打烊 Mayor Ben Walsh for her efforts to raise public awareness about the impact of COVID-19 on people of color, promote preventive measures and dispel falsehoods about the coronavirus through her “Resist COVID Take 6” campaign.

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.”

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.

The Light Work Grants in Photography are part of Light Work’s ongoing effort to provide support and encouragement to Central New York artists working in photography within a 50-mile radius of 黑料不打烊.

The Hallway and Kathellen O. Ellis Galleries at Light Work are temporarily closed to the public as part of the organization’s commitment to helping flatten the COVID-19 curve. Those interested can visit , check out its 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 Ave., 黑料不打烊, New York.

Established in 1975, Light Work Grants program is one of the longest-running photography fellowships in the country. Each recipient receives a $3,000 stipend, exhibits their work at Light Work, and appears in Contact Sheet: The Light Work Annual. This year’s judges were Russell Lord (photo historian and Freeman Family Curator of Photographs at the New Orleans Museum of Art), Jacqui Palumbo (freelance editor, contributor to Artsy and writer and producer for “CNN Style”), and Aaron Turner (photographer, educator, Light Work AIR in 2018, and coordinator of the Center for Photographers of Color at the University of Arkansas).

A series of 90-degree days spill into the comfort of night as the high temperatures bake the city of 黑料不打烊. Carla and her son Jaxiel “Che Che” seek relief with an evening swim. Photo by Ben Cleeton

Ben Cleeton is a photographer based in 黑料不打烊. Cleeton graduated from the S.I. Newhouse School of Public Communications in 2015 with a degree in photojournalism. His photographs have appeared in The New York Times in such stories as “Here’s Life Among the Ghosts” and “Getting Hockey Referees Ready for the Big Leagues,” and online in Black artist series: “Joshua Rashaad McFadden in The Undefeated.” His solo exhibition in 2015 at the Community Folks Art Center in 黑料不打烊 was titled “Green eyes: el Viejo.” Cleeton’s “Hesperus is Rising” won Best Music Video at the Central New York Film Festival in 2018.

Cleeton says, “In this project, I assemble stories offering a counter-narrative to one-dimensional portrayals of a once-thriving neighborhood now on the city’s margins. The images comprising this project capture sacred realities that both embody and transcend the mundane everyday lives of people from the Town. The Town, arguably, represents the invisible 黑料不打烊 that outsiders like myself don’t see. As a privileged white man working in a community of color, I am indebted to people who have invited a stranger into their lives. These vibrant pockets constitute The Town. My art is nothing without them.”

Photo by Christine Elfman

Christine Elfman is a visual artist who lives and works in Ithaca. She received a B.F.A. from Cornell University and an M.F.A. from California College of the Arts. She has exhibited her work at Gallery Wendi Norris (San Francisco), Handwerker Gallery (Ithaca College), Photofairs San Francisco, Philadelphia Photo Arts Center, University of the Arts (Philadelphia), and Zona Maco in Mexico City. Her work has appeared in Der Greif, Humble Arts Foundation, Photograph Magazine, The Photo Review, SF Weekly, and The San Francisco Chronicle. She is represented by Euqinom Gallery in San Francisco, California.

Elfman says, “Photographs embody the tension between fixing and fading especially well. While we tend to assume that they freeze time, photographs actually show us how impossible it is to ever fully capture something. My photographic work explores the temporal wane of objects, images, and memory. Color slips from the surface of paper, subjects become shadows, recognition fades into lore. Using the anthotype process, my images develop slowly: sitting outside for a month, the sun bleaches paper saturated with light-sensitive plant dyes. Once complete, these unfixable photographs slowly disappear, as they continue to fade in the light that we need to see them. When paired with fixed silver gelatin and inkjet prints, the images emphasize a tension between the archival impulse, ephemerality of photography, and the subjects themselves.”

Artwork by Hans Gindlesberger

Hans Gindlesberger is an artist whose work spans photography, video, installation and new media. He lives and teaches in Binghamton. He earned a B.F.A. from Bowling Green State University in 2004 and an M.F.A. in photography from the State University of New York at Buffalo in 2006. His solo exhibitions include CEPA (Buffalo), Foundry Art Centre (St. Louis), Galleri Image (Denmark), and Gallery 44 (Toronto). His participation in group shows includes 516 ARTS (Albuquerque), Hallwalls Contemporary Arts Center (Buffalo), Humble Arts Foundation (New York City), IHC Platform (University of California Santa Barbara), Jen Bekman Projects (New York), Kunstvlaai 6 (Amsterdam) and Richmond Art Center (Western Michigan University).

Gindlesberger says, “Blank______Photographs is a constellation of projects that look imaginatively at the radical shifts in photography’s materiality. In these projects, I seek to invert the hierarchy of visual and tactile that we expect from a photographic image. In subverting expectations and offering an alternative presentation of photographs, this work suggests new possibilities for what is ‘photographic.’ Though 1.5 trillion photographs come into being annually, most exist immaterially as pixels on screens. Re-focusing attention on the physicality of photographs is both elegiac and celebrates photography’s ability to reconfigure and reinvent itself continually.”

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.

Students will use photography, recorded sound, video and writing to tell stories of people in the surrounding community. Their work will be published online at??in the weeks following the workshop, but live updates will be posted throughout the weekend.

“The Fall Workshop is often cited by students as one of the best educational opportunities they had during their time in 黑料不打烊,” says?, VIS chair and executive director of the workshop. “We are grateful to all the professional coaches who give freely of their time to help our students grow, and to the community members who open their doors to our students.”

The workshop will begin with a panel discussion on the photographer-editor relationship on Oct. 3 at 7:15 p.m. in the Joyce Hergenhan Auditorium, Newhouse 3. Panelists include?, director of photography at National Geographic;?, former photo editor at National Geographic, and?, assistant professor of visual communications at the Newhouse School and a contributing photographer at National Geographic. Visuals consultant??will serve as moderator.

