Jim Kohatsu says of his work, "My images were shot at the former Linda Vista hospital in East Los Angeles. It was built in 1904 for Santa Fe Railroad workers. It was sold in 1980 as a private hospital, unfortunately the Boyle Heights area around the hospital was in economic decline and efforts to reduce operational cost resulted in an increase in facility deaths. It didn’t help that many of its patients were victims of gang shootings and stabbings. As a result, many people say that it is haunted.

After it closed in 1991, it was used in multiple films, ghost hunter shows and music videos and has now been renovated into a senior living facility. I had the opportunity to photograph it before the renovation and approached it as a still life project.

I mainly used existing light with long exposures on a tripod. Some of the rooms were so dark that I had to use a flash. With the shutter set to bulb, I hand-held the flash and did multiple pops, bounced or direct in various parts of the room, depending on how dark the area was. The exam room was shot this way."

The complete photo essay is here:
http://www.kohatsuphotography.com/lindavista/index.html

Jim Kohatsu is a Long Beach based commercial and fine-art photographer. His work has been shown in galleries around the United States, including the TAG Gallery at Bergamot Station in Santa Monica, Linus Galleries in Pasadena, the Mumm Napa Gallery in Northern California, the Darkroom Gallery and PhotoPlace Gallery in Vermont, ASmith Gallery in Texas and the 2014 San Francisco International Photo show. Recently his work was chosen for the Berlin Biennial as a finalist for the Portrait and Fine Art Categories.

His slide shows have been shown at the 2014 Palm Springs Photo Festival and at the SlideLuck show “Secrets” at the Photoville 2014.

JJ L'Heureux says of this series, 'Shackleton Hut Photographs – Cape Royds, Antarctica', "What remains at Cape Royds, Antarctica is a scene that has been encapsulated and frozen in crystal pure ice.
 
My Sir Ernest Shackleton Hut photographs are intended to illuminate and celebrate Shackleton’s time at Cape Royds.  This project is an unfinished chapter in a sixteen-year odyssey in Antarctica that contains 14 different expeditions. 

Like Frank Hurley, Shackleton’s expedition photographer, my first purpose was to photograph the rich environment of ice, the diversity of surprising colors, shapes and monumental sizes. 

Along the way a larger insight into Antarctica and its history developed.  To succeed in getting to such places as Cape Royds in the Ross Sea involves a long and difficult sea voyage as well as the high probability that one will not be able to land due to conditions such as sea ice or terrible weather.

Once having landed there is a long, uphill climb in icy and windy conditions past a huge Adelie Penguin colony.  The small, unpainted hut is at the end of this struggle as it was for Shackleton and the men who lived there for more than a year. 
 
Entering the hut and getting out of the constant wind and cold brought for me a sense of accomplishment.  Then there is the interior of the hut itself, stacked with the supplies and equipment necessary for the original expedition to survive. 

They left their supplies, clothing, coffee pot on the stove and other direct statements of what was going on physically at the moment of their departure.  I was immediately struck by the focal point of the hut…the stove. 

The stove was the sole generator of warmth and also the center of social as well as physical survival for the men.  This Shackleton series is my homage and celebration to the spirit of the place."
 
Selected Solo Exhibitions:

2017  Houston Museum of Natural Science, Houston, Texas. (Catalogue)

Explorium, Lexington, Kentucky. (Catalogue)

2016  The Schiele Museum, Gastonia, North Carolina. (Catalogue)

2015 Kansas University Natural History Museum, Lawrence, Kansas. (Catalogue)

Building Bridges Art Exchange, Santa Monica, California

Detroit Zoo, Ford Gallery, Royal Oak, Michigan. (Catalogue)

SoZo Gallery, Dothan, Alabama

Madison Children’s Museum, Madison, Wisconsin, Catalogue

Selected Group Exhibitions:

2017  “Wage On! Women, Art, and Money,” Ceres Gallery, New York, New York. (Catalogue)

“Personal Narratives,” Annenberg Beach House, Santa Monica, California

“at the Museum 2017,” Oceanside Museum of Art, Oceanside, California

“Mostly Monochrome,” Ice House Gallery, Petaluma, California

 2016   “Smaller Footprints,” Museum of Art and History, Lancaster, California

“A Single Image,” Center for Photographic Art, Carmel, California. (Catalogue)

“Art + Science,” Indiana University East Art Gallery, Indiana University East, Richmond, Indiana. (Catalogue)

“A Point of View: Contemporary Photography,” Site Gallery, Brooklyn, New York

“Resonance and Memory: The Essence of Landscape,” Michelson Museum of Art, Marshall, Texas. (Catalogue)

www.jjlheureux.com
www.penguinspirit.com

 

Jo Ann Chaus says of her work, "I come from a family of five individuals living five parallel lives.  We interacted here and there; pizza night and Chinese night, outside of the house but at home we were pretty much on our own. We adapted, we survived, on our own.
 
Sweetie & Hansom, this excerpt from a monograph of sixty images and twelve pages of original text tell the story of an American family, my family, post war, born and raised in the 50’s and 60’s; too little structure, too many drugs, too many ways for things to go awry.
 
Half way thru my 50’s a light bulb went off in my head. I felt I had no foundation.  I went to the source, Boca Raton, where my parents had moved 25 years before.  Over the course of seven years of visits I used the camera vociferously to document them in their home, making beautiful pictures of ordinary in my parents stunning home.  Much was divulged; answers came to questions I didn’t even ask.  And then my younger, most adorable brother succumbed to his tortuous years of addiction, just slipped away.
 
This work is an homage to my family, a record of who we were and who we are today.
Making this work was a gift to me,  a gift to them and a gift to all who have a chance to see them."

Jo Ann Chaus is a documentary style photographer who makes intimate work about home, family, and place. 

Although her images are very personal, they convey universal emotions.  She uses all genres of photography in her work, each imbued with sensuality utilizing a saturated color palette and dramatic light. They are multilayered with a sense of mystery, asking the viewer to write their own version of the narrative within each image. 

