Julián Zugazagoitia Named Director of The Nelson-Atkins Museum of Art

Director of El Museo del Barrio Becomes

Fifth Director in the Museum’s 75-year History

An exhaustive international search ended Friday March 5 with the official announcement of Dr. Julián Zugazagoitia being named the fifth director and chief executive officer of the Nelson-Atkins Museum of Art.  Zugazagoitia, 46, an international scholar, museum director and consultant who has served for the past seven years as the director and CEO of El Museo del Barrio in New York. He was the unanimous choice of search committee members and will begin his position Sept. 1.

Board of Trustees Chairwoman Sarah F. Rowland says the museum has seen incredible growth and an improved stature under the direction of Marc F. Wilson, the museum’s Menefee D. and Mary Louise Blackwell director/CEO for the past 28 years. Wilson announced his retirement last year and will step down June 1. During Wilson’s tenure, the Nelson-Atkins became a world-class destination that earned acclaim for its Bloch Building expansion, the new Ford Learning Center, renovated Kansas City Sculpture Park and dramatic new galleries, including recently opened American and American Indian galleries. Zugazagoitia says it’s an honor to follow Wilson who has led in the museum’s transformation into one of the leading national museums.

“A successor to honor the breathtaking array of accomplishments was not easily found, but Julián Zugazagoitia is just such a person” Rowland says. “He is a man of many talents; a man of broad vision, one whom we believe will honor the accomplishments of others. He has the temperament and the training, plus the passion for the arts we need. His energy has delighted all who have met him.”

A committee made up of nine museum trustees began searching for Wilson’s successor more than a year ago, and they encountered strong interest in the position locally, nationally and internationally. They were taken with Zugazagoitia’s energy as a leader, his passion for the arts, and his international background — born in Mexico City and educated in France; Zugazagoitia speaks six languages and has worked at institutions in the Americas, Europe and Africa.

Zugazagoitia holds a doctorate in philosophy from the Sorbonne Paris IV, with a focus on Aesthetics and Modernism in the arts. His work as a consultant, lecturer and curator has involved projects around the globe with the United Nations Educational, Scientific and Cultural Organization (UNESCO) and the Getty Conservation Institute in Los Angeles. From 1999 to 2002, he served as executive assistant to the director for the Solomon R. Guggenheim Museum, New York. During his tenure at El Museo del Barrio, a leading museum of Latino and Latin American art, Zugazagoitia led the institution through a $44 million capital campaign and a full renovation, which opened in 2009 to critical acclaim.

“Julián has been a great leader for El Museo and brought it to new heights, culminating in a major capital renovation,” says artist Tony Bechara, chairman of the board of El Museo del Barrio. “He strengthened our institution financially, and he galvanized the community and art lovers nationally and internationally by bringing superb exhibitions and programs to the museum. While we are sad to see him go, we are also honored that he is pursuing his commitment to the arts in a world-class encyclopedic museum such as the Nelson-Atkins.”

Louis Smith, chair of the Nelson-Atkins search committee, says he was delighted that Zugazagoitia had accepted the offer. “Julián has an impressive national and international background, a passion for the Nelson-Atkins and Kansas City, and the commitment and energy to build on the outstanding work and legacy left by Marc Wilson and his leadership team.”

On his visits to Kansas City, Zugazagoitia has been struck by the vibrancy of the city, especially the arts culture, the university, science and research climate, and the community’s commitment to philanthropy.

“I see a city that offers a high quality of life, a city with a great deal of civic pride and investment in the arts,” Zugazagoitia says. “I look forward to being part of the synergy that exists between the arts, science and business institutions in Kansas City.”

The Nelson-Atkins, he says, holds a compelling history as a museum that has been committed to excellence from its beginnings in 1933 and has built one of the top encyclopedic collections in the country. He learned of Kansas City and the Nelson through referenced works while a student at the Sorbonne in Paris. “I am beginning to learn about the potential of this city. I spent time with Kansas City Symphony Director Michael Stern and looked at the Kauffman Center for the Performing Arts. It will be a joy to continue to help prove that the arts are integral to everyone’s lives.”

