Society for Photographic Education 47^th National Conference in Philadelphia, PA

2010 Conference Speakers

Main Presenters

Keynote Speaker: Kip Fulbeck
Honored Educator: Deborah Willis
Featured Speaker: Hulleah Tsinhnahjinnie & Veronica Passalacqua
Featured Speaker: Dawoud Bey

Invited Speakers

Susan Evans
Elizabeth Ferrer
Pierre-Yves Mahe
Renée M. Mussai
Deborah Willis (Panel)


General Session Speakers

IMAGEMAKERS
Donald E. Camp - Dust Shaped Hearts | Pablo Delano - This is NOT Your Caribbean Get-Away Picture-Postcard Tropical Paradise: Post-colonial Cultural Identity In Trinidad | Mariah Doren and Johanna Paas - Working Collaboratively-Teaching Collaboration | Bennie Flores Ansell - A Shadow, A Trace, Impossible is Nothing | Ellen Garvens - Making Devices | Wing Young Huie - Identity and the American Landscape | Jessica Ingram - A Civil Rights Memorial (Garry B Fritz Imagemaker Award Winner) | Priya Kambli - Color Falls Down | Tuba Koymen - Inside/Outside | Osamu James Nakagawa - Remains | Ginger Owen-Murakami - Ancestral Presence | Wendel White - Schools for the Colored

LECTURES
Don Antón - It Is Not in What You Teach, but Who You Teach . . . | Carola Dreidemie - Art, Freedom and Code: Open Source + Collective Creativity = Endless Possibilities. | Joel Eisinger - Walker Evans's Racial Mirror: White Identity in Photographs of African Americans | Bill Gaskins  and Erina Duganne - The Self in Black & White: A Conversation with Bill Gaskins & Erina Duganne | Yi-hui Huang - Photographic Digital Sublime: An Empirical Study of Its Medium, Style, Aesthetics, and Knowledge | Douglas McCulloh and Kurt Weston - Sight Unseen: International Photography by Blind Artists | Susan Sponsler - Re-imagining Our Own Culture: Adoptee Korean Artists | Janet Zandy - Seeing Beyond Dirt: The Language of Working-Class Photography

PANELS
Claude Baillargeon with Sara Angelucci, Rafael Goldchain, and Christina Leslie - Representing Diversity: Art, Immigration, and the Formation of Cultural Identity | Sonsereé Verdise Gibson with Donald E Camp, Dorothy Imagire, Michelle Dunn Marsh, and Elizabeth Unterman - Language and Identity, Opportunities and Communities | Katharine Kreisher with Tulu Bayar, Amber Johnston, Suzanne Szucs, M. Laine Wyatt - Self as Object: Perspectives of Identity | Jane Noel with Cybèle Clark-Mendes and Sonsereé Verdise Gibson - Bend Me, Shape Me: Self Portraiture and Stereotype | Jolene Rickard with Erica Lord, Kimowan McLain, William Wilson - Visual Sovereignty: Contemporary Native American Photography and The Politics of Imagination | Gazelle Samizay with Coriana Close, Catherine Marino, Rae Strozzo - Re-Thinking Photographic Education: Expanding the Canon | Clarissa Sligh with Gay Block, Clare Charles Cornell, LaToya Ruby Frazier, Vicki Kluthe, Sylvia Sukop - Framing the Family Photograph

GRADUATE STUDENT PRESENTERS
Kelly Flynn - Texas Fireworks | Garrett Hansen - The Flowing View: Lessons from East Asian Landscape Traditions | Gazelle Samizay - Afghan/American: Family Politics in the Afghan Diaspora | Travis Shaffer - Eleven Megachurches | Leilani Wertens - Forget Me Not

ACADEMIC PRACTICUM WORKSHOPS
Roberto Muffoletto - The Vasa-Project: Beyond the Classroom Walls

DEMONSTRATION PRESENTATIONS
Charles Thomas and Jen Crickenberger - Empowering and Connecting Teens Through Photography & Filmmaking

