Curatorial Projects

Picturing Identity
Elizabeth Bernstein, Lois Bielefeld, Jess T. Dugan, Jamil Hellu, Jenny Sampson, Liz Steketee, Anita White, Nicole White
Diablo Valley College Art Gallery
March 6 - March 27, 2019

Excerpt from curatorial statement written by Jessica Santone:

“How to picture identity? As humans we identify in lots of different ways – sometimes in ways that are confusing or hard to articulate, sometimes through categories that don’t quite totally define us. Our social identities – gender, sexuality, race, ethnicity, class, age, profession, or other categorical markers – are how strangers first see us. Our personal identities – kind, creative, resilient, spirited, jealous – are often more hidden, reserved for those who take the time to get to know us. Through various strategies of representation and photographic techniques, each of the artists in this exhibition is concerned with how to represent identity.”

Liz Steketee, from  sewn 2, my diary

Liz Steketee, from sewn 2, my diary

New Narrative
Benjamin Martinkus, Jordan Tate, Joey Versoza
Project 9, Zephyr Gallery, Louisville, KY
August 28 - October 31, 2015

Excerpt from curatorial statement:

"All photographs are stand-ins for the real thing. In many instances, photographs are the only means in which we make determinations about the world around us. Through online intermediaries, like Google Earth, Snapchat, and Skype, we can immediately gain a general sense of things on the other side of the screen. While these tools function similarly to early photographic travel guides and newspapers – albeit sped up to a 21st century pace – one notable difference, is the overarching sense that the contemporary world is predominately satisfied with images. An image is good enough. The real thing is now secondary to the photograph. Even with the knowledge that most images are altered or modified to serve a specific purpose and that truth and photography do not correlate, we are still willing to experience the world through the passive lens of photography. Whether we are willing participants or not, this is an inescapable fate. There are mountains containing troves of images just waiting to show us a mediated history of everything."

While this concept points to a very dystopian translation of our photographic moment, it does beg the questions: Can we live vicariously through images? Do we already?

Read full curatorial statement here.
See printed trifold brochure here.

Capture Effect
Anastasia Samoylova and Julie Weber
3433, Chicago, IL
February 15 - March 9, 2014

Utilizing found imagery, Samoylova and Weber employ very physical tactics to manipulate found photographs into new compositions. The photographs are bent and torn, aggressively reconciling the past with the present. Re-presented in their final forms, the pieces still speak the same language but the distance between the original and its transformation allows for a dialog about stability, vision, and memory to emerge. 

Read full press release here.

this is big
Aimée Beaubien and Paul Erschen
Co-curated with Laura Hart Newlon
3433, Chicago, IL
September 21 - October 12, 2013

Tangled lines and kaleidoscopic patterns weave together to create organic forms.  Staggered bars of color shift and merge into geometric landscapes.  In this is big, artists Aimée Beaubien and Paul Erschen explore the possibilities of reconfiguration and transformation within a fixed set of raw materials.  

Read full press release here

Summer Home
Barbara Diener, Tony Favarula, Jon Horvath, TJ Proechel, Greg Ruffing, and Justin Schmitz
Co-curated with Tyler Blackwell
Schneider Gallery
230 W. Superior Street Chicago, IL 60654
July 5 – August 31, 2014 

The photographs assembled in this exhibition personify the idea of “home” and can be experienced as a single, continuous narrative or as many disparate storylines. The works range from intimate to vastly disconnected in subject matter, though the artists’ true vantage points are not always apparent. By animating these histories, the photographs and objects are uniquely positioned to alternatively elicit a sense of nostalgia or displacement from the viewer. The exhibition also encourages conversation around the connotation of “house” or “shelter,” choosing to both acknowledge and reject practical or literal notions of the concept. Removing these restrictive definitions enable the artworks to collectively function as something less concrete. 

Surface Tension
Ben Alper, Daniel Hojnacki, Diane Meyer, Laura Hart Newlon
Schneider Gallery
230 W. Superior Street Chicago, IL 60654
July 5 – August 31, 2013

The photographic medium is constantly tested, challenged, and examined as to its function. A pliable medium, photography has bent and shaped itself innumerable times to meet the concerns of those working with it; this shifting history makes defining the medium near impossible. In the arts, photography has constantly fought to maintain its status alongside other mediums, particularly painting. However, now that it has gained an equivalent status, the artists employing photography are aggressively reinvestigating it, turning it back onto itself. The work in this exhibition is the product of this reconsideration. Ultimately the pieces maintain their photographic thread, but they move outward from the expected and alter the photographic plane (through illusion and physical alteration of the surface) into a space where a new dialog can emerge.