Collectively she sequences her images in a seemingly disparate way, again asking the viewer to make their own connections in the space between the images.  She is basically interested in identity, and gives a trail of hints about her subjects and places.
 
Jo Ann recently completed a program at ICP in New York, where she lives and works.  She began her color work in the color darkroom but currently shoots and prints digitally. 

Her earliest influences were William Eggleston, Stephen Shore, Larry Sultan and Elinor Carruci. She was selected in 2016 to attend the juried Center portfolio review in Santa Fe.  Her work has been part of assorted group shows, in Texas, Arizona, Vermont and New York.

www.joannchaus.com

JP Terlizzi says of his work, "I have always been terribly intrigued with deserted structures. Perhaps I am drawn to the mystery of their past purpose and the function they once served. I wonder about the individuals who once occupied these dwellings and I am curious as to why they have been left alone and what secrets they reveal. Through these images, I use photography as a means to convey narratives employing elements such as memory, space and light to evoke a mood to influence or modify our perception of place."

JP Terlizzi is a visual storyteller who uses photography to explore themes of memory, relationship, and identity. Drawing inspiration from his personal experiences he captures moments that convey narratives—whether the story is a framed moment that reveals something about family and home, or a poetic interpretation of a fading reality, the feeling of loss and detachment are recurring themes in his work. 
 
Born and raised in the farmlands of Central New Jersey, JP currently lives in Manhattan. His career spans thirty years as creative director for a boutique agency specializing in retail design. He earned a BFA in Communication Design at Kutztown University of Pennsylvania and has studied photography at the International Center of Photography in New York.

His work has been exhibited in the United States and abroad including shows at The Center for Fine Art Photography, Fort Collins, CO, Umbrella Arts Gallery, New York, NY, Soho Photo Gallery, New York, NY, A Smith Gallery, Johnson City, TX, Project Basho Gallery, Philadelphia, PA, Municipal Heritage Museum, Malaga, Spain, and The Berlin Foto Biennale, Berlin, Germany, among others.

He was recently named a Photolucida 2016 Critical Mass Finalist for his series Mother and was a 2015 Critical Mass Finalist for his series Hunter’s Calling which was also selected for ONWARD Compé '16. His work has been featured in PDN, Lenscratch, The Photo Review, and Abridged Magazine.
 
RECENT GROUP EXHIBITIONS:

2017
Select Works JP Terlizzi, The Center for Fine Art Photography, Fort Collins, CO (Alyssa Coppelman)

Family, Umbrella Arts Gallery, New York, NY (Harvey Stein)

Photography Re-Imagined V: Visual Storytelling, Tilt Gallery, Scottsdale AZ (Cig Harvey)
 
www.jpterlizziphotography.com

Kathryn Reichert says of her work, "Our lives unfold as a series of events in which the decisions we make simultaneously shape our understanding and definition of ourselves. Our personal narratives are crafted from circumstances we find ourselves in. We are constantly confronted with decisions. Sometimes we make the right ones and sometimes we (arguably) don’t. Often, particularly poignant events leave impressions that weigh heavily on our minds. But one of the most fascinating things about the human mind is its ability to reconcile our actions based on the situation.

We learn our lesson, alter our perspective to account for this new information and redesign ourselves. After enough time has passed, memories are tucked away and- like shedding a skin- we leave that iteration of our past self behind, striving to look only forward, to the new and improved version of ourselves. We applaud our growth as a more stable, mature human being.

Of course, this serenity only lasts until a catalyst presents itself and all of those memories come flooding back. We are forced to once again confront the magnitude and consequences of all of these events. One can’t help but wonder if this was the place where your friendship fell apart or your love was born. This association rekindles the fragments of our past selves we grew from, forcing us to recognize and re-examine the person we once were and the person we have thus become.

My series “Places We Have Been” focuses on the evolution of identity materializing from ghosts of our former selves. This is a very personal project; I began it as I was questioning how I had come to be the person I am. Why do I lie so much? Why do I avoid others? Where does all of this worry and guilt come from?

I began to look at the landscapes that have played a significant role in my life and found that at first glance, images of these places were startlingly unfamiliar. I remembered them in a way that was painted in emotion and memory; the landscape had evolved into more a psychological one. To more accurately capture the significance of these places, I digitally painted objects into the landscape reifying the emotions that I attribute to each particular place.

The wear-and-tear evident on these objects are meant to portray the passing of time. Like the objects in each photo, each memory was once blindingly new and raw. The passing of time has taken some of their luster, leaving a whisper of their presence. A ghost, but certainly still present, much like the feeling you get in the pit of your stomach when you return to a place you have not been for years."

Kathryn Reichert was born and raised in New Jersey. Her restlessness and love of adventure kept her traveling along the eastern seaboard whenever possible and she found she enjoyed photographing all of the moments along the way. She was stationed in Alaska as a soldier in the US Army and has remained since.

She returned to school in 2015 to pursue bachelor’s degrees in both business and the arts at the University of Alaska Fairbanks. Her current projects utilize forced perspective and manipulation as a means of exploring imaginary places and "what-if" scenarios. She mainly shoots digital imagery but enjoys incorporating film and alternative processes into her workflow.
 
Exhibitions 2017

Juried Exhibition- "Singular/Signature." Center for Fine Art Photography, Fort Collins, CO

Invitational Exhibition- Fairbanks Arts Association, Bear Gallery, Fairbanks, AK

Juried Exhibition- "Creatures, Real and Imagined." uBe Art. Berkley, CA

Juried Exhibition- "Le Paysage." Darkroom Gallery, Essex Junction, VT

Invitational Exhibition- "Exposed." Frozen Lenses, UAF Art Gallery, Fairbanks, AK

Group Exhibition- "Northern Portraiture." Bear Gallery, Fairbanks, AK

Juried Exhibition- "Dreams." Darkroom Gallery, Essex Junction, VT

Publications

"Le Paysage." Darkroom Gallery Juried Exhibition Catalog. Feb 2017.

