MY OWN JOURNEY FOLLOWS NO SUCH LINEAR NARRATIVE. IT STARTED THE MOMENT I FOUND THE PHOTOGRAPH BUT HAS MEANDERED EVER SINCE, THROUGH UNCHARTED RESEARCH AND TO NO OBVIOUS DESTINATION.

-TACITA DEAN,Girl Stowaway, 1994

Tracie Marie Lee says, "In this body of work I am appropriating slivers of images, text, and artifacts from the familial archive.

There is an obstructed rationale of what a photograph is and does, as well as a displacement of the contexts of photographic processes. Incorporating multiple image-making properties and practices, the process of how we contextualize a photograph's objectness and our associations in relationship to photographic material is exposed. The original content, the index, becomes secondary - taking its unaccustomed place on the peripheral of significance. Distinct passageways emerge and are found within the distillation of expectations and longings attached to any familial or institutional space."

Lee is a graduate of the Corcoran College of Art + Design in Washington, D.C., with a BFA in Fine Art Photography, as well as a Master in Fine Arts graduate with an MFA in Photography and Integrated Media from Lesley University College of Art & Design in Cambridge, MA.                                     

She is also the owner and photographer of Thread Photography - Fine Art Weddings.

In her work she is interested in the implications and consequences of the Snapshot and the Constructed Image on memory construction and preservation. The compulsion to excavate and curate leads to finding new methods of holding onto brief, constantly changing realities, as well as confronting her own tendencies and obsessive drive to collect, as a process of examining loss.

Each individual work incorporates alternative processes, such as the kallitype and collodion, as well as various methods of collage. These mediums string together disparate images and artifacts to create an entirely new, complex image.

The success of the Archive represents only half of the material – the half that has survived. The matter lays somewhere in between what is present and what is missing. Perhaps these instances are the keys – the markers connecting bodies and identities, generations and histories; the physical indication of an unidentified connection.

Artist CV

EXHIBITIONS

EXHIBITION OF ALTERNATIVE PHOTOGRAPHY, THE FAR EASTERN

MUSEUM OF FINE ART, Curated Group Exhibition, Khabarovsk, Russia,

2017

WITCHING HOUR: IMAGERY FROM DARKNESS, PHOTOSYNTHESIS,

LLC, Juried Group Exhibition, Manchester, CT, 2016

BORDERLANDS, LUNDER ARTS CENTER, Group Exhibition,

Cambridge, MA, 2016

PORTRAITS AND PORTRAYALS, PHOTOSYNTHESIS, LLC, Juried

Group Exhibition, Manchester, CT, 2016

POP UP LUCAD – MFA PHOTOGRAPHY, KATHRYN SCHULTZ

GALLERY, Cambridge, MA, 2016

CLASS & STAFF EXHIBITION 2015, THE GALLERIES OF THE

PROVIDENCE ART CLUB, Providence, RI, 2015

EXPOSURE: WORK IN PROGRESS, MFA PHOTO POP-UP SHOW,

VANDERNOOT GALLERY, Cambridge, MA, 2014

THE MIDDLE OF EVERYWHERE Burren College of Art 20thAnniversary

Alumni Exhibition, BCA COLLEGE GALLERY, Juried Group Exhibition,

Ireland, 2014

PETTY THIEVES THREE Projection Party Presented by Empty Stretch +


PUBLICATIONS / REVIEWS

THREAD PHOTOGRAPHY FEATURED in the wedding feature in

SOUTH COUNTY LIFE MAGAZINE, SPRING ISSUE 2017,

www.independentri.com/southcountylifemagazine/weddings/artic

le_23321534-c90a-52c7-bb30-e5a8545cbc57.html

CREEPY PHOTOGRAPHS OF ‘THE WITCHING HOUR’ AT

PHOTOSYNTHESIS , CT NOW by Susan Dunne,

www.ctnow.com/arts-theater/museums/hc-photography-hallowe

en-1019-20161018-story.html, 2016

WITCHING HOUR: IMAGERY FROM DARKNESS , PHOTOSYNTHESIS,

LLC,http://photosynthesisct.com/witching-hour-catalog, 2016

PORTRAITS & PORTRAYALS , PHOTOSYNTHESIS, LLC,
www.magcloud.com/browse/issue/1091266, 2016

THE GALLERY U, FEATURED SUMMER ARTIST (June-Aug.), Online Gallery,www.thegalleryu.com, 2015

MEMORY AND THE OBJECT, REVIEW BY ARTIST JOETTA MAUE,

littleyellowbirds.blogspot.com/2013/05/memory-and-object.html,2013

THE NEXT EXHIBITION AT THE CORCORAN: CLASS OF 2013,

PROFESSIONAL ARTIST MAGAZINE, Aug./Sept. Issue 2013

FLUTTERING MEMORIES, REVIEW BY NANCY BRESLIN AT
ALTERNATIVE PHOTOGRAPHY,
www.alternativephotography.com/wp/open-blog/fluttering-memories,


AWARDS

FINE ART PHOTOGRAPHY FACULTY AWARD, Corcoran College of Art

& Design, Washington D.C., 2013

SHOOT & SHARE 2017 PHOTO CONTEST,

Top 100, Finalist, Thread Photography had 4 images that won awards, 2017


www.thread-photography.com // tracimarielee.virb.com

www.tracimarielee.virb.com
 

Theresa Tarara says of her series, ' Botanicals, 2017', "I made these botanical images using the gum bichromate method of photography.

Having taken workshops to explore different nineteenth century photo print processes (albumen, van dyke, wet plate collodian, platinum/palladium, salt printing,) which produce beautiful one of a kind imagery that also involve labor intensive steps, time and patience, I chose to focus on the three color gum bichromate process.

Using pigment water colors to make an image takes me back to college when I considered learning how to paint but could not decide between studio arts and photography. Working in a darkroom narrowed the focus and anything photography related including collecting cameras, developing my own film and prints became my path. Gum printing is so beautiful when it works. 

