The Healthcare Paradox, as Seen Through ‘Care, A Performance’ at La Esquina

The concept of ‘healthy’ contains a multitude of definitions; asking how human society defines the tools of normalcy for our physical and mental states. Pain is an individual sensation, but its resulting effects are felt by all. We see in this exhibition that one’s mobility, disability, debility, illness and institutional access are social. Returning to “normal” is a paradox as the very idea of wellness is reconsidered.


Cellphone photo by Karl Marks taken in the New York subway system

The state of American healthcare is a series of negotiations and consolations. This exhibition put a human face on what healthcare does for a population; standing in opposition to the current administration. Their obsession with undoing an already existing system without reasonable replacement brings up the human and psychological necessity for human empathy and care.  The healthcare industry’s bottom line mentality concerning wellness doesn’t always jibe with the societal effects. It’s begs the question: ‘How much are we willing to spend on one another?’

At first look, the space was the standard curation of objects and materials; there really wasn’t any central focus on one piece or another. Who suffers more isn’t the right question to ask; pain doesn’t necessarily have a hierarchy. Eyes pitched towards the artists’ construction of new interfaces to existing ideas.  Negotiating a world that demands one-size-fits-all policies requires invention.  


Care, A Performance installation image courtesy EG Schempf

If there is a takeaway to be understood, it is the human capacity for adaptation. Amongst the Donald Judd-esque bathroom handrails (Constantina Zavitsanos), seeing eye canes (Carmen Papalia), hospital gowns (Hadley Clark) and care instructions (Lynne McCabe), were the aesthetics of human care and its evolution. In a sense, this room was a survival guide. Appropriately so, as there are larger issues at work; these objects of adaptation also prescribe the advancement of the human species.  Now that citizens of Earth have been handed a timetable, the effort to make ourselves into the next form that adapts towards overpopulation, conflict (political, social) and climate change, it is necessary to begin thinking about how the human form will continue to augment itself.

Ben Gould’s live performance, In Ballast, reflecting his experience with Tourette’s Syndrome, was by far the most powerful. It went directly to the core of living with difference. I was more interested in his balletic movement and whether or not he was going to be able to hold the water poured into his cupped hands (He did!).  In the spirit of Eva Hesse, it is important the viewer not “Ask what the work is. Rather, see what the work does.”  We witnessed his experience in stark reality, not perceived in the abstract, which highlighted to the audience that we have been invited to watch as both architect and observer. Do we sympathize or empathize? Our emotions must mitigate the experience to reach a pragmatic extension of Gould’s motions, acknowledging these specific limitations  tell us the limit does not exist.  Rather than focusing on otherness Gould says, “Instead of my spasms being like an engine stalling, they have become an engine.” And thus, is the evolution of humankind’s leap into the future.


In Ballast by Ben Gould. Image courtesy Patricia Bordallo Dibildox

Photos of implants after the body has been cremated (Sarah Sudhoff, Precious Metal) gave thought to what this might look historically. Before I read the wall text, I assumed they were ancient objects and considered part of a dialogue on  how we’ve always cared for and about the infirm. But the afterlife of prosthetics and augmentations take different routes after death, so Sudhoff’s documentation became a conversation about the rejuvenation and conservation of these artificial elements.


Face by Samara Umbral. Installation image courtesy EG Schempf

Conversely, the cost of living as yourself (Samara Umbral, Face), put into motion the idea that the human figure does evolve and change according to its personal user interface.  Curiously, it leaves us to wonder what happens should this particular body be cremated after death and what comes of all the secondary and tertiary implants when melted down? Umbral presented a banner highlighting the monetary expense of personal evolution, but it is difficult to discern what else is seen beyond that.  It doesn’t answer whether all these estimates were undertaken or how Umbral felt about the results. It is little more than a bleak shopping list that seems to skim past the psychological considerations of such measured steps.  Face does present a triumph of science that such progress can keep up with the human need for ‘wellness.’ Fitting into a society comprising itself out of matching one’s psychological foundation to these artificial gender binaries with its physical manifestation.

