Katie Golobic says, "The camera bears witness to the light and shadows that follow the 5 of us each day.

It grants me permission to mourn the passage of time—raising children is so fleeting. I am loving and hating this very season. Loving and hating this very Saturday morning. Loving and hating this voyage of motherhood. This is the paradox: I wish the banal away, yet I am preserving it, storing it up to revisit later. While I am detached in the present moment, I am still one with the camera. I pause, and observe who my children are and wonder what gifts they will carry with them into the world.

Although I have carefully placed them into the frame, they have freedom to be who they are called to be. These walls, covered in crayon, show written testimony of their existence. I order and record their eccentric gestures, frenetic energies, and perhaps, childhood wonderment. I am making a book of years in monochrome. This is my love letter to our children, the ones that are here and the ones who have been lost.

It seemed like a cool thing, to wear a camera around my neck through the halls of high school. Ever the introvert, the camera granted me access to social situations. Now, mothering four children in Iowa, it grants me an escape from the confines of motherhood. I document life in its equally conventional and remarkable forms. I am a photographer quietly observing the imperfect gift of our family life."

IMAGES FOR SALE:

Hair Salon, 11"x17" signed on back, archival paper, unframed, $350, edition of 12


Puppet Show, 11"x17" signed on back, archival paper, unframed, $350, edition of 12


Up The Hill, 11"x17" signed on back, archival paper, unframed, $350, edition of 12

https://www.instagram.com/katiegolobic/
www.katiegolobic.com 
katie@katiegolobic.com

Mariette Allen says of her series, 'Anna and Texas', "As a New Yorker who has always lived on the East Coast, I wasn’t at ease when I visited my late husband’s family, in Seabrook, Texas, a suburb between Houston and Galveston.  

Although part  of a large, close knit family, my husband was the only one to leave Texas  for a life on his own, first in the Foreign Service, then to an artistic and intellectual community in New York City.

It has taken me a long time to evolve from being bored on the visits to Ken’s family. The photographs I used to take were just snapshots of the family, often group photographs because they would all get together for certain events such as my mother-in-law’s birthday. About eight years ago, after many visits to Seabrook, I had an epiphany.  I realized that when I started to get more personally involved with individual family members,  I realized that when I started to get more personally involved with individual family members, I became inspired to photograph in a way that would bring the generations of resilience of this family to life.

In the process of spending more time with the Allens,  my late husband's family, I came to know Anna, one of my sister-in-law's granddaughters. Anna, who is the mother of the two children in these photographs, grew up in Palestine, Texas.

As a young child, she had the highest score in math and spelling of all the children in the county, but in spite of her gifts, her life has been extremely painful and traumatic from early childhood on.  An unwed mother, Anna has raised her daughters, Kylie and Dakota, alone.The children are bright, athletic, independant, curious, and resilient, especially considering the number of times they have moved from place to place in rural Texas.

Many of the children I have known live on the East Coast, and come from privileged backgrounds. They expect to get a lot of attention, to be free to disagree, to go to after school programs and summer camps. Some seem to lose their curiosity early, some become jaded, and anxious.

I wonder when or if this will happen to Kylie and Dakota, now 8 and 6 years old. Will their lack of privilege keep them energized, making them realize that it is up to them to succeed? Or, will they follow in their mother's footsteps, becoming overweight, pregnant, and evangelical? Anna is a loving mother. Perhaps that's all that's needed."

www.mariettepathyallen.com
Instagram @Mariette_Pathy_Allen
mpa@mariettepathyallen.com

Michael S Cohen says, "I think it was Art Linkletter that said “kids say the darnedest things”, but it’s even more true that kids emote the most amazing things.  So honest, so unencumbered.  A gesture or a glance, filled with emotion that comes from deep down.  It can be funny, sad or just from the soul, but kids give us what we really seek: the truth."

Michael was born and raised in the Boston area and still lives there some of the time. His camera has taken him to some of the most photogenic spots on the globe and he is as likely to be found in an airport lounge as his living room, though not so much this past year!  Michael’s first real photographic experience was through the lens of a Minolta SRT-101 where he learned photography as a journalist and a darkroom rat.  That early work of capturing a moment influences his style today.  His images have won numerous awards, are shown in galleries and hang in homes across the country. 

In the advertising world for 35 years, his work is now making images and doting on grandchildren.  Michael enjoys imparting what he’s learned to others.  He conducts workshops and seminars in photographic technique and has been told he can make the exposure triangle actually understandable. He enjoys photographing with others as the creative energies are strengthened through shared experiences.

