tag:blogger.com,1999:blog-59074232654335635762024-02-19T10:28:27.493-05:00Light LeakedLight Leakedhttp://www.blogger.com/profile/05934203791693496138noreply@blogger.comBlogger209125tag:blogger.com,1999:blog-5907423265433563576.post-70299432416511361042016-12-31T19:40:00.003-05:002016-12-31T19:40:59.873-05:00<div class="separator" style="clear: both; text-align: center;">
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Light Leaked has moved to a <a href="http://www.lightleaked.com/" target="_blank">new site.</a> This is now the Archive of past Light Leaked posts between </div>
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August 2012 - June 2016. </div>
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Please feel free to go through all the archive posts. The Search Bar to the right can be used to search for past features and interviews. </div>
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Light Leaked now publishes themed issues bi-monthly, and holds call for entry for themed exhibitions which can be found <a href="http://www.lightleaked.com/calls-for-entry.html" target="_blank">here</a>. New content the second Saturday of each publishing month. </div>
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Light Leakedhttp://www.blogger.com/profile/05934203791693496138noreply@blogger.com0tag:blogger.com,1999:blog-5907423265433563576.post-91365366830057827832016-05-30T10:30:00.000-04:002016-05-30T10:34:17.392-04:00Taylor Finke<div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.taylorfinke.com/">Taylor Finke</a> is a Tampa-based artist whose work often explores personal narrative in relation to family, identity, femininity, and the domestic space. She is a recent graduate of the University of South Florida, where she studied photography and psychology. Taylor has exhibited nationally and is a recent recipient of the 2016 Society of Photographic Education’s Southeast Region Award.<br />
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<b>Artist Statment: <i>Harsh Words From Our Mothers</i></b><br />
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I am a woman raised by women. In this body of work, I retrace and reconstruct my family history—about which I know very little—through fabricated images, family photographs, and found documents with a focus on matriarchal lineage and female identity. The images I make reference traditional versions of femininity and womanhood that I was taught by my mother and grandmother while often also challenging them and creating feelings of tension. From one image to the next, I investigate my past alongside my present relationship with my mother, and how these things have affected my own understandings of womanhood, motherhood, and relationships. <br />
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The images are created entirely in my mother’s home, alluding to the confines of the domestic space. The series moves back and forth, combining still lives drawn from memories that reference themes of femininity and domesticity with altered family photographs. These family photographs depict my female relatives, many of whom I never knew. I also utilize documents that, in particular, have some significant relationship to my own personal history. These images and documents come together to construct a visual family history that functions not simply as documentation, but also as a piecing together of things that I know, things that I think I know, and things that might remain a mystery to me. <br />
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<br />Light Leakedhttp://www.blogger.com/profile/05934203791693496138noreply@blogger.com0tag:blogger.com,1999:blog-5907423265433563576.post-15917993682732129262016-05-23T11:23:00.001-04:002016-05-23T11:25:25.358-04:00Ewa Doroszenko<div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.ewa-doroszenko.com/" target="_blank">Ewa Doroszenko</a> -- Doctor of Arts in Fine Arts, a graduate of the painting at the Faculty of Fine Arts at Nicolaus Copernicus University in Torun. She tests various ranges and scales of artistic expression: from traditional photography to multimedia installations, also in the field of Internet art. Recipient of many scholarships and beneficiary of residency programs: Atelierhaus Salzamt, Linz (Austria 2016), The Island-resignified in Lefkada (Greece 2015), Kunstnarhuset Messen in Ålvik (Norway 2015), Fundació AAVC Hangar in Barcelona (Spain 2014). Her projects were presented during arts festivals: FILE 2015 Electronic Language International Festival in Sao Paulo, Biennale of Digital & Internet Art nfcdab in Wroclaw, 7th Incubarte International Art Festival in Valencia, ISEA - 21st International Symposium on Electronic Art in Vancouver, 9th IN OUT Festival in Gdansk, GENERATE! Festival for Electronic Arts in Tübingen. Amongst others, she exhibited at Kasia Michalski Gallery in Warsaw, Historic Centre of Athens, Centre of Contemporary Art in Torun, the Stark Family Foundation in Warsaw and Fait Gallery in Brno.<br />
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<b>Artist Statement: <i>The Promise of Sublime Words </i></b><br />
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photography | 2016 <br />
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The project I started whilst the course of doctoral studies, when I was preparing to the final exam in art history. During my research I discovered many old and obsolete books with popular sculptures from Antique to Classicism. To spice the process of spaced repetition, I began preparing photographs connected with discussed topics. I tried to confront myself with photographic reproductions of varying quality and scale, which depict stone sculptures, illusionistic spaces, portraits, etc. My aim was to show my favourite statues as objects, which arouse ambiguous associations. I tried to distort the usual view of sculptures and finally destabilize a natural sense of order. The appropriated images, deliberately trimmed to remove some details, are hard to decipher. I created new equivalences and relationships – the internal juxtapositions are far detached from the original context of images.<br />
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Light Leakedhttp://www.blogger.com/profile/05934203791693496138noreply@blogger.com0tag:blogger.com,1999:blog-5907423265433563576.post-45369781224364890892016-05-16T10:39:00.001-04:002016-05-16T10:39:17.185-04:00Harrison Walker<div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.harrisondwalker.com/" target="_blank">Harrison Walker</a> was born in Huntsville, AL where he received his BFA in studio art at the University of Alabama Huntsville. Walker received his MFA in Photography at Tyler School of Art, Temple University, in Philadelphia, PA where he currently lives. Walker is interested in imagery that references the otherworldly and the perception of time and their relation to the physical and chemical reactions in printmaking and photographic techniques. Recently, Walker has shown at Soho Photo, New York, NY; City Hall, Philadelphia, PA; American University, Washington, D.C.; and Pop Gallery, Brisbane, Australia.<br />
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<b>Artist Statement: <i>Portals </i></b><br />
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The only way to truly understand is through experience. <br />
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I create prints and/as objects that embody the physical layering of time through tactile processes that evoke feelings of lived experiences. By working intuitively through the process of search and discovery, I employ the visual alchemy of printmaking, drawing, and photographic materials to create forms that evoke an experiential and emotional viewing—a sense of awe; a sense of the sublime; a sense of absence and loss. <br />
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My work explores connections with time, memory, and history through imagery that references the otherworldly and the non-present. I am interested in the way we perceive and consider time throughout the span of our life. How do we think about, navigate, manipulate, and represent time? Our experiences and memories affect how we think about the past, present, and future; they affect the decisions we make and the associations we have with visual imagery. <br />
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Portals is an investigation of chemistry made of fifty-nine variations of a repeated form – showing similarities and differences of color and surface through printmaking and photographic techniques. Similar to a Rorschach test, Portals is intended to explore how the viewer perceives variations in texture, surface, color, image, and time. Most of the prints in this series are stable and will last many years, however, there are certain variations that will continue to change over the course of time.<br />
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Light Leakedhttp://www.blogger.com/profile/05934203791693496138noreply@blogger.com0tag:blogger.com,1999:blog-5907423265433563576.post-25750523613779713882016-05-09T10:35:00.000-04:002016-05-09T10:35:13.118-04:00Caroline Waterman<div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.carolinewaterman.com/" target="_blank">Caroline Waterman</a> is a photographer that explores memory, loss, place, and family. She is currently pursuing a BFA in Photography at UNCC. Caroline specializes in Silver Gelatin Lith and Platinum Palladium. Caroline grew up in Dublin, Ireland, moved to the United States in 1986, and lives in Charlotte, NC with her husband and three children. She is currently pursuing a BFA in Photography at UNCC. Caroline specializes in Silver Gelatin Lith and Platinum Palladium. Her work deals with the themes of memory and loss and she has drawn on her connections to family, heritage and place as inspiration. She has conducted workshops on Lith printing at UNCC, at Appalachian State University and at the Light Factory. Her work has been exhibited in venues such as the University Hilton Hotel in Concord, NC, UNCC and The Photo Place Gallery in Vermont. In 2017 Caroline will be exhibiting her work in a solo show at Through This Lens Gallery in Durham NC.<br />
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<b>Artist Statement: <i>Pieces and Transitions </i></b><br />
<br />
<i>Pieces and Transitions </i>documents my children and my surroundings in a series of photographs printed as Silver Gelatin Lith Prints. A memory is almost like a dream, at first strong and vivid, but becomes faded and blurry. People, places and things, once present in our lives, eventually are cast to our memory and will go in and out of focus with the passing of time. As I watch my children grow and change I am aware that they too are passing through my life, and their childhood will, as with my own childhood, become a memory. There is a sense that they are present but somehow not fully there, as though they have already begun to move away from me. All life is just passing through the world, but a presence is left behind. <br />
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The images depict my children as a presence, but this presence is at times unfocused and unclear. The use of the lith developer gives an old and grainy appearance, with soft white —underdeveloped highlights. It is a slow process, developing the image gradually, like an old memory coming back into focus.</div>
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Light Leakedhttp://www.blogger.com/profile/05934203791693496138noreply@blogger.com0tag:blogger.com,1999:blog-5907423265433563576.post-46204046567117201032016-05-02T09:05:00.000-04:002016-05-02T09:05:29.339-04:00Artist-on-Artist: Deedra Baker <div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.deedrabaker.com/" target="_blank">Deedra Baker</a> is a photographer and book artist currently residing in Denton, TX. Her creative work is based on source material that includes the research of historical and contemporary photographic processes, bookmaking, papermaking, and literature and explores themes of gender, self-identity, and sexuality via self-portraiture. She received her Bachelor of Fine Arts in 2011, from Washburn University in Topeka, KS and will receive her Master of Fine Arts with a photography concentration and intermedia secondary concentration at Texas Woman's University in May 2016. Deedra is the recipient of the Charles and Margaret Pollak Award and Sibberson Award from Washburn University and the Chancellor’s Student Research Scholar Award from Texas Woman’s University. Selections from her body of work have been featured nationally in exhibitions and publications including, Chowan University National Juried Exhibition, Light Leaked, PhotoSpiva National Photographic Competition and Exhibition, and Voyeur: Repositioning the Gaze.<br />
<br />
<b>Artist-on-Artist Interview conducted by Christine Zuercher. Check out Deedra's interview with Christine here: <a href="http://www.lightleaked.com/2016/04/artist-on-artist-christine-zuercher.html">http://www.lightleaked.com/2016/04/artist-on-artist-christine-zuercher.html</a></b><br />
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<b>Artist Statement: <i>Ties That Bind </i></b></div>
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<i><span style="font-family: "helvetica"; font-size: 11pt; letter-spacing: 0.1pt;">Ties That Bind</span></i><span style="font-family: "helvetica"; font-size: 11pt;"> explores the nexus of my family through three generations of
females. Through portraits, environmental still lifes, and landscapes, this
series examines the interconnectedness between my mother, three sisters, two
nieces, and myself. As an extension of the traditional family archive of snap
shots, the work consists of color photographs, video, and a one-of-a-kind
artist’s book to explore the relationships between the women of my <span style="letter-spacing: .1pt;">family through our traditions, rituals, and the
connection to a homeplace – the central or family home.<o:p></o:p></span></span></div>
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<span style="font-family: "helvetica"; font-size: 11pt;">For the females within my immediate family
and myself, the experiential and historical bond centered around the idea of a
homeplace greatly influences and informs our identities. In her curatorial
statement <i><span style="letter-spacing: .1pt;">Not My Family Values</span></i>, for an Art Photo Index Exhibition, Dr.
Rebecca Senf states, “Family is at the heart of how we identify ourselves.” To
create this work, I examined ways that my female family members’ identities
interweave and manifest as a result of experiences together at our family home
on 66 acres of land in rural Kansas. Intimate portraits capture the emotional,
experiential, and physical bond found between we women, while environmental
still life and landscape images made within my family’s house and land reflect
the visceral connection between the females and the land,</span><span style="color: red; font-family: "helvetica"; font-size: 11.0pt;"> </span><span style="font-family: "helvetica"; font-size: 11pt;">home, and familial keepsakes and objects.</span><span style="font-family: "times"; font-size: 11.0pt;"><o:p></o:p></span></div>
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<b>Christine Zuercher: <span style="font-family: "helvetica"; font-size: 11.0pt;">Your photographs often focus on very personal,
quiet moments with your family. What experiences inspired you to make <i style="mso-bidi-font-style: normal;">Ties That Bind</i>?<o:p></o:p></span></b></div>
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<span style="font-family: "helvetica"; font-size: 11.0pt;"><b>Deedra Baker: </b>Over the last couple of
years I found my interests shift in regard to my work. I moved to Texas from
Kansas, away from my family, and started a new journey in graduate school. I
went from making self-portraits to appropriating family snap shots to
photographing my preteen niece as a stand-in for myself. It was then that I
realized my interest in photographing the females in my family. I have always
been interested in the female form and the symbols that we carry through our
keepsakes and personal treasures that we pass down through generations. My
maternal grandmother passed away in March of 2013, just before I started
graduate school, so I have been thinking a lot about the role of women in my
family and the influences women have on the collective home. My separation from
family also made me that much more in tune with our relationships and dynamics
as I made trips back to visit. My father plays an important role in the family
and has provided unconditional love and support to us, but it is truly we women
that bind the family together. <o:p></o:p></span></div>
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<b><span style="font-family: "helvetica"; font-size: 11.0pt;">CZ: This series shows a progression of seasons and
people over time. What role does the passage of time play in your work? <o:p></o:p></span></b></div>
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<span style="font-family: "helvetica"; font-size: 11.0pt;"><b>DB:</b> I have truly enjoyed
making this work over the last two seasons. That is one thing I love about the
Kansas landscape – there are four distinctive seasons. The passage of time is
very symbolic for this work because it references the three generations of
females present in the family. As I continue to create this work, the passage
of time will only become more important as the photographs start to show the
aging of the women, especially my nieces who are only fourteen and three years
of age. <o:p></o:p></span></div>
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<b><span style="font-family: "helvetica"; font-size: 11.0pt;">CZ: What are your thoughts on including your family,
the land and animals in your exploration of place?<o:p></o:p></span></b></div>
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<span style="font-family: "helvetica"; font-size: 11.0pt;"><b>DB:</b> Landscapes
of the homeplace establish a connection between the women and the land that is
the center for our relationship. In <i style="mso-bidi-font-style: normal;">The
Lure of the Local</i>, art critic and writer Lucy Lippard, states, “The search
for homeplace is the mythical search for the <i style="mso-bidi-font-style: normal;">axis mundi</i>, for a center, for some place to stand, for something to
hang on to.” <i style="mso-bidi-font-style: normal;">Ties That Bind </i>documents
the central or family home and its significance in the physical, emotional,
experiential, and historical bond between three generations of women. The
animals are very much a part of our experience with the land, as well. <o:p></o:p></span></div>
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<b><span style="font-family: "helvetica"; font-size: 11.0pt;">CZ: What do you hope your audience will understand
about your work and/or your family with <i style="mso-bidi-font-style: normal;">Ties
That Bind</i>? </span></b></div>
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<span style="font-family: "helvetica"; font-size: 11.0pt;"><b>DB:</b> While
this work is autobiographical and tells my family story, is also a universal
exploration of familial connections and influences. </span><i style="mso-bidi-font-style: normal;"><span style="font-family: "helvetica"; font-size: 11.0pt;">Ties That Bind </span></i><span style="font-family: "helvetica"; font-size: 11.0pt;">invites viewers to examine their
own hereditary relationships and the influence these connections have on their
own identities. Photographer Edward Steichen said, “The people in the audience
looked at the pictures, and the people in the pictures looked back at them.
They recognized each other. A Japanese poet has said that, when you look into a
mirror, you do not see your reflection, your reflection, sees you.” The imagery
from <i style="mso-bidi-font-style: normal;">Daughters</i> will act similarly, as
a reflection to prompt memories for the viewers. <o:p></o:p></span></div>
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<b><span style="font-family: "helvetica"; font-size: 11.0pt;">CZ: What role does the female play in your
understanding of the traditional family and what female artists have inspired
you to make this work? <o:p></o:p></span></b></div>
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<span style="font-family: "helvetica"; font-size: 11.0pt;"><b>DB:</b> I think
more than anything the female plays a significant role in the understanding of
my own family. I know on a broader sense that everyone has experienced this
notion of family in different ways, in which there cannot really be a tradition
stated for the structure of family. A loving mother and father brought me up
with three sisters on a ranch of 66 acres (or more at times). My father worked
hard 365 days a year to provide financially for his family, but never missed a
single one of our ball games, plays, or concerts. Yet, when I was thinking
about my family and the work I wanted to create, I was most interested in the
difference in dynamics between each sister and my mother – about the difference
in relationships we sisters have with each other, and how now there are two
third generation girls (my nieces). <o:p></o:p></span></div>
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<span style="font-family: "helvetica"; font-size: 11.0pt;">Several
historic and contemporary female photographers have influenced<i style="mso-bidi-font-style: normal;"> Ties That Bind</i>, including: Julia
Margaret Cameron, Gertrude Käsebier, Sarah Christianson, and Blake Fitch. Julia
Margaret Cameron was inspired to photograph her family and friends in her
studio; these subjects were a part of her daily life and therefore readily
available to pose for Cameron. She was especially interested in photographing
her niece, Julia Prinsep Jackson (Schirmer). Cameron’s portraits of women are
intimate in their close compositions, soft focus, and dramatic lighting.
Gertrude Käsebier’s subject matter was often her own family, children, and
friends. Her interest in creating portraits of people stems from her longing
“…to make likenesses that are biographies, to bring out in each photograph the
essential personality that is variously called temperament, soul, humanity.”
Through Sarah Christianson’s Midwestern upbringing, she developed a curiosity
concerning the landscape of the Great Plains and is greatly affected by the
sense of place found there. In her body of work, <i style="mso-bidi-font-style: normal;">Homeplace</i>, she documented her family’s 1200-acre farm in the Red
River Valley of North Dakota (</span><span style="font-family: "helvetica"; font-size: 11.0pt;">Christianson)</span><span style="font-family: "helvetica"; font-size: 11.0pt;">. Christianson photographed the farmland and family
home, and combined her images with family archive documents and portraits.
Blake Fitch’s photography has focused on themes of identity, rites of passage,
civil rights, and belonging. In her body of work, <i style="mso-bidi-font-style: normal;">Expectations of Adolescence</i>, Fitch photographs her sister Katie and
cousin Julia over a decade as they mature from adolescence to young adulthood. <o:p></o:p></span></div>
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<b><span style="font-family: "helvetica"; font-size: 11.0pt;">CZ: How did you go about making your technical choices?
