THE 'I-A CALL FOR SELF-PORTRAITURE'- Ellen Friedlander > EXHIBITION #1
EXHIBITION #1
REGARD APRIL 16, 2018 by Anna Grevenitis
(Click on image for larger view)
(Click on image for larger view)
Anna Grevenitis says of 'REGARD', "When my daughter was born, I was told that she had the “physical markers” for Down syndrome. A few days later, the diagnosis of trisomy 21 was confirmed with a simple blood test.
Today, seventeen years later, Luigia is a thriving teenager, yet these “markers” have grown with her, and her disability remains visible to the outside world. As we try to go about our ordinary lives in our community--getting ice cream after school, going grocery shopping or walking to the local library I often catch people staring, gawking, or side-glancing at her, at us.
Even though their gaze feels invasive, I perceive it as more questioning than judging, at least most of the time. With this on-going series REGARD, I am opening a window into our reality.
To emphasize control over my message, these everyday scenes are meticulously set, lit up; they are staged and posed. The performers are my daughter and me. The double self-portraits are purposefully developed in black and white, for by refusing the decorative and emotionally evocative element of color, I aim to maintain a distance between us and them.
The composition of the photographs expresses routine, domestic acts in which I address the viewers directly: look at us bathing; look at us grooming; here we are at bedtime; this is us on a random day at the beach. In each scene, the viewers are plunged into the outside perspective.
At first glance, it may seem that I am offering us as vulnerable prey to their judgement, yet in fact I am guarding our lives, and the viewers are caught gawking--my direct gaze at the camera.
Through the direct, return gaze, I am not only the one in control, but I am also the one the viewer eventually focuses on. Image after image, I am emerging center-stage as I am asking to be seen. A shift in perspective is imposed. Because of the otherness of our circumstance, I know I am being a mother scrutinized, and my own narcissistic inkling is surfacing. In the end, I am not so much interested in answering the viewers’ questions anymore as I am leaving them with mine: what is this saying about me?"
Originally from France, Anna Aude Grevenitis is a visual artist based in Brooklyn, NY. For her work, the act of performing is an important step in image making. Drawing on the experiences of the domestic to inform her daily practice, she uses her home as a stage and her body and the body of others in her familial sphere as characters in order to deliver, in the photographs, the essence of what she wants to express about motherhood and the self.
Nowadays she divides her time between research and creation, and she is interested in building long term projects in photography as an act of establishing visual memory and engaging in social visibility.
CAREER HIGHLIGHTS-
EDUCATION
M.A in English, Arcadia University, Glenside, PA, USA. 1997-1999.
Maîtrise de littérature anglaise (French equivalency of M.A. in English), Université de Strasbourg, II, Strasbourg, France 1994-1997.
Licence de Littérature anglaise (French equivalency of B.A. in English), Université de Haute Alsace, Mulhouse, France, 1992-1994.
SOLO EXHIBITIONS
REGARD in “Childhood” at Uppsala Fotofestival in Uppsala Sweden. September 22-25, 2022
REGARD in “Disability/Visibility” at the Irene Carlson Gallery of Photography curated by Shannon Benine. University of La Verne, CA. April 2020 (this in-person show became a virtual gallery due to Covid-19).
REGARD in the 17th Annual Joyce Elaine Grant Exhibition juried by Lisa Sutcliffe at Texas Woman University, Denton TX. 2021 (postponed because of Covid-19).
REGARD in “Portfolio ShowCase 13” juried byBarbara Tannenbaum at the Center for Fine Art Photography, Fort Collins, CO, June-September 2020. (this in-person show became a virtual gallery due to Covid-19).
REGARD in Photo Stories juried by Michael Itkoff at the Rhode Island Center for Photographic Arts, Providence, RI. June-July 2019.
skólavörðustígur in the Icelandic Photo Festival Steypa 2017 curated by Claus Sternek, Hveragerði, Iceland. 2017.
A PLACE FOR ALL THINGS in the Icelandic Photo Festival Steypa 2016 curated by Emilie Dalum Olasvik, Iceland. 2016.
GROUP EXHIBITIONS IN PERSON, featuring three or more photographs
REGARD in “Highlights from the 2021 Zeke Awards” curated by Creig Cranna at The Bridge Gallery, Cambridge, MA. January 2022.
REGARD in The Big Reveal as part of CENTER’s Summer Slides program during Currents New Media Festival in Santa Fe, NM. June 7-8 and June 14-15, 2019.
GROUP EXHIBITIONS IN PERSON, featuring single photographs
“August 13, 2017” from the series REGARD in “TPS 29 The International Competition Exhibition” juried by Elizabeth Avedon at the Center for Contemporary Arts in Abilene, TX February-March 2020 and at the Buddy Holly Center in Lubbock, TX April-May 2020.
“June 2, 2018” and “May 25, 2015” from the series REGARD in “Lens2020” juried by Catherine Edelman at Perspective Gallery, Evanston, IL, March 2020.
“June 2, 2018” from the series REGARD in the “57th Annual Juried Competition” juried by Allison Glenn at the Masur Museum of Art, Monroe, LA, February 2020.
“June 2, 2018” from the series REGARD in “TPS 28 Exhibition” juried by Arthur Meyerson Art League of Baytown, Baytown TX, July-August 2019, at Center for Contemporary Art, Abilene, TX. November 2019-January 2020 and at Odessa College, Odessa, TX. February 2020.
“June 2, 2018” from the series REGARD in “Who are you?” juried by Roula Seikaly at the Colorado Photographic Arts Center, Denver, CO. December 2019.
“June 2, 2018” from the series REGARD in “Contemporary Portrait Photography” juried by Aline Smithson at the LH Horton Jr Gallery, San Joaquin Delta College, Stockton, CA. November 2019.
“August 13, 2017” from the series REGARD in “2019 SPE Northeast Juried Exhibition” juried by D’Angelo Lovell Williams at the Rhode Island School of Design’s Red Eye Gallery, Providence, RI. October 2019.
“August 13, 2017” from the series REGARD in the National Juried Exhibition, The Peer Show juried by Lissa Rivera and Ruddy Roye at the Cleveland Print Room. Cleveland, OH. September 2019.
“June 2, 2018” from the series REGARD in “Center” juried by Laura Moya at the Center for Fine Art Photography, Fort Collins, CO, September 2019.
“August 13, 2017” and “June 2, 2018” from the series REGARD in “We are Americans” juried by Paula Tognarelli at the Rankin Art Photography Center, Columbus University, Columbus, GA, September 2019.
“May 25, 2015” from the series REGARD at the Chania Photography Festival 2019. Chania Greece, August 2019.
PRESS
The New Yorker “A Mother’s steely Portrait of her daughter’s life with Down Syndrome” by Eren Orbey https://www.newyorker.com/culture/photo-booth/a-mothers-steely-portraits-of-her-daughters-life-with-down-syndrome
The Evening Standard“ How photographer Anna Grevenitis depicts her daughter’s life with Down syndrome” by Zoe Paskett https://www.standard.co.uk/culture/exhibitions/anna-grevenitis-photographer-interview-daughter-down-syndrome-b71776.html
Dodho Magazine “10 Photographers on their favorite Photograph” https://www.dodho.com/10-photographers-on-their-favorite-photograph/
Firecracker Interview with Capella Buncher https://www.fire-cracker.org/2021/02/anna-aude-grevenitis/
AWARDS
2020 Lensculture Black and White Photography Award, Finalist.
Family Documentary Awards Photo Series, First place.
Photolucida Critical Mass, Top 50 Winner.
2nd Annual Foto Awards, Excellence in Self-Expression.
2019 TPS National Photography Award, Finalist.
WORK FOR SALE:
REGARD, "August 13, 2017"--11"H x 14" W
Archival paper
$350 unframed
Limited edition of 15
Signed on back
REGARD, "April 16, 2018"--11"H x 14" W
Archival paper
$350 unframed
Limited edition of 15
Signed on back
REGARD, "June 2, 2018"--11"H x 14" W
Archival paper
$350 unframed
Limited edition of 15
Signed on back
REGARD, "March 4, 2019"--11"H x 14" W
Archival paper
$350 unframed
Limited edition of 15
Signed on back
REGARD, "November 15, 2019"--11"H x 14" W
Archival paper
$350 unframed
Limited edition of 15
Signed on back
REGARD, "May 11, 2020"--11"H x 14" W
Archival paper
$350 unframed
Limited edition of 15
Signed on back
Contact: Anna Grevenitis
annag2325@gmail.com
www.annagrevenitis.me
www.instagram.com/annaaudegrevenitis
Today, seventeen years later, Luigia is a thriving teenager, yet these “markers” have grown with her, and her disability remains visible to the outside world. As we try to go about our ordinary lives in our community--getting ice cream after school, going grocery shopping or walking to the local library I often catch people staring, gawking, or side-glancing at her, at us.
