Archive for the ‘Artist’ Category

streb

December 18, 2009

i went over to see rehearsals at streb because i really like their work but as things go i really didn’t get anything i liked except this young man learning how to work with silk. oh well

maybe someday i’ll figure out how to take a professional picture but this is all i got

abstract color image of silk acrobat

abstract color image of silk acrobat

whats really bothering me these days is Apple dropping KEY CAPS from Snow Leopard and i have to go into system preferences to find it and Adobe seems to have dropped symbols from CS 4 all pretty stupid ideas if you ask me. where did all those groovy symbols go? oh  but i still miss all the symbols in KEY CAPS

Two More Highline Arrests ordered by Parks Commissioner

December 18, 2009
know your rights
Two More Highline Arrests Ordered by NYC Parks Commissioner

Sunday 12/6/09

ARTIST President Robert Lederman and ARTIST member Jack Nesbitt were both arrested on the Highline Sunday, 12/6/09 at approximately 12:30 PM. Lederman was previously arrested on the Highline on November 21 and issued 5 summonses for vending without a Parks permit.

In today’s arrest, the artists were handcuffed by 5 Parks Enforcement Patrol officers (PEP), taken to the 6th Precinct, held in a cell, and later released with two Criminal Court summonses given to each artist for disorderly conduct and failure to comply.

Lederman and Nesbitt are both plaintiffs in a Federal lawsuit (Lederman et al v Giuliani decided in 2001) which overturned the Parks permit requirement for artists. Since 2001 visual artists may sell in all NYC Parks without needing any license or permit.

Today’s arrest was the 43rd for Lederman. He has never been convicted and has won 5 Federal lawsuits about about street artists’ First Amendment rights.

The PEP officers were led by Inspector Robert Reeves. The arresting officers stated that the arrest was directly ordered by Parks Commissioner Adrian Benepe.

A video of the arrest is available on Youtube at this address:
http://www.youtube. com/watch? v=KcHH5TwA7zw

Still photos are available here:
http://www.flickr. com/photos/ street_artist/ ?saved=1

Below are links to official Parks Department documents, the Federal court ruling and other materials proving that artists can legally sell in any NYC Park. There is also a link to materials from the Friends of the Highline website showing that it is a 100% public, city owned park.

Lederman and Nesbitt are represented by attorney Julie Milner, who plans to file a Federal civil rights lawsuit this week about these arrests. The defendants will be the City of NY, The Parks Department and the Friends of the Highline.

Robert Lederman issued the following statement after being released:

“What the public and the media should ask the Mayor, Commissioner Benepe and the Friends of the Highline is this: If this is a public park, doesn’t the First Amendment, the Federal Court rulings and the laws of the City of NY, all of which exempt First Amendment protected street artists from any license or permit, mean that you cannot keep on falsely arresting artists for not having a park permit? And if the Friends of the Highline is advertising that they have a food vending concession up there already and plan to have more, and they also sponsor numerous art shows on the Highline, how can they legally ban First Amendment protected artists? We were arrested today as criminals, but the sad reality is that we are the ones upholding the law. It is the Mayor, the Parks Commissioner and the Friends of the Highline that are committing the only criminal act associated with these arrests. They are in blatant contempt of court.”

Contact:
Robert Lederman
artistpres@gmail. com

Highline Park rules and info proving it is a public park
http://www.mediafir e.com/?jquw20znq wx

Highline Park website
http://www.thehighl ine.org/

Public art exhibitions on the Highline
http://www.thehighl ine.org/about/ public-art

Parks Dept memo to PEP officers on street artists being able to sell in all NYC parks
http://www.mediafir e.com/imageview. php?quickkey= zdgokmzkela& thumb=4
http://www.mediafir e.com/i/? rnnomwng1tr

Street artist Federal court rulings
http://www.mediafir e.com/?ihzato0xj ct

NY Times on Parks Department artist permit ruling
http://www.mediafir e.com/imageview. php?quickkey= n5y0mvezjjm& thumb=4

NY Post on street artists in parks Federal Court ruling
http://www.mediafir e.com/i/? fjemmnnnmom

ARTIST website (all vending laws, documents, media coverage etc regarding NYC street artists)
http://groups. yahoo.com/ group/nycstreeta rtists/

Street artist videos
http://www.youtube. com/profile? user=artistpres

Parks Dept spokesperson, Vickie Karp Issued the statement below as a response to the 11/21 arrest:
Vickie.Karp@ parks.nyc. gov
212.360.1371

(Note that they fully acknowledge that artists can legally sell in parks.)

