a photo exhibit celebrating the color red
February 9 – March 9, 2018
2nd Friday Jingletown Closing Reception, March 9, 6 – 9 pm
Gallery Hours: Saturdays 1:00 to 5:00 and by appointment
Gallery Address: 2889 Ford Street, third floor, Oakland, CA 94601
Gray Loft Gallery is very pleased to present Seeing Red, a photography exhibit that explores and celebrates the color red. A variety of photographic techniques inspired by the color red will be on view, including mixed media, alternative process and traditional color photographic processes. Red is associated with passion and drama, with strong emotions such as love and anger, and can be stimulating, vibrant and exciting. In Chinese culture red represents luck and prosperity. Lovers of red are passionate with an enthusiasm for life – which is exemplified in this visually vibrant exhibit.
The exhibit was selected by Ann M. Jastrab, an independent curator, photography consultant, editor, and writer.
CCSF Photography Alumni:
Jeffrey Abrahams | Stephen Albair | J. Alderton | Caren Alpert | Robin Apple
Jo Babcock | Sarah Christianson | Marna G. Clarke | Sas Colby
Yoav Friedlander | Rhianna Gallagher | J.M. Golding | Lisa Toby Goodman
Jeanne Hauser | Jessica Hayes | Judi Iranyi | Kevin B. Jones | Krista Kahl
Sherry Karver | Diane Kaye | Mike Kirschner Lesley Louden | Ernie Luppi | Charlotte Niel | Eben Ostby | Troy Paiva | Tamara Porras | Pete Rosos
Jenny Sampson | Dean Santomieri | Susan Scott | Richelle Semenza
Neo Serafimidis | Styrous | Michael Teresko | JP Terlizzi George Tomberlin
Jon Wessel | Susan West | Karyn Yandow
Religion & Resistance
with photos by Ken Light
Tuesday, February 6, 2018
Graduate Theological Union-Center for Arts & Religion
2465 Le Conte Ave, Berkeley (off Euclid Avenue)
In many faith traditions, the promotion of social justice values is paramount. Activists who are inspired by the teachings of their faith often include religious references on protest signs and posters, as well as in performances. These religious allusions constitute markers to faith communities, calling all members to the cause.
Religion and Resistance considers this theme in several ways. Exhibition highlights will include photographs by Ken Light whose photographs are in themselves acts of protest, as he captures moments of transcendence and resistance centering on the 1969 Moratorium to end the Vietnam War march on Washington, D.C and work in Mississippi & California’s Central Valley. Archival protest posters, most from Berkeley’s Inkworks Press, demonstrate the power of religious imagery in graphic design. The representational nature of an enormous Archbishop Oscar Romero, created in papier-mâché and cloth by Bread & Puppet, triggers memory, while its monumental nature transfixes. To show that the use of religious references in protest movements is ongoing, Religion and Resistance presents recently used protest signs that include religious references or inspiration.
February 6 through May 2, 2018 (T, W,Th 10am-3pm or by appointment)
Center for the Arts & Religion, Doug Adams Gallery
The Spring 2018 line up for CCSFPHOTO‘s “PH52: Photographers and Their Images” featuring professional photographers who come to lecture and show their work at City College of San Francisco (CCSF) Monday nights 6-9pm throughout the year has been announced. Be sure to register for this one unit course to secure your seat. This series of lectures is available to be taken for one college credit and there are no pre-requisites. Register online now until March 4th without an add code – and note the lectures will be held in VISUAL ARTS ROOM 114. If you would like to repeat the course, you can do so as a co-enrolled continuing education student, show up to the first class and fill out a “co-enrollment form”. The fee is $105. The public is also invited but a donation to CCSF’s Photo Department to help support this series is appreciated. REGISTER HERE
PH52-501 “Photographers and Their Images”, (1) CRN 36304 (transfers CSU)
Watch streaming presentations from previous artists here.
3/5/18 – Todd Heisler, a staff photographer with the New York Times since 2006, shoots a little bit of everything – from presidential campaigns to weather in New York City. But he’s happiest working on the periphery of news stories looking for subjects away from the spotlight. Heisler studied art at Illinois State University but fell in love with photojournalism when he started working at the student newspaper. He started his career working for community newspapers in the Chicago suburbs and in 2001 joined the staff at the Rocky Mountain News in Denver. In 2006, he received the Pulitzer Prize in Feature Photography for a project that followed a Marine casualty assistance officer and the families of Marines killed in Iraq. The project received several other honors, including a World Press Photo Award. In 2010, he won a National News and Documentary Emmy for his contributions to One in 8 Million, a multimedia project that profiled 54 New Yorkers ever week for a year. He lives in Brooklyn with his wife and son.
