Permanent Collection

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Kansas City, MO 64111

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Kemper Museum of Contemporary Art acknowledges it resides on the ancestral territory of the Osage, Kaw, and Otoe-Missouria, among other tribal nations forcibly moved to the region such as the Shawnee, Wyandot, Delaware, Potawatomi, Sac and Fox and Kiikaapoi (Kickapoo) nations. We recognize and support the continued vibrancy of Native communities and cultures today who continue to thrive, as well as the inherent sovereignty of tribal nations. We are compelled to serve and advocate for these communities in accordance with our public mission.

Kemper Museum acknowledges and respects the diversity of Native people connected to this land today. Many recognize the land and all beings who live within it as relatives. We acknowledge the earth we inhabit, the waters of the Blue River, the Kansas River, the Missouri River, and the plants, animals, and people supported by them. 

We acknowledge our responsibility to be good caretakers of the land we occupy. 

Click here to learn more about our land acknowledgment process.

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Elaine de Kooning

Bacchus #10

Fairfield Porter

Helen Frankenthaler

Bacchus

Coral Wedge

Midnight Shore

untitled

Jane Freilicher

Landscape

Rain

Grace Hartigan

The Massacre

Joan Mitchell

Untitled

Gilda Snowden

Imaginary Landscape

Beyond Ninth Street: Legacies of Women in Abstraction

I follow the rules until I go against them all. —Helen Frankenthaler

In recent decades, artists, scholars, and curators have reexamined the Eurocentric and male-focused narratives that have long shaped the history of postwar American abstraction. This exhibition, organized from Kemper Museum’s Permanent Collection, contributes to this conversation by highlighting an intergenerational group of women abstract artists who were active in the 1950s and the 1960s in New York City—Helen Frankenthaler (1928–2011), Jane Freilicher (1924–2014), Grace Hartigan (1922–2008), Elaine de Kooning (1918–1989), and Joan Mitchell (1925–1992)—alongside a more recent generation of abstract artists, including Shinique Smith (born 1971) and Gilda Snowden (1954–2014). 

Beyond Ninth Street builds on the museum's commitment to the study, acquisition, and presentation of modern and contemporary abstract art. Other exhibitions that have expanded understandings of American abstraction by recognizing artists who have been historically excluded as well as the current generation include Magnetic Fields: Expanding American Abstraction, 1960s to Today, Dyani White Hawk: Speaking to Relatives and the current major career retrospective Virginia Jaramillo: Principle of Equivalence, on view in the Charlotte Crosby Kemper Gallery June 2–August 27, 2023. 

Beyond Ninth Street: Legacies of Women in Abstraction is organized by Kemper Museum assistant curator Krista Alba.

Works in the Exhibition

virtual-checklist

Virtual Checklist

The works compiled on this virtual checklist have been recently exhibited and are now resting so that they may be shown again in the near future and preserved for generations to come.

More Abstract Works by Women Artists in the Permanent Collection

Squiggles

Dream Forms #3

Variation of Spirits Delight

El Gato

#112 Working Drawing

Hobo Dyb, Denmark

Malcolm X #13

Winter Into Spring 4

Circumstantial Evidence

Building

Interior by the Sea

Duet

Tremor

November Charlie (I am in distress and require immediate assistance)

Cloudfoot Kilauea

Carry III

Gilda Snowden (American, 1954-2014), Imaginary Landscape, 2006, acrylic on canvas, 40 x 60 inches, Kemper Museum of Contemporary Art, Kansas City, Missouri, Gift of the Gilda Snowden Estate, 2018.03.01. © Gilda Snowden Estate, Detroit, MI. Photo: E. G. Schempf, 2017.