About the artist:

Currently Carey resides in Hartford, Connecticut, and teaches at the Hartford Art School. She holds a B.F.A. from the Kansas City Art Institute, Missouri, and an M.F.A. from State University of New York at Buffalo. Her photographs have been exhibited at numerous galleries and museums, including Photography Degree Zero, New Haven, Connecticut; Real Art Ways, Hartford, Connecticut; Paesaggio Gallery, West Hartford, Connecticut; Maresca Gallery, New York; Cleveland Center for Contemporary Art; The John Good Gallery, New York; the International Center for Photography, New York; University Art Museum of New Mexico, Albuquerque; the Concord Gallery, New York; and the Fogg Art Museum at Harvard University, Cambridge, Massachusetts. She has received many grants from her home state of Connecticut as well as the Massachusetts Council of the Arts, New Works Grant, New York State Federation for Artists Grant; and a National Endowment for the Arts Award. Her photographs are in the permanent collections of The Art Institute of Chicago; the Baltimore Museum of Art; Brooklyn Museum of Arts; Chase Manhattan Bank; Coca Cola Corporation; Fogg Art Museum; George Eastman House; International Center for Photography; and the Los Angeles County Museum of Art, among others. ARTIST'S STATEMENT Photography Degree Zero The title of my project, Photography Degree Zero, is a direct reference to Roland Barthes' book Writing Degree Zero, published in French in 1953 and in English in 1968, with an introduction by Susan Sontag. Barthes offers theoretical meditations on writing, focusing particularly on the dispassionate tone and minimalist style of the French new novel. In related fashion, my work is meant to represent a departure from the picture sign idea of the photograph, as well as from the historical and cultural expectations surrounding the idea that a photograph will describe, document, and narrate (as in the snapshot, landscape photography, portraiture, and photojournalism). I approach photography as picture making rather than picture taking. I am interested, both visually and conceptually, in chaos theory, fractal geometry, and symmetry and asymmetry as found not only in art, but nature, science, architecture and mathematics (the golden mean, the logarithmic spiral). Order and chance both play key roles in the creation of my work, which has affinities to Abstract Expressionism (size, scale, and Òoff-frame space), Surrealism (light, the darkroom, photograms), and Minimalism (material-as-process, seriality, non-representational images, issues of silence). One question frequently asked about my work is How was this picture made? More recently, this has been joined by the question What is this a picture of? With these two questions my art not only confronts photography-as-process )the Polaroid camera is both invention and a process) but also challenges the prescribed expectation that photographs depict reality. Abstraction is well-established in painting, but still emergent in photography, as is suggested by the Abstract Urge and Content and Discontent exhibitions, both curated by photography critic Andy Grunberg and both including my work. In my particular case, abstraction has in the last few years approached more and more closely towards Minimalism, as my most recent one-person show in New York bears out. The reason is that I wish to push the parameters of the photographic medium, both to ques.tion the process by which a pho.to.graph is made and raise the issue of photographic meaning in the absence from the frame of a recognizable representation. Abstraction in photography is a virtual contradiction in terms, and Minimalism a further oxymoron. It is at the particular intersection where a photograph is devoid of any recognizable image that I wish to concentrate my artistic, intellectual and aesthetic energies. At the