It is not merely enough to be physically on board insomuch as it is to be in sync psychologically as well. There is no such thing as a normal, as we continue to fight for the rights for those with needs, CARE presented this truth. We negotiate trust as a means of survival and the instinct for personal strength, with the capacity for acknowledging society’s needs, is stronger than ever.


Care, A Performance was an exhibition curated by Risa Puleo for Charlotte Street’s La Esquina Gallery (July 7-August 5, 2017)

E S S A Y 3 / 6 : The Distance and the Manicure.

‘Cause there is no love
Where there is no bramble

– Bill Callahan, from the A River Ain’t Too Much to Love LP.


On our second day in Texas we could not swim in the pool below the grotto beneath the cow field because of too much manure runoff and too little rain, and besides it was busy with too many people to be good for swimming, and so we followed a sign pointing up into the high scrub and pine instead. We hoped for another pool–we had come all this way, you know.

Here is a structure for discussing Art — Art is not a thing to be got, it is instead a place to be got-to. It is a rare spot when described and regarded with honesty and accuracy, and it is a tourist dive when described and regarded callously. When in pursuit of Art one undershoots the ambition or overshoots the execution, one lands instead in the near-bys of Art–Hobby and Decoration the pleasant leeward; Commerce and Bad Art the windward. These are necessary places. They are worth caring for because they exist around Art and point in its direction, and because most folks have busy lives and Art takes time. It takes time to conceive beyond the initial attraction, it takes time to make virtuous in some way, it takes time to see beyond looking, it takes time to digest beyond having-been-seen. Sometimes the base camp is the only place to be gotten out to on a weekend, you know. 


We followed a path as it ascended the north side of a valley. The close growing pine trees made a dense tunnel of boiling sap air around us, the gaps in the branches showing across the valley to sun-facing hillsides of prickly pears in their fullest trout-belly-flower in the cloudless middle of a Spring-becoming-Summer midmorning. There was great beauty and almost no comfort offered by it.

Here is another structure for discussing Art — the title Artist ought to be applied in an aspirational sense during life. One hopes to make Art, one aims for it, only. It is not a marker of some aesthetic certainty, but instead a statement of intention. It follows that the Artist pursue by necessity experiences which feel like Art feels, even when there is no certainty that Art will be there waiting when the feeling has passed. And there is no certainty what someone makes in a studio one afternoon for folks to look at in a gallery one evening will be Art. Nor should we expect it to be, nor should we call it that just because an Artist made it and someone found wall space for it. More than likely it is the product of a hobby which the Artist invented alone in the dark over the course of a dozen years. More than likely the Artist will spend an unaccountable long time taking ideas out for little walks around the block, the specter of Art always a block further on. More than likely the Artist produces litter after litter of shaggy, mawing, three-legged farmdogs, all the while hoping to birth just one greyhound in full gallop.


A drowsy distance further on we heard water moving, emerging from the pine at the edge of a wide river bank; it was the great and flinty Pedernales, it still is. There was a breeze coming off it, and populations of birds and insects and fishes. We walked into water and piled our things on a low, flat rock in the middle of the river. We dog paddled upstream and floated downstream, going where the river took us. We found cold spots and warmer ones, deep spots and places we could stand up. We played for an afternoon and when we were tired we rested on our rock beside all our things. 

 Here is one last structure for discussing Art — Art differs from other creative pursuits in the distance of travel and the manicure of the terrain, but they all exist along the same path. Decoration right there with orchids in bell jars. Commerce at a stones throw with shredded tire mulch to guard against scraped knees. Hobby an arrow straight landing strip with a crosscut. Bad Art a backyard of disappointing grafts which won’t last the winter. Art the most distant and given over to a wild ecosystem of invasives moving towards the sun. It is a high function of a person to pursue any point along the path– there are easier ways to pass the time. It is a high function to make an effort to include beauty in ones life, and a higher function to seek to understand it, and then to share it. The fact that folks keep making an attempt despite all the labor gives me hope for the future.


We dried off in the sun and drank beers and passed around grass and bread and avocados. There wasn’t a knife and so we scooped out the avocados with our fingernails and washed off in water, laying our stomachs on the hot rock and waving our hands at the bed of the Pedernales as it passed by towards the Colorado, forever I hope. Heaven’s own blessing on accident, that afternoon felt like Art feels when it is really, really good.

