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For fine art prints and general inquiries, please contact:
Donna Bassin
dibassin@gmail.com
+1.201.306.5550
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Donna Bassin is a Brooklyn-born, New Jersey–based photo artist, filmmaker, writer, and clinical psychologist whose work is shaped by decades of practice as a trauma therapist. Through long-term, research-driven projects, she examines post-traumatic stress, racism, social injustice, moral injury, and environmental destruction, asking how images can bear witness to rupture while opening space for ethical repair.
Trained in art therapy at Pratt Institute and initially working as a hand-built clay artist, Bassin learned early that trauma leaves marks—on bodies, psyches, and the materials we touch and shape. Her photographs make those marks visible: burned, torn, sutured, or reinforced with gold tape. These interventions do not conceal damage but make loss legible, insisting that repair begins with acknowledgment.
Collaboration and community are central to her practice. As co-creator of Frontline Arts, Bassin worked with military veterans to transform their uniforms into handmade paper. This collective process culminated in the installation By Our Own Hand at the Montclair Art Museum in New Jersey. Such projects extend her studio practice into shared acts of mourning, testimony, and repair.
Guided by psychoanalytic theory and Japanese traditions, including kintsugi and calligraphy, Bassin approaches imperfection as a site of meaning rather than failure. She also works in film, creating short art films and directing two award-winning documentaries, Leave No Soldier and The Mourning After.
Her photographs, essays, and interviews have appeared in Tricycle, Lenscratch, Analog Forever, and Overlapse’s Stir the Pot. She received a 2024 Puffin Foundation Artist Grant and a 2021 New Jersey State Council on the Arts Fellowship, and was named a Critical Mass Top 50 photographer and Finalist from 2022–2024.
She has had four solo museum exhibitions, including Portraits of the Precarious Earth at the Newport Art Museum, Rhode Island, and Interwoven: Rupture and Repair at the Morris Museum, New Jersey. Her work is held in public and private collections.
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1978 - A Children's Orientation to Psychiatric Hospitalization
By Donna Bassin, Ph.D.
The Mourning After
Writer and Director: Donna Bassin, Ph.D.
Producer and Editor: Jamie Thalman
Production Assistant: Chad Mooney
An Interview with:
Michael Blake, David Cline, Maurice Decaul, Diane Carlson Evans, Stan Goff, Stuart Kestenbaum, Edie McCoy-Meeks, Artie Muller, Abbie Pickett, Ward Reilly, Garett Reppenhagen, Fred Twombly, Eli Wright, Donna Bassin, Ph.D., Ghislaine Boulanger, Ph.D., Martha Bragin, Ph.D., Sue Grand, Ph.D., Lynne Layton, Ph.D., Thomas McGoldrick., Ph.D., Joyce Slochower, Ph.D., Nina K. Thomas, Ph.D.
One doesn’t heal from war; one learns to surrender to its complicated traumatic impact. As veterans struggle with their losses, they have found ways to address and work through the moral injury and PTS with which they contend. They witness their losses via engagement in community activism, memorializing rituals, and acts of artistic and poetic creation. The Mourning After, a sequel to the award-winning documentary, Leave No Soldier, follows the efforts of some veterans to transform themselves and their communities from bystanders to attuned witnesses of the consequences of war. A round-table discussion by senior psychoanalysts, experts in the dynamics of traumatic mourning, illuminates the therapeutic action embedded in these restorative and redemptive activities. The Mourning After provides clinicians with a deeper understanding of the mental health needs of our returning service personnel and their families. It enriches contemporary psychoanalytic theories of catastrophic grief and mourning.
1-HOUR 12-MINUTES TOTAL
Psychoanalytic Electronic Publishing
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TRAILER
Education
PRATT Institute
International Center of Photography
Professional Affiliations
President of the Board of Directors: New Jersey Combat Paper Project and Frontline Arts
Assistant Professor of Art Therapy, PRATT Institute
Film and Video
2016 - 2015\t\t\tThe Mourning After, Documentary, PEP Video
2014\t\t\t\t\t\tLeave No Soldier (edited), Documentary.
\t\t\t\t\t\t\t\tDirector and Producer. (R.T 53 minutes)
2008 Leave No Soldier, Documentary. Director and Producer. ShrinkWrap
\t\t\t\t\t\t\t\tProductions. (R.T 83 minutes) Screenings include:
\t\t\t\t\t\t\t\tFilm Festivals (See awards), The International Federation For
\t\t\t\t\t\t\t\tPsychoanalytic Education, The Stephen Mitchell Center for Relational
\t\t\t\t\t\t\t\tPsychoanalysis in conjunction with the Creative Arts Therapy Graduate Program
\t\t\t\t\t\t\t\tat Pratt Institute, The American Association for Psychoanalysis in Clinical
\t\t\t\t\t\t\t\tSocial Work National Conference, The Massachusetts Institute for
\t\t\t\t\t\t\t\tPsychoanalysis, The American Psychological Association Division 39 Spring
\t\t\t\t\t\t\t\tConference, IARPP International Conference in Tel Aviv and The Chicago
\t\t\t\t\t\t\t\tAssociation for Psychoanalytic Psychology
2004 Dollhouse, Recipient of Experimental Television Center Finishing Fund Grant
2003\t\t\t\t\t\tDollumentary: The Origins of Dolls, Montclair Art Museum, Montclair, NJ
1978\t\t\t\t\t\tBuddy and the Monster: A Children’s Orientation to Psychiatric Hospitalization
Solo Exhibitions
2004\t\t\t\t\t\tPlaying Around, Pierro Gallery, South Orange, NJ
\t\t\t\t\t\t\t\tMemories: Ascending/Descending, Montclair Art Museum, Montclair, NJ
2003\t\t\t\t\t\tThe Afterlife of Dolls, Montclair Art Museum, Montclair, NJ
Group Exhibitions
2018\t\t\t\t\t\tArmistice Day 2018, Puffin Cultural Forum – Frontline Arts, Teaneck, NJ
\t\t\t\t\t\t\t\tCall & Response: The Art of Listening, 1978 Maplewood Arts Center, Maplewood, NJ
\t\t\t\t\t\t\t\tNatural Encounters, N.Y. Photo Curator – Global Photography Awards
\t\t\t\t\t\t\t\tViewpoints 2018, Studio Montclair, Montclair, NJ
2017\t\t\t\t\t\tArt Connections 13, George Segal Gallery, Montclair State University, Montclair, NJ
\t\t\t\t\t\t\t\tStreet Photography, Blank Wall Gallery, Athens, Greece
2016\t\t\t\t\t\tTrois Poissons in a Big See, Sterling Sound, New York, NY
\t\t\t\t\t\t\t\tViewpoints 2016, Aljira: a Center for Contemporary Art, Newark, NJ
\t\t\t\t\t\t\t\tArt Connections 12, George Segal Gallery, Montclair State University, Montclair, NJ
2015\t\t\t\t\t\tMirrors of the Mind 4: The Psychotherapist as Artist, Art Share LA, Los Angeles, CA
2008\t\t\t\t\t\tThe Spontaneous Gesture Realized, The Rubelle and Norman Shafler Gallery, Brooklyn, NY
2007\t\t\t\t\t\tShame, Redsaw Gallery, Newark, NJ
2006\t\t\t\t\t\tOh You Beautiful Doll, Andrea Meislin Gallery, New York, NY
2005\t\t\t\t\t\tExposed, Pierro Gallery, South Orange, NJ
\t\t\t\t\t\t\t\tTruth, Gallery 214, Montclair, New Jersey
\t\t\t\t\t\t\t\tAlmost Human: Dolls and Robots in Contemporary Art, Hunterdon Art Museum, Clinton, NJ
2003\t\t\t\t\t\tThree Twins, The Arts Guild of Rahway, Rahway, NJ
\t\t\t\t\t\t\t\tTime, Light, Space, New Century Artist, New York, NY
\t\t\t\t\t\t\t\tArtSpace, Montclair, NJ
\t\t\t\t\t\t\t\tStebbins Gallery, Cambridge, MA
2002\t\t\t\t\t\tInto the Light, Photo District Gallery, New York, NY
Awards and Grants
2018\t\t\t\t\t\tHonorable Mention for Segregation and Human Rights in the 12th Julia Margaret Cameron Award, Photography Gala Awards
2017\t\t\t\t\t\tNAAP Gradiva Award for “The Mourning After”
2014\t\t\t\t\t\tPsychoanalytic Electronic Publishing, Video Grant for “The Mourning After”
2008\t\t\t\t\t\tLeave No Soldier, Director/Producer. Documentary. Official Selection of the Rhode Island International Film Festival, The Big Muddy,
\t\t\t\t\t\t\t\tNew Filmmakers Festival, Best Director at the First Glance Film Festival and Merit award at the Accolade Film Festival
2007\t\t\t\t\t\tThe American Psychological Association, Division 39 Section IX Achievement Award
2005\t\t\t\t\t\tThe National Association for the Advancement of Psychoanalysis, Gradiva Award for Artwork Contributions to Psychoanalysis
2004\t\t\t\t\t\tNew Jersey Council of the Arts Featured Artist of the Month: January
\t\t\t\t\t\t\t\tPratt Institute, Development Grant
\t\t\t\t\t\t\t\tRoy W. Dean Film & Video Grant: Finalist, “The Mourning After”
\t\t\t\t\t\t\t\tExperimental Television Center Ltd., Finishing Funds for “Dollhouse”
2003\t\t\t\t\t\tMental Health Association in New Jersey, Gold Bell Leadership Award for Contributions to Mental Health Through the Arts Catalogues
\t\t\t\t\t\t\t\tand Publications
Selected Lectures
2015\t\t\t\t\t\tThe Emerging Veterans Art Movement, NYU, New York, NY
2007\t\t\t\t\t\tSoho Photo Gallery, New York, NY
2005\t\t\t\t\t\tImages of Memorial Activity, Memory, Memorials and Collective Working Through Conference. New York Freudian Society, New York, NY
2003\t\t\t\t\t\tThe Art of Traumatic Mourning. Third Annual Conference Five New York Societies of the International Psychoanalytic Association
2000\t\t\t\t\t\tPratt Institute Development Grant, Pratt Institute, New York, NY
Book and Magazine Reproductions
2018\t\t\t\t\t\t“Gorillas.8” Featured photograph for ‘So Zoo Me, a photo narrative’ by Mark Blickley in Event Horizon, Issue 5, 2018
\t\t\t\t\t\t\t\t“Reflection.5” Cover photograph for Decentering Relational Theory: A Comparative Critique (Relational Perspectives Book Series), eds. L. Aron, S. Grand and
\t\t\t\t\t\t\t\tJ. Slochower, Routledge Press
\t\t\t\t\t\t\t\t“Reflection.4” Cover photograph for De-Idealizing Relational Theory: A Critique from Within (Relational Perspectives Book Series),
\t\t\t\t\t\t\t\teds. L. Aron, S. Grand and J. Slochower, Routledge Press
2014\t\t\t\t\t\t“Hand” Cover photograph for Holding and Psychoanalysis second edition, J. Slochower, Routledge Press
2013\t\t\t\t\t\t“Waves” Cover photograph for Psychoanalytic Collisions, second edition, J. Slochower, Routledge Press
2005\t\t\t\t\t\t“Inside Dolly: A Still Live Revisited.” Almost Human: Dolls and Robots in Contemporary Art. Hunterdon Art Museum, Clinton, NJ
2004\t\t\t\t\t\t“The Afterlife of Dolls.” Catalogue by Mary Birmingham. The Montclair Museum of Art, Montclair, NJ
2002\t\t\t\t\t\t“Listening to Laurie”, Cover photograph for Being and Doing: Essays on Gender, ed. D. Franco, Ph.D., Mental Health Resources
Selected Interviews
2015\t\t\t\t\t\t\"Fog of War\", State of the Arts, NJN TV
2005\t\t\t\t\t\t“Childhood”, State of the Arts. NJN Public Television. Featured Artist
2003\t\t\t\t\t\t“Therapist’s Imagery: Psychoanalyst Uses Dolls to Explore Relationships.” The Star Ledger, December 5, 2003
2002\t\t\t\t\t\t“Review of Donna Bassin’s Work.” The Montclair Times. Montclair, NJ
Selected Writing
2018
We the People: Portraits of Resistance and America Reconstructed
2017
From \"bystander to witness\": The art of mourning and the Veterans' Art Movement
The Art(s) of Witness Through the camera and the psychoanalytic situation
2016
2013
A Day at the Zoo Through the Lens of Jessica Benjamin's Bonds of Love
2007
Picturing Herself: On Diane Arbus's Revelations
Exhibition Catalogs
The Afterlife of Dolls - Montclair Art Museum
Almost Human: Dolls and Robots in Contemporary Art - Hunterdon Museum of Art
Online Magazines
Prayers for the Pandemic, Volume One - Drawing Rooms, Jersey City, NJ. May 2020
Lens Magazine - Issue #69: Human Rights
Fat Canary Journal - November 2019 Featured Artist
FILM
Test test test
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My Own Witness
Donna Bassin
“The resulting image reminds me of how a lot of young girls and boys go through the same identity crisis growing up. I’m not seen as an American because of my skin tone and I’m not a Mexican in my family’s homeland because I was not born there. I’m proud to be Mexican American, I however long for the day everyone realizes there’s only one race with many beliefs.”
Dulce R.
“My name is Shontel and I love being black. I love everything about being black: the music, our hair and our culture just to name a few. However, it seems like lately America doesn’t seem to love black people as much. When we when we try to say our BLACK lives matter—-they tell us ALL lives matter. Which is hurtful because of course all lives matter, but black lives are the one being lost everyday at the hands of police brutality. I want America to see to black lives are important and to change it to all lives is silencing our voice.”
Shontel H.
“When we think about people in photographs together, happiness comes to mind. In both of our cases, we used to think we could never attain that same level of ‘happiness.’ Despite the legalization of same-sex marriage, we still share the lingering fear of \"who can we really trust?\" when we meet new people. The thought of having to constantly bear a temporary ‘closet’ as a married couple or introducing each other as ‘friend’, just to avoid inciting hatred in the wrong person, is enough to bring us back to thinking that the ‘happiness’ we thought we finally had is still beyond our reach.”
Chad M. & James C.
“Living in America has been a bittersweet experience for me. I hate the lack of opportunities and the lack of freedom here in the U.S. Being a black American Muslim I have experienced many unfair and unjust things- being denied jobs because of my race and religion and being profiled by the police. Every day I fight that struggle, constantly trying to prove to the world and society that I am not the “stereotype”. Although it is a tiring battle I refuse to give up the fight. My ancestors before me didn’t and neither will I.”
Sufiyyah A.
“No comment.”
Messiah W.
“Knowing that I'm not one of those lucky humans whom the camera seems to 'like, I wanted to confront my own self-conscious discomfort, by preparing, if necessary, to disrobe completely -- to remove anything that could serve as a disguise. I also wanted to include pieces my blown glass -- like me, not photogenic, but as priceless as if they were my own children. I was drawn to the black mesh, because, as in a favorite fairy tale, it both covers and reveals -- I could become less a person, and more like a three-dimensional graph of a person. By the way, if there is such a thing as reincarnation, I'd like to come back as a geometric theorem.”
