Nissa Kubly

Square Pinhole Camera Ring

This photograph is representative of two related series of mine that deal with humanity's impact on and relationship with the earth. This relationship is not sustainable. Lately, I have begun to dream of our tortured earth with the remains of our hubris drifting through space, mined to extinction. This work is an attempt to tear through the ugliness of the world we have made, through the blindness of our voracious appetite to the vastness beyond, where beauty cares not for our perception of it. As Robinson Jeffers wrote: “The beauty of things was born before eyes and sufficient to itself; the heartbreaking beauty/ Will remain when there is no heart to break for it.” -- William Lesch

All my life I have held a fascination with the animal kingdom, which began in my childhood growing up on a farm and extended into my adult years. On some inexplicable level I feel a ...

Our world is immersed in light, but its physical essence is chemical. Digital photographic processes can record that illumination, but they cannot touch the wet, chemical essence whi...

Leaf No. 26C1, limited edition, archival pigment ink print, signed and numbered Our world is immersed in light, but its physical essence is chemical. Digital photographic processes...

Portwood 21 The Balvenie 0182, limited edition photograph, signed and numbered Ernie Button’s photographs are a treat to the imagination. A journey along the delicate lines and vib...

#00145 Polygonum pensylvanicum, Unique photogram, gum bichromate, framed This image is a unique photogram and is printed using Rives BFK, gouache, gum arabic, kitakata and ink. P...

Luanne Rimel is an artist, curator, instructor, and currently the Director of Education Programs at Craft Alliance Art Center in St. Louis, Missouri. Her work is layered with historical dialogue and tactile intrigue through both technique and concept. Rimel prints her original photography on repurposed flour-sack cloths using a wide-format inkjet printer. Detailed sections of the image are created and layered, collaged and hand stitched onto the cloth, referencing earlier domestic practices of mending and repair, reuse and repurposing. The delicate, repetitive hand quilting across the surface creates shadows and textures and alludes to the marking of time. Her photographic imagery and textile work has been exhibited both nationally and internationally, including Japan, China and Korea, and is in many private and corporate collections. Her work is traveling in Quilt National 2013 and was in QN 2011. She has exhibited in the 2012, 2013 and 2014 Smithsonian Craft Shows. Her work will also be included in the new book, Art Quilts of the Midwest, published by the University of Iowa Press. Other exhibitions include a solo exhibit at the Missouri Botanical Gardens, St. Louis, MO, Art Quilt Elements, Wayne, PA, and the Chicago Cultural Center, Chicago IL. Luanne received an MFA in Fibers from Southern Illinois University and has taught numerous workshops and classes around the country. Public Collections Museum of Women in the Arts, Washington, DC Museum of Arts and Design, New York, NY Royal Caribbean International Corporate Collection, Silhouette Cruise Ship Sara and David Lieberman Collection of Contemporary Baskets, MADMuseum, New York, NY Gloria and Sonny Kamm Foundation, Fuller Craft Museum, Brocktom, MA "Protected" Photograph Printed on...

A Fujiflex print mounted on aluminum depicting abstracted ocean waves by Arthur Ou.

Black and white photograph on a ChromaLuxe metal panel with a UV coating bonded to substrates that include 0.45" metal. ChromaLuxe has superior fade, moisture, stain and scratch resi...

This large montage of photographs (is not mounted onto aluminum) from Ken Gonzales-Day's dysmorphologies series. Fujifilm Fuji Color Crystal Archive paper color Photo paper. This is not signed or numbered. Ken Gonzales-Day's interdisciplinary and conceptually grounded projects consider the history of photography, the construction of race, and the limits of representational systems ranging from the lynching photograph to museum display. The Searching for California Hang Trees series offered a critical look at the legacies of landscape photography in the West while his most recent project considers the sculptural depiction of race. Profiled began as an exploration of the influence of eighteenth century "scientific" thought on twenty-first century institutions ranging from the museum to the prison and extended to the sculpture and portrait bust collections of several major museums including: The J. Paul Getty Museum; The Field Museum, Chicago; The Museum of Man, San Diego; L'École des beaux-arts,Paris. The Bode Museum, Berlin, Park Sanssouci, Potsdam; The National Museum of Natural History, Paris; The Yale Center for British Art, New Haven; among others. Gonzales-Day lives in Los Angeles and is Chair of the Art Department at Scripps College. Much of Gonzales-Day's work considers the larger political and social representational histories of the Mexican-American experience. His early work draws on the constructed photo methods of artists like Jeff Wall, Cindy Sherman, or Gregory Crewdson. For example, in Bone Grass Boy (1996), Gonzales-Day casts himself as all the central characters in a staged photonovella set during the Mexican American War...

This extra large montage of photographs is mounted onto aluminum from Ken Gonzales-Day's dysmorphologies series. Photo paper mounted to aluminum. Ken Gonzales-Day's interdisciplinary and conceptually grounded projects consider the history of photography, the construction of race, and the limits of representational systems ranging from the lynching photograph to museum display. The Searching for California Hang Trees series offered a critical look at the legacies of landscape photography in the West while his most recent project considers the sculptural depiction of race. Profiled began as an exploration of the influence of eighteenth century "scientific" thought on twenty-first century institutions ranging from the museum to the prison and extended to the sculpture and portrait bust collections of several major museums including: The J. Paul Getty Museum; The Field Museum, Chicago; The Museum of Man, San Diego; L'École des beaux-arts,Paris. The Bode Museum, Berlin, Park Sanssouci, Potsdam; The National Museum of Natural History, Paris; The Yale Center for British Art, New Haven; among others. Gonzales-Day lives in Los Angeles and is Chair of the Art Department at Scripps College. Much of Gonzales-Day's work considers the larger political and social representational histories of the Mexican-American experience. His early work draws on the constructed photo methods of artists like Jeff Wall, Cindy Sherman, or Gregory Crewdson. For example, in Bone Grass Boy (1996), Gonzales-Day casts himself as all the central characters in a staged photonovella set during the Mexican American War. In a later series entitled Erased Lynchings (2004-2006), Gonzales-Day explores the history of lynching in the American West by appropriating and digitally altering an archive of 19th and 20th century postcards that depict Mexican and Mexican-American lynchings. In 2012, Gonzales-Day received the Creative Capital Award in the discipline of Visual Arts. In 2014, he created his project titled Run Up which pairs together recreated images of lynchings from the 1920s and images of police brutality from Ferguson and Los Angeles. The title, Run Up, stems from the term for an illegal lynching. Court-ordered executions were called hangings while hate crimes were referred to as "run-ups". Along with his artwork, Gonzales-Day has authored two monographs. His first, Profiled, deals with the works of Malvina Hoffman...

It is the luminous colours of Michel Piquette’s works that first catch the eye. His chromatic circles that stir up vision take root in an aesthetic tradition a few decades old alread...