Free Membership ProgramWith you we are transforming and sustaining the Ulrich Museum of Art. Join us in pride, community and discovery by becoming a stakeholder in the Museum's future. As a member you receive invitations to exhibitions, programs and special events. You have a free subscription to the biannual Ulrich Update and receive our bi-monthly e-news letter.
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Ulrich Museum Director Leslie Brothers (left), along with Ann Resnick (center) and Dan Rouser (right), co-curators of the exhibition "Kevin Mullins: Fire in the Paint Locker," accepted the award for Best Graphic Design by the Kansas Museum Association for the exhibition catalogue.
Exhibition catalogue published by Ulrich Museum wins Best Graphic Design Award from Kansas Museum Association
Kevin Mullins: Fire in the Paint Locker, a stunning exhibition catalogue published by the Ulrich Museum of Art, with more than 100 color images, including four color fold-outs, was recently chosen for the Best Graphic Design Award by the Kansas Museum Association. Read more in the press release.
All events are free and open to the public.
Grad School Mixer
Friday, December 6
We are excited to again welcome WSU graduate students to explore the galleries and mingle with fellow grads and faculty from across campus. There will be door prizes, giveaways, food, and fun!
For more information on upcoming events, visit our Programs and Events page.
Coming Soon: A New Ulrich Website
Features will include:
- This fall we will vastly expand the Museum’s teaching, learning and research function by introducing the first public access portal to the Museum's searchable collection database for close to 7000 objects.
Our mission is to expand human experience through encounters with the art of our time.
As the region's source for modern and contemporary art, the Ulrich Museum of Art at Wichita State University connects viewers with artists and artworks that reflect our world today. Visitors can explore and enjoy 20th- and 21st-century art with exhibitions that feature emerging and established artists, works from our permanent collection, and traveling exhibitions.
The WSU campus is home to the Ulrich Museum's renowned Martin H. Bush Outdoor Sculpture Collection, rated one of the top collections of its kind by Public Art Review. The museum holds a permanent collection of more than 6,700 works by such artists as Benny Andrews, Diane Arbus, Helen Frankenthaler, Zhang Huan, Jacob Lawrence, Joan Mitchell, Robert Motherwell, Rodney McMillian, Gordon Parks, W. Eugene Smith, Kara Walker and Andy Warhol.
Galleries are open Tuesday through Friday 11 a.m. to 5 p.m., and weekends 1 p.m. to 5 p.m. Closed Mondays and major/university holidays. The Martin H. Bush Outdoor Sculpture Collection is always open.
Admission, parking, and group tours are FREE.
Lowell Nesbitt: Apollo, 1969
August 19–November 17, 2019 | John Bardo Center, 2nd floor
In 1969, the artist Lowell Nesbitt was invited by NASA to create artwork to commemorate the Apollo 9 mission — the first flight of the full Apollo spacecraft that would eventually take humans to the moon later that year during the Apollo 11 mission. Based on his time at Cape Canaveral, Nesbitt produced a portfolio of prints that will be on view during this special exhibition timed to coincide with the 50th anniversary of the Apollo missions.
On view in the John Bardo Center (formerly the Experiential Engineering building), where WSU faculty and students continue to conduct NASA-funded research to this day, this exhibition will be the pilot for the new Ulrich Connections project through which the Ulrich Museum will look for strategic partnerships on and off campus to raise the visibility of the museum’s collection and bring it to new audiences.
Below: Lowell Nesbitt, Spacesuit Checkout, 1969, screen print, Gift of Dr. Udo Kultermann at the School of Architecture at Washington University, St. Louis, Collection of the Ulrich Museum of Art, 1982.19.b
Sponsored by WSU’s College of Engineering and NASA in Kansas.
Teachable Moments: The XXII Faculty Biennial
September 12–December 8, 2019
A tradition in its forty-fourth year on the WSU campus, the Faculty Biennial represents the breadth of creative work and research being undertaken by the faculty of the School of Art, Design, and Creative Industries. This year's exhibition will showcase the faculty's work in art history and education, ceramics, drawing, graphic design, painting, photography, printmaking, sculpture, and new media. The theme, "teachable moments," seeks to prompt reflections and start conversations about the role of both formal education and informal learning in creative work, and the relationships between the faculty's art-making and research and the time spent mentoring WSU students in the classroom and beyond.
