PRIMARY SHAPES- Mark Indig > EXHIBITION #1
EXHIBITION #1
CHELSEA NYC by Alan Leder
(Click on image for larger view)
(Click on image for larger view)
Alan Leder says, "My work as a photo-based artist has been honed in part by my early formal training as a painter.
Spiritual mentors include Richard Diebenkorn and Agnes Martin. Michael Kenna and Lewis Baltz are among the photographers who have guided my camera’s eye.
I’m attracted to familiar, often vernacular subjects that I find in
urban settings. Complex urban structures are often recorded, but not entirely known. They have the potential of being re-visualized and re-contextualized through
intervention.In my exploration, I find there is a kind of half-light – an intuition that the entire story can only be grasped by the flickers and shadows cast off by the facts; there’s always more to be discovered within the boundaries of the whole.
To that end, I aim to fix my attention on certain geometric or organic elements. That may include isolating on subtle arrangements of light and geometry, color patterns, design and conceptual ideas.
By focusing on the intimate sections of a “larger canvas”, I’m striving to transform structural elements into a fresh visual experience that may convey new information and engagement.
Hopefully, from close observation, I learn to see the structure again- for the first time."
Bio/Career Highlights-
Alan Leder is a fine arts photographer working in the Chicago area.
He has a BFA in painting (Northern Illinois Univ.) and an MFA in filmmaking (School of the Art Institute of Chicago).
Alan is the former Executive Director of the Evanston Art Center, and for nearly 20 years, was the Director of Visual and Media Arts at the Illinois Arts Council.
As an educator, he has taught photography and filmmaking at many institutions, including the University of Illinois / Chicago, Loyola University, and Columbia College.
Alan has worked as a commercial photographer and documentary film producer, with several films in distribution, including: “A Film About Karl Wirsum”
and “Mama Florence and Papa Cock”. As a fine arts photographer, he has exhibited widely in the U.S. and Mexico.
Recent Group exhibitions:
-Chicago Alliance of Visual Artists (“Urban Life”, Award of Excellence)
-Praxis Gallery, Minneapolis (“Making Strange”)
-Evanston Art Center (“Later impressions”, Best of Show)
-Bridgeport Art Center, (“Curators Create”,10 photos)
-Center For Fine Art Photography, Fort Collins, Colorado (“Water”)
-Photo Place Gallery, Middleton, Vermont (2016-2018)
Recent Solo Exhibitions:
-Benedictine University (“Stilled Lives / Mexican Cemetery Nichos)
-Art Print Gallery, San Miguel de Allende (“ 20 Banquetas”)
Alan Leder's photography and films are in numerous public and private collections throughout the U.S. and Mexico.
Alan lives in Evanston Illinois with his wife, Jane Leder, an acclaimed author and journalist, and Augie, their Maine Coon cat who rules the household.
He and his wife spend part of the winter months in San Miguel de Allende, Mexico, a major inspiration for Alan’s photography.
Spiritual mentors include Richard Diebenkorn and Agnes Martin. Michael Kenna and Lewis Baltz are among the photographers who have guided my camera’s eye.
I’m attracted to familiar, often vernacular subjects that I find in
urban settings. Complex urban structures are often recorded, but not entirely known. They have the potential of being re-visualized and re-contextualized through
intervention.In my exploration, I find there is a kind of half-light – an intuition that the entire story can only be grasped by the flickers and shadows cast off by the facts; there’s always more to be discovered within the boundaries of the whole.
To that end, I aim to fix my attention on certain geometric or organic elements. That may include isolating on subtle arrangements of light and geometry, color patterns, design and conceptual ideas.
By focusing on the intimate sections of a “larger canvas”, I’m striving to transform structural elements into a fresh visual experience that may convey new information and engagement.
Hopefully, from close observation, I learn to see the structure again- for the first time."
Bio/Career Highlights-
Alan Leder is a fine arts photographer working in the Chicago area.
He has a BFA in painting (Northern Illinois Univ.) and an MFA in filmmaking (School of the Art Institute of Chicago).
Alan is the former Executive Director of the Evanston Art Center, and for nearly 20 years, was the Director of Visual and Media Arts at the Illinois Arts Council.
As an educator, he has taught photography and filmmaking at many institutions, including the University of Illinois / Chicago, Loyola University, and Columbia College.
Alan has worked as a commercial photographer and documentary film producer, with several films in distribution, including: “A Film About Karl Wirsum”
and “Mama Florence and Papa Cock”. As a fine arts photographer, he has exhibited widely in the U.S. and Mexico.
Recent Group exhibitions:
-Chicago Alliance of Visual Artists (“Urban Life”, Award of Excellence)
-Praxis Gallery, Minneapolis (“Making Strange”)
-Evanston Art Center (“Later impressions”, Best of Show)
-Bridgeport Art Center, (“Curators Create”,10 photos)
-Center For Fine Art Photography, Fort Collins, Colorado (“Water”)
-Photo Place Gallery, Middleton, Vermont (2016-2018)
Recent Solo Exhibitions:
-Benedictine University (“Stilled Lives / Mexican Cemetery Nichos)
-Art Print Gallery, San Miguel de Allende (“ 20 Banquetas”)
Alan Leder's photography and films are in numerous public and private collections throughout the U.S. and Mexico.
Alan lives in Evanston Illinois with his wife, Jane Leder, an acclaimed author and journalist, and Augie, their Maine Coon cat who rules the household.
He and his wife spend part of the winter months in San Miguel de Allende, Mexico, a major inspiration for Alan’s photography.
DOUBLE CLOVE HITCH by Alan Leder
(Click on image for larger view)
(Click on image for larger view)
SKYBRELLA by Alan Leder
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(Click on image for larger view)
EYE OF GLASS by Angela Holm
(Click on image for larger view)
(Click on image for larger view)
Angela Holm says, "I love looking for shapes and in some instances providing my own to work within.
Upon receiving a personal photo challenge to photographic in a new aspect ratio, I joked that I would be known for triangular made photos. Now a couple of years later, I am still experimenting and making triangular photos with my Holga120N. My 'Blue' Holga is designated now for triangles.
Other times, it's all about finding a scene that would exist only because of the camera I am using to photograph it. Such as a pinhole camera. The camera sees unlike our own eye so it is like a collaborating with the potential of the camera. All of the photos I have chosen for the Primary Shape Exhibit have been made on film with those two cameras.
Photographing in triangles has been an exercise in seeing. It's a way to get out of the box and see the world in a new view. Finding compositions that work with a triangular frame is fun. The tricky part is that the triangle is invisible to me as I compose each photo. The triangular mask is inside the camera, upside down, and in front of the film.
Working with the pinhole camera opens up my imagination to try the absurd with ideas of the composition constructed-in my mind's eye. The camera has no viewfinder.
Photography is about the experience of exploring and discovering bits of life I may not otherwise notice. Then, along with my choices of film and cameras, seeing what can be created. It is a process of passion and curiosity."
Angela Holm grew up in Kenosha, Wisconsin, and made her way out to Portland, Oregon in 2014.
Angela is a professional photographer. In her photographic work, she utilizes many photographic formats and cameras regularly. Her camera choice includes her Zero Image Pinhole, Pentax 67, Olympus M1, Leica M3, and her 'Blue, Pink or Orange' Holga 120N.
Angela states, "I'm curious. I am deeply interested in what is not easily accessible or found, yet the challenge does not detour me. Rather, I am hungry for adventure and discoveries!"
Beyond her photographic work, Angela runs a city-wide photo community named Photo Club PDX (PCPDX), which focuses on building artistic community, growing photographically, and nurturing the passionate pursuit of creating photographic art.
