Kansas City, with population of under a half million, has the cultural resources of a much larger city. I was especially impressed by its world-class museum, the Nelson-Atkins Museum of Art. William Rockhill Nelson, the publisher of the
Kansas City Star newspaper, directed that after his death (which occurred in 1915), his fortune should be used to establish an art museum. Mary Atkins, a schoolteacher and widow of a real estate developer, had already bequeathed $300,000 in 1911 to establish an art museum. Trustees of the two estates decided to combine the money, along with a few other small bequests, to make one major museum.
The Neoclassical/Beaux Arts main building was completed in 1933 at a cost of $2.75 million. It was the peak of the Great Depression, and great pieces of art flooded a market devoid of buyers. However, money from the bequests for the museum was still plentiful, even after paying for the building. Lots of available money and lots of available art was a fortuitous combination. The Nelson-Atkins grew quickly into a major art museum with one of the largest collections in the United States.
Acres of grass provide a park-like setting in front of the museum. In the distance, we noticed what looked like a giant badminton birdie. In fact, that's exactly what it is. In 1991, American artist Claes Oldenberg and his wife Coosje van Bruggen were asked to create an outdoor artwork for the museum. According to the duo's website:
While visiting the galleries [of the Nelson-Atkins Museum], Coosje was attracted to the headdresses worn by Native Americans in a painting by Frederic Remington, which led to our initial concept of large feathers scattered over the lawn as if dropped from the wing of a huge passing bird. As we proceeded to research the site, we came across an aerial photograph of the museum grounds that reminded us of the layout of a tennis court. We imagined the building as a net, with balls distributed over the grounds, but soon determined that the ball shape would be too repetitive. What if, as Cossje suggested, feathers were combined with the ball form to become a shuttlecock, a lyrical object, with the ability to float, spin, fly, and land in many different ways? We proposed three 17-foot-high shuttlecock sculptures for the lawn, each in a different position. Although their placement appeared to be random, the shuttlecocks were actually located at strategic points that would bring the far reaches of the site together. A fourth shuttlecock, in an inverted position reminiscent of a tepee, "landed" on the other side of the museum.


I wouldn't have made any of those connections on just seeing this lone birdie (two of the other birdies being in temporary storage and the other one being on the other side of the building), but my visceral response to the birdie was one of pure enjoyment. I loved the familiarity of the ordinary object, the exaggerated size, and its whimsical placement in an impossible upright position.
Whimsy is a good word to describe another outdoor art installation,
The Four Seasons by Philip Haas, based on the paintings by Guiseppe Arcimboldo, which
we had seen three years before in Vienna.
Here are spring and summer:
. . . fall and winter:
Unfortunately, this is a traveling, not a permanent, exhibit, and it was scheduled to leave in October 2015. However, it has been so popular that the Nelson-Atkins people extended the sculptures' visit until mid-April 2016.