Walter Z.
“When I left my country for the U.S. six years ago for my education, I thought I would be leaving behind the rampant killing of others solely based upon the difference of ethnicity. Unfortunately, the nightmare I experienced back home has become powerfully pervasive here in the U.S. I am looking forward to a future where humans are just seen as human and not diminished or exalted by skin color, religion, gender, or the race they are born into or choose to practice.”
Anonymous
“My name is Devyn and I am a Latino trans man living my truth. I am proud of my gender identity and am grateful for all the amazing and supportive people I've met and been able to work with because of my visibility. I choose to be visible for various reasons, one of the main reasons being that I want other trans folks, especially trans youth, who are struggling with their gender identity to know that they are not alone and can be their true selves - even though our current political climate is trying to take away our basic human rights and protections. I want America to see that we are all just human beings and deserve to be treated with the same kindness and respect as our fellow straight cis humans.”
Devyn N.
“I'm a soft-spoken woman; mother of three, educator and self-identified lesbian. An Afro-Cuban, Polish-Jew, Filipino in America. As a visual artist, I choose to explore and connect the intertwining relationships between social justice, equality, human and women's rights, police brutality, femininity, modern day slavery and culture. I use my art as a conduit for bold, fearless, thought-provoking, unapologetic issues. My current body of work is similar to this powerful project. It draws attention to others purposes, journeys and experiences in America. The image conveys a timeless truth; as a woman of color, I feed the nation.”
Danielle S.
Testing
Space for artist's statement
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Photography and Film
84 Haller Drive, Cedar Grove, NJ 07009
(c) 201.306.5550
dibassin@gmail.com
Professional Affiliations
Frontline Arts, New Jersey: co-founder and member of the Board
Assistant Clinical Professor, New York University, Post-Doctoral Program in Psychoanalysis and Psychotherapy
Solo Exhibitions
2021
My Own Witness: Rupture and Repair, Soho Photo Gallery, New York, NY
2004
Playing Around, Pierro Gallery, South Orange, NJ
Memories: Ascending/Descending, Montclair Art Museum, Montclair, NJ
2003
The Afterlife of Dolls, Montclair Art Museum, Montclair, NJ
Group Exhibitions
2021
Her Flag, National Museum of Women, Washington, D.C.
New Jersey Arts Annual: ReVision and Respond, Newark Museum, Newark, NJ
The Empowering, Pro Arts Jersey City, Jersey City, NJ
Privilege, Power and Everyday Life, Studio Montclair, Montclair, NJ
2020
Prayers for the Pandemic; Prayers for Progress; Prayers for the Planet; Prayers for the Presidency!, Drawing Rooms, Jersey City, NJ
For Which It Stands, Ford Foundation Gallery and Assembly Room, New York, NY
Exploring Humanity, Los Angeles Center of Photography 5th Annual Fine Art Exhibition, Los Angeles, CA
Artists for Social Justice, Kupferberg Center for the Arts at Queens College, New York, NY
Artists for Social Justice, Arc Gallery & Educational Foundation, Chicago, IL
Portrait 2020, SE Center for Photography, Greenville, SC
Bound Up Together: On the 100th Anniversary of the 19th Amendment, Smack Mellon, Brooklyn, NY
Art4Equality x Life, Liberty, & The Pursuit of Happiness, SaveArtSpace/Art4Equality; The Untitled Space, New York, NY
Art4Equality x Life, Liberty, & The Pursuit of Happiness, SaveArtSpace/Art4Equality; Billboard at McGuinness Blvd and Calyer St, Brooklyn, NY
Art Off-Screen, Neumeraki, D*FIT Studio, Montclair, NJ
Her Flag, Old Barracks Museum, Trenton, NJ
2019
Little by Little, Art Intersection, Gilbert, AZ
State of the Art 2019, Studio Montclair, Montclair, NJ
Contemporary Portraiture: To See Each Other, Passaic County Arts Center, Hawthorne, NJ
ViewPoints 2019, Studio Montclair, Montclair, NJ
2018
Armistice Day 2018, Puffin Cultural Forum – Frontline Arts, Teaneck, NJ
Call & Response: The Art of Listening, 1978 Maplewood Arts Center, Maplewood, NJ
Natural Encounters, N.Y. Photo Curator – Global Photography Awards
Viewpoints 2018, Studio Montclair, Montclair, NJ
2017
Art Connections 13, George Segal Gallery, Montclair State University, Montclair, NJ
Grief, N.Y. Photo Curator - curated by Frances Jakubek, New York, NY
Street Photography, Blank Wall Gallery, Athens, Greece
2016
Cherry Blossoms in Winter, Rutgers-Newark, Branch Brook Park, Newark, NJ
Trois Poissons in a Big See, Sterling Sound, New York, NY
Viewpoints 2016, Aljira: a Center for Contemporary Art, Newark, NJ
Art Connections 12, George Segal Gallery, Montclair State University, Montclair, NJ
2015
Mirrors of the Mind 4: The Psychotherapist as Artist, Art Share LA, Los Angeles, CA
2008
The Spontaneous Gesture Realized, The Rubelle and Norman Shafler Gallery, Brooklyn, NY
2007
Shame, Redsaw Gallery, Newark, NJ
2006
Oh You Beautiful Doll, Andrea Meislin Gallery, New York, NY
2005
Exposed, Pierro Gallery, South Orange, NJ
Truth, Gallery 214, Montclair, New Jersey
Almost Human: Dolls and Robots in Contemporary Art, Hunterdon Art Museum, Clinton, NJ
2003
Three Twins, The Arts Guild of Rahway, Rahway, NJ
Time, Light, Space, New Century Artist, New York, NY
ArtSpace, Montclair, NJ
Stebbins Gallery, Cambridge, MA
2002
Into the Light, Photo District Gallery, New York, NY
Film and Video
2016 - 2015
The Mourning After, Documentary, PEP Video
2014
Leave No Soldier (edited), Documentary. Director and Producer. (R.T 53 minutes)
2008
Leave No Soldier, Documentary. Director and Producer. ShrinkWrap Productions. (R.T 83 minutes)
Screenings include: Film Festivals (See awards), The International Federation For Psychoanalytic Education, The Stephen Mitchell Center for Relational Psychoanalysis in conjunction with the Creative Arts Therapy Graduate Program at Pratt Institute, The American Association for Psychoanalysis in Clinical Social Work National Conference, The Massachusetts Institute for Psychoanalysis, The American Psychological Association Division 39 Spring Conference, IARPP International Conference in Tel Aviv and The Chicago Association for Psychoanalytic Psychology
2004
Dollhouse, Recipient of Experimental Television Center Finishing Fund Grant
2003
Dollumentary: The Origins of Dolls, Montclair Art Museum, Montclair, NJ
1978
Buddy and the Monster: A Children’s Orientation to Psychiatric Hospitalization
Awards and Grants
2021
New Jersey State Council on the Arts/Mid Atlantic Arts Foundation - Individual Artist Fellowship in Photography
2020
First Place - Los Angeles Center of Photography's 5th annual juried exhibition: Exploring Humanity
Curator's Choice - ProArts Jersey City
2018
Honorable Mention for Segregation and Human Rights in the 12th Julia Margaret Cameron Award, Photography Gala Awards
2017
NAAP Gradiva Award for \"The Mourning After”
2014
Psychoanalytic Electronic Publishing, Video Grant for “The Mourning After”
2008
Leave No Soldier, Director/Producer. Documentary. Official Selection of the Rhode Island International Film Festival, The Big Muddy, New Filmmakers Festival, Best Director at the First Glance Film Festival and Merit award at the Accolade Film Festival
2007
The American Psychological Association, Division 39 Section IX Achievement Award
2005
The National Association for the Advancement of Psychoanalysis, Gradiva Award for Artwork Contributions to Psychoanalysis
2004
New Jersey Council of the Arts Featured Artist of the Month: January
Pratt Institute, Development Grant
Roy W. Dean Film & Video Grant: Finalist, “The Mourning After”
Experimental Television Center Ltd., Finishing Funds for “Dollhouse”
2003
Mental Health Association in New Jersey, Gold Bell Leadership Award for Contributions to Mental Health Through the Arts Catalogues and Publications
Selected Lectures
2015
The Emerging Veterans Art Movement, NYU, New York, NY
2007
Soho Photo Gallery, New York, NY
2005
Images of Memorial Activity, Memory, Memorials and Collective Working Through Conference New York Freudian Society, New York, NY
2003
The Art of Traumatic Mourning. Third Annual Conference Five New York Societies of the International Psychoanalytic Association
2000
Pratt Institute, Development Grant
Book and Magazine Reproductions
2020
\"Bhutan.Prayer Flags.9\" Cover photograph for Prayers for the Pandemic. Volume Two. Curated by Anne Trauben for Drawing Rooms, August 2020.
“My Own Witness.” Series of photographs for Human Rights. Issue #69. Lens Magazine. June 2020.
“Bhutan.Prayer Flags.2” Cover photograph for Prayers for the Pandemic. Volume One. Curated by Anne Trauben for Drawing Rooms, May 2020.
2019
“Landscape.New Zealand.1” Cover photograph for Toward a Social Psychoanalysis: Culture, Character, and Normative Unconscious Processes (Relational Perspectives Book Series), 1st Edition. L. Layton, ed. M. Leavy-Sperounis, Routledge Press
2018
“We the People: Portraits of Resistance and America Reconstructed.” Featured photographs by Donna Bassin from series Here I Am: Portraits of Resistance, Psychoanalytic Review, 105(6), December 2018. Ed. Douglas F. Maxwell.
“Gorillas.8” Featured photograph for ‘So Zoo Me, a photo narrative’ by Mark Blickley in Event Horizon, Issue 5, 2018
“Reflection.5” Cover photograph for Decentering Relational Theory: A Comparative Critique (Relational Perspectives Book Series), eds. L. Aron, S. Grand and J. Slochower, Routledge Press
“Reflection.4” Cover photograph for De-Idealizing Relational Theory: A Critique from Within (Relational Perspectives Book Series), eds. L. Aron, S. Grand and J. Slochower, Routledge Press
2014
“Hand” Cover photograph for Holding and Psychoanalysis second edition, J. Slochower, Routledge Press
2013
“Waves” Cover photograph for Psychoanalytic Collisions, second edition, J. Slochower, Routledge Press
2005
“Inside Dolly: A Still Live Revisited.” Almost Human: Dolls and Robots in Contemporary Art. Hunterdon Art Museum, Clinton, NJ
2004
“The Afterlife of Dolls.” Catalogue by Mary Birmingham. The Montclair Museum of Art, Montclair, NJ
2002
“Listening to Laurie”, Cover photograph for Being and Doing: Essays on Gender, ed. D. Franco, Ph.D., Mental Health Resources
Selected Interviews
2015
Fog of War, State of the Arts, NJN TV
2005
“Childhood”, State of the Arts. NJN Public Television. Featured Artist
2003
“Therapist’s Imagery: Psychoanalyst Uses Dolls to Explore Relationships.” The Star Ledger, December 5, 2003
2002
“Review of Donna Bassin’s Work.” The Montclair Times. Montclair, NJ
Click here for a downloadable PDF
Selected Writing
2018
We the People: Portraits of Resistance and America Reconstructed
2017
From \"bystander to witness\": The art of mourning and the Veterans' Art Movement
The Art(s) of Witness Through the camera and the psychoanalytic situation
2016
2013
A Day at the Zoo Through the Lens of Jessica Benjamin's Bonds of Love
2007
Picturing Herself: On Diane Arbus's Revelations
Exhibition Catalogs
2024
The Fat Canary - Ceres Gallery, New York
2023
Two by Two Media, Environmental Melancholia - Carter Burden Gallery, New York
My Own Witness: Rupture and Repair - Incubator Photo Gallery, Lisbon
2021
My Own Witness: Rupture and Repair - Soho Photo Gallery, New York
2005
Almost Human: Dolls and Robots in Contemporary Art - Hunterdon Museum of Art
2003
The Afterlife of Dolls - Montclair Art Museum
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Prayers for the Pandemic, Volume One - Drawing Rooms, Jersey City, NJ. May 2020
My Own Witness: Rupture and Repair
“What is a portrait, if not an acknowledgment of a human encounter: an opportunity to imagine the life of another?”
During the years following the 2016 presidential election, I initiated portrait collaborations between those who – through race, sexuality, gender identity, age, ethnicity, and/or disability – felt they had been deemed invisible and un-entitled to their place in this American moment. I asked my sitters to turn themselves “inside out” and to use pose, gesture, and gaze to express their emotional truths, visually assert their identity, become their own witnesses, and invite the viewer to a visceral face-to-face encounter with their humanity. While the American flag has become a complicated symbol, some sitters reclaimed and reimagined it to express their defiance and respectful hope for the return of democracy. As a series, the shared black velvet background and chiaroscuro lighting join each individual in the collective.
Channeling the injuries brought on by the pandemic and the further erosion of our democracy, I ripped the original portraits to create “wounds” reflecting individual and collective trauma. Inspired by the Japanese practice of kintsugi, an ancient craft that repairs broken pottery with gold lacquer, I restored the torn portraits with stitching and golden rice paper. Metaphorically, kintsugi honors the acceptance of injury as part of the object's life and gives material form to the history of experience. We acknowledge and pay attention to our violent past in the future, so we don't repeat it. These injuries are our losses to be witnessed, mourned, and transformed into change.
“Donna Bassin, through her portraits, the voice of the portrayed, the tears in the photographs, and the ingenious Kintsugi mending, makes us experience the trauma of the other and our own wounds. To experience is to integrate, to be aware of the possible beauty, which is very present in Donna’s photographs.”
- Helder Chambel, Ph.D.
Drawing from the Edge
Drawing from the Edge explores the use of perception and memories of landscapes as a resource for imagination. I am interested in using strategies to dissolve and disrupt familiar narratives in order to capture the new and undefined at the edges of perception. While grounded in the material reality of the small mysterious Himalayan kingdom of Bhutan, the photographs aren’t about Bhutan per se, but rather explore and draw from the edges of my Western mind and the exposure to Asian and Buddhist cultures. The constructed landscapes of this series call attention to the way in which landscapes come into being; but only in relationship to elements such as weather, gaze, mood, memory, history, culture, and the desire that frames them. My landscapes are composites created from a series of unrelated events rather than capturing one distinct location. They call our attention to seeing perception as a creative action in which sensation and memory combine to form subjective narratives, which, in turn, can be molded and transformed. In the high altitudes of Bhutan, the thinner atmosphere and the mist combine to produce a white haze – lifting and falling – and in the process create the visual appearance of soft edges
visually dissolving the materiality of a landscape. The boundary breaks the flow of the continuous nature of reality, temporarily drawing our attention to what is within. And at the boundary – the edge – is where “something new begins its presencing” (Heidegger 1971, p. 154).