EXHIBITION RESUME | CURRICULUM VITAE
MAGAZINES
Communal Table, Issue 06
Poppn Mag, Issue 01, Issue 02
SOLO EXHIBITIONS
2019 Photographic Intentions, Chahelam Gallery, Newberg, OR (also showcasing PCPDX)
SELECTED GROUP EXHIBITIONS
2016 IN:Sight Gallery, Hillman City Collaborative, Seattle, WA
2016 PDX Squared, Award Winner, Portland, OR
2017 Fairy Tales and Atom Bombs Exhibit, Lightbox Gallery, Astoria, OR
2017 PDX Squared, Award Winner, Portland, OR
2018 PDX30 Exhibit, Lightbox Photographic Gallery, Astoria, OR
2020 PDX40 Exhibit, Lightbox Photographic Gallery, Astoria, OR
2020 Fantastic Film Show, Lightbox Photographic Gallery, Astoria, OR
SELECTED ONLINE GROUP EXHIBITIONS
2020 Analog Forever Magazine, 'Magical Realism.'
2020 Blue Sky Gallery's Members Show, 'Visualizing 2020'.
EXHIBITIONS & COMPETITIONS JURIED
2017 Juror, Scholastic Art Awards, Portland, OR
2020 Juror, Scholastic Art Awards, Portland, OR
EXHIBITIONS CURATED
2019 Photographic Intentions, Chahelam Gallery, Newburg, OR
2020 Insight and Vision, PCPDX Annual Gallery, Portland OR
GALLERY REPRESENTATION nonexclusive
2020 Five 3 Gallery, Laguna Beach, CA
PROFESSIONAL AFFILIATIONS
2015-2019 Oregon Professional Photographers Association Member, Portland, OR
2016-2018 Member, F1, Portland, OR
2017- Founder, Photo Club PDX, Portland, OR
2018-2020 Creative Director, Poppn Mag, Portland, OR
2020- Blue Sky Exhibition Committee Member, Portland, OR
RELATED BUSINESS / EMPLOYMENT
2016 Owner/Photographer, Angela Holm Photography LLC, Portland, OR
2017 Owner/Founder, Photo Club PDX LLC, Portland, OR
2019 Instructor of Photography, Saturday Academy, Portland, OR
2019 Brand Manager/Photographer, Rose City Awning, Portland, OR
EDUCATION
2005 BA, Mt. Mary College, Computer Graphics and Design with Emphasis in Fashion and Fine Arts, Milwaukee, Wi
www.angelaholmphotography.com
IG: @angela_holm_photography
FB: angelaholmphotography
www.photoclubpdx.com
IG: @photo_club_pdx
FB: photoclubpdx
IMAGES FOR SALE:
'Eye of Glass'
'Greater Than'
'I am a Rock'
All Images: 24"H x 24" W
Archival paper printed on metallic
$325 unframed
Signed on back
Contact: Angela Holm
angela@angelaholmphotography.com
Upon receiving a personal photo challenge to photographic in a new aspect ratio, I joked that I would be known for triangular made photos. Now a couple of years later, I am still experimenting and making triangular photos with my Holga120N. My 'Blue' Holga is designated now for triangles.
Other times, it's all about finding a scene that would exist only because of the camera I am using to photograph it. Such as a pinhole camera. The camera sees unlike our own eye so it is like a collaborating with the potential of the camera. All of the photos I have chosen for the Primary Shape Exhibit have been made on film with those two cameras.
Photographing in triangles has been an exercise in seeing. It's a way to get out of the box and see the world in a new view. Finding compositions that work with a triangular frame is fun. The tricky part is that the triangle is invisible to me as I compose each photo. The triangular mask is inside the camera, upside down, and in front of the film.
Working with the pinhole camera opens up my imagination to try the absurd with ideas of the composition constructed-in my mind's eye. The camera has no viewfinder.
Photography is about the experience of exploring and discovering bits of life I may not otherwise notice. Then, along with my choices of film and cameras, seeing what can be created. It is a process of passion and curiosity."
Angela Holm grew up in Kenosha, Wisconsin, and made her way out to Portland, Oregon in 2014.
Angela is a professional photographer. In her photographic work, she utilizes many photographic formats and cameras regularly. Her camera choice includes her Zero Image Pinhole, Pentax 67, Olympus M1, Leica M3, and her 'Blue, Pink or Orange' Holga 120N.
Angela states, "I'm curious. I am deeply interested in what is not easily accessible or found, yet the challenge does not detour me. Rather, I am hungry for adventure and discoveries!"
Beyond her photographic work, Angela runs a city-wide photo community named Photo Club PDX (PCPDX), which focuses on building artistic community, growing photographically, and nurturing the passionate pursuit of creating photographic art.
EXHIBITION RESUME | CURRICULUM VITAE
MAGAZINES
Communal Table, Issue 06
Poppn Mag, Issue 01, Issue 02
SOLO EXHIBITIONS
2019 Photographic Intentions, Chahelam Gallery, Newberg, OR (also showcasing PCPDX)
SELECTED GROUP EXHIBITIONS
2016 IN:Sight Gallery, Hillman City Collaborative, Seattle, WA
2016 PDX Squared, Award Winner, Portland, OR
2017 Fairy Tales and Atom Bombs Exhibit, Lightbox Gallery, Astoria, OR
2017 PDX Squared, Award Winner, Portland, OR
2018 PDX30 Exhibit, Lightbox Photographic Gallery, Astoria, OR
2020 PDX40 Exhibit, Lightbox Photographic Gallery, Astoria, OR
2020 Fantastic Film Show, Lightbox Photographic Gallery, Astoria, OR
SELECTED ONLINE GROUP EXHIBITIONS
2020 Analog Forever Magazine, 'Magical Realism.'
2020 Blue Sky Gallery's Members Show, 'Visualizing 2020'.
EXHIBITIONS & COMPETITIONS JURIED
2017 Juror, Scholastic Art Awards, Portland, OR
2020 Juror, Scholastic Art Awards, Portland, OR
EXHIBITIONS CURATED
2019 Photographic Intentions, Chahelam Gallery, Newburg, OR
2020 Insight and Vision, PCPDX Annual Gallery, Portland OR
GALLERY REPRESENTATION nonexclusive
2020 Five 3 Gallery, Laguna Beach, CA
PROFESSIONAL AFFILIATIONS
2015-2019 Oregon Professional Photographers Association Member, Portland, OR
2016-2018 Member, F1, Portland, OR
2017- Founder, Photo Club PDX, Portland, OR
2018-2020 Creative Director, Poppn Mag, Portland, OR
2020- Blue Sky Exhibition Committee Member, Portland, OR
RELATED BUSINESS / EMPLOYMENT
2016 Owner/Photographer, Angela Holm Photography LLC, Portland, OR
2017 Owner/Founder, Photo Club PDX LLC, Portland, OR
2019 Instructor of Photography, Saturday Academy, Portland, OR
2019 Brand Manager/Photographer, Rose City Awning, Portland, OR
EDUCATION
2005 BA, Mt. Mary College, Computer Graphics and Design with Emphasis in Fashion and Fine Arts, Milwaukee, Wi
www.angelaholmphotography.com
IG: @angela_holm_photography
FB: angelaholmphotography
www.photoclubpdx.com
IG: @photo_club_pdx
FB: photoclubpdx
IMAGES FOR SALE:
'Eye of Glass'
'Greater Than'
'I am a Rock'
All Images: 24"H x 24" W
Archival paper printed on metallic
$325 unframed
Signed on back
Contact: Angela Holm
angela@angelaholmphotography.com
GREATER THAN by Angela Holm
(Click on image for larger view)
(Click on image for larger view)
I AM A ROCK by Angela Holm
(Click on image for larger view)
(Click on image for larger view)
COCKTAIL by Audrey Berkowitz
(Click on image for larger view)
(Click on image for larger view)
Audrey Kriss Berkowitz says, "Prior to 2016 I had a successful career in banking for over 25 years.
Life began again in 2017 after a tragedy that changed my life. The death of my son in 2016 from a drug overdose altered my view of the world.
I looked for avenues to travel that would bring meaning, comfort and be helpful to others in order to recover from my grief and honor my son. The gift he left me was to have purpose in life and do something that was meaningful.
I became certified as a life coach in 2017 and also embraced photography after being inspired by the Cape Fear region of North Carolina.
Being behind the camera was a place I found peace and serenity, and a new way to view the world. Art became an integral part of my life, as was relocating to Coastal North Carolina.
Scenery of the North Carolina coast inspired my passion for nature and is the focus of many of my photographs. I do believe that an artist needs to be challenged to grow so have made a point to branch out.
My photograph subjects have also been based on food and wine (three different shows based on this subject), floral, COVID street subjects and candid portraits. Art can be found anywhere we look and I continue to enjoy being a witness to what this world has to offer and giving testimony to its beauty through my art."
Audrey Kriss Berkowitz was born in Brooklyn, NY. She moved to Montgomery County, MD in 1987, raised a family and had a successful banking career for over 25 years.
Photography is a world that opened up to her after a family tragedy in 2016. Audrey relocated to the Wilmington, NC beach area and refocused her energy on what was important to her. Audrey realized the beauty of nature brought her peace and serenity. As a photographer, Audrey feels she is a witness to the Earth's beauty and uses her lens to capture the story in front of her.
As a fine art photographer in the Wilmington, NC area, she has participated with galleries and art shows in North Carolina and different areas of the United States. Her specialties are landscape and food photography, but she brings an artistic spin to her work and always strives to bring forth an emotional connection. Her photography experience is self taught other than a few basic courses at the Cameron Art Museum in Wilmington, NC.
Audrey began participating in private art shows and juried exhibitions in 2017. In addition, her work is carried in 3 different galleries and gift shops in the Wilmington area.