The task of mastering gum is never an easy notion or even a need for me however finding an equilibrium has been a goal.  As time goes on, I am more comfortable making prints and accepting and learning from the mistakes.

The gum imagery I have been fortunate enough to work on in a beautiful and fully equipped lab at Artintersection in Gilbert Arizona leads me to believe I have found a strong, comfortable niche.  I am greatly surprised and excited to make such a soft and gorgeous group of images that I hope will pique the interest of those that love the art of lost methods from the early days of the invention of photography. Gum’s burgeoning colors and all abound especially when my lens focuses on botanicals. 

Fascinated by the form of the magnolia I wanted to make pictures of them for a few reasons, one as an homage to Imogen Cunningham’s work. She is an inspiration ever since first seeing her pictorial style and sculptural images in art history books. 

My desire for a kind of photograph leans toward dream like, in this competition, that of botanicals I am not familiar with, cotton and the magnolia flower I happily discovered growing in Arizona. Possessing these plants in my kitchen in vases I am an explorer and I want to touch. As light filters through the mag’s large white tepals and petals, I found the bloom surface as smooth as it looks.

The cotton plant is harsh and sharp except for the fluffy fibers, amazing and natural having arisen from a seed growing in the earth, harvested and used to make the threads for my clothing and bed sheets my skin touches each day. Nature is intelligent.

Prepping the image for gum printing process takes time and experimentation with chemistry, digital negative curves, exposure, pigment tinkering and then sometimes its back to square one. So, patience is required.The softness in form and color of a good print outcome means the world to me at the same time symbolically unfurling, from a harsh reality of what life throws at you, a calm reminder to slow down, think gently, and appreciate the strange and unusual with open arms. 

Collecting finished gum prints and looking them over I appreciate the random and planned , successes and not so great ones because you see I am enjoying a process.

Showing my work in competitions gives me such a boost in my love of me in this medium I wish there were more hours in the day to accommodate all I  hope to do in making more art. Thinking, inspiration and doing, allowing an audience to interpret takes time, love, no fear, and a commitment. Gum printing, all art making is made up of that.

On another note of utmost respect about my draw to the cotton and magnolia forms,  is that of the Southern United States and the stain of human slavery.  I do not want to forget what pain ensues against the backdrop of these two plants long ago and still today. Black Lives Matter.

Contemplating the past plays a large part in how I create my work, learning about methods and manners and people’s lives where in which to eek out an existence in life with what we are given propels us forward no matter what, with a hope that things are going to work out. There is always art as a suit of armor, remember that."

Theresa Tarara is a fine art photographer. She studied at The University of Arizona in Tucson, majoring in Studio Art with an emphasis in Photography, and completed her BFA in Photography at Arizona State University in Tempe, Arizona.

To create her photographs she uses an iPhone and a digital Pentax KS2, in addition to analogue film on an instant film converted Polaroid 110B Land, 35mm Olympus OM1 and Argus CS3 cameras.

CV

Education:

2002 BFA Photography, Arizona State University,Tempe, AZ
1985 BS Computer Science, DeVry Institute of Technology, Phoenix, AZ              
1978-80 University of Arizona, Studied Photography/Studio Art, Tucson, AZ                  
Awards:

2016 10th Annual Color Awards, Americana, Professional, Nominee 
2016  L.A. Photo Curator, ROOTS, Honorable Mention, Juror: Susan Spiritus
2016  9th Annual International Color Awards, Professional, Still Life, Honorable Mention, and Nominee
2014  7th Annual International Color Awards, Professional, Fine Art, Nominee
2014  9th Annual Black & White Spider Awards, Professional, Abstract, Nominee
2013  5th Edition, Julia Margaret Cameron Single Image Award, Fine Art, Nominee 
2012  7th Annual Black and White Spider Awards, Amateur, Still Life, Nominee

Solo Exhibitions:

1998  Imaginative Truths, Scottsdale Community College Library

Group Exhibitions:

2017  Taking Care, Minneapolis Photo Center, Minneapolis MN, Jurors: Terry Gydesen, Tom Baker
2017  Process Alternative, Light Leaked,Jurors: Claire A. Warden, David Emitt Adams
2017  No Strangers, Art Intersection, Gilbert AZ, Juror: Alan Fitzgerald
2016  Next Level, Art Intersection, Gilbert AZ
2015  Favorite Photographs of 2015, LENSCRATCH, Juror: Aline Smithson
2015  Still Life, The Inanimate Subject, Minneapolis Photo Center, Juror: Russel Joslin
2013  All Art Arizona, Art Intersection, Juror: Carol Panaro-Smith, James Hajicek
2013  Backyard, LENSCRATCH, Juror: Aline Smithson
2013  Creatures, Kiernan Gallery, VA, Juror: Anne Berry
2013  Favorite Photographs, LENSCRATCH, Juror: Aline Smithson
2012  Annual Silent Auction, Art Intersection
2012  Still Life:The Art of Arrangement, Kiernan Gallery, VA, Juror: Jason Landry


Exhibition Catalogues:

2015  Still Life, The Inanimate Subject, Minneapolis Photo Center,  MN
2013  Creatures, Exhibition Catalogue Vol. XV, Blurb Books, The Kiernan Gallery, VA                
2012  Still Life: The Art of Arrangement, Exhibition Catalogue Vol. X, Blurb Books,The Kiernan Gallery, VA
                                

www.tararaimages.com

Suzanne Izzo says, "My series “Tanglewood Barn” is a photographic portrait of the barn built by Honee Meeker in 1891. 

Measuring 42" x 136" it is considered the largest barn in Michigan.  This barn was the most striking feature of the farm owned by my grandparents when I was a child. 

As they moved from farm to farm, my grandmother gave a distinctive name to each one, and this final one she named “Tanglewood.”  The farm passed to my uncle and after his death was bought by the daughter and son-in-law of a high school classmate of mine.  It was through their generosity that I was able to spend several days making photographs in the large old barn. 

It was a joy to work under the cathedral-like vaulting surrounded by the solid wooden beams and siding.  

