Beth Galton says of her work 'Memory of Absence', "So much of who we are is passed from generation to generation—our genes, our behaviors—molded by our parents and grandparents. My mother relationship with her mother was fraught with difficulties and these same dynamics were passed onto me. I’ve spent many years contending with these issues by first becoming overly involved in my mother’s life and then ultimately removing myself. In 2017, my mother and father—who had not lived together for 50 years by that time—died within three days of each other. After my sister and I inherited my mother’s home, we were startled to find the extent to which she had been hoarding. We discovered her journals, copious letters written to family members and never sent,  and everyday objects and photographs depicting many family scenes that I have no memory of. A profound sadness combined with these surprising discoveries led to my creating this body of work exploring feelings, memories and even buried memories – all brought to the surface through these revelations. Beth Galton is a photo-based artist, with an educational background in the natural sciences and 30 years of experience as a professional photographer in the editorial and commercial world. Her personal practice brings these elements of her history together, using them to explore her world through the nature of time and organic forms. Galton collects objects, items from her past and botanicals which she often manipulates and dries to constructs still lifes.  In her photographs, these assemblages and portraits connect the viewer to the ecological cycles of the natural world, including their own aging and mortality. Galton often uses natural light to capture these compositions by using a large format camera and digital back.

CV    

Please forgive me- The ever-confusing dilemma - is it really love or done out of self-preservation? After years of conflict and abuse, I walked away yet she continued to try and reconnect through written letters.



 

Two girls-A reflection of my sister and I as young girls appears in the mirror. We are watching, aware yet not understanding all that is happening around us. The fabric of the home breaks apart with time but they remain two girls connected by their past.

Christopher E Morse ( C E Morse ) says, 
"I am a photographer/designer; inspired by color, texture, patterns, composition and patina.

Growing up a classic car enthusiast, I spent a lot of time in vintage salvage yards
where I discovered incredible visual elements that inspired me the same way
as did the great abstract painters; it changed my perspective. I traded in my toolbox for a camera and I began to hunt and photograph wild art.

These three Images are from an ongoing life-long series: Beyond Recognition.
My photographs are contrary:

• they are abstract, yet actual found objects.

• the subjects as a whole are generally considered ugly, for example; dumpsters, derelict automobiles and boat hulls, but the details I shoot are not.

• these objects have changed slowly over many years to get to the point at which I find them, but despite seeming permanent & static, they can (and do) rapidly change or disappear.

I often capture them days before they vanish. My photographs are frequently all that is left.

The histories of my subjects are often a mystery, but the abstract nature of my images
leave the viewer with an ability to imagine their own personal interpretation."

"It's not what you look at that matters, it's what you see." - Henry David Thoreau


C E Morse was born in Camden, Maine in 1952
1970-1974: BFA in Photography: Rhode Island School of Design
(Studied under Aaron Siskind)
1973 -2013: Further studies @ Maine Media Workshops & Maine College of art
1974 to present: C E Morse Fine Art Photography

Career Highlights 2018 - 2020:

