BIOS

Julie Blackmon, born in 1966 in Springfield, Missouri, is a celebrated photographer whose work addresses the intersection of everyday life and broader social issues. Known for her meticulously staged, richly detailed images, Blackmon draws inspiration from her personal experiences and surroundings, creating photographs that blend humor, nostalgia, and subtle social critique. While her work often incorporates family and domestic scenes, it extends to larger societal themes such as gender roles, the pressures of modern life, and the expectations placed on women. Influenced by art historical references and photographers like Helen Levitt and Sally Mann, Blackmon’s photographs evoke a sense of theatricality, appearing as whimsical yet layered narratives.

A major milestone in Blackmon’s career was the acquisition of her works Flatboat and Paddleboard (2022) by the National Gallery of Art. Flatboat reimagines George Caleb Bingham’s The Jolly Flatboatmen, replacing the central figure with a joyful young Black girl, offering a fresh perspective on inclusion and diversity.

In Paddleboard, Blackmon replaces Bingham’s fur trader with a pregnant woman, making a profound statement about the overlooked heroes of American history—those who were selfless rather than individualistic. This shift highlights the struggles and resilience of women, particularly in balancing the demands of career and family life. The photograph parallels the marginalized position of the fur trader, who, like many women today, must navigate a world where their contributions are often undervalued.

Blackmon’s work has been widely exhibited and collected, resonating with audiences for its intricate balance of everyday life and social commentary. Her distinctive visual style and thoughtful reimaginings offer new insights into the roles and challenges faced by individuals in today’s society.

Her work is held in the permanent collections of the National Gallery of Art, Washington, D.C.; Cleveland Museum of Art, Cleveland, OH; Cleveland Clinic Foundation, Cleveland, OH; Columbus Museum of Art, Columbus, OH; George Eastman Museum, Rochester, NY; Nelson-Atkins Museum of Art, Kansas City, MO; Des Moines Art Center, Des Moines, IA; Museum of Fine Arts, Houston, TX; Portland Art Museum, Portland, OR; Kemper Museum of Contemporary Art, Kansas City, MO; Musée Français de la Photographie, Bièvres, France; Henry Art Gallery, Seattle, WA; Microsoft Art Collection, Redmond, WA; JP Morgan Chase Art Collection; Museum of Contemporary Photography, Chicago, IL; Toledo Museum of Art, Toledo, OH; North Carolina Museum of Art, Raleigh, NC; Photographic Center Northwest, Seattle, WA; Sioux City Art Center, Sioux City, IA; University of Arkansas, Little Rock, AR; The West Collection, Oaks, PA; and The Walt Disney Corporation, among others.

Born in a landlocked fishing village to sturdy peasants, Jim Howard soon achieved escape trajectory as a poet, essayist, and screenwriter. His poems, essays, and reviews have appeared in magazines and anthologies such as New Letters, Paragraphs, The Texas Observer, My Bug, Voices from the Interior, and From A to Z: 200 Contemporary Poets. A sequence from his script for Big Bad Love was published as a poem by The Capitola Review. His screen credits include the 2001 film Big Bad Love, the Emmy-nominated Lifetime movie, Dawn Anna (2005), and Smasheroo, the Best Film winner in the London Screenwriters contest, 50 Kisses (2013).

Under the pseudonym Roland Boyle, Howard wrote the scathing political satire, The Tea Party Guide to Being a Real American (Sourcebooks, 2011) and the Tea Bastard blog. His other books (as Jim Howard) include Daditudes, Cupid Explains It All To You, and Little Glimpses of Good (now available only on the gift book black market), as well as the children’s book I’ll Be Me & You Be You (Hallmark, 2010).

He has taught visual storytelling at KCAI, guest-lectured at Princeton, and performed as a storyteller with the Tantrum improv troupe. He works as a creative consultant and writer-for-hire in Kansas City.