Solo Exhibitions:
2016-2017: Anima, Animals - Maison Européenne de la Photographie (MEP), Paris; 2013: Figure Studies – MEP, Paris; 2010: Figure Studies – Nature Morte, Berlin; 2005: Dogs, Fires, Me – Pace/MacGill, New York City; 2001: Silence Me - MEP, Paris; 2001: Morning After Morning – Photo Museum of Ireland, Dublin; 2001: The Wrestlers – Pace/MacGill, New York City; 2000: Maier Museum of Art at Randolph-Macon Women’s College, Lynchburg; 1997: Solitaire – Pace/MacGill, New York City; 1996: Heads - Yale School of Architecture, New Haven; 1993: Corpus – Pace/MacGill, New York City; 1981: Beds – Susan Caldwell Gallery, New York City

Group Exhibitions:
2002: R.A.W. or Sirens of the Titan, Kunstmuseum of Appenzel, Switzerland; 2004: Festival Transphotographiques, Lille; 2000: Performance for the Camera, Galerie Christiane Chassay, Montreal; 1983: Coast to Coast: Recent Work, Houston Center for Photography, Houston; 1981: Daniel Wolf Gallery, New York City

Collections:
MoMA, Whitney Museum of Art, Centre Pompidou, Denver Art Museum, Maison Européenne de la Photographie, Philadelphia Museum of Art, Randolph Macon Women’s College, The Art Museum at Princeton University

Books:
Mortes (Steidl, 2023), Bones (Steidl, 2023), 28 Figure Studies (Steidl, 2021), Trance (Steidl, 2020), Susie Glenn: A Memoir of Childhood (Enitharmon Editions, 2017), Figure Studies (Steidl, 2010), Sweethearts (Steidl, 2010), Three Poems with Jim Dine (Steidl 2006), Dogs, Fires, Me (Steidl, 2005), Silence Me (MEP, 2001)

Diana Michener lives and works in Paris, France, and Walla Walla, Washington.

Adama Delphine Fawundu is a visual artist born in Brooklyn to parents from Sierra Leone and Equatorial Guinea, West Africa. She has presented public installations at Prospect Park in Brooklyn and Rutgers/Project for Empty Space, Audible and Federal Hall in New York City.  Solo exhibitions and performances include Art@Bainbridge/Princeton University, Penumbra Foundation, the Newark Museum of Art, the Jefferson School African American Heritage Center, The Miller Theater at Columbia University, Wadsworth Atheneum Museum of Art, Museum of the African Diaspora (San Francisco), African American Museum in Philadelphia and Granary Arts, amongst others.

Her work can be found in the collections at the Brooklyn Museum of Art, Princeton University Museum, Bryn Mawr College, The Brooklyn Historical Society, The Norton Museum of Art, The David C. Driskell Center (University of Maryland), The Petrucci Family Foundation, The Museum of Contemporary Art at the University of São Paulo, as well as private collections. Fawundu’s projects have been supported by Rema Hort Mann Artist Grant and the New York Foundation for the Arts. She has received the Anonymous Was a Woman Award and the Brooklyn Historical Society Community Initiative Grant.

Fawundu is the a co-founder and author of MFON: Women Photographers of the African Diaspora – a journal and book representing female photographers of African descent. She was featured in the critically acclaimed Netflix documentary, In Our Mother’s Garden, directed by Shantrelle P. Lewis. In 2022, Adama Delphine Fawundu was awarded a CatchLight Fellowship. She is a full-time professor at Columbia University.

Holly Lynton is an artist working primarily in photography with a multidisciplinary, research-based practice that includes writing, historical research, and collaborative works in other media. Her background in psychology inspires her to explore core aspects of humanity, filtered through local contexts. Her photographs are made in rural communities in the United States with a focus on their agricultural history, current industry, and ritual. Through her images, she underscores the importance of having unmediated experiences with nature and explores issues of sustainability. Currently, her work is investigating the intersection of spirituality, labor, and the environment. By incorporating recognizable symbols and allusions, Lynton highlights how cultural visual memory influences what we see in photographs.

Her works are held in public collections such as the Nelson Atkins Museum, Yale University Art Gallery, the Center for Creative Photography at the University of Arizona, Beinecke Library, MoMA Library, the Lowe Art Museum at the University of Miami, and the Zimmerli Art Museum at Rutgers University. Lynton has received an Aaron Siskind Individual Photographer’s Fellowship, a Massachusetts Cultural Council Fellowship, and the Syngenta Photography Award. Yale University awarded her a postdoctoral research fellowship in 2019 at the Gilder Lehrman Center for the Study of Slavery, Resistance, and Abolition for her series Meeting Tonight, an exploration of Methodist camp meetings in South Carolina. Her book Bare Handed was published by L’Artiere Edizioni in 2022. In the fall of 2023, a solo exhibition of her work, Beyond the Bounds, will be on view at the Do Good Fund in Columbus, Georgia.

Carmen Winant is an artist and the Roy Lichtenstein Chair of Studio Art at the Ohio State University; her work utilizes installation and collage strategies to examine feminist modes of survival and revolt. Winant's recent projects have been shown at the Museum of Modern Art, Sculpture Center, Wexner Center of the Arts, ICA Boston, the Cleveland Museum of Art, The Museo Universitario Arte Contemporáneo, and as part of the CONTACT Photography Festival, which mounted twenty-six of her billboards across Canada. Winant's recent artist’s books include My Birth (2018), Notes on Fundamental Joy (2019), and Instructional Photography: Learning How To Live Now (2021); Arrangements and A Brand New End: Survival and Its Pictures (both 2022). Winant is a 2019 Guggenheim Fellow in photography, a 2020 FCA Artist Honoree and a 2021 American Academy of Arts and Letters award recipient. She is a mother to her two sons, Carlo and Rafa, shared with her partner, Luke Stettner.

Stefanie Seufert explores the relationship between visibility, language and architecture through cameraless processes. She holds degrees in photography from Lette Verein Berlin and cultural studies from Universität der Künste, Berlin, where she also lives and works. Her work has been exhibited at Berlinische Galerie (2019, 2023), Camera Austria International (2010, 2023), DZ Bank Frankfurt, Ezkenazi Museum of Art, Fotogalerie Wien, Austria; Kunsthaus Kollitsch Klagenfurt, Austria; Louisville Photobiennial, Louisville; Kunsthalle Darmstadt, Museum für Fotografie Berlin, NRW-Forum Düsseldorf, Kasbah Museum Tanger, Morocco , among others. Seufert́s work is in the collections of Berlinische Galerie, DZ Bank Frankfurt, NBK Berlin, Stiftung Kunstforum Berliner Volksbank, Kunstbibliothek, Staatliche Museen zu Berlin, and various private collections.

Her work has been supported by the following Grants and fellowships: work stipends Kunstfonds Bonn 2022 and 2023, research grant by the Senate Department for Culture and Community, City of Berlin, travel grant by the Senate Department for Culture and Community, City of Berlin, exhibition grant by Institut für Auslandsbeziehungen, and others.

Stefanie Seufert has published two artist books with Camera Austria International.

Stefanie Seufert explores the relationship between visibility, language and architecture through cameraless processes. She holds degrees in photography from Lette Verein Berlin and cultural studies from Universität der Künste, Berlin, where she also lives and works. Her work has been exhibited at Berlinische Galerie (2019, 2023), Camera Austria International (2010, 2023), DZ Bank Frankfurt, Ezkenazi Museum of Art, Fotogalerie Wien, Austria; Kunsthaus Kollitsch Klagenfurt, Austria; Louisville Photobiennial, Louisville; Kunsthalle Darmstadt, Museum für Fotografie Berlin, NRW-Forum Düsseldorf, Kasbah Museum Tanger, Morocco , among others. Seufert́s work is in the collections of Berlinische Galerie, DZ Bank Frankfurt, NBK Berlin, Stiftung Kunstforum Berliner Volksbank, Kunstbibliothek, Staatliche Museen zu Berlin, and various private collections.

Her work has been supported by the following Grants and fellowships: work stipends Kunstfonds Bonn 2022 and 2023, research grant by the Senate Department for Culture and Community, City of Berlin, travel grant by the Senate Department for Culture and Community, City of Berlin, exhibition grant by Institut für Auslandsbeziehungen, and others.

Stefanie Seufert has published two artist books with Camera Austria International.

Christina Fernandez, a Los Angeles–based artist, has spent over three decades conducting rich explorations of migration, labor, gender, her Mexican American identity, and the capacities of photography itself.

She earned her BA at the University of California, Los Angeles in 1989 and her MFA at the California Institute of the Arts in 1996. She is associate professor at Cerritos College in Norwalk, California, where she has been on faculty since 2001. Fernandez’s projects have been featured in major exhibitions including Home—So Different, So Appealing (Los Angeles County Museum of Art, 2017), Phantom Sightings: Art after the Chicano Movement (Los Angeles County Museum of Art, 2008), East of the River: Chicano Art Collectors Anonymous (Santa Monica Museum of Art, 2000), Flight Patterns (Museum of Contemporary Art, Los Angeles, 2000), and InSite97 (San Diego and Tijuana, 1997).

Her work has also been exhibited at the J. Paul Getty Museum, Los Angeles; Smithsonian American Art Museum, Washington, DC; Museum of Modern Art, New York; Bronx Museum of the Arts, New York; El Paso Museum of Art, El Paso; Palm Springs Art Museum, Palm Springs; Self Help Graphics and Art, Los Angeles; and Galería de la Raza, San Francisco, among other venues. In 2021, Fernandez was one of the first artists honored with the prestigious Latinx Artist Fellowship, an initiative of the US Latinx Art Forum. Christina Fernandez: Multiple Exposures is the first major monographic museum exhibition of her work.

