By Bob Bahr, PV Arts Council member The municipal offices for Prairie Village are in the heart of our relatively quiet and leafy neighborhood, but its residents and other artists outside our immediate environs have their eyes--and camera lenses--pointed much further afield. This is on view right now in the Art of Photography show in the R. G. Endres Gallery, at City Hall. The juror for this exhibition, which featured more than $3,000 in prize money, appreciated the wide scope of the qualifying entries. "I was surprised by the great variety of submissions, with motifs from all over the world--perhaps every continent except Antarctica," said Philipp Eirich, co-owner of Cerbera Gallery, located in Kansas City's Crossroads neighborhood. More than 45 artists contributed more than 50 photographs to the exhibition, which will be on view at the municipal offices through July 6. Their submissions were divided into three categories: People & Portraits of People, Landscapes & Architecture, and Abstract/Non-traditional/Photo-collaged/Highly digitally enhanced. Winners in each category receive a $500 prize. The R. G. Endres Best of Show award earns the winner $750. Additionally, six pieces receive Honorable Mention awards worth $200. Eirich said not only were about four entries within a point of each other at the top of his judging tally, but even the initial culling of all the entries to winnow them down small enough to exhibit was difficult and close, with only a few submissions clearly not making the grade. "It was really impressive," Eirich said. "Even the photos that did not make it into the show were of high quality. Not making it into a show does not mean it is a bad image, it's just there is limited gallery space available. It is so subjective, especially with a single judge, not a panel." "Fourvière," by James Terry. Best of Show When he judged the photographs on display, Eirich certainly got in his steps for the day, briskly walking the halls of the municipal building, taking notes and exhibiting intense concentration. In the end, only three photos could win the top prize in each category, and only one could be named Best of Show. The Best of Show winner for the 2024 Art of Photography proved to be "Fourvière," by James Terry. "That piece was the best of both worlds, with a snapshot, street-photography aesthetic, but with a wonderful composition and the black-and-white look," Eirich said. "There's also the architectural elements but also a human being. The older gentleman is walking away, so we only see his back, which makes the effect stronger. This is not a straight road, with three bends that are emulated in the walk of the person, It has a lot of movement and the overall composition is wonderful. Oftentimes, the light can be too contrasty in a photograph, and that is the opposite of what you see in this image, with the very subtle differences in grayscale." "Take a Second Look," by Paul McMillian. Best Landscapes & Architecture In the Landscapes & Architecture category, Paul McMillian won with "Take a Second Look." Eirich seemed to be entranced by the play of symmetry in the piece, which seems to be referenced in the title. "There seems to be symmetry in the windows, but the closer you look, the less geometric and the less symmetric it becomes, with the windows at angles," he said. "I also really appreciate that you can see the artist in the image as well." "Coupole," by Steve Johnston, won the category of Abstract/Non-traditional/Photo-collaged/Highly digitally enhanced. "This is an intriguing piece," Eirich said, "with architectural elements combined with subtle blue hues that go from almost whitish to very dark. And you become inquisitive because you don't know what it is." "Coupole," by Steve Johnston. Best Abstract/Non-traditional/Photo-collaged/Highly digitally enhanced The winner of the People & Portraits of People category is "Tourists," by Don James. "It's just a wonderful image with a street photographer vibe," Eirich said. "The women are similarly dressed. They are clearly tourists, both wearing running shoes and both holding something on their shoulders. They don't look like sisters, but they are perhaps best friends." "Tourists," by Don James. Best People & Portraits of People The six Honorable Mention awards went to "Ground Gears," by Brittany Buchanan; "Generational Colors in Peru," by Jessica Frieze; "Toucher le Fond," by Robin Blochlinger; "Balcony Shadows," by Paul Middleton; "Pritzker Pavilion," by Steve Anderson; and "At Alison's," by Steve Wilson. At the opening reception for the show, visitors voted on the People's Choice award, with Lauren Kinne's "Big Sur Portal" winning the honor and the $500 prize. Eirich has attended several Art of Photography shows since he moved to the Kansas City area almost 10 years ago. He looks forward to it every year and hopes to see more experimental photos next year in the Abstract category. "The question of AI hovers over the future," he adds. AI-generated or modified art is undeniably going to be on everyone's minds going forward. Photography is an artform that reflects society, so the 2025 edition of the Art of Photography should be an interesting one. Remember--it's easy to visit the exhibition. It's a mere stroll through the municipal building on Mission Road. The current show featuring the work of local 45 photographers will be on view at the R. G. Endres Gallery until July 6. by Bob Bahr, PV Arts Council member "Bella Asiatique Journee," acrylic, 48 x 48 in. It's possible to go to the finest art schools and ateliers in the world and emerge with incredible painting skills but have nothing to say. It's also possible to be a self-taught artist and paint fascinating, thought-provoking work bursting with a unique artistic vision. Exhibit A: Carol Kiefer Johnson. Johnson's work is part of a group show now view at the R. G. Endres Gallery, in the Prairie Village Municipal Offices, until May 4. Visitors there will note how Johnson combines lush textures and patterns, vibrant color, arresting figures who stare back at the viewer, and nods to art history to create paintings that don't so much tell a story but rather create a mood. That mood is often luxurious, leisurely, languid, and pretty. It all comes naturally to Johnson. "I don't really plan anything," she says. "I don't have a plan to use this pattern or that color. It just sort of happens as I go along. Checks and polka dots just make me happy, so I try to get them in. I don't give the paintings too much thought at