I started making marks, emerging from the edges of my newly combined photographs. I drew from within the image inside the frame to sketch out a possible emergence of something new. A new image of thought arises from the juxtaposition, freed from history and offering a new reality.
Pilgrimage: Bhutan
\"In the midst of what is, art breaks open an open place, in whose openness everything is other than usual.\"
From \"The Origin of the Work of Art”
Heidegger, 1935-1936
My travels to the small and mysterious Himalayan kingdom of Bhutan broke down fixed narratives of landscape, time and place. While grounded in the material reality of Bhutan, the photographs aren’t about the kingdom per se, but rather explore and draw from the edge of my Western mind and Eastern Buddhist culture. They are landscapes of the experiences of place rather than landscapes of Bhutan itself. The frame, a core element in photography and psychoanalytic practice is both embraced and subverted. The camera’s viewfinder momentarily contains the continuous flow of the field. However, it also produced limiting frames that foreclose the forms and unthought-of thoughts that glimmer on the periphery. As I explore the limits of photographic composition and the frame of psychoanalytic practice, I am curious about what haunts outside the frame.
The Afterlife of Dolls
“The overriding desire of most children is to get at and see the soul of their toys.\"
Baudelaire
“It may indeed be questioned whether we have any memories at all from our childhood; memories relating to our childhood may be all that we possess.\"
Freud
Miniature worlds of dolls constructed through my own undirected play within the rooms of a dollhouse were photographed with pinhole and plastic toy cameras. The nature of these simple cameras with their limited controls provides freedom from the fantasy ambitions of adult mastery, and from a visual definition of what is real. At times the camera, standing in for the adult body that is too large to go inside, was placed directly inside a dollhouse allowing visual access to what is inside. I started with a dollhouse I have in my psychoanalytic consulting room. Later I experimented with moving beyond the sanctuary of the dollhouse, playing with dolls on Edward Hopper’s beach in Truro and in birdhouses in my back yard. I treat the dolls not just as playthings, but rather subjects with their own life history and secrets. The secrets of the past “play us” as well, until they are revealed.
Play performs childhood ways of being. Play exists between daydreaming and purposeful action. Playful manipulation with and within miniature worlds allows for temporary re-possession of experiences once too overwhelming to be witnessed. The scale of representation was then also toyed with. The large-scale images of miniature worlds and dolls resize the adult viewer in relationship to their childhood past. Now the adult in us is put in its place, not easily allowed to distance from the sizeable psychic presence of our childhood past. The change in scale also comments upon our more adult ideas of psychic reality as it reconfigures our ideas about memory and reality.
Upcoming Shows
Ki Smith Gallery: Juried Exhibition TBD
Dates of Exhibition: August 3, 2024 - TBD
Opening Reception: August 3, 2024
Location: 170 Forsyth St, New York, NY
Epiphany Center for the Arts: Her Flag (New Jersey)
Dates of Exhibition: TBD
Opening Reception: August 10, 2024
Location: 201 S Ashland Ave, Chicago, IL
Montclair Art Museum: New Jersey Arts Annual - Exploring Our Connections
Dates of Exhibition: TBD
Opening Reception: September 26, 2024
Location: 3 S Mountain Ave, Montclair, NJ
The Newport Art Museum: Environmental Melancholia
Dates of Exhibition: November 2, 2024 - April 27, 2025
Location: 76 Bellevue Ave, Newport, RI
Solo Shows
Mira Forum: My Own Witness: Rupture and Repair
Dates of Exhibition: April 27 - June 8, 2024
Location: Rua de Miraflor, 155, 4300-334 Campanhã, Porto, Portugal
http://miragalerias.net/mira-forum/sobre-nos/
Espaço D´Artes Gallery/Auto Clube Médico Português: My Own Witness: Rupture and Repair
Dates of Exhibition: May 12 - September 30, 2023
Location: Av. Elias Garcia 123, 1050-098 Lisboa, Portugal
Passaic County Arts Center: My Own Witness: Rupture and Repair
Curator: Jessica Bush
Dates of Exhibition: September 17 - November 27, 2022
https://www.pcartscenter.org/upcomingexhibits
Location: 675 Goffle Rd, Hawthorne, New Jersey
Soho Photo Gallery: My Own Witness: Rupture and Repair
Curators: Larry Davis, Thom O'Connor
Dates of Exhibition: July 16, 2021 - August 8, 2021
Location: 15 White St, New York, NY 10013
Pierro Gallery: Playing Around
Date of Exhibition: 2004
Location: 5 Mead St, South Orange, New Jersey
Montclair Art Museum: The Afterlife of Dolls
Curator: Mary Birmingham
Dates of Exhibition: 2003 - 2004
Location: 3 S Mountain Ave, Montclair, New Jersey
Group Shows
Carter Burden Gallery: Double Exposure
Dates of Exhibition: June 27 - July 24, 2024
Opening Reception: June 27, 2024
Location: 548 West 28th St, #534, New York, NY 10001
Griffin Museum of Photography: 30th Annual Juried Members' Exhibit
Dates of Exhibition: June 18 - July 28, 2024
Opening Reception: June 22, 2024
Location: 67 Shore Rd, Winchester, MA 01890
Ceres Gallery: The Fat Canary
Dates of Exhibition: May 21 - June 15, 2024
Location: 547 W 27th St, New York, NY
https://www.fatcanaryjournal.com/about-1-1
Carter Burden Gallery: Two by Two Media
Dates of Exhibition: October 12 - November 8, 2023
Location: 548 West 28th St, #534, New York, NY 10001
Old Stone House & Washington Park: Picturing the Constitution
Dates of Exhibition: October 2023 - January 2024
Location: 336 3rd St., Brooklyn, NY 11215
Lodger Gallery: Retrospect - Decommissioned Works
Dates of Exhibition: Online archive: https://www.lodgergallery.com/retrospect
Photographic Center Northwest: Imminent Existence
Curator: Arnika Dawkins
Dates of Exhibition: March 30 - June 4, 2023
https://pcnw.org/imminent-existence-critical-mass-2022-top-50/
Location: 900 12th Ave, Seattle, Washington
Arc Gallery & Educational Foundation: OUR CHOICE
Dates of Exhibition: April 27 - May 30, 2023
https://www.arcgallery.org/our-choice/
Location: 1463 W Chicago Ave, Chicago, IL 60642
Hunterdon Art Museum: Portrait of the Artist
Curator: Mary Birmingham
Dates of Exhibition: January 22 - April 30, 2023
https://www.hunterdonartmuseum.org/exhibitions/portrait-of-the-artist/
Location: 7 Lower Center St, Clinton, New Jersey
ArtFair14C - The Showcase
Curator: Robinson Holloway
Dates of Exhibition: November 11 - 13, 2022
https://artfair14c.com/showcase/
Location: 678 Montgomery St, Jersey City, New Jersey
Studio Montclair - Inspired by George Inness: Life and Landscape
Curator: Ira Wagner, Virginia Block
Dates of Exhibition: September 9 - November 6, 2022
Location: Montclair Art Museum, 3 S Mountain Ave, Montclair, New Jersey and Leach Gallery, 641 Bloomfield Ave, Montclair, New Jersey
Studio Montclair - Pages
Curator: Pam Cooper
Dates of Exhibition: September 9 - October 15, 2022
Location: Studio Montclair Gallery, 127 Bloomfield Ave, Montclair, New Jersey
Art Fluent - WABI-SABI
Director's Choice Award
https://www.art-fluent.com/wabi-sabi
Location: Boston, Massachusetts
Studio Montclair/Leach Gallery - State of the Art 2022
Dates of Exhibition: June 26, 2022 - August 12, 2022
Location: 641 Bloomfield Ave, Montclair, New Jersey
Gallerium - Extinction - Save the Planet 2022
Dates of Exhibition: April 22, 2022 - May 22, 2022
https://www.biafarin.com/p/artist.html?name=donna-bassin
Location: Online Exhibition; Ontario, Canada
Artworks Visual Arts Center - NJSCA Artist Fellowship Showcase
Dates of Exhibition: March 22, 2022 - May 21, 2022
https://artworkstrenton.org/new-jersey-state-council-on-the-arts-fellowship-exhibition/
Location: Trenton, New Jersey
Kente Royal Gallery - Healing and Hope
Dates of Exhibition: March 5 - 21, 2022
Location: Harlem, New York
Raritan Valley Community College - Expanding the Concept of Photography
Dates of Exhibition: January 2022 - February 2022
https://www.raritanval.edu/general-information/newsroom/contemporary-photography-exhibition-display
Location: Branchburg, New Jersey
Gallerium - Extinction - Save the Planet 2021
Dates of Exhibition: December 31, 2021 - January 31, 2022
https://www.biafarin.com/p/artist.html?name=donna-bassin
Location: Online Exhibition; Ontario, Canada
L.A. Photo Curator/Susan Spiritus Gallery: What Lies Ahead
Curator: Susan Spiritus
https://laphotocurator.com/what-lies-ahead-susan-spiritus
Location: 2070 Business Center Dr, Ste 290, Irvine, CA 92612
SE Center for Photography: Contemporary Portrait 2021
Curator: Michael Pannier
Dates of Exhibition: December 3, 2021 - January 29, 2022
https://online.fliphtml5.com/vpter/uyzr/#p=1
Location: 116 E Broad Street, Greenville, SC 29601
Montclair Art Museum: Transformed: Objects Reimagined by American Artists
Chief Curator: Gail Stavitsky
Curator of Native American Art: Laura Allen
Curatorial Assistant: Molly Ono
Dates of Exhibition: September 12, 2021 - December 3, 2021
https://www.montclairartmuseum.org/exhibition/transformed-objects-reimagined-american-artists
Location: 3 South Mountain Ave, Montclair, NJ 07042
F-Stop Magazine: Issue 21, Open Theme Group Exhibition
Editor: Christy Karpinski
https://www.fstopmagazine.com/groupexhibition.html
The Newark Museum of Art: New Jersey Arts Annual: ReVision and Respond
Curator: Andrea Ko
Jurors: Kristen J. Owens, Amy Simon Hopwood
Dates of Exhibition: June 17, 2021 - August 22, 2021
https://www.newarkmuseumart.org/2021njaa
Location: 49 Washington St, Newark, NJ (Rutgers-Newark Campus)
ProArts Jersey City: The Empowering
Curator: Danielle Scott
Date of Exhibition: February 6, 2021 – March 21, 2021
https://www.proartsjerseycity.org/the-empowering/
Location: ART150 Gallery, 150 Bay Street, Ste. 265, Jersey City, NJ
Drawing Rooms: Prayers for the Pandemic; Prayers for Progress; Prayers for the Planet; Prayers for the Presidency
Curator: Anne Trauben
Date of Exhibition: November 2020 – Present
http://www.drawingrooms.org/current-exhibition.html
Location: Virtual Exhibition
Los Angeles Center of Photography: Exploring Humanity
1st Place
Curator/Juror: Marisa Caichiolo
Date of Exhibition: November 10, 2020 – January 10, 2021
https://lacphoto.org/lacps-fifth-annual-fine-art-exhibition-exploring-humanity/
Location: Virtual Exhibition
Kupferberg Center for the Arts, Queens College Art Center: Artists for Social Justice 2020
Curator: Virginia Mallon
Date of Exhibition: October 29, 2020 – Present
Location: Virtual Exhibition
ARC Gallery & Educational Foundation: Artists for Social Justice 2020
Curator: Virginia Mallon
Date of Exhibition: September 30, 2020 – November 21, 2020
https://www.arcgallery.org/artists-for-social-justice-online-exhibition/
Location: Virtual Exhibition
SE Center for Photography: Portrait 2020
Curator: Brandon Thibodeaux
Date of Exhibition: October 2, 2020 – Present
https://www.sec4p.com/portrait20ss
Location: Greenville, South Carolina
Smack Mellon: Bound Up Together: On the 100th Anniversary of the 19th Amendment
Curator: Rachel Gugelberger
Date of Exhibition: October 3 – November 8
Location: Smack Mellon, 92 Plymouth St. at Washington, Brooklyn, New York
SaveArtSpace and Art4Equality: Art4Equality x Life, Liberty, & The Pursuit of Happiness (public art display)
Curator: Indira Cesarine
Date of Exhibition: (Estimated) September 21 – October 21
http://www.saveartspace.org/art4equality
Location: McGuinness Blvd & Calyer St, Brooklyn
SaveArtSpace and Art4Equality: Art4Equality x Life, Liberty, & The Pursuit of Happiness (group gallery exhibition)
Curator: Indira Cesarine
Date of Exhibition: September 26 – October 17
Location: The Untitled Space, 45 Lispenard St., New York, New York
Neumeraki and D*FIT Studio: Art Off-Screen
Curator: Eileen Jeng Lynch
Date of Exhibition: September 12 – September 26
Location: D*FIT Studio, 4 Erie St., Montclair, New Jersey
ProArts Jersey City: Curators Choice 2020
Various curators
Date of Exhibition: TBD
http://www.proartsjerseycity.org/curators-choice-2020/
Location: Virtual Exhibition
Marilyn Artus: Her Flag
Curator/Creator: Marilyn Artus
Date of Exhibition: June 2019 – August 2020
Location: Various states/livestreaming
Bound Up Together: On the 100th Anniversary of the 19th Amendment
Smack Mellon, Brooklyn, New York
October 3 – December 13, 2020
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Image courtesy of Smack Mellon. Photo credit: Etienne Frossard
Precious Scars
As a nation, Japan, with a history of violence like the United States, has confronted its past and committed itself since WWII to constitutionally repair and restore peace. In this series, photographs of peaceful, spiritual life taken in the traditional city of Kyoto, Japan, are materially marked with injuries of damage from violence repaired yet left scarred and transformed. The Japanese aesthetic practice of kintsugi - the repair of broken pottery with gold lacquer - provides a visual metaphor for transcending violence while usefully acknowledging and not hiding histories of damage. Metaphorically, kintsugi honors the acceptance of injury as part of the object's life and gives material form to the history of experience.
Each photograph of this series is unique and produced in a 4-step process. My association with Kodachrome slides and their use to record memories of experiences in other places inspired the square composition and white borders. I print the original digital photographs on 16\" x 16\" Moab Moenkopi Washi Unryu rice paper. I tear the print to damage and wound the image. Torn fragments from other photographs in the series back the tears, further mended with quick and crude sewing with colored embroidery thread. The repair doesn't restore the original image to what it was, but visually and viscerally accentuates the damage. Lastly, the prints are dipped in archival beeswax encaustic medium. The encaustic wax results in a translucent skin-like texture, holding the image together and enhancing the areas of tear and repair, resulting in “precious scars.”
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Art4Equality x Life, Liberty & The Pursuit of Happiness
Group billboard exhibition presented by SaveArtSpace and Art4Equality; McGuinness Blvd and Calyer St, Brooklyn, New York
Curator: Indira Cesarine
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Cherry Blossoms in Winter
Rutgers-Newark, Branch Brook Park, Newark, NJ, 2016.
Curator: Frances Bartkowski
My Own Witness
“What is a portrait, if not an acknowledgment of a human encounter: an opportunity to imagine the life of another?”