Is there a connection between your use of visual aesthetics such as natural
light, color, and the ideas you hope to share in this series? <o:p></o:p></span></b></div>
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<span style="font-family: "helvetica"; font-size: 11.0pt;"><b>DB:</b> In making this work I
knew I was going to be shooting digitally with a full-frame camera, so that I
could have high-quality imagery. I also knew I wanted to use a shallow depth of
field as often as possible to romanticize the figures, objects, or land. It is
important to me to create this work in color because it reveals the specificity
of my family, homeplace, and keepsakes. In general I am attracted to the
aesthetic of beautiful natural lighting in photographs, so I was drawn to use a
similar aesthetic in this project. Although, I must admit to using a fill flash
a majority of the time for the indoor photographs to maintain a fast shutter
speed and low ISO setting. <o:p></o:p></span></div>
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<b><span style="font-family: "helvetica"; font-size: 11.0pt;">CZ: Your past work is primarily self-portraiture- what
led to your change in focus? Do you consider this work self-portraiture? <o:p></o:p></span></b></div>
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<span style="font-family: "helvetica"; font-size: 11.0pt;"><b>DB:</b> I have always found
myself gravitating toward autobiographical content in my work. In the past, my
work expressed my psychological and physical self through a literal portrayal
via self-portraiture. Over the last two years, I became interested in turning
the camera around and photographing my female family members to tell our
collective story. I still think that <i style="mso-bidi-font-style: normal;">Ties
That Bind</i> is extremely autobiographical, but tells a much broader story of
my mother, sisters, nieces and self through our bonds around the homeplace. <o:p></o:p></span></div>
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<b><span style="font-family: "helvetica"; font-size: 11.0pt;">CZ: What is next for you after you graduate?<span style="mso-spacerun: yes;"> </span>Congratulations Deedra! <o:p></o:p></span></b></div>
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<span style="font-family: "helvetica"; font-size: 11.0pt;"><b>DB:</b> Thank you, Christine!
This is definitely an exciting time for me, which I am sure you can relate to
that! I feel like I have so many opportunities and possibilities ahead of me.
In the fall, I will be teaching three photography courses at Texas Woman’s
University as an adjunct instructor. I am also now a gallery coordinator for
Art Room Gallery, which is based in Fort Worth, TX. I am looking forward to
teaching, working with fellow artists, and promoting <i style="mso-bidi-font-style: normal;">Ties That Bind</i>! <o:p></o:p></span></div>
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<span style="font-family: "helvetica"; font-size: 11.0pt;"><b>Deedra's thesis exhibition is currently on view at Texas Woman's University: </b></span></div>
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Light Leakedhttp://www.blogger.com/profile/05934203791693496138noreply@blogger.com0tag:blogger.com,1999:blog-5907423265433563576.post-5513179458811167502016-04-25T11:52:00.000-04:002016-04-25T11:52:42.362-04:00Ryan Parra<div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.ryanparra.com/home.html" target="_blank">Ryan Parra</a> is a photography based artist with a primary focus on edible, medicinal, and psychoactive plants growing in the Tempe/Phoenix valley. He earned his BFA from the University of Oregon in 2012, and MFA at Arizona State University in 2016.<br />
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<b>Artist Statement: <i>Vivarium</i></b><br />
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<b><i><br /></i></b>As pharmacology continues to advance, I believe it is important to have a sophisticated understanding of the plants from where it derived and knowledge of their traditional uses. My work is influenced by the rich history and current practices of ethno-botany (such as traditional shamanic practices), the history of still life paintings and plant illustrations, the exploration of plants as a system of knowledge, and the organization of agriculture for the purpose of sustaining the masses. <br />
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Urban areas continue to thrive and expand at a rapid rate, resulting in negative effects in biodiversity throughout the lands around them. As scientists are seeing a decline in biodiversity in wilderness areas, they are often finding the opposite trend in highly populated urban areas. This rise and fall of biodiversity is one of many reasons for my interest in still lifes of edible, medicinal, and psychoactive plants growing in the Tempe/Phoenix valley, as well as my focus on plants out in their natural environment. With this in mind, I hope to shed light on the rich variety and the importance of plants growing near and far from our homes. By incorporating styles from still life paintings throughout art history while also including descriptions of each plant's traditional uses, I want to remind viewers of the role plants have played in the exploration of knowledge and well being for thousands of years. <br />
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The title, <i>Vivarium</i>, reflects this interest in our unique relationship with nature, and sets the theme of curiosity, containment, and control. <i>Vivarium</i>, meaning place of life, is an enclosed space with plants or animals for observation or research purposes. For me, this act of concealing fragments of nature expresses a sense of power one has over something, much like science with nature, while also expressing great affection and love towards that same thing. It is in this binary friction that fundamental characteristics at the root of our own nature are revealed, as are issues evident in the modern perspective of the natural world. </div>
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Light Leakedhttp://www.blogger.com/profile/05934203791693496138noreply@blogger.com0tag:blogger.com,1999:blog-5907423265433563576.post-39875708856635483032016-04-18T10:56:00.000-04:002016-04-18T10:56:14.918-04:00Chris Mottalini<div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.mottalini.com/" target="_blank">Chris Mottalini</a>'s photographic work has been widely commissioned and exhibited. His first book, <a href="http://atlargemagazine.com/features/after-you-left/">After You Left/They Took It Apart</a>, is an atmospheric final portrait of three demolished Modernist homes. Chris is a partially colorblind photographer that lives and works in Brooklyn, NY.<br />
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<b>Statement: <i>Secret Meaning </i></b><br />
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Creative direction: Jeffrey W. Miller<br />
Food styling: Julian Hensarling<br />
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<i>Secret Meaning</i> is a modern photographic interpretation of the religious and symbolic meanings embedded within 17th century still life paintings. <br />
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The project originally sprang from my fascination with Zuburon’s “Still Life with Lemons, Oranges and a Rose” (painted in 1633). The seemingly ordinary objects depicted in the painting actually contain significant religious meaning (allusions to the Holy Trinity and to the Virgin Mary). When the painting was x-rayed, several objects and layers were discovered hidden underneath. Learning of the existence of these hidden images and layers inspired me to make the photographs that comprise <i>Secret Meaning</i>.<br />
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In many classic still life paintings (Flemish, Spanish and Italian), fertility, wealth, death, the fall of man, the fleeting nature of earthly pleasures, decay, resurrection and vanity are all represented by such innocuous subjects as fruits and vegetables. Today, these multiple layers of meaning have become unfamiliar to us. <i>Secret Meaning</i> attempts to re-examine and modernize this practice. <br />
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One of the most elemental and classic “tricks” of photography, about which I have always felt a sense of wonder, is the double exposure. This technique still manages to fascinate me and is, by its very nature, indicative of the magic of the photographic process (due in part to the fact that you are always at least somewhat surprised by the final image). In using the multiple exposure technique to make many of the images in<i> Secret Meaning</i>, I hope to provide a new perspective on still life photography.<br />
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Light Leakedhttp://www.blogger.com/profile/05934203791693496138noreply@blogger.com0tag:blogger.com,1999:blog-5907423265433563576.post-52490061371429809062016-04-11T11:07:00.000-04:002016-04-11T11:07:10.238-04:00Allyson Pinon<div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.allysonpinon.com/">Allyson Pinon</a> is a photographer based between Brooklyn and Baltimore. Her work explores human experience, understanding, and connotation within the context of contemporary society. She is interested in trying to better understand the diverse ways that people perceive and experience the world and, in turn, the similarities in experience that arise despite an immense multiplicity of viewpoints. Through these studies she attempts to search for commonalities and connections within largely universal human experiences like aging, loss, and memory. Her work has been exhibited internationally in Switzerland, Paris, Los Angeles, and other various cities throughput the United States. She is currently pursuing a B.F.A at the Maryland Institute College of Art.<br />
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<b>Artist Statement: <i>Losing Touch </i> </b><br />
<br />
Seventeen years ago my mother had a stroke that left her paralyzed in all but her right arm. One of the first things she did after she left the hospital, capitalizing on the newfound numbness in her body, was get the tattoo she always wanted of the Rolling Stones logo over her heart. I’ve always been struck by my mom’s wit, perseverance, and brazen personality. After her stroke, my family thought the biggest struggle would be in trying to help my mother become physically adjusted to her new body. In reality, my mother’s biggest struggle is in convincing everyone around her that there is more to her than what her physical ability portrays. <i>Losing Touch</i> is an ongoing series that chronicles my mother’s life as she tries to navigate through a world that is not quite meant for her. <br />
<br />
Disability has profoundly affected everyone in my mother’s sphere of influence. Even within that sphere, there are limits to each individual’s ability to engage and relate. It’s human nature to avoid what makes us upset or uncomfortable and attentions can shift quickly. My mother’s feelings of alienation and distance generate from the lack of opportunities to voice her perspective and bring it into the sphere of contemporary consciousness. <br />
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My mother has been disabled for most of my life and even I have only a vague understanding of how she understands the world around her. This realization spurred the inspiration for this body of work, as I continuously attempt to grasp the totality of my mother’s experiences in society. Getting through everyday activities can be a struggle but this constantly challenges her to create new avenues and opportunities to proceed through life. My mother’s computer has become one of her most invaluable possessions due to the sense of anonymity it provides and it’s access to all corners of the world. My mother uses her email as her preferred method of expression and communication, as it allows her to interact in precisely the same way as every other member of our society. <br />
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Throughout this, my mom is a fairly realistic person, with a darker wit, and she longs for understanding; not sympathy. This body of work is my attempt at navigating the duality between the way she is viewed and her own perspective.<br />
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<br />Light Leakedhttp://www.blogger.com/profile/05934203791693496138noreply@blogger.com0tag:blogger.com,1999:blog-5907423265433563576.post-66839365839799015272016-04-04T11:30:00.000-04:002016-04-04T11:30:56.389-04:00Artist-on-Artist: Christine Zuercher<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkMGv9l75vWWiZdEJq1HK2saNjQa4KzUMpewFHH8F0LjCNdDXds_Z9WBe6lkz82RCSr-7PNpz6ujBeYnLQNq3nyvIK4VNw7YY6DXwCUCLNg7Yrn_0hTZZAmc7x6Uu_tPe-Q0ZmHFmrjD4r/s1600/Zuercher_Distant+Transmissions+3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="402" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkMGv9l75vWWiZdEJq1HK2saNjQa4KzUMpewFHH8F0LjCNdDXds_Z9WBe6lkz82RCSr-7PNpz6ujBeYnLQNq3nyvIK4VNw7YY6DXwCUCLNg7Yrn_0hTZZAmc7x6Uu_tPe-Q0ZmHFmrjD4r/s640/Zuercher_Distant+Transmissions+3.jpg" width="640" /></a></div>
<br />
<br />
<a href="http://www.christinezuercher.com/" target="_blank">Christine Zuercher</a> is a photographer born and raised in Dayton, Ohio. She exhibits work nationally, is a 2010 Dayton Art Institute Yeck Fellow and a 2013 Ohio Arts Council Excellence Award Recipient. Her research is on shortwave radio, the Space Race, and transmission technologies. She will be completing her MFA in photography at East Carolina University in May 2016. <br />
<br />
<b>Artist-on-Artist Interview conducted by Deedra Baker. Stay tuned for Christine Zuercher interviewing Deedra about her work in the coming week! </b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjISY5VXwN_zLyBtnX5BBLo1B3tym54T0sP7ixv0HCgwJcSK5LNH-1GKH8xS9IMcWTuCOCcKSr7YRLwb_T6ozE_Qz9ebEib9awNykNMG5ZiUaXM_DAkkgSZXYsZKoZQldYOmi2qvK4RpWe/s1600/Zuercher_Distant+Transmissions+4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="418" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjISY5VXwN_zLyBtnX5BBLo1B3tym54T0sP7ixv0HCgwJcSK5LNH-1GKH8xS9IMcWTuCOCcKSr7YRLwb_T6ozE_Qz9ebEib9awNykNMG5ZiUaXM_DAkkgSZXYsZKoZQldYOmi2qvK4RpWe/s640/Zuercher_Distant+Transmissions+4.jpg" width="640" /></a></div>
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<b>Artist’s Statement: <i>Distant Transmissions</i> </b><br />
<br />
In traveling to the dark outer reaches of our planet, there exists the drive to find out something new about ourselves and the vastness above us. Shortwave radio and Space Race technology of the 1950’s and 1960’s cultivated intensely individual and collective experiences. My research on shortwave radio and space travel as landmarks of exploration includes photographs, shortwave spy codes, a spacesuit, and a collection of the QSL cards that shortwave operators mail to one another. This research has influenced my need to ask questions and seek the unknown through travel and my own experiences. I am commenting on our cultural associations with communication and distance while challenging the ownership and definitions of space exploration. Photographs are portals between our subjective and objective nature, the real and unreal. This research is comprised of photography, audio, and sculpture and is presented under the guise of the “American Interterrestrial Society”, a fictitious organization that is archiving this investigation. <br />
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Photography encourages us to dream of exploring unknown lands through its subjective nature. The blending of real and make believe will produce a visual dialogue that asks: How quiet would things be if all other technology failed and we only heard the humming of radios? What does static sound like in space? When you come back from space, do you miss it? Do you hear the stars pounding in your ears? Can historical technology remind us of a history that is no longer ours? Can we reclaim history and make it our own? Do we find history or create it?<br />
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<b>Deedra Baker: How did you become interested in shortwave radio and space exploration? What other information can you share with us about this unique research topic? </b><br />
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<b>Christine Zuercher: </b>In many ways, my discovery of shortwave radio felt like what my father would call “kismet” or fate. While driving home from my first winter break at East Carolina University, I stumbled upon David Goren’s audio piece called “Atencion! Seis Siete Tres Siete Cero: The Mystery of the Shortwave Numbers Stations”. Shortwave radio is a band of transmission frequencies used for distant communications. David’s piece discusses an anomaly that can be heard on these frequencies: spy codes, a lone voice reading messages in code via a list of numbers. What a beautiful sentiment- spies communicating over a public medium that anyone can hear. I was instantly hooked. I felt shortchanged by AM and FM radio for many years and found this part of radio that is…exciting….unpredictable…..you can hear broadcasts from all over the planet, news reports, Morse Code, music from distant countries, political rants, eccentric preachers, even spies. Shortwave is really the world’s radio. As my interest grew and I decided to research shortwave further for my thesis, I found out that Greenville, NC, where I’m attending graduate school, is home to Voice of America, the last government owned shortwave radio station in the country. The rest is history. I even earned my amateur radio license a few months ago. Space exploration and aviation have always been a conceptual interest of mine. I was born and raised in Dayton, Ohio, the birthplace of the Wright Brothers, the inventors of aviation. Dayton, to this day, has a lot of pride for the innovations of these two brothers. This pride, instilled in me from my father, has given me a reverence for flight. When NASA ended its space shuttle program in 2011, It felt like we as a culture lost our curiosity, our drive to push the limits of the unknown, to discover whatever may be out there. Shortwave radio and the Space Race, particularly in the 1950’s and 1960’s, connected us in spite of distance, in spite of not knowing. <br />
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<b>DB: Your series Distant Transmissions is inspired by the shortwave radio and Space Race technologies employed in the 1950’s and 1960’s. Do you find inspiration from other sources like fellow artists, literature, experiences, etc? </b><br />
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<b>CZ: </b>Yes! Rebecca Solnit’s A Field Guide to Getting Lost has been very influential on me, as has Italo Calvino’s Comicomics and Chris Marker’s film La Jetee. I’m drawn to artists and thinkers who are interdisciplinary, who implore a variety of methods and mediums to tell a story or share ideas. I’m a big fan of Buckminster Fuller and his way of viewing Earth like a giant spaceship. I enjoy the way Ann Hamilton and Ai Wei Wei use sculpture and tactile mediums to create impactful experiences. And I like Sherin Neshat- she’s got guts. <br />
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<b>DB: Describe your working methodology. What is your process for creating your photographs, shortwave sounds, and sculptural objects? Why have you chosen to use the gum bichromate process for your images? </b><br />
