MEG Exposures

New Exhibit: Karen Keating - "Cuba Revisited, 2011"

2012-02-15T09:41:00.000-08:00

MEG Favorites, Part III

2012-02-06T12:56:00.000-08:00

Turning the corner from January to February means we’refully in the New Year, but we have one last post in our series of favoriteimages from 2011. The selections of MEG members Sandy LeBrun-Evans and Maureen Minehan prove that photographs can be very personal, yet still universal, atthe same time.

Sandy LeBrun-Evans

I thought a lot about my favorite image from last year andat first I thought it was a tossup between two from my Forgotten series – Café 27 andTruck. The real answer though is more personal – my true favorite image from2011 is one I took of my daughter walking down the beach with her girls behindher, heads down, following their mama. Something about my strong baby girlleading the way for her own daughters spoke to me. She is a wonderful momand a great person for her girls to look up to and follow through life.

Maureen Minehan

My favorite 2011 image also features family and sand, eventhough no people appear in it. This image was taken during a family trip toRehoboth Beach, DE that included multiple generations. My expectations forshooting much that week were low – it can be hard to combine family time withphotography, no matter what the location. Still, my brother gamely rose with meeach morning at 5 a.m. to capture sunrise from the beach and I treasure boththe quiet time I had with him and the new work that came from it. This imagereflects the peace and beauty of those early morning excursions and will beincluded in my upcoming solo exhibit opening March 26^th at MultipleExposures.

Drumroll Please...

2012-01-25T14:07:00.000-08:00

At MEG, we believe opportunity dances with those already onthe dance floor. Opportunities we don’t know about are opportunities we can’tpursue.

For that reason, we are excited to host Success as anArtist, a six-hour seminar led by Catriona Fraser, owner and director of TheFraser Gallery and an expert on what it takes to develop a successful fine artscareer. With over 16 years experience as one of the most successful art dealersin the Washington, D.C. area, and an excellent reputation for supporting localemerging artists, Fraser’s presentation reflects her deep experience andconnections in the art marketplace.

The information and resources provided in the seminar areuseful to artists working in all media, including painting, sculpture and photography.Whether you’re an emerging artist or just want to boost your art career withfresh ideas, you’ll leave the seminar with practical information and advice onwhat it takes to thrive in today’s challenging arts environment. Each artist receives a resource packetincluding a CD of essential documents and other reference materials.

The seminar will take place at Multiple Exposures Gallery atthe Torpedo Factory Arts Center in Alexandria, VA over two evenings:

· Thursday,March 22^nd: 6pm-9pm

· Thursday,March 29^th: 6pm-9pm

Topics to be covered include:

March 22

Professional presentation of your work   
How to cut your framing and presentation costs   
Framing resources   
How to take good images of your artwork   
How to price your artwork   
How to write a resume   
How to build your artistic credentials   
Juried competitions and other opportunities   
Publicity and marketing
PR contacts and art critics   
How to write a press release

March 29

Regional arts organizations   
Galleries   
Gallery/Artist relationships and contracts   
Outdoor arts festivals, display panels, tents, selling your work, credit cards
Alternative funding, grants and residencies   
Museum acquisitions of your work

The fee to attend the two-night seminar is $85.00. Toregister, please contact Fraser at 301-254-0586 or info@thefrasergallery.com.

Several MEG members have already reaped the benefits ofattending past Fraser seminars and you’re likely to see at least a few of us inthe seats this time too. Hope you’ll join us!

More information on Fraser and the seminar, includingfeedback from previous attendees, is available here.  

MEG Favorites, Part II

2012-01-23T10:37:00.000-08:00

Last week, we shared several MEG members' favorite images from among the thousands they captured in 2011. In our second post in this series, this week we see favorites from MEG members Colleen Henderson, Michael Borek and Janet Matthews and learn why they chose them.

Colleen Henderson

There are several reasons this image rose above the others. First, for the second year in a row, for about half the year(beginning in early spring and running thru late summer), I committed to creatinga visual "Daily Journal," (my shortened version of a 365project). This involves creatingimages daily and then selecting only one image each day to post to the web. Both years I have found the process demanding andchallenging, but also very rewarding. Not only does it provide a visual windowinto my daily life, it greatly increases my awareness of the world around me, sparksmy creativity, encourages me to make images of scenes I might ignore, and oftenleaves me with unexpected gifts from the "photo gods." Cathedral Gate is one such gift.

Second, Cathedral Gate surprised me a bit when I returned home fromshooting and began post-processing. What I'd thought was a detail shot of a wooden gate and its locking mechanism,turned into a semi-abstract image made up of squares, rectangles and circleswith varying degrees of tone, color and texture. I enjoy the arrangement of shapes and the interplay of tones. The overall balance of the image leavesme with a calm and peaceful feeling.

Michael Borek

I took this picture in Montana last summer. The combination of a typical landscape with common traffic signs created a reality that felt familiar, yet strange. It feels like there's a metaphorical context to the image: You need to stop because you cannot continue in the same direction and get where you are headed if you continue on this road.

Janet Matthews

I'm not sure that I have a single favorite image from 2011. But I do have a project from the past year that I am excited about. Last spring, I was en route to pick up my morning latte and I saw a truck carrying ticket booths traveling in the opposite direction. The carnival was back in town. I had been shooting carnival images with a toy camera for several years and thought I was done, but that day I decided I still wanted to continue this work. I decided to take a completely different approach: to try to capture images of the carnival culture, the people who set it up and take it down, control the rides, work the booths and live with the show for the season. This approach was way out of my comfort zone of creating work in a studio, by myself at my own pace. This image is one of several favorites from that experience. It shares my interest in structure and composition as well as documenting one of the workers in his environment. I followed these folks to several locations and am looking forward to meeting up with them again in the coming year.

Five Tips For A Better Website

2012-01-17T05:11:00.000-08:00

If you have your own website, you know how challenging it can be to make it pleasing to the eye, informative and accurately reflect you and your work. At MEG, we're incredibly lucky to have design guru Blake Stenning as part of our membership. Co-founder of Pittny Creative, a full-service design and branding firm, Blake brought his many talents to bear on MEG's recently revamped website. He shares some wisdom on web design below:

1. Start with a cohesive identity. The look & feel of MEG's new website grew out of the visual identity we established in 2010 as part of MEG's new branding efforts. Multiple Exposures Gallery has been a fixture in the DC region for years, but until recently, its communications and marketing efforts had little cohesiveness. While some individual pieces were well designed, MEG itself had no real recognizable identity and we needed to establish a graphic language unique to MEG. In fact, one of the first things my firm did was to streamline the name. Since many people were already referring to Multiple Exposures Gallery by its acronym, it seemed natural to formalize the MEG abbreviation as part of a bold, yet elegant logo. The mark's simple, classic styling serves as the foundation for all of MEG's communications components, from business cards to the new website.

2. Articulate your goals. From a practical standpoint, our goal for the MEG site was to make it simple and flexible enough to be updated on a regular basis -- without huge time investments or programming expertise – to ensure content remains current. For the viewer, we wanted the site to be simple and intuitive to navigate. And from a technical standpoint, our goal was to incorporate best practices for HTML markup and coding.

3. Help your content shine. The biggest challenge for the MEG website was presenting the work of 15 photographers and not favoring one format over another, such as portraits over landscapes or color over black-and-white. And because each MEG photographer has a unique vision, it was crucial that the website's design did not compete with their work. Ultimately, we decided on a JavaScript image viewer that allowed us to design a uniform thumbnail gallery for all members. When you click on an individual thumbnail image, the entire background goes dark and the photo is enlarged to allow for an unencumbered viewing environment.

4. Think through the navigation. The other important consideration was that access to any MEG member's thumbnail gallery has to be easy from anywhere within the website. We achieved this by featuring a right column sidebar listing that is a duplicate of the Artists' pulldown menu in the top navigation. The only time the sidebar is unavailable is from within an individual member's gallery, where the listing is replaced with the artist's bio.

5. Keep it simple. My advice to any photographer who wants to create their own photo website is to keep it simple and think through how you want a visitor to experience your work. It's much easier to make changes before you've invested hours in HTML coding. For those opting to use blogging templates, the principles are basically the same – plan ahead. Know what you want to say and then try and find a template that's flexible enough to accommodate your content, but keep in mind that it may sometimes be necessary to adapt your content to fit within the constraints of the template.

MEG Favorites - Part I

2012-01-11T09:35:00.000-08:00

Every member of MEG takes thousands of photographs each year. While many are "keepers," a few images always take up residence in our hearts and minds as favorites. We're drawn to these images for any number of reasons: they might fit perfectly in a series we've developed, they might be the start of a new creative direction or they might capture a scene or a moment that's personal and meaningful, if only to us. In the first of a series of posts, MEG members Alan Sislen, Eric Johnson, and Grace Taylor share images from 2011 that they consider "favorites."

Alan Sislen

"Built in the mid-1700's, the Old Sheldon Church, north of Beaufort, South
Carolina, was burned by the British during the Revolutionary War in 1779. This photograph is among my 2011 favorites because of the mood and sense of emptiness the old ruins conveyed to me and that I feel I captured. I have many photographs of intimate details of the church, but this wide-angle shot, taken with an infrared converted camera, captured what I saw and felt, even better than my recollection that was in color. This composition appealed to me because of the dark tree limbs and tree trunk on the right side of the frame, the dark shadow along the ground in the foreground, the mighty columns that still remain, and the infrared interpretation of the sky and leaves."

