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Showing posts with label Online Exhibition. Show all posts

Krista Svalbonas, Geislingen, 2022, Layered Laser Cut Pigment Ink Print, 14x21", Edition of 2, $2,800

Krista Svalbonas
Displacement + What Remains
Opening Online: March 9, 2023
Built with Visual Server X

photo-eye Gallery is pleased to announce a new online exhibition Displacement + What Remains by artist Krista Svalbonas. This unique exhibition includes work from two concurrent bodies of work featuring laser-cut pigment ink prints. Included in the collection is a fifteen-minute virtual walk-through with the artist, the latest episode of photo-eye Conversations.

Krista Svalbonas is driven by the ideas of home and dislocation due to her personal experience as a child of immigrant parents — who came to the United States as refugees after spending five years in displaced person camps in Germany following World War II. Her parents' story is just one example of many uprooted peoples whose homes were disrupted by political agendas beyond their control. In an effort to understand and honor her family's struggles, Svalbonas embarked on a journey to retrace and reimagine their history.

Krista Svalbonas, Lauingen, 2022, Laser Cut Pigment Print, 14x21", Edition of 2, $2,800

Krista Svalbonas, Braunschweig I, 2019, Laser Cut Pigment Print, 14x21", Edition of 2, $2,500

Through extensive archival research, Svalbonas was able to locate former displaced-person camps in Germany and photographed many of the buildings. These structures were impersonal and appropriated from other civilian and military uses to house thousands of postwar refugees, including Svalbonas' parents. While searching for information on the location of these camps, Svalbonas came across plea letters from refugees seeking asylum. To bring these buildings to life and pay homage to the people that lived in them, Svalbonas merged her photographs with archived copies of plea letters sent by Baltic refugees to the governments of the United States, Canada and the United Kingdom. In Displacement, Svalbonas used a process of burning with a laser cutter to overlay the painful account of these refugees onto her photographs to create composite images that reflect her experience and the fading memories of her parents' generation.

Detail of Laser Cut Print.

While shooting Displacement in Germany, Svalbonas was drawn to the imposing Soviet Architecture, built during the Soviet occupation, in the Baltic region, and began photographing those buildings as well. Drawing inspiration from Displacement, she began incorporating traditional folk art patterns found in Baltic textiles as a visual representation of the people native to the area. The motifs, such as the sun, water and other elements of the natural world, were prominently featured in items like tablecloths and mittens, demonstrating the lasting influence of traditional arts and crafts. Using a laser to cut the textile pattern directly onto her black-and-white photographs of the imposing buildings, in What Remains Svalbonas explores how folk art can serve as a form of defiance against Soviet occupiers.

The final prints in What Remains, serve as a reminder of the political significance of folk arts, especially during times of occupation and repression. In many cases, practicing traditional crafts was seen as an act of political resistance, as it allowed people to maintain their cultural identity and traditions in the face of outside pressure. By including references to the Soviet occupation in her photographs, Krista is reminding us of the power of art and culture to resist oppression and preserve our heritage.

This exhibition of photographs is a beautiful and thought-provoking exploration of the intersection between art, culture and history. By combining letters, stories and traditional crafts with laser-cut photographs, she is creating a visual language that speaks to the beauty and significance of a shared heritage.

Krista Svalbonas, What Remains II, 2021, Layered Laser Cut Pigment Prints, 23½x16½, Edition of 2, $3,250

Krista Svalbonas, What Remains XIII, 2022, Laser Cut Pigment Print, 32x22", Edition of 2, $4,600

If you are in Santa Fe, please stop by during gallery hours

to see What Remains II and What Remains III.

