St. Louis Art Capsules

Jessica Baran encapsulates the St. Louis art scene

Mark Newport: Self-Made Man Upending familiar caricatures from superpowers, spinsters and Mr. Moms to high and low art, this exhibit of limp, knitted comic-book-hero costumes marks the definitive end of the Bold Man of Action. Superman, Batman — they're all here, hanging like molted skins or discarded fruit rinds. While meticulously handcrafted, this collection of full-body woolens, emptied of form, is less suggestive of self-sufficiency than gentle dependency — that precious, humble concession necessary for maintaining family structure. Newport, then — seen in a video knitting (and wearing knitted suit) — could be super-normal, at ultimate peace with his domesticated role. The work speaks more to the truer root of the comic-book mythos, which was not about brawny power but the condition of being a misfit — socially dispossessed, precocious but alienated, scarred by trauma and hell-bent on being needed. In the loose musculature, flaccid ears and drooping emblems of Newport's pieces, comic-book luminaries are perhaps laid bare; having finally found human acceptance, they can be as vulnerable as they please. Through May 9 at Laumeier Sculpture Park, 12580 Rott Road, Sunset Hills; 314-615-5278 or www.laumeier.org. Hours: 10 a.m.-5 p.m. Tue.-Sat., noon-5 p.m. Sun. (Outdoor grounds open daily from 8 a.m. to a half-hour past sunset).

Philadelphia Wireman In the dense core of these tautly wound sculptures of wire and detritus lurk bits of crumpled McDonald's and Tastykake wrappers, nails, bolts, tape, a Christmas ornament, batteries, a single penny, a knot of thread and a charm that spells "star." The small pieces exude a kind of maniacal dedication to their self-authored craft — part-scavenging, part-bundling, fastidiously circled innumerable times with rounds of wire. Displayed upright like petite figures, they appear tribal, fetishistic or like reliquaries to the toss-away stuff of dailiness. Found on trash day in a Philadelphia alley in 1982, these anonymously made pieces — numbering 1,200 in total (20 are exhibited here) — deny all common senses of purpose, pleasure and nameable source. Rather, they're all immediacy and earnestness — the material manifestation of the mysterious compulsion that made them. Through April 31 at William Shearburn Gallery, 4735 McPherson Avenue; 314-367-8020 or www.shearburngallery.com. Hours: 10 a.m.-5 p.m. Tue.-Sat.

St. Louis Point of View UMSL's Public Policy Research Center Photography Project enlisted local community groups to document neighborhoods in photos, focusing on historic preservation, adult/youth enrichment and community revitalization. Culled from six years' worth of photographs, the resulting exhibit is nothing short of astonishing. Melva Taylor's Untitled (It Looks Like New York) depicts an angular corridor between high-rise housing complexes in JeffVanDerLou. Preshis Mosley turns a dislodged water fountain in a forlorn park off North Skinker Boulevard into No Water at All (What We Don't Like). Tanya Long captures Granite City's neglected downtown reflected in wavering glass. In After Keita and Sidibe: Ralph Tyler, Jenele Brooks poses a youth in the manner of mid-century African studio photography. One unsigned work, a self-portrait, consists of an image of the photographer's sole possession: a corduroy jacket. Again and again the "amateur" eye strips an environment of the usual aesthetic appeals and distills it to crucial essentials and unexpected details. Through August 22 at the Missouri History Museum, 5700 Lindell Boulevard; 314-746-4599 or www.mohistory.org. Hours: 10 a.m.-6 p.m. daily (open till 8 p.m. Tue.).

Urban Alchemy/Gordon Matta-Clark The late New York-area artist who used entire blighted buildings as his sculptural material could not have found a more apt (temporary) home. The architectural stock Matta-Clark repurposed finds innumerable analogues beyond the Pulitzer's walls; each instance serves as a brief visual lesson in the aesthetics of simple dwelling spaces. Like archaeological strata, the layers of linoleum, plaster, wood beams, shingles, wallpaper and paint attest to the intricacy of the quotidian and the accretive elegance of all things driven by necessity. The message seems to be: Look closely and let nothing be taken for granted. Beyond the diffusions of daylight so scrupulously choreographed by the museum's celebrated architecture, siting this survey in St. Louis does a service to both artist and city. Matta-Clark was an innovator in the synthesis of architecture, activism and art — a catalyst of exactly the sort this town could use. Through June 5 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.-4 p.m. Sat.

Yinka Shonibare: Mother and Father Worked Hard So I Can Play Placing his signature life-size mannequins, clothed in Dutch wax-printed cotton (otherwise known as "African print"), in the period rooms on the museum's lower level, the notable British-Nigerian conceptual artist re-illuminates these fossilized moments of material history with fresh paradoxes. It is not Shonibare's figures — child-size, eerily static...and guillotined — that are the focal curiosities here, but rather the cultural incoherence of the historic rooms they inhabit. You suddenly notice how the quintessential American, English and French living spaces here are in reality odd collections of cultural artifacts: an ancient Greek krater in a British country manor; Qing dynasty vases and a Russian carpet in a South Carolina parlor. Ethnic authenticity is a fallacy, it seems, and social status a mere material import — validated by stuff made or acquired from any place (and time) other than one's own. The installation's multicultural theme may feel tiredly familiar, but the exhibit succeeds in making its point fresh. Household furnishings never appeared more bizarre. Through July 5 at the Saint Louis Art Museum, 1 Fine Arts Drive (in Forest Park); 314-721-0072 or www.slam.org. Hours: 10 a.m.-5 p.m. Tue.-Sun. (open till 9 p.m. Fri.)

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