PERSONAL NARRATIVE- Peter Bennett & Elizabeth Bailey > HONORABLE MENTIONS: Kathryn Dunlevie 'Cowboy Boots at Night', Kip Harris 'Law Office Once Library', Jesse Kiefer 'Derelictz Correo' & Prescott Lassman 'White Horse'
HONORABLE MENTIONS: Kathryn Dunlevie 'Cowboy Boots at Night', Kip Harris 'Law Office Once Library', Jesse Kiefer 'Derelictz Correo' & Prescott Lassman 'White Horse'
Kathryn Dunlevie 'Cowboy Boots by Night
HONORABLE MENTION
HONORABLE MENTION
KATHRYN DUNLEVIE
"Femmes Futuristes"
"I have in my life experienced self-doubt, insecurities and inhibitions - and I know I have not been alone.
With these "Femmes Futuristes" I hope to inspire a jettisoning of such limitations, and a transformation of the self, where qualities and attitudes are chosen freely, independent of societal norms and familial pressures.
I have worked with my photographs and snippets of ephemeral printed matter, selecting bits and pieces, and constructing figures whose gestures suggest a sense of empowerment and possibility. Finally, I situate them in venues where they are free to create their own narratives.
These figures are viewed as if with x-ray vision - their patchwork interiors hinting at what they might have lived, their silhouettes offering clues as to how they have proceeded through time. They model a new energy and the prospect of a brighter future.
I hope we will all move forward with them, piecing together the best fragments of our personal histories and living our lives with daring authenticity."
Born in Atlanta, 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 has received numerous awards and fellowships, including two Arts Council Silicon Valley Artist Laureate Fellowships. Her work has been exhibited in the People's Republic of China at the Fujian Huaguang Photographic Art Museum, and at the Pingyao International Photography Festival, as well as in Moscow with the US Art in Embassies Program, at Toronto’s Gallery TPW, and in the United States at FotoFest International, San Francisco Camerawork, PhotoAlliance, the Southeast Museum of Photography, Washington DC’s Art Museum of the Americas, and the Institute of Contemporary Art San Jose.
Her work has been reviewed in Spain’s La Fotografia Actual, in Korea’s photo +, in Germany’s Profifoto, as well as in San Francisco's Camerawork: A Journal of Photographic Arts, Visual Art Source, and AestheticsToday.blogs.
www.kathryndunlevie.com
www.instagram.com/kathryndunlevie
"Femmes Futuristes"
"I have in my life experienced self-doubt, insecurities and inhibitions - and I know I have not been alone.
With these "Femmes Futuristes" I hope to inspire a jettisoning of such limitations, and a transformation of the self, where qualities and attitudes are chosen freely, independent of societal norms and familial pressures.
I have worked with my photographs and snippets of ephemeral printed matter, selecting bits and pieces, and constructing figures whose gestures suggest a sense of empowerment and possibility. Finally, I situate them in venues where they are free to create their own narratives.
These figures are viewed as if with x-ray vision - their patchwork interiors hinting at what they might have lived, their silhouettes offering clues as to how they have proceeded through time. They model a new energy and the prospect of a brighter future.
I hope we will all move forward with them, piecing together the best fragments of our personal histories and living our lives with daring authenticity."
Born in Atlanta, 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 has received numerous awards and fellowships, including two Arts Council Silicon Valley Artist Laureate Fellowships. Her work has been exhibited in the People's Republic of China at the Fujian Huaguang Photographic Art Museum, and at the Pingyao International Photography Festival, as well as in Moscow with the US Art in Embassies Program, at Toronto’s Gallery TPW, and in the United States at FotoFest International, San Francisco Camerawork, PhotoAlliance, the Southeast Museum of Photography, Washington DC’s Art Museum of the Americas, and the Institute of Contemporary Art San Jose.
Her work has been reviewed in Spain’s La Fotografia Actual, in Korea’s photo +, in Germany’s Profifoto, as well as in San Francisco's Camerawork: A Journal of Photographic Arts, Visual Art Source, and AestheticsToday.blogs.
www.kathryndunlevie.com
www.instagram.com/kathryndunlevie
Kip Harris/ Law Office Once Library
HONORABLE MENTION
HONORABLE MENTION
KIP HARRIS
'You Can’t Go Home Again'
"You can't go back home to yourfamily, back home to yourchildhood ... back home to a young man's dreams of glory and of fame ... back home to places in the country, back home to the old forms and systems of things which once seemed everlasting, but which are changing all the time – back home to the escapes of Time and Memory."