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<b>CZ:</b> My creative process for Distant Transmissions began with questions: How can I make work about something like radio waves that we can’t see? How can I use the art making process to create a tactile conversation examining the influence of technology on our individual and collective histories? My process in making the images and objects from Distant Transmissions is directly related to my travels and the relationships I’ve formed while exploring the United States and other countries. <br />
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Part of my research has included making my own spacesuit and photographing myself in it. The spacesuit is pretty bulky, however, so I realized early on that I’d need help being photographed. Collaboration has become a fundamental part of my process. The photographs of me in the spacesuit were taken with the help of friends. Many of the locations I photographed were found while exploring with friends and collaborators: picking wild blueberries, driving through the Mojave desert, exploring abandoned FCC sites, picnics on lakeshores in Maine. One of the methods I use after I photograph and edit is Gum Bichromate, a process that has a grainy, soft focused quality. I use this method to create an obscured, otherworldly aesthetic. I also use this aesthetic to explore the tension between the innate ability of the photograph to record and our desire to re-experience memories. What we remember is a copy of an experience at best. Our memories begin to change and break down from the moment an experience happens. The aesthetics of my work demonstrate a lack of literal representation, the layering, covering up, and altering of memories through process. <br />
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<b>DB: The audio shortwave elements have almost a hypnotic note to them with elements of disruption, how do you think this enhances the overall body of work and exhibition?</b><br />
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<b>CZ: </b>Just as photographs have the power to transport us, sound has a similar affect. Not knowing the person in a photograph inspires us to conjure up stories about their lives. Radio static encourages us to sit and wait for someone unknown to speak. I hope for the audio elements of Distant Transmissions to create an experience that hints at what I’ve heard and shares these lovely hidden technologies that are still relatively unknown. <br />
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<i>Distant Transmissions</i> conjures contemplation and answer seeking for you as the artist. What do you intend your viewer to experience while looking at this work? I hope for the viewer to encounter some of the magic I’ve experienced while experimenting with these technologies. The exhibition includes photographs, an installation where viewers are invited to examine my collection of QSL cards, shortwave sounds, my spacesuit, and a collaborative cabinet made with the artist Harrison Walker containing found interplanetary objects. The images and objects in the exhibition are to be uncovered in an intimate environment. I hope that my research creates a tactile experience for the radio waves we cannot see, the photographs we can experience only as the past, the planets we can only dream of exploring. I believe these technologies bridge the gaps of distance and time. <br />
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<b>DB: How does the balance between the surreal and reality affect this body of work? </b><br />
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<b>CZ:</b> Great question! The balance between the real and unreal in Distant Transmissions is a big part of the work. We understand much of history now through photographs. But photographs are often both subjective and objective. A large part of my research questions how we perceive history through both literal and conceptual distance. To elaborate on this tension between the truth and fabrication of photographs, I have created a fictitious organization, the American Interterrestrial Society that archives my collection of images, objects, and sounds. I serve as an honorary astronaut and shortwave radio operator for the organization. <br />
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<u>Some Background on the American Interterrestrial Society: </u><br />
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The celebrated American deep sea explorer Gertrude Hoover founded AIS in August 1969. While mining for gemstones in the Burkle crater of the Indian Ocean, Hoover listened to the Apollo 11 Moon landing from her tiny radio shack 12,500 feet below the surface of the Earth. Hoover was determined, in that moment, to dedicate her life to fellow explorers. She believed technology, in an increasingly divided world, could help us overcome great geographic distances. Hoover created the American Interterrestrial Society, a non-profit organization that supports fellow explorers through funding, research, and libraries and archives located in the Astrophysical Observatory in Cambridge, Massachusetts. I was approached by the current Director of AIS, Hoover’s granddaughter several years ago after being introduced at a meeting for the Explorer’s Club in NYC. I am honored to have AIS include my images and objects in their archives. <br />
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<b>DB: What are your future plans after completing your Master of Fine Arts? Congratulations Christine! </b><br />
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<b>CZ: </b>Thanks Deedra! I am excited to be working in Massachusetts this summer, teaching photography to young girls. The female mentors in my life have had a great impact on me, so I look forward to working with the awesome young women at Belvoir Terrace. After that, I don’t know! I’m jumping head first into the unknown. <br />
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Light Leakedhttp://www.blogger.com/profile/05934203791693496138noreply@blogger.com0tag:blogger.com,1999:blog-5907423265433563576.post-43042788854683620172016-03-28T11:13:00.000-04:002016-03-28T11:13:35.413-04:00Brant Barrett<div class="separator" style="clear: both; text-align: center;">
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As a youth, <a href="http://www.brantbarrettphotography.com/" target="_blank">Brant Barrett </a>spent untold hours fishing, swimming and crabbing in the warm waters of St. Helena’s Sound near Beaufort, South Carolina. Those early years instilled in him a life-long love of nature and the South Carolina Lowcountry. As he grew older, Brant discovered the importance of history and how it gives context to, and a deeper understanding of our current circumstances.<br />
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All of Brant’s work connects the viewer to a place and time and explores today’s complex society through his visual interpretation of the natural world and mankind’s relationship to it.<br />
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<b>Statement: <i>Bright Leaf</i></b><br />
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For a number of years, my home has been the Pee Dee region of South Carolina, loosely defined by the watershed of the Great Pee Dee and Little Pee Dee rivers. The Pee Dee is predominately an agricultural region. Farming in this area means corn, soy beans, cotton and tobacco. “Bright Leaf” or flue-cured tobacco, had for over a hundred years meant more to the region than all the other crops combined. <br />
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After the Civil War, cotton languished for lack of a market and an insufficient labor force. During those times when “King Cotton” was laid low, tobacco became the savior of the Pee Dee. Tobacco provided the small family farmer, with limited land and limited resources, the means to pay off his debts and even prosper on the proceeds from a few acres. <br />
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Today, the regions ubiquitous tobacco barns lie empty and rotting. The warehouses that were the centerpieces of a town’s success are gone or being demolished as safety hazards. Main Street in the Pee Dee has been replaced by the “big box” store.<br />
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Still, there are a few farmers planting tobacco. In this series I have chosen to document their labors because tobacco has been so important to the people and the history of this region. The work shows current methods of cultivation, which are far different from methods employed even 50 years ago. <br />
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Bright Leaf will never return as a mainstay of the Pee Dee economy, but it still resonates through the soul of the region.<br />
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<br />Light Leakedhttp://www.blogger.com/profile/05934203791693496138noreply@blogger.com0tag:blogger.com,1999:blog-5907423265433563576.post-58743559649671877822016-03-21T12:16:00.000-04:002016-03-21T12:16:10.430-04:00Anna Yeroshenko<div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.annayeroshenko.com/" target="_blank">Anna Yeroshenko</a> is a Russian photographer, currently living in Boston, USA. She was a practicing architect and an interior designer in Russia before she became a photographer. Anna's interest in photography brought her to the US where she studied at the Lesley University College of Art and Design (the former Art Institute of Boston) and received her MFA in Photography in 2015. Anna's work deals with themes of subjective representation and multiple layers of information that play with how we consume and relate to subjective imagery we encounter each day. She has a strong interest not only in photography, but how the medium can be nudged off-center, manipulated, or combined with other visual disciplines, opening up a discourse about photography itself. Also, as in the case of the work presented here, of architecture and constructed space. <br />
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In the U.S. and abroad she is known for pushing the boundaries of photography combining original techniques with traditional processes in the service of her own subject matter. Anna's work have been exhibited at Perth Centre For Photography in Perth, Australia, the Mall Galleries, in London, UK, Langham Place, Hong Kong among many others. <br />
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<b>Statement: <i>Enduring Peripheries</i></b><br />
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This work deals with my own images of architecture re-imagined, deconstructed, and re-observed as sculptural representations that are intended to stimulate a new dialogue about the meaning of a photographic object and architecture itself. I fold and manipulate a paper photograph to create dimensionality and to give the image new depth. Then I re-photograph the folded structures, leading to a new perception of the subject. The nature of seeing and perception, the relationship between object, space and camera have always been the central issues in my work and in this project paper takes the role of the mediator among those three components.<br />
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Architecture is first created on paper, to be then embodied into solid material. I photograph urban landscapes of Boston's periphery, bringing its mundane architecture back to paper. My photographs can prolong its life, or they can give it a new one. By making new structures out of my photographs I, perhaps, fulfill what I gave up doing as an architect. Just as Paper Architects created their utopian projects, that were never meant to be built, I build an imagined reality with an intention to bring back to the viewer the joy of looking at the things we are surrounded by and take for granted, things that are the stage sets of our lives.<br />
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<br />Light Leakedhttp://www.blogger.com/profile/05934203791693496138noreply@blogger.com0tag:blogger.com,1999:blog-5907423265433563576.post-70715005115026334522016-03-14T11:12:00.000-04:002016-03-14T11:12:21.475-04:00New Farmers: D. Bryon Darby, Tim Hossler, Paul Stock <div class="separator" style="clear: both; text-align: center;">
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<b>Contributors:</b></div>
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<a href="http://www.bryondarby.com/" target="_blank">D. Bryon Darby</a>, Photographs</div>
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<a href="http://timhosslerdesign.tumblr.com/" target="_blank">Tim Hossler</a>, Graphic and Exhibition Design</div>
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<a href="https://sociology.ku.edu/paul-stock" target="_blank">Paul Stock</a>, Interviews and Writings</div>
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<b>Project Website:</b></div>
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<a href="http://newfarmersproject.com/">http://newfarmersproject.com</a></div>
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<b>Biographies:</b></div>
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D. Bryon Darby creative research investigates perceptions of place as mediated through culture, technology, and experience. His work has been featured in numerous solo and group exhibitions throughout the United States and internationally. Notable exhibitions have included Paris PhotobookFest, the Museum of Contemporary Art in Jacksonville, the 2012 International Symposium on Electronic Art, the Phoenix Art Museum, and the Center for Land Use Interpretation.<br />
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Tim Hossler is the former in-house art director for photographer Annie Leibovitz, the Director of Design at the Massachusetts Museum of Contemporary Art (MASS MoCA), and the Art Director of The Wolfsonian– Florida International University in Miami Beach. He has worked on books and exhibitions for artists, photographers, and cultural institutions including KU’s Spencer Museum of Art, The Nelson-Atkins Museum of Art and The Detroit Institute of Arts.<br />
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Paul V. Stock’s primary interests as a rural sociologist include food, agriculture, family farmers, and the Catholic Worker movement’s farms. His books include Food Systems Failure (2011) and Food Utopias (2015).<br />
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<b>Statement:</b><br />
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“The truth is, farming is so bloody romantic you can’t escape it. And don’t believe anybody who tells you otherwise. It is diving deeply into the complete mystery of the black soil. It is sex in the rain and the mud and the dew and the snow. It is messy, exotic, untamed birth, it is a riotous adventurous life; it is dying when the time arrives. It is the violent storm and gentle rain, the nurturing warmth and the oppressing heat, it is happiness and joy and exhaustion and despair. It is a parched throat and a full belly and sweet dreams and sleepless nights. It is an unceasing grind, and it is constant wonder. This is the truth." - Phil Holman-Hebert, Jefferson County, Kansas<br />
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<i>New Farmers</i> is a collaborative research project between photographer D. Bryon Darby, designer Tim Hossler, and sociologist Paul Stock. An observation of today's independent farmer, the project is an ongoing exploration of experiments in contemporary farming and seeks to document and empower the first-generation, small-scale, and sustainable farmer.<br />
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<i>New Farmers </i>was generously supported with a Starter Grant from <a href="http://thecommons.ku.edu/startergrants.shtml">The Commons</a> with funds from the <a href="https://research.ku.edu/">University of Kansas Office of Research</a> and by a Collaborative Research Seed Grant from the <a href="https://hallcenter.ku.edu/">Hall Center for The Humanities</a>.<br />
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Light Leakedhttp://www.blogger.com/profile/05934203791693496138noreply@blogger.com0tag:blogger.com,1999:blog-5907423265433563576.post-10137403703195885752016-02-29T11:32:00.000-05:002016-02-29T11:32:25.077-05:00Kaitlin Obermeyer <div class="separator" style="clear: both; text-align: center;">
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<span style="background-color: white; font-family: "times new roman"; font-size: small;"><span style="line-height: 115%;"><a href="http://www.kaitlinobermeyer.com/" target="_blank">Kaitlin Obermeyer</a>'s work investigates the lives of seniors and the elderly that live alone. </span></span><span style="background-color: white; font-family: "times new roman";"><span style="line-height: 18.399999618530273px;">Cultural traditions and different ways of life are often revealed in the objects represented in homes. She is interested in learning about the remarkable experiences people have through the process of making photographs. </span></span><span style="background-color: white; font-family: "times new roman"; font-size: small;"><span style="line-height: 115%;">Kaitlin is currently </span></span><span style="background-color: white; font-family: "times new roman";"><span style="line-height: 18.399999618530273px;">studying</span></span><span style="background-color: white; font-family: "times new roman"; font-size: small;"><span style="line-height: 115%;"> </span><span style="line-height: 18.399999618530273px;">photography</span><span style="line-height: 115%;"> and strategic communication at the University of Kansas. </span></span><span style="background-color: white; font-family: "times new roman"; font-size: 12pt; line-height: 115%;"> </span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman";">Artist Statement: <i>Doris</i><o:p></o:p></span></b></div>
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<span style="font-family: "times new roman";">This
is grandma Doris. Until now, my family has never made a single picture of her.
She has lived alone for the past 20 years in the same house that she has had
since 1952. Collecting artifacts for 63 years and none of it has ever left.
Aging and loneliness will do peculiar things to you. I am exploring the unknown
territory of old age and the changing mind. I am particularly drawn to the
widowed. I never met either of my grandfathers and have only known my grandmothers
to be alone. I chose to focus solely on my own grandmother because I am able to
get a more pure version of her. The more time I spend with her, the more I
become aware of the changes in her mentality. This project is constantly
changing and evolving the more she lets me into her mind. <o:p></o:p></span></div>
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Light Leakedhttp://www.blogger.com/profile/05934203791693496138noreply@blogger.com1tag:blogger.com,1999:blog-5907423265433563576.post-89519422968081714882016-02-22T11:23:00.000-05:002016-02-22T11:23:32.840-05:00Sharon Lee Hart<div class="separator" style="clear: both; text-align: center;">
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<a href="http://sharonleehart.com/" target="_blank">Sharon Lee Hart</a> is a D.C. born fine art photographer and a professor at Florida Atlantic University. She earned an MFA from the University of North Carolina at Chapel Hill. Her first monograph, <i>Sanctuary: Portraits of Rescued Farm Animals </i>was published in 2012. Hart’s photography and mixed media works have been exhibited throughout the U.S. and internationally.<br />
