Ellen Carey: Dings & Shadows
Studio View
––
Download CV
March 2024
Education
1978
MFA State University of New York at Buffalo, Buffalo, NY (1976-1978)
1975
BFA Kansas City Art Institute, Kansas City, MO (1971-1975)
1970
Art Students League, NY, NY (Fall 1970)
One-Person Exhibitions: Ellen Carey 1976 - 2022
2022
Let There Be Light: The Black Swans of Ellen Carey, Galerie Miranda, Paris, France
2020-21
Lights, Camera, Ellen Carey!, New Britain Museum of American Art at The Delamar Hotel, West Hartford (WH), Connecticut; Lisa Williams, Curator/Brochure
2018
Ellen Carey: Mirrors of Chance – la Photographie Expérimentale, Galerie Miranda, Paris, FR Dings, Pulls, and Shadows, Amon Carter Museum of American Art (ACMAA), Ft. Worth, TX
John Rohrbach, Senior Curator; 200 Limited-Edition Book w/Carey Photogram/Essay
2017
Dings & Shadows, M+B, Los Angeles, CA; LA Times Review by Critic, Leah Ollman Hello…Again, TheaterWorks, Hartford, CT
2015
Ellen Carey: Polaroid 20 X 24 Self-Portraits 1984-1988, M+B, Los Angeles, CA
2014
Let There Be Light: The Blacks Swans Of Ellen Carey, Akus Gallery, Eastern Connecticut State University (ECSU), Willimantic, CT (Catalog/Illustrations)
2012
Photography Degree Zero, Joseph Bellows Gallery, La Jolla, CA
In Hamlet’s Shadow: Self-Portraits As Photo-Lithographs From 1987, Celeste LeWitt Gallery, UCONN Health Center, Storrs, CT
Struck By Light, Nina Freudenheim Gallery, Buffalo, NY
2010
The Black Swans Of Ellen Carey: Of Necessary Poetic Realities, West Hartford Art League, West Hartford, CT
2009
Struck By Light: Ellen Carey: Photogram Retrospective (1992-2009),
St. Joseph University, West Hartford, CT
2008
Picture Nothing, Nina Freudenheim Gallery, Buffalo, NY
2007
Photography Degree Zero, Ibu Gallery, Palais Royale, Paris, FR
Shadows & Pulls… A Short History, Diana Birdsall Gallery, Old Lyme, CT
2006
Moirés, Blinks, Monochromes, Start & Stops, Mixes, Lyman Allyn Art Museum,
New London, CT (Catalog/Illustrations)
2005
Moirés, Blinks, Monochromes, Start & Stops, Mixes, Nina Freudenheim Gallery, Buffalo, NY
2004
Photography Degree Zero/Matrix #153, Wadsworth Atheneum Museum, Hartford, CT (Brochure)
2003
Photography Degree Zero, Katrina Traywick Gallery, Berkeley, CA
Photography Degree Zero 1996 – 2003, Beacon Camera Club, Beacon, NY
Mourning Wall For 9/11, Mercy Gallery, Loomis Chaffee School, Windsor, CT
2002
Push Pin Photograms, Nina Freudenheim Gallery, Buffalo, NY
Mourning Wall For 9/11, PABA (Photo Art Book Art), New Haven, CT
Mourning Wall And Birthday Portrait, Museum Of Contemporary Photography (MoCP), Columbia College, Chicago, IL (Brochure)
Self-Portrait @ 48, Connecticut Commission On The Arts, Hartford, CT
Photography Degree Zero, NEW/NOW, New Britain Museum Of American Art (NBMAA), CT Prima Facie, Paesaggio Gallery, West Hartford, CT
2001
Mourning Wall, Pamela Auchincloss Project Space, New York, NY
Photography Degree Zero, PABA (Photo Art Book Art), New Haven, CT
2000
Mourning Wall-Family Portrait-Birthday Portrait, Real Art Ways, Hartford, CT (Brochure)
Pulls, Beacon Camera Club, Beacon, NY
1999
Photogenic Drawings, Paesaggio Gallery, West Hartford, CT
Photography Degree Zero, Loughborough University, Loughborough, England
1998
Pulls, Ricco/Maresca Gallery, New York, NY
1997
Family Portrait-Birthday Portrait, Cleveland Center For Contemporary Art, Cleveland, OH
Photography Degree Zero, Todd Mauritz Gallery, Columbus, OH
1996
Photography Degree Zero, Ricco/Maresca Gallery, New York, NY
Group Exhibition, Center For Photography At Woodstock (CPW), Woodstock, NY
1995
Nina Freudenheim Gallery, Buffalo, NY
1994
Jayne H. Baum Gallery, New York, NY
Gallery 954, Chicago, IL
1992
Jayne H. Baum Gallery, New York, NY
Back To The Future: Ellen Carey, National Academy Of Sciences, Washington, D.C. (Catalog)
1990
Self-Portraits In Polaroid 20 X 24, Schneider-Bluhm-Loeb Gallery, Chicago, IL
1989
Stack And Abstract: Polaroid, John Good Gallery, New York, NY
1987
Ellen Carey: Survey 1978-1986, International Center Of Photography/ICP, NY (Brochure)
Self-Portraits In Polaroid 20 x 24, Simon Cerigo, New York, NY
1986
Self-Portraits In Polaroid 20 x 24, Art City, New York, NY
Self-Portraits In Polaroid 20 x 24, Real Art Ways (RAW), Hartford, CT
Self-Portraits In Polaroid 20 x 24, Zone, Springfield, MA
1985
Concord Gallery, New York, NY
Dorry Gates Gallery, Kansas City, MO
1984
Texas Gallery, New York, NY
1983
Memorial Union Art Gallery, University Of California, Davis, CA
1982
University Art Museum, University Of New Mexico, Albuquerque, NM
1981
Painted Photograph: Figures & Forms, Concord Gallery, New York, NY
1978
Painted Self-Portraits, HallWalls, Buffalo, NY (MFA Thesis Exhibition)
1976
Ellen Carey & Cindy Sherman: Photo Bus Show, CEPA/Niagara Transit System, Buffalo, NY
Group Exhibitions: Ellen Carey 1974 - 2022
2022
Instant Collaboration: Ellen Carey, John Reuter, and the 20 X 24 Polaroid Camera, Lafayette College, Easton, PA; Two-Person w/20 X 24 demonstration/presentation; Rico Reyes, Curator/Brochure
In Process: Contemporary Photographers Rethinking Their Medium, College of the Holy Cross (CHC) Worcester, MA, Collection of Mark Nevins CHC alumni ‘86; Claire Raymond, Essay/Catalog
Aesthetica Art Exhibtion, York, UK; Shortlisted Artists Selection, Multiple Curators/Magazine
2021-22
Alter Egos | Projected Selves, Metropolitan Museum of Art, NYC, NY; Stephen Pinson, Curator
Steel, String, Spit Bite: Selections from the Sol LeWitt Collection, New Britain Museum of American Art (NBMAA), CT; Highlights Women Artists, Curator
2021
dunhill, Mark Weston, Creative Director, England and Ellen Carey, Artist, Connecticut
dunhill x Frieze, Film on Collaboration Mark Weston and Ellen Carey, Artist
Fabric of Photography: Material Matters, Photo Oxford, UK, Megan Ringrose, Curator/Catalog a ppr oc he, Solo w/Galerie Miranda; Locales/Experimental Exhibitions, Paris, FR; Several Curators
2020-21
Controlling the Chaos, Carnegie Mellon Museum, Pittsburgh, PA; Dan Leeds, Photography Curator
2020
Noir et Blanc, Bibliothèque nationale de France, Paris, FR; Multiple BnF Curators, Book
All of Them Witches, Jeffrey Deitch Projects, Los Angeles, CA; Laurie Simmons, Curator
A Yellow Rose Project, Project Curators/Tour/Online
2019-20
The Polaroid Project: At the Intersection of Art and Technology*, MIT Museum, Cambridge, MA (International/National Tour/Book, 2017-2020) via FEP (www.fep-photo.org); Carey Pulls CMY,
Thames & Hudson, cover/essay: Photography Time Zero (inside front cover); Multiple Curators
All the Marvelous Surfaces: Photography Since Karl Blossfeldt, The deCordova Sculpture Park and Museum, Lincoln, MA; Curator
2019
Expanded Field: Photography from the Collection of NBMAA, New Britain Museum, CT
Shape of Light: Defining Photographs from the Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY; Mary-Kay Lombino, Curator, Book/Tour
The Polaroid Project: At the Intersection of Art and Technology*, The McCord Museum, Montreal, CANADA (international tour/book)
Out of the Box: Camera-less Photography, Norton Museum of Art, Palm Springs, FL; Tim Wride, Photography Curator
Painting with Light, Yossi Milo, NYC, NY
Women in Colour: Anna Atkins, Color Photography & Those Struck by Light, Galerie Miranda,
Paris, FR; Curator: Ellen Carey
2018-19
Room for Play, Heather Gaudio Gallery, New Canaan, CT
2017
Women in Colour: Anna Atkins, Color Photography & Those Struck by Light, The Rubber Factory, NY (LES); Curator - Ellen Carey
PhotoPlay: Lucid Objects, JP Morgan Chase Art Collection, Paris PHOTO; Brochure-
Curator: Mark S. Roe
Disappearing Polaroids, Natalie Krug Gallery, NY, NY; Curator- Natalie Krug
CHANGED: The Altered Photograph, Ricco/Maresca Gallery, NY; Curator - Frank Maresca Re: Collection, Museum of Contemporary Photography/MoCP, Columbia College Chicago, ILL
Indirect Representations, Cristin Tierney Gallery, NY (NY); Curator - Joe Fig-Artist
2017 – 2021
The Polaroid Project: At the Intersection of Art and Technology, Foundation for Exhibiting Photography (FEP) and Massachusetts Institute of Technology (MIT); Amon Carter Museum of American Art, Ft. Worth (TX); WestLicht Museum for Photography, Vienna; C/O, Berlin GER); MIT, Cambridge, MA; tour (2017-2019); book Thames & Hudson, London, UK
2016
The Unbearable Lightness - The 1980s, Photography, Film; Centre Pompidou, Paris, FR (brochure);
curator: Karolina Lewandowska
Matter of Memory: Photography as Object in the Digital Age, George Eastman Museum (GEM), Rochester, NY (book); curator; Lisa Hostetler
Archiving Western New York: Select Artists from The Gerald Mead Collection, Marion Art Gallery, SUNY@Fredonia, NY (catalog)
big nothing, Sous Les Etoiles Gallery, NY, NY; curator: Richard Caldicott
Photography is Magic, Aperture Foundation, NY, NY; curator: Charlotte Cotton
new flesh, Rubber Factory, NYC, NY; curator Efrem Zelony-Mindell
Stopping Down, Be-Hold Gallery, Yonkers, NY; curator Larry Gottehim
Chemistry: Explorations in Abstract Photography, Garrison Art Center, NY
2015
Photography Sees The Surface, Higher Pictures, NY, NY
Part-Picture, Museum Of Canadian Contemporary Art (MoCCA), Toronto, CAN; (Catalog)
One-Of-A-Kind: Unique Objects From The Center For Creative Photography (CCP), University Of Arizona, Tucson, AZ; (Brochure)
