St. Louis Art Capsules

Jessica Baran encapsulates the St. Louis arts scene

Opening
Joel Meyerowitz, Vintage/Modern: Color Work 1976-2008 Reviewed in this issue.

Ongoing
Jill Downen: Hard Hat Optional A hybrid of supple and severe forms, this installation of pristine plaster shapes and construction-grade pine resembles a studio work in progress or the foundational disarray of a building site. Bright white half-figural shapes sit on freshly assembled crates; two-by-fours bolted into the gallery wall project into the space what could be the initial framework for a ceiling. Sandbags sag, fiberboard leans, molded objects pucker and dimple — dialectics, here, abound: between the body and buildings, order and disorder, the newly made and the softly aged. Standing amid the piece, the viewer is invited into a game of visual volleying of apparently — but perhaps not absolutely — widely suggestive oppositional tensions. Also showing: Chris Rubin de la Borbolla: there was a silent tinfoil rapping against the front door and Brett Williams: Things You Will See. Through May 9 at Bruno David Gallery, 3721 Washington Boulevard; 314-531-3030 or www.brunodavidgallery.com. Hours: 10 a.m.-5 p.m. Wed.-Sat., noon the first Sun. of every month and by appointment.

American Interiors: Photographs by David R. Hanlon These oblique photographs of unpopulated interiors capture the peculiar poetics of immemorial interior spaces occupied by the spirit of waiting rooms during off-hours. Hotel lobbies, hotel rooms, conference quarters and assorted landings — while each space is viewed as though through a peripheral glance, the photographs themselves are pieces of meticulous and exquisite craft. The series forms an observational catalogue of mass-fabricated materials — Roll-A-Tex, doily-patterned bed shams, paisley wallpaper trim and matching wall-to-wall carpet — forlorn in its lack of history. Yet each discrete image suggests vague cinematic potential — as though some daily but resonant drama just occurred or is about to, illuminated by office-grade fluorescence or the sober light of day. Through May 23 at the Sheldon Art Galleries, 3648 Washington Boulevard; 314-533-9900 or www.thesheldon.org. Hours: noon-8 p.m. Tue., noon-5 p.m. Wed.-Fri., 10 a.m.-2 p.m. Sat.

Tony Fitzpatrick: The City Etchings 1993-2003 This series of line renderings of imaginary cartoon icons haloed, Virgin of Guadalupe-style, in carnivalesque heaps of urban artifacts has the intimate, serial quality of daily entries in a notebook and the imagistic content of an illuminated manuscript drawn by a dime-store comic-book artist. With its raw emotional breadth, the work, which negotiates the passing of Fitzpatrick's father, defies this Chicago-born artist's tough-guy persona. The specter of Philip Guston looms large here, manifested in a spirit of wryly internalized loss, Piero della Francesca compositions, and the form of tragicomic characters like hooded Klansmen and blank De Chirico-esque faces. Fitzpatrick adds to this surreal cast with representative symbols of a personally fabled Chicagoland — teetering skyscrapers, water towers and tangles of train track — and that region's immigrant, working-class Catholicism and weather-worn survivalism. Hands clasped in prayer and wrapped in barbed wire float above a clip-art goose or a weeping robot against a shallow backdrop of iron bridges and piled brick. Despite the proliferation of imagistic references, the cumulative effect is honorific, nostalgic and ultimately Fitzpatrick's: a small riffraff world trying to hustle away the irrevocable with the eternal promise of art. Through May 23 at Gallery 210, TeleCommunity Center, University of Missouri-St. Louis, 1 University Drive (at Natural Bridge Road); 314-516-5976 or www.umsl.edu/~gallery. Hours: 11 a.m.-5 p.m. Tue.-Sat.

Ideal (Dis-) Placements: Old Masters at the Pulitzer This exhibition of canonical canvases of slain martyrs, pious virgins and other grand dilemmas borrowed from two encyclopedic museums and replaced in naturally lit contemporary galleries is a reaffirmation of the human scale. The minimalism of Tadao Ando's building design is diffused by ornate, gilt-framed compositions that date from the fourteenth to the eighteenth century, the two historical extremes meeting precisely at the fragile effects of daylight on the predominantly figural pieces. Contemplative and reverent, the show fulfills its premise so well that it seems capable of providing a discretely intimate experience for each and every viewer. Through June 20 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.

In Sight: Selections from the Collection This is not your usual survey of canonical oldies from the gloves-only archive. Curator Kim Humphries' energetic curiosity breathes new life into this exhibition of rarely seen sculpture, video, printed ephemera and then some from Laumeier Sculpture Park's permanent collection. What's revealed is not merely the collection's impressive breadth — one example: Laumeier is home to the full six-edition set of William Copley's S.M.S. (Shit Must Stop) series of mini, handcrafted group shows distributed by mail in the 1960s — but its curators' acknowledgement of the presence of the comic and the bizarre in the ostensibly lofty "creative process." Highlights include the "sacrificial anode" that keeps Michael Heizer's Compression Line alive, a Wal-Mart receipt detailing the assorted materials purchased for a piece entitled White Flight and Violent Incident — Man/Woman, a Bruce Nauman video wherein a prim dinner date almost instantaneously devolves from civility to hair-grabbing, ass-pinching and fork-stabbing. Through May 10 at Laumeier Sculpture Park, 12580 Rott Road, Sunset Hills; 314-821-1209 or www.laumeier.com. Hours: 10 a.m.-5 p.m. Tue.-Fri., noon-5 p.m. Sat.-Sun. (Outdoor grounds open daily from 8 a.m. to sunset; the gallery is closed on Thursday, May 7.)

1
 
2
 
All
 
Next Page »
 
My Voice Nation Help
0 comments
Sort: Newest | Oldest
 
Loading...