The problem is not going away. In this issue, Robert Trussell chronicles the climate of fear created by government attacks on DEI. The good news is the quiet determination demonstrated by arts organizations to maintain a firewall against all such efforts.
Also in this issue, we celebrate the accomplishments of two old friends, including eminent American artist Dean Mitchell, who initially made his name in Kansas City where he worked for Hallmark and distinguished himself by winning innumerable national watercolor compositions and placing works
in the collections of The Nelson-Atkins Museum of Art and Kemper Museum of Contemporary Art.
He’s back. Continuing through spring 2026, the Museum of Art + Light in Manhattan, Kan., is presenting a sweeping overview of Mitchell’s compelling portraits, landscapes and other subjects in two exhibitions, including a digital extravaganza, both explored in our article by Brian Hearn, page 52.
The other old friend featured in the current issue is cartoonist Tom Toro, also a former KC resident who for several years contributed his clever cartoons to KC Studio. Now Toro, whose reputation rests on the many cartoons he has published in the New Yorker, is out with a new book, reviewed in these pages by Brian McTavish.
There are still three and a half months left in the run of the Andrea Carlson show at Kemper Museum, which has stepped up its game this fall under executive director Jessica May and chief curator Jessica Hong by presenting concurrent special exhibitions of eminent national artists, with the Carlson show overlapping with the major video exhibition, “Stan Douglas: Metronome.” Thanks to the Kemper, KC’s exposure to Carlson’s work is timely rather than behind the curve, opening before the Denver Art Museum’s “Andrea Carlson: A Constant Sky,” her first museum survey, and “Andrea Carlson: Endless Sunshine,” a solo show opening March 2026 at the Contemporary Art Museum St. Louis.
And the hits just keep on coming with the Kemper’s Nov. 14 opening of Caddo nation artist “Raven Halfmoon: Ride or Die,” which promises a new twist on the cowboy mythology so central to American identity.
On a more personal note, we offer heartfelt thanks and a fond goodbye to our talented long-time designer Carrie Brophy, who left her post as art director for KC Studio in October to pursue other opportunities. In her 10 years at the magazine, Brophy distinguished herself as much more than a designer, contributing her good judgment and keen eye to all facets of the magazine’s production, including finding an experienced and capable successor.
Going forward we welcome Kim Tappan, who previously worked under Brophy as graphic designer and with the Nov/Dec issue, has assumed the post of art director.
And Happy Holidays! Although we have discontinued our standalone holiday supplement, see our five-page Holiday Gift Guide, page 87 for some seasonal fun and great gifts.
