Ashley Markle says, "I am walking like a zombie through life until I create, this is when I push my mind and body in order to crack myself open like an egg. I make the work for myself to learn more about who I am and unleash my trauma. I like to torture myself mentally and physically while shooting so as to uncover painful memories that I have blocked out over the years.

Every day feels like a new chapter in my life. I learn something extremely important and adapt my lifestyle accordingly, making my work is an exploration in what I have learned and how I will begin to move forward. I use medium format film to present a timelessness to my work. Although my struggles are living in the digital age, these struggles are relatable to any woman or human that has lived in any generation.

These things that I have learned about myself reveal many emotions such as anxiety, fear, and tenderness. These emotions usually relate back to what it is to be a woman with feminist ideals and navigate a society in flux. The anxiety of being a strong, independent woman while trying to unlearn everything I learned as a child about being small, quiet, easygoing and submissive; as well as learning how to consider myself strong as a victim of abuse. The fear of letting the rawness of myself be seen by anyone other than my lens. Or the fear of not being loved in return. But I always go back to tenderness toward myself, and tenderness between subjects. 

Because the majority of what I have learned about myself has to do with relationships, my work often explores different relationship dynamics. Labels and boxes are stripped away. I want the work to speak about the emotions between subjects rather than what they are or who they are to each other. I do this by communicating through shapes made by the body and hands. The body is stripped away of its natural “border” as I like to call it and becomes an amorphous vehicle to share emotion. The relationships I show aren’t always between people. They may be between a subject and an object, a subject and a location, or a subject to themself. Through my self-portraiture, I am often in a relationship with myself, learning to love and accept while keeping my guard up subconsciously.

I want people to learn about themselves along with me. Some may resonate with one image and not the other because they have not experienced the same thing I have in that second image. I want people to be provoked, disgusted, intrigued, uncomfortable and confused when viewing my work. My art is very “in your face” and not for the un-complex person. While it may provide an initial shock factor, there is still so much more to uncover. I am exploring specific traumas that have occurred to me, however, they are expressed in a non-specific way and I want the viewer to see their own trauma or experience through my images."

Ashley Markle grew up in suburban Ohio. She obtained her Bachelor’s in Film at Kent State University before moving to New York City after having resided in the same 5 mile radius for 21 years. Once in New York she began her career as a Video Producer but quickly realized her passion lay in photography. She then enrolled in the Continuing Education Track at ICP where she has been refining her artistic practice. Meanwhile, she is a music portrait photographer and has worked with artists such as A$AP Ferg, Charli XCX, Rita Ora, Billie Eilish, Louis Tomlinson, Yungblud and more. Heavily involved in the music scene, she has been nominated for Best Music Video as Cinematographer through Katra Film Series. 

She currently resides in Brooklyn as she finishes her program through ICP and continues to shoot medium format film self-portraits alone and with friends or people she meets online; along with photo assisting for Alex Lockett and Designing Light for photographer Sophie Hur. She will be pursuing her MFA degree in Fall 2020.

Career Highlights:

Photo & Video Producer/Editor - Music Choice

Initiated and produced new stunts for Women's Music Month, Pride Month, and Hispanic Heritage Month which focused on important issues in each community
Developed a consistent visual aesthetic for each stunt which I maintained from set design to video/photo editing style
Started a Fashion Lookbook with artists in which they speak about their outfit and style inspiration
Developed new visuals for video and photo sets including new shooting styles, lighting, and set design
Held myself and my team accountable for always turning edits around in 1-2 days
Began a streamlined shooter assignment system and implemented a new and improved editing process
Conducted photo research for on-screen advertisement
Interviewed and Shot top level talent including Billie Eilish, Jonas Brothers, Anderson .Paak, A$AP Ferg, Schoolboy Q, and Alessia Cara, with discretion and confidentiality

Associate Producer - Men's Health magazine

Increased social video views by 125%
Selected as Director of Photography for all shoots
Operated as the only producer based in New York so I executed 90% of the shooting and editing, managed our equipment/studio, and pitched new ideas for myself to capture weekly
Pitched and Produced "partner workout" fitness vertical that garnered 100%
increase in views and top level talent
Tripled the monthly output of social videos
Started performing research on digital video trends which I would present to the video team to keep our content fresh
Collaborated with photography department to maintain consistent look across social media
Edited and published at least 3 videos a day while managing the rest of my workload

Photo Assistant - Alex Lockett

Prepare equipment and set, manage Lightroom sessions, prepare props and go on prop runs when necessary
Assist during production by adjusting light, and keeping team on track with every item that has been shot and still needs to be shot

Founder/Photographer - Stitch Bitch Vintage

Founded a feminist vintage brand sold on Etsy, Depop and Instagram
Featured in Bust Magazine as a top feminist vintage brand
Led photography, hired an assistant and scouted models
Maintained inventory, expense reports, receipts, marketing calendar, listing uploads


www.ashleymarkle.com

Instagram: @filmmarkle


Images:

Markle_Ashley_Bathtub_Acknowledgment

-This series is an exploration of violence/abuse that has occurred in the past. This image is an acknowledgment of the abuse after having denied it for many years.

Markle_Ashley_Bathtub_Euphoria

-This image is rejoicing abuse and becoming aroused by it. Maybe the abuse was self-inflicted? 

Markle_Ashley_Bathtub_Violence

-This image shows what the abuse ultimately does to a subject in the end and in the moment. Especially when suppressed for a lifetime.
 

Chris Marklein says, "My work is a manifestation of journeying into the inside one’s self by transforming the outside of one’s self. I have found that translating my experiences, traumas, and pain into something visual gives tangibility to the parts of me that I cannot always fully understand or process otherwise. Creating colorful, beautiful, and digestible imagery out of adversity and suffering and putting it out into the world for others to enjoy, absorb, or relate to gives me purpose.

Constructing personas which act as my vehicles of storytelling not only helps me understand the various facets of my life and personality, but also the people and the world around me. Throughout life, we change and become many different people- each version of ourselves ultimately becoming a brick in our wall. I believe sometimes more truth and honesty can be found in something performative and artificial, because it is constructed with purpose, often revealing true intent and vulnerability in the visual vocabulary."

Chris Marklein, a focused student of art and design all throughout his schooling, received his B.F.A. in photography from the Savannah College of Art and Design. Currently, he is pursuing an M.F.A. in Photo/Video and Related Media at the School of Visual Arts in New York City.

Commonly the subject of his own work, he embraces the concepts of transformation, performance art, and the idea of looking into one’s self for inspiration and catharsis, challenging gender normalities and exploring the expression of sexuality and creative freedom through the use of fashion and makeup. His motivation is rooted in the adversity he faced growing up in New Jersey with a mentally-ill addict mother, largely depending on his own creativity to make something beautiful out of the profane. 

Some of his greatest influences include artist Lady Gaga and photographers Nick Knight, Steven Klein, and Cindy Sherman.

 www.chrismarklein.com

Instagram: @chrismarklein
 

Donna Bassin says, I Am My Own Witness, a series of portraits began after the 2016 election melds my work as practicing psychoanalysis and photographer. I have invited others into my studio to collaborate in the creation of portraits that embody their personal reactions to these chaotic and frightening times.

