CONFRONTING MORTALITY- Curator Jane Szabo > EXHIBITION #3
EXHIBITION #3
SAFE by Therese Tarara
(Click on image for larger view)
(Click on image for larger view)
Theresa Tarara says of her series, 'This Hurts', "Going through my late mother’s things has not been easy, avoiding it was the objective but I am seeing and feeling differently after her death six months
ago.
At first the pain of separation of her physical self from me felt horrible, as if I had phantom limb syndrome when a body part is removed yet lingering feelings of
that which is gone remain. The placeholder in my brain for my mom is going through a reorganization, a tingling and an itching I do not like.
I could not part with her belongings for they were her. I had no idea, when, that which belongs, stays, and the rest would fade away. A new brain pathway was forming it seems.
'I Can See Clearly Now The Rain is Gone' was Mom’s favorite song. My clarity of where she ends and I began has only now come into view, something that I could only feel after her death.
Was mom the rain? No, she was the Sun too. A description of the images I picked out for
’This Hurts’ to signify remembrance, purpose, usefulness, hope, are as followed:
‘Pep Talk.'
Of the many items of clothing and knick knacks of hers I sifted through was a small gift box with a typewritten note attached to it. I had to sit down on
the bed to cry after I looked at it more closely. Mom is that you? I wanted to hide all that reminded me of her, get rid of things but that would not feel good
so I sat, slept and thought a lot, asking her for guidance, surveyed my self, my life with my loving husband, as to what that would entail. Patience.
This morning I pulled out the drawer of her little nightstand now next to my bed and held the gift box.
The note reads:
This is a special gift
That you can never open,
The reason it’s so special is
It’s just for you from me!
Whenever you are lonely -
Or even feeling blue
You only have to hold this gift
And how I think of you.
You never can unwrap it -
Please leave the ribbon tied.
Just hold the box close to your heart
It’s filled with LOVE inside.
‘Safe.'
My designer purse with a red bauble on a silver ring is safely tucked away from dust and cat hair in the nightstand. She cared about herself, loved beautiful
clothes and things. So do I.
‘Remember to Eat.'
What a great cook, giver of nourishing comfort, my mom was - I have her old cookbooks I continue to treasure as she did and enjoy delicious meals.
She left me her Fiesta Ware dishes her and Dad bought when they were married in the 1940s. I recall happy times as great feats of food were served on
a gleaming white table cloth. I like to think that Mom thought of the plates as her personal art collection, bright yellow, green, and orange cozying
up to turkey mashed potatoes gravy and green beans a few days of the year. I feel like her and yet I am me. I love you Mother."
Born in St. Paul, Minnesota.
Home is Scottsdale, Arizona with her husband, composer and musician, Monte Ewert, and their two cats.
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 6 and a digital Pentax KS2, she uses analogue equipment such as a vintage Polaroid, 35mm Olympus OM1 and Argus CS3 film cameras.
Theresa is drawn to making one of a kind images using 19th century alternative
photographic methods of printmaking such as tri-color gum-bichromate, and platinum
palladium.
Highlights of Career-
Theresa is dedicated to study of photography’s history and its role as a
meaningful tool and gratifying art form for herself and along side fellow artists as they
create, share, and speak about their work.
She is a member of the newly formed
Arizona Photography Alliance, Artintersection Gallery and Arts Learning Center, as an undergraduate was a member of the Society for Photographic Education, and regularly enters her images into international photography competitions and has received recognition from the following organizations:
The Black and White Spider Awards, The International Color Awards, Minneapolis
Photo Center, Lenscratch, Kieran Gallery, Artintersection of Gilbert, AZ, LA Photo
Curator, and The Julia Margaret Cameron Award for Single Image.
www.tararaimages.com
ago.
At first the pain of separation of her physical self from me felt horrible, as if I had phantom limb syndrome when a body part is removed yet lingering feelings of
that which is gone remain. The placeholder in my brain for my mom is going through a reorganization, a tingling and an itching I do not like.
I could not part with her belongings for they were her. I had no idea, when, that which belongs, stays, and the rest would fade away. A new brain pathway was forming it seems.
'I Can See Clearly Now The Rain is Gone' was Mom’s favorite song. My clarity of where she ends and I began has only now come into view, something that I could only feel after her death.
Was mom the rain? No, she was the Sun too. A description of the images I picked out for
’This Hurts’ to signify remembrance, purpose, usefulness, hope, are as followed:
‘Pep Talk.'
Of the many items of clothing and knick knacks of hers I sifted through was a small gift box with a typewritten note attached to it. I had to sit down on
the bed to cry after I looked at it more closely. Mom is that you? I wanted to hide all that reminded me of her, get rid of things but that would not feel good
so I sat, slept and thought a lot, asking her for guidance, surveyed my self, my life with my loving husband, as to what that would entail. Patience.
This morning I pulled out the drawer of her little nightstand now next to my bed and held the gift box.
The note reads:
This is a special gift
That you can never open,
The reason it’s so special is
It’s just for you from me!
Whenever you are lonely -
Or even feeling blue
You only have to hold this gift
And how I think of you.
You never can unwrap it -
Please leave the ribbon tied.
Just hold the box close to your heart
It’s filled with LOVE inside.
‘Safe.'
My designer purse with a red bauble on a silver ring is safely tucked away from dust and cat hair in the nightstand. She cared about herself, loved beautiful
clothes and things. So do I.
‘Remember to Eat.'
What a great cook, giver of nourishing comfort, my mom was - I have her old cookbooks I continue to treasure as she did and enjoy delicious meals.
She left me her Fiesta Ware dishes her and Dad bought when they were married in the 1940s. I recall happy times as great feats of food were served on
a gleaming white table cloth. I like to think that Mom thought of the plates as her personal art collection, bright yellow, green, and orange cozying
up to turkey mashed potatoes gravy and green beans a few days of the year. I feel like her and yet I am me. I love you Mother."
Born in St. Paul, Minnesota.
Home is Scottsdale, Arizona with her husband, composer and musician, Monte Ewert, and their two cats.
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 6 and a digital Pentax KS2, she uses analogue equipment such as a vintage Polaroid, 35mm Olympus OM1 and Argus CS3 film cameras.
Theresa is drawn to making one of a kind images using 19th century alternative
photographic methods of printmaking such as tri-color gum-bichromate, and platinum
palladium.
Highlights of Career-
Theresa is dedicated to study of photography’s history and its role as a
meaningful tool and gratifying art form for herself and along side fellow artists as they
create, share, and speak about their work.
She is a member of the newly formed
Arizona Photography Alliance, Artintersection Gallery and Arts Learning Center, as an undergraduate was a member of the Society for Photographic Education, and regularly enters her images into international photography competitions and has received recognition from the following organizations:
The Black and White Spider Awards, The International Color Awards, Minneapolis
Photo Center, Lenscratch, Kieran Gallery, Artintersection of Gilbert, AZ, LA Photo
Curator, and The Julia Margaret Cameron Award for Single Image.
www.tararaimages.com
REMEMBER TO EAT by Theresa Tarara
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PEP TALK by Theresa Tarara
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WE WERE THREE TBC by Susan Detroy
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Susan Detroy says, “The Betsy Chronicles” series is my response to my youngest sister’s unexpected death. I am an artist. I filter life, feel life through my art making. One way I create is using iPad/iPhone and apps. I generate reformed, blended, impressionistic, manipulated digital images. Inside my grief and loss, I found refuge from my profound shock and some solace in sifting through historic photographs. For days and nights I wept and stared at my sister’s face in photographs from our childhood to her current selfies.
Eventually it occurred to me to use the photos even though I felt I was doing something irreverent. I recaptured my sister’s life in my own mobile camera and set to making new reimagined images. As I created, transforming photos of Betsy, I produced a new deeper, personal story. This is a story of knowing her, loving her and attempting to understand her leaving. Eventually I was able to find a place for her death in the mix of my art. I could see her in her many ages and I came to know her in a new visual way, Making art about my sister, Betsy, helped my soul embrace my suffering. I found a way to breath and hope to move toward acceptance."
Susan Detroy is a multi-talented visual artist with forty years of art-making, working as gallery director, curator & Art/Solutions owner. Susan creates transfer-prints, photography & mixed media art. Susan’s iPhone photography uses iPhone and iPad apps exploring and interpreting her experience as woman in the US culture.
In 2017 Susan re-committed to her art which includes five series - transfer prints, abstract paintings, ink paintings, infrared photography and digitally created imagery. Ms. Detroy teaches & offers her art as originals & reproductions.
