Upcoming Exhibitions

RMRE

July 14 – September 22, 2017
In the Mallin and Charno Galleries

Calendar
May 24............Deadline for submissions at www.CallForEntry.org
June 8..............Notification of artists e-mailed (to the address in CaFÉ profile)
July 1, 5-7.......Work due. 11-4 p.m. Saturday July 1 and Wed/Thur/Fri July 5-7
July 14............Opening Reception. 6-8:30 p.m.
Sept 22............Exhibition ends.
Sept. 27-30.....Pick up of hand delivered works. 11-4 p.m.
Sept. 26-30.....Return of shipped work.

#RMRE2017 use on all social media!

Theme: Truth Trust Transcend
Broadly, what we hope, is to see what artists are thinking about this time in our history when there is so much turmoil and division; when much of what we value is being dismissed, undermined, or destroyed. Are you responding to what is happening in the world right now? Are you making art with overt political statements? empowering images? community messages? no direct response artistically? will you keep on keeping on? Show us your artwork. Nothing will be excluded from the jury process. We have asked the curator to select an exhibition that is interesting, compelling, and noteworthy. All styles, media, subjects will be included. We will present a thoughtful exhibition of what artists are thinking and making now.

Curator
Painter and printmaker Curlee Raven Holton is the Executive Director of the David C. Driskell Center and Senior artist-in-residence in the Department of Art at the University of Maryland. An artist-scholar, Holton has exhibited extensively throughout the US and abroad for over 25 years, at venues including the Whitney Museum of American Art, Cleveland Museum of Art, and the 7th International Biennale in Cairo, Egypt. Holton is founding director of the Experimental Printmaking Institute at Lafayette College.

Digital Catalog
The Artists Coalition will publish an illustrated catalog available as a pdf and online.

Awards
$2000 in cash prizes.

Eligibility
The River Market Regional Exhibition is unrestricted in media and subject matter, however the artworks should address in some capacity the theme of "Truth/Trust/Transcend".

RMRE is open to artists in a six state region, Nebraska, Iowa, Oklahoma, Arkansas, Kansas, and Missouri; and to members of the Kansas City Artists Coalition and the African American Artist Collective.

Financial assistance has been provided by the Missouri Arts Council, a state agency, ArtsKC Fund, Mallin/Gibson Family Properties and by the Artists Coalition membership.

UNDERGROUNDmastro

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.

PROJECT ROOM (ending on August 25th)
PETERS

LYNN PETERS's work is wall mounted narrative ceramic sculpture and her studio is like a cabinet of curiosities, a kind of memory theater where she pitches camp with open journals and images on the walls, tables and floor. From an archive comprising thousands of pages from countless sources, Peters creates vignettes with vintage ceramics and maquettes that are arranged and rearranged in a Dada-Joseph-Cornell-like construction. Her written journals include records of conversations, capturing dialogues snatched at random. Peters documents clichés and other phrases that are ambiguous, indirect missives commemorating the plainspoken, bootstraps wisdom of the pioneer spirit reflected in the early 20th Century. Peters is the Residency at the Artists Coalition's June Artist-In-Residence.

 

SEPTEMBER 8 - 29, 2017

YOUNGBIRD

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 3, 2017

LUECK

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.

kcsp

OCTOBER 13 - NOVEMBER 10, 2017

CURRENT WORKS
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.

Calendar
May 31....................Call open on www.callforentry.org
August 23................Entry submissions due
September 13...........Notification of artists begins
September 30...........Artwork due at KCAC 11 a.m. – 4 p.m.
October 13...............Opening Reception, 6 – 8 p.m.
November 10...........Exhibition ends
November 11...........Pick up works, 11 a.m. – 4 p.m.

Juror
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.

Eligability and Fees
A submission of up to 5 images is $70.

KCSCP members receive a discount of 50% off this fee. The discount code MUST input at the time of entry and before checkout is completed.

Non-members pay $70 which includes submission for up to 5 images and a one year membership in KCSCP.

