Re-Storying the American West (Imagemaker)

As explorers of the “New West,” how do we re-create the meaning of a place? How do we perceive its changes? These questions will guide our presentation of images, stories and other information collected by an 11-member team during a pilot expedition from Nevada’s Black Rock Desert to Yosemite in October’04. The fieldwork’s methodology was modeled after the Great Surveys of the 19th century and the recent Third View Project, which emphasized an interdisciplinary and collaborative approach. Over time and through multiple excursions, we hope to build an archive of artistic and historical value that focuses on this region’s unprecedented change.

Kyle Bajakian is a photography and educator based in Boulder, CO. He served as director of Photography and Digital Imaging at Anderson Ranch Center from 1998 to 2004 and was a member of the Third View Project.

Lisa M Robinson is a photographer and educator who received her MFA from the Savannah College of Art and Design. She received a Fulbright scholarship to pursue her photographic projects in Argentina and is currently working on a series of landscapes in the snow. She is based in New York City.

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This lecture has been cancelled.

Unlike youthful rites of passage, the journey into old age is greeted with nostalgia and a sense of loss, rather than ceremony and hopeful expectation. As westerners we are taught by public media to offer no sympathy for a body that is chronologically old. By highlighting the works of three contemporary photographers (John Coplans, Anne Noggle, and Melanie Manchot) this lecture examines the ability of photography to confront and reassess the western world’s collective response to the old(er) body.

Heather Barrett recently received her M.A. in museum studies from University of Florida at Gainesville– thesis, “Dialogue-based Art Making: Steven Siegel and an Experiment at the University of Florida.” Barrett studies the social aspects of art making, specifically relating to the ephemeral qualities of both the object and the maker.

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The photograph taken by Alfred Stieglitz called "The Steerage" (1907) published in Camera Work magazine has become a 'classic' picture, both in the history of photography and photography criticism. Yet rarely has anyone ever interrogated its social relevance and meaning beyond a critique of formalism. This paper investigates the production of the image, its meaning and its circulation. Stieglitz printed 500 photogravure copies of this image (from his own industrial company press) and was confronted with the art market commodity system of images. In this context, both the meaning of the image and its market viability intersect (a classic confrontation of what Marx called the use and exchange values of a commodity). My analysis focuses on these overlapping relations and the structure of potential meanings offered by the picture in the 'event' which it represents. Taken on a transatlantic ocean liner, the space of the picture offers itself as a ready metaphor to discuss the meaning of migration and the migration of meaning.

My lecture will contextualize the image and show how another set of meanings around this picture in terms of migration and travel have been ignored in the conventional readings of this picture.

Dr David Bate is Course Leader of MA Photographic Studies at the University of Westminster, London, UK. Taught by Victor Burgin and Griselda Pollock, he is well known for writings across many journals and an international photographic artist. His book Photography and Surrealism was published in 2004 by IBTauris/Palgrave Macmillan). His visual work is represented by Danielle Arnaud Contemporary Art, London.

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"A Nuyorican Looks Back: Reflections in Words and Images”, was the beginning of my photographic and academic pursuit of the Latino/American duality. I went back to the South Bronx and other New York City neighborhoods in the spring of 2003 and photographed these neighborhoods. The Nuyorican multimedia project is a performance piece that includes prose, reflections, and music. Nuyorican hopes to inspire others to use artistic expression to document the challenges and successes in discovering their cultural uniqueness. This passage does not have a beginning or an end, it will continue to evolve through the generations that are yet to come.

Benilda (Bennie) Pacheco Beretta is a Masters of Fine Arts’ graduate student from Southern Illinois University at Carbondale. She was born in Puerto Rico, and grew up in the South Bronx. As an artist she juxtaposes images, text, and sound to creatively visit documentary issues.

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Paul Berger will trace the evolution of his art work over the past 35 years. His long-term interests in the way photographs and allied graphic imagery can be apprehended in sequential and structured sets began in the late 1960’s. Through many forms and guises, this focus on articulated sequence and narrative has spanned the photographic medium’s transition from pure analog to present day digital. Showing numerous examples of work from all time periods, his emphasis will be on integrating one’s questions with their resulting objects; concept with output; desire with surprise.

Paul Berger is an artist and educator working in photography and digital imaging. Although photographing since 1965, he has been primarily involved in the digital manipulation of electronic imagery over the last twenty-four years. He has taught at the University of Washington since 1978, where he co-founded the photography program.

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During the 1920s, Japanese pictorial photographers in west coast camera clubs published and exhibited widely. The 1928 American Annual of Photography stated, "the influence of this group on our Pacific coast has put a lasting mark on photography in this country, the repercussions of which are echoing throughout the world." The Seattle Camera Club was almost entirely Japanese with the notable exception of Edward Curtis' assistant, Ella McBride. The members exhibited their award-winning photography around the world. With the internment of Japanese during WWII, their work was stored away or lost and their achievements were long forgotten.

Nicolette Bromberg is the Curator of Visual Materials at the University of Washington Libraries, Special Collections. Previously she was the Curator of Visual Materials at the Wisconsin Historical Society (where she helped develop the H.H. Bennett Photography Studio Historical Site), and Photo-Archivist for the University of Kansas.

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How do we construct our ideas concerning masculine identity? In an attempt to understand from where these perceptions originate, the artwork of Jesse Burke explores the sociology of male representation seen within his personal network of friends and family members. By focusing on both narrative portraiture and the "masculine spaces" these men create we begin to see how these men portray themselves and how men, from immediate family members to cultural icons, influence and dictate society’s concepts of what it means to be male.

Jesse Burke is an MFA candidate in photography at Rhode Island School of Design. He spent his childhood in a lower class suburban Connecticut neighborhood with his single mother and sister. His work is an autobiographically driven investigation into the constantly evolving spectrum of masculinity.

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I began my graduate track work by looking at the vernacular urban landscape in the central business district of Dallas. This soon evolved to include a more subjective and contextual adaptation of the Becher’s typologies, and a growing anthropological interest in how the landscape has been designed around, and adapted to, the automobile.

Biography:
Born, Youngstown, Ohio, 1950
Ohio University, photography, 1968-72
Married Ana Rosa Serna, 1990, son Peter Jose born 1991
Completed BFA 2002 (Ohio U.) entered MFA program,
TAMU-Commerce, Fall 2003, Selected Distinguished Graduate Student, Department of Art, 2003-04
Adjunct Professor of Photography, Collin County Community College and Richland College

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Taken between 1898 and 1908, the imagery of Portland-area photographers Lily E. White, Sarah Hall Ladd and Maud Ainsworth adopted an international aesthetic, a Pictorial approach to photography intended to evoke a mood redolent with Symbolist, poetic connotations. But these photographers also sought to describe a specific locale, to conjure a sense of geography and, perhaps, history, that is particular to Oregon and the Columbia River Gorge. It is this negotiation – between artistic influences and the specificity of place – that makes their work so distinctive, but it is also what makes it difficult to locate within the confines of current photo-history discourse.

