PAST EXHIBITIONS AT THE GALLERY AT STILL RIVER EDITIONS
"TO BE REAL"
PHOTOGRAPHS BY SHONA CURTIS
APRIL 8 – JUNE 2, 2017
OPENING RECEPTION SATURDAY, APRIL 8, 2 PM - 4 PM
"To Be Real" is a solo exhibition of black and white portraits by photographer Shona Curtis of New Preston, Connecticut. Curtis is also a psychotherapist, and her work in that field informs her photography.
In addition to the portraits she makes of others are prints from a project called "SeeingSelf" in which she photographed herself for a year and a day during a period of dramatic personal change. Curtis also turned the images into a morphed video that will be viewable in the gallery that shows the subtle changes in expression and mood from day to day.
This exhibit includes work first shown at the Charter Oak Cultural Center in Hartford, Connecticut earlier in 2017.
"'In order for connection to happen, we have to allow ourselves to be seen.' - Brené Brown
I approach photography in the same way I approach life – with an insatiable curiosity towards the complexity of the human condition. I enjoy exploring the dynamic interplay between seemingly incongruent concepts – strength and vulnerability, intimacy and isolation, illusion and reality. I am also drawn to the feelings associated with longing, dreams, impermanence, death and rebirth.
Because of my interest in authenticity, connection and intimacy in relationship to self and others, I am drawn to portraiture. In my portrait work, I explore many of these concepts in an intimate and vulnerable way as a participant-observer. My intent has been to investigate both our complexity and the seeming contradiction of strength and vulnerability within each of us.
I believe that portraiture is not simply about the subject or the photographer, but the alchemy between the two. To Be Real, an exhibit of film and digital photography, exposes what lies behind our masks when we feel safe enough to reveal ourselves. This collection illuminates what I see as the fragility and exquisite beauty of being human, in other words, our shared humanity." - Shona Curtis, January 2017
ABOUT THE ARTIST
Shona Curtis is a photographer and psychotherapist who lives in New Preston, CT. Her work has been featured in group, juried, and solo exhibitions in the Northeast.
"ARROW POINTS TO MY ROOM:
NEW WORK BY CATHERINE VANARIA, MARK SAVOIA, AND LYS GUILLORN"
JANUARY 17 – MARCH 31, 2017
This exhibit showcases the photography of the three printmakers of Still River Editions. The thread linking them is their use of found materials. Catherine Vanaria manipulated archived materials as graphical and conceptual chunks to make her own compositions by removing the element of personal connection. Mark Savoia takes a new look at moon exploration by using Nasa imagery and hand sanitizer transfer. Lys Guillorn photographed found objects with a scanner to create stark macro images with personal statements.
"As traditional methods of sharing one’s life have moved from printed images to social media posts, the photographic print has become extra baggage. When families downsize their personal belongings, much of what is cast off ends up orphaned in either trash bins or tag sales. This is what I collect and make my own. Since all original attachments have been removed, these become parts to a giant jigsaw puzzle with an infinite number of hypotheses yet no correct conclusion. The sky is the limit."
"As the Apollo space program ended, America's interest in manned moon landings had faded. Gene Cernan (Apollo 17 in 1972) turned out to be the last person to leave footprints on the moon. As he climbed into the lunar module he wrote his daughter's initials in the dirt and then blasted off, "All right, let's get this mother out of here and go home." Not exactly historic words for such an accomplishment. I followed the entire lunar program on the edge of my seat as a child, never knowing if someday too I would travel to the moon." These photographs are dedicated to Gene Cernan who died January 16, 2017.
'"Change' is a personal examination that marks a point in time in my body and my life. It incorporates a hank of my hair cut off thirteen years ago. Below it are Victorian pattern-cutting scissors. Early in 2016, I was hiking on a nature preserve in Shelton, Connecticut and found an owl pellet nestled in some pine needles. I dissected it on the spot using a stick, and then carefully wrapped the bones in a bank deposit receipt. A few days later, I contemplated what to do with the tiny objects. By playing with scale, the mouse becomes the predator in 'The Owl's Muse.' The most recent photograph, 'Spero,' is the most hopeful. When the sparrow's egg is found open, the bird has become breath."
Court House Eyes: Photographs by Tom Peterson
October 11 - December 23, 2016
Opening reception Saturday, October 22, 2016 2 PM - 4 PM
The black-and-white photographs in Tom Peterson's exhibition "Court House Eyes" examine the film noir aesthetic. Dramatic shadows fall on urban streetscapes; light illuminates cobblestone in geometric patterns; a sense of mystery pervades. In some images, that mystery creates unease, and in others it makes peace with its surroundings. In this world, light and shadow are ever-shifting, like any good mystery should be. The opening reception is free and open to the public. Regular gallery hours are 8:30 am - 5 pm Monday through Friday.
"Most of the photographs included in 'Court House Eyes' were taken in New Haven and Hartford, Connecticut. The theme was influenced by the memory of watching the movie 'The Third Man'. My intent was to use the dramatic effect of strong, morning light and shadow to evoke the dark, dramatic mood of 1950s film noir."
ABOUT TOM PETERSON
Tom Peterson is a documentary and fine art photographer from Hamden, Connecticut. He began his photography career after early retirement from The Hartford Financial Group. He currently is a member of City Gallery in New Haven, Connecticut.
Luminous Intervals: Extended Exposures in Alternative Photography
by Colin Burke
June 11- September 30, 2016
Opening reception Saturday, June 11, noon - 5 pm as part of Open House Day
"Luminous Intervals: Extended Exposures in Alternative Photography" is an exhibition of large-format cyanotype photograms and prints from months-long exposures made with hand-built pinhole cameras by Colin Burke of New Haven.
For the opening of the exhibit, we are pleased to present a free, public afternoon reception with the artist for The State of Connecticut's 12th annual Open House Day from noon - 5 pm on Saturday, June 11, 2016 with demos of alternative processes from 1 pm - 4 pm, as well as refreshments. Other local venues participating will be listed on our Open House Day page as the date approaches.
"I create photographs using some of the methods from the early days of photography: large format cyanotype photograms and months-long exposures made with hand-built pinhole cameras. I started working with these processes almost ten years ago partly as a response to the ubiquitous digital photography of the early 21st century. As nearly half of the world now owns a camera phone, and me being a bit of a history buff, I want to keep these older, analog means of creating photographs relevant while also pushing the extents of the media.
With my background in sequential media and performance, it’s been a natural progression for me to incorporate movement and time into my work. I'm creating images that depict movement and the passing of time, while shifting away from traditional still photography’s finite depiction of an instant in time, a single frame of now-ness. I want to suggest an alternative view, a non-linear experience, exploring possibilities inside moments where there are numerous options at all points of time.
The pinhole camera images are a result of overexposing while the cyanotype images include the marks made by shadows through deliberate underexposing. Along with duration, I'm also pushing the extents of proximity and presence. I install and then leave my handmade pinhole cameras out in the woods for up to a year, handing them off to nature, hoping 1) that they'll still be there when I go to retrieve them and 2) that the paper negatives made will result in good positive images.
