WHAT REMAINS- Curator Jody Miller > Group Exhibition #1
Group Exhibition #1
ABANDONED CROFT, SCOTLAND by Alan Black
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Alan Black says of his series, 'Metamorphosis', "This is an ongoing project that stems from my fascination with abandoned structures or ruins, translated as “Haikyo” in Japanese. Since graduating from the Glasgow School of Art, I have continued my pursuit of the desolated structural remains of Asia.
In 2010, I left Scotland to travel to Japan with the intention of photographing “haikyo”. Research and travel, as well as my Mamiya 7, has provided me with the opportunity to seek out and capture images that reflect a deeper understanding of man’s connection with the planet.
Beneath the peeling paint and rust, and between the tangled vines and layers of dust, these structures develop individual personalities when left to the cruel elements and the crippling grip of nature. Time transforms these soulless skeletal remnants, which often exude sinister connotations. It’s almost like their interiors give us a perspective into the past, whilst the exteriors project a glimpse into a possible future.
This ongoing series of photographs represent my own personal view of the world, where I attempt to evoke a sense of fragility that exists between humankind and the natural environment."
Alan Black is a Scottish photographer from Glasgow. He divides his time between Tokyo and Scotland. He shoots mainly in Medium format film, and covers a variety of subject matter. His work is influenced by themes of nature, humanities relationship with the environment, decay and isolation.
Alan uses the camera as a way to explore hidden and forgotten places. Using 120 Transparency slide film, Alan tries to bring to life the subtle details and colours within abandoned buildings, and landscapes.
He graduated in Visual communication:Photography at Glasgow School of Art, and since then has had work published in print and online.
Current ongoing project:
Metamorphosis
www.alanwblack.smugmug.com
In 2010, I left Scotland to travel to Japan with the intention of photographing “haikyo”. Research and travel, as well as my Mamiya 7, has provided me with the opportunity to seek out and capture images that reflect a deeper understanding of man’s connection with the planet.
Beneath the peeling paint and rust, and between the tangled vines and layers of dust, these structures develop individual personalities when left to the cruel elements and the crippling grip of nature. Time transforms these soulless skeletal remnants, which often exude sinister connotations. It’s almost like their interiors give us a perspective into the past, whilst the exteriors project a glimpse into a possible future.
This ongoing series of photographs represent my own personal view of the world, where I attempt to evoke a sense of fragility that exists between humankind and the natural environment."
Alan Black is a Scottish photographer from Glasgow. He divides his time between Tokyo and Scotland. He shoots mainly in Medium format film, and covers a variety of subject matter. His work is influenced by themes of nature, humanities relationship with the environment, decay and isolation.
Alan uses the camera as a way to explore hidden and forgotten places. Using 120 Transparency slide film, Alan tries to bring to life the subtle details and colours within abandoned buildings, and landscapes.
He graduated in Visual communication:Photography at Glasgow School of Art, and since then has had work published in print and online.
Current ongoing project:
Metamorphosis
www.alanwblack.smugmug.com
ABANDONED SCHOOL, JAPAN by Alan Black
*HONORABLE MENTION
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*HONORABLE MENTION
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ABANDONED THEATRE, JAPAN by Alan Black
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SOMEONE'S BIRTHDAY (NOT MINE) by Ally Christmas
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Ally Christmas says of her work, "The photographic image serves as a mechanism of representation, which has historically been used for binding the human body to the world. How, then, do that representation and subsequent binding become complicated or disrupted through the violent act of manipulating one’s representation by technological means?
Relying on the algorithmic software of Photoshop, I have been exploring this idea of erasing or rewriting my personal history – which has involved a systematic use of the Content Aware Fill function and an almost obsessive-compulsive impulse to erase every trace of my representation from the photographs in my personal archive. The idea of the family album or personal photograph being private has become complicated with the digitization of cameras and the computerization of people; today, most people have created some version of a digital simulacrum of themselves to share in the public, networked sphere, and the value of the physical photograph as a once precious object is now unclear. The image file composed of 1’s and 0’s is no longer the only manipulable object; we, ourselves, have become information to be encoded and manipulated.
These images are part of a larger, ongoing body of work (more can be found at pleasingmemorypicture.com), and largely represent a continued narrative throughout my recent practice that explores the complex relationships between photography, death, and memory. A few years ago I interviewed a mortician named Sam, and he told me that in mortuary school his teachers stressed the importance of what they called the “pleasing memory picture” – the last photo of someone you use to remember them by."
Ally Christmas is from Northern Virginia, but she currently lives and works out of Athens, GA. She works primarily with image- and time-based media to explore the boundaries and connections between the photographic medium, death, spirit, absence, and memory. Christmas is currently in her 2nd year at the University of Georgia pursuing her MFA in photography.
www.allychristmas.com
Relying on the algorithmic software of Photoshop, I have been exploring this idea of erasing or rewriting my personal history – which has involved a systematic use of the Content Aware Fill function and an almost obsessive-compulsive impulse to erase every trace of my representation from the photographs in my personal archive. The idea of the family album or personal photograph being private has become complicated with the digitization of cameras and the computerization of people; today, most people have created some version of a digital simulacrum of themselves to share in the public, networked sphere, and the value of the physical photograph as a once precious object is now unclear. The image file composed of 1’s and 0’s is no longer the only manipulable object; we, ourselves, have become information to be encoded and manipulated.
These images are part of a larger, ongoing body of work (more can be found at pleasingmemorypicture.com), and largely represent a continued narrative throughout my recent practice that explores the complex relationships between photography, death, and memory. A few years ago I interviewed a mortician named Sam, and he told me that in mortuary school his teachers stressed the importance of what they called the “pleasing memory picture” – the last photo of someone you use to remember them by."
Ally Christmas is from Northern Virginia, but she currently lives and works out of Athens, GA. She works primarily with image- and time-based media to explore the boundaries and connections between the photographic medium, death, spirit, absence, and memory. Christmas is currently in her 2nd year at the University of Georgia pursuing her MFA in photography.
www.allychristmas.com
IN THE MOUNTAINS SOMEWHERE by Ally Christmas
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CHINCOTEAGUE 1994 by Ally Christmas
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ALL THAT LEFT 1 by Amir Lavon
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Amir Lavon says of his work, "To me, street photography is just documenting human life. Period. Candid or with permission? I don’t care. Color or black and white? It doesn’t matter. Street photography is about capturing the essence of humanity.
Street photography is a beautiful, spontaneous art form. It requires patience and a lot of luck to get good and meaningful shots. But its unpredictability is what makes it appealing and rewarding. Like any creative field, street photography has some time-tested criteria, but remember: rules are meant to be broken. Once you understand the heart of street photography, you can unleash your creativity to make street photography your own.
In the bottom line street photographer may seek a more prosaic depiction of the scene, as a form of social documentary". ”
Amir Lavon is based in Israel. He's a
multidisciplinary artist and teacher in the education system.
A social activist for social and community issues. His works have been published in magazines and newspapers, galleries and museums around the world.
Recently he completed a community leadership course for the sake of living together in peace.
