Working the Land… and Curating

2/7/16
In September I began working on an idea for an exhibition to have in February for PhotoTapas – Arizona Photography Month! Generally, I have found with curating I go through phases of meeting people or looking at their work, and naturally I begin drawing connections between ideas and artists, based things I have already been thinking about.

For the past few years, I have been fascinated with the new food movement to grow your own, responsibly source, eat organically, and just plain give a shit about what you put in your body! It is pretty impressive to me that most people (in the US) now care, at least a little more than they did before. You go to other countries where quality and tradition are the most important aspect of food, rather than the emphasis on a bulk of production. Here, that has never been the case – we have no history or ancient traditions, just the aspiration of prosperity.

Lucy for Web

Image by Jill Ison

 

One of the artists who really made me take a closer look at the idea of how each person can change food, is Jill Ison. She is a mother and incredible photographer who I’ve known for a few years now, and she is especially gifted when it comes to photographing her family and in portraiture. Her father purchased a farm several years ago and is invested in growing the best possible food, because it is more to him than a paycheck. Mostly he grows organic oats and ancient grains, which are delicious by the way! The idea of reviving ancient grains, and recovering lost strains of food, is really cool in my nerdy brain. Jill has been visiting her father’s farm regularly and photographing every aspect of the operation, as well as shooting her three beautiful daughters in their day-to-day activities there.

Scott T. Baxter_Working the Land

Image by Scott T. Baxter

Another artist who I have been working with for some time at Art Intersection to make prints, also got me thinking about the history of food, farming, and ranching. His name is Scott T. Baxter and for Arizona’s centennial in 2012, he completed a 10+ year project titled 100 Years 100 Ranchers, in which Scott spent a lot of time alongside ranching families who had been operating in the state for at least 100 years. He made beautiful portraits of them, while also photographing what was happening throughout a typical day in their boots. This project and his experience with it made him a tremendous cowboy photographer, and it sheds light on the incredibly hard-working men and women who still move cattle, and work with the animals we usually only see packaged in the meat section of our supermarkets.

Scott lives and works at an amazing facility called Cattle Track, which was established by Philip C. Curtis, one of the founders of the Phoenix Art Museum. This facility is an artist compound with local businesses, residential units, operating artist studios, and an art gallery, of course. The gallery, which I had visited many times, seemed like the perfect funky place for the show I had brewing.

Ken & Cattle_DeGideo

Image by Gina DeGideo, with original photograph by Marvin Morrison

To flesh out the show, I included the work from my Revisiting the Photographs of Marvin Morrison project, which was an insider’s view of farming life photographed by an actual farmer, shooting literally out in the field. I also invited well-known Western photographer Jay Dusard to show some work from his collection of esteemed images he’s made over the years. In the gallery hangs two gigantic black and white cowboy portraits from Jay, and also a colorful grid of action shots he made while photographing commercially.

Jay Dusard_Working the Land

Image by Jay Dusard

Our exhibition Working the Land: Arizona Farming and Ranching Families is up now through February 14, 2016, with a Closing Reception on Sunday, February 14, from 1 – 4pm. It is free and open to the public! In the end, I feel this is a well-balanced and intimate show, invested in the lives of the people who are still doing the things we might think of as being from the wild wild west and times past.

This exhibition is also part of PhotoTapas: Photography Month in Arizona! To learn more about all of the February events happening around the state in February, visit phototapas.com.

phototapas logo b&w

 

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Then & Now – Gilbert, Arizona

9/13/15
Three years ago I graduated from my photography program at ASU and exhibited, for the first time, my thesis project Arid Zone Utopia in the show Click. The work was over a year in the making and was a heavily edited down group of suburban landscapes, from what I thought were unusually designed neighborhoods in Arizona. Of all of the images I shot, those from the Gilbert, Arizona locations worked best in my series, as I found their landscapes most contrasting from the natural desert.