Career Highlights
Artist Shows
October 2018-December 2018
Two Gals and A Few Chickens @ Al Sospiro Restaurant Olney MD
April 9 2019
Nature’s Glory -1 Day Show @ Duchess & the Prince
Leland NC
May 2019- May 31 2019
ALL Art Juried Art Show @ Leland Cultural Art Center
Leland NC
May 2019- July 2019
Camera USA 2019- International Juried Photography Show Naples Florida
May 16, 2019- May 19, 2019
North Carolina Senior Games Art Show @ Artworks Ribbon Finalist Wilmington NC
June 2019- July 2019
311 Art Gallery Floral Show- Juried National Show @ 311 Art Gallery Raleigh NC
August 2019- Sept 2019
Two Gals and A Few Chickens 24 South Coffee 2 woman show Wilmington NC
September 2019
ALL Art Juried Art Show @ Brunswick Forest Center Leland NC
December 2019- February 2020
Holiday Art Sale and Show@ Al Sospiro Restaurant 10 artist show Wilmington NC
February 2020
Two Gals Adventures by Land& Sea @ Whiskey Tango Foxtrot Wilmington NC
May 2020
National Council for Aging Online Exhibition Arlington VA
June 2020-August 2020
Color and Light @ Sweet Nectar Flower & Art Gallery 3 artist show
3x Award Recipient for
Light Space TIme Gallery Online exhibitions
To be published in Wild Root Journal-an artist magazine.
IMAGES FOR SALE:
Railroad to Navassa- 11"H x 14" W
Archival paper
$75 unframed
Limited edition of 15
Signed on back
Cocktails 14H"x11W"
Archival paper
$75 unframed
Limited edition of 15
Signed on back
Horses fenced 11Hx14W
Archival paper
$75 unframed
Limited edition of 15
Signed on back
Contact:Audrey Kriss Berkowitz
akberkow@gmail.com
www.audreykrissphotography.com
instragram/audreykrissphotography
fb fb/audreykrissphotography
Life began again in 2017 after a tragedy that changed my life. The death of my son in 2016 from a drug overdose altered my view of the world.
I looked for avenues to travel that would bring meaning, comfort and be helpful to others in order to recover from my grief and honor my son. The gift he left me was to have purpose in life and do something that was meaningful.
I became certified as a life coach in 2017 and also embraced photography after being inspired by the Cape Fear region of North Carolina.
Being behind the camera was a place I found peace and serenity, and a new way to view the world. Art became an integral part of my life, as was relocating to Coastal North Carolina.
Scenery of the North Carolina coast inspired my passion for nature and is the focus of many of my photographs. I do believe that an artist needs to be challenged to grow so have made a point to branch out.
My photograph subjects have also been based on food and wine (three different shows based on this subject), floral, COVID street subjects and candid portraits. Art can be found anywhere we look and I continue to enjoy being a witness to what this world has to offer and giving testimony to its beauty through my art."
Audrey Kriss Berkowitz was born in Brooklyn, NY. She moved to Montgomery County, MD in 1987, raised a family and had a successful banking career for over 25 years.
Photography is a world that opened up to her after a family tragedy in 2016. Audrey relocated to the Wilmington, NC beach area and refocused her energy on what was important to her. Audrey realized the beauty of nature brought her peace and serenity. As a photographer, Audrey feels she is a witness to the Earth's beauty and uses her lens to capture the story in front of her.
As a fine art photographer in the Wilmington, NC area, she has participated with galleries and art shows in North Carolina and different areas of the United States. Her specialties are landscape and food photography, but she brings an artistic spin to her work and always strives to bring forth an emotional connection. Her photography experience is self taught other than a few basic courses at the Cameron Art Museum in Wilmington, NC.
Audrey began participating in private art shows and juried exhibitions in 2017. In addition, her work is carried in 3 different galleries and gift shops in the Wilmington area.
Career Highlights
Artist Shows
October 2018-December 2018
Two Gals and A Few Chickens @ Al Sospiro Restaurant Olney MD
April 9 2019
Nature’s Glory -1 Day Show @ Duchess & the Prince
Leland NC
May 2019- May 31 2019
ALL Art Juried Art Show @ Leland Cultural Art Center
Leland NC
May 2019- July 2019
Camera USA 2019- International Juried Photography Show Naples Florida
May 16, 2019- May 19, 2019
North Carolina Senior Games Art Show @ Artworks Ribbon Finalist Wilmington NC
June 2019- July 2019
311 Art Gallery Floral Show- Juried National Show @ 311 Art Gallery Raleigh NC
August 2019- Sept 2019
Two Gals and A Few Chickens 24 South Coffee 2 woman show Wilmington NC
September 2019
ALL Art Juried Art Show @ Brunswick Forest Center Leland NC
December 2019- February 2020
Holiday Art Sale and Show@ Al Sospiro Restaurant 10 artist show Wilmington NC
February 2020
Two Gals Adventures by Land& Sea @ Whiskey Tango Foxtrot Wilmington NC
May 2020
National Council for Aging Online Exhibition Arlington VA
June 2020-August 2020
Color and Light @ Sweet Nectar Flower & Art Gallery 3 artist show
3x Award Recipient for
Light Space TIme Gallery Online exhibitions
To be published in Wild Root Journal-an artist magazine.
IMAGES FOR SALE:
Railroad to Navassa- 11"H x 14" W
Archival paper
$75 unframed
Limited edition of 15
Signed on back
Cocktails 14H"x11W"
Archival paper
$75 unframed
Limited edition of 15
Signed on back
Horses fenced 11Hx14W
Archival paper
$75 unframed
Limited edition of 15
Signed on back
Contact:Audrey Kriss Berkowitz
akberkow@gmail.com
www.audreykrissphotography.com
instragram/audreykrissphotography
fb fb/audreykrissphotography
FENCE HORSE by Audrey Berkowitz
(Click on image for larger view)
(Click on image for larger view)
RAILROAD NAVASSA by Audrey Berkowitz
(Click on image for larger view)
(Click on image for larger view)
BALANCE by Ave Pildas
HONORABLE MENTION
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HONORABLE MENTION
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Ave Pildas says, "I’ve always been attracted to exploring shape, symmetry and asymmetry in my over fifty-year career. Instead of the traditional bowl of fruit, veggies, and a dead rabbit or pheasant, these still lifes focus on basic shapes and primary colors, creating multi-dimensional abstraction.
I arrange industrial items shaped like circles, squares, andtriangles, on patterns to create shadows, reflection, depth and dimensionwithin the image. There is a definite nod to Dada, De Stijl, Surrealism, The Bauhaus,and other influences from my design education. I have created 30 of thesecompositions to date. I continue to work on this project and add to this seriesbecause there is so much more to discover in the world of geometrics."
Whether photographing jazz greats in smoke-filled clubs, the gritty theatrics on infamous Hollywood Boulevard or the spontaneousinteractions between people and animals at locations world wide – Ave Pildas offers a rich and diverse survey of contemporary life.
Pildas has been taking pictures that combine his keen observationalability with his exceptional prowess as a designer for over fifty years. His photographs have appeared in national and international publications. Many of his images of Hollywood Boulevard from the 1970s are represented in the permanent collections of the Los Angeles County Museum of Art and the New YorkPublic Library. Three books of his photographs have been published: Art DecoLA, Movie Palaces, and recently Bijou, released in October 2016 by NazraeliPress. He is also Professor Emeritus at Otis College of Art and Design.
www.avepildas.com
instagram: @avepildas
310.283.9434
I arrange industrial items shaped like circles, squares, andtriangles, on patterns to create shadows, reflection, depth and dimensionwithin the image. There is a definite nod to Dada, De Stijl, Surrealism, The Bauhaus,and other influences from my design education. I have created 30 of thesecompositions to date. I continue to work on this project and add to this seriesbecause there is so much more to discover in the world of geometrics."
Whether photographing jazz greats in smoke-filled clubs, the gritty theatrics on infamous Hollywood Boulevard or the spontaneousinteractions between people and animals at locations world wide – Ave Pildas offers a rich and diverse survey of contemporary life.
Pildas has been taking pictures that combine his keen observationalability with his exceptional prowess as a designer for over fifty years. His photographs have appeared in national and international publications. Many of his images of Hollywood Boulevard from the 1970s are represented in the permanent collections of the Los Angeles County Museum of Art and the New YorkPublic Library. Three books of his photographs have been published: Art DecoLA, Movie Palaces, and recently Bijou, released in October 2016 by NazraeliPress. He is also Professor Emeritus at Otis College of Art and Design.
www.avepildas.com
instagram: @avepildas
310.283.9434
INSIDE THE BOX by Ave Pildas
(Click on image for larger view)
(Click on image for larger view)
MADE IN ROTTERDAM by Ave Pildas
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ART INSTITUTE ROOFTOP by Barbara Hayden
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(Click on image for larger view)
Barbara Hayden says, "I first learned photography from my father, who first learned photography in the US Army Signal Corp, WWII.
Dad's studios and darkrooms were my classrooms and playground for infinite photo magic.
The School of Visual Arts (NYC 1968-1971) provided my formal education. I am a Street-Shooting-Purist, no posing, natural light only. I aim to catch the quick moments barely noticed.
