Max Barstow

Max Barstow is a London-based photographer with a degree in Philosophy from King’s College London. He is 23 years old and began making photographs with a Rolleiflex medium-format camera when he was 13.

Max is broadly interested in images about city-life, with a particular interest in people and advertisements. He is inspired by a mixture of studio and documentary photography: Irving Penn’s ‘Small Trades’ series and still-life images of detritus inspire him as much as Michael Wolf and Bruce Davidson’s subway photographs.

He is currently working on a two-part portrait series in London, alongside an ongoing project photographing shop-windows, screens and reflective surfaces.

Londoners

This is the second half of a portrait project I began in 2015, inspired by William Blake’s bleak illustrated poem London. I’ve primarily worked at locations such as Liverpool Street, Bank, Regent Street, Oxford Street, Holborn and Westminster, using pre-existing white surfaces as backgrounds.

My aim has been to create un-staged portraits which have the clarity and emotional depth of studio portraits by photographers such as Irving Penn, Richard Avedon and David Bailey. Stylistically, I’ve tried to make images which are equally appropriate to contemporary and antiquated aspects of London – the diversity of people who live, work in and visit the city, as well as the more traditionally English financial and political centres in Bank and Westminster.

My other goal has been to produce images that convey the intangible sense of angst and uncertainty which have been present in London in recent years.

To view more of Max’s work please visit his website.

Tamara Dean

For as long as I can remember I have yearned to be in nature. When I enter a forest I feel as though I have come home. This deep love of nature informs my life and my art practise.
I am an Australian photographic artist working in the fields of photography and experiential installation.

I have been exhibiting for a decade and am represented by Martin Browne Contemporary in Australia and JHB Gallery, NYC. My work explores the relationship between humans and the natural world. I delve into the informal rites of passage that young people seek out in nature and create symbolic images and experiences which aim to bridge the separateness that we as humans create between us and nature.

I am a selected artist for the 2018 Adelaide Biennial of Australian Art, and have won numerous awards including first prize in the 2013 New York Photo Awards – Fine Art series category with my series ‘The Edge’. My work is held in public and private collections both nationally and internationally.

Instinctual

Instinctual explores the relationship between humans and the natural world and the role of instinct in our contemporary lives. The sense of upper-world and underworld within these works is representative of consciousness and the subconscious. The absence of clothing and natural setting is designed to symbolise a universal sense of humanity and our inherent animalism. An acknowledgment that we are indeed a part of nature.

To view more of Tamara’s work please visit her website.

Lily Brooks

Lily Brooks was born in Massachusetts in 1981. She received a BFA from the Massachusetts College of Art + Design in 2006 and an MFA from the University of Texas at Austin in 2014, where she was named a Powers Research Fellow. Lily’s work has been published in Austin Chronicle, Cabinet magazine, and online for Ain’t-Bad Magazine and Crusade for Art. Selected exhibitions include Forces at Work, a three-person show at the Visual Arts Center in Austin, Texas and a solo exhibition at Aviary Gallery, in Boston, MA. Lily was selected for the 2016 Magenta Foundation festival, catalogue and exhibition at Division Gallery in Toronto, ON. Lily is full-time Instructor of Photography at Southeastern Louisiana University and lives and works in Baton Rouge.

We Have to Count the Clouds

An inscription at the National Weather Service station in New Braunfels, TX reads, “He who shall predict the weather, if he does it conscientiously and with inclination, will have no quiet life any more.”

In my ongoing series, We Have to Count the Clouds, photographs function as evidence of the ways in which we comprehend, negotiate, and mediate our relationship to weather and climate. The work presents visual remnants of often-invisible forces.

I moved to Texas in August of 2011, during the worst drought since the 1950‘s. Conversations about the heat were ubiquitous and as tedious as the temperature itself. On the hottest day of the year, I painstakingly cut out the weather map from the Wall Street Journal. It was 112° outside the window of my apartment, where I glued the map to the glass. Backlit, the delicate shape of the country was all pinks and reds, and that important data was now rendered by cartoon suns and the scalloped edges of cold fronts. I wondered where this information came from, and began working at weather stations as well as in the landscape itself.