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Sharon Lee Hart's solo exhibition, <i>According to the Sky</i>, is currently on view until March 9, 2016 in conjunction with the <a href="http://www.joyceelainegrant.com/#!2016/ayu0s" target="_blank">Joyce Elaine Grant Exhibition </a>at Texas Woman's University in Denton, TX. Hart was selected as the solo show award winner by April Watson, Curator of Photography The Nelson-Atkins Museum of Art in Kansas City, MO in 2015.<br />
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<b>Artist’s Statement: <i>According to the Sky</i></b><br />
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“The stars we are given. The constellations we make. That is to say, stars exist in the cosmos, but constellations are the imaginary lines we draw between them, the readings we give the sky, the stories we tell.” — Rebecca Solnit, <i>Storming the Gates of Paradise: Landscapes for Politics</i><br />
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This project is a meditation on the sea. Personal narratives are formed by filtering ideas about the sea through a variety of subjects, including mythology, astronomy and mysticism. The ocean is a link to the cosmos, a backdrop and central character. We live on a planet whose surface is mostly covered in water and in bodies that are at least half composed of water – we are physically and psychologically connected to the ocean. The photographs are made in the water and on the shore. The shoreline, our evolving human access point is where earth and sea meet. This constantly shifting border between the known and unknown can be seen as a metaphor for change. The photographs are toned to give a nod to traditional darkroom practices. Blue was chosen to reference the natural hydrological cycle and the color of the sea being in part a reflection of the sky. The images are made with a medium format film camera and a DSLR. The photographs are printed with archival inks on hand-coated hosho paper.<br />
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Interview conducted by <a href="http://www.deedrabaker.com/" target="_blank">Deedra Baker</a><br />
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<b>Deedra Baker: Your series <i>According to the Sky</i> is inspired by the land and sea. Do you find inspiration from other sources like fellow artists, literature, experiences, etc?</b><br />
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<b>Sharon Lee Hart:</b> Absolutely! During this project, I was inspired by readings on mythology, astronomy, and mysticism. Certain essays in <i>Storming the Gates of Paradise: Landscapes for Politics</i> by Rebecca Solnit resonate with me so deeply that I used a quote from the book in my project statement. During the paper coating and printing process I listened almost exclusively to the band Warpaint. Their sound set the mood and helped determine the tone of the photographs. Daydreaming while floating in the water and also being mercilessly tossed around in the waves impacted the project.<br />
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<b>DB: How do you think about your selection of props in conjunction with the human figure? What part do they play in your “meditation on the sea?”</b><br />
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<b>SLH: </b>Many of the objects the human figures are interacting with were made or selected for their symbolism or cultural meaning. In my mind, the props elevate the figures into something magical or mythological. Props are used sparingly as I only wanted to include essential information; nothing extraneous allowed in the frame. Simplicity is part of the mediation.<br />
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<b>DB: Describe your working methodology. What is your process for creating your photographs and decisions like square versus circular format and your choice of paper?</b><br />
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<b>SLH: </b>For the most part the idea was first, although it sometimes evolved while making the photograph. The circles reference a continuous cycle and planets. Squares are stable and represent a decisive cut from a scene. Printing is expressive and I had a very specific look in mind. After way too much experimentation with variations of paper and tones, I found that hand-applied emulsion on Hosho paper gave me the look I was after. I was drawn to the visible brush strokes and the way the ink melted into the paper. <br />
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<tr><td class="tr-caption" style="text-align: center;">Installation shots from <i style="text-align: start;">According to the Sky, </i><span style="text-align: start;">currently on view in conjunction with the </span><a href="http://www.joyceelainegrant.com/#!2016/ayu0s" target="_blank">Joyce Elaine Grant Exhibition </a>at Texas Woman's University</td></tr>
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<b>DB: What is your editing process for creating a body of work and a solo exhibition?<br /><br />SLH: </b>The editing process was a bit different for this series, as I mostly knew what I wanted in advance, making the process easier than usual. For other projects, I have spent a good deal of time editing down, considering pairings, and sequence. Removing images from a series can be brutal, but satisfying. We all can get overly attached to certain images, so it is helpful to have a trusted pair of eyes look at your work and assist with editing.<br />
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The space that comes with a solo exhibition is exciting as it enables you to share your vision with an audience in a tangible way and hopefully start a dialogue. I also viewed this exhibition as an opportunity to experiment with small installations and 3D printing to give context to the photographs. Four of these installations are included in the exhibition. <br />
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<b>DB: As a seasoned artist with a monograph and several solo exhibitions under your belt, do you have any advice for emerging photographers?<br /><br />SLH</b>: I still consider myself emerging, but am happy to share a few thoughts... <br />
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-Always select subjects that deeply resonate with you.<br />
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-Be aware of, but don’t follow trends. <br />
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-Take responsibly for the work you put out into the world.<br />
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-Experiment and allow yourself to make mistakes. <br />
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-If you are serious, you will always make time for your work. Build it into your schedule. <br />
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-Be able to place your work in historical and contemporary context. <br />
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-Allow yourself to be inspired by things outside of the art world.<br />
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-Acknowledge that no one makes work in a vacuum; we are all inspired by others. <br />
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-Be open to feedback, not everything will resonate, but when it does it will help propel your work forward. <br />
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-Don’t underestimate the amount of time and money it takes to produce, frame, package and ship work for a solo exhibition. Build in extra time for correcting mistakes and start setting aside funds as soon as possible. <br />
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-Have specific goals and a written timeline to help keep you on track.<br />
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Light Leakedhttp://www.blogger.com/profile/05934203791693496138noreply@blogger.com0tag:blogger.com,1999:blog-5907423265433563576.post-73620799804755061252016-02-15T11:25:00.000-05:002016-02-15T11:25:03.505-05:00Curator: Dr. Rebecca Senf <div class="MediumGrid21">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV-9G5WC30J5mcn8lNCqW4PoTCwwyBMpwIRzjkFXs35l-0IgKqMa8msKLheS2Nwi9li3o-jM3xYdph70rqAXu2w7M4k67GG9jwVrfEJMQe5QUqeOvYBlyUcPfE8-zKUW6ZAYgSskdGv_bw/s1600/_MG_6335.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV-9G5WC30J5mcn8lNCqW4PoTCwwyBMpwIRzjkFXs35l-0IgKqMa8msKLheS2Nwi9li3o-jM3xYdph70rqAXu2w7M4k67GG9jwVrfEJMQe5QUqeOvYBlyUcPfE8-zKUW6ZAYgSskdGv_bw/s640/_MG_6335.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.joyceelainegrant.com/" target="_blank">Joyce Elaine Grant Exhibition,</a> 2016 </td></tr>
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Dr. Rebecca Senf is the Norton Family Curator of Photography, a joint appointment at the Center for Creative Photography and the Phoenix Art Museum. She curates three exhibitions a year for the Doris and John Norton Gallery for the Center for Creative Photography in Phoenix and her past exhibitions include Debating Modern Photography: the Triumph of Group f/64; Richard Avedon: Photographer of Influence; Human Nature: the Photographs of Barbara Bosworth; Edward Weston: Mexico; Odyssey: the Photographs of Linda Connor; Charting the Canyon: Photographs by Mark Klett and Byron Wolfe; Face to Face: 150 Years of Photographic Portraiture; Exposing Time: Capturing Change Through Photography and the Steele Gallery exhibition, Ansel Adams: Discoveries of January to June, 2010. Senf grew up in Tucson and went to undergraduate school at the University of Arizona, studying the History of Photography. She spent ten years in Boston, Massachusetts where she earned a Ph.D. in Art History at Boston University. In Boston she worked on the Museum of Fine Arts, Boston’s major exhibition Ansel Adams from The Lane Collection, for which she also co-authored the exhibition catalogue. In October of 2012 her book Reconstructing the View: The Grand Canyon Photographs of Mark Klett and Byron Wolfe was released by University of California Press. Recent projects include exhibitions on the photographic book and two exhibitions focused on platinum photography. </div>
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Dr. Senf juried the <a href="http://www.joyceelainegrant.com/">15th Annual Joyce Elaine Grant Photography Exhibition</a> at Texas Woman's University, which opened February 15, 2016, and will be on view until March 9, 2016.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1YP9daL20u-yQrxmOce7hxwiJdw6rmkXKEkeBnWiJFvTrIq4wI3tmZVzwGeVbu8oHZ3HV13UgU4yAzfFd45cJYzwqN__xEt7ogvyuIjJq1y0vOXCfq3E7LTwydknG-H4zgjJVA8huEHMe/s1600/CiurejLochman_FruitLoopsLandscape-2.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="536" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1YP9daL20u-yQrxmOce7hxwiJdw6rmkXKEkeBnWiJFvTrIq4wI3tmZVzwGeVbu8oHZ3HV13UgU4yAzfFd45cJYzwqN__xEt7ogvyuIjJq1y0vOXCfq3E7LTwydknG-H4zgjJVA8huEHMe/s640/CiurejLochman_FruitLoopsLandscape-2.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.ciurejlochmanphoto.com/Processed%20Views/01_ProcessedViews.html" target="_blank">Ciurej & Lochmn</a>, <i>Fruit Loops Landscape </i></td></tr>
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<b>Joyce Elaine Grant Exhibition Juror’s Statement: </b><br />
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Theme: “Nourish: Food as Sustenance and Pleasure"<br />
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Food is the foundation of life; it is sustenance for our bodies and can be the source of great pleasure. We live in a time where food is abundantly available, and yet we have to evaluate grocery store items to determine if what is being offered is actually “real food.” (Fruit Loops, Cheetos, Twinkies, Cheez Whiz. Not real food.) <br />
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This is a moment of farm-to-table, locavore, slow food, craft and small batch production, as well as a panoply of ways to describe what we eat, including veganism, pescetarianism, flexitarianism, paleo, and gluten-free. Food (and eating) can be fraught with negative emotions, like guilt, sadness and regret, while at the other end of the spectrum, making food for others can be a profoundly generous and nourishing act. These dichotomous ideas, and range of diets, complicate our relationship to food.<br />
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Naturally food has inspired art, and this dynamic selection of works demonstrates that photographers have explored food in all its stages, with a wide range of concerns. Everything from abstracted and aestheticized images of food to pictures that document where our meals come from, these photographs go from appetizing to repulsive, sometimes managing to be both simultaneously. <br />
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Grab a napkin, pull up a chair, and find yourself something to eat. Just watch out for the Twinkies.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6okiWOYxTT0halicPheaEdCkLnXbJrmtTz_PwoBgDQaKTzKtC0PjTNdi-79v9oR3okK3T07jVZQLqX4o-QOrXkw_vRJ6XhLeT13hyphenhyphenjHjtw7LIlD0YnMQFhH93BEDZTeoisMINVlMA4gPR/s1600/_MG_6346.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6okiWOYxTT0halicPheaEdCkLnXbJrmtTz_PwoBgDQaKTzKtC0PjTNdi-79v9oR3okK3T07jVZQLqX4o-QOrXkw_vRJ6XhLeT13hyphenhyphenjHjtw7LIlD0YnMQFhH93BEDZTeoisMINVlMA4gPR/s640/_MG_6346.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.joyceelainegrant.com/" target="_blank">Joyce Elaine Grant Exhibition</a>, 2016</td></tr>
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Interview conducted by: <a href="http://www.joyellis.com/" target="_blank">Joy Ellis </a><br />
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<b>Joy Ellis: As an undergraduate, how did you become interested in studying the history of photography? </b><br />
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<b>Dr. Rebecca Senf:</b> I was so fortunate to study at an institution that had a great connection to photography – the University of Arizona in Tucson. My art history classes were taught in the auditorium of the Center for Creative Photography, located within the University of Arizona’s arts campus. As part of the undergraduate art history degree I took a two-semester photo history survey, and just fell in love with the subject. It didn’t hurt that each time I came to class I walked past great photographs, had the opportunity to see amazing photography exhibitions, and studied in a stellar photographic library. Now, I’m back at the Center for Creative Photography as their Norton Family Curator, in a joint appointment with the Phoenix Art Museum. It’s an honor and a privilege to curate for the institution that inspired me as a student.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC_y2oc3uAP5VC7tmjT6hUVu4rvbDb7JT0RW-ES89nv_AZOOHK39gPit4evccqnCEbKybIpMutY3Hs_wrcie4CjNNvdcxLMVZH2e3XY-fRXptgSZPc5zKMr5z790sPTbw3cR3g706AIp9C/s1600/Bessmertnaya_Tatyana_Harvest.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC_y2oc3uAP5VC7tmjT6hUVu4rvbDb7JT0RW-ES89nv_AZOOHK39gPit4evccqnCEbKybIpMutY3Hs_wrcie4CjNNvdcxLMVZH2e3XY-fRXptgSZPc5zKMr5z790sPTbw3cR3g706AIp9C/s640/Bessmertnaya_Tatyana_Harvest.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.besstphoto.com/revived-memories.aspx" target="_blank">Tatyana Bessmertnaya</a>, Harvest </td></tr>
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<b>JE: What spurred your interest in platinum photography? Do you feel that process is relevant in today’s photographic practice? How do you think analog processes change the way photographs are made, seen, shown or discussed?</b><br />
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<b>DRS:</b> I think I’ve always been interested in, and attracted to, platinum photography for its unique physical characteristics and its sheer beauty. I began to consider an exhibition of platinum (and palladium) photography when I realized that the Center had nearly a thousand platinum or palladium photographs, including prints by many of the greats – Peter Henry Emerson, Paul Strand, Edward Weston, Irving Penn, George Tice, Kenro Izu, Lois Conner, Andrea Modica and Scott Davis. I am a curator who is intensely concerned with the physical object, and relished the opportunity to help our audience appreciate how the way in which a platinum photograph is made and its distinctive materials cause it to look different from a gelatin silver print (the typical type of black-and-white photograph). I do believe that platinum photography can be relevant today – if the platinum process is the right physical incarnation for the photographer’s idea. To me, all the alternative or historic processes are valid, but they shouldn’t be used unless the materials and process reinforce the artist’s message or intent. In this moment, where digital photographs are becoming the norm, the choice to use an analog process can carry significant meaning. There are audiences who still appreciate the sensual and physical qualities of photography and who are eager to see crafted objects. Of course, there are those people who see analog photography as “old fashioned” or “traditional” and associate it with a kind of conservative and uninspiring approach to the medium. I would argue, however, that each photograph needs to be assessed for its own merits, including its conceptual rigor and its physical qualities, and individually deemed a success or a failure – without sweeping generalizations about technique, materials or method.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuHk4FxhLp2XPK8A0MgfhloydsRlZPWXjhaHul6blNEOvO31tG31PKhWRwMJBo27LkANYVhflFgJMKsVWtcV67ZSioQllKr55lsPXDWHGGkLgwI9P43acNB3Va87C6vLzhrUOH11Ozb_wL/s1600/Kozerski_Julia_Breakfast_for_Two-1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuHk4FxhLp2XPK8A0MgfhloydsRlZPWXjhaHul6blNEOvO31tG31PKhWRwMJBo27LkANYVhflFgJMKsVWtcV67ZSioQllKr55lsPXDWHGGkLgwI9P43acNB3Va87C6vLzhrUOH11Ozb_wL/s640/Kozerski_Julia_Breakfast_for_Two-1.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://juliakozerski.com/home" target="_blank">Julia Kozerski</a>, <i>Breakfast for Two</i></td></tr>
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<b>JE: For the 15th Annual Joyce Elaine Grant Photography Exhibition, you set the theme: Nourish: Food as Sustenance and Pleasure. What influenced you to develop this specific theme? What was your thought process in selecting work to fit within this theme? </b><br />
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<b>DRS:</b> I chose the topic of food for this exhibition because I’m one of those people who is thinking about dinner... before I’m finished with lunch. All kidding aside, food is something that I find myself frequently reading about and discussing with others. I knew lots of great art projects that dealt with food in one incarnation or another and was eager to learn about more. We received a really wide range of entries and it was exciting to try to represent that diversity in the final exhibition selection. I chose strong examples that represented varied perspectives and approaches to the topic, as well as different photographic styles. The group includes documentary and staged works, pictures that are polished and those that adopt a “snapshot” aesthetic, pictures that are serious and those that are humorous, ones that are abstract and ones that are descriptive. In order to fit the limited space available, I had to leave out many great works but I think the final selection is engaging and dynamic and provides lots of food for thought. (Sorry, I couldn’t help myself with that last pun…)<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEsG1faJeHou0kXIPDAKjnC8e28UDa2Rq5eQTXxVeOrVL5Gp6wEnZsuQ_qg_CgvNsyIJ22ulggeHa8Bj7TFIoDukOPI7Q5nWUT0vzS77RmB-crwjqXTKOaDwuJmmNeyYuWrD3bec4JZ-43/s1600/_MG_6353.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEsG1faJeHou0kXIPDAKjnC8e28UDa2Rq5eQTXxVeOrVL5Gp6wEnZsuQ_qg_CgvNsyIJ22ulggeHa8Bj7TFIoDukOPI7Q5nWUT0vzS77RmB-crwjqXTKOaDwuJmmNeyYuWrD3bec4JZ-43/s640/_MG_6353.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Joyce Elaine Grant Exhibition, 2016</td></tr>
