About the Exhibition
Elevate at 21c presents temporary exhibitions of works by artists living and working in the communities surrounding each 21c Museum Hotel property. Elevate provides hotel guests with unique access to the work of notable regional artists, while featuring their work in the context of 21c’s contemporary art space. To view these works, please stop by the front desk to arrange access to the vitrines on guest room floors.
On view from July 2018 – January 2019, Elevate at 21c Kansas City presents works by three Kansas City-based artists – Patty Carroll, Madeline Gallucci, and Casey Whittier.
Patty Carroll (American)
Dished Up from Anonymous Women: Domestic Demise, 2017
Picnic Bees from Anonymous Women: Domestic Demise, 2016
Guns and Roses from Anonymous Women: Domestic Demise, 2017
Photographs
Patty Carroll’s series of photographs, Anonymous Women: Domestic Demise, the woman becomes the victim of domestic disasters. Her activities, obsessions and objects are overwhelming her. Her home has become a site of tragedy. The scenes of her heartbreaking end are loosely inspired by several sources including the game of clue, where murder occurs in one of five rooms of the house: Dining Room, Kitchen, Hall, Conservatory, and Library.
Carroll currently works and resides in Kansas City, MO and her work is represented by Sherry Leedy Contemporary.
Patty Carroll (American)
Kilim from Anonymous Women: Draped, 2012
Royal from Anonymous Women: Draped, 2003
Black Flowers from Anonymous Women: Draped, 2012
Photographs
Patty Carroll’s series of photographs, Anonymous Women: Draped is about becoming the dwelling itself: experiencing the dichotomy of domesticity. The home is a place of comfort but can also be camouflage for individual identity when idealized decor becomes an obsession, or indication of position or status. “Staying home” is a state that some women also aspire to as a place of power, while others abhor because of its prison-like atmosphere. In all cases, women need “A room of their own.” This series has references to draped statues from the Renaissance, nuns in habits, women wearing the burka, the Virgin Mary, priests’ and judges’ robes, ancient Greek and Roman dress, among others. The series is also a small tribute to Scarlett O’Hara, who, undaunted by wars, pulled down her drapery to fashion a beautiful gown, and would do anything to keep her home, Tara.
Carroll currently works and resides in Kansas City, MO and her work is represented by Sherry Leedy Contemporary.
Madeline Gallucci (American)
Afterparty I, 2018
Latex paint on wall
Madeline Gallucci (American)
Afterparty II, 2018
Latex paint on wall
Madeline Gallucci (American)
Tarp Pattern #2, 2017
Acrylic on canvas, grommets, paracord
Madeline Gallucci received her BFA from the Kansas City Art Institute in 2012 where she acquired a passion for image making and working collaboratively. Madeline’s work explores, dissects, and reinterprets our relationship to pattern by means of vibrant paintings and installations.
By using camouflage patterning as her primary inspiration, she selects vibrant colors that convey feelings that are simultaneously innocent, provocative, wild and repulsive, including a range of fluorescent colors that evoke a sense of attraction and warning. This generates optical mixing and other phenomena that allude to digital glitches, color blindness tests and Magic Eye posters.
Gallucci currently works and resides in Kansas City, MO and her work is represented by Weinberger Fine Art.
Casey Whittier (American)
My Promise, 2017
Earthenware and mason stains
Casey Whittier (American)
My Prison, 2017
Earthenware and mason stains
Casey Whittier received her BFA from the Kansas City Art Institute and MFA from the University of Colorado Boulder. Her work investigates the fine line between the need to preserve and a desire to re-imagine, re-configure and re-contextualize the world around her.
Utilizing a variety of forming methods and clay bodies, Whittier recreates elements from nature, unites the landscapes of her reality with the landscapes of daydreams, exploits the visceral qualities of clay, and ponders the power of shared experience. The physical impressions that come through rolling, tearing, squishing, dipping, pushing, pinching, molding, casting, and scratching become representations of touch, of thought, of time spent. Whittier works primarily from her home studio and is an advocate for community engagement through the arts. She teaches ceramics and social practice at the Kansas City Art Institute and serves on the board for Artaxis.org.