3/12/18 – Steven Bollman makes black and white photos, usually shooting film, to record ordinary people in extraordinary moments. He is fascinated with how the drame of human life plays out in short lived moments. Bollman was born in New York City in 1961. He has photographed in Sicily, Cuba, Haiti, Spain, Portugal, Italy, France, as well as around the United States. In January 2018, Bollman self-published his first photobook entitled Almost True on his imprint F8 Books. Almost True includes nine narratives in 81 photos from work spanning 34 years, covering many topics and from many places. www.f8books.com
3/19/18 – Norma I. Quintana is an American photographer and educator working in the tradition of social documentary. She photographs with film, primarily in black and white using available light. Quintana has studied under Mary Ellen Mark, Graciela Iturbide and Shelby Lee Adams and is a founding member of the Bay Area non-profit, PhotoAlliance. Quintana’s most recent project, Circus: A Traveling Life, was published by Damiani Editore, in Bologna, Italy. Quintana currently lives in Northern California with her family and their house was completely destroyed in the 2017 Napa Fire. As she sifts through the rubble of their home, she is documenting items that she recovers from the ashes for a new body of work entitled Forage from Fire.
NO CLASS 3/26
4/2/18 – Martin Klimek began his career 30 years ago as a newspaper photojournalist in the San Francisco Bay Area. During that time his week-long coverage of the 1989 Loma Prieta earthquake was was published worldwide including National Geographic Magazine. He is currently based in the Bay Area and works as a commercial, editorial and documentary photographer and director specializing in portraits and landscapes. He uses the camera as a tool to meet, communicate and share with people around the world. Klimek’s work is regularly chosen for the Communication Arts Photography Annual, the American Photography Annual and the APA Awards. He lives in the Bay Area.
4/9/18 – Born in Brazil, Jamil Hellu is a visual artist based in San Francisco and working primarily with photography, video, and installations. His work revolves around representations of identity, particularly engaged in exploring interpretations of queer sexuality. Hellu holds a Masters in Fine Arts in Art Practice from Stanford University and a Bachelors of Fine Arts in Photography from the San Francisco Art Institute and teaches photography in the Department of Art & Art History at Stanford University. He has been awarded the Eureka Fellowship by the Fleishhacker Foundation, the Kala Art Institute Fellowship in Berkeley, the Graduate Fellowship Award at Headlands Center for the Arts, selected for the Artist-in-Residence Program at Recology San Francisco and granted a six-month residency at the Cité Internationale des Arts in Paris.
4/16/18 – Wesaam Al-Badry was born in 1984 in Nasiriyah, Iraq. In 1994, Al-Badry and his family were relocated to Lincoln, Nebraska after spending four-and-a-half years in a refugee camp in Saudi Arabia after fleeing the war in Iraq. As a young man growing up in middle America, Al-Badry felt the disconnect between his experiences in Iraq, in the refugee camps and his life in the United States. Al-Badry’s work focuses on capturing the dispossessed, the alienated and ultimately, human dignity. He has worked for global media outlets, including CNN and Al-Jazeera America. His photographs have been featured in the New York Times Lens Blog, Lenscratch, LensCulture, Huffington Post, California Sunday Magazine, Zoetrope and campaigns for the UNHCR, the ACLU, among others. He has been recognized as Photolucida Critical Mass’ Top 50 Photographers and received the John Collier Jr. Award for Still Photography. While his work focuses on photo reportage and documentary, Al-Badry also creates multimedia art that challenges and investigates social norms. He currently resides in San Francisco, where he is pursuing a BFA in photography at the San Francisco Art Institute.
EAT CAT FOOD
Most people do not know what it looks and feels like to be inside buildings like the abandoned barracks on Treasure Island. I hope my pictures will offer a glimpse into a world that most of us would like to ignore and maybe bring up questions about our values. I hope this will also allow people to see the beauty that still exists in the most extraordinary places and people.
On display at Gallery Obscura
Jan 30 – Feb 24, 2018
Reception: February 1st, 6-8pm
Congratulations to our Fall 2017 Barbara Stewart Scholarship Winner and honorable mentions!
Self Portrait as Theme
Winners currently on display in Gallery Obscura
Winner ($250 scholarship):
Slide show of all entries:
Ruth Landy is a strategic communication consultant with worldwide experience advocating for UNICEF and other global development organizations. She was thrilled to upgrade her photography skills in a CCSF PHOT51 Beginning Photography Summer intensive course. Below, Ruth shares some of the work she examined at the “Visa Pour L’Image,” Southern France’s premiere annual photojournalism festival which takes place every September.
