Exhibition
Mohan Bhasker/Traditional Indian Dancers
HONORABLE MENTION
HONORABLE MENTION
MOHAN BHASKER
Mohan Bhasker is a photographer, alternative process printer, workshop instructor, photography tour instructor, and author based in Los Angeles, California. He has created two books, instructs at prestigious institutions such as Bostick & Sullivan and Santa Fe Workshops to name a few.
Mohan shoots both black & white as well as color images for his landscapes and portrait work, utilizing his large and medium format cameras, panorama medium format 6 x 17 Horseman camera and Leica M series for his 35 mm images. He has worked professionally as a photographer since the late 1990s and for the last 15 years truly enjoys teaching the craft of the historic alternative processes in his studio.
Mohan specializes in TriColor Gum Bichromate, Platinum Palladium and Silver Gelatin processes. This required building two new darkrooms, separate from his conventional darkroom where he does all his own film and print processing and enjoys experimenting to fine tune his techniques.
Artist Statement
"I analyze my images carefully to determine the best printing process to use for each photograph that I am printing. I enjoy TriColor Gum, Silver Gelatin, & Platinum Palladium processes. My favorite film is Velvia ISO 50 because of the richness, bold and vibrant colors that this film yields from the moment that I click my camera. I also gravitate to the painterly and less photographic look of the TriColor Gum prints printed only using pigments and not having cyanotype or Platinum Palladium as a base. Moreover, I find it more challenging and extremely difficult to just use pigments to make a full color print that at the end will reward you with a good contrast and a strong dynamic range image. With each layer of pigment that I brush, the image gradually takes shape allowing me for creative control over tonality, texture, tone, contrast and mood. It takes an average of eight (8) to eleven (11) layers of the TriColor Gum process for the image to evolve and present itself to me in my darkroom. This tedious and rewarding process is worth the effort because it allows for expressive, hand-on interpretation of a photograph, blending photography with fine art.
I selectively chose each image being presented for your consideration because the costumes of the dancers were vibrant, rich, bold and colorful which worked in complete harmony with my TriColor Gum printing process. In India, dancing holds immense cultural and spiritual significance, serving as a powerful means of communication, storytelling, and religious expression. Through my extensive travels to India, I was fortunate and blessed to capture the essence of the people in their true element of festivities, celebrations and happiness as they danced with such passion, intensity, expression and tradition."
Images for Sale-
Indian Girl in a Lighting Ceremony to Commemorate an Indian Dancing Event
8” H x 12” W”
Hahnemuhle Platinum Photo Rag Paper
$450 unframed
Limited Edition of 15
Signed on back
Traditional Indian Dancers.
8” H x 12” W
Hahnemuhle Platinum Photo Rag Paper
$450 unframed
Limited Edition of 15
Signed on back
Jaipur Dancing Festival
8” H x 12” W
Hahnemuhle Platinum Photo Rag Paper
$450 unframed
Limited Edition of 15
Signed on back
Gypsies Girls Dancing in Thar Desert
8” H x 12” W
Hahnemuhle Platinum Photo Rag Paper
$450 unframed
Limited Edition of 15
Signed on back
Holi Festival Dancing
12” H x 8” W
Hahnemuhle Platinum Photo Rag Paper
$450 unframed
Limited Edition of 15
Signed on back
Ghungroo Dancin Anklet Set for Indian Classical Dance
12” H x 8” W
Hahnemuhle Platinum Photo Rag Paper
$450 unframed
Limited Edition of 15
Signed on back
Contact: Mohan Bhasker at tennismohan@aol.com
www.mohanbhaskerphotography.com
Mohan Bhasker is a photographer, alternative process printer, workshop instructor, photography tour instructor, and author based in Los Angeles, California. He has created two books, instructs at prestigious institutions such as Bostick & Sullivan and Santa Fe Workshops to name a few.
Mohan shoots both black & white as well as color images for his landscapes and portrait work, utilizing his large and medium format cameras, panorama medium format 6 x 17 Horseman camera and Leica M series for his 35 mm images. He has worked professionally as a photographer since the late 1990s and for the last 15 years truly enjoys teaching the craft of the historic alternative processes in his studio.
Mohan specializes in TriColor Gum Bichromate, Platinum Palladium and Silver Gelatin processes. This required building two new darkrooms, separate from his conventional darkroom where he does all his own film and print processing and enjoys experimenting to fine tune his techniques.
Artist Statement
"I analyze my images carefully to determine the best printing process to use for each photograph that I am printing. I enjoy TriColor Gum, Silver Gelatin, & Platinum Palladium processes. My favorite film is Velvia ISO 50 because of the richness, bold and vibrant colors that this film yields from the moment that I click my camera. I also gravitate to the painterly and less photographic look of the TriColor Gum prints printed only using pigments and not having cyanotype or Platinum Palladium as a base. Moreover, I find it more challenging and extremely difficult to just use pigments to make a full color print that at the end will reward you with a good contrast and a strong dynamic range image. With each layer of pigment that I brush, the image gradually takes shape allowing me for creative control over tonality, texture, tone, contrast and mood. It takes an average of eight (8) to eleven (11) layers of the TriColor Gum process for the image to evolve and present itself to me in my darkroom. This tedious and rewarding process is worth the effort because it allows for expressive, hand-on interpretation of a photograph, blending photography with fine art.
I selectively chose each image being presented for your consideration because the costumes of the dancers were vibrant, rich, bold and colorful which worked in complete harmony with my TriColor Gum printing process. In India, dancing holds immense cultural and spiritual significance, serving as a powerful means of communication, storytelling, and religious expression. Through my extensive travels to India, I was fortunate and blessed to capture the essence of the people in their true element of festivities, celebrations and happiness as they danced with such passion, intensity, expression and tradition."
Images for Sale-
Indian Girl in a Lighting Ceremony to Commemorate an Indian Dancing Event
8” H x 12” W”
Hahnemuhle Platinum Photo Rag Paper
$450 unframed
Limited Edition of 15
Signed on back
Traditional Indian Dancers.
