Tag Archives: University of the Arts

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Home, Markeim Art CenterWayne Klaw, Disconnected (2016), archival injket, Home, Markeim Arts Center

HOME

by Laura Storck

This exhibit is truly a diverse collection of images based on the idea of “home” from the myriad viewpoints of 35 local photographers. To be honest, I looked forward to seeing others’ interpretations of this topic with incredible anticipation and intrigue.

Home, Markeim Art CenterRichard Montemurro, Cozy Corner (2016), pigmented archival inkjet print

“There are many items throughout our home that are photographable and from time to time have been photographed. Most of them have been taken for granted as household decorations or ignored until I decide to photograph some of them. Such is the case with these figurines, tucked away on a shelf in a dark corner of our living room, behind a table lamp. Often seen and taken for granted – until now.” – Richard Montemurro

Home, Markeim Art CenterMelissa Hellwig, Mabel (2015), digital photograph

Mabel by Melissa Hellwig: “Home is where the heart is and my heart is my beautiful daughter, Mabel. I took this photo during her monthly photo shoot when she turned 6 months old. She loves having her picture taken!”

What is home? According to the prospectus: “Home” will be a show of images that presents compelling photographs on any of the aspects or themes of “home”.  Images submitted should be those that the photographer connects to an idea of “home” – this is inclusive of any definition or personal connection and could be home sweet home, home run, home town, home stretch, homey, home free, home base, etc.

Home, Markeim Art CenterEllie Wright, Twenty Gammons Road (2012), laser print

“Twenty Gammons Road passed into memory February, 2012. Its passing was attended by its most recent resident as witness to the 94 years of shelter it provided beginning in 1918. Twenty Gammons Road is survived by the memories of life lived within its walls.” – Ellie Wright

Home, Markeim Art CenterChristine Foster, Joey’s House (2013). archival giclee print, shot on film with a Holga

Home, Markeim Art CenterPat E. Fitzgerald, Homemade Apple Pie (2015), chromogenic print

“Ever since I ate a piece of Carolyn’s homemade apple pie, I have not been able to eat one that is bought at a store, served in a restaurant, or homemade by anyone else. As you can see from the photo, the consistency of the crust enhances its taste, but what makes Carolyn’s apple pie so perfect is that every apple slice is deliciously soft–there isn’t one hard apple slice in the entire pie!” – Pat E. Fitzgerald

Home, Markeim Art CenterSandra C. Davis, Home Invasion-Stealing Fruit (2015), archival pigment print

“The Home Invasion series are images which will be published in book telling the story of old toys that have been put away in a box and left forgotten in the basement. They come to life and make their way out of the basement and into the home to begin making mischief while the humans sleep. Did you ever wonder how that piece of fruit ended up in the middle of the floor? Or what happened to that other sock? How did that book get knocked from the shelf? Perhaps they are in your home and are answer to those unsolved mysteries.” – Sandra C. Davis

Home, Markeim Art CenterErik James Montgomery, Home (1998), chromogenic print

“My friend and I participated in a community outreach at a housing project in Newark where residents received free food and clothing.  While there I noticed an elderly woman looking at us from a distance through her window. I was intrigued so I grabbed my camera and took the first photo. As I walked closer to the subject I saw all of the broken and boarded up windows in her building. Amazingly, she secured her windows with store grates! I’ve seen a lot of peculiar things over my life but having store grates inside someone’s apartment was incredulous.

I approached the senior and asked if I could take her picture. She obliged and then told me that she has lived there for over 40 years and has seen her community decline because of crime and drugs. I asked her why she doesn’t simply move away from there because it’s so dangerous. She replied, “Baby, I can’t leave, this is my home.” Her weighty words taught me that compassion plus commitment is the foundation of any community.” – Erik James Montgomery

When I was invited by curator Norm Hinsey to participate in the group photography show themed HOME at the Markeim Arts Center, I wasn’t quite sure I wanted to participate. To me, the word home evokes ideas of a warm, fuzzy, safe, and nurturing place — also a place of which I have never felt connected. After much pondering, Billy Joel’s ballad “You’re My Home” came to mind. Yes, that’s it. This song resonates with me. Home for me is not a physical place, but a feeling. Relationships. Comfort. Self-acceptance. Authenticity. Love. “Look within yourself”, my inner voice whispered, “and you’ll find your meaning.”