Highlights-
1975-78 Medium Rare Collective, photography and film
1989 "Visual Chronicle of Portland" "The Zoo Series"
1990's Photography student at UofO, learning alternative and infrared photography
1992 Creating "The Isabel Series" infrared photography of my beloved doberman
1990 Awarded First Place "Magic Silver Show," Murray State U
1991 "Artists and the American Yard," Wustum, Racine
1993 Visiting Lecturer University of Oregon, Alternative Photo
1997-2016 "Mythic Animal" series, ink drawings, response to cancer diagnosis
1999 - 2009 Jacobs Gallery, Designer / Curator
2002-03 Instructor, Gallery Management
2006- 2018 Director Lane Community College Art Department Gallery and David Joyce Gallery
2013 - Learning to use mobile camera
2016 "Bared Anthology" – Portrait of a Woman
2016-18 - "The Betsy Chronicles" and "Portrait of a Woman"
2017 - Commitment to five art series
2018 - Featured on TheAppWhisperer.com site
2018 - Solo Exhibit "Facescape Dreams - Portrait of a Woman"
www.susandetroy.com
Image: We Were Three: The Betsy Chronicles
Using my sister's selfie image taken in 2016, I imposed a Sunday Easter photograph of the three of us, sisters with cousins. Betsy was about 5.
https://linktr.ee/slynndetroy_art
Eventually it occurred to me to use the photos even though I felt I was doing something irreverent. I recaptured my sister’s life in my own mobile camera and set to making new reimagined images. As I created, transforming photos of Betsy, I produced a new deeper, personal story. This is a story of knowing her, loving her and attempting to understand her leaving. Eventually I was able to find a place for her death in the mix of my art. I could see her in her many ages and I came to know her in a new visual way, Making art about my sister, Betsy, helped my soul embrace my suffering. I found a way to breath and hope to move toward acceptance."
Susan Detroy is a multi-talented visual artist with forty years of art-making, working as gallery director, curator & Art/Solutions owner. Susan creates transfer-prints, photography & mixed media art. Susan’s iPhone photography uses iPhone and iPad apps exploring and interpreting her experience as woman in the US culture.
In 2017 Susan re-committed to her art which includes five series - transfer prints, abstract paintings, ink paintings, infrared photography and digitally created imagery. Ms. Detroy teaches & offers her art as originals & reproductions.
Highlights-
1975-78 Medium Rare Collective, photography and film
1989 "Visual Chronicle of Portland" "The Zoo Series"
1990's Photography student at UofO, learning alternative and infrared photography
1992 Creating "The Isabel Series" infrared photography of my beloved doberman
1990 Awarded First Place "Magic Silver Show," Murray State U
1991 "Artists and the American Yard," Wustum, Racine
1993 Visiting Lecturer University of Oregon, Alternative Photo
1997-2016 "Mythic Animal" series, ink drawings, response to cancer diagnosis
1999 - 2009 Jacobs Gallery, Designer / Curator
2002-03 Instructor, Gallery Management
2006- 2018 Director Lane Community College Art Department Gallery and David Joyce Gallery
2013 - Learning to use mobile camera
2016 "Bared Anthology" – Portrait of a Woman
2016-18 - "The Betsy Chronicles" and "Portrait of a Woman"
2017 - Commitment to five art series
2018 - Featured on TheAppWhisperer.com site
2018 - Solo Exhibit "Facescape Dreams - Portrait of a Woman"
www.susandetroy.com
Image: We Were Three: The Betsy Chronicles
Using my sister's selfie image taken in 2016, I imposed a Sunday Easter photograph of the three of us, sisters with cousins. Betsy was about 5.
https://linktr.ee/slynndetroy_art
QUIET HANDS TBC by Susan Detroy
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Image: Quiet Hands: The Betsy Chronicles
Image created from childhood photograph of my sister Betsy taken from a family holiday greeting card. Her held quiet body is unlike her usual exuberance.
Image created from childhood photograph of my sister Betsy taken from a family holiday greeting card. Her held quiet body is unlike her usual exuberance.
BROKEN BY TIME TBC by Susan Detroy
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Image: Broken by Time: The Betsy Chronicles
Image created from childhood photograph of my sister Betsy taken at a swimming party. A place and time we were happy.
Image created from childhood photograph of my sister Betsy taken at a swimming party. A place and time we were happy.
FROM INSIDE THE ABATTOIR by Stephen Spiller
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Stephen Spiller says, "I work and live in Long Island City, NY. What I know about making art is self-taught. My works reflect who I am, as if positioned in front of a mirror they accurately define, constantly remind, and even counsel me - you are: a heterosexual, white, male with LGBTQIA sensibilities; a Democrat and capitalist influenced by socialist ideas; appalled by racial prejudice, identity politics, mixing church and state, climate change deniers, economic disparity, the absence of universal healthcare, anything denying women control over their lives, the lack of affordable, quality education, gun violence and the NRA, Donald Trump, and more.
Given those identifying, and quite personal, characteristics, I believe it is necessary to go further and understand how they inform my perception of mortality. Stated in different words: Am I living the best life I can? To answer that question, I look to Nietzsche who wanted us to be wanderers, but not with any final destination in mind as no such destination exists. “What does your conscience say? You should become who you are,” he wrote. “Set for yourself high and noble goals (and) perish in pursuit of them.” Well, to Nietzsche I say: I am trying!
I primarily deal with political, social and cultural themes. I sometimes combine my photographs with work I have recontextualized from other arenas, employing text and digital manipulation. I am wary of argumentative and dogmatic expression, preferring to present ideas in a provocative manner.
My street technique is to shoot people, spontaneously, in public venues. Pressing the shutter, often without using the viewfinder, depends upon whether I have an emotional connection with the subject. My instincts and feelings are the litmus test whether to shoot or not. I have no preconceived ideas about what the final image will, or should, look like. Working that way, I believe, yields an honesty and truth, more successfully presented than when images are staged.
Examples of general subjects I explore include: Death and dying, racial prejudice, religion, economic disparity, the absence of universal healthcare, denying women control over their lives, the lack of affordable, quality education, gun violence, etc. Specifically I have made artworks dealing with fashion, prostitution, aging, gender, rape, misogyny, immigration, etc.
I have exhibited in U.S. galleries and internationally, e.g. New York, NY; Chicago, IL; Los Angeles, CA; Miami Beach, FL; Buenos Aires, Argentina; Cakovec, Croatia; Arles, France; Malaga, Spain; Thessaloniki, Greece; Venice, Italy; Berlin, Germany; Barcelona, Spain; more. "
Career Highlights
Artists talk-
Gallery 440 Brooklyn, NY
Group Exhibitions
Soho Photo Gallery, New York, NY
The Palais de Glace, Buenos Aires, Argentina
The Palazzo Italia, Berlin, Germany
Valid Foto Gallery, Barcelona, Spain
Czech China Contemporary Museum, Beijing, China
Spectrum-Miami Art Show, Miami, FL
Exhibition Hall of the Venue of Laneri, Venice, Italy
Municipal Museum, Malaga, Spain
Solo/Two Person Exhibition
Carder-Burden Gallery, New York, NY
Selected for exhibit-
18th Annual TEXAS NAT. 2012 Competition: Dave Hickey, Juror
www.stephenspiller.com
Given those identifying, and quite personal, characteristics, I believe it is necessary to go further and understand how they inform my perception of mortality. Stated in different words: Am I living the best life I can? To answer that question, I look to Nietzsche who wanted us to be wanderers, but not with any final destination in mind as no such destination exists. “What does your conscience say? You should become who you are,” he wrote. “Set for yourself high and noble goals (and) perish in pursuit of them.” Well, to Nietzsche I say: I am trying!
I primarily deal with political, social and cultural themes. I sometimes combine my photographs with work I have recontextualized from other arenas, employing text and digital manipulation. I am wary of argumentative and dogmatic expression, preferring to present ideas in a provocative manner.
My street technique is to shoot people, spontaneously, in public venues. Pressing the shutter, often without using the viewfinder, depends upon whether I have an emotional connection with the subject. My instincts and feelings are the litmus test whether to shoot or not. I have no preconceived ideas about what the final image will, or should, look like. Working that way, I believe, yields an honesty and truth, more successfully presented than when images are staged.
Examples of general subjects I explore include: Death and dying, racial prejudice, religion, economic disparity, the absence of universal healthcare, denying women control over their lives, the lack of affordable, quality education, gun violence, etc. Specifically I have made artworks dealing with fashion, prostitution, aging, gender, rape, misogyny, immigration, etc.
I have exhibited in U.S. galleries and internationally, e.g. New York, NY; Chicago, IL; Los Angeles, CA; Miami Beach, FL; Buenos Aires, Argentina; Cakovec, Croatia; Arles, France; Malaga, Spain; Thessaloniki, Greece; Venice, Italy; Berlin, Germany; Barcelona, Spain; more. "
Career Highlights
Artists talk-
Gallery 440 Brooklyn, NY
Group Exhibitions
Soho Photo Gallery, New York, NY
The Palais de Glace, Buenos Aires, Argentina
The Palazzo Italia, Berlin, Germany
Valid Foto Gallery, Barcelona, Spain
Czech China Contemporary Museum, Beijing, China
Spectrum-Miami Art Show, Miami, FL
Exhibition Hall of the Venue of Laneri, Venice, Italy
Municipal Museum, Malaga, Spain
Solo/Two Person Exhibition
Carder-Burden Gallery, New York, NY
Selected for exhibit-
18th Annual TEXAS NAT. 2012 Competition: Dave Hickey, Juror
www.stephenspiller.com
CATHOLIC by Stephen Spiller
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ANONYMOUS by Stephen Spiller
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WHAT BECOMES OF US IS MERE LEFTOVERS by Stephen Anderson
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Stephen Anderson says, "There are moments when existence makes sense when the fear of its mortality escapes the mind but for a second, when the realization that what Homo sapiens have created for themselves to measure and strive for in our lives is trivial compared to the vastness of the universe and that there is no purpose to life and that epiphany is freeing - but just for a second."
