MONSTERS- ANNE EDER > Exhibition #1
Exhibition #1
SEASIDE DINO by Amy Becker
First Place
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First Place
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Review by curator Anne Eder:
"In first place is Amy Becker's Seaside Dino, selected for its contextualizing of the monster in the mundane with empathy and gentle humor.
Seaside Dino is quietly affectionate, and deceptively commonplace, but this juxtaposition of the monstrous with the ordinary is exactly why I chose it.
The ubiquity of monsters is such that they go almost unnoticed---we are used to them being present, we take them for granted. They appear in advertising and in all sorts of media from books to movies to video games. Living in the open, out of the shadows, as in this image, they are at once both strange and familiar.
This image taps into my own fondness for photographs of a vernacular sort that display a suburban ownership and domestication of the monstrous, and though the expression on the dinosaur’s face is fierce, there is also something quite vulnerable about this prehistoric giant. It is unclear if the creature caused the destruction pictured, or was simply left behind with the detritus of an environment built and forsaken in the larger cycle of trends and fashion, in vogue for a moment and then forgotten.
I feel sympathy for the creature whose time and purpose seems to have passed, who might, perhaps, even be lonely. Empathy with the monster is a primary function of the monstrous; it is through empathy that we gain access to our own darkness, fears, rage, fragility, and in this case, eventual extinction or death.
In looking at this image, I feel the genuine affection of the photographer for the creature and for its familiar surroundings, and this tenderness serves to underpin and give depth to the notion of MONSTER.
Question for Amy: "Your submissions tapped into a genre that I find iresistable on a number of levels, but the juxtaposition of decay, suburbia, and fantasy can easily cross the line into cliché or simple nostalgia. How will you deal with that particular danger as you move forward with this series?"
Amy Becker, "Thank you so much for selecting Seaside Dino for first place. I’m truly honored.
I read your interesting and somewhat layered question a number of times before and during composing my response. I carefully noted you referenced all three of my submitted images. They were all captured at urban or seasonal beach town boardwalk amusement parks during peak summer weekends. Rooted in a boardwalk amusement park experience is a strong element of fantasy, a quality each image shares.
Specifically, Seaside Dino is part of an ongoing project of the Seaside Heights, New Jersey boardwalk I’ve been working on since 2007. Seaside Dino is among the images that depict Hurricane Sandy’s impact on the resort community’s beach and boardwalk amusement area.
Given Seaside Heights’ historic and somewhat visceral connection to living in New Jersey, the issue of nostalgia may arise.
Having said that, nostalgia is among the sentiments that might emerge when an implied or explicit “before” and “after” dialectic appears in my work. My three “monster” images fit that profile. However, the works’ immediate visual and psychological contrasts lend itself to multiple perspectives, and not solely an emotionally-driven one such as a yearning for something long gone.
I don’t consider evoking nostalgia as an intent of this project, whether my images show urban fantasyland “monsters” or creatures from the black lagoons of remote wildlife preserves.
These are simply contexts in which respect for the subject leads to the possibility of depicting its truth. That approach mitigates an embrace of cliché, propels my own artistic journey, and hopefully encourages viewers to expand their appreciation of wonder."
Amy Becker shares a bit more about her work, "My work explores what we see and how random everyday objects interact by chance and juxtapose with their surroundings.
I’m particularly interested in carnivals, state fairs, and boardwalk amusement parks. Their oddities and funk, colorful rides, shifting lights, mixed aromas, diversity of people, and cacophonous sounds of barkers, screamers, and laughter enchant me year after year.
In contrast to brand-driven entertainment, I see these venues as dream landscapes where everyone implicitly rejects a hermetic approach to fun. I try to make pictures that celebrate the spirit of this world, embracing its uninhibited atmosphere, accidental humor, unspoken visual stories, and found beauty.
In keeping with that spirit, the images submitted here depict scenes where make-believe monstrous creatures lurk in plain sight."
Amy Becker is a New Jersey-based photographer. Her work has appeared in nationally recognized fine art photography galleries and exhibitions around the country, including Center for Fine Art Photography in Colorado, SoHo Photo in New York City, Houston Center of Photography, and Chicago’s Filter Photo Festival.
Additionally, her work has been included in exhibitions in Philadelphia, Minneapolis, Providence, Vermont, and Oregon, as well as regional museums and educational institutions.
Ms. Becker is trained in both traditional and digital photography. Her formal background includes coursework at the International Center of Photography, as well as numerous workshops. A graduate of Boston University’s School of Communications, she enjoyed a career as an advertising copywriter before becoming a photographer.
CV:
SELECTED GROUP EXHIBITIONS
2018
■ Photography: A Facility for Photogenia, Alfa Art Gallery, New Brunswick, NJ. First Place Award. Juror: Andrew Darlow
■ What's Next?, Pro Arts, The Gallery Space, Rahway, NJ. Curators: Mollie Thonneson and Deirdre Kennedy
2017
■ 4th Open Call Exhibition, Providence Center for Photographic Arts, Providence, RI. Juror: Julie Grahame
■ Word Play, Therese A. Maloney Art Gallery, College of Saint Elizabeth, Morristown, NJ. Curator: Virginia Fabbri Butera, Ph.D
■ New Jersey & You—Perfect Together!, Village West Gallery, Jersey City, NJ. Juror: Robinson Holloway
■ Third Annual Group Show, Davis Orton Gallery, Hudson, NY. Juror: Paula Tognarelli
■ Soho Photo National Competition, Soho Photo Gallery, New York, NY. Juror: Aline Smithson
■ Curators Choice Show, Pro Arts, Casa Columbo Gallery, Jersey City, NJ. Selected by Evonne Davis, exhibition curated by Midori Yoshimoto
■ TPS 26: The International Competition, Texas Photographic Society. Exhibitions at Stark Galleries, Texas A&M University, College Station, TX; Center for Contemporary Arts, Abilene, TX; Options Gallery, Odessa College, Odessa, TX. Juror: Alison Nordström
■ Portrait: Mirror, Mirror, online exhibition, Black Box Gallery, Portland, OR. Juror: Amy Arbus
PRINT & WEB PUBLICATIONS
■ Love, YourDailyPhotograph.com, by Duncan Miller Gallery, April 30, 2015
■ Signage, YourDailyPhotograph.com, by Duncan Miller Gallery, July 13, 2015
■ Street Photography, YourDailyPhotograph.com, by Duncan Miller Gallery, December 19, 2014, Guest Curator: Bruce Gilden
■ Houston Center for Photography Members Exhibition, by Aline Smithson, lenscratch.com, July 19, 2014
■ Building A Mystery!, by Elin Spring, elinspringphotography.com/blog, October 7, 2014
■ Modern technology gives everyone a shot in Perkins photo exhibit, by Fred B. Adelson, Courier-Post, February 16, 2014
■ Perkins hosts a show worth toasting, by Sally Freidman, Courier-Post, February 21, 2010
■ New Jersey Arts Annual: Local Arts, Exhibition Catalog, Morris Museum, Morristown, NJ, 2010
AWARDS
■ Photography: A Facility for Photogenia, Alfa Art Gallery, New Brunswick, NJ. First Place Award. Juror: Andrew Darlow. 2018
■ Photography 33, Group Exhibit, Juror’s Award, Perkins Center for the Arts, Moorestown, NJ. Juror: Peter Barberie. 2014
■ Thirteenth Annual Gaelen Juried Art Show, Best in Photography Award, The Gaelen Galleries, JCC, Whippany, NJ. Jurors: Marjorie Frankel Nathanson, Andy Foster, Mimi Weinberg. 2012
www.amybecker.com
"In first place is Amy Becker's Seaside Dino, selected for its contextualizing of the monster in the mundane with empathy and gentle humor.
Seaside Dino is quietly affectionate, and deceptively commonplace, but this juxtaposition of the monstrous with the ordinary is exactly why I chose it.
The ubiquity of monsters is such that they go almost unnoticed---we are used to them being present, we take them for granted. They appear in advertising and in all sorts of media from books to movies to video games. Living in the open, out of the shadows, as in this image, they are at once both strange and familiar.
This image taps into my own fondness for photographs of a vernacular sort that display a suburban ownership and domestication of the monstrous, and though the expression on the dinosaur’s face is fierce, there is also something quite vulnerable about this prehistoric giant. It is unclear if the creature caused the destruction pictured, or was simply left behind with the detritus of an environment built and forsaken in the larger cycle of trends and fashion, in vogue for a moment and then forgotten.
I feel sympathy for the creature whose time and purpose seems to have passed, who might, perhaps, even be lonely. Empathy with the monster is a primary function of the monstrous; it is through empathy that we gain access to our own darkness, fears, rage, fragility, and in this case, eventual extinction or death.
In looking at this image, I feel the genuine affection of the photographer for the creature and for its familiar surroundings, and this tenderness serves to underpin and give depth to the notion of MONSTER.
Question for Amy: "Your submissions tapped into a genre that I find iresistable on a number of levels, but the juxtaposition of decay, suburbia, and fantasy can easily cross the line into cliché or simple nostalgia. How will you deal with that particular danger as you move forward with this series?"
Amy Becker, "Thank you so much for selecting Seaside Dino for first place. I’m truly honored.
I read your interesting and somewhat layered question a number of times before and during composing my response. I carefully noted you referenced all three of my submitted images. They were all captured at urban or seasonal beach town boardwalk amusement parks during peak summer weekends. Rooted in a boardwalk amusement park experience is a strong element of fantasy, a quality each image shares.
Specifically, Seaside Dino is part of an ongoing project of the Seaside Heights, New Jersey boardwalk I’ve been working on since 2007. Seaside Dino is among the images that depict Hurricane Sandy’s impact on the resort community’s beach and boardwalk amusement area.
Given Seaside Heights’ historic and somewhat visceral connection to living in New Jersey, the issue of nostalgia may arise.
Having said that, nostalgia is among the sentiments that might emerge when an implied or explicit “before” and “after” dialectic appears in my work. My three “monster” images fit that profile. However, the works’ immediate visual and psychological contrasts lend itself to multiple perspectives, and not solely an emotionally-driven one such as a yearning for something long gone.
I don’t consider evoking nostalgia as an intent of this project, whether my images show urban fantasyland “monsters” or creatures from the black lagoons of remote wildlife preserves.
These are simply contexts in which respect for the subject leads to the possibility of depicting its truth. That approach mitigates an embrace of cliché, propels my own artistic journey, and hopefully encourages viewers to expand their appreciation of wonder."
Amy Becker shares a bit more about her work, "My work explores what we see and how random everyday objects interact by chance and juxtapose with their surroundings.
I’m particularly interested in carnivals, state fairs, and boardwalk amusement parks. Their oddities and funk, colorful rides, shifting lights, mixed aromas, diversity of people, and cacophonous sounds of barkers, screamers, and laughter enchant me year after year.
In contrast to brand-driven entertainment, I see these venues as dream landscapes where everyone implicitly rejects a hermetic approach to fun. I try to make pictures that celebrate the spirit of this world, embracing its uninhibited atmosphere, accidental humor, unspoken visual stories, and found beauty.
In keeping with that spirit, the images submitted here depict scenes where make-believe monstrous creatures lurk in plain sight."
Amy Becker is a New Jersey-based photographer. Her work has appeared in nationally recognized fine art photography galleries and exhibitions around the country, including Center for Fine Art Photography in Colorado, SoHo Photo in New York City, Houston Center of Photography, and Chicago’s Filter Photo Festival.
Additionally, her work has been included in exhibitions in Philadelphia, Minneapolis, Providence, Vermont, and Oregon, as well as regional museums and educational institutions.
Ms. Becker is trained in both traditional and digital photography. Her formal background includes coursework at the International Center of Photography, as well as numerous workshops. A graduate of Boston University’s School of Communications, she enjoyed a career as an advertising copywriter before becoming a photographer.