The exhibition will be accompanied by short, informal lunch-hour talks to be given by each participating artist and one-hour research presentations by faculty who do not have work on view in the gallery. Talks will take place on Tuesdays from 12:30-1:30 p.m. between September 17th and November 26th, with two talks happening each Tuesday. Additionally, on October 1, Dr. Brittany Lockard, assistant professor of art history at WSU, will present her research in a talk titled "The Secret Language of Food and Women's Art."
Join us at the lunch hour talks and Dr. Lockard's presentation for exclusive access to our new limited-edition "Faces of the Ulrich Collection" buttons. Come to the talks and collect all ten!
Below: works by faculty members Jennifer Ray, Marco Hernandez, and Ted Adler.
Clay Currents: The Wichita National Ceramics Invitational
September 12–December 8, 2019
Clay possesses a truly remarkable versatility that the Wichita National Ceramics Invitational will highlight. Bringing together nearly thirty artists from around the United States, this exhibition will showcase the range of possibilities that contemporary ceramicists are exploring. With two earlier editions having taken place at the Reuben Saunders Gallery, this exhibition, now in its third year, will continue to introduce the Wichita community to some of the most exciting work being done in clay today.
Programs in conjunction with the exhibition will include workshops and talks by two ceramics artists, John Nealy and Pattie Chalmers, as well as a public talk by the prominent ceramics collector Louise Rosenfield and a panel discussion with artists Pattie Chalmers, Trisha Coates, and WSU's Ted Adler.
Below: (From left to right) works by Pattie Chalmers, I Remember This Day, 2018, earthenware and mixed media, image courtesy of the artist; and Virgil Ortiz, Thunder from the Watchman series, 2016, Cone 5, Bmix clay and gunmetal acrylic detail, image courtesy of the artist.
Sponsored by Emprise Bank and Fidelity Bank.
Solving for X = Accessibility
September 12–December 8, 2019 | Grafly Gallery
Solving for X is a series of exhibitions organized by the Ulrich Museum of Art in collaboration with university scholars across campus. The intent of the Museum is to work with WSU scholars in all disciplines to create visualizations of their research. The objective is to explore the potential for the Museum to make accessible to the public the fascinating and important research taking place on campus. We are thrilled by the opportunity to work with researchers across campus and excited about the challenges we will face together in discovering how to create visual pathways to understanding.
Our second project in the series features the research of Dr. Vinod Namboodiri, Professor, Department of Electrical Engineering and Computer Science, working in collaboration with Dr. Nils Hakansson, Associate Professor, Biomedical Engineering. They are developing GuideBeacon, a wayfinding app that uses beacons to assist blind and visually (BVI) and mobility impaired people in navigating between any two (indoor or outdoor) points.
We are transforming the Grafly Gallery into a test site for GuideBeacon by offering multi-sensory access to a selection of works of art from the Museum’s permanent collection.
GuideBeacon will have directional information, as well as experiential content featuring vivid descriptions of art works displayed in the Grafly Gallery and sculptures featured on the Kouri Sculpture Terrace. On the terrace, located across from the second floor galleries, sculptures can be explored through direct contact, offering immediate personal experiences with original works of art.
The Ulrich Museum of Art joins other Museums around the globe in recognizing that everyone has the right to participate in the cultural life of the community. We are working closely with WSU’s Office of Instructional Design and Access to create touchable tactile representations of works of art from the Museum’s collection. Andy Warhol’s screen print, Chicken’n Dumplings, from 1969, is an example of one of five works included in Solving for X that will be on display with corresponding tactile graphics. Visitors can use the GuideBeacon app to gain an understanding of the spatial context of the gallery, letting them know where to find each work of art and guiding them to it. Once a piece has been located, visitors can choose to explore the tactile graphic while listening to a vivid description of the work. Vivid and supportive descriptions make up the experiential content of the app. Also included in the exhibition will be opportunities for sighted people, through simulations of BVI experiences, to increase understanding and awareness.
We thank Dr. Vinod Namboodiri and his graduate students Seyed Ali Cheraghi and Ali Almadan for working with us to make the marvelous GuideBeacon our second Solving for X project. Thanks also to Dr. Nils Hakansson for his support and advice.
