Charles Hively
"NY Subway"
Within the space of the square frame, Charles Hively wants to share with the viewer his exploration of found art on the walls of the New York subway system. Moving in closely, without too much forethought, Charles grabs bits and pieces of the remnants of torn advertising posters and/or the remains of spaces left bare. By exploring shapes, colors, textures, the photos become pictures in the artistic sense, much like abstract paintings or collages. The images emerge by chance, moving the iPhone gingerly over the horizontal plane, stopping to record a color or shape that catches his eye.
With over forty years experience in graphic design and advertising communications Charles Hively's beginnings were in studio art. Graduating with a degree in fine art from the University of Texas at Austin, Charles was already working in the communication field as an illustrator and designer. He founded his first advertising agency in Austin, Texas followed by a series of art director positions at a number of advertising agencies before founding his second ad agency in Houston, Texas in 1985. In 1999, he moved to New York and worked at B2B agency until 9/11 before starting a publication focusing on international illustration. In the meantime, Charles began using photography to document his travels in the city, later concentrating on the underground world of subway posters. He has been honored as being included in the Laurence King release "100 Classic Graphic Design Journals" of all-time while his photography was documented in "The Graphic Eye: Photographs by Graphic Designers Around the Globe" by Chronicle Books. His photographic work has been exhibited in Los Angeles LACDA, 2019 Applied Arts Photography Awards, Midwest Center for Photography 2018-2025 including Hot New Pics award recipient, People's Choice award and awarded the Focus Wall featured artist, Gray Cube Gallery, SE Center for Photography, 2025 Exposure Award winner.
Prints in the series are Inkjet prints, 10" X 10", $200 each.
Annalise Kaylor
"Empty. Barren. Wasteland. Flat. Flyover. Expendable"
From the journals of Lewis and Clark, who struggled to reconcile their scale and subtlety, to John James Audubon, whose attention was pulled toward more visually dramatic terrain, the landscape of the Prairie Potholes region has long been cast aside in our cultural imagination. It is routinely dismissed as static, even as it quietly sustains systems far larger than itself.
Annalise Kaylor's work documents the life and importance of the prairies and the flatlands exists within that contradiction. These grasslands and wetlands are among the most ecologically productive landscapes in North America, yet they are rarely afforded the reverence granted to forests, mountains, or coastlines. Beneath the surface lies extraordinary value: deep-rooted native grasses that lock carbon into the soil for hundreds of years, hydrologic systems that buffer floods and droughts, and seasonal wetlands that function as one of the continent’s most important engines of life. The Missouri Plateau in the Prairie Potholes Region alone supports more than 80% of North America’s breeding waterfowl. The area serves not simply as a waypoint, but as a place of renewal that draws birds to pair up, breed, and raise their young each year. At the same time, this “overlooked” landscape underpins a thriving waterfowl hunting economy, one that moves billions of dollars annually through rural communities, conservation organizations, and public lands. Ducks and other waterfowl are deeply valued here, celebrated, invested in, and pursued with passion. Yet the prairie itself, the habitat that makes this abundance possible, is seen as expendable.
Her images, celebrating the lives and life cycles of the common and overlooked are not images of action or harvest, but of stillness and dependence: solitary drakes waiting on calm water, wetlands holding the sky, and simple portraits of the birds who, like the prairies, are rarely seen and even more rarely appreciated for their ecological importance.
Annalise aims to make visible the quiet labor of this landscape and to ask what it means to cherish the economic value of the wildlife it produces while overlooking the ground that sustains it. The prairies are not empty, nor are they lifeless. They are working landscapes — biological, climatic, and cultural. Through her work, she hopes to reframe them not as flyover country, but as essential ground that is alive with purpose, rich with consequence, and worthy of both protection and pause.
