Rich Bowman
Kenny Johnson
Lisa Lala
James Leonard

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First Friday April 1,11 – 6pm
exhibition runs through April 29, 2022

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Open to the Public
Thursday – Saturday 11 – 4

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Private Appointments Available
If you wish to set up an appointment to view the exhibition, either in the gallery or via FaceTime, please give us a call at #816.527.0823, or email kellyk@bluegalleryonline.com.

Blue Gallery is thrilled to present NEW WORKS Group Exhibition.
Please stop by to see this stunning exhibition in person.

Hope to see you soon!

Kelly + David

Glass artists from Arkansas, Iowa, Kansas, Missouri, Nebraska, and Oklahoma were invited to submit work to Heartland 4. The exhibition includes selected works by: Miguel Alaniz (KS), Kate Clements (MO), Brian Corr (NE), Robert Flowers (MO), Annie Honn (KS), Tyler Kimball (MO), Cecilia Labora (MO), Jeremy Lampe (MO), Jessalyn Mailoa (MO), Patrick Martin (KS), Gavin McDonald (KS), Robert Ore (KS), Nadine Saylor (NE), Evan Seeling (MO), Lauryl Sidwell (MO), Alison Siegel (MO), Wanda Tyner (MO), Dierk Van Keppel (KS), Casey Whittier (MO). All works are comprised of at least 50% glass and were completed within the past two years.

This year’s guest jurors were Erin Dziedzic, Kemper Museum of Contemporary Art Director of Curatorial Affairs and renowned glass artist Therman Statom. Honors for “Best in Show” and “Honorable Mention” will be announced at the exhibition’s opening reception on April 1 at 6:30pm.

The idea to mount an annual exhibition of Midwestern glass art originated in 2017 at Monarch Glass Studio, where the exhibition has been held for three years. With Belger Arts’ expanded programs and facilities dedicated to glass education and appreciation, Belger Arts will host the exhibition for the first time at the Belger Crane Yard Gallery (2011 Tracy Avenue, Kansas City, MO 64108). Belger Arts will also host a free glassblowing demonstration with Brian Corr, a Nebraska-based artist participating in Heartland 4, at the Belger Glass Annex (1219 East 19th Street, Kansas City, MO 64108). With new programming dedicated to glass, Belger Arts is pleased to open its first glass-focused exhibition as one of many future programs that builds on the growing excitement for glass in Kansas City.

Hung Liu is primarily known as a painter of Chinese subjects, typically from the 19th and 20th centuries, whose paintings are based on historical Chinese photographs. Given the historical, often tragic subject matter she represents, her style is a kind of weeping realism. Liu’s newest paintings, however, are based upon the Dustbowl and Depression era photographs of American documentary photographer Dorothea Lange, whom Liu has long admired.

Shifting focus from Chinese to American subjects may seem a surprise to Liu’s audience, at first. But by training her attention on the displaced individuals and wandering families of the American Dustbowl, Liu finds a landscape of overarching struggle and underlying humanity that for her is familiar terrain, having been raised in China during an era (Mao’s) of epic revolution, tumult, and displacement. The 1930s Oakies and Bindle-stiff’s wandering like ghosts through Liu’s new paintings are American peasants on their way to California, the promised land.

In her paintings for the Byron Cohen and Sherry Leedy Galleries, Liu – who is known for a fluid style in which drips and washes of linseed oil dissolve the photo-based images the way time erodes memory – has developed a kind of topographic realism in which the paint coagulates around a webbing of colored lines, together enmeshed in a rich surface that belies the poverty of her subjects. In this, the new paintings are more factually woven to Lange’s photographs while also releasing the energy of color like a radiant of hope from beneath the grey-tones of history.

This approach first emerged from an accident in which Liu, who was sketching figures from an image projected on a blank canvas, ran out of charcoal and, to finish the drawing, resorted to colored chalk. Reminded of her Chinese academic training in which orange lines are often used beneath neo-classical and realist propaganda painting, she began experimenting with colored lines, soon in oil paint. The paradoxical result has been a softening of the ground and a hardening – a kind of mapping – of the figures, whose edges and outlines and details are sharpened by the colorful lines and squiggles that both stiffen and liberate them. In short, looking hard at Lange’s photographs has changed Liu’s painting, allowing her empathic sense of touch, and her deeply intuitive knowledge of color as a liberating force, to make contact with the stories underlying their surfaces – stories which, whether Chinese or American, continue emerging like hope for all who still seek a place in history.