When Theresa Disney’s two sons came home from school, they never knew what they might find. To their artist mom, everything’s a canvas, even the furniture.
“The kids would be like, ‘Why are our couches crunchy?’’ Disney said. “And I’d answer, ‘Because I painted them.’”
Now the boys are grown. Disney’s collection of paintings and sculpture is larger, too. Much of it was forged through adversity: the end of a bad marriage, a house fire, two bouts of cancer and spinal meningitis. But this new chapter of her life is all about having fun.
As women strive to gain equal ground in the workplace, they’re also working to establish the same ground in the arts. The Women in the Arts Conference at the University of Missouri–St. Louis will feature lectures, demonstrations, papers, performances and workshops from 27 speakers on Nov. 6-8.
“Everyone thinks the playing field is level,” said Barbara Harbach, a composer and director of the Women in the Arts Conference. “It’s not quite as level as you might think.”
Black-owned galleries display African-American art all year long. Many others tend bring out such work only during February, Black History Month. But that’s changing.
Recent shows bucking the trend include an exhibit opening Friday at the Philip Slein Gallery in the Central West End. African-American-themed work from private St. Louis homes comprises “Other Ways, Other Times: Influences of African-American Tradition from St. Louis Collections.”
An abandoned building with broken windows may seem nothing more than an ugly blemish. But to a mural artist, it’s a beautiful opportunity, a waiting canvas.
Two St. Louis muralists are nearing completion of the first phase of their project to transform the vacant Cotton Belt Freight Depot into a kind of welcome sign for commuters heading into St. Louis on the new Stan Musial Veterans Memorial Bridge.
The “Hands Up, Don’t Shoot” exhibit will open Oct. 17 and 18 in more than a dozen galleries — and one entire city.
The Ferguson Public Library and the city of Ferguson as a whole are listed among the exhibition spaces. That’s because the burned-out QuikTrip and the monuments to Michael Brown can also be seen as living works of art, according to curator Freida Wheaton.