Stephen Anderson was born and raised in Southern California and has been creating artwork professionally since graduating from Cal State University Long Beach with a B.F.A. in Drawing & Painting / Intermedia in 1993. He was the Executive Director for the Orange County Center for Contemporary Art (OCCCA) for eight years and is the Visual Arts Coordinator at the OC Fair & Event Center.
Anderson has received numerous accolades for his art and has been in several publications, and he has shown extensively across the United States and overseas. Notable exhibitions include: By Any Means UnNecessary, Mission 17 Gallery, San Francisco, Ca, Configurations, artSPACE@16, Malden, MA, Too Much Freedom? LA Freewaves 10th Celebration of Experimental Media Arts, Hammer Museum, Artifornia, Sciorum Gallery, Milan, Italy, MONA@30, The Museum of Neon Art, Los Angeles, Reconstructive Visions of the Future, VALISE Gallery, Vashon, WA, Happy Medium, Orange County Center for Contemporary Art, Santa Ana CA, Pulp Art, Hale Art Space, Santa Monica, CA, Combines, bG Gallery at Bergamot Station, Santa Monica, CA, LA Art Show, Los Angeles Convention Center, SCOPE Miami Beach Pavilion, In Pursuit of Beauty, 3331 Gallery, Tokyo Japan.
Anderson will be in the 38th annual Photographers' Forum Publication, and his artwork has been acquired by the Amore Pacific Museum of Art in South Korea.
http://www.mixedmediaexpressions.com
stephen@mixedmediaexpressions.com
Stephen Anderson was born and raised in Southern California and has been creating artwork professionally since graduating from Cal State University Long Beach with a B.F.A. in Drawing & Painting / Intermedia in 1993. He was the Executive Director for the Orange County Center for Contemporary Art (OCCCA) for eight years and is the Visual Arts Coordinator at the OC Fair & Event Center.
Anderson has received numerous accolades for his art and has been in several publications, and he has shown extensively across the United States and overseas. Notable exhibitions include: By Any Means UnNecessary, Mission 17 Gallery, San Francisco, Ca, Configurations, artSPACE@16, Malden, MA, Too Much Freedom? LA Freewaves 10th Celebration of Experimental Media Arts, Hammer Museum, Artifornia, Sciorum Gallery, Milan, Italy, MONA@30, The Museum of Neon Art, Los Angeles, Reconstructive Visions of the Future, VALISE Gallery, Vashon, WA, Happy Medium, Orange County Center for Contemporary Art, Santa Ana CA, Pulp Art, Hale Art Space, Santa Monica, CA, Combines, bG Gallery at Bergamot Station, Santa Monica, CA, LA Art Show, Los Angeles Convention Center, SCOPE Miami Beach Pavilion, In Pursuit of Beauty, 3331 Gallery, Tokyo Japan.
Anderson will be in the 38th annual Photographers' Forum Publication, and his artwork has been acquired by the Amore Pacific Museum of Art in South Korea.
http://www.mixedmediaexpressions.com
stephen@mixedmediaexpressions.com
OFTEN LIFE IS A SERIES OF REPEATING CIRCLES THAT WE EITHER CAN'T OR DON'T WANT TO GET OUT OF by Stephen Anderson
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ALL WE ARE IS BUT A MOMENTARY NUMBER IN A CONTAINER by Stephen Anderson
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JUNIOR (WE WALK IN THEIR SHOES BECAUSE THEY CAN'T), 2018 by Sophie Kovel
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Sophie Kovel says, "When we are attuned to a collective mood, we are open to the world. And therefore the world affects us. We can either withdraw from or be interested in it.
Junior responds to the horrific school shootings that occurred throughout the United States in 2017 and 2018. Photographed at Newark Airport, these postcards image "Kiddie" airplane wings. The backs of the postcards bear slogans that children carried on signs at the Millions March, 2018. Take one; carry it with you.
Because we are open to the world, the world can affect us. We can either withdraw from or be interested in it. An interest can motivate a politics."
Sophie Kovel is an artist and critic based in New York. Her multimedia art practice investigates land use and the disciplines of psychoanalysis and ecocriticism. She has published criticism in Artforum and her work as appeared in the Journal for Art Criticism.
Note: For the entire series (with dimensions and materials) see: sophiekovel.com/junior
About the image: The text in these works are derived from children’s signage at the Millions March, 2018. “Kiddie” airplane wings are talisman of safety. Take one; carry it with you.
Career Highlights -
Selected Publications:
- Journal of Art Criticism, 2018 (online) – carried by the Museum of Modern Art Library, New York and Printed Matter, Inc., MIT Press, among other collections and publishers.
- Ratrock Magazine, Interview, 2018
- Journal of Art Criticism, 2017 (print)
Co-founder of In Concrete
Criticism:
- Steve Locke at yours, mine, & ours, Artforum, 2018 (forthcoming)
- Kazuo Kadonaga at Nonaka-Hill, Artforum, 2018- Taiyo Onorato and Nico Krebs at Kindl – Centre for Contemporary Art, Artforum, 2018
sophiekovel@gmail.com
www.sophiekovel.com
Junior responds to the horrific school shootings that occurred throughout the United States in 2017 and 2018. Photographed at Newark Airport, these postcards image "Kiddie" airplane wings. The backs of the postcards bear slogans that children carried on signs at the Millions March, 2018. Take one; carry it with you.
Because we are open to the world, the world can affect us. We can either withdraw from or be interested in it. An interest can motivate a politics."
Sophie Kovel is an artist and critic based in New York. Her multimedia art practice investigates land use and the disciplines of psychoanalysis and ecocriticism. She has published criticism in Artforum and her work as appeared in the Journal for Art Criticism.
Note: For the entire series (with dimensions and materials) see: sophiekovel.com/junior
About the image: The text in these works are derived from children’s signage at the Millions March, 2018. “Kiddie” airplane wings are talisman of safety. Take one; carry it with you.
Career Highlights -
Selected Publications:
- Journal of Art Criticism, 2018 (online) – carried by the Museum of Modern Art Library, New York and Printed Matter, Inc., MIT Press, among other collections and publishers.
- Ratrock Magazine, Interview, 2018
- Journal of Art Criticism, 2017 (print)
Co-founder of In Concrete
Criticism:
- Steve Locke at yours, mine, & ours, Artforum, 2018 (forthcoming)
- Kazuo Kadonaga at Nonaka-Hill, Artforum, 2018- Taiyo Onorato and Nico Krebs at Kindl – Centre for Contemporary Art, Artforum, 2018
sophiekovel@gmail.com
www.sophiekovel.com
JUNIOR (PROTECT ME) 2018 by Sophie Kovel
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JUNIOR, 2018 by Sophie Kovel
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AUNT-VIOLET #7 by Shāna Einhorn
HONORABLE MENTION
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HONORABLE MENTION
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Review by Curator Jane Szabo: "Shāna
Einhorn’s piece Aunt Violet #7 allowed me to enter the mind and eyes of this elderly woman. With aging often comes memory loss and dementia, and the sense of confusion and trepidation in her face and gesture and she faces the world is palpable."
Shāna Einhorn says, "This image was made in the courtyard of the nursing home my Aunt was living in. Between conversation and hugs I sat quietly observing her deep in thought. I didn’t set out to create a series based on my Aunt Violet. I simply wanted to capture her image, to add another dimension to the memories she created for me.
Aunt Violet was amongst many things, an artist. She created art in the form of sculptures and paintings, and in the way she lived her life. She painted with Rivera and was Orozco’s only assistant, and she treated the world around her with tremendous kindness and love. We talked often of living in a cottage in the woods, each of us making art. But life, as it so often does, got in the way.
I became an artist many years after she’d been forced, by finances and age, to give up her Soho studio and then eventually move to a nursing home. Our visits there tended to be short; my energy was low due to both a serious physical illness and the emotional toll of seeing Aunt Violet in a nursing home. Often I lacked the physical strength to bring my camera with me on these visits. It pained me desperately that not only could I not provide for her, in my own home, the practical support she needed; but moreover hadn’t the means to provide her with life affirming surroundings, filled with music, art, poetry and love except for fleeting moments – where I believe she would have thrived longer.
There was never enough time. But we did have one visit, one gorgeous hour, during which she painted while I photographed her. I was able to bring my camera with me, and she was able to use the materials I’d brought for her. In complete silence, we worked together, utterly in sync.
Aunt Violet was in the nursing home for six years. She died in 2008, at the age of 100.
And so, what began as a group of photos captured for my personal archives became, unexpectedly, my homage to a woman who inspired me, loved me, encouraged me, provided a blueprint for living. My tribute to Aunt Violet.
I am a fine art photographer from Huntington, NY. My art is not about image, it's about essence and as such I think of my work as a spiritual photography.
The images explore one’s connection to self, each other and the natural world, using mostly old manual cameras with black & white film and lately mobile photography.
I came to photography two years after a cancer diagnosis back in 2003 when a friend loaned me a camera. While struggling with questions regarding despair vs. life the camera became my lifeline. It soon became apparent that photography was to become my life’s endeavor as a connection to the medium quickly deepened.