Even though their gaze feels invasive, I perceive it as more questioning than judging, at least most of the time. With this on-going series REGARD, I am opening a window into our reality.
To emphasize control over my message, these everyday scenes are meticulously set, lit up; they are staged and posed. The performers are my daughter and me. The double self-portraits are purposefully developed in black and white, for by refusing the decorative and emotionally evocative element of color, I aim to maintain a distance between us and them.
The composition of the photographs expresses routine, domestic acts in which I address the viewers directly: look at us bathing; look at us grooming; here we are at bedtime; this is us on a random day at the beach. In each scene, the viewers are plunged into the outside perspective.
At first glance, it may seem that I am offering us as vulnerable prey to their judgement, yet in fact I am guarding our lives, and the viewers are caught gawking--my direct gaze at the camera.
Through the direct, return gaze, I am not only the one in control, but I am also the one the viewer eventually focuses on. Image after image, I am emerging center-stage as I am asking to be seen. A shift in perspective is imposed. Because of the otherness of our circumstance, I know I am being a mother scrutinized, and my own narcissistic inkling is surfacing. In the end, I am not so much interested in answering the viewers’ questions anymore as I am leaving them with mine: what is this saying about me?"
Originally from France, Anna Aude Grevenitis is a visual artist based in Brooklyn, NY. For her work, the act of performing is an important step in image making. Drawing on the experiences of the domestic to inform her daily practice, she uses her home as a stage and her body and the body of others in her familial sphere as characters in order to deliver, in the photographs, the essence of what she wants to express about motherhood and the self.
Nowadays she divides her time between research and creation, and she is interested in building long term projects in photography as an act of establishing visual memory and engaging in social visibility.
CAREER HIGHLIGHTS-
EDUCATION
M.A in English, Arcadia University, Glenside, PA, USA. 1997-1999.
Maîtrise de littérature anglaise (French equivalency of M.A. in English), Université de Strasbourg, II, Strasbourg, France 1994-1997.
Licence de Littérature anglaise (French equivalency of B.A. in English), Université de Haute Alsace, Mulhouse, France, 1992-1994.
SOLO EXHIBITIONS
REGARD in “Childhood” at Uppsala Fotofestival in Uppsala Sweden. September 22-25, 2022
REGARD in “Disability/Visibility” at the Irene Carlson Gallery of Photography curated by Shannon Benine. University of La Verne, CA. April 2020 (this in-person show became a virtual gallery due to Covid-19).
REGARD in the 17th Annual Joyce Elaine Grant Exhibition juried by Lisa Sutcliffe at Texas Woman University, Denton TX. 2021 (postponed because of Covid-19).
REGARD in “Portfolio ShowCase 13” juried byBarbara Tannenbaum at the Center for Fine Art Photography, Fort Collins, CO, June-September 2020. (this in-person show became a virtual gallery due to Covid-19).
REGARD in Photo Stories juried by Michael Itkoff at the Rhode Island Center for Photographic Arts, Providence, RI. June-July 2019.
skólavörðustígur in the Icelandic Photo Festival Steypa 2017 curated by Claus Sternek, Hveragerði, Iceland. 2017.
A PLACE FOR ALL THINGS in the Icelandic Photo Festival Steypa 2016 curated by Emilie Dalum Olasvik, Iceland. 2016.
GROUP EXHIBITIONS IN PERSON, featuring three or more photographs
REGARD in “Highlights from the 2021 Zeke Awards” curated by Creig Cranna at The Bridge Gallery, Cambridge, MA. January 2022.
REGARD in The Big Reveal as part of CENTER’s Summer Slides program during Currents New Media Festival in Santa Fe, NM. June 7-8 and June 14-15, 2019.
GROUP EXHIBITIONS IN PERSON, featuring single photographs
“August 13, 2017” from the series REGARD in “TPS 29 The International Competition Exhibition” juried by Elizabeth Avedon at the Center for Contemporary Arts in Abilene, TX February-March 2020 and at the Buddy Holly Center in Lubbock, TX April-May 2020.
“June 2, 2018” and “May 25, 2015” from the series REGARD in “Lens2020” juried by Catherine Edelman at Perspective Gallery, Evanston, IL, March 2020.
“June 2, 2018” from the series REGARD in the “57th Annual Juried Competition” juried by Allison Glenn at the Masur Museum of Art, Monroe, LA, February 2020.
“June 2, 2018” from the series REGARD in “TPS 28 Exhibition” juried by Arthur Meyerson Art League of Baytown, Baytown TX, July-August 2019, at Center for Contemporary Art, Abilene, TX. November 2019-January 2020 and at Odessa College, Odessa, TX. February 2020.
“June 2, 2018” from the series REGARD in “Who are you?” juried by Roula Seikaly at the Colorado Photographic Arts Center, Denver, CO. December 2019.
“June 2, 2018” from the series REGARD in “Contemporary Portrait Photography” juried by Aline Smithson at the LH Horton Jr Gallery, San Joaquin Delta College, Stockton, CA. November 2019.
“August 13, 2017” from the series REGARD in “2019 SPE Northeast Juried Exhibition” juried by D’Angelo Lovell Williams at the Rhode Island School of Design’s Red Eye Gallery, Providence, RI. October 2019.
“August 13, 2017” from the series REGARD in the National Juried Exhibition, The Peer Show juried by Lissa Rivera and Ruddy Roye at the Cleveland Print Room. Cleveland, OH. September 2019.
“June 2, 2018” from the series REGARD in “Center” juried by Laura Moya at the Center for Fine Art Photography, Fort Collins, CO, September 2019.
“August 13, 2017” and “June 2, 2018” from the series REGARD in “We are Americans” juried by Paula Tognarelli at the Rankin Art Photography Center, Columbus University, Columbus, GA, September 2019.
“May 25, 2015” from the series REGARD at the Chania Photography Festival 2019. Chania Greece, August 2019.
PRESS
The New Yorker “A Mother’s steely Portrait of her daughter’s life with Down Syndrome” by Eren Orbey https://www.newyorker.com/culture/photo-booth/a-mothers-steely-portraits-of-her-daughters-life-with-down-syndrome
The Evening Standard“ How photographer Anna Grevenitis depicts her daughter’s life with Down syndrome” by Zoe Paskett https://www.standard.co.uk/culture/exhibitions/anna-grevenitis-photographer-interview-daughter-down-syndrome-b71776.html
Dodho Magazine “10 Photographers on their favorite Photograph” https://www.dodho.com/10-photographers-on-their-favorite-photograph/
Firecracker Interview with Capella Buncher https://www.fire-cracker.org/2021/02/anna-aude-grevenitis/
AWARDS
2020 Lensculture Black and White Photography Award, Finalist.
Family Documentary Awards Photo Series, First place.
Photolucida Critical Mass, Top 50 Winner.
2nd Annual Foto Awards, Excellence in Self-Expression.
2019 TPS National Photography Award, Finalist.
WORK FOR SALE:
REGARD, "August 13, 2017"--11"H x 14" W
Archival paper
$350 unframed
Limited edition of 15
Signed on back
REGARD, "April 16, 2018"--11"H x 14" W
Archival paper
$350 unframed
Limited edition of 15
Signed on back
REGARD, "June 2, 2018"--11"H x 14" W
Archival paper
$350 unframed
Limited edition of 15
Signed on back
REGARD, "March 4, 2019"--11"H x 14" W
Archival paper
$350 unframed
Limited edition of 15
Signed on back
REGARD, "November 15, 2019"--11"H x 14" W
Archival paper
$350 unframed
Limited edition of 15
Signed on back
REGARD, "May 11, 2020"--11"H x 14" W
Archival paper
$350 unframed
Limited edition of 15
Signed on back
Contact: Anna Grevenitis
annag2325@gmail.com
www.annagrevenitis.me
www.instagram.com/annaaudegrevenitis
REGARD AUGUST 13, 2017 by Anna Grevenitis
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REGARD JUNE 2, 2018 by Anna Grevenitis
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REGARD MARCH 4,2019 by Anna Grevenitis
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REGARD MAY 11, 2020 by Anna Grevenitis
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REGARD NOVEMBER 15, 2019 by Anna Grevenitis
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CHOICES by Anne Berry
HONORABLE MENTION
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HONORABLE MENTION
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Anne Berry says, "Cumberland Island, Georgia remains mostly wilderness while bearing witness to some human presence since 2,000 BC.