Many days are condensed into one photograph, layer by layer, filling the frame. In these long exposures there is something we can’t normally see with the naked eye in a single glance, but understand and expect without much thinking: the sun rises and sets everyday, no matter what, and at different points in the sky, depending on the season. The thing that’s lost in these images is the movement of everyday life. These little moments of movements aren’t depicted due to the long exposure time.
As I make my cyanotypes, I'm completely hands-on, focusing on the changes of the sensitized fabric to the sunlight as I place and move the objects that create the marks either through direct contact or casting shadows. I'm making aesthetic choices while calculating and testing the limits of the exposure time to preserve the shadows and prevent them from being erased by the light.
The cyanotype Tubes series dates back to my earliest work with the medium and hasn't been on view for the public until now. This is deeply personal work I made after my father died from lung cancer. These pieces represent the memory of "here" and the realization of "not here" in a single image while recognizing the liminal space in between.
I’m currently experimenting with incorporating movement in my pinhole camera images by moving the cameras during long exposures."
About Colin Burke
Colin Burke works with antique photographic processes, large format cyanotype photograms and months-long exposures made with hand built pinhole cameras exploring the elasticity of time, plasticity of memory, and the consistent rhythm of nature. He was born on the first day of summer and currently lives and works in New Haven.
Photographs by Phyllis Crowley
April 2 - May 27, 2016
Opening reception Saturday April 2, 2 pm - 4 pm
"Off Peak" is an exhibit of color photographs by accomplished New Haven-based photographer Phyllis Crowley. Crowley says of the body of work, "This series began 10 years ago when I took a Metro North train to New York City. The windows were filthy, so encrusted you could hardly see out of them in places. After my initial annoyance (since window watching is my main occupation), I realized that if the window were the focus, the subject could be transformed into something much more interesting, more meditative, with references to memory, chance, time, painting. The series began."
"From the moving train, fleeting images of the landscape are perceived and held for a fraction of a second and then dissolve into memory The train window creates an interface between the rider and the landscape, which is normally seen as transparent, but by perceiving the window as an important part of the scene, rather than a barrier, the camera transforms the subject.
Clear outlines dissolve into abstract forms, sides of buildings become washes of color; grass and trees turn into brushstrokes, and the lens records the marks and stains on the window as impartially as what lies beyond. The camera creates an imperfect memory image. There is a reference here to our inability to know anything clearly or directly; all our information is filtered by various interfaces.
The work is personal, intimate, experiential, with much left to chance. Nothing can be planned; decisions have to be made in an instant. Every picture represents Wow! I like that! Click. After many such clicks, patterns emerge which help the photographer anticipate certain effects.
Different cameras have been used, from professional to cell. As the work has progressed over 10 years, it has become more abstract and more about my own mind, but I believe the images still resonate in the memories of train riders."
About Phyllis Crowley
"I grew up in New York City. I learned how to use a camera from my father at about age 11, and how to print shortly after that. We worked in a tiny room in our apartment on an old table with water carried in from the kitchen. The magic of the process became clear when the image appeared in the developer, and because it was never as sparkling as desired, I also knew there were secrets to be learned. I am self-taught with additional instruction from Visual Studies Workshop and Maine Photographic Workshop. I graduated from Vassar College, and have many years of professional and teaching experience.
I currently live in New Haven. I have twice received an Artist Fellowship from the Connecticut Commission on the Arts, and exhibit nationally. I am a member of City Gallery in New Haven. My work is in public, corporate, and private collections."
January 9 - March 25, 2016
Opening reception Saturday January 9, 2 pm - 4 pm (snow date Saturday, January 16, 2 pm - 4 pm)
Our winter exhibition features artists from the Greater Danbury area. The exhibition is a break from our usual mission of exhibiting primarily prints, as it includes some original artwork in a variety of media on an open theme as well as prints and photographs.
My training in traditional sculpture and graphic design has led to a non-traditional approach in installation, process based work. I utilize a large range of domestic materials to represent fragments of my existence as an artist and a woman. I primarily focus on expressing emotions abstractly through material based explorations. I’m interested in constructing, being so involved with the work that it becomes a true extension of myself. My work is a reflection on my relationship to others, observations and significant life experiences. A consistent theme is the expression of building, destroying and rebuilding; an acknowledgment of the vulnerability and breaking down in life shadowed by a naive hope for the rebuild."
Katie Bassett has specialized in conservation, curating and exhibiting for the past 13 years. Bassett has a BFA in Sculpture, BA in Graphic Design and a MFA in Mixed Media Painting. She has also received many prestigious art scholarship and residencies including a full scholarship to Chautauqua’s Artist Residency in 2012.
Paul R. Berger
Paul was born and raised in Louisville, KY. Growing up in a family that had several cameras for him to experiment with, Paul can recount early experiences with his parents’ Kodak instamatic cameras with the easy load cartridges and the flash cubes, and his own inexpensive Polaroid camera. Later he discovered his brother’s Mamiya range finder camera. About the time he graduated from High School he had purchased a Canon FTb 35mm camera of his own.
Paul attended Emory University in Atlanta where he was able to take photography courses and learn B & W darkroom and printing techniques. Atlanta also offered a wide variety of photo opportunities including street photography, architecture, live concerts, and landscapes for Paul to broaden his experience. At that time he won first place in an Atlanta Journal and Constitution photo competition.
With a Master’s degree in Corporate Communications from Fairfield University, Paul pursued professional opportunities that also drew on his writing and editorial skills. He’s been in business communications for over 25 years, creating and managing both written and visual media. As former Director of Marketing Communications for Philips Medical Systems, and now with his own communications business, Paul has written, edited, and art directed newsletters and publications, reviewed photographers’ portfolios, directed photo and video shoots, handled media relations and overseen numerous visual and print campaigns.
While Paul’s interest in photography never diminished, his purchase of a Pentax 6 x 7 medium format camera some years ago sparked a renewed interest in showing more of his work. His photographs, all shot with film, have appeared in a variety of juried shows and solo venues in Connecticut, Massachusetts, and Vermont. A number of his pieces are also in private collections throughout the region.
Paul lives in Newtown, CT with his wife.
Karen Bonanno (New York, 1968) is a contemporary figurative artist living and working in Connecticut. Working predominantly in oils, her paintings, mostly figures and landscapes, are invented images based on memory and/or sketches.
She received her B.A. in Fine Art from Western Connecticut State University and completed a residency at Vermont Studio Center. She has exhibited in group and solo shows in New York and Connecticut, including Prince Street Gallery in NYC and WAA in Washington, CT.
New Preston, CT
I approach photography in the same way I approach life – with an insatiable curiosity towards the complexity of the human condition. I enjoy exploring the dynamic interplay and gradations between seemingly incongruent concepts – strength & vulnerability, intimacy & isolation, illusion & reality. I am also drawn to the feelings associated with longing, dreams, impermanence, death & rebirth. With my camera I can explore these concepts from the position of an objective observer. In my recent portrait work, I am exploring many of these concepts in a more intimate and vulnerable way as a participant-observer.
