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Fri., June 21 and Sat., June 22

Arts & Theater This Weekend

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Schlafly's Art Outside

Fri., May 24, 5-10 p.m., Sat., May 25, 11 a.m.-10 p.m. and Sun., May 26, 11 a.m.-4 p.m.
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Way back in 2004, Schlafly's Art Outside started as a home-grown art festival full of local bands, local food and drink and local artists. Now it's in its sixteenth year, and everything remains the same. More than 65 artists who live within a 125-mile radius will be in tents on the parking lot in front of Schlafly Bottleworks (7260 Southwest Boulevard, Maplewood; www.schlafly.com), selling everything from William McKenney's scratch-built robots made from recycled materials to Sennit + Sauvage's handmade clothing and women's accessories. You'll find fine prints, ceramics, fine- and pop-art photography and even unkillable plants from the Happy Houseplant (they're made of felt). Local bands perform all three days, and Schlafly staff will be serving up select food and beer items right on the lot (the full menu is available inside). New this year is Schlafly's Uncaged Ale in cans, sales of which will benefit the Animal Protective Association of America. If your dog is friendly in large crowds, you can bring him along and get a "puppy pawtrait," made with his paws and non-toxic paint. Art Outside takes place from 5 to 10 p.m. Friday, 11 a.m. to 10 p.m. Saturday and 11 a.m. to 4 p.m. Sunday (May 24 to 26). Admission is free. free admission

Schlafly Bottleworks (map)
7260 Southwest Ave
Maplewood
phone 314-241-2337
Schlafly's Art Outside

Spring to Dance Festival

Fri., May 24, 5:30, 6 & 7:30 p.m. and Sat., May 25, 5:30, 6 & 7:30 p.m.

Dance St. Louis presents a smorgasbord of dance this weekend with the return of the Spring to Dance festival. More than 30 companies specializing in tap, ballet, contemporary and folk dance perform during the festival, which runs from Thursday to Saturday (May 23 to 25) at the Touhill Performing Arts Center on the University of Missouri-St. Louis campus (1 University Drive at Natural Bridge Road; www.touhill.org). Each night starts with a free half-hour show in the lobby, followed by a 6 p.m. set in the Lee Theatre (tickets are only $5). The evening is capped off with a 7:30 p.m. show in the Anheuser-Busch Performance Hall (tickets are $20 to $35). For the low price of $25, you can see a minimum of eleven companies each night — that's a bargain. $5-$30

Buy Tickets
Blanche M Touhill Performing Arts Center (map)
1 University Dr at Natural Bridge Road
North St. Louis County
phone 314-516-4949
Spring to Dance Festival

Rachel Whiteread

Fridays, 10 a.m.-9 p.m. and Tuesdays-Thursdays, Saturdays, Sundays, 10 a.m.-5 p.m. Continues through June 9

Rachel Whiteread emerged on the London art scene in the "cool Britannia" era of the late '80s and early '90s. The country was doing well financially and culturally, and people were ready to buy contemporary art made by contemporary British artists. Whiteread established herself as a leading light with her casts of everyday objects, which solidified the negative space in, under and/or around them in materials such as wax, plaster, concrete and resin. House, Whiteread's massive, freestanding concrete cast of the interior of an entire three-story Victorian house, earned her the prestigious Turner Prize in 1993, making her the first woman to win. Rachel Whiteread, the new exhibition at the Saint Louis Art Museum, is a retrospective of the artist's career that showcases 96 objects. They range from the small Untitled (Pink Torso), a voluptuous form of the inside of a hot water bottle cast in pink dental plaster, to the expansive Untitled (Twenty-Five Spaces), translucent resin casts of the underside of various chairs and stools arrayed on a game-board-like grid. The exhibit is on display Tuesday through Sunday (March 17 to June 9) at the Saint Louis Arts Museum (1 Fine Arts Drive; www.slam.org), and tickets are $6 to $12 (but free on Friday). $6-$12

Poetics of the Everyday: Amateur Photography 1890-1970

Fridays, 10 a.m.-9 p.m. and Tuesdays-Thursdays, Saturdays, Sundays, 10 a.m.-5 p.m. Continues through Aug. 25

Portable cameras democratized photography. Once anybody could carry a camera with them, photography became a hobby as well as an art. Poetics of the Everyday: Amateur Photography 1890-1970, the new exhibition at the Saint Louis Art Museum (1 Fine Arts Drive; www.slam.org), features 110 works by unknown moms and dads. They show children, landscapes, family gatherings and of course the family dog, with often unintentional effects such as the dreaded double exposure. Despite being made by strangers, the images of family vacations and candid shots have a familiarity that makes them universal. Poetics of the Everyday is on display in galleries 234 and 235 from Friday, April 26, to August 25. Admission is free. free admission

