This year marks our tenth All Art Arizona exhibition featuring artwork made by Arizona residents, who were invited to bring friends and family along to admire work sculpture, photography, painting, ceramics, wood, printmaking, mixed media, artist books, and much more.
This year marks our tenth All Art Arizona exhibition that highlights the breadth and diversity of art created by Arizona artists encompassing sculpture, photography, painting, ceramics, wood, printmaking, mixed media, artist books, and more.
All Art Arizona attracts artists, art collectors, and art lovers from all over the state to one of our best attended exhibitions of the year. Visit the Art Intersection galleries, bring your friends and family, to enjoy this unique exhibition and range of art by Arizona artists. As always, the exhibition is free and open to the public during business hours.
All Art Arizona Quick Walk-Through Video
All Art Arizona Online Gallery
Look through the exhibition online and then come in to see the work in person. If you wish to purchase one of the pieces in the exhibition and can’t come in, give us a call and we will take payment over the phone and ship worldwide.
Banner images by Nicole Richardson, Linda Finecey, Christina Rosepapa, Dino Paul
No Strangers exhibition presents artwork created by Art Intersection members and we are proud to showcase their work with this annual exhibition! You can feel the creative energy from the artwork on display, demonstrating the vision and talent of our members.
Memberships support Art Intersection, and through our membership program we strive to create an engaging atmosphere for creativity, networking, sharing work, and learning from each other. From a range of membership levels including Student, Friend, Sponsor, Patron and Collector, you can find the membership that works best for you!
The Sky exhibition of images by two Tucson artists, Kate Breakey and Brett Starr, who recently discovered they had a mutual interest in the heavens. Each of them having looked upward, and felt compelled to make images of the sky, for years. For this exhibition they have gathered together their daytime and nighttime images–of clouds, rainbows, the sun and the moon, comets and cosmic events.
Most recently they collaborated to make deep sky images using an online telescope on the other side of the world. “It was exciting and conceptually poetic to instruct a telescope that is 9,000 miles away to point at an object – a galaxy, or nebulae- on the other side of the universe, and make an image for us to contemplate and print. The incomprehension and wonder you feel is transforming – it puts time and life on earth into perspective, and that is always a good thing”.
Banner image, Kate Breakey, “Orange First Quarter Moon Setting – Safford Peak”
“You can never have too much sky. You can fall asleep and wake up drunk on sky, and sky can keep you safe when you are sad.” – Sandra Cisneros
Brett Starr, “Above The Horizon”
Kate Breakey and Brett Starr, “Galaxy NGC 55”
About Kate Breakey
Kate Breakey is internationally known for her large-scale, richly hand-colored photographs including her acclaimed series of luminous portraits of birds, flowers and animals in a series called Small Deaths published in 2001 by University of Texas Press. Her other monographs include, Painted Light, University of Texas in 2010, a career retrospective that encompasses a quarter century of prolific image making.
Her collection of photograms, entitled ‘Las Sombras / The shadows’ was published by University of Texas Press in October 2012. This series is a continuation of her lifetime investigation of the natural world which in her own words is ‘brimming with fantastic mysterious beautiful things.
Since 1980 her work has appeared in more than 110 one-person exhibitions and in over 60 group exhibitions . A native of South Australia, Kate moved to Austin, Texas in 1988. She completed a Master of Fine Art degree at the University of Texas in 1991 where she also taught photography in the Department of Art and Art History until 1997. Her collections include the Houston Museum of Fine Arts, the Center for Creative Photography, Tucson, The Australian National Gallery and the San Diego Museum of Photographic Arts, as well as various private collections.
She has resided in the Tucson, Arizona for 20 years, and regularly teaches workshops nationally and internationally.
About Brett Starr
Brett Starr is a photographic artist born and raised in Tucson, Arizona. He received his bachelors degree in fine art photography from the Rochester Institute of Technology. He works primarily with historic processes in his photography. By knowing the rules of calculation and precision in the processes, he is then able to deconstruct and embrace the uncontrollability of the historical processes. Doing this allows him to create work in an experimental way without getting lost trying to recreate the incidental. His work explores the relationship between humans and the world around them. Brett is currently residing in Tucson, Arizona working as a commercial real-estate photographer.
