Family, Friends, Industry, and Community. Please join us in the celebration. Our photographers will unveil their thoughtful and poignant photographic work for the third annual CBU Photography Spring Show.

Tacos will be served from 5 PM - 7 PM on the Wallace Lawn (behind Wallace Theater), adjacent to the VIP viewing of work.

We are excited to host a series of on-site, face-to-face portfolio reviews with top Industry and Academic Professionals. Critical review as our seniors present their year-long projects and embark into the professional workspace.

Reviews by Industry and Academic Professionals:

• Bill Thompson - Founder, Principal Photographer, Pencilbox - Orange, CA

• Billy Yarbrough - Studio Manager, La Jolla Group - Irvine, CA

• Blake Sinclair - Director Of Photography at ALO Yoga - Los Angeles, CA

• Dennis Keeley - Former Chair of Photography and Imaging, Art Center College of Design - Pasadena, CA

• Douglas McCulloh - Interim Executive Director / Senior Curator of Exhibitions, UCR ARTS - Riverside, CA

• Ellen Friedlander - Co-Director, Pasadena Photography Arts - Pasadena, CA

• Everard Williams - Chair of Photography + Imaging, ArtCenter College of Design - Pasadena, CA

• Geoff Scott - Photographer and Portfolio Consultant - San Diego, CA

• Jonny Bell - Managing Director, Giant Artists - Los Angeles, CA

• Julian Lucas - Founder Mirrored Society and Print Pomona Art Book Fair - Pomona, CA

• Sonya Singh - Director of Lancer Media Group & Freelance Multimedia Journalist - Riverside, CA

• Veronica Cotter - Education Development USA, Hahnemühle FineArt - Los Angeles, CA

Thankful to these professionals for offering their precious time to the Program and the next generation of Photographic Professionals.

Bill Thompson is a design photographer who specializes in shooting people for clients in the automotive, financial, healthcare, medical device, and non-profits/foundations industries. He is the founder of Pencilbox Studios a collaborative studio of creative principals and partners who work together to create concept-driven communication solutions that extend beyond the expected while building strong partnerships with clients. And board member of AIGA-OC.

Billy Yarbrough is the Studio Manager of La Jolla Group in Irvine, California, where he oversees the Photo/Video Studio management of staff and operations. As a commercial photographer, he considers himself an expert in Canon cameras, Adobe Master Suite, Capture One, and various professional lighting equipment brands. Previous Clients include Lithia Motors, SavrPak (Time Magazine Best Innovation 2021), Framework Computer (Time Magazine Best Innovation 2021), Sambazon Acai, Article One, Billabong, Quiksilver, DC Shoes, Element skateboards, Roxy, Vonzipper, Richer Poorer, Ethika, Sony Music, Flex Brand, Coopers Spirits, Dandy Del Mar, Nomadix, Unique Vintage, Lively Root, Ernie Ball, Urban Cowboy Hotels.

Blake Sinclair, Director of Photography for two prominent brands, ALO Yoga and BELLA + CANVAS, where he leads the photography efforts for digital marketing campaigns across various platforms including Instagram, Facebook, and eCommerce channels. His creative flair and a keen eye for detail are evident in the captivating lookbooks, line guides, and visual content he produces, showcasing the brand's products in the best light. Blake plays a pivotal role in developing and maintaining the visual identity and market presence of ALO Yoga and BELLA + CANVAS, making his work integral to their success in the industry.

Dennis Keeley works as an artist, photographer, teacher, and writer. His photographs have been exhibited in numerous one-person and group shows and he is published internationally in books and studies concerning the urban circumstance. He has works in the permanent collections at LACMA, MOCA, the J. Paul Getty Center Trust, and Conservation and Research Institutes and was commissioned by the California African American Museum in Los Angeles. In 2016 he was chosen by Month of Photography Los Angeles (MOPLA) to exhibit his portraits of musicians in a solo exhibition entitled, “25 Years of Music.”

Dennis Keeley is former Chair of the Photography and Imaging Program at Art Center College of Design in Pasadena and has served on the Board of Directors at Angel's Gate Cultural Center in San Pedro, CA for more than ten years.

Douglas McCulloh is a versatile artist, writer, educator, and curator who intricately weaves the theme of chance into his creative works. Raised in Southern California, his artistic perspective is deeply rooted in the dynamic surroundings of the region. McCulloh graduated with honors from the University of California, Santa Barbara, before pursuing an MFA in photography and digital media from Claremont Graduate University.

As an artist, McCulloh's photography has gained international recognition, with exhibitions spanning the United States, Europe, China, and Mexico. His body of work often explores the delicate balance between randomness and intention, resulting in thought-provoking pieces that challenge conventional notions of art and photography.

Beyond his artistic pursuits, Doug McCulloh is a prolific writer, offering profound insights into the role of chance in art and the creative process. His writings provide a deeper understanding of his work and the philosophical underpinnings that guide his artistic vision.

In his role as an educator, McCulloh shares his passion for photography with students, inspiring them to explore new realms of creativity and expression. His teaching methods encourage experimentation and the discovery of unique artistic voices.

As a curator, McCulloh has curated a diverse array of exhibitions, showcasing the works of both emerging and established artists. Notably, he has curated exhibitions at prestigious venues such as the California Museum of Photography, providing a platform for artists to engage with audiences and explore the intersections of art and chance.

Doug McCulloh's multidimensional approach to creativity, blending artistry, scholarship, and education, continues to make a profound impact on the art world. His dedication to exploring the unpredictable nature of chance through photography and other mediums establishes him as a visionary in the contemporary art scene.

Ellen Friedlander is a Los Angeles-based artist who uses a variety of in-camera and post processing techniques to reveal the unpredictable, idiosyncratic, inscrutable nature of the human condition. Her style is fueled by curiosity and a commitment to a multiple point of view: drawn to the street, landscape, documentary photography and portraiture. She has been inspired by 20th century photographers (Winogrand, Callahan, Friedlander – unfortunately no relations – and Cartier-Bresson) to take to the city streets across the United States, as well as in Hong Kong where she raised her family. Friedlander holds a BFA in Art with a Minor in Photography from Ithaca College and an MA in Mass Communications from the University of Florida. After 35 years of working in all facets of the business of photography; assisting, styling, representing and working on her own photographic assignments, she has found her own way of expressing the street with the “Extended Frame.”

Friedlander is a Kipaipai fellow as well as Co-Director of Pasadena Photography Arts, which promotes diverse photography projects by established and emerging photographers worldwide through Open Show and FORUM events. She has been featured in Lenscratch, The Hand Magazine, The Candid Frame podcast – Episode #499, and guest curator on “The Crit House” podcast. During March-April, 2021, three of Friedlander’s photographs from her "Betrayal” series were in a group show at Austin Desmond Fine Art in London. During that same time, she had her first solo show at The Photographer's Eye Gallery in Escondido, CA where she exhibited her "Extended Frame" body of work. Friedlander ended 2021 with a feature in the LA Weekly, “Meet an Artist Monday.” Friedlander stays connected to the Los Angeles artist community as a member of the Los Angeles Street Collective sponsored by LACP, as well as the newly formed UOOORS Art Collective.

Everard Williams is a dedicated artist, educator, and the esteemed chair of the Photography and Imaging Department at ArtCenter College of Design. In his role, Everard leads with a passion for nurturing the next generation of visual storytellers, empowering students to push boundaries, experiment with new techniques, and discover their unique artistic voices. His work spans conceptual, portrait, fine art, and editorial photography, each image serving as a testament to the boundless possibilities within the medium.

Bringing invaluable insights from his experiences working with renowned clients such as Nike, the Seattle Film Festival, and Twentieth Century Fox, Everard ensures that students not only gain technical proficiency but also develop a profound appreciation for the artistry and storytelling inherent in photography. Through his leadership at ArtCenter, Everard strives to create an environment where creativity thrives, inviting students on a journey of visual exploration where every image tells a story waiting to be discovered.

Geoff Scott enthusiastically explores structure and form and figure in photography. He is a maker of artist's tools for Adobe Systems, Nik Software, Totally Rad, Amazon, and GoPro. His master's degree in Digital Photography from the School of Visual Arts in NYC balances his bachelor's degree in Mathematics/Computer Science from the University of California, San Diego. Teaching graduate, undergraduate, and continuing education photography classes, he details creative techniques using Adobe Photoshop and Lightroom. He is the co-author, with Jeffrey Tranberry, of Power, Speed & Automation in Photoshop published by Focal Press .

Jonny Bell is a dynamic and results-driven professional with a deep passion for visual content. Currently serving as the Managing Director at Giant Artists, Jonny brings a wealth of experience and a proven track record of success to his role. His ambition and conscientious approach allow him to excel in prioritizing tasks, meeting tight deadlines, and effectively communicating with a diverse range of clients.

Prior to his role at Giant Artists, Jonny honed his skills and expertise through notable positions at Peter Bailey Productions, Magnum Photos, and eyevine. This diverse background has equipped him with a comprehensive understanding of the industry, from production to photography to visual storytelling.

