Past Portfolios

Carla Williams is a photographer and writer. Her photographic work has appeared in The New Yorker and has been exhibited nationally including the Detroit Institute of Arts and the Smithsonian Institution. She is co-author of two histories of photography: The Black Female Body: A Photographic History, and Photographs: George Eastman House, Rochester NY. Her writings and images can be found on her website at www.carlagirl.net

Deborah Bright, Heaven, 1999.
Giclée print on Somerset paper, 15 x 21" image; 16½ x 22½" paper.

Currently a professor of photography and art history at the Rhode Island School of Design, Deborah Bright is an award-winning photographer and widely published writer on photography and social issues. Her photographs have been exhibited throughout the United States and abroad at prestigious institutions like the International Center for Photography and the Victoria and Albert Museum. Bright edited the exceptional book on photography and sexuality, The Passionate Camera: Photography and Bodies of Desire. www.deborahbright.com

Barbara Crane, The Crust, Repeat Series, 1975/86.
Silver gelatin print, 1¾ x 18" image; 5¼ x 19¾" paper.

Barbara Crane, internationally recognized photographer and renowned educator, has explored photography as a vehicle for creative expression for over fifty years. She taught photography at the School of the Art Institute of Chicago since 1964, retiring in 1993 as Professor Emeritus. Crane’s work is in many national and international collections and she has had six retrospective exhibits of her work and over seventy-five one-person exhibitions since 1965. Barbara Crane has received grants from the National Endowment for the Arts, John Simon Guggenheim Memorial, and the Illinois Arts Council.

Patrick Nagatani, The Nagatani/Ryoichi Series, 2002.
Multiple image print (4), 5½ x 7½" image; 16 x 20" paper.

Patrick Nagatani, an internationally acclaimed photographer and recipient of grants, fellowships, articles and exhibitions worldwide. His work is in prestigious collections and he is currently a professor of art at the University of New Mexico in Albuquerque. An underlying theme of his work has always been the conflict and comedy in collective ideologies. In his body of work, The Ryoichi/Nagatani Excavations, Nagatani employs science to create and validate an alternative past that questions the assumption that time is linear.

Lawrence McFarland, From Mokee Dugway, Highway 261, Looking South Toward Mexican Hat, Utah, 1992. Selenium-toned gelatin silver print, 5½ x 17" image; 16 x 20" paper.

Lawrence McFarland received his MFA from the University of Nebraska in 1976 and teaches at the University of Texas in Austin. He has been awarded three NEA fellowships and a Friends of Photography Ferguson Grant. His photographs are in numerous collections, such as the Museum of Modern Art, the Center for Creative Photography, the Los Angeles County Museum of Art and the International Museum of Photography at the George Eastman House, among others.

Only one print is left by Lawrence McFarland, and it has two slightly bent corners. A 10 percent discount applies ($270, instead of $300).

Esther Parada, A Thousand Centuries, 1992.
Ink jet print by Nash Editions, 11 x 17" image; 14 x 20" paper.

Esther Parada was Professor in the School of Art and Design at the University of Illinois at Chicago. Her writings on photography and cultural politics appeared in Afterimage, exposure, and Aperture and her photographic works were published in diverse books and journals. Her work has been exhibited extensively in the United States, Latin America and Europe. She was the recipient of two NEA fellowships. Esther Parada died in 2005.

Joyce Neimanas, Fragil, 1996.
Ink jet print by Nash Editions, 8½" x 5½" image; 12½" x 9½" paper.

Joyce Neimanas has taught at the Art Institute of Chicago since 1977. Her many awards and grants include three NEA fellowships and an Aaron Siskind Fellowship. Solo exhibitions of her work have been held at numerous galleries and museums and is collected by major American institutions of fine art, including the International Museum of Photography at George Eastman House and the Los Angeles County Museum of Art.

Olivia Parker, Herbivore - Carnivore, 1996.
Iris inkjet print on Somerset Velvet, 12 x 10" image; 15 x 12" paper.

Olivia Parker began her career as a painter and became involved with photography in 1970. Mostly self-taught in photography, she usually constructs what she photographs in the studio. Currently Parker is working with the computer. Her photographs have been published in the United States, Europe and Japan and she has had more than one hundred one-person international exhibitions. Her work is represented in major private, corporate and museum collections. www.oliviaparker.com

Meridel Rubenstein, Blood Red River Pagoda (Vietnam),1997/98. Iris ink jet print on vellum, 10¼ x 14" image; 11½ x 19" paper.

Meridel Rubenstein’s narrative photo and installation works combine disparate media and techniques to create a sense of place and collective history. Her current project, Joan’s Arc: Vietnam, explores Joan of Arc’s imprint on contemporary times. She is a past Guggenheim Fellow, and a recipient of an NEA visual arts award and a Pollock Krasner Award. Rubenstein is also a longtime teacher and lecturer. She maintains her studio in Santa Fe, New Mexico.

Clarissa Sligh, March 30, 1997: Jake in transition from female to male, 1997.
Gelatin silver print with ink, 9¼ x 11½" image; 14 x 11" paper.

Clarissa Sligh creates autobiographic narratives using photographs and other visual media. She is currently exploring concepts based on intersections of history, memory, and cultural representation. Her early work focused on her childhood in the segregated South of the 1940s and 1950s. She has received an NEA fellowship and the Infinity Award from the International Center of Photography. She has also published several books of her work, including Reading Dick and Jane with Me and What’s Happening with Momma http://clarissasligh.com.