Monterey Museum of Art Opens Exhibit Sept. 20 Featuring Six Women Photographers as Part of its Year of the Woman 2018

1. Monterey Museum of Art Opens Exhibit Sept. 20 Featuring Six Women Photographers as Part of its Year of the Woman2018 The Monterey Museum of Art, as part of its Year of the Woman 2018 at MMA, has announced the opening of an exhibit, “Salon Jane: The Ethereal Zone,” featuring the works of six renowned Monterey Peninsula-based women photographers, on Sept.20. Monterey, CA,July24,2018—TheMontereyMuseumofArt,aspartofitsYearoftheWoman2018at MMA, has announced the opening of an exhibit, “Salon Jane: The Ethereal Zone,” featuring the works of six renowned Monterey Peninsula-based women photographers, on Sept.20. Salon Jane is composed of six women — Martha Casanave, Susan Hyde Greene, Jane Olin, Anna Rheim, Robin V. Robinson, and Robin Ward — in the Monterey Peninsula who formed a group in 2014 to support one another asartists. Althoughallofthesewomenusephotographyintheirart,thefinishedproductsareremarkablydiverse. Fromaerialtounderwater,abstracttorepresentational,digitaltodarkroom,wallarttobooks, thework produced by these artists is wide ranging. Their diversity is an asset for promoting each artist strong sense ofindividuality.

2. The differences between members include careers, ages, and backgrounds, but each member of Salon Jane shares a passion for expressing her deepest concerns through art. The group meets quarterly to share work and plan exhibitions and educational adventurestogether. AccordingtoSalonJanememberJaneOlinmostofitsmembers have beenworkingasartistsformore than 30 years and this MMA exhibition is their first opportunity to express their ideas through their work to thelarger Monterey community. “Salon Jane’s exhibition at MMA provides a platform to promote our work to an expanding audience, not only reaching our own community, but beyond,” said Olin. “MMA’s Year of the Woman is an extremelyimportantfirststepinmakingknownthedepth and richnessoftheworkofourlocalwomen artists.Wearethrilledtobe partofthatmovement.” Olinadded thatonly20%ofMMA’scollectionconsistsofwomenartistsandthatmostmuseumsare far below thatnumber. “Thisstruckanotewithus. We wantto be partofthesolution,”saidOlin.“Evenwithourdiverse points of view and working methods, we as a group are cohesive when showing work. The thread that weaves our work together is authenticityand originality.” Olinsaid thegroupintendstoreachouttoothermuseumstopromote“TheEtherealZone”asa traveling exhibition through theMMA. “Salon Jane: The Ethereal Zone,” opens Sept. 20 and runs through Nov. 26,2018. Anna Rheim ArtistStatement I am a storyteller. Indeed, I believe that the women in our culture are the primary custodians of family stories. Many of my images end up in hand made books, some with words, some without words. The imagesandwordsinthisexhibitionarepartofaseriesthatexplores thelifeofmymother,Marguriette, myfather,Perry,andtheirinfluenceonme andonothers. Throughoutmy 40 years inphotography,Ihave discovered thevalueofanintimatesupportgroupfor pushing one’s creativity and nurturing the expression of one’s deepest emotions. The five women in Salon Jane are my artist family. They are a valuable source of encouragement andinspiration. Bio Anna graduated from Stanford University with a BA in History in 1966. She studied black and white photography and mixed media at Monterey Peninsula College withHenry Gilpin, Roger Fremier, and Don Anderson,andcolorphotographyandprintingatUniversityofCaliforniaSantaCruzwithJack

