Blog @ the Nelson-Atkins

Yesterday was my first day as a marketing intern at The Nelson-Atkins Museum of Art. Randy Attwood, the Museum’s Media Relations Officer, directed my co-intern Caitlin and myself in escorting 22 ballerinas from the Legacy Ballet Company for a photo shoot in Rozzelle Court and the Bloch Building.

The girls ranged in age from 11 to 18 years old. The photo shoot began in Rozzelle Court where all of the girls were giggling and talking while putting on their point shoes. Their shinning smiley faces told me how special it was they were being photographed in the Nelson-Atkins.

The photographer did a great job keeping the girls focused and on cue. Once the photographs were taken in Rozzelle Court, Caitlin and I escorted the girls over the Bloch Building. The contemporary setting was a great back drop for the pictures. All of the ballerinas were wearing purple leotards which contrasted fabulously with the white background of the walls of the Bloch Building.

The photographer lined up the ballerinas on the stairwell, which created a great angle for the pictures. The last pose was from one of their dances. I thought it looked like a piece of art. All of the ballerinas were intertwined into one cohesive photograph.

Overall I had a fantastic time working on the photo shoot and I cannot wait for another one.

Today marks the one-year anniversary of the opening of the Bloch Building. In many ways, it seems like it just happened yesterday but in others it feels like its been 10 years. The Nelson-Atkins has become a well-known name in the Museum world.

The Bloch Building has helped to change everyone's outlook on Kansas City. When artist Kerry James Marshall visited a few weeks ago, he mentioned that he was very impressed with the Bloch Building and with Kansas City's multitude of cultural offerings.

One of the reasons we started this blog was to give readers an insider's look into the construction, progress and completion of the Bloch Building. You can read those archives and more here.

In honor of National Library Week, I took a few minutes to sit down with Marilyn Carbonell, the Museum's Head of Library Services to find out what is going on at the Spencer Art Reference Library. It turns out there is quite a bit!

First we talked a little about the importance of national library week. This year is the 50th anniversary of an organization that began because people were not spending as much time with books as they were with radios and television (now we could add computers and the internet, even blogs!).

The theme for national library week is Join the Circle of Knowledge @ Your Library. Marilyn was quite pleased with the theme because she says it represents the same philosophy of the Nelson-Atkins. A person may see a work of art in the galleries and be inspired to visit the Library to research that artist. Likewise, someone may be reading about an artist in the Library and want to visit a work of art in our collection. They are both points on the circle of knowledge.

Marilyn spoke of the many services the Library offers including book displays on changing topics. The current display is called Orderly Nature: Gardens in Art and History. The list includes books on gardens in art, artists's gardens and the history of gardens throughout the world, including China, Japan, Versailles and India. Of course, the list includes a book on the Museum's own Kansas City Sculpture Park (originally called the Henry Moore Sculpture Garden).

Additional resources include reading lists for museum exhibitions and a whopping supply of magazines and newspapers on hand in the Reading Room. Of course, the Library staff is a wealth of knowledge and is happy to help with anything from general questions to heavy duty research.

Even if you don't have a specific research need or feel intimidated by the idea of visiting an art library, don't worry. The Reading Room is full of interesting collections of items from map and travel books to Chinese encyclopedias. Be sure to stop by and join in the circle!

Stay tuned for more this week including recent acquisitions and more interesting things to find in the Reading Room. I hope to finally answer my personal question: What is all that stuff in the Museum Archives?

April 13 to 19 is National Library Week. That may seem like an odd subject for an art museum's blog, but did you know the Nelson-Atkins has a wonderful art reference library?

The Spencer Art Reference Library serves a wide regional audience including university students and professors, art historians and scholars and anyone else interested in art.

The Library Reading Room is open to the public 6 days a week. You can't check out books but you can catch up on the latest publications by Nelson-Atkins curators, conservators and more as well as read daily papers such as The New York Times.

Next week, we will feature several blogs devoted to the latest news and events from the Library. You won't even need a library card!

In honor of my alma mater, the University of Kansas, playing in the NCAA championship game tonight, we are spotlighting Roger Shimomura's print Kabuki Party from 1988.

Shimomura taught in the School of Fine Arts at KU from 1969 to 2004 earning the honor of University Distinguished Professor in 1994. During World War II, Shimomura's family lived for several years in an internment camp in California. As a small child during this period, many of Shimomura's works deal with his memories of that experience as well as issues facing contemporary Asian Americans.

Kabuki Party will be included in the upcoming exhbition, Print Lovers at 30: Celebrating Three Decades of Giving, opening May 3.

The Museum's recent acquisition of a rare daguerreotype of abolitionist John Brown is now on view in the Bloch Building.

The work is one of only six known daguerreotypes taken of Brown and is possibly the earliest, ca. 1846-1847. Portrait of John Brown is a powerful and memorable portrait of the abolitionist. It speaks volumes about his conviction and forceful character; he looks unflinchingly into the camera; he is confident and sure of himself.

Brown was a fervent abolitionist whose violent acts against slavey ignited the nation, propelling it toward the American Civil War. Outraged by the violence of pro-slavery forces, he and his followers carried out an ill-fated raid on the federal arsenal at Harpers Ferry, Virginia, that resulted in Brown being tried for treason and murder. He was hanged in public on Dec. 2, 1859.

My husband came to visit me for lunch today. After we ate, we took a quick peek into American Horizons: The Photographs of Art Sinsabaugh. The exhibition ends April 6 so I'm glad he had a chance to see it.

As we walked through, I was once again reminded of Sinsabaugh's ability to convert the details of ordinary compositions into extraordinary visions. I was particularly amused with a quote from Sinsabaugh on the wall text.

The text explained how he was frustrated at one point in his career with a lack of a signature style. One day he drove into the country outside Chicago to find inspiration. Sinsabaugh said that he "drove and drove and drove and drove" until he was literally in the middle of nowhere. Unfortunately, he was so much in the country, there was nothing there to see. Having spent many years of my life living in and driving through the Midwest, I knew exactly what he meant.

Fortunately, Sinsabaugh persevered and was able to capture the details in the midst of a bunch of nothing. For me, the beauty is in the tiny water towers, farm houses and power lines dotting the vast landscape. By trimming some of his images to one inch in height (which removed a great deal of the sky), Sinsabaugh focused on the presence instead of the emptiness.

Make sure to visit this exhibition if you haven't yet. It is quietly beautiful with splashes of humor and humanity.

Barbara Morgan began her career as a painter studying modern art at UCLA in the 1920s. It was her interest in modern dance that eventually led her to photography and her collaboration with several well-known choreographers including Martha Graham.

Since dancing is an impermanent art form, Graham believed the art of a dancer died with their physical death. For both Morgan and Graham, photographing dancers was a way to capture and preserve their artwork.

Morgan was not concerned with a literal documentation of a dancer’s performance. She would attend performances to familiarize herself with the dance and movement and to find the essence of the piece. Once she felt she had captured the theme in her head, she would restage the performance in her studio or nearby theatres. She created the lighting as well and used it to enhance the experience.

One of my favorite photographs by Morgan is Martha Graham, Letter to the World. You may see it in our current exhibition In the Public Eye: Photography and Fame. I’ve always thought it was a gorgeous image purely for its elegant composition. I never saw Martha Graham perform but from this image, I can imagine the passion and intensity she put into every movement.

With the addition of the Hallmark Photographic Collection in 2006, the Nelson-Atkins jumped to the top of the heap in the world of photography. Opening this Saturday, In the Public Eye: Photography and Fame, gives another great example why that is true.

I popped into the gallery yesterday to find the curators and preparators in full swing. There are 44 photographs in the exhibition and many of them are no larger than 8 x 10 inches. The exhibition takes up 2 small galleries but it packs a big punch.

The subject of the exhibition will make it quite popular with many people (the fact that there is no admission fee is definitely a plus). What I think is more interesting is the choice of images. There are images of Marilyn Monroe, Grace Kelly, Spencer Tracy, Meryl Streep that are beautiful. There are also images of Ulysses S. Grant, Richard Nixon, Wilt Chamberlin, Iggy Pop and Babe Ruth. But my favorite section is the "artists corner." There is an image of Constantin Brancusi in his studio (be sure to check out the frame), a portrait of Pablo Picasso and this image of Piet Mondrian with one of his paintings (see above). I like the twist of creating a work of art out of the image of an artist.

The exhibition opens to the public on Saturday. If you are a member, you may see it Thursday or Friday. Be sure to bring your membership card and a smile!

I think Leap Day is the perfect opportunity to do something out of the norm. Today I participated in our Security Appreciation Day at the Museum. For one hour, I was one of many who volunteered so that our security officers could enjoy a special luncheon.

My post was in one of the contemporary galleries in the Bloch Building. It is one of my favorite galleries for both the art and the architecture (see picture). These two adjoining galleries contain works of art by Radcliffe Baily, Kerry James Marshall and Deborah Butterfield, just to name a few.