the time. I look at it and think, I just want a flat space here or a color there, and I put it down." Her beginnings on paintings are equally spontaneous. "I start out thinking I'm going to do this painting very technically correct, but it's like your handwriting--it just sort of happens," says Johnson. "I decide that today I'm going to paint, and sometimes the dimensions or the shape of the canvas suggest something. I usually start with a face, and then that face suggests what this person is doing or thinking, and then I sort of go from there. I want people to like the paintings, but I also want them to get a kick out of them." "Cat Lover," acrylic, 40 x 30 in. Johnson is not formally trained, but her obvious love for art history and the work of past masters is apparent. She confirms the influence of at least a few select painters. "There are several artists that I admire a great deal, including Manet. Manet's paintings are always right up front. I've always loved that his figures are looking right at you; it makes you sort of one with the painting. You are in the painting. And Klimt has always been very much a favorite. I love his patterns and textures." Some artists have difficulty finding their artistic voice. Johnson seemingly couldn't ignore hers if she tried. She painted through the years but got serious about it when she retired and her children fledged the nest. Copying the masters helped her further her craft. It also revealed just how indomitable her artistic vision is. "I've done a lot of reproductions for family, friends, or for myself, but no matter how much effort I put into making a realistic reinterpretation, it always looked like mine when I was done painting it. I copied pieces by John Singer Sargent and François Boucher--several of his because a lot of my friends had French Country style in their homes. And while he's a little risqué at times, I really admire Egon Schiele quite a bit. I love the weird positions and configurations of bodies that he gets. It attracts me to have an unusual pose." Although influences such as Schiele are discernible in Johnson's work, it's important to remember that placing the human body in unusual positions while not making it disturbingly awkward to behold is a remarkably difficult task, one that takes personal taste. Johnson may operate under the influences of past masters--who doesn't?--but she comes to her own style quite honestly. Close inspection of her work shows numerous areas where she reworked passages to strengthen the composition or the effect. "I do change positions around a lot on my paintings because they just don't look right to me," Johnson says. "It may technically be a better drawing but it doesn't look right when I am painting it. When I am done, I have worked on it so long I can't stand it anymore," she says with a laugh. "Don't Look Now," acrylic, 36 x 24 in. What's next for the artist? "I would love to go bigger. The size of that peacock painting ("Bella Asiatique Journee," 48"-x-48") I love, and I'd like to go even bigger than that. But it gets harder and harder to schlep things around that are that big--I'm not getting younger."
What does Johnson want the viewer to feel, coming away from her paintings? "I'd like for them to look at the paintings and think about how they feel. What difference does it make how the artist feels? What do you, as the viewer, think about it? I find that what I feel and what the other person feels are two different things. What I feel is that life is a beautiful thing, and I want people to feel that." Johnson's work, on view at the municipal building on Mission Road, hangs alongside two other local artists--David Coss and Bryce Holt. The current show featuring these three artists will be on view at the R. G. Endres until May 5, but a choice selection of pieces from the three will stay on view at the Meadowbrook Park Clubhouse until July 6. Bob Bahr is a member of the Prairie Village Arts Council. He has written about visual art for several national magazines. He lives with his family in Prairie Village and paints a variety of subjects. He wishes there were a NYC-style bodega in the Shops. by Bob Bahr, PV Arts Council member The trio of artists now showing at the R. G. Endres Gallery, in the Prairie Village Municipal Offices, stimulate the mind in very different ways. It's highly unlikely that a visitor could see this show, on view until May 4, and not be pulled in by at least one of the approaches presented. Bryce Holt believes that artists are storytellers, and the majority of the pieces by him on display are inspired by books in the Old Testament. His straightforward, graphic approach leaves the viewer with the not-so-simple task of connecting the images with some knowledge of the scriptures. The sheer size of his acrylic paintings fills the eye with bold statements. From left: "Mama I'm Coming Home," by Bryce Holt, acrylic, 48 x 36 in.; "Dice Game," by Bryce Holt, acrylic, 48 x 36 in. David Coss makes three-dimensional pieces that utilize laser-cut wood to create intricate shapes of light and shadow. Some of the pieces feature wood stain or acrylic paint, but all feel like Steampunk machines from an era before metal contraptions. He speaks of blending old and new, technology and woodworking, but the balance between organic shapes and streamlined precision offers even more to ponder. What will you see in his work? "Hoot," by David Coss, wood and stain, 28 x 52 in. Carol Kiefer Johnson brings an obvious knowledge of art history to her acrylic paintings, with passages of thin paint application contrasting with rich and colorful patterns in cloth, wallpaper, or other pictorial elements. Klimt-like women lounge with both common and uncommon pets, with a sense of abundance creating a feeling of calm and comfortable luxury. "Open Window," by Carol Kiefer Johnson, acrylic, 36 x 36 in. Remember--it's easy to visit the exhibition. It's a mere stroll through the municipal building on Mission Road. The current show featuring these three artists will be on view at the R. G. Endres until May 5, but a choice selection of pieces from the three artists is on view and will stay on view at the Meadowbrook Park Clubhouse until July 6.
Bob Bahr is a member of the Prairie Village Arts Council. He has written about visual art for several national magazines. He lives with his family in Prairie Village and paints a variety of subjects. He wishes there were a NYC-style bodega in the Shops. |
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