Members' Summer Exhibition 2025

On display in the Betty and Art Robins Gallery at the Columbia Art League

June 17 - July 24, 2025

Reception: Thursday, June 19, 6 - 8 pm

Members’ shows are not juried, and awards will be given out at the reception.

Congratulations to the ribbon winners!

1st place: Cheryl Hardy, Hung Out to Dry

2nd place: Brooke Cameron, Galapagos Composite

3rd place: Hope Martin, Moody Woods #2

Honorable Mentions:

Steven Ryan, Basket

Jenn Wiggs, Landscape Fragment

Nate Halwel, Uprise Hydration

CAL is proud to be a local non-profit that’s been a part of the mid-Missouri art scene since 1959. Our Members’ Shows are exciting opportunities for CAL Members to display their art, and for our community to get to know our vibrant artist members. There is no theme; instead, this is an opportunity to show our community what we’ve been working on recently.

The Members’ Show is open to all CAL members, all media welcome. 

The Interns' Turn: Inheritance

Hi, it’s Brooke again! This is likely my last blog post for CAL, as I’m graduating from high school. So, one last time, I’d like to share my thoughts on our current show, Inheritance.

More than most 18-year-olds, I’m very aware of my ancestors. I probably know more about my family’s history than most people my age. That’s why I love Inheritance—it allows me to see how my experience connects with those in my community. Even if our specific histories are different, the way we engage with our pasts can unite us.

The first piece that stood out to me was Lisa Bartlett’s Long Voyage. It’s a large mixed media canvas that incorporates collage, photography, text, and paint. At its center are two prominent figures—a man and a woman—though many other faces appear within the photographs. Dressed in coats and hats, the main figures clearly appear to be on the move—travelers, without a doubt. An abstracted American flag in the upper left corner suggests they may be immigrants, with the “long voyage” symbolizing the journey of leaving home behind. The collage is at times messy, and the figures look tired, like they’ve been standing for hours. It makes me think of the physically and emotionally exhausting process of migration. I appreciate the rawness of this piece; I can almost imagine the figures breathing heavily, longing for rest. In many ways, our inheritance is the hard work and sacrifices of our ancestors—the long days they endured so that we could live even longer ones.

Lisa Bartlett, Long Voyage

If one piece reminds me most of my heritage, it would have to be Grandma in Armchair by Hannah Reeves. Though my grandma rarely sits in an armchair, the colors, delicacy, and subtlety of this piece resonate deeply with me. When you first see it in person, especially from a distance, it doesn’t seem to depict anything specific. But the closer you get, the more you begin to notice the quiet presence of the grandmother. To me, this is a perfect exploration of inheritance. Often, our history hums quietly in the background while we focus on other things. To truly appreciate the intricacy and sentiment of our ancestors, we have to walk a little closer—maybe even lean in—to examine what’s really there. Grandma in Armchair rewards viewers for their attention, much like genealogy can do for those who take the time to explore it. The muted orange and burgundy set against the saturated yellow evoke the fading feeling of things that now live only in memory. The blurry composition stirs all the murky emotions that still cling to old memories—complex, tender, and hard to define.

Hannah Reeves, Grandma in Armchair

The most emotional piece in the gallery—at least for me—was the work by Gennie Pfannenstiel, specifically Prairie Origins and My Daimon. It’s hard to separate the two; her work feels like one cohesive mixed-media experience—an experience I felt lucky to have. The installation includes two 2-D pieces, a 3-D sculpture, and an accompanying audio component. I’ll admit I put on the headphones with a bit of skepticism, but after giving her work my time and full attention, I was completely devastated by the time the recording ended. I found myself wishing it could play just a little longer. I don’t want to give too much away (no spoilers, of course), but I will say this: the nuance and care Pfannenstiel pours into her art is extraordinary. I felt fully immersed in her stories—the moments she recalled, the emotions she shared—all of it felt incredibly real and present. Her vulnerability was unlike anything I’ve encountered in months. It was raw, intimate, and deeply human.

Gennie Pfannenstiel, My Daimon

Gennie Pfannenstiel, Prairie Origins

I’m so grateful to have had the chance to look through the keyhole of art into someone else’s inheritance. What’s incredible about this show is that I can almost guarantee you’ll come away having learned something about the legacy of others, about resilience, about what’s passed down through generations. Each piece carries its weight: the good, the bad, the heavy, and the light. I’m deeply thankful to CAL for being such an important part of my life—this experience has become a new set of memories I’ll carry with me into the future. I hope many of you have been lucky enough to inherit some of the same energy and vibrancy that I’ve been so fortunate to receive.