Walking in their shoes
Women photojournalists break new ground
by Ruth Landy
In the Intensive Care Unit of a California hospital, a distraught mother holds vigil for her young son after his surgery for a grave head injury. The woman, Malalai Rafi, is an Afghan refugee resettled to the Sacramento area with her family. The photographer, Renée Byer, spent two years chronicling the ordeals facing Malalai and other Afghans who risked their lives to support US and coalition forces in their native country. Granted special visas because of their service, these refugees arrived full of hope, only to find danger and heartbreak in the United States, their country of adoption.
Describing her long journey to record No Safe Place, Byer shared her many challenges, including barriers to photographing at the hospital. She was allowed two frames, then ushered out.
Compassion. Sorrow. Anger. Inspiration.
A deep dive into the world of photojournalism today is truly an emotional roller coaster. The venue – Visa pour L’Image – is France’s premier annual photojournalism festival. In the Mediterranean town of Perpignan news and documentary photographers and photo agencies gather to exhibit their stories — witnesses to our turbulent world. They also grapple with the dramatic changes upending their industry: so many opportunities to share images, such an uncertain future.
Photojournalism is still a man’s world. Between 80 to 100 percent of major publications’ significant images of 2016 carried male photographers’ credits.
But this is changing. In the US, the top photo editors of National Geographic, Time, The Washington Post, The New York Times and many other American publications are now female.
What does visual storytelling through a gender lens mean in 2017? At Visa pour l’Image, three award-winning American photojournalists shared what it takes to shoot their complex and compelling subjects in the U.S. and around the world:
- Based in Caracas, Meridith Kohut is a regular contributor to The New York Times covering the collapse of Venezuela and other hard-hitting stories in the region:
“ Because I’m blonde and female, the soldiers in Caracas don’t think I’m as tough as them. Venezuela is a very machista culture but they don’t see me as a threat whereas male photojournalists might get caught up. I try to really feel the story so it comes across in my work. This is a story that is so unseen. I draw a lot of strength knowing that what I’m doing is actually making a difference.”
- Photojournalist Amy Toensing is a regular contributor to National Geographic magazine. At Visa to present her reportage on Widowhood, Toensing shared her experience covering the intimate stories of women in India, Bosnia and Uganda:
“One cool thing about being female and traveling is a certain camaraderie that happens. You don’t have to speak the same language and you can make that connection with body language. It’s such a collaboration to tell their story. What I have experienced with these women is ‘we did it, we worked together and told my story.’ That in itself has been powerful.”
- Renée Byer, a Pulitzer prize winning photographer for the Sacramento Bee, came to Visa to present No Safe Place. It’s a searing witness to the struggles of Afghan refugees resettled to California under special visas granted because of their support for the U.S. war effort in their country, and the deadly risks they faced at home.
“ Photojournalism is about telling stories. As a photojournalist, I spend a lot of time with my subjects — sometimes a year, two years. We are all more the same than we are different. We all have the same emotions, want the best for our children. Many of the Afghan refugees just want an opportunity, they don’t want a handout. I just want their story to be told, in their own words. ”
Much of Byer, Kohut and Toensing’s photojournalism embodies best practices of the profession, which they share with their male colleagues:
- A fierce commitment to a code of journalistic ethics – accuracy, context, no manipulation of images.
- Deep engagement with those they are photographing — before, during and after they put down their cameras.
- Mentorship of young photographers, especially those from disadvantaged backgrounds.
Yet their work also reveals the contours of a new visual landscape in the making: our world seen through women’s eyes, a gender lens keenly attuned to social exclusion, but also to signs of social transformation as women and girls come into their power in the 21st century.
The word photography comes from the Greek, meaning “writing with light”. As Byer, Kohut, Toensing and other women blaze new trails in their profession, their fearlessness, determination and empathy illuminates the path ahead:
Meridith Kohut, on managing feelings while photographing tough stories:
“A lot of photojournalists will block out trauma when shooting difficult subjects. When I was at the funeral of the four kids with the moms crying, I was bawling right along with them. Whenever I have strong emotions, I feel them in the moment. Maybe that’s easier for me because I’m a woman, but I try to use whatever I’m feeling not only for my mental health, but also for my work.”
Renée Byer, on what it takes to make it in photojournalism:
“There aren’t as many women in the profession, but their involvement is growing in leaps and bounds. If I were to give advice to young women aspiring to be photojournalists, it would be about the determination you need — about shooting every single day. It’s not something where you just pick up a camera and become a great photographer. You have to go the extra mile.”
Amy Toensing, on the value of educating girls in low-income countries:
“It’s important to look to the future, and that’s the essence of this. It’s about girls’ education. And these places really need to start prioritizing that.
“You give these girls something to work with, empower them and this (the social exclusion experienced by widows) won’t happen.
When you educate girls, look out – because they’re going to kick ass!”