Art Today: 2000 – Present, New Britain Museum Of American Art (NBMAA), New Britain, CT
Directors Choice: Aspects Of Portraiture: Photographs From The Wadsworth Atheneum, Hartford, CT
2014-15
Altarations: Built, Blended, Processed, Florida Atlantic University, Boca Raton, FL; (Catalog)
Modern Alchemy: Experiments In Photography, Heckscher Museum, Huntington, NY; (Brochure)
2014
CHEM 101: The Beauty Of Chemistry In Photography, Benton Art Museum, UConn, Storrs, CT
After Life, Luckman Gallery/Fine Arts Center, California State University/Los Angeles (CSULA)
2013-14
The Polaroid Years: Instant Photography And Experimentation, Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY; Norton Museum, Palm Beach, FL; (Book/Tour/Reviews)
A Democracy Of Images: Photographs From The Smithsonian American Art Museum (SAMM), Washington, D.C.; SAAM Curator: Merry Foresta; (Brochure/Review)
2009-13
The Edge Of Vision: The Rise Of Abstraction In Photography, 2009: Aperture Foundation, NY; Galerie Pangée, Montreal, CAN; Pingyao Photo Festival, Pingyao, CHINA: 2010: Center For Creative Photography (CCP), University Of Arizona, Tucson, AZ; 2011: Cornell Fine Arts Museum, Rollins College, Winter Park, FL; 2012: Hoffman Gallery, Lewis & Clarke University, Portland, OR; Schneider Museum Of Art, University Of Southern Oregon, Ashland, OR; Clay Center For The Arts And Sciences, Charleston, WV; 2013:Louisana Arts And Science Museum, Baton Rouge, LA (Book/Tour); Aperture Curator: Lyle Rexer-Critic
2012
Wish You Were Here: The Buffalo Avant-Garde In The 1970s, Albright-Knox Art Gallery, Buffalo, NY; (Catalog/Illustrations/Reviews) AKAG Curator, Heather Pesanti
50@50: Selected Artists From The Gerald Mead Collection, UB Anderson Gallery, Buffalo, NY
Focus: New Photography Acquisitions, New Britain Museum Of American Art (NBMMA), CT
2011
Process(ing), Galerie Emmanuel Perrotin, Paris, FR
The Minimalist Aesthetic, Wadsworth Atheneum Museum Of Art,
Hartford, CT
For Once, Then, Something, Burchfield-Penney Art Center, Buffalo, NY
Recollection: Thirty Years Of Photography At The New York Public Library,
New York, NY
The White Show: Subtlety In The Age Of Spectacle, Clarion University Art Gallery, PA (Brochure)
Women Artists @New Britain Museum, New Britain Museum Of American Art, CT (Catalog)
Instant Connections: A Polaroid Exhibition, Panopticon Gallery, Boston, MA
Private/Public: Gerald Mead Collection, Castellani Art University, Niagara University,
New York, NY
The Big Cool, Nina Freudenheim Gallery, Buffalo, NY
2010
Spectra: New Abstract Photography, Silver Eye Gallery, Pittsburg, PA
Plucking The Rainbow, Nina Freudenheim Gallery, Buffalo, NY
Polaroid: Instant Joy! A.M. Richard Fine Art, Brooklyn, NY
The ART Of POLAROID, Gallery 4, Tiverton 4 Corners, RI
2009
Color Field Photography, The Princeton Arts Council, Princeton, NJ (Brochure)
Exposed, Creon Gallery, New York, NY
2008
Click, eo art lab, Chester, CT
Color Me Real, Windsor Art Center, Windsor, CT
2007
Connecticut Contemporary, Wadsworth Atheneum Museum Of Art,
Hartford, CT (Brochure)
2006
femme brut (e), Lyman Allyn Art Museum, New London, CT (Catalog)
2006
Seeing The Light, Carl Solway Gallery, Cincinnati, OH
The Persistence Of Geometry, Cleveland Museum Of Art, OH (Catalog, Cover/Ill)
Shifting Terrains, Wadsworth Atheneum Museum Of Art. Hartford, CT (Brochure)
2005
Romancing The Shadows, The Palo Alto Art Center, Palo Alto, CA (Brochure)
Triple Exposure, Chase/Freedman Gallery, Jewish Community Center,
West Hartford, CT
Casting The Light, 1708 Gallery; McLean Projects For Art, VA; SW School,
San Antonio, TX (Catalog)
Black & White, Paesaggio Gallery, West Hartford, CT
2004
Inside Out: Selections From The Permanent Collection,
San José Museum Of Art, CA
LeWitt’s LeWitts, New Britain Museum Of American Art (NBMAA),
New Britain, CT
2003-02
This Is Not A Photograph, DePaul University, Chicago, IL; UNorth Texas, Denton, TX; Bowling Green University, OH; UC La Jolla Art Gallery, CA; Bayle Art Museum, Charlottesville,VA; College Art Gallery, Northfield, MN; Pamela Auchincloss Projects, NY; (Catalog)
2003
Light =Index, Visual Studies Workshop (VSW), Rochester, NY
Prima Facie, Nina Freudenheim Gallery, Buffalo, NY
Primary Colours, City Gallery, Leicester, England UK
2002
American Visions: Highlights From The Photography Collection, Whitney Museum, NY (Book)
Photography’s Antiquarian Avant-Garde, Sarah Morthland Gallery, New York, NY (Book)
Self-Portrait @ 48, Connecticut Commission For The Arts, Hartford, CT
2001
What’s New, Whitney Museum Of American Art, New York, NY
Eccentric Photography, Islip Museum, East Islip, NY (Brochure)
2000
American Perspectives: Photographs From The Polaroid Collection, Tokyo Metropolitan Museum Of Photography, Tokyo JAPAN (Book)
Portraits, PABA (Photo Art Book Art), New Haven, CT
Yard Sale, NYC Lab School, New York, NY
This Is Not A Photograph, Pamela Auchincloss Art Projects, New York, NY (Tour/Catalog)
Being Human: A Portrait, PABA (Photo Art Book Art), New Haven, CT
Selections, Paesaggio Gallery, West Hartford, CT
1999
Female, Wessel & O’Connor, New York, NY
Here’s Looking At You, Wadsworth Atheneum Museum Of Art, Hartford, CT
Fellowship Awards Exhibition, Connecticut Commission On The Arts, Hartford, CT
100 Years Of Photography: Personal Visions On The 20th Century In The Art And Technology, The Discovery Museum, Bridgeport, CT
This Is Not A Photograph, Pace University Gallery, Pleasantville, NY (Tour/Catalog)
Women’s History Through Art, Burchfield–Penney Art Center, Buffalo State College, NY
Phenomenon, Friends Of Photography, Ansel Adams Center,
San Francisco, CT
Innovation/Imagination: 50 Years Of Polaroid Photography 1947–1997,
Ansel Adams Center, San Francisco, CA (Tour/Book)
Photography’s multiple roles: Art, Document, Market, Science, Museum Of Contemporary Photography (MoCP) @ Columbia College, Chicago, IL (Book)
The Agency of Meaning: Survey Of Contemporary Works In The Collection, Burchfield–Penney Art Center, Buffalo State College, NY
1998
Art That Happens To Be Photography, Nina Freudenheim Gallery,
Buffalo, NY
1997
Eye Of The Beholder: The Avon Collection, International Center For Photography (ICP/NY), New York, NY
The Big Picture Show, The Albright-Knox Art Gallery (AKAG), Buffalo, NY
Diverse Visions/Photographic Perspectives, The Pittsburgh Center For The Arts, PA
1996
From Transition To Abstraction, Center For Photography At Woodstock (CPW), NY
Collecting In The 90s, Wadsworth Atheneum Museum Of Art, Hartford, CT (Portrait Commissions)
Delirium, Ricco/Maresca Gallery, New York, NY
1995
Not A Metaphor, Arts Projects International, New York, NY
Alternatives: Twenty Years Of HallWalls 1975-1995, Burchfield–Penney Art Center, Buffalo State College, Buffalo, NY (Brochure)
Moholy-Nagy And Present Company, Museum At The Chicago Art Institute, Chicago, IL
Content And Discontent In Today’s Photography, Lowe Art Museum, University Of Miami, Coral Gables, FL (ICI Tour/Brochure)
Trusting In Magic: Nine Photographers, Kingsborough Community College, Brooklyn, NY
Abstract Photographs, Baltimore Museum Of Art, Baltimore, MD
1994
4 + 4 + 4 = 95, Charter Oak Cultural Center, Hartford, CT
Issues And Identities In Contemporary Photography, Museum Of The Art Institute Of Chicago, IL
Making Pictures, Caldwell College, NJ
Beyond The Camera, Large-Scale Manipulated Photographs, Artspace, New Haven, CT
The Abstract Urge, Ansel Adams Center, San Francisco, CA (Tour /Brochure)
The Camera “I” Photographic Self Portraits From The Audrey And Sydney Irmas Collection, The Los Angeles County Museum Of Art (LACMA), Los Angeles, CA (Book/Ill)
The Instant Image, Park Avenue Atrium, New York, NY
Life Lessons, The Museum At The Art Institute Of Chicago,
Chicago, IL (Brochure)
1994-93
Fiction Of The Self, University Of North Carolina, Greensboro, NC; Herter Art Gallery, University Of Massachusettes, Amherst MA; Palazzo De Exhibitions, Rome, Italy; Museum Of Modern Art, Nice, FR (Catalogue/Tour)
The Art Of Diamonds, Tatischeff Gallery, NY; Cleveland Museum Of Natural History, OH; Natural History, Atlanta, GA; Charles And Emma Grye Art Museum, Omniplex Science Center, Seattle, WA; Los Angeles Museum Of Natural History, CA; Rochester Museum And Science Center, NY; Dallas Museum Of Natural History, TX; Dayton Art Institute, OH
Concurrence, 100 Pearl Street Gallery, Hartford, CT (Two-Person With Mary Frey)
Moving Shadows, Tennisport Arts, Long Island City, NY
1993-91
Dark Décor, Independent Curators Inc. (ICI) Tour/Catalog: DePree Art Center, Hope College, Holland, MI; San José Museum Of Art, CA; Florida Gulf Coast Art Center, Bellair, FL; Monmouth Museum, Lincroft, NJ; Ilingworth Kerr Gallery, Alberta College Of Art, Calgary, CAN
1993-91
Departures Photography 1923–1990, Independent Curators Inc. (ICI) Catalog/Tour: Iris & B. Gerald Cantor Art Gallery, College Of The Holy Cross, Worcester, MA; Denver Museum Of Art, CO; Joslyn Art Museum, Omaha, NE; Pittsburgh Center For The Arts, Pittsburgh, PA
1992
The Abortion Project, HallWalls Gallery, Buffalo, NY; New Langton Arts,
San Francisco, CA
Abstraction In The 90s, Jan Kesner Gallery, Los Angeles, CA
The Colt 4, Wadsworth Atheneum Museum Of Art, Hartford, CT (Catalog)
