Andrea Waxler says of her work, "Horses are big, strong and potentially dangerous. 

Equine competitions, therefore, are carefully crafted around a variety of necessary boundaries. 

Fences, markers and enclosures are full of purpose-to keep competitors and spectators separate, to define the margins of the competition arena, to present safe walkways and to separate the areas for preparation and warm-up.

These images depict some of the various scenarios demonstrating the need to mark specific spaces and keep them to their designed purpose.  The fence line directs the early morning rider to the competition area, the railing is a place the spectator leans on to watch the warm-up and the chain link fence keeps the stabling area secure."

Ms. Waxler started her career in the areas of painting, sculpting and pottery. She was the founder and Director of the Art Studio at New Hampshire College in Manchester, New Hampshire.

Graduating from University of Pittsburgh with a BA in Fine Art, interest in photography led to coursework at New Hampshire Institute of Art and New England School of Photography. Additional coursework has been completed at the Griffin Museum of Photography and the School for The Digital Arts.

Waxler's works have been shown, awarded and sold at multiple juried gallery exhibits including the Photographic Resource Center at Boston University, The Griffin Museum of Photography, PhotoPlace Gallery, LA Photo Curator Gallery, The Cape Cod Art Association, The Darkroom Gallery, The Moose Hill Gallery, Gallery25N and the Plymouth Center for the Arts.  

She is a Russell Gallery Juried Artist (the gallery is located in Plymouth, MA) an Exhibiting Member of the Vermont Center for Photography in Brattleboro, VT and a Juried Member of the New Hampshire Art Association.  She was presented with the prestigious, International 10th Annual and 11th Annual Black and White Spider Awards Nominee for three of her images. 

Additionally, her photos have been published in both print and online media in magazines such as "Chronicle of the Horse" and “Smokey Blue Mountain Literary and Arts Magazine”.  

Her work embraces a visual esthetic that demonstrates energy and intensity, organic, abstract shapes and vibrant colors with a twist of humor and mystery.

www.andreawaxler.com
 

Arlene Stanger says of her work, "Presently, I’m a retired microbiologist living in Baileys Harbor, Wisconsin.  

My interest in photography began many years ago when I took a darkroom class developing black and white photos while living in Monterey, California.  

Subsequently, I set up my own black and while darkroom in my home and took independent photography classes at a local community college in Illinois.  I have also taken various photography classes at the Peninsula School of Art in Fish Creek, WI and attended a photographic workshop in Ireland. 

I enjoy using various kinds of photographic equipment to capture images that please and inspire me. 

I started out with a 35 mm SLR film camera and then switched to digital when that became available.  

With digital cameras becoming increasingly more complex, it was a refreshing experience when I was introduced to the Holga camera, a low tech piece of equipment with absolutely no frills that is made in China.  After recently taking classes in using the iPhone, I have added that to my equipment repertoire for capturing images as well.

The photography apps available are amazing in their creative and editing capabilities.  It is said that the best camera is the one that you have with you and I have found that to be true in many cases where the iPhone is the only camera I have. 

Regardless of the equipment  I use, I am continually searching for interesting shapes, textures and light qualities that I hope will elicit an emotional response from those viewing my images. 

My images have been in juried exhibits in Wisconsin, New York, Massachusetts, Oregon, California, Texas and Germany.  I have been published in four issues of Black & White magazine.

www.stangerimage.com
 

Dan McCormack says of his series, 'Cell Phone Camera', "I have been photographing the nude since 1968 when I began working on my MFA in Photography at the School of the Art Institute of Chicago.

For over nearly 50 years since, I have explored cameras, processes and techniques seeking to find expressive ways to make new images. 

The cell phone is the newest camera that I have recently begun to explore. Working with it's ease of use and spontaneity, I have done figurative pannos, grids, abstracts and straight captures. This series of images has been with a focus on the hands of the model with something in her hands against her torso. 

I studied Photography from 1962 - 1967 at the Institute of Design in Chicago and at the School of the Art Institute of Chicago from 1967 to 1970. I began photographing the nude with Wendy, my wife, while in graduate school. Then for over forty years I explored various techniques and processes while photographing the nude as a central theme. 

