THE HANDMADE TALE- Debra Achen & Diana H. Bloomfield > Exhibition #2
Exhibition #2
Frani Evedon/Two Bags Packed #4
First Place
First Place
Juror Diana H. Bloomfield Review of First Place: “Two Bags Packed #4”:
“Among all the entries, this work stood out for me, not only because of the excellent gum bichromate printing, but because of the subject matter. This series touches on the Jewish custom of always keeping a bag packed, or 2 bags packed, for varied reasons- but the most universal and relatable one, I believe, is adaptability— that we should, at any moment, always be prepared for change and the inevitable challenges that come our way.
Narratives can be found, however, in each image, and viewers can read them in myriad ways.
The use of gum bichromate printing meshes well with these beautifully composed images and adds a slightly otherworldly, and timeless, quality. It’s a beautiful series, and our favorite was
Two Bags Packed #4. This image, in particular, is just spectacular, with its spot-on composition, lighting, and exquisite printing.”
Juror Debra Achen Review of First Place: “Two Bags Packed #4” “The emotional impact of this photograph is intensified by the color treatment. The layers of tonality created through the combination of cyanotype and gum bichromate processes are a metaphor for the layers of meaning in the image. Layers of time in the stained floor and cracked, peeling walls, faded over many years past. Layers of space – imagine sitting, standing in the room, perhaps pacing, looking out the window. Layers of memory – the rubble, the open door, and the bags in the corner.
It’s about what is not shown in the image – the people in the room. You have to ask what happened here. Did they quickly flee, were they injured in the rubble, or were they taken away?
And it’s about what remains – the bags. The style and color treatment of the bags draw you in. What personal items do they hold? Treasures of a life left behind.”
Jurors Diana H. Bloomfield and Debra Achen ask Frani Evedon the following questions.
1. "Can you tell us a little more about this series and your concept for it?"
Frani Evedon says, "I have experienced casual antisemitism through expressions that have become part of American society's lexicon. Expressions such as 'jewing down" which promulgate the stereotype of a cheap Jew or that Jews are only interested in money have been used in my presence. I am not a practicing Jew in that I do not go to synagogue or celebrate the Jewish holidays; I find the practice of any religion to be divisive and the belief in any god to be questionable. But I am a cultural Jew, aware of my heritage and history. When I am witness to or victim of any form of othering, I experience profound sadness and disappointment.
I began to think about how I could transform the expression "Always keep two bags packed" into a metaphorical illustration that asserts not only the rise of antisemitism but the disgusting increase of verbal and physical violence against anyone considered "other" by certain factions in the United States and the world. I had the suitcases and thought about what it would be like to flee. Where would I go? Would I be welcome somewhere? Where would danger be hiding?
I found the expression originated in Chernivtsi, a city in southwestern Ukraine on the upper course of the Prut River, in 1941, as part of the Romanian government’s directive to “cleanse the Earth” of Jews. Jewish residents were ordered to pack two bags and be ready to leave in two hours."
2. "Why did you choose a 19th century printing process for this series?"
Evedon says, "Antisemitism and othering have existed seemingly forever. Called "the longest hatred," there is no time in which these hateful practices have not existed. Gum bichromate and cyanotype are processes that transcend the time in which they were invented. They can be applied to and combined with 21st century practices. Because of this, these techniques exist outside of time."
3. "How did you find or decide on the location for this piece and the others in the series?"
Evedon says, "The Western New York area is filled with a variety of locations, buildings and landscapes that, in themselves, are expressions of dislocation and isolation. The abandoned steel mills, empty housing projects, fallow fields in the winter, ice storms on Lake Erie can be easy locations for "ruin porn" but I wanted to elevate that with the notion that these places might be inhabited with dislocated souls pursuing safety."
4. "One of the things I wonder – what is in the bags? What items were chosen to pack? Of course, that is part of the mystique of the images, but have you thought of partly opening one for perhaps a hint?"
Evedon says, "In the very first image I photographed, I placed a pair of glasses on the suitcase which reminded me of the piles of glasses discovered in the Nazi death camps. In another image, I have the bags hanging from a rope with some fabric from a woman's nightgown (my grandmother's) and a man's shirt (my grandfather's) protruding from them as if the suitcases were hurriedly closed and the clothing didn't make it all the way into the bags. I have been told that the suitcases feel like stand ins for people, so to open them might be too literal. I do, however, want to use additional objects in some way but they must have their own meaning, as well."
5. " I assume this is an ongoing series, but we are also curious about what’s new on the horizon for you."
Evedon says, "On October 18th, I am opening a solo exhibition at Beebe's at the Gallery in Buffalo with a selection of work from my archives.
At the end of July 2025, I will be opening Into Madness. Into Madness will be a series of up to 20 photographic works that address my experience with heroin addiction, Hepatitis C and the “cure” that almost killed me. I contracted Hepatitis C (Hep C) while addicted to heroin in my teens and early 20s back in the 1960s and 70s. The disease was not discovered until 1991 when I had some preoperative tests. Thus began my journey into medication to try to cure the Hep C. I received a grant to complete the work and it will be shown in Buffalo at the Buffalo Arts Studio Gallery.
By the way, in 2015 I finally became Hep C free with the most current drug regimen.
I continue to explore alternative processes. It seems that the more I learn, the more difficult it becomes."
MORE ABOUT FRANI EVEDON:
Although Frani Evedon earned her undergraduate degree in sculpture and metalsmithing, she found that photography allowed her to capture a sense of synchronicity not satisfactorily available to her three-dimensionally. The camera allows her to shift perspectives, creating worlds that seem to exist outside of space and time, speaking to Lakota Shaman Lame Deer’s conviction that “the physical aspect of existence is only representative of what is real.”
