Armineh Hovanesian says, "My photographs are not generally planned in advance, and I do not anticipate that the onlooker will share my viewpoint.

However, I feel that if my photograph leaves an image on the viewer’s mind, something has been accomplished. I see what eye see!"

Bio: Awarded, Published & Internationally Exhibited Photographer: Born in Paris, raised in Tehran & Boston, with a little over 2 years of dormancy in Lisbon, Armineh is a photographer now based in Los Angeles, capturing moments since 2009. 

She is one of the early members of the iphoneography movement. She has had no professional training however her vision has been the driving force behind her creations. Her weapons of choice are her iPhone & Sony ILCE-6000 camera; she is hoping to work with a Sony a99 II or a Leica SL (Typ 601) Mirrorless camera someday!  For the time being, photography is a hobby.

CAREER HIGHLIGHTS:

2015 Recipient of 7th Edition -The Julia Margaret Cameron Award for Women Photographers as one of the Top 15 Women Photographers. 
June 3 – September 30, 2015, Avatars / Self Portraits / Mobile Camera Club -MK2, Paris, France
July 13, 2015 - at a Private Event for See.Me, work displayed as part of the Black & White Collection digital display -The Louvre Museum in Paris, France 
2016 Mobile Photographer of the Year ‐ Lumiere Photography Awards
October 6, 2016 ‐ Participated in 4th Berlin Foto Biennale in  Berlin, Germany
March 12 ‐ 26, 2017 – The New Era Museum’s The Equinox Experience in Florence, Italy

www.armineh-photography.com

Camille Rogine says, "In medical school, we liked to measure things. We liked to quantify.

We liked answers and certainty and we loved quick fixes. I was many things before I entered medical school—a photographer, a researcher, a teacher, a survivor with chronic pain.

Western medicine doesn’t quite know what to do with chronic pain. The tools we use for investigation don’t work and neither do our tools for repair.

I didn’t leave medical school for simple reasons. But the way we manage invisible illnesses wasn’t entirely unrelated. Once I left, I picked up my camera and started re-teaching myself to see.

I don’t believe photography captures as much as it creates—it creates a vision, an orientation, an understanding. These photographs are part of a larger collection in which I am exploring ways to “see” chronic pain.

Cupping is a practice that has existed in many societies throughout history. It leaves large red circles on the body—places where blood and lymph have been mobilized and pulled to the surface. It is therapeutic, but it also is visual—you can see areas of muscle tightness, nerve irritation, and fluid stagnation. You can see pain."

Camille Rogine entered her first darkroom at Swarthmore College and was immediately hooked. At Swarthmore she practiced double exposure photography—which allowed her to merge moments and ideas—and macro photography, which connected her studio work to her biology studies.

After college, photography still infused her pursuits: in a neurology lab she investigated pathways of learning and memory through microscopy, as a teacher she designed and taught a course that was half biology lab and half photography studio, and at Kaiser she founded an Art Program in the Pediatric Infusion Center. Throughout all of this, photography was a constant—a way for her to merge, create, and see deeply. Her work has won several awards and has been shown in various galleries and exhibits since 2011.

CAREER HIGHLIGHTS:

EDUCATION

UCSF School of Medicine. Medical Doctorate candidate        

Mills College, Oakland. Certificate in Post-Baccalaureate Pre-Medical studies: June 2014

Swarthmore College. BA with High Honors, Visual Studies: Biological & Societal Imaging: June 2011

HONORS, AWARDS, GRANTS:

Summer Explore Research Fellowship, UCSF, 2017

Napa Valley Writer’s Conference, 2013

BA High Honors, Swarthmore College, 2011

Sam Spanier Award for Photography, 2011

Robert Savage Image Award, 2011

Reynolds Scholar, 2009-11

Monroe C. Beardsley Summer Research Award, 2010

James H. Scheuer Award, 2009

Friends of Swarthmore Dance Scholarship, 2008

EXHIBITS:

"Now Playing 2," UCSF Parnassus Library: San Francisco CA, May 2018

"Now Playing," UCSF Parnassus Library: San Francisco CA, May 2017

"2013 Civic Art Exhibition," Berkeley Civic Center: Berkeley CA, June 2013

"Phalaenopsis schilleriana," HAPS at SOMArts: San Francisco CA, March 2013

"flora" San Francisco RAW: San Francisco CA, February 2013

"Far and Wide 2011," Woodstock Arts Association and Museum: Woodstock NY, April 2011

"Sleepscapes," The Launchpad: Brooklyn NY, July 2011

LEADERSHIP POSITIONS:

•      UCSF Peer Teaching Program, Faculty Liaison, June 2017 – January 2018

•      UCSF Interpersonal Violence Prevention Conference, Planning Committee, January – Dec 2017

•      Women’s Support Group at MSC Homeless Shelter, Coordinator, October 2016 – Dec 2017

•      UCSF Medical Students for Choice, Coordinator, October 2016 – Dec 2017

•      Native American Health Center, Lead Care Coordinator, April 2015 – August 2016

•      Art in Pediatric Infusion at Kaiser Oakland, Founder, March 2014 – August 2016

PUBLICATIONS:

Dubal, D., Rogine, C. ApoE e4 and Alzheimer’s Disease: let’s talk about sex. JAMA Neurology, 8/28/17

ORAL PRESENTATIONS:

Rogine, C. The power of small gestures. Schwartz Rounds, Kaiser Permanente, Oakland, June 2015.

BIOMEDICAL AND GENETICS RESEARCH:

Summer Explore Research Fellowship, Dept. of Neurology, UCSF. 5/17 – 1/18

Advisors: Dena Dubal, MD/PhD and Elena Minones Moyano, PhD

Project: DNA methylation and RNA expression patterns in maternal versus paternally-derived X chromosomes

Volunteer Researcher, Dept. of Neurology, UCSF. 9/13 – 5/14

Advisors: Kevin Monahan, PhD & Eirene Markenscoff-Papadimitriou, PhD                        
Project: Identification of olfactory receptor enhancers involved in the transcription of one olfactory gene per neuron

Research Technician II, Axel Laboratory, Columbia University. 6/11-7/12

Advisors: Daisuke Hattori, PhD and Richard Axel, MD

Project: Mapping of mushroom body output neurons in the context of learning and memory in Drosophila

Student Researcher, Swarthmore College. 8/10 – 12/10

Advisor: Nick Kaplinsky, PhD

Project: Phenotypic and genetic characterization of suspected heat shock protein gene in Arabidopsis

INDEPENDENT LEARNING AND RESEARCH:

Special Honors Major, Swarthmore College. 9/10 – 6/11

Advisors: Rachel Merz, PhD and Anthony Foy, PhD

•      Independently designed a major bridging the disciplines of biology, literature, and film in the study of visual perception.

•      Pioneered honors thesis examining the relationship between scopic perception and power in relationship to racial and gender inequality.


•      Secured funding for, traveled to, and independently conducted research in Valetta, Malta.

•      Improved the understanding of the relationship between nationalism and xenophobia in Malta through self-directed research on popular media and literature.

Grantee, James H. Scheuer Award. 5/09 - 9/09

Advisor: Vandana Shiva, PhD

•      Awarded funding to travel to New Delhi, India to work under internationally renowned ecofeminist Dr. Vandana Shiva.

•      Advocated for farmers’ rights and environmental justice threatened by the influence of industrial farming and globalization in India.  

LEADERSHIP AND ENGAGEMENT:

Lead Care Coordinator, Native American Health Center. 4/15 - 7/16

•      Identified gaps in care of complex patients by seeking and incorporating feedback from providers, medical assistants, nurses, and administrators. Synthesized this feedback into a multi-pronged proposal to introduce Care Coordination.

