Tag Archive for ‘Kansas City Art Institute’
Step by Steps: Rita Blitt
The interplay of elements within each piece is critical; they support and complement each other, “moving” to inner and implied rhythms that give even the darkest works a flowing grace … and, yes, hope and bravvery.
New Age of Opulence : George Timock
Timock’s works fairly cry out for high ceilings, gilded woodwork and crystal chandeliers, for the sound of string quartets and carriage wheels and whispered palace intrigues. That said, they are perfectly lovely in their present surroundings.
The Building Blocks of Creativity : Cary Esser
It isn’t just the solidity of Esser’s pieces that gives them such a tactile quality. It’s the way in which they resemble puzzles, or construction blocks … or, perhaps, a combination of both.
The Potter’s Slow Hand: Daniel Ricardo Teran
Daniel Ricardo Teran’s intricately decorated pottery invites slow, thoughtful (and repeated) viewing.
The Play’s The Thing: Christopher Bostwick
Bostwick loads his works with enough detail, some immediately significant and some seemingly trivial at first glance, to fire the imagination.
Spare and Intricate, Silent and Eloquent: Ky Anderson
Anderson’s mixed-media paintings (oil and acrylic on paper), executed in a cool palette heavy on the blues and greens, are studies in both harmony and dichotomy. They are by turns — and usually within the same panel — simple and complex, elegant and raw, soothing and stimulating.
Space(s) Traveler: Colby Sempek
Sempek, a graduate of the Kansas City Art Institute who is now pursuing his MFA at the University of New Mexico, isn’t interested so much in pure scientific truths as in his artistic and imaginative take on them.
Dances with Paint : Cynthia Hudson
Hudson’s father was a visual artist, and her mother owned a dance studio. So when Hudson describes her preparatory process as “choreographing a painting.” she comes by that description honestly on both counts.
The Gatekeeper: Michael McClanahan
The sculpture is an open and ongoing metaphor. Sometimes its gates will be open, sometimes not; as with the creator, so with the creation.
REFLECT ART: ARTICLES OF DISCOVERY
What happens for you in that pause, the moment of viewing? An emerging patron offers the first in a series of inquiries into the perspective and involvement of the viewer, with essays about the process and exercises to challenge the way we all consider works of art and their place in our culture.
Chronicles of Compassion: Chloe Mann
Mann glosses over nothing in her photography. She has a keen eye for the telling detail in an environmental shot, and in capturing a sense of her subjects’ personalities. However … and this is important … she also doesn’t sensationalize, or depict people as pitiful.
ART: FOR LOVE OR MONEY — OR?
It is a common complaint in Kansas City that “no one buys art,” but it seems that plenty are willing to trade non-monetary goods and services for applied-arts objects and other pieces made by four graduating students from the Kansas City Art Institute’s Interdisciplinary Department. Will it be successful, overall, though? May 14 is the second night for “Trade Show,” which closes May 21 at the KCAI Crossroads gallery.
A Matter of Life in Death: Nora Goddard
Incorporating paint, drawing and other media (including the printed word and, yes, the occasional bird wing or possum jaw), Goddard holds to the narrow, bumpy track between detachment and over-emoting. Her work is clear of eye … but not always quite dry.
Warm Weavings for a Cool Night: Sarah Skidmore
Skidmore, who is concentrating mostly on shawls (one of which is pictured above) of late, weaves both softness and substance into her work. In her world, comfort and beauty are meant to be lasting commodities … and the products of both careful planning and sudden insight, woven together with a love of color and pattern.
FLUXUATING CONSTRUCTION, PAINTING
“Defining Things and Not Words” by Kansas City Art Institute senior Andrew Lyles challenges the notion of the art object, as well as addresses ideas of the body, fabrication, and composition. In his work everything is in a state of perpetual change, and he is constantly reinventing and re-appropriating his work in order, it seems, to maintain a level of invention and fabrication of art objects as just that — objects. On view at the KCAI Crossroads gallery through April 16.
Entries(RSS)