As a photographer, activist, and practicing trauma psychologist, I feel the urgency for the artistic expression of the grave injustices in our society and attempts for repair and transformation. In my collaborative portraits, I strive to merge the close listening of a clinical exchange with the visibility of photographs. I began the “My Own Witness” series in the aftermath of the 2016 presidential election. In this post-election crisis of democracy, I have encountered rage, grief, and fear as systematic racism, misogyny, sexual exploitation, homophobia, xenophobia, and police brutality have been progressively exposed. This series of collaborative portraits was motivated by the writings of Emmanuel Lévinas, Judith Butler, and Teju Cole. They see face-to-face encounters as a moral activity to compassionately experience the lives of others. My aesthetic choices were inspired by the character-revealing portraits of Irving Penn, Richard Avedon, Sally Mann, and Zanele Muholi.
Every Friday, I invite people to come to my studio to explore their experiences in these moments of United States history; to bear witness to themselves in these dark and broken times. I ask my sitters to turn themselves “inside out” and to use pose, gesture, gaze, props, and story-telling to express their emotional truths. In the process as subjects, they assert their identity – “here I am” – and their resistance to being exploited and marginalized. As my co-creators choose to discover, unveil, and reveal through image and text (each sitter writes a short narrative about their portrait), they claim ownership of self and provoke others to viscerally connect with them.
Some sitters explore feelings of profound vulnerability or helplessness. Some use this experience to assert and express identities increasingly being suppressed by the outside world. Others uncover ferocious strength they did not know they had as they look anger and hatred in the eye.
While the American flag has become a complicated symbol, some of my sitters have reclaimed and re-imagined it to express distress, defiance, and/or respectful hope for the return of democracy. While each portrait is distinctive, they visually connect through the shared black velvet backdrop and chiaroscuro lighting, linking each individual to the collective; perhaps encouraging a commitment to stand together and face the darkness in the shelter of each other.
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Marilyn Artus, Her Flag (detail), 2020; UV grade polyester, 18 x 26 ft.; Courtesy of the artist; Photo by Marilyn Artus
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'Her Flag' Outdoor Installation at National Museum of Women in the Arts Celebrates Right to Vote
WASHINGTON, DC / May 05, 2021
The National Museum of Women in the Arts (NMWA) has partnered with Her Flag, a nationwide art and travel project created by artist Marilyn Artus. Her Flag celebrates the 100th anniversary of the passage of the 19th Amendment, which enshrined women’s right to vote within the text of the Constitution. Artus collaborated with a woman artist from each of the 36 states that ratified the 19th Amendment by 1920 to create a large flag that is installed on the exterior of the museum’s New York Avenue façade. Her Flag will be on display from June 10 until July 12, 2021.
Artus put out a call via callforentry.org and reached out to artists and arts organizations in each of the 36 states. She received more than 340 submissions and evaluated them with the assistance of a panel of arts professionals. Each selected artist created artwork inspired by both the anniversary and her home state. Artus turned each artwork into a stripe on the flag. The artists represent diverse ages and ethnicities and explore a variety of themes and subjects in their works. Many artists depicted notable women from the suffrage and civil rights movements. Others created imagery referring to the fact that the 19th Amendment did not, in fact, grant all women the right to vote; that privilege would be afforded to Native American, Asian American, Latinx and African American women much later. Several stripes incorporate portraits of contemporary women and girls, highlighting the legacy of the suffrage movement in today’s social justice activism. “Her Flag is not only a celebration of what was achieved 100 years ago but also a reminder that when it comes to women’s rights, we are still working toward true equality,” said NMWA Director Susan Fisher Sterling. “We believe that art can inspire change and are pleased to present Her Flag in 2021, which we hope will be a brighter year for us all.”
The multi-year project included a road trip to the capitals of each of the 36 states, in the order that they ratified the amendment. During each visit, Artus sewed that state’s stripe onto the flag. However, when the coronavirus pandemic halted her travel plans after the 25th stop, she began live-streaming the addition of each stripe. Now complete, the 18-x-26-foot flag will be displayed in its entirety on NMWA’s building. Previously, the flag was displayed at the William Jefferson Clinton Memorial Library in Little Rock, Arkansas, from August 26 to September 21, 2020.
Artus says she views the project as “a thank you and a love letter to the states that ratified the 19th Amendment into law. This project is about moving forward. This project is not about Democrats or Republicans. It is about Americans. It is about celebrating an important anniversary in our history and…how we can encourage more women to participate in their democracy.”
As several participants noted through their work for the project, Artus also considers the fact that the 19th Amendment only ensured the voting rights of white women; it did not go far enough for Native American, Asian American, Latinx, and African American women. “Reflecting upon this milestone gives us an opportunity to remember that partial progress is not total progress and that we must always continue to seek equity and equality,” says Artus.
NMWA will also be hosting a virtual panel discussion on June 16 at 1:30 p.m. with Artus and contributing artists Higgins Bond (Tennessee) and Nicole LaRue (New Hampshire), in conversation with NMWA Associate Curator Ginny Treanor. They will discuss the centenary of the 19th amendment, the making of Her Flag, and the continuing struggle to ensure everyone has access to the ballot box.
The presentation of Her Flag at the National Museum of Women in the Arts is made possible by MaryRoss Taylor with additional support provided by the members of NMWA.
List of Artists in order of when each state ratified the Amendment:
Wisconsin: Jenie Gao
Illinois: Judith Mayer
Michigan: Ann Lewis
Kansas: Jennifer Hudson
New York: Indira Cesarine
Ohio: Lindsay Scott
Pennsylvania: Jameela Wahlgren
Massachusetts: Kari Percival
Texas: Mila Sketch
Iowa: Annie Swarm Guldberg
Missouri: Rori de Rien
Arkansas: Virmarie DePoyster
Montana: Jane Waggoner Deschner
Nebraska: Cindy Chinn
Minnesota: Anne Ulku
New Hampshire: Nicole LaRue
Utah: Jann Haworth
California: Rora Blue
Maine: Amie Kennedy
North Dakota: Darby Ness
South Dakota: Klaire Lockheart
Colorado: Susan Cooper
Kentucky: Linda Erzinger
Rhode Island: Allison Cole
Oregon: Davida Fernandez
Indiana: Bonnie Fillenwarth
Wyoming: Bethann Garramon Merkle
Nevada: Lisa Jean Allswede
New Jersey: Donna Bassin
Idaho: Vina Domingo
Arizona: TaLisa Lopez-Garcia
New Mexico: Laurel Garcia Colvin
Oklahoma: Denise Duong
West Virginia: Savannah Schroll Guz
Washington: Erin Shigaki
Tennessee: Higgins Bond
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Precarious Places
![](\"/pf-media/PrecariousPlaces.34.jpg\")
Caring for the land calls for collective mobilization and communal stewardship. As a psychoanalyst and photographer, I explore liminal spaces where transformation is possible.
In this series, I create imaginary landscapes freed from narratives of place, becoming borderless and transcending specific sites to suggest our interconnectedness.
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Poignant Pics no. 36 - On Donna Bassin's \"Messiah\"
Welcome to no. 36 in our series Poignant Pics where our editor, Diana Nicholette Jeon, writes Donna Bassin’s utterly compelling work, “Messiah.”
A Telling Portrait of Our Current Era
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Messiah from My Silent Witness, Rupture and Repair
Regardless of our station in society, many of us, perhaps more so those in the arts, believed that American life under a Trump presidency would not be positive. Had I seen Donna Bassin’s original series, My Silent Witness, more contemporaneously, I KNOW I would have felt it perfectly expressed how many of us experienced the politics of that time.
The series, created shortly after the 2016 election, was a collaboration between the photographer and her ‘sitters.’ Those photographed used props and gestures while Donna used her lens. Together they made images that invited the viewer to think deeply about what the sitter felt and why. She intended to give voice to those feeling invisible and unrepresented, to entice viewers to consider both their own and the person being photographed’s humanity and views.
After each sitting, she asked each person for a statement. The person portrayed here, Messiah, replied, “No comment.”
I don’t believe that in the months which immediately followed the 2016 election that many of us could have precisely predicted how unraveled democracy would become during the years that followed. We now sit teetering on the brink of becoming yet another great society that failed: the two parties battle instead of compromise; voting rights are attacked; neighbors no longer speak to those of opposing views; people of color are targeted by both police and their neighbors for the ‘sin’ of not being born white; disinformation is rampant; everything has become weaponized. Regardless of our political views, I believe that most of us can agree that our society is significantly in need of healing.
Enter V. 2.0, My Silent Witness - Rupture and Repair. Donna took the original series of portraits and tore them apart. Treating them as if they were pieces of Japanese pottery, she used kintsugi-styled techniques to repair them. In doing so, Donna purposefully underscores our nation’s greatest needs – to mend the wounds that have divided, marginalized, and isolated us; to heal; to move forward; to become a more humane society.
There’s an old saw most of us are too familiar with, “A picture speaks 1000 words.” I’d have to agree with Messiah that this stunning image needed no words. His silent scream portrays the state of the USA today as well as, if not better than, any other photograph I am personally aware of and says more than words ever could. Bravo, Messiah! Bravo, Donna!
-Diana Nicholette Jeon
PS: Those lucky enough to live in the greater NYC area can view this series in person at Soho Photo in NYC from July 16 – August 8, 2021.
ARTIST BIO
Donna Bassin, Ph.D., is an award-winning fine art photographer, installation artist, author, professor, and filmmaker. As an artist heavily influenced by her work as a clinical psychologist and her experiences working with war veterans and at Ground Zero, Donna uses art to explore the creative edge of collective loss, grief, mourning, and transformation. Donna's current work explores the human desire for reconciliation in the wake of social fractures.
AUTHOR BIO
Diana Nicholette Jeon is an award-winning artist based in Honolulu, HI, who works primarily with lens-based media. Her work has been seen both internationally and nationally in solo and group exhibitions. Jeon holds an MFA from UMBC.
Donna Bassin
Photography and Film
10 Crestmont Rd, Apt 2B, Montclair, New Jersey 07042
(c) 201.306.5550
dibassin@gmail.com
Education
B.A. Sociology, University of Michigan, 1971
M.P.S. Art Therapy and Creativity Development, Pratt Institute, 1978
Ph.D. Clinical Psychology, 1983. Union Graduate School and S.U.N.Y / Downstate Medical Center
Psychoanalytic Certificate, 1988. Institute of Psychoanalytic Training and Research
International Center of Photography
Current Professional Affiliations
Assistant Clinical Professor, New York University, Post-Doctoral Program in Psychoanalysis and Psychotherapy
Faculty, Stephen Mitchell Center for Relational Studies, New York, N.Y.
Co-founder and Member of the Board, Frontline Arts, New Jersey
Member of the American Psychological Association, Division 39 Section 9
Solo Exhibitions
2021
My Own Witness: Rupture and Repair, Soho Photo Gallery, New York, NY
2004
Playing Around, Pierro Gallery, South Orange, NJ
Memories: Ascending/Descending, Montclair Art Museum, Montclair, NJ
2003
The Afterlife of Dolls, Montclair Art Museum, Montclair, NJ
Installations
2022
My Own Witness: Rupture and Repair, curated by Jessica Bush, Passaic Arts Center, Hawthorne, NJ; September 10 - November 27
RAW: Reassessment and Wonder, curated by Danielle Ogden, Jamestown Arts Center, Jamestown, RI; March 18 - May 7
2021
By Our Own Hand: Frontline Arts in Collaboration with Donna Bassin, Montclair Art Museum, Montclair, NJ; September 2021 – August 2022
Her Flag, National Museum of Women in the Arts, Washington, D.C.
2020
Prayers for the Pandemic; Prayers for Progress; Prayers the Planet; Prayers for the Presidency!, Drawing Rooms, Jersey City, NJ
Bound Up Together: On the 100th Anniversary of the 19th Amendment, Smack Mellon, Brooklyn, NY
Art4Equality x Life, Liberty, & The Pursuit of Happiness, SaveArtSpace/Art4Equality; Billboard at McGuinness Blvd and Calyer St, Brooklyn, NY
Art Off-Screen, Neumeraki – curated by Eileen Jeng Lynch, D*FIT Studio, Montclair, NJ
2016
Cherry Blossoms in Winter, Rutgers – Newark, Branch Brook Park, Newark, NJ
Awards and Grants
2022
Top 50 Photographers - Photolucida's Critical Mass 2022, Portland, OR
Finalist - FRESH 2022 Annual Photography Exhibition, Klompching Gallery, New York, NY
Second Place - The Gaze, New York Photo Curator, NY
Director's Choice Award - WABI-SABI, Art Fluent, MA
2021
New Jersey State Council on the Arts/Mid Atlantic Arts Foundation – Individual Artist Fellowship in Photography
2020
First Place – Los Angeles Center of Photography’s 5th annual juried exhibition: Exploring Humanity
Curator’s Choice – ProArts Jersey City
2018
Honorable Mention for Segregation and Human Rights in the 12th Julia Margaret Cameron Award, Photography Gala Awards
2017
NAAP Gradiva Award for “The Mourning After”
2014
Psychoanalytic Electronic Publishing, Video Grant for “The Mourning After”
2008
Leave No Soldier, Director/Producer. Documentary. Official Selection of the Rhode Island International Film Festival, The Big Muddy, New Filmmakers Festival, Best Director at the First Glance Film Festival and Merit award at the Accolade Film Festival
2007
The American Psychological Association, Division 39 Section IX Achievement Award
Group Exhibitions
2023
Portrait of the Artist, Hunterdon Art Museum, Clinton, NJ (January 22 - April 30)
2022
Affair of the Art 2022, Studio Montclair, Glen Ridge, NJ
The Showcase, ArtFair14C, Jersey City, NJ
Pages, Studio Montclair, Montclair, NJ
Inspired by George Inness: Life and Landscape, Studio Montclair, Montclair, NJ
Extinction – Save the Planet 2022, Gallerium, Toronto, Canada
NJSCA Artist Fellowship Showcase, Artworks Visual Arts Center, Trenton, NJ
Healing and Hope, Kente Royal Gallery, Harlem, NY
Expanding the View of Photography: from Realism to Abstraction, Raritan Valley Community College Art Gallery, Branchburg, NJ
2021
Extinction – Save the Planet 2021, Gallerium, Toronto, Canada
What Lies Ahead, L.A. Photo Curator, Susan Spiritus Gallery, Irvine, CA
Contemporary Portrait, SE Center for Photography, Greenville, SC
Transformed: Objects Reimagined by American Artists, Montclair Art Museum, Montclair, NJ
New Jersey Arts Annual: ReVision and Respond, Newark Museum, Newark, NJ
The Empowering, Pro Arts Jersey City, Jersey City, NJ
Privilege, Power and Everyday Life, Studio Montclair, Montclair, NJ
2020
For Which It Stands, Ford Foundation Gallery and Assembly Room, New York, NY
Exploring Humanity, 5th Annual Fine Art Exhibition, Los Angeles Center of Photography, Los Angeles, CA
Artists for Social Justice, Kupferberg Center for the Arts at Queens College, New York, NY
Artists for Social Justice, Arc Gallery & Educational Foundation, Chicago, IL
Portrait 2020, SE Center for Photography, Greenville, SC
Art4Equality x Life, Liberty, & The Pursuit of Happiness, SaveArtSpace/Art4Equality; The Untitled Space, New York, NY
Her Flag, Old Barracks Museum, Trenton, NJ
2019
Little by Little, Art Intersection, Gilbert, AZ
State of the Art 2019, Studio Montclair, Montclair, NJ
Contemporary Portraiture: To See Each Other, Passaic County Arts Center, Hawthorne, NJ
ViewPoints 2019, Studio Montclair, Montclair, NJ
2018
Armistice Day 2018, Puffin Cultural Forum – Frontline Arts, Teaneck, NJ
Call & Response: The Art of Listening, 1978 Maplewood Arts Center, Maplewood, NJ
Natural Encounters, N.Y. Photo Curator – Global Photography Awards
Viewpoints 2018, Studio Montclair, Montclair, NJ
2017
Art Connections 13, George Segal Gallery, Montclair State University, Montclair, NJ
Grief, N.Y. Photo Curator, curated by Frances Jakubek, New York, NY
Street Photography, Blank Wall Gallery, Athens, Greece
2016
Trois Poissons in a Big See, Sterling Sound, New York, NY
Viewpoints 2016, Aljira: a Center for Contemporary Art, Newark, NJ
Art Connections 12, George Segal Gallery, Montclair State University, Montclair, NJ
2015
Mirrors of the Mind 4: The Psychotherapist as Artist, Art Share LA, Los Angeles, CA
Film and Video
2021
By Our Own Hand, Short, Montclair Art Museum, Montclair, NJ
2016 - 2015
The Mourning After, Documentary, PEP Video
2014
Leave No Soldier (edited), Documentary. Director and Producer. (R.T 53 minutes)
2008
Leave No Soldier, Documentary. Director and Producer. ShrinkWrap Productions. (R.T 83 minutes)
2004
Dollhouse, Recipient of Experimental Television Center Finishing Fund Grant
2003
Dollumentary: The Origins of Dolls, Montclair Art Museum, Montclair, NJ
Art Publications
2022
\"My Own Witness: Rupture and Repair.\" Revista PsiRelacional. Statement by Donna Bassin. November 2022.
