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EXHIBITION #2
N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
ALLEY FUSION by Janice Tieken
THIRD PLACE
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Janice Tieken says, "I graduated from Otis in 1974 when photography was 'not art' according to the dean of that day but I pursued it anyway along with other mediums. 

I was attracted to the camera for its ability to capture what purports to be reality but is illusion. Like a Zen conundrum something may be at once true and untrue.

My concern for this duality of perception – truth vs illusion – is revealed by reflecting images that may initially project a mood of tranquility and secondarily an edge of starkly real or surreal. The subjects may be living or dead, flora or fauna, fragments focused close up for an exaggerated intimacy, or simply the absurd as found in the juxtaposition of disparate elements.

Abstract realism might best describe the simplicity of composition that belies the complexity of the whole as discovered on closer inspection.  Every photograph incorporates a story, perhaps a mystery, drawn in part from the viewers’ experience in concert with mine.

The surreal elements mirror the reality of our lives as indecipherable.  Recent work pushes the notion that all is illusion, with indistinct figures and objects. One new body of work is based on reflection, literally and figuratively, as well as focusing through windows, melding the outside and inside.
A series of diptychs, triptychs and more, bring together places and times fancifully in the mode of quantum physics: that all things happen at once.

I have always thought of photographs, whether altered or as found, to be a form of painting.

www.janicetieken.com
 
www.lensculture.com/janicetieken-1
N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
ROUNDUP HARVEST by Janice Tieken
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N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
SO GOES THE CROW by Janice Tieken
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N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
CONNECTED by Jen Rose
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Jen Rose says, "Heavy and light hearted, I’ve always been an artist. I dabble in drawing, painting and styling, hold a license in cosmetology and more recently working in floral design.

My story began with a camera. At the age of 17 I started learning both digital and 35mm black and white film. Both a science and an art wrapped in one, this was the one medium that clicked the most for me. As much as I am creating something - it is already there. Photographs are a time and a place, and I am merely the observer.

As a student at New England School of Photography I knew I wanted to work with fashion. My camera took me all over New England and parts of New York, working with incredible teams. I received awards as well as U.S. and international publications, but not the kind of money to really get myself standing on my own two feet. So I decided to switch into a more stable position as a retoucher.

The pay was decent but after a couple years I found myself sitting in a gray cubicle wondering how my art career lead me there. So I left. I stayed up North, away from my family and the city, for a few months to clear my head and try to figure out what I wanted in life. I did some traveling out of the country and when I returned home I had to keep rolling. I stopped defining myself as a portrait or fashion photographer. I needed to work alone for a while.

I displayed a new body of landscapes and fine art work in quite a few group exhibits where I met some really inspiring people. After some personally difficult years I started collecting old wilted flowers.

It seemed crazy to a lot of people but it was an intuitive feeling that I followed. Nature has always been my biggest inspiration and I found peace in a flower. My floral collection pulled me out of the dark and manifested my life in a way I never saw coming. I’ve had many humbling and synchronistic experiences through my journey, but my job at a local flower shop has taken the cake. 13 years later, I see that I have only just begun. I’m working towards being a well rounded visual artist that has a clear understanding of my intention. Change is consistent and art is ritualistic. 

www.Jen-Rose.com
N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
SIERRA by Jen Rose
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N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
UPROOT by Jen Rose
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N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
ALONE WITH THE SWINGSET AND SWEET GUM BALLS by Jordan Davis Robles
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Jordan Davis Robles says, 'Series: The Nuclear Construct', "Most families have a box of photos or an album tucked away, kept to remember birthdays, holidays and the like.

More often than not, though the faces change, the events and the poses stay the same. Some are kept pristine and others are marked with creases and fingerprints, but what we think about and remember when we look at our own personal photos is what makes them different from everyone else’s.

When I look at my family photos, I see a family that tried to fit into the perfect 90 degree corners of images printed at a drugstore but like most we were far from that perfectly posed picture. I see the good memories: honey my grandfather dripped on the floor, an array of birthday cakes at my grandmother’s small kitchen table, and the matching dresses my sister and I wore every Easter.