Essay 3

photo by Twist.                                                           



Next time: BabyCat Looks Me in the Eye.


July 2016 First Friday Weekend Radar


The Position We’re In

Friday, 6-8 pm

KCAI Crossroads Gallery: Center for Contemporary Practice

1819 Grand Blvd

Kansas City, MO 64108


Land of Contemplation – In Transition

Friday, 6-9 pm

Night Blooms Darkroom and Book Store

529 Southwest Blvd

Kansas City, MO 64108

Photographic works by Ashlin Wang and Chase Castor among Night Blooms stacks of used and out-of-publication books. Both artists will have their recent publications available as well: Land of Contemplation by Chase Castor and Never Stop Shooting by Ashlin Wang.


Gender Treason

Friday, 6-9 pm

Leedy-Voulkos Art Center

2012 Baltimore Ave

Kansas City, MO 64108

Ryan Wilks gives a glimpse into the lives of Queer Kansas City. The exhibition consists of twelve oil portraits after twelve interviews of poplin the Kansas City Queer community through the span of a twelve moths. A portion of all sales will be donated to KCAVP and the LikeMe Light House. Gender Treason is exhibited in Leedy-Volkous Art Center’s Base Gallery, July 1st through August 26th.

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It’s Okay to Cry pt. I

Friday, 6-10 pm

Sex + Ice Cream

1515 Walnut

Kansas City, MO 64108

Kansas City based designer and performance artist Deaton Chris Anthony will debut a new sweater line alongside new photographic work that coincides with the performance held at the same venue on Saturday. Hosted by Nicole Leth and Sex + Ice Cream.


Are You Sure

Friday, 9 pm – 12 am


217 W 18th St

Kansas City, MO 64108

Front/Space is pleased to present “Are You Sure”, featuring two new works by Ryan Kuo examining contemporary displacement. Ryan Kuo ( is an artist and writer drawn to reflexive systems and acts of non-knowledge. Based in Cambridge, MA, he received a Master of Science in Art, Culture and Technology from MIT in 2014. Many of his works occur in video, hypertext and game environments, and invoke a person or people arguing. His works have been shown most recently in London, Berlin, Boston, and Stockholm. Ryan has also been a medical student and a videogame critic.



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It’s Okay to Cry pt. II

Saturday, doors at 7 pm; show at 8 pm

Sex + Ice Cream

1515 Walnut

Kansas City, MO 64108

Performance by Kansas City based designer and performance artist Deaton Chris Anthony. The second night of this event will consist of Deaton Chris Anthony’s debut live performance and film premier hosted by Nicole Leth and Sex + Ice Cream. $5

An Archive of Crit Night with Archive Collective

Archive Collective hosted their fifth Crit Night at Kiosk Gallery on Thursday September 3, 2015. This Crit Night was for the artists to get feedback on works in progress and in this way, see what is working and what needs to be reassessed. There was a larger turnout than was expected, making for a slightly crowded and very warm environment. Despite that, there was a good atmosphere geared towards critique within the framework of photography.

Guest Moderator Melaney Mitchell image courtesy of Archive Collective

Guest Moderator Melaney Mitchell in front of the work of Kat Richards at Kiosk Gallery image courtesy of Archive Collective

Kat Richards, printmaking senior at KU, presented her work as primarily dealing with the drag culture, virtual presence, and identity. Although there were some elements that were working, there was much room for improvement. One issue with the photographs was the language she used to describe her concepts. Many of the words she used were problematic towards the queer/ drag community. Not only was she using models who are not part of drag culture, but she also put herself in drag, using it as a costume. Participants in the critique thought Richards was not taking into consideration the potentially negative implications of this type of portrayal. Her lack of research in conceptual approach ended up opening different discussions she was not prepared to address. This was a large topic of discussion for the overall body of work.

