THE TANGIBLE PHOTOGRAPH - Curator Blue Mitchell > Exhibition #1
Exhibition #1
REMEMBER WHO YOU ARE by Kimberly Chiaris
FIRST PLACE
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FIRST PLACE
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Kimberly Chiaris says, "How do we remember who we are and where we came from? By holding onto
belongings our loved ones leave behind when they die? Treasuring written and oral stories passed down to future generations? Recording our own stories? These artifacts of our lives can become shades of allusive memories that are compressed, reinterpreted, or even forgotten within a generation or two. Things once cherished canbe lost, destroyed, tossed or given away.
In this series of work, I layer images together to create personal venerated relics that hint at a universal story of origin, history, identity, loss and trace memory.
I am interested in how personal histories are recorded and remembered. We understand our own history through personal and emotional recollections, written records, family momentos, photographs, oral and written stories. All of these are pieces of a puzzle that can give us glimpses into our past but none are thoroughly complete. Memory is fluid and subjective and open to reinterpretation. Add time to the factor and memory becomes even less reliable. I have 3 adult children.
Each family member has a unique recollection and interpretation of their childhood years. I am intrigued by the imprint (intentional or not) that we as parents left on our children, and the way they now process and understand themselves as well as their past based on some of those illusive impressions and memories. The scroll has historical roots as an ancient form of record keeping used to document events, letters, financial transactions and stories. These ancient scrolls are invaluable resources that help us try to understand past cultures, their values, histories, ethics and customs, yet it only gives us a tiny glimpse into who they were. History was molded by the people that took the time to write."
Kimberly Chiaris was born in Phoenix Arizona and resides in Colorado. She received a BFA from the Kansas City Art Institute majoring in Photography. Her interest lies mainly in hand made processes that are “objects of desire”. Her practices often involve digital composites combined with analog and alternative processes that include elements of mixed media. Her focus is mainly on themes about origin, history, identity, and trace memory. She exhibits her work in galleries and magazines around the United
States. Kimberly also loves teaching and igniting curiosity in people through art
processes. She has taught numerous photo based art classes and workshops at
Universities, Colleges, Museums, galleries, and nonprofit organizations.
EXHIBITIONS:
2017
Amanda Smith Gallery, Johnson City, TX
Unique-Alternative Process Juror- Christina Z Anderson
PhotoPlace Gallery, Middlebury, VT
Still Life: The Ordinary Made Extraordinary
Juror - Kate Breakey Honorable Mention
The Hand Magazine
Issue 17 and Issue 18
2016
Amanda Smith Gallery Johnson City, TX Blue2 Juried Show
Juror - Melanie Walker Jurors Selection for "A Short Story”
FotoFest 2016, Houston, TX "A Hope, Prayer, and a Dream" Wheat Pasting Exhibition for Main Street Projects
Shootapalooza Collective, a community of photographers whose focus is placed on
alternative processes and sharing ideas.
Jurors- Laura Corley Burlton and Martha Brasted Corn
Amanda Smith Gallery Johnson City, Texas
Lumens Juried Show Juror - Vicki Richardson Reed
The Hand Magazine
Issues 15 and 16
PUBLICATIONS:
The HAND Magazine HM Hard Music Magazine Shots Magazine
HONORS AND AWARDS PhotoPlace Gallery
Still Life: The Ordinary Made Extraordinary
Honorable Mention
Amanda Smith Gallery Blue2
Juror's Selection
Colorado Photographic Arts Center
Personal Vision Award-Two Person Exhibition
Kansas City Art Institute
Dean's List of Academic Achievement
Connie Griffith Memorial Photography Award for Outstanding Achievement
ASSOCIATIONS:
Shootapalooza Photographic Collective Center for Fine Art Photography Colorado
Photographic Arts Center
www.kchiaris@icloud.com
belongings our loved ones leave behind when they die? Treasuring written and oral stories passed down to future generations? Recording our own stories? These artifacts of our lives can become shades of allusive memories that are compressed, reinterpreted, or even forgotten within a generation or two. Things once cherished canbe lost, destroyed, tossed or given away.
In this series of work, I layer images together to create personal venerated relics that hint at a universal story of origin, history, identity, loss and trace memory.
I am interested in how personal histories are recorded and remembered. We understand our own history through personal and emotional recollections, written records, family momentos, photographs, oral and written stories. All of these are pieces of a puzzle that can give us glimpses into our past but none are thoroughly complete. Memory is fluid and subjective and open to reinterpretation. Add time to the factor and memory becomes even less reliable. I have 3 adult children.
Each family member has a unique recollection and interpretation of their childhood years. I am intrigued by the imprint (intentional or not) that we as parents left on our children, and the way they now process and understand themselves as well as their past based on some of those illusive impressions and memories. The scroll has historical roots as an ancient form of record keeping used to document events, letters, financial transactions and stories. These ancient scrolls are invaluable resources that help us try to understand past cultures, their values, histories, ethics and customs, yet it only gives us a tiny glimpse into who they were. History was molded by the people that took the time to write."
Kimberly Chiaris was born in Phoenix Arizona and resides in Colorado. She received a BFA from the Kansas City Art Institute majoring in Photography. Her interest lies mainly in hand made processes that are “objects of desire”. Her practices often involve digital composites combined with analog and alternative processes that include elements of mixed media. Her focus is mainly on themes about origin, history, identity, and trace memory. She exhibits her work in galleries and magazines around the United
States. Kimberly also loves teaching and igniting curiosity in people through art
processes. She has taught numerous photo based art classes and workshops at
Universities, Colleges, Museums, galleries, and nonprofit organizations.
EXHIBITIONS:
2017
Amanda Smith Gallery, Johnson City, TX
Unique-Alternative Process Juror- Christina Z Anderson
PhotoPlace Gallery, Middlebury, VT
Still Life: The Ordinary Made Extraordinary
Juror - Kate Breakey Honorable Mention
The Hand Magazine
Issue 17 and Issue 18
2016
Amanda Smith Gallery Johnson City, TX Blue2 Juried Show
Juror - Melanie Walker Jurors Selection for "A Short Story”
FotoFest 2016, Houston, TX "A Hope, Prayer, and a Dream" Wheat Pasting Exhibition for Main Street Projects
Shootapalooza Collective, a community of photographers whose focus is placed on
alternative processes and sharing ideas.
Jurors- Laura Corley Burlton and Martha Brasted Corn
Amanda Smith Gallery Johnson City, Texas
Lumens Juried Show Juror - Vicki Richardson Reed
The Hand Magazine
Issues 15 and 16
PUBLICATIONS:
The HAND Magazine HM Hard Music Magazine Shots Magazine
HONORS AND AWARDS PhotoPlace Gallery
Still Life: The Ordinary Made Extraordinary
Honorable Mention
Amanda Smith Gallery Blue2
Juror's Selection
Colorado Photographic Arts Center
Personal Vision Award-Two Person Exhibition
Kansas City Art Institute
Dean's List of Academic Achievement
Connie Griffith Memorial Photography Award for Outstanding Achievement
ASSOCIATIONS:
Shootapalooza Photographic Collective Center for Fine Art Photography Colorado
Photographic Arts Center
www.kchiaris@icloud.com
GENETIC MEMORY by Kimberly Chiaris
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BEYOND A SHADOW 2 b Kimberly Chiaris
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CIRCLE III GO AND STOP #15 by Jung S. Kim
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Jung S Kim says, "‘Circle III: Go and Stop’ is a self-reflective project, which is separation progress from real memories to fantasized images. These photographic works that give me a personal reflection of my childhood, utilizing "Hwatu", a Korean gambling card as the background, related to family breakdown due to gambling.
Hidden in my world, in quiet, melancholy childhood, I would identify myself with my parents with distorted images of fantasy and dream. At that time, there was no clear separation between the real memories and distorted images under my delusion. I chose a method of self-portraits, as my parents were both objects of admiration and fear. Through the visualizations of these images, I have attempted to reconstruct chaotic visions for facing up and overcoming my traumatic experiences while also exploring and developing my own sense of self at the same time."
Jung S Kim was born and raised in Seoul, Korea also majored in Photography in Chung-Ang University in her mother country.
After immigrating to the US in 2002, she has continued to build her career as a photographic artist. Currently, nationally and internationally Her work has been shown at Providence Center for Photographic Arts, Filter Photo Festival, Humble Art Foundation, The Center for Fine Art Photography, The Griffin Museum of Photography and New York Foundation for the Art, The 3rd Asian Women Photographer Showcase Obscura Festival, and also Daegu Photo Biennale.
She had been invited to attend The New York Times-Lens New York Portfolio Review and her work was chosen for inclusion in “Photography NOW 2014” at The Center for Photography at Woodstock.
Kim won the ‘The Grand Prix Juror Award of Merit winners’ Fine Art Photography Award, Director’s Choice Award of the C4FAP and AHL Foundation of Visual Arts Award. Also, her “Circle” series has been published as “Zine Collection No10, Circle” by Editions Bessard in Paris. Elsewhere she has participated in Arles Photo Festival in France, Kwangju Biennale, and Seoul Metropolitan Museum, Daelim Museum in Korea and Soho Photo Gallery, HERE Art Center, Elga Wimmer PCC, Dean Project in NYC, etc. Now her collections are The Center for Photography at Woodstock in New York, FNAC (Fonds National d’Art Contemporian) in France, Luciano Benetton Collection in Italy, and Daelim Museum, Samtan Art Mine Museum in Korea.
www.jungskim.com
Hidden in my world, in quiet, melancholy childhood, I would identify myself with my parents with distorted images of fantasy and dream. At that time, there was no clear separation between the real memories and distorted images under my delusion. I chose a method of self-portraits, as my parents were both objects of admiration and fear. Through the visualizations of these images, I have attempted to reconstruct chaotic visions for facing up and overcoming my traumatic experiences while also exploring and developing my own sense of self at the same time."
Jung S Kim was born and raised in Seoul, Korea also majored in Photography in Chung-Ang University in her mother country.
After immigrating to the US in 2002, she has continued to build her career as a photographic artist. Currently, nationally and internationally Her work has been shown at Providence Center for Photographic Arts, Filter Photo Festival, Humble Art Foundation, The Center for Fine Art Photography, The Griffin Museum of Photography and New York Foundation for the Art, The 3rd Asian Women Photographer Showcase Obscura Festival, and also Daegu Photo Biennale.
She had been invited to attend The New York Times-Lens New York Portfolio Review and her work was chosen for inclusion in “Photography NOW 2014” at The Center for Photography at Woodstock.
Kim won the ‘The Grand Prix Juror Award of Merit winners’ Fine Art Photography Award, Director’s Choice Award of the C4FAP and AHL Foundation of Visual Arts Award. Also, her “Circle” series has been published as “Zine Collection No10, Circle” by Editions Bessard in Paris. Elsewhere she has participated in Arles Photo Festival in France, Kwangju Biennale, and Seoul Metropolitan Museum, Daelim Museum in Korea and Soho Photo Gallery, HERE Art Center, Elga Wimmer PCC, Dean Project in NYC, etc. Now her collections are The Center for Photography at Woodstock in New York, FNAC (Fonds National d’Art Contemporian) in France, Luciano Benetton Collection in Italy, and Daelim Museum, Samtan Art Mine Museum in Korea.
www.jungskim.com
CIRCLE III GO AND STOP #5 by Jung S. Kim
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CIRCLE III GO AND STOP #2 by Jung S. Kim
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WEST SECOND ST. by JP Terlizzi
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JP Terlizzi says of this series, 'Mother', The course of a life can be determined by a single, sharp moment; one that is inevitable and ultimately essential. A moment of trauma, setback or challenge reverberates for years to come, daring us to keep moving forward, and shaping our capacity to connect and flourish.
My mother was devastated by my father’s infidelity, which led to a bitter divorce that had a profound impact on our family. As I witnessed her life unravel, I thought about strength of character, and began to wonder whether it was an innate quality or a personal choice. How is it that some emerge from the most difficult of moments better and stronger, while others find comfort in solitude, anger, jealousy and despair?
It’s been over 45 years since that traumatic event, yet my mother has never fully recovered nor has she felt the need to seek professional help for her mental stability. Instead, I witnessed a woman who thrived on self-pity and detached herself from loved ones. As a result, her extreme actions and behavior were a detriment to the entire family.
Mother explores the emotional and psychological terrain surrounding the ending of relationships and the loss of personal identity. I use photography as a means to interpret and understand my mother’s experiences, and piece together a tattered family narrative scarred by emotional trauma. For me, the process was one of personal discovery, but more importantly, it provided closure. A therapeutic process emerged where the feelings of sorrow, disappointment and anger resurfaced, and I was able to tame those feelings through acceptance and forgiveness."
JP Terlizzi is a visual storyteller who uses photography to explore themes of memory, relationship, and identity. Drawing inspiration from his personal experiences he captures moments that convey narratives—whether the story is a framed moment that reveals something about family and home, or a poetic interpretation of a fading reality, the feeling of loss and detachment are recurring themes in his work.
Born and raised in the farmlands of Central New Jersey, JP currently lives in Manhattan. His career spans thirty plus years as creative director for a boutique agency specializing in retail design. He earned a BFA in Communication Design at Kutztown University of Pennsylvania and has studied photography at the International Center of Photography in New York and Maine Media College. His work has been exhibited in the United States and abroad including shows at The Center for Fine Art Photography, Fort Collins, CO, Umbrella Arts Gallery, New York, NY, Soho Photo Gallery, New York, NY, The Griffin Museum, Winchester, MA, Tilt Gallery, Scottsdale, AZ, A Smith Gallery, Johnson City, TX, Project Basho Gallery, Philadelphia, PA, Municipal Heritage Museum, Malaga, Spain, and The Berlin Foto Biennale, Berlin, Germany, among others.
He was named a Photolucida 2016 Critical Mass Finalist for his series Mother and was a 2015 Critical Mass Finalist for his series Hunter’s Calling which was also selected for the C4FAP Portfolio ShowCase Vol. 9 and ONWARD Compé '16. His work has been featured in PDN, Lenscratch, L'oeil de la Photographie, The Photo Review, F-Stop and Abridged Magazine.
He also finds writing in the third person a little strange.
www.jpterlizziphotography.com
My mother was devastated by my father’s infidelity, which led to a bitter divorce that had a profound impact on our family. As I witnessed her life unravel, I thought about strength of character, and began to wonder whether it was an innate quality or a personal choice. How is it that some emerge from the most difficult of moments better and stronger, while others find comfort in solitude, anger, jealousy and despair?
It’s been over 45 years since that traumatic event, yet my mother has never fully recovered nor has she felt the need to seek professional help for her mental stability. Instead, I witnessed a woman who thrived on self-pity and detached herself from loved ones. As a result, her extreme actions and behavior were a detriment to the entire family.
Mother explores the emotional and psychological terrain surrounding the ending of relationships and the loss of personal identity. I use photography as a means to interpret and understand my mother’s experiences, and piece together a tattered family narrative scarred by emotional trauma. For me, the process was one of personal discovery, but more importantly, it provided closure. A therapeutic process emerged where the feelings of sorrow, disappointment and anger resurfaced, and I was able to tame those feelings through acceptance and forgiveness."
JP Terlizzi is a visual storyteller who uses photography to explore themes of memory, relationship, and identity. Drawing inspiration from his personal experiences he captures moments that convey narratives—whether the story is a framed moment that reveals something about family and home, or a poetic interpretation of a fading reality, the feeling of loss and detachment are recurring themes in his work.
