fall 1993 - summer 1994 exhibition program

1993 New England Biennial
September 16– November 6, 1994
The New England Biennial featured the work of 19 artists selected from over 350 entries from New England. The artists included Monika Anderson, S.A. Bachman, Max Belcher, Patti Capaldi, Jim Collins, Stephen DiRado, Roy DiTosti, Misugi Forssen, Stephen Golding, Robert Goss, Margaret Kauffman, Sharon LaBella, Richard Lewis, Linda Linroth, Paul Lister, Maria Muller, Pamela Rajpal, Hakim Raquib, and Dana Salvo. The works were selected by jurors Robert Blake, then Director of Education at the International Center of Photography; Alison Devine Nordstrom, then Director of the Southeast Museum of Photography; and Maryjean Viano Crowe, then instructor at the Rhode Island School of Design.

Other Africas: Max Belcher, Fazal Sheikh, and Vera Viditz-Ward
October 29 – December 19, 1993
These three documentary photographers took an insightful approach to the diverse faces and traditions of Africa. Rejecting the sensationalized and ultimately misleading image of Africa put forth by the media, Belcher, Sheikh and Viditz-Ward gave form to an enormously rich and complex culture. Other Africas was the first phase of a two-part project.

Drex Brooks and Judy Natal
October 29 – December 19, 1993
This exhibition held in the Klebenov Gallery at the PRC featured works by Drex Brooks and Judy Natal, explored the politics of site via subjects that are socially and culturally embattled. Natal photographed women, naked and clay encrusted, and juxtaposed them with images of animals from museum dioramas, politicizing the female form. Brooks located sites of Native American and colonial conflict that have been transformed by the forces of nature and human activity.

Marke Daryl Webb and Stephen Petegorsky
November 26 – December 19, 1993
This exhibition featured documentary photographs by Marke Daryl Webb and Stephen Petegorsky that explored small communities. Webb's striking set of images of Israel during the Iraqi war and Manor, Texas emphasized the similarities between the two cultures. Petegorsky's photographs of Northampton, Massachusetts documented the transformations of the land and buildings in the area, and suggested the vulnerability of even the most preserved communities.

Dore Gardner: Nino Fidencio, A Heart Thrown Open
January 7 – February 20, 1994
Photographer Dore Gardner's images explored the practices and rituals of the devotees of El Nino, a spirit and guide widely worshipped in Mexico and border communities in Texas. The work emphasized the importance of myths and the healing presence in these cultures. The complete collection of these images along with writing on the subject is compiled in the book Nino Fidencio: A Heart Thrown Open.

Lucinda Devlin

January 7 – February 20, 1994
In this exhibition, Devlin shared photographs of the death chambers at American correctional facilities that are chilling and objective, straightforward and ironic. (Please note: This exhibition was not on view in February.)

Bronlyn Jones: Photographs from Southeast Asia, Mexico and New Mexico

January 7 – February 20, 1994
Bronlyn Jones's small photographs, which she fit into shrine-like cases, document the quiet and sacred sites of Buddhist and Catholic rituals, as well as ruins and domestic shrines. The images themselves took on the qualities of the small icons they represented and became objects of honor and contemplation. The issues in Jones's work also served to underlie the artistic endeavors of Dore Gardner, whose work was shown simultaneously at the PRC.

Photographs by Dennis Hopper: 1961-1967
Through March 20, 1994
This exhibition included images of artists, activists and celebrities, many of whom have since earned legendary status as cult heroes. Actor, director, and artist Dennis Hopper photographed during the sixties and created a visual record of “who's who” with telling portraits of emerging stars.

Minefields: Bill Burke

Through March 20, 1994
The work of Minefields, pulled from Bill Burke's book of collaged images, ephemera, newspaper clippings, letters and journal entries, created a personal, political and often terrifying narrative of Burke's trips to Cambodia. Burke's photographs presented the underlying threat and reality of human vulnerability operating on multiple levels.

Photographic Book Art in the United States

March 25 – May 1, 1994
Guest curator Susan Kae Grant surveyed the photographer's book in this traveling exhibition that featured eighty-six artists. The book became a popular creative venue for artists during the 1960s as an effective means to reach a wider public while experimenting with the possibilities and limitations of the book form.

For Reproduction: Linda Robbennolt
March 25 – May 8, 1994
Linda Robbennolt explored many forms of photographic expression in her imagery and installations featured in this exhibition. The piece was made up of photographic and pictorial imagery as well as objects installed in the vitrines, and commented on ideas of reproduction in art through a narrative.

Primate Portraits: Robin Schwartz
March 25 – May 8, 1994
Robin Schwartz presented work from her series Like Us: Primate Portraits which was originally published in book form. Her images portrayed various primates in their human owner's element and were intended to show the individuality of each primate.

Art Works: Teens and Artists Collaborating on the Polaroid 20x24”Camera
June 3 – June 30, 1994
The Education Project in New York, which produced Art Works, created an opportunity for at-risk youth to express their own experiences and thoughts. Teens from New York City family shelters, drug treatment centers and city housing in the South Bronx and Lower East Side were paired with renowned photographic artists Chuck Close, John Divola, Felix Gonzales-Torres, Timothy Greenfield-Sanders, Hakin Raquib, John Reuter, Andres Serrano, Laurie Simmons, Carla Weber, and Jean Vong to form collaborative teams. Working in studios in Soho, the artists provided teens with the necessary support and technical expertise to undertake their personal and creative journeys through photography.

Fire Without Gold: Documentaries of Photographers of Color

June 3 – June 30, 1994
Fire Without Gold fused art and activism in its display of work by leading and emerging Puerto-Rican, Brazillian-American, and African-American artists. Eli Reed, Marilyn Nance, Miriam Romais, Ricky Flore, Christine Jackson, and David Lee explored their diverse heritages and cultures through documentary images. The task of these artists was to diversify the art that is publicly accessible while providing artists with a forum for their work and ideas.

David Strick
June 8 – July 30, 1994
David Strick photographed off-camera moments of Hollywood's most famous and infamous studios. The exhibition was humorous and jarring, particularly because it documented the clash of Hollywood and the often stark, mundane reality of life in the entertainment industry.