2021
“Precious Scars: Art as Practice.” Tricycle: The Buddhist Review. Photo essay by Barry Magid and Donna Bassin. August 2021.
2018
“We the People: Portraits of Resistance and America Reconstructed.” Featured photographs by Donna Bassin from series: My Own Witness, Psychoanalytic Review, 105(6), December 2018. Ed. Douglas F. Maxwell.
2013
“A Day at the Zoo Through the Lens of Jessica Benjamin’s Bonds of Love,” Studies in Gender and Sexuality, 14:86-96, 2013.
2007
“Picturing Herself: On Diane Arbus’s Revelations” Studies in Gender and Sexuality.
Magazines, Catalogs, Interviews, and Blogs
2022
\"My Own Witness: Rupture and Repair.\" Fotonostrum Magazine. Interview with Donna Bassin. February 2022.
2021
Editorial feature for The IARPP Bulletin. \"By Our Own Hand.\" December 2021.
The Face of the Earth, LifeFramer Magazine. Curated by Samantha Clark of National Geographic. November 2021.
Portfolio feature for Grazia Magazine. August 2021.
“A Telling Portrait of Our Current Era.” Poignant Pics no. 36, One Twelve Publishing. July 2021.
“My Own Witness: Rupture and Repair.” Portfolio feature for FotoNostrum Magazine.
“My Own Witness: Rupture and Repair.” Portfolio feature for Issue No. 15, Aint-Bad. August 2021.
2020
“My Own Witness.” Series of photographs for Human Rights. Issue #69. Lens Magazine. June 2020.
2019
“I Am My Own Witness.” Portfolio feature, Fat Canary Journal. November 2019
2018
“We the People: Portraits of Resistance and America Reconstructed.” Featured photographs by Donna Bassin from series Here I Am: Portraits of Resistance, Psychoanalytic Review, 105(6), December 2018. Ed. Douglas F. Maxwell.
“Gorillas.8” Featured photograph for ‘So Zoo Me, a photo narrative’ by Mark Blickley in Event Horizon, Issue 5, 2018
2015
“Fog of War”, State of the Arts, NJN TV
2005
“Inside Dolly: A Still Live Revisited.” Almost Human: Dolls and Robots in Contemporary Art. Hunterdon Art Museum, Clinton, NJ
“Childhood”, State of the Arts. NJN Public Television. Featured Artist
2004
“The Afterlife of Dolls.” Catalog by Mary Birmingham. The Montclair Museum of Art, Montclair, NJ
2003
“Therapist’s Imagery: Psychoanalyst Uses Dolls to Explore Relationships.” The Star Ledger, December 5, 2003
2002
“Review of Donna Bassin’s Work.” The Montclair Times. Montclair, NJ
Book Covers
2021
Sexual Boundary Violations in Psychotherapy: Facing Therapist Indiscretions, Transgressions, and Misconduct, eds. A. Steinberg, J. Alpert, and C. Courtois, American Psychological Association
2020
Prayers for the Pandemic. Volume Two. Curated by Anne Trauben for Drawing Rooms. August 2020.
Prayers for the Pandemic. Volume One. Curated by Anne Trauben for Drawing Rooms. May 2020.
2019
Toward a Social Psychoanalysis: Culture, Character, and Normative Unconscious Processes (Relational Perspectives Book Series), 1st Edition. L. Layton, ed. M. Leavy-Sperounis, Routledge Press
2018
Decentering Relational Theory: A Comparative Critique (Relational Perspectives Book Series), eds. L. Aron, S. Grand and J. Slochower, Routledge Press
De-Idealizing Relational Theory: A Critique from Within (Relational Perspectives Book Series), eds. L. Aron, S. Grand and J. Slochower, Routledge Press
2014
Holding and Psychoanalysis, second edition, J. Slochower, Routledge Press
2013
Psychoanalytic Collisions, second edition, J. Slochower, Routledge Press
Select Psychoanalytic Publications
2017
“From ‘Bystander to Witness' – The Art of Mourning and the Veterans' Art Movement.” International Forum of Psychoanalysis, DOI: 10.1080/0803706X.2017.1342867. Routledge.
“The Art(s) of Witness”. Art, Creativity, and Psychoanalysis: Perspectives from Analyst-Artist., ed. G. Hagman. Routledge Press, N.Y. and London.
2016-2017
Screening and Commentary of The Mourning After, National Association for the Advancement of Psychoanalysis 44th Annual Conference. New York, New York.
2016
“Beyond “thank-you for your service”: The Creation of Post-War Veteran/Non-veteran Collaborative Mourning Spaces.” Psychoanalysis, Trauma, and Community. Eds. J. Alpert and E. Goren.
2011
Reminiscence, Ritual, and Beyond Working Through. Psychoanalytic Dialogues, 21.
2007
“Electra’s Mourning.” Being and Doing: Essays on Gender, ed. D.Franco, M.H. Reso.
2003
“A Not-So-Temporary Occupation Inside Ground Zero.” 9/11: Trauma at Home. Edited by J. Greenberg, University of Nebraska Press.
2002
“Writing from the Night Kitchen or from the Inside Out and the Outside In.” Studies in Gender and Sexuality.
“I’m in the Milk and the Milk is in Me: Writing from the Night Kitchen.” Studies in Gender and Sexuality. Volume 3(3): 297-308.
2001
“A Barrenness of Body and Theory: An Analysis of Infertility.” Studies in Gender and Sexuality. Volume 2(1): 63-82.
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Chad Mooney is Donna's studio manager and has collaborated with her on multiple fine art projects since 2015, including My Own Witness: Rupture and Repair and, most recently, Environmental Melancholia. Chad is a commercial photographer living in Bloomfield, New Jersey. Specializing in architecture, environmental portraiture, and landscape photography, his preference of utilizing natural light in his work serves as a means to join the elements of nature with those of the studio.
Chad graduated summa cum laude from Montclair State University in Upper Montclair, New Jersey, where he earned a Bachelor of Arts degree with a concentration in photography. His photographs have been featured in several group exhibitions, including the Morris Museum, the New York Center for Photographic Art, and the Bloomfield Cultural Commission.
More of Chad's work can be found at www.chadmooneyphoto.com
Precious Scars: Art as Practice
A series of photos encouraging us to embrace our emotional and physical scars, followed by a Q&A with the artist.
By Barry Magid and Donna Bassin | Photography by Donna Bassin
AUG 03, 2021
![](\"/pf-media/PreciousScars.Kyoto.Monk.8A.jpg\")
The Blue Cliff Record is a collection of one hundred koans, or teaching stories, assembled over a thousand years ago in China. As it has come down to us, each case includes a commentary by master Yuanwu (1063-1135) who, while praising the sayings of his predecessors, nonetheless asserted that putting Zen into words was like “gouging a wound into a healthy body.” Indeed, Yuanwu’s disciple, Dahui, (1089-1163) took his admonition seriously and attempted to burn every copy of The Blue Cliff Record he could lay his hands on.
Therein lies a paradox: the healthy body of life as it is already perfectly presents to us the dharma truths of impermanence and interdependence—they are continuously on display if only we were prepared to look. Alas, instead, we habitually look past them, craning our necks to catch a glimpse of what we imagine is perfection, a mirage that seems to hover forever out of reach, receding with the horizon.
Yet it is the illusionary pursuit of perfection that sets most of us on the path, logging endless miles on a journey that ends only when we finally look down at what has been beneath our feet all along. Yuanwu asserts words do violence to reality, but he does so in words. Words can only paint a picture of reality, and at some point, we have to tear up the picture.
Photographer and clinical psychologist Donna Bassin took one such journey when she traveled to Kyoto in search of the beauty and meditative repose for which its monasteries have long been famous. But she brought a unique dual perspective with her, as both a photographer and trauma therapist, a perspective that allowed her to look beyond and beneath the superficial, if exquisite, beauty of her surroundings.
Her work as a therapist had already taught her that perfection is illusionary. We seek wholeness, but that wholeness must incorporate all the painful aspects of ourselves and our history that we typically enter therapy or meditation practice to expel or expunge. Encountering the Japanese art of kintsugi, Bassin discovered a perfect metaphor for the processes of rupture and repair that occur in every life, and every therapy session. For while most young therapists go into the field hoping that they will be in a position to give their patients the attention, understanding, and compassionate responsiveness missing from their upbringing, they must learn that they may inevitably repeat the very traumas of misunderstanding and mis-attunement that their clients have suffered from growing up.
Failures are not just inevitable, but are a necessary part of the process. A good mother is not one whose baby never cries, but one who knows how to respond and soothe her crying baby. We learn that to be part of the solution, we must be willing to be experienced as part of the problem. Like those old masters, we must risk gouging a wound in healthy flesh if we are to have any impact at all.
Bassin’s photographs, which she deliberately tore and repaired in the manner of kintsugi, demonstrate how our scars, emotional and physical, must be accepted as part of our “picture” of ourselves. She could have returned from her trip with beautiful photos of old Kyoto, as have legions of tourists before her. She could have come away from her monastery stay with a certain degree of meditative calm. Instead, she brought back something more complex and challenging. In these images, we see repairs that do not restore the photographs to their previous states, nor, as with veins of gold in traditional kintsugi, do her stitches merely add a new decorative element.
Find the series below, followed by a Q&A with the artist.
![](\"/pf-media/PreciousScars.Kyoto.Monastery.3A.jpg\")
Precious Scars.Kyoto.Monastery.3A
![](\"/pf-media/PreciousScars.Kyoto.Monastery.2A.jpg\")
Precious Scars.Kyoto.Monastery.2A
Scenes of refined elegance (3A) or quiet domesticity (2A) are rudely disrupted. In another, (4A) the walls and floor seem to be cracked and damaged as if by an earthquake. Bassin’s repairs often appear literally as scars, with the crude stitches suggestive of an emergency room, not the neat and delicate lines we might expect. Not only are the scars and stitches sometimes painful in themselves, but the tears have let in alien colors and textures, that have now been incongruously incorporated into the scene, the way strange and disturbing feelings and images may suddenly arise in our minds during meditation.
![](\"/pf-media/PreciousScars.Kyoto.Monastery.4A.jpg\")
Precious Scars.Kyoto.Monastery.4A
A woman’s smile (5A) eerily floats into one scene, disturbingly detached and disembodied. The stone statue of a monk or buddha (26) has a swath of color floating across it, as if spoiling his samadhi. In every case, some intrusive element elbows its way into the foreground, insisting on its right to be part of the picture. So it is with our lives, as Bassin evidently knows all too well.
![](\"/pf-media/PreciousScars.Kyoto.Monastery.5A.jpg\")
Precious Scars.Kyoto.Monastery.5A
![](\"/pf-media/PreciousScars.Kyoto.26.jpg\")
Precious Scars.Kyoto.26
We are called upon to incorporate what we wish we could exclude, to own what we are desperate to disown. To recognize the scars we bear not as intrusions into our otherwise perfect lives, but as our life itself.
***
How did these series come to be?
Donna Bassin: In 2019, I took a trip to Japan with the Upaya Zen Center led by Roshi Joan Halifax and Sensei Kaz Tanahashi. I needed breathing space from the occupational hazards of my clinical work with traumatized individuals. And, despite my embrace of the teachings on non-duality and encouragement for my patients to compassionately accept their complications and imperfections, I was faltering. Suffering appeared to intensify during the Trump years. Long ignored cracks ruptured as racial and economic injustices were brought to the forefront of collective consciousness and our democracy teetered on the edge. I needed to gather myself differently and detach from the ongoing pain of others. And, perhaps more usefully, I could find (through the aesthetics of Japan’s traditional sacred arts), a way to contain and artistically express the grave injustices in our society.
Once in Kyoto, I wanted to capture all the beauty I saw. Instead, I was reminded to let go of filling my camera with images and to allow myself to be there fully. But I could not, and I returned home with hundreds of photographs.
I printed the photographs on 16″ x 16″ pieces of rice paper. My square format was an enlarged version of Kodachrome slides similar to those my parents had taken while traveling to foreign places. The colors were softened, and the edges blurred as the images were absorbed into the rice paper. They reminded me of the colorized photographs of the nineteenth-century Japanese photographer Kusakabe Kimbei, who created kitschy souvenir postcards for Japan’s first European tourists. His photos were staged in “traditional” scenes and often purchased by tourists before they even began their tour.
I grew up in a home filled with Japanese art objects gifted to my family by an uncle who served as a military lawyer during occupied and post-war Japan. My own collection included child-sized kimonos and wooden dolls. I tried to understand the meaning of the words “Made in Occupied Japan” stamped on the bottom.