CV:
SELECTED GROUP EXHIBITIONS
2018
■ Photography: A Facility for Photogenia, Alfa Art Gallery, New Brunswick, NJ. First Place Award. Juror: Andrew Darlow
■ What's Next?, Pro Arts, The Gallery Space, Rahway, NJ. Curators: Mollie Thonneson and Deirdre Kennedy
2017
■ 4th Open Call Exhibition, Providence Center for Photographic Arts, Providence, RI. Juror: Julie Grahame
■ Word Play, Therese A. Maloney Art Gallery, College of Saint Elizabeth, Morristown, NJ. Curator: Virginia Fabbri Butera, Ph.D
■ New Jersey & You—Perfect Together!, Village West Gallery, Jersey City, NJ. Juror: Robinson Holloway
■ Third Annual Group Show, Davis Orton Gallery, Hudson, NY. Juror: Paula Tognarelli
■ Soho Photo National Competition, Soho Photo Gallery, New York, NY. Juror: Aline Smithson
■ Curators Choice Show, Pro Arts, Casa Columbo Gallery, Jersey City, NJ. Selected by Evonne Davis, exhibition curated by Midori Yoshimoto
■ TPS 26: The International Competition, Texas Photographic Society. Exhibitions at Stark Galleries, Texas A&M University, College Station, TX; Center for Contemporary Arts, Abilene, TX; Options Gallery, Odessa College, Odessa, TX. Juror: Alison Nordström
■ Portrait: Mirror, Mirror, online exhibition, Black Box Gallery, Portland, OR. Juror: Amy Arbus
PRINT & WEB PUBLICATIONS
■ Love, YourDailyPhotograph.com, by Duncan Miller Gallery, April 30, 2015
■ Signage, YourDailyPhotograph.com, by Duncan Miller Gallery, July 13, 2015
■ Street Photography, YourDailyPhotograph.com, by Duncan Miller Gallery, December 19, 2014, Guest Curator: Bruce Gilden
■ Houston Center for Photography Members Exhibition, by Aline Smithson, lenscratch.com, July 19, 2014
■ Building A Mystery!, by Elin Spring, elinspringphotography.com/blog, October 7, 2014
■ Modern technology gives everyone a shot in Perkins photo exhibit, by Fred B. Adelson, Courier-Post, February 16, 2014
■ Perkins hosts a show worth toasting, by Sally Freidman, Courier-Post, February 21, 2010
■ New Jersey Arts Annual: Local Arts, Exhibition Catalog, Morris Museum, Morristown, NJ, 2010
AWARDS
■ Photography: A Facility for Photogenia, Alfa Art Gallery, New Brunswick, NJ. First Place Award. Juror: Andrew Darlow. 2018
■ Photography 33, Group Exhibit, Juror’s Award, Perkins Center for the Arts, Moorestown, NJ. Juror: Peter Barberie. 2014
■ Thirteenth Annual Gaelen Juried Art Show, Best in Photography Award, The Gaelen Galleries, JCC, Whippany, NJ. Jurors: Marjorie Frankel Nathanson, Andy Foster, Mimi Weinberg. 2012
www.amybecker.com
CYCLONE by Amy Becker
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VIKING by Amy Becker
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BEGINNING by Andrew Ortiz
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Andrew Ortiz says, "The images here are examples from a body of work titled Measured Disorder. It is a highly personal narrative of my struggles with seizure disorders. Oftentimes, I visualize seizures as something monstrous inside me that I struggle to contain. Dark in both emotional content and physical appearance, the images are computer manipulated collages of original digital photographs and scanned items that seek to express the intense psychological impact of dealing with a physical challenge.
On the other hand, to many people, I am the monster, since there is a lot of fear associated with being different in some way. So, my relationship to the idea of what is monstrous is very complicated. In fact, I had lived with epilepsy for more than thirty years before I was able to begin a body of work about it.
A review of a recent gallery exhibition of this work referred to them as self-portraits, which is partially true since many include my face or body. However, they are also meant to express a process and an experience – what it’s like having seizures as well as the medical “measuring” one undergoes on an ongoing basis. Sometimes disembodied, sometimes clinical, sometimes mystical, the images in the series attempt to communicate my varied experiences with epilepsy and ‘otherness.’ I hope viewers are intrigued by these glimpses into my world and recognize themselves and their own struggles in some of them. Instead of fearing the monster, perhaps we can empathize with it as well."
Andrew Ortiz was born in Los Angeles, California and has been a resident of Arlington, Texas since 1997 when he began his teaching career with the Art & Art History Department of UT Arlington. In 2004 he earned tenure and was promoted to associate professor. He currently teaches photography and digital imaging to undergraduate and graduate students at the university.
Andrew received his Master of Arts degree in photography from Humboldt State University in California in 1992, followed in 1995 by a Master of Fine Arts degree in visual studies from SUNY Brockport’s Visual Studies Workshop in Rochester, NY.
From documentary photography that presented “found moments” or broad snapshots of urban society, his work has transitioned into computer manipulation of imagery used to explore personal narratives about ethnicity and identity through large scale digital collages.
Over the past twenty years his work has been featured nationally and internationally in over one hundred and twenty exhibitions. He is the recipient of many awards including the “New Photography Award” from En Foco in New York City, first prize in the Gordon Parks Competition, several juror’s awards from competitive exhibitions throughout the country, including the “Best of Show Award” from the prestigious Art in the Metroplex exhibition hosted by TCU in Ft. Worth, and a grand prize for faculty portfolio from the Photo Imaging Education Association.
Andrew also exhibited work in the 2013 San Francisco, International Photography Exhibition. Ortiz was a Gold Finalist and 3rd place award winner.
Contact Info:
Email: ortiz@uta.edu
On the other hand, to many people, I am the monster, since there is a lot of fear associated with being different in some way. So, my relationship to the idea of what is monstrous is very complicated. In fact, I had lived with epilepsy for more than thirty years before I was able to begin a body of work about it.
A review of a recent gallery exhibition of this work referred to them as self-portraits, which is partially true since many include my face or body. However, they are also meant to express a process and an experience – what it’s like having seizures as well as the medical “measuring” one undergoes on an ongoing basis. Sometimes disembodied, sometimes clinical, sometimes mystical, the images in the series attempt to communicate my varied experiences with epilepsy and ‘otherness.’ I hope viewers are intrigued by these glimpses into my world and recognize themselves and their own struggles in some of them. Instead of fearing the monster, perhaps we can empathize with it as well."
Andrew Ortiz was born in Los Angeles, California and has been a resident of Arlington, Texas since 1997 when he began his teaching career with the Art & Art History Department of UT Arlington. In 2004 he earned tenure and was promoted to associate professor. He currently teaches photography and digital imaging to undergraduate and graduate students at the university.
Andrew received his Master of Arts degree in photography from Humboldt State University in California in 1992, followed in 1995 by a Master of Fine Arts degree in visual studies from SUNY Brockport’s Visual Studies Workshop in Rochester, NY.
From documentary photography that presented “found moments” or broad snapshots of urban society, his work has transitioned into computer manipulation of imagery used to explore personal narratives about ethnicity and identity through large scale digital collages.
Over the past twenty years his work has been featured nationally and internationally in over one hundred and twenty exhibitions. He is the recipient of many awards including the “New Photography Award” from En Foco in New York City, first prize in the Gordon Parks Competition, several juror’s awards from competitive exhibitions throughout the country, including the “Best of Show Award” from the prestigious Art in the Metroplex exhibition hosted by TCU in Ft. Worth, and a grand prize for faculty portfolio from the Photo Imaging Education Association.
Andrew also exhibited work in the 2013 San Francisco, International Photography Exhibition. Ortiz was a Gold Finalist and 3rd place award winner.
Contact Info:
Email: ortiz@uta.edu
NOTHING by Andrew Ortiz
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STRAIN by Andrew Ortiz
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LACERTA VOLACRIS by Andrew Repcik
Best Series
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Best Series
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Curator Anne Eder says, "Andrew Repcik’s series of blue images references the origins of monsters in the natural world and human intervention as a means of gaining power over nature.
Repcik’s statement says that the work is inspired by a 20th century Russian scientist, Dzhon Dou. It triggers connections to archived stories of genetic engineering, mutations, Frankenstein, The Island of Dr. Moreau, and other examples of human overreach resulting in the creation of the monstrous. The use of cyanotype pairs the printing method with the historical time frame, providing a concise syntax."
Andrew Repcik says, "These images are inspired and directly related to the works of the early to mid 20th century Russian scientist Dzhon Dou. Although the communist party purged formal records of his work, I have recreated his experiments, here, through various notes and eyewitness accounts that have been saved.
My goal with this body of work is to take examples of extreme instances of experimentation and use them as a base to show humanities lack of discretion in applying morality to our actions. Through these examples I want the viewer to consider how we will move forward into a new world where the potential exploitation of genetic engineering, cloning and other emerging technologies challenge our ability to remain within respectable boundaries and not delve into our own version of The Modern Prometheus.
The framework for these images comes from the work of Dzhon Dou. He spent his early career working in the field of eugenics under the guidance of fellow Soviet scientist Lurri Filipchenko at the Petrograd center for genetic research. Dou established himself not only as an emerging scientific mind, but also as a staunch supporter of the communist party. Records show his membership in the Russian Eugenic society, which was founded in 1920 but disbanded by 1930 due to untenable goals.
The early 1930’s saw his introduction to Vladimir Demikhov who’s work included dog head transplants, the creation of two-headed dogs and new organ transplant techniques. During this period Dou worked under the authority of Demikhov learning surgical practices and assisted with experiments. Dou appears to have become interested in the works of ILya Ivanovich Ivanov, who specialized in the field of artificial insemination and the interspecific hybridization of animals. Ivanov’s work culminated in his controversial attempts to create a human-ape hybrid.
During the late 1930’s Dou shifted his focus to the creation and modification of animals. Indications are that during the period of W.W.II he was granted latitude and support from the communist party to experiment with grafting, transplantation and artificial insemination on various animal species. Using information recovered from Nazi and Japanese experiments Dou grew his practice in both scope and scale after the war. Working in relative obscurity he was able to produce a prolific body of work with little scrutiny.
While Demikhov produced results that were shocking, Dou seems to have produced no viable specimens. His legacy is one of failures. What you see is not a celebration of his failure, but rather a reminder and a warning as to where we might be headed as our technologies edge us closer to a realization of the Frankenstein scenario.
I have attempted to create a fictitious scenario, that is rooted in actual historical instances. I present this as though it is real in an attempt to obscure notions of truth and fiction, in our understanding of what is moral and/or ethical."
Andrew Repcik was born in Northern California, where he was introduced to what many would consider a rural background.
He learned the value of animals as well as self reliance and hard work. As he grew he was introduced to a world of travel that led to his relocation from state to state through his teen years.
This movement allowed him to see different aspects of America, its people, landscapes and cultures. During this period he also found a love of books, music and photography.
After graduating high school Andrew had the opportunity to pursue music and tour throughout the U.S. This period provided the catalyst that led him to Washington State University, where he attained a B.A. in (Pre-Law) Philosophy.
Working in traditional occupations following graduation, Andrew felt unsatisfied and longing for a creative outlet. This drive led to his reintroduction to photography.
Becoming a vehicle for discovery and a catalyst for understanding the world around him, the camera became an indispensable companion on his travels and adventures.
Reigniting this passion led to commercial photography endeavors and eventually his relocation to Santa Barbara to attend Brooks Institute where he has expanded his body of work into a creative narrative that explores the moral and ethical values of our society as we enter into a new world of scientific discovery.
Repcik’s statement says that the work is inspired by a 20th century Russian scientist, Dzhon Dou. It triggers connections to archived stories of genetic engineering, mutations, Frankenstein, The Island of Dr. Moreau, and other examples of human overreach resulting in the creation of the monstrous. The use of cyanotype pairs the printing method with the historical time frame, providing a concise syntax."
Andrew Repcik says, "These images are inspired and directly related to the works of the early to mid 20th century Russian scientist Dzhon Dou. Although the communist party purged formal records of his work, I have recreated his experiments, here, through various notes and eyewitness accounts that have been saved.
My goal with this body of work is to take examples of extreme instances of experimentation and use them as a base to show humanities lack of discretion in applying morality to our actions. Through these examples I want the viewer to consider how we will move forward into a new world where the potential exploitation of genetic engineering, cloning and other emerging technologies challenge our ability to remain within respectable boundaries and not delve into our own version of The Modern Prometheus.
The framework for these images comes from the work of Dzhon Dou. He spent his early career working in the field of eugenics under the guidance of fellow Soviet scientist Lurri Filipchenko at the Petrograd center for genetic research. Dou established himself not only as an emerging scientific mind, but also as a staunch supporter of the communist party. Records show his membership in the Russian Eugenic society, which was founded in 1920 but disbanded by 1930 due to untenable goals.
The early 1930’s saw his introduction to Vladimir Demikhov who’s work included dog head transplants, the creation of two-headed dogs and new organ transplant techniques. During this period Dou worked under the authority of Demikhov learning surgical practices and assisted with experiments. Dou appears to have become interested in the works of ILya Ivanovich Ivanov, who specialized in the field of artificial insemination and the interspecific hybridization of animals. Ivanov’s work culminated in his controversial attempts to create a human-ape hybrid.
During the late 1930’s Dou shifted his focus to the creation and modification of animals. Indications are that during the period of W.W.II he was granted latitude and support from the communist party to experiment with grafting, transplantation and artificial insemination on various animal species. Using information recovered from Nazi and Japanese experiments Dou grew his practice in both scope and scale after the war. Working in relative obscurity he was able to produce a prolific body of work with little scrutiny.
While Demikhov produced results that were shocking, Dou seems to have produced no viable specimens. His legacy is one of failures. What you see is not a celebration of his failure, but rather a reminder and a warning as to where we might be headed as our technologies edge us closer to a realization of the Frankenstein scenario.