8” H x 12” W
Hahnemuhle Platinum Photo Rag Paper
$450 unframed
Limited Edition of 15
Signed on back
Jaipur Dancing Festival
8” H x 12” W
Hahnemuhle Platinum Photo Rag Paper
$450 unframed
Limited Edition of 15
Signed on back
Gypsies Girls Dancing in Thar Desert
8” H x 12” W
Hahnemuhle Platinum Photo Rag Paper
$450 unframed
Limited Edition of 15
Signed on back
Holi Festival Dancing
12” H x 8” W
Hahnemuhle Platinum Photo Rag Paper
$450 unframed
Limited Edition of 15
Signed on back
Ghungroo Dancin Anklet Set for Indian Classical Dance
12” H x 8” W
Hahnemuhle Platinum Photo Rag Paper
$450 unframed
Limited Edition of 15
Signed on back
Contact: Mohan Bhasker at tennismohan@aol.com
www.mohanbhaskerphotography.com
Mohan Bhasker/Gypsies Girls Dancing in the Desert, India
Mohan Bhasker/Jaipur Dancing Festival, India
Mohan Bhasker/Holi Festival Dancing, India
Mohan Bhasker/Indian Girl in a Lighting Ceremony to Commemorate Indian Dancing Event
Mohan Bhasker/ Ghungroo Dancing Ankle Set for Indian Classical Dance
Maureen Ruddy Burkhart/The Last Rookery #1
FIRST PLACE
FIRST PLACE
MAUREEN RUDDY BURKHART
Review by Juror Christina Z. Anderson:
"The image is artfully composed and full of love and beauty. I imagine it is shimmery in person with the addition of gold leat. The birds are communing in nature, building a nest for their young, and there is hope as life goes on as it has for millenia, birds doing their thing in the wild untouched by human presence. Yet as many beauty trends today, there is that overt or implied notion of transience (gather ye rosebuds while ye may) that makes the experience of this scene all the more beautiful."
Review by Juror Diana H. Bloomfield:
"I found this series of birds stunning in its sheer beauty. The printing choices and the gold-leaf gilding on vellum are both thoughtful and inspired, meshing perfectly with the delicate nature of these images. I really appreciated the smart, minimalist compositions and beautiful lighting, which truly showcased the birds and their habitats. These were all so well done. I particularly loved the first-place image - that golden light fading into pale blue and the interaction of the two birds atop their seemingly haphazardly-built nest. Everything about it just works. I also found these images a little sad- heartbreaking in their sweetness, innocence, and the overriding thought that it might all disappear."
Questions from Diana H. Bloomfield-
Review by Juror Christina Z. Anderson:
"The image is artfully composed and full of love and beauty. I imagine it is shimmery in person with the addition of gold leat. The birds are communing in nature, building a nest for their young, and there is hope as life goes on as it has for millenia, birds doing their thing in the wild untouched by human presence. Yet as many beauty trends today, there is that overt or implied notion of transience (gather ye rosebuds while ye may) that makes the experience of this scene all the more beautiful."
Review by Juror Diana H. Bloomfield:
"I found this series of birds stunning in its sheer beauty. The printing choices and the gold-leaf gilding on vellum are both thoughtful and inspired, meshing perfectly with the delicate nature of these images. I really appreciated the smart, minimalist compositions and beautiful lighting, which truly showcased the birds and their habitats. These were all so well done. I particularly loved the first-place image - that golden light fading into pale blue and the interaction of the two birds atop their seemingly haphazardly-built nest. Everything about it just works. I also found these images a little sad- heartbreaking in their sweetness, innocence, and the overriding thought that it might all disappear."
Questions from Diana H. Bloomfield-
"Maureen, I’m a big fan of this work.
Is this an ongoing series? Why and when did you begin it?"
Maureeen Ruddy Burkhart: "Yes, this is an ongoing series, which wasn’t always my intention. I began this during the pandemic, after countless long walks in nature. Due to the relative silence around me, I noticed the sounds of nature, specifically the birds. This, in turn, led to me noticing their behaviors and how often their gestures mimicked our own human behaviors—when they call plaintively for mates, when they sacrifice anything to feed their offspring, when they protect what is theirs—these were scenes that spoke to me and sparked my interest enough to learn more about them. Eventually, after watching their habitats disappear right before my eyes, I became passionate about their preservation.
I read about birds in history, literature and mythology and I think this helped me hone my vision of how and why I wanted to portray them photographically."
Bloomfield: "Are you an active birder, and do you travel the world to photograph, or are these birds local to your home?"
Burkhart: "Interestingly, I don’t consider myself a traditional “birder” in that I’m more into bird behavior than bird identification. But I’ve learned that identification is necessary for finding birds and so it’s all related. I have no problem with delving into the mysteries of nature, in fact, I believe that understanding nature reveals universal truths like unity, cooperation, and survival. I believe that portraying the beauty of nature creates a longing to understand it.
Most of the birds I’ve portrayed in my current work are local to the Colorado Southwest area, since this is where I live and it’s the place I’m committed to preserving. I would very much like to explore birds of watery coastlines—that seems like a calling that I may pursue as well."
Bloomfield: "I admire the minimalism in your images, and so I wondered if you could talk about that a little— what that requires in editing, and what informs you about making those editing choices. Another great example of your minimalist approach is the little hummingbird in silhouette— so strong in all its simplicity."
Burkhart: "I learned early on with this story-telling to photograph birds isolated or semi-isolated within their background, for example, against a sky or distant mountain. It’s like a “pre-edit”, because I am pre-visualizing my gilding process. I want the eye to hone in on the bird’s gesture or “conversation” and then move out from there. With the hummingbird silhouette, I felt the joyful yet delicate chirp was the point of the photograph. At that moment, like now, I feel privileged to have seen and captured that moment. That feeling of humility is an important part of my practice."
Questions from Christina Z. Anderson
"What was the deciding factor that prompted the series?"
Burkhart: "One day as I was photographing swallows by an open space pond, a city-owned vehicle came by spraying insecticide to control mosquitos. Within a day, all the birds were gone (since they were there for the mosquitos). I thought “where did they go?” and it became my mission to find them. I’ve been searching for (and sometimes finding them) since then. I thought that if I could elevate our local birds in a way that would spark wonder, I could raise awareness of them and eventually save them. That was a moment of commitment to a project."
Anderson: "How will the series continue, e.g. will it at one point be complete, will it be ongoing decades, is something missing?"
