MONSTERS- ANNE EDER > Exhibition #2
Exhibition #2
KRAMPUS FESTIVAL 3 by Larry Brownstein
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Larry Brownstein says, "For me, the camera is a key that unlocks otherwise closed doors. It is also a magnifying glass that encourages me to see the world more closely. When the camera is in my hand I suddenly become sensitive to the visual elements of color, tone, pattern, gesture and composition.
When it goes well, this heightened sensitivity can elevate the commonplace and an otherwise mundane subject is revealed in surprising ways. The joy I experience from such surprises is what keeps me going.
Whether my subject matter is beautiful or ugly my goal is to see more deeply and, hopefully, to allow the viewer to see more deeply, too.
For me it began with a trip to Asia with a pocket-sized Minox camera. It opened doors for me in China, The Philippines, Burma, Thailand and India. Now my camera is bigger and the destinations are closer to home but the magic remains."
Larry Brownstein has exhibited widely and has published several monographs including Los Angeles, Where Anything is Possible; Visions of Venice; and Hollywood Boulevard, Where Everyone’s a Star. He was one of the principal photographers of the books America the Beautiful; California; and Only in Los Angeles.
He frequently contributes to magazines and was formerly a contributing editor of Rangefinder magazine. His thousands of photo credits include such magazines as National Geographic Traveler, Discover and Photo District News, as well as books, calendars, greeting cards, billboards, etc. He is represented by Getty Images and Alamy. He has won photo contests, including an award in the Nikon Photo Contest.
www.brownsteinphoto.com
When it goes well, this heightened sensitivity can elevate the commonplace and an otherwise mundane subject is revealed in surprising ways. The joy I experience from such surprises is what keeps me going.
Whether my subject matter is beautiful or ugly my goal is to see more deeply and, hopefully, to allow the viewer to see more deeply, too.
For me it began with a trip to Asia with a pocket-sized Minox camera. It opened doors for me in China, The Philippines, Burma, Thailand and India. Now my camera is bigger and the destinations are closer to home but the magic remains."
Larry Brownstein has exhibited widely and has published several monographs including Los Angeles, Where Anything is Possible; Visions of Venice; and Hollywood Boulevard, Where Everyone’s a Star. He was one of the principal photographers of the books America the Beautiful; California; and Only in Los Angeles.
He frequently contributes to magazines and was formerly a contributing editor of Rangefinder magazine. His thousands of photo credits include such magazines as National Geographic Traveler, Discover and Photo District News, as well as books, calendars, greeting cards, billboards, etc. He is represented by Getty Images and Alamy. He has won photo contests, including an award in the Nikon Photo Contest.
www.brownsteinphoto.com
THE MASKED ONES 1576 by Larry Brownstein
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THE MASKED ONES 470 by Larry Brownstein
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UNTITLED 1 Erin Mahoney
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Erin Mahoney says, "Imposter syndrome is a concept describing high-achieving individuals who are marked by an inability to internalize their accomplishments and a persistent fear of being exposed as a “fraud”.
These images mark a series of photographs that I’ve been contemplating for a few years now. I suffer from imposter syndrome. It has plagued me since my teenage years. At the time, I was participating in every extra curricular activity that my school offered while maintaining a high GPA and still not feeling good enough. I was captain of my varsity field hockey team, juggling three part-time jobs, upholding all of my after-school club activities, and still feeling like, at any moment, someone would expose me for a fake and fraud. My facade felt paper thin. Nothing was ever good enough nor fulfilling to satisfy the need for achievement and ultimately validation and assurance.
My imposter syndrome has followed me well into my adult life and these days it shows up mostly as doubt over my job performance. Nearly three years ago I shifted away from photographic education to the tech industry as a software engineer. To leave almost ten years of one specific profession for an entire world of another has shook my self-confidence and sense of success.
I don’t pretend that the transition has been easy. If anything, it’s brought on a new set of problems and issues that I had no prior experience in dealing with. A particularly toxic work culture in one job and a sudden layoff in another has taken any small comfort that I’ve gained and left me on a crumbling island of doubt. Sometimes it is hard to acknowledge how far I’ve come…
In functional programming, there is a term called a side effect. It simply refers to the modification of some kind of state. Often, side effects are undesired occurrences in programming. Writing code without side effects — so that they’re pure — makes it easier to reason about the correctness of a program. The end goal being that applications are much more optimizable and that they showcase exactly what one would expect based on the code written.
Like side effects in programming, my imposter syndrome has left me with undesirable feelings in the form of stress and anxiety. My inner dialog tells me that I am not good enough to achieve what I want to achieve. Sometimes this feeling manifests itself physically. Most of the time it’s an internal struggle that I manage to keep hidden . . . some would call me high functioning. The feelings and pressure always remain.
The images from this series represent my moments of incapability, uncertainty, and self-oppression that happen as a result of my imposter syndrome.
I allow for both intention and improvisation to come through this series. It’s important for me to both give and let go of control during the process. I’m using a 50mm Lensbaby to allow for the depth of field to come in and out organically. What details that appear sharp are happenstance since the lens has no focus ability. This level of unexpectedness bodes well with the final black and white aesthetic.
Often enough I meet successful people in my life that confess of their own experience with imposter syndrome. I know that I am not alone with this ever-present feeling of fraud and failure. While I discuss this with great enthusiasm with friends, it doesn’t seem to comfort me beyond that conversation. This series works to normalize and bring awareness to this issue on a larger and more reaching scale. My images allow for imposter syndrome to exist in a visual way. Each photograph represents a feeling that I want others to confront and acknowledge.
To reveal my internal struggles leaves me feeling quite vulnerable. But I know that the perception of success is a thin veil. Inside, I have doubts and demons. It’s how I choose to meet them that really matters."
Erin Mahoney is a fine art photographer and photographic educator living in the Bay Area. She graduated with a Master of Fine Arts Degree in Photography from the Academy of Art University and also holds a Bachelor of Fine Arts Degree in Professional Photographic Illustration from the Rochester Institute of Technology. Erin had the opportunity to teach and develop various undergraduate photography courses at the Art Institute of California in Silicon Valley and Rayko Photo Center in San Francisco.
Her work has been published in celebrated photographic pedagogical tomes such as The Book of Alternative Processes, 3rd Edition by Christopher James and Gum Printing: A Step-by-Step Manual, Highlighting Artists and Their Creative Practice by Christina Z. Anderson.
Erin has had the opportunity to exhibit her work for nearly a decade across national and international exhibitions at such esteemed places like the de Young Museum of Fine Arts in San Francisco and the Revela-T Photographic Film Festival in Barcelona, Spain.
She currently is an active exhibition committee member for the Society for Photographic Education and focuses on creating conceptual self-portraiture that marries contemporary photography with historical printing.
www.erinmahoneyphoto.com
These images mark a series of photographs that I’ve been contemplating for a few years now. I suffer from imposter syndrome. It has plagued me since my teenage years. At the time, I was participating in every extra curricular activity that my school offered while maintaining a high GPA and still not feeling good enough. I was captain of my varsity field hockey team, juggling three part-time jobs, upholding all of my after-school club activities, and still feeling like, at any moment, someone would expose me for a fake and fraud. My facade felt paper thin. Nothing was ever good enough nor fulfilling to satisfy the need for achievement and ultimately validation and assurance.
My imposter syndrome has followed me well into my adult life and these days it shows up mostly as doubt over my job performance. Nearly three years ago I shifted away from photographic education to the tech industry as a software engineer. To leave almost ten years of one specific profession for an entire world of another has shook my self-confidence and sense of success.
