THE UNEXPECTED - ELLEN JANTZEN > EXHIBITION #1
EXHIBITION #1
ENTANGLEMENT by Beth Galton
HONORABLE MENTION
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HONORABLE MENTION
(Click on image for larger view)
Curator Ellen Jantzen says, "I chose as Honorable Mention Beth Galton, “Entanglement” which speaks of memory in a very three-dimensional, sculptural way."
Beth Galton says of her series, 'Reminiscence', We tend to think of memories as the personal histories that define who we are, as if our brains physically transfer these memories from short- to long-term storage by encoding synapses with data from our lived experiences. However, one theory of long-term memory posits that, every time we consciously recall a memory, we actually create it anew. As I learned more about this theory of long-term memory, I began to question myself: Was I creating memories of my childhood from photographs?
Reminiscence is a collection of “memories” that I have self-consciously constructed as still lifes: some from experiences that I could previously recall and some that I could not.
In 2017, my mother and father—who had not lived together for 50 years by that point—died within three days of each other. After their deaths, I discovered objects from before, during, and after their marriage, including photographs that depicted scenes that I have no memory of.
In this series, I applied natural materials with these objects and photographs to make sense of my memories. This allowed me to see myself and my family in new ways. The botanicals that I have included function as admissions of my own hand in the creation of these scenes, and they serve as a reminder of the ever-changing nature of memory—an unstable and unreliable process.
Just as memory can transcend time and recombine in ways that allow us to cast new light on our lives, I have chosen objects from across time, thus recontextualizing mundane fragments. Through my tableaus, I acknowledge the unreliability of memory and attempt to display the interweaving network of events that we call “the past.”
Beth Galton, one of New York's top food and still-life photographers, graduated from Hiram College with a degree in studio art. Her attention to detail and strong sense of composition has allowed her to acquire a noteworthy client list including; Chipotle, Mott’s, Hellmann’s, Kraft Foods, Denny’s, MacDonald’s, and IHOP to name a few.
Beth’s photographs have been published in many cookbooks and her work is exhibited periodically.
She has received numerous awards from the Art Director’s Club, One Show, Creativity Show, Communications Arts, Graphics, the International Festival of NY, Lürzer’s Int’l Archive’s ‘200 Best Advertising Photographers, and PDN Taste Awards. Her "Cut Food” series received much press and awards around the world.
A prolific photographer, Beth has always had a practice of her own personal work. She recently turned her attention to showing this work, creating www.bethgaltonfineart.com and entering these images in shows across the country.
CAREER HIGHLIGHTS:
Shows:2018 Wave Hill- Les Botaniques Vivants, Riverdale, NY
2018 The Center for Fine Art Photography - Illuminate Juried Exhibition,Fort Collins,
2017 Center for Photographic Art - Internatinoal Juried Group Show, Carmel,CA
2017 The Fence 2017 - Juried Group Show - Traveling Exhibition
2017 Food: Paintings & Photography - Group Show, Beth Urdang Gallery,Boston, MA
2016 AP-SF Something Personal Exhibition - Group Show, San Francisco, CA
2015 Milano Art Week Ode to Food, Group Show Milan Italy
2015 The Taste of Art – First Place, Boulder CO
2015 McIninch Art Gallery, Discomfort Food, Manchester, New Hampshire
2014 Aperture Summer Open Group Show, New York, NYPress:2015 Business Insider, People.com, Time.com, Washingtonpost.com, The Journal: Cut Food
2015 E-Junkie: Artist of the Week 2014 Soura Magazine: Cut Food
2014 MailOnline, Epicurious.com, Barn & Dining: Cut Food and Texture Series
2013 Feature Shoot: Cut Food 2013 Online: GizModo, My Modern Met, Yahoo News, Buzz Feed, Trendland, ABC, Saveur, Design Taxi, MSN, Daily Mail, Daily Telegraph, Daily News,Visualpotluck.com: Cut Food, Idiom, and Texture Series Awards:2017 APA National Editorial
2016 Communication Arts Excellence Award
2016 Graphis Photography Annual Two Gold Awards
www.bethgaltonfineart.com
Beth Galton says of her series, 'Reminiscence', We tend to think of memories as the personal histories that define who we are, as if our brains physically transfer these memories from short- to long-term storage by encoding synapses with data from our lived experiences. However, one theory of long-term memory posits that, every time we consciously recall a memory, we actually create it anew. As I learned more about this theory of long-term memory, I began to question myself: Was I creating memories of my childhood from photographs?
Reminiscence is a collection of “memories” that I have self-consciously constructed as still lifes: some from experiences that I could previously recall and some that I could not.
In 2017, my mother and father—who had not lived together for 50 years by that point—died within three days of each other. After their deaths, I discovered objects from before, during, and after their marriage, including photographs that depicted scenes that I have no memory of.
In this series, I applied natural materials with these objects and photographs to make sense of my memories. This allowed me to see myself and my family in new ways. The botanicals that I have included function as admissions of my own hand in the creation of these scenes, and they serve as a reminder of the ever-changing nature of memory—an unstable and unreliable process.
Just as memory can transcend time and recombine in ways that allow us to cast new light on our lives, I have chosen objects from across time, thus recontextualizing mundane fragments. Through my tableaus, I acknowledge the unreliability of memory and attempt to display the interweaving network of events that we call “the past.”
Beth Galton, one of New York's top food and still-life photographers, graduated from Hiram College with a degree in studio art. Her attention to detail and strong sense of composition has allowed her to acquire a noteworthy client list including; Chipotle, Mott’s, Hellmann’s, Kraft Foods, Denny’s, MacDonald’s, and IHOP to name a few.
Beth’s photographs have been published in many cookbooks and her work is exhibited periodically.
She has received numerous awards from the Art Director’s Club, One Show, Creativity Show, Communications Arts, Graphics, the International Festival of NY, Lürzer’s Int’l Archive’s ‘200 Best Advertising Photographers, and PDN Taste Awards. Her "Cut Food” series received much press and awards around the world.
A prolific photographer, Beth has always had a practice of her own personal work. She recently turned her attention to showing this work, creating www.bethgaltonfineart.com and entering these images in shows across the country.
CAREER HIGHLIGHTS:
Shows:2018 Wave Hill- Les Botaniques Vivants, Riverdale, NY
2018 The Center for Fine Art Photography - Illuminate Juried Exhibition,Fort Collins,
2017 Center for Photographic Art - Internatinoal Juried Group Show, Carmel,CA
2017 The Fence 2017 - Juried Group Show - Traveling Exhibition
2017 Food: Paintings & Photography - Group Show, Beth Urdang Gallery,Boston, MA
2016 AP-SF Something Personal Exhibition - Group Show, San Francisco, CA
2015 Milano Art Week Ode to Food, Group Show Milan Italy
2015 The Taste of Art – First Place, Boulder CO
2015 McIninch Art Gallery, Discomfort Food, Manchester, New Hampshire
2014 Aperture Summer Open Group Show, New York, NYPress:2015 Business Insider, People.com, Time.com, Washingtonpost.com, The Journal: Cut Food
2015 E-Junkie: Artist of the Week 2014 Soura Magazine: Cut Food
2014 MailOnline, Epicurious.com, Barn & Dining: Cut Food and Texture Series
2013 Feature Shoot: Cut Food 2013 Online: GizModo, My Modern Met, Yahoo News, Buzz Feed, Trendland, ABC, Saveur, Design Taxi, MSN, Daily Mail, Daily Telegraph, Daily News,Visualpotluck.com: Cut Food, Idiom, and Texture Series Awards:2017 APA National Editorial
2016 Communication Arts Excellence Award
2016 Graphis Photography Annual Two Gold Awards
www.bethgaltonfineart.com
ABSORBED INTO NEW LIVES by Beth Galton
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THREE GENERATIONS OF WOMEN by Beth Galton
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DETENTION by Carol Lyon
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Carol Lyon says, "Captivity comes in different forms with its own brand of loneliness. The Elderly are often isolated and alone, just as captive animals are often left to a similar fate."
Carol Lyon’s career path took her from fashion model to live theatre owner to teacher to zookeeper to photographer. After moving from California to Texas, Carol turned her attentions to her 1st love: animals. She became a zookeeper.
Carol began her photography career ten years ago when the 50 pound feed sacks began to take their toll and she transitioned into the zoo’s staff photographer. Self taught, she began by doing the zoo’s signage in exchange for keeping the rights to the pictures she took.
That transition lead her into artistic recognition and showing her images throughout the art festival circuit. Along the way, having garnered many national and international awards and having been shown in 28 galleries, she remains faithful to her love of animals.