I originally printed the "Tanglewood Barn" series in silver gelatin.  However, when I began working with the salt process, I felt it fit the subject perfectly.  I thought it appropriate to use an old photographic process for the old structure, and the brown tones of salt were well suited to render the wood of the construction."

Suzanne Izzo began photographing when she received a twin-lens reflex camera for her tenth birthday.  She learned camera and darkroom skills from her father, an amateur photographer since boyhood.  After she retired, while continuing to work in silver gelatin, she began experimenting with the historical processes.  Since then, she has been printing in cyanotype, Van Dyke brown, gum bichromate, and most recently in the salted paper process.  In addition to printing from camera-produced negatives, she uses various methods to make glass negatives for cliché verre prints.

Her work has been exhibited in many of the galleries in the Washington, DC area.  She also participated in a gum bichromate exhibit in Flint, Michigan in 2000, a cliché verre exhibit in San Francisco in 2011, and a gum bichromate exhibit in Astoria, Oregon in 2013.  Her images have been included in two of the books in the series “Contemporary Practices in Alternative Process Photography” edited by Christina Z. Anderson: Gum Printing and Salted Paper Printing.

To learn more about Suzanne Izzo and her work, email her at:
bi3@georgetown.edu.
 

Steve Lovegrove says, "My arts practice revolves around  learning and perfecting historic handmade photographic processes, in particular wet plate collodion, and is dedicated to preserving and passing on knowledge of these processes.

Since 2014 I have been transitioning from commercial photography to a fulltime arts practice. The wet plate process is difficult, labour intensive, expensive, and not mastered quickly. I have developed my practice by attending workshops and master classes in Australia and internationally. I am also working with other analogue processes, including cyanotypes and lumen printing.

My subjects range from abandoned buildings and industrial sites to wet collodion photograms made in the darkroom without a camera."

Steve Lovegrove was born in Adelaide, South Australia in 1960. He works with photography, digital, film, alternative and historical photographic processes.

Lovegrove completed a Certificate in Photography at Elizabeth Community College, South Australia in  1977 and a further Diploma of Photo Imaging with the Tasmanian Polytechnic in 2012. He has received multiple awards from the Australian Institute of Professional Photography (AIPP).

He currently teaches photography at  Tasmanian Tertiary and Further Education College, Hobart.

Lovegrove has been accepted into the University of Northern Colorado's Wet Plate Collodion Juried Show, the New Orleans Photo Alliance satellite exhibition, The Perpetual Instant, at the Zeitgeist Multidisciplinary Arts Center, and the Head On Mobile exhibition, 2015. Accepted for the RayKo 9th Annual Juried Plastic Camera Show 2016. Accepted for group shows: Film Shooters Collective NSEW exhibition at Revela-T, Barcelona, and Kranzberg Arts Centre, St Louis, USA, 2016. Exhibited solo show Hidden Within at Revela-T festival, Barcelona, 2017 and was accepted for the Revela-T artist exchange program, 2017. Solo exhibition, Perfect Imperfect, Studio gallery, Salamanca Arts Centre, 2018.

Lovegrove is an AIPP Licentiate, Master of Photography. He lives and works in Hobart, Tasmania.

CV

Education:

2012  Diploma of Photo Imaging, Tasmanian Polytechnic

2010  Certificate IV in Training and Assessment, Canberra Institute of Technology

1977  Certificate in Photography, Elizabeth Community College, South Australia

Career History:

2017-current Teacher Creative Industries TasTAFE-Visual Arts-Photography

2017 Presented Cyanotype and Pinhole Photography workshops-Moonah Arts Centre School Holiday program

2016-current Member of the National Association for the Visual Arts

2016  Teacher-Introduction to Wet Plate photography workshop, Kickstart Arts, Moonah

2014- present Establishing fulltime arts based practice

2012 - 2013 
Established Tasmania’s first co-op style creative studio, home to photographers and artists, and offering courses in digital and film photographic technique.

2010 
Photographic Lecturer, Digital Photographic Practice, CIT, Canberra

2007 – 2010 
Image Interpreter, Australian War Memorial, Canberra

2002-2008 
Photographer, Lovegrove and Lea Photographers

Recent Career Highlights:

2017      Accepted for Artists Exchange at Revela-T Analogue photography Festival, Barcelona, Spain

2015-17  Australian Institute of Professional Photographers (AIPP) Tasmania Council member

2016    AIPP Tasmanian Travel Photographer of the Year

2016    Achieved status of Master with one bar, of the Australian Institute of Professional Photographers (AIPP)

2015  Attended 8 day Wet Plate Masterclass, Benabbio, Italy

2014  Attended 2 day Wet Plate Masterclass, Gold Street Studio, Trentham, Victoria

2014-present  National Vice President, Heartfelt

2014    Achieved status of Master of the Australian Institute of Professional

Photographers (AIPP)

2014    Achieved status of Licentiate of the Australian Institute of Professional

Photographers (AIPP)

2014    AIPP Tasmanian Landscape Photographer of the Year

2013/14  Australian Institute of Professional Photographers (AIPP) Tasmania Council member

2012    AIPP Tasmanian Photographer of the Year, AIPP Tasmanian Illustrative

Photographer of the Year

2011    AIPP Tasmanian Portrait Photographer of the Year

2010-present  Tasmania representative for Heartfelt

2009-present Volunteer photographer with Heartfelt(providing volunteer photography services for stillborn and critically ill babies and children

2006    Winner, AIPP ACT Commercial Photographer of the Year and AIPP ACT Audiovisual Presentation of the Year

2005-06 National Chair, Australian Commercial and Media Photographers (ACMP)

2004    Elected to the Board, served as Treasurer, ACMP

1999    Achieved status of Associate of the Australian Institute of Professional

Photographers (AIPP)

Exhibition and Shows:

2018      Solo exhibition, Perfect Imperfect, Studio gallery, Salamanca Arts Centre

2017      Solo exhibition, Hidden Within,Ballarat International Foto Biennale, Fringe Festival

2017      Accepted Brunswick Street Art Gallery, Victoria-2017 SmallWorks Exhibition

2017      Accepted Wyndham Art Prize, Victoria

2017      Accepted for Artists Exchange at Revela-T Analogue photography Festival, Barcelona, Spain

2017      Accepted for solo show, Hidden Within, at Revela-T Analogue Photography Festival, Barcelona, Spain

2016      Accepted for group shows: Film Shooters Collective NSEW exhibition at Revela-T, Barcelona, and Kranzberg Arts Centre, St Louis, USA

2016    Accepted for the RayKo 9th Annual Juried Plastic Camera Show, San Francisco

2015    Group show-Head On Mobile exhibition- International Photo Festival Leiden, The Netherlands

2015    Accepted into the Revela-T Wet Plate exhibition, Barcelona, Spain

2015    Group show-Australian Artists in Milan. Milan, Italy

2015    Accepted into the Head On Mobile exhibition, Sydney

2015    Accepted into the New Orleans Photo Alliance satellite exhibition, The Perpetual Instant, at the Zeitgeist Multidisciplinary Arts Center

2015    Accepted into the University of Northern Colorado's Wet Plate Collodion Juried Show

2015    Accepted into Clarence Open Art Exhibition, Hobart

2015    Group show-Hobart Photographic Society-Mawsons Pavillion, Hobart

2014    Group Show-The Personal and the Professional, Launceston

2013    Group Show-tenants exhibition, The Studio, Hobart


www.darkarts.com.au

www.facebook.com/groups/wetplate/

Instagram: @dark_arts_australia

Shauna Caldwell says, "Being an Appalachian woman and herbalist, I am committed to honoring the women in my community.

So many people have forgotten the plants their grandmothers knew, and I believe it is important to find and understand this ancestral knowledge. The plants in this series have been chosen by women who possess an intimate connection to the land and a beautiful and poetic way of communicating through plants and herbal medicine.

I want to express my gratitude for these inspirational women while deepening my relationship with the soft and quiet wisdom of plants. My intention for this ongoing series is to create images in collaboration with my mentors, teachers, and elders because they have their own histories, their own stories, and a connection to the Earth that we need right now."

Shauna Caldwell is an artist from Boone, NC. Her roots in Appalachia and her relationship with the environment inspire her, allowing her to create work based around themes of sacred relationships and transformation. She is also interested in using artistic processes that connect her to her home, like making paper and photographic emulsions using plants from the area.  Shauna is currently studying Studio Art and Art Education at Appalachian State University.

CV: 
Education

BFA Studio Art & Art Education. Appalachian State University (expected 2018)
Boone, NC

Group Exhibitions

Radical Feminists, HOW Space (2018)
Boone, NC

 Appalachian Mountain Photography Competition, Turchin Center for Visual Arts (2018)
Boone, NC

MONO, PH21 Gallery (2017)
Budapest, Hungary

TAPPED, Manifest Gallery (2017)
Cincinnati, OH

 Birds of a Feather, Don’t Take Pictures (2017)
Online Exhibition

Away, Blowing Rock Art and History Museum (2017)
Blowing Rock, NC

Shutter, UNC Charlotte Popp Martin Gallery (2017)
Charlotte, NC

Shut Up and Listen, Smith Gallery (2017)
Boone, NC

Pollinators, The Winds (2017)
Yellow Springs, OH

Process Alternative, Light Leaked (2017)
Online Exhibition

 Art and Design Expo, Smith Gallery (2017)
Boone, NC

 Milk Maids & Eco Femmes, 3rd Place (2017)
Boone, NC

 “Ask Me What I Remember”: Images of Perseverance, Alexander County Library (2017)
Taylorsville, NC

 At the Junction of Words & Pictures: The 10th Anniversary of the Center for Cartoon Studies, Turchin Center for Visual Arts (2016)
Boone, NC

SLANT, Smith Gallery (2016)
Boone, NC

Regional Artists Adult Division Exhibition, Hiddenite Arts & Heritage Center (2016)
Hiddenite, NC

Alternate Realities, 3rd Place (2016)
Boone, NC

Alternate Realities, The Nth Degree Gallery (2016)
Boone, NC

The Ocho Peel Release, The Nth Degree Gallery (2016)
Boone, NC

Sacred Journeys, Alexander County Library (2016)
Taylorsville, NC

Balanced Brains, 3rd Place (2016)
Boone, NC

Lumen Girls, Envision Kindness Photography Festival (2016)
Online Exhibition

Solo Exhibitions

In the Roots of Wise Women, Blowing Rock Art and History Museum (2017)
Blowing Rock, NC

In the Roots of Wise Women, Red House Gallery (2017)
Black Mountain, NC

In the Roots of Wise Women, Southeast Wise Women Herbal Conference (2017)
Black Mountain, NC

Lumen, Shear Shakti (2016)
Boone, NC

Wing Box, Strand (2016)
Boone, NC

Untitled, Second Wind (2016)
Boone, NC

Publications

In the Roots of Wise Women, Blurb (2017)
https://goo.gl/5TuoBM

Birds of a Feather, Don’t Take Pictures (2017)
https://goo.gl/efZyQA

Process Alternative, Light Leaked (2017)
https://goo.gl/TggeGj

Best of 2016 Photography, Photographers Forum (2016)
https://goo.gl/mDWCJR

ASU Women’s Empowerment, Women Empowering Women (2017)
https://goo.gl/U6bmZ3

The Peel Literature and Arts Review (2016)
https://goo.gl/tqsyUZ

Snapshots: Appalachian State Art Drop Day, ArtsNowNC (September 2016)
https://goo.gl/Pp2mnL

Snaps from Appalachian State Art Drop Day, ArtsNowNC (March 2016)
https://goo.gl/QVZHMa

World Art Drop Day Comes to Appalachian, The Appalachian (March 2016)
https://goo.gl/qqScm7

Recap: ‘Alternate Realities’ at Nth Degree Gallery in Boone, ArtsNowNC (May 2016)
https://goo.gl/23J4s6


www.shauancaldwell.com 
 

Scott Froschauer says, "I experiment with many different forms.

