Exhibits

The title Con[text] itself is a play on words "con" meaning with in Spanish and "text" referring to any written language.  Literal context is added to an image with the addition of words, numbers, letters.  Shots of billboards, graffiti, headstones or even the illusion of a letter or word counts.  The following examples have been shown at Darkroom Gallery in past exhibitions or provided by juror Tim Clark.
 

 © William Horton "The Perfect Perch"William Horton's The Perfect Perch is a perfect example of text naturally occurring and re-instating the origins of a subject. It adds a richness to the image and authenticates the windmill.


©Barbara Dombach "Sparrow"Barbara Dombach's The Sparrow is an example of two different kinds of text within the same image, handwriting is juxtaposed with the typeface of "June" in this dream-like image.

 

© Sean Stewart "Comfortable Alley no34"Sean Stewart's Comfortable Alley no34 is an example of an image with symbols that do not have legible words but the viewer knows they have meaning, obstruction of this meaning makes the photograph all the more mysterious. As this can also be true for text in a different language.

 © EJ Major, from the series Love is..... (published in issue 17 of 1000 Words Photography Magazine)

EJ Major, from the series Love is..... (published in issue 17 of 1000 Words Photography Magazine) is an example of collage. The artist took 2 found objects, in this case, mail and a iconic photograph and played them off one another along with a handwritten addition, it tells a unique story with all these multi layers at play.

 © Harold Ross "Flying Fish"

Harold Ross's "Flying Fish" is an example of a hidden symbol within an image. Can you see the letter T in this photograph? Do you think this is a happy mistake or a consious choice of Ross?

© Hugh Jones "Alice in Wonderland"

Hugh Jones' Alice in Wonderland is an example of numbers or letters creating an overall texture or pattern, adding another layer of meaning to the image.

© Fritzi Newton "If Doors Could Talk"

Fritzi Newton's If Doors Could Talk is an example of documentary photography that just so happens to have fragments of words in the found scene. When you are walking around with your camera you must capture some signage or logos in your shots, this is fair game for Con[text].

©Roz Leibowitz "Annie Julia or Life After Death"

Roz Leibowitz's Annie Julia or Life After Death is a construction of a taken image along with the artist's written word. This is indicative of the dadaist movement, informing the viewer of a specific context to analyze the image.

EXHIBIT OPENS ON March 2nd, 2017
Artists' Reception scheduled for March 12th, 2017

Juror: Michael Kirchoff


wedding prep
Juror's Choice by Russ Rowland
NY, NY USA

There’s something inherently different about monochromatic photography.

SUBMISSIONS CLOSED
Selections Expected by March 2nd, 2017 23:59 EST

Juror: Gary Samson


Photo: "Milena" © Gary Samson

"And if the body were not the soul, what is the soul?" - Walt Whitman 

In the earliest days of experiments in photographic methodology the various emulsions available were too slow to permit the portrayal of the human form, and even more advanced processes like daguerreotype and tintype required lengthy motionless sitting times by the subject. Nevertheless, the human figure has been mainstay of the photographer since almost the inception of the medium. Figure photography imitating the style and subjects of classical painting constituted some of the fine art photography of the time. As technology advanced, photographers began to create their own figure photography sub-genres, ranging from the crass to the sublime.Fine art figure photography is now routinely taught in art curriculums.

Exhibit Calendar (Subject to Change)
Submissions Close:22 February 17 23:59 EST
Selections Announced:by 2 March 17
On-Line Check-in Due:10 March 17
Work Receipt Deadline:27 March 17
Exhibit Opens:30 March 17
Artists' Reception:9 April 17 15:00
Exhibit Closes:23 April 17
Submission Rules
Selection Process
How to make a Submission
Submit your work Now
Invite a Photographer

The Darkroom Gallery Difference

For this exhibition we're looking for examples of accomplished photography that present the human body as subject. The nude in nature, in the studio, and in more candid situations are all appropriate. And nudity is not necessary; any photo that depicts the body as an artful form to be celebrated is appropriate. 

  • Juror's Choice receives a 30x48" vinyl exhibit banner featuring their image, free entry into a future exhibition, a free exhibition catalog;
  • Honorable Mentions receive free exhibition catalogs and free entry in a future exhibition. 
  • People's Choice gains free entry into a future exhibit.
  • We offer free matting and framing of accepted entries for the duration of each of our exhibition, subject to standard sizes. Photographers set their own prices if they wish to sell their work and retain all rights to their photographs.

Juror: Gary Samson

Gary Samson is an award-winning filmmaker and photographer. His work is in private and public collections including the Currier Gallery of Art, the University of New Hampshire and the National Archives, Washington, D.C. He is the author of three books on New Hampshire history and has photographically illustrated other books on Ghana, Cape Breton, Nova Scotia and New Orleans. 

After graduating from Franklin Institute in Boston in 1971, he came to UNH as the photo lab technician in Media Services, Dimond Library. In 1974, he began producing films and exhibitions on New Hampshire history and culture. It was during this period that he came to appreciate the importance of creating and preserving photographic collections for future generations. He later worked with German photographer Lotte Jacobi creating a film biography and establishing an archive of her work at Dimond Library, UNH. 

Gary left the university in 2000 when he was appointed the chair of the BFA Photography program at the New Hampshire Institute of Art. He has had a long relationship with the Institute starting in 1981. He  established the Certificate in Photography Program in 1984 and has taught photography courses and workshops there for thirty-six consecutive years.

 His personal approach to photography is to make extended portraits over a period of time. “I see the process of creating a portrait as a collaboration between myself and the subject in the subject's familiar environment. That environment is an instrumental part of the portrait, revealing a facet of the subject's character. While I am setting up my camera, I try to draw the subject out in conversation and the ensuing dialogue will shape my portrayal of the individual. And like the portrait photographer Arnold Newman, I often prefer to use a view camera and black-and-white film to create my photographic portraits.”

 Gary’s most recent exhibition was “Unburdened Beauty: A Decade of Nude Portraits” at the Vermont Center for Photography in September, 2016.

Exhibitions in Planning

Body/Image: figure and nude photography 

Chiaroscuro: shadow and light w/juror David Wells

Street Photography

 

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