So long for now!

-Brooke the Intern

Emily Koonse

The Dralas

On display in the South Gallery at the Columbia Art League

5.27 - 6.28

Artist Statement

In my photographic art practice, my bodies of work are produced from recurring explorations of intimate details from the natural world. Landscapes emerge from flower parts and disappear into curves of natural light. Horizons blur in abstraction. I reveal stillness, looking for meditation to answer back through a pinhole film camera or a raw digital file, without additional alteration or processing.

It is within this context that this ongoing series emerged, seeking impressions and collecting patient offerings from elements revealed all around me. These impressions can often be very personal and exist in a space that is not easily defined by words. The late Tibetan Buddhist master Chögyam Trungpa teaches of this as the "Drala Principle." He refers to it more specifically as the elemental presence of the world that is available to us through sense perceptions.  A fine example is outlined below.

"A friend of mine was once with her family in upstate New York. It was winter, and they had hiked into a forest. The landscape was one of cold and snow, whiteness and silence, birch trees. Astonished by the pristine beauty, my friend realized it was her duty, not just to notice this beauty, but to stop and linger with it. To let it penetrate her.”

-Introduction to The Drala Principle, by Bill Scheffel

Within this practice, I photograph to approach a moment or object, and allow the images to speak to me. Not in a grand way, but from the subtle and supple manner of tone and meaning that otherwise escapes. I am moved to print and hold the image in my hands to reveal the moment and share something naturally occurring.

The outcome is a library of images and moments that aim to preserve the Drala. Observe a more intimate view of the ebb and flow of life, its remarkable beauty, and share in the moments that open up when one takes more time to look closer at the world around.

Artist Bio

Emily Koonse is an award-winning artist working in film, video, and still photography. Her photography work started in a high school darkroom where she experimented with black & white 35mm still film developing and printing techniques. After receiving a BFA in Filmmaking from the University of North Carolina, she worked as a film editor on feature films and documentaries for twenty years. Emily continues to generate photo and film projects through self-imposed artist-in-residence experiences and collaborations to explore subjects including meditation, motherhood, and isolation during “the new familiar” of the global pandemic. Her narratives reveal truths about nature, place, and self. She works in abstracting imagery, experimenting with analog and digital art techniques to examine storytelling with an emphasis on exploring personal subject matter and the natural world.

Jeff Rogers

On display in the hallway of Central Bank of Boone County in downtown Columbia

May 20 - July 8, 2025

Artist Statement

I’ve been drawing from the live model for over twenty years. Mostly, I’ve switched between various monochromatic media: charcoal, Conté crayon, pen, and ink. No color.

Except for two portraits created in the studio using photo references, all work in this collection, even the seemingly abstract pieces, originated from the life room. Drawings were taken to the studio as armatures to build upon. I would experiment with obliteration and overdrawing to create new shapes. Ultimately, the primary focus was exploring color possibilities.

Over the years, drawing the model has allowed me to develop different drawing modes. Techniques developed in the studio have informed my approach in the life room. In a single three-hour session, I may start with a loose sketch, follow up with a more detailed realistic drawing, and then switch into an abstract mode where I am looking for more general information in terms of shape and movement and laying it down on the page spontaneously, seeking expressive figures that surprise me.

Artist Bio

Jeff Rogers (b. 1965) was born in Kansas City, Kansas, but raised in St. Louis, Missouri. He is a graduate of the University of Missouri, having earned a B.A. in English. Rogers worked as a digital creator in the public sector for 21 years, earning Telly awards and sharing a regional Emmy award for graphic animation and video production.

The Interns' Turn: A Double Take on Ni Kang

Hello again! It’s Brooke the intern, back with another look at the South Gallery’s latest show. I love traditional Chinese calligraphy and ink painting, and Ni Kang is clearly a master of both the precision and expression of brush strokes.

I find her interpretation of the world to be so generous. Sometimes it’s easy to view things through a cynical lens—especially these days. But when I look at The Amphitheater, I see the most beautiful city, full of promise: Columbia. Kang simplifies and stylizes the world and makes you want to live wherever she’s painting, which makes it even more exciting when you realize you already live there! The contrast between the sharp, small brush strokes and the wild, larger ones draws your eye to the intricacies of the stage and city. The trees appear lush and unruly, while the buildings in the background feel almost too buttoned-up.