In 1976, I joined the Board of Directors of the Catskill Center for Photography and served as Vice President of the Board for ten years. One of my responsibilities was the installation of every show during those formative years.
I have taught photography at Purdue University, Pratt Institute, SUNY New Paltz, Bard College, Ramapo College and  Mercy College before I came to Marist College twenty-six years ago. I currently head the photography program at Marist College in Poughkeepsie, New York.

In 1998 I began to work with pinhole photography. I use an oatmeal box pinhole camera to make 8x10 inch B&W negatives. With its extreme wide angle and distortion, the camera gives me results that are constantly a surprise. I develop the B&W negatives, scan them into Photoshop, and then colorize the image by pulling curves in each of the channels. I make an images rooted in 16th Century pinhole optics juxtaposed with 21st Century digital print manipulations. These newest photographs of mine are a hybrid of Photography and Digital Printmaking.

In January 2010 I had a solo show at the Photography Center the Capitol District in Troy, NY.  I showed over fifty images from ten diverse series made from 1990 to 2010. Then in May 2013 I have a solo show, “Nude at Home”, twenty-six images made from 2003 to 2012 at the Barrett Art Center in Poughkeepsie, NY. Then I have a solo show at the Beacon Artists' Union in Beacon,NY  in the Beacon Room showing the “Nude at Home” in January 2016 and newer work from the “nude at Home” series at the “Arts Upstairs Gallery” in Phoenicia, NY in June, 2016. In May 2017, I am showing about twenty new cell phone explorations from straight captures to panoramas and grids of the nude at the “Arts Upstairs Gallery in Phoenicia, NY  

ulsterartistsonline.org/user/130
 

David Quinn says, "These images were made on an urban boardwalk where people from all walks of life come together to walk, to gaze upon the ocean and to see and be seen.

A spirit of “live and let live” gives the boardwalk a unique sense of place similar to that of parks. Once people leave such public spaces they tend to return their own more isolated neighborhoods. 

Over the years, my interests have primarily centered on creating landscape and botanical images with an occasional venture into architectural and street photography. In many of my photographs I strive to evoke an emotion, raise an uncertainty or create a sense of movement either by isolating key elements or by blurring the subject matter."

Awards:

2nd Place, L.A. Photo Curator, The Human Relationship to Water, Online Exhibit, 2017
Best in Show, Photography Center of Cape Cod, Trees, Online Exhibit, 2015
Chosen for “Best of the Best” Emerging Fine Arts Photographers, 2014 by BWGallerist
Best in Show, Long Island Arts Council at Freeport, 34th Juried Photography Show, 2014, Freeport, NY
Darkroom Gallery Master, Darkroom Gallery, 2014, Essex Junction, VT
Honorable Mention, Maine Media Workshop, Dreams, 2013, Rockport, ME
Honorable Mention, Light Space & Time Gallery, Landscape, 2013, Online
Award of Merit, Maryland Federation of Art, American Landscapes, 2013, Annapolis, MD
3rd Place Photography, Light Space & Time Gallery, Botanicals, 2013, Online
Honorable Mention, Huntington Arts Council, Photography, 2013, Huntington, NY
Artistic Distinction, Stone Voices, Inspired by Joy, 2012, Online
Honorable Mention, Worldwide Photography Gala Awards, 2nd Urban and Country Landscape Competition, 2012, Online
1st Place, Chasing the Light, Flowers: Objects of Romance, Religion and Reproduction, 2012, Online
Honorable Mention, Long Island Center of Photography, Fifth Regional Juried Photography Exhibition, 2011, Hempstead, NY
1st Place, East End Arts Council, "3" Annual Photography Show, 2008, Riverhead, NY

Publications:

“What Remains 3”, F-Stop Magazine, ‘Where I Live”, October/November 2015, Issue No. 73
“What Remains 11” Still Point Arts Quarterly, Fall 2015, Issue No. 19
“Intimacy” portfolio, Shadow & Light Magazine, March/April 2015,Volume 1, Issue No. 4
“Long Ago”, The Sun, March 2015, Issue No. 471
“Nearly Done”, Still Point Arts Quarterly, Spring 2015, Issue No. 17
“Far Away”, The Photo Review, 2014, Volume 31, No. 1
“Reflections in a Stream”, Still Point Arts Quarterly, Fall 2014, Issue No.15
"Cold Sun", Still Point Arts Quarterly, Winter 2013, Issue No. 12
"Upon Awakening" portfolio, Stone Voices, Summer 2013, Issue No. 8

Juried Shows:

Quinn's work has been exhibited in over 125 shows in 15 states and Spain and Turkey.

www.dquinnphotography.com

Douglas Hill says, "The series Separation Anxiety has grown out of the sensation that what I encounter in front of my camera is not accessible to me, that I will never be able to get any closer than halfway there, an impossible distance to cross. 

