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Beauvais Lyons | Steven Rainey | Jonathan McFadden | Annelisa Hermosilla | Michael Jacobs | Jasmine Best | David Wischer | Leo Selvaggio | Sharon Farmer | Ryan Morris | Paul Morse | Chris Usher

The word “factitious” means artificial or manufactured - made by human beings, often in imitation of something natural and made up for a particular occasion. Artists in this exhibition are pushing on and engaging with truth, fiction, facts, narrative, and source material from a variety of perspectives. Exploring the idea of what makes this moment so particularly relevant in terms of separating fact for the fictitious. These works allow us to reconsider, recontextualize, and analyze the world around us in new, unique and interesting ways.

Beauvais Lyons

Beauvais Lyons is a Chancellor’s Professor at the University of Tennessee in Knoxville where he has taught printmaking since 1985. Lyons received his MFA degree from Arizona State University in 1983 and his BFA degree from the University of Wisconsin-Madison in 1980. See his web site (volweb.utk.edu/~blyons) for information on his mock-academic projects through the Hokes Archives. Lyons’ one-person exhibitions have been presented at over 80 museums and galleries in the United States and abroad. His prints are in numerous public collections including the Smithsonian Museum of American Art, Washington, DC; The Whitney Museum of American Art, New York, NY; and the Philadelphia Museum of Art, Philadelphia. PA. In 2002 he received a Fulbright Fellowship to teach at the Fine Arts Academy in Poznañ, Poland. In 2014 he received the Santo Foundation Artist Award, and in 2017 he received the SECAC Excellence in Teaching Award.

"For the past four decades my studio work has explored various forms of parafiction, fabricating and documenting imaginary worlds. My subjects have included archaeology, folk art, medicine, zoology, a circus, and always include various forms of biography. Prints are central to much of my work, as printed culture is central to science and history."

Ornithological Quadrupeds: Title Page - hand-printed lithograph - 28" x 22"
(left) Ornithological Quadrupeds: Nordic Hare Falcon - hand-printed lithograph - 28" x 22" (right) Ornithological Quadrupeds: Burmese Lion Hawk - hand-printed lithograph - 28" x 22"
(left) Ornithological Quadrupeds: Long-Tailed Marmot Heron - hand-printed lithograph - 28" x 22" (right) Ornithological Quadrupeds: American Badger Swallow - hand-printed lithograph - 28" x 22"
(left) Ornithological Quadrupeds: Moroccan Mouse Parrot - hand-printed lithograph - 28" x 22" (right) Ornithological Quadrupeds: Amazonian Lizard Hawk - hand-printed lithograph - 28" x 22"

Annelisa Hermosilla

Anne Hermosilla was raised in Panama City, Panama, and moved to the United States to study art at Transylvania University. She is currently living and working as a freelance artist in Virginia. The illustrations seen here were done for the book Under the Ocelot Sun / Bajo el sol del Ocelote written by Transylvania University Professor of Spanish Dr. Jeremy Paden

Under the Ocelot Sun / Bajo el sol del Ocelote

Under the Ocelot Sun is a powerful account of refugees' plight lyrically told (in English and Spanish) and vibrantly illustrated. A mother tells her young daughter of their Honduran homeland and heritage and why they have taken this perilous journey to walk to the US border in search of asylum. Under the Ocelot Sun is a story of hope and survival in times of trouble.