This particular work represents a technique I call “Echo Enigma.” To create these pseudo-historical documents I begin by hand pouring silver onto glass and adding contaminants to disrupt the mirroring process.

I then use a flatbed printer to print a digital image onto the distressed silver. The resulting piece has a rich depth of texture and color variation in the distressed silver and a haunting image quality. It also proves to be challenging to document photographically due to its underlying nature as a mirror. I know of no one else who prints in this manner.

This particular portrait is part of a larger collection that explores the binary conversation that exists in our national relationship to politics. Personalities are viewed as either heroes or villains. Those we view as “on our side” are given an air of sainthood while those we oppose are demonized. The space for the complex center is eliminated.

This series of portraits seeks to capture individuals who are complex humans in our nations past. Individuals that some might demonize or worship based on a single headline in a Facebook post, but these complex characters have a humanity that is difficult to capture in a single tweet.

They are not clearly heroes or villains, they are human beings. The use of the “Echo Enigma” technique emphasizes that our view of these individuals is actually a reflection of the viewer as much as, if not more than, the content of the character.

This print is 36” W x 48” H."

Scott Froschauer is an experimental artist who lives and works in Los Angeles, and he likes it there.

His background consists of a structured education in Engineering, Theoretical Linguistics, Science, Art, Computer Programming and Business along with practical experience in Fabrication, Design, Non-ordinary Reality, Experiential Narrative, Venture Capital, Counterfeiting and Breathing. 

Scott’s work is first and foremost experiential, focusing on pieces that are not easily captured through photography and digital distribution.

From the setting of reassuring street signs to the texture of burnt canvas, Scott’s pieces are designed to be experienced in person. 

Some of his work is an exploration in emotional connectedness some work is about revolution, particularly considering that our culture considers being connected to oneself as a revolutionary act, but his primary focus is on exploring new spaces and techniques for communication. 

CV

Education:

1994  BA Theoretical Linguistics, Syracuse University

Recent Exhibitions:

Works on display with Wallspace Gallery Los Angeles, CA
2018    United Divider - ARK Gallery, Alta Dena, CA
2018    The Word on The Street - Beyond the Lines Gallery, Los Angeles, California
2017    The Word on The Street - Burning Man Festival

Selected Group Shows:

2018    No Spectators, The Art of Burning Man - The Smithsonian, Washington DC
2017    No Restraint - ARK Gallery, Alta Dena,CA
2017    Art As Protest - Orange County Center for Contemporary Art, Santa Ana, CA 
2017    Dear President - South Bay Contemporary, San Pedro, CA
2017    Guns in America - Studios on the Park, Paso Robles, CA

Grants:

2017     The Word on The Street-City of Glendale for the Art Happens Anywhere Program

Recent Press:

Los Angeles Times - Jeff Landa 
“New Glendale street art installation places positivity throughout the city”
www.latimes.com/socal/glendale-news-press/news/tn-gnp-me-street-art-20171106-story.html

NBC Los Angeles - Elizabeth Chavolla
“Signs of Positivity Displayed Around Glendale”
www.nbclosangeles.com/news/local/Signs-of-Positivity-Displayed-Around-Glendale-458220373.html

Fabrik Magazine 
“The Word on The Street”
www.thisisfabrik.com/the-word-on-the-street-by-scott-froschauer/

Art and Cake - Dodge, Dani 
“Artists Carry the Political Torch” 
www.artandcakela.com/2017/01/06/artists-carry-the-political-torch/

Collections:

City of Danville, Illinois
Numerous Private Collections

Notable Lectures:

2017    The Word on The Street, From Burning Man Art to Public Art - Glendale, CA
2017    Art As A Political Act, Investing Meaning into Art - Los Angeles, CA

Film Appearances:

2015     The Art of Burning
2015     Saved? The Church Trap Documentary

www.scotfroschauer.com

www.ScottFroschauer.com
@SFroschauerART

 

Sarah Jayne Kennelly says, "The work I create dissects the way our actions influence and impact one another.

The effects we have on the world are often regarded as fleeting, temporary. I hope to encourage others to take their own actions into consideration, walk with intentionality, and appreciate the relationship they have with the world."

Sarah Jayne Kennelly is from Rochester, New York, and is currently in her Junior year at Appalachian State University studying art education.

Expressing herself and ideas through art stems from her encouragement from her mother and grandmother. Sarah Jayne's work explores the relationships between people, social constructs, and the environment.

She has found a deep connection to photography and printmaking and uses these mediums to express these relationships and ideas. 

CV

Education:

2019      BFA Art Education Appalachian State University, Boone, NC anticipated

Group Exhibitions:

2017      Art & Design Expo Appalachian State University, Boone, NC


Shutter UNC Charlotte Popp Martin Gallery, Charlotte, NC


Away Blowing Rock Art and History Museum, Blowing Rock, NC


the Peel: Literature and Arts Review Release Fall 2017 Shear Shakti, Boone, NC


kennellysj@appstate.edu

 

Ray Bidegain says of his work,
"Muse- Verb: To consider something thoughtfully

Noun: A source of artistic inspiration

One origin of the word muse is the 14th Century Middle English musen, which meant to mutter, gaze meditatively on, and be astonished. This is a great description of what we do in museums.

In mythology, the Muses were nine goddesses who symbolized the arts and sciences. Today, a muse is a person or place that serves as an artist's inspiration. Writers, painters, musicians, and other artists may have muses. 

Musecan also refer to thinking deeply. If you muse about something, you're giving it serious thought. You can't muse in five seconds. Musing, by definition, takes time. Artists muse on certain ideas for years.  

These photos represent the things and ideas that I muse on, and that have been sources of inspiration for me. I hope they inspire musing in you as well."

Ray Bidegain was born in Tucson, Arizona and started studying photography in high school. At age 17 he began working on weekends for a large studio that offered wedding photography to the Hispanic community in Southern Arizona. Ray graduated from Brooks Institute of Photography in 1981 and returned to Tucson to operate his own studio before moving to Portland, Oregon.

