Alicia Rodriguez Alvisa explores topics of identity, gender and race in art through photography, video-performance, and performance.

Her work investigates the actions that live in the liminal space between what is controllable and uncontrollable, enjoyable and unpleasant, funny and serious.  

Drawing from conceptualism, feminism, and body culture, she uses her own body to create narratives that examine human’s capability to cope with systems of power. 

These narratives speak to the importance of the cycle of growth, knowledge, physical and mental strength, that battle the constant struggle of the women, LGBTQ, and POC experience throughout their lives.

Drifting away from the sexual and sexualized femme fatale, she shares her experiences to contemplate histories of representation, inner battles, insecurities, and the acts to overcome them.

Alicia Rodriguez Alvisa is a Cuban visual artist currently based in Boston, MA.

Alicia received her BFA at The School of The Museum of Fine Arts at Tufts University on May 2018.

She is the recipient of the Springborn Fellowship and The Yousuf Karsh Prize in Photography in 2017.

Her photography work has been exhibited throughout the Boston area at AREA Gallery, Bromfield Gallery and three consecutive Medal Award Galas at the MFA, Boston; and internationally in Sanlang Art Dimension China, The Auckland Festival of Photography, New Zealand and in her home country Cuba as part of the Biennale of Havana in 2016. She has performed at the Museum of Fine Arts, Boston, MA, Gallery Kayafas Boston, MA and The University of Ohio.

Her on-going performances & public interventions include her series of performances I Can Look Strong, I am Strong, in which she becomes “Strong Arm”, a genderless bodybuilder who talks about issues of gender, identity, and race in the contemporary art world while lifting weights and wearing high heels.  

About the images:
 
Pulling is a series that depicts women, as a strong and powerful center. It represents women as a monument, breaking away from how we perceive the female body. An unsexualized depiction, that gives importance to a woman’s cycle of growth, knowledge, strength and struggle.
 
www.aliciarodriguezalvisa.com


 

Clay Burch says, "When approaching my photographic work, my mission is to capture a scene that is rarely, if ever, experienced by the viewer and present it in an approachable way.

I have succeeded if the viewer can relate to a scene or find beauty in situation that typically might not invoke thoughts of beauty.

I start with the fundamentals of photography: light, color, and composition. Often creating my own handmade lighting equipment and color gels, I strive to use atypical sources of light to paint a more dynamic and interesting image. Much of my photographic work revolves around the portrait as I am interested in the human experience; specifically the experience of the queer male and their place in society.

As a queer man who migrated to an urban environment, I seek to tell my own story through photography by referencing the stories of those who came before me and made my work possible."

Clay Burch, born in 1987 in Dallas, TX, is a New York City based artist specializing in digital photography. A graduate of Oklahoma City Univeristy’s BFA Acting program, he moved to NYC to pursue a career as a classical actor and found his creative voice in the camera.

He takes inspiration from literature, queer history and culture, and photography masters such as Sherman, Mapplethorpe, and DeSana.

His work has been seen at Midoma Gallery in New York City and Visual AIDS: Postcards from the Edge.

www.clayburch.com
www.clayburchphoto.com

Image: "Radio of Hypnotism 7078-2018. From a series entitled, 'Leaving No Broken Hearts' and inspired by Allen Ginsberg's 'Howl'. The series is an exploration of Ginsberg's original themes: sexuality, drug use, isolation, and American Capitalism, from a modern perspective. His controversial work resonates in today's socio-political climate and this series of photos seeks to expound and expand upon Ginsberg's narrative and highlight it's relevance in modern American society."

 

Image- "From a series entitled, 'Leaving No Broken Hearts' and inspired by Allen Ginsberg's 'Howl'. The series is an exploration of Ginsberg's original themes: sexuality, drug use, isolation, and American Capitalism, from a modern perspective. His controversial work resonates in today's socio-political climate and this series of photos seeks to expound and expand upon Ginsberg's narrative and highlight it's relevance in modern American society."

