Artist Portfolio Magazine - Issue 10

Page 1


issue 10



Call for art at PORTRAITS V - Deadline April 15, 2013 IAM Art Bus, Open Medium Art Exhibition - Deadline May 15, 2013 LANDSCAPES - Deadline July 15, 2013


issue 10


Artist Portfolio Magazine is a free digital online art magazine that contains the art of both emerging and established artists from around the world. The artwork featured in this issue of Artist Portfolio Magazine comes directly from the Artists who participated in our Photography Only Art Exhibition at The Winners were chosen not by their status in the art world, but by the merit of their work. Artist Portfolio Magazine does not sell art. If you are interested in any of the art in this magazine then please contact the artist directly by clicking on the link under their name. We hope you enjoy the art in this issue and if you would like to get your art into Artist Portfolio Magazine then please visit us at the websites below.

Copyright漏 2013 Artist Portfolio Magazine, All contents and images cannot be reproduced without written permission from artists. Artists in Artist Portfolio Magazine and retain rights to all images.

from the Publisher It never seems to amaze me at the quality of the art we始ve received throughout the years through our online art exhibitions and the amazing photography in this issue is no exception. Congratulations to Nicholai Go on creating such a beautiful work of art that we are fortunate enough be able to use for the cover of this issue. Thank you to all the participants and for everyone who reads Artist Portfolio Magazine. Without you we do no exist. I would also like to give a special thank you to Jaydee Dizon for having the tough job of being our juror, Sarah Katherine Jorgensen for giving us her review on Searching for the Seventies: The Documerica Photography Project and I would also like to thank Aimee Fitzgerald for letting us interview her for this special Photography Issue. Thank you, thank you and thank you.

contents Top 3 Pages 6 - 11

Honorable Mentions Pages 12 - 23, 29 - 58

Interview with Aimee Fitzgerald Pages 24 - 28

Searching for the Seventies: Documerica Photography Project Pages 59 - 63

Photography Exhibition Pages 64 - 89

Nicholai Go Providence, RI Nicholai Go, a student currently majoring as an Architect in Rhode Island School of Design, the sole proprietor of a business and restaurant in the Philippines called Bar Dolci, and finally the photographer of ngo|photography. Born and raised in the Philippines, Nicholai was not exposed to the fine-art side of photography and therefore it deterred him from starting photography. However, when he learned more and more about the international world of photography, thanks to the internet, he picked up the camera and started shooting. His personal philosophy on photography revolves around the notion of its power and ability to make people believe. Nicholai takes advantage of this idea and compels people to look twice and feel a sense of confusion or fear. He want to question the relationship and the boundaries of photography and the human condition. A story-teller and photography is his medium. He uses photographs to portray his own stories and ideas regarding the human condition, reflecting his past experiences. Nicholai believes that the concept of the shoot should drive a shoot. The skills involved and needed to accomplish the concept will follow. Live In A Dream - I have always wondered what boundaries exist between dream and reality. What would it take to live in an eternal dream in where you can have complete control of the world? Live in a Dream Digital Photography

Laci Gibbs Smyrna, TN

"Most define themselves by how they look, act, or carry themselves. I do not try hard in this regard because I do not have to. I am unique in the way I perceive my world, not necessarily how I live in it. My purpose as an artist is not to stand out from the crowd but to capture the world as I see it and to create new realities. I do not define myself in terms of who I am now but who I can be. It is my personal belief that we gradually reach our potential when we do what our hearts have set out to do. We are greater than stars for we have the power to create. Though it is difficult to understand what is not yet discovered, it is even more so to imagine the unimagined. My sole ambition is to tap into this power and reach my full potential."