Main Speakers	Presentation
Kip Fulbeck	Keynote Speaker: I Hope You Don’t Mind Me Asking, But …
	Thursday, March 4, 2010, 7:00 - 8:30 pm, Salon EF Multiracial Americans are the country’s fastest growing demographic, yet it was just ten years ago that our government officially let individuals select more than one race to identify themselves – an option nearly six million people chose. Kip Fulbeck traveled the country, photographing over 1,200 individuals who fell into this ubiquitous “Other” category, and brings these images and personal stories to SPE in this captivating, comedic, and poignant multimedia performance. Featuring his award-winning film shorts and slam poetry, Fulbeck is a pop culture-laden entertainer and educator, using his own intense self-examination to explore race, sex, and personal identity in contemporary America. Kip Fulbeck is an American artist, slam poet, and filmmaker. A renowned public speaker, he has been featured on CNN, MTV, and PBS, and has performed and exhibited throughout the world. He is currently a professor of Art at the University of California, Santa Barbara, where he received the university's Distinguished Teaching Award, and is also an avid surfer, guitar player, motorcycle rider, ocean lifeguard, and pug enthusiast. He is the author of several books including Mixed: Portraits of Multiracial Kids; Part Asian, 100% Hapa; and Permanence: Tattoo Portraits, and the director of a dozen short films including Banana Split and Lilo & Me. A complete overachiever despite being only half Chinese, Kip is also an internationally-ranked Masters swimmer. back to top
Deborah Willis	Honored Educator
	Satuday, March 6, 2009, 6:00 - 6:30 pm, Salon EF Named among the 100 Most Important People in Photography by American Photography Magazine, Deborah Willis is chair and professor of photography and Imaging at Tisch School of the Arts, New York University.  A former Chair of the Board of the Society for Photographic Education, Willis is a 2005 Guggenheim and Fletcher Fellow, a 2000 MacArthur Fellow, 1996 Recipient of the Anonymous Was a Woman Foundation Award, and is an exhibiting photographer. Some of her notable projects include Reflections in Black: A History of Black Photographers - 1840 to the Present, The Black Female Body in Photography (co-author Carla Williams), and Posing Beauty.  Her upcoming books entitled Michelle Obama, The First Lady in Photographs and Black Venus 2010 (editor) will be released  November of 2009 and March 2010 respectively. She lives in New York City. back to top
Hulleah Tsinhnahjinnie and Veronica Passalacqua	Featured Speakers: Visual Sovereignty: International Indigenous Photography
	Friday, March 5, 2010, 5:00 - 6:00 pm, Salon EF Historical photographs of Native American and global Indigenous communities have, and in some cases continue, to contribute to the construction of perceived identities and visual stereotypes of native peoples. However, this outsider’s perspective reveals more about the non-native photographer than the subject when compared to the works of Indigenous photographers who are visually documenting their own communities and regions. From as early as 1899, Native American photographers have been working in the medium; commissioned for portraits, documenting events, and recording daily life and community in this early form of visual sovereignty. Indigenous photographers and their sitters had the agency to choose when, where and the manner in which they wished to be imaged and documented. Contemporary Indigenous photographers continue this practice while also being uniquely positioned to counter these earlier misrepresentations created by non-native photographers. The field of Native American photography is supported by a rich and continuous history that spans across the continent and is embedded in contemporary works that encompass a wide range of genres and subject matter including documentary, landscape, portraiture, political activism and (re)visioning, by utilizing a variety of imaging and printing techniques. In April 2009, Tsinhnahjinnie and Passalacqua hosted the second gathering of Indigenous photographers at the C.N. Gorman Museum, University of California Davis. The conference and accompanying exhibition, entitled Visual Sovereignty, includes works by Native American, Hawaiian, First Nations, Inuit, Maori and Aboriginal lens-based artists. Tsinhnahjinnie will speak about her perspective of the concept of visual sovereignty while Passalacqua will examine how visual sovereignty is employed in the structure of the conference and exhibition as well as within artists’ works. Hulleah J. TsinhnahjinnieHulleah J. Tsinhnahjinnie was born into the Bear and Raccoon Clans of the Seminole and Muscogee Nations, and born for the Tsinajinnie Clan of the Diné Nation.  Exhibited nationally and internationally over the last thirty years, Tsinhnahjinnie claims photography and video as her primary languages.  Creating fluent images of Native thought, her emphasis is art for indigenous communities.   Tsinhnahjinnie received an Eiteljorg Fellowship for Native American Fine Art, a Chancellor’s Fellowship at the University of California Irvine, the First Peoples Community Artist Award, and a Rockefeller artist in residence at the University of California Davis, Native American Studies Program. She is the director of the C.N. Gorman Museum and associate professor in the Department of Native American Studies at University of California Davis. Veronica L. Passalacqua Veronica Passalacqua is curator at the C.N. Gorman Museum at University of California, Davis.  As a writer, curator, and scholar of Native North American art, her research emphasis and curatorial practices are based upon collaboration with contemporary Indigenous artists. Her doctoral thesis in museum studies from Oxford University examines lens-based artworks by contemporary Native American artists.  Other curatorial work includes exhibitions at the Pitt Rivers Museum, Navajo Nation Museum, Autry National Center, McMaster Museum of Art and Barbican Art Gallery.  As a scholar, she previously worked at Christie’s (London) and the British Museum, and consulted for the Canadian High Commission.   back to top
Dawoud Bey	Featured Speaker: Beyond Diversity and Toward Inclusivity
	Saturday, March 6, 2010, 7:00 - 8:00 pm, Salon EF In an age in which it would be superfluous to say that "diversity" has been achieved in the White House, given Barack Obama's position as the titular head of that institution, it's time to turn away from "diversity" as an operative objective and turn instead towards the more meaningful and substantial goal of making institutional spaces ever more inclusive, to artists and audiences alike. One way to accomplish this is to consider how in fact the institution's identity can be meaningfully transformed and expanded conceptually by this enhanced inclusiveness. Inclusivity implies a desire to actually change through institutional expansion, while diversity implies that those being brought in have to simply fit into the normative and dominant paradigms. My presentation will examine ways in which artists and institutions can create an ever more inclusive set of relationships and the ways in which these enhanced relationships can benefit the larger social community. Dawoud Bey began his career as a photographer in 1975 with a series of photographs, “Harlem, USA,” that were later exhibited in his first one-person exhibition at the Studio Museum in Harlem in 1979. He has since had numerous exhibitions worldwide, at such institutions as the Art Institute of Chicago, the Barbican Centre in London, the Cleveland Museum of Art, the Los Angeles County Museum of Art, the Detroit Institute of Arts, the High Museum of Art in Atlanta, GA, the National Portrait Gallery in London, and the Whitney Museum of American Art, among many others. Bey holds a Master of Fine Arts degree from Yale University School of Art, and is currently Distinguished College Artist and Associate Professor of Art at Columbia College Chicago, where he has taught since 1998. back to top
Susan Evans	Invited Speaker: The Color of Skin
	Americans look to the color of one's skin to define the individual. Most Americans place significant value on race. We have been taught that race, family genealogy, and personal history plays a major role in individual identity. Race is a social construction, a source of social tension or a box that gets checked on government forms, which in the end leads to varied benefit; varied value. To look is to see, identify, and categorize. This project is about identifying, categorizing, and examining the way that Americans compartmentalize people based on the color of skin. Born Juana Ramos, adopted and re-named, Susan E. Evans started her photographic exploration at the age of eight in a small basement darkroom. Since then, Evans’ formal education yielded a BFA in both Photography and Holography from Goddard College and a MFA cum laude from Cornell University. Susan E. Evans is an Assistant Professor of Art at Oakland University in Michigan, where she teaches photography and new media. A conceptual artist exploring identity, context, structure, information processing and categorization, Susan E. Evans has work appearing in galleries, museums and collections worldwide and is represented by Hasted Hunt Gallery. back to top
Elizabeth Ferrer	Invited Speaker: Is There a Latino Photographic History?
	Elizabeth Ferrer will provide an overview of the challenges and issues surrounding the construction of a history of Latino photography, focusing on work created in the last few decades by Chicano, Cuban American, and Puerto Rican photographers. Ferrer will discuss the incomplete documentation of this history, despite numerous significant bodies of work by Latino photographers since the late 1960s. She will underscore the broad scope that encompasses Latino photography, ranging from the photojournalism produced in California at the height of the Chicano civil rights movement, to the identity-based imagery common in the 1980s and early 1990s, to the conceptual projects currently pursued by photographers in places like New York, San Juan, and Boston. Finally, this lecture will tackle the most essential, yet complex, questions within the field: What is a Latino photographer, and who defines the scope of this field? Elizabeth Ferrer is director of contemporary art at the multidisciplinary arts organization BRIC Arts | Media | Bklyn. A specialist in Mexican and Latino photography, she has extensive experience as a curator and writer. Ferrer is author of Lola Alvarez Bravo (New York, Aperture Foundation, 2006), a monograph on the pioneering modern Mexican photographer; she also curated the retrospective exhibition on the photographer shown at the Smithsonian Institution, among other institutions. Ferrer has curated major exhibitions on various aspects of Mexican photography and is author of the forthcoming FotoFest publication surveying Latino photography in the United States. She co-edited the Museum of Modern Art’s landmark publication Latin American Artists of the 20th Century and has written for Art Nexus, Sculpture, Photography, Nueva Luz, and Art News. back to top
Pierre-Yves Mahé and Jean-Louis Mariginier	Invited Speakers: House of Nicéphore Niépce: A Retrospective