Image- "From a series entitled, 'Leaving No Broken Hearts' and inspired by Allen Ginsberg's 'Howl'. The series is an exploration of Ginsberg's original themes: sexuality, drug use, isolation, and American Capitalism, from a modern perspective. His controversial work resonates in today's socio-political climate and this series of photos seeks to expound and expand upon Ginsberg's narrative and highlight it's relevance in modern American society."

Daniel Munteanu says, "I believe portraiture can deal with more than the standard of the real world characters and faces.

Using intentional camera movement technique (ICM) and staged photography I wanted to depict fantasy characters out of a personal dream and give out the feeling of a surreal dream.

The portraits from the series have masks, props (wings, other implements) and clothes made in-house, by the photographer, and are staged in carefully picked natural spots or specific places to obtain different moods.

One of the defining things that place a photograph as being an artifact depicting a slice of reality, a copy of reality in a way, is the clarity of the lines and all the details that resemble the thing actually photographed. I wanted something different but sincerely straight from the camera.My goal was to photograph reality in a way that it no longer looks real, palpable, but more like we are made of mist, particles or light waves. A photograph that depicts reality in an unreal way."

BIO:

Visual artist skilled in many digital visual areas, specializing in fine art staged and studio photography, (Ikebana-like fantasy arrangements photographed with artificial lighting), creative photography and impressionist photography using ICM.

For the last five years working at the Transience impressionist project, travelling in different cities and natural settings in Europe, experimenting and shooting more than 80.000 images for this project alone, with the goal of turning photographed reality into fantastical paintings.

Previous experience in visual arts in the field of 3D computer graphics and landscape environments. In late years adding skills in music videos creation (filming, editing) and experimental short films, along with creative writing, voice-over and sound design.

Awards and honorable mentions at international photo competitions, such as IPA, International Color Awards, Prix de la Photographie Paris, MIFA, TIFA, Pollux Awards. In group exhibitions in America, England, Spain. Solo exhibitions in Romania and Japan.

CAREER HIGHLIGHTS:

CV's.Bronze in Fine Art/Abstract, Prix de la Photographie, Paris 2018
Bronze in Portfolio/Portfolio Fine Art at Moscow Foto Awards 2018
2 Honorable mentions at the Pollux Gala Awards, (fine art category & portrait)
2 Honorable mentions at Fine Art Photo Awards, 4th edition, 2018 (abstract, fine art)
5 Honorable mentions at Tokyo Photo Awards, 2018, (fine art book, other, abstract), 2018

PUBLICATIONS:

Photographize Magazine (online article, feature in magazine)
Circle Quarterly art review (sprint 2018 – online, print)
Conceptual Magazine (online)
Silvershotz MagazineDodho Magazine (online)2 works in the Biennial of Documentary & Fine Art Photography, Barcelona, 2018 (sparkle series)
4 works on digital panels, Reclaim Photo Festival, Wolverhampton Archive Centre and Dudley Archive Centre, 2018. 
The Portrait – group exhibition at Praxis Gallery, Minneapolis, 2017

https://www.moondash.net/

 

Daria Martinoni says, "As a geographer, I am interested in the interaction between people and space, and in the spatial impact and the space consumption of our urban way of life. In my photography, I deal playfully with the (apparent) conditions of the built urban environment and with our consumption of space. My work plays with our perception of space (and time).

For my photographs, I exploit the geometry of the built urban environment. I work with long shutter speeds and different zoom settings in one exposure. With this technique, I create an effect of reproduction and reiteration that allows me to reshape space by rearranging its elements into new layers. The thus created spaces, as well as the resulting interactions between the given or constructed space elements and the people and objects that move within them, are used to question our making of the world through experience and knowledge.

My work is grounded in pleasure, curiosity, and the wish to push my creative boundaries.

I am a non-professional Swiss Photographer. In 2002, I received a PhD in Science from the University of Zürich, Switzerland. I live ad works in Zürich."

www.dariamartinoni.com

Email:
daria.martinoni@gmx.ch

Image: The picture was made in Zürich, Switzerland. I noticed the eye-catching window-frames of the restaurant on the ground floor. Through reproduction and reiteration I visually multiplied them so as to occupy almost the entire street space, thus relegating the cars that usually own the street to the fringe.