Annalise Kaylor is a wildlife photographer and science photojournalist whose work has taken her on assignments to 40 countries, and counting, around the world. With an emphasis on narrative-driven documentary photography, Annalise's photo and video work has been seen in The New York Times, The Washington Post, Audubon Magazine, and the Associated Press, as well as PBS, Last Week Tonight with John Oliver, Great Big Story, and the Discovery Channel. She also partners with NGOs and non-profits for their visual storytelling, including The Nature Conservancy, charity: water, and Habitat for Humanity International. Annalise's work has been exhibited in galleries throughout North America, South America, and her photographs are part of the permanent collections of the Jimmy Carter Presidential Library, the World Health Organization, and the United Nations. Her photography is part of the Planet Ocean exhibit at Gasometer Oberhausen in Germany that opened in March of 2024 and is currently being prepared for an extended European tour.
Prints in the series are Archival Inkjet Prints, 12" X 36" and 16" X 24", $550 - $1,250 each.
Chris Offutt
Chris Offutt's work focuses primarily on landscape and the intersection of the built and natural environment in rural and small town America. The world is beautiful but too often we overlook that beauty due to familiarity and proximity. His practice is based on intuition, seeking what is easy to ignore or take for granted--relationships of line, color, and shape that are all around us. His hope is that a viewer will see the world in a different way, a world filled with simple elegance and accidental beauty.
Chris is a novelist and his photography is heavily influenced by narrative. To him, each picture tells its own story—of the present, the past, and the future.
Chris Offutt is a self-taught photographer, shooting film and digital since 1985. Recently his work has been included in groups shows at the Black Box Gallery Portland, Oregon, the Midwest Center for Photography in Wichita Kansas, Manifest Gallery in Cincinnati, Ohio; and International Group Show at the Millepiani Exhibition Space in Rome, Italy. In fall of 2025 his work was a semi-finalist at the Head On Festival in Sydney, Australia.
Prints in the series are Inkjet prints, 10" X 10", $200 each.
The new Flatland Feature is here at MWCP. In this region that lacks appreciable topographic relief comes the Flatland Feature providing a widespread opportunity to photographers who are creating work about this region or the multitude of other places, ideas and concepts.
The Flatland Feature is an online feature that showcases photographers work in a series format as a virtual gallery experience. Each series of photographic work consists of 10 - 20 images. Six photographers are featured here for the inagural issue of Flatland Feature.
FLATLAND
FEATURE
ISSUE 1
FEATURE DATES - JANUARY - MARCH, 2026
FEATURED ARTISTS:
David Carrothers, Ellensburg, WA;
Kylo-Patrick Hart, Aledo, TX;
Charles Hively, Brooklyn, NY;
Annalise Kaylor, Grantsburg, Wi;
Chris Offutt, Iowa City, IA;
Linda Robinson, Wichita, KS.
Linda Robinson
“Horizon”
Linda Robinson's work explores the subversion of the codes of snapshot photography, the minimalist landscape, and their correlation to memory in reference to issues of home and domesticity. Robinson examines the integrity of the photograph itself as a device to document life. She comments on daily life through detailed images of places, domestic spaces and interesting aspects found in the contemporary landscape. The vintage snapshot aesthetic influences her imagery, drawing her attention to photograph the simplicity and banality of daily life and exploration, commenting on memories. The impetus of her creative exploration is a conversation about home, balancing the inner-subjectivity of past and present. She is interested in bringing attention to the dichotomy and how specifically the process of documenting life is the mainstay which informs her work.
Linda Robinson is the the MWCP Gallery Director. Her academic career includes the 15 year tenure as Assistant Professor and head of the Photography Department at Wichita State University, School of Art and Design. Robinson received her Master of Fine Arts Degree in Photography from the San Francisco Art Institute, and her Bachelor of Fine Arts Degree in Graphic Design from the Wichita State University. Robinson's photographs have been included in several national exhibitions including the Edwin A. Ulrich Museum of Art in Wichita, KS; the Diego Rivera Gallery in San Francisco, CA; SOMArts Gallery in San Francisco, CA; 1650 Gallery in Los Angeles, CA; and Center for Photography at Woodstock in Woodstock, NY; as well as many solo exhibitions locally in her native city of Wichita, Kansas. Her work has been published in Graphis, New York, NY. Currently her work is represented at Dolphin Gallery in Kansas City, Missouri.
