Current Shows

Ivy Cooper encapsulates the St. Louis art scene

Cindy Sherman: Working Girl and Girls' Night Out Kudos to the Contemporary: Rather than simply play host to a great touring photography show (Girls' Night Out), the museum has paired that exhibition with a selection of Cindy Sherman's works. Not the (now overly familiar) Untitled Film Stills, and not her more recent self-portraits-with-prostheses, but some very early works -- photobooth things and cut-out images and portraits that retain a weak but recognizable link to her later work. Setting the video and photography of the next generation of "girls" against the backdrop of the most influential female photographer of the twentieth century gently poses questions without making overbearing genealogical claims. After a tour of Sherman's material, the work in Girls' Night Out (by Sarah Jones, Daniela Rossell, Shirana Shahbazi, Katy Grannan, Kelly Nipper, Salla Tykkä, Dorit Cypis, Elina Brotherus, Reneke Dijkstra and Eija Liisa Ahtila) takes on added dimensions of meaning -- and pleasure. Through December 31 at the Contemporary Art Museum St. Louis, 3750 Washington Boulevard; 314-535-4660. Gallery hours 10 a.m.-5 p.m. Tue.-Sat. (open till 8 p.m. Thu.), 11 a.m.-4 p.m. Sun.

Katy Stone/Jeanine Coupe Ryding/Avery Danziger The Atrium Gallery has relocated from Clayton to Elliot Smith's former space in the Central West End, but this inaugural exhibition indicates that it will remain true to form, featuring slick, unchallenging art with commercial appeal. Seattle-based Stone works with acrylic paint on transparent Dura-Lar cutouts, creating wall hangings that look pretty in the gallery's big front window (and that would fit nicely with Target's home-décor line). Ryding's wood-block prints employ layers of imagery but lack emotional depth. "Water Babies," Danziger's series of large, color-saturated photographs, explores the overlooked aesthetic of super-soft art porn, featuring naked sisters frolicking at night in a swimming pool; it could use more art, more porn, or both. Through November 27 at Atrium Gallery, 4729 McPherson Avenue; 314-367-1076. Gallery hours 10 a.m.-6 p.m., Tue.-Sat., noon-4 p.m. Sun.

Kimiko Yoshida: Birth of a Geisha Juxtaposed against the Contemporary's Cindy Sherman show (see above), this exhibition poses some interesting questions. Yoshida's large, laminated C-print bride self-portraits obviously align themselves with the Japanese tradition of ritual dressing of the geisha and the bride. At the same time, it's hard to imagine these photographs would ever have been made without Sherman's precedent. Her role-playing self-portraiture has so profoundly imprinted itself upon contemporary photographic practice, it's tempting to read most of the genre in terms of its relation to Sherman's work. Yet Yoshida's works have plenty to distinguish them: Each of these sixteen images glows in its own saturated color, and her stunning bridal props range from Pokémon masks to feather headdresses to white afro wigs. Yoshida offers herself up as a free-floating cultural signifier -- one part of her rooted in the controlled Japanese geisha aesthetic, another exploring cultural practices in Africa, Asia, Brazil and the U.S. And where Sherman's recent works are willfully repulsive, Yoshida's are lovely, if quite strange. Also on view is a video projection piece, Birth of a Geisha. Through November 26 at Ellen Curlee Gallery, 1308A Washington Avenue; 314-241-1209. Gallery hours 11 a.m.-6 p.m. Tue.-Sat. -- Ivy Cooper

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