Parks statement QUOTE:
“The High Line is a unique public space, a thin elevated corridor at less than three acres with pathways as narrow as eight feet wide in some places. Many activities are prohibited. These include biking, skateboarding, throwing a baseball or a Frisbee, or walking a dog. The High Line can receive as many as 25,000 visitors on a busy day, walking along its long linear surface surrounded by fragile new plantings. Mr. Lederman and other vendors are able to ply their trade in hundreds of New York City parks and on hundreds of miles of city streets, where visitors can linger and enjoy their wares.”
———— ——— —-

Media coverage of the previous Highline arrest on 11/21/09

NY Times
http://cityroom. blogs.nytimes. com/2009/ 11/23/artist- arrested- for-42nd- time-this- time-on-the- high-line/

NY Post
http://www.nypost. com/p/news/ local/manhattan/ for_art_peddler_ it_high_dry_ line_UM2ALn7XJE3 1CInyNcWyPL

NY Press
http://www.nypress. com/blog- 5438-free- speech-not- so-free-artist- arrested- at-high-line. html

Gothamist
http://gothamist. com/2009/ 11/23/high_ line_7.php

The Villager
http://www.thevilla ger.com/villager _344/highlinearr est.html

for artists who want to know about new spaces and opportunities

December 18, 2009
chashama Studio Application – Brooklyn Army Terminal
DEADLINE : January 12, 5pm – at our office / January 11 – postmark

The chashama Studio Program at the Brooklyn Army Terminal (BAT) encompasses 89 visual artist studios in two neighboring buildings in Sunset Park, Brooklyn.

We are seeking artists to join our BAT Studio community, beginning occupancy February 2010.

chashama offers low-cost, work-only studio space to eligible individual artists for a period up to one year (depending on availability of the space from the landlord), subject to renewal. Organizations are not eligible. This program does not provide living space.

Studios:
range in size from 200 to 800 square feet,
will cost no more than $1 per square foot per month.
have 8-foot high walls, with ceiling heights that range from 12 to 15 feet.
24-hour access
freight elevators during business hours

A communal environment is encouraged through proximity of the studio artists. The studios do not have individual studio doors (if an artist wishes for privacy, he/she may hang fireproof material over the studio opening.) For an image of the building and a sample studio, check out
http://www.chashama.org/_brooklyn/index.htm

Artists who are awarded a studio are expected to work in their spaces on a consistent and ongoing basis, and must be prepared to actively use their studio a minimum of 50 hours a month or they will lose it; sign-in sheets are used to record studio use. Studios may not be sublet.

Each artist provides a security deposit ($200) along with the first month’s rent upon signing the lease agreement. Studio artists are asked to participate in one (1) open house per year in which their studios are open to public visitation.

Eligibility: All applicants must be residents of the United States or have a valid visa not expiring before the end of the residency, be 18 years or older, and able to demonstrate need for a studio. Applicants may not be residents in another studio program at the same time as their chashama residency, unless agreed to by chashama.

Welding, work that requires use of fire, or work that creates an abundance of air-born particulate matter is not allowed. If your work samples are of this type of work, please describe how your future projects may differ.

Selection Process:
chashama will place artists in a studio based on the information received in the application.
A panel of arts professionals and artists will review applications and select artists based on
• Artistic merit. Quality of work.

We will then interview selected artists to determine
• Need. The need for space measured against other options available.
• Use. Potential for making the most of time in the studio.
• Personal responsibility. Personal references and ability to pay fees.

All applicants will be notified in February if they have been selected for interview. Please do not call our office for selection results.

link to pdf application: http://www.chashama.org/downloads/chashama_Studio_Application_BAT.pdf

“for artists who want to know about new spaces and opportunities”

December 18, 2009

here is an organization looking for various artist performers they have the space you have the talent.

Applications accepted on an ongoing basis – but don’t delay, spaces fill up quickly!

Subject to availability, chashama is now offering a $50/week rental of a Sprint wireless broadband router (with $50 deposit).

The Windows Program is a hallmark public art initiative of chashama, enlivening vacant storefronts with multi-disciplinary performances and visual installations. The program offers art in unexpected public places, and aims to build a broader audience for contemporary art and performance.