Sarah Caylor formerly worked at the Oregon Historical Society and is currently a PhD Candidate in Duke University’s Art History program. She holds an MA in Art History (History of Photography) from the University of California, Riverside and recently completed the Whitney Museum of American Art’s Independent Study Program in Critical Studies.

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Roland Barthes describes history as "memory fabricated according to positive formulas" and goes on to characterize the photograph as offering up "but fugitive testimony" to this fabrication.
Photographic imagery and everyday artifacts act as talismans for narratives of lived experience. The passage of a photograph from image to object and the subsequent displacement from its original context is the focus of this panel of regional artists whose work incorporates collecting and re-contextualizing appropriated objects and images. Their interpretative composites fashioned from the residue of material culture inhabit the realms of photography, sculpture, installation and video, and will serve as the vehicle to suggest that truth, like the body of a photograph, may be bent and creased, and manipulated into representations of an individual’s will.

Colleen Choquette-Raphael teaches at the University of Oregon. She is an independent curator and arts writer. She most recently curated and exhibited in a group show at Solomon Fine Art, Seattle, WA, and published a catalog essay for Women and Their Work gallery in Austin, TX

Ellen Garvens is Associate Professor at the University of Washington. Her work has been reviewed in several art publications and has been exhibited widely. Among her many accolades are a Fullbright-Hayes Scholarship and National Endowment for the Arts Visual Arts Fellowship Grant.

Samantha Stengel-Göetz holds MFAs in Photography and Multimedia from the University of Oregon. She is currently Assistant Professor of Digital Media and Photography at Washington State University. Her videos, installations and photographs have been exhibited on the national and international level.

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This work tells of my lifelong dream of exploring India, my father’s native country. Growing up in the United States fostered the cultivation in my imagination of Orientalist fantasy about the land of my ancestry. Having now made the trip, I have been working to shape the images I gathered into a body of work that connects and contrasts my youthful fantasies of India with my adult experience. I am of mixed blood, seeing half of my own culture through the lenses that shape the gaze of the other half. Attempting to reconcile these differing perspectives inspires this creative project.

Neil Chowdhury, an artist working in photography and digital media, is an assistant professor at Zayed University, Dubai. He has taught at College for Creative Studies in Detroit, Michigan and the University of Washington, Seattle. He received his MFA in photography at the University of Washington.

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This slide presentation will consider an approach to teaching photography that prefers to place an emphasis on abundance, loose heredities and the poetic, rather than on the pedantic didactic and critical.

The most consistent element in Linda Connor’s work is the making of photographs that are iconic and that honor her subject. Her images of ancient sacred sites reflect the poetry and mystery of the places and her desire using the most factual of mediums-photography, to capture that which is indescribable in words. Linda’s work is exhibited widely and for the past 35 years, she has been teaching photography at the San Francisco Art Institute.

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My presentation is based on the literacy-based photography curriculum I teach at an L.A. public high school. Included in the overview will be explanatory info on how to successfully teach writing as an integral and inspirational part of a photo assignment.

Featured will be award-winning student work, both photography and writing, created for an assignment called Expressing Feelings. For this project, students are directed to choose a subject they’re passionate about and make photos that effectively express a related feeling. Then they write concise compositions (around a hundred words) about the artistic intent of their most expressive print.

Formerly Assistant Curator of Photographs at the J. Paul Getty Museum for twelve-and-a-half years, photographer and educator, Joan Dooley began teaching full-time in L.A.’s inner-city nine years ago. She currently instructs five literacy-based photo classes a day to 170+ students at LAUSD’s Bell High in a Latino community adjacent to East L.A.

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“The Vigil” will bring together a large body of photographs taken of my family over the past 15 years. I will present a reading of this work incorporating a self-reflexive and performative text read over slides and short video clips. The presentation will offer a narrative that moves back and forth in time, shifts perspective and questions the meanings, motives and reception of the photographs. An important aspect of the talk will be a personal and theoretical exploration of family photographs and portraiture. A final component will be clips from a three channel video installation, “The Vigil” (2004).

Doug DuBois’ photographs are in the collection of the Museum of Modern Art in NY, SFMOMA in San Francisco and the Victoria and Albert Museum, London. He has received fellowships from the MacDowell Colony the NEA, SITE Santa Fe and Light Works. He teaches at Syracuse University in New York.

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During the 1950s, photographers like Aaron Siskind sought to move beyond the objectivity and social reform of documentary photography to produce a "personal" photography. Using photography to evoke a highly subjective vision of the world also interested Roy DeCarava. Yet whereas Siskind sought to confine his "personal" feelings within the formal relationships of his photographs, DeCarava needed his pictures to function intra- as well as intersubjectively. The effort by DeCarava to create a "personal" photography that engaged in a "passage" between his past and present inner feelings as well as his individual and collective experience of racial difference is the subject of this paper.

Erina Duganne is a Mellon Post-Doctoral Fellow in the History of Photography at Williams College. She received her Ph.D. in Art History from The University of Texas at Austin in 2004 where she completed her dissertation, "Looking In/Looking Out: The Intersection of Race, Subjectivity and Feelings in 1950s and 1960s U.S. Photography."

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I will be sharing some of the materials my father used in his presentations about his work with high speed photography and stroboscopy. The original slides of his images, movie clips that he made with students, along with some of his less familiar photographic and sonar work. If time permits, I will share some demonstrations of stroboscopic illumination using some of his rotating geometrical patterns and a portable pulsing fluid stream that he assembled and called “The Piddler.” I would also like to share some recent high speed videos that I have taken using cameras available in his lab at MIT (The Edgerton Center) of subjects similar to the ones that he studied: plucked strings, milk drop splashes, etc.

Bob Edgerton is the son of Harold and Esther Edgerton and was raised in Belmont Massachusetts. He spent two summers working with his father on the Calypso throughout the Mediterranean. He attended The University in Rochester, NY in Physics and has a Ph.D. from the Institute of Optics. He has retired from physics teaching and industry research. His research specialty was developing software techniques to extract information from spectroscopic ellipsometry data about the thickness and optical properties of photovoltaic materials in thin film structures. Late in life, he has taken up the cello and plays chamber music with his friends in Seattle, WA.

