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.

Media and Specifications
All visual media is eligible. Work requiring special installation (including large or heavy works) will be accepted ONLY IF the artist is available to install the work July 12 or by appointment.

Video: KCAC has two 42 inch LED Monitor and blu-ray players, if artists require different equipment they must provide it for the duration of the exhibition. If you have questions, please call before entering.

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 Kansas City Artists Coalition: River Market Regional Exhibition, click VIEW MORE INFO, read then click APPLY TO THIS CALL follow instructions.

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

Entry Fee
$40 minimum 1 - 5 entries
Fee is non refundable.

OPTIONAL. Artists who join or renew membership by May 17, 2017 and PRIOR to entering will receive a discount coupon code via e-mail to enter during checkout. (Artists Coalition and African American Artist Collective members receive a 50% discount. DURING CHECKOUT (before you enter payment) click box by the first amount (to make a checkmark) then press recalculate, enter the discount coupon code that you received from KCAC. If you do not enter the discount coupon code at checkout you WILL NOT receive a discount. No refunds will be made. To become a member call 816.421.5222 or go online.

Acceptance
Artists whose works are accepted will be notified beginning June 8. 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. KCAC reserves the right to reproduce accepted works in the catalog and for publicity, documentation, and promotion of the exhibition.

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

Sales
The Artists Coalition will take 30% commission on work sold from the exhibition. Prices input with images should include this commission and frame, if applicable. This price will be printed in the catalog; changes in price will not be accepted. If the artwork is not for sale indicate NFS and the appraised insurance value on the entry form.

Delivery and Return of Work
SHIPPING ACCEPTED WORKS. Artists pay shipping to and from the Artists Coalition Gallery. Accepted works must be shipped PREPAID and be delivered to the gallery July 5-7. 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 Artists Coalition; include insurance amount (if any) works will be returned via UPS. Shipped work will be returned Sept. 27-30.

HAND DELIVERY OF ACCEPTED WORKS. Works may be hand delivered Saturday, July 1 and Wednesday - Friday, July 5-7 between 11 a.m. and 4 p.m. Hand delivered work must be picked up Sept. 27-30, 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 Sept. 27-30, the Artists Coalition will dispose of the work(s) in any way it sees fit without liability or further notice to the artist or lender.

All accepted works must remain in the Artists Coalition Gallery until the close of the exhibition.

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

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.

 

CURRENT WORKS

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.

Calendar
TBD........................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.

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 2016 and August 2017. 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. Works that do not require framing are accepted, but need to be presented in a professional manner. Please contact us at kansascityscp@gmail.com. If you have any questions or concerns. All works selected for exhibition must be ready to hang. Accepted work delivered to the gallery that does 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 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 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. The gallery is not responsible for the loss or damage of works while in transit or while on display. All accepted works must remain in the Artists Coalition Gallery until the close of the exhibition.

Legal
The Kansas City Society of Contemporary Photography (KCSCP) and The Kansas City Artists Coalition (KCAC) reserve the right in their sole discretion to reject any or all entries and to modify or terminate the selection process for any reason and without prior notice. Applicant agrees that any and all materials submitted pursuant to this call for entry become the property of the Kansas City Artists Coalition and shall not be returned to Applicant. KCSCP and KCAC reserves the right to reproduce accepted artworks for the purpose of documentation and publicity on but not limited to www. kcscp.org and www.kansascityartistscoaltion.org, printed announcements for the exhibition, and advertisements. KCAC is not responsible for works left after the exhibition ends. Artworks are not insured past the designated pick up date. Works left over 30 days become the property of the Kansas City Artists Coalition and will be disposed of at the KCAC's discretion. Submission of application & images indicates acceptance of conditions stated herein. Any questions regarding this call for entry email KCSCP at kansascityscp@gmail.com

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.


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.