Art Intersection presents Light Sensitive, an annual juried exhibition of images created using traditional and alternative photographic processes. Past work has included analog c-prints, platinum, cyanotype, gelatin silver, gum bichromate, wet plate collodion tintypes, chemigrams, and other printing processes. We are honored this year to have Susan Burnstine as the juror for Light Sensitive.
The Art Intersection curatorial staff will select three artists from Light Sensitive to show additional work during the (re)View exhibition in December 2016.
Click here: Light Sensitive 2016 to view the PDF document Light Sensitive 2016 Submission Guidelines
Important 2016 Dates
January 11: Application and JPEG submissions due
January 23: Notification of selected work
February 20: Selected work due at Art Intersection
March 5: Opening reception from 6 – 8pm
April 16: Exhibition closes at 6pm
About the Juror
Susan Burnstine is an award winning fine art and commercial photographer originally from Chicago now based in Los Angeles. Susan is represented in galleries across the world, widely published throughout the globe, teaches workshops internationally and has also written for several photography magazines, including a monthly column for Black and White Photography Magazine (UK).
A couple of weeks ago, Art Intersection hosted a Wet Plate Collodion Tintype Workshop and Open Studio! Students were led by David Emitt Adams and assisted by Claire A. Warden, both experts in this captivating 19th century process. Wet plate collodion was among the first widely-used photographic processes, used predominantly during the Civil War era. The nature of the process requires that collodion be hand-poured on a blackened metal plate, sensitized with silver nitrate, and exposed, then back into developing and fixing baths before the coating dries – hence the process’s name. During the workshop, students got individualized help with their coating, exposure, and processing. The following day, artists attended the open studio for a chance to try the process on their own; David and Claire were on hand to help as needed.
For a proper exposure, wet plate collodion requires either very bright light or a long exposure. David has rigged a special chair designed to help portrait sitters keep very still during the exposure time of 6-8 seconds, much like the chairs and props 19th century photographers used.
The following weekend, David and Claire returned to take wet plate collodion studio portraits! Couples, families, and individuals made appointments to have their picture taken, 19th-century-style.
Art Intersection presents Light Sensitive, an annual juried exhibition of images created using traditional and alternative photographic processes. Past work has included analog c-prints, platinum, cyanotype, gelatin silver, gum bichromate, wet plate collodion tintypes, chemigrams, and other printing processes. We are honored this year to have Susan Burnstine as the juror for Light Sensitive.
The Art Intersection curatorial staff will select three artists from Light Sensitive to show additional work during the (re)View exhibition in December 2016.
Click here: Light Sensitive 2016 to view the PDF document Light Sensitive 2016 Submission Guidelines
Important 2016 Dates
January 11: Application and JPEG submissions due
January 23: Notification of selected work
February 20: Selected work due at Art Intersection
March 5: Opening reception from 6 – 8pm
April 16: Exhibition closes at 6pm
About the Juror
Susan Burnstine is an award winning fine art and commercial photographer originally from Chicago now based in Los Angeles. Susan is represented in galleries across the world, widely published throughout the globe, teaches workshops internationally and has also written for several photography magazines, including a monthly column for Black and White Photography Magazine (UK).
This past Saturday, October 31 we were honored to have California artist Ryuijie teach the art of platinum/palladium printing to 11 members of the Art Intersection community. This 19th century process has long been revered for its tonal depth and archival qualities. Ryuijie demonstrated two different printing styles – the ABC and Na2 methods, both of which he uses in his artistic practice. Participants mixed their chemistry, hand-coated fine art paper, let it dry, and exposed their paper using a digital negative and UV light. It was inspiring to see the workshop participants quickly pick up a new technique which might have a lasting place in their artistic skill set! With a little experimenting and practice, the students used this luminous process to make some beautiful work.
Mario Sanchez holds up his freshly hand-coated paper
Jeff Welker coats his paper
Participants process their prints in developing and clearing baths
BK Skaggs assesses the exposure of his print
Finished platinum/palladium prints drying
Participants discuss their results at the end of the day
Last night, three ImageWorks photographers and about thirty guests joined us in the Photo Arts Lab to hear about their prints and the experiences of making these prints. All of the presented prints were originally captured on film using large format cameras.
