St. Louis Art Capsules

Malcolm Gay encapsulates the St. Louis arts scene

Discerning Palette: Jerry O. Wilkerson Retrospective Like many of his contemporaries in the pop art movement, Jerry Wilkerson, who died of cancer in 2007, took his inspiration from the world of consumer goods. Painting in a neo-pointillist style that was more influenced by the technological world of printing than the ghost of George Seurat, Wilkerson tackled consumer culture in the most literal way. He painted that thing we consume directly: food. Boiled lobsters, hot dogs, potato chips. Wilkerson did not confine himself strictly to painting. He was also a sculptor whose three-dimensional creations tackled similar themes. Like the best pop art, the relationship of Wilkerson's work to the material consumer world is ambiguous: It celebrates the riot of product variety while simultaneously highlighting its disposable nature. Through August 15 at the Saint Louis University Museum of Art, 3663 Lindell Boulevard; 314-977-2666 or www.slu.edu/x16374.xml. Hours: 11 a.m.-4 p.m. Wed.-Sun.

FastX2 Take your time here, bro: If a baboon and a crocodile were to meet in a death match on the beach, which would win? Need more information? Well, you won't find out who prevails in this epic battle of beasts, but you'll get an addled sense of the fight in the work of Fontbonne University painting student Brian DePauli. DePauli, whose oeuvre includes such works as Ninja Goose (goose battling fox) and Throw, Bite, Throw (a triptych of intergenerational bovine struggle), is part of White Flag Project's second annual FastX2, a juried exhibition of undergrads and grad students at St. Louis area colleges and universities. The show also features photographs by SIU-Carbondale's John David Corson and Webster's Mandie Steiling. Washington University's Jake Cruzen, an installation artist, and Ian Weaver, a painter, also made the cut. Through June 21 at White Flag Projects, 4568 Manchester Avenue; www.whiteflagprojects.org or 314-531-3442. Hours: noon-7 p.m. Wed., noon-5 p.m. Sat. and by appointment.

Dan Flavin: Constructed Light Limiting his palette to mass-produced fluorescent tubes of varying lengths and colors, Dan Flavin, who died in 1996, made a career distilling these ubiquitous artifacts of bureaucratic life into their purest form. The result: a body of reserved, minimalist work that at once extracts these relics from their workaday commercial context and reformulates the sites they inhabit with their refulgent glow. As installations, many of Flavin's works are site specific, leaving the stewards of his estate with the thorny question of whether in re-creating his works they are, in effect, creating new works of art. For this show, Tiffany Bell, director of the Dan Flavin catalogue raisonné project, and Steve Morse, who worked as Flavin's chief technician for many years, have chosen several works that rely more on architectural situations than on specific sites. The result is a meditative show that both accentuates and quarrels with the natural grace of their setting. Through October 4 at the Pulitzer Foundation for the Arts, 3716 Washington Boulevard; 314-754-1850 or www.pulitzerarts.org. Hours: noon-5 p.m. Wed., 10 a.m.-5 p.m. Sat.

Hello Masterpiece Like some garden gnome swiped from Ladue and taken on a whirlwind European tour, Hello Kitty seems to be everywhere in this exhibit of postcard-size paintings by Leslie Holt. But unlike a gnome-napper whose abductees turn up in snapshots beside the Eiffel Tower or Buckingham Palace, Holt interpolates Hello Kitty into miniature reproductions of some of the most iconic images in the history of Western art. Here Kitty nabs Heraclitus' seat in Raphael's School of Athens. There she's standing en pointe in Degas' Dance Class. It's a clever little show that's a mash-up of highbrow and popular culture and that directs our attention, yet again, toward the idea of art as a commodity. The operative word here, though, is little: At four by six inches apiece, Holt's paintings refuse to take themselves too seriously. Through June 21 at phd Gallery, 2300 Cherokee Street; 314-664-6644 or www.phdstl.com. Hours: noon-4 p.m. Thu.-Sun.

Journeys Traveling in the United States, Europe and North Africa, for most of his life St. Louisan Peter Shank has been interpreting his journeys in oil paint. The title, then, of his current exhibition, which draws on more than four decades of painting experience, is fitting. Spanning from his days as a student at Yale to a stint in Paris and the Arab-dominated regions of North Africa, Shank's paintings show a remarkable consistency of technique. Consistency, however, does not translate into uniformity. Many of the paintings are reminiscent of the pre-surrealist painter Giorgio de Chirico, incorporating such disparate images as a fish over a house topped by a mountain range. Many incorporate collage, while still others present simplified landscapes or nude portraits. Shank's range as an artist is hardly surprising. As the son of modernist architect Isadore Shank and famed illustrator Ilse Shank, he's one of three brothers, all of whom are artists. What is surprising is the scope of the show (more than 40 works) and the unmistakable impression it gives that an artist's vision, no matter the time and place, can remain intact while, simultaneously, it matures. Through June 20 at the Millstone Gallery at COCA, 524 Trinity Avenue, University City; 314-725-6555 or www.cocastl.org. Hours: 10 a.m.-5 p.m. Mon.-Fri., noon-5 p.m. Sat.-Sun.

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