Home, Markeim Art CenterLaura Storck, Revelation as a Wife and Mother (You’re so cramped here.), 2011, silver gelatin print

After much recollection and pondering, I realized that because of my nomadic spirit and constant cravings, the concept of home isn’t a place, it’s a sensibility. It’s the notion of feeling secure within myself.

My image “Revelation of a Wife and Mother (You’re so cramped here.)” was a decisive moment for me. Several years ago, I had just started a Holga camera and darkroom class at the University of the Arts and was playing around with the new detachable flash that had arrived in the mail. While watching a Serbian film with English subtitles made in the late 1960’s, I randomly snapped a photo while firing off the flash to figure out how it worked. It wasn’t until printing the enlarged 120mm film image in the darkroom did I hold a clear vision of what I had captured — not just a black and white image of my messy living room, but a snapshot which perfectly conveyed how I truly felt on that cool October afternoon in 2011.

Home, Markeim Art CenterAnne M. Ferara, Grandma’s China (2016), chromogenic print

“This image evokes memories of home and family gatherings.” – Anne M. Ferara

Home, Markeim Art CenterOla Wilk, Suzy (Walkersville, Maryland), 2014, chromagenic print

“Suzy, a proud teenage horse trainer and show competitor, at the entrance to a trailer on her horse farm in rural Maryland.” – Ola Wilk

Home, Markeim Art CenterSteve Tornone, Home-cooked Meal (2015), silver halide print

Home, Markeim Art CenterLionel Goodman, Home Sweet Home (2015), archival pigmented inkjet

“This photograph of a Roma (gypsy) was taken summer 2014 on the busy Paris left-bank boulevard, Rue Vaugirard. It is noteworthy that the photograph depicts a common Parisian street scene well before the Syrian migration. These (illegal) homes on the street frequently include tents, babies and even pets. Except for the Champs Elysees right-bank quarter they are generally tolerated by the police. These Roma encampments in Paris reflect a long standing internal European migration problem.” – Lionel Goodman

I draw much contentment and energy from the beautiful relationships I’ve formed over the years. Most of all, I’m learning to feel completely whole by allowing myself to pursue my deepest interests and passions without abandon — my art — thus evolving to self-actualization (finally) without judgment but with encouragement, patience, and pride. This is home to me — being comfortable in my own skin. I haven’t made it home yet but the journey is an interesting, poignant, and exciting adventure.

Home, Markeim Art CenterCollection of Norm Hinsey, Marvin’s Photo Album, Polaroid SX-70

Participating artists in HOME include: Anne Ferara, Ava Hartline, Blaise Tobia, Christine Foster, Dave Magyar, Ellie Wright, Erik James Montgomery, Geoff McClain, Gloria Whitney, Heather Siple, Hope Ardizzone, Joan Wheeler, Joel Blum, Joseph Gilchrist, Kate McGovern, Kevin Provost, Laura Storck, Lionel Goodman, Melissa Hellwig, Ola WIlk, Pat Fitzgerald, Peter Burt, Richard Montemurro, Ruth Haines, S Gili Post, Sandra Davis, Scott Johnson, Sky McClain, Steve Tornone, Susan Spitz, Valerie Williams, Vera Hinsey, Vera Resnik, Wayne Klaw, and Whit McGinley.

Curator Norm Hinsey is a photographer, as well as director of CREON Gallery in New York City. He has curated several shows at the Markeim, including  MYSTERIOUS, ALL NATURAL, INSPIRED, EYE OF THE BEHOLDER, and PORTRAIT. CREON has recently shown a retrospective of photographs by Krzysztof Zarebski; and hosted EXPOSED, an exhibition that included work by Ellen Carey and Amanda Means exploring new and unique photographic processes.