I have attempted to create a fictitious scenario, that is rooted in actual historical instances. I present this as though it is real in an attempt to obscure notions of truth and fiction, in our understanding of what is moral and/or ethical."
Andrew Repcik was born in Northern California, where he was introduced to what many would consider a rural background.
He learned the value of animals as well as self reliance and hard work. As he grew he was introduced to a world of travel that led to his relocation from state to state through his teen years.
This movement allowed him to see different aspects of America, its people, landscapes and cultures. During this period he also found a love of books, music and photography.
After graduating high school Andrew had the opportunity to pursue music and tour throughout the U.S. This period provided the catalyst that led him to Washington State University, where he attained a B.A. in (Pre-Law) Philosophy.
Working in traditional occupations following graduation, Andrew felt unsatisfied and longing for a creative outlet. This drive led to his reintroduction to photography.
Becoming a vehicle for discovery and a catalyst for understanding the world around him, the camera became an indispensable companion on his travels and adventures.
Reigniting this passion led to commercial photography endeavors and eventually his relocation to Santa Barbara to attend Brooks Institute where he has expanded his body of work into a creative narrative that explores the moral and ethical values of our society as we enter into a new world of scientific discovery.
MORUS CONFIBULA RAMMA by Andrew Repcik
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RESTRAINT by Andrew Repcik
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NOSTALGIA by Angelique Benicio
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Curator Anne Eder says, "Angelique Benicio’s Nostalgia made me laugh out loud when I first saw it despite the darker implications of the title and the frightening fly people in red dresses.
I love that these fanciful monsters also seem ornery and gleeful, lending them a more fleshed out persona and adding intrigue and interest."
Angelique Benicio says, "My work is about human experience and emotion that we don’t normally talk about but we live with. Every day, it’s running in the back of our brains, these unsettling feelings, these emotions that we all have in common but we don’t really verbalize — the little fears, the anxieties, the ideas we believe in but don’t really want to admit out loud."
Angelique Benicio is a mixed media artist, painter and performance artist with professional experience in both the United States and in Europe.
Her work has been exhibited at the Marin Museum of Contemporary Art in Novato CA; Art Works Downtown in San Rafael CA; The Brayer Gallery in Ventura CA; Axis Gallery in Sacramento CA; Umpqua Valley Arts Association in Roseburg OR; Trans-Art Gallery in Trondheim, Norway; and at Casa Cor Annual Architectural Design Exhibition in Rio De Janeiro, Brazil.
Her performance work has been presented at Art Works Downtown in San Rafael CA; The Crucible in Oakland CA; and at Trails and Vistas in Truckee CA.
CV-
SOLO EXHIBITIONS
• Waking Dreams, Art Works Downtown
Solo exhibition
San Rafael, California
August 4 - September 18, 2017
• Max Occupancy Art Projects, Mystic Hotel by Charlie Palmer
Solo exhibition curated by Michele Foyer
San Francisco, California
Extended Exhibition Dates: November 2015 – February 21, 2016
GROUP EXHIBITIONS
• 4th Annual Juried Show, Piedmont Center for the Arts
Curated by Sarah Roberts, Curator of Painting and Sculpture at SFMOMA and Carin Adams, Curator of Art and Material Culture at the Oakland Museum of California
Piedmont, California
January 7 - January 29, 2016
• Sculptural installation and performance, Trails And Vistas
Donner Lake, California
September 2016
• Order and Chaos, Arts Benicia
Curated by Cathrine Clark
Benicia, California
August 6 - September 14, 2016
• Mixed media design and performance, The Crucible - Hot Couture
Oakland, California
February 12-13, 2016
• Sculptural Installation and Performance, Trails And Vistas
Donner Lake, California
September 2015
• 10th National Juried Exhibition, AXIS gallery
Juror: Max Presneill, Head Curator of the Torrance Art Museum, Torrance CA and Curatorial Director of ARTRA Curatorial
www.angeliquebenicio.com
I love that these fanciful monsters also seem ornery and gleeful, lending them a more fleshed out persona and adding intrigue and interest."
Angelique Benicio says, "My work is about human experience and emotion that we don’t normally talk about but we live with. Every day, it’s running in the back of our brains, these unsettling feelings, these emotions that we all have in common but we don’t really verbalize — the little fears, the anxieties, the ideas we believe in but don’t really want to admit out loud."
Angelique Benicio is a mixed media artist, painter and performance artist with professional experience in both the United States and in Europe.
Her work has been exhibited at the Marin Museum of Contemporary Art in Novato CA; Art Works Downtown in San Rafael CA; The Brayer Gallery in Ventura CA; Axis Gallery in Sacramento CA; Umpqua Valley Arts Association in Roseburg OR; Trans-Art Gallery in Trondheim, Norway; and at Casa Cor Annual Architectural Design Exhibition in Rio De Janeiro, Brazil.
Her performance work has been presented at Art Works Downtown in San Rafael CA; The Crucible in Oakland CA; and at Trails and Vistas in Truckee CA.
CV-
SOLO EXHIBITIONS
• Waking Dreams, Art Works Downtown
Solo exhibition
San Rafael, California
August 4 - September 18, 2017
• Max Occupancy Art Projects, Mystic Hotel by Charlie Palmer
Solo exhibition curated by Michele Foyer
San Francisco, California
Extended Exhibition Dates: November 2015 – February 21, 2016
GROUP EXHIBITIONS
• 4th Annual Juried Show, Piedmont Center for the Arts
Curated by Sarah Roberts, Curator of Painting and Sculpture at SFMOMA and Carin Adams, Curator of Art and Material Culture at the Oakland Museum of California
Piedmont, California
January 7 - January 29, 2016
• Sculptural installation and performance, Trails And Vistas
Donner Lake, California
September 2016
• Order and Chaos, Arts Benicia
Curated by Cathrine Clark
Benicia, California
August 6 - September 14, 2016
• Mixed media design and performance, The Crucible - Hot Couture
Oakland, California
February 12-13, 2016
• Sculptural Installation and Performance, Trails And Vistas
Donner Lake, California
September 2015
• 10th National Juried Exhibition, AXIS gallery
Juror: Max Presneill, Head Curator of the Torrance Art Museum, Torrance CA and Curatorial Director of ARTRA Curatorial
www.angeliquebenicio.com
BLOODLESS QUEEN by Angelique Benicio
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HER MINION by Angelique Benicio
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DEATH OF INNOCENCE by Ashley Boyles
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Ashley Boyles says, "While I tried to hide the darkest corner of my subconscious away, it clearly refused to be silenced as my work took a turn towards horror.
After years of building an impenetrable wall of denial, the shadows were still slipping into my mind. My work became a therapeutic process towards accepting my fear of the darkness manifesting in my own twisted psyche.
This process is done by taking my own warped sense of style and applying it to different aspects of my life: particularly things which have occurred in my past.
Every image represents a deeper theme such as being consumed by depression, struggling with acceptance of my identity, and being forced to change. However, expressing vulnerability has never been my forte which is why these themes are subtly shown and are overshadowed by the initial unnerving atmosphere. I use myself as a model to further amplify the extremely personal nature of my work as well as give a visual personification of the darkness within me.
With each photograph, I continue to deconstruct my protective wall and release my burden."
Ashley Boyles is a lens-based artist located in Houston, Texas. She works with photography as well as found objects. Boyles has received her BFA in Photography from Sam Houston State University in December 2017.
She is currently creating cinematic photography with horror and fantasy themes. Boyles is also interested in using interactive features which will allow viewers to experience a new perspective on photography.
Boyles has shown work in multiple galleries on a national and international level such as in Huntsville, Texas and in Rome, Italy. Post graduation, she is continuing to explore the boundaries between film and photography as a freelance photographer.
www.ashleyboyles.com
After years of building an impenetrable wall of denial, the shadows were still slipping into my mind. My work became a therapeutic process towards accepting my fear of the darkness manifesting in my own twisted psyche.
This process is done by taking my own warped sense of style and applying it to different aspects of my life: particularly things which have occurred in my past.
Every image represents a deeper theme such as being consumed by depression, struggling with acceptance of my identity, and being forced to change. However, expressing vulnerability has never been my forte which is why these themes are subtly shown and are overshadowed by the initial unnerving atmosphere. I use myself as a model to further amplify the extremely personal nature of my work as well as give a visual personification of the darkness within me.
With each photograph, I continue to deconstruct my protective wall and release my burden."
Ashley Boyles is a lens-based artist located in Houston, Texas. She works with photography as well as found objects. Boyles has received her BFA in Photography from Sam Houston State University in December 2017.
She is currently creating cinematic photography with horror and fantasy themes. Boyles is also interested in using interactive features which will allow viewers to experience a new perspective on photography.
Boyles has shown work in multiple galleries on a national and international level such as in Huntsville, Texas and in Rome, Italy. Post graduation, she is continuing to explore the boundaries between film and photography as a freelance photographer.
www.ashleyboyles.com
FRACTURED by Ashley Boyles
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TOLL by Ashley Boyles
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BITIS GABONICA by Catherine Marcogliese
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Catherine Marcogliese says of her series, 'Natural History: Ghosts and Monsters, 2016', "This series of photos attempts to capture the surprising and often bizarre creatures that populate the display cases of museums of natural history.
The subjects of these photos are the vestiges of natural science collections that date back to the 18th and 19th centuries; they are the result of an era of exploration that brought many wondrous specimens to the public’s attention.
The skulls, skeletons and stuffed animals, with their frozen horrified stares, tell us as much about the society of that era and its relationship to nature, as they do about the science. They are the haunting witnesses to an era when nature was strange and frightening, something to be controlled, classified, and catalogued.
The photos are presented as portraits, and reworked to accentuate the strangeness of these creatures. I have also tried to capture the wonder and awe that I experienced as a young child when visiting museums of natural history. I remember these museums as being dark, dusty, and mysterious - their displays seemingly inhabited by creatures from some gothic fairy tale. The ghostly presence of these specimens in my photographs reflects my tenuous memories of these visits.
All photos taken at the Muséum d’Histoire Naturelle, Marseille, France, and the Museo di Storia Naturale di Venezia, Italy."
Canadian artist, Catherine Marcogliese, started her artistic career in the field of painting after having obtained a BFA in painting and art history at Concordia University in Montreal (1979).
Since her arrival in France (1988) where she now resides, her work has primarily been concerned with the definition of the notion of the “real” in visual representation. Early on this involved integrating 3 dimensional objects in her works, but later, with an obvious logic, she turned to photography. Today her work is primarily photographic in nature, albeit, reworked digitally. In conserving the plastic elements of painting such as form, line or colour, etc., she is able to manipulate her images in an attempt to push photography beyond a straightforward narrative representation towards a work which is more abstract and personal.
Recent exhibitions include solo shows at the Villa Tamaris Centre d’Art in La Seyne sur Mer, France (2017); Galerie du Tableau, Marseille, France (2017) ; Histoires Naturelles, Muséum d’Histoire Naturelles, Marseille (2016); The Frontier, group show organised by The Center, Santa Fe, (2016).
CV
====
Born: 8 Septembre 1957, Montréal, Canada,
Lives and works in Six Fours les Plages, France
Education:
1976-79 Concordia University, Montréal, B.F.A. in painting, with honours
1983-87 Concordia University, Montréal, M.A. in Art History
Solo exhibitions:
2017 Whiter than White (paysages domestiques), La Villa Tamaris Centre d’Art, La Seyne sur Mer
Histoires Naturelles : Spectres et Monstres, Muséum d’Histoire Naturelle de Marseille
Night Sky, Galerie du Tableau, Marseille
2014 Au Bout du Regard, La Villa Tamaris Centre d’Art, La Seyne sur Mer
2009 Western Landscapes, Galleria Sangiorgi, Laigueglia, Italie
Arts in Situ, Printemps des Arts, Galerie àcentmètresducentredumonde, Perpignan
2004 Divers chemins à travers le paysage, Galerie Artena, Marseille
2002 Paysages transitoires, Galerie Remparts, Toulon
2000 Parterres III et IV, Galerie du CAIRN, Réserve Géologique de Haute Provence, Digne les Bains, oeuvre permanente sur le Musée Promenade
1998 Espace Ana Paoutoff, Toulon
1997 Galerie Martagon, Malaucène
Galerie Passage de l’Art, Marseille
1996 Artefact Espace d’Art Contemporain, Fayence
1994 Galerie Martagon, Malaucène
1993 Galerie La Tête d’Obsidienne, Fort Napoléon, La-Seyne-sur-Mer
1990 Espace Daniel Granier, Marseille
Centre Régional d’Art Présent, St. Raphaël
1985 Le Centre Culturel Christophe-Colomb, Montréal, Canada
1984 Solo Games: installation et concert, avec le compositeur Timothy Brady. Toronto International Festival, Toronto, Canada
Group exhibitions:
2017 Sauver sa Peau, Galerie Zola, Aix-en-Provence
2016 Une (Re)Présentation , Villa Tamaris Centre d’Art
Haunted, Darkroom Gallery, Essex Junction, Vermont, U.S.A.