"Dreams." Darkroom Gallery Juried Exhibition Catalog. Jan 2017

www.kathrynreichert.com

Kathy Curtis Cahill says of her work, "There is beauty in decay, and I am drawn to photograph that beauty as I see it in the remains of what is left behind or abandoned. There is a story behind in every image, one of  poignancy that comes through the dirt and dust and mold. This place or these objects once held meaning to human beings,  were cherished, cared for, and valued.
 
Why people abandon homes or possessions is a story in and of itself. Economic hardship I suspect is at the bottom of much of what we see abandoned. Perhaps in moving on, things are discarded, such as children toys, because they have been outgrown, or become broken and therefore of less value to keep.
 
It is interesting to speculate and create your own story to thesis discarded remains, perhaps that is why we find them so intriguing as images. The human story never gets old, and a restless spirit often leaves indecipherable remains in it’s wake."

PHOTOGRAPHY SHOWS:

LA ArtCore 1st Annual Photographers Competition & Exhibition Feb12-28 LA Ca.

Solo Show “Make Believe” Jan 21-31 Keystone Gallery Los Angeles Ca.

TAG Gallery New Artists Showcase Jan 3-21 Santa Monica Ca.

Photowork 2017 National Juried Photo Exhibition Jan21-March 4 Barrett Art Center Poughkeepsie NY

iMotif  National Juried iPhone photo competition Jan 27-March 20 Sohn Fine Art Lenox MA

fotofoto gallery 12th Annual Competition Juried Show Nov 30, 2016 -Jan 7, 2017 Huntington NY

National Juried Show “I Live Here” Dec 1-23 Fabulon Gallery Charleston SC

Black Box Gallery Juried show “ Colorburst” August 2016 Portland Oregon

A Smith Gallery Johnson City TX Juried Show “Alphabet” July 2016

Gallery 825 Los Angeles Juried show “Out There” June10-18 2016

Solo Show AC Gallery “Culture Of Beauty”  Los Angeles April 2016

A Smith Gallery Johnson City TX Juried Show  RED (April-May 2016)

Solo Show “Memories and Demons”- Artists Corner Gallery-Los Angeles,Ca, (July 11-August 8, 2015)

Curators Pick-Your Daily Photograph-Duncan Miller on line Gallery (May 15, 2015)

Photo Independent- Los Angeles Ca. (May 1-3, 2015)

Photo LA - group show-Artists Corner Booth -Los Angeles,Ca. (January 21-23, 2015)

Featured Emerging Artist-Your Daily Photograph-Ducan Miller on line Gallery  (January 10, 2014)
 
RECOGNITION
2017                                                                                                                                                                               SelfPortrait- Confined, Jurors Award, The Center for Fine Art Photography, Fort Collins CO
 
2016
Mother, Finalist, Photolucida Critical Mass
ONWARD Compé '16

Pink Slippers, Jurors Choice, PH21 Gallery, Budapest, Hungary 

Pink Slippers, Honorable Mention, A Smith Gallery, Johnson City TX  

Hunter's Calling, Portfolio ShowCase Volume 9, The Center for Fine Art Photography

kathycurtiscahillfineartphotography.com

KC Chiappa says of her work, "I was drawn to photography ten years ago as a way to find respite from the emotional intensity of my work and home life.  At the time, I was a psychologist at McLean Hospital working with emotionally disturbed adolescents.  And, at home I am the father of two very active young boys.  I needed to carve out some personal space for myself.  I began wandering around, exploring, and photographing whatever drew my eye with a Canon PowerShot digital camera.  

The immediacy of the digital camera fit perfectly with my lack of training in photography and my desire to learn by trial and error.  Over time I felt constrained by the lack of training and the technical limitations of a cheap digital camera. I decided to upgrade my gear but also needed a guide on what was becoming a new path in my life. 

For the past five years, I have studied under the brilliant and perceptive tutelage of Emily Belz.  She started with the very basic elements of photography and from there she has pushed me to dig deep so I can know the impetus of my creative drive.
 
In order to live most fully, we must accept the existential realities that limit us. Our society attempts to avoid or oversimplify the emotional complexities of those realities: death, illness, loss, decay, grief.  As a therapist and as a photographer, I believe it is critical to explore the parts of life and our world that we wish to overlook because they are messy or emotionally painful.  There is profound meaning within these unpleasant places and experiences. However, when approached with reverence and compassion we can gain a better understanding and richer relationships with these unavoidable realities."

 

Krysia Lukkason says of her work, "My interest in photography cannot be pinpointed to a specific moment or time, but I remember quietly observing the world far back into early childhood. Whether it was observing abstracts of the sky, or looking through a half-full two liter bottle of clear soda to see how it distorted the world, I was always absorbing the visuals around me and letting my thoughts wander into the who, what, where, why, and how. Interpretation of my surroundings evolved over time as my thoughts became more complex and my experiences grew, though the intrigue never ceased.   
 
Photography became a natural outlet for me to take my observations and questions, and explore more deeply the inner workings of what moves me. Nightmares and night terrors have been present since I was a child. There was no incident that brought these into my life, but they have been a life-long source of curiosity, introspection, and fear. I mostly work alone as the space I give myself allows me to create images in an organic way as I explore my questions and fears.
 
I work with a Canon 5d II, a tripod, and a wireless remote in this series. I can also be found using a Mamiya RZ67 Pro II and a Holga when working on other images."

Krysia Lukkason grew up in Santa Rosa, California, where her family spent summers camping and exploring the coasts, redwoods, and other diverse landscapes. Northern California provided the picturesque backdrop for the beginnings of her photography.
 
Krysia originally studied photography for a number of semesters out of high school where she learned film and darkroom processes, which solidified her love of the medium. Life was to take her to art school, but a sharp decision took her to Southern California instead where she began what would become a long career in banking. Photography took a backseat as she worked full-time and studied to obtain her B.A. degree in geography.

She picked up her camera again in 2011 and began customizing the photographic education she had always wanted. She continues to take workshops with respected and inspiring photographers as she seeks to expand her photographic knowledge.
 
Krysia recently had images selected for group exhibition at SE Center for Photography in Greenville, SC, and PhotoPlace Gallery in Middlebury, VT. She has also had images included in group exhibition at PH21 Gallery in Budapest, Hungary. She has received a juror’s selection and honorable mention for two images at the New York Center for Photographic Arts, and received runner-up in the Maine Media Storytelling contest.
 
