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DTSTART;TZID=America/Denver:20220716T080000
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UID:10008957-1657958400-1661619600@artintersection.com
SUMMARY:Light Sensitive
DESCRIPTION: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. \nAs 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. \nLight 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. \nBanner images by Randall Tosh\, Lynn Bierbaum\, Mary Nation \n\nAwards\nChoosing 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. \nCongratulations to the awardees and everyone juried into Light Sensitive. \nFirst Place – Lou McCorkle\nSecond Place – Marita Gootee\nThird Place – William W. Fuller\nAward of Excellence for Collaborative Work – Kenro Izu / Veritas Editions\nHonorable 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 \n																																																																												\n\n\nAbout the Juror\n\nElizabeth 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.  \n“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. \nI 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. \nMy 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.” \n– Elizabeth Opalenik \n\n				\n				Gary Baker\, \nSonoran Spring\, \nCarbon Pigment Double Transfer\, \n2022Honorable Mention							\n				Lynn Bierbaum\, \nShadows of My Past\, \nWet Plate Collodion on Blown Glass\, \n2022							\n				Lynn Bierbaum\, \nLiving in the Past\, \nToned Cyanotype\, \n2021							\n				Carol Byron\, \nAlstroemeria\, \nOrotone\, \n2022							\n				Carol Byron\, \nTriptych\, \nOrotone\, \n2022							\n				Sally Chapman\, \nArchangel St. Michael (Edition 2 of 2)\, \nCyanotype and Pastels\, \n2022							\n				Sally Chapman\, \nSmell the Roses (Edition 1 of 3)\, \nCyanotype and Pastels\, \n2022							\n				Sally Chapman\, \nStirrings (Edition 2 of 4)\, \nCyanotype and Pastels\, \n2022							\n				Stephen E. Cohen\, \nNumber 8 Duo Tone\, \nSilver Gelatin Duo Tone Print\, \n2010							\n				Dennis L. Collins\, \nWendy\,\nAurumprint\, \n2022							\n				Sarah S. Curley\, \nSpring Joy\, \nCyanotype\, \n2022							\n				Sarah S. Curley\, \nContemplating\, \nCyanotype\, \n2022Honorable Mention							\n				Susan Davens\, \nCloud Bird\, \nCyanotype\, \n2020							\n				Chuck Davis\, \nDamen Washington-Cherokee Videographer\, \nTintype Diptych in Walnut\, \n2021Honorable Mention							\n				Chuck Davis\, \nAlicia Flores\, \nCalifornia Mission Activist\, \nTintype in Walnut\n2021Honorable Mention							\n				Kate Dawes\, \nFull Moon over Ha Long Bay\, \nCyanotype\, \n2022							\n				Kaden Dawson\, \nUntitled\, \nCyanotype\, \n2022							\n				Kaden Dawson\, \nUntitled\, \nToned Cyanotype\, \n2022							\n				Janet Fine\, \nshh\, \nCyanotype and Graphite\, \n2021							\n				Janet Fine\, \nFloaters\, \nToned Cyanotype\, Paint\, Graphite\, and Conte Crayon\, \n2022							\n				Janet Fine\, \nFirst to a Fire\, \nCyanotype on Braille Paper\, Washing Soda\, Kozo Paper\, Found Object\, \n2022							\n				William W. Fuller\, \nBlanco Diablo Big Sur\, California\, 1986\, \nGelatin Silver Print\, \n1986Third Place							\n				Pam Golden\, \nAngel Figueroa-Aguilera\, \nPalladium Print from Tintype\, \n2022							\n				Pam Golden\,\nSiena Coronado\, \nPalladium Print from Tintype\, \n2022							\n				Ana Laura Gonzalez\, \nBishop’s Cap Abstract (A/P)\, \nHand-Colored Van Dyke Print\,  \n2022							\n				Ana Laura Gonzalez\, \nGambler’s Quail Pair (A/P)\, \nHand-Colored Cyanotype\, \n2022							\n				Ana Laura Gonzalez\, \nVerdin in