 

The picture was made in Zürich, Switzerland, at the stairway to the University of Education. The picture plays with the word inscriptions on the steps. In contrast to the first picture (On the Street, in the Showcase), the effect of visual multiplication of spatial elements is much less obvious and it is almost impossible to clearly distinguish what is built and what is photographically constructed urban space.

The picture was made in Zürich, Switzerland, in a rapidly developing outer district. The picture symbolises the disappearance of the last urban green spaces, which are swallowed up by the real estate development.

HY•ST•ER•IA: Body as Battleground, 
Work in Progress, The term hysteria
comes from the Greek word hysterika, meaning Uterus. In ancient Greece it was believed that a wandering and discontented Uterus was blamed for that dreaded female ailment of excessive emotion, hysteria.

Hysteria and the Wandering Womb
www.academic.mu.edu/meissnerd/hysteria.html

Diane Fenster says, "Last year I was diagnosed with Stage 1 endometrial cancer and had to undergo a complete hysterectomy. I embarked upon this series in an attempt to fathom and artistically represent the emotional and physical changes that my body is going through. Every cell in my body holds the experiences of the soul and the flesh in time. Trauma is a constant remembering, whether I am aware of it or not. This body of work comes from an experience which still reverberates in my psyche.

The dress is the center stage upon which my drama unfolds and speaks to my sense of a lost femininity due to the loss of my womb. Symbols from a tarot card reading done prior to the procedure refer to my surgery and psychological response. Photographs of my body, medical procedures, and human conflict are some of the actors in my performance.

I use a variation on the antiquarian lumen printing process to obtain the images of the dresses. The original lumen process used plant material placed on photosensitive paper and exposed by the sun. For this work I place baby dresses onto black and white photo paper and place this outdoors to obtain the numinous haint-blue ghostlike images. I then combine these dresses with other photographic methods to obtain the final images.

Self taught photographer exhibiting since 1990. My art first received notice during the era of early experimentations with digital imaging. I view myself as an alchemist, using photographic and digital tools to delve into fundamental human issues. I am currently exploring several antiquarian processes including lumen printing and photo-encaustic. My work is literary and emotional, full of symbolism and multiple layers of meaning.

My images have appeared in numerous publications on digital art including the APERTURE monograph METAMORPHOSES: PHOTOGRAPHY IN THE ELECTRONIC AGE, WOMEN, ART AND TECHNOLOGY published by MIT press, ART IN THE DIGITAL AGE edited by Bruce Wands, School of Visual Art, NYC.

I have been a guest lecturer at many seminars and conferences, my work has been internationally exhibited and is part of museum, corporate and private collections. 
Exhibited in the 4th Biennale of Fine Art and Documentary Photography in Berlin, finalist in the Alternative Process category of the 9th Pollux Awards, a finalist in the Alternative Process and Portraits categories of the 7th Julia Margaret Cameron Awards, a finalist in the Alternative Process and Fine Art categories of the 8th Julia Margaret Cameron Awards, published in the DIFFUSION ANNUAL 2016. Finalist in both the Fine Art and Nude & Figure Categories of the Second Charles Dodson Awards. 

Recent exhibitions include EXPANDING BOUNDARIES, Los Angeles Center of Photography, FACES at SITE: Brooklyn, FotofFoto gallery’s 13th National Competition, Let There be Light and Shadow at the Umbrella Arts Gallery in New York, Photography as Response at The Center for Fine Art Photography, Intimate Portraits exhibit at the SE Center for Photography, The Essence of Monochrome International Photo Competition sponsored byThe Stockholm Diary and exhibited in Budapest, SohoPhoto Alternative Process exhibit at the SohoPhoto Gallery in New York and recently received an Honorable Mention in the LAPhotoCurator competition THE TANGIBLE PHOTOGRAPH juried by Blue Mitchell. One of 15 photographers included in the premiere issue of ALL ABOUT PHOTO magazine. Will be featured in an upcoming issue of OD REVIEW."

www.lensculture.com/diane-fenster
 

Curator Mary Dondero says, "Dear Ellen,
I chose your work as top photographic image because of the impact that it had on my viewing experience. The image made me stop, wonder, enjoy, imagine, and gain a sense of both joy and tragedy at once. I enjoyed the fact that there was great effort put into the set up of what could be considered a still life, but in fact it is a contemporary image that pushes the traditional boundaries of image making and viewers expectations.

