keith@keithfishman.com, www.keithfishman.com

SOLO AND SELECTED TWO PERSON EXHIBITIONS

2010 (January\forthcoming) New Work, epilog book release, Caruso Woods Gallery, Santa Barbara, California

2009

“epilog, a visual dialog corroborating the commencement of healing", The Katrina Research Center,

The University of Southern Mississippi, Long Beach, Mississippi

(The final third, of three connected bodies of work, although exhibited independent of one another,

chronicling a ravaged Mississippi beginning 36 hours post-Katrina through 2009.)

2009

“The Mississippi Suite” The Katrina Research Center, The University of Southern Mississippi, Long

Long Beach Mississippi

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"Revisiting silent witness"

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“southern discomfort” a state in and of chaos . year II”

2006

"silent witness" The University of Southern Mississippi, Museum of Art, Hattiesburg, Mississippi

2006

"silent witness" The Arts Fund Gallery, Santa Barbara, California

2004

"TOGETHER/alone" Keith Fishman & Joan Almond, Staton Greenberg Gallery, Santa Barbara,

California

2001 "keith fishman carbon prints" Caruso/Woods Fine Art, Santa Barbara, California

SELECTED GROUP EXHIBITIONS

2007 "Made In Santa Barbara", The Santa Barbara Museum of Art, Santa Barbara, California

2006

"Point. Click. Laugh!: Humor in Photography" The Jewish Federation of Greater Santa Barbara,

Santa Barbara, California

2005 “Carte Postal” The Arts Fund Gallery, Santa Barbara, California

2005

"Invisible Means of Support" The Fielding Institute, Santa Barbara, California

2005 "Mexico" Staton Greenberg Gallery, Santa Barbara, California

2004

"Red" Contemporary Arts Forum, Santa Barbara, California

2003

"The Gift Show" Staton Greenberg Gallery, Santa Barbara, California

2003 "Bloom" Staton Greenberg Gallery, Santa Barbara, California

2003

"Modern Heart" Contemporary Arts Forum, Santa Barbara, California

2003

"Coasts" Staton Greenberg Gallery, Santa Barbara, California

PRESENTATIONS, LECTURES & ARTIST TALKS

2008 May 15

Artist Talk, ‘southern discomfort', The Mississippi Suite exhibition, Opening Reception

with the Artist, The University of Southern Mississippi, Long Beach, Mississippi

2006 October 5

Lecture, “The Media, Non-disclosure and Insulation Mapping.” The University of

Southern Mississippi Museum of Art, Hattiesburg, Mississippi

2006 August 29

Lecture & Panel Discussion, “silent witness: Mississippi in the wake of Katrina.”

The University of Southern Mississippi Museum of Art, Hattiesburg, Mississippi

2006 April 11

Presentation, “silent witness—in the wake of Katrina”, A selection of images and

talk with Keith Fishman, The Santa Barbara Museum of Art, Santa Barbara, California

2006 April 2

Keynote Speaker, “Continuing the Dialogue of Katrina: Mississippi, the forgotten.”

Arts Fund Gallery Gala, Santa Barbara, California

2006 April 1

Artist Talk, ‘silent witness’ exhibition, Opening Reception with the Artist, The Arts

Fund Gallery, Santa Barbara, California

2005 November 12 Lecture, “New Methodology for a New Century.” PhotoFutures, Santa Barbara

Museum of Art, Santa Barbara, California

2004 February 29

Artist Talk, “From Silver to Silicon,” ‘TOGETHER/alone’ exhibition, Staton Greenberg

Gallery, Santa Barbara, California

2001 November 5

Artist Talk w/Ray Carafano & Larry Wiese, “Land: Perspectives of California”, ‘Land’

exhibition, Staton Greenberg Gallery, Santa Barbara, California

2001 January 3

Artist Talk, ‘keith fishman carbon prints’ exhibition, Caruso/Woods Fine Art, Santa

Barbara, California

SELECTED PUBLICATIONS, REVIEWS, INCLUSIONS & PRESS

2009 TBD

feature, Color Magazine

2009 September epilog, a visual dialog corroborating the commencement of healing, book containing 75

plates chronicling the last year of the Mississippi Suite

2008 March

“Katrina in Black and White” Front Page Spread, The Sun Harold, Biloxi, Mississippi

2007 July

Made in Santa Barbara, Santa Barbara Museum of Art Exhibition Catalog, p.39

(black and white reproductions)

2007 January “Keith Fishman Gives Back", The Hattiesburg American, Haittiesburg, Mississippi

2006 December “Acclaimed Photographer Donates Photos to Katrina Research Center” Around Southern

Mississippi, Hattiesburg, Mississippi

2006 July

Sunday Evening News, CBS 12 KCOY Santa Maria and the California Central Coast. Live

in studio with Amy Hopkins, one of the individuals whose portrait and story are part of

“silent witness.”