The inability to couple a thought with a sustained and focused action can be an asset if one can be patient and accept that condition as temporary. Let the mind wander and the hand fiddle. Attention is a slippery proposition. The unison of idea and craft will come, eventually. When it does it is important to seize that little bastard by the scruff of its neck and work the living @^$#% out of it. Thus transforming that period of seeming inactivity into material, tangible evidence of an existence. There is no down time. I have found that keeping this notion in mind is challenging yet essential. Couple that with a good pair of Italian shoes and you’ve got something.
Rock on. - Chris Durante, June 2010
I was born in The Bronx under the watchful gaze of the Eisenhower administration, it was summer and the Yankees were in first place. Somehow I have managed to make it through to the current debacle. During this time I have attended school, watched a lot of television, gained and lost about a thousand pounds, made and spent money, fallen in and out of love, suffered through George Steinbrenner, Billy Martin and A-Rod, made a lot of drawings (some of which reside at addresses far more tony than mine), been witness to miracles large and small, broken bread with scoundrels and sages (often at the same meal), seen walk-off home runs and ninth inning strike outs, met and fell in love with the woman who is my wife, started a business, taught, read too many books, eaten too many pastrami sandwiches and not enough broccoli rabe, said yes when no would have been better and vice versa, etc… all my experience and education has led me to one immutable truth, life is a coin flip-one side you get to buy candy, the other you have to pay the dentist.
Seriously, I graduated from Western Connecticut State University in 1981 with a bachelors in Graphic design. Three years of evening extension classes at SVA in New York helped me make the transition from commercial to fine art. Since 1981 I have operated my own Framing/Art Handling business in Danbury. My clients include The Aldrich Museum, The Center for Contemporary Printmaking, The State of Connecticut Prison Arts Program and many local and international artists. I have been teaching Drawing at Norwalk Community College since 2001. I also work with The Aldrich Contemporary Art Museum as a preparator, framer, educator and some time lender and sponsor. The hard fact of having to put food on ones table has made me see the wisdom of coupling one's artistic endeavors with a sense of business. - Chris Durante, January 2016
Jim Felice is a painter and sculptor. He has exhibited throughout Westchester and Fairfield Counties in solo and group exhibitions including: Kouros Gallery and Sculpture Center, (Ridgefield, Ct.), A-Space Gallery, (West Haven Ct.), Scott and Bowne, (Kent Ct.), The Bartlett Arboretum, (Stamford Ct), The Time Warner Building (NYC), The Stamford Museum and Nature Center (Stamford, CT), Zoe and Floyd Gallery (Seymour, CT), The Sculpture Barn (New Fairfield, CT), Silvermine Guild Gallery, (New Canaan, Ct), Hiram Halle Memorial Library (Pound Ridge, NY), The Gallery at Onatru (South Salem, NY), Northern Westchester Center for the Arts (Mt. Kisco, NY), and Colby College (Waterville, ME).
Jim is the recipient of numerous awards including “Award of Excellence in Sculpture” at the Northern Westchester Center for the Arts (2000). He also won “Best in Sculpture” (1991), “2nd Prize in Sculpture” (1993) and “2nd Prize in Painting” (1994) all from juried exhibitions at the Stamford Art Association.
Jim's craftsmanship and specialization in paint application has won him many restoration commissions by galleries, estates and collectors. He has restored sculpture by Alexander Calder, Anthony Caro, Roy Lichtenstein, Alexander Liberman, Henry Moore, Louise Nevelson, Claes Oldenburg, Kenny Scharf, and Joel Shapiro among others.
David Haislip is a photographer and multi-media artist from Danbury, CT. He has an extensive fine arts background, and was a luthier for many years. His interest in cartography informs his work, and he considers himself a free-floating apex.
New Fairfield, CT
Stacey Kolbig allows for the play of visual information as it changes form. Her practice is designed to function as a feedback cycle responsible for tracking its own production. Disciplines collapse into and onto each other as each work assumes the role of source and subject for its successor. Work accumulates as independent and individualized forms dependent upon each other as the process continues as question; will the whole prove greater than the sum of its parts?
Stacey Kolbig is an artist and educator based in New Fairfield, Connecticut.
Karin Mansberg was born in Estonia. She earned the MFA in Illustration from the Western Connecticut State University in 2013. She has studied Art History and Criticism in the Estonian Academy of Art in Tallinn, Estonia (1996-99). During her studies in the WCSU, Karin also learned printmaking, a medium she continues to explore in her work as an illustrator. Her work has been exhibited in various group and juried shows in Connecticut, New York City, and in Raleigh, North Carolina. Her artwork is in private collections in USA, Estonia, and England.
Mount Kisco, NY
Vito Pasquale lives in Mount Kisco, NY with his wife and two sons.
Alegrobot is a mixed media artist known particularly for creations with a curious and almost witty undertone. Harnessing inspiration from an infinite combination of materials and processes, each piece discloses an individual card from the rolodex of personal attachments. Pulling parts from inventory, fusing them together and then refining them results to a machine-made feel while still leaving that human touch intact.
Lori Robeau is an interdisciplinary artist who explores ideas about subjectivity and the disjointed relationship between human kind and the natural world. Her work has been acquired by numerous private collectors and has been exhibited in group and solo exhibitions throughout the Northeast including Blue Mountain Gallery, The Duxbury Art Complex Museum, The Warwick Art Museum, The Slater Memorial Museum and The Pearl Street Gallery. She holds a MFA from Vermont College of Fine Arts and currently works as the Visual Arts Assistant at Western Connecticut State University.
Elyse Shapiro has been a photojournalist, event and corporate photographer and photography teacher for more than 30 years. In addition to being Chief Photographer at Brooks Newspapers, Elyse's photojournalism career has included work for the New York Times, USA Today, Weekly World News, American Photographer, and others. Her teaching experience has included positions at Photographics Workshop in New Canaan CT and Norwalk Community College. Currently, she teaches at the Silvermine Guild of Art, New Canaan and Western Connecticut State University, Danbury CT., where she teaches a variety of photography classes. She studied at the Arts Student League in NYC and Museum of Fine Arts in Boston. Elyse has a BA in Art History from the University of Bridgeport, CT.
Her own work has been exhibited widely, including:
'Nighttime in New York' at the NY Cultural Center,
'Revisions' and “Environmentality” Art & Ecology The Carriage Barn, New Canaan CT.
WCSU Higgins Gallery: “Creativity & Compassion 2014 &
Faculty Exhibition 2015
New Pond Farm Curated THROUGHOUT THE SEASONS 1st annual photography show
UCONN Stamford Art Gallery
“Missing Links” - The Gallery at the Institute Library, New Haven, CT.
Faculty shows at the Silvermine Guild 1997-present
The infinite mysteries of nature, with their contrasts between pure simplicity and deep complexity, are a constant source of Dayna’s inspiration. Often combining "nature made" with "human made" objects, she strives to transform both into fresh, thought provoking and emotionally stimulating experiences for the viewer. Her belief in the importance of recycling and the offensiveness of encroaching consumerism are reflected in scavenging found objects.
