MY long-term project, 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 this fall. The work finally complete, I am in the process of securing a publisher and various exhibition venues for the work. These days publishers and museums welcome, and often insist that the artist help provide additional funding in order to embrace projects like BETWEEN GIRLS . Your tax deductible contributions are always welcome! You will find the project live on NYFA ’s Artspire website.
www.artspire.org
EXHIBITION
The Vargas Museum. Manila.
November 19th – January 2012.
Forty international artists are participating in this large event titled ‘Nothing to Declare’. My project, ‘Please Enlarge This’, explores the written and photographic correspondence my father had with his parents while stationed in The Philippines during World War II.
EXHIBITION
The LiShui Museum of Photography. LiShui, China.
Fall 2011
I have work included in a group exhibition, ‘Pictures Are Words Not Known’ curated by fellow ICP faculty member, Sean Justice
Curating Your ‘Class’ Photos with Photographer Karen Marshall
Friday, October 01, 2010
podcast available at www.thetakeaway.org
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. …
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