Burkhart: "This series is a story and there can be more than one story. Perhaps I can portray it in parts, as the story evolves. For example, one of the rookeries I have followed is on a parcel of land that is for sale and zoned for commercial development—so there might be another story there. I always keep an open mind about where things might go, artistically and environmentally speaking."
Anderson: "Of the series you submitted, is this one your favorite or are you surprised that a different one was not selected?"
Burkhart: "The selected image is my favorite, as it turns out! It seems to exemplify a few of my favorite things: the conversation, the spatial context (I love environmental photography), my favorite early morning light, and lends itself well to the gilding process. Not all of my bird photographs meet my expectations for gilding, so it’s necessary to experiment. And as you surely know, the experimenting is a critical part of the editing and learning process and inevitably involves discovery of all sorts, most especially about ourselves. Many thanks for your examination and appreciation of my work!"
More about Maureen Ruddy Burkhart:
Is this an ongoing series? Why and when did you begin it?"
Maureeen Ruddy Burkhart: "Yes, this is an ongoing series, which wasn’t always my intention. I began this during the pandemic, after countless long walks in nature. Due to the relative silence around me, I noticed the sounds of nature, specifically the birds. This, in turn, led to me noticing their behaviors and how often their gestures mimicked our own human behaviors—when they call plaintively for mates, when they sacrifice anything to feed their offspring, when they protect what is theirs—these were scenes that spoke to me and sparked my interest enough to learn more about them. Eventually, after watching their habitats disappear right before my eyes, I became passionate about their preservation.
I read about birds in history, literature and mythology and I think this helped me hone my vision of how and why I wanted to portray them photographically."
Bloomfield: "Are you an active birder, and do you travel the world to photograph, or are these birds local to your home?"
Burkhart: "Interestingly, I don’t consider myself a traditional “birder” in that I’m more into bird behavior than bird identification. But I’ve learned that identification is necessary for finding birds and so it’s all related. I have no problem with delving into the mysteries of nature, in fact, I believe that understanding nature reveals universal truths like unity, cooperation, and survival. I believe that portraying the beauty of nature creates a longing to understand it.
Most of the birds I’ve portrayed in my current work are local to the Colorado Southwest area, since this is where I live and it’s the place I’m committed to preserving. I would very much like to explore birds of watery coastlines—that seems like a calling that I may pursue as well."
Bloomfield: "I admire the minimalism in your images, and so I wondered if you could talk about that a little— what that requires in editing, and what informs you about making those editing choices. Another great example of your minimalist approach is the little hummingbird in silhouette— so strong in all its simplicity."
Burkhart: "I learned early on with this story-telling to photograph birds isolated or semi-isolated within their background, for example, against a sky or distant mountain. It’s like a “pre-edit”, because I am pre-visualizing my gilding process. I want the eye to hone in on the bird’s gesture or “conversation” and then move out from there. With the hummingbird silhouette, I felt the joyful yet delicate chirp was the point of the photograph. At that moment, like now, I feel privileged to have seen and captured that moment. That feeling of humility is an important part of my practice."
Questions from Christina Z. Anderson
"What was the deciding factor that prompted the series?"
Burkhart: "One day as I was photographing swallows by an open space pond, a city-owned vehicle came by spraying insecticide to control mosquitos. Within a day, all the birds were gone (since they were there for the mosquitos). I thought “where did they go?” and it became my mission to find them. I’ve been searching for (and sometimes finding them) since then. I thought that if I could elevate our local birds in a way that would spark wonder, I could raise awareness of them and eventually save them. That was a moment of commitment to a project."
Anderson: "How will the series continue, e.g. will it at one point be complete, will it be ongoing decades, is something missing?"
Burkhart: "This series is a story and there can be more than one story. Perhaps I can portray it in parts, as the story evolves. For example, one of the rookeries I have followed is on a parcel of land that is for sale and zoned for commercial development—so there might be another story there. I always keep an open mind about where things might go, artistically and environmentally speaking."
Anderson: "Of the series you submitted, is this one your favorite or are you surprised that a different one was not selected?"
Burkhart: "The selected image is my favorite, as it turns out! It seems to exemplify a few of my favorite things: the conversation, the spatial context (I love environmental photography), my favorite early morning light, and lends itself well to the gilding process. Not all of my bird photographs meet my expectations for gilding, so it’s necessary to experiment. And as you surely know, the experimenting is a critical part of the editing and learning process and inevitably involves discovery of all sorts, most especially about ourselves. Many thanks for your examination and appreciation of my work!"
More about Maureen Ruddy Burkhart:
Artist Statement-
"Allegories of Melancholy is a lovingly crafted photographic study of the beauty and fragility of extant birds found in both protected spaces and endangered lands.
A few years ago, I came across a 19th century English print of the now-extinct Great Auk, and that is when I began documenting birds in earnest, motivated by delight, longing, and nostalgia. Also, time. The hand-drawn Great Auk illustration was my inspiration for employing the handmade technique of gold and silver gilding as a way of elevating the status of birds and trees.
Climate change waits for no one. With regard to birds, they are the ‘canary in the coal mine’. Human demands for land, be it farming, housing or transportation, all affect wildlife habitats. It’s an alarming trend, even here in Colorado where protected spaces are plentiful and well funded.
My hope is to celebrate birds and, by extension, trees, in a way that elevates their status and raises awareness of their inherent majesty. In an increasingly ‘dark’ world, I strive to portray beauty for its own sake…and maybe save the world too."
A few years ago, I came across a 19th century English print of the now-extinct Great Auk, and that is when I began documenting birds in earnest, motivated by delight, longing, and nostalgia. Also, time. The hand-drawn Great Auk illustration was my inspiration for employing the handmade technique of gold and silver gilding as a way of elevating the status of birds and trees.
Climate change waits for no one. With regard to birds, they are the ‘canary in the coal mine’. Human demands for land, be it farming, housing or transportation, all affect wildlife habitats. It’s an alarming trend, even here in Colorado where protected spaces are plentiful and well funded.
My hope is to celebrate birds and, by extension, trees, in a way that elevates their status and raises awareness of their inherent majesty. In an increasingly ‘dark’ world, I strive to portray beauty for its own sake…and maybe save the world too."
Maureen Ruddy Burkhart is an award-winning and internationally exhibited artist. She received her BFA in Photography from the San Francisco Art Institute in 1976 and went on to work in the film industry, TV production, documentary photography, and always came back to her first love—fine art photography.