(Two prints from the exhibition Displacement + What Remains)

Krista Svalbonas, What Remains II & What Remains III, in the photo-eye Gallery

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Krista Svalbonas holds a BFA in Photography and an MFA in Interdisciplinary Studies. Her work has been exhibited at the Utah Museum of Contemporary Art, and the ISE Cultural Foundation in New York. Her work has been collected by the Cesis Art Museum in Latvia, the Woodmere Art Museum, and Temple University in Philadelphia. Recent awards include a CPA Artist Grant (2022), Baumanis Creative Projects Grant (2020), and a Bemis Fellowship (2015) among others. in 2022, Svalbonas will have a solo exhibition of her Displacement series at the Copenhagen Photography Festival in Denmark and the Museum of Photography in Talin, Estonia.

Svalbonas is an Associate Professor of Photography at St. Joseph's University. She lives and works in Philadelphia.

PRINT COSTS ARE CURRENT UP TO THE TIME OF POSTING AND ARE SUBJECT TO CHANGE.

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If you are in Santa Fe, please stop by during gallery hours or schedule a visit HERE.

For more information, and to reserve one of these unique works, please contact

Gallery Director Anne Kelly or Gallery Assistant Jovi Esquivel

You may also call us at (505) 988- 5152 x202

photo-eye Gallery

1300 Rufina Circle, Unit A3, Santa Fe, NM 87507

Tuesady– Saturday, from 10am– 5:30pm

Left to right: Mitch Dobrowner, Shiprock Storm; Mark Klett, Moonset with Venus;
Edward Bateman, Antelope Island No.766

I would have never predicted the trajectory of news headlines that rapidly unfolded in early 2020. Since then, the world has been through a lot, resulting in forced change that has caused many of us to re-evaluate [everything]. I have made some changes, but my love and dedication to the arts have only grown stronger. I have concluded that while art is considered a luxury (you can’t eat it or put it in your gas tank), it has aided many of us in maintaining sanity during dark times. I believe that making art and being in the presence of art is healing. Art permits us to communicate and share experiences that can be difficult to articulate with words.

As I write this in July of 2022, I feel like it is safe to say that we will not return to the life we knew in 2019; however, many of us have found ways to adapt – and if we were lucky, learned how to identify and lean into the things that make us tick. For me, a significant source of inspiration was finding new ways to share artists and their artwork, resulting in an ongoing series of “online exhibitions” and the video series “photo-eye Conversations."

As a result of the continuous digital communication in an otherwise "shut down" world, topics surrounding how the times were impacting art-making surfaced organically and frequently. I became fascinated with the range of experiences and viewpoints and discovered that many artists were at least looking for a silver lining.

Recently, with a blog series in mind, I asked a few represented artists here at photo-eye about their thoughts regarding the following statement --

“Some people believe that having a little turmoil can be used as fuel in the artistic process."

Today, I am excited to present part one of that two-part series – stay tuned for part two next week!

-- Anne Kelly, photo-eye Gallery Director

Mitch Dobrowner

The world is a crazy place right now, and that seems to be causing a lot of turmoil in people's daily lives. But the reality is that we all go through it at some point in our lives, we all just handle it differently. My personal experience is that going through some type of turmoil distracts me creatively - but only at that moment.

How can I be creative when all I'm thinking about is what I read on social media, or see in the news, or worry about taking care of my family, paying the bills, COVID, kids, maintaining the plumbing in the house, etc. Those thoughts move me from the right brain (IE: the creative, imaginative, daydreaming) to the left brain (IE: the logical, mathematical, problem-solving side). So I just try to see the positivity in it; that turmoil can cause a reset in my thinking/focus.

As it refers to my art and being creative, it has always made me aware of the good things those 'turmoil demons' distract me from; instead of being enslaved by them, it allows me to continue to grow and ﬁnd greater self-knowledge of what I'm really about. I once read a quote that “an artist can create not because of their neurosis but despite it." For myself, I create only to the extent that I am alive inside, centered and aware of who I am. So I guess - yea, life's dramas can cause me a reset and thus allow me the chance to grow. But on the other hand, I know some amazing artists, whom I call "tortured souls," that are most creative when things are hardest for them. So I guess people just handle turmoil differently - so to each their own.