Jonny’s commitment to excellence and his ability to drive creative projects forward make him an invaluable asset to Giant Artists. His strategic vision and leadership ensure that clients receive top-tier visual content that captivates audiences and delivers impactful results.

Julian Lucas is a photographer whose work delves into the dualities of imagery, concept, and process, offering a poignant reflection on social commentary and the inevitability of nature's beauty and decay. Blending elements of fine art and photojournalism, Lucas's images strike a balance between sophistication and naivety, inviting viewers to explore the complexities of reality.

In addition to his photography, Julian is a passionate curator and the co-founder of Mirrored Society, a renowned bookstore dedicated to photobooks from across the globe. Through Mirrored Society, he curates a diverse selection of titles, fostering a global appreciation for the art of photography. Julian also founded the Print Pomona Art Book Fair, a pioneering platform showcasing independent photobook publishers and zine makers. These initiatives underscore Julian's commitment to fostering dialogue, innovation, and inclusivity within the photography community, shaping the discourse and exploration of the medium for years to come.

Sonya Singh’s work has appeared in Los Angeles magazine, Rogue magazine, NME, and Nylon, among others. She has photographed artists from clubs to stadium stages, told stories from inside maximum-security prisons, and interviewed hundreds of people from U.S. ambassadors to Slash. Her story on NBC's "Parks and Recreation" star Aubrey Plaza was featured on the cover of Rogue magazine's summer 2017 issue, and her interview with musician James Bay was featured on the summer 2019 cover.

A graduate of Pepperdine University, where she served as the executive editor of the weekly newspaper, Singh is a journalism educator, college media adviser, and multimedia reporter who specializes in culture coverage, especially anywhere live music can be found. She previously worked as an editorial assistant in London and interned in television development at BBC Worldwide in Los Angeles.

Veronica Cotter is the Education Development and Western Region Manager, Hahnemühle USA. Veronica has been in the Photo & Imaging Industry for thirty-plus years. Her career began in analog, working for companies that produced high-end B&W films and papers. Her current position with Hahnemühle USA provides the opportunity to connect with image-makers to discuss the importance of printing and paper choice.

Kevin Zacher's artistic journey began amidst the vibrant worlds of skateboarding, snowboarding, and punk music. From these passions emerged a career as a snowboard photographer, capturing the essence of these cultures for magazines, snowboarding, surf, and skate brands. His talents eventually led him to become a principal photographer for Burton Snowboards, where he honed his craft amidst the adrenaline-fueled world of extreme sports.

After encountering one too many avalanches and sketchy helicopter landings, Kevin decided to embark on a new chapter. He cultivated a portfolio brimming with images of life's raw and unfiltered moments, from bloody faces to the carefree spirit of drunk snowboarders. Relocating to Los Angeles, Kevin signed with a reputable agent, acquired an impressive arsenal of camera equipment, and began collaborating with remarkable individuals and agencies.

Hardworking and collaborative, Kevin is dedicated to bringing creative visions to life and infusing them with added depth. He prides himself on highlighting life's best moments with an energetic yet natural approach, capturing a blend of oddness and humanity devoid of gimmicks or trends.

Awards; American Photo, PDN, Communication Arts

Clients; Abercrombie & Fitch, Adidas, Aeropostale, Apple, Air Force, Bank of America, Budweiser, Buick, Burger King, Burton, Cadillac, California Tourism, Chevrolet, Coke, Dockers, Eddie Bauer, ESPN, Eleven, Gap, General Motors, Google, Hilton, Hoka, Hyundai, Lands End, Laundry Service, Leo Burnett, Levi's, Little Co., McCann, McDonald's, Media Arts Lab, Men's Health, Men's Journal, Michelob Ultra, Mixbook, Moto Guzzi, Nike, Nylon, Saatchi & Saatchi, Sanmar, Sony, Subaru, Target, Tidal Mag, The Martin Agency, The Richards Group, Travis Mathew, TOMS, Toyota, Under Armour, Urban Outfitters, Verizon, VML, Walmart, Wells Fargo, Weiden Kennedy, Wongdoody, Zeiss.

www.kevinzacher.com | @kevinzacher

Carlos Jaramillo (b.1988, McAllen, TX) is a photographer based in Los Angeles, CA. His work has been featured in The New York Times, The New Yorker, LA Times, Rolling Stone Magazine, The Guardian, and Zeit Magazine. Jaramillo is a graduate of the School of Visual Arts with a Bachelor of Fine Arts in Photography.

He has exhibited at Clemente Gallery, NY; GGLA, CA; Selena, NY; and Future Fair Online. Tierra del Sol, Jaramillo’s 2022 project was recently printed in the LA Times, The New Yorker, Zeit Magazine, Sixteen Journal and was presented as a solo exhibition at Selenas Mountain in May 2022 and GGLA in December 2022. He is the recent recipient of the 2022 Forest Lawn Museum Arts Fellowship.

Publications:

Tierra Del Sol, Published by Pomegranate Press 2022 (3rd edition available)

ROC, self-published 2020 (sold out)

Select Clients:

A+E Networks, Amazon, Apple, Atmos, Estrella Jalisco, The Guardian, Highsnobiety, Hypebeast, Jins, Juxtapoz, Los Angeles Times, Mane, The New York Times,

The New Yorker, Office Mag, NPR, Remezcla, Revolver, Rolling Stone, Sixteen Journal, Standard Magazine, Vice, Vogue, Willy Chavarria, WSJ

Select Solo and Two-Person Exhibitions:

2022 Tierra Del Sol : LA, GGLA Gallery, Los Angeles, CA
2022 Tierra del Sol, Selenas Mountain, Ridgewood, NY
2018 Beyond Bars, Curated by Olivia Swider, w83 Redeemer Church, New York, NY

www.carlosjaramillo.net | @_carlosjaramillo_

Marcus Doyle, MA, set up his own commercial photographic darkroom in North London in 1998 and then moved into the fine art photography market, producing work through galleries for private and commercial clients, as well as undertaking commercial assignments. Doyle has artist representation in seven galleries based in the UK, Europe, and the United States, with more than 30 solo exhibitions to date. In addition to commercial representation in the UK and U.S., Doyle has produced three photography books: Night Vision (Vintage Works, 2005), By Coastal (Viewfinder Workshops Ltd., 2011), and most recently The Flowery Room. His photography work consists mainly of landscapes and the environmentally challenged areas within them.

www.marcusdoylephotography.com | @professordoyle

Mike Folabi Ajayi is a California-based photographer who has embarked on a creative journey since graduating from CBU Design + Photography in 2017. His passion for photography ignited with the tactile magic of film, where the process of developing images became an art form in itself.

Driven by a profound desire to forge meaningful connections with people from diverse corners of the globe, Mike believes that the essence of captivating imagery lies in the comfort and rapport he builds with his subjects. He approaches each photo shoot as an opportunity to cultivate these relationships, ensuring that every frame tells a story of authenticity and depth.

For Mike, photography is more than a skill—it's a continual pursuit of growth and learning. He remains a dedicated student of his craft, recognizing that complacency is the antithesis of creativity.

Embracing a philosophy that views his talents as blessings meant to be shared, Mike strives to honor the source of his inspiration with every click of the shutter. Each photograph is a testament to the everyday wonders and moments of grace that surround us, crafted to be visually compelling, mentally stimulating, and spiritually resonant.

In his pursuit of photographic excellence, Mike Folabi Ajayi finds joy in capturing the beauty of life's fleeting moments, using his lens to create images that not only please the eye but also touch the soul.

www.mikefolabi.com | @mikefolabi

Doors will open at 7:30 AM. We know the day is starting early. Coffee and Pastries will be waiting for you upon arrival.

Promptly at 8 AM, we will begin with a brief Welcome and introduction by Program Lead + Associate Professor of Photography Christopher Kern.

The Photography Program at California Baptist University in Riverside, California, explores the practice and theory of photography via technical understandings and methodological explorations of the photography medium as applied to commercial, fine art, and social practice. Through the introduction of narrative, conceptual development, and Christian worldview - students will acquire a unique stylistic aesthetic and photographic voice, leading to a professional portfolio. Best practices, the latest technologies, ideation, craft, and business acumen are embedded into the instruction and mentorship - all with the intention of sending graduates out to make an impact for the Kingdom.

We thank you for your continued support. Please join us as we welcome you on-site and face-to-face to celebrate our students’ work for our third annual CBU Photography Spring Show.

Saturday, April 20, 2024

• 8 AM - 12 PM

  • Artist Talks

    • Please join us for a morning filled with artist talks, starting promptly at 8 AM.

      • 8 AM - 9 AM - Mike Folabi Ajayi

      • 9 AM - 10 AM - Marcus Doyle

      • 10 AM - 11 AM - Carlos Jaramillo

      • 11 AM - 12 Noon - Kevin Zacher

• 1 PM - 4 PM

  • Portfolio Reviews

    • Seniors will present their Printed Portfolios on-site face-to-face with industry and academic professionals. Thanks to our reviewers for their generosity and support.