Burkhart’s work has been shown in Paris, London, The Desert Art Palace in Inner Mongolia, Barcelona, New York, Denver, The Center for Photographic Art…and outer space—courtesy of the British Journal of Photography’s Portrait of Humanity in Space.
Her work has been featured in Black and White Magazine, The Guardian, All-About-Photo, Slate, Edge of Humanity, & Feature Shoot. Her photographs are in collections in the International Museum of Dance, the MIT Libraries/Collections on Islamic Architecture, The Asia Society Museum in NY, and listed in Art Photo Index.
Images for Sale:
The Last Rookery #1, (7” x 5” print on 11” x 8.5” paper)
Pigment ink print on archival vellum with 24k gold leaf gilding.
$800, unframed
Limited edition of 10
Signed in pencil on bottom right front
The Last Mating Call #1, (7” x 5” print on 11” x 8.5” paper)
Pigment ink print on archival vellum with 24k gold leaf gilding.
$800, unframed
Limited edition of 10
Signed in pencil on bottom right front
The Last Nesting Place #1, (7” x 5” print on 11” x 8.5” paper)
Pigment ink print on archival vellum with 24k gold leaf gilding
$800, unframed
Limited edition of 10
Signed in pencil on bottom right front
The Last Hummingbird #2, (7” x 5” print on 11” x 8.5” paper)
Pigment ink print on archival vellum with 24k gold leaf gilding
$800, unframed
Limited edition of 10
Signed in pencil on bottom right front
The Last Rookery in Loveland #8, (7” x 5” print on 11” x 8.5” paper)
Pigment ink print on archival vellum with 24k gold leaf gilding
$800, unframed
Limited edition of 10
Signed in pencil on bottom right front
Scotch Pine and the Moon, (7” x 5” print on 11” x 8.5” paper)
Pigment ink print on archival vellum with 24k gold leaf gilding
$800, unframed
Limited edition of 10
Signed in pencil on bottom right front
Burkhart’s work has been shown in Paris, London, The Desert Art Palace in Inner Mongolia, Barcelona, New York, Denver, The Center for Photographic Art…and outer space—courtesy of the British Journal of Photography’s Portrait of Humanity in Space.
Her work has been featured in Black and White Magazine, The Guardian, All-About-Photo, Slate, Edge of Humanity, & Feature Shoot. Her photographs are in collections in the International Museum of Dance, the MIT Libraries/Collections on Islamic Architecture, The Asia Society Museum in NY, and listed in Art Photo Index.
Images for Sale:
The Last Rookery #1, (7” x 5” print on 11” x 8.5” paper)
Pigment ink print on archival vellum with 24k gold leaf gilding.
$800, unframed
Limited edition of 10
Signed in pencil on bottom right front
The Last Mating Call #1, (7” x 5” print on 11” x 8.5” paper)
Pigment ink print on archival vellum with 24k gold leaf gilding.
$800, unframed
Limited edition of 10
Signed in pencil on bottom right front
The Last Nesting Place #1, (7” x 5” print on 11” x 8.5” paper)
Pigment ink print on archival vellum with 24k gold leaf gilding
$800, unframed
Limited edition of 10
Signed in pencil on bottom right front
The Last Hummingbird #2, (7” x 5” print on 11” x 8.5” paper)
Pigment ink print on archival vellum with 24k gold leaf gilding
$800, unframed
Limited edition of 10
Signed in pencil on bottom right front
The Last Rookery in Loveland #8, (7” x 5” print on 11” x 8.5” paper)
Pigment ink print on archival vellum with 24k gold leaf gilding
$800, unframed
Limited edition of 10
Signed in pencil on bottom right front
Scotch Pine and the Moon, (7” x 5” print on 11” x 8.5” paper)
Pigment ink print on archival vellum with 24k gold leaf gilding
$800, unframed
Limited edition of 10
Signed in pencil on bottom right front
Maureen Ruddy Burkhart/The Last Rookery In Loveland #8
Maureen Ruddy Burkhart/The Last Nesting Place #1
Maureen Ruddy Burkhart/The Last Hummingbird #2
Maureen Ruddy Burkhart/Scotch Pine and the Moon
Maureen Ruddy Burkhart/The Last Mating Call #1
Kimberly Schneider/Magic, Carmel, CA
KIMBERLY J. SCHNEIDER
Personal Narrative-
"I have been dedicated to the art of the handmade print for nearly half of my life. However, prior to 2020, I identified exclusively as a lens-based silver gelatin/photographic artist (who also dabbled in poetry, jewelry making, and printmaking), and traveled out west as often as possible, to make film photographs of the hauntingly beautiful land and seacapes, found in those locations.
These days, I identify as a visual artist, who specializes in both traditional and very experimental analog photographic (and some mixed media/art as healing) processes, as well as literal and figurative landscape photographs (and both lens-based and cameraless photography). And yes, I am still dedicated to all things silver gelatin, as well as trying to fund my next art making/material collecting trips out west (and the making of my Haunted series, which I'm slowly printing in an hourly rental darkroom, while between home darkrooms, in NYC).
My deep dive into the world of experimental photography began as a happy accident, and commenced in my previous home darkroom, which was not quite halfway finished when the pandemic began. I made my first cameraless photographs with handheld light sources in June 2020. Four bodies of cameraless work (and three years) later, the landscape found its way into my photograms, as the visual textures (created by some of my experimental self-designed processes with ice, sand, flowers, and more) began to resemble erosion, as well as the textures of some of my favorite locations to make film photographs, in the western US.
As luck or perhaps fate would have it, I was invited to teach a brief photograms class in the San Diego area, in July 2023 (related to an exhibition I also had work in). While there, I became inspired to collect location-specific materials from Winsansea Beach; before I left town, I collected as much beach sand, Pacific Ocean water, seaweed, and more, that I could fit into the containers I had with me, and shipped them to myself in NYC, specifically for my first San Diego sculpted landscape photographs.
