Gretchen Garner

Only a Little While

1980

20X 16 sheet. signed, dated and titled. Deaccessioned from the Readers Digest magazine corporate collection. MARNA CLARKE EDUCATION BA degree in mathematics, University of North Carolina, Chapel Hill Studied Photography at Hartford Art School; University of Connecticut, Storrs; and International Center of Photography, New York City GRANTS Individual Artists Grant, Connecticut Commission on the Arts (1987) COLLECTIONS Aetna Insurance Company, Hartford, CT Bibliothèque Nationale de France, Paris, France Reader’s Digest, Pleasantville, New York Sol LeWitt Collection, Chester, CT PUBLICATIONS 2014 Feature Shoot 2014 Huffington Post, Arts & Culture 2010 Our World, PhotoAlliance, San Francisco, CA (2010) West Marin Review (2008) For Kids’ Sake, Photographic Resource Center, Boston, MA (1985) The Best of Photojournalism/10, Running Press (1985) New American Nudes, Morgan & Morgan (1981) PHOTOGRAPHY-RELATED WORK Adjunct Instructor of Photography, Hartford Art School, U. of Hartford (1991, 1987-88) Regular contributor (Profile feature), Hartford Monthly magazine (1988) Regular contributor to Northeast (the Sunday magazine of The Hartford Courant) Work also appeared in Connecticut Magazine and New England Monthly (1982-85) Board of Directors, CT Art Directors Club (1984-85) Internship at Light Gallery in NYC (1980) SELECTED EXHIBITIONS Keeping the Channel Open, Annex Gallery, Gallery Route One, Point Reyes, CA (2017-18) Home exhibition at SFO Airport, one of 14 finalists (2018) Seeing Red exhibition, Gray Loft Gallery, Oakland, CA (2018) (Juried by Ann Jastrab) Annual Juried Show, Marin Society of Artists (2017) First Place Tine As We Know It, Gallery Route One, Point Reyes, CA (2015-2016). Solo exhibition. Mini Show, Bolinas Museum, Bolinas, CA (2015) Geography of Hope, Pt Reyes...

from a Miami art collective. this piece was an experimental collaboration.

1981, Chromogenic Print. It is supposed to be signed lower right recto but has not been examined out of frame. Provenance: Bernice Steinbaum Gallery, New York; ARCO Chemical Company, Newtown Square, PA. Sonja Bullaty (October 17, 1923 - October 5, 2000) was a Jewish American photographer. Bullaty is known for her "lyrical composition" and strong use of color during her fifty-year collaboration with her husband, Angelo Lomeo. Bullaty and Lomeo's photographs appeared in LIFE, Time and Audubon magazines and journal.They have both exhibited at the Metropolitan Museum of Art, the International Center of Photography, the George Eastman House, UMPRUM Museum in Prague, in the Nikon House galleries and other venues. Bullaty was born in Prague to a Jewish banking family. Her family gave her a camera when she turned fourteen. Since Bullaty had been forced to leave school at the time, the camera was a "consolation gift." When Bullaty was eighteen, she was deported by the Nazis to Poland, where she was kept in the Lodz ghetto, and then later taken to Auschwitz and Gross-Rosen concentration camps. During a death march near Dresden, she and a friend successfully hid in a barn and were able to escape and return to Prague. When she got back to her home city, she discovered that no one else in her family had survived the Holocaust. Bullaty, "her head shaved," saw and answered an advertisement to be the helper to Czech photographer, Josef Sudek. As his assistant, she mixed chemicals for the darkroom, organized his negatives and learned from his sense of composition.[1] Sudek called her his "apprentice-martyr." Sudek's work often focused on the Czech landscape and windows, such as in the series The Windows of My Studio (1940-1954). Bullaty also photographed windows, but unlike Sudek, who photographed his own windows looking out, Bullaty photographed windows looking into buildings. Bullaty published a book, Sudek (1978), about her mentor, and it was the first publication of his work in the West. Bullaty found work with a photographer on her third day in New York. Also in 1947, she met Angelo Lomeo. They were brought together when she was inquiring about a darkroom in a building he managed. Lomeo was intrigued by Bullaty's accent and went to see her. They started photographing together a year later, traveling and sharing resources; during their time together, they became close. Bullaty and Lomeo were married in 1951. Later, when she was married, she and her husband would visit Sudek and bring him photography supplies. They visited him in Czechoslovakia "almost yearly." In 1971, she helped mount an exhibition of Sudek's work in New York. As photographers, Bullaty and Lomeo started using studio cameras...

This is an aerial view photograph. As an aerial photographer, MacLean aims to portray the history and evolution of the land from vast agricultural patterns to city grids, recording changes brought about by human intervention and natural processes. Alex S. MacLean (born 1947) is an American photographic artist who is best known for his aerial photographs. His photographs have portrayed the history and evolution of the land from vast agricultural patterns to city grids, recording changes brought about by human intervention and natural processes. MacLean graduated from Harvard College...

St. Louis and the Arch Vintage Photograph St. Louis and the Arch: titled, initialed, dated 1981, copyright 1982, and editioned 4/20 to verso. Provenance: US Bank Visual Arts Department Images: 15 x 19 in. (16 X 20), frames: 22 1/2 x 28 1/2 in Meyerowitz first drew acclaim for his remarkable ability to capture subtle qualities of light with the 1978 publication of Cape Light, which went on to become a color photography classic. Joel Meyerowitz (born March 6, 1938) is a street photographer, and portrait and landscape photographer. He began photographing in color in 1962 and was an early advocate of the use of color during a time when there was significant resistance to the idea of color photography as serious art. In the early 1970s he taught the first color course at the Cooper Union in New York City where many of tod...

Eva Korn was born in Czechoslovakia and a Holocaust surviver, Eva emigrated to the United States in 1953 from Switzerland, where she was studying photography. Photographs she had taken in 1951 of the then-new country of Israel were exhibited in Switzerland at the World Exhibit of Photography. In 1997 28 of her 1951 black & white photographs were exhibited, along with color photographs of Israel taken in 1996, as "Envision Israel: The Land, The Heart, The People." The show traveled for 12 months through the East Bay area of California. In the U.S. she continued her work as a photographer, married the penologist Richard Ross Korn (1923-2002) Eva Korn spent her childhood in Bratislava, Slovakia; her education; family visits to Vienna, Austria; how this became more difficult after the Anschluss in 1938; the institution of anti-Jewish laws in 1939; working illegally as a seamstress; the deportations that began in 1942; her memories of her mother and brother's deportation to Ravensbruck and Sachsenhausen; the false identity papers she was able to obtain; her arrest in January 1945; her transport to Sered concentration camp and then Theresienstadt; the conditions in Theresienstadt; her return to Bratislava at the end of the war; her immigration to Switzerland in 1947; her immigration to the United States in 1951; her life in the United States; her marriage; and her experiences with reconciliation to heal the trauma of the war. a collection of photographs by Eva Korn, will be on display throughout the festival. Korn was born in Czechoslovakia. She was employed under a false identity in a photo studio...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the yellow and green fritillary, and her own col...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the purple and lavender flowers, and her own col...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the lime green orchids, and her own collage work...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the pink and green ranunculus, supportive white ...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the dramatic green leaves, and her own collage w...

This print features the playful relationship between natural forms and botanicals. In this image Erin uses the natural composition of the yellow and green fritillary, and her own col...