Eduardo L. Rivera is a photo-based artist working in Phoenix, Arizona. He received his BFA in Photography from Arizona State University where he worked along side Guggenheim fellows Betsy Schneider and Mark Klett. Eduardo’s work is in personal collections and has been displayed in various galleries within the southwest region including a partner space with The Etherton Gallery in Tucson, Arizona and the Marion Center for Photographic Arts in Santa Fe, New Mexico. His 131 and Third Avenue Market series have earned him travel grants to the 2011 and 2012 Society for Photographic Education national conference and also to Rio De Janeiro, Brazil from the Ted Decker Catalyst Fund. He lives in Tempe, Arizona and splits his time photographing and working at the ASU Art Museum.
Sorry for the absence of posting. Search Engine Optimization . I’ve been busy with grad school…
In August I started a three year MFA program at Arizona State University. A couple of years ago I started thinking I would like to have a more formal education in photography. Last year I came to the US and I spent a month looking at various schools. Of all the ones I visited, ASU was the program that I liked the best. I applied and, luckily, was accepted. And so, since August, I’ve been in Phoenix (technically Tempe) studying.
I hope to keep blogging about what I’m working on and also goings on in Argentina, although I’ll have to do so from a distance.
Featuring photographers seen at the Medium Photography Festival in San Diego….
I have to admit, I’m not always a fan of the nude, but when the nudes are self-portraits, and the photographer is working alone in a variety of exposed environments that create an incredible venerability for her safety and sanity, it’s hard not to appreciate the results. Catherin Colaw considers her self-portraiture an exploration of women and their bodies and an individual performance done in the environment–and I think she has successfully achieved the conversation between body and place.
Catherin received her BFA from Arizona State University. Her work has been exhibited in galleries on both coasts and the desert in between. She has lived and worked in Arizona, New York City,
and now San Diego.
These images are an exploration of sexuality and nakedness, vulnerability and separateness. A women’s identity is sacred and yet it is often stripped down and defined by her bare body. In this series, nudity is no longer about sexuality, but about vulnerability. Each image is a self-portrait and a meditative practice. They are performances that require a challenging stillness and trust. The dismemberment of the nude women’s body becomes a simultaneously beautiful and oppressive dialogue between the landscape and the female form.
It is a process that, ultimately, restructures the essence of the specimen. In this way, botanical life can only endure as a specimen in a liminal state, the extended occupation of a pause between natural growth and decomposition. It is in this otherwise invisible moment, one reachable only through the intervention of the preservative act, that I find a deep and uncanny beauty.
I emphasize the manipulation that manifests from preservation through the use of salt. This paradoxical mineral, that is necessary to sustain life—yet, if the delicate balance is outweighed, can extinguish it—reflects the structure of a preserved specimen and acts to preserve it. I submerge each living plant in a bath of salt water and allow the salt to crystallize on and within the living form.
Inspired by the intentions of botanical illustrations as a method to understand and control one’s environment, I seek to impress the human urge to order nature and in the process fundamentally change it. Using the platinum-palladium photographic process for its chemical stability and long-lasting image, these direct contact prints complicate the ideal of preservation, albeit, at the expense of the most authentic act of living matter, decay.
Betsy Schneider is a photo-based artist who lives and works in Tempe, Arizona and Sharon, Massachusetts. She is fascinated by photography and uses it to better understand such complicated things as time, decay, the body, childhood, culture, and relationships. Her work has been shown internationally and is in several collections including the Nelson-Atkins Museum, the Museum of Fine Arts Houston and the Museet for Fotokunst in Denmark. A 2011 Guggenheim Fellow, she is currently working on her fellowship project Triskaidekaphobia, portraits and video interviews with 250 thirteen year olds. She is eager to include a wide geographic and demographic in this project and urges anyone with connections to thirteen year-olds interested in participating to contact her. She is an Associate Professor at Arizona State University.
Bucky Miller was born in Phoenix, Arizona in 1987 and continues to use the Phoenix metropolitan area as a home base to present day. He received a BFA in photography from Arizona State University in the spring of 2012 and studied one summer at the Visual Studies Workshop in Rochester, New York. Miller is admittedly obsessed with the syntax of photography. He has recently undertaken curatorial endeavors around Phoenix and is currently at work on his first photographic novel. The son of an architect and an artist, Bucky is named for Buckminster Fuller (who he also considers an influence).
his BS in Science from Southern Illinois University and an MFA in photography
from Arizona State University. Bruce lived in Arizona for most of his
career, working as a desert landscape designer–a profession that connects him
deeply with the land. He is now working as a fine art photographer and living in Illinois.
“Lost Homes”. I was
raised in the rural farm area of far west central Illinois where there were
farm homes almost every half mile.
These homes raised families for decades. I left my home town to go to college and did not return for
over thirty years. Upon my return
I noticed how many of these farm home sites stood vacant but yet there still
seemed to be an aura of refusal to give up.
Many of the sites are still used for storage purposes but several are only represented by a single tree or lane. Some still have foundations or basements left behind and the trees that surround them have a distinctive character as if they were monuments. Maybe they are. I have been photographing these sites for a few years under various weather conditions hoping to catch that spirit which still seems to exist.
Christopher Colville was born in 1974 in Tucson Arizona. After receiving his BFA in Anthropology and Photography from Washington University in St. Louis, Missouri and MFA in Photography from the University of New Mexico, he returned home to the Sonoran Desert and is currently living in Phoenix, where he is a visiting Assistant Professor at Arizona State University. Christopher’s work has been included in both national and international publications as well as recent solo and group exhibitions at the Griffin Museum of Photography, Rayko Photo Center, The center for Photography at Woodstock and the 2012 Noorderlicht Photo festival. Recent awards include the Humble Art Foundations 2009 New Photography Grant, an Arizona Commission on the Arts Artist Project Grant, a Public Art Commission from the Phoenix Commission on the Arts as well as an artist fellowship through the American Scandinavian Foundation.