present juncture in my professional and creative life, a fellowship would provide me with the necessary time and the appropriate professional support to further develop the underpinning kinship between art and science which is already a strong presence in my work. Areas that I need in particular to further investigate are physics, especially as it pertains to light and color; the proportional harmonies that are found both in the natural sciences and in architecture; and the meditations on life's complexities that are found in theology, especially in the religious teachings of Tibet. ]Minimalism remains distinctly underdeveloped in photography, but is well established in contemporary painting and sculpture, with specific affinities between my work and the sculpture of Dan Flavin (color and light), the paintings of Ellsworth Kelly and Agnes Martin (simplicity and repetition), the conceptual art of Sol LeWitt (geometry and systems), and the sculptural installations of the late Donald Judd (non-art materials and the square). The work of all these artists has a sublime presence and a timeless eloquence that not only challenges ideas about what is and what is not art, but also carries with it spiritual and perceptual overtones that are existentially self-defining. In my own work, this same combination of qualities can be seen in a palette linked with the stained-glass window of my Catholic upbringing which serves as the basis for a rigorous investigation of light, that primary agent responsible for all photography. I view myself as a late 20th century artist, using the tools of her time for personal expression. More often than not, the tool in question is the large format Polaroid 20 X 24 camera. This camera, of which there are only five in the world, was built approximately twenty years ago under the sponsorship of the Polaroid Corporation. Ideas and visual codes that I have used freely in my art practices derive from the discoveries of Benoit Mandelbrot, who developed fractal geometry. I have also used in my own work ideas found in the writings of Rudolf Arnheim, whose basic thesis that art has two structures (the circle and the square) can be seen in connection with my use of the photographic apparatus with its circular lens and rectangular camera body. These conceptual and contextual affinities have both given me the tools to create in a more meaningful way and have underwritten a richer synoptic clarity in the end result. As our culture spins towards the 21st century, camera-based and technological media like photography seem logical and appealing choices for certain artists. Photography's protean diversity, its comparatively short history, its technical advances, and the universality of its images all speak to the interests of those artists in addressing issues beyond and outside the rarefied concerns of the art world of former times. It is in this spirit that I have made a conscious decision to work in a medium in which a machine can combine with imagination to redefine notions of truth and beauty at 1/125th of a second. Born New York, NY Lives New York, NY and Hartford, CT EDUCATION 1978 M.F.A. State University of New York at Buffalo, Buffalo, NY 1975 B.F.A. Kansas City Art Institute, Kansas City, MO 1970 Art Students' League, New York, NY ONE-PERSON EXHIBITIONS 1999 Loughborough University, Loughborough, UK Traywick Gallery, Berkeley, CA 1998 Ricco/Maresca Gallery, New York, NY 1997 Ellen Carey. Family PortraitlBirthday Portrait, Cleveland Center for Contemporary Art,C leveland, OH Todd Mauritz Gallery, Columbus, OH 1996 Photography Degree Zero, Ricco/Maresca Gallery, New York, NY Center for Photography at Woodstock, 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 The National Academy of Sciences, Washington, DC (catalogue) 1990 Schneider-Bluhm-Loeb Gallery, Chicago, IL 1989 John Good Gallery, New York, NY 1987 