	After ten years at the head of the House of Nicéphore Niépce, a museum dedicated to the inventor and the history of photography that was founded in 1999, Spéos offers a retrospective on the important events that have punctuated this last decade: restoration of the house, localization of the place where the first photography in the world was taken, reconstruction of the photographic processes, setting up of the collection of objects and letters owned by Niépce, publication of the inventor's correspondence etc. The last event to date: the discovery of the oldest photography lab in the world: Petiot-Groffier's lab, who was a neighbour and contemporary of Niépce and who practiced photography from 1840 to 1855. Hundreds of parts, all coming from the same owner, books, full chemical bottles as well as all sorts of lab and shooting accessories... Jean-Louis Marignier is a researcher for the CNRS at the Physical Chemistry lab of the University Paris-Sud Orsay. He has rediscovered the whole photographic processes invented by Nicéphore Niépce and forgotten since and discovered an unknown process invented by Niépce and Daguerre. Author of the Niépce website and responsible for its technical and historical content, PhD in physics, he is a specialist of chemistry under radiation. Prizewinner of the Académie des Sciences (Kodak Grand Prize in 1991) he has also received the Salverte Medal from the French Society of Photography (1991). He is the author of over 40 articles on Niépce as well as the book entitled “Niépce, L'invention de la photographie”, published by Belin Editions in 1999. He is also the co-writer with Manuel Bonnet of the book “Niépce, correspondance et papiers”, published by Maison Nicéphore Niépce Editions in 2003. Pierre-Yves Mahé directs the Maison Nicéphore Niépce project from its beginning in July 1999. Commercial photographer and holder of an executive MBA diploma from HEC, he has also created the school of photography SPEOS in 1985. He is the inventor of the Stop-System photographic method and the co-writer with Richard Zakia and Gordon Brown of the book entitled "Beginning Photography using the Stop-System", published by France Delory editions in 1999. back to top
Renée M. Mussai	Invited Speaker: Autograph ABP: The Missing Chapter
	Within the framework of the Archive and Research Centre for Culturally Diverse Photography at Rivington Place, London, this talk will present Autograph ABP’s twenty-year history in context and critically explore issues around diversity, cultural identity, and representation in photographic practice in the twentieth and twenty-first centuries. A collection of seminal photographs, images in the Archive bridge continents from Africa to the United Kingdom and range in genre from fine art and social documentary to constructed high street studio and vernacular photography. As an online digital image bank and research resource, the Archive highlights a missing chapter in the cultural history of photography: Launching in 2011, its dedicated public program of education, outreach, and participatory photography projects will transform the collection into a continuously growing, living archive. Established in 1988, Autograph ABP is an international photographic arts charity that addresses issues of cultural identity and human rights. It develops, exhibits and publishes the work of photographers from culturally diverse backgrounds and advocates for their inclusion in all areas of exhibition, publishing, education, and commerce in the visual arts. Renée Mussai Renée Mussai has been involved with Autograph ABP since 2001, where she currently oversees the establishment of the Archive and Research Centre for Culturally Diverse Photography at Rivington Place, London. In addition to curating the archive collection, recent projects include solo exhibitions of Rotimi Fani-Kayode's work (2009) and Ever Young: James Barnor, Street and Studio Photography from Ghana and the UK (January 28 - May 26, 2010) at Harvard University’s W.E.B. Du Bois Institute's Rudenstine Gallery, Cambridge, Massachusetts, and forthcoming retrospective at Rivington Place (Fall 2010). Twice recipient of the Sofie and Emanuel Fohn Fellowship, she holds under- and postgraduate degrees in Photography from the University of the Arts London, and previously studied history of art at the University of Vienna, Austria. She is based in London where she regularly lectures on photographic history and cultural identity. back to top
Deborah Willis with David Graham, Lonnie Graham, Phyllis Galembo, Coco Fusco, Hank Willis Thomas, Wafaa Bilal, and Carla Williams	Invited Panel: Unexpected Desire
	Looking beyond the obvious in locating beauty and desire, this panel will discuss and show works that refer to their own art practice and critical thinking in experimenting with the notion of desire. Some will reference art history, others will explore commodity culture, masking, and public pageantry. The panel will also expand upon the possibility that there exists a common reading of desire as we look at fashion, narrative films, family images, and pop culture. Named among the 100 Most Important People in Photography by American Photography Magazine, Deborah Willis is chair and professor of photography and Imaging at Tisch School of the Arts, New York University.  A former Chair of the Board of the Society for Photographic Education, Willis is a 2005 Guggenheim and Fletcher Fellow, a 2000 MacArthur Fellow, 1996 Recipient of the Anonymous Was a Woman Foundation Award, and is an exhibiting photographer. Some of her notable projects include Reflections in Black: A History of Black Photographers - 1840 to the Present, The Black Female Body in Photography (co-author Carla Williams), and Posing Beauty.  Her upcoming books entitled Michelle Obama, The First Lady in Photographs and Black Venus 2010 (editor) will be released  November of 2009 and March 2010 respectively. She lives in New York City. David Graham is a photographer living in three worlds. He makes his own work, which has been collected by museums such as the Museum of Modern Art in NYC, the Art Institute of Chicago, the Philadelphia Museum of Art and the San Francisco Museum of Modern Art. This work has also been published in seven books, including “American Beauty” (Aperture 1987), “Only in America” (Knopf 1991), “Alone Together” (Pond Press 2003) and the recently released “Almost Paradise” (Pond Press 2008). He is represented by Gallery 339 in Philadelphia. David also works in the freelance world, shooting for magazines including The New York Times Magazine, Fortune, Forbes and Details. Additionally, he has shot ad campaigns, most notably for Mastercard. Lastly, David teaches photography; he has taught at the School of Visual Arts in NYC, Sarah Lawrence College, the International Center of Photography in NYC, and he is a professor in the Media Arts Department at the University of the Arts in Philadelphia, PA. Lonnie Graham, a Pew Fellow and associate professor at Pennsylvania State University, is formerly director of photography at Manchester Craftsmen's Guild in Pittsburgh, Pennsylvania, an urban arts organization dedicated to arts and education for at risk youth. He is the recipient of a National Endowment for the Arts/Pew Charitable Trust Travel Grant and is a four-time Pennsylvania Council for the Arts Fellowship recipient. In 2005, he was named Artist of the Year in the Commonwealth of Pennsylvania and was presented the Governor's Award by Governor Edward Rendell. Professor Graham serves as a panel member for the Pennsylvania Council on the Arts and the National Endowment for the Arts in Washington, DC. His work can be found in the permanent collections of the Addison Gallery for American Art in Andover, MA, and the Philadelphia Museum of Art, in Philadelphia, PA Coco Fusco (Ph.D. Middlesex U., M.A. Stanford U., B.A. Brown U.) is a New York-based interdisciplinary artist, writer and Director of Intermedia Initiatives at Parsons The New School for Design. She has performed, lectured, exhibited and curated around the world since 1988. She is a recipient of a 2003 Herb Alpert Award in the Arts. Fusco's performances and videos have been included two Whitney Biennials (2008 and 1993), the Sydney Biennale, The Johannesburg Biennial, The Kwangju Biennale, The Shanghai Biennale, InSite O5, Transmediale, The London International Theatre Festival, VideoBrasil and Performa05. She is the author of English is Broken Here: Notes on Cultural Fusion in the Americas (1995), The Bodies that Were Not Ours and Other Writings (2001), and A Field Guide for Female Interrogators (2008). She is also the editor of Corpus Delecti: Performance Art of the Americas (1999) and Only Skin Deep: Changing Visions of the American Self (2003). Fusco’s work combine electronic media and performance in a variety of formats, from staged multi-media performances incorporating large scale projections and closed circuit television to live performances streamed to the internet that invite audiences to chart the course of action through chat interaction. Her most recent work deals with the role of female interrogators in the War on Terror. Those works include Operation Atropos (a film about interrogation training), and A Room of One’s Own (a monologue about female interrogators). Fusco is currently developing a new performance that explores the “Black Codes” that were established in the Americas after slavery for the 2010 World Congress of the International Drama/Theatre Education Association in Brazil. She is also researching a new project on the experience of incarceration in the United States. Phyllis Galembo has exhibited extensively in museum and galleries. Her recent one person shows include Reflex Gallery in Amsterdam.Many of her prints were included in Sacred Arts of Haitian Vodou and a one person show at the American Museum of Natural History in 1998-99. Her exhibition Manifestations of the Spirit was at the Smithsonian Museum of Natural History in 2001-2. Galembo’s exhibition West African Masquerade was at the Tang Museum in Saratoga, NY 2007, and the George Eastman House International Museum of Photography and Film 2008 and continues to travel through the Eastman House. Galembo is the author of Divine Inspiration from Benin to Bahia, Vodou: Visions and Voices of Haiti, and Dressed for Thrills: 100 Years of Halloween and Masquerade Costumes. Her work is included in numerous public and private collections including the Metropolitan Museum of Art, Museum of Fine Arts, Houston, Schomberg Center for Research in Black Culture, New York Public Library, and the Polaroid Corporation. In connection to her work and exhibitions Galembo has appeared on CNN, NPR Radio and NBC Today in New York City. Ms.Galembo is represented by StevenKasher Gallery, NYC. Iraqi artist Wafaa Bilal, a professor at Tisch School of the Arts, New York University has been recognized worldwide for his interactive and dynamic Internet encounters that explore conflict and provoke dialogue. His installation Domestic Tension placed him in front of a paintball gun which people could shoot at him over the internet, 24 hours a day for a month. Newsweek called it "breathtaking." The month- long piece spurred online debates and intense conversations, garnering the praise of the Chicago Tribune, which called it "one of the sharpest works of political art to be seen in a long time" and named him Artist of the Year in 2007. In fall 2008, City Lights published Shoot an Iraqi: Life, Art and Resistance Under the Gun, about Bilal's life and the Domestic Tension project. Most recently Bilal was named one of the year's "15 Most Politically Fascinating People of 2008" by the online magazine GamePolitics.com. Hank Willis Thomas, winner of the first ever Aperture West Book Prize for his monograph Pitch Blackness (November, 2008), received his BFA from New York University’s Tisch School of the Arts, and his MFA in photography—along with an MA in visual criticism—from the California College of the Arts, San Francisco. His work was featured in the exhibition and accompanying catalog, 25 under 25: Up-and-Coming American. He has exhibited in galleries and museums throughout the U.S. and abroad, including the Studio Museum in Harlem; Yerba Buena Center for the Arts, San Francisco; Wadsworth Atheneum, Hartford, Connecticut; The High Museum of Art, Atlanta, Georgia; Museum of Fine Art, Houston, Texas; Jamaica Center for Arts and Learning, Jamaica, New York; Artists Space, New York; Leica Gallery, New York; Texas Woman’s University; Oakland Museum of California; Smithsonian; Anacostia Museum, Washington, D.C.; Bronfman Center for Jewish Life at NYU; National Museum of American History, Washington, D.C.; and National Portrait Gallery, Washington, D.C. among others. Carla Williams is a writer, editor, and photographer. She is author of numerous essays and articles about photography and is co-author of two histories of photography, including The Black Female Body: A Photographic History with Deborah Willis. Williams is editor of exposure, the journal of the Society for Photographic Education, and is an Assistant Professor at Rochester Institute of Technology. Her websites are carlagirl.net and 81press.net. back to top

