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Patricia Stegman Blue and Green Waves, 2013 Oil on canvas Courtesy of the Artist

AUGUST 28 – OCTOBER 23, 2016


Ellen Carey, Dings and Shadows, 2015 Color Photograms (triptych) Courtesy of the Artist and M+B, Los Angeles, CA


he mission of The Epsten Gallery is to provide innovative programming and art exhibitions that engage, inspire and enlighten a diverse community through all stages of life, celebrating our common humanity through art. PRESIDENT


William Kort

Ginny Epsten Ritchie Kaye



Hanan Hammer

Eileen Kershenbaum

AUGUST 28 – OCTOBER 23, 2016

THE JURORS The artists were selected by a distinguished panel of Kansas City curators including Bruce Hartman, Curator and Executive Director of the Nerman Museum of Contemporary Art, Erin Dziedzic, Director of Curatorial Affairs at the Kemper Museum of Contemporary Art and James Martin, an Independent Curator and member of the Board of Directors of the Epsten Gallery.

Photo by Sabrina Staires

Fresh: KCAI Alumni

James Martin is an independent art consultant, curator, educator and writer based in the Kansas City area. He currently consults on public art for the municipalities of Gladstone, MO; Leawood, KS; Merriam, KS; and Olathe, KS. He also writes freelance essays and art reviews for Kansas City-area organizations and publications. His past curatorial positions include: Curatorial Consultant for Truman Medical Centers; Curator of the Sprint Art Collection; and Assistant Curator in Modern and Contemporary Art at The Nelson-Atkins Museum of Art. He currently volunteers on the Board of Directors for the Epsten Gallery and UMKC Jazz Friends. He holds a BA in Art History from the University of Kansas and an MA in Art History from Case Western Reserve University. Bruce Hartman serves as Founding Executive Director and Chief Curator of the Nerman Museum of Contemporary Art at Johnson County Community College—after also serving as Founding Director of the College’s former Gallery of Art since its inception in 1990. Hartman’s curatorial experience is extensive, spanning over 30 years and hundreds of critically acclaimed exhibitions. Additionally, he, along with patrons Marti and Tony Oppenheimer, has spearheaded the museum’s Oppenheimer collection. Hartman has served on numerous Kansas City boards and committees, including the Charlotte Street Foundation, the Sprint Corporation Arts Council, the Exhibition Committee of the Kansas City Jewish Museum, the Arts Council of Johnson County, and Kansas City percent for art panels. He received his Bachelor of Fine Arts degree from the University of Central Missouri and his Master of Fine Arts degree from Washington University, St. Louis.

Erin Dziedzic is Director of Curatorial Affairs at the Kemper Museum of Contemporary Art, Kansas City. She was previously Curator at the Savannah College of Art and Design Museum of Art. Dziedzic is curator of select exhibitions including Magnetic Fields, Rashid Johnson: Hail We Now Sing Joy, Siah Armajani: Bridge Builder, A Whisper of Where It Came From, Adam Cvijanovic: American Montage, Rehearsals: The Practice and Influence of Sound and Movement featuring works from the collection of Dr. Walter Evans, Jean Michel Othoniel: OTHONIEL, Damián Ortega: Belo Horizonte Project, Liza Lou: Let the Light In, James Casebere: Enter Into, Vision Building: Architecture in Contemporary Photography, and Angelo Filomeno: Mortality’s Alchemist, among many others. Her writing has appeared in numerous publications; she was the guest editor for the May/June 2013 issue of Art Papers Magazine; she is the founder/editor of artcorejournal; and she has published essays on artists including Siah Armajani, Adam Cvijanovic, Hung Liu, Steve Locke, Deborah Poynton, and Clare Rojas.



DONATE | CONTRIBUTE | JOIN The Epsten Gallery is a not-for-profit 501 (c)3. Donations may be made on our website, or sent to: 5500 West 123rd Street, Overland Park, KS 66209 Epsten Gallery membership, volunteering and sponsorship opportunities are always available. Please join us as we connect communities and generations through the arts!


