Jeff Corwin and Tyler Boley

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 (calendar)

Hawk Merlin Studios
113 SW Russell Ave
Stevenson, WA
please contact gallery for hours of operation

Teanaway River, WA - Tyler Boley

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.

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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 (calendar)

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

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.

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 ( 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.

Camerawork Gallery is the nation’s oldest continuously running Fine Art Photography Gallery. It has been exhibiting monthly shows since 1970. The inspiration for the gallery initially arose from 20th Century master photographer and photography icon Minor White during his Portland Workshops that started in 1959.

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Clifford Prince King, Colors So True
June 22-July 21, 2018
Reception: June 22 6-8pm (calendar)

Melanie Flood Projects
420 SW Washington Street #301
Portland, OR 97204
(503) 862-7912
Fridays, Saturdays 12-5 + by appointment
Artist Website:

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.

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Rebecca Akporiaye, In Case I Haven’t Told You

Portland Art Museum Photography Council’s
Brown Bag Lunch Talk Series

Wednesday, June 20th, 2018 (calendar)

Portland Art Museum
The Miller Room, Mark Building
1219 SW Park Avenue, Portland, OR 97205
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,, and others.

The Brown Bag Lecture Talk series is a presentation of the Portland Art Museum’s Photography Council and is generously sponsored by Pro Photo Supply.

About the Photography Council

The Portland Art Museum Photography Council offers its members unique opportunities to learn more about the history of photography with Julia Dolan, Ph.D., the Museum’s Minor White Curator of Photography. Council membership dues support the acquisition of photographs for the permanent collection. The members’ annual print share meeting, private tours with Dr. Dolan, an annual art acquisition meeting, and special invitations to lectures by renowned photographers are just some of the benefits of Council membership.

The Portland Art Museum Photography Council’s Brown Lunch Talk series, conceived in 2009 by Past Council President Jim Leisy as a means of introducing the Portland photography community to the wealth of talent and creative energy in our region, has become one of the Council’s most popular public events. Since its inception, the BBLT has offered over sixty monthly presentations by regional and visiting photographer/artists that are free and open to everyone interested in photographic arts and process.

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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 (calendar)

Blue Sky Gallery
122 NW 8th Avenue
Portland, Oregon 97209 USA
Tuesday - Sunday, 12 - 5 pm
First Thursday 6 - 9 pm

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.

Daesha Devón Harris
You bid me hold my peace And dry my fruitless tears
Forgetting that I bear A pain beyond my years

“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.

LightBox Gallery 071018

The Plastic Fantastic Show IX

June 9th - July 10th, 2018
Opening and Artists’ Reception: Saturday, June 9th, 6-9pm (calendar)

LightBox Photographic Gallery
1045 Marine Dr.
Astoria, OR 97103
(503) 468-0238

Ryan Synovec: Monumental Cactus

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.

Blue Sky 070118

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 (calendar)

Blue Sky Gallery
122 NW 8th Avenue
Portland, Oregon 97209 USA
Tuesday - Sunday, 12 - 5 pm
First Thursday 6 - 9 pm

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.

Cinthya Santos-Briones, Mary

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.

Camerawork Gallery 0629

Thomas Alleman, Dancing in the Dragon’s Jaws

June 2 – June 29, 2018 (calendar)

Camerawork Gallery
Peterson Hall, Linfield Portland School of Nursing Campus
2255 NW Northrup Street, Portland, OR
Hours: 9am-4pm, Monday-Friday, Saturday 9am-5pm
Free and Open to the Public

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.”

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.”

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Fraction, 30 From 10
June 1-July 31, 2018
Opening reception on June 1st from 6-8pm for First Friday (calendar)
*Editor-in-Chief, David Bram, will be present as well as some of the artists featured.

Pushdot Studio
2505 SE 11th Avenue, Suite 104
Portland, OR 97202
Gallery Hours: Mon-Fri. 8:30am to 5:00pm, free admission

Aaron Wax

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

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Rich Bergeman, High Desert Dreams: The Lost Homesteads of the Fort Rock Basin

May 12 - Oct. 14, 2018
Panel Discussion: Thursday, May 17, 6-7pm (calendar)

High Desert Museum
59800 S. Hwy 97
Bend, OR 97702
Hours: 9am - 5pm daily

“High Desert Dreams: The Lost Homesteads of the Fort Rock Basin” chronicles a nearly forgotten chapter in Oregon history, when hundreds of pioneers flooded the high desert in the early 1900s, only to abandon their homesteads within a decade, leaving the landscape littered with deserted cabins, idle windmills and hollowed-out towns.

Over the decades since then, nearly all evidence of that era has gradually disappeared. Enough remnants remain into the 21st century, however, to allow the photographer to bring the story back to life through more than 25 black-and-white images of decaying homesteads and vanished town sites.

Rich Bergeman of Corvallis is a retired journalism and photography instructor at Linn-Benton Community College in Albany, Ore., who has also been an exhibiting fine art photographer for the past 30 years. In recent years his focus has been on investigating and interpreting local histories in the Pacific Nortwest through photographs and stories of what's been left behind.

