Blog @ the Nelson-Atkinstag:www.nelson-atkins.org,2010:/blog//32010-02-08T16:21:51Zis the place to find out the latest about the Bloch Building, Nelson-Atkins Building and the Kansas City Sculpture Park. Sound off here about your experiences and be inspired for your next visit. Movable Type 3.32All the World's a Stagetag:www.nelson-atkins.org,2010:/blog//3.4142010-02-08T15:42:09Z2010-02-08T16:21:51Z From Greek tragedies to modern-day musicals, the theater has been a part of the arts for centuries. All the World’s a Stage: Theater and Costume, a new exhibition of works on paper, explores theater’s impact on artists of the...Jodi O-K
From Greek tragedies to modern-day musicals, the theater has been a part of the arts for centuries. All the World’s a Stage: Theater and Costume, a new exhibition of works on paper, explores theater’s impact on artists of the 19th and 20th centuries.
The walls of Gallery P27 are graced by prints and drawings by artists such as Eduoard Manet, Henri de Toulouse-Lautrec, Marc Chagall and James Ensor.
A large two-piece set by León Bakst dominates the space (see above). Measuring 4 x 6 feet, the panels are placed on opposing walls. Each one contains three characters from The Martyrdom of St. Sebastian by Gabriele d’ Annunzio. The play opened at the Théâtre Châtelet in Paris in 1911 with music by Claude Debussy and costumes by Bakst. He made more than 500 costumes for this production alone.
The other works of art in the gallery may not be as large, but they are full of compelling details. The two that intrigued me the most were Polichinelle by Eduoard Manet and The Vengeance of Hop-Frog by James Ensor.
Polichinelle (right) immediately caught my eye with his colorful clownish costume, including a big floppy hat and ruffled collar. As I looked closer, I noticed the stick behind his back and the stern look on his face. I wanted to find out who this interesting character really was so I began to read the label.
Polichinelle is derived from the Italian Commedia dell’arte character Pulcinella who was associated with deceit and duplicity. Manet has dressed his version as Marshall MacMahon, the president of the French Third Republic. MacMahon was nicknamed “Marshall Baton” for his brutal oppression of the Paris Commune of 1871 which fought to replace the exploitation of the working class with a more equal system.
One final tidbit explained that Polichinelle was also the model for Punch, the English puppet from the Punch and Judy show. Like MacMahon, Punch was known for using his baton at every opportunity.
The other image I found interesting (in a disturbing sort of way) was The Vengeance of Hop-Frog by James Ensor (left). This etching illustrates a scene from Edgar Allen Poe’s short story, Hop Frog.
In Poe’s story, Hop-Frog is a dwarf court jester who avenges the mistreatment that he has suffered at the hands of the king and his entourage. Hop-Frog convinces them to wear orangutan costumes, chains them together like wild beasts, and leads them into a grand masquerade ball, where they gleefully terrify the guests. At the climactic moment, he hoists them to the ceiling, climbs up to “discover” their identities, and “accidentally” sets them afire with his torch.
As engrossed as I was in the story, I noticed something that wasn’t mentioned on the label. A figure stands in the foreground with his back to us. He wears a sash inscribed with the artist’s name. Ensor used theatrical metaphors to criticize the world around him but that didn't mean he hid behind a costume.
Works on paper rotate about every six months. Because of their sensitivity to light, they may be displayed for only six months at a time before they are stored away for at least five years.
FIRST Léon Bakst, The Martyrdom of St. Sebastian, 1911, Color-lithographed poster in two parts. Purchase: acquired through the generosity of the Leawood Women’s Club, Richard Shields, and Felice Stampfle in memory of her uncle Arthur J. Suiter, F85-9 B. SECOND Eduoard Manet, French (1823-1883). Polichinelle, 1874. Seven colored crayon, lithograph. Purchase: Nelson Gallery Foundation, F87-9. THIRD James Ensor, Belgian, 1860-1949. The Vengeance of Hop-Frog, 1898. Hand-colored etching. Purchase: William Rockhill Trust, 73-17.
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Winter Wonderlandtag:www.nelson-atkins.org,2010:/blog//3.4132010-01-14T22:25:22Z2010-01-14T22:28:17Z With all the recent snow in Kansas City, one might think that the Sculpture Park hasn't seen to much activity lately. Well, I can't confirm it but there are rumors that dozens of children used the east side of...Jodi O-K
With all the recent snow in Kansas City, one might think that the Sculpture Park hasn't seen to much activity lately.