Not that I was eavesdropping, but it was quite interesting to listen to the visitors as they spent time in the galleries. One man claimed he used to be "best friends" with Caroll Dunham. Another group of women were discussing the architecture and comparing it favorably with the Walker Art Center in Minneapolis and the De Young Museum in San Francisco.

A couple of group tours passed through. One of the docents spoke about Art Part by Elizabeth Murray. She explained that when Murray created this painting, she didn't have a studio space so she painted on multiple, smaller canvases. The docent also shared that Murray had been going through a divorce at the time and that she felt this work of art was symbolic for putting the pieces of her life back together.

What might have been the most interesting part was speaking with the Museum officer who was posted in the gallery next to me. He is originally from Armenia and has been at the Museum for 12 years. We talked a lot about the current presidential campaigns and how they are very different from European countries.

The hour went by surprisingly fast. My only regret is that I definitely wore the wrong shoes. When I was done, I took the first opportunity to put my feet up and enjoy a bowl of my favorite soup in the Museum Cafe.

I had no idea just how big the new El Anatsui acquisition was until I saw it come out of its crate and unrolled yesterday afternoon. It’s HUGE! The preparators kept going for more blankets to lay out the more they kept unrolling and unrolling. For those of you who have yet to visit Tapping Currents: Contemporary African Art and the Diaspora, El Anatsui has a work, Hovor, featured in this exhibition.

It was apparent just how excited all the people were as the work was being unrolled. Because the work is sewn together with copper wire, the preparators and conservationists were very interested in how much time it might take to fix any stitches. The work seemed to be in excellent shape, but will certainly require much more inspection.

One really neat aspect of El Anatsui’s works of this nature is that they can be hung flat or sculpted on the wall. I am pretty sure I could see everyone’s brains already starting to wonder if there was a wall big enough to hang this one flat, and if not, then how much fun it will be to get to sculpt and “play” with the work. I am definitely looking forward to seeing what they come up with. We'll all have to stay tuned.

Through Sunday, Feb. 10, you can see two exhibitions for the price of one. Rising Dragon: Ancient Treasures from China and American Horizons: The Photographs of Art Sinsabaugh are two beautiful exhibitions of rarely seen objects.

Rising Dragon features many of the Museum's acquisitions of Chinese art over the past 20 years that have never been on view before. The rare and powerful beauty of these works of art is astonishing. You can enjoy fascinating stories of objects associated with the after world, learn about the importance of dragons and appreciate the delicate beauty of Chinese lacquer in this one-of-a-kind exhibition of our world-famous Chinese collection. This exhibition closes Feb. 10.

American Horizons is a retrospective of photographer Art Sinsabugh. His photographs examined the transformation of the American landscape from farmland to metropolitan with intriguing technique and subtlety. You will definitely want to linger at each photograph to take in all the details Sinsabaugh so delicately captured in his sweeping vistas.

Be sure to come by this weekend to enjoy these two exhbitions. American Horizons continues through April 6.

If you haven’t experienced Rising Dragon yet, you don’t want to miss your chance. This absorbing exhibition is in its final week and will close on Sunday, Feb. 10. These extraordinary artworks span 5,000 years of China’s rich and diverse art history.

The exhibition is truly an experience. The lighting and colors create a real sense of place; as if you are entering a whole other world for a while. When you enter the galleries, a fantastic bronze dragon greets you. Some of the works at the beginning of the exhibition lack functionality. The pitcher has its obvious use, but the artist has made it in a way that it cannot serve its traditional purpose. It truly is a work of art.

My favorite display in Rising Dragon is <Tomb Miniatures for Use in the Afterworld. These miniature versions of real life objects were not toys. Most of the objects would serve everyday needs in the deceased’s afterlife such as: a stove, shoes, lamps and games. They even built little buildings to store valuables in and containers for clothing and cosmetics to ensure good personal hygiene.

The amazing craftsmanship and skill is evident throughout Rising Dragon. The exhibition seems to come full circle as a dragon bids you farewell. This dragon roof-tile is both elegant and fierce at the same time; the colors and movement are stunning. These works are a great representation of the Museum’s amazing collection of Chinese art. Rising Dragon will close at 5 p.m., Sunday, Feb. 10.

Yesterday, we had a preview of the new featured exhibition American Horizons: The Photographs of Art Sinsabuagh. Keith F. Davis, curator of photography, walked us through the exhibition which consists of 85 photographs, one of the cameras used by Sinsabaugh and a resource area with books and a looping video about the artist.

Davis described Sinsabaugh as a truly unique artist. No one else worked as he worked therefore his prints are extremely rare. Sinsabaugh used a big camera to make small to moderate sized pictures. The camera produced a 12 x 20 inch negative but Sinsabaugh chose to crop his pictures, some as small as 1 inch in height. He maintained the full width of 20 inches in most of his pictures, emphasizing the narrative qualities of his work. Davis compared them to horizontal Chinese scrolls in that they are delicated and packed with details. You have to slow down and get up close to appreciate them completely.

As I followed the group through the galleries, I began to notice more and more in each image. One that I particularly liked is Chicago Landscape #298 from 1966. If you look carefully, you'll notice a tiny house smack dab in the middle of these urban high rises. I love the way the buildings frame the house as if the high rises were intentionally built around it. I also love that if you do notice the house, its like some secret message is revealed. Davis explained that while Sinsabugh was capturing many ideas in his work incluiding the progression of the landscape from rural to urban and the "use it and throw it away" mentality of America, he quite often chose to focus on something completely human.

The Bloch Building is wonderful and I am glad it has received so much praise and well-deserved honors. However, I found a recent article in the Boston Globe quite refreshing (sorry, the link to the full article on the Globe's site wasn't working). Yes, it had the usual praise for the architecture and inventive use of space but it went a little further to commend the reasons for the expansion. Robert Campbell wrote:

“What I like best about the Bloch was that it isn’t a stand-alone, look-at-me building. Its inventiveness isn’t employed to make some big sculptural statement. Everything about it, instead, is a reaching out for connections – to the site, to the old museum, and (for free) to the members of the public. It’s a garden piece as much as a work of architecture.”

As I read this paragraph, I felt many things. A sense of pride but also a sense of relief. Kansas City is a metropolis with a small town feel and many people were outraged by the gaul of some high flautin' east coast architect coming here to upset the natural order of things. The Nelson-Atkins made it clear from the beginning of the project that the Bloch Building (as well as renovations in the original building and a reinstallation of the Kansas City Sculpture Park) were first and foremost, a community initiative.

It is nice to have a big, shiny, new building but if it doesn't welcome and engage its visitors, then it is a failure. It's nice to know we got it right.

Installation of the new featured exhibition American Horizons: The Photographs of Art Sinsabaugh began today in the large exhibition space in the Bloch Building. The exhibition opens to the public Jan. 26.

The exhibition of 85 photographs includes this camera used by Sinsabaugh. The exhibition is comprised completely of photographs from Indiana University Art Museum and the Museum's photography collection. Two of Sinsabaugh's best-known series, Chicago Landscape Group and Midwest Landscape Group are included in the exhibition.

I've never been to Italy or France so I was tres excited when the Museum Café opened in the Bloch Building. With its outdoor seating and a sleek design (check out these fabulous salt and pepper shakers), I am transported to a life where hanging out at cafes is considered quite important.

With delicious food and the best view in town, the Café is an attractive location to meet for lunch, start the weekend or wind down after work. If you haven't been to the Café yet, make a date with friends and come for a visit. Don't forget to wear your beret!

Mark your calendar or program your DVR to catch The Architecture of Museums at 8 p.m., January 10 on KCPT, the local public television station for Kansas City. This episode of Screen Time will be dedicated solely to the panel discussion that was held on June 8, 2007, the day before the public opening of the Bloch Building.

The panel was moderated by Museum Director and CEO Marc Wilson and consisted of Steven Holl, Bloch Building architect; Jeffrey Kipnis, curator and professor of architecture at Ohio State University; Timothy Rub, director of the Cleveland Art Museum; Rebecca Young, manager of exhibition design at the Nelson-Atkins and Lebbeus Woods, architect and artist.

The panel drew a full house to Atkins Auditorium. Standing in the back of the room, I remember there was a buzz of excitement and energy about the opening the next day. Be sure to watch it tomorrow at 8 p.m.

The Bloch Building continues to be hailed as one of the best buildings of 2007. In addition to Time Magazine's Richard Lacayo annointing it as the #1 New Architectural marvel, the building has appeared in "best of 2007" lists in publications including Newsweek and the Chicago Tribune.

