Associate Professor of the Practice in the Department of Art, Art History & Visual Studies
M.F.A., School of the Art Institute of Chicago 1999
B.A., Duke University 1995
Josh Gibson is a moving image artist working in documentary, hybrid forms and experimental cinematography.
Pig Film. Director. (2018)
In an empty world, a solitary woman mechanically follows the protocols of a factory hog farm. Her labours are sporadically punctuated by musical rhapsodies as she moves toward the impending end. Is it the end of the world, a program malfunction, or the beginning of a film?
SenCinema. Director. (2017)
A contemporary view of the history of Senegalese Cinema.
Tempo of Tomorrow Revisited. Director. (2015)
A meditation on tourism and nostalgia. Two travelogues on Cuba intertwine. One shot in 1958 in the months before the Revolution and another in 2014, in the months before the lifting of American sanctions on the country.
Journey to the Sea. Director. (2015)
The shadow landscapes on hard plaster secure the days.
Dinosaurz. Director. (2013)
In flickering black and white, Nile Perch tracks a fish from a fisherman’s line on Lake Victoria in Uganda to export commodity. This hand-made film is a modern-day parable of the effects of globalization on Africa as well as meditation on the economic and ecological impact of an invasive species.
A small serving of pasta is made by hand amidst the landscapes that conjured it.
The instants, transformations, and rhythms of a day in Arezzo, Italy.
Shot summer 2011 in 35mm Cinemascope. Hand Processed.
Watermelon. Director. (2012)
A train advances through a railroad crossing flanked by dark masses of leaves and exits through the left of the frame, as if backwards in time. A radio program broadcasting to Georgia farmers waxes lyrical about kudzu’s many uses and virtues. The radio station changes, and a recording of “Dixieland” ushers in surreal images and sounds of kudzu vines creeping forward, some say a foot a day. We see contemporary farmers and others who harness the potential of the maligned vine feed it to the cows, fry it up, and make baskets. Through images of kudzu-covered forms, photographed in black and white, hand-processed 35mm CinemaScope and radiating with the luminance of early cinema, this ode to the climbing, trailing, and coiling species Pueraria lobata evokes the agricultural history and mythic textures of the South, while paying tribute to the human capacity for improvisation.