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2005 SPE Video Festival: Women’s Caucus Video Program
Sponsored by the Women’s Caucus

SATURDAY, March 19, 2005: Council 9:30 p – 12:30 a
SUNDAY, March 20, 2005: Council 9:30 a – 12:30 p

The Women’s Caucus presents The Portland Women Media Makers In Person Saturday, March 19, 2005
PLEASE NOTE: All three filmmakers will present their films on Saturday Night at 9:30 p. Please join us for their presentations, which will start at 9:30 and last until approximately 10:30pm. The filmmakers will not present on Sunday, but their films will be shown.

ZigZag: Real Stories, New Angles
Directed by Beth Harrington
Produced by Beth Harrington and Brad Smith
2004, 26 min.

ZigZag is a television program and web site devoted to the issue of transportation and how it affects the lives of those living in the Portland Metro area. ZigZag – which means “making short, sharp turns, moving this way and that in a forward moving course” – is an innovative tool to broaden the discussion of transportation, land use and environmental issues that affect our lives.

Beth Harrington is an award-winning independent producer/director/writer, born in Boston and transplanted to the Pacific Northwest. She has been making media professionally since 1977. She often focuses on work that explores American folk traditions, history and culture. Harrington’s “Blinking Madonna and Other Miracles” was a hit at the Women’s Caucus videos in 1998.

Transit
Directed and produced by Leslie Piper
2003, 7 min.

Transit is a short experiemental film based on an overheard monologue on the max train. It screened at the Portland International Woman's Fest (POWfest), the Da Vinci Days Arts and Science Festival in Corvallis and the Spark film festival in New York.

Leslie Piper hails from transit free Pocatello, Idaho and has been eavesdropping on public transportation in Portland OR for 24 years.

Westward Ho, The Yodeling Lesson, Crowdog, and Britton S. Dakota
Directed, produced, written, shot and edited by Vanessa Renwick
1998-2003, 20 minutes

Westward Ho (2002, 2 minutes) hilariously demolishes the machismo of an Oregon rodeo with an explosive homoerotic twist. In The Yodeling Lesson, yodeling, bagpipe-playing, bicycling, extra-tuff Zine writer Moe Bowstern takes on Portland. Crowdog, (7 minutes 1998) began when "reading about The American Indian Movement made me pick up and hitch hike out to Pine Ridge Indian Reservation in S. Dakota during a period in my life where I walked barefoot for 2 1/2 years." Britton S. Dakota (8 min 2003) is created from 16mm footage shot by Ivan Besse, the Strand movie theater manager in Britton, S. Dakota during the Depression. He filmed people about town and then screened the footage before features to lure people into the theater. Screened at Rotterdam Film Festival and MOMA.

Vanessa Renwick is a cinematic rabble-rouser. Her iconoclastic work reflects an interest in place, relationships between bodies and landscapes, and all sorts of borders. Working in experimental and documentary forms, she produces films, videos and installations that explore the possibility of poetry in contemporary society, while sometimes providing a vicious, satirical commentary on that society.

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For an artist, the process of mapping the path of artistic discovery is so elemental and yet so elusive that it is worth talking about. With this as a focus for discussion, I will present my work as it has evolved over the past forty years.

At the core of all of my artistic effort, there is an urge that has existed
since childhood: the desire to create a world of my own invention. The notion of change is central to this effort with one body of work suggesting where the next goes. The passage from one focus to another touches on emotions,, searches for elusive memories, and documents imagined encounters.

Alida Fish is Professor at The University of the Arts, Philadelphia. Her work is represented in museum and corporate collections. She has received NEA and Delaware State Arts Council fellowships; she spent this winter in Rome as a visiting artist at The American Academy. She has served on the national SPE board and chaired two Mid Atlantic regional conferences.

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John O’Sullivan coined “Manifest Destiny,” in 1845; it became a catalyst for Western Expansionism. The need to understand and define the American West became a preoccupation for the United States Government and its people. Both photography and surveying were processes that help us understand and define the American West, thus becoming a vehicle for Western expansionism. My recent work investigates the relationship of photography, surveying, Manifest Destiny and the American West. Using maps, GPS, surveying, video and still photography, in conjunction with sculptural elements I discuss the relationship that the defined landscape has with the historical and on-going Manifest Destiny.

Eric Gant received a Bachelors of Fine Arts, in photography from New Mexico State University in 2001. Expected to graduate with a Master of Fine Arts, emphasis in photography, at Southern Illinois University – Carbondale, in Spring 2005

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Two years ago, six photographers began documenting the transformation of the largest decommissioned military base in U.S. history. Marine Corp Air Station at El Toro, with 1,800 structures and twin runways, is located in the heart of urban Orange Country, California. During the next decade, El Toro will go from being a major military installation to one of the country’s largest urban parks. The project uses photographic tools and tactics to capture the nexus of issues represented in this dramatic transformation: military legacies, historical ghosts, political controversies, land use struggles, environmental challenges, and the ultimate comprehensive change into public parkland.

Jerry Burchfield: Professor and Gallery Director, Cypress College, Cypress, CA. Artist, curator, and writer, Burchfield also co-founded Laguna Wilderness Press and BC Space Gallery. Coordinated the initial documentation of MCAS El Toro by advanced photography students, culminating in the publication of In Transition: El Toro: A Photographic Essay from Past to Present.

Mark Chamberlain: Director, BC Space Gallery, Laguna Beach, CA; adjunct faculty, Cypress College. Artist, curator, writer, works have been exhibited and published throughout the United States and abroad, and held in museum, corporate and individual collections. Projects include the Laguna Canyon Project, the Future Fossils and Looking for 2000 series.

Jacques Garnier: Artist, lecturer and co-creator with Douglas McCulloh of Camera-Sky-Ocean-Light, based on capturing chance portraits of beachgoers around the world. Garnier’s images of abandoned spaces, both psychological and environmental, have landed his work in corporate, individual and museum collections while being extensively exhibited and published throughout the US and Europe.

Robert Johnson: Faculty and Chair, Photography Department, Division of Fine Arts, Cypress College. Implemented digital photography curriculum and laboratory for the Photography Department at Cypress College. Former darkroom assistant with Ansel Adams. Artist and curator; works have been exhibited and published throughout the United States. Mr. Johnson is a resident of Fullerton.

