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Eleanor Moseman, a photographer, visual conservationist, and storyteller, has dedicated much of her work to creating photographic historical records of cultures such as Tibetan Buddhists and the Muslim Uyghurs of Xingjiang. Her two photographs in the museum are both of Jamyang Tsomo, a woman she met and grew close to in Tibet. Moseman states \u201cThis project is an ongoing story of a woman that exemplifies dedication and bravery. Yet, it’s also about poverty and an alternate narrative to the common mythologized visions of Tibet.\u201d Learn more about Jamyan Tsomo\u2019s story and Eleanor Moseman\u2019s work at Moseman\u2019s website here<\/a>.<\/p>\n\n\n\n Jared Thorne\u2019s artwork centers around identity in relation to class and race, especially in his two artworks displayed at MUAM. Both photographs are part of a larger project titled 26 Planned Parenthoods<\/em>, where he photographed every Planned Parenthood facility in Ohio. This project has led him to exploring concepts of power and desire, along with subjectivity and identity, through landscape photography. Explore Thorne\u2019s 26 Planned Parenthoods<\/em> project and other works here<\/a>.<\/p>\n\n\n\n Lynn Whitney is a northwest Ohio photographer exploring cultural and environmental issues within the context of Lake Erie\u2019s shoreline. Her photographs Family Picnic, Magee Marsh Beach, Oak Harbor, OH<\/em> and Huron Boy, Huron, OH<\/em> explore the culture of people along the Erie. \u201cPerceived as resources to use, misuse or abuse, water and women are both mistakenly perceived as having an endless capacity to absorb and thrive,\u201d says Whitney. She hopes that, by sharing the relationship between humanity and the Erie shoreline, viewers might take a closer look, just as she has. See more of Whitney\u2019s work here<\/a>.<\/p>\n\n\n\n Deborah Orloff, Professor and Head of Photography at the University of Toledo, explores vernacular photography and lost memories with her photographs Torn Surface<\/em> and Young Boy<\/em>, which come from her work Elusive Memory<\/em>. \u201cMy images allude to lost stories – especially due to forced migration, as was the case for my ancestors,\u201d says Orloff, \u201cand the universal experience of struggling to recall details of the past.\u201d Explore Orloff\u2019s work here<\/a>.<\/p>\n\n\n\n Glenna Jennings, an artist, educator, and community advocate in Ohio, directs her passion for travel and food justice to her ongoing series At Table<\/em>, where she documents settings of communal meals, including kitchens, restaurants, and bars all around the world. Her works At Table #222<\/em> and At Table #98<\/em> take place in Prague and London, respectively. \u201cThough At Table focuses on places of access and abundance,\u201d explains Jennings, \u201cthe imagery often helps guide conversations around social equity to connect with my work as a socially-engaged artist and food justice activist.\u201d She hopes to reveal more of the human condition converging in the communal space of the table. Learn more about At Table<\/em> and Jennings\u2019 work here<\/a>.<\/p>\n\n\n\n Greg Martin, an artist and designer exploring pre-film photography, created Looking Around Inside<\/em> and All I Want is to Breathe<\/em> through the collodion wet-plate process. By exploring portraiture as a social mirror, he shares with viewers his imagination. “Collected, carried and viewed at will, tintypes became a method to have a physical connection to loved ones near and far,” Martin says, “and to imagine the lives of strangers, by looking into their faces.” Look into Martin’s work more here<\/a>.<\/p>\n\n\n\n Cincinnati native Michael Wilson has been creating art for decades, and his work in PhotOH<\/em> uses the tintype (ferrotype) process to create rich and rewarding photos. My Hands<\/em> and Pears<\/em>, both created with the tintype process, show a “richness and jewel-like quality,” says Wilson. Explore his artwork here<\/a>.<\/p>\n\n\n\n Ardine Nelson, Professor Emerita at OSU, explores plant life cycle in her project Transitory States<\/em>. “This process of discovering the visual beauty of the aging flower applies to all stages we humans pass through as we age,” explains Nelson. By capturing flowers in their faded, late stages of life, long after the bright blooms of color, she offers the viewer an opportunity to consider the cycle of life, not only for flowers, but for all life cycles in our world. Explore Transitory States<\/em> and Nelson’s other work here<\/a>.<\/p>\n\n\n\n Currently working in Columbus, Fredrik Marsh uses his experience in American landscape photography to hone in on urban environments. His creative process often includes street work, along with an open eye for spontaneity and letting his camera roam the urban area. His photographs Golden Redfish <\/em>and <\/em> European Starling<\/em>, however, are an exploration outside of his usual style with the help of the OSU Bio Museum’s collections. Marsh’s scans of the specimens are larger-than-life, and can be viewed in full at MUAM. Learn more about Marsh and his work here<\/a>.<\/p>\n\n\n\n Gary Beeber, award-winning photographer and filmmaker, explores the passage of time and local places with Abandoned Jaguar<\/em> and After the Season<\/em>. His focus on incongruous subjects and quiet spaces lends itself to contemplation of his subjects. “The images I capture speak to me in a variety of ways,” says Beeber, “fulfilling an insatiable curiosity about the world and everything in it.” See his other works here<\/a>.