Expiration Notice

2009-04-27T00:37:00.001+01:00

Volume 3...

We have only begun to scratch the surface here at Expiration Notice when it comes to sharing and exposing the work of photographers within our designated demographic. Unfortunately, we have reached the limits of our outreach, and in order to grow, indeed, in order to continue, we would need to expand our resources to attract the quality goods we have thus far been fortunate to publish. It's not a coincidence that most successful publications on the web (or anywhere) have the support of: a nonprofit arts organization or educational alliance, direct corporate sponsorship, the established following of a name brand artist, or the money to make up for all the aforementioned.

Fact is, we're just two guys with little more than a very real love for the medium who tried to address a particular situation, and succeeded (at least in part) in drawing attention to the fact that there is a large untapped volume of quality work out there from an ageless demographic that is vastly under appreciated. And for that we have you, our viewers and contributors to thank.

That said, our current issue provides yet another peak at some very talented and insightful photographers- un(der)heralded though they may be. We're going to take the summer off and see if we can, somehow, someway, secure the necessary resources for ensuring the continuation of your submissions- so necessary to this enterprise. Hopefully, we'll join you all for our next issue come Sept. 28.

2009-04-27T00:36:00.005+01:00

THE PHOTOGRAPHERS:

Bill Vaccaro

Playful, soft focus and coming at you with all the verve and panache of a roadside attraction, Bill Vaccaro's photographs strike one as minor miracles in the land of eternal monochrome. But damnation is never far removed from their redemptive chorus. The clouds ominous, the figures ghost like, the landscape dark and foreboding. It's a tenuous existence of competing contrasts and possible outcomes in life's uncertain unknowns.

Noah Beil

The decisive moment is far removed in Noah Beil's beautiful, large format images which seem to suspend time and place in cryogenic contemplation. His work however, is very much about time, and transformation- and how much can be revealed, and remain hidden, right in plain view.

Tamir Sher

Too many photographers have no guts. I don't mean guts to go to battle zones, or guts to engage with peoples on the edge. Genre swapping experimentation and the guts to have a bit of fun is what I'm talking about. Too many photographers find a groove and stick, for creative types they can be, well, not very creative. Straddling Art, photography and more Tamir Sher is not afraid and as a consequence the creative juices flow..........

Greg Reynolds

One of the original idea's of this site was to not only show current work by emerging photographers, but also to show work that for one reason or another didn't get the exposure it deserved when it was first created. I'm sure that had we had the Internet and blogsphere back in the early 80's then Greg's photographs would have caused a sensation, looking as fresh and contemporary as they do.

2009-04-27T00:35:00.001+01:00

Bill Vaccaro- Jesus Is On The Mainline

I’m what my wife calls a recovering Catholic. I have vague childhood memories of sleeping with a crucifix over my bed as a child. I don’t know what gave me worse nightmares: The sight of a man nailed on the cross or the threat of eternal damnation. As I grew older and began to question my religious teachings, I became more and more fascinated by how other people expressed their own beliefs. They are reflected in images such as a barn in rural Illinois that proclaims “Repent!” to passersby, a concrete statue of Christ off of a lonely two lane road in Western Kentucky, or that of a veteran holding a silkscreen portrait of Jesus that he picked up while on leave in Tokyo during the Korean War.

These photographs are my attempt to reconcile with my childhood memories, current beliefs, and with the wonder that I have for how others manifest their faith both publicly and privately. It began with a road trip down I-55 to New Orleans a few years ago where I first came across these public manifestations of what I see as pure religious faith in the Bible Belt. The project’s name is taken from a traditional gospel tune popularized by Mississippi Fred McDowell about what it would be like to have a “main” line to Jesus:

Jesus is on the mainline. Tell him what you want. Call him up and tell him.

While growing up in a working class Italian neighborhood in Buffalo, New York, Bill Vaccaro thought that blur was normal – that is, until his parents took him to the optometrist to correct his nearsightedness. Still, he felt more comfortable in the blur than in the sharpness. It was like a soft, really good (but well-worn) security blanket.

A self-taught photographer, Bill suppressed his blurry memories by shooting photos with cameras with tack-sharp lenses sporting names such as Leitz, Nikkor and Zeiss. Then he saw his first toy camera photos. He was hooked. He picked up a Holga and, later on, a Diana clone called a Windsor that he affectionately named Princess Di. He shoots almost exclusively with toy cameras, medium format view cameras, and obscure (and not so obscure) film cameras modified with homemade shift-tilt lenses culled from cheap loupes, crappy magnifying glasses, and battered enlarging lenses, bellows torn from old Polaroid cameras, used extension tubes, and gobs of black gaffers tape.

