UNB15! Artist Features: I
UNBOUND15!
July 1 – August 8, 2026
NICOLE ROSENTHAL • ANNE ROWLAND • JAMIE V ROBERTSON • JONAH REENDERS • BRANDON TOWNS • JACK FOX
NICOLE ROSENTHAL | NEW YORK
Archival pigment print,
19 1/2 x 26 inches
Edition #2 of 2
$2,100
Pretty Banged is an ongoing series of still life photographs made from debris collected on beaches, trails, and in the bays of the East End of Long Island, New York. The objects I gather, both manmade and natural, are brought together and set in contrast through color, shape, line, texture, and function.
Xiphosura, 2024. Archival pigment print,
19.5 x 26 inches. Edition #2 of 2. $2,100
I make these photographs to show what I find and how it is found: discarded objects, jumbled and incongruous. These relics have outlived their original use. Together, their chance associations form a grotesque Exquisite Corpse—a reflection on the waste we leave behind and its persistent presence in the environment.
Nicole Rosenthal is a photographer and arts educator based in NYC and the East End of Long Island. Her work explores place, journey, and the chance encounter. After a decade as an editorial photographer, Rosenthal left the magazine world to raise her children. In 2016, she earned an MFA from Hartford Art School; her thesis, Somewhere to Get To—a study of the communities beneath JFK Airport’s flight paths—received the Merit Award.
Rosenthal’s work has been shown in the US, Europe, and Cuba; her Pretty Banged series was featured in a solo exhibition at Artsee in Hudson, NY, this past summer. Her work is held in the collections of the Maison Européenne de la Photographie, the Brooklyn Museum, and the New-York Historical Society.
Rosenthal serves as a teaching artist and on the board for Five Corners Collective, a non-profit formed with fellow Hartford alumni to provide photography education and exhibition opportunities in underserved communities.
ANNE ROWLAND | UPPERVILLE, VA
Don't Mess With It Again
(Ad-Dahna Desert, Saudi Arabia), 2026
Archival pigment print,
30 x 22.75 inches,
35.125 x 27.75 inches framed
Edition #1 of 5 + 1 AP
$4,500 framed, $3500 unframed.
Courtesy Hemphill Artworks
Don't Mess With It Again (Ad-Dahna Desert, Saudi Arabia), 2026.
Archival pigment print, 30 x 22.75 inches, 35.125 x 27.75 inches framed.
Edition #1 of 5 + 1 AP. $4,500 framed, $3500 unframed.
Courtesy Hemphill Artworks
I work with aerial imagery from Google Maps’ “Satellite View.” I begin by making hundreds of screenshots and then assemble them in Photoshop into a large, legible aerial view of a location. This composite becomes the ground from which the image is transformed.
Through processes of stretching, warping, and reworking, the source material slowly departs from its origin. Recognizable geographies loosen and reorganize themselves into something more ambiguous.
These images exist at the intersection of photography, software, and painting, hovering between documentation and abstract invention.
Anne Rowland (b. 1957 in Washington, D.C.) received her BFA in 1982 from the joint program of the School of the Museum of Fine Arts, Boston and Tufts University in Medford, Massachusetts.
Her works have been exhibited nationally since 1981, including at The Art Institute of Boston, the National Museum of American Art, the Tampa Museum of Art, The Museum of Contemporary Art Chicago, Houston Center for Photography, SF Camerawork, and most recently at HEMPHILL artworks in DC, where she is currently represented.
Rowland was an arist-in-residence at Light Work in 1990, and has received both a Massachusetts Council on the Arts grant and a National Endowment for the Arts grant. Her work is held in the collections of the Los Angeles County Museum of Art and the Museum of Fine Arts, Houston.
After splitting time between New York City and Virginia for 22 years, she moved full-time in 2019 to Upperville, Virginia, where she currently lives and works.
JAMIE V ROBERTSON | VIRGINIA BEACH, VA
Archival pigment print,
24 x 18 inches
Edition #1 of 3 +1AP
$2,000
Osman in the Swamp, 2024. Archival pigment print, 24 x 18 inches.
Edition #1 of 3 +1AP. $2,000
Deeply influenced by the works of Toni Morrison, bell hooks and Lucile Clifton, my creative practice embraces a Black Feminist Hauntology to examine the environment of the American South and its relationship to Black counter-narratives. Osman in the Swamp is a composite of the tangle of the Great Dismal Swamp and an archival illustration titled, ‘Osman the maroon in the swamp’ from Harper’s Weekly in 1856. This photograph is a part of a work-in-progress series, In Search of Osman’s Ghost, where I explore the spectral presence of Maroons in swamplands and their ecological alliance to each other.
Jamie Robertson (b. 1988) is a visual artist and educator working in photography and video. Born and raised in Houston, her Texas roots inform her practice as she explores the environmental history of the South and its relationship to Blackness.