Through varying poses, gestures, and use of props and costumes, I challenge the sitters to bear witness to themselves, and in doing so assert their belonging - “Here I Am” - even as they have been figured by others as invisible and unentitled to their place (s) in this American moment. As they choose to disclose, discover, unveil, and reveal, they claim ownership of images and self. As the photographer, their performance of “self” concerning personal and collective vulnerability triggers my own self-consciousness about my social blindness."

Donna Bassin is a fine art photographer, psychoanalyst, published author, and award-winning documentary filmmaker who resides in New Jersey. Despite the desire to pursue photojournalism during the war in Vietnam, she put her camera away after Janis Joplin threw a bottle of Southern Comfort at her while on assignment for The Michigan Daily.

Years later, her contemporary photographic work resumed after she served as a consultant with New York City’s Department of Mental Health following the tragedy of September 11. Her award-winning photography series, The Afterlife of Dolls, her response to long hours at Ground Zero, was featured as a solo show at the Montclair Art Museum in Montclair, New Jersey.

It was awarded a Gradiva Award and Golden Bell Leadership Award for contributions to mental health through the arts and, as well, was featured on NJTV’s State of the Arts. Subsequently, her work has been juried in many group exhibitions from New York City to Los Angeles. Her photographs have been commissioned for book covers, and her work is in several private collections. Donna was recently invited to represent New Jersey women artists in a public art project titled Her Flag (www.herflag.com), which will exhibit at the state capital in 2020.

Her two documentaries, Leave No Soldier and The Mourning After, tell the stories of U.S. veterans as they explore and share the impact of P.T.S.D. on their lives and the role of community in their “coming home.” Leave No Soldier was featured at the Rhode Island International Film Festival and was the winner of a Director’s Award in 2008. The Mourning After was published by Psychoanalytic Electronic Publishing as a recipient of a video grant and was awarded a Gradiva Award in 2017. As an author, she has published several books and journals in the areas of gender, motherhood, community activism, mourning, and the use of the arts as a witness to trauma.

Donna is an adjunct Clinical Assistant Professor at New York University’s Postdoctoral Program in Psychotherapy and Psychoanalysis. She is a co-founder and past president of the board for Frontline Arts, whose mission is connecting and building community through socially-engaging art practices.

Career Highlights
Group Exhibitions 

2019  State of the Art 2019, Studio Montclair, Montclair, NJ

Contemporary Portraiture: To See Each Other, Passaic County Arts Center, Hawthorne, NJ

ViewPoints 2019, Studio Montclair, Montclair, NJ


2018  Armistice Day 2018, Puffin Cultural Forum – Frontline Arts, Teaneck, NJ

Call & Response: The Art of Listening, 1978 Maplewood Arts Center, Maplewood, NJ

Natural Encounters, N.Y. Photo Curator – Global Photography Awards

Viewpoints 2018, Studio Montclair, Montclair, NJ

2017   Art Connections 13, George Segal Gallery, Montclair State University, Montclair, NJ

Street Photography, Blank Wall Gallery, Athens, Greece

2016   Trois Poissons in a Big See, Sterling Sound, New York, NY

Viewpoints 2016, Aljira: a Center for Contemporary Art, Newark, NJ

Art Connections 12, George Segal Gallery, Montclair State University, Montclair, NJ

2015   Mirrors of the Mind 4: The Psychotherapist as Artist, Art Share LA, Los Angeles, CA

www.donnabassin.com
www.instagram.com/p1nhole
www.facebook.com/donna.bassin.3



 

Doug Johnson says, "Much of my work focuses on the miracle of daily life -- how we make our way in the world, safely and sanely. Remarkably, we often do so with kindness, humor, creativity, wisdom, friendship and teamwork. I want to better understand the unique worlds that people create for themselves; to explore the paths they follow or trails they blaze; to record the footprints and artifacts they leave behind. I wonder if they like their job, where they're going, who cares if they're sick, what makes them happy, is their family safe, what do they regret, what do they show and hide?

I’m a photographer, writer, illustrator, and printmaker currently living in Santa Fe, NM.  Following a career in high-tech, I've focused my creative energies on photography, writing, printmaking and illustration. Most of what I know comes from collaboration with fellow artists, teachers and mentors (Arthur Meyerson, Nick Johnson, Jay Maisel, Karin Rosenthal, Arno Minkkinen and Billie
Mandle)."

Career Highlights:

.Published "This Is Not a Sawtooth Hanger" -- a collection of essays on art, photography and the creative process to help young artists find their voice.

Published "The Nighttime Adventures of Elliott the Mouse" and "Hyperbole
World" -- photographs inspired by the curiosity and humor of Elliott Erwitt.

Photographs acquired for permanent collections at Danforth Art Museum and
numerous private collections.

Work selected for over 70
nationally/internationally juried exhibitions.

Instagram:  dojopico

http://www.dojopico.org
 

Elizabeth Bailey says of her series, 'The Woods' is an ongoing photo project, exploring how I coped with the deep loneliness and isolation I felt as a child. During my pivotal, turbulent early years, I sought escape from the tension and unhappiness in my home by retreating into a wooded area where I would hide out, play and explore. My withdrawal into imagination and an (uneasy, self-conscious) solitude proved to be both a blessing and a curse; I developed a rich fantasy life, an appreciation of nature and literature, and an unspoken belief that hidden magic lay everywhere. But I also became secretive, lonely, and far too skilled at disappearing. As I grew up, I feared revealing myself to others. I had spent so much time hiding that I had difficulty with being seen.

The Woods was shot in collaboration with my daughter at ages 10 and 11, using personal items saved from my childhood. Originally I began shooting a straightforward narrative about her childhood, but it became clear to me that I needed to reinterpret my own before I could let it go. The Woods evolved into an acceptance and reclaiming of my painful past history, by recreating, seeing, and then releasing remembered moments in time."

Elizabeth Bailey is a Los Angeles based artist who uses photography to create emotionally charged imagery that explores the concepts of self, identity, memory, alienation, and longing.

Her work has been exhibited in venues including Light Box Gallery in Portland, OR; Photo Place Gallery in Middlebury, Vermont; and The Southwest Museum in Los Angeles, CA. Her photographs have been published in SHOTS Magazine, Stubborn Magazine, and Light Leaked.

Born and raised in small-town Minnesota, Elizabeth moved to Los Angeles at age 18 to attend Occidental College. After receiving a BA in Philosophy, she worked a series of horrible office jobs while taking night classes in photography and graphic design, quickly becoming serious about both. Elizabeth currently works as a graphic designer and fine art photographer.

www.ElizabethBailey.com
 

Ellen Feldman says, "As I sip a cup of coffee or apply lipstick, I feel I’m channeling my mother’s gestures. I’ve had these sensations for decades, generally wanting to shake them off. But as time—and my mother—have passed, I now embrace these “invasive” feelings These three photos are from the series, “Separation Anxiety: Mother and Daughter,” and explore issues of identity over the passage of time.