Douglas McCulloh: Artist, lecturer, and photographer whose works are extensively collected and exhibited across the U.S. and Europe. Large –scale projects include Chance Encounters: The L.A. Project, (published by California Museum of Photography); Camera-Sky-Ocean-Light, co-created with Jacques Garnier; and 20,000 Portraits, 20,000 digital portraits of LA Country Fair goers.

Clayton Spada: Adjunct faculty, Photography Department, Division of Fine Arts, Cypress College. Artist, curator and writer. Former Executive Director and Director of Exhibitions, Orange County Center for Contemporary Art; co-founder and editor of the former cultural arts quarterly, NoMoPoMo: A Contemporary Artist’s Resource.

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Back by popular demand, this intensive workshop focuses on strategies for building a career as a photographic artist and provides insight into careers working with photographs, such as photo research, photo editing and art buying for advertising and design communities. Discussions will address structures for making work, maintaining a workspace, fundraising for personal projects, creating networks for support and getting work into the public arena. A slide presentation will address marketing your work and your vision to three particular markets: fine art exhibition and print sales, licensing existing work, and securing commissions to create new work for clients. A Handout with resources will be provided. A discussion and question and answer session will follow the presentation.

Mary Virginia Swanson (MFA, Arizona State University) is a leader in the fields of marketing and licensing fine art photography. It was during her tenure heading special projects at Magnum Photos that she recognized the opportunities for artists to develop second markets for their work, and in 1991 she founded SWANSTOCK, an alternative agency managing licensing rights for fine art photographers. Now consulting, lecturing and conducting workshops, Swanson is committed to bringing photography and photographers to new markets. She is the author of Marketing Guidebook for Photographers.

Susan kae Grant (MFA, University of Wisconsin-Madison) is head of photography at Texas Woman's University and teaches at the International Center for Photography. She was the recipient of the 2003 SPE "Crystal Apple Teaching Award" and "The Excellence in Photographic Teaching Award" from the Santa Fe Center for Photography. She has exhibited her work and lectured at museums and galleries nationwide. She is represented in numerous collections, including the George Eastman House, the Tokyo Metropolitan Museum of Photography, the J. Paul Getty Museum Library, and the Victoria and Albert Museum. Her installation, "Night Journey", is currently traveling the United States.

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When size becomes subject photography has entered the sublime. 19th Century painters evoked awe and veneration with romantic images of untamed nature. Today we experience the same sensation when regarding the magnitude of junk in Gursky’s gigantic photo of a $ .99 store.

Nora Herting is a solipsistic transdisciplinary artist. Her photographs are represented by Flatfile Gallery in Chicago. She served as a board member of Artemisia Gallery. Presently she is a MFA Candidate at The Ohio State University

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Where are you from? Through color photographs printed as postcards, I am exploring ideas of travel, moving, and memory as they relate to one's sense of place/home. On the backs of the postcards, I have posed questions which I ask participants from the public to answer as they see fit before mailing the card back to me (the cards are pre-addressed and post paid). This presentation reflects the collaborative sharing of my photographic imagery and the public response that creates a collective thought on how moving, travel, and memory shaper our sense of place.

Rosemary Jesionowski received her BFA from Ohio University. After one year of postgraduate work at Arizona State University, she continued to Indiana University where she is currently an MFA candidate in the photography program. Rosemary has exhibited most notably in Phoenix, Savannah, Chicago, and New York City.

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After ten years of teaching, I set out to find a way to be able to make art, pay bills, put my kids through school and ultimately be enriched by photography. This show-and-tell of images and thoughts about one person’s quest to remain employed in the photography industry and be able to make pictures and be successful in each will include slides of current work and discussion of the balance that allowed that work to come about. There is life after teaching.

Keith Johnson studied with Harry Callahan, Aaron Siskind and Nathan Lyons, receiving an MFA from RISD in 1975. Ten years of teaching led to a move to the business side of the medium, ultimately supporting his fine art making as District Sales Manager for Hasselblad USA. He has shown throughout the United States and is included in collections at RISD, George Eastman House, Visual Studies Workshop and others. He is a recipient of a Connecticut Commission of the Arts Fellowship Grant for 2002. His current body of work seems to be leading toward producing a book about his travels. He lives in Hamden CT with his wife Becky and two sons Ben and Whit.

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Priya Kambli tells an anecdote from her life, which may be the point of departure for much of her work; she says that when she moved to the U.S. from India, at age 18, she brought everything with her in only one suitcase. I call this a point of departure because we need not refer to her life while viewing her work. The digital photographs, constructed objects, and mixed media installations of Priya Kambli are contemplative, presenting an opportunity for us to meditate on our lives.

Priya Kambli born and raised in India, moved to United State to pursue her education in the field of Arts. She holds a BFA degree from University of Louisiana, Lafayette, LA and a Masters degree from the University of Houston, TX. She is currently an Assistant Professor at Truman State University.

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Michael Kenna looks at landscapes in ways quite out of the ordinary. His mysterious photographs, often made at dawn or in the dark hours of night, concentrate primarily on the interaction between the ephemeral atmospheric conditions of the natural landscape, and human-made structures and sculptural mass. In this slide presentation, Mr Kenna will show images from his thirty year photographic career, and will talk about how the passage of that time has influenced his ideas, choice of subject matter, style of working, etc.

Michael Kenna’s work has been shown and collected in numerous gallery and museum exhibitions in Asia, Australia, Europe and the United States. Over twenty books and catalogs have been published on his work. In 2001, Mr Kenna was made a Chevalier in the Order of Arts and Letters by the Ministry of Culture in France.

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Work with historic images and panoramas has led me to search for ways that photographs can fold and unfold time as well as space. Recent projects have been a way to explore space, time and change equations. The work started with these questions: What is the relationship between time and change? Is the measure of time a constant or does change itself become the true measure of time passing? What if time is not a simple flow from past to present - can it be experienced as moving backwards? Can this perception alter the past as well as the future?

Mark Klett has been photographing the intersection of landscapes, cultures and time for 25 years. He is the author of ten books and the recipient of three NEA Fellowships, a Guggenheim Fellowship, the Buhl Foundation Award, and a Japan/US Friendship Commission Fellowship. He is Regents Professor of Art at Arizona State University.

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“Out of the Darkroom,” an exhibition currently on view at the Miami University Art Museum, Oxford, Ohio, illustrates how digital technology continues to produce improved methods for capturing, printing, merging and displaying images. The panel will provide an overview of this exhibition (with 89 entries) and discuss implications for teaching digital courses that continue to be labeled “photography”; while practicing artists will offer personal perspectives on their conversion from film based photography to digital image-making.

