E. Lewis: Our Ancestors unFINISHED stories in america on the LINE

December 2020 Exhibition:

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The Bunker Center for the Arts proudly presents, textile and installation artist, E. Lewis.

E’s textile exhibition at the Black Archives Mid-America titled, “Our Ancestors unFINISHED stories in america on the LINE” was so powerful and thought provoking that we knew it needed to travel to the Bunker Center for the Arts for the month of December.

E. designed and created 21 textile pieces in honor of her Ancestors’ journey to and in america. With this new exhibition, she will be adding additional pieces, recreating her deeply moving installation and her textile work will span 4 galleries.

E. enjoys sharing her creative gift through fabric with the intent to engage, educate and empower one seam at a time.

Due to Covid-19, we are open by appointment only, click the book now button on the Bunker Center for the Arts Facebook page. Masks and social distancing required.

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In this exhibition, Patrick Duegaw enlists a childhood game, Five Lines, where random scribbles are drawn on a blank page to become the inventive jumping-off point. Part cloud-busting, part Rorschach test, this version of the game explores the power of drawing and intent, as interpreted through the epic poem The Twelve Labours of Hercules.

The five lines, drawn on blank ‘plates’, are transformed into ink drawings, illuminated drawings, and a series of lithographs where the original five marks are printed in red ink, in order to emphasize the generative creative process. The result becomes The Trials of the Golden Rat, depicting mythical animal-human hybrids in tales of ignorance, manipulation and control, intolerance, hubris, greed; and, conversely, of justice and acceptance.

Artist Bio

Patrick Duegaw (b. 1966) opened his last museum exhibition, Pierced by Dogma, at the Ulrich Museum of Art in spring of 2017. Past solo gallery exhibitions include Flouting the Binary in BILDLAB in 2019 and Study (an exhibition of study drawings for the Innumerable Anxieties) in 2017, both at Fisch Haus; and Innumerable Anxieties at the Leedy-Voulkos Art Center in the winter of 2014 and the Lawrence Art Center in the spring of 2015. Inadvertent Arson, at the Marianna Kistler Beach Museum of Art, opened in the fall of 2012, and Duegaw participated, with Paul Mahder Gallery, in the 2013 ArtPad SF.

Recent group exhibitions include A Fine Line: Masterworks in Drawing, at Paul Mahder Gallery in summer of 2016; Dialogue: Modern and Contemporary Drawings from the WAM Collection, at the Wichita Art Museum in winter of 2016; Face to Face, Wall to Wall, at the Yellowstone Museum of Art in spring of 2014; and Forty Years/Forty Stories at the Ulrich Museum of Art, in spring and summer of 2014. In 2011, his work was featured in FH:21: a major exhibition at the Ulrich Museum of Art, celebrating the twenty-first anniversary of Fisch Haus.

Duegaw’s first solo museum exhibition, The Builder, Removed, a comprehensive retrospective of 111 paintings and drawings, was held at the Wichita Art Museum in the spring of 2009. A gallery production of Jurgen and The Wrong Tools, a Still Play Installation opened in June of 2011 at the Paul Mahder Gallery in San Francisco, and also at the LA Art Show in January earlier that year. The Still Play, The Wrong Tools (For The Job), opened at the Leedy-Voulkos Art Center in April 2010.

Duegaw has had eight large-scale solo multi-media exhibitions at Fisch Haus, regularly exhibits in galleries in both Kansas City and San Francisco, and has been invited to participate in national group shows such as the Kansas Masters Invitational, and the Kansas Governor’s Ball/Inauguration Exhibition.

Holidays at the Belger Crane Yard Gallery, at 2011 Tracy, Kansas City, MO, features an array of artworks that are available for purchase through January 4, 2021.

