Luke Olsen Photography

Blue Moon Camera and Machine's Staff Show 2018
2018-08-25 17:30 - 20:30 (America/Los_Angeles) | Blue Moon Camera and Machine, 8417 N Lombard St, Portland, OR, 97203, United States
Blue Moon Camera and Machine’s Staff Show 2018
August 25th 5:30-8:30pm
Blue Moon Camera and Machine
8417 N Lombard Street, Portland, OR 97203

Please go around the block behind the store and enter on N Kellogg Street.
Enter through the giant Circle Gate.

503-978-0333
M-F 9-6, Sat. 9-5
sales@bluemooncamera.com
www.bluemooncamera.com
Regulars to the shop know that the crew here at Blue Moon Camera share a deep passion for photography and an appreciation for a wide, wide range of mediums of artistic expression. Throughout the year, we work to highlight the inspiring photography of our talented customers and community. Once a year, there is one fateful night, in which we honor the creative hive mind within our very own staff.
This year’s staff show will be a singular event that you do not want to miss. For one night only, we will transform our super secret backlot into a vibrant display of art! We’re really taking the reins off for this one – all work will have photography as the obvious main thread; viewers should be open to experiencing a variety of visual art, moving beyond the traditional frame and mat.
Take a few moments to join us and see what we’re like when we step out of our professional shoes and into our fun shoes. You may expect fantastic art, strange things, and corndog charcuterie. There will be live music – so come prepared to dance, too! Chat with us, laugh with us, and enjoy the usual shenanigans.
Remember, this only happens once a year, so try not to miss out.
To find us, please go around the block behind the store and enter on N Kellogg Street. Enter through the giant Circle Gate.

Anne Berry at the Portland Art Museum
2018-08-15 12:00 - 13:00 | Portland Art Museum, 1219 SW Park Avenue, Portland, OR, 97205, United States
Anne Berry, Working on Long Term Projects
Portland Art Museum Photography Council’s
Brown Bag Lunch Talk Series
Wednesday, August 15th, 2018 (calendar)
Portland Art Museum
The Miller Room, Mark Building
1219 SW Park Avenue, Portland, OR 97205
www.portlandartmuseum.org
503 226 2811
Cost: Free to the public.
Anne will discuss her animal portraiture photography, especially work from her long-term project, Behind Glass. Anne will also talk about the subsequent struggle to find inspiration and create new work with a consistent voice. She will share some of her polymer photogravures and present work from her new series April is the Cruelest Month.
Anne Berry is an artist from Atlanta, Georgia. She is best known for photographs of children and animals that capture the enchantment and power of the natural world.
In 2013 and 2014 Critical Mass included her work in their Top 50 Portfolios. Anne has had solo exhibitions at the Centre for Visual and Performing Arts in Newnan, GA, The Lamar Dodd Art Center in LaGrange, GA and The Rankin Arts Center in Columbus, GA. She has exhibited nationally and internationally, including The Fox Talbot Museum in Lacock, England, SCAN Tarragona in Spain, The Museum of Photographic Arts in San Diego, and the Ogden Museum of Southern Arts in New Orleans. Books include Through Glass (North Light Press, 2014) and Primates (21st Editions, 2017). Anne’s work is featured in National Geographic Proof, Feature Shoot, The Flannery O’Connor Review, Huffington Post and Lens Culture, among others. Anne is a founding member of Pigs Fly Photography Collective. Anne lives in Newnan, GA. She is represented by Catherine Couturier Gallery in Houston.

"The Sacred" group show at LightBox Photographic Gallery
2018-08-11 17:00 - 20:00 | LightBox Photographic Gallery, 1045 Marine Dr., Astoria, OR, 97103, United States
The Sacred
August 11th – September 5th, 2018
Artists’ Reception: Saturday, August 11th, 5-8pm
LightBox Photographic Gallery
1045 Marine Dr.
Astoria, OR 97103
(503) 468-0238
lightbox-photographic.com
LightBox Photographic Gallery will host the artists’ opening reception for “The Sacred” on Saturday, August 11th, from 5-8 pm. “The Sacred” is a juried exhibit that attracted submissions by more than 165 photographers from around the world. Fifty-two photographers were selected by the juror, world renown photographer Robert Adams, of Astoria.
Congratulations to the Photographers of The Sacred
Yuri Ozaki • Lucas DeShazer • Christoph Kapeller • Nancy Abens
Kidus T. Tesfaye • Michael Kirchoff • Charlotte Watts • Ronald Butler
Nikolaj Callesen • Tomomi Tamura • Kerry Davis • Pam Golden
Friderike Heuer • Stuart Allen Levy • Don Norris • John Eaton
Jan Becket • Ken Hochfeld • Jim Fitzgerald • Kent Krugh
Jeno Lehel • Ed Greenly • M.C. Reardon • Tom Caples
Jason Guffey • Phil Coleman • Heather Binns • Rich Rollins
Barbara Rothman • Steve Delph • J.P. Terlizzi • Joseph Deiss
Herman Krieger • Dennis Witner •Diana Welch • Susan Huber
Jordan VanSise • Kier Selinsky • David Rowe • Jody Miller
Calvin Chen • Walt O’Brien • Eric Lundgard • Pete Karnig
Michael Elenko • George Johnson • Deborah Jaques • Isaac Sachs
Stewart Harvey • Mason Hiatt • Bob Gervais • Paul Cunningham
“The photographer Dorothea Lange said that she wanted to make pictures that are “second lookers” – pictures that reward repeated viewings. It has been my privilege to assemble an exhibition made up of such photographs. The pictures record what is “entitled to reverence,” as the dictionary defines the word “sacred” – times and places and people that point beyond themselves. We stand today in particular need of such testaments. I was asked to select a few of the photographs for “honorable mention,” but this seems unnecessary. As is apparent, the photographers brought honor to themselves by first selflessly honoring their subjects.”
~ Robert Adams
Robert Adams was born in New Jersey in 1937, and moved to Colorado as a teenager. Adams was a professor of English literature for several years before turning his full attention to photography in the mid 1970s. His work is largely concerned with moments of regional transition: the suburbanization of Denver, a changing Los Angeles of the 1970s and 1980s, and the clear-cutting in Oregon in the 1990s. His many books, well-known to those concerned with the American Landscape, include The New West, From the Missouri West, Summer Nights, Los Angeles Spring, To Make It Home, Listening to the River, West From the Columbia, What We Bought, Notes for Friends, California, Summer Nights, Walking, Gone?, What Can We Believe Where? and The Place We Live. Adams has also written a number of critical essays, including Beauty in Photography, Why People Photograph and most recently, Art Can Help. Among many awards, Adams has received the Guggenheim and MacArthur Foundation fellowships and in 2006, the Deutsche Börse Prize. In 2009, he was awarded the Hasselblad Foundation International Award in Photography, and in 2014 was elected to the American Academy of Arts and Letters.
“The Sacred” will be on display in the gallery through September 5th. Please visit the gallery during the month to see the collection of work. Complete show info is on the LightBox website at http://lightbox-photographic.com/shows/. LightBox memberships are a way to become part of the community that helps to further the mission of the gallery. Contact LightBox at 503-468-0238 or info@lightboxphotographic.com. LightBox is located at 1045 Marine Drive in Astoria, hours are Tuesday – Saturday, 11 – 5:30.

Andy Hann at Camerawork Gallery
2018-08-04 09:00 - 18:00 | Camerawork Gallery, 301 N. Graham Street, Portland, OR, 97227, United States
Andy Hann, Welcome To Hollywood
August 4th – August 31st, 2018
Camerawork Gallery (NEW LOCATION!!!!!!!)
301 N. Graham Street, Portland, OR 97227
Located in Lorenzen Conference Center – Legacy Emanuel Medical Center Campus.
New Hours: 9am – 6pm, Monday-Saturday, Sunday, 10am-4pm
Free off street parking available, Stair and elevator access
www.TheCameraworkGallery.org
www.Facebook.com/cameraworkgallery
503-701-5347
California native, Andy Hann notes, “Even as a young punk I was fascinated with the spectacle of Hollywood Boulevard. Equal parts circus and train wreck, for me it has always been a microcosm of all that is funky about America. Celebrity worship, garish displays of wealth, drug addiction, homelessness, exploitation, and urban decay, all on display for mindless tourists who meander through handing out the money that perpetuates it all.
“This series represents a three-year (and ongoing) photo essay that wades through the sites and stories of the quarter mile stretch known by the locals as “the boulevard of broken dreams”. While trying to be careful to never mock any individuals, it is a direct attempt at poking a stick at our culture, and holding up a mirror to who we are.”
About the Artist Andy Hann was born in 1962 and raised primarily in Southern California. Along with skateboarding and surfing, he developed a deep passion for art and design, which he followed into art school and then a prosperous 30-year career in entertainment advertising. After numerous awards and accolades he says that he woke up one day and decided he was all done pandering to clients, picked up a camera and just started shooting in the streets. “Street photography”, he says, “is now like a booger on my finger that I just can’t shake.”