Bill's work has been featured in publications such as SHOTS, Light Leaks, Love, Chicago, and Other. His photos have also appeared online in File Magazine, Flak Photo, mooncruise.com, and in the Rearview section of the Chicago webzine, Gapers Block. He holds bachelor and masters degrees from the State University of New York at Buffalo and currently makes his home in Chicago, Illinois with his wife and son.

2009-04-27T00:34:00.002+01:00

Noah Beil- Mountain As Monument

The intense bombing of World War II left the streets of many European cities clogged with the remains of demolished masonry buildings. In Berlin alone, over 45 million cubic meters of debris were cleared during post-war rebuilding efforts. After intact bricks were recovered for reuse, with much of the manual labor performed by women, waste materials were transported to distributed collection locations and piled into hills known in German as Schuttberg or Trümmerberg. Today, these debris hills in Berlin are difficult to distinguish from naturally occurring features as they have been landscaped into parks with manicured grass and densely vegetated sections. They provide an opportunity to study mankind’s reshaping and repurposing of the landscape, as well as the effects of natural reclamation on anthropogenic terrain alterations.

Noah was born in Spokane, Washington, and has lived in Pennsylvania, Upstate New York, and Rhode Island. He received a BA from Brown University and is currently based in Oakland, CA. His landscape and architectural photography explores mankind's interaction with the earth's surface. Utilizing geographic information systems, satellite imagery, and GPS technology, he examines intentional and accidental alterations of the landscape, explores spatial relationships between landforms, vegetation, and structures, and compares natural and artificial landscape features.

2009-04-27T00:33:00.004+01:00

Tamir Sher- Masters On 45

It's always been natural to express myself with a camera and I'm always surprised how the medium keeps changing and refreshing itself from its very inception. From this perspective I realize that the digital era is very primitive.

For me there is no hierarchy between daguerreotype and digital contemporary photography. One day I can take my medium format camera and use it like a 35mm camera hanging on my neck for a family event, and another day I can use my small digital camera on a heavy tripod to work on a project in my studio.

I work simultaneously on my projects. The circle works are images from a new work in progress called "Masters on 45." I took my old record player and decide to use it in my work before I threw it away. I placed reproductions of paintings by the old masters and my son's super heroes on it and took pictures at various speeds. I investigated how the low-tech record player connects and mixes old and contemporary master paintings with the digital era- creating new representations.

I was born 1966 and raised in Israel and currently live in Tel Aviv. I still have b&w prints that I made in the dark room since I was 8 years old. I've taken photographs all my life, it is simple as that.

2009-04-27T00:32:00.005+01:00

Greg Reynolds- Jesus Days

‘Jesus Days’ is a pictorial memoir of a time in my life that I had preferred to forget. After a period of twenty-five years, I began sifting through dusty Kodachrome and Ecktachrome slides that revealed how I saw the world around me while I was a closeted gay man in a Christian Organization that believed homosexuality a horrendous sin to be avoided at all costs. At this time, I did not see myself as a photographer, but merely as someone who chose to record their observations on film.

Prior to coming out as a gay man and moving to New York City to obtain an MFA in Film from Columbia University, Greg Reynolds worked eight years as a Christian Youth Evangelist. From 1975 to 1983, Greg traveled to American College Campuses in Indiana and Kentucky, working for an American evangelical movement called InterVarsity Christian Fellowship. As a Staff Member and Area Director, he counseled Christian students, lead Prayer Meetings, spoke and participated in missions in Central America and evangelism projects in Ft. Lauderdale, Florida during Spring Break, where Christian students would confront partiers and sunning vacationers on the beach with the message of salvation through Jesus Christ.

2009-04-27T00:31:00.011+01:00

ON NOTICE

Also loving.....

Natascha Libbert

Tyler Hewitt

Horatiu Sava

Allison V. Smith

2009-04-27T00:30:00.001+01:00

Well, have a great summer (or winter if you are in the South) and with your help we hope to be back on 28th September.

2009-03-16T00:07:00.003Z

Volume 2!