Sweet Acacia Tree (A/P)\, \nHand-Colored Cyanotype\, \n2022							\n				Marita Gootee\, \nMending\, \nLumen Print with Encaustic\, \n2022Second Place							\n				Marita Gootee\, \nLost Future\, \nLumen Print with Encaustic\, \n2022							\n				Fiona Howarth\, \nGlacial Retreat\, \nPlatinum/Palladium Prints\, \n2022							\n				Fiona Howarth\, \nThe Trees Returned\, \nPlatinum/Palladium Prints\, \n2022							\n				Kenro Izu / Veritas Editions\, \nImpermanence (Edition 1 of 13)\, \nPlatinum/Palladium and Gum Over Platinum\, \n2020-2022Award of Excellence for Collaborative Work							\n				Michael C. Hughes\, \nSaguaro and Storm Clouds\, \nPlatinum/Palladium Print\, \n2022							\n				Michael C. Hughes\, \nSeashore Fence\, \nPlatinum/Palladium Print\, \n2021							\n				Michael C. Hughes\, \nShore Forms\, \nPlatinum/Palladium Print\, \n2022							\n				Jon Jeffery\, \nEvent Horizon Warehouse\, \nCyanotype on Recycled Cardboard\, \n2022							\n				Jon Jeffery\, \nBig Sur Redwoods\, \nCyanotype on Recycled Cardboard\, \n2022Honorable Mention							\n				Alex Krajkowski\, \nUntitled\, from Knots\, \nUnique Gelatin Silver Print\, \n2019							\n				Alex Krajkowski\, \nUntitled\, from Knots\, \nUnique Gelatin Silver Print\, \n2019							\n				J. Jason Lazarus\, \nVasquez Rocks\, Agua Dolce\, California\, \nMordançage\, \n2022							\n				J. Jason Lazarus\, \nSaguaro National Park\, Tucson\, Arizona\, \nMordançage\, \n2022							\n				Jen Leahy\, \nQueen of the Universe\, \nCyanotype and Mixed Media\, \n2021/2022							\n				Annie Lopez\, \nNot a Blue Bird\, \nCyanotype on Watercolor Paper\, \n2022							\n				Annie Lopez\, \nToo Much Like Me\, \nCyanotype on Tamale Paper\, Thread\, \n2022Honorable Mention							\n				Lloyd Matthews\, \nEmber (Edition 1 of 13)\, \nPlatinum/Palladium Print\, \n2020							\n				Lloyd Matthews\, \nDesert Hum (Edition 1 of 13)\, \nPlatinum/Palladium Print\, \n2020							\n				Marek Matusz\, \nMonarch and Poppies\, \nGum Bichromate\, \n2022							\n				Marek Matusz\, \nMoonrise over Half Dome\, \nCyanotype and Gum Bichromate\, \n2021							\n				Marek Matusz\, \nPoppies\, \nGum Bichromate\, \n2022Honorable Mention							\n				Marek Matusz\, \nYosemite Shadow\, \nGold Toned Albumen Print\, \n2022							\n				Lou McCorkle\, \nCuriosity #1\, \nGum over Cyanotype\, \n2022First Place							\n				Lou McCorkle\, \nCuriosity #3\, \nGum over Cyanotype\, \n2022First Place							\n				Lou McCorkle\, \nCuriosity #8\, \nGum over Cyanotype\, \n2022First Place							\n				Lou McCorkle\, \nCuriosity #7\, \nGum over Cyanotype\, \n2022First Place							\n				Alyssa McKenna\, \nEgyptian Avenue\, \nChrysotype\, \n2021Honorable Mention							\n				Neil A. Miller\, \nCemetery — North of Dublin\, ‘95\, \nGelatin Silver Print\, \n1995							\n				Neil A. Miller\, \nHanging Out — Dublin\, ‘95\, \nGelatin Silver Print\, \n1995							\n				Mary A. Nation\, \nInside\, \nKallitype\, toned in Palladium\, \n2022Honorable Mention							\n				Mary A. Nation\, \nHello\, \nKallitype\, toned in Gold\, \n2022							\n				Mary A. Nation\, \nMercedes\, \nKallitype\, toned in Gold\, \n2022							\n				Elizabeth Overall\, \nHistoric Albequerque\, \nKallitype\, \n2022							\n				Elizabeth Overall\, \nChicago Skyline\, \nKallitype\, \n2022							\n				Elizabeth Overall\, \nLight of the World\, \nCyanotype\, \n2021							\n				Christopher J. Palmer\, \nBug Wall (Edition 1 of 5)\, \nIlfochrome/Cibachrome\, \n2013							\n				Cyd Peroni\, \nMom’s Signature Color\, \nCyanolumen Print\, \n2021							\n				Cyd Peroni\, \nJack’s View\, \nCyanolumen