Ni Kang, The Amphitheater

That same endearing tone is present in Doggy’s Mountain, a playful painting of an adorable dog in the style of a scenic landscape. The dog’s scruffy ear becomes the summit, while its rounded back forms the hills and valleys. Seeing such a cute and modern subject in this traditional format is intriguing because it subverts expectations. The dog’s expression is just one example of the humor and wit woven throughout Ni Kang’s show—her art is truly a hoot!

Ni Kang, Doggy Mountain

The charm and intimacy of these pieces are reflected throughout the rest of the show. Each work strikes a balance between the mundane and the regal. As you explore Ni Kang’s new exhibition, I hope you feel the same sense of simple peace that I did while spending time with her art.

View the rest of the exhibition here

Inheritance

On display in the Betty and Art Robins Group Gallery

May 13 - June 13, 2025

Reception: Friday, May 16, 6-8 pm

Ribbons will be given out ~6:45 pm at the reception.

Consider the impact of legacy through history, family, and place. What has been passed on and how does it change and shift? Does it propel us forward or hold us back? Whether it’s celebratory or painful, we have the opportunity to acknowledge, pay homage, or call out what has happened before. We challenge artists to tap into lineage and how it has manifested in their everyday lives. 

Inheritance is a juried show open to all artists 16+ years old, all media welcome.

Congratulations to the Inheritance ribbon winners!

First place: Lisa Bartlett, Long Voyage

Second place: Nicole Wells, Quiet Inheritance

Third place: Nate Halwell, Gut Feeling

Honorable Mentions

Callie Brinkman, Couple Walking

Janet Elmore, DNA Intertwined

Cynthia Evans, Family Roots

Brooke Cameron, This Year I Outlived My Father

Pam Gainor, County House Barn

Hannah Reeves, Grandma In Armchair

Gennie Pfannenstiel, Prairie Origins

Ni Kang

On display in the South Gallery of the Columbia Art League

April 29 - May 24, 2025

Artist Statement

The brush strokes I use in Chinese ink painting come from my long practice in calligraphy of ancient Chinese characters. These artworks convey the joy of a Chinese person coming to live in the United States of America through specific animals and plants. Three years of living here have taught me how to relax and be calm, to express my love for the environment in happiness. Every friend’s pet and park animal, every local landmark, brings me a new experience and a new way to create. Animals are a mirror, and I’m trying to see the world through their eyes. The mountains, vegetation, and water in the United States are different from where I’m used to living. They give me a new space to think about when trying to depict them.

Artist Bio

Ni Kang’s artistic journey began with traditional Chinese shuǐ mò huà (水墨画, “water and ink painting”), a discipline embraced since kindergarten. Born and raised in Wuhan, she furthered her studies at the Hubei Institute of Fine Arts, where she received her BFA in Chinese traditional painting. Before moving to the United States in 2022, Ni Kang’s understanding of the West was shaped by literature and cinema. The reality of America, with its profound diversity and natural beauty, far surpassed her expectations, offering a richer, more nuanced canvas than any book or film had hinted at. This revelation fueled a transformation in her work and worldview, driving her to capture the essence of her new surroundings through the lens of her Eastern heritage. Equipped with handmade wool brushes, Chinese rice paper, and mineral pigments derived from colored stone powder and glue. Ni Kang anchors her work in the profound depths of her cultural beginnings while interlacing it with her experiences in America. This creative synthesis gives rise to a dynamic visual narrative that masterfully blends the intricacies of Chinese traditional painting with the lively and varied essence of American reality.

On the Road with the Best of Missouri Hands

On display in the Betty and Art Robins Group Gallery at the Columbia Art League

April 22 - May 8, 2025

Congratulations to the ribbon winners (see carousel above, in order of appearance):

First place: Lisa Hilton, Living in My Heart

Second place: Veronica Brown, Goat of Many Colors

Third Place: Fred Schollmeyer, Daylight Again

Honorable Mentions:

Debbie Reed, Showing My True Colors

Angel Brame, Dial It In

The Best of Missouri Hands (BOMH) is a nonprofit organization dedicated to the development and recognition of Missouri’s artists and artisans. BOMH has curated a show of the highest level of quality and craftsmanship that Missouri artists have to offer. From 2-D to glasswork, jewelry, ceramics, and much more, this exhibition has something for everyone! We are happy and honored to host this annual show for 2025!