Decaying and ruined mansions and feral horses document memories of human activity. In this place of extreme beauty one finds truth and mystery, and hope. In this series of images I investigate the human history of the island and try to capture the feeling of becoming part of the essence of the island."
Anne Berry is an artist from Atlanta, Georgia. Her photographs investigate the animal world, the domain of childhood, and the terrain of the Southern wilderness. She also explores themes and metaphors from literature.
In 2013 and 2014 Critical Mass included her work in their Top 50 Portfolios. Anne has exhibited nationally and internationally, including The Fox Talbot Museum in Lacock, England, SCAN Tarragona in Spain, The Museum of Photographic Arts in San Diego, and the Ogden Museum of Southern Arts in New Orleans. Books include Through Glass (North Light Press, 2014) Primates (21st Editions, 2017), and Behind Glass, 2021.
Anne’s work is featured in National Geographic Proof, Feature Shoot, Hufffington Post, and Lens Culture, among others.
Her work is in many permanent collections, including the National Gallery of Art. Anne lives in Newnan, GA and is represented by the Catherine Couturier Gallery in Houston.
PUBLICATIONS:
Behind Glass, 2021
ARTICLES:
ArtsAtl, 3/3/22
All About Photo, 2/23/22
Photobook Journal, 12/21
Elizabeth Avedon Journal, Best Photography Books 2021, 12/22/21
Lenscratch, 12/5/21
The Guardian, 1/13/21
www.anneberrystudio.com
ww.instagram.com/a_n_n_e_b_e_r_r_y/
Decaying and ruined mansions and feral horses document memories of human activity. In this place of extreme beauty one finds truth and mystery, and hope. In this series of images I investigate the human history of the island and try to capture the feeling of becoming part of the essence of the island."
Anne Berry is an artist from Atlanta, Georgia. Her photographs investigate the animal world, the domain of childhood, and the terrain of the Southern wilderness. She also explores themes and metaphors from literature.
In 2013 and 2014 Critical Mass included her work in their Top 50 Portfolios. Anne has exhibited nationally and internationally, including The Fox Talbot Museum in Lacock, England, SCAN Tarragona in Spain, The Museum of Photographic Arts in San Diego, and the Ogden Museum of Southern Arts in New Orleans. Books include Through Glass (North Light Press, 2014) Primates (21st Editions, 2017), and Behind Glass, 2021.
Anne’s work is featured in National Geographic Proof, Feature Shoot, Hufffington Post, and Lens Culture, among others.
Her work is in many permanent collections, including the National Gallery of Art. Anne lives in Newnan, GA and is represented by the Catherine Couturier Gallery in Houston.
PUBLICATIONS:
Behind Glass, 2021
ARTICLES:
ArtsAtl, 3/3/22
All About Photo, 2/23/22
Photobook Journal, 12/21
Elizabeth Avedon Journal, Best Photography Books 2021, 12/22/21
Lenscratch, 12/5/21
The Guardian, 1/13/21
www.anneberrystudio.com
ww.instagram.com/a_n_n_e_b_e_r_r_y/
CHILDLESS by Anne Berry
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GERTRUDE by Anne Berry
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GRANDFATHER by Anne Berry
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HIDDEN by Anne Berry
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KIDDIE KOOP by Anne Berry
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BARUMBARA 1 by Ann Prochilo
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Ann Prochilo says, "Through self-portraiture, I mine the tension that precedes transition and emergence––that moment before surrendering to sleep, or surfacing from deep waters. I’m drawn to the controlled chaos of it, the uncertainty and revelations. I’m compelled by the images: testaments to resilience and vulnerability, what we share and what we keep hidden.
These self-portraits are from the series, Barumbara. Barumbara is the name of a house and an ongoing chronicle in these precarious times. The house gets its name from its dovecote, a tower where pigeons once came to roost. Between pandemics, polemics, and war, an eagle is in the dovecote––a great disruptor, wreaking havoc and division, wave upon wave. Inundated, we may thrive, or rebel, or turn inward, protective and feral.
In the flood story of Noah’s Ark, upon reaching land, Noah sent out a dove three times to see if the waters had receded. The first time, the dove returned having found nothing. The second time, it returned with an olive branch––a sign that God’s punishment was over. The third time, the dove did not return, signaling that it was safe to leave the ark. We watch. We commit. We keep the faith."
Ann Prochilo (American) is a photographic artist based in Malta. Her narrative-driven photographs explore belonging, memory, identity and dissonance as tools for reconciliation and transformation. Prochilo received a BA from Indiana University where she pursued dual interests in fine arts and medicine.
She has had a wide-ranging career as midwife, AIDS activist and founder of an advocacy relations agency. As a visual artist, she states, “I see my role as that of midwife and mediator, exploring the “in-between” places and forces that shape them.” Prochilo’s work has been exhibited internationally.
2022 JURIED GROUP EXHIBITS:
Praxis Gallery, Minneapolis, MN
PhotoPlace Gallery, Middlebury, VT
Midwest Center for Photography, Wichita, KS
PH21 Contemporary Photography Gallery, Budapest, Hungary
aprochilo@prochilo.com
www.annprochilo.com
www.instagram.com/apmaieutic
These self-portraits are from the series, Barumbara. Barumbara is the name of a house and an ongoing chronicle in these precarious times. The house gets its name from its dovecote, a tower where pigeons once came to roost. Between pandemics, polemics, and war, an eagle is in the dovecote––a great disruptor, wreaking havoc and division, wave upon wave. Inundated, we may thrive, or rebel, or turn inward, protective and feral.
In the flood story of Noah’s Ark, upon reaching land, Noah sent out a dove three times to see if the waters had receded. The first time, the dove returned having found nothing. The second time, it returned with an olive branch––a sign that God’s punishment was over. The third time, the dove did not return, signaling that it was safe to leave the ark. We watch. We commit. We keep the faith."
Ann Prochilo (American) is a photographic artist based in Malta. Her narrative-driven photographs explore belonging, memory, identity and dissonance as tools for reconciliation and transformation. Prochilo received a BA from Indiana University where she pursued dual interests in fine arts and medicine.
She has had a wide-ranging career as midwife, AIDS activist and founder of an advocacy relations agency. As a visual artist, she states, “I see my role as that of midwife and mediator, exploring the “in-between” places and forces that shape them.” Prochilo’s work has been exhibited internationally.
2022 JURIED GROUP EXHIBITS:
Praxis Gallery, Minneapolis, MN
PhotoPlace Gallery, Middlebury, VT
Midwest Center for Photography, Wichita, KS
PH21 Contemporary Photography Gallery, Budapest, Hungary
aprochilo@prochilo.com
www.annprochilo.com
www.instagram.com/apmaieutic
BARUMBARA 2 by Ann Prochilo
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BARUMBARA 3 by Ann Prochilo
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BARUMBARA 4 by Ann Prochilo
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BARUMBARA 5 by Ann Prochilo
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BARUMBARA 6 by Ann Prochilo
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AHU LANI RIVER by Bootsy Holler
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Bootsy Holler says, "'Without Words' grounded in nature.
When I cannot speak, photography is my voice.
My intent for Without Words is to show that we all experience moments of the human condition: pain, joy, isolation, pleasure, loneliness, hope... And in them, we are not alone. Because these feelings are universal. With these photographs, I hope to bring our eyes to the truth and beauty of the world surrounding us during our darkest and happiest moments. I want to transcend from paper to feeling.
In this series of images, I am reminded that we all come from the same biology and we are all equal…. No better than any animal, insect, plant, or tree.
It is nature that will bring us back to the connectivity of all matter on Earth.
And it is this humble respect we must find in order to ensure the survival of us all.
Why do we forget what surrounds us? The planet we live on, the oceans, the trees, the grasses, the animals - we have become detached. They are they and we are us.
But that’s far from the truth.
When I ground myself to the earth I am able to see this.
I am not stuck in the mud… I need the mud to survive.
Without Words are my innermost thoughts come to life. Meaning that I can only understand after the fact. What might have started as despair now represents hope, what might have been negative, now with the lesson learned, is seen as a positive.
Inside each image is rebirth. Inside each image is an untangled string and a riddle solved.
These are photographs that represent a journey of letting go and starting anew Without Words."
