Zip File, 7 ½” x 5 ½”, Gouache on Rag
My work, two gouaches, will be included in the Pratt-in-Venice Anniversary Exhibition, a program where I ran the Painting Program for three summers.
PRATT IN VENICE 35TH ANNIVERSARY EXHIBITION AND CELEBRATION
- Steuben Gallery, Steuben Hall, First Floor, Brooklyn Campus
October 21 – November 1, 2019
Tree with Seed Pod Swarm, 2019, Archival Digital Photo
I have been awarded a Faculty Development Grant from Pratt Institute for my photography. It is especially helpful when I am embarking on new work and have outdated equipment that must be replaced. This is one of the things that Pratt does for its faculty and I feel lucky to be benefitting from it this year.
Wire, Snow, 2018, Archival Digital Print
A new folio, Drawn on Land, is here. It is concerned with the minimal, not only which crosses and clouds drawing but also has expressive content that is not explicit.
Installation of “Ineffable: The New Photographs of Catherine Redmond,” at Tregoning & Company, Cleveland, Ohio. Photos by David Brunner
My show of recent photographs has been extended for one more month. There is still an opportunity to see my new work in what is a beautifully installed exhibition curated by William Tregoning and Laura Sherman.
Photos on Archival Rag
A large show of my photographs is in planning and curation now. More details soon.
Studio Move-In Begun, October, 2016
My studio is finished and the move-in has begun. Soon the equipment will come out of storage and last, the paintings will come in. Two years wandering and finally a home.
This experience has been a cautionary tale about the challenges to an artist’s life, the New York City real estate frenzy, the purge of the creatives as the city sanitizes its neighborhood and scrubs them clean of talent that isn’t short-term profitable, and most important above all else, the kindness of friends.
I have experienced graciousness from so many throughout this period. I will always remember these and the loving support offered.
The New Studio
My new studio is near completion. This is a shot of it in June before the work began. It’s a solid cement block building with the lower floor built into the bedrock. The ceiling has been raised to the roof to add height and the walls are covered in Homosote as per my usual requirement. In effect the entire box is a tack wall. Homosote is a humble building material but there is nothing better for notes, drawings, photos, anything that you need to put up to see. You just need pushpins or a staple gun.
Flame Stitch, 2013, Oil on canvas, 14″ x 11″
Flame Stitch was acquired for a collection in Florence, Italy, this week. It will look out into the beautiful world of the Tuscan landscape.
My 2015 photo, Late Afternoon Sun, is included in this exhibition curated by Russell Joslin, Editor and Publisher of SHOTS Magazine.
About the Work
More than other genres of photography, still life generally gives photographers greater latitude in achieving their final vision through the arrangement of inanimate objects and composition of design elements. It can also allow for a slower and more thoughtful approach to the creation of a photograph. As I looked through the 1000-plus images submitted for this exhibition, I found myself not only compelled by the various choices of subject matter that each photographer visually documented, but also by the human presence implied in each of the works. Ultimately, it was a reminder of what most essentially and instinctively connects me to the language that is photography—it’s not just the photograph before me, but it’s the thought, the touch, and the presence of the creator behind it. In turn, it’s my hope that the viewers of this selection of works will be able to connect to the photographs in their own personal and sensory way—perhaps through the recollection of a moment, memory, feeling, or fleeting thought. Juror, Russell Joslin, March 20, 2015