Rebecca Hackemann

About Rebecca from her website:

About My Studio Practice: I am interested in the process of vision and visual communication itself, and how we bring meaning to what we see and experience through the medium of photography. The art photograph aims to provide a form of critique (or should), an intervention or commentary on existing everyday photography in our culture. In my practice the act of looking is a central theme that runs throughout the work – in many cases a optical device mediates the image. In some works, like the tintype work it challenges the conventions of that medium by showing flaws and not using a camera (in the case of the tintype it is portraiture). In other cases the work challenges the cartesian separation of art object and viewer through the use of the stereoscope, which symbolizes vision and controls who can see the work and forces viewers to first look at others looking.  The work is influenced by conceptual work of the 1970s (see artist statement), Johnathan Crary, as well as George Melies and pre cinematic history of optical media devices. Many of my images are whimsical, sometimes political and are about how photography (and film) function in our culture and in history, how they intersect with our lives in different forms. – Rebecca Hackemann

How long have you been a photographic artist?

25 years

What drew you to photography as a form of expression?

I began photography during a time in my life when I was suffering from culture shock in a boarding school in England. It gave me validation at the time and made me feel productive. I was 16.

Are there any artists or art styles that help inspire your work?

for my photography: Melies the filmmaker, Kahn and Seleznik, Jan Svankmajer, Quay Brothers, Barbara Kruger, John Heartfield, Kentridge, Victor Burgin, Allen Sekula, Barthes, David Bate and Geoffrey Batchen

Has your work seen any transitions or transformations from when you first began in this medium? If so, in what way?

Yes, I have added different bodies of work over time and work on them concurrently. I also created several public art projects and make anamorphic drawings. All my work is conceptual and challenges the traditional formats of that medium in different ways – historically and formally – often an optical component is involved.

Sometimes I decide I want to work in a certain medium and then ask myself – what has not been done in this medium and how can I make the content relevant to the medium itself and themes in popular culture research fields or politics? In other words – why is this a tintype or a polaroid or a stereo photograph? How would it function differently if it were not? Would it work conceptually? That question is crucial. The next question is – what does it mean, what is the work about, what is it saying or doing? In many ways I bring the language of sculpture into the world of photography which can be somewhat stiff at times. In my public art I intervene into public space in ways that are unconventional (location wise) and then I ask questions about the site with the work, through the work.

In my stereo photographs, I am asking philosophical questions about photography history, popular culture, politics and playing with image/ text relationships the way advertising does – but in my case I do it to prompt philosophical questions or make puns. The wet collodion work is about our constant battle in photography with a changing technology and our nostalgia for its cultural tropes (for example the mixed tape).

With the quarantine in place, how are you using your photography to deal with being in isolation?

I have been going over negatives I shot in the last 2 years and creating work with them (ie finishing unfinished works – some are below). On the side, I have also been experimenting with lumen prints for fun, in an aimless way to experiment in preparation for teaching Alternative Processes and doing workshops.I am also finishing book about artists who use stereoscopes. Forthcoming by intellect books. I also helped my friend Katharina Bosse translate part of her book “Thingstaetten”, into English.

What else would you like us to know about you and your work?

I love making and thinking about work as well as writing – my practice truly saved my life. Art is my profession and I take it very seriously. I am interested in meeting established artists in KC to share work, pls stop by at the next open studios. I teach at Kansas State University in the photography program (we have a funded MFA program) and maintain a studio in Kansas City’s Livestock Exchange Building. I also offer professional development consultation in the arts and am sometimes a juror for grants etc. Forthcoming projects: In collaboration with Katharina Bosse, a book titled

Thingstaette by Kerber Verlag, Germany. Exquisite Corpse project – Group Exhibition at Gallery MC in New York (September) curated by Simonetta Moro and Aga Ousseinov. Fondation Valparaiso Residency, 2021, Spain. Please come and visit the work at the Springfield Art Museum Four by Four Biennial, curated by Sarah Buhr in the Fall and or 2021.

For more information-

instagram: @rebeccahackemann | twitter: @StudioRebecca11 | facebook: @hackemannphoto | website:

Rebecca Foley

Rebecca Foley is a photographic artist, university educator, and gallery director based in Saint Joseph, MO. Her artwork bridges digital and historical photographic methods, while exploring ideas of personal history and universal experience.

How long have you been a photographic artist?