Having been widowed twice, at 25 and 34 years old, my passion and involvement with photography was set aside while my healing and regrouping led me to the Los Angeles Deaf Community and a 30-year career in primary education.
When technology made photography a darkroom-less possibility, I was ready to dive back in. I bought a high-end large format printer, editing software, and a Canon DSLR (currently attached to my Olympus OMD mirror-less).
I especially enjoy the Rose Bowl Swap Meet, Grand Central Market/DTLA, and anywhere NYC."
CV:
Education-
School of Visual Arts: Photography
California State University:
B.A.- Deaf Studies/Linguistics
M.A.- Curriculum Development
Credentials and Employment-
Freelance Photographer
American Sign Language Interpreter
(Retired LAUSD)
Arts Program Supervisor/Technology Coordinator/Visual Arts Credential
http://www.bhaydenphotography.com
barbarahayden@gmail.com
Dad's studios and darkrooms were my classrooms and playground for infinite photo magic.
The School of Visual Arts (NYC 1968-1971) provided my formal education. I am a Street-Shooting-Purist, no posing, natural light only. I aim to catch the quick moments barely noticed.
Having been widowed twice, at 25 and 34 years old, my passion and involvement with photography was set aside while my healing and regrouping led me to the Los Angeles Deaf Community and a 30-year career in primary education.
When technology made photography a darkroom-less possibility, I was ready to dive back in. I bought a high-end large format printer, editing software, and a Canon DSLR (currently attached to my Olympus OMD mirror-less).
I especially enjoy the Rose Bowl Swap Meet, Grand Central Market/DTLA, and anywhere NYC."
CV:
Education-
School of Visual Arts: Photography
California State University:
B.A.- Deaf Studies/Linguistics
M.A.- Curriculum Development
Credentials and Employment-
Freelance Photographer
American Sign Language Interpreter
(Retired LAUSD)
Arts Program Supervisor/Technology Coordinator/Visual Arts Credential
http://www.bhaydenphotography.com
barbarahayden@gmail.com
LUNCH BREAK by Barbara Hayden
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WINDOWS by Barbara Hayden
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LAWN CHAIRS by Barbara Kantz
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Barbara Kantz is a retired college professor who taught history and human services.
She is interested in visual art as an important element in examining the human condition. She developed an aesthetic sense from her father, a commercial artist.
She lives on Long Island, in an historic home on a tidal marsh. She photographs what is local and regional. She is an award winning photographer and songwriter.
She studied photography at Parsons School of Design.
https://barbarakantz.wixsite.com/kantz
She is interested in visual art as an important element in examining the human condition. She developed an aesthetic sense from her father, a commercial artist.
She lives on Long Island, in an historic home on a tidal marsh. She photographs what is local and regional. She is an award winning photographer and songwriter.
She studied photography at Parsons School of Design.
https://barbarakantz.wixsite.com/kantz
ROOVES by Barbara Kantz
(Click on image for larger view)
(Click on image for larger view)
SWAN BALLUSTRADE by Barbara Kantz
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(Click on image for larger view)
9AM DOWNTOWN by BK Kelley
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(Click on image for larger view)
BK Kelley says, "These images are part of a larger project exploring the end of an era, documenting and interpreting that loss, and expressing a small part of the emotions surrounding the memory, loss and longing that accompany any ending. Las Vegas is always changing, and downtown Las Vegas is losing one character while taking on another.
The many people who have been involved in any mass gathering that recurs time and time again, for a hundred years, have memories good and bad. Some dedicate their lives to working in the arena, some just arrive, experience and leave. When it ends, no new memories will be made, so the old ones become more important."
Bio
BK Kelley is a product of the American Midwest, being born and raised there, but has a restless soul and has lived in many places for short stretches of time. Having lived in the various regional cultures of these places and absorbing their differing approaches to the world gives an artist a perspective that does not arise from a single place and time. Now based in Florida, BK explores the peninsula’s varied geography, history, and cultures, while still attempting to integrate the effects of a life spent travelling.
Inspired from an early age by literature, BK’s work is informed by influences as varied as Tolstoy, Swift and Hemingway. Literature opens worlds.
BK’s first experience with a camera was an old Polaroid before that film fell into disuse, and progressed to digital, then 35mm film and large format cameras.
This year has been strange, although BK had one image in the Griffin Museum of Photography's 26th Annual Juried Show.
All three images for sale, contact bkprime@protonmail.ch,
price dependent on size. Each printed at 30"x40" framed, edition of 25, $2500
The many people who have been involved in any mass gathering that recurs time and time again, for a hundred years, have memories good and bad. Some dedicate their lives to working in the arena, some just arrive, experience and leave. When it ends, no new memories will be made, so the old ones become more important."
Bio
BK Kelley is a product of the American Midwest, being born and raised there, but has a restless soul and has lived in many places for short stretches of time. Having lived in the various regional cultures of these places and absorbing their differing approaches to the world gives an artist a perspective that does not arise from a single place and time. Now based in Florida, BK explores the peninsula’s varied geography, history, and cultures, while still attempting to integrate the effects of a life spent travelling.
Inspired from an early age by literature, BK’s work is informed by influences as varied as Tolstoy, Swift and Hemingway. Literature opens worlds.
BK’s first experience with a camera was an old Polaroid before that film fell into disuse, and progressed to digital, then 35mm film and large format cameras.
This year has been strange, although BK had one image in the Griffin Museum of Photography's 26th Annual Juried Show.
All three images for sale, contact bkprime@protonmail.ch,
price dependent on size. Each printed at 30"x40" framed, edition of 25, $2500
GEOGRAPHY OF LONGING by BK Kelley
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SOUND + VISION by BK Kelley
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MOMA WINDOW by Brian Alterio
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Brian Alterro says, "It seems there has never been a time since my visual awakening that space and spacial dynamics were not at the forefront of my vision.
I firmly believe good composition on the whole is the balance of internal shape to shape interaction and their collective relationship to the outer edges of the greater frame.
I further believe that the shape to shape relationships are in essence, a story waiting to be discovered by the viewer and, hence, a gift by the originator."
Education:
• BFA - Photography, Mass College of Art , Boston MA.
• MFA Post Graduate Photographic Program, Oxford Polytechnic.
Achievements:
• Freelance Photographer Boston, MA.
• Lecturer, Creative Photography - Oxford Polytechnic.
• Lecturer, Creative Photography - Upper Heyford Community College,
• Director/Founder, Oxford Photographic Workshops
• Consultant - 20th Century Photography,
Museum of Modern Art, Oxford, England
• Director First Aaron Siskin retrospective photographic exhibition
in England in conjunction with Light Gallery, NYC at MOMA, Oxford
• Visual Arts Panel Member • Southern Arts Association, Oxford, England
Photographic Grants:
• Arts Council of Great Britain • Southern Arts Association
Publications:
• British Journal of Photography Annual
• Creative Camera Yearbook
• Creative Camera Monthly
• British Journal of Photography Monthly
• About 70 Photographs • Chris Steele Perkins
Exhibitions:
• Quadrangle Gallery, Oxford, England [ one man show ]
• Half-moon Gallery, London, England
• Creative Camera Gallery, London, England [ one man show ]
• Wolfson College Gallery, Oxford, England
• Photographers Gallery, London, England
• MOMA, Oxford, England [one man show ]
• Diaframa Gallery, Milan, Italy [ one man show ]
• Sunderland Arts Center, Newcastle, England [ one man show ]
• “The Naked Environment”, Salzburg, Austria
• Serpentine Gallery, Hide Park, London, England
• Proposition for an Infinite Garden, Government Art Collection, London
• Black & White - PhotoPlace Gallery - Middlebury, VT
• Finding The Light - PhotoPlace Gallery - Middlebury, VT
• Human Nature, The Griffin Museum of Photography, Winchester, MA
• History is Now - The Hayward Gallery, Southbank Center, London
Works in Public Collection s:
• Arts Council of Great Britain, London, England
• Department of the Environment, London, England
• Museum of Modern Art, Oxford, England
w w w . b r i a n a l t e r i o . c o m
3 0 E a s t E n d A v e - # 6 D ,
N e w Yo r k , N Y 1 0 0 2 8 • 7 8 1 7 7 1 2 2 2 9 • B r i a n . a l t e r i o @ g m a i l . c o m
I firmly believe good composition on the whole is the balance of internal shape to shape interaction and their collective relationship to the outer edges of the greater frame.
I further believe that the shape to shape relationships are in essence, a story waiting to be discovered by the viewer and, hence, a gift by the originator."
Education:
• BFA - Photography, Mass College of Art , Boston MA.
• MFA Post Graduate Photographic Program, Oxford Polytechnic.
Achievements:
• Freelance Photographer Boston, MA.
• Lecturer, Creative Photography - Oxford Polytechnic.