Many images in this series include two photos and a quotation. I juxtapose a photograph of my mother that I took in the recent or distant past, with a photo of me “in conversation with” the photo of my mother. I include a quotation that 
obliquely refers to the juxtaposed photos. The third photo shown here is a composite photo I took of my mother in her forties and me taken recently—“borrows” an image from Ingmar Bergman’s film Persona."

Ellen Feldman is a fine arts photographer, whose work includes prints and photobooks of street photography and long-term projects. Feldman’s photographs have appeared in solo exhibits at Griffin Museum of Photography satellite galleries, Winchester, MA, the Davis Orton Gallery, Hudson, NY, and the French Cultural Center, Boston, MA; and have been shown in many juried group exhibits.

Among Feldman’s photobooks are: “We Who March: Photographs and Reflections on the Women’s March, January 21, 2017,” with contributions by thirty photographers and comments by twenty marchers; a photo-comic “The Dancer as the Invisible Girl”; and two books of street photos: “Les Mystères de Paris / Paris Mysteries” and “A Week in Prague: Wall People / Street People.”

She is the photography editor of Women’s Review of Books (Wellesley College) 
and holds a Ph.D. in Cinema Studies from NYU.

Career Highlights:

Featured photographer, "Thoughts of Family and a Feeling of Home," Davis Orton Gallery, Hudson, NY, October-November 2019

"Paris Mysteries” photo featured in L’Oeil de la Photographie / The Eye of Photography, online site, March 31, 2018

Co-curator, “Moved to Act! Demonstrations, Marches, Political Actions.” 
Photos by 37 photographers of the 2017 Women’s March, Black Lives Matter, 
March for Our Lives, and Standing Rock. Davis Orton Gallery, Hudson, NY,
2018 (additional venues scheduled)

"We Who March: Photographs and Reflections on the Women’s March, January 21, 2017," conceived and edited by Feldman, with photos by Feldman and 29 other photographers,
and with reflections by marchers (self-published, 2017)

www.ellenfeldman.net 
www.WeWhoMarch.org
Instagram: ellenfeldmanphotographer
 

Emmanuel Rodriguez says, "This piece is a personal light on social issues with a fashion editorial flair. Working your way up the corporate ladder as a person of color, there are many discussions regarding the topics of "lifting each other up" and "imposter syndrome". Unfortunately, this holds a jaded perception to those who have been given the opportunity to rise up and to those who are waiting to be lifted.

With fashion being a major interpretation of social class and individual values, I believe this was the ideal way to address many of the thoughts we face as people of color in a not so colorful environment."

Emmanuel Rodriguez is a Brooklyn-based graphic designer and photographer with most notable works being shown on PBS, AMC, & Netflix.

www.emmanuel-rodriguez.com
Instagram: Mister_Eman

Erin White says, "There used to be a boundary between our phones and our bodies. The walls of our homes held them down and kept us present. The moment our phones were cut from cords, they have quietly existed within the most intimate and pivotal moments of our lives. We’ve become numb to competing with inanimate objects for time and it has redefined the ways in which we love, lose, and communicate.

There is a consequence beating in our amplified intelligence and interconnected selves as our phones become our greatest, most isolating comrades. As we grow digitally, we become strangers to our natural environment and to ourselves. A setback rooted in the loss of authenticity and freedom, all masked by dopamine influxes and a never-ending state of distraction labeled as productivity.
Look in front of you, who’s there? Are they looking in your eyes? Are they real?"

Erin is a fine art photographer currently based in Gwangju, South Korea. She graduated from the Savannah College of Art and Design with a BFA in photography in 2019. Her documentary, studio, and fine art works are molded from intimate experiences and based in social commentary. She uses photography as a medium to project her voice and tangibly construct her understanding of the human experience.

Career Highlights (Artist CV):
Exhibitions:

In This Moment, Senior Showcase    Savannah, GA 2019
SCAD Next Savannah, GA 2019
Possibilities V, Exhibition of Experimental Digital Printmaking    Savannah, GA 2019
SCAD Focus 1/1/19 Exhibition Savannah, GA    2019
Holiday Art Sale for Leukemia and Lymphoma Society    Charlotte, NC 2019 
SCAD Focus Exhibition    Savannah, GA 2018    
SCAD Open Studio    Savannah, GA 2018  The Hugo Ball Mad Generation Exhibition    New York, NY                                                Charlotte Country Day Alumni Art Show  Charlotte, NC 2016   
Print Media/ Awards
AINT-BAD Issue 7, 2019
IPA 2019 Honorable Mention, 2019
Port City Review, 2019
Mediocre Magazine Zine, 2018                                                    
Brookstone Schools Yearly Magazine, 2018

https://www.erinwhite.org/
Instagram: erinwhitephoto
 

 Hello,my name is…, 11x14 inches, mixed media (archival inkjet print with acrylic paint on paper), 2019

James Kuan says of his series, 'Potential Space', "In human anatomy, “potential space” is the tension-heavy void between two adjacent surfaces pressing up against each other.

In my own life, a similarly complicated space exists between my identity as an introvert, and my perceived need to be an 
extrovert.

I created this series to represent my continued balancing of self-erasure and self-exposure. As a surgeon, I cut, repair and reconstruct. Over the past few
years, I’ve adopted a similar practice with my photography, incorporating collage, layering and abstraction to activate
surface as a metaphor for absence and embodiment.

Born in rural Canada in 1974, I now reside and work as a surgeon in Seattle. I completed the fine art photography thesis program at Photographic Center Northwest in Seattle in 2019.  My work has been featured in the PCNW Presents Program in 2018 and I have contributed to multiple juried group shows, including Who are you? at CPAC in Denver, Seeing the familiar for the first time!  at Filter Photo, #TooTiredChicago slideshow in 2019.
I work in both analog and digital processes, and since 2018, mixed media collage, abstraction and image construction."

CV
Education 

June 2019 Fine Art Photography Certificate Program Graduate Photographic Center Northwest, Seattle, WA

Selected Exhibitions
Nov 2019  Who Are You?
Colorado Photographic Arts Center, Denver CO
Juried group show by Roula Seikaly

Oct 2019  The 2019 Dog Exhibition
Lenscratch
Juried online exhibition by Shannon Johnstone

Sep 2019  Seeing the familiar for the first time!        
Filter Photo, Chicago IL
Juried group show by Industry of the Ordinary 

June 2019 PCNW Thesis Show Photographic Center Northwest, Seattle, WA

March 2019   #TooTiredChicago Slideshow
A Conversation on Mental Health and Photography

April 2018   Posthumous
Selection for 2017-2018 PCNW Presents Program
Curated by Michelle Dunn Marsh

Creative Work 

2017 Spa Night, feature film, Executive Producer and Still Photographer
Winner John Cassavetes Award, Film Independent Spirit Awards 2017

2016 Spa Night, feature film, Executive Producer and Still Photographer
US Grand Jury Prize, OutFest Los Angeles LGBT Film Festival 2016 

2016 Spa Night, feature film, Executive Producer and Still Photographer
Official selection Sundance Film Festival 2016, Dramatic Competition 

www.jameskuanphoto.com
@kuansEYE
 

Potential space, 11x14 inches, mixed media (archival inkjet print with colored pencil), 2018

Jeremy Ackman says, " I see photography as documenting the life around me. I started photographing my daily commute to work on the subway. From there to documenting my family, as a stay at home father I’ve been focusing on my daughter growing up and the world around us. There are bigger influence on our lives that we don’t necessarily sense, but infect the way we think and feel about the world. Our own neighborhoods are microcosm that  express our personality and experience. Nothing stays the same, children grow into adults, neighborhoods redevelop for a newer generation. I combined home and neighborhood because there one in the same, our surroundings shape us as we shape it."

