Upcoming Exhibitions

 

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.

 

OCTOBER 13 - NOVEMBER 10, 2017

kcsp

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
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.

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 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.

 

NOVEMBER 17, 2017

ONS

How it works.....

Stop by, you'll have a great time!

The exhibition will be held in BOTH the upstairs AND downstairs galleries.

Calendar
November 10...........Artist RSVP Deadline, 5 pm
November 11 & 15...Artwork Drop-Off, 11 am - 4 pm
November 17...........Opening Reception, 6 – 9 pm
November 18...........Artwork Pickup, 11 am - 1 pm

Join or renew now.

• DELIVERY:
Saturday, November 11th from 11 am – 4 pm. OR Wednesday, November 15th from 11 am – 4 pm.

• INSTALLATION:
One artwork per person
As this event continues to grow each year we will utilize BOTH upstairs AND downstairs galleries. KCAC staff determines placement and installs artwork.
It is YOUR responsibility to have the work ready to hang in the gallery (i.e. your piece is framed, wired, any special hanging equipment is provided, KCAC will have pedestals for 3-D pieces, etc.).
Works can NOT exceed 40” in ANY dimension. This includes the frame.
No diptychs, triptychs or pieces with multiple parts.
KCAC will have labels for you to fill out and put next to your work with: artists name, title, medium, retail price, & phone number so guests can text you the night of the event if they are interested in buying your work. NO OTHER INFORMATION IS ALLOWED ON THE WALLS.

• RECEPTION:
The One Night Stand event will be held Friday, November 17th from 6 – 9 pm. There will be appetizers, beverages and music provided throughout the night. Invite your patrons, family and friends. The more the merrier.
Sales are YOUR responsibility.
Payment will be taken by YOU. Checks should be made out to YOU.
Credit Card Reader Options: Square OR PayPal Here
KCAC will NOT take a commission for any sales UNLESS KCAC staff is required to be involved in the sale of the piece (i.e. running a credit card or facilitating the sale due to an artist not being present). The commission rate will be 30% if KCAC handles the sale due to the artist not being present or if you use the KCAC credit card machine.

• SALES FORMS:
As previously mentioned sales are to be made through the artist, but you MUST complete a KCAC sales receipt and fill it out completely. This form is in three parts. One is for the artist, the second is for the buyer and the third is for KCAC staff to collect as the piece leaves KCAC property.

• PICK UP:
If you work is not sold the night of the event, you have 2 options for collecting your work.
You may take the piece with you as you leave the event on Friday, November 17th.
You may pick up your work on Saturday, November 18th from 11 am – 1 pm.
If works are left after 1 pm on Saturday, November 18th, they become the property of KCAC.
Artists must show ID to remove their art off the walls on Friday & Saturday.

Please feel free to contact the gallery at 816-421-5222 Wednesday – Saturday from 11am – 5pm or via email at marissakcac@gmail.com if you have any questions regarding this event.

 

DECEMBER 1, 2017 - JANUARY 26, 2018

buttonwood

KANSAS CITY ARTISTS COALITION MEMBERS EXHIBITION AT BUTTONWOOD ARTSPACE

Calendar
October 13............Deadline to become a KCAC member
October 20............DEADLINE FOR ENTRY, Create your Buttonwood artist profile and submit at www.ButtonwoodArtSpace.com
December 1..........Exhibtion Opens
January 26............Exhibiton Closes

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!

In order to submit art for the show, you will need to create an artist profile on the Buttonwood website. Once your profile is created, you will receive an email with step-by-step instructions on how to upload your artwork and submit for the upcoming show. You will also be added to BAS’s artist email list in order to stay updated on future exhibitions at BAS. You may submit a maximum of 5 pieces to be juried.


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.

 

MARCH 2 - 30, 2018

bjorn

CYNTHIA BJORN works in multiple layers, leaving parts visible and obscuring, or covering up others, a balance between exposing and concealing visual information. She uses the paint’s transparency and opacity as one way to achieve this; excavating, scraping and sanding are other ways. Bjorn utilizes color to capture the tone of an emotion. Through her work, she seeks to communicate a visual representation of the emotional experience of living in a moment; with each piece informed by the past.

lagrand

SARA SALLY LAGRAND creates intricate glass pieces, a range of wearable metal creations and innovative metal sculptures. LeGrand developed a method utilizing many little pieces and repetitive forms, drawing from her own experimentation in glass, and her mother's inspiration as a professional florist.