Welcome to Volume 2. We have continued to be inundated with a fantastic crop of submissions, and after considerable consideration (and the odd sleepless night) we have settled on this month's selection. Again some artists you may be aware of, others perhaps not, but one thing is for sure, they all deserve to have their work seen by as wide an audience as possible. So set your monitors for optimum viewing pleasure, get yourselves a cold one and relax with EXPIRATION NOTICE VOLUME 2.

As with the last edition if you submitted and didn't make this one, hang fire you may well be featured in forthcoming Volumes, and as always keep those comments and submissions coming.

Cheers, the EXPIRATION CREW.

2009-03-16T00:06:00.004Z

THE PHOTOGRAPHERS:

Seba Kurtis

Seba Kurtis is working from the inside. Having lived as an illegal immigrant himself, he is well placed to understand his subject on a personnel level. He is not a documentary photographer in the traditional sense, but he does produce documents, and these documents, with their accidental aesthetic and light leaks, rendering parts of the subject only partially visible, are beautifully apt. MP

Sparky Campanella

Sparky's compositions are fragmented, minimalist images which often keep one guessing as to just what you're looking at. These are fleeting, subliminal glimpses served freeze dried and unconcerned with the grand scheme of more "traditional" landscapes. They're also some of the most sensual images I've ever seen. SB

Tim Atherton

Tim Atherton photographs as a way of exploring traces left by people in the quieter terrain vague area's of the city. Photographing cities in the past, has usually involved small camera's and hustle & bustle. More recently it tends to involve banal landscape and large colour photographs. Tim's work avoids both these paths, using mono and honing in on the clues left and the details created by it's inhabitants. He creates beautifully still yet often complex compositions. MP

Jamie Drouin

Many typologies tend to concentrate solely on the objects they seek to catalogue, their subject matter afforded little regard as to background, composition or lighting. Or, they are presented in near absolute uniformity. Jamie Drouin's Iceland Towers however, portrays stark and strikingly beautiful landscapes, each individual photograph as capable of standing on its own strengths as the towers they depict. SB

2009-03-16T00:05:00.004Z

Seba Kurtis- 700 Miles (The changing face of America)

"There are currently 45million Hispanics working or living in the USA, (particularly from Mexico) of which 12 million are suspected illegal. This diluting of their race breeds insecurity in some American citizens, fearful of the face of America being changed. An anti-immigrant crusade has developed to prevent illegal aliens from crossing the southern border. In 2006 President Bush authorised the fencing of 700miles of the US-Mexico border of the states of California, Texas and Arizona. This $2.2 billion project is yet to materialise, but has been compared to the Berlin Wall. Patriotic Americans have given up their free time to become vigilantes “Minutemen”, who secure the border themselves and report any infiltration to border police from 24hour video cameras in their own home" Seba Kurtis

2009-03-16T00:04:00.002Z

Sparky Campanella- Horizon

I saw a man pursuing the horizon- The Black Riders; Stephen Crane

Any horizon defines our immediate limits and ranges our world view. But instead of the effortless, ephemeral expanse of the natural, constructed horizons of concrete and steel create absolute barriers. Instead of a boundless palette of meadows and mountains, urban horizons seem empty and stark. Our ability to coexist with nature is spotty; what does that say about our species as a part of nature herself? These images present a stand-off, evenly divided between the patterned rigidity of man–made and the random organic of nature. There’s beauty in how both halves simultaneously oppose and complement each another. We look to any horizon, man–made or natural, for inspiration and perspective. city dwellers leave behind much of the natural world, yet we can’t leave behind our need for that which the horizon provides. We still pursue it.

Bodies of Work: Complementary Colors- Renewal of the Vietnamese land and people after the war, 2008; Portrait- Abstract portraits represented by close-up photos of skin, ongoing; 40 over forty- Portraits of women over forty, ongoing; 39 minutes- An every-39-minute capture of the entire year, 2006; Boundaries- Non-sexual connections across the sexual spectrum, 2005; Horizon- The urban horizon, 2004.

Solo Exhibitions: DWC Gallery- Chicago, 2008; Koelsch Gallery- Houston, 2006.

2009-03-16T00:03:00.002Z

Tim Atherton Traces-Alleyways & Spandrels

"The city, however, does not tell its past, but contains it like the lines of a hand, written in the corners of the street, the gratings of the windows, the bannister's of the steps, the antennae of the lightning-rods, the poles of the flags. Every segment marked in turn with scratches, indentations, scrolls" Italo Calvino, The Invisible City

"Why do I photograph? Because for me it is an essential way of seeing, of exploring and understanding something or somewhere. I’m drawn to the traces people leave, the evidence or signs that the camera can discover, often seeming to find them in unnoticed or disregarded terrain.

