St. Louis Art Capsules

Jessica Baran encapsulates the St. Louis art scene

Newly Reviewed
Dreamscapes This exhibit subtly trains the viewer to navigate the Pulitzer's inimitable space as though it were an exquisite dream recalled. De Chirico's Transformed Dream sets the stage: a train in the painting's high horizon line directing one to unforeseeable locales. Nearby sits a piece by Janet Cardiff: a black rotary phone you pick up to hear the voice of the artist relaying her dreams. A golden, recumbent Brancusi head rests on a plinth, while at the gallery's far end, Magritte's Invisible World hints at a watery vista beyond its French doors and the imposing gray stone that blocks them. Here is where you reach the hinge in this surreal sonnet: Arriving at the Pulitzer's water court, you see Magritte's stone in solid form: Scott Burton's Rock Settee, which overlooks the narrow, placid reflecting pool and a swath of city beyond. Only now do you pause to consider the multitude of portentous cues inhabiting the masterworks curator Francesca Herndon-Consagra has assembled, transforming the museum into a dreamlike tableau vivant. Highlights include Do Ho Suh's diaphanous fabric staircase to nowhere, two late, dark paintings by Philip Guston, an early suite of Max Klinger's Glove etchings and the nebulous Wolfgang Tillmans forestscape that marks the dream's end. (A series of programs exploring the exhibition's theme will unfold though the spring and summer, on Saturdays at 1 p.m.) Through August 13 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.

Saturday the Birds Fell from the Sky The End of Days will arrive in spectral hues straight out of Repo Man. So sayeth the local duo of Cameron Fuller and Travis Russell. A car patched together from cardboard, sporting a wood-grain motif, seems to have fallen, along with the birds of this exhibition's title, from somewhere lofty and dystopic, depositing a neon-colored faux oil spill at its point of impact. The gallery walls are papered with images of the gorgeously bombed-out buildings so familiar to St. Louisans, which loom not with menace but with punk impunity. No one here is pointing a finger at urban decay, but at those who fail to see its majesty. Faceted mock-Brancusi columns made of cardboard and painted black punctuate the space, their angularity echoed in trompe l'oeil "drawings" (made with tape) and in a cardboard nook tucked into a corner. In this grotto's black-lit inner sanctum, neon handprints and meaningless hieroglyphs aglow on the walls, it's nearly impossible not to experience the kind of heedless, unaffected happiness a childhood fort once brought. Think of this show as a diorama depicting joy's brazen revolt against lost youth and the world's imminent collapse. Through April 9 at Good Citizen Gallery, 2247 Gravois Avenue; 314-348-4587 or www.goodcitizenstl.com. Hours: noon-5 p.m. Fri.-Sat. and by appointment.

Ongoing
Brutal Truths Printmaker Tom Huck plumbs the dark night of America's soul via his back-roads hometown of Potosi. Filtered through Huck's pitiless gaze, pregnant strippers hustle, marauding hillbillies heedlessly brutalize, elderly couples curl contentedly into bed with the bones of several generations of pet dogs and spiritual and moral bankruptcy resound as the implied favorite T-shirt slogan. This survey of 40-odd prints from the virtuosic woodcutter's major series remind us how low our friends and neighbors can go. And how persistent Huck's skills are: Nobody does vomit, cows' brains, monstrous lawn ornaments and the grotesqueries of the unbridled democratic appetite better. Through April 17 at the Saint Louis University Museum of Art, 3663 Lindell Boulevard; 314-977-2666 or www.slu.edu/x16374.xml. Hours: 11 a.m.-4 p.m. Wed.-Sun.
Jana Harper and Gina Alvarez, Title Page, 2009, digital print, monoprint, collage and hand embellishment, 22 by 30 inches.
Jana Harper and Gina Alvarez, Title Page, 2009, digital print, monoprint, collage and hand embellishment, 22 by 30 inches.

Ghost: Elizabeth Peyton Like one of her closest forebears, Andy Warhol, Elizabeth Peyton made a name for herself as a noted barometer of ultra-contemporary culture painting diaphanous, unapologetically sentimental portraits of (in her case) '90s-era pop figures, from artists to musicians to gallerists and friends. Now Peyton serves as a marker of how rapidly trends age and of the unforeseeable patina they acquire in the process. In this first museum survey of the artist's print-based work, Ghost casts Peyton in a slightly new light as an inheritor of the deeply historical tradition of portraiture. While depictions of Eminem and Julian Casablancas, to name two, locate the work in the timeline of hype, those of Robert Mapplethorpe and Georgia O'Keefe widen and deepen the range of Peyton's amorous gaze. The technique of printmaking seems to complement her craft, drawing out the delicacy of her brushwork while, thanks to the medium's inherent reproductive element, underscoring the more conceptual aspect of her practice as a meditation on fame. Mass-produced icons can be intimately reclaimed alongside personal heroes and dear friends. This may not be entirely new "news," but in the sky-blue galleries it inhabits, Peyton's work appears dreamily revelatory, a timeless reflection on the past and the ghostlike traces culture leaves upon us. Through April 18 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.).

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