Permanent Collection

4420 Warwick Boulevard
Kansas City, MO 64111

Contact

Kemper Museum Policies

The Kemper Museum website uses cookies. By continuing to use the site, you agree to our privacy policy and terms of use.

Hours

Employment

Docent Portal

Policies

News

Atrium Project

Oil on Linen

Visit

Free Admission

Free Programs

Location & Directions

Free Parking

Kemper Museum is a free art museum in Kansas City, Missouri that presents global contemporary art.

Kemper Museum of Contemporary Art

Accessibility

Exhibitions

Exhibitions & Collection

Calendar

Groups & Tours

Volunteer

Public Programs

Programs

Mission

History

Architecture

Leadership

Community Partners

About

Memberships

Legacy Society

Gala

Annual Report

Support

Cafe

Museum Shop

Special Event Rentals

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.

Land Acknowledgement

Join

Celebrate

Shop

Deconstructing Robert Mangold brings together an extraordinary range of conceptual, formal, and social connections between American Minimalist Robert Mangold (1937–) and other artists from the Kemper Museum’s Permanent Collection. Seven of Mangold’s original woodcuts, Untitled A through G (2000) and Curved Plane Figure III (1995), are presented in dialogue with works by his contemporaries: Immovable Iconography (1990) by Nancy Graves (1939–1995) and Roses and Roofs (1987) by Janet Fish (1938–). These three artists all attended Yale University in the early 1960s; together, their works illuminate a sense of shared community in the artists’ early practice.

Mangold’s woodcuts premiering for the first time are also presented in conversation with works such as Movement in White, Umber, and Cobalt Green (1950) by early American modernist John Marin (1870–1953), known for his abstract landscapes, and with Duet and Murmur (2014), New York­–based contemporary artist Cheonae Kim’s (1952–) paintings from her linear black-and-white series. These arrangements provide a sense of abstraction’s history and present in context with Mangold’s works. By extracting some of the Vitruvian connotations, architectonic forms, and reductive vocabulary of ellipses and squares found in Mangold’s prints, we can begin to get a sense of Minimalism’s vibrant and important thread connecting artists from the twentieth into the twenty-first centuries.

This exhibition is part of a series that started in 2013 with the exhibition Deconstructing Francis Bacon, providing scholarly meditations on the interconnectedness of artists and works of art. Deconstructing Robert Mangold is co-curated by Erin Dziedzic, director of curatorial affairs at the Kemper Museum, and Ameli Klein, Kemper Museum summer 2015 curatorial intern who is currently studying art history at Johannes Gutenberg University in Mainz, Germany.

Robert Mangold, untitled (B), 2000, Robert Mangold Prints, 1968–1998, woodcut on Korean Kozo paper, 7 15/16 x 9 15/16 inches. Gift of Senator Thomas F. Eagleton, 2002.26.2. © Robert Mangold

Exhibition Preview

Deconstructing Robert Mangold