The Frontier, CENTER, Santa Fe, USA
Festival Focales, Villard de Lans
Artemisia, Association Lartprendlair, Marseille
2015 Territoires & Architecture, Centre Culturel Saint-Raphael, Conseil General du Var
2013 La Galerie fait sa Foire, Galerie Vrais Rêves, Lyon
2012 Paysages Urbains, La Croisée des Arts, Saint-Maximin
Futures Mémoires volet II, Association Perceptions Photographiques, Centre Culturel, Saint Raphael
Futures Mémoires, volet I, Association Perceptions Photographiques, La Maison de la Photographie, Toulon
Littoral en Mutation, Festival Photo’med, Sanary sur Mer
2010 Carte Blanche, Association Perceptions Photographiques, Galerie Vrais Rêves, Lyon
Hôtel du Musée, Galerie Vrais Rêves, Rencontres d’Arles
2008 Perceptions Photographiques, Mas St Jacques, Bompas
2004 DIGIT.LAND.SCAPE, MAPRA, Lyon
2003 Paysages Horizontaux, Exposition Art Concept / Sud, Centre ABC, Dijon
Jardin artistique de Drulon
2002 Le Bol d’Art, Le Lavandou
Symposium d’Art Contemporain, Baie St Paul, Québec, Canada
Entre-vues, Villa Aurelienne, Fréjus
Festival du Spectacle dans les Rues, Chalon-sur-Saone, spectacle Broken
2001 La Biennale d’Issy, Cité, Nature : Les Interdits, Issy les Moulineaux
2000 Au fil du temps, le paysage, Quinzaine photographique, Nantes
Image sur Image, Espace Contemporain Arc-en-Ciel, Lievin, Pas-de-Calais, France, organisée par l'association Degrés d'Attitude.
Auprès de mon arbre, Musée d'Assier, Feurs, France
Public Collections:
Muséum d’Histoire Naturelle de Marseille
New Mexico History Museum, Palace of the Governors, Santa Fe, U.S.A.
Villa Tamaris Centre d’Art
Hôtel des Arts, Conseil Général, Toulon
Reserve Géologique de Digne les Bains
Ville de Roquebrune Cap Martin
www.marcogliese.org
The subjects of these photos are the vestiges of natural science collections that date back to the 18th and 19th centuries; they are the result of an era of exploration that brought many wondrous specimens to the public’s attention.
The skulls, skeletons and stuffed animals, with their frozen horrified stares, tell us as much about the society of that era and its relationship to nature, as they do about the science. They are the haunting witnesses to an era when nature was strange and frightening, something to be controlled, classified, and catalogued.
The photos are presented as portraits, and reworked to accentuate the strangeness of these creatures. I have also tried to capture the wonder and awe that I experienced as a young child when visiting museums of natural history. I remember these museums as being dark, dusty, and mysterious - their displays seemingly inhabited by creatures from some gothic fairy tale. The ghostly presence of these specimens in my photographs reflects my tenuous memories of these visits.
All photos taken at the Muséum d’Histoire Naturelle, Marseille, France, and the Museo di Storia Naturale di Venezia, Italy."
Canadian artist, Catherine Marcogliese, started her artistic career in the field of painting after having obtained a BFA in painting and art history at Concordia University in Montreal (1979).
Since her arrival in France (1988) where she now resides, her work has primarily been concerned with the definition of the notion of the “real” in visual representation. Early on this involved integrating 3 dimensional objects in her works, but later, with an obvious logic, she turned to photography. Today her work is primarily photographic in nature, albeit, reworked digitally. In conserving the plastic elements of painting such as form, line or colour, etc., she is able to manipulate her images in an attempt to push photography beyond a straightforward narrative representation towards a work which is more abstract and personal.
Recent exhibitions include solo shows at the Villa Tamaris Centre d’Art in La Seyne sur Mer, France (2017); Galerie du Tableau, Marseille, France (2017) ; Histoires Naturelles, Muséum d’Histoire Naturelles, Marseille (2016); The Frontier, group show organised by The Center, Santa Fe, (2016).
CV
====
Born: 8 Septembre 1957, Montréal, Canada,
Lives and works in Six Fours les Plages, France
Education:
1976-79 Concordia University, Montréal, B.F.A. in painting, with honours
1983-87 Concordia University, Montréal, M.A. in Art History
Solo exhibitions:
2017 Whiter than White (paysages domestiques), La Villa Tamaris Centre d’Art, La Seyne sur Mer
Histoires Naturelles : Spectres et Monstres, Muséum d’Histoire Naturelle de Marseille
Night Sky, Galerie du Tableau, Marseille
2014 Au Bout du Regard, La Villa Tamaris Centre d’Art, La Seyne sur Mer
2009 Western Landscapes, Galleria Sangiorgi, Laigueglia, Italie
Arts in Situ, Printemps des Arts, Galerie àcentmètresducentredumonde, Perpignan
2004 Divers chemins à travers le paysage, Galerie Artena, Marseille
2002 Paysages transitoires, Galerie Remparts, Toulon
2000 Parterres III et IV, Galerie du CAIRN, Réserve Géologique de Haute Provence, Digne les Bains, oeuvre permanente sur le Musée Promenade
1998 Espace Ana Paoutoff, Toulon
1997 Galerie Martagon, Malaucène
Galerie Passage de l’Art, Marseille
1996 Artefact Espace d’Art Contemporain, Fayence
1994 Galerie Martagon, Malaucène
1993 Galerie La Tête d’Obsidienne, Fort Napoléon, La-Seyne-sur-Mer
1990 Espace Daniel Granier, Marseille
Centre Régional d’Art Présent, St. Raphaël
1985 Le Centre Culturel Christophe-Colomb, Montréal, Canada
1984 Solo Games: installation et concert, avec le compositeur Timothy Brady. Toronto International Festival, Toronto, Canada
Group exhibitions:
2017 Sauver sa Peau, Galerie Zola, Aix-en-Provence
2016 Une (Re)Présentation , Villa Tamaris Centre d’Art
Haunted, Darkroom Gallery, Essex Junction, Vermont, U.S.A.
The Frontier, CENTER, Santa Fe, USA
Festival Focales, Villard de Lans
Artemisia, Association Lartprendlair, Marseille
2015 Territoires & Architecture, Centre Culturel Saint-Raphael, Conseil General du Var
2013 La Galerie fait sa Foire, Galerie Vrais Rêves, Lyon
2012 Paysages Urbains, La Croisée des Arts, Saint-Maximin
Futures Mémoires volet II, Association Perceptions Photographiques, Centre Culturel, Saint Raphael
Futures Mémoires, volet I, Association Perceptions Photographiques, La Maison de la Photographie, Toulon
Littoral en Mutation, Festival Photo’med, Sanary sur Mer
2010 Carte Blanche, Association Perceptions Photographiques, Galerie Vrais Rêves, Lyon
Hôtel du Musée, Galerie Vrais Rêves, Rencontres d’Arles
2008 Perceptions Photographiques, Mas St Jacques, Bompas
2004 DIGIT.LAND.SCAPE, MAPRA, Lyon
2003 Paysages Horizontaux, Exposition Art Concept / Sud, Centre ABC, Dijon
Jardin artistique de Drulon
2002 Le Bol d’Art, Le Lavandou
Symposium d’Art Contemporain, Baie St Paul, Québec, Canada
Entre-vues, Villa Aurelienne, Fréjus
Festival du Spectacle dans les Rues, Chalon-sur-Saone, spectacle Broken
2001 La Biennale d’Issy, Cité, Nature : Les Interdits, Issy les Moulineaux
2000 Au fil du temps, le paysage, Quinzaine photographique, Nantes
Image sur Image, Espace Contemporain Arc-en-Ciel, Lievin, Pas-de-Calais, France, organisée par l'association Degrés d'Attitude.
Auprès de mon arbre, Musée d'Assier, Feurs, France
Public Collections:
Muséum d’Histoire Naturelle de Marseille
New Mexico History Museum, Palace of the Governors, Santa Fe, U.S.A.
Villa Tamaris Centre d’Art
Hôtel des Arts, Conseil Général, Toulon
Reserve Géologique de Digne les Bains
Ville de Roquebrune Cap Martin
www.marcogliese.org
CERCOPITHECUS ASCANIUS by Catherine Marcogliese
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LOPHIUS PESCATORIUS by Catherine Marcogliese
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BY THE SEA by Donna DeLone
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Donna DeLone says, "In Rumi’s poem, The Guest House, he states “This being human is a guest house. Each day a new arrival. Welcome and entertain them all? The dark thought, the shame, the malice. Meet them at the door laughing and invite them in.” This poem resonates with my view of the human condition and with this view of “monsters” and the images of this admission."
Donna DeLone is a fine art photographer based in the Boston area. She is also a psychotherapist which often informs her artwork.
Her interest lies in using photography as a way to express internal aspects of the human condition. As Agnes Martin stated, “ We all have the same inner life. The artist has to recognize what it is”. Using multi-medias along with her photography, she continues to explore the many possible forms that this observation can take.
She has had images in numerous group exhibitions and was recently published in Shots Magazine. In 2005 she received a Professional Certificate in Photography from NESOP (New England School of Photography in Boston)
CV
Education
2015 Maine Photographic Workshops- Cig Harvey
2010 Photography Atelier- Karen Davis
2005 New England School of Photography - Professional Certificate Program
2003 Maine Photographic Workshops- John Goodman & Stella Johnson
Professional Experience
2005 to Present Fine art photographer
Rhapsody Studio - photographer
Kathy Joyce Photography- Second shooter
Juried Groups Shows
2017 South East Center for Photography- SC
Cambridge Art Association, Cambridge MA
2015 South Shore Art Center -On the Edge- Cohasset MA
2007 Pen & Brush Annual Show - NYC
2005 Student Exhibition - Copley Society of Art National Prize Show - Cambridge Art Association
2004 Annual Competition -International Photography Awards
Remembrances - South Shore Art Center-
10th Annual Juried Photography Contest - Texas Artist Museum
Human Condition - Cambridge Art Association
2003 Passion - Cambridge Art Association
Annual Competition - International Photography Awards
Publications
2017 Shots Magazine- Summer Edition
Awards
2004 Honorable Mention- Annual Competition- IPA
Judges Choice Award- Human Condition- CAA
First Prize- Remembrances- SSAC
Second Place- Annual Competition/ Self-portrait- IPA
www.donnadelonephotography.com
Donna DeLone is a fine art photographer based in the Boston area. She is also a psychotherapist which often informs her artwork.
Her interest lies in using photography as a way to express internal aspects of the human condition. As Agnes Martin stated, “ We all have the same inner life. The artist has to recognize what it is”. Using multi-medias along with her photography, she continues to explore the many possible forms that this observation can take.
She has had images in numerous group exhibitions and was recently published in Shots Magazine. In 2005 she received a Professional Certificate in Photography from NESOP (New England School of Photography in Boston)
CV
Education
2015 Maine Photographic Workshops- Cig Harvey
2010 Photography Atelier- Karen Davis
2005 New England School of Photography - Professional Certificate Program
2003 Maine Photographic Workshops- John Goodman & Stella Johnson
Professional Experience
2005 to Present Fine art photographer
Rhapsody Studio - photographer
Kathy Joyce Photography- Second shooter
Juried Groups Shows
2017 South East Center for Photography- SC
Cambridge Art Association, Cambridge MA
2015 South Shore Art Center -On the Edge- Cohasset MA
2007 Pen & Brush Annual Show - NYC
2005 Student Exhibition - Copley Society of Art National Prize Show - Cambridge Art Association
2004 Annual Competition -International Photography Awards
Remembrances - South Shore Art Center-
10th Annual Juried Photography Contest - Texas Artist Museum
Human Condition - Cambridge Art Association
2003 Passion - Cambridge Art Association
Annual Competition - International Photography Awards
Publications
2017 Shots Magazine- Summer Edition
Awards
2004 Honorable Mention- Annual Competition- IPA
Judges Choice Award- Human Condition- CAA
First Prize- Remembrances- SSAC
Second Place- Annual Competition/ Self-portrait- IPA
www.donnadelonephotography.com
HORNS by Donna DeLone
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PLAY by Donna DeLone
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AGITATION by Ellen Jantzen
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Ellen Jantzen says, " I am drawn to the uncanny, disorientated, unsettled & odd.
Reality is in the mind of the beholder. Are dreams real? Is what one sees, hears and feels real? Aren’t elements of the world flavored and altered by ones own emotional makeup and history?
With all of this in mind, I set out to create an alternate reality with “real” substances, objects and environments. I first determine what objects and environments have the most opportunity for creating an alternate view of the world.