AWARDS AND RECOGNITION:
3rd Place - Prix de la Photographie Paris (PX3) in Wildlife
Finalist - 2 categories - 10th Annual Pullox Award (WPGA)
Finalist - 2nd Charles Dodgson Black & White Awards
Honorable Mention - Texas Photographic Society International Competition
Nominee - 6 categories - Fine Art Photography Awards, London
Winner - 8th Edition Julia Margaret Cameron Award for Women Photographers
Exposure Awards Reception - Animals Collection @ The Louvre, Paris
Honorable Mention 2 categories - Prix de la Photographie Paris (PX3) in Fine Arts/Book Proposal & Nature/Wildlife
Top 10% of all 2015 & 2016 ViewBug images (3.2 million images)
2nd Place TX State University Photography & Sculpture Exhibit
Merit Award - TerraBella Media International Open Portfolio Contest
Finalist - 3 categories - 7th Edition Julia Margaret Cameron Award for Women Photographers
Runner up & Finalist - 2 categories - 7th Pollux Awards
1st Place - Worldwide Photography Gala Awards/Pollux Award - Wildlife
www.carollyon.com
Carol Lyon’s career path took her from fashion model to live theatre owner to teacher to zookeeper to photographer. After moving from California to Texas, Carol turned her attentions to her 1st love: animals. She became a zookeeper.
Carol began her photography career ten years ago when the 50 pound feed sacks began to take their toll and she transitioned into the zoo’s staff photographer. Self taught, she began by doing the zoo’s signage in exchange for keeping the rights to the pictures she took.
That transition lead her into artistic recognition and showing her images throughout the art festival circuit. Along the way, having garnered many national and international awards and having been shown in 28 galleries, she remains faithful to her love of animals.
AWARDS AND RECOGNITION:
3rd Place - Prix de la Photographie Paris (PX3) in Wildlife
Finalist - 2 categories - 10th Annual Pullox Award (WPGA)
Finalist - 2nd Charles Dodgson Black & White Awards
Honorable Mention - Texas Photographic Society International Competition
Nominee - 6 categories - Fine Art Photography Awards, London
Winner - 8th Edition Julia Margaret Cameron Award for Women Photographers
Exposure Awards Reception - Animals Collection @ The Louvre, Paris
Honorable Mention 2 categories - Prix de la Photographie Paris (PX3) in Fine Arts/Book Proposal & Nature/Wildlife
Top 10% of all 2015 & 2016 ViewBug images (3.2 million images)
2nd Place TX State University Photography & Sculpture Exhibit
Merit Award - TerraBella Media International Open Portfolio Contest
Finalist - 3 categories - 7th Edition Julia Margaret Cameron Award for Women Photographers
Runner up & Finalist - 2 categories - 7th Pollux Awards
1st Place - Worldwide Photography Gala Awards/Pollux Award - Wildlife
www.carollyon.com
GRANNY by Carol Lyon
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MOTHER WORRY by Carol Lyon
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ASCENSION by Chelle Delaney
FIRST PLACE
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Curator Ellen Jantzen says, "I chose Chelle Delaney’s “Ascension” as the first place-winning image. There is a mystery here that I find intriguing. I like the formal nature of the truncated triangle with graphically space dots forming a grid in conjunction with the unexpected natural elements of undersea, clouds and an inverted shoreline.
There is an intrusion of the hard-edged shape into the soft ethereal world that I find enticing. I am not sure if this was intentional, but I sense an oar of sorts propelling the graphic form through natural world.
I am always drawn to titles and have my own interpretation of “Ascension”, but could you elaborate on yours?"
Chelle Delaney says, "Ascension is the act or process of rising beyond the earth. We usually think of a star drifting up beyond the horizon to the summit of the evening sky, or the Christian concept of Jesus' ascent into heaven. But ascension is both an act and part of endless process, like the upward flow of evaporation—molecules of water and earth (the primordial soup) rising from the pond where we see the sky’s reflection. As the elemental particles of life move between earth and the heavens, we humans aspire to ascend to live beyond our reflections, in other ways, in other forms and layers, up and throughout the universe."
Jantzen says, "I love the upside-down land form; it adds a mystery to this piece. Can you speak a bit to your decision to include this?"
Delaney says, "These are actually cloud furrows, taken from an airplane, but they serendipitously lend themselves to a symbolic nourishing land form to create another layer of life that lives and grows in our skies, and up and throughout the universe."
Jantzen says, "Does the truncated triangle have a specific meaning in this piece?"
Delaney says, "It just seemed to me that the kind of ascension I imagine requires a larger portal than the narrow opening of the inverted apex of triangle."
Additional review by curator Fran Forman:
"I can imagine that selecting a first-place winner for the theme “Unexpected” must have been daunting indeed. Just about everything in life can fall into the category unexpected! But Ellen has selected a wonderful image, and I particularly enjoy the graphic quality, the symmetry, and the almost monochromatic palette. The dots within the triangle are a particularly elegant touch Congratulations to Chelle Delaney!"
http://www.franforman.com
------------------------------------------------
Chelle Delaney says, "In the memory of humans, the triangle is a primal form. The shape of mountains, valleys, canyons was imprinted in our first consciousness, and still reminds us of the powerful deep forces within the earth that created them and us. These images explore the sources of this form in the geological, vegetal and human world and the intersection of shape and mythological, spiritual and contemporary
forces."
Chelle Delaney graduated from the University of South Carolina, where she studied English Literature. She later studied photography at the School of Visual Arts and the Southwest School of Arts in San Antonio, Texas.
Contact
caridela@gmail.com
FIRST PLACE
(Click on image for larger view)
Curator Ellen Jantzen says, "I chose Chelle Delaney’s “Ascension” as the first place-winning image. There is a mystery here that I find intriguing. I like the formal nature of the truncated triangle with graphically space dots forming a grid in conjunction with the unexpected natural elements of undersea, clouds and an inverted shoreline.
There is an intrusion of the hard-edged shape into the soft ethereal world that I find enticing. I am not sure if this was intentional, but I sense an oar of sorts propelling the graphic form through natural world.
I am always drawn to titles and have my own interpretation of “Ascension”, but could you elaborate on yours?"
Chelle Delaney says, "Ascension is the act or process of rising beyond the earth. We usually think of a star drifting up beyond the horizon to the summit of the evening sky, or the Christian concept of Jesus' ascent into heaven. But ascension is both an act and part of endless process, like the upward flow of evaporation—molecules of water and earth (the primordial soup) rising from the pond where we see the sky’s reflection. As the elemental particles of life move between earth and the heavens, we humans aspire to ascend to live beyond our reflections, in other ways, in other forms and layers, up and throughout the universe."
Jantzen says, "I love the upside-down land form; it adds a mystery to this piece. Can you speak a bit to your decision to include this?"
Delaney says, "These are actually cloud furrows, taken from an airplane, but they serendipitously lend themselves to a symbolic nourishing land form to create another layer of life that lives and grows in our skies, and up and throughout the universe."
Jantzen says, "Does the truncated triangle have a specific meaning in this piece?"
Delaney says, "It just seemed to me that the kind of ascension I imagine requires a larger portal than the narrow opening of the inverted apex of triangle."
Additional review by curator Fran Forman:
"I can imagine that selecting a first-place winner for the theme “Unexpected” must have been daunting indeed. Just about everything in life can fall into the category unexpected! But Ellen has selected a wonderful image, and I particularly enjoy the graphic quality, the symmetry, and the almost monochromatic palette. The dots within the triangle are a particularly elegant touch Congratulations to Chelle Delaney!"
http://www.franforman.com
------------------------------------------------
Chelle Delaney says, "In the memory of humans, the triangle is a primal form. The shape of mountains, valleys, canyons was imprinted in our first consciousness, and still reminds us of the powerful deep forces within the earth that created them and us. These images explore the sources of this form in the geological, vegetal and human world and the intersection of shape and mythological, spiritual and contemporary
forces."
Chelle Delaney graduated from the University of South Carolina, where she studied English Literature. She later studied photography at the School of Visual Arts and the Southwest School of Arts in San Antonio, Texas.
Contact
caridela@gmail.com
FORCE FIELDS by Chelle Delaney
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GOLD AND WATER MODERN ESSENTIALS by Chelle Delaney
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SEGUIN 198 by C.E. Morse
HONORABLE MENTION
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HONORABLE MENTION
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Curator Ellen Jantzen says, "I chose as Honorable Mention C.E. Morse’s “Seguin 198” which is strewn with shards that seem ice-like."
C. E. Morse says, "I have been a habitué of classic car boneyards ever since I bought my 1936 Pontiac at age 15.
My first go-to boneyard was Johnnie Monroe's in South Thomaston, Maine where I sourced parts for the Pontiac as well as a '29 Essex, a '41 Packard and a '54 Nash. While rummaging about I discovered incredible visual compositions in the distressed iron and glass.