From November 2023 until my former apartment building stopped being darkroom friendly in May 2024, I made all of my photograms with these materials. About 6 weeks prior to moving, I began testing out San Diego lumen processes with the very same materials, while winging using a big LED panel as a light source. Thankfully the process translated well and that very first lumen (along with my second or third and a handful of my photograms) debuted in the bins at AIPAD 2024, via Scott Nichols Gallery. A few months after the move to my impermanent residence, another friend was kind enough to build me a big beautiful UV light box, which I received in July of that year.
My experiments with cyanotype chemistry began the following month, while preparing to teach a cyanotypes class, and quickly led to my painting (heavily) with cyanotype and other chemistry, in order to expand the contrast and color palettes of my lumens. After a year of experimenting with painted cyanotypes and lumen-chemigrams, I became inspired to create a new process, and also started working with some Brooklyn materials.
In late October 2025, I began experimenting with various forms of hibiscus - from deeply concentrated hibiscus tea to pulpy hibiscus chunks to loose dried pieces, and also (in some cases) incorporated painted cyanotype chemistry, watercolor paint, and other materials. (Some of these prints may not be as archival as others). While experimenting with these new processes, I also began testing out methods for creating a slightly 3-dimensional aspect to some of my colorful cameraless landscapes, which I did by baking in materials that wouldn't wash off during the print wash.
(None of my Impermanence series lumens are fixed thus far, as due to the high metal content of the majority of papers I use, the fixer washes the colors out and makes the prints really muddy looking. However, there are ways of preventing the colors from shifting, as well as bigger versions of the originals, available by commission.)
I am presently working on 3 ongoing bodies of work (and have made 8 new bodies of work since 2020). I am submitting images from a variety of bodies of work that translate well with the theme, and are all closely related.2 - Artist StatementMaking photographs is a meditation of sorts, a search for truth, which I do both with and without cameras, and via a variety of analog photographic (and some self-designed experimental photographic/mixed media) processes. I am drawn to desolate land and seascapes and deeply inspired by the beauty and textures of the western U.S., though I live in New York.
All of my photographs are equivalent images or subconscious self-portraits, and I specialize in both literal and figurative landscape photographs. Regardless of the process I use to translate my vision, my work is simultaneously about what is visible to the naked eye and what is not, with the latter revealing itself during my analog printing processes, which also incorporate poetry that often comes to me in the darkroom. Further, making photograms with sand, ocean water, snow, and ice, among other materials, opened my eyes to what a landscape photograph could be as a unique art object...
I fell into photography by way of eastern religions, and the latter quickly found its way into my processes and never left. There is essentially no separation between my life/myself and my prints, which I think of as visual poems or spiritual landscape photographs."
Kimberly Schneider has been dedicated to the art of the handmade print for more than 15 years. Specializing in true infrared film, spiritual landscapes, and experimental photograms/mixed-process lumens, she holds a BFA in photography (and minor in philosophy) from Colorado State University and exhibits her personal work regularly. She also enjoys working with private photography and art as healing students, printing for other photographic artists/enthusiasts, and collaborating with others in various capacities.
Kimberly's work has been in notable exhibitions at Center for Photographic Art (CPA), Scott Nichols Gallery, AIPAD (Association of International Photography Art Dealers), Photo Forward Los Angeles, Soho Photo, The Camera Obscura Gallery, The Photographer’s Eye Collective, San Diego Art Institute, ZIA Gallery, and Foto Nostrum (Barcelona, Spain), as well as virtually at The Louvre; She is honored to have work in the collection of Susan Herzig & Paul Hertzmann, San Francisco.
Schneider's work is currently featured in issue 14 of Aeonian Magazine and her first Healing Beauty course will open for registration in March 2026. (She designed three versions of this class, so one one would be excluded from art as healing during these troubling times.)
Recent Exhibitions and Written Contributions
From December 2025 - January 2026, Kimberly exhibited "Koan in Blue" via the 2025 International Juried Exhibition at Center for Photographic Art (CPA), in Carmel, CA, juried by Cig Harvey (she also previously exhibited in the 2023 exhibition, which was juried by Hamidah Glasgow).
Kimberly contributed 7 pages to the 5th (current) edition of The Darkroom Cookbook (at Steve Anchell's request), which is currently available for purchase, and was also honored to contribute to the previous version.
In July 2025, she exhibited "Phoenix, San Diego, CA," an earlier mixed-process lumen, in the National Competition Exhibition at Soho Photo (Juried by Jean Dykstra), as well as previously in the Slight of Hand Exhibition (juried by Michael Kirchoff in 2024 and by Ann Jastrab in 2023)
A small selection of her previous online features of note include:
Your Daily Photograph - July 5th-6th & October 30-31, 2024, January 2023 and previously
Podcast for Frames Magazine 2024
Aeonian Magazine, Issues: 10 (January 2024), 11 (August 2024), 12 (January 2025), 13 (July 2025), and previously
(paid) Artist-in-Residence for Frames Magazine in 2022
The OD Review, Kimberly Schneider's Dark Rooms, 2021 (debut of a new series a few days after the first prints
Recent Awards include:
Honorary Spider Fellow (Nominee) - 16th, 18th, 19th, & 20th Black and White Spider Awards
Runner Up (to the Series Winner) - 17th Julia Margaret Cameron Awards
3rd Place - 16th Julia Margaret Cameron Awards
Honorable Mentions via: the 18th Julia Margaret Cameron Awards
LA Photo Curator’s A Thousand Words competition
the 16th Pollux Awards
LA Photo Curator’s Surrealism competition
IMAGES FOR SALE -
Purple Tsunami (aka Wave Study at High Tide), San Diego, CA (Impermanence series) - 11"H x 14"W
Unique silver gelatin print (painted cyanotype & lumen-chemigram) made with the Pacific Ocean, beach sand, and more
Unfixed (instructions will be provided on how to limit color shift).