Imagemakers	Presentation
Donald E. Camp	Dust Shaped Heart (imagemaker)
	Donald Camp’s work is characterized by both the unique process he uses to produce his prints as well as by his in-depth exploration of the dignity and nobility that can be found in the human face. He uses photosensitized casein and earth pigments, essentially dust and milk, to create his images. Camp works intently on each print, and makes only one unique print for each subject. He began his project working with African American men. More recently, his portrait series has expanded to include men and women of all races, acknowledging the struggle against ignorance and intolerance as a universal one. Donald E. Camp is artist in residence at Ursinus College, and is the subject of an American Artist Oral History at the Smithsonian Institute. He has received fellowships from the John Simon Guggenheim Memorial Foundation, the National Endowment for the Arts, the Pew Charitable Trust, and four Pennsylvania Council for the Art grants. back to top
Pablo Delano	This is NOT Your Caribbean Get-Away Picture-Postcard Tropical Paradise: Post-colonial Cultural Identity In Trinidad (imagemaker)
	This presentation will chronicle a photographic journey exploring issues of race, class, and religious identity in a Caribbean island which, unlike Delano’s native Puerto Rico, has shed its colonial yoke. It will investigate the challenges of documenting a place that has historically been pictured mostly by outsiders with an eye towards exoticising or commodifying the land and its people. Delano will also focus on the process leading to the publication of his book of black and white photographs, In Trinidad, the first book to document the complex issues of post-colonial Trinidadian identity through visual means. Pablo Delano was born in Puerto Rico and holds an MFA from Yale School of Art. He is currently professor of fine arts at Trinity College in Hartford, CT. His work has been published and exhibited around the world and is represented by Galería h2o in Barcelona, Spain. back to top
Mariah Doren and Johanna Paas	Working Collaboratively—Teaching Collaboration (imagemaker)
	Collaboration is a way to broaden our commitment to communication while celebrating a diversity of perspectives. For the past four years Johanna and Mariah have been working collaboratively on a series of images. We have come to see collaboration as a kind of visual dialog. Including multiple voices in a creative project involves a leap of faith and a practice of give and take. Our collaborative practice has extended into our individual studio work as well as our teaching. Through images we will present our creative progression and reflections on its potential. Mariah Doren teaches at Parsons School of Design and SUNY Purchase. She received an MFA in photography from Pratt Institute, and is finishing an EdD in art education from Columbia University. Johanna Paas, an associate professor of Printmaking at Central Michigan University, received her BFA from the University of Michigan and her MFA from Louisiana State University. back to top
Bennie Flores Ansell	A Shadow, A Trace, Impossible Is Nothing (imagemaker)
	Bennie Flores Ansell is a Texas artist who exhibits her photography based installations and art nationally. Flores Ansell was born in 1967 in Manila, Philippines. She moved to Connecticut as a child and then to Tampa, Florida where she attended The University of South Florida. She received a B.A. in Photography and her M.F.A. was completed in 1999 at The University of Houston. back to top
Ellen Garvens	Making Devices (imagemaker)
	I have photographed at the University of Washington Prosthetic Orthotic clinic, as well as in clinics in Cambodia, Lao, and Thailand. The images capture and isolate moments of the prosthetic/orthotic process. For my Imagemaker presentation I will incorporate the different voices of people I’ve encountered through this project alongside my writing and photographs, allowing them to intertwine, point to common experiences, and open up the images to different readings and different trajectories. Appropriate to the theme of diversity, I am interested in contributing to a greater understanding of the experience of the disabled and toward the cultural acceptance of a broader spectrum of body types. Ellen Garvens has received an MFA from the University of New Mexico. Her grants include a Fulbright-Hayes Scholarship, National Endowment for the Arts Individual Fellowship Grant, and an Artist Trust /Washington State Fellowship. Her work is featured in Contact Sheet #150, from Light Work, Syracuse NY. She currently teaches at the University of Washington in Seattle, Washington. back to top
Wing Young Huie	Identity and the American Landscape (imagemaker)
	Photographer Wing Young Huie’s presentation reflects the dizzying socioeconomic, ethnic, and cultural realities of an America in constant flux. With insightful and entertaining candor, he shares the challenges and issues of interacting and gaining intimacy with the thousands of people he has photographed, in his 30-year effort to shed light onthe complex mysteries of disparate communities. Whether in large-scale public installations or major museum exhibitions, Wing Young Huie creates up-to-the minute societal mirrors of our changing cultural landscape. In 2001 the Minneapolis StarTribune named him “Artist of the Year” and in 2008 hailed Lake Street USA as one of the 25 most important books ever published about Minnesota. His other two books are Frogtown: Photographs and Conversations in an Urban Neighborhood, and Looking for Asian America: An Ethnocentric Tour. The University Avenue Project will be published in 2010. back to top
Jessica Ingram	A Civil Rights Memorial (Garry B Fritz Imagemaker Award Winner )
	Four years ago, I wandered downtown Montgomery in the sweltering heat, picked up a walking tour trail, and found myself facing a large, ornate fountain, situated on a brick pavilion. A Historical Site sign said that I was standing on the former Court Square Slave Market, where slave traders sold men, women, and children to the highest bidder. It presented cold hard facts, detailing dollar values for slaves at the time and how none were given last names.   I was speechless. The fountain was erected at a time when this site was not considered for it’s history, the sign placed in a gesture of reconsideration. The language printed on the sign was so void of sentiment – in no way testifying to the experience and meaning. I watched people pass by and wondered if they knew or thought of the history beneath their feet. Curious about what I might find at other historical sites (marked or unmarked) through the South, I began my search. I have been traveling through Mississippi, Tennessee, Georgia, Alabama, and Louisiana, and documenting sites where Civil Rights era atrocities, Klan activities, and slave trade occurred.   I am interested in these sites, their memorials or lack thereof, how some have faded into the landscapes, while others awkwardly stand out, but seemingly go unnoticed. How do the affects of this history still reverberate in these communities and in the landscape? I hope to create this context in my photographs. My larger body of work is about families and communities. This project is absolutely about that. It is a meditation and a recapturing. These images are renewed representations, a new memorial to these events. My hope is that the viewer will consider the relationship of this history within current contexts. Jessica Ingram was born and raised in Tennessee.  She received degrees in Photography and Political Science from New York University and her MFA from California College of the Arts.  She was included in 25 Under 25, (PowerHouse Books 2003) and American Photography 20. She contributed to What We Want Is Free: Generosity and Exchange in Recent Art (SUNY Press 2004).   Along the Way, a video she completed with the Cause Collective was a 2008 Official Selection at the Sundance Film Festival.  Recent portfolios of her work have been published in OjodePez in conjunction with PhotoEspana and GUP magazine.  Jessica’s work is motivated by her desire to understand how people relate, what they long for, and what motivates the choices they make. Along with her art practice, Jessica develops and leads community based arts programs, most recently Fostering Art, a photography and writing program for foster youth in the San Francisco Bay Area. Jessica lives between Nashville, TN and Oakland, CA where she is an Assistant Professor at California College of the Arts and works with PixelPress Magazine.  Jessica’s work is shown internationally. back to top
Priya Kambli	Color Falls Down (imagemaker)
	My photographs visually express the notion of transience and split cultural identity caused by the act of migration. I have been viewing this issue through the lens of my own personal history and cultural journey from India to the United States. This journey left me feeling disconnected- unable to anchor myself in any particular cultural framework. I have therefore formed a hybrid identity, a patching together of two cultures within one person. In my work I use my own family snapshots, which are recontextualized alongside fragmented images and staged imagery to reveal the correlations between generations, cultures and memory. Priya Kambli was born and raised in India. She moved to the United States at the age of 18, carrying her entire life in one suitcase weighing about 20 lbs. She began her artistic career in the United States and her work has always been informed by her experience as a migrant. back to top
Tuba Koymen	Inside/Outside (imagemaker)
	The focus of my work is experimental, involving geographical, cultural, and emotional issues relevant to the emigrant experience of engaging in a culture and space with which one is not familiar. “Inside / Outside“ examines the ways that point of view, or perspective, can alter the meaning of images. I constructed a narrative space in an installation environment, using images, text and audio that allows the viewer to feel the site of dislocation and compare that experience to their own. Participants engage with an imaginary window, framed by physical curtains onto which a sequence of images and text are projected. Tuba Koymen, born and received her BFA in Turkey. She earned her MFA degree in Photography from the Maryland Institute College of Art. Her works have been in many solo and group exhibitions in several, national and international projects. Koymen works as an adjunct professor of photography at TCU. back to top
Osamu James Nakagawa	Remains (imagemaker)
	Remains series consists of over forty images accompanied with both Japanese and English text. The images are photographic depictions of the remnants and consequences of the Battles of Okinawa and Saipan that visually demonstrate how these elements of the past quietly remain today.  The Remains series seeks to build a relationship between culturally distinctive signifiers, both literal and visual. It is my hope to bridge the inherently different interpretations of these historical events through a cross-cultural lens.  Nakagawa also will introduce his new work from his current Guggenheim Fellowship project, Gama caves. Osamu James Nakagawa received a Bachelor of Arts from the University of St. Thomas Houston, a Master of Fine Arts from the University of Houston and currently, he is an associate professor at Indiana University in Bloomington, Indiana.  Nakagawa’s work is shown internationally. His work is in the permanent collections of the Metropolitan Museum of Art, Museum of Fine Arts, Houston; Tokyo Metropolitan Museum of Photography; International Museum of Photography at George Eastman House, Nelson Atkins Museum of Art, among others. Nakagawa is represented by SEPIA International in New York (www. sepia.org). Nakagawa received a 2009 Guggenheim Fellowship to support his project Gama caves in Okinawa. back to top
Ginger Owen-Murakami	Ancestral Presence (imagemaker)
	Like an archeologist studying culture, I collect, document, analyze and interpret material remains. I then appropriate collected artifacts into artworks in an attempt to translate my ancestral narratives. During this presentation, I will present a body of work that includes the interdisciplinary practices of installation, sculpture, traditional and non- silver photographic processes. The work investigates networks of structure and offers a personal interpretation on the evolution of the cultural inheritance. Ginger Owen-Murakami is assistant professor of photography and intermedia at Western Michigan University. She holds an MFA in photography from Louisiana State University, a BFA in photography from The University of Central Florida, and was a 1997 Fellowship Award Recipient of The American Photography Institute, NYU. She has lectured and exhibited internationally.  back to top
Wendel A. White	Schools for the Colored (imagemaker)
	This presentation is a survey of the buildings that were associated with the historic system of racially segregated schools during the Jim Crow era. My particular interest is in the regions of the northern “free” states that bordered the slave states (sometimes known as "Up-South"), as regions of unique concentrations of black settlements during the nineteenth and twentieth centuries. Schools for the Colored is the representation of my effort to memorialize these sites. The architecture and geography of America’s educational Apartheid, in the form of a system of “colored schools” within the landscape of southern New Jersey, Pennsylvania, Ohio, Indiana, and Illinois, is the central concern of this project. Wendel A. White was born in Newark, New Jersey, and grew up in New York City, Philadelphia, and New Jersey. He was awarded a BFA in photography from the School of Visual Arts in New York and an MFA in photography from the University of Texas at Austin. He has received various awards and fellowships including the 2009 and 1993 Fellowships from the New Jersey State Council for the Arts, the 2003 Guggenheim Foundation Fellowship in Photography, and the 2005 Graham Foundation for Advanced Studies in the Fine Arts grant. back to top