—ThomasWolfe, You Can’t Go Home Again
"I grew up in the 1950s in St.Anthony: a small, farming community in southeastern Idaho. The Snake River runs through the center of the town and the Teton Mountains are visible on a clear day. While having only 2,500 residents, it was the county seat and had a post office, a court house with jail and a small library where I spent a good deal of time, and an armory where sawdust was thrown down for Saturday nightdances featuring country and western bands. Every possible inch of arable land surrounding the town was used for planting potatoes.
Construction of the nearby earthen Teton Dam began in 1972; it was completed in November 1975. On June 5, 1976, it collapsed. Local communities were immediately flooded with water. 80% of the houses in Rexburg were damaged. The village of Teton, the birthplace of my father, was destroyed. While the $200 million in relief aid created a building boom in Rexburg, St. Anthony continued its slow death.
The elementary schools and high school have been demolished and a new regional school built on the edge of town near a new small Walmart. The sawmill is gone as are the grocery store and Chevrolet dealer and the drug store where you could sit at the counter and order a cherry Coke. The Hopperdietzel Cheese Factory closed in 1977. The bowling alley is still there but the movie theater went dark many years ago. The cafes have been replaced by convenience stores serving up slices of previously frozen pizzas.
My father’s bar is slowly being renovated but the livestock brands on cedar shingles still decorate the walls. The rooms above it can now be rented by tourists instead of used by locals on a drunk. The Masonic Temple, which was also upstairs, has moved. There are buildings missing from the main street like the teeth on a hockey player.
In December 2023, I drove from Utah to St. Anthony to place the ashes of my sister in the Snake River. It had been a place where she had been happy and admired. I read one of her favorite poems from e. e. cummings and drove away into flat, barren landscape. It started to snow."
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, Harris has exhibited in the United States, Canada, Australia, Japan, and Europe. He has been published in Shots Magazine, The Photo Review, All About Photo.com. Street Photography Magazine, Barren Magazine, Tagree, Square, Black & White Magazine (cover) and a number of on-line photographic sites. He has been a resident at the Rural Residence in Contemporary Art in the Val Camonica Valley of Italy and Gracia in Antigua, Guatemala. Place M Gallery in Tokyo presented a solo exhibition of 40 of his works from the “At Work” series in May 2025.
www.kharrisphoto.com
'You Can’t Go Home Again'
"You can't go back home to yourfamily, back home to yourchildhood ... back home to a young man's dreams of glory and of fame ... back home to places in the country, back home to the old forms and systems of things which once seemed everlasting, but which are changing all the time – back home to the escapes of Time and Memory."
—ThomasWolfe, You Can’t Go Home Again
"I grew up in the 1950s in St.Anthony: a small, farming community in southeastern Idaho. The Snake River runs through the center of the town and the Teton Mountains are visible on a clear day. While having only 2,500 residents, it was the county seat and had a post office, a court house with jail and a small library where I spent a good deal of time, and an armory where sawdust was thrown down for Saturday nightdances featuring country and western bands. Every possible inch of arable land surrounding the town was used for planting potatoes.
Construction of the nearby earthen Teton Dam began in 1972; it was completed in November 1975. On June 5, 1976, it collapsed. Local communities were immediately flooded with water. 80% of the houses in Rexburg were damaged. The village of Teton, the birthplace of my father, was destroyed. While the $200 million in relief aid created a building boom in Rexburg, St. Anthony continued its slow death.
The elementary schools and high school have been demolished and a new regional school built on the edge of town near a new small Walmart. The sawmill is gone as are the grocery store and Chevrolet dealer and the drug store where you could sit at the counter and order a cherry Coke. The Hopperdietzel Cheese Factory closed in 1977. The bowling alley is still there but the movie theater went dark many years ago. The cafes have been replaced by convenience stores serving up slices of previously frozen pizzas.
My father’s bar is slowly being renovated but the livestock brands on cedar shingles still decorate the walls. The rooms above it can now be rented by tourists instead of used by locals on a drunk. The Masonic Temple, which was also upstairs, has moved. There are buildings missing from the main street like the teeth on a hockey player.
In December 2023, I drove from Utah to St. Anthony to place the ashes of my sister in the Snake River. It had been a place where she had been happy and admired. I read one of her favorite poems from e. e. cummings and drove away into flat, barren landscape. It started to snow."
