Sara Minor Portfolio

Lamb Loin Chops

4 large boneless lamb loin chops

1/4 cup olive oil

1 tablespoon fresh thyme

1 tablespoon fresh parsley

2 teaspoons fresh mint

2 cloves minced garlic

zest of 1 lemon

1 teaspoon salt

1/4 teaspoon black pepper

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 sim-ply 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!

Serves 4Serves 12

Preheat the oven to 375 degrees F. Wash the beets, and re Mix together all of the marinade ingredi-ents 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.

Pane di PasquaItalian Easter Bread is a traditioanl bread made for Easter Sunday morning. Tradition-ally 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

1/4 cup sugar

1 package active dry yeast

1 teaspoon salt

2/3 cup warm milk

2 tablespoons margarine, softened

7 eggs

1/2 cup chopped mixed candied fruit

1/4 cup chopped blanched almonds

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 me-dium. 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 un-cooked); lightly rub with oil. Punch dough down. Di-vide 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.

how do you say...We in the United States are blessed with an abundance of international comestibles and cursed with an inability to pronounce.

Biscotti (bee-SKAWT-tee)

Bolognese (boh-loh-NYEH-zeh)

Bruschetta (broo-SKEH-tah)

Carpaccio (kahr-PAH-chee-oh)

Foccacia (foh-KAH-chyah)

Foie gras (FWAH GRAH)

Gelato (jeh-LAH-toh)

Génoise (zhayn-WAHZ)

Gnocchi (NYOH-kee)

Prosciutto (proh-SHOO-toe)

Radicchio (rah-DEE-kee-oh)

Arugula (ah-ROO-guh-lah)

Mozzarella (maht-suh-REHL-lah)

Quinoa (KEEN-wah)

Easter Bread

Bitter Greens With Roasted Beets and Citrus Dressing

Mushroom Pesto Lasagna

We just returned to Toronto where al-most any type of ingredient is readily available and while grocery shopping recently we made a great find. Al-though 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.

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.

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

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.

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.

Peel the beets, and cut into 1-inch dice. Set aside. Chop the green onions.

Mix together the olive oil, orange juice and zest, and season with sea salt and cracked black pepper.

Place the lettuce in a large bowl and drizzle the dress-ing over top. Toss lightly to coat all of the leaves. Ar-range the dressed leaves on four individual plates. The beets and onions on each plate and serve.

Serves 4

Serves 6-8

fresh or dried lasagna noodles for a 10 x 14 inch lasagna pan

500 grams fresh porcini or portabella mushrooms, coarsely chopped

2 ounces dried porcini mushrooms

3 cups prepared béchamel sauce

3/4 cup fresh basil pesto (recipe below or store bought)

3/4 cup grated pecorino or parmesan cheese

1/3 cup pine nuts

1 recipe béchamel sauce

pesto sauce:

3 cups loosely packed fresh basil

3 tablespoons nuts, lightly toasted in the oven

2 cloves of garlic

3/4 cup extra-virgin olive oil

1/4 cup freshly grated parmesan cheese

Dry Pasta

Fresh PastaFresh 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.

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.

Place basil, nuts, garlic and salt in the food processor, and process 1 minute. Slowly start pouring in the ol-ive 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 to-gether 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 bé-chamel 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 ingre-dients are used up. On top, sprinkle a little béchamel, pesto, cheese and pine nuts.

Bake at 375 degrees 30-40 minutes or until bubbly and browned on top. Let sit before cutting.

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.

Pasta-billitiesFresh pasta vs. Dry pasta

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.

Roam Magazine

DIFFERENCECAN MAKE _____YOUR TIME

Tyler’s

JUVENILE JUSTICE AUTHORITY www.jja.ks.org

1.2 MILLION AMERICAN TEENS DROP OUT OF HIGH SCHOOL EVERY YEAR.

STAYING AFTER SCHOOL CAN GIVE A STUDENT THE SUPPORT NEEDED TO MAKE THE DIFFERENCE IN THAT STUDENT’S SUCCESS IN SCHOOL AND IN LIFE.