Richards use of photography -in technical terms-was problematic.  the works presented were decent, well lit, subjects in focus, but the glossy finish on the prints reflected the overhead lights. The colors she chose for the background of the two gender centric studio portraits – pink and blue – were an obvious choice and did nothing to for her already questionable concepts. To be fair, she was attempting to achieve the cinematic. The audience discussion was largely about problematic ideas on gender identity. One of the attendees, Donut, commented on how Richards’ idea of what the work was about did not come across because of how directly they mimicked aesthetics the queer community. It seemed to be that Richards had not taken into consideration many of the points that were brought up so hopefully this critique works to her favor moving forward.

This critique could have been better balanced between the two bodies of work and spent more time discussing the photographs that dealt more with value within the virtual realm and strange object phenomena. These seemed to have potential for further exploration. Her use of color and the objects within her constructed spaces alluded internet culture and virtual space and presence. Whether intentional or not, certain objects she included were referential to American culture as well and I felt that could compliment her other interests well also, given she researches more in depth.

Emma Provin and Critique Night guests image courtesy of Archive Collective

Emma Porvin and Critique Night guests at Kiosk Gallery image courtesy of Archive Collective

Second to present was Emma Provin, who was projecting a short film. Her piece, Agnes Cannibale, featured Agnes, whose body is having a negative reaction to the human meat she has been ingesting. Strong female lead characters are not often seen within the context of the horror genre. Provin managed to use this atypical narrative through execution.  The film was shot and edited handsomely; the framing throughout the entire length was consistent in its intentions and correlated nicely with the overall concept. The tension built by not seeing Agnes’ face, and instead just her hand gestures, kept the audience engaged with the character. At the end, this payed off by finally revealing an entirely different dimension of self mutilation. Overall, the environment Provin created was appealing and counterbalanced the grotesque implications.

The conversation revolved a lot around the main character and her persona. The one point that was discussed, a bit too extensively, was the sound throughout the film. Fellow Crit Night participants felt the sound was too low, even when scenes were functioning properly silent. The music also surfaced comments on the time setting and the contrast between the chosen aesthetics of Agnes’ old fashioned space and her modern objects. This played into the conversation surrounding her persona and the way in which the juxtaposing of these two served as a way to confirm assumptions made by the audience about the character.


Crit Night Group discussing the work of Dustin Downey at Kiosk Gallery image courtesy of Archive Collective

Last to present work was Dustin Downey. Primarily an installation based artist, Downey showed photographs that were meant to serve as documentation of installations. His work explores the relationship between light, space, and form. However, instead of providing the viewer with simulation of those installations they left much to be uncovered. That physical presence of light in space was unfortunately not translated through the photographs. Many of the prints were too dark, abstracting the space from the image entirely. Downey’s documentation of his installations seemed to be referencing Dan Flavin’s fluorescent works in the way the light source is supposed interact with the space. Flavin’s documentation of his installations can double as artwork themselves because they consider the medium they are being translated through instead of simulating the experience. Downey’s work did not evoke any sense of presence or spatial depth instead the contrast ratio of the photos made the spaces ambiguous.

By the end of the night, all three artists were able to hear the reception of their work from a small but diverse audience. Each artist received constructive suggestions for ways to improve or reevaluate the directions of their work.


March 2016 First Friday Radar


Coming Together

Friday, 6:00 pm

Imagine That! Kansas City

2040 Central St

Kansas City, MO 64108

An exhibition featuring ceramic works ceated during a month-long collaboration between 11 Kansas City Art Institute students and 11 artists supported by Imagine That! Coming Together is a culmination of a partnership between Imagine That! Kansas City, KCAI’s Ceramics Department and the Kansas City Art Institute’s Social Practice Certificate Program.

A Tisket, A Tasket

Friday, 6:00 pm


217 W 18th St

Kansas City, MO 64108

A Tisket, A Tasket is a participatory installation featuring the work of Charity Thackson and Julia Six. The exhibition explores how and why people assign value to objects through a part scavenger hunt installation.


I’ll Admit I’m Popular, Amongst the Ivy and the Ferns

Friday, 6:00 pm

Night Blooms Darkroom and Bookstore

529 Southwest Blvd

Kansas City, MO 64108

The opening for I’ll Admit I’m Popular, Amongst the Ivy and Ferns. Rodolfo Marron III’s new work explores the intimate relationship that the artist forms with the plants he brings into his home. Accompanied by objects arranged in shrine-like fashion will be small portraits of the artist’s plant companions. 