BioBootsy Holler is an American photographer best known for her work as a portraitist, beginning with intimate depictions of herself and her friends at the center of Seattle’s pivotal music scene during the early 1990s.
These formative years working both ends of the lens cemented her style and methodology. Her personal journalistic approach informed her work as she segued into a successful commercial and editorial practice while at the same time always creating art. Her art revolves around family, memory, environmentalism, emotions, eco-feminism, and giving feeling to the inanimate.
Holler currently lives and works in Los Angeles, CA. She has been recognized by the Society of Photographic Journalism, her series Visitor was selected for Critical Mass Top 50 and her art images have appeared in numerous publications like VOGUE, House & Garden, NPR, PDN, LENSCRATCH, Don’t Take Pictures, All About Photo Magazine and Chinese Photographer Magazine.
Her seminal work is in the permanent collection of the Grammy Museum. In 2020 she was invited to exhibit her Without Words series at the Shanghai International Photo Festival. She has shown at institutions including Fotofever in Paris, The Griffin Museum of Photography, California Museum of Photography, and The Center for Fine Art Photography.
Recently she was awarded Best-of-Show at a juried exhibition with the Center for Photographic Art. In 2019 she published her second monograph TREASURES: objects I’ve known all my life and is currently working on a new book about the Seattle music scene she documented for 15+ years.
SOLO EXHIBITSSOLO EXHIBITIONS
2021
Without Words, The LODGE, Los Angeles, CA
2020
Without Words, Shanghai International Photo Show, China
2015
Nuclear Family, WallSpace Gallery, Seattle, WA
Nuclear Family, WallSpace Gallery, Santa Barbara, CA
2014
Visitor, Kiernan Gallery, Lexington, VA
2009
Ruby & Willie, WallSpace Gallery, Seattle, WA
2006
Ruby & Willie, Gallery 63Eleven, Seattle, WA
2005
Ruby & Willie, New Space Center for Photography, Portland, OR
SELECT GROUP EXHIBITIONS
2021
HERSTORY: Through the Feminine Lens, Building Bridges Art Exchange, Curated by Marisa Cachiolo, Santa Monica, CA
International Juried Exhibition, Jurors Debra Klomp-Ching & Darren Ching, Center for Photographic Arts, Carmel, CA
Creative Portraiture, LACP, Juror Aline Smithson, Los Angeles, CA
The Other Art Fair, sponsored by Saatchiart.com, Barker Hangar, Santa Monica, CA
The Exhibition Lab, Foley Gallery, New York, NY
The Artist Intervenes, Cal Poly, University Art Gallery, San Luis Obisbo CA
The Poetry of the Ordinary, Juror Douglas Beasley, PhotoPlace Gallery, VT
Art In The Plague Year, California Museum of Photography, Riverside, CA
2020
Members Exhibition, Center for Photographic Arts, Jurors Ann Jastrab & Laura Sackett Carmel, CA
A Yellow Rose Project, Spectra Gallery in the Honors College, The University of New Mexico, NM
A Yellow Rose Project, Colorado Photographic Art Center, Denver, CO
Members Juried Exhibition, SE Center for Photography, Greenville, SC
Anteroom - The Lodge, Los Angeles, CA
Portfolio Exhibition, SE Center for Photography, Greenville, SC
MUSEUM COLLECTIONS
House of Lucie Center for Photography - TREASURES book in the permanent collection
Griffin Museum of Photography - TREASURES book in the permanent collection
California Museum of Photography - TREASURES book in the permanent collection
Grammy Museum - Pearl Jam live at Easy Street Records, Seattle, WA
BOOKS
2019 - Treasures: Objects I've Known All My Life, Monograph, BearHeart Publishing
2011 - The Italy Diary, Monograph, Self Published
2005 - Ruby & Willie: My Grandparents' Home, Monograph, Self Published
Works included in:
2014 - Portfolio Showcase, The Kiernan Gallery
2012 - Contained Beauty: Photographs, Reflections, Swimming Pools, Debbi DiMaggio
2012 - iSpy: Camera Phone Photography, The Kiernan Gallery
2011 - Pearl Jam Twenty, Simon & Schuster
2011 - Retrospective Book, New Space Photo Center
IMAGES FOR SALE-
Kona - 18"T x 24" W
Archival paper
$1200 unframed
Limited edition of 8
Signed on back
Camp Rock - 24"T x 32" W
Archival paper
$2200 unframed
Limited edition of 6
Signed on back
Andrews Bay - 30"T x 40" W
Archival paper
$3200 unframed
Limited edition of 3
Signed on back
Driftwood Beach - 18"T x 24" W
Archival paper
$1200 unframed
Limited edition of 8
Signed on back
Deadman Cove - 24"T x 32" W
Archival paper
$2200 unframed
Limited edition of 6
Signed on back
Ahu Lani River - 30"T x 40" W
Archival paper
$3200 unframed
Limited edition of 3
Signed on back
Contact: Bootsy Holler
booholler@gmail.com
www.bootsyholler.com
https://www.instagram.com/bootsyholler
twitter @bootsyholler
When I cannot speak, photography is my voice.
My intent for Without Words is to show that we all experience moments of the human condition: pain, joy, isolation, pleasure, loneliness, hope... And in them, we are not alone. Because these feelings are universal. With these photographs, I hope to bring our eyes to the truth and beauty of the world surrounding us during our darkest and happiest moments. I want to transcend from paper to feeling.
In this series of images, I am reminded that we all come from the same biology and we are all equal…. No better than any animal, insect, plant, or tree.
It is nature that will bring us back to the connectivity of all matter on Earth.
And it is this humble respect we must find in order to ensure the survival of us all.
Why do we forget what surrounds us? The planet we live on, the oceans, the trees, the grasses, the animals - we have become detached. They are they and we are us.
But that’s far from the truth.
When I ground myself to the earth I am able to see this.
I am not stuck in the mud… I need the mud to survive.
Without Words are my innermost thoughts come to life. Meaning that I can only understand after the fact. What might have started as despair now represents hope, what might have been negative, now with the lesson learned, is seen as a positive.
Inside each image is rebirth. Inside each image is an untangled string and a riddle solved.
These are photographs that represent a journey of letting go and starting anew Without Words."
BioBootsy Holler is an American photographer best known for her work as a portraitist, beginning with intimate depictions of herself and her friends at the center of Seattle’s pivotal music scene during the early 1990s.
These formative years working both ends of the lens cemented her style and methodology. Her personal journalistic approach informed her work as she segued into a successful commercial and editorial practice while at the same time always creating art. Her art revolves around family, memory, environmentalism, emotions, eco-feminism, and giving feeling to the inanimate.
Holler currently lives and works in Los Angeles, CA. She has been recognized by the Society of Photographic Journalism, her series Visitor was selected for Critical Mass Top 50 and her art images have appeared in numerous publications like VOGUE, House & Garden, NPR, PDN, LENSCRATCH, Don’t Take Pictures, All About Photo Magazine and Chinese Photographer Magazine.
Her seminal work is in the permanent collection of the Grammy Museum. In 2020 she was invited to exhibit her Without Words series at the Shanghai International Photo Festival. She has shown at institutions including Fotofever in Paris, The Griffin Museum of Photography, California Museum of Photography, and The Center for Fine Art Photography.
Recently she was awarded Best-of-Show at a juried exhibition with the Center for Photographic Art. In 2019 she published her second monograph TREASURES: objects I’ve known all my life and is currently working on a new book about the Seattle music scene she documented for 15+ years.