However, I also see the painful memories, the ones that are outside of those glossy photo edges like the cancer and dementia that consumed both of my grandfathers, my grandmother as she conformed to being a wife, mother and the role of homemaker, and my own struggle with identity.

There are worlds of images we can only see through our thoughts and memories. My artwork delves into my own, bringing memory and reaction to the surface of generic family photos through alteration and addition of materials, as well as the creation of corresponding images that use color, metaphor and object to tell the stories of family and the pieces of them that were intentionally cropped out of the frame."

Jordan Davis is a photographer from North Carolina that is currently living in Boston, MA. She practices historic, alternative, and digital methods as part of her creative process. Her current work focuses on family dynamics, the ideal of home, and the uncertainty of change.

Career Highlights:

Focal Plane, No. 6: Suburban Domestic, Publication, 2018
LoosenArt  Memories 2018 Millepiani / Rome, Italy
DataSTEAM 2018 East Carolina University
LoosenArt  About Me 2018 Millepiani / Rome, Italy
Tiny Art Show- February 2018 Emerge Gallery / Greenville, NC
Just Breathe - October 2017 Greensboro Project Space / Greensboro, NC
Rebel 60 - October 2017 Emerge Gallery / Greenville, NC
ECU SOAD Undergraduate Show - October 2017 Gray Gallery / Greenville, NC
Hashtag Photography Magazine, The Women’s Issue - September 2017Eyes on Main Street 2017 - April 2017-July 2017 Nash Street / Wilson, NC

www.jordavis.com 
Instagram: @jordandavisrobles
 
N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
I PINNED MYSELF DOWN BEFORE ANYONE ELSE COULD by Jordan Davis Robles
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N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
NOW THEY'RE JUST PICTURES IN A LOCKET by Jordan Davis Robles
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N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
NOTES IN PASSING- ANTS WALLPAPER by Julie Mihaly
SECOND PLACE
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Curator Ellen Wallenstein says of 'Notes in Passing (Ants/Wallpaper), "A sophisticated pairing, two disparate images each seen from a different viewpoint that connects visually and viscerally. A very quirky pair."

Julie Mihaly says, "These images are from a project titled Notes in Passing, a visual record of places and things that most people would never notice, let alone record.

The images, taken with a tiny point-and-shoot camera and printed quite large, are of the everyday and mundane- undemanding little realities that might register peripherally, but are rarely granted head-on recognition and certainly not flat-out esteem.

Seeing these things, framing them in a way that satisfies a need for order, and then sharing them is an almost embarrassing delight. The joyful reverence behind their creation seems to translate into a sense of silence and solitude in the pictures, despite the fact that many of them were made on noisy city streets. But no matter what their locale, these notes gently, but firmly and consistently demand to be taken."

After earning a BFA and MFA from The San Francisco Art Institute, Julie Mihaly taught photography at Rutgers University, The Nova Scotia College of Art and Design, and New York’s School of Visual Arts after which she also turned her hand to photo editing and research.

She has worked for magazines ranging from Vanity Fair to Vogue, In Style to Entertainment Weekly, Garden Design to Billboard, et al. She has also contributed her skills to projects that include an Al Gore documentary and a book of images by Pulitzer-Prize-winning photographer, Eddie Adams. 

Mihaly has exhibited her photos throughout the U.S., in Canada and in England, and has had four books of her imagery published- She Began to Realize (funded in part by a grant from the National Endowment for the Arts), The View From Here, Radius: One Year Five Miles, and most recently, The Attic. Mihaly currently lives and works in Poughkeepsie, NY.

www.juliemihaly.com
N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
NOTES IN PASSING-RUBBERBANDS SWORDFISH by Julie Mihaly
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N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
NOTES IN PASSING-SNAKESAINT by Julie Mihaly
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N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
FEATHER by Kate Albright
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Kate Albright says, "I photograph to document people, places, color and texture, to capture the sights, sounds, and smells of an ordinary moment -- my son’s eyes squeezed in laughter as he lazes under a blanket or my daughter’s pensive gaze over breakfast, her spoon of oatmeal frozen while her thoughts run on. These photos urge me to hold on to the ordinary moments that my memory brushes aside."

