Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization.

Pete Kelly's latest show evokes memory through strong associative, emotional and surreal imagery—stretching reality toward a timeless fantasia. Through his collection, Kelly invites viewers to not only the bear witness to the moments he has captured in frame, but provides tangible windows of access in each piece, rousing their faded cache of memories and permitting them to relive each experience as if it were their own.

Summertime Salon - 2010

Kim Reierson's images in "Body Presenters" are at once as intensely private as personal sensory and brashly public as an aesthetic immortalization. Bodybuilding is alternately referred to by its practitioners and admirers as both an art and sport, and Reierson's camera works to convey a similarly duplicitous take— roaming backstage among the icons, she captures details of their collective camaraderie and untiring self-address, in turn revealing the spirit of competition and simultaneous artistic illusions.

As if developed from memory, West’s latest collection channels imagery from a familiar past life. Just as the DaDa artists utilized art objects in unconventional forms produced by unconventional methods, West employees coincidence as a means of production. In the title piece, MINUTES, West captures the chance appearance of a bug on her windowsill, overshadowed by a blurred timer in the background. The image is striking with the distinct outline of the bug’s antennae forming a heart above the lifeless figure, also intimate through the juxtaposition of the subjects and the happenstance that unifies them.

In his new body of work, Gordon Stettinius presents Notes From US Route 1. This collection of color and sepia toned images, lies somewhere between Robert Frank’s, The Americans and Alec Soth’s, Sleeping Along the Mississippi. Stettinius has given us a memorable and clear eyed meditation upon the American road trip and a particular moment in time, awash with motels, roadhouses, wanderers, and characters that have been included in any modern back road odyssey.