It's not clear whether this is a fault of mine or represents a shift in the world that surrounds me. These images are my attempt to deal with the parallel fears of alienation and intimacy.  I did not set out with the intention of locating that which made me feel separate from my environment, but rather stumbled across patterns in my everyday work that increasingly pointed to my sense of alienation.  I had been so sure my photographic endeavors were innocuous, and only in the editing process learned that the world I inhabited was slowly drifting out of reach."

Douglas Hill was born to Canadian parents in London, England in 1950. At the age of five he moved to New York where he lived until coming to Los Angeles in 1968 where he still resides. He attained U.S. citizenship in 1990.

Hill's work has been shown in solo and group exhibitions at such places as: G. Ray Hawkins Gallery, Santa Monica; The International Center for Photography, New York; Kunsthaus, Zurich; Friends of Photography, Carmel; Kunstgewerbemuseum, Zurich; Prairie State College, Chicago; The Photography Place, Philadelphia, Craig Krull Gallery, Santa Monica; The Huntington, San Marino and publications: This Side of Paradise: Body & Landscape in Los Angeles Photography; Looking at Los Angeles; American Photo; Camera; 24 Hours in the Life of Los Angeles; The New Color.

He is included in the collections of the Huntington, the Library of Congress, Joseph E Seagram & Son, Center for Creative Photography, Center for Motion Picture Studies, Amon Carter Museum and participated in The Los Angeles Documentary Project commemorating the bicentennial of Los Angeles, funded by the National Endowment for the Arts.

Hill's commercial architectural photography has been widely published in House Beautiful, Coastal Living, Architecture, Architectural Record, Domus, World Architecture, Interior Design, Interiors. His work has also appeared in numerous books on architecture and interior design.  He has been teaching photography at UCLA Extension since 1994.

He lives with Elayne Sawaya, his wife of 38 years and their two poodles, Marcello and Godfrey, in the Silver Lake district of Los Angeles.

www.douglashillphotography.com
 

Eric Levin says of his work, "Things stop me. Ordinary things in the real world that I could not have anticipated finding.

This usually happens while I am on my way somewhere else. I don't question the feeling. I try with my camera, which I always have with me, to figure out what in this generally unkempt scene reached out to me, blowing a kind of visual dog whistle tuned to my odd receptors.

Sometimes people pass by while I am trying to figure things out, and sometimes they become part of the photograph. But usually what stops me is something inanimate that, to me, is not inanimate. As Matisse said, "The object is an actor."

In quoting Matisse, I am not showing off. I have no training in art, though I did study photography and learned to develop and print black-and-white film in college. However, I have always been drawn intensely to color. 

But getting back to Matisse, last summer my wife and I went to the Museum of Fine Arts in Boston to see "Matisse in the Studio," a show of paintings, drawings and other works along with the actual objects--chocolate pots, figurines, textiles, vases--that Matisse collected in his travels, brought home to his studio and depicted in the works on display. One of the wall panels contained that succinct statement--"The object is an actor"--and I thought it so perceptive and pertinent that I wrote it down.

I think I had the same idea in mind, in more inchoate form, when I titled my 2010 book of photographs "Souls Have Shapes." (I have self-published all my books on blurb.com. You can page through them there, using blurb's excellent animation.) The title comes from "Two Sisters," a poem by Stanley Kunitz. It begins like this:

Who whispered, souls have shapes?
So has the wind, I say.
But I don't know,
I only feel things blow.
That's how it is with me. I feel things blow. They always surprise me, yet on some level I recognize them as my own."

