Meet Amy Powell

One of those photos is entitled “There Is No Danger Here.” It has been recently acquired by the museum and is being used to publicize the exhibit. “In 2019 we acquired a work by Kettering photographer Amy Powell that’s a picture of her younger sibling,” explains DAI’s Curator of Photography Katherine Ryckman Siegwarth. “It’s part of a series that investigates childhood and the relationship to her family.”

The photo shows a little girl with her mouth around a butter knife that’s sitting on a window sill. ”It’s precarious and looks at the balance between play and danger, a trademark of childhood,” says Siegwarth.

Emmet Gowin's photograph of his niece Nancy.

Emmet Gowin’s photograph of his niece Nancy.

Powell’s photo is paired with a picture by Emmet Gowin, a renowned photographer who once taught at the School of the Dayton Art Institute and was given his first solo exhibit at the DAI in 1968.

Powell

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Arts advocate Patrick Moore of Montevideo was inspired by Nicole Zempel’s nature photography currently on display at the Southwest Minnesota Arts Council’s gallery in Marshall.

Zempel’s up-close photographs of mushrooms, lichen, moss, and slime mold blend science and art in a way that is both familiar and otherworldly.

“I just kind of get blown away by these photos,” said Moore. “I can’t believe that these are real, that this is something that you will find within 10 miles of my house. She has an exceptional eye.”

A closeup shot of slime mold spores taken by Nicole Zempel.

A close-up shot of slime mold spores taken by Nicole Zempel.

Courtesy of Nicole Zempel | Southwest Minnesota Arts Council

The exhibit runs through June 25, with a virtual tour available on YouTube.


Theater director Addie Gorlin-Han recently attended Fawzia Khan’s “Becoming Visible” exhibit at Hopkins Center for the Arts. Khan received a 2020 Minnesota Artist Initiative Grant to interview 12 Minnesota

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“Exquisite Reality” features historical photos from the latter half of the 19th century and explores how photographers’ artistic choices, such as framing or lighting, could affect how viewers perceived the subject. Courtesy Cantor Arts Center

As an art form, photography isn’t that old, at least compared to painting or sculpting, but it’s changed enormously over its relatively brief history, not only due to technological advances but also in how we perceive its role, and that of the photographer.

At its inception in the 1830s and 40s, photography was, due to its scientific origins, considered “apolitical,” according to the website for “Exquisite Reality: Photography and the Invention of Nationhood, 1851–1900” a new online exhibit at Stanford University’s Cantor Arts Center. The exhibit explores how early photography was in fact used extensively as a political tool, looking at how photographers made artistic decisions that reveal their own interpretations of reality.

This exhibition

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CLEVELAND, Ohio — A typical art education program for teens at a major American art museum might result in an exhibition of student work displayed in an out-of-the-way hallway.

As for curating an actual exhibition in a highly visible gallery, few, if any museums would turn over the keys to a bunch of high school students.

But that’s exactly what the Cleveland Museum of Art did in its outstanding current show, “Laura Owens: Rerun,’’ on view at the Transformer Station gallery, the museum’s part-time satellite in Ohio City, through Sunday, May 30.

The exhibition is a high-spirited riff on the theme of “time travel,’’ a focus chosen by participating students from Cleveland-area schools in collaboration with Owens, a Northeast Ohio native known for multilayered paintings that blend gestural abstraction with images taken from pop culture, newspaper graphics, advertising, and cartoons.

The show combines a selection of works

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