2018 Solo Exhibition: Beyond Recognition - Rhode Island Center for Photographic Arts
2018 Group Exhibition: "Art & the Abstract Truth" - UMVA, Portland, ME
2018 Musée Magazine
2018 13th Annual Black & White Spider Awards: 1 Honorable Mention, 3 Nominations
2018 Neutral Density Awards
2018 Chromatic awards
2018 AAP Magazine (All About Photo) Feature - Silver
2018 Master's Cup, 10th Annual International Color Awards: 1 Nomination
2019 Dek Unu Magazine: February Issue  (each issue devoted to just one artist)
2019 Juried Exhibition: "Wet" - Darkroom Gallery, Essex Junction, VT
2019 "Color it Red" Shadow and Light Magazine:  Single Image Showcase Winner
2019 Circle Arts Magazine: Certificate of Excellence
2019 Juried Exhibition: 6th Open Call - Rhode Island Center for Photographic Arts, Providence, RI
2019 NY Polyphony Album cover: Lamentationes
2019 Juried Exhibition: "Colors of Humanity"
2019 Juried Exhibition: "Light and Shadows" - Union of Maine Visual Artists: Portland, ME
2019 Maine Arts Journal UMVA Quarterly Spring Issue: Sanctuary
2019 14th Annual  Black & White Spider Awards: 1 Honorable Mention, 1 Nomination
2019 Juried Exhibition: "Colors" - NYC4PA @ the Jadite Gallery, NYC
2019 Juried Exhibition & book: "The Sublime Landscape" - Praxis Gallery Minneapolis, MN
2019 Solo Exhibition: “Wearable Art” - Arta, Falmouth, ME  (Photographic prints and silks)
2019 Juried Exhibition: 7th Open Call - Rhode Island Center for Photographic Arts, Providence, RI
2019 Juried Exhibition: "Water" - Photoplace Gallery, Middlebury, VT
2019 Juried Exhibition: "Transitions" - Pennsylvania Center For Photography, Middlebury, VT
2019 Bokeh Bokeh: San Francisco Bay International Photography Exhibit - Silver Award Winner
2019 Juried Exhibition: "Red" - A Smith Gallery Johnson City Texas
2019 Juried Exhibition: "All the Great Trees" - Creative Portland, Portland, ME
2020 TIFA (Tokyo International Foto Awards) 1st place: Portfolio Category
2020 Dodho Magazine: portfolio published online: "I hunt Wild Art"
2020 Juried Exhibition: "Portland 2020" - Cove Street Arts, Portland, ME
2020 Juried Exhibition: "Shadows & Patterns" - NYC4PA @ the Jadite Gallery, NYC

cemorsephoto.com

Greg Goyo Vargas says, "My active interest in photography, as a personal artistic expression, came late in my life. However in hindsight, personal events and experiences throughout my life guided me, by circumstance, towards my interest in Street Photography. While shooting “street,” I make a conscious attempt to integrate and combine both documentary and fine art genres and in my images. 

My personal style is organic and fluid, capturing images that resonate with my creative subconscious in a personal process I describe as “What I Let You See.” It is my personal and artistic vision, moment of self-identification, and the coveting of “objects of my desire,” revealed through photographic expression. I use natural light to create and enhance an emotional and personal mood, and in capturing those moments in time I tell a story in a fraction of a second that would otherwise be missed and unseen, all in an attempt to draw in the viewer’s curiosity and sense of wonder.

These images are all from a continuing series titled “Shoes and Souls.” They are taken at a bench location in Downtown Los Angeles. When I began this series, the bench was an inoperative bus stop and I was fascinated how people, many who seemed to be strangers, would sit, rest, and maybe have a brief conversation. Graphically, the lower part of the bench seat reminds me of film sprocket holes. Additionally, the proximity in which people sat, the position of the legs and feet, and the types of shoes worn was of interest.  A different kind of identity is revealed to us without knowing who the person is or what they look like, which would be a more common way of making an assessment of a person.

 There’s a scene in the movie Smoke, screenplay by Paul Auster, where the character Auggie Wren says, “It's just one little part of the world, but things happen there, too, just like everywhere else. It's a record of my little spot.”

HIGHLIGHTS:

After working in the field of Publishing and Marketing for approximately 27 years, I decided to switch careers and do something I’ve always had my heart set on doing…photography. Shooting seriously for about 5 years now, as GoyoCorvair | Photography, I consider myself an emerging photographer. I am currently enrolled in the Photography Certificate Program at Santa Monica College, learning as much as I possibly can by some very talented instructors. 

Also, I am co-founder, with a talented artist and photographer, of the Los Angeles Photo Department. We just completed a 4-year project called “Loteria Encanto,” which is a photographic reproduction/reinterpretation of the traditional Mexican Loteria! game playing cards and tablas. The 54-card deck can be used also as a divination card deck for tarot readings.  Four of the images were recently displayed at the Sanchez Contemporary Gallery, Oakland CA, Loteria! Exhibition. The card decks will be available for purchase as soon.