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<b>JE: In the publication of your 2012 book, Reconstructing the View: The Grand Canyon Photographs of Mark Klett and Byron Wolfe, what challenges did you face and how was this process different to curating a gallery exhibition? What were the similarities?</b><br />
<b><br /></b>
<b>DRS: </b>In creating the book with Mark and Byron there wasn’t really much in common with the process of curating an exhibition – at least, from a nuts and bolts perspective. It was my first time taking a book project from concept to completion, so I was in a steep learning curve all the way through, and I enjoyed seeing my essay go from a collection of words in a computer file to a book that elegantly conveyed Mark and Byron’s body of Grand Canyon work. From a conceptual standpoint there are similarities to curating, such as the fulfilling creative process of going from an idea to a product that can be shared with an audience or the way in which a team of varied experts all work together to create something distinctive. There were lots of great aspects to working on the book. During the research phase, I got to accompany Mark and Byron in the field during one of their trips to the Grand Canyon, which was a dream. Some of the photographs of them at work that illustrate the book are ones I took on that trip. I enjoyed getting to write something more developed and lengthier than my typical curatorial writing. (A typical brochure essay might be 2,000 to 3,000 words, whereas my essay for Reconstructing the View was something like 13,000 words.) Working with a designer, who gave the book a unique look and feel, was a particular pleasure. And I love the permanence of a book as compared to the ephemerality of a museum exhibition. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP6O7pxuVA7FzXdck7v3RTT33oMxWSSpnamA_IzV42jY6mBNTgpapgTMUhD7xoIC29IkplwrU3B5c52N_cytiJFiBWIFXe1lkrSncOTq0hLbSLEuZ6bcSRyaTOBbXb6GQ_hvqjNhM2roGP/s1600/_MG_6322.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP6O7pxuVA7FzXdck7v3RTT33oMxWSSpnamA_IzV42jY6mBNTgpapgTMUhD7xoIC29IkplwrU3B5c52N_cytiJFiBWIFXe1lkrSncOTq0hLbSLEuZ6bcSRyaTOBbXb6GQ_hvqjNhM2roGP/s640/_MG_6322.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Joyce Elaine Grant Exhibition, 2016</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZFl2TkVvVVKueFcXdFrm11LDOVOiTYIOw4ciOKlq9tkTBw3bEGSrXj8dCbzH5dZJGlzp__lZNFrCNl0KkNPBBcHQ4qXPBp7WnL0kU7UAijWheKs1Zo29cyyZCWD2QSQlQErAaPZOhVO1q/s1600/_MG_6341.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZFl2TkVvVVKueFcXdFrm11LDOVOiTYIOw4ciOKlq9tkTBw3bEGSrXj8dCbzH5dZJGlzp__lZNFrCNl0KkNPBBcHQ4qXPBp7WnL0kU7UAijWheKs1Zo29cyyZCWD2QSQlQErAaPZOhVO1q/s640/_MG_6341.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Joyce Elaine Grant Exhibition, 2016</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVhc2RNG_ikkngLy0mGt7qKFdQxzsgiKEb2590zZK7152Z5hauAWOeWk3cXAet6g4XV3K-GuK0ox-rC1jp2XasFDUGdUiUSY_ozmz3aqawJD6AdaGpUvO5Gf-1KeX44d-wIfrN-mBNi0ui/s1600/_MG_6348.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVhc2RNG_ikkngLy0mGt7qKFdQxzsgiKEb2590zZK7152Z5hauAWOeWk3cXAet6g4XV3K-GuK0ox-rC1jp2XasFDUGdUiUSY_ozmz3aqawJD6AdaGpUvO5Gf-1KeX44d-wIfrN-mBNi0ui/s640/_MG_6348.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Joyce Elaine Grant Exhibition, 2016</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjc_liHkdrQf2N2spCshV3mo4ZmSNjxhgnWa2VqvaqvqCTvUX5NKgXB2f9CAs2fnDTezNqdy7ZvRZRJCWqx-4dzEfTl4ss7Ex0CWR7Wq4yKbWkTT8NeoAsamFAIAjS05kq4YEsNotMf_s5/s1600/Chaus_JoAnn_Breakfast.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="414" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjc_liHkdrQf2N2spCshV3mo4ZmSNjxhgnWa2VqvaqvqCTvUX5NKgXB2f9CAs2fnDTezNqdy7ZvRZRJCWqx-4dzEfTl4ss7Ex0CWR7Wq4yKbWkTT8NeoAsamFAIAjS05kq4YEsNotMf_s5/s640/Chaus_JoAnn_Breakfast.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Joann Chaus, <i>Breakfast</i> </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUgtdYl_HUMeUMxi6pQS9FrJtmzkFW0JAmvqT8En5-cp-G3NceIUt_ppDqPope699JFE0X683cxxg-9NXnDlxU3bl89GJCEMcPRdKjJDFnwM2F9KcsZtRGVmIQKOLuupI3P1t34L9KUywA/s1600/Stephenson_Rob_HKRTF.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUgtdYl_HUMeUMxi6pQS9FrJtmzkFW0JAmvqT8En5-cp-G3NceIUt_ppDqPope699JFE0X683cxxg-9NXnDlxU3bl89GJCEMcPRdKjJDFnwM2F9KcsZtRGVmIQKOLuupI3P1t34L9KUywA/s640/Stephenson_Rob_HKRTF.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.robstephenson.com/myths-of-the-near-future/#1" target="_blank">Rob Stephenson </a></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijwi3Vz6bPSdttOk1O_JvwnFGdS7U5jKb9U0vFf1qEqbaNvTQp6pfR89zkz6hXW5lCMxI6mBaE3UBG_4OqdCUuiSP2TQjBqBBhoEaRv5FPvUtYUpIAw7IhUpiVU8_Hc_1wpebkIZz4auzG/s1600/Foley_Rebecca_Monsantophobia.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijwi3Vz6bPSdttOk1O_JvwnFGdS7U5jKb9U0vFf1qEqbaNvTQp6pfR89zkz6hXW5lCMxI6mBaE3UBG_4OqdCUuiSP2TQjBqBBhoEaRv5FPvUtYUpIAw7IhUpiVU8_Hc_1wpebkIZz4auzG/s640/Foley_Rebecca_Monsantophobia.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.rebecca-foley.com/?p=170" target="_blank">Rebecca Foley</a>, <i>Food Phobias </i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiogcEG7OsLjd7se-_cP7fnUNo5ZTfez2u-4dtC88gQs_EUwKpLyxilWkP4DT-rgVUGWq0iUugV_CGIc3VITgGCfmnN_1j1IFLivwX0X3Xe_R4nfnOg03dRQgX2mphLPuzHidyf3lkpzvN4/s1600/Pana_Lydia_Cornish+Game+Hen.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiogcEG7OsLjd7se-_cP7fnUNo5ZTfez2u-4dtC88gQs_EUwKpLyxilWkP4DT-rgVUGWq0iUugV_CGIc3VITgGCfmnN_1j1IFLivwX0X3Xe_R4nfnOg03dRQgX2mphLPuzHidyf3lkpzvN4/s640/Pana_Lydia_Cornish+Game+Hen.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.lydiapanas.com/" target="_blank">Lydia Panas,</a> <i>Cornish Game Hen<br /></i></td></tr>
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<br />Light Leakedhttp://www.blogger.com/profile/05934203791693496138noreply@blogger.com0tag:blogger.com,1999:blog-5907423265433563576.post-82823422371005977082016-02-08T10:23:00.000-05:002016-02-08T10:23:20.744-05:00Heather Wetzel<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIMGIIiA3GgNZjP-SJmnIY1q3IbsxOPWKahhilBAmlIwQ8QY1wzY2kskkY1aZDcd6dr4fADtIFCxf9OoIFXcYHGltzn9cjhvDD9ipo0knbVaec155rEeM3rkymxtLzcMzRsPbQW1mLMxZD/s1600/HFWetzel_018.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIMGIIiA3GgNZjP-SJmnIY1q3IbsxOPWKahhilBAmlIwQ8QY1wzY2kskkY1aZDcd6dr4fADtIFCxf9OoIFXcYHGltzn9cjhvDD9ipo0knbVaec155rEeM3rkymxtLzcMzRsPbQW1mLMxZD/s640/HFWetzel_018.jpg" width="600" /></a></div>
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<a href="http://www.heatherfwetzel.com/" target="_blank">Heather F. Wetzel </a>is an artist working in historic photographic processes, hand papermaking, and book arts. She is currently a Lecturer in the <a href="https://art.osu.edu/">Art Department</a> at The Ohio State University where she was the 2011-2012 <a href="http://art.osu.edu/news/john-fergus-family-post-mfa-fellowship-visual-arts-ohio-state-university">Post MFA Fergus Family Fellow in Photography</a>. She earned her Master of Arts & Humanities from <a href="http://www.arcadia.edu/">Arcadia University</a> in Glenside, Pennsylvania, and her Master of Fine Arts in Visual Studies from the <a href="http://www.vsw.org/">Visual Studies Workshop</a> in Rochester, New York. Prior to coming to The Ohio State University, she completed the <a href="http://book.grad.uiowa.edu/">University of Iowa Center for the Book</a> Graduate Certificate in Book Arts Technologies in 2011. She is a 2012 <a href="http://www.photolucida.org/critical-mass/">Photolucida Critical Mass</a> Finalist, as well as a semifinalist and The <a href="http://www.printcenter.org/">Print Center's </a>Honorary Council Award of Excellence winner in The Print Center's 87th International Competition. More recently, she was a Review Santa Fe participant. Her work has been widely exhibited, and can be found at the <a href="http://www.anzenbergergallery.com/">Anzenberger Gallery</a> in Vienna Austria, as well as in multiple collections.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Superstitions </i></td></tr>
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<b>Artist Statement </b><br />
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Time moves so fast. It seems there is less and less time for the slower things in life. Time to sit and reflect, time to remember, time to notice the little things. Analog ways are being replaced by faster technology. Photographic prints and books are being replaced by intangible, transient digital files made of zeros and ones - no texture, no smell, no weight. I prefer to work at a slower pace, with materials and process playing important roles in my making. My work is grounded in contemplation of life in the 21st Century, examining current social concerns, using a variety of materials and methods. <br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Squall</i></td></tr>
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The quest for the best form for my ideas to inhabit finds me working in a variety of media, such as historic photographic processes, book structure and content, print, hand paper making, metal, and wood. I am equally concerned with the object and alternative methods of display, and with how my chosen materials support concept and content. I work predominantly with analogue processes, but am also interested in how these methods complement digital technologies, and work to seamlessly integrate digital processes as concepts dictate. My interest in these processes and materials all contribute to my concern in multi-media constructions and art as object.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Impractical Library </i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i>Impractical Library </i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i>Impractical Library </i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i>Webster's New 20th Century </i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i>Webster's New 20th Century </i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i>Impractical Leisure </i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i>Impractical Leisure </i></td></tr>
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Light Leakedhttp://www.blogger.com/profile/05934203791693496138noreply@blogger.com4tag:blogger.com,1999:blog-5907423265433563576.post-15031247913075062432016-02-01T10:48:00.000-05:002016-02-01T10:48:28.628-05:00Erin Neve <div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.erinneve.com/" target="_blank">Erin Neve</a>, a native Texan, is a photographic artist currently working in San Antonio. Erin’s work centers on ideas of “the body” – the body as a built object in constant flux and mid-transformation, as a space of interior and exterior boundaries, as fragile, as sacred, as a source of abject experience, and as a site of the sublime. Her work has been exhibited nationally and internationally, most recently in Turku, Finland and Austin, TX. Erin received her MFA in photography from the University of Minnesota in 2012, and an MA in Philosophy in 2006 where she focused her research on aesthetics and photographic theory. <br />
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Artist Statement<br />
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The photos in these series explore themes of fragility, transformation, and bodily ritual in search of transcendence. This work began in 2012 when I accepted a job at a religious school, and I found myself observing others acting out sincere devotion grounded in specific bodily rituals. I watched as they bowed, chanted, sung, ate wafers, and prayed. They believed that bodies that ritually perform these sacred acts express the divine. Guided by a complex history of liturgical tradition, like a dance, I watched as these devout practitioners performed for God to make visible that which is invisible.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJtM64iip1qPhc8jvrK85_03CHgXd1d8egZGImTMFyuKY4GleNC4FC7wfVW2nwSMf8yy_sCVlqLBqnZJoSMUqI4oeJlnAGOk9VwW6zSN_zkFt0kWTopVaWjpBtadPXevtMD0UKIudiznF3/s1600/ErinNeve_AltarBreadTower.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJtM64iip1qPhc8jvrK85_03CHgXd1d8egZGImTMFyuKY4GleNC4FC7wfVW2nwSMf8yy_sCVlqLBqnZJoSMUqI4oeJlnAGOk9VwW6zSN_zkFt0kWTopVaWjpBtadPXevtMD0UKIudiznF3/s640/ErinNeve_AltarBreadTower.jpg" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From <i>Bread Towers</i></td></tr>
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In <i>Bread Towers</i>, I build towers of bread as stand-ins for the physical body. The structures are made of individual bread pieces balanced entirely on each other. In my studio, the act of balancing quickly became a meditative ritual that requires focus, patience, and a delicate hand. Most towers fall within seconds; some last minutes so that I am able to photograph the structure before it collapses. I learn each piece of bread, how it is shaped, how it shifts, moves, where the weight falls, its density, its limitations; each piece becomes a part of the whole bread-body. The resulting photographs are minimalist still lives of upward grounded fragile pillars of bodily material.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzb0MDeBXkeWhhRmgbYKn-yOeKwpo6HQM-2UYf2ZCv3dnHsEpQu3vVDv9_oklN2JXcZP5K_0Dm11Q5PYv_CpvoHnF1pD_FPDVPCsqrytRhOxWlBCTL9w9osZGe_48s0Hj2qP9NgeaMbE2z/s1600/ErinNeve_submerge4.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="482" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzb0MDeBXkeWhhRmgbYKn-yOeKwpo6HQM-2UYf2ZCv3dnHsEpQu3vVDv9_oklN2JXcZP5K_0Dm11Q5PYv_CpvoHnF1pD_FPDVPCsqrytRhOxWlBCTL9w9osZGe_48s0Hj2qP9NgeaMbE2z/s640/ErinNeve_submerge4.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From <i>Submerge</i></td></tr>
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In <i>Submerge</i>, I use water as transformative material by submerging prints into holy water to transform them into sacred and fragile photographic objects. The photos show scenes of clouded underwater landscapes, fogged and disorienting, with light beams and orbs and fragments of floating natural debris. The photos are transfer printed onto handmade kozo paper, and then submerged in holy water and dried. I must dip the prints slowly, carefully, or they will rip and disintegrate in the water. The results are delicately rippled, fragile, and translucent, giving physical form to their invisible transformation.<br />
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Light Leakedhttp://www.blogger.com/profile/05934203791693496138noreply@blogger.com0tag:blogger.com,1999:blog-5907423265433563576.post-9545480707766932472016-01-25T10:46:00.000-05:002016-01-25T10:46:46.865-05:00Ray Ewing<div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.rayewing.com/" target="_blank">Ray Ewing </a>is a photographer and artist from the island of Martha's Vineyard. Ray received a BFA in photography from Maine College of Art in Portland in 2012, he is currently completing an MFA in studio art at The University of New Mexico in Albuquerque. Ray has worked as a photojournalist, commercial photographer, educator and an exhibiting artist. As a photojournalist, Ray has received multiple awards for his work with the Martha's Vineyard Gazette. As an artist, Ray has been a part of multiple group exhibitions as well as a solo show entitled Visual Stimulus.<br />
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<b>Artist Statement: <i>Realistic Worlds</i></b><br />
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<i>Realistic Worlds</i> is an exploration of the human need to design our reality to satisfy our desires. I study this general human trait by describing spaces which adhere to a specifically American definition of fantasy as being guided by self-evident power and excess. The structures of the tourism and entertainment industries are houses of worship for the American religion of escapism. We use a thin, glossy veneer of designed reality to engage in obviously absurd, yet culturally accepted sanctuaries of make-believe.<br />
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<br />Light Leakedhttp://www.blogger.com/profile/05934203791693496138noreply@blogger.com2tag:blogger.com,1999:blog-5907423265433563576.post-44184108668746485082016-01-18T10:30:00.000-05:002016-01-18T10:30:22.639-05:00Millee Tibbs<div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.milleetibbs.com/" target="_blank">Millee Tibbs</a>’ work derives from her interest in photography’s ubiquity in contemporary culture and the tension between its truth-value and inherent manipulation of reality. Tibbs’ exhibition venues include the Blue Sky Gallery – Oregon Center for the Photographic Arts, Portland, OR; the Museum of Photographic Arts, San Diego, CA; Mary Ryan Gallery, NYC, NY; David Weinberg Photography, Chicago, IL; the DeCordova Sculpture Park and Museum, Licoln, MA; Brown University, Providence, RI; and Notre Dame University, IN. Her work has been published by the Humble Arts Foundation, Blue Sky Gallery, and Afterimage: The Journal of Media Arts and Cultural Criticism. Tibbs’ work is in the permanent collections of the RISD Museum, the Portland Art Museum, and Fidelity Investments, and is also held in the Midwestern Photography Project at the Museum of Contemporary Photography, Chicago, and in the Pierogi 2000, Brooklyn flat file. She has been awarded residencies at the MacDowell Colony, VCCA, the Wurlitzer Foundation, Jentel, the Santa Fe Art Institute, and LPEP, Buenos Aires, Argentina. Tibbs grew up in Alabama, completed an MFA at RISD in 2007, and is an assistant professor of photography at Wayne State University.<br />
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<b>Artist Statement: <i>Mountains + Valleys </i></b><br />
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I am interested in surfaces and their relationship to what lies beneath – the discrepancy between what we see and what we know. I am drawn to photography because of its ubiquitous presence in our culture and its duplicitous existence as both an indexical representation of reality and a subjective construction of it. It is a slippery medium that easily shifts from scientific documentation of a moment in time to a subjective construction of reality. I am interested in the space where these qualities contradict each other and coexist simultaneously. <br />
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My current work focuses on the dichotomy between “landscape” (an intangible vista) and “place” (a tactile, inhabitable space). I am interested in the aesthetic framing of the landscape of the American West that perpetuates expansionist ideologies through the representation of unoccupied, and seemingly unoccupiable spaces. By disrupting the photographic image through physical interventions (folding, cutting, and sewing), my work responds to the limitations of the photographic illusion. Each image holds the tension between the expansive, inaccessible vista and the intimate, tactile experience of the photo-object.<br />
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<br />Light Leakedhttp://www.blogger.com/profile/05934203791693496138noreply@blogger.com0tag:blogger.com,1999:blog-5907423265433563576.post-72706353559445284872016-01-11T10:36:00.000-05:002016-01-11T10:36:44.938-05:00Kris Sanford <div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.krissanford.com/">Kris Sanford </a>grew up in southeast Michigan and received a BFA in photography from the College for Creative Studies in Detroit. She received her MFA in photography from Arizona State University, where she served as art editor for Hayden's Ferry Review. Her art explores intimate relationships, specifically queer desire, through the use of appropriated images and text.<br />
