Sarah Hermes Griesbach | St. Louis Public Radio

Sarah Hermes Griesbach

Sarah Hermes Griesbach is a graduate student in art history at Washington University. She has been a teacher in the area and volunteers as a docent at the Art Museum.

Matisse's Window I Acrylic, oil on canvas 31 x 44 1/2 inches (framed)
Provided by the gallery

This article originally appeared in the St. Louis Beacon: Shakespeare’s Romeo finds hope in the candle-lit glow of Juliet at her window: “What light through yonder window breaks? It is the east, and Juliet is the sun.” Carl Sandburg used the window to symbolize hopeful waiting, while Emile Bronte used windows to suggest a limited vision, a separation between viewer and viewed.

Courtesy of Sheldon Art Galleries

How do you see St. Louis? That was the question the Sheldon Art Galleries posed as it asked people to send their photographic answer for prizes and a chance to have their work shown.

This Friday, June 6, The City at 250 - A Celebration of St. Louis in Photographs opens to reveal stories of the city, shown with affection.

TMS class of 2012 in Contemporary Art Museum receiving room.
Provided by CAMSTL

If someone were to tally the number of St. Louis area students participating in career training at arts institutions and compare that to the numbers in other local industries, the arts might possibly win. The Contemporary Art Museum, alone, draws hundreds of students into its pre-professional programming each year. And not only are the exciting, pre-professional youth programs at CAM and the St. Louis Art Museum free to participants, some pay a stipend.

Sarah Hermes Griesbach

Deo Deiparine is the founder, director, curator and whatever else is needed at the Free Paarking Gallery in South St. Louis. The 21-year-old Washington University architecture student exemplifies the multitasking art-worlder archetype. Such entrepreneurial art leadership may be the best and only way to enter and stay in such an underfunded field. His gallery is now hosting its fifth exhibition since opening in August 2012.

St. Louis Outsider Art Fair

At its core, the St. Louis Outsider Art Fair is less about art insiders and outsiders than it is about belonging. Shana Norton has organized and grown this inclusive art event over the past three years. This year the fair is sponsored solely by the nonprofit organization Resources for Human Development – Missouri (RHD-MO).

Detail from Sam Washburn poster Cherokee Street
Sam Washburn | St. Louis Beacon

Cinco de Mayo is one festival that can be counted on NOT to leave St. Louis, let alone the Cherokee Street neighborhood. Every year, St. Louisans have been adding new dimensions to this festival. In 2008, local artists began what’s become Cinco de Mayo’s official parade, the People’s Joy Parade.

Alfredo Jaar, The Geometry of Conscience, 2010. A woman standing before silhouettes of heads.
Kemper Art Museum

An exhibit at Washington University’s Kemper Museum — In the Aftermath of Trauma: Contemporary Video Installations —  introduces painful political conflicts to St. Louis museum goers at oblique angles.

Paul Strand; Village, Gaspé, 1936; Saint Louis Art Museum 73:1978; © Aperture Foundation Inc., Paul Strand Archive.
Courtesy of St. Louis Art Museum

This article originally appeared in the St. Louis Beacon. - The new special prints and photography exhibit space in St. Louis Art Museum’s Cass Gilbert building has already proved a great boon for the museum. It was truly sad to see the galleries’ inaugural exhibit, Mantegna to Man Ray, come down. But our farewell to curator Elizabeth Wyckoff’s assemblage of cross hatching splendor is followed by yet another spectacular exhibit.

The Weight of Things: Photographs by Paul Strand and Emmet Gowin provides another delightful display of rare and exceptional work available to our eyes for only a brief period.

This article first appeared in the St. Louis Beacon. - The term art installation can be used for any number of things. It sounds like something serious, though sometimes, the “installation” is a more minimalist “art object placement.” Installation is hardly grand enough a word for Sarah Frost’s complete use of the University of Missouri-St. Louis’ Gallery 210.

This article first appeared in the St. Louis Beacon. - You will love Linda Mueller’s impossible worlds whether or not you know her intentions and process. They are delightful and bizarre. As part of the “Altered Reality” exhibit at PHD Gallery, Mueller skillfully combines multiple images to create still life constructions through magic called Photoshop.