Born and raised in the farmlands of Central New Jersey, JP currently lives in Manhattan. His career spans thirty plus years as creative director for a boutique agency specializing in retail design. He earned a BFA in Communication Design at Kutztown University of Pennsylvania and has studied photography at the International Center of Photography in New York and Maine Media College. His work has been exhibited in the United States and abroad including shows at The Center for Fine Art Photography, Fort Collins, CO, Umbrella Arts Gallery, New York, NY, Soho Photo Gallery, New York, NY, The Griffin Museum, Winchester, MA, Tilt Gallery, Scottsdale, AZ, A Smith Gallery, Johnson City, TX, Project Basho Gallery, Philadelphia, PA, Municipal Heritage Museum, Malaga, Spain, and The Berlin Foto Biennale, Berlin, Germany, among others.
He was named a Photolucida 2016 Critical Mass Finalist for his series Mother and was a 2015 Critical Mass Finalist for his series Hunter’s Calling which was also selected for the C4FAP Portfolio ShowCase Vol. 9 and ONWARD Compé '16. His work has been featured in PDN, Lenscratch, L'oeil de la Photographie, The Photo Review, F-Stop and Abridged Magazine.
He also finds writing in the third person a little strange.
www.jpterlizziphotography.com
PINS by JP Terlizzi
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MATRIARCH by JP Terlizzi
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SNAP by Joshua Littlefield
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Joshua Littlefield says of his series, 'Flash Bang', explores emotional experience through manifestation as a visual “sheen” onto the image itself - while this body of work is partly a discussion on my own experience of artistic creativity, it speaks in broader terms, serving as a pseudo-physical realization of emotional states, which often remain internal . By manipulating negatives post-shooting through a variety of media, these self-monologues are seen in a visceral sense , in order to wholly encompass and normalize the psychological experience . Essentially, through projecting the act offeeling onto subjects in post-work, an additional layer of reality is created - taking an aspect of the human experience that exists as an internal reality, and rendering that as an external reality as something for all to understand, rather than one to feel. It was important the the negatives themselves be directly impacted, in order to physically and permanently imprint each capture with the thoughts associated.
Collaged media includes; gel food coloring, sharpie, fabric lining, charcoal, nail polish, cellophane, and paper, and actions including; burning, cutting and scratching.
My work primarily focuses on the internal, and the translation of the non-physical to the physical. Much of it is an exploration into the behavior of non-material in a material setting - bringing self-monologue, past experience, thought and the untouchable aspects of the human experience into the visual spectrum through experimental means.
My photographs have been exhibited nationally and internationally in galleries and institutions including Foley Gallery in New York, New York, The Griffin Museum of Photography in Winchester, Massachusetts and PULP Gallery in Vancouver, BC, and printed in publications including The Hand Magazine and LoosenArt Books."
CV:
EDUCATION -
2013 - 2017: Savannah College of Art and Design (SCAD), Bachelor of Fine Arts, Photography
GROUP EXHIBITIONS -
(Upcoming) February - March 2018: Barrett Art Center, Poughkeepsie, NY, Juror - E Jason Wambsgans
(Upcoming) February 2018: Upstream Gallery, Hastings-on-Hudson, NY, Juror - Marina Chao
(Upcoming) February 2018: Specto Art Space, Harrisonburg, VA - Juried
January - February 2018: Gologorski Gallery, Krakow, Poland - Juried
January 2018: Gallery 114, Portland, Oregon - Juried
December 2017 - January 2018: Praxis Gallery, Minneapolis, MN, Juror - Ross Anderson
November - December 2017: Site:Brooklyn Gallery, Brooklyn, NY, Juror - Lilly Wei
October - November 2017: Yeiser Art Center, Paducah, KY, Juror - Eliot Dudik
October - November 2017: Scarab Club, Detroit, MI, Juror - Cynthia Greig
October 2017: Southeast Center for Photography, Greenville, SC, Juror - Tom Chambers
August - September 2017: FotoFilmic/PULP Gallery, Vancouver, BC, Canada, Juried
August 2017: Foley Gallery, New York, NY, Juried
July - September 2017: Griffin Museum of Photography, Winchester, MA, Juror - Hamidah Glasgow
July 2017: Soho Photo Gallery, New York, NY, Juror - Aline Smithson
June - July 2017: Foundry Art Centre, Saint Charles, MO, Juror - Jason Bly
June - July 2017: Ann Arbor Art Center, Ann Arbor, MI, Juror - Andrew Rosinski
June 2017: Bad + Rad Art Show Collective, Savannah, GA
March - May 2017: Mary R. Koch Arts Center, Wichita, KS, Juror - Polly Chandler
January - February 2017: Midwest Center For Photography, Wichita, KS, Juror - Linda Robinson
September 2016: Black Box Gallery, Portland, OR, Juror - Kelli Pennington
June - July 2014: Gallery of Savannah College of Art and Design, Atlanta, GA
March - April 2014: Columbia College Gallery, Chicago, IL
January - February 2014: Gallery of Detroit County Day School, Detroit, MI
ONLINE FEATURES -
October 2017 - : Passporte Gallery Online Exhibition “Surreal Photography”, Juror - Sarah Sudhoff
July 2017 - : FotoFilmic ‘17 Summer Shortlist, Juried
June 2017: Santa Fe Workshops Online Exhibition “Portraits”, Jurors - Reid Callanan, Andrew Hetherington, Anna Goldwater Alexander and Melanie Craven
June 2017: Float Photo Magazine Online Exhibition “Alternative Reality”, Juror - Ashley Kauschinger
Spring 2017: In-Sight Photography Project Online Annex, Juror - Bruce Myren
November 2016: Black Box Gallery Online Annex, Portland, OR, Juror - Todd Johnson
PUBLICATIONS -
October 2017: The Hand Magazine Issue #18
August 2017: LoosenArt “Imitation of Life” Book (Europe)
July 2017: Blended Magazine Issue #1
June 2017: The Hand Magazine Issue #17
AWARDS/RECOGNITION -
October 2017: Juror’s Choice Award, 2017 Photography Exhibition, Scarab Club, Detroit, MI
www. joshualittlefieldphotography.com
(Click on image for larger view)
Joshua Littlefield says of his series, 'Flash Bang', explores emotional experience through manifestation as a visual “sheen” onto the image itself - while this body of work is partly a discussion on my own experience of artistic creativity, it speaks in broader terms, serving as a pseudo-physical realization of emotional states, which often remain internal . By manipulating negatives post-shooting through a variety of media, these self-monologues are seen in a visceral sense , in order to wholly encompass and normalize the psychological experience . Essentially, through projecting the act offeeling onto subjects in post-work, an additional layer of reality is created - taking an aspect of the human experience that exists as an internal reality, and rendering that as an external reality as something for all to understand, rather than one to feel. It was important the the negatives themselves be directly impacted, in order to physically and permanently imprint each capture with the thoughts associated.
Collaged media includes; gel food coloring, sharpie, fabric lining, charcoal, nail polish, cellophane, and paper, and actions including; burning, cutting and scratching.
My work primarily focuses on the internal, and the translation of the non-physical to the physical. Much of it is an exploration into the behavior of non-material in a material setting - bringing self-monologue, past experience, thought and the untouchable aspects of the human experience into the visual spectrum through experimental means.
My photographs have been exhibited nationally and internationally in galleries and institutions including Foley Gallery in New York, New York, The Griffin Museum of Photography in Winchester, Massachusetts and PULP Gallery in Vancouver, BC, and printed in publications including The Hand Magazine and LoosenArt Books."
CV:
EDUCATION -
2013 - 2017: Savannah College of Art and Design (SCAD), Bachelor of Fine Arts, Photography
GROUP EXHIBITIONS -
(Upcoming) February - March 2018: Barrett Art Center, Poughkeepsie, NY, Juror - E Jason Wambsgans
(Upcoming) February 2018: Upstream Gallery, Hastings-on-Hudson, NY, Juror - Marina Chao
(Upcoming) February 2018: Specto Art Space, Harrisonburg, VA - Juried
January - February 2018: Gologorski Gallery, Krakow, Poland - Juried
January 2018: Gallery 114, Portland, Oregon - Juried
December 2017 - January 2018: Praxis Gallery, Minneapolis, MN, Juror - Ross Anderson
November - December 2017: Site:Brooklyn Gallery, Brooklyn, NY, Juror - Lilly Wei
October - November 2017: Yeiser Art Center, Paducah, KY, Juror - Eliot Dudik
October - November 2017: Scarab Club, Detroit, MI, Juror - Cynthia Greig
October 2017: Southeast Center for Photography, Greenville, SC, Juror - Tom Chambers
August - September 2017: FotoFilmic/PULP Gallery, Vancouver, BC, Canada, Juried
August 2017: Foley Gallery, New York, NY, Juried
July - September 2017: Griffin Museum of Photography, Winchester, MA, Juror - Hamidah Glasgow
July 2017: Soho Photo Gallery, New York, NY, Juror - Aline Smithson
June - July 2017: Foundry Art Centre, Saint Charles, MO, Juror - Jason Bly
June - July 2017: Ann Arbor Art Center, Ann Arbor, MI, Juror - Andrew Rosinski
June 2017: Bad + Rad Art Show Collective, Savannah, GA
March - May 2017: Mary R. Koch Arts Center, Wichita, KS, Juror - Polly Chandler
January - February 2017: Midwest Center For Photography, Wichita, KS, Juror - Linda Robinson
September 2016: Black Box Gallery, Portland, OR, Juror - Kelli Pennington
June - July 2014: Gallery of Savannah College of Art and Design, Atlanta, GA
March - April 2014: Columbia College Gallery, Chicago, IL
January - February 2014: Gallery of Detroit County Day School, Detroit, MI
ONLINE FEATURES -
October 2017 - : Passporte Gallery Online Exhibition “Surreal Photography”, Juror - Sarah Sudhoff
July 2017 - : FotoFilmic ‘17 Summer Shortlist, Juried
June 2017: Santa Fe Workshops Online Exhibition “Portraits”, Jurors - Reid Callanan, Andrew Hetherington, Anna Goldwater Alexander and Melanie Craven
June 2017: Float Photo Magazine Online Exhibition “Alternative Reality”, Juror - Ashley Kauschinger
Spring 2017: In-Sight Photography Project Online Annex, Juror - Bruce Myren
November 2016: Black Box Gallery Online Annex, Portland, OR, Juror - Todd Johnson
PUBLICATIONS -
October 2017: The Hand Magazine Issue #18
August 2017: LoosenArt “Imitation of Life” Book (Europe)
July 2017: Blended Magazine Issue #1
June 2017: The Hand Magazine Issue #17
AWARDS/RECOGNITION -
October 2017: Juror’s Choice Award, 2017 Photography Exhibition, Scarab Club, Detroit, MI
www. joshualittlefieldphotography.com
SIZZLE by Joshua Littlefield
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BOOM by Joshua Littlefield
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QUAIL EGGS by Jacqueline Webster
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Jacqueline Webster has been creating photographic works for more than 25 years.
She holds a Bachelor of Fine Arts in video from the Savannah College of Art and Design, and has studied historic and alternative processes at the George Eastman Museum, Scully & Osterman Studio, and Rochester Institute of Technology. Jacqueline is currently a faculty member at Art Students league of Denver, and in 2017 she was named one of Colorado’s top 100 creatives by Westword weekly. Showing her work at festivals and in galleries around the country, her work is included in the permanent collection of Oklahoma City Community College.
The photographs shown are Van Dyke brown prints on linen made from the wet plate collodion negatives, and are studies in the physicality of the photographic image. Working in historic processes, the act of creating photographs is an extremely physical act; from creating the still life and setting up a large-format camera, to cutting and cleaning the glass for negatives, to mixing the chemistry and hand-coating paper, the physical processes are always front and center. Translating that physicality of process for the viewer has become a focus of my most recent work. By working on alternative surfaces like fabric, wood, glass, and metal, my goal is to help the audience bridge the gap between the image and the tactile qualities of the photograph.
Exhibitions:
Still Life: The Ordinary Made Extraordinary
January 2017
PhotoPlace Gallery
Middlebury, Vermont
Remnants
September – November 2016
Lightbox Photographic Gallery
Astoria, Oregon
delecTABLE
April – May 2016
Art Students League of Denver
Denver, Colorado
(Un)Common Threads
January – March 2016
Denver Public Library Central Branch
Western History Gallery
Denver, Colorado
The Origins of Photography
Past and Present
March-May 2015
Pattern Shop Studio
Denver, Colorado
Art & Soul
April 2015
Space Gallery
Denver, Colorado
A Show of HANDS
March 2015
A1 Lab Arts
Knoxville, Tennessee
Deconstructed
January 2015
CORE New Art Space
Denver, Colorado
Past Forward:
Monochrome Photography Today
October-November 2014
Center for the Arts Evergreen
Evergreen, Colorado
Intersections
May 2014
RedLine
Denver, Colorado
The Art of Handmade
and Alternative Photography
April 2014
Vermont Center for Photography
Brattleboro, Vermont
Prelude
January-April 2014
Denver Public Library Central Branch
Western History Gallery
Denver, Colorado
Selected Festivals:
Art Students League Denver
Summer Art Market 2016
Denver, Colorado
Art Students League Denver
Summer Art Market 2015
Denver, Colorado
Copper Country 2014
Copper Mountain, Colorado
Art Students League Denver
Summer Art Market 2014
Denver, Colorado
Awards and Honors:
100 Colorado Creatives 3.0
Westword
http://www.westword.com/arts/100-colorado-creatives-30-jacqueline-webster-8832793
Honorable Mention
Remnants, September 2016
Lightbox Photographic Gallery
Astoria, Oregon
Jurors’ Award - Photography
Colorado ArtFest at Castle Rock 2011
Award of Excellence
Arts Festival Oklahoma 2010
Purchase Award
Arts Festival Oklahoma 2010
Public Collections:
Oklahoma City Community College
Publications:
The HAND, issue #5
Co-author, “The Antiquarian
Avant-Garde”
Contributing artist
The HAND, issue #9
Contributing artist
Education:
2015
Ambrotype Relieveotype Variant
Scully and Osterman Studio
Rochester, New York
2014
American Ivorytype
George Eastman House International Museum of Photography and Film
Rochester, New York
Chlorophyll Printing with Binh Danh
Art Students League of Denver
Denver, Colorado
Employment:
2015 to present
Faculty
Art Students League of Denver
Denver, Colorado
2014 to 2016
Contract instructor/volunteer
Colorado Photographic Arts Center
Denver, Colorado
www.jwebsterphoto.com
www.facebook.com/pages/Jacqueline-Webster-Photography/259574844084164
She holds a Bachelor of Fine Arts in video from the Savannah College of Art and Design, and has studied historic and alternative processes at the George Eastman Museum, Scully & Osterman Studio, and Rochester Institute of Technology. Jacqueline is currently a faculty member at Art Students league of Denver, and in 2017 she was named one of Colorado’s top 100 creatives by Westword weekly. Showing her work at festivals and in galleries around the country, her work is included in the permanent collection of Oklahoma City Community College.
The photographs shown are Van Dyke brown prints on linen made from the wet plate collodion negatives, and are studies in the physicality of the photographic image. Working in historic processes, the act of creating photographs is an extremely physical act; from creating the still life and setting up a large-format camera, to cutting and cleaning the glass for negatives, to mixing the chemistry and hand-coating paper, the physical processes are always front and center. Translating that physicality of process for the viewer has become a focus of my most recent work. By working on alternative surfaces like fabric, wood, glass, and metal, my goal is to help the audience bridge the gap between the image and the tactile qualities of the photograph.