Printed on expired Agfa paper
$1,000 unframed, framing options available
One-of-a-kind print (huge version also available by commission)
Signed on back
Undercurrent, Point Lobos (Awakenings: Point Lobos & Beyondseries)- 11"H x 11"W (on 16x20" paper)
Printed on Foma Fomatone MG paper
Infrared Silver gelatin print, selenium toned
$1,100 unframed (framing options available)
Limited edition of 15
Signed on back
San Diego (aka Saturn), Windansea Beach, CA (Winds of Change series) - 14"H x 11"W
Printed on Foma Fomatone MG paper
Unique silver gelatin print (photogram) made with the Pacific Ocean, beach sand, and more, selenium toned
$1,200 unframed (framing options available)
One-of-a-kind print
Signed on back
Magic, Carmel, CA (Haunted series) - 8"H x 8"W (on 11x14 paper)
Printed on Foma Fomatone MG paper
Infrared silver gelatin print, selenium toned
$800 unframed (framing options available)
Limited edition of 15
Signed on back
Willow #2, Brooklyn, NY (Emergence series) - 8"H x 8"W on 11x14 paper
Printed on Forte Polywarmtone Plus
Infrared silver gelatin print, selenium toned
$1000 unframed (or $800 for pre-order of next edition copy, on Foma paper; huge version also available by commission)
Limited edition of 15
Signed on back
Hibiscus-Rose (aka Fuck Cancer), 11/23/25, Tehama Street, Brooklyn, NY (Impermanence series, Brooklyn, NY edition) - 14"H x 11"W
Printed on expired Agfa paper
Unique silver gelatin print (hibiscus-lumen) made with rose red leaves (for Rosie), various forms of hibiscus, and more
Unfixed (instructions will be provided on how to limit color shift).
$875 unframed, framing options available
One-of-a-kind print
Signed on back
Contact: Kimberly Schneider
Email:kimberly@kimberlyjschneider.com
https://www.kimberlyjschneider.com/
http://www.instagram.com/kimberlyjschneiderphotography/
Personal Narrative-
"I have been dedicated to the art of the handmade print for nearly half of my life. However, prior to 2020, I identified exclusively as a lens-based silver gelatin/photographic artist (who also dabbled in poetry, jewelry making, and printmaking), and traveled out west as often as possible, to make film photographs of the hauntingly beautiful land and seacapes, found in those locations.
These days, I identify as a visual artist, who specializes in both traditional and very experimental analog photographic (and some mixed media/art as healing) processes, as well as literal and figurative landscape photographs (and both lens-based and cameraless photography). And yes, I am still dedicated to all things silver gelatin, as well as trying to fund my next art making/material collecting trips out west (and the making of my Haunted series, which I'm slowly printing in an hourly rental darkroom, while between home darkrooms, in NYC).
My deep dive into the world of experimental photography began as a happy accident, and commenced in my previous home darkroom, which was not quite halfway finished when the pandemic began. I made my first cameraless photographs with handheld light sources in June 2020. Four bodies of cameraless work (and three years) later, the landscape found its way into my photograms, as the visual textures (created by some of my experimental self-designed processes with ice, sand, flowers, and more) began to resemble erosion, as well as the textures of some of my favorite locations to make film photographs, in the western US.
As luck or perhaps fate would have it, I was invited to teach a brief photograms class in the San Diego area, in July 2023 (related to an exhibition I also had work in). While there, I became inspired to collect location-specific materials from Winsansea Beach; before I left town, I collected as much beach sand, Pacific Ocean water, seaweed, and more, that I could fit into the containers I had with me, and shipped them to myself in NYC, specifically for my first San Diego sculpted landscape photographs.
From November 2023 until my former apartment building stopped being darkroom friendly in May 2024, I made all of my photograms with these materials. About 6 weeks prior to moving, I began testing out San Diego lumen processes with the very same materials, while winging using a big LED panel as a light source. Thankfully the process translated well and that very first lumen (along with my second or third and a handful of my photograms) debuted in the bins at AIPAD 2024, via Scott Nichols Gallery. A few months after the move to my impermanent residence, another friend was kind enough to build me a big beautiful UV light box, which I received in July of that year.
My experiments with cyanotype chemistry began the following month, while preparing to teach a cyanotypes class, and quickly led to my painting (heavily) with cyanotype and other chemistry, in order to expand the contrast and color palettes of my lumens. After a year of experimenting with painted cyanotypes and lumen-chemigrams, I became inspired to create a new process, and also started working with some Brooklyn materials.
In late October 2025, I began experimenting with various forms of hibiscus - from deeply concentrated hibiscus tea to pulpy hibiscus chunks to loose dried pieces, and also (in some cases) incorporated painted cyanotype chemistry, watercolor paint, and other materials. (Some of these prints may not be as archival as others). While experimenting with these new processes, I also began testing out methods for creating a slightly 3-dimensional aspect to some of my colorful cameraless landscapes, which I did by baking in materials that wouldn't wash off during the print wash.
(None of my Impermanence series lumens are fixed thus far, as due to the high metal content of the majority of papers I use, the fixer washes the colors out and makes the prints really muddy looking. However, there are ways of preventing the colors from shifting, as well as bigger versions of the originals, available by commission.)
I am presently working on 3 ongoing bodies of work (and have made 8 new bodies of work since 2020). I am submitting images from a variety of bodies of work that translate well with the theme, and are all closely related.2 - Artist StatementMaking photographs is a meditation of sorts, a search for truth, which I do both with and without cameras, and via a variety of analog photographic (and some self-designed experimental photographic/mixed media) processes. I am drawn to desolate land and seascapes and deeply inspired by the beauty and textures of the western U.S., though I live in New York.
All of my photographs are equivalent images or subconscious self-portraits, and I specialize in both literal and figurative landscape photographs. Regardless of the process I use to translate my vision, my work is simultaneously about what is visible to the naked eye and what is not, with the latter revealing itself during my analog printing processes, which also incorporate poetry that often comes to me in the darkroom. Further, making photograms with sand, ocean water, snow, and ice, among other materials, opened my eyes to what a landscape photograph could be as a unique art object...
I fell into photography by way of eastern religions, and the latter quickly found its way into my processes and never left. There is essentially no separation between my life/myself and my prints, which I think of as visual poems or spiritual landscape photographs."
Kimberly Schneider has been dedicated to the art of the handmade print for more than 15 years. Specializing in true infrared film, spiritual landscapes, and experimental photograms/mixed-process lumens, she holds a BFA in photography (and minor in philosophy) from Colorado State University and exhibits her personal work regularly. She also enjoys working with private photography and art as healing students, printing for other photographic artists/enthusiasts, and collaborating with others in various capacities.
