“Sea Nymph” by M.T. Liggett, gift of the Kohler Foundation from the collection of Larry Meeker (courtesy of the Volland Foundation)
The Volland Foundation in Alma, Kansas, recently received a generous donation from the Kohler Foundation consisting of eight sculptures by Kansas artist M.T. Liggett (1930–2017). The foundation unveiled the sculptures, which they called “an extraordinary gift,” at a Sept. 29 celebration.
Liggett’s sculptures were originally part of the collections of Gloria and Dick Anderson and Cindy and Larry Meeker. Larry Meeker, who knew Liggett for about 30 years, recalls the first time he saw the artist’s works, which later Liggett called his “art environment.” Meeker was working for the Federal Reserve Bank of Kansas City at the time and driving through the plains of Central Kansas, when Liggett’s roadside sculptures caught his eye. Meeker said he was completely enamored by what he saw, including a barn and a sign on a fence warning art lovers to “keep (their) butts off (his) property.” Meeker took it as an invitation to return and get to know Liggett.
Liggett’s sculptures, made by combining scrap metal from farm machinery, cars, road signs and railroad equipment, are celebrated for their wit, especially their facetious political commentary. He liked to stir the pot and aggravate people while also captivating them with his kinetic works.
Liggett placed his first sculpture, dubbed a “gargoyle,” on his fence line to protect his property after someone poisoned his horse. The gargoyle sat looking toward US Highway 400 and Kansas Highway 54, and it paved the way for the more than 600 artworks Liggett would create during his lifetime.
Meeker supported Liggett’s developing practice for decades, helping his work become better known throughout the region first, and eventually the nation. “The difference between (Liggett’s) work and other roadside art,” Meeker said, “is that Liggett’s leaves something to think and talk about… It draws an interesting parallel between folk art and fine art.”
According to Meeker, Liggett was well-read, had expertise in Greek mythology, and listened to classical music while he made his sculptures. At one point Liggett ran for the Kansas state legislature on the Republican ticket. He was an excellent litigator and called out any hypocrisies he noticed, both verbally and through his art. “The State of Kansas would have benefited immensely had he been elected.” Meeker said. “His commentary and insight are well needed today.”
Liggett made sculptures of people he liked as well as self-portraits. He lived a wild and raunchy life for many years, dumbfounding visitors with his works about past romantic flings.
Although a doctor had advised Liggett decades ago to stop welding after he got a pacemaker, the artist decided he would rather be dead than stop making sculptures. Toward the end of his life, he scrupulously put together a trust with handpicked trustees who had expertise in areas of art collection, public relations, law and finance, ensuring his sculptures would be in good hands after he passed.
Liggett’s sculptures will likely continue attracting attention from collectors and museums for their uniqueness and because they encourage viewers to think critically about their political commentary and views of the world. As the Volland Foundation noted in its release, “Liggett serves as a reminder of American individualism in 2024.”
For more information, visit vollandfoundation.org.