Juan, Chris, and Brian of ImageWorks answered questions and explained their process of seeing, capturing, and then printing their beautiful images.
This is the first of a series of print sharing evenings. Join us in November for the next installment of Print Sharing at Art Intersection.
The platinum/palladium process is one of the most beautiful and archival processes, and in this workshop, you will create platinum/palladium prints from your images. Ryuijie will teach a one day workshop about this luminous 19th century process in the Art Intersection Photographic Arts Lab and the participants will take home two to three prints of their images.
As a participant, you will send digital files of black and white images to us and we will create a digital negative adjusted for Ryuijie’s process. You will hand-coat fine art paper with the light-sensitive solution and expose the sanitized paper through your digital negative using one of our UV light sources. After processing the exposed paper, you will have your photograph on a platinum/palladium print.
Before the workshop, learn more about your instructor and get a preview of the platinum/palladium process! Ryuijie will give a free lecture on his artistic practice on Friday, October 30 from 6:30 – 8pm. Click here to learn more.
Registration for this workshop is now full. To be added to a waiting list in the event that space becomes available, please email info@artintersection.com or call 480-361-1118.
The Art Intersection Staff selected three artists from eighty-nine artists in the Light Sensitive exhibition, our signature traditional photography exhibition, to have their own exhibition called “Best of Light Sensitive 2014”. This year Tom Persigner, photographer, writer, and the founder of F295, juried Light Sensitive and selected work for the exhibition in March and April, 2014. Images from Light Sensitive 2014.
Douglas Collins – I make photographs without using a camera – or, in the case of these works, without even a darkroom. In my work I reject accepted forms of photographic meaning, but try instead to create moments of lucidity through a meditation on form and intention. This tends to minimalistic results, and the pictures are often purified of all but essential structure. I set my own rules but often live by violating them. In place of traditional approaches I invest in a deep contemplation on the physical materials of the photographic act itself, in the tradition of Fox Talbot. I live and work in New York City.
These works are chemigrams, a type of photographic art made without a camera and without a darkroom. In this process, black and white photographic paper is exposed to daylight and then is coated with a varnish, which functions as a resist. By soaking the paper in fixer and developer alternately, the resist is gradually lifted, and color is created by the physical effects on silver grains in the emulsion that result from a certain rhythm of soaking. The artist may intervene, attacking the paper with knives, sticks, or hands to induce additional imagery. The process has antecedents going back to the origin of photography.
Mary Donato – Following my retirement in 2006 after 30 years as a research geologist, I began to explore photography and printmaking as ways to satisfy both my analytical and creative impulses. I have no formal training in fine art or photography, nor was I given a vintage camera by an aging relative when I was a child. Nevertheless, I consider myself a fully-engaged amateur photographer and printmaker who combines 21st-century digital devices with 19th-century printing processes to create handmade photographic images.
I am compelled to explore the ephemeral beauty of everyday life, sometimes in deliberate compositions, but more often in incidental situations. These prints display a range of scale and chroma. They represent my efforts to convey a mood or a visual idea, and nothing more. Producing unique prints by hand seems the perfect approach for such imagery.
Erin K Malone – Located in San Francisco, California, Erin Malone spends her days as a User Experience Design Consultant while wishing she was out in the field with her cameras. She received her first camera at 10 and taking it to Girl Scout camp, she promptly left it behind.
A few years later and being much more responsible, she purchased her first manual SLR. Photo classes in high school and serving on the newspaper as a photographer, began her foray into “real” photography.
Coming full circle, Erin primarily works with film, vintage, plastic and lensless cameras and in historic and alternative processes.
Erin’s photos have been shown in group and juried exhibitions across the United States, they have won several awards and are in a few collections, including the Museum of Fine Art, Houston. Her work has been featured in publications such as B&W Magazine, Diffusion, Light Leaks and San Francisco Magazine and the San Francisco PBS produced program KQED Quest.