He says, “The bottom line is, I love to shoot.  Whether it’s around the corner or around the world there are photographs to be made everywhere.  The camera is a great introduction to the people I meet and it breaks down any language barrier almost instantly.  Beautiful scenes of nature can be captured; precious moments frozen in time.  We all move through our space in the world so fast that we miss some of the most miraculous moment around us. The camera slows me down. It encourages observation.  And when I’m lucky, I get to be in the right place at the right time to capture that sliver of a moment through the lens.  For me, photography is the never ending search for those slivers.

A highlight of my career happens every time one of my images resonates with a viewer.  I seek nothing more than that connection.

IMAGES FOR SALE:

12x18”, Archival inkjet, $275 unframed, signed. 
Contact:
michael@mscpix.com

www.MSCPix.com

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Olesya Konovalova says, "A chronicle of my children’s lives - the moments of being themselves: exploring, learning, reading, or playing – following their true calling.

My goal is to evoke childhood memories in the viewers, either sad or happy, and a sense of nostalgia. I praise the realism and normality of childhood."

Olesya is a Russian-born American artist residing in Southern California. She completed her Specialization in Photography at MSU via coursera in 2017. Olesya studied Linguistics and Translation at Chelyabinsk State Pedagogical University, and Fashion design at the College of Light and Textile Industry. Her works were part of Juried Exhibitions in MoAH Cedar in Lancaster, CA. The latest group show was in Las Laguna Art Gallery in December of 2020. Olesya received multiple awards at MoAH Cedar.

IMAGES FOR SALE:

Running Along- 8"H x 12" W
Archival paper
$300 unframed
Limited edition of 20
Signed on back


Kids of the Test Flight Universe- 8"H x 12" W
Archival paper
$300 unframed
Limited edition of 20
Signed on back


Summer 2020 - 8"H x 12" W
Archival paper
$300 unframed
Limited edition of 20
Signed on back

Contact: Olesya Konovalova
olesya.konovalova@outlook.com

https://alphauniverse.com/member/#/olesya-konovalova/

Natalie Obermaier says, "I find my muse behind the mystery of youth. I approach this muse cautiously, like an anthropologist lost, but hunting, in a suburban backyard with a snaking hose and retreating black dog.  I place my subject into the light and then direct by not directing.

My method is more of a witnessing-- my technique more of an intuition. If my Hasselblad is conspicuous, spontaneity is lost and the image becomes crafted. Instead I stand waiting for the genius in them that shows me that essence of innocence.  An innocence that is really not so simple.  I am collecting flashes of vulnerability, captured in a moment, that reveal in us an ironic relation to a child who, unknowingly, understands all that we seek to discover. 

Living in Los Angeles has imbued in me the idea that every patch of sunlight can be a stage.  The characters, though, have to be chosen carefully, and while mine is an instinctual casting process, I connect to them via presence of place and faith that the story will come.  The overabundance of sun tortures one who wants clouds for depth and tone, subtlety and threat. But grass will grow up between the cracks in a sunblasted sidewalk. If I’m lucky, if I’m ready, if my intuition serves me – then I unveil its truths."

After graduating magna cum laude from Philadelphia’s Drexel University with a degree in Photography, L.A. based artist Natalie Obermaier moved to Seattle where she worked alongside acclaimed photographer, Jock Sturges. Working in the darkroom five days a week for three years under his guidance, she mastered the craft of black and white photographic printing, while also acting as his studio manager and model.

Following this intensive immersion into large format black and white photography, she traveled extensively, discovering her own voice as an artist. Her early bodies of work in black and white film are soulful and classic, showing a natural and deep connection with the people she photographs.

In addition to her black and white work, in 2012 the artist began taking a photograph every day for 365 days of the year, using multiple formats, from film to iPhone. The results were printed and exhibited at the end of each year for three consecutive years as immersive installations.

Currently Obermaier has turned her attention to hand-cut collage, sourcing her materials primarily from the glossy pages of women’s fashion magazines. When she isn’t lighting sets for Mark Seliger, David La Chapelle and other commercial photographers, she continues to explore her own visual vocabulary and exhibit her work around the country. 

