Find my fear and unfold me


Peregrine Honig - Swan - Aug 2018 -10896

Peregrine Honig Study for The Rape of Zeus #9 ink, silverpoint, acrylic, enamel on Hot Press Cotton Rag 11” x 14” unfr./20” x 23” fr. 2018
photo credit E G Schempf


118 Southwest Blvd • Kansas City, MO 64108
816.527.0823 • • Tuesday – Friday 10am to 5:30pm, Saturday 11am – 5pm
High Resolution Images Available Upon Request

Peregrine Honig

Opening Reception and Artist’s Talk, Thursday, November 1, 6-9 pm

First Friday, November 2, 6-9 pm

exhibition runs through December 1, 2018

Thursday, November 1, 6-9 pm
First Friday, November 2, 6-9 pm
thru December 1, 2018


Peregrine Honig’s work is delicate and disturbing- deceptively simple executions of complicated subjects. Honig’s line documents early sexual awakenings, the visual manifestation of disease, and the social anxieties of realized and fictional characters. By illustrating revisionist mythology, stifled habits, residual adolescent vulnerability, and issues of beauty and popularity, Honig’s imagery documents trends in fear, private and public, commercial and independent.

Rendering the progress of innocence into awareness, her work chronicles the beauty of awkward moments. We are captivated by the resilience of our own virgin selves and beguiled by the lure of shameless sensuality. Honig’s work is an ongoing dictionary of intimate scenarios, inviting viewers to observe without the fear of trespassing or offending.

Born in San Francisco and raised in The Castro and in Project Artaud, Honig moved to Kansas City, MO at 17 to attend the Kansas City Art Institute. At age 22, Honig was the youngest living artist to have work acquired by the Whitney Museum of Art’s permanent collection.

Honig has been featured in exhibitions nationwide. Solo exhibitions include Loser at Dwight Hackett Projects in Santa Fe, NM, Pretty Babies at Gescheidle Gallery in Chicago, IL, and Albocracy at Jet Art Works in Washington, DC. Significant group shows include Talk Dirty to Me at Larissa Goldston Gallery, Transfigure at Kemper Museum, Kansas City, MO, Diane and Sandy Besser Collection at the de Young Museum in San Francisco, CA. Her work work has been shown internationally with Gallery Akinci in Amsterdam and Gallery Arcaute in Monterey, Mexico.

Honig’s work is included in private and public collections worldwide, including: The Art Institute of Chicago, Yale University Art Gallery, The Fogg Art Museum, Milwaukee Art Museum, Whitney Museum of American Art, 21c Museum Hotel, Albright-Know Art Gallery, The Diane and Sandy Besser Collection, Ball State University Museum of Art, and the Pinakothek der Moderne, in Munich, Germany.


Peregrine Honig in her studio photo credit Anna Petrow


About Blue Gallery
In business 18 years, Blue Gallery is a popular and respected fixture of Kansas City’s lively art scene. Its underlying philosophy reminds visitors of the owners Kelly and David Kuhn’s genuine commitment to the arts: they treat art and beauty as fundamental elements of life, and instill this mood into their gallery. But what has set Blue Gallery apart, is the way Kelly and David conduct their business behind the art. “We work with our artists with the same tenants as our collectors: integrity, passion, and obsession with quality in every decision we make,” says Kelly. “A philosophy that is the result of over 25 years working with professional artists and collectors. Over all, David and I are committed to providing an inspired and profound experience that is inclusive and transformative.”

Established in 2000 at the center of Kansas City’s Crossroads Arts District, Blue Gallery represents 40+ emerging to established local, regional and nationally known artists, with works placed in private and public collections worldwide. Blue Gallery holds several exhibitions a year, as well as participates in First Fridays, held exclusively in the Crossroads Arts District monthly. Blue Gallery is considered one of the premier galleries in Kansas City having won numerous awards including KC Magazine’s Best Private Art Gallery in 2002, 2004, 2005, 2006, and 2007, and Ingram’s Magazine Bronze for Best Museum or Art Gallery in 2004, 2005, 2007, and 2017. And 435 Magazine’s Best Art Gallery in 2015 and 2017.