These compositions of line, color and texture struck me the same way as did some of the most inspiring abstract art.
This experience changed the way I viewed the world. I swapped my toolbox for a camera and started to capture wild art.
At Rhode Island School of Design I was fortunate to study with Aaron Siskind, and at The Maine Photographic Workshops
(now Maine Media Workshops), I mentored with Paul Caponigro, Arnold Gassen and John Loengard which further fueled my enthusiasm.
The images I capture photographically held many levels of interest for me:
• composition, texture, color
• unspoken history of random events that created the subject matter, for which I can only guess or imagine
• wabi sabi: my images adhere to the Buddhist teaching of the three marks of existence: impermanence, suffering and absence of self-nature as well as
appreciation of the integrity of the natural process.
• that despite the resulting image being my abstract perspective, the subject is an actual concrete found object.
• subject matter is generally something not considered beautiful, for example; a dumpster, but when taken out of context can be visually stunning.
• objects have changed slowly over many years to get to the point at which I find them, but despite seeming permanent & static, they, can (and do) rapidly change or disappear. I often capture them
just days, if not hours before they disappear.
• interpretations expressed by viewers' imaginations.
People are taught to recognize and categorize all that they see.
Abstractions reach deep into personal experience and imagination.
My images may evoke a memory, an emotion, or a reminder of something visually similar. In a way I have a disadvantage; I know what I have photographed.
Anyone else viewing my photographs is unencumbered by the influence of certain recognition and has a free range of imagination with which to appreciate
their visual essence.
My work is interactive; it starts a discussion."
"It's not what you look at that matters, it's what you see."-
Henry David Thoreau
CV
Born: Camden, Maine 1952
BFA Rhode Island School of Design
2013 Solo Exhibit: Dartmouth Hitchcock Medical Center, Lebanon, NH
2013 Moonlighting Exhibit: Zeitgeist Gallery, Lowell, MA
2013 New England Photography Biennial - Danforth Museum, Framingham, MA
2014 Boston City Hall - Juried Exhibition
2014 Focus Point - Best of Show: Abstract
2014 In the Abstract: Juried Exhibition - Keirnan Gallery, Lexington, VA. juried by Susan Spiritus
2015 Solo Exhibition - Fidelity Investments, Boston, MA
2015 Off the Walls: Juried Exhibition - Danforth Museum, Framingham, MA juried by Katherine French
2015 Patterns in Nature - MPLS Photo Center, Minneapolis, MN juried by Jim Brandenburg
2016 PDN World in Focus: Sense of Place - January 2016 issue
2016 An ordinary Day: Seeing the Unseen - Fernald Gallery, University of Maine Hutchinson Center, Belfast, ME
2016 Camera USA - National Photography Exibition & Award, The von Liebig Art Center’s Fredrick O. Watson Gallery, Naples, FL
2016 International Photographer of the Year: Honorable Mention
2016 Maine Arts Journal (Quarterly): Muses - Summer 2016
2016 TPS; Texas Photographic Society : Members Show
2016 Art2016: 21st Annual Juried Show - Harlow Gallery, Hallowell, ME - Best Photograph
2016 Abstracted: MPLS Photo Center, Minneapolis, MN
2016 Photographer’s Forum Magazine
2016 Px3 Public Choice Awards: Silver
2017 3rd Open Call: Providence Center for Photographic Arts, Providence, RI: 1st Place
2017 23rd Texas National: Juried Exhibition - Nacogdoches, TX
2017 Art 2017: 22nd Annual Juried Show - Harlow Gallery, Hallowell, ME
2017 UMVA Show: Portland, ME
2017 MIFA Moscow Foto Awards: Bronze & Honorable Mention
2017 Diffusion Magazine: Issue IX; One Twelve Publishing (Blue Mitchell)
2018 Musée Magazine
2018 Show: Beyond Recognition: Rhode Island Center for Photographic Arts
2018 Show: Art & the Abstract Truth: UMVA , Portland, ME
www.cemorsephoto.com
cmorse1@maine.rr.com
C. E. Morse says, "I have been a habitué of classic car boneyards ever since I bought my 1936 Pontiac at age 15.
My first go-to boneyard was Johnnie Monroe's in South Thomaston, Maine where I sourced parts for the Pontiac as well as a '29 Essex, a '41 Packard and a '54 Nash. While rummaging about I discovered incredible visual compositions in the distressed iron and glass.
These compositions of line, color and texture struck me the same way as did some of the most inspiring abstract art.
This experience changed the way I viewed the world. I swapped my toolbox for a camera and started to capture wild art.
At Rhode Island School of Design I was fortunate to study with Aaron Siskind, and at The Maine Photographic Workshops
(now Maine Media Workshops), I mentored with Paul Caponigro, Arnold Gassen and John Loengard which further fueled my enthusiasm.
The images I capture photographically held many levels of interest for me:
• composition, texture, color
• unspoken history of random events that created the subject matter, for which I can only guess or imagine
• wabi sabi: my images adhere to the Buddhist teaching of the three marks of existence: impermanence, suffering and absence of self-nature as well as
appreciation of the integrity of the natural process.
• that despite the resulting image being my abstract perspective, the subject is an actual concrete found object.
• subject matter is generally something not considered beautiful, for example; a dumpster, but when taken out of context can be visually stunning.
• objects have changed slowly over many years to get to the point at which I find them, but despite seeming permanent & static, they, can (and do) rapidly change or disappear. I often capture them
just days, if not hours before they disappear.
• interpretations expressed by viewers' imaginations.
People are taught to recognize and categorize all that they see.
Abstractions reach deep into personal experience and imagination.
My images may evoke a memory, an emotion, or a reminder of something visually similar. In a way I have a disadvantage; I know what I have photographed.
Anyone else viewing my photographs is unencumbered by the influence of certain recognition and has a free range of imagination with which to appreciate
their visual essence.
My work is interactive; it starts a discussion."
"It's not what you look at that matters, it's what you see."-
Henry David Thoreau
CV
Born: Camden, Maine 1952
BFA Rhode Island School of Design
2013 Solo Exhibit: Dartmouth Hitchcock Medical Center, Lebanon, NH
2013 Moonlighting Exhibit: Zeitgeist Gallery, Lowell, MA
2013 New England Photography Biennial - Danforth Museum, Framingham, MA
2014 Boston City Hall - Juried Exhibition
2014 Focus Point - Best of Show: Abstract
2014 In the Abstract: Juried Exhibition - Keirnan Gallery, Lexington, VA. juried by Susan Spiritus
2015 Solo Exhibition - Fidelity Investments, Boston, MA
2015 Off the Walls: Juried Exhibition - Danforth Museum, Framingham, MA juried by Katherine French
2015 Patterns in Nature - MPLS Photo Center, Minneapolis, MN juried by Jim Brandenburg
2016 PDN World in Focus: Sense of Place - January 2016 issue
2016 An ordinary Day: Seeing the Unseen - Fernald Gallery, University of Maine Hutchinson Center, Belfast, ME
2016 Camera USA - National Photography Exibition & Award, The von Liebig Art Center’s Fredrick O. Watson Gallery, Naples, FL
2016 International Photographer of the Year: Honorable Mention
2016 Maine Arts Journal (Quarterly): Muses - Summer 2016
2016 TPS; Texas Photographic Society : Members Show
2016 Art2016: 21st Annual Juried Show - Harlow Gallery, Hallowell, ME - Best Photograph
2016 Abstracted: MPLS Photo Center, Minneapolis, MN
2016 Photographer’s Forum Magazine
2016 Px3 Public Choice Awards: Silver
2017 3rd Open Call: Providence Center for Photographic Arts, Providence, RI: 1st Place
2017 23rd Texas National: Juried Exhibition - Nacogdoches, TX
2017 Art 2017: 22nd Annual Juried Show - Harlow Gallery, Hallowell, ME
2017 UMVA Show: Portland, ME
2017 MIFA Moscow Foto Awards: Bronze & Honorable Mention
2017 Diffusion Magazine: Issue IX; One Twelve Publishing (Blue Mitchell)
2018 Musée Magazine
2018 Show: Beyond Recognition: Rhode Island Center for Photographic Arts
2018 Show: Art & the Abstract Truth: UMVA , Portland, ME
www.cemorsephoto.com
cmorse1@maine.rr.com
FINNTOWN 73 by C.E. Morse
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NORTH BERWICK 83 by C.E. Morse
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FEY W 08-23-18--0958 by Dan McCormack
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Dan McCormack says, "Around 2014 I began to work with a cellphone camera. And I joined the real Revolution in photography. I am currently working on three to four projects with cellphone imagery. In this work, I am submitting images where I make a vertical panoramic
with the cellphone camera continuously joining edge data to other edge data as I am making a continuous vertical exposure. The figure gets distorted in ways I could not have anticipated. As I work through a shoot the camera makes surprising juxtapositions that I try to play to.
