CFA Unit: Art

Spring Reception, Saturday, March 22, 2025, 3:00-6:00 pm

Professor Meggan Gould, who teaches photography within the Department of Art at UNM and serves as the Associate Dean of Research, is a contemporary photographer whose work often explores the rhetorical, semiotic, and material ways in which photography and its tools—namely, cameras—have been socially constructed. She places under the lens facets of camera technology that usually reside comfortably outside the resultant image—the varying structures and functions of viewfinders, film frame counters, and camera icons—questioning the particular ways in which these seemingly natural and neutral attributes shape the photographer, and the medium itself.

During the creation of her series “7 Pictures Remaining,” the artist’s images of camera counters took on a surprising new dimension when she discovered that many of the cameras documented contained rolls of undeveloped film. Gould opened nearly all the cameras in the collection and discovered hundreds of never-before-seen images residing within. This yielded fascinating discoveries and intimate moments connecting cameras, and former camera owners, to their images, effectively operating as a “shadow archive” within the California Museum of Photography (CMP) technology collection. A selection of prints made from these anonymous images are presented alongside Gould’s own work, attributing personal histories and biographies to these otherwise mute objects.

Spring Reception, Saturday, March 22, 2025, 3:00-6:00 pm

Professor Meggan Gould, who teaches photography within the Department of Art at UNM and serves as the Associate Dean of Research, is a contemporary photographer whose work often explores the rhetorical, semiotic, and material ways in which photography and its tools—namely, cameras—have been socially constructed. She places under the lens facets of camera technology that usually reside comfortably outside the resultant image—the varying structures and functions of viewfinders, film frame counters, and camera icons—questioning the particular ways in which these seemingly natural and neutral attributes shape the photographer, and the medium itself.

During the creation of her series “7 Pictures Remaining,” the artist’s images of camera counters took on a surprising new dimension when she discovered that many of the cameras documented contained rolls of undeveloped film. Gould opened nearly all the cameras in the collection and discovered hundreds of never-before-seen images residing within. This yielded fascinating discoveries and intimate moments connecting cameras, and former camera owners, to their images, effectively operating as a “shadow archive” within the California Museum of Photography (CMP) technology collection. A selection of prints made from these anonymous images are presented alongside Gould’s own work, attributing personal histories and biographies to these otherwise mute objects.

Spring Reception, Saturday, March 22, 2025, 3:00-6:00 pm

Professor Meggan Gould, who teaches photography within the Department of Art at UNM and serves as the Associate Dean of Research, is a contemporary photographer whose work often explores the rhetorical, semiotic, and material ways in which photography and its tools—namely, cameras—have been socially constructed. She places under the lens facets of camera technology that usually reside comfortably outside the resultant image—the varying structures and functions of viewfinders, film frame counters, and camera icons—questioning the particular ways in which these seemingly natural and neutral attributes shape the photographer, and the medium itself.

During the creation of her series “7 Pictures Remaining,” the artist’s images of camera counters took on a surprising new dimension when she discovered that many of the cameras documented contained rolls of undeveloped film. Gould opened nearly all the cameras in the collection and discovered hundreds of never-before-seen images residing within. This yielded fascinating discoveries and intimate moments connecting cameras, and former camera owners, to their images, effectively operating as a “shadow archive” within the California Museum of Photography (CMP) technology collection. A selection of prints made from these anonymous images are presented alongside Gould’s own work, attributing personal histories and biographies to these otherwise mute objects.