Dayna seeks to elevate individual components beyond the mundane routines of everyday life while respecting, honoring and sharing the rich bounty of the items provided by nature. Her fascination of nature’s shapes, colors and textures, combined with society’s castoffs, form the base of interpreting their unique messages into three dimensional creations.
Her inherent curiosity leads her to utilize diverse, non-traditional, and unexpected materials. Fiber, wasp nests, barbed wire, and found objects are examples of items that are often utilized as a means to communicate a wide range of emotions and tactile sensations.
Dayna was born and raised in Los Angeles, California. She grew up in her father’s professional art studio, often assisting with his various commissions. Her family spent many hours outdoors at the nearby beaches, mountains and deserts which developed Dayna’s deep connection to nature at a very early age. She studied art at Cal State and later lived in Paris for 5 years. Now based in Danbury, Connecticut, Dayna cherishes the bounty of each season and all that nature constantly provides for her artistic stimulation.
New York Diptychs: I & II
Photographs by Robert Kalman
October 13 - December 18, 2015
Opening reception Saturday October 10, 2 pm - 4 pm
A portrait has as much to do with the relationship between the sitter and the photographer as it does with creating a representation of the person on a sheet of film. The relationship expands when you, the viewer, become present and join us. Portraits reveal, and this series holds on to a moment of shared intimacy between me and people I stop on the street. And now, you are included in this intimacy as you view what the two of us have created. Finally, the handwritten note along side the image: it is meant for you.
About the photographer
For over thirty years, Robert Kalman has been making formal, large format portraits of people he meets on the street. In addition to his large format portraiture, he has worked as a freelance editorial photographer for regional newspapers and magazines in the northeast. He has studied with photographic luminaries such as the late Arnold Newman, the late Mary Ellen Mark, Marie Cosindas, Judy Dater and Jeff Cowen. His work has taken him to Mexico, Israel, Paris, London, Rome, New York City, Lisbon, Madrid, Istanbul, Budapest and Panama.
Among Robert’s published work: a book on interracial couples, and one on the Kuna of Panama, as well as several volumes of portraits made on the streets of New York and cities across Europe. His latest book is devoted to Nicaraguan villagers photographed twenty years apart. Robert’s most recent work is a series of diptychs; formal street portraits shown along side descriptions that are handwritten by the sitter. These have been exhibited widely: In New York City at The Soho Photo Gallery and The Center for Photographic Art; in Poughkeepsie, NY at Barrett Art Center; in Portland, OR at Black Box Gallery; in Philadelphia at ONWARD Compé; and in Fort Collins, CO at The Center for Fine Art Photography
Robert Kalman and his wife, Linda, live in the Mid-Hudson Valley region of New York.
Mobile Pics CT 2015
Connecticut-themed cellphone photo exhibition
June 13 - September 25, 2015
Opening reception on Open House Day
Saturday June 13, noon - 5 pm
This community-based exhibition of cellphone photographs features over 120 images taken in Connecticut. The results are diverse and interesting.
The exhibition opens on the State of Connecticut's 11th Open House Day--a statewide celebration of culture, history, and art.
On Open House Day, June 13th, 2015:
12 noon - 5 pm Exhibition opening with refreshments
1 pm - 4 pm Alternative process photo demos (cyanotype, Van Dyke brown, digital hand-sanitizer transfer)
The photographers are:
Seth Adam, Michele Lee Amundsen, Michael Arafeh, David Arbour, Todd Atkinson, Adrienne Aurichio, Stella Maria Baer, Gabrielle Barrett, Julie Beman, Dan Bishop, Eric Bloomquist, Dave Bonan, Karrie Bulger, Dawn Burdick, Wendy Cahill, Danielle Capalbo, Jeff Cedrone, Ken Dixon, Adeline Crites-Moore, Shona Curtis, Shannon Duggan, Chris Durante, Mark Estrada, Sheryl Fatse, Ann Franzen, Arthur Gerstein, Renato Ghio, Lys Guillorn, David Haislip, Jen Haislip, Violet Harlow, Mary Harold, Karl Heine, Hank Hoffman, Aaron Houghtaling, Joanne Hudson, Christy Jackson, William Jones, Philip Keane, Karen Kalkstein, Stephen V. Kobasa, Stacey Kolbig, Phil Langin, Tiffany Lee, Isabel Levy, Melody Levy, Elisabeth Levy, Karin Mansberg, Sara Marquis, Samantha Mauro, Julie McNeil, Suzanne Molineaux, Vito Pasquale, Alegre Poniros, Sarah Rand, Barbara Ringer, Colleen Roche, Emily Roff, Michele Russell, Mark Savoia, Jennifer Schlesinger, Christina Spiesel, Allen Swerdlowe, Catherine Vanaria, Dan Villeneuve, Erin Waterfall, Dayna Wenzel, Samantha Yamin, Andrea Zimmermann.
Photographs from the Corporate Collection
March 30 - May 29, 2015
Photographs collected by Connecticut Photographics and Still River Editions' co-owners Catherine Vanaria and Mark Savoia
Over the years we have collected photographs that appealed to us. Periodically we like to share what inspires us with the public. The photographers whose work is featured in this current exhibition are: George Brace, Loomis Dean, Roy DeCarava, Benjamin J. Fernandez, André Kertész, Lotte Jacobi, Eric Lindbloom, Barbara Morgan, Vincent Serbin, Ken Shung, Jim Stone, Pennie Smith, Baron Raimund von Stillfried, Jim Stone, Jock Sturges, George Tames, and George Tice.
The collection also includes photographs not on exhibit by: Shelby Lee Adams, Dave Anderson, Richard Avedon, Roger Ballen, H. H. Bennett, Judith Black, Walker Blackwell, Tyler Boley, Garry Camp Burdick, Debbie Fleming Caffery, Kristin Capp, Alberto Caputo, Krisanne Carnovale, Vincent Cianni, Robert Clayton, Jon Cone, John Dean, , Charles Duke, Chris Durante, Michelle Eabry, Harold “Doc” Edgerton, Donna Ferrato, Larry Fink, Roberto Galindo, Arnold Gold, Elijah Gowin, Bobby Grossman, Philippe Halsman, Eugene Harris, Pamela Ellis Hawkes, Lauren Henkin, N. Jay Jaffee, Lance Keimig, Bill Kennedy, J. Scott King, Antonin Kratochvil, Elliot Landy, E. Wright Ledbetter, Lawrence P. Lewis, , O. Winston Link, Kathi Littwin, Jacques Lowe, Lee E. Male, Tanya Marcuse, Mary Ellen Mark, Leah McDonald, Richard Mei, Jonathan Moller, Darrow Montgomery, Inge Morath, Christine Osinski, Tom Petit, Lauren Piperno, Frank Pocklington, Philip Porcella, Bill Quinnell, Genevieve Rix, Harold Roth, Lucas Samaras, Raphael Shevelev, Michael Shiffrin, Ken Stabile, Edward Steichen, Cecil Stoughton, Maria Sweeney, Charles Traub, Guy Tremblay, Juliet Varnedoe, Barbara Vaughn, Peggy Washburn, Robert Welsh, Pam White, Jessica Wilmont, Mariana Yampolsky, and Gale Zucker.