3. Fulton. Anna has taken private classes with many noted photographers including David Bayles, Ruth Bernhard, Martha Casanave, Lisl Dennis, Tom Millea, and TedOrland. MarthaCasanave ArtistStatement Explorations Through A Fabricated Microscope: A Compendium OfTears Before I knew what postmodernism was, I decided to make a lifetime “performance piece” of collecting mytears.Imadeatiny,paddedgreenvelvetpouchtoweararoundmyneckforthispurpose;it contains a tiny dropper, and a few microscope slides. After the tears dry on the slides, I store them in carved woodenboxeswithslots.Eachslideisnumbered,andlabeledwiththedate andplacethetearswere collected, for example: “Tear # 958: Boiler Room ofApartment Building on Moskovskii Prospekt, Leningrad, USSR,1987.” Recently, Idecidedtomake microscope photographsofthesetears.Thedecisiontoactualizetheimages was inspired by two things: first, by the recent activity of making an index for the 30 volumes of photo albums I have assembled over my lifetime. And second, by the beautiful, round images I have seen of 19th C photomicrography. Oddly, though I don't label the slides as such, I remember, upon looking at theminthemicroscope,exactlywhatemotioncausedthetears. I have captioned the images accordingly. Because I am often keeping the captions ambiguous, I find that some of the captions can apply to more than one incident in my life, and perhaps in others' lives as well. Many deal with loss. Miscommunication. Things that are done and cannot be undone. On the other hand, some captions are very specific, for example my eyes welling from a frisson of mixed emotions uponlandingagain at Pulkovo InternationalAirportinLeningrad, USSR. Most of my tears are mere wellings, not flowings. The only time I have produced copious flowing tears was/is during uncontrolled hysterical laughter, and after the death of a whippet. What prompts tears toarrive?Regret, loss,happiness,confusion,coldwind,foreignbodyineye. Realtraumadoesn'tcause tears, at the time it is happening anyway, because the body dissociates, and is preoccupied with survival.Tearsrequiresomekindof presence, somekindofrealization, andwithtraumatic events,this usuallyhappens later(ifatall),withrecollection.Withmemory. Bio Old enough now to say “in retrospect,” Casanave graduated from the Monterey Institute of International Studies with a degree in Russian Language and Literature and began her working life as a translator in Washington, D.C. She engaged in photography from early childhood, however, and later came back to the Monterey Peninsula, built up a portrait clientele and began teaching photography, while continuing to pursue her personal work. She has been an exhibiting and working photographer and educator for more than40 years.

4. From 1984 to 1995, Casanave used her knowledge of Russian language and culture to take groups of American photographers to the Soviet Union/Russia, and has made a number of trips on her own to workonphotographicprojects,makingatotalof14tripstotheUSSR/Russiatodate. She was awarded the Imogen Cunningham Photography Award for her portraiture in 1979, and alsowas a 1989 recipient of the Koret Israel Prize. Her first book, “Past Lives — Photographs by Martha Casanave,” was published by Godine in 1991. This was followed by “Beware of Dog” (Center for Photographic Art, 2002). A book of pinhole images, “Explorations Along an Imaginary Coastline,”was released by Hudson Hills Press in 2006. Her most recent publication (Image Continuum Press, 2013)is “Trajectories: A Half Century ofPortraits.” Casanave’sphotographsare includedinmanymajorcollections,includingtheBostonMuseumofFine Arts, the Art Institute of Chicago, the Stanford Museum, the Bibliotheque Nationale, the J. Paul Getty Museum,theMonterey MuseumofArtandthe GrahamNashprivatecollection. Casanave has taught master classes on the portrait, human figure, the creative process, and lensless photography for many national workshop programs. She teaches regularly at Cabrillo College in Santa Cruz, CA, and at Monterey PeninsulaCollege. JaneOlin Artist Statement My photographs always begin with a question or some curiosity that arises within me. In more than 30 years,Ihaverarelyphotographedtheexternalworldforitsownsake,butfortheways inwhichithelps to reveal subconscious processes and evoke meaning. I generally focus on a single subject in a related seriesofimages,whichallowsmetohoneinontheheartofwhatIamafter.Ialsohaveacontemplative awareness practice that is of central importance to me, and which guides and enhances my working methods and myoutput. As an artistwhohas alwayslikedtoexperiment,Ifindthatpushingtheboundariesofwhat ispossible with both camera and darkroom techniques motivates my best work. I photograph with film and sometimes use a pinhole or Holga camera for making images. I love the darkroom process and take advantageofeverytooland techniqueatmy disposal. Playing with exposure, focus, and a wide variety of photographic chemicals, I embrace creative accidents, and willingly abandon rules of darkroom procedure, with the intention of expressing a distinctive vision by whatever method seems right. I sometimes print my gelatin silver pieces digitally, but only afterdarkroom work is completed. Bio Olin has lived and worked as a photographer in California’s Monterey Bay area for more than25 years. LivingattheepicenterfortheWest Coastphotographymovement,shelearnedtheskillsofstraight