In addition to my series “Shoes and Souls,” another continuing series I am working on is called “The Virgins of Los Angeles.” It is a photographic documenting of Virgin Mary/Our Lady of Guadalupe murals throughout Los Angeles County. To date, I have documented approximately over 200 unique murals. A personal highlight of mine was having some of these photographs on display at the Bowers Museum in Santa Ana during their Virgin of Guadalupe exhibition in 2016. Limited edition prints and my self-published book “The Virgins of Los Angeles” were also sold.

Most recently, I presented 25 images from the “Shoes and Souls” series at Open Show Pasadena/East L.A. #31 at The Armory Center for the Arts, Pasadena. In the near future, I will have some of my images at The Black Box Gallery, Portland OR, Shadow and Light Exhibition and at Betsy Lueke Creative Arts Center Gallery, Burbank CA, Photo Exhibit 2020.

Often, I am asked why I use the name “GoyoCorvair.” Goyo is my nickname. I am a classic car enthusiast and I own three Chevrolet Corvairs, built in the 1960s.  The Corvair is the only General Motors, mass-produced, rear-engine automobile. I am a member of South Coast Corsa Corvair Club and a Western Director of the Corvair Society of America.


I’m looking forward to creating more work in the future.

www.goyocorvair.photography
Instagram and Facebook: 
GoyocorvairPhotography
LosAngelesPhotoDepartment

 

Harper Zee says, "I have found that shooting is a fluid, intuitive process for me - I shoot what calls me, and what always leads me down a road of unexpected self discovery.

Over the years, I have found a strong connection to creating pink, feminine "dreamscapes", rich with nature and flowers, has become my identity as an artist. As a woman who has had some traumatic experiences and is coming to terms with my past and the world in this new era, the journey of expressing my femininity and has been a healing process. My art has allowed me to reclaim my own identity, and find love and light in a dark time.

Bio/CV

Often, I feel a sense of longing for closeness with the universe. While I wander through this world of ours, I find myself lost in my own visions, taking intimate moments and painting them into romanticized dreamscapes. I use my lens to capture the love I feel, and then translate that essence into something tangible I can share with you."

Harper Zee is a dream weaver, wanderer and lovestruck photographer. Her background in fine art and painting inspires her passion for the traditional film process and heavily stylized work.

Education

Fashion Institute of Technology - Fine Art Painting

Academy of Art University - BFA Photography - 2019

Exhibitions

2019 - Neomodern Gallery "Staff Show" San Francisco, CA.

2019 - October Online Exhibition "Speed" Analog Forever Magazine.

2019 - Pennsylvania Center for Photography "Transformations" Doylestown, PA.

2019 - Atelier Gallery "Spring Show Extension" San Francisco, CA.

2019 - "Academy of Art University Spring Show" San Francisco, CA.

Publications

Nestor Aquino. The Middle of Perspective. December 2019.

Art Ascent. October 2019 Water Issue. Pg 72.


www.harperzee.com

Instagram - harperzeephoto

Twitter - harperzee

Facebook - Harper Zee Photography
 

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

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

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

www.harrylongstreet.com

Saturated colours and altered perspective changing common points of view into something different: this is Jane Gottlieb, introducing us to a contemporary Wonderland with her strongly theatrical effects.

Her artworks show how a classical composition can be turned into a visual challenge, incited by vivid colours.
An artist all her life, she has been joyously creating her artworks the last 20 years with her lifetime collection of photographs that she took all over the world and the creativity of photoshop.

She has been exhibited in many galleries, museums and international art expos all around the world, and in many museum, corporate and private art collections.

Over 150 of her artworks are on display in 8 different buildings at UCLA and UCSB.

www.janegottlieb.com

Janet Holmes says, "How do you decide which animals are family, and which are food? Why are we surprised to see a rooster gazing out the kitchen window or a hen investigating the laundry? After all, chickens are present in most homes, as flesh and eggs, just not as individuals with personalities of their own. 

