Michael Fried, in his 2008 book Why Photography Matters as Art as Never Before, argues that photography matters as "art," more so now since the emergence and appreciation of the work of Jeff Wall, Thomas Ruff and others.  But where in the process of making art does a piece become a "photograph" or cease to be one, and does it really matter? 

The artists in EXPOSED all utilize the photographic process in very divergent ways to produce objects that, admittedly, could be labeled photographs.  But does that label mean anything any more? 

The artists in EXPOSED have altered, stretched and, literally, pulled the process of photography apart to make it serve their purpose to create compelling and complicated images and objects.  Ellen Carey and Amanda Means utilize the Polaroid process to achieve completely different outcomes.  Nikki Johnson and John Coplans use the photograph in its least altered form as a means to document their intimate selves.  Chris Twomey and Jane Fire merge varied processes to comment on our shared desires.  Gwenn Thomas and Jeanne Wilkinson confound our bias and expectations by creating pieces on canvas incorporating their own photographs.

EXPOSED set out initially to reveal the common thread in very different artworks where photography has a role or reference - hoping to identify some photo-trinsic aspect or reaction that would emerge to replace the "photograph" label.  This proved impossible and also fell into the label making trap that caught Fried.  In response, each artist has instead prepared a statement exposing their inspiration, sometimes including a photograph or the process, and how it informs their creative outcome.