Three Hartwick Artists to Be Featured in CANO Exhibit
Artwork by three Hartwick College photography faculty and staff members will be featured in an upcoming exhibit at the Community Arts Network of Oneonta. “Pinholes, Pixels & Paint” runs from Friday, April 1 to Sunday, April 17, and features the work of Professor of Art Katharine Kreisher, Media Services Specialist Vernon Burnett, and Art Department Technical Assistant Annie Gohde ’01. An opening reception will be held Friday, April 1 from 5 – 8 p.m.
The exhibit highlights three distinct styles of photographic work. Kreisher’s is an experiential installation of paintings from photographs, commenting on photography as a memory tool. Burnett offers landscape photography captured somewhat abstractly via digital photography and archival inkjet prints, sometimes called “pigment prints.” And Gohde uses traditional photographic means to develop complex constructed images.
“‘Pinholes, Pixels & Paint’ gives us a chance to show the Oneonta community a variety of approaches to the broad field that defines photography in the 21st century, all of which are part of the artistic professional output of faculty at Hartwick College,” said Kreisher. “I was very pleased when our proposal for the exhibit was accepted by the Community Arts Network of Oneonta (CANO) exhibition committee.”
Since 1982, Kreisher has been a professor of art at the College, where she has taught both printmaking and photography. Her work is in permanent collections at the Albany (NY) Institute of History and Art; the Center for Photography at Woodstock, NY; and the Quay School of Art in Wanganui, New Zealand. Recent exhibitions include Rayko Photo Center in San Francisco, CA; Northlight Gallery at Arizona State University in Tempe, AZ; Arkell Museum in Canajoharie, NY; Union College in Schenectady, NY; Munson-Williams-Proctor Art Institute in Utica, NY; and the Inkshop in Ithaca, NY.
In spring 2011, Kreisher was artist in residence at RioBravoFineArt Gallery in Truth or Consequences, NM, where she developed a temporary site-specific installation called Dream Desert. In 2013, several of her pinhole photographs were added to the Pinhole Resource Center collection, now housed in the Governor’s Palace at Santa Fe, NM. In 2014, she created Hekate, a knit sculptural installation about goddesses of the domestic sphere for Fiber Art 2014: A Mixed Bag at RiobravoFineArt.
Burnett is a professional photographer who has been teaching digital photography courses at the College since 2013. He also provides support for the Media Services Department. Before moving to Oneonta, he had a long technical support career at Syracuse University’s non-profit Light Work photography center, and he also taught photography courses at Cazenovia College.
“My photographic creative process begins and ends with ‘the real,’” he said. “The real visual is just the surface of what I see in my landscape of images and how I start to understand these images. The underlying layers of the visual real are the conceptual significance of my surrounding the spiritual, permanence, the simplicity, and purity of the real. These concepts are often overlooked or forgotten. As a landscape photographer, I hope to express the significance from the many meanings or layers that I’m able to process in the landscape. I hope the viewer will not only engage physically but intellectually too.”
Along with being a Hartwick alum, Gohde also graduated from both Mohawk Valley Community College and Munson Williams Proctor Institute. She has also studied alternative and antique photographic processes with experts like Christopher James. For more than 15 years, Gohde ran Annie’s Community Darkroom, first in Oneonta and then near Cooperstown, before closing its doors at the end of 2014. Simultaneously, for much of this time, she served as the College’s technical assistant for the 2-Dimensional Design courses in the Department of Art and Art History. As an adjunct faculty member, Gohde teaches Photo I and Beginning Photography Workshop.
“I prefer working in basic analogue processes, which includes employing handmade pinhole cameras for capturing my images,” Gohde said. “I love the uncertainty of how the negative will expose; will it be good or will I need to try again? There is a certain excitement from not knowing how the finished product will look until it emerges from the darkroom. Although periodically some digital aspects may be employed in my finished work, the instantaneous gratification of seeing an image captured digitally does not interest me. I find the tactile quality of the more antiquated photographic procedures more gratifying.”
For more information on CANO and the “Pinholes, Pixels & Paint” exhibit, visit the CANO website.