I then set about to strengthen the elements of reality by capturing my staged setups as digital photographs. I manipulate, layer, and alter each piece in my computer to “escape” the reality of the images from my camera.
My choices along the way determine a level of escapism that I then hope the viewer will experience based on their particular emotional makeup."Ellen Jantzen was born and raised in St. Louis Missouri. Her early college years were spent obtaining a degree in graphic arts; later emphasizing fine art."
Ellen spent two years at FIDM (the Fashion Institute of Design and Merchandising) in downtown Los Angeles. Here, she obtained her advanced degree in 1992. After a few years working in the industry, including several years at Mattel Toy Company as a senior project designer, she became disillusioned with the corporate world and longed for a more creative outlet. Having been trained in computer design while at Mattel, Ellen continued her training on her own using mostly Photoshop software.
As digital technology advanced and the newer cameras were producing excellent resolution, Ellen found her perfect medium. It was a true confluence of technical advancements and creative desire that culminated in her current explorations in photo inspired art using both a camera to capture staged assemblages and a computer to alter and manipulate the pieces. Ellen has been creating works that bridge the world of prints, photography and collage.
Ellen is currently represented by
Susan Spiritus of the Susan Spiritus Gallery: www.susanspiritusgallery.com
Bruno David of the Bruno David Gallery: www.brunodavidgallery.com
Qlick Editions,Amsterdam: www.qlickeditions.com
Awards
2017
SPECIAL PHOTOGRAPHER OF THE YEAR in the International Photography Awards.
1ST PLACE WINNER in the International Photography Awards, Digitally Enhanced Category.
HONORABLE MENTIONS for two series (Alternative Process Category) 10th Annual Pollux Awards, juror Julio Hirsch-Hardy managing director of The Gala Awards
HONORABLE MENTION for one series (Fine Arts Category 10th Annual Pollux Awards, juror Julio Hirsch-Hardy managing director of The Gala Awards
RUNNER UP in the 10th Julia Margaret Cameron Award honoring women in photography. SHORT LISTED Art Gemini PhotoX Award, exhibition in London, June
2nd PLACE NYC4PA Liquid 2017 Award, juror Debra Klomp Ching
NOMINEE (Fine Art Category) Fine Art Photography Awards
3rd PLACE Life-Framer open call, juror Brian Paul Clamp
NOMINEE (Abstract, Professional Category) 10th International Color Awards
FINALIST (Alternative Process Category) 9th Annual Pollux Awards, juror Julio Hirsch-Hardy managing director of The Gala Awards
2016
HONORABLE MENTION (Photomanipulation) for my piece “To Have and Have Not" ND Awards (Neutral Density Photography Awards)
BRONZE AWARD WINNER (Fine Art, Special Effects Category) 1st Tokyo International Foto Awards
FIRST PLACE WINNER (Fine Art, Special Effects Category) Moscow International Foto Awards LONGLISTED for the Aesthetica Art Prize (exhibited 04/14 - 05/29)
HONORABLE MENTION (Fine Art Category) for my piece “Committed to Memory, 2 - International Color Awards, 9th Annual
2015
WINNER of the 8th Julia Margaret Cameron Award honoring women in photography. Only 15 women were chosen world-wide by juror Laura Noble, UK.
WINNER-Alternative Process Category in the 8th Julia Margaret Cameron Award HONORABLE MENTION WINNER at the 10th Annual Black & White Spider Awards with in
Abstract Category for my piece “Finale”
HONORABLE MENTION (Fine Art Category) for my series "Unity of Time and Place" in the London International Creative Contest
SILVER AWARD WINNER for my piece, "A Resonant Chill" in Art Forward Contest, #3
2ND PLACE, MERIT OF EXCELLENCE AWARD, International Color Awards, 8th Annual 2014
GRANT-2014 INDIVIDUAL ARTISTS AWARD from the Santo Foundation, St. Louis Missouri
HONORABLE MENTION (Special Effects), in the Moscow International Foto Awards for my series "Place of Departure"
WINNER OF PX3, Prix de la Photographie, Paris awarded First Prize (Gold Medal) in Fine Art/Digitally Enhanced category for my newest series "Places of Departure".
GOLD MEDAL AWARD, in the San Francisco International Photography Exhibition, curated by Paula Tognarelli, Executive Director and Curator of the Griffin Museum of Photography... for my piece "Let The Others Follow"
HONORABLE MENTION, in Natural World exhibition at the Center for Fine Art Photography for my photo “Harmonic Progression”
HONORABLE MENTION, in The Life/Framer Beauty in Life exhibition for my photo “Remaining a Mystery”
Recent Invitational Exhibitions
2017
THE HAND MAGAZINE's EXHIBITION,
OVERVIEW_2017, Group exhibition at the Bruno David Gallery, Clayton Missouri. June 24 -August 12
FOTOGRAFICA BOGOTA, 7th International Biennial of Photography; Theme "Territories" at FOTOMUSEO, May. I am the featured artist.[page4image14656] [page4image14816] [page4image14976]"Mudras", opening July 7th at Leedy Voulkos Art[page4image15864]Center in Kansas City, MO. The show will run through August.[page5image408]GRIFFIN MUSEUM OF PHOTOGRAPHY, http://griffinmuseum.org/show/disturbing-the-spirits/
2016
BERLIN FOTO BIENNALE, at Plazazzo Italia, Berlin - October 6-30 during the European Month of Photography
INVITATIONAL MOSCOW, at Na Kashirke Art Gallery, Moscow July 20-August 7th 2015
DEPTH OF FIELD, curated by RfotoFolio at Art Intersection Gallery in Gilbert, AZ September 8 - October 24
SUMMER SHOW, At Qlick Editions, Amsterdam. July 27-August 29
"and / or" A Group Exhibition, at Bruno David Gallery, St. Louis Missouri, May 1-August 22.
INCOGNITO, fund raising exhibition at the Santa Monica Museum of Art, Santa Monica CA. 05/02
POINT & SHOOT, solo exhibition at Qlick Editions, Amsterdam, opening March 6
Recent Juried Exhibitions
2017
SMALL WORKS, The Center For Fine Art Photography, Fort Collins CO. November 17 - Dec.16 AMBIENT LANDSCAPES, Black Eye Gallery, Sidney Australia - October 30 - Nov 13
DECEPTION, Juried by Brian Paul Clamp, Filter Space at Filter Photo, Chicago Ill. September 15 - October 21
we like small things, (all images 10 x 10 or less) Filter Space at Filter Photo, Chicago Ill. September 15 - October 21
THE PRINT SWAP at PHOTOVILLE, Brooklyn Bridge Plaza, Dumbo New York, NY. Opens September 13
ANALOG v. DIGITAL, Foley Gallery, New York, NY. August 16 - August 26
DISAPPEARING WORLD, Edition One Gallery, Santa Fe. July 28 - Sept. 8 ART AND OPPRESSION, CENTER Santa Fe, through September 15th
SOUTHERN LANDSCAPES, South X Southeast Photo Exhibition at Brickworks Gallery, Atlanta GA, Opening reception, March 11th
ROOTS, Second Place for my image, "Heritage"; La Photo Curator's on-line exhibition 2016
THE BILLBOARD CREATIVE, one of 45 billboards throughout the Los Angeles area, December 12-January 8, 2017
TRANSITIONS, at Edition One, Santa Fe NM; hosted by the America Society of Media Photographers. Opens October 11th.
TRANSIENCE, La Photo Curator's on-line exhibition
THE FENCE, an outdoor photography series, my work featured on the New Mexico
Photographer Showcase, opening July 9th
THE FRONTIER, at The New Mexico History Museum. Work selected by CENTER of Santa Fe. Opening June 10 - 30th
TRANSITIONAL LANDSCAPES at The Center For Fine Art Photography, May 6 - June 10, 2016, Curated by Natasha Egan
WINTER PICTURES, online at Humble Arts Foundation
2015
ILLUMINATE at The Center For Fine Art Photography, December 4 - January 23, 2016, Curated by Elizabeth Avedon
MEMORIES, STORIES, HISTORIES with juror Amy Galpin at the Center For Fine Art Photography, November 6-28
SoHo PHOTO NATIONAL COMPETITION Curated by Elizabeth Avedon at the SohoPhoto Gallery, New York, NY, July 8 - 27th
www.ellenjantzen.com
Reality is in the mind of the beholder. Are dreams real? Is what one sees, hears and feels real? Aren’t elements of the world flavored and altered by ones own emotional makeup and history?
With all of this in mind, I set out to create an alternate reality with “real” substances, objects and environments. I first determine what objects and environments have the most opportunity for creating an alternate view of the world.
I then set about to strengthen the elements of reality by capturing my staged setups as digital photographs. I manipulate, layer, and alter each piece in my computer to “escape” the reality of the images from my camera.
My choices along the way determine a level of escapism that I then hope the viewer will experience based on their particular emotional makeup."Ellen Jantzen was born and raised in St. Louis Missouri. Her early college years were spent obtaining a degree in graphic arts; later emphasizing fine art."
Ellen spent two years at FIDM (the Fashion Institute of Design and Merchandising) in downtown Los Angeles. Here, she obtained her advanced degree in 1992. After a few years working in the industry, including several years at Mattel Toy Company as a senior project designer, she became disillusioned with the corporate world and longed for a more creative outlet. Having been trained in computer design while at Mattel, Ellen continued her training on her own using mostly Photoshop software.
As digital technology advanced and the newer cameras were producing excellent resolution, Ellen found her perfect medium. It was a true confluence of technical advancements and creative desire that culminated in her current explorations in photo inspired art using both a camera to capture staged assemblages and a computer to alter and manipulate the pieces. Ellen has been creating works that bridge the world of prints, photography and collage.
Ellen is currently represented by
Susan Spiritus of the Susan Spiritus Gallery: www.susanspiritusgallery.com
Bruno David of the Bruno David Gallery: www.brunodavidgallery.com
Qlick Editions,Amsterdam: www.qlickeditions.com
Awards
2017
SPECIAL PHOTOGRAPHER OF THE YEAR in the International Photography Awards.
1ST PLACE WINNER in the International Photography Awards, Digitally Enhanced Category.
HONORABLE MENTIONS for two series (Alternative Process Category) 10th Annual Pollux Awards, juror Julio Hirsch-Hardy managing director of The Gala Awards
HONORABLE MENTION for one series (Fine Arts Category 10th Annual Pollux Awards, juror Julio Hirsch-Hardy managing director of The Gala Awards
RUNNER UP in the 10th Julia Margaret Cameron Award honoring women in photography. SHORT LISTED Art Gemini PhotoX Award, exhibition in London, June
2nd PLACE NYC4PA Liquid 2017 Award, juror Debra Klomp Ching
NOMINEE (Fine Art Category) Fine Art Photography Awards
3rd PLACE Life-Framer open call, juror Brian Paul Clamp
NOMINEE (Abstract, Professional Category) 10th International Color Awards
FINALIST (Alternative Process Category) 9th Annual Pollux Awards, juror Julio Hirsch-Hardy managing director of The Gala Awards
2016
HONORABLE MENTION (Photomanipulation) for my piece “To Have and Have Not" ND Awards (Neutral Density Photography Awards)
BRONZE AWARD WINNER (Fine Art, Special Effects Category) 1st Tokyo International Foto Awards
FIRST PLACE WINNER (Fine Art, Special Effects Category) Moscow International Foto Awards LONGLISTED for the Aesthetica Art Prize (exhibited 04/14 - 05/29)
HONORABLE MENTION (Fine Art Category) for my piece “Committed to Memory, 2 - International Color Awards, 9th Annual
2015
WINNER of the 8th Julia Margaret Cameron Award honoring women in photography. Only 15 women were chosen world-wide by juror Laura Noble, UK.
WINNER-Alternative Process Category in the 8th Julia Margaret Cameron Award HONORABLE MENTION WINNER at the 10th Annual Black & White Spider Awards with in
Abstract Category for my piece “Finale”
HONORABLE MENTION (Fine Art Category) for my series "Unity of Time and Place" in the London International Creative Contest
SILVER AWARD WINNER for my piece, "A Resonant Chill" in Art Forward Contest, #3
2ND PLACE, MERIT OF EXCELLENCE AWARD, International Color Awards, 8th Annual 2014
GRANT-2014 INDIVIDUAL ARTISTS AWARD from the Santo Foundation, St. Louis Missouri
HONORABLE MENTION (Special Effects), in the Moscow International Foto Awards for my series "Place of Departure"
WINNER OF PX3, Prix de la Photographie, Paris awarded First Prize (Gold Medal) in Fine Art/Digitally Enhanced category for my newest series "Places of Departure".