One can say that I used this new opportunity as a way to re-shape my world. My intention was to connect and make good pictures; not to theorize about them – that came much later. The constraints and ramifications of living with chronic illness inform much of my art, as themes of connection and isolation permeate much of the work. Ultimately it is an inquiry about belonging and significance. My work has been in 31 group exhibitions both juried and otherwise, and currently is in 3 private collections."
CV HIGHLIGHTS
Shāna’s fine art work has been exhibited across the U.S and Europe in galleries and print including The Center for Fine Art Photography, PhotoPlace Gallery, Lightbox Photographic Gallery, PH21 Gallery, Feature Shoot, The Griffin Museum, The Curated Fridge and photoludica.
Selected Group Exhibitions:
The Curated Fridge – Somerville, MA August 2018
“Under The Sun” Exhibition – Ann M. Jastrab, Juror
foto foto Gallery - Huntington, NY January 2018
13th National Photography Competition – Ann M. Jastrab, Juror
PhotoPlace Gallery – Middlebury VT June 2017
“Honoring Trees” Exhibition – Laura Valenti, Juror
Lightbox Photographic Gallery - Astoria, Oregon June 2016
“Plastic Fantastic VII” Exhibition - Susan Burnstine, Juror
PH21 Gallery - Budapest, Hungary, June 2016
“Intimacy” Exhibition - Zsolt Bátori, Juror
The Center for Fine Art Photography - Fort Collins, CO June 2016
“Night” Exhibition - Sean Corcoran, Juror
photolucida - Lightbox Photographic Gallery Astoria, OR
& Griffin Museum of Photography, Winchester, MA, May-July 2016
“The Elevated Selfie” Exhibition - Laura Valenti & Laura Moya, Jurors
Photo Independent - The International Exposition of Contemporary
Photography, Hollywood CA, April 29-May 1 2016
The Mobile Photography Show - various jurors.
Awards:
Honorable Mention, PH21 Gallery, Intimacy, 2016, Budapest, Hungary
Published:
PhotoPlace Gallery - Open Call 2018 - Douglas Beasley, Juror September 2018
Hamptons Art Hub – “View From Home” Exhibition – Anita Rogers, Juror November 2017
https://hamptonsarthub.com/slideshow/online-exhibition-view-from-home/
Feature Shoot – featureshoot.com November 2016
“The Secrets of Nighttime”
LA Photo Curator: International Photography Awards
The Human Relationship to Water - www.laphotocurator.com May 2017
LA Photo Curator: International Photography Awards
Comic Relief - www.laphotocurator.com May 2016
LA Photo Curator: International Photography Awards
The Figure In The Landscape - www.laphotocurator.com April 2016
https://shanaphotography.com/
shana@shanaphotography.com
instagram: http://instagram.com/shanaphotography
phone: 631.385.7865
Einhorn’s piece Aunt Violet #7 allowed me to enter the mind and eyes of this elderly woman. With aging often comes memory loss and dementia, and the sense of confusion and trepidation in her face and gesture and she faces the world is palpable."
Shāna Einhorn says, "This image was made in the courtyard of the nursing home my Aunt was living in. Between conversation and hugs I sat quietly observing her deep in thought. I didn’t set out to create a series based on my Aunt Violet. I simply wanted to capture her image, to add another dimension to the memories she created for me.
Aunt Violet was amongst many things, an artist. She created art in the form of sculptures and paintings, and in the way she lived her life. She painted with Rivera and was Orozco’s only assistant, and she treated the world around her with tremendous kindness and love. We talked often of living in a cottage in the woods, each of us making art. But life, as it so often does, got in the way.
I became an artist many years after she’d been forced, by finances and age, to give up her Soho studio and then eventually move to a nursing home. Our visits there tended to be short; my energy was low due to both a serious physical illness and the emotional toll of seeing Aunt Violet in a nursing home. Often I lacked the physical strength to bring my camera with me on these visits. It pained me desperately that not only could I not provide for her, in my own home, the practical support she needed; but moreover hadn’t the means to provide her with life affirming surroundings, filled with music, art, poetry and love except for fleeting moments – where I believe she would have thrived longer.
There was never enough time. But we did have one visit, one gorgeous hour, during which she painted while I photographed her. I was able to bring my camera with me, and she was able to use the materials I’d brought for her. In complete silence, we worked together, utterly in sync.
Aunt Violet was in the nursing home for six years. She died in 2008, at the age of 100.
And so, what began as a group of photos captured for my personal archives became, unexpectedly, my homage to a woman who inspired me, loved me, encouraged me, provided a blueprint for living. My tribute to Aunt Violet.
I am a fine art photographer from Huntington, NY. My art is not about image, it's about essence and as such I think of my work as a spiritual photography.
The images explore one’s connection to self, each other and the natural world, using mostly old manual cameras with black & white film and lately mobile photography.
I came to photography two years after a cancer diagnosis back in 2003 when a friend loaned me a camera. While struggling with questions regarding despair vs. life the camera became my lifeline. It soon became apparent that photography was to become my life’s endeavor as a connection to the medium quickly deepened.
One can say that I used this new opportunity as a way to re-shape my world. My intention was to connect and make good pictures; not to theorize about them – that came much later. The constraints and ramifications of living with chronic illness inform much of my art, as themes of connection and isolation permeate much of the work. Ultimately it is an inquiry about belonging and significance. My work has been in 31 group exhibitions both juried and otherwise, and currently is in 3 private collections."
CV HIGHLIGHTS
Shāna’s fine art work has been exhibited across the U.S and Europe in galleries and print including The Center for Fine Art Photography, PhotoPlace Gallery, Lightbox Photographic Gallery, PH21 Gallery, Feature Shoot, The Griffin Museum, The Curated Fridge and photoludica.
Selected Group Exhibitions:
The Curated Fridge – Somerville, MA August 2018
“Under The Sun” Exhibition – Ann M. Jastrab, Juror
foto foto Gallery - Huntington, NY January 2018
13th National Photography Competition – Ann M. Jastrab, Juror
PhotoPlace Gallery – Middlebury VT June 2017
“Honoring Trees” Exhibition – Laura Valenti, Juror
Lightbox Photographic Gallery - Astoria, Oregon June 2016
“Plastic Fantastic VII” Exhibition - Susan Burnstine, Juror
PH21 Gallery - Budapest, Hungary, June 2016
“Intimacy” Exhibition - Zsolt Bátori, Juror
The Center for Fine Art Photography - Fort Collins, CO June 2016
“Night” Exhibition - Sean Corcoran, Juror
photolucida - Lightbox Photographic Gallery Astoria, OR
& Griffin Museum of Photography, Winchester, MA, May-July 2016
“The Elevated Selfie” Exhibition - Laura Valenti & Laura Moya, Jurors
Photo Independent - The International Exposition of Contemporary
Photography, Hollywood CA, April 29-May 1 2016
The Mobile Photography Show - various jurors.
Awards:
Honorable Mention, PH21 Gallery, Intimacy, 2016, Budapest, Hungary
Published:
PhotoPlace Gallery - Open Call 2018 - Douglas Beasley, Juror September 2018
Hamptons Art Hub – “View From Home” Exhibition – Anita Rogers, Juror November 2017
https://hamptonsarthub.com/slideshow/online-exhibition-view-from-home/
Feature Shoot – featureshoot.com November 2016
“The Secrets of Nighttime”
LA Photo Curator: International Photography Awards
The Human Relationship to Water - www.laphotocurator.com May 2017
LA Photo Curator: International Photography Awards
Comic Relief - www.laphotocurator.com May 2016
LA Photo Curator: International Photography Awards
The Figure In The Landscape - www.laphotocurator.com April 2016
https://shanaphotography.com/
shana@shanaphotography.com
instagram: http://instagram.com/shanaphotography
phone: 631.385.7865
BOWING-TO-TIME by Shāna Einhorn
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LIGHT-OF-THE-SOUL by Shana Einhorn
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FORCE OF NATURE-1 by Russ Rowland
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Russ Rowland says of his serires, "Force of Nature', "Since my father died I think a lot about the people, places and times of my life that exist now only in my head. I think about mortality and feelings of loss I cannot reconcile. I ponder the wondrous power of imagination and also its futility in the light of realities we cannot escape.
I muse on all of this as I work in the park at night seeking out these unearthly nature portraits....entities that exist but don't, visages that are real enough to be photographed but are only landscape and light, spirits that exist once and then are gone for good."
Russ Rowland never intended to be a photographer. It’s now his full-time job and passion.
His professional work includes corporate and life events, theater, interiors, creative projects and more. His images have appeared in many publications including the New York Times, Wall Street Journal, Newsweek and many more.
His personal work has been included in numerous juried shows and exhibitions at venues across the U.S. and abroad, including:
Griffin Museum (Solo show)
The Museum of The City of New York
The Katonah Museum
Center for Fine Art Photography
SOHO Photo Gallery
New York Center for Photographic Arts
Umbrella Arts Gallery
russrow@gmail.com
www.rrsnapshop.com
www.rrsnapshop.com/forceofnature (full series)
I muse on all of this as I work in the park at night seeking out these unearthly nature portraits....entities that exist but don't, visages that are real enough to be photographed but are only landscape and light, spirits that exist once and then are gone for good."