Your choice to use what we might consider to be commonplace objects from our everyday lives creates pause in the viewing experience. I like the way that the lighting is not distracting making no effort to shape a mood or impose meaning on the objects. And of course these ordinary objects are not the subject matter at all! They offer the viewer the opportunity to project either their own joy or grief into the meaning of the work. It’s unclear if all viewers would be able to decipher the exact metaphors presented yet that is not important. Is the work archetypal, formal, semiotic, and/or biographical? Of course the answers are partly obvious and also unknown.

I feel as though the connotation is that the photographed objects have become replacements for individual “characters” in a possible narrative. The narrative is unclear yet the viewer is invited to pause and imagine, and that invitation is what the best artwork does.

Enjoying your work!"

Dondero asks, "How do you see the objects used in your imagery different or similar to the tradition of photo-montage, and different or similar than still life?"

Garvens says, "The work has elements of both photo-montage and traditional still life. Common to photo montage, elements in the images float or exist without gravity, but in my case being held in place by strings, tape or oil clay. They push against logic – like a photo-montage might, but exist only temporarily and are not altered outside of the camera.

 I do use objects that are typical of still lives – cut flowers, small tables, vases, etc., yet the work is not really about the meaning of these objects. It is more about their instability and lack of permanence or solidity in the scene."

Dondero says, "Do the objects you use in constructing your imagery have personal meaning or is the intrinsic meaning held in the complete image?"

Garvens says, "Yes, I suppose that the objects have some personal meaning, as I do gravitate to certain kinds of objects repeatedly, yet I think more importantly the objects I choose have a fragility and awkwardness I find appealing.  

The complete image, as in its composition, play with foreground and background space, etc., reinforces a kind of doubt about where things are. I am interested in images with an unsettling quality."

Dondero says, "Do you consider your photograph as the end product, or are your constructions meant to also survive as sculptures?"

Garvens says, "I love to have people come to my studio to see the work in progress – as I think the installations are fun to experience. However, the work is made to be photographed. A photograph can more effectively defy logic, hide any explanation, and has the ability to use depth of field and motion to create more ambiguousness."
Ellen Garvens says, "With this theme I am thinking about a favorite cousin and a close friend both in the throes of a degenerative brain disease. What a solitary experience to lose what the rest of us take for granted; the ability to verbally communicate, the ability to understand visual experience and space, the joy of mobility. Their spirit is well communicated – still a sense of humor and a twinkle in their eyes. In the face of loss, the beauty of playfulness is what these longtime friends continue to share. The work celebrates this irony and faith."
---------------------------------------------------

Ellen Garvens is a Professor of Art at the University of Washington in Seattle.  Garvens received a B.S. in Art at the University of Wisconsin and a MFA from the University of New Mexico.  

She has received a Fulbright–Hayes Individual Grant, National Endowment for the Arts Individual Fellowship Grant, and an Artist Trust /Washington State Fellowship.

The January 2009 Issue of "Contact Sheet," published by Light Work Galley in Syracuse, NY is dedicated to her work.

Her work is in the Collections of the University of New Mexico Fine Art Museum, Tacoma Art Museum, Museum of Fine Arts Houston, Allen Memorial Art Museum, Yale University Art Gallery and the Cornel Museum of Fine Art, Rollins College, FL.

Contact:    elgarv@uw.edu. 

www.ellengarvens.com

Georgia Schunk says of her series, 'Disappearing Act', "During my adolescence, I endured continuous sexual trauma.

This has severely impacted my memory: any past experience, whether it was pleasant or traumatic, can be hard for me to recall.

It's difficult to be a part of the world when my brain is working against me. Even though I'm an adult now, I still feel like a child. The more I look back at my past, the more distorted my memory gets. Moments feel liquid: like putty slipping through my hands. It's as if my life is disappearing before my eyes. I wonder if the dust will ever settle."