The principle of exchange states that every contact leaves a trace – that with contact between two things there will be an exchange. I see this as being not only the exchange that takes place between inhabitant and place, but also between photographer and place – the trace of light on film – an exchange. I find myself searching for these traces, this evidence, collecting it and trying to make sense of it - trying to interpret it in some way – reaching provisional conclusions which are then either discarded or built on. Which is how I come to be photographing alleyways (and spandrels – I’m drawn to both meanings of the word: its architectural use, which seems applicable to urban planning, and also its appropriation by evolutionary biologists: a sort of unintended consequence of no practical use, but which is there nonetheless. It seems in many ways to apply to the unintended places and terrain vague of the suburbs)". Tim Atherton.

Photographer and artist Timothy Atherton has been taking photographs for over 20 years, obtaining his technical training in the British Army. He was educated at Middlesex & Durham Universities and after working and photographing in Britain for a number of years, including a year spent documenting unemployment in post-industrial NE England, he moved to arctic Canada in 1989, living in Iqaluit, Tuktoyaktuk and Yellowknife. In February 2005 he moved to Edmonton, Alberta. In recent years Timothy Atherton’s work has involved working with large format images leading to explorations in conceptual social and urban landscape projects.

Timothy Atherton’s work has appeared in Maclean’s Magazine, Saturday Night, the Globe & Mail, New York Times, L.A. Times, Forbes, Azure, Canadian Architect and numerous other national and international publications.

2009-03-16T00:02:00.002Z

Jamie Drouin- Iceland Towers

The communication towers in Iceland sporadically dot the landscape, suggesting a meandering invisible line that connects one community to the next. They appear in a variety of locations, such as in the middle of a private field, nestled into the mountains, or situated proudly in the center of towns, with the basic form typically being a repetition of a hut (often green) and a tower. However, the towers are also highly individualized structures which could be interpreted as a unique sculptural language using variations of shape and number of objects to define a particular place.

Jamie Drouin was born in Victoria, British Columbia in 1970 and received his BFA from the University of Victoria. His work primarily focuses on social interactions with the landscape, the way individuals and communities define spaces for recreation, industry, and privacy. It also highlights the way in which dislocated artifacts are created when conventions are altered over time, or abandoned.

Drouin has exhibited worldwide with solo exhibitions in Japan, Germany, Kazakhstan, Canada, UK, and has been featured in publications such as Leica World, Camera & Darkroom, Photo Life, and Harper's Bazaar.

Jamie Drouin lives and works in Victoria, British Columbia with his wife.

2009-03-16T00:01:00.003Z

On Notice
Also loving...........

2009-03-16T00:00:00.007Z

The Critics on Volume 1...

Well, you can't always please everyone, certainly not these critics- and we appreciate them taking the time to assess the work we present at our humble venue. Thank you, Coeur d'Alene High School (hope we did better this time around).

And finally, next Edition out 27/4/09- keep the submissions coming, until next time..................

NB Images copyright of individual photographers.

2009-02-09T00:29:00.000Z

WELCOME... to Volume 1!

Thanks for visiting the First Edition of Expiration Notice, the online gallery for emerging photographers 35 and over. We're very happy with the selection of photographers we're presenting today, some names you may already be familiar with, others maybe less so. Styles and content range from hardcore reportage, to the everyday snapshot aesthetic of our surrounding everyday world. And we're quite happy to have extended our originally set parameters from two, to four photographers- and then some (see On Notice- our Honorable Mention Gallery)!

Neither Mark nor I are high tech mavens, you won't find any fancy Flash or other high end bells and whistles here- instead, we'll just concentrate on continuing to feature the work of photographers normally excluded from other venues. Perhaps if truly successful, we'll eventually render ourselves obsolete. In the meantime, we're open to your criticism (hopefully constructive), suggestions, and yes- continued submissions... so we can have yet another go come mid-March!

Please Note:

We received a huge amount of submissions for this our first edition and thanks to you all, we have had to do some tough judging. If you didn't make it into Volume 1 you may well make it into next month's or even the month after. And that's how submissions are now being accepted for future editions, on a rolling basis.