Russ Rowland never intended to be a photographer. It’s now his full-time job and passion.
His professional work includes corporate and life events, theater, interiors, creative projects and more. His images have appeared in many publications including the New York Times, Wall Street Journal, Newsweek and many more.
His personal work has been included in numerous juried shows and exhibitions at venues across the U.S. and abroad, including:
Griffin Museum (Solo show)
The Museum of The City of New York
The Katonah Museum
Center for Fine Art Photography
SOHO Photo Gallery
New York Center for Photographic Arts
Umbrella Arts Gallery
russrow@gmail.com
www.rrsnapshop.com
www.rrsnapshop.com/forceofnature (full series)
FORCE OF NATURE-2 by Russ Rowland
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FORCE OF NATURE-3 by Russ Rowland
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JUST FADE AWAY by Robin Repp
HONORABLE MENTION
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HONORABLE MENTION
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Review by curator Jane Szabo:
"Robin Repp’s image Just Fade Away gives us a glimpse of the before and the after, of the living and of those who have passed. Using a slow shutter speed to capture otherworldly bodies, Repp’s image illustrates the limbo that many elderly feel – a sense of completion and of waiting for the end."
Robin Repp says, "My work explores the concept of anticipation of the future or the unknown. With influences as diverse as Thomas Struth, Dorthea Lange, Elmer Bischoff, and Minor White, I have been using infrared photography, the figure in the landscape and social commentary topics to tell my story.
Ever since Berkeley, I have been fascinated by protest and social issues set in the landscape. What starts out as simple white figures against a dark background, leaves the viewer with a sense of dreamlike questioning. Who are these people and what is going on here."
Robin Repp's work is included in the newly released book, “Signs of Resistance”, by Bonnie Sieglerand “4973:Berkeley Protest Posters”, by Barry Miles. Her work has been included in exhibitions in the Laguna Art Museum, the Oakland Art Museum, the Berkeley Art Museum, Museum of Art & History, Lancaster, The Shapero Modern, London, The Victoria & Albert Museum, London, Griffin Museum of Photography, MA,and various galleries such as the LA Artcore Gallery, Huntington Beach Art Center, Rochester Contemporary Art Gallery, N.Y.C, The Studios Inc. Gallery, Kansas City, The Irvine Fine Arts Center, The Brea Gallery, CSUF Gallery, Long Beach Arts, Worth Ryder Gallery Berkeley, VAALA, and the Orange County Center for Contemporary Art.
Her work is in many private collections, as well as the following public collections:
The University of British Columbia, Canada
University of California, Bancroft Library Berkeley, Ca
The Center for the Study of Political Graphics Los Angeles, CA
AOUON Archive of Political Posters, Berkeley
The Thomas W. Benson Collection, Penn State University Library
City of Huntington Beach, Ca
City of Anjo, Japan
EDUCATION:
M.A. Candidate, University of California, Berkeley, 1975
B.A., University of California, Berkeley, 1970
https://www.saatchiart.com/robinrepp
http://www.occca.org
"Robin Repp’s image Just Fade Away gives us a glimpse of the before and the after, of the living and of those who have passed. Using a slow shutter speed to capture otherworldly bodies, Repp’s image illustrates the limbo that many elderly feel – a sense of completion and of waiting for the end."
Robin Repp says, "My work explores the concept of anticipation of the future or the unknown. With influences as diverse as Thomas Struth, Dorthea Lange, Elmer Bischoff, and Minor White, I have been using infrared photography, the figure in the landscape and social commentary topics to tell my story.
Ever since Berkeley, I have been fascinated by protest and social issues set in the landscape. What starts out as simple white figures against a dark background, leaves the viewer with a sense of dreamlike questioning. Who are these people and what is going on here."
Robin Repp's work is included in the newly released book, “Signs of Resistance”, by Bonnie Sieglerand “4973:Berkeley Protest Posters”, by Barry Miles. Her work has been included in exhibitions in the Laguna Art Museum, the Oakland Art Museum, the Berkeley Art Museum, Museum of Art & History, Lancaster, The Shapero Modern, London, The Victoria & Albert Museum, London, Griffin Museum of Photography, MA,and various galleries such as the LA Artcore Gallery, Huntington Beach Art Center, Rochester Contemporary Art Gallery, N.Y.C, The Studios Inc. Gallery, Kansas City, The Irvine Fine Arts Center, The Brea Gallery, CSUF Gallery, Long Beach Arts, Worth Ryder Gallery Berkeley, VAALA, and the Orange County Center for Contemporary Art.
Her work is in many private collections, as well as the following public collections:
The University of British Columbia, Canada
University of California, Bancroft Library Berkeley, Ca
The Center for the Study of Political Graphics Los Angeles, CA
AOUON Archive of Political Posters, Berkeley
The Thomas W. Benson Collection, Penn State University Library
City of Huntington Beach, Ca
City of Anjo, Japan
EDUCATION:
M.A. Candidate, University of California, Berkeley, 1975
B.A., University of California, Berkeley, 1970
https://www.saatchiart.com/robinrepp
http://www.occca.org
MOM'S DEATH by Robin Repp
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MOM'S DEATH-2 by Robin Repp
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WHICH WAY by Robert Johnson
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Robert S Johnson says, "I use my cameras to record whatever catches my eye. Put another way if I see something in the world that interests me, I take a picture. Sometimes I go into a studio with a model or models and we talk and play and create what seems to be the feeling of the day. Sometimes I play with the in camera technology. Sometimes I post-process, a little or a lot. Occasionally I use old family photographs to create a new image.
After a while, three, four, or more months I go over the images I have been working with and on. I discover what the theme of the past months of my life have been. Then I go back to earlier work and find images that connect to the contemporary ones.
These 3 images are a tiny slice of a very long term work called “Trans_Lucent.” I doubt I will ever be finished with it. It deals with one person’s emotional response to his child transitioning. Near the (at the moment) midpoint of the work, The Rubin Museum had a great exhibition called “The World is Sound” which included a space where you could lie down and hear a monk reading “The Tibetan Book of The Dead.” At the same time, I read “Lincoln in The Bardo.” Soon after I heard Laurie Anderson’s “Heart of a Dog” for the first time and saw a portion of her work “Lolabelle in The Bardo.” at MASS MoCA.
None of this may tie together for you, but it does for me. That is the usual human condition, is it not? Our lives don’t have to make sense to anyone but ourselves."
Robert S Johnson was born and raised on the grounds of the Boston State Hospital which was founded in 1839 under the name “Boston Lunatic Hospital”. He returned to work on the locked wards for his gap year and for summers while in college. The first image he remembers taking was of a bear climbing on the family car in Yellowstone Park. The adults were frozen but he grabbed his mom’s Brownie and shot away.
After five careers, ranging from Artistic Director of THECO, a theater company, to Regional Vice President of a for-profit, after-school education company, he turned to photography full time in 2008.
He lives in New York City and Wellfleet MA with his wife, Katherine, and their son, Asher, a (very recent) 2018 graduate of Smith College.
HIGHLIGHTS-
1961 Takes first picture
2008 Decides to become a photographer (full time)
2018 Still becoming a photographer (full time)
http://www.robertsjohnsonphotography.com
https://www.instagram.com/rojo.elblues
After a while, three, four, or more months I go over the images I have been working with and on. I discover what the theme of the past months of my life have been. Then I go back to earlier work and find images that connect to the contemporary ones.
These 3 images are a tiny slice of a very long term work called “Trans_Lucent.” I doubt I will ever be finished with it. It deals with one person’s emotional response to his child transitioning. Near the (at the moment) midpoint of the work, The Rubin Museum had a great exhibition called “The World is Sound” which included a space where you could lie down and hear a monk reading “The Tibetan Book of The Dead.” At the same time, I read “Lincoln in The Bardo.” Soon after I heard Laurie Anderson’s “Heart of a Dog” for the first time and saw a portion of her work “Lolabelle in The Bardo.” at MASS MoCA.
None of this may tie together for you, but it does for me. That is the usual human condition, is it not? Our lives don’t have to make sense to anyone but ourselves."
Robert S Johnson was born and raised on the grounds of the Boston State Hospital which was founded in 1839 under the name “Boston Lunatic Hospital”. He returned to work on the locked wards for his gap year and for summers while in college. The first image he remembers taking was of a bear climbing on the family car in Yellowstone Park. The adults were frozen but he grabbed his mom’s Brownie and shot away.
After five careers, ranging from Artistic Director of THECO, a theater company, to Regional Vice President of a for-profit, after-school education company, he turned to photography full time in 2008.
He lives in New York City and Wellfleet MA with his wife, Katherine, and their son, Asher, a (very recent) 2018 graduate of Smith College.
HIGHLIGHTS-
1961 Takes first picture
2008 Decides to become a photographer (full time)
2018 Still becoming a photographer (full time)
http://www.robertsjohnsonphotography.com
https://www.instagram.com/rojo.elblues
TRANSITIONS by Robert Johnson
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PERCHANCE TO DREAM by Robert Johnson
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RESTING PLACE by Rich Vogel
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Rich Vogel says, "After our dear dog Gromit died this summer, I looked for photos to remember him by. But what most reminded me of him was his absence on his couch. Every time I return home, I habitually look for him there before I remember that he's gone.
