Todd Deutsch Assoc. Professor, Department of Art and Art History Between Rivers Exhibition Project Narrative 1. The conceptual and/ or artistic questions explored and developed through this project. My sabbatical in the spring of 2015 was spent making photographs in and around Prescott, Wisconsin, a small river town at the confluence of the Mississippi and St. Croix. I moved to there in 2007. I still feel like a visitor. Like many small towns, the social landscape in Prescott is dominated by a cluster of common family names. These families have been in the region for generations, forming a tightly knit and expansive network. They are generally welcoming people but I will always be an outsider. My Prescott will always be markedly different from theirs. The photographs I made depict a broad examination of place as a geographic and social construct. The collection of photographs now need to be assembled into a coherent portrait of the town. Funds from an Arts & Humanities Creative Projects grant would be used to frame a selection of approximately 30 images for a solo exhibition titled “Between Rivers”. The exhibition is scheduled to be presented at the Catherine G. Murphy Gallery in the fall of 2016. Although I am only requesting funds for framing, I will also be designing promotional materials and a book mock-up that will be submitted to galleries and publishers following the CGM exhibition. 2. The project’s significance, including how it will contribute to the field and discipline. The cornerstone of this project is an upcoming solo exhibition at the Catherine G. Murphy Gallery. Within the discipline, a solo exhibition is the culmination of a significant body of work and is akin to publishing a book length manuscript. This is in contrast to a group exhibition, which is considered to be the equivalent of contributing a chapter to an anthology. As such, this represents an important contribution to my overall professional development plan and is consistent with goals defined in my previous faculty evaluation narratives. In my last faculty review I identified the importance of finding the time to complete a significant body of work, particularly in the face of immediate teaching and service duties that tend to swamp more flexible scholarship schedules. This exhibition is an opportunity to meet that goal. It allows me to wrestle with the conceptual aspects of my work through editing and layout, and results in a concrete “product” that is publicly visible. Once framed, the photographs can then be submitted for exhibition elsewhere much more easily, removing a significant barrier to the broader dissemination of the work. In addition to my own professional development, exhibiting and publishing the photographs places them within a larger visual history. They become part of the conversation surrounding the nature of landscape, portraiture and the depiction of place in photography.



1

The photographs are also significant outside of the discipline. My dissemination plan calls for targeting opportunities that will leverage regional and historical interest to extend the reach of the project. Presenting the images publicly in a range of venues, including those that are not traditionally arts related, increases the likelihood that they will inform the history of the area. 3. How the approach demonstrates innovation. I work in an area between what is commonly considered the objective function of documentary photography and the interpretive function of the fine arts. With this project I am creating a collection of photographs that is as poetic as it is descriptive. It is not entirely ‘documentary’ and not entirely ‘fine art’. My decisions during the shooting and editing process are driven by an idiosyncratic understanding of the area that is a result of taking the time to look closely and deliberately at daily occurrences that might otherwise be overlooked. Unlike photojournalism, which has a reputation for short- term engagement that is limited in scope and emphasizes the grandiose, this project uses broad, sustained and highly subjective observation of the everyday as a central strategy. The work reflects a wandering curiosity that is heavily influenced by being a resident of the area. While isolated images of the region and its picturesque landmarks are routinely made by visitors and professional photographers alike, long- term projects with an emphasis on the everyday are less common. 4. The work plan, including objectives, proposed outcomes, key tasks, resources and timeline. During the grant period I will be creating two versions of the project, each designed for different means of dissemination. The immediate priority will be to make a selection of approximately 30 images for a solo exhibition at the Catherine G. Murphy Gallery in September, 2016. These works will be printed and framed to museum standards. Framing is an essential part of professionally presenting these photographs. Doubly so for a solo exhibition. This is a concrete opportunity to share my sabbatical work within the University and, more importantly, launch the project into the larger community. An exhibition proposal packet will also be created as part of the launch. The packet consists of sample images and project information that will be used to submit the work to other venues following the Catherine G. Murphy Gallery exhibition. The second version of the project consists of a larger and more nuanced selection organized and edited for a book length publication. After selecting and sequencing these images I will create a book dummy that can be presented to publishers. Being able to show the photographs in solo and thematic group exhibitions is an essential lead- up to publication. Consistent and varied dissemination of the work over time demonstrates interest and builds a case for publication. It is a long term



