Monthly Archives: March 2017

krista jo mustain

The art keeps coming and the KC Artist Lifestyle just wont slow down! We are back this week and heading on a little trip over to Tulsa to hang out with the incredibly talented, Krista Jo Mustain (@printpartyprintparty)! We first came along Krista a few months back when we happened across her bold, bright and incredibly fun Instagram page. Her Instagram lead us to her website, which featured beautifully hand created quilts and art pieces all joined together with the charm and humor that seems to wrap up Krista and her artwork. We knew pretty quickly that we needed to include Krista in our Instagram project and have her share her world with all of us.

Krista attended The University of Kansas, where she discovered the mystical 5th floor of the Art and Design building, and quickly developed a passion for hand dyeing quilts and felting rugs. After receiving her Bachelor of Fine Art in Textile Design with a Minor in Art History, Krista moved to Kansas City where she had a studio residency at The Drugstore and further developed her obsession with covering every surface in head to toe pattern. In 2015 she was awarded a grant through Art in The Loop to cover a Kansas City Metro bus stop in vinyl renderings of her quilts and hand cut confetti. Krista has since relocated to Tulsa, Oklahoma where she is currently looking for the next public space in need of confetti and Print Party makeover.

We are very excited to see what Krista has in store for us this week about her artwork and day to day inspiration, so let’s get things kicked off here today with a few words from Krista about her work and motivation…

“I am a fiber artist and textile enthusiast who specializes in hand-dyed quilts for people who are serious about fun.

PRINT PARTY is the celebration of traditional textiles techniques, executed in unexpected colors and patterns, for people who are unafraid of all encompassing color. The process starts with 100% unbleached cotton, and is fueled by inspiration coming from a love of 80’s graffiti and vivid video game-esque dreams. PRINT PARTY is bold and bright; layering colors over each other and bringing to the surface pattern combinations that are often unexpected. My work, whether it be quilts, wall hangings or confetti, is all driven by an obsession with covering every surface in head to toe pattern, and a desire to celebrate everyday activities. I strive to create transformative environments, starting with your bed, to make everyday life a dreamlike oasis. Take a nap under a PRINT PARTY quilt and you’ll have the best dreams of your life.”

We are very excited to see what the world looks like through Krista’s eyes and to see what she will be sharing with us on her Instagram journey. Here are a few images of her artwork and past Instagram photos to get things kicked off…

Mustain_Krista-Jo_Image-1_WEB_AL_3_17     Mustain_Krista-Jo_Image-5_WEB_AL_3_17     Mustain_Krista-Jo_Image-4_WEB_AL_3_17

Be sure to follow Krista on her KCAC Instagram story starting tomorrow Thursday, March 23rd – Tuesday, March 28th!

If you missed any of our previous Artist Lifestyle Artists you can always catch up on the KCAC Instagram (@kcartistscoalition) to see what has been happening or search social media with the hashtags: #kcartistlifestyle #kcacartistlifestyle

Throwback Thursday – KCAC Forum Magazine Spring 1993

KCAC Forum Magazine Spring 1993

by Deanne Pearson

Much has been said lately about the proposed installation of a Claes Oldenburg and Coosje van Bruggen collaboration project on the grounds of the Nelson-Atkins Museum of Art. The project involves installing four 18-foot badminton shuttlecocks in various positions along the north-south axis of the museum grounds, inferring that the museum building is something of a net in an imaginary badminton game. Not all that has been said has been positive.

All art has its detractors; it goes without saying that beauty, and often artistic merit, lies in the eye of the beholder. But to consider refusing an opportunity because the art is risky and doesn’t conform to the traditional, conservative idea of sculpture is to miss out on a wonderful opportunity to expand those ideas in a relatively safe and meaningful way.