Prints in the series are Archival Pigments prints from C-Prints, 20" X 20", $525 each.
Kylo-Patrick Hart
"Welcoming Waters"
Kylo-Patrick Hart derives substantial pleasure from devoting time to his creative activity each day and seeing where his camera will lead him. From a very early age, Kylo-Patrick has experienced the world around him as a series of potential photographs just waiting to be taken, and bodies of water have ranked among his all-time favorite subjects. He wants his photographs to provide aesthetic bright spots and moments of relief from the pressures of everyday life in the early twenty-first century. Accordingly, his current project, from which these twenty photographs have been culled, is titled Welcoming Waters. By emphasizing the beauty and diversity that surrounds us in its myriad forms, Kylo-Patrick hopes that each one provides its viewers with imagery that inspires moments of identification, joy, inspiration, peace, and/or meaningful reflection.
Kylo-Patrick Hart is an award-winning photographer (Budapest International Foto Awards, European Photography Awards, Global Photography Awards, Golden Shot International Photography Awards, London Photography Awards, New York Photography Awards, Pollux Awards, Tokyo International Foto Awards, etc.) and chair of the Department of Film, Television and Digital Media at Texas Christian University (Fort Worth, Texas, USA). He received his formal training in digital media arts while a student at the University of Michigan and Wayne State University, with additional instruction provided by offerings of the Maine Media Workshops and Santa Fe Workshops. His photographs have been exhibited in numerous cities throughout the United States and in several countries abroad.
Prints in the series are Archival Inkjet Prints, 16" X 24", 2022 - 2025, $395 each.
David Carrothers
"Images from Italy"
David Carrothers shoots a variety of subjects, looking for pattern, shape, form, and texture in the images. He has a classic simplicity in his vision that allows the quiet sensibility of the scene to come through in the photographs without distractions. He has learned that, ultimately, it is about the image, not the equipment, software, or technique. If the image doesn't work, no process can change that. David respects photography, an image can transcend space and time to become almost super-real, taking the viewer to the instant the shutter was released.
The images in this series are from a trip to Italy. They aren't a travel log of images from the trip. He does have those. These are the patterns, shapes, forms, and textures that he saw while on the island of Capri and in Sorrento.
David started photography way back in high school with his Dad's 1950’s Kodak Retina 1b camera and a hand-held light meter. Black and white film and color transparencies were his primary mediums of choice, he developed, printed, and framed all of his work. He is a late-comer to the digital world of photography. The medium is different, but the concepts are the same. He still processes, prints, and frames all of his photographs. To this day, David shoots most of his photographs in manual mode, on a tripod, with a hand-held light meter. He likes to tell the camera what he wants, not the other way around.
David is the owner of McCarlCreek Photographics located in central Washington state. McCarl Creek is the creek that runs through the north side of their property, and photographics was the name of the class in high school that got him started in photography and commercial printing. The photographics class in high school introduced him to the printing trade, he worked as a photographer and printer off and on for the next fifteen years. He became very interested in pursuing art and received a BA in Art from Central Washington University, with photography, metalsmithing, and wood design as his concentrations. He has had his photographs featured in various exhibitions here at the Midwest Center for Photography where he received honorable mention awards for the architecture category in both the 2022 and 2023 Midwest Center for Photography Juried Exhibitions. His work was accepted for the 66th and 67th Annual Central Washington Artists' Exhibition at Larson Gallery. He has had his photographic work in numerous other exhibitions in galleries nationwide including Boxx Gallery, Gallery One, Las Laguna Art Gallery and Sarah Spurgeon Gallery.
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Prints in the series are Archival Inkjet Prints, 16" X 20", 2022, $275 each.