Awake - watercolor and ink on paper - 11"x14”
(left) An Ear of Corn - watercolor, newspaper, and ink on paper - 11"x14” (right) The Rural Family - watercolor, newspaper, handmade color paper, ink on paper - 11"x11”
(top left) Abuela - watercolor and ink on paper - 11"x14” (top right) The Jaguar and The Girl - watercolor and ink on paper - 11"x14” (bottom left) The Trail - watercolor, newspaper, and ink on paper - 11"x14” (bottom right) The Shanty Town - watercolor, newspaper, and ink on paper - 11"x14”
(left) The Street Sellers - watercolor and ink on paper - 7"x11” (right) Harvest from the Corn Maze - watercolor, handmade paper, and ink on paper - 11"x14”
(top left) The Drought - watercolor, newspaper, handmade paper, and ink on paper - 11"x14” (top right) The Salute - watercolor, newspaper, handmade paper, and ink on paper - 11"x14” (bottom left) The Sun - watercolor, newspaper, and ink on paper - 11x14” (bottom right) Desperate Needs - watercolor, newspaper, and ink on paper - 8"x11”
(top left) The Prison - watercolor, newspaper and ink on paper - 11"x14” (top right) Her Handprints - watercolor, newspaper, and ink on paper - 11"x14” (bottom left) The Beast - watercolor, newspaper, handmade paper, and ink on paper - 11x14” (bottom right) Desperate Measures - watercolor, newspaper, and ink on paper - 9.5x11”
(left) Migration - watercolor and ink on paper; 11"x14” (right) The Caravan - watercolor and ink on paper - 11"x14”
(left) The Timeless Room - watercolor, handmade paper, and ink on paper - 11"x14” (right) We’ve Made It, Chichí - watercolor and ink on paper - 11"x14”
Asleep - watercolor and ink on paper - 11"x14”

Chris Usher

Born and raised in St. Louis, Missouri, Chris Usher graduated from Indiana University with a degree in Journalism. Usher spent several years as a newspaper photographer before going freelance and moving to Washington, DC in 1990.

Usher’s photojournalism work appeared regularly in domestic and international publications for more than three decades. He is the recipient of numerous domestic and international awards, including an Eisenstaedt Award (2000) for his unique and controversial depiction of President Clinton's post-acquittal speech. In 2005, Usher's Behind the Velvet Rope, a collection of behind-the-scenes images shot with a Leica while covering the President of the United States, became a traveling exhibition and book. In 2008, he self-published One of Us, selects from his documentation of Hurricane Katrina and its aftermath. The project exhibit opened at the Corcoran Gallery of Art in Washington, DC in 2008. Since 2009, Usher has been the still photographer for CBS' Face the Nation.

When Usher isn't on assignment or at CBS' studios, he can be found at Bokeh Ridge Farm, in the panhandle of West Virginia, with his wife Adrienne, their seven rescue cats, three retired ponies and a one-eyed mini donkey. If he's not on the tractor, he's probably in the dark room, processing large format photography, the old-fashioned way.