Since 2017, I've been making portraits of chickens living in their rescuers’ homes. I've met hens whose bodies were riddled with cancer caused by the accelerated cell division associated with laying hundreds of eggs per year. I’ve cuddled roosters who were pulled out of the trash, where their first owners had dumped them once they realized that the hatchlings that they had bought at the feed store wouldn’t be giving them any eggs. I’ve played with chicks smuggled away from religious sacrifice rituals and soothed roosters seized by police from illegal cock-fighting rings. 

Hundreds of millions of chickens die every year to satisfy our appetites. A very few are fortunate to be rescued by people who only want to heal and care for them. Just like cats and dogs, these chickens become part of the family, loved for themselves rather than for what their bodies provide. I share their portraits with the hope that people will be inspired to take steps toward a world where animals live their lives free from exploitation by humans.

BIOGRAPHY

Janet Holmes always loved animals, but for many years she was afraid to get involved with rescuing them because she couldn’t imagine how she would deal with the heartbreak. She was almost fifty when she finally acknowledged that animals needed her more than she needed to be comfortable, and so she began volunteering with rescue groups as a caregiver and photographer. As she spent more time experiencing animals as individuals in her hands as a caregiver and through the lens of her camera, she began to question how she could profess to love them, yet continue exploiting them for food, clothing and other materials. She committed to become vegan and use photography to advocate for animal liberation. She works primarily on a non-profit basis, donating her services and most of her profits to support animal rescue.

CAREER HIGHLIGHTS

Publications

Nest: Rescued Chickens at Home (Kehrer Verlag), forthcoming

Go Goats: True Tales of Rescue (Houghlin Mifflin), 2019 (text by Kama Einhorn)

Love and Healing at Catskill Animal Sanctuary, 2015 (self-published)

Awards and Other Honors

2019

 Selected Portfolio, CENTER Review Santa Fe 100
Ordinary Creatures, Lenscratch (online exhibition), juried by RJ Kern - 1st Place
San Francisco Bay International Photography Exhibition (online exhibition), juried by Elizabeth Avedon, David Garnick, Julie Grahame, Ann M. Jastrab, and Peter Miller - Gold Award
2019 DOG Exhibition, Lenscratch (online exhibition), juried by Shannon Johnstone - Honorable Mention
2018 The FENCE 2018, United Photo Industries, multiple jurors – People’s Choice Award
Photolucida Critical Mass Finalist (Is This My Beautiful House?)
12th Annual Julia Margaret Cameron Awards (Winner: Wildlife Series; Honorable Mentions: Women Seen by Women Series, Portraits Series, Open Series, Culture and Daily Life Series)
Natural Encounters, NY Photo Curator (online exhibition), juried by Fran Forman - Honorable Mention
Unexpected, PH21 Gallery (Budapest, Hungary), juried by Zsolt Bátori - Honorable Mention
2017 Photolucida Critical Mass Finalist (The Barn: Sanctuary and Studio)
6th Annual Juried Exhibition, Sohn Fine Art Gallery (Lenox, MA), juried by Laurie Norton Moffatt, Stephanie Haboush Plunkett and Jesse Kowalski – 3rd place (photography)
Alleghany National Photography Competition and Exhibition, Alleghany Arts Council (Cumberland, MD), juried by Shannon Thomas Perich – 2nd Place (Color)
Animalia, A Smith Gallery (Johnson City, TX), juried by Traer Scott – Juror’s Honorable Mention
Glass, New York Center for Photographic Arts, juried by Traer Scott – 3rd place
PHOTOcentric 2017, Garrison Art Center (Garrison, NY), juried by Francis M. Naumann - Director’s Choice
Really Affordable Art Show, Brooklyn Waterfront Artists’ Coalition (Brooklyn, NY), juried by Laura Phipps - Juror’s Honorable Mention
TPS 26: The International Competition, Texas Photographic Society (College Station, TX), juried by Allison Nordström – 3rd Place
PRESS Anna Bonita Evans, “Why Janet Holmes Takes Pictures of Chickens”, World Photo Organization, 2019
Stacey Russo, Interview, A Better World Starts Here: Activists and Their Work (Sanctuary Publishers), 2019
Jonathan Blaustein, “The Best Work I Saw at the Medium Festival of Photography”, aPhotoEditor, 2018
Harriet Williamson, “Animal Portraits Show the Personality and Individuality of Those Rescued from Slaughter,” Metro UK, 2018
Ellyn Kail, “Soulful Photos of Animals Rescued from Slaughter or Neglect,” Feature Shoot Magazine, 2018
Christian Cotroneo, “These Photos May Change the Way You Look at Chickens,” Mother Nature Network, 2018

