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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. 

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Marcus Jansen (American, b. 1968) finds inspiration in the world around him. Regarded as a pioneer of “urban landscape painting,” Jansen uses his upbringing in both the United States and Germany, and places he was stationed during his time in the army, as influence for his paintings. Drawing inspiration from New York Abstract Expressionism as well as graffiti, Pop art, and Surrealism, Jansen employs practices from these art forms to create paintings that make social commentary. This exhibition places the techniques and themes in Jansen’s work in dialogue with other paintings, photographs, and prints from the Kemper Museum Permanent Collection.

Jansen’s mixed-media work such as Streets (2008) was inspired by Romare Bearden and Robert Rauschenberg’s use of collage and found objects. The nearly monochromatic scene in Empty Plates (2007) parallels photographs by Robert Farber with its use of gradient color, while details found in the corner of the painting pay homage to Abstract Expressionists like Willem de Kooning—another of Jansen’s inspirations. In both Streets and Empty Plates, Jansen employs a central line to divide the composition, a technique also seen in John Steuart Curry’s Fire Diver (1934). By including Jansen’s artistic influences and contemporaries, this exhibition highlights the visual, technical, and thematic correlations among them.

Deconstructing Marcus Jansen is the fourth in a series of exhibitions—following Francis Bacon (2013), Robert Mangold (2016), and Louise Nevelson (2018)—that focus on the style, themes, and history of individual artists within the Kemper Museum Permanent Collection. The Deconstructing series provides opportunities for meditations on the interconnectedness of artists and works of art in the Permanent Collection. Deconstructing Marcus Jansen is curated by Jade Powers, assistant curator at Kemper Museum.

Installation view
 Deconstructing Marcus Jansen, November 16, 2018–September 15, 2019
 Sally Kemper Wood Gallery, Kemper Museum of Contemporary Art

Arthur Tress (American, born 1940)
 Wall Street Panic, 1992, from the series Requiem for a Paperweight

Cibachrome print on paper, edition 2 of 50, 15 x 15 inches

Collection of the Kemper Museum of Contemporary Art, Kansas City, Missouri,
 Gift of Drs. Antonio and Luz Racela, 1999.05.18.

Marcus Jansen (American, born 1968)
 Empty Plates, 2007
 ​oil, enamel, collage on canvas, 36 x 48 inches

Collection of the Kemper Museum of Contemporary Art, Kansas City, Missouri,
 Bebe and Crosby Kemper Collection, Gift of the R. C. Kemper Charitable Trust, 2009.27.01.

Arthur Kraft (American, 1922–1977)
 Soldier with Death before a Carousel, ca. 1944–45
 graphite and oil on poster board, 12½ x 15¾ inches

Collection of the Kemper Museum of Contemporary Art, Kansas City, Missouri,
 Gift of Paul Uhlmann Jr. in loving memory of his wife Barbara L. Uhlmann, 2004.19.01.

Exhibition Preview

Deconstructing Marcus Jansen

Marcus Jansen (American, born 1968)
 Streets, 2008
 oil, enamel, collage on canvas, 36 x 48 inches

Collection of the Kemper Museum of Contemporary Art, Kansas City, Missouri,
 Bebe and Crosby Kemper Collection, Gift of the R. C. Kemper Charitable Trust, 2009.28.01.