Current Shows

Ivy Cooper encapsulates the St. Louis art scene

Inside Out Loud: Visualizing Women's Health in Contemporary Art Now that the hoopla is over -- the opening forum with its cast of art-world luminaries, the Todd Haynes Superstar screening that wasn't -- we can settle in and appreciate Inside Out Loud for what it is: the first exhibition devoted to images dealing with women's health. Smartly curated by Janine Mileaf of Swarthmore College, this broad (ha!) survey offers something of everything, from personal narratives about living with cancer (Hannah Wilke) to Orlan's cosmetic-surgery performances to cautionary agitprop by Gran Fury, Jenny Holzer and Barbara Kruger and beyond. This being the first exhibition of its kind, it tries to cover a lot of ground, and it largely succeeds. A watershed show that ought to engender plenty of interesting, perhaps more tightly focused exhibitions elsewhere. Through April 24 at the Mildred Lane Kemper Art Museum (in Steinberg Hall on the campus of Washington University), Forsyth & Skinker boulevards; 314-935-4523. Gallery hours 10 a.m.-4:30 p.m. Tue.-Thu., noon-4:30 p.m. Sat.-Sun.

Inventory Clearance Sale at Elliot Smith The news of this gallery's closing took everyone by surprise. Director Bruno David has been authorized to liquidate the inventory, much of which hasn't been displayed in years. The works for sale are mostly prints and some paintings, with nice pieces by Robert Indiana, Janet Fish and many others, as well as a patinated brass chair/sculpture by Jim Cole and an enormous, intriguing painting on canvas by Bill Hawk. Through mid-March at Elliot Smith Contemporary Art, 4729 MacPherson Avenue; 314-361-4800. Call for hours.

Material Terrain: A Sculptural Exploration of Landscape and Place Laumeier Sculpture Park is the ideal venue for this exhibition of work by eleven artists who explore the sometimes tenuous relationships between the constructed and the natural, the inside and the outside. The exhibition, curated by Carla M. Hanzal in conjunction with Laumeier for the International Arts & Artists, brings together works by some of the finest sculptors and installation artists working today, including Kendall Buster and Dennis Oppenheim, Donald Lipski, Roxy Paine, Ming Fay, James Surls, Michele Brody and Wendy Ross. Many of these artists have imported extraordinary, earthy stuff right into the galleries, while others have installed constructions in and among Laumeier's rolling terrain. Of the gallery works, Ursula von Rydingsvard's massive cedar Hej-Duk (2003) creates a dense, dignified presence, while Valeska Soares' 2002 steel Fainting Couch emits the sickly sweet scent of the lilies that are tucked into its frame. Outside, John Ruppert's absurdly scaled Aluminum Pumpkins (2004) enliven the winter landscape. Through May 15 at Laumeier Sculpture Park, 12580 Rott Road, Sunset Hills; 314-821-1209. Gallery hours 10 a.m.-5 p.m. Tue.-Sat., noon-5 p.m. Sun.

Needle Art: A Postmodern Sewing Circle If this exhibition has a pat, pre-fab feel, it's because it is. Organized by ExhibitsUSA, Needle Art is a family-friendly collection of about 50 artworks that engage (but rarely challenge) the category and practice of sewing. Still it's worth a visit, and a few of the pieces are great fun, such as Oriane Stender's Publisher's Clearing House God's Eye (1999) and the send-ups of iconic labor uniforms: Susan Magnus' Felt Dress #3425 (1995) riffs on Josef Beuys, while Erik Mortensen's untitled "social wear" (1996) evokes Russian Constructivist work outfits. And Madeline Nieto-Hope's tapestry, made of stripped bicycle tires, is remarkable. Through March 12 at Gallery 210, TeleCommunity Center, University of Missouri-St. Louis, 1 University Drive (at Natural Bridge Road), Normandy; 314-516-5976. Gallery hours 11 a.m.-5 p.m. Tue.-Sat.

Bea Nettles: Return Trips This is not an easy show to see if you are a mother, or have a mother, or are related in any way to a woman. But it's revelatory, charting the past and recent work of a woman who has seen a great deal and made eloquent art out of it. The recent pieces juxtapose three small photos with a larger one, in compositions that propose something grand about visual experience, visual incident and coincidence. The older pieces from the 1970s and '80s are books and prints from Nettles' projects with and about her daughter, her mother and herself. Terre Suhre has organized this exhibition with the extraordinary professionalism and sensitivity he consistently brings to his job as curator. Through April 23 at Gallery 210, TeleCommunity Center, UM-St. Louis, 1 University Boulevard (at Natural Bridge Road), Normandy; 314-516-5976. Gallery hours 11 a.m.-5 p.m. Tue.-Sat.

Perret and Le Corbusier: A Dialogue in Reinforced Concrete Who knew concrete could make for fascinating viewing? In the hands of architects Auguste Perret (1874-1954) and Le Corbusier (1887-1965), this most mundane of building materials is transformed into expressive, space-shaping form. The exhibition itself isn't particularly pretty or inviting, consisting primarily of a bunch of photographs, dense text panels, placards and even samples of the varieties of concrete these progressive architects employed (yes, there's more than one kind of concrete). But the photographs capture the marvelous forms and textures that Perret and his onetime apprentice, Le Corbusier, achieved in public and private buildings throughout the world. Perret's wonderful apartment building at 25 Bis Rue Franklin (1903-4) in Paris uses concrete to make the building's structural frame visually explicit, while in Le Corbusier's later works, such as the church at Ronchamp, France (1950-54), the concrete takes on a muscular malleability. These images will spark a new appreciation for the Sheldon's concrete neighbors, the Pulitzer and the Contemporary. Through April 16 at the Bernoudy Gallery of Architecture, Sheldon Art Galleries, 3648 Washington Boulevard; 314-533-9900. Gallery hours noon-8 p.m. Tue. and Thu., noon-5 p.m. Wed. and Fri. and 10 a.m.-2 p.m. Sat.

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