EDUCATION
International Center of Photography Continuing Education Track Program (New York, NY) (2014-15)

www.janetholmesphoto.com 
Instagram: janetholmes_photo
 

Janet Neuhauser says, "I investigate things that have no answer, subjects that speak to me.  This could be the growth of a child as in (Kid Pictures), the landscape before me (Civita, Italy and Innards), the world within and without (LoupeHoles and Self-Portraits). I have used a variety of processes and cameras and now I work mainly with color pinhole photography.  The pinhole records space and time differently than lens based imagery.  I seek to understand a place, a person or things in terms of that which has been left behind, in terms of what it can tell me.  For example in my most recent work, Civita:  An Etruscan Hilltop Town,  I looked at what day to day life was like in the past and how people surrounded by beauty and yet immersed in the harsh realities of climate and  environment created their lives.

The pinhole allows me to add a layer of softness that becomes memory without the constraints of "regular' photography:  no lens, no focus, no viewfinder.  I can see what I am photographing only in my mind, and I have developed a certain type of patience as I often wait for a month before actually seeing the images. I am often surprised by what I see then. In Civita I wanted to make images that overlapped and were more than one frame.  I discarded the frame line and let the images bleed into each other, creating environments that do not actually exist but become a new reality.I do like the constraints of film, that one image follows another, that the photographer can understand what and how he/she is seeing so much better than with digital.  In Civita, I was careful to only use images that were side by side on the film and I shot with that in mind.  Photography, including pinhole photography, is challenging, whether it is the life of a place or a person that one is recording or self portraits in public bathrooms. 

That is the pull for me: the challenge of making my voice clearly heard for whomever wants to listen.

I am a native of the Pacific Northwest and have lived here my entire life except for an eleven year hiatus in New York City where I received an MFA in photography from Pratt Institute in Brooklyn, NY.  Photography was always a part of my family life but I grew up thinking of it as a past time not a profession.  It was not until I was 28 that I realized nothing else mattered to me except making images.  I have never stopped learning about photography since and I am grateful to have been given this gift: to investigate one subject as thoroughly as I can.  I have taught photography (in many venues) from ICP to my daughters sixth grade class), worked as an editorial free-lancer (mostly for not for profits) and scraped pennies together to make artful images."

Career Highlights

Civita Institute 1-month Fellowship in Italy to make pinhole images in Civita di Bagnoregio,  Awarded by the Civita Institute. Intention is to capture the present and past of Civita through pinhole photography with three types of cameras: paper filled tins (30 day exposures) and color negative film both 120 and 4 x 5 inches
Innards: Pinhole Landscapes, book published in a limited edition of 24, encased in a box with a print of the buyers choice from the book
Pacific Northwest Forty:  Fine Art Exhibit, Lightbox, Astoria, Oregon 
Imagemaker/Speaker, Society for Photographic Education NW Conference, Jackson, WY]
Maker’s Day Artist, Museum of History and Industry, Seattle, WA. Workshop Pinhole Photography  
Workshop Pinhole Photography, Bainbridge Island Museum of Art, BI, WAJ
Urban, Invitational Group Show, Gallery 110, Seattle, WA
Women in Photography, Bainbridge Island Museum of Art, BI, WA Invitational Group Exhibition
Blue Sky Gallery, Viewing Drawers Exhibitor, Portland, OR
City of Seattle Metro Panorama Photo Mural Project, Out There: Long Exposures for the Sunny Arms Artists, Seattle, WA Mural on Metro Bus Shelter for nine years South Holly and Beacon Avenue
The Pinhole Project founder and director, with a website of over 3000 images by various people from around the world.Honored Educator, Society for Photography Education, NW Regional Conference, Seattle, WA 
Presenter, SPE NW Conference, Seattle, WA 
Red Hook Stories, Kentler Gallery, Brooklyn, NY Solo Exhibition
King County Portable Works Collection Purchase Award, Seattle, WA
Kitsap County 1% for the Arts Commission/Purchase Award, Bremerton, WA
The Secret Life of Teens, Tacoma Art Museum, Seattle, WA.
Italy Photographs, Solo Exhibition, Kittredge Gallery University of Puget Sound, Tacoma, WA 

