Artist: Keliy Anderson-Staley

This series of tintype landscapes by Keliy Anderson-Staly is really great. I think that she has perhaps had more attention for her work in portraiture and the Off the Grid project but these images really inspire me. They aren't flashy or over the top in subject matter but I feel like they do exactly what great landscape work does, which is capture a feeling of a place not just what it looks like. This is something that I aspire to in my own landscape work, so it's nice to see someone else out there working in the same vein.














BIO:

EDUCATION

2006 MFA, Hunter College, New York, NY
2001 BA, Hampshire College, Amherst, MA

ACCOLADES, GRANTS AND RESIDENCIES

2010
Residency, Light Work Artist in Residence Program, Syracuse, NY (August)
Puffin Foundation Grant
Griffin Prize, Griffin Museum of Photography, MA
Photo Review Award, Print Center, Philadelphia, PA

2009
Runner-up, one of five, Aperture Portfolio Prize
Honorable Mention, “People, Places, Things,” EnFoco Photography Contest

2008
New York Foundation for the Arts (NYFA). Photography Fellow
Finalist, Duke Center for Documentary Studies/Honickman First Book Prize
First Prize and Solo Show Recipient, Joyce Elaine Grant Photography Exhibit, Texas Woman’s University Art Gallery, Denton, TX

2007
Residency, Bronx Museum of the Arts, NY: Artist in the Marketplace 28


SOLO AND TWO-PERSON EXHIBITIONS

2011
Keliy Anderson-Staley: Imagined Family Heirlooms, John Cleary Gallery, Houston, TX
Keliy Anderson-Staley: Photographic Objects, University of the Ozarks, Clarksville, AR
Off the Grid, Norman Hall Gallery, Arkansas Tech University, Russellville, AR

2010
-americans: Contemorary Tintype Portraits, J. Leibling Center, Hampshire College, Amherst, MA
Photographs by Keliy Anderson-Staley and Jeff Whetstone, Crutchfield Gallery, Johnson C. Smith University, Charlotte, NC
Off the Grid: Photography of Keliy Anderson-Staley. Susan Maasch Fine Art, Portland, ME
Off the Grid, Texas Woman’s University Art Gallery, Denton, TX
Riverside-Americans: Tintypes, California Museum of Photography, Riverside, CA

2009
Keliy Anderson-Staley: Off the Grid and -americans: Contemporary Collodion Portraits, Curated by Lisa Henry, California Museum of Photography, University of California at Riverside, CA

2006
Off the Grid: New Photographs, Hunter College Times Square Gallery, New York, NY

2001
Under Gramma's Porch, A.P.E. Gallery, Northampton, MA
Corrupted Palimpsest: A Photographic & Sculptural Installation, Hampshire College Main Gallery, Amherst, MA


GROUP EXHIBITIONS

2011
Of Gods and Monsters. Auction. Daniel Cooney Fine Art, New York, NY
Stable: Photography 2011, Susan Maasch Fine Art, Portland, ME
Onward '11. Project Basho. Philadelphia, PA
Contemporary American Portraits. In Focus Gallery, Cologne, Germany
Juried Photography: Alternative Processes, Mills Pond House Gallery, St. James, NY

2010

Stalking the Wild Asparagus, The Print Center, Philadelphia, PA
Open Season, Flanders Art Gallery, Raleigh, NC
A Summer of Photography: Gerlovin, Levy, Folberg, Weems, Anderson-Staley, Flomenhaft Gallery, New York, NY
Portraits, RayKo Art Center, San Francisco, CA
Recent Acquisitions from the Collection of Allen Thomas. Wilson Arts Council. Spring Hope, NC
Hampshire College 40th Anniversary Alumni Exhibition, Hampshire College, Amherst, MA

84th Annual International Competition. The Print Center, Philadelphia, PA
84th Annual International Competition. Long Beach Island Foundation of the Arts and Sciences, Loveladies, NJ

AIPAD, John Cleary Gallery, New York, NY
Going Forward Looking Back, Practicing Historic Photographic Processes in the 21st Century, Trustman Art Gallery, Simmons College, Boston, MA
Going Forward Looking Back, Practicing Historic Photographic Processes in the 21st Century, University Art Gallery, UMASS/Dartmouth, New Bedford, MA
Going Forward Looking Back, Practicing Historic Photographic Processes in the 21st Century, Maine Media Workshop, Rockport, ME

2009
Connections, Jenkins Johnson Gallery, Curated by Lisa Henry, San Francisco, CA and New York, NY
Going Forward Looking Back, Practicing Historic Photographic Processes in the 21st Century, University of New England Art Gallery, Portland, ME
Fractions of Sight, Rockland Center for the Arts, Nyack, NY
Portraits, Center for Fine Art Photography, Denver, CO Juror: Mary Ellen Mark
The Business of Art, University of New England Art Gallery, Portland, ME
Dux Femina Facti: A Woman is in Charge, Susan Maasch Fine Art, Portland, ME
Joyce Elaine Grant Photography Exhibit, Texas Woman’s University Art Gallery, Denton, TX
Currents in Contemporary Photography, Flanders Art Gallery, Raleigh, NC
What Surrounds Us: Finding and Making Home, Ernest Rubenstein Gallery at the Educational Alliance, New York, NY