Mitch Dobrowner, Lightening/ Cotton Field, 2021, Archival pigment print, 20x30", Edition of 25, $2500

As part of our new video series, photo-eye Conversations, photo-eye Gallery Director Anne Kelly asked Dobrowner about his practice and most recent work. Ironically, a thunderstorm rolled through the Santa Fe area as the interview was taking place — it could not have been planned better! Check out the blog post that features this conversation HERE or watch this stimulating conversation on Vimeo.

Portrait of Artist Mitch Dobrowner

Mitch Dobrowner was born in 1956 in Long Island, Bethpage, New York. Worried about Mitch's future and the direction his life will take, his father decided to give him an old Argus rangefinder to fool around with. Little did he realize what an important gesture that would turn out to be for Mitch. After doing some research and seeing the images of Minor White and Ansel Adams, he quickly became addicted to photography. Years later, in early 2005, inspired by his wife, children and friends — he again picked up his camera. Working with professional storm chaser Roger Hill, Dobrowner has traveled throughout Western and Midwestern America to capture nature in its full fury, making extraordinary images of monsoons, tornados, and massive thunderstorms with the highest standard of craftsmanship. Dobrowner’s storm series has attracted considerable media interest (National Geographic, Time, New York Times Magazine, among others). He lives with his family in Studio City, California.

Mark Klett

I think turmoil can be an important fuel for the artistic process, but I also think the artistic process is inspired by many sources and changes for each of us over time. I wouldn’t personally seek out turmoil as a permanent source of inspiration. It may be my instinct for self-preservation, but I’ve always thought that being an artist was a long-term game.

Mark Klett, Car Passing Snake, Eastern Mojave Desert, 1983, Silver Gelatin Print, 16 x 20," $3,500

To see Mark Klett's online exhibition Seeing Time: A Forty Year Retrospective on the photo-eye Gallery website please click HERE.

As part of our video series photo-eye Conversations, photo-eye Gallery Director Anne Kelly and Mark Klett do a virtual walk-through of Seeing Time: A Forty Year Retrospective, his recent online exhibition. They also discuss the artist's prolific career and the making of his book. Watch this stimulating conversation HERE or on Vimeo.

Self-portrait of artist Mark Klett

Mark Klett is a photographer interested in making new works that respond to historic images; creating projects that explore relationships between time, change and perception; and exploring the language of photographic media through technology. His background includes working as a geologist before turning to photography. Klett has received fellowships from the Guggenheim Foundation, the National Endowment for the Arts, The Pollock-Krasner Foundation, and the Japan/US Friendship Commission. Klett’s work has been exhibited and published in the United States and internationally for over thirty-five years, and his work is held in over eighty museum collections worldwide. He is the author/co-author of fifteen books. Klett lives in Tempe, AZ, and recently retired from his position as Regents’ Professor of Art at Arizona State University.

Edward Bateman

In its first months, the pandemic seemed to find a way to target each of our vulnerabilities, my own included. For about 20 years, I have been pondering the words of my literary hero, John Barth:

“Of what one can’t make sense of, one can make art.”

I think, for many of us, our art-making is how we understand and process what we experience. But our responses need not always be overt – and are possibly best when they aren’t. There is always a risk of pathos and melodrama when we are in the middle of things. Sometimes, simply making art can serve to show us that we can still act – we can still make a small difference in a world that seems determined to shut us down.

My kitchen table landscapes (Yosemite: Seeking Sublime) reflected the stay-at-home isolation of covid, but that is not what they were really about. My leaf project (Reversing Photosynthesis) mirrored my mom’s approaching end of life – and was my last show she ever saw, but I wasn’t conscious of that when I started. Thinking back, almost every one of my projects has had some connection to something bigger than me that I couldn’t make sense of at that time.

