Obscura a pinhole journey threw New York started way back in the 6th grade. the project produced one print and a lot of fun and all it took was some glue and a few ice cream sticks. Later while attending I.C.P. other formats became available and the learning of different processes help open up other avenues. I’ve been shooting since the 70’s mostly 35mm. At I.C.P. 4x5, 6x7, 8x10 became the norm in both B/W and color.

Over the years I never forgot about pinhole photography. A box, a container or anything light tight will work. Work is work but pinhole is just fun. The format doesn’t matter as much paper or film you choose!

At Elphoto I also provide stock photos for the P.S.A.L. (High school football) since 2005. Twimjo’s and Reflection Of Life are also part of the music and video postproduction work. So be it, a wedding party or photo shoot the headshots will make you smile..

Reversity Ventures is a rather effective group of general specialists.

We are cooperative agency working to bring about the future faster. We do many things at once, and all of them well.
We’re creatives, lawyers, artists, business people, private equity types, writers, inventors, scientists, tinkerers, marketing pros and ad wizards. And a whole bunch of other things too.

We build robots and lasers, represent artists and media makers, make music and videos, write books and publish them, develop and build businesses, and help other talented people do the same by offering them good ideas, advice and a helping hand.

Cassandra Craig is a self-taught photographer based in Brooklyn. She is the owner of IOPENMINDS Photography and Digital Darkroom Studios, a studio that specializes in portrait photography. Cassandra has cultivated a remarkable collection of timeless photos over 9 years working with musical artist, actors, actresses and athletes. With her ongoing exhibition of “My Blackberry Diary” (myblackberrydiary.com) Cassandra still manages to work on several projects expanding her extensive portfolio and for the 8th Open House she will exhibit “Pillow Talk.”

In a culture in which people are easily lured by the appeal of status-enhancing symbols, I find beauty in derelict cars and unkempt landscapes. I have always been interested in painting vehicles and scenes that have defined the evolution of the American landscape.

In this particular series, I commemorate commercial vehicles inundated with graffiti and rust, working vehicles. I find that there is so much character in old delivery trucks and vans—especially when covered with graffiti—and in the old RVs parked in someone’s yard off a main road. Removing them from their everyday context gives them portrait-like importance. I paint with devoted attention to every imperfection and sign of age. Painting and drawing these objects gives me a chance to document a time and place, and to make still a part of the ever-changing environment.

For this spectacular season, Rifle + R A D F O R D is presenting an array of one-of-a-kind high quality jewels. The collection includes necklaces, earrings, & cuffs adorned with rubies, emeralds, citrine, turquoise, malachite, amethyst, and more precious & semi-precious gems. The resulting jewels are timeless, yet timely. Special pieces & prices await you!

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My studio is a bit like a Cabinet of Curiosities, full of natural history items, cultural artifacts and kitschy detritus. It is a space, both psychic and physical, that is the source for my work. Setting up my still lifes is akin to the automatic writing exercises practiced by early Surrealist artists. I’m not in complete control of the ensuing narratives, and often the original intentions are absorbed into larger mysteries that I recognize only later. I want my paintings and drawings to have the vivid reality of an irrational dream.

A graduate of the Yale School of Art, I have exhibited my work throughout the United States, with solo exhibitions in New York City and Houston. I will be having a one-person show in Milford, PA in 2012. Among the grants and awards I’ve received are an Elizabeth Foundation Grant, a New York Foundation for the Arts grant and an Ingram Merrill Foundation Grant, scholarships to Yale, the Skowhegan School and the New York Studio School. I have taught at Lehman College (Bronx, NY), Oxbow Summer Program (Michigan), Yale University’s Summer Program (New Haven, CT) and at the University of California at Santa Barbara.

Re-designating pre-existing material and interweaving other artists engagements are integral to the infrastructure of my practice. These are used to redirect attention toward my own expression while deferring perception and ownership into a semantic chain. Maneuvering within these slippages allows me to convey something close to the motivating impulses behind my ever-evolving stance. As Peter Land explains, I guess that my work with art is instrumental in my pursuit to establish a valid meaning behind my existence. However, the ethical structures that I try to create around me become invalid, or don’t apply, as my idea of meaning changes or are being changed. My sense of reality collapses, and has to be rebuilt on an ongoing basis.