In her practice, Frani manipulates color and structure to produce formal compositions that interpret Lame Deer’s belief while celebrating the beauty within them. Concurrently, however, she uses image-making as a visual metaphor to address events and issues of the day, such as ant-Semitism, war, violence and illness.
Recently, Frani’s artmaking has led her to explore alternative photographic techniques such as gum bichromate, cyanotype and gumoil.
Her participation in a three-person exhibition entitled Resolutionsgarnered critical acclaim and her works have been included in variety of national and international exhibitions featuring these 19th century techniques.
Her award-winning work has been shown locally, nationally, and internationally and has been included in academic publications.
She has been an exhibiting member of the Buffalo Society of Artists (BSA) since the mid-1990s. Elected to the BSA Board of Directors in 2016, she served first as Communications Chair then as President, her term ending in 2022.
Frani taught visual art at Orchard Park High School for 27 years, and was department chair for 19 years, continuing to create and exhibit throughout her teaching career.
Artists Statement: Two Bags Packed
"It might have been 15 years ago when, in the midst of a rise of antisemitic chatter among students in the high school in which I was teaching, a Jewish colleague said to me, “Always keep two bags packed.” It stayed with me, always in the back of my mind, cogitating in the way that visual expression does when it seeks a way out. It wasn’t until 2019 that Two Bags Packedpresented itself to me. It had found its way out.
Two Bags Packed is a series of photographs that addresses social injustice and racial discrimination, specifically antisemitism. The 80 year old suitcases, belonging to my parents, are placed in an array of locations – locations that suggest isolation, displacement, even the pursuit of safety. The suitcases evoke a human presence that is simultaneously arriving, present, and absent.
This expression can be found in many forms throughout the centuries. Research uncovered instances of Jewish persecution reaching back to 270 BCE, the need for immediate travel and the diaspora never-ending; even today, Jews live within its influence.
Regardless of politics, no one can dispute that terrorist organizations have vowed to wipe Israel off the face of the earth. Coupled with the current rise of antisemitism in the United States and globally, no Jew feels completely safe.
The images are printed using gum bichromate and cyanotype processes on Fabriano Artistico paper. These 19th century techniques can be expressive and painterly, suggesting an existence outside of time. Antisemitism exists independent of time because it is a constant presence, a hovering malignance, and accepted as part of the human experience."
Images for Sale:
Two Bags Packed #2 18.5 H" x 23 W"
cyanotype on Fabriano Aristico
$1500 framed
Limited Edition of 2
Signed on mat and on back of print
Two Bags Packed #4 22 H” x 16.75 W”
gum bichromate on Fabriano Aristico
$1500 framed
Limited Edition of 2
Signed on mat and on back of print
Two Bags Packed #6 22.5 H” x 17.5 W”
gum bichromate on Fabriano Aristico
$1500 framed
Limited Edition of 2
Signed on mat and on back of print
Two Bags Packed #8 21 H” x 16 W”
gum bichromate over cyanotype on Fabriano Aristico
$1500 framed
Limited Edition of 2
Signed on mat and on back of print
Two Bags Packed #11 22 H” x 16.5 W”
gum bichromate on Fabriano Aristico
$1500 framed
Limited Edition of 2
Signed on mat and on back of print
Two Bags Packed #15 21.5 H” x 15.5 W”
gum bichromate on Fabriano Aristico
$1500 framed
Limited Edition of 2
Signed on mat and on back of print
Contact: Frani Evedon femapples@yahoo.com
www.evedonphotography.com
www.instagram.com/femapples
“Among all the entries, this work stood out for me, not only because of the excellent gum bichromate printing, but because of the subject matter. This series touches on the Jewish custom of always keeping a bag packed, or 2 bags packed, for varied reasons- but the most universal and relatable one, I believe, is adaptability— that we should, at any moment, always be prepared for change and the inevitable challenges that come our way.
Narratives can be found, however, in each image, and viewers can read them in myriad ways.
The use of gum bichromate printing meshes well with these beautifully composed images and adds a slightly otherworldly, and timeless, quality. It’s a beautiful series, and our favorite was
Two Bags Packed #4. This image, in particular, is just spectacular, with its spot-on composition, lighting, and exquisite printing.”
Juror Debra Achen Review of First Place: “Two Bags Packed #4” “The emotional impact of this photograph is intensified by the color treatment. The layers of tonality created through the combination of cyanotype and gum bichromate processes are a metaphor for the layers of meaning in the image. Layers of time in the stained floor and cracked, peeling walls, faded over many years past. Layers of space – imagine sitting, standing in the room, perhaps pacing, looking out the window. Layers of memory – the rubble, the open door, and the bags in the corner.
It’s about what is not shown in the image – the people in the room. You have to ask what happened here. Did they quickly flee, were they injured in the rubble, or were they taken away?
And it’s about what remains – the bags. The style and color treatment of the bags draw you in. What personal items do they hold? Treasures of a life left behind.”
Jurors Diana H. Bloomfield and Debra Achen ask Frani Evedon the following questions.
1. "Can you tell us a little more about this series and your concept for it?"
Frani Evedon says, "I have experienced casual antisemitism through expressions that have become part of American society's lexicon. Expressions such as 'jewing down" which promulgate the stereotype of a cheap Jew or that Jews are only interested in money have been used in my presence. I am not a practicing Jew in that I do not go to synagogue or celebrate the Jewish holidays; I find the practice of any religion to be divisive and the belief in any god to be questionable. But I am a cultural Jew, aware of my heritage and history. When I am witness to or victim of any form of othering, I experience profound sadness and disappointment.