Ginny Putler

On display behind the desk at the columbia art league

April - May 2025

Artist Bio

Ginny Putler was a wonderfully talented artist and an equally remarkable person. She had an incredible passion for life, people, and her family. Known for her infectious laugh and sharp sense of humor, Ginny brought joy to those around her. 

She passed away on September 24th, 2024, at the age of 95. A lifelong artist originally from Philadelphia, Ginny later moved to Columbia with her family. Wherever she went, she brought her art with her—and proudly shared it. 

Her imaginative and creative work has been displayed at both the Columbia Art League and Congregation Beth Shalom. This exhibition features a selection of pieces from her collection, generously donated to the Columbia Art League by her family.

Curators Statement

As an intern here at CAL, I have been particularly lucky to get the privilege to work on projects I am uniquely interested in. While working with the art of Ginny Putler, I quickly developed a deep appreciation for her evolving style over the years. Her work spans a wide range of forms, subject matter, and mediums—shifting from moody and monochrome to playful and vibrant. Despite this variety, her art consistently features a few key themes. Most notably, Putler was a master of linework. With just a few brush strokes, she could bring a character to life, imbuing it with personality and inviting a silent dialogue with the viewer.

Nearly all of Putler’s work includes at least one human figure, occasionally  more. I chose this collection to highlight some of her most compelling portraits. These pieces seem to coexist beautifully, each offering a quiet sense of solitude. There’s always a single figure—each with a different level of engagement with the viewer—set within a scene that exudes a kind of domestic tranquility.

What excites me most about sharing this collection with the gallery is how each piece tells a unique story, yet they all speak to one another in a subtle, cohesive way.

—Brooke, the Intern

Kyra King

On display in the South Gallery of the Columbia Art League

April 15 - April 26, 2025

Artist's Statement

I approach oil painting as a visual journal. Currently, I am digging into what first sparked my obsession with art in order to center my art practice with a clear purpose. I’ve found that I need to make art that is not only personally important but also honestly reflects my experiences. I often begin with an image that correlates with a significant moment or observation. Painting representationally, I use color and abstraction to build an emotional experience. I incorporate processes and materials taken from printmaking and textile arts. Leaning into intuition and risk-taking, I sand, scrape, carve, or cut the surface. I may attach crochet strands or tight stitches. Equal to paint, I use the painting surface as a medium.

The repetitive hung units make up an installation work titled Weeping Willow. Materials include Mylar, acetate, tracing paper, spray paint, and fishing line. The process of creating these units is repetitive and holds a meditative quality. Willow-like limbs soften the room, inviting the viewer to step into the space and engage with the ideas within the work. Working from life, I discuss topics such as grief, disability, and injustice and all of the complicated interpersonal ways we experience these things. None of my experiences are disconnected or unique, and that is the point. I work so that the viewers feel seen, find expression for their own lives, and leave inspired to practice art as a useful tool of healing.

Artist Bio

     Kyra King is a multimedia oil painter, installation artist, and art educator. King grew up in Hallsville and Columbia, Missouri, and completed her BFA at Lubbock Christian University. Her solo exhibits include At the End of the Day shown at Lubbock Christian University, Space to Be with Charles Adam Studio Project, and Weeping Willow at Rocky Mountain College. 

Adekunle Ogunleke: Gestures, Figures, Placards, and Defiguration

On display in the South Gallery at the Columbia Art League

April 1 - April 12, 2025

Artist Statement

My abstract paintings examine the representation and coverage of protests and civil unrest in mainstream media, shedding light on events that often go unnoticed or receive minimal attention. My work seeks to spark conversations and curiosity surrounding these overlooked protests, amplifying the voices of the demonstrators and their demands. I use abstraction to offer anonymity to the protesters and distance viewers from the often traumatic realities being protested. I blur faces, bodies, and individuals into gestural marks and vibrant color fields, creating a visual language that transcends direct representation. The geometric extrusion of the shapes in this painting is a demonstration of order and statehood. On the other hand, the gestural marks are representations of chaos and disruption.

Artist Bio

Adekunle Ogunleke is a second year MFA student at the University of Missouri. His studio practice is concentrated on drawing and painting. His abstract paintings examine the representation and coverage of protests and civil unrest in mainstream media.

The Intern's Turn: Stuck!