EDUCATION:
SCHOOL OF THE ART INSTITUTE OF CHICAGO Sept. 1967 - Aug. 1969 M.F.A. in Photography 1970
INSTITUTE OF DESIGN - ILL. INST. OF TECH. Sept. 1962 - June 1967 B.S. in Photography 1967
TEACHING:
MARIST COLLEGE Poughkeepsie, N.Y. head of film photography program Feb. 1991 - current
COLLECTIONS:
Central Connecticut State University, permanent art collection, New Britain, Connecticut
THE PINHOLE RESOURCE, San Lorenzo, New Mexico
THE ONTOLOGICAL MUSEUM, Fort Worth, Texas
ULTIMATE EYE FOUNDATION, San Francisco, Calif
SAMUEL DORSKY MUSEUM, SUNY, New Paltz, New Paltz, New York
ART INSTITUTE OF CHICAGO, Chicago, Illinois
MUSEUM OF FINE ARTS, HOUSTON, Houston, Texas
KALAMAZOO INSTITUTE of ARTS, Kalamazoo, Michigan
GRANTS:
Ultimate Eye Foundation, figurative photography 2009
NYSCA-CAPS PHOTOGRAPHY FELLOWSHIP 1982
LECTURES:
“My Photograms”, Pushing Paper Exhibition, Barrett Art Center slide talk August 25, 2018
“Fifty Years of my Figurative Imagery”, Marist College Art Gallery slide talk, February 20, 2018
Artists of the Mohawk-Hudson Region, Artists Gallery Talk, Albany Institute, Nov. 7th, 2014
“FIGURES – Artists’ Talk”, Central Connecticut State University, New Britain, CT, January 26, 2012
“40 years of my Figurative Photography”, Photo Center of the Capitol District, Troy, January 29, 2010
“Digitized Pinhole Photography”, Salmagundi Club, 47 Fifth Ave, NYC, June 2008
“The Looking Glass”, Silver Eye Center for Photography, Pittsburgh, PA September 2007
Digital Fine Art 2003, Artists Talk, Steamboat Springs, CO. September 2003
PrestiDigitation, Artists’ Talk, Somerville, New Jersey, February 2002
AWARDS:
“International Color Awards, Nominee Award March 2018
Thomas Holm , Nude Shoot Awards 2018, Merit Award March 2018
3rd Annual Faces & Figures”, Fusion Art, Honorable Award October 2017
“Photography Unsettled”, Artworks Gallery, Jurors Award, Loveland, CO February 2017
Center for Contemporary Art, New Jersey Honorable Award February 2017
Maryland Federation Art, Annapolis, MD Award January 2017
SOLO EXHIBITIONS:
“Nude at Home”, solo show, Photography Center Troy, NY May 2018
“Cell Phone Photos” solo show, Arts Upstairs Gallery, Phoenicia, NY May 2017“Nude at Home”, solo show, Beacon Artists Union, Beacon, NY January 2016
IMAGES:
1. Fey_W_08-23-18--0958 Cell Phone Panorama,
H 16.00" x W 7.58" framed H 20" x W 16"
$ 750.00
2. Grace_F_06-06-18--4345 Cell Phone Panorama,
H 16.00" x W 6.23" framed H 20" x W 16"
$ 750.00
3. Lenoir_R_08-09-18--4136, Cell Phone Panorama,
H 16.00" x W 6.99" framed H 20" x W 16"
$ 750.00
e-mail dan_mccormack@yahoo.com
with the cellphone camera continuously joining edge data to other edge data as I am making a continuous vertical exposure. The figure gets distorted in ways I could not have anticipated. As I work through a shoot the camera makes surprising juxtapositions that I try to play to.
EDUCATION:
SCHOOL OF THE ART INSTITUTE OF CHICAGO Sept. 1967 - Aug. 1969 M.F.A. in Photography 1970
INSTITUTE OF DESIGN - ILL. INST. OF TECH. Sept. 1962 - June 1967 B.S. in Photography 1967
TEACHING:
MARIST COLLEGE Poughkeepsie, N.Y. head of film photography program Feb. 1991 - current
COLLECTIONS:
Central Connecticut State University, permanent art collection, New Britain, Connecticut
THE PINHOLE RESOURCE, San Lorenzo, New Mexico
THE ONTOLOGICAL MUSEUM, Fort Worth, Texas
ULTIMATE EYE FOUNDATION, San Francisco, Calif
SAMUEL DORSKY MUSEUM, SUNY, New Paltz, New Paltz, New York
ART INSTITUTE OF CHICAGO, Chicago, Illinois
MUSEUM OF FINE ARTS, HOUSTON, Houston, Texas
KALAMAZOO INSTITUTE of ARTS, Kalamazoo, Michigan
GRANTS:
Ultimate Eye Foundation, figurative photography 2009
NYSCA-CAPS PHOTOGRAPHY FELLOWSHIP 1982
LECTURES:
“My Photograms”, Pushing Paper Exhibition, Barrett Art Center slide talk August 25, 2018
“Fifty Years of my Figurative Imagery”, Marist College Art Gallery slide talk, February 20, 2018
Artists of the Mohawk-Hudson Region, Artists Gallery Talk, Albany Institute, Nov. 7th, 2014
“FIGURES – Artists’ Talk”, Central Connecticut State University, New Britain, CT, January 26, 2012
“40 years of my Figurative Photography”, Photo Center of the Capitol District, Troy, January 29, 2010
“Digitized Pinhole Photography”, Salmagundi Club, 47 Fifth Ave, NYC, June 2008
“The Looking Glass”, Silver Eye Center for Photography, Pittsburgh, PA September 2007
Digital Fine Art 2003, Artists Talk, Steamboat Springs, CO. September 2003
PrestiDigitation, Artists’ Talk, Somerville, New Jersey, February 2002
AWARDS:
“International Color Awards, Nominee Award March 2018
Thomas Holm , Nude Shoot Awards 2018, Merit Award March 2018
3rd Annual Faces & Figures”, Fusion Art, Honorable Award October 2017
“Photography Unsettled”, Artworks Gallery, Jurors Award, Loveland, CO February 2017
Center for Contemporary Art, New Jersey Honorable Award February 2017
Maryland Federation Art, Annapolis, MD Award January 2017
SOLO EXHIBITIONS:
“Nude at Home”, solo show, Photography Center Troy, NY May 2018
“Cell Phone Photos” solo show, Arts Upstairs Gallery, Phoenicia, NY May 2017“Nude at Home”, solo show, Beacon Artists Union, Beacon, NY January 2016
IMAGES:
1. Fey_W_08-23-18--0958 Cell Phone Panorama,
H 16.00" x W 7.58" framed H 20" x W 16"
$ 750.00
2. Grace_F_06-06-18--4345 Cell Phone Panorama,
H 16.00" x W 6.23" framed H 20" x W 16"
$ 750.00
3. Lenoir_R_08-09-18--4136, Cell Phone Panorama,
H 16.00" x W 6.99" framed H 20" x W 16"
$ 750.00
e-mail dan_mccormack@yahoo.com
GRACE F 06-06-18--4345 by Dan McCormack
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LENOIR R 08-09-18--4136 by Dan McCormack
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ALESSANDRA WITH DRY BRANCHES by Ekaterina Bykhovskaya
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Ekaterina Bykhovskaya says "I was
initially interested in photography as a means to document my travels, I came to realize that apart from merely recording the outside world it could be a powerful tool for expressing views, moods and emotions.
Hence, I seek to convey in my images a personal perception by translating emotions and feelings inspired by a place, a situation or a moment. Whereas I mainly work with digital photography, I like to mix genres and techniques so as to create certain ambiguity of the resulting image. I am particularly interested in antique photographic processes which have a unique quality about them. In some of my works I seek to recreate the effect of such processes, of which Martina with a Lock of Hair is an example.
My works have been exhibited across Europe and the United States and received awards at national and international contests. They have also been featured in a number of publications, including the book Journeys: Photographic Discoveries of Time, Place, and Self In Jerusalem, Japan, Istanbul, and Provence."
http://www.bykhovskaya.com/
initially interested in photography as a means to document my travels, I came to realize that apart from merely recording the outside world it could be a powerful tool for expressing views, moods and emotions.
Hence, I seek to convey in my images a personal perception by translating emotions and feelings inspired by a place, a situation or a moment. Whereas I mainly work with digital photography, I like to mix genres and techniques so as to create certain ambiguity of the resulting image. I am particularly interested in antique photographic processes which have a unique quality about them. In some of my works I seek to recreate the effect of such processes, of which Martina with a Lock of Hair is an example.
