Pasta-billities Fresh pasta vs. Dry pasta
The pros and cons of each have inspired plenty of culinary controversy. The key to making a decision between the two is in matching pasta to sauce. Most aficionados agree that dried pasta is denser and chewier in texture than the fresh variety, making it the perfect choice for thicker, meat and vegetable-laden sauces.
Dry Pasta
Bitter Greens With Roasted Beets and Citrus Dressing
Mushroom Pesto Lasagna I have been asked for vegetarian lasagna recipes, so I am sharing one of my favorite recipes that gets rave reviews. If necessary, you could substitute dried lasagna noodles, but the finished result would impressive.
We just returned to Toronto where almost any type of ingredient is readily available and while grocery shopping recently we made a great find. Although radicchio lettuce is now found in many produce stores, one normally only finds radicchio di Chioggia, which is maroon, round, and about the size of a grapefruit, or radicchio di Treviso, which resembles a large Belgian endive. We were very surprised to find a very rare type of radicchio called radicchio di Castelfranco. This rare variety is a little milder than the more common varieties but still has a slightly bitter taste.
Serves 6-8 fresh or dried lasagna noodles for a lasagna pan
500 grams fresh porcini or portabella mushrooms, coarsely chopped
2 ounces dried porcini mushrooms 3 cups prepared béchamel sauce
Serves 4
1 head racchicio di treviso 1 head radicchio di castelfranco 1 head red leaf lettuce 4 green onions 4 medium beets 1/4 cups olive oil 5 tablespoons orange juice zest of
1/2 orange
sea salt cracked black pepper
10 x 14 inch
3/4 cup fresh basil pesto (recipe below or store bought)
Preheat the oven to 375 degrees F. Wash the beets, and remove the stems. Place the beets in a casserole dish, and bake until tender, about 45 minutes to an hour. Allow to cool.
Place basil, nuts, garlic and salt in the food processor, and process 1 minute. Slowly start pouring in the olive oil until you reach the desired consistency. Add the cheese, and mix well. Makes about cups of pesto. To Make The Lasagna: Hydrate the dried porcini in 1 cup of warm water for thirty minutes. Drain and coarsely chop. Prepare the béchamel sauce as directed. Sauté the mushrooms together in a little oil and butter until tender. Mix a little pesto with some hot pasta water and spread along the bottom of the buttered lasagna dish. Place one layer of noodles, and then sprinkle over those noodles some of the mushroom mixture. Spread a little of the béchamel on top of the mushrooms. Add another layer of noodles, and then spread a thin layer of the pesto sauce on top. Sprinkle with some of the grated cheese. Continue to layer in this manner until all the ingredients are used up. On top, sprinkle a little béchamel, pesto, cheese and pine nuts.
Dry pasta is the most readily available type and can be found in boxes or bags on the grocery store shelf. It can be stored for up to a year. Some folks think dry pasta is a supermarket invention, but it has actually been preserved and sold this way in Italy for centuries. It takes longer to cook dry pasta than it does to cook fresh pasta.
Fresh Pasta Fresh pasta can be found in the refrigerator section of the grocery store. It can also be found in many specialty shops, nestled in a protective layer of semolina flour. Fresh pasta is in a semi-dry state, but still conside. In many supermarkets, it is common to see fresh pasta in a clear plastic container. Buitoni is one of the most popular brands out there. Fresh pasta cooks quickly, it usually takes 4-6 minutes to get it al dente.
Bake at 375 degrees 30-40 minutes or until bubbly and browned on top. Let sit before cutting.
3/4 cup grated pecorino or parmesan cheese 1/3 cup pine nuts
Remove the stems and tear the lettuce into two to three inch pieces. Place the lettuce in ice water for 15 minutes, drain, and place in a salad spinner to remove all traces of liquid.
1 recipe béchamel sauce pesto sauce:
Peel the beets, and cut into 1-inch dice. Set aside. Chop the green onions.
3 cups loosely packed fresh basil
Mix together the olive oil, orange juice and zest, and season with sea salt and cracked black pepper.
3 tablespoons nuts, lightly toasted in the oven
Place the lettuce in a large bowl and drizzle the dressing over top. Toss lightly to coat all of the leaves. Arrange the dressed leaves on four individual plates. The beets and onions on each plate and serve.
2 cloves of garlic 3/4 cup extra-virgin olive oil 1/4 cup freshly grated parmesan cheese
how do you say... We in the United States are blessed with an abundance of international comestibles and cursed with an inability to pronounce.