He's represented by organizations such as Photographers without Borders, Societies
and Shatil.
lavont1.wixsite.com/streettime
Street photography is a beautiful, spontaneous art form. It requires patience and a lot of luck to get good and meaningful shots. But its unpredictability is what makes it appealing and rewarding. Like any creative field, street photography has some time-tested criteria, but remember: rules are meant to be broken. Once you understand the heart of street photography, you can unleash your creativity to make street photography your own.
In the bottom line street photographer may seek a more prosaic depiction of the scene, as a form of social documentary". ”
Amir Lavon is based in Israel. He's a
multidisciplinary artist and teacher in the education system.
A social activist for social and community issues. His works have been published in magazines and newspapers, galleries and museums around the world.
Recently he completed a community leadership course for the sake of living together in peace.
He's represented by organizations such as Photographers without Borders, Societies
and Shatil.
lavont1.wixsite.com/streettime
THE HOOD by Amir Lavon
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THE OLD POST OFFICEHOOD by Amir Lavon
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Amir Lavon on this work, "The old post office neighborhood. It's a hidden place, and it's considered to be the city's backyard.
If you choose not to go there you won't even see it, like most people it disappears from the view.
Leaves no evidence, or visible sign of life.
You can say it was erased, like a whole story that got lost with time
As a narrative that ceased to exist.
The only evidence left out from the neighborhood
Is a few crumbling blocks and old Bamba machine.
The old post neighborhood it's what's left out of life,
What was left out from of its story."
If you choose not to go there you won't even see it, like most people it disappears from the view.
Leaves no evidence, or visible sign of life.
You can say it was erased, like a whole story that got lost with time
As a narrative that ceased to exist.
The only evidence left out from the neighborhood
Is a few crumbling blocks and old Bamba machine.
The old post neighborhood it's what's left out of life,
What was left out from of its story."
RECLAMATION 1 by Amy Jasek
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Amy Jasek says of her work, "'Into the West / Reclamation'- In 2013, I went on a road trip with my family through southwest Texas to Big Bend National Park. It was a challenge to me, as primarily a photographer of people, to be with my camera in a place where people were so scarce. What I found, in the dry, dusty heat, were the traces of human endeavors, often overrun by nature and sinking back into the earth. The land was winning, and reclaiming its own. The photographs in my submission are from the series that resulted from that trip, “Into the West,” with these three particular pieces being from Langry, Texas, population 12, where I found the strongest examples of reclamation."
Native Texan and photographer’s daughter, Amy Jasek’s life has been shaped by photography from her first moments. She grew up hanging out in her father’s darkroom, being patiently taught the craft of traditional film techniques whenever she would listen. She received her first camera and made her first silver gelatin print at the age of 7.
Amy graduated from the University of Texas at Austin with a Bachelor of Arts in Theatre and Dance in 1999. She took up photography as a serious hobby in 2003, and began exhibiting work with the Mamaroneck Artists’ Guild in 2009. The main focus of her work is narrative / candid and documentary in nature; people are what she enjoys photographing most, although she also explores both the natural and manmade aspects of her surroundings.
Amy is a regular exhibitor with both Round Rock Arts and TAGat120Art; she has shown work in both galleries since 2014. She has also exhibited work at Georgetown Art Center, most recently in the Stereotypes Exhibit (April / May 2016). She exhibited in Round Rock Arts’ Imagine show in 2015 and 2016. Her work was chosen to be part of the Art Hop in Georgetown in 2014 and 2015, and she has taken part in exhibitions at A Smith Gallery in Johnson City, Texas in 2015 (the Family show) and 2016 (Blue 2, Trees).
Two of her photographs were included in the wheatpasting public art exhibition “A Prayer, A Hope, and A Dream” that was part of Houston’s FotoFest in 2016. Amy also participated in a small group show at the Jester Annex as part of Round Rock’s public art program, and had a small solo exhibition at The Williamson Museum, both in 2015.
http://www.texasgirlphotography.com
Native Texan and photographer’s daughter, Amy Jasek’s life has been shaped by photography from her first moments. She grew up hanging out in her father’s darkroom, being patiently taught the craft of traditional film techniques whenever she would listen. She received her first camera and made her first silver gelatin print at the age of 7.
Amy graduated from the University of Texas at Austin with a Bachelor of Arts in Theatre and Dance in 1999. She took up photography as a serious hobby in 2003, and began exhibiting work with the Mamaroneck Artists’ Guild in 2009. The main focus of her work is narrative / candid and documentary in nature; people are what she enjoys photographing most, although she also explores both the natural and manmade aspects of her surroundings.
Amy is a regular exhibitor with both Round Rock Arts and TAGat120Art; she has shown work in both galleries since 2014. She has also exhibited work at Georgetown Art Center, most recently in the Stereotypes Exhibit (April / May 2016). She exhibited in Round Rock Arts’ Imagine show in 2015 and 2016. Her work was chosen to be part of the Art Hop in Georgetown in 2014 and 2015, and she has taken part in exhibitions at A Smith Gallery in Johnson City, Texas in 2015 (the Family show) and 2016 (Blue 2, Trees).
Two of her photographs were included in the wheatpasting public art exhibition “A Prayer, A Hope, and A Dream” that was part of Houston’s FotoFest in 2016. Amy also participated in a small group show at the Jester Annex as part of Round Rock’s public art program, and had a small solo exhibition at The Williamson Museum, both in 2015.
http://www.texasgirlphotography.com
RECLAMATION 2 by Amy Jasek
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RECLAMATION 3 by Amy Jasek
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END OF THE LINE by Andrea Waxler
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Andrea Waxler says of this work, "'Right Place; Wrong Time', The parking lots are empty. The public bathrooms are boarded up. The only signs of life are the occasional, lazy seagulls circling overhead.
Autumn at the Cape Cod National Seashore is magical. It is serene, quiet, and isolated. One can stroll casually, immersed in thought. The quality of the late afternoon light is magical and there are almost no vestiges left of the crowds of sunburned people or screaming, splashing children with their pails and shovels.
The images in this collection present the lonely melancholy of the deserted dunes, left to achieve the natural shapes and patterns in the sand."
Autumn at the Cape Cod National Seashore is magical. It is serene, quiet, and isolated. One can stroll casually, immersed in thought. The quality of the late afternoon light is magical and there are almost no vestiges left of the crowds of sunburned people or screaming, splashing children with their pails and shovels.
The images in this collection present the lonely melancholy of the deserted dunes, left to achieve the natural shapes and patterns in the sand."
Ms. Waxler started her career in the areas of painting, sculpting and pottery. She was the founder and Director of the Art Studio at New Hampshire College in Manchester, New Hampshire.
Graduating from University of Pittsburgh with a BA in Fine Art, interest in photography led to coursework at New Hampshire Institute of Art and New England School of Photography. Additional coursework has been completed at the Griffin Museum of Photography and the School for The Digital Arts.
Waxler's works have been shown, awarded and sold at multiple juried gallery exhibits including the Photographic Resource Center at Boston University, The Griffin Museum of Photography, PhotoPlace Gallery, LA Curator Gallery, The Cape Cod Art Association, The Darkroom Gallery, The Moose Hill Gallery, Gallery25N and the Plymouth Center for the Arts.
