As the Nelson-Atkins Museum of Art reopens to the public this season, the city’s predominant cultural institution is experiencing a generational transformation in its curatorial ranks. This is not totally
Tom Toro is a cartoonist and writer whose work has appeared in “The New Yorker,” “The New York Times,” “Harvard Business Review” and “Audubon,” among others. Born and raised in the San Francisco Bay Area, he now lives in Portland, Oregon, with his wife, Marissa Wolf, artistic director of Portland Center Stage at the Armory.
On September 10, 2020, a billboard proclaiming “THERE ARE BLACK PEOPLE IN THE FUTURE” was unveiled in the Crossroads Arts District at Broadway Boulevard and Pershing Road. The signage, presented by Goethe Pop Up Kansas City, a branch of Germany’s federal cultural institute, the Goethe-Institut, is part of a project by the same name produced by […]
Now, with the historic decision to rename the J.C. Nichols fountain and other Nichols memorials in response to these protests, it seemed a good time to revisit Whitney Terrell’s groundbreaking 2005 novel, “The King of Kings County,” inspired by the racist real estate covenants that formed many of the residential neighborhoods in Kansas City.
For 30 years, Kansas Citians have been entranced and educated by the quilts of Sara Sonié Joi Thompson-Ruffin in exhibits at the American Jazz Museum, Grand Arts, the KCAI Crossroads Gallery, Leedy-Voulkos Art Center and many other venues.
Cynthia Levin, the longtime artistic director of the Unicorn Theatre, couldn’t stand the idea of a dark theater building with no audiences, no working actors, no opening nights. But that became the summer reality for the Unicorn and other Equity theater companies.
Kansas City Actors Theatre in its 15-year history has performed the works of famous and obscure playwrights alike — from the Americas, Europe (including Britain) and South Africa. But missing from the respected theater company’s record of productions is a single play by a writer of color.