Center Quarterly Volume 1 No.4

Opening on May 24th, our schedule continues with exhibitions by ADAL MALDONADO and PETER deLORY. Adal is a N.Y.C. based artist who will be showing a portion of his current project which employs a succession of images as narrative in a series of photographic novels. (FALLING EYELIDS, the first one, was published in the Summer 1979 issue of "35mm Photography.") Recognized for his mastery of the photomontage, he is the author of The Evidence of Things Not Seen, a monograph by Da Capo Press. Peter delory's many credits include a 1978 N.E.A. Photographers Fellowship, Director of the Sun Valley Center's Photography Department, and his present position as Visiting Artist at the School of the Art Institute of Chicago. We are looking forward to receiving his "Still Lites," a portfolio of black and white hand colored photographs.

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MEMBERS COLUMN

It was an extremely productive winter for many of our members I am happy to report. First of all, we have two regular members who are CAPS recipients for 1980. Congratulations to Joel Levenson, a CCFP and Barrett House of Poughkeepsie photography teacher and Phyllis Galembo, who is an instructor of photography at SUNY Albany where she recently had a major exhibit of color photographs in the University Art Gallery. (Watch for her workshop at CCFP this summer!) Exhibiting Associate Eric Lindbloom and Dan McCormack, our Advanced Seminar instructor, have been accepted in the Friends of Photography's show "Photographs from the Diana Camera." The Friends if based in Carmel, California and the show will be a two year traveling exhibition which will grace the walls of CCFP early this summer. Exhibiting Associate Charles Gatewood has been published in yet another book, this time with tattoo artist Spider Webb. The book, with text by poet Marco Vassi, is entitled Pushing Ink: The Fine Art of Tattooing and is available through Simon and Schuster for $8.95, paper.

Colleen Kenyon, CCFP staff, will be having her first major NYC show at FOTO Gallery, 492 Broome St. On view will be a selection of her hand colored photographs opening with a reception from 4-7 pm on March 15 and running through April 12. Neil Trager, a close associate, has taken over a photography instructor position at SUNY New Paltz. Neil was singled out as an integral artist by Village Voice photography critic Ben Lifson for his images included in "12 Brooklyn Photographers," a recent show at the Brooklyn Museum.

I would like to welcome a new Sustaining Member, industrial photographer Joseph Brignolo of Chester, N.Y. And our thanks to all who have recently joined or re-newed, your continued support has been wonderfully inspiring over the long winter months.

To note on your calendar on the evening of May 24th, we are holding a fund-raising auction at the Woodstock Town Hall. We have been gathering a delightful array of goods and services from area businesses and we plan on having a selection of photographs and other artworks up for bid also. If you would like to contribute something, please give us a call. All donations are greatly appreciated and tax deductible. Treasures, bargains, a night on the town-anything goes. Check for tJetails in local newspapers. See you there!

WOODSTOCK PHOTOGRAPHY WORKSHOPS

This summer, the Center will present an exciting program entitled WOODSTOCK PHOTOGRAPHY WORKSHOPS 1980. The program, which begins June 28th, is comprised of a series of ten weekend events featuring evening slide lectures and one or two day intensive workshops. Nationally recognized guest artists such as A.O. Coleman, Jill Freedman, Richard Margolis, and Marcia Resnick will provide a variety of experiences for WPW participants, including workshops on black and white and color photography, "how-to" information, and critical evaluation of work. We hope you will be able to join us at CCFP while enjoying summer in the charming historic art colony of Woodstock. A poster with further details and registration information is available, please call or write.

FUNDS RECEIVED

We would like to acknowledge a grant from the New York State Council on the Arts of $15,850 to aid in the presentation of a photography exhibition program, weekend workshops and lectures with guest artists, Center Quarterly, and an outreach photography program for regional schools and community groups. Fifteen hundred of the award will be set aside for THE PHOTOGRAPHERS FUND, a re-grant program enabling CCFP to provide direct assistance to local photographers of merit who are attempting to begin, continue, or complete specific projects.