(left) Another World - 35mm Tri-X rated at 400 - 2/10/00 - Manchester, NH, Members of the press ready themselves for the evening's debate. (center) Press File - 35mm Tri-X rated at 400 - 1/26/00 - Catawba, SC, Bush supporters pack a small and remote catfish restaurant for a chance to see George W. Bush. (right) Waiting on the Wing - 35mm Tri-X rated at 400 - 3/4/00 - Rochester, NY, A local family waits on stage for the arrive of GOP candidate George W. Bush.
Bush Bus - 35mm Tri-X rated at 400 - 2/09/00 - Newberry, SC, After his personal campaign bus broke down, George W. Bush rides aboard the press bus to the next campaign stop.
(top left) Snow Trudge - 35mm Tri-X rated at 400 - 1/25/00 Manchester, NH, The Press Corps trudges through the snow in New Hampshire for a Gore event at a local high school early in the campaign. (top right) Hat Check - 35mm Tri-X rated at 400 - 9/23/00 - Andrews AFB, MD, Young ROTC students check their hats as they anticipate Vice President Al Gore's arrival to board Air Force Two. (bottom left) I Can't Hear You - 35mm Tri-X rated at 400 - 11/4/00 - Tri County Airport, WV, Standing on the back of an old flat-bed pickup truck, Al Gore holds his hand to his ear as he chides his supporters for louder support with the phrase "I can't hear you...". (bottom right) 5am Check-in - 35mm Tri-X rated at 400 - 11/6/00 - Orlando, FL, A Gore campaign aide rests as she is checking in for a one hour stay before moving out again.
(left) Gore Toss - 35mm Tri-X rated at 400 - 11/7/00 - Tampa, Fl, Democratic nominee and Vice President, Al Gore, throws a football near Air Force Two as election morning is underway. (top right) Tie Choke - 35mm Tri-X rated at 400 - 5/31/99 - Austin, TX, Two weeks before Texas Governor George W. Bush is expected to announce his candidacy for President, Houston Chronicle reporter Kathy Walt jokingly gives Gov. Bush a tie-pull during a bar-b-que at the Governor's mansion. (bottom right) Gore State - 35mm Tri-X rated at 400 - 12/5/00 - The White House, Vice President Al Gore makes a statement concerning the vote count for the 2000 election.
Sea of Faces - 35mm Tri-X rated at 400 - 9/23/00 - Chicago, IL, Gore supporters crowd a Chicago Sheraton hotel room as Gore takes the stage.
(left) Bush Halo - 35mm Tri-X rated at 400 - 3/7/00 - Austin, TX, George W. Bush takes in the applause after winning the Iowa caucus. (right) Gore Family - Nikon D1x - 11/3/00 - Knoxville, TN, Vice president Al Gore, Tipper and Kristin wave at the end of a night rally at the Knoxville airport.
Supreme Court Shrug - 35mm Tri-X rated at 400 - 12/1/00 - Washington, DC, A policewoman makes a face as she tries to keep Bush and Gore supporters separated while the Supreme Court makes a decision on the election inside.
(left) Shameless - 35mm Tri-X rated at 400 - 12/1/00 - Washington, DC, As the Justices of the Supreme Court worked on a decision, protesters from both parties clashed outside. (right) Gore Concession - 35mm Tri-X rated at 400 - 12/13/00 - The White House, A television in the White House briefing room provides a view of Vice President Al Gore as he makes his concession speech for the presidency to George W. Bush.
Powwow - 35mm Fuji 800 color negative film and was converted to B/W - 1/20/01 - Washington, DC, Newly sworn-in President Bush, Colin Powell, and Dick Cheney confer behind rain-dripped bullet-proof glass in front of the White House during the inaugural parade.

David Wischer

David Wischer was born in Henderson, Kentucky. He received his B.F.A. in Graphic Design from Northern Kentucky University and his M.F.A. in Fine Art from Purdue University. He is currently an Assistant Professor of Digital and Print Media at University of Kentucky. His work has recently been exhibited at the Center for Book Arts in New York, Thunder-Sky in Cincinnati, the Four Rivers Print Biennial at Southern Illinois University, and International Print Center New York.

"My work is heavily influenced by my personal daily observations of The Absurd. Television, the internet, current events, and technology are a constant source of inspiration for me. I use the senselessness of daily life as a foundation for a humorous dialogue with the viewer. Through my use of digital art, printmaking, drawing, photography, and animation, I meld topical humor, social commentary, nostalgia, and parody in my work, which functions as an inside joke for a generation of adults who grew up absorbing their knowledge through television and the internet.

Much of my artwork is built around appropriated images which may be familiar to the viewer. This recognition becomes the set-up to my visual punch line. The laws of visual art are much like the laws of literature. Through our own experiences in life, we are trained to understand certain conventional constructions of images. The changes I make in imagery propel the absurdity of the original subject into the area of nonsense by breaching those syntactic rules, surprising and amusing the viewer. One might find the images I create to be preposterous, but they are firmly planted in realities drawn from incongruous sources. And with this syntactical rupture, a new exaggerated reality is formed and the viewer can now reflect on the absurdity of the original untouched situation.

Because a lot of my work is inspired by nostalgia, the viewer recognition may be generational or regional. Some viewers may understand part of an image but not fully understand how it relates to other parts. This public and private humor mirrors our own encounter with images in popular culture and the media that we see every day. With each confused viewer of my work, there is someone who feels like they are on the inside of my private joke."

