November First Friday

2015

2012 Baltimore Ave.   I  Kansas City, MO 64108  I  816.474.1919   Thurs-Sat. 11 am-5 pm
 
First Friday Opening
November 6, 2015
6pm - 9 pm
Chimney Rock, Woodward County, Oklahoma 1965/2005
 
Sense of Place
American Photographs by Jeff Burk

November 6 - December 19, 2015
Opie Gallery
 

When I was eight years old, my father and I went on a road trip together to explore an area of Oklahoma that we had never seen before. A high point of the trip was finding Chimney Rock, where I took one of my earliest photographs. That experience was the catalyst for a lifetime of continued photographic wanderlust.
  
Road trips are a way for me to decompress from the distractions of urban life. I seek out natural and rural areas to find quiet places where memories-both real and imagined-are triggered. There, I record those obscure and wonderful things that make America what it is and capture a sense of the character and history of a place.
  
In his book, Blue Highways, William Least Heat Moon ruminates on the erroneous decisions that led him to an especially interesting place during a lengthy road trip around America. He discovers that "the word error comes from a Middle English word, erren, which means 'to wander about,' as in the knight errant." He continues:

If a man can keep alert and imaginative, an error is a possibility, a chance at something new; to him, wandering and wondering are part of the same process, and he is most mistaken, most in error, whenever he quits exploring. 1
 
Often, my destination is less important than what is found along the way. Traveling disused highways and rural routes satisfies a desire for seeing different landscapes. I feel like an explorer discovering new territories and finding another, newer significance in the old and familiar. It is in this way that road trips are commonly thought of as a metaphor for life's journey. I believe they also parallel the creative process.
  
-Jeff Burk
November 2015

1 Blue Highways (New York: Fawcett Ballantine, 1982), William Least Heat Moon. p. 223
 
 
 
KCAI: Undergrads Underground
 
iii
 
November 6 - November 28, 2015
Lower Level Gallery
  
Featuring
Noah Geiger
Kiana Henley
Albert Owens
 
iii is the equivalent of three egos. These three can have the same mass and weight, but appear entirely distinct from one another. As three humans share humanity, the egos share a mode of perception, and find difference only through relation to one another. An individual can only look subjectively at the objective world, while the three attempt to piece together objectivity using their combined perceptions. Thus the three egos create a whole, while maintaining the individuality of the i.
 
Left: Argus, 2012_2015, oil on linen, 84" x 80"
Top: Crucifixion, 2014-015, oil on linen, 62" x 54"
Bottom: Skeletons with Watermelons (detail), 2013-15, oil on linen, 86" x 82" 
 
Jessie Fisher
Recent Allegories and Nudes

October 2 - November 28, 2015
Main Gallery
 

This exhibition marks the completion of a cycle of recent paintings and sculpture, ranging from intimate portraits and nudes to large-scale allegorical scenes. Moving between observation and construction, the images are tied together by a linear sensibility that creates the armature for a muted and permeable surface. Portraits, both pictorial and sculptural, provide models for the construction of mythological scenes, tied together through a scattering of objects which move fluidly through the studio to the forest.

Jessie Fisher is an associate professor in Painting at the Kansas City Art Institute and a visiting critic at the International Center for the Arts in Montecastello di Vibio, Italy. Fisher lives in Kansas City with the painter Scott Seebart and their son Valentine.


Loose Park, 2012, oil on linen mounted on panel, 16" x 18"
Onions with Red Obi, 2013, oil on linen mounted on panel, 16" x 20"
 
 
Scott Seebart
Paintings: 2005-2015
 
October 2 - November 28, 2015
Front  Gallery


I paint from observation, the things of the world and the spaces they inhabit form the vocabulary from which I construct a visual narrative.  Painting from life takes the temporal, fleeting objects of the world and attempts to make them whole, permanent and timeless.

 
 

Studio Morning, 2015, oil on linen,  29" x 38"
 
Richard Mattsson
Recent Figure Paintings
 
October 2 - December 19, 2015
Back Gallery
 

Typically, my work is inspired by the subject/event that I encounter or discover in my immediate environment, studio, home, and neighborhood. While I paint and draw from a variety of source stimuli, landscape situations are preferable as a starting point. They are somewhat overwhelming in their elusiveness.
 
When one works on site from landscape, the subject of study is constantly in flux. I paint/draw what I see in so far as that includes the sum of looking outward and inward. The process inevitably requires that I take a decisive position with respect to my choice of formal direction and personal expression. I rarely execute work directly or quickly in spite of my intentions. If I am not satisfied, I continue editing and changing the form until I feel I can go no further.  
 
Each subject/event situation is different. The situation informs me. I try to be led by it. The process of painting is meditative and experiential in nature. It's more about discovery than demonstration. Ultimately, the works are fictional and their resolution is intuitive.