A matrix-based artist, Elysabeth Cianci creates original and editioned printed matter under the imprint Hungermoon Press. Creating work in series and multiples, Cianci sustains an interdisciplinary practice within the fields of photography, printmaking, and letterpress printing. She refers to her hand-printed artist’s books, prints, and works on paper as field notes: a working personal collection of visual-mappings and careful charting of the natural world – records documenting our marked and unequivocally deep interconnectedness to ecological systems.

Her work is held in several private collections, as well as the Fine Arts Library, Harvard University. Dividing her time between her home in the mountains of Vermont and the Boston area, Cianci serves as Visiting Lecturer in Printmaking at Massachusetts College of Art and Design, and in the Studio Arts Department at Lesley Art + Design. Additionally, she is on staff at the Department of Art, Film, and Visual Studies Woodshop at the Carpenter Center for the Visual Arts.

Register Here!

Event Date & Time : June 25th, 2025, 6 PM – 8 PM EST

PRC Nights is a member opportunity to share work in conversation with our host.
If your work fits this theme, please contact us at programs@prcboston.org to participate.

This event is free, but registration is required to attend.

Event Date & Time : February 12th, 2025, 6:30 PM EST

PRC Nights is a member opportunity to share work in conversation with our host.

We will be meeting via Zoom at 6:30pm on Wednesday evening, February 12th, 2025. If your work fits this theme, please contact us at programs@prcboston.org to participate.  This event is free, but registration is required to attend.

(Photo of Frank Armstrong by Michael Potiker)

Register Here!

Free to attend, and open to the public.
Register HERE to receive the Zoom link.

PRC Nights is a long-standing monthly tradition at the PRC, we host a guest photographer along with additional PRC Members for a lively evening of conversation on rotating themes. This free, program fosters a sense of community by offering an opportunity to share images and insights about particular topics in contemporary photographic practice. PRC Nights is open to the public and all are welcome!

The October 16th theme is “Still Life” featuring photographer JP Terlizzi. What is Still Life? No one says it better than the J. Paul Getty Museum, “Still life derives from the Dutch word stilleven, coined in the 17th century when paintings of objects enjoyed immense popularity throughout Europe. The impetus for this term came as artists created compositions of greater complexity, bringing together a wider variety of objects to communicate allegorical meanings.”

JP Terlizzi is a New York City photographer whose contemporary practice explores themes of memory, relationship, and identity. His images are rooted in the personal and heavily influenced by the notion of home, legacy, and family. He is curious about how the past relates to and intersects with the present and how the present enlivens the past, shaping one’s identity. Terlizzi earned a BFA in Communication Design at Kutztown University of PA with a concentration in graphic design and advertising. He has studied photography at both the International Center of Photography in New York and Maine Media College in Rockport, ME.

Terlizzi’s highly acclaimed still life work is known for its distinctive use of style, pattern, texture, and color. He uses food and objects that serve as memory that links to a foundation in family tradition, history, and culture. His work has been exhibited extensively in galleries and museums across the United States and abroad, including juried, invitational, and solo exhibitions, notably at Koslov Larsen Gallery, (Houston, TX), Vicki Myhren Gallery (Denver, CO), Gilman Contemporary (Ketchum, ID), Klompching Gallery (Brooklyn, NY) Florida Museum of Photographic Art, The Griffin Museum of Photography (Winchester, MA), Ft. Wayne Museum of Art (Ft. Wayne, IN), and The Montclair Museum of Art (Montclair, NJ), among others. He has been recognized four times in Photolucida’s Critical Mass Top 50 and three times as a Finalist. His work has appeared in AIPAD, The Photoville Fence, and his portfolios have won notable awards of distinction with Klompching Gallery (Brooklyn, NY), Sohn Fine Art Gallery (Lenox, MA), and Soho Photo Gallery (New York, NY). Terlizzi’s work is represented by the following galleries: Koslov Larsen (Houston, Tx), Gilman Contemporary (Ketchum ID), Sohn Fine Art (Lenox, MA), Beth Urdang Gallery (Wellesley, MA), PhotoEye Gallery (Santa Fe NM).