Social Circle - found objects, enamel paint and screenprint installation
(In order left to right top to bottom) Bengal Aaron, KISS Army Aimee, Alexa The Bunny, Keanan Pen Face, Dan The Man, Bottle Cap Jenny, Kelli Cat, Yanke Paul, Lisa Cheesehead, Amy Stardust, Davey Swine Flu, Patriot Bethany, Nancy Blue Eyes, Frida Sue, Lone Ranger Tory, Queen Julie, Garet The Gremlin, State Rep Dru, Zombie Jen, Pink Nightmare Kathy, Stormtrooper Chris, Little Orphan Carrie, Andy Chill, Sir Sara screenprint on paper - 28" x 22" each

Twitter Me This - screenprint and monotype video

TV Baby - screenprint and monotype video

Paul Morse

Paul’s talent and unique style have earned him the trust of Presidents, world leaders and Fortune 50 companies. The consummate visual story teller, Paul’s ability to capture emotions with power and beauty has allowed him to a become highly sought-after photographer throughout the U.S.

Following a successful photojournalism career at the Los Angeles Times, Paul served as a White House photographer, documenting the lives of President George W. Bush and his family. From his experience at the White House, he has gained the trust of additional Presidents and their families, documenting President Obama’s Inaugurations and serving as a lead photographer for the Clinton Global Initiative.

Paul’s distinctive background sets him apart from others in the industry and has allowed him to gain a reputation of being calm, kind and discrete. Whether photographing a First Family or when a bride sees her groom for the first time, Paul’s personality and talent allow for these intimate moments to be captured beautifully and without intrusion.

Botswana: Therisanyo Primary School - digital photography - 4/4/17
President Obama’s Second Inauguration - digital photography - 1/21/13
Opening of the Bush Center, Dallas, Texas - digital photography - 4/25/13
Rain Storm in Crawford, Texas - digital photography - 12/29/06
Clinton Global Initiative Annual Meeting - digital photography - 9/23/10
President Obama’s First Inauguration - digital photography - 1/20/09

Jasmine Best

Jasmine Best is a true southern artist, gathering narratives from her Carolinian family and childhood. The North Carolina based artist uses her personal memories and manipulations of her memories to create dialogues about the black female identity in the south and in predominantly white spaces. She received a New Media Design BFA from University of North Carolina at Greensboro where she found her love of working with tangible and traditional mediums combined with digital means of art making. Her work often depicts maternal figures, each depicting the diversity and qualities that make up the black southern women in her life through several generations.

"For me memories are the biggest part of our identities. They encompass where we come from, who we know, what we subconsciously find important. They make up who we are but they are malleable and can be manipulated like any medium used in art. I reevaluate my personal memories for moments that have either greatly affected how I interact with others, or remain strong internal cinematic visuals replaying in my mind.

Working from my individual past articulates both a better understanding of my own background as a Black Carolinian woman as well as creates a platform where others can find relatable connections from my work in their lives. I take the racial, southern, and domestic upbringing I, and past generations of women in my family have had, and place it in a new context. I am creating a platform for discussion for black femininity in predominantly white spaces as well as creating a vehicle where my audience can make connections of representation, or lack thereof, in their own youth and how that affected them.

Medium specificity is the best way for me to materialize memories. Specific fabrics, prints, animation styles, objects, mark making, and compositions can all bring to mind a certain time, place, emotion, or person. I shift between digital and tangible mediums to best articulate my memories because I grew up during the transition from analogue to digital. Using mixed media recalls that era and reflects the malleable nature of remembrances. Working both digitally and traditionally allows me to create an art context for more domestic mediums."