HOME will be on exhibit at the Markeim Art Center, 104 Walnut Street
(Lincoln Ave & Walnut St) Haddonfield, NJ 08033
through March 5, 2016856-429-8585 info@markeimartscenter.org

Written and photographed by Laura Storck

Laura Storck Photography ARTIST. SCIENTIST. PHOTOGRAPHER. ROCK STAR.: https://laurastorck.wordpress.com/

Instagramhttp://instagram.com/laurastorck/

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Twitter: @Laura_Storck

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Billy Joel – You’re My Home (Live 1981)

Beehive

Inside the Bloody Beehive with Artist Judith Schaechter

Video by John Thornton Films

“The first time I ever heard of artist Judith Schaechter was sometime back in the early 1980’s when we were both in a group show at Philadelphia’s Art Alliance. She had  this small unassuming painting that I have never forgotten. Judith stopped painting and went on to excel in another medium, stained glass, and on October 17th, 2015 I went back to the Philadelphia Art Alliance to see a dazzling display of her work. Later, I spent an afternoon at Judith’s home and studio. I believe that this funny, brilliant woman is one of the world’s greatest living artists.” – John Thornton

“It seems my work is centered on the idea of transforming the wretched into the beautiful in theme as well as design. For me, this means taking what is typically negative — say, unspeakable grief, unbearable sentimentality, or nerve-wracking ambivalence, and representing it in such a way that it is inviting and safe to contemplate and captivating to observe (to avoid ending with preposition). I am at one with those who believe art is a way of feeling one’s feelings in a deeper, more poignant way.” – Judith Schaechter excerpt artist statement

Judith Schaechter’s work is gut-wrenchingly beautiful. “Beauty” says the artist, “is considered the most horrible crime you can commit in the modern art world. People are suspicious of anything that makes them feel as though they may lose control. Beauty forces you to confront your helplessness as well as your dark side. My work is not intended to make comfortable people unhappy, although it may make unhappy people comfortable.” – University of the Arts faculty

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A Moment

moment3 Arnold Newman, New York City, 1979, platinum print

Michael Somoroff: A Moment.

Master Photographers, Sol Mednick Gallery of Photography, UArts

Michael Somoroff: A Moment, Sol Mednick Gallery of Photography Michael Somoroff: A MomentSol Mednick Gallery of PhotographyThe University of the Arts

Written and photographed  by Laura Storck

As a photography student at The University of the Arts, I make every effort to take advantage of the wonderful rotating exhibits on display Sol Mednick Gallery of Photography on the 15th floor. I was especially motivated to see the current exhibit by ‘Michael Somoroff: A Moment. Master Photographers‘ which includes several gorgeous platinum prints of well-known luminaries such as Elliott Erwitt, Mary Ellen Mark, Frances McLaughlin-Gill, Ben Somoroff, Ben Stern, and Arnold Newman.

moment2Michael Somoroff: A MomentSol Mednick Gallery of PhotographyThe University of the Arts

According to The University of the Arts May 2015 news release of this exhibit:

Between 1977 and 1983, Michael Somoroff, then a young New York photographer, had the privilege of photographing photographers who played a dominant role in shaping the medium during the climax of analog image making, including Robert Doisneau, Elliott Erwitt, Ralph Gibson, Jacques Henri Lartigue, Duane Michals and Helmut Newton, among others. He was first introduced to many of these icons through his father, Ben Somoroff, who studied under Alexey Brodovitch at the School of Industrial Arts in Philadelphia, now The University of the Arts, and had become a well-known and respected still life photographer working in both Philadelphia and New York. These portraits were originally created as a kind of visual journal, a tribute to the modern masters of the medium by a young photographer. Intensely personal, the images were never intended for publication and were put aside for many years. Thirty-five years later, this body of work is finally being shown and published.