RE/WORK Closing Reception

Friday, 6:00 pm

Vulpes Bastille

1737 Locust St

Kansas City, MO 64108

Closing reception for a three month long exhibition about process bringing together the resident artist of Vulpes Bastille. 


Curator and Artists Talk with Andrew Lyles, Kadie Nugent and Daiana Oneto

Saturday, 1:30 pm

Paragraph Gallery

23 E 12th St

Kansas City, MO 64106

Join the Charlotte Street Foundtion in conversation with curator Andrew Lyles and artists Kadie Nugent and Daiana Oneto as they discuss the collaborative installation What Will You Think Tomorrow? currently on display at the Paragraph Gallery.

August 2015 Fourth Friday Radar

August Critique Night

Thursday 6:00pm – 9:00pm

Plug Projects

1613 Genessee St.

Kansas City, MO 64102

Guest moderators Charlotte Street program director Amy Kligman and our own Editor-in-Chief Melaney Mitchell will be looking at and talking about the work of artists Rena Detrixhe, Cristina Muniz, and Shawn Sanem. The 2014-15 critique night series is moderated by Garry Noland and helps artists foster a dialogue with the community about their work.


End-of-Residency Party + Studio Sale!

Thursday 5:30 pm

Hotel Phillips

106 W 12th St

Kansas City, MO 64105

Hotel Phillips resident artist Madeline Gallucci is selling all of her studio work as her residency is ending. There will be free food and comped valet parking! Gallucci recently did an interview with us about her work and the residency as a whole. Read more about that here!


The Inside’s Outsides 

Friday 5:00pm- 9:00pm

1323 Union Ave

Kansas City MO 64102

An exhibition of visual art and performance based work by women artists in Kansas City who are exploring female identity. This show will feature artists Iris Appelquist, Christina Bereolos, Blaze Christopher, Molly Dillon, Patricia Graham, Steph French, Crista Siglin, Anna Marie Tutera, and Theresa Goodman.

In Pursuit: Kansas City Art Insitute Faculty Biennial

Friday 6:00 – 8:00 pm

H&R Block Artspace

16 E 43rd St

Kansas City, MO 64111

This biennial exhibition will feature the work of distinguished faculty members Cary Esser, Julie Farstad, Dwight Frizzell, Richard Mattsson, Karen McCoy, Jason Pollen, Brett Reif, Warren Rosser, Jim Sajovic, Gary Sutton, and Pauline Verbeek-Cowart

Nostalgia and the World at Small: The Grand Reopening of The National Museum of Toys & Miniatures


The National Museum of Toys and Miniatures reopened its doors the morning of Saturday, August 1st after a year and half long, eight million dollar renovation. Visitors are now invited in to explore the museum’s two levels of craftsmanship, childhood, and history. direct payday lenders With a new improved exhibition strategy and a playful marketing approach, the museum has continued its mission of delighting and educating children and adults through the means of nostalgia, narrative, and play.

It was the sunny Sunday morning after The National Museum of Toys & Miniatures’ reopened that I was able to venture back into the small wondrous institution. I hadn’t experienced the museum in well over a year and was extremely curious to see the changes that had been implemented since closing their doors to the public. As a studio artist and filmmaker focused on themes of childhood, nostalgia, and history, I had been waiting not eagerly, but anxiously since the opening date had been announced.

As reluctant as I was to not let go of the small somewhat cluttered galleries of the museum’s past, the renovations truly did not project payday scam disappoint. The space had been definitively split into two parts; the upstairs containing toys and the downstairs containing fine miniatures. While it had been organized in a similar fashion beforehand, the spaces now contained interactive and audio visual features that allowed for a more immersive educational experience. Buttons, lights, and video clips accompanied selected toys and miniatures throughout the galleries, as well as, hands on opportunities to interact with objects and processes. As a frequenter of museums, I tend to find these flashier components somewhat distracting if I already understand the process and history of whatever is on display. However, as I watched guests spin a large zoetrope in the optical illusion room, control a scanner that provided construction information about selected objects in a toy gallery, and place tiny clock hands on a miniature grandfather clock in the artist studio, I couldn’t help but join in on the fun.