She is a Russell Gallery Juried Artist (the gallery is located in Plymouth, MA) an Exhibiting Member of the Vermont Center for Photography in Brattleboro, VT and a Juried Member of the New Hampshire Art Association. She was presented with the prestigious, International 10th Annual Black and White Spider Awards Nominee for three of her images.
Additionally, her photos have been published in both print and online media in magazines such as "Chronicle of the Horse" and “Smokey Blue Mountain Literary and Arts Magazine”.
Her work embraces a visual esthetic that demonstrates energy and intensity, organic, abstract shapes and vibrant colors with a twist of humor and mystery.
www.andreawaxler.comGraduating from University of Pittsburgh with a BA in Fine Art, interest in photography led to coursework at New Hampshire Institute of Art and New England School of Photography. Additional coursework has been completed at the Griffin Museum of Photography and the School for The Digital Arts.
Waxler's works have been shown, awarded and sold at multiple juried gallery exhibits including the Photographic Resource Center at Boston University, The Griffin Museum of Photography, PhotoPlace Gallery, LA Curator Gallery, The Cape Cod Art Association, The Darkroom Gallery, The Moose Hill Gallery, Gallery25N and the Plymouth Center for the Arts.
She is a Russell Gallery Juried Artist (the gallery is located in Plymouth, MA) an Exhibiting Member of the Vermont Center for Photography in Brattleboro, VT and a Juried Member of the New Hampshire Art Association. She was presented with the prestigious, International 10th Annual Black and White Spider Awards Nominee for three of her images.
Additionally, her photos have been published in both print and online media in magazines such as "Chronicle of the Horse" and “Smokey Blue Mountain Literary and Arts Magazine”.
Her work embraces a visual esthetic that demonstrates energy and intensity, organic, abstract shapes and vibrant colors with a twist of humor and mystery.
FENCELINE by Andea Waxler
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WHERE'S THE FENCE by Andrea Waxler
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SHIRLEY by Andrea Waxler
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Andrea Waxler says of this work, 'Farm-No-More', "New Hampshire agriculture is not big business; automated combines steered by GPS, huge stockyards and hundreds of acres of fields of corn and wheat. It is the epicenter of the family farm-bucolic and serene. But these are quickly disappearing, especially in southern New Hampshire, which has become just another suburb of Boston.
However, if you look closely enough between the shopping malls, the golf courses and the residential developments, you will see the silent and sad remnants of the family farm. The ruined stone wall, the rusting farm equipment and the broken fence stand as a melancholy reminder of the iconic farm house, barns and pastures of old New England."
However, if you look closely enough between the shopping malls, the golf courses and the residential developments, you will see the silent and sad remnants of the family farm. The ruined stone wall, the rusting farm equipment and the broken fence stand as a melancholy reminder of the iconic farm house, barns and pastures of old New England."
Ms. Waxler started her career in the areas of painting, sculpting and pottery. She was the founder and Director of the Art Studio at New Hampshire College in Manchester, New Hampshire.
Graduating from University of Pittsburgh with a BA in Fine Art, interest in photography led to coursework at New Hampshire Institute of Art and New England School of Photography. Additional coursework has been completed at the Griffin Museum of Photography and the School for The Digital Arts.
Waxler's works have been shown, awarded and sold at multiple juried gallery exhibits including the Photographic Resource Center at Boston University, The Griffin Museum of Photography, PhotoPlace Gallery, LA Curator Gallery, The Cape Cod Art Association, The Darkroom Gallery, The Moose Hill Gallery, Gallery25N and the Plymouth Center for the Arts.
She is a Russell Gallery Juried Artist (the gallery is located in Plymouth, MA) an Exhibiting Member of the Vermont Center for Photography in Brattleboro, VT and a Juried Member of the New Hampshire Art Association. She was presented with the prestigious, International 10th Annual Black and White Spider Awards Nominee for three of her images.
Additionally, her photos have been published in both print and online media in magazines such as "Chronicle of the Horse" and “Smokey Blue Mountain Literary and Arts Magazine”.
Her work embraces a visual esthetic that demonstrates energy and intensity, organic, abstract shapes and vibrant colors with a twist of humor and mystery.
www.andreawaxler.comGraduating from University of Pittsburgh with a BA in Fine Art, interest in photography led to coursework at New Hampshire Institute of Art and New England School of Photography. Additional coursework has been completed at the Griffin Museum of Photography and the School for The Digital Arts.
Waxler's works have been shown, awarded and sold at multiple juried gallery exhibits including the Photographic Resource Center at Boston University, The Griffin Museum of Photography, PhotoPlace Gallery, LA Curator Gallery, The Cape Cod Art Association, The Darkroom Gallery, The Moose Hill Gallery, Gallery25N and the Plymouth Center for the Arts.
She is a Russell Gallery Juried Artist (the gallery is located in Plymouth, MA) an Exhibiting Member of the Vermont Center for Photography in Brattleboro, VT and a Juried Member of the New Hampshire Art Association. She was presented with the prestigious, International 10th Annual Black and White Spider Awards Nominee for three of her images.
Additionally, her photos have been published in both print and online media in magazines such as "Chronicle of the Horse" and “Smokey Blue Mountain Literary and Arts Magazine”.
Her work embraces a visual esthetic that demonstrates energy and intensity, organic, abstract shapes and vibrant colors with a twist of humor and mystery.
SWIRLY by Andrea Waxler
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VINES ATE ME by Andrea Waxler
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SINGLE FILE by Anna Zeitler
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Anna Zeitler says of her series, 'No Shoes to Dance With', "The images I create are my own way of communicating.
The objects in my imaginery function as metaphors for my emotions and the circumstances that are significant in my life, but I want to leave space, literally and figuratively, for personal associations. They should invite the viewer to connect them with their own memories .
As a young girl, I started dancing, I was fascinated by the beautiful life as ballerina, dreaming of a life full of mystery and fascination.
At the age of 16 I had to decide if I wanted finish school or if I want to become a professional dancer. I decided to finish school. I knew already back then, that my career as a dancer would be over at the age of 30.
The older I got, the more I realized that the actual lived stereotype in the self choosen gilded cage in the theater retrieves desillusioning banalities and routines as well as psychic hyperesthesia due to powerfull and deep passions.
Dance still plays an important role in my life. That’s why I have choosen three images of my body of work, no shoes to dance with for the theme, what remains“.
Anna Katharina Zeitler is a fine art photographer based in Berlin and New York City.
Originally from Germany, she moved to New York City in 2003 after receiving her MFA from the Academy of Photographic Design in Munich (Fachakademie für Fotodesign) to pursue her work.
Her work has been exhibited internationally in the USA, Canada, Australia, Germany,
Spain, Portugal,Hungary, Russia, India, China and Japan, in both solo and group shows, and is featured in a number of international exhibition catalogues such as for the Pingyao International Photography Festival and the Head on Photography Festival.
Her work has appeared in a number of international publications like F Stop Magazine, 6mois, Loeil de la photography and La Fototeca among others.
