URBAN LANDSCAPES- Steven Benson > EXHIBITION 3
EXHIBITION 3
CART by Kelsey Scharf
Kelsey Ann Scharf is a painter and photographer living in Oak Harbor, Ohio.
She received her BFA in Art Education at Bowling Green State University in 2013 and her MFA in Drawing/Painting at the University of Georgia in 2018. Kelsey works as an adjunct instructor at Owens Community College and Bowling Green State University. She recently participated in Majestic Galleries’ invitational show featuring the use of pigments sifted from Ohio’s coal mine discharge. She also spends her summers building light installations for international artist, Erwin Redl and conducts summer art workshops for Fremont City Schools.
Kelsey Ann Scharf says, "As an artist and former factory worker from Northwest Ohio, the representation of “lived-in” spaces has always been an important factor in my work. For years, I have sought to capture the abandoned buildings that surrounded me. Oftentimes these buildings are demolished, wiping them from history and erasing any record of the lives associated with these spaces.
I am intrigued by the haunting records of those who have left their mark in a space. For me, the erosion and deterioration of these spaces mirror a slow decline of the working class. Thus, I continue to document these spaces and spend time with them because I will most likely be their final witness. Inevitably, these buildings are torn down and replaced with a parking lot or another gentrified suburb.
These are the thoughts I regularly consider as I begin a new painting or salvage another damaged brick. Consequently, I continue to depict these “communal blights”; my work seeks to question the historical and social value of these spaces by studying their decaying remnants."
www.instagram.com/kelseyannscharf/
www.kelseyscharf.com
She received her BFA in Art Education at Bowling Green State University in 2013 and her MFA in Drawing/Painting at the University of Georgia in 2018. Kelsey works as an adjunct instructor at Owens Community College and Bowling Green State University. She recently participated in Majestic Galleries’ invitational show featuring the use of pigments sifted from Ohio’s coal mine discharge. She also spends her summers building light installations for international artist, Erwin Redl and conducts summer art workshops for Fremont City Schools.
Kelsey Ann Scharf says, "As an artist and former factory worker from Northwest Ohio, the representation of “lived-in” spaces has always been an important factor in my work. For years, I have sought to capture the abandoned buildings that surrounded me. Oftentimes these buildings are demolished, wiping them from history and erasing any record of the lives associated with these spaces.
I am intrigued by the haunting records of those who have left their mark in a space. For me, the erosion and deterioration of these spaces mirror a slow decline of the working class. Thus, I continue to document these spaces and spend time with them because I will most likely be their final witness. Inevitably, these buildings are torn down and replaced with a parking lot or another gentrified suburb.
These are the thoughts I regularly consider as I begin a new painting or salvage another damaged brick. Consequently, I continue to depict these “communal blights”; my work seeks to question the historical and social value of these spaces by studying their decaying remnants."
www.instagram.com/kelseyannscharf/
www.kelseyscharf.com
GROUND STUDIES by Kelsey Scharf
JACKET by Kelsey Scharf
SITE OVERVIEW by Kelsey Scharf
WHEEL by Kelsey Scharf
WINDOW STUDIES by Kelsey Scharf
FENETRE (I) by Linda Briskin
HONORABLE MENTION
HONORABLE MENTION
Linda Briskin is a writer and fine art photographer. She is intrigued by the permeability between the remembered and the imagined, and the ambiguities in what we choose to see. The fluidity between the natural and the constructed fascinates her.
With ever-shifting photographic enthusiasms, on any given day she can be influenced by a line, a shadow, a texture, a juxtaposition, a dreamscape or an idea. Rather than a signature style, she embraces eclecticism. As a writer, she seeks ways to integrate text and image, inspired by the Greek tradition of Ekphrasis (the cross-inspiration of art disciplines.)
Fenêtre— is premised on the notion that landscape is invented through our gaze.
Fenêtre*
Fenêtre presents the urban landscape from inside a hospital room at Mt. Sinai hospital in Toronto. In the tradition of narrative photography, this series invites the viewer to make meaning out of the sequence.