I don’t pretend that the transition has been easy. If anything, it’s brought on a new set of problems and issues that I had no prior experience in dealing with. A particularly toxic work culture in one job and a sudden layoff in another has taken any small comfort that I’ve gained and left me on a crumbling island of doubt. Sometimes it is hard to acknowledge how far I’ve come…
In functional programming, there is a term called a side effect. It simply refers to the modification of some kind of state. Often, side effects are undesired occurrences in programming. Writing code without side effects — so that they’re pure — makes it easier to reason about the correctness of a program. The end goal being that applications are much more optimizable and that they showcase exactly what one would expect based on the code written.
Like side effects in programming, my imposter syndrome has left me with undesirable feelings in the form of stress and anxiety. My inner dialog tells me that I am not good enough to achieve what I want to achieve. Sometimes this feeling manifests itself physically. Most of the time it’s an internal struggle that I manage to keep hidden . . . some would call me high functioning. The feelings and pressure always remain.
The images from this series represent my moments of incapability, uncertainty, and self-oppression that happen as a result of my imposter syndrome.
I allow for both intention and improvisation to come through this series. It’s important for me to both give and let go of control during the process. I’m using a 50mm Lensbaby to allow for the depth of field to come in and out organically. What details that appear sharp are happenstance since the lens has no focus ability. This level of unexpectedness bodes well with the final black and white aesthetic.
Often enough I meet successful people in my life that confess of their own experience with imposter syndrome. I know that I am not alone with this ever-present feeling of fraud and failure. While I discuss this with great enthusiasm with friends, it doesn’t seem to comfort me beyond that conversation. This series works to normalize and bring awareness to this issue on a larger and more reaching scale. My images allow for imposter syndrome to exist in a visual way. Each photograph represents a feeling that I want others to confront and acknowledge.
To reveal my internal struggles leaves me feeling quite vulnerable. But I know that the perception of success is a thin veil. Inside, I have doubts and demons. It’s how I choose to meet them that really matters."
Erin Mahoney is a fine art photographer and photographic educator living in the Bay Area. She graduated with a Master of Fine Arts Degree in Photography from the Academy of Art University and also holds a Bachelor of Fine Arts Degree in Professional Photographic Illustration from the Rochester Institute of Technology. Erin had the opportunity to teach and develop various undergraduate photography courses at the Art Institute of California in Silicon Valley and Rayko Photo Center in San Francisco.
Her work has been published in celebrated photographic pedagogical tomes such as The Book of Alternative Processes, 3rd Edition by Christopher James and Gum Printing: A Step-by-Step Manual, Highlighting Artists and Their Creative Practice by Christina Z. Anderson.
Erin has had the opportunity to exhibit her work for nearly a decade across national and international exhibitions at such esteemed places like the de Young Museum of Fine Arts in San Francisco and the Revela-T Photographic Film Festival in Barcelona, Spain.
She currently is an active exhibition committee member for the Society for Photographic Education and focuses on creating conceptual self-portraiture that marries contemporary photography with historical printing.
www.erinmahoneyphoto.com
UNTITLED 3 by Erin Mahoney
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UNTITLED 7 by Erin Mahoney
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JOEY by Michael Jantzen
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Michael Jantzen says of his series, 'Masqueraders', Masqueraders, is a series of photomontages partially made from images of some of my sculptures and architectural models, as well as images of various people.
The images of my sculptures and architectural models were placed into my computer where they were isolated from their original backgrounds, manipulated in various ways, in most cases clustered together, and reconstructed back into symmetrical montages.
The images of the people were also isolated from their original backgrounds. I then replaced the heads of the people with the photomontages made from my sculptures and architectural models. I added images of my eyes to the symmetrical montages in the appropriate locations that symbolically refer to the eyes of the people.
My work is very well known around the world. It has been featured in thousands of articles in books, magazines, newspapers, and on the Web.
My work has been shown in many galleries, and on various TV documentaries. It has also been exhibited at the National Building Museum, the Canadian Center for Architecture, the Harvard School of Design and Architecture, the Santa Fe Institute, and at the Museum of Modern Art in New York. Most of my work merges art, architecture, technology, and sustainable design into one unique experience.
Extreme innovation is my goal in everything I create. Most of this innovation has been focused on the re-invention of the built environment, sculpture, and photography."
www.archinect.com/michael-jantzen/projects
The images of my sculptures and architectural models were placed into my computer where they were isolated from their original backgrounds, manipulated in various ways, in most cases clustered together, and reconstructed back into symmetrical montages.
The images of the people were also isolated from their original backgrounds. I then replaced the heads of the people with the photomontages made from my sculptures and architectural models. I added images of my eyes to the symmetrical montages in the appropriate locations that symbolically refer to the eyes of the people.
My work is very well known around the world. It has been featured in thousands of articles in books, magazines, newspapers, and on the Web.
My work has been shown in many galleries, and on various TV documentaries. It has also been exhibited at the National Building Museum, the Canadian Center for Architecture, the Harvard School of Design and Architecture, the Santa Fe Institute, and at the Museum of Modern Art in New York. Most of my work merges art, architecture, technology, and sustainable design into one unique experience.
Extreme innovation is my goal in everything I create. Most of this innovation has been focused on the re-invention of the built environment, sculpture, and photography."
www.archinect.com/michael-jantzen/projects
JOHN by Michael Jantzen
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MARY by Michael Jantzen
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MONSTER 1 by Michael Lewy
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Michael Lewy says, "As a child, I built a spaceship in my closet. I took the needle of my record player and crushed it into the turntable to make a rocket sound.
I hammered a lucite coat hanger into the floor as a steering wheel. My handprinted view screen had a planet in the distance, and a piece of glass that looked like a rock as a power source, maybe a paperweight.
My father was a traveling salesman who
sold paperweights, among other things.
Images burrow themselves into the subconscious, their meaning ebbs and flows like radio transmissions from a past long forgotten. They return years later, the context gone, only appearing as vague references of their original forms.
I watched a lot of television back then. Television of the 1970s had a dreamlike, ephemeral quality. Sometimes you saw a show and had no idea what you were watching. You joined things in the middle, so stories slipped into disconnected fragments of narrative. Now, years later, images from these TV shows — Lost in Space, the Six Million Dollar Man, Star Trek, and Land of the Lost, among others — have resurfaced in the narratives I construct, blurred with the memories of the spaceships I built in the closet, the alien landscapes I sketched, and visions from my dreams. Strange planets made on Hollywood sound stages and spacemen floating in the black void fuel my work. I take these remembered moments of television and sculpt new narratives from cardboard, styrofoam, paint, smoke, and costumes.
This series, Bigfoot Island, suggests a children’s television show that might have existed between the channels, a reconstructed diary of channel surfing from my childhood. These still and moving images, created with a blend of analog and digital processes, function both as dioramas to be observed and as a secret distant world you might explore in person, if only you could find your way there."
Michael Lewy is an artist who works in a variety of media including photography, video and computer graphics. He received his MFA from Massachusetts College of Art in 1996; He has been working at MIT as an office adminsitrator since 2000 and also works as an illustrator for such clients as the New York Times book review and HiLow books.
He is the author of Chart Sensation, a book of power point charts and has shown at the deCordova Sculpture Park and Museum, the Pacific Film Archives and Carroll and Sons Gallery in Boston. He currently lives in Jamaica Plain, MA with his wife and daughter.
www.michaellewy.com
I hammered a lucite coat hanger into the floor as a steering wheel. My handprinted view screen had a planet in the distance, and a piece of glass that looked like a rock as a power source, maybe a paperweight.
