Arny Nadler This exhibition of sketches and studies for the large-form sculpture series Beacons, which debuted this past fall at Philip Slein Gallery, reveals the material nuance and nearly domestic origins of these otherwise crude and imposing works. In their maquette state, the vessel forms of expertly welded steel resemble closed and unfillable vases, delicately painted a slate shade that appears half metallic and half earthen. The finished works, on the other hand, were larger than life and suggested a desire to endure hard weather, and possibly to serve as staunchly fortified refuges. To see the work in both scales underscores the way it reimagines the classic twentieth-century dichotomy of the industrial behemoth versus the minutiae of the human hand. Through May 24 at the Millstone Gallery at the Center of Creative Arts, 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. or by appointment.
Relation-Chute: Meditations on My Slaughter In this exhibit/sociological experiment, Asma Kazmi uses the slaughter of animals as an allegory for the broader pantheon of cruelty. Kazmi created an online database detailing in photos and written reflections her training in a method of slaughter prescribed by Islamic law, then invited visitors to respond to the material. The result consists mainly of wall-mounted texts and video of first-person reflections. While the show aims to lessen the distance between real-time occurrences and post-facto documents by creating a new experience altogether (i.e., that of viewing the show), it struggles to be more than a thorough research project. A palpable aesthetic sense — beyond narrative, research, TV monitor and laptop screen — seems to have been lost in the translation. The violence never escapes the realm of heady abstraction. Through May 16 at Boots Contemporary Art Space, 2307 Cherokee Street; 314-773-2281 or www.bootsart.com. Hours: noon-5 p.m. Wed. and Sat.
Relics of a Glorious Past: Imperial Russian Artifacts from the Collection of Dr. James F. Cooper This assemblage of orthodox icons and the daily stuff of royalty forms a two-part essay on lost cultural splendor and the bygone transcendent art object. Framed in gilt halos, pounded metal and semiprecious stones, the small tempera-on-wood devotional paintings exemplify an anonymous milieu in which studied replication was prized over innovation, and communion with the immaterial was the subject matter of choice. Similarly, the gold-rimmed teaspoons, military regalia and assorted decorative pieces from the show's secular portion involve such an engaged level of tactile detail that they could be considered devotionally crafted. The exhibit as a whole serves as a useful reference point for contemporary art's renewed interest in gold, which seems to signify a nostalgia for creative acts deemed sacred and authentic. Through December 20 at the Saint Louis University Museum of Art, 3663 Lindell Boulevard; 314-977-2666 or sluma.slu.edu. Hours: 11 a.m.-4 p.m. Wed.-Sun.