Zugazagoitia says he has curated many exhibits and collections. “I see myself more as a generalist. With the Nelson, I see different collections talking to each other. I want to see the ensemble rather than the individual piece. There is a dialogue that is created and brings even more to life. We continue to raise the bar and keep in high when people have that one-on-one experience. It is how we help people live these moments.”

He also sees education as critical. Art must be a relevant and transformative experience, he says. He applauded the strengths of the collections at the museum. “I am honored to follow in the footsteps of the visionary Marc Wilson, and I look forward to getting to know the talented staff, the generous patrons and the civic leaders,” he says. “My family and I are so looking forward to joining the community and making Kansas City our home.”

Zugazagoitia is married and has two children, ages 6 and 10.

INTERNATIONAL BACKGROUND

Zugazagoitia’s international background includes the following highlights:

• Born and raised in Mexico City, Zugazagoitia’s father was a mathematician and his mother is a stage and screen actress.

• Graduated from L’Ecole du Louvre, with a major in modern and contemporary art and concentrations in Egyptology and Medieval art.

• Educated at the Sorbonne Paris IV in France, earning a Ph.D. in Philosophy, with a focus on Aesthetics and Modernism. His dissertation was titled The Total Work of Art as Horizon Modernity: Wagner, Mallarmé, Monet and Rodin

• Lectured in art history at the Sornas School of Design, Paris.

• Served as Cultural Attaché, Permanent Mexican Delegation to UNESCO, Paris.

• Worked as a consultant with the Getty Conservation Institute, developing European and African projects while based in Paris and Rome, 1991-1999.

• Served from 1997 to 1999 as director of visual arts with the Spoleto Festival, Italy.

• Served as executive assistant to the director at the Solomon R. Guggenheim Museum in New York, organizing exhibitions and conferences, 1999 to 2002.

• Awarded Chevalier des Arts et des Lettres Medal, French Ministry of Culture, 2003.

• Served as a curator for the 25th Sao Paulo Biennale in Brazil in 2002 and the international art fair ARCO 2005.

• Became director/CEO in 2002 of El Museo del Barrio, where he repositioned the museum nationally and internationally as one of the foremost museums on Latin American and Caribbean art and developed major collaborations with such institutions as the Museum of Modern Art, the National Portrait Gallery and the Metropolitan Museum of Art.

• Currently serves as vice chair of the Cultural Institution Group, made up of New York City’s top 33 cultural institutions.

• Currently serves as chair of the cultural committee for NYC & Company, the official marketing and tourism organization for the city.

• Has served on the Board of the Association of Art Museum Directors since 2007.

James Brinsfield
Sky Way


DOLPHIN is pleased to present Sky Way, James Brinsfield's first solo exhibition at the gallery, on view March 12 - May 8, 2010.  James Brinsfield was born in 1949 in Chicago, IL. He received his B.F.A. from the University of Illinois at Chicago and attended the School of the Art Institute of Chicago for an M.F.A. in studio painting. He has had 14 one-person exhibits...

Jim Leedy; Cosmos

FOR IMMEDIATE RELEASE:

Arts Alive

Charlotte Matthews (2010 President)

816-665-9849

charlotte.k.matthews@gmail.com

www.artsalivekc.com

Arts Alive to Tour Sonnenschein Art Collection / Attend Bus Stop @ The KC Rep Thursday, March 25^th  at 5:30 pm

Arts Alive is pleased to present a private viewing of the Sonnenschein Art Collection at Sonnenschein Law Firm located at 4520 Main. The group will then attend a performance of the critically acclaimed Bus Stop at the KC Rep’s Spencer Theatre at 4949 Cherry. The pre-event at Sonnenschein will feature cocktails and light appetizers beginning at 5:30 pm. The performance will begin at 7 pm.

Tickets are $25 per person payable via artsalivekc.com. RSVP is required.