Becky Behar is a photo-based artist born in Colombia and now living in the suburbs of Boston. Her richly choreographed portraits and still lifes investigate motherhood, the passage of time, and what we carry through generations. With incandescent subject matter emerging from rich shadows, her photographs evoke Dutch oil paintings, replete with symbols of transience, family, and faith. Behar punctuates portraits with still lifes that mark the present-day, rendering plastic bags luminous amongst cherries and figs. Here, home is an idea, not a place. Behar has exhibited at national and international galleries including a pop-up exhibition at the Museum of Fine Arts (Boston, MA), and solo exhibitions with Kniznick Gallery (Waltham, MA), The Griffin Museum of Photography (Winchester, MA), Workspace Gallery (Lincoln, NE) and Concord Free Public Library (Concord, MA) where she was an Artist in Residence. Her group exhibitions include the Rhode Island Center for Photographic Arts (Providence, RI), Photographic Resource Center (Cambridge, MA), Woodmere Museum (Philadelphia, PA), and FotoNostrum Gallery (Barcelona, Spain). Behar’s work has been featured in A Photo Editor, Float Photo Magazine, Fraction Magazine, The Boston Globe, Jewish Boston and What Will You Remember?. Behar has received multiple acknowledgements for her work including being a Photolucida Critical Mass top 200 finalist (2020), a finalist for the Griffin Museum of Photography John Chervinsky Emerging Photographer Scholarship (2020), and was an awardee with the 16th Annual Julia Margaret Cameron Award for Women Photographers (2021). Behar’s most recent honors include a Concord Cultural Council Grant (2022), and a Combined Jewish Philanthropies Grant (2023). She is currently a Visiting Scholar at Brandeis University’s Women’s Studies Research Center (Fall 2023 – Summer 2025) where she conducts research in order to develop her photography portfolios.

PRC Nights is a long-standing monthly tradition at the PRC. This free, program fosters a sense of community by offering an opportunity to share images and insights about particular topics in contemporary photographic practice. PRC Nights is open to the public and all are welcome!

The September 19th PRC Nights celebrates the exhibitors of Exposure 2024, the annual PRC Members juried exhibition. The exhibition juror, Samantha Johnston (Executive Director & Curator, Colorado Photographic Arts Center) writes, “As I finalized my selection for the exhibit, I saw common threads emerge, such as COVID-19 affecting us all in different ways and continuing to impact many peoples’ lives. There was also a focus on themes of home and place, not just the physical place we reside, but the towns and cities around us. History and found objects also played a role, and threads of space, time, and memory can be drawn through many of the works selected. I saw several artists working with self-portraiture and themes of connection, including exploration of social media, and consumerism. Together, these artists harness the power of photography to tell compelling stories that invite us to reflect on our shared experiences and the diverse ways in which we navigate our world.” The artists presenting in this event on the 28th will share work along these themes.

Jeffrey Heyne earned a B.Arch. from the Univ. of Cincinnati, and he cites his residency with painter Jake Berthot at the International School of Art in Umbria, Italy as being pivotal in the focus of his photography. Heyne’s work in Exposure 2924 is from his To Hunt a Moon series comprised of recent wintertime photos of Colorado ranch lands and mountains, paired with a 1910 vintage moon map by Walter Goodacre, from NASA’s 1960’s moon cartography files, and from NASA’s Apollo astronaut photo archives from 1969-1972. The images of this series are arranged, grouped, and collaged together melding the form and contours of the lunar topography with the snow covered hills and cattle pastures of Colorado. Purposeful color shifts and imprints of fencing, straddle and blur fade the line between the lunar and the terrestrial.

Greer Muldowney is an artist, photography professor and independent curator based in Somerville, Massachusetts.  She received an undergraduate degree in Political Science and Studio Art from Clark University, and an MFA from the Savannah College of Art and Design, and is currently an Assistant Professor at Boston College. Her work often tackles the relationship of policy making and how it affects landscape, housing and community. 

Muldowney’s work in Exposure 2024 is from her series, Monetary Violence, an ongoing body of work attempting to weave a narrative between the ever-changing visual landscape of Somerville, MA and its community players. Those moving to exploit the market, and those trying to preserve the town and themselves from eventual erasure. All of whom feel that the invasion of wealth is inevitable; where maybe the only answer is the truth of power pretending to be progress. Though Somerville is a place of specificity, these images also serve as a similitude for many communities blighted by economic disparity.

Astrid Reischwitz is a lens-based artist whose work explores storytelling from a personal perspective. She is a graduate of the Technical University Braunschweig, Germany, with a PhD in Chemistry. After moving to the US, she fell in love with photography and began her journey to explore life through the creation of art. work included in Exposure 2024 is from her series, The Taste of Memory, which explores personal and collective family narratives woven through still life compositions, intertwining threads of home, heritage, and identity. Through the careful arrangement of ingredients and culinary artifacts, Reischwitz pays homage to the kitchen traditions that have shaped her family’s story. The compositions offer a sensory journey through the tastes and textures of traditions inspired by the family dinner table. Through the arrangements of everyday objects, she evokes the familiarity and comfort of domestic spaces. Each item from her family’s now uninhabited farmhouse holds a story, a connection to the past, and a reflection of the present. The repetition of tools becomes a symbol of the enduring legacy carried by objects through decades of use. From heirloom crochet doilies, passed down through generations, to weathered kitchen utensils, The Taste of Memory serves as a portal to the heart of home, a cheerful goodbye to a memory lost and an invitation to create a new recipe, a new memory, and a new story.