My works have been exhibited across Europe and the United States and received awards at national and international contests. They have also been featured in a number of publications, including the book Journeys: Photographic Discoveries of Time, Place, and Self In Jerusalem, Japan, Istanbul, and Provence."
http://www.bykhovskaya.com/
MARTINA WITH A LOCK OF HAIR by Ekaterina Bykhovskaya
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VALENTINA IN BLACK by Ekaterina Bykhovskaya
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MYRIAS-1 by Elena Sol
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Elena Sol says, "I always felt that nature spokes to me, that some sort of ideal link was established at the moment of photographing. Now I think, at least partly, that I was mistaken: nature listens to me and like the reflection in the water takes possession of my emotions and returns them to me somewhat sharper.
At the same time, I'm not only captivated by this spiritual and feminine way of understanding nature, I want to reconstruct some relationship whit nature: I'm always trying to think about the meaning and the role of nature in this our contemporary world. Nature as redemption? as renouncement? as an abstract concept that permit us to move forward? is possible a return? As Pessoa said: /Landscape, like a splendid painting, is an uncomfortable bedside/.
I'm also interested in working with images that are in the border between the poetic and the real things. The ordinariness of stranger things, mystery, the incomprehensible, the intuition, is mixed with the strong and vibrant sensation of the tangible day by day.
I was born in a marvellous island (Tenerife, Spain,1973).
Since I was a child all my world was colour, and shadow, and tales, under the palms, the quaternary forests and the volcano shape.
I remember myself in silence, pencil and paper in my hands, devouring books and drawing scenarios.
After finishing my Fine Art studies I was travelling and photographing faraway for long periods of time: that increased my love for the “racconto”.
Then I realised that photography was the way that will help me to understand, to create, to cacht the worlds in my mind, making them of “real images”."
CAREER HIGHLIGHTS:
Workshops with Javier Vallhonrat, Valentín Vallhonrat, Eduardo Momeñe, José Manuel Navia, Matías Costa, Elina Brotherus and Roger Ballen (2010-2017).
Selected for PHOTOESPAÑA Discoveries 2015 and 2017.
Finalist at NEXO FOTO Iberoamericano 2016.
Three Honorable mention at MIFA 2016.
Honorable mention at TIFA 2016.
Individual exhibition in Lens School of Visual Art MADRID 2015.
Selected for VOIES OFF AWARDS PRIX – ARLES 2017.
Group exhibition at Griffeuille VOIES OFF – ARLES 2017.
Group exhibition at COSMOS BOOKS – ARLES 2018.
ABOUT THE IMAGES
Title of the serie: MYRIAS
/Have you ever felt the dizziness of thinking on the greatness of the natural world around us?. That place where we belong and at the same time, splitting ourselves, we look from the outside?. How can we see all at once the action in the immobility?, the constant change in what, however, remains?, what is here and now and nevertheless we fell linked to the past?/
I face this poetic study like a research work, with a first fieldwork traveling to places where nature is still so powered, looking for this stopped time; then I make a review of our history working on new images made by old icons of our history of art, in a simbolic way to rejoin nature; finally I hybridize all these materials with an autobiography through some objects that me and my family have collected over the years - I call them "my historical artefacts” -.
All this new visual history, in which I draw new horizons (places where two items seem to come together), explores the friction points, the borders between the no-time of natural world and the filther of the continuous flow of history.
This work consider other questions, like our perception of world and nature, both conditioned by the history built by our ancestors; the relativity of the meaningful objects selected to tell us our past; the no objetivity to read those traces. So,I want to participate and create my own narrative about the world, I want to subvert the “official” history and recreate one of the unexpected lost visions .
A vision, from some marginality, of the deep link between eternal nature, human time and our personal cycle.
These are three images of a larger serie.
www.elenasol.com
INFO: lsol@hotmail.com,
elena.sanchez3@murciaeduca.es,
https://www.facebook.com/elenasolfotografa/
At the same time, I'm not only captivated by this spiritual and feminine way of understanding nature, I want to reconstruct some relationship whit nature: I'm always trying to think about the meaning and the role of nature in this our contemporary world. Nature as redemption? as renouncement? as an abstract concept that permit us to move forward? is possible a return? As Pessoa said: /Landscape, like a splendid painting, is an uncomfortable bedside/.
I'm also interested in working with images that are in the border between the poetic and the real things. The ordinariness of stranger things, mystery, the incomprehensible, the intuition, is mixed with the strong and vibrant sensation of the tangible day by day.
I was born in a marvellous island (Tenerife, Spain,1973).
Since I was a child all my world was colour, and shadow, and tales, under the palms, the quaternary forests and the volcano shape.
I remember myself in silence, pencil and paper in my hands, devouring books and drawing scenarios.
After finishing my Fine Art studies I was travelling and photographing faraway for long periods of time: that increased my love for the “racconto”.
Then I realised that photography was the way that will help me to understand, to create, to cacht the worlds in my mind, making them of “real images”."
CAREER HIGHLIGHTS:
Workshops with Javier Vallhonrat, Valentín Vallhonrat, Eduardo Momeñe, José Manuel Navia, Matías Costa, Elina Brotherus and Roger Ballen (2010-2017).
Selected for PHOTOESPAÑA Discoveries 2015 and 2017.
Finalist at NEXO FOTO Iberoamericano 2016.
Three Honorable mention at MIFA 2016.
Honorable mention at TIFA 2016.
Individual exhibition in Lens School of Visual Art MADRID 2015.
Selected for VOIES OFF AWARDS PRIX – ARLES 2017.
Group exhibition at Griffeuille VOIES OFF – ARLES 2017.
Group exhibition at COSMOS BOOKS – ARLES 2018.
ABOUT THE IMAGES
Title of the serie: MYRIAS
/Have you ever felt the dizziness of thinking on the greatness of the natural world around us?. That place where we belong and at the same time, splitting ourselves, we look from the outside?. How can we see all at once the action in the immobility?, the constant change in what, however, remains?, what is here and now and nevertheless we fell linked to the past?/
I face this poetic study like a research work, with a first fieldwork traveling to places where nature is still so powered, looking for this stopped time; then I make a review of our history working on new images made by old icons of our history of art, in a simbolic way to rejoin nature; finally I hybridize all these materials with an autobiography through some objects that me and my family have collected over the years - I call them "my historical artefacts” -.
All this new visual history, in which I draw new horizons (places where two items seem to come together), explores the friction points, the borders between the no-time of natural world and the filther of the continuous flow of history.
This work consider other questions, like our perception of world and nature, both conditioned by the history built by our ancestors; the relativity of the meaningful objects selected to tell us our past; the no objetivity to read those traces. So,I want to participate and create my own narrative about the world, I want to subvert the “official” history and recreate one of the unexpected lost visions .
A vision, from some marginality, of the deep link between eternal nature, human time and our personal cycle.
These are three images of a larger serie.
www.elenasol.com
INFO: lsol@hotmail.com,
elena.sanchez3@murciaeduca.es,
https://www.facebook.com/elenasolfotografa/
MYRIAS-2 by Elena Sol
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(Click on image for larger view)
MYRIAS-3 by Elena Sol
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APPALOOSA SNOHOMISH WA 2006 by Ellen Felsenthal
HONORABLE MENTION
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HONORABLE MENTION
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In a world older and more complete than ours, they move finished and complete…”
Henry Beston, nature writer
Ellen Felsenthal says, "When I am close to these primal beings I am grounded, deeply connected to nature. They are a filter through which I experience the world. Horses are no longer simply something inthe landscape, they are my landscape. I am drawn to their form; the curves, the undulating lines, the myriad colors and patterns of their coats. And it is through this lens that I view the world.
I have developed this body of work over the course of two decades. Animals have always provided me with a sense of purpose and belonging; with them I am complete. As human beings remember the profound relationships between all living beings, our connection to the natural world is restored."
Bio:
University of Texas, Austin:
BFA: Theatrical Design, 1990
BA: Studio Arts, 1992
BA: Art History, 1992
University of Washington, Seattle:
MFA: Photography, 1998
Currently living north of Seattle in a small, rural community. Tenured faculty, teaching photography for 18 years at Everett Community College. Dipping my toes back into the world of showing, after many years focused on teaching and building a non-profit organization.
Contact: ellen@ellenfelsenthal.com
Henry Beston, nature writer
Ellen Felsenthal says, "When I am close to these primal beings I am grounded, deeply connected to nature. They are a filter through which I experience the world. Horses are no longer simply something inthe landscape, they are my landscape. I am drawn to their form; the curves, the undulating lines, the myriad colors and patterns of their coats. And it is through this lens that I view the world.