<\/p>\n\n\n\n Andrew Borowiec is well-traveled, but spends much of his photographic time in the Rust Belt. Conemaugh, Johnstown, PA #1 <\/em>and Conemaugh, Johnstown, PA #2 <\/em>express a mere sliver of his four-decade-long exploration of the decline of the Rust Belt. Borowiec focuses his lens onto the landscape identity as a whole, from topography to history. He hopes to capture the “hopes and dreams of the people who live in that landscape, as they struggle to achieve some semblance of the American Dream under less than ideal circumstances.” See more of his exploration of the Rust Belt and other works here<\/a>.<\/p>\n\n\n\n Duncan Snyder, photographer and teacher, focuses his photographic experience on the decisive instant of firing the shutter. He closes the gap between painting and photography with photographic residue, Abstract Expressionism and Color Field painting, and more in his photographs RGB2 Red<\/em> and RGB2 Blue<\/em>. “These pieces are an exploration of how I can manipulate the clarity of a single moment and extend it into an abstract world of color.” Learn more about Snyder’s creative process and his art here<\/a>.<\/p>\n\n\n\n Sean Wilkinson, Professor Emeritus and Distinguished Service Professor from his time as faculty at the University of Dayton, explores how people view both the obvious and the mysterious with his project As Is<\/em>. He challenges viewers to see the pictures themselves as the subject of attention. Much like Susan Sontag’s description of a “thing,” Wilkinson proposes “a picture of a thing is a picture; it is not the thing pictured.” Learn more about Wilkinson and his work, including As Is<\/em>, here<\/a>.<\/p>\n\n\n\n Tom Croce is a Miami University alum and self-taught freelance photographer of nature and landscapes. His work explores the Great Plains and its landscape structure. “Often there is no specific focal point,” he notes, “just a vast expanse of land and sky.” Although many consider the praries to be empty, Croce sees the “seemingly endless horizons and skies\u2026 life giving rains, and regenerative fire” of the plains with his photographs The Northern Great Plains <\/em>and The Flint Hills<\/em>. He brings attention to these endangered ecosystems falling prey to farmland and humanity as a whole. Explore Croce’s work here<\/a>.<\/p>\n\n\n\n Raised in Cincinnati with a variety of life experiences, Casey LeClair focuses on street photography as the art of improvisation, especially in Half Mast<\/em> and The Guest of Honor<\/em>. His work spans multiple genres, and yet blends together as a cohesive unit of the human experience. LeClair explains, “Street photography can be portraiture, landscape photography, a documentary\u2026 abstract, conceptual, realistic, whimsical\u2026 or it could be all of the above – even in a single image.”<\/p>\n\n\n\n Based in Cleveland, Amber N. Ford’s project Mistaken Identity<\/em> captures “the everyday items that have led to the deaths of people of color at the hands of law enforcement officers.” The work shows a hairbrush, candy bar, water guns, and a cell phone, all of which have been mistaken for weapons by U.S. law enforcement. Ford’s focus on race and identity gives her work a specific point of view that expresses the grief of lost lives at the hands of a mistaken item. Learn more about Ford’s work here<\/a>.<\/p>\n\n\n\n Donald Black, Jr. brings two photographs, Tangled<\/em> and Balance Point<\/em>, to PhotOH<\/em>. Both come from a series of photographs titled A Day No One Will Remember<\/em> that focuses on ordinary days in the lives of African-American children. He notes that “centering the Black child in this series is critical because of their premature loss of adolescence.” The series’ setting rests in Cleveland, a city with significant grief and trauma, to express the authenticity and personal nature. “There is no guarantee that these real and rare everyday experiences will happen again,” Black explains, “making it critical for these images to be captured.” Black will be present at the PhotOH: Behind the Lens<\/em> reception and artist panel on Wednesday, October 12, at 5:00 pm. He and other photographers will discuss their work and impact with moderator and exhibition co-curator William Messer. Explore Black’s work and history here<\/a>.<\/p>\n\n\n\n Bridget Murphy Milligan, an Ohio resident, centers her most recent series Wonder Tales: The Imprint of Child’s Play<\/em> on the curiosity and imagination of children. Timber<\/em> and Dream Flight<\/em>, two photographs from the series, evoke emotions of fantasy and exploration from a childlike perspective. Milligan uses the photos to encourage viewers to reconnect with their inner child, and explains that recalling our childhood experiences “allow us an awareness of just how our youthful imaginations have influenced our lives and constructed our identities.” See more from Milligan here<\/a>.<\/p>\n\n\n\n Bruce Checefsky’s unique photographic style in Red Zinnia<\/em> and White Dahlia<\/em> were created with a highly technical process involving a vertical flatbed scanner as a medium format field camera. By doing this, Checefsky can create glitches in the photographs and emphasize the colorful flowers, full of texture and sharp edges. “Beauty is the single most dominant criterion for my pictures,” states Checefsky. Checefsky will be present at the PhotOH: Behind the Lens<\/em> reception and artist panel on Wednesday, October 12, at 5:00 pm. He and other photographers will discuss their work and impact with moderator and exhibition co-curator William Messer. <\/p>\n\n\n\n![\"\"](\"https:\/\/sites.miamioh.edu\/art-museum\/files\/2022\/09\/Eleanor-Moseman-The-Story-of-Jamyang-Tsomo-Image-2-of-25-681x1024.jpeg\"){kind=spacer}
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