Print\, \n2021Honorable Mention							\n				Michael Peterson\,							\n				Roy Pope\, \nLichen on Tree\, Yosemite National Park\, California\, \nToned Gelatin Silver Print\, \n2019							\n				Roy Pope\, \nWall Shadows\, Prescott\, Arizona\, \nToned Gelatin Silver Print\, \n2020							\n				Caleb Portfolio\, \nShanshan\, \nGelatin Silver Print from Subminiature Camera\, \n2016							\n				Caleb Portfolio\, \nFather Daughter\, \nGelatin Silver Print\, \n2020							\n				Caleb Portfolio\, \nshake\, \nGelatin Silver Photogram\, \n2019							\n				Michael T. Puff\, \nThe Seamstress (Edition 4 of 10)\,\nPlatinum/Palladium Print\, Hand-Colored with Oil\,\n2020							\n				Michael T. Puff\, \nDark Angel (Edition 1 of 10)\, \nPlatinum/Palladium Print\, \n2022							\n				Lesha Maria Rodriguez\, \n011_FBG_2019\, \nCyanolumen Print\, \n2019							\n				Lesha Maria Rodriguez\, \n038_FBG_2_2019\, \nCyanolumen Print\, \n2019							\n				William Root\, \nLuc’s Woods (Edition 1 of 15)\, \nPhotogravure\, \n2022							\n				William Root\, \nWinter Dusk\, Venice (Edition 6 of 15)\, \nPhotogravure\, \n2022							\n				Tanya Russell\, \nRaven’s Nest (Edition 1 of 2)\, \nKallitype\, \n2022							\n				Kimberly Schneider\, \nThe Wave (Wave of Mutilation)\, \nUnique Gelatin Silver Print\, \n2022							\n				Kimberly Schneider\, \nMissing Lobos (The Whale)\, \nUnique Gelatin Silver Print\, \n2022							\n				Phyllis Schwartz\, \nFluttering\, \nCyanotype on Watercolor Paper\, \n2022Honorable Mention							\n				Phyllis Schwartz\, \nOn Edge\, \nCyanotype on Procion Dye Drawing on  Watercolor Paper\, \n2022							\n				Phyllis Schwartz\, \nCamilia’s Dream\, \nCyanotype on Procion Dye Drawing on  Watercolor Paper\, \n2022							\n				Dennis Segers\, \nTide Pool Lace (Edition 2 of 10)\, \nPlatinum/Palladium Print\, \n2021							\n				Dennis Segers\, \nWalmea Canyon (Edition 3 of 10)\, \nPlatinum/Palladium Print\, \n2021							\n				Dennis Segers\, \nValley Mist (Edition 2 of 10)\, \nPlatinum/Palladium Print\, \n2022							\n				Deborah Silvis\, \nTribute to African Royalty – ZA.\, \nSolar Etching on Watercolor Paper\, \n2014/2016							\n				Gerardo Stübing\, \nBrachychiton Discolor\, \nPolaroid Emulsion Lift on Washi Paper and Indian Ink\, \n2022							\n				Gerardo Stübing\, \nArboretum\, \nPolaroid Emulsion Lift on Washi Paper and Indian Ink\, \n2022							\n				James Syme\, \nTurkey Creek Riddles 1\, \nPlatinum/Palladium Print\, \n2022							\n				James Syme\, \nTurkey Creek Riddles 5\, \nPlatinum/Palladium Print\, \n2022							\n				Randall Tosh\, \nMurex Alabaster (Edition 1 of 2)\, \nTintype\, \n2022							\n				Randall Tosh\, \nTonna Olearum (Edition 1 of 2)\, \nTintype\, \n2022							\n				Fred Ullrich\, \nOrgan Pipe Mile 6 (Edition 3 of 15)\, \nGelatin Silver Print\, \n2020							\n				Fred Ullrich\, \nFirst Light on Saguaro at Organ Pipe\, \nGelatin Silver Print\, \n2020Honorable Mention							\n				Maura Brennan Valentine\, \nSunlit Stream\, Yosemite (Edition 1 of 15)\, \nGelatin Silver Print\, \n2008							\n				Lucrees van Groningen\, \nFibonacci 1 (from the Fibonacci series)\, \nGum Bichromate over Palladium-Toned Kallitype\, \n2020							\n				Melanie Vasa\, \nThoughtworms - Floating\, \nGelatin Silver Print with Micron Pen\, \n2020							\n				John Wagner\, \nTree Swing\, Colorado (Edition 3 of 30)\, \nGelatin Silver Print\, \n2021							\n				John Wagner\, \nOlivia with Young Ram (Edition 3 of 30)\, \nGelatin Silver Print\, \n2019							\n				Tom Webster\, \nWeisman Art Gallery\, Minneapolis\, Minnesota\, \nPlatinum/Palladium Print\, \n2022							