Small Talk Collective at Redux Gallery
2018-08-03 18:00 - 21:00 | Redux, 811 E Burnside St. #116, Portland, OR, 97214, United States
Small Talk Collective, Heartbreak City
August 3rd – September 30th
Opening Reception: First Friday, August 3rd, 2018, 6:00-9:00pm
Redux
811 E Burnside St. #116
Portland, OR 97214
M-Sa: 11-7, Su: 11-5
Join us for a photography exhibition featuring the work of Small Talk Collective. Heartbreak City evokes the nostalgic feeling of warm summer nights, seedy motels, female desire, and being young and free. The exhibition will feature small editions of posters available to take home right away at affordable prices!
View full exhibition online at reduxpdx.com/reduxgallery.com
Small Talk Collective:
Briana Cerezo
Leslie Hickey
Kristina Hruska
Marico Fayre
Audra Osborne
Kelli Pennington
Jen Timmer Trail
Small Talk is a photography collective formed in Portland, Oregon in 2015. As a group, we explore the nature of what it means to be a visual storyteller, pool resources, provide support and critique, and facilitate community events and discussions. We engage in the best kind of “small talk,” that which binds us together both as a collective and within a larger community of women and minority artists, fostering stronger work and collaboration. Our first book, We’re Always Touching by Underground Wires, was published in April 2018.
www.smalltalkcollective.com

Astrophotography Workshop with Erika Plummer
2018-08-03 | PJ Ranch, 23350 Winlock Road, Fossil, OR, 97874, United States
Erika Plummer, Nomenclature of the Night
August 3rd-5th, 2018
Spray, OR www.pjranchoregon.com
Price: $600 per person
Contact Erika Plummer for details and to reserve your spot:
erika.eve@me.com
(310) 486-1536
www.erikaplummer.com
An Astrophotography Workshop for those seeking a connection to Oregon’s pristine dark skies.
This weekend will be dedicated to using writing, imagination and photography as a from of empowerment for those wanting a greater knowledge of Astronomy and Photography after dark (all levels/skills welcome). This will be an opportunity to collaborate with other star seekers – delving into the mysterious culture and stories inspired by the stars, planets and Milky Way.
Workshop includes:
– Two nights of instruction and observation.
– (2) group dinners & breakfast.
– Journaling (journal provided) and discussion.
– On site camping available with fully plumbed shower and restrooms. Off-site rustic motel in Spray, OR available for non-campers.
– Daytime options for swimming and exploring nearby geological wonders (Painted Hills, John Day Fossil Beds, Clarno).
– Group photo and 5X7 keepsake.

Michael Abramson at Blue Sky Gallery
2018-08-02 18:00 - 21:00 | Blue Sky Gallery, 122 NW 8th Avenue, Portland, OR, 97209, United States
Michael Abramson, Light: On the South Side
August 2–September 2, 2018
First Thursday opening reception: August 2, 6:00–9:00 PM
Blue Sky Gallery
122 NW 8th Avenue
Portland, Oregon 97209 USA
503-225-0210
Tuesday – Sunday, 12 – 5 pm
First Thursday 6 – 9 pm
bluesky@blueskygallery.org
http://www.blueskygallery.org/
Light: On the South Side is a selection of vintage gelatin silver prints taken by the late American photographer Michael Abramson. These dynamic black-and-white photographs taken in the mid-1970s showcase Black nightclubs throughout Chicago’s South Side, where, as a white photographer, Abramson was an anomaly. The series led the artist to win a grant from the National Endowment for the Arts in 1978 and ultimately launched his career as a photojournalist. Eventually the project resulted in the monograph Light: On the South Side published by Numero Group in 2009, which included a Grammy-nominated album featuring Chicago blues as heard in the clubs from the stage and the jukebox. In 2015, CityFiles Press published Gotta Go Gotta Flow, pairing Abramson’s South Side photos with new work by the acclaimed poet Patricia Smith.
Michael L. Abramson (1948-2011), graduated with a Master of Photography from the Illinois Institute of Technology in Chicago in 1977. His work was regularly featured in Time, New York Times, Newsweek, People, Forbes, Harpers, Wall Street Journal and other national and international magazines. His work was exhibited frequently since 1978, including a solo show at Museum of Contemporary Photography, Chicago, in 2014 and in the same year the group show on American Photography since 1950 at Madison Museum of Contemporary Arts (US). His work is housed in the collections of the Smithsonian, the Art Institute of Chicago, the Chicago History Museum, the Milwaukee Art Museum, Madison Museum of Contemporary Art, the Museum of Contemporary Photography in Chicago, the California Museum of Photography and various private collections.

Grace Weston at Nine Gallery
2018-08-02 18:00 - 21:00 | Nine Gallery, 122 NW 8th Avenue, Portland, OR, 97209, United States
Grace Weston, Escaping Gravity: Breathing, Dying, Swimming, Flying
August 2 – September 2, 2018
First Thursday opening, August 2, 6-9 pm
Nine Gallery (enter through Blue Sky Gallery)
122 NW 8th Avenue
Portland, OR
503-255-0210
Gallery hours: Tuesday – Sunday, noon – 5 pm
“Escaping Gravity” is an immersive, photo-based, mixed-media installation about loss, liberation, and water.
Grace Weston is a Portland-based artist best known for her miniature staged photography addressing the questions and contradictions of being human. “Escaping Gravity” is Grace’s first large-scale installation.
www.graceweston.com

Julie Anand and Damon Sauer at Blue Sky Gallery
2018-08-02 17:00 - 19:00 | Blue Sky Gallery, 122 NW 8th Avenue, Portland, OR, 97209, United States
Julie Anand and Damon Sauer, Ground Truth: Corona Landmarks
August 2–September 2, 2018
First Thursday opening reception: August 2, 6:00–9:00 PM
Artist talk with Julie Anand: Thursday, August 2, 5:00 PM
Blue Sky Gallery
122 NW 8th Avenue
Portland, Oregon 97209 USA
503-225-0210
Tuesday – Sunday, 12 – 5 pm
First Thursday 6 – 9 pm
bluesky@blueskygallery.org
http://www.blueskygallery.org/
In their photography series Ground Truth, Julie Anand and Damon Sauer investigate our relationship to the vast networks of information encircling the globe by photographing what remains of the Corona project. This surveillance initiative began in the mid-1960s by the CIA and US Air Force and involved using satellites to take aerial photographs of the Soviet Union and China. The cameras on these satellites were calibrated with concrete crosses 60 feet in diameter, which provided a reference for scale and ensured images were in focus. Approximately 256 of these markers were placed on a 16-square-mile grid in Arizona, spaced a mile apart. Long after Corona’s end and its declassification in 1995, around 100 remain, which Anand and Sauer spent three years photographing. In their images, each concrete cross is overpowered by an expansive sky, onto which the artists map the paths of specific satellites present at the moment each photograph was taken. For the Anand and Sauer, “these markers of space have become markers of time, representing a poignant moment in geopolitical and technologic social history.”
Julie Anand and Damon Sauer are artists and educators based in Phoenix, Arizona. They use an interdisciplinary approach to lens-based media to interrogate boundaries and explore the body as a site of perception. Julie Anand is currently Associate Professor in the School of Art at Arizona State University and Damon Sauer serves as an Assistant Professor at the Art Institute of Pittsburgh—Online Division. Both received their MFA degrees in Photography from the University of New Mexico and began collaborating with each other in 2005.

Artist Talks with Danielle Dean and Isaac Sachs at Blue Sky Gallery
2018-07-28 15:00 - 17:00 | Blue Sky Gallery, 122 NW 8th Avenue, Portland, OR, 97209, United States
Artist Talks with Danielle Dean and Isaac Sachs
Saturday, July 28, 3:00 PM
Blue Sky Gallery
122 NW 8th Avenue
Portland, Oregon 97209 USA
503-225-0210
Tuesday – Sunday, 12 – 5 pm
First Thursday 6 – 9 pm
bluesky@blueskygallery.org
http://www.blueskygallery.org/
Join us as 2018 Drawers artists Danielle Dean and Isaac Sachs discuss the progression of their creative work during their 2018 Blue Sky Sitka Center Residencies this spring.
Danielle Dean is an artist and educator based on San Juan Island in Washington State. She recently completed her MFA in photography at Massachusetts College of Art and Design. Her work is included in public and private collections and has been exhibited throughout the country.
Isaac Sachs is a photographer and engineer from Oakland, now living in Portland. As an engineer, he’s worked on hybrid cars, mining trucks, and smartphone software. As a photographer, his work examines the many ways in which humans interact with and shape their environment.

