2017 Exhibitions

MARCH 3 - 31, 2017


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.


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.


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.


APRIL 14 – 28, 2017


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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.”

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


MAY 12 - JUNE 23, 2017


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.


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.


JULY 14 - SEPTEMBER 22, 2017

Participating artists:
// Sara Barati // Cynthia Bjorn // Jane Booth // Lorrie Boydston // Anne Brewer // Jennifer Bricker-Pugh // Hillary Brooks // James Buehler // Joe Bussell // Laura Carriker // Eric Carver // Michael Cherepak // Caroline Colby // Merik Coltrain // Kirk Decker // Matthew Derezinski // Megan Ewert // Wm Daniel File // Genevieve Flynn // Betsy Forcade // Joelle Ford // Jeff Foster // Dan Frueh // Gloria Gale // Matthew Garcia // Rachelle Gardner-Roe // Kyra Gross // Jenny Hahn // Tim Hahn // Jonathan Higbee // Kwanza Humphrey // Angie Jennings // Jane Johannsen // Tara Karaim // Susan Kiefer // Ada Koch // Mark Kuykendall // Kayla Lashley // Kim Lindaberry // Mike Lyon // Hayes Martens  // Andy Maugh // Hugh Merrill // Kristin Powers Nowlin // Laura Nugent // Sharron Perryman // Jason Piggie // Katrina Revenaugh // TJ Templeton // Rebecca Tombaugh // Michael Toombs // Fred Trease //
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TERESA MASTRO defines her work as geometric abstraction. It is a simple timeless design that stands the test of time. The finished designs are derived from many detailed sketches over which she uses many thin layers of acrylic to bring out the desired effect. No taping is used in the process. Even though the process is tedious, Mastro feels it is well worth the time and effort - she derives agreat satisfaction in developing the design. The process leading up to the final product puts some kind of order in this chaotic world with it's straight lines and angles.

Painter wolfe

DON'T LOOK DOWN Taylor Painter-Wolfe's work is made entirely of wool she felted and dyed by hand. Making all of her own materials is an important part of her artistic process because it allows her to have a hand in every aspect of creating art from start to finish. The unpredictability involved always yields unique and interesting results. Oftentimes holes, irregular edges and sizes, and interesting variations in color and texture occur. Painter-Wolfe will never get the same shape or color twice, making each piece of felt totally one of a kind. She is inspired by aerial photography, satellite images, and maps. From high above, the details of a place are stripped away leaving only an elegant design of intersecting, overlapping, shapes, colors, and lines.


SEPTEMBER 8 - 29, 2017


JILLIAN YOUNGBIRD grew up in a place where you "warsh your clothes and swim in the crick." Being of Native American decent, while growing up with the "people of the hills" formed an interesting narrative in her self-identity. Story-telling has always been an important part of both cultures. In her study of Ozarkian and Native lore, Youngbird has come to find common threads and intentions. Different versions of the same story. Regardless of whether it tells the whole truth or a romanticized caricature, folklore gives you a vibrant visual history. Using recycled items and found materials from her environment, she creates sculpture, installation, photographs and performances that investigates her place in the worlds between two interwoven cultures, through the study of history, folklore and communication.


OCTOBER 13 - NOVEMBER 10, 2017


Kansas City Artists Coalition's Mallin and Jacqueline B. Charno Galleries

The Kansas City Society for Contemporary Photography's third annual juried member photography exhibition presented in partnership with the Kansas City Artists Coalition.

Keith Davis, Senior Curator, Photography at the Nelson-Atkins Museum of Art will judge the exhibition.

Davis received his B.S. degree (1974) from Southern Illinois University and his M.A. (1979) from the University of New Mexico. In 1978-79 he held a research internship at the George Eastman House, Rochester, NY. He guided the growth of the Hallmark Photographic Collection from 1979 to 2005. When the collection was transferred to the Nelson-Atkins Museum of Art in late 2005, he became the museum’s founding curator of photography.

Davis has curated nearly one hundred exhibitions and is the author of about 35 books books and catalogues, including: An American Century of Photography: From Dry-Plate to Digital (1999); American Horizons: The Photographs of Art Sinsabaugh (2004); The Art of Frederick Sommer (2005); The Origins of American Photography: From Daguerreotype to Dry-Plate (2007); The Photographs of Homer Page (2009); Timothy H. O’Sullivan: The King Survey Photographs (2011); The Photographs of Ray K. Metzker (2012); Emmet Gowin (2013); Multitude, Solitude: The Photographs of Dave Heath (2015); and The Life and Work of Sid Grossman (2016).

Davis received an NEH Fellowship in 1986, and was included in James Stourton’s Great Collectors of Our Time: Art Collecting Since 1945 (2007). He has lectured extensively and taught the history of photography at the undergraduate and graduate levels from 1978 to 2005.


DEBBIE WILLIAMS "The quintessential "memory keeper," Williams photographs to preserve the bounty she has the opportunity to observe both in daily round and during any travels she is privileged to enjoy. Over the last few years, Williams has discovered that her photographs allow others to journey with her to botanical gardens, her alma mater Princeton University, international tourist sites, and to her backyard even if they cannot join her in person. Williams primarily photographs botanicals in domestic or neighborhood settings, along with vacation sites with my family and friends.


DIANE MORGAN's work has evolved over the years from exhibiting extreme awareness and appreciation for the multitude of details that fill her vision and drive daily existence to now include capturing the sensations she feels physically and emotionally from what she sees. Morgan is fascinated by the architectural aspects of objects in corners. The atmosphere of things unsaid is what moves her. Morgan finds inspiration by walking in areas with decay - neighborhoods or places to find evidence of life and individual effort - and visualizing those who inhabit them.




TANYA LUECK A recent surge of interest as well as many advances in equipment have resulted in significant progress in the understanding and observation of the cosmos. With private entities now joining in the search for knowledge, the Earth is beginning to seem smaller but united on the common purpose to explore the universe. The more we learn, the more new questions continue to arise, but one thing is becoming clear: every planet, nebula, and solar system is just as unique as it is beautiful. Lueck's paintings reflect the unique fingerprint of the different spacial phenomenons she observes as inspiration.


NOVEMBER 17, 2017


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NOVEMBER 10 - 29, 2017


SOPHIA REED explores the ocean as a symbol. Water becomes the space we occupy, the waves pummeling moments of instability often felt throughout the day. Reed uses waters spectrum of beauty, calamity, and mystery as a tool to speak about her personal struggle keeping up with life’s demands. The ocean speaks to the unpredictability and sometimes overwhelming nature of life. Water has the potential to instill indescribable peace and great destruction. In Reed’s Swimmers series she places us in the middle of this tension. She engulfs viewers into the crashing waves. These pieces became a way out of the heaviness and heartbreak she felt. Sometimes all we can do is remember to do something. When life is overwhelming Reed encourages her viewers to never stop moving their feet in the water they occupy.