Recently she was among the Moscow International Photography Award Winners and the American Photography Winners, shortlisted for the Athens Fotofestival 2016 and selected for the Head on Photography Festival 2016.
www.katharinazeitler.com
The objects in my imaginery function as metaphors for my emotions and the circumstances that are significant in my life, but I want to leave space, literally and figuratively, for personal associations. They should invite the viewer to connect them with their own memories .
As a young girl, I started dancing, I was fascinated by the beautiful life as ballerina, dreaming of a life full of mystery and fascination.
At the age of 16 I had to decide if I wanted finish school or if I want to become a professional dancer. I decided to finish school. I knew already back then, that my career as a dancer would be over at the age of 30.
The older I got, the more I realized that the actual lived stereotype in the self choosen gilded cage in the theater retrieves desillusioning banalities and routines as well as psychic hyperesthesia due to powerfull and deep passions.
Dance still plays an important role in my life. That’s why I have choosen three images of my body of work, no shoes to dance with for the theme, what remains“.
Anna Katharina Zeitler is a fine art photographer based in Berlin and New York City.
Originally from Germany, she moved to New York City in 2003 after receiving her MFA from the Academy of Photographic Design in Munich (Fachakademie für Fotodesign) to pursue her work.
Her work has been exhibited internationally in the USA, Canada, Australia, Germany,
Spain, Portugal,Hungary, Russia, India, China and Japan, in both solo and group shows, and is featured in a number of international exhibition catalogues such as for the Pingyao International Photography Festival and the Head on Photography Festival.
Her work has appeared in a number of international publications like F Stop Magazine, 6mois, Loeil de la photography and La Fototeca among others.
Recently she was among the Moscow International Photography Award Winners and the American Photography Winners, shortlisted for the Athens Fotofestival 2016 and selected for the Head on Photography Festival 2016.
www.katharinazeitler.com
THE GOLDEN BRUSH AND THE BLACK HAIRBRUSH by Anna Zeitler
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ONE HUNDRED SHOES by Anna Zeitler
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MIRROR ONE by Barbara Frye
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Barbara Frye says of her work, "My first thoughts about death occurred in the cemetery down the street from where I grew up.
As a child, I spent hours reading the names and dates, wondering what death had felt like to those resting below and to those left behind. I was touched by how nature seemed to rise above the sense of loss and grief, and knew it contributed to the nurturing and peaceful atmosphere. Now, decades later, I find myself back in the cemetery where early childhood thoughts about what remains informs my work.
The three images presented here are part of my master’s thesis, Recomposing. This body of work represents a cathartic journey that began a few years ago with the sudden deaths of my parents.
As it did in my youth, the landscape of the cemetery provides a space to contemplate the dialogue between the literal remains of death and the ethereal impermanence of the human spirit.
The Irish poet John O’Donohue describes a “threshold” that allows us to experience something beyond our limited imagination of what death means. For me, a simple mirror is the portal with which to explore this threshold, helping find the answers to what remains both here on earth and above.
The images I create are steeped in a life-long practice of meditation, a love for cultural anthropology, and an insatiable passion for what is sacred and mysterious. I seek to find the elusive relationship between memory and presence. To celebrate what has been left behind, and stand in awe of that which is eternal. As a graduate student of photography, I take the journey one image at a time."
www.barbarafryephotography.com
As a child, I spent hours reading the names and dates, wondering what death had felt like to those resting below and to those left behind. I was touched by how nature seemed to rise above the sense of loss and grief, and knew it contributed to the nurturing and peaceful atmosphere. Now, decades later, I find myself back in the cemetery where early childhood thoughts about what remains informs my work.
The three images presented here are part of my master’s thesis, Recomposing. This body of work represents a cathartic journey that began a few years ago with the sudden deaths of my parents.
As it did in my youth, the landscape of the cemetery provides a space to contemplate the dialogue between the literal remains of death and the ethereal impermanence of the human spirit.
The Irish poet John O’Donohue describes a “threshold” that allows us to experience something beyond our limited imagination of what death means. For me, a simple mirror is the portal with which to explore this threshold, helping find the answers to what remains both here on earth and above.
The images I create are steeped in a life-long practice of meditation, a love for cultural anthropology, and an insatiable passion for what is sacred and mysterious. I seek to find the elusive relationship between memory and presence. To celebrate what has been left behind, and stand in awe of that which is eternal. As a graduate student of photography, I take the journey one image at a time."
www.barbarafryephotography.com
MIRROR TWO by Barbara Frye
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MIRROR THREE by Barbara Frye
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HUDSON PIERS by Barbara Kantz
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Barbara Kantz is a college professor who teaches history and human services.
She is interested in visual art as an important element in examining the human
condition. She developed an aesthetic sense from her father, a commercial artist.
She lives on Long Island on a tidal marsh and tends to photograph what is local
and regional. She is an award winning photographer and songwriter. She studied photography for one semester at Parsons School of Design.
She is interested in visual art as an important element in examining the human
condition. She developed an aesthetic sense from her father, a commercial artist.
She lives on Long Island on a tidal marsh and tends to photograph what is local
and regional. She is an award winning photographer and songwriter. She studied photography for one semester at Parsons School of Design.
LAST LIGHT AFTER THE STORM by Barbara Kantz
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OLD NEON by Barbara Kantz
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ATOM BOMB PIT by Brett Leigh Dicks
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Brett Leigh Dicks says of his work, 'Nuclear Decay'. "This is a series of photographs that explores the affect of nuclear energy in the American West. From uranium mines to nuclear reactors, test sites, military installations and towns and infrastructure that supports them, the photographs depict the man’s ever-changing relationship with nuclear energy."
Brett Leigh Dicks is an American photographer who shares his time between the United States and Australia. His photographic endeavors have led him to explore the world's natural and urban landscapes with the resulting imagery spanning Australia, America and Europe. In employing the tradition of fine black and white photography, Brett primarily investigates the landscape and the fragile ties that it shares with human history.
SELECTED SOLO EXHIBITIONS
2016: "A Quiet Conviction" Fremantle Prison Gallery, Fremantle, WA, AUS.
2012: "Abandoned Houses" Santa Barbara City Library, Santa Barbara, USA.
2010: "Trees" True World Gallery, Joshua Tree, USA.
SELECTED GROUP EXHIBITIONS
2017: "The Journey: Photographs Along the Way" Morean Arts Center, St. Petersburg, FL, USA.
2016: "Lines" Santa Barbara City Building, Santa Barbara, CA, USA.
2016: "Transience" LA Photo Curator, Los Angeles, CA, USA.
2016: "America" Light Leaked, Columbia, SC, USA.
2015: "Lines" Santa Barbara City Building, Santa Barbara, CA, USA.
2015: "Under the Influence" Santa Barbara Arts Commission, Channing Peake Gallery, Santa Barbara, CA, USA.
http://www.brettleighdicks.net
Brett Leigh Dicks is an American photographer who shares his time between the United States and Australia. His photographic endeavors have led him to explore the world's natural and urban landscapes with the resulting imagery spanning Australia, America and Europe. In employing the tradition of fine black and white photography, Brett primarily investigates the landscape and the fragile ties that it shares with human history.