EXHIBITIONS

CCFP's 1980 exhibition season opens on March 29th featuring photographs by GEORGE GARDNER, an extensively published freelancer residing in upstate New York. Most recently known for his unique aerial shots of the U.S. appearing in "Photography Annual 1980," Gardner's work in progress includes Country Inns (with Lilo Raymond) and America Illustrated.

In addition, we will once again be presenting "Emerging Photographers," an introduction to the work of three up-and-coming artists. LOU CAROL LECCE's intensely revealing portraits, an "expression of our need to conceal our fear of hidden frailities," evolved from her experiences as a medical photographer. Blocks of beautifully saturated color distinguish MARY THORESON STROTHER's precise urban details. Strother is currently a Photography Instructor in Minneapolis who also runs her own studio. A N.Y.C. photographer, SUSAN B. WOOLLEY received her BFA from the School of Visual Arts in June of 1979. Her experiments with soft color and subtle vision have produced an evocative and surprisingly refreshing body of work.

AUGUST SANDER (1876-1964) is perhaps best known and acclaimed for his 1930's "Circus People," a small group within his vast self-assigned project of creating a photographic portrait of the German people. A selection of Sander's images· will be on display beginning April 26th along with a new sequence of photographs by NEIL TRAGER. Juxtaposing small direct/positive Polaroids, Trager plays delicately with light and space. Equally sensitive are his enlarged portraits which will also be on view.

CONT.

•Arranged by Neil Trager, courtesy of Sander Gallery, Washington, D. C.

1980-Our fourth year and we are once again looking forward to Spring and our upcoming schedule. Our program formats and facilities have changed over the past few seasons as we gain experience and meet new people with innovative ideas and different needs. We invite you to drop by and celebrate the re-opening of CCFP on March 29th from 2-5 pm, and perhaps become involved in one of the many photographic activities we offer. Spring hours are 11-5 pm, closed Wednesdays and Thursdays. The darkroom is available for rental during our regular hours and from 7:30-10:30 on Monday Evenings.

Best wishes for the new year from the CCFP Staff

EVENT BRIEFS

As warm weather approaches, CCFP is pleased to announce an exciting and varied calendar of photographic events. Our series of eight week B&W and color classes for all levels of students will begin April 7th. Weekend workshops include a two-day darkroom "refresher" course, an introductory workshop in view camera technique and zone system controls, and a day to experiment with the fine art of hand-coloring.

We also take pleasure in welcoming three nationally recognized guest artists to the Center. On May 17, Mark Goodman will present a slide lecture on his extensive survey of the people past and present of his hometown Millerton, N.Y. A selection from the NEA funded project of historic material and Goodman's contemporary images was published by Aperture Magazine in 1975. Bruce Gilden, a 1980 NEA and CAPS• grantee, will show slides of and talk about his images on the night of May 31 st. In addition to his "street" photography, Gilden has produced several unusual and fascinating series including "Coney Island" and "Mardi Gras." A slide show entitled "American Abroad: Color Photographs," a selection from the work of Mitch Epstein (also a 1980 CAPS• recipient,) will be presented by the artist on June 7th. Epstein is currently represented by Light Gallery in N.Y.C.

'These activities are made possible with assistance from the Creative Artists Public Service Program as a community service. All evening presentations begin at 8 pm in CCFP's gallery, $1 admission. Please contact CCFP for a class and workshop brochure detailing the full schedule and registration procedures.

©1980 by The Catskill Center For Photography, Inc. All rights reserved. Photographs may not be reproduced without written permission from the artist. Produced by Center Publications. Editor: Sarah Morthland, Layout and Design: Sydna Spancake, Advertising: Andrea Stern. Typesetting: Design-X, Kingston, N.Y. Printing: Hamilton Reproductions, Poughkeepsie, N.Y. CCFP is a non-profit, tax exempt educational organization. The Catskill Center For Photography has received public funds from the New York State Council on the Arts and the National Endowment for the Arts.