Career Highlights/Exhibited:

Individual Shows:

“Coalescing” Natalie Obermaier Collages, Full Circle Gallery, Baltimore MD, January 2019 “Coalescing” Natalie Obermaier Collages, Lost Art LA with Sloan Projects, LA, December 2018 Photo of the Day Exhibit(2013), Sloan Projects, Bergamot Station, LA CA, July 2016 “Coalescing”, Paste Gallery, Venice CA, March 2015
“Coalescing”, Electric Lodge, Venice CA November 2015
Photo of the Day(2012), Lincoln Space, Los Angeles CA April 2013
Photo of the Day (2011), The Gallery at 74 Market, Venice CA January 2012
“Indehiscent Fruit" Room For Painting, Room For Paper, San Francisco, CA March 2009 

IMAGES FOR SALE:

Panache
Silver Gelatin Print,
edition of 10 (9"x9” or 15”x15”) Signed on back
$500, $900

www.NatalieObermaier.com
https://www.instagram.com/kobramaier

Oliver Raschka' series, 'The World Ain't Enough.', show two brothers living in the moment: Oliver Raschka shows the colourful and exciting first ten years of his two sons in black and white. And the project is going on. The viewer participates in the rapid developments of the first years of life of his two boys. At home, at play, after school, at sporting events or when out shopping. No staging, no posing. Raschka takes pictures from real life. With great sensitivity and compassion he depicts joy, anger, sadness and wild euphoria. A visual sociology of the child's everyday life. 

Oliver Raschka is a photographer from Stuttgart, Germany. He studied economics and psychology. He loves black-and-white photography, coffee is the drug of his choice, and loud rock music is what he likes. His photographs have been widely published in group and individual exhibitions as well as in international and national journals. In 2020 he published his first book THE WORLD AIN’T ENOUGH … via BUMMBUMM BOOKS, Cologne. The book has received critical acclaim international and national, including Bronze at the German Photobook Award 20|21, and Gold at the Budapest International Foto Awards 2020.

Career Highlights:

German Photobook Award, Budapest International Fotoawards, Der Spiegel, Kölner Stadt-Anzeiger, German Photographic Academy, Aint-Bad Magazine, C41 Magazine, Lensculture, Black + White Photography, Schwarzweiss Magazin, Opus Fotopreis 2017, Seltmann Fotopreis 2014.

IMAGES FOR SALE:

The World Ain't Enough ... 01, 02 or 03 - each 30 x 45 cm (image size)
Archival paper DIN A3+
each USD 300 unframed
Signed on back

Contact:
Oliver Raschka
Email: oliver.raschka@gmx.de
Instagram: @oliverraschka

https://www.instagram.com/oliverraschka/
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Paula Rae Gibson says, "I Love Life And You - these words my daughter wrote on a card to me when she was just  6 years old.They gave me hope that everything was going to be Ok, when it didn't really feel that way with her dad, my huge love, dying when she was almost 3."

Paula Rae Gibson works in analogue and digital producing very limited editions of her work. 2020 she exhibited at the Rotterdam Photo Festival and at Stephan Wischi Gallery , Zurich. She has had two books published with Kehrer and Eyemazing.

www.paularaegibson.com

Rita Nannini says, "These images are from my  ongoing project “First Person Mother” which seeks to document what motherhood looks like through the eyes of the mother.

Artists have been focused on depicting mother and child for centuries. When I became pregnant in late 1985, I began photographing the changes in my body.  I was determined to photograph the birth of both my sons and my first look at their faces.  From there, came moments of joy, sadness and fear both in my children and myself.

I have documented their ascent from babyhood to adulthood and what I consider moments of discovery of the world around them. I will continue this project until they no longer are willing subjects or I can no longer see the light."

Rita Nannini became a photographer the year she lived in Madrid without a camera. Originally drawn to the medium as a vehicle to capture otherness, her personal work focuses on the vernacular.

Her solo exhibitions have featured projects that include a small enclave of ethno-economically specialized farmers in NJ, motherhood in the first person, and the micro-landscape of her own backyard Princeton.

Rita studied photography at the Corcoran School of Art, the International Center of Photography and the New School/Parsons and is currently based in Brooklyn, NY.

CV

Photography Grants

Geraldine R. Dodge Foundation Photo Exhibit Grant

National Endowment for the Humanities Photo Project Grant

Selected Solo Exhibitions: 

Seeking a Better Life: Jewish Poultry Farmers of New Jersey, premiered at the New Jersey State Museum, Trenton, NJ and traveled to 14 locations for seven years. 

Botanic Landscapes, Educational Testing Service, Princeton, NJ

Selected Group Exhibitions:

Places Within Ourselves, Kunstraum Gallery, Brooklyn, NY. Curated by Iara Pimenta, Oct-Nov 2020

Emerging/Contemporary, YourDailyPhotograph.com from The Duncan Miller Gallery, Santa Monica, CA. Oct 2020.

Inside Out. ASMP NY High Priestess Project, Curated by Sherri Littlefield, May-June 2020.