Eric Johnson

"This is an image I keep coming back to. It was shot as part of my "Off Season" project that I showed at MEG last summer. The scene was an unseasonably warm Easter Sunday at Coney Island, NY. It had been sunny most of the afternoon, but a late afternoon thunderstorm was on its way when I took this shot. The approaching clouds softened the light on the water and the buildings in the background, and made the wet rocks on the jetties and the people strolling on the beach really stand out. I also like the sense of depth that the parallel jetties receding toward the horizon give the image. And finally, since it is snowing outside as I write this, the image is a nice reminder of spring!

Grace Taylor

Grace retired from MEG in 2011 and became a Member Emeritus. She says her favorite image from the year reflects her new perspective: "I call it SIMPLICITY. It is compelling to me because my new life motto is Keep It Simple." Words we all should strive to live by!

Janet Matthews Talks Vignettes

2012-01-10T06:27:00.000-08:00

MEG member Janet Matthews' new show, Vignettes, sparks your imagination and encourages you to tap your inner child. Intuitively arranging miniature objects into individual vignettes, Matthews has given us a stage to imagine our own moments and stories. Matthews provides some insights into the exhibit and the processes behind it:

1. How did this project begin? Did you know you wanted to create these vignettes or did you start with individual photographs that began to coalesce as a series? While working on a previous series, I had acquired and borrowed a number of vintage objects that included some toys. These toys did not seem to work well for that series, but had a special quality that made me want to photograph them. I played with some ideas and after a number of experiments, ultimately decided to create formal, staged portraits of the toys. It was at this point that the work coalesced into a series, but the concept continued to evolve as I worked (played) with the objects. I found that I was reminded of childhood imaginative play. I tried to tap into that sensibility - find my inner child you might say.

2. There is a strong narrative element associated with the images. Is there a specific story you wanted to tell with each image and/or the series or did you construct them to encourage viewers to develop their own interpretations? While staging these shots, I found that an occasional narrative sensibility crept into some set-ups. In creating the arrangements, I tried to work on an intuitive level. Rather than attempting to illustrate a specific story, I was more interested in how the toys played off each other. I tried to suggest possibilities instead of specific outcomes. I like to view work that does not explain everything to the viewer but instead initiates a dialog with the viewer. So yes, I do want the viewers to develop their own interpretations within this framework that I have presented.

3. Some have described the images as humorous; others see an edge and a bit of creepiness. Where did you obtain the toys you incorporated and decide on the stages you used for the vignettes? Some of the toys are recent acquisitions, found at estate sales or borrowed. Others are items that I have collected over time. I’m fascinated by miniatures and went through a dollhouse phase. I never finished the dollhouse, in fact it’s still sitting in my basement, patiently waiting for me to return. I am drawn to objects that do not suggest a specific time or place. I particularly like items that have evidence of wear and tear, that have obviously been used by others. And I guess I like slightly creepy miniature figures – people as well as animals. I think the edgy quality in some of the images creates a sense of uncertainty, while the humor reassures.

As for the “stage sets”, I used what I had at hand. I have quite a few old wooden boxes and they served as most of the stages and structures. If I wanted a backdrop or curtain, I would try a scarf or other bit of fabric. The goal was to suggest an environment rather than create a realistic setting.

4. You chose to make these palladium prints. What about the palladium process did you think made it the right choice for this project? I am actually quite enamored with 19th century photography processes. Coming from a studio art background of drawing and painting, I attach some importance to the hand of the artist being within the image, whether or not it’s obvious to the viewer. Palladium is a process that involves hand-coating a light-sensitive emulsion onto the paper. Another aspect of a palladium print is the way the image sits within the paper rather than on top of the paper. This characteristic along with palladium’s long tonal scale creates an image with a quiet presence that I felt was appropriate for the work.

5. Would you share some thoughts on why you chose to present your images as small images in large frames rather than as large prints. What impact does a small image in a larger frame have on a viewer? I initially thought I would make large prints from these images of tiny objects, to play with the idea of scale. But I found that the larger size did not add to the image, in fact seemed to detract from it, seeming to remove any sense of mystery. As I develop a project, I often make proof prints for myself on 5x7 paper. The proof prints of these images, printed at 4x5” just felt right. They were much more intimate and quiet and almost object-like in and of themselves, than were the large scale prints. I chose to use large mats as a method of encouraging the viewer to move in close and spend a bit more time with each image.

6. Will we see more of this type of work from you? I do not see this series as complete. I am planning to continue making images that, hopefully, will pick up where I left off and continue to evolve. I am not done playing.

Vignettes can be seen daily through February 12, 2012 at Multiple Exposures Gallery in Studio 312 at the Torpedo Factory Art Center. A reception will take place on Saturday, January 14th from 3-5 pm.

New Exhibit: Janet Matthews - Vignettes

2012-01-03T08:46:00.000-08:00

ISO Two Fantastic Photographers

2011-12-19T06:58:00.000-08:00

"Multiple Exposures is the best photography gallery in the DC area. I tell all of the photographers that attend my "Success as an Artist" seminar, "If you want to be in a gallery, this is the one you want to be in.” -- Catriona Fraser, owner and director of the Fraser Gallery.

Catriona Fraser is a well-respected representative of local, national and international artists and if you want to take her words to heart, now's your chance. Due to a move and a retirement, Multiple Exposures Gallery (MEG) is looking for two new photographers to join us.

Applications and full information about our call for portfolios are available on the MEG website. In addition, two information and orientation sessions will be held on the following dates:

* Sunday, January 8, 10am-12noon

* Thursday, January 19, 7pm-9pm

The information offered at both sessions will the same. Topics to be covered include: the benefits of MEG membership; roles and responsibilities of a MEG member; expectations for sales; displaying your work at MEG; the application and portfolio submission process and timeline; and “best practices” for submitting a portfolio for membership consideration. We’ll also answer any and all questions you might have.

The portfolio submission deadline is February 20, 2012.

If you would like more information or want to RSVP for an information session, please contact Alan Sislen.

Small Works, Big Advice

2011-12-13T06:32:00.000-08:00

MEG’s December show, SmallWorks, was juried by CatrionaFraser, owner and director of the Fraser Gallery. Fraser represents the work oflocal, national and international artists with an emphasis on contemporaryrealism and photography. She spent some time at MEG last week sharing herthoughts on both the Small Worksshow and submitting to juried exhibitions. Some excerpts include:

Do you view worksdifferently when you view .jpgs vs. physical prints when you are makingselections for an exhibit? No. Photographersworry the most about this, but they shouldn't. The elements of a goodphotograph are visible whether it’s a .jpg or a print. Experienced jurorsrealize that there may be slight differences in color or tone because of themonitors they're using to view the work, so those issues don’t have much of animpact.

One of Eric Johnson’simages in the Small Worksshow is a good example. I loved his photograph “Collection of Baskets.” It reflectsa wonderful use of light and shadow, and has great composition...all of theseelements come through whether it’s a .jpg or a print.

Are you eversurprised when you see an exhibit after you’ve selected images via .jpg? The images themselves never surprise me becauseI know they are going to be good. The presentation of the artwork is anotherstory. Poor printing, unprofessional matting and framing, use of acidicmaterials, poorly cut mats, dirty frames, scratched plexiglass, metallicsignatures on prints, the copyright symbol after the artist’s name...all ofthese things will have a negative impact on the work.

Typically, the onlydownside between the submitted .jpg and the finished print is when the imagehas been printed too large for the file size, so the print looks soft andpixelated.

Are there anycommon mistakes photographers make when submitting work to jurors? A big one is submitting too many similar images.If the juror doesn’t like the first one, the odds are high he or she isn’tgoing to like any of the others either if they are in the same vein. If you’resubmitting a portfolio for consideration, you absolutely want consistency; ifyou’re submitting 3 or 4 images to a juror for an exhibit, you want variety insubject matter/theme.

For more insight fromFraser, consider attending one of her “Success As An Artist” seminars, held throughout the year. A number of MEG membershave attended in the past and found them very useful.

Small Works can be seen through December 31, 2011 at MultipleExposures Gallery, Studio 312, Torpedo Factory Art Center, Alexandria, VA.

New Exhibit: "Small Works"

2011-12-07T08:59:00.001-08:00

Can Chocolate Make You A Better Photographer?

2011-12-05T08:59:00.001-08:00

How does a winter drink translate into artistic improvement? Just ask MEG member Colleen Henderson, whose recipe for Cioccolata Calda, a rich Italian hot chocolate, made headlines in a recent issue of the Gazette.

After taking a bookbinding class with Patty Lee at the Pyramid Atlantic Art Center in Silver Spring, Henderson was asked to submit her favorite drink recipe as part of a fundraiser for the center. When her Cioccolata Calda was selected as one of 13 drinks included in "Drink Me," a fun compilation of winter beverages, Henderson was invited to a two-session linoleum print workshop where she made a linoleum print to accompany her recipe in the book.

Henderson says the experience showed her once again that stepping outside your traditional medium to try something new can bring both new skills and inspiration. "To make a linoleum block print, you first need to carve out the areas you don't want inked. Creating that negative space is a different way of thinking as an artist. It forces you to focus intently on structure and composition, two elements that are also critical in photography," Henderson says.

To test out our theory that chocolate does improve your photography, below is Henderson's recipe. Make a batch and while enjoying a cup, let us know what other art forms you've tried that have influenced your photographic work.

Cioccolata Calda (Tuscany Hot Chocolate)

by Colleen Henderson

— 5 tablespoons cocoa powder (Pernigotti or Droste)

— 2 tablespoons sugar

— 6 ounces (70 to 80 percent) bittersweet chocolate, finely chopped

— 2 cups milk

Place the cocoa powder, sugar, and 3 to 4 tablespoons of the milk in a saucepan and heat until the sugar melts, stirring well to remove any lumps. Boil the remaining milk, and then add to the chocolate mix.

