Through Dec. 20, Sherry Leedy Contemporary Art presents a companionable pairing with “Michiko Itatani: Cosmic Wanderlust” and “Ruth Borgenicht: Homesites.” Both artists’ work is warm, enigmatic and has a protective, slightly mysterious vibe. The gallery is also showing ceramic wall sculptures by Jun Kaneko and a selection of the noted artist’s popular tanuki or trickster figures.
Emerging artist Robert Howsare expands on his self-described, ongoing fascination with the "themes of possibility and wonderment within every material" in “Interference,” an impressive exhibit of new work on display through Dec. 31 at Beggar’s Table Church and Gallery.
In an exhibit of her performance videos at Block Artspace, Gilmore knocks down barriers and punches and kicks her way out of tight spots, countering traditional expectations of female behavior and demeanor.
The Nelson-Atkins Museum of Art acquired Alberto Giacometti’s “Chariot” in 2000 as part of an 84-piece, $80 million gift. On Nov. 4, another “Chariot” in the edition sold at a New York Sotheby’s auction for $101 million. So a single piece from that gift to the Nelson is worth considerably more than the valuation 14 years ago for all 84 works.
Amy Kligman, Sean Starowitz and Garry Noland offer different takes on the past in the 2014 Charlotte Street Foundation Fellows show, which continues through Dec. 21 at the Nerman Museum of Contemporary Art.
Michael Manning’s “Wild Fusion Vol. IV: Technoeconomicology,” which continues through Nov. 22 at the Bill Brady Gallery, is a dizzying installation of HD flat screens, power cords, wires, paintings and found objects. To appreciate this visually stunning installation is to worship before the altar of technology, in all its ecstatic, confusing splendor.
Carol Zastoupil’s visionary landscapes, an exhibition of which continues through Nov. 30 at the Steeple of Light Art Gallery at Community Christian Church, are dreamy, gentle and seductive. But they also feel substantial, with imagery drawn from sites she has actually seen or visited.
“Across the Indian Country: Photographs by Alexander Gardner, 1867-68,” a riveting exhibit that continues through Jan. 11 in the photography galleries at the Nelson-Atkins Museum of Art, captures the personalities and the place where whites and Indians came together at a culminating moment — the 1868 signing of the Treaty of Fort Laramie in Wyoming.
It’s been a great fall for African-American art in Kansas City. The momentum continues on November First Friday, when Black Art in America, which describes itself as “the leading online portal and social network focused on African-American Art,” will hold a pop-up show at the Black Archives of Mid-America.
Titled “Believer,” the piece is part of Shipley’s ongoing “Devil’s Promenade” project with Antone Dolezal. The series, which explores Ozarks life and culture through straight and staged photographs by Shipley and Dolezal, as well as found images and texts, has gotten a lot of press lately, including a 2014 interview in Vice Magazine and a 2013 spot on NPR.
In “Four Assorted Chocolates,” which is on exhibit through Nov. 7 at the Carter Art Center Gallery at Metropolitan Community College-Penn Valley, Henry Dixon, Shane Evans, Kahlil Irving and Lon Powell depict the human figure in myriad ways with an array of materials and emotions.
In “Summoning Ghosts” at the Kemper Museum of Contemporary Art, Chinese-born artist Hung Liu quite literally “summons ghosts,” bringing the dead and the willfully forgotten into our view through large paintings based on 19th- and 20th-century photographs taken in China. An overlapping exhibit at Sherry Leedy Contemporary Art, “Hung Liu: Tilling the Soil,” explored similar themes.
Miki Baird’s “Read This … Part Two,” which continues at Studios Exhibition Space through Nov. 5, is a meditation on death, trash and dissolution through the medium of shredded paper. The exhibit builds on Baird’s explorations of her deceased father’s junk mail.
The contemporary art collection that the Hunt family is building at Arrowhead has grown to 26 pieces. Recent additions include a rare 1960 abstraction by eminent Kansas City artist Wilbur Niewald and the collection’s first outdoor work, an 8-foot-tall head by noted ceramic artist Jun Kaneko.
Known for small watercolors, Honig will show big paintings. Featuring colorful wreaths of flowers and fruit, the paintings were designed to function as backdrops for selfies, and Honig encourages viewers to circulate their portraits on the Internet.
Sunday at Kauffman Center for the Performing Arts, the cartoonist, who created the Pulitzer Prize-winning work "Maus," will take his audience through the early 20th century graphic novels that influenced him, complete with jazz by Phillip Johnston.
Jason Pollen has designed textiles for Chanel and Donna Karan, chaired the fiber department at the Kansas City Art Institute and achieved a significant reputation as an artist. His prodigious and inventive output is being featured in a two-part retrospective, “Jason Pollen Unfurled: Thirty Years in Kansas City,” at the Central Library.
The husband-and-wife pair express their observations of the local landscape through masterful drawing and luminous oil paint, but their paintings, on view in concurrent exhibits at The Late Show, are different.
“Drink creatively” is the motto on Paint Nite, when canvases and colors take over restaurants and bars around town. It goes on across the country, and in Kansas City, depending on the day of the week, it might be at RecordBar or Drunken Fish or Milieu.
The first thing you encounter at a new contemporary art show at Crystal Bridges Museum of American Art is the “Mom Booth,” where a woman in an apron sits at a table. She’s a real mom who gives advice, hugs and maybe a scolding. She might ask you to fold laundry or pick Legos off the floor.