Currents 116: Oliver Laric

Fridays, 10 a.m.-9 p.m. and Tuesdays-Thursdays, Saturdays, Sundays, 10 a.m.-5 p.m. Continues through May 27

Austrian-born artist Oliver Laric creates work that explores image creation and repetition, which he displays on both the museum and gallery circuit and the online realm. For his new exhibition, Currents 116: Oliver Laric, he presents his video animation Betweenness, which features repurposed mushrooms, people, anime characters and some snippets of the CT scan of the Saint Louis Art Museum's mummy, Amen-Nestawy-Nakht, all morphing into animals. The cycle of looped video blurs all of these borrowed images together, which reveals their shared shapes and forms. Laric also sculpted his own version of Reclining Pan (long on display in the museum's gallery 236) using 3D scans of the original. He used the digital files to "print" sections of the sculpture in various materials on a 3D printer, which he then assembled. Currents 116: Oliver Laric is on display in galleries 249 and 250 from February 22 to May 27 at the Saint Louis Art Museum (1 Fine Arts Drive; www.slam.org). The museum is open Tuesday through Sunday, and admission is free. free admission

Counterpublic

Fridays, Saturdays, 11 a.m.-5 p.m. and Wednesdays, Thursdays, 12-5 p.m. Continues through July 13

St. Louis is a city of neighborhoods. Everyone in St. Louis has said that at some point; if there is a truth universally acknowledged in this town, it's that our many neighborhoods are our strength and civic identity. And yet, how many people in your neighborhood eat the same food, share the same values and dream the same dreams?

For James McAnally, who with his wife Brea is the cofounder of the Luminary, the neighborhood theory may be true, but it's not a unifying principal.

"William Gass wrote that 'the Midwest is a dissonance of parts and people,'" says McAnally, referencing the late St. Louis-based writer.

That idea is the inspiration for the Luminary's ambitious new project, Counterpublic. The three-month long artistic exploration of the many dissonances that inhabit a shared geographic area incorporates public art, installations, discussions and performances. The McAnallys and curator Katherine Simóne Reynolds chose their own home turf for this experiment: Cherokee Street, with all the many cultures and people who inhabit it.

"It's a complicated project and something that hasn't been done yet," McAnally says with just a hint of understatement. "This idea of the 'counterpublic,' it speaks to the idea [that] there are people who don't feel included in this community. A counterpublic is analogous to subculture. It comes out of queer culture and feminist writing. The framing that's most helpful for Counterpublic is that it's a public art festival, or a platform that is meant to activate the neighborhood."

McAnally is quick to note that Cherokee isn't simply one neighborhood. The street crosses through four different ones on official city maps — Tower Grove East, Benton Park West, Marine Villa and Gravois Park — as well as two different aldermanic wards.

"Cherokee is the Latinx community, it's majority African American, it's eclectic and diverse," explains McAnally. "What do all of these groups have to say to each other? How can we keep the neighborhood together? Counterpublic is meant to activate the neighborhood — all of it, every group."

To do so successfully, the McAnallys began by talking to representatives of each division and explaining the plan and seeking partnerships.

"It was important to us early on to involve the business community, the Latinx community, all of these groups," McAnally says. "We have twenty permanent exhibitions throughout the project, from both local and national artists who come from the cultures found in Cherokee. We invited several Indigenous artists — we call it 'Cherokee' casually, but what does that really mean?"

Counterpublic encompasses many parts, people and ideas, all coming together to facilitate a free exchange of ideas. The plan is for Counterpublic to be a triennial festival that moves to a new neighborhood with each new iteration, but it's not at all an attempt to pigeonhole or homogenize any community. The dissonance is vital, and in the case of the inaugural production, deeply personal for the McAnallys.

"Counterpublic is a chance to ask ourselves, 'How do these many different voices come together, and how do we maintain an equitable development?'" James asks, not all rhetorically. "'How do we account for difference, and dissent? And how do we continue to live alongside each other while disagreeing?'"

Counterpublic opens Saturday, April 13, with tours, talks and performances from 1 to 6 p.m. at the Luminary (2701 Cherokee Street; www.theluminaryarts.org). An opening-night party takes place from 8 to 11 p.m., with complimentary food from neighborhood restaurants, artist-designed galletas by Rodolfo Marron III and Diana's Bakery and live video and DJ performances. New installations, processions, performances and public programs will continue through July 13. The full schedule is available at www.counterpublic.us. free admission

The Luminary (map)
2701 Cherokee St
St. Louis - South City
phone 314-773-1533
Counterpublic

How We See: Materiality and Color

Through June 29, 10 a.m.-4 p.m.