• Lecturer, Creative Photography - Upper Heyford Community College,
• Director/Founder, Oxford Photographic Workshops
• Consultant - 20th Century Photography,
Museum of Modern Art, Oxford, England
• Director First Aaron Siskin retrospective photographic exhibition
in England in conjunction with Light Gallery, NYC at MOMA, Oxford
• Visual Arts Panel Member • Southern Arts Association, Oxford, England
Photographic Grants:
• Arts Council of Great Britain • Southern Arts Association
Publications:
• British Journal of Photography Annual
• Creative Camera Yearbook
• Creative Camera Monthly
• British Journal of Photography Monthly
• About 70 Photographs • Chris Steele Perkins
Exhibitions:
• Quadrangle Gallery, Oxford, England [ one man show ]
• Half-moon Gallery, London, England
• Creative Camera Gallery, London, England [ one man show ]
• Wolfson College Gallery, Oxford, England
• Photographers Gallery, London, England
• MOMA, Oxford, England [one man show ]
• Diaframa Gallery, Milan, Italy [ one man show ]
• Sunderland Arts Center, Newcastle, England [ one man show ]
• “The Naked Environment”, Salzburg, Austria
• Serpentine Gallery, Hide Park, London, England
• Proposition for an Infinite Garden, Government Art Collection, London
• Black & White - PhotoPlace Gallery - Middlebury, VT
• Finding The Light - PhotoPlace Gallery - Middlebury, VT
• Human Nature, The Griffin Museum of Photography, Winchester, MA
• History is Now - The Hayward Gallery, Southbank Center, London
Works in Public Collection s:
• Arts Council of Great Britain, London, England
• Department of the Environment, London, England
• Museum of Modern Art, Oxford, England
w w w . b r i a n a l t e r i o . c o m
3 0 E a s t E n d A v e - # 6 D ,
N e w Yo r k , N Y 1 0 0 2 8 • 7 8 1 7 7 1 2 2 2 9 • B r i a n . a l t e r i o @ g m a i l . c o m
Q WITH STREET CONSTRUCTION by Brian Alterio
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SEATTLE by Brian Alterio
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SONG HQ by Brian Alterio
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Brian Alterro says, "It seems there has never been a time since my visual awakening that space and spacial dynamics were not at the forefront of my vision.
I firmly believe good composition on the whole is the balance of internal shape to shape interaction and their collective relationship to the outer edges of the greater frame.
I further believe that the shape to shape relationships are in essence, a story waiting to be discovered by the viewer and, hence, a gift by the originator."
Education:
• BFA - Photography, Mass College of Art , Boston MA.
• MFA Post Graduate Photographic Program, Oxford Polytechnic.
Achievements:
• Freelance Photographer Boston, MA.
• Lecturer, Creative Photography - Oxford Polytechnic.
• Lecturer, Creative Photography - Upper Heyford Community College,
• Director/Founder, Oxford Photographic Workshops
• Consultant - 20th Century Photography,
Museum of Modern Art, Oxford, England
• Director First Aaron Siskin retrospective photographic exhibition
in England in conjunction with Light Gallery, NYC at MOMA, Oxford
• Visual Arts Panel Member • Southern Arts Association, Oxford, England
Photographic Grants:
• Arts Council of Great Britain • Southern Arts Association
Publications:
• British Journal of Photography Annual
• Creative Camera Yearbook
• Creative Camera Monthly
• British Journal of Photography Monthly
• About 70 Photographs • Chris Steele Perkins
Exhibitions:
• Quadrangle Gallery, Oxford, England [ one man show ]
• Half-moon Gallery, London, England
• Creative Camera Gallery, London, England [ one man show ]
• Wolfson College Gallery, Oxford, England
• Photographers Gallery, London, England
• MOMA, Oxford, England [ one man show ]
• Diaframa Gallery, Milan, Italy [ one man show ]
• Sunderland Arts Center, Newcastle, England [ one man show ]
• “The Naked Environment”, Salzburg, Austria
• Serpentine Gallery, Hide Park, London, England
• Proposition for an Infinite Garden, Government Art Collection, London
• Black & White - PhotoPlace Gallery - Middlebury, VT
• Finding The Light - PhotoPlace Gallery - Middlebury, VT
• Human Nature, The Griffin Museum of Photography, Winchester, MA
• History is Now - The Hayward Gallery, Southbank Center, London
Works in Public Collection s:
• Arts Council of Great Britain, London, England
• Department of the Environment, London, England
• Museum of Modern Art, Oxford, England
w w w . b r i a n a l t e r i o . c o m
3 0 E a s t E n d A v e - # 6 D ,
N e w Yo r k , N Y 1 0 0 2 8 • 7 8 1 7 7 1 2 2 2 9 • B r i a n . a l t e r i o @ g m a i l . c o m
I firmly believe good composition on the whole is the balance of internal shape to shape interaction and their collective relationship to the outer edges of the greater frame.
I further believe that the shape to shape relationships are in essence, a story waiting to be discovered by the viewer and, hence, a gift by the originator."
Education:
• BFA - Photography, Mass College of Art , Boston MA.
• MFA Post Graduate Photographic Program, Oxford Polytechnic.
Achievements:
• Freelance Photographer Boston, MA.
• Lecturer, Creative Photography - Oxford Polytechnic.
• Lecturer, Creative Photography - Upper Heyford Community College,
• Director/Founder, Oxford Photographic Workshops
• Consultant - 20th Century Photography,
Museum of Modern Art, Oxford, England
• Director First Aaron Siskin retrospective photographic exhibition
in England in conjunction with Light Gallery, NYC at MOMA, Oxford
• Visual Arts Panel Member • Southern Arts Association, Oxford, England
Photographic Grants:
• Arts Council of Great Britain • Southern Arts Association
Publications:
• British Journal of Photography Annual
• Creative Camera Yearbook
• Creative Camera Monthly
• British Journal of Photography Monthly
• About 70 Photographs • Chris Steele Perkins
Exhibitions:
• Quadrangle Gallery, Oxford, England [ one man show ]
• Half-moon Gallery, London, England
• Creative Camera Gallery, London, England [ one man show ]
• Wolfson College Gallery, Oxford, England
• Photographers Gallery, London, England
• MOMA, Oxford, England [ one man show ]
• Diaframa Gallery, Milan, Italy [ one man show ]
• Sunderland Arts Center, Newcastle, England [ one man show ]
• “The Naked Environment”, Salzburg, Austria
• Serpentine Gallery, Hide Park, London, England
• Proposition for an Infinite Garden, Government Art Collection, London
• Black & White - PhotoPlace Gallery - Middlebury, VT
• Finding The Light - PhotoPlace Gallery - Middlebury, VT
• Human Nature, The Griffin Museum of Photography, Winchester, MA
• History is Now - The Hayward Gallery, Southbank Center, London
Works in Public Collection s:
• Arts Council of Great Britain, London, England
• Department of the Environment, London, England
• Museum of Modern Art, Oxford, England
w w w . b r i a n a l t e r i o . c o m
3 0 E a s t E n d A v e - # 6 D ,
N e w Yo r k , N Y 1 0 0 2 8 • 7 8 1 7 7 1 2 2 2 9 • B r i a n . a l t e r i o @ g m a i l . c o m
WEST 54TH copy by Brian Alterio
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WTC by Brian Alterio
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ALEX AND THE BIG BLUE CHAIR #4 by Brian Cann
FIRST PLACE
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FIRST PLACE
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Curator Mark Indig's review:
"The theme lent itself to landscapes, architecture, constructed images, abstracts, collages, fractals, organic materials, etc. Each of those categories had a winning image but I didn’t expect so many uses of the human form to express the theme. And this image in particular, with its rigorous composition, use of color and strong lighting, stood out from the rest."
Mark Indig asks Brian Cann,"Was the image created for the contest or another project?"
Brian Cann says, "The image was originally created for an editorial project. The chair is part of the inventory of a studio I use and, having shot a series of figure studies with the same model, Alex, using a shabby wooden blue chair in a previous session, the size and deep blue of the chair offered to provide a larger stage for her to pose on."
Mark Indig asks,""What was behind the concept, the choice of color and the composition?"
Brian Cann says, "The concept for the shoot was to explore body form and shape utilizing the striking color, lines and curves of the chair. The chair is a particularly pleasing and rich blue which we knew would contrast nicely with Alex's paler skin tones. It was shot under studio light in a completely darkened studio with black walls.
It was primarily an exercise in shape and form, some images have the body adopting the curves of the chair, others have the body shape taking contrasting forms, as in the case of the image here with the vertical leg and the triangle made by the bent leg, although so much of that is due to the body control and sense of form of my model, that it happens on the fly during a shoot and, rather than being pre-planned, is recognized only as it occurs."
Networking #3
"The theme lent itself to landscapes, architecture, constructed images, abstracts, collages, fractals, organic materials, etc. Each of those categories had a winning image but I didn’t expect so many uses of the human form to express the theme. And this image in particular, with its rigorous composition, use of color and strong lighting, stood out from the rest."