Krysia currently lives without air-conditioning in Long Beach, California with her boyfriend and cat.

AWARDS:

2015 – Maine Media Workshops, Creative Storytelling – Runner-up

2015 – New York Center for Photographic Arts, Wandering Curves – Juror’s Selection, juror: Debra Klomp-Ching

2015 – New York Center for Photographic Arts, Wandering Curves – Honorable Mention, juror: Debra Klomp-Ching
 
GROUP EXHIBITIONS:

2016 – SE Center for Photography, Greenville, SC – Portal, juror: Lori Vrba

2016 – PhotoPlace Gallery, Middlebury, VT – Night Photography: Dusk to Dawn, juror: Lance Keimig

2016 – PH21 Gallery, Budapest – The Cat Show, juror: Zsolt Batori
 
ONLINE RECOGNITION:

2017 – Lenscratch – 2016 Favorite Photograph

2016 – Lenscratch – Let’s Talk Politics

2016 – Lenscratch – Animals Among Us

2016 – LA Photo Curator – The Figure in the Landscape
 
EDUCATION
2006 – California State University, Fullerton – B.A. Geography, w/ Environmental Analysis emphasis

www.krysialukkason.com

Larry Brownstein says of his work, "For me, the camera is a key that unlocks otherwise closed doors. It also encourages me to look at the world in a deeper way.

This way of engaging the world is about a hypersensitivity to the visual elements of color, tone, pattern and composition.

However, it goes beyond that to a deeper perspective where even the mundane can be elevated and the commonplace can be celebrated. But, for me, it is also about joy, the feeling I get when things go well and my subject is revealed in surprising ways. This joy sustains me deeply. How amazing that a camera, along with my visual intuition and technical skills, can make such things possible!
 
My current direction is to explore Los Angeles and its neighborhoods, documenting the spontaneous theatre of the streets, the world-class architecture, the extremes of wealth and poverty, its unique form of kitsch and its ethnic mélange.
 
Most recently, I have explored three bodies of work: Hollywood, Venice Beach and Los Angeles Impressions. In the Hollywood series I explore the cliché of Hollywood as the focus of our infatuation with glitz, glamour and celebrity. But I also explore the reality underneath the surface, from the strange alternative reality of prop houses, to the macabre drama of The Day of The Dead Festival at The Hollywood Forever Cemetery.
 
In my Venice Beach series I portray a fabled and quintessential Los Angeles locale where anything goes - from panhandling for pot, to preaching the word of Jesus, to trance-inducing drum circles, to tattooed ladies and men of gold.
 
My main mode of working is to attain, to the best of my ability, a state of heightened awareness that allows me to see an impending moment of candid, yet dramatic, street theatre and to capture it unobtrusively. An alternative mode is to sense a deeper essence in something apparently lowly or commonplace and to elevate it to its proper status.
 
It all began with a trip to Asia with a little pocket Minox camera. It opened doors for me in China, The Philippines, Burma, Thailand and India. Now the camera is bigger and the destinations are closer to home but the magic remains."
 
Born in Brooklyn and trained as an electronics engineer, Larry Brownstein’s career direction changed when he travelled around the world with Swedish photographer Harry Peronius. The trip ignited a passion for photography and he left the world of technology behind him.
 
Initially focused on nature photography Brownstein travelled around the United States and captured the beauty of its National Parks.
 
Subsequently, his interest evolved towards the urban landscape.  His current inspiration is Los Angeles itself - its subcultures, its art scene, its neighborhoods, its landscape, its people . . .
Brownstein exhibits his fine art images in a variety of galleries and spaces including a solo show at The G2 Gallery which was reviewed by Art Scene.
 
He has published several monographs including Los Angeles, Where Anything is Possible, and Hollywood Boulevard, Where Everyone’s a Star.
 
Brownstein has written several hundred articles for photography magazines as well as having been Contributing Editor for Rangefinder.
 
Brownstein is represented by Getty Images and Alamy and has thousands of photo credits in magazines, books, textbooks, calendars, greeting cards, corporate brochures, billboards, etc.
 
Brownstein is also portrait photographer of kids, families, models, and others.
 
 www.brownsteinimages.com
www.facebook.com/LarryBrownsteinImages - facebook page

Linda Kuehne says of her work, "These images are from an on-going project titled “Dream Deferred: American Suburban Landscapes.” I grew up in the suburbs but left as soon as I could. Even as a kid I knew that the vast housing tracts with no town centers, no aesthetically pleasing architecture and vast, barren parking lots had led to a monotony and deadening of spirit that I wanted to escape. Originally I photographed the suburban landscape as a way to understand my impulse to flee.
 
But it became much more than that in 2008 when the recession hit. Upscale suburban towns, just like the inner cities of larger metropolitan areas like Detroit, were imploding. Storefronts were vacant with nothing to replace them even in affluent neighborhoods and towns that used to thrive. I have now been photographing these changes over the last eight years, returning to some of the same buildings over and over again, seeing little improvement. The communities seem to be living around a new reality of empty storefronts and abandoned buildings that do not go away.
 
These buildings, in all their former glory, have come to symbolize, to my mind, a fading American empire that may not, in the long run, be able to recover. Our idea of progress and the American Dream is being challenged by a recovery that has not brought us back to where we were pre-2008. What once seemed like a short-term occurrence may be a longer-lasting phenomenon."

Linda Kuehne is an American photographer whose passion for the landscape informs her work as she photographs the man-altered environment and explores its cultural implications in suburban settings.

Her current concerns deal with the changing suburban landscape since 2008 and the decline of the American Dream. Kuehne grew up in the suburbs but escaped to the city as soon as she could.

She received a BA in English and Political Science from Sarah Lawrence College and an MBA in Finance. After several years spent working at a major publishing house in New York, Kuehne switched gears and became the director of an art center. While working, she attended classes in photography at SUNY Purchase in Purchase, New York.