DAmico

CARL D'AMICO is a self taught scenic detailed colorist that works primarily with pen and ink, liquid acrylic, water color and some colored pencil. A "Detailist," in that he works with a multitude of intricately fine lines and a “Colorist” because he uses soft overlays of ink or watercolor to fill in the spaces between those lines. However D'Amico does not idenify as a realist in the sense he deliberately strives to make more of a whimsical version of a scene than an exact representation of it.

 

MARCH 9 - 30, 2018

BISONE

JOHA BISONE gathers most inspiration through the natural world. Using delicate detailing and graceful line qualities, Bisone creates moments of reality that transform into whimsical landscapes. Intuition and curiosity lead the way. Sometimes an unintentional color or mark is made that can lead the piece in a slightly different direction which she follows. Intrigued with ideas of space and form, color versus line, and reacting and conversing with what the painting is slowly revealing.

 

APRIL 13 - 17, 2018

student

22ND ANNUAL UNDERGRADUATE COLLEGE STUDENT EXHIBITION
Mallin and Jacqueline B. Charno Galleries
April 13 - 27th, 2018

CALENDAR
January 1, 2018 – Call open on www.callforentry.org
March 7 – Entry submissions due
March 21 – Notification of artists begins
April 6-7 – Artwork due, 11 a.m. – 4 p.m.
April 13 – Opening Reception, 6 – 8 p.m.
April 27 – Exhibition ends
April 28 – Pick up works, 11 a.m. – 4 p.m.

AWARDS
The Leigh Rosenberg Earnest Memorial Fund will award a total of $500 in scholarship/s.

ELIGIBILITY
The exhibition is open to currently enrolled undergraduate college students in Missouri and Kansas and who are under 30 years of age.

MEDIA AND SPECIFICATIONS
Students may enter one time only with 1-3 artworks. NO multiple entries. All media is eligible. DO NOT submit details or more than one image of the same artwork. Entries must be original work, completed in the last two years and not previously shown in KCAC Galleries. If accepted 2 D work must be framed and wired for installation; works on paper should be framed under plexiglas. Sculpture must not weigh over 150 lbs. If accepted, video artists must provide a .mp4 file on a usb for display on 47" LED or provide display equipment for the duration of the exhibition. For more information call: 816/421-5222 or visit www.KansasCityArtistsCoalition.org

TO ENTER
www.CallForEntry.org site will walk you through Image Preparation and the Application Form. Begin your image prep right away, you can save your portfolio and return to it at anytime. There is no entry fee.

TO COMPLETE YOUR REGISTRATION YOU WILL NEED….
Image/s. Use good quality image/s (showing just the artwork, NO background); prepare the images according to the specifications at CaFé.
Information. Proof of your age. Proof of current enrollment as undergraduate in a Missouri or Kansas college or university. You will also need to know the name of your art department chairperson.

ACCEPTANCE Artists whose works are accepted will be notified beginning March 21. 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. KCAC reserves the right to reproduce accepted works for publicity, documentation and promotion of the exhibition. Artwork must be displayed April 13-27, 2017. Students should not submit work needed for scholarship exhibitions.

DELIVERY AND RETURN OF WORK
Works must be hand delivered to Kansas City Artists Coalition on Friday/Saturday, April 6-7 between 11-4 p.m. Work must be picked up April 28 between 11-4 p.m. If works are not picked up on April 28, KCAC will dispose of the work(s) in any way it sees fit without liability or further notice to the artist or lender.

SALES
KCAC will take 30% commission on work sold from the exhibition. Price submitted must include KCAC commission and frame, if applicable.

LIABILITY AND AGREEMENT
KCAC provides insurance for the exhibition.

 

MAY 11 - JUNE 29, 2018

SANTOLERI

PAUL SANTOLERI'S drawings respond to surface and surroundings, borrowing lines and images from his environment in an effort to enable the work to create itself. Using rhythms and repetitions that build narrative, the forms spin into abstractions based on emotions, pattern, movement, and direct response to instinct. These drawings become room drawings, where the viewer experiences the work by walking through it.