After 17 years as a studio portrait photographer, Ray turned to fine art photography, eventually teaching himself the art of platinum printing and, later, wet plate collodion, and polymer plate gravure. 

Fascinated by both the science and the art of photography and printmaking, Ray is an engaging and respected photo instructor throughout the Pacific Northwest. Ray’s photographs are internationally collected, and his work has been exhibited across the United States, and in France, Germany, and Scotland. He is currently represented by Russ Levin in Monterey.

CV

Exhibitions:

2018 Objects of beauty, Jailhouse Gallery Portland, OR solo show

2017 Muse Sage Gallery Portland, Or solo show

2016 Platinum landscapes, Trinity gallery Portland, OR Solo show

2016 Heavy Metal Light-box Gallery Astoria, OR Group show

2014-15 Artist in Residency The University Club of Portland

2012 Finding Beauty, Newspace Center for Photography, Portland Or. Solo Show

2011 Multnomah Art Center Gallery, Portland Oregon. Group exhibition

2010 Platinum Print festival, Lightbox Photographic Gallery, Astoria Oregon

2010 Nudes in Platinum, PhotoSensualis Gallery, Woodstock, New York Soloshow

2009 Photo Alchemy, 23 Sandygallery, Portland, OR

2009 Ray Bidegain, LightboxPhotographic Gallery, Astoria Oregon solo show

2008 New work in Platinum &Wet plate collodion, Camerawork Gallery, Portland OR solo

2008 Displays in Platinum, Buckley Center gallery, University of Portland, Portland OR

2007 Contact Printers Guild Group show, Camerawork Gallery, Portland OR

2007 Contact Printers Guild group show, Viewpoint Gallery, Sacramento CA

2005 Recent work in Platinum, Camerawork Gallery, Portland OR Solo Show


Workshop teaching assignments:

Oregon College of Art and Craft, Portland, OR Platinum printing, digital negatives, wetplate Collodion tintypes and Ambrotypes.

Newspace Photographic, Portland, OR ; Platinum printing, digital negatives, wet plate Collodion tintypes and Ambrotypes. 

Inversnaid Photography centre, Inversnaid, Scotland, UK; Platinum printing

Ray Bidegain Studio Workshops, Portland, OR ; Platinum printing, Wet plate collodion ambrotypes and tintypes, The art of the studio portrait and nude, The Artist’sjob

Sherwood Foundation for the arts, Sherwood OR ; Platinum printing, Wet plate collodionambrotypes and tintypes, Portraiture

Lewis and Clark University,Portland, OR ; Wet plate collodion ambrotypes andtintypes

Reed College, Portland, OR ; Wet plate collodion ambrotypes and tintypes

Collections:

Houston Museum of Fine Arts, Houston TX 2 photographs permanent collection

Portland Art Museum, 9 photographs permanent collection

www.Raybidegain.com
 

Paula Riff says about her series 'Conversations with Paper And Paint', "The Japanese word shibui or shibumirefers to a particular aesthetic of simple, subtle and unobtrusive beauty and it is this concept that drives the core of this series.

An object or piece of art that employs the characteristics of  shibui may at first appear to be simple, but upon looking more closely, one notices the subtle details or textures that balance the simplicity with a rich complexity. 

In this project I use cameraless images with the processes of cyanotype and color gum bichromate that allow me to explore and intervene with the natural world as an artist.  

Cutting the paper at various intersections also allows me to enter the conversation with the materials I use in an intimate manner. The intention is to strip away as much as possible so that I am able to focus more on the elements of design and consider the natural world in a different realm.

I am influenced  by the artists Moholy-Nagy, Man Ray, Mark Rothko and others who experimented with their art and the use of their materials. Like them I am interested in ideas of revolutionary art making and experimentation, while holding true to the spirit of abstraction."

“Art is an adventure into an unknown world, which can be explored only by those willing to take risks.” (Mark Rothko)

Paula Riff’s first career did not involve taking pictures.  After college, she lived in Tokyo, Japan for several years and upon her return became an interpreter for Japanese production companies in Los Angeles.

She switched careers while landing an internship at the Los Angeles County Museum of Art in the photo department.

She also worked at the California Institute of the Arts, taking photos for their publications.

Although Paula owns digital and film cameras her new work finds her camera-less, coating her own papers and making photograms.  Paula’s work has appeared in numerous galleries and exhibitions throughout the U.S and internationally and is also held in private collections.  

Resume/CV:

2018

Gallery 1/1, Seattle, WA
2nd Anniversary Show
Gallery Owner, Director: Dan Shepard

Griffen Museum of Photography, Winchester, MA
Tree Talk
Curated by: Paula Tognarelli

2017

Tilt Gallery, Scottsdale, AZ
Who's in the House
Invitational by: Melanie Craven

Center for Fine Art Photography, Fort Collins, CO
Small Works
Juried by: Kat Kiernan

Yixian International Photo Festival, Yixian, China
Invitational by: Guo JIng

Center for Photographic Art, Carmel, CA
International Juried Show
Juried by: Phillip Brookman

Publication, The Hand Magazine #18,Owner, Publisher: Adam Finkelston

Fabrik Projects Gallery, Culver City, CA

California Rising
Curated by:  Chris Davies

LightBox Photographic Gallery, Astoria, OR
Fairy Tales & Nuclear Bombs
Juried by: Diane Fenster

Light Leaked Online Exhibition
Travel & Discovery
Curated by: Ashley Kauschinger

South x Southeast Photo Gallery - Molena, GA
The Summer Show
Juried by: Julie Graham

Gallery 1/1 - Seattle, WA
Summer Salon Exhibition
Gallery Owner, Director: Dan Shepard

DNJ Gallery,  Bergamont Station - Santa Monica, CA

Los Angeles Center of Photography Members' Exhibition
Juried by: Paula Tognarelli

Don't Take Pictures Online Magazine 
Cyanotypes: Beyond the Blue
Curated by: Kat Kiernan

