It's the End of the World (as we know it)- Andi Campognone & Shana Nys Dambrot > HONORABLE MENTIONS: Christos J. Palios, Mezzanine Fountain, Los Angeles Theatre, Renming Liu, Vanishing Point 1, Kathryn Dunlevie, Persephone & Amy Kaps, World Serves Its Own Needs
HONORABLE MENTIONS: Christos J. Palios, Mezzanine Fountain, Los Angeles Theatre, Renming Liu, Vanishing Point 1, Kathryn Dunlevie, Persephone & Amy Kaps, World Serves Its Own Needs
Amy Kaps/World Serves It's Own Needs
HONORABLE MENTION
HONORABLE MENTION
AMY KAPS:
Amy Kaps works primarily in the realms of performance and installation in the United States and internationally. She was conceived in Columbus, Ohio, born in 1959 in Brooklyn, NY, raised in suburban New Jersey, schooled in upstate NY and Japan, lived in New York, and Köln, Germany. She currently resides in Venice, California and maintains a studio in Downtown Los Angeles
Known for her potent palette of black and white stripes accented by pink, her “Victus Versus” living sculpture performances and photo series led to large scale installations beckoning the viewer on a journey with this mythical striped creature. Her “Unraveled” series is a provocative statement on body image and ideals. And while many go high tech, Kaps began to create woodcut prints emphasizing the value of hand made and unique works of art. Her interest in perception and our ability to control it, has propelled her deep study of the brain and the development of an interdimensional work, Amy G. Dala, It’s all in her head”.
She has been Artist-in-Residence at MOAH Cedar in Lancaster, CA and in Germany, New York and France. A request to curate a painting show at the Museum of Art and History in Lancaster, CA morphed into a collaboration with Kaye Freeman that continues as HIBISCUS TV. Videos and performances have followed at the LA State Historic Park, DIVERSEart LA for the LA Art fair, ArtShare LA and Highways Performance Space.
IMAGES FOR SALE
And I feel fine - 10.57”H x 14.22”W
C-print on Archival paper
$350 unframed
Limited edition of 11
Signed on back
But it’ll do, save yourself, serve yourself – 10.18”H x 14.22”W
C-print on Archival paper
$350 unframed
Limited edition of 11
Signed on back
Eye of a hurricane, listen to yourself churn – 9.49”H x 14.22”W
C-print on Archival paper
$350 unframed
Limited edition of 11
Signed on back
Feeling pretty psyched – 14.22”H x 9.49”W
C-print on Archival paper
$350 unframed
Limited edition of 11
Signed on back
No fear, cavalier renegade steer clear – 9.51”H x 14.22W
C-print on Archival paper
$350 unframed
Limited edition of 11
Signed on back
World serves it’s own needs, don’t misserve your own needs – 13.36H x 16.72”W
C-print on Archival paper
$350 unframed
Limited edition of 11
Signed on back
Contact: Amy Kaps amy@amykaps.com
www.amykaps.com
https://www.instagram.com/theamykaps/
Amy Kaps works primarily in the realms of performance and installation in the United States and internationally. She was conceived in Columbus, Ohio, born in 1959 in Brooklyn, NY, raised in suburban New Jersey, schooled in upstate NY and Japan, lived in New York, and Köln, Germany. She currently resides in Venice, California and maintains a studio in Downtown Los Angeles
Known for her potent palette of black and white stripes accented by pink, her “Victus Versus” living sculpture performances and photo series led to large scale installations beckoning the viewer on a journey with this mythical striped creature. Her “Unraveled” series is a provocative statement on body image and ideals. And while many go high tech, Kaps began to create woodcut prints emphasizing the value of hand made and unique works of art. Her interest in perception and our ability to control it, has propelled her deep study of the brain and the development of an interdimensional work, Amy G. Dala, It’s all in her head”.
She has been Artist-in-Residence at MOAH Cedar in Lancaster, CA and in Germany, New York and France. A request to curate a painting show at the Museum of Art and History in Lancaster, CA morphed into a collaboration with Kaye Freeman that continues as HIBISCUS TV. Videos and performances have followed at the LA State Historic Park, DIVERSEart LA for the LA Art fair, ArtShare LA and Highways Performance Space.