Along with these new interactive features was a fresh curatorial approach. Before the renovations, the museum kept about 99% of its collection on display. The galleries and displays were somewhat cluttered and cramped. To me, visiting the museum in its previous state was somewhat like visiting an enchanting yet overwhelming antique store. Everything was beautiful but in very close proximity, and aside from a few subtle organizational implementations, the objects from a curatorial standpoint did not inform one another. Today, the museum has taken a much more focused approach. The collection has been thoughtfully arranged to portray specific historical narratives and contextual information. Overall the new layout allows for a more informed look at the collection without overwhelming visitors.


While experiencing The National Museum of Toys and Miniatures’ fresh and fun new approach made my visit enjoyable, the real success of this renovation lies in the enhancement of the museum’s continued ability to engage those of all ages in the history of play. Despite children having primary functional use for toys, The National Museum of Toys and Miniatures seems to lean more toward inspiring nostalgia and thoughtfulness in adults. Simultaneously the museum allows its younger guests to thrive in their childhood wonder with playful interactivity, and challenge its adult visitors to consider the role that play had on their own childhood, and what toys communicate about the world at large.

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Toys and miniatures have long been used as teaching materials and objects of control. payday loans It is through toys and the act of play that stories are told, religious traditions taught, and gender roles determined. It is through the act of crafting miniatures that allows us to create space like yet unlike our own; it is something small, attainable, challenging. It creates an opportunity for means of perfection and reinterpretation. However, with these new life skills and environmental rulings comes a deep sentimentality formed for these objects, one that seems to reverberate throughout the galleries of this museum. Why is it that we can feel so much empathy for these dollhouse rooms and stuffed animals left long abandoned? While many of these objects served a rational purpose in their functional use, many of them were coveted as heirlooms and companions; just as families today continue to preserve and pass down the toys of of older generations.

Nostalgia is the key component at work in The National Museum of Toys and Miniatures, and propecia the curators and collectors here seem to be well aware. They are relying on these historic toys to create a sense of longing in viewers. By expanding their collection while under renovation, the museum seems to have more emphasis on mid-century items from the 1950s and 60s, and now features toys up through the early 2000s; even those in their teens and early twenties can view the objects of their own childhood on display. My Size Barbie, Star Wars collectables, Fisher Price’s Cassette Recorder, and even Bratz dolls made it into the contemporary collection.

The museum’s current special exhibition, Pedal to the Medal invites guests to experience the evolution of toy cars during the era when fascination and use for automobiles was developing in America. The exhibition contains a mock 1950s car display room, a mid-century front yard – complete with midcentury house, mailbox, two car garage – and white lounge chairs in which guests can lay back, relax abilify of risperdal and watch a documentary about the subject matter. The exhibition allows guest to immerse themselves in the era while learning about in the objects.


An additional special exhibition, Messengers of Goodwill did not have the same amount of care taken into its presentation. In all honesty, I didn’t even realize it was a special exhibition until I recognized Miss Shizuoka, a Japanese friendship doll on loan from the Kansas City Museum, and began digging around on the internet until I could resolve my confusion. Messengers of Goodwill displays five Japanese dolls used payday to establish and mend diplomatic relations in the 1920s. While the subject matter seems incredibly interesting the presentation seemed unclear in the small space used for the display. Childrens’ drawings of these dolls were also framed and hung in the small gallery. They were charming but seemed somewhat like an afterthought amongst the display cases and wall graphics.

In providing emphasis on the toys of today’s aging generations the museum has created inclusiveness about itself; allowing visitors to not only extend their empathy for objects of generations past but to reminisce in their own memories of playthings as children. While this seems to be a logical move, at times iconic mid-century American themes are too easy. Not to imply that foreign texas payday loans and much older objects are not well represented; they make up a large portion, if not over half of the overall collection. It is important to expand perspective beyond the toys represented in America throughout our easily identifiable history and today. Messengers of Goodwill is a good step in this direction; at the most it allows guests to understand the cultural politics associated with these same day payday loans objects, and at its least it exposes us to another culture’s use for toy objects.It is important for the museum to continue to focus on unfamiliar playthings from other parts of the world. The museum already has the ability to instill a feeling of sentimentality toward the majority of the objects in the space. This emotional response can be used to further a stronger connection to the way side effects cymbalta other cultures experience play.