SOLO EXHIBITSSOLO EXHIBITIONS
2021
Without Words, The LODGE, Los Angeles, CA
2020
Without Words, Shanghai International Photo Show, China
2015
Nuclear Family, WallSpace Gallery, Seattle, WA
Nuclear Family, WallSpace Gallery, Santa Barbara, CA
2014
Visitor, Kiernan Gallery, Lexington, VA
2009
Ruby & Willie, WallSpace Gallery, Seattle, WA
2006
Ruby & Willie, Gallery 63Eleven, Seattle, WA
2005
Ruby & Willie, New Space Center for Photography, Portland, OR
SELECT GROUP EXHIBITIONS
2021
HERSTORY: Through the Feminine Lens, Building Bridges Art Exchange, Curated by Marisa Cachiolo, Santa Monica, CA
International Juried Exhibition, Jurors Debra Klomp-Ching & Darren Ching, Center for Photographic Arts, Carmel, CA
Creative Portraiture, LACP, Juror Aline Smithson, Los Angeles, CA
The Other Art Fair, sponsored by Saatchiart.com, Barker Hangar, Santa Monica, CA
The Exhibition Lab, Foley Gallery, New York, NY
The Artist Intervenes, Cal Poly, University Art Gallery, San Luis Obisbo CA
The Poetry of the Ordinary, Juror Douglas Beasley, PhotoPlace Gallery, VT
Art In The Plague Year, California Museum of Photography, Riverside, CA
2020
Members Exhibition, Center for Photographic Arts, Jurors Ann Jastrab & Laura Sackett Carmel, CA
A Yellow Rose Project, Spectra Gallery in the Honors College, The University of New Mexico, NM
A Yellow Rose Project, Colorado Photographic Art Center, Denver, CO
Members Juried Exhibition, SE Center for Photography, Greenville, SC
Anteroom - The Lodge, Los Angeles, CA
Portfolio Exhibition, SE Center for Photography, Greenville, SC
MUSEUM COLLECTIONS
House of Lucie Center for Photography - TREASURES book in the permanent collection
Griffin Museum of Photography - TREASURES book in the permanent collection
California Museum of Photography - TREASURES book in the permanent collection
Grammy Museum - Pearl Jam live at Easy Street Records, Seattle, WA
BOOKS
2019 - Treasures: Objects I've Known All My Life, Monograph, BearHeart Publishing
2011 - The Italy Diary, Monograph, Self Published
2005 - Ruby & Willie: My Grandparents' Home, Monograph, Self Published
Works included in:
2014 - Portfolio Showcase, The Kiernan Gallery
2012 - Contained Beauty: Photographs, Reflections, Swimming Pools, Debbi DiMaggio
2012 - iSpy: Camera Phone Photography, The Kiernan Gallery
2011 - Pearl Jam Twenty, Simon & Schuster
2011 - Retrospective Book, New Space Photo Center
IMAGES FOR SALE-
Kona - 18"T x 24" W
Archival paper
$1200 unframed
Limited edition of 8
Signed on back
Camp Rock - 24"T x 32" W
Archival paper
$2200 unframed
Limited edition of 6
Signed on back
Andrews Bay - 30"T x 40" W
Archival paper
$3200 unframed
Limited edition of 3
Signed on back
Driftwood Beach - 18"T x 24" W
Archival paper
$1200 unframed
Limited edition of 8
Signed on back
Deadman Cove - 24"T x 32" W
Archival paper
$2200 unframed
Limited edition of 6
Signed on back
Ahu Lani River - 30"T x 40" W
Archival paper
$3200 unframed
Limited edition of 3
Signed on back
Contact: Bootsy Holler
booholler@gmail.com
www.bootsyholler.com
https://www.instagram.com/bootsyholler
twitter @bootsyholler
ANDRES BAY by Bootsy Holler
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CAMP ROCK by Bootsy Holler
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DEADMAN COVE by Bootsy Holler
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DRIFTWOOD BEACH by Bootsy Holler
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KONA by Bootsy Holler
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ACTIVELY LISTENS by Carrie Usmar
HONORABLE MENTION
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HONORABLE MENTION
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Carrie Usmar says, "Since one in five American parents stay home after having children and mothers are four times as likely to be the parent to opt-out of the workforce to raise their children, I created “Resume of A Stay-At-Home-Mother”, a series of images, to dispel the stereotypes and show the depth of the stay-at-home-mom role, forcing employers to rethink what they seek in a resume.
The US is among the only industrialized countries without mandatory paid family leave. The national requirement for employers is 12 weeks off, unpaid. States and individual employers may have their own stipulations, but many women in the US do not have any paid leave at all and childcare prospects are unaffordable.
When the time comes to re-enter the workforce, one study from American Sociological Review says stay-at-home mothers are half as likely to get a job interview than unemployed mothers. Employers said they viewed stay-at-home parents as less reliable, less deserving, and less committed to work than unemployed parents.
Mothers who find a job after a gap in employment are often penalized. According to a study from Harvard Business Review, women who spend three years or more out of the workforce lose 37% of their earning power.
In “Resume Of A Stay-At-Home Mother”, I put my camera on a tripod and use a remote to capture candid self-portraits with my children, displaying various skills employers look for on a resume.
I’ve been a stay-at-home-mother for over 10 years and never felt like my role was enough. I was ashamed when asked, “What do you do?”. I always shared about my hobbies and volunteer jobs but left out my primary role of taking care of my children day in and day out, no sick days, no PTO.
Creating “Resume Of A Stay-At-Home-Mother” caused me to re-evaluate my role as primary caregiver to my children and realize the vast amount of skills I utilize daily. The images shatter the stereotypes and display the infinite value of being a stay-at-home mom."
Carrie Usmar is a Rhode Island based artist whose narrative work focuses on issues of female identity, motherhood and mental health.
She received a B.F.A. from University of Rhode Island in 2009, got married, and has been the primary caregiver to her four children for the past 10 years. Even though her current job is 24/7, she finds time to create and find beauty in her messy chaotic life.
Carrie has exhibited in group exhibitions at Rhode Island Center For Photographic Arts and Newport Art Museum as well as an online exhibition on The Luupe. Carrie is also a writer and has been published by the websites Perfection Pending and Kindred Mom. Carrie’s hope is that her work begins that conversation we are all too afraid to have, while raising awareness to the stigmas of mental health and motherhood.
www.mamadaringgreatly.com
www.instagram.com/mamadaringgreatly
The US is among the only industrialized countries without mandatory paid family leave. The national requirement for employers is 12 weeks off, unpaid. States and individual employers may have their own stipulations, but many women in the US do not have any paid leave at all and childcare prospects are unaffordable.
When the time comes to re-enter the workforce, one study from American Sociological Review says stay-at-home mothers are half as likely to get a job interview than unemployed mothers. Employers said they viewed stay-at-home parents as less reliable, less deserving, and less committed to work than unemployed parents.
Mothers who find a job after a gap in employment are often penalized. According to a study from Harvard Business Review, women who spend three years or more out of the workforce lose 37% of their earning power.
In “Resume Of A Stay-At-Home Mother”, I put my camera on a tripod and use a remote to capture candid self-portraits with my children, displaying various skills employers look for on a resume.
I’ve been a stay-at-home-mother for over 10 years and never felt like my role was enough. I was ashamed when asked, “What do you do?”. I always shared about my hobbies and volunteer jobs but left out my primary role of taking care of my children day in and day out, no sick days, no PTO.
Creating “Resume Of A Stay-At-Home-Mother” caused me to re-evaluate my role as primary caregiver to my children and realize the vast amount of skills I utilize daily. The images shatter the stereotypes and display the infinite value of being a stay-at-home mom."
Carrie Usmar is a Rhode Island based artist whose narrative work focuses on issues of female identity, motherhood and mental health.
She received a B.F.A. from University of Rhode Island in 2009, got married, and has been the primary caregiver to her four children for the past 10 years. Even though her current job is 24/7, she finds time to create and find beauty in her messy chaotic life.
Carrie has exhibited in group exhibitions at Rhode Island Center For Photographic Arts and Newport Art Museum as well as an online exhibition on The Luupe. Carrie is also a writer and has been published by the websites Perfection Pending and Kindred Mom. Carrie’s hope is that her work begins that conversation we are all too afraid to have, while raising awareness to the stigmas of mental health and motherhood.
www.mamadaringgreatly.com
www.instagram.com/mamadaringgreatly
DELEGATES DAILY TASKS TO EMPOWER TEAM MEMBERS by Carrie Usmar
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DEMONSTRATES FLEXIBILITY by Carrie Usmar
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ENCOURAGES JUNIOR TEAM MEMBERS by Carrie Usmar
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MANAGES TIME EFFECTIVELY by Carrie Usmar
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SEEKS MOST EFFICIENT SOLUTION by Carrie Usmar
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A FINE BALANCE, SELF-PORTRAIT #2 by Catherine Marcogliese
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Catherine Marcogliese says of her series,
‘A Fine Balance’, “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.
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.
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."
Career Highlights:
Solo Shows :
2017 Whiter than White (Paysages Domestiques), La VillaTamaris Centre d’Art, La Seyne-sur-Mer
2017 Night Sky,Galerie du Tableau, Marseille
2016 Histoires Naturelles : Spectres et Monstres,Muséum d’Histoire Naturelle de Marseille
Group Shows :
2021 Un Autre Réel, Galerie La Porte Etroite, Toulon2021 CristallisationsAlternatives, Galerie Fontaine Obscure
2020 Kaleidoscopie, Galerie duCanon, Toulon
2020 Regards Polychromes sur la Ville,Batterie du Cap Nègre, Six Fours les Plages
2020 C’est Votre Choix, Villa Tamaris Centred’Art
2019 Pré-sélection PrixPolyptyque, Centre Photographique de Marseille
www.marcogliese.org
https://www.instagram.com/cathymarc0
‘A Fine Balance’, “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.