Jeremy Ackman is from Cincinnati, Ohio. Jeremy joined the Ohio National Guard after High School. During that time Jeremy was deployed to Kosovo, New Orleans, and Iraq. He got married and moved to Boston with his wife Rachel. Jeremy attended the University of Massachusetts Boston where he graduated with a Bachelors of Arts. In 2014 attended Hampshire Institute of Art for graduate school where he received a Master of Fine Arts of Photography in 2016.  He has shown work in New York, Filter Space, Black and White Magazine, The Griffin Museum of Photography, Panopticon Gallery, and Phoenix Art Museum.

www.jeremyackman.com
IG - @ackj17

John Laue says, "An aesthetic:
Photography for me is a gorgeous treasure hunt. When I discover interesting subjects I usually don’t change scenes or insert extraneous elements to “improve” them. The method is similar to collecting “found” poems.  You take what’s there. Any magic that exists must be in the selection itself.
I admire the philosophy of Wallace Stevens’ poem, The Man With the Blue Guitar.
 “And that's life, then: things as they are”,
 “A tune beyond us as we are,
Yet nothing changed by the blue guitar;”
There’s a certain virtue in virgin land and seascapes, but  many scenes I encounter have been altered. I’ve discovered elements that couldn’t have occurred naturally in particular spots.

Beach sculptures, for instance. I take pleasure in spontaneity, avoiding artificial poses, but these are sometimes excellent subjects.

Following my criterion of nonintervention I take those photos too, grateful to the people who’ve left their calling cards.   
Far be it from me to use photo shop or other means to transform pictures. I’ve already considered camera angles and focus so the results won’t be too shoddy. Beyond that I don’t need to go."

John Laue, teacher/counselor, former editor of Transfer, San Francisco Review, and Monterey Poetry Review has won awards for his writing beginning with the Ina Coolbrith Poetry Prize at The University of California, Berkeley. With five published books of poem,, and a sixth come out this year (A Confluence of Voices Revisited ((Futurecycle Press))), he presently coordinates the reading series of The Monterey Bay Poetry consortium. An accomplished photographer, Laue had two successful local shows of his photos last year and has had many selected for juried shows by international on-line galleries and featured in magazines.
 
https://www.facebook.com/john.o.laue
https://amzn.to/2XMevuk

Review by curator Frances Jakubek:
"Christian, Twice” by Joseph Caster evokes the discomfort of making eye contact long enough to witness a change in expression. Are we supposed to look away now? What happens if we don’t?

This diptych is a strong example of the viewer/photographer/subject relationship. Initially I feel pushed away by the subject’s grimace, but as Joseph moves the lens, Christian becomes warmer. The sitter now wears a sort of Mona Lisa smile, approving movement toward him. I wonder what the interaction was during the time between making the photographs. I can feel the vibration of vulnerability in the blank space bound by the two frames.

The decision to include two images allows for more room to become acquainted. Creating a sequence invites the viewer to take their time, and revisit the first glance if they want to. Sometimes it is hard for me to to feel connected with strangers portrayed in photographs and that undoubtedly has to do with my own self-consciousness. What this image pair does for me is invite the opportunity to look again and shed a layer of my own ego by keeping eye contact."

Jakubek asks, "So glad to be introduced to your work, Joseph. How did portraiture become part of your practice and how does self-consciousness play a role?"

Caster says, "When I first started making photographs, I knew I always wanted to see other people in them. I have an immense interest in the job of “modeling” and what it means to become a model for someone. I always wanted to turn my friends and people around me into my models, to have them take on that role. Making portraits, whether of myself or those around me, let me know what it’s like to take part in beauty. I especially like working with other men in my life, because as boys, we are often taught that beauty isn’t meant for us, which isn’t true.

Thinking on the self-conscious, what does it mean to see yourself in an image? To become this beautiful and strange version of yourself, to feel as if you are validated, I always think of Mickalene Thomas saying“To see yourself and to have others see you is a form of validation”.  When we model, who do we model for? For ourselves, or for someone else? This is always the question I ask myself when photographing someone, with the secret desire that their gaze is meant for me."

Jakubek says, "I’m not typically someone to ask about what kind of camera was used but I think in this situation, the gear might matter. With that question, do you think that that affected the interaction between you and your subject?"

Caster says, "I shot this diptych and most of my recent work with a medium format film camera.  This was new for me, and there's an awkward clumsiness that mimics me directing on the shoots.  Using different technology that I was unfamiliar with made me nervous, the same nervous excitement that comes when photographing someone, asking them to do something for a photograph, asking a guy to take his shirt off.  The process of not seeing what you’ve photographed, waiting for the images to be developed, hoping you've pleased yourself, for me, feels more like what it is to be alone with someone, making photographs of them."

Jakubek says, "What was the editing process in selecting these two frames? Was the intention always to create a diptych?"

Caster says, "The intention was not to create a diptych at first, but after seeing these two expressions, I knew they had to be together.  I thought this diptych looked like something in between a kiss and a fight, is he stepping up to punch you in the face, or is a moment before passionate intimacy? The two images are so similar, but not the same, and I wanted to be a little rebellious in photographs heavy nature of choice (to choose what the “best” singular shot is).  Two images that look so similar, and that are so close to one another, almost want to come together themselves, and have an intimate touch, very similar to the way I'm separated from my models by my camera, never truly able to come together."

More about Joseph Caster's work:
Joseph Caster says, "Most of my practice is about men, how I experience them, and trying to get closer, getting more intimate.  Through my photographs, I try to achieve an intimate closeness with the men I meet (whether rarely by actual touch, or an implied relationship through the camera), questioning who the performance of "modeling" is for?  Is it for me?  Is it for an audience?  The desperate desire I have for it to be me is what sustains.  The camera is something that mediates me, something I can hide behind, to divert my embarrassed gaze. 

Even when I enter the photo, through self-portrait with my model and friend, I get physically close but break intimacy due to the fact that my camera has to be advanced.  I can never really get too close.  I want to create photographs that exist in a space in between, something both intimate and sexually charged.  The expression of male relationships contains many layers, and for me, the layers shift in and out of questioning what I want? Romantic desire, brotherly comradery, or both?"

Joseph (Joe) Caster (b. 1996) is a visual artist primarily using the medium of photography.  He received his B.F.A in Photography from Rhode Island College and is currently attending the University of Connecticut for his Master’s of Fine Art.  
In his artwork, he is interested in themes of youth culture, homoeroticism, identity, sexuality, and intimacy.  He creates work pertaining to human relationships, gender tropes and the line between playfulness and provocation.  His work ultimately discusses the insecurities of male relationships, thus exposing the fragility of masculinity. 

