KCAI Blogs

I have many fond memories of KCAI, especially my sculpture instructor Clark Winter. I am now 85 and still painting and sculpting. I was a friend of Robert Rauchenburg’s while we were students at KCAI.

After two years in the U.S. army and one year at the Pennsylvania Academy of Fine Art in Philadelphia, I returned in 1957 to the KCAI.

My objective was to learn metal casting, particularly bronze. I did learn, and the knowledge served me well, and still does. As a sculpture major, I discovered that creating three dimensional art was complicated and required dedicated time and energy. From this experience I found I could take on large projects and see them through to completion. It was a valuable lesson for my future.

After graduating in 1959 with a MFA degree, I entered the museum profession. I eventually became curator of the museum for the Lyndon Baines Johnson Library and Museum. (Retired for 27 years). In this capacity I selected and did research on subjects of American history and designed the gallery space. These were large, complicated, three dimensional installations and I had the confidence it could be done.

I owe KCAI a lot. My memories were all good.  Also, I never stopped making sculpture. You can see my work on my website www.artbyyarrington.com

I want my $1,000 contribution to go toward scholarships. My last two years in school I was on the G.I. Bill and a full tuition merit scholarship from KCAI. It helped me immensely.

What professor or course most affected your work and why?

The lesson I learned from James Leedy were perseverance and determination as his life clearly demonstrates. Leedy would constantly tell us, over coffee in the cafeteria, “When you have enough gallery rejections to wallpaper a room, then and only then will you begin to become an artist.”

At the 1967 Graduation Ceremony, President Andrew Morgan said, “There will always be those who are making the scene in the name of art, while others are behind the scene making the art.” That particularly because a few of us in sculpture were working in the studio before the ceremony and were back to the studio to finish our work after the ceremony.

When I arrived at KCAI I really didn’t know where I was headed in life. But on a trip in my freshman year, I found my direction.

Junior year I transferred from sculpture to painting under Ron Slowinski. I think my move had a large impact on each me.

My Senior year I was deeply involved with what was to be my life. I stopped painting on canvas and started working with fur, leather, rawhide, fire, beads, feathers, paint, etc. My studio space was ordered nailed shut by Wilber Niewald when a visitor from the goolyn [?] came to see student work. One day as I tried to shrink rawhide to make a buffalo shield, Stan Lewis came out and gave me a heart to heart. The bottom line of which was; wouldn’t you be happier at another school. I don’t believe we had ever spoken before, nor since.

When absolutely not excuse for missing studio was acceptable, I proudly hold the distinction of being the only one asked to work at home.

My drawings, paintings, and making of historic items were apparently against the then acceptable standard of art.

Lester Goldman looked over my drawings and told me something like; you can’t draw this stuff. No one buys this stuff. It doesn’t exist, you can’t make up cowboy and Indians as art.

Oddly 5 years later I was working with men internationally famous, and some of the highest paid American artists. They were painting and sculpting cowboys and Indians.

Despite the negative feedback from some, I had instructors and students that encouraged me. My memories aren’t negative, and in my last semester I took an art history class from Michael Cadieux. This on eclass changed my life. I had to give a class lecture about my work, who and what influenced me, and project where I was going. I had never done anything like this. My talk filled the required time. When I asked for questions, the class kept me for two more hours. I n the first time in my life I realized I had something to offer and people did want to listen.

That was 1971. 39 years later I’m still doing what I started at KCAI. I’ve had a very successful career as a Mountain Man. My work is in numerous museums. My work has also been used in many movies and TV shows. I and my work have been in many major galleries, magazines, book covers, calendars, and art collections. I have modeled for, sold props and costuming to, and provided historical consultation to most of the major western artist for over 36 years.

The point of my story isn’t anger, but that I knew what I wanted and went undeterred for it. Fortunately, KCAI had a class and instructor who allowed me to see my potential and isn’t that what college is supposed to do?

Give us three words you would use to describe your time at the Art Institute (and why) :

• challenging
• inspiring
• fulfilling

The professor or course that most affected your work (and why):

Other special memories:

My Instructor, My Master, Bill McKim

I was fortunate to have been taught by this man who was personally instructed by Thomas Hart Benton under a respectable tradition of fundamental art training.

William Wind McKim (1940 KCAI graduate) was a master in his own right, appearing in Who’s Who of American Art (1940), with representation from New York galleries obtained when Benton took several of his student works to exhibit.  Prof. McKim learned the original technique of stone lithography as practiced by the workshops of Currier & Ives, and he received recognition nation-wide for his litho prints.  Under his methodical tutelage, I also learned the old print technique done on valuable limestone blocks from Bavaria that had to be ground to an even smoothness before a drawing could be applied.  Then, followed the delicate etching process, and afterwards, the reproduction of the prints themselves, individually pulled from archaic printers which were over a hundred years old.  (Sadly, this practice has faded only to memory even though I still have retained my original, detailed notes on the printmaking process and all my student prints).