Exhibitions:
Still Life: The Ordinary Made Extraordinary
January 2017
PhotoPlace Gallery
Middlebury, Vermont
Remnants
September – November 2016
Lightbox Photographic Gallery
Astoria, Oregon
delecTABLE
April – May 2016
Art Students League of Denver
Denver, Colorado
(Un)Common Threads
January – March 2016
Denver Public Library Central Branch
Western History Gallery
Denver, Colorado
The Origins of Photography
Past and Present
March-May 2015
Pattern Shop Studio
Denver, Colorado
Art & Soul
April 2015
Space Gallery
Denver, Colorado
A Show of HANDS
March 2015
A1 Lab Arts
Knoxville, Tennessee
Deconstructed
January 2015
CORE New Art Space
Denver, Colorado
Past Forward:
Monochrome Photography Today
October-November 2014
Center for the Arts Evergreen
Evergreen, Colorado
Intersections
May 2014
RedLine
Denver, Colorado
The Art of Handmade
and Alternative Photography
April 2014
Vermont Center for Photography
Brattleboro, Vermont
Prelude
January-April 2014
Denver Public Library Central Branch
Western History Gallery
Denver, Colorado
Selected Festivals:
Art Students League Denver
Summer Art Market 2016
Denver, Colorado
Art Students League Denver
Summer Art Market 2015
Denver, Colorado
Copper Country 2014
Copper Mountain, Colorado
Art Students League Denver
Summer Art Market 2014
Denver, Colorado
Awards and Honors:
100 Colorado Creatives 3.0
Westword
http://www.westword.com/arts/100-colorado-creatives-30-jacqueline-webster-8832793
Honorable Mention
Remnants, September 2016
Lightbox Photographic Gallery
Astoria, Oregon
Jurors’ Award - Photography
Colorado ArtFest at Castle Rock 2011
Award of Excellence
Arts Festival Oklahoma 2010
Purchase Award
Arts Festival Oklahoma 2010
Public Collections:
Oklahoma City Community College
Publications:
The HAND, issue #5
Co-author, “The Antiquarian
Avant-Garde”
Contributing artist
The HAND, issue #9
Contributing artist
Education:
2015
Ambrotype Relieveotype Variant
Scully and Osterman Studio
Rochester, New York
2014
American Ivorytype
George Eastman House International Museum of Photography and Film
Rochester, New York
Chlorophyll Printing with Binh Danh
Art Students League of Denver
Denver, Colorado
Employment:
2015 to present
Faculty
Art Students League of Denver
Denver, Colorado
2014 to 2016
Contract instructor/volunteer
Colorado Photographic Arts Center
Denver, Colorado
www.jwebsterphoto.com
www.facebook.com/pages/Jacqueline-Webster-Photography/259574844084164
HEIRLOOM TOMATOES by Jacqueline Webster
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BROWN BEECH MUSHROOMS by Jacqueline Webster
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WHY AM I ME by Heather Williamson
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Heather Williamson says,"Hello, my name is Heather. It's been some years to say my name and feel good about it. Many lives I've lived and had to rid (in just this lifetime) and I've realized, my name can be very important. It can be the name associated with the ones who are forgotten, and it can be the name I go to when I have forgotten about myself.
Photography is in the air I breathe. It allows me to feel something other than me, but it also allows me to see something that is me in everything. When I don't want to feel a certain way or if I'm not feeling at all, the subjects of my work offer me courage, strength, empathy, and humility. They help me continue.
Sometimes I'm the only one who can see "it" and most times, it's suffering. (Occasionally it's happiness and that's when I can get a bit envious) Either way, feelings are very valuable to me. They are like names, they too are currency. But you know? Just because someone looks or dresses a certain way (or even smiles) doesn't mean they're ok, and sometimes, sometimes the ones thought broke and poor, the ones thought to be suffering, are exceptionally wealthy.
Most shots are right after I felt like I was about to snap, die, "lose it" and fly... Away. Far away from this world, these ways, these laws, and this pain. But somehow, someone or something appears and I'm saved. When I'm behind the camera, no one is aware of the pain in my mind and if anything, the pain gives way to understanding and for that short amount of time behind the camera, I feel right. So maybe you can imagine why, why it's important for me not to tell you how to feel or what to think and/or say. I want to see and show what is, what you and I may just be... Intrinsically. I will wait, take one shot then walk (or drive) away.
This is something I do that helps bring me closer to myself and maybe, just maybe... It will bring you closer to you. Perhaps these stories I share will make you interested, interested in what it may be like for another, and interested in what it is like for me."
Growing up Native American (with Gypsy roots) under the politically active and watchful eye of her adoptive grandmother, Heather collected and redeemed many qualities while absorbing endless ways and points of view. After her grandmother's death, she found herself catapulted into emancipation at the age of 14. This would also be the year she dove deeper into film photography.
In 2003, Williamson moved to Los Angeles which became her home for the next decade. In LA she embraced photography, music, film and writing, while also working along-side others for commercials, music videos, indie films and photo shoots. Towards the end of 2012, she found herself isolated, depleted and upon her return from Cuba, her passion for life absorbed into a life barely alive. "I found myself slowly isolating, not knowing where to go or who I was or was becoming. How does anyone know what to do when they see someone's face changing? I was terrified so, I stopped everything."
In 2014, after multiple moves, suicide attempts and hospitalizations, Heather found herself in the California Desert where she would be in treatment for over a year. She learned while being there, the most valuable piece of currency is her name. A long drawn out dusty and dirt filled road lay ahead, but she didn't mind. She also realized, your name is just as valuable as hers.
In the present, she's back to her roots and the subject of all her work is herself. No longer is anyone far from her, for she too (has) is waiting in government lines, below poverty lines and trying to make sense of self and time. “YOU HAVE TO GO OUT OF YOUR MIND TO COME TO YOUR SENSES”- Timothy Leary
She has a blog for her writing, "The Recovering Life", a mixture of prose, lyric, epic, as well as opinion, magical realism and open letters about manipulation, gaslighting, race and disease. She is solidifying a script that has been almost 10 years in the making and has written the first series of books for its prequel. She's also working on a series using American Flags for voice as well as language depicted using characters from other lives. She collaborates with a friend for music where she is the singer/ songwriter. She doesn't consider herself as singer, more of a Poetic Thug. She records sounds and make short films. She also records herself and others too. She calls these, "Noisy Letters.
Williamson says, "It's not easy to open myself up and be vulnerable, but it's harder not to. Sometimes I feel everything I live with is a curse, but in these moments where I am no longer anything, I feel right. Some aren't here anymore, and some aren't able nor willing to speak, but I'm here, so I will...
"We Must Speak About What's Killing Our Kind" (Even if this means without words. Even if this means just listening).
I am most usually finding proof. Proof I am here, or was. Proof I am listening, I have heard. Proof I am alive, I am Me. Proof, "Who is She? Really..." I hear, "You are Heather. You are real. You are a reality. You don't need proof or eyes to see, but if you do? See with everything." My head tilts, lips face the sun and my skin slightly pulls due to a soft smile... "Thank you. Ok... Ok." xx-h-"
Heather currently resides in the California Desert. She does Zazen, enjoys Paul Bloom and is interested in human behavior, psychology, theology, linguistics, religion, past lives and current ones. She enjoys horses, dirt roads, and watching dust fall off her boots.
Awards: Analogue Portrait Project Winner 2014
Publications: Genlux magazine 4.08.14
Group Show: The Phil Stern Gallery 2012
Group Show: R&R Gallery 2011
www.krop.com/aestheticthieves
www.goldsrite.com/compass
Photography is in the air I breathe. It allows me to feel something other than me, but it also allows me to see something that is me in everything. When I don't want to feel a certain way or if I'm not feeling at all, the subjects of my work offer me courage, strength, empathy, and humility. They help me continue.
Sometimes I'm the only one who can see "it" and most times, it's suffering. (Occasionally it's happiness and that's when I can get a bit envious) Either way, feelings are very valuable to me. They are like names, they too are currency. But you know? Just because someone looks or dresses a certain way (or even smiles) doesn't mean they're ok, and sometimes, sometimes the ones thought broke and poor, the ones thought to be suffering, are exceptionally wealthy.
Most shots are right after I felt like I was about to snap, die, "lose it" and fly... Away. Far away from this world, these ways, these laws, and this pain. But somehow, someone or something appears and I'm saved. When I'm behind the camera, no one is aware of the pain in my mind and if anything, the pain gives way to understanding and for that short amount of time behind the camera, I feel right. So maybe you can imagine why, why it's important for me not to tell you how to feel or what to think and/or say. I want to see and show what is, what you and I may just be... Intrinsically. I will wait, take one shot then walk (or drive) away.
This is something I do that helps bring me closer to myself and maybe, just maybe... It will bring you closer to you. Perhaps these stories I share will make you interested, interested in what it may be like for another, and interested in what it is like for me."
Growing up Native American (with Gypsy roots) under the politically active and watchful eye of her adoptive grandmother, Heather collected and redeemed many qualities while absorbing endless ways and points of view. After her grandmother's death, she found herself catapulted into emancipation at the age of 14. This would also be the year she dove deeper into film photography.
In 2003, Williamson moved to Los Angeles which became her home for the next decade. In LA she embraced photography, music, film and writing, while also working along-side others for commercials, music videos, indie films and photo shoots. Towards the end of 2012, she found herself isolated, depleted and upon her return from Cuba, her passion for life absorbed into a life barely alive. "I found myself slowly isolating, not knowing where to go or who I was or was becoming. How does anyone know what to do when they see someone's face changing? I was terrified so, I stopped everything."
In 2014, after multiple moves, suicide attempts and hospitalizations, Heather found herself in the California Desert where she would be in treatment for over a year. She learned while being there, the most valuable piece of currency is her name. A long drawn out dusty and dirt filled road lay ahead, but she didn't mind. She also realized, your name is just as valuable as hers.
In the present, she's back to her roots and the subject of all her work is herself. No longer is anyone far from her, for she too (has) is waiting in government lines, below poverty lines and trying to make sense of self and time. “YOU HAVE TO GO OUT OF YOUR MIND TO COME TO YOUR SENSES”- Timothy Leary
She has a blog for her writing, "The Recovering Life", a mixture of prose, lyric, epic, as well as opinion, magical realism and open letters about manipulation, gaslighting, race and disease. She is solidifying a script that has been almost 10 years in the making and has written the first series of books for its prequel. She's also working on a series using American Flags for voice as well as language depicted using characters from other lives. She collaborates with a friend for music where she is the singer/ songwriter. She doesn't consider herself as singer, more of a Poetic Thug. She records sounds and make short films. She also records herself and others too. She calls these, "Noisy Letters.
Williamson says, "It's not easy to open myself up and be vulnerable, but it's harder not to. Sometimes I feel everything I live with is a curse, but in these moments where I am no longer anything, I feel right. Some aren't here anymore, and some aren't able nor willing to speak, but I'm here, so I will...
"We Must Speak About What's Killing Our Kind" (Even if this means without words. Even if this means just listening).
I am most usually finding proof. Proof I am here, or was. Proof I am listening, I have heard. Proof I am alive, I am Me. Proof, "Who is She? Really..." I hear, "You are Heather. You are real. You are a reality. You don't need proof or eyes to see, but if you do? See with everything." My head tilts, lips face the sun and my skin slightly pulls due to a soft smile... "Thank you. Ok... Ok." xx-h-"
Heather currently resides in the California Desert. She does Zazen, enjoys Paul Bloom and is interested in human behavior, psychology, theology, linguistics, religion, past lives and current ones. She enjoys horses, dirt roads, and watching dust fall off her boots.
Awards: Analogue Portrait Project Winner 2014
Publications: Genlux magazine 4.08.14
Group Show: The Phil Stern Gallery 2012
Group Show: R&R Gallery 2011
www.krop.com/aestheticthieves
www.goldsrite.com/compass
I DON'T KNOW ANYMORE by Heather Williamson
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HOW DIFFICULT IT IS TO STAND by Heather Williamson
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POKEBERRY CUT GRASS ANTHOTYPE PJTOP by Francis Schanberger
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Francis Schanberger says, "It seems strange to call something a photograph when it relies upon an act of prolonged fading. I utilize natural pigments, some gathered from my backyard and others gleaned from the kitchen, in a historic photographic process called the anthotype. Pigments are rubbed or coated onto watercolor paper in successive layers until enough density is built up. Often bits of the pigment source remain visible. I arrange clothing on top of the coated paper, sandwich the two between plywood and Plexiglass and leave them to expose in the sun for weeks or even months depending upon the time of year and the strength of pigment. The final image is a photogram and is formed by the fading of the pigment in response to howsunlight passes through the garment. In theory the anthotype will fade withcontinued exposure to light so the very act of displaying and viewing it has a cost in terms how long lived the image will be. It will fade more quickly than an archivally processed photograph but nothing lasts forever."
One of nine children, Francis Schanberger has been photographing since fourth grade when he presented a homemade, long focal length pinhole camera as his science project. An early part of his photographic career was spent working as a laboratory assistant at the University of California, San Diego, School of Medicine where, after hours, he would make cyanotype photograms in the laboratory using equipment and supplies that were close at hand.
After receiving his Master of Fine Arts from the Ohio State University in 2002, Francis’ photography has been characterized by an interest in historical photographic processes and staged self-portraiture.
He has been an artist in residence at the Headlands Center for the Arts (2005), Emmanuel College in Boston, Massachusetts (2011) and Vermont Studio Center in 2013.
He has exhibited at Soho Photo in New York, the Houston Center for Photography, the Free University of Brussels, as well as COHJU Gallery in Kyoto, Japan.
Grants / Fellowships:
2016 Montgomery County Arts Council Artist Opportunity Grant
2013 Ohio Arts Council Individual Excellence Award
2009 Ohio Arts Council IndividualExcellence Award
2008 Montgomery County Arts Council Individual Artist Fellowship
One and Two Person Exhibitions:
2014 Dead Flowers (with Bridgette Bogle),Neon Heater Gallery, Findlay, OH
Full Circle: Tales of Transformation (a collaboration with Bridgette Bogle), Dayton Art Institute, OH
2013 Your Turn: The Collaborative Works Bogle and Schanberger, Blue Sky Gallery, Dayton, OH
2011 New Works in Vandyke Brown, Orange Coast College, Costa Mesa, CA
Group Exhibtions:
2017 In Our Own Image, Decorative ArtsCenter, Lancaster, OH
SOLAR, Potter Art Gallery, MissouriWestern State University
photography…otherwise, Atelier pH7,Brussels, Belgium
2016 ArtEd, Rosewood Gallery, Kettering Ohio
Real Photo, Manifest Gallery, Cincinnati, OH
Remnants, Dayton Visual Arts Center
Readapt, Massillon Museum
Ohio State Fair Fine Arts Exhibition
2015 Full Circle: Tales of Transformation,ArtPrize, Gerald R. Ford Museum, Grand Rapids, MI
Origins of Photography, Pattern ShopStudio, Denver, Colorado
Eleventh Annual Alternative ProcessesCompetition, Soho Photo Gallery, New York, NY
Captured: The Photography of Seven, Gallery West, West Columbia, South Carolina
Third Person, Cleveland Print Room,Cleveland, Ohio
Works on Paper, Rosewood Art Center, Kettering, Ohio
2014 Artists in the Arboretum, ArnoldArboretum, Boston, MA
Pageant, Proto Gallery, Hoboken, NewJersey
Works on Paper, Rosewood Art Center, Kettering, Ohio
Platinum Print / Alternative Process meets Tosahakkinshi, Gallery COHJU, Kyoto, Japan
Bibliography:
2015
Christopher James, Book of Alternative Photographic Processes, 3rded., Delmar Cengage
2013 A Proclamation for Unconventional Photography, Diffusion Magazine, Special Issue, p. 32
Christina Anderson, Gum Printing and Other Amazing Contact Printing Processes, pgs. 228, 229, 236, 237, 239
2012 International Photography Annual 1,Manifest Gallery, October, 2012
Fabbi, Malin, Anthotypes, AlternativePhotography Press, pgs. 28, 74, 83, 85
Public Collections:
Massillon Museum
Dayton Metropolitan Library, Northwest Branch
Emmanuel College, Boston, MA
Museet for Fotokunst, Odensee, Denmark
Worchester Art Museum, Worchester, MA
www.frangst.com
One of nine children, Francis Schanberger has been photographing since fourth grade when he presented a homemade, long focal length pinhole camera as his science project. An early part of his photographic career was spent working as a laboratory assistant at the University of California, San Diego, School of Medicine where, after hours, he would make cyanotype photograms in the laboratory using equipment and supplies that were close at hand.