Representatives: Women Photographers From The Permanent Collection, Center For Creative
Photography (CCP), University Of Arizona, Tucson, AZ
Selections 6, Photokina, Polaroid Corporation, Cologne, GER (Book)
1991
Goldie Gallery At Moore College Of Art, Philadelphia, PA; Telfair Academy Of Arts And Sciences, Savannah, GA (Catalog)
Art That Happens To Be Photography, Texas Gallery, Houston, TX
Fifteen Years Of RAW, Real Art Ways, Hartford, CT
Mixing The Medium: Beyond Silver Photography, Fogg Art Museum, Harvard University, Cambridge, MA (Brochure)
People And Places, 100 Pearl Street Gallery, Hartford, CT
Resonance, Lyman Allyn Museum, New London, CT
The Ruttenberg Collection, Museum Of The Art Institute Of Chicago, IL (Catalog)
Summer Group Exhibition, Jayne H. Baum Gallery, New York, NY
Techno-Real, Sol Mednick Gallery, The University Of The Arts,
Philadelphia, PA
Towards 2000, Rhode Island School Of Design, Providence, RI
1990
Against Interpretation, CEPA Gallery, Buffalo, NY
5 Person Exhibition, Vrej Baghoomian Gallery, New York, NY
Highlights, Jayne H. Baum Gallery, New York, NY
Identities: Portraiture In Contemporary Photography, Philadelphia Arts Alliance, PA
Selections 5, Bibliotheque Nationale, Paris, FR (Catalog)
Summer Group Exhibition, John Good Gallery, New York, NY
1989
Abstraction In Contemporary Photography, Emerson Gallery, Hamilton College, NY(Brochure) Artspace, New Haven, CT
Artists’ Portraits by Timothy Greenfield–Sanders, Mary Boone Gallery, New York, NY (Book)
Fotografie, Wissenschaft Und Neue Technologien, Kunstmuseum, Dusseldorf, GR (Catalog)
Nature And Culture: Conflict And Reconciliation In Recent Photography, Friends Of Photography, Ansel Adams Center, San Francisco, CA
The Photography Of Invention: American Pictures Of The 1980s, National Museum Of American Art, Smithsonian Institution, Washington, D.C. (Tour/Book)
Strange Attractors: The Spectacle of Chaos, Kaos Foundation, Chicago, IL (Catalog)
1988
Appropriation And Syntax: Uses Of Photography In Contemporary Art, Brooklyn Museum, NY
Chaos, John Good Gallery, New York, NY
Complexity And Contradictions, Zilka Art Gallery, Wesleyan University,
Middletown, CT
Connecticut Photographers, Real Art Ways, Hartford, CT
First Person Singular: Self-Portrait In Photography 1840–1988, High Museum, Atlanta, GA (Cat)
Gallery Artists, John Good Gallery, New York, NY
Layers Of Meaning, Tower Gallery, New York, NY
New Surrealism, The Catskill Center For Photography, Woodstock, NY (Catalog)
Photography On The Edge, Haggerty Museum, Marquette University, Milwaukee, WI (Catalog)
The Photo-Ostensive (Propositions Of The Phenomenal And The Mundane),
Jayne H. Baum, New York, NY
Small Scale, Frank Bernarducci Gallery, New York, NY
Twenty From New York, Nina Freudenheim Gallery, Buffalo, NY
Woman And Self-Image, Art Museum, Miami University, Oxford, OH (Catalog)
(Re) Productions, White Columns, New York, NY
Group Show, Robert Koch Gallery, San Francisco, CA
1987
Photo-Mannerisms, Laurence Oliver Gallery, Philadelphia, PA
Photo Synthesis, Frank Bernarducci Gallery, New York, NY
Poetic Injury: The Surrealist Legacy In Postmodern Photography,
Alternative Museum, NY (Catalog)
Portrayals, International Center Of Photography: ICP/Midtown,
New York, NY (Catalog)
Spirals Of Artificiality, HallWalls, Buffalo, NY (Catalog)
Beyond The Image, First Street Forum, St. Louis, MO
1986
Baskerville-Watson Gallery, New York, NY
Context As Content, Catskill Center For Photography, Woodstock, NY
Four Photographers, Promenade Gallery, Bushnell Memorial Hall,
Hartford, CT
Modern Art At Harvard, Sackler Museum, Harvard University,
Cambridge, MA
P, 303 Gallery, New York, NY
Painted Pictures, Houston Foto Fest, Houston, TX
Pictures, Simon Cerigo, New York, NY
Recent Acquisitions, Brooklyn Museum Of Art, NY
Sadness, Simon Cerigo Gallery, New York, NY
Self-Portrait: Photography (1840–1985), National Portrait Gallery,
London, UK (Catalog)
Weird Beauty, The Palladium, New York, NY
1985
Acquisitions, Dorry Gates Gallery, Kansas City, MO
KCAI Centennial, Nelson-Atkins Museum, Kansas City, MO
Daniel Newburg Gallery, New York, NY
Persona Non Grata, Daniel Newburg Gallery, New York, NY
Photo-Graphic, Art City, New York, NY
Sexuality: Expressions And Perceptions, Art City, New York, NY
The Show Room, Michael Katz Gallery, New York, NY
Summer Selections, Castelli Uptown, New York, NY
303 Gallery, NY, NY
1984
Chill Out, The Kenkelba House, New York, NY
HallWalls: Ten Years, The Albright-Knox Art Gallery (AKAG), Buffalo, NY (Catalog)
The Heroic Figure, 17th Saõ Paulo Biennial, Rio De Janeiro MoMA, Brazil (Tour/Catalog)
New Images In Photography, The School Of Visual Arts (SVA),
New York, NY
Patterns, Laguna Gloria Art Museum, Austin, TX
Wedge Benefit, Nature Morte, New York, NY
1983
Contemporary Self-Portraiture In Photography, MIT Hayden Art Gallery,
Cambridge, MA
Three Dimensional Photographs, Castelli Graphics, New York, NY
Faces Since The 50s, Center Gallery, Bucknell University, Lewisberg, PA (Catalog)
Olson Gallery, New York, NY
Pace/MacGill, New York, NY
Portico Gallery, Philadelphia, PA
1982
Altered States, University Of Illinois, Champaign-Urbana, IL
Contemporary Photography As Phantasy, The Santa Barbara Museum Of Art, CA (Tour/Catalog)
Figures: Forms And Expressions, The Albright-Knox Art Gallery (AKAG), Buffalo, NY (Catalog)
Nineteen From New York, Nina Freudenheim Gallery, Buffalo, NY
Painting, Pattern, Photograph, The Addison Gallery Of American Art, Andover, MASS
Group Show, Concord Gallery, New York, NY
Photograph Transformed, Stefanotti Gallery, NewYork, NY
Photo Start, The Bronx Museum, Bronx, NY (Catalog)
Group Show, Carl Solway Gallery, Cincinnati, OH
Some Contemporary Portraits, The Contemporary Arts Museum (CAM), Houston, TX
1981
Carey, Dwyer, Simmons, Skoglund, The Texas Gallery, Houston, TX
Lichtbildnisse, Rheinisches Landesmuseum, Bonn, Germany (Book)
The Markers, San Francisco Museum Of Modern Art (SFMoMA), San Francisco, CA (Catalog)
Photo, Metro Pictures, New York,
Photo Fusion, The Pratt Manhattan Center, New York, NY (Catalog)
Points Of Departure, Barbara Gladstone Gallery, New York, NY
Contemporary Photography, Fogg Art Museum At Harvard University,
Cambridge, MA
1980
HallWalls/Five Years, The New Museum, New York, NY (Catalog)
Marvin Heiferman Selects, The Texas Gallery, Houston, TX
The Hoffer Memorial Collection, Picker Art Gallery, Colgate University, Hamilton, NY
Painterly Photographs, Washington Project For The Arts (WPA), Washington, D.C. and
Media Studies Center, State University Of New York (SUNY) At Buffalo, NY (Catalog)
1979
About Face, Niagara Community College, Sanborn, NY (With Bruce Morosko)
Altered Photographs, P.S.1/Center For Urban Resources, Long Island City, NY
Buffalo/Chicago/Exchango, NAME Gallery, Chicago, IL
CAPS Show, The Nikon House, New York, NY (Catalog)
Ellen Carey, Larry Williams, Marcia Resnick, Chicago Center For Contemporary Photography, IL
Colors In Question, Catskill Center For Photography, Woodstock, NY
The Grotesque In Photography, Neikrug Gallery, New York, NY (Book)
Inside Out, Galerie Optica, Montreal, Quebec, CAN
Syracuse Show, The Everson Museum Of Art, Syracuse, NY
1977
In Western New York, The Albright-Knox Gallery (AKAG), Buffalo, NY (Catalog)
Polaroid Show, Camerawork Gallery, San Francisco, CA
Where N’ When, HallWalls, Buffalo, NY
1976
Images Of Women, The Portland Museum Of Art, Portland, ME
Manipulated Polaroids, Wheelock College, Boston, MASS
Recent Portraiture, The Renaissance Society Of University Of Chicago, IL (Brochure)
Spectrum: An Invitational, Rochester Institute Of Technology (RIT), NY
1975
Colorado National, University Of Colorado, Boulder, CO
Five Women Photographers, CEPA Gallery, Buffalo, NY
1974
First Light, Humbolt State University, Eureka, CA
Subject: Women, The Spencer Museum Of Art, University Of Lawrence, KS
Collections: Ellen Carey 1976 – 2018
Albright-Knox Art Gallery (AKAG), Buffalo, NY
Alliance/Bernstein, New York, NY
Akus Gallery, Eastern Connecticut State University (ECSU), Willimantic, CT
Amon Carter Museum of American Art (ACMAA)
Art Institute of Chicago (AIC-Museum), Chicago, IL
Avon Collection, New York, NY
Baltimore Museum of Art, Baltimore, MD
Banana Republic, Flagship Stores Nationwide, USA
Bell Atlantic, Arlington, VA
Benton Art Museum, University of Connecticut (UCONN), Storrs, CT
Brooklyn Museum of Art, Brooklyn, NY
Burchfield-Penney Art Center (BPAC), Buffalo, NY
Carnegie Museum of Art (CMOA), Pittsburg, PA
Chase Manhattan Bank, New York, NY
Center for Creative Photography (CCP), University of Arizona, Tucson, AZ
Centre Pompidou, Paris, FR
Cincinnati Art Museum, Cincinnati, OH
Coca-Cola Corporation, Atlanta, GA
Columbus Museum of Art (MOCA), Columbus, OH
Dallas-Fort Worth Art Museum, TX
Dannheisser Foundation, New York, NY
deCordova Museum and Sculpture Park, Lincoln, MA
Dow Jones Collection, New York, NY
First Bank of Minneapolis, Minneapolis, MN
Fogg Art Museum, Harvard University, Cambridge, MA
George Eastman Museum (GEM), Rochester, NY
Heckscher Museum, Huntington, LI, NY
JP Morgan Chase Art Collection, New York, NY and Chicago, ILL
International Center of Photography (ICP/NY), NY, NY
Lannan Foundation, Palm Beach, FL
LeWitt Foundation, Chester, CT
