Visual Art | St. Louis Public Radio

Visual Art

Indoor golf is coming to The Sheldon Art Galleries in summer 2018.
Provided | Scott MacLeod | Flickr

A St. Louis institution known for displaying paintings will temporarily change its focus to putt-putt next summer.

In June, all 6,000 square feet of The Sheldon Art Galleries will become a mini golf course.

Visitors can actually play the course, Sheldon Director Olivia Lahs-Gonzales said.

“Usually, you go into an art gallery and you’re not allowed to touch anything,” Lahs-Gonzales said. “This is an opportunity to be immersive, to have an immersive experience.”

One of 45 images selected for display at the organizations new space.
Willis Ryder Arnold | St. Louis Public Radio

While selecting images for the art show “On the Street Where I Live,” Amanda Verbeck of Pele Prints saw certain themes emerge in artists submissions: impermanence, restlessness, transition and instability.

She wants the show at Webster Arts to explore the places where people live and their relationships with their neighbors.

These photos were salvaged from a condemned home in the former Wendell-Phillips community in Kansas City.
Nancy Fowler | St. Louis Public Radio

Lois Conley was a teenager when her parents lost their Mill Creek neighborhood home to eminent domain. A portion of her former backyard became Market Street after the city leveled the area in the name of progress.

Conley is the founder of St. Louis' Griot Museum of Black History, which sits across the street from the site of the future National Geospacial-Intelligence Agency, in a demolished area that was part of the  St. Louis Place neighborhood.

Through Dec. 15, the north St. Louis museum is hosting an exhibition exploring how the government’s power to condemn mostly black neighborhoods has affected people in St. Louis and Kansas City. Conley and photographer Matt Rahner co-curated the display.

Conley talked with St. Louis Public Radio’s Nancy Fowler about the exhibition, “Eminent Domain/Displaced,” as well as her personal experiences of more than 50 years ago.

Reviews of top shows: at RAC and Mad Art

Oct 8, 2017

This article first appeared in the St. Louis Beacon: August 4, 2008 - If you missed the incredible opening of "Screwed In" -- and even if you saw it -- it's highly, highly recommended that you visit the exhibition, even though it's a completely different (and quieter) animal than it was on that opening night.

Sept. 30, 2017. Dail Chambers works on a piece called A Song for the Black Rising at the St.ART event in Forest Park. Chambers the piece examines repetition and and reflects the current Stockley verdict protests and the 20th-century Great Migration of
Nancy Fowler | St. Louis Public Radio

The two-day St.ART festival this weekend is billed as a street art event, but it takes places in parks, not streets.

It opened Saturday at Langenberg Field in Forest Park with local artists including Basil Kincaid, Cbabi Bayoc and Peat Wollaeger covering 8- by 10-foot canvasses with mostly black and white materials including paint, spray paint and quilted pieces.

The stark images represent deep divisions within the St. Louis community, said organizer Michael Tompkins.

“The segregation, not just in race, but also in the socioeconomic divide,” Tompkins said.

This file photo of painter Rey Alfonso shows him during a 2015 return visit to Matanzas, Cuba, where he was born and grew up.
Provided | Patricia Alfonso

When Cuban-born painter Rey Alfonso was 12, his mother died. The next year, he built a raft and set out alone for the United States, away from Fidel Castro's Cuba and all that was familiar.

It would be the first of many attempts to pursue a new life. After the raft sank a few miles off shore, the Cuban Coast Guard picked him up and sent back to his grandmother’s house. A few months later, he tried once more and again, his raft sank.

This is an image of late actor Eartha Kitt from "Angelitos Negros #1," a video by artist Mickalene Thomas.
Provided | Contemporary Art Museum

Many St. Louisans have been watching the Contemporary Art Museum closely since an exhibition last fall was viewed as offensive to black people, particularly women.

But an upcoming display could leave CAM visitors with a better impression. On Sept. 8, the museum opens four shows, including one featuring the work of Mickalene Thomas, an African-American multimedia artist.

Local art collector Adrienne Davis said Thomas’ images of black women stand in stark contrast to those of Kelley Walker, a white male artist whose Sept. 2016 exhibition outraged many visitors.