Danny Lyon at Hollywood Theatre
2018-07-18 19:30 - 22:00 | Hollywood Theatre, 4122 NE Sandy Blvd, Portland, OR, 97212, United States
Danny Lyon, Willie and Murderers
Vanessa Renwick/The Oregon Department of Kick Ass and PMOMA
present photographer/writer/filmmaker Danny Lyon and two of his films:
Willie and Murderers
Q&A to follow
Wednesday, July 18th, 7:30 pm
$10 regular/$9 students and seniors
Hollywood Theatre
4122 NE Sandy Blvd
Portland, OR
https://hollywoodtheatre.org/events/a-night-with-danny-lyon/
For more information contact Vanessa Renwick
qualitypie@gmail.com 503-288-4341
Artist Vanessa Renwick and PMOMA present a powerful duo of films by seminal activist artist Danny Lyon. Lyon will conduct a short conversation with Vanessa and audience Q&A afterwards.
Born in 1942 in Brooklyn, New York, Lyon is a photographer and filmmaker working in the style of New Journalism. As the photographer for the Student Nonviolent Coordinating Committee (SNCC) in the ‘60s, Lyon documented major historical events of the Civil Rights Movement. His restless urge to seek out complex social stories led him across America, creating multi-year photographic studies of Texas prison inmates and Chicago biker culture. He brings the same raw intensity and vision to his documentary film work.
His storied career has been the subject of a recent retrospective at the Whitney Museum of American Art.
Linked by the harshness of American incarceration and deep empathy for the complexity and chaos of life at the fringes, these two films exemplify Lyon’s legacy as an ally to outlaws and outcasts everywhere.
Willie (New Mexico, 1985, 16mm, 82 minutes, color/b&w) profiles Willie Jaramillo, a resident of Bernalillo, New Mexico. Defiantly individual and implaccable in the face of authority, Willie is repeatedly thrown into jail for minor offenses. The camera gains access to jail cells, day rooms, lunatic wards and the penitentiary cell block where Willie is eventually locked up next to his childhood friend, convicted murderer Michael Guzman.
Murderers (Arkansas and New Mexico, 2005, digital video, 30 minutes, color), shares the stories of five murderers in three different states: Jessie, newly out in NYC after serving eight and half years for beating a man to death with a baseball bat. Michael Guzman (Willie’s friend from the earlier film), incarcerated 25 years now, opening up about his abusive childhood. Pinkie, who has spent eight years on Death Row. Mojo, 13 years since his conviction of accomplice to a friend’s murder of his adoptive parents. Finally, Harold Davey Cassel, a.k.a. Dinker (who is featured in Lyon’s book “Like a Thief’s Dream”), implicated in his burglary partner’s murder of a policeman.

Rose Dickson at the Portland Art Museum
2018-07-18 12:00 - 13:00 | Portland Art Museum, 1219 SW Park Avenue, Portland, OR, 97205, United States
Rose Dickson, Invented Histories
Portland Art Museum Photography Council’s
Brown Bag Lunch Talk Series
Wednesday, July 18th, 2018 (calendar)
Portland Art Museum
The Miller Room, Mark Building
1219 SW Park Avenue, Portland, OR 97205
www.portlandartmuseum.org
503 226 2811
Cost: Free to the public.
Dickson will discuss her process of looking for the line between art object and artifact and what is created when we, as viewers, invent histories for found and made objects.
Rose Dickson is a multidisciplinary artist based in Portland, Oregon. This spring, she participated in an eight-week residency at the MacDowell Colony in Peterborough, New Hampshire. Dickson’s work has been exhibited internationally and she shows with the Portland based gallery Melanie Flood Projects. Her work is in the collection of the Rhode Island School of Design Museum of Art and the Smithsonian Museum of American History.

"A Group of Three" show at The O’Brien Photo Gallery
2018-07-14 15:00 - 18:00 | The O’Brien Photo Gallery, 2833 Willamette, Ste. B, Eugene, OR, 97405, United States
Dennis Galloway, Michael T. Williams and Jerry Jump, A Group of Three
The show runs from July 14th through September 6th
Artists’ Reception on Saturday July 14th from 3-6pm
The O’Brien Photo Gallery
2833 Willamette, Ste. B
Eugene, OR 97405
541 – 729 3572
Open weekdays, call for hours
Email: waltobrien1945@gmail.com
Website: http://obrienimaging.com/gallery.htm
Jerry Jump, Michael T. Williams and Dennis Galloway each present unique approaches to the
discipline of photography.
Dennis Galloway quotes Wordsworth “…a dim and undetermined sense of unknown modes of being”,
wdhich describes the work of these three photographers. Seeing is believing.
Join us on July 14th from 3-6 for an afternoon of immersion into three photographers who are all members
of the PhotoZone Gallery organization.

Terry Thompson and John Wimberley at LightBox Photographic Gallery
2018-07-14 14:00 - 16:00 | LightBox Photographic Gallery, 1045 Marine Dr., Astoria, OR, 97103, United States
Terry Thompson, Latent Harmony
John Wimberley, When the Stones Sing
July 14th – August 8th, 2018
Opening and Artists’ Reception: Saturday, July 14th, 5-8pm
Artist Talks – 2pm and 4pm
LightBox Photographic Gallery
1045 Marine Dr.
Astoria, OR 97103
(503) 468-0238
lightbox-photographic.com
http://lightbox-photographic.com/shows/terry_k._thompson_latent_harmony
http://lightbox-photographic.com/shows/john_wimberley_when_the_stones_sing
LightBox Photographic Gallery opens two exhibits on Saturday, July 14 featuring the work of a pair of photography masters, Terry K. Thompson and John Wimberley. John Wimberley will give an artist talk at 2pm and Terry K.Thompson will give an artist talk at 4pm with the two opening receptions from 5-8pm. Seating reservations are needed for the artists talks, contact michael@lightbox-photographic.com.
LightBox is honored to exhibit Terry Thompson’s “Latent Harmony”, a retrospective collection of Terry‘s lifetime of alternative process work. Terry’s background in photography includes an art education at the legendary School of Visual Arts in N.Y.C., working with artists as diverse as Diane Arbus, Andy Warhol, Vito Acconci, Gary Winogrand and Tad Yamashiro. Graduate work was with the San Francisco Art Institute, with the top West coast artists, including Linda Conner, Wynn Bullock, Pirkle Jones and Jack Fulton. He was one of the first photographic artists to revive the Platinum print process in the 1960’s
“I’ve used the photographic medium to define and explore the truths of existence, devoid of the anthropocentric narrative. This exhibition is a retrospective of those concerns. Never trending, never current, these obscured harmonies of life need one to be “present” to make and “present” to view. I found that the Platinum print to be the most accurate and plastic of the realist processes available in the last 200 years. Other images appear as Platinum/Gum Bichromate when some color is called for.” ~ Terry K. Thompson – 2018
Also opening on this night is a new series of work, “When the Stones Sing”, from the legendary photographer John Wimberley. Last Summer LightBox presented a major show of John’s work, this year John is exhibiting something very different. Having had a career in fine art photography being known for his masterful Fiber Silver Gelatin B&W prints, for the first time in a lifelong career of print making, John’s new series is in color.
“Since 1969 I’ve photographed in black and white. During those forty-nine years I exposed, developed and printed many thousands of large and medium format negatives. But that season of my photography is drawing to a close. As of November 1, 2018, I will no longer accept print orders for any of my black and white images. A new season began about a year ago when I switched to color photography, and my intent is to focus entirely on that medium. On July 14, 2018, the first exhibition of new color work opens at LightBox Photographic Gallery in Astoria, Oregon. These photographs are respectfully dedicated to all First Nation people, past and present; especially those who in ancient times made rock art.” ~John Wimberley
Latent Harmony and When the Stones Sing run from July 14th until August 8th. LightBox offers memberships as a way of becoming part of the community of supporters that help to further the mission of the gallery. LightBox provides fine art reproduction, restorations, photographic printing, and other photographic services. LightBox is located at 1045 Marine Drive in Astoria, hours are Tuesday – Saturday 11 – 5:30. Contact LightBox at 503-468-0238 or at info@lightbox-photographic.com, and visit lightbox-photographic.com for more info and to enjoy past, current and upcoming exhibits.