Sponsored by the Maryon and Joe Jacobs Memorial Art Fund, this exhibition is a collaborative partnership between The Epsten Gallery and the Kansas City Art Institute’s Office of Alumni Relations and Advancement. The exhibition includes 3 cash awards. Special thanks to Beniah Leuschke Art + Service for installation management. FRONT COVER:

Stephen Proski Portrait of my Former Self (detail) Oil, thread and canvas Courtesy of the Artist


Fresh: KCAI Alumni

DIRECTORS Greg Azorsky Peter Beren Betty Bikson Donna Gould-Cohen Alan S. Edelman Deborah Glassberg Joan Horan

Kim Klein Michael Klein Mike Lyon James Martin Hugh Merrill Leslie Keith Rosenfeld Steve Rothstein

HONORARY Herb Adler* Bob & Jacqueline* Epsten Eileen Garry, Executive Director, Emerita Lynn Intrater (Past President) Sybil & Norman* Kahn

Saul Kass (Past President)* Michael Klein (Past President) Regina Kort (Past President) Larry Meeker (Past President) Irma Starr Shirley White

STAFF Heather Lustfeldt, Curator

Anne Russ, Administrative Assistant

* (Of Blessed Memory)

ACKNOWLEDGEMENTS: The Epsten Gallery appreciates all of the artists who prepared submissions for Fresh: KCAI Alumni, and wishes to congratulate the 13 artists who were selected. This show is made possible through the support of the Maryon and Joe Jacobs Memorial Art Fund. Special thanks to Lee Goodman for his communication and guidance in the creation of this show. The Epsten Gallery is grateful for the collaboration and partnership of the Office of Alumni Relations and Advancement at the Kansas City Art Institute in the conception and production of this exhibition. We appreciate the assistance of M+B, Los Angeles, CA, and McKenzie Fine Art Inc., New York, NY in securing loans of artwork by Ellen Carey and Amy Myers. Finally, a special thank you to the exhibition jurors, Bruce Hartman, Erin Dziedzic and James Martin, for their exceptional selections of work for this show.










Tuesday – Friday, 11 a.m. – 4 p.m. • Sunday, 1-4 p.m. (Open by appointment Saturday & Monday) 913-266-8414






Stephen Proski, Portrait of my Former Self, 2016 Detail of site-specific installation at Epsten Gallery, 2016

Fresh: KCAI Alumni AUGUST 28 – OCTOBER 23, 2016

Fresh: KCAI Alumni is a juried, multi-media exhibition featuring new and recent work by a cross-generation of 13 Kansas City Art Institute Alumni. Spanning graduation dates from 1964 to 2015, this diverse group of artists offers, through dazzling, intricate works, a glimpse of contemporary art and society. With themes related to culture, art history, natural history, science, nature, architecture, identity, sexuality, and the influence of new and traditional technologies within art making, Fresh: KCAI Alumni communicates a fascinating range of ideas that demonstrate the global pluralism of today. Through work statements by the artists, viewers are given a personal understanding of the concepts and inspirations that inform each artist’s work in the show, and their overall studio practice. — Heather Lustfeldt, Curator

Max Adrian (Fiber & Creative Writing, 2015)

Inspired by theatre, history, and the art of storytelling, I create soft sculptures with materials like leather, pleather, and spandex that speak from one of countless perspectives within the modern gay community—a community on the cusp of greater social acceptance while continuing to harbor both internal and external effects of decades of secrecy, fear, shame, and hate. These sculptures simultaneously conjure images of children’s playhouses and underground sex dungeons while posing questions about the ways in which humans discover, discuss, and engage in sexuality as well as other issues of social rights and cultural traditions.