Well, I can't confirm it but there are rumors that dozens of children used the east side of the grounds for sledding and other winter games last week. With school cancelled throughout the metro area, the Park was packed with kiddos, parents and even some furry friends.
Personally, I prefer the Sculpture Park in any season but winter. Unless I am behind the glass of the Bloch Building with a beverage of choice in hand. But I'm glad the Park is able to provide entertainment all through the year. ]]>
Nelson-Atkins Holidaystag:www.nelson-atkins.org,2009:/blog//3.4122009-12-22T21:02:03Z2009-12-23T15:24:11ZThe holiday season is usually pretty hectic around here. Staffers completing last-minute projects before vacation, the Museum Store packed with holiday shoppers, budding artists attending Holiday Giftmaking classes and the galleries full of visitors seeking places of quiet reflection in...Adrianne Russell
Museum Store packed with holiday shoppers, budding artists attending Holiday Giftmaking classes and the galleries full of visitors seeking places of quiet reflection in the midst of seasonal madness (and wanting a reprieve from relatives, no doubt).
In the spirit of giving, here are some images of how we decoratively express our holiday joy!
Eddie Hankins, Maintenance, on his tricked-out floor cleaner.
The tree, stockings and family photo ornaments make the Maintenance Office a cheerful place to visit.
Being Fabrications, it only makes sense that this stocking is constructed from wood and styrofoam.
This gorgeously decorated tree in the Museum Store persuaded me to buy a Shuttlecock ornament in honor of my goddaughter's first Christmas.
This jolly fellow adorns my desk. I hope he's taking notes; I've been very good this year.
Happy holidays!
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American Indian Story Continuestag:www.nelson-atkins.org,2009:/blog//3.4112009-11-12T19:54:43Z2009-11-12T20:31:28Z Over the weekend, the Museum hosted thousands of visitors for the member preview of the new American Indian art galleries. The new galleries greatly increase space for American Indian art from approximately 1,500 square feet to just over 6,000....Jodi O-K
Over the weekend, the Museum hosted thousands of visitors for the member preview of the new American Indian art galleries.
The new galleries greatly increase space for American Indian art from approximately 1,500 square feet to just over 6,000. The Nelson-Atkins is one of the only comprehensive museums in the US to dedicate that much space to native American art.
The new galleries are positioned adjacent to the new American art galleries which opened in April 2009. This bold step establishes American Indian art as part of American heritage and creates an unprecedented continuity and commitment rarely seen in a fine arts museum.
The two new galleries are now on the second floor in what used to be the Modern & Contemporary galleries. However, they look nothing like the former space.
Grouped by eight main culture areas of North America, the new installation includes masterworks from a wide spectrum of cultures from pre-European contact to the present, including Woodlands, Plains, Southwest; Plateau; California and the adjacent Great Basin, Northwest Coast and Arctic. Navajo textiles, Woodlands and Plains quillwork, beadwork and sculpture, Pueblo pottery, Southwestern jewelry, Northwest Coast sculpture and California and Plateau basketry are among the artistic traditions represented in the Museum’s collection.
There are approximately 200 objects in the new galleries including many masterworks such as this incredible Objiwa Coat, Lonnie Vigil's gorgeous Micaceous Pottery Jar and one of my favorites, this Arikara Shield.
There are many "smaller" objects in the galleries too. Some literally only a few inches such as this ivory Toggle that is only 1 5/8 inches long. One pair of objects I found fascinating are these Prescription Sticks here and here.
Prescription Sticks were used by a healer as he or she prepared herbal medicines. The edges of the sticks are incised with pictographs that represent plant species and quantities. These are from the Potawatomi tribe in either Wisconsin or Kansas.
I'm looking forward to exploring the galleries in depth and learning more about the objects and sharing stories about the people who created them. The galleries are open to the public now. This weekend is the community celebration with special activities and performances. ]]>
Southwestern Explorationstag:www.nelson-atkins.org,2009:/blog//3.4082009-11-03T17:39:00Z2009-11-18T15:24:17ZGallery 214 is unique. It is devoted to American Art on Paper, and these art objects are often smaller in size, which I have learned is typical of the predominant media represented: lithographs, pastels, etchings and woodcuts. The sizes of...Melissa Kleindl
Tom Huck) are experimenting with larger prints.