This article first appeared in the St. Louis Beacon: After an autumn day drive to spot the brilliant colors of leaves along the Great River Road, head back to St. Louis to see an amped up nature projected into the night sky against the large exterior wall of the Contemporary Art Museum.

This article first appeared in the St. Louis Beacon: Just as Saint Louis University has added dashes of electric blue highlights to the mid-city skyline, Bruno David Gallery has brought Bill Kohn’s sizzling electric paintings to Grand Center. The Monumental Paintings retrospective includes Techos Uno, the earliest work in the exhibit, and the immense Jaisalmer Fortress. Both are examples of the artist’s work inspired by years of world travel.

This article first appeared in the St. Louis Beacon:  Enter the old, beaux art, Cass Gilbert building of the St. Louis Art Museum from the new stairwell designed by David Chipperfield and look up, up over the museum’s main entry. “We Like America and America Likes Us” reads the immense red, white and blue banner on the balcony. You will have to go upstairs and get a close look at the banner to notice the gingham print on the quilted letters all of which is intended to call to mind American folk traditions.

Wall orb
Provided by the artist

This article first appeared in the St. Louis Beacon: French psychoanalytic theorist Jacques Lacan used the term “the gaze” to describe the power relationship involved in one person looking at another. Lacan refers to the agency of the looker and the objectification of the human who is “gazed” upon. Pop singer Lady Gaga’s raw meat dress by Argentine designer Franc Fernandez comes from a tradition of meat wear (British artist Linder’s 1982 chicken meat dress, Jana Sterbak’s 1987 Vanitas sculpture, the list is rather long) that typically make a statement about the “male gaze.”

Rashid Johnson, Self Portrait Laying on Jack Johnson’s Grave, 2006. Lambda print, 40 1/2 x 49 1/2. Collection of Dr. Daniel S. Berger, Chicago.
Provided by Rashid Johnson

This article first appeared in the St. Louis Beacon: In Message to our Folks at Washington University’s Kemper Museum, Rashid Johnson toys with his affection for the Afrocentrism that shaped his family life throughout the 1980s and ’90s.

CAM rendering
Courtesy Allied Works Architecture

This article first appeared in the St. Louis Beacon: When architect Brad Cloepfil designed the now 10-year-old Contemporary Art Museum St. Louis on Washington Ave., he had both the advantages and disadvantages of that location. It would always be in contrast to Tadao Ando’s Pulitzer building next door. One of the things CAM had going for it was a welcoming image. The panel of windows overlooking Spring Street and the glass entrance allow drivers-by to see the action inside. The open walkway at the building’s entry allows for mulling around the building before and after art openings, music events and parties at the museum.

From Katie Ford's work
Provided by RAC | 2013

This article first appeared in the St. Louis Beacon: The 2012 Creative Stimulus Award exhibit at the Regional Arts Commission is titled Within an Evolving Horizon. The horizon found consistently in the artwork, however, is that of the city of St. Louis.

Bluff Line Storm
Bryan Daves Haynes

This article first appeared in the St. Louis Beacon: The exhibit of Bryan Daves Haynes’ paintings in the Old Courthouse Rotunda, TREES/WATER/SKY – A Walk Through Missouri conflates present and past to provide a bright new lens for viewing the Missouri region. Haynes’ awesome anachronisms show the period we live in at present as a part of an idealized history.

This article first appeared in the St. Louis Beacon: The Hoffman Lachance Contemporary Art Gallery in Maplewood has dedicated one week to showcase gallery director Michael Hoffman’s thick, rich paintings on wood panels. Hoffman’s secret paint concoction creates luminous swirls in high relief like wet rocks that never dry to lose luster.

Betty, 1988, Gerhard Richter, oil on canvas, 40 1/4 x 28 1/2 inches.  Purchased with donations.
Provided by the St. Louis Art Museum

This article first appeared in the St. Louis Beacon: Entry into the special exhibit in the St. Louis Art Museum of Postwar German Art in the Collection begins with a small gallery space holding two paintings by Gerhard Richter. Cattycorner to one another are Ölberg (1986) and Betty (1988). The close placement of these two quintessentially Richter paintings – dated within two years of one another, but utterly dissimilar in style and technique – attests to the fantastically rich diversity of artistic expression that took formation in the years following WW II, encompassing the Cold War and preceding the internet.