Lectures	Presentation
Don Antón	It Is Not in What You Teach, But Who You Teach (lecture)
	The purpose of this presentation is to challenge the constructs of a system that was never created by or prepared for the diverse student. It will discuss the lineage of educational fear that creates fearful learning and will suggest alternatives to an inclusive approach of diverse knowledge. It will discuss issues pertaining to the communities that are obviously absent in both the academic and professional fields and focus on the “academic cracks” that have enveloped lost talent. It will offer suggestions for the enduring education of both student and teacher alike and propose strategies of creating a more inclusive curriculum by legitimizing more diverse participants. Don Gregorio Antón is a Chicano artist/educator who serves as a professor of art at Humboldt State University. He received the Excellence in Photographic Education - Teacher of the Year in 2002 from the Center and has spoken nationally in both universities and intercity schools in an effort to inspire students to realize their own unique selves. back to top
Carola Dreidemie	Art, Freedom and Code: Open Source + Collective Creativity = Endless Possibilities (lecture)
	This presentation is a lecture that celebrates a new philosophy of creative global collaboration facilitated by computer literacy and technologies. How open source graphical environments are empowering digital artists to create and think outside the rules of hierarchies and proprietary rights. The value and popularity of Creative Commons Licensing among digital media artists and the similarities to the philosophy behind late 1960s experimental video artists seen through the presentation of work by artists working with code today in environments as varied as Processing, vvvv, Open Frameworks, Pure Data, and Max/MSP Jitter. Carola Dreidemie is assistant professor of experimental digital media and video at Southern Methodist University, Dallas, Texas. She also teaches digital workshops at Universidad de Guanajuato in Mexico. Born and raised in Buenos Aires, Argentina, her video work has been exhibited in Mexico, Dominican Republic, Poland, Austria, Argentina, and United States. back to top
Joel Eisinger	Walker Evans’s Racial Mirror: White Identity in Photographs of African Americans (lecture)
	This presentation considers Walker Evans’s 1930s photographs of black people in the South as being indicative of Evans’s attitudes toward whiteness. Evans was clearly interested in race even though he said little about it. Black people fascinated him, and he photographed them frequently in his early career. But Evans’s pictures of blacks are not exclusively about African American experience or identity. To a large degree, Evans used these images to speak for himself, to forward his critique of the values of the white capitalist elite. In doing so, he invoked a set of well-established stereotypes of African Americans. Joel Eisinger teaches art history at the University of Minnesota, Morris. He is completing a book on photography and white racial identity in the United States from 1890 to 1990. His first book, Trace and Transformation, dealt with modernist photographic criticism. From 2000 to 2004, Eisinger was editor of exposure. back to top
Bill Gaskins and Erina Duganne	The Self in Black & White--Race and Subjectivity in Postwar American Photography: A Conversation with Bill Gaskins & Erina Duganne (lecture)
	This conversation will consider Duganne’s book, The Self in Black and White, and the challenge of creative and scholarly research questions that recognize African American people as critical producers and spectators of photography as a 21st century strategy for “leveling the playing field” and redefining diversity in photographic education. Erina Duganne is assistant professor of art history at Texas State University. She is the author of The Self in Black and White: Race and Subjectivity in Postwar American Photography and her essays have appeared in a number of anthologies and exhibition catalogues. Most recently, she was awarded a Fulbright Scholar grant to lecture at the University of Potsdam during the 2009-2010 academic year.  Bill Gaskins is a professor in photography, art history, and visual culture in the School of Art, Media and Technology and the School of Art and Design History and Theory at Parsons The New School for Design. He is the author of Good And Bad Hair: Photographs by Bill Gaskins. His essays have appeared in a number of journals, anthologies and textbooks. back to top
Yi-hui Huang	Photographic Digital Sublime: An Empirical Study of Its Medium, Style, Aesthetics, and Knowledge (lecture)
	The digital sublime refers to digital-composite photography that requires a new method of production and that renders a matchless look. Based on nine artists’ intentions, meaning, and worldviews behind their production of the digital sublime, this research has three major findings. First, the digital sublime is a new medium with attributes of photography, painting, and cinema. Second, in terms of the styles and knowledge this new medium creates, however, it does not promote a new aesthetics, but re-introduces and revises past artistic movements, such as realism, romanticism, and surrealism. Last, the digital sublime is not necessarily postmodernist. Dr. Yi-hui Huang is assistant professor of media communication and technology at East Stroudsburg University of Pennsylvania, PA. She obtained her doctoral degree in art education from The Ohio State University in 2008. Her research focuses on theories of photography, aesthetics, and epistemology. back to top
Douglas McCulloh and Kurt Weston	Sight Unseen: International Photography by Blind Artists (lecture)
	Sight Unseen examines the images and implications of the world’s most accomplished blind photographers. These blind artists practice a deeply modern photography, an art of idea. They maintain purely mental galleries of images and then use cameras and scanners to bring their inner visions into the world of the sighted. The work is inherently conceptual and operates beyond the logic of composition and the tyranny of the decisive moment. Marcel Duchamp wrote of “non-retinal art,” art of concept. These artists practice non-retinal photography. Consequently, Sight Unseen raises core questions about photography, perception, and mere outward sight versus inner vision. Douglas McCulloh is an artist, educator and curator based in Southern California. He exhibits widely in the United States, Mexico, Europe, and China. McCulloh has curated 13 exhibitions, most recently Sight Unseen: International Photography by Blind Artists at UCR/California Museum of Photography. His fourth book, Dream Street, was published in 2009. Kurt Weston is a photographer living with AIDS and blindness, and as such is a participant in the world of the stigmatized and marginalized. He offers an insider’s report on the disabled body, aging body, disease, mortality and loss, and provide alternative means to conceptualize and theorize bodies and their social and corporeal transgressions. back to top
Susan Sponsler-Carstarphen	Our Stories, Our Voices: Adoptee Korean Artists (lecture)
	Today celebrities are adopting babies from all over the world, but over 50 years ago Korean babies were the first international and interracial adoptees. Previously most stories had been told by adoptive parents, but in the past 20 years, adult adoptees have begun sharing their stories in their art. Today the number of adult adoptee artists expressing their experiences and feelings about being adopted is growing. This lecture will share the artwork of several accomplished Korean adoptee artists who grew up in the US, Canada and Europe, and some of whom have moved back to South Korea. Susan Sponsler-Carstarphen is a Korean adoptee who grew up on a farm in Iowa. Her artwork has been exhibited in Seoul, South Korea, the US Embassy in Panama City, New York City, Los Angeles, Houston and Austin, Texas. She earned her MFA in photography from Texas Woman's University. back to top
Janet Zandy	Seeing Beyond Dirt: The Language of Working-Class Photography (lecture)
	Frequently named in rhetoric about diversity, but rarely probed, class is a critical element in the history of photography. This lecture centers the lives of workers and proffers an analysis of their collective photographic expressions through three examples:  nineteenth-century occupational tintypes; District 65 Camera Club and the building of a progressive union with photography;  and the contemporary “unseenamerica” project where workers photographed their own lives and communities. This lecture is not about the bourgeois gaze of sympathy for the perceived oppressed. It presents another way to interpret the aesthetics and agency of photography—by seeing beyond the dirt of labor. Janet Zandy is professor of English at Rochester Institute of Technology. She is the author of Hands: Physical Labor, Class, and Cultural Work, and editor of Calling Home: Working-Class Women’s Writings, Liberating Memory: Our Work and Our Working-Class Consciousness, What We Hold in Common: An Introduction to Working-Class Studies, and American Working-Class Literature, (co-editor).  Currently, she writes and lectures on the vernacular of labor photography.  back to top