2006 April

Silent Witness: Hurricane Katrina, Black & White Magazine, Issue 42, pp. 32-49

(cover feature; black and white reproductions)

2006 April

“Keith Fishman Witnesses Silently” Cover Story, The Santa Barbara Independent, Santa

Barbara, California

2004 January

“Real Life Dialogue” The Santa Barbara News Press, Santa Barbara, California

2001 December “Either Or: Keith Fishman Carbon Prints” The Santa Barbara Independent, Santa Barbara,

California

2001 November Spotlight: Keith Fishman, Black & White Magazine, Issue 16, p.106-109

(black and white reproductions)

SELECTED PUBLIC & PRIVATE COLLECTIONS

Katrina Research Center Archive, Long Beach, Mississippi

Page Imageworks. Tony, Merillee. San Francisco, California

Rasmussen, Henry. Founder and Editor, Black and White Magazine & American Painter

Santa Barbara Museum of Art, Santa Barbara, California

Staton Greenberg, Santa Barbara, California

Stein, Howard. White Plains, New York

Sinsheimer, Karen. Curator of Photography, The Santa Barbara Museum of Art, Santa Barbara, California

The Arts Fund Gallery, Santa Barbara, CA

The Center for the Arts, Escondido, California

The Mead Museum of Art, Amherst, Massachusetts

The Shuman Collection. Alfred, Stephanie. New York, NY

The Vernon Collection. Leonard, Marjorie. Pasadena, California

The University of Southern Mississippi Museum of Art, Hattiesburg, Mississippi

The School of Mass Communication and Journalism, The University of Southern Mississippi, Hattiesburg,

Mississippi

Wride, Tim. Executive Director, The No Strings Foundation and former Asst. Curator of Photography at the

Los Angeles County Museum of Art (LACMA), Las Angeles, California

Numerous Additional Private Collections

EDUCATION

2009

M.A. Communication w/ concentrations in Photojournalism and Mass Communication, University of

Southern Mississippi at Hattiesburg

1977

B.F.A., University of Hartford/ The Hartford Art School

K-12 CT Teaching Certificate in Art

TECHNICAL/COMPTUER SKILLS

Fluent in both Mac and P.C. operating systems, Adobe Photoshop CS, Adobe Lightroom, Adobe Bridge,

Aperture, Iphoto, Nik Sharpener Pro, Nik Dfine, Ergosoft Studio print, Color GPS, Colorbyte Image print,

Quadtone Rip, Piezography, Wacom Intuos and Cintique Tablets, GretagMcbeth Eye OnePhoto,

Xrite spectrophotometers, Imacon, Flexcolor

ACADEMIC EXPERIENCE

2008 University of Southern Mississippi at Hattiesburg, Hattiesburg, Mississippi

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Introduction to Digital Photography

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Digital and Analog Theory, from procedure to workflow

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History of Photography and the Evolution of the Latent Image

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When Propaganda Became Art, The Farm Security Administration Act of 1931

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Images constructed in the minds eye; Imprints are images printed from the minds eye

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Color Management, ICC Profiles, Monitor Calibration, Spectrophotometers,

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Interpreting the Language of a Visual World (i.e. when light becomes a noun, texture an adjective

and verbs are frozen still)

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Introduction to a Hybrid Approach to Printmaking

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Alternative Processes Cross-Pollinated with Photoshop

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Theoretical Perspectives in the new Silicon Age

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Crafting the Fine Digital Print

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Developing of a Cohesive Body of Work: graduate critique, lab, field, classroom, museum, studio,

gallery, and web

2007 Santa Barbara City College, Santa Barbara, California

PROFESSIONAL BACKGROUND

1993 – Present Keith Fishman Photographs

Photography never took a back seat to any of the projects I may have been working on while

running a company or consulting. Any day, any time, any place, cameras were never beyond an

arm’s length. 1993 marked the beginning of my journey into the digital world of fine art

photography.

I assisted in the beta-testing and early development of a hybrid approach to photography

commingling both digital and analog technologies that resulted in printed images suggesting a

painterly quality. Digital technology of today extends the dynamic range of an image’s tonal

spectrum, resulting in remarkably rich prints that capture detail in the shadows while preventing the

highlights from becoming specular. This new technology opens the window to new possibilities in

print making, while revitalizing alternative processes (platinum palladium, gum bichromate, etc.)

which, prior to digital, were inconsistent and unstable in addition to requiring toxic chemistry and

unorthodox methods. In many cases, these processes had fallen by the wayside with the shift in

printmaking to silver gelatin in the early 1900s.

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Participated in the development and refinement of carbon pigment-based grayscale or

monotone ink sets, which replaced the dye-based inks used by inkjet printers. This

allowed for the first time black and white prints to be produced at least partially by digital

workflow, which exposed the unrevealed potential locked within film and files, and allowed

photographers and artists to make beautifully crafted, expressive photographs digitally in

black and white.

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Developed Raster Image Processor (RIP) software that allows the artist full control over

every jet used by the printer. This includes adjusting the amount of ink spray, density,

linearization color or tonal crossover algorithms, and dot gain, thus, allowing these to

become controllable, measurable and, most importantly, repeatable. Each paper, printer,

and ink set has its own custom produced profile, a correction curve adjusted for each

combination of device and media. The development of this software bore a new relational

language for photo printing.

