For my time in Kansas City, I have created for myself a program of full emersion. I am doing my best to live, learn, read, hear and see this city inside out. From my outsider-on-the-inside position, I am looking deep down inside of Kansas City for themes currently pulsing through its contemporary art and culture scenes.
My first day at work, my boss and Charlotte Street Foundation Co-Director Kate Hackman loaned me The King of Kings County, an extraordinary novel by local author Whitney Terrell. Teenager Jack Acheson, this bookâ€™s loveable narrator, takes the reader on a vivid journey that roars through mid-century downtown Kansas City, Missouri, into the development of its expansive Kansas suburbs.Â In the mid-1950s, Alton Acheson â€” part con man, part visionary, and Jackâ€™s dad â€” begins developing Interstate 70 and building a suburban empire as the freeway exits the city amid the cornfields of Kings County, Kansas. As Alton bluffs his way into prosperity, Jack becomes an accomplice to his grand ambitions. But when greed, corruption, and organized crime combine to create an urban nightmare instead â€” abandoned buildings, ghettos, and slums â€” Jack is forced to reexamine not only his father’s legacy, but also that of his city and its community. Though fictional, this incredible story draws extensively from a sordid history of urban culture, as well as the race relations and class conflict that come with it, to examine the making of Kansas Cityâ€™s so-called American Dream, one whose contradictions continue to surface in every American place to this day.
One reason I find The King of Kings County so fascinating is that the story and Jack Acheson could be based in any city. Â Chicago, Philadelphia, Detroit, Houston, among others like Kansas City, have dreamed the big dreams of industrial Modernism to simultaneously magnificent and disastrous results. To me, a Midwesterner but non-native, Kansas Cityâ€™s artists and cultural organizers seem eager to seriously investigate, to look deep down inside of their hometown in their efforts to explore it inside out. (Since this is my first Bad @ Sports blog post and because they are thematically relevant, please forgive me two bitsâ€”another to come in the next paragraphsâ€”of shameless self-promotion:) With this observation in mind, I curated Have I been here before? this past November, my first exhibition for Charlotte Street Foundationâ€™s la Esquina gallery. Through images, writing, and events, this show wondered whether Kansas City â€˜placesâ€™â€”some strictly based in Kansas City, some less soâ€”could be those that make up any town. Have I been here before? set up some interesting questions for me (and I hope for the audience): Even with rigorous study and years of analysis, can one truly know a place? And furthermore, does oneâ€™s knowledge of that place color their understanding of every place?
Jill Downen, an artist who recently migrated West along Alton Achesonâ€™s I-70 from St. Louis to Kansas City, understands places by their insides. She looks deep down inside to see the architectural bones and tendons that make up a locationâ€™s structures. In many cases, those insides are sculpted, agile muscles trained to carry the weight of societies for years to come. In others, insides are aged and weak, crumbling under those same societies and the changes, like those led by Alton, they impose. For the most part, Downen recreates these insides full-scale, filling whole rooms in galleries and museums across the country with few giant sculptures. Opting for a bit more intimacy in Three-dimensional Sketchbook, the artistâ€™s first solo show in her new hometown at PLUG Projects, Downen has set up a series of small-scale models that invite viewers to look deep down inside both structures and her studio practice. With each miniature architectural ligament or joint, this installation shows just how hard Downen studies, analyzes, and tries to know a place.
(Second and final shameless self-promotion you have to forgive me for:) Composite Structures, the second show I have organized for la Esquina, features contemporary artists who meditate on the designs and architectures of Bauhaus Modernism and the International Style. This exhibition consists of two parts: Mending Fences, curated by yours truly, which showcases Midwestern artists who apply multiple layers and manipulationsâ€”some conceptual, some formalâ€”to the ideas of Modernist architects which feature prominently within the Midwestern urban landscape; and Low Accumulations, curated by Los Angeles-based curator and co-director of Actual Size L.A. Lee Foley, which includes Los Angeles-based artists who use assemblage and design to reflect a post-structural viewpoint and an urban sensibility unique to Southern California. In these paired presentations, we the curators show how artists and architects alike investigate places inside out in their efforts to know what of any given place works and what does not, what can be carried forward, and what must be left behind, cast out and/or obliterated for its failures. As the title of this show suggests, these artists rely on their own expert knowledge of the legacies of older places to create new and improved ones.
Much like Jack Acheson, Kansas City-based artist Anthony Baab reexamines the legacies of places that enjoy legendary status in art and architectural history. Baab looks inside out, on top of, from behind, and underneath the dense structures that make up any given place and its monumental systemsâ€”sculptures, buildings, cities, and so on. For his solo exhibition A Strenuous Nonbeing on view now at Grand Arts, Baab documented a number of places, extracted from them certain architectural elements which he then layers together to build/rebuild another place (a gesamtkunstwerk much like Kurt Schwittersâ€™s Merzbau) of his own volition. This presumably giant structure is as much like every place you have ever been as it is like no place you have ever been. However, the viewer never actually experiences this new structure firsthand because Baab presents it only through photographic and video documentation. With this process that only allows mediated looking, Baab illustrates that no matter how closely, critically, exhaustively one tries to look at a place, whether it be Kansas City, Los Angeles or Berlin, one can never truly know it because time, space, and humanity always render it new and unrecognizable.