In this file photo: Antionette Carroll's Creative Reaction Labs works with students and oth
Provided | Creative Reaction Lab

St. Louis’ Arts and Education Council has announced the first recipients of a new startup competition for arts entrepreneurs. The winners are Antionette Carroll and Amanda Wells.

Carroll founded a group called Creative Reaction Lab, which uses design to meet the challenges of underrepresented communities. One project brought in professionals to teach students about creative problem-solving.

Wells organized the writers’ collaborative Flow that enables writers to work together and artists to work with writers.

A young woman stands before Edo Rosenblith's painting which is three black and white triangle panels linked to form a large triangle.
Provided by Daniel Burnett

Most people probably don’t think artists develop their exhibits by meeting for coffee, walking through the park, and talking. But that’s exactly how the Daniel Burnett-curated show, “Anchors,” came together. Burnett said his initial approach wasn’t about finding the biggest names in St. Louis, but finding out how artists might fit together to represent the visual art community.

You know what they say: You can’t spell Cut & Paste without “u.”

OK, go ahead: groan. We're groaning with you. We know that no one says that.

But seriously, we want to know what you want to hear in Cut & Paste, our arts and culture podcast. Not necessarily “who,” but what kinds of conversations and experiences do you want to be in on?

A print by Mitchell Eismont, cut from linoleum depicts noted physicist Albert Einstein above the words "Einstein was a refugee."
Courtesy of the St. Louis Artists' Guild

Ohio-based artist Mitchell Eismont’s interest in the ongoing Syrian refugee crisis developed while he was producing posters for East Coast musician Chadwick Stokes' “Forced to Flee” tour. Inspired by Stokes' dedication, Eismont began work on a series of prints supporting immigrants and refugees, featuring cultural figures like the Dalai Lama, Jesus and Albert Einstein.

“I think it’s probably the crisis of our generation,” Eismont said of the crisis, which stems from a long-running civil war. “I think it’s important to try and help with the situation.”

A 2016 New Haven, Connecticut, exhibition is seen in this file photo. It's called “As in the Light of Marielle” and involves the work of artists Faring Purth and Raven Fox and is similar to what they plan to show in St. Louis Friday night.
Provided | Faring Purth and Raven Fox

St. Louis drivers going north on Jefferson Avenue who pass Cherokee Street can’t miss the 100-foot long mural of a nearly-naked crouching woman, called “Prime.” On Friday night, it will be more visible than ever.

“Prime” will be lit up with different colors and adorned with projected photos, as part of a pop-up exhibition at 3401 South Jefferson Ave. called “The Other Girls.”

Kat Reynolds is pictured in a file photo of a self-portrait shown recently at The Militzer Art Gallery in St. Louis.
Provided | Kat Reynolds

Photographer Kat Reynolds is having a moment.

In the past few months, Reynolds has exhibited at five St. Louis venues. She was named this year’s Emerging Artist by the local Visionary Awards, a prize she’ll accept April 24 at the Sun Theater in Grand Center. She’s also wrapping up a residency program at Paul Artspace, north of Florissant. Her work primarily features young people of color, friends, people she encounters on the street, or people she finds through social media.

Reynolds works all these activities around a full-time customer relations job. In our latest Cut & Paste podcast, we catch up with this busy artist, who strives to genuinely connect with her subjects.

A recent show at the Contemporary Art Museum
Provided by the Contemporary Art Museum

The director of the largest art museum in the United States says during turbulent political times museums should stay faithful to their missions of unifying the country.

Thomas P. Campbell, director and CEO of The Metropolitan Museum of Art in New York is the featured guest tonight at the Contemporary Art Museum’s annual distinguished speaker event. In recent weeks, he has spoken against attacks on federal funding for the arts, writing "The Folly of Abolishing the NEA" for the New York Times.

Elizabeth Vega is on the front porch of Art House in this February 6, 2017 photo, talking about a child's chalk drawing on the bricks.
Nancy Fowler | St. Louis Public Radio

St. Louis artist and activist Elizabeth Vega spends a lot of time in her home.

It’s a place in north St. Louis known as Art House, that she bought in 2015. There, she provides space for sign-making and other activities related to protest actions. She also works with local children to create kites, collages and other art to help them process their feelings. Recently, she spent five days and nights at Art House without leaving. An ankle monitoring device kept her tethered to her home.