International Center of Photography, New York, NY (brochure) Simon Cerigo, New York, NY 1986 Art City, New York, NY Real Art Ways (RAW), Hartford, CT 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, NM 1981 Concord Gallery, New York, NY 1978 Hallwalls, Buffalo, NY SELECTED GROUP EXHIBITIONS 1999 Innovation/Imagination: 50 Years of Polaroid Photography 1947-1997, The Friends of Photography, Ansel Adams Center for Photography, San Francisco, CA (book/tour) PHENOMENON, The Friends of Photography, Ansel Adams Center for Photography, San Francisco, CA Photography's multiple roles: art, document, market, science, The Museum of Contemporary Photography, Columbia College, Chicago, IL (book) The Agency of Meaning: A Survey of Contemporary Works in Collection, Burchfield-Penney Art Center, Buffalo, NY 1998 Art That Happens to be Photography, Nina Freudenheirn Gallery, Buffalo, NY (About FacelMasks), The Charter Oak Cultural Center, Hartford, CT 1997 Eye of the Beholder, The Avon Collection, nternational Center for Photography, New York, NY The Big Picture Show, Albright-Knox Art Gallery, Buffalo, NY Diverse Visions\photographic perspectives,TYe Pittsburgh Center for the Arts, curated by Jayne H. Baum and Vicky Clark, Pittsburgh, PA 1996 From Transition to Abstraction, Center for Photography at Woodstock, Woodstock, NY Collecting in the '90's, Wadsworth Atheneum, Hartford, CT Delirium, Ricco/Maresca, New York, NY 1995 Not a Metaphor, curated by Gerald Pryor, Arts Projects International, New York, NY Alternatives: Twenty Years of Hallwalls 1975 - 1995, The Burchfield-Penney Art Center, Buffalo State College, Buffalo, NY (brochure) Moholy Nagy and Present Company, The Chicago Art Institute, Chicago, IL Content and Discontent in Today's Photography, curated by Andy Grundberg, traveled by ICI, Bruce Museum, Greenwich, CT; Prichard Art Gallery, University of Idaho, Moscow, Idaho, and The Lowe Museum, Coral Gables, FL (brochure) Trusting in Magic, Nine Photographers, curated by Janice MehIman, Kingsborough Community College Art Gallery, Brooklyn, NY Abstract Photographs, The Baltimore Museum of Art, Baltimore, MD 1994 4+4+4=95, Charter Oak Cultural Center, Hartford, CT Issues and Identities: Recent Acquisitions in Contemporary Photography, Art Institute of Chicago, Chicago, IL Making Pictures, Caldwell College, Caldwell, NJ Beyond the Camera, Large-Scale Manipulated Photographs, ARTSPACE, New Haven, CT The Camera I, Photographic-Self Portraits from the Audrey and Sydney Imas Collection,The Los Angeles County Museum of Art, Los Angeles, CA; traveling to: AkronArt Museum, Akron, OH (book) The Abstract Urge, curated by Andy Grundberg, Ansel Adams Center for Photography, San Francisco, CA (traveling) The Instant Image, curated by Ludwig Datene, Park Avenue Atrium, New York, NY Life Lessons, Art Institute of Chicago, Chicago, IL 1993- Fictions of the Self, curated by Michael Coblyn and Trevor Richardson, Weatherspoon 94 Gallery, University of North Carolina, Greensboro, NC, traveling to: Herter Art Gallery, University of Massachusetts, Amherst, MA; Palazzo de Exhibitions, Rome, Italy; Museum of Modern Art, Nice, France (catalogue) 1993 The Art of Diamonds, Tatischeff Gallery, New York, NY, traveling to: ClevelandMuseum of Natural History, Cleveland, OH; California Academy of Sciences, Femback Museum of Natural History, Atlanta, GA; Charles and Emma Frye Art Museum, Omniplex Science Center, Seattle, WA; Los Angeles Museum of Natural History, Los Angeles, CA; The Rochester Museum and Science Center, Rochester, NY; The Dallas Museum of Natural History, Dallas, TX and The Dayton Art Institute, Dayton, OH Concurrence, 100 Pearl Street Gallery, Hartford, CT (two-person w/ Mary Frey) Moving Shadows, curated by Christian Haub, Tennisport Arts, Long Island City, NY 1992 Dark Décor, The Dupree Art Center, curated by Tina Potter and Janine