Look at the proposal. It was initiated upon the invitation of an anonymous donor, who would presumably foot the bill for fabrication and installation of the sculptures. Hence it would expand local artistic offerings without the use of any public funding and without compromising other projects or straining any already tight budgets

It would fit in well with the Nelson-Atkins Museum’s modern sculpture initiative begun last year, which seeks to build a strong collection of 20th century sculpture. And because the pieces would be built for outdoor display, the collection would then include a monumental sculpture without sacrificing a monumental amount of limited gallery
space. Oldenburg is considered one of the best known artists of the Pop movement of the 1960s; two of his small scale soft sculptures are already part of the museum permanent collection. By adding a recent, monumental collaborative sculpture, the museum would round out their holdings by this artist, enabling them to show the depth of his work as well as its breadth. They would also join the ranks of such institutions as Yale University in New Haven, Conn., the Walker Art Center in Minneapolis, and the Dallas Museum of Art, all of which display large-scale projects by Oldenburg and van Bruggen.

Taking on this project would have educational results as well. By accepting and displaying the sculpture proudly, the Nelson Atkins Museum would show that art doesn’t have to be all oil paints and still lifes; there is room within art for humor, whimsy and work that goes beyond the traditional boundaries that so often limit local tastes. And the sculptures do so in a relatively benign way. They avoid the entanglements of politics, religion, sex and morality that are so often tied to “controversial” modern art. If you want a safe risk, this is it.

And of course the sculptures would bring more attention to the already well-thought-of museum, and would attract new visitors to the area. Those of us who live in Kansas City and regularly partake of its culture are aware of its richness. But beyond about a 200-mile radius the city is often thought of as a backwards cow-town with little to offer anyone. This proposed addition to the Nelson-Atkins Museum’s holding when joined with its already strong collection and the new Kemper Museum of Contemporary
Art and Design being built on the grounds of Kansas City Art Institute, will build on Kansas City’s reputation for fine arts. How can the city lose by continuing to expand its culture to include new attractions and thereby attract new visitors?

The old saying goes “Opportunity knocks but once.” When you consider the positives included in this particular artistic opportunity, it would be a crime for Kansas City to close its curtains and pretend that nobody is home, or worse yet, to slam the door shouting, “We don’t want any.” Instead it should answer the knock, welcome the opportunity, and use it as an impetus to educate and expand the tastesof the local public.

amy wright

KC Artist Lifestyle is back this week with another of KCAC’s currently exhibiting artists, Amy Wright (@thefleafarm_amy_wright)! Amy’s show opened at the beginning of the month to rave reviews and several purchases. Her process takes hours of time and requires a degree of patience and diligence that not all artists are able to achieve. Amy recieved her BFA in painting from the Kansas City Art Institute, and has since participated in shows at the Paragraph Gallery, Leedy-Voulkos, Kiosk Gallery and of course right here at KCAC. We are very excited to see what Amy has in store for us this week about her show, artwork and day to day inspiration.

Let’s get things kicked off here today with a few words from Amy about her work and motivation…

“In my life and in my art, I assign high value to the segments of a whole. My paintings and drawings (and the marks within them) are small to engage the viewer in an intimate link, like a secret is being divulged. Upon closer inspection, methods of fragmentation become visible. It’s the language I use to communicate and it’s my personal custom of coping. I believe that if I endow each tiny part with elegance, it will be reflected in the sum, revealing my affection for both.

My recent body of work began as an exploration of the lush patterns and colors found in food objects. As the project progressed, the tone of the work began to change. Food prompts a slew of emotions. There is too little, or too much. It can induce pleasure or disgust. It can simultaneously bind a community, and serve as a social divide. It’s a link to ancient humans. It’s been employed as a symbolic device throughout history. It’s a life, ending to advance another life. This body of work is populated with monuments to this collective consciousness. There are many altars and many sacrifices.

Most of the scenes depicted in my work have indications that productive, maybe intelligent, beings have intervened. Sometimes, the evidence is explicit. Occasionally, it’s a subtly placed clue. The beings are absent. Whether they have just stepped out, or whether they have been gone for some time is unknown. There’s something golden about a moment that exists outside the passage of time. There’s a delightful eeriness to a space not quite terrestrial. If such a crystalline state can be depicted visually, I hope to find it.”