Kimberly's work has been in notable exhibitions at Center for Photographic Art (CPA), Scott Nichols Gallery, AIPAD (Association of International Photography Art Dealers), Photo Forward Los Angeles, Soho Photo, The Camera Obscura Gallery, The Photographer’s Eye Collective, San Diego Art Institute, ZIA Gallery, and Foto Nostrum (Barcelona, Spain), as well as virtually at The Louvre; She is honored to have work in the collection of Susan Herzig & Paul Hertzmann, San Francisco.
Schneider's work is currently featured in issue 14 of Aeonian Magazine and her first Healing Beauty course will open for registration in March 2026. (She designed three versions of this class, so one one would be excluded from art as healing during these troubling times.)
Recent Exhibitions and Written Contributions
From December 2025 - January 2026, Kimberly exhibited "Koan in Blue" via the 2025 International Juried Exhibition at Center for Photographic Art (CPA), in Carmel, CA, juried by Cig Harvey (she also previously exhibited in the 2023 exhibition, which was juried by Hamidah Glasgow).
Kimberly contributed 7 pages to the 5th (current) edition of The Darkroom Cookbook (at Steve Anchell's request), which is currently available for purchase, and was also honored to contribute to the previous version.
In July 2025, she exhibited "Phoenix, San Diego, CA," an earlier mixed-process lumen, in the National Competition Exhibition at Soho Photo (Juried by Jean Dykstra), as well as previously in the Slight of Hand Exhibition (juried by Michael Kirchoff in 2024 and by Ann Jastrab in 2023)
A small selection of her previous online features of note include:
Your Daily Photograph - July 5th-6th & October 30-31, 2024, January 2023 and previously
Podcast for Frames Magazine 2024
Aeonian Magazine, Issues: 10 (January 2024), 11 (August 2024), 12 (January 2025), 13 (July 2025), and previously
(paid) Artist-in-Residence for Frames Magazine in 2022
The OD Review, Kimberly Schneider's Dark Rooms, 2021 (debut of a new series a few days after the first prints
Recent Awards include:
Honorary Spider Fellow (Nominee) - 16th, 18th, 19th, & 20th Black and White Spider Awards
Runner Up (to the Series Winner) - 17th Julia Margaret Cameron Awards
3rd Place - 16th Julia Margaret Cameron Awards
Honorable Mentions via: the 18th Julia Margaret Cameron Awards
LA Photo Curator’s A Thousand Words competition
the 16th Pollux Awards
LA Photo Curator’s Surrealism competition
IMAGES FOR SALE -
Purple Tsunami (aka Wave Study at High Tide), San Diego, CA (Impermanence series) - 11"H x 14"W
Unique silver gelatin print (painted cyanotype & lumen-chemigram) made with the Pacific Ocean, beach sand, and more
Unfixed (instructions will be provided on how to limit color shift).
Printed on expired Agfa paper
$1,000 unframed, framing options available
One-of-a-kind print (huge version also available by commission)
Signed on back
Undercurrent, Point Lobos (Awakenings: Point Lobos & Beyondseries)- 11"H x 11"W (on 16x20" paper)
Printed on Foma Fomatone MG paper
Infrared Silver gelatin print, selenium toned
$1,100 unframed (framing options available)
Limited edition of 15
Signed on back
San Diego (aka Saturn), Windansea Beach, CA (Winds of Change series) - 14"H x 11"W
Printed on Foma Fomatone MG paper
Unique silver gelatin print (photogram) made with the Pacific Ocean, beach sand, and more, selenium toned
$1,200 unframed (framing options available)
One-of-a-kind print
Signed on back
Magic, Carmel, CA (Haunted series) - 8"H x 8"W (on 11x14 paper)
Printed on Foma Fomatone MG paper
Infrared silver gelatin print, selenium toned
$800 unframed (framing options available)
Limited edition of 15
Signed on back
Willow #2, Brooklyn, NY (Emergence series) - 8"H x 8"W on 11x14 paper
Printed on Forte Polywarmtone Plus
Infrared silver gelatin print, selenium toned
$1000 unframed (or $800 for pre-order of next edition copy, on Foma paper; huge version also available by commission)
Limited edition of 15
Signed on back
Hibiscus-Rose (aka Fuck Cancer), 11/23/25, Tehama Street, Brooklyn, NY (Impermanence series, Brooklyn, NY edition) - 14"H x 11"W
Printed on expired Agfa paper
Unique silver gelatin print (hibiscus-lumen) made with rose red leaves (for Rosie), various forms of hibiscus, and more
Unfixed (instructions will be provided on how to limit color shift).
$875 unframed, framing options available
One-of-a-kind print
Signed on back
Contact: Kimberly Schneider
Email:kimberly@kimberlyjschneider.com
https://www.kimberlyjschneider.com/
http://www.instagram.com/kimberlyjschneiderphotography/
Kimberly Schneider/Willow #2, Brooklyn, NY
Kimberly Schneider/Undercurrent, Point Lobos, CA
Kimberly Schneider/San Diego (aka Saturn), Windansea Beach, CA
Kimberly Schneider/Purple Tsunami (aka Wave Study at High Tide), San Diego, CA
Kimberly Schneider/Hibiscus Rose (aka Fuck Cancer), 11-23-25, Tehama Street, Brooklyn, NY
Igal Stulbach/Woman
IGAL STULBACH
“I’m a visual artist making photography, documentary films and video art. I’m exploring the borders between those fields. My way is constant search and experimentation. I am a flaneur.
My photography is also influenced by the
Japanese aesthetic of wabi-sabi. Born in Krakow Poland in the year 1949 to
Holocaust survivors , since 1959 living in Bat Yam, Israel. I started my artistic
activity at a relatively late age.”
“I’m a visual artist making photography, documentary films and video art. I’m exploring the borders between those fields. My way is constant search and experimentation. I am a flaneur.
My photography is also influenced by the
Japanese aesthetic of wabi-sabi. Born in Krakow Poland in the year 1949 to
Holocaust survivors , since 1959 living in Bat Yam, Israel. I started my artistic
activity at a relatively late age.”
Igal Stulbach/Head
Igal Stulbach/Square
Andy Mattern/Ghost 112
BEST SERIES
BEST SERIES
ANDY MATTERN
"Hiding on the backs of some long-forgotten photographs are “ghost” images, accidental traces of other pictures left pressed up against the surface. Often barely visible but on occasion startlingly clear, these apparitions are the result of a chemical reaction caused by platinum photographs. Under certain conditions — the right platinum print stacked with the right paper for decades — a mirror image will appear. With each imprint, I like to imagine that the medium itself issues a reminder that photography has power beyond our control.