My father was a traveling salesman who
sold paperweights, among other things.
Images burrow themselves into the subconscious, their meaning ebbs and flows like radio transmissions from a past long forgotten. They return years later, the context gone, only appearing as vague references of their original forms.
I watched a lot of television back then. Television of the 1970s had a dreamlike, ephemeral quality. Sometimes you saw a show and had no idea what you were watching. You joined things in the middle, so stories slipped into disconnected fragments of narrative. Now, years later, images from these TV shows — Lost in Space, the Six Million Dollar Man, Star Trek, and Land of the Lost, among others — have resurfaced in the narratives I construct, blurred with the memories of the spaceships I built in the closet, the alien landscapes I sketched, and visions from my dreams. Strange planets made on Hollywood sound stages and spacemen floating in the black void fuel my work. I take these remembered moments of television and sculpt new narratives from cardboard, styrofoam, paint, smoke, and costumes.
This series, Bigfoot Island, suggests a children’s television show that might have existed between the channels, a reconstructed diary of channel surfing from my childhood. These still and moving images, created with a blend of analog and digital processes, function both as dioramas to be observed and as a secret distant world you might explore in person, if only you could find your way there."
Michael Lewy is an artist who works in a variety of media including photography, video and computer graphics. He received his MFA from Massachusetts College of Art in 1996; He has been working at MIT as an office adminsitrator since 2000 and also works as an illustrator for such clients as the New York Times book review and HiLow books.
He is the author of Chart Sensation, a book of power point charts and has shown at the deCordova Sculpture Park and Museum, the Pacific Film Archives and Carroll and Sons Gallery in Boston. He currently lives in Jamaica Plain, MA with his wife and daughter.
www.michaellewy.com
MONSTERS 3 by Michael Lewy
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MONSTER 2 by Michael Lewy
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BONE MAN by Michael Manning
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Michael Manning says,"I am a photographer with 20 years of experience as an artist and visual storyteller.
Whether shooting for magazines, non-profits or corporate clients my approach is grounded in my vision. I love being immersed in new environments and using imagery to express myself.
I studied at the Art Institute of Boston with David Ulrich who was a student of Minor White’s. Those years of exploring metaphor in imagery still inform my work today. The investigation, a photograph being what it is, and what else it is, still moves me. For many years I’ve traveled making images on the road in cities like San Francisco, New York, New Orleans, Havana, and LA.
Drawn to the richness and beauty of life in New Orleans I made it my home for four years. While there I explored the American South and Southwest making images in the desert.
My photographs have appeared in the New York Times, the Boston Globe, Boston Magazine, Rolling Stone and the Boston Phoenix among other magazines and publications. My work has been included in gallery and museum shows and I have won several awards for my photojournalism and documentary work.
My published documentary projects include an inside look at the Greek Orthodox Church in Boston, called The Living Light; and the story of a close-knit group of homeless people helping each other survive in Boston, called La Familia: Life on the Street. I submitted work from this series to the Photographic Resource Center and was invited to take part in the show, DOCUMENT: Contemporary Social Documentary Work of Greater Boston. Six images from my work with Boston's homeless were selected. Other work based on my own family, called In a Family Way, is still in process.
My most recent work is a series of double exposures made in camera called DoubleLand which explores and questions the landscape and time itself."
Exhibitions
2017 - November 15th - present, Cambridge Artists Co-op, DoubleLand, photographic double exposures made in camera
2017 August 1 - September 30th, Outpost 186, DoubleLand and mixed-media works
2014 - November 3 - December 12, Group Show: "Visionary Vistas"; The Carole Calo Gallery, Stonehill College, Easton, MA
Link to show info
2014 - September 18 - December 20, Group Show: "Your Work Here [2.0]"; The Photographic Resource Center
Link to PRC show
2013 - SocialDocumentary, September; "La Familia, Life on the Street"
2009 - Cambridge Open Studios; Paintings, photographs, mixed-media
2008 - January - March
"Dream Cycle"; Paintings, mixed-media and audio installation, Joy St. Open Studios
2006 - February 2 - March 26
Group Show: "DOCUMENT: Contemporary Social Documentary Work from Greater Boston" The Photographic Resource Center
Link to PRC work
IG: @michaelmanningphoto.com
www.michaelmanningphoto.com
Whether shooting for magazines, non-profits or corporate clients my approach is grounded in my vision. I love being immersed in new environments and using imagery to express myself.
I studied at the Art Institute of Boston with David Ulrich who was a student of Minor White’s. Those years of exploring metaphor in imagery still inform my work today. The investigation, a photograph being what it is, and what else it is, still moves me. For many years I’ve traveled making images on the road in cities like San Francisco, New York, New Orleans, Havana, and LA.
Drawn to the richness and beauty of life in New Orleans I made it my home for four years. While there I explored the American South and Southwest making images in the desert.
My photographs have appeared in the New York Times, the Boston Globe, Boston Magazine, Rolling Stone and the Boston Phoenix among other magazines and publications. My work has been included in gallery and museum shows and I have won several awards for my photojournalism and documentary work.
My published documentary projects include an inside look at the Greek Orthodox Church in Boston, called The Living Light; and the story of a close-knit group of homeless people helping each other survive in Boston, called La Familia: Life on the Street. I submitted work from this series to the Photographic Resource Center and was invited to take part in the show, DOCUMENT: Contemporary Social Documentary Work of Greater Boston. Six images from my work with Boston's homeless were selected. Other work based on my own family, called In a Family Way, is still in process.
My most recent work is a series of double exposures made in camera called DoubleLand which explores and questions the landscape and time itself."
Exhibitions
2017 - November 15th - present, Cambridge Artists Co-op, DoubleLand, photographic double exposures made in camera
2017 August 1 - September 30th, Outpost 186, DoubleLand and mixed-media works
2014 - November 3 - December 12, Group Show: "Visionary Vistas"; The Carole Calo Gallery, Stonehill College, Easton, MA
Link to show info
2014 - September 18 - December 20, Group Show: "Your Work Here [2.0]"; The Photographic Resource Center
Link to PRC show
2013 - SocialDocumentary, September; "La Familia, Life on the Street"
2009 - Cambridge Open Studios; Paintings, photographs, mixed-media
2008 - January - March
"Dream Cycle"; Paintings, mixed-media and audio installation, Joy St. Open Studios
2006 - February 2 - March 26
Group Show: "DOCUMENT: Contemporary Social Documentary Work from Greater Boston" The Photographic Resource Center
Link to PRC work
IG: @michaelmanningphoto.com
www.michaelmanningphoto.com
BREASTFEEDING by Michael Manning
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IN THE TREES by Michael Manning
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A PORTION OF THE UNIVERSE/THE BRIGHT AND HALLOWED SKY 2-14-17-1 by M. Apparition
Best Abstract
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Best Abstract
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Curator Anne Eder says, "Among the abstract submissions, M. Apparition’s elegant image from her series, 'A Portion of the Universe/The Bright and Hallowed Sky 2-14-17-1, stood apart, offering a glimpse into what appears to be the beating heart of the world---primal energy glowing red, neither evil nor benevolent, perhaps both---monstrous or divine, this image offers the viewer a satisfying mystery and accrued time spent engaged with it yields proportionate rewards."
M. Apparition says, "My work is about trusting what isn't yet known. Using experimental processes, the images resonate beyond my consciousness.