In Gallery 214, the text labels that hang beside the prints blend almost seamlessly into the walls. The subdued ambiance of the gallery is appropriate considering the art objects it houses. The work required to create a print is intensive (I strongly recommend individual research on these interesting processes), and the gallery does not detract attention from these deceptively "simple" objects. To adequately consider their layers, a person must be patient enough to really slow down, pause and look.
The art objects in the gallery’s current exhibition, Impressions of the Southwest and Mexico, depict a wide range of early-twentieth century life in that geographic area.
In the early 20th century, there was widespread fascination with the American Southwest (in this exhibition, specifically New Mexico, Arizona, California) and Mexico. The artists featured in this exhibition were clearly stirred and motivated by the people, architecture, landscapes, weather and customs of these spaces.
These prints ask viewers to examine the lives and worlds of their inhabitants. The prints invite viewers to see the internal and external beauty, history and multiplicity of peoples and a space often defined as isolated, arid and deserted.
Activities represented range from celebrations to daily labor to reflective moments. The prints depict moments that are intimate and also voyeuristic. Simple and complex. They are dynamic and calm. Direct and subtle. Mourning and hopeful. Innocent and brave…
But only if we take a moment to really see them.
Image: David Alfaro Siqueiros, Zapata, ca. 1930.]]>
Hallowed Groundtag:www.nelson-atkins.org,2009:/blog//3.4102009-10-29T18:05:32Z2009-10-29T18:57:25Z Working at an art museum requires a certain level of creativity. Whether it is in the way we present the collection, put on an event or even how we direct people to the restrooms, we like to think of...Jodi O-K
Working at an art museum requires a certain level of creativity. Whether it is in the way we present the collection, put on an event or even how we direct people to the restrooms, we like to think of the most interesting way to do it.
Every year, we have an employee Halloween party and I must say, every year I am so impressed with the level of individual creativity and skill found in my group of co-workers.
There are always a few folks who create elaborate interpretations of pieces of art in the Museum collection. See the above homage to Claes Oldenburg's Soft Switches from 1964.
Vincent van Gogh made a visit to the party as well as travelers from a distant land (that's Museum Director/CEO Marc Wilson and Museum COO Karen Christiansen walking like Egyptians). I'm sure their costumes were strategically planned to promote the opening of the Museum's renovated galleries of Ancient art in 2010.
There was an Alice in Wonderland theme this year with Alice, the Mad Hatter, the Red Queen, the Cheshire Cat, the Doormouse and Tweedle Dee and Tweedle Dum in attendance. ]]>
Noguchi Rocks Ontag:www.nelson-atkins.org,2009:/blog//3.4092009-10-27T20:26:40Z2009-10-27T20:41:42ZIf you saw the recent entry about Museum volunteers helping the conservation team clean the Noguchi Fountain, you may have thought the job was finished. It turns out the plumbing system that helps drain and recirculate the water needed some...Jodi O-K
recent entry about Museum volunteers helping the conservation team clean the Noguchi Fountain, you may have thought the job was finished.
It turns out the plumbing system that helps drain and recirculate the water needed some attention. Once again, volunteers removed and cleaned ALL of the rocks.
When that was finished, they turned their attention to the grates under the rocks. The metal pieces were thoroughly scrubbed with an ethonal solution to kill any living organisms that were present.
Below you can see volunteers Dean Dixon and Michael Mullarky using toothbrushes to gently clean the metal grate.
After Museum engineers complete the plumbing project, more volunteers will help return the rocks to the fountain.
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Breaking Through Ceramicstag:www.nelson-atkins.org,2009:/blog//3.4072009-10-21T20:13:31Z2009-10-29T20:13:05ZOne of the luxuries of working at the Museum is the opportunity to daily challenge my preconceived notions of art. In the interest of cracking the "code" of ceramics, I made it one of my missions this week to seriously...Melissa KleindlAsian Influence on American Ceramics.
Kenneth Ferguson’s Four-Legged Vessel, 2004 is prominently placed. It is large, green and contains rabbit and turtle imagery. Rabbit heads face upward and their ears cover the vessel legs. I am aware that rabbits play an important role in Asian mythology, and are assigned complex personalities. They can be kind, sensitive, artistic, but can also be moody and superficial. The presence of a turtle perching on the vessel lid’s handle must also be considered. Turtles can be interpreted to symbolize the water element in Chinese mythology. They can also be symbols of longevity and good fortune. The rabbits look up to the turtle, perhaps for good fortune or recognizing in him wisdom that comes with longevity. Or a multitude of other possibilities from a multitude of definitions for the cultural symbols of other Asian groups.