Though perhaps in vein, I am willing to continue to search deep down inside Kansas City in my efforts to recognize the unrecognizable before time turns it into something else altogether.
-Jamilee Polson Lacy, Charlotte Street Curator-In-Residence
January 18, 2013 · Print This Article
I came on as the Managing Editor of the Bad at Sports blog about a month ago. It’s been an exciting turn and I hope to do well by it. A few people have asked what my vision going forward is, and I thought I might say something about it here.Â I hope to continue reflecting on the dynamic energy in Chicago’s contemporary art world while connecting to conversations and aesthetic agendas in other cities and disciplines. That agenda was set in place a while ago and I believe I can continue to guide and focus that intention. There is room for experimentation in that vision, which seems necessary to me. Bad at Sports has never presented a tidy, singular package and as such, I believe it would go against the nature of the project to filter content and tone through a single, editorial lens. Its roots in independent, DIY and Punk Rock collectivism remain at the heart of the project’s vitality and the blog is a platform for unique and individual voices that pass through the subject of contemporary art and culture. As such it becomes a nexus of concerns and responses to culture at large. That is something I hope to preserve under my stewardship. As an artist-run forum, Bad at Sports has the unique capacity to reflect on a host of subjects, exposing the intellectual, aesthetic and social networks that define and subsequently influence cultural production. I believe it is our job to explore and discuss the contexts we inhabit. In doing so, we further establish a living touchstone and future archive of contemporary discourse.
Some changes should be apparent already â€” others will fall into place like pieces of a puzzle in the coming months. The process is organic, but I’ve been trying to set up a casual, thematic architecture Â that unfolds over the course of a given week. Eventually, I hope to schedule two posts a day, one before 2pm and one after. Built in to this, is room for special occasions and guest writers â€” those posts would either go live in the evenings, or fill in existing gaps. To that endÂ I’ve been inviting a number of new writers, many of whom I have admired for a long time.
Here is something of a loose schedule:
Mondays: Essays and reflections from old favorites Jeriah Hildewin, Shane McAdams and Nicholas O’Brien â€” writers who have been posting with consistent dedication. In addition, I’m excited to announce a new bi-weekly column by Dana Bassett, whom you may know for her ACRE Newsletters.
Tuesdays are dedicated to three subjects: Performance, Social Practice, Language (or the performance thereof) and Object Oriented Ontology. Confirmed participants include longstanding contributor Abigail Satinsky and Mary Jane Jacob (Social Practice), Anthony Romero and JoÃ£o FlorÃªncio (performance), Gene Tanta (language), Robert Jackson (OOO).
On Wednesdays, we will read about artists and art in other cities. The following writers will post on rotation: Jeffery Songco is covering the Bay Area, Sam Davis continues to represent Bad at Sports’ Los Angeles Bureau,Â Sarah Margolis-Pineo is writing about Portland. Juliana Driever will be relaying posts, interviews and artist profiles about New York, and then we’ll bring it back to the Midwest with Kelly Shindler’s dispatch from St. Louis, and Jamilee Polson Lacy writing about Kansas City.
ThursdaysÂ herald our illustrious Stephanie Burke’sÂ Top 5 Weekend PicksÂ and a new monthly contribution from author/translator Johannes GÃ¶ransson whose writing you can also find here.
Fridays have been set aside for art reviews and artist profiles with contributions from Danny Orendoff, Monica Westin, Abraham Ritchie and myself.
WEEKENDS will feature a range and flux of the above, plus Brit Barton’s Endless Opportunities, cultural reflections and short essays by Terri Griffith, continued posts from Jesse Malmed, in addition to a monthly contribution from the newly confirmed Bailey Romaine and Adrienne Harris.
My last note is this â€” there is room in this schedule for additional posts, posts that would feature special events, festivals and conferences in the city. That space would also be available to, at times, connect the blog and the podcast. As a first indication of this, we will be highlighting IN>TIME, a performance festival that is going on as we speak, from January until March.
Otherwise if you have any comments, suggestions or, even guest posts you would like to submit, please feel free to contact me at: email@example.com
This week: Patricia Maloney rocks Kansas and interviews Plug Projects. PLUG PROJECTS is a curatorial collaboration by five Kansas City artists who share the mission of bringing fresh perspectives and conversation to the local art community.
Our goal is to energize artists and the public at large by exhibiting challenging new work, initiating critical dialogue, and expanding connections of artists in Kansas City as part of a wider, national network of artists.