Georgia Schunk is an American photographer who works primarily with 120mm colour film and c-type printing. Her work concerns themes of memory, the body and family history.

www.georgiaschunk.com
 

"It’s not what you look at that matters; it’s what you see.     -- Henry David Thoreau 

Howard Rotblat-Walker says, "My work is inspired by an appreciation of abstract art, architecture, Italian design, the Japanese visual aesthetic, and work in other artistic media, both classical and contemporary.

My particular artistic interest is creating abstractions – including ones visualized in my imagination. The images I exhibit are primarily photographic abstractions that span years of looking, and seeing something different, unique, and visually compelling by using the interplay of forms, patterns, color, and texture."
 
HOWARD ROTBLAT-WALKER, a native of Chicago, moved to New England in the early 1970s. He has also lived and worked in Canada and did research for his Ph.D. in Iran.

As a frequent traveler who is drawn to explore and investigate, many of the imagesHoward has exhibited are from these experiences. Location, however, is less important than the visual qualities Howard seeks to capture. 

Howard’s photography is auto-didactic. His interest in photography as art began in the late 1960s, but has only been active in exhibiting his work since his retirement several years ago.

Howard holds degrees in Sociology from the Illinois Institute of Technology and the University of Chicago. As a graduate student he started pushing the capabilities of computer software applications.

Although he transitioned from film to digital image capture about seven-years ago, he had been digitizing his film for years before that. Digital image editing to create art is a continuation of his software expertise and is very much a part of what he creates. 
 
Howard is an artist member of Imago Gallery/Imago Foundation for the Arts, the Rhode Island Center for Photographic Arts, the Newport Art Museum, the Newport Photographers Guild, Art Night Bristol-Warren, the Wickford Art Association, the Bristol Art Museum, and the Attleboro Arts Museum.
 
CAREER HIGHLIGHTS:

THREE – A National Juried Exhibition, Attleboro Arts Museum 2018 
 Facing the Wall – An Open Juried National Exhibition, Art League of Rhode Island 2018 
Members' Exhibition, Attleboro Arts Museum 2017 (award) 
 Newport Annual Members' Juried Exhibition 2017, Newport Art Museum (award) 
 SOLO EXHIBIT, Community Gallery, Attleboro Arts Museum, January 2017 
 Members' Exhibition, Attleboro Arts Museum 2016 (award) 
 "Photography" Open Juried Show, Wickford Art Association 2016 (juried selection) 
 Abstract/Avant Garde Show, Wickford Art Association 2016 (juried selection) 
 Newport Photographers' Guild, Newport Art Museum 2016 (award) 
 Only Photography Juried Exhibit, Portsmouth Arts Guild 2016 (3 pieces, award) 
 "Patterns" - National Juried Exhibition, Attleboro Arts Museum 2016 
 "The Joy of Art ", Members Juried Exhibition, Bristol Art Museum 2016  
 Open Juried Photography Annual, South County Art Association 2016 (3 pieces, award) 
 "The Blues", Wickford Art Association 2016 (juried selection, 2 pieces) 
 Newport Annual Members' Juried Exhibition 2016, Newport Art Museum 
 Members' Exhibition, Attleboro Arts Museum 2015 (award) 
 Abstract/Avant Garde Show, Wickford Art Association 2015 (juried selection, 2 pieces; award) 
 Newport Photographers' Guild,  Newport Art Museum 2015 (award) 
 Members' Exhibit, Portsmouth Arts Guild 2015 (juried selection, 3 pieces; award) 
 Art Night Bristol-Warren, Featured Artist 2015 
 "Abstractions", Portsmouth Arts Guild 2015 (juried selection, 3 pieces; award) 
 4th All Media Juried Exhibition, Grimshaw-Gudewicz Art Gallery/BCC 2014 
 50 Years, Bristol Art Museum 2014 (juried selection)

hrwfineartphoto.com
 
hrwalker24b@gmail.com
 
 

Jo Ann Chaus is from and based in the New York area with a background in fashion, interested in color image making that is layered, provocative, ambiguous and psychological in nature. 

