Family Photographs

Family Photographs

This Deadline Expired: Sunday, September 23, 2018

Flower City Arts Center is seeking original photographic work exploring the idea of a family
photograph. From the daguerreotype of the 1850’s to Kodak’s snapshot craze a hundred years
later to the countless photos currently stored in your iCloud, the history of family photographs is
almost as long and varied as the history of photography itself. Unlike any other medium before
it, photography allows us to capture the exact likeness of our loved ones. And the act of taking
photographs is both an affirmation and denial of death’s inevitability. The tradition of artists who
use photography to explore their family histories, relationships, and identities is as complex and
varied as how one defines a family.

For this exhibition, juror Sara Macel (www.saramacel.com)
is interested in seeing photo-based work by artists that explores the ideas of family, memory,
intimacy, or domesticity through the use of contemporary and/or archival photography. Entry

Best of Show receives $500 award.
For more information and
to submit: https://www.rochesterarts.org/family-photographs/

Acrylic and watercolor grids and overlapping lines, gestured brush strokes and bold color are the first impressions when seeing the new work by Patricia Ingersoll. Ingersoll continues her studies of the merging of organic and geometric elements in nature and how they compare and contrast with the human condition. Her explorations of subjects found in nature, such as water, dense woods, vines, plants introduces challenges in the process of deconstructing the pictorial plane, or breaking it apart, in order to reconstruct it as individual, but equal parts. Through this process of mapping and diagramming with line, she is exploring and recording where these elements intersect pictorially.
Patricia Ingersoll
Patricia Ingersoll

Acrylic and watercolor grids and overlapping lines, gestured brush strokes and bold color are the first impressions when…

Acrylic and watercolor grids and overlapping lines, gestured brush strokes and bold color are the first impressions when seeing the new work by Patricia Ingersoll. Ingersoll continues her studies of the…

Acrylic and watercolor grids and overlapping lines, gestured brush strokes and bold color are the first impressions when seeing the new work by Patricia Ingersoll. Ingersoll continues her studies of the merging of organic…

I enjoy the manipulation of materials and how process itself contributes to the life and form of the image. Dramatic, gestural lines describe the play of light and wind across the water, while softer marks add life to the slow movement of rain laden clouds. Areas of sky, water, and land are knit together with brushstrokes to represent their seamless interaction under the common conditions of weather and time. In my acid etched tin pieces, areas of watery marks are left visible to suggest the underlying layers of the landscape. I  do not strive to recreate the particulars of  places that inspire me, but rather the timelessness of the elements of light, weather, and geometries that inform them. My work is not about how the landscape looks as much as about how the landscape makes me feel. I try to create an image that allows the viewer to engage with it in such a way as to invite similar introspection.
Kirby Fredendall
Kirby Fredendall

I enjoy the manipulation of materials and how process itself contributes to the life and form of the image. Dramatic, gestural…

I enjoy the manipulation of materials and how process itself contributes to the life and form of the image. Dramatic, gestural lines describe the play of light and wind across the water, while softer marks…

I enjoy the manipulation of materials and how process itself contributes to the life and form of the image. Dramatic, gestural lines describe the play of light and wind across the water, while softer marks add life to the…

Francis Beaty
Francis Beaty
Paul Santoleri
Paul Santoleri
My life and my perceptions are the subjective drivers for the pictures I make. Making a painting is, for me, an exploratory process toward understanding, not an expository declaration of a position already held.
Daniel Dallmann
Daniel Dallmann

My life and my perceptions are the subjective drivers for the pictures I make. Making a painting is, for me, an exploratory…

My life and my perceptions are the subjective drivers for the pictures I make. Making a painting is, for me, an exploratory process toward understanding, not an expository declaration of a position already…

My life and my perceptions are the subjective drivers for the pictures I make. Making a painting is, for me, an exploratory process toward understanding, not an expository declaration of a position already held.…

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