About 25 professional photo editors, photographers, video producers, graphic designers and other visual communicators from across the country will provide advice and guidance as coaches. The weekend will conclude with a public community screening and exhibit on Sunday, Oct. 6, starting at noon in the lobby of Newhouse 1.

Follow the workshop at??as it unfolds, and on Facebook () and Twitter ().

For more information about the workshop, contact managing director and Newhouse?digital post-production specialist??at 315-443-1600 or?rconcepc@syr.edu.

Lali Khalid

The Light Work Grants in Photography are part of Light Work’s ongoing effort to provide support and encouragement to Central New York artists working in photography. The Grants in Photography exhibition will take place Aug. 26 – Oct. 17 in the Light Work Hallway Gallery.

The reception is on Friday, Oct. 11, from 5-7:30 p.m. Nicola Lo Calzo’s “Bundles of Wood” is concurrently on view in the Kathleen O. Ellis Gallery. Light Work is located in the Robert B. Menschel Media Center. Both events offer refreshments and are free and open to the public.

Established in 1975, Light Work Grants is one of the longest-running photography fellowship programs in the country. Each recipient receives a $3,000 award, exhibits their work at Light Work and appears in “Contact Sheet: The Light Work Annual.” This year’s judges were Kimberly Drew (writer, curator, founder Black Contemporary Art), Eve Lyons (photo editor, The New York Times), and David Oresick (executive director, Silver Eye Center for Photography).

Trevor Clement is a visual artist, musician and performance artist based in 黑料不打烊, who uses photography with book art, installation, and sound. His photographic style opposes the cleanliness and simplicity of Western fine art photography by using heavy film grain, dust and a modernized take on William Klein’s “technique of no taboos.” The do-it-yourself ethic, and the antisocial, violent and sub-capitalist character of noise and hardcore-punk music all play a major role in Clement’s thinking about visual art. He has contributed to music projects such as “Faith Void,” “Hunted Down” and “White Guilt” and was a major force in BADLANDS, an underground music and art space for all ages in 黑料不打烊. He was a Light Work Grant recipient in 2014, has shown his work across New York State, and exhibited at the Fotofanziner Fotobokfestival in Oslo (Norway), the NoFound Photo Festival in Paris, and the San Francisco Center for the Book. Recently, Clement has focused on producing ‘zines of his photos of professional wrestling and an audio interpretation of Gregory Halpern’s book, ZZYZX.

Lali Khalid addresses landscape and abstraction through documentary photography. Khalid uses her work as a tool to explore themes of diaspora, identity, family, and home in her own life and the lives of people she photographs. Her images depict and document cultural and private conflicts, as well as emotive effects of natural light, through quiet, narrative allusions. She holds a B.F.A. in printmaking from the National College of Arts in Lahore (2003) and an M.F.A. in photography from Pratt Institute (2009) where she was a Fulbright Scholar. She has shown her work in many galleries throughout Europe, Pakistan and the US. ?She is currently an assistant professor of media arts, sciences and studies at Ithaca College.

Reka Reisinger is a visual and historical archivist living in Burdett, New York. Reisinger graduated from Bard College (2004) and holds an M.F.A. in photography from the Yale University School of Art. Reisinger was born in Budapest, Hungary, and returns frequently to photograph her homeland, the central focus of her work. Driven by a sense of urgency to collect visual cultural artifacts, she used her photographic practice to evoke the atmosphere she experienced during her frequent childhood visits to Hungary during the early post-communist era. Reisinger creates a sense of humor in her work while posing more profound questions about cultural identity during upheaval. She has participated in many group exhibitions nationally and internationally, including The Camera Club of New York, The Center for Photography at Woodstock, Lisa Ruyter Gallery in Vienna (Austria), the Midlands Art Center in Birmingham (UK), The Sculpture Center in Long Island City and the Swiss Institute in New York City.

Berenice Abbott, Hoboken Railroad Yard, New Jersey, 1935

The Louise and Bernard Palitz Gallery at Lubin House presents “In Actuality: Social Realism and Its Legacy from the Robert B. Menschel Collection,” on display through Oct. 17.

Curated by Natalie McGrath G’19, this display celebrates the philanthropy and dedication to the arts of 黑料不打烊 Life Trustee Robert B. Menschel ’51, H’91, who has contributed over 400 works of art to the permanent art collection at 黑料不打烊 since 1978.

Organized in honor of his most recent gift of over 180 photographs in 2018, this exhibition presents images by such master photographers as Dorothea Lange, Arthur Rothstein, Doris Ulmann, Helen Levitt and W. Eugene Smith and highlights their contribution to the Social Realism artist movement.

The Palitz Gallery is located in 黑料不打烊’s Lubin House at 11 E. 61st St., New York City. Exhibition hours are Monday-Friday, 10 a.m. to 6 p.m. and Saturdays from 11 a.m. to 4 p.m. The exhibition is closed University holidays and Labor Day weekend. A gallery reception will be held on Tuesday, Sept. 24, from 6 to 8 p.m. The exhibition and related programs are free and open to the public. Contact 212.826.0320 or lubin@syr.edu for more information.

Following the advent of photography in the mid-nineteenth century, artists and critics alike struggled to make sense of this new technology and its place in the world of modern art.? Some photographers chose to experiment with chemical processes and lighting techniques in order to achieve more abstract and painterly images, resembling traditional forms of art. Others embraced the camera’s documentary function and championed stark reality as a subject.

This exhibition explores photographic works from the artistic movement known as social realism, popularized in the United States during the 1920s and 1930s, through which artists captured frank and unembellished scenes of working-class life and industrialized spaces. Before its relationship to photography in the 20th-century, realism developed in Europe as a means for painters to explore subject matter that was considered base by the academies and their wealthy patrons, through such artists? as Gustave Courbet and Honoré Daumier. The act of representing average laborers in compositions and scales traditionally reserved for grand portraiture and history painting rocked the art world through its biting political commentary and avant-garde credibility.