For more information and to sign up for our newsletter, please visit www.artsalivekc.com

Upcoming Events:

• Saturday, April 24^th : Tour of Artist Studios @ Livestock Exchange / Christian McBride @ the Folly Theatre
• Friday, May 7^th : Tom Corbin Studio / KC Ballet @ the Lyric Theatre

ArtsAlive is a non-profit organization that promotes the visual and performing arts in Greater Kansas City through social events hosted by a different organization each month. Translation: we're a bunch of individuals who want to learn more about and enjoy the arts while having a good time. For a nominal fee, we meet for food and drink, then attend a play or dance performance, listen to a symphony or an artist talk about his/her work, take a tour through a gallery collection, visit a tattoo parlor or whatever is on the current month's agenda.

THE LONG WINTER 

Exhibition & Performance by Davin Watne

THE LONG WINTER, a new project contained in two phases; the first being a performance or "party" opening night, and phase two consisting of the "party's" residue. Utilizing sculpture, sound, performance, painting, fashion, animation and drawing, the installation will encompass and present a multi-sensory experience for the viewer and challenge their cognitive understanding of visceral empiricism. 

UCM Gallery of Art & Design, Warrensburg, MO

MARCH 11 - APRIL 10, 2010

OPENING RECEPTION: THURSDAY, MARCH 11, 5 PM - 7 PM

WITH A SPECIAL OPENING NIGHT PERFORMANCE FROM 5PM TO 7PM

THE LONG WINTER
Exhibition & Performance by Davin Watne
MARCH 11 - APRIL 10, 2010

Hours: Monday - Friday 9 am - 5 pm, Saturday 12pm - 4pm, Thursdays open until 8 pm
UCM Gallery of ART & DESIGN | 217 Clark St | Warrensburg MO 64093

The Consulate of México and Mattie Rhodes Center present

"Este es mi México"

a collection of children's artwork from around the world

 March 5 - 26

Opening Reception: Friday, March 5, 6:00 - 9:00 p.m.

"Este es mi México" is a collection of the children's artwork from the 2008 edition of the drawing competition of the same name.  Each year, the Mexican Ministry of Foreign Affairs sponors this contest for children between 7 and 11 years of age.  Children create pieces of artwork that express an idyllic México engraved in their memories from their earlier years, their travels to the country, and stories, myths, and songs they have heard.  The use of colors, materials, shapes, and subjects express the full range of emotions that show a deep connection to their lives.

Liberty Arts Squared

PRESS RELEASE

P.O. Box 302, Liberty, MO 64069

staff@libertyartsquared.org

FOR IMMEDIATE RELEASE

CONTACT:   Jennifer Hardesty, Marketing - jhardesty@kc.rr.com or Cory Unrein - staff@libertyartsquared.org

 Arts Festival on the Square in Liberty, Mo. June 5, 2009

Liberty, Mo – Historic Downtown Liberty, Mo. will be the site of an arts festival June 5, 2010, 10 am to 7pm.  The festival is named, “Liberty Arts Squared,” for the location around the courthouse square, as well as the four categories of art featured at the festival.  The festival is a juried show, which will include visual (painting, sculpture, pottery, certain crafts), literary/written, performing and children’s arts.    The festival is free to the public, with plenty of free parking available. 

“Our goal is to bring quality arts to the community, support local and regional artists, and host a fun, family friendly event,” said Heather Jones, who is event co-chair with Trish Hughes. 

Over 100 booth spaces are available for artists to display their work.  Sponsorship, food vendor and volunteer opportunities are also available.  

“We are excited about the quality artists who are coming” said Carol Kariotis, member of the Liberty Arts Commission, and Director of Kaw Valley Arts and Humanities.  Steve Karol, Karol Fine Arts, will be showing digital photography and paintings in Corbin Theatre.  Mr. Karol has exhibited work in many area Liberty locations including Martha Lafite Thompson Wildlife Sanctuary and Crepes on the Square.