Lamb Loin Chops
Pane di Pasqua Easter Bread Italian Easter Bread is a traditioanl bread made for Easter Sunday morning. Traditionally Italian families would take the bread to the church to be blessed by the priest on Easter morning. Often being slightly sweet, whole eggs are wrapped in this braided bread that can be shaped into a ring, baby chicks, or doves. 3 cups all-purpose flour
Foccacia
(foh-KAH-chyah)
Foie gras
(FWAH GRAH)
We are lucky enough to live near a butcher that sells boneless lamb loin chops that are rolled and tied. If you cannot find boneless chops you can simply use bone in loin chops in this recipe. I love lamb cooked rare with a golden brown crust and we sear the chops very well first and then finish cooking them in the oven works perfectly!
Gelato
(jeh-LAH-toh)
4 large boneless lamb loin chops
Génoise
(zhayn-WAHZ)
1/4 cup olive oil
1/4 cup sugar
Gnocchi
(NYOH-kee)
1 tablespoon fresh thyme
1 package active dry yeast
Prosciutto (proh-SHOO-toe)
1 tablespoon fresh parsley
1 teaspoon salt
Radicchio (rah-DEE-kee-oh)
2 teaspoons fresh mint
2/3 cup warm milk
Arugula
2 cloves minced garlic
2 tablespoons margarine, softened
Biscotti
(bee-SKAWT-tee)
Bolognese (boh-loh-NYEH-zeh) Bruschetta (broo-SKEH-tah) Carpaccio (kahr-PAH-chee-oh)
(ah-ROO-guh-lah)
Mozzarella (maht-suh-REHL-lah) Quinoa
(KEEN-wah)
zest of
Serves 12
Serves 4
1 lemon
7 eggs
1 teaspoon salt
1/2 cup chopped mixed candied fruit
1/4 teaspoon black pepper
1/4 cup chopped blanched almonds
Preheat the oven to 375 degrees F. Wash the beets, and re Mix together all of the marinade ingredients and place in a shallow casserole dish along with the lamb ensuring the marinade coats the lamb well. Refrigerate for at least two hours or up till 6 hours. Remove from the refrigerator 45 minutes before you are ready to cook to allow the meat to come to room temperature. Preheat the oven to 400 degrees F. Heat a heavy ovenproof frying pan at medium high heat. Sear the lamb very well one both sides until golden brown. Place the pan in the hot oven until the lamb is cooked to your desired doneness. We find 6 to 8 minutes will cook our 2-inch lamb chops to a nice warm rare.
1/2 teaspoon anise seeds vegetable oil
In a mixing bowl, combine 1 cup flour, sugar, yeast and salt. Add milk and butter; beat 2 minutes on medium. Add 2 eggs and 1/2 cup flour; beat 2 minutes on high. Stir in fruit, nuts and aniseed; mix well. Stir in enough remaining flour to form a soft dough. Turn onto a lightly floured surface; knead until smooth and elastic, 6-8 minutes. Place in a greased bowl; turn once to grease top. Cover and let rise in a warm place until doubled, about 1 hour. If desired, dye remaining eggs (leave them uncooked); lightly rub with oil. Punch dough down. Divide in half; roll each piece into a 24-in. rope. Loosely twist ropes and tuck eggs into openings. Cover and let rise until doubled, about 30 minutes. Bake at 350 degrees F for 30-35 minutes or until golden brown. Remove from pan; cool on a wire rack.
Roam Magazine This is a project where groups of four students design a magazine based on a subject of our choosing. Our group chose to focus the magazine on international influences on American culture. I chose culinary influences for my feature, focusing on how traditional Italian cuisine has migrated to the United States.
1.2 MILLION AMERICAN TEENS DROP OUT OF HIGH SCHOOL EVERY YEAR.
YOUR TIME Tyler’s CAN MAKE _____ DIFFERENCE
STAYING AFTER SCHOOL CAN GIVE A STUDENT THE SUPPORT NEEDED TO MAKE THE DIFFERENCE IN THAT STUDENT’S SUCCESS IN SCHOOL AND IN LIFE.
JUVENILE JUSTICE AUTHORITY
www.jja.ks.org
YOUR TIME Jason’s CAN MAKE ______ DIFFERENCE
STAYING AFTER SCHOOL CAN GIVE A STUDENT THE SUPPORT NEEDED TO MAKE THE DIFFERENCE IN THAT STUDENT’S SUCCESS IN SCHOOL AND IN LIFE.