Robertson has exhibited her work nationally and internationally in numerous group and solo exhibitions at institutions such as Vermont Center for Photography, Brattleboro, VT; SF Camerawork, San Francisco, CA; Galveston Arts Center, Galveston, TX; Alabama Contemporary Art Center, Mobile, AL, and Exposure Photography Festival in Alberta, Canada. She has received multiple grants and fellowships, most recently through The Center for Documentary Studies at Duke University and the Elizabeth River Project. Her work has been featured in Glasstire, Flat Files, and Fraction Magazine. Robertson has published two photographic books, Charting the Afriscape of Leon County, Texas, and alligatorwatergreen with Fifth Wheel Press and National Monument Press, respectively. Her work is held in both public and private collections.
Jamie earned an MFA in Studio Art from the University of Houston and an MS in Art Therapy from Florida State University. Robertson is an Assistant Professor at Old Dominion University and works between Texas and Virginia. Currently, her research explores the Great Dismal Swamp and its connection to maroonage in the Southern United States.
BRANDON TOWNS | CHICAGO, IL
Archival pigment print,
20.25 x 28.25
Edition #1 of 2
$1,000
Eat the Rich, 2026. Archival pigment print, 20.25 x 28.25 inches.
Edition #1 of 2. $1,000
Referencing Blaxploitation cinema and classic noir, Towns weaponizes style itself. A gold pistol. A leather bag. A keychain that reads "Eat the Rich" five times, like a prayer Drawing on decades of Black radical political thought, this image distills class rage and self-defense into a single, cinematic instant. The language of wealth, turned against itself.
Brandon Towns is a Chicago-based visual artist whose work explores Black presence and political imagination. Working primarily in photography and collage, he creates cinematic and sculptural images that reframe Black subjects as powerful, vulnerable, and mythic. Using portraiture to construct imagined spaces where Black subjects are free to occupy a fantasy, translating the Black experience into surrealistic expression. His practice draws from historical symbolism, Afro-surrealism, and Americana to expand how Black life is seen and felt. He holds a BS in Advertising with a minor in Photography from Bradley University and have exhibited at the Museum of Science and Industry Chicago, Marwen, Connect Gallery, and other venues, as well as participated in residencies with Chicago Art Department and Swarm and served as a Roger Ebert Fellow at Sundance.
JONAH REENDERS | SAN FRANCISCO, CA
Gelatin silver print,
11 x 14 inches
Edition #3 of 8
$2,000
Untitled (Cave), 2025. Gelatin silver print,
11 x 14 inches. Edition #3 of 8. $2,000
Gelatin silver print,
11 x 14 inches
Edition #4 of 8
$2,000
Untitled (Truck in Tree), 2025. Gelatin silver print,
11 x 14 inches. Edition #4 of 8. $2,000
This project, titled Armillaria, investigates the world’s largest living organism, the Armillaria ostoyae. A single individual spanning three miles in Eastern Oregon, it is estimated to be over 10,000 years old. I visited the organism with the mycologist who has studied it for decades and brought a fragment of its ancient mycelium back to my studio, where I documented its slow growth and created spore prints in the darkroom. Sitting beside this surreal organism prompted reflections on individuality, with its ability to separate yet return as one. The images evoke the uncertainty of the natural world and its inherent queerness, inviting viewers to question what they know about the larger ecological systems they inhabit, using fungi as a guide.
Jonah Reenders is an artist interested in the relationship between humanity and the natural world. His perspective is shaped by a nuanced understanding of scientific observation, identity, and connection. He spent almost a decade working as a field biologist with endangered species, shrinking habitats, and dying landscapes. These interactions deepened his curiosity about our connection to the earth, pushing him to question the viability of human-centered ideologies that shape the natural world. Collecting data through imagery, he weaves together formative narratives that seek to question our ecological understanding.
Jonah received his MFA from California College of the Arts in May 2025 and is currently a graduate fellow at Headlands Center for the Arts. His work has been exhibited in solo shows at Teleport Galerie in Prague, CZ, and the Institute of Contemporary Art San Francisco.
JACK FOX | ROARING FORK VALLEY, CO
Porcelain ceramic and
UV photographic print,
12 x 122 x 0.5 inches
Unique
$2,000
Chess Set 002, 2026. Porcelain ceramic and UV photographic print,
12 x 122 x 0.5 inches. Unique. $2,000
Influenced by an early Bauhaus design, the pieces in this chess set are, as much as possible, shaped like the moves they perform in the hopes that it can promote learning and more fluid playing.
Jack Fox’s long-form photographic projects are concerned with the surreal, the inexplicable, and phenomenological patterns. The work he produces considers all of this through the elasticity of memory, intimacy, and deep study of his familiar surroundings. He invokes a sense of magical realism within the landscape that can be seen as a gentle, momentary escape. The end goal of this process is to achieve a deeper, contemporary understanding of human connection both with one another and the natural world.
In 2023 he received a BFA in Photography and Film from Virginia Commonwealth University. His publications are in the collections of the Harvard Houghton Library, William & Mary Earl Gregg Swem Library, the VCU Cabell Library Special Collections, and the New York Public Library. He has given lectures at William & Mary University and the Corcoran School of the Arts and Design at George Washington University.
He is currently based in the Roaring Fork Valley of Colorado, where he holds the position of Studio Coordinator of Photography and New Media at Anderson Ranch Arts Center.