5. photographyandthetenetsofthehistoricGroupf/64fromtheassistantsandstudentsof AnselAdams. She participated in workshops with prestigious photographers, including Ruth Bernhard, John Sexton, Joyce Tenneson, Brian Taylor, Martha Casanave, Holly Roberts, and Christopher James, which enriched and broadened herperspective. Olin has traveled widely and, of all countries she visited, Japan had the most profound impact. Its aesthetics and its Zen Buddhism resonated deeply, particularly its emphasis on beauty found innature, in simplicity, the imperfect, the transient, and in the values of grace and subtlety, which all suited her well. She maintains a mindfulness practice today, and present moment awareness is imbedded in her photographicprocess. Although subtle influences from straight photography remain, Olin has developed a distinctly personal vision. She works in series of related images, a practice that allows for extended explorations of her subject.An adventurer,sheenjoysexperimentingbothincameraandinthedarkroom. In her previous bodies of work, “Greta and Thirteen Crows,” Olin’s unconventional handling of her pinhole camera and darkroom enlarger challenged traditional expectations of focus and exposure. Her recentseriesofabstractions,“Site/SightUnseen,” arosefromanunfixedprintmistakenlyoverlookedin the darkroom sink. When rediscovered, its unexpected beauty prompted a new way of working, in which process rather than a preconceived idea tookprecedence. Pushing the boundaries of analog photography, Olin purposely pours, sprays, and drips chemicals onto her exposed gelatin silver paper, manipulating and closely monitoring changing effects using intuition and an alchemist’s attention to detail. These one-of-a-kind silver gelatin images are enlarged and printed using the digitalprocess. Olin continues to innovate in this vein, experimenting with new subjects and approaches as herlatest and still-evolving tree project, “IntimateConversation,” clearly reveals. Robin Ward ArtistStatement The images in “Echoes from a Future Past” are playful examinations of the enigmatic nature of reality and thequirkyessenceoftimeandspace.Inthiswork,Iblendtogetheroriginalphotographsofnature, architecture and artifacts to portray hybrid spaces and to experience intermingling realities. I layer unexpectedjuxtapositionsincolorandblackandwhitetoalludetoinfinitepossibilities. Each composite renders pure states captured in close proximity. I am influenced by the Surrealist ideas of uniting distant realities to create a new one and the play of thought where an image is a pure expression of themind. Bio

6. WardwasborninAtlanta,Georgia,whereshedevelopedalifelonghabitof spendingtimeinnature.Her first creative effort was painting, then poetry and ultimately photography, a medium in which she could blend the other two endeavors. Ward discovered her love of photography at the University of North Carolina, Charlotte, where she received a bachelor’s degree in English. She continued her photography studies by participating in various workshops, including Brooks Institute of Photography and the Center for Photographic Art where she served as a Trustee from 2010-2016. In November 2017, she received her remote pilotcertification. Robin is a member of Salon Jane, Image Makers of Monterey, and San Diego Made. She has received several international awards, including International Photography Awards and Black & White Spider Awards andexhibitedherworkinnumerousgalleriesandmuseums, includingTritonMuseumofArtand Museum ofMonterey. Robin V.Robinson Artist’sStatement Robin V. Robinson explores mystery and metaphors found in all forms of life, but focuses especially on the way we look at the planet and ourselves. She is fascinated with the idea of seeing but not knowing and thefeelingswhichresultwhenlookingatsomethingimpossibletocomprehend—whenone’smind fillsinthe blankswithblindreasoningandunconscious associations. Grounded in the darkroom, Robinson embraces the element of chance in creating images: “My time in thedarkroomisfullof‘what-ifs.’Iusetheexperimentalnatureofchemistrytoexplorepathwayswhich aremagical, alchemicalinfeeling,transformationalintheend.Thistypeofplay andchancearewhatI loveabouttheanalogphotographyprocess,nottomentionasatisfyingoriginalprint.” Robinson’s newest work is based on ideas about the human species and the relative permanence ofthe earth,withquestionsaboutourbrieftimehere.Thisunique momentontheplanetisunsettlingand desiresperspective.Robinson’simagesprovideintimatesuggestionsofourplace inthisliminalstate. Ongoing work includes in-water images evoking curiosity about the ocean’s deep landscape, howit relatestodryland,andwhatis“normal”forhumanbeings,now andinourrapidlychanging environment.Robinson’s“Surfacing”series exploresthetensionwefeelonthewaterandinlife,onthe edgebetweenwhatis above andbelow,betweentheknownandunknown. Bio Robinson is a fifth-generation California central coast native residing in Carmel. Employing mainly darkroom-based processes, her images convey meaning through suggestion, feeling, andmetaphor. Mentors have played the most important role in Robinson’s artisticdevelopment. She has studied, lived andworkedwithWestCoastphotographersontheMonterey PeninsulaandintheBayAreaforover20 years. Robinson also studied photography at City College of San Francisco and Foothill College.Her