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, Harris has exhibited in the United States, Canada, Australia, Japan, and Europe. He has been published in Shots Magazine, The Photo Review, All About Photo.com. Street Photography Magazine, Barren Magazine, Tagree, Square, Black & White Magazine (cover) and a number of on-line photographic sites. He has been a resident at the Rural Residence in Contemporary Art in the Val Camonica Valley of Italy and Gracia in Antigua, Guatemala. Place M Gallery in Tokyo presented a solo exhibition of 40 of his works from the “At Work” series in May 2025.
www.kharrisphoto.com
Jesse Kieffer/Derelictz Correo
HONORABLE MENTION
HONORABLE MENTION
JESSE KIEFFER
"In the City"
"I am a beginning photographer with a love for my city that I struggle to express. One way to tell a city you love it, as you might a person, is to hold it in your gaze. To look closely enough to observe its intricacies—stone mermaids writhing high on the corners of historic buildings, the glow of a streetlight illuminating a stranger’s face—and from far enough away that you can find it in its place along the curvature of the earth, surrounded by distant stars.
I cannot observe in this way with my eyes alone. I need a lens—that miraculous circle of polished glass inside which the world comes into focus. And a camera of course, and long afternoons and nights to carry it through city streets and neighborhoods. When I lace up my shoes and drape my camera strap over my shoulder, I am preparing to seek my beloved. It is my hope that my tenderness toward my city and its people will show in these photographs—that the observer’s gaze will linger there, as mine has, if only for a moment."
Jesse Kieffer was born in Boston, Massachusetts, and has lived there for most of her life. As long as she can remember, she has loved language, and in 2012 graduated from the University of Massachusetts having received several awards for her writing. Her work has appeared Audubon, AMC Outdoors, and Hippocampus Magazine, among other publications.
Inherent in the discipline of writing is the ability to visualize a scene, and the elements of a compelling written scene mirror those of a good photograph. So for Jesse, the addition of photography to her creative life was a natural transition. She bought a small mirrorless digital camera and joined the venerable, 140 year-old Boston Camera Club in December of 2020
During the long COVID lockdown hours, she wandered the streets of Boston for hours each day, taking hundreds of out-of focus and poorly-composed photographs. Over time though, the pictures got better. She started winning camera club contests, and her photograph, After the Party, was awarded an Honorable Mention in the 2021 edition of the International Photography Awards.
Jesse is passionate about photography, dedicated to both the art and the craft. She hopes someday to combine her skills as a writer and photographer in photojournalism.
"In the City"
"I am a beginning photographer with a love for my city that I struggle to express. One way to tell a city you love it, as you might a person, is to hold it in your gaze. To look closely enough to observe its intricacies—stone mermaids writhing high on the corners of historic buildings, the glow of a streetlight illuminating a stranger’s face—and from far enough away that you can find it in its place along the curvature of the earth, surrounded by distant stars.
I cannot observe in this way with my eyes alone. I need a lens—that miraculous circle of polished glass inside which the world comes into focus. And a camera of course, and long afternoons and nights to carry it through city streets and neighborhoods. When I lace up my shoes and drape my camera strap over my shoulder, I am preparing to seek my beloved. It is my hope that my tenderness toward my city and its people will show in these photographs—that the observer’s gaze will linger there, as mine has, if only for a moment."
Jesse Kieffer was born in Boston, Massachusetts, and has lived there for most of her life. As long as she can remember, she has loved language, and in 2012 graduated from the University of Massachusetts having received several awards for her writing. Her work has appeared Audubon, AMC Outdoors, and Hippocampus Magazine, among other publications.
Inherent in the discipline of writing is the ability to visualize a scene, and the elements of a compelling written scene mirror those of a good photograph. So for Jesse, the addition of photography to her creative life was a natural transition. She bought a small mirrorless digital camera and joined the venerable, 140 year-old Boston Camera Club in December of 2020
During the long COVID lockdown hours, she wandered the streets of Boston for hours each day, taking hundreds of out-of focus and poorly-composed photographs. Over time though, the pictures got better. She started winning camera club contests, and her photograph, After the Party, was awarded an Honorable Mention in the 2021 edition of the International Photography Awards.
Jesse is passionate about photography, dedicated to both the art and the craft. She hopes someday to combine her skills as a writer and photographer in photojournalism.
