The Kansas City Artists Coalition’s exhibitions explore the diversity of expression that shape contemporary culture, art, and ideas. KCAC is a space for innovative and experimental art, which does not readily lend itself to commercial venues. KCAC also aggressively supports and embraces local and regional artists’ work.

DECEMBER 1, 2017 - JANUARY 26, 2018



This group exhibition is held exclusively for members of KCAC and will aid the organization with 30% of net sales benefitting the organization and 70% of sales benefitting the artists. When you sell a piece, you will receive 70% of the purchase price so you are encouraged to price your work accordingly. ONLY KCAC members will be accepted into this show.

Buttonwood Art Space (BAS) is a community focused gallery in Kansas City, Missouri, where local and regional artists show and sell their art. Every purchase at Buttonwood impacts the community as a portion of every sale benefits a non-profit organization with local connections. Since 2008, Buttonwood has had over $500,000 in art sales. This exhibition will benefit KCAC and their artists!

Congratulations to the accepted artists!

Maryanna Adelman, Ione Angilan, Noshaba Bakht, Nancy Basinski, Daniel Baxley, Karrie Marie Baxley, Sarah Berger, Joha Bisone, Jefferson Blair, Matt Blake, Justin Border, Lorrie Boydston, Gary Cadwallader, Tony Cartella, Michael Cherepak, Charles Chick, Cilicia Clarkson, Merik Coltrain, Mary Ann Coonrod, Carl D’Amico, Kirk Decker, Teresa Dirks, Kathleen Engstrom, Michael Engstrom, Sharon Fate, Genevieve Flynn, Carolyn Fox, Jeremy Garton, Susan Grace, Iris Gregg, LeRoy Grubbs, Rita Guile, Jennifer Gyulafia, Linda Hanley, Lisa Healey, Angie Jennings, Kelly Johnson, Amanda Jolley, John Junge, Joseph Jurkiewicz, Tara Karaim, Susan Kiefer, Mark Kielkucki, John Knell, Ada Koch, Sandy Leppin, Cathy Logan, Tanya Lueck, Paula Marker, Tom Matt, Polly Alice McCAnn, Laura Nugent, Candi Phillips, Shelly Pinto, Eli Pupovac, Robert Quackenbush, Alexander Raine, Sophia Reed, Katrina Revenaugh, Susan Righter, Elisabeth Sauer, Jeff Smith, Karen Steen, Kim Taggart, Linda Teeter, Nimesha Udani, Pat Veno, Michelle Wade, Jeanette Weaver, Diana Werts, Ny Wetmore, Terri Wheeler, Don Wilkison, Debbie Scott Williams, Rick Wright, Carol Zastoupil


DECEMBER 8, 2017 - JANUARY 20, 2018

webster vore

JOAN WEBSTER-VORE finds life is about balance. What we do, the big or small choices we may or may not make, tip us one way or another. In the case of the passenger pigeon, decisions made over one hundred years ago tipped their odds of survival. There are written reports of the birds blocking out the sun as they flew overhead, a mile wide in formation continuing as far as the eye could see. Martha the last passenger pigeon, died in the Cincinnati Zoo on September 1st 1914. Webster-Vore's works include site-specific installations in response to the extinction of the passenger pigeon, broaching issues of nature, balance, and the marks we leave upon the world.


PJ MILLS's paintings represent visual metaphors that emerge from the examination of common objects in his life and how images of those objects relate to an “intimate” human condition. He feels metaphors for identity, self-preservation, and mortality stem directly and indirectly from inanimate and animate personal possessions. Referred to often as “ropography”; or a depiction of those things which lack importance, the everyday objects of life or those objects we take for granted. These paintings are of objects contextually placed in still life settings or sometimes in more ambiguous spaces. By focusing on insignificant objects Mills feels they often illustrate a greater significance pertaining to our addiction to possessions, our obsession with self-preservation, and ultimately our mortality. Although, there are romantic notions in the personal subjectivity of this work, they are not grand statements of typical romantic artwork, but more closely related to Genre type statements of the mundane used as metaphors for grand ideas


JULIE FLANAGAN Due to a newly altered lifestyle, Flanagan now places into her camera's view-finder inpromptu treasures rarely noticed by the passerby. Then with astute sensitivity, she distills them to unveil a striking lethargy, an unforeseen alchemy or a subtly nuanced resilience. Her signature filtering techniques along with inventive uses of digital tools enables her to create art that reflects an edgy and innovative interpretation of the traditional philosophies behind the post impressionist, the baroque and even post-modern styles.


AMANDA JOLLEY begins with layers of encaustic medium which is clear, and then build random geometric shapes on top of that with both encaustic and oil paint. Layer upon layer, each has a distinct voice different from the one beneath. In the end, most of these layers are concealed with hints of what lies beneath speaking through the surface layers. Jolley works intuitively, so often an image or pattern will appear that defines an emotion or thought with which she'd been wrestling internally. She then expands and explores the pattern to find out more about what it has to say. The geometric portion of Jolley's imagery is highly influenced by the origami she often folds. The crease patterns that are created when folding the origami often reveal themselves in lines of her paintings. The remaining imagery appears intuitively, often influenced by recent experiences.