A Wilmington Doll - live action and stop-motion video

Trickster - stop motion pixelization animation

Leonardo Selvaggio

Leonardo Selvaggio is an interdisciplinary artist whose work examines the intersection of identity and technology. He has shown work internationally including France, Canada, and Switzerland as well as exhibiting broadly in the United States. He has been awarded an Albert P. Weisman grant for his work, URME Surveillance, and a DCASE IAP Professional Grant from the city of Chicago to present supporting research. In 2016, Leo’s work was exhibited both nationally at the Wende Museum in California as part of their Facial Recognition exhibition, as well as internationally, most notably as part of the Safe and Sound exhibition at the Museum of Contemporary Design and Applied Arts in Switzerland and the Rendering Realities exhibition held in conjunction with the 2016 Big Brother Awards in Amsterdam. In 2015 Selvaggio was noted as a featured artist as part of Chicago Artist Month. His work was also selected for the Art Souterrain festival in Montreal, the ISEA conference in Vancouver, and the Saint-Etienne Design Biennial in France. URME Surveillance was also adapted for television in an episode of CSI: Cyber titled “Selfie 2.0.” Selvaggio’s work has also been featured and written about in various notable publications: Hyperallergic, Techcrunch, The Washington Post, CNET, The Verge, The Creator's Project and others. Selvaggio’s academic work has been published in the International Journal for Performance Arts and Digital Media and as part of “Behind the Smart World - Saving, deleting and resurfacing data,” published by LAFKON. He holds a BFA from Rutgers University and an MFA from Columbia College’s Interdisciplinary Arts program.

"Conceptual, interactive, interdisciplinary installation, new media, political, public engagement, sculpture, software, social practice, and technology, are words that describe my art practice. What I am, however, is a creative researcher. I think through making and my experiments in the studio lead to a line of questioning that I build iteratively into a focused and rigorous body of work. My research often examines the entanglement of identity with technology. Like good science fiction that asks, “what if?”, I think of technology as a cultural litmus test of who we are, and use it to extrapolate where we are going.

Recently, my work has engaged the idea of thinking of identity as data that can be manipulated or even corrupted in the face of social media and our increasingly networked society. I am interested in how this “data” is tied to the larger context of surveillance and how the prejudicial architecture our surveillance systems are built upon affects how we perform those identities in public space.

My work, “URME Surveillance” involves the development of defense technologies used to protect the public from surveillance by using my own identity as material. Rather than camouflage or hide the identities of the masses, this work invites the public to assume and present my identity as an alternative by allowing them to wear my face as a prosthetic. Thus when surveiled, facial recognition systems attribute their actions as mine. By assuming this risk and responsibility, “URME” challenges and allows the viewer to consider the malleability of their own identities by misrepresenting and corrupting my own."

URME Surveillance

URME Surveillance is a subversive intervention that protects the public from facial recognition surveillance systems in a variety of ways. The principle method is by inviting the public to wear a photo-realistic, 3D-printed prosthetic of my face. When a user dons the prosthetic, camera systems equipped with facial recognition software identify that user as myself, thus attributing all of their actions to the identity known as “Leo Selvaggio.” In this way, wearers of the prosthetic safeguard their own identities by performing my persona in surveilled areas.

URME Surveillance Identity Prosthetic - 3D printed pigmented hard resin

URME Surveillance currently consists of three primary devices. The first is the URME Surveillance Identity Prosthetic, which is a 3D printed, photo-realistic mask of my face. The second is the URME Paper Mask, a economical alternative that lends itself to groups such as activists and protesters, and lastly the URME Facial Video Encryptor, a custom built software that encrypts files by digitally replacing up to five faces in the video with my own. These devices are made available to the public by clicking the link below each image or by going to www.URMESurveillance.com

Michael Jacobs

Mike Jacobs received his BFA from the University of Cincinnati in 2000. He lived and worked in Cincinnati, Ohio as an artist and Industrial Design Model Technician until 2016. Jacobs later earned his MFA from the Herberger Institute for Design and the Arts at Arizona State University in 2019. While at ASU Mike was the recipient of grants, awards, and scholarships from the Martin Wong Foundation, Arizona Artists Guild, the Gayle J. Novak & Robert D. Cocke Award in Painting, and the Gerry Grout Visual Arts Scholarship. He has exhibited his work nationally at the FotoFocus Biennial, Cincinnati, OH, the Mesa Art Center, Mesa, AZ, Untitled Art Projects gallery, Los Angeles, CA, the Baton Rouge Gallery Center for Contemporary Art, Baton Rouge, LA, and internationally at the ARTE Galería, Quito, Ecuador. Jacobs is currently based in Phoenix, Arizona.

"In my practice I deploy a post-digital, multimedia image-making processes, combining deconstructed photographic imagery and painted geometry to investigate the technical systems, visual culture, and scientific paradigms of optics that influence normative strategies for activating perception, exploring illusion, and depicting space throughout the history of art.