The photographer then followed her bliss to become a full-time photographer. Her work has been exhibited in contemporary art galleries and museums throughout the New York metropolitan area. For the past seven years she has been splitting her time between New York and Arizona, photographing suburban development and/or decline in both places.
 
Solo Exhibitions:
 
2017  Dream Deferred: American Suburban Landscapes, Silvermine Art Center, New Canaan, CT, opens 9/17/17

2013  The Architecture of Nowhere, A.I.R. Gallery, Brooklyn, NY

2011  Dead Trees Give No Shelter, Kean University, Union, NJ, 2010

2010 Road Closed, WPA Gallery, Cross River, NY
 
www.lindakuehne.com

Lisa Gizara has been a freelance photographer & painter for over thirty years.

Her photos have appeared on billboards and in numerous publications including People Magazine, Variety, La Weekly, LA Times Magazine, Entertainment Weekly, and hundreds of international newspapers.

A portfolio of Gizara’as work was included in the 2014 Oscar Nominee Gift bags. As a result Bruce Dern and Jennifer Laurence have added Gizara’s paintings and photographs to their private art collections.
 
Gizara's paintings and photographs were purchased by AMC's now iconic series Mad Men. Three of Lisa’s paintings were placed in Roger Sterling’s office and set the tone for several seasons. More of her work appears in Modern Family, Ray Donovan, The Newsroom and in other films, television series and commercials. The Huffington Post published an article about Lisa and “The Woman Behind the Mad Men.”

Angeleno Magazine is published an article on the now infamous Mad Men paintings as well as other newspapers and magazines. Gizara had her first European painting show in Lisbon at the Colorida Gallery in 2014.
 
Gizara’s photos of Santa Monica were included in the opening show at The Annenberg Beach House and Bloomingdales in Santa Monica purchased three large infrared photographs for their front lobby. 

Her newest series of infrared photos entitled “Surreal Escapes” premiered at The Annenberg Space for Photography in Century City and then went on to the G2 Gallery on Abbot Kinney Boulevard in Venice, CA. 

The Surreal Escape series was also shown in SOHO in NYC, at the Louvre in Paris and at Art Basel Miami in 2015 with See.Me’s “The Story of the Creative”.
 
Gizara's continuing series of documentary photos entitled "Lost Angeles" depicts decrepit bungalows, fading signs and decaying store fronts that are quickly disappearing in lieu of their shiny, new, characterless replacements. The images appeared in a show in Venice, CA with a group of artists called Grey Matter and at The Kick Stand Gallery in Venice, CA.
 
At the age of 17 Gizara was awarded two grants from the Massachusetts State Arts Council to photograph her small hometown in Westford, Massachusetts. Her camera has since led her on travels around the world including Indonesia, Thailand, Malaysia, France, Italy, Mexico, Alaska, Hawaii and throughout the United States.
 
Museums:
The Westford Museum, photos from Massachusetts State Arts Council grant
Martha’s Vineyard Hospital, photos from the Surreal Escape series shot on Martha’s Vineyard
 
Shows:
The G2 Gallery, Abbot Kinney Blvd., Venice CA
Surreal Escapes, solo show in one room of the gallery
 
Art Pic, North Hollywood
Ongoing sales &rentals to the film industry, work seen on Ray Donovan, Mad Men, Modern Family
 
The Annenberg Space for Photography, Iris Nights, Digital Dark Room
The Surreal Escape Series
 
The See.Me Collective, SOHO show in NYC; The Louvre show in Paris & Art Basel Miami
 
Pop Up Gallery, with the Grey Matter Artists Group, Venice, CA

GIZARAARTS.com

Lisa Toboz says of this work, "The three photos in this series explore the forgotten landscape of western Pennsylvania and surrounding areas through instant film. The region has reinvented itself through healthcare and technology, shedding its former steel-town identity.

Remnants of the mill years lie in the river towns and slow-growth city neighborhoods. I aim to capture not only what is left behind, but also what prevails - places that stand as witnesses to the region’s industrial past.

This particular image ' Message from my Mother' -My mother wrote her name in the cement outside my childhood home in 1983, and it's still there today."
 
Lisa Toboz earned her MFA in Writing from the University of Pittsburgh, and is a copy editor for TABLE magazine.

Her Polaroid work can be found in various publications, most recently in Impossible Magazine.

Her work explores the forgotten landscapes in and around the rust-belt region, primarily through integral film. She has exhibited nationally and currently lives in Dormont, a trolley-line town outside of Pittsburgh with her husband, artist Jeff Schreckengost. 

Exhibitions:
2016
NSEW: Divided by Land, United by Film, Kranzberg Arts Center, St. Louis, MO, Flawed, A Smith Gallery, Johnson City, TX

2015
Instant Gratification, Love Gallery, Denver, CO
Fourth River, 937 Gallery, Pittsburgh, PA

2014
Mobile Magic, Lightbox Photographic Gallery, Astoria, OR

2013
Miniature, CCAC Visual Arts Center, Pittsburgh, PA
8x8, Silver Eye Center for Photography, Pittsburgh, PA

2012
Herself in Time, Chatham University, Pittsburgh, PA
Ley Line, Assemble Gallery, Pittsburgh, PA

Curatorial Work:
2007-2016
Penn Avenue Arts Initiative Monthly Window Installation Series, Studio 5013, Pittsburgh, PA

Publications/Press:
Optiko Journal (forthcoming)
Shoot Film UK: Overexposed
The Solitary Body: The Self-Portrait in Contemporary Photography, ed. Giorgio Bonomi, Rubbettino
Hylas Magazine #1, #3
Impossible Magazine: Off Season
NSEW|Film Shooters Collective #3
She Shoots Film Magazine: Self-Portraits (featured artist)
The Pittsburgh Anthology|Belt Magazine
Contraphonic Sound Series: Homestead/Smokestacks
Fading from Memory|Film Shooters Collective
Blur Magazine #40, #47

www.lisatoboz.com

Toboz says of her image, 'Fences', "This image was taken in Coraopolis, a town along the Ohio River that has struggled to survive. It is slowly reinventing itself into an antiques-B&B stop along a national bike trail. These fences are in an alleyway behind my childhood home."