•      Spearheaded the design, project management, and delivery of this care coordination program integrating primary care and behavioral health in a highly underserved setting.

•      Managed panel of patients with co-occurring chronic disease and serious mental illness through individual appointments, case management, and accessing resources such as housing, food, and medical supplies.

Founder, Art in Pediatric Infusion at Kaiser Oakland. 2/14 - 7/16

•      Proposed and implemented new program to Kaiser to incorporate visual arts and pediatric care.

•      Partnered with providers, nurses, and administrators to identify outstanding needs in Pediatric Infusion Center. Leveraged studio art experience to creatively address these needs.

•      Proactively collaborated with care team to conceptualize and implement a program providing artistic activities during pediatric infusions and trained new volunteers and staff.

•      Presented program achievements at Schwartz Rounds session on “The Power of Small Gestures”.

Middle School Teacher, Tutor Supervisor, Program Assistant, Head-Royce School. 9/12 – 4/15

•      Mentored and taught at-risk Middle School students of color from Oakland Unified School district.

•      Designed, introduced, and taught original class merging the art studio and biology lab.

•      Revitalized middle school science curriculum through hands-on, laboratory-centered learning modules.

TEACHING AND MENTORING:

Peer Teaching Program, UCSF. 4/17 – 1/18

Peer teaching program in which designed and taught weekly review sessions to first-year medical students at UCSF.

Genetics Teaching Assistant, Mills College. 8/14 – 6/15

Planned and led weekly workshops to introduce and reinforce material; substituted for professor as necessary.

Writing Associate, Swarthmore College. 9/08 – 5/11

Assisted science students in drafting and revising lab reports. ESL writing mentor; staffed writing center on campus.

www.camillerogine.com

Catherine Marcogliese says of this series, 'A Fine Balance, 2017', "To say that my life as a female artist is a finely tuned balancing act is perhaps a cliché.  

The work/family dichotomy of modern life is commonplace and, as many other women have already discovered, domesticity and creativity can be difficult to reconcile. In this series I attempt to capture the fine balance that is my life. I have constructed these images with objects that represent the different forces in my life: from banal domestic objects to sentimental personal objects, to objects used in my creative work.

These objects are arranged in a column structure which is placed on top of books that are in turn balanced on my head. The use of books as the base of these columns recalls the posture lessons that young girls, myself included, had to practice.  The stacks of objects, precariously and incredibly posed, reflect the difficulty of this balancing act of the multi-tasking modern woman. Although these images are constructed post-production, it is important conceptually, that they remain credible and realistic.  

The balance referred to in this series concerns not only my personal life but also my relationship to the medium of photography itself. My background is in painting and I only came to photography relatively late in my career. My training informs how I construct my images which, for the most part, tend to be conceptually based, as opposed to dealing with narrative or documentation.

So, is this series photography, sculpture, installation…? Can it be portraiture when I have purposely turned my back to the camera? Even the plausibility of the images defies its artificiality. These contradictory notions inform, as well, the style of the photography which is relatively classical, reminiscent of Morandi-style still lives, and is in sharp contrast to the conceptual nature of the work.  Again, the elements of this series are held in a fine balance.

My training is in painting and I came to photography relatively late in my career. Today my work is primarily photographic in nature, albeit reworked digitally. In focusing on the fundamental elements of painting such as form, line, and color, I manipulate the images in order to arrive at a visual language which attempts to push photography beyond a straightforward narrative representation. I find that this approach affords me a freedom of expression which can be more abstract or conceptual, and is more personal.

Throughout my career I have mostly dealt with the subject of landscape and our relationship to our environment. However, in 2016 I started to work on a project that was more autobiographical and dealt with ideas concerning domesticity.

The initial series brought together the dual concepts of home and environment or the relationship between our inner lives and our place in the world. From there I moved onto work that specifically addressed my place in my domestic environment and the conflicts between domesticity and creativity.