Ariel Bowman (Ceramics, 2011)

I make sculptures of prehistoric animals that represent a lost world. I am intrigued by animals that evolved with distinct features such as unfamiliar tusks, strange elongated limbs and unusual proportions. My pieces are a way of bringing these extinct animals back to life. Giant ground sloths are one of the most mysterious prehistoric mammals. They stood twenty feet high and weighed more than three tons. The idea of an animal like this one makes humans seem insignificant when compared to the natural world. The use of a human artifact in this piece references the eventuality of our own extinction as a species. Ariel Bowman The Fossil Record, 2016 Ceramic, mixed media Courtesy of the Artist

Artwork Detail

Mary Ann Cooonrod G-T-R, 2016 Watercolor Courtesy of the Artist

Chris Daharsh Irmpov, 2016 Hydrostone, plaster, burlap, plastic foliage, cotton string, urethane dye, wood, Plexiglas, vinyl print, hardware Courtesy of the Artist

Shenequa Brooks (Fiber, 2014)

Composition I, II, and III is a reflection of my Anglo Experience in Ghana, West Africa. Morgdgzigzi and Sogey are the patterns that make up the three compositions. Morgdgzigzi means “plain weave” and Sogey means “netting/net weave.” When sewing Composition I, II, and III, I thought about line, color, and shape with a twist of Ghana’s landscape. This triptych is a “plain netting” captured through the connection between my body and the loom.

Ellen Carey (Printmaking, 1974)

The 20th century art movements—Abstract Expressionism, Minimal, and Conceptual Art—give my experimental photograms context. Dings & Shadows “blow up” forms and hues. My “ding,” a photographic taboo, gains new purpose, acting as my “shadow” catcher. A photogram records an object between light and paper, its “shadow.” In my work, no object is used, only light, breaking with tradition. Struck by Light introduces my zerogram, conceptually linking it to Photography Degree Zero, my Polaroid practice. Color is an artist’s universe, color theory (RGBYMC) photography’s planet. In Struck by Light, my zerograms orbit art that happens to be photography with bold and innovative abstractions, re-arranging content, focusing on color through light.

Mary Ann Coonrod (Painting, 1975) My color pencil drawings and paintings are not planned or conceived ahead of time. Organic abstractions and whimsical pieces start out with something that caught my attention: a reflection, color, light, a feeling about something or someone; from there the art grows spontaneously into its own being.

Max Adrian Act II, Scene III: Repose, 2016 Pleather, chainette fringe, chair Courtesy of the Artist

Shenequa Brooks Composition II, (detail), Part of Composition I, Composition II, Composition III, 2015-16 (triptych) Polyester and silk Courtesy of the Artist

Chris Daharsh (Painting & Art History, 2012) This work is an amalgamation of multiple systems I employ within my studio practice. It has footings and roots in painting, sculpture, photography, assemblage and craft, all of which I practice or have

Molly Garrett MMPI-2 Self Portrait (True, True, False, True, False, False, True), 2015 Projected animation with engraved mirror In wood stand Courtesy of the Artist

Suzanne Klotz Home Sweet Home, 2013 – 2016 (detail) Canvas, appliques, embroidery, beads Canopy: carved and painted wood, Glass beads Courtesy of the Artist

practiced, and all of which influence my artistic output which then influences these specific parts of my creative identity. Irmpov is meant as a riff on improv, or the act of creation at the moment of performance, either in theatre or in an ad-hoc way of making-do. Making-do with material, making-do with form, making-do and reacting to those new situations that are created out of limitation and necessity are what this piece is about. All components are sourced from failed or discarded individual projects. As Irmpov suggests, the intentional misspelling is a means to solidify failure as the main means growth and creation, creating in the end, a sculpture if not a self-portrait that illustrates its own making.

Molly Garrett (Animation & Art History, 2015)

According to the Oxford Journal of Medicine and Health, the Minnesota Multiphasic Personality Inventory (MMPI)—published in 1940 and revised only once in 1989—is “still the most widely used psychometric test for measuring adult psychopathology in the world.” In this installation, titled MMPI-2 Self Portrait (True, True, False, True, False, False, True), I paraphrase the test and provide my own answers. I consider this series of work to be an unsolicited collaboration between myself and the psychologists: various famous, white, dead men. Through manipulation of their original thoughts, I use animation and installation to create space for ideas of sexuality, gender and queer culture.

