St. Louis Art Capsules

St. Louis Art Capsules Jessica Baran encapsulates the St. Louis art scene

 Newly Reviewed
Exposure 13 Concise and spare, this year's annual exhibition of notable local talent focuses on the work of Martin Brief, Joe Chesla and Asma Kazmi. Brief's pencil drawings trace the bare outlines of the entries on dictionary pages revealing empty shapes reminiscent of bar graphs or, perhaps floor plans. Joe Chesla's installation involves a gridwork of small plastic bags filled with water and affixed to a massive, transparent plastic sheet; the sheet is bound at its lower corners with rope, which peels the piece partially from the wall and toward the ceiling, revealing an underlayer of watery light. Asma Kazmi crafted several dozen clay pinch pots — or kashkol, hand-formed ceramic begging bowls — that rest on an unfinished pine table like a collection of autumn leaves or discarded half-shells. Taken together, the three artists amplify one another's interest in absence, resulting in a suite of frames for words, substances or currency that isn't there. Through December 4 at Gallery 210, TeleCommunity Center, University of Missouri-St. Louis, 1 University Boulevard (at Natural Bridge Road); 314-516-5976 or www.umsl.edu/~gallery. Gallery hours 11 a.m.-5 p.m. Tue.-Sat.

Asma Kazmi’s clay pinch pots in the Exposure 13 exhibit.
Asma Kazmi’s clay pinch pots in the Exposure 13 exhibit.

Smarter/Faster/Higher A clutch of wire-woven human forms crawl, run and gaze at their own images displayed on video screens in Elizabeth Keithline's site-specific installation. Wire-formed trees sprout from the hexagonal white tiles that carpet the areas on which the figural armatures pose. It's a skeletal world of reductive shapes and symbolic forms, suggesting a kind of Darwinian attrition from wildlife and infancy to the technocratic and ostensibly "adult." In this case maturity equals self-reflection, which is either an act of heightened consciousness or narcissism. Either way, whatever these characters discern in themselves must be yet one more reduction of humanity, like the hollow and de-gendered objects they are, despite their finely knotted nuance. Which is to say that this is one direly cynical diorama, lovingly handcrafted. Through January 16, 2011 at the Craft Alliance Gallery (Grand Center), 501 North Grand Boulevard; 314-534-7528 or www.craftalliance.org. Hours: noon-6 p.m. Wed.-Sat., noon-5 p.m. Sun.

Ongoing
Brandon Anschultz: Stick Around for Joy Compulsive exercises in the deconstruction of painting yield new forms of painterly pleasure in this year's Kranzberg exhibition, which features St. Louis-based painter, sculptor and printmaker Brandon Anschultz. Canvas is removed from the stretcher frame and wrapped into amorphous, folded sculptures; wall-hung canvases are flipped, revealing seeped-through imprints of paint; canvas is forgone altogether and replaced with fiberboard or plaster as the painting substrate, which then occasionally takes a sculptural shape; canvas is chewed into or severed in half by saw cuts. In the supreme act of creative desperation, piles of paintings on wood appear in a life-size bag after having been fed through a wood chipper. In challenging every method for taking apart and re-inventing the traditional parameters of painting, Anschultz illustrates both a capricious compendium of the medium's history and the peculiar plight of the artist at odds with his own expertise. An intense desire to unearth something both fundamental and fresh seems to lie at the heart of this exhibition. Whether that desire is fulfilled is not entirely the issue; rather, the rigorous and playful spirit that pervades the exhibit is its most rare discovery — and one made solely on the work's own terms. Through September 26 at Laumeier Sculpture Park, 12580 Rott Road, Sunset Hills; 314-821-1209 or www.laumeier.com. 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).

Crossing Paths A swarm of yellow-bellied finches pursues two gray foxes; a hippo is strangled by a python; a herd of deer is beset by predatory orangutans; a flock of black falcons pluck up a pack of warthogs. Brian Depauli executes this suite of large-scale landscape paintings, in which unlikely animal pairings confront one another on an otherwise placid field, with the kind of awkward expertise borne of prolonged intimacy with one's subject. Minute blades of grass and tufts of coarse fur articulate a world that's implausible without being a caricature, and oddly naturalistic without being anthropological. Nor is there any sustained sense of allegory for these strange spates of aggression, though the blue sky and hazy horizon line — steadfastly consistent from scene to scene — suggest that the subjects are secondary to more portentous weather. Coupled with Depauli's paintings is a series of small collages by Bevin Early. Tiny pedestrians, fastidiously cut from '60s- and '70s-era National Geographics, appear in mute isolation on single cubes of wood. Cubes dot the wall in a line, staggered like poetic stanzas; some bear images, others are blank. At the end of the line, in a corner alcove, the figures give way to cutouts of dappled light, producing an effect not unlike turning a corner and being struck by blinding sun. Like Depauli's vanishing distances, these works seem to murmur something about an alternative realm where more elemental states of being hold dominion, waxing far larger than their common lot as dismissible minutiae. Also showing — Nicole Stevens: Swelter, an installation in which a block of burnt candy melts on a plinth, keeping pace with the radical summer heat and perspiring passersby. Through October 2 at Snowflake/City Stock, 3156 Cherokee Street; www.snowflakecitystock.com. Hours: 11 a.m.-3 p.m. Sat.

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