• 5 PM - 7 PM

  • VIP Reception

    • Family, Friends, Industry, and Community. Please join us in the celebration. Our photographers will be unveiling their very thoughtful and poignant photographic work for our third annual CBU Photography Spring Show.

    • Tacos will be served from 5 PM - 7 PM on the Wallace Lawn adjacent to the VIP viewing of work.

Photographic works will be displayed from April 11 to April 25, 2024.

We are excited to host a series of Zoom Reviews with top Industry and Academic Professionals. Critical review as our seniors present their year-long projects and embark into the professional workspace.

Reviews by Industry and Academic Professionals:

• Aline Smithson - Founder/Editor at Lenscratch, Visual Artist, Educator, Curator - Los Angeles

• Eliot Crowley - Photographer, Educator - Santa Barbara, CA

• Justine Barnes - Freelance Senior Producer - Portland, OR

• Karen Williams - Stills Curation Specialist, Netflix - Los Angeles, CA

• Kathryn Roach - Photo Editor, The New York Times - New York, NY

• Kim Harkins - Former Director of Media Arts, Art Institute of California - Orange County

• Marianne Lee - Project Manager, Wonderful Machine - Tiverton, RI

• Steph Cinelli Celaya - Senior Photo Agent, ViV MGMT - New York, NY

• Tim Kothlow - Freelance Photo Editor, NFL - Mission Viejo, CA

• Tony Pinto - Creative Director/Art Director - Anaheim, CA

Thankful to these professionals for offering their precious time to the Program and the next generation of Photographic Professionals.

Aline Smithson is an interdisciplinary artist, filmmaker, educator, and editor based in Los Angeles, California. Her practice examines the archetypal foundations of the creative impulse and she uses humor and pathos to explore the performative potential of photography. She received a BA in art from the University of California at Santa Barbara and was accepted into the College of Creative Studies, studying under artists such as William Wegman, Allen Ruppersburg, and Charles Garabian. After a decade-long career as a New York Fashion Editor, Smithson returned to Los Angeles and to her own artistic practice.

In 2007, Smithson founded LENSCRATCH, a photography journal that celebrates a different contemporary photographer each day. She has been the Gallery Editor for Light Leaks Magazine, a contributing writer for Diffusion, Don’t Take Pictures, Lucida, and F Stop Magazines, has written book reviews for photo-eye, and has provided the forewords for artist’s books by Tom Chambers, Meg Griffiths, Flash Forward 12, Robert Rutoed, Nancy Baron, among others. Smithson has curated and jurored exhibitions for a number of galleries, organizations, and on-line magazines, including Review Santa Fe, Critical Mass, Flash Forward, and the Griffin Museum. In addition, she is a reviewer and educator at many photo festivals across the United States. Smithson has been teaching at the Los Angeles Center of Photography since 2001and also teaches at a variety of institutions such as ICP, SFW, MMW, and others.

Eliot Crowley journey in photography began during his childhood, capturing moments of friends surfing in the waves of Southern California and selling prints to them. His artistic path led him to his first One-Man-Show at a prestigious Beverly Hills Gallery in 2005. Following this success, Eliot was invited to join the faculty at the renowned Brooks Institute of Photography in his hometown of Santa Barbara.

Driven by a relentless pursuit of mastery, Eliot pursued a Master’s of Fine Arts Degree from the Academy of Art University in San Francisco, graduating Cum Laude in 2009. Blurring the lines between storytelling and photographic art, Eliot meticulously crafts his images through a blend of talent direction and enhancing production value. His works possess a haunting quality, lingering in the viewer's memory while inviting tactile exploration with the eyes and imagination.

Reflecting on his craft, Eliot muses on the unique ability of photography to mimic reality, distinguishing it from all other art forms. He sees photography as a swift and potent means of creating a "quotation from reality," akin to a powerful, out-of-context phrase. The art of framing in photography, Eliot believes, holds immense power—deciding what to include and what to omit, thereby imbuing images with visual clues and symbolic meaning.

For Eliot Crowley, it is the inherent quality of this "quotation" that imbues a photograph with its true value, encapsulating moments frozen in time, waiting to be interpreted and cherished by those who encounter them.

Justine Barnes is a creative force with a wealth of experiences that color her vibrant life. With a feline companion named Pippy who surprisingly plays fetch, Justine's love for the unexpected extends to her diverse interests. She grooves to the beats of reggae, finding solace and joy in the tunes of bands like Rebelution, Pacific Dub, and Iration.

Her adventures have taken her across the globe, spending five immersive months in Thailand where she delved into the world of underwater videography for a scuba diving shop. A passionate supporter of soccer, especially cheering on the Portland Thorns, Justine also finds delight in the simple pleasures of pizza, the great outdoors through hiking, and the laughter inspired by stand-up comedy.

In her creative pursuits, Justine boasts over 17 years of expertise in content production within advertising agencies. Specializing in video and art production, she thrives on bringing imaginative visions to fruition while navigating the complexities of budgets, schedules, and client needs. Building strong, collaborative relationships is her forte, earning recognition for her meticulous organizational skills and unwavering attention to detail.

With an infectious enthusiasm for her craft, Justine is ready to join forces with you to breathe life into innovative ideas. She eagerly anticipates the opportunity to create magic together!

Karen Williams is a freelance Photo Director, Producer, and Visual Storyteller with 10+ years’ experience at major media and brands. She has created and art-directed images for prime brands and media, including Square, Airbnb, AARP, MasterClass, Wired, and San Francisco Magazine. Having produced hundreds of photo shoots, spanning the entire creative process from securing talent to onsite logistics to post-production. A has stepped into leading photo departments and visual aesthetics, managing all collaborations with creative teams and photographers.

Kathryn Roach is an experienced photo editor in both editorial and commercial spaces. Her career began in San Francisco at award-winning ReadyMade Magazine - a pioneer of its kind and time in the publishing industry. Since, she has transitioned to New York - working for such publications as Dwell, Make, CNBC, and now the New York Times. She is a dedicated and creative collaborator with a deep well of contacts. Her passion lies as a visual storyteller, with a strong foundation in digital and print. Featuring excellence for design and adept at interpreting needs to create powerful visuals.

Kim Harkins, retired and formerly the Academic Director of Media Arts at the Art Institute of California - Orange County. And previously Program Director and Professor of Commercial Photography at Gwinnett Technical College. Kim continues to be an active member of the Society of Photographic Education - locally and nationally. Kim has been involved with higher education as a photo educator since 1976 - specializing in the history of photography. Restoring vintage and historic cameras is one of her favorite pastimes - having sold several collections over the years.

Marianne Lee has years of experience as a professional photographer with a strong sense of pride for her Midwest, Michigan heritage. She served as the National Board chair for the American Society of Media Photographers and volunteered for years in leadership. All of which led her to realize she would be happier helping photographers rather than being a photographer. Through ASMP Marianne has spent countless hours talking to photographers around the country and getting to know them and their stories. She has a firm belief that the work that photographers do is incredibly important to our culture and society. When she is not aiding photographers you can find Marianne raiding the family pantry for chocolate or riding around rugged scenery on her bike.

Steph Cinelli Celaya is the Senior Photo Agent at ViV MGMT, a seasoned Artist Representative and Creative Consultant with a rich history in the photography industry. With a keen eye for business development, Steph excels in all facets of photo shoot production, adeptly managing budgets, navigating licensing agreements, and skillfully negotiating terms. Additionally, her expertise extends to the fine art of photo editing, showcasing a comprehensive skill set that elevates her role in connecting artists with opportunities for creative expression.

Tim Kothlow is an outdoor adventure photographer whose images have been used all over the world by internationally recognized brands and publications. With an indirect approach to shooting and a calm demeanor, Tim is able to sit back and make photographs as natural moments unfold with his subjects. Using an indirect approach allows the subject to be at ease while providing the most natural story to photograph.

In recent years, Tim has expanded beyond making images into the world of photo editing. Now besides telling stories through his own images - he works with other photographers to help tell the best stories with theirs. With some experience in photo editing for his university’s student-produced magazine and interning in the photo department of Surfer Magazine, Tim made the jump and began working with a picture news agency known as ZUMA Press. While working at ZUMA, Tim worked with a number of world-renowned image-makers in both breaking news and long-form storytelling capacities. A short time later, a photo editing position opened up with the NFL and Tim landed there for 5 seasons. During his time at the NFL, he built up an extensive knowledge and skills base which has opened the door to work with many of the biggest sports teams and leagues around the country.

Currently based in Mission Viejo, CA, Tim is balancing the freelance photography + photo editing life. When he isn’t collaborating on photo assignments, you can find Tim bodysurfing waves throughout Orange County, on a boat somewhere, or exploring the underwater world.

Tony Pinto is an award-winning professional designer and art director, collaborating with prestigious clients such as Disney, Edison, Cedars/Sinai, and Kaiser Permanente. In recent years, Tony's focus has shifted towards crafting compelling books for art museums, galleries, and individual artists. Serving as both designer and producer, Tony oversees every aspect of book creation, from cover design to content curation, infusing his passion for books and design into every project.