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Kris has exhibited her work nationally, including group exhibitions in Boston, Chicago, Denver, Detroit, Houston, Miami, and New York. In 2010 she was awarded a Contemporary Forum Artist Grant from the Phoenix Art Museum and exhibited her work at the museum in May 2011. Between the Lines (no. 11) was selected by the Phoenix Public Art Program for the 2011 installment of the 7th Avenue Streetscape Panels. Her work is represented by Catherine Couturier Gallery in Houston, Texas and Tilt Gallery in Scottsdale, Arizona.<br />
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Kris has taught photography classes at several institutions, including Washtenaw Community College, Arizona State University, and Glendale Community College. She is currently an assistant professor at Central Michigan University. <br />
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<b>Artist Statement: <i>Between the Lines</i></b><br />
<br />
A 1954 diary that belonged to a grandfather I never met serves as the inspiration for and background in many of the photographs from <i>Between the Lines</i>. The figures that emerge from the pages, actual vintage photographs cut and photographed in camera, represent the memories contained in the text. Shallow focus reveals small details, while obscuring the larger story.<br />
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Relationships, real or imagined, are at the center of my work. I live vicariously through unknown strangers, creating stories from abandoned diaries, letters, and photographs. I use appropriated photographs for their seemingly innocent and unselfconscious nature, reinterpreting vintage snapshots to speak about the tension and complexity in my own relationships. My work raises questions about memory, truth, and representation in photography, often drawing attention to changing attitudes toward gay and lesbian relationships. My images are works of fiction, where I project my own dreams onto moments from the past.
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<br />Light Leakedhttp://www.blogger.com/profile/05934203791693496138noreply@blogger.com0tag:blogger.com,1999:blog-5907423265433563576.post-54971832857947574692016-01-04T11:32:00.000-05:002020-05-11T20:17:51.276-04:00Goodbye 2015: A Year in Review <div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
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I wanted to take a pause this New Year to think about 2015. It’s easy to let a year go by and not want to reflect on the goings on of that year—immediately putting resolutions on the wall and wishing for the next year to constantly be better that the previous. </div>
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Aline Smithson made a post on Lenscratch of her and her team’s <a href="http://lenscratch.com/2015/12/the-2015-lenscratch-staff-favorites/">Favorite Things of 2015</a>. So, I wanted to make a contribution to this by making my own list! See blow. <br />
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<b><br /></b><b>Favorite Light Leaked Post of 2015</b></h3>
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<a href="http://www.lightleaked.com/2015/12/tall-tales-investigative-look-into.html">Tall Tales: aninvestigative look into the surreal</a></div>
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Tall Tales was an online and physical exhibition on <i>Light Leaked</i> and at <i>Canopy Collective</i> in Cleveland, OH. It was an amazing experience to put together with Caitie Moore and Erika Dee. All the work! All the conversations over Skype! I loved that it involved creating a selection of images from the photography community and that it provided an opportunity to curate a focused selection of a lot of photographers at once. I was really proud of how the exhibition that came together.<br />
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<b>Honorable Mention:</b><br />
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<a href="http://www.lightleaked.com/2015/08/how-to-make-uv-exposure-unit-for.html">How to: Make a UV Exposure Unit for Alternative Process </a></div>
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This year <i>Light Leaked </i>started creating tutorial posts for processes that I felt this community would find valuable. For this post, the power couple, Ashley Whitt and Ross Faircloth, shared the process of how they created an inexpensive (and huge!) UV exposure unit for alternative processes in their at-home studio. And it was glorious. <br />
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<b>Favorite Featured Light Leaked Artist of 2015</b></h3>
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<a href="http://www.lightleaked.com/2015/11/abbey-hepner.html">Abbey Hepner </a></div>
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I met Abbey earlier this year and I immediately connected with her and her work on nuclear energy. Rooted in science, research, and inquiry, Abbey’s work brings the viewer into a world in which we assume a lot, but actually know very little. And we’re all better for it. In November the curator and independent writer, Laura Addison, conducted an insightful interview with Abbey about her work. If you missed it, make sure to check it out! <br />
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<h2>
<b>Favorite Photography Book of 2015</b></h2>
Many amazing photography books were published this year. Here’s a few I LOVED:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMfoX-SOsS4Wx8gWrNPUm7A6BgOJ7O623Z0MpHT-5MiIw4Cvbz3ppRiOlUi1S4W-W-UyzTpzPEIWakS_7ruCXBcb_Yx8LHrh4ZUef3r1vRFbuZeUj750bQYjRwmXu34gtCQW4cFXEsbuQV/s1600/12063307_10153671848428185_3503936848034035841_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMfoX-SOsS4Wx8gWrNPUm7A6BgOJ7O623Z0MpHT-5MiIw4Cvbz3ppRiOlUi1S4W-W-UyzTpzPEIWakS_7ruCXBcb_Yx8LHrh4ZUef3r1vRFbuZeUj750bQYjRwmXu34gtCQW4cFXEsbuQV/s640/12063307_10153671848428185_3503936848034035841_n.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf3NR-hN_YgWZeOPROzghyU1dg90qoiLjuNS6p7fqSnLhsred8D3iDDisVeFl_EbD8km58oZxyHcK18UD5gFNBwM2JAwouQMnSKXaK97A1X9yGSOcMmp5B9QkL5RIwaXSXMD6ZVO_yv_rz/s1600/12074831_10153671848443185_8593517729177462043_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf3NR-hN_YgWZeOPROzghyU1dg90qoiLjuNS6p7fqSnLhsred8D3iDDisVeFl_EbD8km58oZxyHcK18UD5gFNBwM2JAwouQMnSKXaK97A1X9yGSOcMmp5B9QkL5RIwaXSXMD6ZVO_yv_rz/s640/12074831_10153671848443185_8593517729177462043_n.jpg" width="640" /></a></div>
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<a href="http://www.magentafoundation.org/publications/self-and-others/" target="_blank">Aline Smithson, <i>Self & Others</i>, Magenta Foundation </a></div>
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You guys. This book. What words can I even use to describe the genius of Aline and the Magenta Foundation? First, let’s talk design. I got the special edition of this book and I think it is the way to go if you haven’t bought your copy yet. The print and color choices are so, Aline: off-beat, seductive, smart, fun. Something about it feels like an f-you to the simple traditional style of monographs, and I love it. The layout of the images and pages are playful and experimental—very in line with Aline’s work. This also creates a rhythmic flow through the pages, and before you know it, you’re at the end and need to start again. It also really tells the story of Aline’s growth as an artist over the years: her movement from one idea to the next and really, the playful nature that entails. It’s the journey of a powerful and intimate artist telling stories, and we are all lucky enough to have a front row seat. <br />
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<h3>
<b>Honorable Mention:</b></h3>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR5o9pnpZTq9pV6RluER_eUGmKMhFeOAgb4nMgDfvP2tR8QRoKVDgZSMuAuVWU1VlzSyXMq07s_nSemeyWn0NCJceA7gG3V4UWM75wx29r4z-i-DgLUw-tI2DYWJ2VVtkoV6nG7Qa0rYVe/s1600/Screen+Shot+2016-01-02+at+9.23.41+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR5o9pnpZTq9pV6RluER_eUGmKMhFeOAgb4nMgDfvP2tR8QRoKVDgZSMuAuVWU1VlzSyXMq07s_nSemeyWn0NCJceA7gG3V4UWM75wx29r4z-i-DgLUw-tI2DYWJ2VVtkoV6nG7Qa0rYVe/s640/Screen+Shot+2016-01-02+at+9.23.41+PM.png" width="592" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEsH4XcU1DxQiSekG76HnaR1eKiC2DyHOnxVq8LNBUA9dmcpG11RC1ljU2gq3_6WkyqwXwR3QYWYOtsCCEOADYPu_l2A_5Z8Xl5SnD3IERTGqH170s-9u-PUi4XhAmIgzNPY1EFb-PTwR8/s1600/Screen-Shot-2015-12-06-at-7.50.20-AM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEsH4XcU1DxQiSekG76HnaR1eKiC2DyHOnxVq8LNBUA9dmcpG11RC1ljU2gq3_6WkyqwXwR3QYWYOtsCCEOADYPu_l2A_5Z8Xl5SnD3IERTGqH170s-9u-PUi4XhAmIgzNPY1EFb-PTwR8/s640/Screen-Shot-2015-12-06-at-7.50.20-AM.png" width="640" /></a></div>
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<a href="https://steidl.de/Books/Mississippi-History-1727373857.html" target="_blank">Maude Schuyler Clay, <i>Mississippi History</i>, Steidl</a></div>
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Oh my goodness, Maude Schuyler Clay is a Southern goddess. <i>Mississippi History</i> is absolutely one of the most beautiful photography books I have seen in person. The printing is divine, the design, scale and sequencing is heaven. Every detail is so considered that it makes this lifetime of work sing out from the page, begging re-viewing. The content is expansive, spanning thirty years of color work that comes together to describe a personal, photographic, Mississippi history. <br />
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I can foresee <i>Mississippi History </i>being talked about with the likes of Stephen Shore and Robert Frank in the future. I am not even worrying about overselling it, because this is the truth.<br />
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<h3>
<b>Honorable Mention 2:</b></h3>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgel9MgMtr06BDEnNIHcpFhK07qc6XLv6EBhmRWPkOLYc1UDeD7RLgCU-x-TOYIkhdQUfEmYwF-S9EOoKP_N2RZMO4UTx1dxbm2hQCSmsZBX8CFnZeYmlMgjyiRrEklKEFu5lcCONv31uf2/s1600/Vrba_MothWing_001.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgel9MgMtr06BDEnNIHcpFhK07qc6XLv6EBhmRWPkOLYc1UDeD7RLgCU-x-TOYIkhdQUfEmYwF-S9EOoKP_N2RZMO4UTx1dxbm2hQCSmsZBX8CFnZeYmlMgjyiRrEklKEFu5lcCONv31uf2/s640/Vrba_MothWing_001.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNvFJTBaJtuh35C0APJhcWJIR_Drf005PGapRlcYt3IXmAeEP4mC6Vg4nrTzsBblZ3upLT_xUZJJBmqseKzH4c89fzDTcLZMVdVUKLQ_T8JJfUuHicdxQUcYMfEAPAhjQ6JHu8CyaEwJgU/s1600/Vrba_MothWing_004.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNvFJTBaJtuh35C0APJhcWJIR_Drf005PGapRlcYt3IXmAeEP4mC6Vg4nrTzsBblZ3upLT_xUZJJBmqseKzH4c89fzDTcLZMVdVUKLQ_T8JJfUuHicdxQUcYMfEAPAhjQ6JHu8CyaEwJgU/s640/Vrba_MothWing_004.jpg" width="640" /></a></div>
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<a href="http://www.lightleaked.com/2015/08/lori-vrba-interview-and-monograph.html" target="_blank">Lori Vrba, <i>The Moth Wing Diaries</i>, Daylight Books </a></div>
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To start, the cover is a smooth, velvety white hardcover with a tipped in photograph and letter pressed text. The images are expertly printed on thick weight paper and are amazing replications of the hand-toned photographs I’ve seen in person. Overall, the book is simple yet elegant. The work causes the viewer to reflect on family, love, relationships, memory, life… It’s a stunning visual poem. <br />
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Daylight published some beautiful books this year, and I am really looking forward to their future as a publishing house.<br />
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<h2>
<b>Favorite Non-Photographic Book of 2015</b></h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoO7tIKF8Xt0huzmLyfNB5NAI-l293taCs6uGtk-mP_1sgVR7n3NkasKGff01oopNU2g-qHMHeZ8AWjqmL-eSA4qM-uEKX2vwTq3fb8bKBaepYMrpjv6zJ_KVF2GaCEhsAB69fusXj4sn6/s1600/elizabethgilbert-bigmagic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoO7tIKF8Xt0huzmLyfNB5NAI-l293taCs6uGtk-mP_1sgVR7n3NkasKGff01oopNU2g-qHMHeZ8AWjqmL-eSA4qM-uEKX2vwTq3fb8bKBaepYMrpjv6zJ_KVF2GaCEhsAB69fusXj4sn6/s640/elizabethgilbert-bigmagic.jpg" width="419" /></a></div>
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<a href="http://www.amazon.com/dp/1594634718/?tag=googhydr-20&hvadid=86276772067&hvpos=1t1&hvexid=&hvnetw=g&hvrand=1489149302101717007&hvpone=&hvptwo=&hvqmt=b&hvdev=c&ref=pd_sl_6ws444ecdr_b" target="_blank"><i>Big Magic</i> by Elizabeth Gilbert </a></div>
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"You do not need anybody’s permission to live a creative life."<br />
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I know some people may be skeptical of a book written by Elizabeth Gilbert--if <i>Eat, Pray, Love </i>wasn't your thing. But any fan of <a href="http://www.amazon.com/Art-Fear-Observations-Rewards-Artmaking/dp/0961454733/ref=sr_1_1?s=books&ie=UTF8&qid=1451788736&sr=1-1&keywords=Art+and+Fear+by+David+Bayles+and+Ted+Orland" target="_blank"><i>Art and Fear</i> by David Bayles and Ted Orland </a>will love this book. It's a deep investigation into the mysteries of the creative process and living a creative life. <br />
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This book was like getting advice from a trusted friend, and caused me to reflect on my artist practice, expectations of myself, and how to manifest ideas into art. In short, it was the most inspirational book I read this year. <br />
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<h3>
<b>Honorable Mention:</b></h3>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-EK61ql0rhpjA0hksSl0xG5xl_fd68j3mANzDAHPAT8SRk7KYyo_3XHBuSsrdrr5DuG-EqMSMN-zc0n_TaOGZQax0k3X449WpLDQctFNiwWaUYeX-mcBmNE-GugS-E-WLtN-zhHFgY6dO/s1600/9780385538732+%25282%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-EK61ql0rhpjA0hksSl0xG5xl_fd68j3mANzDAHPAT8SRk7KYyo_3XHBuSsrdrr5DuG-EqMSMN-zc0n_TaOGZQax0k3X449WpLDQctFNiwWaUYeX-mcBmNE-GugS-E-WLtN-zhHFgY6dO/s640/9780385538732+%25282%2529.jpg" width="420" /></a></div>
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<a href="http://www.amazon.com/Missoula-Rape-Justice-System-College/dp/0804170568/ref=sr_1_1?s=books&ie=UTF8&qid=1451788769&sr=1-1&keywords=Missoula%3A+Rape+and+the+Justice+System+in+a+College+Town+by%3A+Jon+Krakauer" target="_blank"><i>Missoula: Rape and the Justice System in a College Town</i> by: Jon Krakauer </a></div>
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<b>Note: </b>there are graphic descriptions of rape in this book<br />
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<i>Missoula</i> chronicles the rape allegations from several college-aged women at the University of Missoula from 2008-2012, as well as the overall state of sexual assault in America. First, Krakauer is a nuanced nonfiction writer and investigative journalist. Second, this book raises powerful and essential questions surrounding how our society handles rape cases. I would describe this as the most insightful and heart-wrenching book I read this year.<br />
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<h3>
<b>Honorable Mention 2:</b></h3>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHRvIIuEifgoxZP_8maZCqc4pX1mS2ElfxHjNOq-7UPxaSMP8ee6tQd2XTQ5f75dyzZZ-OchYnx7OSyq54WF2Gh-PCJ2s_oMZGmmXP7oFn5p2IdsdvUlo3B8zsvcqpHQeOKcPRoo01NhgQ/s1600/night-circus.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHRvIIuEifgoxZP_8maZCqc4pX1mS2ElfxHjNOq-7UPxaSMP8ee6tQd2XTQ5f75dyzZZ-OchYnx7OSyq54WF2Gh-PCJ2s_oMZGmmXP7oFn5p2IdsdvUlo3B8zsvcqpHQeOKcPRoo01NhgQ/s640/night-circus.jpg" width="420" /></a></div>
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<a href="http://www.amazon.com/Night-Circus-Erin-Morgenstern/dp/0307744434/ref=sr_1_1?s=books&ie=UTF8&qid=1451788813&sr=1-1&keywords=The+Night+Circus+by%3A+Erin+Morgenstern" target="_blank"><i>The Night Circus</i> by: Erin Morgenstern </a></div>
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Okay. So this book came out in 2011. But I read it for the first time (and the 2nd time and the 3rd time) this year. <i>The Night Circus</i> is a finely drawn dark narrative that intertwines the lives of 3 protagonists as they navigate the creation and possible destruction of a traveling circus, Le Cirque des Rêves, that only opens at night. This was simply the most fun read/listen* of the year for me. <br />
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*A quick shout out to <a href="http://www.audible.com/" target="_blank">Audible </a>(not sponsored), which I got this year, and was definitely the BEST money I spent. I work a lot, and used to only read books before I went to bed. Now, I can listen to amazing productions of books on my phone when I'm working, driving, cleaning, and yes, about to go to bed. Because of this, I have read (listened?) to more books this year than the last several years combined. Check it out, especially if you are an auditory learner, like me. <br />
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<h2>
<b>Inspirational Photographer of 2015</b></h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_mPrX45bWg3EKiqHMtKg9kMyeMLxLc5IAP3rrKwqllmaOlbT_em2-U-hXQT4d26XAfgRFVaumQoj6bxALsls-okye52CFhi1CafgZp8Sgsh4pF5VId4guvu6M1X_YDH2EbfVQv4ENj2Nk/s1600/191.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_mPrX45bWg3EKiqHMtKg9kMyeMLxLc5IAP3rrKwqllmaOlbT_em2-U-hXQT4d26XAfgRFVaumQoj6bxALsls-okye52CFhi1CafgZp8Sgsh4pF5VId4guvu6M1X_YDH2EbfVQv4ENj2Nk/s640/191.jpg" width="640" /></a></div>
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<div style="text-align: center;">
<a href="http://micahcash.com/photography/dangerous-waters/191" target="_blank">Micah Cash </a></div>
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A source of inspiration for me this year came from the magic that is Micah Cash. He is an articulate, smart, well-rounded artist that works in photography and painting. Not to mention a caring and inspiring friend. His work, <i>Dangerous Waters</i>, takes any viewers understanding of the TVA to new levels. <br />
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Here’s a couple things Mr. Cash taught me this year:<br />
<ol>
<li>The power of the conceptual landscape </li>
<li>The power of intricately researched work </li>
<li>The power of confidence </li>
<li>The power of public speaking </li>
</ol>
<h2>
<b>Favorite Photography Event of 2015</b></h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7pqZdkOxnRKj-myCUwy-kHDTLaj4IXTGGZSxAYQcN4VOvJq-1tAqM-Qw_CBKCTJmwtDJXCi8J3wVH-3IDul9nas8MkM1dt6sUEeNA8D90u8wj3oCULWcBNI0RNRh9XrcgoUdBkbEWwjSo/s1600/11067907_977357518942054_6483901723672886450_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7pqZdkOxnRKj-myCUwy-kHDTLaj4IXTGGZSxAYQcN4VOvJq-1tAqM-Qw_CBKCTJmwtDJXCi8J3wVH-3IDul9nas8MkM1dt6sUEeNA8D90u8wj3oCULWcBNI0RNRh9XrcgoUdBkbEWwjSo/s640/11067907_977357518942054_6483901723672886450_n.jpg" width="640" /></a></div>
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<div style="text-align: center;">
Light Leaked Meet-up at SPE </div>
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This was definitely one of the most fun events of the year, for me. It was so great to see a lot of <i>Light Leaked </i>artists and readers come together in one place, interchange ideas, and meet one another. I wish we could have events like this more often because this was seriously inspiring. Look out for an invite to the next meet-up at SPE in Las Vegas! <br />
