May 9 – June 20, 2014
SHIN-HEE CHIN The conventional “feminine” activity of needle works and media that have been traditionally associated with the feminine become the medium for making of art. Chin’s sculptural production shows that seemingly ‘menial female work can be a source of pleasure and power for women.
BENJAMIN ROSENTHAL “I am interested in a practice where ideas moves across materials and methodologies, as I seek new ways to address burning questions from different angles of approach. Moving between tangible space, visible time, and invisible space, I find myself questioning the authenticity of our physical experience in an age where the boundaries between reality and the virtual become indistinguishable.”
ANDREA FUHRMAN’s work is driven by her curiosity of magnification, abstraction, and color. As a child, she spent hours viewing her father’s collection of college biology slides. These small minute worlds inhabited by organic forms are the primary experiences that drive her paintings, photographs, and collage.
July 11 – August 22, 2014
32ND ANNUAL RIVER MARKET REGIONAL EXHIBITION
Featuring Juror Antonia Boström – Director of Curatorial Affairs at the Nelson-Atkins Museum of Art
Boström brings a wealth of experience from art museums in London and the United States, including her leadership position at the J. Paul Getty Museum, Los Angeles. Boström has pursued art throughout her life, and her scholarship and management skills have led her to the Getty Museum, the Detroit Institute of Arts, the Royal Academy of Art, London, and the Victoria and Albert Museum, London, among others.
Born and raised in London of Swedish and German parents, Antonia Boström received her B.A. in the History of Art from the Courtauld Institute of Art (London University, 1979), where she also obtained her Ph.D. in 1996. A specialist in the history of European sculpture, Boström has worked at the J. Paul Getty Museum in Los Angeles, the Detroit Institute of Arts, the Royal Academy of Art and the Victoria and Albert Museum in London. As the relatively-newly appointed Director of Curatorial Affairs at The Nelson-Atkins Museum of Art, she leads the curatorial, conservation and registration departments. Other than art, Antonia has a great interest in travel, music, food, and film.
September 12 – October 10, 2014
TIM FORCADE. Photography. “I locate or construct situations where the light itself is likely to be most dominant. I do not intend to make pictures of objects. I intend to isolate light as objects affect it.”
TERESA PASCHKE. Textiles. “My artwork explores the merging of historical with the contemporary, traditional with innovative, simple with complex, hand-made with digitally assisted. In my most current work, embroidery isn’t used to illustrate a concept but rather embroidery is the concept. In previous work, however, I’ve used embroidery as another artist might use charcoal or bronze for its specific aesthetic qualities.”
November 21, 2014
2014 PUBLIC HANGING
Our 3rd Annual open exhibition; all KCAC Members are welcome to bring one piece of artwork for the one night only exhibition. More information to come!
December 12, 2014 – January 16, 2015
RON FONDAW. Installation that explores the forces at play in the current shift from a reality based in a Newtonian paradigm of physics – where only matter is thought to effect matter, to a reality based in Quantum Physics where energy can effect matter. The exhibition tests ideas about how consciousness becomes energy and how the release of carbon might be a metaphor for this shift.
KAREN SCHORY. This new body of work utilizes the triptych format and collage techniques. Multiple images are layered in a three panel single image that evokes the smell of the place, the taste of the place, as well as the visual colors and textures. Most of the images are landscapes—but with landscape being broadly used. Some of the images are more like a still life—a record of objects. The images are enhanced to reflect the ideal rather than the simply real.
March 6 – 27, 2015
SHARON HARPER. Examines the human condition through her own personal experiences with love, loss, prejudice, emotional intimidation and self-acceptance. These complex concerns are processed through paint and sculptural mediums allowing for thoughts or feelings to be synchronous and affect one another and to be to read simultaneously.
HUGH MERRILL. Explores portraits from several points of view including studio and community strategies. “There will be unfinished portraits that gallery goers can draw and mark on, there will be Ghost portraits, self-portraits and a series of photo/portrait arts actions including the what I would like to be liberated from.
May 8 – June 19, 2015
PATRICK SCHMIDT. A site-specific installation using digitally generated drawing on colored vinyl or cloth tape. Schmidt uses pattern as metaphor for economic, social, and ethnic identifiers. He explores the ideas of space by considering how we perceive, interact, and experience paintings and drawings within a specific context. The structure and format of the current works explore relationships in-between defined disciplines while creating a space in which to play. Digitalization adds a utilitarian element to his work, thus equalizing the existing classifications. Much of the work is interactive in that the viewer has to move around the work in some way to fully engage. For the drawing installation(s) as the viewer walks into the space they walk into the work itself by walking on the drawing. His primary research interests focus on juxtapositions, how color affects perception, material, patterns as cultural motifs, and how technology is changing visual culture.
DEREK COTÉ. Installation based on themes of a changing Arctic. Coté’s original research developed into video installation, photographs, and sculptures that aim to present his experiences in an objective manner. Beginning with his participation with The Arctic Circle expeditionary residency, he have become interested in the foreseeable changes that are taking place socially, politically, and environmentally on the planet’s last frontier. Change is taking shape due to climate fluctuations, which has implications on Arctic population, shipping, trade, tourism, culture and even the distribution of wildlife species. The Arctic, which was once regarded as a hostile wasteland, is gaining a new reputation as a land primed for exploitation.