The “light” exhibition, juried by Laurie Klein, was in the online gallery from July 5 to August 15, 2024. Laurie selected fifty five images from forty three artist for the exhibition. Bob Tully’s image “The Bu” received the Juror’s Award. Linda Caldwell’s image “The Potter” received the Director’s Award.
Juror’s Statement
Light is one of the most fundamental elements in our creations, shaping our narratives and bringing our visions to life. When we blend light with our subjects, our stories grow magically, imbued with depth and emotion. We see light or we don’t, we feel light, or we won’t. It’s an ever-present force that guides our eyes and our hearts. Without light there would be no photography.
Congratulations to the many photographers who submitted work to LIGHT. The range of incredible stories and artistic expressions was truly inspiring. Henceforth, let us continue to celebrate the beauty of light. It isn’t everyday that light and objects take on feelings and gestures. Truly it was difficult jurying this exhibit, it was so open ended, metaphorically and profoundly. That is what happened with Bob Tully, not only were they urinals but they represented a rigidity of a march, light to the quick, and so many conversations being told, silently.
The Awards Collective was created to feature the works of artist who have received a Juror’s Award or Director’s Award in ASG’s Online exhibitions. Bob Tully’s image “Sacred Water“ received the Juror’s Award in the “water” exhibition juried by Elizabeth Avedon. Bob’s exhibition “Venice Carnival” was featured from July 1 to July 31, 2024 and is discussed in our GalleryTalk with Bob.
Artist Statement
This body of work explores my recent travels, through photography, unveiling the misty magic of Venice in winter.
Her timeless beauty costumes itself in elegance and color. Her quiet streets and canals beckon those clad in both grandiosity and grace to celebrate Carnival.
My love affair with Venice’s architecture, history, and its people inspires me to visually reveal the rare enchantment of this magically beautiful city. These images are created with the specific desire that they function as metaphors, with a unique inner vision. They are not my possessions; they don’t belong to me. I simply attempt to bring the scenes to life with the intention of eliciting an emotional response from those who experience them.
Bob Tully
June, 2024
Bio
I was born in the South Bronx and experienced my early life in the many diverse neighborhoods of New York. My introduction to the imaginal world of photography materialized in a unique place and time. I witnessed my first print slowly appearing in the swirling liquid- filled pan, it was on a base camp during the Vietnam war. I knew immediately what I wanted to pursue when I returned home. I attended the New York Institute of Photography where the majority of the instructors were working professionals. I relocated to California and entered the City College of San Francisco which had an excellent two-year photography program. I then managed a rental photo lab which catered to local artist and photographers of the North Beach community. Shortly after I operated and owned a photography studio.
I became interested in video production and attended the College of Marin to study television production. I relocated to Los Angeles to pursue a career in the Entertainment Industry. I was fortunate to be a member of five Emmy Award-winning camera crews. Before retiring I attended Santa Monica College to refresh and learn the contemporary techniques of the digital world of photography.
The Awards Collective was created to feature the works of artist who have received either a Juror’s Award or Director’s Award in ASG’s Online exhibitions. Ronald Butler’s image “somebody see you up there“ received the Director’s Award in the “interiors” exhibition juried by Ann Mitchell. Ron’s exhibition “First and Oldest Dream” is discussed in this GalleryTalk.
