New Exhibit: "Small Works"

Can Chocolate Make You A Better Photographer?

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

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:

 Based on the title of the exhibit, Everything Is Alternative, did you know what to expect when you entered the gallery? I actually felt quite tortured by the title of the exhibit and found myself asking friends, family, and strangers on the Metro what their first thought was when I said Everything is Alternative. The answers ranged from blank stares to shrugs to babbled explanations of the grunge music movement; most were non-verbal responses of bewilderment. When I entered the gallery, however, the show made sense instantly. It would be a show with dissonant, deceiving, and creative photographic formats and processes, or contemporary photography practices and explorations. With all the different formats of contemporary photography, almost everything is alternative. 

The theme Everything Is Alternative was intentionally broad; in your experience, do broad themes make it easier or harder to put together cohesive shows? Broadness in theme does not necessarily dictate the ease or difficulty of putting together an exhibit. Themes that are open to interpretation, but simultaneously point to a specific element are the most interesting to me. In Everything is Alternative, the creative process itself is on display just as much as the content of the photograph. The photographic subjects in the show range from children to architectural ruins to hot peppers, but because the creative process is a major element in all the works, there is cohesion. 

Were there any techniques used in the show that were new to you? Were you drawn to any specific techniques over others? One technique that was new to me in the context of digital photography was hand-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 with watercolor. It looked like an original drawing/watercolor so I had to ask her what it was doing in the photo exhibit! Janet Matthews had an image with a similar process, but I could see the photographic origin of the image. Meyers' image had me stumped. 

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

(c) Alan Sislen

What do you gravitate toward in an image? Were you looking for any common elements in the images you chose for the show? Medium and subject, and how they work together or against one another. In general, I am drawn to the idea of media advancing to the point where it begins to mimic its original formats. For example, Alan Sislen's infrared images had such soft textures that they resembled charcoal drawings. Alan's images depict decrepit architecture, which is of course an interesting subject when thinking about time, history, progress, and cycles. Before photography was born, artists would have drawn or painted these structures. As the years progressed, so did the media and "technology" to capture the structures. At some point photography became perfect, boring, factual, accessible to everyone--not just artists. Then artists began thinking about new and alternative ways to capture their subjects. Yes, the technology of the medium is still advancing, but the aesthetic cycles back to its origins and is reminiscent of drawing. 

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

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

You're going 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 the project and how can people who read this support you? I work in development and fundraising for the Arlington Arts Center, but I am also invested in the educational programming we have for children. In the summer, I taught a digital photography workshop to middle and high school students. We focused on techniques related to composition and story-telling and used simple cameras to document the people and faces in our neighborhood. The class was actually part of an international photo exchange for children called This is My City. The opportunity presented itself to partner with the Arlington Academy of Hope in Uganda, and an instructor was needed to travel to Uganda and teach the workshop. I jumped at the opportunity! It will be my first trip to Africa, and my first time traveling to another country to conduct an art workshop. 

Most of the children in Uganda have never even seen a camera. None of them have access to cameras. So, the AAC is hosting a digital camera drive and we hope to take those cameras over to Uganda to be used in the workshop. If you get a new camera for the holidays, or you have an old one you don't need anymore, please email 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

(c) Colleen Henderson

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. 

(c) Colleen Henderson

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"

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:

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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”

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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

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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

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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"

Find Us At Fotoweek DC

                        © Grace Taylor

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.



                   © Maureen Minehan

• 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.