SELECTED SOLO EXHIBITIONS
2016: "A Quiet Conviction" Fremantle Prison Gallery, Fremantle, WA, AUS.
2012: "Abandoned Houses" Santa Barbara City Library, Santa Barbara, USA.
2010: "Trees" True World Gallery, Joshua Tree, USA.
SELECTED GROUP EXHIBITIONS
2017: "The Journey: Photographs Along the Way" Morean Arts Center, St. Petersburg, FL, USA.
2016: "Lines" Santa Barbara City Building, Santa Barbara, CA, USA.
2016: "Transience" LA Photo Curator, Los Angeles, CA, USA.
2016: "America" Light Leaked, Columbia, SC, USA.
2015: "Lines" Santa Barbara City Building, Santa Barbara, CA, USA.
2015: "Under the Influence" Santa Barbara Arts Commission, Channing Peake Gallery, Santa Barbara, CA, USA.
http://www.brettleighdicks.net
NUCLEAR REACTOR by Brett Leigh Dicks
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TITAN MISSILE BASE by Brett Leigh Dicks
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ALL THAT'S LEFT by Carol Kleinman
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Carol Kleinman says of her work, "I photograph single exposure window reflections exclusively. They reveal many layers of reality. They stimulate visual fantasy.
My photographs probe a fanciful “reality” that we do not normally notice.
A great deal of the impact of my work stems from the fact that my images actually existed at a specific time and place and are not creations or manipulations. Were I to "Photoshop" and combine images, that impact would be lost.
Nothing I do is set up or manufactured. What you see is what I saw. I seek out reflections in the world and with a single "click" of my camera offer them to the viewer. In my work I strive to reveal the tension between abstraction and reality.
My goal is to create a launching pad from which the viewer can go on a journey and hopefully explore deeper personal emotions.
I can't resist the temptation to wander the streets of Paris, Amsterdam and New York.
I yearn for the moment I come face to face with an irresistible reflection on a window. Or is it a reflection of my inner self?
Reflections seduce me by their interplay of fantasy and reality, the combination of inside images with reflected images, the symphony of layer upon layer of life... all of it merging and culminating in the very personal moment when I click the shutter of my camera!
My secret? I seek out secrets hidden in the world of windows. My hope is that this world will illuminate the worlds of others."
Born in Hawaii, Carol Kleinman spent her formative years on the island of Oahu and in San Francisco. She attended the University of Hawaii, Lone Mountain College in San Francisco, and holds a Masters Degree in Fine Art from Claremont University.
Her work has been recognized in gallery shows in Los Angeles, Palm Desert, Seattle, Washington D.C. and Moscow, Russia.
She is currently a member of TAG Gallery, LAAA Gallery 825 and Women Painter's West.
www.KleinmanArt.com
My photographs probe a fanciful “reality” that we do not normally notice.
A great deal of the impact of my work stems from the fact that my images actually existed at a specific time and place and are not creations or manipulations. Were I to "Photoshop" and combine images, that impact would be lost.
Nothing I do is set up or manufactured. What you see is what I saw. I seek out reflections in the world and with a single "click" of my camera offer them to the viewer. In my work I strive to reveal the tension between abstraction and reality.
My goal is to create a launching pad from which the viewer can go on a journey and hopefully explore deeper personal emotions.
I can't resist the temptation to wander the streets of Paris, Amsterdam and New York.
I yearn for the moment I come face to face with an irresistible reflection on a window. Or is it a reflection of my inner self?
Reflections seduce me by their interplay of fantasy and reality, the combination of inside images with reflected images, the symphony of layer upon layer of life... all of it merging and culminating in the very personal moment when I click the shutter of my camera!
My secret? I seek out secrets hidden in the world of windows. My hope is that this world will illuminate the worlds of others."
Born in Hawaii, Carol Kleinman spent her formative years on the island of Oahu and in San Francisco. She attended the University of Hawaii, Lone Mountain College in San Francisco, and holds a Masters Degree in Fine Art from Claremont University.
Her work has been recognized in gallery shows in Los Angeles, Palm Desert, Seattle, Washington D.C. and Moscow, Russia.
She is currently a member of TAG Gallery, LAAA Gallery 825 and Women Painter's West.
www.KleinmanArt.com
REFLECTION PARIS AFTER by Carol Kleinman
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WHERE DID THEY GO by Carol Kleinman
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DISCARDED CUP by Cetywa Powell
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Cetywa Powell is a Los Angeles-based filmmaker. As a photographer, Cetywa has been published in the New York Times.
Additional recognitions include an Honorable Mention in the 2016 and 2015 International Photography Awards, a 2016 ND Awards Honorable Mention, a 2016 finalist in the Shoot the Frame portrait contest, a 2013 National Geographic Daily Dozen selection and a 2014 National Geographic Editor's Favorite Pick.
Four photographs have been selected for sale by the Duncan Miller Gallery in Santa Monica, CA (through their YourDailyPhotograph.com site).
Cetywa has also been part of exhibitions at galleries in France, New York, Los Angeles, Maryland, Virginia, Hungary, Florida, the Trieste airport in Italy, Vermont and Texas.
EXHIBITIONS/RECOGNITIONS
2017 - PHOTO IN THE NEW YORK TIMES, "CALIFORNIA TODAY" SECTION Jan 9th, 2017 issue
2017 - PHOTOGRAPHY EXHIBITION, NEW YORK, TREAT GALLERY Jan 17-Feb 5, 2017
2016 - ND AWARDS, HONORABLE MENTION (CATEGORY: CHILDREN) 2016 - SHADOW & LIGHT PHOTOGRAPHY MAGAZINE, NOV/DEC ISSUE 2016 - INTERNATIONAL PHOTOGRAPHY AWARDS, HONORABLE MENTION: Category: Culture
2016 - PHOTO INCLUDED IN THE Touch.My.Prints MAGAZINE ISSUE 5
2016 - OFFICIAL SELECTION, ONE EYELAND GALLERY Pushing the Rock photo
2016 - FINALIST IN THE MAY "SHOOT THE FRAME" Portrait Contest
2016 - TERRABELLAMEDIA "HUMAN HAND" PHOTO CONTEST Winning Entry
2016 - THE DROWNING GULL LITERARY JOURNAL, MAY ISSUE
2016 –SHADOW & LIGHT
PHOTOGRAPHY MAGAZINE, JAN ISSUE
2016 - MONOVISIONS B&W PHOTOGRAPHY MAGAZINE, JAN 14TH
2015 - DIGITAL PHOTO MAGAZINE Travel and Scenics Photo Contest Finalist
2015 - INTERNATIONAL PHOTOGRAPHY AWARDS, HONORABLE MENTION: Category: Children
2015 - PHOTO SELECTED FOR SALE 8/29: by the Duncan Miller Gallery via YourDailyPhotograph.com
2015 - PHOTO SELECTED FOR SALE 7/29: by the Duncan Miller Gallery via YourDailyPhotograph.com
2015 - F-STOP MAGAZINE, JUNE-JULY ISSUE: Humans vs. Nature issue. (See photo).