Heat milk to steaming, while whisking thoroughly to incorporate the ingredients. Remove from heat and add the chopped chocolate. Stir to melt the chocolate.

Interview With Juror Sara Yousefnejad

2011-11-18T06:35:00.001-08:00

Sara Yousefnejad, juror for Multiple Exposures Gallery's current exhibit, Everything is Alternative, offers insight into her selections and why they make a remarkable show:

Basedon the title of the exhibit, Everything Is Alternative, did youknow what to expect when you entered the gallery? I actually felt quite torturedby the title of the exhibit and found myself asking friends, family, andstrangers on the Metro what their first thought was when I said Everything is Alternative. The answers ranged from blank stares toshrugs to babbled explanations of the grunge music movement; most werenon-verbal responses of bewilderment. When I entered the gallery, however, theshow made sense instantly. It would be a show with dissonant, deceiving, andcreative photographic formats and processes, or contemporary photographypractices and explorations. With all the different formats of contemporaryphotography, almost everything is alternative.

Thetheme Everything Is Alternative was intentionally broad; in yourexperience, do broad themes make it easier or harder to put together cohesiveshows? Broadnessin theme does not necessarily dictate the ease or difficulty of puttingtogether an exhibit. Themes that are open to interpretation, but simultaneouslypoint to a specific element are the most interesting to me. In Everything isAlternative, the creative process itself is on display just as much as thecontent of the photograph. The photographic subjects in the show range fromchildren to architectural ruins to hot peppers, but because the creativeprocess is a major element in all the works, there is cohesion.

Werethere any techniques used in the show that were new to you? Were you drawn toany specific techniques over others? Onetechnique that was new to me in the context of digital photography washand-toning or hand-coloring. Susan Meyers put a digital image in Photoshop,converted it to a line drawing, printed it out, and then painted over it withwatercolor. It looked like an original drawing/watercolor so I had to ask herwhat it was doing in the photo exhibit! Janet Matthews had an image with asimilar process, but I could see the photographic origin of the image. Meyers'image had me stumped.

I wasreally interested in Clifford Wheeler's image because of its relevance tocontemporary culture, and I was tickled that we could exhibit it right where itwas made. If you can, see the show when Clifford is gallery sitting. This isfor maximum effect of the relevance of his work. *Of course all the MEG membersare lovely and you should see the show whenever you can!


(c) Alan Sislen

Whatdo you gravitate toward in an image? Were you looking for any common elementsin the images you chose for the show? Mediumand subject, and how they work together or against one another. Ingeneral, I am drawn to the idea of media advancing to the point where it beginsto mimic its original formats. For example, Alan Sislen's infraredimages had such soft textures that they resembled charcoal drawings. Alan'simages depict decrepit architecture, which is of course an interesting subjectwhen thinking about time, history, progress, and cycles. Before photography wasborn, artists would have drawn or painted these structures. As the yearsprogressed, so did the media and "technology" to capture thestructures. At some point photography became perfect, boring, factual,accessible to everyone--not just artists. Then artists began thinking about newand alternative ways to capture their subjects. Yes, the technology of themedium is still advancing, but the aesthetic cycles back to its origins andis reminiscent of drawing.

Here's an everyday example: We used towrite on paper notebooks, then typewriters, then word processors, thencomputers, then there was the tablet craze. Is writing on a screen with astylus pen anymore advanced than writing in a notebook? Again, the technologyadvances, but you're in effect doing the same thing you did in grade schoolusing a paper notebook. In fact, Apple calls computers notebooks.

Allthe images in the show were about the medium as much as the message. Marshall McLuhan would have been all over this.

You'regoing to Uganda this winter to teach photography to children for a few weeks.How did you get involved with this project? What is your goal for theproject and how can people who read this support you? Iwork in development and fundraising for the Arlington Arts Center, but I amalso invested in the educational programming we have for children. In thesummer, I taught a digital photography workshop to middle and high schoolstudents. We focused on techniques related to composition and story-telling andused simple cameras to document the people and faces in our neighborhood. Theclass was actually part of an international photo exchange for children called Thisis My City. Theopportunity presented itself to partner with the Arlington Academy of Hope inUganda, and an instructor was needed to travel to Uganda and teach theworkshop. I jumped at the opportunity! It will be my first trip to Africa, andmy first time traveling to another country to conduct an art workshop.

Mostof the children in Uganda have never even seen a camera. None of them haveaccess to cameras. So, the AAC is hosting a digital camera drive and we hope totake those cameras over to Uganda to be used in the workshop. If you get a newcamera for the holidays, or you have an old one you don't need anymore, pleaseemail me at sara.yousefnejad@findyourartist.org.

(Note: MEG is serving as a collection point for cameras. You can stop by between 11am-6pm (Thursday 2-9pm) to drop off your donation -- Torpedo Factory Art Center, 3rd Floor).

Everything is Alternative can be seen at
Multiple Exposures Gallery
through November 30th.

Numbers Tell The Tale

2011-11-16T06:43:00.001-08:00

829/255/10/3.

Any guesses what those numbers represent?

They are:

The number of entries for The Art League's November Small Works show (829);
The number of works accepted into the show (255);
The number of Honorable Mentions awarded in the show (10);
The number of Honorable Mentions received by members of Multiple Exposures Gallery members (3)!

Juror Jordan Faye Block honored Colleen Henderson for Blue Clearing and Boathouse Reflections and Sandy LeBrun-Evans for her encaustic mixed media piece Cafe 327.

All three works can be seen in The Art League Gallery in the Torpedo Factory through December 6, 2011.

Congratulations Colleen and Sandy!

The Processes used in "Everything is Alternative"

2011-11-14T09:11:00.001-08:00

Photography is considered to have started in 1826. That is to say, an image created by light on a light-sensitive surface could be made permanent. In the ensuing 170 years, the technologies available to accomplish this task have advanced from daguerreotypes to calotypes to wet pates to flexible film to color film (with many other processes in between) and on to today’s digital methods. Throughout this history, photographers have discarded methods as each new technological advance arrived. And today, methods used not so long ago are transitioning into historic/alternative processes faster than you can say “Kodak” (anyone remember film?).

Artists have always chosen and manipulated processes in order to achieve their individual visions. Present day photographers have a virtual smorgasbord of techniques to choose from for making images that match what they see with their minds’ eye. From image capture to final print, there are many choices available. Our current show, “Everything is Alternative” showcases the myriad ways in which the photographers at MEG have arrived at their final visions. The prints on the wall present explorations of historic, digital and many other processes. These are the methods used to create the images on exhibit:

_______________________________________________________

Transfer processes – transfer of inkjet image printed on film to various substrates, using various solvents:

	Maureen Minehan “Super Sauce” transfer to canvas
	Danny Conant Transfer to gelatin on wood panel with acrylic paint
	Sandy Lebrun-Evans “Super Sauce” transfer to wood panel
	Louise Noakes “Purell” transfer to paper
	Louise Noakes “SuperSauce” transfer to plexiglass with mixed media
	Colleen Henderson “Super Sauce” transfer to “Stone paper”

_______________________________________________________

Darkroom Processes:

	Janet Matthews Hand-applied silver gelatin emulsion, with colored pencil, collage, varnish
	Janet Matthews Tea-toned Cyanotype
	Janet Matthews Palladium print
	Karen Keating Silver gelatin print

_______________________________________________________

Alternative Image Capture Methods:

	Alan Sislen Digital infrared
	Blake Stenning Toy camera/plastic lens using film
	Karen Keating Toy camera/plastic lens using film
	Eric Johnson Flatbed Scanner

_______________________________________________________

Digital Methods:

	Clifford Wheeler Digitally manipulated image / Inkjet print
	Susan Meyers Digitally manipulated image / Inkjet print with Watercolor
	Michael Borek Digitally manipulated image / Inkjet Print

New Exhibit: "Everything is Alternative"

2011-11-08T08:13:00.000-08:00

Find Us At Fotoweek DC

2011-11-02T19:03:00.000-07:00

You know about MEG's demos for FotoWeek DC, but wait there's more! From a group show at Multiple Exposures to member participation in other FotoWeek DC activities, there's a lot going on. Join us for the demos and stop by the events below during FotoWeek to see new work by MEG members:

Everything Is Alternative. MEG members showcase their talents with alternative processes in this all-member show juried by Sara Yousefnejad of the Arlington Arts Center. Show dates: November 8 - December 4, 2011. Multiple Exposures Gallery, Suite 312, Torpedo Factory Arts Center, Alexandria, VA.
Effective Immediately (Later On). Join MEG member Michael Borek on Saturday, November 5th from 5:30-8:30 pm at Glen Echo Photoworks for a reception to kick off exhibits by the three winners of Photoworks 2010 Photo Slam. Michael's show, Effective Immediately (Later On) contains photographs from his Scranton Lace project, including some that have not previously been exhibited. Show dates: November 5-December 4, 2011. Photoworks Gallery at Glen Echo Park, Glen Echo, MD.
Capitol Pecha Kucha Night. Michael Borek will also be one of the presenters during Capitol Pecha Kucha Night. The event will be held on November 8, 7:30-11:00 pm at FotoWeek DC Central (1800 L St., NW). Michael will share the story of his Scranton Lace factory photographs.
Through Time. MEG member Maureen Minehan is participating in Through Time, an exhibit by the F11 Women's Photography Collective at the Morrison House in Old Town Alexandria. The show focuses on abandoned structures and the ravages of time. An opening reception will be held on November 9 from 7-9 pm. Show dates: November 5 - November 27, 2011.
Danny Conant. MEG member Danny Conant will have nine gelatin transfer prints on display at the NIH Clinical Center Galleries November 6, 2011-January 7, 2012.

