Review: 1914: Magnus Plessen at the Rose Art Museum

I recently had the pleasure of writing a review of the Rose Art Museum’s exhibition 1914: Magnus Plessen for Big, Red & Shiny.

The exhibition is an examination of the visual rhetoric of war, combining paintings by Magnus Plessen with archival objects. Together, the work examines the psychological impact of facial injuries during the first World War, looking at the role of artists in the creation of facial prosthetics.

You can read more here: 1914: Magnus Plessen at the Rose Art Museum

Facial Expressions at Danforth Art Museum

I am excited to announce that one of my pieces from Father and Mother has been acquired by the Danforth Art Museum for their permanent collection. It will be reinstalled as part of their winter exhibition Facial Expressions.

November 23, 2014-March1, 2015
Members Only Reception: Saturday, November 22, 6-8pm

Danforth Art is pleased to present a new installation of works from the Permanent Collection, the second part of our year-long exploration of The Expressive Voice. The exhibition Facial Expressions highlights the collection’s strengths in portraiture, considering the numerous ways artists have used the figure to represent, explore, and challenge identity. Works on view throughout the galleries address portraiture’s changing conventions in New England from the 19th century to the present day, with pieces representing a range in style and technique from Gilbert Stuart to Boston Expressionism to contemporary photography. One can trace the history of American Art through the ways the figure is depicted—in paintings, photographs, prints, and sculpture—and both traditional and more unconventional approaches to the portrait are evident in this exhibition, which also includes exciting new acquisitions.
More information at:

MetroWest Daily News Reviews Aura/Ground

Chris Bergeron on the MetroWest Daily News wrote an engaging and critical review of Aura/Ground and Brian Kaplan’s Not Your Vacation.

The full article can be seen here:

Excerpt from Open to Photographic Interpretation at Danforth Art:

In “Aura / Ground,’’ Pollman is showing images from two contrasting series of photos of gravestones and nights capes that invite viewers to reconsider what they’re seeing and imagine what they can’t see. The five seemingly straightforward photos from the series “Father / Mother’’ show headstones from area cemeteries – sometimes joined, sometimes separate – only bearing the words “Father’’ and “Mother.’’

Unlike Kaplan’s shabby subjects, these aged stones seem to resist mortality, memorializing a bond that endures beyond death. [.…] Viewers can look at these photos of timeworn stones and imagine marital bonds that endure beyond death. Or, less charitably, maybe the kids bought beautiful gravestones to make things seem better than they were in real life. However, there’s nothing ironic about these photos that suggest anything but that sort of fidelity reminiscent of sepia images of patriarchs and matriarchs of other eras.

-Chris Bergeron for the MetroWest Daily News

Boston Globe Review of Aura/Ground

Mark Feeney of the Boston Globe write a great review of the shows at the Danforth Art Museum, including my show, Aura/Ground.

Check out the full article online, which includes a review of Brian Kaplan’s Not Your Vacation and Rinko Kawauchi’s show at Lesley University.

Images that are off season, in the universe, or somewhere between

Sarah Pollman’s “Aura/Ground” is binary. The photographs, all of which are color, come in two groups: five of gravestones, eight of moody nocturnal scenes. There’s nothing morbid about the former. The gravestones are as much sculptural as funerary, and handsomely so. These photographs are themselves binary, evoking past/present, death/life, hard/soft. Pollman juxtaposes the stones, which she shoots head on, with the softness of surrounding elements: leaf, grass, snow. The night scenes are binary too: partly in focus and partly out. This adds to their sense of mystery. In “Staircase,” a man stands on a set of impressive-looking steps. Is he coming or going? Is the building a museum? City Hall? Library? In “Tree,” branches dominate the foreground. A small human figure stands in the distance, brightly illuminated but out of focus. The artificial light jumps out from the black background. It’s a reminder of the binary relationship that underlies all photographs, between light and darkness, here exaggerated to startling effect.

-Mark Feeney for the Boston Globe

Introduction to Sense of Place by Mikhael Antone

I was honored to write the introduction for Mikhael Antone’s monograph, Sense of Place.

This work explores the places of the artist’s childhood, examining how locations (and their subsequent photographs) can hold memory. We experience Antone’s work in a physical way, recalling the sights, sounds and smells of the places of our own youths through these haunting, ghostly images.

You can purchase the book here
More of Antone’s work can be seen at

Upcoming Courses at SMFA

I am excited to be teaching three courses at the School of the Museum of Fine Arts, Boston in Fall 2014. You can register and find additional course details here:

The Art of the Photo Book
The photo book has been a ubiquitous part of art history, forming the way that most people have historically interacted with photographs. In this course, we will examine the history of this presentation format and adapt it to our own work. We will look at hand made books, mass produced books, and everything in between, utilizing the instructor’s experience with curating and producing the photographic journal 3200K. Fueled by the contemporary self-publishing craze, we will explore options for self-publishing that range from one-of-a-kind artists books to mass-produced print-on-demand books. We will discuss topics such as editing, sequencing, page design and color management. By the end of the course, students will have the skills to produce their own book which effectively communicates conceptual ideas.

Family Photographs
Family photographic archives, some deteriorating, some digital, tell the unique story of personal history. In this intensive workshop, we will look at these archives as a research platform for the development of our own voices, transforming the images through analog and digital techniques. We will scan, restore and reshoot, ultimately working digitally to produce a large-scale fine-art print.

Starting a Professional Art Career - co-taught with Katrina Majkut
Want to advance your art practice from pastime to professional pursuit? Are you a beginning artist looking for some guidance? This class will help guide your practice and career to the next level. Through the duration of the class students will discover who they are as artists, learn how to communicate their artwork and process, polish their public image and presentation, gain insight into the competitive art world, set professional goals and submit to opportunities. This will be supported by technology demonstrations in class (including how to photograph artwork and post-edit; build a website; write artist CVs, bios, image lists and artist statements; and craft submission packages) and out-of-class assignments.

Using Format