Letha Wilson was born in Hawaii, raised in Colorado, and currently works in Craryville and Brooklyn, New York. She received her BFA from Syracuse University, and her MFA from Hunter College in New York City. Letha attended the Skowhegan School of Painting and Sculpture in 2009, and her artwork has been shown at many venues including Mass MoCA, deCordova Sculpture Park and Museum, Bronx Museum of the Arts, The Aldrich Contemporary Art Museum, Columbus Museum of Art, Art in General, Bemis Center for Contemporary Art, and International Center for Photography. Her work has been reviewed in Artforum, Art in America, the New York Times, The New Yorker, among others. Letha has been awarded artist residencies at Yaddo, MacDowell, Bemis Center for Contemporary Arts, Headlands Center for the Arts, and the Sharpe -Walentas Studio Program, among others. In both 2019 and 2014 she was awarded a New York Foundation for the Arts Fellowship in Photography, and was awarded the Windgate Artist Residency at SUNY Purchase in Fall 2022. Letha’s exhibition "Folds and Faults" is on view at Higher Pictures Generations through Feb 18, 2023.

Sabiha Çimen was born in Istanbul, Turkey, and is currently based between Istanbul and New York. Her work focuses on women in Islamic culture through intimate portraiture and still life imagery. Çimen graduated from Istanbul Bilgi University with an undergraduate degree in International Trade and Finance, and a Masters degree in Cultural Studies. An associate photographer at Magnum Photo Agency, she has received numerous awards including the W. Eugene Smith Grant (2020), Light Work Artist in Residence (2020), World Press Photo, Long-Term Projects, 2nd prize (2020), Canon Female Photojournalist Grant (2020), PH Museum, Women Photographers Grant, 3rd prize (2018). Çimen’s first monograph, HAFIZ, published by RedHook Editions, received the First PhotoBook Award at the 2022 Paris Photo–Aperture PhotoBook Awards.

Phil Chang received his MFA from The California Institute of the Arts and his BA from the University of California, Irvine. Solo exhibitions include The Fulcrum Press (2023), M+B (2022, 2017, and 2014), The Suburban (2019), Praz-Delavallade (2015), The California Museum of Photography (2015), and LAXART (2012). Chang’s work has been included in group exhibitions at the San Francisco Museum of Modern Art, the Los Angeles County Museum of Art, the Eastman Museum, and Transformer Station. His work has been written about in Artforum, The New Yorker, the Los Angeles Times, Artforum.com, nonsite.org and has appeared in Aperture, Blind Spot, Photography Is Magic, and The Photograph as Contemporary Art. Chang’s publications include Four Over One, an artist’s book published by the Los Angeles County Museum of Art in association with Jonathan Maghen. Chang’s academic appointments include California State University, Bakersfield, the Milton Avery Graduate School of the Arts at Bard College, Otis College of Art & Design, and the University of California, Los Angeles. Phil Chang lives and works in Los Angeles.

Alan Huck is a photographer, writer, and educator based in Chicago. His first monograph, I walk toward the sun which is always going down, was published by MACK and shortlisted for the 2020 Rencontres d’Arles Photo-text Book Award. He serves as a mentor in the Image Threads Collective mentorship program and teaches various interdisciplinary photography courses through the Penumbra Foundation. 

Keisha Scarville (b. Brooklyn, NY; lives Brooklyn, NY) weaves together themes dealing with transformation, place, latencies, and the elusive body. Her work has been widely exhibited, including the 2022 Fotofest Biennial, Studio Museum of Harlem, Huxley-Parlour Gallery in London, ICA Philadelphia, Contact Gallery in Toronto, Aljira Center for Contemporary Art, The Caribbean Cultural Center African Diaspora Institute, Museum of Contemporary Diasporan Arts, Lightwork Syracuse, The Brooklyn Museum of Art, Higher Pictures Generation Gallery, and Baxter Street CCNY. She has participated in artist residencies at Vermont Studio Center, Lightwork, Lower Manhattan Cultural Council Workspace Program, Stoneleaf, Baxter Street CCNY, BRIC Workspace, and Skowhegan School of Painting and Sculpture. In addition, her work has appeared in publications including Vice, Transition, Nueva Luz, Small Axe, Oxford American, Hyperallgeric, and The New York Times where her work has also received critical review. She is currently an adjunct faculty member at Parsons School of Design.

Aaron Turner is a photographer and educator currently based in Arkansas. He uses photography as a transformative process to understand the ideas of home and resilience in two main areas of the U.S., the Arkansas and Mississippi Deltas. Aaron also uses the 4x5 view camera to create still-life studies on identity, history, blackness as material, and abstraction. Aaron received his M.A. from Ohio University and an M.F.A from Mason Gross School of the Arts, Rutgers University. He was a 2018 Light Work Artists-in-Residence at Syracuse University, 2019 EnFoco Photography Fellow, a 2020 Visual Studies Workshop Project Space Artists-in-Residence, a 2020 Artist 360 Mid-America Arts Alliance Grant Recipient, the 2021 Houston Center for Photography Fellowship Recipient, a 2021 Creators Lab Photo Fund recipient from Google’s Creator Labs & the Aperture Foundation, and 2022 Darryl Chappell Foundation  photographer-in-residence at Ogden Museum of Southern Art.

Nadezda Nikolova's work reflects her deep connection to landscape and fascination with the photo-based object. Using light, wet plate collodion, paper cut-outs, cliché verre, and brushes, she creates camera-less compositions that allude to organic forms found in nature. Rather than transcribing the observed, she records intuitive responses that speak to the felt and ineffable experience of being fully present in the landscape: a sense of wonder, awe, and permeating immanence, while simultaneously meditating on loss, hope, and meaning. Born in 1978 in former Yugoslavia, Nikolova studied 19th century phototrophic printing processes at the University of Kentucky and the George Eastman Museum. Her work has been exhibited nationally and internationally. She is currently based in Oakland, California and is represented by HackelBury Fine Art and Esther Woerdehoff Gallery.

Pradip Malde is a photographer and professor at the University of the South, Sewanee, TN. Much of his work considers the experience of loss and how it serves as a catalyst for regeneration. He received a 2018 Guggenheim Fellowship, which resulted in his book, From Where Loss Comes and is represented in the collections of the Museum of the Art Institute, Chicago; Princeton University Museum; Victoria & Albert Museum, London, Yale University Museum and the Scottish National Portrait Gallery, Edinburgh, among others.

Malde studied photography at what is now the Arts University of Bournemouth, England, and completed a MA at the Glasgow School of Art in Scotland in 1979. He moved to Orkney, Scotland in 1980. It was there that he began, with Dr. Mike Ware, to reformulate the platinum/palladium printing process, which resulted in the publication of Platinotype, Routledge, 2021, and led to a set of extensive collaborations with the Imogen Cunningham Trust, the Margrethe Mather Estate, and the Scottish National Portrait Gallery, among others.

pradipmalde.com

Pradip Malde will also be signing his book From Where Loss Comes. To learn more about the book or purchase, please click here.

Tim Carpenter (Illinois, 1968) is a photographer, writer, and educator who works in Brooklyn and central Illinois. He is the author of several photobooks, among them Christmas Day, Bucks Pond Road; Local objects; township (with Raymond Meeks, Adrianna Ault, and Brad Zellar); Bement grain; Still feel gone (with Nathan Pearce); The king of the birds; and A house and a tree. Local objects was included in the 2018 exhibition “American Surfaces and the Photobook” at the Museum of Modern Art, New York, and was listed for the Kassel Photobook Award 2018.

Tim received an MFA in Photography from the Hartford Art School in 2012, and in 2015 co-founded TIS books. He is a faculty member of the Penumbra Foundation Long Term Photobook Program, serves as a mentor in the Image Threads Mentorship Program, and is a co-proprietor of Distant Zine.

Brad Zellar is a writer and editor who has collaborated with photographer Alec Soth on a number of projects, including The LBM Dispatch, a series of seven newspapers that explored the status of American community in the age of cyberspace. Zellar has also made books with Adrianna Ault, Raymond Meeks, Tim Carpenter, and Jason Vaughn, and is the author of Suburban World: The Norling Photos, Conductors of the Moving World, House of Coates, and Driftless. His novel, Till the Wheels Fall Off (Coffee House Press), was released in July. He lives in St. Paul.

Susan Lipper has published her work in the trilogy of books comprised of Grapevine (1994), trip (1999), and Domesticated Land (2018). She is recipient of a National Endowment for the Arts Fellowship, New York Foundation for the Arts Fellowship, and Guggenheim Fellowship.

susanlipper.com

Myra Greene currently resides in Atlanta, GA where she is a Professor and Chair of the Department of Art & Visual Culture and Director of the Photography Program at Spelman College. Through her last bodies of artistic work, Greene utilizes the media of photography and fiber to explore representations of race and the body. At the center of her practice is a consideration of how our understanding of color is completely dependent on context – materially, culturally, and historically. Recent exhibitions including Spectrum at the Kentucky Museum of Arts and Crafts, continue these interests, interweaving three different bodies of work that present a diverse yet unified consideration of our relationship to and interpretation of color, race, and identity.   