I have been a photographic artist for about 20 years. I found my voice as an artist and first developed my skillset in college at Rice University, under the mentorship of a fantastic professor. At that time, I realized that I wanted to continue as a photographer while also pursuing photography education as a career. I have been the photography professor in the Art Department at Missouri Western State University since 2009.

What drew you to photography as a form of expression?

I think I have always been attracted to the ease of photography as an extension to vision, along with the endless possibilities of the medium. I love that I can mix digital technology with darkroom and analog techniques and mixed media. I have always felt like photography allows endless possibilities for expression and exploration.

Are there any artists or art styles that help inspire your work?

The first two that come to mind are Harry Callahan and Abelardo Morell. Both artists experiment with the medium, just as I do.

Has your work seen any transitions or transformations from when you first began in this medium? If so, in what way?

After 20 years, I can see patterns within my work and reoccurring motifs. After graduate school, I was interested in more topical explorations, with subject matter ranging from food to displacement. Since becoming a parent, my home life has taken a larger role in my artwork. I think back to my first polished body work of botanical photograms, and I feel like I could pick that project back up and continue it any day, which lets me know that even though I have matured and changed, I have been working in something of a circle.

With the quarantine in place, how are you using your photography to deal with being in isolation?

I have been photographing what is right next to me, but that is not so different from my usual approach. I tend to explore my family and personal history with my photography, utilizing a lot of still life subject matter. For me, home has been a great place to be.

To see more of Rebecca’s work visit her website:

Diallo French

Photo by Angie Jennings – 2017

A little about Diallo from his website:

Javonne Films & Photography is the work of filmmaker/photographer Diallo Javonne French. For over ten years Diallo has built relationships with local and national musicians. His work captures pure and honest musical moments.

Born in Kansas City, Diallo Javonne French started as a musician. He began his filmmaking career when he bought an 8mm camera from a pawn shop. Diallo taught himself production by shooting super 8mm and 16mm short films.

Diallo attended Clark Atlanta University, majoring in Mass Communications, Radio/T.V./Film. While in school he worked as a production assistant on music videos for TLC, Outkast, Xscape, Goodie Mob, and with director Hype Williams. He is an award winning filmmaker and photographer with a BET (Black Entertainment Television) film to his credit entitled May This Be Love. His photographs have been used on Hallmark Cards, and in music magazines. His work has been exhibited in the American Jazz Museum, The Box Gallery, Keyhole Art Gallery, Vine Street Studio, Arts KC Gallery, and the Buttonwood Art Space.

How long have you been a photographic artist?

About 15 years.

What drew you to photography as a form of expression?

I started as a filmmaker. I became interested in jazz and music photography after working at The American Jazz Museum. I was spending a lot of time in the Blue Room getting to know all the local musicians. I felt compelled to photograph and document the culture.

Are there any artists or art styles that help inspire your work?

Herman Leonard is my favorite photographer. He was one of the earliest to photograph the jazz culture. Gordon Parks is another artist I’ve admired. I’ve always preferred the black and white image over color. Black and white captures the essence of the subject.

Has your work seen any transitions or transformations from when you first began in this medium? If so, in what way?

When I first started shooting it was just a little hobby. The great jazz musician Bobby Watson was the one that told me I wasn’t just taking photos, but I was documenting Kansas City’s current jazz scene. I began to take it more seriously after that. What I’m doing has a lot of meaning to me, and hopefully to others. I hope that my images will be around long after I’m gone to celebrate this great culture.

With the quarantine in place, how are you using your photography to deal with being in isolation?

Before the quarantine I began production on a music documentary. The film will use a lot of my photographs. I’ve basically been going through my archives and picking photographs to put in the documentary. It’s been a fun process going through all my work. The production of the film is on hold until things open up again.

What else would you like us to know about you and your work?

My motto about film and photograph is this: “There is something very magical about the marriage between music and film.” Music is my first love, and will always be at the center of my work. When people see my images I hope they can almost hear the music. I also hope it will inspire others to support not only jazz, but all forms of music. I pray we get back to a climate where people feel comfortable going out to support and listen to live music.

To learn more about Diallo visit his website and follow him on Instagram.

Instagram: diallo_javonne

Select Images

Jeff Burk

How long have you been a photographic artist?

My first photographs date from 1965 when I was 8 years old. I became more serious about it during my senior year of high school at the Interlochen Arts Academy 47 years ago.