Kate Albright was born in Philadelphia, PA. She developed an early relationship with the camera, documenting the world around her throughout childhood.

As a photojournalist in NJ, she continues to practice the art of documentary photography. Kate resides in Northern New Jersey with her husband and four children.

www.katealbrightphoto.net
N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
NIGHT WALK by Kate Albright
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N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
PIGEONS by Kate Albright
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N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
TRANSFORMATION by Kelsey Scharf
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Kelsey Ann Scharf says, "As an artist and former factory worker from Northwest Ohio, I spent my past three years in Athens,GA, searching for connections that reminded me of home.

The representation of “lived-in” spaces has always been an important factor in my work. For years, I have sought to capture the abandoned buildings that surrounded me. Oftentimes these buildings are demolished, wiping them from history and erasing any record of the lives associated with these spaces. I’ve witnessed this sad occurrence time and time again. Thus, I feel obligated to document these spaces and spend time with them because I may be their final witness. In the end, these buildings are torn down and replaced with a parking lot or the newest marketplace."

Kelsey Ann Scharf is an artist based out of Fremont, Ohio.  She recieved her BFA in Art Education at Bowling Green State University and her MFA at the University of Georgia. 

She currently works as an adjunct instructor for three different schools:  BGSU, OCC, and TU. Kelsey has a solo show at Tiffin University this March tentatively titled Urban Landscapes.

CV:

Exhibitions-

2019  Artlink, On Being: Realism and the BGSU School of Art Painting and Drawing Program (upcoming group exhibition), Fort Wayne, IN.
2019 Tiffin University, Industrial Landscapes (upcoming solo show), Tiffin, OH.
2019 IU Downtown Gallery, A Contemporary Drawing Exhibition, Kokomo, IN.
2018  Majestic Galleries, 2017 Majestic National Juried Competition, Nelsonville, OH.
2018  Era Contemporary, Summer Light, Cynywd Club, Philadelphia, PA.
2018     Georgia Museum of Art, MFA Thesis Show, Athens, Ga.
2018  The Oconee Cultural Arts Foundation, SOUTHWORKS 2018 Juried Art Exhibition, Watkinsville,  GA. (Juror: Faythe Levine)
2018  Trio Gallery, Trifecta 2017, Athens, GA. (Jurors: Tatiana Veneruso and Laulea Taylor)
2018  The Center for Fine Art Photography, LANDSCAPES 2018 EXHIBITION, Fort Collins, CO (Juror: Allie Haeusslein).
2018   Era Contemporary, Small Beauties, Cynywd Club, Philadelphia, PA and the Con Artist
Collective in New York City, NY.
2018  Lyndon House Arts Center, 43rd Juried Exhibition, Athens, GA.  (Juror: Wassan Al-Khudhairi)
2017  Georgia Southern, Show Swap 2017, Statesboro, GA.
2017  Willson Center for the Arts, UGA, Athens, GA.
2017  The Oconee Cultural Arts Foundation, SOUTHWORKS 2017 Juried Art Exhibition, Watkinsville,   
GA. (Juror: Nandini Makrandi)
2017     Georgia Southern University, Trifecta 2017, Atlanta, GA. (Juror: Ridley Howard)
2017     Lyndon House Arts Center, 42nd Juried Exhibition, Athens, GA.  (Juror: Susan Krane)
2016     Swan Coach House Gallery, Little Things Mean a Lot, Atlanta, GA.
2016     Madison Museum of Fine Art, Making Masters 2016, Madison, GA.
2016     Lyndon House Arts Center, 41st Juried Exhibition, Athens, GA.  (Juror: Jock Reynolds)
2015     Colored Pencil Society of America. Explore This! 12.  (Online exhibition)
2015     Ohio State Fair, Columbus, OH.  2015 Fine Arts Exhibition.  (Juror: Robert Peppers)
2014     Colored Pencil Magazine.  (Juried Exhibition in Print).  (Juror: Joseph Crone)
2014     Ohio State Fair, Columbus, OH.  2014 Fine Arts Exhibition.  (Juror: Tamara Peterson)
2014     Dorothy Uber Bryan Gallery, BGSU, Bowling Green, OH.  The 7th Annual
Northwest Ohio Open Summer Art Show.  (Juror: Lea Bult)
2014     ArtSpaceLima, Lima, OH.  Spring Show 2014.  (Jurors: Dennis Wojtkiewicz and Carol Griffith)
2014     Colored Pencil Society of America. Explore This! 10.  (Online exhibition)
2014     LeSo Art Gallery, Toledo, OH.  Overture III.  (Group show)
2013     Dorothy Uber Bryan Gallery, BGSU, Bowling Green, OH.  The 6th Annual
Northwest Ohio Open Summer Art Show.  (Juror: Sarah Aubrey)
2013     Ohio State Fair, Columbus, OH.  2013 Fine Arts Exhibition.  (Juror: Lou Krueger)
2013     Artomatic 419, Toledo, OH.
2013     Dorothy Uber Bryan Galley, BGSU, Bowling Green, OH. Bachelor of Fine Arts Show.
2013     LeSo Art Gallery, Toledo, OH.  Overture II.  (Group show)
2012     Toledo Museum of Art, Toledo, OH.  94th Annual Toledo Area Artists Exhibition.  (Jurors: Joe
Fig and Kate Nesin) 
2012    Findlay Art League, Findlay, OH.  2012 Juried Show.  (Juror: Mille Guldbeck)
2012     LeSo Art Gallery, Toledo, OH. Overture.  (Group show)
2012     Black Swamp Arts Festival, Bowling Green, Ohio.  (Group show) 
2011    Dorothy Uber Bryan Gallery, BGSU, Bowling Green, OH.   Undergraduate Show. 
2010    Terra Community College, Fremont, OH.  The Terra Art Show.  (Juror: Michael Reedy)
 