IMAGES FOR SALE
And I feel fine - 10.57”H x 14.22”W
C-print on Archival paper
$350 unframed
Limited edition of 11
Signed on back
But it’ll do, save yourself, serve yourself – 10.18”H x 14.22”W
C-print on Archival paper
$350 unframed
Limited edition of 11
Signed on back
Eye of a hurricane, listen to yourself churn – 9.49”H x 14.22”W
C-print on Archival paper
$350 unframed
Limited edition of 11
Signed on back
Feeling pretty psyched – 14.22”H x 9.49”W
C-print on Archival paper
$350 unframed
Limited edition of 11
Signed on back
No fear, cavalier renegade steer clear – 9.51”H x 14.22W
C-print on Archival paper
$350 unframed
Limited edition of 11
Signed on back
World serves it’s own needs, don’t misserve your own needs – 13.36H x 16.72”W
C-print on Archival paper
$350 unframed
Limited edition of 11
Signed on back
Contact: Amy Kaps amy@amykaps.com
www.amykaps.com
https://www.instagram.com/theamykaps/
Kathryn Dunlevie/Persephone
HONORABLE MENTION
HONORABLE MENTION
KATHRYN DUNLEVIE:
'Deities, Heroes, Villains, and Saints'
"I have always been intrigued by each individual’s particular and shifting sense of what is real.
In this series, I am looking at the human propensity to imagine, create, fear, admire, worship or condemn larger-than-life entities: other humans, animals, spirits, magical hybrids or talismans. These creations often embody exaggerated versions of human qualities - whether admirable or reprehensible - and may inspire communal unity or war; great acts of courage or crippling fear.
I am intrigued by our fascination with these personae, who can serve as cautionary tales as often as positive role models. In this series, I am investigating our tendencies to project ourselves onto them and to be influenced by them."
'Deities, Heroes, Villains, and Saints'
"I have always been intrigued by each individual’s particular and shifting sense of what is real.
In this series, I am looking at the human propensity to imagine, create, fear, admire, worship or condemn larger-than-life entities: other humans, animals, spirits, magical hybrids or talismans. These creations often embody exaggerated versions of human qualities - whether admirable or reprehensible - and may inspire communal unity or war; great acts of courage or crippling fear.
I am intrigued by our fascination with these personae, who can serve as cautionary tales as often as positive role models. In this series, I am investigating our tendencies to project ourselves onto them and to be influenced by them."
Kathryn Dunlevie has always been intrigued by spatial and temporal inconsistencies, and by every individual’s particular and shifting sense of what is real. Fragmenting, reassembling and layering images, she suggests the fluidity of space and time, and the complex psychologies of the entities she portrays.
Born in Atlanta, Dunlevie lived in six different states by the time she was 12, and in Paraguay when she was 16. She has a B.A. in fine arts from Rice University and studied art history and film at the University of Paris, painting at California College of the Arts, and photography in Madrid.
She has received numerous awards and fellowships, including two Arts Council Silicon Valley Artist Laureate Fellowships. Her work has been exhibited in China twice at the Pingyao International Photography Festival, in Moscow with the US Art in Embassies Program, at Toronto’s Gallery TPW, and in the United States at FotoFest International, San Francisco Camerawork, PhotoAlliance, the Southeast Museum of Photography, Washington DC’s Art Museum of the Americas, and the Institute of Contemporary Art San Jose.
Her work has been reviewed in Spain’s La Fotografia Actual, Korea’s photo +, and in Germany’s Profifoto, as well as in Camerawork: A Journal of Photographic Arts, Visual Art Source, and AestheticsToday.blogs.
www.kathryndunlevie.com
www.instagram.com/kathryndunlevie
Born in Atlanta, Dunlevie lived in six different states by the time she was 12, and in Paraguay when she was 16. She has a B.A. in fine arts from Rice University and studied art history and film at the University of Paris, painting at California College of the Arts, and photography in Madrid.
She has received numerous awards and fellowships, including two Arts Council Silicon Valley Artist Laureate Fellowships. Her work has been exhibited in China twice at the Pingyao International Photography Festival, in Moscow with the US Art in Embassies Program, at Toronto’s Gallery TPW, and in the United States at FotoFest International, San Francisco Camerawork, PhotoAlliance, the Southeast Museum of Photography, Washington DC’s Art Museum of the Americas, and the Institute of Contemporary Art San Jose.
Her work has been reviewed in Spain’s La Fotografia Actual, Korea’s photo +, and in Germany’s Profifoto, as well as in Camerawork: A Journal of Photographic Arts, Visual Art Source, and AestheticsToday.blogs.
www.kathryndunlevie.com
www.instagram.com/kathryndunlevie
Renming Liu/The Vanishing Point 1
HONORABLE MENTION
HONORABLE MENTION
RENMING LIU:
The Vanishing Point
Two parallel lines once met at an angle—
They crossed, then parted,
never to meet again.
"I make images to unlearn what it means to be happy, to be beautiful. In turning the lens on myself, I ask — what if simply being is enough In the quiet corners of the street, I find reflections, empty storefronts, and things left behind. The unnoticed becomes visible. The ordinary, sacred. This is how I look. And how I see."
https://www.instagram.com/rnmngphotos/
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If viewing on a computer click on arrow to see additional honorable mentions
The Vanishing Point
Two parallel lines once met at an angle—
They crossed, then parted,
never to meet again.
