Debbie Fleming Caffery, Santa Fe, New Mexico
Debbie Fleming Caffery is a photographer often described as working in the southern documentary style. Her work is included in museum, university, and corporate collections including those of Museum of Modern Art, Metropolitan Museum of Art, Smithsonian Institution, Los Angeles County Museum of Art, Bibliotheque Nationale, Paris, Harvard University, Pan American Corporation and Prudential Life Insurance. She is owner of and instructor for Bayou Photographic Workshops in Beaux Bridge, Louisiana, and Santa Fe, New Mexico. Debbie has a new monograph out by Twin Palms Press, titled “The Shadows”. This workshop is designed to define and refine the participant’s personal photographic vision through an exploration of photographic language via creativity and visualization exercises. Ms. Caffery will lead afternoon application sessions to photograph in local communities surrounding Quartz Mountain and will review contact sheets daily. Participants will learn how to investigate their personal vision more thoroughly and apply what they discover to their own discipline.
The Magic of Lenseless Photography: The Art of Pinhole and the Photogram
Martha Casanave, Monterey, California
Martha Casanave teaches at Monterey Peninsula College and at Cabrillo College in Santa Cruz, and conducts workshops all over the US and abroad. Her personal work includes the use of pinhole, collage and hand-coloring. She has been awarded the Imogen Cunningham Photography Award and the Koret Israel Prize. Casanave’s most recent pinhole work was featured in the February, 2001 issue of PhotoVision magazine, and in the July/Aug. 2001 issue of View Camera magazine. Her work is represented at the Stevenson Gallery in New York, the Staton-Greenberg Gallery in Santa Barbara and the Winfield Gallery in Carmel, and is included in many permanent collections.
This workshop will furnish several sizes and shapes of pinhole cameras for participants’ use during the workshop. Participants will make traditional photograms and reversed photograms in the OAI darkroom and will also experiment with blue-prints and sunprints, inexpensive processes which can be used without darkrooms or chemicals. This mind-expanding class is appropriate for all levels. Technical knowledge of photography is not essential. A sense of play confronting the unknown will be more useful than camera expertise.
The Fine Art of Travel Photography and Environmental Portraiture
Mark Edward Harris, Los Angeles, California
Mark Edward Harris is a photographer, writer and teacher. His extensive photographic experience includes editorial work for such diverse international publications as Life, Vogue, and The New York Times, and he is engaged in ongoing commercial work for clients such as the Gap. Harris has written extensively about fine art photography and its artists. His first book, Faces of the Twentieth Century: Master Photographers and Their Work (1998) was awarded best photography book of the year at the 1998 New York Book Show. This workshop will focus on what is involved in the production of travel and documentary photographs concentrating on people in their unique environments. Participants will take field trips to the communities surrounding Quartz Mountain to photograph and will experiment with black and white film to learn how to get the most out of pushing speed and development to achieve the best results in difficult lighting situations.
All About Monotype
Ron Pokrasso, Santa Fe, New Mexico
Ron Pokrasso has been an exhibiting mixed-media artist and printmaker for more than twenty-five years. He received his Masters in Fine Arts degree from Pratt Institute. For eleven years Pokrasso owned and directed Graphics Workshop, which was gifted to the College of Santa Fe in 1993. He is the originator of the printmaking event Monothon. His teaching experience includes classes at universities, museums, public schools, and in private workshops as well as artist-in-residencies in the U.S., Scotland, and Ireland. This workshop explores the many ways in which monotype can be used as a mark-making tool. Along with the use of collage, drawing and print re-working, the emphasis is on the process and the choices that are available en route to a finished product.
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The Oklahoma Arts Institute
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