However, the lasting gift he gave to me was a firm foundation of classical, “free-hand” drawing, passing on its almost-secretive knowledge and seeming magic in the time-honored manner of master to student.  We established a friendship based on a willingness for us both to successfully arrive at the achievement – all his learning and wisdom was to be purposed in

me (and in another fellow classmate, Mitch Bolander) as his last protégé.

He was to retire, after all, in the same year that I was to graduate.  Thus, during the two and a half years, I received intensive guidance from this master who believed in my God-given talent (he disagreed with the modern-day adage that “everyone is an artist”).

He began me with relentless action sketches and gradually had me evolve to more finished drawings using a variety of live models from which to sketch; Rubens, Ingres, and Raphael were his favorite artists and I studied and copied their drawings from books; he encouraged me to draw from the Old Master paintings and sculptures at the Nelson-Atkins Museum of Art (I spent most my weekends there); and I read books on drawing approved by him, namely,

Loomis’ “Figure Drawing, For All Its Worth” and Goldstein’s “The Art of Responsive Drawing”.  For me to learn more about pattern (the light and dark of a composition), he recommended that I study the lithographs of the German Expressionist artist, Kathe Kollowitz.  And he supervised my copying efforts as I carried my paints and easels to duplicate the Rembrandt and the Rubens modello at the museum – the accumulative highlight of my training in my senior year.  Literally, Bill McKim took me in as a fledgling and carefully guided me with persistence and patience to develop the successful artist that I am today.

After my graduation in 1985, I unfortunately did not keep in contact with him.  However, in 2006, I had the privilege to temporarily become the studio assistant to both nationally-known artists, Eric and MaryAnn Bransby

(1942/1943 KCAI graduates) who shared with me firsthand their fond memories of Benton’s classes and especially their friendship with classmate, Bill McKim.  Eric remembered well:  “Old Bill McKim was Benton’s ‘golden student’.  We all knew that.”

Indeed, I am forever indebted to Bill McKim who was a major influence in my artistic career involving my passionate pursuit to learn and understand the Old Masters.

What professor or course most affected your work and why?

I was fortunate to have been taught by this man who was personally instructed by Thomas Hart Benton under a respectable tradition of fundamental art training.

William Wind McKim (1940 KCAI Graduate) was a master in his own right, appearing in Who’s Who of American Art (1940), with representation from New York galleries obtained when Benton took several of his student works to exhibit. Prof. McKim learned the original technique of stone lithography as practiced by the workshops of Currier& Ives, and he received recognition nation-wide for his litho prints. Under his methodical tutelage, I also learned the old print technique done on valuable limestone blocks from Bavaria that had to be ground to an even smoothness before a drawing could be applied. Then, followed the delicate etching process, and afterwards, the reproduction of the prints themselves, individually pulled from archaic printers which were over a hundred years old. (Sadly, this practice has faded only to memory even through I still have retained my original, detailed notes on the printmaking process and all my student prints.)

However, the lasting gift he gave to me was a firm foundation of classical, “free-hand” drawing, passing on it’s almost-secretive knowledge and seeming magic in the time-honored manner of master to student. We established a friendship based on willingness for us both to successfully arrive at the achievement- all his learning and wisdom was to be purposed in me (and in another fellow classmate, Mitch Bolander) as his last protégé. He was to retire, after all, in the same year that I was to graduate. Thus, during the two and a half years, I received intensive guidance from this master who believed in my God-given talent (he disagreed with the modern-day adage that “everyone is an artist”).

He began me with relentless action sketches and gradually had me evolve to more finished drawings using a variety of live models from which to sketch; Rubens, Ingres, and Raphael were his favorite artists and I studied  and copied their drawings from books; he encouraged me to draw from the Old Masters paintings and sculptures at the Nelson-Atkins Museum of Art (I spent most my weekends there); and I read books on drawing approved by him, namely,  Loomis’ “Figure Drawing, For All Its Worth” and Goldstein’s
“The Art of Responsive Drawing”. For me to learn more about pattern (the light and dark of a composition), he recommended that I study the lithographs of the German Expressionist artist, Kathe Kollowitz. And he supervised my copying efforts as I carried my paints and easels to duplicate the Rembrandt and the Rubens modello at the museum- the accumulative highlight of my training in my senior year. Literally, Bill McKim took me in as a fledgling and carefully guided me with persistence and patience to develop to the successful artist that I am today.

After my graduation in 1985, I unfortunately did not keep in contact with him. However, in 2006, I had the privilege to temporarily become to studio assistant to both nationally-known artists, Eric and Mary Ann Bransby (1942/1943 KCAI graduates) who shared with me firsthand their fond memories of Benton’s classes and especially their friendship with classmate, Bill McKim. Eric remembered well: “Old Bill McKim was Benton’s ‘gold student’. We all knew that.”