1.2 MILLION AMERICAN TEENS DROP OUT OF HIGH SCHOOL EVERY YEAR.
1.2 MILLION AMERICAN TEENS DROP OUT OF HIGH SCHOOL EVERY YEAR.
www.jja.ks.org JUVENILE JUSTICE AUTHORITY
YOUR TIME Megan’s CAN MAKE ______ DIFFERENCE
STAYING AFTER SCHOOL CAN GIVE A STUDENT THE SUPPORT NEEDED TO MAKE THE DIFFERENCE IN THAT STUDENT’S SUCCESS IN SCHOOL AND IN LIFE.
Juvenile Justice Authority Poster Campaign We were instructed to choose an advocacy organization and then create a poster for that organization. I created a poster campaign, calling upon teachers as the intended audience, that can be adapted to other formats such as magazine advertisements or bus stop applications.
JUVENILE JUSTICE AUTHORITY www.jja.ks.org
Anno 1960 Cocktails
1 1/2 oz. vodka 3/4 oz. dry vermouth 3/4 oz. Campari
This drink debuted the same year as another Italian classic, Fellini’s La Dolce Vita. We like to drink it and think of Anita Ekberg wading in the Trevi Fountain.
Pour ingredients into a cocktail shaker filled with ice. Shake briskly, then strain into a chilled cocktail glass. Garnish with a thin twist of lemon.
30
Recipes for Infused Vodkas If you skipped reading the guidelines for infusing, above, go back and do so now. Also, please note that all of these recipes are scaled for 1 (750ml) bottle of vodka. Feel free to test recipes in smaller quantities if you wish. Simply reduce the amounts proportionately. Here’s the vital equation to remember: 750ml = 25 oz. = 3 c. plus 1 tbsp. Other helpful measurement conversions can be found on page 21.
Recipes for Infused Vodkas
AnIse seed
CuCumBeR
For a less sweet, slightly subtler infusion, place 1 rounded tsp. lightly crushed anise seeds in an infusion jar and add vodka.
Peel ½ seedless cucumber and cut into long spears. Place in infusion jar. Add the zest of 1 small lemon, and then pour in vodka.
BuffAlo GRAss
HeRBs
Buffalo grass grows wild all over America’s Great Plains, but before you poick yourself a bunch of trouble, make absolutely sure that what you have is indeed buffalo grass and that it has never been treated with pesticide, herbicides, or other chemicals. Once you’ve cleared that bar, place a dozen blades in you infusion jar and add vodka.
Try infusion with a variety of fresh herbs, such as rosemary, tarragon, basil, thyme, cilantro, lemongrass, mint, and sage.
CoRIAndeR Place 1 rounded tbsp. cracked coriander seeds in an infusion jar and add vodka.
melon Combine 2 cups each of cantaloupe and honeydew melon, rinds and seeds removed, in infusing jar and add vodka.
TomATo Place 12 large pieces sun-dried tomato (dry, not oilpacked) in infusion jar and add vodka.
94
Make Mine Vodka redesign This is a book redesign where we chose a badly designed book and were tasked to make it better. I chose a book containing vodka cocktail recipes as well as the history of the alcohol. The original book was designed with bright standard process colors and used illustrated images. With the direction vodka packaging has been moving in recent years I chose to make my design reflect the graphic and minimalist design that can be found on many vodka bottles.
sara minor 3 years of design: a visual map This is a visual map of my time spent at the University of Kansas in the visual communications program (emphasis in graphic design) representing my projects and preferences over 3 years and how those align with the Six
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The Six Major Levels of Bloom’s Taxonomy
AIGA Competencies
There is more than one type of learning. A committee of colleges, led by
Graphic designers ready to work as professionals have mastered a broad
Benjamin Bloom, identified different levels of educations activities. There
range of conceptual, formal, and technological skills. Whatever educational
are six major categories that can be thought of as degrees of difficulties.
or career paths they have taken, certain fundamental competencies have
The six categories are represented in varying degrees of significance;
been acquired. Each of the projects is connected by line to the AIGA
where the category most embodied by the project is darker.
competencies that were utilized in the project.
3 years of design: a visual map This is a visual map of my time spent at the University of Kansas representing my projects and preferences over 3 years and how those align with the Six Levels of Bloom’s Taxonomy and the essential AIGA competencies for a graphic designer. The Bloom’s Taxonomies are represented in varying levels of utilization on the outside of the semicircle while the AIGA competencies reside inside. My preference for the projects is depicted in their names; the brighter the yellow, the more I liked the project.
