September 14, 2019 through November 05, 2019
September 14 – November 5, 2019
Call for Submissions
Deadline for Submissions, August 11, 2019
An International Exhibit of Alternative Process Photography
Juror: Christina Z. Anderson
Alternative Visions Call for Submision Page
The Alternative Visions Exhibit will be part of the 2019 LightBox Symposium for Alternative Process Photography , (click on link)
hosted by LightBox Photographic Gallery in Astoria, Oregon on September 13, 14, 15, 2019.
We are honored to have Christina Z. Anderson, one of the nations’ finest photographic educators as juror for this Exhibit.
Photographic art is thriving with creativity with the use of historical and alternative processes. In “Alternative Visions” we are looking for artists who push the boundaries of alternative processes, with the innovative use of antiquarian processes in their work, not imitations of early practitioners. We would like to see visionary contemporary use of these processes. We are looking to present the finest works, considering technique and creativity, from photographers using Alternative Processes.
With this exhibit we wish to expose the viewers to work created with a variety of photographic processes. Processes including Platinum/Palladium, Cyanotype, Vandyke, Daguerreotype, Saltprint, Wet Plate Collodion, Dryplate , Ambrotype, Kallitype, Calotype, Gum Bichromate, Lith, Albumen prints are desired, to name a few. Handmade Silver Gelatin and C-prints are considered alternative process for this exhibit. Original works done in an alternative process are required for the exhibit. No digital reproductions of work will be exhibited.
“In the 1960s a number of photographers rebelled against the corporate control of photography and returned to 19th century processes as “alternatives” to making photographs on manufactured black and white or color paper. The “alternative process photography” movement was born. All forms of hand coated processes were revived—Vandyke brown, platinum/palladium, salted paper, gum bichromate, carbon, wet plate collodion, tintype, cyanotype, and casein to name a few. The alternative process movement began as a very niche field within the greater realm of photography. Today, this niche has burgeoned, now as alternative to digital methods of image making. Photographers have re-embraced gelatin silver and chromogenic prints as part of this culture of the handmade print. Lines have blurred; there has been a conflation of gelatin silver, c-prints, 19th century processes, and even photographically derived printmaking such as photopolymer gravure. Many of these processes start with digital methods of image making, but all end with a handmade print.“
~ Christina Z. Anderson
Christina Z. Anderson’s work focuses on the family snapshot, gender identity, the altered landscape, and the contemporary vanitas printed in a variety of 19th century photographic processes, primarily gum and casein bichromate, salted paper, cyanotype, platinum, and mordançage. Anderson’s work has shown internationally in 110+ shows and 40+ publications. Anderson has authored books which have sold in 40 countries—The Experimental Photography Workbook, Gum Printing and Other Amazing Contact Printing Processes, Gum Printing, A Step by Step Manual Highlighting Artists and Their Creative Practice, Salted Paper Printing, A Step-by-Step Manual Highlighting Contemporary Artists, and her newest release Cyanotype: The Blueprint in Contemporary Practice; also Handcrafted: The Art and Practice of the Handmade Print co- authored with Wang, Jianming, King. Anderson is Series Editor for Focal Press/Routledge’s newly-formed Contemporary Practices in Alternative Process Photography series. Anderson is Professor of Photography at Montana State University where she teaches the experimental black & white darkroom and alternative processes along with image+text design.
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