I am often looking for marks and traces–in the form of a graph, map, or climatological record. I wonder what proof looks like. At observatories I find a translation of wind that looks like a polygraph test, an arc of sunlight burned into paper, a rain gauge cut like a crown, a handwritten notation of the first frost. The landscape shows evidence as well–cracked earth, flood debris, eroded coastlines–in the world I find formal connections to the meteorological images. Other indicators, immediate and temporary, like sunburn or goose bumps, appear on the human body, and the built environment of monumental levees and floodgates promises our protection. As personal as it is political, the work addresses my own wonder, fear and perception of our role as vulnerable yet culpable participants.

To view more of Lily’s work please visit her website.

Ben Huff

Ben Huff (b.1973) was born in LeClaire Iowa, migrated to Colorado in his 20’s and moved to Fairbanks, Alaska in 2005. He currently lives, with his wife, in Juneau.

His first monograph, The Last Road North, was published by Kehrer Verlag in 2014. He’s had solo exhibitions at the Pratt Museum, Alaska State Museum, Museum of the North and Newspace in Portland, Oregon. He was an artist-in-residence at Lightwork, in Syracuse New York, in 2014, awarded a Rasmuson Fellowship in 2016, and received Alaska Humanities Forum grants in 2015 and 2016, most recently for his ongoing work on the post-cold war military outpost on the Aleutian Island of Adak.

Atomic Island, Adak

The island of Adak, Alaska is situated half way out the Aleutian Chain. Bering Sea to the North and Pacific Ocean to the South. Closer to mainland Russia than to Anchorage.

My interest in Adak began several years ago after reading the account of the bombing of Dutch Harbor during WW2, and learning more about the Japanese occupation of Attu, the furthest west island in Alaska. I was stunned to find an island out the chain that was once home to nearly ten thousand army personal, and later the air force, and finally the navy during the Cold War as a nuclear submarine surveillance outpost.

I was born, in the Midwest, during the height of the Cold War. I’m a product of duck and cover drills, Red Dawn, War Games and the perpetual fear of the USSR. The island is a sort of time for me – at once menacing and strangely comforting. But, always a symbol of our waste and a relic of deteriorated power.

In 1997, the army left the island. In the the span of two weeks, nearly 6,000 people left the landscape. Now, 78 people live among the detritus of our military ambition.

Atomic Island, Adak is an ongoing project. My next trip to the island will be over the week of the 4th of July, where I’ll make pictures of the red white and blue, fireworks, and celebration of independence against the backdrop of an abandoned military outpost in the Westernmost city in America.

To view more of Ben’s work please visit his website.

Evan Baden

Evan Baden earned his MFA from Columbia College in Chicago in 2014. His work is held in public collections such as the Walker Art Center, Milwaukee Art Museum, FOAM Amsterdam, the Finnish Museum of Photography, the Museum of Contemporary Photography, and the Kinsey Institute. His work has been featured in numerous publications including TIME, The Guardian, FOAM, New York Magazine, Le Monde, D della Repubblica, Geo, and DIE ZEIT and many others. He has been the recipient of the Jerome Fellowship for Emerging Artists, the Stuart Abelson Graduate Research Fellowship, and Artist in Residence at the Oregon College of Art and Craft. He has been a finalist for the Betty Bowen Award, The McKnight Fellowship for Photography, the Outwin Boochever, as well as nominated for the Baum Award for Emerging American Photographers and the PDN 30.

The _____ High School Yearbook Project

Today, more than ever before, we are surrounded by lies. Our culture is dominated by photographs that desire desperately to be true. To serve as evidence of our travels, achievements, and popularity. The world of social media is a world of half-truths, exaggerations, and outright lies. This is the world that young people are attempting to grow up in.

For those mired in this newfound environment, their reality is different than those who have come before. The biographies that they form of everyone they know, even their most intimate of friends, are a mix of the fiction that they see in social media posts and the in-person experiences they have. No one is completely what they seem.

The images for The _______ High School Yearbook Project focus on a consistent group of young people. However, the high school they attend and the connections between them, like much of the world they actually live in, are a work of fiction. Using their own stories, rumors, pop culture influences, and their own desires, we create images that belong to a world that appears to be real; and as far as truth in our society is considered, it is. For often, the only proof that an event took place are the images that accompany the story, even if those images and events never took place as purported.

These images both question the legitimacy of the image as a record as well as the problem of striving to find one’s identity in a world of fiction.