Adding layers of color, clay type, slip, size and function further complicate an interpretation. A lidded vessel could be used to store food. It could hold a religious offering. The color green could refer to wealth or the Earth. Or the entire construction could be purely experimental.
I moved forward into L7 and was immediately drawn to Victor Babu's Canister, 1983. Canister, 1983 is smooth, graceful in contour. Vibrant and engaging, yet elegant, in color selection. A delicate butterfly rests just in sight. Flower heads lean heavily down. Perhaps I am sentimental, but in this ceramic object I see calm. I did, nonetheless, walk away from this object wondering about the historical trajectory of ceramic art: what motivated American artists to adopt or be influenced by Asian ceramics? What did they see or experience when viewing these objects? Why were they compelled to experiment?
I left Ferguson’s vessel and Babu's canister with more questions than answers—which opens for me a realm of continued evolution and opportunities which I had previously not considered.
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Why Textiles?tag:www.nelson-atkins.org,2009:/blog//3.4062009-10-13T19:52:31Z2009-10-29T20:09:16ZTaking a moment to consider the current Nelson-Atkins textiles exhibition Worldy Luxuries: Repetition in Renaissance Textiles was a rewarding part of my week. Gallery P6, or The Treasury, is small and securely tucked into the European galleries and P7’s Cloister....Melissa KleindlWorldy Luxuries: Repetition in Renaissance Textiles was a rewarding part of my week.
Gallery P6, or The Treasury, is small and securely tucked into the European galleries and P7’s Cloister.
The objects in Gallery P6, including the current exhibition's textiles, embody a piece of glitz and glamour 15th-17th century style. Many of the objects are religiously oriented, and all objects are delicately engraved and embossed. Visitors are transported to a period of elaborate reverence and given access to objects that few people of the time were able to view up-close.
The textiles shown are fragments. A moment of pause allowed me to appreciate seeing the textiles out of context. Take the Italian panel to the right. The dates of creation are placed between 1575 and 1625. The material is silk.
The panel's small size invites me to consider craftsmanship and the history of the piece. During the Renaissance, Middle Eastern influences abounded, including in textile production. In the panel of Italian silk, a visually pleasing pattern of strong male lions is repeated. The lion pattern is raised, dynamic, and soft. The photo to the right does not do justice to the texture of the fabric.
The production process is another layer worth unpacking. Until the Industrial Revolution in the 18th century, weaving and textile production was a cottage industry. Textile production was lucrative, but there may not have been large numbers of artisans trained to produce such high-quality textiles. I envision the process was slow, intimate and complexly artistic. Each delicate silk, velvet or linen thread was individually placed, touched and guided by a weaver’s hands. All movements were completed thousands of times over. Multiply those threads seen in a fragment by the thousands of threads likely required for a man's full garment or feet-long drapery and add to the equation potentially "primitive" equipment--the total workload is quite staggering.
Because these textiles were luxury items, the people able to purchase them were members of elite and highly select groups: royalty, aristocracy, wealthy merchants. Even today’s average viewer would be in a social class far below theirs and thereby unable to access such finery. This exhibition invites all viewers into an exclusive realm and to consider the possibilities of a place and time of which we have only glimpses.
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Artful Childhoodtag:www.nelson-atkins.org,2009:/blog//3.4052009-10-06T15:44:52Z2009-10-06T19:49:51ZAs a child, I am quite certain I spent a substantial portion of my time creating marvelous messes, exploring unsafe terrain and contributing to the graying of my father's hair. Yet I have difficulty precisely remembering the details of many...Melissa Kleindl
the details of many of my childhood experiences, and my memory may be unreliable in some instances. Looking back as an adult, idealizing and even trivializing childhood is an easy move to make. Any of my childhood nervousness, discovery, pain or sense of wonder and amazement about the world seems so innocent, even quaint, from my current vantage point.
However, I sense that this attitude is inaccurate, perhaps even inappropriate. The internal and external worlds of children are complex, multi-dimensional, and beautiful in an infinite number of ways. Children are constantly learning, adapting, shaping and being shaped by their surroundings. As adults, there seems to be room to interrogate our complicity in this process.
The Nelson-Atkins’ latest photography exhibition, Hide & Seek: Picturing Childhood, provides an opportunity for such exploration. In multiple ways, the photographers' images of children “emphasize the many elusive constructions of childhood that fall somewhere between innocence and knowing, nature and nurture, metaphor and fact.” They give viewers an opportunity to step into moments of childhood and to contemplate the wonder, clarity and fogginess, tenderness, possibility and sometimes even the contradictions that are so much a part of growing.