*Window in French
Her photographs have been published, recently in PhotoEd, Wildroof Journal, Persimmon Tree, Montréal Serai, ilanot Review, The Hopper, Flare Journal, Alluvian, Tiny Seed Literary Journal, Burningword Literary Journal and High Shelf Press. In 2020, a photo-essay Liminal Animism was published in Canadian Camera. In 2021 and 2022, her photographs were chosen for the Herstory exhibit sponsored by Manhattan Arts International. In 2021, her image Satellite Dishes in Fez was selected for the International Photography Exhibition at Viewpoint Gallery in Nova Scotia, and Mist on the Rouge for the Carmichael Canadian Landscape Exhibition at the Orillia Museum of Art and History.
Her images have been included in numerous on-line juried shows. Recently in Abandoned at Chateau Gallery (Louisville, Kentucky); The Same But Different Exhibition sponsored by New York Center for Photographic Art (Honourable Mention); She at A Smith Gallery of Photographic Arts (Texas); Intimate Landscapes at Collex Art; and Winter Magic (Cultural Center of Cape Cod). She exhibits widely, has had numerous solo exhibitions, and participated in many group shows.
IMAGES FOR SALE
Fenêtre (i)
Archival Pigment Print 13” H x 17” W
$175 unframed
Limited edition of 15
Signed on back
Fenêtre (ii)
Archival Pigment Print 13” H x 17” W
$175 unframed
Limited edition of 15
Signed on back
Fenêtre (iii)
Archival Pigment Print 13” H x 17” W
$175 unframed
Limited edition of 15
Signed on back
Contact-
lbriskin@yorku.ca
www.lindabriskinphotography.com/
With ever-shifting photographic enthusiasms, on any given day she can be influenced by a line, a shadow, a texture, a juxtaposition, a dreamscape or an idea. Rather than a signature style, she embraces eclecticism. As a writer, she seeks ways to integrate text and image, inspired by the Greek tradition of Ekphrasis (the cross-inspiration of art disciplines.)
Fenêtre— is premised on the notion that landscape is invented through our gaze.
Fenêtre*
Fenêtre presents the urban landscape from inside a hospital room at Mt. Sinai hospital in Toronto. In the tradition of narrative photography, this series invites the viewer to make meaning out of the sequence.
*Window in French
Her photographs have been published, recently in PhotoEd, Wildroof Journal, Persimmon Tree, Montréal Serai, ilanot Review, The Hopper, Flare Journal, Alluvian, Tiny Seed Literary Journal, Burningword Literary Journal and High Shelf Press. In 2020, a photo-essay Liminal Animism was published in Canadian Camera. In 2021 and 2022, her photographs were chosen for the Herstory exhibit sponsored by Manhattan Arts International. In 2021, her image Satellite Dishes in Fez was selected for the International Photography Exhibition at Viewpoint Gallery in Nova Scotia, and Mist on the Rouge for the Carmichael Canadian Landscape Exhibition at the Orillia Museum of Art and History.
Her images have been included in numerous on-line juried shows. Recently in Abandoned at Chateau Gallery (Louisville, Kentucky); The Same But Different Exhibition sponsored by New York Center for Photographic Art (Honourable Mention); She at A Smith Gallery of Photographic Arts (Texas); Intimate Landscapes at Collex Art; and Winter Magic (Cultural Center of Cape Cod). She exhibits widely, has had numerous solo exhibitions, and participated in many group shows.
IMAGES FOR SALE
Fenêtre (i)
Archival Pigment Print 13” H x 17” W
$175 unframed
Limited edition of 15
Signed on back
Fenêtre (ii)
Archival Pigment Print 13” H x 17” W
$175 unframed
Limited edition of 15
Signed on back
Fenêtre (iii)
Archival Pigment Print 13” H x 17” W
$175 unframed
Limited edition of 15
Signed on back
Contact-
lbriskin@yorku.ca
www.lindabriskinphotography.com/
FENETRE (II) by Linda Briskin
FENETRE (III) by Linda Briskin
BRIDGESCAPES-1 by Nathan Gentry
Nathan Gentry is a visual artist and writer who primarily works with the photographic medium and is interested in highlighting the relationship humans have with each other, as well as their relationship with the world in which they live. Seeking to document the coexistence of humans in the spaces they utilize and commune, and how we as humans use and abuse these spaces is a common focus in Nathan's work. His work often requires experimentation and manipulation in order to create the communicative experience that is often personified in real life.