CV:
Education:
2021, Master of Fine Arts Candidate, University of Connecticut

2018, Bachelor of Fine Art in Photography, Art History Minor,  Rhode Island College

Solo/Two Person Exhibitions:
2018-2019, CONTAIN YOURSELF, with Jenna DeAngelis, Chazan Family Gallery, Providence, RI

Group Exhibitions:

2019, International Photography Exhibition, The Glasgow Gallery of Photography, Colab Scotland, Glasgow SCT

2019, Being Without Being, Co-curated by Shadia Heenan and Christopher Platts, Alexey Von Schlippe Gallery, Groton CT

2018, Aberration, Machines with Magnets, Rhode Island

2018, Rhode Island College Graduating Senior Exhibition, Bannister Gallery, Rhode Island

2017, We’ve Been Framed, Machines with Magnets, Rhode Island

Achievements/Awards:
2017, Photographer's Forum Best of Photography Finalist

2017, Photographer's Forum Best of College and High School Photography Honorable Mention

2017, Rhode Island College Junior/Senior Talent Award Recipient

Publications/Editorial:
2018, Art & Life with Joseph T. Caster, Boston Voyager Magazine, Thought-Provokers

2017, Rhode Island College Arts Magazine, May Issue

2014, Neighbourhood Freak Magazine, Issue 1

Lectures:
2018, Dominance, Submission and Reclamation, Rhode Island College

Writing:
2017, “Ce n'est pas un livre”: 20th Century Art Course with Dr. Sara Picard, Collection of Essays  

www.josephtcaster.net 
 

Katelyn Kopenhaver says, "A controversial item, the fur coat in contemporary society remains timeless. Historically representative of social status and wealth, now vintage-sourced and repurposed (though some have claimed I’ve ‘destroyed’ them). In my exploration of the animalistic, vicious side of humans combined with my daily experience living in New York City, the coats spawn social conflicts and dispute any time they’re in public. Individuals either feel disgusted or exhilarated, angry or elated. They contain outward messages full of rage and expose truths, but also are utilized as a protective shield for times when I have a deep desire to hide in my own body, they are my second skin.
However, as I cover my body with the animals that have been hunted by man, I am confronted with a confounding thought: 
Am I the hunter, or the hunted?"

Katelyn Kopenhaver is a photographer and multimedia artist originally from Doylestown, Pennsylvania. Formally trained in photography since she was fifteen years old, Katelyn has expanded her artistic practice into video, performance, and installation. Within that expansion, she has been exploring predatorial personalities, abduction, and sex trafficking. Kopenhaver is preoccupied with societal oversight, those crucial moments that are seen but forgotten, the glimpse of an act between two people that alarms us, an instant where we ask ourselves “should I intervene?” Her work situates the viewer as a bystander, watching as someone who is the target of an act of violence.

This engagement forces the viewer to both question their role as a witness and to viscerally feel what it is like to be the person who has had violence inflicted upon them. Katelyn received her BFA in photography from the School of Visual Arts in 2016 and works as a freelance photographer and artist in New York City.  Her works have been exhibited and published within the United States and internationally.

Career Highlights
Exhibition: 

Pen + Brush, “Katelyn Kopenhaver, Paola Martínez Fiterre, Renee Cox” — New York, NY 2019

Talks:

ArtTalks, Pen + Brush, in conversation with Renee Cox and Paola Martínez Fiterre

Collaboration:

Article 22 Collaboration, “NOT FOR SALE” bangle, 2019

Publications:

The Brooklyn Rail, “Pen and Brush” 2019
METAL Magazine, “Katelyn Kopenhaver, Paola Martínez Fiterre, Renee Cox” 2019

Katelynkopenhaver.com  @katelynkopenhaver



 

Kathryn Dunlevie says of her series, 'Women of Wonder', "Inspired by today’s hyper-abundance of visual information, I am treating imagery from disparate sources as transmutable raw material. Intermixing my own photographs with elements from popular as well as historical sources conjures up unsettling entities and strange scenarios. Relics from our communal pictorial archive are commingled with contemporary images, creating jumps through space and time and echoing the startling juxtapositions of contemporary visual culture. 

The characters that emerge from this process find themselves in locales ranging from Rome's Fiumicino in ‘Touching Down' to Turkey's western Aegean coast in 'Hitchhiker's Guide to Kusadasi' - and in times ranging from WWI in ‘Escape From the Lab’ to the 1930’s in 'Marlowe’s Mistake’. 'Ostara’ and ‘Khidr’ harken back to ancient eras, while ‘Dr. Who’s Girlfriend’ has arrived from outside of time. ‘Our Lady of the Harbor’ has escaped pre-disaster Pompeii on a mission to contemporary Los Angeles, while the denizen of ‘Tipping Point’ floats above it all in a tent that has no floor, and apparently no gravity.

As diverse images converge and give rise to outlandish creatures and enigmatic situations, the "Women of Wonder" inspire us to go unabashedly wherever we choose and to do whatever we like.

Kathryn Dunlevie is a photography-based artist whose work has been exhibited throughout the U.S. and internationally. Cathy Kimball, Executive Director of the San Jose Institute of Contemporary Art, writes of Dunlevie’s work:

"Through brilliant compositional detail and manipulation, she creates disconcerting, surprising, inexplicable spaces and scenarios – swimming pools that have many points of entry, cloisters with multiple arched domes, streetscapes that elude mapmakers, and interior settings that are almost, but not quite, right.
"Born on the east coast, Dunlevie lived in six different states by the time she was 12, and in Paraguay when she was 16. She has a B.A. in fine arts from Rice University, and studied art history and film at the University of Paris, painting at California College of the Arts, and photography in Madrid. She lives in Palo Alto.

Dunlevie has received numerous awards and fellowships, including two Arts Council Silicon Valley Artist Laureate Fellowships. Her work has been exhibited at FotoFest International since 2002, at the Pingyao International Photography Festival in China, at Studio Thomas Kellner in Germany, in the US Art in Embassies Program in Moscow and in Saatchi Arts’ Best of 2014. Her work has been reviewed in Spain’s La Fotografia Actual, Korea’s "photo +" and in Germany’s Profifoto, as well as in The New York Times, Camerawork: A Journal of Photographic Arts, Photo Metro, Artweek, and Artlies.

Highlights of Career:

Eight solo exhibitions at FotoFest International (Houston) (2002 - 2020)

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

Included in Saatchi Art's "BEST of 2014"

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

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

Chosen four times for Germany's  Photographers Network Selection (2006-2013)

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

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

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

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

www.kathryndunlevie.com
 

Kristofer Dan-Bergman says, "Time & Space and thus our consciousness and self seems to be an underlying theme in most of my personal series I create.  ‘allONE’ is one of them, the set was built in the studio and each person was photographed individually without any preconceived final product.  The stories were created in post production based on the raw material which was collected during this shoot."

Kristofer is a Swedish born photographer residing in New York. He was brought up in a theater family with painters and writers in previous generations.  He started as a photojournalist and moved into commercial and advertising photography.  During his whole career, Kristofer has worked on his own projects in order to discover himself in this discipline and in the universe.  This led to his first exhibit called 'Touch' in which he focused on an exploration of his relationship to stones.  Kristofer has also done several documentary stories including 'Garissa' (Kenya), Karen People of Burma, and his latest ‘Evidence’ (Eastern Africa). His work has been exhibited in several museums (Fotografiska-Sweden, MOCADA-New York) and many galleries.
 