Until We Meet Again, Online Juried Exhibition, Treat Gallery, May 2020

Corona: It’s All About the Light.  The Griffin Museum. Online Exhibition. May 2020.

Deep Blue See. The Ground Floor Gallery, Online Exhibition, April/May 2020.

25th Annual Juried Show, The Griffin Museum, Winchester, MA, Juried by Julie Grahame, July/August 2019.

Material Landscape, Social Landscape: Human Presence, Kunstraum Gallery, Brooklyn, NY. Curated by Nina Mdivani, July 2019. 

Winter Show, Curated Fridge, Juried by J Sybylla Smith, Somerville, MA, 2018.

Photoville: ASMP 2017 Annual Selects, Juried Exhibition by Julie Grahame, Brooklyn, NY. , September 2017

Identity and Community,  fstop Magazine Juried Online Exhibition. April 2017,

Earth/Fire, Marie L. Mathews Gallery, Princeton, NJ Juried Exhibition. Nov 2015 - Jan 2016, 

Signage,  Winner, YourDailyPhotograph.com from The Duncan Miller Gallery, Santa Monica, CA. July 2015.

Impromptu, July 2014, Juried by Stella Kramer at The Darkroom Gallery, Essex Junction, VT

The Natural World, fstop Magazine  Juried Online Exhibition. April 2014, 

IMAGES FOR SALE:

Zach Introduces Luke to the Family of Lions 8" H x 10" W
Gelatin Silver
$350 unframed
Limited edition of 10
Signed on back  



Class Trip 8" H x 10" W
Gelatin Silver
$350 unframed
Limited edition of 10
Signed on back 


 
Feeling the Warmth of the Sun 10" H x 8" W
Gelatin Silver
$350 unframed
Limited edition of 10
Signed on back     

Contact:
Rita Nannini
http://www.ritanannini.com
Instagram: @ritanannini
Twitter: @ritanannini
 

Ruth Lauer Manenti says, "These pictures were taken of my mother the last week of her life. She grew up in Berlin in a wealthy family of artists and intellectuals, with sixteen servants and two nannies, one to braid the right side and the other to braid the left side of her hair.

My mother said my grandmother was the best dressed woman in all of Berlin. She often recounted how her mother would come to say goodnight whilst on the way to the opera or some such glamorous event wearing a long sequined dress with dangling diamond earrings.

Supposedly Max Beckman painted a portrait of my grandmother’s sister Cecelia. The painting was lost or stolen, and Cecelia did not survive the war. In 1939 my mother was put on a train by herself to Holland with two potatoes in her overcoat pocket.

Throughout most of my life my mother reminisced about the pre war days; the white asparagus, the hollandaise sauc. Yet starving for 6 years was an experience my mother never forgot. It was always right there in the forefront of her mind. On a number of occasions when I took my parents out for Indian food and went wild over the buffet, my mom looked at all the food I had brought to the table and said, “Ruth, we starved.”

At the end of my mother’s life she spoke more of her time in England as a refugee and less about her prior upbringing. From 1939-45, my mother, age 10-16 and separated from her parents lived in countless places. Sometimes she was shifted within a few days, while other stays were considerably longer. Some of her hosts were incredibly kind and others only housed the children in order to get the small amount of money that the government provided.

In some cases, my mom said she was like an unpaid employee there to clean, cook and look after the farm animals, quite an adjustment from her life in Berlin. She often said that what stabilized her during that chaotic time was that she would do her homework for Tuesday even when she knew that Monday would be her last day at that particular school.

Throughout the war years she said she met many different people and at the age of 89 she said she remembered all those people. She said that that experience taught her that anyone she would ever meet or be introduced to would be important.

I always wanted to photograph my mother. I would follow her around with my camera in hand, but she would always put up a fight and eventually I would back down. Therefore, it was amazing that in the last week of her life, she was so peaceful that my photographing didn’t bother her in the least. She smiled, nodded her head in approval, and let me take these pictures.

My mother was also an artist. She wrote, painted, drew and had a darkroom and an easel set up in the laundry room in our basement. She had extraordinary talent and worked steadily throughout her life, yet her number one role was to take care of her family. Sadly, she left behind a legacy of unwanted, unpublished, basically unknown yet remarkable work. I realize, now that she has passed away, that part of my determination as an artist is to reward her for her efforts and to create some kind of continuum.

Bio:
I live in a cabin in the woods in the Catskill Mountains of New York. My background is in painting and drawing. Fifteen years ago I inherited a K.B. Canham large format camera from someone I greatly admire. I taught myself how to use the camera and gradually accomplished what I was striving for in drawing and painting, through photography.