Named the 2021 Georgia State Fellow from South Arts, Greene’s work is in the permanent collection of The High Museum in Atlanta, the Museum of Contemporary Photography in Chicago, the Museum of Fine Arts in Houston, The National Gallery of Art in Washington D.C., the Nelson-Atkins Museum of Art, Kansas City, the Princeton University Art Museum and the Studio Museum in Harlem. Myra Greene’s work has been featured in national exhibitions in galleries and museums including The New York Public Library, Duke Center for Documentary Studies, Williams College Museum of Art, Museum of the African Diaspora in San Francisco, and Sculpture Center in New York City. Myra Greene was born in New York City and received her B.F.A. from Washington University in St. Louis and her M.F.A. in photography from the University of New Mexico.  

myragreene.com

Born in 1984, Noémie Goudal graduated from the Royal College of Art and the St Martins School in London. She lives and works in Paris. Her recent solo exhibitions took place at the Finnish Museum of Photography (Helsinki, 2018), Fotografiska (Stockholm, 2018), Le BAL (Paris, 2016), The Photographers’s Gallery (London, 2015), the FOAM (Amsterdam, 2015) and The New Art Gallery Walsall (UK, 2014). In 2019, her work has been shown at the Musée des Beaux Arts of Le Locle in Switzerland, at the Ballarat Fine Art Gallery in Australia and at the Kuntsverein in Hildesheim, Germany. She has participated in numerous group shows in institutions such as the Saatchi gallery in 2013 or the Venice Biennale in 2015 (Pavillion of Azerbaijan). Goudal’s work is held in the permanent collections of FOAM museum (NL), The Kiran Nadar Museum of Art (IN), Fotomuseum Winterthur (DE), The New Art Gallery Walsall (UK), Musée de la Roche-Sur-Yon (FR) and private collections in America, Europe and Asia. She has received awards from leading photographic organisations including HSBC Prix pour la Photographie in 2013 (France), in 2018 she has received the Mention of Honor of the Shpilman International Prize (The Israel Museum, Jerusalem), she has been nominated for the Prix Pictet and for the Deutsche Börse Prize from 2016 to 2019, and for the Foam Paul Huf Award (Holland) in 2013, 2014 and 2018. In 2018, she did a residency at the Richard Neutra House in Los Angeles, and is currently in residency at La Manufacture de Sèvres in France. Goudal is represented in London by Edel Assanti (London) and Les Filles du Calvaire (Paris). 

Good Pictures tracks 50 stylistic trends through the history of the medium, from the origin of the Rembrandt Effect and hand-painted photographs in the nineteenth century to the intentional use of motion blur, grainy film, and lens flare in the twentieth century—and, of course, selfies, digital filters and more today.  This talk focuses on a recurring theme within these trends: the adoption of former photographic failures for aesthetic effect. Beil will trace the history of several trends that mined the mistakes of previous generations for new visual material. These trends challenge the notion of photography as a history of straightforward technological progress and, instead, suggest that seeking out the medium’s limitations is as important as any new tool or technique.

Christine Elfman is a visual artist who makes photographs about and through the process of fading.  She makes pictures out of their own disappearance, to see how the desire for pictorial permanence gives way to change and the invisible.  She received her MFA from California College of the Arts and BFA from Cornell University.  Her recent awards include a Light Work Grant in Photography and the Philadelphia Photo Arts Center Exhibition.  Elfman currently lives in central New York.  She is represented by Euqinom Gallery in San Francisco.

Whitney Hubbs is a photographer who obsesses about giving it up to become a drawer or a musician, but in reality she likes taking pictures  too much. She changes her photographic mind a lot, meaning her subject matter varies because she doesn’t want to get bored. Hubbs was raised and educated in California but currently lives and teaches in western New York. She is represented by M+B Gallery in Los Angeles and Situations Gallery in NYC.

Odette England has shown in more than 90 solo, two-person and group exhibitions worldwide. She is the Visiting Artist-in-Residence at Amherst College, a resident artist of the Elizabeth Foundation for the Arts Studio Program in New York, and director of the Winter Garden Photograph project, for which she received a grant from the Mellon Foundation. She received a four-year fully-funded Research Training Program Scholarship to complete her PhD at the Australian National University in 2018, and has an MFA in Photography with honors from the Rhode Island School of Design.

Mark Steinmetz is a photographer who resides in Athens, Georgia (USA). He has published several books with the Nazraeli Press (Paso Robles, CA): South Central, South East, Greater Atlanta, Summertime, Italia, The Ancient Tigers of my Neighborhood, Paris in my time, The Players, and a three volume set, Angel City West. Stanley/Barker (London) has published 15 Miles to K-ville, and Past K-ville. Summer Camp (Nazraeli) and Carnival (Stanley/Barker) are due out later this year. Steinmetz’s work is in the collections of the Museum of Modern Art, the Whitney Museum of American Art, the Metropolitan Museum of Art, the Art Institute of Chicago, the San Francisco Museum of Modern Art, and others. He has taught photography at Harvard University, Yale University, Sarah Lawrence College, Emory University, and The University of Hartford MFA Program. Steinmetz is a recipient of the Guggenheim Fellowship and has exhibited widely in the United States and Europe. Steinmetz had one-person shows at the Ogden Museum of Southern Art (New Orleans) in 2015, and at the Yancey Richardson Gallery (New York) and Lothringer13 Halle (Munich) in 2017. His work on the Atlanta airport, Terminus, was shown at the High Museum of Art (Atlanta) in the spring of 2018, and he had a one-person show at Fotohof in Salzburg, Austria in early 2019. Mark Steinmetz is co-director of The Humid, a photographic workshop and gathering space, with his wife, Irina Rozovksy. He is represented by Claxton Projects in Brooklyn.

marksteinmetz.net/

Dru Donovan received her MFA from Yale School of Art in 2009. Donovan’s work has shown nationally and internationally at venues including the Musée de l’Elysée in Lausanne, Switzerland, the 2010 California Biennial at the Orange County Museum, the 2019 Portland Biennial, at Disjecta Contemporary Art Center, Fraenkel Gallery, San Francisco and Rhona Hoffman Gallery, Chicago. Donovan’s photographs have been published in Aperture Magazine, Blind Spot, Picture Magazine, and Matte Magazine. In 2011 TBW Books published her first book, Lifting Water. In 2011-2012 she participated in the Lower Manhattan Cultural Council’s Workspace studio residency. Awards received include the John Gutmann Photography Fellowship in 2015 and the John Simon Guggenheim Memorial Foundation Fellowship in 2016. Donovan currently teaches at Lewis & Clark College in Portland, Oregon, where she lives and works.

drudonovan.com/

Liz Nielsen is a Brooklyn based artist whose works have been exhibited in New York, Chicago, Paris, London, Budapest, Amsterdam and Berlin. Her photographs are printed in the analog color darkroom with handmade negatives and found light sources. Each photograph is Unique, ranging in size from 100" x 100" to 8" x 8".
Liz earned her MFA from the University of Illinois at Chicago in 2004, her BFA from The School of the Art Institute of Chicago in 2002, and her BA in Philosophy and Spanish from Seattle University in 1997. Nielsen's works have been reviewed in The New Yorker, The Financial Times, The British Journal of Photography, The New York Times, LensCulture, FOAM magazine, and ArtSlant among others.
Liz is represented by Danziger Gallery in New York, SOCO Gallery in North Carolina, Horizont Gallery in Budapest, Black Box Projects in London, and NextLevel Galerie in Paris.

liznielsen.com/

Odette England received an MFA with Honors from the Rhode Island School of Design in 2012and a PhD in Art & Art History from the Australian National University in 2018. England’s work has shown nationally and internationally in more than 85 exhibitions. Venues include: George Eastman House International Museum of Photography and Film (Rochester, NY), Museum of Contemporary Photography (Chicago, IL), New Mexico Museum of Art (Santa Fe, NM), Fort Wayne Museum of Art (Fort Wayne, IN), Center for Photography at Woodstock (Woodstock, NY), Perth Center for Photography (Perth, Western Australia), MacDonald Stewart Art Center, University of Guelph (Ontario, Canada). England has been published in American Photo, Photograph, The Brooklyn Rail, Photo District News, Hotshoe International, the British Journal of Photography and Australian Art Monthly, among others. Awards England has received include the Magenta Foundation Flash Forward Emerging Photographers Award (UK winner, twice) and the CENTER Project Launch Award. England is also a recipient of The Print Center Honorary Council Award for Excellence (2018). Recent artist residencies include the prestigious invitation-only Robert Rauschenberg Foundation Residency in Captiva, Florida (2018). England is represented in the US (east coast) by Klompching Gallery.

klompching.com/odette-england-1

Richard T. Walker’s videos, photographic works, sculptural installations and performances take solitude, human nature and dialogue as their subjects. Focusing on the experience of our surrounding environments, his works highlight clashes between innate desire, cultural interpretation and the reality of lived experience. Selected solo exhibitions include; Fraenkel Gallery, San Francisco, Hiroshima City Museum of Contemporary Art, Japan; di Rosa, Napa, California; The Contemporary Austin; ASU Museum, Tempe, Arizona; James Cohan Gallery, New York; Carroll/Fletcher, London; Angels Barcelona; Spike Island, Bristol; Christopher Grimes Gallery, Santa Monica; and Franklin Art Works, Minneapolis. Richard was has shown in multiple group and 2 person exhibitions at venues including; CAPITAL, San Francisco; San Francisco Museum of Modern Art; Yerba Buena Center for the Arts; Times Museum, Guangzhou; Museum of Modern Art, Rio De jenero; Kulturhuset Stockholm; Witte De With Rotterdam and K21 in Dusseldorf. He received an MA in Fine Art from Goldsmiths College, London (2005) and is currently based in San Francisco. He has been a recipient of the fellowship at Kala Art Institute in Berkeley California and received an Artadia Award in 2009. He was an Irvine Fellow at the Montalvo Art Center and has been a resident at The Headlands Center for the Arts and Skowhegan School of Painting and Sculpture. In 2017 he was awarded a Fleishhacker Eureka Fellowship Grant.

richardtwalker.net/

Rodrigo Valenzuela (b. 1982, Santiago, Chile) lives and works in Los Angeles, where he teaches at the UCLA School of the Arts and Architecture. Recent solo exhibitions include Orange County Museum of Art, Santa Ana, CA (2018); Portland Art Museum, OR (2017); McColl Center for Art + Innovation, Charlotte, NC (2017); Ulrich Museum of Art, Wichita (2016); and Frye Art Museum, Seattle (2015). Group exhibitions include the Kitchen, New York (2018); Museum of Contemporary Art, North Miami (2018); Drawing Center, New York (2017); Frye Art Museum, Seattle (2016); Tacoma Art Museum (2016); and Museum of Fine Arts, Houston (2016). He received a Core Program fellowship from the Museum of Fine Arts, Houston, and his recent residencies include Skowhegan School of Painting and Sculpture, MacDowell Colony, Bemis Center for Contemporary Arts, Center for Photography at Woodstock, and the Vermont Studio Center. He is the recipient of the Joan Mitchell Painters and Sculptors Grant (2017), an Art Matters grant (2016), the Artist Trust Arts Innovator Award (2014), the Texas Contemporary Award (2014), and a University of California Institute for Research in the Arts grant (2013).

rodrigovalenzuela.com/

‘I am an obsessive collector and observer of the landscape. What initially sends me out into the unknown is often a photograph or painting that haunts me because of its absolute unfamiliarity. What I end up uncovering is unpredictable, surprising, and often exhilarating. Trying to describe that encounter visually through photography is nearly impossible. It's also invigorating trying to twist what the camera faithfully describes into something of fiction. The camera's elongated rectangle can, through the confluence of light, circumstance, chance, and a dozen other factors, conjure up a world, one seemingly half-imagined, or one that breathes with the life of thousands of years of history. Sometimes it simply acknowledges the beauty of the land.’