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.
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."
Career Highlights:
Solo Shows :
2017 Whiter than White (Paysages Domestiques), La VillaTamaris Centre d’Art, La Seyne-sur-Mer
2017 Night Sky,Galerie du Tableau, Marseille
2016 Histoires Naturelles : Spectres et Monstres,Muséum d’Histoire Naturelle de Marseille
Group Shows :
2021 Un Autre Réel, Galerie La Porte Etroite, Toulon2021 CristallisationsAlternatives, Galerie Fontaine Obscure
2020 Kaleidoscopie, Galerie duCanon, Toulon
2020 Regards Polychromes sur la Ville,Batterie du Cap Nègre, Six Fours les Plages
2020 C’est Votre Choix, Villa Tamaris Centred’Art
2019 Pré-sélection PrixPolyptyque, Centre Photographique de Marseille
www.marcogliese.org
https://www.instagram.com/cathymarc0
A FINE BALANCE, SELF-PORTRAIT #5 by Catherine Marcogliese
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A FINE BALANCE, SELF-PORTRAIT #7 by Catherine Marcogliese
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NIGHT HEART by Diane Fenster
HONORABLE MENTION
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HONORABLE MENTION
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Spells For My Protection
“Art has always been the raft onto which we climb to save our sanity. I don’t see a different purpose for it now.”
~ Dorothea Tanning
Diane Fenster says, "I am facing cardiac surgery to replace my aortic valve. The root of these magical self-portraits is in the need to express the vortex of emotion I am experiencing and to summon the various streams of destiny in hopes of influencing the outcome in a positive manner.
I am a self-taught artist working with photography and photo-montage. My art first received notice during the era of early experimentations with digital imaging and has been called an important voice in the development of a true digital aesthetic.
I view myself as an alchemist, using digital, alternative process, and traditional photographic tools to delve into fundamental human issues.
My work is literary and emotional, full of symbolism and multiple layers of meaning. My images have appeared in numerous publications on photography digital art. I've been a guest lecturer at many seminars and conferences, internationally exhibited and a part of museum, corporate and private collections.
My work appears in #ICP CONCERNED, International Center of Photography, the APERTURE monograph METAMORPHOSES: PHOTOGRAPHY IN THE ELECTRONIC AGE, WOMEN, ART AND TECHNOLOGY published by MIT press, and ART IN THE DIGITAL AGE edited by Bruce Wands, School of Visual Art, NYC and other publications.
Recent honors include: 2022 publication in THE HAND Magazine, 2021 publication in DIFFUSION X, OneTwelve Publishers, 2021 TOKYO INTERNATIONAL FOTO AWARDS Jury Top 5 selection award in the Fine Art Category for my series Penumbral Epiphanies. Also received an Honorable Mention in the Fine Art-Collage Category for the same series.
2021 ALLABOUTPHOTO.COM Merit Award for the Portrait Competition. 2021 Honorable Mentions in the Portrait/Self-Portrait and Women Seen By Women categories Julia Margaret Cameron Awards, 2020 publication in ALLABOUTPHOTO magazine, Black and White issue.
A portfolio of work from A LONG HISTORY OF DARK SLEEP is included in this issue. 2020 BEST OF QUARANTINE, FLOAT Magazine. An image from A LONG HISTORY OF DARK SLEEP included in this online exhibition.
Shortlist for the Conceptual Category, KOLGA TBILISI PHOTO Award for my series A Long History of Dark Sleep. Gold and Silver Awards, Budapest International Foto Awards (BIFA) 2020, Gold Award, Bay Area Month of Photography 2020, Honorable Mention in the Fine Art Portrait category Moscow Photo Awards (MIFA) 2020, Silver Award Bay Area Month of Photography 2019, Silver Award, Tokyo International Foto Awards. Honorable Mentions 7th, 8th, 11th, 12th, and 15th Julia Margaret Cameron Awards. 2018 Pollux Awards, Finalist in the Fine Art and Digital Manipulation categories. Received Honorable Mentions in the 9th Pollux Awards, and the 2018 Moscow Photo Awards.
Extensive CV available for viewing at
https://www.dropbox.com/s/1utfkdyfeqdand0/Diane_Fenster_CV_2022.pdf?dl=0
All images are for sale:
All images shown are
11"H x 14” W or 14”W x 11”H
Archival pigment prints
$500 unframed
Limited edition of 5
Signed on verso
Contact: Diane Fenster
diane@dianefenster.com
www.lensculture.com/diane-fenster
facebook.com/dianefensterphotography
https://www.instagram.com/dianefenster
“Art has always been the raft onto which we climb to save our sanity. I don’t see a different purpose for it now.”
~ Dorothea Tanning
Diane Fenster says, "I am facing cardiac surgery to replace my aortic valve. The root of these magical self-portraits is in the need to express the vortex of emotion I am experiencing and to summon the various streams of destiny in hopes of influencing the outcome in a positive manner.
I am a self-taught artist working with photography and photo-montage. My art first received notice during the era of early experimentations with digital imaging and has been called an important voice in the development of a true digital aesthetic.
I view myself as an alchemist, using digital, alternative process, and traditional photographic tools to delve into fundamental human issues.
My work is literary and emotional, full of symbolism and multiple layers of meaning. My images have appeared in numerous publications on photography digital art. I've been a guest lecturer at many seminars and conferences, internationally exhibited and a part of museum, corporate and private collections.
My work appears in #ICP CONCERNED, International Center of Photography, the APERTURE monograph METAMORPHOSES: PHOTOGRAPHY IN THE ELECTRONIC AGE, WOMEN, ART AND TECHNOLOGY published by MIT press, and ART IN THE DIGITAL AGE edited by Bruce Wands, School of Visual Art, NYC and other publications.
Recent honors include: 2022 publication in THE HAND Magazine, 2021 publication in DIFFUSION X, OneTwelve Publishers, 2021 TOKYO INTERNATIONAL FOTO AWARDS Jury Top 5 selection award in the Fine Art Category for my series Penumbral Epiphanies. Also received an Honorable Mention in the Fine Art-Collage Category for the same series.
2021 ALLABOUTPHOTO.COM Merit Award for the Portrait Competition. 2021 Honorable Mentions in the Portrait/Self-Portrait and Women Seen By Women categories Julia Margaret Cameron Awards, 2020 publication in ALLABOUTPHOTO magazine, Black and White issue.
A portfolio of work from A LONG HISTORY OF DARK SLEEP is included in this issue. 2020 BEST OF QUARANTINE, FLOAT Magazine. An image from A LONG HISTORY OF DARK SLEEP included in this online exhibition.
Shortlist for the Conceptual Category, KOLGA TBILISI PHOTO Award for my series A Long History of Dark Sleep. Gold and Silver Awards, Budapest International Foto Awards (BIFA) 2020, Gold Award, Bay Area Month of Photography 2020, Honorable Mention in the Fine Art Portrait category Moscow Photo Awards (MIFA) 2020, Silver Award Bay Area Month of Photography 2019, Silver Award, Tokyo International Foto Awards. Honorable Mentions 7th, 8th, 11th, 12th, and 15th Julia Margaret Cameron Awards. 2018 Pollux Awards, Finalist in the Fine Art and Digital Manipulation categories. Received Honorable Mentions in the 9th Pollux Awards, and the 2018 Moscow Photo Awards.
Extensive CV available for viewing at
https://www.dropbox.com/s/1utfkdyfeqdand0/Diane_Fenster_CV_2022.pdf?dl=0
All images are for sale:
All images shown are
11"H x 14” W or 14”W x 11”H
Archival pigment prints
$500 unframed
Limited edition of 5
Signed on verso
Contact: Diane Fenster
diane@dianefenster.com
www.lensculture.com/diane-fenster
facebook.com/dianefensterphotography
https://www.instagram.com/dianefenster
ARTERIA FEMORALIS by Diane Fenster
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CROW MOON HEART by Diane Fenster
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DARK HEART by Diane Fenster
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THE 4 CHAMBERED HEART by Diane Fenster
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THE ILLUMINATED HEART by Diane Fenster
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DEATH by Eileen Hohmuth-Lemonick
FIRST PLACE
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FIRST PLACE
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Curator Ellen Friedlander's review: "As I pondered over the diversity of self expressions that were submitted to this call, I was repeatedly drawn back to this photograph. The richness of the black and white creates a mysterious mood, which combined with the decaying plants and the skull becomes a haunting self-portrait that elicits questions about the passage of time. Is it a life well lived? Is the person happy?