The Panel Moderator will discuss evolution of the“Out of the Darkroom” project, and pose questions to the juror, Rod Slemmons concerning selection of thirteen artists he felt best represented current trends in digital/photographic art.

Nancy Howell-Koehler has taught photography at the University level, is the author of two books on photographic processes and camera techniques . She was Executive Director of Images Gallery for Art Photography, Cincinnati, OH. during the 1980’s, and currently works as an Independent Curator . Most recent projects include “Women in Documentary Photography 2000 and “Out of the Darkroom”, January 2005. She continues as Vice President of Koehler Counselors Advertising, Inc.

Rod Slemmons was the Associate Curator of Prints and Photography for the Seattle Art Museum from 1982-1996, and Affiliate Faculty, UW School of Art and Graduate Museum Studies Program 1992-2992. While at SAM, he established a 1600 print photography collection and produced 25 exhibition including a Lee Friedlander retrospective with a major catalog by Abrams NY; and and internationally traveled exhibition, Shadowy Evidence, a study of the photographic representation of Native Americans. Rod was National Chairperson for SPE from 1990-1994. He is currently Director of the Museum of Contemporary Photography Columbia College, Chicago where he also teaches.

Kellli Connell, a native Texan, is currently an Assistant Professor of Photography at Youngstown State University in Ohio. She received a MFA in photography from Texas Woman’s University and is the recipient of the Freestyle Photographic Crystal Apple Award, a Kodak Product Grant and a Dallas Museum of Art Kimbrough Fund Award in 2003. Her work has been honored by several awards including a Kodak product grant and solo exhibitions, most recently in the Columbus Museum of Art. Connell’s work resides in several permanent collections including Microsoft.

Stan Strembicki is professor of Art and Senior Faculty at the School of Art, Washington University, St. Louis, MO. He founded the school’s study abroad program in Italy and has taught photographic workshops in Florence since 1990. He received a MFA from the California Institute of Arts. Stembicki is developing three major portfolios and traveling exhibitions: “Ten years of Mardi Gras in New Orleans”, the examination of the culture of Mardi Gras (currently traveling); the second, “Italy at Night”, looks at the urban landscape; and the third, using digital collage, “St. Louis City Hospital” which was created from a combination of discarded patient records and studio photographs.

Stephen Althouse received a 2003-2004 Fulbright Research Fellowship to create a body of artwork as an artist-in-residence at the Museum of Modern and Contemporary Art in Liège, Belgium. He was awarded additional European grants from Epson and Hahnemühle in support of his large-scale black and white digital printing. Professor of Photography at Barry University in Miami, Althouse photographs assemblages of found objects using large format film and he prints digitally. His work is acquisitioned into major museum collections throughout the US, Europe, and South America.

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Are you currently teaching courses or will you need to teach courses in digital imaging, photo manipulation, enhancement and illustration with Adobe Photoshop? If so, then this seminar is for you! Let Julieanne Kost, Digital Imaging Evangelist for Adobe Systems, demonstrate an overview of new features, input, output and color management options, resources, communities and training material and Julieanne's favorite 5 little known digital techniques for photographers.

In her work, Julieanne Kost combines a passion for photography, a mastery of digital imaging techniques, and with a degree in psychology, finds within herself the raw components of visual emotion. Her explorations are often of images she finds disturbing. Textures, structures, colors, and even her own skeletal system are all ingredients. These snippets of emotions, reactions, and sensations are later combined into a single work hopefully conveying more than any one of the individual photographs.

Julieanne has worked for Adobe Systems for the past 12 years and now serves as the Digital Imaging Evangelist. She frequently teaches courses in Adobe Photoshop at distinguished Fine Art and Photography Workshops, prominent industry events and conferences around the world. She is the author behind the Photoshop Fundamentals and Advanced Photoshop Techniques training DVDs published by Software Cinema and cofounder, with her husband Daniel Brown, of www.adobeevangelists.com.

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This presentation will address the most profound physiological passage possible- from one sex to the other. Mariette Pathy Allen will present slides from her latest book and discuss emerging identities over time. Cherie Hiser will talk about her contribution to a book on transsexuals and how it relates to her overall philosophy and retrospective of photographic subjects. Dean Kotula will present images from his recent book and will talk about the personal risk and unique challenges associated with the making of this book. (William E. Parker had to cancel.)

Mariette Pathy Allen is an internationally recognized photographer and author of two books. She was still photographer on the documentary film Southern Comfort and the images from this project make up her recently published book Gender Frontier. Ms. Pathy Allen’s work is in a number of permanent collections worldwide.

Cherie Hiser is an internationally recognized artist, teacher, and consultant. She has founded/worked with numerous photography programs throughout the country. Currently she is working on a retrospective of her work, is on the Board of Directors for Photolucida, and writes a column for Erotic Ink tattoo magazine and ADDvance online magazine for women.

Dean Kotula studied at the Art Institute of Boston and apprenticed with Robert Steinberg in 19th Century photographic processes. He is the author of the groundbreaking book, The Phallus Palace: female to male transsexuals. He has had numerous exhibitions and his work published in several magazines, newspapers and periodicals.

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The history of Chinese immigration is inseparable from the development of the American West. The latest group of Chinese came to the U.S. not through immigration, but adoption. Because of China's one child policy, many female infants are given up for adoption. “Sweet Countenances” consists of portraits of Oregon families with children adopted form China. The portraits are either digitally reconstituted with images of edibles (candies) or projected on ephemeral materials (rose petals). This is an ongoing project that uses images of culturally identified edibles and ephemerals to explore identity issues raised by trans-cultural adoptions: individuality, collectiveness, loss and belonging.

Horatio Hung-Yan Law is an artist/educator residing in the Pacific Northwest. He is an Assistant Professor in the Photography and Foundation Departments at the Pacific Northwest College of Art. Currently, he is represented by the Elizabeth Leach Gallery in Portland, Oregon.

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In my keynote talk I want to bring two themes together: the importance of teaching in a culture driven, as ours is, by commerce and entertainment; and the relationship between artistic endeavor ad social responsibility.

To my mind, there are few higher callings than helping students discover their individual voices. It’s frequently a selfless practice, which forces a teacher to neglect his or her own work. And this all comes at a time in our country’s history of an unprecedented manipulation of photographic imagery to achieve commercial and political ends.
I will develop these thoughts against a background of my own brief experience as a landscape photographer and a longer experience as a writer who collaborates regularly with photographers, choreographers, composers, designers and other artists.