Indeed, I am forever indebted to Bill McKim who was a major influence in my artistic career involving my passionate pursuit to learn and understand the Old Masters.

What professor or course most affected your work and why?

Carl Kurtz. He was my foundations instructive. Sensitive and brilliant.

Which course was the most challenging and why?

Painting first semester sophomore year. Warren Rosser spoke way over all our heads. We didn’t even pick up a brush. I transferred to P/V after that

Which classmates were your best friends and how have you kept in touch since college?

Amy Abshier(reyes) was my roommate all throughout school. I was lucky enough to get a roommate I would love. We keep in touch on Face book.

What was your favorite hang-out on campus?

um… My bed.

Did you marry your college sweetheart? Who is he or she and how did you meet?

No. I came out my freshman year and to my knowledge there were no other out lesbians there until I was a senior. Oh- and we can’t get married anyway.

What was your funniest or most fun on-campus experience?

Anything James Hallar did or said. Lush Newton’s hangovers were fun too.

What is your most outrageous memory of the Beaux Arts Ball?

The parade was.

Lloyd Schnell kept drilling into us Photo majors that we had to be more than “dumb image makers.” In other words, it was important for us to look deeper than just the surface of what we were focusing on.

What professor or course most affected your work and why?

Reed Estabrook. He brought fresh contemporary thought to the department. He introduced and brought in guest artists so we could see and interact with art and artists that were relevant at that time. It was life transforming for me.

Which course was the most challenging and why?

George Burris taught a class called Bioethics. We tackled subjects about Abortion and Euthanasia. He didn’t care what side of the fence we were on as long as we argued a point with research,facts and logic. He was truely interested in the learning and thinking process unlike so many classes that emphasized memorization of facts. We recently ran into him at our daughter’s college. He was teaching classes there. He actually remembered us.

Which classmates were your best friends and how have you kept in touch since college?

Scott and Mollie (Walker) Freeman. We live 2 blocks from each other in Loveland, Colorado. We once lived together for 6 months in our small 3 bedroom house with their 5 children and our 3. 12 people getting to know each other very well and we’re still great friends!

Kevin and Sarah (Engler) Berger are good friends. Hugh DeWitte. Chuck and Jill Downen.  All of the above mentioned people lived together with the exception of Sarah and Jill in a house as students on Warwick and 44th.

What was your favorite hang-out on campus?

Under the Ginko tree of course. I also loved the painting building because if the smell and because I loved painting and drawing.

Did you marry your college sweetheart? Who is he or she and how did you meet?

Yes! Micheal Butts. We’ve been married 26 years and have three children. All are persuing art of some sort. Micaela, 20yrs. old is a Fine Art Photography major, Karissa, 18, is about to study Commercial Music and Industry with Vocal and Recording Arts emphasis and Elijah, 16, is also musical and plays electric guitar in a Screemo band. He may study commercial music or skip that and become famous.

What was your funniest or most fun on-campus experience?

I loved the dances because the bands that played were amazing.Ida McBeth and Sunra were my favorite. Mike and I had our first date at an April Fools Ball with the band BCR Black Crack Review  (off campus). We met as a group of students went to eat pizza during the first week of school and started driving to church together (along with Hugh DeWitte.We were friends for 2 years before we started dating.

What is your most outrageous memory of the Beaux Arts Ball?

Loved the drive in movies. Not outrageous but fun. Dancing and staying up all night was a blast .Looked forward to it every year.

Other special memory:

Hanging with my housemates at our house we called the Hammer Club.

I loved having free access to the Nelson-Atkins Museum.

I loved sitting at Haagen Daz (before coffee houses were the rage) and watching the people down in Westport.

I also loved the Jazz fest on the lawn of the Nelson.

Give us three words you would use to describe your time at the Art Institute (and why) :

fun, frivolous, fast.

The hardest lesson:

The hardest lesson I learned at KCAI is one I still learn every day, twice a

month, to be exact, when I submit my student loan payments to Sallie May.

More accurately, it should be “payment,” as the federal portion of my loans is in forbearance, and racking up interest by the minute.  The hardest lesson was and is that the cost of education at a private art institution is not worth the lifetime of debt you receive in exchange for the 4 years of fun you may have had.

I went through KCAI in the mid-late nineties, when the campus was not wired for internet, and there was little instruction in computer use.  As a result, after graduating I enrolled in a tech program for graphic design. Recently, the publishing industry has taken a hit, so I’ve been unemployed for nearly a year. Out of desperation, I’ve taken on work in floral design where I make

$12 per hour.  Imagine paying off a five-figure debt left over from TEN years ago on that salary… It’s amazing I manage to get out of bed in the morning.

One last note: my dear father, nearing 70 and sick with cancer, recently asked a Sallie Mae rep what would happen if he died before paying off his portion of the parent loans he financed in order to send me to school.  “If you die, the loan is forgiven,” the rep told him.  He and I had a good laugh at that:  what better incentive has there ever been for dying?