Circincione for Independent Curators Incorporated, New York, NY, traveling to: DePree Art Center, Hope College, Holland, MI; San Jose, Museum of Art, San Jose, CA; Florida Gulf Coast Art Center, Bellair, FL; The Monmouth Museum, Lincroft, NJ; and The Illingworth Kerr Gallery, Alberta College of Art, Calgary, Alberta, Canada (catalog) The Abortion Project, urated by Kathe Burkhart and Chrysanne Strathacos, Hallwalls Gallery, Buffalo, NY, traveling to: New Langton Arts, San Francisco, CA Abstraction in the 90's, The Jan Kesner Gallery, Los Angeles, CA Colt 4, Wadsworth Atheneum, Hartford, CT (catalogue) Representatives: Women Photographers from the Permanent Collection, Center for Creative Photography, The University of Arizona, Tucson, AZ Selections 6, Photokina, Polaroid Corporation, Cologne, Germany (book) 1991 Departures Photography 1923-1990, ICI, curated by Edmund Yankov and Andy Grundberg, 1993, New York, NY traveling to: Iris & B. Gerald Cantor Art Gallery, College of the Holy Cross, Worcester, MA; Denver Museum of Art, Denver, CO; Joslyn Art Museum, Omaha, NE; Pittsburgh Center for the Arts, Pittsburgh, PA; The Goldie Paley Gallery at Moore College of Art, Philadelphia, PA; Telfair Academy of Arts and Sciences, Savannah, GA (catalogue) 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, curated by Davis Pratt, Fogg Art Museum, Harvard University, Cambridge, MA (catalogue) People and Places, 100 Pearl Street Gallery, Hartford, CT Resonance, Lyman Allyn Museum, New London, CT The David C. Ruttenberg Collection, The Art Institute, Chicago, IL (catalogue) 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 Against Interpretation, C.E.P.A. 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, Philadelphia, PA Selections 5, Bibliotheque Nationale, Paris, France (catalogue) Summer Group Exhibition, John Good Gallery, New York, NY 1989 Abstraction in Contemporary Photography, Emerson Gallery, Hamilton College, Clinton, NY (catalogue) Artspace, New Haven, CT Artists Portraits by Timothy Greenfield-Sanders, Mary Boone Gallery, New York, NY Fotografle, Wissenschaft und neue Technologien, Kunstmuseum, Dusseldorf, Germany (catalogue) Nature and Culture: Conflict and Reconciliation in Recent Photography, The Friends of Photography at Ansel Adams Center, San Francisco, CA The Photography of Invention: American Pictures of the 1980's, curated by Joshua Smith The National Museum of American Art, Smithsonian Institution, Washington, DC; Museum of Contemporary Art, Chicago, IL; The Walker Art Center, Minneapolis, MN (book) 1988 Appropriation and Syntax: Uses of Photography in Contemporary Art, The Brooklyn Museum, Brooklyn, NY Chaos, John Good Gallery, New York, NY Complexity and contradictions, The Zilka Art Gallery, Wesleyan University, Middletown, CT Connecticut Photographers, Real Art Ways (RAW), Hartford, CT First Person Singular. Self-Portrait in Photography, 1840-1988, The High Museum, Atlanta, GA (catalogue) Gallery Artists, John Good Gallery, New York, NY Robert Koch Gallery, San Francisco, CA Layers of Meaning, Tower Gallery, New York, NY New Surrealism, The Catskill Center for Photography, Woodstock, NY (catalogue) Photography on the Edge, Haggerty Museum of Art, Marquette University, Milwaukee, WI (catalogue) The Photo-Ostensive (Propositions of the Phenomenal and the Mundane), Jayne H. Baum Gallery, New York, NY Small Scale, The 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 (catalogue) (Re)Productions, White Columns, New York, NY 1987 Photo-Mannerisms, Laurence Oliver Gallery, Philadelphia, PA Photo Synthesis, Frank Bernarducci Gallery, New York, NY Poetic Injury. the Surrealist Legacy in Postmodern Photography, The Alternative Museum, New York, NY (catalogue) Portrayals, International Center of Photography Midtown, New York, NY (catalogue) Spirals of Artificiality, Hallwalls, Buffalo, NY (catalogue) 