Humans can perceive a wide palette of colors, but we don't see as many hues as nature contains. The limitations of human vision are stretched in the Laumeier Sculpture Park's new exhibition How We See: Materiality and Color. Six artists who combine modern art practices with a keen observation of the natural world explore the possibilities of color manipulation and perception. Claire Ashley's specially commissioned, large-scale inflatable Ruddy Udder Dance is painted in neon colors. Volunteers will get inside it and perform a series of choreographed routines that allow you to see how its various shades change with movement and daylight. Ann Lindberg's graphite-and-colored-pencil piece as though air could turn to honey features a closely packed array of thin lines of pure pigment that become subtly darker toward the bottom. From a distance those tints blend and fade, and the piece appears to have a more uniform golden hue. How We See opens with a free reception at 11 a.m. Saturday, March 2, at Laumeier's Aronson Fine Arts Center (12580 Rott Road, Sunset Hill; www.laumeier.org). The exhibit continues through June 29, and admission is free. free admission

Come From Away

Saturdays, 2 & 7:30 p.m. and Tuesdays-Fridays, 7:30 p.m. Continues through May 26

After the attacks on the World Trade Center and the Pentagon, air traffic was shut down. The planes in the air needed some place out of harm's way to land. Newfoundland is an island off the east coast of Canada, and it is definitely out of the way. When more than a dozen planes were diverted there and 7,000 confused, weary passengers disembarked, the population of the town instantly doubled. The locals had no problem welcoming strangers into their homes, feeding them and offering them comfort and a shoulder to cry on as the travelers processed what had happened. Newfoundlanders don't need a reason to sing, and with so many guests in town, the instruments came out. As the songs started, friendships were forged in the small town of Gander, Newfoundland. Irene Sankoff and David Hein's musical Come From Away is inspired by the true story of small-town kindness in the aftermath of fear and terror. The musical is performed at 7:30 p.m. Tuesday through Friday, 2 and 7:30 p.m. Saturday and 1 and 6:30 p.m. Sunday (May 14 to 26) at the Fox Theatre (527 North Grand Boulevard; www.fabulousfox.com). Tickets are $35 to $115.

$35-$115

Buy Tickets
The Fox Theatre (map)
527 N. Grand Blvd.
St. Louis - Grand Center
phone 314-534-1111
Come From Away

Striking Power: Iconoclasm in Ancient Egypt

Fridays, 10 a.m.-8 p.m. and Thursdays, Saturdays, Sundays, 10 a.m.-5 p.m. Continues through Aug. 11

In his sonnet "Ozymandias," Percy Bysshe Shelley describes the legs of an epic statue in the desert wastelands, its ruined face lying "half sunk" in the sand. The inscription on the pedestal reads, "My name is Ozymandias, King of Kings; Look on my Works, ye Mighty, and despair!" The poem is a meditation on time wearing away the memory of even the mightiest, and a reminder that death means forgetfulness. In truth, it may have been Ozymandias' successor who destroyed the statue upon assuming the title of pharaoh. Statues and memorial inscriptions held ritual power for the Egyptians, and it behooved the new ruler to sweep away all remnant of his or her predecessor. In the Pulitzer Arts Foundation's (3716 Washington Boulevard; www.pulitzerarts.org) new exhibition, Striking Power: Iconoclasm in Ancient Egypt, the legacies of the pharaohs Hatshepsut and Akhenaten are examined through almost 40 historical objects that are both defaced and whole. Memory and visual culture are intertwined, and the destruction of the latter can easily erase the former. Striking Power opens with a free reception from 6 to 9 p.m. Friday, March 22. The work remains on display through August 11. free admission

Pulitzer Arts Foundation (map)
3716 Washington Blvd.
St. Louis - Grand Center
phone 314-754-1850
Striking Power: Iconoclasm in Ancient Egypt

Jenna Bauer: The Respite Sequence

Fridays, Saturdays, 12-3 p.m. Continues through May 25

Responding to the complexity and anxiety of the past five years, artist Jenna Bauer embarked on a new collection of work, The Respite Sequence. Initially begun while caring for her father, the series started with oil paintings. From a distance they appear to be soft-edged landscapes; as you approach each piece, you notice the slashes of intersecting lines that criss-cross the surface. Is it the wind howling across the landscapes, or is the internal buzzing of a mind riven by stress, worry and fear reflected on the surface? Bauer's blurred paintings are accompanied by sound installations and some sculptural pieces. Jenna Bauer: The Respite Sequence opens with a free reception from 6 to 10 p.m. Friday, May 3, at Hoffman LaChance Contemporary (2713 Sutton Boulevard, Maplewood; www.hoffmanlachance.com). The exhibit continues through May 25. free admission

Hoffman LaChance Contemporary (map)
2713 Sutton Blvd.
Maplewood
phone 314-960-5322
Jenna Bauer: The Respite Sequence