Images displayed on this blog (and part of the exhibition)
Sage Sohier Girl being prepared for a horse show, Sandwich, NH, 2004. Gift of the Hall Family Foundation, 2009.37.14.
Jocelyn Lee Untitled (Mimi in Nightgown), 1999. Gift of the Hall Family Foundation, 2009.40.7
An image that has stayed with me since I first viewed the photographs in this exhibition a week ago is Robert Lyons’ Young Girl Outside Manhiya Palace, Kumasi, Kenya, 1997. Unfortunately, this photograph is under copyright restrictions but I absolutely recommend making a trip to the museum to view it! With this photograph, I am unable to be a casual observer, but am compelled to consider my relation to the girl’s world, as well as the choices that she will be required to make. I see her youth, her beauty, and her gentle hand resting atop a spotless white dress and over her heart. My initial reactions were: I want to protect her, to smooth her paths, to share in her excitement but prevent any pain. But when I am able to move beyond those knee-jerk reactions, I see the bravery in her facial expression. I see her hopefulness, her strength and determination. I step back and listen to her.
The photographs in this exhibition present to viewers moments frozen in time. We are given a luxurious pause and maybe also a chance to contemplate what we might learn from the children around us.
What do you see in this exhibition?
Hide & Seek: Picturing Childhood
September 26, 2009— February 21, 2010
Location: Bloch Building, Gallery L11
Free Admission.
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Abstraction of Ritualstag:www.nelson-atkins.org,2009:/blog//3.4012009-10-02T16:57:59Z2009-10-02T17:35:08ZJodi O-K
Walking into a white room filled with thousands of mounds of white rice definitely sets a tone of reflection and mystery.
Wolfgang Laib: Without Place—Without Time—Without Body is an installation of thousands of mounds of rice, with five mounds of luminous yellow pollen at the center.
Laib lives and works in seclusion in his native Germany and in southern India, which he considers his spiritual home.
He studies philosphy and religion and finds the spiritual traditions of India most relevant for his work. He is especially drawn to Hindu ritual offerings of flowers, foods and other substances placed on altars, and to milk poured as a form of libation.
The five mounds of pollen in the center were handpicked by Laib who believes it is a sacred substance. He has displayed jars of pollen before in other installations which is conserved and reused. The pollen in our installation arrived on an art shuttle in a well secured crate.
The installation took about 3 1/2 days of 4 people working in shifts. Curator Leesa Fanning participated in the installation and describes it as experiencing time in a new way. Not having done this before, she created several practice mounds before she felt confident. By the end, the movement became meditative and automatic.
Overall, there are 4,315 mounds of rice. The installation is a challenge to maintain. For now, the air vents in that gallery have been turned off and the floor is swept twice a day to contain any errant grains. At the end of the exhibition, the rice will be collected by a compost company.
Fanning was able to speak with Wolfgang about the installation. To hear that interview and learn more about other works of art by Laib, click here. ]]>
American Indian Art Highlighted in Library Book Displaytag:www.nelson-atkins.org,2009:/blog//3.4042009-10-01T15:21:13Z2009-10-01T16:43:27Z Did you know that, in addition to being a great source of information about the Museum’s collection, the Spencer Art Reference Library puts together thematic book displays of items from their collections? The current display, Art of the First...Melissa Kleindl
Did you know that, in addition to being a great source of information about the Museum’s collection, the Spencer Art Reference Library puts together thematic book displays of items from their collections? The current display, Art of the First Americans: History and Forms of American Indian Art may be viewed in the Library’s Reading Room beginning October 1 until January 2010. The display includes various subjects, from general books on American Indian art to such specific topics as Plains Indian parfleches and Navajo weaving.
Library patrons are welcome to look through and read the books on display. Visiting the library and spending some time with these texts would be a wonderful way for individuals and families
to increase their knowledge of American Indian art and enhance their experiences in the American Indian galleries opening in November. Please consider visiting before or after your tours through these galleries!
The library changes the display about three times a year. Past topics have included American folk art, illuminated manuscripts, and the railroad in art. The displays are created by Library staff members: Roberta Wagener, Library Assistant, Public Services, with Marilyn Carbonell, Head, Library Services.
Do you have a topic you would like to see highlighted in a library book display? If so, let us know!
If you have questions about other works of art or any art-related reading questions, the Library reference staff is also able to create thematic lists of suggested readings on any art topic by request.