At the beginning of the pandemic, I watched a live Zoom of Sophie Calle talking to students. I believe she wanted them to be totally in the moment – since she requested that it not be recorded. She was asked: “What advice would you give to students in this moment of peril.” There was something very grounding in her reply – or at least in how I remember it. “Every moment is a moment of peril. We never know when tragedy will personally strike us.” Now is always the time to practice those things that support our well-being.

Art is how I get through stuff, and I’ve learned to rely on it. When I have a tough day, I make art– it’s my refuge. On a good day, I make art to celebrate. And on the other days? I make art just to see what will happen next. Ideas come from ideas – and doing. My experience has been that the muses don’t cough up the goods until they know you are serious.

Edward Bateman, Half Dome in Winter No.3, from At Home in the West, 20x20", Edition of 6, $1200

Anne Kelly joined Edward Bateman in an online view of his fantastic exhibition Yosemite: Seeking Sublime in our video series photo-eye Conversations. They discussed Edward's process in re-creating Yosemite among other things — at one point in the conversation, the artist found himself enveloped in a thick cloud of fog! Check out the previous blog HERE or watch this amazing conversation on Vimeo.

Portrait of the artist Edward Bateman

Edward Bateman is an artist and professor at the University of Utah. His practice often pushes the boundaries of photography with his use of uncommon processes and technologies such as 3D digital modeling. Through constructed and often anachronistic imagery, he crates alleged historical artifacts that examine our belief in the photograph as a reliable witness.

In 2009, Nazraeli Press released a signed and numbered book of his work titled Mechanical Brides of the Uncanny, which explores 19th- century automatons as a metaphor for the camera, stating: “For the first time in human existence, objects of our own create were looking back at us.”

Bateman and his work have been included in the third edition of Seizing the Light: A Social and Aesthetic History of Photography by Robert Hirsch. His work has been shown internationally in over twenty-eight countries and is included in the collections of The Victoria and Albert Museum, The Museum of Fine Arts Houston, and Getty Research among others.

Print costs are current up to the time of posting and are subject to change.

For more information, and to purchase prints by Mitch Dobrowner, Mark Klett, or Edward Bateman

please contact Gallery Director Anne Kelly or Gallery Associate Jovi Esquivel

or you may also call us at 505-988-5152 x202

Beth Moon, Tsitakakantsa Reflection, Ankoabe, 2018/2022, Platinum print, 20 x 36″, Edition of 5, $7000

BETH MOON
BAOBAB
Opening Online: January 29, 2022
Built with Visual Server X

photo-eye Gallery is thrilled to announce our newest online exhibition: Beth Moon’s BAOBAB in celebration of the artist’s new book of the same name. BAOBAB allows the viewer to travel through Madagascar, South Africa, and Senegal alongside Beth Moon as she documents these precious old-growth trees. BAOBAB, built with Visual Server X, presents Beth Moon’s tree images in large format, allowing for their rich tonality to shine. An ancient species, Baobab trees are now critically endangered, and Moon documents their triumphant presence and divine history with reverence and respect. This mimics the position that many of these trees hold in the spiritual frameworks of some of the peoples living near the baobabs of the African continent. Beth Moon’s BAOBAB will be available for digital viewing at baobab.photoeye.com, and is accessible via traditional desktops or mobile devices, though a larger screen will enable the viewer to zoom into the incredible details of these images.

Beth Moon, BAOBABS XII, Andombiry Forest, 2018/2022, Platinum print, 18 x 27″, Edition of 15, $3800

Beth Moon first began photographing baobabs in 2016 as a component of her project Portraits of Time. She was deeply inspired by these massive lifeforms made able to sustain themselves by the sheer amount of water that they are able to store within their trunks. However, in 2018 the dramatic effects of climate change found the baobabs, and several began to fall in on themselves due to increasingly inhospitable environmental conditions. Shocked by this development, Beth rushed to Madagascar to begin to document the fantastic forms of these amazing trees, resulting in the stunning images that make up BAOBAB. This body of work exists not only as an online show, but also as a book published by Abbeville Press and a series of masterful platinum prints.