This photograph really struck a chord with me as a deeply layered and contemplative self-portrait conveying themes of decay and the aging spirit. I love how the swirling of the gray hair and the patterns of the flowers are all integrated. I am really pulled into the photograph; it makes me want to know more about the person behind the form.
Perhaps it is my own hyperawareness of the aging process that drew me in, but it is Eileen Hohmuth-Lemonick's composition that captivated me. I feel that the flowers in Eileen’s photograph could symbolize the feminine energy changing. Nature is always rejuvenating, so in the decay there is also rebirth. This self-portrait feels like the shedding of a particular experience to let a transformation occur.
Henri Cartier-Bresson notably wrote, "Content cannot be separated from form..." So, how and why did you choose the fern and the other flower varieties to be in your expression of “the I”?"
Eileen Hohmuth-Lemonick says, "The project this image comes from started when I fractured my pelvis, was immobile, and could only get around with a walker.
Friends sent bouquets and, with severely limited motion, I began to photograph them on my kitchen table as they died and dried, finding beauty in their decay. From that initial work, I continued to observe the passage of time in nature.
By now, my studio is full of dead things. The ferns and spent hibiscus blooms are from my garden. I love their sinuous forms. The flower with the missing petals is a memento from my father that my mother had pressed into a book, eighty years ago—but I never saw my parents together. They divorced soon after I was born. The skull was given to me by my ten-year-old son, Ben, forty years ago. In terms of visual organization, choice and placement are key. I gradually work up to the final image, adding and subtracting until instinctively I know that it is right."
Freidlander says, "The framing of this photograph from an aerial viewpoint gives a sense of voyeurism - was this a conscious decision?"
Hohmuth-Lemonick says, "I don’t think of it as voyeurism, in which people are violating my privacy. On the contrary, I am ready to reveal my secrets. I wanted to reclaim my older woman’s body from the white male viewpoint of what is feminine. I take what is private and personal in my life and put it out there for all to see. I have alopecia and want to acknowledge that I wear a wig. I no longer care about creating work that is appealing to my male colleagues. I am willing to contemplate my own death."
Freidlander says, "I am also curious if this photograph is a reflection of a moment in time, or is it more of a sustained feeling that you are grappling with?"
Hohmuth-Lemonick says, "It’s more of a sustained feeling these days. Change is constant. The process of growing older is an inescapable fact. Many of my images contain traces of a lifetime of memories. They have to do with the passing of time, moments and people that are gone; love, sexuality, family, beauty, decay, fragility, longevity, vulnerability, sickness, health and death."
Artist Statement –
Eileen Hohmuth-Lemonick says, "These self-portraits were taken over the past few years. At seventy-six years old, body change is a visible fact. How do others see me? Sadly, women are frequently culturally devalued and objectified after a certain age. Sometimes I feel invisible. Amidst the forces of patriarchal culture and the overwhelming emphasis on youth in our society, it is important to note that one in four 65-year-old women will live past the age of 90, and one in ten will live past 95.
I want to document my aging, creating self-portraits that are authentic, confrontational, and free from vanity. These images are influenced by my dreams, personal experience and an awareness of my own mortality. I want to look hard and accept who I am. The imperfections and injuries, as well as my flesh, blood and bones tell my story."
SOLO EXHIBITS:
Arts Council of Princeton, New Jersey
Anne Reed Art Gallery, Princeton, New Jersey
Monmouth Museum, New Jersey
National Video Center, New York City
University of the Arts, Philadelphia
The Franklin Institute, Philadelphia
JURIED GROUP EXHIBITS:
Praxis Gallery, St Paul, Minnesota
Raritan Valley Community College, NJ, 10 artists
Southeast Center for Photography, Greenville, SC
PH21 Gallery, Budapest, Hungary
Art in the Time of Covid, A Global Art Project
Univ. S. Mississippi Museum of Art School of Performing and Visual Arts
Art Fluent, online gallery
Ellerslie, The Trenton City Museum, “From Durer to Digital and 3-D: 10 artists,
Anne Reid Art Gallery, Princeton, NJ – 2 artists
BIO:
Employment Freelance photographer
1979-2019 Full time photography teacher Princeton Day School.
2013-2015 Photography instructor, Town of Princeton Adult School
EDUCATION:
Bachelor of Science- Art Education, State University of New Paltz, New York
GRANTS & FELLOWSHIPS:
Cuba Cultural Tour for photography teachers
Healthcare in Malawi: funded by the Neiman Foundation for Journalists at Harvard
University, the Melinda and Bill Gates Foundation and Princeton Day School.
Photo Educator of the Year Award, Maine Media Workshops
ArtsLink grant, funded by National Endowment for the Arts/The Soros Foundation
Village Voice Documentary Photography Grant
Visual Arts Fellowship, National Endowment for the Arts
Klingenstein Fellowship, Project Earthwatch,
Fellowship in Photography, New Jersey State Council on the Arts
IMAGES FOR SALE-
Childhood - 17”W x 24”H
Red River Aurora Art White 300 Archival Paper
$400. Unframed
Limited edition of 25
Signed on back
Death- 17”W x 24”H
Red River Aurora Art White 300 Archival Paper
$400. Unframed
Limited edition of 25
Signed on back
After I Fell - 19”W x 12.5”H
Red River Aurora Art White 300 Archival Paper
$400. Unframed
Limited edition of 25
Signed on back
Aging – 10”W x 14”H
Red River Aurora Art White 300 Archival Paper
$400. Unframed
Limited edition of 25
Signed on back
Hibiscus _ 16"W x 22"H
Red River Aurora Art White 300 Archival Paper
$400. Unframed
Limited edition of 25
Signed on back
Foot _ 24" W x 16" H
Red River Aurora Art White 300 Archival Paper
$400. Unframed
Limited edition of 25
Signed on back
Contact: Eileen HohmuthLemonickeilhoh45@gmail.com
www.ehlphotos.com
www.instagram.com/eileenhohmuth-lemonick/
This photograph really struck a chord with me as a deeply layered and contemplative self-portrait conveying themes of decay and the aging spirit. I love how the swirling of the gray hair and the patterns of the flowers are all integrated. I am really pulled into the photograph; it makes me want to know more about the person behind the form.
Perhaps it is my own hyperawareness of the aging process that drew me in, but it is Eileen Hohmuth-Lemonick's composition that captivated me. I feel that the flowers in Eileen’s photograph could symbolize the feminine energy changing. Nature is always rejuvenating, so in the decay there is also rebirth. This self-portrait feels like the shedding of a particular experience to let a transformation occur.
Henri Cartier-Bresson notably wrote, "Content cannot be separated from form..." So, how and why did you choose the fern and the other flower varieties to be in your expression of “the I”?"
Eileen Hohmuth-Lemonick says, "The project this image comes from started when I fractured my pelvis, was immobile, and could only get around with a walker.
Friends sent bouquets and, with severely limited motion, I began to photograph them on my kitchen table as they died and dried, finding beauty in their decay. From that initial work, I continued to observe the passage of time in nature.
By now, my studio is full of dead things. The ferns and spent hibiscus blooms are from my garden. I love their sinuous forms. The flower with the missing petals is a memento from my father that my mother had pressed into a book, eighty years ago—but I never saw my parents together. They divorced soon after I was born. The skull was given to me by my ten-year-old son, Ben, forty years ago. In terms of visual organization, choice and placement are key. I gradually work up to the final image, adding and subtracting until instinctively I know that it is right."
Freidlander says, "The framing of this photograph from an aerial viewpoint gives a sense of voyeurism - was this a conscious decision?"
Hohmuth-Lemonick says, "I don’t think of it as voyeurism, in which people are violating my privacy. On the contrary, I am ready to reveal my secrets. I wanted to reclaim my older woman’s body from the white male viewpoint of what is feminine. I take what is private and personal in my life and put it out there for all to see. I have alopecia and want to acknowledge that I wear a wig. I no longer care about creating work that is appealing to my male colleagues. I am willing to contemplate my own death."