Hi Ho Digital 10.8" x 16.2"

Hyunmoo Lee Montreal, Canada

"I think that human beings are composed of body and soul. One day, I thought I might be able to take out oneĘťs soul form the body. Based on this idea, I created this image, which is not a portrait of a dead or living person because his soul was removed form his body while I was shooting him. In other words, this is a portrait between death and life. After shooting, I scratched on film. The scratches mean a history of his life." Hyunmoo Lee

David Analog Photography 30" x 30"

Jaime Foster Yorkville, IL

Strange Love - Digital

Stephanie Guillen Jersey City, NJ

Doll Wars Digital 1707x2560 px

Ralf Kopp Darmstadt, Germany

aCross 016 Digital 40 x 60 cm

Alex Rossa M端nchen, Germany

Devious Thinking Machine Digital 65 x 90 cm

Tan Marco Brooklyn, NY Broken Glass at Old Brooklyn Army Terminal - Digital - 247kb

Eric Capone Drexel Hill, PA

Untitled 3 Traditional Photography 8" x 10"

Ulrike Scheuchl Laguna Beach, CA

Moon Tower Digital 24" x 16"

Independence - Digital - 16" x 20"

Oliver Dunsch Frankfurt, Germany

Lost in Reality Digital 120 x 80 cm - 270 x 180 cm

Wonder Paul's - Digital - 80 x 120 cm - 180 x 270 cm

Hattie Ellis Bristol, UK

Silhouette Digital 24.46 x 37 cm

Elyse Beebe Peru, Indiana

Last to Fall Digital 140kb

Aimee Fitzgerald Aimee Fitzgerald is a young Australian photographer currently based in Sydney. Born in 1990, she holds a bachelors degree in Visual Arts with First Class Honours. Her awards include the ANU Visual Arts Scholarship, The Canberra Grammar School Exhibition Award, the CASS Honours Scholarship, and the Photo Access Canberra Residency and Exhibition Award. She was a finalist in the Qantas SOYA Awards and the Shutterbug prize, and winner of the Heart of Annandale Photography Prize. Her work has been exhibited a number of times at the ANU School of Art and in small galleries in Sydney and Canberra, including the ACT Legislative Assembly and Canberra Grammar School, and her photography and writing have been featured on a number of websites and blogs, including the Smithsonian Photography Initiative, the National Museum of Australia website, and Artist a APM: Greetings Aimee, thank you for taking the time to participate in this interview. We met online under very interesting conditions and I just want to start on this topic, because it’s an issue that seems to happen every so often in the art world. You allow others to use some of your photography for free as stock photography, but another person used your stock photography, made some digital modifications, then entered it into various art exhibitions and claimed that it was her art without acknowledging that you were the photographer who took the photo. Other artists have been quite successful by using images they didn’t create and adding their little touch to the image and thus making it their art. I guess my question is: How did this make you feel? Emily - Inkjet Print, 10 x 14.2cm - 2010 From Victorians: Family Album

AF: Honestly, it didn’t bother me that much, I guess because I didn’t expect her to reap many benefits from taking my work. If there was a lot of money to be made from my art, wouldn’t I be making it already? If I were in a position where my work was producing a significant amount of income, perhaps it would have felt more like a theft. If she had won the competition (her work was discovered and withdrawn before the finalists were chosen), or sold the work, I might have been a bit annoyed. I made my photographs available to other artists as a sort of experiment; I wanted to collect pictures of the same figure from lots of different artists and compare their interpretations. I accepted from the outset that once the pictures were loose on the internet I would lose control of their distribution and reproduction, but since most of the pictures in question all include my face, any high-profile reproductions would be easy to identify. While I take what measures I can (begging artists to give credit; calling them out if they do not), it’s not a huge concern of mine. I’m just not the possessive type. I also feel like if an artist alters my work enough to make something commercially viable out of it, they’re probably entitled to any rewards. That’s the way visual culture works: it’s all a conversation, and a great deal of my work is based on re-creation and homage itself, so I’d feel like a bit of a hypocrite if I didn’t accept my work as a part of the diaspora. I am aware that I take; I am willing to give. If someone took a photo of mine from the internet and printed it on T-shirts to sell (not that I can see that happening – if my work suited T-shirts, I’d already be making them myself), or (as happened) slightly modified one of my photographs and submitted it to a competition, that’s too far. But if an artist makes a painting based on one of my pictures, well – it’s derivative, but I don’t consider it outright theft. The photograph they’re copying was probably derivative itself. Think of it as a quotation, and like all quotations, you should reference the speaker, and then take credit for your cleverness and good taste in knowing just who to quote.