It would be easy to sit back and rest on our laurels but that is just not our style. In 2008, the Nelson-Atkins will celebrate its 75th anniversary and will host the international exhibition Art in the Age of Steam. In 2009, the Museum will unveil completely renovated and reinstalled galleries for the American and American Indian collections, and in 2010, the redesigned galleries for the Ancient collection will open with a beautiful new dispaly of Egyptian masterpieces.

While 2007 was definitely the year of the Bloch Building I am looking forward to a great and exciting future for the Nelson-Atkins.

You might have seen in the news recently that a rare daguerreotype of Civil War activist and abolitionist John Brown was purchased by an unidentified buyer at auction. Portrait of John Brown was acquired by the Nelson-Atkins through the generosity of the Hall Family Foundation (a la Hallmark Photography Collection and Hallmark Cards, Inc.).

The work is one of only six known daguerreotypes taken of Brown and is possibly the earliest, ca. 1846-1847. The image was captured by Augustus Washington, one of a few African-Americans daguerreotypists at the time.

Brown's portrait joins the Museum's photography collection, which is considered to be one of the broadest and most definitive holdings of 19th-century American photography, with a particular strength in daguerreotypes.

Portrait of John Brown will be on view in March 2008. Before then, be sure to visit the featured exhibition Developing Greatness: The Origins of American Photography, 1839-1885 on view through December 30 to get a look at some of the first photographic images ever created.

Most people walk in to a museum or gallery and are amazed by the works of art but I wonder how many people think about how the paintings and objects got there. All of the works in the new Bloch Building had to be moved at least one time. Some had been on view in the Nelson-Atkins Building previously. They had to be de-installed and moved to storage and then re-installed in the new spaces. The task was enormous and took the better part of a year to accomplish.

I found some great photos from the installation of the contemporary galleries. Above is Large Stack by Donald Judd that has one of the best locations in the new building.

I also found these great shots of the Museum's prep team installing Art Part by Elizabeth Murray. They started with a paper mock up of the painting to determine the lay out. Once everything was marked, the 22 separate canvases were installed piece by piece. Kind of like a big jigsaw puzzle except you can't lose any pieces!

The Museum Store is now full of delightful holiday items from books and cards to ornaments of all shapes and sizes. Local artist Irma Starr has lovely holiday additions to her line of reproductions of the Museum's famous Burnap Collection of English slipware and pottery. My all-time favorite piece is her reproduction of our Owl Jug which was affectionately named Arthur, or 'Art' for short, in a naming contest by one of the Museum's members.

The item that caught my eye today was this quirky little gnome ornament (above). Special holiday items will be available through the New Year.

The Museum's new exhibition of contemporary African art, Tapping Currents: Contemporary African Art and the Diaspora, contains 7 magnificent works of art. One of them is a new media piece called Africa Rifting: Lines of Fire, Namibia/Brazil.

The 15-minute video is beautiful and soothing but also mournful and contemplative. The artist, Georgia Papageorge, experienced both apartheid and the death of her 2-year-old daughter and the influences are obvious. She uses the ancient geological connection between the continents of Africa and South America as a metaphor for division between peoples. The intention of her art is to re-connect people and bring spiritual healing.

There are images of churches and cities while bells chime and you hear the sound of the wind and surf. The red fabric flows in the wind or lays along the beach of each country's coastline. Sometimes the fabric is covered with the sand or reflected in the water as if the shores are bleeding from the physical division that occured more than 135-million years ago.

It is definitely worth dedicating 15 minutes of your life to examine this incredible work of art either in the gallery or during one of the screenings in January and April.

The next time you visit the Nelson-Atkins be sure to check out the exhibit of contemporary American ceramics in the Bloch Building. The gallery consists of four wall cases filled with pieces of 20th-century ceramics by artists such as Warren MacKenzie, Beatrice Wood, Kenneth Ferguson and Edward Eberle.

One case is dedicated to the works of Otto and Gertrud Natzler. The pieces are amazing as is the story of the Natzlers on the label:

"Fleeing their native Vienna as the Nazi forces advanced toward Austria in 1938, the husband and wife ceramicist team of Otto and Gertrud Natzler arrived in America with their potter's wheel, their kiln and little else. The Natzlers' ability to persevere and succeed with little training and few assets fueled what would become a nearly 40-year collaboration that combined Gertrud's elegant and classically formed ceramic vessels with Otto's multifaceted glaze formulations and firing techniques. With less than a year of training, Otto describes the couple's beginning years in their Vienna studio: 'Our lack of knowledge went hand in hand with a lack of inhibitions.' Their continual experimentation with materials and methods led to these wafer-thin vessels that glow from vibrantly hued glazes with both the smoothness of glass and the roughness of volcanic lava."

The gallery is located just off the gallery walkway near the contemporary project space.

In preparation for the upcoming exhibition Tapping Currents: Contemporary African Art and the Diaspora, I have been doing some research on the artists and their works.

Something interesting about the contemporary African artists in the exhibition is that many of them do not live in Africa and some of them spent most of their lives outside of Africa. The theme that holds the show together is that they are all inspired in some way by the colors, politics and geography of the African continent.

One artist that has spent most of his life in the US is Odili Donald Odita. Odita was at the Contemporary Arts Center in Cincinnati just a few weeks ago painting a site-specific installation called FLOW in their main lobby. You can watch the progress here. The work will be on view through November 2008.

Tapping Currents opens to the public this Saturday, Nov. 17 at the Nelson-Atkins. The exhibition is free.

The ever informative and entertaining Modern Art Notes has a clever little post this morning. It seems the Nelson-Atkins fabulous new Bloch Building was slighted in a very important article that ran in the New York Sun last week. One of the Museum's greatest advocates simply wanted to correct the mistake. I have no problem with that, Mr. MAN.

As promised, I am able to report that the installation for the upcoming exhibition Tapping Currents: Contemporary African Art and the Diaspora is going well. Most of the major works of art have been installed including Dispersion by Julie Mehretu seen here on the left.

Associate Curator of Contemporary Art Leesa Fanning writes about the painting:
"Julie Mehretu’s Dispersion is composed of intricately arranged ribbons of color, amorphous and hard-edge shapes, cartoon-like explosions and structural lines with geometric and architectural references. Within this maelstrom of activity are trajectories of swift motion and recession into space. Functioning as a futuristic diagram, Dispersion’s forms suggest psychological processes, imaginary societies and instantaneous global communications in cyberspace."

Another work of art that fascinates me is called Hovor by El Anastui (seen on the far wall above). It is made of recycled aluminum liquor-bottle tops that have been flattened and stitched together using copper wire. Fanning describes Hover as "an amazing transformation of humble, recycled liquor-bottle tops into a visually compelling sculpture."

A new exhibition is opening soon called Tapping Currents: Contemporary African Art and the Diaspora. The exhibition focuses on the explosion of contemporary African art in the last 20 years. I had a chance to see some of the works of art as they were being opened by the preparation team. This painting is Fusion by Odili Donald Odita from 2006. It is absolutely beautiful in person.

The process is quite efficient. After the crate is opened, the work is inspected by a conservator, registrar and the prep team for any damages that may have occurred during shipping. After a full inspection, the work is moved with great care to a cart to travel to the gallery.

Later today, I'm going to check on the progess in the gallery. Stay tuned.

A new exhibition of American photography opens this Saturday. Time in the West: Photographs by Mark Klett & Byron Wolfe and Mark Ruwedel features the work of three contemporary photographers investigating the visual and historical legacy of the American West.

The works by Klett & Wolfe are just stunning and so interesting. Trained as a geologist, Mark Klett established his artistic perspective on the Western American landscape as the chief photographer for the Rephotographic Survey Project in the late 1970s. This project re-examined over 120 19th-century Western survey photographs, including works by Timothy O’Sullivan, Andrew Russell and William Henry Jackson. Klett and his team found the precise locations of those views and then rephotographed the same scenes. Comparisons between the photographs reveal changes that had occurred in the intervening century.

Mark Klett will visit the Nelson-Atkins in November for a one-day forum and a special gallery walk.

It is always a great treat to have a living artist represented in our collection in the gallery to talk about his or her art. Be sure to visit the exhibition and come back for these special programs.

Daguerreotypes were a pretty amazing invention for the 1830s. It was one of the inventions that marked the beginning of the modern age. The Developing Greatness exhibit on display until December 30, celebrates this remarkable invention.

On Friday, a true daguerreotype scholar, Grant B. Romer, will be at the Nelson-Atkins Museum of Art. He will be giving an illustrated lecture on Friday night about the American experience with daguerreotype studios. He will discuss the perspectives of being behind and in front of the camera.

The exposure time for these little pictures could range from three to 15 minutes, making portraiture pretty impractical. The length of time adds to the honesty of the photograph, but can you imagine posing for family holiday pictures for 10 minutes?

Romer has edited numerous books on daguerreotypes, so missing this expert’s lecture on the origins of photography would certainly be a shame.