Few people attach much affection to the Twentieth Century, its legacy commonly thought of as death on a mass scale and widespread anxiety. At the very least this age is called abrasive. Even at the beginning of the century the gloomy adagios of nearly every Mahler symphony emphatically defined our Fate, Death Without Transfiguration. By the conclusion of the First World War it became increasingly difficult to have any illusions about the twentieth century. The argument of sentiment pointed to an earlier time to support any notion that harmony and well being once did exist.

There has been one period, however, in this malaise which is often looked on, at least by art historians, with some degree of nostalgia for the vitality and quality of the work produced. The rest of the political world had managed to tie itself in knots with complicated alliances, but Paris before WWI and into the 1930's was home and breeding ground for an outstanding collection of international artists. Every discipline was represented, often by a genius: James Joyce, Igor Stravinsky, Alexander Calder, Ernest Hemingway, Piet Mondrian, Andre Kertesz, Serge Diagalev, Serge Prokofiev, Brassai, Pablo Picasso, naming only a few.

This prodigious talent gathered in Paris did more than work solitarily in their studios. They mingled socially in cafes, and often gathered at the well known salons, most notably at Gertrude Stein's. There they exchanged views, looked at each other's work and in the process increased their own vocabulary, and found some hint that later on the world might also accept their work. This is probably not remarkable in itself, but it's clear that the mingling of this avant-garde and the attitudes of a receptive Paris had a galvanic effect on these artists.

So much for history and nostalgia. Now that the work produced in Paris during the 1920's and 30's is an established part of our classical literature, is it possible to assimilate any attitudes from that period to the small, special realm of photography? Photography today, not secular but sacred, idolizes within the context of its own narrow boundaries. Curators, representing major museums around the country, define the limits of photography, and many current exhibitions are eloquent testimony to the influential power of restricted editing. Photography, lacking new "subject matter," is increasingly concerned with photography itself. Thin stuff. What's needed is clearly a bit of Paris-ecumenical artistic spirit. Photography, part of a larger order of things than the medium itself would suggest, is not by itself a sufficient reference point to the world. Poets, saints and scholars tell us that there are powerful issues to be dealt with out there; we need as much acuity as we can get.

With this spirit the Catskill Center For Photography is seeking to present work of visual integrity, and we are committed to the process of defining what that integrity shall represent. During all this we hope to avoid setting trends (so far that hasn't been a problem.)

To further broaden our perspectives, CCFP has joined with nine other organizations in the county to form a political and artistic coalition which will create jobs for artists and foster cooperation among the various groups. Musicians, poets, painters, sculptors, dancers and photographers should become more avail.able to one another through this coalition. Perhaps there will be a few broader currents generated through mingling than could otherwise be achieved by each sacred organization praying to its own god.

Of Special Note: Howard Greenberg and Michael Feinberg, two heroes who brought CCFP to the stature of a bonafide institution, have stepped aside for awhile to watch their child from a distance. In the meantime, I have assumed Howie's responsibilities as Director of CCFP and Sarah Morthland is now assuming Michael's role as Director of Exhibitions.

The Catskill Center For Photography

59A Tinker Street

Woodstock, New York 12498

Non-Profit

U.S. Postage PAID

Woodstock, N.Y. Permit No. 33

RELATED AREA EVENTS

BARD COLLEGE: Charles Traub, April 9 - April 28. Kline Commons Gallery, Annandale-on-Hudson, N.Y.

BARRETT HOUSE: Drawing: Faces & Figures, March 9 - April 3; Writers & Illustrators, April 13 - May 3; Spring Member's Exhibition, May 11 - June 4; Third Invitational Photographer's Exhibition, June 8 - July 5. Gallery at 55 Noxon St., Poughkeepsie, N.Y., (914) 471-2550.

VASSAR COLLEGE: "Current Work: Color Images from 3 Photographers," Douglas Baz, Katherine Fishman, Kathleen Kenyon. Curated by Colleen Kenyon, opens March 24. Student Activities Building, Poughkeepsie, N.Y.

WOODSTOCK TOWN HALL: Fund-Raising Auction for CCFP, May 24, viewing begins at 7 p.m. Tinker St., Woodstock, N.Y. For info call (914) 679-9957.