Celebration of Alternative Process Symposium. MEG member emeritus Grace Taylor will be part of a symposium on alternative processes held at Photoworks at Glen Echo on Sunday, November 6th from 11-4 pm. Grace will discuss the "Van Dyke Brown" printing process.
Dynamic Environments. MEG member Karen Keating will be exhibiting work as part of a show at The Popcorn Gallery at Glen Echo Park. Karen's images can be seen through November 16th on weekends, 12pm-6pm.

FotoWeek DC at Multiple Exposures Gallery: Technique Demonstrations

2011-10-26T14:00:00.000-07:00

Planning your FotoWeek DC schedule? Mark November 10th as a night to visit the Torpedo Factory Arts Center in Old Town Alexandria for demonstrations of two fantastic alternative photography processes by members of Multiple Exposures Gallery (MEG).

Danny Conant and Colleen Henderson kick things off on November 10th at 7:15 in the Target Gallery with image transfers using DASS Super Sauce. At 8:15, the action moves upstairs to MEG's space on the third floor where Sandy LeBrun-Evans and Louise Noakes will give a lesson on image transfers using Purell hand sanitizer.

While your calendars are out, mark one more date. On November 17th at 7:30 p.m., join MEG member Janet Matthews at Multiple Exposures Gallery for a demonstration of making cyanotypes, a 19th century process that's still used today to make unique photographic prints.

_______________________________________________________

Demonstration Schedule:
          November 10
                 Image Transfers Using DASS Super Sauce
                 7:15 pm, Target Gallery at the Torpedo Factory, Alexandria, VA
                Image Transfers Using Purell Hand Sanitizer
                8:15 pm, MEG, Studio 312, Torpedo Factory, Alexandria, VA
         November 17
                19th Century Processes: Making Cyanotypes
                7:30 pm, MEG, Studio 312, Torpedo Factory, Alexandria, VA

______________________________________________________

Demonstration Descriptions:

Image Transfers using DASS Super Sauce

Using DASS Super Sauce solution, Danny Conant and Colleen Henderson will demonstrate how, using your own digital photo files, you can easily and simply make unique image transfers onto an assortment of receptor surfaces, including artist papers, wood panels, and a specialty paper called "DASS Stone Paper."

DASS stone paper (made from limestoneand resin) allows you to create image transfer effects that are verysimilar to the Polaroid emulsions transfers which were popular prior tothe demise of Polaroid film products.

Image Transfers Using Purell Hand Sanitizer

Learn how to transfer your images onto beautiful printmaking papers and fabrics. You won't believe what a little hand sanitizer can do to produce this very unique visual effect.

19th Century Processes: Making Cyanotypes

The cyanotype process, also known as the blueprint process, was one of the early methods used to make photographic images. It was invented in 1842 by astronomer John Herschel in an attempt to create a method for copying his notes.

Cyanotype printing is one of the easiest and safest ways to make photographs by hand. Just a few ingredients, paper, two chemicals, ultraviolet light (such as the sun) and water, are needed to create unique photographic prints. We will demonstrate the process and look at some contemporary approaches used with this historic process.

Seeking Recognition: Tips From Michael Borek

2011-10-24T10:06:00.000-07:00

Scranton Lace #7460 ©Michael Borek

Multiple ExposuresGallery (MEG) member Michael Borek is on a roll. In just the past few monthsalone, he's:

Earned a spot at Photo '11 at Artisphere
Reached the final round at Critical Mass
Launched a solo show at Multiple Exposures Gallery
Joined an exhibit of PhotoSlam winners at Photoworks at Glen Echo
Received second place honors in Fotoweek DC's 2011 International Awards Competition

Below, Michael describes his approach to gaining recognitionfor his photography and how he decides what to submit:

Congratulations on your recent successes. Have you alwayspursued opportunities for exhibits and awards or does your recent successreflect a new focus on gaining recognition for your work?

I haven’t really changed my focus, although I think I havegotten better at editing my work. I have also realized that good photographers show only their bestworks. I’ve always pursued what Ifound interesting, without thinking about whether it will be a success, so thathasn’t changed.

How do you decide which opportunities to pursue?

I am trying to have my work judged, juried, and hopefullyrecognized by people from whom I feel I could learn something and/or who workfor the galleries or museums that I respect.

Several of your recent winners were from yourScranton Lace Factory series. How do you choose among your many wonderfulimages when deciding what to submit if there is no specific requirement ortheme you must adhere to?

Scranton Lace #7553 ©Michael Borek

There is a lot of editing behind that. I spent a total ofeight days of shooting at the Scranton Lace Factory, and I generated a lot ofmaterial. But I spent much more time editing my work, printing proofs, hangingthem in my studio and living with them to see whether I still like them after awhile. Also, I showed my work to fellow photographers and other artists anddiscussed my work with them. Sometimes I followed their advice, other times I didn’t, but theirfeedback gave me a lot to think about.

After selecting what I feel are the best images comes thehardest part—sequencing them and eliminating those that don’t fit in. I mayhave several pictures that I feel are good, but if they don’t go with the flow,I don’t submit them. My goal is to have a consistent body of work that flowsnaturally. And it is good to start and end with your best images.

Many photographers feel rejected when they submitwork that isn't selected by the jurors or judges. Have you ever felt similarlyfrustrated and if so, what did you do to make sure it didn't stop you frompursuing opportunities again?

I deal with it the same way as I do with parking tickets.When I get a parking ticket, I write the check immediately, mail it, and forgetabout it. Obviously, I cannot write a check after a rejection and consider itdone, but I try not to dwell on it and just move on. There’s no need to readthe entire letter that starts: “Dear Artist, there were many excellent entriesthis year and the judge had hard time deciding, blah blah blah....” One has torealize that there are many more good photographers than opportunities toshow.

Rejection comes with the territory. If you spend time andenergy feeling frustrated and sorry for yourself, you are not spending thattime and energy on your photography. And there are only two logicalexplanations for your rejection: either your work wasn’t good or originalenough, which you can change, or you are a misunderstood genius and it is justa matter of time before you will be discovered. So it is a win-win situation.

Scranton Lace #7594 ©Michael Borek

But seriously, if you can’t deal with rejection, you are notserious enough about your art. There will always be rejection, and even thoughit is obviously nice to get recognized, the recognition should be viewed onlyas a nice side benefit and one should get the main enjoyment from doing theart. Easier said than done, we are all fragile and insecure, but that is theway it is.

What advice do you have for photographers to increasetheir odds of success when submitting work for awards or exhibits?

Statistically, you can increase your odds by submitting intomore competitions. Many peoplefeel that $30-40 fee is exorbitant, although they don’t hesitate to spend $1000on a new lens. New equipment won’t make you a better photographer, but I havefound the whole process of submitting your work will – if you do it right.

By “doing it right,” I mean being thoughtful, editing yourwork, discussing it with people whose judgment you trust, and having anoriginal body of work. And maybe doing a little test. Ask yourself whether youwould buy the photographs you are submitting if you saw them in a gallery. Ifthe answer is no, don’t bother submitting them. If they don’t excite you enoughto “buy” them, how can you expect that they would be selected from hundreds ofother entries?

You also have to decide on the appropriate level. The oddsthat you will be selected in an international competition with thousands ofentries juried by a prestigious curator are very low, particularly if you are abeginner. It may be better for youto start on a local or regional level. On the other hand, if you are beingconsistently selected on these levels, it may be time to move up (but prepareyourself to deal with possible rejection).

Janet Matthews included in "Hand+Eye" exhibit

2011-10-20T15:26:00.000-07:00

Janet Matthews' image, Snip, was chosen to be included in the juried exhibit Hand+Eye at the Through This Lens gallery in Durham, NC, October 15 - November 16. This exhibit will feature hand-crafted, alternative process photography. Beginning Saturday, October 22, the exhibit will also be featured at the online gallery on the website www.fotosavant.com, and in an exhibit catalog available at blurb.com, No Alternatives: Selections from Hand+Eye.

Exhibit at NIH by Danny Conant

2011-10-17T12:38:00.000-07:00

Photographs on Gelatin
by Danny Conant

November 6, 2011 through January 7, 2012

Clinical Center Galleries at NIH
Bethesda, MD

Michael Borek interviewed in the Washington City Paper

2011-10-03T07:23:00.000-07:00

Michael Borek, was recently interviewed about his current and previous projects by the Washington City Paper. He talks to Louis Jacobson about "his career, the bridges of Montgomery County, and what he sees amid Scranton's post-industrial decay." You can read the full interview here.

Michael's newest project, Effective Immediately, will be on exhibit at Multiple Exposures Gallery October 4 - November 7.

Upcoming Exhibit

2011-09-26T08:00:00.000-07:00

Effective Immediately

Images by Michael Borek

October 4 - November 7
Opening reception: Saturday, October 8, 3-5 pm.

Michael Borek will be showing his new project, images shot in an abandoned lace factory in Scranton, Pennsylvania.

Michael Borek - Critical Mass finalist

2011-09-08T08:39:00.000-07:00

Kudos to Michael Borek, who recently became a finalist in Photolucida's annual Critical Mass competition.Critical Mass finalists will have their portfolios viewed by a jury of approximately 200 of the world’s best curators, editors, and other professionals who have agreed to view and vote on the finalists’ work. The votes from this jury will determine which photographers will become the Critical Mass Top 50 for 2011. Good luck, Michael!

Michael's work will be on exhibit next month at Multiple Exposures Gallery.

Back to School?

2011-09-06T14:08:00.000-07:00

One of the joys of participating in Multiple Exposures Gallery (MEG) is the opportunity to talk to gallery visitors about the creative and technical aspects of photography. Whether they’re full-blown professionals, new purchasers of an entry-level DSLR or mad snappers with their smartphones, we relish our conversations about all things photography.