\n				Tom Webster\, \nPeruvianus\, \nPlatinum/Palladium Print\, \n2022							\n				Angela Franks Wells\, \nWithering II\, \nChromoskedasic Sabattier\, \n2020Honorable Mention							\n				Angela Franks Wells\, \nIn Search of I\, \nChromoskedasic Sabattier\, \n2020							\n				Jeanne Wells\, \nWinter’s Light II (Edition 3 of 3)\, \nPhotogravure\, \n2021							\n				Jeanne Wells\, \nListen I (Edition 1 of 3)\, \nPhotogravure\, \n2021							\n				Jeanne Wells\, \nListen II (Edition 2 of 3)\, \nPhotogravure\, \n2021							\n				Yelena Zhavoronkova\, \nGrana_5481_5486_5504\, \nPlatinum/Palladium Print\, \n2018							\n				Yelena Zhavoronkova\, \nGrana_8478\, \nPlatinum/Palladium Print\, \n2015							\n				Klavdija Zitnik\, \nThe Heart of Gold\, \nCarbon Print Made from Wet Collodion Negative on Glass\, Backed with Imitation of Gold\, \n2021							\n				Ryan Zoghlin\, \nLacus Plasticus #27\, \nCyanotype on Watercolor Paper\, \n2019							\n				Ryan Zoghlin\, \nLacus Plasticus #15\, \nCyanotype on Watercolor Paper\, \n1999Honorable Mention
URL:https://artintersection.com/event/light-sensitive-2022/
LOCATION:Art Intersection\, 207 N Gilbert Rd # 210\, Gilbert\, AZ\, 85234\, United States
CATEGORIES:Exhibitions,Hide from Upcoming,Featured
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DTSTART;TZID=America/Denver:20220716T100000
DTEND;TZID=America/Denver:20220827T180000
DTSTAMP:20260417T114751
CREATED:20220620T175959Z
LAST-MODIFIED:20220720T183334Z
UID:10008956-1657965600-1661623200@artintersection.com
SUMMARY:Elizabeth Opalenik - Considering Possibilities
DESCRIPTION:Exhibition\nConsidering 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. \nRyan 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. \nElizabeth 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.  \n \nAbout Elizabeth\nElizabeth 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. \n“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. \nI 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. \nMy 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.” \n– Elizabeth Opalenik
URL:https://artintersection.com/event/elizabeth-opalenik-considering-possibilities/
LOCATION:Art Intersection\, 207 N Gilbert Rd # 210\, Gilbert\, AZ\, 85234\, United States
CATEGORIES:Exhibitions,Hide from Upcoming,Featured
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DTSTART;TZID=America/Phoenix:20220810T080000
DTEND;TZID=America/Phoenix:20220926T010000
DTSTAMP:20260417T114751
CREATED:20220806T004930Z
LAST-MODIFIED:20220922T000928Z
UID:10008958-1660118400-1664154000@artintersection.com
SUMMARY:Call for Work - Little by Little
DESCRIPTION:Little by Little\, an exhibition of small artworks will present a wide variety of art expressed in a size no more than twelve-inches (12″ x 12″ x 12″) in any dimension. Amazingly beautiful and impactful small works of art presented in a dedicated exhibition that pulls you in for a closer look! \nOur juror will select strong works of art in all media\, including painting\, drawing\, sculpture\, textile\, photography\, printmaking\, metals\, wood\, digital media\, and more\, all presented perfectly in this intimate twelve-inch small format.  \nImportant Exhibit Dates \n\nSeptember 25: Online submissions due midnight Arizona MST\nSeptember 30: Email notification of artists selected for exhibition\nOctober 22: Deliver selected ready to install work\nNovember 5: Opening reception\nNovember 5 through December 30: Exhibition dates\nJanuary 5 – 12: Pick up work and return shipping begins\n\nPlease carefully read the instructions and terms below\, the Submission form and Payment link are at the bottom of this page.  \nInstructions and Terms for Submission\nEligibility\n– Artists must be at least 18 years old\n– The works submitted must be the sole and original creation of the exhibiting artist(s)\n– Submission of collaborative work is encouraged\n– Works previously exhibited at Art Intersection are not eligible for submission \nSubmission Fee\n– $30 for up to three works and you may submit additional works for $10 each\n– There is no limit to the number of submissions you may make\n– All fees must be paid before submissions are accepted \nAcceptable Work\n– Work accepted for review can be any visual media\, 2 or 3-dimensional\n– Final presentation size must 12-inches or less in all dimensions\, including all framing\n– Two-dimensional work must be ready to hang\n– Three-dimensional work must be free standing or include a stand/pedestal\n   – We have some pedestals available \nRequired Information\n– Legal Name / Artist Name / Address / Phone / eMail\n– Bio / Artist Statement\n– Artwork Title / Date Created / Medium / Retail Price\n– JPEG images sized on the short side to 5-inches at 300dpi and less than 2 Mbytes \nDelivery of Work\n– You may deliver work in person\, or ship the work in a reusable container\n– Work that does not arrive by the deadline may not be included in the show\n– All shipping\, return shipping\, handling\, and packaging expenses are your responsibility \nReturn of Work\n– You or a representative may pick up work that is not sold\n– Art Intersection can return ship work at your expense\n– Art Intersection is not responsible for packaging materials\, handling\, or shipping expenses\n– Work unclaimed for more than 21 days after the shipping date will be considered abandoned \nPresentation\n– You are responsible for professional presentation and all work must be ready to install upon delivery\n– Any work not ready for installation may not be included in the exhibition\, at our discretion\n– No digital signatures of any kind on artwork will be accepted \nRetail Price of Work\n– All work must be for sale and the retail price must be under $500\n– The split of the artwork price is 60% to the Artist and 40% to Art Intersection\n– Discounts up to 10% may be offered to buyers at the discretion of Art Intersection\n– You must provide a tax ID/SSN or W9 if sales commission to you equals $600 or more \nLabeling\n– All work must be labeled with Artist name and Title \nLiability\n– Art Intersection is not responsible for the loss or damage of works while in transit\n– All work will be insured by Art Intersection from delivery to last pickup / shipping date \nArt Intersection Reserves the Right to Use Images of Submitted Work\n– Social media marketing\n– On our website\n– In our printed marketing materials\n– Other materials used for promotion \nCopyright\n– The Artist retains ownership and copyright of all submitted work\n– Upon sale of work only the ownership of the work transfers to the buyer \nAcceptance\n– Submission of your Application indicates acceptance of all terms and conditions of this exhibition requirements stated above \n\n \n\n\n\nLittle by Little Submission Fee\n\n\n1\, 2\, or 3 works $30.00 USD4 works $40.00 USD5 works $50.00 USD6 works $60.00 USD\n\n\n\n\n\n \n 
URL:https://artintersection.com/event/call-for-work-little-by-little-2022/
LOCATION:Art Intersection\, 207 N Gilbert Rd # 210\, Gilbert\, AZ\, 85234\, United States
CATEGORIES:Hide from Upcoming,Call for Work,Featured
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