Bernard Faucon - 5ème Chambre d'Amour
Bernard Faucon
5ème Chambre d'Amour
Fresson Photograph
1985, Printed 2006
23 1/2 x 23 1/2 inches

Signed, titled, dated and editioned # 6/10 on verso

Bernard Faucon - 15ème Chambre d'Amour, Les Jumeaux
Bernard Faucon
15ème Chambre d'Amour, Les Jumeaux
Fresson Photograph
1986, Printed 2005
23 1/2 x 23 1/2 inches

Signed, titled, dated and editioned # 4/10 on verso

Bernard Faucon - 12ème Chambre d'Amour
Bernard Faucon
12ème Chambre d'Amour
Fresson Photograph
1985, Printed 2006
11 3/4 x 11 3/4 inches

Signed, titled, dated and editioned # 27/40 on verso

Bernard Faucon - La 4ème Chambre d'Amour
Bernard Faucon
La 4ème Chambre d'Amour
Fresson Photograph
1985, Printed 2008.
11 3/4 x 11 3/4 inches

Signed, titled, dated and editioned # 33/40 on verso

Bernard Faucon - La Gitane
Bernard Faucon
La Gitane
Fresson Photograph
1990, Printed 2005
11 3/4 x 11 3/4 inches

Signed, titled, dated and editioned # 3/10 on print verso

Bernard Faucon - La Chapelle Ardente
Bernard Faucon
La Chapelle Ardente
Fresson Photograph
1988, Printed Later
23 1/2 x 23 1/2 inches

Signed, titled, dated and # 7/10 on verso

Bernard Faucon - La Caleche
Bernard Faucon
La Caleche
Fresson Photograph
1978, Printed 2005
23 1/2 x 23 1/2 inches

Signed, titled, dated and # 2/10 on verso

Bernard Faucon - La Cene
Bernard Faucon
La Cene
Fresson Photograph
1981, Printed 2002
11 3/4 x 11 3/4 inches

Signed, titled, dated and editioned # 23/40 on verso

Bernard Faucon - Le Coffre
Bernard Faucon
Le Coffre
Fresson Photograph
1978, Printed Later
23 1/2 x 23 1/2 inches

Signed, titled, dated and editioned # 5/10 on verso.

Gilbert Garcin - Tourner la Page - Turning Over a New Leaf
Gilbert Garcin
Tourner la Page - Turning Over a New Leaf
Silver Gelatin Photograph
2004, Printed 2010
20 x 24 inches
Signed and # 2/12 on print verso
Le Danger des Images
Gilbert Garcin
Le Danger des Images
Silver Gelatin Photograph
2009, Printed 2010
24 x 20 inches

Signed and # 2/12 on print verso.

Gilbert Garcin -  Regard Sur la Peinture Contemporaine
Gilbert Garcin
Regard Sur la Peinture Contemporaine - (Looking at Contemporary Painting)
Silver Gelatin Photograph
2005, Printed 2013
24 X 20 inches

Signed and # 3/12 on print verso. Artist stamp on verso.

Gilbert Garcin -  Diogène ou la Lucidité - (Diogenes of Lucidity)
Gilbert Garcin
Diogène ou la Lucidité - (Diogenes of Lucidity)
Silver Gelatin Photograph
2005, Printed 2013
20 x 24 inches

Signed and # 1/12 on print verso. Artist stamp on verso.

Gilbert Garcin - Icare Contrecarré
Gilbert Garcin
Icare Contrecarré
Silver Gelatin Photograph
2012, Printed 2013
16 x 12 inches

Signed and # 1/12 on print verso. Artist stamp on verso.

Gilbert Garcin -  Lorsque le Vent Viendra - (When the Wind Will Come)
Gilbert Garcin
Lorsque le Vent Viendra - (When the Wind Will Come)
Silver Gelatin Photograph
2007, Printed 2013
24 x 20 inches

Signed and numbered (edition of 12) on print verso. Artist stamp on verso.

Michael Massaia - Deep in A Dream - Central Park - Central Park Moonrise
Michael Massaia
Deep in A Dream - Central Park - Central Park Moonrise
Toned Silver Gelatin Photograph
2009, Printed 2014
40 x 30 inches
Signed, titled, dated and numbered (edition of 10) in pencil on verso.
Michael Massaia - Deep In A Dream - Central Park - January Freeze
Michael Massaia
Deep In A Dream - Central Park - Deep Freeze
Toned Silver Gelatin Photograph
2013, Printed 2013
20 x 24 inches

Signed and numbered (edition of 20) on print's recto.

Michael Massaia - Deep in A Dream - Central Park - Fading Away
Michael Massaia
Deep in A Dream - Central Park - Fading Away
Silver Gelatin Photograph
2011
24 x 20 inches
Signed, titled, dated numbered (edition of 20) on verso.
Michael Massaia - Deep In A Dream - Central Park - South View#
Michael Massaia
Deep In A Dream - Central Park - South View#1
Toned Silver Gelatin Photograph
2013, Printed 2013
20 x 24 inches

Signed and numbered (edition of 20) on print's recto.

