Kansas City artist Asheer Akram is a magician of materials and a poet of the human condition. The massive sculptures, large wall reliefs and smaller ceramic vessels in his “Sacred Spaces” exhibition at the Belger Crane Yard Gallery decode mystical experience into visual form. The exhibit is on display through Jan. 24.
“Loving After Lifetimes of All This,” the final show of Danny Orendorff’s 2013-14 tenure as Charlotte Street Foundation curator-in-residence, showcases his signature themes and interests, including social activism, gay history and craft. On view through Jan. 3 at La Esquina gallery, the exhibit features strong works by national and Kansas City talents.
“The Innumerable Anxieties: Studies in Disorder,” Wichita-based Patrick Duegaw’s exhibit at the Leedy-Voulkos Art Center, is an allegorical, circus-like embodiment of the ambiguous and sometimes surreal tension that lies between primal emotions and codes of “proper” conduct. In large, richly executed paintings, he visualizes the innumerable anxieties from which the exhibit takes its title.
A 2010 Kansas City Art Institute alum has emerged as one of the most promising of the city’s young talents. Rhoads’ work is inspired by the masterworks he handles in his day job at the Nelson-Atkins Museum of Art. Themes of quest and longing infuse Rhoads’ intense small paintings, including a series, “The Great One.”
One of the British Museum's much-disputed Parthenon Marbles was unveiled Friday after being sent in secret to Russia — a surprise move that outraged Greece, which has long demanded the return of the artifacts.
The Kansas resident explores the mystery and magic of Flint Hills root cellars in an exhibit at the Box Gallery. Elsewhere on First Friday, holiday exhibits of affordable art abound, including the Kansas City Art Institute’s “end-of-semester student exhibition and sale” and a hot shop of works for less than $300 at Sherry Leedy Contempoary Art.
“Gilded Splinters (Devices I) by Academy Records,” a multimedia installation of video, found objects, terra cotta, milk paint, graphite and music at Rockhurst University’s Greenlease Gallery, keys off multiple sources, including Rockhurst’s Van Ackeren Collection of religious artworks, audio recordings by Academy Records collaborator Matt Hanner, a Fleetwood Mac LP and H.P Lovecraft’s “The Color Out of Space.” It’s up to the viewer to make connections.
Tens of thousands of local kids go without enough food on weekends. The Star is partnering with Harvesters to raise money for the area’s hungriest children. All money goes to Harvesters’ BackSnack program, which provides low-income children weekend meals. Just $25 provides a child BackSnacks for a month; $250 provides BackSnacks for a year. Everyone who donates before Christmas Eve will be entered in a drawing for a football autographed by Chiefs running back Jamaal Charles.
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.
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.
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.