Artist Statement
My memory goes way back to the ages of two or three. One of those memories was of a reoccurring dream. It was simple, lacking sound, lacking images, almost lacking feelings. It was a state of being. A state of contentment. In that contentment, a wave of tension would slowly build and then release. The waves would come in a random pattern. Upon waking I knew that this was not the first time I had this dream. Each time the dream reoccurred more elements were added to it. One time it was just the play of light and dark with the light building up to a blinding glare and releasing back into darkness. As I grew into childhood images and sounds began to be attached to the frame work of this dream. It was not my only dream but it was one that would return like an old friend. The relaxed darkness became a part of me riding the wave of the stresses of life. It became a place of centering. As I began to express myself through my teens into adulthood this calm place would inform me. Quietly it would point out something (music, art, or an event) I should notice and retain for later. In times of trials and troubles I could retreat to this place to heal and create. Decades later, when I started on my path of photography, I noticed, that on occasion, this place in me would say “frame that…take the photo…the meanings come later.” I listened and the more I listened that voice and its sensibility grew stronger. After years of following this direction, I also noticed that it always reflected the place in me and would echo the dream. No matter the subject matter, it was in essence the same photo. When the resonance happens, I feel a “yes, that is it.” Sometimes I know it as the shutter clicks and other times it rings true after the film is developed. Not all my work is based on this, but this is a constant to which I return. My first and oldest dream manifests itself into the world one frame at a time.
Ron Butler
June, 2024
Bio
I was born and raised in Mississippi and have lived in New York City since 1983.
I have lived many lives and try to bring that experience to the camera. There is what I intend and there is what actually happens. I try to stay open to what is in front of me and experiment with all processes, antique to modern, to tell the story. I like to play.
Susan Burnstine, artist and educator, has curated the work of twenty three of her students who have studied with her either through classes or private mentorships. The resulting exhibition was featured from July 1 to July 31, 2024 and is discussed in our GalleryTalk with Susan and the participating artist.
Exhibition Statement
Some artists shoot the world around them, some shoot from within. This group of artists create from their unique worlds, perspectives and experiences with a clear, consistent intention – a staple of my teachings.
While this collection reflects a diverse spectrum of subjects and processes, the consistency lies in each artist’s unique connection to their work. This connection is not only personal, it’s unusual and not easily replicated in the redundancy of today’s market, as it mirrors their distinctiveness as creators.
In a time when algorithms dictate our lives, I feel compelled to encourage my students to reach deeper, be themselves and find original ways to express their most profound passions, interests and beliefs. As artists, the uniqueness of the human experience is what we all seek to express, and it’s my honor to encourage and shepherd the pathways of understanding for my students.
Selected artists have studied with me for an extended period of time, either in classes or private mentorships.
Susan Burnstine
May, 2024
Directors’ Statement
It was an honor to host Susan Burnstine’s Alumni Student Exhibition and talk. Susan has been a photographer enlarging and pushing the boundaries of fine art photography for many years. She, along with her unique vision and approach to photography, has inspired and fostered a diverse group of photographers — as is wonderfully demonstrated in this exhibition.
Mentorship and the attachment of artists to the work and atelier of seasoned, accomplished artists has always been a part of the art world. Studying with an accomplished artist is a path whereby the student can explore and refine their personal aesthetic – embracing or redefining the way of the teacher, taking away the spirit of phrases and marks, quickening their own work.
Looking at the images and listening to Susan and the students speak there is no doubt that all are fortunate to have found each other. We want to thank Susan and her students for spending time with us and giving the world a glimpse into their inspiring relationship.
The “town & country” exhibition juried by Michael Kirchoff, was in the online gallery from May 24 to July 4, 2024. Michael selected fifty five images from forty thirty six artist for the exhibition. Jennifer Wannen’s image “September Reds” received the Juror’s Award. Linda Posnick’s image “Last Days Of The 6th Street Bridge” received the Director’s Award.