Beth Moon, Avenue of Baobabs, Platinum print, 30 x 40″, Edition of 5, $16000

>> View BAOBAB in the photo-eye Bookstore here! <<

Beth Moon, BAOBAB XIV, 2018/2022, Platinum print, 18 x 27″, Edition of 15, $3800

>> Learn more about Beth Moon in this 2018 interview! <<

>> See more examples of stunning, recent platinum works from Beth! <<

Beth Moon is a photographer based in the San Francisco Bay Area. For over a decade, she has been dedicated to documenting some of the world’s oldest and most beautiful trees as a way of preserving them, immortalizing these awe-inspiring forms with stunning, archival platinum prints. Beth studied fine art at the University of Wisconsin and has shown all over the world. Aside from BAOBAB, Beth Moon has also published Literary Chickens, Ancient Trees/Ancient Skies, and Ancient Trees: Portraits of Time.

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Print costs are current up to the time of posting and are subject to change.

photo-eye Gallery is proud to represent Beth Moon.

For more information, and to purchase prints or books by Beth Moon, please contact Gallery Director Anne Kelly or Gallery Assistant Delaney Hoffman, or you may also call us at 505-988-5152 x202

Brad Wilson signing copies of his newest book, The Other World: Animal Portraits, at photo-eye Gallery on the occasion of his exhibition opening.

At photo-eye, the staff motto is short and simple. "At photo-eye, we're always learning!"

This mantra has felt particularly resonant as we have figured out the most effective ways to navigate the turbulence of the Covid-19 pandemic. How do you maintain a functional gallery when it isn't acceptable to let people inside? As a traditional fine art space, we have had to adapt how we think about and present photography in ways that feel both true to our mission and safe for our community.

Luckily, we had the tools at the ready as VisualServer X's online exhibition capabilities were further and further developed. Throughout the year, as things opened up, closed back down and opened up again, we harnessed both in-person and hybrid methods of showing work. The series of photo-eye Conversations, spearheaded by Gallery Director Anne Kelly, offered artists opportunities to share their current process with our audience; from learning about NFT's with Reuben Wu to hearing the tales of Mitch Dobrowner's storm-chasing exploits, sharing these videos was a way to bring a much-needed dose of creative excitement into all of our lives!

Our series of online shows that began in the fall of 2020 carried over throughout all of 2021, bringing us incredible collections of work from gallery artists such as Michael Kenna, Steve Fitch and Richard Tuschman. The fall then finally offered us an opportunity to share work at an official (and masked!) opening with Brad Wilson's The Other World.

Take a walk down memory lane with a recap of all of the beautiful shows we had the pleasure of curating and presenting this year, beginning with the two that we were able to host in our physical space, below!

Physical Exhibitions

Brad Wilson, Mandrill #2, Los Angeles, 2014, Archival pigment print, 20x29",
Edition of 15, $2000

The Other World

by Brad Wilson

The Other World, featuring prints from Brad Wilson's Affinity series is both an online and physical exhibition in celebration of Wilson's title, The Other World: Animal Portraits from Damiani Press. For this show, which officially opened on November 20, 2021, we were able to have people in the space to view these stunning animal portraits in real life. This body of work is focused on an "authentic" encounter between the artist and animal, with the goal of bridging the inevitable interspecies divide.

View The Other World: Animal Portraits in the photo-eye Bookstore here!

View images of the exhibition opening below

The first masked opening at photo-eye Gallery in celebration of The Other World!

Maggie Taylor, The Logic Within, 2020, Archival pigment print, 15x15",
Edition of 15, $2800

Recent Works, 2019-2020

by Maggie Taylor

In September of 2021, we were lucky to install some recent work from gallery artist Maggie Taylor! Though this exhibition wasn't able to have a "formal" opening, these images are indicative of Taylor's signature complex and painterly style. Working intuitively, the allegorical compositions provided plenty of food for thought. Whether about issues around climate change, feminism or teamwork, Maggie Taylor approaches each and every picture with a delicacy and cleverness that set her apart from her peers.