As a result of that exhibition, I partnered with Art Intersection Gallery (of whom I had just finished an internship with at the time) to create a body of work from a family archive of prints and negatives on commission. The artwork and exhibition titled Revisiting the Photographs of Marvin Morrison was initially exhibited at Art Intersection in the summer of 2013, after a year of work into the project.

When Howard Morrison (son of Marvin Morrison and patron) and I first spoke about possibilities and scope of this project, we briefly mentioned a future possibility of a “then and now” show, since so many of my photographs are taken in the same locations as his father’s were, only 30-60 years apart.

Shifting Views Postcard Merge_DeGideo copy

The “then and now” of the project has finally taken shape as the exhibition Shifting Views, open now through October 31st at The Gallery at the Gilbert Historical Museum. The entire Morrison project, and nine more of my Gilbert Arid Zone Utopia images are on view, including three images never shown before. I believe the show takes an interesting look at the changing priorities and the booming expansion of this once modest farming town. If you are in the area, pay The Gallery a visit at 10 S. Gilbert Rd. Gilbert, AZ 85296.

Shifting Views Show Statement:
On exhibit, are works made throughout different periods of time, with different intentions. The similarities lie in that they were photographed in many of the same locations, 30 – 60 years apart from each other and both edited and printed by the same artist.

When I shot the landscape project Arid Zone Utopia, I was exploring and documenting many suburban neighborhoods throughout the state, but the Morrison Ranch and Agritopia areas were where I was most intrigued to photograph. At the time, being a self-admitted “desert rat”, I did not understand what these landscapes were in my desert world.

After having the fantastic opportunity to work with the Morrison family, sifting carefully through hundreds of images shot by Marvin Morrison, and listening to many family stories, I began to finally connect with the awkwardly beautiful place I had been investigating with my camera for so many years.

The result has been an unintentional collaboration between myself and the late Marvin Morrison, reflecting the changes this land has been through, and glimpse into the past and present.

– Gina DeGideo

A History of Fresh Food in the Desert

2/1/14

Kenneth and Cattle by Gina DeGideo, with photograph by Marvin Morrison

Kenneth and Cattle by Gina DeGideo, with photograph by Marvin Morrison

I am happy to be showing a portion of my work from the series Revisiting the Photographs of Marvin Morrison at Modified Arts in Phoenix, AZ. The exhibition, curated by Kimber Lanning, focuses on the history and evolution of growing food in the desolate landscape we live in. The exhibition, open now through February 15th, 2014, also features work from Heather Gill and from the extensive collection of Jeremy Rowe. Join us for the closing reception on Friday, February 7th during First Fridays!

Collecting Event of the Year – Annual Silent Auction

11/12/13

Narcissus Tresamble, Benabbio, Italy by Gina DeGideo

Narcissus Tresamble, Benabbio, Italy
by Gina DeGideo

Join me and Art Intersection for the collecting event of the year at our 2013 Silent Auction on December 7th, 5-8 pm. This event is held as the annual fundraiser to help keep the doors open and the lights on, aside from helping to bring in world-renowned artist and provide emerging artists with a place to show each year.

The Annual Silent Auction event at Art Intersection is a fantastic opportunity for new collectors to start their collection. With low prices on many highly collectable pieces, you’re sure to find something to fall in love with. This year I’ve donated a limited edition toned gelatin silver 4×5 contact print from a pinhole camera. This is a new print from a series of 4×5 pinhole images I am beginning to shoot and print.

Some of the many notable artists donating:

David Emitt Adams

Kate Breakey

Wynn Bullock

Imogen Cunningham

Binh Danh

Allen Dutton

James Hajicek

Mark Klett

Carol Panaro-Smith

Robin V. Robinson

View the online gallery

Revisiting the Photographs of Marvin Morrison

8/19/13

Cotton Stomper, photograph by Marvin Morrison

Cotton Stomper, photograph by Marvin Morrison

My first solo exhibition and biggest show thus far opened last week at Art Intersection. One year in the making, the show featured 17 prints on the walls from scanned slides, negatives, and prints, with creative writing text below them. A hard cover handmade artist book, and a commemorative platinum/palladium print also sit together in a clamshell box set, on display.