The new featured exhibition Rising Dragon: Ancient Treasures from China opens this coming saturday (Oct. 6). There is a lot of activity going on in the galleries including installing both casework and art work.

This gorgeous Dragon-form Roof Tile is from the Ming Dynasty. Here, one of the Museum's conservators takes a close look at the piece after it was recently installed.

The featured exhibition Manet to Matisse closed on Sept. 9. In a period of less than a month, the space that held that exhibition will be completely transformed into ancient China for Rising Dragon: Ancient Treasures from China. The new exhibition opens on Oct. 6. Museum members get a sneak peek of the exhibition on Oct. 4 and 5.

It was short but sweet. The final day to see the stunning featured exhibition of Impressionist paintings from the Marion and Henry Bloch collection is Sunday, Sept. 9.

The Nelson-Atkins is open until 9 p.m. both Friday and Saturday giving you extra time to see these beautiful pieces before they return to their private collection.

If you find yourself drawn to the Impressionist exhibition, Manet to Matisse: Impressionist Masters from the Marion and Henry Bloch Collection, or if you simply want to expand your horizons, stop by this Thursday, August 9, for a Snapshot Talk.

Elizabeth Williams, Assistant Curator of Decorative Arts, will present a 30-minute talk about Impressionist interiors. The program is held in the Ford Learning Center and begins at 7 p.m.

Another sign that the museum world is starting to join the 21st century: the Nelson-Atkins now has online streaming audio on our website from our new audio-guided tours. You may listen to any of the stops from tours of the Museum collections, the Kansas City Sculpture Park and the Museum architecture.

Now, through the magic of technology, you may download the entire tour on your MP3 player and bring it with you on your next visit. Of course, if you prefer to do it the "old-fashioned way," the audio guides are available free of charge in the lobby of the Bloch Building everyday.

I mentioned previously that Modern Art Notes has been blogging heavily about the new Bloch Building and how it compares to the original 1933 Nelson-Atkins Building. While he does rave about the new building, he has taken a different approach than any of the other reviews. His premise is that the Bloch Building challenges the 1933 building at every step along the way (and wins, from his point of view).

I appreciate MAN's obvious delight in the new building but there are many people who respect and flat out love the original building (myself included) just as much as they celebrate the new Bloch Building. I can see how some would see the exterior of the 1933 building as cold and traditional but there are gorgeous details at every turn. The craftmanship that went into the original building is amazing from the carved bronze doors depicting scenes from Longellow's Song of Hiawatha to the inscriptions that run along the building's cornice to the hand-carved stone capitals in Kirkwood Hall.

There are also incredible spaces inside the 1933 building that bring just as much joy and wonder as does the new Bloch Building. If you haven't stood in the middle of Kirkwood Hall and looked from east to west, you really should. On the very western edge of the building is a stained-glass window from the 16th century installed in the Cloister (Gallery P7), while on the very eastern edge (just above the entrance into the Bloch Building) you can see a beautiful painting by Vigee Le Brun.

Today, I found a very thoughtful response that made some nice points about how the new building is meant to complement the original one. He also notes that the original building was constructed at a very different time but that doesn't mean it wasn't meant to inspire awe or that it was staid and conventional.

He concludes that the Bloch Building defers and compliments the Nelson-Atkins Building, even at night. I agree. Even though most people think the exterior of the Bloch Building is at its strongest at night when it is lit, I think that is when it is most referential. Its glow feels more like a celebration of the 1933 building than an attempt to outshine it.

If you haven't seen the Museum's stunning featured exhibition Manet to Matisse, (or even if you have) be sure to stop by this Thursday night. After you view the paintings, you may enjoy one of our Snapshot Talks, brief 30-minute glimpses into the world of Impressionism. These talks focus on a single work or thematic aspect of the exhibition.

This week's talk is by Simon Kelly, Associate Curator of European Painting and Sculpture and will explore the theme City and Country. There are two time options for the talk, 6 and 7 p.m.

Word just came down the food chain that an interview with Steven Holl will be on the Charlie Rose show tonight. For local viewers, that is 11 p.m. on KCPT.

I'm sure he will have something fascinating to say about polar bear hair or something like that (see The News Hour with Jim Lehrer).

A lot has been said about the new Bloch Building in print, broadcast and blogs. While many of the blogs are about personal visits to the Musuem, there has been an increase in postings from the "arterati" including Modern Arts Notes, i.e. the most influential visual arts blog of all time.

Mr. MAN himself came for a last week and he has lots to say about the new Bloch Building here and here. He has promised more posts all week. I can't wait!

For those planning ahead for Friday night, be sure to stop into the new photography galleries between 7-8p.m. this Friday, July 20. Our new Associate Curator, April Watson will be hosting a free program, The Curator is IN! She is the perfect person to provide you with insights on the Hallmark Photographic Collection and reveal some of the intriguing stories behind the photographs in the new galleries. Before or after spending some time with April, stop into the Cafe and enjoy a little libation outside on the beautiful north side of the Museum.

In an effort to expand our community of online friends, the Museum has ventured onto MySpace. We'll be building our profile there in weeks ahead, but we are always looking for "new friends." And for those inclined to learn more about our Young Friends of Art Group, check out their own MySpace profile as well.

And if you haven't seen them yet, check out all the footage that's popping up on YouTube. Happy Monday.

Today is my daughter's 7th birthday. Having worked at the Nelson-Atkins for 6 of those 7 years, she is quite familiar with "my museum." She loves to take classes in the Ford Learning Center and eat in Rozzelle Court Restaurant (and the new Cafe).

I'm proud to say that I think she likes looking at the art the most. She is a big fan of the contemporary collection. With so many great paintings such as Thiebaud's Jawbreaker Machine and Mound Magician by Radcliffe Baily as well as tantalizing works like Duane Hanson's Museum Guard, Deborah Butterfield's Horse and Six Secret Places by Anish Kapoor, what kid wouldn't be?

As we were walking through the new contemporary galleries last week, she told me she wanted to show me her favorite painting. She took me around the corner to show me No. 10 (above) by Ad Reinhardt. She said she likes how if you look at it closely, you can't see the pattern of boxes but when you move back, they appear. As I read the label I was impressed to see that Reinhardt agrees. He said "Looking isn't as simple as it looks. Art teaches people how to see."

I can only hope that she continues to keep learning "how to see" and in the process, teaching others to do the same.

If you are leery of going out on Friday the 13th, don't be! Ward off the evil spirits with a Second Friday Happy Hour at the Museum. Enjoy the good karma of the zen-like setting in the Isamu Noguchi Sculpture Court. The program is sponsored by the Young Friends of Art, one of our special interest groups for members. Second Fridays are open to everyone and are a great way to meet other art-minded individuals. Members enjoy drink discounts at the Happy Hour.

The Nelson-Atkins is now open until 9 p.m. on Thursdays, Fridays and Saturdays. This Thursday, you can enjoy a brief glimpse into the world of Impressionism with a 30-minute Snapshot Talk at 6 p.m. This week, curator Ian Kennedy will discuss what was one of the Impressionists' most radical concepts, painting "en plein air" (in the open air). Be sure to visit Manet to Matisse: Impressionist Masters from the Marion and Henry Bloch Collection to see some Impressionist paintings. The Snapshot Talk will be repeated at 7 p.m.

Make it a night at the Museum! Rozzelle Court Restaurant is open for dinner from 5 to 8 p.m. or stop by the Museum Cafe for coffee and dessert. The strawberry parfait is down right addictive.

A blog reader sent me this image of her daughter from opening weekend of the Bloch Building. The young girl is enjoying the painting Good Afternoon by Alex Katz in the Museum's new contemporary galleries. The girl's mother is a photographer and has a beautifual photo montage of their day at the Museum on her website.

Pictures of people at the Museum are showing up all over the internet. I hear that Flickr has over 2,300 images of the new Bloch Building and there are several videos on You Tube as well. If you have images or videos you would like to share with this blog, please let us know. We would love to see them.

About 50 students from Skills USA visited the Museum today. They are in Kansas City for the National Leadership and Skills Conference. The students are competing in a photography contest and the chosen site was the Nelson-Atkins. The SkillsUSA Championships is the national-level competition for public high school and college/postsecondary technical students enrolled in trade, technical, and skilled service profession instructional programs including allied health occupations. The students were allowed two hours to photograph both inside and outside of the Museum. After the two hours, the students were treated to a visit to the Museum's featured exhibition of American phogotraphy, Developing Greatness: The Origins of American Photography, 1839-1885. We wish them luck and hope they enjoyed their visit to the Nelson-Atkins!

If you've only seen pictures of the Bloch Building, here's your chance to see inside with this segment by the News Hour with Jim Lehrer. Correspondent Jeffrey Brown spoke with architect Steven Holl and Museum Director Marc Wilson during opening weekend.

