Little by Little, a juried exhibition of small artworks, presents a wide variety of art expressed in a size no more than twelve-inches in any dimension. Amazing, beautiful, and impactful small works of art presented in a dedicated exhibition from a more intimate viewpoint that begs for a closer look!
These incredible artworks make wonderful gifts for family, friends, or for you too. If you purchase a piece, we will take it off the wall to take it home with you that day.
Banner image by Roxanne Almblade Shed by the Verde River
This workshop is full. Please email or call if you wish to be placed on a wait list.
In this two-day workshop students will learn the art of photopolymer gravure printing. Using light-sensitive steel-backed Solarplates, participants will create 4″ x 5″ and 6″ x 8″ gravure etching prints from their photographs. This environmentally friendly process translates photographic detail into ink on paper with unparalleled beauty.
No prior experience with printmaking is required. All necessary aspects of printmaking will be discussed including choosing inks, papers, and wiping material. Wiping and inking techniques will be covered. Be prepared to marvel at the way your photograph is transformed through ink on paper.
The making of digital positives will be discussed, but for the workshop itself, you will send color or black and white image files (300 dpi at 10” on the long side) to be made into a digital positive prior to the workshop. An email with details will be provided once you are registered. Please submit a WORKSHOP SIGN UP FORM located below so we are able to contact you!
Here is a brief outline of the process that will be presented in this workshop:
A transparency positive will be made from your photograph
The positive is then placed on top of the light sensitive polymer plate and exposed to UV light
Washing the plate in water etches the image onto the plate
Once hardened, the plate is hand inked using water-soluble intaglio inks
The inked plate is then run through an etching press onto dampened paper
Remnants #202, Karen Hymer
About Karen Hymer
Karen Hymer is an artist and educator based out of Silver City, New Mexico. For the past seven years she has ventured into the world of printmaking – exploring imagery in the form of photopolymer gravures. Her current work explores the effects of time on the human body and various plant life. Hymer’s richly detailed photogravures emphasize the interplay of texture, pattern, light and shadow in muted earth tones. The decontextualized close-ups of the body and decaying plants reveal a poetic beauty in these often over-looked subjects.
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 platinum/palladium process is one of the most beautiful and archival processes, and in this workshop, you will create platinum/palladium prints from your images. Ryuijie will teach a one-day workshop about this luminous 19th century process in the Art Intersection Photographic Arts Lab and the participants will take home two to three prints of their images.
As a participant, you will send digital files of black and white images to us and we will create a digital negative adjusted for Ryuijie’s process. You will hand-coat fine art paper with the light-sensitive solution and expose the sanitized paper through your digital negative using one of our UV light sources. After processing the exposed paper, you will have your photograph on a platinum/palladium print.
Join us in the Art Intersection galleries to enjoy a special Portfolio Sharing event! Get up close with some fabulous artwork and converse with the artists during a mid-day portfolio sharing on Saturday, August 24, from 11am – 1pm. Participating in a Portfolio Sharing event gives you a fantastic way to get involved with Art Intersection’s community of artists, collectors, and art enthusiasts.
This event is free and open to the public for viewing.
Art Intersection welcomes anyone and everyone to attend this event, and only Art Intersection members are invited to show their work. If you are not a member, consider joining us! Members have access to discounts on workshops and lab use, invitations to VIP events, and the opportunity to exhibit their work.
Sharing your portfolio is one of several ways you can exhibit at Art Intersection, a benefit for all membership levels. Each member will have a table top space, about 30-inches by 72-inches, to display their work.
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.
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.
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