After receiving his Master of Fine Arts from the Ohio State University in 2002, Francis’ photography has been characterized by an interest in historical photographic processes and staged self-portraiture.
He has been an artist in residence at the Headlands Center for the Arts (2005), Emmanuel College in Boston, Massachusetts (2011) and Vermont Studio Center in 2013.
He has exhibited at Soho Photo in New York, the Houston Center for Photography, the Free University of Brussels, as well as COHJU Gallery in Kyoto, Japan.
Grants / Fellowships:
2016 Montgomery County Arts Council Artist Opportunity Grant
2013 Ohio Arts Council Individual Excellence Award
2009 Ohio Arts Council IndividualExcellence Award
2008 Montgomery County Arts Council Individual Artist Fellowship
One and Two Person Exhibitions:
2014 Dead Flowers (with Bridgette Bogle),Neon Heater Gallery, Findlay, OH
Full Circle: Tales of Transformation (a collaboration with Bridgette Bogle), Dayton Art Institute, OH
2013 Your Turn: The Collaborative Works Bogle and Schanberger, Blue Sky Gallery, Dayton, OH
2011 New Works in Vandyke Brown, Orange Coast College, Costa Mesa, CA
Group Exhibtions:
2017 In Our Own Image, Decorative ArtsCenter, Lancaster, OH
SOLAR, Potter Art Gallery, MissouriWestern State University
photography…otherwise, Atelier pH7,Brussels, Belgium
2016 ArtEd, Rosewood Gallery, Kettering Ohio
Real Photo, Manifest Gallery, Cincinnati, OH
Remnants, Dayton Visual Arts Center
Readapt, Massillon Museum
Ohio State Fair Fine Arts Exhibition
2015 Full Circle: Tales of Transformation,ArtPrize, Gerald R. Ford Museum, Grand Rapids, MI
Origins of Photography, Pattern ShopStudio, Denver, Colorado
Eleventh Annual Alternative ProcessesCompetition, Soho Photo Gallery, New York, NY
Captured: The Photography of Seven, Gallery West, West Columbia, South Carolina
Third Person, Cleveland Print Room,Cleveland, Ohio
Works on Paper, Rosewood Art Center, Kettering, Ohio
2014 Artists in the Arboretum, ArnoldArboretum, Boston, MA
Pageant, Proto Gallery, Hoboken, NewJersey
Works on Paper, Rosewood Art Center, Kettering, Ohio
Platinum Print / Alternative Process meets Tosahakkinshi, Gallery COHJU, Kyoto, Japan
Bibliography:
2015
Christopher James, Book of Alternative Photographic Processes, 3rded., Delmar Cengage
2013 A Proclamation for Unconventional Photography, Diffusion Magazine, Special Issue, p. 32
Christina Anderson, Gum Printing and Other Amazing Contact Printing Processes, pgs. 228, 229, 236, 237, 239
2012 International Photography Annual 1,Manifest Gallery, October, 2012
Fabbi, Malin, Anthotypes, AlternativePhotography Press, pgs. 28, 74, 83, 85
Public Collections:
Massillon Museum
Dayton Metropolitan Library, Northwest Branch
Emmanuel College, Boston, MA
Museet for Fotokunst, Odensee, Denmark
Worchester Art Museum, Worchester, MA
www.frangst.com
POKEBERRY ANTHOTYPE PJTOP WITH DRIPS 1 by Francis Schanberger
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IRIS ANTHOTYPE PEIGNOIR WITH PJS SHORTS by Francis Schanberger
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WALL AND WINDOW CHINA by Emma Sywyj
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Emma Sywyj says, "My artwork aims to capture and show life at it’s most vibrant & exciting. The photographs I take encourage people to see the intricacies & beauty beyond the everyday. My artwork is often centered around my immediate environment and cultural identity. I celebrate culture in all its varied forms all over the world. I have photographed Europe and Asia capturing countries and cultures as I experience them.
My work encourages viewers to feel awe and joy in the travelers quest and the rewards that experiencing other cultures can bring whilst developing my own cultural identity through photography.
I have been an artist for 14 years, 5 of those years I was based in London whilst studying photography at the Camberwell College of Arts at the UAL. From there I received a BA Honours in photography and a Foundation Diploma in Art & Design. I have exhibited my artwork internationally in the US in New York, LA & San Francisco and Athens in Greece and Budapest in Hungary. I have also exhibited nationally in the UK and London several times where I currently live and work. I have also been published in several independent art magazines in the UK."
www.emmasywyj.com/artist-cv-1
www.emmasywyj.com
My work encourages viewers to feel awe and joy in the travelers quest and the rewards that experiencing other cultures can bring whilst developing my own cultural identity through photography.
I have been an artist for 14 years, 5 of those years I was based in London whilst studying photography at the Camberwell College of Arts at the UAL. From there I received a BA Honours in photography and a Foundation Diploma in Art & Design. I have exhibited my artwork internationally in the US in New York, LA & San Francisco and Athens in Greece and Budapest in Hungary. I have also exhibited nationally in the UK and London several times where I currently live and work. I have also been published in several independent art magazines in the UK."
www.emmasywyj.com/artist-cv-1
www.emmasywyj.com
BOTTLES MALAYSIA by Emma Sywyj
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BARBERSHOP CHINA by Emma Sywyj
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PULL BACK THE SKIN by Emily Verkamp
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Emily Verkamp says, "Through the Veil, a series of photographs, concentrates on the inter-relationship within patterns in nature. Interested in the intricate designs that form during decomposition of everything from the body to man-made objects, I use non-conventional darkroom methods and the most basic element of photography, the emulsion or “skin”, on which I create patterns that are associated with decay.
To make my positives, the gelatin-based emulsion floats on top of glass and is manipulated by the chemical processes of the darkroom. This creates a surface riddled with a variety of textures and patterns that gives each image an intense and unique physicality. These textures and patterns are formed purely through experimentation with different photo chemicals and resemble naturally occurring patterns, such as topography or the veins underneath human skin. As a result of intentional improper chemical use, the colors that form in the emulsion also occasionally resemble bruising or decomposing flesh. The use of handmade negatives and suggested photographic imagery creates abstract landscape and spatial references that add depth to the composition.
Through the Veil merges technical experimentation with my conceptual interest in the science of both photography and natural decay. Monopolizing on incorrect technique, mistakes, and chance, I create images that are undeniably beautiful. They ask that the viewer suspend their understanding of what a “good photo” is by using limited photographic representation. These abstractions bridge the mediums of photography and drawing or painting through the gestural marks created by the emulsion and the illusionistic depth created by the scanning process.
Through the scanning process and the use of layering, these images create a world of their own. Combined with their sheer size, they force their audience to question whether or not they are actually photographs, or if they are even flat. They create a unique surface, crafting a series of mountains, valleys, and crystals that seem to leap off the page. The viewer is drawn in, quite literally, to investigate. The surfaces are so inviting that they create a curiosity not only of the surface, but also of the latent landscapes in the background. The patterns created on the surface interact with the indiscernible images in the background to draw the viewer in, to look past the veil, into these worlds.
These worlds that are created in the emulsion turn the basic material of photography into the main subject matter. The cracks, folds, crystals, and color all give the images of Through the Veil a certain tangibility. Not only does the materiality of the prints make the viewer question the surface of the print, but it also makes them question what is beyond the surface."
www.emilyverkamp.weebly.com
To make my positives, the gelatin-based emulsion floats on top of glass and is manipulated by the chemical processes of the darkroom. This creates a surface riddled with a variety of textures and patterns that gives each image an intense and unique physicality. These textures and patterns are formed purely through experimentation with different photo chemicals and resemble naturally occurring patterns, such as topography or the veins underneath human skin. As a result of intentional improper chemical use, the colors that form in the emulsion also occasionally resemble bruising or decomposing flesh. The use of handmade negatives and suggested photographic imagery creates abstract landscape and spatial references that add depth to the composition.
Through the Veil merges technical experimentation with my conceptual interest in the science of both photography and natural decay. Monopolizing on incorrect technique, mistakes, and chance, I create images that are undeniably beautiful. They ask that the viewer suspend their understanding of what a “good photo” is by using limited photographic representation. These abstractions bridge the mediums of photography and drawing or painting through the gestural marks created by the emulsion and the illusionistic depth created by the scanning process.
Through the scanning process and the use of layering, these images create a world of their own. Combined with their sheer size, they force their audience to question whether or not they are actually photographs, or if they are even flat. They create a unique surface, crafting a series of mountains, valleys, and crystals that seem to leap off the page. The viewer is drawn in, quite literally, to investigate. The surfaces are so inviting that they create a curiosity not only of the surface, but also of the latent landscapes in the background. The patterns created on the surface interact with the indiscernible images in the background to draw the viewer in, to look past the veil, into these worlds.
These worlds that are created in the emulsion turn the basic material of photography into the main subject matter. The cracks, folds, crystals, and color all give the images of Through the Veil a certain tangibility. Not only does the materiality of the prints make the viewer question the surface of the print, but it also makes them question what is beyond the surface."
www.emilyverkamp.weebly.com
CORPSE GIVEN LIFE by Emily Verkamp
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ALLURING LURIDNESS by Emily Verkamp
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HOUSE by Diane Fenster
Honorable Mention
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Honorable Mention
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Diane Fenster says of this work, 'Secrets of the Magdalen Laundries', A photo installation with sound environment by Michael McNabb,
"Fantasy is sanctuary.
Secrets of the Magdalen Laundries explores the theme of imagination in the inner life. Dreaming, reverie, and fantasy are ways of being that make the reality of circumstances more tolerable.
As a point of departure, I was drawn to the history of the Magdalen Laundries. These convent industries in Ireland existed from the mid 19th century until the late 20th century. The Magdalen Laundries institutionalized women who were smeared with the reputation of being immoral, or who were indigent, and kept them imprisoned through the social machinations of the Church. These misused women lived in punitive labor, lost to both their families and themselves. Henceforth, they became invisible, concealed beyond the margins of society.
For me, the imagination is a threshold to an inner world. I uncover the tension between an image that conjures its mutable revelations and the idee fixee. My work embodies the hidden poetry of the ordinary, making visible what previously was hidden.
At the boundaries of the visible exists the invisible.
In my images these women live in a private world of desire, longing, and unreachable fulfillment, forced into a mundane ritual of service without pleasure or amenities. Their vitality and eros, bound by the superficial morality of the Church, reemerges as images on the sheets that they repetitiously wash, a reminder of their stained existence.
They dreamed until the secret images were burned onto the sheets.
Sheets facilitate dreaming. They enfold the body, carry its warmth, desire, perfume, and wrap it in death. I work on discarded sheets to give form to the imagination that releases desire in spite of circumstances. The sheets move from matter to metaphysics, reminding us of the body and its dreams. The portraits from the Magdalen Laundries appear and disappear as you move around them. Viewed from the oblique perspective, the images vanish like the women lost in time. Facing them, they assume their own dreaming existence."
Diane Fenster's art first received notice during the era of early experimentations with digital imaging. Her work has been called an important voice in the development of a true digital aesthetic. She views herself as an alchemist, using digital tools to delve into fundamental human issues. Her work is literary and emotional, full of symbolism and multiple layers of meaning. Her images have appeared in numerous publications on digital art.
She has been guest lecturer at many seminars and conferences, her work has been internationally exhibited and is part of museum, corporate and private collections. Her images appear in numerous publications on digital art including the APERTURE monograph METAMORPHOSES: PHOTOGRAPHY IN THE ELECTRONIC AGE, WOMEN, ART AND TECHNOLOGY published by MIT press, ART IN THE DIGITAL AGE edited by Bruce Wands, School of Visual Art, NYC and her work has been internationally exhibited and is part of museum, corporate and private collections.
Recently however, Fenster has been moving away from the digital photomontage style that has brought her so much recognition and is venturing into an exploration of starker imagery that has its roots in toy camera photography, alternative process and photo-encaustic. Her work was exhibited in the 4th Biennale of Fine Art and Documentary Photography in Berlin, she was a finalist in the Alternative Process category of the 9th Pollux Awards, a finalist in the Alternative Process and Portraits categories of the 7th Julia Margaret Cameron Awards, a finalist in the Alternative Process and Fine Art categories of the 8th Julia Margaret Cameron Awards, included in the Illuminate exhibit curated by Elizabeth Avedon, the Alternative Process exhibit juried by Christopher James at the Center for Fine Art Photography and published in the DIFFUSION ANNUAL 2016. Finalist in both the Fine Art and Nude & Figure Categories of the Second Charles Dodson Awards. Recent exhibits include FotofFoto gallery’s 13th National Competition, Let There be Light and Shadow at the Umbrella Arts Gallery in New York, Photography as Response at The Center for Fine Art Photography, Intimate Portraits exhibit at the SE Center for Photography, The Essence of Monochrome International Photo Competition sponsored byThe Stockholm Diary and exhibited in Budapest, SohoPhoto Alternative Process exhibit at the SohoPhoto Gallery in New York.
www.lensculture.com/diane-fenster
"Fantasy is sanctuary.
Secrets of the Magdalen Laundries explores the theme of imagination in the inner life. Dreaming, reverie, and fantasy are ways of being that make the reality of circumstances more tolerable.
As a point of departure, I was drawn to the history of the Magdalen Laundries. These convent industries in Ireland existed from the mid 19th century until the late 20th century. The Magdalen Laundries institutionalized women who were smeared with the reputation of being immoral, or who were indigent, and kept them imprisoned through the social machinations of the Church. These misused women lived in punitive labor, lost to both their families and themselves. Henceforth, they became invisible, concealed beyond the margins of society.
For me, the imagination is a threshold to an inner world. I uncover the tension between an image that conjures its mutable revelations and the idee fixee. My work embodies the hidden poetry of the ordinary, making visible what previously was hidden.
At the boundaries of the visible exists the invisible.
In my images these women live in a private world of desire, longing, and unreachable fulfillment, forced into a mundane ritual of service without pleasure or amenities. Their vitality and eros, bound by the superficial morality of the Church, reemerges as images on the sheets that they repetitiously wash, a reminder of their stained existence.
They dreamed until the secret images were burned onto the sheets.
Sheets facilitate dreaming. They enfold the body, carry its warmth, desire, perfume, and wrap it in death. I work on discarded sheets to give form to the imagination that releases desire in spite of circumstances. The sheets move from matter to metaphysics, reminding us of the body and its dreams. The portraits from the Magdalen Laundries appear and disappear as you move around them. Viewed from the oblique perspective, the images vanish like the women lost in time. Facing them, they assume their own dreaming existence."
Diane Fenster's art first received notice during the era of early experimentations with digital imaging. Her work has been called an important voice in the development of a true digital aesthetic. She views herself as an alchemist, using digital tools to delve into fundamental human issues. Her work is literary and emotional, full of symbolism and multiple layers of meaning. Her images have appeared in numerous publications on digital art.