Honors and Awards-

2016     Honorable Mention, Lyndon House, Athens, GA.
2015     Graduate Assistantship, UGA, Athens, GA.       
2014     Third Place, Colored Pencil Magazine's 2014 Art Competition.
2014     Second Place Best of Show- Amateur Division, Ohio State Fair, Columbus, OH.
2013     Amateur Award and Honorable Mention, Ohio State Fair, Columbus, OH.
2013     BGSU Center for Undergraduate Research and Scholarship Grant. Bowling Green, OH.         
Research topics included the medium of egg tempera as means of historical and
contemporary practice.
2013     Inducted into the Athena Art Society with award, Toledo, OH.
2013     Medici Circle Purchase Award nomination, BGSU, Bowling Green, OH.
2013     BGSU College of Arts and Sciences Purchase Award, Bowling Green, OH.
2012     Merit Award, Findlay Art League, Findlay, OH.
2011     Honorable Mention, Dorothy Uber Bryan Gallery, BGSU, Bowling Green, OH.
2011     Charles Lakofsky Award, BGSU, Bowling Green, OH.  For the rising senior with the highest GPA in the  School of Art.
2011     James W. Strong Art Education Tuition Scholarship, BGSU, Bowling Green, OH. 
For academic achievement and leadership qualities.
2010     Best of Show and two second place awards, Terra Community College,
Fremont, OH.
 
Publications-

2014     Colored Pencil November 2012 Issue, Colored Pencil Magazine.
2014     2015 Calendar, Colored Pencil Magazine.
 
Private/Public Collections-

2013     BGSU College of Arts and Sciences.

http://scharfkartist.wixsite.com/kelseyscharf
N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
HOLES BY Kelsey Scharf
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N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
REFLECTION by Kelsey Scharf
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N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
15766 by Kevin Lyle
HONORABLE MENTION
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Kevin E Lyle says, "As long as I can remember, I've been curious about incidental objects and environments and their potential for a sort of
extraordinary/ordinary beauty. 

I find this quality in the work of photographer Eugene Atget, composer Erik Satie and singer-songwriter Woody Guthrie. These great artists are a constant source of inspiration.