In 2016, Nathan earned his Bachelor's degree in Electronic Media with a minor in Photography at Texas State. After obtaining his undergraduate degree, Nathan moved to Pittsburgh where he earned a dual Masters Degree in Media Communications as well as Documentary Specialization. Upon completion of his Masters programs, Nathan moved to Salt Lake City, Utah. There, he continues to explore and develop new practices in which he can create photographic works through new processes.
Nathan has presented his work in many parts of his home state of Texas but has also extended his presentation to several states within the US. In recent years, Nathan's work has been seen traveling outside of the United States to countries all over the world. His most recent achievements have been his exhibition presentations through international selection in countries such as Germany, Belgium, Greece, the UK, and Italy. Nathan's most recent project, A.D.D. (another.damn.distraction), as well as selected works from his ongoing collection titled, Our Planet, have been top selections in the recent travels of his work. As of 2021, his processes and project work have opened up to new explorations as he seeks to develop his next series of works.
IMAGES FOR SALE-
Bridgescape 01- 11x14
Digital Print on Luster
$250 unframed
Bridgescape 02- 11x14
Digital Print on Luster
$250 unframed
Bridgescape 03- 11x14
Digital Print on Luster
$250 unframed
Contact: Nathan Gentry
nzg12@outlook.com
www.instagram.com/nanaflicks
www.nathangentryphoto.com/
In 2016, Nathan earned his Bachelor's degree in Electronic Media with a minor in Photography at Texas State. After obtaining his undergraduate degree, Nathan moved to Pittsburgh where he earned a dual Masters Degree in Media Communications as well as Documentary Specialization. Upon completion of his Masters programs, Nathan moved to Salt Lake City, Utah. There, he continues to explore and develop new practices in which he can create photographic works through new processes.
Nathan has presented his work in many parts of his home state of Texas but has also extended his presentation to several states within the US. In recent years, Nathan's work has been seen traveling outside of the United States to countries all over the world. His most recent achievements have been his exhibition presentations through international selection in countries such as Germany, Belgium, Greece, the UK, and Italy. Nathan's most recent project, A.D.D. (another.damn.distraction), as well as selected works from his ongoing collection titled, Our Planet, have been top selections in the recent travels of his work. As of 2021, his processes and project work have opened up to new explorations as he seeks to develop his next series of works.
IMAGES FOR SALE-
Bridgescape 01- 11x14
Digital Print on Luster
$250 unframed
Bridgescape 02- 11x14
Digital Print on Luster
$250 unframed
Bridgescape 03- 11x14
Digital Print on Luster
$250 unframed
Contact: Nathan Gentry
nzg12@outlook.com
www.instagram.com/nanaflicks
www.nathangentryphoto.com/
BRIDGESCAPES-2 by Nathan Gentry
BRIDESCAPES-3 by Nathan Gentry
THIS EXHIBIT IS CLOSED 001 by Philip Ringler
HONORABLE MENTION
HONORABLE MENTION
Philip Ringler says, "My work is about communicating difficult, ambiguous feelings and philosophies by using the medium of Conceptual Photography. It’s about communicating the stuff that keeps me up at night: the looping thoughts about something that I experienced as a kid or in a relationship that I just can’t shake, some spiritual or political experience that feels impossible to talk about, some big, esoteric idea that I just have to get out, but doing it in a way that is symbolic, not autobiographical. It’s about communicating something I feel is important about the world and want people to think about, feel, question. My work is about giving presence to the opaque stuff that I can’t just say or describe, and I try my best to do it with humor, wit, and earnestness.
I always challenge myself to make photographic art that is as ambitious and fully realized as possible, often failing along the way, but always learning and exploring new paths in Art.