Visitors to this exhibition will experience Mr. Zimmerman’s photojournalism transformed from the covers and pages of Time, Life, Ebony, and Sports Illustrated magazines to framed prints in the Art Intersection North and South Galleries.
Heartfelt gratitude to Linda and Darryl Zimmerman of the John G. Zimmerman Archive for their collaboration to create this special exhibition bringing a perspective of American life through the breadth, innovation, and impact of Mr. Zimmerman’s photography.
Photographer John G. Zimmerman poses for Hawk or Dove, experimental series on political cliches, New York City, 1970.
Virtual Tour of Americanicity
This virtual tour through Americanicity in the Art Intersection Galleries lets you share the exhibition space with your friends and family that can’t visit us in the Gilbert Heritage District. Take a closer look at the individual images in the gallery below.
The images from John G. Zimmerman, a photographer and innovator, bring into view the lives and lifestyles of American families, politics, sports, and society from the 1950s through mid-1970s.This golden era of the Fourth Estate, before the internet and cable news, when photojournalism projected influence through print media, newspapers, magazines, and billboards into our homes and businesses, informed social behavior, personal knowledge, and political policy.
Funeral Procession, Sandersville, Georgia, 1953
Members of Congress on the Steps of the U.S Capitol. Washington D.C. 1951
Americanicity seeks to bridge the photographs of John G. Zimmerman illustrating American social, political, and lifestyle from the mid-twentieth century to the recurrence in today’s contemporaneous news and lifestyle. His images bring into view the patriotic symbol of the American flag, distribution of a new polio vaccine in the African American community, the first televised presidential inauguration (the most watched ever), portraits of political leadership, intimate family dinners, and life in American Black communities.
Watching Eisenhower’s inauguration on television, Atlanta, GA, 1953
Americanicity, images that message behavior, and politics unique to America occurred then and now have reoccurred, were constructed and now reconstructed; the corruption, celebration, disappointment, and racism visible during his tenure as a photojournalist recreated again in contemporary United States of America. Mr. Zimmerman covered the whole range of society and American culture (both the positive and negative aspects) with a consistent style and unique presence, visible in all of his images whether reportage, editorial, or commercial.
Vice President Richard Nixon at Young Republican Convention, 1955, Detroit
Defining moments of the mid-twentieth century were disseminated through the work of remarkable writers and photojournalists, while today the Fifth Estate of social media and the power of instant communication, shifts photojournalism to image capture on phone cameras. As a foundational figure in the observing, documenting, and commenting on American society and culture, Mr. Zimmerman constructed the foundation for the way we all document, appreciate, and critique America today through our phone cameras.
Polio Vaccination, Montgomery Alabama, 1953
Biography Early in the 1950s a correspondent for LIFE magazine received an assignment to cover a story with a new free-lance photographer named John G. Zimmerman. “How will I know which photographer is Zimmerman?” asked the correspondent. ”Just look for the guy who is screwing his equipment back together,” answered his editor. The anecdote captures Zimmerman’s life-long fascination with camera technology. Making pictures for magazines such as LIFE, Sports Illustrated, Saturday Evening Post and Time as well as commercial work for over four decades, Zimmerman consistently created photographs known for their innovation and artistry.
Growing up in Torrance, California, Zimmerman joined a photographic club in junior high school and spent afternoons developing film with friends in their mothers’ kitchens. Zimmerman’s father, John L. Zimmerman, was a gaffer at a major film studio and further encouraged his son by building a darkroom at home. John G. credited early exposure to his father’s craft in part for his ability to engineer cameras and lighting to his own designs.