The new Bloch Building has caused quite a bit of conversation from glowing reviews in major publications to letters to the editor of The Kansas City Star to neighbors/total strangers telling me what they think of it (including comments on this blog).

The Kansas City chapter of the American Institute of Architects (AIA) wants to know what people think of it too. They have this poll on their website. Jump in and give your two cents.

On the longest day of the year (June 21), be sure to come visit the Nelson-Atkins for a chance to reflect on our connection to the universe. Friends of Art members at the Associate level will enjoy a special program related to Kiki Smith: Constellation.

All members can enjoy a special Know Your Museum Tour at 6 p.m. This month, the tour will focus on the Architecture and Art of the Bloch Building.

With free admission everyday, everyone is welcome to enjoy the first day of summer at the Nelson-Atkins. Bring a picnic and enjoy this special evening in the Kansas City Sculpture Park.

The new Bloch Building has garnered some outstanding national and internation publicity in print. There's a lot being said on blogs as well. Here are a few of my faves:

Architecture for Art (AforA) has some kind words to say about the staff and volunteers of the Nelson-Atkins. Their team was here for opening weekend and got a personal tour from the man of the weekend, Steven Holl. (It was interesting to see the reaction to him as he wandered the Museum, mostly unaccompanied. People treated him like a celebrity, asking him to autograph copies of The Stone and the Feather, their lecture tickets and anything else they could find.)

In case you missed the review in Time on June 11, you can read it online at Richard Lacayo's blog. Lacayo is the one who named Steven Holl America's Best Architect in 2001. I think he was on to something...

One I just found today is Apartment Therapy: New York City which has some nice comments from Kansas Citians living in the Big Apple as well as some local folks.

Another nice one for the local peeps is Studio 109 with their report from the opening black-tie gala. It was a beautiful evening. The pictures (although beautiful) don't do the Museum justice. You must see it in person to get the full effect.

Finally, a nice post from our friends at the Crystal Bridges Museum and their brand new blog.

The years and months leading up to the opening of the Bloch Building were exciting and terrifying at the same time. There were many people who not only didn't like the new building, the flat out hated it. There are some that still do. Fortunately, a whole lot of people love it. The reviews from The New York Times, Time Magazine, The New Yorker, The Washington Post and many others have been overwhelmingly positive.

We have had plenty of reporters, photographers, donors, etc. through the building before the public opening. For me, the most rewarding days were June 9 and 10 when the general public was allowed in for the first time. I saw people of all ages, races and types throughout both buildings, on the south lawn, on the north plaza and on the roof of the Bloch Building, and they all were very happy.

Here are some pictures from the weekend:

This photograph truly exemplifies what the Bloch Building is all about: making the architecture and the landscape merge together to form a tranquility that will give visitors a feeling of lightness and a feather-like quality. The light from the exterior changes the Bloch Building from day to night, affecting not only the way the building feels on the outside, but also on the inside. Visitors can enjoy and experience the Bloch Building differently each time they set foot in the building.

Today couldn't be a more perfect example of the versatility of the Bloch Building. Whether sunny or overcast, the building is beautiful from the inside out. Come out today to experience this with exciting events to celebrate the Grand Opening.

Steven Holl, architect of the Bloch Building, has truly created a museum that will be studied and revered around the world. The great thing about it is that that museum is right here in Kansas City! Even better is that the museum is free for everyone.

Today we are celebrating the Bloch Building's opening with fun events, great art, and amazing architecture. Everything runs from 10am to 9pm today, and all events and exhibitions are free. Don't miss it!

If you have been reading the New York Times lately, you already know that the Bloch Building has received wonderful reviews across the globe. Upon entering the building, one might be surprised to see the astounding quality of the architecture - the interior of the building is what one would call asymmetrical, with no two ceilings of the Bloch Building exactly the same. This is in contrast to the building's exterior, which is comprised of what Steven Holl (architect) calls "lenses" - the blocks of building that extend upwards through the earth.

Today is the second day of the Grand Opening of the Bloch Building. Events go from 10am to 9pm today (Sunday, June 10th). Come on out to see this highly praised new building! Everything is free to the public.

The Cafe in the new Bloch Building is a very cool and relaxing place to stop for a bite to eat. Light pours in through the glass walls to provide an elegant and yet hip venue for dining. Guests also have the choice to step outside to eat on the patio, giving views of the original Nelson-Atkins building while still being surrounded by the "feather"-like feel of the newly opened Bloch Building.

The Contemporary Sculptures in the Bloch Building - which by the way, is OPEN! - give visitors new perspectives on art. Whether the sculptures are on the walls, in the middle of a room, or encompassing an entire room, guests will experience something new with different angles and perspectives depending on their approach.

The crowds keep on rolling in to see the brand new Bloch Building, and they will continue to do so tonight and tomorrow. Everything is free, and we hope to see everyone enjoying the new building throughout the week-end!

Noguchi Court in the just opened Bloch Building has wonderful fountains and sculptures that give an air of peacefulness and tranquility...however today, with all of the visitors attending the Bloch Building's Opening, it has all of that plus music, excitement and people as everyone enjoys the Grand Opening! Come on out for the fun - beautiful skies and a beautiful building make a wonderful time. Events run all day today and tomorrow, so don't miss it!

The Contemporary Galleries in the Bloch Building (now open!) are full of visitors who have been waiting to set foot in the new expansion of the Nelson-Atkins. Come take a look at new artwork, new spaces, and artwork previously on exhibition in a new light. The doors to the Bloch Building are open all week-end to the public with music, live entertainment, and great art!

Music outside of the Bloch Building invites visitors in through the large revolving doors. Be sure to grab a free ticket to the special exhibitions in the Bloch Building: Manet to Matisse and Developing Greatness.

The Bloch Building is open to the public! The official ribbon-cutting ceremony took place this morning and the doors to the eagerly anticipated Bloch Building are open! Come out and enjoy the festivities all day today, June 9th and tomorrow, June 10th.

Today kicks off three days for Museum members to preview the new Bloch Building. Members of the Business Council and Society of Fellows were treated to a fabulous "21st-century tea" hosted by Kansas City SPACES magazine.

Friends of Art members will have two days on June 7 and 8 to enjoy the gorgeous galleries, taste the new Museum Cafe and peruse the products in the Museum Store. A special members-only party on Friday, June 8th will give members even more time to enjoy time before the Bloch Building opens to the public on June 9th.

The current Museum Store will close for business today at 4 p.m. in its long-time location in the Nelson-Atkins Building.

The new Museum Store will be open for the member preview days June 6, 7 & 8 and will officially open to public on Saturday, June 9. The new Store will contain an expanded variety of products including home decor, fabulous jewelry, toys and games for kids and will continue to carry the top-notch collection of art and architecture books and items related to the Museum's incredible art collection.

The opening of the Bloch Building is around the corner. The schedule for the opening weekend of June 9 and 10 is full of fun activities for all ages.

Admission to the featured exhibitions will be FREE along with parking in our underground garage. Free shuttles will run from nearby parking as well. The Museum will have extended hours both days from 10 a.m. to 9 p.m.

There will also be special performances by the Lyric Opera, the Kansas City Ballet and Alivin Ailey American Dance Theatre, the Missouri Repetory Theatre and various local jazz musicians throughout both days.

You'll also find plenty to do for the kids including sidewalk chalk drawing, a "Block" construction zone and activities in our Ford Learning Center.

You will have a chance to taste the new Museum Cafe and there will be lemonade, hot dogs and ice cream for sale in the Kasnsas City Sculpture Park.

Images of the Bloch Building are appearing all over the place; in publications, online and in blogs. This picture was taken by someone very close to the project. Silhouetted agains the glowing lens is Tony Cragg's Ferryman, one of the sculptures that are installed on top of the building.

If you want to see inside the Building (before it opens on June 9), check out our preview e-videos. Of course, nothing compares to the real thing. Be sure to come see it for yourself.

The galleries for the African collection are nearing completion which is good since the building opens in less than a month!

The works of art selected represent the arts of sub-Saharan Africa and include masks, figures, vessels, textiles, ritual objects and contemporary objects. The casework looks amazing. There were several places where I couldn't tell if there was glass between myself and the objects.

The African collection was chosen to live in the Bloch Building because of its direct inspiration and influence art of the 20th century. The galleries on either side contain the contemporary and photography collections.

It is exaclty one month to opening day of the Bloch Building (June 9)! Workers, staff members and volunteers are finishing up everything from installation of art to knowing the locations of bathrooms and elevators.

The events for opening weekend will include a brief dedication ceremony at 10 a.m. on Saturday, June 9. Following that will be two days of fun including music, art activities, dancers, strolling entertainers and a lecture by Chris McVoy of Steven Holl Architects. Of course, it will all be topped off by hot dogs, ice cream and other all-American refreshments.

