Visual Arts

In late October, as the leaves begin to rustle and the winds begin to moan, our thoughts turn to night frights and all things ghoulish. In partnership with the ongoing 100 Ghost Stories project at Wonder Fair in Lawrence, Central Standard presents three ghost stories by writers with local ties.

In order of increasing scariness:

Ghost Feelings, by Mick Cottin

Caroline, by Megan Kaminski

Monitored, by BJ Hollars

Making art requires dedication and time – lots of it. Add a child to the mix and having a career as an artist can be a challenge. Some put their art practice on hold to raise a family; others adapt to making art when they can. And, sometimes, a child can lead to inspiration. 

People who go to the Kansas City Flatfile show at H&R Block Artspace get to do something that feels wrong: touch the art.

That’s the fun of the Flatfile exhibition, which takes place every two years. The show features work by 160 Kansas City artists, and visitors get to pull it out of the metal files themselves, spending as much time as they want having what Artspace director and curator Raechell Smith calls an "unmediated" experience with the art.

Sky Stations are the shiny, space-age sculptures on top of Bartle Hall (more commonly called "hair curlers").

Twenty years ago this week, a helicopter hovered overhead to place the four steel and aluminum sculptures atop 300-foot concrete pylons in a public art installation that closed the downtown streets in Kansas City, Mo.

New York-based artist R.M. Fischer reflects on Sky Stations 20 years later: 

The new exhibition at the Nelson-Atkins Museum of Art, The Plains Indians: Artists of Earth and Sky, includes nearly 140 masterworks from private and public collections across North America and Europe. 

There’s a 2,000-year-old pipe, 18th century-painted robes and beaded designer shoes from 2011. 

Some curators might find it offensive if someone asked them to choose a few favorite works — well, actually, just two — from an exhibition they'd worked on for nearly five years. 

The exhibition The Plains Indians: Artists of Earth and Sky, now at the Nelson-Atkins Museum of Art in Kansas City, Mo., marks an international collaboration, years in the making. Three museums on two different continents, featuring nearly 140 objects from North American and European collections. 

Julián Zugazagoitia, director and CEO of the Nelson-Atkins, says this builds on a museum tradition, started in the 1970s with Sacred Circles, of bringing Native American artwork to a larger audience.

Curators from Crystal Bridges Museum of American Art in Bentonville, Ark., set out on a road trip to find the most compelling unknown artists hidden away in studios across the country. About a thousand studio visits later, artists had been selected for The State of the Art exhibit. Two Kansas City artists made the cut. 

Guests:

The Kansas City Parks & Recreation Department celebrated the opening of Soccer Village on Friday. In addition to pristine practice fields with perfect synthetic grass and a natural-grass championship field with grandstands that seat 1,500 people, there’s also a sculpture, thanks to the city’s One Percent for Art Program.

The artist, Jake Balcom, installed the work last week with help from two friends, Spencer Schubert, also a local sculptor, and musician Brent Jamison.

Driving around Kansas City’s Northland on Vivion Road, it’s kind of hard to miss Penguin Park. It has a way of sticking out – there’s a giant penguin standing in the center of it. But why is the penguin there? And where did it come from? 

Kansas City photographer Paul Andrews has committed himself to taking a photograph a day for all of 2014. He's been posting the photos online as he goes, and his project has gained a local following by way of social media.

The oldest, and longest-serving, employee at the Nelson-Atkins Museum of Art retired on Aug. 31.

Henry J. ("Hank") Raya studied at the Kansas City Art Institute and served in the U.S. Navy before working for two decades as an illustrator at The Kansas City Star. Then he stepped into a new career: as a security guard at the Nelson-Atkins, where he's helped the visitors and protected the art for 35 years. 

The experience of viewing a work of art often involves words — think of the neatly typed wall panels with an artist’s name and background, or details about the work itself. The written word — and its role in and on an artwork — is the focus of a Belger Arts Center exhibition in the Crossroads Arts District. 

"A couple of years ago, there were some visitors waiting for the elevator over there," says gallery assistant Mo Dickens, on the third floor of the Belger Arts Center. "And I heard one turn to the other and say, 'Hmm … I don’t know. I’ve never liked text on paintings.'" 

This fall, the Nelson-Atkins Museum of Art opens its blockbuster exhibition "The Plains Indians: Artists of Earth and Sky," with works ranging from a 2,000-year-old stone pipe to beaded designer shoes from 2011. To spark enthusiasm, three enormous teepees now compete with the Shuttlecocks on the Nelson’s south lawn.

The Nelson-Atkins Museum of Art has unveiled plans for a bold expansion. The museum is talking about greater green spaces, walkways, and more sculptures as part of a gleaming cultural district. The new district would extend a mile in every direction from Oak Street and Emanuel Cleaver Boulevard. It’s a huge statement that could carry some pain as pieces of nearby historic neighborhoods would vanish to make way for this new vision.

On Tuesday's Central Standard, we invited a variety of artists to discuss how their practice has evolved as they have moved from one stage of life to another.

As a ballet dancer embarked on retirement from the stage and into a teaching and choreographing role at the age of 32, he sat down with a visual artist who has more than forty years of studio experience and a legendary jazz saxophonist. The three compared notes across genres. 

Highlights:

Thursday's Up to Date brings the never before told story of powerful events witnessed by five young photographers during the momentous summer of 1964 in the segregated South. Guest host Brian Ellison talks with Matt Herron, one of the photographers and author of Mississippi Eyes: The Story and Photography of the Southern Documentary Project, "the only book to provide a firsthand account of what it was actually like to photograph the civil rights struggle in the Deep South."

A young Kansas City journalist named Esther Honig, who contributes to KCUR, had an idea for a project.

She sent a simple, straightforward portrait of herself to Photoshoppers around the globe with a request to make her beautiful. She wanted to see what that would mean to people in different parts of the world, investigating how culturally specific definitions of beauty might play into the results.