Watkins Museum Identity The Watkins Community Museum is a public museum located in Lawrence, KS. The museum wanted a new logo and identity system in an effort to bring in more of the community. One of the characteristic features of the museum is the red brick. I used the brick and the building as inspiration for my logo and identity system.
WATKINS MUSEUM of HISTORY
WATKINS MUSEUM of HISTORY
1047 Massachusetts Street Lawrence, KS 66044
WATKINS
Phone 785.841.4109 Fax 785.841.9597 www.watkinsmuseum.org Museum Hours TuesWedFriSat10 AM - 4 PM Thurs10 AM - 8 PM
WATKINS 1047 Massachusetts Street Lawrence, KS 66044 Phone 785.841.4109 www.watkinsmuseum.org Museum Hours TuesWedFriSat10 AM - 4 PM Thurs10 AM - 8 PM
WATKINS MUSEUM of HISTORY
Taylor Grey Curator tgrey@watkinsmuseum.org
Museum Hours TuesWedFriSat10 AM - 4 PM Thurs10 AM - 8 PM
1047 Massachusetts Street Lawrence, KS 66044 Phone 785.841.4109 Fax 785.841.9597 www.watkinsmuseum.org
our society has come a long way The definition of a vending machine has not changed much since the first vending machine was invented in the 1880s. Today’s vending machines still provide a convenient way to obtain merchandise. The main difference between today and the 19th century vending machines is how we, as consumers pay for the merchandise. Payment has evolved from coins to dollar bills to credit cards. Our society has come a long way from selling postcards and bubblegum, which were some of the first items sold out of vending machines.
There are two main factors that effect the way type is treated on vending machines. Standardization. Branding. Those two factors seem to pull vending machines in opposite directions. In this spectrum created by branding and standardization the machines that carry bigger brands only have the minimum amount of standard typography. The added element of advertising against the competition sitting right next to it is also a factor in this spectrum. The farther a machine is on the standard side of the spectrum almost eliminates the ability to compete with other brands. The relationship between branding, standardization, and advertising competition can be seen throughout the typography of vending machines.
from selling postcards and bubblegum.
“A coin-operated machine for selling merchandise.�
With the addition of the machine lighting up at night these machines are almost impossible to ignore.
Sold Out: Vending Machine Public Typography This is a book on typography found in public spaces. We were to use outside sources as well as our own discoveries, photography, and writing as the content of the book. I focused my book on the typography on vending machines.
Marching Jayhawks Rebrand This project was a complete rebrand of an organization, existing company or created company of our choosing. I chose the University of Kansas Marching Jayhawks. The Marching Jayhawks is an organization struggling with retention of members and an old image. I based my rebrand around five key words: entertainment, connection, musicianship, tradition and pride. I used strong imagery as the main tool in the new system along with a color palette that is reminiscent of the University’s colors but slightly altered.
MARCHING JAYHAWKS
MARCHING JAYHAWKS
1530 Naismith Drive, Room 124 / Lawrence, KS 66045 / Phone 785.864.3367 / Fax 785.864.4717 / marchingjayhawks@ku.edu
MARCHING JAHAWKS Letterhead
MARCHING JAYHAWKS Murphy Hall 1530 Naismith, Room 124 Lawrence, KS 66045-3102
Sara Allison Minor 2115 Kingston Drive Lawrence, KS 66049
MARCHING JAYHAWKS DAVID CLEMMER Director of Athletic Bands 1530 Naismith Drive, Room 124 Lawrence, KS 66045 Phone 785.864.3367 / Fax 785.864.4717 MARCHINGJAYHAWKS COM marchingjayhawks.com marchingjayhawks@ku.edu
MARCHINGJAYHAWKS COM
THE MARCHING JAYHAWKS STRIVE TO
THE MARCHING JAYHAWKS STRIVE TO
PROVIDE
PROVIDE
ENTERTAINMENT MARCHING EXHIBIT GOOD JAYHAWKS MUSICIANSHIP
ENTERTAINMENT EXHIBIT GOOD
MUSICIANSHIP
CREATE AND MAINTAIN A
CONNECTION TO THE UNIVERSITY
CHERYL LEE Graduate Conducting Assistant RESPECT AND FOLLOW
TRADITION
CREATE AND MAINTAIN A
CONNECTION TO THE UNIVERSITY
Sara Minor 2115 Kingston Drive Lawrence, KS 66049
TRADITION
1530 Naismith Drive, Room 124 HAVE Lawrence, KSIN EVERYTHING THEY DO 66045 Phone 785.864.3367 / Fax 785.864.4717 marchingjayhawks.com marchingjayhawks@ku.edu Want to join the Marching Jayhawks? Visit MARCHINGJAYHAWKS COM
HAVE
PRIDE
MARCHING JAYHAWKS Identity CINDY KOESTER Administrative Assistant
Sara Minor 2115 Kingston Drive Lawrence, KS 66049
RESPECT AND FOLLOW
PRIDE IN EVERYTHING THEY DO Want to join the Marching Jayhawks? Visit MARCHINGJAYHAWKS COM
MARCHINGJAYHAWKS COM
THE MARCHING JAYHAWKS STRIVE TO PROVIDE
ENTERTAINMENT EXHIBIT GOOD
MUSICIANSHIP CREATE AND MAINTAIN A
CONNECTION
Sara Minor
MARCHING JAYHAWKS
From the field to the stage
MARCHING JAYHAWKS
FOOTBALL GAME EXPERIENCE Sunday November 6 2011 / 7:30 ď?°ď? University of Kansas Lied Center
ď?ď?Ąď?˛ď?Łď?¨ď?Šď?Žď?§ď?Şď?Ąď?šď?¨ď?Ąď?ˇď?Ťď?łďš’ď?Łď?Żď?