Panel Discussions	Presentation
Claude Baillargeon with Sara Angelucci, Rafael Goldchain, and Christina Leslie	Representing Diversity: Art, Immigration, and the Formation of Cultural Identity (panel discussion)
	The cultural interactions fostered by globalization and immigration are leading a growing number of photo-based artists, like Sara Angelucci, Rafael Goldchain, and Christina Leslie, to plumb the evolving character of cultural identity, whether their own or that of the other. This panel will address the trials and tribulations concomitant with the pressures to adapt, conform, and assimilate, the indelible imprint of individual and collective memory, the power of artifacts to encapsulate traces of social status and human interactions, and the use of language as an index of cultural identity and social behaviors. Sara Angelucci is a photo/video artist living in Toronto, Canada. Angelucci has exhibited photographs across Canada and videos nationally and internationally. Her work has been supported by various Canadian public funders and included in numerous private and public collections. Angelucci teaches photography at Ryerson University and is represented by Wynick/Tuck Gallery and V-Tape. Claude Baillargeon is associate professor of art and art history at Oakland University, Rochester, Michigan. He received his PhD from the University of California, Santa Barbara, and his MFA from The School of the Art Institute, Chicago. In 2008, he curated Revolutionizing Cultural Identity: Photography and the Changing Face of Immigration. Rafael Goldchain’s photographs have been exhibited and collected by important galleries and museums including the Canadian Museum for Contemporary Photography, and the Museum of Modern Art. Born in Santiago, Chile, Goldchain received an MFA from York University and a BAA from Ryerson Polytechnic Institute. He is currently program coordinator of the Applied Photography Program at Sheridan Institute of Technology and Advanced Learning. Christina Leslie graduated from the Ontario College of Art and Design with a BFA in photography. Her photographs explore her bi-racial heritage, her west- Indian culture, race, stereotypes and marginalization. Text is often incorporated in her work. Since graduating her work has been exhibited in Toronto, Detroit, Prague and most recently in Hartford and has been featured in various publications. back to top
Sonsereé Verdise Gibson with Donald E Camp, Dorothy Imagire, Michelle Dunn Marsh, and Elizabeth Unterman	Language and Identity, Opportunities and Communities (panel discussion)
	A panel discussion that explores the benefits and pitfalls of competitions, organizations, and programs that center around a specific cultural group. Explored in the discussion is the Society for Photographic Education’s Multicultural Caucus itself. Has the presence of the caucus, like so many other groups created an environment that while embracing the idea of cultural acceptance also has the ability to alienate? Is the Caucus really needed at all? Are any such programs dividing the photographic community, or are they leveling the photographic playing field by introducing us to the diversity that we can sometimes miss? Sonsereé Verdise Gibson received her BS degree in Criminal Justice from California State University in 1999. In 2006, she received her BFA in Photography from the Savannah College of Art and Design. Her work tends to make use of portraiture to comment on race, identity, and its social effects in American culture. Donald E. Camp, Artist in Residence at Ursinus College, is the subject of an American Artist Oral History at the Smithsonian Institute and has received fellowships from the John Simon Guggenheim Memorial Foundation, the National Endowment for the Arts, the Pew Charitable Trust and four Pennsylvania Council for the Art grants. Michelle Dunn Marsh is an advocate for photography and design. Affiliated with the Aperture Foundation since 1996, she currently serves as co-publisher of Aperture magazine. She also develops photo-based book projects for other institutions and private clients as an award-winning book designer and as editor-at-large for Chronicle Books. She holds an MS in Publishing from Pace University, and is on the advisory board to the Palm Springs Photo Festival and the Board of Governors for Bard College, where she received her bachelor's degree. Elizabeth Unterman is currently the education coordinator at The Center for Photography at Woodstock (CPW), a nonprofit arts organization, and adjunct faculty in the art department at SUNY Ulster in Stone Ridge, NY. She earned her MFA in photography from the University of Massachusetts Amherst in 2007. Her photography and video work has been shown in solo and group exhibitions in Boston and New York. back to top
Katharine Kreisher with Tulu Bayar, Amber Johnston, Suzanne Szucs, and M. Laine Wyatt	Self as Object: Perspectives of Identity (panel discussion)
	We live during an age of memoir with a cultural desire to share our physical and intimate selves. Self--portrait as a revelation still holds strong currency even as belief in the image becomes diluted by the digital age. What amounts to truthfulness is shifting and self-exposure has become a normalizing and connective event. Through self-portraiture artists have explored everything from the psychological to racial and body issues to personal narratives to aging. This panel will explore the diversity of approaches to self-portraiture as well as its usefulness as a method for making art work, and as a teaching tool. Educated at Skidmore College and the University at Albany, SUNY, Katherine Kreisher has been directing the photography program at Hartwick College in Oneonta NY since 1982. Her self-portraits are in collections of the Center for Photography at Woodstock (NY) and the Pinhole Resource Center (NM), among others. An internationally exhibiting artist, Tulu Bayar is an Associate Professor at Bucknell University. Currently her work is in a traveling exhibition across the United States until 2012. The most notable artist-in-residency grants she received are from the Camac Centre d'art funded by Tenot Foundation and the Center for Photography at Woodstock. Amber Johnston received her MFA in Photography from RIT after a BFA in ceramics from UARTS in Philadelphia. She currently lives and works in Philadelphia teaching in the continuing studies department at UARTS and at Fleisher Art Memorial. Her work deals with self-portraiture that speaks to a larger audience about trauma. Suzanne Szucs is an artist, writer and educator. For 15 years she made a daily Polaroid self-portrait. Approximately 5,500 images, Journal, In Progress is comprised of unassuming and candid images presenting a narrative that investigates the transitory nature of identity and challenges the ability of photography to definitively represent. M. Laine Wyatt is a photographer, multi-media artist and associate professor at the University of Central Florida. Wyatt has exhibited her work across the US in more than 100 venues receiving a number of awards. From the Florida Division of Cultural Affairs, she received the Individual Artist Fellowship and three Artist Enhancement Grants. back to top
Jane S. Noel with Cybèle Clark-Mendes and Sonsereé Verdise Gibson	Bend Me, Shape Me: Self Portraiture and Stereotype (panel discussion)
	Is stereotype hardwired into our brains? Within a fraction of a second of viewing someone, we have classified them according to our schema, which has been developed over the course of our lifetimes. And although most people would describe themselves as less biased than average, this is a questionable assumption. Our automatic responses can belie our good intentions. But are our prejudices inevitable? Is it possible to override our impulses? Toward this end, the works of Cybèle Clark-Mendes, Sonsereé Gibson, and Jane S. Noel, challenge the viewer’s comfort level with their own perceptions. Using a variety of materials, Jane S. Noel primarily investigates the concepts of identity, gender, and contemporary issues. Her training was in the more traditional realms of photography with Judith Joy Ross at Moravian College. However, her more recent MFA studies at Vermont College were a welcome expansion to my work. Sonsereé Verdise Gibson received her BS degree in Criminal Justice from California State University in 1999. In 2006, she received her BFA in Photography from the Savannah College of Art and Design. Her work tends to make use of portraiture to comment on race, identity, and its social effects in American culture. Cybèle Clark-Mendes has exhibited work both nationally and internationally, including group shows and video screenings, at the Museum of Contemporary Art in Atlanta, Georgia, at Gallery 825 in Los Angeles, California as well as FLATFILEgalleries in Chicago.  In 2008, she received a fellowship from the New York Foundation for the Arts, and an Honorable Mention for En Foco's New Works Photography Awards #12.  Clark-Mendes was an Artist-in-Residence at the Weir Farm Art Center, the Anderson Ranch Arts Center, and the Virginia Center for the Creative Arts.  Cybèle Clark-Mendes has taught photography and video at Cornell University in addition to teaching at Western Michigan University.  Cybèle Clark-Mendes received her BFA from Cornell University, and subsequently earned an MFA from the Rhode Island School of Design. back to top
Jolene K. Rickard with William Wilson, Kimowan McLain, and Erica Lord	Visual Sovereignty: Contemporary Native American Photography and The Politics of Imagination (panel discussion)
	Visual Sovereignty: Contemporary Native American Photography and The Politics of Imagination brings together the innovative visions of four Native American artists who employ photography: Jolene K. Rickard, Erica Lord, Will Wilson, and Kimowan McClain. Central to this panel is the notion that indigenous imagination has functioned as a site of resistance and critical cultural production. Each artist on the panel has used photography to represent what it means to live in contemporary Native North America through stories as diverse and complex as the nations they originate from. The panel will explore issues of indigenous representation, self-determination, and visual sovereignty. Will Wilson, Navajo, earned a master’s of fine art in photography from the University of New Mexico. Wilson has produced large-scale multi-media installations that incorporate photography and sculpture, monumental public artworks, and intimate photo essays. Currently, he lives in Tucson, AZ working as an independent artist and curator. Kimowan Metchewais (some early works signed McLain) is a Cree artist, writer and graphic designer. He is now a professor of studio art at the University of North Carolina. He comes from Cold Lake First Nations, a Cree and Dene reservation in Alberta, Canada. He attended the universities of Alberta, New Mexico and the summer fellowship at Yale. Erica Lord was born in Alaska; she has not stopped moving since. She is an interdisciplinary artist and a professor of visual art and indigenous studies at the University of Alaska Fairbanks. In her work, Lord explores issues that exist within a contemporary Indigenous experience. Using a variety of media, she questions definitions, representations, and concepts of Native identity working to offer alternate and challenging positions. back to top
Gazelle Samizay with Coriana Close, Catherine Marino, and Rae Strozzo	Re-Thinking Photographic Education: Expanding the Canon (panel discussion)
	This panel, which will consist of current and recently graduated master's students, will provide strategies for expanding photographic history curriculum. A more accurate retelling of the history of photography to include artists of diverse backgrounds (including, race, culture, ethnicity, religion, class, gender, sexual orientation and age) would expose students to a broad array of creative ideas, thus benefiting students' artistic practices. The goal of this panel is to provide resources and strategies for photography educators to expand the photo historical canon in a way that integrates diverse artists without Othering them. Gazelle Samizay is an MFA candidate in photography at the University of Arizona. She works predominantly in video and photography. Born in Kabul, Afghanistan, and now residing in the US, Samizay's work explores the intersection of her Afghan heritage and American upbringing, touching on both the personal and sociopolitical. Currently, she is pursuing her MFA at the University of Arizona. Coriana Close is an MFA candidate in photography at the University of Arizona. She studied photography and film at Westover School, Oberlin College, New York University, and is pursuing her MFA at the University of Arizona. She has researched and documented structures in northern Ohio used on the underground railroad. Her current body of work exposes race and gender based hatred in institutionalized settings. Catherine Marino is an MA candidate in art and visual culture education at the University of Arizona. She is pursuing her MA in Art and Visual Culture Education at the University of Arizona. She completed an Ansel Adams Internship in which she co-curated one of the first all women exhibitions at the Center for Creative Photography. Catherine is interested in further establishing women’s role in the field of photography. Rae Strozzo is a digital photography instructor at Pima Community College in Tucson, AZ. He is a transgendered artist and writer. He received his B.A. in English and philosophy from Georgia Southern University and his M.F.A from the University of Arizona in 2008. His work focuses on issues of communication, connection and queer identity. Strozzo is an adjunct instructor of photography at Pima Community College. back to top
Clarissa Sligh with Gay Block, Clare Cornell, LaToya Ruby Frazier, Vicki Kluthe, and Sylvia Sukop	Framing the Family Photograph (panel discussion)
	We choose to create photographs from the material of our family life, but refuse to keep secret what society often finds uncomfortable to look at. Our family photographs are not nostalgic remembrances of the past but tools for comprehension and conceptual starting points. They explore conflict, rejection, dying, divorce and aging and articulate experiences often missing from the family album. Within our photography-saturated culture, we seek to create a context that resonates between the actual and the symbolic, that conveys the complex experience of intimate relationships, loss, and memory, and that assists the viewer in entering the space. Clarissa Sligh is a recipient of the ICP Annual Infinity Award and fellowships from the New York Foundation for the Arts and the National Endowment for the Arts. She is the author of nine artists’ books and her work has been exhibited and collected for over 25 years. Since 1973 Gay Block has interviewed and photographed people in order to uncover the value systems possible in human behavior. “I needed to know others to figure out who I could become.” Books include Rescuers: Portraits of Moral Courage in the Holocaust and Bertha Alyce: Mother exPosed and a forthcoming monograph, About Love: Gay Block’s Portraits. Clare Cornell is an artist living in Denver Colorado. His artwork is a result of a personal investigation into his relationship to masculinity, queer and otherwise.  Works include video, sculpture, and primarily photo based media.  Cornell has exhibited internationally including; Olso, Melbourne, Italy, Fullerton Museum, Laguna Art Museum and Leslie Lohman Gallery in New York. The Notion of Family, by LaToya Ruby Frazier, in collaboration with her grandmother and mother in Pittsburgh PA, blurs the line between self-portraiture and social document. Together they utilize photography and video that intensely explores their intergenerational lineage, defining the lines between private and public space, emotion, reality and memory. Vicki Kluthe pursued and received a BS in art education from the University of and a graduate degree from Texas Woman’s University. While at TWU she discovered photography. This new media allowed her to express herself in a whole new light and she earned her MFA in photography at TWU. She is currently an adjunct photography instructor at both Tarrant County College NE in Hurst and Mountain View College in Dallas. She enjoys the challenge of teaching the diverse population at the community college level. Sylvia Sukop is a Los Angeles-based photographer and nonfiction writer. Awards include PEN Center USA’s 2009 Emerging Voices Fellowship in support of her memoir inspired by photographing the life and death of her 19-year-old brother. Founder of the community-based youth photography project Boulevard Without Borders, she is a regular contributor to exposure, Flaunt, and The Huffington Post. back to top