"I make images to unlearn what it means to be happy, to be beautiful. In turning the lens on myself, I ask — what if simply being is enough In the quiet corners of the street, I find reflections, empty storefronts, and things left behind. The unnoticed becomes visible. The ordinary, sacred. This is how I look. And how I see."
https://www.instagram.com/rnmngphotos/
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If viewing on a computer click on arrow to see additional honorable mentions
Christos J. Palios/Mezzanine Fountain, LA Theater
HONORABLE MENTION
HONORABLE MENTION
CHRISTOS J. PALIOS:
'Architecture of Gilded Dreams'
"The early 20th-century ushered in an audaciously romantic American gem: the picture-palace. As "movie magic" permeated the public's sensibility, pleasure domes of unrivaled artifice and euphoric pageantry swiftly sprouted up across the nation. Architect-designers embodied splendor of ancient temples, Renaissance palaces, and European opera houses, sparing no expense in revival treatments of Gothic, Baroque, Rococo, Neoclassical, Art Nouveau, and Art Deco. Intersections of architecture and ornamentation set foundations for built environments, ultimately galvanizing picture-palaces into cultural nexuses. For a few cents visitors were transported into enchanting “playhouses” of exotic cultures—cinema's glamour revamped the significance of theatres as treasured gathering places.
I am captivated by the monumental grandeur before me; spaciousness, symmetry, and precise sight lines immerse me. Each interior's architectural proportions and eclectic ornamentation reveals the competitive edge palace designers sought to mesmerize patrons.Despite their geographic separation, each theatre represents an orchestration of distinct disciplines into singular harmonies.
Stripped of customary visitors and photographed using ambient lighting, a typology of diverse decorative expression takes form—allegorical motifs, silky damask, gilded surfaces, elaborate staircases, and intricate carving befitting majesty and spectacle. In spaces where fiction is divided from reality by the veil of a proscenium, a firm quietude surrounds me within these historic bedecked walls, reflecting back the souls of magnificent places. Time seems to have paused here as past resonates deeply into present.
Post WWII saw the gradual coup de grâce of the picture-palace golden era; suburban exodus, urban renewal, financial hardship, anti-trust legislation, and television led to declines in attendance, and ultimately, to neglect and disrepair. Original survivors scattered throughout America were repurposed and restored into performing arts centers and concert venues.
As custodians of a bygone era, if these iconic environments could speak I imagine a deluge of sensational stories.
Their imposingly sublime beauty and flamboyance showcases a sociocultural allure of assembly, storytelling, and opulence.
The advent of moving pictures as broadly accessible entertainment subverted class distinctions conventionally upheld in classical theatre. George Rapp of early 20th-century architectural firm Rapp & Rapp stated: “Here is a shrine to democracy where the wealthy rub elbows with the poor.” A century later, as citizens embrace ever-shifting connections in consumerist cultures, I am intrigued by these distinguished social nexuses and my aim is to preserve their historic relevance and rich memories."
As a first-generation Greek-American, Christos' perspectives were shaped by two disparate and fascinating cultures. The artist's practice is born from a wellspring of inspiration among themes of memory, connection, and identity, consummated by intimate examinations of history, architecture, and socioeconomics. Employing multifaceted approaches rooted in research and with an appreciation of metaphorical and physical space, the artist's photographs evoke compelling, palpable awareness through distinct narratives and cohesive aesthetics. For as long as Christos can recall, photography’s remarkable capacity to communicate ideas and narratives inspire the artist to embody insight and intent within the frame. He has pursued my fine art full-time since 2006.
All images belong to limited editions and are available in multiple sizes as archival cotton pigment prints.
www.christospalios.com
https://www.instagram.com/christosjpalios/
'Architecture of Gilded Dreams'
"The early 20th-century ushered in an audaciously romantic American gem: the picture-palace. As "movie magic" permeated the public's sensibility, pleasure domes of unrivaled artifice and euphoric pageantry swiftly sprouted up across the nation. Architect-designers embodied splendor of ancient temples, Renaissance palaces, and European opera houses, sparing no expense in revival treatments of Gothic, Baroque, Rococo, Neoclassical, Art Nouveau, and Art Deco. Intersections of architecture and ornamentation set foundations for built environments, ultimately galvanizing picture-palaces into cultural nexuses. For a few cents visitors were transported into enchanting “playhouses” of exotic cultures—cinema's glamour revamped the significance of theatres as treasured gathering places.
I am captivated by the monumental grandeur before me; spaciousness, symmetry, and precise sight lines immerse me. Each interior's architectural proportions and eclectic ornamentation reveals the competitive edge palace designers sought to mesmerize patrons.Despite their geographic separation, each theatre represents an orchestration of distinct disciplines into singular harmonies.
