Look, Don't Touch presents work from the Wichita Art Museum that investigates both visual and physical texture.
The tactile quality of a painting, collage, or sculpture can come from the material of the object itself, such as the thick swabs of paint applied to a canvas or the polished smoothness of a marble sculpture. Artists also create the illusion of texture on a flat canvas, tricking the eye into believing that the surfaces it sees are not actually flat at all.
Look, Don't Touch invites viewers to delight in art that explores texture and kindles the desire to reach out and touch. The exhibition also includes interactive touch stations that imitate the surfaces of the paintings and sculptures displayed.
Paris was the capital of the art world in the 19th century. Any ambitious American artist needed to spend time in Europe. A period of residence on the continent was a simple requirement for worldly sophistication for Americans in the arts and upper-class. 19th-century American painter William Merritt Chase, reflecting the thoughts of his generation, said "My God, I'd rather go to Europe than go to Heaven!" Naturally, he meant to Paris.
The experience of Paris transformed American art. Writer Henry James astutely observed in 1887, "when today we look for 'American art,' we find it mainly in Paris. When we find it out of Paris, we at least find a great deal of Paris in it."
Painter Mary Cassatt spent her adult life in the French capital and was fully accepted into the ranks of French impressionism. Theodore Robinson settled in Giverny and developed a close relationship with the older Claude Monet. Modernist Alfred Maurer spent years in Paris and became an intimate in the Paris scene, even taking private training with Henri Matisse.
The Wichita Art Museum presents gems from its prized American art collection to reflect the vital cultural phenomenon of Americans in Paris. This exhibition complements the Monet to Matisse: French Moderns from the Brooklyn Museum, 1850–1950 that will be on view beginning February 24, 2018.
Americans in Paris: The French Connection from the Wichita Art Museum Collection is generously sponsored by UMB Financial Corporation Charitable Foundation.
Savoir-Faire: 19th-Century Fashion Prints features prints from French and American women's magazines together with dresses and accessories from the Wichita-Sedgwick County Historical Museum.
The exhibition traces the dynamic changes in women's fashion occurring in 19th-century Paris and the ways those far-away trends found their way to American cities, including Wichita.
Savoir-Faire joins Americans in Paris (opening December 16) and Monet to Matisse: French Moderns from the Brooklyn Museum, 1850–1950 (opening February 24) for an exploration of the artistic links between Paris and America in the late 19th and early 20th centuries.
A new exhibition at Wichita Art Museum gives museum visitors a chance to view the art and artifacts that reflect daily life in America's early history. No Idle Hands features highlights from WAM's newly acquired collection of more than 450 works of American folk art, including some of the best furniture, samplers, hunting decoys and lures, and corner store paraphernalia from the new collection. The exhibition tells the story of America’s past while also foregrounding the beautiful materials and craftsmanship of many of these objects.
WAM's curatorial staff organized the exhibition with local architect Dean Bradley, of Platt, Bradley, Adams, and Associates. As a specialist in residential architecture with a personal passion for history and preservation who also serves on the board of The Wichita-Sedgwick County Historical Museum, Bradley will design a gallery installation to evoke the stores and homes in which the works were originally used and cherished. Shop signs--including iconic striped barber poles--conjure up an image of Main Street. Portraits, toys, and miniatures--small, hand-held portraits sometimes worn as jewelry--reference the life of the family and home. Each object--some rare and precious and others common fare—tells the story of the changes and continuities of daily life in America over the last 200 years.
On view in the Vollmer Gallery
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.
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.
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.
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.
WAM's unique collection of Pre-Columbian art and artifacts was collected by Haig Kurdian between 1954-1959 during expeditions into Mexico and Costa Rica. The collection is mostly pottery, a few pieces of metal, carved shells, and precious stones.
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.
"I particularly love that tripod bowl, from Teotihuacan, with the square legs. It's a superb, beautiful piece. To think that someone made that, not on a potter's wheel, but by piling up coils of clay, then working it and firing it. And it's survived at least 2,500 years. The other tripod bowl I love represents a squash and has parrot legs. That one is from Colima," Kurdian said.
The artifacts originated from various locations in Mexico including Colima, Veracruz, Valley of Mexico, Oaxaca, Michoacán, and Guerrero. The collection includes artifacts from Costa Rica: including Atlantic Watershed, Guanacaste-Nicoya Zone, and the Diquis Zone. The objects date from 1000 B.C. to 1450 A.D.
The collection was given to the Wichita Art Museum by Haig, Rima, and Gregory Kurdian in 1977. Then in 1986, Louise and S.O. Beren offered WAM a selection of artifacts, they had earlier received from Haig's expeditions.
On view in the Cessna Art Investigation 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.