2017 Exhibitions

MAY 12 - JUNE 23, 2017

ceci

KEEPING HOUSE examines the territory between individual and nationalistic identity as expressed through labor. It is an American custom to identify oneself via one’s profession. Shifts in the nature of jobs in our country threaten the pride of vocation which ushered in this ritual. Although Veronica Ceci's primary identity is that of Artist, as it is largely an unpaid role, she supplements it with identities as Housekeeper and Master Printer. Keeping House centers the intersection of these identities with that of American citizen utilizing an exaggerated presentation of the violence of capitalism as contrasted with romantic dreams of the failed possibilities of communism. These themes are explored via print, a medium which has played heavily in the history of the labor movement and which itself is a character in the saga The exhibition presents print based installation work, discrete pieces and sculpture. It features the community art project Our Unamerica, funded in part by a grant from the City Of Austin Cultural Arts Division. Unamerica is a shape, created by the artist, which references the geographical outline of our country but has been altered to fit back into itself like a puzzle piece. The shape was brought to community centers where patrons were offered free drawing instruction in exchange for decorating the shape with images of what they felt was most joyous and most challenging about contemporary life in the United States.

ornery

ANSON THE ORNERY’s interactive installation Shades, parodies art-as-bullion by not displaying any of the art in Anson’s solo exhibition. As the muffled sound of a cattle auctioneer can be heard a large pile of lamps shades illuminate the gallery walls and the white slightly raised lettering “Shades.” The low light obscures the space casting shadows the selected artworks. The light will not help much to see because each artwork is covered by a packing blanket. The artwork may not be seen but it can be felt. Literally, the gallery goers are encouraged to feel the art through the blankets. Is it a thrift store velvet painting of Elvis or a Monet? Could it be a common flower pot or Ming vase? The artworks identity has been hidden just like countless masterpieces.

White gold

PROGRESSIONAL CURRENTS is an exhibition highlighting ceramic artists that have traveled to Hungary in order to expand and challenge their studio practice at the International Ceramics Studio (ICS) in Kecskemét. These artists lived and worked together during the summer of 2015 and 2016. At the ICS they worked alongside and learned from sculptors, plaster-masters and ceramic innovators from around the world. The works displayed reveal how each artist worked before visiting ICS, their approach to a new environment and material and how that has affected their work since returning to the United States. Concepts explore religion, architecture, the environment, anatomy and the occult. Artists include Emily Connell, London Dupere, Kim Lavonne, Cydney Ross, Melanie Sherman and Joseph Wullner.

APRIL 14 – 28, 2017

student

UNDERGRADUATE COLLEGE STUDENT EXHIBITION
Download pdf of poster

JUROR
Tom Deatherage, owner of The Late Show, is the juror for Kansas City Artists Coalition’s 21st Annual Undergraduate College Student Exhibition Juried Competition. The Late Show is a favorite venue for local artists who appreciate Tom's no nonsense approach to showing and selling work. KCAC co-founder, Philomene Bennett says, when she walks into The Late Show she still gets the feeling that she's seeing something new. "I'm really proud I'm part of the art scene," Deatherage says. "And I really am part of it. I realize it, and it makes me feel good. I thought I was just kind of edgy, but I'm part of the scene. I understand how little time I have left and am trying to make the most of it. Because I'm 72, but I'm pushing hard.”

PARTICIPATING ARTISTS
Alaina Abplanalp — Talal Alaseeri — Jessica Albina — Chance Allen — Alex Anderson — Alexis Banegas — Joy Branch — Jacob Brooks — Shontaja Brown — Jessie Burnes — Tatiana Calkins — J'mia Cheadle — Serena Clark — Paige Edson — Chelsea Emuakhagbon — Mackenzie Fulmer — Christina Garcia — Kali Gotts-Trefry — Colin Hendricks — Ryo Ishikawa — Neva Kidwell — Lauren Larson — Matt Mcdonald — Dakota Meier — Melody Monroe — Megan Murphy — Deividas Ochocinskas — Alyza Perez — Matthew Phillips — Yessica Ramirez — Madeline Scott — Megan Strohl — Taylor Swanson — Ashley Wiebe — Leah Williamson

 

MARCH 3 - 31, 2017

koch

ADA KOCH is about layering – layering in the process, and layers of time passing depicted in the images. The contemporary scenes are done in bright oil paints and oil pastels, or sometimes with black silhouettes, on top of the acrylic base. Since the tragic events of 9-11, Koch has been planning a body of work that expresses her fears about losing someone she loves to a war. Koch started this work with the challenge of depicting love, violence and loss in a credible, affecting, and even beautiful way. The pieces incorporate famous art about war as a backdrop to contemporary life scenes with an often startling mix of violence, blood and playfulness. She choose to incorporate and refer to art history and famous works dedicated to glorify, to chastise, to vilify, to explore our inextricable relationship with war and violence. Through these works, Koch shares fears, questions, and very personal emotions.

wright

AMY WRIGHT's 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 she uses to communicate and it's a personal custom of coping. Wright's 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 her work have indications that productive, maybe intelligent, beings have intervened. Sometimes, the evidence is explicit. Occasionally, it is 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, Wright hopes to find it.

mindrup

A PORTRAIT OF DISORDER: NEUROFIBROMATOSIS Portraits have always had a powerful grasp on Mindrup's imagination. It is the idea of duration - or earthly immortality - that gives such a mysterious interest to the painted portrait. Studying the history of portraiture techniques has allowed her the ability to begin to integrate those concepts into relevant contemporary narratives. Mindrup's son Henry's diagnosis has been the motivation behind her series of portraits "Many Faces of Neurofibromatosis (NF)". Through this series of paintings, she acts as the conduit, transforming genetic complications into something secondary and portraying the individual personalities first. Using social media as a connection, Mindrup hopes to raise funds, educate, and ideally find a cure for NF.