I began to think about how I could transform the expression "Always keep two bags packed" into a metaphorical illustration that asserts not only the rise of antisemitism but the disgusting increase of verbal and physical violence against anyone considered "other" by certain factions in the United States and the world. I had the suitcases and thought about what it would be like to flee. Where would I go? Would I be welcome somewhere? Where would danger be hiding?
I found the expression originated in Chernivtsi, a city in southwestern Ukraine on the upper course of the Prut River, in 1941, as part of the Romanian government’s directive to “cleanse the Earth” of Jews. Jewish residents were ordered to pack two bags and be ready to leave in two hours."
2. "Why did you choose a 19th century printing process for this series?"
Evedon says, "Antisemitism and othering have existed seemingly forever. Called "the longest hatred," there is no time in which these hateful practices have not existed. Gum bichromate and cyanotype are processes that transcend the time in which they were invented. They can be applied to and combined with 21st century practices. Because of this, these techniques exist outside of time."
3. "How did you find or decide on the location for this piece and the others in the series?"
Evedon says, "The Western New York area is filled with a variety of locations, buildings and landscapes that, in themselves, are expressions of dislocation and isolation. The abandoned steel mills, empty housing projects, fallow fields in the winter, ice storms on Lake Erie can be easy locations for "ruin porn" but I wanted to elevate that with the notion that these places might be inhabited with dislocated souls pursuing safety."
4. "One of the things I wonder – what is in the bags? What items were chosen to pack? Of course, that is part of the mystique of the images, but have you thought of partly opening one for perhaps a hint?"
Evedon says, "In the very first image I photographed, I placed a pair of glasses on the suitcase which reminded me of the piles of glasses discovered in the Nazi death camps. In another image, I have the bags hanging from a rope with some fabric from a woman's nightgown (my grandmother's) and a man's shirt (my grandfather's) protruding from them as if the suitcases were hurriedly closed and the clothing didn't make it all the way into the bags. I have been told that the suitcases feel like stand ins for people, so to open them might be too literal. I do, however, want to use additional objects in some way but they must have their own meaning, as well."
5. " I assume this is an ongoing series, but we are also curious about what’s new on the horizon for you."
Evedon says, "On October 18th, I am opening a solo exhibition at Beebe's at the Gallery in Buffalo with a selection of work from my archives.
At the end of July 2025, I will be opening Into Madness. Into Madness will be a series of up to 20 photographic works that address my experience with heroin addiction, Hepatitis C and the “cure” that almost killed me. I contracted Hepatitis C (Hep C) while addicted to heroin in my teens and early 20s back in the 1960s and 70s. The disease was not discovered until 1991 when I had some preoperative tests. Thus began my journey into medication to try to cure the Hep C. I received a grant to complete the work and it will be shown in Buffalo at the Buffalo Arts Studio Gallery.
By the way, in 2015 I finally became Hep C free with the most current drug regimen.
I continue to explore alternative processes. It seems that the more I learn, the more difficult it becomes."
MORE ABOUT FRANI EVEDON:
Although Frani Evedon earned her undergraduate degree in sculpture and metalsmithing, she found that photography allowed her to capture a sense of synchronicity not satisfactorily available to her three-dimensionally. The camera allows her to shift perspectives, creating worlds that seem to exist outside of space and time, speaking to Lakota Shaman Lame Deer’s conviction that “the physical aspect of existence is only representative of what is real.”
In her practice, Frani manipulates color and structure to produce formal compositions that interpret Lame Deer’s belief while celebrating the beauty within them. Concurrently, however, she uses image-making as a visual metaphor to address events and issues of the day, such as ant-Semitism, war, violence and illness.
Recently, Frani’s artmaking has led her to explore alternative photographic techniques such as gum bichromate, cyanotype and gumoil.
Her participation in a three-person exhibition entitled Resolutionsgarnered critical acclaim and her works have been included in variety of national and international exhibitions featuring these 19th century techniques.
Her award-winning work has been shown locally, nationally, and internationally and has been included in academic publications.
She has been an exhibiting member of the Buffalo Society of Artists (BSA) since the mid-1990s. Elected to the BSA Board of Directors in 2016, she served first as Communications Chair then as President, her term ending in 2022.
Frani taught visual art at Orchard Park High School for 27 years, and was department chair for 19 years, continuing to create and exhibit throughout her teaching career.
Artists Statement: Two Bags Packed
"It might have been 15 years ago when, in the midst of a rise of antisemitic chatter among students in the high school in which I was teaching, a Jewish colleague said to me, “Always keep two bags packed.” It stayed with me, always in the back of my mind, cogitating in the way that visual expression does when it seeks a way out. It wasn’t until 2019 that Two Bags Packedpresented itself to me. It had found its way out.
Two Bags Packed is a series of photographs that addresses social injustice and racial discrimination, specifically antisemitism. The 80 year old suitcases, belonging to my parents, are placed in an array of locations – locations that suggest isolation, displacement, even the pursuit of safety. The suitcases evoke a human presence that is simultaneously arriving, present, and absent.
This expression can be found in many forms throughout the centuries. Research uncovered instances of Jewish persecution reaching back to 270 BCE, the need for immediate travel and the diaspora never-ending; even today, Jews live within its influence.
Regardless of politics, no one can dispute that terrorist organizations have vowed to wipe Israel off the face of the earth. Coupled with the current rise of antisemitism in the United States and globally, no Jew feels completely safe.
The images are printed using gum bichromate and cyanotype processes on Fabriano Artistico paper. These 19th century techniques can be expressive and painterly, suggesting an existence outside of time. Antisemitism exists independent of time because it is a constant presence, a hovering malignance, and accepted as part of the human experience."