I strongly believe that my Artwork shouldn’t just be wallpaper. It has to have more depth and nuance than mere design. I don’t want my work to be a one liner either, it shouldn’t just be formulaic and easy to understand; that’s what entertainment is for. I’m trying to make photography difficult for myself and my viewers. I’m not doing this to be pretentious or craft some persona, but to celebrate intellectualism and depth in art in a way that moves the medium forward without derailing completely. I appreciate artists that challenge me and I choose to do the same.
I believe that the project determines the style and technical choices based on the specific needs of each series. Sometimes I shoot color, other times black and white. I typically shoot 35 mm or full frame digital, but will use whatever the project calls for. I don’t typically do heavy post-production in photoshop. I create a lot In-Camera and either work with natural or studio lighting. I either travel to the location where I’m going to go on a kind of conceptual scavenger hunt, like at an amusement park or zoo, or I'm going to build sets myself and use props or whatever it takes to make the image.
My hope is that the viewer will bring their unique experiences to my work and co-create narratives and unveil symbolic meaning by seeing, learning, and imagining. If you end up with more questions than answers, feel something differently, or start thinking about the world in a new way, the work has succeeded."
Philip Ringler has been making photographs professionally since he was 19. His career spans nearly 30 years working for newspapers, magazines, businesses, and independently as an artist. He worked as a live music photographer, photographing punk and experimental bands.
He also worked as a commercial photographer, doing book, advertising, and catalog work. He’s been published in the New York Times, San Francisco Chronicle, Art in America, Sculpture Magazine, Wired, Black and White, et cetera.
He received his Bachelor of Fine Arts at California State University, East Bay and earned a Master of Fine Arts from John F. Kennedy University’s Arts and Consciousness Program.
He’s taught university classes and led workshops and lectures around the world. He worked as a curator for 15 years and has owned two photography businesses. His primary love is Fine Art Photography, especially the Philosophy of Photography and exploring work about the medium itself. His studies in Art Theory, East Asian Philosophy and Art, along with living and traveling in China, Taiwan, and Hong Kong, have informed much of his work in the past 10 years.
Philip’s artwork is in private collections, galleries, and museums all over the world. He exhibits in the US and internationally, especially biennales, contemporary art fairs, and private galleries in Europe and Asia. He currently lives in Orlando, Florida with his partner Anna, and cats, Penny (calico) and Carl (cow).
Titled: This Exhibit is Closed., 1-6
Prints: 24"x36"
$800 unframed, free shipping in tube
Archival Pigment Print, Lustre Paper
Signed on the back
Limited edition of 10 each.
Contact: Philip Ringler
philip@philipringler.com
www.instagram.com/philipringler
www.philipringler.com
I always challenge myself to make photographic art that is as ambitious and fully realized as possible, often failing along the way, but always learning and exploring new paths in Art.
I strongly believe that my Artwork shouldn’t just be wallpaper. It has to have more depth and nuance than mere design. I don’t want my work to be a one liner either, it shouldn’t just be formulaic and easy to understand; that’s what entertainment is for. I’m trying to make photography difficult for myself and my viewers. I’m not doing this to be pretentious or craft some persona, but to celebrate intellectualism and depth in art in a way that moves the medium forward without derailing completely. I appreciate artists that challenge me and I choose to do the same.
I believe that the project determines the style and technical choices based on the specific needs of each series. Sometimes I shoot color, other times black and white. I typically shoot 35 mm or full frame digital, but will use whatever the project calls for. I don’t typically do heavy post-production in photoshop. I create a lot In-Camera and either work with natural or studio lighting. I either travel to the location where I’m going to go on a kind of conceptual scavenger hunt, like at an amusement park or zoo, or I'm going to build sets myself and use props or whatever it takes to make the image.
My hope is that the viewer will bring their unique experiences to my work and co-create narratives and unveil symbolic meaning by seeing, learning, and imagining. If you end up with more questions than answers, feel something differently, or start thinking about the world in a new way, the work has succeeded."
