Blog @ the Nelson-Atkins

I am an admitted book nerd and lover of libraries. I am continually searching for new books, getting lost in shelves and uncovering something unique or unexpected. Even so, there are still moments when I am surprised at the contents of libraries.

During a recent adventure to the Nelson-Atkins’ Spencer Art Reference Library (SARL) to research an artist featured in an upcoming photography exhibition, I glanced along nearby shelves and found my attention diverted to an unusual title: Fighter :The Fighters of the UFC by Reed Krakoff. For those who may not know, UFC stands for the Ultimate Fighting Championship organization. Ultimate Fighting is a highly controlled combat sport where fighters utilize/mix various forms of martial arts, boxing, kickboxing and wrestling. Despite all of my quirky searches in other libraries, the presence of a UFC book on the shelves of an art museum library seemed odd and disconnected. Is it possible that what began as an “underground” fighting organization somehow has gained sufficient renown to be considered art-related? And is it possible that my conception of art has been too narrow, too rigidly intellectual, or too distant from the “real” world?

The author of an editorial review—and widely used summary—of the book suggests, "Depending upon your perspective, the Ultimate Fighting Championship organization, aka the UFC, is brash, beautiful, or brutal -- and as in your face as the fighters' blows. [….] In Fighter: The Fighters of the UFC, Reed Krakoff offers a unique look at these world-class athletes in a startling collection of black- and-white photographs. Krakoff, the president and executive creative director of Coach, a leading force in the fashion world, is also an accomplished photographer and a huge UFC fan. His pictures, shot with a medium-format Mamiya box camera, depict these fighters as they are rarely seen. Standing alone, without competitors or an audience, Krakoff's subjects look gentle, warm, humble, and disarmed. But with their signature tattoos and resilient bodies, it's also clear that they are built for the Octagon.”

I checked out SARL’s copy of the book and spent some time paging through it during a couple of my lunch breaks. Sam Sheridan, author of the book’s foreword, argues that “On the faces of the fighters there is confusion, trepidation, sorrow, moments of doubt. But also acceptance, and perhaps calmness. The pictures look past the savage appearance, the tattoos and scars, to find the ordinary person” (pg 9). The dominant images and minimal text seemed appropriate given both the independence and athleticism of the fighters and the photographer’s creative director occupation. To my novice eye, the quality of the photographs’ composition seems high and their content is interesting. While I am not convinced that the fighters look “gentle, warm, humble, and disarmed,” I am willing to accept that readers/viewers are presented with an opportunity in this book to look at the fighters as human—not simply blood-thirsty “modern day gladiators”—and, as Sheridan argues, “just men” (9).

To flip through some selected pages, click here.

My experience with this book is just one instance of many since I have started working at the Nelson-Atkins when my preconceived notions of art (and libraries, for that matter!) have been challenged. While I may resist these challenges, I cannot deny that my definition of art is becoming more inclusive (and complex) and that I am seeking beauty and artistry in things I might have otherwise quickly dismissed.

If you’re looking for a specific book or just interested in what SARL has to offer, click here to peruse our online catalog LEONARDO.

Although the Quixotic: Surface performance has passed, many thoughts surrounding this dramatic, site-specific installation continue to surface (ha!).

Personally, I was fascinated by the way in which each performance explored various conceptual and literal forms of surface. The interplay between the dancers and features of the building, in combination with a dynamic musical composition and wall graphics activated a multi-sensory experience unique to the Nelson-Atkins audience. I have to say – I will never look at the Nelson-Atkins building the same again!

Leave us a comment on the blog and let us know what you enjoyed about the show.

Read more about visitor’s reactions to the musicians, dancers, aerialists, composers, designers and choreographers who provided a beautiful production inspired by the Nelson-Atkins architecture.