Images for Sale:
Two Bags Packed #2 18.5 H" x 23 W"
cyanotype on Fabriano Aristico
$1500 framed
Limited Edition of 2
Signed on mat and on back of print
Two Bags Packed #4 22 H” x 16.75 W”
gum bichromate on Fabriano Aristico
$1500 framed
Limited Edition of 2
Signed on mat and on back of print
Two Bags Packed #6 22.5 H” x 17.5 W”
gum bichromate on Fabriano Aristico
$1500 framed
Limited Edition of 2
Signed on mat and on back of print
Two Bags Packed #8 21 H” x 16 W”
gum bichromate over cyanotype on Fabriano Aristico
$1500 framed
Limited Edition of 2
Signed on mat and on back of print
Two Bags Packed #11 22 H” x 16.5 W”
gum bichromate on Fabriano Aristico
$1500 framed
Limited Edition of 2
Signed on mat and on back of print
Two Bags Packed #15 21.5 H” x 15.5 W”
gum bichromate on Fabriano Aristico
$1500 framed
Limited Edition of 2
Signed on mat and on back of print
Contact: Frani Evedon femapples@yahoo.com
www.evedonphotography.com
www.instagram.com/femapples
Frani Evedon/Two Bags Packed #11
Frani Evedon/Two Bags Packed #15
Frani Evedon/ Two Bags Packed #2
Frani Evedon/Two Bags Packed #6
Frani Evedon/Two Bags Packed #8
Harper Glantz/Oblivion
Harper Glantz says, "There is a precious and unspecified feeling of uncertainty that descends being lost in a wilderness. Fears from deep in a subconscious imagination are generated rapidly and can consume even the most grounded of individuals, and a unique alertness sets in.
Shadows may walk and voices may speak out of thin air. Being lost in a wilderness, environmental, social or even digital, however familiar in another context, forces a dynamic of crash landing to the wanderer. In a blink, we become aliens in a foreign landscape.
This sense of rash landing is a theme in my work. Time is of special interest and importance as it relates to these moments as well as to film and photography as mediums themselves.
Using images staged and captured by a camera, whether in a single frame or a timeline of frames provides a unique portal for this exploration.
Missing Beacons tells a story in twenty images of crash-landing and a juxtaposition in this context between the digital and the physical at the foot of the notorious Montserrat in northern Spain."
Harper Glantz is a visual Artist currently based in the desert of Phoenix, Arizona. She began her professional career at the age of 15 after moving from Massachusetts to New York City to pursue lighting for independent film.
She has apprenticed under and assisted many other fine artists through which she furthered her sensibly and technique. Her photographic sculptural work is currently on view at the Tempe Center for the Arts in Tempe Arizona.
Her behind the scenes video installation, “Making Eveningside” documented Gregory Crewdson’s 2021 production, is traveling with a survey of his work, currently on view at the VB Photography Center in Kuopio Finland, and previously was at the Gallerie Di'Italia Torino, and the LUMA Foundation at Les Rencontres D'Arles 2023. The film was also screened accompanied by live music at Théâtre Antique in Arles 2023. She has made residencies at Can Serrat in Barcelona, ES 2022 and Nouvelle Bug cinema residency in Rome, IT in 2023.
IMAGES FOR SALE-
DISTANT LIGHTS- 33"H x 42" W
Digital Pigment Archival Print
Frame: Painted cherry wood enveloped in welded and polished angle iron remnants with wire elements scavenged from scrap yards.
$3,200
Limited edition 1 of 1
Signed on front border
OBLIVION- 33"H x 42" W
Digital Pigment Archival Print
Frame: Painted cherry wood enveloped in welded and polished angle iron remnants with wire elements scavenged from scrap yards.
$3,200
Limited edition 1 of 1
Signed on front border
SMOKE #3- 33"H x 42" W
Digital Pigment Archival Print
Frame: Painted cherry wood enveloped in welded and polished angle iron remnants with wire elements scavenged from scrap yards.
$3,200
Limited edition 1 of 1
Signed on front border
Contact: Harper Glantz harper.c.glantz@gmail.com
Shadows may walk and voices may speak out of thin air. Being lost in a wilderness, environmental, social or even digital, however familiar in another context, forces a dynamic of crash landing to the wanderer. In a blink, we become aliens in a foreign landscape.
This sense of rash landing is a theme in my work. Time is of special interest and importance as it relates to these moments as well as to film and photography as mediums themselves.
Using images staged and captured by a camera, whether in a single frame or a timeline of frames provides a unique portal for this exploration.
Missing Beacons tells a story in twenty images of crash-landing and a juxtaposition in this context between the digital and the physical at the foot of the notorious Montserrat in northern Spain."
Harper Glantz is a visual Artist currently based in the desert of Phoenix, Arizona. She began her professional career at the age of 15 after moving from Massachusetts to New York City to pursue lighting for independent film.
She has apprenticed under and assisted many other fine artists through which she furthered her sensibly and technique. Her photographic sculptural work is currently on view at the Tempe Center for the Arts in Tempe Arizona.
Her behind the scenes video installation, “Making Eveningside” documented Gregory Crewdson’s 2021 production, is traveling with a survey of his work, currently on view at the VB Photography Center in Kuopio Finland, and previously was at the Gallerie Di'Italia Torino, and the LUMA Foundation at Les Rencontres D'Arles 2023. The film was also screened accompanied by live music at Théâtre Antique in Arles 2023. She has made residencies at Can Serrat in Barcelona, ES 2022 and Nouvelle Bug cinema residency in Rome, IT in 2023.
IMAGES FOR SALE-
DISTANT LIGHTS- 33"H x 42" W
Digital Pigment Archival Print
Frame: Painted cherry wood enveloped in welded and polished angle iron remnants with wire elements scavenged from scrap yards.
