IT'S FINALLY HERE!!!
The Ulrich Museum's Collection Portal is now available!
We are proud to unveil our new Collection Portal, which vastly expands our teaching, learning, and research functions by introducing the first public access portal to the Ulrich Museum's searchable collection database of 6200 objects.
Free Membership Program
With 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.
All events are free and open to the public.
Emotions Go to Work: The Film Series
"How Do I Feel?" — Q&A with Zoe Beloff
Friday, February 21
McKnight Art Center, Room 210
Free and Open to the public
This screening imagines how gadgets and devices — engineered components onto which we project our humanness — might start to enfold themselves into us, making them extensions of our selves. Click here for the complete film series program.
For more information on upcoming events, visit our Programs and Events page.
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 to the public.
Admission, parking, and group tours are FREE.
Spring 2020 Exhibitions:
January 23–March 29, 2020
Zoe Beloff: Emotions Go to Work
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. Click here to read the film series lineup.
Lee Adler: A Mad Man Amid the Machines
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 resident 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.
Above: 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 Palimpsests
The exhibition A.P. Vague: Digital Palimpsests 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?
Solving for X=Representation: Slaying the Gerrymander
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.
Every ten years, the U.S. Constitution requires the federal government to conduct a census to count where people live. Separately, the U.S. Supreme Court requires that the electoral districts across a legislature have roughly the same population, be it for the U.S. House of Representatives, the Kansas State Senate, the Sedgwick County Commission, or the Wichita City Council. The combination of these requirements means that after everyone is counted by the Census Bureau in 2020, most levels of government will need to redraw their district boundaries to balance out population counts. The United States is rare among countries in that it places this redrawing responsibility in the hands of elected officials—quite often the same ones who will be running for office in the districts they drew. “Gerrymandering” is the term given to district drawing done for the benefit of the people drawing the maps, either for the political party in charge, or for the individual incumbent politicians. In some cases, gerrymandering can be immediately obvious in odd district shapes, as shown in “Goofy Kicking Donald Duck,” but it can also be done more subtly.
One approach to help stop gerrymandering is in the use of computers to automate the drawing of districts. Dr. Brian Amos is an Assistant Professor in Political Science whose work has been dedicated to improving the algorithms available to researchers and activists on this front. He does this by identifying bias in existing approaches that may skew measurements in how gerrymandered a map is, and by incorporating Voting Rights Act protections for racial and ethnic minority groups into algorithms created for other countries without those protections.
Summer 2020 Exhibitions:
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.
Above: 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.
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 firstname.lastname@example.org.
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