Corset - Inkjet Print, 12 x 19.3cm - 2010 From Victorians: English Life and Leisure

APM: Now letʼs talk about you and your photography. What are your tools of the trade and can you give us a brief description on how you like to work? AF: I tend to work with whateverʼs available to me. I donʼt like to ask for things, or have to rely on other people. Self-sufficiency is my idea of freedom, and to that end Iʼm generally photographer, model, wardrobe, make-up, lighting, transport – everything. I print and frame my work myself, whenever possible. Last year I decided to make a series of light boxes, and consequently had to learn some carpentry. I shoot both digital and film, generally choosing whichever I feel communicates best with my subject. I donʼt have loads of cameras. I know a lot of photographers who seem to hoard them, and Iʼve never been prey to that impulse –a camera is a tool, and if youʼre not using it, you should pass it on to someone who is going to use it. A tour of my cameras: 1. A slightly broken 35mm Olympus SLR a friendʼs dad lent me about five years ago, which I should probably return one of these days. I think itʼs from the 80s. The shutter gets stuck halfway, it has no light meter and it can only be used for relatively long exposures. It will never take what is technically considered a ʻgoodʼ photograph, which somehow comforts me – those rules cannot be enforced, so youʼre challenged to make something that is attractive by different measures. 2. A Canon 20D, which I got when I was sixteen. A gift from my mother. It is an old friend and still a very good camera, if a bit dusty and worn-out these days. 3. A 1970s Yashica twin-lens Mat-124G, given to me by a friend and patron (he hadn’t touched it in 30 years, and thought I might get some use out of it. It cost him nothing and meant so much to me; it was a great moment of casual kindness). 4. A Canon 5D Mk II. The most expensive thing I own, saved up over years. Madonna of the Dell - 2011

APM: Why did you want to become a photographer? When I was thirteen I worked all summer to afford my first camera (I was too young to work legally, and got paid something like five dollars an hour under the counter). That was in 2003. I don’t remember exactly why I wanted it so much, and now I’ve been a photographer for so long it’s hard for me to really remember the period of ‘wanting’. As for ‘being’, well, I suppose I tend to live my life much more in thought than action, and art is a way to touch the world. Roland Barthes once said “One writes in order to be loved”. The other philosophers all made fun of him for saying that (“I am told that M. D. finds this sentence to be idiotic”), but I think he got to the heart of something that we’re all loathe to acknowledge because it is an admission of terrible vulnerability. The artistic impulse is about making something out of yourself, an expression of self, and trying to convince other people to care about it, and so to care about you by proxy. That doesn’t preclude art from ideals, or ambitions – those things are often the parts of ourselves that we’re trying to find acceptance for. Then, on another level, itʼs also a bit of an auto-didactic impulse – like compulsive doodling, that you never really think about, or intend to show to anybody. I made a whole series last year without intending to, taking pictures of little nothings like my sister sleeping, and the sun falling on my bed. That work didnʼt need drive, it floated along. I suppose all it needed was water. What can we expect from you in the future? Any new projects that you are working on? This question is always awkward! I try to keep my plans and ideas for new work very loose in the conceptual stage, so that my unconscious can still have a say when I start to really work. So I could spin you a great story about some future piece, but a year from now I’ll have made something completely different and be all embarrassed. For the immediate future – I have a few little commercial projects in the pipeline, and I hope to put on some exhibitions this year in Sydney. I’m sketching and dreaming of new work.

Bride - Inkjet Print, 11.5 x 17cm - 2010 From Victorians: Family Album

APM: Where can we find you and your art?