Mark Indig asks Brian Cann,"Was the image created for the contest or another project?"
Brian Cann says, "The image was originally created for an editorial project. The chair is part of the inventory of a studio I use and, having shot a series of figure studies with the same model, Alex, using a shabby wooden blue chair in a previous session, the size and deep blue of the chair offered to provide a larger stage for her to pose on."
Mark Indig asks,""What was behind the concept, the choice of color and the composition?"
Brian Cann says, "The concept for the shoot was to explore body form and shape utilizing the striking color, lines and curves of the chair. The chair is a particularly pleasing and rich blue which we knew would contrast nicely with Alex's paler skin tones. It was shot under studio light in a completely darkened studio with black walls.
It was primarily an exercise in shape and form, some images have the body adopting the curves of the chair, others have the body shape taking contrasting forms, as in the case of the image here with the vertical leg and the triangle made by the bent leg, although so much of that is due to the body control and sense of form of my model, that it happens on the fly during a shoot and, rather than being pre-planned, is recognized only as it occurs."
Brian Cann says, "My goal is to produce interesting, non-exploitative, authentic portraits that stray away from cliche and in which my models are co-creators: collaborators in a process. I work with interested models without regard for gender, age, ethnicity, or body type, but prefer to work repeatedly with a model rather than constantly photograph someone new. Understanding and trust have to develop over time.
My models are often more mature, and bring experience to the shoots as well as body condition. Images of the naked human form are both an act of resistance in a world in which censorship and re-invented/falsified concepts of morality are becoming more dominant and also timeless, because nothing dates an images as much as the clothes portrayed in it."
My models are often more mature, and bring experience to the shoots as well as body condition. Images of the naked human form are both an act of resistance in a world in which censorship and re-invented/falsified concepts of morality are becoming more dominant and also timeless, because nothing dates an images as much as the clothes portrayed in it."
Additional review by curator Dianne Yudelson: "The juxtaposition of organic and geometric elements in Brian Cann's Alex and the Big Blue Chair provides a contrast that enhances the dimensional framing and resulting formation of a center focal point--a blue triangle. The side lighting of both legs expertly provides a highlighted surround for that focal point."
Born in England, moved to Germany to become American, but still living near Stuttgart, Germany. Brian Cann taught
math at school and university. Studied photography. stopped. started again, motivated by early retirement and his wife. An early specialization in the studio slowly shifted to outside images. Portraits of athletes, many of them masters, morphed into figure studies and explorations in erotic and fetish photography, often with the same models: typically strong, fit, and older.
Career highlights:
Solo show and calender of landscape nudes, Waldenbuch, Germany / Calvendo Verlag, 2019-2020.
In the last two years my work has also appeared in IoN magazine, 'Mein heimliches Auge,' WASE magazine and others, and has been featured in juried exhibitions in the USA, Scotland, Hungary, France, Montenegro, and Germany.
Juror's prize in the 'Material' (2019) and 'CorpoRealities' (2020) exhibitions in the PH21 Gallery, Budapest, Hungary. Winner, nude category, 8th Tiger awards (+4 honorable mentions). Two honorable mentions, nude category, Monochrome Awards 2019. Honorable mention, category 'Grace,' Photos de Femmes. France 2020. Four honorable mentions MonovisionAwards 2020.
IMAGES FOR SALE:
Alex and the big blue chair #4
11" x 11"
Archival paper
$450 unframed
limited edition of 10 + 2AP
signed on back
In a field in Mecklenburg-Vorpommern
12" x 15"
Archival paper
$450 unframed
limited edition of 10 + 2AP
signed on back
Networking #3
11" x 11"
Archival paper
$450 unframed
limited edition of 10 + 2AP
signed on back
contact: Brian Cann
IN A FIELD IN MECKLENBURG-VORPOMMERN by Brian Cann
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NETWORKING #3 by Brian Cann
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GETTING ROUND TO IT by Bruce Flye
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Bruce Flye says, "Barriers, restrictions and assumed certainties push me away - when they aren’t pulling me in. The same goes for hard geometry and formal constructions.
Sometimes, however, they open into possibility, where limits suggest the limitless, and closed doors open to expanding horizons that transcend the concepts of past, present and future. Sometimes I recognize possibility when looking for it, but most often it appears on its own, unbidden and unambiguous - and sometimes when I have a camera.
Making Voices Visible is a thread that runs through most of my professional activities since 2004. Prior to that, as an architect I sought to make aspirations and goals visible in drawings and then give them life in bricks and mortar. As a graphic facilitator I evolved those skills to cover yards and yards of chart paper as I helped others see what they were saying and thinking, and then understanding those things in new ways - live and unrehearsed.
As an illustrator, people have used my work to give their voices to creative conversations and hidden insights. Along the way, I’ve been described in various ways: an architect of ideas; a graphic developmentologist; the love child of Batman and the Cat in the Hat.
Photography, on the other hand, is about making my own voices visible.
In The Wind in the Willows, Kenneth Grahame said “Believe me, my young friend, there is nothing — absolutely nothing — half so much worth doing as simply messing about in boats.” Although I spend plenty of time in boats myself, I feel the same way about cameras. Old ones, new ones, digital or film - there’s nothing like being surprised by how they confirm the obvious to be something else altogether."
www.bruceflye.com
IMAGES FOR SALE:
Getting Round to It - 16” X 24”
Museum Quality Paper
$165 unframed
Hardee Creek - 16” X 16”
Museum Quality Paper
$140 unframed
Winter Crossing- 16” X 16”
Museum Quality Paper
$140 unframed
Contact: Bruce Flye
bruceflye@icloud.com
Sometimes, however, they open into possibility, where limits suggest the limitless, and closed doors open to expanding horizons that transcend the concepts of past, present and future. Sometimes I recognize possibility when looking for it, but most often it appears on its own, unbidden and unambiguous - and sometimes when I have a camera.
Making Voices Visible is a thread that runs through most of my professional activities since 2004. Prior to that, as an architect I sought to make aspirations and goals visible in drawings and then give them life in bricks and mortar. As a graphic facilitator I evolved those skills to cover yards and yards of chart paper as I helped others see what they were saying and thinking, and then understanding those things in new ways - live and unrehearsed.
As an illustrator, people have used my work to give their voices to creative conversations and hidden insights. Along the way, I’ve been described in various ways: an architect of ideas; a graphic developmentologist; the love child of Batman and the Cat in the Hat.
Photography, on the other hand, is about making my own voices visible.
In The Wind in the Willows, Kenneth Grahame said “Believe me, my young friend, there is nothing — absolutely nothing — half so much worth doing as simply messing about in boats.” Although I spend plenty of time in boats myself, I feel the same way about cameras. Old ones, new ones, digital or film - there’s nothing like being surprised by how they confirm the obvious to be something else altogether."
www.bruceflye.com
IMAGES FOR SALE:
Getting Round to It - 16” X 24”
Museum Quality Paper
$165 unframed
Hardee Creek - 16” X 16”
Museum Quality Paper
$140 unframed
Winter Crossing- 16” X 16”
Museum Quality Paper
$140 unframed
Contact: Bruce Flye
bruceflye@icloud.com
HARDEE CREEK by Bruce Flye
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WINTER CROSSING by Bruce Flye
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CIRCLING THE STAIRS by Carol Isaak
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Carol Isaak says, "I am Carol Isaak from Portland, Oregon. These images have been gathered over time, since I call myself an accumulator, rather than someone following a specific project.
I have had 2 solo shows in Portland at Camerawork Gallery, (a third in the planning stage, which has been postponed),1 at the Griffin Museum of Photography in Massachusetts, and 4 shows in China as part of festivals.
I participate regularly in juried exhibits. Four times I have shown in a juried (10-piece) portfolio competition at the Blue Sky Gallery in their Northwest Viewing Drawers, and four times I have been a finalist in Critical Mass.
I have a camera in my pocket everyday. I print on Thursdays. That keeps me sane in this period of crazy times. I understand my luck and am grateful. "
www.Carolisaakphoto.com
Ig- @Meijiqueen1
Meiji (Enlightened Peace) is a period in Japanese history and Japanese art. I am in love with Meiji woodblock prints that speak to the newest technology and opening the doors to westerners coming to Japan between 1868 and 1912.
I have had 2 solo shows in Portland at Camerawork Gallery, (a third in the planning stage, which has been postponed),1 at the Griffin Museum of Photography in Massachusetts, and 4 shows in China as part of festivals.
I participate regularly in juried exhibits. Four times I have shown in a juried (10-piece) portfolio competition at the Blue Sky Gallery in their Northwest Viewing Drawers, and four times I have been a finalist in Critical Mass.