In my photographs of temples, meditative landscapes, monks, and monasteries, I had only captured the preconceived. I replicated the surface imagery of traditional Japan. They were souvenirs of the trip—pretty but unsatisfying. Clearly, the underlying aesthetic practices that embody aspects of Zen philosophy were not present in my work. In a moment of artistic frustration, I ripped the photographs—attempting to let go of what I had captured. However, the vision changed as the objects of the photographs lost their clean edges.
You were inspired by kintsugi. Can you explain what that is?
The ancient craft of kintsugi is a practical expression of Zen Buddhism’s philosophy of Wabi-Sabi, which nurtures acceptance of and appreciation for imperfections and transience. In Kyoto, we waited on a long line to view an exquisite ancient bowl once shattered and then repaired with gold lacquer in such a way to highlight its damage rather than hide it. I adapted the repair of this broken pottery to my photographic prints.
Can you describe your process?
In some images, torn fragments from other photographs were used to join the now torn edges, leaving a visual reminder of the damage and disrupting the wholeness of the image. Colored embroidery thread mindlessly and crudely sewn welcomed my unthinking body into the process. The work was now an opportunity to be both the one who injured and the one who could repair. The ripped and torn images were then dipped in an encaustic beeswax medium, leaving a translucent skin-like texture. Skin holds us together but is also a reminder of our impermanent nature. Held to the light, one can see the rip and the mending, highlighting injury and repair simultaneously, resulting in precious scars.
***
I want to express my gratitude to Barry Magid for the special quality of attention he gave to my work and providing a Dharma frame, to Sensei Kaz Tanahashi for introducing me to art practice as meditation, and to Roshi Joan Halifax for her compassionate patience with my grasping.
“…For nothing can be sole or whole
That has not been rent…”
–William Butler Yeats
~ Donna Bassin
Barry Magid received Dharma transmission as a Zen Teacher from Charlotte Joko Beck in 1998 and is the founding teacher of the Ordinary Mind Zendo in New York. He is the author of Ordinary Mind: Exploring the Common Ground of Zen and Psychotherapy (Wisdom 2002), Ending the Pursuit of Happiness (Wisdom 2008), and Nothing Is Hidden: The Psychology of Zen Koans (Wisdom 2013).
Donna Bassin is a fine art photographer and clinical psychologist who utilizes Buddhism in her mental health practice as a psychology of the mind. She has an extensive exhibition and publication history and was recently awarded a fellowship in photography from the New Jersey State Council on the Arts and an upcoming solo show at Soho Photo Gallery in New York City.
Portraits of the Precarious Earth
Environmental Melancholia
Environmental Melancholia layers renewal over depletion. Each piece combines photographs from different locations, with one showing degraded land and the other suggesting renewal. Printed first on Moab Entrada Rag Natural and then overlaid with a second image on translucent rice paper, the photos merge into imagined landscapes that hold memory, fragility, and restoration. The layers are held together with stitches of embroidery thread, washi tape, or archival corners so the construction remains visible. Identified by GPS coordinates rather than country borders, the works erase political boundaries and highlight shared responsibility.
These unique photographic constructions include hand-ripping, layering, and attachment through washi tape or sewing with embroidery thread.
Limited editions available in three sizes: 13” x 19”, 24” x 35”, and 35” x 51”
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By Our Own Hand: Frontline Arts in Collaboration with Donna Bassin
Montclair Art Museum, Montclair, NJ
September 12, 2021 – August 14, 2022
MAM presents a year-long, site-specific installation in Laurie Art Stairway, in collaboration with Frontline Arts and Donna Bassin. On view are approximately 800 sheets of handmade paper created from veterans’ uniforms and provided by Frontline Paper, an initiative of Frontline Arts. Inspired by the ancient practice of Tibetan prayer flags hung to mark an important and challenging occasion, BOOH refers to the toll of veteran deaths by their own hand as well as to the resiliency and creativity from transforming military uniforms into handmade paper. This craft as a connective practice brings the diversity of veterans’ experience into culture—away from silence, and with this installation, opens a dialogue around veteran suicide. While the actual number of daily suicides among the veteran population has fluctuated between 17 and 22 per day since 2001, it consistently remains at a rate more than twice that of the rest of the population.
Frontline Paper is a mobile, national veterans’ papermaking program that connects communities and teaches veterans the art of making handmade paper from military uniforms as a transformational and socially engaging way to share their stories with each other and with the public. The sheets of paper on view were made by many veterans in workshops offered by Frontline Paper, as well as veteran facilitators at Frontline Arts in Branchburg, NJ, and a papermaking studio run by veteran artists in Trumansburg, NY.
The handmade paper workshops create a platform for veterans and non-veterans to come together and share stories, providing a new language, and much-needed discourse between veterans and society. In casual drop-in sessions, on college campuses, in community centers, at pop-up street corner workshops, and at VA and military hospitals, Frontline Paper artists teach the art of papermaking and printmaking to veterans of all service eras.
The exhibition is accompanied by a video with excerpts from writer-Director Donna Bassin’s award-winning documentary The Mourning After (2015-16) featuring poet veterans Eli Wright and Maurice DeCaul. As Bassin notes, “One doesn’t heal from war; one learns to surrender to its complicated traumatic impact. As veterans struggle with their losses, they have found ways to address and work through the moral injury and PTS with which they contend. They witness their losses via engagement in community activism, memorializing rituals, and acts of artistic and poetic creation.”
This exhibition is curated by artist, activist, and educator David Keefe, co-founder of Frontline Arts and President of the Board of Trustees, with Donna Bassin. She is a fine art photographer, clinical psychologist/psychoanalyst, and award-winning documentary filmmaker. They have worked with MAM’s curatorial department staff, especially Osanna Urbay, Registrar, Bruce Rainier, Preparator, and Gail Stavitsky, Chief Curator.
Installation designed by Donna Bassin (2014) with Frontline Paper
Model created by Robert Pyzocha, Photographs by Steve Hellerstein
Grazia Magazine – New Ways of Seeing
~ Bianca Bonomi
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DONNA BASSIN
An award-winning fine art photographer, installation artist, author, professor, and filmmaker, Donna Bassin is an artist heavily influenced by her work as a clinical psychologist and her experiences working with war veterans and at Ground Zero. She uses her art to explore the creative edge of collective loss, grief, mourning, and transformation. She is known for her documentaries, Leave No Soldier and The Mourning After, and her photo series The Afterlife of Dolls – a solo exhibition at Montclair Art Museum that was featured on PBS’ State of the Arts and received both a Golden Bell and Gradiva Award. Her photographic series, My Own Witness: Rupture and Repair, explores the human desire for reconciliation in the wake of social fractures.
“Following the 2016 presidential election, I initiated portrait collaborations between those who – through race, sexuality, gender identity, age, ethnicity, and/or disability – felt they had been deemed invisible and un-entitled to their place in this American moment,” she says of the My Own Witness series. “Storytelling through pose, gesture, gaze, and props, they turned themselves ‘inside out’ to visually assert their identity and invite a visceral face-to-face encounter with their humanity. The shared black velvet background and chiaroscuro lighting create an aesthetic unity, joining the individual to the collective.”
With the arrival of the pandemic, however, Bassin’s work, like so many others, was interrupted. “I had to shut down the portrait studio,” she recalls. “I couldn’t bring people in to shoot them. Then one day, I was reading the news – there was economic disparity, an increasing racial divide, and a discrepancy between who was getting sick and who was receiving care. It was heart-breaking,” Bassin says. Faced with a tide of rising inequality, she felt the need to respond. “I think art is about what you do when there’s excess. I also write as a psychoanalyst, or I did write, but I felt like the writing just couldn’t hold the intensity of the feelings I felt – the helplessness,” she continues. “I’m in a professional group with my psychoanalytic community, people very much engaged in social responsibility. They are incredible scholars and thinkers, and they had written that feeling. I didn’t think that I had anything to add in that way. And you know the old adage, a picture is worth a thousand words. So one day I went down to my studio, I had one of the My Own Witness photographs out, I looked at it and just ripped it out of despair. Then I looked at it again as I left the studio and I thought, this is the embodiment of the inner rips and ruptures in our culture.”
Channelling the injuries brought on by the pandemic, Bassin decided to use the portraits to bring physical expression to the present unrest. “I ripped the portraits to create ‘wounds’ that reflect our individual and collective traumas. Then, inspired by the Japanese practice of Kintsugi – which mends broken pottery by using gold lacquer to repair damage while highlighting the scars – I restored the torn portraits using golden rice paper and thread,” Bassin recalls. The sewing added a visceral quality; raw, haphazard, and almost undone. “The resulting scars remind us that we must not forget the incidents that create our wounds, but rather use them as inspiration to move forward and mend our fractured relationships with ourselves and each other.”
Letter from the Editor
Sometimes people leave you
Halfway through the wood
Do not let it grieve you
No one leaves for good
Dear colleagues,
Another year of tremendous loss draws to its close.
Donna Bassin offered us an exquisite elucidation and meditation on “The Art of Mourning” in her October Symposium presentation, within the panel entitled “Relational Perspectives on the Capacity to Grieve and Mourn in Times of Intense Frustration, Terror, and Destructiveness.” As any of you who had the privilege of attending her talk no doubt recall, Donna shared a photograph of a museum piece, “By Our Own Hand,” recalling both Tibetan prayer flags and the September 11th “missing people” posters from the days and weeks following the fall of the Twin Towers.
Donna shared that, following the great intensity of her volunteer work at Ground Zero supporting grieving September 11 families twenty years ago, she herself sought support. Looking for fellowship among those who knew great loss intimately, she spent time with American war veterans, in an effort to find or create “new models of community mourning after collective catastrophic loss.” She and a group of veterans with whom she had been working collaborated on a piece that offers just this, a public space for mourning in the presence of a community of empathic witnesses.
Donna explained:
“By Our Own Hand,” an installation created in collaboration with the veterans' organization of Frontline Arts, was inspired by the ancient practice of Tibetan prayer flags hung to mark a significant occasion. It was conceived to be a reflective memorial space – a refuge by which to contemplate the price of war and call our attention to military service people who have died by their own hand (a number that consistently remains at a rate more than twice that of the rest of the population.) The installation consists of handmade paper by veterans in the presence of others in the veterans' community. While seemingly a blank surface, the paper is made from military uniforms and symbolically holds their war experience, as the uniforms contained the blood, tears, and dirt of war. The colors of these flags reflect the various uniforms of each of the branches of the military.
Their process of making handmade paper from military uniforms embodies their mourning after traumatic loss: finding, reclaiming, re-assembling, and enlivening fragments into art in the presence of a community of empathic witnesses. The artist finds something new, vital, and fresh through the re-organization of the old. Hanna Siegel (1952) wrote: \"It is when the world within us is destroyed, when it is dead and loveless, when our loved ones are in fragments, and we in helpless despair -- it is then that we must re-create our world anew, re-assemble the pieces, infuse life into dead fragments.”
With Donna’s permission, here is a photograph of the installation, currently on view at the Montclair Art Museum (Montclair, New Jersey) until September 2023.
Photo by Steve Hellerstein
Along with a number of other symposium reflections, Donna’s elaboration of aesthetic responses to death and suffering helped to hold space for us, giving us an opportunity to reckon with and grieve the enormous losses we have witnessed and suffered as a result of Covid-19, as well as all the other political and personal losses – of life, safety, stability, illusions (Layton, 2018) – that have mounted so intensely in recent time.
Here I hope you’ll indulge me a personal note: I lost an old and good friend over the summer, a man of immense talent with a nearly unparalleled appreciation for life, its beauties and absurdities, whose gifts for cherishment were an inspiration to many. Gone too soon at age 54 from cancer, Peter was a composer and lyricist who would otherwise have lived to see the premiere of his latest musical, some 14 years in the making, were it not for the year’s delay caused by Covid. A week from now I’ll return to the theatre – my first such visit since the onset of the pandemic, and, as fate would have it, in Montclair, New Jersey – to be in community as an audience member for Peter’s last show.
Peter had the good fortune to be mentored across nearly 40 years by composer and lyricist nonpareil Stephen Sondheim, a relationship borne of a teenager’s fan letter. As any of you with even a passing interest in Broadway musicals surely know, the master himself passed away at the end of November, less than 4 months after my friend’s passing, and less than 24 hours after enjoying Thanksgiving dinner among friends. I think of Sondheim as my own guide not just to the art and beauty of musical theater at its best and deepest, but also as an early and lasting guide to what it is to be human – joy, delight, beauty, pain, cleverness, brittleness, sureness, doubt, ecstasy, agony, ambivalence, love. He was also a fervent adherent of ongoing, unwavering commitment to work and craft, to the joys, frustrations and satisfactions of finding, creating, discovering something new: “Anything you do/Let it come from you/Then it will be new.” Winnicott never said it better.
A lot of great analysts are with me in my clinical work, a number of you readers among them, but there is no one I quote more often to patients – certainly to NY actor and singer patients, but by no means only to them – than that inexhaustible font of wisdom regarding the human condition, Stephen Sondheim, analyst of the psyche par excellence – himself a well-known analysand of many years’ standing. In fact, I recall my friend Peter once telling me appreciatively, “Steve never speaks of his ‘therapy’; it’s always his ‘analysis.’” Sondheim gave us so much beauty and helped us with our pain. His lyrics, so often limning love and death and love in the shadow of death, offer great consolations during times of grief. As he wrote in Into the Woods, “Sometimes people leave you/Halfway through the wood/Do not let it grieve you/No one leaves for good/ … No one is alone.”
In this year-end issue of The IARPP Bulletin, a Letter from the President; reports from a dozen IARPP chapters from around the globe; updates from a number of IARPP’s committees, including an inaugural report from the newly-formed Membership Outreach Committee; and a special section collating a range of reflections on the recent symposium.
I wish you all the joys, and hopefully at least some of the rest, of the holiday season.
donna bassin
Published on February 5, 2021
by Aint–Bad
Donna Bassin, Ph.D., is an award-winning fine art photographer, installation artist, author,
professor, and filmmaker. As an artist heavily influenced by her work as a clinical psychologist and her experiences working with war veterans and at Ground Zero, Donna uses art to explore the creative edge of collective loss, grief, mourning, and transformation. She is known for her
documentaries, Leave No Soldier and The Mourning After, and her photo series The Afterlife of Dolls – a solo exhibition at Montclair Art Museum that was featured on PBS’ State of the Arts and received both a Golden Bell and Gradiva Award.
Her work has been juried and shown in numerous group exhibitions stretching from New York City to Los Angeles. Her photographs have also been commissioned for book covers and are in private and museum collections.
She has recently been invited to represent New Jersey’s women artists in a public art project, Her
Flag (www.herflag.com). She has additionally contributed portraits from her series, My Own Witness, to Smack Mellon Gallery for their exhibition of Bound Up Together: On the 100th Anniversary of the 19th Amendment, and to SaveArtSpace and Art4Equality for a billboard
installation, both located in Brooklyn, New York.
Donna’s current projects, My Own Witness: Rupture and Repair and Precious Scars, explore the human desire for reconciliation in the wake of social fractures.