In addition to all the events, the Museum will be open from 10 a.m. to 9 p.m. both days. Admission to the featured exhibtions and parking in the garage will be absolutely FREE. There will also be free shuttles from nearby parking.

Make your plans now to be part of this historic time at the Nelson-Atkins.

The new Museum Store is set to make its grand debut on June 9. The Store continues to carry a stellar book collection with many items that are difficult to find anywhere else.

With the increased space and rock-star location in the Bloch Building, many new lines and items have been added. There are collection-inspired items that are both decorative (perhaps a minature of the Greek Lion or the Seated Guanyin Bodhisattva) and functional (tea pots, vases, bowls, baskets and jars) as well as beautiful jewelry, home decor and great things for kids.

For those of you lucky enough to attend an opening event or a member preview day, the Store will be open for business! Be sure to bring your membership card to get your discount.

As we are rapidly approaching the opening of the Bloch Building on June 9, we have been looking back at images of the construction process. In this image, we see the workers installing the glass doors by the new Museum Cafe in the main lens of the Bloch Building.

It reminds me of the very famous photograph by Joe Rosenthal Raising the Flag on Iwo Jima, February 23, 1945 that is part of the Museum's photography collection. The real photograph will be on view in the new photography galleries in the Bloch Building.

It seems like everyone is talking about the Bloch Building. Time magazine called it the "most anticipated building of 2007" and the New Yorker is coming out with a "glowing" review (pun intended) in their April 30 issue.

There is an excellent blog on Inhabitat.com with some fabulous images. Inhabitat says "The outside appearance of the Bloch Building does not prepare you for the space you experience once inside. The large volumes of the building pierce the landscape of the Country Club Plaza district, following the line of the hillside like a little child whose full hands couldn’t carry their set of building blocks, dropping a few along the way. In the interior, visitors will have a hard time figuring out which glowing box they are in, with the differing grade changes and curved coves weaving through gallery spaces."

As we press full-steam ahead toward our June 9 opening, I'm sure there will be much more. Keep your eyes open.

The first time I met Museum Director Marc Wilson, he had a broken leg. When I asked him what happened he told me he had wrecked his motorcycle. I also found out that in addition to graduating from Yale and having worked as a translator at National Palace Museum in Taipei, he was also a race car driver and a farmer.

In the years since that day, I have heard Mr. Wilson speak eloquently on everything from elevators to the Museum's world-class collection. I have seen him roll up his sleeves and pitch in with a project on more than one occasion.

Recently, he was presented with a plaque that will hang in the new Bloch Building. It simply says "He led with vision and transformed our future." Well put.

I had the chance today to observe artist Kiki Smith as she and her assistant install her work of art called Constellation in the Bloch Building. The room-sized installation consists of a cloth covering on the floor that is adorned with cast glass animals and stars. Constellation will be on view beginning June 9.

As I watched her work, I noticed some materials on a table. At one point she came to get "her maps" as she called them. When I took a closer look, I found there were two books and a chart that shows the alignment of the constellations at different times of year.

The "map" that intrigued me the most was called The Stars, A New Way to See Them. The author's name was H.A. Rey and the book was published in 1952. I thought for a moment, is that the same man who wrote the Curious George books? Sure enough, it is. An exerpt from the book was utterly charming:

"The space age is upon us. Rockets are leaving our globe at speeds unheard of only a few years ago, to orbit earth, moon and sun. People have visited the moon, we have sent space probes to all but one of the planets, and words like “orbit” and “satellite” are picked up by children in the nursery.

And how has all this affected the age-old pleasure of watching the starry sky? Has it made stargazing obsolete?

It has not, and it never will. For we live on this earth and always shall. After the day is gone we shall go out, breathe deeply, and look up – and there the stars will be, unchanged, unchangeable. Even from the moon or Mars, or from Pluto, the outermost planet…the stars look the same as they do from the earth.

Night after night they are here. And night after night they arouse our curiosity, our urge for knowledge.

Stone age or space age, man will be asking the question his grandparents have asked before him and his grandchildren will ask after him: 'What star is that?'"

Even though these words were written more than 50 years ago (back when Pluto was considered a planet), they still ring true. I had thought that Constellation was an interesting piece when I first saw it. After having learned about some of the inspiration, I left feeling a little more connected to the universe. I hope that on June 9, you might too.

One of the perks of working in a world-class museum is the chance to be surrounded by incredible works of art. Since my office is not in a gallery, I choose to keep reminders of our amazing collection on my cubicle walls and of course, on my computer desktop.

This picture contains several of my favorite pieces in our contemporary collection installed in the Bloch Building. The work that looks like giant pieces of colorful Play Doh is Six Secret Spaces by Anish Kapoor. On the wall behind it is Elizabeth Murray's Art Part which always makes me think of a giant jigsaw puzzle.

These works and many other contemporary favorites will soon be on view for the public. The Bloch Building opens June 9.

Conceptual artist Sol LeWitt passed away at the age of 78 last Saturday. The Nelson-Atkins has several wonderful pieces by LeWitt in our contemporary art collection. The following entry is from the Museum’s 1999 publication Modern Sculpture at The Nelson-Atkins Museum of Art, An Anniversary Celebration. James Martin wrote:

“Sol LeWitt first came to art-world prominence in the 1960s as one of the pioneers of Conceptual art, which considers the idea behind an art work more important than the object itself. LeWitt’s grid like works are also frequently associated with the geometric forms of Minimalists such as Carl Andre and Donald Judd.

The Museum’s 1 3 5 7 9 11 was commissioned for the Parker-Grant Gallery (Gallery 208 in the existing Nelson-Atkins Building. It is now closed for renovation).

The concept of each LeWitt sculpture is evident in its appearance. For example, 1 3 5 7 9 11 is based on the measurement unit of one cube. The sculpture’s top section is one cube wide; the next section is three wide, followed by a section five cubes wide and so on. The height of each section follows a related logic; the bottom section is one cube high, followed above by sections that are two, three, four, five and six cubes high.”

1 3 5 7 9 11 has been reinstalled in a special gallery in the Bloch Building along with a piece titled Complex Forms. Both of these structures will be on view when the Bloch Building opens June 9.

There are many beautiful spaces in the new Bloch Building but none as striking as the newly installed collection galleries.

The collections presented in the building include contemporary art, African art and photography. Additional galleries include space for rotating featured exhibitions and special installations.

The galleries are open to one another allowing you to stroll from one collection to another as you wish, eventually spilling into the new featured exhibition space at the southern tip of the building.

It will be even easier to get to know the Bloch Building with free exhibitions and parking on opening weekend, June 9 and 10.

The Nelson-Atkins has been free of charge at least one day a week since we opened in 1933. When the current construction and renovation project began in 2001, the decision was made to drop admission fees entirely during the span of the project. Public response was so favorable that in 2002 the Museum decided to keep admission to the collection free of charge indefinitely.

It was just announced that for the Bloch Building opening weekend (June 9 and 10), there will be free admission for featured exhibitions as well as free parking in the Museum's garage. In addition, the Museum will be open extended hours both days from 10 a.m. to 9 p.m.

Recently, both an original painting by N.C. Wyeth featured in the book Drums as well as a special publisher edition of the book were presented to the Museum.

Originally published for adults in 1925, James Boyd's first historical novel Drums was so popular that the publisher, Charles Scribner's Sons, reprinted the book in 1928 with 17 color illustrations by artist N.C. Wyeth. The book was part of the Scribner's Illustrated Classics series which included titles such as Treasure Island, Kidnapped and The Yearling, all illustrated by Wyeth.

Famed historian and author David McCullough sites Drums as one of the books from his childhood that inspired him to study history:

"I learned to love history by way of books. There was The Matchlock Gun by Walter D. Edmonds, The Last of the Mohicans, with those haunting illustrations by N.C. Wyeth, the Revolutionary War novel Drums by James Boyd, with still more Wyeth paintings."

The painting is on view in Gallery 219. The book is part of the Spencer Art Reference Library's special collections and may be viewed in the new Library Reading Room in the Bloch Building under supervised conditions. Please contact the library to make an appointment.

I was in the Bloch Building last week and for the first time, the gallery doors were open as I walked through. The experience was completely different. I really felt the openess and understood the amount of space in the new building.

I took the opportunity to poke around in the new contemporary galleries. Out of the corner of my eye, I was shocked to see someone standing along the wall. It took me a second to realize it was Museum Guard by Duane Hanson. "Roy," as we call him, has been delighting Museum visitors for 30 years (see previous entry). He was removed from his previous post in the Nelson-Atkins Building so it was good to see him back on duty.

I noticed that he is placed next to Wayne Thiebaud's Jawbreaker Machine. I wonder if he would like a piece of gum?

