I favor art that means something.
I like abstraction and appreciate mystery in form and construction, but I don’t have much patience for conceptual games or the need to read artistic jargon. My own art is, at its most basic, documentary. I tend to look backward more than forward and think that working with history helps humanize us as we struggle forward.
Over the last several years, I’ve spent more time behind the camera and the monitor than pushing pens around. I’m enjoying learning about post-processing and am trying to get better at getting in the action instead of politely snapping from an emotionally safe distance.
||Whichever Stone You Lift – Memorials from Grove Street’s Jewish Cemetery
June 27 – August 17 2007, Brookline MA
Ceramic memorials are not popular in American cemeteries, though common in pockets of Italy and Eastern Europe. When they occur in large groupings here, they are almost always an indicator that what is being memorialized is a community of immigrants.
The Grove Street Cemetery lies on the outskirts of Boston, well past Roxbury and the older Jewish neighborhoods that don’t exist anymore. The Grove Street Memorials make up a small percentage of the total monuments at the cemetery, occurring only in a few congregations and groupings dating from approximately 1920 to 1945.
Many were damaged by age and vandalism. It is this destruction that drew me to these unexpected memorials and why I chose to share them. The beauty after violence intrigued the modernist in me, and the process of re-creation spoke to my intellect. Often heartbreaking, the show presented close crops of these small reminders of the loved ones now gone.
||Lost Vacation: Found Photos on Going Places, 1972-1983
August 2007, Seattle WA
Found in several slide carousels at a thrift store in Rainier Valley, there are over a thousand images in this set taken by a very well-traveled husband and wife. Sorted by trip and dated, there’s nothing to indicate what their home life was like. China, New Zealand, Europe, Morocco, Canada all came under the gaze of their camera.
For this show, I presented the majority of the images as pairs and trios. Some obviously taken seconds apart, others with a more liberal sense of story telling. Would our photographer have selected the shots I did to tell their story? Unlikely. However, I’d hope they’d have been delighted to have someone appreciate many of the lovely images they shot.
A strange interlude that I’m not sure that I’ve recovered from: there was a period where I was convinced that in order to read poetry, it had to both tell a story and be presented with plenty of video.
Still Lake: Being a Mediation on Thomas Moran August Seattle Art Museum August 1998
The Light of Early Work: Meditations on Olmsted Speakeasy Cafe (what a great place!) February 1998
Knowing the West Through Painting Seattle Center Independent Arts Festival June 1997
Not for Tourist Guide to Boston 2007, Section Editor.
The James White Review
Jack Straw, 1999 Artist Assistance Program
Allied Arts, 1999 Artist Support