Wichita-born Stuart Allen is a visual artist whose work deals with fundamental elements of perception such as light and time.
This summer, WAM is pleased to present a selection of work from Allen's photography. Each image is an extraction of only a few select pixels from larger photographs of landscapes taken in Wichita. The result is a beautiful chromatic square with gentle color shifts that invokes not just the moment of the image's capture but the perpetual changes of nature.
Allen studied architecture at the University of Kansas and graduated from the photography and video department of the Kansas City Art Institute in 1993. He lives and works in San Antonio, Texas.
Located in the John W. and Mildred L. Graves Gallery and Louise and S.O. Beren Gallery
This summer, WAM is proud to feature a beautiful and poetic installation by world-renowned artist Liza Lou. The exhibition will feature Lou's Gather (one million), a shimmering 150-square-foot golden field.
To make the work, nine million beads in varying shades of gold were threaded onto cut wire to make one million blades of grass. Lou systematically counted, weighed, blended and divided the blades into equal wheat-like sheaves. This work of art will be presented along with Lou's newest series of work--large wall-hanging color fields of glass beads that resemble open skies and sunsets.
The painterly freedom of the installation evokes the seasonal regeneration of landscape and the abundance of harvest.
The Wichita presentation of Liza Lou's Gather (one million) has been generously sponsored by F. Price Cossman Memorial Trust, INTRUST Bank, Trustee, and Belger Cartage Service, Inc. Additional support has been provided by the Berry Foundation, Gridley Family Foundation, and Sonia Greteman and Chris Brunner.
Located in the John W. and Mildred L. Graves Gallery
Described as an electro-acoustic sound installation, Shawn Decker's Prairie recalls the sights and sounds of its namesake via a field of speakers and thin, swaying metal rods.
Thin, tall brass rods glisten in the light as individual motors, with small speakers mounted to the top, cause them to vibrate and sway. Each brass stem operates independently, and the entire installation--including hundreds of these rods--is programmed to operate in randomized patterns of sound and movement.
"It is much more fun as a creator to compose a piece that is continuously surprising you," Decker noted. "I will often laugh out loud when it does something I don’t expect. The element of change and indeterminacy allows you to become a much more active listener."
Prairie is more than a soundscape. It is an environment that will entrance both eye and ear. The concepts presented in the installation--nature and technology, sound and movement, sculpture and performance--come together to enchant the viewer and invite a reconsideration of the elements that make the prairie unique.
Decker holds a doctorate in music theory and composition from Northwestern University. He is a senior faculty member at the School of the Art Institute of Chicago. His work has been frequently performed, seen, and heard in the U.S. and Europe. Recent exhibitions of both solo and collaborative work have shown at venues such as the Museum of Art and Design in New York, the Victoria and Albert Museum in London, the 21st Century Museum in Kanazawa, Japan, and numerous others.
Located in the Louise and S.O. Beren Gallery
Reimagined anew and opening in April, the museum presents a compelling arrangement of the distinguished and growing glass art collection. For the new display, the museum consulted with the Seattle-based independent curator and craft scholar Vicki Halper.
Notably, Halper curated WAM's popular 2014 summer exhibition Australian Glass Art, American Links for the Museum of Glass in Tacoma, Washington.
Revealing WAM's rich holdings , the variety, quality, and artistry of Steuben glass will be presented. In fascinating ways, the exquisite work of the Steuben Glass Works, the world-class glass manufacturer (1903—2011), continues to beguile and inspire artists. The new installation will acknowledge and examine how contemporary glass artists explore the continuing allure and legacy of Steuben. Magnificent work by such living artists as Dante Marioni and Kiki Smith will be on view.
The new collection display also features a new commission--an elaborate, Steuben-inspired candelabrum--by glass artist Andy Paiko. This special work will be effervescent! It incorporates an abundantly enthusiastic array of forms and techniques first developed by Steuben. Paiko's tapering candle holders that hang gracefully from the central form, each demonstrate the Steuben "air-twist" technique, perfected by designer George Thompson. The cinched, bell-shaped forms of upper part of the large-scale candleholder are typical of Thompson's designs. WAM's collection includes original sketches by Thompson during his time working for Steuben, making Paiko’s re-imagining of Thompson's forms particularly relevant to the collection.