My process is fueled by an innate hunter/gatherer impulse. Most of my 
images are collected within walking distance of my home on Chicago's 
north side. 

Contemplative wandering in the urban analog world, away from the preponderance of drama delivered digitally via television and the Internet, reveals evidence of real life - evidence of what may be, may have happened or may yet occur.

Sometimes mundane, sometimes 
oblique, askew or atypical. Mostly overlooked, until documented.

I also get a great deal of enjoyment and satisfaction out of combining 
and blending images with Photoshop.

Recent Exhibitions:

10/2018 - The Shape Of Things - Praxis Gallery - Honorable Mention
09/2018 - Still Life- Juror Kimberly Witham - PhotoPlace Gallery - Middlebury VT
07/2018 - Vicinity 2018 - Juror David Travis - Perspective Gallery, Evanston IL
06/2018 - Landscapes 2018 - Juror Allie Haeusslein - Center for Fine Art 
Photography, Ft Collins CO
05/2018 - Absences - LoosenArt - Millepiani Exhibition Space - Rome Italy
04/2018 - Patterns and Shadows - Juror Stephen Perloff - NYC4PA Jadite 
Gallery - New York NY
03/2018 - Myths, Legends and Dreams - Juror Amy Holmes George - 
PhotoPlace Gallery - Middlebury VT
02/2018 - Chair - Juror S Gayle Stevens - A Smith Gallery, Johnson City TX
01/2018 - Architectural Elements - Chicago Alliance of Visual Artists - 
Bridgeport Art Center, Chicago IL - Hon Mention
09/2017 - Filter Prime - Juror Kat Kiernan - Fogelson Studio, Chicago IL
03/2017 - Lens 2017 - Perspective Gallery - 1st Runner Up

www.kevinlylephotos.com
N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
14306 by Keven Lyle
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N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
14307 by Kevin Lyle
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N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
DREAMING BIRD EGGS by Laurinda Stockwell
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Laurinda Stockwell says,"I’ve been working on this series in fits and starts for almost 20 years but I consider it an on going project. It’s become a way of seeing as I collect objects specifically to photograph.

As I get older, time and memory have changed. I now sift through old letters, cards and collected objects to activate and encourage memory. My parents suffered severe memory loss before their recent deaths. That loss of memory was also a loss of who they were. Experience often defines who we are as well as who we will become."

Stockwell grew up on an Ohio pig farm roaming its 200 acres. Heavily influenced by this childhood environment as well as a family filled with artists, she makes artwork based upon the natural world. She received her BFA from Columbus College of Art and Design, where her father, Bernard Stockwell, was the Dean of Industrial Design and her grandmother, Mabel Wagner Stockwell, attended as a painter.

Laurinda Stockwell studied at Kenyon College before receiving her MFA from Tyler School of Art in Philadelphia. 
Stockwell exhibits nationally and internationally including exhibits in China, Japan and Russia as well as California, New Mexico, Florida and Colorado. She has exhibited extensively in the New York City area including one-person exhibits in museums and galleries.  Stockwell’s art is included in many private and public collections including New Jersey Transit, The State of New Mexico, The Columbus Museum, The Zimmerli Museum, AtlantiCare Hospital, and Rutgers University.  

Reviews include the New York Times. Awards include NJ State Fellowships, Yaddo Residency, Wurlitzer Residency, National Association of Women Artists in New York City, Ford Foundation, Fulbright Memorial Foundation grant in Japan, and a recent residency at No Boundaries International Art Colony on BH Island, NC.  

She lives and works in Santa Fe, New Mexico.

“Memory and history permeate the austere imagery of Laurinda Stockwell. Stockwell’s works are evocations of time. Her works record the natural world to create visual interpretations of the temporal world. A photographer who works with assemblage, she collects feathers, branches and natural history illustrations, juxtaposing the natural image with the second-hand, to make still-life photographs and assemblages with a subtle poignancy. Stockwell looks for significant objects, just as others search for significant form. She sees these assemblages as landscapes.

