Monthly Archives: January 2014

Dinner in the Residency Studio

The holidays were over, but at KCAC we still had some celebrating to do. On Thursday, January 2, KCAC patrons Nancy and Bryan Beaver hosted an elegant dinner in the Kansas City International Residency at the Artists Coalition.

By day, the space is a communal art studio shared by visiting international artists. But this night, the studio had been transformed into a beautiful wonderland with tablecloths, fresh flowers, candles and extraordinary miniature sculptures created by Tom Corbin. The lovely environment was just the beginning.

First, there was the chef: Dinner was created and served by James Beard award-winning chef Michael Smith and his beautiful wife, Nancy, who also selected the wine pairings.

Second, there was the artist: The evening was enhanced by an art salon conversation with Tom Corbin, one of Kansas City’s most talented and successful artists. Tom was the perfect artist to join the party since, for over 20 years, the KCAC International Residency had been his studio and gallery.

Table Wine Glasses Table Setting

Take a look at the extraordinary menu – one delicious course followed by another:

Menu

The evening started with a tour of KCAC’s residency and gallery and included passed hors d’oeuvres of foie gras crostini and prosciutto wrapped salsify. The first course was an eye and taste bud appealing main lobster and king crab salad.

Appetizers  Salad

The second course was a hand-folded pasta dish, a delicate and flavorful crescenza cheese-filled crespelle with shaved black truffles. Then came diver-caught scallops the size of a child’s fist.

Pasta  Scallops

The last two hearty courses included a smoked and grilled beef tenderloin dish, followed by a warm dark chocolate-pecan tart with salted caramel sauce and homemade bourbon ice cream.

beef  dessert

Who was there? Well, of course, the evening was hosted by Nancy and Bryan Beaver with Michael and Nancy Beaver plus Tom and Susie Corbin. Guests included Nancy and Rich Duval, Kerry and Sam Oliver, as well Vicki and Mike Messbarger.

Between courses, Tom Corbin talked about his career as a sculptor and painter. His path from cardboard box salesman to artist extraordinaire fascinated all the guests.

It was a wonderful night which proved the point that there’s creativity in both food and art!

dishes

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Michael Lasater Exhibition

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Most of my work is centered on issues and processes of perception, memory, personal narrative, and the construction of meaning over time. I’m interested in who and what we are, both personally and culturally, especially as a result of choices we make in the process of self-definition. I’m equally interested in issues of perception, definition, and expression in art; I’m interested in vocabulary, structure, technique, and methods.

Maquette-web  Crossing,-Berlin-web

The majority of my pieces, such as Flight, In tempo, Passing Figure, and One, two deal with the construction of meaning and personal narrative from biographical sources. Others, such as Epiphany, Signs and Wonders, and Billboard, are concerned with political and mass media discourse as social narrative text. Some pieces–Act II, Crawl, Five Modernist Essays, Solving for X– are about art.

Act-II-web  and-then-web

I work with any number of elements–video, sampled and synthesized sound and music, photography, film, painting, text–anything digital or that can be digitized. Many of my gallery pieces are video/animation/sound objects meant to be encountered in the same sense and mode in which one encounters traditional gallery media such as painting or sculpture. I often use video, a time-medium, to isolate, freeze, and explore a subject, event, or moment in time. A musician, I tend to build time-structures in reference to strategies and techniques, such as counterpoint, employed in musical composition.

Birthday-web  Tryst-web

Dziga Vertov (film), Anton Webern (music), and Gerhard Richter (painting) are representative of artists who have had a significant influence on my work. Vertov’s ethos in his declaration I am cinema-eye, I am camera-eye, his development of film as a separate reality, nearly an alternative consciousness, have influenced my conception of media composition as a self-referencing language, much like music. Webern’s serial work, in which every note is a planet, every movement a universe, suggests to me strategies for the composition of time-forms or time-objects in which the elements of new media are organized within traditional formal structures. I am enormously attracted to the work of Gerhard Richter, who often bases his art on photographs and other preexisting sources, and whose technique includes the ability to control radically different vocabularies, sometimes within the same frame.

Michael Lasater

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Christopher Troutman Exhibition

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In my current body of work, drawing is my primary means of expression. The immediacy of drawing allows a close connection between mark and thought, as working from imagination is central to my process. Through an interaction with drawing materials, particularly charcoal, and sometimes ink, using mark making, layering, erasing and smudging, I build content in my work, as opposed to medium being selected offhand at the service of an idea. As a result, progressive stages of a drawing determine its content: compositionally, I begin with lines and shapes, yet occasionally with a specific subject in mind from previously completed sketches, which suggest figures and environments. This subject matter interacts to imply narrative and the passage of time, which is enhanced by dividing drawings into multiple sections. Recently, I have used multi-sectioned drawings to examine similarities and differences between my memories of the U.S.’s Midwest and of southern Japan, the two places I reside each year, by juxtaposing visual and spatial features unique to both locations.

Troutman_16-webTroutman_18-web  Troutman_17-web

My subjects are human figures in contemporary urban settings, which I enhance by depicting them from unfamiliar points of view, revealing the value of everyday visual experience as a topic of exploration in drawing. I work from imagination, shifting points of view presented in drawings from the memories that initiate them. I strive to avoid external references until my ability to visualize a subject fails, after which I use observational sketches and photographs to complete final details. My interest in depicting the passage of time, dynamic space defined by the human figure and linear perspective, and drawing from imagination comes from the influence of comic book art, work by Lienil Yu is an example, as well as art examining the figure in urban and domestic settings within active compositions, such as work by Edgar Degas, Edward Hopper, and Robert Birmelin.

Troutman_14-web  img-home-troutman

Lastly, my drawings are large-scale, which I hang unmediated by a frame, bringing them into the audience’s immediate space and making the process each drawing has undergone directly visible to viewers. The scale of the drawings, the figures within them, as well as composition and point of view, place the audience in unexpected, and sometimes overwhelming, spaces, enabling the resonant experiences from which the drawings are inspired achieve a similar resonance with viewers.

Christopher Troutman

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