1986 Baskerville-Watson Gallery, New York, NY Context as Content, The Catskill Center for Photography, Woodstock, NY Four Photographers, Promenade Gallery, Bushnell Memorial Hall, Hartford, CT Modem Art at Harvard, The 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, The Brooklyn Museum of Art, Brooklyn, NY 1986 Sadness, Simon Cerigo Gallery, New York, NY Self PortraitIlPhotography 1840-1985, National Portrait Gallery, London, England (catalogue) Weird Beauty, The Palladium, New York, NY 1985 Acquisitions, Dorry Gates Gallery, Kansas City, MO KCAI Centennial, The 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 Kkatz Gallery, New York, NY Summer Selections, Castelli Uptown, New York, NY 303 Gallery, New York, NY 1984 Chill Out, The Kenkelba House, New York, NY Hallwalls Ten Years, Albright-Knox Art Gallery, Buffalo, NY (catalogue) The Heroic Figure, 17th Sa6 Paulo Biennale, The Rio de Janiero Museum of Modern Art, Rio de Janeiro, Brazil; toured in North and South America until 1986 (catalogue) New Images in Photography, The School of Visual Arts, New York, NY Patterns,Laguna Gloria Art Museum, Austin, TX Wedge Benefit, Nature Morte, New York, NY 1983 Contemporary Self-Portraiture in Photography, Hayden Art Gallery, M.I.T., Cambridge, MA Three Dimensional Photographs, Castelli Graphics, New York, NY Faces Since the 50's, Center GalleryBucknell University, Lewisberg, PA (catalogue) Olsen Gallery, New York, NY Pace/MacGill, New York, NY Portico Gallery, Philadelphia, PA 1982 Altered States, University of Illinois, Champaign-Urbana, IL Concord Gallery, New York, NY Contemporary Photography as Phantasy, The Santa Barbara Museum of Art, Santa Barbara. CA, traveled until 1984 (catalogue) Figures: Forms and Expressions, The Albright-Knox Art Gallery, Buffalo, NY (catalogue) Nineteen from New York, Nina Freudenheim Gallery, Buffalo, NY Painting, Pattern, Photograph, The Addison Gallery of American Art, Phillips Academy, Andover, MA Photograph Transformed, Stefanotti Gallery, New York, NY Photo Start, The Bronx Museum, Bronx, NY (catalogue) Carl Solway Gallery, Cincinnati, OH Some Contemporary Portraits, The Contemporary Arts Museum, Houston, TX Lichtbildnisse, Rheinisches Landesmuseum, Bonn, Germany (book) The Markers, San Francisco Museum of Modern Art, San Francisco, CA (catalogue) Photo, Metro Pictures, New York, NY Photo Fusion, The Pratt Manhattan Center, New York, NY (catalogue) Points of Departure, Barbara Gladstone Gallery, New York, NY 1980 Contemporary Photography, The Fogg Art Museum, Harvard University, Cambridge, MA HallWallslFive Years, The New Museum, New York, NY (catalogue) 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, Washington, D.C. and Media Studies Center, State University of New York at Buffalo, NY (catalogue) 1979 About Face, Niagara Community College, Sanborn, NY Altered Photographs, P.S. II/Center for Urban Resources, Long Island City, NY Buffalo/ChicagolExchange, NAME Gallery, Chicago, IL CAPS Show, The Nikon House, New York, NY (catalogue) Ellen Carey, Larry Williams, Marcia Resnick, Chicago Center for Contemporary Photography, Chicago, IL Colors in Question, The Catskill Center for Photography, Woodstock, NY The Grotesque in Photography, Neikrug Gallery, New York, NY (book) Inside, Galerie Optica, Montreal, Quebec, Canada Syracuse Show, Everson Museum of Art, Syracuse, NY 1977 In Western New York, Albright-Knox Gallery, Buffalo, NY (catalogue) Polaroid Show, Camerawork Gallery, San Francisco, CA Where N'When, HallWalls, Buffalo, NY 1976 Ellen Carey - Cindy Sherman: Photo Bus Show, CEPA and Niagara Frontier Transit System, Buffalo, NY Images of Women, Portland Museum of Art, Portland, ME Manipulated Polaroids, Wheelock College, Boston, MA Recent Portraiture, Renaissance Society of University of Chicago, Chicago, IL Spectrum: An Invitational, Rochester Institute of