Pedro David at Blue Sky Gallery
2018-07-05 18:00 - 21:00 | Blue Sky Gallery, 122 NW 8th Avenue, Portland, OR, 97209, United States
Pedro David, Hardwood
July 5–29, 2018
First Thursday opening reception:
July 5, 6:00–9:00 PM
Blue Sky Gallery
122 NW 8th Avenue
Portland, Oregon 97209 USA
503-225-0210
Tuesday – Sunday, 12 – 5 pm
First Thursday 6 – 9 pm
bluesky@blueskygallery.org
http://www.blueskygallery.org/
For the last thirteen years, Pedro David has been photographing commercial eucalyptus groves that are quickly replacing the natural forests throughout much of Brazil. Since the early 1900s, eucalyptus plantations have greatly diminished the biodiversity of the country’s forests, depleting the soil and consuming water and other vital resources at such a rapid pace that this phenomenon has become a global concern. In his Hardwood series, David photographs the rows of eucalyptus as they overtake the native Sucupira, Pequizeiro, Araticum, and Palo Tierra species, drawing viewers into these unnatural yet alluring landscapes.
Pedro David (b. 1977, Brazil) completed his BA in journalism at the Pontifical Catholic University of Minas Gerais State in Belo Horizonte, Brazil and holds a graduate degree in contemporary fine arts from the Escola Guignard, Universidade do Estado de Minas Gerais in Brazil. He has published numerous books, including Underwater Landscape (2008); The Garden (2012); Route Root (2013); and Catharsis Phase (2014). His work is housed in the collections of the Musée du Quai Branly, Paris; the Museu de Arte Moderna de São Paulo, Brazil; the Museu Nacional da República, Brasília; and the Minas Gerais State Museum, Belo Horizonte, Brazil. Blue Sky exhibited David’s series 360 Square Meters in 2015 and the Hardwood series was recently exhibited at the Art Museum of the Americas in Washington, DC.

Alia Ali at Blue Sky Gallery
2018-07-05 17:00 - 18:00 | Blue Sky Gallery, 122 NW 8th Avenue, Portland, OR, 97209, United States
Alia Ali, BORDERLAND
July 5–29, 2018
First Thursday opening reception: July 5, 6:00–9:00 PM
Artist talk with Alia Ali: Thursday, July 5, 5:00 PM
Speaking in Image workshop with Alia Ali
2 sessions: Saturday, July 7 — 11am-1pm or 3pm-5pm
For more information and to reserve your spot: Click Here
Blue Sky Gallery
122 NW 8th Avenue
Portland, Oregon 97209 USA
503-225-0210
Tuesday – Sunday, 12 – 5 pm
First Thursday 6 – 9 pm
bluesky@blueskygallery.org
http://www.blueskygallery.org/
“Borderlands, like textiles, are territories of exploration and zones in which we will be judged for our humanity.”
In her photographic series BORDERLAND, Alia Ali uses portraiture to explore the liminal spaces surrounding human-made borders, which are often created as a result of conflict and violence. The portraits in the series feature textile artisans from eleven different regions wrapped in their own handiwork. Rendered anonymous and removed from their environmental and cultural contexts, these individuals become characters that the artist calls “–cludes.” As viewers we must decide how the subjects behind these fabrics will be included or excluded within our own unconscious and subjective categorizations. Ali writes, “We separate good from evil; familiar from unfamiliar; threat from safety; alien from native… We, influenced by categorizations create these dichotomies ourselves.” Through this visual exercise, the artist asks us to consider: what are the fabricated barriers in society that inhibit the incorporation of others? Or are the obstacles just that: ideas, intuitions, fear, discriminations, and misunderstandings?
Alia Ali (b. 1985, Austria) is a Yemeni-Bosnian-American multi-media artist. Having traveled to sixty-three countries, lived in seven, and grown up among five languages, her most comfortable mode of communication is through image and multi-sensory mediums. Ali is a graduate of the United World College of the Atlantic (UWCAC) and holds a BA in Studio Art and Middle Eastern Studies from Wellesley College. Her work has been featured at the Ogden Museum of Southern Art, the Marrakech Biennale as part of the Swiss-Moroccan KE’CH Collective, and Gulf Photo Plus Dubai during Art Week Dubai 2017. Her work has most recently been exhibited at the Peter Sillem Gallery (Germany), Galerie Siniya 28 (Morocco), Space Gallery (Maine, USA), Lianzhou Photo Festival (China), and Contemporary Art Center of New Orleans (USA). She has been awarded the Alice C. Cole ’42 Grant of Wellesley College, LensCulture’s Emerging Talent Awards in 2016, and she was a Gold Winner in the Fine Art Category of the Tokyo International Foto Awards.

PhotoZone Gallery’s 30th Annual Juried Photography Show CALL FOR ENTRIES
2018-07-01 11:00 - 16:00 | The Emerald Art Center, 500 Main Street, Springfield, OR, 97477, United States
PhotoZone Gallery’s 30th Annual Juried Photography Show
CALL FOR ENTRIES
IN PERSON APPLICATION ONLY, NOT ONLINE
Bring photos framed with hanging wire only (no tape and string or sawtooth hangers).
To: The Emerald Art Center, 500 Main Street, Springfield, Oregon.
On: Saturday June 30th, 11:00 am – 4:00 pm.
or Sunday July 1st, 11:00 am – 4:00 pm.
Here’s how to enter.
• The limit is 2 photographs per person. Fee due on delivery is $15 for one print or $25 for two prints. Cash or Check only.
• The finished work must be brought in person to The Emerald Art Center at 500 Main Street in Springfield either on Saturday, June 30th from 11- 4 pm or Sunday July 1st from 11- 4 pm. If you cannot deliver personally, you may have someone else deliver them for you.
• Prints must be framed and ready to hang by wires firmly attached to the back. Glass is not mandatory, but be aware that work can be damaged without glass or plexiglas.
• Frames can be no larger than 36″ on the long dimension. Frames must be in good solid condition.
• PhotoZone reserves the right to exclude submissions which, in its judgement, may be objectionable or inappropriate for the Juried Show setting.
• Unless marked ‘not for sale’ all work received will be considered for sale at the price set by the entrant. The Gallery will retain a 40% commission on all sales.
• The images will be juried by about 10 members of the PhotoZone Gallery immediately after closing on Sunday the 1st of June.
• Artists will be called on Monday or Tuesday after the jurying. Work not accepted will need to be picked up by the end of the week. Note the gallery will be closed on Wednesday, July 4th. The show will be at the Emerald Art Center, 500 Main Street. Hours are 11-4 Tuesday through Saturday.
• Prize winners will be decided by the jurors. Grand Prize will be $300 followed by $200 and $100 respectively. There are at least three additional known cash prizes awarded by individuals and outside groups. Various local businesses are providing other prizes. Typically they are gift certificates.
The show will run through July 27th and must be picked up on Saturday the 28th from 11-4 pm. Please have someone pick up your work for you if you cannot be present.
An opening reception will be held at the gallery on Friday July 13th from 5:00 to 8:00 PM. Refreshments will be provided.
Jurying Criteria
Whether you are a seasoned exhibit photographer or are submitting photos for public viewing for the very first time, we hope these notes will help you understand how the show is judged, and what, in our eyes, makes a good photograph!
PRESENTATION
Photo, mat, frame and glass (if any) should be clean and free of defects. Mat windows should be cut to professional standards. Choice of frame material, and size and color of mat(s) should be appropriate to artwork in a gallery setting. Overall presentation should contribute to, and not distract from the appreciation of the photograph.
ARTISTIC
Positives: Composition simplicity and clarity; Interesting subject placement, graphic shapes, texture, patterns, contrasts, leading lines, portrayal of rhythm and motion; novel/interesting use of color; novel viewpoint, portrays emotion or dramatic moment, goes beyond surface representation; suggestive or metaphorical, evokes a sense of the ironic, humorous, fantastical, tragic, beautiful, etc.
Negatives: trite scene, clichéd subject matter, lack of unique view or execution; lack of clarity due to intrusion of negative space and extraneous elements; color(s) or tones that are distracting or arbitrarily chosen.
TECHNICAL
Appropriate exposure, lighting, white balance, focus, lens length, depth of field, perspective, camera position. Appropriate control of color, contrast, sharpening, highlights and shadows.
Choice of colors, tones or tint contribute to the expressive intent and effect of the image. Skill and crafts-person-ship in the production of traditional sliver prints or alternative techniques such as pinhole photography, hand-coated papers, etc.
THE JUDGING PROCESS
The show is typically juried by 10 or more members of the PhotoZone gallery, generally applying the criteria above. After an initial round in which all entries are examined and rated, top-scoring images are viewed again, discussed, and voted on for the various awards.
For more info:
Call: 541 729 3572 for info.
Email: waltobrien1945@gmail.com
PhotoZone Gallery website: http://members.efn.org/~fotozone/
PhotoZone Blog: http://photozonegallery.blogspot.com