Spencer Art Reference Library Hours
Tues, By Appointment
Wed, 10 a.m.—4 p.m.
Thur, Fri, 10 a.m.—6 p.m.
Sat, Sun, 1 p.m.—4 p.m.
To visit the Library's webpage and find links to contact library staff, click here.
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Artistic Fighterstag:www.nelson-atkins.org,2009:/blog//3.4032009-09-29T19:20:21Z2009-09-29T20:55:32ZI 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...Melissa Kleindl
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.
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Surfacing Your Comments: Looking back at Quixotictag:www.nelson-atkins.org,2009:/blog//3.4002009-09-24T21:01:29Z2009-09-25T21:03:23Z 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...Emily Black
Although theQuixotic: Surfaceperformance 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
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Who's Who @ the Nelson-Atkins: Melissa Kleindl, Asst. Educator Interpretive Media and Resourcestag:www.nelson-atkins.org,2009:/blog//3.3992009-09-24T17:08:33Z2009-09-24T17:37:01Z 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...Emily Black
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 spending much time 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. This version of his pond at Giverny seems to have been produced later in his life, when his vision was failing and becoming more blurred, but that “blurriness” adds a bit of romance to the painting, in my opinion. 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. To me, Water Lilies is about movement and daydreams.
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. Perhaps I will even be able to help someone else see the dream-like qualities of Water Lilies.
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Polichinelle (right) immediately caught my eye with his colorful clownish costume, including a big floppy hat and ruffled collar. As I looked closer, I noticed the stick behind his back and the stern look on his face. I wanted to find out who this interesting character really was so I began to read the label.
Polichinelle is derived from the Italian Commedia dell’arte character Pulcinella who was associated with deceit and duplicity. Manet has dressed his version as Marshall MacMahon, the president of the French Third Republic. MacMahon was nicknamed “Marshall Baton” for his brutal oppression of the Paris Commune of 1871 which fought to replace the exploitation of the working class with a more equal system.
One final tidbit explained that Polichinelle was also the model for Punch, the English puppet from the Punch and Judy show. Like MacMahon, Punch was known for using his baton at every opportunity.
The other image I found interesting (in a disturbing sort of way) was The Vengeance of Hop-Frog by James Ensor (left). This etching illustrates a scene from Edgar Allen Poe’s short story, Hop Frog.
In Poe’s story, Hop-Frog is a dwarf court jester who avenges the mistreatment that he has suffered at the hands of the king and his entourage. Hop-Frog convinces them to wear orangutan costumes, chains them together like wild beasts, and leads them into a grand masquerade ball, where they gleefully terrify the guests. At the climactic moment, he hoists them to the ceiling, climbs up to “discover” their identities, and “accidentally” sets them afire with his torch.
As engrossed as I was in the story, I noticed something that wasn’t mentioned on the label. A figure stands in the foreground with his back to us. He wears a sash inscribed with the artist’s name. Ensor used theatrical metaphors to criticize the world around him but that didn't mean he hid behind a costume.
Works on paper rotate about every six months. Because of their sensitivity to light, they may be displayed for only six months at a time before they are stored away for at least five years.
FIRST Léon Bakst, The Martyrdom of St. Sebastian, 1911, Color-lithographed poster in two parts. Purchase: acquired through the generosity of the Leawood Women’s Club, Richard Shields, and Felice Stampfle in memory of her uncle Arthur J. Suiter, F85-9 B. SECOND Eduoard Manet, French (1823-1883). Polichinelle, 1874. Seven colored crayon, lithograph. Purchase: Nelson Gallery Foundation, F87-9. THIRD James Ensor, Belgian, 1860-1949. The Vengeance of Hop-Frog, 1898. Hand-colored etching. Purchase: William Rockhill Trust, 73-17.
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Eddie Hankins, Maintenance, on his tricked-out floor cleaner.
The tree, stockings and family photo ornaments make the Maintenance Office a cheerful place to visit.
Being Fabrications, it only makes sense that this stocking is constructed from wood and styrofoam.
This gorgeously decorated tree in the Museum Store persuaded me to buy a Shuttlecock ornament in honor of my goddaughter's first Christmas.
This jolly fellow adorns my desk. I hope he's taking notes; I've been very good this year.
Happy holidays!
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The two new galleries are now on the second floor in what used to be the Modern & Contemporary galleries. However, they look nothing like the former space.