www.janetneuhauser.com
www.thepinholeproject.org
Instagram: neuhauserat1CImage Titles:
 

Jim McKinniss says, "I have been traveling to Venice, Italy for the Carnival every year for the last 13 years. My Venice work a major project in my several projects. 

Venice is a city like no other. It has existed for more than 17 centuries during which many poets, writers, artists, travelers and scientists have walked its streets or have been transported on its waters.

A traveler to the city is struck by its unique architecture, the delicious experience of enclosed alleyways leading to who knows where mixed with strange gifts to the senses by the scents of damp rock, salt of the sea, and maybe lichen.

These are the things that continually draw me back to Venice. These are the things that I attempt to capture in my photographs."

Jim McKinniss was born in Los Angeles, CA in1945. Married at 19 he worked full time while studying mathematics He graduated with a Masters degree in 1976. In the following three years he worked on a Ph D and taught math at the University of California. After leaving the academic world he learned to program computers and started a software consulting firm in 1983 from which he retired in 2005.

After retiring McKinniss studied photography and art at the Otis College of Art and Design in Los Angeles, CA. He uses Photoshop and photo editing apps such as Snapseed for smart phone cameras.

McKinniss has an eclectic interest in making photographs. His projects include Equine which studies horses in Palos Verdes, CA. Other projects include Ten Years of Venice, Home and Man in Black. Recently he has been working with Haiku poet Jim Force to pair photographs with Haiku poetry.

McKinniss was a member of the Los Angeles Art Association and has had his work published in both print and on-line sites domestically and internationally. His work has been published in the Huffington Post, Photographs that Inspire and as a contest winner for 10 years including a portfolio spotlight feature in Black and White Magazine for 6 of those10 years.

His work has appeared in galleries across the country including the San Diego Art Institute, the Hide Gallery in Fremont, CA, the Carol Watson Gallery in Texas, the Griffin Museum in Massachusetts, SE Center for Photography in South Carolina, Collector Works and Duncan Miller Gallery in Santa Monica, CA and the Vermont Photoplace Gallery.

McKinniss is the author of 3 photo books and a contributor to two others.

SELECTED EXHIBITIONS

2020

SE Center for Photography, Greenville, South Carolina

“Black White and More” Juror: Paula Tognararelli

Lightbox Photographic Gallery, Astoria, Oregon

“The Photographic Nude” Juror: Douglas Beasley


2019

2019 California 101, Redondo Beach, California

14th Annual Black and White Spider Awards Nominee

SE Center for Photography, Greenville, South Carolina

“Portrait exhibition” Juror: Doug Beasley
SE Center for Photography, Greenville, South Carolina

