F295 actively seeks out some of the most exciting work being made today and presents it to you in the unique and marvelous F295 symposium format. Here is some short biographical information on the 2104 speakers!
Edward James Bateman
Salt Lake City, UT
Jefferson Hayman is an artist that works within the themes of nostalgia, common symbols and memory. He lives and works in Tappan, NY a small town located minutes outside of Manhattan and filled with the history of the American War of Independence.
From his training and environment Hayman has forged an individual visual sensibility. The photographs themselves are handcrafted silver gelatin, platinum and pigment prints that seem historically timeless, captured with a delicacy of tonality that harks back to the highest traditions of graphic art. The works are then paired with antique or artist made frames which place each piece into the realm of unique statements.
His work can be found in many private and public collections, most notably The Museum of Modern Art, The Boston Athenaeum, The New York Public Library, The collection of Sir Elton John, and the collection of Robert DeNiro amongst many others.
Dan Herrera is a photographer based in Sacramento, California, with a satellite studio in New York City. Dan uses an elaborate means of image capture, composition, and output that merges 19th century printing techniques with contemporary digital post-production. His work explores how the aesthetics of process can be used as a narrative element.
Dan’s exhibition record includes shows in New York, Los Angeles, and numerous Bay Area venues including the De Young Museum in San Francisco, and the Marin Museum of Contemporary Art. His work has been recently published in Submerge Magazine, F-Stop Magazine, Diffusion Magazine, and Juxtapoz. He currently teaches classes in photography, art, and design as an adjunct professor at American River College, and The Art Institute of California. Website: www.danherrerastudio.com
…I have formed a picture of the universe that is different than most carry. It formed out of the one annihilated when, at the age of 21, I experienced a psychotic break, a schizophrenic episode that put me in an asylum for 6 months, half of which was spent in a complete seamless delusion. I slipped into this state as something of a card-carrying existentialist and came out like a newborn—fragile, totally vulnerable, but with an unshakable knowledge of there being great meaning to this life, of there being an undeniable harmony to “things,” of there being absolute truth, one that is mirrored by art that is pure. It is all that I do now—simply making this perception I was given denser through art, art that comes through you not from you. The past, present, and future appear to me to be part of the same moment, a liberating concept of time for it frees you up from the strain one feels in their art when “contemporary relevance” reels its ugly head. Read this as “temporary con,” for it is delusional to believe otherwise. Your job is to make this object that is one’s unique perception of this truth, simply denser. When you enter this stream of thought, this archeology of the moment, the current begins to take you with it. No longer do you struggle for momentum, for its power and beauty is overwhelming.
You will hunger for it and it will be the food that sustains you because it will be your connection to the truth of things… Joseph Mills… from a letter to Lisa
Mills’ work is included in many prominent collections including The Corcoran Gallery of Art, The High Museum, The Museum of Fine Arts Houston TX, The Museum of Photographic Arts in San Diego, CA, The National Museum of American Art in Washington DC, The Virginia Museum of Fine Arts in Richmond and others. His monographs include Psycho Path, Six by Six series (set 2) published by Nazraeli Press (2010), Witness Number 5, published by JGS Inc., distributed through Nazraeli Press (2009), Anarch, published by Nazraeli Press (2007), Data, documentary DVD published by Joy of Giving Something, NY (2005), The Loves of The Poets, co-published by Hemphill and Nazraeli Press (2005), and Inner City, co-published by Hemphill and Nazraeli Press (2003). He received the Virginia Museum Professional Fellowship Grant in 2000 and 1998
Professor Emeritus, University of Illinois, Champaign-Urbana
The exhibition career of Bea Nettles began in 1970 when her work was shown in “Photography Into Sculpture,” at the Museum of Modern Art in NYC. Recognition as an experimental photographic artist followed and her work has been featured in over two hundred exhibitions throughout the world.
Nettles’ work is found in history texts including Art Since1940: Strategies of Being (Abrams), History of Women in Photography (Abbeville Press), World History of Photography (Abbeville Press), Photographers Encyclopeaedia International (M Auer, Switzerland), and The Photography Collector’s Guide (NY Graphic Society).
Her work has been regularly reviewed and featured internationally in magazines in the United States, Italy, Portugal, Australia, England and France. Her images are in numerous collections including the Museum of Modern Art, the Metropolitan Museum of Art, the National Gallery of Canada, the Polaroid International Collection, the Phillips Collection in Washington DC, the International Museum of Photography at the Eastman House, and the Center for Creative Photography in Tucson, Arizona. Her artists’ books can be found in special collections libraries at museums and universities including Yale (Beinecke), University of Washington, and Virginia.
She has received two National Endowment for the Arts Photography Fellowships and grants from the New York and Illinois State Arts Councils.
Nettles has taught photography and the production of visual books to over one thousand students since 1970. In addition her classic alternative processes textbook Breaking the Rules: A Photo Media Cookbook influenced two generations of readers. She has delivered lectures and workshops internationally and is widely recognized for her innovations in mixed media photography and photographic books.
For more information, visit her extensive website for links to interviews, podcasts, and her artwork.
Alison was educated at the Rochester Institute of Technology and the Banff Centre School of Fine Arts, and has held teaching positions at the Nova Scotia College of Art and Design and Drexel University, freelance photography in the studios of Christies auction house in New York, and eight years as a Photography Conservation Assistant at The Better Image provide the foundation for careful experiments with expired photographic papers.
Joni Sternbach was born in the Bronx, New York. She graduated from New York University/International Center of Photography (ICP) with an M.A. in Photography in 1987. She is currently a visiting artist at The Cooper Union and faculty member at ICP and the Center for Alternative Photography in NYC teaching wet plate collodion.
Sternbach uses early photographic processes to create images of contemporary landscapes and seascapes. Her photography has taken her to some of the most desolate deserts in the American West to some of the most prized surf beaches on both coasts. Recently Sternbach traveled to Byron Bay, Australia as part of Art Park/Atlantic’s new Artist-in-Residence program.
Sternbach’s solo exhibition, SurfLand, which captures portraits of surfers in tintype, opened at the Peabody Essex Museum in Salem, Massachusetts, in May 2009. Her monograph, SurfLand, was published in May 2009 by Photolucida.
Sternbach is represented in New York by Rick Wester Fine Art. Her work is part of many public collections including the Nelson Atkins Museum, PEM, St Louis Art Museum and the Museum of Fine Arts, Houston. She is the recipient of several grants including NYFA and CAPS.