Juror’s Statement
I’m writing this statement using a method I’ve never done before. I’m doing so while going through the full gamut of submissions and taking notes and writing short blurbs along the way. This is all in the hope that there is a full understanding of how and why I might come to the conclusions you will find in the final selections. I’m letting it take me into the land of all lower case writing, so please bear with me and maybe the road I take will become clearer…
i’m looking for quiet moments full of form, texture, color, meaning, and most importantly to me – light. scenes that somehow provided clarity in the midst of chaos. i’m definitely leaning away from cities more, though not eliminating them by any means, as they too can provide calm in the midst of a storm.
if you didn’t already sense this, my mind is quite often a wild jumble of duties, images, people, to-do lists, conversations, technical details about myriad things, and most often, noise. on a weekly basis i fear the cacophony of clamoring about deadlines. it can be easy to get lost in this constant sea of madness. however, i don’t have it in me to slow down, let alone stop. it’s a flaw, let me tell you. there’s a lot of static in here.
so when an opportunity like this appears, i jump at it. “hey michael, would you like to juror an exhibition themed ‘town & country’?” uhhhh, hell yea, i would. that sounds exactly like what i need. so this is healing for me. a chance to escape, relax (still figuring out what that really is), and take in the simple pleasures not often afforded to me.
i grew up in, and still reside in, a big maddening city. as much as i like it, it can wear a mind and body down. ushering my tired brain into a land of lonely roads, abandoned buildings, country fairs, and moments without anxiety that offer a sense of place and home, is gold to me. thank you for this refuge.
oh, and don’t get me wrong. i freaking love this! every time i feel as though I should take a break, i double-down and say i’m going at it 100% for as long as i possible can. time is short and i feel as though there is much to do. just look through these images and tell me you wouldn’t want to be in these places and experience these brief moments in time. seriously, you’d be bonkers to think that. these photographs give so much more with every glance than they could ever take.
every single photographic artist who submitted their work to this call needs to be commended for their efforts. i’m coming to the end of my selections and i’m feeling a wonderful sense of ease. this was sooooo worth the time and effort. it turns out that i do know how to relax. this was it all along. my love for the photographic medium fills every nook and cranny of my soul, and these images are the building blocks of a vessel that carries me forward. thank you all for opening my eyes and my heart to it. let’s do this again soon, shall we?
The Awards Collective was created to feature the works of artist who have received a Juror’s Award or Director’s Award in ASG’s Online exhibitions. Polly Whitehorn’s image “Yocelin with Sunflower“ received the Juror’s Award in the “open/unfiltered” exhibition juried by Kevin Tully. Polly’s exhibition “Vietnam” was featured from June 1 to June 30, 2024 and is discussed in our GalleryTalk with Polly.
Artist Statement
Coming of age in the 60’s, it was hard to ignore what was happening in a small Southeast Asian country called Vietnam.
Always a curious and adventurous traveler, I made a 4-week journey there last summer. Desirous of seeing the remote less travelled areas, I visited remote villages that are home to some of the 54 ethnic minority groups that comprise the northern region of Vietnam.
I had the good fortune to be escorted by another photographer eager to show me the riches of the landscape and the people that make it a welcoming place.
The landscape is like a symphony. Rich and melodious with hidden vistas that surprise at every turn. The rolling hillsides of the tea fields and the sculpted, stepped terrain of ancient family-owned rice farms embody a unique magic.
These images are a sampling and a reflection of this unique experience.
Polly Whitehorn
May, 2024
Bio
I received my professional training in apparel design at the Fashion Institute of Technology, in New York City, paving the way for a successful career in clothing design. I launched a high end childrenswear company that I ran for 7 years. Customers included Neiman Marcus, Bloomingdales and specialty boutiques nationwide.
Transitioning to home décor I evolved into a nationally recognized quiltmaker and fiber artist. Adding to my skill set, I earned certificates in both Non-Profit Management and Fundraising Management working 7 years as an arts management professional at an arts council in New York.
With the advent of digital photography, I became intrigued with the ease of use and endless creative possibilities. From my cache of photos, I layer images and textures creating dreamlike photographs.
My fine art photography has been exhibited in corporate venues, libraries, museums, and galleries. It can be found in private and corporate collections. Clients for my commercial work include media publications, musicians, artists, and executives. I am currently a member and past board member of the Pittsburgh Society of Artists, the American Society of Media Photographers, the Fiber Arts Guild of Pittsburgh, Cranberry Artists Network and the Atlanta Photography Group.