Eric Levin was born in Jersey City, New Jersey, grew up in East Orange and West Orange and lives in Montclair. He studied journalism and photography at Boston University. 

His photographs have been exhibited at the George Segal Gallery at Montclair State University; Studio Montclair; Gallery 51 in Montclair; the Aljira Center for Contemporary Art in Newark; the Pierro Gallery at the Baird Center in South Orange; the Monmouth Museum in Lincroft; the Lana Santorelli Gallery in Manhattan; the PhotoPlace Gallery in Middlebury, Vermont; the 2010 Texas National Art Exhibition; and the Sohn Gallery in Lenox, Massachusetts, where his photograph, Downpour, West Orange, NJ, 2013 won first prize in the gallery's 2014 annual exhibit. 

Levin's books of photographs--Vehicular 1 and Vehicular 2; Unscheduled Stops; Souls Have Shapes; Edible Complex; and Still Life Never Sleeps, among others--are available at blurb.com.

www.ericlevin.net
 

Erik Eskedal says of his work, "I look to portray three different perspectives relating to boundaries (in no particular order):  Caught on the boundary, being within boundaries of changing perspectives, and a fixed and known boundary."

Eskedal is a fine-art photographer who lives in New England and captures the simple randomness of life. 

A former truck driver and long-time student of the road, he strives to seek out beauty within the rawness of life and roadways. 

He grew up around art as his mother was a high-school art teacher.  He developed a fascination for cars and the road at an early age and was constantly drawing cars.  
Enjoying oil painting and illustration, he graduated with a degree in art from Suffolk University/New England School of Art and Design.
Exhibited both Nationally and Internationally, over the last four years, Eskedal has decided to make photography the channel through which to share his uniquely positive outlook. 

Exhibition Work:

2017 – Solo Exhibition, Massachusetts State House – Office of the Joint Committee on Revenue, Boston MA
2017 – Group Exhibition, Mass General Hospital (Charles MGH) Cancer Center, Yawkey Mezzanine 2, Boston MA  
2016 – Solo Exhibition, Hampstead Public Library, Hampstead NH 
2016 – Group Exhibition, Meditation and Nature, Albion Cultural Exchange, 9 Albion Street, Wakefield MA  
2016 – Group Exhibition, Black and White, PH21 Gallery, Budapest Hungary  
2015 – Solo Exhibition, Create Artisan Studio, Wakefield MA  
2014 – Group Exhibition, Historic Barn Art show, Madison NH  
2014 – Solo Exhibition, Cars, Trucks, and other Deviations, Gallery at Cutter House, Arlington MA  
2013 – Group Exhibition, Concourse d’Elegance car show at Salisbury House, Des Moines IA  
2013 – Solo Exhibition, Cars and Trucks, NACUL Center Gallery, Amherst MA  

Commissioned Work:

(public) – photo murals at 2 bus stop kiosks, (East Madison Way at 19th Ave East; East Yesler Way and 27th Ave), Seattle WA 
(public) – rotating framed prints, Cummings Center office park, building 100, first floor, main corridor 
Various restaurants 

Education:

Bachelor of Science, Visual Arts, New England School of Art and Design, Boston MA  1998 

www.eskedalexpressions.com

Frank Verreyken says of his work, ""My work is mainly about borders, boundaries and limits and the impossibility to communicate about.

Working and living in Antwerp, Belgium, I am an artist-photographer-painter.

Solo and group exhibitions in London, Washington, Santa Monica, Budapest, Los Angeles, Brussels, Antwerp, Berlin, Seattle, Dresden,…

Everything is bounded, always”. We set limits when we do not know people. We set boundaries when we find that people are too close to ourselves. We set boundaries when people look different. We set boundaries when people behave in a different way. We set boundaries when people express themselves in a different way.

We define ourselves and therefore others. We define the other and thereby ourselves.

This limitation produces a bad communication with the other,  automatisms. Our vocabularies are uniform.

It is almost impossible to change this because what you say is incomprehensible because not recognizable. I call it : the unspeakable, the unsayable.
In my work the boundaries are presented metaphorically. They are also physical limitations such as curtains, doors, walls, windows and sometimes they have a strange beauty. It is the deceptive beauty that makes you focus on the boundary and while you do see the relative of such beauty."