Light Work, Syracuse, NY
Los Angeles County Museum of Art (LACMA), Los Angeles, CA
Lowe Art Museum, University of Florida, Coral Gables, FL
Marine Midland Bank, New York, NY
Mattatuck Museum, Waterbury, CT
Metropolitan Museum of Art, New York, NY
Milwaukee Art Museum, Milwaukee, WI
Museum of Contemporary Photography (MoCP), Columbia College, Chicago, IL Museum of Fine Arts (MFA), Houston, TX
Smithsonian American Art Museum (SAAM), Smithsonian Institution, Washington, D.C. National Museum of American History, Smithsonian Institution, Washington, D.C Nelson-Atkins Museum, Kansas City, MO
New Britain Museum of American Art (NBMAA), New Britain, CT
New York Public Library (NYPL), New York, NY
Norton Museum of Art, West Palm Beach, FL
Pérez Art Museum Miami (PAMM), Miami, FL
Picker Art Gallery, Colgate University, Hamilton, NY
Polaroid International Collection, Waltham, MASS (disassembled)
Ponderosa Collection, Cincinnati, OH
Progressive Insurance Company, Cleveland, OH
Reader’s Digest, Pleasantville, NY
Rich’s Products, Buffalo, NY
Rhode Island School of Design (RISD) Museum, Providence, RI
Ruttenberg Foundation, Chicago, IL
San Francisco Museum of Modern Art (SF MoMA), San Francisco, CA
San José Museum of Art, San José, CA
Sir Elton John Collection, Atlanta, GA
University Art Museum, University of New Mexico, Albuquerque, NM
University of Iowa, Hospitals and Clinics, Iowa City, IA
UCONN Health Center, Farmington, CT
Vassar College, The Frances Lehman Loeb Art Center, Poughkeepsie, NY
Wadsworth Atheneum Museum of Art, Hartford, CT
WestLicht Museum, Vienna, AUS
William Benton Museum of Art, University of Connecticut (UCONN), Storrs, CT Whitney Museum of American Art, New York, NY
Yale University Art Gallery, New Haven, CT
Private Collections
Commissions:
Banana Republic Stores, USA, Flagship Stores
Highland Hospital, Rochester, NY
Madison Square Garden, New York, NY
Saint Francis Hospital, Hartford, CT
Wadsworth Atheneum Museum of Art, Hartford, CT
Polaroid 20 X 24 Portraits, Private Clients-Commissions
Hall & Oates: Album Cover - Painted Photographs (1983)
Competitions:
Ground Zero: 9/11; International Open Call, New York, NY (with David Harlan AiA, New Haven, CT)
The Roberto Clemente School, 1% for the Arts; New Haven, CT (with Rick Morse AiA, Hartford, CT)
Grants/Awards:
2017
Andy Warhol Foundation for the Visual Arts, NY, NY
Struck by Light: The Experimental Photography of Ellen Carey
Burchfield-Penney Art Center (BPAC), Buffalo, NY; Anthony Bannon, PhD Director Emeritus & Scott Prospeck, Curators; Book/Brochure - 2020
2002
Polaroid 20 x 24 Artists Program, Polaroid Corporation, Cambridge, MA
2001
Connecticut Commission on the Arts, Hartford, CT
1999
Te Foundation, Avon, CT
1998
Connecticut Commission on the Arts, Hartford, CT
1997
Greater Hartford Council for the Arts, Grover Foundation, Hartford, CT
1991
Coffin Grant, University of Hartford, West Hartford, CT
1990
Coffin Grant, University of Hartford, West Hartford, CT
Bent Award for Creativity, The University of Hartford, West Hartford, CT
1987-83
Polaroid 20 x 24 Artists Program, Polaroid Corporation, Cambridge, MA
1986
Massachusetts Council on the Arts, New Works Grant, Boston, MA
New York Foundation for the Arts Grant (NYFA), NY, NY
1985
Coffin Grant, University of Hartford, West Hartford, CT
1984
National Endowment for the Arts (NEA), Washington DC
1980
Light Work, Syracuse, NY
1979
Creative Artists Public Service (CAPS), NY, NY
Books, Catalogs, Periodicals:
Adrian, Dennis. Recent Portraiture. Renaissance Society of the University of Chicago, IL; 1976; brochure
Armstrong, Bill. Dear Dave, issue #19, New York, NY; feature/interview; 10 pgs./illustration; 2015
Bannon, Anthony. Painterly Photographs. Washington Projects for the Arts (WPA), Washington, D.C. ; March15-May 1, 1980; catalog/illustration
Cathcart, Linda L. The Heroic Figure. Rio De Janeiro Museum of Modern Art, Brazil; United States Information Agency and The Contemporary Arts Museum (CAM), Houston, TX; 1984-1985 (tour): catalog/illustrations; portraits of the artists by Robert Mapplethorpe
Cathcart, Linda L. The New Photography. The Contemporary Arts Museum (CAM), Houston, TX, January 17 - February 22, 1981; booklet/illustrations
Cathcart, Linda L. HallWalls: Five Years. The New Museum, NY; Washington Projects for the Arts (WPA), Washington D.C.; A Space, Toronto, CAN; Upton Gallery, SUNY@Buffalo, 1979-1980, catalog/illustrations
Coke, Van Deren. The Markers. San Francisco MoMA CA; May 29-July 26, 1981; catalog/illustrations
Coleman, A. D. Photofusion. Pratt Manhattan Center, NY; January 12-31,1981; catalog/illustrations
Coleman, A. D. The Grotesque in Photography. Ridge Press and Summit Books; March 1977; book w/ill
Denson, G. R. Figures: Forms and Expressions. Albright-Knox Art Gallery (AKAG), Buffalo, NY; November 30, 1981-January 3, 1982; catalog/illustrations
Denson, Robert. Poetic Injury: The Surrealist Legacy in Post-Modern Photography. The Alternative Museum, NY; pp. 14, 20, 36; catalog/illustrations
Fig, Joe. Inside the Artist’s Studio. Princeton Architectural Press, NY, NY. Boo/Interview/Illustrations
Fleischer, Donna. The Black Swans of Ellen Carey: Of Necessary Poetic Realities. Akus Gallery (ECSU) Eastern Connecticut State University (ECSU), Willimantic, CT; January 9-February 20, 2014, catalog/illustrations
Frascella, Lawrence. Aperture. Technology and Transformation, Aperture Foundation, NY; #106, Spring1987, back cover/ill
Grundberg, Andy. Mourning Wall. Real Art Ways, Hartford, CT (2000); Museum of Contemporary Photography (MoCP), Colombia College, Chicago, IL; 2000 revised 2002; brochure/illustrations
Grundberg, Andy. American Visions: Highlights from the Photography Collection. Whitney Museum of American Art, NY; July 2002; book/illustrations
Grundberg, Andy. See: A Journal of Visual Culture. Friends of Photography, Ansel Adams Center, San Francisco, CA; cover, issue 1:4, 1995; periodical
Grundberg, Andy. Content and Discontent in Today’s Photography. Independent Curators Incorporate (ICI) NY, NY; 1985; brochure/illustrations
Grundberg, Andy and Ed Yankov. Departures: Photography 1923-1990. Worcester, MA (catalogue)
Grundberg, Andy and Jerry Saltz. Abstraction in Contemporary Photography. Emerson College, Boston, MA; catalog/illustrations
Hagenberg, Roland. Soho, Egret Publications, NY, NY; 1987-book/illustrations; p. 137
Hagenberg, Roland. Untitled ’84. Pelham Press, NY, NY; 1984-book/illustrations; p. 50
Hagenberg, Roland. East Village. Pelham Press, NY, NY; 1985-Art City; book/illustrations
Hartshorn, Willis. Ellen Carey: Survey 1978-1986. International Center of Photography, NY; brochure/ill
Hirsch, Robert. Exploring Color Photography: From Darkroom to the Digital Studio. McGraw Hill, NY; book/illustrations; pgs. 11 & 309 (multiple editions)
Hitchcock, Barbara. The Polaroid Book. Taschen, Los Angeles, CA; book/illustrations
Honnef, Klaus. Lichtbildnisse, Rheinisches, Landesmuseum, Bonn, GER; March -June 1981; book/ill
Hunt, Bill. Delirium, Aperture Foundation, NY; 1997; periodical/ illustrations
Jacobs, Joseph. Faces Since the 50s. Center Gallery, Bucknell University, Lewisburg, PA; March 11-April 17, 1983; catalog/illustrations
Laster, Paul and Renee Ricardo. The Spiral of Artificiality, HallWalls, Buffalo, NY; catalog; pgs. 4-8 ill
Lenot, Marc. Jouer Contre les Appareils, De la Photographie Expérimentale Libella Paris, Editions Photosynthesis, Book/Ill. pgs.68 & 69-2017.
Liebowitz, Herbert. Parnassus: Poetry In Review, Poetry in Review Foundation, NY; 1986-book p. 248, ill
Lingwood, James. Self Portrait: Photography 1940-1985. National Portrait Gallery, London, UK: book ill
Lombino, Mary-Kay. The Polaroid Years: Instant Photography and Experimentation, Frances Lehman Loeb Center for the Arts, Poughkeepise, NY; book/Delmonico-Prestel; pgs. 44, 46, 47, 64-67, 221
Luciana, James. Black and White Photography: An International Collection. Rockport Publishers, Gloucester, MA, 1999-book/illustrations
McCaughey, Patrick. The Colt 4, Wadsworth Atheneum Museum of Art, Hartford, CT-1992; catalog/ill
Miller, Denise. Photography’s multiple roles. Museum of Contemporary Photography (MoCP), Columbia College@Chicago, Chicago, IL-1998, book/illustrations; pg.20
Naef, Weston. New Trends. Shevsha Publishing Company, Tokyo, Japan-June 1984, book/illustrations
Ottman, Klaus. Strange Attractors: The Spectacle of Chaos. Kaos Foundation, Chicago, IL; brochure w/il
Parker, Fred. ContemporaryPhotography as Phantasy. Santa Barbara Museum of Art, CA;
June 19-August 15, 1982; catalog/illustrations
Peasanti, Heather. Wish You Were Here: The Buffalo Avant-garde in the 1970s, The Albright-Knox Art Gallery (AKAG), Buffalo, NY; March 30-July 8, 2012; catalog/illustrations; pgs. 28-37,103-110
Pickover, Dr. Clifford. Mazes of the Mind. St. Martin’s Press, NY; 1991; book/illustrations
Potter, Tina. Dark Décor. Independent Curators Incorporated (ICI), NY, NY; 1995; catalog/illustrations
Rexer, Lyle. Photography’s Antiquarian Avant-Garde. Harry N. Abrams Inc., NY, NY-2002; book/illustrations, pgs. 128-129; 138-139
Rexer, Lyle. The Edge of Vision: The Rise of Abstraction in Photography, Aperture Foundation, NY-2009 (reprinted 2014); book/illustrations: pgs. 147-169.