I was amazed to stumble upon this new type of picture, and have now spent several years ghost hunting. As a conceptual gesture, I rephotograph and reanimate them as hand-coated platinum prints. This process returns the portraits to their original material and offers them yet another chance to reproduce. I am drawn to their mysterious qualities — where the ghosts happen to land on the page, how they merge with graphics and text, the layering of multiple “exposures” — and I am captivated by the idea that, while no one is looking, the photographs are reproducing themselves."
Andy Mattern is a visual artist working in the expanded field of photography. His photographs and installations dissect the medium itself, reconfiguring expectations of photography's basic ingredients and conventions. His work is held in the permanent collections of the San Francisco Museum of Modern Art, the New Mexico Museum of Art, and the Museum of Fine Arts, Houston, among others. He holds an MFA in Photography from the University of Minnesota and a BFA in Studio Art from the University of New Mexico.
Image List for Sale-
Ghost No. 112
Platinum Print
17 ⅝ x 13 ¼ inches
Edition 1 of 2
$2,400 framed
Ghost No 181
Platinum Print, 2025
16 x 12 inches
Edition 1 of 2
$2,400 framed
Signed on back
Ghost No 99
Platinum Print, 2023
12 ⅞ x 10 ⅝ inches
Edition 1 of 2
$1,800 framed
Signed on back
Ghost No 87
Platinum Print, 2023
10 x 7 ¾ inches
Edition 1 of 2
$1,400 framed
Signed on back
Ghost No 81
Platinum Print, 2026
10 ¾ x 13 ½ inches
Edition 1 of 2
$1,400 framed
Signed on back
Ghost No 82
Platinum Print, 2026
15 ⅜ x 19 ½ inches
Edition 1 of 2
$2,400 framed
Signed on back
Contact-
Andy Mattern
www.andymattern.com
https://www.instagram.com/andymattern/
"Hiding on the backs of some long-forgotten photographs are “ghost” images, accidental traces of other pictures left pressed up against the surface. Often barely visible but on occasion startlingly clear, these apparitions are the result of a chemical reaction caused by platinum photographs. Under certain conditions — the right platinum print stacked with the right paper for decades — a mirror image will appear. With each imprint, I like to imagine that the medium itself issues a reminder that photography has power beyond our control.
I was amazed to stumble upon this new type of picture, and have now spent several years ghost hunting. As a conceptual gesture, I rephotograph and reanimate them as hand-coated platinum prints. This process returns the portraits to their original material and offers them yet another chance to reproduce. I am drawn to their mysterious qualities — where the ghosts happen to land on the page, how they merge with graphics and text, the layering of multiple “exposures” — and I am captivated by the idea that, while no one is looking, the photographs are reproducing themselves."
Andy Mattern is a visual artist working in the expanded field of photography. His photographs and installations dissect the medium itself, reconfiguring expectations of photography's basic ingredients and conventions. His work is held in the permanent collections of the San Francisco Museum of Modern Art, the New Mexico Museum of Art, and the Museum of Fine Arts, Houston, among others. He holds an MFA in Photography from the University of Minnesota and a BFA in Studio Art from the University of New Mexico.
Image List for Sale-
Ghost No. 112
Platinum Print
17 ⅝ x 13 ¼ inches
Edition 1 of 2
$2,400 framed
Ghost No 181
Platinum Print, 2025
16 x 12 inches
Edition 1 of 2
$2,400 framed
Signed on back
Ghost No 99
Platinum Print, 2023
12 ⅞ x 10 ⅝ inches
Edition 1 of 2
$1,800 framed
Signed on back
Ghost No 87
Platinum Print, 2023
10 x 7 ¾ inches
Edition 1 of 2
$1,400 framed
Signed on back
Ghost No 81
Platinum Print, 2026
10 ¾ x 13 ½ inches
Edition 1 of 2
$1,400 framed
Signed on back
Ghost No 82
Platinum Print, 2026
15 ⅜ x 19 ½ inches
Edition 1 of 2
$2,400 framed
Signed on back
Contact-
Andy Mattern
www.andymattern.com
https://www.instagram.com/andymattern/
Andy Mattern/Ghost 82
BEST SERIES
BEST SERIES
Andy Mattern/ Ghost 99
BEST SERIES
BEST SERIES
Andy Mattern/Ghost 81
Andy Mattern /Ghost 87
Andy Mattern /Ghost 181
HOME:
https://laphotocurator.com/contemporary-trends-in-beauty-diana-h-bloomfield-chris-z-anderson
FIRST PLACE:
https://laphotocurator.com/contemporary-trends-in-beauty-diana-h-bloomfield-chris-z-anderson/first-place-maureen-ruddy-burkhart-the-last-rookery-1/1
HONORABLE MENTION:
https://laphotocurator.com/contemporary-trends-in-beauty-diana-h-bloomfield-chris-z-anderson/honorable-mention-mohan-bhasker-traditional-indian-dancers---/1
BEST SERIES:
https://laphotocurator.com/contemporary-trends-in-beauty-diana-h-bloomfield-chris-z-anderson/best-series-andy-mattern/1
EXHIBITION:
https://laphotocurator.com/contemporary-trends-in-beauty-diana-h-bloomfield-chris-z-anderson/exhibition/1
https://laphotocurator.com/contemporary-trends-in-beauty-diana-h-bloomfield-chris-z-anderson
FIRST PLACE:
https://laphotocurator.com/contemporary-trends-in-beauty-diana-h-bloomfield-chris-z-anderson/first-place-maureen-ruddy-burkhart-the-last-rookery-1/1
HONORABLE MENTION:
https://laphotocurator.com/contemporary-trends-in-beauty-diana-h-bloomfield-chris-z-anderson/honorable-mention-mohan-bhasker-traditional-indian-dancers---/1
BEST SERIES:
https://laphotocurator.com/contemporary-trends-in-beauty-diana-h-bloomfield-chris-z-anderson/best-series-andy-mattern/1
EXHIBITION:
https://laphotocurator.com/contemporary-trends-in-beauty-diana-h-bloomfield-chris-z-anderson/exhibition/1