GOLD MEDAL AWARD, in the San Francisco International Photography Exhibition, curated by Paula Tognarelli, Executive Director and Curator of the Griffin Museum of Photography... for my piece "Let The Others Follow"
HONORABLE MENTION, in Natural World exhibition at the Center for Fine Art Photography for my photo “Harmonic Progression”
HONORABLE MENTION, in The Life/Framer Beauty in Life exhibition for my photo “Remaining a Mystery”
Recent Invitational Exhibitions
2017
THE HAND MAGAZINE's EXHIBITION,
OVERVIEW_2017, Group exhibition at the Bruno David Gallery, Clayton Missouri. June 24 -August 12
FOTOGRAFICA BOGOTA, 7th International Biennial of Photography; Theme "Territories" at FOTOMUSEO, May. I am the featured artist.[page4image14656] [page4image14816] [page4image14976]"Mudras", opening July 7th at Leedy Voulkos Art[page4image15864]Center in Kansas City, MO. The show will run through August.[page5image408]GRIFFIN MUSEUM OF PHOTOGRAPHY, http://griffinmuseum.org/show/disturbing-the-spirits/
2016
BERLIN FOTO BIENNALE, at Plazazzo Italia, Berlin - October 6-30 during the European Month of Photography
INVITATIONAL MOSCOW, at Na Kashirke Art Gallery, Moscow July 20-August 7th 2015
DEPTH OF FIELD, curated by RfotoFolio at Art Intersection Gallery in Gilbert, AZ September 8 - October 24
SUMMER SHOW, At Qlick Editions, Amsterdam. July 27-August 29
"and / or" A Group Exhibition, at Bruno David Gallery, St. Louis Missouri, May 1-August 22.
INCOGNITO, fund raising exhibition at the Santa Monica Museum of Art, Santa Monica CA. 05/02
POINT & SHOOT, solo exhibition at Qlick Editions, Amsterdam, opening March 6
Recent Juried Exhibitions
2017
SMALL WORKS, The Center For Fine Art Photography, Fort Collins CO. November 17 - Dec.16 AMBIENT LANDSCAPES, Black Eye Gallery, Sidney Australia - October 30 - Nov 13
DECEPTION, Juried by Brian Paul Clamp, Filter Space at Filter Photo, Chicago Ill. September 15 - October 21
we like small things, (all images 10 x 10 or less) Filter Space at Filter Photo, Chicago Ill. September 15 - October 21
THE PRINT SWAP at PHOTOVILLE, Brooklyn Bridge Plaza, Dumbo New York, NY. Opens September 13
ANALOG v. DIGITAL, Foley Gallery, New York, NY. August 16 - August 26
DISAPPEARING WORLD, Edition One Gallery, Santa Fe. July 28 - Sept. 8 ART AND OPPRESSION, CENTER Santa Fe, through September 15th
SOUTHERN LANDSCAPES, South X Southeast Photo Exhibition at Brickworks Gallery, Atlanta GA, Opening reception, March 11th
ROOTS, Second Place for my image, "Heritage"; La Photo Curator's on-line exhibition 2016
THE BILLBOARD CREATIVE, one of 45 billboards throughout the Los Angeles area, December 12-January 8, 2017
TRANSITIONS, at Edition One, Santa Fe NM; hosted by the America Society of Media Photographers. Opens October 11th.
TRANSIENCE, La Photo Curator's on-line exhibition
THE FENCE, an outdoor photography series, my work featured on the New Mexico
Photographer Showcase, opening July 9th
THE FRONTIER, at The New Mexico History Museum. Work selected by CENTER of Santa Fe. Opening June 10 - 30th
TRANSITIONAL LANDSCAPES at The Center For Fine Art Photography, May 6 - June 10, 2016, Curated by Natasha Egan
WINTER PICTURES, online at Humble Arts Foundation
2015
ILLUMINATE at The Center For Fine Art Photography, December 4 - January 23, 2016, Curated by Elizabeth Avedon
MEMORIES, STORIES, HISTORIES with juror Amy Galpin at the Center For Fine Art Photography, November 6-28
SoHo PHOTO NATIONAL COMPETITION Curated by Elizabeth Avedon at the SohoPhoto Gallery, New York, NY, July 8 - 27th
www.ellenjantzen.com
BINARY EXCHANGE by Ellen Jantzen
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SUPERJACENT ONE by Ellen Jantzen
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APE MONSTER by Gary Beeber
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Gary Beeber says, "Growing up, I loved the paintings of Edward Hopper and the photographs of Diane Arbus, Walker Evans and Eugene Atget.
I started out as a painter. I painted little photo-realistic watercolors based on my photographs, but eventually stopped painting altogether and concentrated on photography.
For many years I photographed architectural details and landscapes. Later on, after producing and directing three documentary films and Gotham Burlesque, an off-Broadway burlesque/variety show, I became interested in taking pictures of people. I am fascinated with people who live unconventional lives."
Gary Beeber is an award-winning American photographer/filmmaker who has exhibited in galleries and museums throughout the United States and Europe.
Solo exhibitions include two at Generous Miracles Gallery NYC and "Personalities" (summer, 2017) at Griffin Museum of Photography, Winchester, MA.
Beeber’s work has also been included in juried exhibitions throughout the country. Among Fortune 500 companies who collect his work are Pfizer Pharmaceutical, Goldman Sachs and Chase Bank.
SELECTED SOLO EXHIBITIONS
2017: PERSONALITIES, Griffin Museum of Photography, Winchester, MA
(curated by Paula Tognarelli, Executive Director and Curator, Griffin Museum of Photography)
PERSONALITIES, Providence Center for Photographic Arts, Providence, RI
(curated by Paula Tognarelli, Executive Director and Curator, Griffin Museum of Photography)
2015: Beauty is in the Details, Dodds & Eder, Sag Harbor, NY
2015: Houston Center for Photography, online exhibition
2006: Lonely Ride, Coney Island, Coney Island Museum
2005: Happy Ride, Coney Island, Coney Island Museum
2004: Happy Ride, pictures from Coney Island, Lyceum Gallery, Suffolk Community College, Riverhead, NY
2002: Details of Sight, Egizio's Project, NYC
Photographs from the Jewish Cemeteries of the Saints, Morocco, Center for Jewish History, NYC
DACHAU, Photographs of the Concentration Camp, ALP Galleries, NYC
2001: IMMORTAL REFLECTION, Recent Photographs by Gary Beeber, Generous Miracles Gallery, NYC
SELECTED EXHIBITIONS
2018
First Annual Members Exhibition, The Center for Fine Art Photography, Fort Collins, CO, (curated by Brian Clamp)
Black and White NOW, South x Southeast PhotoGallery, Molena, Georgia (curated by Mark Steinmetz)
HONORABLE MENTION: response, A Smith Gallery, Johnson City, TX (curated by Amanda Smith and Kevin Tully)
LENS 2018, Perspective Gallery, Evanston, IL (curated by Paula Tognarelli, Director, Griffin Museum of Photography)
SELECTED EXHIBITIONS
2017
The Creative Portrait, Los Angeles Center of Photography (curated by Ann Jastrab)
back/white, A. Smith Gallery, Johnson City, Texas (curated by Elizabeth Avedon)
New Directions, 17, Barrett Art Center, Poughkeepsie, NY, (curated by Isaac Diggs, Rebecca Morse, Robert Stevens)
Photo Work, 2017, Barrett Art Center, Poughkeepsie, NY, (curated by Ruth Erikson)
DIRECTOR’S AWARD: The Invisible Made Visible, Photoplace Gallery, Middlebury, Vermont, (curated by Laurie Klein)
Portals, Photoplace Gallery (Online Gallery) Middlebury, VT (curated by Aline Smithson)
Intimate Portraits, Photoplace Gallery, Middlebury, Vermont (curated by Joyce Tenneson)
HONORABLE MENTION: Nothing Special, L.A. Photo Curator (curated by Bree Lamb)
The Curated Fridge (curated by Brian Clamp)
The Curated Fridge (curated by Arlette Kayafas)
The Curated Fridge (curated by Elin Spring)
Greetings from the Anthropocene, Gallery 110, Seattle (curated by Maiza Hixon)
Shades of Gray, Black Box Gallery, Portland, Oregon
Focus: Narrative Photography, Black Box Gallery, Portland, Oregon (juried by Christy Karpinski)
Black & White, Black Box Gallery, Portland, Oregon
Color: The Visual Spectrum, Black Box Gallery, Portland, Oregon
Unseen: Photography Beyond the Visible, PCPA, Providence, RI (curated by Peter Miller & Laurie Klein)
3rd Open Call, PCPA, Providence, RI (curated by Paula Tognarelli, Director, Griffin Museum of Photography)
www.garybeeber.com
I started out as a painter. I painted little photo-realistic watercolors based on my photographs, but eventually stopped painting altogether and concentrated on photography.
For many years I photographed architectural details and landscapes. Later on, after producing and directing three documentary films and Gotham Burlesque, an off-Broadway burlesque/variety show, I became interested in taking pictures of people. I am fascinated with people who live unconventional lives."
Gary Beeber is an award-winning American photographer/filmmaker who has exhibited in galleries and museums throughout the United States and Europe.
Solo exhibitions include two at Generous Miracles Gallery NYC and "Personalities" (summer, 2017) at Griffin Museum of Photography, Winchester, MA.
Beeber’s work has also been included in juried exhibitions throughout the country. Among Fortune 500 companies who collect his work are Pfizer Pharmaceutical, Goldman Sachs and Chase Bank.
SELECTED SOLO EXHIBITIONS
2017: PERSONALITIES, Griffin Museum of Photography, Winchester, MA
(curated by Paula Tognarelli, Executive Director and Curator, Griffin Museum of Photography)
PERSONALITIES, Providence Center for Photographic Arts, Providence, RI
(curated by Paula Tognarelli, Executive Director and Curator, Griffin Museum of Photography)
2015: Beauty is in the Details, Dodds & Eder, Sag Harbor, NY
2015: Houston Center for Photography, online exhibition
2006: Lonely Ride, Coney Island, Coney Island Museum
2005: Happy Ride, Coney Island, Coney Island Museum
2004: Happy Ride, pictures from Coney Island, Lyceum Gallery, Suffolk Community College, Riverhead, NY
2002: Details of Sight, Egizio's Project, NYC
Photographs from the Jewish Cemeteries of the Saints, Morocco, Center for Jewish History, NYC
DACHAU, Photographs of the Concentration Camp, ALP Galleries, NYC
2001: IMMORTAL REFLECTION, Recent Photographs by Gary Beeber, Generous Miracles Gallery, NYC
SELECTED EXHIBITIONS
2018
First Annual Members Exhibition, The Center for Fine Art Photography, Fort Collins, CO, (curated by Brian Clamp)
Black and White NOW, South x Southeast PhotoGallery, Molena, Georgia (curated by Mark Steinmetz)
HONORABLE MENTION: response, A Smith Gallery, Johnson City, TX (curated by Amanda Smith and Kevin Tully)
LENS 2018, Perspective Gallery, Evanston, IL (curated by Paula Tognarelli, Director, Griffin Museum of Photography)
SELECTED EXHIBITIONS
2017
The Creative Portrait, Los Angeles Center of Photography (curated by Ann Jastrab)
back/white, A. Smith Gallery, Johnson City, Texas (curated by Elizabeth Avedon)
New Directions, 17, Barrett Art Center, Poughkeepsie, NY, (curated by Isaac Diggs, Rebecca Morse, Robert Stevens)
Photo Work, 2017, Barrett Art Center, Poughkeepsie, NY, (curated by Ruth Erikson)
DIRECTOR’S AWARD: The Invisible Made Visible, Photoplace Gallery, Middlebury, Vermont, (curated by Laurie Klein)
Portals, Photoplace Gallery (Online Gallery) Middlebury, VT (curated by Aline Smithson)
Intimate Portraits, Photoplace Gallery, Middlebury, Vermont (curated by Joyce Tenneson)
HONORABLE MENTION: Nothing Special, L.A. Photo Curator (curated by Bree Lamb)
The Curated Fridge (curated by Brian Clamp)
The Curated Fridge (curated by Arlette Kayafas)
The Curated Fridge (curated by Elin Spring)
Greetings from the Anthropocene, Gallery 110, Seattle (curated by Maiza Hixon)
Shades of Gray, Black Box Gallery, Portland, Oregon
Focus: Narrative Photography, Black Box Gallery, Portland, Oregon (juried by Christy Karpinski)
Black & White, Black Box Gallery, Portland, Oregon
Color: The Visual Spectrum, Black Box Gallery, Portland, Oregon
Unseen: Photography Beyond the Visible, PCPA, Providence, RI (curated by Peter Miller & Laurie Klein)
3rd Open Call, PCPA, Providence, RI (curated by Paula Tognarelli, Director, Griffin Museum of Photography)
www.garybeeber.com
CONEY MONSTER by Gary Beeber
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IGOR by Gary Beeber
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FAMILY PHOTOGRAPH by Hal Myers
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Hal Myers says, "Most photographers dread this day. They take the job, shooting pictures of families… for the holiday card, or the portrait over the mantle.