Randy Olson at Camerawork Gallery (NEW LOCATION!)
2018-06-30 16:30 - 17:15 | Camerawork Gallery, 301 N. Graham Street, Portland, OR, 97227, United States
Randy Olson, Plastic Apocalypse
June 30th – August 3rd, 2018
Opening Reception, Saturday, June 30th, 3:30 PM – 7:00 PM
Artist Talk 4:30 PM – 5:15 PM
Camerawork Gallery (NEW LOCATION!!!!!!!)
301 N. Graham Street, Portland, OR 97227
Located in Lorenzen Conference Center – Legacy Emanuel Medical Center Campus.
New Hours: 9am – 6pm, Monday-Saturday, Sunday, 10am-4pm
Free off street parking available
www.TheCameraworkGallery.org
www.Facebook.com/cameraworkgallery
503-701-5347
Planet or Plastics? Photographer Randy Olson notes, “The photographs in this exhibit are part of a multi-year National Geographic initiative to raise awareness about the global plastic crisis.”
There are millions of slum workers around the world involved in an informal plastic waste industry that is “always hiring.” This third-world “gold rush” to process plastic waste is an economy with no end in sight. With the shale oil boom, companies like Shell, Dow and others are in the early years of gearing up “cracker plants” that “crack” frack-gas-molecules into mostly single-use-plastic for food packaging. Plans are in the works for more and more cracker plants pushing peak plastic production all the way out to the year 2100. Despite growing concern and much discussion in the media this past year, corporations plan for more and more singleuse-plastic in our lives. The planet produced 448 million tons of plastic in 2015 alone — just one year! As much as 6.3 billion tons in total now sits in landfills, in the ocean, or scattered across the landscape of multiple continents. More than 40% of plastics are used just once, and then tossed. Only nine percent of our plastic waste is recycled into other products.
www.nationalgeographic.com/environment/planetorplastic
ABOUT THE ARTIST Randy’s 30+ National Geographic projects have taken him to almost every continent. National Geographic Society published a book of his work in 2011 in their Masters of Photography series. Olson was the Magazine Photographer of the Year in the Pictures of the Year International (POYi) competition, and was also awarded POYi’s Newspaper Photographer of the Year — one of only two photographers to win in
both media in the largest photojournalism contest operating continuously since World War II.
In 2011, Randy founded The Photo Society (thephotosociety.org) that is open to any photographer who has produced a full-length story for National Geographic magazine.
Olson received an Alicia Patterson Foundation Fellowship to support a seven-year project documenting a family with AIDS, and a first place Robert F. Kennedy Award for his story on problems with Section 8 housing. He was also awarded the Nikon Sabbatical grant and a grant from the National Archives to save the Pictures of the Year collection. Randy and his wife, Melissa Farlow, live in Pennsylvania and Oregon.

Jeff Corwin and Tyler Boley. A 14 Year Road Trip: Dual Perspectives in Eastern Washington
2018-06-29 16:00 - 18:00 | Hawk Merlin Studios, 113 SW Russell Ave, Stevenson, WA, 98648, United States
Jeff Corwin and Tyler Boley, A 14 Year Road Trip: Dual Perspectives in Eastern Washington
June 29 – August 4
Artist Reception: 4-6PM, Friday June 29
Hawk Merlin Studios
113 SW Russell Ave
Stevenson, WA
509-427-4747
please contact gallery for hours of operation
http://www.hawkmerlinstudios.com/
Black and white photography selections from 14 years of road trips together in Eastern Washington by photographers Jeff Corwin and Tyler Boley.
This is a nice one for me, it’s a lovely collision of previously separate parts of life. My old friend photographer Jeff Corwin and I have been making road trips around Washington State for a long time. The majority of landscape work I’ve made over the last few decades has been on those trips, many on the east side of the Cascades. Much of this work has not previously been printed.
Another friend of Jeff’s, David Bunker, informed him he’d opened a small gallery in the Columbia River Gorge, in Stevenson, WA. In 2005 I was hired by Burlington Northern Santa Fe Railroad to shoot black and white images of trains in the landscape. One of our images was made in Columbia River Gorge at Cape Horn, this was my first visit to Stevenson, a beautiful small town. The second time was on the same project, we passed through for another photo location at Lyle, and stopped for food. Beverly and I vacationed there shortly after, there is a Steamship dock, the Railroad Museum, some nice shops and food, several walks and hikes close by. Every day we’d walk a few blocks from our lodgings on the river into downtown, cross the railroad tracks and leave a few pennies on them to find flattened later, past a small unique building. We had a second stay a few years later, it’s very appealing. It turns out that small building is now David’s Gallery, Hawk Merlin Studios.
I guess at some point Jeff mentioned our trips, and David expressed interest, it somehow got more serious and here we are with this show. Most of the prints are new, all made in Eastern Washington on these trips we take. It also nicely caps the end of that era, easily loading Jeff’s car and heading out whenever we felt like it. Since Jeff and his wife moved to Montana in November it won’t be quite so effortless to repeat.
So I’m really looking forward to this, visiting Stevenson again in the summer, spending some days with Jeff and Audra, who we have not seen since they moved, seeing our work, most newly printed, together on the walls of a lovely studio, meeting David, and anyone who stops in.
https://www.jeffcorwinphoto.com/
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Submission request for "The Sacred" show at LightBox Photographic Gallery
2018-06-25 23:59 | LightBox Photographic Gallery, 1045 Marine Dr., Astoria, OR, 97103, United States
The Sacred
Juror • Robert Adams
August 11 – September 5, 2018
Submission Deadline, Midnight, Monday, June 25, 2018
LightBox Photographic Gallery is honored to have Robert Adams as juror.
Photographs included in The Sacred might have as their subjects a town, a family, a field, a church, a book, anything the photographer sees with the deepest respect.
sacred
1) a : dedicated or set apart for the service or worship of a deity a tree sacred to the gods
b : devoted exclusively to one service or use (as of a person or purpose) a fund sacred to charity
2) a : worthy of religious veneration : holy
b : entitled to reverence and respect
3) : of or relating to religion
4) a : unassailable, inviolable
b : highly valued and important a sacred responsibility
— sacredly adverb
— sacredness noun
Robert Adams was born in New Jersey in 1937, and moved to Colorado as a teenager. Adams was a professor of English literature for several years before turning his full attention to photography in the mid 1970s. His work is largely concerned with moments of regional transition: the suburbanization of Denver, a changing Los Angeles of the 1970s and 1980s, and the clear-cutting in Oregon in the 1990s. His many books, well-known to those concerned with the American Landscape, include The New West, From the Missouri West, Summer Nights, Los Angeles Spring, To Make It Home, Listening to the River, West From the Columbia, What We Bought, Notes for Friends, California, Summer Nights Walking, Gone?, What Can We Believe Where? and The Place We Live. Adams has also written a number of critical essays, including Beauty in Photography, Why People Photograph and most recently, Art Can Help. Among many awards, Adams has received the Guggenheim and MacArthur Foundation fellowships and in 2006, the Deutsche Börse Prize. In 2009, he was awarded the Hasselblad Foundation International Award in Photography, and in 2014 was elected to the American Academy of Arts and Letters.
Prospectus
Entry Form

Trees of the Northwest at Argyle Winery
2018-06-24 14:00 - 16:00 | Argyle Tasting House, 691 Highway 99W, Dundee, OR, 97115, United States
Trees of the Northwest
May 15th – July 9th, 2018
Artists’ Reception: Sunday, June 24th, 2-4pm
Argyle Winery
691 Highway 99W
Dundee, OR 97115
Sponsored by
LightBox Photographic Gallery
Please join the Members of LightBox Photographic Gallery and the Members of The Portland Photographers Forum for the Artists’ Reception of “Trees of the Northwest” at Argyle Winery on Sunday, June 24, from 2-4pm.
Trees are part of the landscape everywhere in the Great NorthWest.
The lush environment encourages the growth of our life giving friends.
With the diversity of these living creatures, we appreciate their special place
in our precious home and the unique beauty and stature of NorthWest Trees.
This LightBox Photographic Gallery Exhibit includes work from Members of
LightBox Photographic Gallery and The Portland Photographers Forum.
Congratulations and thank you to the photographers:
Jody Miller • Rebecca Akporiaye • Sam Blair
Stu Levy • Leigh Oviatt • MariAnne MacGregor
Lorraine Richey • Rich Bergeman • Eric Brody
Jeff Brownell • Robert DiFranco • Bob Levine
Sandi O’Brien • Ann Kendellen • Walt O’Brien
Zan Hare • Roger Thompson • Jim Fitzgerald
Friderike Heuer • Michael Datoli • Julie Moore
Don Jacobson • Jim Hodel • David Lee Myers
Davis Schaerer • Ray Tatyrek • Susan Turner
Scott Hoyle • Michael Van Buskirk • Steve Blair
Jurors: Roger Dorband, Ken Hochfeld and Michael Granger