The viewers are invited to project their own associations onto the work, engaging in the pleasures of discovery and surrender.
"A Portion of the Universe/The Bright and Hallowed Sky 2-14-17-1" is a unique chemically treated c-print; this is an experimental process of my own devising. It is part of a larger series. "Rogues I've Known", pts. 3 and 4 are gelatin silver prints that have been massaged into being in the optical darkroom.
"a work of art ...is always completed by the viewer and is never seen the same way by any two persons."
-David Smith
"Explanation is a killer of all wonderment"
--Felix Barrett MBE, Artistic Director, Punchdrunk Theatre Company
CV:
Solo Exhibitions
2002
“Truth Doesn’t Make a Noise”, Col Legno, New York, NY
Selected Group Exhibitions
2018
The Abstract Image, SE Center for Photography, Greenville, SC; Adam Finkelston, juror
http://www.sec4p.com/abstract-image-ss/
2017
Photography + Science, Yixian International Photography Festival; Lishui Photography Festival, China; Laura Moya, curator http://www.yixianphoto.org
http://www.lishuiphoto.org/?v=en
Shaping Light, Studio BONG, Florence, Italy; Chiara Salvi, curator http://www.chiarasalvi.com/curating1/shaping-light
13th Annual Alternative Processes Competition, Soho Photo Gallery, New York, NY; Morgan Post, juror
http://www.sohophoto.com/2017/10/02/upcoming-alternative-processes/
Somerville Toy Camera Festival, Somerville, MA; Michael Kirchoff, juror http://www.somervilletoycamera.org//2017-selected-artists
"Space", Littlefield, Brooklyn, NY
Hosted by Float Photo Magazine
91st Annual International Competition (semifinalist), The Print Center, Philadelphia, PA; Kelly Baum and Jennifer Farrell, jurors http://printcenter.org/91st/apparition/
Krappy Kamera Show, Soho Photo Gallery, New York, NY; Russell Joslin, juror
http://www.sohophoto.com/2017/03/01/march-2017-exhibitions/
Float Photo Magazine, Online Exhibition "Space"
https://www.floatmagazine.us/spaceexhibition
2016
Lenscratch, The 2016 Signs of Life Exhibition
http://lenscratch.com/2016/10/the-2016-signs-of-life-exhibition/
Float Photo Magazine, Online Exhibition "Failure"
https://www.floatmagazine.us/failure-exhibition
Float Photo Magazine, Online Exhibition "Magic"
https://www.floatmagazine.us/magicexhibition
2015
8th Annual International Juried Plastic Camera Show, Rayko Photo Center, San Francisco, CA; Ann Jastrab, juror
https://raykophotocenter.squarespace.com/2015/2015/5/13/8th-annual-international-juried-plastic-camera-show
Publication
2018
Conceptual, LoosenArt, Milan, Italy (upcoming)
Selected Press
Mother F Stop, Nov. 2, 2017
http://motherfstop.wixsite.com/motherfstop/single-post/2017/11/02/M-Apparition
The Hand Magazine, Issue 18, October 2017
http://www.thehandmagazine.space/issue-18-purchase-and-artists-links/
Somerville Toy Camera Festival Turns Five! Elin Spring, What Will You Remember photoblog http://elinspringphotography.com/blog/somerville-toy-camera-festival-fifth-anniversary-shows/
phosmag, June 29, 2017
http://www.phosmag.com/m-apparition/
GUP Magazine, portfolio, May 23, 2017
http://www.gupmagazine.com/portfolios/m-apparition/nest-memory
GUP Magazine, Issue #53 -- Infinity
http://www.gupmagazine.com/articles/introduction-to-gup-number-53-infinity
New York Magazine, "Look Book", October 2, 2016
http://nymag.com/thecut/2016/10/the-artist-whose-hair-is-five-shades-of-blue-and-green.html
Musée Magazine, Issue 14 -- Science and Technology
https://view.joomag.com/mus%C3%A9e-magazine-issue-no-14-science-technology/0842188001469660383?short
PDN, Photo of the Day, "Plastic Fantastic", March 11, 2015
potd.pdnonline.com/2015/03/30874#gallery-7
Grant
2004
Finalist, Buhl Foundation Grant; Vic Muñiz, Juror
Art Criticism
2006-09
ghostontheaisle.blogspot.com
Education
1997
International Center of Photography, New York, NY
Courses in advanced black & white printing.
1994
The Sculpture Center, New York, NY
Courses in traditional-investment bronze casting and mould making.
1993-94
Fakulta Akademie Múzických Umění (FAMU), Prague, Czech Republic
Courses in black & white photography: the large format camera, advanced darkroom technique. Participated in intensive photo workshops in Zwiesel, Germany.
1991-93
San Francisco State University, San Francisco, CA
Courses in sculpture (emphasis on welded steel), glass casting and jewelry fabrication.
Work may be seen at Pierogi Gallery Flat Files, New York, NY.
M. Apparition was born and raised, and lives and works in New York.
www.m-apparition.com
M. Apparition says, "My work is about trusting what isn't yet known. Using experimental processes, the images resonate beyond my consciousness.
The viewers are invited to project their own associations onto the work, engaging in the pleasures of discovery and surrender.
"A Portion of the Universe/The Bright and Hallowed Sky 2-14-17-1" is a unique chemically treated c-print; this is an experimental process of my own devising. It is part of a larger series. "Rogues I've Known", pts. 3 and 4 are gelatin silver prints that have been massaged into being in the optical darkroom.
"a work of art ...is always completed by the viewer and is never seen the same way by any two persons."
-David Smith
"Explanation is a killer of all wonderment"
--Felix Barrett MBE, Artistic Director, Punchdrunk Theatre Company
CV:
Solo Exhibitions
2002
“Truth Doesn’t Make a Noise”, Col Legno, New York, NY
Selected Group Exhibitions
2018
The Abstract Image, SE Center for Photography, Greenville, SC; Adam Finkelston, juror
http://www.sec4p.com/abstract-image-ss/
2017
Photography + Science, Yixian International Photography Festival; Lishui Photography Festival, China; Laura Moya, curator http://www.yixianphoto.org
http://www.lishuiphoto.org/?v=en
Shaping Light, Studio BONG, Florence, Italy; Chiara Salvi, curator http://www.chiarasalvi.com/curating1/shaping-light
13th Annual Alternative Processes Competition, Soho Photo Gallery, New York, NY; Morgan Post, juror
http://www.sohophoto.com/2017/10/02/upcoming-alternative-processes/
Somerville Toy Camera Festival, Somerville, MA; Michael Kirchoff, juror http://www.somervilletoycamera.org//2017-selected-artists
"Space", Littlefield, Brooklyn, NY
Hosted by Float Photo Magazine
91st Annual International Competition (semifinalist), The Print Center, Philadelphia, PA; Kelly Baum and Jennifer Farrell, jurors http://printcenter.org/91st/apparition/
Krappy Kamera Show, Soho Photo Gallery, New York, NY; Russell Joslin, juror
http://www.sohophoto.com/2017/03/01/march-2017-exhibitions/
Float Photo Magazine, Online Exhibition "Space"
https://www.floatmagazine.us/spaceexhibition
2016
Lenscratch, The 2016 Signs of Life Exhibition
http://lenscratch.com/2016/10/the-2016-signs-of-life-exhibition/
Float Photo Magazine, Online Exhibition "Failure"
https://www.floatmagazine.us/failure-exhibition
Float Photo Magazine, Online Exhibition "Magic"
https://www.floatmagazine.us/magicexhibition
2015
8th Annual International Juried Plastic Camera Show, Rayko Photo Center, San Francisco, CA; Ann Jastrab, juror
https://raykophotocenter.squarespace.com/2015/2015/5/13/8th-annual-international-juried-plastic-camera-show
Publication
2018
Conceptual, LoosenArt, Milan, Italy (upcoming)
Selected Press
Mother F Stop, Nov. 2, 2017
http://motherfstop.wixsite.com/motherfstop/single-post/2017/11/02/M-Apparition
The Hand Magazine, Issue 18, October 2017
http://www.thehandmagazine.space/issue-18-purchase-and-artists-links/
Somerville Toy Camera Festival Turns Five! Elin Spring, What Will You Remember photoblog http://elinspringphotography.com/blog/somerville-toy-camera-festival-fifth-anniversary-shows/
phosmag, June 29, 2017
http://www.phosmag.com/m-apparition/
GUP Magazine, portfolio, May 23, 2017
http://www.gupmagazine.com/portfolios/m-apparition/nest-memory
GUP Magazine, Issue #53 -- Infinity
http://www.gupmagazine.com/articles/introduction-to-gup-number-53-infinity
New York Magazine, "Look Book", October 2, 2016
http://nymag.com/thecut/2016/10/the-artist-whose-hair-is-five-shades-of-blue-and-green.html
Musée Magazine, Issue 14 -- Science and Technology
https://view.joomag.com/mus%C3%A9e-magazine-issue-no-14-science-technology/0842188001469660383?short
PDN, Photo of the Day, "Plastic Fantastic", March 11, 2015
potd.pdnonline.com/2015/03/30874#gallery-7
Grant
2004
Finalist, Buhl Foundation Grant; Vic Muñiz, Juror
Art Criticism
2006-09
ghostontheaisle.blogspot.com
Education
1997
International Center of Photography, New York, NY
Courses in advanced black & white printing.