Dreamless, Unalive, Perfect
Photographs by William Frucht
January 10 – March 27, 2015
Opening reception Saturday, January 10, 2 pm - 4pm
Snow date, Saturday, January 17, 2 pm - 4 pm
"Opera House, Ansonia, CT", "Office, Naugatuck, CT" © William Frucht
"People have always created things, discarded and forgotten them: this is why we have a science of archaeology. Over time, the things we discard and forget have grown larger and more complex. Once it was stone arrowheads, now it is houses, stores and factories. These things, once abandoned, immediately begin to vanish as nature begins the slow work of taking them back.
Without wishing to forbid any particular understanding, let me stake out the negative space of this series—what it is not about. It is not a warning; it is not a judgment; it does not moralize. It does not hope to evoke nostalgia for a better time, now lost. It is no sort of environmental protest. It is not a grim document of our current economic condition. The presence of the people who once lived and worked here is unavoidable: their lives had a meaning we can guess at but can never recapture. Still, I am less interested in what people took away from these places than in what they left behind, and what happened to it. What continues to happen to it.
What we mistake for entropy is in fact a different version of order: the slow trans- formation of straight lines into curves and polished surfaces into rough, mottled ones, the unfastening of joints, the unweaving of cloth, the unmooring of words from meaning. Everything hard becomes soft, everything closed becomes open, everything barren becomes fertile."
William Frucht’s photographs have been exhibited at Creative Arts Workshop in New Haven, Carriage Barn Arts Center in New Canaan, and the Fairfield Museum and History Center. This is his first solo exhibition. He is a Danbury resident.
Photographs by Lisa Cohen
October 25 – December 19, 2014
Opening reception Saturday, October 25, 2 pm - 4pm
The black-and-white images included in the exhibition “Saddle Horse” reflect South Salem, NY photographer Lisa Cohen’s time spent in Colorado photographing working horses during the annual Great American Horse Drive.
Each year, approximately 800 of these “saddle” horses are rounded up from their overwintering pasture where they live largely free from human contact for most of the year. Once they are all accounted for, they are driven approximately 60 miles against the stunning backdrop of the Colorado range, to their destination at a private ranch. Cohen has returned to participate in and photograph the event four times over the last five years.
Cohen explains, “I have an affinity for these horses because of their history and heritage. The herd contains a mixture of breeds including American Quarter Horses, Draft horses, and others. Some are believed to be descendants of the wild mustang. During the drive, they move together at a swift and thunderous pace, creating a beautiful, colorful sea of horses.”
Soon after they arrive at the ranch, they are sent out to work for the summer months in Colorado and the surrounding states until they come back to the ranch and they are set free once again for the winter.
In Cohen’s words, “The wonder and majesty of these creatures becomes clearer when you see how healthy and vibrant they look after a winter out on the range where weather conditions can be harsh and food may be sparse. During that time they live as wild mustangs do. They’re as close to free as you can be.”
Talking about her photograph, “Stolen Moment,” Cohen said, “They typically live in smaller groups or pairs within the herd and during the drive they will search and call for each other if they are separated. They will not stop searching for their mates until they are reunited and those moments can be very poignant. Each time I return to photograph the drive; I look for the horses that I know are partners. The two horses in ’Stolen Moment‘ struggle fiercely to find each other during drive and I was lucky enough to catch them reuniting for a serene moment during an otherwise chaotic day.”
Award-winning equine photographer Lisa Cohen of South Salem, NY spends as much time as she can photographing horses in the American West. She has a special interest in photographing America’s wild mustangs, but also loves to capture the beauty and versatility of hardworking American ranch horses.
Cohen studied photography for many years, and in her early career, she was an intellectual property attorney working for Condé Nast Publications, owner of one of the most historically significant photographic archives in existence worldwide. She says, “I have been fortunate enough to be able to switch gears and stand behind the lens instead. I am constantly striving to capture the natural beauty and elegance of the people and animals that I photograph.”
Cohen’s photographs are included in numerous private collections.
Wide Awake in Dreamsville
Photographs by James Rohan
June 14 – Sept. 26, 2014
Opening reception / Open House Day Sat., June 14, 12 noon - 5 pm
Artist's talk at 3 pm
"Last Stand", "You Can Lead a Horse to Water" © James Rohan
“Wide Awake in Dreamsville” is a solo exhibition of black and white photographs by Wakefield, Massachusetts photographer James Rohan. Rohan uses "toy" cameras and traditional black and white film to capture his images. This exhibit is the third in a series at the Gallery at Still River Editions that focuses on contemporary photographers who use film in this age of all things digital.
For thirty-five years, Rohan worked in the photographic industry as a commercial photographer and co-owner of a photographic lab. Rohan exhibits nationally, and was recently the featured artist of the 7th Annual Juried Plastic Camera Show at RayKo Photo Center, San Francisco, CA.
The opening reception is Sat., June 14, 2014 from noon – 5 pm and is part of the State of Connecticut’s 10th Annual Open House Day. The event is free and open to the public. There will be refreshments and James Rohan will give an artist’s talk at 3 pm. It is the Gallery at Still River Editions’ 4th year participating in the annual event, which involves over 200 organizations and attractions across the state. Other Danbury venues participating in Open House Day are Danbury Railway Museum, Art & Frame of Danbury, and Trailer Box Gallery.
Artist's Statement: James Rohan
I am a late arrival to my own photography. I spent thirty-five years in the commercial photographic industry as a studio photographer and photo lab co-owner. To this end, my time was devoted to making images for others. But in the past five years, in the semi-retired commercial photographic life that I now lead, I have rediscovered my own photography through the use of plastic cameras. Why plastic cameras? Well, it's pretty much the antithesis of everything that I did in the commercial photographic world for all those years. I think of using plastic cameras as sort of a therapy, a cure for the super sharp, detailed color images that dominated my professional past. The commercial imagery has now been replaced for the most part by blurry black & white images. These images are evocative of memories and dreams for me and allow me to create my own personal photographic past that I missed for the last few decades. I find that plastic optics, rather than super sharp modern lenses, are wonderful tools for recording places as memories. As I get older and have less of a future and much more of a past, I'm storing up these half-remembered moments quickly these days, making up for lots of lost time.
Photographs by Paul R. Berger
April 12 - May 30, 2014
Opening reception Sat., April 12, 3 pm - 5 pm
(free and open to the public)
“Discovering Solitude” is a solo exhibition of the work of Newtown, CT photographer Paul R. Berger. Berger says in his artist’s statement, “The concept of solitude means discovering a place, or a state of mind, that can exist without other people directly intruding, at least for a few moments. Yet the viewer has the opportunity to project themselves into that environment and imagine what it might feel like.” Berger’s work in both black-and-white and color is shot entirely on medium-format film.
