Quiet/Loud is an insightful, thoughtful, and carefully strategized work. Its ambiguity allows us to guess at the specifics of Jessica's life. Yet the specificity of her artistic choices leaves those who have tried to be a wife, a mother at the same time they hold a demanding career wildly nodding in acknowledgment (and secretly thankful that we are not alone in the overwhelm of these life choices.)
Read MoreOur editor Diana Nicholette Jeon writes about JP Terlizzi’s experimental work, The Intersection, and how she felt when seeing it.
Read MoreOur editor Diana Nicholette Jeon writes about Lori Vrba’s photographic assemblage, Exposed, and how she felt when seeing it.
Read MoreOne of my favorite things about art is that its imagery can, at first glance, appear curious, intriguing, and/or beautiful to entice you closer. It whispers to you with a nuanced voice, but when you go deeper and look longer, you find a serious work about a contemporary issue that needs more discussion and exposure. Work that enters through the mind but lodges deeply in the heart and the gut. This pair of images by Dale Rio does that well.
Read MoreOur editor Diana Nicholette Jeon writes about Kaylee Clark’s handmade “film, “Divergence.”, and how she felt when seeing it.
Read MoreOur editor Diana Nicholette Jeon writes about Justen Ahren’s image “Feed Lot", Lubbock, TX” and how she felt upon first seeing it.
Read MoreOur editor Diana Nicholette Jeon writes about Maureen Bond’s image “Untitled (House)” and how she felt when seeing it.
Read MoreDiana Nicholette Jeon writes about Francis Baker’s image “Barrier” and how she felt when seeing it.
Read MoreWelcome to no. 26 in our series Poignant Pics where we've asked photo curators, educators, collectors, and makers to share a brief essay on a photo that has significantly changed the way they think or look at the world.
In this issue, our editor Diana Nicholette Jeon writes about two of Dawn Surratt’s images and how she felt when seeing them.
Read MoreWelcome to no. 25 in our series Poignant Pics where we've asked photo curators, educators, collectors, and makers to share a brief essay on a photo that has significantly changed the way they think or look at the world.
In this issue, our editor Diana Nicholette Jeon writes about Chris Byrnes’ image, Broken Landscape, and how she felt when seeing it.
Read MoreWelcome to no. 24 in our series Poignant Pics where we've asked photo curators, educators, collectors, and makers to share a brief essay on a photo that has significantly changed the way they think or look at the world.
In this issue, our editor Diana Nicholette Jeon writes about two of Anna Karaulova’s images and how she felt when seeing them.
Read MoreWelcome to no. 23 in our series Poignant Pics where we've asked photo curators, educators, collectors, and makers to share a brief essay on a photo that has significantly changed the way they think or look at the world.
In this issue, our editor Diana Nicholette Jeon writes about two of Anne Silver’s images and how she felt when seeing them.
Read MoreWelcome to no. 22 in our series Poignant Pics where we've asked photo curators, educators, collectors, and makers to share a brief essay on a photo that has significantly changed the way they think or look at the world.
In this issue, Diana Nicholette Jeon, an editor, talks about one of Janet Matthews’ untitled images, and how she felt when seeing it.
Read MoreWelcome to no. 21 in our series Poignant Pics where we've asked photo curators, educators, collectors, and makers to share a brief essay on a photo that has significantly changed the way they think or look at the world.
In this issue, Diana Nicholette Jeon, an editor, talks about Shane Balkowittsch’s image, girl with virus, and how she felt when seeing it.
Read MoreWelcome to no. 20 in our series Poignant Pics where we've asked photo curators, educators, collectors, and makers to share a brief essay on a photo that has significantly changed the way they think or look at the world.
In this issue, Diana Nicholette Jeon, who recently joined One Twelve as an editor, talks about Deborah Saul’s image, holding on to what was lost, and how she felt when seeing it.
Read MoreWelcome to no. 19 in our series Poignant Pics where we've asked photo curators, educators, collectors, and makers to share a brief essay on a photo that has significantly changed the way they think or look at the world.
In this issue, Diana Nicholette Jeon, who recently joined One Twelve as an editor, talks about Alfred Brandl’s image, Shemsije/Pharmacist, and how she felt when seeing it.
Read MoreWelcome to no. 18 in our series Poignant Pics where we've asked photo curators, educators, collectors, and makers to share a brief essay on a photo that has significantly changed the way they think or look at the world.
In this issue, Diana Nicholette Jeon, who recently joined One Twelve as an editor, talks about Russ Rowland’s image, Dinner for One, and how she felt when seeing it.
Read MoreWelcome to no. 17 in our series Poignant Pics where we've asked photo curators, educators, collectors, and makers to share a brief essay on a photo that has significantly changed the way they think or look at the world.
In this issue, Diana Nicholette Jeon, who recently joined One Twelve as an editor, talks about Barbara Strigel’s image, Construct, and how she felt when seeing it.
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