I entered into this discourse by considering the increasing speeds of information in our collective culture that have resulted in a fragmentation of our analog thought process. To compensate, we have an exchange of linear streams of understanding information for the limitless nonlinear web of the virtual network. We of course experience this all the time looking at the internet and searching from one hyperlink to the next, starting as a specific search and ending with as many random associations as you can handle. We continually interface with the operations intrinsic to our smartphones, computers, including the use of programs like photoshop and illustrator. Digital tools connect us to the systems of the virtual that benefit us in creative processes, image capture, accessing knowledge, and supplementing memory.

The implication of this interaction raises many questions and its easy to run off with a dystopian outlook. We have been socialized to be afraid of a future laden with artificial intelligence. The reality is that we as a society are already in the virtual/digital paradigm we were taught to fear. Inspired by these ideas I wanted to reexamine what it means to embrace the interaction of the digital process and the virtual space to develop form and imagery as a counter-intuitive approach to understanding how we might connect and structure our own analog intellect to commune with the external processing of digital systems."

Escaping Infinite Regress in the Absence of Absolutes - acrylic paint and vinyl on shaped wood panels - 93”x71”x4”
The Distance Between Thoughts - acrylic paint, screen print ink, on shaped panel - 92" x 62” x 1.5”
Journey From The Death Of A Friend - acrylic paint, and vinyl, on shaped wood panels - 42" x 44" x 4”
The Cyclical Stops in the Disenchantment Sectors of Terrestrial Life, Respect the Ride - Acrylic paint and vinyl on shaped wood panels - 51”x51”x3”
The Duration Between the Smallest Increment and the Greatest Expanse - Acrylic paint, and vinyl, on shaped wood panels - 42" x 44" x 4”

Jonathan McFadden

Jonathan McFadden holds a MFA in printmaking from Edinburgh College of Art, United Kingdom (2009), BFA in Printmaking (2006), and BA in French (2006) from Texas State University and has studied at the L’Université de Picardie in Amiens, France. His work has been exhibited at the National Gallery of Scotland, Royal Scottish Academy, University of Texas- San Antonio, University of Wisconsin- Madison, Zayed University, National School of Art, Bucharest, Julio Valdez Project Space, Northwestern University and many other national and international venues including over 100 group exhibitions. From 2010-11 Jonathan was a Jerome Fellow at Highpoint Center For Printmaking in Minneapolis. He has also undertaken residencies at the Prairie Center for the Arts, Cove Park, 55 LTD, Anchor Graphics, Endless Editions, and Atelier Presse Papier. Currently, Jonathan is an Assistant Professor of Print Media at the University of Kentucky.

"My Print and Installation work interacts with, interprets, and processes fragments of personal narratives of the people we have loose associations with while finding ourselves as voyeurs in these personal moments. While these digital images appear in our social feeds temporarily, they have a permanence and history that exists beyond the brief moment we view them on our devices. By utilizing this information for object creation, the ephemeral take on a static permanence alters how the information is consumed and allows the viewer to engage in new dialogues with the work. This ephemeral form of narrative gets woven and intertwined in the imagery, text, and objects used in my work. I seek connections between the objects and information that allow for the print and object based work to become linked in site-specific installations that balance the ephemeral with the presence of an ongoing history.

Additionally, my work is inspired by post-capitalist and hyper-capitalist economic structures. I find inspiration for my print and installation work in the writings of Jonathan Crary. In his books Crary discusses the impact of globalized capitalist systems and their impact on our interaction with the culture and aesthetic world that 24/7 access to material goods and the system of marketed surveillance of manufactured goods."