She has been guest lecturer at many seminars and conferences, her work has been internationally exhibited and is part of museum, corporate and private collections. Her images appear in numerous publications on digital art including the APERTURE monograph METAMORPHOSES: PHOTOGRAPHY IN THE ELECTRONIC AGE, WOMEN, ART AND TECHNOLOGY published by MIT press, ART IN THE DIGITAL AGE edited by Bruce Wands, School of Visual Art, NYC and her work has been internationally exhibited and is part of museum, corporate and private collections.
Recently however, Fenster has been moving away from the digital photomontage style that has brought her so much recognition and is venturing into an exploration of starker imagery that has its roots in toy camera photography, alternative process and photo-encaustic. Her work was exhibited in the 4th Biennale of Fine Art and Documentary Photography in Berlin, she was a finalist in the Alternative Process category of the 9th Pollux Awards, a finalist in the Alternative Process and Portraits categories of the 7th Julia Margaret Cameron Awards, a finalist in the Alternative Process and Fine Art categories of the 8th Julia Margaret Cameron Awards, included in the Illuminate exhibit curated by Elizabeth Avedon, the Alternative Process exhibit juried by Christopher James at the Center for Fine Art Photography and published in the DIFFUSION ANNUAL 2016. Finalist in both the Fine Art and Nude & Figure Categories of the Second Charles Dodson Awards. Recent exhibits include FotofFoto gallery’s 13th National Competition, Let There be Light and Shadow at the Umbrella Arts Gallery in New York, Photography as Response at The Center for Fine Art Photography, Intimate Portraits exhibit at the SE Center for Photography, The Essence of Monochrome International Photo Competition sponsored byThe Stockholm Diary and exhibited in Budapest, SohoPhoto Alternative Process exhibit at the SohoPhoto Gallery in New York.
www.lensculture.com/diane-fenster
CHAIR by Diane Fenster
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BED by Diane Fenster
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TOPOGRAPHY STUDY VI by Charlotta Hauksdottir
Honorable Mention
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Honorable Mention
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Charlotta Maria Hauksdottir says, "The physical space of landscapes can be closely tied to a person’s identity, sense of being, and infused with personal history. The composite, textured landscapes in the series “Imprints” are a re-creation of places and scenes from an estranged homeland. Several sheets of photographic paper with variable cutouts are layered together imitating landforms that have formed over time. The visible and obscured parts of the landscape suggest the interplay of effects between man and nature, as well as the imperfections of memory, with the bifurcated textures emphasizing the mind’s inability to retain and fully comprehend its environment. The discontinuity between the images also induces the viewer to draw on their own experiences to complete the work."
Charlotta María Hauksdóttir is an Icelandic artist based in California, working primarily in photography. Residing in the USA for over 15 years, she still draws inspiration from her home country Iceland. Her work centers around the unique connection one has to places and moments in time, and how memories embody and elevate those connections. Charlotta graduated from the San Francisco Art Institute with an MFA in Photography, in 2004, and received a BA in Photography from the Istituto Europeo di Design in Rome, Italy, in 1997.
Her work has been exhibited around the world, with solo exhibitions in the USA, Russia, and Iceland, most recently at the Reykjavik Museum of Photography. She has received a number of awards and has been published in several magazines and books. Her work is part of numerous public and private collections all over the world, including corporate collections, the latest acquisition being by Stanford Health Care.
Education:
Iceland Academy of the Arts
Prisma, Diploma in Creative and Critical Thinking, 2009
San Francisco Art Institute
Master of Fine Arts in Photography, 2004
Istituto Europeo di Design
Bachelor of Arts in Photography, 1997
Solo Exhibitions:
2017 A Matter of Some Moments, Ramskram Gallery, Reykjavik, Iceland
2016 Outlook, Reykjavík Museum of Photography, Reykjavik, Iceland
2014 Moments, VI International Festival of Photography PhotoVisa, Krasnodar, Russia
2005 Scapes, First Street Gallery, Eureka, CA, USA
2004 Dreamscapes, Zinc Details, San Francisco, CA, USA
Group Exhibitions:
2017
Contemporary Landscape, Marin Museum of Contemporary Art, CA, USA
Kuala Lumpur International Photoawards 2017, WHITEBOX Gallery, Kuala Lumpur, Malaysia
Art of Living Photography Gallery Awards, ACCI Gallery, Berkeley, CA, USA
Reflect & Engage, The Image Flow, Mill Valley, CA, USA
FÍSL 2017 Samtímaljósmyndun, Miklagardur, Höfn í Hornafirði, Iceland
Public Alchemy II, Cubberley Community Center, Palo Alto, CA, USA
Cascade, Nordic Innovation House, Palo Alto, CA, USA
4th Annual Juried Art Show, Piedmont Center for the Arts, Piedmont, CA, USA
2016
Connect and Collect, San Jose Institute of Contemporary Art, San Jose, CA, USA
Anne and Mark’s Art Party, Santa Clara County Fairgrounds, San Jose, CA, USA
11th National Juried Exhibition, Axis Gallery, Sacramento, CA, USA, Jurors award
Family!, Portfolio Showcase, Davis Orton Gallery, Hudson, NY, USA
Dwelling, Susan Eley Fine Art, New York, NY, USA
Cascade, Rayko Photo Center, San Francisco, CA, USA
Public Alchemy, Cubberley Community Center, Palo Alto, CA, USA
Family Portraits, Richmond Art Center, Richmond, CA, USA, Jurors award
2015
Domestic, PHOTO Gallery, Oakland, CA, USA
Connect and Collect, San Jose Institute of Contemporary Art, San Jose, CA, USA
Family Matters, PhotoPlace Gallery, Middlebury, VT, USA
ÍSÓ 2015, Old Shrimp Factory, Isafjordur, Iceland
The Salon Exhibit, Los Angeles Center for Digital Art, Los Angeles, CA, USA
Left Coast Annual, Sanchez Art Center, Pacifica, CA, USA
Still Life/Life Still, Darkroom Gallery, Essex, VT, USA
On the Road, The Club at SJC, San Jose, CA, USA
2014
Open, The Center for Fine Art Photography, Fort Collins, CO, USA
Looking Out, Sharon Arts Center, Peterborough, NH, USA
Landforms, Northern Lights Festival, Norwegian House, Stykkisholmur, Iceland
Dreams, Fantasies and Illusions, Photoplace Gallery, Middlebury, VT, USA
Inside Out, Verum Ultimum Art Gallery, Portland, OR, USA
Connect and Collect, San Jose Institute of Contemporary Art, San Jose, CA, USA
Anne and Mark’s Art Party, Santa Clara County Fairgrounds, San Jose, CA, USA
2014 San Francisco International Photography Exhibition, Portfolio Selection, Gallery Photographica, San Francisco, CA, USA
Shelter, Art Works Downtown, San Rafael, CA, USA
Of Memory, Bone and Myth, The Rourke Art Museum, Moorhead, MN, USA
Icelandic Women Photographers 1872-2013, National Museum of Iceland, Reykjavik, Iceland
Bibliography:
2017
“Le donne fotografe dalla nascita della fotografia ad oggi: uno sguardo di genere”, Patrizia Pulga, (Italy), March
2016
Charlotta María Hauksdóttir: "Outlook" at the Reykjavik Museum of Photography, www.all-about-photo.com, June
2015
“Family Matters”, Show Catalog, PhotoPlace Gallery, (VT, USA), July
2014
“Art in 365 Days”, Icelandic Art Calendar, (Reykjavik, Iceland), November
“Dreams, Fantasies and Illusions”, Show Catalog, PhotoPlace Gallery, (VT, USA) October
“What’s Important and Precious to Me”, Show Catalog, PhotoVisa, (Russia), September
“Photo of the Day” www.Smithsonian.com, September
“Behold” Photo Blog, Slate Magazine, www.slate.com, August
“Of Memory, Bone and Myth”, Show Catalog, The Rourke Art Museum, (MN, USA) March
“Betur sja augu”, Show Catalog, (Reykjavik, Iceland), January
Public collections:
2016 Stanford Health Care, Palo Alto, California, USA
2012 Reykjavik Museum of Photography, Reykjavik, Iceland
2007 Affymetrix, Santa Clara, California, USA
2004 Genentech Inc., South San Francisco, California, USA
1997 Reykjavik City Museum, Reykjavik, Iceland
www.charlottamh.com
Charlotta María Hauksdóttir is an Icelandic artist based in California, working primarily in photography. Residing in the USA for over 15 years, she still draws inspiration from her home country Iceland. Her work centers around the unique connection one has to places and moments in time, and how memories embody and elevate those connections. Charlotta graduated from the San Francisco Art Institute with an MFA in Photography, in 2004, and received a BA in Photography from the Istituto Europeo di Design in Rome, Italy, in 1997.
Her work has been exhibited around the world, with solo exhibitions in the USA, Russia, and Iceland, most recently at the Reykjavik Museum of Photography. She has received a number of awards and has been published in several magazines and books. Her work is part of numerous public and private collections all over the world, including corporate collections, the latest acquisition being by Stanford Health Care.
Education:
Iceland Academy of the Arts
Prisma, Diploma in Creative and Critical Thinking, 2009
San Francisco Art Institute
Master of Fine Arts in Photography, 2004
Istituto Europeo di Design
Bachelor of Arts in Photography, 1997
Solo Exhibitions:
2017 A Matter of Some Moments, Ramskram Gallery, Reykjavik, Iceland
2016 Outlook, Reykjavík Museum of Photography, Reykjavik, Iceland
2014 Moments, VI International Festival of Photography PhotoVisa, Krasnodar, Russia
2005 Scapes, First Street Gallery, Eureka, CA, USA
2004 Dreamscapes, Zinc Details, San Francisco, CA, USA
Group Exhibitions:
2017
Contemporary Landscape, Marin Museum of Contemporary Art, CA, USA
Kuala Lumpur International Photoawards 2017, WHITEBOX Gallery, Kuala Lumpur, Malaysia
Art of Living Photography Gallery Awards, ACCI Gallery, Berkeley, CA, USA
Reflect & Engage, The Image Flow, Mill Valley, CA, USA
FÍSL 2017 Samtímaljósmyndun, Miklagardur, Höfn í Hornafirði, Iceland
Public Alchemy II, Cubberley Community Center, Palo Alto, CA, USA
Cascade, Nordic Innovation House, Palo Alto, CA, USA
4th Annual Juried Art Show, Piedmont Center for the Arts, Piedmont, CA, USA
2016
Connect and Collect, San Jose Institute of Contemporary Art, San Jose, CA, USA
Anne and Mark’s Art Party, Santa Clara County Fairgrounds, San Jose, CA, USA
11th National Juried Exhibition, Axis Gallery, Sacramento, CA, USA, Jurors award
Family!, Portfolio Showcase, Davis Orton Gallery, Hudson, NY, USA
Dwelling, Susan Eley Fine Art, New York, NY, USA
Cascade, Rayko Photo Center, San Francisco, CA, USA
Public Alchemy, Cubberley Community Center, Palo Alto, CA, USA
Family Portraits, Richmond Art Center, Richmond, CA, USA, Jurors award
2015
Domestic, PHOTO Gallery, Oakland, CA, USA
Connect and Collect, San Jose Institute of Contemporary Art, San Jose, CA, USA
Family Matters, PhotoPlace Gallery, Middlebury, VT, USA
ÍSÓ 2015, Old Shrimp Factory, Isafjordur, Iceland
The Salon Exhibit, Los Angeles Center for Digital Art, Los Angeles, CA, USA
Left Coast Annual, Sanchez Art Center, Pacifica, CA, USA
Still Life/Life Still, Darkroom Gallery, Essex, VT, USA
On the Road, The Club at SJC, San Jose, CA, USA
2014
Open, The Center for Fine Art Photography, Fort Collins, CO, USA
Looking Out, Sharon Arts Center, Peterborough, NH, USA
Landforms, Northern Lights Festival, Norwegian House, Stykkisholmur, Iceland
Dreams, Fantasies and Illusions, Photoplace Gallery, Middlebury, VT, USA
Inside Out, Verum Ultimum Art Gallery, Portland, OR, USA
Connect and Collect, San Jose Institute of Contemporary Art, San Jose, CA, USA
Anne and Mark’s Art Party, Santa Clara County Fairgrounds, San Jose, CA, USA
2014 San Francisco International Photography Exhibition, Portfolio Selection, Gallery Photographica, San Francisco, CA, USA
Shelter, Art Works Downtown, San Rafael, CA, USA
Of Memory, Bone and Myth, The Rourke Art Museum, Moorhead, MN, USA
Icelandic Women Photographers 1872-2013, National Museum of Iceland, Reykjavik, Iceland
Bibliography:
2017
“Le donne fotografe dalla nascita della fotografia ad oggi: uno sguardo di genere”, Patrizia Pulga, (Italy), March
2016
Charlotta María Hauksdóttir: "Outlook" at the Reykjavik Museum of Photography, www.all-about-photo.com, June
2015
“Family Matters”, Show Catalog, PhotoPlace Gallery, (VT, USA), July
2014
“Art in 365 Days”, Icelandic Art Calendar, (Reykjavik, Iceland), November
“Dreams, Fantasies and Illusions”, Show Catalog, PhotoPlace Gallery, (VT, USA) October
“What’s Important and Precious to Me”, Show Catalog, PhotoVisa, (Russia), September
“Photo of the Day” www.Smithsonian.com, September
“Behold” Photo Blog, Slate Magazine, www.slate.com, August
“Of Memory, Bone and Myth”, Show Catalog, The Rourke Art Museum, (MN, USA) March
“Betur sja augu”, Show Catalog, (Reykjavik, Iceland), January
Public collections:
2016 Stanford Health Care, Palo Alto, California, USA
2012 Reykjavik Museum of Photography, Reykjavik, Iceland
2007 Affymetrix, Santa Clara, California, USA
2004 Genentech Inc., South San Francisco, California, USA
1997 Reykjavik City Museum, Reykjavik, Iceland
www.charlottamh.com
TOPOGRAPHY STUDY III by Charlotta Hauksdotttir
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TOPOGRAPHY STUDY II by Charlotta Hauksdottir
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HOW THE WEST WAS WON 4 by Carolyn Doucette
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Carolyn Doucette says of her series, 'How The West Was Won', This series investigates nature, place and past. Underlying my imagery is awareness that North America has been the site of significant historical trauma. As a Métis of mixed Mi’kmaw and French ancestry, I have a heightened awareness of the brutal aspects of our colonial past. The dyed porcupine quills woven through my landscape photographs, printed on canvas, are influenced by traditional Eastern Woodland Métis quillwork designs and are an offering of remembrance in honor of my indigenous ancestors and a celebration of a people that are still here despite many hardships. Originals 16.5x22 inches, archival inkjet print and dyed porcupine quills on canvas, 2017."
Born in North Dakota, of Mi'kmaw|Acadian descent, Carolyn Doucette is a Native American transmedia artist with a BFA from the University of Victoria. Her work has shown and screened at art galleries and film festivals in the US, Canada and Europe. Her work and research concerns the connection between humans and nature, the ecological implications of a nature/culture dichotomy in Western thought paradigms and the natural landscape vs. the "sublime" landscape. She lives in Santa Barbara, CA and is currently working on a mixed-media series exploring her indigenous heritage.