But unless they’ve dedicated their lives to making a living doing family photography, nothing can prepare them for when Wild Thing appears. Sure, we’ve all heard stories of the “Nightmare That Was Shooting the Smiths” and other such bar stool recollections, which vacillate in your mind between the potential of a shoot gone terribly wrong and what sounds more akin to urban mythology.
But until you come face to face with Wild Thing himself, all concern is consigned to the darkroom of remote possibility. Plus, you always interview the family first, you say to yourself. No one here looks the slightest bit dubious. That is, until the session begins – and Wild Thing takes his very first bite.
Now you know: there’s a monster about. The only option, you keep telling yourself, is to work quickly and try to get out of the session alive.
Still, you’re a documentary photographer: show a spine. Wild Thing? He’ll never be tamed. But at least there’s a way for him to be captured.
MY AIM IS TO SEE the humanity of a situation, not just the circumstance. A photograph allows us to freeze the choreography of our surroundings in order to more closely inspect the environment – but more so, to recognize in ourselves the shared human experience. It suspends time, lets you roll the moment around on your tongue and get a flavor of things, maybe even imagine what happened before or after the picture was taken.
As a photojournalist, I pursue this documentation, especially out there on the cultural fringe. But another aim is to capture and preserve the local traditions of people whose image is typically shaped by either travel brochures or a patronizing view of their relatively poor economic conditions… and to connect those moments to our common humanity.
I’m what Cornell Capa considered to be a “concerned photographer.” These days, just about any photographer who is sensitive to what feels like a world of multiplying social injustices must qualify.
I have a particular interest in protecting the environment as well, and the two go hand-in-hand: we’re beginning a long march, so to speak, toward a period of global climgration (migration caused by climate change) – impacting and exacerbating a host of critical issues.
I’ve chosen a couple areas of interest to focus on in response, including unapologetic support of the promising (if not idealistic – something we need!) Young Progressives of America.
The politics of progressivism is not a photographic project, yet, but my participation in the Women’s March on Washington, among several others, and a relationship to members of the Lakota Sioux in Standing Rock, North Dakota, has produced engaging photography that intends to influence in viewers an empathetic position.
Recent time spent navigating the (figurative) minefield of Afghanistan was an intense experience that further drives my sense of urgency to capture and convey the cultural heritage of fragile societies that are on the brink of either destruction or implosion. I can name several; sometimes erosion is hard to detect until the bottom drops out.
Having lived in five countries and spent time in well over 50 has imbued my photographic perspective with a certain sensitivity that comes from fully immersive travel experiences.
I only began photographing seriously about 12 years ago – long enough for some, late for embarking on a lifetime passion. That said, I wasn’t quite ready before then – preoccupied as I was with living in Saudi Arabia or Singapore, or adjusting to five years of life in Japan.
There was a sort of inventory of life experiences I had to absorb before translating my philosophy, which took years to fully congeal, into a photographic vision. I’m grateful for the necessary time spent in creative gestation.
It’s also helped that I’ve been in marketing for more than 25 years, having earned my credentials and several awards in the business world.
This has chiseled and honed a significant facet of my creative style, which spans corporate strategy (especially in the field of sustainability), graphic design, copy writing, video production, web development and most anything that has required creative ideas to shape rhetorical messaging. I’ve been lucky to work professionally as the person I actually am.
The takeaway is that, as suggested elsewhere, we are all inherently connected. I’m baffled by the taking of knee-jerk political positions that build walls around narrow-minded and homogeneous thinking, which itself springs from fear. Real solutions don’t come about through exclusion, but (however trite this might sound) acts of inclusion – whose root word “include” is an apt description for the container on which we all live: Planet Earth.
Contrary to forces trying to pull us apart, the colorful threads of diversity are what bind the world closer together, much like an Afghan rug or a handmade Mexican scarf, whose strength is derived from the alternating warp and weft of their fibers. Our strength and, I suspect, future depends on taking an interwoven approach.
Hopefully some of that colorful diversity comes through in my photographs, most of which I have yet to take. And that’s the cool thing about taking pictures: there is so much of this amazing world to discover, it only takes positive intent, and perhaps a well-meaning aim, to easily see."
CV:
Selected Image, 2017 Nobel Peace Prize Forum
Best in Show, Photography Showcase
First Place, Islands Magazine Annual Competition
First Place, Launch of Real World Magazine
Winner, YDP 2014 Int’l Street Photography
Second Place, LA Photo Curator | Street Photography
Artistic Merit Awards, Islands Magazine
Merit Award, Black & White Magazine
Finalist, Black+White Photographer of the Year
Honorable Mention, Islands Magazine
Honorable Mention, The Home, Profotio
Featured Artist, La Lettre de la Photographie
Featured Artist, MyArtSpace
Featured Artist, Ugallery
www.hrm.photography
But unless they’ve dedicated their lives to making a living doing family photography, nothing can prepare them for when Wild Thing appears. Sure, we’ve all heard stories of the “Nightmare That Was Shooting the Smiths” and other such bar stool recollections, which vacillate in your mind between the potential of a shoot gone terribly wrong and what sounds more akin to urban mythology.
But until you come face to face with Wild Thing himself, all concern is consigned to the darkroom of remote possibility. Plus, you always interview the family first, you say to yourself. No one here looks the slightest bit dubious. That is, until the session begins – and Wild Thing takes his very first bite.
Now you know: there’s a monster about. The only option, you keep telling yourself, is to work quickly and try to get out of the session alive.
Still, you’re a documentary photographer: show a spine. Wild Thing? He’ll never be tamed. But at least there’s a way for him to be captured.
MY AIM IS TO SEE the humanity of a situation, not just the circumstance. A photograph allows us to freeze the choreography of our surroundings in order to more closely inspect the environment – but more so, to recognize in ourselves the shared human experience. It suspends time, lets you roll the moment around on your tongue and get a flavor of things, maybe even imagine what happened before or after the picture was taken.
As a photojournalist, I pursue this documentation, especially out there on the cultural fringe. But another aim is to capture and preserve the local traditions of people whose image is typically shaped by either travel brochures or a patronizing view of their relatively poor economic conditions… and to connect those moments to our common humanity.
I’m what Cornell Capa considered to be a “concerned photographer.” These days, just about any photographer who is sensitive to what feels like a world of multiplying social injustices must qualify.
I have a particular interest in protecting the environment as well, and the two go hand-in-hand: we’re beginning a long march, so to speak, toward a period of global climgration (migration caused by climate change) – impacting and exacerbating a host of critical issues.
I’ve chosen a couple areas of interest to focus on in response, including unapologetic support of the promising (if not idealistic – something we need!) Young Progressives of America.
The politics of progressivism is not a photographic project, yet, but my participation in the Women’s March on Washington, among several others, and a relationship to members of the Lakota Sioux in Standing Rock, North Dakota, has produced engaging photography that intends to influence in viewers an empathetic position.
Recent time spent navigating the (figurative) minefield of Afghanistan was an intense experience that further drives my sense of urgency to capture and convey the cultural heritage of fragile societies that are on the brink of either destruction or implosion. I can name several; sometimes erosion is hard to detect until the bottom drops out.
Having lived in five countries and spent time in well over 50 has imbued my photographic perspective with a certain sensitivity that comes from fully immersive travel experiences.
I only began photographing seriously about 12 years ago – long enough for some, late for embarking on a lifetime passion. That said, I wasn’t quite ready before then – preoccupied as I was with living in Saudi Arabia or Singapore, or adjusting to five years of life in Japan.
There was a sort of inventory of life experiences I had to absorb before translating my philosophy, which took years to fully congeal, into a photographic vision. I’m grateful for the necessary time spent in creative gestation.
It’s also helped that I’ve been in marketing for more than 25 years, having earned my credentials and several awards in the business world.
This has chiseled and honed a significant facet of my creative style, which spans corporate strategy (especially in the field of sustainability), graphic design, copy writing, video production, web development and most anything that has required creative ideas to shape rhetorical messaging. I’ve been lucky to work professionally as the person I actually am.
The takeaway is that, as suggested elsewhere, we are all inherently connected. I’m baffled by the taking of knee-jerk political positions that build walls around narrow-minded and homogeneous thinking, which itself springs from fear. Real solutions don’t come about through exclusion, but (however trite this might sound) acts of inclusion – whose root word “include” is an apt description for the container on which we all live: Planet Earth.
Contrary to forces trying to pull us apart, the colorful threads of diversity are what bind the world closer together, much like an Afghan rug or a handmade Mexican scarf, whose strength is derived from the alternating warp and weft of their fibers. Our strength and, I suspect, future depends on taking an interwoven approach.
Hopefully some of that colorful diversity comes through in my photographs, most of which I have yet to take. And that’s the cool thing about taking pictures: there is so much of this amazing world to discover, it only takes positive intent, and perhaps a well-meaning aim, to easily see."
CV:
Selected Image, 2017 Nobel Peace Prize Forum
Best in Show, Photography Showcase
First Place, Islands Magazine Annual Competition
First Place, Launch of Real World Magazine
Winner, YDP 2014 Int’l Street Photography
Second Place, LA Photo Curator | Street Photography
Artistic Merit Awards, Islands Magazine
Merit Award, Black & White Magazine
Finalist, Black+White Photographer of the Year
Honorable Mention, Islands Magazine
Honorable Mention, The Home, Profotio
Featured Artist, La Lettre de la Photographie
Featured Artist, MyArtSpace
Featured Artist, Ugallery
www.hrm.photography
FAMILY PHOTO SHOOT by Hal Myers
(Click on image for larger view)
(Click on image for larger view)
FAMILY PORTRAIT by Hal Myers
(Click on image for larger view)
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ELF by Jan Cook
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Jan Cook says, "I think of this series as a bestiary from a daydream. I titled this series Fugue, in reference to that idea. One definition of fugue is: a dreamlike state of altered consciousness that may last for hours or days. With this work I want to create the feel that you have when remembering a dream, not quite tangible, hazy and surreal. My images are portraits of figures from that illusory world. They are informed by memory, religious ritual and folklore.
Visually, I am interested in pushing the boundary between where the photographic image begins and ends. Conceptually, I see the combination of photograph and paint like magical realism in fiction, blurring the edges of belief. I find the ambiguity in these altered photographs intriguing because it forces the viewer to question what he sees. We tend to look at photographs as real. Manipulated images aren’t real and make the viewer try and figure out what is.
In this series I am using chromoskedasic painting to produce unique gelatin silver prints. The photographs are manipulated with chemistry during the black and white development process. This creates a range of subtle colors as well as a silvering out of the photographic paper. The process can be unpredictable and difficult to control as you can’t see the effects of the chemistry until after the marks develop. It does not allow for the same kind of detail as traditional painting. I feel it works well for this subject by creating a surreal landscape for my characters."
Jan Cook currently lives in Portland, Oregon but hails from Seattle.
She received her BFA in Photography from the University of Washington and has exhibited in the US and Mexico. She works primarily with alternative processes and her images are a combination of photographic reality and fabrication, usually incorporating some type of painting.
Her photography experience is diverse, ranging from shooting large sculptural artworks to train hopping on a documentary film. She worked in Mexico as a staff photographer for the Cultural Institute of Tabasco and has traveled extensively in that region. She feels this has had a big influence on her work. You can see more of her images at www.jancook.com.
CV
EDUCATION
1987 BFA Photography, University of Washington
SOLO EXHIBITIONS
2014 Scattered Light, Gallery 110, Seattle, WA
2012 Bright Ideas, Gallery 110, Spotlight Gallery, Seattle, WA
2011 Fugue, Gallery 110, Seattle, WA
2006 Fables, Art and Soul, Seattle, WA
2001 The Cook-O-Matic Calendar Show, NW Industrial Building, Seattle, WA
1995 The T-Shirt Show, Fotocircle Gallery, Seattle, WA
GROUP EXHIBITIONS
2017 Illumination - Capturing Light Without A Camera, Gallery 1of1, Seattle, WA
2016 2nd Annual Group Show, Davis Orton Gallery, Hudson, NY. Juror: Paula Tognarelli
2016 Diffusion Annual Exhibit, A Smith Gallery, Johnson City, TX. Curated by Libby Rowe and Blue Mitchell
2011 The White Show, Gallery 110, Seattle, WA
2011 Printmaking Now, Gallery 110, Seattle, WA
2010 Food for the Soul, Gallery 114, Portland, OR
2010 Unbridled Narcissism, Blackfish Gallery, Portland OR
GRANTS, AWARDS, RESIDENCIES
2017 Regional Arts and Culture Council Professional Development Grant
1997 Artist Trust Gap Grant Recipient
1991 Recognition Award “Nudes”, Northwest Film and Video Open, Chandler Fine Arts, Seattle, WA
RELATED EXPERIENCE
1988-2013 Freelance Commercial Photographer, jobs have included portraits, editorial, product shots, film stills for motion picture, stock for Getty Images and art documentation including three years with Chihuly Studios.