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Resulting prints have greater dynamic range, archival stability and, in many cases, are

equal to or in excess of a properly fixed and washed silver gelatin print.

This new technology was introduced in the 2001 gallery exhibition entitled "keith fishman carbon

prints" at Caruso/Woods Fine Art in Santa Barbara, California.

2005 – Present

Recruited to document hurricane Katrina’s aftermath in Mississippi. Produced three distinctly

different observations of a state in trauma, transition and recovery. This work contributed to the co-

mingling of fine art photography and photo journalism through a national well-known platform.

2000 – 2004

In 2000, I played a major role in developing and bringing to Santa Barbara The Staton Greenberg

Gallery. The Howard Greenberg Gallery in New York has been considered by the most astute and

respected critics as having, perhaps, the finest private holding of photographs in the World. It owns

the entire Time Life Archive and retains an inventory as wide as it is deep. The Staton Greenberg

Gallery became the perfect complement to the Santa Barbara Museum of Art for vintage and

museum quality fine art images in Santa Barbara.

1982 – 2003 The M.I.I. Group, Agoura Hills, California

A product design, development, manufacturer and marketing agency of private label and

promotional hard goods for department and specialty stores, premium and luxury brand vendors

and retail, and a select group of Fortune 500 companies and brands.

Significant Partnerships

MoMA Collection, The Museum of Modern Art NY – Awarded exclusive licensing rights to design

and distribute product for The Museum of Modern Art Design Store and Catalog (MoMA) in

Manhattan, New York.

Waterford Crystal - Secured exclusive rights to create, design, and distribute throughout North

America a line of writing instruments in partnership with Waterford Crystal.

SafeMoYHV In partnership with international, Chicago headquaterd ageny,

Kobs and Draft, Draft direct worldwide, Howard Draftt

stablished a partnership with the California non-profit organization SafeMoves that

educates and advocates bicycle safety for young adults. We are credited with inventing a low-

priced and innovative bicycle helmet that utilized a high intensity removable light strip mounted on

the rear tail of the helmet. It sold both in traditional retailers such as ToysRUs, as well as through

direct response mail with Advo, Sports Illustrated for Kids, and Hannah Anderson Catalog. All

profits were donated to SafeMoves, as were the rights to the design and ownership of the helmet

itself.

Divisions of M.I.I.Group

Comprised of four semi-autonomous divisions throughout Southern California each run by a

division president reporting directly to me. New York City, Hong Kong, Taiwan, and Guangzhou,

China were home to additional satellite offices.

Each of the following four divisions each played and marketed to a distinctly different client base:

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Operational direction: Design, development, sales, and marketing of custom-made

private-label hard goods

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Carried no inventory and sold product concepts utilizing hand made product models,

prototype tooling, and artist rendered industrial design drawings.

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Utilized digital technology as an in-house service: included virtual samples with

accurate size, color and texture as two and 3 dimensional digital renderings.

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Included a full graphics support team with all creative processes maintained in-house

under my supervision.

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Acquired one of the first Phase 1 digital backs for a 4x5 view camera.

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Operational direction: Responsible for import logistics, sourcing, quality control, and

contract manufacturing oversight.

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Originally based in Taiwan, the procurement and delivery division supporting the other

three divisional companies under the M.I.I umbrella.

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Operational direction: Established to leverage the manufacturing and design

work being produced by Marketing Innovations International.

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Marked entrance into the Advertising Specialty Industry

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Included maintenance of stock inventory, production of a bi-annual catalog and

aggressive marketing through print, direct response and web-based collateralization.

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As of fiscal year-end 2006, revenues exceeded $15 million.

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Operational direction: Intended to cross-pollinate the writing instrument with

the whimsical success of Swatch, Nike, La Gear, and Banana Republic etc.

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Reinvented the pen by adding colorful graphics and cloisonné clip each

packaged in a Lucite display box manufactured in limited editions w/ serial numbers

etched into the core of the metal.

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Launched ClipArt at FAO Schwartz in New York. Within 6 months, ClipArt was in 1200

stores throughout the world including DFS (Duty Free Stores) around the globe.

1996 - 1999

Designed the logo and brand equity collateral for Lone Wolf Cigars and Lounges & invested in

partnership with an esteemed group of investors including Chuck Norris and Jim Belushi upon its

inception in the mid-1990s.

1981 – 1983 Perfect Exposure, Kennebunkport, Maine

Established one of New England's first art galleries devoted exclusively to the exhibition and sale of

contemporary and vintage fine art photography.

1978 – 1981 Stamford Public School System, Stamford, Connecticut

Instructed a fine arts foundation curriculum to a diverse ethnic and social population of students.

MEMBERSHIPS & BOARDS

2007 – Present, Katrina Research Center, University of Southern Mississippi

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Fine Arts Advisor in Residence

1997 – Present, Santa Barbara Museum of Art

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Chair of Fine Arts Programming for PhotoFutures

1998 – 2000, f/nine Photography Group