An old motel outside Youngstown, OH.

Li Sun says of his work, "When I was young, I was always afraid of those animal samples kept in natural museums.

Unlike my peers who were just so glad to see those dead animals, I had to admit that sample museums were somehow creepy to me. I always thought it was so dark inside and reeked of a certain weird smell. Those reshaped dead animals were so terrifying. I used to believe in those stories about samples in the museum woke up around midnight and haunted around.

Throughout primary school period, I believed that those animals were killed alive and their stomachs were hollowed and filled with things like cotton and straws and their eyes were replaced with glass balls, and that's why they haunted around after death. Even though museum workers explained that most of them died of natural courses or accidents, I always doubted about it.
 
Of all samples, what impressed me most would be those group samples of animal flocks. Usually they were some individual animals with different sexes and ages arranged together to present a big "family" pattern where the scene with "mother" and "her children" was always so sweet that it attracted lots of visitors. Those individual animals that probably did not have a connection with each other before death were manually stuck together by humankind and positioned behind the museum glasses forever. Besides, those exhibition sets in the hall were exquisitely designed to resemble their habitats, and even the background walls were painted with natural scenes. However these artificial scenes have boundaries, they came to an end at the grass windows or the ceilings. Not a single dust would be able to escape.
 
People always say that death means "no longer exists in this world". For those samples, however, death means eternal existence. These animals that died long time ago were still "staring" at all the visitors. Although these animals were lifeless, with certain lighting and arrangement, they seem to resume their spirits, and they stay still but never inanimate. Sometimes their erratic shapes remind me of Onmorakis. (In ancient Japanese mythology, the Onmoraki is the ghost created from the spirit of dead corpses.)

I was born into an engineering family. My parents both worked in a research institute located in the countryside of Beijing, and I always thought I would follow in their footsteps.

Unfortunately though, I was never very good at mathematics, and in the end I chose to study advertising at university. After two years of advertising work experience in Beijing, I began to rethink my future career. It was at this time that photography came into my mind. I believe that photography is a form of expression that can show my own thoughts and ideas.
 
I came to Los Angeles in September 2013, the first stop on my journey in U.S. I took a MFA course in L.A. After graduating, I spent a month driving from Los Angeles to New York City.

I crossed the center of the desert, down to the Mexican border - after stopping there to rest, I drove through all of Texas and passed the Great Smoky Mountains. I then lived in New York for half a year. I took on some shooting jobs and met new friends.

At the end of my time there, I decided to visit the north of the country, staying in Chicago for about two months. My long trip ended up back in LA after driving back from Denver. This ultra-long road trip gave me plenty of inspiration and material.
 
In January 2014, I self-published my first photo book “04012013-07:58”. This book is a documentary-style story giving my inner impressions of city life. I used scenes from typical aspects of our concrete jungle, such as the functional designs and surveillance cameras that make people so uncomfortable. I also did a project “The City View” in 2015-2016 that talked about the relationship between the Manhattan Skyline and the huge cemeteries in Queens. After another project “Onmorakis" was finished, 2017 marked a new beginning for me. At present I am working in Los Angles, New York, and Beijing."
 
Exhibitions and Awards:
2016 Dec 10-15  “On The Road” Work by Various International Artists, Exhibitor,      Project name: The City View. 
 
2016 Nov-Dec 2016 The Nanjing International Art Festival, Exhibitor, Project  name: The City View.
 
2016 Oct 6-30 2016 The Berlin Foto Biennale, Exhibitor, Image: Untitled.
 
2016 Aug Photographer's Forum magazine, 36th Annual Spring Photography              Contest, Finalist, Name: Overseers.
 
2016 Mar Tulane Review Spring 2016 edition, Included, Project name: The            City View.
 
2016 Feb  The “CityScapes” 2016 Art Exhibition, Light Space & Time Online    Art Gallery, Finalist, Project name: The City View.

www.lisunphoto.com

Lori Carey says of her wok, "Whenever I come across an abandoned homestead or cabin in the desert wilderness, it almost always has an incredibly beautiful view. I often find myself standing in the doorway or looking through a window imagining what it was like to live here, a hard life lived in the beauty of nature.

I don’t see these buildings as decay; I see them as symbols of lost hopes and dreams and I feel a sense of longing for what used to be. They all have stories to tell. I want to share their stories before they are gone forever, and I hope to capture their poignant beauty in my images."
 
Lori Carey began her photography career as a staff photographer in the East Coast automotive gray market while working her way through college.

After receiving her MBA she pursued a successful career in global finance, which gave her the opportunity to live all over the United States and travel the world.  Her relocation to California was a life-changing event.

While driving to Las Vegas for a business meeting one afternoon she became intrigued with the full moon over the Mojave Desert. She started exploring the desert backcountry and fell in love with it. It wasn’t long before she realized that she was spending too much time staring out the window wishing that she wasn’t sitting in a meeting. She traded in her business suit for hiking boots, grabbed her cameras, bought a Jeep and never looked back.

Carey’s work has been published in numerous books, magazines, and newspapers including the NY Times. Her photography was prominently featured in the film The Emerald Diamond, which won the Critic's Choice Award at the 2006 Baseball Film Festival at the National Baseball Hall of Fame in Cooperstown, NY.

Carey specializes in visiting harsh, remote desert locations where few people dare to venture. She works with clients in the off road industry, including brands such as Nitto Tire and Rugged Ridge/OmixADA, and her photographs have been used by National Park Service volunteers in the restoration efforts of historical buildings.

She’s been a regular contributor to the digital and print editions of the automotive enthusiast magazine DrivingLine since 2013, where she shares photos and stories about her adventures exploring the California desert backcountry.

Carey has just begun exhibiting her fine art photography. She was recently selected by Juror Jane Fulton Alt for inclusion in “A Sense of Place” at Photoplace Gallery in Middlebury, VT, and her work was selected for the title page of the exhibition catalogue.
Carey lives in San Juan Capistrano, California.

www.loricareyphoto.com

Mara Zaslove says of her work, "My photographs are entries to my soul, connecting the intangible to the tangible through light, time and memory.