We are very excited to see what the world looks like through Amy’s eyes and to see what she will be sharing with us on her Instagram journey. Here are a few images of her artwork and past Instagram photos to get things kicked off…

boundary3w   strange-fruit-c1w    fenugreek1w

Be sure to follow Amy on her KCAC Instagram story starting tomorrow Thursday, March 16th – Tuesday, March 21st!

If you missed any of our previous Artist Lifestyle Artists you can always catch up on the KCAC Instagram (@kcartistscoalition) to see what has been happening or search social media with the hashtags: #kcartistlifestyle #kcacartistlifestyle

Throwback Thursday – KCAC Forum Magazine Winter 1993

KCAC Forum Magazine Winter 1993

by Barbara Waterman-Peters

In the year of the woman and more than 20 years into the feminist movement, women are  still confronted with not being taken seriously as artists patronized for the content of their work, and lectured to as if they were perpetual students.

Why? What is it about women’s work, formally or contextually, that is deserving of being deemed trivial? In the course of many discussions with other women artists, I have felt the
yearnings for acceptance and almost hopeless resignation to never achieving it.

Some women have realized success in the “art world.” Georgia O’Keeffe, Mary Cassatt, and Gwen John comes to mind along with more contemporary names. Marcia Tucker has said, “While more women are visible now…and while the rare woman artist may even be highly visible, practice and theory – in the arts as elsewhere – have yet to meet in our century to provide the equity that might lead to real social change.” In a number of these situations these women have been single-minded, arrogant, rude, and have joined the “boy’s club. “They rarely married or had children, devoting themselves completely to their work. Fine. These were their choices.

But what about those who do not put aside family or a full life? Are they automatically disqualified as serious artists? Art critics sometimes suggest that “housewives” could not possibly have any angst and therefore have nothing to say. These interesting views could be interpreted as a denial of women’s art almost across the board! Don’t women live in the same world as men? Don’t they have pains, fears responsibilities, stresses or tragedies? Isn’t that what angst is? Don’t they have access to the same education, communications media, and stimuli? Why are their efforts not considered as “serious” (read: intellectual, heavily laden with relevant dialogue, etc.) unless they change themselves into aggressive, self-centered harridans? Are caring, involved, intelligent women somehow not committed fully? One could posit that a receptive nature might open minds to more potential, not less. Both Paula Modersohn-Becker and Barbara Hepworth believed that marriage and children enhanced their work.

Recently a male artist was decidedly uncomfortable when Judy Chicago’s work The Dinner Party (1979) came up in conversation. He did not deny the aesthetics of the piece, but argued with the artist’s use of work as a venue for her feminist and political views. He agreed that art is inherently political; however, this case is apparently an exception.  Amazing isn’t it, that after all of this time the work can still elicit such a response and from a supposedly enlightened individual?

So women are damned if they do and damned if they don’t (silence implies light-weight work; protest implies aggression). These are isolated incidents, but nevertheless they are typical. One would have thought all of this was resolved, but such issues are alive and well in other areas of our society, so why not in the creative realm? It’s sad because artists are generally in the fore front of cultural change.

Even the recent Missouri Visual Artists’ Biennial provoked this statement from Sharon Brooks Katzman, “(a) strong show, yet with a lingering issue: is there not one, not one out-
standing visual artist’ in Missouri worthy of recognition and support who is
also a woman?”

Whom do we threaten? Rachel Rosenthal, a performance artist in Los Angeles, wrote an article in which she equates art and women. Fear of each is doubled with the artist woman.

According to Rosenthal the pagan (art) and the feminine are feared as uncontrolled forces. And a woman who has created life and art as well!?

Oh, dear…

This may sound like a plaintive whine, it is in fact a primal scream.

i Judith Stein, “Making Their Mark, “Making
Their Markt (New York: Abbeville Press,
1989, 122
Marcia Tucker, “Women Artists Today:
Revolution or Regression,” Making Their
Mark, 201.
Ibid, 198
Sharyn Brook Katzman, Missouri Visual
Artists Biennial 1991-1992,”Forum, Vol.
17.5, Fall 1992, 1
s Rachel Rosenthal,”Speakeasy,”New Art
Examiner, Dec. 1990, 15. a