Clifford Prince King at Melanie Flood Projects
2018-06-22 18:00 - 20:00 | Melanie Flood Projects, 420 SW Washington Street #301, Portland, OR, 97204, United States
Clifford Prince King, Colors So True
June 22-July 21, 2018
Reception: June 22 6-8pm
Melanie Flood Projects
420 SW Washington Street #301
Portland, OR 97204
(503) 862-7912
Fridays, Saturdays 12-5 + by appointment
melaniefloodprojects@gmail.com
www.melaniefloodprojects.com
Artist Website: http://cargocollective.com/cliffordprinceking
Melanie Flood Projects is pleased to present Colors So True a solo exhibition of photographic work by Los Angeles based artist Clifford Prince King. The show will open June 22, 2018 and run through July 21, 2018, with an opening reception Friday, June 22 from 6pm to 8pm. This will be King’s first solo exhibition.
The act of archiving is an evolving process. It exists within and outside of bodies and spaces and objects. Queer archiving is an art that stretches, extends, and challenges the body and its various constructions. In regards to the black queer body, archiving can act as a mirror, a map, a space of origin, a way to ask difficult questions. In the creation of a “visual diary,” Clifford Prince King’s photographs are reflective of this process–his work acting as a way to challenge, explore, and negotiate concepts of black gay sexuality, masculinity, and community.
Often it’s subtle, a referential gesture seen through a staging of a black and queer ephemera. Shown in a tin of Murray’s hair pomade marked by the tips of fingers, a comb glossy with the grease, a mango fleshy and exposed. It’s the eroticism of a headboard adorned with wilting flowers wreathed by the elastic waistband of underwear, framed by RUSH “liquid incense” and an ornamental bust. It is in the documentation of this right after moment that evokes a right before moment, and vice versa. Through this staging, the photograph gives a glimpse into a black gay world through scenes and rituals of the everyday.
Arriving at an honest, critical portrayal of blackness is also a process. It’s constantly negotiating the “fear of rejection, exposure, and ridicule” that one encounters when existing in a world that has conceived notions of black masculinity, specifically black gay masculinity that puts them at risk for violence and marginalization. It’s in calling to past, present, and future understandings of the ways in which queerness and blackness intersect on bodies and in spaces that King approaches this negotiation of existing while queer and black.
Notions of anti-blackness and queer-erasure are challenged in the creation of images; dark skin is contrasted with white milk seeping over shoulders, drenched yet unsaturated. Fatherhood is given a tender and intentional gaze. There is no shame, no shyness in the occupation of the frame in this portrayal of blackness that fills the space with potentiality.
Melancholia often marks scenes of black queerness, reflective of the “stigma, injustice, and hardships” that afflict gay black men. Through a display of vulnerability and intimacy, the black gay body gently exposed in King’s work remedies this trauma through the act of knowing and being known. In opening up and expanding into “the transhistorical space of gay life*” through evoking the ghosts of Baldwin, Hughes, and Basquiat, the exposure and the laying of bodies together does not reproduce the act of being gazed upon but rather evokes a sense of familiarity. It is a call to not be seen as other, but as part of a resilient and expansive collective.
It is in the layering of spaces that King’s work is not simply an act of archiving; it is a part of a collective world making, of sustaining and imagining black queer existence defined by the lived experience of those who are black and queer.
-Text by Sydney Haliburton
Sydney Haliburton is a queer black student, writer, and musician based in Chicago, IL
*Munoz, Jose Esteban. Disidentifications Queers of Color and the Performance of Politics. Minneapolis: U of Minnesota, 2015. Print.

Rebecca Akporiaye at the Portland Art Museum
2018-06-20 12:00 - 13:00 | Portland Art Museum, 1219 SW Park Avenue, Portland, OR, 97205, United States
Rebecca Akporiaye, In Case I Haven’t Told You

Portland Art Museum Photography Council’s
Brown Bag Lunch Talk Series
Wednesday, June 20th, 2018
Portland Art Museum
The Miller Room, Mark Building
1219 SW Park Avenue, Portland, OR 97205
www.portlandartmuseum.org
503 226 2811
Cost: Free to the public.
Rebecca is an artist who expresses her experiences through photography. Her book and presentation, In Case I Haven’t Told You, is a personal narrative that spans more than a decade of her work. Its chapters offer an exploration of memory and family, a testimony of living as a woman in the Middle East, and the experience of living through cancer treatments. The final chapter, War with My Father, is comprised of photos taken by the author using her father’s 1930’s Leica camera and loosely tracing his deployment in WWII and includes the original 1944-45 photos taken by her father using the same camera.
Rebecca received her fine art degree from New Mexico Highland University in 1978 and her MBA from the University of Phoenix in 2002. Her artistic endeavors include working in large scale fine art sculpture, fine art printing and publishing. She realized that individuals and organizations who have great visions sometimes lacked business proficiency. To meet this need she started a consultancy to help them with strategic planning, capacity building and fundraising. She is past president at Newspace Center for Photography and is currently serving on the board of the Portland Art Museum Photography Council. Her photography has been curated into many shows at locations including Lightbox Gallery, BlackBox Gallery, Lakewood Featured Art Show, and Photo Place, and has appeared in Diffusion Magazine, PrintedArt.com, and others.

The Plastic Fantastic Show IX at LightBox Photographic Gallery
2018-06-09 18:00 - 21:00 | LightBox Photographic Gallery, 1045 Marine Dr., Astoria, OR, 97103, United States
The Plastic Fantastic Show IX
June 9th – July 10th, 2018
Opening and Artists’ Reception: Saturday, June 9th, 6-9pm
LightBox Photographic Gallery
1045 Marine Dr.
Astoria, OR 97103
(503) 468-0238
lightbox-photographic.com
http://lightbox-photographic.com/shows/plastic_fantastic_show_ix
LightBox Photographic Gallery celebrates its 9th birthday with the opening and artists’ reception of the Plastic Fantastic Show IX on Saturday, June 9, from 6-9pm.
This annual group exhibit originated with LightBox’s love for images made with basic, plastic “toy” film cameras as a way to celebrate the gallery’s anniversary each year. A large number of photographers from around the world shoot images with basic cameras, creating unique photos that are captured on film. The images achieved from this photographic method using cameras with less than perfect optics and control lead to unpredictable and sometimes extraordinarily beautiful results.
Internationally renowned fine art photographer Susan Burnstine of Los Angeles once again juried the exhibit. Susan is a highly acclaimed photographic artist shooting with film using rudimentary homemade cameras of her own design, consisting of plastic lenses and vintage camera and household parts.
“Once again, it’s been a great honor and pleasure to act as juror for the annual Plastic Fantastic Show. It was thrilling to see the work of so many old friends mixed in with a number of refreshing new artists. I’d like to acknowledge every photographer who submitted this year. You made my selection process very difficult as the quality and artistry exceeded my expectations.” ~ Susan Burnstine
Congratulations to the photographers accepted into
The Plastic Fantastic Show IX
Jim Rohan • James Malsich • Alyson Bowen • Diane Peterson
Lilyan Aloma • Bob Gervais • Ryan Synovec • Vera Dohrenbusch
Celine Dowden • Michael Weitzman • Ky Lewis • Christine Eagon
Ronald Butler • Brian Franczyk • Ellen Davis • Jennifer Walton
Barbara Murray • Kerry Jeffrey • Priscilla Kanady • Ian Thompson
Bill Kirby • Stephen McNally • Kathrena Rivera • Myles Katherine
Jocelyn Mathewes • Marko Umicevic • April Rocha • Katy Tuttle
Kenneth Stevens • Jacqueline Walters • Richard Bonvissuto
This year Ryan Synovec of Seattle, Wa. received the juror’s top award for the image, “Monumental Cactus”, Lilyan Aloma from New York, N.Y. received the Second Award for “Herald Square”, Priscilla Kanady from The Woodlands, Tx. received the Third Award for “Meghan in the Shadows, and Jim Rohan of Wakefield, Ma. received the Honorable Mention.
First Place: Ryan Synovec “Monumental Cactus”.
Ryan Synovec’s double exposure of a cactus in Monument Valley transports viewers to a magical and haunting place where time stands still. The narrative is direct yet complex and keeps us coming back for more.
Second Place: Lilyan Aloma – Herald Square.
Lilyan Aloma has done it again. She’s been selected as an award winner in Plastic Fantastic exhibits prior, but this time she delivers abeautiful and evocative city scene that resonates between the layers of time.
Third Place: Priscilla Kanady – Meghan In The Shadows.
Priscilla Kanady’s Meghan In The Shadows invites you to look again and again. At first glance, viewers may miss the ghostly glow of Meghan’s outline, but as one looks closer the grasp of her hand appears mysteriously and quiet melancholy settles in.
Honorable Mention: Jim Rohan – Brooklyn Bridge.
Many might assume they’ve seen every possible view photographed of the Brooklyn Bridge, but Jim Rohan proves everyone wrong with this humorous vantage point. A former exhibitor of several Plastic Fantastic exhibitions in years past, Rohan returns with a fresh and witty perspective that offers a much welcome smile to all.