Graduate Student Track	Presentation
Kelly Flynn	Texas Fireworks Series (graduate student track)
	The Texas Fireworks project is an ongoing body of work that documents the firework culture through photographs of roadside stands, their surroundings, and the actual products themselves. There are fewer stands scattered along the highways than before, due to annexation of land, firework “Supercenters,” and burn bans. What attracted me most to this subject was all the different colors, text styling and graphic repetition on older firework stands. This body of work attempts to capture the beauty and uniqueness that I see in these stands. My focus is to record as many of these treasures before they are gone forever. Kelly Flynn is currently working on an MFA in photography at Texas Woman's University. She received her photography BFA from The University of Miami, FL. Flynn’s latest photo documentary project is Texas Fireworks Series. back to top
Garrett Hansen	The Flowing View: Lessons from East Asian Landscape Traditions (graduate student track)
	The growing art markets in China and Korea, as well as the ever-increasing attention that is being paid to Japan’s long and rich photographic tradition, make it clear that there are important lessons to be learned from non-Western artistic traditions. These lessons can help us better understand work from these countries, but can also enrich our own artistic pursuits. This body of work speaks to the lessons I’ve gleaned from my studies of these traditions, specifically the calligraphic, landscape, and gardening traditions of Japan. Garrett Hansen was born in New York City and graduated from Grinnell College where he studied economics and political science. He then moved to Asia, where he lived in Cambodia and China. He is currently pursuing his MFA at Indiana University – Bloomington where he teaches beginning and intermediate photography courses. Back to top
Travis Shaffer	Eleven Megachurches (graduate student track)
	“The result is a wash: rather than making America more Christian, the mega churches have simply succeeded in making Christianity more American” --The Economist Eleven Mega Churches is a series of gathered satellite imagery questioning access and diversity; land-use and the automobile; and the formation of isolated communal brands. It questions the impact of the church as a building and an institution alongside its implied and actual purposes. These images depict sprawling parking lots, cul-de-sac laden homogenous housing and swimming pools, all icons of a distinctly American and more distinctly middle class suburban landscape. Travis Shaffer, MFA candidate at The University of Kentucky, has exhibited work in Cincinnati, Chicago, New York, Lexington, and Louisville, including solo and two-person exhibitions of his series Eleven Mega Churches. He also recently published a limited edition artist book Thirty-four Parking Lots in Los Angeles . . . via Google Maps. back to top
Gazelle Samizay	Afghan/American: Family Politics in the Afghan Diaspora (graduate student track)
	Samizay’s video art investigates the intersection of her Afghan heritage and American upbringing. Memories are reinterpreted and performed to express the complex, layered world of an immigrant Afghan family, touching on both the personal and sociopolitical. This presentation will outline the way she uses video to negotiate the space between "Afghan" and "American" and to express herself independent of cultural definitions and constraints. Gazelle Samizay is an artist who works predominantly in video and photography. Her work has been exhibited across the United States and internationally. She is the recipient of many awards, including the Princess Grace Experimental Film Honoraria. Currently, she is completing her MFA at the University of Arizona. back to top
Leilani Wertens	Forget Me Not (graduate student track)
	At estate sales, treasure seekers encounter once-beloved personal and utilitarian objects that lose their original meaning when stripped of their context. Through my arrangement of the spaces and possessions found in each home, I counteract the impersonal nature of an estate sale and the way it distances us from death. Attention is paid to physical markings of the environment and the accumulation and age of items to help construct a past life and allude to the passage of time. As members of this generation pass away, their personal history becomes commodified; but this project counteracts the disposability of an accumulated life by prolonging the existence of the domestic environment and the items it contains. Leilani Wertens received a BA in art history and print journalism from the University of Southern California and is completing her MFA in photography at Columbia College Chicago. She has worked as a curatorial assistant at the Happy Lion gallery in Los Angeles and received a J. Paul Getty multicultural grant to fund a conservation project at the LA Public Library. Currently working as a teaching assistant at Columbia, Wertens recently was a recipient of an Albert P. Weisman grant and the Iris and Stuart L. Baum completion grant. back to top