Anastasia Sierra is a Russian-born American portrait and fine art photographer based in Cambridge, MA. Her work explores the themes of motherhood, womanhood and connection. Sierra’s work has been exhibited in a number of group shows in the US and internationally. She is a Critical Mass 2022 finalist and has received the 2022 Griffin Award. Sierra’s work in Exposure 2024 is from her series Bittersweet, is an ongoing body of work about the conflicting emotions of motherhood – the love, the tenderness, the fears, the loss of self, the loneliness. In this series she collaborates with her young son to escape the chaos of their daily lives by creating a warm and colorful world of their own. She uses light and shadow as a metaphor, with their lives bright and colorful on the surface and piles of laundry, dirty dishes and some of the darker feelings obscured by the shadows. She makes these images to remember her son’s chubby thighs and golden hair, and what it’s like to touch his skin and feel the weight of his body while she can still carry him. Sierra photographs their love and her nightmares, with a superstitious hope that her fears won’t materialize if she spells them out in her photographs.

Elizabeth Wiese is a visual artist and photographer whose work incorporates themes of fragility, strength, movement and grace. She has a BA in Economics from Colby College and studied Design at Parsons School of Design in New York and Paris. Wiese’s work in Exposure 2024 is part of Free Spirit, a series of self portraits that celebrates the tranquility and elemental connection an individual feels when immersed in nature, an invitation to leave the pressures and pretenses of the interior behind and become one with the environment. Wiese has been a dancer for more than 50 years and loves expressing herself through movement. As a child, she danced and dreamed among the trees at her family’s nursery, the perfect refuge from the challenges of adolescence. Today, she is still drawn to these graceful arboreal forms, often seeing ports de bras and arabesques in their majestic branches. A primal sense of energy and emotion flows through her as she is called to join their dance, common rhythms merging as part of a much larger whole.

Andrew Zou was born and raised in Jiangxi Province, China. He lives in Boston, MA where he is a candidate of MFA 2025 in photography at Massachusetts College of Art and Design. He has received Anderson Ranch Scholarship in 2024, Graduate Dean’s Scholarship and Graduate Foundation Scholarship from MassArt in 2023. His photographs have been exhibited both in Cambridge, MA and Shenzhen, China, and published online by Photo Vogue. Zou’s work is an ongoing exploration of self-discovery, examining various aspects of his individual identity and self, self-observation, self-repetition, self-exploration, self-expression, self-awareness, self-love, self-satisfaction and self-transformation. Coming from a unique cultural and economic moment in China’s history, his aim is to provoke conversations about how queer communities survive in China and the challenges faced by his contemporaries and earlier generations in embracing their queerness in China. When photographing himself in private spaces, He creates an intricate and intimate relationship with himself, exploring his queerness within a space of self-protection. While photographing in outdoor spaces, He projects his consciousness onto the world, maintaining a connection with his surroundings and drawing energy from nature. 

Free to attend, and open to the public.
Register HERE to receive the Zoom link.

PRC Nights is a long-standing monthly tradition at the PRC. This free, program fosters a sense of community by offering an opportunity to share images and insights about particular topics in contemporary photographic practice. PRC Nights is open to the public and all are welcome!

The August 28th PRC Nights celebrates the exhibitors of Exposure 2024, the annual PRC Members juried exhibition. The exhibition juror, Samantha Johnston (Executive Director & Curator, Colorado Photographic Arts Center) writes, “As I finalized my selection for the exhibit, I saw common threads emerge, such as COVID-19 affecting us all in different ways and continuing to impact many peoples’ lives. There was also a focus on themes of home and place, not just the physical place we reside, but the towns and cities around us. History and found objects also played a role, and threads of space, time, and memory can be drawn through many of the works selected. I saw several artists working with self-portraiture and themes of connection, including exploration of social media, and consumerism. Together, these artists harness the power of photography to tell compelling stories that invite us to reflect on our shared experiences and the diverse ways in which we navigate our world.” The artists presenting in this event on the 28th will share work along these themes.

Amy Giese is an artist living in Boston, MA. Giese’s work is an ongoing attempt to locate the self within distinct places and spaces, whether physical, psychological or virtual. The work she will be discussing at this event is from her ongoing series, My Head Is Too Heavy. Using LiDAR scanning apps on her smartphone, Giese creates virtual models of herself and the space that she exist in. The gaps in information, the distortions and inaccuracies all point at the limitations of photographic seeing. They also act as pointers to the invisible symptoms that define her day to day life as I come to terms with a newly acquired chronic illness. Note on the process: The images are screen captures of the 3D models that are then printed as archival inkjet prints. Giese’s work has been exhibited in the US, China, New Zealand, Czechia, and Scotland. She has participated in recent shows at the OVERLAP Gallery, Danforth Museum of Art, Rear Window Gallery in Hangzhou CN, McDonough Museum of Art and the Newport Art Museum. She received her BA from Amherst College and an MFA from Parsons School of Design.