Regarding our judging criteria- there's two of us having similar, albeit individual tastes. After a general consensus of what's in the running, we pick two photographers each according to our considerably subjective criteria. That simple... and hope you enjoy this much deserving work.

2009-02-09T00:28:00.005Z

THE PHOTOGRAPHERS:

Alan George

Last year, I caught one of the very best photography exhibits in all San Francisco not in one of its few premiere photo galleries, but in the lobby of a busy downtown office building. The photographs were of Alan George's stunningly beautiful photographs of eccentrically manicured flora found on San Francisco's residential streets. Not limited to oddly shaped flora, Alan finds beauty in the most Painfully Ordinary of subjects ignored and disdained by tourist and native alike. This is San Francisco through the backdoor- and no matter how worn or seemingly inconsequential the subject matter, there's an overall sense of beauty and grandeur that permeates all of George's work. SB

John Darwell

I recognise so much in John Darwell's series Not Starting From Here. We both live in England's North-West albeit at different ends of the region, and I recognise that light. I know a man like the one leaning on a wall on a housing estate similar to the one I grew up on. I recognise that dining room, the wallpaper, the tablecloth, perhaps laid ready for a "Full English" at a Bed & Breakfast, or maybe the more up market guesthouse, that most quintessential of a stopover for the British traveller. And these are the photographs of a traveller, a traveller contemplating the familiar and wishing to understand a landscape and in the process showing us a little more of things that can be taken for granted. An Englishman's hike in the style of Wainwright, rather than a spitting "Road Trip" by Kerouac. MP

David Wolf

David Wolf's deceptively simple "snapshots" intrigued and puzzled me from the start. His Left Behind photos are, on first glance, not dissimilar from countless other urban street, still life's taken by countless other photographers of discarded or misplaced household objects. The only difference- his work! And there lies the rub. Wolf's photos retain their sense of wonderment, from initial sidewalk visualization to final photographic representation. I'm not sure I'll ever know quite why, but whatever it may be- it's what (in the hands of an artist) elevates a camera from simple recording device to instrument of transformation. SB

George Georgiou

The digital age has made it relatively easy to convert from color to black and white practically on demand, but even today there are few photographers who can shoot either equally well. Classic names like James Nachtwey and Carl DeKyzer automatically come to mind, and as of last year, seems you can add George Georgiou to that small and hallowed pantheon. Although the latter's name and recognition may yet be emerging, his talent and ability have most definitely arrived. SB

2009-02-09T00:27:00.017Z

Alan George- Immediate Vicinity

"On March 21st, 2007 my daughter was born. My son had, two months prior, celebrated his second birthday. Anyone in similar circumstances can appreciate that there is little time for anything other than domesticated "bliss" and occasionally, some sleep. Photography seemed out of the question. Determined to pick up the camera again, I set about to make the best use of the only time that I had at my disposal, my commute to work which consisted of a 12 minute walk to the subway and a ten minute ride.

Photography, at least to me, has a direct relationship with the "reality" the photographer experiences, either accidental or contrived. The photographer selects some portion of this "reality," captiures it on a two dimensional plane and presents it as a photograph. The job of a photographer is to manage this "reality" in such a way as to result in interesting photographs. Traveling to exotic destinations, achieving access to the otherwise inaccessible locations/people, constructing film set like concoctions; these are but a few of the many "reality" enhancement techniques. None of which were readily available to me. This series of images is a result of an attempt to make the most of my forced 'reality'."

Alan George was born in Fayetteville, North Carolina in 1968. He received a BS from the University of Tennessee in 1992. Alan began his involvement with photography in 2003 and is currently based in San Francisco, California with his wife and two children.

2009-02-09T00:26:00.001Z

John Darwell - Not Starting From Here

John Darwell is an independent photographer working with museums and galleries on projects that reflect his interest in social and industrial change and his concern for the environment. His work has been exhibited, and published, widely both nationally and internationally, including exhibitions in London, Amsterdam, the USA, Mexico, South America and the Canary Islands, and is featured in a number of important collections including the Victoria & Albert Museum, London and the Metropolitan Museum of Art, New York. He has had seven books of his photographs published, including in 2007 a major study of the 2001 Uk Foot and Mouth epidemic entitled ‘Dark Days’, (Dewi Lewis Publishing); ‘Committed to Memory’ at 25 year retrospective on his work to coincide with exhibition of the same name at Tullie House Museum and Art Gallery, Carlisle in May-July 2007 and 'Legacy' (2001 Dewi Lewis) a view inside the Chernobyl Exclusion Zone.

