I just want to say that Jeff and Jessica are one of the ONLY people in KC that show new and local artists instead of "the norm" and "what's popular" like many of the other Galleries. There's such an incestuous scene in the Crossroads, with the galleries, and other "Foundations", but they take chances and don't just follow what's popular and makes the most money. Maybe they didn't handle this situation completely professionally, maybe they had no other choice. Everyone makes mistakes and learns from them. Whatever the reason, they've always been nothing but professional and open with me. They gave me and many other artists a chance to show work that would have otherwise never been shown. They gave me and other artists a chance to get our name on a wall for the first time that probably would have never been given a chance any where else. In turn, it inspired confidence in others to keep showing and creating, such as myself. Many local galleries don't do what they do. Jeff and Jessica have shown me that taking chances within unfamiliar territory isn't always detrimental. They've been doing really well since they've opened and that is more important then some silly drama this month. Why try to slander them when any number of artists that have shown there weren't given a chance anywhere else?? I think people need to grow up. I think this article is ridiculous and uncalled for. And as far, not letting certain people into the gallery there's always good reason for it. I may not have wanted them there either for personal reasons.
The story goes much deeper than what is covered here, but to get into all the undercurrents would be the cross between a tabloid piece and a soap opera, and it would bring in most of the players in the KC art scene (hipsters, fakers, actors, fashionists, established figures, anti-establishment pricksters, and wannabes alike).
Cognitive dissonance is a bitch, yo, but it goes something like this: "He that has once done you a kindness will be more ready to do you another than he whom you yourself have obliged." ... Conversely, "one who harms another is more willing to harm again than the victim is to retaliate."
The Keyhole wasn't a gift to Mikal's show (as its resident artists Jess & Jeff were to think); on the contrary, Mikal's show was a gift to the Keyhole.
Opportunities squandered, bridges burnt... And fear of the mob connections of Vincent Esposito (the building's owner) keeps the real culprits from getting fingered (in deference of losing fingers?). *cough*KNOLL*cough*
I tried to attend the show having been invited by several of the artists, but I was shoved out the front door by Jeffrey Helkenberg himself. I still love the guy, even if his woman Ms. Logsdon owes me $1,050 for bonding them out of jail when they were arrested for living in a DART house.
The story goes much deeper than what is covered here, but to get into all the undercurrents would be the cross between a tabloid piece and a soap opera, and it would bring in most of the players in the KC art scene (hipsters, fakers, actors, fashionists, established figures, anti-establishment pricksters, and wannabes alike). Cognitive dissonance is a bitch, yo, but it goes something like this: "He that has once done you a kindness will be more ready to do you another than he whom you yourself have obliged." ... Conversely, "one who harms another is more willing to harm again than the victim is to retaliate." The Keyhole wasn't a gift to Mikal's show (as its resident artists Jess & Jeff were to think); on the contrary, Mikal's show was a gift to the Keyhole. Opportunities squandered, bridges burnt... And fear of the mob connections of Vincent Esposito (the building's owner) keeps the real culprits from getting fingered (in deference of losing fingers?). *cough*KNOLL*cough* I tried to attend the show having been invited by several of the artists, but I was shoved out the front door by Jeffrey Helkenberg himself. I still love the guy, even if his woman Ms. Logsdon owes me $1,050 for bonding them out of jail when they were arrested for living in a DART house.
Seriously. How about focusing your attention on writing reviews as opposed to further plugging a show you've already reviewed. I understand the PITCH thrives on these kind of stories but when I heard the Pitch was going to hire a new critic I thought they would focus on art instead of scenester drama.
I guess some things will never change in Kansas City.
Seriously. How about focusing your attention on writing reviews as opposed to further plugging a show you've already reviewed. I understand the PITCH thrives on these kind of stories but when I heard the Pitch was going to hire a new critic I thought they would focus on art instead of scenester drama. I guess some things will never change in Kansas City.
This is the strangest art related story yet. Ms. Logsdown is certainly a unique entity in the local scene. To trash a show and damage some of the work to boot is not acceptable at any level.
Any artist, after knowing this, would be very foolish to show at Keyhole. The art might wind up lining the kitchen cupboards or the trash bin.
What code of behavior does this gallerist live by?
This is the strangest art related story yet. Ms. Logsdown is certainly a unique entity in the local scene. To trash a show and damage some of the work to boot is not acceptable at any level. Any artist, after knowing this, would be very foolish to show at Keyhole. The art might wind up lining the kitchen cupboards or the trash bin. What code of behavior does this gallerist live by?
One of the best shows I've had the pleasure of seeing here in Kansas City. On scale in talent and content of any shows on either coast. We should be proud and welcome the talents os some many amazing artist. Koo, once again you have proven youself one of the many stars in our sky!
One of the best shows I've had the pleasure of seeing here in Kansas City. On scale in talent and content of any shows on either coast. We should be proud and welcome the talents os some many amazing artist. Koo, once again you have proven youself one of the many stars in our sky!
This was my favorite line of the day: "Serious art criticism generally avoids the issue of lickability, but it would be dishonest not to say these pieces look extremely lickable." So good. I wish you had a picture of the "Yeah Right" piece, it sounds wonderful.
This was my favorite line of the day: "Serious art criticism generally avoids the issue of lickability, but it would be dishonest not to say these pieces look extremely lickable." So good. I wish you had a picture of the "Yeah Right" piece, it sounds wonderful.
Now here is a quandary. What happens when an Art review is better than the Art reviewed? This is really good writing. It connects with an energy and a fresh eye and a gift for the right locution that just cannot be faked or learned. But...
I saw something different at Review. I have followed the career arc of many of these artists for a significant period of time. I went to look on a quiet day and stayed with the art for a long while.
