Art Vision – tours for students in healthcare fields

2025 Art Vision Tour info

We are delighted to continue working with our colleagues in healthcare fields to host students in the JCCC Nursing, Respiratory Care and Neurodiagnostic Tech programs here at the museum as part of their coursework. For these “Art Vision” tours we ask students to do a series of in-depth looking exercises to hone their observation and assessment skills.

Students start by doing a full 15-minute formal analysis of an artwork, followed by a comparison of two works and then some sketching. Most visitors don’t spend 15 seconds looking at each work, so this is a challenging and rewarding exercise! As educators facilitating the activities, it is crucial that we spend time with the artwork ourselves, looking and then looking more.

For the formal analysis portion we select works that have figuration and other recognizable imagery. It’s important to start with a representational work (rather than a totally abstract, non-representational work) for this first activity so that folks that have some accessible entry-points into the discussion – it’s easier for many folks to observe that there’s a group of girls in a painting than it is to launch right into a discussion about color and line, for example.

Multiple women surrounding and operating on a person on a table in the middle of a field.

Dana Schutz (b. 1976), Surgery, 2004, Oil on canvas

From there we can move on to abstract works for the comparison portion, if desired. These two works are an example of a set we compare:

Blocky segments of pink, green, blue, and white form a traditional weaving styled pattern.

Jordan Ann Craig (b. 1992), We Don’t Have to Talk About It, 2020, Acrylic on canvas

Wavy lines in different colors move along in multiple directions.

Karin Davie (b. 1965), Lover, 1998, Oil on canvas

 

 

 

 

 

 

 

Karin Davie, Artist: Aldrich Contemporary Art Museum Interview

Karin Davie’s website

Jordan Ann Craig’s website

And for the sketching we always select a sculpture, as it is more interesting to compare folks’ sketches from different perspectives and observe how the work appears from different points of view/angles. BUT we try to select a sculpture that is not TOO difficult to sketch (not too many complex shapes or textures). For the students visiting this summer we couldn’t resist having them sketch one of Jeremy Scott’s designs.

 

vanessa german’s ET AL, or The Child Plaintiffs as Power-figures

We have had such a wonderful time leading tours that focus on the theme of Materials in Art. The ‘big idea’ we explore on these tours is that artists make thoughtful choices about the materials to use to make their work, and the materials they choose add meaning to the work. There is no better example of this than the wonderful piece by vanessa german, ET AL, or The Child Plaintiffs as Power-figures: Courage and Play,
Love and Hope, Grace and Compassion, Will and Might, Serenity
and Music, Light and Joy, Warrior and Intellect, Creativity and
Vision, 2024.

When we discuss this work, we dive into the materials list that vanessa wrote, reading directly from her list that reads like a poem:

“Love and research, plaster, wood, wood glue, plaster gauze, rage,
wire, multiple conversations with historians Sherrita Camp and
Donna Rae Pearson, tears, shock and the understanding that
these children made a new world, auto body paint, pedestals so
tall that the figures MUST be looked up to, love, prayer for a
crack in the world to bleed new light, ceramic and porcelain birds
and figures as finials, cloth, twine, strands of beads, buttons,
keys put together by the community of Topeka: the beads are an
acknowledgement of our African Ancestry and the wealth, power
and creative force of Africa in relationship to the crime of stealing
African bodies to build a new world in which the descendants of
enslaved Africans have continued to be systemically, strategically,
tragically dehumanized, stomped on and denied full access to true
liberty. The buttons speak to the power of MENDING — for how many
of our mothers, aunties, and homemakers had a button box,
knowing that it is always possible to find a button that fits the
missing space into a mending. The keys are forgiveness — internal
and external forgiveness.”

Initially we tried reading the whole materials lists to our student groups but found that was a bit daunting, so have moved to reading selections interspersed with some open-ended and really thought-provoking questions.