Toys and miniatures are what once allowed us to understand the world; they determined our roles, sparked our childhood imaginations, and let us explore space through fine scaled potential. Toys are the world to us as children; miniaturized mock versions of the road to adulthood. The National Museum of Toys and Miniatures in their new released collection book quotes Alberto Manguel’s, Magic in the Land of Toys in stating: “Everything is here. Comfort, conflict, nightmares, experience, hierarchies, anarchy, freedom, discipline, beginnings, adventures, prejudices, creation, scientific research, social rituals, prohibition, transgression, sex, metaphysics, knowledge , death. This nutshell is the world. What payday loans online direct lender isn’t here doesn’t exist.”


Through The National Museum of Toys and Miniatures’ newly remodeled landscape, take care to observe your world within the world.


July First Friday

Happy 4th Weekend! The crazy insane First Friday block party is happening, but so are some notable exhibitions. Here is what is on our radar this week.


Friday at 6:30 pm


217 W 18th St

Kansas City MO 64108

Experimental sounds are taking over Front/Space SOLLUS will play from 6:30-sunset featuring local musicians Rev. William Ellis Bradly, J Ashley Miller, and Joey Watson. Following them will be Symbel Feast and HAUNTER (Iowa City) Take a preview listen at and experience an alternative sound to the block party.



Friday 6:00pm-9:00pm

Beggars Table Church & Gallery

2010 Baltimore Ave

Kansas City, MO 64108

Concluding her year-long residency at Hotel Phillips, Madeline Gallucci presents SOFT-SERVE an exhibition to investigate the experimental nature of working in a storefront window in downtown Kansas City. We just did a studio visit with Gallucci about her work and residency at the Hotel Phillips check that out here!

Urban Colonization

All Month

Mid America Arts Alliance, Plug Project, and Union Station/Science City

Participate in art! Local artist and citizen scientist Sarah Hearn is revealing the first 4 of 12 hidden-in-plain-sight installations. Shes inviting the public to utilize her app-available to download free- to discover artificial lichen colonies as they continue to grow over the summer in different sites around Kansas City. We heard the one at Plug Projects lights up at night, so drive by and have a look!

Cross-Border Network Exhibition

Friday 6:00 pm – 9:00 pm

Vulpes Bastille

1737 Locust St.

Kansas City, MO 64108

Documentation of a recent human rights delegation in Honduras, and the work of five local artists Curator Ashley Anders has framed the focus of this exhibition on issues of worker justice, community empowerment, and international solidarity. Artists featured are Matthew Willie Garcia, Stephen Holland-Wempe, Ana Marcela Maldonado Morales, Eugenia Ortiz, and Tino Scalici


June 2015 Fourth Friday Radar!


That Used To Be Us

Friday 6:00pm-9:00pm

Haw Contemporary

1600 Liberty St

Kansas City MO 64102

On display will be the works of twenty-four national and international artists exploring the need for cultural reinvestment. Curated by Carrie Riehl.


The Workroom

Friday 6:00pm-9:00pm

Haw Contemporary

1600 Liberty St

Kansas City MO 64102

Featuring the work of artists, stylists, designers and photographers created through a week-long collaboration. The workroom is facilitated by ARENA, a creative and curatorial project.



Round Trip

Friday 6:00pm-9:00pm


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1000 W 25th St

Kansas City MO 64108

The opening reception for Matt Defamers and Mark Cowardin’s works will be held at Charlotte Street Foundation’s La Esquina. A sculpture opens up discussion regarding the “consumption and connections” to nature.


Madeline Gallucci’s recent solo exhibition at

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Plug Projects in the West Bottoms is appropriately titled, “Confectionary.” These saccharine sweet paintings and prints fill the white walls of Plug’s new local exhibition space. The show is open until August 23rd. More information can be found at or

Have you seen “Confectionary” at PlugProjects? Be sure to voice your opinion using our Facebook commentary feature.

-Mark Allen, KC ART NEWS