Promotional Poster
http://www2.ku.edu/~kumband/marching_jayhawks/ CURRENT MEMBER SIGN IN KU EMAIL
MARCHING JAYHAWKS
PASSWORD
IT’S A GREAT DAY TO BE JAYHAWK!
JOIN THE BAND SUPPORT THE BAND NEWS & EVENTS INFORMATION HISTORY & TRADITIONS CURRENT MEMBERS ATHLETIC BANDS SIGHTS & SOUNDS HOA FESTIVAL ALUMNI CALENDAR LINKS
KU Bands • 1530 Naismith Drive, Room 124 • Lawrence, KS 66045 Phone 785.864.3367 • Fax 785.864.4717 • marchingjayhawks@ku.edu ////////////
the university of
kansas
http://www2.ku.edu/~kumband/marching_jayhawks/ CURRENT MEMBER SIGN IN KU EMAIL
MARCHING JAYHAWKS
PASSWORD
IT’S A GREAT DAY TO BE JAYHAWK!
JOIN THE BAND SUPPORT THE BAND NEWS & EVENTS INFORMATION HISTORY & TRADITIONS CURRENT MEMBERS ATHLETIC BANDS SIGHTS & SOUNDS HOA FESTIVAL ALUMNI CALENDAR LINKS
KU Bands • 1530 Naismith Drive, Room 124 • Lawrence, KS 66045 Phone 785.864.3367 • Fax 785.864.4717 • marchingjayhawks@ku.edu ////////////
Website Homepage
the university of
kansas
Member T-shirt
Mark (2 year member of the Marching Jayhawks) Mark is an upperclassman, if you can call a sophomore that. He is starting his second year with the Marching Jayhawks. Being from Kansas, KU was always a choice for him when he was choosing schools but it was farther away than his hometown favorite college Kansas State University. Despite his friends going to the closer college Mark decided to try the University of Kansas.
the student MENTAL
In high school Mark was in band. He played trombone in concert band; his high school was so small they didn’t have a marching band. With the urging of his parents he decided to continue his music experience by joining the Marching Jayhawks his freshman year.
“I’m in the band.”
Mark likes playing the trombone. Although he wasn’t a good marcher, he enjoyed the band because it let him play his instrument. Mark’s section leader, Joe, was pretty tough on him during the season. Even though it was the first time he ever marched in his life, Joe would not go easy on him. He didn’t understand why it was so important for every detail in marching and in the music to be as close to perfect as possible. He decided to come back to the band in part because of heavy convincing from Joe. He wondered why Joe, even though he was so strict with him during the season, tried so hard to get him to return. Mark would like to care as much as Joe does but has not experienced anything to take him to that level.
create a
Conection 1. a. causal or logical relation or sequence b. contextual relation or association c. a relation of personal intimacy
through muscianship and entertainment
to the University of Kansas &
to the Marching Jayhawks while upholding traditions and having pride in the organization.
Marching Jayhawks Brand Book In conjunction with the rebrand project of the Marching Jayhawks I created a brand book that outlines the changes in the look of the organization as well as the changes in the Marching Jayhawks that are beyond the visual aspects. It includes the reasoning for my identity and new brand positioning for the organization.