Using natural light to capture what I feel in my heart and my eyes, taking photographs has become as essential to me as breathing air, and in some ways, has evolved into my sixth sense. I thrive on creating visual conversations that embrace the universality of aging, childhood, life on the street and how “human beings” impact the natural world.
 
Growing up with a father who was a fine artist, I was surrounded by his work and sensibilities. His influence made a profound imprint on me and I often find myself mirroring his visual style. I innately respond to form, patterns, shapes and composition and find that this early exposure permeates my sense of balance and style.
 
As my photography has progressed, I have been drawn to capture the human stories set in natural environments. Either candid or anticipated, I seek to convey a uniqueness particular to each individual that invites the viewer to explore their own life's path with that of the subject documented."

Exhibitions:

2017
 
3 images juried into the L.A. Artcore 1st Annual Photographic Competition and Exhibition: jurors were George Simian, Richard Vogel, Brian C. Moss, Karen Hampton and Jeff Alu.

Topanga Gallery Juried Open 2017, “Between Cultures,” juror: John Paul Thorton.

“Prayer 1” - “Women of Valor” exhibition at AJU

 “An American Staple,” curated into the group show “Make America” at Gallery 825, Los Angeles: juror - Nancy L. Meyer


 2016
 
“On An Odd Night”: A collaboration with ten other artists from Gallery 825 presenting at TAG Gallery, Bergamot Station, with critic: Om Bleicher, December 2016

“Bold Beauty” with three other artists at Pilates and Art, Echo Park, November 2016 -January 2017

"Dust to Dust,"  juried into the “Sacred Memories” exhibition at the Biscailuz Gallery in downtown Los Angeles, 2016

“Peeking Out” juried into the 2016 California Open at the TAG Gallery, Bergamot Station, juror: Kent Twitchell

10 photographic images curated into the 2016 second annual Art Classic exhibition “Oasis” at the Los Angeles County Fair in the front gallery of the Millard Sheets Art Center

8 images juried into “Monstr Reality” exhibition at bG/bGart Galleries at Bergamot Station in Santa Monica, California, May 2016

“Outside,” was juried into 'Out There,” a very special exhibition during West Hollywood's Pride Month 2016 festivities at LAAA/Gallery 825

Finalist in 8th Julia Margaret Cameron Award that will be held in Berlin in 2016: curator, Laura Noble, director and curator of the LA Noble Gallery of London

www.photosbymara.com

Mark loves exploring light and how it is interpreted by a camera.
 
He began taking photos in the mid-1970's with a fixed lens Yashica camera his father gave him.

In college he developed a love for black and white photography and the sweeping landscapes of the American Southwest.

Working for newspapers after college helped hone his skills in portraiture and documentary photography. He gets much of his inspiration from his frequent travels.

His favorite genres are landscape, portraiture, musical performance and Americana. He is an award winning photographer having shown in juried shows and galleries in 32 US states. In 2005 he started Bear Dancer Studios to showcase his photographic artwork.
 
Mark received a BA in Journalism with a minor in photography from Adams State College in Alamosa, CO and is working
toward an MA in Communication from the University of Illinois at Springfield.
 
One of two sons in a military family, Mark was born in Carthage, IL and grew up in Los Angeles, Memphis, the coast and Piedmont of North Carolina, Washington D.C., Northern New Mexico, South Central Colorado and Central Illinois.

He now splits his time between Dubuque, IA where he works in the publishing industry, and a family farm near Rushville, IL.

Group and Solo Shows:
January 2016 - Solo Show - The Stories We Could Tell - Buchanan Center for the Arts, Monmouth, IL

Upcoming – August 2017 – Carnegie Stout Public Library, Dubuque, IA
 
Select Juried Exhibits:

 2017
 
Storytellers – Las Laguna Gallery – Laguna Beach, CA

Red – SE Center for Photography – Greenville, SC

Nude Nite Tampa – Tampa, FL

Spectacular Skies – Annmarie Gardens – Solomons, MD

Black and White – Black Box Gallery – Portland, OR

Urban/Abstract – Buttonwood Art Space – Kansas City, MO

Annual Juried Exhibition – Midwest Center for Photography

Creatures Real and Imagined – uBe Art – Berkeley, CA
 
2016
 
14th Regional Juried Exhibition – Freeport Art Museum – Freeport, IL

In Stillness – Darkroom Gallery – Eseex Junction, VT

MySpace – UBE Art – Berkeley, CA
Mississippi River Art and Photo Shootout
Art of Illinois – Seven Gallery – Joliet, IL

White – E3 Emergence Gallery – Missoula, MT

Black and White - Center for Fine Art Photography - Ft. Collins, CO

Dreams - Center for Fine Art Photography - Ft. Collins, CO

Illinois State Fair Professional Artist Exhibition

Art from the Heartland - Buchanan Art Center - Monmouth, IL

It Figures - ARC Gallery - Chicago, IL

Awards and Recognitions:

 2016 – 3rd Place – 14th Regional Juried Exhibition – Freeport Art Museum – Freeport, IL

2016 – First Place Photography – Illinois State Fair Professional Artists Exhibition

2016 - Best of Photography Category and Honorable Mention - Art from the Heartland - Buchanan Center for the Arts - Monmouth, IL

2016 - Inclusion of a photo in the book, "Anatomy of Severe Weather" by Zach Roberts and Jason Wiengart

2016 - First Place - Blues and Jazz of Kansas City - Buttonwood Art Space, Kansas City, MO

2016 - Honorable Mention - Red - A. Smith Gallery, Johnson City, TX

www.beardancerstudios.com

Mark Indig has spent over 40 years in the motion picture industry, most recently as a Studio Executive, Producer and Unit Production Manager. He has worked on films such as Body Heat, The Big Chill, Titanic, The Village, The Guardian, Tropic Thunder and the ridiculously expensive and disappointing Lone Ranger. He is a member of the Director’s Guild of America, the Location Managers Guild of America and is on the Board of Directors of FilmLA.
 
