Marina Font’s most recent work, in her words, “opens a dialogue between biology and psychology, our social and private persona” in the “evolving mutability” of womanhood. Her personal, photo-based work explores ideas about identity, gender, territory, language, memory and the forces of the unconscious.
Font was born in Argentina in 1970; she studied design at the Martin Malharro School of Visual Arts in Mar del Plata, Argentina and photography at the Speos Ecole de la Photographie in Paris, followed by her MFA in Photography from Barry University, Miami.
She has exhibited extensively in galleries, cultural institutions and museums nationally and internationally, with recent solo shows at The Boca Raton Museum of Art (with RPM Project), The Consulate General of Argentina in New York; and The Deering Estate at Cutler, Miami. Font is also part of two multidisciplinary collaborations: RPM Project (with Rhonda Mitrani and Patricia Schnall Gutierrez) and 9TOPICS (with Amalia Caputo). For the last twenty years she has been based in Miami Beach, Florida. Her work is represented by Dina Mitrani Gallery; this is her first monograph.
Nicholas Galanin, Tlingit/ Unangax/multi-disciplinary artist, was born in 1979, and lives and works in Sitka, Alaska.
For over a decade, Galanin has been embedding incisive observation into his work, investigating and expanding intersections of culture and concept in form, image and sound. He views his creations as “vessels of knowledge, culture and technology—inherently political, generous, unflinching, and poetic.” His practice includes numerous collaborations, including with his brother and fellow artist Jerrod Galanin under the moniker Leonard Getinthecar, and through his participation in two artist collectives: Black Constellation, and Winter Count. Through two- and three-dimensional works, and time-based media, Galanin encourages reflection on cultural amnesia that actively obscures collective memory and acquisition of knowledge. This is his first monograph.
Galanin has lectured and exhibited nationally and internationally; his works are in over twenty museum collections including the Vancouver Art Gallery, British Columbia; the Peabody Essex Museum, Salem, Massachusetts; the National Museum of the American Indian, New York; the Museum of Fine Arts Houston; the Portland Museum of Art; and the Humboldt Forum, Berlin; among many others. Galanin has apprenticed with master carvers and jewelers. He earned his BFA at London Guildhall University in Jewelry Design, and his MFA in Indigenous Visual Arts at Massey University in New Zealand. This project is being developed with consulting editor Negarra A. Kudumu.
Paul Berger has been working in the photographic medium since 1965. His series have consistently involved multiple images in structured sequences, often including text; this interest in sequence and narrative transitioned to one based in digital manipulation of electronic imagery beginning in the early 1980s. His book will be a survey of his work.
He has exhibited photographic and digital artworks both nationally and in Europe, including major exhibitions in New York, Chicago, Los Angeles, San Francisco, Paris, and Cologne. He was the subject of a 2003 retrospective exhibition, "Paul Berger: 1973-2003," at the Museum of Contemporary Photography, Chicago, which was reviewed in Artforum, and has had work published in numerous books, including Seizing the Light: A History of Photography; Robert Hirsh, 2000; and The Digital Eye: Photographic Art in the Electronic Age; Sylvia Wolf, 2010. A catalog for his Seattle Art Museum exhibition The Machine in the Window was published in 1990, and Seattle Subtext, a monograph, was published in 1984 by VSW Press/Real Comet Press.
Berger completed his BA through UCLA in 1970, studying with Robert Heinecken and Robert Fichter, and worked with Nathan Lyons at Visual Studies Workshop while completing his MFA there in 1973. He taught at the University of Washington's School of Art for 35 years, having co-founded the Photography program in 1978 and initiated a sequence of digital imaging classes in 1985. Berger’s work is represented in prestigious permanent collections including the Art Institute of Chicago; the Los Angeles County Museum of Art; the Bibliothequé Nationale, Paris; the International Center for Photography, New York; the San Francisco Museum of Modern Art; the Seattle Art Museum; and many others.
Adrain Chesser (born 1965) is a self-taught photographer who refined his craft and practice through personal mentor/protege relationships with Rosalind Solomon, and later with Debbie Fleming Caffery.
His first critical success came with "I have something to tell you," a personal exploration of the disclosure of life-altering news and the project to be published through Minor Matters. Initially exhibited in 2004, this work has been featured in many publications and through solo exhibitions in Santa Fe, Houston, Portland, OR, and Seattle, and was recently presented by Chesser at a TEDx convention in Vienna, Austria.
Chesser’s photographs have been included in numerous group exhibitions throughout the United States and in Europe, and are in the permanent collections of the Museum of Fine Arts Houston, the Portland Museum of Art, and The Norton Museum of Art, among others. He was granted a year-long residency at the Santa Fe Art Institute in 2004, and was selected for the viewing drawers at Blue Sky Gallery in 2013. His first book, The Return, with Timothy White Eagle, was published by Daylight Books in 2014. He currently lives on Vashon Island, WA.
Jenny Riffle was born in Washington state in 1979; she holds a BA in photography from Bard College, and an MFA in Photo, Video and Related Media from the School of Visual Arts. Riffle’s photographs have been exhibited nationally. She has been featured in, and photographed for, numerous publications worldwide including Glamour, Photo District News (PDN), The New York Times Magazine and The Independent; her monograph Scavenger: Adventures in Treasure Hunting was published by Zatara Press in 2015. Riffle has received several awards including FotoFilmic’s Buschlen Mowatt Nichol Foundation Award in 2016, The Pilkington Prize in 2015, and the Aaron Siskind Foundation grant in 2013. Riffle lives in Seattle, and is on the faculty at Photographic Center Northwest.
As a teenager in rural Washington, Molly Landreth first explored photography as an attempt to weave the personal with the political from behind and in front of the lens. She continues to use the intimacy of film cameras to emphasize the unique beauty of her subjects, and to push social expectations of gender and sexuality. Her largest project to date, “Embodiment: A Portrait of Queer Life in America” garnered national press, and received support from the Robert Giard Memorial Fellowship, 4Culture, and Artist Trust. Landreth’s work has been exhibited widely, including The Brighton Photo Biennial, Seattle Art Museum Gallery, and the Camera Club New York. She has been featured in, and photographed for, The New York Times, Le Monde, The Guardian, Time Magazine, Newsweek, The Advocate, OUT, Marie Claire and The New Yorker among others. Landreth is also a commercial photographer, and is on the faculty at Photographic Center Northwest.