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\"My Own Witness: Rupture and Repair\"
at The Passaic County Arts Center
September 17 - November 27, 2022
Opening Reception on September 24, 2022
4:00 - 6:00 PM
675 Goffle Rd
Hawthorne, NJ 07506
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RAW: Reassessment and Wonder
Jamestown Arts Center, Rhode Island
About the Exhibition:
Reassessment is a dynamic, multifaceted process; ignited by a need, it requires a reflection of the past, a new perspective on the present, and a desire to shift forward. Reassessment calls on the individual to authentically explore impact, search inward, and be vulnerable in exploring one’s psychological, physical, and environmental state. This mirrors the artist’s mindset. Motivated by curiosity, artists seek to identify vulnerabilities, push beyond doubt, take risks, examine the past, and be in direct conversation with the current climate. The process is delicate. Like an abrasion on the skin, there is a scraping or wearing away layer—by—layer and with this breakdown and repair comes renewal.
\"Since the onset of the pandemic, many of us have faced moments of uncertainty, unexpectedness, and flux. These experiences can be vulnerable, but can also spark joy, courage, and resilience. This exhibition is an opportunity to explore work by artists who have made radical shifts in their practice—from exploring entirely new challenges in materials and techniques, to confronting content around personal and cultural identity.\"
-Danielle Ogden, Curator
Artists were selected from a national call to artists. The exhibition includes outdoor sculpture and a 10’ outdoor mural in addition to site-specific installation and works of art in a range of media in the JAC’s galleries.
About the Artists:
Single figure paintings by Newport, RI artist Tyler Arment represent a glimpse of a person in the moment when their core strength, their human potential, physical and psychological power is being unleashed.
New Jersey-based Donna Bassin, Ph.D., uses art to explore the creative edge of collective loss, grief, mourning, and transformation. Her series in RAW, entitled Precious Scars, reflects the injuries brought on by the pandemic, ongoing racial and economic inequality, and further erosion of our democracy by ripping original portraits to create “wounds” in the work that are then stitched together using golden rice paper and thread.
Linda Behar (Providence, RI) explores body language and body shape in her performative, sculptural works. Her art creates images that echo the past, confront the present and embrace the future.
In the past two years, Cuban-American sculptor and painter Ana Flores sought refuge in the forest surrounding her studio in Charlestown, RI and found inspiration in the small, spindly trees that were fighting for space and light to grow in the dense space. She transformed these into ladders that will be exhibited at the JAC.
As the COVID-19 pandemic halted both personal and professional spheres for multi-disciplinary artist Noah Fox (Milford, CT), his work took on new meaning as his loving and gestural hand sculptures now looked like agents of virus and contagion. His site-specific installation at the JAC is filtered through the lens of social distancing, touch, intimacy, illness, and safety.
The sculptural forms by Dena Haden (New Bedford, MA) embody the ebb and flow of life cycles: coming into form, living, changing, and the residue left behind in passing.
After becoming a paraplegic at the age of 30 due to a rare neurological condition, Aimee Hofmann (Tuckahoe, NY) journeyed to redefine herself as a woman in a wheelchair. During a two month hospital stay, she picked up a paintbrush and started painting. For RAW, Hofman will install a 10' x 10' mural outside the JAC that combines painting by hand and her wheelchair.
Paul Housberg (Jamestown, RI) explores the juxtaposition of order and randomness, as well as the human tendency to seek patterns in chaos. His well-known grid structures that are architecturally integrated into large, public spaces have undergone a transformation during the pandemic into a solitary practice of intimate works.
The multinational portraits by ML Kirchner, taken in the US and Guatemala, capture the dignity of the marginalized and portray characters within the context of a larger dialogue and in the geometry of their space.
The deeply personal and narrative work of Melanie dai Medeiros (Barrington, RI) reflects the artist's examination of her childhood memories, her community and the land, which exposed, Medeiros explains, \"a duplicity of consciousness–juxtaposing the known with the felt.\"
About the Curator:
Danielle Ogden has spent the last 17 years immersed in the intersections of art, museums, and higher education. She is currently on faculty at Fairfield University, teaching Modern Art and the History, Theory and Practice of Museums. She also serves as Adult Learning Specialist at the Aldrich Museum Contemporary Art Museum in Ridgefield, CT. Prior to this she supported the launch of the National Gallery Singapore, as Senior Manager of Adult Learning and Access Programs. Danielle has national and international experience curating, designing, and facilitating cross-disciplinary initiatives, leading in-gallery tours, lecturing, and building programs for adult audiences at The Museum of Modern Art, Harvard University Art Museums, The British National Trust, Newport Restoration Foundation, and Westport Museum of Contemporary (formally Westport Arts Center). Danielle holds an MA from Boston University in Art History and an Ed.M. in Education from Harvard University. Danielle will serve as Curator of Engagement for Jamestown Arts Center’s Outdoor Arts Biennial, opening Spring 2022.
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\"Environmental Melancholia: Postcards from the Past.58\"
Pigment print on Moab Entrada Rag Natural 300 paper, rice paper, archival photo corners
Unique; Three editions available
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Awards and Grants
2024
Best Series - Time and Wisdom of the Land, L.A. Photo Curator
Finalist - Critical Mass 2024, Photolucida
The Puffin Foundation Artist Grant
2023
Finalist – Critical Mass 2023, Photolucida
Artist Residency, Baer Arts Center, Hofsos, Iceland
2022
Top 50 Photographers – Critical Mass 2022, Photolucida
Finalist – FRESH 2022, Klompching Gallery
Director’s Choice – WABI-SABI, Art Fluent
2021
Fellowship in Photography, New Jersey State Council on the Arts/Mid Atlantic Arts Foundation
2020
First Place, Exploring Humanity, Lost Angeles Center of Photography
Curator’s Choice, ProArts Jersey City
2018
Honorable Mention, 12th Julia Margaret Cameron Award, The Gala Awards
2017
Gradiva Award, \"The Mourning After,\" NAAP
2014
Video Grant for “The Mourning After,” Psychoanalytic Electronic Publishing
2008
\"Leave No Soldier,\" Rhode Island International Film Festival
2007
The American Psychological Association, Division 39 Section IX Achievement Award
Solo Exhibitions
2025
Interwoven: Rupture and Repair, Morris Museum, NJ
Portraits of the Precarious Earth, The Newport Art Museum, Newport, RI
2024
My Own Witness: Rupture and Repair, Mira Forum, Porto, Portugal
2023
My Own Witness: Rupture and Repair, Espaço D´Artes Gallery, Auto Clube Médico Português, Lisbon, Portugal
2022
My Own Witness: Rupture and Repair, Passaic Arts Center, NJ
2021
My Own Witness: Rupture and Repair, Soho Photo Gallery, NY
2004
Playing Around, Pierro Gallery, NJ
Memories: Ascending/Descending, Montclair Art Museum, NJ
2003
The Afterlife of Dolls, Montclair Art Museum, NJ
Installations
2025
Dollhouse: Gimme Shelter, Tiny Gallery Lackawanna Station, Montclair, NJ
Dollhouse: No Shelter, Tiny Gallery & Montclair Film, Montclair, NJ
2022
Precious Scars, RAW: Reassessment and Wonder, Jamestown Arts Center, RI
2021
By Our Own Hand: In Collaboration with Frontline Arts, Montclair Art Museum, NJ
Her Flag, National Museum of Women in the Arts, Washington, D.C.
2020
Prayers for the Pandemic, Drawing Rooms, NJ
Bound Up Together: On the 100th Anniversary of the 19th Amendment, Smack Mellon, NY
Art4Equality x Life, Liberty, & The Pursuit of Happiness, SaveArtSpace, NY
Art Off-Screen, Neumeraki – D*FIT Studio, NJ
2016
Cherry Blossoms in Winter, Rutgers Newark, NJ
Group Exhibitions
2025
The Big Small Show 2025, Drawing Rooms, NJ
Vision(ary), Griffin Museum of Photography, RI
New Jersey Arts Annual 2025, Rowan University Art Gallery & Museum, NJ
Karuizawa Foto Fest, Nagano, Japan
The Healing Power of Creativity!, Robbins Hall, JCC MetroWest, NJ
Uprise 2025, The Untitled Space, NY
Our Environment, Our Future, The Gaelen Gallery, JCC MetroWest, NJ
2024
Shomrei Adamah: Keep the land that I give you, The Gallery at TSTI, NJ
New Jersey Arts Annual: Exploring Our Connections, Montclair Art Museum, NJ
Grounding, Ki Smith Gallery, NY
Double Exposure, Carter Burden Gallery, NY
The Fat Canary, Ceres Gallery, NY
2023
Picturing the Constitution, Old Stone House & Washington Park, NY
Two by Two Media: Environmental Melancholia, Carter Burden Gallery, NY
Retrospect: Decommissioned Works, Lodger Gallery, MO
OUR CHOICE, Arc Gallery & Educational Foundation, IL
Imminent Existence, Photographic Center Northwest, WA
Portrait of the Artist, Hunterdon Art Museum, NJ
2022
Pages, Studio Montclair, NJ
Inspired by George Inness: Life and Landscape, Studio Montclair, NJ
WABI-SABI, Art Fluent, MA
Extinction – Save the Planet 2022, Gallerium, Toronto
NJSCA Artist Fellowship Showcase, Artworks Visual Arts Center, NJ
Healing and Hope, Kente Royal Gallery, NY
Expanding the Concept of Photography, Raritan Valley Community College, NJ
2021
Transformed: Objects Reimagined by American Artists, Montclair Art Museum, NJ
New Jersey Arts Annual: ReVision and Respond, Newark Museum, NJ
What Lies Ahead, L.A. Photo Curator, Susan Spiritus Gallery, CA
Contemporary Portrait, SE Center for Photography, SC
The Empowering, Pro Arts Jersey City, NJ
Privilege, Power and Everyday Life, Studio Montclair, NJ
2020
For Which It Stands, Ford Foundation Gallery and Assembly Room, NY
Exploring Humanity, 5th Annual Fine Art Exhibition, Los Angeles Center of Photography, CA
Artists for Social Justice, Kupferberg Center for the Arts at Queens College, NY
Artists for Social Justice, Arc Gallery & Educational Foundation, IL
Portrait 2020, SE Center for Photography, SC
Art4Equality x Life, Liberty, & The Pursuit of Happiness, SaveArtSpace/Art4Equality; The Untitled Space, NY
Her Flag, Old Barracks Museum, NJ
2019
Little by Little, Art Intersection, AZ
Contemporary Portraiture: To See Each Other, Passaic County Arts Center, NJ
2018
Armistice Day 2018, Puffin Cultural Forum – Frontline Arts, NJ
Call & Response: The Art of Listening, 1978 Maplewood Arts Center, NJ
Natural Encounters, N.Y. Photo Curator – Global Photography Awards, NY
2017
Art Connections 13, George Segal Gallery, Montclair State University, NJ
Grief, N.Y. Photo Curator, NY
Street Photography, Blank Wall Gallery, Athens
2016
Trois Poissons in a Big See, Sterling Sound, NY
Viewpoints 2016, Aljira: a Center for Contemporary Art, NJ
Art Connections 12, George Segal Gallery, Montclair State University, NJ
2015
Mirrors of the Mind 4: The Psychotherapist as Artist, Art Share LA, CA
Film and Video
2025
The Precarious Earth: A Story in Fragments, Newport Art Museum, RI. Editor: Ari Bassin-Hill
2022
My Own Witness: Rupture and Repair, Revista Psirelacional, Lisbon, Portugal
2021
By Our Own Hand, Short, Montclair Art Museum, Montclair, NJ
2016-2015
The Mourning After, Documentary, PEP Video
2014
Leave No Soldier (edited), Documentary. Director and Producer. (R.T 53 minutes)
2008
Leave No Soldier, Documentary. Director and Producer. ShrinkWrap Productions. (R.T 83 minutes)
2004
Dollhouse, Recipient of Experimental Television Center Finishing Fund Grant
2003
Dollumentary: The Origins of Dolls, Montclair Art Museum, Montclair, NJ
Art Publications, Interviews, and Presentations
2025
\"Portraits of the Precarious Earth: Vanishing and Erased Landscapes,\" The HAND Magazine, Issue 49
\"Interwoven: Rupture and Repair,\" The Morris Museum President's Circle, Morristown, NJ
\"Please Don't Cut Me Down: Donna Bassin's 'Portraits of a Precarious Earth',\" Ecoartspace
\"George Inness at 200: Legacy Landscapes, Fresh Visions, 9th Annual Gaelen Family Artist Lecture.\" Montclair Art Museum, Montclair, NJ
\"The Art(s) of Traumatic Loss and the Work of Mourning: Art-Making, Collaboration, and the Journey from Bystander to Empathic Self-Witness.\" Toronto Institute for Contemporary Psychoanalysis, Toronto, Canada
\"Donna Bassin: Art, Conversation, and Screening.\" Newport Art Museum, Newport, RI
\"Photography and Our Environment, Best Photo Picks April 2025.\" Thinking About Photography, What Will You Remember?
\"The Art of Repair.\" ART Inc., Rhode Island PBS
\"Uprise 2025: 100 Artists Channel the Art of Resistance at The Untitled Space.\" White Hot Magazine
\"Art Awakening for Early Spring.\" Newport This Week, Newport Now
\"Environmental Melancholia.\" Lenscratch Photography Daily
2024
\"Environmental Melancholia.\" The HAND Magazine
\"Environmental Melancholia.\" Dodho Magazine
2023
\"Environmental Melancholia.\" Vostok Magazine
\"Environmental Melancholia.\" Feature in Analog Forever Magazine
\"Environmental Melancholia.\" FLOAT Magazine
“Environmental Melancholia.\" LandEscape Art Review, Biennial Edition
\"The Art of Mourning,\" Ill Jornadas PsiRelacional, The Limits of Relational Psychoanalysis, University of Lisbon
\"Hors Série - My Own Witness: Rupture and Repair,\" Incubator Photo Gallery, Lisbon
“The Art(s) of Traumatic Loss and the Work of Mourning: art making, collaboration, and the journey from bystander to empathetic self-witness.\" Donna Bassin, Ph.D. with Sam Gerson, Ph.D. The Psychoanalytic Institute of Northern California
2022
“My Own Witness: Rupture and Repair.” Revista PsiRelacional
\"My Own Witness: Rupture and Repair.\" Fotonostrum Magazine
2021
“Precious Scars: Art as Practice.” Tricycle: The Buddhist Review
“By Our Own Hand,\" The IARPP Bulletin
\"The Face of the Earth,\" LifeFramer Magazine
\"New Ways of Seeing,\" Grazia Magazine
“A Telling Portrait of Our Current Era.” Poignant Pics no. 36, One Twelve Publishing
“My Own Witness: Rupture and Repair.” Portfolio feature for Issue No. 15, Aint-Bad
2020
“My Own Witness.” Series of photographs for Human Rights. Issue #69. Lens Magazine
2019
“I Am My Own Witness.” Portfolio feature, Fat Canary Journal
2018
“We the People: Portraits of Resistance and America Reconstructed.” Psychoanalytic Review, December 2018
“Gorillas.8” Featured photograph for ‘So Zoo Me, a photo narrative’ by Mark Blickley in Event Horizon, Issue 5
2015
“Fog of War”, State of the Arts, NJN TV
2013
“A Day at the Zoo Through the Lens of Jessica Benjamin’s Bonds of Love,” Studies in Gender and Sexuality
2007
“Picturing Herself: On Diane Arbus’s Revelations,” Studies in Gender and Sexuality
2005
“Inside Dolly: A Still Live Revisited.” Almost Human: Dolls and Robots in Contemporary Art. Hunterdon Art Museum, NJ
“Childhood”, State of the Arts. NJN Public Television
2004
“The Afterlife of Dolls.” Catalogue by Mary Birmingham. Montclair Art Museum, NJ
2003
“Therapist’s Imagery: Psychoanalyst Uses Dolls to Explore Relationships.” The Star Ledger
2002
“Review of Donna Bassin’s Work.” The Montclair Times
Book Covers
2021
Sexual Boundary Violations in Psychotherapy: Facing Therapist Indiscretions, Transgressions, and Misconduct, eds. A. Steinberg, J. Alpert, and C. Courtois, American Psychological Association
2020
Prayers for the Pandemic. Volume Two. Curated by Anne Trauben for Drawing Rooms. August 2020.