Beyond his prowess in book design, Tony is also a skilled photographer, specializing in capturing the essence of artists through portraiture. His dedication to the creative community extends to his involvement with AIGA, where he has been a longstanding member and served on the board of the local chapter.

As a multifaceted artist, Tony's repertoire spans painting, drawing, photography, and screen printing, with his works frequently exhibited in galleries. His creative interests are wide-ranging, encompassing literature, photography, illustration, design, architecture, cinema, underground comics, and music, particularly drawn to the vibrant scenes of punk, new wave, and no wave from the 70s and 80s in New York.

During weekends, Tony immerses himself in the thriving art scene of Los Angeles, attending art openings and engaging with the vibrant creative community that fuels his passion and inspiration.

ASMP LA’s coffee meetup is Saturday, 4/13 in Riverside at Arcade Downtown!

Board members will also be following up our coffee with a visit to the California Museum of Photography (https://ucrarts.ucr.edu/), next door! Feel free to join us for coffee, the museum visit, or both!
Tickets to CMP are free, and can be reserved on their website ahead of time, or at the door: https://ucrartstickets.universitytickets.com/

Their ongoing C&C meetups are free and open to ALL. Learn more about ASMPLA, meet our board members, and consider joining our team. First coffee is on ASMP LA!

RSVP details

Through Our Eyes

An exploration of fine art photography by the students of California Baptist University’s Spring 2024 Fine Art Photography class. In this exhibition, we invite you to embark on a visual journey through the multifaceted world of fine art photography, where each image serves as a portal to new dimensions of perception and emotion.

At the heart of this collection lies a celebration of our student photographers' diverse perspectives and creative visions. As emerging artists, they have ventured beyond the confines of traditional photographic genres, pushing the boundaries to express their unique narratives, observations, and interpretations of the world around them.

From the intimate details of everyday life to the grandeur of the natural landscape, each photograph is a testament to the power of the lens to document and transcend reality. Through thoughtful composition and subject matter, our students invite you to reconsider familiar scenes with fresh eyes, seeing beauty and meaning in the ordinary and the extraordinary alike.

As you view these photographs, allow yourself to be drawn into the stories and emotions of each frame. From the hauntingly evocative to the whimsically surreal, these images serve as windows into the souls of their creators, inviting you to share in their journeys of self-discovery and artistic expression.

"Through Our Eyes" is not merely a collection of photographs; it is a testament to the transformative power of art to illuminate, provoke, and inspire.

David Scott Bess, MFA

Adjunct Professor of Photography

Through Our Eyes

An exploration of fine art photography by the students of California Baptist University’s Spring 2024 Fine Art Photography class. In this exhibition, we invite you to embark on a visual journey through the multifaceted world of fine art photography, where each image serves as a portal to new dimensions of perception and emotion.

At the heart of this collection lies a celebration of our student photographers' diverse perspectives and creative visions. As emerging artists, they have ventured beyond the confines of traditional photographic genres, pushing the boundaries to express their unique narratives, observations, and interpretations of the world around them.

From the intimate details of everyday life to the grandeur of the natural landscape, each photograph is a testament to the power of the lens to document and transcend reality. Through thoughtful composition and subject matter, our students invite you to reconsider familiar scenes with fresh eyes, seeing beauty and meaning in the ordinary and the extraordinary alike.

As you view these photographs, allow yourself to be drawn into the stories and emotions of each frame. From the hauntingly evocative to the whimsically surreal, these images serve as windows into the souls of their creators, inviting you to share in their journeys of self-discovery and artistic expression.

"Through Our Eyes" is not merely a collection of photographs; it is a testament to the transformative power of art to illuminate, provoke, and inspire.

David Scott Bess, MFA

Adjunct Professor of Photography

Please join us on Thursday, March 7th, at 7 PM for the following Artist Talk lecture from Prof. Duncan Simcoe.

Professor Simcoe will be discussing his recent feature in Image magazine and how that led to a solo exhibit in the Ridley-Tree Museum of Santa Barbara, along with the possible issues and outcomes that go along with similar opportunities.

Since its founding in 1963, Hennessey + Ingalls has grown to fill a unique niche in American retailing. We are the largest art, architecture and design bookstore in the western United States, and probably the largest retail operation in the country dealing just with books on the visual arts. Founded by Reginald Hennessey as an outlet for rare and out-of-print architecture books and is still family-owned and managed by his son, Mark Hennessey.

In 2003, after 20+ years on Santa Monica's 3rd Street Promenade, the store moved to Wilshire Blvd. At this time, Brett Hennessey (Grandson) came into the business, computerizing the entire operation and created a robust website and online presence.

As of February, 2016 the store left its west side roots and moved to the booming Arts District of Downtown L.A. We hope that this new location will begin a new chapter in our companies history and that we become a staple for decades to come in Downtown L.A.

Hennessey + Ingalls has become a landmark in the visual arts community. They are pleased to count many of the area's and the country's leading architectural firms as clients, along with museums, collectors, art galleries, students, interior designers, graphic design firms, and schools. They are the primary book supplier to three large academic art libraries in Southern California, as well as to smaller schools and corporate libraries around the country. They maintain especially strong and in-depth selections of books in art and art history, all phases of architecture, photography, interior design, graphic design, and landscaping. The broadness of the collections and the knowledge of the staff at Hennessey + Ingalls is an important reason why top art directors in film, television, and advertising shop with them.

In short, Hennessey + Ingalls has proven itself over the years through the combination of unequaled stock and most attentive customers service to be a successful and valued member of the vibrant art, architecture, and design communities in Southern California and beyond.

JASON RHOADES - DRIVE

For Jason Rhoades, the car was a vehicle of artistic pursuit, both readymade sculpture and American idol. Starting 27 February, Hauser & Wirth Los Angeles will dedicate an entire gallery at its Downtown Arts District location to a yearlong exploration of Rhoades’ art via the subject of cars and car culture. Known for the driving imagination and ambition of his work, as well, at times, its reckless provocation and overwhelming materiality, Rhoades (1965–2006) was a world builder for whom the making of sculptures and the creation of narratives were intertwined. His epic-scaled installations made him a force of the international art world in the 1990s while he was based in Los Angeles. ‘DRIVE,’ will unfold over a series of thematic iterations, an ever-changing exhibition of Rhoades’ sculptures, drawings, videos and multiples—enriched by archival materials, public programs and contemporary perspectives.

Source: https://www.hauserwirth.com/hauser-wirth-exhibitions/jason-rhoades-drive/

Occupying a former flour mill, Hauser & Wirth Downtown Los Angeles presents art exhibitions, events, and learning activities which connect with the local community in a vibrant architectural space.

LEE KAPLAN OF ARCANA: BOOKS ON THE ARTS

Humans are naturally attracted to secrets. A secret describes the magnetic interaction between privileged information and the attention of an outsider. Secrets are tended, mined, and archived by those of peculiar dedication to a given topic. In return, those people serve as arbiters between reams of esoteric knowledge and inquiring minds. There has always been value in deep study of the arcane. The history of humanity is enriched by the subtext provided by niche information, adding nuance, color, and dimension to otherwise conventional understanding. Part of what necessitates the accumulation of esoteric knowledge in individuals is the work it takes to deeply mine topical areas. Often, an entire life is dedicated toward understanding a small handful of topics. Lee Kaplan is one such keeper of secrets.

Lee Kaplan has lived many lives in his sixty-plus years, but for the last four decades, he has been the owner and curator of Arcana, an art book store located in Culver City, California. The store resembles in unequal parts a museum, an archive, a library, and a record store. Rows upon rows of books sit on massive parallel shelves, individually wrapped in plastic sleeves like vinyl records. Visitors are greeted with a quiet and reverent ambiance, but also with warmth. “In a way, it’s like you’re walking into my house,” says Lee.

Arcana is a natural extension of Lee’s person. Technically, the products at Arcana are the books themselves, but such a narrow definition of the store is easily eclipsed when you account for the added value of Lee’s expertise. In fact, Lee himself is the product at Arcana. Over several decades, he has amassed a rarefied and singular collection of art books. The collection orbits around his specific personal interests in art, but it also includes more shrewdly chosen titles that meet popular demand and help keep the store afloat. Many well-known artists have trusted Lee to guide them from rough sketches and half-formed ideas to the reference material that they needed in order to continue their work. Arcana hedges its continued existence on the necessity of human expertise, won over years of hard work and monastic toil, and of course, the value of owning physical books.

Throughout history, the medium for artwork has passed from engravings in stone, to paint on canvas, to photographs, to reproductions printed on paper, and finally, to light emitted from behind glass screens. Unlike traditional artistic formats, consuming art through digital media is an intangible experience. Digital images are collections of bits, scattered temporarily across the transistors of your mobile device, or perhaps oxymoronically “located” in the cloud. You cannot hold, smell, or feel the bits that make up a file the way you can a book. The value of a book is greater than just the information contained within it.