The pathos of realism resonated in the United States for years to come, as social realists worked to capture moments from one of the most desperate eras of American history, The Great Depression. Such artists as Dorothea Lange, Arthur Rothstein and Ralph Steiner among others used the dynamic medium of photography to document and convey the extreme poverty and suffering endured by working-class Americans during this time.? To this day, social realism has left a lasting mark on photography, as artists continue to capture scenes of daily life and the inner complexities of the masses.

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.

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.”

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.

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 .

Photo by Flurina Rothenberger, part of the “New Voices” exhibition at Palitz Gallery

Selected from over 4,000 photographs donated to the Light Work Collection by former artists-in-residence, the exhibition highlights Jennifer Garza-Cuen, Takahiro Kaneyama, Sara Macel, John Mann, Zanele Muholi, Flurina Rothenberger, Hrvoje Slovenc, Pacifico Silano, Maija Tammi and Mila Teshaieva. The curated works of “New Voices” explore a wide variety of approaches to the medium, both conceptually and technically.

“My time as a resident proved to be incredibly valuable and life-changing,” says Silano, whose ongoing project looks at the historical impact of the HIV/AIDS crisis within the LGBTQ community. “While I was there, big moments in my career started to happen. I won a New York Foundation for the Arts Fellowship in Photography, I had work included in an exhibition at the Bronx Museum of the Arts and I was featured in The New York Times.”
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 residency program has benefited artists by offering time, space and support at important moments in their careers,” says Light Work director Shane Lavalette. “We have the great fortune of getting to know these individuals and watching their work grow and develop over time. We are equally excited about the future generations of artists to come, and will continue to respond to the needs that exist in the field.”

“I cannot say enough good things about Light Work” says Kaneyama, who had to scan, edit and print hundreds of images for his recently published book, “While Leaves Are Falling… .” “Light Work’s well-equipped lab facilities are configured to meet the specific needs of any artist, and the staff makes them fully accessible. I believe this is the key that enables artists to be productive.”

“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 .

A reception with the artists will be held Tuesday, April 3, 6-8:30 p.m. This event is free and open to the public.

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.

A college of images by upcoming Light Work artists-in-residence

National Endowment for the Arts (NEA) Chairman Jane Chu has announced that Light Work is one of 936 not-for-profit national, regional, state and local organizations nationwide to receive an NEA Art Works grant.?Light Workwill receive $40,000 to support?its?a?and production of “.”

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

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

Every year Light Work invites between?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, visit?.

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.

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.

A photo from LaToya Ruby Frazier’s “Flint Is Family” series, which depicts the water crisis in Flint, Michigan.

Panel discussions, art-making workshops and performances will be held at GBE in January and February in conjunction with the exhibition?“LaToya Ruby Frazier.” All programs are free and open to the public. Learn more on GBE’s?.

A recipient of the John D. and Catherine T. MacArthur Foundation Fellowship in 2015, Frazier’s artistic practice spans a range of media that incorporates photography, video and performance and centers on the nexus of social justice, cultural change and commentary on the American experience. This exhibition features three distinct recent bodies of work—”Flint is Family,” “The Notion of Family”?and “A Pilgrimage to Noah Purifoy’s Desert Art Museum”—whose themes address Frazier’s deeply rooted and long-held concerns exploring the legacies of racism, inequality, economic decline, access to healthcare and environmental justice.

“Flint is Family” (2016-2017), is a series of works exploring the water crisis in Flint, Michigan, and the effects on its residents. Frazier spent five months with three generations of women—the poet and singer, Shea Cobb;?Shea’s mother, Renée Cobb;?and her daughter, Zion—living in Flint in 2016, witnessing their day-to-day lives as they lived through one of the most devastating man-made ecological crises in U.S. history. Citing Gordon Parks’ and Ralph Ellison’s 1948 collaboration “Harlem Is Nowhere” as an influence, Frazier utilized mass media as an outlet to reach a broad audience, publishing her images of Flint in conjunction with a special feature on the water disaster in Elle magazine in September 2016. Like Parks, Frazier uses the camera as a weapon and agent of social change.

Frazier’s best-known body of work, “The Notion of Family” (2001-14), is an exploration into her family, her hometown?and her own experiences through landscape and portraiture in the deindustrialized steel town of Braddock, Pa. This long-running series was Frazier’s first engagement with themes that would define her career to date: systemic racism, displacement, historical narrative?and the aftermath of economic erosion in communities. It too focuses on three generations of women—Frazier’s grandmother, born in 1925 and alive to see her hometown of Braddock?thrive under the prosperous steel boom; her mother, who lived in Braddock through the deindustrialization and segregation of the 1960s; and LaToya herself,?who grew up during the 1980s “war on drugs” and witnessed the abandonment of her hometown.

“A Pilgrimage to Noah Purifoy’s Desert Art Museum” (2016-2017) was inspired by Frazier’s journey with fellow artist Abigail DeVille to?the outdoor museum in the high desert of Joshua Tree. A pioneering force of California assemblage, Purifoy’s practice drew from the varied traditions of Dada, Surrealism and African?American yard work. Born in 1917, Purifoy fled his native Alabama for Los Angeles upon returning from World War II. In Frazier’s words, “It struck me deeply, his sense of displacement. After the Watts riots of the mid-1960s, he collected burned materials that ended up in his art. Purifoy had a creative solution to dealing with injustice. Instead of evaporating or being silent, he took these things—pieces of wreckage—and turned them into works of art, a meditation on one’s life, one’s work, one’s history. This is the most powerful act.”

Frazier has been the subject of numerous solo presentations of her work, and recent exhibitions have included the Brooklyn Museum of Art; the Seattle Art Museum;?the Institute of Contemporary Art in Boston; Contemporary Art Museum, Houston; Musée des Arts Contemporains, Grand-Hornu, Belgium; CAPC Musée d’Art Contemporain de Bordeaux, France; Carré d’Art-musée d’art contemporain de N?mes, France; the Silver Eye Center for Photography, Pittsburgh; and the August Wilson Center, Pittsburgh. Her work is included in celebrated international collections, including the Museum of Modern Art in New York;?the Studio Museum in Harlem;?the Whitney Museum of American Art in New York;?the Solomon R. Guggenheim Museum in New York;?the Art Gallery of Ontario in Toronto;?the Library of Congress, Washington, D.C.;?and Centre Georges Pompidou, Paris, among others.