Prayers for the Pandemic. Volume One. Curated by Anne Trauben for Drawing Rooms. May 2020.
2019
Toward a Social Psychoanalysis: Culture, Character, and Normative Unconscious Processes (Relational Perspectives Book Series), 1st Edition. L. Layton, ed. M. Leavy-Sperounis, Routledge Press
2018
Decentering Relational Theory: A Comparative Critique (Relational Perspectives Book Series), eds. L. Aron, S. Grand and J. Slochower, Routledge Press
De-Idealizing Relational Theory: A Critique from Within (Relational Perspectives Book Series), eds. L. Aron, S. Grand and J. Slochower, Routledge Press
2014
Holding and Psychoanalysis, second edition, J. Slochower, Routledge Press
2013
Psychoanalytic Collisions, second edition, J. Slochower, Routledge Press
Select Psychoanalytic Publications
2017
“From ‘Bystander to Witness' – The Art of Mourning and the Veterans' Art Movement.” International Forum of Psychoanalysis, DOI: 10.1080/0803706X.2017.1342867. Routledge.
“The Art(s) of Witness”. Art, Creativity, and Psychoanalysis: Perspectives from Analyst-Artist., ed. G. Hagman. Routledge Press, N.Y. and London.
2016-2017
Screening and Commentary of The Mourning After, National Association for the Advancement of Psychoanalysis 44th Annual Conference. New York, New York.
2016
“Beyond “thank-you for your service”: The Creation of Post-War Veteran/Non-veteran Collaborative Mourning Spaces.” Psychoanalysis, Trauma, and Community. Eds. J. Alpert and E. Goren.
2011
Reminiscence, Ritual, and Beyond Working Through. Psychoanalytic Dialogues, 21.
2007
“Electra’s Mourning.” Being and Doing: Essays on Gender, ed. D.Franco, M.H. Reso.
2003
“A Not-So-Temporary Occupation Inside Ground Zero.” 9/11: Trauma at Home. Edited by J. Greenberg, University of Nebraska Press.
2002
“Writing from the Night Kitchen or from the Inside Out and the Outside In.” Studies in Gender and Sexuality.
“I’m in the Milk and the Milk is in Me: Writing from the Night Kitchen.” Studies in Gender and Sexuality. Volume 3(3): 297-308.
2001
“A Barrenness of Body and Theory: An Analysis of Infertility.” Studies in Gender and Sexuality. Volume 2(1): 63-82.
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\"Artist Donna Bassin is a clinical psychologist and an assistant professor at NYU’s postdoc program in Psychoanalysis and Psychotherapy. She’s also an award-winning photographer and filmmaker whose art has been strongly influenced by her experiences working with survivors of Ground Zero and veterans of war. In fact, Donna is a co-founder and board member of Frontline Arts, a program that began as a way for veterans to share their experiences and connect.
State of the Arts featured Donna’s series \"Afterlife of Dolls\" during its exhibition at the Montclair Art Museum in 2004. She exhibits internationally, and received a 2021 New Jersey State Council on the Arts Fellowship in Photography.
As Donna puts it in her bio, her work as an artist is to explore “the creative edge of collective loss, grief, mourning, and transformation.”
Produced by Amber Edwards.
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Interview by Lilly Bremm.", "caption": "", "type": "html", "content": "Donna Bassin: Raising the Emotional Connection
Interview by Lilly Bremm, University of Anáhuac, Mexico
August 2023
(PDF is in Spanish)
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New Jersey State of the Arts documentary, The Fog of War, showing Donna Bassin's experience with veteran artists.
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Opening Reception: Wednesday, January 29
5:00 PM - 7:30 PM
RSVP at: newportartmuseum.org/openings
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Donna Bassin: Portraits of the Precarious Earth
RSVP - Donna Bassin: Portraits of the Precarious Earth at The Newport Art Museum
Lenscratch Photography Daily: Environmental Melancholia
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On the Precarious Earth: Landscapes of Loss and Resilience
This zine, curated by The Docks Publishing (Napoli, Italy) from my Portraits of the Precarious Earth project and supported by The Puffin Foundation, expands my work beyond the gallery and into people’s hands. Like my photographs—ripped, sewn, burned, layered—the zine is a constructed object, meant to be carried, touched, and shared. Its small, intimate format makes the climate crisis personal; it moves beyond abstract statistics to invite a heartfelt encounter with loss and resilience.
I give these zines away freely, asking recipients to pass them forward, letting them become catalysts for conversation and moments of collective reflection. In this way, the zine becomes a portable memorial and a call to action: a way of honoring what is vanishing while reminding us of our duty to preserve what remains. Like the photographs themselves, the zine bears witness to harm but also points toward healing, stitching people together through shared engagement.
Funding made possible by The Puffin Foundation, Ltd.
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The Precarious Earth: A Story in Fragments is an immersive video and soundscape that captures the creation of photo-based constructed landscapes where nature and artistic intervention converge. Inspired by Simon Schama’s Landscape and Memory, it explores how landscapes hold cultural memory, history, and ecological loss.
Through layering and material interventions—Japanese Washi tape, embroidery thread, and photo corners—fragmented terrains are reconstructed, revealing Earth’s wholeness as both fragile and imperiled. This transformation becomes a visual meditation on resilience and loss.
Rooted in 19th-century landscape aesthetics yet disrupted by contemporary fractures, the work dissolves temporal and geographic boundaries, evoking both environmental grief and the human impulse to repair. The video serves as a poetic yet urgent call to witness, reflect, and act, urging viewers to recognize their role in stewarding our changing Earth.
Photographs: Donna Bassin
Editor: Ari Bassin-Hill
Production Management: Chad Mooney
Music: “Bed Down in the Murk,” composed by Ben McElroy, courtesy of Music Vine Limited
Running Time: 6:06
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UPRISE 2025
On view March 8th - 29th
45 Lispenard Street, New York
The Untitled Space
By Coco Dolle
In the face of an increasingly extreme political landscape in the United States - marked by threats to civil rights, rising authoritarianism, and deepening polarization - art emerges as a powerful force of resistance. UPRISE 2025, a bold and timely group exhibition curated by Indira Cesarine, unites 100 artists in a collective vision for a future defined by justice, equality, and freedom. Opening on International Women’s Day, this compelling showcase also marks the 10th anniversary of The Untitled Space Gallery’s feminist programming at its Tribeca location in New York, reaffirming its commitment to activism through art.
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Interwoven: Rupture and Repair, features the work of two photographers, Kyle Meyer and Donna Bassin, whose differing photo techniques share a common interest in the delicate balance between vulnerability and strength.
Kyle Meyer’s Interwoven series consists of hand-woven photographic portraits of gay men from Eswatini (also known as Swaziland), a country in Southern Africa where the LGBTQIA+ community is criminalized and which currently suffers from the highest HIV cases globally.
When creating the work, each subject is invited to select a vibrant wax-print fabric, traditionally used for women’s headwraps, which Meyer incorporates into their portrait. He photographs the individual wearing the chosen fabric, then meticulously shreds and weaves the print together with the fabric, creating a textured, three-dimensional portrait. This intricate process not only safeguards the subjects’ identities but also symbolizes the intertwining of personal and cultural narratives, highlighting the tension between visibility and concealment in marginalized communities.
Donna Bassin’s My Own Witness: Rupture and Repair is a poignant photographic series that delves into themes of trauma, resilience, and the transformative journey toward healing. Drawing from her expertise as a clinical psychologist, Bassin crafts a visual narrative that reflects the fractures and mends within both individual and collective identities. In a symbolic act, she physically tears the photographs, creating visual “wounds” that mirror the emotional and societal fractures of the time. Inspired by the Japanese art of kintsugi—the practice of repairing broken pottery with gold lacquer to highlight, rather than hide, imperfections—Bassin meticulously mends the torn images using gold rice paper and embroidery thread. This process not only restores the portraits but also imbues them with a renewed sense of strength and beauty, emphasizing the value of scars as a testament to survival and growth.
Both photographers use portraiture to explore the journey toward personal and communal restoration.
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Portraits of the Precarious Earth
Ancient Trees
Ancient Trees transition from destruction to resilience and endurance. These portraits of old monumental trees honor some of the world’s oldest living beings, showcasing towering trunks, scarred bark, knotted branches, and twisting roots that have survived centuries of storms and human impact. Their commanding presence is accentuated by delicate seams of gold washi tape, reflecting kintsugi’s philosophy of visible repair. These trees serve as ecological anchors, supporting biodiversity and playing a vital role in carbon absorption. Unlike younger trees, older giants store and sequester more carbon as they grow, making their preservation essential for environmental health and a sacred inheritance. These trees stand as living symbols of endurance, reminding us that our attention and care are crucial.
These archival pigment photographs are printed on Hahnemuhle William Turner Matt FineArt. Each assemblage is unique and individually mounted to museum board with gold MT Washi tape.*
Limited editions available ranging between 24” x 36” and 105” x 153”
*It is recommended that sizes beyond 60” tall are directly mounted/attached on a wall surface or similar
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Vanishing and Erased Landscapes
Vanishing and Erased Landscapes adopts a visceral approach to ecological witnessing. The images document environmental destruction through my direct interactions with the photographic surface. Starting with photographs of climate-affected environments such as rising coastlines, shores, and burned forests, I burn, sand, hemically erase, suture, and embed residues of decay so that harm is physically inscribed into the print. This signifies the land’s refusal to forget its injuries and acknowledges my own complicity. The works are housed in faux-gilded frames that both honor and critique the aesthetic and conceptual ideas of nineteenth-century American landscape painters who, while erasing Indigenous presence, also aligned with and warned against Manifest Destiny, planting early seeds for preservation. By making damage visible, the work prompts the question of what it means to bear ecological witness—calling viewers not only to observe but to confront landscapes that refuse to be silenced.
These unique, archival pigment prints on Moab Entrada Rag Natural are damaged using fire, ripping, liquid chemicals, sandpaper, soldering iron, and finished with mixed media including wax pencil, adhesives, and recycled materials.
Print sizes range from 4” x 6” to 24” x 48”
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Donna Bassin
The Docks Publishing
This zine was created in response to the urgency of the climate crisis, transforming photographic landscapes into sites of mourning, reflection, and resistance. Drawn from my larger body of work, Portraits of the Precarious Earth, it includes altered images of scorched forests, vanishing coastlines, and ancient trees that I physically marked through burning, erasing, ripping, layering, and suturing to mirror the Earth’s wounds and attempts at repair. As an artist and trauma psychologist, I approach the land as a living body—grieving yet resistant.
The zine format offers an accessible, democratic, and intimate space for witnessing, designed to preserve what remains while honoring what is lost. It invites viewers to move beyond helplessness and into a shelter of shared accountability, reflection, and care. This is not simply a record of environmental loss but a call to action. What happens when the Earth refuses to forget and asks us to respond?
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Silence is no longer an option in dark times, when seeing itself becomes an act of awakening. Art must rise to meet the urgency of the moment. Like the 19th-century American landscape painters who sought to capture nature’s beauty before it vanished under the relentless march of Manifest Destiny, I construct landscapes that honor what remains and mourn what is lost.
By layering fractured images, suturing them with embroidery thread, and mending them with Washi tape, I weave together memory and imagination—a visual reckoning of loss and survival. The environmental crisis demands more than passive grief; it calls for accountability, for a transformation of devastation into action. We must create sanctuaries of reflection, spaces where despair and helplessness alchemize into power.
Portraits of the Precarious Earth is dedicated to Rachel Carson, the pioneering biologist and writer who sparked the modern environmental movement, my sons Ari and Ezra Bassin-Hill, and all future generations—those who deserve our vigilance and unwavering commitment to repair. I hope this project stands in solidarity with all who recognize the wonder of the natural world and our shared responsibility to protect it and all its inhabitants.
I sincerely thank Danielle Ogden, the artistic director, and the collaborative team at the Newport Art Museum in Rhode Island for their dedication and support.
\"Mankind is challenged, as it has never been challenged before, to prove its maturity and its mastery—not of nature, but of itself.”
— Rachel Carson Silent Spring (1962)
Designed by:
THE DOCKS PUBLISHING
www.welcometothedocks.org
March 2025
Dollhouse: Gimme Shelter
Tiny Gallery Montclair, Lackawanna Station
1 Lackawanna Plaza, Montclair, NJ
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A broken dollhouse — its paint faded and walls crudely mended — stands as a fragile relic of home. Once a child’s toy, now a meditation on belonging, loss, displacement, and the unjust promise of safety. I invite you to step inside — to step inside the question:
Where do we belong when home no longer shelters us?
Vision(ary) 2025: The Griffin Museum of Photography Public Art Exhibition
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Click for PDF of the full interview
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Review of Donna Bassin's \"Portraits of the Precarious Earth\" and related zine, \"On the Precarious Earth: Landscapes of Loss and Resilience\"
By Douglas Stockdale
January 8, 2026
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The Pictorial List:
RUPTURE REPAIR REMNANT by Donna Bassin
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“The question beneath my work is straightforward: how do we live with what has been torn within us, between us, and around us without looking away?”
Rupture is not an abstract condition but a lived one, registered in bodies, relationships, landscapes, and images. This text unfolds as an inquiry into how damage is acknowledged, carried, and worked through over time, without denial or premature resolution. Moving between artistic practice, psychological listening, and material process, it traces an ongoing engagement with mourning, witnessing, and repair, not as a return to an original state, but as an ethical labor that remains partial and unfinished.
This inquiry lives at the center of Donna Bassin’s work. A Brooklyn-born, New Jersey-based photo artist, filmmaker, writer, and clinical psychologist, she works at the intersection of art making and trauma care, where attention itself becomes a form of devotion.
View Donna’s photographs and read their full Pictorial Story on the website.
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Portraits of the Precarious Earth: Environmental Melancholia.79
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