This work was eventually exhibited in 2017 in a solo show called Whiter than White (paysages domestiques) at the Villa Tamaris Centre d’Art in La Seyne sur Mer, France. The series A Fine Balance, which I have presented here, evolved out of this work.

CAREER HIGHLIGHTS: 

Recent solo shows include Night Sky at the Galerie du Tableau, Marseille (2017), Histoires Naturelles (Spectres et Monstres) at the Muséum d’Histoire Naturelle de Marseille (2016), and Au Bout du Regard at the Villa Tamaris Centre d’Art, La Seyne sur Mer (2014).

I also participated in several group shows such as Sauver sa Peau, Galerie Zola, Aix-en-Provence (2017), The Frontier, The Center, Santa Fe (2016), Territoires et Architectures, Centre Culturel de Saint Raphael, France (2015). As the result of these exhibitions, my work has been acquired by several public collections: the Muséum d’Histoire Naturelle de Marseille; the New Mexico History Museum, Santa Fe; Villa Tamaris Centre d’Art; Hôtel des Arts (Conseil Général du Var); and the Reserve Géologique de Digne les Bains.

www.marcogliese.org
 

Dan Cook says, "Creativity arises in conversation with constraints—the constraints enforced by the medium or media employed, by the long history of artistic attempts of those who have come before us and by the immediate circumstances of one’s life, attitude and self-imposed challenges.

A key constraint of photography is that it anchors one, however tenuously, to some version of the here- and-now....to some present moment that must be grappled with visually.

Photography, as I have experienced it, struggles with the tension between subject and form differently than other visually-oriented media to the extent that it lives off of some aspect of the world as given.

The streetscape, the varied and variable circumstances of light and shadow, the objects in the environment, among other things, all in some way have to be handled and taken into account. In this sense, I liken photography closer to sculpture than to painting."

Dan Cook is a resident of Philadelphia and a professor at Rutgers University-Camden. A self-taught, non-professional photographer, Cook teaches on, among  other things, visual research methods and visual ways of knowing. He is a member of the Copley Society of Art, the Sketch Club of Philadelphia and Philadelphia PhotoArts.

www.copleysociety.org/users/dancook

dan_mccormack@yahoo.com

www.artslant.com/ny/artists/show/27813

David R Banta says, “I have been shooting photographs since I was a boy of 16. 

The camera has always been a wonderful ticket to travel to new places and enter into the lives of people whom I would never otherwise know a reason to look, to see, to capture on film or now in digital imagery. 

Now I'm in the privileged position of shooting whatever I WANT to photograph, with fewer monetary considerations.  I work in a variety of jobs as needed to support my artwork.  

This has freed me, liberated me…photography once again gives me great joy.  My wife and I moved from the urban environment that I photographed for many years to the country twelve years ago.  We live near the tiny town of Luther, Michigan. 

Our neighborhood has become the backroads and the tiny towns that surround us.  Country folk are difficult to photograph less accustomed to the intrusion of strangers.  It is in this fascinating environment and on occasional bus trips that I find myself spending my last days, documenting both urban and country folks,  and the cityscapes and landscapes I encounter.“

Born in Muskegon, Michigan, David began his artwork as a child with painting & drawing, and then moved into photography at sixteen  with an East German Practika camera made available to him by a high school teacher.

Drawn to photography, fueled by his father Harold’s passion for Polaroid albums, Life Magazine and National Geographic, David acquired a degree in Arts and Media from William James College in 1974. 

After 5 years in the working world, he met with legendary experimental photographer Arthur Siegel in Chicago.  Upon reviewing David's portfolio, Siegel said "I don't believe in photography as therapy”, but nonetheless accepted David as a student at the Illinois Institute of Technology: Institute of Design in 1979 in Chicago.

There David studied under black & white photographer David Plowden.  
Banta left Chicago, returning to Michigan.  In Grand Rapids, he worked as a color dye transfer lab technician, then became a weekly newspaper writer and photographer,  eventually taking a position as chief photographer for five years. 