Barry Lopez, essayist, short-story writer and international traveler, is the author of Arctic Dreams, for which he received the National Book Award. Among his other nonfiction books are About This Life and Of Wolves and Men (a National Book Award finalist). Lopez is considered one of the nation’s premier nature writers. In his nonfiction he often examines the relationship between human culture and physical landscape. He is also the author of several award-winning works of fiction, including Field Notes, Winter Count, and a novella-length fable, Crow and Weasel, and Light Action in the Caribbean, a collection of stories. His most recent work is Resistance (2004), a book of interrelated stories – Lopez’s eloquent response to the recent ideological changes in American society.

Most recently, Barry Lopez has published a collection of stories, Light Action in the Caribbean. “These are quietly astonishing tales, glistening with precision,” wrote the New York Times. The Washington Post called him a “sweet stylist, finding the right voice for each of his characters and offering lyrical descriptions of natural beauty.”

Once a landscape photographer, Barry Lopez continues to maintain close contact with diverse community of artists. He is on the advisory board of Theater Grottesc9o in Santa Fe. He has collaborated with composer John Luther Adams on several concert and theater productions and spoken at openings for sculptor Michael Singer and photographer Robert Adams. In another arena of work, he recently collaborated with E.O. Wilson in the design of a university curriculum that combines the sciences and humanities in a new undergraduate major. Recent trips have taken him to Cuba, France, and Antarctica.

Barry Lopez is the recipient of the Literature Award from the American Academy of Arts and Letters, the John Burroughs Medal, Guggenheim, National Science Foundation, and Lannan Fellowships, the John Hay Award for 2001, Pushcart Prizes in fiction and nonfiction, and other honors. His work appears regularly in Harper’s, The Paris Review, Orion, and The Georgia Review. He lives in rural western Oregon.

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I am drawn to sites where the residue of history and memory are palpable. My recent artist’s books address the relationship of site and cultural memory in the context of contemporary life, institutionalized mythology, and personal experience. I explore the evolution of memory and history, the shaping of metanarratives about the past, the imposition of those histories on physical locations, and the transformation of such places into international pilgrimage and tourist destinations. I will present and discuss four artists’ books that addresses this topic, and show some examples of other book works that address similar content

Ann Lovett synthesizes image and text in photographic, installation, multimedia and book works. Her work has been exhibited internationally, and has received grants from New York State Council on the Arts, and the New York Foundation for the Arts. She is a Professor at the State University of New York at New Paltz.

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We watch people die in films only to forget the experience a few moments later. We surround ourselves with objects that are inhabited by a past riddled with violence. We watch the nightly news forgetting the deaths by the time the weather comes on. This talk will address recent bodies of video work, all of which function as continuously looping videos. These temporally restructured videos become moving photographs that place the viewer inside a digitally extended moment to create a state in the viewer where underlying values can be revealed. I want to show the violence in the fictions we mutter to ourselves.

Patrick Craig Manning is an Assistant Professor of Photography at the Herron School of Art and Design. Holding degrees in both art and archaeology, he has lived in Seattle and Albuquerque and currently resides in Indianapolis. His photographic, digital, and video work invokes loss to explore the intersection of representation, language, and history.

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The Aperture Foundation celebrated 50 years of Aperture magazine in 2002, at a time of enormous change for the organization. In keeping with the conference theme of “Passage,” this presentation will begin with the roots of Aperture; the key projects and photographers that have been seminal throughout its history; and discuss its ongoing desire to advance photography in all its forms to a worldwide audience through existing and new programs including Aperture West, which is focused on the region where Aperture began and which has been developed to better support photographers, educators and institutions supporting photography in the west.

Michelle Dunn Marsh is the director of Aperture West, a recent program of Aperture Foundation focused on the community of interest west of the Mississippi. She has worked with the Aperture Foundation since 1997, and in that time has designed over thirty books featuring a wide range of photography, and has lectured on the work of the foundation.

In addition to her work with Aperture, she is a tenured professor in the graphic design department of Seattle Central Community College, and is on the advisory board to the Masters in Publishing program at Pace University. She holds a B.A. from Bard College and an M.S. in publishing from Pace University.

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(no presentation abstract or bio available)

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Nettles works to address the passage of time, find meaning and significance in daily existence, and explore the selective, multilayered nature of memory. As more experience the care and loss of elderly parents, these topics are especially relevant. Her published books Grace's Daughter, Memory Loss, 28 Days and Seasonal Turns and her recent hand-bound books Aging Gracefully and The Observer address these particular themes. Another ongoing project, "Return Trips," conveys the experience of certain landscapes that remain in memory to resurface unexpectedly. Nettles is fascinated by photography's unique abilities to provide us with a visual legacy, while highlighting our own mortality.

Bea Nettles has received two NEA Fellowships for her experimental and autobiographical work. Her work is in numerous public collections and has been exhibited internationally since 1970. Her many books include Breaking the Rules, Flamingo in the Dark, Corners, Life's Lessons, Complexities, Mountain Dream Tarot, and Turning 50.

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Digital technology continues to advance and become a growing part of the educational landscape. Integrating this technology into today’s photographic curriculum is the single most important topic educators, students and manufactures face.

Key topics to be discussed will be:

1. Identifying a text with which to teach from.
2. Making digital and traditional technology a part of every photographic conversation and how it applies to current curriculums.
3. How using digital technology can increase the creative process of educational image making.

How we as educators can build community amongst our selves and keep this dialogue open for the future.

Dennis Keeley: This year he was appointed as Chair of the Photography and Imaging program at the Art Center College of Design in Pasadena, California, and is the Western regional co- chair for the Society for Photographic Education

Gerald Lang: In 1996 Gerald started the Digital Photography Studio and continues today as its director at The Pennsylvania State University, University Park, PA. Gerald has shaped this into one of the most complete and cutting edge programs in the country.

Victoria Heilweil is an adjunct professor at City College of San Francisco, Solano Community College and Modesto Junior College where she teaches both traditional and digital methods of photography. Victoria is also the Western regional co-chair for the Society of Photographic Education.

Richard Newman: For the past 13 years he has worked for Calumet Photographic as the National Education Coordinator. Richard is also the Executive Editor of Student Photo and has published 3 books on photography.

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Gertrude Bell (1868-1926) was a British diplomat, archeologist, linguist, writer and photographer. Photographs from her first visit to Iraq in 1909 present a range of viewpoints, from panoramic desert vistas to close-ups of architectural details on mosques and palaces. While primarily perceived as empirical records of her archeological journeys, such images should also be acknowledged as imaginative landscapes of imperial culture, especially considering Bell was one of the colonial administrators eventually responsible for drawing the geographic boundaries of Iraq. Desert Visions is an attempt to contextualize and re-evaluate Gertrude Bell’s photographs as images which anticipate the passage of ancient Mesopotamia into Modern Iraq.