I have a camera in my pocket everyday. I print on Thursdays. That keeps me sane in this period of crazy times. I understand my luck and am grateful. "
www.Carolisaakphoto.com
Ig- @Meijiqueen1
Meiji (Enlightened Peace) is a period in Japanese history and Japanese art. I am in love with Meiji woodblock prints that speak to the newest technology and opening the doors to westerners coming to Japan between 1868 and 1912.
ISTANBUL WALKWAY by Carol Isaak
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MET SHADE by Carol Isaak
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(A) MAZE by Catherine Marcogliese
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IMAGES FOR SALE:
Title: (a)Maze, 2020
Size: 11"H x 14"W
Paper: archival, Canson etching rag
Price: $400 unframed
Edition: 10
signed on back
Title: Carrefour, 2020
Size: 11"H x 14"W
Paper: archival, Canson etching rag
Price: $400 unframed
Edition: 10
signed on back
Contact:
Catherine Marcogliese
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Catherine Marcogliese says, "I have always been interested in landscape as a subject in my photography; it is a means through which I can reflect on the state of our world and our place in it. In particular, formal gardens have fascinated me as the ultimate expression of man’s attempts to control nature, by basically turning it into architecture.
Classic European gardens extended the built environment into the natural one, creating a stage where money and power, narrative, and imagination could be projected. Given that we are dealing with an architecture of the exterior, strict geometry becomes the language of form. What better way to control the organic chaos of nature than to cut it up and parcel it into neat avenues and parterres.
Classical gardens were an aesthetic interpretation of landscape, at once artificial and imaginative. My photographic work on this subject reflects this artificiality in the use of formal elements that highlight the structural and geometric compositions of the garden designs, and thus limit any documentary or narrative function.
The unnatural treatment of light and shadow further untether the image from reality, leaving the image open to a more imaginative interpretation: bringing to the foreground the mystery of labyrinthine blind alleys and the strange arrangements of sculpted vegetal shapes.
Classic European gardens extended the built environment into the natural one, creating a stage where money and power, narrative, and imagination could be projected. Given that we are dealing with an architecture of the exterior, strict geometry becomes the language of form. What better way to control the organic chaos of nature than to cut it up and parcel it into neat avenues and parterres.
Classical gardens were an aesthetic interpretation of landscape, at once artificial and imaginative. My photographic work on this subject reflects this artificiality in the use of formal elements that highlight the structural and geometric compositions of the garden designs, and thus limit any documentary or narrative function.
The unnatural treatment of light and shadow further untether the image from reality, leaving the image open to a more imaginative interpretation: bringing to the foreground the mystery of labyrinthine blind alleys and the strange arrangements of sculpted vegetal shapes.
I began my artistic career in painting after having obtained a BFA (Painting and Art History) at Concordia University in Montreal. Since my arrival in France, where I now reside, my work has been concerned with the definition of the notion of the “real” in visual representation.
Early on this involved integrating 3-dimensional objects in my works, but later, with an obvious logic, I turned to photography. Combining found objects and photographs, I employed a multimedia approach that allowed me to question not only the notion of the real but also the role of photography in contemporary art. Today my work is primarily photographic in nature. In conserving the plastic elements of painting such as form, line, or colour, I manipulate my images in an attempt to push photography beyond a straightforward narrative representation in order to arrive at a freedom of expression which is more emotive and personal.
Consistently throughout the evolution of my career, landscape has been my subject of choice, and specifically, our relationship to our environment. Fundamental in my treatment of landscape is that our view of nature is never direct, but is always construed from the perspective of our modern lives. In the end, it is impossible to separate our idea of nature from the context of living in modern urban society, from cultural influences, and our knowledge concerning the precarious state of nature in the twenty-first century."
Early on this involved integrating 3-dimensional objects in my works, but later, with an obvious logic, I turned to photography. Combining found objects and photographs, I employed a multimedia approach that allowed me to question not only the notion of the real but also the role of photography in contemporary art. Today my work is primarily photographic in nature. In conserving the plastic elements of painting such as form, line, or colour, I manipulate my images in an attempt to push photography beyond a straightforward narrative representation in order to arrive at a freedom of expression which is more emotive and personal.
Consistently throughout the evolution of my career, landscape has been my subject of choice, and specifically, our relationship to our environment. Fundamental in my treatment of landscape is that our view of nature is never direct, but is always construed from the perspective of our modern lives. In the end, it is impossible to separate our idea of nature from the context of living in modern urban society, from cultural influences, and our knowledge concerning the precarious state of nature in the twenty-first century."
Career Highlights
PERSONAL EXHIBITIONS:
2017 Whiter than White (paysages domestiques), La Villa Tamaris Centre d’Art, La Seyne sur Mer
Night Sky, Galerie du Tableau, Marseille
2016 Histoires Naturelles : Spectres et Monstres, Muséum d’Histoire Naturelle de Marseille
2014 Au Bout du Regard, La Villa Tamaris Centre d’Art, La Seyne sur Mer
2009 Western Landscapes, Galleria Sangiorgi, Laigueglia, Italie
Arts in Situ, Printemps des Arts, Galerie àcentmètresducentredumonde, Perpignan
2004 Divers chemins à travers le paysage, Galerie Artena, Marseille
2000 Parterres III et IV, Galerie du CAIRN, Réserve Géologique de Haute Provence, Digne les Bains, oeuvre permanente sur le Musée Promenade
GROUP EXHIBITIONS:
2020 Kaleidoscopie, Galerie du Canon, Toulon
Regards Polychromes sur la Ville, Batterie du Cap Nègre, Six Fours les Plages
C’est Votre Choix, Villa Tamaris Centre d’Art
2019 Pré-sélection Prix Polyptyque, Centre Photographique de Marseille
2017 Sauver sa Peau, Galerie Zola, Aix-en-Provence
Nothing Special, L.A. Photo Curator, expo virtuelle, honorable mention
2016 Une (Re)Présentation, Villa Tamaris Centre d’Art
Haunted, Darkroom Gallery, Essex Junction, Vermont, U.S.A.
The Frontier, THE CENTER, Santa Fe, USA
Festival Focales, Villard de Lans
2015 Territoires & Architecture, Centre Culturel Saint-Raphael, Conseil General du Var
2013 La Galerie fait sa Foire, Galerie Vrais Rêves, Lyon
2012 Paysages Urbains, La Croisée des Arts, Saint-Maximin
Futures Mémoires volet II, Association Perceptions Photographiques, Centre Culturel, Saint Raphael
Futures Mémoires, volet I, Association Perceptions Photographiques, La Maison de la Photographie, Toulon
Littoral en Mutation, Festival Photo’med, Sanary sur Mer
2010 Carte Blanche, Association Perceptions Photographiques, Galerie Vrais Rêves, Lyon
Hôtel du Musée, Galerie Vrais Rêves, Rencontres d’Arles
2004 DIGIT.LAND. SCAPE, MAPRA, Lyon
2002 Symposium d’Art Contemporain, Baie St Paul, Québec, Canada
Entre-vues, Villa Aurelienne, Fréjus
2001 La Biennale d’Issy, Cité, Nature : Les Interdits, Issy les Moulineaux
2000 Au fil du temps, le paysage, Quinzaine photographique, Nantes
Image sur Image, Espace Contemporain Arc-en-Ciel, Lievin, Pas-de-Calais, France, organisée par l'association Degrés d'Attitude.
Auprès de mon arbre, Musée d'Assier, Feurs, France
Image sur Image, La Friche Belle de Mai, Marseille
L’Espace mis en E.S.P.A.C.E., E.S.P.A.C.E. Peiresc, Toulon
Projection de dossier, IMAGES, Rencontres Internationales de Photographie, Arles
Dossier d’artiste dans la revue IMAGES, n°39
PUBLIC COLLECTIONS:
Muséum d’Histoire Naturelle de Marseille
New Mexico History Museum, Palace of the Governors, Santa Fe, U.S.A.
Villa Tamaris Centre d’Art
Hôtel des Arts, Conseil Général, Toulon
Reserve Géologique de Digne les Bains
Ville de Roquebrune Cap Martin
https://en.marcogliese.org/
2016 Histoires Naturelles : Spectres et Monstres, Muséum d’Histoire Naturelle de Marseille
2014 Au Bout du Regard, La Villa Tamaris Centre d’Art, La Seyne sur Mer
2009 Western Landscapes, Galleria Sangiorgi, Laigueglia, Italie
Arts in Situ, Printemps des Arts, Galerie àcentmètresducentredumonde, Perpignan
2004 Divers chemins à travers le paysage, Galerie Artena, Marseille
2000 Parterres III et IV, Galerie du CAIRN, Réserve Géologique de Haute Provence, Digne les Bains, oeuvre permanente sur le Musée Promenade
GROUP EXHIBITIONS:
2020 Kaleidoscopie, Galerie du Canon, Toulon
Regards Polychromes sur la Ville, Batterie du Cap Nègre, Six Fours les Plages
C’est Votre Choix, Villa Tamaris Centre d’Art
2019 Pré-sélection Prix Polyptyque, Centre Photographique de Marseille
2017 Sauver sa Peau, Galerie Zola, Aix-en-Provence
Nothing Special, L.A. Photo Curator, expo virtuelle, honorable mention
2016 Une (Re)Présentation, Villa Tamaris Centre d’Art
Haunted, Darkroom Gallery, Essex Junction, Vermont, U.S.A.