Fadeless Imagery: Light and Memory
Photographs by David Blackett and Lys Guillorn
January 11 - March 28, 2014
Opening reception, Sat., Jan. 11, 4 pm - 6 pm
(snow date Sat. Jan. 18, 4 pm - 6 pm)
Fadeless Imagery is an exhibition of photographs by David Blackett of Stratford, Connecticut and Lys Guillorn of Shelton, Connecticut. In a world obsessed with digital cameras, Blackett and Guillorn both use photographic film in traditional cameras as the means for their expression.
David Blackett uses both antique and plastic cameras to help capture the landscapes and objects that are his subjects. Many of his photographs depict coastal subjects, and shoreline living. His black and white photographs are printed traditionally (in chemistry) and his color prints are made digitally, using archival inkjet printers. He said of his photographic approach "I just want to go out and play with my cameras and make some pictures," which emphasizes the creativity of his observations and openness to experimentation.
Lys Guillorn makes black and white images using a plastic Holga medium-format "toy" camera that has been her primary instrument for the past 14 years. She employs a hybrid of traditional and digital technology; she scans her film, adjust the files in Photoshop, and has them printed by Mark Savoia at Still River Editions. Over the years, Guillorn has moved away from the portraiture that dominated her earlier work, and toward shimmering landscapes that often depict the play of light and shadow on buildings and natural objects.
3rd Annual Affordable Art Print Exhibition:
The Big Little Pin-Up
Photographs and Prints
September 28, 2013 - December 20, 2013
"The Big Little Pin-up" is The Gallery at Still River Editions' take on a small works show. The exhibit features photographs and prints of artwork, 8”x10” or smaller by national, regional and local artists. Because our gallery's focus is mainly on printed work, the exhibit excludes originals. In order to encourage the broadest range of submissions, entries will not require frames. It is called a pin-up show becuause the entries will be pinned to the gallery wall panels using map pins. The exhibit includes over 80 pieces by fifty photographers and artists.
List of artists (will be updated as we receive entries)
June Archer (Danbury, CT)
Todd Atkinson (Collinsville, CT)
Alan Berkson (Milford, CT)
Karla Bernstein (Newtown, CT)
David Blackett (Stratford, CT)
Garry Burdick (Southbury, CT)
Ann Harriet Carew (Roxbury, CT)
Karl Decker (Monroe, CT)
B.J. Dinto (Danbury, CT)
Tony Donovan (Ivoryton, CT)
John Fasulo (Beacon, NY)
William Giese (Brewster, NY)
Jessica Glick (Danbury, CT)
Tatiana Golovnya (Redding, CT)
Jonathan Gordon (Redding, CT)
Lys Guillorn (Shelton, CT)
David Haislip (Danbury, CT)
Nancy Hill (Weston, CT)
Martina Jackmuth (Germany)
Phyllis Keenan (Denver, CO)
Arielle Kubie (Middletown, CT)
Grace Scharr McEnaney (Newtown, CT)
Kathie Miranda (Shelton, CT)
Marge Malwitz (Brookfield, CT)
Simon Melzer (New Milford, CT)
Suzanne Molineaux (Danbury, CT)
Adele Moros (Bethel, CT)
Daniela Muhling (New York, NY)
Ruth Newquist (Newtown, CT)
Banjie Nicholas (Warren, CT)
Christopher Olszewski (Brookfield, CT)
Vito Pasquale (Mt. Kisco, NY)
Alegre Poniros (Milford, CT)
Bill Quinnell (New Milford, CT)
Jim Rohan (Boston, MA)
Barbara Ringer (Danbury, CT)
Michele Russell, (Stamford, CT)
Michael Rollman (New Fairfield, CT)
Henry Roth (Wallingford, CT)
Peter Schachter (Danbury, CT)
Jean Sanders (Sewall's Point, FL)
Marko Susla (Edison, NJ)
Gary Stanford (Danbury, CT)
Mark Savoia (New Fairfield, CT)
Claire Tuffereau (New Fairfield, CT)
Donald Turner (New Milford, CT)
Rick Tyrseck (Danbury, CT)
Catherine Vanaria (New Fairfield, CT)
Andrea White (Danbury, CT)
Peter R. White (Danbury, CT)
Dennis Yates (Woodbury, CT)
Mary-Jo Young (Danbury, CT)
Photographs by Catherine Vanaria
June 8 - September 27, 2013
Catherine Vanaria, "Top Hat" © 2013
Nearly Forgotten is a solo exhibition of photographs by Catherine Vanaria. Catherine Vanaria has been photographing hats in the collection of the Danbury Museum and Historical Society since 2011. Vanaria's hat photographs are softly focused, and are carbon pigment printed on rice paper, making them look solid, but ethereal. The hats serve not just as artifacts, but as documents of the eras from which they originated. Their current value is reinforced by being photographed. In addition to her original photography, she has also curated a selection of "salvaged" photographs of hats and headgear that tie into her own.
Vanaria is an Assistant Professor of Photography at Western Connecticut State University and has been a fine art photographer and professional photographic printmaker for over 30 years. She is co-owner of Connecticut Photographics. Her first book, "The Boston Years: The Music Scene in Photos", was published in 2008 by Laughing Camera Press. She received an M.F.A. in Visual Arts from the Art Institute of Boston, Boston, MA in January 2012.
We are all collectors. We have albums and shoeboxes of stuff that we’ve removed from our shelves and put into storage for safekeeping. But something happens when things are removed from our sight. Connections to memories kept under cover get diffused and are slowly forgotten.
For the past three years, I’ve been exploring Danbury’s history through the archives of the Danbury Museum and local tag and estate sales to build my own understanding of the lost stories of this area. I’m creating my own historical archive by collecting and photographing objects found at these locations that might otherwise be destined for the trash bin.
This on-going photographic project ebbs and flows with each new discovery. I am attempting to bring both the past and present day histories together to comment on our changing country, bringing forth the old stories that have settled this community to question its future.
--Catherine Vanaria © 2013
Drawings by Chris Durante
March 11 - May 31, 2013
Chris Durante: Untitled Ball Player #1, Untitled Ball Player #2 © 2013
Ball Players is a solo exhibition of new drawings by Chris Durante of Redding, Connecticut. Durante uses ink and collage elements to express his nearly life-long interest in all things baseball, in particular the characters that inhabit the "cathedrals of baseball". The stylized figures convey the attitude and soul of players past and present, real and imaginary.
I think my first out-of-body experience occurred when I was eight years old. My dad took me to Yankee Stadium for the first time to see the Yankees play the Senators. Nothing prepared me for that first walk through the tunnel. Every light was on, illuminating the field, mocking the efficiency of the sun on that cloudless, clear day. I didn’t know anything could be that big or green. I mean GREEN. I was both above it and in it. Time slowed. My sense of sound was heightened, turning into frequencies that were new, yet familiar; everything was amped. The sensation halted only by my dad asking me what I wanted on my dog.
I had never imagined anything so perfect.
And then there were giants.
I got up close to the visitors dugout where Frank Howard was signing autographs. He was huge but did not seem to be dwarfed by the scale of the stadium. He, and the other players who were taking batting practice, seemed right at home. I had been reading Greek myths and this setting gave me a visual to put with the stories of Ajax and Hercules. Nothing would ever be the same.