2015 - "WET WEATHER" ONLINE EXHIBITION - Don't take pictures magazine May 27th 2015 - Aug 25, 2015
2015 - PHOTO SELECTED FOR SALE 4/15: by the Duncan Miller Gallery via YourDailyPhotograph.com
2015 - JURIED EXHIBITION, TEXAS - A. Smith Gallery, Texas May 22 to June 28, 2015
2015 - JURIED EXHIBITION, VERMONT - Darkroom Gallery Feb 26th - Mar 22nd,
2015 - TRIESTE AIRPORT, ITALY - "City Under Water" photo; group exhibition Jan 2015 - Feb 2015
www.ten8photography.com
Additional recognitions include an Honorable Mention in the 2016 and 2015 International Photography Awards, a 2016 ND Awards Honorable Mention, a 2016 finalist in the Shoot the Frame portrait contest, a 2013 National Geographic Daily Dozen selection and a 2014 National Geographic Editor's Favorite Pick.
Four photographs have been selected for sale by the Duncan Miller Gallery in Santa Monica, CA (through their YourDailyPhotograph.com site).
Cetywa has also been part of exhibitions at galleries in France, New York, Los Angeles, Maryland, Virginia, Hungary, Florida, the Trieste airport in Italy, Vermont and Texas.
EXHIBITIONS/RECOGNITIONS
2017 - PHOTO IN THE NEW YORK TIMES, "CALIFORNIA TODAY" SECTION Jan 9th, 2017 issue
2017 - PHOTOGRAPHY EXHIBITION, NEW YORK, TREAT GALLERY Jan 17-Feb 5, 2017
2016 - ND AWARDS, HONORABLE MENTION (CATEGORY: CHILDREN) 2016 - SHADOW & LIGHT PHOTOGRAPHY MAGAZINE, NOV/DEC ISSUE 2016 - INTERNATIONAL PHOTOGRAPHY AWARDS, HONORABLE MENTION: Category: Culture
2016 - PHOTO INCLUDED IN THE Touch.My.Prints MAGAZINE ISSUE 5
2016 - OFFICIAL SELECTION, ONE EYELAND GALLERY Pushing the Rock photo
2016 - FINALIST IN THE MAY "SHOOT THE FRAME" Portrait Contest
2016 - TERRABELLAMEDIA "HUMAN HAND" PHOTO CONTEST Winning Entry
2016 - THE DROWNING GULL LITERARY JOURNAL, MAY ISSUE
2016 –SHADOW & LIGHT
PHOTOGRAPHY MAGAZINE, JAN ISSUE
2016 - MONOVISIONS B&W PHOTOGRAPHY MAGAZINE, JAN 14TH
2015 - DIGITAL PHOTO MAGAZINE Travel and Scenics Photo Contest Finalist
2015 - INTERNATIONAL PHOTOGRAPHY AWARDS, HONORABLE MENTION: Category: Children
2015 - PHOTO SELECTED FOR SALE 8/29: by the Duncan Miller Gallery via YourDailyPhotograph.com
2015 - PHOTO SELECTED FOR SALE 7/29: by the Duncan Miller Gallery via YourDailyPhotograph.com
2015 - F-STOP MAGAZINE, JUNE-JULY ISSUE: Humans vs. Nature issue. (See photo).
2015 - "WET WEATHER" ONLINE EXHIBITION - Don't take pictures magazine May 27th 2015 - Aug 25, 2015
2015 - PHOTO SELECTED FOR SALE 4/15: by the Duncan Miller Gallery via YourDailyPhotograph.com
2015 - JURIED EXHIBITION, TEXAS - A. Smith Gallery, Texas May 22 to June 28, 2015
2015 - JURIED EXHIBITION, VERMONT - Darkroom Gallery Feb 26th - Mar 22nd,
2015 - TRIESTE AIRPORT, ITALY - "City Under Water" photo; group exhibition Jan 2015 - Feb 2015
www.ten8photography.com
FORGOTTEN DOLL by Cetywa Powell
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THE OLD TRAIN by Cetywa Powell
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BLANKET by Chris Otten
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Chris Otten says of his work, "In earlier projects I have attempted to investigate the rural lands of the Southern Plains and its loss to an ever-expanding society. I have investigated this topic from multiple approaches ranging from landscape photographs, small town life, environmental portraits, self-portraits as well as the “fabricated to be photographed” tableau narrative.
As a whole, the images include a continued exploration of the landscape and beg the question: Does place hold memory? From the straightforward photographs to the constructed dioramas, I explored our inherent treatment of the raw landscape as well as questioned the veracity of photography.
This fascination with photography as deception led me to understand how the camera can serve as a tool that allows the observer to situate their self within the idealized vista – permitting the dismantling of the historical layers witnessed in the images.
While engaging these themes, I was living in Florida for many years. Being away from Oklahoma is what drove me to investigate these once familiar places from a fresh perspective. The documentary photographs were made on bi-yearly trips to visit my family in Southwest Oklahoma and the Texas Panhandle. The dioramas were constructed in a small studio space in Tampa. Over time the work grew through continued efforts to see things differently with each visit home.
After much involvement with documenting the western landscape, I took a new direction with my photography. Rather than commenting on the history of a place, I embraced a more snapshot aesthetic of fleeting moments and other subtle subjects. The process allowed me to concentrate on the simplicity of the objects and my relationship to them.
Recently, in my series Encounters, I have been looking at domestic spaces that I have occupied and various public outings around my current residence in Florida.
For the longest time it was challenging to relate to this place. The only way to transcend my process of seeing was to start by saying something about my new home. Even if the images come across as easily understood, that can be the grace of the work. Excluding extraneous subject matter, I noticed that the scenes were more introspective than my previous photographs.
Though I do not anticipate audiences will fully understand them, perhaps some will walk away with a more intimate connection with their strangely familiar presence. The scenes are not representative of Florida or any other place. Rather, they are a closer look at the curious nature of the mundane.
My work deals with issues of identity and place, the relationship between the two and how memory plays an important role in how we remember home and who we were while we were there."
Chris Otten was raised in Western Oklahoma. His interest in photography grew after exploring back roads along the Llano Estacado in West Texas.
He received his Bachelor of Fine Arts from the University of Central Oklahoma in 2007 and a Master of Fine Arts from the University of South Florida in 2011.
He has exhibited nationally, including galleries in Annapolis, Long Beach, Minneapolis, Tampa and Wichita.
www.chrisottenphoto.net
As a whole, the images include a continued exploration of the landscape and beg the question: Does place hold memory? From the straightforward photographs to the constructed dioramas, I explored our inherent treatment of the raw landscape as well as questioned the veracity of photography.
This fascination with photography as deception led me to understand how the camera can serve as a tool that allows the observer to situate their self within the idealized vista – permitting the dismantling of the historical layers witnessed in the images.
While engaging these themes, I was living in Florida for many years. Being away from Oklahoma is what drove me to investigate these once familiar places from a fresh perspective. The documentary photographs were made on bi-yearly trips to visit my family in Southwest Oklahoma and the Texas Panhandle. The dioramas were constructed in a small studio space in Tampa. Over time the work grew through continued efforts to see things differently with each visit home.