Lamberton

JOHN LAMBERTON's work is derived or sourced from a light formed image. Lamberton uses technology to render ideas as an evolution of capabilities and interests that he has sought out along the way. Currently he is exploring the spatial nature of the world, give voice to the notion that we live in a dimensional universe. Lamberton looks beyond a surface representation and portray the complexities and nuance that fills our lives.

Mallison-Jones

LYDIA MALLISON-JONES paints on silks stretched horizontally on a timber frame, where she uses differing weights of silk, producing movement based forms, gravity manipulated, rock & sea salts, dyes, silver leaf, zinc solder, oak ash & charcoal, plant juices, acids & alkali, iron filings, salt recrystallization, adhesives, humidity & layering. She has recently began the tentative use of acrylic & epoxy resins, desiring to operate in symbiosis rather than try to dominate & control the product of compounds fusing.

 

JULY 13 - SEPTEMBER 21, 2018

Frank

EMILY CONNELL has a BFA from Kansas City Art Institute. Residencies: Red Star Studios KCMO, Kansas City Collection IV, Kunstraum KC, International Ceramics Studio in Kecskemet, Hungary, La Meridiana International School of Ceramics, Italy, and Charlotte Street Foundation Urban Culture Project, Artist Inc. Fellow. Awards include ArtsKC Inspiration Grant and Regina Brown Undergraduate Fellowship through the National Council on Education in the Ceramic Arts (NCECA).

KELLY LYNN DANIELS has a MFA from University of Massachusetts Dartmouth and a BFA from California State University Chico. Residencies include, Red Star Studios, KCMO, Watershed Center for the Ceramic Arts, Newcastle, Maine, and Arch Contemporary Ceramics in Tiverton, RI. Awards include numerous assistantships and scholarships at Penland School of Crafts, Arrowmont School of Arts and Crafts, and Haystack Mountain School of Crafts as well as Mary M.C. H. Eccles Scholarship, Dean’s List, Jack Windsor Award for Ceramics, and Bernard Osher Foundation Scholarships.

CHRISTINA ERIVES has a MFA from Pennsylvania State University, MA and BA degrees from California State University Northridge. Her residencies include Foundation Resident at Red Star Studios, KCMO, Rasquache Residency, Cholula, Mexico, Short term Resident, Archie Bray Foundation, Helena, MT, Arquetopia Ceramics Residency, Puebla, Mexico, and New Mexico State University, Las Cruces, NM.

TOMMY FRANK is currently studio manager at Belger Crane Yard Studios and coordinator of the Red Star Residency program. He has a Master of Fine Arts from Bowling Green State University, a Post-Baccalaureate certificate from University of Florida Gainesville, and a BFA from Asbury University. Residencies include Arrowmont School of Crafts, Watershed Center for the Ceramic Arts, Odyssey Center for the Ceramic Arts, Archie Bray Foundation, and St. Petersburg Clay Company. Awards include First Place and Best of Show at The Annual Northwest Ohio Community Art Exhibition, Clay Champion of the World Craftsman House Gallery and Studio, Artist Achievement and Promise Award, and Eagle Scout Award.

HIROMI IYODA has a MFA from University of Nebraska, Lincoln and a BFA from California State University Long Beach. Residencies include Red Star Studios, KCMO and Ox-Bow School of Art. Awards include James Tingey Visiting Artist Fellowship at Kendall College of Art and Design, Fellowships and Othmar Scholarship at University of Lincoln Nebraska, Finalist “57th” International Competition of Contemporary Ceramic Art in Faenza, Italy, Travel scholarship award to study in Spain and France.

WEN DAN LIN MFA from Arizona State University, BFA from KCAI. Residencies: Red Star Studio, KCMO, Houston Center for Contemporary Craft, and International Ceramic Studio, Kecskemet, Hungary. Awards include Arizona Artist Guild Award, Susan Furina Memorial Scholarship, and Martin Wong Foundation Scholarship.

SARAH JEWELL OLSEN has a MFA from West Virginia University, BFA from University of Alaska Anchorage, Post-Baccalaureate Certificate from Oregon College of Arts and Crafts, and participated in the Jingdezhen Ceramics Institute Study Abroad Program in China. She is a resident at Red Star Studios, KCMO. Awards include Graduate Teaching Assistantships, Chautauqua Schools of Fine and Performing Arts Summer Scholarship, Dean’s Purchase Award, Dean’s List Scholarship, and USUAA Travel Grant.