1994
The Sculpture Center, New York, NY
Courses in traditional-investment bronze casting and mould making.
1993-94
Fakulta Akademie Múzických Umění (FAMU), Prague, Czech Republic
Courses in black & white photography: the large format camera, advanced darkroom technique. Participated in intensive photo workshops in Zwiesel, Germany.
1991-93
San Francisco State University, San Francisco, CA
Courses in sculpture (emphasis on welded steel), glass casting and jewelry fabrication.
Work may be seen at Pierogi Gallery Flat Files, New York, NY.
M. Apparition was born and raised, and lives and works in New York.
www.m-apparition.com
ROGUES I'VE KNOW PT3 by M. Apparition
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ROGUES I'VE KNOW PT4 by M.Apparition
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OSCILLATOR IN TUALATIN HILLS NATURE PARK by Pato Hebert
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Curator Anne Eder says, "Pato Hebert’s Oscillator series is at its best in Oscillator in Tualatin Hills Nature Park, where the complicated composition of green woods and posture of the figure extends an invitation to try and piece together the story behind the creature’s mood and circumstances."
Pato Hebert says, "In, If Not Always Of is a series of performances for the camera in which a character or presence that I call, “The Oscillator,” appears in various landscapes. The Oscillator reflects its environment, without simply or easily being of its context. Inspired by Buddhist notions of interconnectedness and the limitations of the ego, The Oscillator queries our relationship to place and space, and our false distinctions between human and nature. Where do we feel like we belong? When are we comfortable in our own skin? What makes us feel like aliens? What do we define as ours, sacred, everyday, untouched? Who and what are excluded by these delineations? What does it mean to be of a place, not simply in it or passing through? How might we connect with all that is around us, to all that is us without simply making “us” the center of a myopic worldview?
In Ecology Without Nature, Timothy Morton reminds us that the West’s very notion of nature as being “over there” and separate from humans is part of our ecological challenge. We cannot simply see ourselves as exceptional and apart. We must consider what Richard Grusin and others have called the non-human turn. I have been exploring these ideas through the presencing of The Oscillator in parks and nature reserves, areas that have been demarcated by the state and private organizations as “nature,” or apart from the built, yet which are nonetheless shaped actively (if not wholly) by human hands.
The Oscillator can sometimes mirror its surrounding environment, but it can also be encompassed, even configured by its landscape. It oscillates between alienation and belonging. Sometimes The Oscillator seems to announce its presence and difference. Other times it seeks to seamlessly blend in, appearing to shape shift. Still other times it is almost indistinguishable from its context. Throughout these cumulative encounters, we might wonder what makes something or someone feel un/natural, in/accessible, in/vulnerable?"
Pato Hebert is an artist, teacher and organizer. His work explores the aesthetics, ethics and poetics of interconnectedness. He is particularly interested in space, spirituality, pedagogy and progressive praxis. Recent projects have been presented at Beton7 in Athens, PH21 Gallery in Budapest, the Contemporary Art Museum in Quito, the International AIDS Conference in Durban and The Glass Studio at The Chrysler Museum in Norfolk. In 2016 he was a BAU Institute/Camargo Foundation Residency Fellow in Cassis, France.
Hebert’s work has been supported by grants from the Rockefeller Foundation, the Creative Work Fund, the National Education Association and a Mid-Career Fellowship for Visual Artists from the California Community Foundation. In 2008 he received the Excellence in Photographic Teaching Award from Center in Santa Fe. He teaches as an Associate Arts Professor in the Department of Art & Public Policy at Tisch School of the Arts, New York University. He has also worked in community-based HIV prevention initiatives with queer communities of color since 1994. He continues this grassroots work through his current projects with the Global Forum on MSM & HIV (MSMGF), where he helps to develop innovative international approaches to community mobilization, programs and advocacy.
www.patohebert.com/home.html
Pato Hebert says, "In, If Not Always Of is a series of performances for the camera in which a character or presence that I call, “The Oscillator,” appears in various landscapes. The Oscillator reflects its environment, without simply or easily being of its context. Inspired by Buddhist notions of interconnectedness and the limitations of the ego, The Oscillator queries our relationship to place and space, and our false distinctions between human and nature. Where do we feel like we belong? When are we comfortable in our own skin? What makes us feel like aliens? What do we define as ours, sacred, everyday, untouched? Who and what are excluded by these delineations? What does it mean to be of a place, not simply in it or passing through? How might we connect with all that is around us, to all that is us without simply making “us” the center of a myopic worldview?
In Ecology Without Nature, Timothy Morton reminds us that the West’s very notion of nature as being “over there” and separate from humans is part of our ecological challenge. We cannot simply see ourselves as exceptional and apart. We must consider what Richard Grusin and others have called the non-human turn. I have been exploring these ideas through the presencing of The Oscillator in parks and nature reserves, areas that have been demarcated by the state and private organizations as “nature,” or apart from the built, yet which are nonetheless shaped actively (if not wholly) by human hands.
The Oscillator can sometimes mirror its surrounding environment, but it can also be encompassed, even configured by its landscape. It oscillates between alienation and belonging. Sometimes The Oscillator seems to announce its presence and difference. Other times it seeks to seamlessly blend in, appearing to shape shift. Still other times it is almost indistinguishable from its context. Throughout these cumulative encounters, we might wonder what makes something or someone feel un/natural, in/accessible, in/vulnerable?"
Pato Hebert is an artist, teacher and organizer. His work explores the aesthetics, ethics and poetics of interconnectedness. He is particularly interested in space, spirituality, pedagogy and progressive praxis. Recent projects have been presented at Beton7 in Athens, PH21 Gallery in Budapest, the Contemporary Art Museum in Quito, the International AIDS Conference in Durban and The Glass Studio at The Chrysler Museum in Norfolk. In 2016 he was a BAU Institute/Camargo Foundation Residency Fellow in Cassis, France.