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.

“Quarry Loc” by Lashelle Ramirez, named Best in Show in the 2018 Transmedia Photography Annual

Light Work is located in the Robert B. Menschel Media Center at 316 Waverly Ave.

Exhibiting students include: Nora Alexandra-Young, Sydney Aliza Howard, Carly Bova, Anna Braun Heckler, Danielle A. Brown, Kendall C. Cooleen, Ericka Lynne Jones-Craven, Aman M. Kurien, Yvette Marie Moreno, Everett Putnam-Mackey, Lashelle Ramirez and Michelle Velasquez.

Paula Tognarelli, executive director and curator of the Griffin Museum of Photography, served as juror to select images for Best of Show and Honorable Mentions. Best of Show went to Lashelle Ramirez, and Honorable Mentions went to Nora Alexandra-Young, Danielle A. Brown, and Ericka Lynne Jones-Craven.

According to Tognarelli:

“In a gathering of photographic submissions, a juror can sense the pulse of a community. From a sampling of photographs, I try to approximate what is on the minds of the artists of the 2018 Transmedia Photography Annual. ‘Who am I?’ and ‘Where do I belong?’ are common interrogatives of youth. From Socrates to every generation hence there is a constant to explore the reason to be. An examination of self is evident in this exhibition.

“In some cases, the artist deliberates the body as in ‘Quarry Loc’” by Lashelle Ramirez, who received Best in Show. Theirs is a study awash in brown color variations and compositional movement. Our focus travels from sand to coils of hair and along the linear turn of the shoulder and neck. The subject remains anonymous.

“In other images, artists are attuned to their surroundings and family and friends that bind them to a place. ‘Hors’” by Nora Alexandra-Young received an Honorable Mention. The strength of this photograph comes from a gesture that implies comfort, connection and empathy. A girl places her hand on a horse’s heart. Touch, not sight, unite the two.

“Ericka Lynne Jones-Craven received an Honorable Mention for ‘Water’” In hindsight, the photograph of ‘Mary’ should have received an award, as ‘Mary’ informs ‘Water’ and vice versa. The brown skin, the outstretched arms and the blue of water and veil complement both photographs. The figure floating in water, almost an abstraction, is reminiscent of a painting by Rubens called ‘The Assumption: The Feast of Mary the Virgin’ and another by Rubens in 1516 called ‘The Assunta.’

“Finally, ‘A Borne Silver Lining’ by Danielle Brown also received an Honorable Mention. The subject stands on a train platform. She confronts the viewer with confidence. What I respond to is the photograph’s mystery, its steel-gray pallet and the process of uncovering the artist’s intent.”

Light Work’s close partnership with the Department of Transmedia provides art photography students with full access to?its production facilities, lectures and workshops. Many students have worked with Light Work throughout their undergraduate careers and have become an integral source of the energy, passion and excitement that defines?the organization. “The Light Work staff and community congratulate all of the seniors on their accomplishments, and wish them the best in their bright futures within the field of photography,” says Cjala Surratt, promotions coordinator at Light Work.

?is executive director and curator of the . The Griffin Museum of Photography, located in Winchester outside Boston,? is a nonprofit photography museum whose mission is to promote an appreciation of photographic art and a broader understanding of its visual, emotional and social impact. Tognarelli is responsible for producing over 60 exhibitions a year at the Griffin and its surrounding satellite spaces. She holds an M.S. in arts administration from Boston University, B.A. from Regis College, is a graduate of the New England School of Photography and is a current candidate for her master’s in education at Lesley University. She has juried and curated exhibitions internationally, including American Photo’s Image of the Year, Photoville’s Fence, Flash Forward Festival, Deland Arts Festival, Center for Fine Art Photography, PDN’s Photo Annual, PDN’s Curator Awards, the Kontinent Awards, the Filter Festival in Chicago, San Francisco International Photography Exhibition, Your Daily Photograph for Duncan Miller Gallery and the Lishui International Photography Festival in Lishui, China.

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.

We will also be closed from Dec. 23?through Jan. 2?in sync with 黑料不打烊’s Green Days.

Kusakabe Kimbe, Bunshioin Temple at Shipa Tokio, no date
hand-colored albumen print

“Wanderlust” opens Monday, Nov. 13 at Palitz Gallery and runs until Feb. 1. The exhibition includes 25 original photographs, and is open Monday to Friday, 10 a.m.-6 p.m. and Saturdays from 11 a.m. to 4 p.m. Free and open to the public, the exhibition is closed for University holidays including Green Days, which run Dec. 25, 2017-Jan. 2, 2018. Palitz Gallery is located at 11 East 61^st St. Contact 212.826.0320, email lubin@syr.edu or visit the for more information.

Before the invention of photography, images of traveled lands were created by the hand of a draftsman, painter or printmaker. The introduction of the daguerreotype by French artist and inventor Louis-Jacques-Mandé Daguerre in 1839 was the first successful photographic process. With that, the potential to capture on film a true, unaltered view of the world was now available, and, with it, endless possibilities appeared, sparking inspiration for artists.

True to expectations, the potential of the daguerreotype was highly popular. “Unfortunately, the large size of the cameras, not a lack of interest, hindered the ability of artists to travel while carrying their cameras and equipment,” says Emily Dittman, curator of “Wanderlust.” “As a result, the majority of 19th-century images were produced by professionals working for commercial studios. Employment in, or ownership of, a studio not only alleviated the cost of equipment, but also of the travel itself.”

Recognizing the potential for profit, photographers opened studios centrally located in tourist locations. This enabled them to take daily treks to photograph monuments, ruins and landscapes popular with the emerging tourist culture. The resulting images were produced, marketed and sold to interested clients in the form of single prints or albums.

