Women Photographers Archive 15 @ wipi.org

Carole Glauber

All photographs ©Carole Glauber

For three decades, Carole Glauber has combined her interest in history and photography as a photo-historian and photographer.

In 1974, she became one of two photographers for the Rural Women's History Project based at the University of Idaho in Moscow, Idaho. Selected women living in rural settings in the five northern counties of Idaho were interviewed and photographed. Along with the interviews, Glauber's black and white portraits and domestic scenes from their homes were deposited in the University of Idaho archives.

In subsequent years, Glauber taught high school history and students with learning disabilities, and continued making portraits and photographing landscapes in the mountains of northern Idaho. A move to San Diego for four years added black and white street photography to her repertoire and provided the opportunity to study early photographic processes and photographers at the Museum of Photographic Arts. The Hebrew Home for the Aged asked her to photograph residents for an oral history project of those who entered the United States through Ellis Island.

Returning to the Northwest-Portland, Oregon-in 1987, she began photographing her 15 month old son with a 1950's Brownie Hawkeye Camera and color film, creating lush 16 x 20 inch photographs by combining her skills in portraiture and street photography. This project continues, with the addition of her second son in 1993, at least through her oldest son's high school graduation in spring, 2005.

Around 1989, Glauber began her research on turn-of-the-19th-century Salem, Oregon photographer, Myra Albert Wiggins. Grants from the Oregon Council for the Humanities, Regional Arts and Culture Council, and the Northwest Women's History Project enabled her to travel to the Beinecke Manuscript Library at Yale University and the Library of Congress, expand her research, and subsequently see her book, Witch of Kodakery: The Photography of Myra Albert Wiggins 1869-1956 published by Washington State University Press in 1997.

She continues to travel around Oregon presenting slide talks about Wiggins as part of the Oregon Council for the Humanities Chautauqua Program and write about early and contemporary photographers. For three years, she wrote book reviews for the website, womeninphotography.org. Glauber's photographs have appeared in exhibits around the country including Portland, San Francisco, San Diego, Houston, and Buffalo, New York.

Carole was introduced to WIPI through Peter Palmquist and was our first formal reviewer which started with our premiere issue of the F2-eZine, October 1999.

WIPI Archived Book Reviews by Carole Glauber

Book Review - October 1999- Archive 1-Premiere F2-eZine Witch of Kodakery

Book Review - April 2000 - Archive 2 - Shadows, Fire, Snow: The Life of Tina Modotti

Book Review - September 2000 - Archive 4 -Women Photographers at National Geographic

Book Review - April 2001 - Archive 6- Seizing the Light - A History of Photography

Book Review - July 2001- Archive 7 - Lillian Bassman

Book Review - October 2001 - Archive 8 - The Woman behind the Lens: The Life and Work of Frances Benjamin Johnston 1864-1952

Book Review - January 2002 - Archive 9 - Ambassadors of Progress

Book Review - April 2002 - Archive 10 -Pioneer Photographers of the Far West, A Biographical Dictionary, 1840-1865,

Book Review -October 2002 - Archive 12- The Allen Sisters:Pictorial Photographers 1885-1920

I had the pleasure to meet Carole when we all traveled to Arcata in April 2003 for the Peter Palmquist tribute. It was a pleasure to meet someone who gifted us with her fine writing talent and who came to us through an introduction of Peter. As Nancy Clendaniel, Carole and myself strolled through the lovely Redwood Park a hop, skip and a jump from Peter's red house, we reminisced about the wonderful opportunities that Peter brought into all our lives. Thank you Carole for your wonderful reviews from 1999 thru 2002. Jean Ferro

GETTING WORK SHOWN

By Juanita Richeson

Award winning photographer,
Juanita Richeson shares with us her TOP tips for success

I came to photography late. Although both of my parents were photographers, they died when I was young and it never occurred to me to pursue photography as a career. I pursued a business bachelor's degree, managed bookstores and worked as a free-lance arts writer.

After a turbulent personal youth, I found myself stranded in Gainesville, Florida, a single mother and again managing a bookstore. I decided to go back to school to obtain an Art History degree and work as an arts administrator. In my last semester, I took Photo 1 to satisfy my last studio class requirement. I thought it would be easy.

Although struck by lightning is a cliché, that's what happened to me. From the very first assignment, I knew what I was going to do for the rest of my life. Since 1991, I have worked on photography every day. As I was confident in my knowledge of Art History, I was ignorant about photography's technical applications.

I moved to California and began taking classes at Santa Monica College, a school strong in technical training. I also began an MFA program, but quickly decided I didn't want to teach and also that my life history had made me either too certain or too stubborn to continue to talk rather than do.