$3,200
Limited edition 1 of 1
Signed on front border
OBLIVION- 33"H x 42" W
Digital Pigment Archival Print
Frame: Painted cherry wood enveloped in welded and polished angle iron remnants with wire elements scavenged from scrap yards.
$3,200
Limited edition 1 of 1
Signed on front border
SMOKE #3- 33"H x 42" W
Digital Pigment Archival Print
Frame: Painted cherry wood enveloped in welded and polished angle iron remnants with wire elements scavenged from scrap yards.
$3,200
Limited edition 1 of 1
Signed on front border
Contact: Harper Glantz harper.c.glantz@gmail.com
Harper Glantz/Distant Lights
Jane Gottlieb/Dusty Ford
Jane Gottlieb says, "I have been expressing my joy of art with paint, shapes and colors since I was very young. I began as a painter, evolved into a photographer, and eventually began painting on individual photographic prints over thirty years ago. I hand painted vivid colors on my Cibachrome prints, creating a wonderful new reality. Now I scan my one-of-a-kind hand-painted prints, enhance them with Photoshop and produce limited edition archival ink-jet prints.
Color is luscious to me. It’s a luxury to be able to fill my life with color. Color is energy; it evokes emotion and feelings. It’s the other side of intellectual, and it makes you feel good—it really does pick you up, and it makes you smile.
My art has been exhibited worldwide in many solo exhibitions: Butler Institute of American Art; Carnegie Art Museum in Oxnard, CA; Laguna Art Museum. CA; Petersen Automotive Museum, LA, CA;
LA County Museum of Natural History, CA; and Monterey Museum of Art.
I have been included in countless group exhibits over the last 30 years, and collected by museums, foundations, corporations and individuals worldwide. Many magazine articles, magazine and book covers, two museum exhibition catalogues and two books have been published of my art, Garden Tales and Car Tales.
These are all archival hand painted (with retouching dyes that came with cibachrome) cibachrome one of a kind prints."
http://www.janegottlieb.com
Color is luscious to me. It’s a luxury to be able to fill my life with color. Color is energy; it evokes emotion and feelings. It’s the other side of intellectual, and it makes you feel good—it really does pick you up, and it makes you smile.
My art has been exhibited worldwide in many solo exhibitions: Butler Institute of American Art; Carnegie Art Museum in Oxnard, CA; Laguna Art Museum. CA; Petersen Automotive Museum, LA, CA;
LA County Museum of Natural History, CA; and Monterey Museum of Art.
I have been included in countless group exhibits over the last 30 years, and collected by museums, foundations, corporations and individuals worldwide. Many magazine articles, magazine and book covers, two museum exhibition catalogues and two books have been published of my art, Garden Tales and Car Tales.
These are all archival hand painted (with retouching dyes that came with cibachrome) cibachrome one of a kind prints."
http://www.janegottlieb.com
Jane Gottlieb/Edsel Lemon
Jane Gottlieb/Movie Star
Jane Gottlieb/Save Me!
Jane Gottlieb/ South of Sunset
Jane Gottlieb/Spare Tires
Jeff Schewe/Fork Spoon
Jeff Schewe says, "My journey into photography began as a refuge from the frustrations of painting, where my lack of drawing skills became evident. In photography, I discovered a medium that offered spontaneity and a unique freshness that painting couldn't provide. Despite this shift, I have retained my deep-seated passion for light, color, and composition, originally nurtured through my early experiences with painting. Today, I approach photography with a painterly sensitivity, shaping my vision and perspective through the lens.
I’m drawn to photographing a diverse range of subjects, always striving to capture a distinctive point of view and visual treatment. Whether I'm exploring familiar surroundings or traveling to new places, my camera is a constant companion, ready to seize upon the moments and scenes that inspire me. While my photographic journey began in the traditional darkroom, I now work by using a computer to digitally manipulate my images. The allure of total power and control over my images that digital imaging allows is so seductive that I now no longer maintain a darkroom. Despite the digital manipulation, I strive to work in a totally photo-realistic manner. I don’t use AI to create the pixels in my images."
Jeff Schewe's educational background coupled with his extensive practical experience in photography and digital imaging has shaped him into a renowned figure in the industry, particularly noted for his contributions to fine art printing and digital photography.
Images are for sale, contact Jeff Schewe
schewe@mac.com
www.schewephoto.com
I’m drawn to photographing a diverse range of subjects, always striving to capture a distinctive point of view and visual treatment. Whether I'm exploring familiar surroundings or traveling to new places, my camera is a constant companion, ready to seize upon the moments and scenes that inspire me. While my photographic journey began in the traditional darkroom, I now work by using a computer to digitally manipulate my images. The allure of total power and control over my images that digital imaging allows is so seductive that I now no longer maintain a darkroom. Despite the digital manipulation, I strive to work in a totally photo-realistic manner. I don’t use AI to create the pixels in my images."
Jeff Schewe's educational background coupled with his extensive practical experience in photography and digital imaging has shaped him into a renowned figure in the industry, particularly noted for his contributions to fine art printing and digital photography.
Images are for sale, contact Jeff Schewe
schewe@mac.com
www.schewephoto.com
Jeff Schewe/Cactus
Jeff Schewe/Dancer Silhouette 1
Jeff Schewe/Dancer Silhouette 2
Jeff Schewe/Duane Michals
Jeff Schewe/Monterey Cypress
Julie Mihaly/The Attic Susie
Julie Mihaly says, "When my mom, who had Alzheimer's, died, I stored many of her possessions in my attic where mementos of my own past were also cached.
"The Attic" used those items as springboards to honor the people, places & things that have helped make me who I am. "
A native of Cleveland, OH, Julie Mihaly attended Vassar College before earning a BFA & MFA in photography from the San Francisco Art Institute. After teaching photography at NYC’s School of Visual Arts, Mason Gross School of Art at Rutgers University, et al., Mihaly contributed her talents as a photo director, editor & researcher to magazines such as “Vanity Fair,” “Entertainment Weekly” & “Garden Design.”