Sara-Jayne Parsons (b. Isle of Man, British Isles)
A doctoral student (University of Texas at Austin), Parsons has published reviews in ArtLies and SPOT (Houston Center for Photography). Currently she is writing essays on photographers Richard Billingham, Rotimi Fani-Kayode, John Hilliard and Richard Misrach for the Encyclopedia of Twentieth-Century Photography (Routledge, New York, forthcoming 2004-2005).

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Sites of Discovery is a presentation of work from the Lewis and Clark Trail Photographic Survey (LCTPS). Information will be presented concerning the making of the photographs, as well as, examine concepts of passage, exploration, and discovery.

The design for the LCTPS was to locate and photograph sites associated with the Lewis and Clark (L&C) expedition. Exhibition format of the work combines historical L&C journal excerpts with the photographs. The combination of historical text and images creates a unique contemporary document; establishing a narrative spanning 200 years of change along the L&C Trail.

Brent Phelps, MFA, Arizona State University, 1973. He is a 1980 recipient of an NEA Fellowship. He teaches at the University of North Texas. His work has been exhibited widely, including the current traveling exhibition organized by the Amon Carter Museum entitled, "Brent Phelps: Photographing The Lewis and Clark Trail."

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Robert Rainey takes an unconventional approach to the family portrait. For example, in one set of images, Rainey has created what appear to be very conventional family portraits, except that he has posed himself in each one, rendering an ambiguity as to the meaning of his presence. Rainey is intrigued by the idea of the roles of father, husband, and offspring; especially, in that Rainey is a single gay man. And being what society has typically treated as an outsider, the question of his role as a typical family member is rendered much more complex. The portraits become a vehicle for commentary on a variety of issues in our contemporary world: the role one plays in a family, the role of men, the new role of same-sex marriages, and many more.

Robert Rainey is currently a MFA candidate at Virginia Commonwealth University where he has a Graduate Teaching Fellowship in Photography/ Film. Before leaving the corporate world of marketing behind, Rainey helped to create hundreds of film campaigns from Pulp Fiction to Good Will Hunting while serving as VP of Creative Advertising at Miramax Films. He earned his BFA from RISD in graphic design.

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In 1995 I took a pair of scissors and cut a map of Portland into 90 pieces. Each month I randomly selected one of these pieces and photographed whatever interested me in that part of the city. I invited eleven other photographers to join me. We met on the last Thursday of each month and showed each other the photographs that we had each taken in that month's random chunk of Portland. Over the course of the nine years that we documented the city, we showed each other 20,000 photographs. Now we're going around for a second nine years.

Christopher Rauschenberg has photographed the magic and beauty of the "ordinary world" in 23 countries. He's had 67 solo shows in six countries. Available monographs of his work include two books, four CD-ROMs and a deck of cards. He co-founded Blue Sky Gallery, Photolucida and the Portland Grid Project.

Ann Kendellen earned her BA from the University of Colorado in 1977. Since 1986 she has lived in Portland, Oregon, working as a photographer, educator, and Blue Sky Exhibition Committee member.

Shawn Records recently moved to Portland after receiving his MFA from Syracuse University. His work has been shown at Blue Sky Gallery, published in DoubleTake Magazine, and recently included in "Around the Corner: a Photo Essay" by Lucy R. Lippard.

Rich Rollins is head of the photography department at Marylhurst University. He received an MFA from Arizona State University in 1987. He has been a Blue Sky Gallery exhibition committee member since 1989.

Paul Sutinen is a sculptor who makes photographs. He is Co-Chair of the Art Department and Director of Art Programs at Marylhurst University and is a co-founder of Nine Gallery. He received an Art Critic's Fellowship from the National Endowment for the Arts in 1979 and an Artist's Project Grant from the Regional Arts and Culture Council in 2000.

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Ken Rosenthal will present a survey of recent work. Much of the presentation focuses on his evocative series Seen and Not Seen, a merging of the autobiographical and the universal.

The images in Seen and Not Seen were culled primarily from his family’s photographs dating from the 1940’s-1960’s, supplemented by images he has made of his immediate family. Informed by how many family photographs that elicited strong memories occurred before he was born, Rosenthal’s work explores how often recollections can be attributed to a photograph, dream or story as opposed to actual experience.

Ken Rosenthal is an artist working with issues of personal and collective memory. His photography is represented by nine galleries nationally, and is in many public and private collections internationally including Art Institute of Chicago; National Portrait Gallery, London; Portland Art Museum. He teaches at Pima Community College in Tucson.

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When asked what type of photography I do, I usually point to a nonexistent birdy and run like hell. If forced, I say “primitive photography,” then I run. I rarely use a camera anymore, though a recent project, SITTING, involves a phone-booth sized pinhole portrait camera. People sit for an hour-long exposure in the middle of a gallery. Other work involves creating images from shadows, reflections, dog biscuits... My work is about exploration and play. Is there a linear path that leads from my early straight b/w work to my current projects? Hey look, a Spectacled Cormorant!

Roger Sayre lives in Jersey City, NJ and teaches at Pace University in NY. He is the director of the public gallery, The Brunswick Window. He has curated several shows, including, Pageants of Light, and the traveling show, This is Not a Photograph. He has received a Mid-Atlantic Arts Foundation grant and his latest solo show was at the Carnegie Melon in Pittsburgh. He wrote the entry, “Camera Obscura,” for The Encyclopedia of Twentieth-Century Photography (Routledge, NY, 2005). His latest challenge has been learning banjo from CD.

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This presentation concerns the New Topographics and some contemporary feminist artists who offer an alternative vision of place. It traces how the New Topographics responded to the landscape photography that documented the Western Expansion and the values of Manifest Destiny. By comparison, I will present work by contemporary women photographers who acknowledge human connections and community within their work.

Monique Silverman is a professor at Simon Fraser University; she teaches photography and cultural studies. She is currently writing on the intersection between 19th century photography and the formation of subjectivity. Her photographic practice addresses identity in the context of place and she is curating a show on gendered representations of landscape.

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Beginning in the 1850’s, the presence of Asians in the United States has been a situation fraught with issues of representation. Alternating between portrayed as an exotic and mysterious “other” to a physical and economic threat, this portrayal also exposes the dynamics of the power of determining representation, of being the camera holder. With the rise of Asian artists in the last 30 years being able to represent themselves photographically, a new discourse is spoken and new themes arise. A photo project I have been working on in collaboration about being “Half-Asian” will also be presented.