In 2017 she self-published a monograph, Sweetie & Hansom, a seven-year project exploring her relationship with her family of origin, 
the premature death of her younger brother, and the effect of that sudden loss.   

As a natural transition, she is currently editing a completed body of work to become a second monograph relating to identity as an individual and as a woman that looks at her relationships with herself, as a girl/child/adult, woman, wife and mother, and the demands and expectations imposed on women of her generation. 

The work is performative, drawing on relationships with women known and unknown, past and present.

Jo Ann is an alumni of two one-year Evening/Track programs at The International Center of Photography (ICP) in New York (2013 and 2017).  She continues to question the status quo in and around her as it relates to identity and relationships with herself and others. 
 
CAREER HIGHLIGHTS:

Education: 2013 and 2017, One Year Track programs ICP (International Center of Photography-NY)
Center Sant fe Portfolio Review, 2016
Self published Monograph, 2017, “Sweetie & Hansom”
Thirty + group shows
Lucie First Book Award Recognition

http://www.joannchaus.com
instagram:  joann chaus

Karen Hochman Brown says, "I grew up in Santa Barbara and spent many happy days at the beach. I was the kid who collected driftwood and shells. I would jump rope with the long pieces of sea kelp that were deposited on shore after stormy high tides. And I would spend hours playing in the surf.

As I travel, I am always inspired by the majesty of the ocean. The salt air draws me in and the hypnotic rhythms of the waves hook me. I take a more austere look at our oceans now. I see we have damaged this ecosystem. I also sense the raw power of storms that can decimate whole cities. 
Each of these otherworldly seascapes marries the raw power of the ocean with more ethereal, yet no less ominous cloud formations."

Karen Hochman Brown [American, b.1958] is a Los Angeles-based nature photographer using software to manipulate her images. Her work is sensitive to the inherent beauty of the subjects as she strives to magnify that quality through focus and repetition. The resulting geometric forms resonate in harmony and discord, creating unique energies.

She studied art at Pitzer College, California College of Art and Art Center College of Design, but self-developed her processes through experimentation, relying heavily on skills learned as a graphic designer. Inspirations include Georgia O’Keeffe, Piet Mondrian, Frank Stella and the Geometric Abstraction movement.

Hochman Brown's work has been shown mainly in California and New York. In addition to photographic art, she works in digital painting and animation techniques.

CAREER HIGHLIGHTS:

Special Projects:

 2017-18       Through the Eyes of Artists poster series, LA Metro, Los Angeles, CA 

Selected Solo Exhibitions:

2018   Botanic Geometry, Crain Art Gallery, San Marino, CA
Shoreline Symmetry, The Main Gallery, Santa Clarita, CA
Elementals, Museum of Art and History, Lancaster, CA       
Tidal Parity, California Center for Digital Art, Santa Ana, CA
Solo Show, Yuma Art Center, Yuma, AZ

2016   Reflections In The Garden, The Gallery at The Arboretum Library, Arcadia, CA
Alta/Pasa/Dena Open Studios Solo Show, Altadena, CA
Judaic Iterations, Pasadena Jewish Temple and Center, Pasadena, CA

Selected Group Exhibitions:

2018    Blue Roof Studios Arts Festival, Blue Roof Studios, Los Angeles, CA
PØST: Kamikaze - Let Me Eat Cake, PØST Gallery, Los Angeles, CA
Soft Bytes: a feminist and female identified animation festival, Association of Hysteric Curators, Tiger Strikes Asteroid Los Angeles Gallery, Los Angeles, CA
Abstraction, Art@The Six, Calabasas, CA­
2nd Annual Photographic Competition and Exhibition, LA ArtCore Brewery Annex, Los Angeles, CA

2017    Phenomena, Southern California Women’s Caucus for Art, Neutra Gallery, Los Angeles, CA
Off The Wall, Shoebox Projects, Los Angeles, CA
The Sunniest Place on Earth, Yuma Art Center, Yuma, AZ
Creactivaction, Art Landing Gallery, Inglewood , CA

2016    LACDA Top 40, Los Angeles Center for Digital Art, Los Angeles, CA
COLOR, Brooklyn Waterfront Artists Coalition, Brooklyn, NY
8th Annual 50|50 Show, Sanchez Art Center, Pacifica, CA

Artist-In-Residence:

2016   The Gallery at The Arboretum Library, Arcadia, CA
2018   Crowell Public Library, San Marino, CA

www.hochmanbrown.com
Contact info:
hochmanbrown@gmail.com
 

Kathryn Dunlevie says of her series, 'Detectives of Fiction & Women of Mystery', "Inspired by today’s hyper-abundance of visual information, I am treating imagery from disparate sources as transmutable raw material.