Holidays at the Belger Crane Yard Gallery is an annual tradition that includes textiles, ceramics, glass, and more, by artists from across the country. This year’s artists are: Rachel Akin, Nicole Aquillano, Debbie Barrett-Jones, Bekah Bliss, Jeremy Brooks, Josh Dickens, Nicole McLaughlin, Del Norte Studio, Melody Monroe, Dan Ohm, Paulina Otero, Chris Pickett, Joseph Pintz, Justin Rothshank, Melanie Sherman and other artists that you know and love, plus a few surprises!

Advanced registration for opening night on November 20 (5 – 8PM), is not required but is recommended, to ensure social distancing and to keep visitors and staff safe. Please visit the Holidays at the Belger Crane Yard Gallery page of our website to register.

Safety measures:
Belger Arts is committed to maintaining a safe place for our visitors, studio members, and staff. To ensure this, we require that six feet of social distancing be maintained and that visitors wear a mask, as space is limited. Disposable masks and hand sanitizer are available. For contact tracing purposes we also ask that visitors sign in upon arrival.

About Belger Arts:
Since 2000, the Belger Arts Center has encouraged viewers to explore, question, and deepen their understanding of art and the world around them. Drawing upon the extensive John and Maxine Belger Family Foundation collection, as well as a rich variety of local, national, and international artists, the Belger Arts Center has staged over 70 large-scale exhibitions that represent some of the best in contemporary art.

In 2013, Belger Arts expanded the Foundation’s commitment to the creative process by opening Belger Crane Yard Studios, an arts complex dedicated to providing studio and exhibition space for artists. A range of programming in ceramics education, in addition to the Red Star Residency program and Crane Yard Clay ceramics supply store, has made Belger a center for contemporary art.

Image credit: 1) Josh Dickens, Untitled, 2019, Glass, 5 x 10 in. (banner image); 2) Belger Crane Yard Gallery ; 3) Kathy Barnard, Japanese Maple Leaf with Cricket Pendant, 2020, Carved Glass, 4.5 x 3.5 in.; 4) Debbie Barret-Jones, Stripes of Blue handwoven scarf, 2019, Handwoven and tencel, 8.5 x 74 in.; 5) Nicole, McLaughlin, Bordado, 2020, Ceramic and embroidery floss, 12.5 x 8.5 x 2 in.

THE ANNIVERSARY SHOW: 35 Years of Art with Friends

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Slowed Growth takes place during the pandemic. Everything is slowed down during this time, from a country’s economy to individual’s daily activity. Yet, the natural world keeps going, slow and steady. Slowed Growth references the evolving motion of the living organisms, and it also references my making process, bit by bit, layer by layer, and one firing after another to complete a single object. It is time consuming but therapeutic.
– Shiyuan Xu

Shiyuan Xu’s fantastic sculptures, hand-built with porcelain paperclay, are inspired by scientific research into microscopic phenomena. These phenomena range from single-celled organisms in the ocean to diverse plant seeds on land, to cells that are the building blocks of all life. She sees the structure of these micro life forms as having been determined by growth and response to internal and external forces, leaving a record of movement in time and space.

Shiyuan’s forms are built by hand and glazed in an unconventional way. The materials she uses allow her to push the boundaries of fragility and strength, simplicity and complexity, order and chaos. She meticulously weaves thin skeletal lines into a harmonious volume. Shiyuan says of this process, “The regular and irregular structures and layers also contain the memory of my sensations. They are in many ways like living organisms, reflections of my own life path, and an abstraction of the complexity and delicacy of life itself.”

Shiyuan Xu is currently an Artist in Residence at the Lilstreet Art Center, Chicago, IL. She holds an MFA from Arizona State University, Tempe, AZ and a BA from the China Academy of Art, Hangzhou, P.R. China. Her work is in the permanent collection of the Archie Bray Foundation, Helena, MT; Korea Ceramic Foundation, Incheon, South Korea; San Angelo Museum of Fine Arts, San Angelo, TX and The National Museum of Slovenia, Ljubljana, Slovenia.