DSC_4506

DSC_4535

The photographs are from a local farmer named Marvin Morrison, who passed away in 2007. His son, Howard, came to Art Intersection and to me looking to commission a project and exhibition based on the remaining photos from his father. In an ironic turn of events I found out that in my previous project Arid Zone Utopia I had actually been photographing in some of the exact places Marvin had been, only 60 years later.

When Howard brought the images to me I was struck at the unique stories I felt the images told. For a lifelong farmer who surely would’ve never considered himself a photographer or artist, there were some amazing images! They had a quiet and telling beauty to them. I felt a connection to the intimacy of many of them and decided this could definitely become something great.

I spent the next year gathering stories and memories from Marvin’s sons and wife, June, while learning all of the players in the family dynamic and getting to know the people individually. In doing so I also got to know Marvin, the man I would never meet. In these verbal descriptions of him, being in his lifelong home, and in the revelations of his photographs, I understood who he was.

...It's 5 am on a chilly Fall morning and the dew is just beginning to settle. Father and son plow ahead bailing 100lb packages of cut alfalfa, their machine shooting them out in perfect blocks. The two have been at it since the early morning hours. The son does his work and remains quiet; his shouting wouldn't be heard over the grumbling John Deere engine anyway. He knows his labor will be rewarded by his comrades in the barn later that day. He will rule as king of the Lego brick fort that the gang constructs when he returns with the goods, and it will be glorious...

…It’s 5 am on a chilly Fall morning and the dew is just beginning to settle. Father and son plow ahead bailing 100lb packages of cut alfalfa, their machine shooting them out in perfect blocks. The two have been at it since the early morning hours. The son does his work and remains quiet; his shouting wouldn’t be heard over the grumbling John Deere engine anyway. He knows his labor will be rewarded by his comrades in the barn later that day. He will rule as king of the Lego brick fort that the gang constructs when he returns with the goods, and it will be glorious…

To compliment the edited down images, I created captions based on family memories, and while sometimes channeling Marvin himself and putting myself in his shoes, based on what I’ve learned of him. The lines of text sit just slightly underneath the image and run as an accent to the pale-colored vintage feel of the prints made from his photographs.

The book is perhaps my favorite part of the project. For the past few years I’ve loved book-making and tried to use it in my work when it makes sense to. When looking at Marvin’s photos, I saw a distinct difference between more general farm-life pictures and between family-oriented photos. One of my favorite images is one of all of the women in the family wearing matching nightgowns, obviously homemade gifts from Grandma, and posing together for a picture on Christmas Eve.

Morrison Book-by Gina DeGideo

I knew I had to use these wonderful pictures in some way, which lead me to the reworked family photo album book. I wanted the book to be fun and also to be something that could be displayed in the gallery in a 3-dimensional way, so I chose the accordion style construction. I unified the many different image styles from different eras, from black and white to color, and printed them all digitally with a uniform sepia tonality. I’ve been dying to make an accordion book with handwritten photo captions (like you would see if you turned over an old photograph; yeah, when people still printed them!) on the back for some time now, and felt this was definitely the project to incorporate this into. June was the natural choice to illustrate the captions. Her fabulous cursive scribbles were done in pencil, scanned in, and digitally printed on the backs of the images. I love how this book has become a sort of unknowing collaboration between Marvin’s photos and his wife’s captions.

Morrison Opening 1

In the end, I am extremely happy with the artwork and so glad I had this unique opportunity to create something wonderful from someone else’s found photographs. I can now continue on with more of my personal projects, but I am so thankful for the experience and I’d like to think that Marvin likes it too 😉 .

Morrison Opening 2

Morrison Opening 3