For press inquiries, other images of works from Peregrine Honig FIND MY FEAR AND UNFOLD ME and for further information, please contact Kelly Kuhn on or call 816.527.0823.


Peregrine Honig - Swan - Aug 2018 -10887

Peregrine Honig Study for The Rape of Zeus #7 Greenleaf and Blue mineral based watercolor on Hot Press Cotton Rag 11” x 14” unfr./20” x 23” fr.
photo credit E G Schempf

The Penis Monologues

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As reviewed by ROBERT TRUSSELL

Sometimes you see things at the KC Fringe Festival that you won’t see anywhere else.

Saturday night, moments before the beginning of “The Penis Monologues” at the Unicorn Theatre, I happened to look to my left and saw Heidi Van, who directed the show, and artist Peregrine Honig, who conceived it with Van, gussied up in their nice opening-night dresses and heels, climbing a ladder to the sound-and-light booth. Incongruous? Yes. Impressive? You bet. It’s a good example of what makes the Fringe Fest what it is: Everything is hands-on.

Their show, which I admit I approached skeptically, turned out to be a winner: Witty, thoughtful, provocative, sexy, poignant and funny — and sharply executed by a talented cast. This isn’t the first play to use the title “The Penis Monologues,” which immediately suggests a response to Eve Ensler’s “The Vagina Monologues,” but what Van and Honig have created is unique. Some of the material they solicited from area writers, but they also borrowed from other sources.

Katie Hall, for example, performs Edmund’s “bastard speech” from “King Lear,” and soprano Victoria Sofia Botero opens the performance with a stunning version of Giacomelli’s castrato aria “Sposa non mi conosci.”
But the original material makes the most lasting impression. Diane Yvette delivers remarkable precise performances, first with “One of Our Biggest Social Problems” by Gibran X. Rivera and later with Charles Ferruzza’s “Size Queen.” Ferruzza’s piece was arguably the best written of the show, and certainly the funniest.

Vanessa Severo immerses herself in “I Am a Penis” by Jose Faus, which offers the first-person testimony of the organ in question, projected through a Latino lens and colored by Catholic guilt. The writing is eloquent and Botero offers occasional translations and commentary in Spanish to Severo’s soliloquy.
Cat Mahari, a lithe and expressive dancer, performs a solo piece to a suite credited to Honig. Marianne McKenzie performs two interesting selections — “Transcript” by Heidi Van and “My Penis Fell in Love” by Jeff Smith. And Hall returns with an affecting monologue to close the show, a poetic apology by Brian Huther for following the biological dictates of his gender.

There’s nothing sensational about the presentation. The actresses are costumed in plain jumpsuits, but Honig’s scenic design is remarkable. It’s a modular set of what appears to be large sandstone boulders that can be rearranged between scenes and at one point takes the form of a reclining man — suggesting, intentionally or not, the plaster molds of the victims of the Vesuvius eruption in Pompeii.

Of the Fringe shows I caught on the opening weekend, this was easily the most technically polished. It also happened to be the most thought-provoking.

24 OCT 2014 · UNICORN


Peregrine Honig’s latest collection of large-scale oil paintings transform into backdrops for donor selfies; self-portraiture destined for digital immortality. With the use of Western religious iconography to create temporarily mounted parlors and paintings that feature large decorative rings and central radiations, every sitter becomes contextualized as a saint, royalty, or deity. Wreaths of flowers crown seated or absent central figures. Occupied or empty, the pieces offer a curated private space in a public gallery setting.

In line with the evolution of selfies, the portraits created within these paintings assist in the process of self-glorification. Online the act of self-aggrandizing encompasses many attitudes: sexual prowess, commercial innocence, postures of strength and power, positions of femininity and fertility. Similarly, these donor selfies reference the rich history of patrons commissioning artists to paint them into elaborate and decadent sets. In Honig’s collection each sitter has the power to produce, edit, and digitally publish their own image. With the assistance of a collective hashtag, visitors take part in creating a contemporary, and constantly evolving, book of hours.


24 OCT – 06 DEC 2014

Opening Reception ­ Friday, 24 OCT, 5 – ­9 PM

Gallery Talk: 15 NOV, 1 PM

HAW/Contemporary 1600 Liberty St, Kansas City, MO 64102 · (816) 842-5877


Press Release (pdf)