Intermixing my own photographs with elements from popular as well as historical sources conjures up unsettling entities and strange scenarios. 

Relics from our communal pictorial archive are commingled with contemporary images, tipped over, mashed up, and pushed back – creating jumps through space and time and echoing the startling juxtapositions of today’s visual culture. 

The characters that emerge from this process find themselves in locales ranging from ‘Siri Paiboun’s Bedroom’ in Laos to ‘The Garden of Sergeant Carlos Tejada’ in southern Spain - and in times ranging from WWI in ‘Escape From the Lab’ to the 1930’s in 'Marlowe’s Mistake’.
 
'Ostara’ and ‘Khidr’ harken back to religious figures from ancient eras, while ‘Dr. Who’s Girlfriend’ has arrived from outside of time. ‘Our Lady of the Harbor’ has escaped pre-disaster Pompeii on a mission to contemporary Los Angeles, while the denizen of ‘Tipping Point’ floats languidly in a Bedouin tent that has no floor, and apparently no gravity.

As diverse images converge and give rise to outlandish creatures and enigmatic settings, the ‘Women of Mystery’ lead the ‘Detectives of Fiction’ on a merry chase."

Kathryn Dunlevie is a photography-based artist whose work has been exhibited throughout the U.S. and internationally. Cathy Kimball, Executive Director of the San Jose Institute of Contemporary Art, writes of Dunlevie’s work:"Through brilliant compositional detail and manipulation, she creates disconcerting, surprising, inexplicable spaces and scenarios – swimming pools that have many points of entry, cloisters with multiple arched domes, streetscapes that elude mapmakers, and interior settings that are almost, but not quite, right."

Dunlevie has always been intrigued by spatial and temporal inconsistencies, and by each individual’s particular and shifting sense of reality. She fragments, reassembles and layers photographs to suggest the intrusion of alternate worlds. Her photographs of everyday images are transformed into compositions that hint at mysterious underlying structures and intangible extra dimensions.

Born on the east coast, Dunlevie lived in six different states by the time she was 12, and in Paraguay when she was 16. She has a B.A. in fine arts from Rice University, and studied art history and film at the University of Paris, painting at California College of the Arts, and photography in Madrid. She lives in Palo Alto.

Dunlevie has received numerous awards and fellowships, including two Arts Council Silicon Valley Artist Laureate Fellowships. Her work has been exhibited at FotoFest International since 2002, at the Pingyao International Photography Festival in China, at Studio Thomas Kellner in Germany, in the US Art in Embassies Program in Moscow and in Saatchi Arts’ Best of 2014.

Her work has been reviewed in Spain’s La Fotografia Actual, Korea’s photo + and  Germany’s Profifoto, as well as in The New York Times, Camerawork: A Journal of Photographic Arts, Photo Metro, Artweek, and Artlies.

CAREER HIGHLIGHTS:

Eight solo exhibitions at FotoFest International (Houston)(2002 - 2018)

Included in China's PingYao International Photography Festival (2017)

Included in Saatchi Art's "BEST of 2014"

Reviewed in Korea's Photo+ magazine, (2013)

Included in "Parallax Views", San Jose Institute of Contemporary Art, California (2013)

Included four times in Germany's  Photographers Network Selection (2006-2013)

Included the US Art in Embassies Program in Moscow (2012) 

Two time Arts Council Silicon Valley Artist Laureate Fellow with cash awards and solo exhibitions at the Triton Museum of Art, Santa Clara, California (2001 and 2005)

Included in "Fresh Work IV: Actualities", Southeast Museum of Photography, Florida (2004)

Included in "Timekeepers", San Francisco Camerawork, San Francisco, California (2000)


 www.kathryndunlevie.com

Contact: kathryn.dunlevie@gmail.com

 

Krista Svalbonas says, 'Displacement Statement',  "Ideas of home and dislocation have always been compelling to me as the child of immigrant parents who arrived in the United States as refugees.

