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Read about Art Intersection events, news, and special interest stories.

Beyond the Tube: Mixing Color with Andy Burgess

We stepped outside of our comfort zone for Beyond the Tube: Mixing Color with Andy Burgess, and boy, are we glad we did! In this dynamic class, Andy led our participants through several exercises in mixing and applying color to form abstract shapes, exploring the complicated relationships between colors. Andy pushed his class to focus on subtlety and simplicity, and they took great care to control their work while openly experimenting. The results were beautiful, playful paintings!

 

 

 

 

Gum Bichromate over Platinum Printing

Our Gum Bichromate over Platinum class with Diana H. Bloomfield was a hit! This two-day class led our participants through not one, but two beautiful hand-coated processes that combined together created stunning, unique prints. During day one our students made platinum/palladium prints of their images, which were beautiful on their own; in day two, they added a layer of gum bichromate over the top and made an additional exposure, which took their prints to another level. The end result is a cross-processed print with the sharpness and tonality of a platinum print, but with a color wash and additional details from the gum bichromate! 

Platinum prints processing on day 1

We exposed both processes to UV light indoors via our UV exposure units

Coating the platinum/palladium emulsion onto paper

Finished prints from day 1

Diana demonstrates coating the gum layer over the platinum print

 

 

 

Image by Karen Hymer

Image by Karen Hymer

Gum bichromate prints develop in water, and can be gently manipulated with a paintbrush 

Finished gum over platinum print – image by Nancy Miiller

Images by Scott Wrage

Images by Siegfried Rempel (L) and Mary Nation (R)

Diana discusses the class’ finished prints at the end of day 2  

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Wet Plate Collodion with David Emitt Adams

We brought another alternative process classic back to Art Intersection – Wet Plate Collodion! Our tintype workshop led by David Emitt Adams this March was our best one yet. This group perfected the art of pouring collodion onto metal plates, sensitizing with silver nitrate, making proper exposures, and finishing their plates as beautiful photographic objects. Great work, everyone!

Participants practice pouring collodion onto glass

Assistant Claire A. Warden demonstrates removing excess staining from finished plates

Never too many cameras!

Images by Donald Matthews

Images by Larry Newman

Finished tintypes are varnished over a hot plate

Images by Deanna Dent

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The Altered Photo with Ron Bimrose

Our students got experimental in The Altered Photo: Photography and Mixed Media with Ron Bimrose! This class explored image-making by combining existing imagery and different subtractive and additive hand-altering effects like sanding, painting, and drawing. The class had fun learning new techniques and letting their imagination run wild as they created their pieces. The mixed-media, collaged results were truly fascinating!

 

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Hand-Coloring Workshop with Kate Breakey

We were wowed by all the beautiful work that was created in our Hand-Coloring Photographs class with Kate Breakey! The participants made digital prints of their images, coated them with a variety of media to prepare the surface, and then applied color in the form of transparent oil paints, colored pencils, and chalk pastels. Over the four-day class our students were able to relax and get in the groove of coloring, and Kate shared many valuable insights on how to achieve certain color tones and textural effects. What a fun class!

 

 

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Light Sensitive Opening Reception

Thanks to everyone who joined us for the Opening Reception of Light Sensitive 2018! We loved seeing so many friendly faces, both familiar and fresh. Thanks for helping us celebrate this beautiful exhibition!

Luigi Luccarelli with his work

Peter Friedrichsen with his cyanotypes on birch ply

Amanda Scheutzow with one of her sculptural tintype pieces

Kayla Bedey with her gum bichromate over cyanotype prints

Rebecca Lynn Fuller with her work

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Winter Teen Camp

During our Winter Photography Camp for Teens we took our cameras out into the world! Our students learned practical skills including the basics of manual camera controls, composition, and working with a location. They also had lots of fun shooting on the fly!

In this four-day class we took photo walks in Downtown Gilbert, Papago Park, and Downtown Mesa. Back at the ranch, we all reviewed their best images together, and they edited in Photoshop and made finished portfolio prints.

Image by Matthew

Image by Katelyn

Image by Olivia

Image by Reagan

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How to Submit to Gallery Shows

So, you’re taking the leap to get your art out there – congratulations! You’re already a huge step ahead of everyone hoarding their art in their closet. Submitting your work to exhibitions is a gratifying experience, but it can be nerve-wracking or frustrating if you are confused about the steps to take. Don’t quit before you even start – follow the tips below and any instructions given in the call for work, and you’ll be successful!

Select Your Artwork

Put some time into choosing the work you want to submit to the exhibition. If the show has a theme, make sure to stay within the theme guidelines! For most exhibition opportunities, you will be allowed to submit anywhere from three to five artworks. You could submit all works from the same series, or switch it up and submit separate bodies of work. Keep in mind though, for most juried exhibitions the juror will likely only select one or two works from an artist they like – so send in your best.

Also, do your research! You’ll have better luck submitting to shows juried by art professionals that are interested in the style of work you make. Checking out a show’s juror beforehand can save you the heartache of rejection from a bad match.

Prepare Your Submission Files

These days, nearly all exhibition applications are done online, either through a form or by email. This means that you will not be able to present your physical artwork to the juror, so you need excellent photos of your work to submit. If you are submitting photographic work, you’ve got a leg up – chances are, you can just send in your image file that you would print. If you are submitting other 2-D or 3-D artwork, you’ll need to take some good pictures of your work. If you’re not confident in your photo skills, consider having it professionally done! The images should be evenly-lit, with neutral color balance, and should clearly represent your art as it will be displayed.

Make sure to follow the gallery’s instructions for image size and resolution; ignoring these details can end in your file being too small to view, too large to send electronically, or worse – automatically eliminated!

Follow Instructions for Submission

All calls for work will have instructions on how to make your submission. At Art Intersection, we will have you fill out an online form that includes your contact information, artist info like your bio or statement, and then details about each piece you’re submitting (typically title, edition, medium, and year, as well as a photo of your art). Be sure to follow all formatting instructions very carefully! If you are missing information or don’t present it in the way the gallery has asked, this could lead to trouble with your submission or even disqualification. 

Many artists find it helpful to keep a professional dossier on file – a digital folder that includes commonly requested information about you and your work that you can copy and paste into your submission form. This way, the hard work is done! You won’t have to spend the time constructing an artist bio for every show you apply to.

Double-Check Your Submission for Mistakes

Before clicking “Submit”, take the time to read over your submission in full and correct any errors. You’ll be glad you did!

Pay the Submission Fee

Many calls for work are accompanied by a submission fee, usually ranging between $15 and $50. Paying the fee in no way guarantees that your work will be accepted – these fees are used by the gallery to pay for the exhibition! Facility rental, promotional materials, and qualified staff all cost money, and if your work gets accepted, you want the gallery to put effort into making your art look nice. Your submission fees help us keep the lights on and get your art on the walls.

Once you finish your submission, most galleries will notify you that your work was received. At Art Intersection, if your form has been submitted correctly you will automatically receive a copy of what you submitted sent to the email address you provided. If you haven’t received a notification from the gallery you’re submitting to within one business day, it may be a good idea to contact them and double-check that you made it through.

And then you’re done! As with anything, it’s best not to wait until the very last minute to complete a submission – hiccups like an incorrect file size or an artist statement that you haven’t written yet can cause unnecessary stress if you don’t work on your submission well before the deadline. 

Now that you’re prepared, get that artwork out there! Check out our Calls for Work page for a place to start.