“The dancing was fluid and beautifully choreographed. I particularly enjoyed watching two young boys entranced by the dancing. Even from my vantage point I could tell that they were totally amazed by what they were seeing. Also, I cannot count the number of people I watched walk by, or rather “bounce” by as they created a dance to the music they heard.” – Melissa Kleindl

“A remarkable expression of the human form as living art.” – Zak Jepson

“Spectacle of lights and dance: Quixotic @nelson-atkins lawn, great show” – jessdawn (via twitter)

Comments from our Facebook fans. Become a Fan here!

“The performance was beautiful…I need to spend more time at the Museum, I wasn’t really aware of any outdoor events, so I’m keeping my eyes open” – Ellen Knock Collins

“I enjoyed it very much, wish the stage was a just a little more elevated though.” – Cat Henry

“Incredible show! One of the best things I’ve seen in KC in a long time. Please do it again next year!” – Kevin Sink

“It was wonderful…beautiful music and dancing.” – Stephanie Finkelstein

“Every aspect was great! Excellent finale…loved the animation on the museum wall.” Rachel Yeakley

“It was fabulous – hope they do a show at the Nelson every year!!!!” – Toni Anne Straws

“This was my second time seeing a Quixotic performance and I plan on going to everyone. I am always amazed by the talent of your performers! Amazing! Five star ”- Paul Bukowski

“Unbelievably beautiful – the walls of the Bloch and neoclassic buildings as a canvas painted by breathtaking!” Merry Quackenbush

As a new employee of the Nelson-Atkins, much of my time in these first few weeks has been spent meeting other employees and becoming familiar with the inner workings of the Museum itself. This task has been a fairly smooth one as I seldom have to go far to find a friendly face or useful resource.

My position as Assistant Educator of Interpretive Media and Resources also places me in contact with people from departments across the Museum, and I look forward to those continued relationships. My position will have me examining didactic material for rotations, new exhibitions and perhaps even material for promotional purposes. In the process of addressing these tasks, I have found myself with impressive access to digital images of the Museum’s art objects and am daily amazed by the great diversity of art available at my fingertips. I continually discover new artists and media that I had not considered previously, but I am also able to experience long-time favorites in a personal way.

I have been drawn to the work of Claude Monet for some time, and my gallery excursions find me returning again and again to Monet’s Water Lilies. I like sitting in front of the Monet here because, though perhaps this is just a reaction to staring too long, there are moments when I am convinced I can see the water moving and the light (always shades of purple or pink) changing and glinting.

As with many Impressionist paintings I have seen, the closer I get to Water Lilies (though far enough to respect Museum rules!), the more blurred the content. At a closer vantage point the brush strokes become clear, abrupt and the paint thick. Yet as I move away from the painting, the lilies take shape and the green of foliage above and below the surface of the water begins to reflect.

I look forward to sharing my ever-expanding knowledge of the Museum with others and assist in the promotion of visitor engagement with works of art.

Today is the first day of fall which means the Kansas City Sculpture Park will soon take on a whole new ambiance.

The leaves on the ginko trees will turn vibrant yellow and the Autumn Joy Sedum will bloom on the terrace of the Bloch Building.

Last week I had a chance to walk through the Park and catch the tail end of summer and a hint of fall's arrival.

If you think you have a lot of housework, you would have loved to see the task that awaited staff members and five volunteers this week.

The team was tasked with cleaning the "Fountain" in Noguchi Court. This is no ordinary fountain, mind you. This one was created by Japanese-born artist Isamu Noguchi and sits prominently in the Bloch Building.

The sculpture is composed of two, asymmetrically sculpted basalt stones similar in size but differing in subtle configurations of form. The top surface of one stone is concave, while that of the other is convex. Water flows gently over the tops and sides of Fountain, reflecting light, deepening the stones' color and creating a meditative sound as it reaches the bed of river rocks below.

Today's project started with taking out all the rocks, which volunteers then vacuumed. Members of the conservation staff cleaned some rocks with an alcohol-based solution. Museum Engineers cleaned the stainless steel pans under the sculpture and snaked the drains. Volunteers replaced the rocks, with larger rocks on the bottom to create an aesthetically pleasing effect.

Fountain is cleaned once a year. Thank goodness for volunteers!