We are grateful to our lead sponsor, ENVISION for the amazing work they do in our community and beyond. Information on ENVISION will be available at the Museum during the run of the show.
Below: The five works from the Ulrich collection that will be displayed next to touchable 3D representations are: (From left to right) Andy Warhol Chicken 'n Dumplings,1969, screen print on paper, 35 x 23 inches; Joan Mitchell Untitled, 1956, oil paint on canvas, 83 3/4 x 77 inches; Robert Longo Untitled, 1980, charcoal, graphite on paper, 60 x 39 inches; Heidi Zumbrun Rabbit, 1999, Duraflex® print on paper, 70 x 46 inches; and Roger Shimomura American Portrait #1, 2002, Andy Warhol's acrylic paint on canvas, 63 x 75 x 5 inches.
Below: Blind and visually-impaired museum visitors interacting with the tactile graphic of a work of art.
Sponsored by Envision.
Zoe Beloff: Emotions Go to Work
January 23–March 29, 2020
Zoe Beloff's interactive multi-media installation Emotions Go to Work investigates how technology is used to turn our feelings into valuable assets. One might call it the transformation of emotion into capital. The project, accompanied by a limted-edition book, is an exploration of the "dream life of technology" and of our imaginative and imagined relationships with machines - how we create them in our image, shape them to serve our desires, and how they, in turn, reshape us.
Beloff is an artist and filmmaker who lives in and works in New York City. Her projects often involve a range of media including films, drawings, and archival documents organized around a theme. Over the course of a thirty-year career, her interests have included psychoanalysis, mediums, and mental health institutions; new forms of community; anti-fascist art and activism; and, recently, the history of relationships between labor, technology, and our emotional lives. In all she does, her work attests to a belief that critique and protest should be vibrant, humorous, and colorful - a carnival of resistance to light the way in dark times.
Emotions Go to Work will be accompanied by a film series co-curated by the artist and Rebecca Cleman of Electronic Arts Intermix, New York.
Below: Installation photograph of Emotions Go to Work at the Museum Doctor Guislain, Ghent, Belgium. (Image courtesy Zoe Beloff.)
Lee Adler: A Mad Man Amid the Machines
January 23–March 29, 2020
Based largely on the Ulrich's uniquely rich holdings of works by Lee Adler (1926-2003), this exhibition will reassess the legacy of a forgotten artist and show how the imagery he created in the 1960s and 1970s foreshadowed urgent present-day concerns about the way human lives have become intertwined with the technology that surrounds them.
A native of Brooklyn in its industrial heyday, Adler came to art-making in his forties, having already established a successful career in marketing - he worked for a time at one of the advertising firms featured on the TV show Mad Men. He threw himself head first into his new pursuit throughout the late 1960s and 1970s. Adler contributed as his answer a visual remarkably tied to the forms of living things. At once whimsical and unnerving, Adler's compositions evoke processes of ingestion, digestion, and explusion of matter as it moves through both living and mechanical systems. In Adler's work, the machines are humanized while human figures become machines, and his forms continue to capture something essential today about our reality as hapless cyborgs confused about where "nature" ends and technological culture begins.
Below: Lee Adler, Reclining Figure II, not dated, screen print on paper, Gift of Mr. Bernard Mitchell Alter, Esq., Collection of the Ulrich Museum of Art, 1982.30.8; and Lee Adler, Modern Composition No. 1, 1972, mixed media on canvas, 50 x 50 inches, Gift of the McBride Jewelry Company, 1975.45.1.
A.P. Vague: Digital Palimpsest(s)
January 23–March 29, 2020 | Amsden Gallery
The exhibition A.P. Vague: Digital Palimpsest(s) presents a series of experiments in which the artist considers the materials of image-making as aesthetic resources in themselves. In analog photography, cameras and film were designed to be essentially invisible throughout much of their history. Meant to capture and reproduce the observable world, the technologies themselves faded into the background. Such expectations of imaging technology have carried over into the age of digital photography, as well. But what happens when these tools not only stop functioning as accurate recording devices, but actually become entirely disconnected from any observed reality?