Cinthya Santos-Briones at Blue Sky Gallery
2018-06-09 15:00 - 17:00 | Blue Sky Gallery, 122 NW 8th Avenue, Portland, OR, 97209, United States
Cinthya Santos-Briones, Abuelas
June 7–July 1, 2018
First Thursday opening reception: June 7, 6:00–9:00 PM
Artist talk: Saturday, June 9, 3:00 PM
Blue Sky Gallery
122 NW 8th Avenue
Portland, Oregon 97209 USA
503-225-0210
Tuesday – Sunday, 12 – 5 pm
First Thursday 6 – 9 pm
bluesky@blueskygallery.org
http://www.blueskygallery.org/
PORTLAND, Oregon – This June 2018, photographers Cinthya Santos-Briones and Daesha Devón Harris will each present solo exhibitions at Blue Sky, the Oregon Center for the Photographic Arts, as the first winners of the En Foco Photography Fellowship Exhibition Prize at Blue Sky. The Exhibition Prize is a collaboration between the two organizations to increase visibility for En Foco and its Photography Fellows program and expand the diversity of artists shown at Blue Sky.
Abuelas is a portrait series that honors the culture and experiences of Mexican immigrant women living in New York. Having come to the United States decades ago in search of opportunity for themselves and their families, these women are now the elders—the abuelas—in their communities. Although they are well established here, many have children and grandchildren living on both sides of the US-Mexico border and some must work unstable or exploitative low-wage jobs due to their immigration status. For these collaborative portraits, Cinthya Santos-Briones invites each sitter to choose where and how she would like to be photographed in her home in order to reflect each woman’s sense of self. The artist writes that “in these photographs, the homes´ decorations become part of the women’s wider symbolic recreation of culture, memory, and ownership beyond borders.”
Before becoming a documentary photographer, Santos-Briones studied anthropology and history, which led her to work as a researcher in institutions in Mexico focused on the study of indigenous and rural communities. Her work as a photographer is centered on community, migration, gender, identity, and the struggle for human rights. Santos-Briones is a recent graduate of the Visual Journalism And Documentary Practice Program at the International Center Of Photography in New York City. In the autumn of 2016 she received a fellowship granted by the Magnum Foundation.

Daesha Devón Harris at Blue Sky Gallery
2018-06-07 17:00 - 21:00 | Blue Sky Gallery, 122 NW 8th Avenue, Portland, OR, 97209, United States
Daesha Devón Harris, My Soul Has Grown Deep Like the Rivers
June 7–July 1, 2018
First Thursday opening reception: June 7, 6:00–9:00 PM
Artist talk: Thursday, June 7, 5:00 PM
Blue Sky Gallery
122 NW 8th Avenue
Portland, Oregon 97209 USA
503-225-0210
Tuesday – Sunday, 12 – 5 pm
First Thursday 6 – 9 pm
bluesky@blueskygallery.org
http://www.blueskygallery.org/
PORTLAND, Oregon – This June 2018, photographers Cinthya Santos-Briones and Daesha Devón Harris will each present solo exhibitions at Blue Sky, the Oregon Center for the Photographic Arts, as the first winners of the En Foco Photography Fellowship Exhibition Prize at Blue Sky. The Exhibition Prize is a collaboration between the two organizations to increase visibility for En Foco and its Photography Fellows program and expand the diversity of artists shown at Blue Sky.
“This series is about the Black experience that is deeply connected to the landscape, the idea of home, and its intersections with water. Water becomes symbolic of Freedom, whether it is in this world or the next, and at the same time is evidence of social and cultural boundaries. Water has to be crossed on the journey to Freedom.”
My Soul Has Grown Deep Like the Rivers is a series of portraits inspired by African American folklore, slave narratives, and Harlem Renaissance poetry. Through this work, Daesha Devón Harris examines current and historical racial ideologies in this country while highlighting Black Americans’ ongoing struggle for freedom. The artist begins her process with extensive research, which includes collecting stories, imagery, and other memorabilia. She then makes transparencies of vintage cartes de visite and cabinet card portraits she has collected and places them in water alongside rocks and flora to create aquatic still lifes. All of Harris’ work is photographed in her hometown of Saratoga Springs and the surrounding region at sites chosen for their personal or historical significance. The final prints are encased in wooden shadow boxes alongside small keepsakes and covered with etched glass, creating additional visual and narrative layers through which to view Harris’s already complex photographic imagery.
Daesha Devón Harris is a Saratoga Springs, New York native, artist, and photographer who has spent time in Buffalo, NY and San Francisco, CA. Both her multi-cultural family and the unexpected death of her young father have greatly shaped her life. She holds a BFA in Studio Art from the College Of Saint Rose and a MFA in Visual Art from The University at Buffalo. Harris has been featured in numerous exhibitions in New York State, Philadelphia, PA, Louisville, CO, and beyond.

