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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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Inspired by the best-selling book The Map as Art, this exhibition presents artworks that explore issues of mapping—whether conceptually or quite literally—while also examining the personal gesture involved in large-scale works. The exhibition features works by Ingrid Calame, Nathan Carter, Tiffany Chung, Joyce Kozloff, Lordy Rodriguez, Robert Walden, and Heidi Whitman. The exhibition is co-curated by Kemper Museum Director and Chief Curator Barbara O’Brien and Katharine Harmon, author of The Map as Art (published by Princeton Architectural Press, 2009).

Support for this exhibition generously donated by Garmin.

Installation view of The Map as Art in the Charlotte and Crosby Kemper Gallery, Kemper Museum of Contemporary Art.
 Photo: Bruce Mathews

Installation view of The Map as Art in the Charlotte and Crosby Kemper Gallery, Kemper Museum of Contemporary Art.
 ​Photo: Bruce Mathews

colored pencil on trace Mylar
 88 x 88 inches
 Collection of the Kemper Museum of Contemporary Art, Kansas  City, Missouri
 Bebe and Crosby Kemper Collection, Museum purchase made possible by a gift from the R. C. Kemper Charitable Trust, 2012.9
 © Ingrid Calame. Photo: James Allison Photography, 2013.

Nathan Carter
 B R Double O K to the Y N Street Treasures Take the A to the 1 to the 4-5 on up to Burnside Ave if you dare. The Fordham Heights Brownsville D also goes there., 2010
 steel, enamel paint, wood, wire, Plexiglas, found objects
 56 x 71 x 8 inches
 Courtesy of the artist and Casey Kaplan, New York, New York
 © Nathan Carter. Photo: Bruce Mathews.

Tiffany Chung
 Kaesong Armistice Conference Site 1951, 2010
 from the series: Scratching The Walls Of Memory Project
 embroidery, beads, metal grommets and buttons on canvas 
 44 x 34 inches
 Courtesy of the Artist and Tyler Rollins Fine Art, New York, New York
 © Tiffany Chung. Photo: courtesy of the artist.

Joyce Kozloff
 Jeez, 2012
 acrylic on panel
 144 x 144 inches
 Courtesy of artist and DC Moore Gallery, New York, New York
 © Joyce Kozloff. Photo: courtesy of the artist.

Lordy Rodriguez
 Wall Installation, n.d.
 ink on paper
 10 x 14 inches (each)
 Courtesy of artist and Hosfelt Gallery, New York, New York
 © Lordy Rodriguez. Photo: courtesy of the artist.

Robert Walden, (American, b. 1968)
 Ontological Surveillance Map 062712, 2012
 ink and gouache on paper
 37 1/2 x 38 1/4 inches
 Collection of the Kemper Museum of Contemporary Art, Kansas City, Missouri
 Gift of the artist, 2013.1.1–2
 © Robert Walden. Photo: courtesy of the artist.

Heidi Whitman
 Game of Chance, 2011
 ink, gouache, acrylic, paper, and cast shadows
 37 x 37 x 3 inches
 Courtesy of the artist and Christopher Henry Gallery, New York, New York
 © Heidi Whitman. Photo: courtesy of the artist.

Exhibition Preview

The Map as Art

Joyce Kozloff
 Targets (detail), 2000
 acrylic on canvas with wood frame
 108 inches diameter
 Courtesy of the artist and DC Moore Gallery, New York
 Photo: Jon and Anne Abbott, courtesy of DC Moore Gallery, New York