Over the years, spurred by the invention of smaller cameras and shorter exposure times, the ability to photograph as one wandered became a reality for amateur photographers. At the same time as images continued to be produced commercially and marketed to travelers as souvenirs, technological advances provided both artists and everyday people the ability to bring home their own snapshots or albums.

“This resulted in a more personal side of travel photography,” says Dittman. “People could document their own paths and encounters to show family and friends a visual documentation of their travels. Today, travel photography continues its popularity, not limited anymore by size, ease or financial burdens as it was in the mid- to late-1800s. Smaller devices, many of which are based in smartphones and seemingly on every person at all times, truly enable one’s wanderlust impulses to explore the world.”

“I used to use a tripod almost as like a fly fishing rod to get different angles of my subjects,” he said. “So when drones came out, it really opened up my eyes to different ways of telling stories, so I could really appreciate the breadth and scale of what is around me.”

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.

Tula Goenka

The project focuses on breast cancer survivors through a series of clothed and unclothed portraits and an accompanying documentary with the goal of breaking down the barrier between survivors’ public personas and their private struggles with the disease.

Goenka, herself a survivor, was the first person photographed for the project when it was launched in 2010. She is now relaunching it as a photo exhibition, interactive documentary and website. The multimedia version of the project will focus on survivors’ personal stories and will be enhanced with responsive text, statistics and graphics. , who is also a breast cancer survivor, will be the photographer for the project.

Goenka hopes to address the human rights aspect of access to health care and how differences in income, race, ethnicity and geographic location can impact diagnosis, treatment and survival. She is hoping for broad participation in the project, and is making a special effort to include inner-city residents on the South and Near Westsides, New Americans on the North Side, people from rural Onondaga County and indigenous Native American populations, among others.

Goenka is also working with 黑料不打烊 Stage Associate Artistic Director , who is also an adjunct in playwriting in the , to stage an original spoken word performance titled “Tit Bits.” It will include the stories of various individuals who have been touched by breast cancer: patient, survivor, surviving family member, friend, caregiver, medical practitioner and/or researcher.

Goenka is the Newhouse Endowed Chair of Public Communications.

For more information or to participate, visit the “Look Now” website at . Goenka may be reached at 315.443.3376 or tgoenka@syr.edu.

Gerard Gaskin, Tez, Evisu Ball, Manhattan, NY, 2010

radiant color and black-and-white photographs take?viewers inside the culture of house balls, underground events where gay and transgender men and women, mostly African American and Latino, come together to see and be seen. At balls, high-spirited late-night pageants, members of particular “houses”—the House of Blahnik, the House of Xtravaganza—“walk,” competing for trophies in categories based on costume, attitude, dance moves, and “realness.” In this exuberant world of artistry and self-fashioning, people often marginalized for being who they are can flaunt and celebrate their most vibrant, spectacular selves.

Gaskin, a native of Trinidad and Tobago, now based in 黑料不打烊, earned a B.A. from Hunter College in 1994 and is now a freelance photographer based in the greater New York City area. His photos have appeared in The New York Times, Newsday, Black Enterprise, OneWorld, Teen People, Caribbean Beat and DownBeat. Among his other clients are the record companies Island, Sony, Def Jam and Mercury. 骋补蝉办颈苍’蝉 photographs have been featured in solo and group exhibitions across the United States and abroad, and his work is held in the collections of such institutions as the Museum of the City of New York and the Schomburg Center for Research in Black Culture. Gaskin has been awarded The New York Foundation for the Arts Artist Fellowship for Photography and was part of the Gordon Parks’ 90, the bringing together of 90 black photographers from all over the United States to celebrate his 90th birthday. His work is also featured in the books “Inside the L.A. Riots” (1992), “New York: A State of Mind” (2000) and “Committed To The Image: Contemporary Black Photographers” (2001).

See more of Gaskin’s images at:?

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.

Suné Woods

Fall guests include visual artist Suné Woods (Sept. 13-16); poets Janice Harrington and Oliver de la Paz (Sept. 26-27); Iraqi-American artist Wafaa Bilal (Oct. 12-13); Hiroshima atomic bomb survivor Keiko Ogura (Oct. 24-28); Black feminist scholars Johnnetta Betsch Cole, Paula J. Giddings and Beverly Guy-Sheftall (Nov. 27); and gender studies scholar Melissa Adler (Dec. 4-5).

“Belonging is as much about being included and recognized as part of a wider community, as it is about denial,” says Vivian May, director of the Humanities Center and professor of women’s and gender studies in the College of Arts and Sciences (A&S). “We will examine a range of issues—belonging as it relates to structural and political power and to interpersonal relationships—from various perspectives and in different genres and settings. The result is a rich survey of theory and practice, showing how the humanities address some of the most pressing issues of our time.”

All events are free and open to the public. For more information, contact the Humanities Center in A&S at 315.443.7192 or visit?.

The fall schedule is as follows:

Suné Woods
Wednesday, Sept. 13

Los Angeles artist Suné Woods will unveil her solo show at Light Work, titled “To Sleep with Terra,” examining absences and vulnerabilities within cultural and social histories. The program includes a panel discussion with Fred Moten, professor of English at the University of California, Riverside, and James Gordon Williams, assistant professor of African American studies at 黑料不打烊.
6-7:30 p.m.
Watson Theater, Menschel Media Center (316 Waverly Ave.)

Saturday, Sept. 16

Woods leads a photo-collage workshop. Space is limited; registration required. Contact Mary Lee Hodgens, associate director of Light Work, at?mlhodgen@syr.edu.
10 a.m. to 1 p.m.
Light Work Lab (316 Waverly Ave.)

Oliver de la Paz and Janice Harrington

Janice Harrington and Oliver de la Paz
Tuesday, Sept. 26

黑料不打烊 Symposium teams up with the YMCA’s Downtown Writer’s Center for a reading by Harrington, professor of English at the University of Illinois at Urbana-Champaign (UIUC), and De la Paz, associate professor of English at College of the Holy Cross. Both poets will address notions of race, ethnicity and identity with their original, award-winning work.
7-8:30 p.m.
Jason Shinder Theater, YMCA Downtown Writer’s Center (340 Montgomery St.)