Thomas Alleman at Camerawork Gallery
2018-06-02 09:00 - 17:00 | Camerawork Gallery, 301 N. Graham Street, Portland, OR, 97227, United States
Thomas Alleman, Dancing in the Dragon’s Jaws
June 2 – June 29, 2018
Camerawork Gallery
Peterson Hall, Linfield Portland School of Nursing Campus
2255 NW Northrup Street, Portland, OR
503-701-5347
Hours: 9am-4pm, Monday-Friday, Saturday 9am-5pm
Free and Open to the Public
www.TheCameraworkGallery.org
www.Facebook.com/cameraworkgallery
Los Angeles photographer Thomas Alleman notes, “I moved to San Francisco from Michigan in 1985, with hopes of becoming a newspaper photojournalist. But I was young and ornery and a little weird, and I didn’t fancy the unobtrusive, “objective” photographic style that daily newspapers practiced in those days. I had something in mind that was more personal, more astringent, and somewhat kookier, based on my near obsession, in those days, with Garry Winogrand’s “Public Relations” book, Lee Friedlander’s party pictures, and Mark Cohen’s very aggressive flash-on-camera street-shots from Pennsylvania.
“More than all that, though, I was a great, great admirer of Sylvia Plachy and the groundbreaking “New Photojournalism” she and others were producing for the Village Voice in New York, and throughout Western Europe. In the Fall of ‘85, I went searching for a San Francisco version of the Voice, and found it in a scrappy, very design-y, very political weekly tabloid called the Sentinel, which reported on the Gay community and used my kind of pictures nice and big, and often.
“I began freelancing for the Sentinel in early 1986, shortly after the death of Rock Hudson brought sudden national attention to the scope of the AIDS epidemic. Almost overnight, the
international media descended on San Francisco, shining a spotlight on the crisis’ perceived Ground Zero, the Castro District. Correspondents and cameramen parachuted in from everywhere, making their way to the hospitals and hospices that were filled with gaunt, desperate (young) men.
“But the Sentinel and the other gay publications I worked for—locally and, later, nationally—chose deliberately to turn their gaze from the stark documentary images of individual carnage that the “straight press” pursued. Their own readers, they knew, were already too aware of bedside vigils and funeral arrangements; they didn’t need their “hometown” weekly to recapitulate that dreary, daily horror. Instead, we maintained our focus on the community at large, and reported on the public, communal response of that very diverse group to the descending nightmare.
“But not every drumbeat was martial, of course. Often it was syncopated and disco-y, and I watched countless partiers dance do it with a shimmy and a bounce, and with life-affirming joy. Indeed, I had a ball, in bars and pavilions and on street corners in the Castro, photographing gala parties and “scenes”, drag shows and leather festivals and Halloween extravaganzas. In quieter moments and milieus, much-deserved attention was also paid to the artists who were creating a home-grown, alternate gay culture that spoke directly to the experiences and aspirations of Castro audiences: I made intimate portraits of writers, dancers, directors, painters, and actors.
“The Castro had been an incredibly vital place in the 1970s and early 80s, perhaps as Harlem had been during its famous “Renaissance” in the 20s. A group of people, who for countless years had been marginalized, cast-out and despised, came together to live in a neighborhood where they built their own very vibrant culture. Because of San Francisco’s legendary openness and “tolerance”—which was often real, and sometimes an illusion—they were mostly left to live in sufficient peace; because of their advantages in education and numbers, and driven by ambition and anger, they carved out a political presence that couldn’t be ignored, which beckoned others from around the world, furthering their security and allowing the culture to flower even more fearlessly.
“People who’d lived through those years—and folks who came to the Castro in the 80’s to join the party—didn’t forget the joy and promise of all that. They were still the same
beautiful, brilliant, lovers-of-life that they’d always been. But many of them died, and others were heartbroken and horrified and very afraid, and the spirit of the tribe suffered from that toll. Still, that “liveliness”—that passion—was so essential, so much a part of the community that it just couldn’t be extinguished by something as dispassionate as a plague. So, while many of the pictures in this exhibition demonstrate a community in lamentation, many others are about anger and resolve, and most are about love and life. And disco and drag.
“During those years I shot black-and-white film in great bulk, and processed negatives in my kitchen sink and made prints in a darkroom on the back porch, holding back the daylight with curtains of felt and ribbons of duct tape. And then I threw those negatives into folders and drawers, wiped the slate clean, and raced away down Mission Street to deliver my pictures to editors and designers, waiting anxiously.
“Twenty-five years later, I finally rehabilitated that menagerie of celluloid, which had long lived in banker’s boxes and fruit cartons, moving from apartment to house to garage a dozen times. In early 2008 I began searching-out and organizing those rolls of film from my sojourn in gay San Francisco; I started making electronic contact sheets on a flatbed scanner that summer, and edited throughout the winter of 2009. That April I started scanning what I thought were the best of those pictures, and once a year since then I revisit those contacts to cull what I might’ve missed the last time; just last summer I found three very important frames that I’d somehow overlooked on all those other editing forays.
“I hope these photographs, from San Francisco’s gay community in the mid-eighties, remind viewers of that moment in our social history—so long ago, and so very recent—when the first wave of the AIDS epidemic crashed onto one of our country’s most vibrant neighborhoods. And, while that tribe convulsed with well-earned fear, heartbreak and anger, some still found the courage and the will to celebrate the dream of life they’d come to San Francisco for, and they danced in the dragon’s jaws.”
ABOUT THE ARTIST
Thomas Alleman was born and raised in Detroit, where his father was a traveling salesman and his mother was a ceramic artist. He graduated from Michigan State University with a degree in English Literature.
During a fifteen-year newspaper career, Tom was a frequent winner of distinctions from the
National Press Photographer’s Association, as well as being named California Newspaper
Photographer of the Year in 1995 and Los Angeles Newspaper Photographer of the Year in 1996.
As a magazine freelancer, Tom’s pictures have been published regularly in Time, People, Business Week, Barrons, Smithsonian and National Geographic Traveler, and have also appeared in US News & World Report, Brandweek, Sunset, Harper’s and Travel Holiday. Tom has shot covers for Chief Executive, People, Priority, Acoustic Guitar, Private Clubs, Time for Kids, Diverse and Library Journal.
Tom exhibited “Social Studies”, a series of street photographs, widely in Southern California. “Sunshine & Noir”, a book-length collection of black-and-white urban landscapes made in the neighborhoods of Los Angeles, had its solo debut at the Afterimage Gallery in Dallas in 2006. Subsequent solo exhibitions include: the Robin Rice Gallery in New York in 2008 and 2013; the Blue Sky Gallery in Portland, OR in 2009 and 2015; the Xianshwan Photo Festival in Inner Mongolia, China, in 2010; and the Duncan Miller Gallery in Los Angeles, February 2013. “The American Apparel” debuted at the Redline Arts Center in Denver in 2015. Finally: Fifty-three of Tom’s photographs of gay San Francisco, shot between 1985 and 1988, debuted at the Jewett Gallery in San Francisco in December, 2012, under the title, “Dancing in the Dragon’s Jaws”.
The workshops Tom teaches at the Los Angeles Center of Photography include “The Photographer’s Eye” and “Photographing in the Social Landscape.”
www.AllemanPhoto.com

SEO Workshop with Aaron Hockley at Pro Photo Supply Event Center
2018-06-02 09:00 - 16:30 | Pro Photo Supply – Event Space, 1801 NW Northrup St, Portland, OR, 97209, United States
Aaron Hockley, The Evolving World of SEO for Photographers (Workshop)
Saturday June 2nd, 9:00am-4:30pm
Pro Photo Supply Event Center
1801 NW Northrup
Portland, OR 97209
503-241-1112
Registration: https://www.oregonppa.org/event-2807452
Search Engine Optimization (SEO) brings people to your website. Your website brings people to your business. After word-of-mouth, internet and web traffic can be the number two source of new clients for your business. SEO isn’t just about getting more traffic to your website, but getting the right traffic to your website.
The long-term effort of improving your SEO will lead to long-term success.
**SEO tactics evolve; what worked a few years ago might harm you in 2018.**
Photographers walk away with an understanding of concepts and tactics that will enable them to start making positive SEO changes immediately and learn how their website fits into a long-term web marketing strategy.
This full-day workshop explores:
– A holistic look at SEO
– Identifying and framing things for your ideal client
– Google’s current search ranking signals
– Technical factors of speed, security, and mobile
– How content strategy trumps keywords
– Optimizing images for search
– A web publishing checklist for SEO success
– A gaze into the future: what Google’s artificial intelligence for photos might mean for SEO
Aaron Hockley, Cr.Photog., FP-OR brings a mixture of expertise in both the technology and photography worlds. He’s worked in the online publishing space for over ten years and has spoken at events such as BlogWorld and New Media Expo. In the photographic world, he’s recognized by PPA as a Photographic Craftsman as as a Fellow of Photography by the Oregon Professional Photographers Association. In 2015, he was awarded third place for Illustrative/Commercial images at PPA’s Grand Imaging Awards and was a World Photographic Cup finalist.
https://photowebo.com

Fraction, 30 From 10 at Pushdot Studio
2018-06-01 18:00 - 20:00 | Pushdot Studio, 2505 SE 11th Avenue, Portland, OR, 97202, United States
Fraction, 30 From 10
June 1-July 31, 2018
Opening reception on June 1st from 6-8pm for First Friday. *Editor-in-Chief, David Bram, will be present as well as some of the artists featured.
This year marks Fraction’s 10-year anniversary! Pushdot is honored to work in conjunction with Fraction to present 30 From 10, an intimate retrospective, showcasing photographs by select artists who have been featured in Fraction over the past 10 years.
About Fraction: Fraction Magazine features the best of contemporary photography, bringing together diverse bodies of work by established and emerging artists from around the globe. Each monthly on-line issue focuses on a central theme, creating an implicit dialogue between differing photographic perspectives. Fraction also offers indepth photography book reviews.
The Featured Artists:
Amy Friend • Antone Dolezai • Aziza Murray • Bree Lamb • Carol Golemboski • Dana Stirling • David Ondrick • Doug Lowell • Emily Shur • Emma Powell • Fetemeh Baigmoradi • Galina Kurlat • Jasmine Clark • Jesse + Jason Pearson • Kerry Mansfield • Margeaux Walter • Matt Williams • Missy Prince • Nathan Pearce •Nick Schietromo • Paul Sisson • Polly Chandler • Sean Carroll • Shawn Bush • Suzanne Revy • Terri Bright • Tim Hyde •Yoav Friedlander • Zachariah Szabo

A Portrait Exhibit Honoring Muslim Women in Our Community at the Muslim Educational Trust
2018-05-26 19:00 - 21:00 | Muslim Educational Trust, 10330 SW Scholls Ferry Road, Tigard, OR, 97223, United States
WHO WE ARE, A Portrait Exhibit Honoring Muslim Women in Our Community
Saturday, May 26, 2018, at 7:00 PM
Muslim Educational Trust
10330 SW Scholls Ferry Road
Tigard, Oregon, 97223
https://www.metpdx.org/
In conjunction with the Muslim Educational Trust (MET) and as part of an interfaith service to honor those affected by the horrific attack on the MAX train on May 26, 2017, ​The Immigrant Story​ is proud to help tell the stories of six Muslim women in our community. Collected over the past year, these stories represent voices of healing and those of our community’s Muslim women.
The exhibit will feature portraits and stories displayed side by side so that viewers can make a human connection with the subjects. Our hope is that this display will provide an opportunity for visitors to explore the emotions of this particular community, which continues to bear the brunt of hate speech in the United States.
The event will begin at MET immediately after the interfaith service, which is scheduled for Saturday, May 26, 2018, at 7:00 PM. The Muslim Educational Trust is located at 10330 SW Scholls Ferry Road, Tigard, Oregon, 97223.
For additional information: Sankar Raman, 971-221-4802, s​ankar@theimmigrantstory.org Paige Stoyer, 503-830-3449, paige@paigestoyer.com http://theimmigrantstory.org/who-we-are/
The Immigrant Story is a volunteer led non-profit organization based in Portland, Oregon, that documents and archives stories of immigrants.