This decision may have slowed my career initially, but it accelerated my artistic growth. I began a number of extended conceptual documentary projects that freed me to ask myself who I really was as an artist. I asked cops and gang-bangers to make art for me, strangers on the street who may have thought I was a little crazy. I followed strangers on the streets of London, Edinburgh, Glasgow and the Hebrides and photographed them as they used, really used a famous product, Harris Tweed. I photographed visitors to amusement parks in the midst of their loneliness in crowds and documented their human attempts to connect with those around them, familiar, yet unknown. My education came from doing it over and over again, often wrongly, and waiting, accumulating work for six years before I tried to show anywhere. I wanted to be sure it was true to my beliefs, not a response to what someone else had told me to do.

In 1997, I entered the New Photography Show at the Los Angeles County Fair and won 2nd place. By that time, I had created a massive project about the LAPD and was starting to think about showing it. I became involved in a two-year negotiation with the LAPD, at all levels of the organization, about expanding it into a Community Outreach project. But the negotiations stalled.

Fortunately, I had been working on other projects at the same time and in 1999, I began to seek venues for my work. I joined organizations, I went to shows, and I began promoting other projects. I won awards and when I did, I promoted them by sending out announcements. I developed a mailing list, went to portfolio reviews, sent Christmas cards and created a web site. But most importantly, I continued to do new work based on issues outside the world of art photography. I was generous with my photos, some of the most serious conflicts I have encountered were resolved by giving someone a photo.

In the last year, I have been in more than 30 juried shows, many of them national, and won several awards. The following list may be useful to you, I wish I had started many of them sooner.

Titles:
"St. Charles, New Orleans"

"Plenty, NYC," / 2003 Women's Festival, jried by Ruth Weisberg, Dean , Fine Arts, USC, The Second City Council, Long Beach, Ca

The Big Wheel Series

Bethesda International Photography Competition, juried by Philip Brookman, Senior Curator of Photography Corcoran Gallery of Art, Fraser Gallery, Bethesda, MD

You can view more of Juanita Richeson's work at:
www.womeninphotography.org/photoprofile/juanitaricheson
Juanita Richeson, WIPI Archive Gallery #12
Skates, Invitation card, kitsch & klick

Outline for Getting Your Work Shown

I. Be talented. Have well-developed projects. More substance than style.
Don't pander. Believe what you are doing matters.

II. Have knowledge of what came before you‹you might not be so special. Art
history will inform the decisions you make in ways you may only realize
yours later.

III. Know what other people are doing now-galleries, periodicals, on-line
etc. Don't buy into a trend, but recognize the zeitgeist. Look for clues for
both your unique perspective and your place in the world community.

IV. Examine your motives for doing work‹money, fame or art. All are valid,
but have their own set of goals, strictures, and etiquette.

V. Don't whine about not being able to afford producing work that looks
good (professional) - other people do and it's a cruel world. Nobody cares
how strapped you are.

VI. Develop extensive mailing lists and send out promos often. Alternate
announcements and less career-specific. Send out Valentines, Mother's Day
photos and a card for National Library week - I love librarians.

VII. Research the best markets for your specific style. This seems
obvious, but artists waste a lot of time and money by not doing their
homework.

VIII. Don't look for a Mommy or Daddy. Anyone who is really succeeding
doesn't have time to hold your hand.

IX. Be humble. There are a lot of great photographers out there. You're
competing with them. All you can do is hope you're able to work harder and
smarter. And hang in there longer than you think it will take.

X. Build a CV, good shows, established jurors. Look for ways to show your
work as often as you can in quality locations. This includes restaurants,
libraries, and great looking up-market businesses. Write press releases
about your shows and send them out.

XXI. Be persistent but not obnoxious. Let people get to know you. Keep it
light.

XII. Research the background, recent accomplishments of members of the arts
community you admire and send them congratulations. Go see their shows,
read their books, bring up specifics when you run into them.

IV. Be creative with your promo pieces; hand-made beautiful pieces with
handwritten notes make and impact. People keep them.

XV. Show nationally as much as you can.

XVI. Don't ever stop working on something new. It will keep you sane and
give you something new to talk about.

XVII. Always have some give away sample of your work to give away to
someone. I meet valuable contacts unexpectedly quite often.

XVIII. Don1t invest too much time or hope in any one contact or
project‹things fall through all the time. All it takes is the person at the
top to say no. Have backup plans and projects.

XIX. Educate yourself about the world in general. It will resonate in your
work and in 20 years will continue to accrue value. And it will get you
outside your frequently frustrated lack of a control position.

XX. Be professional: Punctual, organized, and dependable.

XXI. Volunteer in organizations you identify with. Donate work for
fundraisers. It's good Karma and people talk.

XXII. Know the law, file copyright, be optimistic but not gullible.
Network with other photographers to root-out scam artists.

XXIII. Assume it could take you at least ten years to become established.
Find a rich benefactor or maybe an art critic. It's worked for centuries.

All Images
© Juanita Richeson

Metropolis Photos Los Angeles

www.MetropolisPhotos.com

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