Images for sale-
Girl Aloft 12H X18W
Archival paper
$300 unframed
Signed on back
A Solitary Figure Surrounded by Light 18H x 12W
Archival paper
Limited edition of 15
$200 unframed
Signed on back
Subway Sleeper 8H x 10W
Archival paper
$250 unframed
Limited edition of 15
Signed on back
All the Way Through. 16H x 9W
Archival paper
$200 unframed
Limited edition of 15
Signed on back
After the Party 12Hx18W
Archival paper
$300 unframed
Signed on back
The Dancer Appears 8H x10W
Archival paper
$250 unframed
Limited edition of 15
Signed on back
For all images, contact Jesse Kieffer
jesse.e.kieffer@gmail.com
jesse.e.kieffer@gmail.com
Instagram: @jesse_kieffer
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Prescott Lassman/White Horse
HONORABLE MENTION
HONORABLE MENTION
PRESCOTT MOORE LASSMAN
"I am a lens-based artist living in Washington, D.C. working in the areas of documentary, portrait, travel, and "freestyle" photography. Using an intuitive approach, I search for images that resonate, for moments of synchronicity in everyday life.
My work focuses on those odd juxtapositions of elements that are connected not so much by logic or reason but rather by a deeper intrinsic meaning. Because this approach relies on unconscious triggers, my photographs often are richly symbolic, though their meaning is not immediately clear (at least not to me). For me, this is the essence of photography: capturing an image that resonates and then, over the course of months or years, figuring out why.
The photographs submitted here are from my "Domesticated Animals” series, which explores what happens when the myth of the idyllic domestic life begins to fracture. The photographs reveal not only the warmth and connection that define domestic life, but also the raw mechanics behind the platitudes: the myths we accept, the masks we are taught to wear, the roles we are forced to play, and the needs and desires we sublimate (and sometimes don’t) in order to maintain the veneer of domestic bliss. In other words, Domesticated Animals unmasks the domestication at the heart of domestic life.
The series began after an unexpected tragedy gave me a glimpse of my own mortality. Shortly thereafter, and for no apparent reason, I began to chafe against the warm and comfortable domestic life I had worked my whole life to create. Maybe domestic life had always chafed, but I had never noticed until then.
The series, however, is not constructed as a narrative, nor is it intended to document my own family or family life. Rather, each photograph is like a fragment from a dream, connected not by any logical consistency but rather by symbolism and meaning. If these photographs tell a story at all, it’s a story of raging and mixed emotions. It’s a story about aging and regret; about repression and authenticity; about connection and conformity; about the joys of domestic life and the very real sacrifices. It is, in short, a mid-life crisis in photographic form."
Career Highlights include: City Hall Art Collection, Washington, DC, DC Art Bank, Washington, DC, Individual Artist Fellowship, DCCAH, Washington, DC,
Best of Show, Allegany National Photography Competition and Exhibition,
2025 Billboard Show, and The Billboard Creative, Los Angeles, CA.
www.lassmanlenswork.com
www.instagram.com/lassman_lenswork
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"I am a lens-based artist living in Washington, D.C. working in the areas of documentary, portrait, travel, and "freestyle" photography. Using an intuitive approach, I search for images that resonate, for moments of synchronicity in everyday life.
My work focuses on those odd juxtapositions of elements that are connected not so much by logic or reason but rather by a deeper intrinsic meaning. Because this approach relies on unconscious triggers, my photographs often are richly symbolic, though their meaning is not immediately clear (at least not to me). For me, this is the essence of photography: capturing an image that resonates and then, over the course of months or years, figuring out why.
The photographs submitted here are from my "Domesticated Animals” series, which explores what happens when the myth of the idyllic domestic life begins to fracture. The photographs reveal not only the warmth and connection that define domestic life, but also the raw mechanics behind the platitudes: the myths we accept, the masks we are taught to wear, the roles we are forced to play, and the needs and desires we sublimate (and sometimes don’t) in order to maintain the veneer of domestic bliss. In other words, Domesticated Animals unmasks the domestication at the heart of domestic life.
The series began after an unexpected tragedy gave me a glimpse of my own mortality. Shortly thereafter, and for no apparent reason, I began to chafe against the warm and comfortable domestic life I had worked my whole life to create. Maybe domestic life had always chafed, but I had never noticed until then.
The series, however, is not constructed as a narrative, nor is it intended to document my own family or family life. Rather, each photograph is like a fragment from a dream, connected not by any logical consistency but rather by symbolism and meaning. If these photographs tell a story at all, it’s a story of raging and mixed emotions. It’s a story about aging and regret; about repression and authenticity; about connection and conformity; about the joys of domestic life and the very real sacrifices. It is, in short, a mid-life crisis in photographic form."
Career Highlights include: City Hall Art Collection, Washington, DC, DC Art Bank, Washington, DC, Individual Artist Fellowship, DCCAH, Washington, DC,
Best of Show, Allegany National Photography Competition and Exhibition,
2025 Billboard Show, and The Billboard Creative, Los Angeles, CA.
www.lassmanlenswork.com
www.instagram.com/lassman_lenswork
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