This program has two points of entry: by curated rental or via Windows Awards, and a competitive award process. Rentals are by the week or month and are offered at affordable, subsidized rates. (currently between $250 – $1000 a week). Windows Awards offers free space, and marketing, technical and administrative support, and may include a small stipend. All Windows Program projects are chosen based upon feasibility, venue limitations, and artistic/experimental vision.

Though not a necessity, we have a preference for work that actively engages the passerby.

Note: It is recommended that you make site visits to these window spaces to see which space would be the best for your project before submitting an application.

266 W 37th: This window space is located on a Garment District block with heavy daytime foot traffic, and it is fully equipped with theatrical sound and lighting. If you are proposing a visual art installation, please consider this. For a complete floor plan and technical specs, please go to http://www.chashama.org/266w37/index.php.

112 W 44th: This installation/window space is within the tourist zone of Time Square, close to Bryant Park, and often has packs of theater goers passing by. It is a large space with a wide window, and a back room for costume changes or additional set pieces. Track lighting normally used for exhibits can be refocused into the space and controlled from the back room. A sound system is not currently installed, but may be in the future. For a complete floor plan, please go to http://www.chashama.org/112w44/index.php.

679 3rd Avenue: This building is at the corner of 43rd Street and 3rd Avenue with three 7×12 and two 4×12 windows on the 3rd Avenue side, and fifteen windows facing 43rd Street ranging from approximately 4×12 to 4×10. For pictures of the space and full window specs, please go to http://www.chashama.org/679third/index.php.

141 East 33rd Street @ Lexington Avenue: This venue, at the corner of Lexington Ave and 33rd Street, has 4 windows on the Lexington Ave side, and 4 windows facing 33rd Street. Three windows on each side will be available to the artist, with metal supports behind each window for hanging artwork. This venue is currently for VISUAL ART ONLY.

Timeline & Conditions:
* Artists will be rented space for 1-4 weeks, and granted space for 1-3 week residencies; please stipulate if a specific term length is necessary for your project.
* chashama will provide technical assistance in an advisory capacity only; artists must be capable of installing, teching and de-installing their own projects.
* chashama will assist artists with creating and distributing a press release.
* Participating Artists of both the Windows Award and rental programs are required to pay a fully-refundable security deposit ($75-$200 depending upon venue).
* Please visit www.chashama.org/windows.php for complete application information including the Windows Program Application Form.
* For more information, please email your questions to Programming Director, Janusz Jaworski at janusz@chashama.org.

Deadline: There is no deadline, but the sooner you submit your application, the sooner we’ll see it!

robert frank film:leaving home, coming home

December 10, 2009

well instead of working today i made a loaf of banana walnut bread which has filled the house with its fragrance. i can’t wait until it cools so i can taste it. but more to the point robert frank.

it’s good to revisit things as i did the other day with friends  to re-see the robert frank’s exhibit at the met museum. this time the exhibit wasn’t crowded and there was time to see everything once more.i had a chance to look at the original books and displays things that didn’t seem important the first time. im love seeing the original writings done on typewriters with all the misspellings etc. my bad spelling really intimidated me from writing.

what i realized seeing the show and then movie that when along with the show which i really recommend. “Leaving Home, Coming Home: a portrait of robert frank (1986) december 17, 2:00 pm.

but seeing the show again without the crowd was much better for me. the show prints are exceptional gelatin silver prints which is something i’ve always been confused about with silver gelatin prints also see another explanation at. but any show that spends that much money on prints in this day and age is going to look good.

i must say the banana bread is pretty good also, warm covered it butter not good for my arteries but so smooth going down.

Happy Holidays CB9M Arts and Culture Community!

December 4, 2009
Location: Broadway Housing Communities (Dorothy Day Building)
583 Riverside Drive (corner of 135th Street) ~ 7th Floor Penthouse

RSVP: LLWalton7@gmail.com

Happy Holidays CB9M Arts and Culture Community!

Below please find the Agenda for our upcoming Dec 7th meeting along with a special Invitation to join us and the entire CB9M community as we celebrate the holiday season.

Our meeting will have an arts & education focus, this month, as members from the Maysles Institute (a cinema, media production & filmmaking organization) will present and discuss their diverse, year-round educational programming opportunities for young people and adults, including a summer filmmaking program for teens between the ages of 13-17.