The works included in this exhibition are made using a variety of strategies for manipulating photographs toward abstraction. The artist’s aim is to build his own lexicon of distortion so the results might evoke an aesthetic of transformation and discovery during the creative process. Each image is treated according to its formal properties such as color, composition, texture, and density, without regard for what may be depicted. Using both digital and analog tools, Vague deconstructs the imagery in each piece to create new forms that hold latent -- ghostly -- remnants of the originals.
At the root of Vague’s inquiry are the questions of how we trust photographic images, how they communicate their meanings across distance, and how they create a sense of personal connection to remote events. Does a negative still bear the imprint of the moment it was exposed, even if the visual information is blurred beyond recognition? In the age of fake news, Photoshop, filters galore, and truthiness, what can we believe about an image and what can we trust the image-maker to reveal?
Below: A.P. Vague, Untitled (Palimpsest #2), 2017. Digital image manipulated using Photoshop and processing. Image courtesy of the artist.
April 16–July 12, 2020
We all need to get away sometimes - to take a vacation from the oridnary. And what can transport our imagination better than art? It helps our thoughts wander, encourages reflection on life's journeys, and takes us places where we may not be able to go by any other means. In the summer of 2020, during the season of vacations when many of us will be looking for a change of scenery and a change of pace, the Ulrich will present On Vacation! to celebrate the fun and excitement of visiting an art museum.
Drawn entirely from the Ulrich permanent collection, the shows will feature approximately ten series of prints that capture images of places and events that present an exciting array of possible vacation spots - from big cities (Berlin and New York) to small-town diners, from the beach to a bullfight and the circus.
Accompanied by a series of programs that will engage visitors with both the art and with related experiences found right here in Wichita, this exhibition will be the perfect way to get away from it all while still getting to sleep in the comfort of your own bed.
Below: works by George Grosz, The Voice of the City, c. 1935, color lithograph, Gift of Dr. Frederick Ziman, Collection of the Ulrich Museum of Art, 1973.36.11; and John Baeder, Red Robin, 1980, screen print on paper, Gift of Mr. Monis Schuster care of London Arts Group, Collection of the Ulrich Museum of Art, 1995.71.
At the Ulrich Museum of Art, exhibitions and programs are the foundation of our operations and our outreach to the community. We rely on your support to sustain this important work and thank you for your generosity.
Exhibition support provided by:Mickey Armstrong, Clark and Sharon Bastian, Louise L. Beren, Dr. John and Nancy, Brammer, J. Eric Engstrom and Robert Bell, Bud and Toni Gates, Gridley Family Foundation, Michael Heaston, Dr. Gyan and Manorama Khicha, Sangeeta Khicha, Dr. Sam and Jacque Kouri, Sondra M. Langel, Jane McHugh, Dee and Mike Michaelis, Mosby Lincoln Foundation, Dot Shannon, Don and Ellie Skokan, Ron and Lee Starkel, Keith and Georgia Stevens
Additional support provided by:Program funding provided by the Humanities Kansas, a nonprofit cultural organization that connects communities with history, traditions, and ideas to strengthen civic life.This organization received funding for general operational support from the City of Wichita.Promotional support provided by 360Wichita.com, a comprehensive resource for Wichita food, hotels, attractions, night life and more.Visiting artist funding provided by the Kansas Creative Arts Industries Commission, dedicated to measuring, promoting, supporting, and expanding the creative industries to grow the state's economy and create creative industry-related jobs.Promotional support provided by KMUW 89.1 FM, a National Public Radio member station in Wichita, Kansas owned by Wichita State University.
Expand human experience through encounters with the art of our time.
Coat and bag check
The Ulrich Museum requires visitors to check backpacks, shopping bags, and all large bags with a gallery guard or with the front desk on the first floor of the Museum. The Ulrich Museum provides a limited number of secure lockers free to visitors.
Food and drink
Food and drink may not be carried into the galleries Inside the galleries: For the safety of the art, pens and markers are not permitted within the galleries. Pencils are available at the front desk. As a courtesy to other museumgoers, cell phone conversations should be conducted outside of the galleries.
The Ulrich Museum provides four spaces near the front of the building that are reserved specifically for our guests, more information about parking on the WSU campus can be found at wichita.edu/parking.