Contemporary Art Museum St. Louis' Summer Exhibitions

Thursdays, Fridays, 10 a.m.-8 p.m. and Wednesdays, Saturdays, Sundays, 10 a.m.-5 p.m. Continues through Aug. 18

The Contemporary Art Museum St. Louis' summer exhibitions open at 7 p.m. Friday, May 17, and there are some heavy hitters involved. Lawrence Abu Hamdan is a finalist for this year's Turner Prize for his exhibition Earwitness Theatre (which CAM co-commissioned with several other institutions), which incorporates the artist's audio analysis of Saydnaya prison in Syria, site of numerous humanitarian abuses, a soundbooth and groups of objects Abu Hamdan uses as mnemonic devices to facilitate reenactments of crimes. Photographer Paul Mgapi Sepuya receives his first major museum survey thanks to CAM. Sepuya's images jumble and reorder the human body, while also revealing the mechanics of photography. Cameras are often a central figure in his work, while tripods, backdrops and lighting show up in his collages. Avoiding digital manipulation, Sepuya's work is about the importance of touch and contact, both between his subjects and his materials. Both shows remain on display at CAM (3750 Washington Boulevard; www.camstl.org) through August 18, and admission is free. free admission

Nina Simone: Four Women

Sundays, 3 p.m., Fridays, Saturdays, 8 p.m. and Thursdays, 7 p.m. Continues through June 2

In recent years, the mainstream media began reassessing the career and impact of musician Nina Simone, with documentaries exploring her personal life and rereleases of her works. Playwright Christina Ham knew there was more to Simone than her musicianship – after the bombing of the 16th Street Baptist Church and the assassination of Medgar Evers, Simone gave voice to the shared anger and outrage of the black community in her surprisingly jaunty song "Mississippi Goddamn." Ham's play Nina Simone: Four Women (inspired by Simone's namesake song about the plight of black women in a racist society) explores how the arts helped drive and inspire the civil rights moment, as well as the ways women were shunted to the side of that same movement. The Black Rep closes its season with Nina Simone: Four Women. Performances are at 7 p.m. Thursday, 8 p.m. Friday and Saturday and 3 p.m. Sunday (May 17 to June 2) at Washington University's Edison Theatre (6465 Forsyth Boulevard; www.theblackrep.org). Tickets are $15 to $45. $15-$45

Buy Tickets
Edison Theatre (map)
6445 Forsyth Blvd.
Clayton
phone 314-935-6543

Exit Laughing

Fri., May 24, 7:30-9:30 p.m., Sat., May 25, 7:30-9:30 p.m. and Sun., May 26, 2-4 p.m.
phone 314-921-5678

Join us for a single night in the lives of three middle-aged women who meet weekly for a game of cards. When their fourth player, Mary, passes away, the ladies borrow her ashes from the funeral parlor for one last game. Surprisingly Mary still has a lot to say and she unleashes it upon them through after-life messages and gifts - setting into motion a new path for her friends. This is a feel-good comedy that will appeal to anyone who is part of a group of old friends. $18-Adults, $16-Seniors/students, Call for group rates.

https://www.facebook.com/events/2206156766328237/
Buy Tickets
Florissant Civic Center (map)
Parker Road & Waterford Drive
Florissant
phone 314-921-5678

New Arrivals

Wednesdays-Sundays, 10 a.m.-5 p.m. Continues through June 28
phone 314-402-1959
GreenDoorartgallery@aol.com
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Green Door art gallery presents “New Arrivals”. Reception Friday, May 17, from 5-8 pm free and open to the public. Featuring New Originals Drawings by Mary Engelbreit, Terri Shay’s mixed media pieces, sensitive watercolor animals by Jan Helton, pastels by Amy Jamison and including 30 other artists. Available from May 1, thru June 28. 21 N. Gore, www.GreenDoorartgallerycom/events -314-402-1959 Free

http://www.greendoorartgallery.com/events.html
Green Door Art Gallery (map)
21 N. Gore Ave.
Webster Groves
phone 314-402-1959

Counterpublic

Wednesdays, Thursdays, 12-5 p.m. and Fridays, Saturdays, 11 a.m.-5 p.m. Continues through July 13
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The Luminary presents Counterpublic, a major new public art platform set to animate the everyday spaces of Cherokee Street with expansive artist commissions, performances, processions, and public programs from April 13th to July 13th, 2019. Counterpublic 2019 will bring groundbreaking contemporary art to the barbershops, bakeries, parks, and taquerias that anchor the Cherokee Street neighborhoods of South St. Louis. The project centers on a series of twenty-plus site-responsive commissions in venues as divergent as a tea shop, punk club, former sanctuary, Buddhist temple, Mexican panaderia, and community-organized park. Free and open to the public. Free

http://counterpublic.us
The Luminary (map)
2701 Cherokee St
St. Louis - South City
phone 314-773-1533
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