Open Mike & Entertainers Delight:  Please bring your favorite dish, poem, scene from a play, photograph, song, monologue, ETC…all artistic contributions are welcome…please share & exchange something creative with our community at this holiday gathering.

Thank you…looking forward to a great time!
~Linda & Diane

CB9M
ARTS & CULTURE COMMITTEE MEETING
Location: Broadway Housing Communities (Dorothy Day Building)
583 Riverside Drive (corner of 135th Street) ~ 7th Floor Penthouse

Committee Members:
Linda Walton, Diane Wilson ~ Co-Chairs
Debra Ann Byrd, Donitra Clemons, Vicky Gholson, Christa Giesecke ~ CB9M
Stephanie Berry, Magali Damas, John-Martin Green, LaQuita Henry, Michael Palma Lee-Ann Pinder ~ Public Members

AGENDA
December 7, 2009 meeting 6:30 pm – 7:30 pm  (Holiday Celebration Follows: 7:30 – 10:00 pm)
1. Call to Order
2. Attendance
3. Agenda Approval
4. Minutes Approval
5. Maysles  Institute
a. Cinema Program – Philip Maysles & Jessica Green
b. Education Programs 2010 – Vee Bravo
6.  Old Business
a. Arts & Politics – The Series ~ Stephanie Berry
b. Launching the Arts & Culture Directory ~ Darryl Hell; Co-Chairs
7.  New Business
8.  Adjourn
9.  PARTY! ~ CB9M Holiday Celebration

NEXT MEETING ~ January 11th* 2010 ~ 6:30 PM ~ BROADWAY HOUSING
583 Riverside Drive (corner of 135th Street) – 7th Floor Penthouse

*PLEASE NOTE ~ WE WILL MEET THE SECOND MONDAY IN THE MONTH OF JANUARY DUE TO THE HOLIDAYS.

DIANE AND LINDA WISH YOU AN EXCEPTIONALLY PROSPEROUS, CREATIVE AND HEALTHY NEW YEAR!

—–Inline Attachment Follows—–

_______________________________________________
opportunities mailing list
opportunities@chashama.info
http://lists.chashama.info/mailman/listinfo/opportunities

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// // YAHOO.fcue.IE6 = true;YAHOO.fcue.IE7 = true; // // // // // //

aperture org. free event ‘the projected image’

December 3, 2009

New York, New York

The Projected Image
Panel Discussion


Thursday, December 10, 2009
7:00 pm

FREE

The New School
Tishman Auditorium

66 West 12th Street
New York, New York

Aperture Foundation at The New School presents this panel discussion as part of the tenth season of the series Confounding Expectations: Photography in Context. The Projected Image will explore the multiple ways in which contemporary artists have utilized projection and installation strategies to display still photographic images, creating immersive and cinema-like experiences in museum and gallery environments. Departing from the large-scale, tableau treatments of the photographic image printed and framed as wall-based objects, exemplified in works by Jeff Wall, Andreas Gursky, and Gregory Crewdson, in recent years contemporary artists have increasingly employed projection devices—ranging from analogue to digital high-definition—to display photographic images as immaterial light projections, often incorporating temporal and audiovisual elements that recall cinematic contexts yet retain distinctly photographic qualities.

Moderated by George Baker, associate professor of art history, UCLA; panelists include photographers Andrea Geyer, Paul Pfeiffer, and Krzysztof Wodiczko.

center 4 photography water contest

December 3, 2009

a few weeks ago i entered the center 4 fine art photography water contest. it’s one of the contest i first started entering when i got enough courage to submit work. enough people had told me my work was good and i should submit.

brown leaf trapped in ice

well i never heard back from them from any of my entries, well maybe a rejection email or two, i am not sure anymore. rejections are something i’ve grown use to, although some contest don’t even bother doing that. how many entries do they get, i’ve heard some places raise as much as $50,000.oo each contest, not a bad months worth of work.

lots of people want recognition as an emerging photographer or old salt. but it’s something that i don’t do as much as when i started out, yes i’ve won my share of contest which is pretty wonderful or at least gotten honorable mentions which i think is pretty cool also.

rain chain

now i am more interested in who’s judging the contest than i am the gallery running it. how does one make contact with people? the big question. i asked bruce silverstein one night how he finds his talent to which he replied spend all night searching the internet much to his wifes objections. how do we or anybody make contact in this age of computer overload? do we use the same device  that causes the problem.

condensation on window

modern postcard would have us believe that the old school of contacting art directors and agents is through good old mailings. maybe that’s still true.this reminds me of a story i heard a long time ago about the sun rising and native american legends.

it seems there was this anthropology fellow living in one of the native americans villages studying the native peoples. in his observations  he would see that early in the morning some men would disappear into a certain area before the sun came up. he asked questions about what was going on  which mostly were met with evasive answered. but there was one person who shared a story that they were performing a sacred ceremony of greeting the sun.

