KCI participates in the City of Kansas City, Missouri's "One Percent for Art" program administered by the Municipal Art Commission. Along with over 300 other U.S. cities and counties, this program stipulates that one percent of public construction costs be set aside for public art enhancements. A panel of aviation professionals, community representatives and artists select the artist for each project at KCI. Through the One Percent for Art Program, the Municipal Art Commission is able to serve as a catalyst for artistic growth and aesthetic excellence in our communities, and in doing so, enhance the vitality of Kansas City and enrich the lives of its citizens.
Christopher Brown, Tingmissartoq, 2000
Aviation Department Administrative Offices
Christopher Brown’s painting, based on a picture of the Lindberghs arriving at a dock in the Tingmissartoq is a grayscale, oil-based mural which hangs the lobby of the Aviation Department Administration building at Kansas City International Airport. Tingmissartoq (“one who flies like a big bird”) was the Inuit name given the plane flown by Charles and Anne Morrow Lindbergh in their 1931 flight from Maine to Japan and China, via the great arc route. The trip was recounted in North to the Orient, Anne Morrow Lindbergh’s bestselling account of the adventure which won the first National Book Award in 1935.
Joel Shapiro, Three Figures/Fifteen Elements, 1996
Main entrance/exit road, Cookingham Drive
Welcoming visitors en route to and from the Kansas City International Airport, Joel Shapiro's bronze sculptures are a progression from motionless to motion. Although they seem like abstract geometric shapes from one angle, each metamorphoses into an animated figurative form when viewed from a slightly different perspective. Heavy beams, connected at barely touching angles, create the reclining, bending and gracefully balancing figures that come alive. With a minimalist vocabulary that inspires but does not restrict, Shapiro creates limb-like blocks that act as a metaphor for the human experience.
Andrew Ginzel and Kristin Jones, Polarities, 2003-2004
Terminals Terrazzo Floors
Kansas City International Airport Terminals A, B and C. Artists Kristin Jones and Andrew Ginzel of New York City created the floor design that welcome travelers throughout the Kansas City metropolitan area. The three terminal floors represent continuous bands of sky, offering travelers a perceived aerial view as they walk through the terminals. According to the artists, the new floor hints at the infinite depth of space through a collection of brass plus and minus symbols. These symbols characterize wind and water currents and global magnetic fields. The fine green lines are reminiscent of the lines on a map or an air traffic control radar screen. The narrow black and white borders suggest the mapping and measure of space. Interspersed throughout the floor are insets of mosaic "medallions" and other colored terrazzo images. The phenomenon of flight, dramatic shifts of perspective, and the mapping of air, sky and land inspired the design.
James Woodfill, Deuce, 2004
Parking Garage Stair Towers
In the public art installation entitled Deuce, Kansas City artist James Woodfill has created six propeller-like, rotating fluorescent light fixtures―two fixtures each in one stair tower in all of the three KCI Terminal parking garages. The three installations have two slowly rotating fixtures that are mounted in various locations in the three stair towers. Woodfill used four-foot long fluorescent lights attached on opposite sides of a rotating motor to create the eight-foot long, spinning “signals.” The artist also uses blue and green colored filters on some of the rotating fixtures to cast different lighting effects which will be visible inside and outside the stair tower structures during the day and at night.
Christian Mann, Chandelabras, 2004
Parking Garage Stair Towers
Christian Mann lives and works in Kansas City as an artist and gallery owner. As he explains in his artist statement, "Chandelier, a lighting fixture hung from the ceiling, and Candelabra, a large branched candlestick, are the namesakes for the Chandlelabra Series." Mann's installation includes five "Chandelabras" hung in three of the KCI Terminal parking garage stair towers. Each is composed of found machinery parts and old steel cables mixed with colored neon lights. The fixtures can be seen from inside and outside of the stair tower structures day and night.
Stretch, Dancing Crescents, Dusk and Sunburst, 2004
Parking Garage Stair Towers
Kansas City artist STRETCH has created three individual works for three stair towers―one in each of the Terminal parking garages at Kansas City International Airport. Illustrated here is the artist's third work, "Dancing Crescents," in Terminal C, which hangs from the ceiling of the stair tower. This work includes several mobile-like strands with crescent shapes revolving around circular glass pieces that gently move with the airflow created by opening and closing doors and pedestrian movement inside the space.
Keith Sonnier, Double Monopole, 2005
Road Entrance Near Terminals
One of the inspirations for the Double Monopole design was to create a sort of beacon for the airport while attempting to make an environment-friendly artwork. Through the use of neon (a low wattage lighting system) and a waterfall, the system works together visually and ecologically – even helping to aerate the reservoir at KCI. It will function as a directional point of interest and be clearly visible to travelers by land and air. This is the first work by internationally known artist Keith Sonnier where he incorporated water and light.
Alice Aycock, Strange Attractor to Kansas City, 2006
Economy Parking Lot
The horn/tunnel element is symmetrical from both sides; each opening is approximately 20' in diameter. The sculpture has been designed to evoke the spaces created by wind tunnels, which are used to test the aerodynamics of airplane designs. It also suggests future travel through wormholes or time machines imagined in science fiction as well as the astrophysics illustrations of Stephen Hawking. The size of the sculpture, which has an architectural scale, is designed to relate to the human body. From a distance the interior space draws the spectator in and gives the long term parking area a strong focus. The sculpture also suggests a device that could broadcast information from and out into outer space. The neon antennas are designed as a vertical counterpoint to the curvature of the tunnel. From a distance they also mark the spot and suggest that energy is radiating out into and down through the sculpture.