Carrying her 7”x17” and 8”x10” cameras by bicycle, boat, cart, or thrown over her shoulder, she navigates the land slowly. Her photographs allow the viewer to approach the landscape with a more cumulative perspective. Although human presence is not explicit in all of her photographs, it is subtly implied in a way that allows the world to be believably rescaled.

Conner has been awarded numerous awards, including an Anonymous Was a Woman fellowship, as well as grants from the Guggenheim Foundation, the National Endowment for the Arts, and New York State Council on the Arts.

Her books include: A Long View, Shanghai Center of Photography, 2018; Lotus Leaves, Wairarapa Academy, New Zealand, 2018; Beijing: Contemporary and Imperial, Princeton Architectural Press, 2014; Beijing Building, Rossi and Rossi, London, 2012;  Life in a Box, Hanart, Hong Kong, 2010;  Twirling the Lotus, Rossi and Rossi, London, 2007;  and China: The Photographs of Lois Conner, Callaway, NY, 2000.

loisconner.net

Each year, Victoria Sambunaris structures her life around a photographic journey in which she investigates specific aspects of the contemporary American landscape. Equipped with a 5x7 inch field camera, she crosses the country by car for several months per year. Her large-scale photographs document the continuing transformation of the American landscape with specific attention given to expanding political and industrial interventions, where nature and culture meet in unexpected, nuanced relationships.

Her ongoing series, “Taxonomy of a Landscape” pays special attention to the contradictory currents that she has thoroughly researched and which is clearly evidenced in her images of the landscape. There we often find the intrusion of industrial manufacturing onto the land as both a symbol and as the continuing use and need of natural materials being transformed and transferred nation-wide as central to future technological and consumer transactions. The central contradictions are imbedded in most of the images – the needs and habits of a society that, at the same time, is destroying the landscape and the resources it needs to subsist.

Sambunaris received her MFA from Yale University in 1999.  She is the recipient of the Aaron Siskind Foundation Individual Photographer’s Fellowship and the Anonymous Was a Woman Award.  “Taxonomy of a Landscape” debuted at the Albright Knox Art Gallery in Buffalo, NY in 2011 and traveled throughout the country. Her first monograph “Taxonomy of a Landscape” was published by Radius Books in 2014. Sambunaris is represented by Yancey Richardson Gallery.

victoriasamburanis.com | #victoriasambunaris

Marco Breuer has exhibited widely throughout the United States and Europe. One-person museum exhibitions include Line of Sight at the de Young Museum in San Francisco, New Pictures 2: Marco Breuer at the Minneapolis Institute of Arts, and Circa 1999 at the MIT List Visual Art Center in Cambridge, Massachusetts. His work has been included in group exhibitions at the Morgan Library & Museum, the International Center of Photography, the Drawing Center, and White Columns in New York; the Amon Carter Museum in Fort Worth, Texas; and the High Museum of Art in Atlanta, Georgia. His work is in numerous public collections, including the Museum of Modern Art and the Metropolitan Museum of Art in New York; the Museum of Fine Arts, Boston; the George Eastman Museum in Rochester; the National Gallery of Art in Washington, DC; the J. Paul Getty Museum in Los Angeles; the Art Institute of Chicago; the San Francisco Museum of Modern Art; and the Staatsgalerie in Stuttgart, Germany. Breuer is the recipient of a Guggenheim fellowship (2006) and the inaugural Larry Sultan Photography
Award (2015). Monographs of Marco Breuer’s work include SMTWTFS (Roth Horowitz, 2002), Early Recordings (Aperture, 2007), and Color (Blackdog, 2015). Breuer has been a guest lecturer at Yale School of Art, Rutgers University, Princeton University, and the San Francisco Art Institute, among others; and has taught photography at New York’s School of Visual Arts, and in the MFA program at Bard College.

marcobreuer.com

Klea McKenna is a visual artist whose work has been shown and published internationally at venues such as SFMOMA, Datz Museum of Art in Korea, The Museum of Photographic Arts and the Hecksher Museum in NY. Her photograms are held in the collection of the SFMOMA, LACMA, Santa Barbara Museum of Art, the US Embassy collection and the Mead Museum of Art . McKenna is represented by Von Lintel Gallery in Los Angeles and Euqinom Projects in San Francisco. In addition to her own art practice, she was co-founder and photographer at IN THE MAKE an online arts journal that published studio visits and interviews with over 120 West Coast artists from 2011 to 2015. She lives in San Francisco with her husband and their young daughter. 

A new body of work, GENERATION, opens this September in both Los Angeles (Von Lintel, September 8th) and New York (Gitterman Gallery, September 12th).

kleamckenna.com | @klea_mckenna

Aspen Mays was born in 1980 in Asheville, North Carolina and received her MFA in Photography from the School of the Art Institute of Chicago in 2009. She has had solo exhibitions of her work at the Center for Ongoing Projects & Research in Columbus, Ohio and the Museum of Contemporary Art in Chicago. Mays was a 2009-2010 Fulbright Scholar in Santiago, Chile, where she spent time with astrophysicists using the world’s most advanced telescopes to look at the sky. Her work has been written about in Art Forum, Art Papers, the New Yorker and the New York Times. She is currently Assistant Professor at California College of the Arts. Mays lives and works in the San Francisco Bay Area, California. 

A new body of work, opens this September in New York (Higher Pictures, September 15th).

aspenmays.com

Binh Danh emerged as an artist of national importance with work that investigates his Vietnamese heritage and our collective memory of war —work that deals with “mortality, memory, history, landscape, justice, evidence, and spirituality.” His technique incorporates his invention of the chlorophyll printing process, in which photographic images appear embedded in leaves through the action of photosynthesis. His newer body of work focuses on nineteenth-century photographic processes, applying them in an investigation of battlefield landscapes and contemporary memorials. A recent series of daguerreotypes celebrated the United States National Park system during its anniversary year. His work is in the permanent collections of the National Gallery of Art, the San Francisco Museum of Modern Art, The DeYoung Museum, the Philadelphia Museum of Art, the George Eastman Museum, and many others. He currently is a professor of photography at Arizona State University.

binhdanh.com

Chuck Kelton makes chemograms and photograms inside the darkroom; transforming light, chemistry and paper into abstract landscapes. Both chemograms and photograms are made without the use of cameras or negatives, rendering each print entirely unique. The image in a photogram is the result of exposing photographic paper to light—writing with light. Whereas the image in a chemogram is the outcome of exposing photographic paper to developer and fixer—writing with chemistry. Kelton's gold chloride and selenium toned chemograms coax a surprising palette of fiery oranges and lush violets from gelatin silver paper. In a smaller suite of work, Kelton combines chemogram and photogram techniques; the shift marked with a cracked, folded horizon line separating swirling tones from smooth, matte black. Kelton's work has been featured in numerous exhibitions and publications and is in the collections of the Museum of Fine Arts Boston; Bibliothéque nationale de France; Norton Museum of Art, West Palm Beach, Florida; International Center of Photography, New York; and New York Public Library. The artist lives and works in Jersey City, NJ.

vonlintel.com/Chuck-Kelton

James Welling was born in Hartford, CT, in 1951. Welling studied drawing at Carnegie Mellon University and video at the California Institute of the Arts. Welling's is a photographer best known for his photographs of everyday materials such as phyllo dough and aluminum foil. Welling' never formally studied photography, he set up a darkroom in 1976 and began learning about printing and developing with a series of architectural photographs of Los Angeles, CA. He emerged in the 1970s as an artist for whom photographic norms and the representational field itself were and remain contested and problematized. In 1985, Welling received the National Endowment for the Arts Fellowship. His work is currently held in several collections, including the Museum of Modern Art and the Metropolitan Museum of Art in New York.

jameswelling.net

Theresa Ganz was born in New York City.  She earned her BA from Vassar College in Film and her MFA from San Francisco Art Institute in Photography. She works in photo-based collage, installation and video. Her work has shown nationally and internationally at, among others, The Datz Museum of Art in Korea, the Museum of Craft and Design in San Francisco, The Bell Gallery at Brown University, San Francisco CameraWork and The John Michael Kohler Arts Center in Wisconsin and at various commercial spaces in New York and San Francisco. Her work was included in the 2016 DeCordova Biennial. Her work has also been featured and reviewed in publications including ArtForum,  Mousse Magazine, Outpost Journal and Magazine Gitz. She was the 2015 winner of the ArtSlant Prize. Her work is the collections of Providence College and the RISD Museum. She will have site specific multimedia installation opening at Smack Mellon in New York in 2018 and another installation that will be travelling to various institutions in 2017 and 2018. She is a founding member and director at Regina Rex in Brooklyn. She currently resides in Providence, RI where she is faculty at Brown University.

theresaganz.com

Alison Rossiter has worked with the materials and processes of light sensitive gelatin silver based photography since 1970. She studied photography at the Rochester Institute of Technology and the Banff Centre School of Fine Arts in Alberta, Canada. The darkroom is essential to her work with traditional methods of established processes. In 2003 observation into the field of photograph conservation as a volunteer at the Metropolitan Museum of Art led to a profound appreciation of the history of photographic materials. She has studios in New York and New Jersey.

alisonrossiter.com

Tuesday, October 10th, 2017 | 7:00PM

MATTHEW BRANDT

LV: Could you talk about the conceptual meaning behind your technical decisions?