Watercolorist, Mark Anderson, will have a booth at the festival and will also include demonstrations.  Mr. Anderson has exhibited widely throughout the Mid-West and Alaska including paintings exhibited in the 6th Annual Juried Art Show of Burlington, Iowa, ; Paintings exhibited in, \"Not Under Glass\", a national exhibit of fine oil and acrylic paintings, St. Louis, MO;  Paintings exhibited in Artists Along The KATY Trail traveling exhibit; exhibits at The Rozier Gallery, Jefferson City, Missouri; Award Winner Painting on exhibit, \"Portrait of Miss Lucy\" The Kansas City Museum; Soldotna, Alaska Oil painted mural commissioned, placed in permanent installation in Gourmet Gardens, Soldotna, Alaska; and numerous solo exhibits.  Mark Anderson, Watercolorist, photographer and Liberty resident, teaches art at Oak Park High School.

Artist and vendor applications are being accepted now.  For an application, or more information go to www.libertyartssquared.org

The festival entries are juried, with a $500.00 Best of Show, $500.00 Best Overall Booth Display prizes, and a number of other cash awards in the visual, folk arts and crafts and literary arts categories

Music performances will take place throughout the day of the festival, and all will be free to the public.  Wandering performers will be on hand.  Literary readings will take place at selected venues, as well as in writer’s booths.   

The festival is presented by Historic Downtown Liberty, Inc. (a non-profit Main Street organization) and the City of Liberty Arts Commission.

Liberty, Mo. is located 20 minutes northeast of downtown Kansas City.  To come to the festival, take the Highway 152 exit off of I-35 and go east two miles to the historic downtown.

*attached with this press release – painting by Mark Anderson, title: Fleeting Glimpses, watercolor on handmade paper

(Used with permission)

The Crazies

Film Review by Alexander Morales

With a title like “The Crazies,” I am betting someone could expect a lot of weird stuff to be going on. I mean, come on, just the idea of the word crazy brings up some pretty frightening things. From mass murders to demented clowns, crazy has become one of those words that, while probably used too much in the incorrect context, is still able to reduce you down to your worst kind of nightmares. Fortunately, you don’t have to worry about that here.

Directed by Breck Eisner and a remake of the 1973 film of the same name by George A. Romero, “The Crazies” is set in the quaint, quiet Iowa town of Ogden Marsh where something bad is starting to happen. Townsfolk are starting to act a little “off” and it even sends a few of them into a violent rage. Needing to get some answers, the sheriff (played, as always with just the right amount of tough guy swagger by Timothy Olyphant) and his trusty deputy (Joe Anderson) work the conveniently placed clues in order to uncover the ugly truth … something tastes a little funny with the water. From there, more people go a little crazy, the government steps in and a small team of the most likable people in town band together for survival. Let the horror ensue.

Or not.

The problem with this film is that it really isn’t that scary. While the infected can be a little weird and do bad things, the majority is not so much crazy as just turning violent. I think this could be qualified into the zombie kind of genre, but the people that do get infected and get into the killing mood, still have some motive and reasoning skills and last I checked, you kind of lose that when the mind goes a little kooky. Now there were some tense moments, but everything scary was that quick jump kind of a scare and was set up so clearly by the darkness, lack of sound and any other cliché we all know, that you just kind of laugh when it happens.

Now I am not saying I didn’t like the film. Production and acting-wise, this film is very well made. Olyphant plays the tough sheriff role perfectly and a nice surprise of loyalty, humor and strength comes from his deputy Russell. The sheriff’s wife (Radha Mitchell) is just as tough as him and holds her own in times of danger so I can’t really complain about her role. The movie is not too long and paces well with a good score and solid special effects. Surprisingly, there is some great humor and good dialogue was interjected throughout so you could stay engaged pretty well, but there was just something about it that seemed a little off to me. What was it? I can’t put my finger on it … oh wait, a minute, that’s right. It’s because I’ve seen it already.

I don’t mean that I’ve seen the 1973 version of the film. Nothing is original about the way this movie is made or in how it is presented. Clearly, the director has just taken the best parts of other, better films and made something based in Iowa. A smattering of “28 Days Later” here, Zack Snyder’s “Dawn of the Dead” there, throw in some Tony Scott government electronics and suddenly you have “The Crazies.” Like I said, it’s not bad, but it’s also nothing new and in the end; I think that is its greatest flaw. Which truly is a shame, since it’s clear that Eisner and Romero were going for the newest creepfest, but like the last few Romero outings, all you get is yesterdays retreads.