About the Juror
Tom Persinger is a photographer, writer, and the founder of F295. His photographs have been shown in numerous exhibitions and are in private collections in the United States, Europe, and Japan. His work has been featured in many publications, including Afterimage, Ag, Photo.net, View Camera, and many books on photographic technique and processing.
Persinger has lectured at colleges and universities, leads hands-on workshops, and is a member of Freestyle Photographic’s Advisory Board of Photographic Professionals. His first book Photography Beyond Technique: Essays from F295 on the Informed use of Alternative and Historical Photographic Processes will be released by Focal Press/Taylor and Francis in Spring 2014.
He is especially interested in contemporary photography that considers in its manufacture the intersections of process, subject, and content and the work that can be created in that exciting intersection. He lives in Pittsburgh, Pennsylvania, with his wife and two sons.
A group exhibition, FAMILY MATTERS, revisited explores familial relationships through the vision of photographers who share personal perspectives on their own families whether as documentation or metaphor. Through images they explore intimate family dynamics, cultural traditions, painful and joyful memories, bonds of support and love, as well as challenging issues of illness, prejudice, abuse and addiction.
Artist Talks
Join us for in the gallery for Coburn’s intimate artist talk and a discussion about forgiveness on Tuesday, Oct 28 at 6:30 pm
Come share family stories with Miranda after her artist talk in the gallery on Tuesday, Nov 18 at 6:30 pm
FAMILY MATTERS, revisited features Daniel Coburn’s Domestic Reliquary in which he uses vernacular photographs to represent personal family dynamics. By portraying his own family’s dark history through the use of found images, he speaks about personal struggles, quiet suffering and a gradual healing from the past. Coburn reproduces these images using the salted paper process and then applies paint or sews into the print. He earned his MFA from the University of New Mexico and is currently a professor of Photo Media at the University of Kansas. Daniel W. Coburn
In Karen Miranda’s series Other Histories/Historias Bravas, she reenacts memories from her childhood in which she collaborates with members of her family, often her mother and her aunt, to explore issues concerning her bi-cultural background growing up in Ecuador and the US. She says the images “provide a means for reflection and a search for truthfulness.” Miranda’s act of handwriting her diaristic titles directly onto the print welcomes the viewer into her intimate space and invites us to reflect on our own personal histories. Karen Miranda
Other artists featured in the exhibition include Sean Black, Jess Dugan, Annie Lopez, Marivi Ortiz, Hillerbrand + Magsamen and H. Jennings Sheffield.
Curator: Liz Allen
School of Art
Herberger Institute for Design and the Arts
Mom healing me from my fear of iguanas by Karen Miranda
This is a follow-up lab for participants of the Ambrotye Workshop at Art Intersection wanting dedicated time to practice glass plate photography under the assistance of Claire Warden. Claire will be available to answer questions and help you create your own ambrotypes.
Glass plates for this open lab day must be purchased at Art Intersection, 4″x5″ plates for $5 each or 8″ x 10″ plates for $20 each. These plates fit the carrier for the Art Intersection 4×5 and 8×10 cameras, or you can bring your own camera. Collodion chemistry is included in the price of the glass plates.
The lab includes softbox continuous lighting in the studio.
Learn the basics of the wet plate collodion process using glass as the substrate, and create two direct positives images!
Students in this workshop, led by Claire Warden, will go through the process of cleaning glass plates, coating the plates with collodion, sensitizing, exposing, processing and varnishing the final image.
Images will be captured on 4″ x 5″ plates using a large format camera in the lab, and all materials are included to create two ambrotypes.
Recently, Claire spent a summer creating ambrotypes in Lehon, France, and she brings her wet glass plate collodion experience to this workshop.
The Friday preceding the workshop, Claire will give a free to the public lecture about ambrotypes and her experience in Lehon.
On Sunday, following the Saturday workshop, Claire will be on-hand in the lab to assist with the anyone wishing to make additional glass plate images.