The Unsayable

Is where the black lines are.
They are where they are, immovable
and nobly beautiful.
But they are not sentences,
not words, not even letters and
certainly not sounds.
Language has been exchanged for lines,
black stripes.
The unsayable as such,
beautifully and carefully presented to you.

We just have to accept it.
You just have to accept it.
I,
I will just have to accept it


www.frankverreyken.com
twitter.com/frankverreyken
 

Gene Ambeau says, "What are the extremes for the category “Boundaries”?  

That very question has revealed yet another lens, not for my camera but for my perception of the world around me.  I was struck by the stark contrast of economic division between old neighborhoods and new high-rise apartments in central China.  I witnessed the most beautiful display of crossing over to death in my native New England maples. And as winter took hold, I found myself looking out my window, grateful for the boundary that kept me warm. 

I have been a passionate hobbyist for years, but only recently have started to realize the artistic opportunities photography offers.  Every day I think of new and exciting projects to explore and find that there aren’t enough hours in the day. I am also the official volunteer photographer for the Rockville High School Marching Rams Band in Vernon, Connecticut.
 

Harry Longstreet says of his work, "No one just takes up space. The human condition is an entire canvas of thoughts, emotions and reactions to circumstances.

In my photography I try to capture the truth about diverse people and how they live and reflect their respective spaces.

My subjects never know they’ve been photographed. I don’t set-up or pose any shot and never employ anything but available light."

Publications and Awards:

Fusion Art “Faces & Figures”-Best in Show-2017
LA Photo Curator-“Senses Working Overtime”-First Place-2017
Allegany National Photography Competition-Second Place (Black & White)-2017
Washington State Juried Art Competition-First Place (Photography)-2017
Stories of Music Volume 2 –January 2017
LA Photo Curator-“Hometown”-Honorable Mention-December 2016
Emerald Art Center Autumn Exhibition-Bronze Medal-2016
Fusion Art “Colorful Abstractions”-Second Place-2016
Fusion Art “Cityscapes”-Second Place, Photography-2016
Merit Recognition Award in the 59th National Juried Art Show at the Maria V. Howard Art Center at the Imperial Centre- 2016
Creative Quarterly-100 Best Annual Edition 2015
Franke Tobey Jones Art Center-Third Place Photography-October 2015
Creative Quarterly 41-Winner Professional Photography-Winter Edition 2015
Creative Quarterly-100 Best Annual Edition -2014
Focus at the Delaplaine-Juried Exhibit-Third Place-November 2014
Art Ascent-Distinguished Artist-October 2014
Creative Quarterly 37-Winner-Professional Photography-Fall-Winter 2014
Best of Show-Annual Washington State Juried Art Competition-January 2014
Creative Quarterly33-Winner-Professional Photography-Winter Edition 2014

www.harrylongstreet.com
 

Jeff Evans says, "I photograph ordinary objects and situations that often go unnoticed because they're ordinary and everyday. Once noticed, however, they defy expectations because there’s something out of the ordinary about them.

The photographs are made in an objective documentary style, but have a sense of humor that undermines their objectivity.

I’m interested in seeing with clarity, in elements of surprise, humor, the slightly surreal, and teasing the viewer about what is real and what is not."

When Jeff Evans discovered that his job as a rocket scientist wasn’t as exciting as he thought it was going to be, he took some photography classes as a creative outlet.  Soon he was going to galleries and museums and had collected 300 photo books to learn more.  But the best way of learning he found was taking lots of pictures. 

Group Shows:

2017:
“Topographies”, Midwest Center for Photography, Wichita, KS “Bending the Truth”, Woody Gaddis Gallery, University of Central Oklahoma, Edmond, OK
 “Around the Block II”, Giertz Gallery, Parkland College, Champaign, IL
“Davis Orton/ Griffin Museum Photobook 2016”, Griffin Museum of Photography, Winchester, MA


