Sarah Van Keuren majored in art history at Swarthmore College, studied printmaking for five years at the Philadelphia College of Art as a non-matriculated day student, and received an MFA in Photography from the University of Delaware.
Since 1980 she has taught non-silver printmaking processes at the University of the Arts where she is now an adjunct professor.
Van Keuren received the Lindback Award for Distinguished Teaching at UArts in 2003 and was Honored Educator at the Regional Society for Photographic Education in 2002. She's had four Venture Fund grants from UArts assisting her in the creation of A Non-Silver Manual, now in its 3rd edition, two Artist Fellowships from the Brandywine Workshop and a Pennsylvania Council on the Arts Fellowship in Photography. She has taught workshops across the U.S. and in Finland.
Schmidt-Dean Gallery in Philadelphia represents her work. She had a show through Schmidt-Dean at the Philadelphia International Airport January-June 2008, a show at Schmidt-Dean in 2006, and has had two solo shows in previous years at Swarthmore College, two in Finland, one at Hollins University and various others including a Challenge Exhibition at the Fleisher Arts Memorial in Philadelphia in 1986.
Most recently Van Keuren was part of a UArts exchange exhibition in Lorca, Spain. In 2009-2010 she was part of a travelling pinhole show in Poland called American Metaphor. In 2009 she was shown in the Third Woodmere Triennial of Contemporary Photography. In 2008 she was in a group exhibition at The Free Library in Philadelphia titled When Printmaking and Photography Collide. Recently she was invited to create an edition of 50 ‘donor prints’ for The Print Center in Philadelphia. For 5 years until it closed, her work was carried by John Stevenson Gallery in Chelsea, NYC and she was included in various group shows there. She has participated in numerous prestigious juried exhibitions over the years.
Van Keuren’s work has been reproduced and written about in various books and periodicals, most recently in the of The Book of Alternative Photographic Processes, 2nd edition by Christopher James 2008, Pinhole Photography, 4th Edition by Eric Renner 2008, Le Sténopé de la Photographie sans Objectif by Jean Michel Galley 2007 and a Chinese Photography magazine, Photography 1, 2006. A monograph on her pinhole photography was published by the Pinhole Journal in 1997.
Prints by her can be found in public collections at The Free Library of Philadelphia, The State Museum of Pennsylvania, Harrisburg, the Bryn Mawr College Library, The National Museum of American Art (Smithsonian), and the Philadelphia Museum of Art. She has prints in the private collections of Hope Proper, Jerome Goodman, and Graham Nash, among others.
Sarah Van Keuren
November 20, 2010
Nowadays, with a small digital camera at hand most of the time, I am alert to the people and the world around me as revealed by light. I know when the decisive confluence of light and face, or light and landscape, is before me. Each step of the way — from the making and editing of photographic images, to the production of large negatives, to the brushing onto rag paper of gum bichromate and cyanotype layers of color — is a matter of sensibility. There is a touchstone, in my case somewhere between the heart and the gut, that says yes to this and no to that. By means of a long series of choices, at least partially grounded in the unconscious mind, I have arrived at the body of my work.
It would satisfy me if my images gave brief respite to the world-weary viewer.
Class Schedule, Spring 2013
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