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.

My approach to painting merely dovetails off those emotions of nostalgia and of home. Not only my dwelling, in which I live and work, but the familiar landscape of the Midwest. I owe this vast variety of nationally under-appreciated land much gratitude and thanks. Over the past 22+ years it’s helped define my unique style of painting. From big skies to rolling river plains to hidden lakes exposed by a retreating sun. I grew up in Kansas City so the Midwest has a special place in my heart. It’s hard to think that at one point in my life I couldn’t wait to leave it. I’m so glad I didn’t. It has just become one more silver lining in an incredible life.

Rich Bowman

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 

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.