Kim Llerena is a photographic artist based in Miami, Florida. She holds an MFA in Photographic & Electronic Media from the Maryland Institute College of Art (MICA) and a BA in Journalism from New York University (NYU). She exhibits nationally in addition to serving as full-time faculty at the University of Miami. Her work in Exposure is from the series, The Sun Bathers, a quiet contemplation on a particular chapter in time, one largely defined by our ties to the world outside. For two years, our lives became more isolated, more domestic, and more interior. Since we’ve emerged, changes to weather, temperature, and tides are more undeniable than ever. One could argue that we are adrift between two uncomfortable realities – that we’re in the calm both before and after a storm. In obscured portraits and tight crops, these images foreground gesture as an expression of their subjects’ renewed but mutable relationship to place. Private moments play out in public spaces against a recurring backdrop of sea and sunlight. Implications of water are loosely threaded throughout, the subjects hovering always at its edge. Bodies interweave with fragments of these environments, suggesting that our connections to the natural world are at once abundant, entangled, and precarious.

Alchemy of the Unknowns is a Collaborative Project by Lisa Tang Liu and J. David Tabor in which they double-exposed the same film as two strangers from Boston and Phoenix, separated by 2,700 miles. As part of the analog photography revival during the 2020- pandemic engaged in “film swaps”, the practice of having one photographer first expose images on an entire roll of film and mail it to another, who would then expose the same film again. Challenged with the uncertainties of using (sometimes expired) film and the discomfort of relinquishing control over the fate of our own images, Liu and Tabor are learning to accept, and even embrace, chaos. Lisa Tang Liu explores the meaning of “America” through photographic art. As a naturalized U.S. citizen raised in a working class immigrant family, she often ponders over belonging and alienation. Liu holds a bachelor’s degree from Wellesley College. Since 2006, she has participated in solo and group exhibitions in Massachusetts and New York. J. David Tabor was born on the banks of the mighty Salt River in the Sonoran Desert. He is a musician, spoken word artist, welder, photographer, lover of rabbits, and professional artisan of bronze wind bells. David is also a practitioner of darkroom printing.

Dean Terasaki is sansei, a third-generation Japanese American. The discovery of his father’s 442nd Regiment, World War II snapshots and memorabilia sparked a lifelong exploration of photography, memory, and the intersection of race and culture in society. Terasaki earned a BFA from the University of Colorado (1978) and an MFA in photography from Arizona State University (1985). These photomontages included in Exposure 2024 are from a body of work called Veiled Inscriptions. Their source material is a collection of letters that fell out of a building’s wall as it was being remodeled in Denver, Colorado. Hidden for almost 70 years, these letters were requests mailed by Japanese Americans who were illegally removed from their homes and forced into War Relocation Authority incarceration camps during World War II. The hand-written requests were sent to a Japanese American business that was still functioning during the war. That business was named T.K. Pharmacy by its owner Thomas Kobayashi, M.D. and operated by Yutaka Terasaki. Both men were Dean Terasaki’s uncles. Dean Terasaki is on a journey to photograph all of the incarceration camp sites. Terasaki sees the layered visual content as very much like the mystery of his own identity – isolated, transforming, and still revealing itself. While his family was not forced to “relocate” or incarcerated, they had first-hand experience with racism and war-time hysteria. The letters are important both for what they request – hair dye, stomach remedies, dignity – and as a compelling reminder about the fragility of human rights amidst social disruption.

Trained as a painter, Suzanne Theodora White studied at the School of the Museum of Fine Arts, Tufts University, and has an MFA from Maine Media College. She was a two-time winner of fellowships awarded by the Boston Museum of Fine Arts. After receiving the first of these awards, she spent over a year on the road traveling alone, overland, through Europe, the Middle East, Asia, and the Far East. In the 1980’s and 90’s she made extended trips to South America to study birds in the Amazon basin and Central America. White has had many solo exhibitions and has been included in group shows over her long career including: Yale University, New Haven, CT; Cove Street Arts, Portland, ME; Museum of Fine Arts, Boston; The De Cordova Museum, Lincoln, MA; Newport Art Museum, Newport, RI; Art Institute of Boston; Thomas Segal Gallery, Boston, MA; and Colby College, Waterville, ME. White’s profound connection to the natural world and the human impact on our environment has been in the forefront of her work throughout many years. The farm, where she has lived and worked for decades, is her muse. Utilizing photography, video, and site-specific installations, White constructs what she considers theaters using photographs of the farmland from more than forty years. By tearing, twisting, and folding them, she creates imaginary landscapes and still life in the spirit of 17th century Vanitas paintings, as she explores issues of life, death, and indulgent consumption. The resulting final print, a photograph of the constructed theater, investigates our cultural disconnect from the natural world. 

Free to attend, and open to the public.
Register HERE to receive the Zoom link.

PRC Nights is a long-standing monthly tradition at the PRC, we host a guest photographer along with additional PRC Members for a lively evening of conversation on rotating themes. This free, program fosters a sense of community by offering an opportunity to share images and insights about particular topics in contemporary photographic practice. PRC Nights is open to the public and all are welcome!

The May 8th theme is “Contextualizing Illness” featuring photographer Camilla Jerome, an interdisciplinary artist from Massachusetts. Her photographic, installation, text, and video work spans from autobiographic and documentary imagery to private performances to experimental camera-less photography. Her self-revelatory practice is always on the emotional edge, a form of therapy, a form of art, and a profound journey inward. Jerome’s work explores the intersections of disability, visuality, time, beauty, and gender.