What drew you to photography as a form of expression?

I’ve tried my hand at drawing, painting and music to some success. I consider photography to be a more universal visual language. In my early experience, the intricacies of the chemical process could be fun and rewarding.

Are there any artists or art styles that help inspire your work?

I expect one could easily discern my photographic influences range from Walker Evans to Robert Frank to  Lee Friedlander to the New Topographics group. But I continue to expand my knowledge of photo history through monographs and theoretical essays. Additionally, I am a tenacious student American history, with an emphasis on Mid-America. Less obvious inspirations include some work by painters like Hans Hoffman and Richard Diebenkorn, and a particular fondness for Joseph Cornell’s boxes.

Above all, I think life experience guides every artist’s work.

Has your work seen any transitions or transformations from when you first began in this medium? If so, in what way?

My schooling gave me a chance to try different genres and techniques of photography. Besides portraiture and conceptual series and installations, I sought out absurd contradictions in the man-made environment. This last straight style led to plain documents of unusual and overlooked scenes, revealing the iconography and characteristics of American culture. As I continue these approaches, my aim is to provoke thought, leaving interpretation open to the viewer.

I shot black and white film in various formats for over 30 years. When I lost access to a darkroom, I transitioned to digital procedures, first by scanning film to make inkjet prints and eventually, getting comfortable with a digital camera. Now I am nearly exclusively shooting and printing color.

With the quarantine in place, how are you using your photography to deal with being in isolation?

Just before the stay at home directive, I was going through my digital image archive in preparation for my new website. This gave me a chance to discover some forgotten pictures and find some common themes. I hope to collect some series and sequences into book form. Next, I will be scanning black and white negatives from an even larger archive. I expect my website will continue to evolve.

What else would you like us to know about you and your work?

While a full CV can be found on my web site, here is a very short biography:
Grew up in Oklahoma City and Columbia, MO.
BFA in photo at KCAI 1974-1979.
Member of the band, Tirez Tirez (which opened for Talking Heads in Kansas City, KS in 1978), 1978-1981.
Moved with the band to New York City, 1980, recorded an LP, and played many venues (CBGB, Max’s Kansas City, etc).
MFA in photo at Indiana University, Bloomington, 1982-1986.
Lived in Chicago, worked in photo labs, played in bands, started a record label, 1986-2001.
Managed Photo Lab and Adjunct Instructor at College of DuPage, IL, 2001-2012.
Curated “Continuum: KCAI Alumni Photography: New Work by Graduates from 1975-1979” at the Cross Gallery, Kansas City, MO, 2007.
Retired in 2012 and moved back to Kansas City, MO in 2014.
Exhibited nationally and locally, with solo shows at the Leedy-Voulkos Art Center, Kansas City, MO.

To see more of Jeff’s work visit his website:

Social media – Facebook:

Trading Post, Interstate 40, Oklahoma (2018) – 12″x17″
Storefront, Dodge City, Kansas (2018) – 11.25″x17″
Todds Cream Shack, Apple Street, Norco, Louisiana (2015) – 12.25″x17″
Photo Booth, Kansas City, Missouri (2006) – 10.5″x17″
Chimney Rock, Woodward County, Oklahoma, 1965/2005 (2013) – 7.25″x17″
Exit, Chicago (1988) – 11.5″x17″
Brothers, Times Square, New York City (1982) – 11.5″x17″
Plymouth Rock, Plymouth, Massachusetts (1977) – 11.5″x17″

Angie Jennings

Portrait by David Pugh

KCSCP: How long have you been a photographic artist?

AJ: I have been a photographer for over 30 years.

KCSCP: What drew you to photography as a form of expression?

I failed miserably in my first year of college so I picked up my camera and with the help of my brother began studying photography at my local Community College.

KCSCP: Are there any artists or art styles that help inspire your work?

There are many artists. I derive inspiration from all mediums. Abstract painters, sculptures, ceramicists as well as photographers. Photographers I am inspired by are my peers along with Dora Mar, Man Ray, Dave Heath and many other contemporary photographers.

KCSCP: Has your work seen any transitions or transformations from when you first began in this medium? If so, in what way?