On June 9, the highly anicipated and long awaited Bloch Building will open to the public. The completion of the building as well as renovations to the original Nelson-Atkins Building signals a new era for the Museum and for Kansas City. The city is bursting with new life from a $6 billion rennaisance that includes a new performing arts center designed by Moshe Safdie and the Kansas City Power and Light District, both of which are scheduled for completion in 2007.

Once again, I believe we can say that "everything is up to date in Kansas City." Or at least it soon will be.

Previously I told you about some fun new toys the Museum will have when the Bloch Building opens in June. There will be four kiosks in the Bloch Building and one in the Nelson-Atkins Building that will allow visitors to complete several transactions including event registration and ticket purchasing, paying for parking, directions to galleries and even looking up certain works of art.

Members will be able to experience this new technology at upcoming member preview events. If you're not a member, join today and be part of this historic moment at the Museum.

As of March 6, the Spencer Art Reference Library will reopen by appointment only in its new location in the Bloch Building.

If you have an on-site reference need, you may schedule a time between 1 and 4 p.m. Tuesdays through Saturdays. Please contact the library to make your appointment.

Keep your eyes open for a feature article in The Kansas City Star about the new library.

It's hard to imagine with the ice, snow and freezing temperatures that have been hanging on in Kansas City for much too long, but this area on the very northern tip of the Bloch Building will soon be filled with people enjoying a cool drink, a quick bite or just the scenery.

Directly inside the doors will be the new cafe, a casual dining alternative to Museum's Rozzelle Court Restaurant (an excellent choice for a more formal meal). The cafe will offer quick sandwiches, snacks and drinks but that doesn't mean you have to run off. Outdoor seating will be available during warmer months with a view of the Museum plaza and reflecting pool. I can't wait!

A flurry of activity occurred above the Nelson-Atkins on a recent freezing, gray day. A helicopter was used to move several large pieces of heating and cooling equipment from the ground to the roof of the Nelson-Atkins Building. (Since the area on the north side of the Museum is on top of the underground parking lot, a helicopter had to be used instead of a crane.)

The work began around 10:30 in the morning and was done before noon but the public definitely noticed. I saw vehicles parked along the side roads or slowing down to watch the proceedings. Cell phones were stuck out of car windows to capture the event. A few people asked what was going on but my favorite question was if it was President Bush making a visit (he was scheduled to be in town later that week).

Light is an important component of the Bloch Building. The very structure of the building uses both exterior and interior light to create a pleasant glow on both the inside and outside. According to our lighting specialist extraordinaire, there are three main types of light in the Bloch galleries.

The first is daylight. With the majority of the building underground, the glass lenses allow daylight to flow down into the galleries below. Depending on the time of day and the weather, the effect is strikingly different.

The second and third types of light are artificial. There are 1,971 track fixtures that will hold tungsten-halogen lamps to illuminate both the space and the art. Every one of these track fixtures will have an ultraviolet filter installed, to protect the art.

The other type of artificial light is fluorescent lamps that are hidden in the ceiling coves and that light up the lenses. At night, over 900 fluorescent lamps create a gorgeous glow. The lights are turned on from time to time so if you drive by some evening, you might get to see a little magic.

Remember when I was talking about the installation of the Isamu Noguchi Sculpture Court? Well, it is finished, and it is incredible.

The space holds seven sculptures by the Japanese-American artist who "struggled to see, alter, and recreate his natural surroundings. His gardens and foutains were transformations meant to bring out the beauty their locations had always possessed. His large abstract stone sculptures were both majestic and personal. He believed that through sculpture and architecture, one could better understand the struggle with nature. It is that search for understanding which brings together his many and varied works." (American Masters, PBS)

The Nelson-Atkins Museum exhibits the largest number of Noguchi sculptures in a public setting outside the Isamu Noguchi Foundation and Museum in New York and Japan.

If you’ve ever wondered how to move over 150,000 books and periodicals from one location to another, here’s your answer!

Earlier this week, the Museum’s library staff began supervising the move of the Spencer Art Reference Library from the existing building to the new Bloch Building. The move is being handled by professionals from National Library Relocation Inc.

Before the books move from one space to the other, they get a special cleaning with a tank vacuum to remove dust and dirt. Everything is put on book carts and taken by hand into the Bloch Building.

There, they are re-shelved according to the magical library classification system that keeps all the books tidy and easy to find. The new library will be open to the public on June 9.

The workers from Goppion were hard at work installing the display cases in the Bloch Building before the holiday. On this day, they were skillfully placing the panes of glass on the framework of one of the larger cases in the African galleries. This one is about 18 feet long.

By the way, Goppion also did the case for the Mona Lisa in the Louvre, Paris. Oh la la!

This morning I had a tour of the Spencer Art Reference Library’s new location in the Bloch Building with the head of the Museum’s library services. I learned about many of the new features and expanded services as well as some cool facts and figures. I will share some of those with you in later postings.

Today, I am focusing on the new reading room (see previous post). I learned that there will be several different sections of the reading room including the main area with chairs and tables for the more studious minded, another area with four new PCs that have full Internet access and, at the end of the room, will be the “lounge.”

The lounge will have a comfortable L-shaped bench (shown here without its cushy padding), some very nice leather chairs and a couple of reading lamps. This reading nook will be the perfect spot to look through some of the library’s newest books, catch up with the latest art periodicals or peruse some of the library’s 40,000 auction catalogues.

I’ve been to many Museums in my life. Obviously I have noticed the cases before but normally I am focused on what’s inside them. A recent tour of the Bloch Building with the Museum’s manager of fabrications shed new light on how important those cases are to the safety and presentation of the art.

The first and most important thing I learned is that when dealing with fragile and priceless works of art, display cases must be of the highest quality. The challenge is to create cases that protect the art and allow easy access for conservation while blending with the aesthetic of the gallery.

To meet that challenge, a fusion of traditional, state-of-the-art and specialty materials have been forged together to bring the Museum’s exhibition casework to a level never before enjoyed.

So when you enter the new Bloch Building next summer or wander through some of the existing galleries in the Nelson-Atkins Building, take a moment to notice the cases and realize all the thought, skill and innovation that goes into them. Then enjoy the beautiful works of art!

The Spencer Art Reference Library will close its current location in the Nelson-Atkins Building on December 16 in order to move into the new Bloch Building.

The new location includes stacks with a capacity for 216,000 volumes. The library currently holds approximately 145,000 volumes so there is plenty of room for growth.

The library will reopen in its wonderful new location in March 2007. During this period, e-mails and phone calls will be answered.

All the new display cases in the Bloch Building are keeping the Museum’s preparation and conservations staff quite busy.

As I mentioned in a previous post, the new cases allow for increased visual access to the works of art. While the cases are fabulous, they have created some challenges on how to best display the art. The goal is that visitors see the art, not what’s holding it in place.

If you thought the art was just placed on the walls with some nails and a hammer, you would be surprised to see some of the creativity that goes into fabricating a good mount. Many pieces have very specific needs and require a lot of ingenuity, skill and collaboration between members of the Museum staff.

Currently, the African collection is getting prepared to move into the new building. Most of the mounts need to be redone so that they are more discrete and work with the structure of the new cases.

I popped into some of the new gallery space in the Bloch Building the other day and found a flurry of activity. As I approached the scene, I began to hear a beautiful language that unfortunately, I don’t speak. It was the Italian workers from Goppion who are installing the new casework for the African collection.

The cases are massive; some over 16 feet long. Most of them will be enclosed on three sides by glass, allowing for more visual access to the works of art by visitors.

In addition to being pretty, these cases are state of the art (no pun intended). The construction allows for minimal disruption to the art while ensuring the optimal conditions for conservation. They also incorporate some of the Bloch Building’s main aesthetic: light. The upper portion of the tall cases will be covered in an opaque glass and when lit from within, will create a gentle wash of light in the gallery.

A parting shot of the happy Italians at work:

Ok, so this isn’t technically in the Bloch Building but it is part of the ongoing transformation project at the Nelson-Atkins.

Two galleries dedicated to works of modern artists (between 1900 and 1945) are open in the Nelson-Atkins Building. The contemporary collection will be housed in the new Bloch Building when it opens in 2007 (there, I worked in something about the Bloch Building, therefore justifying this post). You can see a glimpse of those galleries in a previous post.

The newest modern gallery just opened a few weeks ago on the Plaza Level. It covers a few of the “isms,” including Cubism and Surrealism, as well as Abstraction and Dada.

The gallery is a mix of medium from furniture and decorative arts to paintings and sculpture. Max Ernst’s Capricorn looks so much bigger in the gallery compared to its previous location in the massive Kirkwood Hall. Other artists included are Marcel Duchamp, Joan Miro, Juan Gris, Man Ray, Wassily Kandinsky and Alexander Calder. All in this intimate space; it’s quite powerful.

Across the hall is the other modern gallery. This one is dedicated to Expressionism. It includes paintings by Ernst Ludwig Kirchner and Emil Nolde as well as stunning works of decorative arts and sculpture.