The Frontier, THE CENTER, Santa Fe, USA
Festival Focales, Villard de Lans
2015 Territoires & Architecture, Centre Culturel Saint-Raphael, Conseil General du Var
2013 La Galerie fait sa Foire, Galerie Vrais Rêves, Lyon
2012 Paysages Urbains, La Croisée des Arts, Saint-Maximin
Futures Mémoires volet II, Association Perceptions Photographiques, Centre Culturel, Saint Raphael
Futures Mémoires, volet I, Association Perceptions Photographiques, La Maison de la Photographie, Toulon
Littoral en Mutation, Festival Photo’med, Sanary sur Mer
2010 Carte Blanche, Association Perceptions Photographiques, Galerie Vrais Rêves, Lyon
Hôtel du Musée, Galerie Vrais Rêves, Rencontres d’Arles
2004 DIGIT.LAND. SCAPE, MAPRA, Lyon
2002 Symposium d’Art Contemporain, Baie St Paul, Québec, Canada
Entre-vues, Villa Aurelienne, Fréjus
2001 La Biennale d’Issy, Cité, Nature : Les Interdits, Issy les Moulineaux
2000 Au fil du temps, le paysage, Quinzaine photographique, Nantes
Image sur Image, Espace Contemporain Arc-en-Ciel, Lievin, Pas-de-Calais, France, organisée par l'association Degrés d'Attitude.
Auprès de mon arbre, Musée d'Assier, Feurs, France
Image sur Image, La Friche Belle de Mai, Marseille
L’Espace mis en E.S.P.A.C.E., E.S.P.A.C.E. Peiresc, Toulon
Projection de dossier, IMAGES, Rencontres Internationales de Photographie, Arles
Dossier d’artiste dans la revue IMAGES, n°39
PUBLIC COLLECTIONS:
Muséum d’Histoire Naturelle de Marseille
New Mexico History Museum, Palace of the Governors, Santa Fe, U.S.A.
Villa Tamaris Centre d’Art
Hôtel des Arts, Conseil Général, Toulon
Reserve Géologique de Digne les Bains
Ville de Roquebrune Cap Martin
https://en.marcogliese.org/
Title: (a)Maze, 2020
Size: 11"H x 14"W
Paper: archival, Canson etching rag
Price: $400 unframed
Edition: 10
signed on back
Title: Carrefour, 2020
Size: 11"H x 14"W
Paper: archival, Canson etching rag
Price: $400 unframed
Edition: 10
signed on back
Contact:
Catherine Marcogliese
CARREFOUR by Catherine Marcogliese
(Click on image for larger view)
(Click on image for larger view)
ENCLOSURE by Catherine Marcogliese
(Click on image for larger view)
(Click on image for larger view)
EQUIVALENTS SKY LIGHT BACKYARD 1 by Chris Byrnes
(Click on image for larger view)
(Click on image for larger view)
Chris Byrnes says, "These images were taken while in lockdown around my backyard.
Using a cardboard camera with a small fisheye lens I looked up and out at the sky to escape the smallness of my house and life during this period. My work is always about the primal aspect of analogue or hybrid analogue/digital photography while introducing the random, accidental into the process.
Using old and out of date paper and chemicals pushes this beyond the real.
Bio: Master of Fine Art Photography National Art School Sydney 2017
More than 20 years of exhibiting and working in the arts at a local, national and international level."
Career Highlights-
Newcastle Emerging Artist Prize Photography 2013
Finalist Julia Margaret Cameron Awards for Female Photographers 2016-2020
Listed as the top five exhibitions to see in Australia by Art Guide Australia as a participant in Reimagining the Canon at the University of Newcastle Australia 2019.
Exhibiting in France and the UK as part of Shutter Hub UK
IMAGES FOR SALE:
Image 1: Equivalents sky light backyard 1
size: printed size 20 inches x 20 inches
Limited edition: 25
Price: $280US
Image 2: Equivalents sky light backyard 2
size: printed size 20 inches x 20 inches
Limited edition: 25
Price: $280US
Image 3: Equivalents sky light backyard 3
size: printed size 20 inches x 20 inches
Limited edition: 25
Price: $280US
Contact: Chris Byrnes
chrisbyrnesartist@gmail.com
@lady_camera_obscura
Using a cardboard camera with a small fisheye lens I looked up and out at the sky to escape the smallness of my house and life during this period. My work is always about the primal aspect of analogue or hybrid analogue/digital photography while introducing the random, accidental into the process.
Using old and out of date paper and chemicals pushes this beyond the real.
Bio: Master of Fine Art Photography National Art School Sydney 2017
More than 20 years of exhibiting and working in the arts at a local, national and international level."
Career Highlights-
Newcastle Emerging Artist Prize Photography 2013
Finalist Julia Margaret Cameron Awards for Female Photographers 2016-2020
Listed as the top five exhibitions to see in Australia by Art Guide Australia as a participant in Reimagining the Canon at the University of Newcastle Australia 2019.
Exhibiting in France and the UK as part of Shutter Hub UK
IMAGES FOR SALE:
Image 1: Equivalents sky light backyard 1
size: printed size 20 inches x 20 inches
Limited edition: 25
Price: $280US
Image 2: Equivalents sky light backyard 2
size: printed size 20 inches x 20 inches
Limited edition: 25
Price: $280US
Image 3: Equivalents sky light backyard 3
size: printed size 20 inches x 20 inches
Limited edition: 25
Price: $280US
Contact: Chris Byrnes
chrisbyrnesartist@gmail.com
@lady_camera_obscura
EQUIVALENTS SKY LIGHT BACKYARD 2 by Chris Byrnes
(Click on image for larger view)
(Click on image for larger view)
EQUIVALENTS SKY LIGHT BACKYARD 3 by Chris Byrnes
(Click on image for larger view)
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PRIMARY SHAPES HOME PAGE:
https://www.laphotocurator.com/primary-shapes-mark-indig
FIRST PLACE:
https://www.laphotocurator.com/primary-shapes-mark-indig/first-place-brian-cann-alex-and-the-big-blue-chair----/1
SECOND PAGE:
https://www.laphotocurator.com/primary-shapes-mark-indig/second-place-larry-chait-electric----/1
HONORABLE MENTIONS:
https://www.laphotocurator.com/primary-shapes-mark-indig/honorable-mentions-ave-pildas-balance-swen-bernitz-untitled-3-eric-renard-sun-drenched-shapes-john-kosmer-red-dot-square-white-seats-rich-vogel-depth-of-field----/1
BEST SERIES:
https://www.laphotocurator.com/primary-shapes-mark-indig/best-series-eva-mueller-mysolation----/1
EXHIBITION #1:
https://www.laphotocurator.com/primary-shapes-mark-indig/exhibition-1/1
EXHIBITION #2:
https://www.laphotocurator.com/primary-shapes-mark-indig/exhibition-2/1
EXHIBITION #3:
https://www.laphotocurator.com/primary-shapes-mark-indig/exhibition-3/1
EXHIBITION #4:
https://www.laphotocurator.com/primary-shapes-mark-indig/exhibition-4/1
(Click on image for larger view)
------------------------------------------------
PRIMARY SHAPES HOME PAGE:
https://www.laphotocurator.com/primary-shapes-mark-indig
FIRST PLACE:
https://www.laphotocurator.com/primary-shapes-mark-indig/first-place-brian-cann-alex-and-the-big-blue-chair----/1
SECOND PAGE:
https://www.laphotocurator.com/primary-shapes-mark-indig/second-place-larry-chait-electric----/1
HONORABLE MENTIONS:
https://www.laphotocurator.com/primary-shapes-mark-indig/honorable-mentions-ave-pildas-balance-swen-bernitz-untitled-3-eric-renard-sun-drenched-shapes-john-kosmer-red-dot-square-white-seats-rich-vogel-depth-of-field----/1
BEST SERIES:
https://www.laphotocurator.com/primary-shapes-mark-indig/best-series-eva-mueller-mysolation----/1
EXHIBITION #1:
https://www.laphotocurator.com/primary-shapes-mark-indig/exhibition-1/1
EXHIBITION #2:
https://www.laphotocurator.com/primary-shapes-mark-indig/exhibition-2/1
EXHIBITION #3:
https://www.laphotocurator.com/primary-shapes-mark-indig/exhibition-3/1
EXHIBITION #4:
https://www.laphotocurator.com/primary-shapes-mark-indig/exhibition-4/1