The Kansas City Metro art magazine
kcART Magazine This magazine is a behind the scenes look at art in the Kansas City metro area, including museums, galleries, curators, dealers, and artists. The target audience is older, ages 30 to 60 years old, people that have established careers and incomes. The magazine presents information from Kansas City area museums, such as recent acquisitions and upcoming exhibitions as well as profiling artists, galleries, and local collectors.
The Kansas CiTy MeTro arT Magazine
kinetic energy An energizing grant puts Marilyn Mahoney in motion on an Urban Culture Project
sweet 16
Sixteen different artists will be featured in the gallery exhibition this fall. behind the canvas:
do you know the way to Sante Fe? After her stint on Bravo TV, Peregrine Honig heads to Sante Fe for a solo show curator & answer:
prying wolff
Toma Wolff explains the uniqueness of new works by artist Hung Liu
settling the west Blazing the trail across town, John O’Brien elaborates on his move to the West Bottoms
by Michael Oran
settling the
west
Photos by Stephen Meiller
in 2008, john o’brien moved his dolphin gallery, one of the founding galleries of the crossroads district, to the burgeoning west Bottoms. blazing the trail across town, john o’brien elaborates on his move.
It’s a cold Saturday afternoon in the West Bottoms, and a parking lot is cluttered with folding tables and chairs and coolers and Weber grills and stacks of firewood. Campfire-smelling smoke is blowing everywhere. But it’s not the American Royal Barbecue. Nor is it a cookout to feed the homeless, even though some of the bundled-up people look like they live life pretty close to the edge. No, this is the beginning of an annual event called the “Evil Monkey Party.” It marks the years — four of them now — since John Puscheck died. Puscheck, a painter who threw barbecues like this one, lived in a house on Charlotte Street, and now there’s a foundation named after that house, one that gives money to Kansas City artists. Today’s party will go long past dark, with music later despite the bitter wind. At the end of the night, one of the partiers will write on Facebook: “John Puscheck lives.” The art space known as Dolphin lives, too. It’s been a year since pioneering gallery owner John O’Brien moved out of the Crossroads District and into a big, industrial-looking cube a couple of blocks east of the Livestock Exchange Building, across the street from an electric-company truck yard. Even with a party starting, Dolphin’s parking lot feels nothing like the Crossroads.
making the move “I love it down here,” O’Brien says. “It’s been good for me.” He adds with a note of wonder that it’s been nearly 20 years since he started the gallery. It’s hard for him to judge how the business is going in this economy, he says, but the gallery has been busy. “I’m very excited about the neighborhood,” he says. He notes that his Crossroads forerunner, Jim Leedy, supported the move. “Jim Leedy said we’re a city of the arts, not just a neighborhood. He encouraged me.”
Moving a gallery from the Crossroads Art District to the West Bottoms of Kansas City might be regarded as a risk, but John O’Brien is used to pushing boundaries.
Inside this gallery’s spacious, concretefloored main room, Eric Sall is pushing, too. In Isolated Incidents, Sall (a 1999 Kansas City Art Institute grad and onetime Charlotte Street Award recipient) shoves, smears, drips, swipes and piles paint onto seven large canvases in unsubtle colors. Each outsized abstract has its own distinctive theme, and Sall has given each work a name that suggests narrative: In “Blown Out,” an electric volt of thin bright yellow causes a thick disturbance amid steady winds of brown, aqua, turquoise and beige. The sickly pink shape in “Washed Out” emerges from a charcoal maw to echo and mock Rothko. “In Bloom” evokes a purple iris rising above springlike sputters and puffs of steamy reds, pinks and whites, with variations on cog shapes helping propel the ascent against winter blackness (alternative, hornier interpretation: giant blue bunny ears dripping with white-fur paint atop machinery that’s ready to get moving).
painting on the north wall “Rock of Ages,” but he could have named it “Manhattan.” It’s a big island of sooty black where occasional greens, reds, oranges, whites, yellows and blues climb over one another, swerve like they’re in a hurry, drip like they’re lonely, make tracks and, finally, blend. Things are quieter on the blacker left side of the painting — the dark side of town, the kind of place where a gallery owner like John O’Brien, fed up with First Friday crowds and rising property taxes, might escape to be happy again. Far more intriguing than these particular paintings, however, is the “Studio Wall Installation,” a massive collection of random inspiration and painting exercises filling the space between two large paintings on the west wall. It’s hung with photographs of iconic American scenery: a sidewalk-level view of the Transamerica Pyramid; the blue-sky-and-puffy-white-cloud painted archway.