Richardson, Trevor. Fictions of the Self: The Portrait in Contemporary Photography. Weatherspoon Art Gallery, University of North Carolina (UNC), Greensboro, NC; Herter Art Gallery, University of Massachusetts (UMASS), Amherst, MA; 1993; catalog/illustrations
Roberts, Pamela. A Century of Colour Photography: From the Autochrome to the Digital Age. Carlton Books Ltd., London, UK; 2007; book/illustrations; pgs. 189, 247
Rohrbach, John. Color: American Photography Transformed, Amon Carter Museum of American Art, Forth Worth, TX; University of Texas Press, Austin, TX, 2013; pgs 230 (ill) & 436n31
Rosenbloom, Naomi. A History of Women Photographers, Abbeville Press, NY: 1994; book/ill
Rosoff, Patricia. Innocent Eye: A Passionate Look at Art, Tupelo Press, North Adams, MASS; 2012 book w/cover, essay & ill; pgs; 103-107.
Spagnoli, Jerry, Casting the Light; catalog/illustrations
Sobieszek, Robert A. and Deborah Irmas. The Camera “I”: Photographic Self-Portraits from the Audrey and Sydney Irmas Collection, Los Angeles County Museum of Art, CA; Harry N. Abrams Inc., NY; 1994: catalog/illustrations; pgs.118, 211
Stainback, Charles. Portrayals. International Center of Photography: ICP/Midtown, NY; 1987; catalog/illustrations; pgs. 18, 33, 38
Verre, Phillip. Photo Start. Bronx Museum of the Arts, NY; September 14 – December 5, 1982; catalog
Stokes, Lowery Sims. The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art; catalog/illustrations; cover/pg.115
Walsh, Michael. Back to the Future: The Photography of Ellen Carey. The National Academy of Sciences, Washington, D.C.; June 1992; catalog/illustrations
Westerbeck, Colin. The Intuitive Eye: The Ruttenberg Collection, Chicago, IL; catalog/illustrations
– Fotografie, Wissenschaft Une Neue Technologien, Kunstmuseum, Dusseldorf, GER; 1989, pgs.78-81 ill.
– Young American Photographers, Lustrum Press, NY,1974; book
– Artfinder, Special Photography Issue. Egret Publications, NY; catalog/illustrations; pg. 71
– Selections 5, Photokina, Cologne, GER-1990; book/illustration
Articles, Essays, Reviews: Ellen Carey
2017
Brown, Susan Rand. Art New England (ANE); profile March/April 2017
The Polaroid Project: At the Intersection of Art and Technology, MIT & FEP, book cover/essay
2016
Armstrong, Bill. Dear Dave, (#19) interview
Carey, Brainard. Yale Radio; interview April 2016
Fig, Joe. Inside the Artist’s Studio (Princeton Architectural Press); book/interview
Reuter, John. Camera Ready, documentary film (TBA), Director of 20 X 24 Studio(1980s-present); Carey’s work with other camera artists (www.20X24studio.com)
Zelony-Mindell, Efrem. Steven Frailey & Ellen Carey, Rubber Factory“New Flesh”; interview
2015
Wiley, Chris. Beyond the Self: The Early Polaroids of Ellen Carey, M+B, Los Angeles, CA2015
2014
Fleischer, Donna. The Black Swans of Ellen Carey: Of Necessary Poetic Realities, Akus Gallery, Eastern Connecticut State University (ECSU), Willimantic, CT (essay)
2012
Kino, Carol. Renaissance in an Industrial Town. New York Times, Sunday, May 6; ill.
2008
Bryant, Eric. The Indecisive Image, ArtNews, NY; March, pgs.106-113 ill.
2007
AD Cadeaux. Architectural Digest French edition, Paris, FR; Dec. 2007-Jan. 2008; p. 43
Gennochio, Benjamin. FeministArtworks with an Edge. New York Times, NY; January 7 ill.
Goodman, Lauren. Rustic Renaissance, Domino, New York, NY, February
Rosoff, Patricia. Writing with Light: The Abstract World of Ellen Carey. Art New England, Brighton, MA; April/May; pgs/feature
2005
Huntington, Richard. On Target; Ellen Carey’s Shots with Giant Polaroid Hit the Mark. The Buffalo News, NY; October 14; ill
Severin, Jay. Photography’s Spiritual Realm. Sag Harbor, NY; June 2, ill pg. 10
Rexer, Lyle. Abstract Photography. Art on Paper, NY: March/April, color ills.
2004
–Capturing an Essence, Republican American, Waterbury CT; December 14, ill.
Rosoff, Patricia. A Fresh Look at the Mystery of Photography. Hartford Advocate, CT: Dec. 9
Marsh, Joanna. MATRIX 153: Ellen Carey-Photography Degree Zero. Wadsworth Atheneum Museum of Art, Hartford, CT; brochure w/illustrations.
2003
Baker, Kenneth. Ellen Carey in Berkeley, Art Review. San Francisco Chronicle, CA; Jan, ill.
Birke, Judith. Photographer and Architect Contemplate 9/1l. New Haven Register, CT; Jan 19, ill
Lewis, Jonathan. Louder Than Words.City Newspaper, Rochester, NY;Vol.32 #25, Mar.12-18, ill
Rosoff, Patrica. Monumental Memento Morte Hartford Advocate, CT;Vol.30 #11, Mar. pp.18, ill
Starger, Steven. Ellen Carey: Photography Degree Zero Art New England; Dec-Jan, p.29, ill
2002
Profile: Rob and Nancy Grover. Art On Paper, NY; July/August, ill
Adams, Bruce. Darkroom Dance. Buffalo Evening News, NY; Nov.29 – Dec.6, ill
Rosoff, Patricia. High-Tech Magic. Hartford Advocate, CT;Vol. 29 #44, Oct. 31; pp. 22 – 23, ill
2001
Pollack, Barbara. Mourning Wall, National Reviews. ArtNews; February, p. 159
Rexer, Lyle. Ellen Carey at Real Art Ways. Art in America, NY; June, ill
Rosoff, Patricia. The Unbearable Lightness of Being Ellen Carey: Energy Producing Brightness. Art New England, Boston, MA, January-February, Feature ARTS, ill.
Schwabsky, Barry. Mourning Wall at Real Art Ways. Art On Paper, NY; April/May, ill
2000
Grundberg, Andy. Mourning Wall, Real Art Ways, Hartford, CT; brochure essay
McNally, Owen. Good Mourning. Hartford Courant; Feature ARTS; Sun/Oct. 8, Sect. G. ill
McNally, Owen. The Pain of Human Loss. Hartford Courant, CT; ill
McNally, Owen. A Photo Exhibit on Grieving. Hartford Courant, CT; Oct. 5, ill
Miller-Keller, Andrea. Whitney Biennial Curators Interview, ArtForum, NY, March
Perrée, Rob, Weer Kunst In Het Warenhuis?, Kunstbeeld, Amsterdam, February,
pgs. 37-39, ill
Zimmer, William. A FamilyAlbum with No Pictures, New York Times, NY; Dec. 10,
p. 35, ill
1999
Damsker, Matt. Abstraction through the Lens. Hartford Courant, CT; September 9-15, ill
Glueck, Grace. Female. Curator; Vince Aletti, Wessel & O’Connor Gallery; The New York Times, NY; September 17 p. 26, ill
Helfand, Glen. Marco Breuer, Ellen Carey, San Francisco Bay Guardian, CA; March 10-16
Jenkins, Steven. Phenomena: The Poetics of Science. Camerawork: Journal of Photographic Arts; Ansel Adams Center, San Francisco, CA: Vol.26 #1, Spring/Summer, pgs.33-35
Rosoff, Patricia. Playing with the Light. Hartford Advocate, CT; September 9, ill
1998
Boxer, Sarah. Beauty in a Variety of Disguises. New York Times, NY; Sept. 19, p. E35
Huntington, Richard. Deceptively Intellectual. Buffalo Evening News, NY; Friday, October 9
Huntington, Richard. The Bold and the Body. Buffalo Evening News, NY; Friday,
September 25
Newhall, Edith. New York Magazine, NY; September 14, p.129
Schwabsky, Barry. Ellen Carey: Pulls-Ricco/Maresca Gallery, ArtForum, NY: Vol. 37 #3, November, pgs.114-115, ill.