Neon Belly - vinyl, lithographs, riso, found objects, house plants, and digital prints - 9' x 14' x 19'
Let Me Be Part of Your Search History - Vinyl, Photogravure, Riso, Laser engraved woodcut, Digital Prints, and Houseplants - 10’ x 23’ x 4’
I’d Rather Watch Football - Wood, Photogravure, Sandbags, Vinyl, Porcelain, Houseplants, CCTV camera and monitor - 6’ x 11’ x 3’
Admiralty Parade - Photogravure, Relief, Riso, Porcelain, Houseplant, Wood, and Vinyl - 6’ x 7’ x 1’
What Channel is On - Vinyl, CCTV cameras and monitors, Sadbags, House plants, and astroturf - 10' x 8' x 12'

Steven Rainey

Steven Rainey is the exhibitions preparator at the Urban Institute for Contemporary Arts in Grand Rapids, Michigan and is the co-owner/operator of Dinderbeck Studios, a community printshop and learning center. Steven completed his MFA in printmaking at Kendall College of Art and Design in 2014, he exhibits his work nationally and has participated in a variety of residencies that include The Frans Masereel Centrum in Kasterlee, Belgium and Cabin-Time in Green River, Utah.

"Within my work I disable common properties within materials through simulation and absurdity to transform ideas of value. A common piece of lumber when made from paper loses all functionality, thus devaluing it for its structural intention, can be transformed into an Art object, giving it more value aesthetically and monetarily. Using scanned images from real pieces of wood and four-color process screenprinting to capture authenticity of the original object I strive to achieve optimum realism within the works representation. Viewers question their belief of what is real, this solidifies the balance between form and function and begins a dialogue on the value that we place on objects."

OSB - screenprint on stonehenge, frame (oriented strand board) - 26" x 21" x 1.5"
Sand Ply - pigment transfer, acrylic on stonehenge, frame (sand ply) - 11" x 11" x 2"
More Than What It's Worth - mold injection crayon, found object - 6" x 6" x 10"
Golden Pyramid - acrylic, graphite, silver-gelatin print, screen-print, digital laser print - 8" x 12" each

Sharon Farmer

Sharon has been a professional photojournalist and exhibition photographer for more than 40 years, shooting news stories, political campaigns, cultural events, conferences, and portraits. Most notably, Farmer was the first African-American woman to be hired as a White House photographer, as well as the first African American and first woman to become Director of the White House Photography office. She served as Director of the White House Photography Office from 1999-2001, and as White House photographer from 1993, documenting the beginning of the Clinton-Gore Administration.

Formerly an assignment editor for the Associated Press, she was part of the AP team in 2003 that covered the Super Bowl in San Diego, California. She was also the campaign photographer for Sen. John Kerry’s presidential election campaign in 2004. Over the years she has photographed for The Washington Post, the Smithsonian Institution, the American Association for the Advancement of Science, the Leadership Conference on Civil and Human Rights, the National Urban League, the Brookings Institution, and Delta Sigma Theta Sorority, Inc. to name a few.

Farmer has taught and lectured extensively on photography and photojournalism at the National Archives, American University, the Smithsonian Institution, Mount Vernon College, the National Geographic Society, Eddie Adams Workshop, the Women in Photojournalism Conference, Western Kentucky University, Indiana University; Louisville, Kentucky’s Frazier Museum, University of Miami, the National Association of Black Journalists (NABJ), and the History Makers education series.

Her photographic work resides in the collections of the Clinton Presidential Library, the National Archives, the Library of Congress, Howard University’s Moreland-Spingarn Collection, the District of Columbia Government; the Anacostia Museum and the National Museum of African American History & Culture of the Smithsonian Institution; the King Arts Complex in Columbus, Ohio, the South African Museum in Pretoria and in private collections.

Sharon Farmer majored in photography and minored in music at Ohio State University in Columbus, Ohio, where she received her Bachelor of Arts degree.

