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04 | Josue Zavala 12 | Shanna Maurizi

18 | Francesca Tallone24 | Bryan Banducci

32 | Cassandra Sechler40 | Brent Nuñez

42 | Jonathan Loomis48 | Christina Salangsang

54 | Dan Herrera56 | Alonzo Ruiz

62 | Mackenzie Grimmer68 | Rachel Fernandez

72 | Michael Thurin

Welcome to Holloway. Based out of San Francisco, California, featuring artists from San Francisco State University’s photography department, we are a new, juried, bi-annual publication dedicated to the promotion and exposure of artwork created by students and alumni of public higher education.

During a time of historic, statewide budget cuts and a growing precedence towards private institutions, public education has become underfunded, overlooked, and inappropriately subjected to national criticism. While the programs and opportunities offered by private art institutions are numerous and valuable, an education cannot be reduced to resources which can in cases cost hundreds of thousands of dollars to attain. The impact of peer and professional relationships drives learning; equipment and outreach are subsidiary.

Despite departmental issues resulting from financial restraints, the talented artists of San Francisco State’s photography department learn to think openly and work passionately with the resources available to them. They are shaped by their encouraging peers and boundary-pushing professors. Their resulting artwork engages in a variety of critical discourses, conceptual and theoretical thought, and contemporary photographic practices. Fighting for their education and pushing their artistic development, they, in turn, create alternative and independent venues and spaces.

Holloway is such a space with which we will augment this imbalance and connect our overshadowed yet highly thoughtful artists to their immediate urban surroundings and wider arts community. An exhibition-in-print, Holloway is a conduit for thirteen young artists to be formally introduced and their respective artwork to be exhibited and disseminated in a widely

distributable format. To promote an unbiased experience, we have left all information about the artists and their work to be found at the end, should you decide you are looking for one interpretation. There is no one way to view this magazine -- wander through from cover to cover or let the pages open of their own accord.

Although speaking to individual concerns, when received collectively the artwork in our inaugural issue is demonstrative of the broad range of formal and conceptual preoccupations which have been cultivated within and beyond the San Francisco State photography department.

H O L L O W A Y

04 | Josue Zavala

12 | Shanna Maurizi

18 | Francesca Tallone

24 | Bryan Banducci

32 | Cassandra Sechler

40 | Brent Nuñez

42 | Jonathan Loomis

48 | Christina Salangsang

54 | Dan Herrera

56 | Alonzo Ruiz

61

62 | Mackenzie Grimmer

68 | Rachel Fernandez

72| Michael Thurin

Josue Zavala alters the western landscape offering a reality that will never truly exist. Inextricably accompanying his queer depictions of space are portraits of variations of desire as influenced by external forces, printed as gelatin silver prints and slept upon. Shanna Maurizi physically alters her images to create other depictions of unreality. Rips, tears, and impossible blacks deconstruct manmade establishments of knowledge and history. Francesca Tallone brings us to an inescapable physicality linked to our surroundings. Bodies do not collide with architecture so much as become a disjointed part of it -- clothing is something which, even when gathered and pulled, is a detachable association of our personhood.

Bryan Banducci returned to San Francisco with astonishing photographs after living for six months in Italy. His intimacy with isolated subjects enables us to look infinitely without fear of extradition. We become unrelenting voyeurs in a strikingly meditative world. Abruptly shifting from one world into the next, Cassandra Sechler introduces us to the complex characters of her film Wireboy. Exploring psychosexual desire in a world of overstimulation, depravity, and corruption, Sechler unfurls the multifarious aspects of the mind; it is the vastness of the Self we may never hope to understand.

A distinguishable pause is requited in the abstraction of Brent Nuñez. The massive, undulating lights and darks stop a viewer in their tracks, necessitating a breath. Shot with a large format camera, the work spans 40 x 100 inches, subsuming consciousness. In his series “295.30,” the indexical code for schizophrenia in the psychological manual, DSM-IV-TR, Jonathan Loomis investigates the life of his friend and neighbor. What can be learned about a person in their absence? Can we categorically understand one another based

on societally ascribed terminology? Christina Salangsang dives into her own identity with the preconception that she is a product of familial heritage, looking toward the nuances of indelible history that have shaped her personal narrative.

Dan Herrera alters our perception through alteration. His interrupted scans of the same man in various states of motion distorts our assumed reality through technological mediation. Alonzo Ruiz also expands vision in two regards: appropriated images of the universe taken by the Hubble Telescope coupled with and superimposed over the earthly landscape we are irreversibly altering. Temporality is described through eternity and through the quotidian -- the emphasis and importance of which is left to our imaginations. Through a process of transferring a wet positive print to a given substrate in order to create unique prints, the Polaroid lifts of Mackenzie Grimmer offer a private exchange between her world and hours. The ticking clock stops its movement to present us with one long gaze; a surreal connection.

Darkness and the presence of an off-camera observer lay the foundation for Rachel Fernandez’s portraits. Dread pulls at the subconscious in the night; when one is alone; when the lights go out. Fernandez marries beauty with the skipping heartbeat of anxiety. Michael Thurin creates spaces of abstraction using machines -- a camera photographing a scanner bed as it makes its sentinelling sweeps -- two eyes looking through one another, the mediator becoming the mediated. We are caught in the exchange, placed in intermediary space; the ambiguous existence of light.A in

Editor in ChiefPeter Cochrane

Assistant EditorMichael Thurin

Contributing EditorsCaitlin BronwynJosue Zavala

Designer & GraphicsDevon Fuller

Donors Adam GrahamAlthy & Randy BrimmAndytown Coffee Roasters and CafeBryan BanducciCassandra SechlerCharles & Monica CochraneDana CorneliusDavid WeitzJennifer BrandonJennifer FernandezJennifer Jordan & Marco de la VegaJessie WuJoseph & Debra ThurinJonathan LoomisKaitlin OlsonKatie BrimmKelly & Peter MoritzburkeKevin TingKyle OlsonLauren CrabbeLewis deSotoLindsay ThurinMatt LippsMichael BorkonMichael McCroryMorgan WilliamsSarah FarnsworthSiobhan GagonSpeedy’s HardwareToby PetersonViniita & Brian Moran

Guest JurorsAlong with Holloway’s editorial staff, we have a rotating jurying committee.

Jennifer Brandon lives and works in San Francisco, CA. In 2007, she received her MFA at Mills College, preceded by an MA in 2005 and BA in 2004 in Art with an emphasis in painting at California State University, Northridge, as well as a BA in 1997 in English Literature at San Francisco State University. Brandon has been included in exhibitions in the Bay Area at Swarm Gallery and The San Jose Institute of Contemporary Art in San Jose, as well as the Korean Cultural Center in Los Angeles. Awadrds and fellowships include The Herringer Prize for Excellence in Studio Art and The Catherine Morgan Trefethen Fellowship in Art and was a 2012 nominee for The Baum Award for Emerging American Photographers.

Jennifer Jordan is a writer, editor, and arts administrator based in San Francisco. She has served as editorial assistant for numerous exhibition catalogues, including AfroCuba: Works on Paper, 1968-2003 (University of Washington Press) and An Autobiography of the San Francisco Bay Area, Part 1: San Francisco Plays Itself (SF Camerawork Publications). Her writing has been published in print and online, in Camerawork: A Journal of Photographic Arts and on popular lifestyle websites including Stylehive and Etsy, among other outlets. Jennifer received a B.A. in Art History from San Francisco State University in 2004 and studied Visual Criticism at California College of the Arts.

Copyright Holloway Magazine, 2013All rights reserved.hollowaymagazine@gmail.com