Philip Ringler has been making photographs professionally since he was 19. His career spans nearly 30 years working for newspapers, magazines, businesses, and independently as an artist. He worked as a live music photographer, photographing punk and experimental bands.
He also worked as a commercial photographer, doing book, advertising, and catalog work. He’s been published in the New York Times, San Francisco Chronicle, Art in America, Sculpture Magazine, Wired, Black and White, et cetera.
He received his Bachelor of Fine Arts at California State University, East Bay and earned a Master of Fine Arts from John F. Kennedy University’s Arts and Consciousness Program.
He’s taught university classes and led workshops and lectures around the world. He worked as a curator for 15 years and has owned two photography businesses. His primary love is Fine Art Photography, especially the Philosophy of Photography and exploring work about the medium itself. His studies in Art Theory, East Asian Philosophy and Art, along with living and traveling in China, Taiwan, and Hong Kong, have informed much of his work in the past 10 years.
Philip’s artwork is in private collections, galleries, and museums all over the world. He exhibits in the US and internationally, especially biennales, contemporary art fairs, and private galleries in Europe and Asia. He currently lives in Orlando, Florida with his partner Anna, and cats, Penny (calico) and Carl (cow).
Titled: This Exhibit is Closed., 1-6
Prints: 24"x36"
$800 unframed, free shipping in tube
Archival Pigment Print, Lustre Paper
Signed on the back
Limited edition of 10 each.
Contact: Philip Ringler
philip@philipringler.com
www.instagram.com/philipringler
www.philipringler.com
THIS EXHIBIT IS CLOSED 002 by Philip Ringler
THIS EXHIBIT IS CLOSED 003 by Philip Ringler
THIS EXHIBIT IS CLOSED 004 by Phillip Ringler
THIS EXHIBIT IS CLOSED 05 by Philip Ringler
THIS EXHIBIT IS CLOSED 006 by Philip Ringler
FREEHAND by Prescott Lassman
HONORABLE MENTION
HONORABLE MENTION
ACCIDENTAL DYSFUNCTIONAL FAMILY by Prescott Lassman
COMMUTERS IN A CAN by Prescott Lassman
Prescott Moore Lassman says, "I am a photographer based in Washington, D.C. focusing mainly on black-and-white photography — somewhere between street and documentary with a strong dose of minimalism for good measure.
My subject matter and interests are eclectic, but my approach is mostly intuitive. I search for images that resonate, for moments of synchronicity in everyday life. Because this approach relies on unconscious triggers, my photographs are often richly symbolic, though their meaning is not immediately clear (at least not to me). For me, this is the essence of photography: capturing an image that resonates and then, over the course of months or years, figuring out why.
The photography series
Subterranean documents life underground in the subway tunnels. The subway is a quintessential urban landscape that I’ve been fascinated by for nearly 40 years. Something changes when you go underground. People withdraw into their own inner thoughts and operate in a dreamlike state. Whether they are by themselves on a subway platform or crushed together in a crowd, they often move through this subterranean world as if they are all alone, as if they don't recognize the existence of other commuters or workers standing or working right next to them.
As a result, life underground can often take on the otherworldly feeling of dreams, where the familiar and the fantastical routinely intermix. This series attempts to capture some of the strangeness and wonder of this solitary, subterranean world in the subways."
Career Highlights-
City Hall Art Collection, Washington, DC
Individual Artist Fellowship, DCCAH, Washington, DC
First Place, The Human Spirit, LA Photo Curator
Best In Show, Exposed DC 17th Annual Photo Show, Washington, DC
The Photo Review 2023 Competition, Woodmere Art Museum, Philadelphia, PA
Soho Photo National Competition, Soho Photo Gallery, New York, NY
Carte Blanche, Lucie Foundation, Los Angeles, CA (online)
8th Annual Allegany National Photography Competition, Allegany Arts Council, Cumberland, MD
Published in: Black & White Magazine, Shots Magazine, AAP Magazine, The Sun Magazine, Antietam Review, and The Washington Post
www.instagram.com/lassman_lenswork
My subject matter and interests are eclectic, but my approach is mostly intuitive. I search for images that resonate, for moments of synchronicity in everyday life. Because this approach relies on unconscious triggers, my photographs are often richly symbolic, though their meaning is not immediately clear (at least not to me). For me, this is the essence of photography: capturing an image that resonates and then, over the course of months or years, figuring out why.