Materials in Art 2025 vanessa german

We also show a photo of the children who were the child plaintiffs in the Brown v. Board case, one of the same photos that is on the wall label itself: Students of Brown v. Board

New works on view in museum offices and hallway

Eric Beltz (b. 1975) Tree of Radiance, 2018 Graphite on Bristol, 24 x 17″ Collection Nerman Museum of Contemporary Art, 2018.45 Acquired with funds provided by the Barton P. and Mary D. Cohen Art Acquisition Endowment at the JCCC Foundation

New works were just installed in the hallway outside the museum’s administrative offices and inside the offices! As with other recent installations in these areas, we’re using these smaller spaces to showcase works on paper – a good location for these works due to the low light levels. Wall labels coming soon!

Administrative Hallway:

Eric Beltz (b. 1975)
Tree of Radiance, 2018
Graphite on Bristol
Collection Nerman Museum of Contemporary Art, 2018.45
Acquired with funds provided by the Barton P. and Mary D. Cohen Art Acquisition Endowment at the JCCC Foundation

Joshua Marsh (b. 1973)
Cloud’s Edge, 2017
Graphite on paper
Collection Nerman Museum of Contemporary Art, 2017.77

Miki Baird (b. 1949)
you can trust pg 1, 2013
Cut paper archival pigment print
Collection Nerman Museum of Contemporary Art, 2014.20

Jason Fox (b. 1964)
Untitled, 2001
Graphite, watercolor, ink on paper
Collection Nerman Museum of Contemporary Art, 2007.48

Archie Scott Gobber (b. 1965)
Age of Enlightenment, 2008
Ink on paper
Collection Nerman Museum of Contemporary Art, 2009.26
Gift of Marti and Tony Oppenheimer and the Oppenheimer Brothers Foundation

Sandeep Mukherjee (b. 1964)
Untitled, 2006
Acrylic, acrylic ink, and etching on Duralene
Collection Nerman Musuem of Contemporary Art, 2007.31
Gift of Marti and Tony Oppenheimer and the Oppenheimer Brothers Foundation

David Dupuis (b. 1959)
At the Beach, 2006
Color pencil, graphite and collage on paper
Collection Nerman Museum of Contemporary Art, 2006.29
Gift in honor of Sue and Lewis Nerman’s wedding

Administrative Offices:

Erik Hanson (b. 1959)
All I Want … (for Christmas is You), 2019
Oil on canvas
Collection Nerman Museum of Contemporary Art, 2020.50
Gift of the H Tony and Marti Oppenheimer Foundation

Erik Hanson (b. 1959)
All I Want … (for Christmas is You), 2019
Oil on canvas, 24 x 36″
Collection Nerman Museum of Contemporary Art, 2020.50
Gift of the H Tony and Marti Oppenheimer Foundation

Tate Pray (b. 1975)
Falling Trees, 2008
Graphite on paper
Collection Nerman Museum of Contemporary Art, 2009.21

Marcus Cain (b. 1970)
Friendly Fire, 2006
Mixed media
Collection Nerman Museum of Contemporary Art, 2006.54

Scott Francis
Field Song, 2019
Chine colle and mixed media
Collection Nerman Museum of Contemporary Art, 2022.101
Acquired with funds provided by the Barton P. and Mary D. Cohen Art Acquisition Endowment at the JCCC Foundation

Leo Villareal Microcosm Illuminated!

We are so excited to have the Leo Villareal sculpture Microcosm re-illuminated!

Microcosm (2007) by Leo Villareal is a site-specific permanent installation. It consists of thousands of white LEDs, custom software, electrical wiring and hardware. It was re-illuminated in April 2025 after a years-long effort to completely restore the work.

Leo Villareal, Microcosm

Fusing art and technology, Leo Villareal’s Microcosm is part of the cantilevered entrance of the Nerman Museum of Contemporary Art. The artwork’s 60,000 light-emitting diodes (LEDs) shift and swirl to create countless patterns dictated by a computer program created by the artist: “I create the conditions and see what interesting things happen,” Villareal says. “There is never the exact same repetition of patterns.”

This extraordinary union of art and architecture came together before the museum even opened the doors in 2007. Villareal and his team worked with Kyu Sung Woo Architects and J.E. Dunn Construction during the construction of the building to install the work.

“The LED is a remarkable piece of technology, allowing limitless possibilities in light sculptures,” Villareal said. He writes code, based on an old game program (John Conway’s Game of Life), and uses formulae to vary the parameters for the light. Even under the prescribed conditions, the movement constantly changes. “Even though you might recognize a sequence of lights, there is always a variation in its velocity or the number of times it is repeated.”

