St. Louis Art Capsules

Jessica Baran encapsulates the St. Louis art scene

Newly Reviewed
Clint Baclawski/Caleb Taylor: Recent Works This luminous two-person exhibit of Santo Foundation grant winners, curated by Ashley Kopp, distills the forms, colors and motifs of advertising into an abstract language. Taylor's gouaches on paper obscure bright swaths of yellow, red and blue that resemble tangled flags hidden beneath the white of overcast skies. Baclawski's large-scale photographic light boxes are staggered on the gallery floor in a staccato maze of handsomely slick obstructions; the double-sided, mirrored scenes they portray are whitewashed by fluorescent light that gleams within, dimming and then intensifying the cold tones depicted: ski slope, urban winter, antiseptic gymnasium. Each locale is punctuated with consumerism — bag-toting crowds, national or corporate flags, the ubiquitous print of a corporate logo — the bold, primary palette of which finds an elegant analogue in Taylor's painterly works. At night the exhibit throbs with the after-hours glow of a commercial storefront, promising something unquantifiable to passers-by. Also showing: Neither Night and Day; Gabriel Slavitt's installation — prismatic painted pyramids, ceramic dishware, a chart of local birds, a video of daily commuting — sees a kind of ceremonial rite in the movement and signs of the everyday. Through June 6 at Snowflake/Citystock, 3156 Cherokee Street; www.snowflakecitystock.com. Hours: 11 a.m.-3 p.m. Sat.

Focus on Photography: Recent Acquisitions This exhibit of new additions to the Kemper's collection concisely and powerfully charts the development of photography from its early, documentary-inflected use to its transformation into a contemporary expressionistic medium. The sepia-toned historic portraits in Edward Curtis' North American Indian series presage the medium's impressionistic capacity, its subjects appearing less objectively culturally situated as romantically (and exotically) framed with a foreboding sense of nostalgia. A collection of 1970s and '80s-era Polaroids by Andy Warhol functions somewhat similarly: Lesser-known luminaries can be seen as instantaneously vulnerable and self-consciously postured. Christian Jankowski, who in 2005 photographed Washington University students at the annual campus poster sale, doubles this sense of photography's capacity to capture its own late-capitalist commodification as an image-making device. Artwork appears as both a witless and poised subject in Louise Lawler's Not Yet Titled (2004), wherein Gordon Matta-Clark's raw building fragment, Bingo, is institutionalized in the renovated galleries of New York's Museum of Modern Art. Finally, the photograph becomes an abstraction in itself in Wolfgang Tilman's Silver 71 (2008), ushering in an era in which photography is an artistic medium, nothing more and nothing less. Also showing: 2010 MFA Thesis Exhibition; this year's survey of graduate work includes notable pieces by John Early, Ryan Fabel, Joel Fullerton, Dani Kantrowitz and Mamie Korpela. Through July 26 at the Mildred Lane Kemper Art Museum, Forsyth & Skinker boulevards (on the campus of Washington University); 314-935-4523 or www.kemperartmuseum.wustl.edu. Hours: 11 a.m.-6 p.m. daily (closed Tue., open till 8 p.m. Fri.)

Ongoing
Barry Leibman: Mahler Suite This exhibit of collaged paintings by artist and former Left Bank Books co-owner Barry Leibman uses Mahler's final Ninth Symphony as its point of reflection. The musical piece, which straddled romanticism and the atonality of the burgeoning modern movement, is a study of a spirit divided. Similarly, Leibman's work seems at once to memorialize life's discarded ephemera — from swatches of floral fabric, prayer shawls, color samples and x-rays — and to underscore its temporality and potential to be lost. The work, in its piled, geometric textures, enacts this continual pendulum swing, mirroring the emotive arcs of Mahler's mercurial work in artwork distilled to its black-and-white essence. Through May 29 at the Sheldon Art Galleries, 3648 Washington Boulevard; 314-533-9900 or www.sheldonconcerthall.org. Hours: noon-8 p.m. Tue., noon-5 p.m. Wed.-Fri., 10 a.m.-2 p.m. Sat.

Cause + Time Minimalist in design, maximalist in content, this group exhibition explores the intersection of art and technology through work that records, transforms or reacts to the onslaught of the information age. Eric Souther's Digital Mandala is a stark black-and-white projection of densely intersecting lines; their ultimate, circular shape and accretive tangle are the result of informational excess, which elicits each projected mark as well as the buzzing din of half-mechanized sounds that permeate the exhibition space. Arnold Wedemeyer's two video "still lifes" — glacially slow time-lapse depictions of nearly mundane space — eerily capture the most subtle and suggestively digital changes in real objects over time. Andrew Cozzens' "growth" sculptures include a kind of canvas sling, through the bottom of which a ridge of wheatgrass sprouts; the grass will eventually turn toward the gallery's minimal light source — and, ultimately, die from lack of light. A work by David Bowen tracks the growth of an onion plant through a mechanized rendering device usually used for collecting scientific data. Another Souther work creates an abstracted visual space via search-engine data for the word "chair." Both nature and computer-driven science are marveled at here for their capacity to manipulate or be manipulated — a kind of aesthetic being found in the function of data collection or, even more simply, the mere compulsion to collect it. Through June 26 at the Luminary Center for the Arts, 4900 Reber Place; 314-807-5984 or www.theluminaryarts.com. Hours: noon-6 p.m. Wed.-Sat.

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