The Ulrich Museum of Art’s Martin H. Bush Outdoor Sculpture Collection boasts 80 works spread across the 330-acre Wichita State University campus.
Funds to assure long-term care of this important collection are provided by the Joan S. Beren Outdoor Sculpture Conservation Fund.
Download the Ulrich Museum of Art mobile app for non-stop access to the Martin H. Bush Outdoor Sculpture Collection through self-guided tours using images, text, video, and audio. the Ulrich app also includes a family tour, interactive maps, and more.
The Ulrich Museum of Art was established in 1974 to enhance and support Wichita State University's educational and service mission. Then-president Clark Ahlberg believed a superior university should be ever mindful of the thriving city surrounding it. In 1977 he articulated his commitment to this belief: "We have an obligation to reach as many people as possible and to do it with the highest standards—in this case, the highest artistic standards—if we are to properly serve this urban area." To execute his plan to make art an integral part of university and community life, Ahlberg recruited Dr. Martin H. Bush, formerly of Syracuse University. In 1971 Bush began his 20-year tenure as vice president of Academic Resources, during which he guided the establishment of a museum and collection that today enjoy a national reputation. In 2005 the American Association of Museums in Washington, D.C., awarded museum accreditation to the Ulrich, as one of only 12 accredited museums in Kansas.
The museum was named in honor of Edwin A. Ulrich, a Hyde Park, New York, businessman who donated his collection of more than 300 works by the early 20th-century painter Frederick Judd Waugh and set up an endowment to support the new institution. The founding of the Ulrich coincided with the construction of a new facility for the museum and the WSU School of Art and Design and Creative Industries, the McKnight Art Center. A 1995 renovation created additional gallery and office space as well as a terraced sculpture court at the entrance.
A key element of President Ahlberg's master plan for an enhanced university environment in the 1970s was the presence of major works of art situated outdoors throughout the campus. Today the Martin H. Bush Outdoor Sculpture Collection at Wichita State University boasts around 80 monumental works by such internationally eminent artists as Arman, Fernando Botero, Andy Goldsworthy, Barbara Hepworth, Luis Alfonso Jimenez, and Claes Oldenburg. In 2006 the journal Public Art Review ranked the Martin H. Bush Outdoor Sculpture Collection among the ten best on an American university campus.
The Ulrich Museum of Art is governed by its parent organization, Wichita State University. The museum director reports to the Provost.
The Museum is supported by the Ulrich Advisory Board, composed of no more than 25 university and community leaders. The Advisory Board reports to the WSU Foundation, which holds legal title to the museum's art collection. The long-term purposes and policies of the museum are subject to review by the Kansas Board of Regents.
The Ulrich benefits from a second support group. The Ulrich Museum Alliance, an association of no more than 18 individuals, supports the museum by providing active volunteers who are committed to:
- raising awareness of the Ulrich;
- building audience for and participation at Ulrich functions;
- supporting Ulrich membership efforts.
Artworks shown on this website are copyrighted by the artists unless otherwise noted, and they may not be reproduced without permission of the copyright holder.
For information on obtaining reproduction permission for images in the Ulrich Museum's collection and on this website, please contact the Ulrich (316) 978-3664 or email email@example.com.
Ethical and legal considerations prohibit Ulrich staff from appraising or authenticating works of art for the public. Museum curators may not provide information on monetary value or physical condition of works of art.
The national organizers cited below provide information on professionals who do provide appraisals:
American Society of Appraisers, 703-478-2228
Appraisers Association of America, 212-889-5404
Art Dealers Association of America, 212-488-5550
International Society of Appraisers, 206-241-0359
We value your input and are interested in hearing any comments about your experience here. If you have any questions or need information, please contact us:
Ulrich Museum of Art
Wichita State University
1845 Fairmount Street
Wichita, KS 67260-0046
Phone: (316) 978-3664
Fax: (316) 978-3898
Ulrich Museum Staff
Leslie Brothers, Director
Ksenya Gurshtein, Curator of Modern and Contemporary Art
Jana Erwin, Head of Education
Whitney Fiene, Office Manager
Ranjit Arab, Creative Communications Manager
Carolyn Copple, Membership and Special Events Manager
James Porter, Exhibition Designer and Production Manager
Ulrich Museum Registrar: firstname.lastname@example.org