Art Capsule Reviews

Elissa Armstrong: Objects of Innocence and Experience Lawrence artist Elissa Armstrong takes the lighthearted concept of “sit-arounds” (or “set-arounds,” depending on how rural your accent is) —decorative objects, including porcelain unicorns, free-standing arrangements of dried flowers and Precious Moments figurines — and flips it on its innocent little head. For this show, the Alfred University-educated ceramist (and University of Kansas assistant professor) gathers childlike lambs, bunnies and deer at thrift stores and garage sales and creates others with lowbrow, craft-store molds. She then adds heaps of bumpy plaster, douses the sculptures in glaze and glitter and affixes long, tubular clay appendages. Some of these subversive figurines look virtually untouched; others are so distorted they’re practically abstract. Arranged together on a flat plane, though, the 11 sculptures begin to make sense as an illustration of evolution or devolution— it’s up to the viewer to decide which. Through Oct. 1 at the Kemper Museum of Contemporary Art, 4420 Warwick, 816-753-5784. (A.F.)

The Feminine Mystique: Portraits of and by Women In an effort to explore the late-19th- and early-20th-century period of first-wave feminism, the Nelson-Atkins Museum of Art has opened an installation in Gallery P27, where 16 permanent works are being exhibited for the first time in years. The subjects mostly represent the family, friends and lovers of some of the most celebrated artists of their time. Long necks and youthful faces are abundant; these are some pretty ladies. The mouth of Redon’s Salomé is set in a satisfactory pout, of course — her looks have brought her the head of John the Baptist (portrayed with Redon’s features). And there are flirtatious lilts in the lips of Matisse’s “Head of a Woman” and Picasso’s portrait of Marie-Thérèse Walter. But our favorite is the glamorous muse portrayed in “The Red Umbrella” by Jacques Villon (Gaston Duchamp): The lovely Parisian looks relaxed and confident, but her eyes belie an unmistakable haughtiness — perhaps even something darker. These women might have been gunning for equality, but we suspect they made plenty of men feel damned inferior. Through Oct. 1 at the Nelson, 4525 Oak, 816-751-1278. (A.F.)

Salvation Six local artists calling themselves the Broken Brick Group interpret the meanings of salvation in this group show that is interesting only part of the time. We’re intrigued by Charles Ray’s work because he uses rust as media; in “Genesis,” rust and copper oxide detail a half-circle of roots growing to form hands offering a rose to the moon, clouds and heavens. In “An Ounce of Damnation Is Worth a Pound of Salvation,” Ray uses a similar effect to create a unique female form: an angel with an ugly skeleton skull where a placid face should be. The Rev. Jim Dayton’s collected sermons handwritten on wrinkled paper convey a certain folksy wisdom and humor but lack artistry (though he earns points for calling Mel Gibson a “lunatic neo-Nazi” in a February 2006 sermon). Elsewhere, Tate Owens’ set of six glass milk bottles filled with holy water, “Self Baptism (Glass and Holy Water),” captures the bewildering aspects of this show. Through Aug. 31 at the Hilliard Gallery, 404 E. 18th St., 816-561-2956. (R.T.B.)

Categories: A&E