It's almost as if his absence is a kind of presence, a ghost. It reminds me that death of a loved one -- such a strange, incomprehensible nothingness -- is felt as absence, and it's the places they loved that most remind me of them. It's also a way for me to feel some connection with those who are gone.
Whether it's a couch, or a corner of the house with old photographs reminding us of the past and those who have passed, or a meadow my parents looked at every evening and a tree around which we spread my mother's ashes, these places help me remember those who are gone, sometimes more than the shadow of their image itself.
Of course, such reflections remind me that too soon nothing will be left of me but images and memories, and I wonder what walls my image will hang from, and what places will remind my loved ones of me.
Perhaps this is natural for someone who mostly makes photographs of landscapes, as place is very important for me, with the memories and associations it caries. At any rate, I also enjoy making photographs of interiors and objects that hold memories for me.
I work mostly with black and white film in large and medium format, developing and printing it in the darkroom, partly because I love the look, but mostly because I'm tired of working in front of a computer and enjoy the process, working with my hands.
Travel for work and the iPhone revived my interest in photography. After a brief fling with digital photography, I fell in love with film and darkroom processes. After retiring from a career in software, I TA at the New England School of Photography, struggle in the darkroom, wander the woods north of Boston and travel under the big skies out West every summer.
Career Highlights:
I started showing my work in 2014 at Theia Studios in North Andover, Massachusetts. Since then, I have shown work at Camera Commons, The Darkroom Gallery, the Griffin Museum of Photography, a photo of the day at Don't Take Pictures and an honorable mention on L.A. Photo Curator."
Image- Resting Place- (My parents would sit in the porch and watch the sun set over this meadow in Wyoming every evening in the summer. This is where my mother wanted her ashes spread. This is a scan from a ziatype print.):
https://www.richvogelphotography.com
Rmlv42@gmail.com
It's almost as if his absence is a kind of presence, a ghost. It reminds me that death of a loved one -- such a strange, incomprehensible nothingness -- is felt as absence, and it's the places they loved that most remind me of them. It's also a way for me to feel some connection with those who are gone.
Whether it's a couch, or a corner of the house with old photographs reminding us of the past and those who have passed, or a meadow my parents looked at every evening and a tree around which we spread my mother's ashes, these places help me remember those who are gone, sometimes more than the shadow of their image itself.
Of course, such reflections remind me that too soon nothing will be left of me but images and memories, and I wonder what walls my image will hang from, and what places will remind my loved ones of me.
Perhaps this is natural for someone who mostly makes photographs of landscapes, as place is very important for me, with the memories and associations it caries. At any rate, I also enjoy making photographs of interiors and objects that hold memories for me.
I work mostly with black and white film in large and medium format, developing and printing it in the darkroom, partly because I love the look, but mostly because I'm tired of working in front of a computer and enjoy the process, working with my hands.
Travel for work and the iPhone revived my interest in photography. After a brief fling with digital photography, I fell in love with film and darkroom processes. After retiring from a career in software, I TA at the New England School of Photography, struggle in the darkroom, wander the woods north of Boston and travel under the big skies out West every summer.
Career Highlights:
I started showing my work in 2014 at Theia Studios in North Andover, Massachusetts. Since then, I have shown work at Camera Commons, The Darkroom Gallery, the Griffin Museum of Photography, a photo of the day at Don't Take Pictures and an honorable mention on L.A. Photo Curator."
Image- Resting Place- (My parents would sit in the porch and watch the sun set over this meadow in Wyoming every evening in the summer. This is where my mother wanted her ashes spread. This is a scan from a ziatype print.):
https://www.richvogelphotography.com
Rmlv42@gmail.com
GHOSTS by Rich Vogel
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Image- Ghosts- (Where my wife's parents keep old photographs of ancestors):
FAVORITE SPOT by Rich Vogel
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Image- Favorite Spot- (Where our dog spent more and more of his time as he grew older):
TRANSITION by Nina Weinberg Doran
HONORABLE MENTION
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HONORABLE MENTION
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Review from curator Jane Szabo:
"Nina Weinberg’s image Doran Transition and Diane Fenster’s Flores Para el Muerto stop time for a moment. I love the contrast between the two images. Weinberg opts for lush color and clarity and seems to celebrate the beauty of a life, while Fenster’s soft focus black and white image creates a quiet memento to a life just passed."
Nina Weinberg Doran says,"It begins with a racing heartbeat, when I spot something out of the corner of my eye that I know I have to photograph. In an instant I’ll propel myself out of a moving car or turn down a path in the opposite direction because I am magnetized – stirred in such a way that there is nothing else I can do.
I see myself as a rubberband, always stretching to see anew, to find different ways to express what I feel through my camera. My work spans fine art, social documentary, street photography, and environmental portraiture. Some images are responsive, others compositional; I am not confined to any one style. The thread that runs through my images is the essence of who I am and where my heart lies.
I begin with a moment that makes me tingle. It might be a woman clutching a rooster from a broken down truck, or a small plastic doll face down on a sandy beach. My photographs reflect different sides of myself, but they’re always about connection: the emotional dialogue that takes place between me and my subjects, the nuanced bonds that affirm what is familiar to us all rather than what sets us apart."
It wasn’t until the age of 46 that NINA WEINBERG DORAN, a self-taught artist,discovered her passion for photography. Based in New York, she has shot in the Caribbean, Guatemala, Morocco, Mexico and the streets of New York City. Her work has been exhibited in solo and group shows at museums and galleries including the Griffin Museum of Photography (MA), Umbrella Arts(NYC) A Smith Gallery(TX), SxSE Gallery(GA), Lightbox Photographic Gallery(OR),PH21Gallery (Budapest), Center for Fine Art Photography (CO), Center for Photographic Art (CA), The Half King (NYC), Dark Room Gallery (VT), AHM Gallery (VA), Eyebuzz Gallery (NY). In 2013, she was included in Rising Waters: Photographs of Hurricane Sandy, an exhibition at both Governors Island and the Museum of the City of New York, a collaboration between the Museum of the City of New York and the International Center of Photography.
In 2011, she received an honorable mention in the Robert Cornelius Portrait Award competition and in 2017 won the Julia Margaret Cameron Award competition for nudes; her work is included in the Julia Margaret Cameron Award’s “A collection of works by women photographers”. She is currently developing a body of work exploring the concept of stillness
RECENT HIGHLIGHTS:: winner of nude figure category Julia Margaret Cameron Award. Also in this October 2018 Barcelona Biennale
http://www.ninaweinbergdoran.com
Image -Transition
The last eye to eye contacts, followed by the final shallow breathes ..... heat turns to cold... a flower is placed by someone in his hand, as he transitions into the next realm .. life and death, beauty in sadness.
"Nina Weinberg’s image Doran Transition and Diane Fenster’s Flores Para el Muerto stop time for a moment. I love the contrast between the two images. Weinberg opts for lush color and clarity and seems to celebrate the beauty of a life, while Fenster’s soft focus black and white image creates a quiet memento to a life just passed."
Nina Weinberg Doran says,"It begins with a racing heartbeat, when I spot something out of the corner of my eye that I know I have to photograph. In an instant I’ll propel myself out of a moving car or turn down a path in the opposite direction because I am magnetized – stirred in such a way that there is nothing else I can do.
I see myself as a rubberband, always stretching to see anew, to find different ways to express what I feel through my camera. My work spans fine art, social documentary, street photography, and environmental portraiture. Some images are responsive, others compositional; I am not confined to any one style. The thread that runs through my images is the essence of who I am and where my heart lies.
I begin with a moment that makes me tingle. It might be a woman clutching a rooster from a broken down truck, or a small plastic doll face down on a sandy beach. My photographs reflect different sides of myself, but they’re always about connection: the emotional dialogue that takes place between me and my subjects, the nuanced bonds that affirm what is familiar to us all rather than what sets us apart."
It wasn’t until the age of 46 that NINA WEINBERG DORAN, a self-taught artist,discovered her passion for photography. Based in New York, she has shot in the Caribbean, Guatemala, Morocco, Mexico and the streets of New York City. Her work has been exhibited in solo and group shows at museums and galleries including the Griffin Museum of Photography (MA), Umbrella Arts(NYC) A Smith Gallery(TX), SxSE Gallery(GA), Lightbox Photographic Gallery(OR),PH21Gallery (Budapest), Center for Fine Art Photography (CO), Center for Photographic Art (CA), The Half King (NYC), Dark Room Gallery (VT), AHM Gallery (VA), Eyebuzz Gallery (NY). In 2013, she was included in Rising Waters: Photographs of Hurricane Sandy, an exhibition at both Governors Island and the Museum of the City of New York, a collaboration between the Museum of the City of New York and the International Center of Photography.
In 2011, she received an honorable mention in the Robert Cornelius Portrait Award competition and in 2017 won the Julia Margaret Cameron Award competition for nudes; her work is included in the Julia Margaret Cameron Award’s “A collection of works by women photographers”. She is currently developing a body of work exploring the concept of stillness
RECENT HIGHLIGHTS:: winner of nude figure category Julia Margaret Cameron Award. Also in this October 2018 Barcelona Biennale
http://www.ninaweinbergdoran.com
Image -Transition
The last eye to eye contacts, followed by the final shallow breathes ..... heat turns to cold... a flower is placed by someone in his hand, as he transitions into the next realm .. life and death, beauty in sadness.
