Tag Archives: photography

Portfolio Sharing at Art Intersection

We’ve been waiting more than two years, and now member portfolio sharing is back! 

Join us in the Art Intersection galleries to enjoy a special Member Portfolio Sharing event! Get up close with some fabulous artwork and converse with the artists during a mid-day portfolio sharing on Saturday, October 1, from 11am – 1pm.

Participating in a Member Portfolio Sharing event gives you a fantastic way to get involved with Art Intersection’s community of artists, collectors, and art enthusiasts.

This event is free and open to the public for viewing

Membership

Art Intersection welcomes anyone and everyone to attend this event, and only Art Intersection members are invited to show their work. If you are not a member, consider joining us! Members have access to discounts on workshops and lab use, invitations to VIP events, and the opportunity to exhibit their work.

Sharing your portfolio is one of several ways you can exhibit at Art Intersection, a benefit for all membership levels.  Each member will have a table top space, about 30-inches by 72-inches, to display their work.

If you would like to become a member, click here. 

Members wishing to participate, please RSVP by email info@artintersection.com or by phone 480.361.1118

Picturing Resistance & Midnight La Frontera Opening

Thank you to everyone who attended the opening reception for our Picturing Resistance exhibition this past Saturday, where we had the pleasure of having author and performer Ada McCartney read selections of her own poems, as well as from Diane di Prima’s Revolutionary Letters in the passionate spirit of the images displayed on the walls in this exhibition.

Picturing Resistance will run until October 22nd, so there is still plenty of time to drop by and see the exhibition. In the meantime, have a look at a few moments from the opening reception!

 

In addition to selecting the work featured the Picturing Resistance exhibition, Ken Light has images from his book, Midnight la Frontera, on display in Ryan Gallery.  These images, while captured between 1983 and 1987 while he rode along with U.S. Border Patrol agents, depict the same inhumane treatment migrants face today at our border. Both Picturing Resistance and Midnight La Frontera will be available to view at Art Intersection until October 22nd.

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Repairing a Jobo Processor Using the Frankenstein Method

Developing 8×10 film can be done a few ways, in a tray, tank dipping, canister, or the easiest way with a German made Jobo processor. Art Intersection proudly owns two Jobos, one graciously donated by a member of Art Intersection and one purchased used about five years ago.

We mainly use the Jobo to develop 8×10 film and when setting up for a film developing session we found  both, for different reasons, were non-functioning. So using the well known Frankenstein method of repair, both Jobos were disassembled, the best parts from both were cleaned, tested, and finally reassembled into one working unit. The working Jobo Processor also received the best “brain” labeled “Abby Normal” (unabashed reference to the movie Young Frankenstein).

Spares parts for repair of future failures were carefully packed away, and now we can get back to trouble free operations and again develop 8×10 film.

 

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Exploring Photography for Teens — July 2022

After a couple years it was wonderful to host our Exploring Photography teen summer camp again!

Over four afternoons last week, instructor Lisa Zirbel taught our students the fundamentals of photography across both digital and traditional film mediums. Students learned how to shoot 35mm black and white film with manual SLR cameras and make enlargements from their film in our photo lab. They also had the opportunity to make studio-lit portraits, which they processed using Adobe Photoshop to make inkjet prints of their photos. They even mixed film and digital photography both by making cyanotypes using negatives printed digitally from their own images, as well as by using botanicals and expired photo paper to make lumen prints in the sun during class.

To end all of our teen camps, on the final day we pin the students’ work on the wall and invite their families for a critique session to reflect on what they learned and the challenges they faced while creating their art.

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Mordançage Workshop with Elizabeth Opalenik – July 2022

Over the weekend of July 15-17 Art Intersection hosted a Mordançage workshop instructed by Mordançeuse Elizabeth Opalenik. Students experienced a range of papers, developers, and print making techniques in their exploration of Mordançage.

Take a look at Elizabeth Opalenik’s website to see her creations.

Image Credit: Elizabeth Opalenik

Image Credit: Suzanne Fallender

Image Credit: Suzanne Fallender

Image Credit: Suzanne Fallender

Image Credits: Elizabeth Opalenik (1-5), Suzanne Fallender (4-9)

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Exploring Photography for Teens – July Session

It’s great to have a “Teen Photo Camp” after a two year break due to cautions taken during the pandemic.  

In this workshop teen students explore the fundamentals and foundations of photography with fun photo projects every day!

Students will gain an overview of photographic techniques from digital capture and printing to using black and white film in the darkroom and historical processes. 

Using both digital and film cameras, students will print in the digital lab and in the darkroom, and experiment with hand-coated alternative photographic methods. They will use the lighting studio to experiment with strobes and continuous lighting.

Each student will leave with a collection of their artwork made during camp and be featured in an online exhibition at artintersection.com.

Students are welcome to bring their own cell phone/digital camera and film cameras OR use cameras provided by Art Intersection.


Enrollment for Teen Photography Program

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Elizabeth Opalenik – Considering Possibilities

Exhibition
Considering Possibilities
moves the viewer through the intentional mystical imagery of Elizabeth’s photography that breaks the realism of photography to the moods only available through the magic of experimental and alternative photographic processes.

Ryan Gallery presents a collection of prints by Elizabeth Opalenik with Mordançage work also found in her book Poetic Grace, the never exhibited platinum print series from her personal experiences A Journey Home, and a collection carbon prints created using the same negatives from her Mordançage prints.

Elizabeth will join us for the opening reception on July 16 from 5pm to 8pm, and on Friday July 15 at 7pm she will give a talk about her art and experiences as a photographer. 