He was a member of the NPPA (National Press Photographers Association). From there, Banta began working as a corporate hospital photographer for ten years.  He was an ASMP member (American Society of Magazine Photographers). 

During that period he studied under Magnum photographer Alex Webb at Maine Photographic Workshops.  David moved into the commercial photography realm, shooting annual reports, for business publications and editorial work. 

Disillusioned by three years of commercial work, Banta left 18 years of professional photography  behind.  He now pursues his personal photographic vision. 

www.davidrbanta.com
David R Banta / Flickr
David R Banta Photography / Facebook

 

Francesca Costanzo says, "My scar reminds me of how strong I am.  I look at it daily. 

I lift my top and open my jeans just to show people.  I take photos of it to share with other cancer survivors. It’s been a part of me for just over a year.  At times, it feels like a decade ago; at other times, just a few weeks.

There are days when I remember my crying, and screaming, and wall-punching when I was first diagnosed.  Anger. Fear. Forgiveness. Those are the things so easily forgotten.  So I look at my scar daily as a reminder.

People ask me, What was the hardest part about having uterine cancer? My response never changes—It was making the decision to take the first step. I knew it would not be easy.  I knew I would have to put my life on hold for a year or two. I knew that I might not like the results.  And I knew that the decision needed all the strength I could possibly muster within me. But if I didn’t make that decision, I may not survive.

It’s that first step—the biopsy, the first surgery, and then the second. But the words of my surgeon to me in the recovery room—You are cured —made that excrutiating decision worth it.

As an artist, I feel a strong responsibility to use art as a platform for producing change within my community. I believe that through art, we can see and appreciate the experiences of others.  This is my experience. It is only mine to share.  It is my self-portrait.

I was born and raised in Philadelphia.  After studying graphic design and advertising at the Philadelphia College of Art (now UArts), I spent a long and successful career in marketing. 

An early retirement allowed me to return to my first love—video and film! I am a member of the 3rd Street Gallery in Philadelphia, as well as the Tri-State Artists' Equity. My films have been exhibited in the Woodmere Art Museum, The Philadelphia Fringe Festival, on cable television for one month every Saturday in April 2018, at the International House, and in the Docs Without Borders Film Festival.

I am the videographer for Coffee & Politics, a group of Philadelphia progressives that provide local neighborhoods with topics ranging from "how to understand the election process, to finding funding sources for local education.

Education:

University of the Arts, Philadelphia, PA Continuing Education (2009 – 2010) Creative Suite and Web Design Theory

American Intercontinental University (AIU), Buckhead, GA Bachelor of Business Administration, Marketing (2005-2006) Graduated Summa Cum Laude

Philadelphia College of Art, Philadelphia, PA Associate Level Studies (1976-1980)
Graphic Design and Advertising Major; Sculpture, Minor

Solo Exhibitions:

Philly Cam Community Media Center, Philadelphia, PA

Four (4) TV broadcasts of 10 minute short film, Complexion: Dark 

Invitation, Live Screening (April 2018)

Fringe Arts Festival, Philadelphia, PA
Invitation, Live Screening, Complexion: Dark (September 2017)

Film Festivals:

Docs Without Borders

Online Film Festival Honorable Mention Award Complexion: Dark (2017) Award

Group Exhibitions:

Artists’ Equity Annual Juried
“Connections” (October 2018)
Eyes of a City

International House Philadelphia
Personally Speaking (January – May 2018)
We Are All Immigrants

HBHQ Galleries, Philadelphia, PA
RiTUAL Reading Room 2017
Bi-Annual Single Sheet Book Show (December 2017 – February 2018)

Woodmere Museum of Art, Philadelphia, PA
Woodmere Annual Juried Exhibition (June– September 2017) 
Complexion: Dark short film

3rd Street Gallery, Philadelphia, PA
Annual Member Show (2014 - 2017)

www.francescacostanzo.com

Gordon McDonald says, "As an artist and survivor of a rare auto immune disease. I have been left with a somewhat disfigured body. I have had to look deeper than most to find a place of acceptance, forgiveness and self love. 