I have developed this body of work over the course of two decades. Animals have always provided me with a sense of purpose and belonging; with them I am complete. As human beings remember the profound relationships between all living beings, our connection to the natural world is restored."
Bio:
University of Texas, Austin:
BFA: Theatrical Design, 1990
BA: Studio Arts, 1992
BA: Art History, 1992
University of Washington, Seattle:
MFA: Photography, 1998
Currently living north of Seattle in a small, rural community. Tenured faculty, teaching photography for 18 years at Everett Community College. Dipping my toes back into the world of showing, after many years focused on teaching and building a non-profit organization.
Contact: ellen@ellenfelsenthal.com
BUCKSKIN LANDMANNALAUGAR, ICELAND 2016 by Ellen Felsenthal
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PALOMINO CASHMERE, WA 2017 by Ellen Felsenthal
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MADONNA FOR PRESIDENT by Hal Myers
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Hal Robert Myers says, "I recently photographed the Quixotic journey of Joey Allen, a Navajo Indian who embarked on a mission to ride his bicycle from Flagstaff, Arizona to Monument Valley, Utah campaigning for “Madonna for President.”
The idea, at the least, is unexpected – especially in an era when trolling one’s political adversaries from the anonymity of a computer screen is easier than taking a physical stand for something you truly believe.
The story of Joey runs deep: a convicted felon, former drug addict and the victim of a drunk driving collision that crippled his hip, Joey is an unlikely hero for the rest of us – a man who sees courage in people who stand up publicly to the injustices of a broken political system, however misconstrued his interpretation of Madonna’s 2017 speech in Washington happens to be.
Armed only with a pup tent he painted, black shoe polish, extra Argyle socks and other essentials, like tape, Joey departed Flagstaff, along with his cane and a loose-leaf notebook for collecting signatures, on a quest that concluded 200 miles later at the place of his birth – in part, over the very land the U.S. government forced his people to march during the Long Walk to Fort Sumner in 1864.
As his self-appointed documentarian, it was important for me to capture the essence of Joey’s undertaking… the emotion, physical sacrifice and single-minded purpose of elevating a pop culture icon to an elected role as the global spokesperson of moral conscience (times have certainly changed).
Along the way he taught me the importance of having a larger, noble purpose in life… of speaking to people you don’t know about matters that they, too, may care deeply about. Which helped me reach my own conclusion at the end of the journey: this is a compelling human-interest story that belies the perceived apathy of Native Americans, and Americans at large – and speaks to the capacity of the human spirit, even if it’s contained in the crippled body of a Navajo man stabbing at windmills.
BIO:
I’m what Cornell Capa considered to be a “concerned photographer.” These days, just about any photographer who is sensitive to what feels like a world of multiplying social injustices must qualify. I have a particular interest in protecting the environment as well, and the two go hand-in-hand: we’re beginning a long march, so to speak, toward a period of global climgration (migration caused by climate change) – impacting and exacerbating a host of critical issues.
I’ve chosen a couple areas of interest to focus on in response, including unapologetic support of the promising (if not idealistic – something we need!) Young Progressives of America. The politics of progressivism is not a photographic project, yet, but my participation in the Women’s March on Washington, among several others, and a relationship to members of the Lakota Sioux in Standing Rock, North Dakota, has produced engaging photography that intends to influence in viewers an empathetic position.
Recent time spent navigating the (figurative) minefield of Afghanistan was an intense experience that further drives my sense of urgency to capture and convey the cultural heritage of fragile societies that are on the brink of either destruction or implosion. I can name several; sometimes erosion is hard to detect until the bottom drops out.
Having lived in five countries and spent time in well over 50 has imbued my photographic perspective with a certain sensitivity that comes from fully immersive travel experiences. I only began photographing seriously about 12 years ago – long enough for some, late for embarking on a lifetime passion.
That said, I wasn’t quite ready before then – preoccupied as I was with living in Saudi Arabia or Singapore, or adjusting to five years of life in Japan. There was a sort of inventory of life experiences I had to absorb before translating my philosophy, which took years to fully congeal, into a photographic vision.
I’m grateful for the necessary time spent in creative gestation.It’s also helped that I’ve been in marketing for more than 25 years, having earned my credentials and several awards in the business world. This has chiseled and honed a significant facet of my creative style, which spans corporate strategy (especially in the field of sustainability), graphic design, copy writing, video production, web development and most anything that has required creative ideas to shape rhetorical messaging. I’ve been lucky to work professionally as the person I actually am.
The takeaway is that we are all inherently connected. I’m baffled by the adoption of knee-jerk political positions that build walls around narrow-minded and homogeneous thinking, which itself springs from fear. Real solutions don’t come about through exclusion but (however trite this might sound) acts of inclusion – whose root word “include” is an apt description for the container on which we all live: Planet Earth.
Contrary to forces trying to pull us apart, the colorful threads of diversity are what bind the world closer together, much like an Afghan rug or a handmade Mexican scarf, whose strength is derived from the alternating warp and weft of their fibers. Our strength and, I suspect, future depends on taking an interwoven approach.
CAREER HIGHLIGHTS:
Accolades don't mean much to me anymore more but, rather, doing meaningful work. I'm thankful to the 2017 Nobel Peace Prize Forum for selecting an image I captured during the protests at Standing Rock."
www.hrm.photography
The idea, at the least, is unexpected – especially in an era when trolling one’s political adversaries from the anonymity of a computer screen is easier than taking a physical stand for something you truly believe.
The story of Joey runs deep: a convicted felon, former drug addict and the victim of a drunk driving collision that crippled his hip, Joey is an unlikely hero for the rest of us – a man who sees courage in people who stand up publicly to the injustices of a broken political system, however misconstrued his interpretation of Madonna’s 2017 speech in Washington happens to be.
Armed only with a pup tent he painted, black shoe polish, extra Argyle socks and other essentials, like tape, Joey departed Flagstaff, along with his cane and a loose-leaf notebook for collecting signatures, on a quest that concluded 200 miles later at the place of his birth – in part, over the very land the U.S. government forced his people to march during the Long Walk to Fort Sumner in 1864.
As his self-appointed documentarian, it was important for me to capture the essence of Joey’s undertaking… the emotion, physical sacrifice and single-minded purpose of elevating a pop culture icon to an elected role as the global spokesperson of moral conscience (times have certainly changed).
Along the way he taught me the importance of having a larger, noble purpose in life… of speaking to people you don’t know about matters that they, too, may care deeply about. Which helped me reach my own conclusion at the end of the journey: this is a compelling human-interest story that belies the perceived apathy of Native Americans, and Americans at large – and speaks to the capacity of the human spirit, even if it’s contained in the crippled body of a Navajo man stabbing at windmills.
BIO:
I’m what Cornell Capa considered to be a “concerned photographer.” These days, just about any photographer who is sensitive to what feels like a world of multiplying social injustices must qualify. I have a particular interest in protecting the environment as well, and the two go hand-in-hand: we’re beginning a long march, so to speak, toward a period of global climgration (migration caused by climate change) – impacting and exacerbating a host of critical issues.
I’ve chosen a couple areas of interest to focus on in response, including unapologetic support of the promising (if not idealistic – something we need!) Young Progressives of America. The politics of progressivism is not a photographic project, yet, but my participation in the Women’s March on Washington, among several others, and a relationship to members of the Lakota Sioux in Standing Rock, North Dakota, has produced engaging photography that intends to influence in viewers an empathetic position.
Recent time spent navigating the (figurative) minefield of Afghanistan was an intense experience that further drives my sense of urgency to capture and convey the cultural heritage of fragile societies that are on the brink of either destruction or implosion. I can name several; sometimes erosion is hard to detect until the bottom drops out.
Having lived in five countries and spent time in well over 50 has imbued my photographic perspective with a certain sensitivity that comes from fully immersive travel experiences. I only began photographing seriously about 12 years ago – long enough for some, late for embarking on a lifetime passion.
That said, I wasn’t quite ready before then – preoccupied as I was with living in Saudi Arabia or Singapore, or adjusting to five years of life in Japan. There was a sort of inventory of life experiences I had to absorb before translating my philosophy, which took years to fully congeal, into a photographic vision.
I’m grateful for the necessary time spent in creative gestation.It’s also helped that I’ve been in marketing for more than 25 years, having earned my credentials and several awards in the business world. This has chiseled and honed a significant facet of my creative style, which spans corporate strategy (especially in the field of sustainability), graphic design, copy writing, video production, web development and most anything that has required creative ideas to shape rhetorical messaging. I’ve been lucky to work professionally as the person I actually am.