Hello! Intern Kellie here, to talk about what’s going on currently at CAL. Stuck!, a delightful show of collages made with stickers by Desireé Moore, is in the South Gallery until March 29. Every collage is bursting with colors, the reflective stickers literally making them shine in all their holographic rainbow glory.

Personally, the piece I am most drawn to is Octopus, where Moore has meticulously depicted an octopus with its limbs shifting between different vibrant color gradients. Comet also resonates with me. I especially enjoy how Moore cleverly uses celestial-shaped stickers to fit the subject matter’s theme. I can only imagine how tedious the placement of all these stickers must have been, but no one can deny that the result is absolutely mesmerizing!

With all this talk of stickers I became curious about how stickers came to be. As it turns out the concept of stickers is very old, tracing back to the ancient Egyptians who used an early version of them to mark good prices (Label Tech). The more modern version of stickers came with the use of stamps in the 1830s before stickers eventually came to be the symbols of personal expression we know today.

Experiencing Stuck! is like walking through playful childhood memories. While viewing each collage I was reminded of the I SPY books I used to look at, discovering little scenes I had missed before. This series also brought to mind my own relationship to stickers, my earliest memories being a sticker fiend as I stuck some to my grandmother’s washing machine all the way to how I use them today to decorate my laptop. Moore beautifully encapsulates how stickers are and can be used for self expression.

The Interns' Turn: Tiny Things

Brooke

https://www.bradshawfoundation.com/sculpture/willendorf.php

Hello! I'm Brooke, an intern here at CAL! One of my favorite tasks is writing about the art that speaks to me. The current main gallery show, Tiny Things, is a goldmine for writing topics. Today, I want to talk about trinkets, knick-knacks, and whatnots. I love small, portable objects that you can carry with you. Do you feel drawn to portable art the way I do?

When I think of portable art, I think of the Venus of Willendorf. This Paleolithic trinket is a perfect example of the importance of what we choose to carry with us. The statue is small enough to fit in the palm of your hand and is one of the first examples of sculptural art in human history. I imagine the person who carved this token, carefully choosing each detail, then squeezing the cool stone tightly in their hand when it was complete.

In the Tiny Things show, each artist gives us a glimpse into what they choose to carry with them. For example, Mallory Bartels uses soapstone in Baby Named Chachki to convey the delicate intimacy of sculpture. The piece is just slightly smaller than the Venus of Willendorf. Like the Venus, features of Bartels’ figure are exaggerated—the eyes, the ears, and the body, curled up as if trying to make itself smaller. The almost translucent quality of the stone makes this statue feel ethereal, like a charm or a special object. Something to be held on to, something to be touched.

Another piece that highlights the quiet intimacy of small objects is Mom’s Button Tin, a gouache painting by Sarah Hackman. This quirky painting captures the colorful, eclectic nature of any button collection. The heavy ink contrasts with the organic feel of the paint, emphasizing the haphazard nature of collecting trinkets. After all, what is more collectible than buttons?

The last piece I want to examine is an acrylic painting by Vivian Ferral. This grayscale piece is a deeply emotional dissection of closeness and the human form. Two infants are pressed so close together that there is no negative space between them. Their skin overlaps in a way that makes it unclear where one figure starts and the other ends. No other piece in the gallery invokes such a physical reaction from me. It’s both comforting and jarring, intimate and clinical. This raw expression pulls a thread that connects many of the works in the Tiny Things show.

As you visit the gallery, you can’t help but lean in, squint, or put on your glasses to better see the delicate offerings the artists have created. As you walk through Tiny Things, think about what you might carry with you out of the show. Just as the Paleolithic person carried the Venus of Willendorf, you might leave CAL carrying love, grief, passion, anger, or peace. I invite you to explore what the trinkets of the world might offer you. I think you'll find there's a lot to discover

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Amanda

Hi! I’m Amanda, one of CAL’s current interns! I recently got to assist with the show change for the Tiny Things exhibition and it was amazing getting to look at each artwork up close and appreciate the work that went into their creation. The use of color and application of paint in Dandelions by Kira Rinehart instantly caught my attention with its impressionistic feel and certain softness. It reminds me of my childhood Summers spent looking for a good patch of grass to plant myself in, drawing me into the artwork even more.

Another piece that I keep coming back to is Flower Basket by Janet Elmore. This ceramic work is beautiful in its use of purples and floral elements, with the form keeping the eye circling repeatedly. The shine and texture of the form are also a great contrast to the natural elements it stores. This is a piece I would love to have in my own home and fill with flowers year-round. 