In the end, I think most people will like it. Like I said, it’s well made and the cast do a great job. Nothing is overly silly or ridiculous and I think anyone on a date will have fun with the jumpy scares. Probably worth a one-time showing but nothing that will stand for long in great halls of Horrordom.

3 out 5 Infected Townsfolk

Cop Out (A.K.A. “All the other good movie titles were taken so we got stuck with this one”) 

By Jason Gregg

Painful to watch. Absurd story line. Dull action. Slow moving train wreck. Those are the words I am using to describe Bruce Willis’ and Tracy Morgan’s new movie “Cop Out.”  Five being the number of times I laughed in the almost two-hour long tragedy. Although, I think it was intended to be a comedy.

The story begins with Jimmy (Willis) and Paul (Morgan) interrogating a suspect in a drug case. It also happens to be their nine-year anniversary of being partners on the NYPD.  Laugh No. 1: the interrogation scenes were partially funny because Paul, while physically and verbally abusing his suspect, was quoting cop movies he had seen.  The scene does take a clever jab at a Willis movie.  

The film quickly moves into the typical 1980s buddy cop movie. I think that the writers simply Netflixed the entire buddy cop genre one weekend and wrote notes on what they thought was funny. Robb and Mark Cullen wrote the screenplay and Kevin Smith of “Clerks” fame directed.

Jimmy and Paul go on an assignment and make a few mistakes that results in losing their badges for 30 days. Who takes their badges away? It is the stereotypical angry police captain that has had enough of their antics. Sorry, seen it before, guys. 

Jimmy soon finds himself in a situation where he needs $48,000 and is without a job. Oh no, how will Jimmy ever find a way get the money? It turns out that Jimmy has a very valuable baseball card and when he goes to sell the card, it’s stolen by Dave (Seann William Scott). The card ends up in the hands of a ruthless Mexican gang leader who houses baseball memorabilia worth hundreds of thousands of dollars in a $25,000 home in the ghetto.   

During this train wreck, I couldn't find a time where I really cared about any of the characters; Willis seemed to be phoning most of his lines into the movie. Morgan was being, well, Tracy Morgan. That was actually a good thing. He plays the sensitive dumb wit so well that it's fun to watch him on “30 Rock.” But, when I can watch him be a goofball for free on Thursday nights, why would I pay $10 on Friday to watch him to play the same character?

The rest of the story is about Jimmy trying to get his baseball card back from the Mexican gang who is using Jimmy and Paul to retrieve a stolen Mercedes. Dave comes back into the story with laugh No. 2 where they have a juvenile joke fest while figuring out if Paul’s wife is cheating on him. Laugh No. 3 comes soon after that with a little physical pain to an 11-year-old boy (I don't advocate violence upon children, but I will laugh at it when it is done right). The story moves slowly into finding an angry Mexican woman. I assume the casting agent hired her because she is pretty and she could scream/ curse in Spanish for the remaining 45 minutes of the film.  

Laugh No. 4 and the last one (Sorry, there was no laugh No. 5. I was giving the movie a handicap out of pity), was when the credits were rolling. It takes place in a morgue and as far as morbid pranks are concerned it was funny. Again the joke was by Scott, which makes me ask - why didn't he get his name on the movie poster? He did most of the work.

There you have it, a 1980s cop comedy that would have been funny 25 years ago. Maybe it was paying homage to the cop comedies we grew up on but then again maybe this is simply a lost cause. Pay attention to the musical score and you'll hear the 1980s Casio Synthesizer used in movies like “Fletch” and “Beverly Hills Cop.” It brought me back to a simpler time when these jokes were fresh and new.     

Should you see this movie? Please don't. Save your $10, watch “30 Rock” and rent “Die Hard” and you'll see Willis and Morgan in their best elements.