“Open Exhibition” Juror: Susan Burnstine

SE Center for Photography, Greenville, South Carolina

“The Portrait” Juror: Douglas Beasley

14th Annual Black and White Spider Awards honorable mention in Silhouettes

3rd place in Photographic Society of America Projected Image category

2018

13th Annual Black and White Spider Awards Nominee

SE Center for Photography, Greenville, South Carolina

“Black, White & Monochrome” group show Juror: Michael Foley

Vermont PhotoPlace Gallery, Middlebury, Vermont

“Fictional Narrative” Juror: Emma Powell

Vermont PhotoPlace Gallery, Middlebury, Vermont

“2018 Open” Juror: Douglass Beasley

SE Center for Photography, Greenville, South Carolina

“Still Life” group show Juror: Kimberly Witham

SE Center for Photography, Greenville, South Carolina

“Shades of Black and White” group show Juror: Susan Burnstine

FOCUS Photo LA, Los Angeles, California

“Winter 2017” group show Juror: Jo Ann Callis

10 West Gallery, Santa Barbara, California

“The Nature of Things” group show

San Luis Obispo Museum of Art, San Luis Obispo, California

“Black and White and One Color” group show

2018 California 101, Redondo Beach, California group show

2017

Duncan Miller Gallery, Santa Monica, California

“Collector Works” group show

SE Center for Photography, Greenville, South Carolina

“Architectural” group show

SE Center for Photography, Greenville, South Carolina

“Open” group show

Vermont PhotoPlace Gallery, Middlebury, Vermont

“Portals” Juror: Aline Smithson


2016

SE Center for Photography, Greenville, South Carolina

“Monochrome” Juror: Del Zogg

“Masks Juror: Aline Smithson

PhotoPlace Gallery, Middlebury, VT

“Animalia” Juror: Traer Scott


2015

PhotoPlace Gallery, Middlebury, VT

“Stories and Secrets” Juror: Emma Powell and Kristen Hoving

Griffin Museum, Winchester, MA

“Sky” Juror: Paula Tognarelli



GALLERY REPRESENTATION

Duncan Miller Gallery, Los Angeles,CA

10 West Gallery, Santa Barbara, CA

Member of the Los Angeles Art Association

www.JimMcKinniss.Photography

Kathryn Dunlevie says, "For as long as I can remember, I have been fascinated by our perceptions of time and space. Visits to historic buildings left me mesmerized by visions of previous inhabitants. I believed that A Wrinkle in Time and the Narnia Chronicles revealed fantastic secret truths about worlds normally unavailable to us. In my work I have always tried to create a blending of the multiple realities we experience as well as the realities we don’t. I have worked to make all my compositions coherent composites in which the past co-exists with the present, the psyche with the intellect, and the imagined with the factual.

The inspiration for my series Mistick Krewes is the city of New Orleans with its rich jumble of overlapping cultures and the still perceptible aura of its tempestuous history. To echo the city’s abundant variety of influences I have combined my photographs with found images. Adding layer upon layer I have worked toward scenarios that compel even as they mystify. Interweaving elements from nature, history and contemporary culture has conjured up dreamlike landscapes, evoking lost cultures, other-worldly creatures and a sense of magic."

Kathryn Dunlevie is a photography-based artist whose work has been exhibited throughout the U.S. and internationally. Cathy Kimball, Executive Director of the San Jose Institute of Contemporary Art, writes of Dunlevie’s work:

"Through brilliant compositional detail and manipulation, she creates disconcerting, surprising, inexplicable spaces and scenarios – swimming pools that have many points of entry, cloisters with multiple arched domes, streetscapes that elude mapmakers, and interior settings that are almost, but not quite, right."

Born on the east coast, Dunlevie lived in six different states by the time she was 12, and in Paraguay when she was 16. She has a B.A. in fine arts from Rice University, and studied art history and film at the University of Paris, painting at California College of the Arts, and photography in Madrid. She lives in Palo Alto.

Dunlevie has received numerous awards and fellowships, including two Arts Council Silicon Valley Artist Laureate Fellowships and an International Photography Awards honorable mention. Her work has been exhibited at FotoFest International since 2002, at the Pingyao International Photography Festival in China, at Studio Thomas Kellner in Germany, in the US Art in Embassies Program in Moscow and in Saatchi Arts’ Best of 2014.

Her work has been reviewed in Spain’s La Fotografia Actual, Korea’s photo + and Germany’s Profifoto, as well as in The New York Times, Camerawork: A Journal of Photographic Arts, Photo Metro, Artweek, and Artlies.