NECESSARY MORSEL by Nina Weinberg Doran
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EMPTY SHELL by Nina Weinberg Doran
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BRAIN STEM by Nicole Fournier
HONORABLE MENTION
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HONORABLE MENTION
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Review by curator Jane Szabo:
"Nicole Fournier’s mixed media piece Brain Stem references the thinking mind, and the scientific exploration of the brain. A person’s ability to think is the root of one’s individuality and sense of self. I often wonder about memory loss and dementia, and how these afflictions cause a person to lose their grasp of self, and their place in the world."
Nicole Fournier’s passion for photography was first expressed during a 4th grade class trip to Washington DC, when she photographed abstract images of a spiral staircase. Many years later, Nicole honed her skills at William Paterson University by obtaining a B.F.A. degree in Graphic Design (alongside a minor in Photography) graduating Cum Laude in her class, from her home state of New Jersey.
“My art is a combination of photography and encaustics. I transfer images directly into beeswax, and embellish with colored wax mediums I make from oil-based or powdered pigments. I enjoy the wide range of possibilities inherent in this technique – the evocative and distressed tones, and especially the additive and subtractive qualities that come along with the process. Through my art, I continue to express concepts of growth and awareness, and to promote the preservation of our external environment as well as the cultivation of our inner.”
Her fine art has appeared in numerous group shows and exhibitions at the Rebecca Molayem Gallery, Chaffey Community Museum of Art, Thousand Oaks Community Gallery, Orange County for Contemporary Art, and the Encaustic Art Institute. Currently residing in Los Angeles, Nicole Fournier enjoys pursuing her art and photography career. Please visit her website for further information about her upcoming shows at http://nicolefournier.com.
ARTICLE posted with VoyageLA:
direct link:
http://voyagela.com/interview/meet-nicole-fournier-nicole-fournier-fine-art-lincoln-heights/
Nicole Fournier says, "I was born and raised in a rural area in New Jersey. I grew up in a converted log cabin, and as a child, I loved playing in the woods and fishing off our dock. Since living really close to a lake, my fondest memories there were playing with the seemingly endless amount of baby toads, turning over logs and rocks anticipating to find salamanders, and playing in an abandoned cabin that was near us on my grandparent’s property.
My parents and I moved to the suburbs when I was 8 years old. My interest then was in music, but I really wasn’t aware of my interest in art until I went to college. After about 2 and a half years in university, I chose to declare art as my major. It just felt, “right”. I graduated from William Paterson University with a BFA in Graphic Design. In addition, I loved photography so much, so I took as many courses as I could there — I practically minored in photography. Soon after graduation, I got my first publishing job in New York City. I took pictures over the years, had some shows, and worked in the commercial aspect of photography in assisting, shooting weddings and portraits.
However, I never was satisfied with the final aspects of printed photographs. In 2005, I moved to Los Angeles, into an artistic community called “The Brewery”. The community roots began with the Edison Electric Steam Power Plant in 1903, and then a Pabst Blue Ribbon brewery. In 1982, it became what it is today — an artist colony that opens up twice a year to the public offering fine art open studio events. I participated in the events, showing my photography work then, comprised of pattern-based imagery, and (as from what I did in the past) images of female models in set up situations. Again, I was unsatisfied with just a standard photographic print. I wanted to get a more “hands-on” approach. I was always drawn to older styles of photography, such as tintypes and daguerreotypes.
I loved how they became distressed and/or decayed over the years. Instead of duplicating that look using a computer, around 2006 I researched ways on how to do photo transfers. That’s how I came across the encaustic process. I now enjoy working in this medium, which the final element of the art is just wax; a medium composed of beeswax and damar (tree sap used for hardening and raising the melting temperature). I use the images that I have photographed and transfer them directly into the wax surface, and embellish with the colored wax medium made from oil-based or powdered pigments.
My art is a combination of photography and encaustic. I transfer my images directly into beeswax and embellish with homemade colored wax mediums made from oil-based or powdered pigments. I enjoy the wide range of possibilities working with encaustic. In the transfer process, images are prone to rips and tears, not transferring fully to 100%.
Using wax gives images a faded, ethereal look in which I like. I choose to make my own encaustic medium. I like that it is a rather “green” type of medium, with the wax harvested in a non-invasive, sustainable way. I respect nature and our environment. I feel inclined to protect our planet, all people, life and resources. Anything we take we should replace because we initially do all coexist. Encaustic painting is one of the oldest forms of art known to man. Samples can be seen as far back as the Egyptian Fayum Mummy portraits, dating over 2,500 years old.
Excavation of these paintings have shown no mold, cracking, flaking, or fading. Unlike other mediums, encaustic paintings contain excellent archival properties. Working with encaustic is really appealing because not only does it allow me to combine photography with painting, drawing, and mixed media elements, it also allows for image transfers with the benefits of adding texture, transferable onto practically any type of surface! I love to offer my artistic method to clients with commissioned work. I am flexible in either shooting new work or use images a person might already have – or a combination of the two.
The final work of art becomes a one-of-a-kind piece, combining photography with the alluring textures and natural luminosity of wax. I love taking the time to work on a portrait and to reflect on how to represent the character of the person. Encaustic paintings are seducing, due to their luminosity, texture, and naturally aromatic smell.
Through my art, I enjoy expressing concepts of growth and awareness, and to promote the preservation of our external environment as well as the cultivation of our inner.
Working in encaustic is all about layering. The art pieces take on a world of their own — an alluring subconscious structure within us. Images are layered, layered and complicated as each of us are in turn."
http://nicolefournier.com
facebook:
https://www.facebook.com/Nicol eFournierART
instagram:
https://www.instagram.com/nico ledorisfournier
310-344-4887
nicole.doris.fournier@gmail.com
"Nicole Fournier’s mixed media piece Brain Stem references the thinking mind, and the scientific exploration of the brain. A person’s ability to think is the root of one’s individuality and sense of self. I often wonder about memory loss and dementia, and how these afflictions cause a person to lose their grasp of self, and their place in the world."
Nicole Fournier’s passion for photography was first expressed during a 4th grade class trip to Washington DC, when she photographed abstract images of a spiral staircase. Many years later, Nicole honed her skills at William Paterson University by obtaining a B.F.A. degree in Graphic Design (alongside a minor in Photography) graduating Cum Laude in her class, from her home state of New Jersey.
“My art is a combination of photography and encaustics. I transfer images directly into beeswax, and embellish with colored wax mediums I make from oil-based or powdered pigments. I enjoy the wide range of possibilities inherent in this technique – the evocative and distressed tones, and especially the additive and subtractive qualities that come along with the process. Through my art, I continue to express concepts of growth and awareness, and to promote the preservation of our external environment as well as the cultivation of our inner.”
Her fine art has appeared in numerous group shows and exhibitions at the Rebecca Molayem Gallery, Chaffey Community Museum of Art, Thousand Oaks Community Gallery, Orange County for Contemporary Art, and the Encaustic Art Institute. Currently residing in Los Angeles, Nicole Fournier enjoys pursuing her art and photography career. Please visit her website for further information about her upcoming shows at http://nicolefournier.com.
ARTICLE posted with VoyageLA:
direct link:
http://voyagela.com/interview/meet-nicole-fournier-nicole-fournier-fine-art-lincoln-heights/
Nicole Fournier says, "I was born and raised in a rural area in New Jersey. I grew up in a converted log cabin, and as a child, I loved playing in the woods and fishing off our dock. Since living really close to a lake, my fondest memories there were playing with the seemingly endless amount of baby toads, turning over logs and rocks anticipating to find salamanders, and playing in an abandoned cabin that was near us on my grandparent’s property.
My parents and I moved to the suburbs when I was 8 years old. My interest then was in music, but I really wasn’t aware of my interest in art until I went to college. After about 2 and a half years in university, I chose to declare art as my major. It just felt, “right”. I graduated from William Paterson University with a BFA in Graphic Design. In addition, I loved photography so much, so I took as many courses as I could there — I practically minored in photography. Soon after graduation, I got my first publishing job in New York City. I took pictures over the years, had some shows, and worked in the commercial aspect of photography in assisting, shooting weddings and portraits.
However, I never was satisfied with the final aspects of printed photographs. In 2005, I moved to Los Angeles, into an artistic community called “The Brewery”. The community roots began with the Edison Electric Steam Power Plant in 1903, and then a Pabst Blue Ribbon brewery. In 1982, it became what it is today — an artist colony that opens up twice a year to the public offering fine art open studio events. I participated in the events, showing my photography work then, comprised of pattern-based imagery, and (as from what I did in the past) images of female models in set up situations. Again, I was unsatisfied with just a standard photographic print. I wanted to get a more “hands-on” approach. I was always drawn to older styles of photography, such as tintypes and daguerreotypes.
I loved how they became distressed and/or decayed over the years. Instead of duplicating that look using a computer, around 2006 I researched ways on how to do photo transfers. That’s how I came across the encaustic process. I now enjoy working in this medium, which the final element of the art is just wax; a medium composed of beeswax and damar (tree sap used for hardening and raising the melting temperature). I use the images that I have photographed and transfer them directly into the wax surface, and embellish with the colored wax medium made from oil-based or powdered pigments.