His series has won many awards including Communication Arts, Graphis, AI-AP, and Applied Arts.  Two of these series, ‘Away’ and ’S_PACE’, were recently featured in the Italian Fine Art Magazine “Gente di Fotografia” where they also used a photo from his ‘Away” series as the back cover.
 
Kristofer’s personal approach seems to explore time, space, and consciousness - not on purpose but in hindsight.  His latest two series in development are ‘stiLife’, which uses a blank canvas as a starting point, and ‘Raging Mother’, an exploration of the ocean.  An ongoing street series is ‘LESwalk’ that explores the fast gentrification of the Lower East Side by photographing people walking past the same wall.  This series can be seen on IG at KristoferStreet. Kristofer is exploring having ‘LESwalk’ published as a book.
A future project is to interpret his grandfather’s brother’s book “Dan in the USA”, a book of humorous short stories about daily life/observation especially in New York.  The book was written early 1900.

CV
Awards
Graphis Nude 5 (2019) - Shortlisted ‘Agile no. 1,2,3 and 4’
Communication Art (2019) - Shortlisted ‘stiLife no.02’
Creative Quarterly 55 (2019) - Winner ‘allONE no.01’ and ‘Raging Mother no.05)
Creative Quarterly top 100 2018 (2019) - Top 25 Fine Arts ‘stiLife no.01’
Intl Color Awards (2019) - Honorable ‘stiLife no.01’
Graphis Photography Annual 2019 - Gold ‘stiLife no.01’
ASMP (2018) - Honorable ‘stiLife no.01’
American Photography (2018) - Winner ‘stiLife no.01’
Creative Quarterly 53 (2018) - Winner ‘allONE’, ‘stiLife no.01’
Production Paradise (2018) - Winner ‘Evidence no.01’
BW Spider (2018) - ‘stiLife no. 01’
One Eyeland (2018) - Bronze ‘stilLife no. 01’
PX3 (2018) - Honorable ‘allONE #11’
Creative Quarterly top 100 (2017) - Winner ‘A (Quiet) Moment’
Independent Photographer (2017) - Winner ‘Evidence’
Communication Arts (2017) - Shortlisted ‘Evidence’
Creative Quarterly 47 (2017) - Runner Up ‘Crossing’
Artist Photographers of America, APA (2016)- Winner Fine Art ‘Evidence’
Applied Arts (2016) - Winner ‘Evidence’
AI-AP (2016) - Winner ‘Evidence’
One Eyeland (2015) - Finalist ‘Evidence’, ‘BO(a)RD’
Creative Quarterly 42 (2015) - Winner “A (Quiet) Moment”
Creative Quarterly 39, (2015) - Winner “BO(a)RD”
Graphis Photography Annual (2015)- Gold ‘BO(a)RD’
Creative Quarterly (2014) - Winner ‘Hopper’
One Eyeland (2014) - Finalist “Away”, ‘Hopper’
Graphis Photography Annual (2014) - Platinum and Book Cover ‘Away’
Graphis Photography Annual (2014) - Silver ’S_PACE’
Kontinent (2013) - Official Selection ’S_PACE’
BW Spider Awards (2013) - Nominated ‘Monet’
One Eyeland (2013) - Bronze ’S_PACE’
APA National (2013) - Third Place ‘Away’
APA NY (2013) - Winner ‘Hopper’
American Aparture Awards, AX3 (2013) - Winner ’S_PACE”, “Away’
Communication Arts Photography Annual (2013) - Winner ‘Away’
Creative Quarterly (2013) - Winner ‘Away’
APA LA (2013)
APA LA (2012)
Write Ups
Graphis (2019)
Production Paradise (2018)
ProPhoto Daily (2018)
Gente Di Fotografia (2017) - 7 pages and the back cover (Away)
AI-AP- Profiles (2016)
AltPick (2015)

 Awards:
  Graphis, Communication Arts, 
  American Aperture Awards ,Other
  Press:    
   L'Oeil, APA, Graphis, AI-AP, AltPick,              
   Production Paradise Gente Other
   Film:       
   Sherle Wagner - 'It has to be perfect"


www.KristoferDanBergman.com
IG: @KristoferStreet

 

Kris Hodson Moore says of the series, 
'Fly Away, Breath' "Where land meets ocean, the impact of humans is clear. Plastic bags are useful in the grocery store, but are deadly to fish, birds and turtles when they are swallowed or wrapped around gills. 

Fly Away, Breath. began as a spoof on the suffocation hazards I’d been warned about since childhood, a commentary on depression, and a preference for anonymity, but I live near the ocean where plastic waste overwhelms some of our beaches, so over time this series has become a statement about the biohazards of plastic that affect not only sea creatures but humans as well.

Kris Moore’s work addresses current events, social engagement, and protecting the natural world.
 
Moore began her career in 1971 as a self-taught artist. Her formal studies began in 1975 at Indiana University. She pursued her practice in New York City working as a portrait artist, photojournalist, and fine art photographer. Her work expanded to include commercial video production, copy writing, and video editing in New Mexico as the owner of High Fire Productions.
 
She has exhibited her work in galleries throughout the country. In 2019 her work was featured in a two-person exhibition at The Photographer’s Eye gallery in Escondido, California and in a group show at Davis Orton Gallery. She co-produces Open Show San Diego for the Museum of Photographic Arts in San Diego. She is a co-founder of Snowcreek Collaborative and founder of Strong Strong Women both photography collectives in San Diego.

CV
Public Art Installation:
North Park Garage Exterior Panel Design; San Diego, California, 2019-2029
 
Selected Exhibitions:

The Frame Maker Gallery; Strong Strong Women group exhibition, San Diego CA, 2019
Davis Orton Gallery; 5th Annual Exhibition, 2019, juror: Paula Tognarelli
The Photographer’s Eye Collective; Woman/Self, two-person exhibition, Escondido, CA, 2019
Art of Change; California rotating exhibition, Climate Science Alliance, 2018 - present
In the In-Between; online magazine, Now You Don’t: Photography and Extinction, 2018 juror: Stephanie Amon
Center for Fine Art Photography; Ft. Collins, Colorado, Center Forward, 2018, jurors Hamidah Glasgow and Kris Graves
Los Angeles Center for Photography; Expanding Boundaries, 2018, juror scott b. davis
Photoplace Gallery; Middlebury, Vermont, Myths, Legends, and Dreams, 2018, juror Amy Holmes-George
Center for Fine Art Photography; Photography as Response, 2017, Directors Honorable Mention, juror Christy Havrenek, 
La Jolla Athenaeum; La Jolla, California, Juried Exhibitions, 2015, 2017

www.krishodsonmoore.com
www.instagram.com/hodsonmoore
www.instagram.com/housedividedphotos 
 

Morgan Ford Willingham says, "'The Beauty Mask', series explores how natural beauty is masked by cosmetics that women use every day, and how the language of advertising is absorbed into the subconscious, where it constantly influences what women buy and how they perceive themselves. The text in this work is often appropriated from advertising slogans found in popular women’s magazines, and is often difficult to read, signifying how the linguistics of advertising subconsciously attempts to persuade women to buy cosmetic products that alter their physical appearance. The repetition of phrases throughout the work alludes to the repetitive nature of cosmetic rituals many women partake in daily.