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<h2>
<b>Favorite Album of 2015</b></h2>
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/MLKkwQM7uEY" width="560"></iframe>
<a href="http://www.amazon.com/Blue-Neighbourhood-Deluxe-Troye-Sivan/dp/B016NGSGGY/ref=sr_1_1?s=books&ie=UTF8&qid=1451788886&sr=8-1&keywords=Blue+Neighborhood+by+Troye+Sivan" style="text-align: center;" target="_blank">Blue Neighborhood by Troye Sivan</a><br />
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Blue Neighborhood is a pop/synth affair that is the first studio album by this Australian singer/songwriter. I describe him as a male Lorde to anyone who asks. Although this album is not perfect, it is beautifully emotional. It’s sexy! It’s fun! It’s been on repeat. <br />
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Note: amazing noodle dancing in above video<br />
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First listen to: Youth <br />
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<h3>
<b>Honorable Mention:</b></h3>
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/rIn8xlqGwaQ?list=PL6V_CcopFa8zOvULkxw0cb9Iv-Ka6BYGH" width="560"></iframe>
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<div style="text-align: center;">
<a href="http://www.amazon.com/Cicada-Rhythm-download-card/dp/B0157THTT8/ref=sr_1_1?ie=UTF8&qid=1451788917&sr=8-1&keywords=Cicada+Rhythm+by+Cicada+Rhythm" target="_blank">Cicada Rhythm by Cicada Rhythm </a><br />
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Cicada Rhythm is an Athens, GA based folk duo that are as haunting as they are beautiful. The album is very Townes van Zandt meets Regina Spektor. Drive with the windows down to “Dirty Hound.”<br />
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First listen to: Do Not Destroy <br />
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<h2>
<b>Favorite Professional Moment of 2015</b></h2>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmTmhUR8Lm5E6HJ0gAnQuDRGaKwgA6JW_5txUnn0TzWC9LEzDR9L3w6wsF5BI92b64iAvEVfQYAr2OqNUqAYsLTekiFuvKOBYU5ZCtBH4ibCzfHj-oI6qQMOF3a79SaGYXzIWnFx_WJbqc/s1600/12087982_10153678712818185_7952369381715557729_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmTmhUR8Lm5E6HJ0gAnQuDRGaKwgA6JW_5txUnn0TzWC9LEzDR9L3w6wsF5BI92b64iAvEVfQYAr2OqNUqAYsLTekiFuvKOBYU5ZCtBH4ibCzfHj-oI6qQMOF3a79SaGYXzIWnFx_WJbqc/s640/12087982_10153678712818185_7952369381715557729_n.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by: <a href="http://tamarareynoldsphotography.com/portfolios/series/southern-route/" target="_blank">Tamara Reynolds </a></td></tr>
</tbody></table>
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<div style="text-align: center;">
<i><a href="http://www.slowexposures.org/questions-of-origin/" target="_blank"><i>Questions of Origin</i> Solo Exhibition and Panel at Slow Exposures</a></i></div>
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<a href="http://www.slowexposures.org/" target="_blank">Slow Exposures</a> is a rising star in the world of photography festivals. Based in rural Georgia, and organized by Chris Curry. These “Four Slow Days” are full of photography exhibitions, pop up shows, artist/juror talks, and drinking wine on porches. Last year also marked the beginning of an artist in residency program, which is currently open for submissions. <br />
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<i>Questions of Origin</i> was selected by Aline Smithson and Alexa Dilworth as the solo show award winning at the juried exhibition the previous year. It was a great solo exhibition and panel discussion with Karen Lacey and Celeste Headlee that was broadcast on GPB Radio at Slow Exposures.<br />
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Seeing the work together and talking about it detail with a panel and an audience, brought a sense of perspective and resolution to that work that I didn’t have before. <br />
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<h2>
<b>Favorite Personal Moment of 2015</b></h2>
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This year I got engaged! My now fiancé, Ethan Fogus, brought me on a kayaking trip in the Tennessee mountains and proposed with his grandmother’s ring from the 1920s. It was beautiful, sweet, and fun. For those who don’t know Ethan, he is a Bruce-Springsteen-loving-hilarious-songwriter-musician-poet-educator-allaroundgreatperson. I’m really looking forward to our life together! <br />
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<h3>
<b>All that being said, here’s some resolutions I have for 2016:</b></h3>
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<ol>
<li>Create more artist run contributions (articles, tutorials, exhibitions, interviews) on Light Leaked. Have one in mind? Email to: <a href="mailto:lightleaked@gmail.com"><u>lightleaked@gmail.com</u></a></li>
<li>Have more conversations in person (I will accept Skype in this resolution) </li>
<li>Take time to sit quietly </li>
<li>Spend more time outside, away from my computer </li>
<li>Don’t check my email first thing in the morning </li>
<li>Always have a running 6 month plan</li>
<li>Make more work</li>
<li>Share my work with others </li>
<li>Practice generosity, kindness, and empowerment with everyone </li>
<li>Practice confidence and empowerment with myself </li>
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Thank you to the community of <i>Light Leaked </i>and the photo community at large for making this a great 2015! Your passion, inspiration and encouragement are everything. </div>
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Light Leakedhttp://www.blogger.com/profile/05934203791693496138noreply@blogger.com0tag:blogger.com,1999:blog-5907423265433563576.post-57935931056590671232015-12-21T11:18:00.001-05:002015-12-21T11:18:40.128-05:00Happy Holidays<div class="separator" style="clear: both; text-align: center;">
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Happy Holidays! I hope that everyone has an inspiring holiday season. <i>Light Leaked</i> will return with new content on Monday January 4, 2016! Please send along your work and/or contribution ideas to light leaked@gmail.com in the meantime. I look forward to a new year of collaboration!<br />
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Warmly,<br />
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AshleyLight Leakedhttp://www.blogger.com/profile/05934203791693496138noreply@blogger.com1tag:blogger.com,1999:blog-5907423265433563576.post-36479653456174855772015-12-14T09:27:00.000-05:002015-12-14T09:27:35.890-05:00Rachel Jump <div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.racheljump.net/" target="_blank">Rachel Jump</a>'s black and white work explores themes addressing ideas of home, belonging, memory, and absence, and have been exhibited throughout the United States. Rachel is represented by Alibi Fine Art in Chicago, IL, and had her first major solo exhibition in November of 2015. She graduated from the Rhode Island School of Design (BFA PH’14), where she received the Harry Koorejian Memorial Scholarship in 2013 and the Haining Family Scholarship in 2012. Her photographs are a part of the RISD Museum Special Collections, where she was also a visiting artist in conjunction with the exhibition, America in View: Landscape Photography 1865 to Now, in 2012. Rachel has taught at the Nantucket Island School of Design and the Arts and Maine Media Workshops + College and spent the last year working as a studio assistant for the photographer, Arno Rafael Minkkinen. Rachel lives and works in the Chicago area.<br />
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Rachel's solo exhibition, Origins, is currently open until December 24, 2015 at Alibi Fine Art in Chicago, IL. <b>She will be giving an artist talk in conjunction with the exhibition on December 19, 2015 from 4:00-5:00pm.</b> Check it out if you are in the area!<br />
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<b>Artist Statement: <i>Origins </i></b><br />
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The core of my photographic practice stems from a place of pure empathy- a desire to share my story within the collective human experience. My visual trajectory has always centered on the disparate nature of my own family, and my desire to reconnect us. <br />
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For most of my childhood our lives were scattered over countless households. My disparate memories of these places merely composed a fragmented idea of home. Later in life I began to question how my identity was shaped without a point of origin. Photography provided a way in which I could eternalize these fleeting moments, a fiction entangled by my truth. As a way to cope with these feelings of isolation, I created a narrative hoping to connect these places and reunite my family. Through this shared experience, my family and I appear to search for one another within the various environments that divided us. As a result of our efforts to find solace and intimacy, I conjured a myth of a home; a sanctuary where my loved ones and I could finally belong. <br />
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My photographs are relics of loss; traces of a family that I tried to piece back together.<br />
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Light Leakedhttp://www.blogger.com/profile/05934203791693496138noreply@blogger.com0tag:blogger.com,1999:blog-5907423265433563576.post-31742948656683553012015-12-04T18:55:00.000-05:002015-12-09T21:05:29.690-05:00Tall Tales: an investigative look into the surreal <div class="separator" style="clear: both; text-align: center;">
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<i>Light Leaked</i> and <a href="http://canopy-collective.com/" target="_blank">Canopy Collective</a> are proud to present <i>Tall Tales: an investigative look into the surreal</i>. This juried group exhibition features photographs and video that depict altered and deceptive reality. From optical illusions to visual surprises, these artists demonstrate their mastery over light and perspective to alter the minds eye.<br />
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Enjoy this selection of images, videos, installation shots, and extended juror selects below! If you are interested in purchasing any of the images below, please contact Canopy Collective.<br />
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Physical Opening Reception: Friday, December 4th, 6:00 - 10:00p<br />
Canopy Collective, 3910 Lorain Avenue, Cleveland, OH<br />
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Exhibition juried and organized by: <a href="http://caitiemoore.com/" target="_blank">Caitie Moore</a>, <a href="http://www.ashleykauschinger.com/" target="_blank">Ashley Kauschinger</a>, and <a href="http://canopy-collective.com/" target="_blank">Erika Durham</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0mylDUn1z5JinpWr9HBAWXA6-uo_4hJnzg6m3CrCIyiRWYwfnDKw9tRaz3RqhwwLL57LwQha10jAtaE4JUSsRo1ePxbBXC2dJzbV2vF1eq5-NYw0GNyUhlz02r3UiuuTS0KyiAAqun8V_/s1600/Tall+Tales+Installation+Shots+%252811+of+1%2529.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0mylDUn1z5JinpWr9HBAWXA6-uo_4hJnzg6m3CrCIyiRWYwfnDKw9tRaz3RqhwwLL57LwQha10jAtaE4JUSsRo1ePxbBXC2dJzbV2vF1eq5-NYw0GNyUhlz02r3UiuuTS0KyiAAqun8V_/s640/Tall+Tales+Installation+Shots+%252811+of+1%2529.jpg" width="640" /></a></div>
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Installation shot at Canopy Collective (more below), Image by: Caitie Moore </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT301oLP8KGu_Lr7VLZp-MMPZLbeiNQ_RLitonhj54z7hvhxPE1Cr72DchJdt0SieQJTXA5bLe2iZjuJQ0AaEFWkd1sFsBoS4UsMgJHNWhnG4v4Ki66jGvlnMUf4RkW0ZXPnlJXZ4jwbHW/s1600/Jarek_Allison_TallTales_002.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="502" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT301oLP8KGu_Lr7VLZp-MMPZLbeiNQ_RLitonhj54z7hvhxPE1Cr72DchJdt0SieQJTXA5bLe2iZjuJQ0AaEFWkd1sFsBoS4UsMgJHNWhnG4v4Ki66jGvlnMUf4RkW0ZXPnlJXZ4jwbHW/s640/Jarek_Allison_TallTales_002.jpg" width="640" /></a></div>
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<a href="http://www.allisonjarek.com/" target="_blank">Allison Jarek</a>, The Trailhead, Archival Pigment Print, 20x25" </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ-jNJkbpDDnttrK01n1edAhkd_3uJUH6lVFmCMndkI1eRNDmOPkXPcfg_A63XBAg7BC_aYJ6wMVkQ94RYlkpaVi9a6KnqAyWoIz64oTBbjmAKS31kqUj1ttjo2tjqC-fAdpRYjrXEzC92/s1600/Whitt_Ashley_TallTales003.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="464" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ-jNJkbpDDnttrK01n1edAhkd_3uJUH6lVFmCMndkI1eRNDmOPkXPcfg_A63XBAg7BC_aYJ6wMVkQ94RYlkpaVi9a6KnqAyWoIz64oTBbjmAKS31kqUj1ttjo2tjqC-fAdpRYjrXEzC92/s640/Whitt_Ashley_TallTales003.jpg" width="640" /></a></div>
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<a href="http://www.ashleywhitt.com/">Ashley Whitt, </a> Shrouded in Lace, Dass transfer and thread on paper, 20x26"<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1H9jmY4vBGw6m0tIdbGiNtd9TQQH_vxyQWzWpw2GcV1qa4S_F87y80G5cTKbMP-ay0rWgGWEjBxgxD1tnpctDEOpE5j4MPiK4bmDtqpebh5VyKbIdeQION7SpXw3iDhSsV1p7qH2-8zvL/s1600/Tyler_Laura_TallTales001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1H9jmY4vBGw6m0tIdbGiNtd9TQQH_vxyQWzWpw2GcV1qa4S_F87y80G5cTKbMP-ay0rWgGWEjBxgxD1tnpctDEOpE5j4MPiK4bmDtqpebh5VyKbIdeQION7SpXw3iDhSsV1p7qH2-8zvL/s640/Tyler_Laura_TallTales001.jpg" width="494" /></a></div>
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<a href="http://www.lauraltyler.net/" target="_blank">Laura Tyler</a>, Ha Ha Tonka, Archival Inkjet Print, 16x20"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT16BfmAIIdHFkGmrcNrhYO7oFym3dgVu8_Ny7ZP8cL2AkbFnvUfSWHMpFqShS6cqyuRphNr5VnXrYmS2Yx-UlIzMdKHh0ti75cUFDbQUzKaq9Hzs2yNzB7M1QMYP14U_c8rJvGpe2Hh1B/s1600/Jump_Rachel_TallTales005.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="508" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT16BfmAIIdHFkGmrcNrhYO7oFym3dgVu8_Ny7ZP8cL2AkbFnvUfSWHMpFqShS6cqyuRphNr5VnXrYmS2Yx-UlIzMdKHh0ti75cUFDbQUzKaq9Hzs2yNzB7M1QMYP14U_c8rJvGpe2Hh1B/s640/Jump_Rachel_TallTales005.JPG" width="640" /></a></div>
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<a href="http://www.racheljump.net/">Rachel Jump</a>, Daniel, Archival Pigment Print, 16x20"<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3gWjrJnr7SmdduXKT_5HNUAiMA2qkYKZq83c5zObqYiyFb-5wZyt42nJbqaXUQl5aGsf6h6xFF7To9PL1K7ax4aQK62Zygvd51OcRdW2KFGi58qg4bL73j5vRL1v1XzPDvJ434iEhvIlH/s1600/Mansolino_Ann_Talltales_001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3gWjrJnr7SmdduXKT_5HNUAiMA2qkYKZq83c5zObqYiyFb-5wZyt42nJbqaXUQl5aGsf6h6xFF7To9PL1K7ax4aQK62Zygvd51OcRdW2KFGi58qg4bL73j5vRL1v1XzPDvJ434iEhvIlH/s640/Mansolino_Ann_Talltales_001.jpg" width="494" /></a></div>
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<a href="http://www.annmansolino.com/" target="_blank">Ann Mansolino</a>, Untitled, Silver Gelatin Print, 11x14"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9MjDzskPB8a64OdTWg4EQEsOADPNfXoaxQoN4UG4DCq_eGPVi3n0sz_6eoHU2ROiZ1y2k3ahARUa9ez7PRANDWJRBw3WjNQTI7ZUUnqmAvWtRAp-RRAwT-xv-qs_oGhZUCihASZFS_XPi/s1600/Major_Megan_TallTales005.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9MjDzskPB8a64OdTWg4EQEsOADPNfXoaxQoN4UG4DCq_eGPVi3n0sz_6eoHU2ROiZ1y2k3ahARUa9ez7PRANDWJRBw3WjNQTI7ZUUnqmAvWtRAp-RRAwT-xv-qs_oGhZUCihASZFS_XPi/s640/Major_Megan_TallTales005.jpg" width="640" /></a></div>
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<a href="http://meganmajor.com/" target="_blank">Megan Major</a>, Dirty Snow #2590, </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibraRBKD24AtyoJrRtCDAINHJkczb5NFx8krkXn1dPEvJQYRmnQj0Ojpol59Lsb4N53TXbemQBkKFK4uQLo3d9K_eYXe5Qs5PBKXSqvcGAmSlxosxWmWkD7fIp9pZHgqPh2HkGD-4nQGyl/s1600/Whitt_Ashley_TallTales001.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="510" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibraRBKD24AtyoJrRtCDAINHJkczb5NFx8krkXn1dPEvJQYRmnQj0Ojpol59Lsb4N53TXbemQBkKFK4uQLo3d9K_eYXe5Qs5PBKXSqvcGAmSlxosxWmWkD7fIp9pZHgqPh2HkGD-4nQGyl/s640/Whitt_Ashley_TallTales001.jpg" width="640" /></a></div>
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<a href="http://www.ashleywhitt.com/">Ashley Whitt</a>, Suspended, Dass transfer and thread on paper, 20x26"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq_fzWA71Y0BPvz2O4VXUj-exbBGFxZGHt-reVda7ZXfdNex29IKNS-_zXZCOJMROQzlpOfv8QesPMUZbnXDKbzODMZ813oNv3CBD3CriAjcnDpRsHOPa2t08FIeeLnto4itLB1hhHd9b8/s1600/Mansolino_Ann_Talltales_004.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq_fzWA71Y0BPvz2O4VXUj-exbBGFxZGHt-reVda7ZXfdNex29IKNS-_zXZCOJMROQzlpOfv8QesPMUZbnXDKbzODMZ813oNv3CBD3CriAjcnDpRsHOPa2t08FIeeLnto4itLB1hhHd9b8/s640/Mansolino_Ann_Talltales_004.jpg" width="488" /></a></div>
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<a href="http://www.annmansolino.com/" style="text-align: left;" target="_blank">Ann Mansolino</a><span style="text-align: left;">, Untitled, Silver Gelatin Print, 11x14"</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2qHVrQQ38s32ITD86oUpg1MANuwOqCObO-Zx0UMlSZou46hL2T_gE8yy11CRiyW09u6mAF_H20bb_RnCyleSIn10uT7KwXow5ufwteVgeRgfjoq1xNpRlwLrhNnPXBSXw_EW80hYjCX8k/s1600/Koechling_Jesse_TallTales005.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2qHVrQQ38s32ITD86oUpg1MANuwOqCObO-Zx0UMlSZou46hL2T_gE8yy11CRiyW09u6mAF_H20bb_RnCyleSIn10uT7KwXow5ufwteVgeRgfjoq1xNpRlwLrhNnPXBSXw_EW80hYjCX8k/s640/Koechling_Jesse_TallTales005.jpg" width="432" /></a></div>
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<a href="http://jessetaylorkoechling.com/" target="_blank">Jeese Koechling</a>, Noncorpum, Gelatin Silver Print, 8x10"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz1IeZhBSczwRWXRRxH13Cccn0RABiv7fhRz0Xy8gnre9Xb-KbnA7eEosztCIrUYw2rr7zXhx7JANe30mRP0da7KlWem8FVvDFDm_zgKnaUZGSkFmyn28qyd-YkqzP9z1owRDACVVbzCdH/s1600/Ross_Heather_TallTales001.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz1IeZhBSczwRWXRRxH13Cccn0RABiv7fhRz0Xy8gnre9Xb-KbnA7eEosztCIrUYw2rr7zXhx7JANe30mRP0da7KlWem8FVvDFDm_zgKnaUZGSkFmyn28qyd-YkqzP9z1owRDACVVbzCdH/s640/Ross_Heather_TallTales001.jpg" width="640" /></a></div>
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<a href="http://www.hrossphotography.com/" target="_blank">Heather Ross</a>, Detour Through Time, Archival Pigment Print, 8x8"</div>
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<a href="http://www.anniedonovan.com/" target="_blank">Annie Donovan</a>, Failed Attempt to Fly, 20x14"</div>
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<a href="http://www.johnsteckjr.com/" target="_blank">John Steck Jr.</a>, Sepia Flora Monolith, Disappearing Photograph on Silver Gelatin Paper, 8x10"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY5uxJW4746oU2IlMOEI1kMQkWNGH2752ApBtCN1fsniu3u8MHTS7WOM4vLMnfmsCA4r01FVqnvCUJPvQDKfbYyiy2jdgusUftM28wxofxzzykbOiiic6rsBvRxbP9zwzuq741L8kAUi0X/s1600/Maslen_Amelia_TallTales002.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY5uxJW4746oU2IlMOEI1kMQkWNGH2752ApBtCN1fsniu3u8MHTS7WOM4vLMnfmsCA4r01FVqnvCUJPvQDKfbYyiy2jdgusUftM28wxofxzzykbOiiic6rsBvRxbP9zwzuq741L8kAUi0X/s640/Maslen_Amelia_TallTales002.png" width="510" /></a></div>
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<a href="http://cargocollective.com/ameliamaslen" target="_blank">Amelia Maslen</a>, RBG, Digital C-Print, 24x30" </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpmNBvKPSKA6lG6ThAwuTRPu6nTEDiG0V-Lt0EeuefQl44fVXzkxBc6sA6rzsjzWJ66xR8MpilXkfSydoKijTD2go7_q_kF8jC6WJBacmrrP0JWaBSDlXTZGuBx6rISI4C3xnFVK6FG_7v/s1600/ClappTemple_Heidi_TallTales004.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpmNBvKPSKA6lG6ThAwuTRPu6nTEDiG0V-Lt0EeuefQl44fVXzkxBc6sA6rzsjzWJ66xR8MpilXkfSydoKijTD2go7_q_kF8jC6WJBacmrrP0JWaBSDlXTZGuBx6rISI4C3xnFVK6FG_7v/s640/ClappTemple_Heidi_TallTales004.jpg" width="426" /></a></div>
