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+ March 2023
+ January 2022
+ December 2021
+ November 2021
+ October 2021
+ June 2021
+ March 2021
+ September 2016
UNDOCTORED PORTRAITS an exhibition I curated.
New York University Langone Medical Center Art Gallery in NYC.
This exhibition is the work from a seminar I lead at the NYU School of Medicine in their Masters Scholars Program in Humanistic Medicine. An innovative visual storytelling project about survivorship, eight Medical Students partnered with 9 cancer survivors who volunteered to share their stories.
Selected PRESS ON THE EXHIBITION
+ October 13 - November 17, 2015
Harold F.Johnson Library Gallery
Amherst, Ma 01002
Selected PRESS ON EXHIBITION
+ September 2015
Interview with me on how to assess and edit your photographs in TUTS+. Article by Amy Touchette.
+ July 2015
Video Interview with me about Visual Story Telling. Filmed at the Maine Media Workshops.
+ April 2015
A Q&A about my 30-year project Between Girls: A Passage To Womanhood. NYMagazine The Cut
+ October - December 2014.
NOAD APP Exhibition. Stories In The Social Landscape the faculty show I curated for The International Center of Photography collaborated with NOAD a free mobile app that uses AugmentedReality technology to resurface New York subway advertisements with art,creating a new exhibition space. Viewerscan discover works of art throughout the city’s subway system. The more stations you visit, the more art you experience.
+ APRIL 2014.
A SELECTION OF PHOTOGRAPHS IN THE APRIL ISSUE OF LIFE FORCE MAGAZINE
A selection of my photographs from my Navajo Indian Project Caretakers Of The Earth: Navajo Resistance and Relocation can be seen in the April Issue of LifeForce Magazine.
+ December 14, 2013–March 16, 2014.
I curated the International Center of Photography Faculty Show, Stories In The Social Landscape on view at Rita K. Hillman Education Gallery at ICP. Jury Committee: Claartje van Dijk, Karen Marshall, Alison Morley, Donna Ruskin, and Pauline Vermare
+ Q&A With Karen Marshall About Curating At ICP Education Gallery.
+ Between Girls: A Passage to Womanhood, is part of the Sponsorship Program at The New York Foundation for The Arts. This program has provided non-profit status for Between Girls, since 1999 which has enabled me to fundraise during the various stages of this projects development.
I have begun a new fundraising cycle. The work finally complete, I am in the process of securing various exhibition venues. These days publishers and museums welcome, and often insist that the artist help provide additional finding in order to embrace projects like Between Girls: A Passage To Womanhood . Your tax deductible contributions are always welcome! You will find the project live on NYFA ’s Artspire website.
+ Between Girls A Passage To Womanhood is part of the Artbase For Feminist Art at The Elizabeth Sackler Center for Feminist Art At The Brooklyn Musum in New York City.
+ Fall 2011 – Spring 2012
The LiShui Museum of Photography. LiShui, China.
Work included in a group exhibition, ‘Pictures Are Words Not Known’ curated by fellow ICP faculty member, Sean Justice
+ June of 2012.
Between Girls: A Passage To Womanhood exhibited in the Art Museum at Thomas River University in Kamloops, Canada
+ October 2011
The Vargas Museum, Manila.
My project I Want This Enlarged is part of a large exhibition Nothing To Declare featuring the work of a group of international artists
+ OCTOBER,1ST, 2010
Curating Your ‘Class’ Photos with Photographer Karen Marshall podcast available at http://thetakeaway886.rssing.com/browser.php?indx=9730316&item=1
+ DOCUMENTARY AND METAPHOR: THE WORK OF KAREN MARSHALL
By Seth Thompson
Originally printed in the March/ April 2009 issue of Afterimage
Reflecting upon documentary photographer Karen Marshall’s work, one cannot help but think about Pieter Breughel’s 1565 painting The Harvesters, located in the European Paintings Galleries at the Metropolitan Museum of Art in New York City. Needless to say, the comparison between Bruegel’s and Marshall’s work is not about “masterworks” but rather intent and context. Among the paintings of religious figures and aristocrats, Breughel’s painting is a seemingly simple and straightforward one—depicting average people going about their daily lives in the late summer months. Some are tending to crops as others are eating and drinking under the shade of a large tree and in the far distance one can make out children playing in the field. This seemingly simple caricature-like painting reveals a class of people often overlooked in the art of its time and place, much like the work of Marshall, which for more than thirty years has predominately captured the everyday life of middle-class America frequently overlooked in contemporary art. While other photographers such as Tina Barney and Sally Mann have addressed teenage adolescence, which is a predominant focus of Marshall’s work in this article, it is her long-term raw anthropological-like style that sets her work apart. …