The takeaway is that we are all inherently connected. I’m baffled by the adoption of knee-jerk political positions that build walls around narrow-minded and homogeneous thinking, which itself springs from fear. Real solutions don’t come about through exclusion but (however trite this might sound) acts of inclusion – whose root word “include” is an apt description for the container on which we all live: Planet Earth.
Contrary to forces trying to pull us apart, the colorful threads of diversity are what bind the world closer together, much like an Afghan rug or a handmade Mexican scarf, whose strength is derived from the alternating warp and weft of their fibers. Our strength and, I suspect, future depends on taking an interwoven approach.
CAREER HIGHLIGHTS:
Accolades don't mean much to me anymore more but, rather, doing meaningful work. I'm thankful to the 2017 Nobel Peace Prize Forum for selecting an image I captured during the protests at Standing Rock."
www.hrm.photography
JOEY ALLEN by Hal Myers
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NATIVE AMERICA by Hal Myers
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LUNA REENACTING BATTLE by Hugo Passarello
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Hugo Passarello Luna says, "A century after the end of World War I the project explores the human need to safeguard memory of a historical event.
These men, and some women, reenact combats with an obsession to detail they take pride on. What are these reenactors safeguarding? Why the search for authenticity as a source of memory? And why not follow along and photograph them with a camera of the time?
The photos were taken with the Kodak Vest Pocket, a camera used by combatants during WWI. The Vest Pocket produced a great deal of the amateur archival images of the conflict we have today."
Hugo Passarello Luna. Photographer and journalist. Freelance for media in Latin America and France.
Professor of photography at Paris 8, Sciences Po Paris, and L´Ecole W in Paris (France).
My work has been published in Liberation, La Croix, NYT, La Nación, Clarín, La Tercera, Reforma, El Universal, RFI, etc.
www.hugopassarello.com
Image- Hugo PassarelloLuna Reenacting Battle
Caption: French WWI reenactors attempt to take the same hill in Noyon (France) that was taken by real soldiers one hundred years before May 2018. The photos were taken with the Kodak Vest Pocket, a camera used by combatants during WWI. The Vest Pocket produced a great deal of the amateur archival images of the conflict we have today.
These men, and some women, reenact combats with an obsession to detail they take pride on. What are these reenactors safeguarding? Why the search for authenticity as a source of memory? And why not follow along and photograph them with a camera of the time?
The photos were taken with the Kodak Vest Pocket, a camera used by combatants during WWI. The Vest Pocket produced a great deal of the amateur archival images of the conflict we have today."
Hugo Passarello Luna. Photographer and journalist. Freelance for media in Latin America and France.
Professor of photography at Paris 8, Sciences Po Paris, and L´Ecole W in Paris (France).
My work has been published in Liberation, La Croix, NYT, La Nación, Clarín, La Tercera, Reforma, El Universal, RFI, etc.
www.hugopassarello.com
Image- Hugo PassarelloLuna Reenacting Battle
Caption: French WWI reenactors attempt to take the same hill in Noyon (France) that was taken by real soldiers one hundred years before May 2018. The photos were taken with the Kodak Vest Pocket, a camera used by combatants during WWI. The Vest Pocket produced a great deal of the amateur archival images of the conflict we have today.
LUNA REENACTING RESTING by Hugo Passarello
(Click on image for larger view)
(Click on image for larger view)
Image- Hugo PassarelloLuna Reenacting Resting
Caption: French playing to be German soldiers from WWI wait for a combat reenactment rehearsal in Noyon (France), May 2018. The photos were taken with the Kodak Vest Pocket, a camera used by combatants during WWI. The Vest Pocket produced a great deal of the amateur archival images of the conflict we have today.
Caption: French playing to be German soldiers from WWI wait for a combat reenactment rehearsal in Noyon (France), May 2018. The photos were taken with the Kodak Vest Pocket, a camera used by combatants during WWI. The Vest Pocket produced a great deal of the amateur archival images of the conflict we have today.
LUNA REENACTING WAR by Hugo Passarello
(Click on image for larger view)
(Click on image for larger view)
Image-
Hugo PassarelloLuna Reenacting War
Caption: WWI reenactors acting as German soldiers, attacking French positions in real battleground in Noyon, France, one hundred years after the end of the Great War. The photos were taken with the Kodak Vest Pocket, a camera used by combatants during WWI. The Vest Pocket produced a great deal of the amateur archival images of the conflict we have today.
Hugo PassarelloLuna Reenacting War
Caption: WWI reenactors acting as German soldiers, attacking French positions in real battleground in Noyon, France, one hundred years after the end of the Great War. The photos were taken with the Kodak Vest Pocket, a camera used by combatants during WWI. The Vest Pocket produced a great deal of the amateur archival images of the conflict we have today.
A COLD WINTER 2017 by Jeongin Kim
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(Click on image for larger view)
Jeongin Kim says of this series, 'Silent Prayer', "As soon as I quit the job and decided to define myself as an artist, I took sanity of time to take a look at the pictures I had taken for past years. While I reconsider and reobserve those images I had taken, I experienced a non-linear sense of time in the process of re-mixing and linking those images with my memories and realities.
This work, Silent Prayer, was formed naturally in a flow of the exploration as if each image knew where they belong. The tension inside of my experience of going through my father’s path, who has become a Buddhist monk, became a keen thread that binds the images into a strong sequence.
For the past years, I’ve tried placing the illuminating light into the dark room in my praying heart. My camera purely witnessed all those moments alongside myself, and the emotional stages in different depths had been reflected in the photographs in a transparent way. The visual evidence was obvious especially when it comes to sorrow and pain, and sometimes it gave me a clue about what I had overcome. Through this, I realized that the emotions with truth possibly exist beyond time.
I hope this work can encourage those forced to accept cataclysmic changes in a loved one’s life.
Bio
Jeongin Kim is a photographer, focused on the work about relationship and communication between living beings. Since she majored in visual communication design, she explored various fields of photography and design such as commercial, fashion, graphics, and editorial after graduation. After four years of working experiences, she started her career at Datz Press (photobook publisher) to focus on her keen interest in photography as fine art and devoted six years in art book publishing until 2017.
She had her first solo show in April 2018 with her works of five years, and a photo book is published in conjunction with the exhibition. Currently, live and work in Seoul, South Korea.
CAREER HIGHLIGHTS:
Education
2008 BA / Visual Communication Design, School of Arts, Hong-Ik University, Seoul
Publication
2018 Silent Prayer by Datz Press
Solo Exhibition
2018 Silent Prayer, D’Front Space @ D’ARKROOM, Seoul
www.jeong.in
jeonginkiim@gmail.com
This work, Silent Prayer, was formed naturally in a flow of the exploration as if each image knew where they belong. The tension inside of my experience of going through my father’s path, who has become a Buddhist monk, became a keen thread that binds the images into a strong sequence.
For the past years, I’ve tried placing the illuminating light into the dark room in my praying heart. My camera purely witnessed all those moments alongside myself, and the emotional stages in different depths had been reflected in the photographs in a transparent way. The visual evidence was obvious especially when it comes to sorrow and pain, and sometimes it gave me a clue about what I had overcome. Through this, I realized that the emotions with truth possibly exist beyond time.
I hope this work can encourage those forced to accept cataclysmic changes in a loved one’s life.
Bio
Jeongin Kim is a photographer, focused on the work about relationship and communication between living beings. Since she majored in visual communication design, she explored various fields of photography and design such as commercial, fashion, graphics, and editorial after graduation. After four years of working experiences, she started her career at Datz Press (photobook publisher) to focus on her keen interest in photography as fine art and devoted six years in art book publishing until 2017.
She had her first solo show in April 2018 with her works of five years, and a photo book is published in conjunction with the exhibition. Currently, live and work in Seoul, South Korea.
CAREER HIGHLIGHTS:
Education
2008 BA / Visual Communication Design, School of Arts, Hong-Ik University, Seoul
Publication
2018 Silent Prayer by Datz Press
Solo Exhibition
2018 Silent Prayer, D’Front Space @ D’ARKROOM, Seoul
www.jeong.in
jeonginkiim@gmail.com
LIGHT-FALL 2013 by Jeongin Kim
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UNDERWATER 2017 by Jeongin Kim
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UNTITLED MOVIE STILLS by Jessica Candradi
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Jessica Candradi says, "My photography artwork doubles as a platform for wild unbridled imagination.
It’s dramatically glossed with cinematic fantasies and polished with a sense of nostalgia — an implicit vessel for unspeakable feelings and emotions. Within, it carries the multifaceted yet oft-contradictory emotions that we humans, regardless of age, are prone to experience. Even as full-grown adults, we still have a hard time putting a finger on them, not quite knowing how to label these fluid enigmas. Hence the title, “Untitled Movie Stills”.