Through photography I have managed to change my own perception of my body, finding beauty through vulnerability. I have been able to move into my, “New Self”.
Its my goal to change the perception of my viewers, to invite them to see past their patterned perception. To look deeper within themselves, do they, “love thyself?

I have been an artist my whole life, a martial artist to mountaineer, ancient ivory carver to author. Photography is a fairly recent passion, it is the missing link to my artistic expression.

I love to capture the truth, a moment in time, my passion is to capture my subjects intention or story. I have said to my subjects, "I don’t do smiles, just the truth”.
I like to use hard light, especially in Black and White. I find it simple and uncluttered. I like to see the split between light and dark, uncovering only a portion, having a certain control over what is seen.

Image- Moving In- A reflection of acceptance forgiveness and self love. Moving In, the hand gestures not quite ready yet."

https://goreent.wixsite.com/vision
 

Image- New Self- McDonald says, "Revealing New Self, vulnerable. Moved in to New Self, posture has pride in self, hand gesture open."
 

Image- Trauma Shows Up- McDonald says, "While getting ready for a shoot I found my self triggered by a song. It triggered parts of my journey that weren't so pleasant. I had the remote handy and thought enough of it to press the shutter. I have included it more so for an opinion as I am still unsure where the line is, or if there is one? The line between truth, beauty and what makes a good photograph?"
 

Born in Idaho Falls, ID, Grace Clark was raised in the Florida Keys and Minnesota. She graduated from the Perpich Center for Arts Education (2011) and Minnesota State University Moorhead (2015).

She directs three experimental artist residency programs, has worked for the Massachusetts Museum of Contemporary Art and photographer Gregory Crewdson, and has exhibited work nationally. She currently resides in Western Minnesota. 

CAREER HIGHLIGHTS:

2018     Minnesota State Arts Board Lake Region Arts Council Quick Start Grant, Fergus Falls, MN

2018    Andrea Zittel’s A-Z West Work-Trade Residency, Joshua Tree, CA

2017-2018    Gregory Crewdson, Studio Assistantship, Great Barrington, MA

2017    Hinge Arts Residency, Fergus Falls, MN

2015     Cultural Landscapes, Rourke Museum, Moorhead, MN

www.graceclarkstudioart.com
graceclarkart@gmail.com
 

Hal Robert Myers says, "This is part of a continuing series originally entitled Vitruvian Man, which has since evolved into Manscapes to express my inherent connection to, and deep concern for, the environment.

The project was first conceived within an outdoor installation of the Chinati Foundation in Marfa, Texas.

While exploring the installation I chose to become entirely exposed so that nothing could separate my physical self from the idea of spatial relations that artist Donald Judd was trying to convey.

In other words, I was able to literally stand inside of the idea to look through my prism inside of an actual prism, which is really the perception of a prism depending on where you stand at the time.

Which begs the issue of relativism, not to mention proportion, which then spawned multiple ways to explore my identity/occupied space in relation to earth, to hell, to art, to nuclear war, to eternity, to the actual journey. In every pose I felt vulnerable and inherently flawed, as I know is our nature and, without doubt, oddly divine.

I’m what Cornell Capa considered to be a “concerned photographer.” These days, just about any photographer who is sensitive to what feels like a world of multiplying social injustices must qualify.

I have a particular interest in protecting the environment as well, and the two go hand-in-hand: we’re beginning a long march, so to speak, toward a period of global climgration, which is impacting and exacerbating a host of critical issues.

My participation in the Women’s March in Washington, among other human rights events, and a relationship to members of the Lakota Sioux in Standing Rock, ND, as well as the Navajo in the Four Corners region, has produced photography that intends to influence in viewers an empathetic position.