CV:
Education
BFA (Distinction) University of Victoria, Victoria, BC, Canada. 2004
Exhibitions/Screenings
Upcoming:
Focus Photo LA, Month of Photography Los Angeles, The Reef, Los Angeles, CA
2016
Focus Photo, Berlin Art Week, Berlin, Germany
Transitional Landscapes, The Center for Fine Art Photography (C4FAP), Fort Collins, CO
Technarte, Los Angeles Center for Digital Art (LACDA), Los Angeles, CA
Diverse/City, Month of Photography Los Angeles Group Show, Arena 1 Gallery, Santa Monica, CA
Women Manifest:At The Core, West Hollywood Library, Los Angeles, CA
2015
LAAA 2015 Open Show, Gallery 825, Los Angeles, CA
The Billboard Creative Q4, 5924 Hollywood Blvd, Los Angeles, CA
2015 Carmichael Canadian Landscape Exhibition:Tradition Transformed, Orillia Museum of Art and History, Orillia, ON, Canada
RMG Exposed, The Robert McLaughlin Gallery, Oshawa, ON, Canada
Integrate Art Crawl, Flux Media Art Gallery, Victoria, BC, Canada
2015 Bellingham National Art Exhibition and Awards, Whatcom Museum, Bellingham, WA
LACDA 2015 International, Los Angeles Center for Digital Art (LACDA), Los Angeles, CA
High Five Art, Autry National Center of the American West, Los Angeles, CA
King Co. Metro/Photo Center NW Photomural Project, Auburn and Bellevue, WA
2014
Ten Year Represented Artist's Retrospective, Los Angeles Center for Digital Art (LACDA), Los Angeles, CA
Publications
2016
Place, Musée Magazine, No.15, Shahid & Company
Protected:American Landscapes, Hawk & Handsaw Journal, Volume no. 8, Unity College, ME
2015
Photographer's Forum Best of Photography 2015, Verso Limited Editions
2014
The Matter of Light, Diffusion, Volume VI, November, one twelve publishing
Photographer's Forum Best of Photography 2014, Verso Limited Editions
Awards
2015
T.I.N.A. Art Prize, Berlin, Barcelona, Roma (finalist)
2014
Photographer's Forum Magazine
Award of Excellence
2013
RMG Exposed Concrete Contemporary Prize, Best Conceptual/Non-representational Photograph, Oshawa, ON, Canada
www.doucette.allyou.net/2799865/portfolio
Born in North Dakota, of Mi'kmaw|Acadian descent, Carolyn Doucette is a Native American transmedia artist with a BFA from the University of Victoria. Her work has shown and screened at art galleries and film festivals in the US, Canada and Europe. Her work and research concerns the connection between humans and nature, the ecological implications of a nature/culture dichotomy in Western thought paradigms and the natural landscape vs. the "sublime" landscape. She lives in Santa Barbara, CA and is currently working on a mixed-media series exploring her indigenous heritage.
CV:
Education
BFA (Distinction) University of Victoria, Victoria, BC, Canada. 2004
Exhibitions/Screenings
Upcoming:
Focus Photo LA, Month of Photography Los Angeles, The Reef, Los Angeles, CA
2016
Focus Photo, Berlin Art Week, Berlin, Germany
Transitional Landscapes, The Center for Fine Art Photography (C4FAP), Fort Collins, CO
Technarte, Los Angeles Center for Digital Art (LACDA), Los Angeles, CA
Diverse/City, Month of Photography Los Angeles Group Show, Arena 1 Gallery, Santa Monica, CA
Women Manifest:At The Core, West Hollywood Library, Los Angeles, CA
2015
LAAA 2015 Open Show, Gallery 825, Los Angeles, CA
The Billboard Creative Q4, 5924 Hollywood Blvd, Los Angeles, CA
2015 Carmichael Canadian Landscape Exhibition:Tradition Transformed, Orillia Museum of Art and History, Orillia, ON, Canada
RMG Exposed, The Robert McLaughlin Gallery, Oshawa, ON, Canada
Integrate Art Crawl, Flux Media Art Gallery, Victoria, BC, Canada
2015 Bellingham National Art Exhibition and Awards, Whatcom Museum, Bellingham, WA
LACDA 2015 International, Los Angeles Center for Digital Art (LACDA), Los Angeles, CA
High Five Art, Autry National Center of the American West, Los Angeles, CA
King Co. Metro/Photo Center NW Photomural Project, Auburn and Bellevue, WA
2014
Ten Year Represented Artist's Retrospective, Los Angeles Center for Digital Art (LACDA), Los Angeles, CA
Publications
2016
Place, Musée Magazine, No.15, Shahid & Company
Protected:American Landscapes, Hawk & Handsaw Journal, Volume no. 8, Unity College, ME
2015
Photographer's Forum Best of Photography 2015, Verso Limited Editions
2014
The Matter of Light, Diffusion, Volume VI, November, one twelve publishing
Photographer's Forum Best of Photography 2014, Verso Limited Editions
Awards
2015
T.I.N.A. Art Prize, Berlin, Barcelona, Roma (finalist)
2014
Photographer's Forum Magazine
Award of Excellence
2013
RMG Exposed Concrete Contemporary Prize, Best Conceptual/Non-representational Photograph, Oshawa, ON, Canada
www.doucette.allyou.net/2799865/portfolio
HOW THE WEST WAS WON 2 by Carolyn Doucette
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HOW THE WEST WAS WON 1 by Carolyn Doucette
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OH MOTHER I AM AFRAID TO DIE by Bob Weil
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Bob Weil is a practicing mixed media pictorialist, teacher and writer living in Southern California.
Bob has presented workshops to the Santa Barbara Photography Club, at the Los Angeles Festival of Photography and at the Santa Monica Apple store.
Bob is currently a member of the advisory board of the Los Angeles Festival of Photography and the Lumiere Awards. He has also written on art topics for Digital Studio Magazine and Rocky Nook photography books. Bob’s online video course iPhoneography with Bob Weil (www.iPhonePhotoArtist.com) debuted to considerable success in 2014 and now has over 2,200 students in 53 countries.
Bob Weil is also co-author (with Nicki Fitz-Gerald) of "The Art of iPhone Photography – Creating Great Photos and Art on Your iPhone," featuring the work and creative process of 45 of the top iPhoneographers worldwide. He also writes on mobile art topics for iPhone Life and Digital Studio Magazine.
​Bob’s work has won numerous awards (including iPhone Photographer of the Year, 2013), and has been exhibited worldwide, most notably -
> The Orange County Center for Contemporary Art in California
> The Darkroom Gallery in Vermont.
> The Soho Gallery for Digital Art in New York City and in Montreal.
> The Alexander Brest Museum in Jacksonville, Florida
> The MIRA exhibition in Oporto, Portugal
> The Los Angeles Festival of Photography
> The New Era Museum in Florence, Italy
www.bobweil-pictorialist.com
Bob has presented workshops to the Santa Barbara Photography Club, at the Los Angeles Festival of Photography and at the Santa Monica Apple store.
Bob is currently a member of the advisory board of the Los Angeles Festival of Photography and the Lumiere Awards. He has also written on art topics for Digital Studio Magazine and Rocky Nook photography books. Bob’s online video course iPhoneography with Bob Weil (www.iPhonePhotoArtist.com) debuted to considerable success in 2014 and now has over 2,200 students in 53 countries.
Bob Weil is also co-author (with Nicki Fitz-Gerald) of "The Art of iPhone Photography – Creating Great Photos and Art on Your iPhone," featuring the work and creative process of 45 of the top iPhoneographers worldwide. He also writes on mobile art topics for iPhone Life and Digital Studio Magazine.
​Bob’s work has won numerous awards (including iPhone Photographer of the Year, 2013), and has been exhibited worldwide, most notably -
> The Orange County Center for Contemporary Art in California
> The Darkroom Gallery in Vermont.
> The Soho Gallery for Digital Art in New York City and in Montreal.
> The Alexander Brest Museum in Jacksonville, Florida
> The MIRA exhibition in Oporto, Portugal
> The Los Angeles Festival of Photography
> The New Era Museum in Florence, Italy
www.bobweil-pictorialist.com
LOST COLLAGE FROM THE INSTITUTE OF USELESS KNOWLEDGE by Bob Weil
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INTER RELATIONAL CALCULUS by Bob Weil
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USA by Bernadette Fox
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Bernadette Fox says, "Farm Life" features the tangible simplicity of daily life on heartland farmsteads in the rural midwest. Capturing the often overlooked richness of objects that surround us and breaking through the monotony of everyday routines that we take for granted. Connorsville, Wisconsin (pop. 1,097). Mamiya 6, Kodak Portra film.
“As a documentarian, I focus my efforts on the hero’s journey of the everyday individual within their community. I’m intrigued by real people and what happens at the intersection of identity, challenge and change, and the defining moments of the human experience. Documenting those dynamics requires me to approach subjects from a place of great intimacy, while not neglecting to leave room for the spontaneous."
With my first anthropology course in college, I knew that I wanted to be a visual documentarian. Enchanted by the idea of combining art with real life, I promptly dropped out and moved Paris to study classical filmmaking… but mainly I just learned to survive on croissants and cigarettes. From there, I found myself in Boston for what turned into a 12 year detour in the world of advertising, adulthood, and project management; I was on the ground floor during the advent of online media and worked for interactive agencies with clients such as Hyundai, IKEA and Showtime. But I still wasn't crafting the type of projects that satisfied my creative spirit. So I returned to my original infatuation with documentary storytelling and haven’t looked back. As a photographer, I focus my efforts on the hero’s journey of the everyday individual within their community. I’m intrigued by real people and what happens at the intersection of identity, challenge and change, and the defining moments of the human experience. Documenting those dynamics requires me to approach subjects from a place of great intimacy, while not neglecting to leave room for the spontaneous.
My work has been featured by the Smithsonian Magazine International Photo Competition, the Darkroom Gallery in VT, and the MN State Fair Fine Art Exhibition. I’m a selected attendee of the Kalish Workshop at RIT and the Magnum Photos Long Format Documentary Workshop with Matt Black. I’m currently pursuing a Certificate in Documentary Studies at Duke University. Based in Minneapolis, Minnesota and always looking for the slightest excuse to travel and capture stories."
www.bernadettephoto.com
“As a documentarian, I focus my efforts on the hero’s journey of the everyday individual within their community. I’m intrigued by real people and what happens at the intersection of identity, challenge and change, and the defining moments of the human experience. Documenting those dynamics requires me to approach subjects from a place of great intimacy, while not neglecting to leave room for the spontaneous."
With my first anthropology course in college, I knew that I wanted to be a visual documentarian. Enchanted by the idea of combining art with real life, I promptly dropped out and moved Paris to study classical filmmaking… but mainly I just learned to survive on croissants and cigarettes. From there, I found myself in Boston for what turned into a 12 year detour in the world of advertising, adulthood, and project management; I was on the ground floor during the advent of online media and worked for interactive agencies with clients such as Hyundai, IKEA and Showtime. But I still wasn't crafting the type of projects that satisfied my creative spirit. So I returned to my original infatuation with documentary storytelling and haven’t looked back. As a photographer, I focus my efforts on the hero’s journey of the everyday individual within their community. I’m intrigued by real people and what happens at the intersection of identity, challenge and change, and the defining moments of the human experience. Documenting those dynamics requires me to approach subjects from a place of great intimacy, while not neglecting to leave room for the spontaneous.
My work has been featured by the Smithsonian Magazine International Photo Competition, the Darkroom Gallery in VT, and the MN State Fair Fine Art Exhibition. I’m a selected attendee of the Kalish Workshop at RIT and the Magnum Photos Long Format Documentary Workshop with Matt Black. I’m currently pursuing a Certificate in Documentary Studies at Duke University. Based in Minneapolis, Minnesota and always looking for the slightest excuse to travel and capture stories."
www.bernadettephoto.com
UNUSED by Bernadette Fox
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BREAKFAST 1 by Bernadette Fox
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I NOTICED PEOPLE DISAPPEARED by Angela Casagrande
Second Place
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Second Place
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Angela Casagrande says, "The series "Memory of Place" is inspired by Emily Dickinson's poem "I Noticed People Disappeared. I explore the power of memory, the space memory occupies and the artifacts we leave behind in this space both physical and immaterial. My artwork keeps fading family stories and memories alive while reconnecting with ancestors and places that may have been lost over time.
My photography is an ongoing investigation of how our understanding and interactions with the world have been shaped by memory, in the form of ancestral history, folklore, dreams, culture, family, belief systems, and rituals."
Angela Casagrande lives and works in Sacramento, California and was a recipient of the 2015 Julia Margaret Cameron Award.
She has exhibited in solo exhibitions at Axis Gallery in Sacramento, California. Her group exhibitions include The Women’s Show at South x Southeast Photogallery in Molena, Georgia and Of Memory, Bone and Myth at the Colonel Eugene Myers Gallery of Art, University of North Dakota, Grand Forks, North Dakota. Her work is in the public collection at Colonel Eugene Myers Gallery of Art. She is currently working on a series of graphoscopes for her MFA Thesis Exhibition in 2018 at Institute of Contemporary Art at Maine College of Art in Portland, Maine.
Angela’s work is derived from her memories of family lore, genealogical research and nighttime dreams. By retelling these stories visually, she presents the viewer with the unique set of symbols she has found within them. To recreate these stories, she uses a mixture of personal and appropriated images, utilizing analog and digital formats. This approach creates visually rich, layered images that bridge the past and the present.
Angela was born and raised in Humboldt County, California. She received her B.A. in Fine Art from Humboldt State University and is an MFA candidate at Maine College of Art.
Publication:
The Hand Magazine, Issue #13, July 2016
Black & White Magazine, June 2016
Adobe Create Magazine, 2015
Seities, Autumn 14/15, THEME : MACABRE
Awards:
Looking Back—Looking Forward (Smartphone category) - Black & White Magazine
Purchase Award - Of Memory, Bone and Myth - 2016
Best in Show - Of Memory, Bone and Myth - 2016
Honorable Mention - International Photography Award, Non-Professional: Fine Art, Collage - 2015
Finalist - Hariban Award - 2015
Honorable Mention - Wonderland - 2015
Recipient - 7th edition Julia Margaret Cameron Award - 2015
Finalist - 8th edition Julia Margaret Cameron Award - 2015
CENTER Santa Fe Review - 2015
Lectures:
OpenShow Sacramento - 2017
Gallery:
Member of Axis Gallery - 2014 - current
Exhibitions:
2018
(November)
Untitled - James Kaneko Gallery - Sacramento, CA
(April)
Photo Month - Axis Gallery - Sacramento, CA
In Focus: Current Photography - Richmond Art Center - Richmond, CA
2017
The 21 Day Myth - Axis Gallery - Sacramento, CA
**Sacramento Bee Critic’s Pick for Second Saturday Exhibitions
The Women’s Show - South x Southeast Photogallery - Molena, GA
2016
4th International Biennial of Fine Art and Documentary Photography - The Palazzo Italia - Berlin, Germany
PLASTIC FANTASTIC SHOW VII - LightBox Photographic Gallery - Astoria, OR
Secrets & Mysteries - 
L.A. Photo Curator - online gallery
Of Memory, Bone and Myth - Colonel Eugene Myers Gallery of Art - University of North Dakota, Grand Forks, ND
Dreams & More - 
SE Center for Photography - Greenville, SC
Family Stories…or, Down the Rabbit Hole (solo exhibition) - Axis Gallery - Sacramento, CA
**Sacramento Bee Critic’s Pick for Second Saturday Exhibitions
2015
Stories and Secrets - 
PhotoPlace Gallery (OnLine Annex) - Middlebury, VT
Macabre - 
Shelf Life Books - Calgary, Alberta, Canada
Black, White & Everything in Between - 
SE Center for Photography - Greenville, SC
Wonderland - 
Smith & Lens - Bay St. Louis, MS
2014
Twelve: Small Wonders
 - Viewpoint Gallery - Sacramento, CA
A Midnight Eerie - 
Gallery 136½ - Manchester, CT
Shoot & Tell
 - StoneCrop Gallery - York, ME
Mobile Magic IX - 
LightBox Photographic Gallery - Astoria, OR
2013
The Art of Women - 
Contemporary Dance Conservatory - Sacramento, CA
www.angelacasagrande.com
IG: ms.angela.casagrande
My photography is an ongoing investigation of how our understanding and interactions with the world have been shaped by memory, in the form of ancestral history, folklore, dreams, culture, family, belief systems, and rituals."