I love the game of baseball, its lore, history, and aesthetic. Statistics and teams, while interesting, are secondary considerations. I am equally at home in a sold out cathedral of baseball or watching a group of kids hash it out in an abandoned lot.
It seems that our lives are spent trying to regain the innocence of that first experience when everything was new, mythic and unsullied by quotidian demands. These drawings are my attempt to get back to that place.
I was born in the Bronx under the watchful gaze of the Eisenhower administration. It was summer, and the Yankees were in first place. Somehow I have managed to make it through to the current debacle. During this time I have attended school, watched a lot of television, gained and lost about a thousand pounds, made and spent money, fallen in and out of love, suffered through George Steinbrenner, Billy Martin and A-Rod, made a lot of drawings (some of which reside at addresses far more tony than mine), been witness to miracles large and small, broken bread with scoundrels and sages (often at the same meal) seen walk-off home runs and ninth-inning strike outs, met and fell in love with the woman who is my wife, started a business, taught, read too many books, eaten too many pastrami sandwiches and not enough broccoli rabe, said yes when no would have been better and vice versa, etc. All my experience and education has led me to one immutable truth: life is a coin flip—one side you get to buy candy, the other you have to pay the dentist.
Seriously, I graduated from Western Connecticut State University in 1981 with a bachelor of arts in graphic design. Three years of evening extension classes at the School for Visual Arts in New York helped me make the transition from commercial to fine art. Since 1981, I have operated my own framing and art handling business in Danbury. My clients include the Aldrich Contemporary Art Museum, the Center for Contemporary Printmaking, the State of Connecticut Prison Arts Program, and many local and international artists. I have been teaching drawing at Norwalk Community College since 2001. I also work with the Aldrich Contemporary Art Museum as a preparatory, framer, educator, and sometime lender and sponsor. The hard fact of having to put food on one’s table has made me see the wisdom of coupling one’s artistic endeavors with a sense of business.
Connecticut ASMP Photography Exhibition
January 3 - February 28, 2013
Participants: Nikki Alekson, Rich Pomerantz, Christine Chiocchio, Jim Fiora, Richard Freeda, Carl Vernlund, Liz Calvi, Edwina Stevenson, Donna Callighan, Christopher Beauchamp, Gale Zucker, Michael Garner, Ronald L. Glassman, Barry Hyman, Jane Schauck, Phil Nelson, Peter Wnek, and Pam Rouleau.
2nd Annual Affordable Art Exhibition: Photography
October 6 - December 21, 2012
Opening Reception Saturday, October 6, 4 - 6 p.m.
This invitational photography show gathered some of the area’s best photographers to celebrate Connecticut Photographics’ and Still River Editions’ 25th anniversary.
The photographers are Shona Curtis (New Milford), Paul Berger (Newtown), David Blackett (Stratford), Garry Burdick (Southbury), Karl Decker (Monroe), Tony Donovan (Ivoryton), David Haislip (Danbury), Keith Johnson(Hamden), Paul Jones (New Britain), Ben Larrabee (Darien), Jay Misencik (Monroe), Karen Neems (Stamford), Ann Reeves (Redding), Michele Russell (Stamford), Graham Scott (Deep River), Marko Susla (Edison, NJ), and Dennis Yates (Woodbury).
The photographs were archivally printed by Still River Editions.
Selected Works by Bernard Boffi
July 9 - September 28, 2012
ORIENTATION is a solo exhibition of archival digital fine art prints by Bernard Boffi, whose monograph of the same name was published in 2010. Boffi is a painter, photographer, printmaker, filmmaker, and arts educator from Kent Lakes, NY. In his foreword to the book, critic Donald Kuspit describes Bernard Boffi's prints as "masterpieces of what might be called expressionistic surrealism."
The prints included in the exhibit ORIENTATION are classic prints based on Boffi's work as a painter, and stamp prints, which are collage works he says are "in the manner of Robert Rauschenberg that use postage stamps as elements like those in a still life." His classic prints, "have to do with things in nature that are invisible. Natural phenomena – like the idea of polarity is something that we know but we can't see, and is used for us to navigate through time and space."
THESE WORKS ARE AN EXPLORATION…
A CELEBRATION OF THE INVISIBLE,
WHERE THE STRENGTH OF ITS HIDDEN ARCHITECTURE
LIES IN A WINDOW TO OUR DREAMS
THE SLEEPWALKING NEEDED,
LIVING UNDER THE INVISIBLE… AWAKE
Bernard Boffi was born in Greenwich Village in New York City in 1943. He attended the School of Visual Arts and graduated in 1966. The same year, he married the artist Ingrid Soltner. In 1967, he worked on his first portfolio of paintings when he and Soltner moved to Germany, where they spent a year traveling. Upon returning to New York City, they lived on 2nd St. next to Claes Oldenburg's famous store front, the scene of early performance art including the film Hippodrome Hardware. This fostered Boffi's interest in Avant-garde film; he began making films in the early 70s into the early 80s. The peak creation of this period was Boffi's film Photoplays, which the filmmaker Kenneth Anger described as "deliciously dangerous." Boffi was one of the founders of one of the first alternative schools in the country where he developed an art program based on the Avant-garde in NYC. Boffi became an early adopter of digital printmaking. He has two sons, Oliver and Andreas, and now maintains a studio in Kent, NY.
New Work by Gene Gort
April 5 - June 29, 2012
The exhibition Intellectual Property at the Gallery at Still River Editions features archival digital print editions of new work by multi-disciplinary artist Gene Gort. His new series reveals a hidden beauty that emerges from his interaction with the technology meant to keep people from illegally copying movies. Some of the prints have elements that look familiar, while others are pure geometric abstracts.
The entire Intellectual Property series, as well as his other work, can been seen at www.genegort.com.
"I have recently become interested in NOISE; visual and sonic. The current project, "Intellectual Property", focuses on the visual noise generated from attempting to extract video from copyright encrypted commercial data DVD's. As an educator who uses video clips as a mainstay of my classroom practice, I am always showing samples from various sources.
Recently, while attempting to extract sequences from mainstream movies, I was struck by the endless variation of intentional visual noise this process generates in order to keep me and everyone else from illegally copying movies. Through various encoding and decoding software, I found that the variability and randomness of the encryption algorithms produced remarkably unpredictable distortions and abstractions of the images. So much so that it was nearly impossible to get the same results twice.
The images in this series are screen-grabs from this process; a kind of performance that I do responding to the real-time events I am watching on screen. The titles are an ironic pairing of "intellectual property" and the film title, like "Stolen", "Catch Me If You Can", "Precious", "Babel" or "Gone with the Wind". The work has nothing to do with plot or characters depicted in the movies nor do they mimic any of the imagery or scenes.
The images here represent a visual equivalent to the collision of the video, computer code, encryption algorithm and extraction process, my aesthetic sensibility and performance acumen - an equivalency that is independent of the content of the original source."
Gene Gort is a visual artist whose artistic practice is concerned with making the ordinary significant. He is keenly aware of the role of whatever medium he uses in this process be it video production, installation, digital printmaking or multi-media performance.
