(Pictured above: House of the Reindeer Magician, by Emma Powell)

Exhibition Dates: August 5 – 27, 2016

Opening Reception & Award Ceremony with Tim Wride: Saturday, August 13, 2016 5-8pm

Closing Reception: Saturday, August 27, 5-8pm location: CPAC Gallery, 3636 Chestnut Place, Denver

Artists are invited to speak about their work at the closing reception.

CPAC’s annual members’ show features 27 photographers for the exhibition and 12 special mention photographers chosen by Tim Wride, Curator of Photography at the Norton Museum of Art.  A $300 purchase award was awarded to Emma Powell by Tim at the reception. The selected image will become part of CPAC’s permanent photography collection. Three Honorable Mention awards were also made to Katie Harwood, Rodney Mahaffey, and James McCracken. A limited number of exhibition catalogs are available at the gallery for $16 plus tax. Copies can be purchased online at MagCloud.

EXHIBITING ARTISTS

Garry Appel, Matthew Bender, Brenda Biondo, Raymond Bleesz, Derrick Burbul, James Cooper, Vernie Croghan, Carol Dass, Sean Drew, Michael Ellis, Nicholas Fedak II, Susan Goldstein, Katie Harwood, Jerrie Hurd, Michael Jacobs, Karen Kirkpatrick, Rodney Mahaffey, Paul Malinowski, James McCracken, Nancy Myer, Jennifer Pinter, Emma Powell, Terry Ratzlaff, Gary Reed, Billy Riesing, Genevieve Waller, & Mike Whiteley.

SPECIAL MENTIONS

Vernie Croghan, Brenda LaBier, Joseph Lhotka, Betsy Litton, Paul Malinowski, James Montague, Suzi Moore McGregor, Ning Mosberger-Tang, Robert Newman, Jennifer Pinter, Wendi Schneider, and Jordan Spencer.

EXHIBITING ARTISTS

SPECIAL MENTIONS

Juror’s Statement

Community has played an indispensable role in the formation of today’s multi-faceted photography world. Dating from the germinating interactions of the scientist/intellectuals to whom the invention of the medium is credited through to the phenomena of Flicker and Instagram, community has shaped, fractured, defined, and refined our contemporary ideas about and around what we see as photographic. This is not to imply that the trajectory has been linear, nor that the process has been without painful fits and starts. From the Royal Photographic Society to the Linked Ring; the Photo-Secession to the Pictorialists; Group f/64 to the PPA, each group coalesced around its own ideas of what photography meant, how it should look, and why it is uniquely important. The Colorado Photographic Arts Center is but one of many beneficiaries of this tumultuous evolution.

Artist-centered photography communities, of which the Colorado Photographic Arts Center is a stellar example, have experienced an impressive resurgence over the past decade. They have weathered the shifts of photography’s centers of power from the artist’s darkroom to the museum’s printroom to the gallerist’s salesroom. They have endured the philosophizing, intellectualizing, and commercializing that threatened to forever keep them marginalized. They stand apart from academia, yet are committed to the exchange of knowledge and ideas; they are deemed below the notice of the market yet are the wellsprings of much new talent and ideas. In a moment in which vast networks indiscriminately dump digital images, they are, in short, the purest form of creative community: artists sharing the objects they make and the ideas that drive them.

Selecting photographs as a juror is not a science; it is not an objective task, which is why one should only undertake it with a clear view of what is at stake with each choice as well as why each choice matters in a broader context. I make selections that resonate with my sense of the medium and its history tempered with a curiosity about the ideas and understanding that fueled their creation. For all of the artists whose work I viewed you have my thanks for broadening my visual vocabulary and making me a better curator. To those artists to whose works I have responded and selected, you have my thanks for making me more aware of my own ideas. I feel honored to have been asked to contribute to the on-going conversation that drives the Colorado Photographic Arts Center.

ABOUT TIM WRIDE, CURATOR OF PHOTOGRAPHY, NORTON MUSEUM OF ART

Tim B. Wride joined the staff at the Norton Museum of Art in November of 2011. Since that time he has mounted eleven exhibitions for his new home audiences including Outside/In: Florida Photographers Face-to-Face with the Permanent Collection, Clubs, Joints, and Honky-Tonks: Photographers experience the Music World, The Rudin Prize 2012, L.A. Stories: Narrative Video from the West Coast, and New Work/New Directions: Recent Acquisitions of Photography. Mr. Wride also coordinated the Norton installations for Elegant Enigmas: The Art of Edward Gorey, The Radical Camera: New York’s Photo League, 1936-1951, and THE POLAROID YEARS: Instant Photography and Experimentation. Since his arrival he has grown the collection by more than 2000 objects and has commissioned 8 artists to create works specifically for the museum. In the 2014-15 season, Wride mounted four exhibitions for the Norton: Living Legends: the Photomontages of Robert Wiengarten, The Rudin Prize, 2014, Coming into Fashion: A Century of Photography at Condé Nast, and Imaging Eden: Photographers Discover the Everglades. During the 2015-16 season, Wride organized and installed the North American premieres of The Summer of ’68: Photographing the Black Panthers, This Place: Israel through Photography’s Lens, Tiny: Streetwise Revisited—Photographs by Mary Ellen Mark, and Still/Moving: Photography and Video from the collection of Beth Rudin DeWoody.