Angela Casagrande lives and works in Sacramento, California and was a recipient of the 2015 Julia Margaret Cameron Award.
She has exhibited in solo exhibitions at Axis Gallery in Sacramento, California. Her group exhibitions include The Women’s Show at South x Southeast Photogallery in Molena, Georgia and Of Memory, Bone and Myth at the Colonel Eugene Myers Gallery of Art, University of North Dakota, Grand Forks, North Dakota. Her work is in the public collection at Colonel Eugene Myers Gallery of Art. She is currently working on a series of graphoscopes for her MFA Thesis Exhibition in 2018 at Institute of Contemporary Art at Maine College of Art in Portland, Maine.
Angela’s work is derived from her memories of family lore, genealogical research and nighttime dreams. By retelling these stories visually, she presents the viewer with the unique set of symbols she has found within them. To recreate these stories, she uses a mixture of personal and appropriated images, utilizing analog and digital formats. This approach creates visually rich, layered images that bridge the past and the present.
Angela was born and raised in Humboldt County, California. She received her B.A. in Fine Art from Humboldt State University and is an MFA candidate at Maine College of Art.
Publication:
The Hand Magazine, Issue #13, July 2016
Black & White Magazine, June 2016
Adobe Create Magazine, 2015
Seities, Autumn 14/15, THEME : MACABRE
Awards:
Looking Back—Looking Forward (Smartphone category) - Black & White Magazine
Purchase Award - Of Memory, Bone and Myth - 2016
Best in Show - Of Memory, Bone and Myth - 2016
Honorable Mention - International Photography Award, Non-Professional: Fine Art, Collage - 2015
Finalist - Hariban Award - 2015
Honorable Mention - Wonderland - 2015
Recipient - 7th edition Julia Margaret Cameron Award - 2015
Finalist - 8th edition Julia Margaret Cameron Award - 2015
CENTER Santa Fe Review - 2015
Lectures:
OpenShow Sacramento - 2017
Gallery:
Member of Axis Gallery - 2014 - current
Exhibitions:
2018
(November)
Untitled - James Kaneko Gallery - Sacramento, CA
(April)
Photo Month - Axis Gallery - Sacramento, CA
In Focus: Current Photography - Richmond Art Center - Richmond, CA
2017
The 21 Day Myth - Axis Gallery - Sacramento, CA
**Sacramento Bee Critic’s Pick for Second Saturday Exhibitions
The Women’s Show - South x Southeast Photogallery - Molena, GA
2016
4th International Biennial of Fine Art and Documentary Photography - The Palazzo Italia - Berlin, Germany
PLASTIC FANTASTIC SHOW VII - LightBox Photographic Gallery - Astoria, OR
Secrets & Mysteries - 
L.A. Photo Curator - online gallery
Of Memory, Bone and Myth - Colonel Eugene Myers Gallery of Art - University of North Dakota, Grand Forks, ND
Dreams & More - 
SE Center for Photography - Greenville, SC
Family Stories…or, Down the Rabbit Hole (solo exhibition) - Axis Gallery - Sacramento, CA
**Sacramento Bee Critic’s Pick for Second Saturday Exhibitions
2015
Stories and Secrets - 
PhotoPlace Gallery (OnLine Annex) - Middlebury, VT
Macabre - 
Shelf Life Books - Calgary, Alberta, Canada
Black, White & Everything in Between - 
SE Center for Photography - Greenville, SC
Wonderland - 
Smith & Lens - Bay St. Louis, MS
2014
Twelve: Small Wonders
 - Viewpoint Gallery - Sacramento, CA
A Midnight Eerie - 
Gallery 136½ - Manchester, CT
Shoot & Tell
 - StoneCrop Gallery - York, ME
Mobile Magic IX - 
LightBox Photographic Gallery - Astoria, OR
2013
The Art of Women - 
Contemporary Dance Conservatory - Sacramento, CA
www.angelacasagrande.com
IG: ms.angela.casagrande
HIS VOICE DECREPIT WAS WITH JOY by Angela Casagrande
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MEMORY OF PLACE, ME AND MY GRANDPA by Angela Casagrande
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IMMERSION SERIES 3 by Amy Parrish
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Amy Parrish says of her series, 'Immersion Series', "This work is part of my observation of a complex tradition steeped in mysticism at odds with the world we live in today. While living in India I found myself conflicted upon witnessing dozens of Hindu idols abandoned curbside for trash collection, never fulfilling their spiritual rites of immersion due to new regulations protecting against the pollution of local waterways. According to tradition, gods and goddesses visit the earth for a week of puja celebrations, housed within the vessel of an idol sculpture. They are released back to the spiritual realm by being immersed for a period of time in Ganga water.
I photographed fragments of these sculptures and submerged prints for several days in the Hooghly River, a distributary of the Ganges (Maa Ganga), where boatmen kept watch as tides rose and fell. The artworks revealed the same signs of decay as idols dredged from the river after puja. This process was a way to resolve my question on which would be a greater loss; rituals within one of the world’s most ancient traditions or a natural resource as essential as water?"
Amy Parrish is an internationally-exhibited artist who serves as Director of Operations and instructor for The Light Space, a program providing photography training for young women affected by the commercialized sex trade and to staff members of anti-trafficking organizations. In between long-term projects in India and Thailand she has spent two winters as an artist-in-residence in Midcoast Maine where she learned the practice of historic and alternative photo processes.
Through the previous decade, Parrish worked as an award-winning portrait photographer and traveled the United States teaching other professionals within the industry. Her work was featured on two seasons of Photovision and awarded "Best in Portrait" for WPPI's international photography competition. In 2014 she shifted her focus from commercial work to applying a much more personal, hand-processed approach. Her fine art imagery has been awarded the Julia Margaret Cameron Award as well as receiving several other awards and distinctions.
CV:
SELECTED EXHIBITIONS AND PERFORMANCE
2017, A Surreal Vision, LoosenArt, Rome, Italy
2017, Keen Eye and Soft Focus: Pictorialism Revisited, Maine Media Gallery, Rockport, Maine

2017, Honoring Trees, PhotoPlace Gallery, Online Annex
2017, Keen Eye and Soft Focus: Pictorialism Revisited, PhoPa Gallery, Portland, Maine
2017, The Visual Armistice, Plates to Pixels, Online Exhibition
2017, Spring Show curated by Jessica Roscio, The Curated Fridge, Somerville, Massachusetts

2017, Process: Alternative, Light Leaked, Online Exhibition
2017, Windows: Looking Out, Looking In, Don’t Take Pictures, Online Exhibition
2016, Postage Required, Vermont Center for Photography, Brattleboro, Vermont
2016, The Discarded Ones (solo exhibition), Ohio University Southern Gallery, Ironton, Ohio
2016, Glass and Tin, Don't Take Pictures, online exhibition
2016, InPrint-Is, Blanco Negro, Sydney, Australia
2016, Photography Re-imagined V: The Artist's Hand, Tilt Gallery, Scottsdale, Arizona
2016, New Albany Symphony Orchestra (performance and gala), New Albany, Ohio
2015-2016, Exhibition 280, Huntington Museum of Art, Huntington, West Virginia
2015, Ohio State Fair (OSF) Fine Arts Exhibition, Columbus, Ohio
2015, Sharing a Core, ACTINIC Festival, Traverse Theatre, Edinburgh, Scotland
2015, Through the Lens, Yeiser Art Center, Paducah, Kentucky
2015, What’s Old Is New Again: Alternative Photo. Processes, PhotoSynthesis, Manchester, CT
2015, Sense of Self, Delaware Cultural Arts Center, Delaware, Ohio
SELECTED TEACHING AND SPEAKING ENGAGEMENTS
2017, Friends of Thai Daughters workshop, Chiang Rai, Thailand
2017, Pecha Kucha Midcoast, South Thomaston, Maine
2016-2017, Community photo classes for The ArtLoft, Rockland, Maine
2016, Promoting Passion Convention, Colorado Springs, Colorado
2015, Light Pro Conference, Hilton Head Island, South Carolina
2015, After Dark (AD) Education Conference, Madison, Wisconsin
2014, Finding Beauty in the World Around You, Teen Community Workshop, YES Club, Newark, OH
2014, AD Education, St. Louis, Missouri
IMMERSIVE EXPERIENCE
2017-2018, Mentor, The Light Space, Kolkata, India
2017, Director of Operations & Instructor, The Light Space, Chiang Rai, Thailand
2016-2017, Artist-in-Residence, 26 Split Rock Cove, South Thomaston, Maine
2015-2016, Director of Operations & Instructor, The Light Space, Kolkata, India
2015, Artist-in-Residence, 26 Split Rock Cove, South Thomaston, Maine
SELECTED AWARDS
2015, Juror's Choice Award, OSF Fine Arts Exhibition, Columbus, Ohio
2015, 3rd Place, Yeiser Art Center Through the Lens, Paducah, Kentucky
2015, Top Four Selection, InPrint-IS, Sydney, Australia
2014, Julia Margaret Cameron Award and invitation to exhibit in Malaga, Spain, 6th JMC Awards
2014, Second Prize (series) & invitation to exhibit in Malaga, Spain, 6th JM Cameron Awards
2014, 2nd Best of Show, OSF Fine Arts Award, Columbus, Ohio
2014, Finalist, Crusade for Art Engagement Grant
SELECTED PUBLICATIONS AND MEDIA COVERAGE
2017, Solitude, Light: A Journal of Photography & Poetry

2017, The Itinerant Artist Takes Stock, The Courier-Gazette

2017, Home & Away, One Coin Press
2017, Issue #16, The Hand Magazine
2017, Stray Birds (poetry), Amy Parrish
2017, Issue #15, The Hand Magazine
2016, UnderExposed Magazine
2016, Film & Alternative Process, Volume III, Femme Fotale
2016, Gum Printing: A Step-by-Step Manual Highlighting Artists and Their Creative Practice, Christina Z Anderson, Focal Press/Routledge
2015, Issue #10, The Hand Magazine
2015, InPrint-Is, Publisher Dawne Fahey
2015, Issue #9, The Hand Magazine
2015, Process, Obscura Press
2015, Issue #8, The Hand Magazine
WEB & SOCIAL MEDIA
2016, Video interview, Punches of Pink webisode
2016, Interview and studio visit for the ArtLoft blog
2016, Interview feature for Jeff Leisawitz’s Not F*ing Around blog on creativity
2016, Selection for @FeatureShoot Instagram feed
2016, Guest Curator for @Crusade4Art Instagram account
2016, Instagram Takeover for Maine Media Workshops +College
www.amyparrish.com
I photographed fragments of these sculptures and submerged prints for several days in the Hooghly River, a distributary of the Ganges (Maa Ganga), where boatmen kept watch as tides rose and fell. The artworks revealed the same signs of decay as idols dredged from the river after puja. This process was a way to resolve my question on which would be a greater loss; rituals within one of the world’s most ancient traditions or a natural resource as essential as water?"
Amy Parrish is an internationally-exhibited artist who serves as Director of Operations and instructor for The Light Space, a program providing photography training for young women affected by the commercialized sex trade and to staff members of anti-trafficking organizations. In between long-term projects in India and Thailand she has spent two winters as an artist-in-residence in Midcoast Maine where she learned the practice of historic and alternative photo processes.
Through the previous decade, Parrish worked as an award-winning portrait photographer and traveled the United States teaching other professionals within the industry. Her work was featured on two seasons of Photovision and awarded "Best in Portrait" for WPPI's international photography competition. In 2014 she shifted her focus from commercial work to applying a much more personal, hand-processed approach. Her fine art imagery has been awarded the Julia Margaret Cameron Award as well as receiving several other awards and distinctions.
CV:
SELECTED EXHIBITIONS AND PERFORMANCE
2017, A Surreal Vision, LoosenArt, Rome, Italy
2017, Keen Eye and Soft Focus: Pictorialism Revisited, Maine Media Gallery, Rockport, Maine

2017, Honoring Trees, PhotoPlace Gallery, Online Annex
2017, Keen Eye and Soft Focus: Pictorialism Revisited, PhoPa Gallery, Portland, Maine
2017, The Visual Armistice, Plates to Pixels, Online Exhibition
2017, Spring Show curated by Jessica Roscio, The Curated Fridge, Somerville, Massachusetts

2017, Process: Alternative, Light Leaked, Online Exhibition
2017, Windows: Looking Out, Looking In, Don’t Take Pictures, Online Exhibition
2016, Postage Required, Vermont Center for Photography, Brattleboro, Vermont
2016, The Discarded Ones (solo exhibition), Ohio University Southern Gallery, Ironton, Ohio
2016, Glass and Tin, Don't Take Pictures, online exhibition
2016, InPrint-Is, Blanco Negro, Sydney, Australia
2016, Photography Re-imagined V: The Artist's Hand, Tilt Gallery, Scottsdale, Arizona
2016, New Albany Symphony Orchestra (performance and gala), New Albany, Ohio
2015-2016, Exhibition 280, Huntington Museum of Art, Huntington, West Virginia
2015, Ohio State Fair (OSF) Fine Arts Exhibition, Columbus, Ohio
2015, Sharing a Core, ACTINIC Festival, Traverse Theatre, Edinburgh, Scotland
2015, Through the Lens, Yeiser Art Center, Paducah, Kentucky
2015, What’s Old Is New Again: Alternative Photo. Processes, PhotoSynthesis, Manchester, CT
2015, Sense of Self, Delaware Cultural Arts Center, Delaware, Ohio
SELECTED TEACHING AND SPEAKING ENGAGEMENTS
2017, Friends of Thai Daughters workshop, Chiang Rai, Thailand
2017, Pecha Kucha Midcoast, South Thomaston, Maine
2016-2017, Community photo classes for The ArtLoft, Rockland, Maine
2016, Promoting Passion Convention, Colorado Springs, Colorado
2015, Light Pro Conference, Hilton Head Island, South Carolina
2015, After Dark (AD) Education Conference, Madison, Wisconsin
2014, Finding Beauty in the World Around You, Teen Community Workshop, YES Club, Newark, OH
2014, AD Education, St. Louis, Missouri
IMMERSIVE EXPERIENCE
2017-2018, Mentor, The Light Space, Kolkata, India
2017, Director of Operations & Instructor, The Light Space, Chiang Rai, Thailand
2016-2017, Artist-in-Residence, 26 Split Rock Cove, South Thomaston, Maine
2015-2016, Director of Operations & Instructor, The Light Space, Kolkata, India
2015, Artist-in-Residence, 26 Split Rock Cove, South Thomaston, Maine
SELECTED AWARDS
2015, Juror's Choice Award, OSF Fine Arts Exhibition, Columbus, Ohio
2015, 3rd Place, Yeiser Art Center Through the Lens, Paducah, Kentucky
2015, Top Four Selection, InPrint-IS, Sydney, Australia
2014, Julia Margaret Cameron Award and invitation to exhibit in Malaga, Spain, 6th JMC Awards
2014, Second Prize (series) & invitation to exhibit in Malaga, Spain, 6th JM Cameron Awards
2014, 2nd Best of Show, OSF Fine Arts Award, Columbus, Ohio
2014, Finalist, Crusade for Art Engagement Grant
SELECTED PUBLICATIONS AND MEDIA COVERAGE
2017, Solitude, Light: A Journal of Photography & Poetry

2017, The Itinerant Artist Takes Stock, The Courier-Gazette

2017, Home & Away, One Coin Press
2017, Issue #16, The Hand Magazine
2017, Stray Birds (poetry), Amy Parrish
2017, Issue #15, The Hand Magazine
2016, UnderExposed Magazine
2016, Film & Alternative Process, Volume III, Femme Fotale
2016, Gum Printing: A Step-by-Step Manual Highlighting Artists and Their Creative Practice, Christina Z Anderson, Focal Press/Routledge
2015, Issue #10, The Hand Magazine
2015, InPrint-Is, Publisher Dawne Fahey
2015, Issue #9, The Hand Magazine
2015, Process, Obscura Press
2015, Issue #8, The Hand Magazine
WEB & SOCIAL MEDIA
2016, Video interview, Punches of Pink webisode
2016, Interview and studio visit for the ArtLoft blog
2016, Interview feature for Jeff Leisawitz’s Not F*ing Around blog on creativity
2016, Selection for @FeatureShoot Instagram feed
2016, Guest Curator for @Crusade4Art Instagram account
2016, Instagram Takeover for Maine Media Workshops +College
www.amyparrish.com
IMMERSION SERIES 2 by Amy Parrish
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IMMERSION SERIES 1 by Amy Parrish
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ICELAND EXPOSURE SIX by Ali Gradischer
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Ali Gradischer says, "All the pieces within the ARTEMIS series were created while I was a resident at the Nes Artist Residency in Skagastrond, Iceland during January and February 2013. With this particular body of work, I found that the imagery I used seemed to be symbolic of a particularly guttural and keenly alive part of life within the town I was in. I chose to magnify and play with bone motifs to express my impressions of Iceland’s wildly elemental and exposed landscape. What you see in this work is representative of place, remoteness, and wild grit.
