Work Statement:
I've been working as a photographer since the mid-1990's exploring a range of subjects in a variety of contexts.  Architectural and real estate photography has been the best means to provide economic sustainability for my practice. Photojournalism has been the best means to provide meaning to my work.
My love for photography began with photographing my maternal grandparents.  In 1998 I made a photo of them that helped me better apprehend their experiences as Holocaust survivors and crystallized the power photography holds as a medium to communicate social issues. Work that followed explored how others persevere through hardship and focused on individuals that seemed to be suffering, impoverished, or socially marginalized. At that time I believed cameras captured veritable slices of reality and depicting social problems through photography was enough to create change.
I no longer believe photographs are inherently truthful -- context matters, as do the circumstances, communicative intent, and production methodology of the photographer.  I no longer believe pictures are solely sufficient to create change.  I still believe photographs can provide data as illustration of an issue when coupled with factual context and sound journalistic and/or research methods; I still believe in the efficacy of photography as journalism, ethnography, sociocultural commentary and discourse, and historical document. 
Connotation / Denotation - 2013
I curated a month-long interactive group photography show with seventeen NYC photojournalists at Mark Miller Gallery in NYC.  The exhibit explored the meaning-making process in viewing photographs, and discrepancies between messages received by viewers against the message intended by the photographer. Visitors interacted with the exhibit -- through computer workstations in the gallery -- where they guessed/shared the messages and connotation inferred from the works on display.  After input of their interpretation visitors accessed the image-makers captions learning what the images actually denoted. See
San Anto Cultural Arts - 2012
I designed and led a photography workshop with twenty children, aged 8-14, exploring how photography functions as aesthetic expression, sociocultural commentary,  and community documentation.  Topics explored gaining access, trust, and permission from subjects; understanding photography as a window into value and symbol systems; power relationships between a subject and photographer; and strengths/weakness of photography as communication and representation.  The workshop culminated in an exhibit.
On The Wall --- Haven Arts Gallery - 2008
Participated in a group show of artistic photographs by NYC photojournalists.
San Anto Cultural Arts - 2008
I designed and led a photography workshop for a group of individuals including children, teens, young adults, and older adults.  The participants were asked to photograph aspects of their lives and environment within the San Antonio west-side community.  The workshop culminated in an exhibit.
Bread and Roses Unseen America Projects - 2005
I designed and led a weekly photography class to a group of twenty-five ten-year olds at Public School 152 in Elmhurst Queens as part of the Unseen America.  Unseen America is a project of the Service Employees International Union that provides cameras and photography classes to Americans not visible in media and political discourse. Unseen America has worked with nannies, janitors, transit workers, homeless, immigrants, and battered women.  My class was comprised of students who were immigrants, or born to immigrant families.  The class integrated photography, writing, and critical thinking to explore notions of self and other, race, class, stereotype, culture, and the environment. The class culminated in an exhibit.
Historical Society Of Pennsylvania - Latinos Project - 2003
Project documenteing Good Friday Rites in a North Philadelphia Latino congregation.
Chicano Now - 2002
Contract to create images of music and dance representative of Chicano culture in Los Angeles.  These images were integrated into a multi-media installation modeled after a diner jukebox. Visitors interacted with the jukebox to learn about notable Chicano musicians. Chicano Now opened at the Smithsonian in Washington DC, and toured the US for five years.
Urban Libraries and Literacy Project - 2000
Project documenting children's usage of library spaces and resources, people reading, and renovations made to eight branches of the Free Library of Philadelphia. Some images were displayed at the White House in connection with Susan Neuman’s book on the No Child Left Behind literacy campaign and some of the work was published in "Giving our Children a Fighting Chance, Poverty, Literacy, and the Development of Information Capital."
Core New Art Space - 1997
Juried photography group show, in Denver, Colorado.
Mackey Gallery - 1996
Juried photography group show, in Denver, Colorado.
Core New Art Space - 1996
Juried “social commentary” art show, in Denver, Colorado.
National Center for Atmospheric Research - 1995
Two-month solo exhibition of images made in the Middle East at NCAR, in Boulder Colorado.
Boulder County Business Report - 1994 -- 1995
Photographed business news and features.
Kavod Project - 1994
Project documenting a program to feed homeless people.

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