Tag Archives: kansas city photographers

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. rebeccahackemann.com.

For more information-

instagram: @rebeccahackemann | twitter: @StudioRebecca11 | facebook: @hackemannphoto | website: http://www.rebeccahackemann.com/

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: https://www.jeffburk-photo.com/

Social media – Facebook: https://www.facebook.com/jeff.burk

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

Join us this Friday for a night of photography in Columbus Park!


The Inaugural Show

Join Us in Celebrating the Launch of the New KCSCP

What began as a passing comment is now SCP brought back to life as KCSCP – Kansas City Society for Contemporary Photography. The KCSCP is a community of regional photographers and collectors discussing, presenting, and promoting the photographic arts.

The founding board members of the new KCSCP are thrilled to share their photographs with you in the inaugural exhibit at the Kiosk Gallery, discuss plans for the new organization, and hear how you would like to participate in this new community.

As a member driven organization we need you to JOIN US in creating the community that is KCSCP.

JOIN US in shaping the future of the NEW KCSCP!