Benjamin Sloat is currently a third year MFA candidate and part time instructor at the School of the Museum of Fine Arts, Boston and Tufts University. He was the recipient of the 2003 Yousuf Karsh Prize in Photography at the Museum School and his work has been reviewed in the Boston Globe and New York Times.

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The Historic Construction Record (HCR) is a model photographic project created by the author and based on the spirit of the historic American Building Survey (HABS) and Historic American Engineering Record (HAER) kept at the U.S. Library of Congress. Photographer John Stamets, shooting in b&w 4x5” format, approaches building construction through the eyes of future historians. Among the buildings he has documented being built are the Seattle Central Library (designed by Rem Koolhass), the Experience Music Project (Frank Gehry), the Milwaukee Art Museum (Santiago Calatrava) and in Chicago, the IIT McCormick-Tribune Campus Center (Rem Koolhass).

Since 1992 John Stamets has been lecturer in Photography at the Department of Architecture at the University of Washington in Seattle. In his private business he specializes in HABS/HAER documentation of historic properties. As a documentary artist working in 4 x 5” format, he shoots buildings under construction.

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Increasing numbers of photographers wish to undergo the rite of passage from being an "unpublished" photographer to one who has had a book published. But how do you get a book published? Is it best to look for a publisher? If so, how can one be found? What about self-publishing? Should that be done on a small scale via desktop publishing, or on a large scale with a team of designers and editors? What about funding issues? This panel will take a look at each of these options, highlighting the differences that can be expect ed with each respective approach.

(Moderator) Jane Alden Stevens is the author of the self-published book Tears of Stone: World War I Remembered, which has found an international audience since its publication in 2004. She is currently head of the photography program at the University of Cincinnati, where she has been honored with the university's highest teaching award.

Bea Nettles' twelve published books include Breaking the Rules, Flamingo in the Dark, Corners, Life's Lessons, Complexities, Mountain Dream Tarot, and Turning 50. She was awarded two NEA Fellowships and has taught photography and book arts since 1970 at several universities. She specializes in digital publishing and the visual book.

John Ganis is a Professor at the College for Creative Studies in Detroit. His monograph, Consuming the American Landscape, featuring an introduction by Robert Sobieszek, was published in 2003 by Dewi Lewis Publishing. A German edition was simultaneously published by Edition Braus.

Stephen Marc is a professor in the Herberger College of Fine Arts at Arizona State University. Marc has published two photographic books: Urban Notions ('83) and The Black Trans-Atlantic Experience ('92). His current book project, scheduled for release in Fall 2006, Passage on the Underground Railroad is a collection of digital composites that describe these historic

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Both bodies of work, ‘The Silence of a Shriek’ and ‘Umma and Father’, explore the impact of the Korean War in the contemporary society. ‘The Silence of a Shriek’ is a series of photographs of the American troops’ crime sites in South Korea. ‘Umma and Father’ is a series of photographs of families created with Korean women who married American men while the men were stationed in South Korea as military personnel. As part of the presentation, the interviews that I have recorded for both bodies of work will be presented.

In 1993, Eric Eunjea Sung immigrated to America from South Korea. He earned his BA from the Richard Stockton State College of New Jersey and MFA from the Indiana University in Bloomington. Through his images, Sung addresses questions about his multicultural identity in relation to the history of the Korean immigration in America. He currently works at the Ramapo College of New Jersey.

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Like Lewis & Clark’s arduous negotiation of the Northwest Passage, photographers and educational institutions are presently making another journey: that of transitioning from traditional to digital photography. How do educational institutions best make the transition from wet to digital darkrooms and then manage the digital facilities once they are up and running (eg. Who pays for the ink)? We will explore facilities design, equipment choices, budget management and, most importantly, the issues of building an integrated curriculum that takes best advantage of traditional and digital image making.

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Más allá - the Retablos of Migrants along the Mexican-American Border is an ongoing, non-commissioned public art installation that explores the cultural, psychological and emotional concerns of undocumented migrants seeking to come to the United States by crossing the Mexican-American border. Through the use of the photographic retablo, a form of religious votive offering, the faces and essence of the migrant experience are revealed. The photographic retablos produced have been permanently affixed to the border walls in Mexico without any governmental authorization as homage to those migrants and as a spiritual sign for those to come.

Since graduating from the Yale University, Paul Turounet has been photographing and exhibiting along the Mexican-American border both in the United States and Mexico. The work, which explores the border as an allegorical space in the constructing of personal and cultural identity, includes color photographs, large-scale steel-plate photographs utilized in a public installation piece along the border wall in Tijuana, and video. In 1997-98, he was a Fulbright Fellowship scholar in Mexico and has received grants from the TransBorder Institute in support of the work. Currently, he is a Professor of Art at the University of San Diego and has taught in the USD Guadalajara Summer Program since 2003.

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My photographic interest has been visual evidence of history and contemporary experience in African American communities. In San Francisco an instant community developed in the Fillmore District when the existing Japanese community relocated to the interment camps. There developed a thriving community of recent transplants from Texas and Louisiana who came to work in the shipyards. There were jazz clubs, black owned hotels and churches. Urban renewal and recession in the 60’s lead to another mass forced removal of people of color leaving in it’s place very little trace of the rich cultural history. I am working on a book Harlem of the West, The Fillmore Jazz Archives Chronicle Books in 2006, based of found imagery and the work of several photographers who documented life in the Jazz clubs and communities.

Lewis Watts is a professor of art at the University of California at Santa Cruz. He has widely exhibited his photography of the “cultural landscape”. He has curated a number of visual history public art projects including a storefront installation on Fillmore Street in San Francisco and an interpretive signage project of the social and economic effects of the war effort on the sight of the Kaiser Shipyards in Richmond California.

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Everyday, between my 35th and 36th birthdays, I tried to make at least one completely new and compelling photograph. The idea was to create a narrative that, like haiku poetry, was attentive to the seasons, place, change, children, and the meandering pace and flow of life. For practical reasons (family, job, sleep) the pictures emerged from my daily activities. I used an inexpensive digital camera and worked quickly, usually generating scores of potential photographs in a matter of minutes. Each night before going to bed, I chose a single image and often wrote accompanying notes.

Byron Wolfe lives in Chico, California. His other projects include the collaborative book and interactive DVD-ROM, Third Views and Second Sights (Klett, Bajakian, Fox, Marshall, and Ueshina) and Time and Photography in Yosemite (Klett and Solnit, Fall 2005). He is the 2004 recipient of the Santa Fe Prize for Photography.

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