A question we’re frequently asked is “How can I take photographs like yours?” While everyone has their own vision and style, taking classes and participating in workshops is one of the best ways to simultaneously learn new skills and spark your creativity.

In the coming months, several MEG members will share their knowledge and techniques through classes and workshops open to the public, including:

Creative Photoshop: MEG president Colleen Henderson will help students unleash their creativity in her Creative Photoshop class offered in September in her Bethesda studio. Participants will put away their technical “how-to” manuals and focus instead on exploring and experimenting with the creative options made possible by Photoshop. Colleen offers additional classes throughout the year, including workshops on shooting, editing, printing, portfolio production and alternative processes.

Alternative Photography: Photography without a camera? That’s exactly what MEG member Janet Matthews will teach students in her October workshop on alternative photography techniques at Montpelier Arts Center in Laurel, MD. Learn how to make unique contemporary prints through the 19th century process cyanotype, all without pressing the shutter.

Towards a Personal Style: Starting in late September, MEG member Karen Keating will help intermediate and advanced photographers identify their personal style and the uniqueness of their visions in this class at Photoworks at Glen Echo. Students will discuss readings, the creative process, look at master photographers’ images and work on defining the elements of style found in their own images.

Exhibit Preparation for Photographers: Are you ready to apply for a photography exhibit? Are your images selected, but it’s your first time getting into the nitty-gritty of a photo exhibition? Work with Karen Keating in this late October class at Photoworks to fine tune your edits, artist statement, printing, framing, sequencing, titling and labeling, ensuring your exhibit is a hit, not a miss.

Mat Cutting Made Simple: As every exhibiting photographer soon learns, matting costs quickly add up! In this December workshop, Karen Keating teaches you how to save money and time by cutting your own mats. A “hands-on” experience, the workshop will be held at Photoworks at Glen Echo.

Lightroom Intensive: Improve your workflow and your images with a workshop on Adobe’s Lightroom. Become a Lightroom power user in just 2 ½ days as MEG vice president Alan Sislen shares the tips and tricks you need to master Lightroom’s powerful, yet user-friendly, capabilities. You’ll leave this December workshop, held at Alan’s Bethesda studio, with a full understanding of Lightroom and practical experience applying its many features to your own images.

If you attend one of these classes, you just might find a member of MEG in the seat next to you. As Abigail Adams said, “Learning is not attained by chance, it must be sought for with ardor and attended to with diligence.”

In Honor Of Labor Day

2011-09-05T04:10:00.000-07:00

MEG member Michael Borek wasn't thinking about Labor Day when he took this image at the abandoned Scranton Lace Factory in Scranton, Pennsylvania, but it certainly portrays the changed landscape for many U.S. textile workers.

Founded in 1897, just 15 years after Labor Day was named an official federal holiday, the Scranton Lace Factory closed its doors in 2002. Milena Kalinovska, a curator at the Hirshhorn Museum, says Michael's Lace Factory images capture the tension of changing times:

"With laces still in the looms, chairs on the stage of the company’s theater, the images capture dissonance between quiet beauty and troubling reality.”

In October, Michael will launch Effective Immediately, a new exhibit at MEG featuring his Scranton Lace portfolio (more details to come!).

* * * * *

Lest the vision of an abandoned factory coinciding with the end of summer depress you, here's an image from MEG member Alan Sislen that shows the beauty that awaits us. Happy Labor Day!

"Off Season": Q&A With Eric Johnson

2011-08-31T09:54:00.000-07:00

MEG member Eric Johnson talks about “Off Season,” his new exhibit at Multiple Exposures Gallery at the Torpedo Factory Art Center in Alexandria, VA:

Off Season features compelling landscapes of beaches and beach towns. Most people see these places only in the summer – what drew you to photograph them in quieter times? I have always enjoyed visiting the seashore in the off season - there is much less traffic, and I find it easier to enjoy the natural environment of these places without the summertime crowds. In this project, my goal is to capture the tranquility of these locations during their less-visited months and depict a view rarely seen by a seasonal visitor.

Where did you shoot these images and why did you choose these specific locations? When I was younger, my family would go to Wildwood, NJ or Ocean City, MD several times each summer, and those trips would be one of the highlights of the season for me. On my way back to Washington after Christmas in 2008, I decided on a whim to detour through Wildwood. It had been well over thirty years since my last visit, and I was curious to see how it had changed. It was a foggy, drizzly afternoon, and I spent two or three hours exploring and photographing the deserted boardwalk and beach. In the images that I shot I tried to convey not just a personal nostalgia, but the uniquely peaceful character of the town at that time of year.

As I continued to revisit the images that I shot that day, the idea for the Off Season project gradually evolved, and I started to consider what other locations would fit into the project. Block Island, RI is one of my favorite places, and I travel there almost every year in early June before the summer season gets fully underway. The image in the exhibit from there, which was really more "shoulder season" than "off season", was taken on a stormy day, giving the beach the same feel as it has in the winter months. The photographs from Ocean City, MD were taken on a winter morning in late February of this year. and the images from Coney Island were taken on Easter Sunday this year. The latter was an unusually warm spring day, and while the boardwalk was as crowded as on a summer day, the water was cold enough that there were relatively few people on the beach.

Your use of black-and-white in this exhibit adds to the haunting quality of many of the images. Did you shoot them assuming you would print them in black-and-white? If so, did it influence or change what you focused on when shooting? I consider myself to be primarily a black-and-white photographer, so most of what I was shooting for this series were previsualized as black-and-white images. As such, I try to emphasize the form and patterns in the subject as the primary compositional elements of each image.

The images are from more than one place, yet the exhibit is very cohesive. What did common threads/themes did you look for when selecting the images you included? While I wanted to convey a sense of quiet and emptiness, I did not want to give the impression that these places are complete ghost towns. That's why I included people, or signs of their recent presence, in several of the images. In addition, I tried to achieve a similar tonal range in all of the images I selected, which was a bit of a challenge, considering that the available light ranged from dense fog to strong winter morning sunlight.
What other projects/portfolios are you working on today? While I have obviously had to suspend work on the Off Season project for the summer, I think there is still more that I would like to do on that theme. I also recently returned from a trip to Alaska, which was one of the most visually spectacular places I have ever visited. I have literally thousands of images to sort through - some landscapes, some abstracts - and that will keep me busy for quite a while!

Coffee + Critique + Conversation Time Change for 8/28/11

2011-08-27T11:24:00.000-07:00

The Torpedo Factory Arts Center plans to open at noon tomorrow (Sunday, 8/28) instead of 10am so Coffee + Critique + Conversation at Multiple Exposures Gallery will take place from 12:30-2:00 pm. Check our Facebook page before you go just in case there are further changes.

"Forgotten": Q&A With Sandy LeBrun-Evans

2011-08-23T09:55:00.000-07:00

MEG member Sandy LeBrun-Evans talks about, “Forgotten,” her new exhibit at Multiple Exposures Gallery:

“Forgotten,” features images from two abandoned Utah towns, Thompson Springs and Cisco. Why did you photograph them? I have always been fascinated by abandoned/lost things, places and towns. I saw some photos of Thompson Springs and knew I had to photograph it. I checked to see if there were other ghost towns in the area and I found Cisco.

Are these towns truly abandoned or do some people still reside in them? Cisco was truly abandoned; Thompson Springs still has a small population – 39 people in the 2010 Census.

Thompson Springs started as a station stop on the Denver and Rio Grande Western Railroad in the late 1800’s. Later it thrived as crucial railhead for nearby coal mines, but it fell on hard times when mining declined, I-70 was built just two miles to the south and the passenger train station was relocated to another Utah town.

Cisco was also once an old Western Railroad watering stop and its demise came with the end of the steam engine. It survived into the 20th century long enough to acquire a zip code, but not much else. Today, vandals have damaged most of the town and its relics. They also seem to use it for target practice -- while photographing, I picked up at least 20 discharged gun casings.

Is it true Cisco was once a filming location for the movie Thelma & Louise? I’m obviously not the only one that finds that town haunting. Cisco was the backdrop for a number of scenes in Thelma & Louise.

What was your biggest challenge when photographing the towns? Going through places where I knew life existed and not feeling as if I were trespassing. Of course, I was also hoping I wasn’t disturbing any animals -- four-legged or two-legged!

Several of your most popular images in the series contain graffiti that add humor and humanize otherwise desolate scenes. Did you pick up on that when you were shooting or did that come to you when you saw the images later? I definitely picked up on the writing when photographing and I made sure they were part of the images.

This isn't the first series you've done featuring gritty scenes of abandonment (your Eastern State Penitentiary series leaps to mind). What draws you to them? I think it’s the loneliness of the images and the leftovers of a life once lived.

What’s next for you? I am working on some mixed media projects and there are some more abandoned/forgotten places that I hope to photograph soon.

“Forgotten,” Through October 2, 2011 at Multiple Exposures Gallery at the Torpedo Factory Arts Center, Alexandria, VA. Sandy LeBrun Evans: http://tinyurl.com/3wze7qp

New Exhibit - Eric Johnson and Sandy Lebrun-Evans

2011-08-03T09:25:00.000-07:00

Off Season - Eric Johnson
Forgotten - Sandy Lebrun-Evans
Exhibition Dates: August 2 - October 3, 2011Opening Reception: Sunday, August 7, 2011 3-5pm

Final Days for Exhibits by Danny Conant and Susan Meyers

2011-07-28T15:50:00.000-07:00

There are only a few days left to see the current exhibits, Timeless by Susan Meyers and looking back, moving forward by Danny Conant. The work will will be on view through Sunday.