To view more of Evan’s work please visit his website.

Tara Wray

Tara Wray was born in Kansas and now lives and works in Vermont. She is the director of the documentary films Manhattan, Kansas (SXSW 2006 Audience Award), about family relationships and mental illness, and Cartoon College (Vancouver Film Festival, 2012), about the weird and wonderful world of indie cartoonists.

She curates interviews with photographers at Vice (formerly at Huff Po), and at BUST Magazine, where she focuses on highlighting women in photography. In addition, she is photo editor for the literary journal Hobart. Freelance editorial clients include Bloomberg Businessweek and The Valley News.

Wray’s self-published photobooks include “Each One Wonderful,” (2013) about New York City dogs, and “Come Again When You Can’t Stay So Long,” (2014) a follow up to her film Manhattan, Kansas. “Come Again” was named one of the best books of 2014 by FlakPhoto and is in the permanent collection of the Beinecke Rare Book & Manuscript Library at Yale. Her most recent photobook “Too Tired for Sunshine” will be released in 2017.

Too Tired for Sunshine

Too Tired For Sunshine is a collection of photographs made in Vermont between 2011–2016. Though centered largely on animals and rural landscapes, these deeply personal images reflect my state of mind during a period spent battling depression and intense anxiety.

Drawn from daily life, the photographs explore loneliness and mortality as seen through a lens of absurdist dark humor. I am drawn to subjects that unsettle me–backyard slaughterhouses, roadkill, decay in various forms–as well as depictions of isolation in people, animals, and even inanimate objects. Often I find myself photographing subjects that appear to me drastically out of place, seemingly devoid of context–an oven left in an abandoned field, a man dressed as a medieval peasant walking his dog on a country road, a woman sweeping the outside of a church.

Making these photographs has given me separation from the darkness of the subjects themselves, and provided relief from feelings of dread. Furthermore, the juxtaposition of the images in Too Tired For Sunshine surprises and delights me. My hope is that people who view these photographs will discover a sense of unreality–sometimes grotesque, other times absurd, always beautiful–lurking in the midst of ordinary life.

To view more of Tara’s work please visit her website.

Matthew Shain

Matthew Shain (b. 1978) is originally from San Francisco, but he now lives and works in New Orleans. He earned a BS in Journalism with an emphasis on creative advertising from the University of Colorado at Boulder in 2000. Realizing that he found the ways that images operate and convey information more engaging than the commercial information they actually carried, he pursued a second degree in Art, earning a BFA in Photography from California College of the Arts in 2005. And in 2012 he earned his MFA from UC Riverside.

Matthew has exhibited work in Chicago, San Francisco, Los Angeles, Riverside and New Orleans. His work is in the Special Collections of Rivera Library at UC Riverside and has been published in several journals, including Humble Arts Collector’s Guide to Emerging Art Photography (2008), Harper’s Ferry Review (ASU Press) and Stop Smiling Magazine.

 

Halfway to Infinity

Matthew’s work is an aesthetic and philosophical exploration of this paradoxical space. By choosing a multitude of subjects that reflect his interest in literal and figurative dualities he seeks to create depictions that are neither true, nor false. They can only be known as photographs.

The photographs in this series were created individually, tangentially, organically as well as systematically. They are presented in such a way as to create a lyrical and overarching narrative. The form and content of one photograph informs the reading of the next, only to have that knot loosened by yet another photograph. However, it is not simply a matter of close reading. Equally at stake is what the viewer seeks in her exploration of the images because, while photographs will always signify themselves at some level, they are also indexical to the phenomenology of expression and comprehension, like resonance and reverberation.

To view more of Matthew’s work please visit his website.

Bill Lane

Bill Lane was born in Melbourne, Australia in 1962. After travelling extensively throughout Asia and Europe in the 1980’s he returned home to find his perspectives too distorted to return to the life he’d lived. The answer came in the form of photography studies at the Australian College of Photography and Communication. In 1992 he was a finalist in the Felix H Mann Memorial Prize at the National Gallery of Victoria and his work was acquired as part of the Hugh Williamson bequest for inclusion in “Sites of the Imagination”. In 1996 his “Shades” project was included in “The Object of Existence” at the Australian Centre for Contemporary Art (ACCA) and subsequently in Chris McAuliffe’s book “Art and Suburbia” (Craftsman House,1996). In October 2017 his first photobook “The Older Industrials Parks near Newport, Victoria” will be published through The Velvet Cell. Bill Lane’s work explores the tension between the individual and the corporate as it is manifested through the built environment and the fine line between document and metaphor.