Suzanne Klotz (Painting, 1964) Home Sweet Home is part of a series of mixed media paintings (embroidered, beaded, appliquéd, paint) entitled Words to Live By (House Rules). Home Sweet Home speaks to the importance of trustworthiness, the mantel of all virtues, for the establishment of firm foundations in all relationships. The beading and embroidery create a three dimensional quality and the illusion of depth.

Mike Lyon The code that moves the pen makes the image – I wrote the code – the image is mine, 2015 ink and pigment on paper Courtesy of the Artist

Andy Maugh Cedar Center, 2015 Mixed media Courtesy of the Artist

Mike Lyon (Painting, 1975)

This large pen and ink self-portrait from November 2014 reflects my desire to include the actual program code that moves the drawing pen as well as an image. Initially, I imagined drawing the code adjacent to the image, but there are millions of lines of code and insufficient space. Eventually I hit upon the idea of building the image by overwriting the code in layers to create a textual cross-hatching. I’d posed a more difficult problem than I’d imagined, and the working program took more than three months to write. The drawing itself took almost 400 hours. If you get close enough, you can make out some of the myriad programming instructions executed to produce the image of me.

Andy Maugh (Painting, 2002) My work is a widening of ideas for materials and compositions left unfulfilled from more utilitarian projects from my home or yard landscape, an exploration of possibilities, which ruminate while building a deck or finishing an extra bedroom I enjoy making my work accessible, using everyday building materials and inviting people to live with and interact with my sculptures and installations, in much the same way one would experience architecture or nature. Constants throughout my work such as wood taken either directly from a forest or purchased from a lumberyard ask questions about the themes and materials presented and context in which we view them.

Amy Myers (Painting, 1995)

My studio practice emerges out of a set of questions regarding how the universe works, and why matter and energy function as they do. As a child, I was exposed to ideas concerning experimentation and the notion that everything is a combination of something else. My father, a physicist, and I looked at books of molecules and subatomic phenomena and my subject matter stems from this dialogue I had with my family. As a result, I’m

Stephen Proski Portrait of my Former Self, 2016 Oil, thread and canvas Courtesy of the Artist

Amy Myers Light as Spray, 2015 Graphite, gouache, pasteland conté crayon on paper Courtesy of the Artist and McKenzie Fine Art Inc., New York, NY

interested in the internal logic of things (Newtonian Physics) and the unpredictable nature of the universe (Quantum Mechanical Theory). My large-scale drawings are evidence of complex systemic interactions inspired from contemporary theoretical physics. In these new drawings I experimented with color in a new, spontaneous way, reaching for color based on emotion as opposed to systems. My next body of work will be based in actions of feeling.

Stephen Proski (Painting & Creative Writing, 2010)

I felt myself evaporating. Lost in the mysterious fog of strobe lights and blown speakers. Keeping it together while simultaneously falling apart. I needed to retain the memory, whatever imprint I could extract, and articulate it into a rendition of myself. I used whatever strength I could gather and painted a nonobjective portrait of the past. The vestiges of nostalgia were fastened into place. Tied by miles. Stitching together signs and symbols, iconic and impersonal, like weathered limbs on a ragdoll. Hanging on by threads. Drawn and quartered. My clothes, my skin, my soul, tattered and torn into bits.

Patricia Stegman (Painting, 1974)

The most fascinating thing about the ocean is—What color is water? The sea is never colorless; every day—sometimes every hour— it is completely different. This painting is one of a series of the Atlantic ocean which I created in my studio in a village near the ocean. I went to the beach with paper, pastels, charcoal, and watercolors and using some or all of these, painted the ocean. Then I went back to my studio, put the papers on the floor around my easel, and from them, painted this canvas. Here, I depict the action of the waves; endlessly forming, cresting, crashing into foam on the edge of the sand; then being sucked back out into darker deep water.

Exhibition Brochure, Fresh: KCAI Alumni  

Fresh: KCAI Alumni, an exhibition at the Epsten Gallery in the Fall of 2016

Exhibition Brochure, Fresh: KCAI Alumni  

Fresh: KCAI Alumni, an exhibition at the Epsten Gallery in the Fall of 2016