Zimmerman’s formal training began with a three-year photography course at John C. Freemont High School in Los Angeles. Taught by Hollywood cinematographer Clarence A. Bach, the intensive program was famous for launching the careers of no less than six LIFE photographers. Bach handed out photo assignments as if he were the editor of a daily newspaper; his students had to be prepared to cover any assignment whether it be a sporting event or an entertainer at a local nightclub. The teenage Zimmerman photographed Bing Crosby and Nat King Cole and made up 11 x 14 prints in his lab, selling them to the singers for $1.50 each.
Zimmerman often cited his early training under Bach as a significant influence in his career. Bach encouraged his graduates to provide guidance to younger photographers just starting out, something that Zimmerman practiced throughout his career and which distinguished him in the competitive world of professional photography. His relationships with fellow Bach graduates, including Life photographers Mark Kauffman and John Dominis, were life-long.
Julie Nixon looks through hole in Berlin Wall, Berlin, W. Germany, 1963
Upon graduating high school, Zimmerman enlisted as a Navy photographer and served briefly. With the help of Bach’s informal alumni network, Zimmerman landed his first job as a staff photographer at the Time bureau in Washington D.C. His first assignment as a Time staffer in 1950 demonstrated a combination of quick thinking and sheer luck. Leaving the White House just as Puerto Rican nationalists attempted to assassinate President Truman, Zimmerman was among the first photographers on the scene. His photos of the assault were featured in both Time and LIFE.
From 1952-1955, Zimmerman photographed a series of assignments for Ebony depicting the lives of African Americans in the Midwest and the Jim Crow south. These photographs are a lesser-known yet notable part of Zimmerman’s early work. The subject matter ranges from the first all black supermarket in Detroit, boxing legend Joe Louis, to sharecropper Matt Ingram’s quest for justice.
Department Store Ride, Yanceyville, North Carolina, 1953
While the Ebony assignments are straight-forward photojournalism, Zimmerman also created pictures during this time that pushed the boundaries of photojournalism. In 1955, LIFE assigned him to document Detroit’s old Mariners’ Church being moved to a new location across town. The move took four weeks to complete yet Zimmerman created a photo that gives the effect of the church hurtling through downtown Detroit at top speed. The use of technology to show on film what the naked eye could never see became a hallmark of Zimmerman’s mature work.
Sports Illustrated, 1956-1963 Zimmerman’s innovative approach caught the eye of Gerald Astor, Picture Editor of the newly formed Sports Illustrated. Astor hired him in 1956 as one of the magazine’s first staff photographers. While at the magazine, Zimmerman created many memorable images such as Bednarik Knocks Out Gifford (1960) that have become icons of sports photography. But it was his unique camera placements and electronic lighting techniques, combined with his pioneering use of remote controlled cameras, motor-driven camera sequences and double shutter designs that revolutionized how sports were viewed.
Wilt Chamberlain vs Bill Russell, NBA Playoffs, 1967
To bring readers up close to basketball, for example, Zimmerman put remote-controlled cameras on the glass backboards. Sports Illustrated photographer Walter Iooss Jr. recalled seeing Zimmerman’s 1961 photographs of basketball star Wilt Chamberlain: “it was the first time a photojournalist had placed a camera above the rim of a basket. It was like looking at something from another planet.” Many of Zimmerman’s techniques are commonplace today but were unheard of when he first used them.
Tony Alva skateboards in the Arizona desert. 1978
Zimmerman travelled incessantly as a staffer for Sports Illustrated. It was on one of his many flights, an 83 minute connection between New York and Philadelphia, that he met his future wife, a dark-haired TWA stewardess named Delores Miter. They were married in 1958 and had three children. During those years, Delores became her husband’s business partner and eventually assumed management of all the company finances, leaving Zimmerman free to focus on his photographic work.
Casey Stengel, manager of the New York Yankees, interviewed after winning game 7 and series vs Milwaukee Braves, Milwaukee, 1958
Editorial and Commercial Work, 1964-1991 Zimmerman left Sports Illustrated in 1963 to work for the Saturday Evening Post, a move motivated primarily by a desire to widen his knowledge of the craft. Though short-lived, his work for the Post (1963-65) covered the gamut of American popular culture—from the Beatles’ appearance on Ed Sullivan in 1964 to the latest in fashion, entertainment, politics, business and science.