1997
Huntington, Richard. Albright-Knox: Photos on a Large Scale. Buffalo Evening News; Apr. 10
Koeninger, Kay. Modern Photographs Bring to Mind Age-old Questions. Columbus Dispatch, OH; April 27, ill
Leddy, Kim. Photogrammar. Columbus Alive, Columbus, OH, April 2-8
Royse, Erik. Pittsburgh Center for the Arts Features Diverse Visions/Photographic Perspectives. Pittsburgh Family Times, PA; Vol.5 # Issue 4, May
Shearing, Graham. AreaFull of ‘Diverse Visions’ in Art. The Tribune, Pittsburgh, PA; Apr. 27, ill
Thomas, Mary. Photography Exposed to New Processes. Pittsburgh Post-Gazette, PA; June 21
Zambo, Caran-Marie. ArtsDisplays Offer Diversity. The Daily News, McKeesport, PA; May 2
1996
Aletti, Vince. Voice Choice, Ellen Carey. Village Voice, New York, NY; November 26, p. 9
Chambers, Karen. Ellen Carey. Review, New York, NY; December 1, pp. 30-31
McNally, Owen. The Artof Acquisition. Hartford Courant, CT; January 21
1995
Dorsey, John. Capturing the Abstract in Photographs. The Sun, Baltimore, MD, ill
Raynor, Vivien. Photographers Putting Eggs in Technology’s Basket. NY Times; July 30, p.12
Read, Michael. Phenomena. SEE, Friends of Photography, San Francisco, CA; #1:4, cover-p.12
1994
Aletti, Vince. Voice Choice: Ellen Carey. Village Voice, NY; December 27; p. 5
Aletti, Vince. Voice Choice: Group Show. Village Voice, NY; August 3-9
Grundberg, Andy. The Abstract Urge. Friends of Photography, Ansel Adams Center, Newsletter Review, San Francisco, CA; cover
Hagen, Charles. Ellen Carey: Jayne Baum Gallery. New York Times, NY; December 23, p. C26
Newhall, Edith. Cue Listing - Galleries, New York Magazine, NY; December 19 – 26, ill
Scalora, Sal. A Banquet of Snacks. Hartford Advocate, CT, Vol. 21, #22; December 15
– The Camera I, Photographic Self-Portraits from Audrey and Sydney Irmas Collection, At the MUSEUM, Los Angeles County Museum of Art, CA; July/August, ill
1993
– A & E Scene: Pearl Street Gallery Show. Hartford Courant, CT; May 9, p. G2, ill
1992
Aletti, Vince. Voice Choice: Jayne H. Baum Gallery, Village Voice, NY; December 29, p. 74
Gast, Dwight V. Photos as Art Keep Value. Photography and Video, The International Herald Tribune, NY; September 16, p. 1
Mason, John. Colt 4 Exhibit Draws Diversified Crowd to Atheneum. Hartford Courant; May 1
McNally, Owen. The Colt 4: Atheneum Draws Big Local Guns for New Show. Hartford Courant, May 17, pgs. G1 & G4; ill
Rosoff, Patricia. The Colt Four. Hartford Monthly, CT; Vol. 5 #6, June, pp. 40-45, 41, ill
Rosoff, Patricia. The Colt of Personality. Hartford Advocate, CT; May 28-June 3; cover/pgs.6-7
Wilson, Janet. Ellen Carey’s Revealing Disguises. The Washington Post, D.C.; August 22, ill
Zimmer, William. ‘The Colt Four’ of Hartford: From Guns to Brushes. NY Times, NY; Jul 12 ill Zimmer, William. Old Works Inspire Modern Ones at Lyman Allyn Museum. NY Times; March 8 – The Portrait and Self Portrait, The Center for Photography at Woodstock Newsletter, NY
– Photographs by Ellen Carey Now on Exhibit. Arts in the Academy, Washington, D.C.
– Footnotes, The ARAA Bulletin, Washington, D.C.; June, p. 3, ill
– Independent Curators Incorporated, Print Collector’s Newsletter, NY; Vol.23 #2 May-June
1991
Ballerini, Julia. The Surrogate Figure: Intercepted Identities in Contemporary Photography. Center Quarterly, Woodstock, NY; #49 Vol. 12, No. 3, p. 9
Hagen, Charles, A Group With Night on Its Minds. New York Times, NY; August 23
1990
Grundberg, Andy. Abstraction Returns to Haunt Photography. New York Times, NY; Feb. 26
1989
Jones, Bill. Born Again: Seeing the End of Photography. ARTS, NY: October, pgs. 72 – 128, ill
Lehman, Edith. Reflections: Woman’s Self-Image in Contemporary Photography. Images Ink, Vol. 4 #1, pgs. 26-27, ill
Zimmer, William. Photographs with Surprises. New York Times, NY; April 30, p.22, ill.
1988
Calnek, Anthony. Chaos in New York, Contemporanea Magazine, NY; July-August, pp 20-21, ill
Fitzsousa, Michael. Sharp Shooters: RAW Show of Photographers. Hartford Courant; G4, ill
1987
Ottman, Klaus. Photo Mannerisms, Flash Art, Milan, Italy; Nov/Dec; #137, p.72 ill
Ottman, Klaus. Mannerism Anti-Mannerism, Flash Art, Dec.1986/Jan.1987, #131, pp. 64 – 65.
Stretch, Bonnie Barrett. Contemporary Photography. Art and Auction, NY; Vol. IX #10,May, pgs. 145-146, ill
Westfall, Stephen. Reviews: Ellen Carey at ICP & Simon Cerigo. Art in America NY; November, Vol. 74, #11, ill
– Technology and Transformation, Aperture, NY: Spring 1987, #106, back cover ill
1986
Caley, Shaun. Review: Ellen Carey at Art City, Flash Art, Milan, Italy; #129, Summer p.72, ill
Johnson, Patricia. Exhibitions Point to Future. Houston Chronicle, TX
Cork, Richard. Photography-Seeing the Self. Vogue, London, UK:Vol.143, #10, p. 14, ill
Frailey, Stephen. Context as Content: Contemporary Photography and its Function in Esquire Magazine. Center Quarterly, Woodstock, NY; Vol.7 #3; Spring pp. 6-9, ill
Johnson, Patricia. Photo Exhibitions Point to Future. Houston Chronicle, TX; p 8
Schwabsky, Barry. Ellen Carey: Art City, Artscribe, London, UK; September/October, p. 62, ill
Siegel, Jeanne. Geometry Desurfacing: Ross Bleckner, Alan Belcher, Ellen Carey, Peter Halley, Sherrie Levine, Phillip Taaffe, James Welling. ARTS, NY: Vol.60 #7, March, pgs. 26-32, ill
– Annual Museum Previews. Art in America, NY; August, Vol.74 #8, p.35
– Artwork: Ellen Carey. Bomb, NY; Winter
– Ellen Carey – Portfolio. Photo Japan, Tokyo, Japan; pp. 49-50, ill
1983
French, Christopher. Images of Compromise, Artweek, NYC, NY, Vol. 14, #42, December 10
Knode, Marilu. Ellen Carey at Pace/MacGill Gallery, Manhattan Arts, NYC, NY, Oct.16 –1981 Crossley, Mimi. The New Photography, The Houston Post, TX: p.6E
Kalil, Susie. Photographic Cross Currents, Artweek, NY;Vol. 2, February 7
1979
Cooke, Melody. Photos Effective at NCCC Show, Niagra Gazette, ill
Lifson, Ben. Redundant Kisses, Engaging Ambiguities. The Village Voice, NY; June 11-17
Rice, Shelly. Image Making, The SoHo Weekly News, NY; Vol.6 #34; May 24-31
1978
– Portfolios-Ellen Carey. Popular Photography, NY; Photography Annual
Published Essays -
Sol LeWitt/Man Ray/Ellen Carey Authored: Ellen Carey
2009
Color Me Real. Sol LeWitt: 100 Views, MASS MoCA catalog (2008-2033) for: Sol LeWitt: A Wall Drawing Retrospective (2008-2033); Yale University Art Gallery, Williams College and MASS MoCA; Yale University Press (2009), New Haven, CT
2011
At Play with Man Ray. Aperture, fall 2011/issue #204; Aperture Foundation, NY, NY2013
In Hamlet’s Shadow. The Polaroid Years: Instant Photography and Experimentation, Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY; Delmonico-Prestel Press, NY
Published Essays -
On Ellen Carey Authored: Poet/Art Historian/Curator
2015
Beyond the Self. Chris Wiley; curator/educator/artist/writer for M+B, Los Angeles, CA
2014
The Black Swans of Ellen Carey: Of Necessary Poetic Realities. Donna Fleischer poet; catalog, Eastern Connecticut State University: Let There Be Light: The Black Swans of Ellen Carey
2012
What Do You Mean Conceptual? Patricia Rosoff. The Innocent Eye; Tupelo Press/book/essay
2009-14
Subversives (chapter 5) by Lyle Rexer; art historian/curator; The Edge of Vision: The Rise of Abstraction in Photography; book, pgs. 133,147,151,166-169; Aperture, NY, NY
Unpublished Essays Man Ray Authored:
Ellen Carey or By Art Historian/Critic on Ellen Carey
2008
What’s in a Frame? The ‘Space Writing’ of Man Ray. Ellen Carey, Associate Professor, HAS/UH.
Drawing with Light, Painting with Emulsion: Ellen Carey’s “Pulls” and “Penlights.” Alden R. Gordon, Gwendolyn Miles Smith Professor of Art History, Trinity College, Hartford, CT (www.trincollege.edu).
2009
Ellen Carey: From Matrix to Monumental. Ben Lifson (1941-2013); critic, curator, photographer.
Published Features on Man Ray Discovery:
Authors Various: Google for All
2010
Man in the Mirror. Venü magazine by Krystian von Speidel; interview/feature with Ellen Carey.
Guest Curator: Ellen Carey - Group Exhibitions
2006
femme brut (e), Nancy Stula, Director, Lyman Allyn Museum of Art, New London, CT; catalog/illustrations
2009
Color Me Real, Windsor Art Center, Windsor, CT
2010
Plucking the Rainbow, Nina Freudenheim Gallery, Buffalo, NY
Art Fairs: Ellen Carey (2013-18)
AIPAD (2016, 2017, 2018)
ALAC, Los Angeles
Art LA Contemporary (ALAC)
Art Hamptons
Art Houston
Art Miami PULSE
Art on Paper
Art Wynwood
Armory Show
FOG Design & Art
LA Platform
NY Art on Paper
Paris PHOTO (2015, 2016, 2017, 2018)
Pulse NY
Seattle Art Fair
Recent Features/Reviews/Books/Interviews:
Art New England (ANE), Susan Rand Brown (March/April) 2017 - feature article
Yale Radio, Brainard Carey-April 2016 – radio interview
Inside the Artist’s Studio (Princeton Architectural Press), Joe Fig – book interview/feature, ill. Ellen Carey Interview by Stephen Frailey “new flesh”, Efrem Zelony-Mindell, Rubber Factory
Dear Dave, (#19) by Bill Armstrong; interview/feature magazine- cover/ill.
Topographic Head Trips, LA Times - Sunday, April 16, 2017; Leah Ollman-Art Critic, review ill. Camera Ready, documentary film - John Reuter, Director of 20 X 24 Studio (1980s-present).
Jouer Contre les Appareils, De la Photographie Expérimentale, Marc Lenot, scholar, Libella
Paris, Editions Photosynthesis, book ill. pg.68 & 69
Ellen Carey – Charlotte Cotton-Essay; Cover/All Art by Ellen Carey; MATTE, Issue
#44, June 2017; Matthew Leifheit-publisher; Ben Ganz-designer; matteeditions.com
Ellen Carey - To Paris with Love, Words and Works by Ellen Carey, 1814 Magazine, Issue no.11, published by Michael Thomas, Editor-in-Chief; www.1814magazine.com
Ellen Carey – Points-of-Departure: Three Photographers; Black and White Magazine,
Issue #127; June 2018, pgs. 77-81; Steven A. Heller-Essay, Editor: Dean Brierly; www.BandWmag.com
Photography Year Zero: Where Art and Technology Meet, Essay by Ellen Carey, The Polaroid Project: At the Intersection of Art and Technology, FEP and MIT, Ellen Carey Cover
Pulls CMY; published (2017) by Thames & Hudson, London, UK; pgs. 158-159; 269, 282.