MB: Every technique and material has its own set of circumstances and hence content. In my work I try my best to balance these relations with photographic subject matter.

LV: Some of your images are made with materials that bring a political allusion to the surface. Others are clearly marked by a sense of humor. And some of them have both. Can you say something about this?

MB: This is related to the previous answer about technique and content. I hope my work might encourage reactions within a viewer, whether it is laughter or a reminder… it is always nice to relate to the living.

Gregory Halpern has exhibited internationally and published four books of photographs, including ZZYZX (Mack, 2016), A (J&L Books, 2011), Omaha Sketchbook (J&L Books, 2009) and East of the Sun, West of the Moon (Études, 2014), a collaboration with Ahndraya Parlato. He is also the editor, along with Jason Fulford, of The Photographer’s Playbook: Over 250 Assignments and Ideas (Aperture, 2014). He holds a BA in History and Literature from Harvard University and an MFA from California College of the Arts. The Paris Photo/Aperture Foundation voted ZZYZX Photobook of the Year in 2016, and in 2014 he was the recipient of a Guggenheim Fellowship.

gregoryhalpern.com

You've been working and shooting in many cities and areas in America, but we have seen a work of your own hometown Buffalo only recently published in the latest Aperture issue American Destiny. What is your relationship to Buffalo? How has the city informed and affected your work or your destiny as a photographer throughout these years? 

The place is deeply a part of me and shapes, in many ways, how I see the world. The city’s population is half of what it was at its peak, and although there has been something of an urban resurgence (a Brooklynization, if you will, in small pockets) a huge portion of city remains plagued by abandonment and joblessness. The art world and academia operate largely outside of, and insulated from, those realities. I should say that while I feel connected to the place and defensive of it, I’m not entirely of it, and certainly not anymore. When I go back now, I vacillate between feeling completely out of place, while simultaneously at home.

Many of your works are the result of fruitful collaborations, as with Jason Fulford, and with your partner Ahndraya Parlato. Could you talk more about these collaborations and how your practice changes or gets influenced when you are working with other people? 

Ahndraya and Jason have had major impacts on my work; they have helped me arrive at final edits, and have helped me see the work more clearly while it was still in-progress. I don’t work in a vacuum, and I’m open to what others see in my work, especially if I trust their judgement as artists. So I think to some degree, the influence of Jason’s playfulness, or of Ahndraya’s surrealism, for example, has shown up in my own work, much to the work’s benefit I think.

In all of your works, your images talk through symbols, sometimes aggressive sometimes dreamy, always leaving the viewer to imagine what's behind them. Could you talk more about your personal experience in California which is the subject of your latest work ZZYZX?

My personal experience with California began with that great American tradition of driving there (from the East Coast)…. Romantic, cliché, and nonetheless perfect… It’s like being driven by a desire, towards an idea, fleeing something, discovering your country, yourself and your place in it…. Later, I moved to California for graduate school (fleeing my East Coast undergraduate experience at Harvard and hoping, maybe to recreate myself in a place, like so many others try in California, a place without the weight of history, or at least with a healthy disrespect for it)… I chose CCA because Larry Sultan taught there. Larry was, as much as anything, a California artist and really a Southern California artist (in spirit) even though he lived in San Francisco. Anyway, it took me years before I felt like I was able to make successful pictures in there. Beginning in 2006, after I had moved back East, I started flying out to California about once a year to photograph. I started spending increasingly more time each year, starting off with a couple weeks, eventually staying for a month or more, and then finally moving back out there for a year when I got a Guggenheim complete this project… 

Lauren Semivan (b. 1981) was born in Detroit, Michigan. She holds a BA from Lawrence University and an MFA from Cranbrook Academy of Art.  Her work has been exhibited nationally and internationally at many galleries and museums including the Nelson Atkins Museum of Art, The Detroit Center for Contemporary Photography, The Griffin Museum of Photography, The Hunterdon Art Museum, and Cranbrook Art Museum.  She has been a finalist for The John Gutmann Photography Fellowship, and SF Camerawork’s Baum Award for Emerging Photographers.  Her work was recently published in Black Forest: Four Visual Poems (Candela Books, 2014) and has appeared in The New Yorker, Artforum, and Photograph magazines.  Semivan’s work is part of permanent collections at the Nelson Atkins Museum of Art, Cranbrook Art Museum, and the Wriston Art Galleries at Lawrence University.  She lives and works in Detroit, MI, and is represented by Benrubi Gallery in New York, and David Klein Gallery in Detroit.  Her second solo exhibition with Benrubi Gallery opens this June.

laurensemivan.com | benrubigallery.com

 What led you to photography? How did you start?

I studied music (violin) from an early age but became frustrated with restrictive interpretations of classical repertoire.  

I discovered the large format view camera while studying with John Shimon and Julie Lindemann at Lawrence University.  The view camera felt primitive but complex at the same time like the violin.  I became fascinated with the idea that in photography you could make your own world in which anything could happen or exist.  I think the experience of studying music so intensely has greatly informed the way that I work. This particular image was one of the earliest I made using the studio wall as a backdrop.  I thought of these early pictures as etudes.

You often gather items from your daily life and let them be part of your photographs. What is your relationship to these objects? How do they become part of your practice? Or how do you relate to them when you're shooting?

I am drawn to specific objects for their abstract interpretive potential.  I take walks in my neighborhood with no specific thought in mind, but poetic relationships between concepts or ideas and objects I encounter reveal themselves to me. Then try to incorporate them into an image. I can relate it to the surrealists and objective chance.  In Nadja, Andre Breton talks about objects or events presenting a signal.  Sometimes I am drawn to objects first for their photogenic qualities, and then more significant meaning reveals itself in the context of the other elements within the photograph.

 In your Observatory project, you state that "Knowing and feeling are not separate" and also that your work "draws upon a tension that exists between irrational and physical worlds." Could you tell us more about this?

I rely on my intuition when I am working, and I consider the things that we feel or sense just as important as what we know empirically or quantitatively as fact. Both are physical in some way or another, and this is what connects art and science.  I am continually seeking out knowledge of myself and my experiences through my own environment and through metaphor, even though I may not know exactly what it is I am doing at the time, the act of looking and seeking meaning in the first place feels like the more important part.

Bryan Graf navigates the photographic medium with a discursive interest in the history of photography and it’s relationship to design, painting, and narrative fiction. His practice involves mixing tracks (or prints) that have visceral, optical and conceptual relationships with each another.

Recent solo shows include The Sun Room at Yancey Richardson, New York, NY and Moving Across The Interior at Halsey Mckay, East hampton, NY. Grafʼs work has recently been featured in Second Nature: Abstract Photography Then and Now at the Decordova Sculpture Park and Museum, and The Polaroid Years: Instant Photography and Experimentation at the Loeb Art Center at Vassar College. Grafʼs work has appeared in numerous publications, including Blind Spot, Harpers and The New York Times.

He has published three books: Wildlife Analysis (Conveyor, 2013), Moving Across the Interior (ICA@MECA, 2014), and Prismatic Tracks (Conveyor, 2014). He is a 2016 grant recipient from The Pollock-Krasner Foundation.

bryangrafstudio.com | yanceyrichardson.com

I read you started doing photography with your friends while skateboarding. Could you tell us more about those days? What drove you to take the camera?

It was a pretty causal way to get into photography. I was more interested in skateboarding than photography at the time. As a lot of kids growing up in the 90’s did, I used those disposable film cameras to photograph my friends while we were skateboarding and hanging out. After a while I became more and more interested in photography and started making it a priority to wander around and shoot.

A lot of your photography plays around the idea that images should not lead viewers to any conclusion, but rather be a way to explore their feelings. How much do you let your own feelings filter into your working process?

It’s not so much about ‘feelings’ as it is about firmly believing that prescribing a precise content for viewers to receive and digest is not productive, or interesting. I’m not a doctor, I’m not here to give you a pill to swallow which encapsulates a finite and preconceived reception for my work. I’m much more interested in my photographs being pieces of persuasion, and that the content derived from the work is a subjective, personal experience that can vary from person to person. I believe that content is cumulative and can come from the tension, or debris, between images more so than individual images.

Is there a contemporary artist (not necessarily in photography) who is a current inspiration for your work?

My friends Gregory Halpern and Curran Hatleberg always amaze me with their ability to infuse a poetic tone with razor sharp observations that build over time to form these complex, multi-layered tomes that I find are akin to the narratives, and economy of description, found in short stories by Raymond Carver and Joan Didion.

Abelardo Morell was born in Havana, Cuba in 1948. Morell received his MFA from The Yale University School of Art in 1981.

His publications include a photographic illustration of Alice’s Adventures in Wonderland (1998) by Dutton Children’s Books, A Camera in a Room (1995) by Smithsonian Press, A Book of Books (2002), Camera Obscura (2004) by Bulfinch Press and Abelardo Morell (2005), published by Phaidon Press. 

His work has been collected and shown in many galleries, institutions and museums, including the Museum of Modern Art, The Whitney Museum of American Art, the Metropolitan Art Museum in New York, The Chicago Art Institute, The San Francisco Museum of Modern Art, The Houston Museum of Art, The Boston Museum of Fine Art, The Victoria & Albert Museum and over seventy other museums in the United States and abroad. 

abelardomorell.net | houkgallery.com

Your images made with the camera oscura technique made us explore different worlds, entering an oneiric imagery. How do you choose the interiors where you set up the camera when you're travelling? Could you tell us more about the process and the whole experience of setting this up or how it has evolved throughout the years? 

