Kemper Museum of Contemporary Art presents 8–12 exhibitions per year in the Charlotte Crosby Kemper Gallery, Sally Kemper Wood Gallery, the Barbara and Paul Uhlmann Gallery, the Meeting Room Gallery, the Atrium, and the Kemper East Gallery. The Museum curates exhibitions from its Permanent Collection and of the work of emerging, midcareer, and established artists.
Formal inspiration from the studio meets allusions to history and contemporary subjects in the work of New York-based artist Reginald Sylvester II (American, born 1987). Building from a recent acquisition titled Offering IX (2022), a deep red painted rubber surface stretched to reveal the frame, the exhibition focuses on Sylvester’s engagement with painting, abstraction and Readymades, or artworks made from prefabricated objects that are given meaning through the artist’s selection and aesthetic choices.
Principle of Equivalence is the first major retrospective exhibition presenting a selection of seventy-three paintings and handmade paper works over nearly seventy years by New York-based artist Virginia Jaramillo (Mexican American, born 1939). Tracing the impact of the Jaramillo’s practice, which collide postwar abstraction with physics, science and the cosmos, archaeology and mythology, and modernist design philosophies, this exhibition sheds light on her career and situates it within the larger narrative of American abstract art.
The eighth annual Atrium Project commission will feature a large-scale installation by New York-based artist Sarah Zapata (Peruvian American, born 1988). Zapata creates vibrant and inviting installations using a combination of textile techniques that engage her Texan and Peruvian cultural traditions, as well as concepts of gender, labor, and identity. Challenging hierarchies in the arts through her methods and materials, the artist often animates the experience and understanding of her work by incorporating tactile elements or performance, turning viewers into participants.
Julie Blackmon (American, born 1966) has centered her life and career in and around Springfield, Missouri. This exhibition focuses on the last decade of her photographic practice showing scenes depicting family, community, and landscape deeply rooted in the artist’s Midwestern cultural heritage. The conflation of art and life—particularly the everyday life of her family at home in Missouri—has been the continued subject of her photographic work. Blackmon uses her surroundings to engage broader ideas of family dynamic, social space, and art historical references.