Mirrors of Chance: The Photograms of Ellen Carey, published by Amon Carter Museum of
American Art, her first limited-edition book of 200
Organizations: Ellen Carey
College Art Association (CAA)
Society for Photographic Education (SPE)-College Art Association (CAA)
Whitney Museum of American Art (Lifelong Member)
Wadsworth Atheneum Museum of Art
New Britain Museum of American Art (NBMAA)
Lectures/Panels/Conferences/Grants/Research: Ellen Carey
“Wish…” Exhibit; Albright-Knox Art Gallery (AKAG), Buffalo, NY
SUNY@ Buffalo (UB) Lecture Series, Buffalo, NY
SPE Conference: Baltimore, MD (2013); SPE Conference, Chicago, IL (2012); Las Vegas, NV
Panel: Abstraction and Photography with Lyle Rexer (2002).
Research: Man Ray, Anna Atkins, Robert Motherwell and Color Photography; Women in Colour: Anna Atkins, Color Photography and Those Struck by Light
*Ellen Carey has given hundreds of lectures and presentations from 1976-2015 Lecture/Panel/Book Signing/Solo
Exhibit: Dings, Pulls and Shadows, Amon Carter Museum of American Art (ACMAA)
Academic: Ellen Carey: Teaching
2019 – 1991
Associate Professor, Photography, Hartford Art School, University of Hartford, WH, CT
1990 – 1985
Assistant Professor, Photography, Hartford Art School, University of Hartford, WH, CT
1984 – 1983
Visiting Artist Photography/Drawing, Hartford Art School, University of Hartford, WH, CT
1999
Artist-in-Residence, Loughborough University, Loughborough, UK-June
1995
Faculty/Photography, MFA Low-Res, Bard College, Annadale-on-the-Hudson, NY-Summer
1980 – 1983
Faculty/Photography, International Center for Photography/ICP & Queens College, NY
1976 – 1978
Teaching Assistantship (TA), State University of NY at Buffalo (UB), Buffalo, NY
Ellen Carey is Associate Professor, Hartford Art School (www.hartfordartschool.org) at The University of Hartford; Accolades: UH Coffin Grant (1990 & 1991); Bent Award for Creativity (1990); HAS Sabbati-cals: 1992, 2001, 2008, 2015; teaching at: Bard College (1995); Loughborough University, UK (1999); ICP/NY (1981-83); Queens College (1980).
SPE panel w/Lyle Rexer (2002) on abstraction; Back to the Future: The Avant-Garde Is an Address AK-AG lecture/panel Wish…exhibit.
Ellen Carey has given many lectures (1978-2018); The Amon Carter Museum of American Art (June 2018) on her work titled: Color: An Artist’s Universe. In 2017 with The Polaroid Project: At the Intersection of Art and Technology (May 2017) titled: Back to the Future: The Avant-Garde Is an Address.
Academic: Education
Ellen Carey earned her MFA-Photography (1976-1978) - State University of New York at Buffalo (SUNY@Buffalo); Art History-Museum Studies Minor at The Albright-Knox Art Gallery (AKAG); BFA (1971-1975) - Kansas City Art Institute (KCAI)-Printmaking/lithography, minor photography/art history; lithography/drawing at The Art Students League of NY (1970). Carey lived in New York (1979-1996), where she was born (1952), exhibiting in The Altered Photograph at PS 1 (1979). Her work is the subject of 55 one-person exhibits, seen in hundreds of group exhibits; in 60 collections art/photography museums.
Academic: Ellen Carey: College/University Service (1985-2018-Overview)
UH
President’s Commission on the Status of UH Women: Appointed by Walter Harrison
UH
Grant and Stipend Committee - Faculty Senate Appointment
UH
Faculty Senator (w/multiple committees within each three-year term-over 20 years)
UH
P&T Appeals Committee (several times) – Appointed by Provost (at that time)
HAS
Chair, Search in Photography: Appointed by Mary Frey, Interim Dean (2010) UH Search Workshop: Fred Sweitzer, Associate Provost (fall 2010)
HAS
Chair, P&T Committee (twice) & P&T Committee Member (multiple years)
HAS
Advisory Committee: Photography Department (ongoing); Search Committee for Tech (2013)
HAS
New Building Committee: Renee Samuels Center (2005-2007): Dean Boothe Appointment
HAS
Chair, NASAD Report: Photography (2014) for Dean Nancy Stuart & Power Boothe (2001-10)
HAS
Open House/Portfolio Review (multiple years w/HAS admissions)
HAS
Foundation of the Future Report (w/ Mary Frey) - Provost Sharon Vasquez & Dean Boothe
HAS
Five-Year Overview: SWOT Update (w/Mary Frey) - Dean Power Boothe
HAS
Curriculum Committee: NASAD Report (began report 2013)
HAS
Curriculum Committee: Photography Department (1985-2010) – developed program w/colleagues
HAS
Director, MFA Program (2003-05) – Painting and Photography
Ellen Carey has taught hundreds of students, celebrated with HAS/UH and raising funds for The Renée Samuels Center, expanding its facility to state-of-the art. The photography program is second largest at HAS, its curriculum reflects teaching institutional goals, supporting all methods, processes and techniques, from the 19th century to the present-day digital technologies, seen in its courses, classrooms, studios, equipment, darkrooms, labs partnered with outstanding faculty, Koopman Chair and Auerbach Lecture Series“Is Photography Art?”– raising $45,000.00 for Ellen Carey Visiting Artist Fund.
Community Service: Ellen Carey
Artspace, New Haven, CT
Brooklyn Academy of Music (BAM), Brooklyn, NY
CEPA Gallery, Buffalo, NY
Elizabeth Park, West Hartford, CT
Free Arts for Children, NY, NY
Hallwalls, Buffalo, NY
The Kitchen, NY, NY
LightWork, Syracuse, NY
New Britain Museum of American Art (NBMAA), CT
SF Cameraworks, San Francisco, CA
Wadsworth Atheneum Museum of Art, Hartford, CT
Kansas City Art Institute (KCAI), Kansas City, MO
Teaching Photogram Workshops: B &W and Color
Wadsworth Atheneum – Summer High School Program (2011)
Camp Courant – Summer High School Program, Hosted at HAS (2012)
HAS Foundations Program – Power Boothe, Professor of Fine Art (2014)
HAS Foundation Program – Jeremiah Paterson, Associate Professor (2016)
Carey lived in New York City (1979-1994), where she was born (1952), moving there after receiving her MFA from SUNY @ Buffalo and a CAPS grant, first exhibiting at PS 1 in The Altered Photograph. Her childhood years were in NYC, Chicago, Atlanta, New Jersey; later traveling USA (South, Southwest, Mid-west, West); Middle East (Kuwait); Europe (Paris, Edinburgh, Düsseldorf, Cologne, Dublin, London, Nice, Venice, Berlin); art world destinations (Dia: Beacon, Chinati and Judd Foundations, Marfa, TX).
Ellen Carey — Background: On the Artist
Ellen Carey currently lives/works in Connecticut/New York, research and writing under Pictus & Writ, making her unique color photograms under her darkroom practice Struck by Light (1992-2018) while her Polaroid 20 X 24 unique Pulls and/or Rollbacks, site-specific installations are under Photography Degree Zero (1996-2018); website is www.ellencareyphotography.com, featured on www.20x24studio.com.
Ellen Carey: Bio/Narrative
Ellen Carey (b.1952 USA) is an educator, independent scholar, guest curator, photographer and lens-based artist, whose unique experimental work (1974-2018) spans several decades. Her early work Painted Self-Portraits (1978) were first exhibited at Hallwalls, one of the first artists-run alternative space, home to the Buffalo avant-garde — Robert Longo and Cindy Sherman — and led to a group exhibit The Altered Photograph at PS 1, another avant-garde institution. The visionary curator, Linda Cathcart, Albright-Knox Art Gallery (AKAG) selected Carey’s work for this exhibition as well as The Heroic Figure, which presented thirteen American artists for the São Paulo Biennale including: Cindy Sherman, Nancy Dwyer, Julian Schnabel and David Salle, portraits by Robert Mapplethorpe; South/North American tour (1984-1986).
In 1983, The Polaroid Artists Support Program invited Carey to work at the Polaroid 20 X 24 Studio. Her Neo-Geo, post-psychedelic Self-Portraits (1984-88) were created, followed by her stacked photo-installations Abstractions (1988-95). Her pioneering breakthrough in Polaroid sees her Pull (1996) fol-lowed by her Rollback (1997) naming her Polaroid practice Photography Degree Zero (1996-2018). She investigates minimal and abstract images with Polaroid’s instant technology partnered with her innovative concepts, often using only light, photography’s indexical, or none, emphasizing zero. Her photogram work is darkroom-based and camera-less; it parallels her Polaroid less-is-more aesthetic under her umbrella con-cept Struck by Light (1992-2018). When Carey works in the color darkroom, no light is allowed except upon exposure. Carey has worked in a variety of cameras and formats: Polaroid SX-70 and Polaroid PN film; black/white to color; 35mm, medium, and large format. Her experimental images see a range of gen-res and themes; they are one-of-a-kind. Underscored by concepts around light, photography’s indexical and properties specific to the medium - silhouette; shadow; negative - in color, Carey often uses RGBYMC, photographic color theory, as a point-of-departure in palette, adding context and content, citing the history of color photography, especially the work of Anna Atkins, the first women photographer, the first in color.
Site-specific monumental installations in Polaroid include Mourning Wall of 100 grey negatives at Real Art Ways (2000), also exhibited in Part-Picture (2015) at The Museum of Canadian Contemporary Art (MoCCA); Self-Portrait @ 48 at Connecticut Commission for the Arts (2001); the gigantic Pulls XL that used the Polaroid 40 X 80 camera (shortly dismantled, never re-assembled) for her MATRIX #153 exhibit (2004-05) at The Wadsworth Atheneum Museum of Art (www.wadsworthatheneum.org) in their prestig-ious MATRIX program. Dings & Shadows are often huge color photogram installations, one seen at The Benton Museum of Art, another at Florida Atlantic University (FAU). Caesura (2016) is a photogram that introduces visual breaks in color; caesura is Greek or Latin for pause: in word (poetry) or sound (music). Her images use color theory — RGBYMC — as palette and conceptual point-of-departure, using light, photography’s indexical, as it --- blends, bends, breaks --- across the paper. What remains are vertical bands, dividing the rectangle in half, white is the break or pause, in the composition; its “ caesura” or cut, dramatic black signals too much light, colors overlap as well. Zerogram re-names the traditional photo-gram; many published in her first artist’s book “Mirrors of Chance: The Photograms of Ellen Carey”.