Camilla Jerome holds an MFA from the Rhode Island School of Design, a BFA from Lesley Art and
Design, and is a member of Boston’s artist collective, Recently. Her love for photography began at a young age when she saw an underwater photography exhibition and became fascinated by what could be illuminated at such great depths. In this instance, she saw the potential to provide an alternate perspective beyond surface-level perception. In high school Jerome began working in photography, when she needed it most. Making images became her voice and gave her the confidence to make peace with her disabilities. When the medical system failed to name her diseases, an artistic practice developed alongside the pain. The fluidness of the photographic medium helped her bring light while digging for diagnoses. Still images, videos, sculptures, and installations work alongside moments of memoir, medical data, and the work of historical and contemporary artists whose practices address embodied knowledge. These different forms create multiple access points of deciphering and discernment crafted from digital, analog, and antique photographic processes as a gesture of reclamation of my voice and lost time. “While words failed to communicate my suffering, I trusted my visual language to build an image of my pain and its many facets. It is only through the expression of my isolation using photography that I’ve made connections within myself. By removing my mask and no longer acting healthy, I bring to light my authentic self in an alternate performance.” – Camila Jerome

Torrance York, is an artist and educator born in New York City and currently living in Connecticut. She earned a BA from Yale and an MFA in photography from RISD, was a resident artist at Anderson Ranch Arts Center in Snowmass Village, CO, and received a Connecticut Artist Fellowship grant in 2010. York is represented by Rick Wester Fine Art and is a Silvermine Guild of Artists member. The work she will be presenting is from her project Semaphore, exhibited at Rick Wester Fine Art, NYC, and the Danforth Art Museum at Framingham University, MA and upcoming at the Lightburn Gallery, in New Canaan Library, CT. Her monograph Semaphore (Kehrer Verlag) was published in 2022. “In Semaphore I examine the shift in my perspective after being diagnosed with Parkinson’s disease nine years ago… Creating Semaphore has facilitated my understanding of Parkinson’s and what it means for me and my family. And the process has fortified my optimism. Further, learning about neuroaesthetics from the book, Your Brain on Art, has again provided a new lens through which to interpret my experience— this time my experience as an artist and maker. Neuroaesthetcis shows how aesthetic encounters and art making measurably change our bodies, brains and behavior for the better. Medcial researchers have recognized for decades a connection between Parkinson’s and creativity. While there is still no cure for Parkinson’s and we know that exercise can slow the progression of the disease, I believe my art making has also contributed to slow the progression of my Parkinson’s.” – Torrance York

Amy Giese is an artist living in Boston, MA. Giese’s practice is grounded in photography but often is out at the edges of the medium, critiquing the materials of production and consumption, as well as searching for points of intersection with other mediums. Her work is also an ongoing attempt to locate the self within distinct places and spaces, whether physical, psychological or virtual. The work she will be discussing at this event is from her ongoing series, My Head Is Too Heavy. Using LiDAR scanning apps on her smartphone, Giese creates virtual models of herself and the space that she exist in. The gaps in information, the distortions and inaccuracies all point at the limitations of photographic seeing. They also act as pointers to the invisible symptoms that define her day to day life as I come to terms with a newly acquired chronic illness. Note on the process: The images are screen captures of the 3D models that are then printed as archival inkjet prints. Giese’s work has been exhibited in the US, China, New Zealand, Czechia, and Scotland. She has participated in recent shows at the OVERLAP Gallery, Danforth Museum of Art, Rear Window Gallery in Hangzhou CN, McDonough Museum of Art and the Newport Art Museum. She received her BA from Amherst College and an MFA from Parsons School of Design.

Hosted by Somerville Toy Camera Festival Organizer, Bruce Myren

Featuring Somerville Toy Camera Festival exhibitors:
Jennifer Erbe, Marky Kauffmann, Kerrie Kemperman, and Mary Kocol

Since 2013, the Somerville Toy Camera Festival has celebrated the quirky and creative results that can happen when photographers are forced to loosen their controls, submit to the light and embrace the accidental. Each year the Festival brings together a wide range of toy camera photography by US and international artists in simultaneous shows at galleries throughout the city, and featured related programming including artist talks/panel discussions, workshops, social events, and a darkroom day. We are thrilled to partner with the Washington Street Gallery and the Somerville Toy Camera Festival to present this PRC Nights featuring Festival exhibitors Jennifer Erbe, Marky Kauffmann, Kerrie Kemperman, and Mary Kocol.