(left) Martin Luther King Day at Cardozo High School - black and white 35mm photograph - 1/19/98 (right) White House Historical Association Dinner - black and white 35mm photograph - 11/9/00
(left) Londonderry Event - color 35mm photograph - 11/30/95 (right) Anacostia Park Community Day - black and white 35mm photograph - 82
(left) Christmas Portrait - color 35mm photograph - 12/5/98 (center) Family Christmas Portrait - color 35mm photograph - 12/23/99 (right) Christmas Portrait - color 35mm photograph - 12/3/00

"In 1998, I accompanied the President and Mrs. Clinton to Ghana. There was a huge rally in the stadium in Accra. There must have been over 250,000 people cheering the President and First Lady. They were given the kente cloth of the Africans and, wearing them, proudly stood next to President and Mrs. Rawlings of Ghana. What a moment in time! Never in my wildest dreams did I ever imagine that an American President would visit an African country and be received so wonderfully. That moment, to me, is only second to watching and photographing Nelson Mandela being sworn in as President of South Africa. I attended the event with Mrs. Clinton and the delegation that Vice President Gore led. Every day I pinch myself to see if I'm dreaming that I have this job here, in this time, in this world."

- Sharon Farmer

Joint Press Conference with President Mandela - color 35mm photograph - 3/27/98

(left) Beatrice Ferguson, 97 - black and white 35mm photograph - 1991 (right) Art and Humanities Awards Ceremony - color 35mm photograph - 10/7/93
President Clinton Tours Tyner, Kentucky - color 35mm photograph - 7/5/99
(left) Joint Press Statements - black and white 35mm photograph - 11/29/95 (right) Martin Luther King Day - color 35mm photograph - 1/15/96
Independence Day - color 35mm photograph - 7/4/94

Photographs courtesy from the Collection of the Smithsonian National Museum of African American History and Culture and the Collection of the Clinton Digital Library

Ryan K. Morris

Ryan is an independent photographer and multimedia storyteller based in Lexington, KY. He has traveled and photographed in over 30 countries and speaks Russian. Ryan is originally from Coolville, OH and is a graduate of Ohio University.

Prior to becoming a photographer, Ryan was a Peace Corps Volunteer in Kazakhstan, a microbrewer in DC and NYC, a fly fishing guide on a Wyoming ranch and a Capitol Hill staffer.

The White House Press Photographer's Association and the Virginia Press Photographer's Association have recognized Ryan's work. His ever broadening list of clients has included The McClatchy Company, Time, Newsweek, People, Der Spiegel, European Pressphoto Agency, Editor and Publisher, The Magazine Group, American Journalism Review, Tampa Tribune, The Naples Daily News, The Sacramento Bee, Minneapolis Star Tribune, Anchorage Daily News, as well as The United States Peace Corps, The Department of Interior, ISAR and The Jane Goodall Institute.

Family Tobacco Harvest in Marion Co., KY - Digital SLR Camera - 10/2/04
(top left) WWII Veteran - Digital SLR Camera - 6/6/05 (right) A Son Visits His Father - Digital SLR Camera 6/12/06 (bottom left) A Marine Returns from Iraq (Camp LeJuene, NC) - Digital SLR Camera - 6/22/03
Space Odyssey on the National Mall - Digital SLR Camera - 8/11/03
Gov. Matt Bevin Inaugural - Digital SLR Camera - 12/8/15
(left) John McCain Campaigns in Sun City, FL - Digital SLR Camera - 1/26/08 (right) Mitt Romney Takes the Stage - Digital SLR Camera - 1/29/08
Election Day Polling Station - Digital SLR Camera - 11/3/15
(left) Barack Obama Enters the Arena - Digital SLR Camera 5/21/08 (right) Barack Obama Hugs - Digital SLR Camera - 5/21/08
Newspaper Man - Digital SLR Camera - 9/20/04
March for Lives in Washington, DC - Digital SLR Camera - 4/25/04
Kim Davis Protest in Morehead, KY - Digital SLR Camera - 9/1/15

Non-partisan Fact Checking Sites

Interested in exploring these ideas further? Enjoy the links below as a starting point.

Post-Truth / Storytelling

Politics

Coronavirus/COVID-19

Conspiracy Theories, Misinformation, Fake News, Social Media and the Media

Stereotype

Technology - Surveillance, Deepfakes, AI

Created By
Anthony Mead
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Credits:

Images by Beauvais Lyons, Steven Rainey, Jonathan McFadden, Annelisa Hermosilla, Michael Jacobs, David Wischer, Jasmine Best, Leo Selvaggio, Sharon Farmer, Ryan Morris, Paul Morse, Chris Usher