The last piece I constantly visit is Timeless Petals by Shradha Birchmier. The fine-tip pen she used in this ink drawing helps add dimension through detailed linework, truly encapsulating the essence of “Tiny Things”. Her precision and delicacy in this piece remind me of timeless beauty and appreciating the small things in life.

Desireé Moore

Stuck!

On display in the South Gallery of the Columbia Art League

March 4 - March 29, 2025

Reception: Thursday, March 6, 2025 5:30-7 pm

Artist Statement

Stickers are little bits of rebellion and identity, a unique form of communication that shape our world in all their vibrant, sticky glory. From covering binders in school to plastering our laptops and cars today, they’ve always been a way to express who we are in a world that’s mass-produced and ever-changing. In Stuck!, I draw from my own collection of stickers to create playful collages that embrace color, texture, and nostalgia.

Artist Bio

Desireé Moore is a collector, artist, and collaborator. Her work is fueled by a deep curiosity about the world and her fascination with the things we choose to collect and preserve.

Moore’s sticker collages debuted in New Orleans in the Summer of 2023 at the Aquarium Gallery. Her films have been shown across the world. Moore collaborates with Anna Elliott and Robin Schwartzman on their traveling project Barter Boat which has been programmed around the U.S. 

Currently based in Columbia, MO, she is an educator at the University of Missouri-Columbia. 

Celebrating Black Artists

Kansas City Art Institute Graduate and Artist: Jada Patterson

Jada Patterson recently received her Bachelors of Fine Arts and Art History at the Kansas City Art Institute in Missouri where she worked primarily in ceramic arts. She creates her works using different mediums to represent African tradition and her own cultural identity. “Working primarily in clay, beeswax and assemblage Jada explores beauty, adornment, girlhood and material culture as it relates to the human condition”

Statement and Material

“The intersections of race, gender, history, and the environment are the basis of my work. I am deeply interested in traditions surrounding African rituals, especially those related to hair and body adornment, which survived slavery and still exist today.” - Jada Patterson

Using primarily natural, inherited, and household items, Her pieces are representational of adornment of the hair and body in African culture and tradition, specifically with an insight into girl and womanhood. Her work also gives insight into the uses of everyday items such as brooms and household materials to advocate for the power in the everyday

Visit the Artist’ Website!

https://www.jadapatterson.com/

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Influential Artist: Mickalene Thomas

Mickalene Thomas is a contemporary African-American artist most known for her work in collage. Thomas attended and received her Bachelors in Fine Arts from Pratt University in 2000, as well as her Masters in Fine Arts from Yale University in 2002. She studied as an Artist in Residence for multiple universities and currently resides in Brooklyn, New York.

Body of Work

Her collages primarily comprise acrylic and enamel, rhinestones, and paint. Her work focuses on depicting other black women in positions of mentorship and heroic nature. Some of her most well-known works are believed to be the Mickalene Thomas: Femmes Noires installation and gallery. Like her other work, these collages focus on the African-American woman in pop culture through imitation of previous famous works.

“I am proud to be able to exhibit my work and inspire young people. Especially young black women so they know that they are beautiful, that they don't have to hold onto any negative stereotypes.” -Mickalene Thomas

See more of Mickalene Thomas’s work on her website! Mickalene Thomas

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American Artist: Kehinde Wiley

Kehinde Wiley is a contemporary artist currently working out of New York City. Wiley uses multiple mediums such as painting, sculpture, and video but is most widely known for his painted depictions of African Americans in the traditional setting of old master paintings.

About

Wiley received his Bachelor’s of Fine Arts from the San Fransico Art Institute as well as his Masters of Fine Arts from Yale University. His work is featured in exhibitions around the globe as well as a part of over 50 displays at public institutions. Wiley was the first African American Artist to be selected to paint an official Presidential portrait selected by Barack Obama.

Artwork

Wiley’s work aims to combine Art History with contemporary culture through the representation of race in traditional master paintings. All the models in his work are people the artist has physically it and looks up to as a role model in a position of power. These individuals are then depicted in large traditional old master painting backgrounds.

“Art is about changing what we see in our everyday lives and representing it in such a way that it gives us hope.” -Kehinde Wiley

View more of this artist at Kehinde Wiley Studio | Brooklyn, NY

Tiny Things 2025

On display in the Betty and Art Robins Group Gallery at the Columbia Art League

February 25 - April 4, 2025

Facebook Live Show Walkthrough (Ribbon winners to be announced during): Thursday, February 27, 11 am

Reception: Friday, March 7th, 6-8 pm

Congratulations to the ribbon winners!