The photography series
Subterranean documents life underground in the subway tunnels. The subway is a quintessential urban landscape that I’ve been fascinated by for nearly 40 years. Something changes when you go underground. People withdraw into their own inner thoughts and operate in a dreamlike state. Whether they are by themselves on a subway platform or crushed together in a crowd, they often move through this subterranean world as if they are all alone, as if they don't recognize the existence of other commuters or workers standing or working right next to them.
As a result, life underground can often take on the otherworldly feeling of dreams, where the familiar and the fantastical routinely intermix. This series attempts to capture some of the strangeness and wonder of this solitary, subterranean world in the subways."
Career Highlights-
City Hall Art Collection, Washington, DC
Individual Artist Fellowship, DCCAH, Washington, DC
First Place, The Human Spirit, LA Photo Curator
Best In Show, Exposed DC 17th Annual Photo Show, Washington, DC
The Photo Review 2023 Competition, Woodmere Art Museum, Philadelphia, PA
Soho Photo National Competition, Soho Photo Gallery, New York, NY
Carte Blanche, Lucie Foundation, Los Angeles, CA (online)
8th Annual Allegany National Photography Competition, Allegany Arts Council, Cumberland, MD
Published in: Black & White Magazine, Shots Magazine, AAP Magazine, The Sun Magazine, Antietam Review, and The Washington Post
www.instagram.com/lassman_lenswork
LONG DAY by Prescott Lassman
SPIDERWEB by Prescott Lassman
WOMAN IN WHITE by Prescott Lassman
CRANES OVER THE BURREN by Shannon McClatchey
Shannon McClatchey says, "My primary focus over the last decade or so has been the space between. I use architecture and urban landscapes, and natural landscape to explore dynamic, temporary vacancy. These gaps range from the abandoned space created by deserted streets or buildings to the desolate space that is often a by-product of dramatic weather or time of day.
The results of my work might be described as moody or haunted, populated by shadow and tied together by the question, "what happened here?” I see the detritus of our existence where the lingering heat of human presence has, or is, quickly dissipating. Mostly I see anticipation, potential and anxiety. My art wrestles with capturing effectively that uncertain edge between hope and fear.
In the past few years I have had a solo exhibition, Presence and Absence, at the Threshold Gallery at Mithun in Seattle, received a King County Public Art Projects grant from 4Culture in Seattle, and was included in the Takt Kunstprojektraum artist residency program (2016) and Picture Berlin Hybrid residency program (2022) in Berlin, Germany.
www.mcshanphotog.com
www.instagram.com/mcshan2/
Please contact artist for image availability -Shannon McClatchey
mcshan2@gmail.com
The results of my work might be described as moody or haunted, populated by shadow and tied together by the question, "what happened here?” I see the detritus of our existence where the lingering heat of human presence has, or is, quickly dissipating. Mostly I see anticipation, potential and anxiety. My art wrestles with capturing effectively that uncertain edge between hope and fear.
In the past few years I have had a solo exhibition, Presence and Absence, at the Threshold Gallery at Mithun in Seattle, received a King County Public Art Projects grant from 4Culture in Seattle, and was included in the Takt Kunstprojektraum artist residency program (2016) and Picture Berlin Hybrid residency program (2022) in Berlin, Germany.
www.mcshanphotog.com
www.instagram.com/mcshan2/
Please contact artist for image availability -Shannon McClatchey
mcshan2@gmail.com
DUBLIN TRANSITION by Shannon McClatchey
SOVEREIGN HOUSE by Shannon McClatchey
PIGEONS 2 by Simon Lund
SECOND PLACE
SECOND PLACE
Curator Steven Benson says, "The striking use of the vertical panorama format draws the viewer into the image. It is a powerful use of the frame lined with buildings on the viewers right and left broken by the presence of the pigeons at the bottom of the image. The buildings are static and the pigeons are temporary leading the viewer to consider our relationship to time and space."