new business
Current and Upcoming
Far more intriguing than these particular paintings, however, is the “Studio Wall Installation,” a massive collection of random inspiration and painting exercises filling the space between two large paintings on the west wall. It’s hung with photographs of iconic American scenery: a sidewalk-level view of the Transamerica Pyramid; the bluesky-and-puffy-white-cloud painted archway of the Blue Skies Inn Bed & Breakfast in Manitou Springs, Colorado. Scattered in between are skateboard decks that Sall has used as oblong canvases and small paintings, many of them clearly inspired by the real-world images nearby. Here, this abstract painter demonstrates how he transforms daily life and its objects into triangles, blocks, circuits, circles, discs, washes, spurts and squiggles. He also notices freeways and buildings. Sall calls the
dolphin gallery exhibitions Not Here No There
February 18 – April 22. 2011 Matthew Kluber + Colin C. Smith James Woodfill Anne Lindberg + Matt Wycoff
Be Good or Be Gone April 29 – June 18. 2011 Adam Ekberg Gary Noland + Debra Smith Aaron Stork David Ford
“I’m very excited about the neighborhood, Jim Leedy said we’re a city of the arts, not just a neighborhood. He encouraged me. March/april 2011
the Man Behind theCurtain
by Stan Smith Photo by Jessica Slater
running things behind the scenes, porter arneill reveals where he believes the kansas city art scene is heading. we find out where he thinks art in kansas city is going in the next 5 years.
KC Art: What has been your art education background thus far?
Porter Arneil: I graduated from the Cleveland Institute of Art in 2009.
KC Art: Is there anything you consistently draw inspiration from? PA: Inspiration is a tricky word. However, I’d say one of the origins of my work is a desire to connect with people and to build relationships.
KC Art: There are so many ways one can connect with people; what motivates you to build relationships through making art? PA: I’m interested in art as a utility. Art can provide many different things for participants depending on how it is managed. The building of social relationships is one possible outcome. For example, you sell any given painting and you interact with a client and a gallery. The sale improves your relationship with both.
KC Art: May I ask then, how have you been able to connect and build close relationships through your art? PA:I haven’t had many bad experiences. It depends on one’s expectations when entering into collaboration. I try to only work with people that are either more intelligent than me or harder working. Jon Gott, an artist I collaborate with often is probably both.
As public art administrator to Kansas City, advisor to the Kansas City Artists Coalition Porter Arneill is behind many aspects of the Kansas City art community.
KC Art: What percentage of your work is collaboration verses say, interactive? Or are the terms in your work interchangeable. PA: All work has the potential to be collaborative as well as interactive. If the work is discussed critically, that’s a type of collaboration and it has a real impact on the work. It’s the conversations and criticisms that I’m really interested in.
KC Art: There seems to be a need to have control in your work, while at the same time a need to relinquish control? PA: It’s a political relationship. There is both my power to influence the viewer through the work and the power of the viewer to influence me through the work.
KC Art: Have you ever felt let down if a project doesn’t go the way you intended? PA: Of course but the trick is to work through it so that you arrive at the next project.
KC Art: If you were to stop making art, what would you replace it with? PA: Playing games and inventing races
KC Art: I’ve heard that all artists reference their childhood experiences within their art in some way, no matter what age they are at while making art. Do you think that your art could reflect your childhood experiences at all? If so, in what ways? PA: Having a twin has always made me look for the same type of closeness in other people. I think it’s made me a lot more competitive. It certainly comes out in the work. Having a twin has always made me look.
KC Art: You stated before that you create objects and installations which bring about collaboration. Have you always made work where you need another party so involved? PA: No. I was a painter for a long time before becoming interested in discourse and dialogue.
KC Art: Do you leave the conversation open ended or is your work more of a controlled study of conversation? PA: In the case of Archive 2, it wasn’t carefully measured. It was more of a shot in the dark, an experiment without a hypothesis. If I allow access to my work in this way what will viewers do and how will they interact?
KC Art: In what way does organization and archiving play in your art Archive 2? PA: Organization and archiving are methods that let me share information in different ways. An archive, for example Archive 2, lets a participant look at a body of text and images. Organization is what holds it together. Then the participant can have a response whether it’s internal or external.
KC Art: How is this interaction or experience different than say, when a viewer is in a gallery and looks at a work on the wall and signs or comments in a typical guest book at an artist’s reception? PA: It’s not that different. Except in this case, I consider the responses themselves to be the artwork. Everything else is just providing context platform applying gesso to a canvas. xcept in this case, I consider the responses themselves to be the artwork.