"There is no clearly understood narrative in Stockwell’s works. The analogies which she draws among objects within a piece are evocative and associative-not at all literal. In these assemblages, she has honed her vocabulary into a significant language that is once nostalgic and historical, yet very contemporary. The works suggest the spiritual and the precious yet look as if made with little deliberate labor. Stockwell achieves succinct poetic form in these works."
Alison Weld
New Jersey State Museum

www.laurindastockwell.artspan.com
N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
SLEEPINGOWL-SNOW by Laurinda Stockwell
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N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
WITHDRAWN-RIP by Laurinda Stockwell
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N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
EYES HAVE NO TONGUES-01 by Peter Brown Leighton
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Peter Brown Leighton says of his series, '
The Eyes Have No Tongue' that it's excerpted from Kakuzō Okakura’s The Book of Tea.

Pairing images has been a natural progression in my informal picture taking. I’m drawn to the idea of pairing images that separately might not garner a second glance but together communicate at some level in some way, whether as ironies or contradictions or in communion with one another.

I came of age in a small town situated on the buckle of the Bible Belt of Texas, leaving to study history at Trinity University in San Antonio, and, later,  in the 1970s, to train and work with photographer Tom Wright, a National Endowment for the Arts grant recipient.

As a person advancing in years now, I have lived the life I wanted though not the life I thought I would.

Along the way, photography has been a means to turn this anomaly into a language that makes sense to me. On occasion, the images I’ve taken and the stories they’ve told have made sense to others as well.

My work,  in one form or another, has since been mounted to favorable notice in solo and group exhibitions across the United States and in France and Korea, essayed in Black & White Magazine and Lenscratch, named a finalist in LensCulture’s Visual Storytellers competition, and has received mention in top ten lists in Portland and Austin.

www.pbleighton.com 
peter@pbleighton.com
N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
EYES HAVE NO TONGUES-02 by Peter Brown Leighton
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N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
EYES HAVE NO TONGUES-03 by Peter Brown Leighton
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N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
WITHIN A FOLDER-1 by Lilyana Karadjova
BEST SERIES
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Lilyana Karadjova says, "I am interested in photography as an in-between medium with a specific dual potential.

The photography links the real and the imaginary, the transparency and the surface, the metaphors about the window and the tunnel, finds meaning in itself in the definition about the near distance (the well-known definition of Walter Benjamin).

In my work I investigate this complex nature of the medium by deepening and transformation of the photographic specifics. The artistic interpretation of the photographic involves experiencing imaginable levels of an intricate reality in front of the lens.

As a historian of photography I am tempted to experiment with the material carrier, the chemical processes, the structure of the camera and the optical phenomena.

I like human freedom and imperfection which yield the classical and alternative processes, but I consider light as 
the primary and most important key that enables insight into the photographic.

I do not perceive the camera as a fixed finished instrument nor do I accept the photographic transparency as constant.

I can substantiate this perception with facts from the history of the technical development of the camera that led to changes in the device and the transparency.

The adaptation and modification of the technical devices is part of the photographic process which held the 
photographers' attention in the first sixty years after the invention of photography, and also in the present day, albeit with a more limited popularity. In the present time the photographic technical tools have a 
rich and artistically yet unstudied potential to transform reality into specific light expressions and become visual reflections on the essence of light."

Lilyana Karadjova is a Bulgarian photographer, art historian and 
philosopher. Her work investigates photography as an in-between medium 
linking the real and the imaginary, the transparency and the surface. 

The duel nature of photography is an object of study in numerous projects focused on the peculiarities of optical phenomena and the chemical processes.

Lilyana Karadjova lectures in MA programs in Photography and Art Therapy 
in the National Academy of Arts, Bulgaria, and in BA and MA programs in 
the New Bulgarian University on theory and history of photography, analysis of the photographic image, black-and-white photography, alternative photographic processes, photo art therapy.

