“14th Annual National Alternative Processes Competition” Exhibition

“14th Annual National Alternative Processes Competition” Exhibition

Soho Photo Gallery

This event has ended.

Soho Photo Gallery presents its November show will feature the winning entries from the 14th Annual National Alternative Processes Competition, a SPG artists’ group show, a solo show of the work of Robert Kalman titled Parade Unrest: The Confederate Monument Controversy, and at the end of the month, a photo postcard fundraiser and auction benefiting the gallery!

The images submitted for this competition utilized a wide range of alternative methods, including, albumen, cyanotype, Van Dyke brown, platinum/palladium, photogravure, salt print, tintype, and wet-plate collodion, among others.

The juror for the competition is Dan Burkholder, photographer and author. In 2012 he led the mobile photography revolution with his book iPhone Artisty.

Many of his images are expressed as platinum/palladium prints enhanced with hand-applied gold leaf and other precious metals, combining 20t and 21st century technology with 19th century printing processes.

After reviewing almost 800 images Burkholder selected 45 artists to participate in the show. First, second and third place as well as three honorable mentions have been awarded. Of the work submitted, Burkholder said, “There is a temptation to equate alternative process photography with small, brownish prints of unsmiling subjects staring blankly into the camera lens. Happily, this exhibition attracted a talented group of practitioners who — though embracing chemical avenues long associated with Photography’s early days — fused new subject matter and processes to express prints both beautiful and thoughtful. If this exhibition is a gauge, perhaps alternative should be the new standard.”


Robert Kalman
Parade Unrest: The Confederate Monument Controversy

There was a time when many believed Confederate monuments were intended to honor those who fought and died on the Southern side of the Civil War. By the turn of the 20th century, no longer hidden away in cemeteries but displayed prominently in public spaces, the purpose of those monuments was understood to serve as permanent symbols of white supremacy. The current debate about the fate of the monuments continues to divide us as a nation.

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