Hebert’s work has been supported by grants from the Rockefeller Foundation, the Creative Work Fund, the National Education Association and a Mid-Career Fellowship for Visual Artists from the California Community Foundation. In 2008 he received the Excellence in Photographic Teaching Award from Center in Santa Fe. He teaches as an Associate Arts Professor in the Department of Art & Public Policy at Tisch School of the Arts, New York University. He has also worked in community-based HIV prevention initiatives with queer communities of color since 1994. He continues this grassroots work through his current projects with the Global Forum on MSM & HIV (MSMGF), where he helps to develop innovative international approaches to community mobilization, programs and advocacy.
www.patohebert.com/home.html
OSCILLATOR IN ECOLA STATE PARK by Pato Hebert
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OSCILLATOR IN GREAT SMOKY MOUNTAINS NATIONAL PARK by Pato Hebert
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BEAST OF LABURNUM by Perry Matthews
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Perry Matthews says, "Monsters can be both terrifying and ethereal at the same time. They stem from our imagination and creep up in our dreams (and, at times, in our waking lives).These images began as neighborhood photos and transformed into beasts and beings that lurk in the alley or emanate from the darkest corner of the yard. Always elusive and just beyond our grasp, but forever a part of who we are."
Perry Matthews is a self-taught internationally-published photographer who takes joy in creating fascinating images from her everyday surroundings. Her work has been displayed in galleries in Virginia and is part of the permanent collection at Capital One
Artist CV:
Exhibition Experience
Upcoming Solo Shows
Color Pop RVA – Jun-Jul 2018 – Art Works, Richmond, VA
Solo Shows
Pushing Color Against Boundaries – Aug-Sep 2017 – Art Works, Richmond, VA
Adventures in Wine Country – Sep-Dec 2017 – Capital One, Richmond, VA
Digital Perspectives – Oct-Nov 2017 – MacCallum More Museum & Gardens, Chase City, VA
Adventures in Wine Country – Sep-Oct 2016 – Art Works, Richmond, VA
Architectural Abstractions – May-Jul 2016 – Capital One, Richmond, VA
Architectural Abstractions – Nov 2015-Jan 2016 – Art Works, Richmond, VA
Monochrome Perspective – Sep-Oct 2014 – Art Works, Richmond, VA
RVA Vision – May-Jun 2013 – Art Works, Richmond, VA
Group Shows
ThinkSmall – Nov-Dec 2017 – Artspace, Richmond, VA
L.A. Photo Curator Online – Sep 2017 – Overlooked & In Between
Radius 250 – May 2017 – Artspace, Richmond, VA
All Media Shows – 2017 – Crossroads Art Center, Richmond, VA
All Media Shows – 2012 – 2018 – Art Works, Richmond, VAWomen’s History Month – 2011 – 2017 Capital One, Richmond, VA and McLean, VA
http://www.2catswithcameras.wixsite.com/2cats
Perry Matthews is a self-taught internationally-published photographer who takes joy in creating fascinating images from her everyday surroundings. Her work has been displayed in galleries in Virginia and is part of the permanent collection at Capital One
Artist CV:
Exhibition Experience
Upcoming Solo Shows
Color Pop RVA – Jun-Jul 2018 – Art Works, Richmond, VA
Solo Shows
Pushing Color Against Boundaries – Aug-Sep 2017 – Art Works, Richmond, VA
Adventures in Wine Country – Sep-Dec 2017 – Capital One, Richmond, VA
Digital Perspectives – Oct-Nov 2017 – MacCallum More Museum & Gardens, Chase City, VA
Adventures in Wine Country – Sep-Oct 2016 – Art Works, Richmond, VA
Architectural Abstractions – May-Jul 2016 – Capital One, Richmond, VA
Architectural Abstractions – Nov 2015-Jan 2016 – Art Works, Richmond, VA
Monochrome Perspective – Sep-Oct 2014 – Art Works, Richmond, VA
RVA Vision – May-Jun 2013 – Art Works, Richmond, VA
Group Shows
ThinkSmall – Nov-Dec 2017 – Artspace, Richmond, VA
L.A. Photo Curator Online – Sep 2017 – Overlooked & In Between
Radius 250 – May 2017 – Artspace, Richmond, VA
All Media Shows – 2017 – Crossroads Art Center, Richmond, VA
All Media Shows – 2012 – 2018 – Art Works, Richmond, VAWomen’s History Month – 2011 – 2017 Capital One, Richmond, VA and McLean, VA
http://www.2catswithcameras.wixsite.com/2cats
LETTING THE GENIE OUT OF THE BOTTLE by Perry Matthews
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OVERACTIVE IMAGINATION by Perry Matthews
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DYSMORPHIA 2 by Rachel Britton
Second Place
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Second Place
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Curator Anne Eder says, "
In second place is Rachel Britton’s Dysmorphia 2. In making this choice, I was forced to abandon my own aesthetic preferences in favor of acknowledging a visceral emotional reaction to the content of the image.
I will be honest, this is not typically my aesthetic, and heavy-handed digital manipulations are generally not something I am drawn to, however, the image elicited a strong gut response of horror and repulsion, which given the specifications of the CFE and the subject matter, makes it successful!
It is a challenging photograph, offering a precise and compelling execution of the call for entry, and an externalized rendering of an unseen, internal monster. It finds its place in the current zeitgeist and among issues in the spotlight; in addressing dysmorphia it speaks to a large number of people, disproportionately women, affected by this socially constructed obstacle to health and happiness that may be described as a monster within."
Rachel Britton says, "Dysmorphia is the preoccupation with an imagined or slight physical defect of one's body that produces stress or behavior inefficiencies (merriam-webster.com, 2018). When people have body dysmorphia, they obsess over their physical flaws for hours a day, engaging in repetitive behaviors such as skin picking, hair pulling, checking in mirrors, and changing clothes excessively (adaa.org, 2018). Britton’s Dysmorphia explores the disorder’s constant presence in peoples' lives."
Rachel Britton relies on digital manipulation to communicate personal narratives. Their other work focuses on filling space with light, presentation through fashion, and transforming the face with makeup.
www.rachelbrittonphoto.com
In second place is Rachel Britton’s Dysmorphia 2. In making this choice, I was forced to abandon my own aesthetic preferences in favor of acknowledging a visceral emotional reaction to the content of the image.
I will be honest, this is not typically my aesthetic, and heavy-handed digital manipulations are generally not something I am drawn to, however, the image elicited a strong gut response of horror and repulsion, which given the specifications of the CFE and the subject matter, makes it successful!
It is a challenging photograph, offering a precise and compelling execution of the call for entry, and an externalized rendering of an unseen, internal monster. It finds its place in the current zeitgeist and among issues in the spotlight; in addressing dysmorphia it speaks to a large number of people, disproportionately women, affected by this socially constructed obstacle to health and happiness that may be described as a monster within."
Rachel Britton says, "Dysmorphia is the preoccupation with an imagined or slight physical defect of one's body that produces stress or behavior inefficiencies (merriam-webster.com, 2018). When people have body dysmorphia, they obsess over their physical flaws for hours a day, engaging in repetitive behaviors such as skin picking, hair pulling, checking in mirrors, and changing clothes excessively (adaa.org, 2018). Britton’s Dysmorphia explores the disorder’s constant presence in peoples' lives."
