Kemper Museum debuts the second in a series of commissioned atrium projects: a solo site-responsive installation by Firelei Báez (b. 1981, Santiago de los Caballeros, Dominican Republic; lives and works in New York). To See Beyond Its Walls (and access the places that lie beyond) combines a large-scale painting of a female figure with a reimagined interior of Sans-Souci Palace (1813) in northern Haiti, tracing conflicted histories and current political contexts of Hispaniola (the shared island of the Dominican Republic and Haiti) and America.
Stop / Motion is an exhibition of two-dimensional works from the Kemper Museum Permanent Collection that focus on the varying techniques used by artists to demonstrate both a sense of stillness and action. In addition to the figure present in each of these works, each artist’s composition reinforces either action or stasis.
Spreading out from the galleries walls as if seeping from underneath the Museum’s infrastructure, Polly Apfelbaum’s Split (1998) pulses with color. The sculptural installation’s two—almost touching—forms spread like trickling paint across the floor. The forms and fabric blotted with color remind us of the stained canvases of such Color Field artists as Morris Louis, Dan Christensen, Helen Frankenthaler, and Kenneth Noland, featured alongside Apfelbaum’s work in this exhibition.
Kemper Museum of Contemporary Art, in cooperation with the Kansas City Chapter of the National Museum of Women in the Arts (NMWA), is proud to host Women to Watch | Metals June 16, 2017–January 28, 2018.
The Women to Watch exhibition series features emerging or underrepresented artists from the states and countries in which NMWA has outreach committees. From the ornamental to the functional, this year’s exhibition explores metal as a medium.
Juried and curated by Kemper Museum Executive Director Barbara O’Brien.
Every three years, the Smithsonian National Portrait Gallery invites artists across America to investigate the art of portraiture through The Outwin Boochever Portrait Competition. Established in 2006, it is the premier national competition celebrating excellence and innovation in portraiture.
Using line, scale, and color, the works in this exhibition draw attention to selected aspects of an immense genre in contemporary painting: landscape. These painted landscapes of the horizon have great potential to blur distinctions between the world and our idea of the world, shaped by our own perspectives. Art historian Dave Hickey said of landscape art, “It is so attractive at a primitive personal and cultural level … that it is always difficult to decide whether a work is true to itself or only true to some old echoes within myself, some resonant private mythology.”
Reproducing the images and experience of nature is one of the great traditions of artmaking. Staging Nature explores, in works from the Permanent Collection of the Kemper Museum, some of the many ways that nature is inspiration and subject for artists. The human figure, animal forms, rolling landscapes, an animated universe of tumbling orbs, and crafted stage settings engage, delight, and challenge our perceptions and beg the question “What is real?”
Characterized by fluid movements, gestural marks, and subjects inspired by music and dance, Free-Flowing celebrates the intuitive style in works from the Kemper Museum’s Permanent Collection.
The Post-Impressionist group the Nabis ended their correspondence between members signing, “E.T.P.M.V. et M.P.,” standing for a French phrase “En ta paume, mon verbe et ma pensée” (“In the palm of your hand, my words and my thoughts”), emphasizing their interest in the symbolic resonance of their work. In this exhibition, this title phrase denotes the connection between works of art and statements written about the artists’ work and practice. In the Palm of Your Hand, My Words and My Thoughts present a selection of portraiture from the Kemper Museum Permanent Collection.
Magnetic Fields: Expanding American Abstraction, 1960s to Today introduces the work of more than twenty exceptional artists in conversation with one another for the first time.
The Kansas City Area Life Sciences Institute’s (KCALSI) fourth annual Science to Art exhibition features intrinsic images found in biomedical research, which is often displayed on research journal covers. The purpose of Science to Art is to provide a platform for scientists to display and describe their research through the visual arts. Each of these remarkable images tells a personal research story and poetically captures the research performed by the scientists and their teams.
Featuring Artists: Nicole Awai, Elizabeth Huey, Trenton Doyle Hancock, Susanne Kühn, Robyn O’Neil, Lisa Sanditz
This exhibition brings together works from the Kemper Museum’s Permanent Collection that represent dream-like worlds cloaked in mystery. The artists make the familiar seem unfamiliar by distorting space and suffusing their fantastical scenes with characters seemingly caught between this world and another.
The inspiration for patterns is all around us—from concentric circles rippling from a stone thrown into the water to camouflaged bodies of plants, insects, and animals. Patterns provide elements of texture, elegance, drama, and style that illuminate an artist’s concept. The expressions of everyday life and vibrantly abstracted forms presented in Pattern Scheme evoke qualities of time, balance, repetition, focus, and design that emerge from the unique styles, subjects, and stories of each artist, connected through their varying use of pattern.
José Lerma, Spanish-born, Chicago-based artist, presents a commissioned site-responsive project for a prominent location in the Kemper Museum Atrium. Upon visiting the Kemper Museum and Kansas City, the artist found inspiration within the art upon the walls of the Museum and the architecture within the surrounding community.
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–).
Hail We Now Sing Joy features a new body of work by Chicago-born, New York-based artist Rashid Johnson, a chapter following his acclaimed exhibition Fly Away at Hauser & Wirth Gallery, New York. This exhibition includes Johnson’s Anxious Audience, large-scale panels of white ceramic tile covered with dozens of agitated faces scrawled in black soap and wax.
This exhibition focuses on a selection of works by identifiable figures of American Pop art, widely known for their signature styles that elevate the meanings of everyday symbols, signs, and subjects.
The structure and concept of the bridge has been a major theme of Iranian-born, Minneapolis-based artist Siah Armajani’s work for decades. In celebration of Armajani’s Kansas City No. 1 (2000), gifted by the Sosland Foundation to the Kemper Museum in honor of the Museum’s twentieth anniversary, the exhibition Siah Armajani: Bridge Builder for the first time presents the artist’s exploration of the structural and philosophical underpinning of bridges since the late 1960s.
Kemper Museum of Contemporary Art is pleased to partner with Charlotte Street Foundation to present the work of Charlotte Street's 2016 Visual Artist Awards Fellows. New works by Madeline Gallucci, Rodolfo Marron III, and Shawn Bitters will be featured in the 2016 Charlotte Street Visual Artist Awards Exhibition opening September 2, 2016 at Kemper at the Crossroads. The exhibition is curated by Kemper Museum's Director of Curatorial Affairs, Erin Dziedzic.