“Little by Little”

“Little by Little”
Art Intersection

Juror: Dr. Julie Sasse

Gilbert, Arizona
October 24 – December 2
Artists Reception
Saturday, October 28, 6 – 8pm


Juror’s Statement:

“It has been a great pleasure to serve as the guest juror for Art Intersection’s Little by Little. I am honored to be selected for this opportunity because it gives me a chance to learn more about new art being exhibited in the Southwest and to become better acquainted with Art Intersection’s supportive environment for the arts. My thanks go to the many artists who submitted works for this exhibition and to the Art Intersection team who organized this project.

This exhibition gives the viewer a snapshot of the creative ideas and originality and artists’ heartfelt connections to their mediums and concepts. Arizona has limited venues for emerging and mid-career artists to exhibit their work compared to more densely populated states, so this exhibition offers a link between the creative product and those who derive pleasure and insight from viewing it.This is a small works exhibition, but that does not mean the works are less in content or aesthetic and conceptual value. I believe artists should make art in the scale that best serves their ideas, and if the works are small, they are still important if created with sincerity. Some of the most poignant works I have seen over the years are not the most grand in scale, but suitable for the message intended. If anything, small works allow us to concentrate on an idea and an image because of the intimacy provided by the unassuming, though purposeful size. They encourage us to block out the noise of the gigantic in favor of contemplative statements. I hope you will enjoy Little by Little and let yourself connect to the works in a personal relationship.” ~Dr. Julie Sasse, guest juror


“Fairy Tales & Nuclear Bombs (What Happened to the Summer of Love)”

“Fairy Tales & Nuclear Bombs (What Happened to the Summer of Love)” 
Lightbox Photographic Gallery
October 14 – November 7, 2017
Juror: Diane Fenster


Juror’s Statement:

“The Summer of Love and the hippie revolution were primarily centered on remaining outside the taint of the major societal forces of war and greed. Dreams were cultivated spiritually and chemically. The post WWII years of repressive ideas, clothing and regimentation exploded into a wide array of color and music and dance, expressions of both individual dreams and visions of a society which nurtured creativity and personal liberty to the utmost while taking consideration of the environment in a sustainable way.
Now decades later the tie dye clothes are as tattered as the dreams. What was lost was more than these brief experiments in lifestyle but an imagination which honored ones’ visions and possibilities of a joyful existence. Though those aspirations of youth now seem distant, there is a residual flame, burning deep and still revolutionary and radical in it’s demand for joy and love.”
For this call I’d like to see your dreams or nightmares as we face the anxiety of the present.” ~ Diane Fenster

“Nothing Special” — L.A. Photo Curator

“NOTHING SPECIAL” — L.A. Photo Curator: International Photography Awards – ‘Where Photography & Philanthropy Meet’

Curator Bree Lamb

Lamb says, “From the spontaneity and unpredictability of street photography to the artfully crafted still life to the happenstance urbanscape and far beyond, photographers have long been able to create powerful, beautiful work drawing from the banality of everyday life.

How do you make something compelling out of nothing special? This question has become compounded as the ubiquity of image-making and image-sharing has reached at an all-time peak and is steadily growing through various social media outlets. In a time when we are sharing, “liking,” and viewing more images than ever, how are you
seeing and capturing the world around you?

This call is looking for well-seen images of the everyday – the benign, the boring, the overlooked. I’m curious as to how you view the world, and in particular how you capture the subtle, in-between moments, people and spaces that are such a large part of our daily lives. Whether found, staged, or manipulated, all subject matter and methods of capture are welcome.”

“Light Sensitive 2017 — Celebrating Images From The Darkroom”


Juror Ann Jastrab

207 N Gilbert Rd # 201, Gilbert, AZ, 85234
March 7 – April 15

Light Sensitive, an exhibition dedicated to presenting art created using traditional darkroom and alternative photographic processes, has grown to become an internationally acknowledged signature exhibition for this art genre. In the current trend of imagery presented on computer screens and the overwhelming volume of digitally printed pictures, Light Sensitive reaffirms and
promotes the art of handcrafted prints that uniquely belong to the tradition of light sensitive creative processes.

Work this year comes from national and international artists and includes processes like cyanotype, gelatin silver, gum bichromate, wet plate collodion tintype, carbon printing, and more.

“In graduate school in 1993, I took my first and subsequently last Photoshop class. I realized the technology was going to change rapidly and dramatically and constantly and…need I mention the frustrations of Photoshop before layers? (I imagine more than one of you is heading to the kitchen to pour a drink right now just remembering those early days). Anyway, thanks to this experience, my concentration in graduate school quickly became historical processes. I put away my 35mm camera and picked up a wooden view camera and started making my own emulsions and studying all those beautiful techniques from the 1850s onward. I eventually settled on platinum/palladium printing as my medium.

Needless to say, I was thrilled when Alan Fitzgerald from the Art Intersection asked me to jury the 2017 Light Sensitive exhibition. Having a chance to revisit the traditional photographic processes that are near and dear to my heart has been so rewarding. And inspiring. I’m fairly certain that if I go to hell, I’ll be making 4 color gum bichromate prints for eternity and that every time I submerge the paper with the fourth layer perfectly registered, all the layers will float off and I’ll have to start over. And yet, in this coming exhibition, many artists proved that they were not just up for the task of making gum prints, but they made exquisite ones. I take my hat off to Diana Bloomfield, Michael Puff, Megan Smith, Jane Wiley, and the rest who not only had all their layers adhere to the paper, but created superb images.

And then there are the collodion artists….painstakingly poured plates, the pressure of time, of drying emulsion, of moving subjects, of so many variables that can either destroy the image or elevate it to an otherworldly plane where I marvel at how the imperfections make it all the more strange and wondrous. I’ve watched Jenny Sampson’s skateboarder series for years and was excited to put her work in this show along with Tabitha Soren’s baseball tintypes from her long-term project, “Fantasy Life.” And then there were wet plate artists I didn’t know or whose work I didn’t recognize, and the thrill of discovery was upon me, along with the tough decision about which plates to select from Katy Tuttle, Shari Trennert, Rebecca Ross, Kaden Kratzer and Nadezda Nikolova-Kratzer.

The sublime blues of the cyanotypes and the dynamic tonal range of all those platinum/palladium prints and the photogravures and what must be an orotype, the lumen prints, the chromogenic prints, and to see Mordançage prints again (another old nemesis from graduate school – we experimented with this in advance B&W craft, respirators strapped on, gloves snapped on, ventilation systems on high, and stood back and watched as the emulsion lifted off of our gelatin silver prints and, with varying degrees of success, were either transformed into shimmering veils of shadows and light, or more frequently, we witnessed the emulsion wash right off the print and flow into the sink and swirl down the drain. The reaction was usually tears, but sometimes laughter. Another reason I decided to become a platinum printer. There are masochists and there are artists that enjoy making prints… the Mordançage process separated us swiftly. Alex Krajkowski and Judyta Grudzien, you know who you are). And of course, all the gorgeous silver gelatin prints…the birth of my love of photography happened in my high school darkroom thousands of miles from here and decades ago.

The power of this year’s Light Sensitive exhibition lies not just in the fact that these artists are keeping traditional photography and historic techniques alive, but that they’ve also created images that speak to the processes and also speak to us, the viewers. Bravo!”