On view in the F. Price Cossman Memorial Trust Gallery.
Guest-curated by Dr. Joby Patterson, Chipping the Block is the first one-woman exhibition of artist Norma Bassett Hall's work since her death in 1957.
Born in Oregon, Bassett Hall studied at the Portland Art Association and the Art Institute of Chicago. In 1922, she married Arthur Hall, who had been a fellow student at the Art Institute, and the couple settled in El Dorado, Kansas.
It was during these early years in Kansas that Bassett Hall explored the artistic possibilities of woodblock printing. 1930 marked the launch of the Prairie Print Makers, with Bassett Hall as the only female founding member. In her work, Hall employed line, color, and pattern with delicate skill, using up to seven blocks for each print.
On view in the Kurdian Gallery.
2015 marks the 80th anniversary of the Wichita Art Museum.
To celebrate this milestone, "Art We Love" is a series of three exhibitions across the year that will feature works of art chosen by a cross-section of people who call Wichita home.
In addition to the selection by guest community curators, each presentation of "Art We Love" will feature one artwork selected by popularity vote online. Benefactor Louise Caldwell Murdock gave a bequest to found the art museum and build its collection--for the Wichita community. This special series continues and honors her vision by inviting community members to come behind-the-scene and chose a favorite artwork to share with the public.
The first Art We Love installment features works of art from WAM’s collection chosen by:
- Sarah Bagby, Watermark Books owner
- Emily Compton, Goodwill Industries of Kansas president
- Larry Hatteberg, photojournalist
- Jayne Milburn, WAM board member emeritus
- Armando Minjarez, Wichita artist and community activist
- Randy Regier, Wichita artist
- Lily Wu, KAKE Channel 10 reporter and Wichita Asian Festival president
On view in the Vollmer Gallery.
The Prairie Print Makers--the famous Wichita artist group formed in 1930--produced some of the nation’s bestrespected fine art prints during the era.
The Wichita Art Museum is the proud repository of over 300 prints by this important group. This exhibition explores the different processes and styles embraced by the Prairie Print Makers, especially Japanese woodblock techniques.
The show is composed of work from the museum's collection with a few strategic loans, and it complements the special exhibition of Norma Bassett Hall, the only woman artist among the Prairie Print Makers founders.
On view in the DeVore Gallery.
Dr. Robert Burnstein, a Detroit psychiatrist, began collecting glass in the 1980s. He was attracted to American glass of the 19th and 20th centuries because, as he stated, "it was a time when handcrafted expertise and precision craftsmanship were the benchmarks of the American glass industry."
Soon he came to find that among American companies, the glass produced by Steuben was unsurpassed in quality, color intensity, and breadth of design.
Therefore, he focused his collecting first on Steuben, then on candlesticks in particular. He concentrated on candlesticks given their elegance of design and great variety of their colors and decorative techniques. Dr. Burnstein has presented his collection in honor of his parents, Donald and Arlene Burnstein.
On view in the Lulu H. Brasted Board Room.
Every work of art has a story to tell.
When John Steuart Curry was growing up in on his family farm near Dunavant, Kansas, he would often wander into the high fields of corn. "I remember," he wrote, "wandering through them and being over-powered by the fear of being lost in their green confines."
At 35 years of age, Curry returned to those fields to capture in his work the same sense of drama he felt, "beneath our windblown Kansas skies." For Curry, Kansas Cornfield represented the story of his youth on a Kansas farm.
When Curry's Kansas Cornfield entered WAM's permanent collection, a new chapter in its tale was written and a new story began. The work was the first painting collected by the Wichita Art Museum. As the foundational work of art for the new museum, the painting came to symbolize WAM's commitment to both the highest caliber American art and to Kansas audiences.
Today, Kansas Cornfield has become a part of many visitors' personal stories. Brett Zongker, an Associated Press journalist based in Washington D.C., recently featured the painting on his popular Twitter feed. As a self-described "son of Kansas," the painting represents home to Zongker.
Museums, by their very nature, are repositories of incredible stories. The Wichita Art Museum has introduced its visitors to the best American artwork and has been a part of thousands of engaging stories. In celebration of the museum's upcoming 80th anniversary in 2015, Storytelling, a reinstallation of the permanent collection, celebrates the histories, mysteries, and anecdotes that make the Wichita Art Museum collection unlike any other.