This file photo of the painting "Exasperation" by local artist Fabio Rodriguez depicts people in his home of the Domincan Republic desperate for essentials like food and water. It was cut from an art exhibition for being potentially disturbing.
Provided | Fabio Rodriguez

St. Louis-area artist Fabio Rodriguez was devastated when a very personal piece of his work was removed from an exhibition. But did that action rise to the level of censorship?

The Prime Beauty supply store sign that was salvaged from rubble after Ferguson related protests turned chaotic has been turned into a sculpture.
Provided by Bryce Robinson

In 2014 Ferguson resident Bryce Robinson had the surreal experience of watching from a distance as his hometown became the center of national media coverage. When then-police officer Darren Wilson killed Michael Brown, the city erupted in protest.

Robinson, 29, was teaching at Notre Dame during the protests and civil unrest that occurred after the shooting. He was struck by the largely chaotic and disaster-focused narrative carried on livestreams and traditional news coverage.

He hopes to remind people of the thriving community that lived through troubled times with an exhibit at the Kranzberg Arts Center gallery.

"The Way," by Alexander Liberman, seen in this file photo, is a made of steel oil tanks. While modern, it nods to many facets of ancient architecture.
Provided | Kevin J. Miyazaki

St. Louis sculpture fans can now have a hand in taking care of public art.

Laumeier Sculpture Park in Sunset Hills is asking individuals and groups to help maintain and preserve its displays with a new adoption program. Adoptions start at $25 a year.

At the lower level, contributors get their names on Laumeier’s website and an on-site digital wall. For $50, they receive an adoption paper and a color photo of their sculpture. At the top level of $500, they get a private tour of the park with the park’s executive director. All donations are tax-deductible.

"Verdict of the People" edited to include the phrase "Don't sent me to Washington" for use on the Change.org Petition
Provided by Ilene Berman

When the St. Louis Art Museum announced that George Caleb Bingham’s “Verdict of the People” would be sent to Washington, D.C. for the inauguration of President-Elect Donald Trump, local artist Ilene Berman took to Facebook to express her displeasure. She had plenty of company.

From Radar Home by Amy Reidel, an illustration by Fox Smith and a file photo of poet Treasure Shields Redmond
Provided and file photos

The art of activism weaved its way more deeply into the St. Louis arts scene in 2016.

In this year’s Cut & Paste arts and culture podcasts, we brought you conversations with performers, poets and visual video artists, inspired personal experiences and cultural issues.

Sarrita Hunn's Sarrita Hunn, "Art As...Library"  is a number of books attached at thier ends, spine up to the wall, was displayed at an earlier exhibit celebrating Temporary Art Review's fifth anniversary.
Provided by The Luminary

A St. Louis online arts journal that reaches local, national and international readers, is about to celebrate an important milestone.  James McAnally and Sarrita Hunn founded the Temporary Art Review in 2011. To celebrate its fifth anniversary, they’re publishing a limited edition book of writing from the site.  It may sound like esoteric art stuff, but as McAnally told Willis Ryder Arnold, there’s a lot at stake.

This collage of new RAC Fellows includes, clockwise, Agnes Wilcox, Jess Dugan and Robert McDonald Jr. and Damon Davis.
Provided and file photos

The Regional Arts Commission has chosen its 2016 Artists Fellows, who will each receive $20,000 checks to help with their work.

This is the fourth year RAC has presented the awards. Winning artists do not have to designate a specific project; they may use the money in any way that helps make their work possible.

The new group of 10 features literary, visual and performing artists, including a local performer who wants to spread his love of opera.

An uncooked egg sits in stone, the shell turned transluscent by white vinegar. Through it the yolk is visible.
Provided by the Catalina Ouyang

Catalina Ouyang’s sculptures are an amalgam of unexpected materials: a raw egg soaked in white vinegar, marble, fake bones, a printed copy of Italo Calvino’s book “Invisible Cities” and basketball shorts. 

Ouyang uses the objects to examine her Chinese-American identity and challenge social pressures placed on immigrants to conform to North American norms. She specifically aims to provoke questions about how society asks immigrants to assimilate into white culture.

She wants people to consider what for her is a consistent dilemma: “How to contend with what I call the aspirational fantasy of whiteness in what I think persists as an imperialist and colonialist power structure."

Provided by CAM

The Contemporary Art Museum St. Louis hopes its upcoming exhibit will help regain some of the public trust lost after the Kelley Walker exhibit spawned controversy this fall.