But it was his 15 years as a Location Manager that gave him a love of photography and a unique perspective on the urban landscape; learning how to tell a story about each location in a few images. He has used his career as an opportunity to travel extensively, using his off time to photograph unusual landscapes and his particular passion, small town America.
 
The images in this submission reflect the sadness and melancholia evident in the current state of many of these places.

Exhibitions:

LAAA/Gallery 825 (Solo) Ohi:yo´- West Hollywood CA (Apr '17)

Art Share LA (Juried Group) #MyDayInLA - Los Angeles (Feb '17)

Los Angeles Center for Photography (Juried Group) Street Shooting Around the World) – Los Angeles (Jan ’16)

Davis Orton Gallery (Juried Group) Photobook 2016 - Hudson NY (Nov '16)

Annenberg Beach House (Juried Group) Los Angeles: Detailed - Santa Monica CA (Nov '16)

Slow Exposures (Juried Group) Rural South 2016 - Concord/La Grange GA (Sep '16)

Center for Fine Art Photography (Juried Group) Water - Ft. Collins, CO (Oct '16)

Millard Sheets Gallery (Juried Group) Oasis - Pomona, CA (Sep '16)

San Fernando Valley Arts & Cultural Center (Juried Group) Flight & Flow - Los Angeles, CA (Aug '16)

LAAA/Gallery 825 (Juried Group) Non Sequitur - West Hollywood, CA (Jun '16)

Publications/Media:

Duncan Miller Gallery Your Daily Photograph - Santa Monica, CA (Nov '16)

Edge of Humanity eMagazine Panhandle (Oct '16)

F-Stop Magazine Enthusiasm - (Aug '16)

Locations 2016 International Magazine Florida section page 104/105 (Summer '16)

Duncan Miller Gallery Your Daily Photograph - Santa Monica, CA (Jun '16)

Compass Magazine Indig's River Journey (Spring '16)

Duncan Miller Gallery Your Daily Photograph - Santa Monica, CA (Feb '16)

Featured in Huffington Post Building Codes (Feb '16)

Manning says of her work, "Abandonment is a state of mind, but also a state of nature. All things and creatures experience abandonment at some time.

My work lies at the interface of abandonment and memory, of catharsis and closure. Old buildings, historical neighborhoods, and family heirlooms all provide varying degrees of inspiration. At times, only in abandonment, in solitude, can a being fulfill its destiny as a concrete whole. Being alone, remaining, challenges you to achieve what you alone are meant to be.

I was born in communist Poland and am estranged from my immediate family who still live there. The old country, and my history, are associated with longing, but also with loss and pain. These photos were either taken in Poland or reference its influence.

Much of my work involves film and alternative processes, which she combines to create a specific mood in her photos. The art is enmeshed with introspective and psychoanalytical components, which allow me to explore issues such as traumatic memories, dreams and fantasies, family history, mental illness, and addiction in her work.

My photography invites the viewer to look below the surface, using carefully directed lighting and symbolism to set the tone."

 Exhibitions:

"Color-blind", The Darkroom Gallery, Essex Junction, VT,

August 2013  "Ancestors, Guardians, and Guides", Charles Sumner School Museum and Archives, Washington, DC, November 2013 

"XY; Masculinity in Photography", The Darkroom Gallery, Essex Junction, VT, July 2014  

Photofest 2014, Quinebaug Valley Council for the Arts and Humanities, Southbridge, MA, September 2014 

"Chronograph", The Darkroom Gallery, Essex Junction, VT, January 2015 

“Portraiture: Expression and Gesture”, Photoplace Gallery, Middlebury, VT, February 2015

“Never Not Broken”, Ann Arbor Art Center, Ann Arbor, MI, March 2016 

www.martamanningphotography.com

Mary Mackey says of her work, "Although photography was my first love, my last show was in 1990 at the 2C (a photographer's gallery within the Pirate Gallery) when I first moved back to the States from Berlin.

After that I became fully entrenched in opening and managing my art gallery. I also started to concentrate more on my painting and printmaking. My camera was in bad shape and I had tucked it away. Besides, digital cameras had become all the rage, and I couldn't warm up to them. I missed my black and white photography, and the dark room. 

In 2010 however, several factors inspired my return to photography. I acquired my first iPhone and was taken by how the filters enabled me to quickly alter images. Instagram came about, which furthered my interest in sharing and searching for images.

Last but not least, I credit my husband with reigniting my passion for photography. Our travels have taken us far and wide, which lends well to exploring photography again. In 2015, we purchased a full frame digital SLR. The Detroit photos, which are being displayed at Spark Gallery in Denver, were shot with a Nikon D610."

Mary Mackey began her career in the visual arts with a focus on photography. She earned an Associate Degree from the Colorado Institute of Art in 1981, and began working as a freelance fashion photographer and photojournalist. 

Mary’s influences have been the Post-war artists such as Paul Klee, Robert Motherwell, and Cy Twombly. In the mid-eighties, her interaction with Mark Lunning of Open Press Printmaking Facility introduced her to printmaking and painting which is now her main medium. 

Mary traveled to Europe in the mid ‘80s and eventually moved to London in 1989. She taught workshops at the North London Community Centre and continued her career as a professional photographer. Mary later moved to Berlin and became involved in The East Side Gallery, painting a section of the Berlin Wall called Tolerance. As the official photographer, Mary was responsible for marketing the gallery, which is now being made into a world heritage site. 

Mary returned to Denver in 1991 and launched The Mackey Gallery, devoted to showing the region’s great mid-career artists. The gallery quickly became known as one of Denver’s best. Nine years later, Mary closed the gallery to return to her own art. 

In 2009 Mary was one of 118 global artists invited to restore the Berlin wall paintings. This event, commemorating the 20th anniversary of the fall of the wall, generated worldwide publicity. Mary was interviewed by TV and radio in Germany, France, and in Denver. A PBS documentary about Mary’s involvement with the East Side Gallery will air sometime in 2014.

www.marymackeyart.com
 

TO SEE GROUP EXHIBITION #4 CLICK HERE:

http://laphotocurator.com/what-remains-curator-jody-miller/group-exhibition-4/1