moment4Ben Somoroff, New York City, 1977, platinum print

Michael Somoroff studied art and photography at the New School for Social Research in New York, opening his own studio in the mid-seventies, eventually moving for a time to Europe. In Europe, he contributed to such publications as Life, Vogue, Harper’s Bazaar, Stern, Time, and Der Spiegel. His work is represented in collections including the Museum of Modern Art, New York; Museum of Fine Arts, Houston; Smithsonian Institution, Washington, D.C.; and Museo Correr, Venice; it has been exhibited at the International Center of Photography, New York; Los Angeles County Museum of Art; San Francisco Museum of Modern Art; and Museum of Contemporary Art in Chicago. In 2006, Somoroff created a large-scale outdoor installation, “Illumination I” for the Rothko Chapel in Houston, as the first artist invited to do so since Barnett Newman. Somoroff’s homage to legendary photographer August Sander, “Absence of Subject,” was presented during the 2011 Venice Biennale, the only private exhibit in the artistic history of the city to be placed on Piazza San Marco. Since 2011, “Absence of Subject” has traveled continuously throughout Europe and soon in South America. In 2012, “A Moment. Master Photographers: Portraits” by Michael Somoroff was awarded Best Photo Books of the Year prize chosen by American Photo.

moment9Michael Somoroff: A MomentSol Mednick Gallery of PhotographyThe University of the Arts

Upon viewing the beautiful platinum printed image of each master photographer, I felt inspiration, connection, and catharsis. The platinum print process is prized for its rich, long tonal range that includes lush blacks as well as delicate gray mid-tones and for its ability to show fine detail. Somoroff rendered his subject’s essence with the utmost expertise and transcendence. To pay personal homage to the images of these icons felt akin to a spiritual journey in a sacred space.

moment8Mary Ellen Mark, New York City, 2011, platinum print, Michael Somoroff: A MomentSol Mednick Gallery of PhotographyThe University of the Artsmoment5Ben Stern, New York City, 1979, platinum print Michael Somoroff: A MomentSol Mednick Gallery of PhotographyThe University of the Arts

I felt especially moved when seeing Mary Ellen Mark’s portrait, and particularly saddened by her recent passing. I remember first learning about her work when visiting the Philadelphia Museum of Art in September 2012 for her exhibition Prom: Photographs by Mary Ellen Mark. This exhibit occurred in conjunction with her husband’s work, cinematographer Martin Bell’s film Prom (2010), and I was very fortunate to witness a roundtable discussion among Mary Ellen Mark, Martin Bell, and the curator of photographs of the PMA, Peter Barberie. Mary Ellen Mark’s photography has been a major influence on my desire to capture documentary and street images, which has therefore inspired and helped me to feel more empathy, compassion, and responsiveness toward the human condition.

moment6Elliott Erwitt, Easthampton, NY, 1979, platinum print, Michael Somoroff: A MomentSol Mednick Gallery of PhotographyThe University of the Arts

This experience forces me to ponder where my photographic path may lead…Will my portrait ever adorn a gallery wall? All I can offer with certainty is that I appreciate every little struggle and triumph along life’s serpentine journey; I cherish and find value in the many relationships I have formed; and I strive to keep going with continued optimism. Peach and love to all.

moment7Frances McLaughlin-Gill, New York City, 1978, platinum print, Michael Somoroff: A MomentSol Mednick Gallery of PhotographyThe University of the Arts

Now in it’s 37th year, the Sol Mednick Gallery of Photography offers a year-round regular schedule of exhibitions of contemporary photography. The only endowed gallery in Philadelphia dedicated solely to the exhibition of photography, the Mednick Gallery earned the Photo Review Award for service to photography. Associate Professor and former director of the Photography program Harris Fogel, who founded Gallery 1401 in 1999, has been director/curator of both galleries since 1997. Gallery hours are Monday through Friday, 10:00am – 5:00pm., Saturday and Sunday by appointment. The exhibit is on display through July 31st.