To Enter
The Artists Coalition uses CaFÉ at www.CallForEntry.org for submissions. You must create a free profile and upload media. Then scroll down in “CaFÉ Listings” to KCSCP CURRENT WORKS 2017, click VIEW MORE INFO, read then click APPLY TO THIS CALL follow instructions.

Images
Use good quality image/s (showing just the artwork, NO details); prepare the images according to the digital specifications required for CaFÉ, see Image/Media Prep

Specifications
All works must have been produced between September 2015 to current. We are looking for a broad range of photography styles and processes that represent the diversity of our membership. Subject matter is open. All images must be created from your original photography as the foundation of your work and within the time frame mentioned above.

Original works will be accepted in all photographic mediums: Digital, Film, Alternative Processes, Black and White or Color. No pornographic or defamatory images.

Acceptance
Artists whose works are accepted will be notified beginning September 13. Notices will be made via the e-mail you use for your Café Registration; however, we must also have a telephone number where you can be reached on this date. Any accepted work that differs from the digital image will be disqualified. KCSPC & KCAC reserve the right to reproduce accepted works for publicity, documentation, and promotion of the exhibition.

An opening reception, marketing and promotion for the exhibition will be provided. You are encouraged to promote the exhibit on your personal social media, email, etc.

Exhibition Requirements of Accepted Works
Maximum final outside dimensions 40″

Must be ready to hang, with name, medium and price on the back.

Framed pieces should use white museum mats, black frames, and should be wired. Include hanging hardware. Works that do not require framing are accepted, but need to be presented in a professional manner with hanging hardware. Please contact us at kansascityscp@gmail.com. If you have any questions or concerns.

Accepted work delivered to the gallery that do not comply with all the specified requirements will not be exhibited

Sales
The work should be for sale. KCAC will retain 30% of the sale price. Provide retail price including frame, if applicable.

Delivery and Return of Accepted Works
SHIPPING ACCEPTED WORKS
Artists pay shipping to and from the Kansas City Artists Coalition Gallery. Accepted works must be shipped PREPAID and be delivered to the gallery September 27-30. Late or damaged shipments will be returned collect. Works must be shipped in substantial, reusable packing cartons with repacking instructions. (NO Styrofoam peanuts.) Enclose a check for return shipping made payable to the Kansas City Artists Coalition; include insurance amount (if any) works will be returned via UPS. Shipped work will be returned November 11-22.
HAND DELIVERY OF ACCEPTED WORKS
Works may be hand delivered September 30 between 11 a.m. and 4 p.m. Hand delivered work must be picked up November 11, 11a.m.-4p.m.
RETURN OF WORKS
If return shipment cannot be completed, or if works are sent without return shipping provided for, or if hand delivered works are not picked up November 11, the KCSCP will dispose of the work(s) in any way it sees fit without liability or further notice to the artist or lender.

Insurance
The Kansas City Artists Coalition provides insurance for the exhibition. Artists are responsible for providing their own insurance on works during shipment.

UNDERGROUNDwilliams

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.

morgan

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.

 

NOVEMBER 10 - 30, 2017

reed

SOPHIA REED realized how many people she passed without looking on the crowded subway or streets of the city; from there, her work ventured into the dehumanzing effect of neglecting to give people eye contact or a simple acknowledgment of existance. Realizing how easy it is for people to slip into an egocentric, me-centered life, her paintings beg for the viewer to engage in a shared experience.


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.

mills

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

flanagan

JULIE FLANAGAN uses photography to distill and unveil a beauty in the mundane, 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.

JOLLEY

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.

 

DECEMBER 8 - 29, 2017

CARRUTHERS

KATIE CARRUTHERS is strongly influenced by the natural world and preservation of the environment. Inspired by the rawness and undeniable realness of nature, color relationships, the physical connection between artist and canvas, and the tactile properties of material, Carruthers designs work that creates a story combining philosophies, perceived illusion, color, and juxtaposition of elements. As her work has evolved, what began as a design principle and a simple love of nature, has developed into a relationship between two polarizing parts that also parallel our society. The work revolves around authenticity and creating consciousness in life as a means to live the most truthful, real and connected life as possible. She is concerned with how we understand our environments, situations and experiences, and then, the decisions we make based on those observations.