Grouped by eight main culture areas of North America, the new installation includes masterworks from a wide spectrum of cultures from pre-European contact to the present, including Woodlands, Plains, Southwest; Plateau; California and the adjacent Great Basin, Northwest Coast and Arctic. Navajo textiles, Woodlands and Plains quillwork, beadwork and sculpture, Pueblo pottery, Southwestern jewelry, Northwest Coast sculpture and California and Plateau basketry are among the artistic traditions represented in the Museum’s collection.
There are approximately 200 objects in the new galleries including many masterworks such as this incredible Objiwa Coat, Lonnie Vigil's gorgeous Micaceous Pottery Jar and one of my favorites, this Arikara Shield.
There are many "smaller" objects in the galleries too. Some literally only a few inches such as this ivory Toggle that is only 1 5/8 inches long. One pair of objects I found fascinating are these Prescription Sticks here and here.
Prescription Sticks were used by a healer as he or she prepared herbal medicines. The edges of the sticks are incised with pictographs that represent plant species and quantities. These are from the Potawatomi tribe in either Wisconsin or Kansas.
I'm looking forward to exploring the galleries in depth and learning more about the objects and sharing stories about the people who created them. The galleries are open to the public now. This weekend is the community celebration with special activities and performances. ]]>
The art objects in the gallery’s current exhibition, Impressions of the Southwest and Mexico, depict a wide range of early-twentieth century life in that geographic area.
In the early 20th century, there was widespread fascination with the American Southwest (in this exhibition, specifically New Mexico, Arizona, California) and Mexico. The artists featured in this exhibition were clearly stirred and motivated by the people, architecture, landscapes, weather and customs of these spaces.
These prints ask viewers to examine the lives and worlds of their inhabitants. The prints invite viewers to see the internal and external beauty, history and multiplicity of peoples and a space often defined as isolated, arid and deserted.
Activities represented range from celebrations to daily labor to reflective moments. The prints depict moments that are intimate and also voyeuristic. Simple and complex. They are dynamic and calm. Direct and subtle. Mourning and hopeful. Innocent and brave…
But only if we take a moment to really see them.
Image: David Alfaro Siqueiros, Zapata, ca. 1930.]]>
Vincent van Gogh made a visit to the party as well as travelers from a distant land (that's Museum Director/CEO Marc Wilson and Museum COO Karen Christiansen walking like Egyptians). I'm sure their costumes were strategically planned to promote the opening of the Museum's renovated galleries of Ancient art in 2010.
There was an Alice in Wonderland theme this year with Alice, the Mad Hatter, the Red Queen, the Cheshire Cat, the Doormouse and Tweedle Dee and Tweedle Dum in attendance. ]]>
It turns out the plumbing system that helps drain and recirculate the water needed some attention. Once again, volunteers removed and cleaned ALL of the rocks.
When that was finished, they turned their attention to the grates under the rocks. The metal pieces were thoroughly scrubbed with an ethonal solution to kill any living organisms that were present.
Below you can see volunteers Dean Dixon and Michael Mullarky using toothbrushes to gently clean the metal grate.
After Museum engineers complete the plumbing project, more volunteers will help return the rocks to the fountain. 
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It is large, green and contains rabbit and turtle imagery. Rabbit heads face upward and their ears cover the vessel legs. I am aware that rabbits play an important role in Asian mythology, and are assigned complex personalities. They can be kind, sensitive, artistic, but can also be moody and superficial. The presence of a turtle perching on the vessel lid’s handle must also be considered. Turtles can be interpreted to symbolize the water element in Chinese mythology. They can also be symbols of longevity and good fortune. The rabbits look up to the turtle, perhaps for good fortune or recognizing in him wisdom that comes with longevity. Or a multitude of other possibilities from a multitude of definitions for the cultural symbols of other Asian groups.
Adding layers of color, clay type, slip, size and function further complicate an interpretation. A lidded vessel could be used to store food. It could hold a religious offering. The color green could refer to wealth or the Earth. Or the entire construction could be purely experimental.
I moved forward into L7 and was immediately drawn to Victor Babu's Canister, 1983. 
Canister, 1983 is smooth, graceful in contour. Vibrant and engaging, yet elegant, in color selection. A delicate butterfly rests just in sight. Flower heads lean heavily down. Perhaps I am sentimental, but in this ceramic object I see calm. I did, nonetheless, walk away from this object wondering about the historical trajectory of ceramic art: what motivated American artists to adopt or be influenced by Asian ceramics? What did they see or experience when viewing these objects? Why were they compelled to experiment?