1988-1993 Partner and Curator, Galleria Potatohead, Seattle, WA
ARTICLES, REVIEWS
2017 Kat Kiernan, Photo of the Day May 19, 2017, Don’t Take Pictures, http://www.donttakepictures.com/photo-of-the-day/?offset=1495972800145
2017 Elin Spring, Altered States Abound at Photolucida 2017, What Will You Remember? Blog http://elinspringphotography.com/blog/photolucida-2017-altered-and-abstract-imagery/
2016 Blue Mitchell, Diffusion Magazine, Lemniscate of Diffusion Volume VII, 2016, “Mise-en-Scené Invitational”, page 82.
2015 Julie Grahame, online review on the @Curator blog
http://acurator.com/blog/2015/05/jan-cook-chromoskedasic-paintings.html
2004 Erica Wheeler, Camera Arts, “Blurring the Boundaries Among the Mediums”, August/September, pages 20-23.
www.jancook.com
Visually, I am interested in pushing the boundary between where the photographic image begins and ends. Conceptually, I see the combination of photograph and paint like magical realism in fiction, blurring the edges of belief. I find the ambiguity in these altered photographs intriguing because it forces the viewer to question what he sees. We tend to look at photographs as real. Manipulated images aren’t real and make the viewer try and figure out what is.
In this series I am using chromoskedasic painting to produce unique gelatin silver prints. The photographs are manipulated with chemistry during the black and white development process. This creates a range of subtle colors as well as a silvering out of the photographic paper. The process can be unpredictable and difficult to control as you can’t see the effects of the chemistry until after the marks develop. It does not allow for the same kind of detail as traditional painting. I feel it works well for this subject by creating a surreal landscape for my characters."
Jan Cook currently lives in Portland, Oregon but hails from Seattle.
She received her BFA in Photography from the University of Washington and has exhibited in the US and Mexico. She works primarily with alternative processes and her images are a combination of photographic reality and fabrication, usually incorporating some type of painting.
Her photography experience is diverse, ranging from shooting large sculptural artworks to train hopping on a documentary film. She worked in Mexico as a staff photographer for the Cultural Institute of Tabasco and has traveled extensively in that region. She feels this has had a big influence on her work. You can see more of her images at www.jancook.com.
CV
EDUCATION
1987 BFA Photography, University of Washington
SOLO EXHIBITIONS
2014 Scattered Light, Gallery 110, Seattle, WA
2012 Bright Ideas, Gallery 110, Spotlight Gallery, Seattle, WA
2011 Fugue, Gallery 110, Seattle, WA
2006 Fables, Art and Soul, Seattle, WA
2001 The Cook-O-Matic Calendar Show, NW Industrial Building, Seattle, WA
1995 The T-Shirt Show, Fotocircle Gallery, Seattle, WA
GROUP EXHIBITIONS
2017 Illumination - Capturing Light Without A Camera, Gallery 1of1, Seattle, WA
2016 2nd Annual Group Show, Davis Orton Gallery, Hudson, NY. Juror: Paula Tognarelli
2016 Diffusion Annual Exhibit, A Smith Gallery, Johnson City, TX. Curated by Libby Rowe and Blue Mitchell
2011 The White Show, Gallery 110, Seattle, WA
2011 Printmaking Now, Gallery 110, Seattle, WA
2010 Food for the Soul, Gallery 114, Portland, OR
2010 Unbridled Narcissism, Blackfish Gallery, Portland OR
GRANTS, AWARDS, RESIDENCIES
2017 Regional Arts and Culture Council Professional Development Grant
1997 Artist Trust Gap Grant Recipient
1991 Recognition Award “Nudes”, Northwest Film and Video Open, Chandler Fine Arts, Seattle, WA
RELATED EXPERIENCE
1988-2013 Freelance Commercial Photographer, jobs have included portraits, editorial, product shots, film stills for motion picture, stock for Getty Images and art documentation including three years with Chihuly Studios.
1988-1993 Partner and Curator, Galleria Potatohead, Seattle, WA
ARTICLES, REVIEWS
2017 Kat Kiernan, Photo of the Day May 19, 2017, Don’t Take Pictures, http://www.donttakepictures.com/photo-of-the-day/?offset=1495972800145
2017 Elin Spring, Altered States Abound at Photolucida 2017, What Will You Remember? Blog http://elinspringphotography.com/blog/photolucida-2017-altered-and-abstract-imagery/
2016 Blue Mitchell, Diffusion Magazine, Lemniscate of Diffusion Volume VII, 2016, “Mise-en-Scené Invitational”, page 82.
2015 Julie Grahame, online review on the @Curator blog
http://acurator.com/blog/2015/05/jan-cook-chromoskedasic-paintings.html
2004 Erica Wheeler, Camera Arts, “Blurring the Boundaries Among the Mediums”, August/September, pages 20-23.
www.jancook.com
GARGYOLE by Jan Cook
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GRASP by Jan Cook
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GHOST by Jeannine Mullan
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Jeannine Mullan says, "I am
drawn to photography because of its multidimensional and dynamic nature. I am always amazed at how layered it is.
There are layers of composition, layers of color and light, layers of movement and layers of changing emotion. I enjoy the challenge of using a mechanical device to convey and portray these layers. My work has been influenced by many scientists, poets, sculptors, painters and theists. I often find my muse in the smooth simplicity of Rodin and in the insight of Kahlil Gibran.
In my images I aspire to a simplicity that holds the viewer in its space, a simplicity where you find yourself comfortable with wondering.
I have studied photography at the Maine Media School of Photography and am currently enrolled in the MFA program there. I have also studied privately with Arthur Meyerson, Seth Resnick, John Paul Caponigro, Jay Maisel and Jack Graham. I have taken several Miksong workshops in contemplative photography.
I love to travel and am an aspiring dunderbee with one continent left on my list to visit."
Jeannine (Forton ) Mullan (b. 1957, Buffalo, NY USA) Currently lives and works in Buffalo, NY and Longboat Key, Fl.
EDUCATION
BACHELOR OF ARTS: ECONOMICS- 1979
St Lawrence University - Canton, NY
MFA IN PHOTOGRAPHY - EXPECTED GRADUATION -2020 Maine Media College
www.jmullan.net
drawn to photography because of its multidimensional and dynamic nature. I am always amazed at how layered it is.
There are layers of composition, layers of color and light, layers of movement and layers of changing emotion. I enjoy the challenge of using a mechanical device to convey and portray these layers. My work has been influenced by many scientists, poets, sculptors, painters and theists. I often find my muse in the smooth simplicity of Rodin and in the insight of Kahlil Gibran.
In my images I aspire to a simplicity that holds the viewer in its space, a simplicity where you find yourself comfortable with wondering.
I have studied photography at the Maine Media School of Photography and am currently enrolled in the MFA program there. I have also studied privately with Arthur Meyerson, Seth Resnick, John Paul Caponigro, Jay Maisel and Jack Graham. I have taken several Miksong workshops in contemplative photography.
I love to travel and am an aspiring dunderbee with one continent left on my list to visit."
Jeannine (Forton ) Mullan (b. 1957, Buffalo, NY USA) Currently lives and works in Buffalo, NY and Longboat Key, Fl.
EDUCATION
BACHELOR OF ARTS: ECONOMICS- 1979
St Lawrence University - Canton, NY
MFA IN PHOTOGRAPHY - EXPECTED GRADUATION -2020 Maine Media College
www.jmullan.net
UNTITLED by Jeannine Mullan
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I FEAR by Jeannine Mullan
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BAT-FACED GOURDS by Jim Baab
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Jim Baab says "Preface: Pareidolia is a psychological phenomenon in which the mind responds to a stimulus, usually an image or a sound, by perceiving a familiar pattern where none exists.
Common examples are perceived images of animals, faces, or objects in cloud formations, or, the man in the moon. Hermann Rorschach was a Swiss Freudian psychiatrist and psychoanalyst best known for developing the Rorschach test.
This test was reportedly designed to reflect unconscious parts of the personality that "project" onto the stimuli. In the test, individuals are shown 10 inkblots—one at a time—and asked to report what objects or figures they see in each of them.
Process: My creative process for an ongoing series that I call ‘Exploring Pareidolia’ takes advantage of a live, in-camera, digital reflection effect which produces symmetrical views of everyday scenes and still life. By subtly repositioning and rotating the camera’s perspective, while in this mirrored mode, I am able to align the resulting geometric patterns in ways that create grotesque hearts, winged creatures, war masks, genitalia, otherworldly artifacts, and fantastic beasts - illusions that elevate the mundane in a very Rorschachian way.
Presentation: For this ‘Monsters’ call for art, I present three faces that spark both curiosity and caution - one of gourds, one of fruit, one of tree bark."
Somerville, MA artist Jim Baab photographs everyday objects, scenes, and the human form, with an eye for light, line, and illusion.
Since taking his hobby more seriously in 2011, his artwork has been chosen for national and international group exhibitions in TN, CA, MA, MI, VT, TX, and Budapest, Hungary.
His awards and recognition include a Gold Artist award for ArtAscent magazine’s Vol. 8, ‘Hidden’ issue, and, being chosen as the sole visual artist featured in the Boston-themed, 40th issue of POESY, a bicoastal poetry magazine.
www.jimbaab.com
Common examples are perceived images of animals, faces, or objects in cloud formations, or, the man in the moon. Hermann Rorschach was a Swiss Freudian psychiatrist and psychoanalyst best known for developing the Rorschach test.
This test was reportedly designed to reflect unconscious parts of the personality that "project" onto the stimuli. In the test, individuals are shown 10 inkblots—one at a time—and asked to report what objects or figures they see in each of them.
Process: My creative process for an ongoing series that I call ‘Exploring Pareidolia’ takes advantage of a live, in-camera, digital reflection effect which produces symmetrical views of everyday scenes and still life. By subtly repositioning and rotating the camera’s perspective, while in this mirrored mode, I am able to align the resulting geometric patterns in ways that create grotesque hearts, winged creatures, war masks, genitalia, otherworldly artifacts, and fantastic beasts - illusions that elevate the mundane in a very Rorschachian way.
Presentation: For this ‘Monsters’ call for art, I present three faces that spark both curiosity and caution - one of gourds, one of fruit, one of tree bark."
Somerville, MA artist Jim Baab photographs everyday objects, scenes, and the human form, with an eye for light, line, and illusion.
Since taking his hobby more seriously in 2011, his artwork has been chosen for national and international group exhibitions in TN, CA, MA, MI, VT, TX, and Budapest, Hungary.
His awards and recognition include a Gold Artist award for ArtAscent magazine’s Vol. 8, ‘Hidden’ issue, and, being chosen as the sole visual artist featured in the Boston-themed, 40th issue of POESY, a bicoastal poetry magazine.
www.jimbaab.com
BLOOD ORANGE BEAST by Jim Baab
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RIJKSMUSEUM TREE SPIRIT II by Jim Baab
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Home for 'Monsters' including message from Anne Eder:
www.nyphotocurator.com/monsters-anne-eder
First Place: www.nyphotocurator.com/monsters-anne-eder/first-place-amy-becker/1
Second Place: www.cm-sites.icompendium.com/accounts/nyphotocurator.com/monsters-anne-eder/second-place-rachel-britton
Honorable Mentions: www.nyphotocurator.com/monsters-anne-eder/honorable-mentions-angelique-benecio-shine-huang-pato-hebert-sarah-manriquez
Online Exhibition #1: www.nyphotocurator.com/monsters-anne-eder/exhibition-1/1
Online Exhibition #2: www.nyphotocurator.com/monsters-anne-eder/exhibition-2/1
Online Exhibition #3: www.nyphotocurator.com/monsters-anne-eder/exhibition-3/1
Best Series: www.nyphotocurator.com/monsters-anne-eder/best-series-andrew-repcik
Best Abstract: www.nyphotocurator.com/monsters-anne-eder/best-abstract-m-apparition
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Home for 'Monsters' including message from Anne Eder:
www.nyphotocurator.com/monsters-anne-eder
First Place: www.nyphotocurator.com/monsters-anne-eder/first-place-amy-becker/1
Second Place: www.cm-sites.icompendium.com/accounts/nyphotocurator.com/monsters-anne-eder/second-place-rachel-britton
Honorable Mentions: www.nyphotocurator.com/monsters-anne-eder/honorable-mentions-angelique-benecio-shine-huang-pato-hebert-sarah-manriquez
Online Exhibition #1: www.nyphotocurator.com/monsters-anne-eder/exhibition-1/1
Online Exhibition #2: www.nyphotocurator.com/monsters-anne-eder/exhibition-2/1
Online Exhibition #3: www.nyphotocurator.com/monsters-anne-eder/exhibition-3/1
Best Series: www.nyphotocurator.com/monsters-anne-eder/best-series-andrew-repcik
Best Abstract: www.nyphotocurator.com/monsters-anne-eder/best-abstract-m-apparition