My first step in starting this series focused on working with the imagery. It was not uncommon to find large animal bones strewn about the rugged Icelandic terrain or washed up on the beach, so I decided to take photos of the bones and then enlarge those images on to the paper. Abandoning the traditional cyanotype process, I chose to use the bone imagery as the boundaries for where I would paint, not print, with the cyanotype photo chemicals.
I began to notice how physical the process became when creating this work, and quickly decided to keep going with it. By letting the chemicals pool, sweep, swirl, saturate, and shift across the paper slowly and progressively, I realized that I was no longer interested in the creation of photograms. Rather than making the photogram the central focus of the cyanotypes I made, I wanted to highlight what the chemistry could do. I found that I was more intrigued by the way the chemistry moved across the paper to create a wide range of colors and textures, and as such, each of these cyanotypes was created in reaction to the one made before it.
I kept asking myself, could I consider these pieces to be cyanotypes? Because historically, the cyanotype was meant to record and present specific information, or used to expose an image of something else. What is presented is the total breakdown and abstracted reconfiguration of the traditional cyanotype process, so much so that I’m striving to question the basic constitution of what a cyanotype can be."
Ali Gradischer is an artist, photomaker, and freelance photographer based in Portland, Oregon. Her work uses photography, drawing, printmaking, and travel as the fuel to explore the many different seasons of her life. Gradischer has exhibited locally as well as nationally, and has participated in artist residencies in Iceland, Germany, and in White Salmon, WA.
Gradischer received her MFA in Applied Craft and Design through the Pacific Northwest College of Art + Oregon College of Art and Craft in 2011, and her BS in Interior Design from Appalachian State University in 2008. She is a recipient of an Oregon Arts Commission Career Development Grant, and multiple Regional Arts & Culture Council Professional Development Grants. In 2017, she founded Held in Common, a photography studio dedicated to capturing everyday stories through the magic of film, as well as providing a variety of photo-based workshops around the Pacific Northwest region.
GRANTS, AWARDS & RESIDENCIES:
2017 Honorable Mention, The Visual Armistice.
Plates to Pixels + One Twelve Publishing. Portland, OR.
2016 Wildcraft Studio School Residency. White Salmon, WA
2015 Professional Development Grant, Regional Arts & Culture Council. Portland, OR.
2014 Spotlight Award, The Matter of Light.
Diffusion Annual + One Twelve Publishing. Portland, OR
SOLO EXHIBITIONS:
2014 ARTEMIS, Stumptown. Portland, OR.
2013 ARTEMIS, Lizard Lounge. Portland, OR..
GROUP EXHIBITIONS:
2017 The Visual Armistice, Plates to Pixels 10th Annual Juried Showcase. Portland, OR.
2017 Periphery, Design Week Portland. Portland, OR
2015 The Matter of Light, The Center for Fine Art Photography. Fort Collins, CO.
2015 Beyond the Pale, Hotel Monaco. Portland, OR.
2015 Alien She - Zine Library, Museum of Contemporary Craft. Portland, OR.
2014 Furthermore, Bison Building. Portland, OR.
TALKS, TEACHING & PROFESSIONAL EXPERIENCE:
2018 Workshop Instructor, Held in Common Photography Studio. Portland, OR
2018 Workshop Instructor, Wildcraft Studio School. White Salmon, WA
2016 Photographer, MFA Applied Craft + Design 2016/2017 Lecture Series. Portland, OR.
2016 Event Photographer, Plastic Growth Show. Portland, OR.
2016 Event Photographer, Limited Time Only MFA Applied Craft + Design
Final Thesis Exhibition. Portland OR.
2016 Event Photographer, LWD + Women Co/Create - Design Week Portland. Portland OR.
2015 Co-founder, LIFESTYLES UNLUBRICATED publication with Leslie Vigeant. Portland, OR.
2014 Practicum Committee Member, MFA Applied Craft + Design, PNCA + OCAC.
Portland, OR.
2014 Independent Study Instructor, MFA Applied Craft + Design Program. Portland, OR.
2014 Guest Artist, “Getting Started”, Oregon College of Art and Craft Thesis Class.
Portland, OR.
2014 Guest Lecturer, Museum of Contemporary Craft. Portland, OR.
2014 Guest Lecturer, Akademie fur Handwerksdesign Gut Rosenberg. Aachen, Germany
2014 Studio School Instructor, Photography. Oregon College of Art and Craft Studio School, Portland, OR.
COLLECTIONS:
2013 Nes Artist Residency. Skagastrond, Iceland
www.aligradischer.com
My first step in starting this series focused on working with the imagery. It was not uncommon to find large animal bones strewn about the rugged Icelandic terrain or washed up on the beach, so I decided to take photos of the bones and then enlarge those images on to the paper. Abandoning the traditional cyanotype process, I chose to use the bone imagery as the boundaries for where I would paint, not print, with the cyanotype photo chemicals.
I began to notice how physical the process became when creating this work, and quickly decided to keep going with it. By letting the chemicals pool, sweep, swirl, saturate, and shift across the paper slowly and progressively, I realized that I was no longer interested in the creation of photograms. Rather than making the photogram the central focus of the cyanotypes I made, I wanted to highlight what the chemistry could do. I found that I was more intrigued by the way the chemistry moved across the paper to create a wide range of colors and textures, and as such, each of these cyanotypes was created in reaction to the one made before it.
I kept asking myself, could I consider these pieces to be cyanotypes? Because historically, the cyanotype was meant to record and present specific information, or used to expose an image of something else. What is presented is the total breakdown and abstracted reconfiguration of the traditional cyanotype process, so much so that I’m striving to question the basic constitution of what a cyanotype can be."
Ali Gradischer is an artist, photomaker, and freelance photographer based in Portland, Oregon. Her work uses photography, drawing, printmaking, and travel as the fuel to explore the many different seasons of her life. Gradischer has exhibited locally as well as nationally, and has participated in artist residencies in Iceland, Germany, and in White Salmon, WA.
Gradischer received her MFA in Applied Craft and Design through the Pacific Northwest College of Art + Oregon College of Art and Craft in 2011, and her BS in Interior Design from Appalachian State University in 2008. She is a recipient of an Oregon Arts Commission Career Development Grant, and multiple Regional Arts & Culture Council Professional Development Grants. In 2017, she founded Held in Common, a photography studio dedicated to capturing everyday stories through the magic of film, as well as providing a variety of photo-based workshops around the Pacific Northwest region.
GRANTS, AWARDS & RESIDENCIES:
2017 Honorable Mention, The Visual Armistice.
Plates to Pixels + One Twelve Publishing. Portland, OR.
2016 Wildcraft Studio School Residency. White Salmon, WA
2015 Professional Development Grant, Regional Arts & Culture Council. Portland, OR.
2014 Spotlight Award, The Matter of Light.
Diffusion Annual + One Twelve Publishing. Portland, OR
SOLO EXHIBITIONS:
2014 ARTEMIS, Stumptown. Portland, OR.
2013 ARTEMIS, Lizard Lounge. Portland, OR..
GROUP EXHIBITIONS:
2017 The Visual Armistice, Plates to Pixels 10th Annual Juried Showcase. Portland, OR.
2017 Periphery, Design Week Portland. Portland, OR
2015 The Matter of Light, The Center for Fine Art Photography. Fort Collins, CO.
2015 Beyond the Pale, Hotel Monaco. Portland, OR.
2015 Alien She - Zine Library, Museum of Contemporary Craft. Portland, OR.
2014 Furthermore, Bison Building. Portland, OR.
TALKS, TEACHING & PROFESSIONAL EXPERIENCE:
2018 Workshop Instructor, Held in Common Photography Studio. Portland, OR
2018 Workshop Instructor, Wildcraft Studio School. White Salmon, WA
2016 Photographer, MFA Applied Craft + Design 2016/2017 Lecture Series. Portland, OR.
2016 Event Photographer, Plastic Growth Show. Portland, OR.
2016 Event Photographer, Limited Time Only MFA Applied Craft + Design
Final Thesis Exhibition. Portland OR.
2016 Event Photographer, LWD + Women Co/Create - Design Week Portland. Portland OR.
2015 Co-founder, LIFESTYLES UNLUBRICATED publication with Leslie Vigeant. Portland, OR.
2014 Practicum Committee Member, MFA Applied Craft + Design, PNCA + OCAC.
Portland, OR.
2014 Independent Study Instructor, MFA Applied Craft + Design Program. Portland, OR.
2014 Guest Artist, “Getting Started”, Oregon College of Art and Craft Thesis Class.
Portland, OR.
2014 Guest Lecturer, Museum of Contemporary Craft. Portland, OR.
2014 Guest Lecturer, Akademie fur Handwerksdesign Gut Rosenberg. Aachen, Germany
2014 Studio School Instructor, Photography. Oregon College of Art and Craft Studio School, Portland, OR.
COLLECTIONS:
2013 Nes Artist Residency. Skagastrond, Iceland
www.aligradischer.com
ICELAND EXPOSURE SEVEN by Ali Gradischer
(Click on image for larger view)
(Click on image for larger view)
ICELAND EXPOSURE EIGHT by Ali Gradischer
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RUST by Abbey Hepner
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(Click on image for larger view)
Abbey Hepner say of her series, 'Optogenetic Cybernetic Translations', "In the series, Optogenetic Cybernetic Translations, I am investigating the artist and scientist as translators of data that illuminate the connections existing in the broader world. My collaborator, scientist Mike Avery, is researching optogenetics, a technique that involves the use of light to manipulate neurons in the brain. I used images from his lab: histological brain sections, stained with immunohistochemical markers, and imaged using confocal microscopy. I then explored how artificial intelligence might interpret these brain scans, creating metaphors for what the future might hold as technology infiltrates our fields.
I used computer vision software, which is a technology concerned with the automatic interpretation, analysis and understanding of information from a single image, to interpret the brain scans. The results of this interpretation included an aurora, fireflies, bioluminescence, rust or texture, light, and military night vision. I paired each brain scan with its corresponding AI translation, resulting in interesting metaphors between cognition and a world full of beautiful, or potentially frightening, phenomenon. By allowing our collaborative work to be interpreted by a third party we are embracing the fact that our work is larger than ourselves and never wholly in our control.
Because lenticular prints are hard to see as still images (but make sense for the theme of this exhibition) I am including a web video of the work being walked in front of in an exhibition."
www.drive.google.com/file/d/1ww0n0I67zl7hM89MBh8SgrWy-wUtgPP9/view
Abbey Hepner is an artist and educator investigating the human relationship with landscape and technology. She frequently works at the intersection of art and science, navigating through collaborative and research-oriented practices.
Her work explores ethical gray areas where humanity and industry collide, illuminating the increasingly common use of health as a currency. She received her MFA in photography from the University of New Mexico. Hepner’s work has been exhibited widely in such venues as the Mt. Rokko Photography Festival, Kobe, Japan; Central Features, Albuquerque, NM; San Diego Art Institute, San Diego, CA; Noorderlicht Photofestival, Groningen, Netherlands; and the Newspace Center For Photography, Portland, OR. She frequently presents at conferences including the 2015 International Symposium on Electronic Art in Vancouver, Canada, and the 2016 and 2017 Society for Photographic Education conferences.
My Collaborator Mike Avery: www.snl.salk.edu/~ mikeavery/
www.Abbey-Hepner.com
Abbey Hepner, Rust, 36"x34", Computer Vision Translated Lenticular Print
I used computer vision software, which is a technology concerned with the automatic interpretation, analysis and understanding of information from a single image, to interpret the brain scans. The results of this interpretation included an aurora, fireflies, bioluminescence, rust or texture, light, and military night vision. I paired each brain scan with its corresponding AI translation, resulting in interesting metaphors between cognition and a world full of beautiful, or potentially frightening, phenomenon. By allowing our collaborative work to be interpreted by a third party we are embracing the fact that our work is larger than ourselves and never wholly in our control.
Because lenticular prints are hard to see as still images (but make sense for the theme of this exhibition) I am including a web video of the work being walked in front of in an exhibition."
www.drive.google.com/file/d/1ww0n0I67zl7hM89MBh8SgrWy-wUtgPP9/view
Abbey Hepner is an artist and educator investigating the human relationship with landscape and technology. She frequently works at the intersection of art and science, navigating through collaborative and research-oriented practices.
Her work explores ethical gray areas where humanity and industry collide, illuminating the increasingly common use of health as a currency. She received her MFA in photography from the University of New Mexico. Hepner’s work has been exhibited widely in such venues as the Mt. Rokko Photography Festival, Kobe, Japan; Central Features, Albuquerque, NM; San Diego Art Institute, San Diego, CA; Noorderlicht Photofestival, Groningen, Netherlands; and the Newspace Center For Photography, Portland, OR. She frequently presents at conferences including the 2015 International Symposium on Electronic Art in Vancouver, Canada, and the 2016 and 2017 Society for Photographic Education conferences.
My Collaborator Mike Avery: www.snl.salk.edu/~ mikeavery/
www.Abbey-Hepner.com
Abbey Hepner, Rust, 36"x34", Computer Vision Translated Lenticular Print
NIGHTVISION by Abbey Hepner
(Click on image for larger view)
(Click on image for larger view)
Abbey Hepner, Night Vision, 46"x16", Computer Vision Translated Lenticular Print
ATMOSPHERE 1 by Abbey Hepner
(Click on image for larger view)
(Click on image for larger view)
Abbey Hepner, Atmosphere, 36"x34", Computer Vision Translated Lenticular Print
To view Exhibition #2 go to this link:
www.laphotocurator.com/the-tangible-photograph-curator-blue-mitchell/exhibition-2/1
To view Exhibition #2 go to this link:
www.laphotocurator.com/the-tangible-photograph-curator-blue-mitchell/exhibition-2/1