1st Place: Kate Verna, Shadow

2nd Place: Matt Ballou, Friendship

3rd Place: Lina Forrester, Story of a Rainy Day

Honorable Mentions

Nancy Katzman, Awake at Night

Martha Daniels, The Favorite Cat

Colette Brumbaugh, Flying Horse of Gansu

Moon's Ray, It May Be Small, But You Can Have It All

Ashlyn Malone, Her Own Little World

Bo Bedilion, Ana

All artworks in this show are limited to 8” x 8”, including frame. Artists are challenged and inspired to create something tiny in physical size, but still powerful and touching in impact and emotion. Changing our perspective and viewpoint in one way can lead us to see our entire world in expansive ways. Size isn’t everything; so what is it really, and how does it impact the creation, vision, and enjoyment of art?

Tiny Things is a juried show open to all artists 16+ years old, all media welcome.

Pamela Gainor

On display in the hallway of Central Bank of Boone County IN downtown Columbia.

February 14th - March 25th, 2025

Artist Statement

Art explores personal landscapes and places in the world, physical, emotional, and political. The world is infinitely beautiful, frightfully fierce yet fragile. My place is at once very small but encompasses all I know and can imagine.  My place is color and form, real and imagined. 

My first memories of the mystery and glory of art are of visiting my grandfather’s studio which smelled of oil paints, linseed oil, and Camel cigarettes. My parents were both creative, my mother made most of her clothes and my father painted as a hobby. I have made art all my life first with acrylics and then fiber art. It was only as a sideline after jobs and raising children. Since my retirement from nursing, I have concentrated on oil paint and encaustic. Oil paints satisfy me by being very malleable. I get my hands on them, move them around, mix on the canvas and create whatever I can imagine. I still rarely use brushes and normally do not work from photographs or sketches. In fact, I typically don’t know what I’m going to paint until it gradually takes shape over time as I work. Many pieces are reworked over and over again until they become what they were meant to be. It’s a challenging process that I enjoy immensely. Encaustic provides a different sort of challenge yet similar. One does not fully control encaustic. I move paint around with fire, not my fingers. But it still has the element of surprise taking on its own life, revealing its own secrets. It also can be worked and reworked. Unfortunately, this process has at times meant the demise of what was good in the hopes of something better. Something that afflicts every artist I believe. The mystery of when a piece is finished remains a mystery.

Hope Martin & Pamela Sisson

B. I. R. D.

On display in the South Gallery of the Columbia Art League

January 28 - February 22

Reception: Wednesday, February 5, 5:30-7 pm

Artist's Statement

"B.I.R.D. (Bowers, Inns, Roofs & Dens)" is a collaborative showcase born from a relaxed ekphrastic exchange between ceramicist Pam Sisson and soft pastel artist Hope Martin. Pam's whimsical ceramic creations, accented with fanciful wirework, pair beautifully with Hope's vibrant pastel art. Together, their work playfully explores the idea of homes—whether bowers, inns, roofs, or dens—offering a delightful and inspiring tribute to the diverse habitats of the natural world.

Artist Bio: Hope Martin

Hope Martin is an artist based in Columbia, specializing in pet and animal portraits. Since 2014, she has been honing her skills in the mediums of soft pastels, charcoal and graphite, creating lifelike representations that capture the spirit and individuality of animals. Her journey into art began after stepping away from a career in graphic design to focus on her family, a decision that allowed her to rediscover her passion for creativity and the natural world.

Spending time outdoors with her children became a source of inspiration, reigniting her connection to nature and fueling her artistic pursuits. These experiences shaped her approach, blending her design background with a methodical and heartfelt artistic process.

Today, her work centers on the stories and connections shared between people and their pets, as well as the wild beauty of animals. Each stroke of pastel or charcoal is a tribute to the intricate details and vibrant personalities that make every animal unique. Hope’s work has been featured in local exhibitions and has become cherished by pet owners seeking heartfelt tributes to their companions. Her dedication to capturing the essence of animals has earned her a loyal following and numerous commissions, reflecting her ability to connect deeply with her subjects and their stories. Through her art, she aims to preserve cherished memories and celebrate the profound bonds shared with animal companions.