2

process that requires strategic planning and the ability to take advantage of opportunities as they arise. Beyond the exhibition already scheduled, the framed work, exhibition packets, and book dummy provide the resources required to take advantage of opportunities as they develop. It is not only the material support that they provide, it is the process of putting them together that sharpens my understanding of the work and pushes my creative and professional development forward. Timeline: June 1- 30: Finalize the exhibition edit. Develop sequences & pairings. Make size determinations. July 1- 15:

Produce final exhibition prints.

July 15- August 29: Final prints to framer. Design and construct exhibition proposal packets. Begin work on larger selection for book dummy. August 29- September 11: Gallery installation. September 12- October 21: “Between Rivers” exhibition at CGM Gallery. September- May: Development and construction of book dummy. Send out exhibition proposals. Research and begin making contact with publishers. 5. How you will interpret or evaluate outcomes. The creative success of the project will be evaluated by comparing the photographs in the finished exhibition to preliminary photographs and edits. Growth should be evident in the form of increased conceptual focus, refinement of aesthetic approach, and cohesiveness of the work as a collection. Professionally, the exhibition will be evaluated by the degree to which the work is recognized through press, additional exhibition opportunities and the possibility of publication either as a whole or in excerpt. 6. Significance to the University and department with regard to mission and strategic plan. The faculty in the Department of Art and Art History are expected to maintain an active record of exhibitions and publications. We see this as vital to staying current in our disciplines and providing a model of creative inquiry for our students. The methods I will employ during the creation of the exhibition and book dummy extend and refine methods that I currently teach in photography



3

courses. Putting them into practice will help to keep instruction practical, insightful, and in touch with current technology and trends. New work also creates new opportunity. Previous work has been well received and continues to be exhibited. Developing another project that is different in content but still related to the central themes I have established in previous photographs (home, community, sense of identity) helps me to more clearly define my work as a photographer. Exhibitions and publications provide an opportunity for meaningful participation in portfolio reviews, visiting artist opportunities, and workshops, all of which allow me to build a more extensive presence within the discipline, expand my professional network, and to raise the visibility of the department and the University. They also model professional practices that are essential to cultivating a creative voice and becoming a leader in the field. 7. Plans to present or disseminate creative work. The project is currently on the Catherine G. Murphy Gallery exhibition schedule for September, 2016. Once framed, the photographs can be more easily submitted for exhibition at other venues. I have been successful in showing work and publishing regionally, nationally, and internationally with other projects. My intention is to pursue similar opportunities. Given the location of the project I intend to leverage potential regional interest by targeting local and regional galleries and publications, some of which, such as history centers and libraries, for example, may be outside of traditional art venues. Having framed, ready to be exhibited artwork is essential for these non-traditional spaces. 8. Plans to pursue external funding to sustain or advance your scholarship/ creative work. Many large foundations and government arts agencies have reduced or eliminated funding for individual artists in favor of funding arts organizations. That does not mean that grants for individual projects don’t exist, they are just harder to come by and are often national or international in scope. Applying for grants and exhibition opportunities to support the creation and distribution of artwork is a routine part of the discipline. Competition for funding is very stiff, but I have been successful in the past and plan to continue applying for support as I always have. It is not only an essential means of financial support, it is also critical to the dissemination of the work. Grants and competitions are juried by publishers, curators, photographers, and gallery directors and are closely watched by their peers. Because of this, the benefits of applying for grants and competitions can have a significant impact on the visibility of a project regardless of outcome. I regularly submit work and plan to continue doing so with this new project.



4