I left Ferguson’s vessel and Babu's canister with more questions than answers—which opens for me a realm of continued evolution and opportunities which I had previously not considered.
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Take the Italian panel to the right. The dates of creation are placed between 1575 and 1625. The material is silk.
The panel's small size invites me to consider craftsmanship and the history of the piece. During the Renaissance, Middle Eastern influences abounded, including in textile production. In the panel of Italian silk, a visually pleasing pattern of strong male lions is repeated. The lion pattern is raised, dynamic, and soft. The photo to the right does not do justice to the texture of the fabric.
The production process is another layer worth unpacking. Until the Industrial Revolution in the 18th century, weaving and textile production was a cottage industry. Textile production was lucrative, but there may not have been large numbers of artisans trained to produce such high-quality textiles. I envision the process was slow, intimate and complexly artistic. Each delicate silk, velvet or linen thread was individually placed, touched and guided by a weaver’s hands. All movements were completed thousands of times over. Multiply those threads seen in a fragment by the thousands of threads likely required for a man's full garment or feet-long drapery and add to the equation potentially "primitive" equipment--the total workload is quite staggering.
Because these textiles were luxury items, the people able to purchase them were members of elite and highly select groups: royalty, aristocracy, wealthy merchants. Even today’s average viewer would be in a social class far below theirs and thereby unable to access such finery. This exhibition invites all viewers into an exclusive realm and to consider the possibilities of a place and time of which we have only glimpses.
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sometimes even the contradictions that are so much a part of growing.
Images displayed on this blog (and part of the exhibition)
Sage Sohier Girl being prepared for a horse show, Sandwich, NH, 2004. Gift of the Hall Family Foundation, 2009.37.14.
Jocelyn Lee Untitled (Mimi in Nightgown), 1999. Gift of the Hall Family Foundation, 2009.40.7
An image that has stayed with me since I first viewed the photographs in this exhibition a week ago is Robert Lyons’ Young Girl Outside Manhiya Palace, Kumasi, Kenya, 1997. Unfortunately, this photograph is under copyright restrictions but I absolutely recommend making a trip to the museum to view it! With this photograph, I am unable to be a casual observer, but am compelled to consider my relation to the girl’s world, as well as the choices that she will be required to make. I see her youth, her beauty, and her gentle hand resting atop a spotless white dress and over her heart. My initial reactions were: I want to protect her, to smooth her paths, to share in her excitement but prevent any pain. But when I am able to move beyond those knee-jerk reactions, I see the bravery in her facial expression. I see her hopefulness, her strength and determination. I step back and listen to her.
The photographs in this exhibition present to viewers moments frozen in time. We are given a luxurious pause and maybe also a chance to contemplate what we might learn from the children around us.
What do you see in this exhibition?
Hide & Seek: Picturing Childhood
September 26, 2009— February 21, 2010
Location: Bloch Building, Gallery L11
Free Admission.
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The five mounds of pollen in the center were handpicked by Laib who believes it is a sacred substance. He has displayed jars of pollen before in other installations which is conserved and reused. The pollen in our installation arrived on an art shuttle in a well secured crate.
The installation took about 3 1/2 days of 4 people working in shifts. Curator Leesa Fanning participated in the installation and describes it as experiencing time in a new way. Not having done this before, she created several practice mounds before she felt confident. By the end, the movement became meditative and automatic.
Overall, there are 4,315 mounds of rice. The installation is a challenge to maintain. For now, the air vents in that gallery have been turned off and the floor is swept twice a day to contain any errant grains. At the end of the exhibition, the rice will be collected by a compost company.
Fanning was able to speak with Wolfgang about the installation. To hear that interview and learn more about other works of art by Laib, click here. ]]>
tours through these galleries!
The library changes the display about three times a year. Past topics have included American folk art, illuminated manuscripts, and the railroad in art. The displays are created by Library staff members: Roberta Wagener, Library Assistant, Public Services, with Marilyn Carbonell, Head, Library Services.
Do you have a topic you would like to see highlighted in a library book display? If so, let us know!
If you have questions about other works of art or any art-related reading questions, the Library reference staff is also able to create thematic lists of suggested readings on any art topic by request.
Spencer Art Reference Library Hours
Tues, By Appointment
Wed, 10 a.m.—4 p.m.
Thur, Fri, 10 a.m.—6 p.m.
Sat, Sun, 1 p.m.—4 p.m.
To visit the Library's webpage and find links to contact library staff, click here.
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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.
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