"This work is a journey of exploration and encounters along the Cumbria coastline (home of the Lake district) in the most north western county in England. The work (all images produced on 6x7 format) travels from the northerly point of the coast to the counties' southerly most point. The only limitation I set myself being that whenever I took a photograph, I had to be able to see the sea somewhere within my field of view. This region is rich in post industrial history and notorious for being the home of the Sellafield Nuclear Reprocessing Plant. My aim was to produce a personal journey to help me better understand my feelings for this stretch of coastline within the county I had made my home."

2009-02-09T00:25:00.003Z

David Wolf- Left Behind

David Wolf's photographs explore worlds both seen and imagined. Whatever his immediate subject, making photographs for Wolf is a process of transformation. "By making a connection between one's inner life and the greater world," he writes, "art transforms not only what we see but who we are. At the heart of this process is empathy."

Left Behind speaks to the parallel lives of things and people. Both document and metaphor, the project collects unwanted, forgotten and discarded things, and places them in a context rich with social insight and emotional resonance. All of the objects have been photographed as found, largely in San Francisco’s Mission District neighborhood, from 2003 to the present.

David's photographs have been exhibited nationally at such venues as the Santa Barbara Museum of Art, the Griffin Museum of Photography, the Photographic Center Northwest, and the Society for Contemporary Photography. His work is included in a variety of museum, corporate, and private collections.

2009-02-09T00:23:00.007Z

George Geogiou- Hidden: Psychiatric Institutions in Kosovo and Serbia

"Between 1999 and 2002, I visited three psychiatric institutions while living and working in Kosova and Serbia on a long term project, Between The Lines, on the aftermath of the NATO conflict with Serbia. The work from the institutions, a story on it's own, is also an integral part of this bigger narrative of conflict, division, difference and exclusion. Having spent four years teaching a photography class to people with psychiatric disorders in London prior to this, psychiatric institutions and patients were not alien to me and I was aware of the fluctuating behavioural patterns. What I found in Kosova and Serbia was a far cry form contemporary practice in London.

When I first visited the institutions they were hidden from the gaze of the general public and came as a shock to Serbs when they were exposed. Money, during the years of the Milosevic regime had drained away, leaving filthy conditions, contagious diseases, lack of medical care and rehabilitation and a failure to provide oversight due to an unmotivated low paid staff struggling with their own economic difficulties.

The worst aspect was the total lack of care and stimulation and the high number of people who should never have been in these places. People with physical disabilities, (the boy with no legs was a victim of a car accident and orphaned), downs syndrome, a high proportion of Roma or children whose misfortune was to have been born in the institutions. By living in this environment of deprivation, with little stimulation or compassion they start to display repetitive rocking behaviour and self-injury.

By 2002, on my final visits, money had been raised in a public campaign of awareness in Serbia and with the help of a number of NGO’s conditions had improved. For me, after the initial shock at the conditions and total lack of care, it became clear that the patients from all ethnic backgrounds were able to display more community, affection and care with each other, than the sad situation that their "sane" countrymen were displaying to each other on the outside." GG.

2009-02-09T00:22:00.013Z

On Notice

Also loving...........

Stuart Parker (details available)

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......... ................................................. ...............................................Erik Chevalier

Tony Fouhse

Tim Carpenter

2009-02-09T00:20:00.005Z

Thanks to all who submitted to this, the first edition of Expiration Notice. Next edition out March 16th, until then.

Regards Expiration Crew.

Images copyright of respective photographers

Please Note:

2009-01-12T17:28:00.001Z

A number of people have been inquiring as to what actually constitutes gallery representation, and after considerable debate and discussion, we've decided to forego gallery representation as a deal breaker. We're going to assume that photographers the likes of an Annie Liebowitz or Jeff Wall are not going to submit to Expiration Notice for the much needed added exposure. So for everyone else thirty five and over (except maybe Terry Richardson and Cindy Sherman), the water's fine...

Stan B

Now Open!

2009-01-02T15:08:00.000Z

We are now taking submissions for the first edition which will go live February 2009. Open to photographers worldwide over 35 and with no current gallery representation. Send us 12 images from a significant project, past or present plus a short biog & statement to expirationcrew@gmail.com by 31st January. Files should be 800 widest side @72 dpi This is to be an ongoing monthly showcase.