Rachel Britton relies on digital manipulation to communicate personal narratives. Their other work focuses on filling space with light, presentation through fashion, and transforming the face with makeup.
www.rachelbrittonphoto.com
DYSMORPHIA 1 by Rachel Britton
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DYSMORPHIA 3 by Rachel Britton
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DEPERSONALIZATION by Rachel Martin
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Rachel Martin says of her work, “Monsters don’t live under your bed, they live in your head.
This body of work is a representation of mental illness and extreme emotion personified. Each image depicts one specific emotion or illness and the internal feelings of those who suffer from them.
The collection was inspired by the artist's desire to break through the wall surrounding mental illness and to remove the stigma around having these feelings. The intent of the project was to start a conversation about mental illness and to encourage those suffering to not be afraid to seek help."
Rachel Martin is an artist based in Newton, MA. A recent graduate of the New England School of Photography, she has since spent a majority of her time working on documentary projects and cultivating a network of fine artists and industry professionals. Rachel has spent her life struggling to find her place in life. Suffering from ADHD, Generalized Anxiety Disorder, and Panic Disorder she has fought very hard to make it through school and to build a career that she was able to succeed in. She spends much of her time serving the special needs and disabled members of her community and trying to give back and share all the knowledge she has gathered in the past 12 years fighting these demons.
Shot on 4x5 film in a controlled studio setting, these sole intent of these images is the focus on the emotion, and not the person depicted.
EXHIBITIONS:
2017
L.A. Photo Curator - Los Angeles, CA Certain Places – Honorable Mention
2016
Flash Forward Festival – Boston, MA Undergraduate Exhibit – Featured Artist
Somerville Toy Camera Festival – Somerville, MA
Featured Artist
Arc Gallery – San Francisco, CA
Secret Exhibition
Flash Forward Festival – Boston, MA
www.rachelmartin-photography.com
This body of work is a representation of mental illness and extreme emotion personified. Each image depicts one specific emotion or illness and the internal feelings of those who suffer from them.
The collection was inspired by the artist's desire to break through the wall surrounding mental illness and to remove the stigma around having these feelings. The intent of the project was to start a conversation about mental illness and to encourage those suffering to not be afraid to seek help."
Rachel Martin is an artist based in Newton, MA. A recent graduate of the New England School of Photography, she has since spent a majority of her time working on documentary projects and cultivating a network of fine artists and industry professionals. Rachel has spent her life struggling to find her place in life. Suffering from ADHD, Generalized Anxiety Disorder, and Panic Disorder she has fought very hard to make it through school and to build a career that she was able to succeed in. She spends much of her time serving the special needs and disabled members of her community and trying to give back and share all the knowledge she has gathered in the past 12 years fighting these demons.
Shot on 4x5 film in a controlled studio setting, these sole intent of these images is the focus on the emotion, and not the person depicted.
EXHIBITIONS:
2017
L.A. Photo Curator - Los Angeles, CA Certain Places – Honorable Mention
2016
Flash Forward Festival – Boston, MA Undergraduate Exhibit – Featured Artist
Somerville Toy Camera Festival – Somerville, MA
Featured Artist
Arc Gallery – San Francisco, CA
Secret Exhibition
Flash Forward Festival – Boston, MA
www.rachelmartin-photography.com
DEPRESSION by Rachel Martin
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INSECURITY by Rachel Martin
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MIRROR by Rob Lorino
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"It is pointed out, regularly and endlessly, that the word 'monster' shares roots with 'monstrum,' 'monstrare,' 'monere'—'that which teaches,' 'to show,' 'to warn.' This is true but no longer of any help at all, if it ever was." - China Miéville
Rob Lorino says, "We all have something a little monstrous inside us. As an artist who works primarily in self-portraiture, trying on varied personas (including the monstrous ones) is something I regularly explore in my work. In fact, the monstrous is often among my favorite subjects to explore - as a queer person, I can't help but identify and empathize with monsters.
Queerness and monstrosity have long been interwoven - from the queer-coding of villains in pop culture to the demonization of queer people in real life. Like queer people, monsters are feared & have to hide. As a nonbinary person I inhabit a space that's between male and female. Monsters, too, often change forms or hybridize two or more things. The most terrifying monsters are the monsters you can't quite see or identify; the suspense & unease of not quite knowing evokes far more dread than even the most visually scary of monsters. It's no accident that ignorance is most often the root of hatred and bigotry towards queer people.
Many queer people, myself included, choose to reclaim monstrousness as a positive instead of the negative society means it to be. This selection of self-portraits combines elements of fashion and glamour with unsettling identity obscuring elements to bring alive queer monstrosity in all its glory."
Rob (they/them/theirs pronouns) is a nonbinary Boston based photographer who primarily works in self-portraiture. Their photographs draw from pop culture, mythology, and beyond to craft a narrative utilizing a dramatic, and punchy aesthetic.
Their work has been featured in The Boston Globe, The Improper Bostonian, Stuff Boston, and more. Their most recent exhibit was as part of the Curated Fridge's Autumn 2017 show.
www.instagram.com/roblorinophoto/
Rob Lorino says, "We all have something a little monstrous inside us. As an artist who works primarily in self-portraiture, trying on varied personas (including the monstrous ones) is something I regularly explore in my work. In fact, the monstrous is often among my favorite subjects to explore - as a queer person, I can't help but identify and empathize with monsters.
Queerness and monstrosity have long been interwoven - from the queer-coding of villains in pop culture to the demonization of queer people in real life. Like queer people, monsters are feared & have to hide. As a nonbinary person I inhabit a space that's between male and female. Monsters, too, often change forms or hybridize two or more things. The most terrifying monsters are the monsters you can't quite see or identify; the suspense & unease of not quite knowing evokes far more dread than even the most visually scary of monsters. It's no accident that ignorance is most often the root of hatred and bigotry towards queer people.
Many queer people, myself included, choose to reclaim monstrousness as a positive instead of the negative society means it to be. This selection of self-portraits combines elements of fashion and glamour with unsettling identity obscuring elements to bring alive queer monstrosity in all its glory."
Rob (they/them/theirs pronouns) is a nonbinary Boston based photographer who primarily works in self-portraiture. Their photographs draw from pop culture, mythology, and beyond to craft a narrative utilizing a dramatic, and punchy aesthetic.
Their work has been featured in The Boston Globe, The Improper Bostonian, Stuff Boston, and more. Their most recent exhibit was as part of the Curated Fridge's Autumn 2017 show.
www.instagram.com/roblorinophoto/
ROYAL by Rob Lorino
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SEQUIN by Rob Lorino
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EL SUENO by Rose Materdomini
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Rose Materdomini says, "Street photography is often a starting point for my photographs.
My images utilize photography for diverse and contemporary cultural issues. By including visual symbols to portray conceptual signs and content, my work often includes unfinished fragments of objects, which are moved and rearranged to represent ideas and conjure a human presence. The human figure is a point of shared identity and a conversation about the human experience."
Materdomini is a New York City based photographer and painter. She earned a M.F.A. and B.S. from New York University and also studied at the School of Visual Arts and the Brooklyn Museum Art School.
She currently works in her studio in NYC.
Street photography is often a departure point for her photographs. Her images focus on the human experience and represent a personal and political perspective through the lens of an individual embracing the universality of diversity.