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 Poster Campaign

DIFFERENCECAN MAKE ______YOUR TIME

Jason’s


1.2 MILLION AMERICAN TEENS DROP OUT OF HIGH SCHOOL EVERY YEAR.

JUVENILE JUSTICE AUTHORITYwww.jja.ks.org

JUVENILE JUSTICE AUTHORITY www.jja.ks.org

DIFFERENCECAN MAKE ______YOUR TIME

Megan’s


1.2 MILLION AMERICAN TEENS DROP OUT OF HIGH

SCHOOL EVERY YEAR.

Anno 1960

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.

1 1/2 oz. vodka

3/4 oz. dry vermouth

3/4 oz. Campari

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.

Cocktails

30

Recipes for Infused Vodkas

Recipes for Infused VodkasIf 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 conver-sions can be found on page 21.

94

AnIse seedFor a less sweet, slightly subtler infusion, place 1 rounded tsp. lightly crushed anise seeds in an infusion jar and add vodka.

BuffAlo GRAssBuffalo 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.

CoRIAndeRPlace 1 rounded tbsp. cracked coriander seeds in an infusion jar and add vodka.

CuCumBeRPeel ½ seedless cucumber and cut into long spears. Place in infusion jar. Add the zest of 1 small lemon, and then pour in vodka.

HeRBsTry infusion with a variety of fresh herbs, such as rosemary, tarragon, basil, thyme, cilantro, lemongrass, mint, and sage.

melonCombine 2 cups each of cantaloupe and honeydew melon, rinds and seeds removed, in infusing jar and add vodka.

TomAToPlace 12 large pieces sun-dried tomato (dry, not oil-packed) in infusion jar and add vodka.

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.

Make Mine Vodka redesign

TEAMWORK

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ANALYSIS

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COMPREHENSION

ANALYSIS

APPLICATIONSYNTHESIS

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ANALYSIS


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Malcolm X Speech Motion

Museum Designer Series

AKL Fraternity Posters

JJA Advocacy Posters

Friend Product Packaging

Arch/Design Logo & Motion

Vending Machine PubType

Personal Monogram

Quimby’s Books Rebrand

Worst Case Flash M

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ks Rebrand

DESIGN�PLANNING

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AESTHETICS

TECHNOLOGY

ADVERTISING

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

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.

There is more than one type of learning. A committee of colleges, led by

Benjamin Bloom, identified different levels of educations activities. There

are six major categories that can be thought of as degrees of difficulties.

The six categories are represented in varying degrees of significance;

where the category most embodied by the project is darker.

The Six Major Levels of Bloom’s TaxonomyGraphic designers ready to work as professionals have mastered a broad

range of conceptual, formal, and technological skills. Whatever educational

or career paths they have taken, certain fundamental competencies have

been acquired. Each of the projects is connected by line to the AIGA

competencies that were utilized in the project.

AIGA Competencies

3 years of design: a visual mapsara minor

ANALYSISSYNTHESIS

COMPREHENSION

ANALYSIS



ANALYSIS


ANALYSIS


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SYNTHESISEVALUATION

EVALUATION

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Mac is Not a... RedesignMalcolm X Speech Motion







Personal MonogramQuimby’s Books Rebrand

Worst Case Flash M

otion

JJA Advocacy Motion

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.

3 years of design: a visual map

TEAMWORK

ANALYSIS

APPLICATION


COMPREHENSION

ANALYSIS


COMPREHENSION

ANALYSIS



ANALYSIS


ANALYSIS


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AN

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Garamond M

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The Office Book Covers

Cult of th

e Ugly SpreadsMac is Not a... Redesign

Malcolm X Speech Motion







Personal Monogram

Quimby’s Books Rebrand

Worst Case Flash M

otion

JJA Advocacy Motion

Vodka Book RedesignRO

AM

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Watkins M

useum Identity

Marching Jayhaw

ks Rebrand

DESIGN�PLANNING

INTERACTIVE�MEDIA

AUDIENCE

PROBLEM�SOLVING

AESTHETICS

TECHNOLOGY

ADVERTISING

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

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.

