PAST EXHIBITIONS AT THE GALLERY AT STILL RIVER EDITIONS
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.