Her work has been exhibited in selected group exhibitions both nationally and internationally including the PH21 Gallery, Budapest, Los Angeles Center for Digital Art, 1650 Gallery, LA, CICA Museum, South Korea, Smack Mellon Gallery, Black Box Gallery, Williamsburg Art & Historical Center, Upstream Gallery, First Street Gallery, NY, Aljira, A Center for Contemporary Art, and the Salmagundi Club.
contact info:
rosematerdomini@yahoo.com
My images utilize photography for diverse and contemporary cultural issues. By including visual symbols to portray conceptual signs and content, my work often includes unfinished fragments of objects, which are moved and rearranged to represent ideas and conjure a human presence. The human figure is a point of shared identity and a conversation about the human experience."
Materdomini is a New York City based photographer and painter. She earned a M.F.A. and B.S. from New York University and also studied at the School of Visual Arts and the Brooklyn Museum Art School.
She currently works in her studio in NYC.
Street photography is often a departure point for her photographs. Her images focus on the human experience and represent a personal and political perspective through the lens of an individual embracing the universality of diversity.
Her work has been exhibited in selected group exhibitions both nationally and internationally including the PH21 Gallery, Budapest, Los Angeles Center for Digital Art, 1650 Gallery, LA, CICA Museum, South Korea, Smack Mellon Gallery, Black Box Gallery, Williamsburg Art & Historical Center, Upstream Gallery, First Street Gallery, NY, Aljira, A Center for Contemporary Art, and the Salmagundi Club.
contact info:
rosematerdomini@yahoo.com
SEARCH AND DESTROY by Rose Materdomini
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TWOSOME by Rose Materdomini
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HE LIVED UNDER THE TRACKS by Sarah Manriquez
Honorable Mention
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Honorable Mention
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Sarah Manriquez says of her work, "The nude female figure is a primarily focus and driver in all of my fine art photography work. I aim for a contemporary look at boudoir photography and much of my work revolves around form studies of the body. But, that’s certainly not the only type of work I do. I specialize is stylized portraits and freelance as a photojournalist."
Sarah is a photographer in Fairbanks, Alaska. She is pursuing a bachelor of fine arts at the University of Alaska Fairbanks. She has lived in Alaska for the last five years working as a tour guide and a student. She was raised in Honduras on the island of Roatán- traveling, culture and language have been a large part of her life.
CV:
JURIED EXHIBITIONS
-2018 Just in Time, PH21 Gallery, Budapest, Hungary
-2017 Rarefied Light, Alaska Photographic Center, Anchorage, AK
-2017 Art of Timelessness, L.A. Photo Curator, Online
-2017 Body/Image, Darkroom Gallery, Essex Junction, VT
-2017 Peter MacKeith Memorial Photography Exhibition: Ascension
-2016 Alaska Positive, Alaska State Museum, Juneau, AK
-2016 Illuminate, Venue, Fairbanks, AK
GROUP EXHIBITIONS
-2017 Up/Rise Women’s Art Show, Arctic Java, Fairbanks AK
-2017 Exposed: A Group Show, UAF Art Gallery, Fairbanks AK
-2015 Digital Darkroom- Arctic Java, Fairbanks AK
-2015 Basic Digital- Bunnell, Fairbanks AK
AWARDS
-2017 People’s Choice Award- Peter MacKeith Memorial Photography Exhibition: Ascension
-2016 Best in Show- Illuminate
-2016 Best Portrait- The Alaska Press Club
PUBLICATIONS
- “Dark Beauty Magazine” 2018
- "Scribendi”Magazine. 2018
-"2017 Peter MacKeith Memorial Photography Exhibition: Ascension." Exhibition Catalog. Feb 2017
-“Body/Image.” Exhibition Catalog. March 2017
-"Photography students shine in state shows." UAF Sun Star. Nov 22, 2016.
CURATED/ CO-COORDINATED EXHIBITS
-"Circumpolar." Statewide Juried Exhibition with Frozen Lenses at Ursa Major Distilling, Fairbanks, AK. April 2017
-"2017 Peter MacKeith Memorial Photography Exhibition: Ascension." Juried Exhibition with Frozen Lenses at the UAF Arctic Java, Fairbanks, AK. March 2017
-"Exposed." Invitational Members Show with Frozen Lenses at the UAF Art Gallery, Fairbanks, AK. Jan 2017
-"Illuminate." Regional Juried Exhibition with Frozen Lenses at Venue, Fairbanks, AK. April 2016
AFFLIATIONS
-2018- Present, International gallery of contemporary art- member
-2017- Present, Alaska Photographic Center- Member
-2017- Present, Fairbanks Art Association- Member
-2016- Present, Alaska Press Club- Member
-2015- 2017, The Sun Star- Photo Editor & Advertising Manager
-2015- Present, Frozen Lenses Photography Club- Director
Sarah is a photographer in Fairbanks, Alaska. She is pursuing a bachelor of fine arts at the University of Alaska Fairbanks. She has lived in Alaska for the last five years working as a tour guide and a student. She was raised in Honduras on the island of Roatán- traveling, culture and language have been a large part of her life.
CV:
JURIED EXHIBITIONS
-2018 Just in Time, PH21 Gallery, Budapest, Hungary
-2017 Rarefied Light, Alaska Photographic Center, Anchorage, AK
-2017 Art of Timelessness, L.A. Photo Curator, Online
-2017 Body/Image, Darkroom Gallery, Essex Junction, VT
-2017 Peter MacKeith Memorial Photography Exhibition: Ascension
-2016 Alaska Positive, Alaska State Museum, Juneau, AK
-2016 Illuminate, Venue, Fairbanks, AK
GROUP EXHIBITIONS
-2017 Up/Rise Women’s Art Show, Arctic Java, Fairbanks AK
-2017 Exposed: A Group Show, UAF Art Gallery, Fairbanks AK
-2015 Digital Darkroom- Arctic Java, Fairbanks AK
-2015 Basic Digital- Bunnell, Fairbanks AK
AWARDS
-2017 People’s Choice Award- Peter MacKeith Memorial Photography Exhibition: Ascension
-2016 Best in Show- Illuminate
-2016 Best Portrait- The Alaska Press Club
PUBLICATIONS
- “Dark Beauty Magazine” 2018
- "Scribendi”Magazine. 2018
-"2017 Peter MacKeith Memorial Photography Exhibition: Ascension." Exhibition Catalog. Feb 2017
-“Body/Image.” Exhibition Catalog. March 2017
-"Photography students shine in state shows." UAF Sun Star. Nov 22, 2016.
CURATED/ CO-COORDINATED EXHIBITS
-"Circumpolar." Statewide Juried Exhibition with Frozen Lenses at Ursa Major Distilling, Fairbanks, AK. April 2017
-"2017 Peter MacKeith Memorial Photography Exhibition: Ascension." Juried Exhibition with Frozen Lenses at the UAF Arctic Java, Fairbanks, AK. March 2017
-"Exposed." Invitational Members Show with Frozen Lenses at the UAF Art Gallery, Fairbanks, AK. Jan 2017
-"Illuminate." Regional Juried Exhibition with Frozen Lenses at Venue, Fairbanks, AK. April 2016
AFFLIATIONS
-2018- Present, International gallery of contemporary art- member
-2017- Present, Alaska Photographic Center- Member
-2017- Present, Fairbanks Art Association- Member
-2016- Present, Alaska Press Club- Member
-2015- 2017, The Sun Star- Photo Editor & Advertising Manager
-2015- Present, Frozen Lenses Photography Club- Director
CANARY IN A COAL MINE by Sarah Manriquez
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WE AR MANY by Sarah Manriquez
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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
(Click on image for larger view)
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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
