As always, I'm elated to be included in another A Smith Gallery exhibition with so many talented, creative, and inspiring photographers. The Earth exhibit was curated by Paula Tognarelli, the Executive Director and Curator of the Griffin Museum of Photography in Winchester, Massachusetts. It will be running from February 3rd through March 12th, with an opening reception on February 25th from 4:00 pm to 8:00 pm.
I am so honored and humbled to be included in the exhibit Still Life: The Ordinary Made Extraordinary at PhotoPlace Gallery in Middlebury, Vermont. My mentor and boss, Tina Weitz, will also have one of her beautiful Polaroids featured in the exhibit. All of their exhibitions feature amazing, well-crafted imagery and I'm thankful to be a part of it. The exhibit will run between January 2nd and January 27th, making it my first show of 2017!
I am honored to have juried the work for Still Life: The Ordinary Made Extraordinary for PhotoPlace Gallery. But I have to say how difficult it was because I don't think there was one image submitted that could not have gone in this exhibition. However, because of the huge number of images, only a small number of them could be selected for both exhibitions. I was greatly dismayed that so much truly excellent work had to be eliminated. It's obvious that some of the entries were from professional photographers whose work is very sophisticated, polished and technically excellent. I appreciate the care and skill that this kind of studio work requires, but I wanted to indulge images that had some magic and spontaneity - images that are poetic and playful, and not so carefully considered or contrived.
This was also a humbling experience. I was blown away by how much talent there is 'out there', and I wish everyone the best in their lives as photographers and artists.
I am thrilled to have a piece included in the Fall issue of New York University's Anamesa Journal. The journal features work by artists, poets, writers, and other creatives, which allows for a wide range of perspectives on the chosen topic, Glass Ceilings. It's always an intriguing combination of works and I'm so thankful to be shown amongst such a fascinating group of people. The journal will be available for view in print and online by mid-December.
Glass Ceiling is a core metaphor of the feminist movement. It is worth noting that this ceiling is singular. But what of other ceilings? For different individuals and groups in our society, the glass ceilings are many and varied. Yet all of these ceilings help constitute each other. All of them are barriers to better lives.
This is why Anamesa has opted for the theme of our fall 2016 issue to be "glass ceilings" - an acknowledgement of multivalency when it comes to the systemic limitations applied to certain groups of people. What do we mean by "glass ceilings?" Glass ceilings are the social structures that hinder marginalized factions' ability to succeed at an institutional level while guarding the privilege and stability of those above the ceilings. Further, those affected by institutional oppression know about surviving under glass ceilings. Our society claims that all people are entitled to their lives, that they have the right to make their own decisions about how they want to live those lives. Our society insists that all people can seize the opportunity to better their own conditions, as well as the lives of their children. How do we truly live up to these claims on a societal and individual level and how do we discuss glass ceilings in life and across academic disciplines?
Glass ceilings pervade our culture, although they are often ignored. We must identify them in so that we might shatter preconceived notions that reinforce such despotic conditions. We must look both outward and inward. In this way, we will begin to know our personal and collective glass ceilings.
I am beyond excited to be included in the Light exhibit at A Smith Gallery in Johnson City, Texas. There are so many talented photographers who are participating and they all have entered some really stunning work. I'm so humbled to be a part of this wonderful group. The exhibit will be up from November 4th until December 11th, with an opening reception on November 24th from 4:00 pm to 8:00 pm.
For the past 5 months I have been working as the Gallery Assistant for Photo Méthode Gallery and the director, Tina Weitz. During this time, Tina has very generously put a selection of my work on the gallery's walls, the official webpage, and in the online store.
I'm beyond thrilled to have my work displayed alongside all of the accomplished artists and photographers that are featured, currently including Christa Blackwood, Tami Bone, Peter Brown Leighton, Fran Forman, Kevin Greenblat, David Johndrow, Michael Kirchoff, Nancy Mims, Hannah Neal, Amanda Smith, Sally Weber, Tina Weitz, and Shelley Wood.
Please take some time to check out some of our brilliant photographers either online or at the gallery space housed in Flatbed Press and Gallery in Austin, Texas. There are also pieces from each artist available in the online store!
Photo Méthode is an exploration of photography gallery located in the Flatbed Building on Martin Luther King Jr. Blvd. in Austin, Texas. Featured are print processes and artworks of local and national photographers set in an industrial warehouse filled with galleries and artisans including Flatbed Press and Gallery, CamibaArt, and Gallery Shoal Creek.
Photo Méthode Gallery
2832 Martin Luther King Jr. Blvd.
Austin, TX 78702
Hours During Exhibitions:
Wednesday - Friday, 10:00 am to 5:00 pm
Saturday, 12:00 pm to 5:00 pm
I'm very honored to be a part of PhotoPlace Gallery's upcoming exhibit, Flight. There are so many poignant works in the final selection and I'm humbled to be among this group of talented photographers. If you happen to be in or near Middlebury, Vermont between June 8th through July 1st, please stop by and check out the show!
When was the last time you had a flying dream?
Flying dreams are connected to lucid dreaming. It is not clear how or why lucid dreams occur, but the phenomenon is fascinating because it incorporates self-awareness and control, which are elements of wakefulness, into dreaming. (When I was around 12, I began having intensely realistic flying dreams – I swear I was flying! I could escape the bad guys by jumping off the rooftop and projecting myself into the troposphere!) Children have lucid dreams more frequently than adults do, which suggests that lucid dreaming might be a natural phenomena occurring in a developing brain. I miss this experience as an adult.
Within the work submitted to this exhibition, I first looked for images that prompted an immediate visceral feeling of flying – photographs that creatively expressed the joy of flight. Jurying these images was a treat in that the subject of ‘flying’ was the constant, so I was enjoyably submerged in this ethereal topic – so, thank you to those who submitted work! The consideration of the craft, concept, and execution of the photograph was simultaneous criteria for image selection. Each single image had to be strong enough to stand on it’s own, aside from thematic elements, and exemplify something of the artist’s voice. Lastly, consideration of how the images would work together when hung as a group in a gallery space was a factor – a variety of visual genre was important.
Details in some of the imagery stick with me – the glint of light through a dragonfly’s wings exposing the cellular structure that enables flight, carnival ride wind blowing the blond curls of a child away from her head, a hot air balloon sandwiched between a full moon and a desert landscape, a yellow scarf floating through the stratosphere. A hawk soars above the famed Ranchos de Taos church; Vaux swifts swoop in formation, darkening the sky. Children gather on the lawn at dusk, jumping and turning in the air, capturing the feeling of flight for just three seconds.