Girl Without a - Inkjet Print, 57 x 38cm - 2011 From Nostalgia for an Imaginary Past

AF: At the moment my website is your best bet, with facebook a close second: In the world of things you can touch (though touching the art is generally frowned upon), I have a permanent installation up in the School of Music foyer at the Australian National University in Canberra. I don始t have any confirmed dates for upcoming shows at the moment, but there are going to be a few later in the year in Sydney, Canberra and Queensland (dates will be announced on my website and facebook page, when there are dates to announce). My studio in Sydney is open by appointment, which you can make by email ( If you happen to be in Boston, painter Rob Sullivan is having a solo exhibition of paintings of me in July, at Galatea Fine Arts on Harrison Avenue. That始s a development of the stock photography we discussed, and a very welcome one. You can see the works-in-progress and news about the upcoming show here:

Sally Rolfe Fulton, MO

Ninja Jump Digital 1.3mb

David Beckley Seattle, WA

Model Getting Dressed 1 Model Getting Dressed 2 Nude Model Sitting Digital 12.5" x 10"

Sleeping Reindeer - Digital Photo - 50 x 50 cm

Gjert Rognli Oslo, Norway

Dream Vision Digital Photo 100 x 70 cm

Addie Fisher Durham, NH

Desolate - Digital Photography - 8" x 10"

Beaten - Digital Photography - 8"x 10"

Evan Trine Los Alamitos, CA

Orange Medium Format Analog 30" x 30"

Amanda Hsu Pingzhen City, Taoyuan Country, Taiwan Clean - Digital - 24" x 16"

Jennifer Georgescu El Cerrito, CA

"It All Fades in Darkness" Untitled - The Veil. Digital Archival Print 20" x 23"

David Alan Corbin Amarillo, TX

At Rest Digital 20" x 16"

Path to Serenity - Traditional Black & White, Pinhole Camera, 4x5 Film, Painted Stamp Pad Inks - 8" x 10"

Peaceful Lake Traditional Black & White, Pinhole Camera, 4x5 Film, Painted Stamp Pad Inks 8" x 10"

Dyann Cooper-Navarre Toledo, OH

Grace Chew Toledo, OH

Afloat Digital 8" x 12"

Back from Neverland Digital 12" x 12"

Stephany Ficut Oradea, Romania

Plastic - Photography - 2mb

Plastic - Photography - 2mb

Johnny Tang Cambridge, MA

Narcissus - Digital/Analog Photography - 24" x 44 5/16"

Gabrielle Katina Rogers Chicago, IL

Flutter Digital 11" x 15"

Bev Short Wellington, New Zealand

The Awakening Digital 18" x 36" Zombie Killer Digital 36" x 18"

Erin Dobosiewicz Warrenville, IL

Ice Digital 8" x 10" Memory Digital 11" x 14"

David Vaughn Lubbock, TX

Roy Baugh Digital Photography 2400 x 1600 Forgotten Television Digital Photography 1600 x 1067

Andrew Gerard Belfast, UK

The Road Behind - Digital SLR - 4.1mb

Justin Alle-Corliss Berkeley, CA Not the Gravity Plan - Analog - 8" x 12"

Josue A. Roman Greensboro, NC

Hamilton Lake - Digital Photography - 20" x 26"

Debra Small Sacramento, CA

Morning Reflection Traditional Photography 7" x 9"

Dustin Halleck Oak Park, IL

Frank Simon, Balance Master Digital Photography 16" x 20"

Searching for the Seventies: The Documerica Photography Project Review by Sarah Katherine Jorgensen “Searching For the Seventies: the Documerica Photography Project,” on view through September 8, 2013 at the National Archives in Washington DC, explores the theme of the “real” seventies versus our reduced view of the decade through pictures that encompass a vast array of American cultures, political and environmental issues as well as diverse economic spheres. The exhibit provides a new look at the 1970ʼs and all of its richness through the photographs commissioned by the Environmental Protection Agency (EPA), which was formed in 1971. The 1970ʼs was a decade of immense political, societal, environmental, and economic change in the United States yet current depictions of this vibrant and dynamic decade are often simple caricatures focused on runaway inflation, political corruption, or fads such as disco. There are 22,000 “Documerica” color slides in the National Archives, many of which are in the public domain. The EPA wanted to establish a “visual baseline” of environmental images in the early 1970s, from which improvements could be measured. Despite the ethnographic/environmental premise of the project, the man in charge of the “Documerica” project, Gifford Hampshire, did not direct his photographers. He said “the best photography comes out of the photographerʼs intellectual involvement as well as emotional.” This project, and the slides on view, capture the 1970s from a variety of perspectives and settings, thus providing a valuable catalog for reexamining this important era in American culture and history.