Jennifer Erbe is a photographer and mixed media artist. She has a BS in Chemistry from Carnegie Mellon, and learned darkroom photography at the Art Institute of Boston and School of the Museum of Fine Arts, graduating in 2002. Erbe’s background in both science and art enables her to see the world through a dual perspective. She is attracted to both natural and industrial areas, and frequently explores the juxtaposition of city and nature in her work. Of her work Erbe says, “Mostly I make photographs because I am curious. I ask a lot of questions when walking around – How would this look up close? How do these things go together? My camera serves as my collaborator, as we see the world through a variety of filters, both tangible and intangible. The translation my camera makes of the world helps me to better understand it.” Erbe has recently worked as an Education Volunteer and Teacher Naturalist at Joppa Flats Education Center (Mass Audubon), and she volunteers as a citizen scientist with Earthwise Aware.

Marky Kauffmann is a graduate of Boston University and the New England School of Photography. She is the recipient of numerous awards, including a 2017 Massachusetts Cultural Council Artist Fellowship in Photography. In 2021 and 2022, the international online gallery, YourDailyPhotograph.com, chose her as one of their Hot 100 Photographers. In 2019, Kauffmann’s work was selected to be on the New England Regional Photoville’s The Fence. In 2016 and 2017, Kauffmann was chosen as a Top 200 Critical Mass Finalist. Most recently, she garnered Honorable Mentions in the 20th Edition Julia Margaret Cameron Worldwide Gala Awards in four categories – Digital Manipulation/Collage, Landscape/Seascape, Nature and Alternative Processes.

Kauffmann utilizes traditional darkroom techniques, alternative processes, and digital technologies to create her unique images. The work she will be presenting is from the series, Prayer Pieces, made for family and friends who have been diagnosed with cancer. Her darkroom process using potassium ferricyanide and bleach painted on black and white gelatin silver paper, eats away the silver metal. Kauffmann sees a similarity between this technique and cancer cells destroying healthy cells in the body.

Kerrie Kemperman has a BA in English and Art from Alma College and an MFA in Creative Writing from Emerson College. She got her first camera as a child and used it to document trips with her parents to the Upper Peninsula, as well as her barn cats and other aspects of her young life on a family farm in Michigan. In college, she explored b/w photography, but it took another 20+ years for her to discover her love for the pinhole camera, and she also experiments with toy and vintage cameras, cyanotypes, and other alternative processes. Her work has been included in shows at the Rhode Island Center for Photographic Arts; The Art Center (Dover, NH); and in the Somerville Toy Camera Festival, among others. She is a freelance book designer, editor, and writer. Of her work she says, “I am drawn to the natural world, to ignored or forgotten spaces both rural and urban, and to the objects we leave behind or scatter around us… Some of my creative choices are shaped by limitations, and some by environmental concern. I prefer to use what I have or what I can gather and divert from a landfill.”

Mary Kocol is a fine art and editorial photographer, and Massachusetts master gardener based in Somerville. She’s been working with toy cameras since childhood, and with the Diana camera since graduate school in the 1980s. Born in Hartford Connecticut, Mary was educated at the University of Connecticut, and the Rhode Island School of Design where she earned a Master of Fine Art degree in Photography.

She works as a professional photographer at Harvard University’s Art Museum where she photographs the Museum’s art collection. She is also a film animator, writer, and book artist. Her art photographs have been represented by Gallery NAGA, Boston, Massachusetts since 1993.

PRC Nights Toy Camera host Bruce Myren is an artist and photographer based in Cambridge, MA. He holds a BFA in photography from Massachusetts College of Art and Design and earned his MFA in studio art from the University of Connecticut, Storrs in 2009. Shown nationally and published internationally, Myren’s work has been featured in Fraction Magazine, afterimage, and View Camera Magazine as well as in group exhibitions at the Phoenix Art Museum, RISD Museum’s Chace Center, Houston Center of Photography, and the William Benton Museum of Art, among others. His numerous solo exhibitions include showings at the University of the Arts, Danforth Museum of Art, and Gallery Kayafas in Boston, where he is represented. Myren has presented on panels at the national conferences of the College Art Association and the Society for Photographic Education, spoken at colleges across the country as a visiting artist, and served as a juror for exhibitions at the Griffin Museum of Photography and Magenta Foundation’s Flash Forward Festival. He is a recipient of a 2014 Cambridge Arts Council Grant. Currently, Myren works at the Boston Public Library’s Digital Lab and Palm Press. He has taught at Fitchburg State University, Amherst College, the Rhode Island School of Design, the University of Massachusetts Dartmouth, and Northeastern University. He was the Chair of the Northeast Region of the Society for Photographic Education from 2010-2016, and was on the board of directors of the Photographic Resource Center where he was Director during 2018.

Free and open to the public. No tickets required.

Free to attend, and open to the public.
Register HERE to receive the Zoom link.

This month we are launching a new format for PRC Nights and we have invited Jeff Larason to be our inaugural host. Jeff has chosen the theme for the evening of, “Boston Stories” and we are looking forward to seeing a range of interpretations of this theme from our members. Street photography may be one of the most well known genres related to this theme, however there is room for other points of view such as architectural photography, portraiture, and more.

