Thursday, September 11th to Sunday, December 21st, 2014
Opening Thursday, September 11 at 6:00 pm, the Charlotte Street Visual Artist Awards Exhibition will feature Charlotte Street’s 2014 Visual Awards Fellows: Amy Kligman, Garry Noland, and Sean Starowitz. All three artists will speak on their work at 7:00 pm that evening in the museum’s Hudson Auditorium. The exhibition was curated by Bruce Hartman, Executive Director of the Nerman Museum of Contemporary Art, and runs September 11, 2014, to December 21, 2014, at the Nerman.
Date: Opening Reception, September 11, 2014
Venue: The Nerman Museum of Art 12345 College Blvd, Overland Park, KS 66210
Admission: ALL free and open to the public
Exhibition Runs: September 11-December 21, 2014
Gallery Hours: Tues, Wed, Thurs, Sat 10am-5pm; Sunday 12pm-5pm
The 2014 Charlotte Street Awards Fellows were selected through competitive processes, which began with open calls for applications from artists based in the 5-County Kansas City Metro Area. The selection process culminated with in-person studio visits with 10 finalists.
For more details, see the full Press Release.
For photos of the event, check out our flickr.
Garry Noland’s new work, all dating from 2014, uses scavenged foam slabs from Lake of the Ozarks, discarded PVC pipe from Kansas City’s Google Fiber project, store-bought marbles, aluminum paint, and tape. The combined and re-combined materials compose sculpture referring to architectural remnants and geological fragments. The art historical precedents are minimalist sculpture from the 1960s-1970s and “Arte Povera as witnessed by his complete openness regarding materials, processes and simple forms.” This new work continues the artist’s interest in mapping, basic materials, surface manipulation, as well as a disregard for prescribed interpretation.
Sean Starowitz’s practice focuses on the notion of exchange specifically, through community engagement and experimental programming. This exhibition will focus specifically on his studio practice of drawing, proposal-generation, model-making, and images that ask audiences to re-imagine ourselves within the built environment, both in urban and suburban contexts. Asks Starowitz: “What are our monuments? How do we share our history? How do we memorialize the forgotten stories?”
Amy Kligman’s exhibited work tends towards reflections on the rural environment she grew up in. The visual vocabulary might include flaking linoleum, astroturf, wormy tendrils of shag carpet, fistfuls of paper confetti, and other bits of middle American detritus. The content and approach to make are reflective of a mix of Kligman’s influences: her mother’s folk crafts, the high/low culture clash, the complicated character of the American Midwest, and the personal and cultural weight of everyday objects.