There is more than one type of learning. A committee of colleges, led by

Benjamin Bloom, identified different levels of educations activities. There

are six major categories that can be thought of as degrees of difficulties.

The six categories are represented in varying degrees of significance;

where the category most embodied by the project is darker.

The Six Major Levels of Bloom’s TaxonomyGraphic designers ready to work as professionals have mastered a broad

range of conceptual, formal, and technological skills. Whatever educational

or career paths they have taken, certain fundamental competencies have

been acquired. Each of the projects is connected by line to the AIGA

competencies that were utilized in the project.

AIGA Competencies

3 years of design: a visual mapsara minor

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 Identity

HISTORICAL SOCIETYDOUGLAS COUNTYWATKINS

MUSEUM of HISTORY

WATKINSMUSEUM of HISTORY

1047 Massachusetts StreetLawrence, KS 66044

TuesWedFriSat10 AM - 4 PMThurs10 AM - 8 PM

Museum Hours

www.watkinsmuseum.orgFax 785.841.9597Phone 785.841.4109WATKINS

1047 Massachusetts StreetLawrence, KS 66044

Taylor Grey [email protected]


Museum Hours

WATKINSMUSEUM of HISTORY

www.watkinsmuseum.orgFax 785.841.9597Phone 785.841.4109

WATKINS1047 Massachusetts StreetLawrence, KS 66044


Museum Hours

Phonewww.watkinsmuseum.org

785.841.4109

“A coin-operated machine for selling merchandise.”

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 differ-

ence between today and the 19th century vending ma-

chines is how we, as consumers pay for the merchan-

dise. 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 ma-

chines 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 advertis-

ing 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.our society has come a long way

With the addition of the machine lighting up at night these machines are almost impossible to ignore.

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.

Sold Out: Vending Machine Public Typography

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 Rebrand

JAYHAWKSMARCHING

1530 Naismith Drive, Room 124 / Lawrence, KS 66045 / Phone 785.864.3367 / Fax 785.864.4717 / [email protected]

JAYHAWKSMARCHING

MARCHING JAHAWKS

Letterhead

Sara Allison Minor2115 Kingston DriveLawrence, KS 66049

MARCHING JAYHAWKSMurphy Hall1530 Naismith, Room 124Lawrence, KS 66045-3102

JAYHAWKSMARCHING

1530 Naismith Drive, Room 124Lawrence, KS 66045Phone 785.864.3367 / Fax 785.864.4717marchingjayhawks.com [email protected]

DAVID CLEMMER Director of Athletic Bands

JAYHAWKSMARCHING


CHERYL LEE Graduate Conducting Assistant

JAYHAWKSMARCHING


CINDY KOESTER Administrative Assistant

MARCHINGJAYHAWKS�COM MARCHINGJAYHAWKS�COM

Sara Minor2115 Kingston DriveLawrence, KS 66049

Want to join the Marching Jayhawks?Visit MARCHINGJAYHAWKS�COM

ENTERTAINMENT

MUSICIANSHIP

CONNECTION

TRADITION

PRIDE

THE�MARCHING�JAYHAWKS�STRIVE�TO

PROVIDE

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ENTERTAINMENT

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HAVE




ENTERTAINMENT

MUSICIANSHIP

CONNECTION

TRADITION

PRIDE


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HAVE


Identity

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Sunday November 6 2011 / 7:30 University of Kansas Lied Center

﹒

From the field to the stage

FOOTBALL�GAME�EXPERIENCEMARCHING�JAYHAWKS

Promotional Poster

http://www2.ku.edu/~kumband/marching_jayhawks/

JAYHAWKSMARCHING

IT’S�A�GREAT�DAY�TO�BE�JAYHAWK!