Progress Park

It’s called a business park! “Strategically positioned and master planned” says the developer. But in reality there are dozens of identical places throughout the outer fringe. Not much “master planning” in that is there?

But why call it a park? It’s not like anything I’d call a park? As a kid a park was a place with a playground. But these parks are just empty blocks and lots of concrete slab buildings. Buildings that are impossible to separate when not painted, patterned, planted and/or graffitti-ed (not actually part of the design apparently).

I guess there is a lot of nature in business parks. What with the vast empty paddocks of roughly mown grass, endless rows of evenly spaced bushes, the ever present nature strips, established trees awaiting destruction (or a micro park centrepiece) and the already dead plantings. The combined effect occasionally achieves ironically idyllic. Could the very very controlled plantings of these business parks hint at an underexplored relationship between our culture, nature and “progress”. A repression of the unplanned and unexpected perhaps considered “a key ally in the prosperity of” well … everything.

Progress Park is a photographic exploration of business parks with an eye fixed firmly on their massed plantings, paddocks and weeds. Aesthetically a love child of “New Topographics” and The Situationists (i.e a psychogeography of the social landscape).

To view more of Bill’s work please visit his website.

Nancy Floyd

Nancy Floyd has been an exhibiting artist for over thirty years. She has received numerous grants and awards including a 2016 CUE Art Foundation Fellowship, a 2015 Society for Photographic Education Future Focus Project Support Grant, and a 2014 John Gutmann Photography Fellowship Award. Temple University Press published her first book, She’s Got a Gun, in 2008.

Floyd’s work has been exhibited in numerous venues including Solomon Projects, Atlanta, GA; Flux Projects, Atlanta, GA; the Atlanta Contemporary Art Center; White Columns, New York, NY; and the California Museum of Photography, Riverside, CA. Since 2009, her work has been part of the Elizabeth A. Sackler Center for Feminist Art Archive, Brooklyn Museum, Brooklyn, NY. In 2017 Floyd will have solo exhibitions of her current project, Weathering Time, at Whitespace Gallery in Atlanta, and the CUE Art Foundation Gallery in New York City. Gallery representation: Whitespace: http://whitespace814.com/artists/nancy-floyd/.

Floyd holds an MFA from the California Institute of the Arts, Valencia, CA. She lives in Atlanta, GA.

Weathering Time

I am interested in the aging female body, the passage of time, and loss. I use photography and video to address the ways in which lens-based media can connect deeply with experience and memory.

I have been photographing myself since 1982. If I fail to take a picture the film is advanced so a blank image is recorded, creating a visual calendar. The 2,500+ photographs include my body from head to toe, as well as some of my environment. I am also making digital reenactment photographs to record changes in visually dramatic ways, and at times including old family photos.

For over three decades the photographs show, in fractions of a second, my body standing in an environment (mainly, I’m by myself but sometimes I’m with family and friends) in a straightforward manner for the camera. As time passes, births, deaths, celebrations, and bad days come and go; all the while, the American experience evolves.

It’s not just the body that changes: Fashions and hairstyles evolve; pets come and go; typewriters, analog clocks, and telephones with cords disappear; and finally, film gives way to digital and the computer replaces the darkroom. While Weathering Time is a personal archive, and I am mining the archive to address issues of the female body, the family snapshot and loss, I am also interested in producing images that suggest some of the experiences of my generation. Indeed, the photographs underscore the cultural, technological, and physical changes that have occurred over the past thirty-five years—from my youth to the dawn of my old age.

To view more of their work please visit their website.

Evie Metz

Evie Metz was born and raised in a small town in South Florida, and currently lives in Baltimore, Maryland, where she recently graduated from MICA with a BFA degree. Her photographs are not staged or planned, but rather the result of reacting to her present surroundings in an effort to preserve moments perhaps otherwise unnoticed. By highlighting and capturing these passing occurrences, their original and perhaps ordinary purpose becomes decontextualized. Interested in rituals of life, from the most personal spaces of her own to the more unfamiliar of strangers and friends, she discovers special meanings of the world around us that exceed her own initial motivation for self-understanding.

