Archive for FOCUS 2018 WINNERS

Sarah Grew

June 6, 2018 Comments Off on Sarah Grew FOCUS 2018 WINNERS

Willow by Sarah Grew

Joshua Tree Vistas and Details, grew from my time as Artist in Residence for Joshua Tree National Park, California, in 2017. In my work as a whole I am interested in time and visual expressions of temporality. It is within that spirit that I chose to print these images as cyanotypes for the time-bending mixture of using digital technology to capture an image but to print using a 19th century photographic printing process that pre-dates the invention of a photographic negative. During my stay in Joshua Tree I tried to emulate the grand sweeping vistas of 19th century photography that creates timeless views of nature. The resulting prints harken back to the early days of photography and almost to etchings of the 17th century. Yet, the images are clearly modern in their form, and detail, simply appropriating technique of that earlier time. For me this subtle breaking of the rules of time makes us question how we see and what we remember.

Jeffrey Kellner

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Kiss – Lake George, NY by Jeffrey Kellner

These images are part of an ongoing 40 year series of portraits and still lives taken in and around New York City….its beaches…(as presented in this admission), and its neighboring locations. They were originally photographed with medium and large format cameras……processed and then scanned digitally. These digital prints were printed by me, using archival carbon black pigment inks. The final print was varnished with an archival uv application. I make photographs with everyday people and create an elegant visual record!

Tira Khan

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Beaumont Crescent by Tira Khan

I began photographing my three daughters because I wanted a portrait to hang on my wall. I envisioned them bathed, dressed and happy – but for me, it was an impossible trifecta. Instead, I photographed moments when my girls were wrapped in their own thoughts, oblivious to me. I saw my photographs as a way of studying the girls as a journalist might. I never asked my daughters to stop what they were doing, and they didn’t seem to mind me snapping away. As the girls aged, I realized that these small moments added up to something larger – the development of character, personality. Now, as I feel more confident, they are more confident too. We see each other head-on, unapologetic in our flaws. But we are also more wary. The childhood “magic” has morphed into teen melodrama and more. It’s now a different kind of energy. We grew up together.

Blackoll Kim

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Neo-Vanitas by Blackoll Kim

New modernized vanitas project inspired by 17th vanitas painting. All objects have symbols of futility of the earthly life and the ephemeral nature of life.

Memento mori.

Amor fati.

Carpe diem.

Ivan McClellan

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Cowboy: Posture by Ivan McClellan

By chance I found myself at a black rodeo in Oklahoma. At the time I was struggling with self-identity, as a black man, as a hybrid citizen born to cultural poverty, currently living on the West Coast in isolation and privilege. I grew up in Kansas in a small house with my sister, mother, and grandmother. We ran though the field all summer fingers stained from blackberries, catching lighting bugs. I never went to the dentist, skinned my knees to the bone, and caught my first crappie at Clinton Lake. Somehow I never described myself as country. That was an identity I felt was reserved for white people. At the rodeo, I met stoic blacks who rode horses, herded cattle, and grew crops. Initially apprehensive, the points of relation, and shared context were resounding, allowing me to reconcile my past and own that part of my identity. Through my rodeo photos I am able to immerse myself in my own culture, hoping to amplify the perception of rural, self-sufficient and hardworking blacks.

Julie Mihaly

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The Attic: Sex by Julie Mihaly

My mother, Mable Vola Ball Mihaly, was suffering from Alzheimer’s disease in 2009 when my brother & I moved her from her home in Virginia to assisted living in the Hudson River Valley. When she died 4 years later we gave many of her possessions away, sold some, tossed a few & stored the ones that were hardest to part with in our attic. The attic has also been the repository of boxes that contain evidence of the jobs, ambitions, memories & keepsakes that have punctuated my own life. Not long ago I decided to take stock of what’s up there, hoping to record & memorialize not just the photos & objects stored there, but to use them as a springboard to create work that embodies the spirit of the people, places & times they conjure as well as the influence all have had on me. Creating “The Attic” has been cathartic, at times funny, often joyful, frequently painful, but always powerful.

James Reeder

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Untitled Photographic Object #65 by James Reeder

I begin by taking photographs from magazines and books. I reassemble and rephotograph these images as objects in a studio. Source material includes images of hands in gestures of labor and images of artifacts from the do-it-yourself history of photography, science, and technology popular in printed media the last century through today. These images reference a ritual of the analog at the point when labor and leisure begin to merge. I locate analog source material using keyword searches within digital networks, the studio acting as mediator between analog and digital. The paradoxical relationship between substitute and original is also at play, reinforced by built stands and other methods of display. The images are decontextualized in my staged studio setting becoming open-ended, intersecting and looping back into the rush of visual information. My photographs construct a disjointed and disorienting mashup based around the acts of seeing and doing, gaze and gesture, and the photograph.

Rosalyn Song

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Image #11 by Rosalyn Song

I was diagnosed with depression six years ago. The most difficult part of suffering from depressing is carrying the feelings of sadness and emptiness and other emotions that I cannot put into words. I was unable to concentrate on my photography works for years due to my illness. Recently, I was able to find a way to cope with my illness: to face my reality. I realized the world is as it always is, and I have no power to change the world. I took an observation of my reality, and what I discovered is it is boring and bleak with empty feelings, there is no hope. As sad as it may sound, however, I try not to drown deeper into those feelings-I had to stop falling into it. Rather, I visualize those feelings to my photographs. This process makes me feel more grounded and allows me to survive in this swamp of depression. This series is about my silent war inside of me to the world against my condition to sustain my artwork from chronic illness of boredom.