2008
Outside Over There, Aferro Gallery, Newark, NJ
Second Annual Photography Re-imagined, Tilt Gallery, Phoenix, AZ
How Soon Is Now? AIM 28 Exhibit, The Bronx Museum of the Arts, Bronx, NY
Found at Fotofest, John Cleary Gallery, Houston, TX
Resurrection, 23 Sandy Gallery, Portland, OR
Want, Dana Warp Mill Gallery, Westbrook, ME
Traces and Avenues: a selection from Moment Magazine: Une Revue de Photo, Safe-T-Gallery, Brooklyn, NY
Small Packages, Clarabella Gallery, New York, NY


Gallery:
http://www.johnclearygallery.com/

Artist Website:
http://www.andersonstaley.com/

Artist: Joshua Dudely Greer

I think Joshua Dudely Greer's work "American Histories" is kind of an interesting project that tackles some of the same concerns that I'm trying to address in my own work. The idea that the events of the past permeate the landscape and influence our understanding of place in the present really fascinates me. In a way that is what is driving my work. I want to go to these places where history has recorded certain events and bring to light the evidence of what those events mean, or what they have left behind. In many cases the events of the past have lead directly to acts of re-creation in the present. We know the landscape had certain features and so in order to preserve the history of the place we take direct action to maintain or embellish those features. With his work he freely admits to using the "language" of cinema to create his own landscapes of events. In my mind the two methods don't really mesh as well as I would like. In places I feel like I know that the fabrication exists and so it makes me look for it to show through in all the images.







Bio:

Review:
http://marcus-bmode.blogspot.com/2011/03/joshua-dudley-greer.html

Artist Website:
http://www.jdudleygreer.com/welcome.html

Artist Lecture: Larry Sultan from VCU Itunes U

I think one of the best things in the lecture came at the end when he was talking about the idea of access being key to being an artist. How to get access to do what ever your project is, or how to get work out so that it's being seen. I liked that he viewed it as a challenge to get your work out to people and to continue to work and be an artist even if the art market isn't supporting your work.

three words:
Documentary, conceptual, mixed-media

unknown fact:
I thought it was really interesting when he talked about how his Art experience or education came directly from his interaction with the advertising world and the billboards of the sunset strip

I had never seen his underwater work that won him the gugenheim grant. I thought it was really amazing. It's weird because I'm really drawn to water myself and have contemplated similar work, but never really knew how to do it or what to do with it. I think it shows a lot about what kind of artist he was that he would leave a successful collaboration on something that he knew had been successful to do what he really wanted with the underwater project.

Idea: Monticello

Monticello is one of those places that is so iconic that I feel like its hard to deal with. It's so much of a museum that it's hard to think of it as someones home. In a way it's really fitting that figure so central American history such as Jefferson should have lived in a place that seems so much larger than life now. With some research I found out that Monticello hasn't always been so nice in fact multiple times since it was built it has fallen into ruin and almost been destroyed. It is only recently with our current obsession with history that the place has become so important that it has been refurbished and made into a shrine for Jefferson.

Quotes:

Text:Leepson, Marc. Saving Monticello: The Levy Familys Epic Quest to Rescue the House that Jefferson Built. New York, NY: The Free Press, 2001. Print.

Spring 2011 Contest/Show Entries

Photographer's Forum: 31st Annual Spring Photography Contest




The Center for Fine Art Photography: Black and White 2011

Idea: Tourism

"In the middle ages people were tourists because of their religion, whereas now they are tourists because tourism is their religion." ~Robert Runcie

"Tourism, human circulation considered as consumption is fundamentally nothing more than the leisure of going to see what has become banal." ~Guy Debord

Text:
R., Charles, and J. R. Tourism: Principles, Practices, Philosophies. Hoboken, New Jersey: Wiley, 2008. Print.

I have kind of a love/hate relationship with tourism. If it weren't for it being a massive thriving business most of the places that I've visited wouldn't exist or wouldn't be as accessible and visitor friendly. However, I feel that in a lot of ways the Runcie quote sums up the effects of the industry on people. In a lot of cases I feel like the commercialism of it leads people to visit historical sites simply so they can say they've been there. The individual experiences aren't as important as the collecting of places.

Idea: Landscape

"Ever since the 1860s when photographers travelled the American West and brought photographs of scenic wonders back to the people on the East Coast of America we have had a North American tradition of landscape photography used for the environment." ~Galen Rowell

"Landscape is a piece that is emotional and psychological." ~ Jim Hodges

Text:
Copps, David H. Views from the Road: a community guide for assesing rural historic landscapes. Washington D.C.: Island Press, 1995. Print.

With this project the landscape of these historical sites is primarily what I am photographing. I like to look at these places that we know have a specific history and try to relate what I know happened there to what I'm seeing. In some places there are very distinct relationships between the what you can see now and what has transpired in the past, in others the relationship is a little more hazy. But I think those relationships are what give them such an interesting contrast.