Lilyana Karadjova is Doctor of Philosophy in Art History (2016, National 
Academy of Arts, Bulgaria), with doctoral thesis on Psychological concepts of imagination in art and photography. Her research interests are in the field of psychological approaches in the theory of 
photography. She is a visiting professor in the Abat Oliba CEU University, Barcelona. In the field of criticism she has worked as an art columnist in the national Novinar daily (2008-2016) and frequently 
contributed to various magazines such as L'Europeo, Art and Critique and 
the Kultura [Culture] newspaper.
Selected projects and solo exhibtions in photography: Postidentity 
(2010, Gallery “Academy”, Sofia), Dream Machine (2011, Museum Center of 
Modern History, Plovdiv), Dark Thoughts, Light Spots (2015, the fridge), 
Photographic Original and Art Practices (2017,2018, The Red House Centre 
for Culture and Debate), Film’s Not Dead (2018, The Red House Centre for 
Culture and Debate), Freedom Here-and-Now (2018-2019, Sofia Arsenal - 
Museum of Contemporary Art), Limits of the Photographic: Traces and 
Surfaces (2019, Gallery “Academy”, Sofia).

www.lilyanakaradjova.com
info@lilyanakaradjova.com
N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
WITHIN A FOLDER -2 by Lilyana Karadjova
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N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
WITHIN A FOLDER-3 by Lilyana Karadjova
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N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
PRINCESS GARDNER BOX by Linda Brooks
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Linda Brooks says, "My curiosity about the unknown narratives connected to family images and objects is what motivates me to continue several series of works relating to a larger project "lifecycles." While exploring how individuals’ lives intersected with others, popular culture, and lifestyle choices, I seek to discover the ambiguous personal histories and emotional realities left behind.

The larger “lifecycles” project is a progression of ideas that I have worked with for nearly four decades. Beginning in the 1980s, a series about the relationship between my grandmother and myself explored contrasts in our creative lives, and her role as a mentor in “it was the sound of the ocean.” The extended personal documentary, “between the birthdays,” used narratives and images to focus on contemporary family dynamics and dilemnas related to cultural issues. The “teens” project, began in the late 1990s, presented images of subjects using their own words to create a context in which they defined themselves.

For the last forty years I have been collecting material to construct a series of composites for the “lifecycles” project. Imagery and data incorporate history, personalized references, and remnants of intangible experiences that draw from an archive consisting of four generations of family images and objects.

An extension of the project, “lifecycles objects,” focuses more specifically on objects collected and created since the 1920s. These utilitarian objects, garments and materials, were made and used by women in my family at a time when it was more of a necessity. I am interested in the materiality of the objects collected, the creative process in making the objects, as well as the items that reference a lived experience.

The most current series of “objects” hint at lifestyle choices, famility priorities, and white, working class identity in post WWII North America. The series includes a vast collection of clothing bearing my father’s name. Also included are the numerous garments handmade by my mother for herself and others."

Linda Brooks has been working as an artist, teacher and/or parent in the Twin Cities for more than 40 years. Currently, she is a Hermitage Fellow for 2018-2019 and a recipient of a Minnesota State Arts Board Artist Initiative Grant. A monograph, PROXIMITIES: reflections on art, education, activism will be released in fall 2019.

Her photographs have been included in more than 80 group exhibitions at sites including Pier 24, San Francisco, Aperture, NYC, Santa Fe Center for Photography, NM, Hallwalls, Buffalo, NY and the 5th Vienna Biennale, Austria. Brooks has had solo exhibitions at more than a dozen venues including the International Museum of Photography and Film/George Eastman House, Rochester, NY, Walker Art Center, Minneapolis, MN, the Cultural Center, Chicago, IL, and the Sabes Jewish Community Center, MN.

She received artist fellowships from the National Endowment for the Arts, Minnesota State Arts Board and the McKnight Foundation. Her photographs are in the collections of the Bibliothèque Nationale de France, Minnesota Historical Society, International Museum of Photography and Film/George Eastman House, and The Brooklyn Museum. Her work is included in the
anthology Reframings: New American Feminist Photographies. Young Voices: photographs of/by girls/teens/women and the Jerome Hill Centennial Photography Exhibition 2005 are among the many shows Brooks has curated. Brooks received her BFA (1973) and MFA (1976) from the State University of New York at Buffalo. 

lbrooksphoto.com
lbrooksphoto@gmail.com
N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
RING PILLOW ENVELOPE BAG by Linda Brooks
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N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
TIN WITH BUTTONS by Linda Brooks
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N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
BOYS WILL BE BOYS by Lisa Bromwell
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Lisa Bromwell says, "Photography is not a simple reflection of the world. It is isolating one moment in order to better see how each moment relates to the world at large.  In the vast cacophony that makes up our surroundings, I look for that which is overlooked and try to highlight it. 