The University of the Arts, The Sol Mednick Gallery of Photography, Terra Hall, 15th Floor 211 South Broad Street, Philadelphia, PA 19102 (215) 717-6300

Event page – http://www.uarts.edu/about/sol-mednick-gallery

website – www.uarts.edu

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Written and photographed  by Laura Storck except where noted

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Time

Responce Time, Scott McMahon & Ahmed Salvador

The University of the Arts Presents Photographers Scott McMahon ’95 & Ahmed Salvador ’95: Response Time

January 9 – February 6, 2015, The Sol Mednick Gallery of Photography, Terra Hall, 15th floor, 211 South Broad Street, Philadelphia, Pa.

With “Response Time”, University of the Arts alumni Scott McMahon & Ahmed Salvador (both ’95) continue to refine their collaborative photographic explorations. The process involves one of them sending to the other bits of traditional silver based photographic paper or film in the mail and in the process exposing them for days. Once the parcel is received, it is opened, developed, and the results sent back to the sender. At times, initial lens exposures were made, but the material and/or packaging was later subjugated to light leaks from violently made drill holes or cutmarks. In a way, these perverse techniques push these factory-made films and papers to the end of their silver tether, and also squeeze the true nature of ‘writing with light’ out of them. However brutal, the end result is still a vestige of the first 150 years of traditional photography’s innovation grasping, but not gasping, for relevance. Their performative approach argues against the strict engineering controls that photographic media is designed to adhere to, with results that are always unique, and whose humor and capricious intent are infectious.

Ahmed Salvador received his MFA from Cranbrook Academy of Art in Bloomfield Hills, Michigan and his BFA in Photography from The University of the Arts in 1995. Salvador’s work has been exhibited in solo and collaborative shows in Philadelphia, at venues including The LightroomBridgette Mayer Gallery, The University City Arts League, The Philadelphia Art Alliance, Nexus Foundation for Today’s Art, and a Challenge show at Fleisher Art Memorial. Most recently his work was exhibited at Space 1026, and a solo show at Columbia College’s Hardwick Gallery in Missouri. He is an exhibitions preparator at the Philadelphia International Airport Art & Exhibitions Program and a wet-process photography instructor at the Fleisher Art Memorial in Philadelphia.

Scott McMahon received his MFA from Massachusetts College of Art in Boston and his BFA in Photography from The University of the Arts in 1995. Recent exhibitions include the Palace of the Governors New Mexico History Museum, Santa Fe, NM; PS Gallery, Columbia, MO; Galeria Pusta, Katowice, Poland; Three Columns Gallery, Harvard University; Bridgette Mayer Gallery, Philadelphia (collaborative) and The Bioluminescent Firefly Experiment, University City Arts League, Philadelphia (collaborative). McMahon’s work has been published in Pinhole Photography: Rediscovering a Historic Technique by Eric Renner, The Book of Alternative Photographic Processes by Christopher James, Anthotypes by Malin Fabbri, and Poetics of Light –Contemporary Pinhole Photography by Eric Renner and Nancy Spencer. He was a resident artist at Haystack Mountain School of Crafts in Deer Isle, Maine; çin East Haddam, CT; and Border Art Residency in La Union, New Mexico. He is an Assistant Professor of Art at Columbia College in Missouri.

There will be a reception for the artists from 4:00 to 7:00pm for “Response Time” in the Mednick Gallery on Thursday, February 5th.

The Sol Mednick Gallery offers a year-round regular schedule of exhibitions of contemporary photography. This exhibition is concurrent with “Tom Young: Timeline: Learning to See with My Eyes Closed” in Gallery 1401 (the Sol Mednick Gallery’s sister space) on the 14th floor of Terra Hall. The UArts Photography program operates both galleries.