About Elizabeth
Elizabeth spun a map on a lazy-susan in 1968 and left home to the sound of peace marches and her mother saying, “I knew you were different from the time you were two.” She discovered photography as a metaphor for life in 1979 at the Maine Photographic Workshops and discovered passion and possibilities in Provence in 1983 where she later began her evolution as a Mordançeuse. Traveling through six continents, camera in hand, she connects life’s possibilities through teaching workshops, humanitarian projects and making art.

“I am a photographic artist, educator and freelance photographer traveling the world with my camera and I love it. Philanthropic projects keep me grounded and connected universally.

I believe that all good photographs are self portraits and know that my many former lives manifest themselves in my images. My heart is still in my darkroom working in the Mordançage process, but I use today’s technology when appropriate to explore all the creative paths.

My photographs are collected and published internationally and all work is for sale. Mordançage images are unique, others are silver gelatin, platinum, hand painted or digitally printed in very limited editions on beautiful handmade papers.”

– Elizabeth Opalenik

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Light Sensitive

Art Intersection presents Light Sensitive, our twelfth, international juried exhibition of images created using traditional darkroom, historical, and alternative photographic processes and methods. This year we are honored to have photographer and alternative photography process artisan Elizabeth Opalenik jury the submitted work.

As we have seen technology trends continue to drive digital photography and presentation, Light Sensitive highlights art from artists working in traditional and historical printing processes.

Light Sensitive seeks to celebrate, promote, and reaffirm the art of handcrafted prints that uniquely belong to the tradition of light sensitive creative processes. Each year we are in search for work that represents creativity, passion, and displays the beauty of these light sensitive processes.

Banner images by Randall Tosh, Lynn Bierbaum, Mary Nation


Awards

Choosing awards in the diverse juried selections of this year’s Light Sensitive presents the challenge to weigh qualitative aesthetics of the presentation, with the strength of the image, and technical mastery of the process. From cyanotype to platinum to ambrotype prints, the wide gamut of techniques and presentations made a formidable task to assign awards. Presenting awards acknowledges accomplishment and excellence in presentation, image, and technique, and encourage everyone to continue to push their work through into the next level.

Congratulations to the awardees and everyone juried into Light Sensitive.

First Place – Lou McCorkle
Second Place – Marita Gootee
Third Place – William W. Fuller
Award of Excellence for Collaborative Work – Kenro Izu / Veritas Editions
Honorable Mentions – Gary Baker, Chuck Davis, Sarah S. Curley, Jon Jeffery, Annie Lopez, Marek Matusz, Alyssa McKenna, Mary A.  Nation, Cyd Peroni, Phyllis Schwartz, Fred Ullrich, Angela Franks Wells, Ryan Zoghlin


About the Juror

Elizabeth spun a map on a lazy-susan in 1968 and left home to the sound of peace marches and her mother saying, “I knew you were different from the time you were two.” She discovered photography as a metaphor for life in 1979 at the Maine Photographic Workshops and discovered passion and possibilities in Provence in 1983 where she later began her evolution as a Mordançeuse. Traveling through six continents, camera in hand, she connects life’s possibilities through teaching workshops, humanitarian projects and making art. 

“I am a photographic artist, educator and freelance photographer traveling the world with my camera and I love it. Philanthropic projects keep me grounded and connected universally.

I believe that all good photographs are self portraits and know that my many former lives manifest themselves in my images. My heart is still in my darkroom working in the Mordançage process, but I use today’s technology when appropriate to explore all the creative paths.

My photographs are collected and published internationally and all work is for sale. Mordançage images are unique, others are silver gelatin, platinum, hand painted or digitally printed in very limited editions on beautiful handmade papers.”

– Elizabeth Opalenik


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Mordançage Workshop with Elizabeth Opalenik

3-day Mordançage Workshop with Elizabeth Opalenik, July 15, 16, 17, 2022, from 9am to 5pm each day with lunch included.

I vividly remember that first Provence meeting in 1983 when I heard Jean-Pierre Sudre say, “In mordançage you have the possibility….” For the next 30 summers I visited his studio and work discovering them all while learning the process in 1991 directly from this master. In this workshop we shall begin with a brief history of the mordançage process, looking at original work as we gather valuable insight into directions for making it your own creative voice.

Together we mix the chemistry and begin with an instructor demonstration on understanding the test strips to discover proper exposures for negatives and working with photograms, which is the best way to learn the possibilities. Mordançage takes time to master when working with intent and begins with a darkroom print. Information on making negatives, film or digital, and materials to bring shall be sent prior to the workshop. You will discover, when the silver print is put through the mordançage solution, the silver gelatin in the densest areas of the photographic print swell and can be removed with the pressure of a jet of water or cotton ball. Darkroom days will be spent testing various paper and redeveloper combinations, experimenting with oxidation, toners and hand painting to alter color, and deciding to save or not to save the veils. Often, just because you can, doesn’t mean you should. Papers, chemicals and notebooks with formulas will be supplied. 

After more than 30 years of committing to the mordançage process, Elizabeth has many possibilities, pitfalls and discoveries to share. Working collectively with a group of photographic peers, students can combine information on papers available today to further enhance their creativity. Experimenting is highly encouraged. A working knowledge of the darkroom is essential.

As artists, we much each find our way and hope to leave something of value behind. The “draped spidery veils” in the images are my contribution to this process, accomplished by using my breathe or drops of water to preserve and alter the delicate floating silver skin. As such, each piece is unique and truly made by hand even when created using the same negative.

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