She also wrote for “Martha Stewart Living,” “Budget Living” & “Organic Style” before returning to the full-time pursuit of her own photography.
She has had a number of solo exhibitions & her work has been included in numerous invitational & juried exhibits for which she's also been awarded grant monies & a national competition 1st prize.
Eight books of Mihaly’s photographs have been published. She currently lives & works in New York’s Hudson River Valley.
IMAGES FOR SALE-
The Attic: Passport 20"W x 16H"
Archival Inkjet Print of Digital Photo of 3-D Collage
$350 Unframed
No Edition
Signed on back
The Attic: Sex & Death 20"W x 16H"
Archival Inkjet Print of Digital Photo of 3-D Collage
$350 Unframed
No Edition
Signed on back
The Attic: PawPaw 20"W x 16H"
Archival Inkjet Print of Digital Photo of 3-D Collage
$350 Unframed
No Edition
Signed on back
The Attic: Susie 20"W x 16H"
Archival Inkjet Print of Digital Photo of 3-D Collage
$350 Unframed
No Edition
Signed on back
The Attic: Lipstick 20"W x 16H"
Archival Inkjet Print of Digital Photo of 3-D Collage
$350 Unframed
No Edition
Signed on back
Grandma: Susie 20"W x 16H"
Archival Inkjet Print of Digital Photo of 3-D Collage
$350 Unframed
No Edition
Signed on back
Contact-
Julie Mihaly -julie@juliemihaly.com
www.juliemihaly.com
https://www.juliemihaly.com/Attic.html
"The Attic" used those items as springboards to honor the people, places & things that have helped make me who I am. "
A native of Cleveland, OH, Julie Mihaly attended Vassar College before earning a BFA & MFA in photography from the San Francisco Art Institute. After teaching photography at NYC’s School of Visual Arts, Mason Gross School of Art at Rutgers University, et al., Mihaly contributed her talents as a photo director, editor & researcher to magazines such as “Vanity Fair,” “Entertainment Weekly” & “Garden Design.”
She also wrote for “Martha Stewart Living,” “Budget Living” & “Organic Style” before returning to the full-time pursuit of her own photography.
She has had a number of solo exhibitions & her work has been included in numerous invitational & juried exhibits for which she's also been awarded grant monies & a national competition 1st prize.
Eight books of Mihaly’s photographs have been published. She currently lives & works in New York’s Hudson River Valley.
IMAGES FOR SALE-
The Attic: Passport 20"W x 16H"
Archival Inkjet Print of Digital Photo of 3-D Collage
$350 Unframed
No Edition
Signed on back
The Attic: Sex & Death 20"W x 16H"
Archival Inkjet Print of Digital Photo of 3-D Collage
$350 Unframed
No Edition
Signed on back
The Attic: PawPaw 20"W x 16H"
Archival Inkjet Print of Digital Photo of 3-D Collage
$350 Unframed
No Edition
Signed on back
The Attic: Susie 20"W x 16H"
Archival Inkjet Print of Digital Photo of 3-D Collage
$350 Unframed
No Edition
Signed on back
The Attic: Lipstick 20"W x 16H"
Archival Inkjet Print of Digital Photo of 3-D Collage
$350 Unframed
No Edition
Signed on back
Grandma: Susie 20"W x 16H"
Archival Inkjet Print of Digital Photo of 3-D Collage
$350 Unframed
No Edition
Signed on back
Contact-
Julie Mihaly -julie@juliemihaly.com
www.juliemihaly.com
https://www.juliemihaly.com/Attic.html
Julie Mihaly/The Attic Grandma
Julie Mihaly/The Attic Lipstick
Julie Mihaly/The Attic Passport
Julie Mihaly/The Attic Paw Paw
Julie Mihaly/The Attic Sex & Death
Karen Hymer/Tired Dreams
Karen Hymer says, "Navigating the Internal explores themes of isolation, loneliness, and self-identity.
There are voices in my head that seldom are quiet: voices that reflect society’s preference for the young, the thin, the beautiful, the coupled. As a single woman over 60, it can be a challenge. I make self-images to navigate these internal thoughts and feelings.
In this group of images, I have turned the camera on myself as I played with light, motion, silk, and color. Evolving from years of photographing myself, these images blur the line between photographic reality and color illusion. The prints are hand colored (pastels) archival pigment prints on watercolor paper."
Karen Hymer was born in Tucson, Arizona. She earned her BFA from The School of the Museum of Fine Arts, Boston and Tufts University, Medford and her MA and MFA in Fine Art Photography from the University of New Mexico, Albuquerque. Karen actively exhibits her work both nationally and internationally.
Recent solo exhibitions include SE Center for Photography, Navigating the Internal, Greenville, South Carolina (2023); Light Art Space, Navigating the Internal, Silver City, New Mexico (2022); The Photographer’s Eye: A Creative Collective, Age & Seduction, Escondido, California (2022); and Gallery 925, Solitude and Age & Seduction, Las Cruces, New Mexico (2021).
Her work is in several public collections, including the Center for Creative Photography and the Polaroid International Collection. Dark Spring Press released the first book of her work in April 2018. Karen’s work is featured in numerous photography books including The Experimental Darkroom, Christina Z. Anderson, Jill Enfield’s Guide to Photographic Alternative Processes, Jill Enfield, and Polymer Photogravure: A Step by Step Manual, Clay Harmon.