Seeking Stephanie

The title is derived from a decision I made before leaving home for college. My birth first name is Stephanie. In anticipation of relocating to an unfamiliar city, I felt motivated and more comfortable behind the mask of a moniker. Upon arriving in Baltimore, I introduced myself as “Evie”. In many ways, there seemed to be an important difference between these names with respect to identity. However, the role of artist and self-has become so intertwined that I no longer feel the differentiation. This merging of identity, personality, and understanding have all come to the surface while shooting these photographs that mark an ending of this four year period of self-discovery. Together these photographs create a diarist poem that channels self-portraiture in many aspects. There is a constant confrontation between dual forces, that of the external against that of the internal, spaces of coolness towards moments of warmth, and animalistic tendencies towards the human.

To view more of Evie Metz’s work please visit their website.

William Cox

Will Cox is a American-Canadian photographer who is based in Toronto. Will graduated from the University of Toronto where he studied politics and philosophy. He is a self-taught photographer whose work addresses narratives of consumerism and excess in the post-industrialized world.

Lost in the West

These photographs are apart of an ongoing series of made in and around Palm Springs, California. Away from the gated communities, manicured palm trees, and pools are the communities of individuals who work either directly or indirectly to service these resort towns. These photographs are made in an attempt to capture the cultural ephemera of these communities, and reimagine the way in which one considers American leisure in its totality.

To view more of William’s work please visit his website.

Brett Kallusky

Brett Kallusky is an assistant professor in the Art Department at the University of Wisconsin – River Falls where he teaches photography. He has been the recipient of two Minnesota State Arts Board Grants, a Fulbright to Italy, and a Fulbright Travel Grant. His work has been exhibited regionally, nationally and internationally in solo and group exhibitions. Kallusky has been a regular student portfolio reviewer at SPE national conferences since 2012. He lives and maintains his studio practice in Minneapolis, MN.

Overlook/Sugar Street

This ongoing project frames geographical and ecological information related to energy consumption and monoculture. Since 2013 I have had unfettered access to photograph in the Santa Maria Regional Landfill. This particular location and photographic series is a microcosm of a larger cycle that is occurring in the nascent economy of renewable energy sources and perpetually relevant concerns of land management.

Sugar Street (the street in the landfill that runs parallel to the adjacent Santa Maria river) is situated directly alongside hundreds of acres of agricultural fields, where produce such as strawberries, carrots, and cauliflower are grown for Driscoll’s and Bolthouse Farms. To me this place is like an alien landscape, wholly foreign to my eyes, filled with visual juxtapositions. It is a place of verdant green hills that conceal thousands of tons of garbage.

The landfill is also the site of an extraordinary practical engineering solution happening behind the scenes, as this particular landfill has developed an innovative program of recycling soil that had been previously contaminated by the oil industry. I’m interested in the visual and conceptual paradoxes that present themselves: the perfect, iconic forms of the commercially-grown produce juxtaposed with the ever-changing artificial hills of the landfill site, native wildflowers returning to grow on the newly cleansed soil.

To view more of Brett Kallusky’s work please visit their website.

Deb Schwedhelm

Born in Detroit, Michigan, Deb Schwedhelm was originally trained as a registered nurse and subsequently spent 10 years employed as a nurse in the Air Force. Although she has been passionate about photography since her early 20’s, it wasn’t until Deb left the military that she was finally able to pursue the medium as a full time career.

Deb’s photographs have been exhibited widely and featured in numerous publications throughout the world. She has received awards from PhotoNOLA, New Orleans, LA; MPLS Photo Center, Minneapolis, MN; The Perfect Exposures Gallery, Los Angeles, CA; A. Smith Gallery, Johnson City, TX; Santa Fe Photographic Workshops, Santa Fe, NM; and The Art of Photography Show, San Diego, CA. Deb was named one of the Top 50 in Critical Mass, 2013. Her photographs have also been selected for the permanent collection of The Center for Fine Art Photography, Fort Collins, CO.

Deb is married to a Naval Explosive Ordnance Disposal Officer, who is on the brink of retirement. Deb and her family are currently based in Virginia, where they will remain for the next six years. Once her children have graduated from high school, Deb and her husband will begin traveling the Americas via sailboat.