Michael Massaia - Deep In A Dream - Central Park - South View 2012
Michael Massaia
Deep In A Dream - Central Park - South View 2012
Toned Silver Gelatin Photograph
2012, Printed 2013
30 x 40 inches

Signed and numbered (edition of 10) on recto.

Michael Massaia - Deep in a dream - Central Park - West Side Sunrise #2
Michael Massaia
Deep In A Dream - Central Park - West Side Sunrise #2
Toned Silver Gelatin Photograph
2013, printed 2013
20 x 24 inches

Signed and numbered (edition of 20) on print's recto.

Dianne Blell - Anticipation
Dianne Blell
Anticipation
Archival Pigment Photograph
c. 2000-2007
55 x 44 Inches
Signed, titled, dated and # 5/7 on verso.
Sandy Skoglund - Breathing Glass
Sandy Skoglund
Breathing Glass
Archival Pigment Photograph
2000
39 x 52 1/2 inches

Signed, titled, dated and numbered (edition of 30) on recto.

Sandy Skoglund - Squirrels at the Drive-In
Sandy Skoglund
Squirrels at the Drive-In
Photolithograph: Ink on Ragcote Paper
1996 - Printed later
24 x 28 1/2 inches

Signed, numbered 20/75 and dated lower right

Dianne Blell - Anticipation - TB

Alternate Process:
The Unconventional Photograph

03/01/2014 - 03/29/2014

Over the past century, the photographic medium has come to be defined by the camera, the silver gelatin print, and the color photograph. As artists have been drawn to the expressive potential of the camera, their use of the medium has expanded outside of the commonly preconceived notions associated with “straight” photography. The boundaries of photography are broadening and artists are expanding beyond traditionally accepted aspects of photography. Artists can use the processes and tools of photography in a larger form and context. The exhibition Alternate Process explores those artists who produce unconventional photography. By expanding the possibilities of the medium, these artists challenge traditionally held conventions about what defines photography and opens the medium into a wider context for the viewer.

John Dugdale unconventionally works with some of photography’s first techniques from the 19th century by employing large format cameras, creating cyanotype prints, platinum prints, and using the albumen process which dominated photography from the 1850s to the 1880s. Dugdale approaches photography with a 19th century sensibility creating contemporary work utilizing processes that emphasize that poetics of his work and the transcendence of time and place, seemingly transporting the viewer to a world of the late 19th century. Having lost most of his vision due to a stroke, this life-altering event forced Dugdale to see in a new way and he begin exploring the origins of the medium through not only the technical aspects, but also the 19th century photographic aesthetic.

In Bernard Faucon’s color Fresson photographs, enigmatic and illusionary images are staged to recreate dreamlike spaces. Faucon’s photographs are printed using the highly coveted and unique Fresson printing process which was invented and is still controlled by the Fresson family. This is a color carbon print where each color is separately printed like a dye transfer and the images resemble glazes of color. Only a limited number of photographers can use the process in a year as it takes a significant amount of time to produce. The images are printed on a handmade paper having an ethereal quality. Faucon presents these illusionary images based on reality and questions photography as a reflection of the objective world while his chosen method of using Fresson printing contributes to his otherworldly aesthetic.

Travis Boyer produces unique works that ingeniously incorporate photographic, textile-based media, and dying techniques. He first takes photographs, prints them on silk using a reverse cyanotype process, and then adds an embroidered design and a color dye on the cyanotype photograph. The artist merges the mechanical process of photography with the handmade processes of dying and embroidery. Though the work is based on photography, the handmade additions lend a painterly quality, as well as a fantastic aesthetic, to the composition. Subject matter also plays a role in the magic of the image lending a feeling of otherworldly mystery depicting individuals in ethereal and painterly spaces of lost innocence.

Fernando Delgado’s use of photography extends beyond only the image capture and places an emphasis on the presentation and installation of the image in order to best clarify the message his work is conveying. In his Speculum series, Delgado incorporates images depicting people or natural elements such as floral images with elements of presentation such as Gothic triptychs or antique frames. Also including Latin inscriptions on glass, Delgado’s use of photography is all encompassing and serves to create a clearly holistic effect. Emphasizing natural forms, his study of nature and the elements of life, death, beauty, and procreation is presented in an original manner that underscores his method of “making” images rather than “taking” images.

The approach each of these artists towards their work not only displays the highly creative potential of the individual and their unconventional use of photographic techniques, conceptual ideas, and diverse use of media, but also expands the concept of the photograph. Breaking the mould of the traditional black and white, silver gelatin print, the artists make the medium their own and continue to expand upon the creative varieties that can be made by using a camera in all of its forms.