Wednesday, Sept. 27

Harrington and De la Paz lead a workshop for writers of all ages, backgrounds and levels of experience. Space is limited; registration required. Contact Phil Memmer, executive director of the YMCA Arts Branch, at?pmemmer@syracuseymca.org.
9-11 a.m.
304 Tolley Humanities Building

Thursday, Sept. 28

Lisa Kirschenbaum, professor of history at West Chester University, explores communism as a way of life during the Spanish Civil War (1936-39). Part of an official 黑料不打烊 Symposium course, Kirschenbaum’s lecture will draw, in part, on her award-winning book “International Communism and the Spanish Civil War: Solidarity and Suspicion” (Cambridge University Press 2015).
11 a.m. to 12:20 p.m.
Peter Graham Scholarly Commons, 114 Bird Library

Thursday, Sept. 28, to Saturday, Sept. 30

The 15th annual 黑料不打烊 Human Rights Film Festival presents an outstanding lineup of critically acclaimed films, addressing social rights issues around the world. Visit??for film descriptions, screening times and locations.

Thursday, Oct. 5

Vivek Shraya, a South Asian artist, musician and writer, highlights the complex relationship between belonging and embodiment. Shraya’s work focuses on matters of family, religion, public space, queerness and “transness.”
7-8:30 p.m.
Kilian Room, 500 Hall of Languages

Wafaa Bilal

Wafaa Bilal

Thursday, Oct. 12

Bilal, associate professor of photography and imaging at New York University’s Tisch School of the Arts, uses online performative and interactive works to tackle questions about identity, exile and U.S. politics.
5-6:30 p.m.
Peter Graham Scholarly Commons, 114 Bird Library

Friday, Oct. 13

Bilal leads a small-group discussion on the relevance and role of artistic expression in relation to war trauma, violence and diasporic belonging. Space is limited; registration required. Contact Amy Kallander, associate professor of history in the Maxwell School, at?akalland@maxwell.syr.edu.
10-11:30 a.m.
304 Tolley Humanities Building

Keiko Ogura
Tuesday, Oct. 24

Edward Morris, professor of practice of transmedia and co-director of the Canary Lab in the College of Visual and Performing Arts, moderates a panel discussion about the effects of the 1945 atomic bombings of Hiroshima and Nagasaki on Japanese art and architecture. Participants include Keiko Ogura, a survivor of the Hiroshima bombing; Yutaka Sho, associate professor of architecture; and Linda Zhang, a 2017-18 Boghosian Fellow of Architecture. Ogura’s visit is part of a spate of local events, including an exhibit at the Everson Museum of Art titled “That Day Now: Shadows Cast by Hiroshima,” running through Nov. 26. More information about Ogura’s visit is at?.
5:30-7:30 p.m.
Slocum Hall Atrium and Marble Room

Saturday, Oct. 28

Keiko Ogura

Ogura headlines a daylong program that includes remarks by Daisaku Yamamoto, associate professor of geography and director of Asian studies at Colgate University; Rahna Reiko Rizzuto, author of the award-winning books “Hiroshima in the Morning” (Feminist Press, 2010) and “Why She Left Us” (Harper Perennial, 2000); Chad Diehl, assistant professor of history and coordinator of Asian studies at Loyola University Maryland; and Susan Napier, professor of international literary and cultural studies at Tufts University.
9 a.m. to 6 p.m.
Slocum Hall Auditorium

Friday, Nov. 3

Tim Brookes, associate professor of communication and creative media at Champlain College, uses carvings and stories from various cultures to illustrate how writing systems affect a culture’s sense of belonging.
10-11:30 a.m.
Peter Graham Scholarly Commons, 114 Bird Library

Paul Prior and Jody Shipka
Wednesday, Nov. 8

Prior, professor of English at UIUC, leads a small-group discussion on sociocultural theories of writing. Space is limited; registration required. Contact Patrick Berry, assistant professor of writing and rhetoric, at?pwberry@syr.edu.
9 a.m. to noon
304 Tolley Humanities Building

Wednesday, Nov. 8

Prior returns to campus with Jody Shipka, associate professor of English at the University of Maryland, Baltimore County, for a presentation that challenges static notions about being and belonging in accounts of literacies and disciplines.
2:15-3:45 p.m.
Peter Graham Scholarly Commons, 114 Bird Library

Thursday, Nov. 9

Shipka leads a small-group workshop on the growing importance of podcasts, blogs, collages, video and audio essays, comic strips and storyboards. Space is limited; registration required. Contact Patrick Berry, assistant professor of writing and rhetoric, at?pwberry@syr.edu.
9 a.m. to noon
304 Tolley Humanities Building

Monday, Nov. 27

From left: Johnnetta Betsch Cole, Paula Giddings and Beverly Guy-Sheftall

The 黑料不打烊 Symposium Keynote brings together three prominent Black feminist scholars: Johnnetta Betsch Cole, former president of Spelman and Bennett colleges and recently retired director of the National Museum of African Art; Paula J. Giddings, the Elizabeth A. Woodson 1922 Professor Emerita of Africana Studies and senior editor of “Meridians: Feminism, Race, Transnationalism” at Smith College; and Beverly Guy-Sheftall, the Anna Julia Cooper Professor of Women’s Studies and founding director of the Women’s Research and Resource Center at Spelman. This distinguished trio will offer personal reflections on confronting inequality and creating change, touching on topics ranging from the power of collaboration, educational pathways and politics, to key lessons from Black women’s history of activism and scholarship, past and present.
6-7:30 p.m.
Joyce Hergenhan Auditorium, 140 Newhouse 3

Saturday, Dec. 2

黑料不打烊 and With Love, a project of Onondaga Community College, celebrate the folk traditions of local immigrant and resettled refugee communities with this distinctive multicultural event. Highlights include musical performances by Burundi, Congolese and Burmese musicians and dancers, as well as cuisine prepared by Burmese chef Shwe HninSi.
6-7:30 p.m. (concert), Grant Auditorium
7:30-8:30 p.m. (reception), Wildhack Lounge, Grant Hall

Melissa Adler
Monday, Dec. 4

Melissa Adler

Adler, assistant professor of information science and of gender and women’s studies at the University of Kentucky, illustrates how systems of classification—from biological taxonomies to library shelves—define relationships of belonging and exclusion. She will focus on some of the ways in which the marginalization of queer and racialized subjects is systemic.
5:15-6:30 p.m.
Peter Graham Scholarly Commons, 114 Bird Library

Tuesday, Dec. 5

Adler leads a small-group discussion on deconstructing social norms and taxonomies, as they pertain to LGBTQ communities. Space is limited; registration required. Contact the Humanities Center at 315.443.7192.
9 a.m. to noon
304 Tolley Humanities Building

Organized and presented by the Humanities Center, 黑料不打烊 Symposium is a public humanities series that revolves around an annual theme. Programs include lectures, workshops, performances, exhibits, films and readings. Located in the Tolley Humanities Building, the Humanities Center serves the campus community by cultivating diverse forms of scholarship, sponsoring a broad range of programming and partnerships and addressing enduring questions and pressing social issues.

Suné Woods, “Mothership,” 2015, pigment print

Following the opening, at 6 p.m., gallery patrons are invited to an experience infused with wordplay, found imagery, sound and moving images in multimedia form with Woods, award-winning poet and 黑料不打烊 professor and musicologist . The presentation, titled “,” was made possible by the generous support ?of the 黑料不打烊 Humanities Center and is part of the . This event is free and open to the public. Refreshments will be served.

In conjunction with works on view at Light Work, will feature Woods’ video “A Feeling Like Chaos” at its outdoor architectural projection venue on the northern facade of the Everson Museum of Art. “A Feeling Like Chaos” attempts to make sense of a continuum of disaster, toxicity, fear and a political system that sanctions violence toward its citizens. The video installation will be on view Sept. 14-16, from dusk-11 p.m. Find more information online at .

Los Angeles-based artist Woods creates multi-channel video installations, photographs, sculpture and collage. Her practice examines absences and vulnerabilities within cultural and social histories. She also uses microcosmal entities such as family to understand the larger sociological phenomenon, imperialist mechanisms and formations of knowledge. She is interested in how language is emoted, guarded and translated through the absence/presence of the physical body.

“To Sleep With Terra” includes photo-collage and works on paper that explore Woods’ ongoing interest in creating her own topographies, gleaned from science, travel, and geographic magazines and books of the past 50 years. The collage work explores the social phenomena that indoctrinate brutality and the ways in which photography has been used for propaganda and exploitation.

Woods has said of her artistic journey:

“Collage seemed the best way for me to articulate all the complicated sensations that were arising for me while processing these streamed documentations of violence, ecology and a desire to understand more deeply how seemingly disparate things relate when they are mashed up in a visual conversation.”

Woods has participated in residencies at Headlands Center for the Arts, Vermont Studio Center, the Center for Photography at Woodstock and Light Work. Woods is a recipient of the Visions from the New California initiative, the John Gutmann Fellowship Award and the Baum Award for an Emerging American Photographer. Her work has been exhibited at the Brooklyn Museum of Art; the Lowe Art Museum, Miami; and the San Francisco Arts Commission Gallery. She received her M.F.A. from California College of the Arts in 2010 and currently is a visiting faculty member at Vermont College of Fine Art.

Gallery hours for this exhibition are Monday-Thursday 10 a.m.-9 p.m.; Friday 10 a.m.-6 p.m.; Saturday-Sunday 1 p.m.-9 p.m. Light Work is closed on all major holidays.

All exhibitions, lectures, talks and receptions are free and open to the public.

Mike Davis

The New York Times’ Lens blog about photography, video and visual journalism featured professor and Alexia Tsairis Chair for Documentary Photography Mike Davis in their feature about .

Davis hired photographer Eric Draper to work for him at the Albuquerque Tribune in 1990, and Draper states he learned more from Davis in that time than he did in his entire career up to that point. Draper later became the chief White House photographer for George W. Bush, and asked Davis to be his photo editor during that time, working closely together on the images of 9/11 and other significant events of those eight years.

Davis, who has twice been named Newspaper Picture Editor of the year, is an independent photography editor and educator who works with visual journalists around the world to elevate their photography for portfolios, projects, gallery shows, books and contest and grant submissions. He has been a picture editor and visual leader at National Geographic magazine, the White House and several of America’s leading newspapers.

The Light Work 2018 Artist-in-Residence application deadline, July 1 at 11:59 p.m., ?is fast approaching. Have you applied?

Each year invites 12-15 artists to participate in its residency program, including one artist co-sponsored by Autograph ABP and one artist commission for . The?international residency program is open to all artists working in photography or image-based media, from any country. Artists selected for the residency program are invited to live in 黑料不打烊 for one month. They receive a $5,000 stipend, an apartment to stay in, a private digital studio, a private darkroom and 24-hour access to Light Work’s?facility.

Participants in the residency program are expected to use their month to pursue their own projects: photographing in the area, scanning or printing for a specific project or book, and so on. Work by each artist-in-residence becomes a part of the Light Work Collection and is published in a special edition of “Contact Sheet: The Light Work Annual” along with an essay commissioned by Light Work.

To apply for a 2018 residency, visit and follow the instructions.

Applications must be submitted by the posted deadline. Applicants will receive an e-mail from SlideRoom confirming that an application was received.

Questions?

Questions about the facility may be directed to?lab@lightwork.org?and questions about the application process or residency, including questions for accommodation, can be sent to?air@lightwork.org. For technical questions about applying on SlideRoom, please reference?. To apply, click .

Light Work Artist-in-Residence Maija Tammi works in collaboration with 黑料不打烊 Department of Biology Professor Robert Silver, documenting and experimenting with hydras.

Photography serves as an accurate means to convey what we observe within a specific context or contexts. From its early days, photography has served an important double role in the recording and communication of science and as art form.

Maija Tammi comes to Light Work for a month-long residency to explore what is meant by “biological immortality.” Before her arrival at Light Work and 黑料不打烊, Tammi sought a faculty member with whom she could study the biology of hydra, a small fresh-water animal. Tammi connected with 黑料不打烊 Professor of Biology Robert Silver. Silver and Tammi share much in common, including long and deep experience with photography and communicating science to nonscientists.

Tammi is a Finnish artist whose photographs and sculptures converse with science and aesthetics, disgust and fascination. Her work has been exhibited in Europe, North America and Asia. She is currently working on her studio-art-based doctoral thesis at Aalto University School of Arts, Design and Architecture in Helsinki.

In his research, Silver seeks to understand how cells make decisions, focusing on the complex processes and mechanisms from the perspective of fundamental principles in biology, the physical sciences and engineering. His lab is filled with the most advanced light microscopes and cameras, and he has graciously offered Tammi access to the laboratory, to work with her, and to integrate her with his students in Lyman Hall.

Upon first seeing hydra with one of Silver’s microscopes, Tammi exclaimed: “Perfect! I can see so much more.”

Already, in the first two days of her residency, Tammi and Silver have begun experiments, captured images of hydra under various conditions and made observations that confirm and extend published observations of hydra biology. They will also be exploring extending some of the limits of image capture, working with Light Work’s master printer, John Mannion.

Throughout her residency Tammi will be posting her images to the Light Work Instagram account, @lightworkorg.

“Grandma” by Nicola Rinaldo

Exhibiting students include: Michael Ellsenburg, Nicolle Glover, Lauren Harper, Lindsay Jones, Melanie Rose Judson, Connor Martin, Danny Pe?a, Devi Penny, Nicola Vincenzo Rinaldo, Kyra Lucas Semien, Jessica Sheldon, Victoria Valentine and Leah Vallario.

Heather Snider, executive director of San Francisco Camerawork, served as juror to select images for Best of Show and Honorable Mention. Best of Show went to Rinaldo,and Honorable Mentions went to Penny, Ward and Martin.

According to Snider:

“It was my pleasure to jury this varied selection of works and a have a window into a new era of creative young photographers. But it was a body of work about an older generation that really stood out for me: Nicola Vincenzo Rinaldo’s series titled ‘Grandma.’ All three of these images are arresting for their beauty, intimacy and mystery. Their decidedly subdued black and white palette is reminiscent of Roy DeCarava’s luscious darkness, and perhaps carries the same formally imbedded reference to the shadowy places that marginalized peoples occupy in the mainstream visual dialogue of our culture. While all three of Rinaldo’s photographs use controlled light to great effect, the exquisite details in the photograph of ‘Grandma’ smoking her cigarette by the window make that image exceptionally evocative, with many subtle details that prolong the viewer’s engagement.

Evocative is also the word I would use to describe Devi Penny’s photographs. Penny makes poetic use of shadow and obfuscation. Her subjects seem to be hiding from the light—and what it might reveal—while at the same time playing with it, acknowledging their relationship to the light and controlling their own image within it. Penny uses elements in the environment to place his subjects in simplified frames of line and form, drawing the viewer back to the central mystery and ultimately to confront the eyes of her mysterious subjects.

Kendra Ward’s photographs, especially the photograph ‘Untitled 3,’ employ a cinematic tradition in American visual art that can be traced though the works of such classic 20th century artists as Edward Hopper and Alfred Hitchcock. I love the use of careful framing and planes of subtle color to delineate boundaries, both physical and psychological, with controlled lines of the architecture literally directing the eye to the barriers between two figures, while the gentle brush of yellow coming from the tree above implicates the presence of nature in this drama as well.

Finally, Connor Martin’s surprising ‘Self-Portrait’ exemplifies a spirit of experimentation that I love. Photography lends itself to awkward combinations of both flatness and pictorial depth, and how these two ideas of picture making can work together and against each other at the same time. Martin’s ‘Self-Portrait’ reads as both a nod to the 20th century modernists who knew the picture space had reached its logical demise, while also incorporating subtle, stylistic fingerprints of digital photography, resulting in a dynamic rendering of the human form.”

Light Work’s close partnership with the Department of Transmedia provides art photography students with full access to our production facilities, lectures and workshops. Many students have worked with Light Work throughout their undergraduate careers and have become an integral source of the energy, passion and excitement that defines our organization. The Light Work staff and community congratulate all of the seniors on their accomplishments, and wish them the best in their bright futures within the field of photography.

Snider has over 20 years of experience in the fine art photography field, having worked at several commercial photography galleries in San Francisco (Vision Gallery, Scott Nichols Gallery) and as an independent curator and arts writer for international photography publications.

Kristine Potter, “Untitled, 2009” from “The Gray Line “

“The Gray Line” is a series of portraits that Potter made at West Point Military Academy, which has trained a large number of high-ranking Army officers and eventual U.S. politicians. Raised in a military family, Potter notes that “a very particular kind of patriarchy and folklore associated with military heroism” pervaded her childhood years. In this series of photographs, made between 2005 and 2010 at the height of the Iraq and Afghanistan wars, Potter attempts to disrupt the binary language that conflict seems to publicly heighten. “I’m not interested in voicing opinions of whether war is right or wrong. It exists. My voice has always focused on the human drama. These are people, and they get used in the political sphere. But in the end, they’re not symbols, they’re humans with complex feelings and lives, and I find that compelling.”

Born in Dallas, Potter earned both a B.F.A. in photography and a B.A. in art history at the University of Georgia in 2000. From 2000-2003, she lived and worked as a professional printer in Paris. In 2005, she earned her M.F.A. in photography from Yale University. Potter has exhibited work in Paris, New York City, Miami, Atlanta and Raleigh, North Carolina. Daniel Cooney Fine Art in New York City represents her, with a book, “Manifest,” forthcoming.