And coming next week: new work by Eric Johnson, Off Season, and Sandy LeBrun-Evans, Forgotten.

Upcoming Exhibit - Eric Johnson and Sandy Lebrun-Evans

2011-07-13T08:11:00.000-07:00

Opening next month - new work by Eric Johnson and Sandy Lebrun Evans: August 2 -October 3. Opening reception will be held on Sunday August 7, from 3-5pm.

New Exhibit - Susan Meyers and Danny Conant

2011-06-09T06:21:00.000-07:00

New work by Susan Meyers - Timeless, and Danny Conant - looking back, moving forward, is currently on view through August 1. Please join Susan and Danny at the gallery for their reception on Sunday, June 12, 2-4pm.

Call for New Members

2011-06-07T10:41:00.000-07:00

During the next six months, Multiple Exposures Gallery anticipates having two membership openings – one on August 1st and another as of October 1st. For that reason, we are conducting an open call for new members. If you have an interest in gallery membership, or know someone who might, we are inviting applications and portfolios for submission.

The application and resume must be completed and hand delivered with your portfolio to the Multiple Exposures Gallery by 6 pm, Friday, June 24, 2011. We cannot accept your documents and portfolios after this date. The application packet may be picked up at Multiple Exposures Gallery.

We require applicants to meet with two gallery members prior to our review meeting on July 5, 2011. Call the gallery to set up a time for your visits, being sure to meet with different photographers. Gallery hours are 11 AM – 6 PM daily, except Thursdays when the gallery is open from 2 – 9 PM. Although the greatest care will be taken in handling your submissions, Multiple Exposures Gallery assumes no liability for items left for review and does not insure the work on the premises.

Gallery members will review the portfolios and vote on each applicant at our July 5th review meeting. An accepted applicant will be notified by telephone no later than July 8th. Portfolios must be picked up no later than July 15th, due to a very limited storage space. A fee of $25 per day will be charged for portfolios left beyond that date.

Thank you for considering membership in Multiple Exposures Gallery. We look forward to meeting you and seeing your work.

Coming Exhibit

2011-05-30T09:00:00.000-07:00

New shows will be on exhibit beginning Tuesday, June 7 through Sunday, July 30:

Timeless - Photographs by Susan Meyers
looking back / moving forward - Encaustic images by Danny Conant

Please join the artists at the opening reception on Sunday, June 11, 2-4pm.

Last week to see Two Visitors by Sand and Henderson

2011-05-30T08:52:00.000-07:00

Two Visitors will be on exhibit through Sunday, June 5. If you have not yet had a chance to view the work, stop by this week.

Upcoming Exhibit in Manassas

2011-05-04T10:04:00.000-07:00

Members of the Multiple Exposures Gallery will be exhibiting a group show entitled “Sacred Spaces” in June at The Center for the Arts of Greater Manassas/Prince William County. The show will be on exhibit June 22 – July 15.

June 22 – July 15
Multiple Exposures Gallery
Sacred Spaces
A unique blend of quality photographic images representing “Sacred Spaces” from Multiple Exposures Gallery of the Torpedo Factory Art Center, Old Town Alexandria, will be on view. These fine art photographers express an infinite range of creativity from the greatest of sublime to the most tension-poised in their imagery.

New Exhibit - Laurie Sand & Colleen Henderson

2011-04-05T11:46:00.000-07:00

New work by Laurie Sand and Colleen Henderson, Two Visitors, Italia 2010, is currently on view through June 5. Please join Laurie and Colleen at the gallery for their reception on April 17, 4-6pm.

Artist Statement - Laurie Sand

As much as I prefer to photograph in solitude and still spaces my images in Two Visitors are of Italian urban dwellers en route to somewhere, and in one case at work. These people live in the old and bustling cities of Venice and Florence, overrun with tourists from every corner of the world. Visitors with cameras are pervasive and simply everywhere. I was but another visitor with a camera yet I was treated with surprising graciousness.

I set out to photograph Italians in their thoughtful moments. I found the mysterious suited man ambling to work before sunrise, the purposeful nun hustling from an appointment near San Marco Plaza in Venice, and the young Florentine artist practicing her technique on the streets for small change.

Because there are so many visitors with cameras disrupting daily living, Italians have earned the right to invade our perceived photographic space. Without ill intention they consistently and obliviously walk right through the moment of capturing an image.

In this way, a young boy stopped right in the middle of a frame to savor the smells from a trattoria and became my picture. Just a few minutes later a diminutive woman bent on going somewhere hurried straight through another frame. I do not really know exactly what their intentions where because I never asked them. My perceptions are just a visitor’s imagined reality.

Traveling to Italy in the fall of 2010 was for the pure pleasure of photography with a group of friends. This trip of a mere three weeks included Venice, Florence and parts of Tuscany. Hundreds of images were taken. Because we were visitors for only a short period of time, looking at Italy with such rich culture and storied history, choosing which images to exhibit was difficult.

Fortunately, included in our group was Colleen Henderson, a long-time friend, teacher and accomplished colleague. We have our own interests and styles but through this exhibit, together, we became Two Visitors.

Artist Statement: Italian Gifts - Colleen Henderson

Since my first visit during college, Italy has always captivated me. Initially it was the art - the quality as well as the sheer quantity, but over time it came to include the people, the language, the food, the scenery, the ambiance: everything about Italy charmed me.

Over the years I was fortunate to make several trips, but by early 2010 I realized it had been over a decade since my last visit, and I was itching to go. And, not incidentally, over that same time period I'd gone from being an amateur "shutterbug", to a full time, fine art photographer and instructor. I was anxious to translate my feelings about Italy into fine art photographs.

And so the planning began. In September of 2010, ten good friends, (8 of whom happened to be photographers), would depart for a three week Italian odyssey: 6 days in Venice, 12 days in Tuscany, and a final 4 days in Florence. Itineraries were mapped, reservations made, and expectations were set.

Most photographers are fond of early morning light, and I am no exception. My personal plan was simple: rise early, grab my camera, take a walk, and see what gifts were offered. A passage in Anne Morrow Lindbergh's book, Gift from the Sea, was my guide during these walks:

"The sea does not reward those who are too anxious, too greedy, or too impatient. To dig for treasures shows not only impatience and greed, but lack of faith. Patience, patience, patience, is what the sea teaches. Patience and faith. One should lie empty, open, choiceless as a beach — waiting for a gift from the sea."

And so I would walk and look, wander and observe, patiently waiting with only one goal: try to be ready when the gifts are offered.

Openings this weekend - Michael Borek

2011-03-17T13:48:00.000-07:00

This weekend, Michael Borek’s photographs will be shown in three venues:

Photoworks gallery in Glen Echo. Opening on Friday, March 18, 6-9 p.m.

Michael is showing pictures from his latest project, the Scranton Lace Factory, as part of the “Mirror to the World” exhibition. For more information, see Mirror to the World.

Flash Foto DC in Crystal City. Opening on Friday, March 18, 8-11 p.m.

Michael is showing photographs from the Scranton Lace Factory selected by Phillip Brookman of the Corcoran Gallery. For more information, see Flash Foto DC.

Dumbarton Church in Georgetown. Opening on Saturday, March 19, 6-8 p.m.

Solo exhibition of Michael’s Wide Asleep/Half Awake photography project. For more information, see Dumbarton Concert Gallery.

To view Michael’s photographs and for additional information, please go to www.michaelborek.com

Michael Borek - Exhibits in and around DC

2011-03-10T10:55:00.000-08:00

Five of Michael Borek’s photographs from his Scranton Lace project were selected by Phillip Brookman, Chief Curator and Head of Research at the Corcoran Gallery of Art in Washington, DC, to be shown at the Flash Foto DC exhibition at Crystal City, VA. The opening party will be held on Friday, March 18, 2011, 8-11 p.m. The exhibition will be open from March 17 to April 17, 2011. For more information, go to Flash Foto DC.

Michael Borek’s photograph #4801 (Chair I) from his Scranton Lace project was selected by Milena Kalinovska, Director of Public Programs for the Hirshhorn Museum and Sculpture Garden in Washington, DC, for the annual Washington Project for the Arts Auction Gala. For more information, go to WPA 2011 Art Auction Gala.

Eight of Michael Borek’s photographs from his Scranton Lace project were selected for the exhibition Mirrors to the World, curated by Frank van Riper, photography writer, photographer, and faculty member at the Photoworks Gallery at Glen Echo Park, 7300 MacArthur Boulevard, Maryland, 20812. The opening reception will be held on Friday, March 18, 2011, 6-9 p.m.

Dumbarton Church in Georgetown, Washington, DC, presents Michael Borek’s solo exhibition Wide Asleep/Half Awake. The opening reception will be held on March 19, 6-8 p.m., and it will be followed by a concert of the Vogler Quartet. The Dumbarton Church is located at 3133 Dumbarton St. NW Washington D.C. The exhibition will be open from March 18 to March 25, 2011. For more information, go to www.dumbartonconcerts.org or call 202.965.2000.

The National Institute of Health presents solo exhibition of Michael Borek’s photographs from his Urbania and Wide Asleep/Half Awake portfolios. The exhibition, curated by Lillian Fitzgerald, Curator of the Clinical Center Art Program, will be held at NIH, 10 Center Drive MSD 1352, Bethesda, Maryland, from May 13, 2011 through July 8, 2011.

New Exhibit - Clifford Wheeler

2011-03-09T07:52:00.001-08:00

A solo exhibition of work by Clifford Wheeler is on exhibit at MEG from March 8 - April 3, 2011. Join Clifford at the exhibit reception on March 13, 2-4pm.