There is no doubt that digital media has democratized the consumption of art. Anyone with a cell phone can find popular artworks right at their fingertips, without having to travel or pay for viewing access. With search engines that catalog petabytes of information, the amount of work it takes to find digital media seems to have decreased exponentially. While this might seem like a good thing, perhaps it is a complicated thing instead. Along with digital media comes a culture of atomized consumption of information—listening to singles instead of albums, reading articles instead of books, and accepting lower quality stand-ins in exchange for the real thing. Along with the dwindling interest in physical, holistic collections comes the slow but steady disenfranchisement of cultural experts, such as Lee.

In conversation, Lee comes across as erudite but patient, highly opinionated, and even a bit difficult from time to time. These, among other qualities, add up to a human who is an irreplaceable cultural touchstone—a man built from a lifetime of immersion in his work. Throughout Lee’s life, a specific set of interests have woven themselves into the formative events that eventually led to Arcana. Namely, music, art, books, and the act of building and maintaining collections.

As a child, Lee worked at Campbell’s bookstore, which served UCLA and the surrounding areas. Lee’s grandfather noticed that Lee had taken a keen interest in books, and offered Lee his first paying job; cataloging the titles in his expansive personal library on 4×6 index cards. His grandfather instilled in him the notion that books are exceptionally important objects, and that they should be handled with utmost care and respect. He also taught Lee the importance of building one’s own book collection, a once common practice that has declined in recent years.

As a developing young artist, Lee felt a particular resonance with the works of Mark Rothko. When his mother would travel through New York City, he would ask her to pick up catalogues from the Marlborough Gallery, which housed a Rothko collection. Lee marveled at the beauty of the catalogues, both as books and for the art contained within them. These catalogues were the first art books he ever owned.

Shortly afterward, he picked up a job at Vogue Records. Vogue was Lee’s first exposure to the deeply knowledgeable, deeply nerdy culture that is pervasive in record stores. Record stores engender a high level of reverence and respect for archival knowledge, building naturally off of Lee’s tendencies towards books. It’s no coincidence that almost every book in Arcana is encased in an archival sleeve. Lee went on to produce free jazz concerts in Los Angeles in the late 70s and early 80s and play in several bands. Over the years, Lee’s focus shifted from musician to fine artist, and then finally, to running Arcana. In fact, running the store has proven to be all-consuming. Lee has stopped making music and art. Although these past lives have come and gone, they have left indelible marks on the DNA of Arcana.

Arcana is an ephemeral hub. There is a certain ambiance that forms itself around the store, its long shelves, the smell of paper, and the sound of pages turning. Beyond the physical location, there is a metaphysical dust that has settled on Arcana over years of transactions, exchanges of ideas, crucibles burned, and ashes scattered. A wealth of information has passed from Arcana into the eyes of artists, and then back into the world through myriad productions and creations. For anyone paying attention, you can feel part of this history when you first walk in. There is no equivalent in the digital world.

Lee is reasonably skeptical about what the future holds for physical books stores. If retail giants of physical media catering to popular tastes such as Borders books and Hollywood Video cannot survive the transition into the digital age, what chance do single-location brick and mortar stores have, especially those that cater to exceptionally discriminating tastes? When Arcana is gone, the likelihood of someone filling the void left behind is lower than ever—a bellwether for the next wave of digital materialism. We continue to lose sight of the materials, collections, and humans who have historically rendered our world in more vibrant colors.

In the age of digital media, we are under the illusion that everything important should be easily available, and therefore that nothing important should be secret. With Google Search providing effortless access to massive amounts of information, one might believe that there truly are no secrets left. What happens to the collectors and arbiters of niche information? What happens to information that is so esoteric that it never is indexed in search engines? Are we willing to accept the implicit lack of importance placed on truly rare things in this age geared toward utilitarian consumption of information?

To be clear, Arcana is far from dead. On any given weekday, the owners and staff hurry about taking inventory, listing items, dealing with suppliers, and consulting with customers. The store and its contents have evolved over the years in order to strike a balance between Lee’s original intentions and changes in demand. When Arcana came into existence, Lee was primarily stocking books on African, Oceanic, and pre-Columbian art. Over time, the store has shifted focus to include contemporary art, architecture, and photography. When asked how he would proceed if he could do it all again, Lee admitted that he would have loved the luxury of focusing on exceedingly rare books—books that have enormous cultural value but little value as tangible assets. 

Lee and his wife Whitney share a life that revolves entirely around running Arcana. They met in 1998 when she was working for Sundance Film Festival. She eventually left Sundance and joined Arcana to take on the development of the internet business, and they’ve been a working couple ever since. There’s a wonderful simplicity to their partnership. They wake up together, eat together, work together, and go to sleep together. Whitney is a logistical maven and happily performs all the tasks Lee least prefers—which frees Lee up to talk to collectors, dealers, and clientele, and do all of the curatorial and interpersonal work required to keep Arcana alive.

When asked to give advice for young entrepreneurs, Lee emphasized the importance of tapping into youthful energy while one still can. The sheer force of will and labor required to design your own career may benefit from and even require this kind of drive. At 63 years old, Lee is in no way ossified, but he remarked,

“I have to say my enthusiasm is maybe not as strong as it was when I first started. You know, when I first started this business, I would work 14, 16, 18-hour days for weeks on end because that’s what it took to make this stuff happen.” 

Somewhat ironically, this massive investment into Arcana is often recognized in less than helpful ways by visitors. People will “rediscover” Arcana every few years, telling the staff that they are happily surprised that it still exists, and then fail to purchase anything. This type of interaction implies that Arcana can subsist on congratulations and well-wishes instead of regular book sales. Other visitors, upon finding an interesting-looking book, immediately whip out their phones to take pictures of themselves holding the product for social media, signaling to their followers that they are well-informed consumers of culture. This rather cheap trick played out on Arcana’s hard-earned collection reads as particularly irksome and disrespectful to Lee.

We are entering a future where physical bookstores become scarcer by the day. Online megastores increasingly hold a monopoly on the sale and distribution of books. There is a palpable threat to the existence of curated book collections such as the one at Arcana, as well as to the people who dedicate their lives to study, grow and maintain these collections. Lee lamented the deaths of his peers in the bookselling industry. When these people die, the public loses access to these often rare books as the stores shutter. There are no inheritors to their craft, as the market no longer supports this line of work. Along with the loss of these experts, we lose their lifetime of accrued knowledge, like libraries burned to the ground overnight. Technology has swept so many conventions and hard-built livelihoods into the undertow, in the name of disruption and technological progress, that many do not even have time to comprehend what is being lost. The information age appears to value violent change as a reason onto itself.

As conscious consumers, we need to rediscover our love for literature and art, and our ability to focus. Increasingly, doing one thing at a time—like reading a book or taking in a piece of art—has become a radical departure from the norm. We expect to be inundated with information from all angles at all times. Multitasking leaves little room to focus on something complicated, beautiful, difficult, or longer than a few paragraphs. If we can rediscover our love for literature and the immense importance of art as a reflection of the human condition, the products we buy and the experiences we seek can help keep places like Arcana and people like Lee from going extinct. 

Source: https://www.forecastjournal.us/lee-kaplan-of-arcana-books-on-the-arts/

Purveyors of fine new, out of print, and rare books on photography, art, fashion, design, architecture, cinema, food, and music since 1984.

The Broad is pleased to announce Desire, Knowledge, and Hope (with Smog), an exhibition drawn entirely from the Broad collection, showcasing works by Los Angeles-based artists. Drawing its title from a John Baldessari work, the exhibition includes reflections on L.A. as a city in flux, and on societal issues that extend far beyond it. The exhibition will be on view throughout the museum’s first floor galleries through April 7, 2024, and includes the work of 21 artists across varying generations who were raised in the Los Angeles area, such as Doug Aitken and Lari Pittman, or relocated to the city, including Catherine Opie and Mike Kelley. Desire, Knowledge, and Hope (with Smog) is made possible in part by generous support from East West Bank, Leading Partner of The Broad for six years.

Organized by The Broad’s Curator Ed Schad and Curatorial Assistant Jennifer Vanegas Rocha, the exhibition will feature several artists new to The Broad collection, including Njideka Akunyili Crosby, Sayre Gomez, and Joe Ray. It provides visitors the opportunity to discover how the museum’s collection continues to evolve, welcoming new voices and supporting some of the most ambitious artists working in Los Angeles.

Originally the exhibition was a Spring 2020 show poised to open when the COVID-19 pandemic emerged, leaving the project unrealized. Now re-envisioned, Desire, Knowledge, and Hope (with Smog) mines the paradoxes captured in Baldessari’s title through a more expansive, post-2020 lens featuring a wider spectrum of LA-based artists and practices in the evolving Broad collection. Including works made from 1969 to 2023 that span the mediums of abstract or photorealistic painting, photography, sculpture, and political signage, the exhibition contains fragments, attitudes, and everyday experiences absorbed and worked through in Los Angeles that reflect back on our collective present moment, and invoke alternate histories, states of mind, and futures.