Usually I find a view that I want to enter a room- that’s the most important part- finding a place with a room is secondary but the qualities of the space matters too. Often, the architectural details of a room really work well with the incoming image. 

Because I use a digital camera my exposures now have gone from hours to a couple of minutes. These shorter exposures can capture more specific moments of light events which I like very much- It’s nice to actually see clouds in these rooms.

You have a show opening in New York on March 9 called Flowers for Lisa, a romantic homage to your partner. How has this relationship influenced your practice and creativity?

Lisa and I have been together for 40 years. In a way these flower pictures serve as a poetic narrative of our life together and the many events - good and not so good - that we have shared.

Your vision seems to be very much imbued by painting. We see a lot of contaminations from art movements such as surrealism and impressionism in your photographs. But you also use your own painting to create images. Could you tell us more about this intertwined relation between painting and photography?

I have always loved paintings. Because I don’t really have much skill in drawing or painting I have felt insecure making art that way. With the Flowers For Lisa project and the Cliché Verre work I have ventured into the painting territory and combining it with photographic information. I would say that I’m interested in the sort of hybrid these two media make

Young Suh lives and works in Albany (in the San Francisco Bay Area, California). His photographic work addresses the complex nature of the human involvement in managing natural resources and the shifting concepts of nature in the contemporary society. Over the last 12 years he has completed two major projects, “Instant Traveler” and “Wildfires.” He had solo exhibitions with Haines Gallery, San Francisco, Center for Contemporary Art, Sacramento, Clifford Smith Gallery, Boston, and Gallery ON, Seoul, Korea. His work was also shown at the Santa Barbara Museum of Art and Seoul International Photography Festival. His latest work has been exhibited at Mills College Art Museum. It is titled “Can We Live Here? Stories from a Difficult World,” a multimedia exhibition of photography, video, and performance created in collaboration with poet Katie Peterson. He is currently Associate Professor and Co-Chair of Department of Art and Art History at University of California, Davis.

Can you talk about who inspired you in your earlier career? Is there a photographer or a painter you get inspiration from?

I love Robert Frank, not just the famous book, The Americans, a classic of both photography and American road trip literature, but the whole career, including the strange films like Me and My Brother. I don’t think Frank ever really worked around the idea of a “project” and at least right now I don’t want to do that kind of work – even in The Americans he gets distracted a lot. The book is actually one long distraction from one place to another. Frank brings art into life – he considers the two at the same time, and he lets the pictures get messy as his life gets messy. Nan Goldin and Alex Soth are photographers I admire for the same reason, though they led far more exciting lives than I ever do. 

Your projects, facing environmental issues, reveal a suspended narrative between dream and catastrophe, could you tell us more about it? What makes you choose these themes? What is your own relationship to nature?

Nature terrifies me. My wife is from California and she loves open spaces and the mountains and feels safe in them. I don’t – the American West fills me with fear and something like the National Parks makes me feel apprehensive, because it marks the land with some idea that we could mythologize it, control it. At first, when I was photographing parks and wildfires, I was interested in how humans tried to control nature. This is a major issue during a time when climate change has shown us exactly how human activity has raised the temperature of the planet. Images of people struggling in nature are still compelling to me, but I’ve gotten less interested in people trying to control it than in those times when people are at the mercy of it. We humans are not yet in control of nature completely. So I got interested in taking pictures of people with animals, for example, because I wanted to see what people looked like when they weren’t in control. We should preserve those experiences, value them, and investigate them. 
 
How California and Korea influenced the use of light in your photography?

In California there is too much of it and in Korea, a winter country at a slightly higher latitude, there is not enough. I have noticed in my pictures I either have a surfeit of light (for example, trying to fit a fire into an already-hot day, or icy glaciers against a slate-gray sky) or a lack of it (I made a film once of the lights of a ferryboat at night slowly going off). I’m a moody person and I like dramatic extremes of light, and in California you notice that in ordinary situations. Light is the opera of our lives in California – people say that this is a “chill” state but the intensity of light never tells us to calm down the way, say, a Northeastern winter day does. 

Farrah Karapetian makes photography physical. Her work "marries two traditions in photography — that of the staged picture and of the image made without a camera" (LA Times 2015.) Her photograms and the sculptural negatives she makes en route to their exposure move in and out of abstraction and figuration and "disrupt and call attention to our era’s deeply entrenched response of permitting the constant newsfeed of documentary to slide by us as political ephemera"(Georgia Review 2015.) Her work is in public collections that include the J. Paul Getty Museum, the Los Angeles County Museum of Art, and the Museum of Modern Art, San Francisco. She has had multiple solo exhibitions and is represented by Von Lintel Gallery (Los Angeles, CA) and Danziger Gallery (New York, NY.) Current exhibitions include A Matter of Memory, George Eastman Museum, Rochester, NY (2016); The Surface of Things, Houston Center for Photography (2016); and About Time: Photography in a Moment of Change, SFMOMA, San Francisco, CA (2016.)

farrahkarapetian.com | danzigergallery.com

As a student, or even before or after, how did you start developing your passion for photograms? What inspired you earlier in your life to choose this path as your visual language?

I was inspired to make this photogram by two things: finding in the New York Times a documentary photograph of a house blown apart by a hurricane, and thinking about the notion of shape as form in high Modernist painting. My formal practice evolves in the service of meta-narratives about the dissemination of culture. What news do we see, how do we usually see it, how can I spend more time with it, and how can my work motivate you to do the same? Photography is such a physical medium. You can't do it sitting down. I am fascinated by how photography makes me move, and how I can use it to make other people move as well. 

Some of your work (specifically Soundscapes, Shape of Sound and Cymbalscapes) is clearly influenced by music: what is your relationship to it? What do you like to listen? 

Leo Tolstoy opens Anna Karenina with the line, "All happy families are alike; each unhappy family is unhappy in its own way.” Think about this in terms of constants and variables in art-making: any accident or conflict, if you pay attention to it, can be productive. By "pay attention", I mean that one has to a) set up parameters and have expectations; b) notice that something has occurred that was not what one intended; and c) decide whether or not to pursue the unintended consequence of accident and incorporate it into a new set of parameters. As much as photographers usually like to talk about technique and anecdote, what they're really talking about is the medium's steadiest bed fellows: chance and control.

How has California influenced your practice? is there a place or a museum you always come back to as it affects your vision or you're emotionally bound to it?

I make negatives, but I always want the way that I do that to be significant. There are no defaults left for long in my practice. Any one material means something: glass is vulnerable, the photograph has a reputation for facticity, resin has something to do with history, and so on. Here is a negative I made out of glass and steel, using the logic of light to describe a linear shadow on the wall from the drumset's armature and a volumetric one from its cymbals. Moholy Nagy made sculptural negatives too. Mine just have reference points embedded in their abstract arguments. The referent gives you somewhere to start before you spin out alongside me in a body of work. 

MILAGROS DE LA TORRE is an artist working with the photographic medium since 1991. Her images involve extensive research and examine intimate representations of violence, its residual effect on the individual, and the structures of remembrance. She studied Communication Sciences at the University of Lima and received a B.A. (Hons) in Photographic Arts from the London College of Communication. Her first solo exhibition, curated by Robert Delpire, was presented at the Palais de Tokyo, Paris.   She received the Rockefeller Foundation Artist Grant and was awarded the Romeo Martinez Photography Prize and the Young Ibero-American Creators Prize. In 2003, her artist book Trouble de la Vue  was published by Toluca Editions, Paris. She was awarded the Guggenheim Fellowship (2012), The Dora Maar Fellowship from The Brown Foundation (2014), The Peter S. Reed Foundation Award in Photography (2016) and was the recipient of a ‘Merited Person of Culture Award’ from the Minister of Culture in Peru (2016). Her work has been exhibited broadly and is part of permanent museum collections in America and Europe. In 2012, The Americas Society, N.Y. presented "Observed", a solo show, curated by Prof. Edward J. Sullivan and the Museo de Arte de Lima, MALI honored her with a mid-career retrospective exhibition.  Born in Peru, De la Torre lives and works in New York.

rolfart.com.ar | tolucafineart.com

SUNÉ WOODS is an artist living in Los Angeles. Her work takes the form of multi-channel video installations, photographs, and collage. Woods practice examines absences and vulnerabilities within cultural and social histories. She also uses microsomal sites such as family to understand larger sociological phenomenon, imperialist mechanisms, & formations of knowledge. She is interested in how language is emoted, guarded, and translated through the absence/presence of a physical body. 