Upcoming exhibit:

Danny Conant: Fragile Connection

2011-02-19T08:00:00.000-08:00

At Sea, an image by Danny Conant is currently on exhibit at the University of Texas at Dallas in Fragile Connection: An Exhibition of Works from the Comer Collection. This exhibit also includes works by a number of prestigious photographers, including Ansel Adams, Brett Weston, John Sexton, and others.

From the catalog:
Through recording the human form, artists can suggest a connection to the environment, document ties to the past, to a former era when an individual's survival or ancestral inheritance depended upon the land, and comment on our relationship to the natural world, which is in need of revival. Danny Conant's "At Sea", a portrait of a figure in a tightly cropped view, is rendered as a warped image, due to the alteration that occurs during the processing of an emulsion transfer. This distortion creates a reference to the seacitself, with its passenger at rest, flowing with the water and the waves (or the intrinsic way of the world), instead of struggling against the current. Perhaps Conant is making a suggestion that this is the type of behavior we should practice, as she simultaneously reflects upon human nature and where we will discover bliss, whether organic or spiritual.

New Exhibit - Blake Stenning

2011-02-08T16:48:00.000-08:00

Blake Stenning's black & white images taken in Malaysia will be on exhibit at MEG from February 8 - March 6. Come by the gallery on Thursday, Feb. 10 at 7:30pm to hear Blake talk about his work, and come back on Saturday, Feb. 12 from 2-4pm and join Blake for conversation and light refreshments at the exhibit reception.

Coming next month:

Michael Borek at Viridian Gallery

2011-01-20T18:06:00.001-08:00

Two of Michael Borek’s photographs were selected for the exhibition curated by Elisabeth Sussman from the Whitney Museum of American Art, New York. The opening of the exhibition is on Saturday, January 22, at the Viridian Gallery in Chelsea, New York. These photographs are from Michael’s new project with a working title Scranton Lacework.

Upcoming exhibit: Malaysia Journeys by Blake Stenning

2011-01-05T10:04:00.000-08:00

February 8 - March 6, 2011
Artist Talk: February 10, 7:30 pm
Reception: February 12, 2-4pm

Current Exhibit: Hot and Cold

2011-01-05T09:31:00.000-08:00

Currently on exhibit at the Multiple Exposures Gallery: Hot and Cold

Upcoming exhibit: Malaysia Journeys by Blake Stenning

Small Works reviewed by Washington City Paper

2011-01-05T09:25:00.000-08:00

Louis Jacobson of the Washington City Paper reviewed the Small Works show for the Arts Desk section of the paper. You can read his review here

Lenny Campello talks about Small Works

2010-11-29T11:54:00.000-08:00

Lenny Campello discusses the work chosen for the current show, Small Works, on his blog, Daily Campello Art News.

Current Exhibit: Small Works Show

2010-11-28T13:02:00.001-08:00

Currently on exhibit at the Multiple Exposures Gallery: Small Works

Michael Borek - 3rd place in PhotoSlam

2010-11-28T12:54:00.001-08:00

Congratulations to Michael Borek for winning 3rd place at the Photoworks PhotoSlam 2010 held during FotoWeekDC.

On Site: The Best Photography Exhibit of Fotoweek DC, 2010

2010-11-15T18:37:00.000-08:00

Blake Stenning, Janet Matthews and Karen Keating were featured on the blog BWGallerist:

After viewing some excellent work in and around DC, we happened on the Multiple Exposures co-op gallery in Old Town, Alexandria and were very moved by the evocative images exhibited.

Read more:
http://bwgallerist.com/2010/11/15/on-site-the-best-photography-exhibit-of-fotoweek-dc-2010/

FotoWeekDC Events at MEG

2010-10-26T06:44:00.000-07:00

Multiple Exposures Gallery has some exciting events lined up for FotoWeekDC: a lecture by Joyce Tenneson and a new exhibit of work by gallery members.

Members Show - Signature Images
November 2 – 28, 2010
Multiple Exposures Gallery, Studio 312
Torpedo Factory Art Center

Throughout the course of an artist’s lifetime, there are those images that stand apart, ones most resonant, to viewers and to the photographer. These are images with universal presence, timeless communication and meaning. And it is these images that most exemplify personal style and become synonymous with the artist. Multiple Exposures Gallery members present their Signature Images in this show.

Joyce Tenneson - A Life in Photography
Sunday, November 7, 2010 - 6:30pm
First Floor, Torpedo Factory Art Center

This will be a unique opportunity to see work from Joyce Tenneson’s 40 year career in photography. She will show images from her retrospective book titled “A Life in Photography” as well as give insight to her multi-faceted career as one of the top photographers working today.

Internationally lauded as one of the leading photographers of her generation, Joyce Tenneson’s work has been published in books and major magazines worldwide. Tenneson ranks among the most respected photographers of our time. Her images have been displayed in exhibitions worldwide and are part of numerous private and museum collections. Her portraits have appeared on covers of such magazines as Time, Life, Newsweek, Premiere, Esquire and The New York Times Magazine.

The lecture is presented by Multiple Exposures Gallery and the Torpedo Factory Artists' Association, and is sponsored by Canon.

Reception: Come early and enjoy a reception from 4 to 6pm at Multiple Exposures Gallery, Studio 312, and peruse the fine art photography studios throughout the art center.

Image by Joyce Tenneson

Multiple Exposures Gallery Presents: Signature Images

2010-09-29T14:58:00.001-07:00

Throughout the course of an artist’s lifetime, there are those images that stand apart, ones most resonant, to viewers and to the photographer. These are images with universal presence, timeless communication and meaning. And it these images that most exemplify personal style and become synonymous with the artist. These are Signature Images.

We are pleased to announce an exhibit of the Signature Images of the members of Multiple Exposures Gallery at the Village of Friendship Heights Community Gallery, located 4433 South Park Ave, Chevy Chase, Maryland 20815. This exhibit will run from October 4 –30, 2010. Please join us for the opening reception on Sunday, October 10th, from 11:30 – 1:30 pm.

MEG is a co-operative gallery of 15 award-winning photographers located within the Torpedo Factory Art Center in Old Town Alexandria. Combined, the members represent over well 150 years of vast and varied photographic and artistic experience. Their distinctly different artistic visions are presented through traditional analogue and contemporary digital photographic techniques. Founded in 1985, Multiple Exposures Gallery is widely recognized within the Washington DC metropolitan area photographic community. The members are sought-after speakers, noted educators and traditional and digital photographic specialists and technicians.

Signature Images

Village of Friendship Heights Community Gallery

4433 South Park Ave, Chevy Chase, Maryland 20815

Opening Reception: Sunday, October 10th, 11:30 – 1:30 pm.

New Work by Alan Sislen on Exhibit

2010-09-29T14:10:00.000-07:00

New Heights

The Atacama – Chile’s Amazing High Desert

A photography exhibit featuring new works by Alan Sislen

The Atacama Desert in northern Chile is one of the highest, driest places on earth. The landscape is extraordinary, with mountains, salt flats, volcanoes, the world’s highest geyser field, and beautiful multi-colored traces of mineral deposits as far as the eye can see. But there is little else.

Sislen’s photographs depict subjects he continually returns to, especially the desolation and beauty of the desert. While he has repeatedly photographed White sands and Death Valley, this desert, the Atacama, is different. Unlike areas of Death Valley that are below sea level, the Atacama is a “high desert,” with mountains exceeding 20,000 feet in many locations.

The photographs in this exhibit were taken at heights of 7,500 t0 15,800 feet. The air is thin and rainfall has never been recorded in many areas. Although devoid of rain, the Atacama has been home to South American Indians for thousands of years. Rich in minerals, the Atacama has been mined for copper, gold, sodium nitrate (saltpeter), and more recently, lithium. Beautiful pale colors are seen at one altitude and strong, deep earthy tones are seen at another.

The Atacama is unique, with a geological history that is only matched by the visual delights that are found there.

October 5 - 31,

2010 Opening Reception: Saturday 9, 2010 2 - 4 pm

Final week to see Noakes and Taylor Exhibits

2010-09-23T11:16:00.000-07:00

Next week will the final showing of work by gallery photographers Louise Noakes and Grace Taylor. Stop by the gallery to view this fascinating exhibit before it comes down on October 4.

Coming up next month:
Alan Sislen, New Heights - The Atacama, Chile's Amazing High Desert
Check back - details will be posted soon

Reception for Noakes / Taylor

2010-08-24T09:00:00.000-07:00

Scene from the reception for exhibits by Louise Noakes and Grace Taylor.
(click on image for larger view)

Additions to the MEG family

2010-08-21T13:37:00.001-07:00

Multiple Exposures Gallery is pleased to announce the additions of new member Eric Johnson and new associate member Sandy LeBrun-Evans to our gallery:

Washington, D.C.-based photographer Eric T. Johnson has had a long interest in photography, starting with documentary work for student publications in high school, through which he developed skills in shooting and processing traditional black and white photographs. While his academic background and career are based in the sciences, photography has continued to provide him with an outlet for his creative interests, and his affinity for black and white photography has endured through his recent transition to digital imaging.

Eric T. Johnson

Sandy LeBrun-Evans is a fine art photographer who began her photography journey in 1990 with the study of black/white and infrared films. She has since explored digital and alternative processes, including encaustic medium, when presenting her work.

She misses the hands-on nature of the wet darkroom and seeks out digital and alternative techniques that allow her to more actively participate in the art making process. Currently Sandy is creating a series of images using a variety if substrates.
Sandy LeBrun-Evans

Current Exhibit

2010-08-21T10:52:00.000-07:00

Michael Borek at Gallery 12 12

2010-06-21T13:17:00.002-07:00

Beat the heat with 12 12 Gallery's newest 'cool' exhibitions! 12 12 Gallery, in Richmond, VA, continues its Year of the Photographer with 3 new exhibitions by 3 regional photographers from Virginia, North Carolina and Maryland.