Online Exhibitions

Richard Tuschman, Five O'Clock Shadows, 2019, Archival pigment print,
14.5x21.5", Edition of 5, $2000

My Childhood Reassembled

by Richard Tuschman

"This project reflects my experience... as a young child trying to make sense of his world and his family relationships. I photographically recreated selected vignettes from my childhood. I constructed a replica of portions of the interior and exterior of my childhood home. I then directed and photographed an ensemble of actor-models who resembled my family members."

— Richard Tuschman, January, 2021

View Richard Tuschman's photo-eye Conversation + exhibition walkthrough here!

Michael Kenna, Ponti di Spagna, Bondeno, Ferrara, Italy, 2018, Gelatin silver
print, 8x8", Edition of 25, Price on Request

Il Fiume Po (The River Po)

by Michael Kenna

"The Po is ancient and I am only a fleeting visitor. I have always loved the Heraclitus quote that says 'No man ever steps in the same river twice; it is not the same river and he is not the same man... Nothing, including myself, is ever the same. The river flows whether I am there or not, but I think there is some sort of energy exchange in every encounter."

— Michael Kenna

View the book, Il Fiume Po in our bookstore here!

Steve Fitch, Las Vegas, NV, March 22, 2002,
Archival pigment print, Open edition, $650

American Motel Signs, 1980 - 2018

by Steve Fitch

This exhibition was created to celebrate Steve Fitch's new book published by The Velvet Cell entitled American Motel Signs II, 1980-2018. American Motel Signs II was shot over a period of 28 years and is a unique insight into one of the most fascinating aspects of contemporary American culture, which is American roadside culture. American Motel Signs II is like a road trip through the many faces of everyday America that have become so ubiquitous in mainstream visual culture today.

View Steve Fitch's photo-eye Conversation + exhibition walkthrough here!

Cig Harvey, Black Velvet Petunias, 2020, Archival pigment print, 16x20",
Edition of 10, $3000

Blue Violet

by Cig Harvey

Blue Violet is a vibrant meditation on the procession of seasons, sensory abundance, and the magic in every day life... Blue Violet is a compendium of beauty, color and the senses. Plants, flowers and our experience of the natural world...tie this unique [collection] together. Exploring the five sense, Blue Violet takes the reader on a journey through nature and a range of human emotions.

Watch the exhibition walkthrough of Blue Violet with Cig Harvey and Anne Kelly here!

View Blue Violet from Monacelli Press in the bookstore here!

If 2020 felt like a year of scrambling, 2021 has been a year of adjustment and adaptation, setting the stage for a bright, flexible and engaging 2022.

Thank you all for supporting photo-eye, and we look forward to seeing you next year!

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Print costs are current up to the time of posting and are subject to change.

photo-eye Gallery is proud to represent all of the artists included in this article.

For more information, and to purchase prints or books by any artists listed above, please contact Gallery Director Anne Kelly or Gallery Assistant Delaney Hoffman, or you may also call us at 505-988-5152 x202

Cig Harvey, Roses, Yellow Car, 2020, archival pigment print, 16" x 20," edition of 10, $3000

photo-eye Gallery is pleased to announce Blue Violet: Photographs and Text by Cig Harvey, an online solo exhibition by renowned photographer Cig Harvey. This exhibition opens online on July 3rd, and corresponds with Harvey's recent photobook Blue Violet, published by The Monacelli Press.

ABOUT THE EXHIBITION

In the vein of magical realism, rooted in her personal experience, Cig Harvey frames a series of allegorical narratives in Blue Violet, that elevate the ordinary to the extraordinary. The exquisite palette, the soft light and deep contrast of her imagery, the subtle drawings and poetic language, evoke dreamy yet profound emotional images that illustrate the relationship of the human condition to the natural world.