The presentation highlights over 60 artworks–most of which will be on view at the museum for the first time–exhibiting artists in the Broad collection whose work makes some of the city's integral contributions to contemporary art internationally, and revealing dialogues between local artists of different generations. Even works not explicitly about Los Angeles reveal a gap between the allure and the reality of life in the city, where a sense of phantasmagoric projection contrasts against much harder, concrete realities.

The show’s title refers to Baldessari’s monumental work Buildings=Guns=People: Desire, Knowledge, and Hope (with Smog) (1985), where “smog” nods to the city’s notorious air quality, contrasting against familiar depictions of sunshine, beaches, Hollywood, and nature. This play between an idealized expectation of LA and its gritty reality is evident in the large-scale paintings, photographs and neons of Ed Ruscha, Mark Bradford, and Patrick Martinez whose intergenerational exchanges consider global and local societal issues through a shared home.

Hung alongside Baldessari’s work are two pieces by Mike Kelley, notably including his six-part drawing Infinite Expansion (1984), which is connected with one of his earliest performance works exploring psychedelia at The Museum of Contemporary Art, Los Angeles. Other featured artists include Barbara Kruger, who will have a gallery dedicated to her work Untitled (I shop therefore I am) (1987-2019). On view at The Broad for the first time, this work uses the parlance of political signage to probe commerce and the formation of identity. Toba Khedoori will present large-scale paper works Untitled (park benches) (1997) and Untitled (Black fireplace) (2006), both of which depict scenes of quietude or isolation, experiences often associated with the sprawling geography of Los Angeles. In two works from 2022, Diamonds and Pearls and The Whole Wide World is a Haunted House, Sayre Gomez deploys a realist style using airbrushed paint. Both of his works take on the overlooked perspective of the pedestrian, where street-level views of an abandoned strip mall and nail salon signage unambiguously embrace the complex social arrangements of a shared, sweeping metropolis.

FREE ADMISSION TO DESIRE, KNOWLEDGE, AND HOPE (WITH SMOG)

Source: https://www.thebroad.org/art/collection-exhibitions/desire-knowledge-and-hope-smog-1

Kinokuniya - Los Angeles

Kinokuniya Los Angeles store is located in the Weller Court Shopping Mall in the Little Tokyo Village next to Los Angeles City Hall. The store was first opened as a small shop inside a hotel in the village in 1977, and then moved to the current location in 1980.

For over 40 years, they have been dedicated to not only providing Japanese books and magazines to the community, but also introducing a variety of Japanese culture to the people of Southern California.

They have a wide range of Japan related books in English. Be sure to visit their Haruki Murakami display when you come to the literature section. Other popular sections include Japanese cooking, traditional and modern art, crafts, children’s books, travel, history, Japanese language books and more! There is also a large selection of graphic novels and manga in Japanese and English.

They carry unique and high quality stationery from Japan, art supplies, organizers, specialty papers, inks, fountain pens, and mechanical pencils. Many of them are from Pilot, Sailor, Kaweco and Lamy. Their store also carries fancy and cute gift items from Japan.

Source: https://usa.kinokuniya.com/stores-kinokuniya-los-angeles

MOCA Focus: Eddie Rodolfo Aparicio

MOCA Focus: Eddie Rodolfo Aparicio is the first solo museum presentation of the work of Los Angeles–based artist Eddie Rodolfo Aparicio (b. 1990, Los Angeles). The exhibition features artworks dating from 2016 to the present and debuts three new large-scale sculptures specially commissioned for The Geffen Contemporary at MOCA.

Aparicio’s materially inventive practice is informed by the Salvadoran communities in Los Angeles in which he was raised, decolonialist discourse, and an approach to ecological justice as a form of social justice. The foundation of Aparicio’s practice is “total material non-neutrality,” which the artist initially realized through his Caucho (Rubber) series (2016–ongoing). MOCA Focus: Eddie Rodolfo Aparicio showcases a range of Caucho works, in which Aparicio casts the trunks of Los Angeles trees, frequently the ficus, slated for removal in rubber—the internal fluids of the Castilla elastica, a species native to El Salvador. The resulting impressions are textured with residual bark, exhaust particles, and graffiti marks. The casts couple with collages of found clothing and ephemera from the Pico-Union, Highland Park, and Westlake neighborhoods of Los Angeles, and are embellished with painted references to the presence and expression of the Central American diaspora in popular culture and the built environment. In this body of work, Aparicio invokes rubber’s history as a vital pre-Hispanic Indigenous technology and its status as a material of imperialist trade, giving shape to immigrant communities’ connections to land and place. At the core of Aparicio’s practice is a commitment to the cultural and scientific knowledge of often marginalized and even vilified Central American immigrant communities, making MOCA’s location in downtown Los Angeles, the heart of the Salvadoran diaspora, particularly resonant.

Organized by Curator Anna Katz with Curatorial Assistant Anastasia Kahn, the exhibition marks the relaunch of the MOCA Focus series, which presents an artist's first solo museum show in Los Angeles and centers on new or discrete bodies of work.

Major support is provided by Nora McNeely Hurley and Manitou Fund and the MOCA Environmental Council.

Source: https://www.moca.org/exhibition/moca-focus-eddie-rodolfo-aparicio

A former police car warehouse in L.A.'s Little Tokyo Historic District, renovated by the noted California architect Frank Gehry, The Geffen Contemporary at MOCA (formerly The Temporary Contemporary) opened in 1983. This location offers 40,000 square feet of exhibition space.

The next Art Walk is Saturday, February 17, 2024 from 6-9 PM. Save the date for the quarterly, third Saturday Art Walk here in the Historic Downtown Ontario Arts District.

"To Be Published, or Self-Publish? An Overview of Options Today" Mary Virginia Swanson with Dário Solari of Untitled Books in Echo Park

The journey to bring your completed project to the book form can take many paths, from utilizing “print-on-demand” technology to working closely with an experienced team of publishing professionals to choosing to self-publish and/or produce your book in small or limited editions. Depending on the role of a publication in your artistic practice, one thing is certain: there is much to consider well in advance of making decisions.

In this richly illustrated “big picture” presentation, Mary Virginia Swanson will explore the similarities (and differences) between seeking and securing a traditional publisher for your work vs. assuming all aspects of self-publish your book project. Pros/cons of each path, plus advice on gaining knowledge surrounding production options, maximizing book launch and marketing timelines, and critical resources to help bringing your book to its ideal audience will be shared with the audience.

Dário Solari, owner of Untitled Books in Echo Park, will join Swanson in conversation following her presentation to discuss opportunities for self-published authors to place their books with independent bookstores. Time will be allocated for a joint Q&A with attendees.

Cover and interior images from Publish Your Photography Book: Brad Trone courtesy Radius Books.

Mary Virginia Swanson has dedicated her career to helping artists find the strengths in their work, identify appreciative, responsive audiences, and present their work in an informed and professional manner. A respected contributor to the field, she frequently serves as a Portfolio Reviewer, Judge at contemporary photography and photobook competitions, and conducts public presentations at festivals throughout the year.

Swanson is co-author with Darius Himes of Publish Your Photography Book, first released in 2011, and updated in 2014 (Princeton Architectural Press). Radius Books recently published their greatly expanded Third Edition (August 2023) offering a window into publishing and self-publishing photobooks today. She has launched a dedicated website for the book, accessible by all: www.publishyourphotographybook.com

Social media links:

www.mvswanson.com

www.publishyourphotographybook.com

@maryvirginiaswanson

@dariushimes

@publishyourphotographybook

www.radiusbooks.org

@radius.books

Swanson Headshot courtesy of © Allison V. Smith

Dário Solari is a Multidisciplinary Creative.

Beginning his creative practice in fine art Painting, he developed his visual language as a Photographer before pursuing a Design + Architecture education at Sci-Arc in Los Angeles.

In 2010 he founded Kanimambo Books, an independent online artbook marketplace and publishing consultancy. Working with Artists and Designers he facilitated the publishing process by providing creative/design direction and publishing resources, ultimately guiding clients to distribution channels.

Working with Design Studios, Boutique Retailers and Collectors he provided curatorial services into the vast world of Visual Art Publishing to match their vision.

In February 2020, Dário partnered up with Kristen Spilman (Airbnb/Stripe/Facebook/Pentagram) to launch Studio Xol, a design space and online book marketplace fostering inclusive and mindful perspectives with a passion for people, print and the visual arts.

As a creative practice, Studio Xol, worked directly with anti-racist partners, creative directors, progressives, libraries, and collectors around the world, on various print / brand / creative projects. Offering consultation, creative direction, design, photography, and sourcing for project-specific creative material.

In 2023, Dário founded Untitled.

Located in Echo Park, Untitled is an event space and bookshop that offers a meticulously curated assortment of collectible vintage and contemporary visual arts books showcasing a plethora of genres including music, design, architecture, the visual arts and some classic literature.

Social Media Links:

@dariosolari

@untitledechopark

Dário image courtesy of Sean Ryan Pierce.

