Cerbera Gallery is excited to announce its latest exhibition titled “Bluey”, which showcases a collection of artworks on paper including, photography, limited editions prints, drawings as well as paintings and more. This exhibition features an impressive lineup of both emerging and established artists from around the world.

“Bluey” highlights the works of Louise Marler, David Morris, Joachim Czichon, Fred Alfred Theophil Fathwinter, Tim Trantenroth, Christo & Jeanne Claude, Andreas Amrhein, Josef Albers, Roland Martin, Hans Hartung, Shepard Fairey, Jean Dewasne, Max Bill, Hajo Hangen, Lothar Gunther Buchheim, Antje Sträter, Stephan Küthe, PTE, Michael Mardikes, Wolff Buchholz, Irving Penn, Genevieve Hamel, Matthew Fredericks, Anne K Smith, and Greg Miller.

The exhibition will run from April 7 to May 27, 2023, at Cerbera Gallery, located at 2011 Baltimore Ave, Kansas City, MO 64108. The opening reception will be held on April 8th, from 6 PM to 8 PM, and is open to the public.

Belger Arts is pleased to present Heartland 5, a juried exhibition of the Midwest’s finest glass art. The exhibition opens with two nights of programming at two Belger Arts locations:

• Opening reception on Friday, April 7 from 6 pm to 8 pm at the Belger Crane Yard Gallery (2011 Tracy Avenue, Kansas City, MO 64108). Artists whose work was selected as “Best in Show” and “Honorable Mention” will be recognized at 6:30pm.

• Free glassblowing demonstration on Saturday, April 8 from 6 pm to 8 pm at the Belger Glass Annex (1219 E. 19th Street, Kansas City, MO 64108).

The idea to host an annual “Heartland” exhibition began at Monarch Glass Studio in 2017. Since 2022 Belger Arts has carried on the tradition.

Glass artists from Arkansas, Iowa, Kansas, Missouri, Nebraska, and Oklahoma were invited to submit work to Heartland 5. The exhibition includes selected works by: Miguel Alaniz, Shelby Allen, Katie Burkett, Megan Chalifoux, Kate Clements, Brian Corr, Ethan Crawford, Hannah Fine, Robert Flowers, Katie Hogan, Cole Kennedy, Ryan Kepler, Tyler Kimball, Sara Sally LaGrand, Cecilia Labora, Jeremy Lampe, Jessalyn Mailoa, Kayla Ohlmer, Mary Peterson, Nadine Saylor, Evan Seeling, Alison Siegel & Pamela Sabroso, Kat Weltha, Casey Whittier, Nicole Woodard, and Hoseok Youn.

This year’s guest jurors were Jessica Jane Julius, Associate Professor and Program Head of Glass at Tyler School of Art and Architecture at Temple University, and Tera Hedrick, Curator at the Wichita Art Museum.

Amy Kligman’s first solo show at SLCA, OFFERINGS, presents a series of recent paintings that continue the artist’s ongoing interest in cycles and seasons, milestones and ritual. These paintings are offerings of intent and reflection.

In this series, I am thinking a lot about cycles and seasons, milestones, and ritual. How do we mark time, what do we celebrate. Why do certain gestures – like lighting a candle, seem to give importance to a moment? Many of these traditions are residual echoes from practices that were obscured and absorbed into patriarchal monotheistic religions to create palatable vehicles for control and power. While I personally do not cosign the dogma associated with these religions, I do recognize the power they hold and the impact the ritual and beauty has on people. I believe the impact of that ritual and beauty can exist in a space without dogma, without narratives of Gods and Monsters. These paintings are meditations in that space, offerings of intent and reflection.

I am also considering the oppression of the feminine – feminine gesture, feminine aesthetic, vulnerability, compassion, emotion. I think about women in history – in art history, in history writ large, whose work enthralls but whose stories trouble me. I think about Ana Mendieta, Zelda Fitzgerald, Henrietta Lacks, Sylvia Plath, Hilma of Kint. I think about the way I operate in the world and how long it took for me to understand how recently the freedoms I have now came to be. I consider how long it took for me to understand the barriers that still exist, perhaps better cloaked than before. I think about how many times I changed my natural inclinations or desires to fit what I thought others wanted – and by others I mean white, cis, heterosexual, men in places of decision making power. I think of how many times that worked, and I cringe.

For this reason, I embrace aesthetics and ways of mark-making that have not held the same esteem as others in the Euro-centric fine art canon that I know. I embrace folk art influences, that came from decorative practices that were the beautiful and laborious creative acts of anonymous women (including my own mother, grandmother, and great-grandmother). I embrace the color pink. I embrace nods to cake decorating, flower arrangement, quilt making, textile pattern and surface design, object collections, and the aesthetics of domestic spaces. I see these gestures as a sort of inheritance, from women in my own lineage living less than glamorous lives, attempting to bring light and beauty to the world in the practical ways the social and economical boundaries permitted.

Altars are created to manifest action, to create change, or to remember, to honor. My altars are no different, in that regard. They are pools of reflection, of meditation, of thinking about the way things are and the way I want to operate as a human moving forward.

Sherry Leedy Contemporary Art is pleased to present an ensemble of gallery artists and artists new to the gallery in SHARP-SIGHTED. The sixteen artists, that are featured, work in a variety of media, and with a range of concepts, but all share a keen sense of vision, creativity and purpose. They reveal art as an exploration of ideas and as a way to experience the world. For some, observation of the environment and nature is a source of inspiration. For others, the art process and the materials themselves, spark their creativity. Other influences are numerous, such as memory, emotion, geometry, pattern, spirituality, ornament, color and gesture. An indefinable mix of possibilities and passion propels these artists forward in their art practice day-by-day resulting in exceptional work in painting, collage, photography, ceramic and fiber. Each artwork is as unique as its’ maker.

Jeff Aeling | Laura Berman  |  Jane Booth | Marcus Cain | Angie Jennings | Kathy Liao  | Annie Helmericks-Louder | John Louder | Art Miller, | Nancy Newman Rice |  Nora Othic  | Barbara Rogers | Andy Ryan |  Sun Smith-Foret  | Harold Smith |  Shiyuan Xu 

A native New Yorker, Terry Winters graduated from Pratt Institute in 1971, focusing on painting. Through the 1970s, while studying nature, especially molecular level life forms, Winters honed his craft as a drawer and a painter until he was ready for his inaugural exhibition in 1982 at the prestigious Sonnabend Gallery. Later that same year he began his first foray into printmaking at Universal Limited Art Editions (ULAE) on Long Island. Winters became one of the leading printmakers in the U.S. At first, he was leaving his Manhattan studio one day a week to work with the master printers at ULAE, and that later escalated to up to four days a week. As art historian Richard Axsom wrote in “The Philosophers’ Stone: The Prints of Terry Winters:”

Printmaking is a forum whose procedures and collaborative protocols have allowed Winters to explore the expressive nature of his drawings. For an artist whose cardinal subject is protean form, printmaking encourages a changing image through the various proofing phases that lead to an editioned print. A print reflects a progressive history of alterations. It is a record of mutation, an accumulation of discrete changes that has no exact counterpoint in drawing or painting.

Over the years, Winters’ paintings, drawings, and prints have been featured in major retrospectives at the Boston Museum of Fine Art, the Whitney Museum of American Art, the Irish Museum of Modern Art and the Metropolitan Museum of Art.