2015 is The Sol Mednick Gallery’s 37th year of operation and Gallery 1401’s 17th year. The only endowed gallery in Philadelphia dedicated solely to the exhibition of photography, the Mednick Gallery earned the Photo Review Award for service to photography. Associate Professor and former director of the Photography program Harris Fogel has been director/curator of both galleries since 1997 and founded Gallery 1401 in 1999. Gallery hours are Monday through Friday, 10 a.m.-5 p.m., Saturday and Sunday by appointment. Call 215-717-6300 for more information. Images are available upon request.

About the University of the Arts

The University of the Arts is one of the nation’s only universities dedicated to the visual and performing arts, design, and writing. More than 1,800 students are enrolled in undergraduate and graduate programs on its campus in the heart of Philadelphia’s Avenue of the Arts. The institution’s roots as a leader in educating creative individuals date back to 1868.

Thank You to Harris Fogel for the content of this blog post.

CONTACT: Harris FogelUniversity of the Arts

Tel: 215-717-6301 Email: hfogel@uarts.edu

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Before Me

James B. AbbottSpring Tide at Newcomb Hollow Beach, Cape Cod National Seashore, James B. Abbott

The Landscape Before Me: Cape Cod

The Photography of James B. Abbott is Always in Season

Currently on view through February 6, 2015, St. Joseph’s University Gallery, Merion Station, Pennsylvania.

Public Reception on Thursday January 22, 6:00 – 8:00pm

In his largest exhibition of this work to date, James B. Abbott presents a timely meditation on Cape Cod across time. Large scale, multi-image panoramas display the drama of shifting tides, dunes and seasons while more intimate prints examine the subtleties of the moors and marshes. Taken over 15 years, this collection of images moves audiences into a contemplative space where time, place and scale are in constant flux.

The Landscape Before Me, is on display at St. Joseph’s University Gallery through Friday, Feb. 6, 2015. A reception for the artist will be held on Thursday, Jan. 22, from 5-7 p.m.

“The space of the Outer Cape has an inherent ambiguity of scale with little reference to familiar things, which makes it very malleable from a photographic and optical perspective,” remarks Abbott of his work with this landscape. “The dunes, tides, light, and water are never the same and they combine in so many different ways that I continually find new and interesting approaches to recording them.”

The cross section of images presented in The Landscape Before Me is from an ongoing body of work started in 2000 in South Wellfleet, Massachusetts while the artist was vacationing with his family. The work took on full commitment after he was accepted the Outer Cape Artist-in-Residence Consortium, managed by the Peaked Hill Trust. Through volunteers, the organization facilitates artists spending two weeks in a primitive dune shack with no electricity or no running water. The shelter was 400 feet from the ocean, isolated in the Peaked Hill dunes of the Cape Cod National Seashore, and provided unparalleled concentration and immersion in the landscape. This opportunity placed Abbott in the epicenter of an extraordinary environment, gave him the solitude to think, and came with a mandate to create. With this increased knowledge and appreciation of the place, his work took a new direction with increased momentum in the years following the first residency. Abbott has returned independently over 20 times since the May 2003 residency and in the summer of 2007, was awarded a three week C-Scape Dune Shack Artist Residency. This second residency was situated in a shack in the dunes of Race Point, for an intense three week period, and provided another unique time and situation to produce work.

The images are taken mostly in the Outer Cape region of the Cape Cod National Seashore in all four seasons. Abbott works with polaroid positive/negative multi-image panoramic and single wide-angle images printed and toned in a darkroom on conventional silver gelatin paper. Working in black and white allows the artist to approach the landscape without obvious tourist references, focusing instead on structure and nuance as he attempts to record a changing landscape. The ever-shifting sand dunes act as a three dimensional model as they record the primary forces and rhythm of nature. The sandscape seems to capture everything from the most minute shift of wind and tide to events of catastrophic force. The vocabulary of this landscape reflects permanence and mutability: where sea meets sky and land, where human intervention imprints the environment, and where the sky, sea and land often blend and/or mirror each other. The effects of currents of air are as evident as those of the sea in this place. At the most basic level, Abbott makes two dimensional photographic interpretations of these highly transitory three-dimensional records of natural and inflicted change.