When I first began my study I had fancied myself as a fashion photographer. Ha! I realized that this was not me at all. I transitioned into commercial, small product and food. I also love doing portraits. this is the one subject that has been my mainstay through out my career. I enjoy the art of creating the best possible portrait for any human. I tended to go all in on a subject depending on the photographer I was working with. Such as food then landscape. I found a serenity in making landscape images. The peace as the lens is locked open in that moment I can study the scene as the film was getting exposed and breath in the air. As time went on and my interests changed by way of moving from one place to another, it was my first long stay in China when I found another voice in this medium. Street photography and documentary. I found a great avenue to recording my 6 months in China documenting the streets and life around me. This lead me to photograph in Washington D.C., Chicago and New Orleans. Still doing portraits in between. Currently I am visiting the abstract. Creating worlds with regular ingredients and a new creature from a creature that has met its demise through digital manipulation.

KCSCP: With the the quarantine in place, how are you using your photography to deal with being in isolation?

I photograph around my duplex, the park across the street or I will go into work and capture images of the empty building and grounds for upcoming services.

Haystack Heart, Bandon Oregon, 1999
The 8, Fuding, China , 2010
Asomatous Series-Sometimes Just One Second, 2018
Atomosphere C, 2020
Social Distancing, April 8, 2020 Day 20
Pandemic – Quarantine Day 25 – April 12, 2020

Urban and Wild

March 1 – 30

Opening Reception March 1st, 6-8 PM

These works will depict imagery from an urban setting such as the heart of a condensed city, to the wildness of the natural world. The artist can take the theme, Urban and Wild, and apply concepts and ideas of urban life, or wild life, or wild urban life.  These works will compare and contrast the interpretations created by the artist, leaving the viewer to decide for themselves the idea of cacophony or peace.   

4 Square 2019

April 6, 2019 – Saturday, 6-8 PM: Opening Reception

April 4 – 27: Exhibition duration

April Exhibition featuring 4 inch square prints in addition to 2 – 4 ft square images. Subject matter is open the only parameter is to keep the 4 inch or foot square size.

Sense of Place

©Ron Anderson, Longview Farm Office Building, 1916 and 2016

Sense of Place is a KCSCP member’s exhibit. It will be on view in the Albrecht Kemper Museum of Art in St. Joe. 2818 Frederick Ave, St Joseph, MO 64506. The exhibit will run from April 7th, 2017 to June 4th 2017.


Opening reception:  Friday, April 7, 2017, 4p-7p




4 Square – KCSCP Member’s Exhibit

4 Square is a small print member’s show.

This is going to be a great show melding everyone’s photographic eye together. Each member is invited to deliver two 4″ square prints. We will have a preview show at David Morris’s Studio on August 5th, then the exhibit will move to the Kansas City Artists Coalition Underground Gallery for the public opening on August 12th. This opening coincides with KCAC’s 40th anniversary so expect 300-600+ people in attendance.

KCSCP 4 Square Show

Submission Details:

4 Square is a small print show for members only, all members are encouraged to submit, this is a curated, non-juried show, so everyone’s prints will be included. The image can be any configuration within the 4″ square. So, get your prints to us in time for us to install.
1. 2-prints- 4″x4″ size.
2. Borders/no borders ( it’s up to you)
3. Image area can be square or rectangular to fit on a 4″x4″ print
4. Borders or no borders, it’s up to you
5. No matting or framing
6. Each print will be priced at $40
7. Label the back of the print with:
your name
( use a fine tip, archival pen or pencil, I don’t want the ink to transfer and get all over your beautiful print)

8. Deadline for delivery is July 27th.
9. Deliver in person or by mail to: David Morris Studio, 2131 Washington, Kansas City, Mo 64108, 816.474.4555
or  Angie Jennings at Crick Camera Shop, 7715 State Line Rd, KCMO 64114. 816.444.3390

Not a member yet? Become a member to participate. 

More information about both the preview and the opening reception can be found on our calendar.

Member Meeting and Print Review




Happy New Year

It’s going to be a great year for photography in Kansas City. I hope your holidays were filled with fun, family, re-connection and creativity.

We will hold a members meeting and print review on January 13th. 7:00pm at David Morris Studio, 2131 Washington St Suite A, Kansas City, MO 64108.

We will review the Current Works exhibit as well as new exhibition possibilities and discuss what other events that we would like to plan for in 2016. It’s also going to be a night of prints – an open forum for you to speak with your colleagues about your work. So, bring a print and get feed back.

If you have any questions don’t hesitate to contact me.

Thank you,
Angie Jennings, President, KCSCP