Technology, Rochester, NY 1975 Colorado National, University of Colorado, Boulder, CO 1974 First Light, Humbolt State University, Eureka, CA Subject Women, Spencer Museum of Art, University of Lawrence, Lawrence, KS GRANTS 1998 Connecticut Commission for the Arts, Hartford, CT 1997 Greater Hartford Council for the Arts, The Grover Foundation, Hartford, CT 1991 Coffin Grant, University of Hartford, Hartford, CT 1990 Coffin Grant, University of Hartford, Hartford, CT Bent Award for Creativity, The University of Hartford, CT 1984 Polaroid 20"x24", Polaroid Corporation, Boston, MA and New York, NY Massachusetts Council on the Arts, New Works Grant, Boston, MA New York State Federation for Artists Grant (FFA), New York, NY 1985 Coffin Grant, University of Hartford, Hartford, CT 1984 National Endowment for the Arts (NEA), Washington, D.C. 1980 Lightworks, Syracuse, NY 1979 Creative Artists Public Service (CAPS), New York, NY COLLECTIONS Albright-Knox Art Gallery, Buffalo, NY Art Institute of Chicago, Chicago, IL Baltimore Museum of Art, Baltimore, MD Bell Atlantic, Arlington, VA Brooklyn Museum of Art, Brooklyn, NY Burchfield Art Center, Buffalo, NY Chase Manhattan Bank, New York, NY Coca Cola Corporation, Atlanta, GA Dallas-Fort Worth Art Museum, TX Dannheisser Foundation, New York, NY First Bank of Minneapolis, Minneapolis, MN First National Bank of Chicago, IL Fogg Art Museum, Harvard University, Cambridge, MA George Eastman House, Rochester, NY International Center of Photography (ICP), New York, NY Lannan Foundation, Palm Beach, FL Lightworks, Syracuse, NY Los Angeles County Museum of Art, Los Angeles, CA Marine Midland Bank, New York, NY Metropolitan Museum of Art, New York, NY Museum of Fine Arts, Houston, TX National Museum of American Art, Smithsonian Institution, Washington, DC Nelson-Atkins Museum, Kansas City, MO Picker Art Gallery, Colgate University, Hamilton, NY Ponderosa Collection, Cincinnati, OH Progressive Insurance Company, Cleveland, OH Reader's Digest, Pleasantville, NY Rich's Products, Inc., Buffalo, NY Ruttenberg Foundation, Chicago, IL Sol Lewitt Collection, Chester, CT University of Iowa, Hospitals and Clinics, Iowa City, IA Wadsworth Atheneum, Hartford, CT William Benton Museum of Art, University of Connecticut, Storrs, CT COMMISSIONS Highland Hospital, Rochester, NY Wadsworth Atheneum, Hartford, CT St. Francis Hospital, Hartford, CT Madison Square Garden, New York, NY BIBLIOGRAPHY SELECTED BOOKS, PERIODICALS AND CATALOGUES Adrian, Dennis. Recent Portraiture, The Renaissance Society of the University of Chicago, Chicago, IL, 1976 (brochure) Bannon, Anthony. "Painterly Photographs", The Washington Projects for the Arts, Washington, DC, March 15 - May 1, 1980 Cathcart, Linda L. "The Heroic Figure" -, The Rio. De Janeiro Museum of Modern Art, The U.S. Information Agency and The Contemporary Arts Museum, Houston, TX, 1984 Cathcart, Linda L. The New Photography, The Contemporary Arts Museum, Houston, TX, January 17 - February 22, 1981 Cathcart, Linda L. Hallwalls - 5 Years, The New Museum, New York, NY; The Washington Project For the Arts, Washington, DC; A Space, Toronto, Ontario, Canada; and Upton Gallery, SUNY at Buffalo, Buffalo, NY, 1979-1980 Coke, Van Deren. The Markers, The San Francisco Museum of Modern Art, San Francisco, CA, May 29 - July 26, 1981 Coleman, A.D. Photofusion, The Pratt Manhattan Center, New York, NY, January 12 - 31, 1981 Coleman, A.D. The Grotesque in Photography, Ridge Press and Summit Books, March 1977 Denson, G.R. Figures: Forms and Expressions, The Albright-Knox Gallery, Buffalo, NY, November 30, 1981 - January 3, 1982 Denson, Robert. Poetic lnjury: The Surrealist Legacy in Post-Modern Photography, The Alternative Museum, New York, NY, pp. 14, 20, 36, ill. Grundberg, Andy. Content and Discontent in Today's Photography, ICI, 1985, New York, NY, ill. Grundberg, Andy and Ed