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<a href="http://www.heidiclapptemple.com/" target="_blank">Heidi Clapp-Temple</a>, Archival Pigment Print, 18x24"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ6Od_z3pVTG3RMHXng4dE-E9Zu30zAKTNvdOowog3uFzZBp9ps5g8hQn5hbD1XCBmY4VklscAXSKzw4bgH8hoC-l-AoJ7lGq5HrWCMrIuOzoRy-Y79E4dmTN5zb28Ay229nnrJ4zaYIEP/s1600/ClappTemple_Heidi_TallTales001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ6Od_z3pVTG3RMHXng4dE-E9Zu30zAKTNvdOowog3uFzZBp9ps5g8hQn5hbD1XCBmY4VklscAXSKzw4bgH8hoC-l-AoJ7lGq5HrWCMrIuOzoRy-Y79E4dmTN5zb28Ay229nnrJ4zaYIEP/s640/ClappTemple_Heidi_TallTales001.jpg" width="436" /></a></div>
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<a href="http://www.heidiclapptemple.com/" target="_blank">Heidi Clapp-Temple</a>, Archival Pigment Print, 18x24"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVboJiPM1-LMGCMY_fNmhqoa7JVljKlhhHPuvvNJwrnI81g22_KLkr5EZ4mndR3iGZgFs3CMpFr43J7WXizI47XYKGglAHJcarKQfwuE_fBBsg5z19aFucuaPYo1_Qp0T9aPoIWT5N6Tuh/s1600/Koestler_Jacob_TallTales_03.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="496" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVboJiPM1-LMGCMY_fNmhqoa7JVljKlhhHPuvvNJwrnI81g22_KLkr5EZ4mndR3iGZgFs3CMpFr43J7WXizI47XYKGglAHJcarKQfwuE_fBBsg5z19aFucuaPYo1_Qp0T9aPoIWT5N6Tuh/s640/Koestler_Jacob_TallTales_03.jpg" width="640" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVboJiPM1-LMGCMY_fNmhqoa7JVljKlhhHPuvvNJwrnI81g22_KLkr5EZ4mndR3iGZgFs3CMpFr43J7WXizI47XYKGglAHJcarKQfwuE_fBBsg5z19aFucuaPYo1_Qp0T9aPoIWT5N6Tuh/s1600/Koestler_Jacob_TallTales_03.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a></div>
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<a href="http://www.jacobkoestler.com/" target="_blank">Jacob Koestler</a>, Broken Landscape 2, Arizona, Archival Pigment Print, 20x24" </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9VGNx86K-921nHa0P6kcFnSXRtw08agQ5vnj3Wmtdst4c10WjDk1tjzlHx5kSjALDQexTC6GORiTQS6b4BrkhSdF1f8ZpSiAU0e0WOo_aje636fVDm6q5GJr77yWkaCFhhqK0pFmC32dp/s1600/Brandt_Aaron_TallTales004.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9VGNx86K-921nHa0P6kcFnSXRtw08agQ5vnj3Wmtdst4c10WjDk1tjzlHx5kSjALDQexTC6GORiTQS6b4BrkhSdF1f8ZpSiAU0e0WOo_aje636fVDm6q5GJr77yWkaCFhhqK0pFmC32dp/s640/Brandt_Aaron_TallTales004.jpg" width="640" /></a></div>
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<a href="http://homepages.utoledo.edu/abrandt3/" target="_blank">Aaron Brandt</a>, Finger Drawing on her Back, 15x22" </div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9VGNx86K-921nHa0P6kcFnSXRtw08agQ5vnj3Wmtdst4c10WjDk1tjzlHx5kSjALDQexTC6GORiTQS6b4BrkhSdF1f8ZpSiAU0e0WOo_aje636fVDm6q5GJr77yWkaCFhhqK0pFmC32dp/s1600/Brandt_Aaron_TallTales004.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC3PpKDz76wmZW12XJ1uCTcFixQxsXml9vNgHJozucn7e9jt5om7o50cMn74hQiScpOqoz6jAjMzoh7Ydf1qtniAkdIm7PssuwVACbYwhK5NFC7BN4MipALtoLABdtl9N0KNnDkdRLaLrN/s1600/Tararova_Anna_TallTales001.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC3PpKDz76wmZW12XJ1uCTcFixQxsXml9vNgHJozucn7e9jt5om7o50cMn74hQiScpOqoz6jAjMzoh7Ydf1qtniAkdIm7PssuwVACbYwhK5NFC7BN4MipALtoLABdtl9N0KNnDkdRLaLrN/s640/Tararova_Anna_TallTales001.jpg" width="640" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC3PpKDz76wmZW12XJ1uCTcFixQxsXml9vNgHJozucn7e9jt5om7o50cMn74hQiScpOqoz6jAjMzoh7Ydf1qtniAkdIm7PssuwVACbYwhK5NFC7BN4MipALtoLABdtl9N0KNnDkdRLaLrN/s1600/Tararova_Anna_TallTales001.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a></div>
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<a href="http://annatararova.com/" target="_blank">Anna Tararova</a>, Bannerman Castle, Pulp Painting and Silkscreen, 19x23"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKuz51m5N4nfyPkSsnOn5lI_3pNE6k0kIYhdT1JFzClXzys96RX2HUEVN_EySi220qEUnSzhy5-uYMf3ewKNwTkjEPxOJIvIVVfhgv5u0q4Z8wvA80ht5kNSyojAjIg_xxFU973pRku7Ga/s1600/Lamb_Molly_TallTales002.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="510" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKuz51m5N4nfyPkSsnOn5lI_3pNE6k0kIYhdT1JFzClXzys96RX2HUEVN_EySi220qEUnSzhy5-uYMf3ewKNwTkjEPxOJIvIVVfhgv5u0q4Z8wvA80ht5kNSyojAjIg_xxFU973pRku7Ga/s640/Lamb_Molly_TallTales002.jpg" width="640" /></a></div>
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<a href="http://www.mollylamb.com/" target="_blank">Molly Lamb</a>, Untitled 9, Archival Pigment Print, 11x14" </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiliYeGXQCMQAtewvKc36XtHb9UeuQOSiEUK_slbERFvUxtRAExOOR5H680-y2BWp_pABbzqhUyoAHJHPNldikVQFG9YnlZEjqoqM-9XH_1Le7QSAxSJSjdcW8ao_NhGubOgbEEvnpBvgd4/s1600/Lamb_Molly_TallTales004.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="510" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiliYeGXQCMQAtewvKc36XtHb9UeuQOSiEUK_slbERFvUxtRAExOOR5H680-y2BWp_pABbzqhUyoAHJHPNldikVQFG9YnlZEjqoqM-9XH_1Le7QSAxSJSjdcW8ao_NhGubOgbEEvnpBvgd4/s640/Lamb_Molly_TallTales004.jpg" width="640" /></a></div>
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<a href="http://www.mollylamb.com/">Molly Lamb</a>, The Mountains, They Call Me, Archival Pigment Print, 11x14"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMfim7DBHR9E1jRrC2sIX9Z32bzAlI6YtWbEO_ByivO3zeGd_rXK7fnEX7RJqqHWMVXJtWfREVKLrFtT-lVTCPhE697FcWtckN-ILrlnryIHogic79OtzeejvekCVtvC4WKl8wEFn6lNnV/s1600/Palmer_Marcy_TallTales05.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="484" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMfim7DBHR9E1jRrC2sIX9Z32bzAlI6YtWbEO_ByivO3zeGd_rXK7fnEX7RJqqHWMVXJtWfREVKLrFtT-lVTCPhE697FcWtckN-ILrlnryIHogic79OtzeejvekCVtvC4WKl8wEFn6lNnV/s640/Palmer_Marcy_TallTales05.jpg" width="640" /></a></div>
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<a href="http://www.marcypalmer.com/" target="_blank">Marcy Palmer</a>, Your Sweet Magic, Archival Inkjet Print, 37x28" </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbvM8EhVi1TyKLWM8hmFaQTla0h1ZY3fQjwsyRz7Bxmnr9tvFTCcwbn-ixfjUJLO0JBuquOa6CmNlVR1abDRMgQKUugFgUGB06UvaD1xxjRCSvsBb40EwtuJORXxKiG9Xv8HNvKNqjsyz2/s1600/Arcelloni_Maddalena_TallTales-5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbvM8EhVi1TyKLWM8hmFaQTla0h1ZY3fQjwsyRz7Bxmnr9tvFTCcwbn-ixfjUJLO0JBuquOa6CmNlVR1abDRMgQKUugFgUGB06UvaD1xxjRCSvsBb40EwtuJORXxKiG9Xv8HNvKNqjsyz2/s640/Arcelloni_Maddalena_TallTales-5.jpg" width="640" /></a></div>
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<a href="http://www.maddalenaarcelloni.com/" target="_blank">Maddalena Arcelloni,</a> Memories from the body, 20x20" </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib5Ur5uureSafDRM6ycFSJ8BMLSMtuBm5Llb2whQJBXhmHMCYEUyv7OOdeOl0KwED0xG8jNRcGGzFz3mib5u1huQ-kQj0QFDE2SMyaUL6mnGZhsIr-R_fXepDsMmTT5wDUoNyrVTgxQCsE/s1600/Ramirez_Camilo_TallTales_005.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="510" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib5Ur5uureSafDRM6ycFSJ8BMLSMtuBm5Llb2whQJBXhmHMCYEUyv7OOdeOl0KwED0xG8jNRcGGzFz3mib5u1huQ-kQj0QFDE2SMyaUL6mnGZhsIr-R_fXepDsMmTT5wDUoNyrVTgxQCsE/s640/Ramirez_Camilo_TallTales_005.jpg" width="640" /></a></div>
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<a href="http://www.camramirez.com/index.html" target="_blank">Camilo Ramirez</a>, Arabian Horse and Trailer </div>
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<a href="http://kalee-appleton.squarespace.com/" target="_blank">Kalee Appleton</a>, Single Channel Video, 12 minutes, 18 seconds </div>
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<a href="http://jacobkoestler.com/index.php/red-magnet/">Jacob Koestler</a>, Red Magnet, Film Still, Watch full video <a href="http://jacobkoestler.com/index.php/red-magnet/" target="_blank">here</a></div>
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<span style="font-size: x-large;">Online Additions </span></h2>
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<a href="http://www.racheljump.net/">Rachel Jump</a>, The Eye, Archival Pigment Print, 16x20"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW1nkyjvjo26dZ_IRDhXEsiJTvaDU6Rkx5kOsDDeUR3jsnVZwzn_36O4rUdmcVY4ohcU9FWYW_lDwdr6LfOUyqHhJpUzq5vKI0vQ_E9QBo81j3eWs1E1-s-aaUMrq2h7N2B5cgOGg-0xPN/s1600/Wlusek_Marta_TallTales002.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW1nkyjvjo26dZ_IRDhXEsiJTvaDU6Rkx5kOsDDeUR3jsnVZwzn_36O4rUdmcVY4ohcU9FWYW_lDwdr6LfOUyqHhJpUzq5vKI0vQ_E9QBo81j3eWs1E1-s-aaUMrq2h7N2B5cgOGg-0xPN/s640/Wlusek_Marta_TallTales002.JPG" width="426" /></a></div>
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<a href="http://martawlusek.com/" target="_blank">Marta Wlusek</a>, Exposition, Silver Gelatin Print </div>
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(one sheet exposed and developed, one sheet undeveloped), 40x50"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiULO8vwRgn5IQGKVc8qKMfhZxlN6VxOTvoxxF370IGi6k1YDziUMdGvgIH6HI7Xm2OSX_ltYZsdvrej-X9RAJAgKnjZdVjMuECUbVOLbdZ3YtUFNjdtAb0zOMOJWO5Gq5VEvHWBCo-Tck4/s1600/Wlusek_Marta_TallTales003.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiULO8vwRgn5IQGKVc8qKMfhZxlN6VxOTvoxxF370IGi6k1YDziUMdGvgIH6HI7Xm2OSX_ltYZsdvrej-X9RAJAgKnjZdVjMuECUbVOLbdZ3YtUFNjdtAb0zOMOJWO5Gq5VEvHWBCo-Tck4/s640/Wlusek_Marta_TallTales003.JPG" width="426" /></a></div>
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<a href="http://martawlusek.com/" target="_blank">Marta Wlusek,</a> Dimension, Silver Gelatin Print (cut and photographed), 40x50" </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfYUnKSP0_DNjS5vGYsEzSg1BXaG0Fr8BzmTjUPdbt1MaURKfC5VVTf4ClioU4G5Eex3S46iThEYg7v-8NWS1IM7v2-XRhp8ANaoqKJBoULg7dzHNhk31BThhz-_g21x2wk70z-L54jJgo/s1600/Tyler_Laura_TallTales_002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfYUnKSP0_DNjS5vGYsEzSg1BXaG0Fr8BzmTjUPdbt1MaURKfC5VVTf4ClioU4G5Eex3S46iThEYg7v-8NWS1IM7v2-XRhp8ANaoqKJBoULg7dzHNhk31BThhz-_g21x2wk70z-L54jJgo/s640/Tyler_Laura_TallTales_002.jpg" width="504" /></a></div>
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<a href="http://www.lauraltyler.net/" target="_blank">Laura Tyler</a>, Ha Ha Tonka, Archival Inkjet Print, 16x20" </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguGYweRhLT2Dl6ZBKtHblOWTap0fLT-uDcFmqym81cVUSQkRfYUj3NI39cJzkeRJcyyZCkalTa3tAssXK4SVA1j1qwD7nV0izslw0yIgbrlPwOxvo1KSjrCVyo8YIs8lWf9A5NtTUnorak/s1600/Alasaker_Maha_TallTales.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguGYweRhLT2Dl6ZBKtHblOWTap0fLT-uDcFmqym81cVUSQkRfYUj3NI39cJzkeRJcyyZCkalTa3tAssXK4SVA1j1qwD7nV0izslw0yIgbrlPwOxvo1KSjrCVyo8YIs8lWf9A5NtTUnorak/s640/Alasaker_Maha_TallTales.jpg" width="640" /></a></div>
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<a href="http://www.mahaalasaker.com/" target="_blank">Maha Alasaker</a>, Belonging, 20x20"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPvu8iHh75XE9LS_2Ylp2n9eCvQjKPydwAAsBOBozSwq8j9q8P08uWL4D_aG56jGdnAhhaMEX1ab_YwAQmkQ5xdui0RXBx2npK8d1PqPdEUNXQRjPfM6k_qXDAbaxInUv7tCm6-_lJhxRp/s1600/Jarek_Allison_TallTales_001.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="508" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPvu8iHh75XE9LS_2Ylp2n9eCvQjKPydwAAsBOBozSwq8j9q8P08uWL4D_aG56jGdnAhhaMEX1ab_YwAQmkQ5xdui0RXBx2npK8d1PqPdEUNXQRjPfM6k_qXDAbaxInUv7tCm6-_lJhxRp/s640/Jarek_Allison_TallTales_001.jpg" width="640" /></a></div>
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<a href="http://www.allisonjarek.com/" target="_blank">Allison Jarek</a>, The Tributary, Archival Pigment Print, 20x25"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtoBL9cuiGZo_YF0L59u61mj1InW0I6GjO3Z2GjURnoEtogWDebhwmhrbu6GkR2jj4hn3K-D96_GP2dzR8AuUZn50mvOhaT8y5wZCriqeUQ6Tl7orGWZwqR97dSZsGmhI_j8Egp0Ot7QaE/s1600/ClappTemple_Heidi_TallTales003.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtoBL9cuiGZo_YF0L59u61mj1InW0I6GjO3Z2GjURnoEtogWDebhwmhrbu6GkR2jj4hn3K-D96_GP2dzR8AuUZn50mvOhaT8y5wZCriqeUQ6Tl7orGWZwqR97dSZsGmhI_j8Egp0Ot7QaE/s640/ClappTemple_Heidi_TallTales003.jpg" width="640" /></a></div>
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<a href="http://www.heidiclapptemple.com/" target="_blank">Heidi Clapp-Temple</a>, Archival Pigment Print, 18x24" </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLf0x7n6ZFfIhuvdIYK7iFeadfQGYe25IEQredAwM2PbRvVfi635V7XMuclWiZFPYdGpKOBUYXZYU1ulY2FYIOLQtA1lU0e5ANZYjMwH-omFBE-7uVDV4W3TmjoHQWSTztTbBlv9o57D7M/s1600/John_Steck_Jr_TallTales003.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLf0x7n6ZFfIhuvdIYK7iFeadfQGYe25IEQredAwM2PbRvVfi635V7XMuclWiZFPYdGpKOBUYXZYU1ulY2FYIOLQtA1lU0e5ANZYjMwH-omFBE-7uVDV4W3TmjoHQWSTztTbBlv9o57D7M/s1600/John_Steck_Jr_TallTales003.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLf0x7n6ZFfIhuvdIYK7iFeadfQGYe25IEQredAwM2PbRvVfi635V7XMuclWiZFPYdGpKOBUYXZYU1ulY2FYIOLQtA1lU0e5ANZYjMwH-omFBE-7uVDV4W3TmjoHQWSTztTbBlv9o57D7M/s640/John_Steck_Jr_TallTales003.jpg" width="640" /></a></div>
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<a href="http://www.johnsteckjr.com/" target="_blank">John Steck Jr</a>, Me & Amalia, Disappearing photograph on Silver Gelatin Paper, 8x10"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhilKuvW_Kp23yx_BZav5mxpdAqCHQg5S-WU4SYX2Vd5KagFeMsjF0Z9KywYuoC1DWYLkLkawrpphbzz0geslVa7F4NCRLAIPl6CxMGPLReI9xiZE-AlUNam7oc1A_5hXpRpG6n3_8g-2sX/s1600/Palmer_Marcy_TallTales_03.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhilKuvW_Kp23yx_BZav5mxpdAqCHQg5S-WU4SYX2Vd5KagFeMsjF0Z9KywYuoC1DWYLkLkawrpphbzz0geslVa7F4NCRLAIPl6CxMGPLReI9xiZE-AlUNam7oc1A_5hXpRpG6n3_8g-2sX/s1600/Palmer_Marcy_TallTales_03.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhilKuvW_Kp23yx_BZav5mxpdAqCHQg5S-WU4SYX2Vd5KagFeMsjF0Z9KywYuoC1DWYLkLkawrpphbzz0geslVa7F4NCRLAIPl6CxMGPLReI9xiZE-AlUNam7oc1A_5hXpRpG6n3_8g-2sX/s640/Palmer_Marcy_TallTales_03.jpg" width="640" /></a></div>
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<a href="http://www.marcypalmer.com/" target="_blank">Marcy Palmer</a>, So Wound Up, Archival Inkjet Print, 26x19" </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge8nc1z6lFvk0-4nv9eOOPCumFKGFRuIRF_f7CWaZHZNz-Xm8E0Ph11HFLazPwr7YovsMMrQAHOVlAZ76v9wHAMOsCskDT6p-HnNLOl0vaD00N1xP1lwVK9iORh1JHyzF9sgksis7HkPM0/s1600/Lamb_Bree_TallTales003.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge8nc1z6lFvk0-4nv9eOOPCumFKGFRuIRF_f7CWaZHZNz-Xm8E0Ph11HFLazPwr7YovsMMrQAHOVlAZ76v9wHAMOsCskDT6p-HnNLOl0vaD00N1xP1lwVK9iORh1JHyzF9sgksis7HkPM0/s640/Lamb_Bree_TallTales003.jpg" width="640" /></a></div>
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<a href="http://www.breelamb.com/" target="_blank">Bree Lamb</a>, Dive </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiDu4i4Lz0kLUP1BGhmGT7xnbJ9lYDjXSSHXlL4YyGqHYExaR6tIiG1w3Rug8uqmbWbYT06Tn5qegacTJiCOdeASKNV8DDbSm680itazIf_jRp3-7Zzw21MYtNM1TCa4LQFjqHK2ZV-O_C/s1600/McCormick_Lindsay_TallTales003.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiDu4i4Lz0kLUP1BGhmGT7xnbJ9lYDjXSSHXlL4YyGqHYExaR6tIiG1w3Rug8uqmbWbYT06Tn5qegacTJiCOdeASKNV8DDbSm680itazIf_jRp3-7Zzw21MYtNM1TCa4LQFjqHK2ZV-O_C/s640/McCormick_Lindsay_TallTales003.jpg" width="640" /></a></div>
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<a href="http://www.lindsaymmccormick.com/" target="_blank">Lindsay McCormick</a>, Camped 1, Digital Pinhole, Archival Pigment Print, 11x17"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-lhGWIABQhfesFBWs6Cm-FQMsG-Txd2i8johspWJXa44RKA0K4QfAbk5em9odXsm89eGt9OYjC6eyNFbE_rDOhTPZ7QuGLeCa6SGAuhf7vPiqrxPwb5jsaV6zhB5xllgqzPWCNVQ8Q7WG/s1600/McCormick_Lindsay_TallTales001.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-lhGWIABQhfesFBWs6Cm-FQMsG-Txd2i8johspWJXa44RKA0K4QfAbk5em9odXsm89eGt9OYjC6eyNFbE_rDOhTPZ7QuGLeCa6SGAuhf7vPiqrxPwb5jsaV6zhB5xllgqzPWCNVQ8Q7WG/s640/McCormick_Lindsay_TallTales001.jpg" width="640" /></a></div>
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<a href="http://www.lindsaymmccormick.com/" target="_blank">Lindsay McCormick</a>, Camped 2, Digital Pinhole, Archival Pigment Print, 11x17"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAdhojHW8A8Z-tSNZSz_sOjSp8cIYqLrxLq29jh2jMqyOZV5XYTlSt-yNl34r_0F8SHJBAbYFaeITFioFlmXvdIT7lwIEQJykpLaIQFaGvk7jne-TF2RmCqAghhRL8EofgYBRdNeHo_sS1/s1600/Hill_Sara_TallTales001.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="436" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAdhojHW8A8Z-tSNZSz_sOjSp8cIYqLrxLq29jh2jMqyOZV5XYTlSt-yNl34r_0F8SHJBAbYFaeITFioFlmXvdIT7lwIEQJykpLaIQFaGvk7jne-TF2RmCqAghhRL8EofgYBRdNeHo_sS1/s640/Hill_Sara_TallTales001.jpg" width="640" /></a></div>
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<a href="http://www.sararhill.com/" target="_blank">Sara Hill,</a> 06/01/14 - 06:00, 09:00, 12:00, Archival Pigment Print, 20x30" </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw6ZSZpm4n1xsLLhkseBiGXgkFSHgArY_gV97KGZ5ZgY-uQbGXoU99GShrd3Wn_1b-0tJspwNHUJW22NOQ0BPLW1EOrfUknhtOqcZFzpia6p6TlWq6DOtb320qsSkuXGNfVtdsW5JeNiGD/s1600/Tall+Tales+Installation+Shots+%252810+of+10%2529.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="382" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw6ZSZpm4n1xsLLhkseBiGXgkFSHgArY_gV97KGZ5ZgY-uQbGXoU99GShrd3Wn_1b-0tJspwNHUJW22NOQ0BPLW1EOrfUknhtOqcZFzpia6p6TlWq6DOtb320qsSkuXGNfVtdsW5JeNiGD/s640/Tall+Tales+Installation+Shots+%252810+of+10%2529.jpg" width="640" /></a></div>
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Installation shot at Canopy Collective, Images by: Caitie Moore </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ84vJqnYum0OK55z7xupai23h3bIzzW2R45-2MfkHG0ev3yHEbM_hci07_PAp6LP9JHGWkpBvUsg2fQwnj8ZM3oDX5ypZqo2WZm4y9yGiwMwTT-lviChswNhmhJIL954VngUeGbjufWvO/s1600/Tall+Tales+Installation+Shots+%25289+of+10%2529.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ84vJqnYum0OK55z7xupai23h3bIzzW2R45-2MfkHG0ev3yHEbM_hci07_PAp6LP9JHGWkpBvUsg2fQwnj8ZM3oDX5ypZqo2WZm4y9yGiwMwTT-lviChswNhmhJIL954VngUeGbjufWvO/s640/Tall+Tales+Installation+Shots+%25289+of+10%2529.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7gsCwSi9LLzRlkLDBUnF6aMjQtxbdLdod27OEKOyWq78wXS0ncJdO2sp1-qLaG7V821P8EOcJ8nlgJ1_jYjrnBFVNcA9jwxUIP0UVfuSTKVpKpBqHv0onB6g3WICBVJAynv2FZa3jk2Ua/s1600/Tall+Tales+Installation+Shots+%25285+of+10%2529.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7gsCwSi9LLzRlkLDBUnF6aMjQtxbdLdod27OEKOyWq78wXS0ncJdO2sp1-qLaG7V821P8EOcJ8nlgJ1_jYjrnBFVNcA9jwxUIP0UVfuSTKVpKpBqHv0onB6g3WICBVJAynv2FZa3jk2Ua/s640/Tall+Tales+Installation+Shots+%25285+of+10%2529.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguPNzzHNcf1EMxtqkREfa2d4gOs2FkxZrUPvho8KK7FHoC8Tcf8S32zD4wo4xlc7nlqweLl4AzXAT6gpjUuANNdBy8W4uoHXtP82b6L9RlSZ73TO6TDQMUKx3-x_m_v8MGHhBIYbty6Jah/s1600/Tall+Tales+Installation+Shots+%25287+of+10%2529.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="436" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguPNzzHNcf1EMxtqkREfa2d4gOs2FkxZrUPvho8KK7FHoC8Tcf8S32zD4wo4xlc7nlqweLl4AzXAT6gpjUuANNdBy8W4uoHXtP82b6L9RlSZ73TO6TDQMUKx3-x_m_v8MGHhBIYbty6Jah/s640/Tall+Tales+Installation+Shots+%25287+of+10%2529.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8Ey0Avx4Mu7YpTPOJMR7QyoKdrihfENr-jRyF0qlxTkGeEvPWDtT26wuTmk5zl2OzVKl4X7YGH6zoPmokzPLm4DZq-aQrPrXQG-ML_xOeqFtS5pq2aTJBpq6HwVmBb-K0davdQiA-Kqpt/s1600/Tall+Tales+Installation+Shots+%25284+of+10%2529.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8Ey0Avx4Mu7YpTPOJMR7QyoKdrihfENr-jRyF0qlxTkGeEvPWDtT26wuTmk5zl2OzVKl4X7YGH6zoPmokzPLm4DZq-aQrPrXQG-ML_xOeqFtS5pq2aTJBpq6HwVmBb-K0davdQiA-Kqpt/s640/Tall+Tales+Installation+Shots+%25284+of+10%2529.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzkAGzgYRwmP6GTxfIdLkQIXw4RQudMZviIlCgJXlFPav_CRv45jglbOIe4aDMrD3GPS1TMh02gWgHuzUtVINVePbF2hJCx6VAggUj7tXD5M0WnQORqMKDEs-ZHTMrp_WXOLNz_-TV0Prl/s1600/Tall+Tales+Installation+Shots+%25283+of+10%2529.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzkAGzgYRwmP6GTxfIdLkQIXw4RQudMZviIlCgJXlFPav_CRv45jglbOIe4aDMrD3GPS1TMh02gWgHuzUtVINVePbF2hJCx6VAggUj7tXD5M0WnQORqMKDEs-ZHTMrp_WXOLNz_-TV0Prl/s640/Tall+Tales+Installation+Shots+%25283+of+10%2529.jpg" width="640" /></a></div>
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