Jeff Larason has been a Boston street photographer for 40 years, and his images have been in group shows around the world. In 2002, Jeff published his book, Sonder. He is the founder of the Boston Streets Collective and the host of The Crit House, a YouTube photography program. The Crit House has hosted conversations and critiques with photographers like Sam Abell, Arthur Myerson, Cig Harvey and Barbara Peacock. In his own photography work, Jeff has recently turned his eye to nighttime landscapes. He lives in Sudbury, with his partner, Marina and puppy, Tag.

In the 1980s David Gordon was a freelance photographer working with small nonprofits in Boston, which is when he began a body of work portraying the human side of homelessness in the city. In 1984 he initiated a ten-month project walking through Boston, listening to stories and making photographs to help raise awareness of why, how, and how long people experienced homelessness. The series was exhibited locally and is included in collections such as the Boston Public Library, the Fogg Art Museum/Harvard Art Museums), the Rose Art Museum, and the Portland Museum of Art. In 2021 Gordon revisited his work from the 1980s to develop new work comparing what has changed and what has stayed the same in the realm of Boston homelessness. During the height of the pandemic, he started doing extensive research and conducting key informant interviews over Zoom with more than 50 service providers, policy experts, philanthropists, and others who shared their observations and insights. He also did a new round of street outreach work, listening to stories about life without a home as shared by roughly 80 people who were living on the streets or in shelters in Boston.

Edward Boches is a documentary photographer based in Boston and Cape Cod. Interested in how photography can connect us, help us understand each other, and inspire empathy, Boches has photographed diverse communities and makes it a point to meet and photograph at least one stranger every day. He has exhibited work in museums and galleries including the Griffin Museum of Photography, Winchester, MA; the Bronx Documentary Center, New York, NY; PhotoPlace Gallery, Middlebury, Vermont; Providence Center for the Photographic Arts, Provide3nce, RI; and in Boston at the Bromfield Gallery (online) and Panopticon Gallery. Boches’s work has also been distributed internationally by the Associated Press and has appeared in the New York Times, the Boston Globe, Sun Magazine, Zeke Magazine and the Provincetown Independent, where he is a regular contributor. Boches’s presentation for PRC Nights: Boston Stories, is his tribute to Boston. Of the work he says, “Instead of it being a “project” per se, I want it to be closer to how Ernst Haas photographed New York in the 50’s. Just photographs of a place, albeit with an aesthetic style that might be compatible with that place.” The images reveal a temporary moment in a particular place. This work, Boston: Out of the Shadows is in its early stages as Boches reviews thousands of images and continues to photograph every day.

From 1983 to 1986, Peter Fougere documented the monumental efforts undertaken to complete the Southwest Corridor: a new right-of-way for a portion of the Subway System and Amtrak. He captured images of the complete relocation of the MBTA Orange Line, and his series focuses on places and sites that no longer exist and locations that look completely different.

Inspired by Louis Hine, Fougere sought out laborers and journeymen (like himself, a career carpenter) involved in the day-to-day construction of these historic projects. Industrious, resourceful, and often brave, thousands of blue-collar tradesmen eventually worked together for 25 years (1982-
2007), above and below ground, to transform urban Boston’s landscape via the Big Dig. In addition to his documentation of the construction, Fougere’s work focuses on and celebrates the
people behind the scenes, the conscientious employees whose knowledge, resilience, and strength are vital to the growth of the city.

Judith Donath’s photography focuses on people—their relationships with each other, their interactions with technology and built environments, and their impact on the natural world.  Her photographic work is grounded in the traditions of street photography, but she also embraces experimental processes and presentations. Donath is a well-known new media designer and theorist, and her experience with computational technologies and insights about our rapidly changing society inform her image-making practice.

The work of Tania Rubiños addresses issues related to identity and memory as experienced in the present. She is interested in photography and interdisciplinary crossings to articulate the language of her work and generate dialogue through it. Her work endeavors to create a visual language about memory, archive, and present tense. To explore different formats considering materiality, and creating a bond through objects and personal interests.

Born in Oaxaca, Mexico 1981, Rubiños studied at several Mexican institutions in Oaxaca including Centro de las Artes San Agustín, Centro Fotográfico Manuel Álvarez Bravo, La Curtiduría Centro de Artes Visuales, and 17 Instituto de Estudios Críticos, in Mexico City. She is the author of Postal con Alas, a project which has the mission using the mailing postal service through photographic postcards. In 2019 she was selected to perform the artistic residency CaSa-UDLAP 2019, which culminated in the Cholula Postal Contemporánea project. Her work won 1st place in poster design at FINI – Festival Internacional de la Imagen in 2021, in the same year, she became to be part of the Platform of Contemporary Images(PICS) by Centro de la Imagen and she received a grant from PocoaPoco Oaxaca to perform the artistic residency to culminate her project Que Nada se Mueva.
Tania Rubiños has exhibited in Mexico, Argentina, Colombia and the United States, and her photography has been published in many books and magazines.