CURRENT MEMBER SIGN INKU EMAIL PASSWORD

KU Bands • 1530 Naismith Drive, Room 124 • Lawrence, KS 66045 Phone 785.864.3367 • Fax 785.864.4717 • [email protected] //////////// kansasthe university of

JOIN THE BAND

SUPPORT THE BAND

NEWS & EVENTS

INFORMATION

HISTORY & TRADITIONS

CURRENT MEMBERS

ATHLETIC BANDS

SIGHTS & SOUNDS

HOA FESTIVAL

ALUMNI

CALENDAR

LINKS

JAYHAWKSMARCHING

IT’S�A�GREAT�DAY�TO�BE�JAYHAWK!

CURRENT MEMBER SIGN INKU EMAIL PASSWORD

KU Bands • 1530 Naismith Drive, Room 124 • Lawrence, KS 66045 Phone 785.864.3367 • Fax 785.864.4717 • [email protected] //////////// kansasthe university of

JOIN THE BAND

SUPPORT THE BAND

NEWS & EVENTS

INFORMATION

HISTORY & TRADITIONS

CURRENT MEMBERS

ATHLETIC BANDS

SIGHTS & SOUNDS

HOA FESTIVAL

ALUMNI

CALENDAR

LINKS

http://www2.ku.edu/~kumband/marching_jayhawks/

Website Homepage

Member T-shirt

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.

Marching Jayhawks Brand Book

(2 year member of the Marching Jayhawks)Mark 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.

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.

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.

the student

MENTAL “I’m in the band.”

Conection to the University of Kansasthrough muscianship and entertainment

while upholding traditions and having pride in the organization.

to the Marching Jayhawks&

1. a. causal or logical relation or sequence b. contextual relation or association c. a relation of personal intimacy

create a

The Kansas CiTy MeTro arT 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.

kcART Magazine

The Kansas CiTy MeTro arT Magazine

settling the westBlazing the trail across town, John O’Brien elaborates on his move to the West Bottoms

kinetic energyAn energizing grant puts Marilyn Mahoney in motion on an Urban Culture Project

sweet 16Sixteen different artists will be featured in the gallery exhibition this fall.

do you know theway to Sante Fe?

behind the canvas:

After her stint on Bravo TV, Peregrine Honig heads to Sante Fe for a solo show

prying wolffcurator & answer:

Toma Wolff explains the uniqueness of new works by artist Hung Liu

sweet 16sixteen different artists will be featured in the gallery exhibition by bob brock for the leedy-voulkos art center this fall.

Photos by Jessica Slater

by Victoria Justice

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.

March/april 2011

Soco and artThe Lynda and Stewart Resnick Exhibition Pavilion at the Los Angeles County Museum of Art will open after a $45 million gift from the coupleOver 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 north-

facing 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.

The Lynda and Stewart Resnick Exhibition Pavilion, designed by Renzo Piano, expands the museum’s exhibition space.

March/april 2011March/april 2011

off centeredmany 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. Non-

specific 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.”

collecting

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.

Curtain

the ManBehind

therunning 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 relation-ships 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.

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 con-trolled 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 ac-

cess 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 experi-ence 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 organi-zation? 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.

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.

by Stan SmithPhoto by Jessica Slater

MarCh/april 2011

settling the

westin 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.Photos by Stephen Meiller

by Michael Oran

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.”

Inside this gallery’s spacious, concrete-

floored 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).

new business 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 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

“I’m very excited about the neighborhood, Jim Leedy

said we’re a city of the arts, not just a neighborhood.

He encouraged me.

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.

dolphin gallery exhibitionsCurrent and Upcoming

Not Here No ThereFebruary 18 – April 22. 2011Matthew Kluber + Colin C. SmithJames WoodfillAnne Lindberg + Matt Wycoff

Be Good or Be GoneApril 29 – June 18. 2011Adam EkbergGary Noland + Debra SmithAaron StorkDavid Ford

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.

March/april 2011

sweet 16sixteen different artists will be featured in the gallery exhibition by bob brock for the leedy-voulkos art center this fall.

Photos by Jessica Slater

by Victoria Justice

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.

March/april 2011

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