Yankov. Departures: Photography 1923 - 1990, Worcester, MA Grundberg, Andy and Jerry Saltz. Abstraction in Contemporary Photography, Emerson College, Boston, MA Hagenberg, Roland. Soho, Egret Publications, New York, NY, 1987, p. 137, ill. Hagenberg, Roland. Untitled '84, Pelham Press, New York, NY, p. 50, ill. Hagenberg, Roland. East Village, Pelham Press, New York, NY, 1985, Art City Hartshorn, Willis. Ellen Carey: Survey 1978-1986, International Center of Photography, New York, NY, ill. Honnef, Klaus. Lichtbildnisse, Rheinisches, Landesmuseum, Bonn, Germany, March - June 1981 Hunt, Bill. Aperture, Delirium, NYC, NY, 1997, ill. Jacobs, Joseph. Faces Since the 50's, Center Gallery, Bucknell University, Lewisburg, PA, March 11 - April 17, 1983 Laster, Paul and Renee Ricardo. The Spiral of Artificiality, Hallwalls, Buffalo, NY, pp. 4, 8, ill. Liebowitz, Herbert. Parnassus: Poetry in Review, Poetry in Review Foundation, New York, NY 1986, p. 248, ill. Lingwood, James. Self Portrait / Photography 1940 - 1985, The National Portrait Gallery, Washington, DC McCaughey, Patrick. The Colt 4, Hartford, CT Miller, Denise. Photography's multiple roles, The Museum of Contemporary Photography, Chicago, IL, 1998, p. 20 ill. Naef, Weston. New Trends, Shevsha Publishing Company, Tokyo, Japan, June 1984 Ottman, Klaus. Strange Attractors: The Spectacle of Chaos, Chaos Foundation Parker, Fred. Contemporary Photography as Phantasy, Santa Barbara Museum of Art, Santa Barbara, CA June 19 - August 15, 1982 Pickover, Dr. Clifford, Mazes of the Mind, St. Martins Press, New York, NY, 1991 Potter, Tina. Dark Décor, Holland, MI Richardson, Trevor. Fictions of the Self: The Portrait in Contemporary Photography, Weatherspoon Art Gallery, University of North Carolina, Greensboro, NC and Herter Art Gallery, University of Massachusetts, Amherst, MA, 1993 Rosenbloom, Naomi. A History of Women Photographers, Abbeville Press, New York, NY, 1994 Sobieszek, Robert A., and Irmas, Deborah. the camera I. Photographic Self Portraits from the Audrey and Sydney Irmas Collection, The Los Angeles County Museum of Art/Harry N. Abrams, Inc., Publishers, Los Angeles, CA, and New York, NY, 1994, pp. 211, 118 ill. Stainback, Charles. Portrayals, International Center of Photography / Midtown, New York, NY, 1987 pp. 18, 33, 38. ill. Verre, Phillip. Photo Start, The Bronx Museum of the Arts, Bronx, NY, September 14 - December 5, 1982 Walsh, Michael. Back to the Future: The Photography of Ellen Carey, National Academy of Sciences, Washington, DC, June 1992 Westerbeck, Colin. The Intuitive Eye: The Ruttenbera Collection, Chicago, IL , Fotoarafie, Wissenschaft Une Neue Technologien, Kunstmuseum, Dusseldorf, Germany, 1989, pp. 78-81 ill. , Young American Photographers, Lustrum Press, New York, NY, 1974, Artfinder, Special Photography Issue, Egret Publications, New York, NY, p. 71, ill., Selections 5, Photokina, Cologne, Germany, 1990 SELECT ARTICLES & REVIEWS 1998 Schwabsky, Barry. Artforum, New York, NY, November, p. 114, 115, ill. Newhall, Edith. New York Magazine, New York, NY, September 14, p.1 29. Huntington, Richard. Buffalo Evening News, Buffalo, NY, Friday, October 9, p. 34, ill., Deceptively Intellectual. Huntington, Richard. Buffalo Evening News, Buffalo, NY, Friday, September 25, The bold and the body, p. 18. 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 1995 Dorsey, John. Capturing the Abstract in Photographs, The Sun, Baltimore, p. Raynor, Vivien. Photographers Putting Their Eggs in Technology's Basket, The New York Times, Connecticut Weekly, July 30, p. 12, b & w ill. Read, Michael. Phenomena, See, The Friends of Photography, San Francisco, CA, issue 1:4, front cover and p. 12. 