Plates to Pixels – 10th Annual Juried Showcase
A Visual Armistice
Curated by: Blue Mitchell

Publication The Hand Magazine Issue #16
Mudras
Owner, Publisher: Adam Finkelston

Griffen Museum of Photography –Winchester, MA
Aviary
Curated by: Paula Tognarelli

Art Intersection Gallery – Gilbert, AZ
“Light Sensitive” 2017 – Celebrating Images from the Darkroom
Juried by: Ann Jastrab

Building Bridges Art Exchange – Santa Monica, CA
All Women Are Dangerous
Curated by: Maria Ciachiolo, Chris Davies, Daniel Alfonso

Tilt Gallery - Scottsdale, AZ
Photography Re-Imagined VI: Visual Story Telling
Juried by: Cig Harvey

PhotoPlace Gallery - Middlebury, VT
Still Life: The Ordinary Made Extraordinary
Juried by: Kate Breakey

San Diego Art Institute – San Diego, CA
2016 Southern California / Baja Biennial Show
Invitational by: Ginger Shulick Porcella

2016

SE Center for Photography - Greenville, SC
COLOR
Juried by: Diana Bloomfield

A Smith Gallery – Johnson City, TX
blue 2
Juried by: Melanie Walker

LightBox Photographic Gallery – Astoria, OR
Remnants – On the Edge of Avant-Guard & Antiquarian Photography
Juried by: Kaden Krazter & Nadezda Nikalova-Krazter

Gallery 1/1 – Unique Photographic Art - Seattle, WA
Los Angeles Pop-Up Show
Gallery Owner, Director: Dan Shepard

Tilt Gallery – Scottsdale, AZ
Infinite Possibility: Art of Tomorrow
Juried by: Claire C. Carter

A Smith Gallery – Johnson City, TX
fishing for iconography
Gallery Owner, Director; Amanda Smith & Kevin Tully

A Smith Gallery – Johnson City, TX
old
Juried by: Ann Jastrab

Photo Independent 2016 – Los Angeles, CA
Curated by: Fabrik Projects

Publication The Hand Magazine Issue #12
Owner, Publisher: Adam Finkelston

A Smith Gallery - Johnson City, TX
red
Juried by: Aline Smithson

Main Street Projects FotoFest 2016 - Houston, TX
A Hope A Prayer A Dream
Curated by: Laura Corley Burlton and Martha Brasted Corn

Atomic Gallery - Albuquerque, NM
In conjunction with The Hand Magazine #11
Owner, Publisher:  Adam Finkelston

2015

Featured photographer - LACP Member online gallery for the month of October 
A Smith Gallery - Johnson City, TX
abstraction
Juried by: Eddie Soloway

Black Box Gallery - Portland, OR
“Viewpoint: Landscape and Architecture"
Juried by: Laura Valenti

A Smith Gallery - Johnson City, TX
family
Juried by: Emma Powell & Kirsten Hoving

Santa Fe Photographic Workshops annual online “travel” exhibition
June 18, 2015

A Smith Gallery - Johnson City, TX
travel  
Juried by: Alison Wright

Gallery 825 – Los Angeles, CA
small time 
Juried by: Cris McCall


www.paulariffphotography.virb.com/
 

Marilynn Gottlieb says, "Dissatisfied with the intangible nature of digital images and the accompanying loss of hand involvement, I began to experiment with photo transfers.

Using a chemical process, I transfer my photographic images to various substrates such as metal, wood or glass.

The surface I choose depends on the subject matter of the piece – such as black and white images on metal, images of doors and windows on wood, and swimming pool images on white tiles.

Coming from a background that included both art and photography, I also combine photography with various other art mediums, including paint, encaustic and collage.

Additionally I make use of repurposed materials to create three dimensional pieces which incorporate photographic images - such as transferring close up images onto microscope slides which are arranged in an old microscope slide box, or printing negative images onto brass plates that fit in an old 4x5 negative developing box.

My goal is to create one of a kind pieces of art that incorporate photographic images. Photography can be so much more than a digital image or a print on paper that can be printed over and over again."

Marilynn Gottlieb was born in Santa Rosa, California and graduated from the University of California at Santa Barbara. She also studied art and photography at Stanford University and in Aix en Provence, France, and has a degree in Medical Photography from Bellevue College. Aside from photography, her art education included figure drawing, oil painting, and collage.

Ms. Gottlieb’s original photographic inspiration and work began in the time of darkrooms and film, which required craft and physical interaction to create an end piece.

Although now fully embracing the digital age, her goal is to include an artistic “hand” in her work creating one-of-a-kind art pieces incorporating other art techniques such as collage and paint, as well as using substrates other than paper – metal plates, Plexiglas, glass  - and incorporating reclaimed materials that reinforce the theme of the piece. She considers herself an artist who uses photography as a starting point for artwork.


Exhibitions

Group Shows

• Studio Channel Islands 2017

• Santa Cruz Art League “Degrees of Abstraction”, 2014

  • Seattle Artist Trust Benefit Auction, 2014

• CVG Washington State Juried Art Exhibition, 2012, 2013, 2014

• Northwind Gallery Juried Art Competition, (Port Townsend, WA) 2012
  • Florence Biennale (Florence, Italy) 2009 and 2011
  • Broadway Gallery (New York, NY) 2010

Solo Shows

• Collective Visions Gallery, (Bremerton, WA) 2017

• Bainbridge Island Library 2016
  • Bainbridge Performing Arts, (Bainbridge Island, WA) 2013

• Bainbridge Island Library 2013
  • Blackbird Bakery (Bainbridge Island, WA) 2011, 2013
  • Frodel Gallery (Poulsbo, WA) 2012
  • Collective Visions Gallery, (Bremerton, WA) 2012

Awards

• Second Place in Photography, London Biennale, London, England 2017

• Fifth Place in the Photography, Florence Biennale, Florence Italy 2015

• First Place in Photo/Digital Art, CVG Washington State Juried Art Exhibition 2014


www.marilynngottlieb.com
 

Paul Ivanushka says, "I enjoy history.