There are definite favorites and buzz about certain pieces. Davin's work seems to be the "on the street favorite". Tom Deatherage calls it haunting and unforgettable. I really connected with Warren's painting. It stays in the minds eye, lingers in the province of the imagination, initiates dialogue.
It was a downhill deal the rest of the ride. The same piano roll played slow, fast, and medium. Art- school-art vetted to death. Bankrupt tropes iterated to the point of pathology. Safe, very safe and slick with the cheap metaphysical varnish of a worn out conceit called, conceptual. Maybe my blood sugar was low, maybe it was seasonal affective depression or maybe it was a genuine response to a poorly curated mess. It felt like I was at a funeral.
John Hastings
Now here is a quandary. What happens when an Art review is better than the Art reviewed? This is really good writing. It connects with an energy and a fresh eye and a gift for the right locution that just cannot be faked or learned. But... I saw something different at Review. I have followed the career arc of many of these artists for a significant period of time. I went to look on a quiet day and stayed with the art for a long while. There are definite favorites and buzz about certain pieces. Davin's work seems to be the "on the street favorite". Tom Deatherage calls it haunting and unforgettable. I really connected with Warren's painting. It stays in the minds eye, lingers in the province of the imagination, initiates dialogue. It was a downhill deal the rest of the ride. The same piano roll played slow, fast, and medium. Art- school-art vetted to death. Bankrupt tropes iterated to the point of pathology. Safe, very safe and slick with the cheap metaphysical varnish of a worn out conceit called, conceptual. Maybe my blood sugar was low, maybe it was seasonal affective depression or maybe it was a genuine response to a poorly curated mess. It felt like I was at a funeral. John Hastings
Thanks very much for that clarification, Peter.
Thanks very much for that clarification, Peter.
Ecstatic Resistance is an effort well worth the effort. There is so much to see and think about and rethink and rethink again. I have a feeling that Emily Roysden has internalized William Blake and brought him into relevancy in a very real way for a new generation. If there are many roads to the Palace of Wisdom this, "contemporized Chautauqua for social justice" is surely the perfect Baedeker for the journey.
Steiner's wall of femina-centric depictions of women is refreshing and maybe shocking and certainly distinguished by its unwillingness to be undermined by the jaundiced eye of the male gaze. This installation by itself is a compelling reason to attend Ecstatic Resistance.
Yael Bartana's film demands a closer, deeper, more nuanced reading. Things are not always what they seem. This is cinema where every assumption opens a door and becomes a contradiction. It can be construed as a pious memento mori, yet there is has a much fiercer narrative truth embedded within in the celluloidal quicksand of the easy first impression.It is hiding in plain sight...
Ecstatic Resistance is an effort well worth the effort. There is so much to see and think about and rethink and rethink again. I have a feeling that Emily Roysden has internalized William Blake and brought him into relevancy in a very real way for a new generation. If there are many roads to the Palace of Wisdom this, "contemporized Chautauqua for social justice" is surely the perfect Baedeker for the journey.
Steiner's wall of femina-centric depictions of women is refreshing and maybe shocking and certainly distinguished by its unwillingness to be undermined by the jaundiced eye of the male gaze. This installation by itself is a compelling reason to attend Ecstatic Resistance.
Yael Bartana's film demands a closer, deeper, more nuanced reading. Things are not always what they seem. This is cinema where every assumption opens a door and becomes a contradiction. It can be construed as a pious memento mori, yet there is has a much fiercer narrative truth embedded within in the celluloidal quicksand of the easy first impression.It is hiding in plain sight...
Ecstatic Resistance is an effort well worth the effort. There is so much to see and think about and rethink and rethink again. I have a feeling that Emily Roysden has internalized William Blake and brought him into relevancy in a very real way for a new generation. If there are many roads to the Palace of Wisdom this, "contemporized Chautauqua for social justice" is surely the perfect Baedeker for the journey. Steiner's wall of femina-centric depictions of women is refreshing and maybe shocking and certainly distinguished by its unwillingness to be undermined by the jaundiced eye of the male gaze. This installation by itself is a compelling reason to attend Ecstatic Resistance. Yael Bartana's film demands a closer, deeper, more nuanced reading. Things are not always what they seem. This is cinema where every assumption opens a door and becomes a contradiction. It can be construed as a pious memento mori, yet there is has a much fiercer narrative truth embedded within in the celluloidal quicksand of the easy first impression.It is hiding in plain sight...
Ecstatic Resistance is an effort well worth the effort. There is so much to see and think about and rethink and rethink again. I have a feeling that Emily Roysden has internalized William Blake and brought him into relevancy in a very real way for a new generation. If there are many roads to the Palace of Wisdom this, "contemporized Chautauqua for social justice" is surely the perfect Baedeker for the journey. Steiner's wall of femina-centric depictions of women is refreshing and maybe shocking and certainly distinguished by its unwillingness to be undermined by the jaundiced eye of the male gaze. This installation by itself is a compelling reason to attend Ecstatic Resistance. Yael Bartana's film demands a closer, deeper, more nuanced reading. Things are not always what they seem. This is cinema where every assumption opens a door and becomes a contradiction. It can be construed as a pious memento mori, yet there is has a much fiercer narrative truth embedded within in the celluloidal quicksand of the easy first impression.It is hiding in plain sight...
Re: “Mikal Shapiro's Ripe moves to Leedy-Voulkos”
Victoria, after your comment was posted I re-read the column. I could find no slander. If your work was damaged and your show was prematurely taken down and your gallerist kept changing her story, you might feel very differently. I have never heard of a gallerist anywhere, indulging in this kind of nonsense.