KC Art: You have to admit, in this piece you leave it into the hands of any passerby to shift your work in various directions. Did you have any hesitations or concerns in leaving you work in the hands of others? PA: Definitely not. I would be all the more excited if the work were destroyed, stolen, or drastically altered. My only fear would be a complete lack of interaction.
KC Art: Why the fascination with organization? Do you admire organization as a structure or is your work a practice where you discover structure within chaos by establishing order? PA: That’s hard to say. I’ve always been drawn to organization. I used to organize my Halloween candy by variety and flavor, all laid out on the floor. I intend to keep working with it to find answers to questions such as those.
KC Art: Are there any historical artists that you admire? Have they affected your work? PA: Two of my favorites are Chris Burden and Tom Sachs. I admire the amount of research and labor that goes into their practices. I’m sure they’ve affected my work.
KC Art: Have you ever felt let down if a project doesn’t go the way you intended? PA: Of course but the trick is to work through it so that you arrive at the next project.
KC Art: Is there anything you consistently draw inspiration from? PA: Inspiration is a tricky word. However, I say one of the origins of my work is a desire to connect. MarCh/april 2011
collecting many changes before the Johnsons purchased it in 1990. Pam and architect Rodger Wilkins, a fellow Yale alum, worked together to restore much of the home’s initial Prairie architecture by using the original house plans. A colonial porch with columns was reverted back to the harmonic horizontal lines, though occasionally original elements (such as a maid’s room) were eliminated to adapt to today’s lifestyle. Recessed lighting was added to highlight the Johnsons’ artwork and a wall expanded to accommodate a six-foot antique bench. Nonspecific lighting allows artwork to be moved and added with ease. Wilkins finds the Johnson home’s layout ideal for collecting. The first floor has great flow with a circular path from which to view all rooms. Spacious rooms, white walls, original wooden floors and simple, clean lines act as a “neutral container for Pam’s new ideas and her respect for historic styles.”
Left: A sculpture by Jesse Small, two wall hangings by Debra Smith and a flutophone by Mark Southerland bring this room to life. Right: The three sculptures on this Federal card table are by Kansas City Art Institute students Jesse Small, Kaori Fujitani.
off centered
Soco and art
Artists: Top Row: Glen Cebulash, Philip Hale, Martha Armstrong, Lester Goldman, Stanley Lewis. Second Row: Leland Bell, Stacey Jordan, Timothy King. Third Row: Jenny Long, Tracy Swangstu, Wilbur Niewald, George Rose. Last Row: Ron Weaver, Michael Walling, Megan Williamson, Katylen Burns.
The Lynda and Stewart Resnick Exhibition Pavilion at the Los Angeles County Museum of Art will open after a $45 million gift from the couple Over the spring and summer, Los Angeles County Museum of Art director Michael Govan opened the completed but still under-wraps Lynda and Stewart Resnick Exhibition Pavilion, the second gallery building on the LACMA campus designed by the Italian architect Renzo Piano, for a series of tours for collectors, curators, critics and donors – and on a handful of days to the general public. For the occasion, he arranged to put on display a remarkable piece of minimalist art, Walter De Maria’s sprawling, floor-hugging and rarely seen “The 2000 Sculpture,” and kept the rest of Piano’s single-level building uncluttered. Now that the $54-million pavilion is ready for celebratory galas this weekend and an official public opening Oct. 2 and 3, it’s evident that Govan’s decision to arrange for the building to be viewed – and written about – at that preliminary stage was, then at least strategically something of a double-edged sword. In showing off the Resnick Pavilion when it was beautifully cavernous, its northfacing skylights throwing crisp light across the full expanse of its concrete floors, Govan underscored how much more tightly executed and focused the building is than Piano’s initial effort at LACMA, the 2008 Broad Contemporary Art Museum. Even if it doesn’t rise to the level of Piano’s art-world masterpieces, the Menil Collection in Houston or the Beyeler Foundation in Basel, Switzerland, the Resnick Pavilion has a restrained confidence and assured posture that reminds us why he has been the world’s most sought-after museum architect for much of the last decade.
March/april 2011
The Lynda and Stewart Resnick Exhibition Pavilion, designed by Renzo Piano, expands the museum’s exhibition space. March/april 2011
March/april 2011
Photos
sweet 16 sixteen different artists will be featured in the gallery exhibition by bob brock for the leedy-voulkos art center this fall. by Victoria Justice
by Jessica Slater