So if you’ve been missing the modern collection since most of it went off view last year, be sure to stop by. It will be worth the trip!

If you’ve ever wondered what curators really do, here’s a glimpse into the glamorous lives of some of the curators at the Nelson-Atkins.

Here we see Jan Schall and Leesa Fanning, curators of modern & contemporary art. They are working with a life-size cardboard mock up of Six-Foot Energy Void by Isamu Noguchi. The piece is one of seven that will be installed in the Isamu Noguchi Sculpture Court in the new Bloch Building.

The real sculpture weighs over 4,000 pounds. That’s why they leave the heavy lifting to our fabulous preparation staff. Here they are installing Noguchi’s Endless Coupling.

All of the sculptures will be on view when the Bloch Building opens June 9, 2007.

I’ve been poking around in the new Bloch Building again. Today was pretty quiet but that gave me time to capture some beautiful images of all the windows in the building.

On the ground level, most of the exterior is made of glass. Some of it is transparent to allow views into the Kansas City Sculpture Park and of the Nelson-Atkins Building, but most of it is translucent. Architect Steven Holl’s design creates soaring ceilings that let in ample amounts of light into the galleries below.

And then there is my favorite type of window, a store window! The new Museum Store on the lower level of the Bloch Building looks great. Wonderful books, unique lamps, gorgeous vases and other decorative items are just waiting for opening day next June 9.

If you’ve ever wondered where works of art go when they are not on view, here is a little behind the scenes look into the world of art storage at the Nelson-Atkins.

As well as increased gallery space, the new Bloch Building has a tremendous amount of art storage. A grant from the National Endowment for the Humanities provided for some slick new cases and fancy hanging racks. Of course, I am oversimplifying the whole thing (I’m a writer, not a conservator).

A recent tour of the new facilities with the director of conservation and collections management was quite enlightening. It is quite an operation to track a piece of art from the time it enters our doors to the time it makes it on the wall.

Though the Museum would much prefer to share as much art with the public as possible, it is comforting to know that we have such quality storage.

By the way, that’s Willem de Kooning’s iconic Woman IV on that fancy hanging rack. It was very cool to see the labels on the back showing all the places it has been loaned.

There are many special areas in the new Bloch Building that allow for reflection and inspiration. One of them is the Isamu Noguchi Sculpture Court, a large, Zen-like space dedicated to the works of Japanese-American sculptor Isamu Noguchi.

One of the seven works by Noguchi featured in this space is Fountain, which was previously installed in Kirkwood Hall in 1999. For now, Fountain is covered with a sheet of plastic to contain the dust and dirt in the building.

Fountain 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. The two stones gracefully rest on a bed of Japanese river rocks.

Water flows gently over the tops and sides of each stone, reflecting light, deepening the stones’ color and creating a meditative sound as it reaches the bed of river rocks below. In the Bloch Building, the bed of rocks continues from the inside of the building to the outside without interruption.

In a previous post about the plasma screens that will entice and guide visitors in the new Bloch Building next year, I mentioned another tool that visitors will find very helpful. This week, five kiosks were unpacked and prepared for installation.

These three kiosks have been installed in the lobby of the Bloch Building, just around the corner from one set of the plasma screens. At the kiosks, visitors will be able to buy tickets for exhibitions and programs, pay for parking and even find where a specific work of art is in the galleries as well as the location of restrooms and other amenities. Hooray for technology!

When the Bloch Building opens in June 2007, there will be a lot to learn about what’s in the building and how to get around. In addition to the helpful staff members and volunteers, there will be plenty of electronic aids (what we call digital signage) as well. A total of seven 50″ plasma screens will display messages on exhibitions, the collections, amenities, ticket information, special events and more.

These three screens were just installed at the Visitor Services Desk in the lobby of the Bloch Building. I can’t wait to see them in action!

Up next: What can you use to print a ticket, become a member or find a specific work of art?

There are people all around the Museum, inside and out! A lot of them are checking out the new Bloch Building that will open June 9, 2007.

With the Kansas City Sculpture Park completely reopened, you can access the Bloch Building, but only the outside!

The Nelson-Atkins has had free admission for over 5 years. It began as a courtesy during the initial stages of the expansion construction when we dug up our old parking lots to create the fabulous new parking garage. During that time, visitors had to shuttle from a nearby location. When the new garage opened in 2002, Museum leadership made the decision to remain free as a way to express the dedication to our mission to connect people to art, especially those in the Kansas City community.

To find out more about the decision to remain free and how that affects the Nelson-Atkins, read an interview with Director Marc Wilson on Tyler Green's Modern Art Notes.

P.S. Tyler - Thanks for adding us to your blogroll!

The weather may have just started to feel like Fall in Kansas City but the Sculpture Park is already showing the signs of seasonal change.

This gorgeous patch of Autumn Joy Sedum is on the east side of the Bloch Building, along Rockhill Road. When I was out, this field was buzzing with activity from butterflies and bumble bees.

The Sculpture Park will be buzzing with activity this weekend during the grand re-opening celebration on Saturday, September 30. Don’t miss it!

As I promised in a previous posting, here is a glimpse behind the “door” in the new Bloch Building. The Modern & Contemporary galleries were in the process of being installed when I peaked inside.

Along with favorites by Willem DeKooning, Sol LeWitt and Mark Rothko, many pieces have been brought out of storage such as Wayne Thiebaud’s Jawbreaker Machine and Richard Estes’ Bus Window.

The shrouded piece is Duane Hanson’s Museum Guard, whom we affectionately call “Roy.” It looks like Roy is ready for Halloween!

The Bloch Building is full of surprises! As I learn to navigate my way around the new building, I keep finding new spaces and interesting features.

I was recently poking around for fun things to blog about when one of the helpful security officers showed me something I hadn’t realized until now. Not all the walls in the Bloch Building are walls.

Architect Steven Holl’s design creates a flowing, organic experience. These doors may be closed when maintenance or movement is needed providing for minimal interruption to the visitor’s experience with the collection.

Stay tuned for the next posting to find out what’s behind the door!

Progress on the Bloch Building’s commissioning process is advancing so smoothly that the opening date has been moved up to June 9, 2007.

The opening of the highly anticipated Bloch Building is going to be an exciting and memorable moment in both the Museum’s history and Kansas City. You won’t want to miss the amazing events being planned for the opening.

Museum members will be able to enjoy exclusive events and preview days before the building opens to the public.

The Museum’s reference library will soon start the migration to the Bloch Building. When the building opens in June, 2007, a beautiful new Reading Room will greet visitors. Daily newspapers, the latest periodicals, publications by Museum curators and reference books will be available for you to catch up on all the latest news
in the art world.

The Visitor Services Desk will be a hub of activity in the new Bloch Building. From purchasing tickets for exhibitions, events and programs to getting maps and brochures, the Desk will be your main stop for anything you need during your visit.

The Desk was designed by El Dorado Inc., a local Kansas-City design firm. Behind it will be three plasma screens that will provide information about events, classes, programs and more.

The new Museum Store in the Bloch Building is coming along quite nicely. Designed by the firm of Charles Sparks + Company, the Store has a sleek yet open feel. Much larger than the current Museum Store, this new space will contain a fabulous selection of products.

Charles Sparks is best known for his work with the Neiman Marcus department store but he has created retail spaces for several other museums including the St. Louis Art Museum, the new de Young Museum in San Francisco and the Nasher Sculpture Center in Dallas.

This image doesn’t come close to expressing the subtle changes in the building’s appearance that occur from day to day and even moment to moment. The light and clouds of a recent summer evening gave the glass a warm hue to create a peaceful scene. The water from Walter De Maria’s One Sun / 34 Moons is tranquil and still as it responded with a perfect reflection.

If you look closely enough, you can see George Segal’s Rush Hour in its new location at the juncture of the Bloch Building and the Nelson-Atkins Building. On this night, it seems the figures weren’t in too much of a “rush” to escape this picturesque moment.

A modern sculpture of welded and cast steel, Wagon III by David Smith was the first work of art moved into the new Bloch Building.

The Bloch Building will house collections of contemporary art, African art and photography.

Today, the Nelson-Atkins announced June 9, 2007 as the opening date of the new Bloch Building. The announcement was made jointly by Museum Director/CEO Marc Wilson and Henry Bloch, Chairman of the Board of Trustees and co-founder of H & R Block.

Two inaugural exhibitions were announced as well.

Construction on the northern three lenses of the Bloch Building is complete! The commissioning process will take approximately a year as well as time for art and staff to move in. The remaining construction will continue through the summer so be sure to visit often to keep up with all the exciting changes.

Rockhill Road on the east side of the Nelson-Atkins reopened today after being reduced from four lanes to two lanes for the last four years due to construction of the new Bloch Building.

The sidewalk along the road also reopened, allowing a closer look at the building.