My repeated questioning of meaning is one of the driving forces that inform my endeavor. Constructing artifice that may be inflected with a caustic but playful touch of anarchy is just part of the strategy.

Arthnic is a 100% Eco friendly clothing line that only uses certified organic cotton; synthetic fabrics that contain recycled content; or renewable fibers produced in a sustainable manner as a medium to express our passion for art and fashion. Our debut collection is our Men’s 2012 Spring/Summer collection. Inspired by New York City & Simplicity. Powered by sustainability.

Arthnic was founded by Edrissa Jallow. He is also the designer and creative director.

Steve Keister is a sculptor and ceramicist. He has exhibited extensively since the 1970’s, including the 1981 Whitney Biennial, and solo exhibitions at the Gagosian Gallery, Los Angeles, Galerie Rudolf Zwirner, Cologne, BlumHelman Gallery, New York, and Feature Inc., New York. He has received numerous grants including a Guggenheim Foundation Fellowship in 2000. His work is included in many museum collections including The Whitney Museum of American Art, The Museum of Contemporary Art, Los Angeles and The Museum of Contemporary Art, Chicago.

Daniel Maidman is primarily self-taught. He has attended life-drawing workshops 2-3 times a week since 1998. He also spent two years working on an anatomical atlas based on human cadaver dissections in which he participated at Santa Monica College, under the guidance of Dr. Margarita Dell. Illustrations from his atlas are in use in the United States Army’s forensic field manual. He moved to New York in 2006. His current paintings range from the figure and portraiture to still lives, machines, and cityscapes.

His work has been shown in juried shows at galleries in New York, California, Ohio, Missouri, and Oregon, as well as at Gallery Mess, the restaurant of the Saatchi Gallery in London. He has been a finalist in The Artist’s Magazine’s figurative painting competition (2009, 2010), and his paintings and writing on art have been published by ARTnews, American Art Collector, International Artist, Poets/Artists, SUNY-Potsdam, and the blogging section of artistdaily.com, the online presence of American Artist magazine. His work is included in numerous private collections, among them those of Chicago collector Howard Tullman, novelist China Miville, and author Kathleen Rooney.

My work is not an attempt to reproduce the visible, but to make the underlying meanings of things visible. Life is often lived like we play a game of chess. We are taught to play correctly and we learn new strategies in the hope of winning. The human/physical world dynamic need to change our lives in order for us to reconnect with Mother Nature. We need new concepts and meanings in our life. We all have to think globally; not just about it’s warming, but also regarding the connection to each other and to new possibilities. We play our game of chess but we are all different individuals in the rapidly changing world, with nothing being only black and white, but an array of colors and tones. We have to play together to be at peace with nature and all be the world-winner.

There always remains, beyond the multiplicity of possible interpretations, something indefinable. The world is full of contradictions. All events in our lives are connected. The endless rotation of life and death are the nature of the universe. The evolution of our spirit is reflected by the way we live our lives. We are all as strong and fragile as ceramic vases, which can be broken accidentally.

Often our lives can seem tragic and yet when we look back on our experiences, we find them comical. To recognize how the rhythm of the natural elements reflect upon the mystery of opposites, I strive to contemplate the harmony of black and white, fire and water, and cold and heat in search for the right balance between them to compose my own music in sculpture. The free spirit brings forth infinite imagination.

Creating contemporary work in ceramics demands a sensibility to reflect new ideas in a changing world creating individual symbols, which turns to a universally communicable language.

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Artist born in Buenos Aires and since 1976 living and working in Mallorca,Spain and from May 2011 in Brooklyn, NY. Begins his life as an artist in the theater and visual poetry. From 1982 hi devoted himself entirely to painting and sculpture. In his studio in Morgan is working on his upcoming exhibition at the Galerie Eric Devlin (Montréal)

Which came first, the artist, the viewer, or the object? With particular attention to process, materials, and aesthetics, I am interested in making work that explores the metaphorical aspects of this causality dilemma and the effect it has on the production, observation, and definition of art. Knowledge, experience, environment, circumstance, intent, and chance are all factors that connect and inform the three roles of the typical art trichotomy. My artistic method focuses on manipulating and combining those factors to create ephemeral moments and metaphysical states that reflect the relationships formed as artist, viewer, and object circularly reference each other.