 

Villareal is inspired by rules, chaos theory and nature, where small particles build together and then break apart like ocean waves crashing against land. Similarly in his installations, light fractals cluster together, then diminish and eventually disappear. “Light has a primal effect. I hope the work captures people’s attention, then as they look at it longer, they see more and more in it. People will have different experiences with the piece. They will see it very legibly from the road, and as they approach the front of the museum, they will see it at different scales. I want the piece to give the museum a sense of life and animation. I want it to give the sense that something exciting is going on inside the building.”

In addition to the Nerman Museum’s piece, Villareal has a permanent installation in the National Gallery of Art, Washington, D.C., and has installed temporary pieces worldwide including on the Golden Gate Bridge in San Francisco and on 15 bridges spanning the Thames in London. His sculpture, Fountain (KCI) 2023, is prominently featured at the Kansas City Airport.

Leo Villareal received a BA from Yale University in 1990, and an MPS from Tisch School of the Arts, New York University in 1994.

New Works on View in the Mezzanine!

Il Lee, BL-076 , 2006, ballpoint pen on canvas, 72 x 48 in. Collection Nerman Museum of Contemporary Art, Johnson County Community College, Overland Park, KS, Acquired in part by gift of Jung Lee Sanders and Andrew Jonas Sanders and in part by purchase with funds provided by the Barton P. and Mary D. Cohen Art Acquisition Endowment at the JCCC Foundation

There are new works on view in the museum’s mezzanine now that the Shooting Stars High School Scholarship show has been de-installed.

Some of the works are old friends (Tomory Dodge’s Wasteland, for example) but others have never been on view before.

This drawing by Il Lee was recently added to the collection thanks to a generous donation. Learn more about Il’s work:

 

IL LEE – Artist – Biography – Art Projects International

Positive Obsession: Drawings by Basil Kincaid

We are so excited to have Basil Kincaid’s exhibition on view at the museum!

Positive Obsession: Drawings by Basil Kincaid | Nerman Museum of Contemporary Art

In addition to drawings and textile works, Basil has designed games. Check out his website for more information about these other projects: Basil Kincaid’s website

 

Exhibition open! Amy Kligman’s Salon is a huge hit!

It has been amazing to see how fast folks have taken to using The Salon for Possible Futures to meet and hang out! I have seen so many students, families and community members using the space, playing games, writing in the notebooks, having meetings.

A reminder that this exhibition is activated through extensive programming, and you are invited to attend any of the programs that will be hosted each month through December. We hope to see you at a movie or karaoke night or a workshop in the weeks and months ahead!

There are a couple programs on the calendar coming up (one is tomorrow!)

Works back on view in Regnier Center

Diego Romero, Dancing Coyotes, 2007, earthenware, 6 1/2 x 15 1/2 in. Collection Nerman Museum of Contemporary Art, Johnson County Community College, Overland Park, KS. Photo: EG Schempf

The Regnier Center 2nd floor focus area artworks that were temporarily de-installed for their safety during recarpeting of those hallways are back on view!

We are so happy to have almost all of the works in the American Indian Art and Latino Art focus areas back up to use in tours and to enjoy each day. There were a couple of works that did not go back on view – please note that the Linda Haukaas Commodification of Indian Art drawing remains off-view to give it time to rest (reduce UV exposure). Marilou Shultz’s Untitled (computer chip weaving) also remains off-view as it continues to be on loan for other exhibitions.

Linda Haukaas, Commodification of Indian Art, 2009, graphite on paper bag, 16 x 16 x 5 in. Collection Nerman Museum of Contemporary Art, Johnson County Community College, Overland Park, KS. Photo: EG Schempf

 

And another update! The Polly Apfelbaum work that was on the 2nd floor (near the Jeffrey Gibson American Girl (punching bag work)) has been removed and replaced with the work by Zachari Logan.

Zachari Logan, Pride Blooms Ditch Flowers, from Eunuch Tapestries, 2020, pastel on black paper, 59 x 65 in. Collection Nerman Museum of Contemporary Art, Johnson County Community College, Overland Park, KS. Photo: EG Schempf