Abbott’s goal is that the work will deal not only with how one perceives a place or thing but how one thinks of that place after encountering a visual representation of it. With emphasis on simultaneous micro and macro views or layer of information, the artist exploits the inherent descriptive nature of the photographic medium. He works on long term projects in one location and usually towards complex and diverse interpretations of a subject.  In many ways, his collected works form a comprehensive and sincere portrait of a place. The artist learns and builds from each trip, so that as it grows, each body of work takes on a life of its own.

The work in Cape Cod is one of four long term, photo-based investigations of specific locations; he has also worked extensively in Berlin, Germany, on and around the Benjamin Franklin Bridge in Philadelphia, Pennsylvania, and currently in Florence and Venice, Italy.

James B. AbbottPeaked Hill Dunes in Winter, Cape Cod National Seashore, James B. Abbott

James B. Abbott is a photographer who has maintained a studio in Philadelphia on North Third Street since 1983 and is a resident of Ardmore,Pa.  Abbott earned a degree in Photography from Cranbrook Academy of Art, interned at the Light Gallery in New York, New York and completed an apprenticeship with renowned American photographer Burk Uzzle. Abbott has served as photographer for the Stieglitz Center at the Philadelphia Museum of Art and Gallery Director of the Burden Gallery at Aperture Foundation in New York City. Abbott has held faculty appointments at Penland School of Crafts, Moore College of Art and Design, the University of the Arts, Philadelphia University, Tyler School of Art, Temple University, and currently teaching in Italy for East Carolina University.

Over the course of the past twenty-five years Abbott has received many residencies and commissions; exhibited regularly; curated notable exhibitions and has built a successful international freelance photography and fine art practice. He has been a visiting artist and lecturer at Cranbrook Academy, a resident artist at the Cape Cod National Sea Shore, and lectured at the Griffin Museum of Photography in Winchester, Massachusetts. Abbott has been commissioned to create photographs for many projects and organizations including the Fairmount Park Art Association for their New.Land.Marks project, Rutgers University and NJN Public Television, and the Marriott Hotel. Abbott’s extensive exhibition history includes solo exhibitions at Harvard University, the Wellfleet Public Library, Free Library of Philadelphia, and the Lishui International Photo Festival in Lishui, China. Significant group exhibitions include the Atwater Kent Museum for the Museo Bardini in Florence, Italy, State Museum of Pennsylvania, The Print Center, and the National Constitution Center.

Abbott’s work is included in many public and private collections including the Federal Reserve Bank, the Philadelphia Museum of Art and The Wharton School of the University of Pennsylvania. Abbott’s curatorial endeavors brought outstanding and stimulating work to Philadelphia through his gallery/exhibition space Exhibit 231. He put together exhibitions by Carl Toth, John Geard, Joel Katz, Geanna Merola and Sandy Sorlien.

Abbott has also received a number of grants and awards for his work: he is the recipient of three Pennsylvania Council on the Arts Individual Artist Awards, a SOS grant, and an Independence Foundation Fellowship in the Arts.

A solo exhibition of select images from this body of work will be on view at The Saint Joseph’s University Gallery featuring work from nearly two decades of working on Cape Cod. The Landscape Before Me will be on view from Monday December 22, 2014 through Friday February 6, 2015. There is a public artist reception on Thursday, January 22 from 6-8 pm. Saint Joseph’s University Gallery is located in Merion Hall on the James J. Maguire ’58 Campus at 355 N. Latches Lane in Merion Station, PA. Gallery hours are Monday through Friday, 9 a.m. – 7 p.m., and Saturday, 10 a.m. – 1 p.m.  More at www.sju.edu/gallery or by calling 610-660-1845.

Thank You to Ann Peltz at akkoivunen@gmail.com for this press release.

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