She has participated in residencies at Headlands Center of the Arts, Vermont Studio Center, The Center for Photography at Woodstock, and Light Work. Woods is a recipient of the Visions from the New California initiative, The John Gutmann Fellowship Award, and The Baum Award for an Emerging American Photographer.

sunewoods.com

Born in Atlanta, GA, MEGHANN RIEPENHOFF is based in Bainbridge Island, WA and San Francisco, CA. She received a BFA in Photography from the University of Georgia, and an MFA from San Francisco Art Institute, where she is a member of the visiting faculty. Her work is represented by Yossi Milo Gallery and Euqinom Projects. She has been exhibited at the High Museum of Art, the Worcester Art Museum, Galerie du Monde, San Francisco Camerawork, Aperture, and the Center for Fine Art Photography. Her work is in the collections of the High Museum of Art, the Museum of Fine Arts, Houston, the Museum of Contemporary Photography and the Worcester Art Museum, and has been published in Harper’s Magazine, Aperture PhotoBook Review, The New York Times, TIME Magazine Lightbox, and the San Francisco Chronicle. She is the recipient of a Fleishhacker Foundation grant, and is speaking at What Light Can Do, the San Francisco Museum of Modern Art’s upcoming lecture series. 

meghannriepenhoff.com

SARAH PALMER was born in San Francisco and lives in Brooklyn. She is an artist and an educator whose work has been exhibited most recently in "Original Copy" at the 2016 SPRING/BREAK Art Show, as well as at the Foam_fotografiemuseum and the Wild Project in recent years. She was awarded the 2011 Aperture Portfolio Prize and made a self-published artist book, Waves, in late 2015 and early 2016.

sarahpalmer.net

AN-MY LÈ was born in Saigon, Vietnam, in 1960. She left Vietnam during the final year of the war in 1975 before finding a home as a political refugee in the U.S. Lê received an MFA from Yale University in 1993, and between 1994 and 1998 she made several trips back to Vietnam to discover and photograph her native country in peacetime. Since then Lê has explored the military conflicts that have framed the last half-century of American history: the war in Vietnam and the war in Iraq. But she approaches these events obliquely; instead of addressing her subject by creating reportage of actual conflict, she photographs places where war is psychologically anticipated, processed, and relived: Vietnam War re-enactments in Virginia and North Carolina (in her series Small Wars); and the US Marines’ training in the “virtual” Afghanistan and Iraq of the Californian desert (in 29 Palms). Lê has had solo exhibitions at the Baltimore Art Museum, the Charles Scott Gallery at Emily Carr University, Vancouver, Hasselblad Foundation, Gothenburg; DIA: Beacon, New York; the Henry Art Gallery, Seattle; the San Francisco Museum of Modern Art; The Museum of Contemporary Photography, Chicago; and P.S.1 MoMA, New York, among many other institutions. Lê is the recipient of numerous awards, including fellowships from the New York Foundation for the Arts, the John Simon Guggenheim Memorial Foundation, the Louis Comfort Tiffany Foundation and the MacArthur Foundation in 2012. She is a professor of Photography at Bard College.

anmyle.com / murrayguy.com

ASPEN MAYS was born in 1980 in Asheville, North Carolina and received her MFA in Photography from the School of the Art Institute of Chicago in 2009. She has had solo exhibitions of her work at the Center for Ongoing Projects & Research in Columbus, Ohio and the Museum of Contemporary Art in Chicago. Her work has also been included in the recent exhibitions, State of the Art at Crystal Bridges Museum of American Art, Tales from a Dark Room at the New Mexico Museum of Art, and Double Back: Photographic Reflexivity at the University of Maryland. She is currently Assistant Professor at California College of the Arts. Mays lives and works in Oakland, California.

aspenmays.com / higherpictures.com

EILEEN QUINLAN was born in Boston, MA and lives and works in Brooklyn, NY. She has a BFA from the School of the Museum of Fine Arts, Boston, and an MFA from Columbia University. Quinlan frequently participates in group shows and has mounted more than a dozen solo shows internationally since 2005. Her work is in the permanent collections of the Metropolitan Museum of Art, Museum of Modern Art, Whitney Museum of American Art, Hammer Museum, Museum of Contemporary Art LA, and FRAC (Fonds Régional d'Art Contemporain), France, among others. Recent shows include joint solo exhibitions at Campoli Presti Galleries in London and Paris, and group exhibitions Image Support at Bergen Kunsthall, Norway; Transmission, Recreation and Repetition at the Palais des Beaux-Arts in Paris, Lens Work at LACMA in Los Angeles, and New Photography at the Museum of Modern Artand What Is a Photograph at the International Center for Photography, both in New York. Quinlan's work is represented by Miguel Abreu Gallery, in New York.

eileenquinlan.com \ miguelabreugallery.com

Born in London, England in 1955, SUSAN DERGES currently lives and works in Dartmoor, Devon. From 1973-1976 she studied painting at Chelsea School of Art in London. From 1981 to 1985 she lived and worked in Japan, returning to London in 1986 with the influences of Japanese minimalism and integrating this into her discovery of camera-less photography processes. Throughout her career Derges has been the recipient of many awards, fellowships, and residencies where she has been able to further pursue her artistic interest in science. She has received residencies at the Museum of the History of Science attached to the University of Oxford, The Eden Project Education Centre in Cornwall, Stour Valley Arts Project in Kings Wood, Kent, and Maudsley Hospital in London, among others. She has been exhibited throughout the world in both solo and group exhibitions. Her work has been exhibited at Purdy Hicks Gallery in London, Johyun Gallery in Seoul, Ingleby Gallery in Edinburgh, Paul Gasmin Gallery in New York, Museum of the History of Science in Oxford, and Tokyo Design Centre, among many others. Her work can be found in many collections, including: Arts Council of England, Victoria & Albert Museum, San Fransisco Museum of Modern Art, Museum of Fine Arts Boston, Eden Project, Metropolitan Museum of Art, The Hara Art Museum, among others. Susan Derges is represented by Purdy Hicks Gallery in London and Ingleby Gallery in Edinburgh. Derges latest New York exhibition will be opening on September 14th, 2016 at  Danziger Gallery.

susanderges.com

Naomi Itami is a cross-disciplinary artist working in lens-based media and sound. Formerly an international opera singer, she holds several Masters degrees including one from the LCC in Photography. She writes on the arts and is a frequent contributor to various publications including Hotshoe Magazine, Photomonitor and LensCulture. A Bay Area native, she currently resides in London, UK.

HANNAH WHITAKER is an artist and Triple Canopy contributing editor based in New York. She holds a BA from Yale University and an MFA from ICP/Bard College. Recent exhibitions include solo shows at M+B Gallery in Los Angeles, Galerie Christophe Gaillard in Paris, and Locust Projects in Miami. She recently published her first book, Peer to Peer, with Mörel Books. In 2012, she was nominated for the Rencontres d’Arles Discovery Prize. 

http://hwhitaker.com/

Bay Area photographer JOHN CHIARA captures cityscapes in a process that incorporates a hybrid of photographic media. He creates one-of-a-kind photographs in a variety of hand-built cameras, the largest of which is a 50” x 80” field camera transported by the artist on a flatbed trailer. Once a location is selected, he situates and then physically enters the camera, maneuvering in near total darkness positive color photographic paper on the camera’s back wall. Throughout the exposure, he controls how the light enters the lens by using his hands to burn and dodge in the image. These large-scale photographs are developed by hand in a spinning drum process that agitates the chemistry over the photographic paper that lines the interior of the drum – a process that often leaves behind traces on the resulting image.

http://www.johnchiara.com/

SHARON HARPER's work explores technology and perception in relation to the natural world. She is the recipient of a John S. Guggenheim Foundation Fellowship in Photography and has been awarded residencies at the Headlands Center for the Arts, the MacDowell Colony, Yaddo, Ucross Foundation, Virginia Center for the Creative Arts, the Vermont Studio Center and the Monastery of Halsnøy, Norway. Her work is in permanent collections at the Museum of Modern Art, New York, the Whitney Museum of American Art, The Museum of Fine Arts, Houston, The Albright-Knox Art Gallery in Buffalo, the Harvard Art Museums, the Santa Barbara Museum of Art in Santa Barbara, California, the Nelson-Atkins Museum in Kansas City, Missouri, and The New York Public Library among other collections. She received an MFA in photography and related media from the School of Visual Art in New York. She is currently Professor of Visual Art, Visual and Environmental Studies at Harvard University.

http://www.sharonharper.org/

Born in London and based in New York, LUCY HELTON received her master’s degree in fine art photography from Hartford Art School, CT, in 2014. Her first book "Actions of Consequence" was nominated for the MACK First Book Award 2014, shortlisted for the Kassel Dummy Award 2015, and The Anamorphosis Prize 2015. "Actions of Consequence" was also included in the 2015 Best Photo Book selection by the Humble Arts Foundation. Her most recent book "Transmission" (Silas Finch, 2015) is a communication from our future to our recent past and it was shortlisted for the Paris Photo-Aperture First Book Award 2015. Helton is immersed in photo book making and has participated in various book fairs and festivals in New York, L.A., London, Germany and France.

http://www.lucyhelton.com/

JOHN CYR (b. 1981) is a New York based photographer and Assistant Professor of Photographic Imaging at Suffolk County Community College. Cyr earned his MFA from the School of Visual Arts in 2010 and his work has been featured in various publications including the New York Times, BBC News, ARTnews, TIME, NPR, Popular Photography, the Telegraph and Photo District News and is the author of the powerHouse published monograph, Developer Trays. Cyr's photography is represented in many notable public and private collections including: George Eastman House International Museum of Photography, Rochester, New York; The Photographic History Collection at the Smithsonian's National Museum of American History, Washington D.C.; and The New York Public Library, New York, New York. John Cyr is represented by Catherine Edelman Gallery in Chicago. 

http://www.johncyrphotography.com/

VICTOR SIRA is a Venezuela-born photographer/artist whose work has been the recipient of numerous fellowships, including the Guggenheim Foundation Fellowship, the Andrea Frank Foundation Fellowship and the New York Foundation for the Arts Fellowship. Sira is a faculty member at the ICP–Bard MFA Program in Advanced Photographic Studies, where he teaches the course The Book: Imaginary Studio, A Non Stop Process. In 2011, he co-founded, with Shiori Kawasaki, Bookdummypress (bdp), a publishing company, studio, and bookstore that specializes in artist publications.

http://victorsira.com/

At age thirteen, CHRIS McCAW’s mom forced him to take a photo course at the community center.  He got hooked instantly. Concurrently, McCaw spent his youth in the punk and skateboarding scenes, taking the “DIY” motto of those cultures and applying it to photography. The first camera he built in 1995 was a 7x17” view camera to make contact negatives for platinum prints. Over the ensuing decades—and particularly with his Sunburn project—McCaw has used photographic materials, especially expired gelatin silver paper, in groundbreaking ways.  His work is held in numerous public collections, and in 2012 a monograph Sunburn was published by Candela Books. His second solo exhibition at Yossi Milo Gallery will be opening on March 4th. 2016.

http://www.chrismccaw.com/

VERA LUTTER was born in Kaiserslautern, Germany. After receiving a diploma in fine arts from the Munich Academy in 1990, she studied photography at the School of Visual Arts in New York City. In addition to several solo shows, Lutter has undertaken a number of commissions. Recent solo shows include The Modern Art Museum of Fort Worth, Texas (2005); Foundation Beyeler, Switzerland (2008); Carré d’art Musée d’Art contemporain, Nimes (2012); “Inverted Worlds,” Museum of Fine Arts, Houston (2015, traveling to New Orleans Museum of Art, Louisiana, through 2016); and “This is a Photograph,” Penland Gallery and Visitors Center, North Carolina (2016). Lutter’s photographs are in the permanent collections of the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Museum of Fine Arts, Houston; and San Francisco Museum of Modern Art, California, among others. Lutter was the recipient of the Deutscher Akademischer Austausch Dienst (DAAD) Grant in 1993, the John Simon Guggenheim Memorial Foundation Fellowship in 2001, and the Pollock–Krasner Foundation Grant in 2002.