In the newest phase of this series, the work focuses on addressing the history of the female, Renaissance portrait. The portraits, often commissioned by a father or spouse, represented, not the physical beauty of its sitter but the wealth and stature of the commissioner. The self-portrait is used to investigate the various experiences of using cosmetics to commodify beauty, like the connection between the alteration of physical appearance to achieve societal acceptance.

The series consists of metallic c-prints. The use of material within each photograph symbolizes the application of various cosmetic products on the skin, the way in which advertising is absorbed by the subconscious, and the choice individuals make in how they reveal or conceal themselves."

Morgan Ford Willingham is a photographic artist and educator. After receiving a MFA in photography from Texas Woman’s University, she moved to the Midwest to pursue a career in academia and art making. Morgan examines how identity is shaped by advertising and societal pressures through the use of various mediums, including photography, book arts, and installation. Her work has been widely exhibited, including Humble Arts Gallery in NYC, Filter Photo in Chicago, and the Hite Institute of Art in Louisville, KY. She is currently Assistant Professor of Photography at Emporia State University in Kansas.

Career Highlights

SELECT EXHIBITIONS- Airport 2019, Hartsfield-Jackson Atlanta International Airport, Atlanta, GA, Juror: Amy Miller, 2019

- On the Verge, Atlanta Photography Group Gallery, Atlanta, GA, Juror: Mary Stanley, 2019
- 12th Julia Margaret Cameron Award Exhibition, Gallery Valid Foto, Barcelona, Spain, 2019
- Still Lifes, South x Southeast Photogallery, Molena, GA, Juror: Aline Smithson, 2018
- Celebrating Women (online), PhotoPlace Gallery, Middlebury, VT, Juror: Joyce Tenneson, 2018
- Constellations: A Survey of New Photography, Kaaterskill Gallery, Hunter, NY, 2018
- 21st International Open, Woman Made Gallery, Chicago, IL, Juror: Nia Pushkarova, 2018
- Environmental Portraits, PhotoPlace Gallery, Middlebury, VT, Juror: Elizabeth Avedon, 2018
- Family, Umbrella Arts Gallery, New York, NY, Curator: Harvey Stein, 2017
- Nasty, ARC Gallery, San Francisco, CA, Curator: Karen Gutfreund, 2017
- 10th Photographic Image Biennial Exhibition, Wellington B. Gray Gallery, East Carolina University, Greenville, NC, Juror: Jessica Hines, 2017
- 54th Annual Juried Competition, Masur Museum of Art, Monroe, LA, Juror: Gia Hamilton, 2017     
      
www.morganfordwillingham.com

 

Morgan W. Richie says, "The three photos I have submitted are from a body of work entitled The Edge of Certainty:  A Photography Portfolio Exploring the Relationship Between What Is and Is Not.  This project emerged as exercise in listening rather than a conscious effort to take photos of a subject. My main effort is to work with the cacophony of conscious thoughts in such a way that they may subside and I am able to connect with silence in order to find out if imagery will speak to a receptive listener.  In this regard, these images are both representations of moments in the world and self portraits. There is nothing to understand; grasping at understanding can serve as a barrier to understanding.

If we cease effort at interpretation, what is left?  Words cannot find the meaning — it must be felt, intuited, or experienced rather than expressed as an intellectual construct.  The answers are not yet known to me.  I hope that you will view these photographs with the intent to experience the intersection of certainty and uncertainty without effort at conscious interpretation."

Morgan W. Richie is a photographer, author, and biologist.  She has researched the historical ecology of tropical marine ecosystems, managed a large marine mammal monitoring program, presented her work to the Princess of Thailand, and ridden a one-eyed horse on a deserted stretch of a rarely visited island, among other things.  Her debut body of fine art photographic work, The Edge of Certainty, was released on April 8, 2019.  She was selected for the juried exhibition, Contemporary Photography in Hawaii, and was the recipient of the Halekulani Corporation Award for her photograph Untitled #96.  She is interested in understanding.  

www.morganrichie.com
Instagram:
@morganwrichie

Nicholas Fedak II-

EDUCATION

2019 -Master Photography Class with Duane Michals, Palm Springs, California.

1988 -Master of Fine Arts Degree in Photography,

Otis Art Institute of Parsons School of Design, Los Angeles, California.

1986 -Bachelor of Arts Degree in Art, California State University, Northridge, Northridge, California.

1985 -Master Photography Class with Robert Heinecken, UCLA Extension, Los Angeles, California.

SOLO  EXHIBITIONS

2018 -Orange Coast College Art Gallery, Splendor In Decay, Costa Mesa, California.

2003  -Enisen Gallery, Fragments From Forgotten Dreams, Los Angeles, California.

-Village Square Gallery, Happenstance,  Montrose, California.

2002 -Louie Gallery, Dreaming The Past Away, Fremont, California.

2000 -Creative Arts Center, Smothered,  Burbank, California.

1999 -Brand Art Gallery, Dust From The Stars, Glendale, California.

1996 -Clay Doyle Gallery, Reminiscence, Los Angeles, California.

-A.P. Tell Gallery, Ephemera, Phoenix, Arizona.

1989 -Bridge Gallery, Dream Daguerreotypes,  Los Angeles, California.

1987 -Pence Gallery, 1987 as 1937, Santa Monica, California.

1984                 -Los Angeles Photography Center, Beyond  The Dream Meridian, Los Angeles, California.

SELECTED  GROUP EXHIBITIONS

2019 -Griffin Museum of Photography, 25th Annual Exhibition, curated by Julie Grahame, Winchester, MA.

-S.E. Center of Photography Gallery, Abandoned Landcapes, curated by Jennifer Schlesinger, Greenville, SC.--Photo Place Gallery, Water, Curated by Elizabeth Avedon, Middlebury, Vermont.

2018 -Center For Fine Art Photo Gallery, 1st Annual Members Show, curated by Brian Clamp, Ft. Collins, Colorado.

-Hanger Gallery South, Off The Clock 2018, curated by Laurie Kratochvil. Santa Monica, CA.

-Gravy Gallery, Living Image 2018,  curated by Kat Kiernan, Philadelphia, Pennsylvania.

 2017 -Dnj Gallery, LACP Members Show, curated by Paula Tognarelli, Santa Monica, California.

-Multiple Exposure Gallery, Photo 2017, curated by Molly Roberts, Alexandria, Virginia.

-Galeria Photo/Graphic, PhotoNola, curated by Jo Brenzo, San Miguel de Allende, Mexico.

-Brickworks Gallery, Southern Landscapes, curated by Elizabeth Avedon, Atlanta, Georgia.

-B.J. Spoke Gallery, Expo 36, curated by Jennifer Harris, Huntington, New York. 

2016 -Griffin Museum of Photography, 22nd Annual Exhibition, curated by Elizabeth Avedon, Winchester, MA.