Karen’s photography has received the following awards: LightBox Gallery, Jurors Honorable Mention Award, Melanie Walker, Serendipitous Eye, 2021
Julia Margaret Cameron 12th Annual Awards, First place, 2 categories; Honorable mention, 2 categories; 2018 Denis Roussel Award, Photographer of Merit, 2018, Southwest Print Fiesta, Best of Show, Artist Proof, 2017
LightBox Gallery, Jurors Honorable Mention Award, Kim Weston, The Photographic Nude, 2017 Rfotofolio, Choice Award, 2016
Alex Ferrone Gallery, Grand Prize residency with Dan Welden, 2016.
Karen’s experience and technical interests are wide-ranging. Although “trained” as a photographer and educator, her approach to image making explores the blending of photosensitive materials, digital media, and printmaking. She is fascinated with how the passage of time affects the human body and other natural elements in the world. In addition to working as a fine art photographer, Karen taught photography for over 25 years at Pima Community College, Tucson.
In the summer of 2018 Karen relocated to Silver City, New Mexico to open and operate Light Art Space in the historic downtown district. The space features galleries, wet darkrooms, a sculpture garden, and a printmaking/teaching studio. Karen teaches workshops and private sessions inPhotopolymer Gravure and other alternative photographic processes. She lives on 28 acres of pinon - juniper forest with her standard poodle, Nigel, in an off the grid solar adobe home.
Image for Sale-
Cicadas In My Head - 16” x 16"
Hand Colored on archival watercolor paper
$650 framed
U/I
Signed on back
Inner Disturbance- 10” x 14"
Hand Colored on archival watercolor paper
$550 framed
U/I
Signed on back
Invitation- 11” x 11"
Hand Colored on archival watercolor paper
$475 framed
U/I
Signed on back
Absence of Sound - 16” x 16"
Hand Colored on archival watercolor paper
$650 framed
U/I
Signed on back
Remembrance - 16” x 16"
Hand Colored on archival watercolor paper
$650 framed
U/I
Signed on back
Tired Dreams - 16” x 16"
Hand Colored on archival watercolor paper
$650 framed
U/I
Signed on back
Contact/
Karen Hymer
karenhymer@gmail.com
www.karenhymer.com
www.instagram.com/lightartspace_karenhymer
There are voices in my head that seldom are quiet: voices that reflect society’s preference for the young, the thin, the beautiful, the coupled. As a single woman over 60, it can be a challenge. I make self-images to navigate these internal thoughts and feelings.
In this group of images, I have turned the camera on myself as I played with light, motion, silk, and color. Evolving from years of photographing myself, these images blur the line between photographic reality and color illusion. The prints are hand colored (pastels) archival pigment prints on watercolor paper."
Karen Hymer was born in Tucson, Arizona. She earned her BFA from The School of the Museum of Fine Arts, Boston and Tufts University, Medford and her MA and MFA in Fine Art Photography from the University of New Mexico, Albuquerque. Karen actively exhibits her work both nationally and internationally.
Recent solo exhibitions include SE Center for Photography, Navigating the Internal, Greenville, South Carolina (2023); Light Art Space, Navigating the Internal, Silver City, New Mexico (2022); The Photographer’s Eye: A Creative Collective, Age & Seduction, Escondido, California (2022); and Gallery 925, Solitude and Age & Seduction, Las Cruces, New Mexico (2021).
Her work is in several public collections, including the Center for Creative Photography and the Polaroid International Collection. Dark Spring Press released the first book of her work in April 2018. Karen’s work is featured in numerous photography books including The Experimental Darkroom, Christina Z. Anderson, Jill Enfield’s Guide to Photographic Alternative Processes, Jill Enfield, and Polymer Photogravure: A Step by Step Manual, Clay Harmon.
Karen’s photography has received the following awards: LightBox Gallery, Jurors Honorable Mention Award, Melanie Walker, Serendipitous Eye, 2021
Julia Margaret Cameron 12th Annual Awards, First place, 2 categories; Honorable mention, 2 categories; 2018 Denis Roussel Award, Photographer of Merit, 2018, Southwest Print Fiesta, Best of Show, Artist Proof, 2017
LightBox Gallery, Jurors Honorable Mention Award, Kim Weston, The Photographic Nude, 2017 Rfotofolio, Choice Award, 2016
Alex Ferrone Gallery, Grand Prize residency with Dan Welden, 2016.
Karen’s experience and technical interests are wide-ranging. Although “trained” as a photographer and educator, her approach to image making explores the blending of photosensitive materials, digital media, and printmaking. She is fascinated with how the passage of time affects the human body and other natural elements in the world. In addition to working as a fine art photographer, Karen taught photography for over 25 years at Pima Community College, Tucson.
In the summer of 2018 Karen relocated to Silver City, New Mexico to open and operate Light Art Space in the historic downtown district. The space features galleries, wet darkrooms, a sculpture garden, and a printmaking/teaching studio. Karen teaches workshops and private sessions inPhotopolymer Gravure and other alternative photographic processes. She lives on 28 acres of pinon - juniper forest with her standard poodle, Nigel, in an off the grid solar adobe home.
Image for Sale-
Cicadas In My Head - 16” x 16"
Hand Colored on archival watercolor paper
$650 framed
U/I
Signed on back
Inner Disturbance- 10” x 14"
Hand Colored on archival watercolor paper
$550 framed
U/I
Signed on back
Invitation- 11” x 11"
Hand Colored on archival watercolor paper
$475 framed
U/I
Signed on back
Absence of Sound - 16” x 16"
Hand Colored on archival watercolor paper
$650 framed
U/I
Signed on back
Remembrance - 16” x 16"
Hand Colored on archival watercolor paper
$650 framed
U/I
Signed on back
Tired Dreams - 16” x 16"
Hand Colored on archival watercolor paper
$650 framed
U/I
Signed on back
Contact/
Karen Hymer
karenhymer@gmail.com
www.karenhymer.com
www.instagram.com/lightartspace_karenhymer
Karen Hymer/Absence of Sound
Karen Hymer/Cicadas In My Head
Karen Hymer/Inner Disturbance
Karen Hymer/Invitation
Karen Hymer/Remembrance
Kathryn Dunlevie/Them
Kathryn Dunlevie says, "These 'Femmes Futuristes' are viewed as if with x-ray vision. Their patchwork interiors hint at what they have lived, their silhouettes offer clues as to how they have proceeded through time.