Introducing the 1956 Ford Lincoln, Detroit, 1955
After moving to Los Angeles with his family in 1972, Zimmerman broke new ground by taking on commercial work, using his technical expertise to illustrate complex concepts for advertising clients such as Ford, Exxon, G.E. and Coca Cola among others. He also employed his elaborate lighting setups to become a sought-after architectural photographer for publications such as American Home and Time Life Books. He continued to cover sports throughout his career, photographing ten Olympic Games and over one hundred Sports Illustrated covers, including seven of the ever-popular swimsuit issues.
“John was a master of lighting, whether the subject was a 20,000 seat arena or Christie Brinkley on a beach,” recalled photographer Neil Leifer in a 2002 tribute. “He was at ease shooting in 35mm or large format, as adept with wide-angle lenses as he was with telephotos. I put him up there with Avedon, Leibowitz, Penn and Adams.”
The opening of No Strangers gave the community a chance to see the diverse art created by the members of Art Intersection. We all wore masks, except for some of the photographs, to make it a safe and healthy time viewing this wonderful work.
Art Intersection presents Little by Little 2019, an exhibition revolving around the beauty of small artwork. We are excited to feature pieces, all twelve inches or smaller in every direction, from artists across the nation! Little by Little will be on display from November 16th through December 28th.
Our juror, Peter Bugg, has selected exceptionally strong works of art in all media, including painting, drawing, sculpture, photography, printmaking, metals, wood, digital media, and more, that are presented perfectly in this intimate twelve-inch small format.
Juror Bio
Peter Bugg was born and raised in Madison, WI, completed his BA in economics at the University of Chicago, and has lived in the Valley of the Sun since 2006. While completing his MFA in photography, Bugg also worked at the ASU Art Museum, interned at SMoCA, and spent 3 semesters as the TA for the gallery classes. Since graduating in 2010, he taught photography and gallery courses at ASU and multiple community colleges for 5 years, served as Curator of Programming at SMoCA for 1.5 years, and has been the Visual Arts Coordinator for the City of Chandler since 2017, where he runs two galleries and administers the city’s public arts program. In addition to his passion for art, he enjoys yoga, backpacking, and traveling with his wife.
Stop by Saturday, November 16th, from 5-7pm for the opening reception and enjoy this exhibition through December 28th!
Pictured work above: Ethereal, Lindsay Layton, Flower Boat 6, Sandy Blain, Herd of Cacti, Charlene Engel
No Strangers presents outstanding artwork created by Art Intersection members to our broader community. We are proud to showcase our supporting member artists’ work with this annual exhibition!
On the last day of No Strangers, Saturday, September 14, will be the After Hours Member Mixer where all members can join us for food, beverages, and sharing.
With our membership program we strive to create an engaging atmosphere for creativity, networking, sharing work, and learning from each other. Through exhibitions, portfolio sharing, group critiques, workshops, and special member events, we continue to forge relationships in a truly creative environment.
You can visit the gallery anytime throughout the week, during our summer hours of Wednesday – Saturday, 10am – 6pm.
Memberships support Art Intersection, and offer members benefits of discounts on lab use and workshops, members-only events, and exposure for your own artwork. From a range of membership levels including Student, Friend, Sponsor, Patron and Collector, you can find the membership that works best for you!
Photos from NoStrangers Artist Reception: https://artintersection.com/blog/no-strangers-artist-reception/
For the ninth exciting year Art Intersection presents Emerge, our annual exhibition featuring photography from student photographers enrolled in Arizona high schools, community colleges, art schools, and universities across the state. Buzzy Sullivan, a local photography-based artist and educator, juried this year’s show.