Artist Bio: Pamela Sisson

Pamela is a potter because one day, some years ago, she walked into the door of Squarepeg Art Studio. The many talents and muses of artists/owners Peg Craig and Nancy Gause and the many members of the studio sparked in her an unknown passion to work with clay.  Pamela has shown work in various places around Columbia, Missouri, been juried into Columbia Art League shows, earned recognition for pieces in the Boone County Art Shows and was awarded Missouri Top 50 at the 2017 Missouri State Fair Fine Arts Show.

Pamela’s body of work includes hand built ceramic bird houses, pitchers, sun/moon thematic pieces and more.  Lighthearted whimsy and escape are the driving forces in her art.  Inspired from youth by her dad who was a building contractor turned retired bird house maker, she is also greatly influenced by the people, cultures, music and art of the countries where she has lived and visited, and the world of nature.  Design and color are the unifying forces allowing her clay to become what it wants to be.  She combines clay, wire, metal, wood and more to complete her pieces. Naming each piece creates the thrill of adding literary art to her handiwork.

The Interns Turn: "Reality Reflection Photography"

Kellie

Hello! I’m Kellie, one of CAL’s new interns. Starting off this year in the South Gallery is an exciting array of mesmerizing photographs by David Kovacs. In Reality Reflection Photography each image is taken from natural materials like agate, jasper, and petrified wood which is reflected over and over to create these kaleidoscopes of color. Even after knowing how these photos were taken I am still amazed.

Some of my personal favorites are Kovacs’ photographs with the Marston Ranch Jasper. These photos have exceptionally rich, deep reds and beautifully contrasting greens and whites. Any cathedral’s stained glass windows would be jealous if they could see!

Everytime I look at this series of photographs I find new details and patterns to get lost in. I have no doubt any viewer will too!

Amanda

My name is Amanda, and I am an intern for the Columbia Art League. The current South Gallery exhibit titled “Reality Reflection Photography” created by David A. Kovacs immediately caught my eye. This exhibition focuses on the radial patterns that can be found in nature and encourages viewers to look deeper into what they see around them. Kovacs found his love for photography while working in the science field with an environmental protection agency, and turned his passion for the natural world into large interstellar designs and colors.

When I look at this body of work I feel drawn into the richness of the colors and the vivid display of details present within the prints. Many of the pieces evoke different emotions when viewed based on their composition elements. My personal favorite from this collection is “Crazy Lace Agate ll” which is a radial piece made up of spiky warm tones and a vibrating red background. This piece is exciting and dynamic to view and gives a great sense of energy and motivation.

David Kovacs, Crazy Lace Agate ll

My other favorite is “Petrified Wood ll” This work contrasts the first in many ways and gives a calming effect to viewers as opposed to high excitement. This piece is composed of smoother angles and cool tones including blue, gray, and gold values. When I look at this piece I feel relaxed and at peace. The variety of emotions Kovacs is able to invoke in viewers is astonishing and sought after by viewers like myself!

David Kovacs, Petrified Wood ll

Joanne Zucco Berneche on Exhibit

ON DISPLAY IN THE HALLWAY OF CENTRAL BANK OF BOONE COUNTY IN DOWNTOWN COLUMBIA, MISSOURI

JANUARY 7, 2025 - February 18, 2025

Joanne Zucco Berneche was a force of nature. She usually blew into a room clad in a vintage dress, fabulous costume jewelry, and her strong opinions. She was a Maximalist to beat all Maximalists, in her work, home, and personality.  

Joanne was born in 1938 and began creating at a young age. Her work was influenced by ancient sculptures, Renaissance masterpieces, and Modernist European artists. After marrying fellow artist Jerry Berneche in 1958, their work evolved side by side and created a beautiful visual conversation together. Though Joanne’s art materials tended to be limited in scope (acrylic, gouache, tempera, collage), her imaginative use of these media constructed fantastical spaces and eye-bending patterns. Her appropriated collaged images infused the work with comments on beauty, aging, temporality, and permanence.

In this exhibit, the viewer is greeted by stunning works of collage, abstract landscape paintings, and geometric studies. Throughout the works, recurring threads of color and pattern invite viewers to explore and discover the simple shapes and icons that were central to Joanne’s creative process.

All sales of Joanne’s work will be handled through the Columbia Art League, where Joanne regularly exhibited her work until her death. Sales of Joanne's work will be split, with a portion going to her estate and the remaining portion as commission to CAL.