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Randall L. Milstein, Character

April 6 - June 30, 2018
Reception Thursday, April 19, 4-6pm (calendar)

OSU Center for the Humanities
811 SW Jefferson
Corvallis, Oregon
Gallery Hours: 10am-4pm, Monday-Friday

An exhibit of color portraits of cosplayers (costumed participants attending popular culture conventions, such as ComicCon). "Regardless of the elaborate makeup, costumes and affectations of the cosplayers, there is always a face within a face," says Milstein.

Blue Sky Drawers 2019

2018 Pacific Northwest Photography Viewing Drawers Artists Announced

First Thursday, April 5th (calendar)

Debuting on First Thursday, April 5, and coinciding with Portland Photo Month, each artist will be represented by 10 original photographic prints or objects from a single body of work in a dedicated archival, flat file drawer at Blue Sky through March 2019.

Blue Sky Gallery
122 NW 8th Avenue
Portland, Oregon 97209 USA
Tuesday - Sunday, 12 - 5 pm
First Thursday 6 - 9 pm

PORTLAND, Oregon - Blue Sky, the Oregon Center for the Photographic Arts, is pleased to announce the names of 42 artists selected for inclusion in its 2018 Pacific Northwest Photography Viewing Drawers Program ("Drawers").

Issac Sachs, Portland Meadows, 2015
2018 Drawers artist and Sitka Residency recipient
Danielle Dean, Elegy (Ripples), 2017
2018 Drawers artist and Sitka Residency recipient

Adam Bacher • Doran Bastin • Susan Bein • Ray Bidegain • Jennie Castle
Harley Cowan • Fretta Cravens • Danielle Dean • Lucas DeShazer • Claire Dibble
Gloria Feinstein • Dean Forbes • Hal Gage • Randi Ganulin • Joseph Glasgow
Sarah Graves • Lauryn Hare • Melinda Hurst Frye • Tim Jaskoski • Ryota Kajita • John Kane
Heidi Kirkpatrick • Cheston Knapp • Brian Kosoff • Zachary Krahmer • Laura Kurtenbach
Julie Lopez • Nathan Lucas • Sofia Marcus-Myers • Ryan Mills • Blue Mitchell
Marilyn Montufar • Stan Raucher • Shawn Records • Pat Rose • Isaac Sachs • Skip Smith
Deb Stoner • Nolan Streitberger • J Swofford • Samuel Wilson • Jennifer Zwick

2018 Juror

Hamidah Glasgow is the Executive Director and Curator at The Center for Fine Art Photography in Fort Collins, Colorado. The Center hosts approximately 17 exhibitions annually and features the work of emerging and established artists from around the world. The Center has been recognized as one of the prestigious nonprofit photography centers in the United States. Ms. Glasgow’s contribution to photography has included curatorial projects, portfolio reviews (FotoFest, Photolucida, Medium, Filter, etc.), contributions to publications and online magazines, and the co-hosting of regional conferences. She is also a founding member of Strange Fire Collective, a group of interdisciplinary artists, curators, and writers focused on work that engages with current social and political forces.

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The Project Salon
presented by Charles Purvis @ MICX Studio

February 17 through July 28, 2018

MICX Studio
6635 N Baltimore Ave
Portland, OR 97203

12 weeks for $450
For information:

The Project Salon provides a space, time, and process for the purpose of creating a body of work (be it an exhibition, book, or portfolio) over a extended period of time and with the support of other photographers doing the same.

To really progress as photographers and artists we need to go deep and we need to go deep over an extended period of time. We also need the reflection and support of others who share our passion and commitment to the medium. We learn by doing and we learn by understanding how others experience our work; and in committing to work with others we find a new level of commitment to our own work.

The Project Salon meets for 12 sessions over a 6-month period, twice a month for 3-4 hours. Participants, having committed to a project, present their ongoing work to the group and receive and offer constructive reflection concerning subject, narrative, editing, final form and the general arc and feel of the work. The last 2 weeks focus on editing, collating, and final form presentations. The sessions are facilitated by Charles Purvis who offers individual mentoring and support, both technical and artistic, for each participant. We also study the work of other photographers as it pertains to our work and process. The Salon is limited to 8 participants. All photographic mediums are welcome.

If you are interested in finding out more about or enrolling in the Project Salon please email Charles at or go to

For 21 years Charles Purvis was a highly successful studio photographer in New York City, completing hundreds of commercial assignments for top advertising agencies and creating a large body of innovative and influential work inspired by a relentless curiosity and desire to uncover the creative potential of the medium. He graduated from the Art Center College of Design in 1981, was represented by Art and Commerce (1990-1997), was invited to shoot with the 20x24 Polaroid camera in Polaroid's NY studio, has taught multiple week-long summer workshops with both the Santa Fe Photographic Workshops and the Maine Media Workshops, and lectured at the NY School of Visual Arts and at Parsons School of Design.In his upstate NY studio Charles created numerous handmade books and photographic works for exhibition. Charles has years of experience with the application and innovative use of 35mm, 120, 4x5, 8x10 and 20x24 formats, films, polaroids, processes and darkroom techniques. As an educator and mentor, Charles' priority is to support each photographer in employing the full capabilities of the medium to manifest their ideas into a powerful statements of intent and purpose.