Simon Lund is a NY based photographer and filmmaker and a picture is worth a thousand words.
www.simonlund.com
www.instagram.com/_simonlund
IMAGE FOR SALE
10"H x 24" W
fiber based siler prints(B&W) or Fuji Crystal Archive (Color)
$500 unframed
lundsimon@yahoo.com
Simon Lund is a NY based photographer and filmmaker and a picture is worth a thousand words.
www.simonlund.com
www.instagram.com/_simonlund
IMAGE FOR SALE
10"H x 24" W
fiber based siler prints(B&W) or Fuji Crystal Archive (Color)
$500 unframed
lundsimon@yahoo.com
EMPIRE by Simon Lund
CONSTRUCTION 4 by Simon Lund
SIMTHANS9TH2 by Simon Lund
TREE by Simon Lund
UNDER FDR by Simon Lund
POLICE 21 by Timothy Kennedy
HONORABLE MENTION
HONORABLE MENTION
CITY 12A by Timothy Kennedy
ESB17A by Timothy Kennedy
Timothy Kennedy says of his series 'IN THE SHADOW OF THE CITY', " Growing up in Upstate New York, when I heard about New York City, I was dazzled by romantic images of a gleaming modern metropolis. Later in life, I learned from my marriage into a family in the outer borough of Queens that New York City was also a down-to-earh place. Gritty Flushing was easily transcended by weekend family visits to Jones Beach on Long Island.
While I appreciated all of this, I felt the magical presence of Manhattan that was just a no.7 train ride away from Main Street in Flushing. My exhibit IN THE SHADOW OF THE CITY tells my story as I transported myself between both worlds - a short subway ride apart."
www.timothykennedy.net
While I appreciated all of this, I felt the magical presence of Manhattan that was just a no.7 train ride away from Main Street in Flushing. My exhibit IN THE SHADOW OF THE CITY tells my story as I transported myself between both worlds - a short subway ride apart."
www.timothykennedy.net
FEET18 by Timothy Kennedy
HALLO29 by Timothy Kennedy
TRAINS 21A by Timothy Kennedy
DO NOT TOUCH, DO NOT EXHALE 3 by Traci Marie Lee
Traci Marie Lee says of her series, 'Uprooting', "I remember the distinct moment when I knew I would never be the same. When I first arrived I was told that things were buried here, things hidden in the land; and I knew that I would behold you. You filled me to the brim, I overflowed, and then you emptied me again – dust to dust.
Uprooting is comprised of self-portraits in significant landscapes, seeking to affirm a sense of belonging within a fractured worldview and cultural identity.
DO NOT TOUCH, DO NOT EXHALE Series:
did they not tell you?
we do not touch,
we do not exhaletouching the fabricated duchamp
do not touch, do not exhaleclicking, ‘continue alone’
do not touch, do not exhalewhispering, ‘she can’t carry it’
do not touch, do not exhaleyou said,
’i want to kiss everyone before i go’
do not touch, do not exhalesweeping ourselves up,
all the dust that we’ve made
do not touch, do not exhaleyou said,
’to be honest,
i don’t want to wait…
that long to see you’
do not touch, do not exhale
Items for Sale:
Uprooting, 7 - 20"H x 20" W
Archival pigment print
$550 unframed
Signed on back
Uprooting, 8 - 20"H x 20" W
Archival pigment print
$550 unframed
Signed on back
Uprooting, 10 - 20"H x 20" W
Archival pigment print
$550 unframed
Signed on back
DO NOT TOUCH, DO NOT EXHALE, 3 - 20"H x 20" W
Archival pigment print
$1280 unframed
Signed on back
DO NOT TOUCH, DO NOT EXHALE, 4 - 20"H x 20" W
Archival pigment print
$1280 unframed
Signed on back
DO NOT TOUCH, DO NOT EXHALE, 5 - 20"H x 20" W
Archival pigment print
$1280 unframed
Signed on back
Contact Traci Marie Lee
www.tracimarielee.com
www.instagram.com/tracimarielee
Uprooting is comprised of self-portraits in significant landscapes, seeking to affirm a sense of belonging within a fractured worldview and cultural identity.