Cig Harvey, Clouds in the Lake, 2020, archival pigment print, 20" x 16," edition of 10, $3000

ABOUT THE ARTWORK

"Blue Violet is a celebration of the natural world and the senses. Blue Violet is a vibrant meditation on the procession of seasons, sensory abundance, and the magic in everyday life." — Cig Harvey

Publisher's Description

Part art book, botanical guide, historical encyclopedia, and poetry collection, Blue Violet is a compendium of beauty, color, and the senses.

Cig Harvey, Angel Trumpets, 2020, archival pigment print, 20" x 16," edition of 10, $3000

Plants, flowers, and our experience of the natural world are the threads that tie this unique book together. Exploring the five senses, Blue Violet takes the reader on a personal journey through nature and the range of human emotions.

As with her previous three titles — You Look At Me Like An Emergency, Gardening at Night, and You an Orchestra You a Bomb — this book invites the reader to pause, laugh, cry, create, and become more aware of the natural world. Images and text in a variety of forms (prose poetry, recipes, lists, research pieces, diagrams) focus on immediate experience to understand the vibrancy of the senses on memory and feelings.

Cig Harvey, Scout and the Pansies, 2020, archival pigment print, 20" x 16," edition of 10, $3000

ABOUT THE ARTIST

Cig Harvey is an artist who uses images and language to explore sensory experience and elevate the everyday. Rich in implied narrative, deeply rooted in the natural world, her work is devoted to the topic of what it is to feel.

Cig Harvey. Photo Credit: David Brommer

Her work has been reviewed and featured in The New York Times, BBC, Vogue, The Wall Street Journal, Vice, The Sunday Times, The Independent, Marie Claire Italia, and New York Magazine. Cig Harvey's work is included in permanent collections of major institutions including, the Museum of Fine Arts, Houston, Texas; the International Museum of Photography and Film at the George Eastman House, Rochester, New York; the Museum of Fine Arts, Boston; and the Farnsworth Art Museum, Rockland, Maine. Harvey was named one of the 2021 recipients of the Farnsworth’s Maine in America Award and was named the 2018 Prix Virginia Laureate, an international photography award based out of Paris, among many other honors. Harvey has published three previous sold out monographs the first of which: You Look At Me Like An Emergency, was accompanied by a solo museum show at the Stenersen Museum in Oslo, Norway in Spring 2012. The artist lives and works in rural Maine.

» Order Blue Violet by Cig Harvey

Blue Violet: Photographs and Text by Cig Harvey, uses photo-eye’s VisualServer X website builder.

photo-eye Gallery is proud to represent Cig Harvey. To learn more about the artist and view her work, click on the links below.

» View Other Work by Cig Harvey

» Learn More about Cig Harvey

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All prices listed were current at the time this post was published.

For more information, and to purchase prints, please contact Gallery Director Anne Kelly or Gallery Assistant Patricia Martin, or you may also call us at 505-988-5152 x202

Social Media

Krista Svalbonas, Geislingen, 2022, Layered Laser Cut Pigment Ink Print, 14x21", Edition of 2, $2,800

Krista SvalbonasDisplacement + What RemainsOpening Online: March 9, 2023Built with Visual Server X

PRINT COSTS ARE CURRENT UP TO THE TIME OF POSTING AND ARE SUBJECT TO CHANGE.

photo-eye Gallery

>> View BAOBAB in the photo-eye Bookstore here! <<

>> Learn more about Beth Moon in this 2018 interview! <<>> See more examples of stunning, recent platinum works from Beth! <<

Physical Exhibitions

Online Exhibitions

ABOUT THE EXHIBITION

ABOUT THE ARTWORK

ABOUT THE ARTIST

Krista Svalbonas
Displacement + What Remains
Opening Online: March 9, 2023
Built with Visual Server X

>> Learn more about Beth Moon in this 2018 interview! <<

>> See more examples of stunning, recent platinum works from Beth! <<