Douglas Ljungkvist is originally from Goteborg Sweden. He is a self-taught photographer whose work examines places and environments, both public and private. After a long career in sales & marketing Douglas started photographing about eight years ago and full time for the past four. His work has been exhibited at the New York Photo Festival, Hereford Festival, London Street Photography Festival, Bridge Art Fair, and more. In 2011 he was awarded the gold prize at the Px3 Fine Art Book proposal category and participated at Review Santa Fe in 2010. His first monograph, Ocean Beach, will be published in the fall of 2013. He lives and works in Brooklyn, NY.
Viktoria Sorochinski is a Ukrainian-born artist who has lived and studied in Russia, Israel, and Canada prior to settling in New York City, where she acquired her Masters of Fine Arts in 2008. Since 2001 she has participated in various group and solo exhibitions and international photography festivals in Canada, USA, France, Italy, Russia, China, Georgia and Argentina. She is also a finalist and winner of several international photography competitions and awards including Lucie Award – IPA (Discovery of the Year), Magenta Foundation's Flash Forward, PDN Photo Annual, Voices Off Arles, ONWARD, Review Santa Fe, Descubrimientos PHE, BluePrint Fellowship, and Encuentros Abiertos. Her work is widely published in internationally acclaimed magazines, among which are British Journal of Photography, EYEMAZING, NY Times, PDN, GUP, Le Monde, BLINK Magazine, THE PHOTO/ARTVAS, Planeando Sobre BUE, AZART Photo, and many others, as well as in web portals worldwide.
Chad Ress, born in Kentucky, currently lives in Los Angeles. His imagery is landscape based with a focus on the social forces that shape these physical spaces. His project America Recovered – A Survery of the ARRA documents the stimulus bill of 2009 by combining his images with text provided by the government. It was accepted to Center / Review Santa Fe; awarded distinction by The Forward Thinking Museum; and recently published in both Time Magazine's Lightbox and The Wall Street Journal. Ress is currently a Katz fellow with Arizona State University and the Center for Social Cohesion, in conjunction with the New America Foundation. He is creating an archive of images documenting where Americans go, outside of work and home, to find a sense of community and connection to place.
when I touch upon US soil. I call it familiarity. I am acquainted with
everything. I have been here before. Perhaps I even grew up here. In a way, I
think I did. And that’s because of the thousands of American movies I have been
watching since I was a little kid. America feels like I am on set on its own
and I am the action. I’m racing through the endless highways of the State of
Texas, I book myself in cheap motel rooms on the road, I eat pancakes at desert
diners in small desolate Mid West towns, I seek parking lots cramped with old,
faded, street mural advertising all in search for the America that I know. The
country that I saw flickering across the screens of movie theatres and TV back
at home in Greece.
across the country reliving each American movie scene I had in my mind. I thought I was
the action, but I learned that I was becoming the direction. I started to
physically explore America.
moments, which are deeply rooted into my memory. I am not looking for a movie
location. I’m looking for the reflection of reality in the mirror of film. In
my eyes and lens, this is a country that seems like an endless movie set.
abroad. David was selected for the prestigious Lens Culture
International Exposure Award 2011 and most recently, was awarded the Freestyle
Crystal Apple Award for Outstanding Achievement in Black and White
Photography. Within the last year,
David was awarded the Nathan Cummings Foundation $5000 travel grant that funded
a trip to France and England. This
opportunity enabled him to investigate the resurgence of antiquated processes
at its source and their application in contemporary photography. Currently he is working on two new bodies of work as an
Artist-in-Residence at Art Intersection in Gilbert, Arizona.
pleasure from exploring its past and discovering how that past relates to where
the medium is today. Photography
is in the era of megapixels and I have made the conscious decision to embrace
the processes and elements of display from
photography’s past. This is
not to say that I have rejected the digital era. I, too, own a digital camera, but have chosen to conduct a
constant search to understand everything photography is, and could be.
Exposures, I have used 35mm film canisters that were discarded by my
“Introduction to Photography” students as a base to hold their portraits. I employed a labor-intensive, 19th
century, chemical photographic procedure known as the wet plate collodion
process to make the students’ photographs on the very film canisters that
played a crucial role in their initial understanding of photography. The canisters and the process I used
speak of the evolving nature of photography, representation, and culture. By mining the history of photography, I
can find the relevance of my work today.
Nearly every weekend, I drive an hour north of Albuquerque to a place just south of Santa Fe. My in-laws have owned this nearly 100 year-old house for about 38 years and it is where my wife was born. It is a place of great comfort and a place where I love to spend time. We spend enough time there to consider it our home away from home.
One of the best rewards of being in Boston last week was meeting photographers. I’ve been a fan of Matthew Gamber and his compelling imagery that challenges us to rethink how we see, think about and perceive color, so it was great to finally put a name to a face at the Flash Forward Festival.
Matthew holds a BFA from Bowling Green State University and an MFA from the School of the Museum of Fine Arts/Tufts University. His star is on the rise as his work seems to be everywhere: included in the 2012 deCordova Biennial, the the Abstract Photography Then and Now exhibition at the deCordova, at the Flash Forward 2011 Exhibition, and last year at the Sasha Wolf Gallery in New York. He has also been granted numerous awards and fellowships, and just got off the plane from Santa Fe, where he attended Review Santa Fe.
The photographs in Any Color You Like are an experiment in how photography can confuse our perception of information. These photographs represent objects whose primary function is to simulate our observation of color. When these items are rendered in a traditional black–and–white format, the information that remains is merely an abstraction of its previous form.
Emily Shur was born in New York City, at New York Hospital, to an auditorium full of nursing students. She attended the Tisch School of the Arts at New York University with a major in Photography and graduated in 1998 with academic honors along with the Artist Award for Creative Excellence. Emily’s work has been featured on numerous websites including Tiny Vices and 20×200 and has been exhibited in New York, Los Angeles, and San Francisco. In 2008, she was honored to have an image in the Taylor Wessing Portrait Prize exhibition at the National Portrait Gallery in London. In 2009 and 2010, Emily was one of 100 photographers invited to participate in Review Santa Fe, and in 2010 her work was also included in Humble Art’s 31 Women in Art Photography exhibition. She lives in Los Angeles with her husband and their dog, The Baroness, in a 106 year-old house in Echo Park.