2016:
 “INFOCUS Juried Exhibition of Self-Published Photobooks”, Phoenix Art Museum, Phoenix, AZ
“Davis Orton/ Griffin Museum Photobook 2016”, Davis Orton Gallery, Hudson, NY
“Alumni Exhibition”, Giertz Gallery, Parkland College, Champaign, IL
“59th Beloit & Vicinity”, Wright Art Museum, Beloit College, Beloit, WI
“Transitional Landscapes”, Center for Fine Art Photography, Fort Collins, CO
Juror: Natasha Egan, Exec. Director, Museum of Contemporary Photography, Chicago
“GALEX 50”, Galesburg Art Center, Galesburg, IL
“Davis Orton/ Griffin Museum Photobook 2015”, Griffin Museum of Photography, Winchester, MA

2015:
“Davis Orton/ Griffin Museum Photobook 2015”, Davis Orton Gallery, Hudson, NY
"2nd Open Call Photography Exhibition", Peter Miller Fine Arts, Providence, RI 
Juror: Paula Tognarelli, Executive Director of the Griffin Museum of Photography
"Cedarhurst Biennial", Mitchell Museum, Mt. Vernon, IL
“Hoosier Salon vs. IMOCA”, Indianapolis Museum of Contemporary Art, Indianapolis, IN
“Sense of Place”, Jan Brandt Gallery, Bloomington, IL
"71st Annual Wabash Valley Juried Exhibit", Swope Art Museum, Terre Haute, IN
"58th Beloit and Vicinity", Wright Art Museum, Beloit College, Beloit, WI

2014:
“Night Contact” digital slideshow, Brighton Photo Biennial, Brighton, England
Juror: Anne Bourgeois-Vignon, Creative Content Director, Nowness
 “Pop Up Shop Show”, Figure One, Champaign, IL
 “Juxtapose”, Dark Room Gallery, Essex Junction, VT
“2014 Rockford Midwestern Biennial”, Rockford Art Museum, Rockford, IL
Juror: William Lieberman (Zolla-Lieberman Gallery, Chicago, IL)
Filter “Enigmatic Object”, Johalla Projects, Chicago, IL

Grants:

 2014 Awarded an Illinois Arts Council Agency Individual Artist Support

Professional Development Grant

Honors:

 2012 Named an Illinois Artisan by the Illinois State Museum

Biennials:

"2015 Cedarhurst Biennial", Mitchell Museum, Mt. Vernon, IL
“Night Contact” digital slideshow, 2014 Brighton Photo Biennial, Brighton, England
 Juror: Anne Bourgeois-Vignon, Creative Content Director, Nowness
2014 Rockford Midwestern Biennial, Rockford Art Museum, Rockford, IL
 Juror: William Lieberman (Zolla-Lieberman Gallery, Chicago, IL)

Articles:

"Celebrating a Year of Brilliance", Buzz Magazine, November 15, 2013
http://readbuzz.com/arts/2013/celebrating-a-year-of-brilliance
“Plastic Camera Works 2 at Rebus Works: The Exploding Plastic Ephemeral “,
Independent Weekly, Raleigh, NC, March 03, 2010
http://www.indyweek.com/indyweek/plastic-cameraworks-2-at-rebus-works/Content?oid=1330294
“Holgapalooza 2009”, Light Leaks magazine, issue #16, February 2010

Workshops taken:

“Bookbinding for Photographers”, Scott McCarney, Center for Photography at Woodstock, 2016
“Expanded Documentary: The Wonderful and Troubled Relationship of Photography and    Realism”, Gregory Halpern, Center for Photography at Woodstock, 2016
“The Photographer/Editor Collaboration: Publishing a Photobook”, Jen Davis & Alan Rapp, Center for Photography at Woodstock, 2015

Education:

M.S. Computer Science, Indiana University, Bloomington, IN

B.S. Aerospace Engineering, University of Illinois, Urbana, IL

jeffevans.carbonmade.come
 

Lorena Endara says, "A man a plan a canal Panama" was produced during an eight year period (2006-13), during which I researched and recorded the historical, political, and economic processes that continually shape my native country, Panama.

Here, the external forces of development and progress collide with the internal forces of inheritance and identity.

I purposely avoid representing the Panama Canal as it stands in the national vernacular as a symbol of economic wealth. Instead, I focus on landscapes that hold complex stories around the myth of progress, with all its promises and failures."

Lorena Endara (b. 1984, Panama City, Panama) became interested in photography at the age of seventeen and has been practicing ever since.

