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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.

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Deconstructing Marleen Gold Exhibition Checklist_FINAL.pdf

Kemper Museum’s Deconstructing exhibition series presents works that share themes and styles in relationship to one another, breaking down collecting histories and threads, geographical inspiration, and unexpected connections between them. Deconstructing Marleen Gold focused on the work of artist Marleen Gold’s (American, 1946–2020) work, featuring artwork from Ron and Marleen Gold’s private collection, as well as works from Kemper Museum’s Permanent Collection. 

Gold earned her B.F.A. in painting from the Kansas City Art Institute in 1979. She studied with professors Stanley Lewis (American, born 1941), Wilbur Niewald (American, born 1925), and Michael Walling (American, born 1935) whose work influenced Gold’s gestural style as seen throughout the exhibition. 

The work an artist collects also shines light on influences in their artistic career. Works by Fritz Scholder (American, 1937–2005) and Wolf Kahn (German, 1927–2020), among others from Gold’s collection were included in this exhibition. Gold was an accomplished equestrian in both English hunter and dressage styles, and equine imagery was a major part of her artistic practice. Her love of horses is expressed in her etchings and aquatints reminiscent of other accomplished artists such as Claudio Bravo (Chilean, born 1936) and Luis Jiménez (American, born 1940), who gave focus to images of horses during their career. Bravo’s Potro Rojo (1997) and Jiménez’s Mustang (1994), from the Kemper Museum Permanent Collection, were shown alongside Gold’s etchings, emphasizing the lineages present in certain subjects and shared interests among artists.

Through these works and others, this exhibition illuminated the dedicated artistic career of Marleen Gold through the lens of art collecting as well as the significance of visiting exhibitions and artists from around the world, which she enjoyed immensely throughout her life. 

This exhibition was organized by Kemper Museum of Contemporary Art and curated by Erin Dziedzic, director of curatorial affairs at Kemper Museum.

Installation views, Deconstructing: Marleen Gold, March 4-June 12, 2022, Sally Kemper Wood Gallery, Kemper Museum of Contemporary Art, Kansas City, Missouri. Photo: E. G. Schempf, 2022. 