These series invite you down a rabbit hole through the transcending of images, from one dimension to another. Every image encapsulates a scene that toes the line between fantasy and realism; here, every image tells a journey of its own.
Bio
I'm a former pastry chef who happens to be a self-taught photographer. I first discovered my passion for photography during my study in Melbourne, Australia in 2012. I was studying pastry and culinary at the time, however, I found myself drawn to photography and when I graduated from culinary school, I decided to be a fashion photographer — and I have been ever since. I enjoy traveling the world, and it has been very inspiring to discover new and different cultures.
I'm extremely passionate about fashion and portrait photography. Some of my work have been selected to be displayed as part of "THE STORY OF THE CREATIVE" exhibition that was held by SEE.ME Gallery in New York. In 2014, my photo works were shown on one of the biggest billboards in Times Square, New York, as a part of a massive animated collage for the "SEE.ME takes Times Square" event."
www.jessicacandradi.com
instagram : @jesscandradi
It’s dramatically glossed with cinematic fantasies and polished with a sense of nostalgia — an implicit vessel for unspeakable feelings and emotions. Within, it carries the multifaceted yet oft-contradictory emotions that we humans, regardless of age, are prone to experience. Even as full-grown adults, we still have a hard time putting a finger on them, not quite knowing how to label these fluid enigmas. Hence the title, “Untitled Movie Stills”.
These series invite you down a rabbit hole through the transcending of images, from one dimension to another. Every image encapsulates a scene that toes the line between fantasy and realism; here, every image tells a journey of its own.
Bio
I'm a former pastry chef who happens to be a self-taught photographer. I first discovered my passion for photography during my study in Melbourne, Australia in 2012. I was studying pastry and culinary at the time, however, I found myself drawn to photography and when I graduated from culinary school, I decided to be a fashion photographer — and I have been ever since. I enjoy traveling the world, and it has been very inspiring to discover new and different cultures.
I'm extremely passionate about fashion and portrait photography. Some of my work have been selected to be displayed as part of "THE STORY OF THE CREATIVE" exhibition that was held by SEE.ME Gallery in New York. In 2014, my photo works were shown on one of the biggest billboards in Times Square, New York, as a part of a massive animated collage for the "SEE.ME takes Times Square" event."
www.jessicacandradi.com
instagram : @jesscandradi
UNTITLED MOVIE STILLS 2 by Jessica Candradi
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UNTITLED MOVIE STILLS 3 by Jessica Candradi
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BOOTS & BED by JJ L'Heureux
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J.J. L'Heureux says, "My Sir Ernest Shackleton Hut photographs are intended to illuminate and celebrate Shackleton’s time at Cape Royds, Antarctica. Having entered the hut after a long and difficult sea voyage, as well as the high probability that one will not be able to land due to conditions such as sea ice or terrible weather, there is a long, uphill climb in icy and windy conditions past a huge Adelie penguin colony…is this hut real or unreal, the past appears now in the present.
This project is an unfinished chapter in a seventeen-year odyssey in Antarctica that contains 17 different expeditions. This Shackleton series is my homage and celebration to the memory of the place."
-Biography:
Photographer, painter, adventurer and naturalist – these are the words that describe the artist J.J. L’Heureux. Ms. L’Heureux made her first trip to Antarctica in 2000 where she collected digital images of ice and snow for a white-on-white color field series of “landscape” paintings. During this expedition she became fascinated by the pristine environment, history and animals she discovered there.
The Southern Ocean and its environs became living models for her in the wind-swept setting of the vast, fragile, icy wilderness that is Antarctica.
Ms. L’Heureux would like these photos to connect the viewer to a distant region of the world they might never have the opportunity to visit. Her inspiration comes from her curiosity of the Southern Ocean and ways to engage people around the world in caring for this precious resource.
Ms. L’Heureux’s goal is to convey her attraction to this fragile environment, its stark beauty, the spirit of Antarctica and the memory of explorations.
-CV Highlights:
Selected Solo Exhibitions
2018 Lancaster Museum of Art & History, Cedar, Lancaster, California. (Catalogue)
Henggang International Art Gallery, Wuzhen, China.
Moorpark College Art Gallery, Ventura, California.
Mayborn Museum, Baylor University, Waco, Texas. (Catalogue)
2017 Houston Museum of Natural Science, Houston, Texas. (Catalogue)
New York Hall of Science, New York, New York. (Catalogue)
Explorium, Lexington, Kentucky. (Catalogue)
2017 World Internet Conference, Wuzhen, China.
www.jjLHeureux.com
This project is an unfinished chapter in a seventeen-year odyssey in Antarctica that contains 17 different expeditions. This Shackleton series is my homage and celebration to the memory of the place."
-Biography:
Photographer, painter, adventurer and naturalist – these are the words that describe the artist J.J. L’Heureux. Ms. L’Heureux made her first trip to Antarctica in 2000 where she collected digital images of ice and snow for a white-on-white color field series of “landscape” paintings. During this expedition she became fascinated by the pristine environment, history and animals she discovered there.
The Southern Ocean and its environs became living models for her in the wind-swept setting of the vast, fragile, icy wilderness that is Antarctica.
Ms. L’Heureux would like these photos to connect the viewer to a distant region of the world they might never have the opportunity to visit. Her inspiration comes from her curiosity of the Southern Ocean and ways to engage people around the world in caring for this precious resource.
Ms. L’Heureux’s goal is to convey her attraction to this fragile environment, its stark beauty, the spirit of Antarctica and the memory of explorations.
-CV Highlights:
Selected Solo Exhibitions
2018 Lancaster Museum of Art & History, Cedar, Lancaster, California. (Catalogue)
Henggang International Art Gallery, Wuzhen, China.
Moorpark College Art Gallery, Ventura, California.
Mayborn Museum, Baylor University, Waco, Texas. (Catalogue)
2017 Houston Museum of Natural Science, Houston, Texas. (Catalogue)
New York Hall of Science, New York, New York. (Catalogue)
Explorium, Lexington, Kentucky. (Catalogue)
2017 World Internet Conference, Wuzhen, China.
www.jjLHeureux.com
BOOTS & BISCUITS by JJ L'Heureux
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SHACKLETON'S STOVE by JJ L'Heureux
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THE UNEXPECTED HOME PAGE:
http://nyphotocurator.com/the-unexpected-ellen-jantzen
FIRST PLACE:
https://cm-sites.icompendium.com/accounts/nyphotocurator.com/the-unexpected-ellen-jantzen/first-place-chelle-delaney-ascension----/1
SECOND PLACE:
http://nyphotocurator.com/the-unexpected-ellen-jantzen/second-place-karin-hauser-underneath-the-canopy-9a----/1
HONORABLE MENTIONS:
http://nyphotocurator.com/the-unexpected-ellen-jantzen/honorable-mention-ellen-felsenthal-appaloosa-beth-galton-entanglement-laura-noel-a-geometry-of-ginkos-nathalie-seaver-venice-roses-c-e-morse-seguin-198----/1
BEST SERIES:
http://nyphotocurator.com/the-unexpected-ellen-jantzen/best-series-peter-franck/1
EXHIBITION #1
http://nyphotocurator.com/the-unexpected-ellen-jantzen/exhibition-1/1
EXHIBITION #2
http://nyphotocurator.com/the-unexpected-ellen-jantzen/exhibition-2/1
EXHIBITION #3
http://nyphotocurator.com/the-unexpected-ellen-jantzen/exhibition-3/1
(Click on image for larger view)
-------------------------------------------
THE UNEXPECTED HOME PAGE:
http://nyphotocurator.com/the-unexpected-ellen-jantzen
FIRST PLACE:
https://cm-sites.icompendium.com/accounts/nyphotocurator.com/the-unexpected-ellen-jantzen/first-place-chelle-delaney-ascension----/1
SECOND PLACE:
http://nyphotocurator.com/the-unexpected-ellen-jantzen/second-place-karin-hauser-underneath-the-canopy-9a----/1
HONORABLE MENTIONS:
http://nyphotocurator.com/the-unexpected-ellen-jantzen/honorable-mention-ellen-felsenthal-appaloosa-beth-galton-entanglement-laura-noel-a-geometry-of-ginkos-nathalie-seaver-venice-roses-c-e-morse-seguin-198----/1
BEST SERIES:
http://nyphotocurator.com/the-unexpected-ellen-jantzen/best-series-peter-franck/1
EXHIBITION #1
http://nyphotocurator.com/the-unexpected-ellen-jantzen/exhibition-1/1
EXHIBITION #2
http://nyphotocurator.com/the-unexpected-ellen-jantzen/exhibition-2/1
EXHIBITION #3
http://nyphotocurator.com/the-unexpected-ellen-jantzen/exhibition-3/1