Looking back in time. Be it religion or abandoned farm equipment. Both are heavy with artifacts and meaning. The meanings are often vague and blurred from time passing. Both are rich in relics that can be tangibly photographed.  

My images here are from classical film photography to instant polaroid photos."

Resume

Education

Pepperdine University, MBA Business Management

Cal Poly San Luis Obispo, BS - Printing Engineering and Management

Brooks Institute of Photography

San Bernardino Valley Junior College - AA Sociology and Photography

Awards

 “2016 Topanga Canyon Gallery - Juried Open Exhibition”, First Place Award 

 “2011  Equine Photographers International Juried Show” Honorable Mention 

Group Exhibitions

2018

"Lens 2018 International Juried Photography Exhibition"  Juror Paula Tognarelli, Director of the Griffin Museum of Photography.
Perspective Gallery,
Chicago, Illinois

"2018 LA Artcore Online Photographic Competition" Juried by Gregg Cobarr, Bob Francis and Jane Szabo.

LA Artcore
Los Angeles, California

"The Decisive Moment" Juror Sam Abell
Photo Place Gallery
Middlebury, Vermont

"Shades of Black &White"  Susan Burnstine Juror
South East Center for Photography
Greenville, South Carolina

"Framed: Landscape Photography"  Juror Ashlyn Davis, Executive Director of Houston Center for Photography

Black Box Gallery
Portland, Oregon

"LA Open 2018"  Juror Fabian Debora,
Tag Gallery, Los Angeles, California

2017

"Horse"
Your Daily Photograph - 12/26/17
Santa Monica, California

"Emerging and Contemporary"
Your Daily Photograph - 12/13/17.
Santa Monica, California

"2017 International Juried Exhibition"
Juror Philip Brookman, Curator in Department of Photographs, National Gallery of Art, Washington, D.C.

Center for Photographic Art - Carmel, CA
 Third Annual Group Show" Paula Tognarelli Juror

Davis Orton Gallery, Hudson, New York
"Small Works" Kat Kiernan Juror

Center for Fine Art Photography - Fort Collins, CO

Center for Photographic Art (CPA)  2017 Members’ Juried Exhibition

Juror Elizabeth Corden and Jan Potts of Corden|Potts Gallery, San Francisco

Center for Photographic Art - Carmel, CA

 "2017 Los Angeles Center of Photography 4th Annual Members Show" 
Paula Tognarelli Juror

dnj Gallery / Bergamot Station  -  Santa Monica, CA

"Carrizo Plain" - Solo Show
Tag Gallery - Los Angeles, CA

"Chiaroscuro" David H. Wells Juror
Darkroom Gallery - Essex Junction, VT

2016

 "Los Angeles Art Association 2016 Open Show"
Gallery 825 - Los Angeles ,CA

"2016 Creative Portrait Exhibition"
Los Angeles Center of Photography - Los Angeles, CA

 "2016 Los Angeles Center of Photography 3rd Annual Members Show",  
dnj Gallery / Bergamot Station  -  Santa Monica, CA

“2016 Members Juried Exhibition”  
Center For Photographic Art - Carmel Valley, CA    June 11 - July 24, 2016

 “2016 Topanga Canyon Gallery - Juried Open Exhibition”, First Place Award 
Topanga Canyon Art Gallery - Topanga Canyon, CA 

2015

 "2015 California Open Exhibition",
TAG Gallery / Bergamot Station -  Santa Monica, CA

"2015 Los Angeles Center Of Photography 2nd Annual Members Show",  

dnj Gallery / Bergamot Station  -  Santa Monica, CA

2015 Through A Curious Lens"
Santa Cruz Art League  - Santa Cruz CA

“2015  Topanga Canyon  Gallery Juried Open Exhibition”

Topanga Canyon Art Gallery - Topanga Canyon, CA  

www.paulivanushkaphotography.com

“There is a vast difference between taking a picture and making a photograph.”

– Robert Heinecken
 
Selby Ranch, was shot with a 4x5 Super Cambo, with Fuji Neopan Across film, the digital negative was contacted printed on Lodima silver bromide paper, developed in Amidol, then bleached lightly in potassium ferrocyanide to clean up the highlights, and then run through selenium toner to deepen the blacks.  

FRREE Wifi – Panoramic triptych, shot with my daughters Spectra camera. The images were highly abused, often left to complete development in a hip pocket. First time using lookup tables and gradient maps to maintain continuity in a series of work.

Nadine Delrez says of her work, "In addition to social photographic reports, I have extended my field of photography practice with the so-called "alternative" techniques.

Amongst those techniques I discovered during my studies, there is one I literally fell in love with : the gum bichromate. While learning from practice, I have found my way and I am getting deeper in three- or four-colour process gum. Adding colors to an ancient technique is for me a way to render it contemporary, but still preserving the rare, unique and refined side of it.

Bichromate gum is a slow process : you have first to select a theme, then take photos, followed by selection, printing, and, finally, you have to set up the whole  process of chemistry and exposure to a source of light, in order to realize the transposition step by step. In the end, this is not the original photo anymore ... but it still is : so, it is sort of alchemy, transmutation, where reality is becoming something else.

With "Juliet has a gun", a series still in progress, I want to touch upon the idea of third sex and I want to show the unsettling beauty of those people who assume - even who cultivate - ambivalence, until sowing disorder in spectators mind."

Nadine Delrez was born in Verviers (Belgium) in 1971.In 2013, she decided to take on her passion and she interrupted her professional career to join the photography section of the "Saint-Luc" School of Arts in Liège. She obtained her Bachelor of Arts in 2016.

During her curriculum, she has discovered the so-called "alternative" photographic techniques, to which she has not ceased to devote herself ever since, with a predilection for tri- or quadrichrome gum bichromate. This "non-argentic" photographic process consists of mixing gum arabic with diluted potassium bichromate and natural pigments, then coating the whole mixture on a support such as watercolor paper, before insolating it.

Through this technique, freedom of creation is nearly total, while being random, even sometimes fortuitous.

www.nadinedelrez.com
 

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