After much involvement with documenting the western landscape, I took a new direction with my photography. Rather than commenting on the history of a place, I embraced a more snapshot aesthetic of fleeting moments and other subtle subjects. The process allowed me to concentrate on the simplicity of the objects and my relationship to them.
Recently, in my series Encounters, I have been looking at domestic spaces that I have occupied and various public outings around my current residence in Florida.
For the longest time it was challenging to relate to this place. The only way to transcend my process of seeing was to start by saying something about my new home. Even if the images come across as easily understood, that can be the grace of the work. Excluding extraneous subject matter, I noticed that the scenes were more introspective than my previous photographs.
Though I do not anticipate audiences will fully understand them, perhaps some will walk away with a more intimate connection with their strangely familiar presence. The scenes are not representative of Florida or any other place. Rather, they are a closer look at the curious nature of the mundane.
My work deals with issues of identity and place, the relationship between the two and how memory plays an important role in how we remember home and who we were while we were there."
Chris Otten was raised in Western Oklahoma. His interest in photography grew after exploring back roads along the Llano Estacado in West Texas.
He received his Bachelor of Fine Arts from the University of Central Oklahoma in 2007 and a Master of Fine Arts from the University of South Florida in 2011.
He has exhibited nationally, including galleries in Annapolis, Long Beach, Minneapolis, Tampa and Wichita.
www.chrisottenphoto.net
CHARTER BUS by Chris Otten
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KITCHEN TABLE by Chris Otten
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PICHER OKLAHOMA SUPERFUND SITE 1 by Chuck Davis
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Chuck Davis says of his work, "Some of my earliest memories come from travelling.
I rode Route 66 before Interstates, and traversed the Lincoln Highway from church to church with an itinerate preacher, my grandfather.
My first commercial flight included walking up the aisle of a tail-dragger Douglas DC-3. Queen Mary II took me from Cherbourg to New York. And as an adult, I became a three million miler across several airlines.
Movement on the open road, by rail, sea, or by plane often signifies personal transition, not just transportation. In the “Mother Road” I sense the upheaval travelling causes, as motorists grow in numbers and when they recede.
The ghost towns along Route 66 attest to a full lifecycle of human travail.
In “Picher” Oklahoma, the devastation of lead poisoning followed by the forced relocation from one of the largest Superfund sites is observed in discarded objects and warning signs – Keep Out.
[Text Box: ‘Keep Out’ - a home about to be raised after the evacuation from zinc and lead mining town Picher OK.]
It was a much happier day when residents arrived to the promise of consistent work and favorable pay in a very remote area of eastern Oklahoma, on soil ceded to Quapaw and Miami Tribes.
In North by Southwest, I visually describe a journey with collaborating photographer Cleeo Wright and poet Keli Wright to Bisti and Bandelier, where early inhabitants travelling to the Southwest brought order to sand, stone and sparse vegetation.
In each of these series of images, I look for the signs, symbols, refuse, and remains of people who are in transition – travelling for well-being, self- actualization, and sometimes for escape."
www.ChuckDavisPhoto.com
I rode Route 66 before Interstates, and traversed the Lincoln Highway from church to church with an itinerate preacher, my grandfather.
My first commercial flight included walking up the aisle of a tail-dragger Douglas DC-3. Queen Mary II took me from Cherbourg to New York. And as an adult, I became a three million miler across several airlines.
Movement on the open road, by rail, sea, or by plane often signifies personal transition, not just transportation. In the “Mother Road” I sense the upheaval travelling causes, as motorists grow in numbers and when they recede.
The ghost towns along Route 66 attest to a full lifecycle of human travail.
In “Picher” Oklahoma, the devastation of lead poisoning followed by the forced relocation from one of the largest Superfund sites is observed in discarded objects and warning signs – Keep Out.
[Text Box: ‘Keep Out’ - a home about to be raised after the evacuation from zinc and lead mining town Picher OK.]
It was a much happier day when residents arrived to the promise of consistent work and favorable pay in a very remote area of eastern Oklahoma, on soil ceded to Quapaw and Miami Tribes.
In North by Southwest, I visually describe a journey with collaborating photographer Cleeo Wright and poet Keli Wright to Bisti and Bandelier, where early inhabitants travelling to the Southwest brought order to sand, stone and sparse vegetation.
In each of these series of images, I look for the signs, symbols, refuse, and remains of people who are in transition – travelling for well-being, self- actualization, and sometimes for escape."
www.ChuckDavisPhoto.com
PICHER OKLAHOMA SUPERFUND SITE 2 by Chuck Davis
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PICHER OKLAHOMA SUPERFUND SITE 3 by Chuck Davis
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ONE LAST SUNSET by Claire Mallett
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Claire Mallett was born and raised in England. After completing a degree in Journalism and Photojournalism at University in Bristol she moved to the sunnier climate of Los Angeles, California.
Photography has been an avid focus for her in the last six years. Working in analog and digital formats her joy and passion lie in creating timeless imagery that evoke bygone times.
Beauty and wonderment are strong themes in her work. In a day and age of high speed and the constant flux of our hyper-technical modern world she looks for stillness and comtemplativeness in her subjects. “To be still and look into the soul allows the inner beauty to shine through” That is the power of a photograph to her.
Claire has exhibited widely throughout the US, including Los Angeles, New York, Vermont, and New Orleans. She is a founding member of the Verge Photographers based out of Los Angeles.
www.clairemallettphotography.com
Photography has been an avid focus for her in the last six years. Working in analog and digital formats her joy and passion lie in creating timeless imagery that evoke bygone times.
Beauty and wonderment are strong themes in her work. In a day and age of high speed and the constant flux of our hyper-technical modern world she looks for stillness and comtemplativeness in her subjects. “To be still and look into the soul allows the inner beauty to shine through” That is the power of a photograph to her.
Claire has exhibited widely throughout the US, including Los Angeles, New York, Vermont, and New Orleans. She is a founding member of the Verge Photographers based out of Los Angeles.
www.clairemallettphotography.com
SIX FLAGS NOLA by Claire Mallett
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TEA FOR TWO by Claire Mallett
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49R by Dale Rio
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Dale Rio says of his work, "The thread that ties my work together – particularly that which I have created in the past few years – is the concept of “What Remains.” (Ironically, I recently chose to use that very title for this body of work.) My focus on what is left behind after the spirit of a person, place, or thing is gone reflects my concern with mortality, man’s relationship with the environment, and the future of our planet.
I have always found beauty in decaying objects, and although my prognosis regarding the future of humanity is somewhat bleak, I am able to find beauty in that bleakness. Whether it is the gold tooth in a skull, providing a glimpse of the person who once was, the light pouring through shattered windows, or nature reclaiming what is rightfully hers, my images offer a glimpse of what a post-anthropocene era might look like. And for me, that provides a glimmer of hope; if not for humanity then for the planet."