I moved to Pittsburgh from New York in 2012 and divide my time between Southwestern, PA and the Sonoran Desert.
The Photographic Performance was created to feature the works of artist with completed bodies of work and a strong narrative. Axis Mundi’s group exhibition is the fourth of four performances to be exhibited during 2024. The exhibition is discussed with the eight members in this GalleryTalk.
Artist Statement
Axis Mundi is a photographic exhibition showcasing the visions of eight artists who interpret the intersection of heaven and earth through their unique lenses. Rather than mirror the physical environment, these artists embellish, romanticize, and amplify it, transforming reality into personal expressions. Their images serve as portals, concealed passages to otherworldly dimensions, narrating tales of awe and wonder. Viewers are invited to transcend the material world and explore the extraordinary realms that lie beyond.
Bio
We are a collective of expressionist photographers united by our passion to transcend the surface layers of reality. Through our work we capture the ephemeral beauty and emotional resonance of the world around us. Our diverse backgrounds and unique voices converge to form a rich tapestry of artistic exploration as we inspire appreciation for the interconnectedness between our inner and outer landscapes.
Renee Lynn, Christophe Potworowski, Terri Golas, Donna Oglesby, Rita Swinford, M M Rainey, Julie Devine and Judy Bonderman
June, 2024
Directors’ Statement
Expressionism as a movement in the art world began as a response to materialism and the orthodoxies of art and religion before and after World War I. It gave painters the freedom to express — with color, brush strokes, and content — emotions and subjective interpretations and representations of the world — objective reality denied.
The expressionist photography collective, Axis Mundi, has beautifully and compellingly transformed obvious reality, which is typically expected from the camera, into a metaphysical expression of light, color, and form. These painterly compositions suggest contemplation, allowing for an emotional response.
The creative connection and kinship between Renee, Christophe, Terri, Donna, Rita, Margaret, Julie, and Judy is obvious. We, the viewer, are lucky that these photographers found each other. We look forward to seeing how this collective inspires each other and us in the future.
The Awards Collective was created to feature the works of artist who have received either a Juror’s Award or Director’s Award in ASG’s Online exhibitions. Melina Meza’s image “True Nature“ received the Director’s Award in the “sanctuary” exhibition juried by Kevin Tully. Melina’s exhibition “Becoming Landscape” is discussed in this GalleryTalk.
Artist Statement
Journey through the hauntingly beautiful remnants of Bodie, California—a historic gold mining town frozen in time. This dreamy American series serves as a poignant meditation on impermanence and the enduring resilience of nature’s embrace.
Nestled within the rugged landscape of the Sierra Nevada’s subarctic expanse, Bodie once thrived as a bustling hub of life and industry. From its peak population of 10,000 in 1879 to its dwindling community of 120 residents by 1920, the town’s story is one of ebbs and flows, of dreams forged and dreams faded. Despite the closure of its mines in 1944, Bodie’s legacy endures, earning it the prestigious designation as a National Historic Landmark in 1961.
As I wander through Bodie’s silent streets and weathered buildings, I am captivated by the whispers of history echoing in the wind—the imagined conversations at kitchen tables, the scent of wood smoke lingering in the air, the laughter of children dancing across faded floorboards. Through my lens, I seek to capture not just the physical remnants of Bodie’s past, but the intangible essence of hope and resilience that permeates its weathered walls.
In ‘Becoming Landscape,’ I explore the delicate dance between human ambition and nature’s inexorable march of time. Each photograph is a testament to the enduring spirit of Bodie—a reminder that even in the face of decay and dissolution, there exists a quiet beauty in the cycle of birth, growth, and eventual return to the earth.
Through the gentle surrender of buildings and objects to the tender embrace of nature, ‘Becoming Landscape’ speaks to the interconnectedness of all things—the fleeting nature of human endeavors juxtaposed against the timeless grandeur of the natural world. It is a visual poem of hope and transformation.