Stripped of customary visitors and photographed using ambient lighting, a typology of diverse decorative expression takes form—allegorical motifs, silky damask, gilded surfaces, elaborate staircases, and intricate carving befitting majesty and spectacle. In spaces where fiction is divided from reality by the veil of a proscenium, a firm quietude surrounds me within these historic bedecked walls, reflecting back the souls of magnificent places. Time seems to have paused here as past resonates deeply into present.
Post WWII saw the gradual coup de grâce of the picture-palace golden era; suburban exodus, urban renewal, financial hardship, anti-trust legislation, and television led to declines in attendance, and ultimately, to neglect and disrepair. Original survivors scattered throughout America were repurposed and restored into performing arts centers and concert venues.
As custodians of a bygone era, if these iconic environments could speak I imagine a deluge of sensational stories.
Their imposingly sublime beauty and flamboyance showcases a sociocultural allure of assembly, storytelling, and opulence.
The advent of moving pictures as broadly accessible entertainment subverted class distinctions conventionally upheld in classical theatre. George Rapp of early 20th-century architectural firm Rapp & Rapp stated: “Here is a shrine to democracy where the wealthy rub elbows with the poor.” A century later, as citizens embrace ever-shifting connections in consumerist cultures, I am intrigued by these distinguished social nexuses and my aim is to preserve their historic relevance and rich memories."
As a first-generation Greek-American, Christos' perspectives were shaped by two disparate and fascinating cultures. The artist's practice is born from a wellspring of inspiration among themes of memory, connection, and identity, consummated by intimate examinations of history, architecture, and socioeconomics. Employing multifaceted approaches rooted in research and with an appreciation of metaphorical and physical space, the artist's photographs evoke compelling, palpable awareness through distinct narratives and cohesive aesthetics. For as long as Christos can recall, photography’s remarkable capacity to communicate ideas and narratives inspire the artist to embody insight and intent within the frame. He has pursued my fine art full-time since 2006.
All images belong to limited editions and are available in multiple sizes as archival cotton pigment prints.
www.christospalios.com
https://www.instagram.com/christosjpalios/
It's the End of the World As We Know It (And I Feel Fine) HOME:
https://laphotocurator.com/it-s-the-end-of-the-world-as-we-know-it-andi-campognone-shana-nys-dambrot
FIRST PLACE:
https://laphotocurator.com/it-s-the-end-of-the-world-as-we-know-it-andi-campognone-shana-nys-dambrot/first-place-kaye-freeman-amy-kaps-aka-hibiscus-tv-no-fear-cavalier-renegade----/1
HONORABLE MENTIONS:
https://laphotocurator.com/it-s-the-end-of-the-world-as-we-know-it-andi-campognone-shana-nys-dambrot/honorable-mentions-christos-j-palios-mezzanine-fountain-los-angeles-theatre-renming-liu-vanishing-point-1-kathryn-dunlevie-persephone-amy-kaps-world-serves-its-own-needs/1
BEST SERIES:
https://laphotocurator.com/it-s-the-end-of-the-world-as-we-know-it-andi-campognone-shana-nys-dambrot/best-series-lee-dong-seon-the-scenery-inside-me----/1
EXHIBITION #1:
https://laphotocurator.com/it-s-the-end-of-the-world-as-we-know-it-andi-campognone-shana-nys-dambrot/exhibition-1/1
EXHIBITION #2:
https://laphotocurator.com/it-s-the-end-of-the-world-as-we-know-it-andi-campognone-shana-nys-dambrot/exhibition-2/1
https://laphotocurator.com/it-s-the-end-of-the-world-as-we-know-it-andi-campognone-shana-nys-dambrot
FIRST PLACE:
https://laphotocurator.com/it-s-the-end-of-the-world-as-we-know-it-andi-campognone-shana-nys-dambrot/first-place-kaye-freeman-amy-kaps-aka-hibiscus-tv-no-fear-cavalier-renegade----/1
HONORABLE MENTIONS:
https://laphotocurator.com/it-s-the-end-of-the-world-as-we-know-it-andi-campognone-shana-nys-dambrot/honorable-mentions-christos-j-palios-mezzanine-fountain-los-angeles-theatre-renming-liu-vanishing-point-1-kathryn-dunlevie-persephone-amy-kaps-world-serves-its-own-needs/1
BEST SERIES:
https://laphotocurator.com/it-s-the-end-of-the-world-as-we-know-it-andi-campognone-shana-nys-dambrot/best-series-lee-dong-seon-the-scenery-inside-me----/1
EXHIBITION #1:
https://laphotocurator.com/it-s-the-end-of-the-world-as-we-know-it-andi-campognone-shana-nys-dambrot/exhibition-1/1
EXHIBITION #2:
https://laphotocurator.com/it-s-the-end-of-the-world-as-we-know-it-andi-campognone-shana-nys-dambrot/exhibition-2/1