 -Davis Orton Gallery, 2nd Annual Group Exhibition, curated by Paula Tognarelli, Hudson, New York.

-Eugene Meyers Gallery, Of Memory, Bone & Myth, curated by Stephen Perloff, Grand Forks, ND.

-Gravy Gallery, Living Image, curated by Chandra Glick, Philadelphia, Pennsylvania.

-SFA Gallery, Texas National, curated by Abelardo Morell, Nacogdoches, Texas.

2015 -New Orleans Photo Alliance Gallery, Catalyst, curated by Alan F. Rothschild, Jr., New Orleans, Louisiana.

-Long Beach Island Gallery, Works on Paper, curated by Carter E. Foster, Loveladies, New Jersey.

-PhotoPlace Gallery, Windows, Mirrors, & Doors, curated by Seth Curcio, Middlebury, Vermont.

-Barrett Art Center, Photowork ’15, curated by Katherine Ware, Poughkeepsie, New York.

-Beard/Weil Gallery, Wheaton Biennial, curated by Kristen Gersh, Norton, Massachusetts.

2014 -Castell Photography Gallery, Next, curated by Elizabeth Avedon, Asheville, North Carolina.

-Aperture Gallery, Aperture Summer Open, curated by Chris Boot, New York City, New York.

-Rourke Art Museum, Of Memory, Bone & Myth,  curated by Maggie Taylor, Moorhead, Minnesota.

-Helms Bakery Building Gallery, APA-LA Off The Clock, curated by Britt Salvesen, Culver City, California.

-Center For Fine Art Photography Gallery, Portraits 2014, curated by Amy Arbus, Ft. Collins, Colorado.

2013 -Long Beach Island Gallery, Works on Paper, curated by Margot Norton, Loveladies, New Jersey.

-Rourke Art Museum, Of Memory, Bone & Myth, curated by Olivia Parker, Moorhead, Minnesota.

-Barrett Art Center, New Directions 2013, curated by Susan Sayre Batton, Poughkeepsie, New York.

-1212 Gallery, International Portrait Exhibition, curated by Stephen Perloff, Richmond, Virginia.

https://nicholasfedakii.com 
Instagram @nfedakii 
 

Peggy Taylor Reid says, "Self Portraits (2016-ongoing) chronicles connected journeys from traumatic injury to healing. They witness a shift that is both physical and perceptual. They play with the notion of inside/outside, seen/unseen. I weave these images together to create a visual that expresses my experience of loss of words, loss of balance, neck pain and fatigue, depression resulting from multiple concussions.

The works were created using multiple cameras; an iPhone, point and shoot and full frame DSLR. The images were compiled together with and additional layering of anatomical drawings of the neck and head, and my own x-rays."

Taylor Reid holds a BFA from the University of Ottawa, a B. Ed. from University of Toronto and a Diploma in Computer Graphics from Sheridan College. Taylor Reid has been awarded Ontario Arts Council Grants and participated in artist residencies in Canada and the United States. She is a long time member of Gallery 44. Presently she is a member and past co-chair of The Red Head Gallery collective. Peggy Taylor Reid is also represented by Lonsdale Gallery in Toronto.

Selected Solo Exhibitions

2018   (re)pair, Red Head Gallery, Toronto ON
2017  form follows (dis)function, Lonsdale Gallery, Toronto ON 
Scotiabank Contact Photography Festival Feature Exhibition
2017   A Culture of Convenience, Red Head Gallery, Toronto ON
2015   Eating Away at the Edge or the poetry of discarded things, Red Head Gallery, Toronto ON
2013   Crash & Burn, Toronto Image Works, Toronto ON 
2007   Lonsdale Gallery, Toronto ON 
2005   Crossroads,Clarington Art Centre Bowmanville ON

Selected Group Exhibitions 

2019   She, A Smth Gallery, Johnson City, Texas
2018   Gratitude, LightBox Photographic Gallery, Astoria OR
2017   big/SMALL, an exchange with the Red Head gallery, Halifax NS
2015   World of Wonders, curated by Judy Daley, Helson Art Gallery, Halton Hills ON 
2014   Inside/Outside, ARC Gallery, Chicago, IL (2014); Cambridge Centre for the Arts, 
Cambridge ON (2016); Homer Watson House and Gallery, Kitchener ON (2016)
Bibliography/Reviews
2016   Dick, Terrence, Akimblog 20 Years at Lonsdale Gallery, April 07, 2016
2004   Cherry, Maralynn, Essay for “Crossroads” exhibition catalogue 
2003   Hujer, Elaine, A Wake-up Call about ethics of science; Hamilton Spectator 
2000   Landsberg, Michele, Reflection nature’s wonders using nature’s tools; Toronto Star

Published Writings 

1999   Parcours; Rosaura Guzman Clunes; exhibition brochure for Gallery 44, Toronto ON Multiplicity; Photobased constructions by Eugenie Shinkle and Lynn Cazabon; exhibition brochure for Gallery 44, Toronto ON

Published Works 

2019   She, Catalogue for exhibition
2018   The Hand, a magazine for reproduction-based art, issue #22
2017   Light, a journal of Photography & Poetry, Issue 05, Reflection(s) 
2005   Crossroads; Exhibition catalogue 
2000   Prefix PHOTO #2 
Curatorial Projects 
2014   Photography in the Time Digital Disenchantment, Peel Art Gallery (PAMA) Brampton ON 

Residencies

2017   ALCHEMY: exploring the intersections between Art & Food, Prince Edward County, ON
2016   Spring Retreat, Laura Valenti Photography, Portland OR
2014-15   Artscape Gilbraltor Point, Gallery 44, Toronto ON
2013   Vermont Studio Centre, Johnson VT
Professional Participation
1986 –present   Gallery 44 Centre for Contemporary Photography  roles: Board Member 1991-1995, Exhibition Selection Committee 1997-1999
2013 –present    Red Head Gallery

Collective roles: past co-chair with Tonia diRiso, Chair 25th Anniversary Exhibition and ongoing Collective initiatives

www.peggytaylorreid.com
Instagram: @peggytreid  
Instagram: same_path_different_weather
 

-----------------------------
SELF-CONSCIOUS HOME:
https://nyphotocurator.com/self-conscious-frances-jakubek 

FIRST PLACE:
 https://nyphotocurator.com/self-conscious-frances-jakubek/first-place-joseph-caster-christian-twice----/1

SECOND PLACE:
https://nyphotocurator.com/self-conscious-frances-jakubek/second-place-rachel-dickson-puncture----/1 

BEST SERIES:
https://nyphotocurator.com/self-conscious-frances-jakubek/best-series-peggy-taylor-reid/1 

HONORABLE MENTIONS:
https://nyphotocurator.com/self-conscious-frances-jakubek/honorable-mentions-james-kuan-outward-kris-hodson-moore-fly-away-breath-erin-white-crop-jeremy-ackman-untitled-3-ellen-feldman-mom-and-me-at-a-cafe-20-years-apart-----/1 

EXHIBITION #1:
https://nyphotocurator.com/self-conscious-frances-jakubek/exhibition-1 

EXHIBITION #2:
 https://nyphotocurator.com/self-conscious-frances-jakubek/exhibition-2/1