In May of this year, Kansas City based artist 2007 Balquier exhibited their work at LAND, a gallery located in a house in Northeast KC.
dreamyou, an exhibition of paintings by Sophia Reed and Kyra Gross at Vulpes Bastille, was a chaotic and surprising experience.
Our human perspectives have shifted with the rise of technology as well as our cached and tracked online personas.
In Patricia Moran’s article,“The Flaw in the Centre”: Writing as Hymenal Rupture in Virginia Woolf’s Work, Moran claims there is a hole in language resulting from fragmented historical representation.
In the main room of Peregrine Honig’s new space, Greenwood Social Hall, I sat around a table with Honig, All Is Fair’s Christian Mitchell and fellow Informality editor Melaney Mitchell, observing the conversation and occasionally directing questions.
The Black Student Union (BSU) at the Kansas City Art Institute (KCAI) presents Dress Code: Black Only, the 4th annual Black History Month exhibition hosted by Kansas City’s Leedy- Voulkos Art Center.
Kansas City’s Nelson-Atkins Museum of Art announced they are reducing their budget by 25% to around $26 million. In turn, this necessitated a staff reduction of 15%, or 36 positions, across the entire Museum.
Informality is an organization dedicated to informal and informative dialogue around art in the Kansas City region.
While not too surprising, Kansas City’s Office of Culture and Creative Services was eliminated from the fiscal year 2021 budget.
We have entered a paradigm shift in socializing. Always prepared to adapt, the art world is trained for moments like this.
It is difficult to make value judgments on works of queer abstraction; in fact, it is antithetical to do so. Instead, I offer an entanglement of sensory observations and visual/textual relationalities for readers to dis- and re-entangle as they see fit.
The word “melt” suggests potential, a process triggered by a reaction. What triggers is numerous, but how do traditions, roles, definitions, entire notions of being and selfhood begin to melt away through our work?
Sitting in a church basement, on a restored pew, I was waiting for the second loop of Cauleen Smith’s film Soujourner (2018).
The sheet of paper starts white, offering a space for your marks. The white frame offers to encase your object, simply and cleanly.