Please join us for the artists' reception on Sunday afternoon, June 27th, from 2-5 pm. These exhibitions will run through Sunday, August 1st.

12 East 12th Street
Richmond, VA 23224
Thurs & Fri: 12pm-4PM; Saturday: 11am-6pm; Sunday: 12pm-5pm
info@1212galleryrichmond.com
804.233.9957

Canadian by Michael Borek from Half Awake

I took these photographs with my eyes closed. By that, I don't mean that I lowered my lids over my pupils to prevent light form transmitting the images to me. Rather, these photographs were taken through an imaginary filter that reveals what is there to be seen in addition to - or in spite of - the bare images themselves.
Although I took these pictures mostly during the day, they contain nocturnal elements that suggest the sensation of simultaneously being awake and asleep. They document my encounters with scenes that felt intense, sometimes even and strange, yet also oddly familiar. Perhaps they capture dreams that I have yet to experience. Or maybe they seen familiar because I have dreamed of them before. I am not entirely sure about the meaning of these pictures; my subconscious may be trying to get the upper hand.
-- Michael Borek

Reception for Keating / Matthews Exhibit

2010-06-14T10:07:00.000-07:00

A reception was held on Sunday, June 13 for the new exhibits by Karen Keating and Janet Matthews. Seen below are some of the early arrivals at yesterday's event.

Next month, the artists will return for an artist talk on Thursday, July 8 at 7:30pm.

New Exhibit - Keating and Matthews

2010-05-18T05:28:00.000-07:00

Transitions: Sanctuary by Karen Keating

Carnival by Janet Matthews

New work by Karen Keating and Janet Matthews

will be on exhibit in the gallery

June 8 - August 1.

Reception - Sunday June 13, 2-4pm

Artist Talk - July 8, 7:30pm

Checkers at 9th & S in the News

2010-05-07T08:36:00.000-07:00

CHECKERS At 9th & S won Outstanding Documentary Production and Best Sound in the Graduate Production Awards ceremony on 30 April 2010 in the “VISIONS 2010, Media That Matters: A celebration of the best student audiovisual work at American University.” Peggy Fleming is the Producer. Click here to enjoy the ten-minute video.

Peggy was featured in the May 4 edition of the Washington Post in a feature story about the Capitol Pool Checkers Club, The Men of the Capitol Pool Checkers Club Move Through Life Together by Deneen Brown.

Peggy Fleming's exhibit and book, Crown Me!, as well as Suzanne Quinlan's series, Musings, are on view at Multiple Exposures Gallery through June 7.

Grace Taylor showing in Dimensional Paper

2010-04-06T08:42:00.001-07:00

Grace Taylor has 2 works included in the Dimensional Paper exhibit, currently on view at the Torpedo Factory front desk.

Crown Me! shown at Amsterdam film fest

2010-04-06T07:49:00.000-07:00

CROWN ME! the ten minute video about the Capital Pool Checkers Club in Washington, DC, is featured at the International Student Film Festival Cinestud 2010. It is one of 61 chosen out of 550. The festival is in Amsterdam, from March 30 - April 4th. Peggy Fleming is the Producer. Participants are offered a bed, board and a bicycle.So Dutch. Click here to enjoy the video.

New Exhibition April 6 -June 7

2010-03-30T10:15:00.000-07:00

Suzanne Quinlan

Musings

Peggy Fleming

Crown Me! Capital Pool Checkers Club

Please join us for an artists' reception on Saturday, April 10 2-4 pm

Coffee + Critique + Conversation

2010-03-25T17:22:00.001-07:00

Coffee + Critique + Conversation
This Sunday, March 28 - FREE!

MEG member Blake Stenning will be on hand to review your work and offer advice. Whether you have a new set of images or project, a completed portfolio, or simply a selection of photos about which you have questions, all are welcome to come in and engage in friendly and helpful dialog.

Call MEG for more information.
703-683-2205

Borek, Matthews at Rayko Photo

2010-03-04T18:20:00.000-08:00

Robert Holmgren featured images on his blog taken at Rayko Photo's 3rd Annual Plastic Camera Show and exhibit by Michael Borek. An image by Janet Matthews was included in the juried show. See more images of the show on Robert's blog.

Work by Michael Borek (6 images at right)

Lighthouse image by Janet Matthews

Reception

2010-03-03T14:51:00.000-08:00

Scene from the reception for Danny Conant and Min Enghauser on February 28.
Danny's work is on the gray wall, Min's is on the red wall.

Corrected link for Peggy Fleming's film

2010-03-01T09:44:00.000-08:00

New link for viewing Peggy Fleming's film:
At 9th and S.

Michael Borek in San Francisco Examiner

2010-03-01T09:25:00.000-08:00

Michael Borek was a featured artist at RayKo's International Juried Plastic Camera Show in San Francisco. Here is the excerpt from the review of the show in San Francisco Examiner:

The Holga is the camera of choice for Michael Borek, the RayKo exhibit’s featured artist, who grew up photographing Prague, his hometown, under Communist reign.

He writes, “I and my fellow citizens lacked basic freedoms and lived in newly created, cheerless urban landscapes.” With his camera, he found the unsung spots of beauty in this environment.

When Borek moved to the United States in 1992 (he lives in Maryland now), he had no trouble finding vast tracts of similarly lifeless design in America’s suburbs and strip malls. He notices sumptuous colors in barren places, and, looking through the Holga’s romance-inducing lens, captures the visual poetry buried within something as plain as an old curtain.

Borek’s quiet, self-assured images are helped along by his trust in an unpredictable plastic lens, the kind of thing that lets photographers abandon their perfectionism.

Read more at the San Francisco Examiner.

Danny Conant Featured in Gazette

2010-02-24T17:31:00.000-08:00

Danny Conant is featured in today's Montgomery County Gazette. The article focuses on Danny's photography in Tibet. Read the article here.

Min Enghauser's DESERT DWELL

2010-02-23T08:37:00.000-08:00

MIN ENGHAUSER
Desert Dwell: Photographs from the Anza-Borrego Desert

There is a thing that happens in quiet places. In places of openness and solitude. Its a coming together of the essence of the inhabitants and the spirit of place. Plant and rock, rock and sky, sky and mountain. These inhabitants speak to each other without words and at their core is the spirit of the other. In the rock you see the mountain in the mountain you see the sky. This speaks to the relationships of everything, the interconnectedness of all things and the projection of our essence outward where it is absorbed and reflected back.

The Anza-Borrego Desert is one of these places. A place large and open but with hidden washes and canyons. A place where rock is slowly revealed by rain and mountains reach up to the the clouds that mimic them. The ever but slowly changing landscape is a place of unity, cohesion, beauty, mystery and fate. These photographs are the instruments through which this is discovered.

Feb 2 - April 3 // Reception Sunday Feb 28th 2pm - 4pm

Karen Keating receives Excellence in Teaching award

2010-02-17T16:43:00.000-08:00

Karen Keating received an honorable mention in the 2009 Excellence in Teaching Award program, sponsored by Center, a nonprofit organization located in Santa Fe, NM, that supports, promotes, and provides opportunity for gifted and committed photographers. Center's Excellence in Teaching Award honors a high school, college or postgraduate teacher's dedication. Educators in all areas of photographic teaching are eligible, including fine art, documentary, history and criticism.

Click here to see more images and read excerpts from Karen's teaching philosophy.

Michael Borek at Rayko Photo, Vienna Photographic Society

2010-02-17T16:23:00.000-08:00

The Rayko Photo Center in San Francisco selected Michael Borek as a featured artist for its 2010 International Juried Plastic Camera Show. Michael will be showing his works from Wide Asleep, Half Awake, and the Bridges of Montgomery County portfolios. The opening reception will be held on Friday, February 26, 6-8 p.m., and the exhibition can be viewed till April 17 at 428 Third Street, San Francisco, CA 94107.

----

On March 3, Michael will give a lecture entitled “Surreal Shooting and Dreamscape Photography” at the Vienna Photographic Society. For more information click here and go to Event Calendar.

Peggy Fleming and Team win award at Our City Film Fest

2010-02-12T09:10:00.000-08:00

Peggy Fleming and colleagues from American University win Best Mini Doc in the Our City Film Fest, to be awarded on Sunday, February 14 at the Goethe Institute in Washington, DC. Their film, At 9th and S, presents the members of the Capital Pool Checkers Club as they play checkers and share camaraderie. See details on the Our City Film Fest website. The 10 minute video can be viewed here.

New Exhibition February-March

2010-02-03T16:55:00.000-08:00

Desert Dwell:
Photographs from the Anza-Borrego Desert
by Min Enghauser

Photo-Graphics:
A new way of creating and viewing photographic imagery
by Danny Conant

February 2 to April 3
Reception: Sunday, February 28 2-4 pm

2010-01-06T19:13:00.000-08:00

From Colleen - Thoughts on new year's resolutions .....

January Exhibit

2010-01-06T14:29:00.000-08:00

January 5 - February 2, 2010

About the Jurors:
Steven Krensky is an avid art collector with a background in photography, his life-long hobby. He and his wife Linda are co-owners of Light Street Gallery, a fine art gallery in Baltimore that specializes in original art, sculpture, photography and limited edition prints in the genres of figurative art, surrealism, fantasy and trompe l'oeil. Linda Krensky is the Director of Light Street Gallery.

For two decades, the Krenskys have been filling their home with art. Their substantial collection includes many photographic pieces created by local artists.

Wet
Juried by Steven Krensky
on the RED wall

Dry
Juried by Linda Krensky
on the GRAY wall