My mother had a wealth of talent and worked steadily throughout her life, yet her number one role was to take care of her family. Sadly, she left behind a legacy of unwanted, unpublished, unknown work. I realize, now that she has passed, that part of my determination as an artist is to reward her for her efforts and to create a continuum.

Since breaking my neck in a car crash at the age of twenty, I have developed a strong spiritual life and practice out of which I have adapted a way of life simpler and more ritualistic than I had known before. I received an MFA in drawing and painting from the Yale School of Art in 1994, where I later taught."

CV:
2021 - 11th Annual Photobook Show, online at the Griffin Museum of Photography
2020 - Portfolio Review Winner and Solo show at The Center for Photography in Woodstock
2019 - International Portfolio winner in the Soho Photo Gallery competition
2018 - Featured Artist - Art Photo Index
2017 - The Photobook (group show) - Griffin Museum of Photography, Winchester, MA.
2017 - Small is Beautiful (group show) - Le Salon Vert, Geneva, Switzerland.
2016 - New York Foundation for the Arts grant in photography

IMAGES FOR SALE:

Last Week of My Mother's Life #1,
12" x 9"
Archival paper
$500 unframed
Limited edition of 10
Signed on back


Last Week of My Mother's Life #2,
9" x 12"
Archival paper
$500 unframed
Limited edition of 10
Signed on back


Last Week of My Mother's Life #3,
12" x 9"
Archival paper
$500 unframed
Limited edition of 10
Signed on back

http://www.ruthlauermanenti.com

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Samantha Brinkley says, "In 1997, when I was 2 years old, my father died of Hodgkin's disease.

Because of how young I was, I have no memories of him. Everything I know about him has been passed on to me; stories from my mother and sister, paintings of his on our walls, old photos and videos, and so on.

Most things I have heard about grief all involve having known the person before they died. I have struggled to find a way to process the grief of someone I never truly knew. Now that I have moved out of my childhood home and my mother packs it up to be sold, I find myself exploring the role my father has played in our family's history, both while he was and was not alive. I am investigating the relationship of myself to this house, to my mother and siblings, to my mother's partner, and with myself."

Samantha Brinkley is a digital-focused emerging photographer living and working in Rhinebeck, New York. She recently graduated from SUNY Purchase with a Bachelor of Science in Visual Arts and a minor in Art History. She was recently an intern at The Center for Photography at Woodstock.

Career Highlights:
"CELEBRATION" 2020 & 2021, Celebrate845, Poughkeepsie, New York.
"Photowork 2021," Barrett Art Center, Poughkeepsie, New York. Second Place for "Branded."
"The Feminine Agenda," Womenswork.art, 2020, Poughkeepsie, New York.
"WOMEN," Queen City 15 Fine Art, 2020, Poughkeepsie, New York.
"Family Frames," Don't Smile, 2020. Online.

https://samanthabrinkley.wixsite.com/portfolio
https://www.instagram.com/samibrinkley/

Susan Lirakis says, "I have been expressing myself through photography since I was 7 years old.

My work has been exhibited nationally and, in 2000, was recognized for artistic excellence through the New Hampshire State Council on the Arts Individual Artist Fellowship Program and National Endowment for the Arts.

Over the years, I have worked in a camera shop, and as a photographer covering events, with images provided as gelatin silver prints.

I’ve participated in many exhibition opportunities, and have been juried into arts organizations including the League of New Hampshire Craftsmen. I served as my community’s arts education and artist-in-the-schools coordinator for two decades.

My work has been included in publications such as The Elements of Photography: Understanding and Creating Sophisticated Images, 2nd edition, Angela Faris-Belt (2012); Photo1, Katie Miller, (2012); Tricycle: The Buddhist Review; Form & Magic, Contemporary Vision with the Plastic Camera; The Sun Magazine; Shots; Lightleaks; New Hampshire Life magazine; NH Profiles magazine.

I believe in looking and I play with seeing. I have been making photographs, and using them as a means of expression, for over sixty years."

SusanLirakis.com
lirakis@gmail.com
https://cargocollective.com/susanlirakis
https://www.instagram.com/susan.lirakisphoto/
http://susanlirakis.square.site
https://socialdocumentary.net/exhibit/Susan_Lirakis/4022
https://www.facebook.com/LirakisFromOurHearts/
https://www.instagram.com/from_our_hearts__stories/
https://www.instagram.com/susan.lirakisphoto/
https://www.instagram.com/susanlirakis

 
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