Each and every one of WAM's objects has a story to tell. What influenced its creation? Who is pictured? How did the work come to Wichita? Storytelling invites visitors to take another look at familiar favorites from the collection as well as important works that have been off view for many years. We hope that the artworks inspire a meaningful encounter with the past, one that is relevant to everyone's personal story today.
On view in the Louise Caldwell Murdock Gallery, Elizabeth S. Navas Gallery, and the Excel/Cargill Cares Gallery.
The term salon style derives from the exhibition of the French Royal Academy of Painting and Sculpture, which began in 1667 in Paris.
In order to display work by all the Academy's students, the paintings were hung as close as possible from floor to ceiling. In the nineteenth century, this salon-style hanging became increasingly popular across Europe and in the United States. The gallery has been transformed into an American salon featuring remarkable 19th-century paintings from the museum's permanent collection.
On view in the Carlene and Lee Banks Rotunda Gallery.
This display showcases WAM's unique collection of Pre-Columbian art. These sculptures and vessels in terra cotta and stone represent the ancient Indian cultures of Mexico and Middle America including cultures such as the Maya and Aztec.
This collection complements the museum's outstanding American art collection by bridging the gap between the indigenous American cultures and the post-European cultural developments in America.
In Mesoamerican culture, pottery was appreciated as an artistic medium--a way people could express emotions and ideas--not solely as a utilitarian material. To make ceramic art, these ancient peoples gathered clay from local sources and formed shapes using only their hands by pinching or coiling the clay. After shaping the objects, they were placed in very hot, open fires and baked until hard.
On view in the Cessna Art Investigation Gallery.
Charles Russell was one of the great painters of the American West. With little formal training but much firsthand experience of his subject, he captured the western landscape, wildlife, cowboys, and Indians in all of its wild if nostalgic moments.
In 1880, when he was only 16, Russell went to Montana for the first time to work on a family friend’s ranch. Ranch life was not for Russell, but he would stay in Montana for two years working for a hunter and trapper.
He began to draw and paint animals at this time and learned a great deal about their anatomy. In 1882, he went to work as a night herder for a group of cowboys called the Judith Basin Roundup, and on and off for the next 11 years he would work watching cattle by night and painting during the day.
In 1888, Russell returned to St. Louis for a short time and submitted some of his art to Harpers Weekly, where it was published. His work had become very popular in the Montana territory, and he began to sell pieces and take commissions for works when he returned.
With the advent of the railroad to Montana, the territory became more civilized, and Russell mostly gave up cowboy life in order to become a full time painter of the life he had known in the West that was now slowly fading.
On view in the Charles M. Russell Gallery.
Featured Artists: James Gross, Kevin Kelly, Kevin Mullins, Ann Resnick, Kate Van Steenhuyse
What goes on in abstract art is the proclaiming of aesthetic principles... It is in our own time that we have become aware of pure aesthetic considerations. Art never can be imitation.
Energy and motion made visible--memories arrested in space.
What you see is what you see.
With its advent in the 20th century, abstraction in art continues as a powerful vein of artmaking in the 21st. The first abstract paintings appeared in 1911, and artists have explored and expanded the potentials of this dynamic, elastic mode of artmaking ever since.
In fact, for many decades in the mid-20th century, abstraction dominated the art world. Today, although abstraction is no longer paramount, it retains great force as contemporary artists keep innovating new and compelling abstract languages.
Abstraction is amazingly varied and exists on a spectrum. Some images can be more abstracted than wholly abstract. They appear abstract, yet they do offer cues to lived reality. Other images embrace design and color with no hint whatsoever to human form or the natural world.
For certain abstract artists, the potency of design and hue captures their entire imagination and offers rich content. For others, the language of abstraction can express deeper meaning with humanist associations.
Wichita can claim strong artists who continue to innovate in abstraction, finding original expression and stretching this vital genre. This exhibition presents a selection of five exceptional artists who contribute to art world trends from Wichita and keep the evolution of abstraction vibrant in our time.
On view in the Paul Ross Gallery and Scott and Carol Ritchie Gallery