1994 Aletti, Vince. Voice Choice, E llen Carey at Jayne H. Baum Gallery, Village Voice, NewYork, NY, December 27, p. 5. Aletti, Vince. Voice Choice, G roup Show Review at Jayn H. Baum Gallery, Village Voice, New York, NY, August 3 - 9. Grundberg, Andy. The Abstract Urge, The Friends of Photography, Ansel Adams Center, Newsletter Review, San Fransisco, CA, cover ill. Hagen, Charles. Ellen Carey at Jayne H. Baum Gallery, The New York Times, New York, NY, December 23, p. C26. Newhall, Edith. Cue Listing - Galleries, New York Magazine, New York, NY, December 19, 26, color ill. Scalora, Sal. A Banquet of Snacks, Hartford Advocate, Hartford, CT Vol. 21, No. 22, December 15. 1994 The Camera I, Photographic Self-Portraits from Audrey and Sydney Irmas Collection,at the MUSEUM, The Magazine of the Los Angeles County Museum of Art, Los Angeles, CA, July / August, color ill. 1993 A & E Scene: Pearl Street Gallery Show, The Hartford, Hartford, CT, May 9, p. G2, b & w ill. 1992 Aletti, Vince. Voice Choice, Review at Jayne H. Baum Gallery, Village Voice, New York, NY, December 29, p. 74. Gast, Dwight V. Photos as Art Keep Value, Photography and Video, The International Herald Tribune, New York, NY, September 16, p. 1. The Hartford Advocate, The Colt of Personality, Hartford, CT, week of 5/28 - 6/3/92, pp. 6 - 7, cover ill. Mason, Johnny Jr. Colt 4 Exhibit Draws Diversified Crowd to Atheneum, The Hartford Courant, Hartford, CT, May 17. McNally, Owen. The Colt 4: Atheneum Draws Big Local Guns for New Show, The Hartford Courant, Hartford, CT, May 17, pp. G1, G4, three ills. Rosoff, Patricia. The Colt Four, Hartford Monthly, Hartford, CT, Vol. 5, No. 6, June, pp. 40 - 45, p. 41, color ills. Wilson, Janet. Ellen Carey's Revealing Disguises, The Washington Post, Washington, DC, August 22, ill. Zimmer, William. ' The Colt Four'of Hartford., From Guns to Brushes, The New York Times, New York, NY, July 12, ill. Zimmer, William. Old Works Inspire Modem Ones at Lyman Allyn Museum, The New York Times, New York, NY, March 8. The Portrait and Self Portrait, The Center for Photography at Woodstock Newsletter, Woodstock, NY, Workshops'92. Photographs by Ellen Carey Now on Exhibit, Arts in the Academy, Washington, DC. Footnotes, The ARAA Bulletin, Washington, DC, June, p. 3, ill. Independent Curators Incorporated, The Print Collector's Newsletter, New York, NY, Vol. 23, No. 2, May - June. 1991 Ballerini, Julia. THE SURROGATE FIGURE: Intercepted Identities in ContemporaryPhotography, Center Quarterly, Woodstock, NY, #49 Vol. 12, No. 3, Center for Photography, P. 9. Hagen, Charles, A Group With Night on Its Minds, Review, New York Times, New York, NY, August 23. 1990 Grundberg, Andy. Abstraction Returns to Haunt Photography, The New York Times, New York, NY, February 26. 1989 Jones, Bill. Born Again: Seeing the End of Photography, Arts Magazine, New York, NY, October, pp. 72 - 28, ill. Lehman, Edith. Reflections: Woman's Self-Image in Contemporary Photography,Images Ink, Vol. 4, No. 1, pp. 26 - 27, ill. Zimmer, William. Photographs with Surprises, The New York Times, New York, NY, April 30, p. 22, ill. 1988 Calnek, Anthony. Chaos in New York, Contemporanea Magazine, New York, NY, July - August, pp. 20 - 21, ill. 1987 Ottman, Klaus. Photo Mannerisms, Flash Art, Milan, Italy, November-December, #137, p. 72, ill. Oftman, Klaus. Mannerism Anti-Mannerism, Flash Art, Milan, Italy, December 1986/January 1987, #131, pp. 64 - 65. Stretch, Bonnie Barrett. Contemporary Photography, Art and Auction, New York, NY, Vol. IX, #10, May pp. 145, 146, ill. Westfall, Stephen. Reviews: Ellen Carey at 1CP & Simon Cerigo, Art in America, New York, NY, November, Vol. 74, #11, ill. 1986 Caley, Shaun. Review: Ellen Carey / Art City, Flash Art, Milan, Italy, #129, Summer, p. 72, ill. Cork, Richard. Photography - Seeing the Self, Vogue #10, London, England, Vol. 143,p. 14, ill. Frailey, Stephen. Context as Content: Contemporary Photography and its Function in Esquire Magazine Center Quarterly, Woodstock, NY, Vol. 7, #3, Springpp. 6 - 9, ill. Schwabsky, Barry.