Education:
M.S. The George Washington University, Major: Crime Scene Investigation 2015
M.F.A. Pratt Institute, Major: Photography, Minor: Printmaking 1996
B.A. Smith College, Double Major: Studio Art/Russian Literature 1993
Solo Exhibitions"
A Glimpse Inside: Experiments with x-rays, Resource Exchange, Philadelphia 2016
Forgotten 66, Blackbird, Philadelphia 2012 - 2013
Work by Dale Rio, Joe Bar, Seattle 2009
Night & Day: Burlesque in the Workplace, Babeland, Seattle 2008
American Subculture, Strychnin Gallery, Berlin, Germany 2005
Awards:
Fulbright Travel Grant, “I Terroni: People of the Earth” 1997
Michael Vinciguerra Grant, “I Terroni: People of the Earth” 1997
Professional Experience:
Co-founder and Board President, The Halide Project 2015 - present
Photography Instructor, Philadelphia Photo Arts Center, Philadelphia Photo League, Photo Center Northwest, and private events and clients 2008 - present
Teaching Assistant, International Center of Photography 2007 - present
www.dalerio.com
www.thehalideproject.org
I have always found beauty in decaying objects, and although my prognosis regarding the future of humanity is somewhat bleak, I am able to find beauty in that bleakness. Whether it is the gold tooth in a skull, providing a glimpse of the person who once was, the light pouring through shattered windows, or nature reclaiming what is rightfully hers, my images offer a glimpse of what a post-anthropocene era might look like. And for me, that provides a glimmer of hope; if not for humanity then for the planet."
Education:
M.S. The George Washington University, Major: Crime Scene Investigation 2015
M.F.A. Pratt Institute, Major: Photography, Minor: Printmaking 1996
B.A. Smith College, Double Major: Studio Art/Russian Literature 1993
Solo Exhibitions"
A Glimpse Inside: Experiments with x-rays, Resource Exchange, Philadelphia 2016
Forgotten 66, Blackbird, Philadelphia 2012 - 2013
Work by Dale Rio, Joe Bar, Seattle 2009
Night & Day: Burlesque in the Workplace, Babeland, Seattle 2008
American Subculture, Strychnin Gallery, Berlin, Germany 2005
Awards:
Fulbright Travel Grant, “I Terroni: People of the Earth” 1997
Michael Vinciguerra Grant, “I Terroni: People of the Earth” 1997
Professional Experience:
Co-founder and Board President, The Halide Project 2015 - present
Photography Instructor, Philadelphia Photo Arts Center, Philadelphia Photo League, Photo Center Northwest, and private events and clients 2008 - present
Teaching Assistant, International Center of Photography 2007 - present
www.dalerio.com
www.thehalideproject.org
BUDD PLANT by Dale Rio
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GRILL by Dale Rio
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ABANDONED IV by David Quinn
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David Quinn says of his work, "These images are from a series examining the arrogance and futility of building a house in front of the sand dunes on a beautiful ocean beach. The forces of Nature won as the house was eventually abandoned as it stood within the high water mark. For years, it was an eyesore and served as a cautionary tale of the folly of such building practices.
Over the years, my interests have primarily centered on creating landscape and botanical images with an occasional venture into architectural and street photography. In many of my photographs I strive to evoke an emotion, raise an uncertainty or create a sense of movement either by isolating key elements or by blurring the subject matter."
Quinn's work has been exhibited in over 125 shows in 15 states and Spain and Turkey.
Awards:
Best in Show, Photography Center of Cape Cod, Trees, Online Exhibit, 2015
Chosen for “Best of the Best” Emerging Fine Arts Photographers, 2014 by BWGallerist
Best in Show, Long Island Arts Council at Freeport, 34th Juried Photography Show, 2014, Freeport, NY
Darkroom Gallery Master, Darkroom Gallery, 2014, Essex Junction, VT
Publications:
“What Remains 3”, F-Stop Magazine, ‘Where I Live”, October/November 2015, Issue No. 73
“What Remains 11” Still Point Arts Quarterly, Fall 2015, Issue No. 19
“Intimacy” portfolio, Shadow & Light Magazine, March/April 2015,Volume 1, Issue No. 4
“Long Ago”, The Sun, March 2015, Issue No. 471
“Nearly Done”, Still Point Arts Quarterly, Spring 2015, Issue No. 17
“Far Away”, The Photo Review, 2014, Volume 31, No. 1
“Reflections in a Stream”, Still Point Arts Quarterly, Fall 2014, Issue No.15
www.dquinnphotography.com
Over the years, my interests have primarily centered on creating landscape and botanical images with an occasional venture into architectural and street photography. In many of my photographs I strive to evoke an emotion, raise an uncertainty or create a sense of movement either by isolating key elements or by blurring the subject matter."
Quinn's work has been exhibited in over 125 shows in 15 states and Spain and Turkey.
Awards:
Best in Show, Photography Center of Cape Cod, Trees, Online Exhibit, 2015
Chosen for “Best of the Best” Emerging Fine Arts Photographers, 2014 by BWGallerist
Best in Show, Long Island Arts Council at Freeport, 34th Juried Photography Show, 2014, Freeport, NY
Darkroom Gallery Master, Darkroom Gallery, 2014, Essex Junction, VT
Publications:
“What Remains 3”, F-Stop Magazine, ‘Where I Live”, October/November 2015, Issue No. 73
“What Remains 11” Still Point Arts Quarterly, Fall 2015, Issue No. 19
“Intimacy” portfolio, Shadow & Light Magazine, March/April 2015,Volume 1, Issue No. 4
“Long Ago”, The Sun, March 2015, Issue No. 471
“Nearly Done”, Still Point Arts Quarterly, Spring 2015, Issue No. 17
“Far Away”, The Photo Review, 2014, Volume 31, No. 1
“Reflections in a Stream”, Still Point Arts Quarterly, Fall 2014, Issue No.15
www.dquinnphotography.com
ABANDONED V by David Quinn
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ABANDONED VI by David Quinn
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BODIE BED by Denise Taylor
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Denise Taylor says of her work, "I have been a photographer for over 20 years, first in analog and now in digital. My work has been in numerous publications and made into book covers, and my stock photography portfolio is currently represented by Getty Images.
In my personal work, I am drawn to things that have been abandoned and are in the process of decay. Things that once had value to someone, but are now discarded, their stories I want to discover through photography.
The images I am submitting today are a selection of my interests that pertain to the subject “What remains.” The rusted chair, abandoned in the Salton Sea, reminds me of loneliness and loss, to be emotionally abandoned. The cracked and rusted truck, covered in the patina of age, once useful and productive, now violently in ruins. And the Bodie Bed, part of my ongoing series on beds, photographed in the iconic Bodie State Historic Park using an infrared camera."
www.flickr.com/photos/denisetaylor
In my personal work, I am drawn to things that have been abandoned and are in the process of decay. Things that once had value to someone, but are now discarded, their stories I want to discover through photography.
The images I am submitting today are a selection of my interests that pertain to the subject “What remains.” The rusted chair, abandoned in the Salton Sea, reminds me of loneliness and loss, to be emotionally abandoned. The cracked and rusted truck, covered in the patina of age, once useful and productive, now violently in ruins. And the Bodie Bed, part of my ongoing series on beds, photographed in the iconic Bodie State Historic Park using an infrared camera."
www.flickr.com/photos/denisetaylor
CHAIR by Denise Taylor
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CRACKED AND RUSTED by Denise Taylor
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