“Black youths play basketball at Stateway Gardensʼ high rise housing project on Chicagoʼs South Side. The complex has eight buildings with 1,633 two and three bedroom apartments housing 6,825 persons. They were built under the U.S. Housing Acts of 1949 and 1968. They are managed by the Chicago Housing Authority which is responsible for 41,500 public housing dwellings.” John H. White, Chicago, Illinois, May 1973 (412-DA-13710) Red 05946

The origins of “Documerica” lay in the “Works Progress Association Photography Project” of the 1930s, when photographers such as Eudora Welty, Walker Evans and Dorothea Lange documented farm workers across the American landscape ravaged by the dust bowl. But the aesthetics of “Documerica” also have roots in the photography of Garry Winnogrand and Robert Frank, who pioneered street photography that used wide angle lenses and had the appearance of snap shots. Similarly, the “Documerica” photographs are street photography with a highbrow approach. That is, they have the aesthetics of snapshots, but in fact are really deliberate arrangements. Stripes of primary colors in awnings are lined up with tall people wearing bright, monochrome outfits. Diagonal power lines cross storefronts, creating triangular compositions.

The exhibit doesnʼt feel solely political. The works form a brilliant art exhibit that reveals something about time. Are we at a point for seventies nostalgia or is it that the themes in this particular exhibit resonate so well in our postindustrial climate? Now, with college students born in the nineties, the seventies are as foreign as the fifties, but their fashions can be bought at Urban Outfitters. Like the WPA project, real individuals, not characters on a set, inhabit these pictures. Pictures are divided into three categories. They are framed in popular seventies colors: purple for “Ball of Confusion” (gender equality, pollution, protests), orange for “Everybody is a Star” (changing styles, fashion and diversity) and red for “Pave Paradise” (suburban sprawl, urban congestion and car culture). A seventies soundtrack wafts through the exhibit that includes Earth, Wind and Fire, Joni Mitchell, Credence Clear Water Revival and early Bruce Springsteen. Part of the allure of this exhibit is the early technology and production of photographs. The Kodachrome prints have a cool blue light. Itʼs the look of seventies and eighties photography. The images have dirty edges from the slide mount. Color seems to be almost deliberately punched up. The turquoise in a Navajo elderʼs squash blossom necklace pops. The candy apple red of a car (bought with coal mining/ black lung payoffs) gives a shot of color to a mostly sepia toned photograph. Things are sharp where they need to be sharp. A crying womanʼs face comes into focus in a sea of worshipers. "Michigan Avenue, Chicago" (couple on street) Perry Riddle, Chicago, IL, July 1975. National Archives, Records of the Environmental Protection Agency

"Young woman watches as her car goes through testing at an auto emission inspection station in Downtown Cincinnati, Ohio." Lyntha Scott Eiler, Cincinnati, OH, September 1975. National Archives, Records of the Environmental Protection Agency

“Migrant worker with his grandchildren in front of two room shack which houses three families (20 people) this man and his family follow the crops north from Texas each year. His present job is weeding sugar beets at $2.00 an hour” Bill Gillette, Fort Collins, Colorado, June 1972.

The viewer brings as much to the images as the photographersʼ lenses. The viewerʼs emotions, imagination and knowledge fill in the blanks between images captured by the photographers. In the “Ball of Confusion” series of the exhibit, there is a particularly arresting image of children playing in front of a tract home. The photograph is taken from the ground, making the image of a nuclear power plantʼs tower in the back ground seem menacing. But what we have come to assume as danger- the steam from a nuclear power plant- isnʼt really the danger. It is just steam; the disposal of waste and the possibility of an accident are the real ominous threats. Similarly, when looking at the faces of migrant workers, we see a man with his head in his hands on the side of a decaying factor and assume exploitation or, in his case, hopelessness. Allusion is a part of many great works of art. The bright images of “Documerica” both provide insight to a period in flux and narratives in which viewers can intimately engage. In this case we are engaging with a not so distant past.