Mamie Till’s Courage from Tragedy

The lynching of fourteen-year-old Emmett Till by white supremacists in 1955 was a shocking tragedy, made worse by the appalling miscarriage of justice in the trial that followed. Emmett’s mother, Mamie, courageously made the decision to forego the privacy of her devastating loss by insisting the world see what they had done to her son. She chose to have an open casket funeral and invited the Black press corps in order to provide visual evidence of this tragedy to the world.

The collective awakening and the actions that followed contributed directly to the Civil Rights Movement. Driven by courage, the event inspired a generation to force change, and the images that record this tragedy sparked consciousness across society. The impact of these images shook the world and there was no turning back.

This photography exhibition begins with family photos of Mamie and Emmett, but at the core are extraordinary images made by Black photojournalists. The powerful photographs by Ernest Withers, for example, capture acts of bravery and of prejudice at the trial. Photographs of the funeral are fundamental to the story and are included. The famed images Mamie Till wanted “to let the world see,” however, are readily found elsewhere should one wish to bear witness.

The exhibition continues with images of many exhilarating moments of the Civil Rights movement that followed and concludes with a photograph taken last year by Deborah Watts, Emmett’s cousin, of President Biden signing the “Emmett Till Antilynching Act.” Although sixty-eight years have passed, the images, lessons, inspiration, and courage of this singular tragedy can and must continue to educate, provoke, and inform today’s generation. This is the “Impact of Images.”

The materials that contributed to this exhibition come from The Withers Collection, the Medgar Evers family and the Emmett Till Legacy Foundation, among other sources. Co-curator Chris Flannery gathered these historic photographs originally as support for the production of the 2022 film Till. Orion Pictures has generously made them available for this exhibition, which will feature screenings of the film and other public programs.

Source: https://ucrarts.ucr.edu/exhibitions/the-impact-of-images/

On Saturday, February 10, 2024, from 3-6 PM, UCR ARTS hosts its Winter Reception. The reception is free and open to the public.

Image: Mamie Till talks to the Black press corps at the Tallahatchie County Courthouse in Sumner, Mississippi, after her appearance and testimony at the trial caused so much furor that a recess was called.

Christina Fernandez: Subdivision

December 9, 2023 – February 17, 2024

Gallery Luisotti is pleased to present “Christina Fernandez: Subdivision”, the premier exhibition in the Gallery’s new home in downtown Los Angeles at 818 S. Broadway. In this new body of work, Los Angeles-based photographer Christina Fernandez examines life in the suburbs, focused on the life of her teenage son. Subdivision finds Fernandez approaching familiar themes of community and itinerancy in the most quotidian of environments: the stucco, the sidewalks, and the streetlights of Los Angeles.

The photographs in Subdivision follow Diego, Fernandez’s son, across the surface of the city. As we see him both isolated and together with friends, what emerges are not just the distinct spaces teenagers occupy, but also the particular atmosphere in which he thrives. “Crepuscular” comes to mind: a word signifying the unique light of the sky just after the sun sets. The term is sometimes used by zoologists to describe the particular creatures who emerge at this time of day, and in suburbia we have a name for such beings: teenagers. Throughout her career, Christina Fernandez has had a remarkable ability to capture communal and familial places that often have quite challenging light sources. Lavanderia (2002-2003) pictures the facades of laundromats, artificially lit from within; the landscapes of abandonment in Sereno (2006-2010); or, View from Here (2016-18) capturing spaces from their abandoned interior looking out. What recurs throughout this work is not just Fernandez’s skill in capturing the Southland’s light, but that such light expresses a sense of familiarity and inhabitance.

As with much of her previous work, Subdivision’s visual interlocutors present a compelling survey of modern depictions of American life – from Robert Adams’ Summer Nights (1974), perhaps the most emotive of New Topographics-era photography projects, to the SoCal landscape in the coming-of-age film Rebel without a Cause (1955). Against these precedents, Fernandez’s Subdivision charts an equally poignant picture of social connectedness, inevitable solitude, and self-discovery, against a backdrop of residences, infrastructure, and the accouterments of teen self-expression.

Christina Fernandez, Subdivision, will open on December 9, 2023, 6–8pm at Gallery Luisotti’s new space: 818 S. Broadway, Suite #1001, in downtown Los Angeles. Christina Fernandez, Multiple Exposures, curated by Joanna Szupinska, is on view at the Scottsdale Museum of Contemporary Art through January 7, 2024. For further information, please contact Gallery Luisotti at (310) 453 0043 or info@galleryluisotti.com.

Source: https://galleryluisotti.com/exhibitions/subdivision/

Krista Svalbonas

Krista Svalbonas holds a BFA in Photography and an MFA in Interdisciplinary studies. Her work has been shown in a number of exhibitions including: the Utah Museum of Contemporary Art, Spartanburg Art Museum in South Carolina, Howard Yezerski Gallery in Boston, Marshall Gallery in Los Angeles, Klompching Gallery and ISE Cultural Foundation in New York.  Her work is part of the permanent collections of the Cesis Art Museum in Latvia, the Gregg Museum of Art and Design in North Carolina, the Woodmere Art Museum and Temple University in Philadelphia. Recent awards include a Center for Photographic Art Artist Grant (2022), Baumanis Creative Projects Grant (2020), Rhonda Wilson Award (2017), Puffin Foundation Grant (2016) and a Bemis Fellowship (2015) among others. In 2022/23 Svalbonas had solo exhibitions of her series Displacement, at the Copenhagen Photography festival in Denmark, the Tallinn city museum in Tallinn, Estonia, Museum of Textile and Industry in Augsburg Germany and the National Museum in Vilnius Lithuania. She is an associate professor of photography at St. Joseph’s University. She lives and works in Philadelphia.

Source: https://marshallgallery.art/exhibitions/42-krista-svalbonas/

Arthur Tress: Rambles, Dreams, and Shadows

This is the first exhibition to chronicle the early career of Arthur Tress, one of the most innovative American photographers of the postwar era. During his first decade as an emergent professional in the New York photography world (1968–78), his artistic practice evolved from the social documentary tradition to a bold new approach drawing inspiration from the inner worlds of fantasies, daydreams, and nightmares.

Source: https://www.getty.edu/visit/cal/events/ev_3761.html

TENTATIVE SCHEDULE

• 8:00 AM

  • Depart CBU (KUGEL)

• 10:00 AM

  • Arrive at The Getty

• 12:30 PM

  • Depart The Getty En Route to the Marshall Gallery

• 1:00 PM

  • Marshall Gallery (Bergamot Station)

• 1:45 PM

  • Depart Marshall Gallery En Route to Gallery Luisott

• 2:15 PM

  • Gallery Luisotti - Christina Fernandez

• 3:00 PM

  • Depart Gallery Luisotti En Route to CBU

• 5:00 PM

  • Estimated return to CBU

Field Trip is Free, we just suggest you bring your lunch or at least $20 for a meal/snacks at the Getty.

Free Admission!

The story of Emmett Louis Till and the legacy of his mother who pursued justice for her lynched son.

With an introduction by Dr. Courtney Baker, Associate Professor in the department of English at University of California, Riverside. Dr. Courtney R. Baker is a scholar of visual culture and black life. Her research interests involve American, African American, and African diasporan liberationist thought and practices, in particular literature, film, and visual art. She has written academic and popular essays on African-American film, the history of the image in African-American activism, and the ethics of narratives about death. Her book, Humane Insight: Looking at Images of African-American Suffering and Death, was published by the University of Illinois Press in 2015.

This screening is in conjunction with the exhibition The Impact of Images: Mamie Till’s Courage from Tragedy

Trailer

Film Details

Director: Chinonye Chukwu
Studio: Orion Pictures
Running Time: 130 minutes
Country: USA
Release Year: 2022
Rated: PG-13

Review

“An impassioned melodrama on the surface, unafraid of facing tragedy head-on and allowing ample space for grief, anger, and fear, but which is also a wise movie about the complicatedly political world Mamie Till finds herself in.” – K. Austin Collins, Rolling Stone

Ed Templeton: Wires Crossed: The Culture of Skateboarding, 1995-2012

In his first solo museum exhibition in the United States, the Long Beach Museum of Art presents Ed Templeton’s 17-year photographic project, Wires Crossed: The Culture of Skateboarding, 1995-2012, which explores youth culture through Templeton’s lens and peers into the lives of amateur and professional skateboarders, whom he traveled the globe with while skateboarding for video productions, competitions, and demonstrations.

Wires Crossed is part memoir, part documentation of the DIY, punk-infused subculture of skateboarding as it came of age in the 1990s and early 2000s, and pulses with the raw, combustive energy of Templeton’s image-making from the last twenty-plus years. Through photography, collage, text, maps, and eclectic ephemera from Templeton’s archives, Wires Crossed offers an inside look at a significant facet of youth culture as it was being born.

Templeton occupies the rare position of having been a professional skateboarder, two-time World Skateboarding champion, and artist working within the skateboard community as it gained increasing cultural currency in the 1990s and beyond. This work, much of it previously unpublished and unseen, explores Templeton’s journey as an image maker, as well as the lives of professional skateboarders as they spent long hours crisscrossing the world on tour, reveling in their newfound status as a rock star–like figures and the eternal search for new terrain to skate. It is a showcase of the distinctive aesthetic that sprang from the influential skate culture Templeton helped create.