Photography Degree Zero (1996-2018) names her large format Polaroid 20 X 24 lens-based art, which she began using in 1983 under the Polaroid Artist Support Program. Struck by Light (1992-2018) finds her parallel practice in the darkroom with the camera-less photogram, a process from the dawn of the medium, discovered in the 19th century by William Henry Fox Talbot, both photogram and the phrase drawing with light continue today. Her experimental investigations into abstraction and minimalism, partnered with her innovative concepts and iconoclastic art making, often use bold colors to create new forms. Color and light is the link between her two practices; light, photography’s indexical, is used a lot or a little or none at all; its absence or zero.
Pictus & Writ (2008-2018) finds the artist’s tradition of writing on other artists. Sol LeWitt: A Wall Drawing Retrospective at MASS MoCA, with Yale University Press, published the book Sol LeWitt:100 Views with 100 new essays; Color Me Real is Ellen Carey’s contribution. Her Man Ray essay on her discovery of his “hidden” signature in his black and white photograph (1935) titled Space Writings (Self-Portrait) sees an edited version At Play with Man Ray published in Aperture. On her own work In Hamlet’s Shadow, published in The Polaroid Years: Instant Photography and Experimentation exhibit/book/tour (2012-13); Mary-Kay Lombino, Curator, Lehman Loeb Art Center, Vassar College.
Ellen Carey’s work has been the subject of 55 one-person exhibitions in museums, alternative spaces, uni-versity, college and commercial galleries (1978-2018) - highlights: Dings, Shadows and Pulls, Amon Carter Museum of American Art (ACMAA); Photography Degree Zero Matrix#153 Wadsworth Athene-um Museum of Art; Mourning Wall Real Art Ways; femme brut(e) Lyman Allyn Art Museum; Struck by Light Saint Joseph University; Ellen Carey: Survey ICP/NY; upcoming retrospective titled Struck by Light: The Experimental Photography of Ellen Carey, Burchfield - Penney Art Center (BPAC), received funding (30K) from Andy Warhol Foundation for the Visual Arts (NY, NY) for 2020.
Her work seen in hundreds of group exhibitions (1974-2020) in museums, alternative spaces, university and college galleries, non-profits and commercial venues; highlighted in permanent collections of over 60 photography and art museums: The Albright-Knox Art Gallery (AKAG), The Amon Carter Museum of American Art (ACMAA), George Eastman Museum (GEM), Museum at the Chicago Art Institute, Fogg Museum at Harvard University, Los Angeles County Museum of Art (LACMA), Metropolitan Museum of Art, New Britain Museum of American Art (NBMAA), Norton Museum of Art, Smithsonian American Art Museum (SAAM), Whitney Museum of American Art, Wadsworth Atheneum Museum of Art, Yale Uni-versity Art Gallery while corporate collections include: Banana Republic and JP Morgan Chase Collection; noted private include: The LeWitt Foundation and Sir Elton John Collection. Exhibitions, solo and group, include: books, catalogues, brochures, artist talks, reviews, lectures etc: www.ellencareyphotography.com.
Solo Exhibitions 2018 – 2020
Ellen Carey: Mirrors de chance-la Photographie Experimentale, Galerie Miranda, Paris, FR
Ellen Carey: Dings, Shadows and Pulls, Amon Carter Museum of American Art (ACMAA), Forth Worth (TX) - January 10th - July 20th (2018) - lecture, book signing, reception with John Rohrbach, PhD, Senior Curator and Joy Kim, Assistant Curator, Photography.
Struck by Light: The Experimental Photography of Ellen Carey, Burchfield-Penney Art Center (BPAC), Buffalo, NY (2020), catalogue/book/tour with essays -Andy Warhol Foundation for the Visual Arts; Anthony Bannon, PhD, Director Emeritus-Scott Prospeck, Chief Curator.
Group Exhibitions 2017 – 2020
The Polaroid Project: At the Intersection of Art & Technology, FEP and MIT, Book Cover and Essay by Ellen Carey; published by Thames & Hudson, London, UK; US, European, Asian tour (2017-2020): first exhibited at The Amon Carter Museum of American Art (ACMAA), where Carey lectured (2017).
Books:
Color: American Photography Transformed (UTexas Press), John Rohrbach, Amon Carter Museum of American Art
The Innocent Eye: A Passionate Look at Contemporary Art, Patricia Rosoff (Tupelo Press); The Polaroid Collections (Taschen)
A Century of Colour: From the Autochrome to Digital, Pamela Roberts (Carlton Books, Ltd.)
The Polaroid Years: Instant Photography and Experimentation (Prestel/Delmonico Press), Mary-Kay Lombino, Vassar College
The Edge of Vision: The Rise of Abstraction in Photography, Lyle Rexer (Aperture)
“Ellen Carey is among this country's most committed experimental photographers."
– Lyle Rexler
Bibliography:
CV includes reviews, essays, articles, brochures, catalogues, books; NEA, CAPS, Polaroid grants; inter-views on TV (Nutmeg), radio (WNPR), video (Aperture); two documentaries as Pulls (John Froats) and Mourning Wall (Real Art Ways); recent interviews/features: Brainard Carey of Yale Radio; Joe Fig Inside the Artist’s Studio (Princeton Architectural Press); Dear Dave, (#19) by Bill Armstrong; Camera Ready, documentary film (in progress) by John Reuter, Director of 20 X 24 Studio (1980s-present) sees Carey’s work with other camera artists (Chuck Close and William Wegman)
www.20X24studio.com
Bio/Narrative:
Ellen Carey has recent documented lectures at The Amon Carter Museum of American Art in conjunction with her one-person exhibition Dings, Shadows and Pulls; ACMAA also published her first artist book, a limited-edition of 200 titled Mirrors of Chance: The Photograms of Ellen Carey that can be ordered online www.cartermuseum.org.
Pictus & Writ: Published Essays by Ellen Carey
Sol LeWitt:
Ellen Carey names her writing, research and scholarship practice Pictus & Writ; her first pub-lished essay Color Me Real for the retrospective Sol LeWitt:100 Views catalogue published by Yale University Press, Williams College, and MASS MoCA (2009) highlights LeWitt’s use of color in his monumental wall drawing Whirls & Twirls #1131 commissioned by The Wadsworth Atheneum Museum of Art, Hartford, CT. (2004).
Man Ray:
In 2008, Ellen Carey discovered Man Ray’s “hidden” signature in his photograph Space Writing (Self-Portrait 1935) and wrote What’s in a Frame? The ‘Space Writing’ of Man Ray*. Her dis-covery cited in: Alias Man Ray: The Art of Reinvention book/exhibition (2009-10), Dr. Mason Klein, curator, The Jewish Museum.
Under the Surface: Surrealist Photography, brochure/exhibition (2014), Andrea Rosen, curator, Bowdoin College Museum of Art, Ellen Carey discovery cited in this brochure.
Man in the Mirror interview/discovery by Krystian von Speidel; VENU magazine (2010).
Backstory: At Play with Man Ray, Aperture #204; (2011) is Carey’s revised essay*.
Man Ray discovery online: The Smithsonian and Man Ray Discovery/Ellen Carey Google; additional discovery in Space Writing finds multiple penlight portraits around and in Man Ray’s self-portrait.
Ellen Carey:
In Hamlet’s Shadow, Carey’s essay (2011) on her Polaroid work, The Polaroid Years: Instant Photography and Experimentation (Prestel/Delmonico Press, NY, NY); group exhibit/book/tour; Mary-Kay Lombino, Curator, Lehman Loeb Art Center, Vassar College, 2012-13.
The Polaroid Project: At the Intersection of Art & Technology, a group exhibition organized by FEP and MIT (www.fep-photo.org); Carey’s Polaroid Pulls CMY book cover/essay Photography Year Zero: Where Art and Technology Meet (2017) publisher: Thames & Hudson (London, UK). US/Europe/Asia tour (2017-2020). The Amon Carter Museum of American Art & lecture Back to the Future: The Avant-Garde is An Address (2017) can be viewed (www.cartermuseum.org)
Mirrors of Chance: The Photograms of Ellen Carey, limited-edition, artist book of 200 with a unique color photogram by Ellen Carey, plus her essay Mirrors of Chance (2017) in conjunction with The Amon Carter Museum of Art (ACMAA) solo exhibition (January-July 2018) of her work as Dings, Shadows and Pulls (www.cartermuseum.org)
Struck by Light: The Experimental Photography of Ellen Carey, retrospective book (2020-21) in development, with multiple, collective essays by Carey and other art historians, critics, scholars: Andy Grundberg; Lyle Rexer; Ben Lifson, Donna Fleischer, Marc Lenot (etc.) with lead essay by Silvio Wolf (Milan); Yolanda Cuomo Design (New York); Giuseppina Leone, project manager, Scheidegger & Speiss, publisher (Zurich); University of Chicago Press, worldwide distribution.
Writing, Scholarship, Research – Ellen Carey:
Women in Colour: Anna Atkins, Color Photography and Those Struck by Light on the British Victorian, Anna Atkins (1799-1871), first woman practitioner, first in color, for: scholarship on women photographers and their contributions in color photography; project complete/curator group exhibit: The Rubber Factory, NY. NY-2017-book project/panel/lecture in development.
Robert Motherwell: Painted Polaroids - Daedalus Foundation, NY- Project in Development
e Disgeno e Colore: Drawing and Color – Cliché Verre/Color Photograms in Development
Writing, Various Authors:
Donna Fleischer, poet: The Black Swans of Ellen Carey: Of Necessary Poetic Realities, catalog/exhibit (ECSU, 2014)
Lyle Rexer, curator, The Edge of Vision: The Rise of Abstraction in Photography (Aperture) www.aperture.org and Photography’s Antiquarian Avant-Garde: New Wave in Old Processes (Abrams).
Unpublished: Ellen Carey: From Matrix to Monumental, Ben Lifson, (2009); Drawing with Light, Painting with Emulsion: Ellen Carey’s ‘Pulls’ and ‘Penlights’, Professor Alden Gordon (2008); other essays Marc Lenot, French Scholar; Seth Endo, Lawyer and Independent Writer.
Teaching:
Carey is Associate Professor, Photography (1991-2018), Hartford Art School, UH; first woman granted promotion w/tenure, ranked #1 out of 45 (www.hartfordartschool.org); UH Coffin Grant (1985, 1990, 1991); Bent Award for Creativity (1990); 4 sabbaticals (1992, 2001, 2008, 2015); HAS Assistant Professor (1985-1990) & HAS Visiting Artist (1983-85); ICP/NY, Bard, Loughborough (UK), Queens College.
Accolades:
Andy Warhol Foundation for the Visual Arts (2017); Polaroid Artists Support Program (1983-1988; 2002); CT Commission on the Arts (2001,1998); Te Foundation (1999); Grover Foundation-Greater Hartford Arts (1997); MASS Council: New Works (1986); NY State Federation for Artists (1986); National Endowment for the Arts (1984); Light Works (1980); (CAPS) Creative Artists Public Service (1979).
Representation: