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Photography Now 2018: Still-Life
November 3, 2018 – January 6, 2019
Gallery Opening: Saturday, November 3, 4-6pm
The Center for Photography at Woodstock (CPW) is pleased to announce Photography Now 2018, juried by Elizabeth Ferrer, Vice President, Contemporary Art at BRIC, a major Brooklyn, New York cultural organization. Featured artists include Ruth Adams, Keliy Anderson-Staley, Cecilia Borgenstam, Laurent Chevalier, Evan D’Arpino,Ken Dreyfack, Leah Edelman-Brier, Soohyun Kim, Pablo Lerma, Jarod Lew, Daniel Ramos, Niv Rozenberg, and Chanell Stone.
Each year, CPW invites a curator of national or international stature to apply their own curatorial vision in creating a survey exhibition of contemporary photography. This year’s installment of CPW’s Photography Now exhibition presents thirteen artists of a wide range of styles. Curator Elizabeth Ferrer has curated a selection of images that contemplates a state of being, a still-life, that penetrates all aspects of human existence and can fluctuate between a desired state of being as well as a lament for change.
CURATOR’S STATEMENT
Still-Life ventures into seemingly distinct territories – the realm of the inanimate, of things, and in tandem, of contemporary lived experience. Many works here are indeed, still lifes, following in the mode of the artistic genre that arose in 16th-century Europe. Still-Life also meditates on the words themselves – STILL LIFE. We are still here. Images of individuals who have stood before the camera proclaim their existence, their resiliency and resistance, at a moment when so many are threatened by challenges to civil rights, to freedom, to dignity. Our current era has been profoundly marked by armed conflict, ravages to the environment and natural disasters, the dealings of a morally bankrupt president, and by repeated, countless episodes of violence against women, African Americans, Latinos, Muslims, and immigrants. But these images manifest an essential fact: we are still here.
In some photographs, the body itself acts as a form of still life, suffuse with symbolism. Depictions of the human form by Leah Edelman-Brier, Daniel Ramos, Jarod Lew, Laurent Chevalier, and Chanell Stone, show the body purposely stilled, representing a move away from the kinetic, from narrative. The stilled body, as in Chevalier’s portrayal of a flag-draped figure, becomes emblematic, charged with clarity and an emotional intensity. In such works, the body does not move through space; rather, it commands space. Moreover, these bodies have been portrayed in ways to draw attention to myriad social issues: identity politics and gender (Stone), migration (Soohyun Kim and Ramos), race (Chevalier), the survival of communities (Ken Dreyfack), and aging (Edelman Brier).
Representations of the inanimate also speak in compelling ways to the state of the human condition. Evan D’Arpino’s elaborate still lifes draw from symbols in The Iliad, Homer’s epic poem set during the Trojan War. His images evoke violence, grief, and exile – calling to mind not only ancient Troy, but also Syria, Iraq, and other sites of contemporary conflict. Ruth Adams also looks to the past, photographing in European cemeteries to conjure the wisdom of ancestors. For Cecilia Borgenstam, photographs documenting discarded objects left by homeless persons in hidden corners of San Francisco’s Golden Gate Park act as dystopian still lifes as well as testaments to survival. Niv Rosenberg also explores the urban environment, with digital manipulations that transform and deconstruct historic buildings in one Brooklyn neighborhood that is itself in the throes of gentrification and change.
Images of nature point to one ultimate fact: whatever our current condition, we are equal before the earth, water, and sky. We are all also subject to the same natural forces, as suggested by Kelly Anderson Staley, who experienced floods in Houston and simulates the forces of water through the chemical process of photography. With images of the sky and of isolated natural sites, Pablo Lerma aims to capture geologic time and to create new narratives about the relationship between nature and the human psyche.
Throughout this edition of Photography Now, what I have valued most is the desire among these artists to direct the personal towards a more universal narrative of hope. Whether in work interrogating social issues or embodying a more philosophical reading of humanity, I am struck by the persistent desire to represent what is real, true, and beloved.
Elizabeth Ferrer/BRIC © Julienne Schaer
ABOUT THE JUROR
Elizabeth Ferrer is Vice President, Contemporary Art at BRIC, a major Brooklyn, New York cultural organization, where she curates solo and group exhibitions focusing on emerging and mid-career artists. Since she began at BRIC in 2007, Ferrer has instituted the publication of catalogues and brochures that act as critical platforms for critical writing on exhibitions artists, instituted the BRIC Biennial – a major exhibition held at BRIC House and other venues to highlight artists of exceptional promise in the borough, and expanded BRIC’s artist residency program. Among the exhibitions she has curated at BRIC are Brooklyn Photographs, a major survey of work by the Nuyorican artist Juan Sánchez, Whisper or Shout: Artists in the Social Sphere, and the photography exhibition, En Foco: New Works/Crossing Boundaries, in collaboration with En Foco.
Ferrer has also curated numerous exhibitions on Latino and Mexican modern and contemporary photography. Her exhibitions have appeared at such venues as the Mexican Cultural Institute and the Smithsonian Institution in Washington, D. C., El Museo del Barrio, the Wallach Art Gallery at Columbia University, the Americas Society in New York, the Austin Museum of Art, the University of Notre Dame, and MARCO in Monterrey Mexico. Ferrer is the author of Lola Alvarez Bravo (Aperture Foundation, NY), named as a New York Times notable book of the year, as well as of numerous exhibition catalogues and essays published nationally and internationally. She was co-editor of the catalogue of the Museum of Modern Art’s landmark exhibition, Latin American Artists of the 20th Century. Ferrer, who studied art history at Wellesley College and Columbia University, is currently writing a comprehensive history of Latino photography in the United States.
Images (from left): Daniel Ramos, Niv Rozenberg, Pablo Lerma and Keliy Anderson-Staley. Insert: Leah Edelman-Brier
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Photography Now Submission Guidelines
Past exhibitions: 2017, 2016, 2015, 2014
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