Sophia Yael Koevary is a multidisciplinary artist based in Boston. She works as an actor, improv performer, visual artist, model, and photographer. In drawing, she works primarily with graphite, charcoal, and oil paint. As a photographer, she works in digital and film, and is most interested in portraiture, street photography, and documentary photography that tell deeply personal and untold stories.

During PRC Nights Online: The Self-Portrait, Koevary will share images from series, In Her Shoes, a photo book of self-portraits recreating her late mother’s life, wearing items of her clothing and posing in locations of significance. Partially a love letter to a lost mother, and partially the musings of a daughter who inherited her genetic risk of cancer, wondering whether she is destined to share her fate. 

Liz Linder is a Boston-based photographer who uses images to tell stories. She’s captured iconic personalities from Dr. Fauci to Carly Simon and Quincy Jones, along with portraits for commercial clients and institutions ranging from NPR to IDEO.

Over the past two years, Linder has embarked on a personal project in stark contrast to commissioned portraits – a daily self-portrait on Instagram.  These images – often shadows and reflections – contain artifacts from the process, and explore anonymity, identity, algorithms and who is watching. Linder’s work has appeared in dozens of leading publications, including Rolling Stone, The New York Times, and Fast Company. She’s been heard on NPR’s On Point; and seen on ABC World News Tonight. Her photographs have appeared on set in film and TV, and her work is exhibited and collected through the U.S. and Europe.

Botanical photography has a long history going back to the 1843 cyanotypes by Anna Atkins compiled into, Photographs of British algae, which was the first book to be illustrated with photographic images.* The interplay between art, science and photography continues today and often references the painted still life tradition. Contemporary photographic techniques continue to transform this genre and through the work of Mary Kocol, John H. Woodruff and Katherine Gulla, we can experience a range of viewpoints on this theme.

Mary Kocol is a fine art and editorial photographer, and Massachusetts master gardener based in Somerville, Massachusetts. Born in Hartford Connecticut, Mary was educated at the University of Connecticut, and the Rhode Island School of Design where she earned a Master of Fine Art degree in Photography.

Kocol’s photographs are included in the permanent collections of the Museum of Modern Art, New York, J. Paul Getty Museum, Los Angeles, Museum of Fine Arts Boston, Fitchburg Art Museum, Boston Public Library, Victoria and Albert Museum, London, and others. She’s a recipient of the Guggenheim Fellowship and several Massachusetts Local Cultural Council grants.

Mary Kocol works as a professional photographer at Harvard University’s Art Museum where she photographs the Museum’s vast and diverse art collection. Her photographs are represented by Gallery NAGA, Boston, Massachusetts.

Maine-based photographer John H. Woodruff has exhibited his work throughout New England. He studied biology and photography at the University of Hartford, and worked as studio photographer for several years, where he became adept at a wide range of lighting techniques.

In the mid-1980’s Wodruff formed an Architectural Photography studio focused on shooting architecture for architects and builders. His work was film-based using largely a 4×5 view camera, and he transitioned to digital capture in 2010.

For the past twenty years Woodruff has used paper as the underlying element for creating his images. The paper is cut into biomorphic shapes and his most recent series is based on flowers photographed during the past year. The images are printed as photo-copies of varying sizes which he hand cuts from their respective backgrounds to segregate the flower itself. The flowers are then composed on elevated glass layers, which allow him to light each level independently.

Woodruff’s inventive and poetic compositions embrace color and form and explore the illusion of depth resulting in visually charged, immersive photographs that challenge the viewers perception of what a photograph should be. They linger at the intersection of painting and photography, imagery and abstraction.

Katherine Gulla’s series, Flower Fruit is a diary of our temporal and spatial relationship to trees. Behind the stillness, trees push through time and space on a timetable invisible to us. We see branches swaying in the wind, but we can’t see nutrients coursing from roots to crown.  The resulting slow growth of leaves, blossoms and fruit marks the time we count in months and years. In the photographs, multiple exposures amplify depth and stretch the boundary between tree and landscape. This staggered effect creates a sense of time rushing past as if we could see the seasons changing before our eyes. 

Gulla’s work has been shown widely throughout New England and New York. In 2020, Katherine Gulla:  Passage at Danforth Art Museum featured work exploring states of change in four different mediums. In 2018, the deCordova Museum Corporate Art Program commissioned Forest for a site-specific installation in Cambridge, MA and Catamount Arts Gallery in Vermont included Falling 10 in Arts Connect. In 2017, 555 Gallery in Boston and Quogue Gallery in the Hamptons, NY featured The Path paintings. Forest and Shadow photo sculptures were on view at Sohn Fine Art Gallery in Lenox, MA. Exhibitions at Danforth Art Museum in Massachusetts from 2007 to 2022 include a 2008 solo show and the Annual with 2nd Prize in 2016, and Honorable Mention in 2011 and 2014. Gallery Kayafas in Boston featured Gulla’s photo sculptures and paintings in one-person and two-person shows in 2008 and 2006.  Her works are in private, corporate and museum collections. 

*The Royal Society, The Roots of photography, by Virginia Mills, July 27, 2021