Art Intersection’s eleventh-annual All Art Arizona exhibition opened its doors on May 14th, 2022! Local artists, their families, and their friends joined us for wonderful evening to discuss and appreciate the talent and broad range of creativity here at home.
This year we celebrate the twelfth anniversary of All Art Arizona at Art Intersection through the breadth and diversity of art created by Arizona artists. The range of artwork encompasses sculpture, photography, painting, ceramics, wood, printmaking, mixed media, and more.
All Art Arizona presents exciting work created by both well-known and emerging artists living in our own back yard, the state of Arizona.
The All Art Arizona opening reception draws artists, art collectors, and art lovers from all over the state to one of our best attended exhibitions of the year. As always, the exhibition is free and open to the public during business hours.
Banner images by: Michael Pierre Price, Rosalie Vaccaro, Martina Skobic
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.
Submission Deadline Extended To Thursday, August 4
Submit your images taken from marches, protests, rallies, and demonstrations, whether you are in solidarity with the marchers or documenting their voices. Your images should show people, in the public view, voicing their passion for change. This Picturing Resistance exhibition at Art Intersection gives your photographs visibility and exposes the energy you captured.
There are no timeframe restrictions for photographs, only that you are the photographer or you own the copyright to an historical image from your collection. We wish to present the landscape of people engaged in the act of creating change by exercising their right to be noisy.
If you use a phone camera to photograph protests and marches, let us know if you need help printing images from your phone for this exhibition.
Our juror, Ken Light, photographer, author, and a Reva and David Logan Professor of Photojournalism at the University of California, Berkeley, will select from submitted images.
Melanie Light and Ken Light’s book, Picturing Resistance, serves as the inspiration for this juried exhibition, and a must own book for anyone interested in social justice movements in the past seven decades.
In Ryan gallery Ken Light’s images from his book Midnight La Frontera will be shown during the Picturing Resistance exhibition.
About the Juror Ken Light, a freelance documentary photographer for over fifty years, focuses on social issues facing America. A recipient of a Guggenheim Fellowship, his work has been published in twelve books, in magazines, exhibitions and numerous anthologies, exhibition catalogues and a variety of media, digital and motion picture.
His most recent book Course of the Empire, published by Steidl, portrays a decade of mounting tension in a polarized America, from Wall Street to the rural heartland and is a portrait of the American social landscape and is a riveting historical and visual record of a complicated country in a complicated time.
Midnight La Frontera (TBW Books) illustrates, in piercing words and in strobe lit images caught against the dark of night, the struggle and defiance of those who make the perilous hike for days and weeks in search of the American Dream.
Important Picturing Resistance Exhibition Dates
August 4: Online submissions due by midnight Arizona time
August 9: Email notification of artists selected for exhibition
3-day Mordançage Workshop with Elizabeth Opalenik, July 15, 16, 17, 2022, from 9am to 5pm each day with lunch included.
I vividly remember that first Provence meeting in 1983 when I heard Jean-Pierre Sudre say, “In mordançage you have the possibility….” For the next 30 summers I visited his studio and work discovering them all while learning the process in 1991 directly from this master. In this workshop we shall begin with a brief history of the mordançage process, looking at original work as we gather valuable insight into directions for making it your own creative voice.
Together we mix the chemistry and begin with an instructor demonstration on understanding the test strips to discover proper exposures for negatives and working with photograms, which is the best way to learn the possibilities. Mordançage takes time to master when working with intent and begins with a darkroom print. Information on making negatives, film or digital, and materials to bring shall be sent prior to the workshop. You will discover, when the silver print is put through the mordançage solution, the silver gelatin in the densest areas of the photographic print swell and can be removed with the pressure of a jet of water or cotton ball. Darkroom days will be spent testing various paper and redeveloper combinations, experimenting with oxidation, toners and hand painting to alter color, and deciding to save or not to save the veils. Often, just because you can, doesn’t mean you should. Papers, chemicals and notebooks with formulas will be supplied.
After more than 30 years of committing to the mordançage process, Elizabeth has many possibilities, pitfalls and discoveries to share. Working collectively with a group of photographic peers, students can combine information on papers available today to further enhance their creativity. Experimenting is highly encouraged. A working knowledge of the darkroom is essential.
As artists, we much each find our way and hope to leave something of value behind. The “draped spidery veils” in the images are my contribution to this process, accomplished by using my breathe or drops of water to preserve and alter the delicate floating silver skin. As such, each piece is unique and truly made by hand even when created using the same negative.
This year’s No Strangers exhibition presents a diverse range of artwork created by Art Intersection members. This annual exhibition showcases the creative energy from 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!
Banner images by James Syme, Charlene Engel, Jason Salecki
To celebrate the art of handcrafted prints, Art Intersection presents Light Sensitive, our eleventh-annual, international juried exhibition of images created using traditional darkroom, historical, and alternative photographic processes and methods.
In the current takeover of imagery presented on computer screens and the overwhelming volume of digitally printed pictures, the purpose of our Light Sensitive exhibition is to celebrate, promote, and reaffirm the art of handcrafted prints that uniquely belong to the tradition of light sensitive creative processes. Each year we search for work representing creativity, passion, and display of the beauty these light sensitive processes bring.
Banner image by Rebecca Zeiss
Awards Special thank you to Brian Taylor for his insightful vision as our juror. Choosing awards in an exhibition of highly amazing works proved to very challenging and much consideration (and pacing through the galleries) was given to all of the darkroom creative art in the galleries. Congratulations to the awardees and everyone juried into Light Sensitive.
First Place – Rebecca Zeiss Second Place – Richard Hricko Third Place – Sara Silks Award of Excellence – Diana Bloomfield Honorable Mentions – Allan Barnes – Matt Connors – Wendy Constantine – Susan Elizabeth de Witt – Elizabeth Davis – Anne Eder – Jeannie Hutchins – Jen Leahy – Maureen Mulhern-White – Emily Penrod – Gerado Stübing – Vaune Trachtman
Juror Art Intersection is honored to have Brian Taylor jury this year’s Light Sensitive exhibition. He is known for his innovative explorations of alternative photographic processes including historic 19th Century printing techniques, mixed media, and hand made books. His work has been exhibited nationally and abroad in numerous solo and group shows and is included in the permanent collections of the Bibliotheque Nationale, Paris; the Victoria and Albert Museum, London; the San Francisco Museum of Modern Art; and the International Museum of Photography at the George Eastman House, Rochester, NY.
Brian served as the Executive Director of the Center for Photographic Art in Carmel, CA for 4 1/2 years, retiring in 2019 to return to his art practice in the studio. He received his B.A. Degree in Visual Arts from the University of California at San Diego, an M.A. from Stanford University, and his M.F.A. from the University of New Mexico and served as a Professor of Photography for over 35 years, and Chair of the Department of Art and Art History at San Jose State University.
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
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.”