Highlights of Career:

Eight solo exhibitions at FotoFest International (Houston) (2002 - 2020)

Included in China's PingYao International Photography Festival (2017)

International Photography Awards (2015)

Included in Saatchi Art's "BEST of 2014"

Reviewed in Korea's Photo+ magazine, (2013)

Included in "Parallax Views", San Jose Institute of Contemporary Art, California (2013)

Included four times in Germany's  Photographers Network Selection (2006-2013)

Included the US Art in Embassies Program in Moscow (2012)

Two time Arts Council Silicon Valley Artist Laureate Fellow with cash awards and solo exhibitions at the Triton Museum of Art, Santa Clara, California (2001 and 2005)

Included in "Fresh Work IV: Actualities", Southeast Museum of Photography, Florida (2004)

Included in "Timekeepers", San Francisco Camerawork,  San Francisco, California (2000)

 www.kathryndunlevie.com

Kip Harris says, "There is a Taoist phrase: “wei wu wei,” which has been translated a number of ways but the one I like best is “doing, not doing.” When one has become a complete master of an action, he no longer has to think about how to perform the act but has become the act himself. I try to photograph this.

A man’s work is his life and should be respected. In a world where most work now happens in office buildings and factories away from public view, it becomes more and more important to me to see work being done, to see concrete results, and to see the faces of the workers.

I seek out market places, fairs, and street edges where traditional crafts are practiced. These semi-public spaces are enclaves of masters and their apprentices, of casual conversation with friends and finely tuned sales pitches for potential clients, of pointed competition, and of dappled light. It is not quite private nor openly part of the street. It is the mixed environment of commerce, constructive labor, and leisure.

This search began in Hong Kong in 1990 and has continued for thirty years so although I have had another career, this search might be considered my life’s work."

Harris grew up in a small farming community in Idaho. He holds degrees in English literature from Dartmouth College, in humanities from the University of Chicago, and architecture from the University of Utah. He was a principal of FFKR Architects in Salt Lake City for nearly 30 years.

A serious photographer since the late 80s, he has exhibited in the United States, Canada, and Europe with four solo and over eighty group shows. He has been published in Shots Magazine, The Photo Review, Art Reveal, Smithsonian.com, and a number of on-line photographic sites.

He now lives on the South Shore of Nova Scotia in an 1823 cottage overlooking the St. Margaret’s Bay. He and his wife created Company X Puppets (a highly portable puppet, dance, theater group established to present intimate mixed media theater works).

www.kharrisphoto.com
IG: @kkhstreet

Sylvia deSwaan says, "Who am I really I ask myself as my shadow plays along the railroad tracks next to Lake Ontario; or me holding a photo of myself that was once affixed to my refugee papers as I ride a train in 1990 through post communist East Communist Eastern Europe, retracing routes my mother, sister and I traversed after WWII; or me as a sophisticated young artist in 1960s Mexico City; or me now, in my seventh decade of life, still doing what I've always done, still, still having adventures, still making art..."
      
http://2015.odesa-biennale.org.ua/portfolio/sylvia-de-swaan/

http://www.sylviadeswaan.com/

https://www.worldphoto.org/blogs/20-09-16/make-meaningful-work-sylvia-de-swaan-visura

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LIFE'S WORK HOME:
https://www.laphotocurator.com/life-s-work-laurie-freitag


FIRST PLACE:
https://www.laphotocurator.com/life-s-work-laurie-freitag/first-place-marna-bell/1

SECOND PLACE:
https://www.laphotocurator.com/life-s-work-laurie-freitag/second-place-sylvia-de-swaan-prague-to-berlin----/1

HONORABLE MENTIONS:
https://www.laphotocurator.com/life-s-work-laurie-freitag/honorable-mentions-kip-harris-drill-bit-merchants-ce-morse-finntown-73-harry-longstreet-best-pillow----/1

BEST SERIES:
https://www.laphotocurator.com/life-s-work-laurie-freitag/best-series-jim-mckinniss-venice----/1

EXHIBITION #1:
https://www.laphotocurator.com/life-s-work-laurie-freitag/exhibition-1/1

EXHIBITION 2:
https://www.laphotocurator.com/life-s-work-laurie-freitag/exhibition-2/1