Most recently, Endara has exhibited at GuatePhoto, the Pingyao International Photography Festival, and the Contemporary Art Museum in Rome. She has also participated in several residency programs and has received awards for her photography, from organizations such as IILA-Fotografia, the Banff Center, Daylight Magazine and the Center for Documentary Studies.

Endara is a member of FotoFéminas, a collective of female photographers from Latin America and is currently based out of Los Angeles, California where she teaches and creates multimedia art.

AWARDS AND RESIDENCIES:

2013 Instituto Italo-Latino Americano de Fotografía XII Edition Award (Rome, Italy)
2010 Residencia AguaTierra: Una Propuesta Para Escuchar (Panama, Panama)
        Talleres en Arte Contemporáneo (TACON) (Panama, Panama)
        BRIC Arts Media / Fellowship in Field Production (Brooklyn, New York)
        Daylight Magazine and Center for Documentary Studies Award / Honorable Mention 
2009 Banff Mountain Photography Competition / Special Mention (Alberta, Canada)
        1er Encuentro Internacional de Intervencion Urbana de Phichincha (Quito, Ecuador)
        Guapamacataro Interdisciplinary Residency in Art and Ecology (Maravatio, Mexico)


PRINT + WEB PUBLICATIONS:

2017 Foto Féminas, Vol. 1, Monograph
        LA (Latin America) Dreams, Huck Magazine
        LA (Latin America) Dreams, Brooklyn & Boyle
        Lorena Endara: Nariz, Lenscratch
        Nariz, Fraction Magazine
        Lorena Endara & É Arenas: Nariz, The Photobook Review        
2016 Nariz Monograph
        “A Look at Urban Living Through the Eyes of 69 Photographers Around the World,” Feature Shoot
2015 “Lorena Endara: Enjoying the Process,” CFYE Magazine
2014 A MAN A PLAN A CANAL PANAMA Monograph, Native Publications
        “Animals” by Urbanautica
        FOTOTAZO’s photographer of the week

SELECTED EXHIBITIONS:

2017 Taipei Art Book & Herb Fair (Taipei, Taiwan)
        Para Site Art Book Fair (Quarry Bay, Hong Kong)
        “The Politics of Womanhood” Group Exhibition (Los Angeles, California)
        Art as Resistance, Month of Photography Denver (Denver, Colorado) 
2016 Mosaicografia (Porto Alegre, Brasil)
        Pingyao International Photogragraphy Festival (Pingyao, China)
        Enredadas, Pumapungo Museum (Cuenca, Ecuador)
        International Photography Festival (San Jose, Uruguay)
2015 Guatephoto International Photography Festival (Antigua, Guatemala)
        Just Another Photo Festival (New Delhi, India) 
          F*cked Up Group Show, Humble Arts Foundation (NY, NY)
2013 Absence, Interntational Photography Festival of Rome, Contemporary Art Museum of Rome (Rome, Italy)
2012 About Change in Latin America and the Caribbean, The World Bank (Washington, DC)

GUEST LECTURES + WORKSHOPS:

2015 Cultural Affairs and Management, GuatePhoto International Photography Festival (Guatemala City, Guatemala) 
        Music Video Workshop for Latino Heritage Event organized by Department of Family and Children Services 
        (Los Angeles, California)
        Stop Motion Animation Workshop, Summer Night Lights/Parks & Recreation (Los Angeles, California) 
2014 Video Books Workshop, Summer Night Lights (Los Angeles, California)
        Personal Narrative in the Digital Era Workshop, GRYD Foundation (Los Angeles, California)  
2013 Slideshow, California State Polytechnic University of Pomona (Pomona, California)
2012 Literacy and photography workshop, Cambio Creativo (Coco Solo, Panama)
        Self-representation through art and photography workshop, Cambio Creativo (Coco Solo, Panama)
2010 Personal narratives and photography workshop, Cambio Creativo (Coco Solo, Panama)

EDUCATION:

2006 Bachelor of Arts in Geography and Photography, Sarah Lawrence College (Bronxville, New York)

www.lorenaendara.com
 

-----------------------------------------

To view all entrants work click below on Exhibition #2

www.laphotocurator.com/boundaries-curator-douglas-stockdale/exhibition-2/1