The new exhibit will feature four artists: photographer Deanna Lawson, visual artist Louis Cameron, figurative painter Nicola Tyson and muralist Katherine Bernhardt.

Although CAM planned the latest exhibits before the Walker exhibit opened, administrators want the show, which opens in January, to address some of the concerns people in St. Louis had about Walker's displays.

Visitors and area artists expressed outrage that CAM gave wall space to a white artist who they criticized for defacing images of black people — from civil-rights era photographs to an enlarged image of the rapper Trina on the cover of the culture magazine King.

Provided by the arts organization US Department of Arts and Culture

Arts leaders from around the country will gather in St. Louis this weekend to discuss new strategies for better integrating arts and social justice practices.

The Regional Arts Commission is working with a private arts organization that calls itself U.S. Department of Arts and Culture to produce the event titled Culture/Shift, which aims to help artists help promote arts and culture as a human right.

“It’s there in the UN Declaration of Human Rights. Yet that right is only as real as we make it," said Adam Horowitz, chief instigator of the arts and culture group. "It’s only as real as the resources we put to it and the way that we stand for it.”

Kahlil Irving, 24, hunches over a clay vessel as it spins on a wheel. He smooths the sides, with his face an inch or two away from the turning.
Willis Ryder Arnold | St. Louis Public Radio

Kahlil Irving sits down to the potter’s wheel in his studio, picks up an unfinished pot, the muddled grey of unfinished clay, and begins to turn the wheel. He knows the smooth pot will be glazed, fired, and pulled from the kiln, a deep, lustrous black. 

Irving will add the pot to a growing collection of more than 700 other black vases and vessels, which he’ll arrange into a 20-foot-long table-like platform for the grand opening of Bruno David Gallery in Clayton.  Like a demonstration blocking traffic, Irving’s sculpture manifests dissatisfaction with the systemic racism he sees throughout the art world and greater United States.  

“This is like an act of protest. This is a protest, but I’m not standing outside with picket signs and yelling at you,” said Irving. “I’m yelling at you through the monument of the work, I’m yelling at you through the monument of obstructing your time and space.”

10-27-2016: This detail from Edo Rosenblith's mural, "Supper Club," in the Techartista co-working building. shows the artist within his work.
Nancy Fowler | St. Louis Public Radio

You can almost hear the silverware clatter, the glasses clink and the generations clash as Thanksgiving approaches.

St. Louis artist Edo Rosenblith aims to capture the conviviality and chaos of the family dinner table — during holidays or not — in wall-sized mural, “Supper Club.” The 10-by-24 piece towers over work tables at the TechArtista co-working space in the Central West End (see image of full mural, below).

This fall 2016 photo shows the the back of the Smithey's container home with new sod and patio.
Provided | Zack Smithey

A proposed amendment to St. Charles' building codes would make shipping-container homes blend in with more typical houses in the city.

A new home on Elm Street sparked the debate that led to the regulations, introduced at Tuesday night’s City Council meeting. The amendment would require shipping-container homes to be fully sided and have a pitched roof.

A selection from Amy Reidel's "Radar Home: 11.8.13"
Willis Ryder Arnold

We’ve all been touched by cancer, through someone we love or admire, or even our own. Nearly 40 percent of us will be diagnosed with the disease in our lifetime.

Three years ago, St. Louis artist Amy Reidel found out her mother had cancer. Shortly after, first one aunt, then another, got a cancer diagnosis. In the middle of it all, Reidel’s grandmother died.

Visitors to the Contemporary Art Museum are now (Sept. 30, 2016) greeted by warning signs and a wall that went up in front of Kelley Walker's Direct Drive exhibit following criticism and outrage of the work.
File photo | Carolina Hidalgo | St. Louis Public Radio

Updated at 1:40 p.m. Oct. 10 — Chief curator Jeffrey Uslip is leaving St. Louis' Contemporary Art Museum for another institution.

Uslip's departure follows weeks of controversy over CAM's current solo exhibition by white artist Kelley Walker that some found demeaning to African-Americans. Three CAM employees and others had called the museum to remove Uslip shortly after the exhibition, "Direct Drive," opened Sept. 16.

In a news release, the Contemporary did not say where Uslip is going or whether he will remain in St. Louis.

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