7. degrees in engineering and music from Cal Poly San Luis Obispo and Stanford University and her personalstudiesofdepthpsychology contributetoherdistinctivestyleof seeingandcreatingart. Robinson actively exhibits and presents her work and has received top awards in international photographic competitions. She was awarded “Best Photography” in the Monterey Museum ofArt Biennial 2005,whereherwork isinthepermanentcollection.Sheisalsointhecollectionsofthe Bibliotheque Nationale de France and the Mariners’ Museum in Virginia. She is a past board memberat theCenterforPhotographicArtandisaboardmemberoftheMontereyFriendsofC.G.Jung. Susan Hyde Greene Artist Statement AsIbecame aware thatthehistoryofartisthehistoryofpeople,Isawthatit ispossibletobringpeople together through the language of art. Following the tradition of women using stitches to create, mend, and heal, myquietpicturesportraythefragilewonderandmiraclethatisourworld.Throughphotoscut apart and fractured pieces stitched back together, they offer hope that humans will come together, assuring succeeding generations a healthy, peaceful, safe, and breathingworld. Bio I studied photography, textiles and art history, receiving a Bachelor of Fine Arts degree from the UniversityofUtah,Manoa.WhilecompletingmyMasterofFineArtsdegreeattheUniversityofUtah,I was awarded a Graduate Research Fellowship Award as well as selected for membership in Phi Kappa Phi.Additionally,IreceivedaMasterofSciencedegree inSpecialEducationfromDominicanUniversity inordertodevelopmethodsofmakingartaccessibletoallpeople. ItaughtartinschoolsandprogramsthroughoutMarin County,California,whereIfoundedVerySpecial Arts Marin with Youth in Arts in addition to Art Pals, an arts program pairing school children with isolatedseniors.ItaughtartattheUniversityofUtah,SantaClaraUniversityandNapa ValleyCollege. As an access advisor for the Fine Arts Museums of San Francisco, I led workshops inspired by current exhibitions from 1996-2015. I have been the fortunate recipient of several awards and grants, including a Marin Arts Council Individual Artist grant forphotography and First Place in the 2013 and 2015 Carmel, CA Center for Photographic Art International JuriedExhibition. My work is represented by Smith Andersen North, San Anselmo, California and Green Chalk Contemporary, in Monterey. Works are included in private and public collections, including Adobe Systems, The Institute of Health and Healing Pacific Medical Center, San Francisco, Bread and Roses, Corte Madera, California, Smith Andersen North, The Victoria and Albert Museum, London, UK, as well astheUniversityofUtah and theUniversityofHawaii.

8. Recently, my pieces have been exhibited at Green Chalk Contemporary, Smith Andersen North, Triton Museum of Art in Santa Clara, California, The Carl Cherry Center, Carmel, Center for Photographic Art, Carmel, and Rayko Photo Center, SanFrancisco. Personal interests include the ballet, music, spending time with my family and the out of doors. My husband andIflyfishandhikeinthemountainwestinthe summer andwelovetotraveltoasmany new and different places aspossible. ABOUT THE MONTEREY MUSEUM OFART TheMontereyMuseumofArt(MMA)wasestablishedin1959toupholdtheartisticlegacyoftheregion by collecting, preserving, and presenting the art of California and the Central Coast.The only nationally accredited museum between San Jose and Santa Barbara, the MMA’s goal is to expand a passion for the region’s visual arts—past, present, and future. Exhibitions and programs are designed to demonstrate California’svibrant,diversespirit,andtoinspire,engage, andconnectartandcommunity. Visit montereyart.org for public programming opportunities and guidedtours. Monterey Museum ofArt 559 Pacific St., Monterey, CA93940 (831)372-5477 http://www.montereyart.org Contact: Marci BraccoCain Chatterbox PR Salinas, CA93901 (831)747-7455 http://www.montereyart.org