In this exhibition we offer student photographers an opportunity to show their work in a professional gallery, fulfilling our mission to support emerging photographers. Thank you to all students that submitted their images and congratulations to the students juried into the exhibition. Ninety images will be shown out of over 750 images submitted.
Award Winners
Best of Show: Tyler Dahlstrom, “In Myself, I See My Mother”
Best of High School: Xana Marie, “Leaving Home”
Best of Post High School: John Kalinowski, “Butterfield Landfill”
Honorable Mention: Taylor Peak, “Reprocess #1”
Honorable Mention: Jonathan Rivera, “YMCA”
Honorable Mention: Mary Celaya, “Facade”
Honorable Mention: Kori Branch, “High and Low”
Honorable Mention: Jillian Rae Avery, “Silence is Power”
Honorable Mention: Brooks McAllister, “Red Wall”
Honorable Mention: Joce Marie Dolezal, “PEOAMS”
Honorable Mention: Annika Lagos, “Carnation No. 12”
Honorable Mention: Ema Groff, “Modern Rapunzel”
Honorable Mention: Dani Lama, “Reflections”
Honorable Mention: Travis Samuelson, “The first homicide victim, Georgia Thompson, was found at this apartment complex”
About the Juror
Buzzy Sullivan, a photographer currently based out of Phoenix, Arizona, has exhibited his work throughout the US and internationally. Sullivan grew up in Montana, often known as “The Last Best Place”, and also home to the largest Superfund site in the United States. Montana’s duality of pristine wilderness and toxic remains formed his interest in the human/nature interface.
Sullivan currently works at the Residential Photography Faculty at Chandler-Gilbert Community College. He received his Master of Fine Art at Arizona State University in 2017 and a BFA from Oregon College of Art and Craft in 2013.
Juror Statement
Though I have found myself with a master’s degree and a career teaching photography I must admit – I failed my only high school photography course. It’s not that I wasn’t interested in the medium as a high school student, it was instead I found myself under the guidance of a wildly unimaginative teacher who wouldn’t allow 15 year-olds the latitude to explore their abilities of visual communication. Not to sound too harsh, but my high school teacher presented photography in a way that removed the student’s experience and voice from the making of a picture. She wanted us to photograph various school events, and I wanted to photograph my friends’ skateboarding. I got an F in high school photography, but the lesson that students, no matter their age, have voices has stuck with me. The job of an educator is to pull those voices out and allow latitude for experimentation.
An education in photography isn’t intended to be centered solely on student’s mastery of cameras and printing techniques. Teaching is a subversive activity. We are teaching critical thinking wrapped up in visual communication. To effectively get students to think critically, educators have to bake a bit of experimentation into their curriculum.
This statement brings me to work included in the 2019 Emerge Exhibition. When jurying the work for this show, I aimed to include work that spoke to the strengths of the students reacting to the world around them and to their teachers behind the scenes who are allowing their students to experiment. As every previous year, I am impressed with the caliber and boldness of work by all of the Arizona students who submitted images for this exhibition, and I am grateful for the opportunity to see the world through their perspectives. The future is in good hands. Thank you Art Intersection for all you do to further access to art in Arizona.
– Buzzy Sullivan
Emerge 2019 Online Exhibition
Image credits (left to right): Michael Delp, Kori Branch, Sydney Schubbe
Here’s how Carol Henry made the large hanging cyanotypes in the Spellbinding Light exhibition. Be sure to see the installation to truly appreciate the beauty of these incredible life-size fabric, cyanotype photogram prints.
First the fabric was treated in a darkroom with cyanotype chemistry, and the photogram model and objects were artfully arrange on the fabric,
then after a long exposure in the sunshine on a sunny Carmel day,
the fabric was developed to a stunning cyanotype blue with the garden hose,
and the final fabric lined cyanotype hangs in Spellbinding Light.
Photogram objects carefully placed on cyanotype sensitized fabric,
after sunshine exposure and garden hose developing,
results in this beautiful fabric lined cyanotype hanging in Spellbinding Light.