His work has been recognized by the Connecticut Commission on the Arts with a Fellowship for video in 2001; he has received two MacDowell Colony residencies in 2003 and 2006; two nominations for Rockefeller Foundation Fellowships in 1999 and 2003; a Pollack - Krasner Foundation Fellowship in 1997; and a New Works Grant from the Edward C. & Ann T. Roberts Foundation with composer and collaborator, Ken Steen in 2005; among others. His work has been screened and exhibited internationall y including the Boston Cyberarts Festival (2009); Connecticut Biennial, Mattatuck Museum, Waterbury, CT (2008); "50,000 Beds" project, Aldrich Contemporary Art Museum/Real Art Ways/Artspace (2007); DeCordova Museum and Sculpture Park (1999); The Black Maria Film and Video Festival (2011, 2001, 1998, 1997); Foundation for Art and Creative Technology, Liverpool, UK (2006); Impakt Festival, Casco Gallery, Utrecht, Holland (2005), among others. His videotape, "Narcissus O.C.D.", was purchased in 2010 by the Connecticut State Art Collection.
He received his MFA from the University of California, San Diego and his BFA from Hartford Art School, University of Hartford where he is currently Professor of Media Arts, a program he designed and directs.
Fourteen Threadless Needles
Photographs by Vito Pasquale
January 5 - March 30, 2012
Opening reception Saturday, January 28, 2012 4-6 pm*
*SNOW DATE: SATURDAY, FEBRUARY 4, 2012, 4 - 6 PM
Vito Pasquale is a photographer and writer from Mount Kisco, NY. He is one of those people who, upon retiring from the full-time job he'd done in corporate America for almost thirty years, began to "peek down, as Frost would call it, 'the road not taken'". In 2008, Pasquale returned to writing after a long hiatus, and in 2009 he began taking photographs that reflected some of the themes in his writing. His book of poetry, Fourteen Threadless Needles, was published in 2011.
Many of Pasquale's photographs are abstracts and photo-manipulations that go beyond taking the world at face value. In his poem, "(Somewhere) After Silence (and) Before Regret", Pasquale refers to ". . .the surprisingly elastic properties of a dream." The photographs dance around that dream-state in the everyday.
Pasquale says about his photographs, "I believe it is healthy to have a casual disregard for authority. In some cases it might even be necessary to have a determined disregard – please don't tell my kids. In any case, the sky that is saturated and yellow, the off-kilter street scene, the blackened hills, the something there is that doesn't love a happy ending, these are the approaches that I take. I believe in the pretty picture, but only if it's very, very pretty, which means it's probably a flower and the bloom is fading away."
Included in the show are several photographs that relate to Pasquale's history in the Danbury area. He grew up in Mount Kisco, NY and his father worked in Danbury until 1966 at a construction company that was located near the site of the train station just up Liberty Street. Coincidentally, this is a short distance from the Gallery at Still River Editions.
The fourteen photographs are connected to poems posted online via QR codes, which viewers can scan using their smart phones, or look at online in the gallery.
by Vito Pasquale
Affordable Art Print Exhibition and Sale
Group exhibition of fine giclée prints
November 1 - December 23, 2011
The Gallery at Still River Editions is pleased to announce its first Affordable Art Print Exhibition and Sale, an invitational group exhibition of fine giclée prints of artwork by fourteen Connecticut artists.
The artists are Betty Christensen (watercolor, Newtown, CT), Grace McEnaney (Newtown, CT), Florence Froeder (watercolor, New Fairfield, CT), Tatiana Golovnya (mixed media, Redding, CT), Nancy Lasar(monotype, Washington Depot, CT), Marge Malwitz (gouache, Brookfield, CT), Adele Moros (acrylic painting, Bethel, CT), Edith Borax-Morrison (ink, Trumbull, CT), Mike Morshuk (mixed media, New Milford, CT), Ruth Newquist (watercolor, Newtown, CT), Banjie Nicholas (egg tempera, Warren, CT), Linda Pickwick (watercolor, Newtown, CT), Vicki Stevens (watercolor, Danbury, CT), and Claire Tuffereau (watercolor, New Fairfield, CT)
Moments of Grace®
Portraits by Ben Larrabee
August 30 - October 28, 2011
Ben Larrabee's artist statement:
My goal is to be authentic and honest, not merely different. My approach is based on letting go of expectations and assumptions about how people should look or behave. I want to go past formal poses and pretenses. I want to use the photographic experience as a way of finding truth and connection. My work is not about my camera: I really want to make the camera itself disappear so that I'm performing effortlessly and my subjects are acting naturally unselfconsciously, expressing their spirit and their love for one another.
I am dedicated as an artist to recognizing and recording those fleeting yet memorable glimpses of life that we take for granted, moments every family has but rarely sees revealed in photographs. I call them Moments of Grace®: when two and two equals five; when truth, spirit, love and even humor come together to create a whole that is infinitely greater than the sum of its parts. In addition to portraits I also photograph landscapes and nudes.
BEN LARRABEE IS A PORTRAIT AND FINE ART PHOTOGRAPHER FROM DARIEN, CT.
Press release for Moments of Grace®: Portraits by Ben Larrabee
Photographs by Keith Johnson and Mark Savoia
June 11 - August 26, 2011
Open House Day, Saturday, June 11, 2011 (in conjunction with Connecticut Commission on Culture and Tourism)
Special gallery hours 11 am - 4 pm
Artists' reception Thursday, June 23, 2011 5:30 - 7:30 pm
"Kannapolis" © Keith Johnson; "The Bush Presidency" © Mark Savoia
Keith Johnson is a photographic educator and fine artist from Hamden, CT
Keith Johnson's artist's statement
Re: Man(ufactured) Space started in 2004 as a response to the construction in Boston and New Haven; the places I work and live. I am interested in the way that we claim, construct, create and recreate space in the pursuit of development,and attracted to the intermediate stages of projects where the end is not in sight but the form is beginning to show. We do some marvelously goofy things trying to get stuff right. My job seems to be to observe and report. I have photographed the social landscape for 30 years now and I think I am beginning to understand the landscape, the sociology and the beauty of a work in progress. The photographs are printed 24"x30" on Crane Museo Silver Rag using Epson UltraChrome ink, by the artist, in an edition of fifteen with five artist proofs.
Mark Savoia is a fine artist and co-owner of Still River Editions and Connecticut Photographics
Mark Savoia's artist's statement
I have been working on a portfolio of photographs of found curiosities during my travels throughout New England for the past four years. The goal of this new body of work is to evoke not only humor, but the irony visible in encounters with everyday situations. I have a tongue-in-cheek view of Americana and I am constantly looking for evidence that below the surface something is not quite right in this country. It is what visually perplexes me that draws my eye, and then becomes a compelling photograph. Through the camera's selective view, I juxtapose what is considered normal in society against an increasing lack of taste. I am not attempting two-dimensional slapstick, rather satire laced with a few Freudian slips. I attempt to make no judgment when I come across these scenes. I am here to document evidence and if the viewer finds something as humorous as I do, then I have succeeded.