Melina Meza, 2024
Bio
My artistic journey, rooted in the enchanting landscapes of Northern California, is a testament to nature’s transformative power and the art of mindfulness. From childhood, I’ve found solace and inspiration in nature’s beauty, shaping my path as a lens-based artist and wellness advocate.
At the core of my practice is a deep reverence for the present moment, intertwining mindfulness with artistic expression. Through my camera lens, I embark on a journey of exploration, capturing the profound connection between inner peace and the awe-inspiring beauty of nature. Photography, for me, is not just technical; it’s a meditative act of co-creation with the natural world, a testament to embracing curiosity and being fully present in every moment captured.
Drawing upon a diverse array of techniques, my artistic style is characterized by a unique blend of in-camera multiple exposures, motion, and macro photography. Each image serves as a poetic interpretation of the natural world.
As a passionate advocate for wellness, I strive to share the transformative benefits of spending time outdoors and immersing oneself in the beauty of the natural world. Through my art and teachings, I aim to inspire others to cultivate a deeper connection with nature, fostering a sense of harmony, joy, and belonging in the world around them.
In the embrace of nature, I find not only artistic inspiration but also a profound sense of gratitude and awe. Each day brings new wonders and discoveries, reminding me of the endless possibilities that lie within the present moment.
The Awards Collective was created to feature the works of artist who have received a Juror’s Award or Director’s Award in ASG’s Online exhibitions. Sylvie Redmond’s image “Untitled“ received the Juror’s Award in the “black/white” exhibition juried by Ann Jastrab. Sylvie’s exhibition “Together, Adrift” was featured from May 1 to May 31, 2024 and is discussed in our GalleryTalk with Sylvie.
Artist Statement
Every summer after my parents’ divorce, my father would load all three of us into a rented RV and we would wind our way out of the city heading south to Shenandoah National Park. These sticky southern summers defined my childhood, and the memories continue to loom large.
Retracing the familiar footpath of my own childhood, this ongoing series pays homage to my children’s burgeoning experience in the wild spaces we encounter on the road: the child-like marvel that comes from catching a grasshopper, the simple joy of skipping rocks in a mountain lake, and the intimate simplicity of being free from technology while surrounded so completely by family. Leaving behind the familiar comforts and schedules of home, our experience is boiled down to the essentials. Family bonds shift and strengthen, as if the tendrils of connection grow quicker in close proximity.
Although a personal inquiry, Together, Adrift contemplates the broader cultural questions surrounding identity and belonging in the modern world. How does our reliance on technology affect our relationships? How do we instill a love and respect for nature in a fast-paced world? How are we shaped by the places we call home? Together, Adrift invites us to consider these questions that anchor us to our modern world.
Sylvie Redmond, 2024
Bio
Sylvie Redmond (b. 1980) is an interdisciplinary artist and mother working in lens-based media, alternative photographic processes, and text. Her work investigates personal narratives that explore themes of family, motherhood, time, and memory
After an early start, Redmond returned to photography in 2019 following a 14-year career in education. She holds a Certificate from the International Center of Photography in New York City (2023), a MA in Educational Policy Studies from the University of Wisconsin-Madison (2010), and a BA in Human Development and Environmental Studies from Colby College (2003). She is currently a student in the Long Term Photobook Program through the Penumbra Foundation and the Image Threads Collective.
Her work has been exhibited (nationally and) internationally, including The Griffin Museum of Photography, The Houston Center for Photography, Praxis Gallery, Hera Gallery, and FotoNostrum Barcelona. Redmond was a 2023 Photolucida Critical Mass finalist, an overall winner of the 20th Julia Margaret Cameron Awards and an Editors’ Pick for the both LensCulture’s 2022 Portrait Awards and the Home 2021 International Photography Prize. She received three 19th Pollux Awards Honorable Mentions, the Juror’s Award from the A Smith Gallery, and an Honorable Mention from the Griffin Museum’s Juried Exhibitions. She has been featured in online publications including Lenscratch, Vanity Fair: Italia, and The Photo Review.