"Children play in yard of Ruston home, while Tacoma smelter stack s Washington, August 1972. National Archives, R

“A black man who is jobless sits on the windowsill of a building in a high crime area on Chicagoʼs South Side. He has nothing to do and nowhere to go. This scene contrasts with the publications that list the city as the ʻblack business Mecca of the world.ʼ In early 1975 some 16% of blacks were believed to be out of work, double the rate of white unemployment. Black owned businesses in Chicago in 1970 grossed $332 million from 8,750 businesses.” ReD 25280 John H. White, Chicago, Illinois, July 1973 (Caption written in 1975) (412-DA-13704)

showers area with arsenic and lead residue." Gene Daniels, Ruston, Records of the Environmental Protection Agency

"Inexpensive retirement hotels are a hallmark of the South Beach area. A favored place is the front porch, where residents sit and chat or watch the activities on the beach." Flip Shulke, South Beach, Miami Beach, Florida, June 1973. National Archives, Records of the Environmental Protection Agency

Jim Pica - Piano Man of Venice Beach -

Carob Bradlyn Shadow

Cindie Rice The Horses of Tres Pamas

Jim Pierce Stalking Green

Dayna Wood Your Own, Personal ...

Cori Woods Day fo the Dead Skulls

Demerese Montgomery Wrath

Escott Salazar Meu Ciudade

Ellen Benfatti Hope

Linda Tribuli Lucky Red Bird

Antoine Rambourg Scale

Halina Domanski Old Piano

Natasha Stansel

Christine Dana

Candid Camera

Age Frozen in a Bottle

Daniel Victor Smith Tire, New Orleans

William Buchheit Going Down Biting

Conor Dowdle Untitled

Frida Lindblom Resonate My Strings

John Beaudine Lake Park, MN

Shoshone National Forest Ticket Booth in Sheridan, WY

Super Dog

Michael Rushton Play Me a Song

Julie Grace Immink Painted Beauty

Joshua Ballew

Jerry Killian

The Sensuous Couple

Castle Villandry

Anne Mourier

Ken Bennison

Time to Wake Up

Red Berries

Russell McCall

Rachel St.Angelo


Bridge of Darkness

Rich Smuckler Heart of Texas

Rich Smuckler This Way

Tim Herschbach Pumpjacks

Tom Devine

Jade Highleyman


Wing, Series: As if Angels Were Watching Me

Lorenzo Mini Strada Romea

Einat Shteckler

Richard Lapham


Pigeons in Flight

Angie Hendrix Duality Study 2

Kenneth Kaplowitz I AM

Ken Moran Two Flowers from Providence

Alice Rene Pescara

Erika Olson Anguish

Kelly Flynn

Catherine Danae


Tied to the Ocean

John Box San Giorgio Maggiore Across the Canal - Venice, Italy

Carol Kleinman Family Day at Santa Monica Pier

Fabrice Fouillet

Melissa Pelczar

Corpus Christi 4

The Attack of the Barbarians

Elizabeth Ryan Rehearsal

Clare Henry

Masri Hayssam

Bubbles in Pond

Out of Me - Self Portrait

Jason Niemann Love and Death

Sean Johnson No Escape

Mansoor Mohamadi Alone

Paul Toussaint Gramercy View

Christine Cote

Roberto Pestarino

Beyond 19

The Fall of Geometry

Alvin Lim

Nicole Rittenhouse-Owen

Spawning Ground #1

Cantigny Labor Day: Fountain of Rest

Ok Seo

Yanina Monti

Fantasy #4


Arlene Cyr Ribbon Sunset

Greta Grigorian Egypt - Temple Guard

Kelly Flynn Port Angeles, WA

CHETZEMOKA - Digital - 2mb

Lucyna Kolendo Gdansk, Poland

Corpo Solido Analog 95 x 91.5 cm

Matthew Derezinski Kirksville, MO

Misplaced Memories - Digital - 8.5" x 17"

Shifra Levyathan Ramat - Gan, Israel The Man Who Loved Pigeons - Digital Photography - 50 x 40 cm

Brett Henrikson

Natalie Reynolds

Recreational Vehicle, Death Valley


Miltiadis Igglezos The Fisherman

Andrew Williams Puppertry

Mary Beth Lee Interrupted Sense

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