Recent time spent in Afghanistan was an intense experience that further drives my sense of urgency to capture and convey the cultural heritage of fragile societies that are on the brink of either destruction or implosion. 

CAREER HIGHLIGHTS:

Selected Image, 2017 Nobel Peace Prize Forum

Best in Show, Photography Showcase
First Place, Islands Magazine Annual Competition

First Place, Launch of Real World Magazine

Winner, YDP 2014 Int’l Street Photography

https://hrm.photography/

Heather Williamson:
Growing up Lakota (with Gypsy roots)...
Under the politically active and watchful eye of her adoptive grandmother Heather collected and redeemed many qualities.  
After her grandmother's death she found herself catapulted into emancipation at the age of 14.This would also be the year she dove deeper into film photography.
 
In 2003 Heather moved to Los Angeles which became her home for the next decade+ In LA she embraced photography music film and writing while also working along-side others for commercials music videos indie films and photo shoots.

Towards the end of 2012, she found herself isolated and severely depleted Upon her return from Cuba, her passion for life diminished into a life barely alive... "I found myself isolating, not knowing where to go or who I was or becoming. How does anyone know what to do when they see someone's face change?  I was so afraid. I stopped everything." 

In 2014 after multiple moves suicide attempts and hospitalizations Heather found herself in the California Desert She learned here the most valuable piece of currency is her name and she realized, your name is as valuable as hers. In the present the subject of all her work is herself ... 
"Some say I came to my senses by way of insanity" 

She has a blog for her writing The Recovering Life She is solidifying a script and has written the first in a series of books for its prequel She's working on a series using American Flags She has multiple music projects under NEGRO CAT. She doesn't consider herself a singer but a POETIC THUG. She records sounds makes short films records herself and others She calls these Noisy Letters. 

A statement from the Artist... 
"It's not easy to open myself up and be vulnerable, but it's harder not to.  
Sometimes I feel everything I live with is a curse, but in these moments where I am no longer,  I feel right. I feel sure. I feel confident. I feel. I feel.  
xx-h-"

Galleries:

PHIL STERN 2012 
R&R GALLERY 2011/12 
SMALL HOUSE 2016

Awards:

2014 ANALOGUE PORTRAIT PROJECT WINNER 
2018 NY PHOTO CURATOR HM 
2018 LA PHOTO CURATOR FIRST PLACE 

Publications:

GENLUX MAGAZINE 4.14 
HAMBURGER EYES #32 3.18 
NY PHOTO CURATOR 4.18 
LA PHOTO CURATOR 6.18 
FULL BLEDE ISSUE SIX 10.18 

Heather currently resides in the California Desert

www.goldsrite.com
Insta:Helloheat
 

SELF-PORTRAIT HOME:
http://www.laphotocurator.com/self-portrait-curator-laurie-freitag

FIRST PLACE:
http://www.laphotocurator.com/self-portrait-curator-laurie-freitag/first-place-jo-ann-chaus-slip----/1

SECOND PLACE:
http://www.laphotocurator.com/self-portrait-curator-laurie-freitag/second-place-sarah-emma-robinson-don-t-let-it-define-you----/1

THIRD PLACE:
http://www.laphotocurator.com/self-portrait-curator-laurie-freitag/third-place-kelli-pennington-mirror-reflection----/1

HONORABLE MENTION:
http://www.laphotocurator.com/self-portrait-curator-laurie-freitag/honorable-mentions-armineh-hovanesian-sometimes-we-enter-art-to-hide-within-grace-clark-untitled-iii-terra-form-dan-cook-thankful-gordon-mcdonald-moving-in----/1

BEST SERIES:
http://www.laphotocurator.com/self-portrait-curator-laurie-freitag/best-series-jo-ann-chaus/1

EXHIBITION #1:
http://www.laphotocurator.com/self-portrait-curator-laurie-freitag/exhibition-1/1

EXHIBITION #2:
http://www.laphotocurator.com/self-portrait-curator-laurie-freitag/exhibition-2/1