My art is a combination of photography and encaustic. I transfer my images directly into beeswax and embellish with homemade colored wax mediums made from oil-based or powdered pigments. I enjoy the wide range of possibilities working with encaustic. In the transfer process, images are prone to rips and tears, not transferring fully to 100%.
Using wax gives images a faded, ethereal look in which I like. I choose to make my own encaustic medium. I like that it is a rather “green” type of medium, with the wax harvested in a non-invasive, sustainable way. I respect nature and our environment. I feel inclined to protect our planet, all people, life and resources. Anything we take we should replace because we initially do all coexist. Encaustic painting is one of the oldest forms of art known to man. Samples can be seen as far back as the Egyptian Fayum Mummy portraits, dating over 2,500 years old.
Excavation of these paintings have shown no mold, cracking, flaking, or fading. Unlike other mediums, encaustic paintings contain excellent archival properties. Working with encaustic is really appealing because not only does it allow me to combine photography with painting, drawing, and mixed media elements, it also allows for image transfers with the benefits of adding texture, transferable onto practically any type of surface! I love to offer my artistic method to clients with commissioned work. I am flexible in either shooting new work or use images a person might already have – or a combination of the two.
The final work of art becomes a one-of-a-kind piece, combining photography with the alluring textures and natural luminosity of wax. I love taking the time to work on a portrait and to reflect on how to represent the character of the person. Encaustic paintings are seducing, due to their luminosity, texture, and naturally aromatic smell.
Through my art, I enjoy expressing concepts of growth and awareness, and to promote the preservation of our external environment as well as the cultivation of our inner.
Working in encaustic is all about layering. The art pieces take on a world of their own — an alluring subconscious structure within us. Images are layered, layered and complicated as each of us are in turn."
http://nicolefournier.com
facebook:
https://www.facebook.com/Nicol eFournierART
instagram:
https://www.instagram.com/nico ledorisfournier
310-344-4887
nicole.doris.fournier@gmail.com
THE THINGS WE SEE by Nicole Fournier
(Click on image for larger view)
(Click on image for larger view)
ABSOLVE ME II by Nicole Fournier
(Click on image for larger view)
(Click on image for larger view)
PORGY, 2018 by Nancy Oliveri
(Click on image for larger view)
(Click on image for larger view)
Nancy Oliveri is an American artist born in Providence RI in1958. She lives and works in the Gowanus section of Brooklyn where she recently completed a photographic project documenting what was once the most contaminated waterway in the US, the Gowanus Canal.
The canal images were unstaged compositions of debris floating in the contaminated water including dead birds, jellyfish, industrial debris, cut flowers, plastic toys and dead insects. This project eventually evolved into a series of staged studio portraits using the natural Brooklyn light, ironically in an area once occupied by the Dutch and reminiscent of 17th Century Dutch and Flemish still life paintings.The portraits of dead animals, fish and insects and flower are inspired by and influenced by tradition of Victorian Post-Mortem photography and Vanitas as a reminder of mortality.
Oliveri's still life photography was recently acknowledged as a finalist and honorable mention by the Julia Margaret Cameron Awards and was invited to exhibit 19 of these works at the 5th Edition of the Barcelona Fine Art & Documentary Photography.The Barcelona Foto Biennial opens on October 4th through 21st will be held at the Space Nau Bostik. The exhibition will include 280 photographers from 35 countries and because participants are selected from the Julia Margaret Cameron Awards, 75% will be women.
Images from Post-Mortem Portrait series.
nancyoliveriphotography.com
IG @Nancy_Oliveri
noliveri99@verizon.net
The canal images were unstaged compositions of debris floating in the contaminated water including dead birds, jellyfish, industrial debris, cut flowers, plastic toys and dead insects. This project eventually evolved into a series of staged studio portraits using the natural Brooklyn light, ironically in an area once occupied by the Dutch and reminiscent of 17th Century Dutch and Flemish still life paintings.The portraits of dead animals, fish and insects and flower are inspired by and influenced by tradition of Victorian Post-Mortem photography and Vanitas as a reminder of mortality.
Oliveri's still life photography was recently acknowledged as a finalist and honorable mention by the Julia Margaret Cameron Awards and was invited to exhibit 19 of these works at the 5th Edition of the Barcelona Fine Art & Documentary Photography.The Barcelona Foto Biennial opens on October 4th through 21st will be held at the Space Nau Bostik. The exhibition will include 280 photographers from 35 countries and because participants are selected from the Julia Margaret Cameron Awards, 75% will be women.
Images from Post-Mortem Portrait series.
nancyoliveriphotography.com
IG @Nancy_Oliveri
noliveri99@verizon.net
LOBSTER TALES, 2018 by Nancy Oliveri
(Click on image for larger view)
(Click on image for larger view)
KINGFISH, 2018 by Nancy Oliveri
(Click on image for larger view)
-----------------------------------------CONFRONTING MORTALITY HOME
http://www.laphotocurator.com/confronting-mortality-curator-jane-szabo
FIRST PLACE
http://www.laphotocurator.com/confronting-mortality-curator-jane-szabo/first-place-dana-walker-joan-s-trinity----/1
SECOND PLACE
http://www.laphotocurator.com/confronting-mortality-curator-jane-szabo/second-place-luke-jordan-bill-and-jane----/1
THIRD PLACE
http://www.laphotocurator.com/confronting-mortality-curator-jane-szabo/third-place-cat-coppenrath-autopsy-report----/1
HONORABLE MENTIONS: THE CLASSIC BLACK AND WHITE IMAGES
http://www.laphotocurator.com/confronting-mortality-curator-jane-szabo/honorable-mentions-the-classic-black-and-white-images-mara-zaslove-return-to-nature-shana-einhorn-aunt-violet-7-traci-marie-lee-that-lumbered-all-the-way-edward-boches-cherry-garcia-one-day-later----/1
HONORABLE MENTIONS: MEMENTO MORI, THE FLOWER
http://www.laphotocurator.com/confronting-mortality-curator-jane-szabo/honorable-mentions-memento-mori-the-flower-nina-weinberg-doran-transition-diane-fenster-flores-para-el-muerto----/1
HONORABLE MENTIONS: THE ALTERNATIVE PROCESSES
http://www.laphotocurator.com/confronting-mortality-curator-jane-szabo/honorable-mentions-the-alternative-processes-leslie-sheryll-louisa-and-baby-ii-mourning-tears-nicole-fournier-brain-stem-robin-repp-just-fade-away----/1
EXHIBITION #1
http://www.laphotocurator.com/confronting-mortality-curator-jane-szabo/exhibition-1/1
EXHIBITION #2
http://www.laphotocurator.com/confronting-mortality-curator-jane-szabo/exhibition-2/1
EXHIBITION #3
http://www.laphotocurator.com/confronting-mortality-curator-jane-szabo/exhibition-3/1
EXHIBITION #4
http://www.laphotocurator.com/confronting-mortality-curator-jane-szabo/exhibition-4/1
(Click on image for larger view)
-----------------------------------------CONFRONTING MORTALITY HOME
http://www.laphotocurator.com/confronting-mortality-curator-jane-szabo
FIRST PLACE
http://www.laphotocurator.com/confronting-mortality-curator-jane-szabo/first-place-dana-walker-joan-s-trinity----/1
SECOND PLACE
http://www.laphotocurator.com/confronting-mortality-curator-jane-szabo/second-place-luke-jordan-bill-and-jane----/1
THIRD PLACE
http://www.laphotocurator.com/confronting-mortality-curator-jane-szabo/third-place-cat-coppenrath-autopsy-report----/1
HONORABLE MENTIONS: THE CLASSIC BLACK AND WHITE IMAGES
http://www.laphotocurator.com/confronting-mortality-curator-jane-szabo/honorable-mentions-the-classic-black-and-white-images-mara-zaslove-return-to-nature-shana-einhorn-aunt-violet-7-traci-marie-lee-that-lumbered-all-the-way-edward-boches-cherry-garcia-one-day-later----/1
HONORABLE MENTIONS: MEMENTO MORI, THE FLOWER
http://www.laphotocurator.com/confronting-mortality-curator-jane-szabo/honorable-mentions-memento-mori-the-flower-nina-weinberg-doran-transition-diane-fenster-flores-para-el-muerto----/1
HONORABLE MENTIONS: THE ALTERNATIVE PROCESSES
http://www.laphotocurator.com/confronting-mortality-curator-jane-szabo/honorable-mentions-the-alternative-processes-leslie-sheryll-louisa-and-baby-ii-mourning-tears-nicole-fournier-brain-stem-robin-repp-just-fade-away----/1
EXHIBITION #1
http://www.laphotocurator.com/confronting-mortality-curator-jane-szabo/exhibition-1/1
EXHIBITION #2
http://www.laphotocurator.com/confronting-mortality-curator-jane-szabo/exhibition-2/1
EXHIBITION #3
http://www.laphotocurator.com/confronting-mortality-curator-jane-szabo/exhibition-3/1
EXHIBITION #4
http://www.laphotocurator.com/confronting-mortality-curator-jane-szabo/exhibition-4/1