Born in Latvia and Lithuania, my parents spent eight years after the end of World War II in displaced-person camps in Germany before they were allowed to emigrate to the United States. In this series, I set out to retrace and re-imagine that history.

My family’s displacement is part of a long history of uprooted peoples for whom the idea of “home” is undermined by political agendas beyond their control. My parents’ childhood homes were structures appropriated from other civilian and military uses to house thousands of postwar refugees.

They had always described this housing as temporary; I never expected to see these buildings myself. But after intensive archival research, I was able to locate, visit, and photograph many of the actual buildings on the sites of former DP camps in Germany.

Today, the buildings give no hint of the tumultuous lives of the postwar refugees, stuck in stateless limbo with no idea what the future held. To better understand and honor their struggles, I turned to archived copies of the plea letters the Baltic refugees sent to the governments of the United States, Canada, and the United Kingdom.

Page after page, they beg for food, bedding, and medical supplies, and attempt to explain the dire fate that would await them if they were repatriated to the Soviet Union.

I merge these painful accounts with the photographs through a process of burning, an echo of the traumas of war the refugees had endured. The words of the refugees now form the complete image. Eventually made entirely of lace-like text, the buildings grow fragile, inseparable from the precarious lives they housed.

A composite of my own experience and the fading memories of my parents and their generation, each of these layered pieces becomes a puzzle I am struggling to complete before this near-forgotten history is lost forever."

Krista Svalbonas ( b.1977, USA ) holds a BFA Photography (Syracuse University) and an MFA Interdisciplinary (SUNY New Paltz). Her work has been exhibited in a number of exhibitions including at the Utah Museum of Contemporary Art, Howard Yezerski Gallery in Boston, Klompching Gallery and ISE Cultural Foundation in New York.  Her work has been collected in a number of private collections, as well as the Cesis Art Museum in Latvia. Recent awards include the Rhonda Wilson Award (2017), Puffin Foundation Grant (2016) and a Bemis Fellowship (2015) among others. In 2015 Svalbonas exhibited a solo installation at the Spartanburg Art Museum in South Carolina. She is an assistant professor of photography at St. Joseph’s University. She lives and works in Philadelphia.


,

TO CONTINUE TO EXHIBITION #2 CLICK ON LINK:

EXHIBITION #2

http://nyphotocurator.com/regarding-the-symbolic-concerning-the-real-mary-dondero/exhibition-2/1

-----------------------------------------------------

HOME PAGE REGARDING THE SYMBOLIC, CONCERNING THE REAL

http://nyphotocurator.com/regarding-the-symbolic-concerning-the-real-mary-dondero


FIRST PLACE

http://nyphotocurator.com/regarding-the-symbolic-concerning-the-real-mary-dondero/first-place-ellen-garvens-you-wanted-chaos----/1


SECOND PLACE:

http://nyphotocurator.com/regarding-the-symbolic-concerning-the-real-mary-dondero/second-place-vincent-minor-begin-voyage----/1

HONORABLE MENTIONS:

http://nyphotocurator.com/regarding-the-symbolic-concerning-the-real-mary-dondero/honorable-mentions-alicia-rodriguez-alvisa-untitled-from-the-series-pulling-4-daniel-munteanu-lone-traveller-joann-chaus-eclips-leslie-sheryll-baby-iv-clay-burch-radio-of-hypnotism-7078-howard-rotblat-walker-selfie----/1


BEST SERIES:

http://nyphotocurator.com/regarding-the-symbolic-concerning-the-real-mary-dondero/best-series-olivia-hunter/1


EXHIBITION #1

http://nyphotocurator.com/regarding-the-symbolic-concerning-the-real-mary-dondero/exhibition-1/1