Academic Practicum Workshops	Presentation
Robert Muffoletto	The Vasa-Project: Beyond the Classroom Walls (APW)
	Photographic education has progressed through many changes over the last 20 years. This includes shifts from analog to digital, and from site based to virtual. How faculty and students access information, images, and each other has changed how we may “think” of learning environments. This presentation will address a number of issues and possibilities that Web 2.0 and Cloud technologies offer to the education of photographers. Specifically, the presentation will discuss the opportunities offered through online interactive learning communities like The VASA Project. The VASA-Project, an online media workshop, brings students together from diverse geographic areas together for workshops and presentations in photography and media. Roberto Muffoletto was founder and director of CEPA Gallery in Buffalo, NY, editor and publisher of Camera Lucida: Journal of the Criticism of Photography, and editor of Frame|Work from the Los Angeles Center of Photographic Studies. He received his MFA from the Visual Studies Workshop and his Ph.D. from the University of Wisconsin-Madison. His recent photography books include Berlin Diary, Train To Enschede, and Threshold. back to top

Demonstration Presentations	Presentation
Charles Thomas and Jen Crickenberger	Empowering and Connecting Teens Through Photography and Filmmaking (DP)
	The education director and associate education director of The Light Factory Contemporary Museum of Photography and Film (TLF) will present and discuss how the organization creates and implements high school arts integration photography and filmmaking residency programs for under-served minority students. The programs empower students to use photography and film to discuss issues of media, culture, and tolerance. The Light Factory Museum hopes that this discussion will foster outreach partnerships and inspire other educators to pursue similar projects. Charles Thomas is the education director of The Light Factory Contemporary Museum of Photography and Film. In his past six years at TLF, Thomas has expanded the Museum’s school programs to include over 25,000 children K-12, creating programs promoting arts integration, media literacy, and social change. Jen Crickenberger is a photographic artist and the associate education director for The Light Factory. Her projects challenge teens to express their ideas through conceptual photography. Crickenberger created China I-Sights, which recently traveled twenty students to China. National Public Radio’s Morning Edition featured her program Unique Perspective: Breaking Boundaries of Autism with Photography. back to top