DO NOT TOUCH, DO NOT EXHALE Series:
did they not tell you?
we do not touch,
we do not exhaletouching the fabricated duchamp
do not touch, do not exhaleclicking, ‘continue alone’
do not touch, do not exhalewhispering, ‘she can’t carry it’
do not touch, do not exhaleyou said,
’i want to kiss everyone before i go’
do not touch, do not exhalesweeping ourselves up,
all the dust that we’ve made
do not touch, do not exhaleyou said,
’to be honest,
i don’t want to wait…
that long to see you’
do not touch, do not exhale
Items for Sale:
Uprooting, 7 - 20"H x 20" W
Archival pigment print
$550 unframed
Signed on back
Uprooting, 8 - 20"H x 20" W
Archival pigment print
$550 unframed
Signed on back
Uprooting, 10 - 20"H x 20" W
Archival pigment print
$550 unframed
Signed on back
DO NOT TOUCH, DO NOT EXHALE, 3 - 20"H x 20" W
Archival pigment print
$1280 unframed
Signed on back
DO NOT TOUCH, DO NOT EXHALE, 4 - 20"H x 20" W
Archival pigment print
$1280 unframed
Signed on back
DO NOT TOUCH, DO NOT EXHALE, 5 - 20"H x 20" W
Archival pigment print
$1280 unframed
Signed on back
Contact Traci Marie Lee
www.tracimarielee.com
www.instagram.com/tracimarielee
DO NOT TOUCH, DO NOT EXHALE 4 by Traci Marie Lee
DO NOT TOUCH, DO NOT EXHALE 5 by Traci Marie Lee
UPROOTING 10 by Trace Marie Lee
UPROOTING 7 by Traci Marie Lee
UPROOTING 8 by Traci Marie Lee
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NY PHOTO CURATOR HOME
https://nyphotocurator.com/
URBAN LANDSCAPES HOME
https://nyphotocurator.com/urban-landscapes-steven-benson
FIRST PLACE
https://nyphotocurator.com/urban-landscapes-steven-benson/first-place-c-e-morse-pit-79/1
SECOND PLACE
https://nyphotocurator.com/urban-landscapes-steven-benson/second-place-simon-lund-pigeons-2/1
HONORABLE MENTIONS
https://nyphotocurator.com/urban-landscapes-steven-benson/honorable-mentions-linda-briskin-dennis-church-danielle-towers-philip-ringler-prescott-lassman-timothy-kennedy-carole-glauber-don-angello/1
EXHIBITION #1
https://nyphotocurator.com/urban-landscapes-steven-benson/exhibition-1/1
EXHIBITION #2
https://nyphotocurator.com/urban-landscapes-steven-benson/exhibition-2/1
EXHIBITION #3
https://nyphotocurator.com/urban-landscapes-steven-benson/exhibition-3/1
------------------------
NY PHOTO CURATOR HOME
https://nyphotocurator.com/
URBAN LANDSCAPES HOME
https://nyphotocurator.com/urban-landscapes-steven-benson
FIRST PLACE
https://nyphotocurator.com/urban-landscapes-steven-benson/first-place-c-e-morse-pit-79/1
SECOND PLACE
https://nyphotocurator.com/urban-landscapes-steven-benson/second-place-simon-lund-pigeons-2/1
HONORABLE MENTIONS
https://nyphotocurator.com/urban-landscapes-steven-benson/honorable-mentions-linda-briskin-dennis-church-danielle-towers-philip-ringler-prescott-lassman-timothy-kennedy-carole-glauber-don-angello/1
EXHIBITION #1
https://nyphotocurator.com/urban-landscapes-steven-benson/exhibition-1/1
EXHIBITION #2
https://nyphotocurator.com/urban-landscapes-steven-benson/exhibition-2/1
EXHIBITION #3
https://nyphotocurator.com/urban-landscapes-steven-benson/exhibition-3/1