Freidlander says, "I am also curious if this photograph is a reflection of a moment in time, or is it more of a sustained feeling that you are grappling with?"
Hohmuth-Lemonick says, "It’s more of a sustained feeling these days. Change is constant. The process of growing older is an inescapable fact. Many of my images contain traces of a lifetime of memories. They have to do with the passing of time, moments and people that are gone; love, sexuality, family, beauty, decay, fragility, longevity, vulnerability, sickness, health and death."
Artist Statement –
Eileen Hohmuth-Lemonick says, "These self-portraits were taken over the past few years. At seventy-six years old, body change is a visible fact. How do others see me? Sadly, women are frequently culturally devalued and objectified after a certain age. Sometimes I feel invisible. Amidst the forces of patriarchal culture and the overwhelming emphasis on youth in our society, it is important to note that one in four 65-year-old women will live past the age of 90, and one in ten will live past 95.
I want to document my aging, creating self-portraits that are authentic, confrontational, and free from vanity. These images are influenced by my dreams, personal experience and an awareness of my own mortality. I want to look hard and accept who I am. The imperfections and injuries, as well as my flesh, blood and bones tell my story."
SOLO EXHIBITS:
Arts Council of Princeton, New Jersey
Anne Reed Art Gallery, Princeton, New Jersey
Monmouth Museum, New Jersey
National Video Center, New York City
University of the Arts, Philadelphia
The Franklin Institute, Philadelphia
JURIED GROUP EXHIBITS:
Praxis Gallery, St Paul, Minnesota
Raritan Valley Community College, NJ, 10 artists
Southeast Center for Photography, Greenville, SC
PH21 Gallery, Budapest, Hungary
Art in the Time of Covid, A Global Art Project
Univ. S. Mississippi Museum of Art School of Performing and Visual Arts
Art Fluent, online gallery
Ellerslie, The Trenton City Museum, “From Durer to Digital and 3-D: 10 artists,
Anne Reid Art Gallery, Princeton, NJ – 2 artists
BIO:
Employment Freelance photographer
1979-2019 Full time photography teacher Princeton Day School.
2013-2015 Photography instructor, Town of Princeton Adult School
EDUCATION:
Bachelor of Science- Art Education, State University of New Paltz, New York
GRANTS & FELLOWSHIPS:
Cuba Cultural Tour for photography teachers
Healthcare in Malawi: funded by the Neiman Foundation for Journalists at Harvard
University, the Melinda and Bill Gates Foundation and Princeton Day School.
Photo Educator of the Year Award, Maine Media Workshops
ArtsLink grant, funded by National Endowment for the Arts/The Soros Foundation
Village Voice Documentary Photography Grant
Visual Arts Fellowship, National Endowment for the Arts
Klingenstein Fellowship, Project Earthwatch,
Fellowship in Photography, New Jersey State Council on the Arts
IMAGES FOR SALE-
Childhood - 17”W x 24”H
Red River Aurora Art White 300 Archival Paper
$400. Unframed
Limited edition of 25
Signed on back
Death- 17”W x 24”H
Red River Aurora Art White 300 Archival Paper
$400. Unframed
Limited edition of 25
Signed on back
After I Fell - 19”W x 12.5”H
Red River Aurora Art White 300 Archival Paper
$400. Unframed
Limited edition of 25
Signed on back
Aging – 10”W x 14”H
Red River Aurora Art White 300 Archival Paper
$400. Unframed
Limited edition of 25
Signed on back
Hibiscus _ 16"W x 22"H
Red River Aurora Art White 300 Archival Paper
$400. Unframed
Limited edition of 25
Signed on back
Foot _ 24" W x 16" H
Red River Aurora Art White 300 Archival Paper
$400. Unframed
Limited edition of 25
Signed on back
Contact: Eileen HohmuthLemonickeilhoh45@gmail.com
www.ehlphotos.com
www.instagram.com/eileenhohmuth-lemonick/
AFTER I FELL by Eileen Hohmuth-Lemonick
(Click on image for larger view)
(Click on image for larger view)
AGING by Eileen Hohmuth-Lemonick
(Click on image for larger view)
(Click on image for larger view)
CHILDHOOD by Eileen Hohmuth-Lemonick
(Click on image for larger view)
(Click on image for larger view)
FOOT-3 by Eileen Hohmuth-Lemonick
(Click on image for larger view)
(Click on image for larger view)
HIBISCUS by Eileen Hohmuth-Lemonick
(Click on image for larger view)
(Click on image for larger view)
------------------------------
THE 'I-A CALL FOR SELF-PORTRAITURE' HOME:
https://laphotocurator.com/the-i-a-call-for-self-portraiture-ellen-friedlander
THE 'I-A CALL FOR SELF-PORTRAITURE' FIRST PLACE:
https://laphotocurator.com/the-i-a-call-for-self-portraiture-ellen-friedlander/first-place-eileen-hohmuth-lemonick-death----/1
THE 'I-A CALL FOR SELF-PORTRAITURE' SECOND PLACE:
https://laphotocurator.com/the-i-a-call-for-self-portraiture-ellen-friedlander/second-place-karen-crouse-weathered----/1
THE 'I-A CALL FOR SELF-PORTRAITURE' HONORABLE MENTIONS:
https://laphotocurator.com/the-i-a-call-for-self-portraiture-ellen-friedlander/honorable-mentions-anne-berry-choices-carrie-usmar-actively-listens-ian-wright-self-2-yulia-morris-looking-diane-fenster-night-heart----/1
THE 'I-A CALL FOR SELF-PORTRAITURE' BEST SERIES:
https://laphotocurator.com/the-i-a-call-for-self-portraiture-ellen-friedlander/best-series-susan-kaufer-carey/1
THE 'I-A CALL FOR SELF-PORTRAITURE' EXHIBITION #1:
https://laphotocurator.com/the-i-a-call-for-self-portraiture-ellen-friedlander/exhibition-1/1
THE 'I-A CALL FOR SELF-PORTRAITURE' EXHIBITION #2:
https://laphotocurator.com/the-i-a-call-for-self-portraiture-ellen-friedlander/exhibition-2/1
THE 'I-A CALL FOR SELF-PORTRAITURE' EXHIBITION #3:
https://laphotocurator.com/the-i-a-call-for-self-portraiture-ellen-friedlander/exhibition-3/1
THE 'I-A CALL FOR SELF-PORTRAITURE' EXHIBITION #4:
https://laphotocurator.com/the-i-a-call-for-self-portraiture-ellen-friedlander/exhibition-4/1
THE 'I-A CALL FOR SELF-PORTRAITURE' HOME:
https://laphotocurator.com/the-i-a-call-for-self-portraiture-ellen-friedlander
THE 'I-A CALL FOR SELF-PORTRAITURE' FIRST PLACE:
https://laphotocurator.com/the-i-a-call-for-self-portraiture-ellen-friedlander/first-place-eileen-hohmuth-lemonick-death----/1
THE 'I-A CALL FOR SELF-PORTRAITURE' SECOND PLACE:
https://laphotocurator.com/the-i-a-call-for-self-portraiture-ellen-friedlander/second-place-karen-crouse-weathered----/1
THE 'I-A CALL FOR SELF-PORTRAITURE' HONORABLE MENTIONS:
https://laphotocurator.com/the-i-a-call-for-self-portraiture-ellen-friedlander/honorable-mentions-anne-berry-choices-carrie-usmar-actively-listens-ian-wright-self-2-yulia-morris-looking-diane-fenster-night-heart----/1
THE 'I-A CALL FOR SELF-PORTRAITURE' BEST SERIES:
https://laphotocurator.com/the-i-a-call-for-self-portraiture-ellen-friedlander/best-series-susan-kaufer-carey/1
THE 'I-A CALL FOR SELF-PORTRAITURE' EXHIBITION #1:
https://laphotocurator.com/the-i-a-call-for-self-portraiture-ellen-friedlander/exhibition-1/1
THE 'I-A CALL FOR SELF-PORTRAITURE' EXHIBITION #2:
https://laphotocurator.com/the-i-a-call-for-self-portraiture-ellen-friedlander/exhibition-2/1
THE 'I-A CALL FOR SELF-PORTRAITURE' EXHIBITION #3:
https://laphotocurator.com/the-i-a-call-for-self-portraiture-ellen-friedlander/exhibition-3/1
THE 'I-A CALL FOR SELF-PORTRAITURE' EXHIBITION #4:
https://laphotocurator.com/the-i-a-call-for-self-portraiture-ellen-friedlander/exhibition-4/1