YAMINI NAYAR was raised between Detroit, MI and New Delhi, India, and now lives and works in Brooklyn, NY. She received her MFA from the School of Visual Arts, NY and BFA from the Rhode Island School of Design. Nayar has held residencies at the Lower Manhattan Cultural Council Workspace, Center for Photography at Woodstock , Art Academy of Cincinnati, was recently an NYU Visiting Artist Scholar and a recipient of an Art Matters Foundation research grant to travel to Chandigarh, India. Nayar has exhibited her work internationally at venues including the Museum of Moderne Kunst in Frankfurt, Yerba Buena Center for the Arts, Queensland Art Gallery, Australia, DeCordova Museum, MA, Sharjah Biennial, UAE, Saatchi Gallery, UK. Nayar's work is included in numerous public and private collections, including the Solomon Guggenheim Museum NY, Saatchi Museum, Queensland Art Museum, Cincinnati Art Museum, Queens Museum and US Arts in Embassies. Her work has been featured in numerous publications and magazines including Passages: Indian Art Today (Daab Media, 2014), Lines of  Control,  Partition as a Productive Space (Green Cardamom 2012), Unfixed: Postcolonial Photography in Contemporary Art (Jap Sam Books, 2013); and Manual for Treason: Sharjah Biennial (2011), and featured in the New York Times, New Yorker Magazine, Art India, Artforum, Art in America, Frieze, Vogue India, Artpapers, and Art Economist. She is the recipient of a 2014 Art Matters grant, and is as a Thesis Advisor in the MFA Photography Dept of the School of Visual Arts in New York. Nayar's work is represented by Thomas Erben, New York and Jhaveri Contemporary, Mumbai. 

DILLON DEWATERS is an artist working in traditional and experimental photography and video. He received his MFA in Advanced Photographic Studies from the International Center of Photography/Bard College in 2010, where he was awarded the ICP Director’s Fellowship in 2009, and his BFA in Photography from Arizona State University in 2002. He has participated in many group exhibitions, including, “Brand Innovations for Ubiquitous Authorship,” at Higher Pictures gallery in summer 2012, “Useful Pictures” at Michael Matthews Gallery and “Beyond the Barrier” at the Camera Club of New York, both in spring 2013, and “Lightplay” at Moscow’s Gallery 21 in winter 2013. In 2012, he was awarded a Tierney Fellowship by the Tierney Family Foundation. He has been Director of Photography and Imaging at Vik Muniz Studio since 2011. His work was published in Conveyor 5: Spectre // Spectrum, and he was commissioned by Conveyor to create the Indigo artist’s book for their “Visible Spectrum” book series. His work was included in The Future is Forever exhibition at ICP at Mana Contemporary.

JON GOODMAN may be considered the catalyst in the modern revival of the photogravure process. He is a master printer of photogravure and a photographer. Goodman came to photogravure as a photographer and continues to make his own creative pictures with the camera. His landscape and still life prints have been exhibited nationally and internationally; outside of this country he has had one-person exhibitions in Scotland, France and Switzerland. His work has been collected by many museums, among them the Museum of Modern Art, the Metropolitan Museum of Art, the Museé de L’Elysée (Lausanne, Switzerland) and the Bibliothèque National (Paris). In 2005, Goodman published Photography in High Places: The Work of Bradford Washburn. This lavish portfolio printed in an edition of 100 (10 of which are limited Chine-collé) represents Goodman’s foray into the publishing marketplace.

MARINA BERIO's work interrogates the material underpinnings of photography. She has made family pictures out of blood, and large-scale charcoal drawings of her negatives. Berio studied photography, drawing, sculpture and art history in college, and then earned her MFA in Photography at Bard. She has been awarded grants by the Pollock/Krasner Foundation, the New York Foundation for the Arts, and the Aaron Siskind Foundation, and been invited to several residencies including the MacDowell Colony, Yaddo, and Millay. She has exhibited at various art spaces internationally, including Michael Steinberg Fine Arts, Von Lintel Gallery, Smack Mellon, and Artists Space in New York; Judy Ann Goldman Fine Art in Boston; Les Rencontres d’Arles, Galerie Camera Obscura in Paris; and Otto Zoo and Acta International in Italy. Her work has been published in Conveyor, Foam and Fantom. Berio is Chair of the General Studies Program at the International Center of Photography in New York.mageI

KUNIÉ SUGIURA was born in Nagoya, Japan in 1942. She received a BFA from the School of the Art Institute of Chicago, Chicago, IL, in 1967. Since she arrived in the United States from Japan in 1963, Kunié Sugiura has created innovative works that expand the uses of photography while exploring its relationship with drawing and painting. By the early 1970s, she had established the paradigms for her mature work: a lifelong interest in multimedia experimentation and the photographic manipulation of images from nature. In 1980, while searching for a way to make more dynamic drawings, she adopted the classic black and white photogram technique which she has used ever since. Works by Kunié Sugiura have been exhibited at major museums throughout Japan, Europe, and the United States and are included in the collections of The Museum of Modern Art, New York; the Museum of Fine Arts, Houston; the Museum of Fine Arts, Boston; the Tokyo Metropolitan Museum of Photography; the National Museum of Modern Art, Tokyo, among many others. Sugiura is represented by Leslie Tonkonow Artworks + Projects in New York, NY.

PAULA McCARTNEY makes photographs and artists’ books that explore the idea of constructed landscapes and the way that people interact with and manipulate the natural world. McCartney earned an M.F.A. in Photography from the San Francisco Art Institute and has received grants from the Aaron Siskind Foundation the McKnight Foundation and the Minnesota State Arts Board. Her work has been exhibited across the US and is included in numerous public collections including the Museum of Contemporary Photography, the Smithsonian American Art Museum, the Minneapolis Institute of Arts and the Museum of Modern Art’s Artist Book Collection.Princeton Architectural Press published her first monograph, Bird Watching, in 2010. Her second monograph, A Field Guide to Snow and Ice, was published by Silas Finch in 2014.

LOTHAR OSTERBURG is known as one of the foremost photogravure artists in the country who is also working on stop motion video collaborations with his wife, composer and performer Elizabeth Brown. A 2010 John Simon Guggenheim Memorial Fellowship recipient, the same year he also received an Academy Award in Art from the American Academy of Arts and Letters and a Bard College research grant, he has been awarded two New York Foundation for the Arts grants for printmaking in 2003 and 2009, a grant from the AEV Foundation in 2009 and residencies at MacDowell in 1996, 1997 and 2002, the Virginia Center for the Creative Arts in 1999 and a 2011 residency at the Liguria Studies Center of the Bogliasco Foundattion in Italy. Exhibition highlights include major shows at ICPNA in Lima, Peru in 2010, the Fitchburg Art Museum, Fitchburg, MA in 2007, the Cantor Fitzgerald Gallery at Haverford College in 2002, the Zoller Gallery at Penn State University in 2003 as well as part of the 2013 100 year anniversary show at Grand Central Terminal “On Time”. His work has been shown in solo shows at Lesley Heller Workspace in 2009, 2011 and 2015, Moeller Fine Art in 2003, 2004 (New York) and 2011 (Berlin), as well as Wendy Cooper Gallery in Madison, WI, Lunday Fine Art in Houston, TX and many more. He received a degree in printmaking and experimental film from the Art Academy (HbK) Braunschweig, Germany. After moving to the US in 1987 he worked in various print studios including as Master Printer at Crown Point Press in San Francisco. He started his own print studio specializing in photogravure in 1993, moving it to New York City in 1994. He has taught photogravure workshops across the country, from Anderson Ranch Arts Center, Maui’s Hui No’Eau Visual Arts Center, RISD, Mass Art or Tulane. Having taught at Columbia University and Cooper Union he has been on the faculty of Bard College for more than 15 years.

American photographer ANDREW MOORE (born 1957) is widely acclaimed for his photographic series, usually taken over many years, which record the effect of time on the natural and built landscape. These series include work from Cuba, Russia, Times Square, Detroit, and the High Plains of the United States. His newest book, entitled Dirt Meridian, is published by Damiani Editore and will be released in the Fall of 2015. The photographs were made over a ten-year period along the lands that lie west of the 100 the meridian and addresses the history and mythology of this region known as “flyover country”. The book also includes a preface by the noted author Kent Haruf, as well other essays and an extensive set of endnotes. Moore’s photographs are held in the collections of the Metropolitan Museum of Art, the Whitney Museum of American Art, the National Gallery of Art, the Yale University Art Gallery, Museum of Fine Arts Houston, the George Eastman House and the Library of Congress amongst many other institutions. He has received grants from the John Simon Guggenheim Memorial Foundation, the National Endowment for the Humanities, the New York State Council on the Arts, the JM Kaplan Fund, and the Cissy Patterson Foundation. Moore’s other publications include Detroit Disassembled, Making History, Governors Island, Russia; Beyond Utopia, Cuba and Inside Havana. He also produced and photographed "How to draw a bunny," a documentary feature film on the artist Ray Johnson. The movie premiered at the 2002 Sundance Festival, where it won a Special Jury prize. Presently he teaches a graduate seminar in the MFA Photography Video and Related Media program at the School of Visual Arts in New York City.