I am a film editor by profession - it is a collaborative and creative medium.  Photography is my outlet to be creative minus the collaboration.  From the brownie my wedding-photographer father gave to me at age 10 to the DSLR and iPhone I now prefer, photography is what I come back to when I want to escape into my own world."

Contact at bromwell.lisa@gmail.com
Follow on Instagram at la_l_i_s_a
N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
HEARING COLORS by Lisa Bromwell
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N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
WAITING by Lisa Bromwell
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N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
DRAGONFLY PERSPECTIVE by Malicious Sheep
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“Malicious Sheep is a differently-able multidisciplinary artist and photographer from rural Simcoe County, ON, Canada.

The artist is self-taught in many mediums including, but not limited to drawing, painting, sculpture, fibre, mixed media, performance, assemblage of found objects, digital and time-based art.
 
Malicious Sheep has developed motor and mobility issues in recent years and had transitioned primarily to photography as it is the most accessible medium the artist can use at this time.
 
The artist's mobility issues necessitates the repeated examination and photographic documentation of wildlife within a half-acre property over time. Themes of study include; growth and decay, isolation, worth, as well as patterns and cycles in nature relevant to biomimetics.
 
Being descendant from craftspersons, clockmakers, ship builders, soldiers and scientists, Malicious Sheep draws from the skills and lessons of these professions and reflects them into artistic expression.”
 
Career Highlights:
 
- 2018 Group Exhibition, "Next Wave '18 - Gallery Exhibition Aboard The Northern Spirit Cruise Ship", Harbourfront/Lake Ontario, Toronto ON
- 2013 Group Exhibition, "Contact", 299 Gallery, Augusta Avenue at Kensington Market, Toronto ON
- 2013 Curatorial Project and Group Exhibition, "The Green Art Project Art Gallery", 299 Gallery, Augusta Avenue at Kensington Market, Toronto ON

https://malicioussheep.portfoliobox.net/
https://www.instagram.com/malicioussheep56/
 
Image-  Dragonfly Perspective 
“After a light summer rain, I was able to capture mirrored images of this Red Meadowhawk Dragonfly perched on Queen Anne's Lace as it dried its wings. It was important to maintain the continuity of the palette within the subject matter and the blended tones in the background. I wanted to capture the droplets illuminated on the wings and frame the image with the Queen Anne's Lace stem.”
 
N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
MINIATURE LANDSCAPE by Malicious Sheep
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Miniature Landscape -
“I've always tried to capture tiny worlds often overlooked, and was happy with the symmetry of these two images. The image on the left reminded me of a rocky hillside with wildflowers blowing and a tree emerging from the horizon. It is actually a close up macro image of the bark and young branch of an old Manitoba Maple covered in delicate moss. The image on the right reminded me of a cow grazing on a farm field. It is actually a beetle grazing on the pollen and nectar of a Queen Anne's Lace flower. The bowed shape in the center was pleasing in its symmetry, as well as the high contrast inverted colours of the foregrounds and backgrounds.”
N.Y. Photo Curator: Global Photography Awards- 'Where Photography & Philanthropy Meet' EXHIBITION #2 (Click on image for larger view)
WHITE BREASTED NUTHATCH by Malicious Sheep
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Image: White Breasted Nuthatch -
“These photos were captured about 8 hours apart; the photo on the left taken early in the morning, and the photo on the left taken mid-afternoon. I observed the difference in the way the snow is illuminated in the background and decided to play with the balance between the light and shadow to see what textures would emerge. I was aware of this spot on the tree as a prominent shouting post for several Nuthatches, and was happy to find them on the day I photographed.”


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