This exhibition and companion book demonstrate Templeton’s ability to capture what this life is like on film from the inside out, shooting the triumphs and disasters equally, the blood and the pain, boredom, self-medication, lust, toxic masculinity, and all the transitory moments behind the scenes. He paints an honest and gritty portrait of what it was like to be a skateboarder in a time before cell phones, scabs and all.

On view February 2, 2024 - May 5, 2024

Ed Templeton (b.1972) is an American painter and photographer whose work reflects human behavior with emphasis on youth subcultures, religious affectation, and suburban conventions using a cinéma vérité approach embracing chance encounters. Templeton is a respected cult figure in the subculture of skateboarding, a two-time world champion, and a Skateboarding Hall of Fame inductee. He is best known for his photographic books and multi-media exhibitions. His work has been exhibited in museums worldwide, including MOCA, Los Angeles, ICP, NYC, Palais de Tokyo, Paris, S.M.A.K. Museum, Belgium, Bonnefanten Museum, Netherlands, Kunsthalle, Vienna, Pier 24 Photography, San Francisco. Museum collections: MOMA, SMAK, Orange County Museum of Art, Bonnefanten Museum, Maastricht, and Long Beach Museum of Art.

Ed Templeton: Wires Crossed

The exhibition is accompanied by an extensive hardback publication of memoirs depicting skating as a subculture between 1995 and 2012. The book contains drawings and photos, some of which are painted and have additional texts, which have been grouped intuitively by Ed Templeton. The English-language artist’s book is published by Aperture and is available for purchase in the Long Beach Museum of Art's Museum Gift Shop.

"Collective Experiences" is an exploration of the power of visual storytelling through the lens of seven gifted photographers from the 2023 Fall Semester of the Visual Storytelling class at California Baptist University. Together, they invite you to embark on a journey through diverse narratives captured and conveyed using the language of photography.

In an age saturated with images, these students have woven narratives that transcend the superficial and invite viewers into deeply personal and thought-provoking worlds. "Collective Experiences" serves as a testament to the students' dedication to mastering the art of visual storytelling and their ability to communicate rich, multi-layered stories through the medium of photography.

At the core of this exhibition lies a profound understanding of the visual language and the many ways it can be employed to communicate narratives. The students have honed their skills in capturing moments that resonate emotionally, allowing viewers to connect with the subjects on a visceral level. From the evocative use of light and shadow to the careful composition of each frame, the photographers have employed a variety of techniques to craft images that speak volumes. Each photograph serves as a snapshot into a unique world, whether it be the quiet introspection of human emotion or the nostalgia of remembering what it was like to see through the eyes of a child, or the nostalgic representation of the passage of time.

 As you navigate through the collection, you are invited to take note of the distinctive voices that emerge from the images. Their works unfold like chapters in a larger story, inviting viewers to engage in a dialogue with the subjects and contemplate the many facets of the human experience.

David Scott Bess. M.F.A. - Adjunct Professor of Photography

Please join us for our opening reception at CCMA on Sunday, January 28th, from 2:00 to 4:00 PM.

Collective Experiences will be on view at CCMA during regular viewing hours from Saturday, January 6th until Saturday, March 30th.

Since 1941, the Chaffey Community Museum of Art (CCMA) has been sharing the gift of visual art with artists and residents of the inland communities of Southern California. First founded as an art association, CCMA has since grown into an important regional museum that provides public access to fine art and supports the local artistic community.

Mamie Till’s Courage from Tragedy

The lynching of fourteen-year-old Emmett Till by white supremacists in 1955 was a shocking tragedy, made worse by the appalling miscarriage of justice in the trial that followed. Emmett’s mother, Mamie, courageously made the decision to forego the privacy of her devastating loss by insisting the world see what they had done to her son. She chose to have an open casket funeral and invited the Black press corps in order to provide visual evidence of this tragedy to the world.

The collective awakening and the actions that followed contributed directly to the Civil Rights Movement. Driven by courage, the event inspired a generation to force change, and the images that record this tragedy sparked consciousness across society. The impact of these images shook the world and there was no turning back.

This photography exhibition begins with family photos of Mamie and Emmett, but at the core are extraordinary images made by Black photojournalists. The powerful photographs by Ernest Withers, for example, capture acts of bravery and of prejudice at the trial. Photographs of the funeral are fundamental to the story and are included. The famed images Mamie Till wanted “to let the world see,” however, are readily found elsewhere should one wish to bear witness.

The exhibition continues with images of many exhilarating moments of the Civil Rights movement that followed and concludes with a photograph taken last year by Deborah Watts, Emmett’s cousin, of President Biden signing the “Emmett Till Antilynching Act.” Although sixty-eight years have passed, the images, lessons, inspiration, and courage of this singular tragedy can and must continue to educate, provoke, and inform today’s generation. This is the “Impact of Images.”

The materials that contributed to this exhibition come from The Withers Collection, the Medgar Evers family and the Emmett Till Legacy Foundation, among other sources. Co-curator Chris Flannery gathered these historic photographs originally as support for the production of the 2022 film Till. Orion Pictures has generously made them available for this exhibition, which will feature screenings of the film and other public programs.

Source: https://ucrarts.ucr.edu/exhibitions/the-impact-of-images/

WAYS OF SEEING brings together works of art created by the faculty and staff of Biola’s Art Department. As artists invested in both the making and teaching of visual material, we each regularly grapple with the nature of what it means to see, to look, to observe, as acts of meaning-making.

In 1972, art critic John Berger produced a series of documentaries for the BBC, also titled Ways of Seeing. Additionally released as a series of seven essays (three comprised entirely of images), Berger’s work introduced a broad audience to the complexities involved in the act of viewing art - the conversation created between the original perceptual act of the artist meeting the gaze of the viewer, both informed by the contexts (internal and external, objective and subjective, temporal, spatial, and so many more) carried by maker and viewer.

Berger writes, “Seeing comes before words. The child looks and recognizes before it can speak. But there is also another sense in which seeing comes before words. It is seeing which establishes our place in the surrounding world; we explain that world with words, but words can never undo the fact that we are surrounded by it. The relation between what we see and what we know is never settled.”

The works in this show were selected as representations of this unsettled nature of seeing. WIthin the exhibition you will find visions shaped through the idiosyncratic perspectives of their makers. Some works are deeply observational, reflecting the external world back to us through the artists’ own perceptions as translated into photographs and representational paintings. Other works reflect internal states, hidden essences, and invisible realities, driven by imagination and reflection into the spaces beyond our sight. Still other works call our attention to the nature of the world surrounding us, both physical and social, causing us to examine or question our perceptions and assumptions. 

In pondering this diversity of visual experience, Berger’s essay continues, “Yet this seeing which comes before words, and can never be quite covered by them, is not a question of mechanically reacting to stimuli. (It can only be thought of in this way if one isolates the small part of the process which concerns the eye's retina.) We only see what we look at. To look is an act of choice…Our vision is continually active, continually moving, continually holding things in a circle around itself, constituting what is present to us as we are.”

While Berger here dismisses the “question of mechanically reacting to stimuli” as outside his scope of inquiry, contemporary advances in technology have allowed the physiological nature of seeing to take on new forms of access and immediacy for artists. The inspiration for our exhibition came in part through a research collaboration formed across disciplines, including Art, Psychology, and the History of Text Technologies. Our gallery show will also serve as a working lab for new research into how art education impacts ways of seeing, through the use of Pupil Labs Neon eye tracking glasses, which examine eye movement patterns and visual attention. The gallery’s gridded exhibition design acts as a physical model for the spatial data-mapping generated through the research, which seeks to deepen our understanding of the ways our bodies and minds create the act of seeing art.

Please join us in this exploration of the complexities of seeing, and stay connected with the Art Department for information about related programming coming in February.

Opening Reception: January 16, 6-8 PM

Exhibition on View: January 16-February 16, 2024

Artists; Luke Aleckson, Sang Young Bang, Melissa Beck, Laura Goble Brand, Kevin Browning, Dan Callis, Laura Carey, Daniel Chang, Kari Dunham, Aaron Holmes ,Christian Perez-Morin, Jonathan Puls, Thel Rountree, Christine Lee Smith, Astri Swendsrud

Eye-Tracking Researchers; Luke Aleckson, MFA (Biola University), Jason Brunt, PhD (Biola University), Aaron Rodriguez, PhD Candidate (Florida State University)

Curators; Dan Callis, Astri Swendsrud

The Green Art Gallery regularly exhibits high-caliber work from professional artists who are invited to engage the campus community in cultural dialog through original curated exhibitions centered around various contemporary themes.

Refer to the gallery map to find a parking lot or structure, and locate the Green Art Gallery, Bardwell Project Space and Library Art Exhibitions sites. For an interactive campus map, visit biola.edu/campus-map.