From the Sea

In this series, Deb is exploring a sense of place and belonging. Being in the military system for over 20 years, Deb and her family often live in a world of uncertainty. Untethered, without an anchor. The sea acts as an allegory of their lives, shifting and moving with the tides — forcing them to tread, swim and stay afloat through the changes, dictated by the sea. While Deb is photographing her children and friends, she is also photographing herself, moving in and out of focus, allowing the liquid world to illustrate my journey.  The photographs in this series were made in the waters of Florida, Minnesota and Asia between 2012 and 2016.

To view more of Deb’s work please visit her website.

Fred Guillaud

Fred Guillaud (b.1973, France) is a photographer, architect and teacher living in Barcelona, Spain since 2000. His urban landscapes shot exclusively on film are admired for their atmospheric banality and visual appeal. Architecture plays a major role in Fred Guillaud’s work when he judiciously projects his camera to capture transitional negative spaces often placing a small human figure categorically in his frames to give it a social context. The resulting images are bright with a limited palette, patterns, and serenity.

"The permanent tourist, part II"

In Barcelona, the city in which he has lived and captured for 15 years with the amazement of an eternal tourist, he points and shoots with acuity not only the city’s claim to architectural excellence but also the occurrences of spontaneous vistas. He uses raw materials made of walls, objects, and motion to produce images in which silhouettes of a group of old ladies is superimposed on the one of a gleaming new skyscraper, in which he mixes old fashioned motifs of their dresses with an elegant layout of the façade. Fortunately, the city and its members are generous with visual coincidences, whether it be in the intensity of urban flows or along the sea side, opening an entire regional capital to many photogenic recreational practices. The precise bounce of the sun on tanned bodies, the cutout of a tattoo, the repetitive geometry of creases in skin or suits, all invite themselves in the illustration of the photographer’s adoptive city.
In these daily image captures with analog cameras, Fred Guillaud let’s himself be shaken up by the landscapes he observes and frames on a human scale, by shooting them “straight on”. Inspired by a “New Topographics” culture, the scenes being recorded are a witness of the concurrence of contrasted dynamics that make up the current urban landscapes: effervescence sit side-by-side with dead calm, involvement flirts with abandonment and the exuberance of characters mingles with the trite surrounding signs. The point when and where these phenomenon clashes trigger the photographer’s eye and engage draw him into the intimacy of the scene capture.

To view more of Fred Guillaud’s work please visit their website.

Jessica Pierotti

Jessica Pierotti is an interdisciplinary artist, photographer, and educator living in Chicago, Illinois, USA. She received her Masters in Fine Arts from the University of Illinois at Chicago in 2016. She currently works as the Executive Director for the non-profit LATITUDE Chicago, and as a lecturer at SAIC.

Jessica’s personal work addresses anxiety, control, absurdity, and an obsessive and sincere interest in attempting to understand the world through process. She is an image maker that is hungry to better understand the impact of mediation and reproduction through video, photography, and sculpture. Jessica often works with personal content and everyday objects as a means of focusing in on modest gestures.

I CANT BE SEEN LIKE THIS

An American in Berlin for one month, I spent my time writing, reading and walking the city while collecting information along the way. My daily walks were recorded the morning after from memory without the aid of maps. Frustratingly inaccurate, these maps show the impossibility of framing a period of time, depicting space, or relying upon memory – instead building their own simplistic world. Concurrently I spent my time on foot collecting photographs and contemplating the cultural differences of Berlin. I became fascinated with the sense of visibility in the city, the people on the street kept to themselves, no-one crosses against the light, and every street level window has a covering – from the improvisational scraps of paper and packing tape to vibrant vertical blinds. In a covered window the reflection becomes more apparent, more specifically my role as a viewer and visitor of the city. Using a phone camera I unobtrusively photographed with an awareness to surveillance, gaze and boundary lines. Attempting to see, understand, or depict a place or an experience accurately is an absurd impossibility. Instead this project is a record born in the process of letting go, of looking back at the reflection and focusing in on the modest complexity of daily life.

This project is in progress to be a 45-page book that weaves together hand-drawn maps and photographs throughout.

To view more of Jessica’s work please visit her website.