Each Femme Futuriste begins as a small handmade collage, combining my photographs with ephemeral images from our shared visual culture, and sometimes with miscellanea or paint. The collages are then scanned at a high resolution so they can be reproduced as large,archival pigment prints.
These figures suggest possibilities and inspire a jettisoning of self-doubt. They encourage a transformation where qualities and attitudes are chosen freely, independent of societal and familial norms and pressures.
The Femmes Futuristes point toward new opportunities, bold authenticity, and a sense of adventure. May we all move forward with them, piecing together the best remnants of our personal histories and living our lives with flair and without apology."
Kathryn Dunlevie has always been intrigued by spatial and temporal inconsistencies, and by every individual’s particular and shifting sense of what is real. Fragmenting, reassembling and layering images, she suggests the fluidity of space and time and the complex psychologies of the entities she portrays.
Born in Atlanta, Dunlevie lived in six different states by the time she was 12, and in Paraguay when she was 16. She has a B.A. in fine arts from Rice University and studied art history and film at the University of Paris, painting at California College of the Arts, and photography in Madrid.
She has received numerous awards and fellowships, including two Arts Council Silicon Valley Artist Laureate Fellowships. Her work has been exhibited in China twice at the Pingyao International Photography Festival, in Moscow with the US Art in Embassies Program, at Toronto’s Gallery TPW, and in the United States at FotoFest International, San Francisco Camerawork, PhotoAlliance, the Southeast Museum of Photography, Washington DC’s Art Museum of the Americas, and the Institute of Contemporary Art San Jose.
Her work has been reviewed in Spain’s La Fotografia Actual, Korea’s photo +, and in Germany’s Profifoto, as well as in Camerawork: A Journal of Photographic Arts, Visual Art Source, and AestheticsToday.blogs.
www.kathryndunlevie.com
www.instagram.com/kathryndunlevie
Each Femme Futuriste begins as a small handmade collage, combining my photographs with ephemeral images from our shared visual culture, and sometimes with miscellanea or paint. The collages are then scanned at a high resolution so they can be reproduced as large,archival pigment prints.
These figures suggest possibilities and inspire a jettisoning of self-doubt. They encourage a transformation where qualities and attitudes are chosen freely, independent of societal and familial norms and pressures.
The Femmes Futuristes point toward new opportunities, bold authenticity, and a sense of adventure. May we all move forward with them, piecing together the best remnants of our personal histories and living our lives with flair and without apology."
Kathryn Dunlevie has always been intrigued by spatial and temporal inconsistencies, and by every individual’s particular and shifting sense of what is real. Fragmenting, reassembling and layering images, she suggests the fluidity of space and time and the complex psychologies of the entities she portrays.
Born in Atlanta, Dunlevie lived in six different states by the time she was 12, and in Paraguay when she was 16. She has a B.A. in fine arts from Rice University and studied art history and film at the University of Paris, painting at California College of the Arts, and photography in Madrid.
She has received numerous awards and fellowships, including two Arts Council Silicon Valley Artist Laureate Fellowships. Her work has been exhibited in China twice at the Pingyao International Photography Festival, in Moscow with the US Art in Embassies Program, at Toronto’s Gallery TPW, and in the United States at FotoFest International, San Francisco Camerawork, PhotoAlliance, the Southeast Museum of Photography, Washington DC’s Art Museum of the Americas, and the Institute of Contemporary Art San Jose.
Her work has been reviewed in Spain’s La Fotografia Actual, Korea’s photo +, and in Germany’s Profifoto, as well as in Camerawork: A Journal of Photographic Arts, Visual Art Source, and AestheticsToday.blogs.
www.kathryndunlevie.com
www.instagram.com/kathryndunlevie
Kathryn Dunlevie/Cowboy Boots by Night
Kathryn Dunlevie/Dervish
Kathryn Dunlevie/Eurydice
Kathryn Dunlevie/Pax
Kathryn Dunlevie/Tiresias
-------------------------------------------
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-------------------------------------------
THE HANDMADE TALE HOME PAGE
https://laphotocurator.com/the-handmade-tale
FIRST PLACE
https://laphotocurator.com/the-handmade-tale-debra-achen-diana-h-bloomfield/first-place-frani-evedon-two-bags-packed-4/1
SECOND PLACE
https://laphotocurator.com/the-handmade-tale-debra-achen-diana-h-bloomfield/second-place-charlotta-hauksdottir-reclamation-iv/1
HONORABLE MENTIONS
https://laphotocurator.com/the-handmade-tale-debra-achen-diana-h-bloomfield/honorable-mention-matt-connors-rue-des-chapeliers-natalie-obermaier-pasha-orin-rutchick-boys-teri-figliuzzi-renew-nicola-hackl-haslinger-the-invitation-ii/1
BEST SERIES
https://laphotocurator.com/the-handmade-tale-debra-achen-diana-h-bloomfield/best-series-linda-plaisted-kintsugi-altarpiece-series/1
EXHIBITION #1
https://laphotocurator.com/the-handmade-tale-debra-achen-diana-h-bloomfield/exhibition-1/1
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EXHIBITION #4
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EXHIBITION #5
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