[now my memory isn’t the greatest in remembering names isn’t one of my strong points.]

but to continue the story: when the anthropology student pressed for details he was told that the group performed the ceremony in order for the sun to be raised from the underworld . ‘you’d don’t really believe that the student asked? you’re educated people who knows that the planets revolve around the sun which makes the sun comes above the horizon.’

‘yes that is true.’ was the answer.

but the student kept seeing the group meet every morning. once again he approached the person whom had answered his question about the ceremony and asked  ‘why are you still meeting and performing that ceremony ?’

to which was answered ‘ if we didn’t perform this ceremony it might prove your science  sun rising theory wrong and leave the world in darkness.’

so you never know what outcome your actions will produce which is one of the reason i still enter contest.

Driving into the sun with kerouac

November 30, 2009

it’s a slow process recovering from rotator cuff surgery but hey i had nothing else planned for these past weeks so why not experience something new? but today as the rain beats against my window and i struggle with my creativity why not remember, memory is so frail and ephemeral, or at least try to some of the more comic events in my life.

this won’t be about pictures although as minor white says ‘i am always mentally photographing every thing as practice.’ just the pictures in my memory or what is left of it, everything degrades with time, becomes warped with the heat of thought. as if a passing thought somehow warps another in its passing by.

this is about a long long time ago, the summer of  1964 in northport on long island new york. i guess it relates to robert franks ‘the americans’ as franks say ‘you can photograph anything.’ but this is a photographic memory without a camera.

that summer i had the job as stage manager/ lighting designer/ driver and a few other jobs i’ve probably forgotten. the theater was the red barn, the show the fantasticks, the town northport ny and the car a 1956 blue and white ford station wagon.

that’s where and why i met jack kerouac . there wasn’t much for me to do after the show  which is unusual for a summer stock playhouse. the show ran for 6 weeks or so with my only duties being running the show and picking up people either in the new york city or the train station. i don’t do ‘having time on my hands well’, at least in those days.

my first form of entertainment was drinking or at least hanging around bar rooms. that was how i got a lot of jobs in those days from my bar room friends but this one was actually gotten through a trade magazine.  after work with nothing else to do usually found me wandering around the town looking for something. that’s where i met kerouac we were both looking for something.

there is a much more informative account of the life and times of jack kerouac in nortport naming people, places and times. maybe not the same people i knew nor who jack knew but more respectable ones with addresses. the thing i liked about nortport was the harbor which was part of the huntington, centerport and nortport harbors. this is primarily a fishing working class village.

how i got involved with these people i am not sure, maybe a self-image problem of mine but at a bar with drinks flowing everyone is equal. there was this guy quite charming even drunk as a skunk who wore these checkered 5 and dime shirts. jack was quite a handsome man before the booze bloated him up as he looked now.

in his early writing career he summered in fire watchtowers alone in the wilderness. anyone able to do that isn’t  a slouch at all, but now he was just an educated overgrown kid. i was amazed at some of the stuff that would come out of his mouth nonstop. he considered himself a jazz musician and wrote that way. my literary knowledge wasn’t developed enough to keep up with him. i was still doing the classics hemingway, durrell  maybe camus and baudelaire. so i knew there was something jack  was talking about.

there never was a problem of finding something to do when the bars were open, the problem came after the bars  closed. what to do before unconsciousness overcame us? the clammer’s usually had to get up early in the morning to haul their catches into the wholesaler at a reasonable time of day. they had a airstream trailer secured to a floating raft in the harbor outfitted with double bunk beds and a small kitchen.

jack and i would sometimes hitch a ride with them to the trailer or out to a tent they had across the harbor. it was pretty neat screaming across the harbor full speed ahead towards the tent with a couple of drunks. some fun with harbor and land lights whizzing by into the darkness winding up beaching the boat at 25 mph or whatever, being thrown onto the sand laughing.