Redmond lives and works in Minneapolis, MN with her family
The Photographic Performance was created to feature the works of artist with completed bodies of work and a strong narrative. Grace Weston’s exhibition “Reclaiming the Muse“ is the third of four performances to be exhibited during 2024. Grace’s exhibition is discussed in this GalleryTalk.
Artist Statement
Patriarchy has controlled the narrative for 10,000 years. My staged miniature photography series, RECLAIMING THE MUSE, reframes historic artworks and stories in contemporary terms. In centering women, historically cast as objects of beauty or scorn, I strive to revitalize the muse with agency, furthering the issues important to me as a contemporary female artist.
Mythos, power dynamics, gender roles, liberation, empowerment, and self-preservation are explored in this series, all with a deceptively playful overlay. Although I never depict actual people in my photographs, the human psyche is undeniably at the center of my work. I am fascinated by the psychological landscape, our search for meaning and the contradictions of human existence. So many stories, myths and artworks throughout history address these same concerns. I have found much rich source material to inspire my own interpretations for this series.
In my research, time and time again, the women in myths, folk tales, the Bible, and elsewhere are held responsible for causing both the world’s ills and the failings of men. This includes their own rapes, which are recounted in mythology with shocking frequency, and are typically deemed the woman’s fault, justifying her inevitable punishment. Of course, creating variations and reinterpretations of past tales and depictions is not a novel idea, but rather an age-old tradition, practiced throughout art history. My muses take back their power and tell their own stories. There is a rich well to draw upon from historical representations. We must remember, the old tales are fiction, and it is far past time for the retelling.
Grace Weston, 2023
Bio
Grace Weston creates narrative photography in her studio with miniature staged vignettes that address psychological themes. Among her many honors, most recently Weston made the Top 50 in Photolucida’s Critical Mass 2023, and from that was awarded the additional prize of a solo show for 2024 at the Southeast Center for Photography in Greenville, South Carolina. Weston was honored with the solo exhibition in All About Photo’s Showroom for the month of November 2023. She won both First Place Overall Portfolio category as well as Gold Winner in the Fine Art Portfolio category in the 2021 Tokyo International Foto Awards. She has earned fellowships from both the Oregon Arts Commission and Artist Trust (Washington State), nominations for Portland Art Museum’s Contemporary Northwest Art Awards (Oregon), and numerous grants during her career spanning more than 25 years. In 2012, she had her first European solo exhibition at Paci Contemporary in Brescia, Italy. An extensive exhibition of her work was shown at the Center for Photography in Yekaterinburg, Russia in 2021. She has exhibited widely in the US, as well as Europe, Scandinavia, Russia and Japan. In 2009, she was a finalist in PhotoEspana’s Descubrimientos exhibition in Madrid, and named one of the “Nine to Watch” in the Whatcom Museum Photography Biennial (Washington) in 2008.
Directors’ Statement
“My muses take back their power and tell their own stories. There is a rich well to draw upon from historical representations. We must remember, the old tales are fiction, and it is far past time for the retelling.”
The last sentence in Grace Weston’s artist statement sums up the message in her body of work “Reclaiming the Muse.” Her use of dolls and miniature sets playfully disguise the story of women, not glibly as victims but as archetypal scapegoats in humanity’s stories. The playful disguise falls away once the viewer recognizes the tale of Leda and the Swan, Shakespeare’s Ophelia on the analyst’s couch, and Judith’s beheading of Holofernes. As an allegorical art project, the use of dolls and miniatures is brilliant because it creates a thin veneer of humor and farce. The skill with which the vignettes are created and lit draws the viewer in and then the content becomes apparent, initially fooling us, the curtain drawn back, engaging us aesthetically and intellectually.