or jack would convince me to go into the city with him to see some friends, maybe score some weed. maybe it was just the drive he liked reminding him of all those miles spent with cassidy driving across the country, or maybe the companionship. it wasn’t a long drive maybe an  hour or so, of course we were probably drunk at least by the legal definition of it. i remember one night jacks friends didn’t answer the buzzer and i had to help boost jack up to the firescape while he climbed up to their windows.

jack didn’t like drugs per say other than booze maybe he just tolerated weed something to calm hm down. we were all looking to escape somewhere and i guess he have more to than i. but we had booze in common and i had the keys to the ford and memories long past. since then i’ve read a lot of his books and understand him more that i am older. i only wish i knew him better then.

this was in soho before there was such a thing. there were no people on the street, no nothings except maybe a few rats running across the street darting under a few parked trucks. there i was asleep in the front seat of a 1956 blue and white ford station wagon. sometimes i was invited in to share in the booty.

but it was the drive home that i remember so well. we drove against rush-hour traffic then but i am sure now it’s everywhere. the long island expressway goes straight east from new york, most of the times right into the raising blazing red sun. it’s a wonder in those days we didn’t kill ourselves not for us not trying but maybe we were watched over for some reason or worst yet to kill some innocent being with our stupidity.

i liked jack but felt sorry for him as his mother controled his life but someone had to as he didn’t seem to be able to. there were a lot of good people in my life that summer. i’ve been lucky in life. that fall jack moved to florida or paris or somewhere he later wrote the esquire magazine article which i bought and read. them he died in 1969, i was sad for he touched me with his humanity.

these thoughts filled my head seeing robert franks work. the freedom of driving across america, europe, panama or anywhere. being an american, cars have played an important part in my life, having them or not having them has always been important. i’ve driven this country alone or with my family staking out a new life.

i could spend hours seeing the sun set across the smooth cool pacific ocean as i am not a morning person. there are times in my life when i wish i had a camera and other times when i do i do nothing. it’s enough just to be there. photography is about the past not the present.

So long Soho Photo

November 13, 2009

i’ve decided to move on from Soho Photo as they were not meeting my expectations or needs in a gallery. as Susan Sontag said “In America, the photographer is not simply the person who records the past, but the one who invents it.”

i found very few inventive photographic artists involved with the gallery. that’s not to say that there aren’t some very good photographers involved with the gallery. but some of the exhibits show a total lack of creativity, in my opinon.maybe it’s an age thing as the members seem to be much older than i but they aren’t really.

how one gets into the gallery is to submit a portfolio on their portfolio review day to the Booking Committee made up of members of the gallery who then reviews the submitted portfolio. the guidelines aren’t very specific other than saying ‘No books’ but a selection of your best work is suggested. what is not said i believe, is they want to see a portfolio of work that is ready to go on the walls.

i was rejected my first time as have been some friends of mine for having a too wide a range of subjects in my portfolio. by not giving specific instructions it gives the committee wiggle room to reject anything they so choose on any grounds. what may play an important role in acceptance to the gallery is who you know.some get accepted on their fist try while other very strong photogs are turned away.

i have been rejected three times by the gallery so far, once in the beginning and twice for a membership upgrade. once i was told the Committee reviewing my portfolio ‘didn’t feel like dancing’ after see my work to which Mary replied ‘because they are too old!’

in the two years i was involved with the gallery it seemed more a social club than a serious gallery. Soho Photo seems to have evolved into a vanity gallery with no serious press coverage or outside critical review.

i am sure i didn’t endear myself to the members when i asked at a business meeting ‘why would i want to be a member of Soho Photo?’ i think that’s a valid question. it’s a place to show your work only if the booking committee accepts your submission. they can reject your work on any grounds even after you become a member so there is a group censorship.they call it protecting other members.

with exhibit space at a premium in New York City it’s so hard for artist/photographer to be seen much less reviewed in the press that finding a clean lighted place to show your work can be critical in ones career, but so can association.

i have found in my life when one door closes another opens and it’s usually a better place as life is progressive. so it’s time to move one. where i don’t know but that’s not important. i have love in my life and i truly love what i do as well as the people around me.

i can now concentrate on the challenges at hand. working with a woman documenting her breast cancer journey.