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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

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

Fashioning the Black Body

Wednesdays-Saturdays, 11 a.m.-5 p.m. Continues through May 4

For black Americans, dressing well was not merely a matter of fashion — it was necessary for survival. In the era of sundown towns and the Green Book, when black families took the highways of America they dressed to the nines to show white America that they were people of substance, respectable and decent and not going to start any trouble. As they did with many of the rules enforced upon them, these early Americans took what little was allowed to them and made it their own source of pride. Hats were cocked at rakish angles, colors were vibrant and cuts were cleaner and sharper than what white America wore. In time, black styles were appropriated by the mainstream. Again and again the cycle has repeated itself, moving from black subcultures to the malls and schoolyards of middle America. The art show Fashioning the Black Body explores the ways in which fashion defines and projects the black identity in a variety of media. Mickalene Thomas' silkscreen I've Been Good to Me shows a black woman adorned and surrounded by color and pattern in her home. Mario Moore's oil painting One Day in the Land of Milk and Honey depicts a black figure laying flat on the ground, beneath it a subway platform upon which mills a group of faceless people in identical hoodies. Fashioning the Black Body opens with a free reception from 5 to 8 p.m. Friday, March 15, at Projects+Gallery (4733 McPherson Avenue; www.projects-gallery.com). The show continues through May 4. free admission

Projects + Gallery (map)
4733 McPherson Ave
St. Louis - Central West End
phone 314-696-8678
Fashioning the Black Body

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

Christine Corday: Relative Points

Wednesdays-Sundays. Continues through April 21

Space is deep, to quote Hawkwind, and yet scientists believe all living creatures on Earth contain stellar elements within their genetic makeup. Artist Christine Corday explores this union of humans and the stars in her new exhibition Relative Points, which was commissioned by the Contemporary Art Museum St. Louis. Eleven of Corday's large sculptural forms, which are each made of more than 10,000 pounds of elemental metals and metalloid grit, will be arranged within the museum in a pattern of Corday's choosing. The sculptures, which resemble slightly squashed black marshmallows more than four feet high, are intended to be touched; they're essentially the same base elements as humans, after all. During the course of the exhibit, the shapes will change gradually from repeated contact and the inexorable force of universal gravitational attraction. You'll have your first opportunity to get close and personal with Corday's work at the opening reception, which takes place from 7 to 9 p.m. Friday, January 18, at Contemporary Art Museum St. Louis (3750 Washington Boulevard; www.camstl.org). Christine Corday: Relative Points remains fixed in space through April 21. free admission

Dreamgirls

Thursdays-Saturdays, 8 p.m. Continues through April 20

Inspired by the early careers of various Motown girl groups, Henry Krieger and Tom Eyen's Dreamgirls has become one of the most beloved musicals of the modern era. In it the Dreamettes, a young trio of singers from Chicago, attempts to jump-start their musical career by winning Amateur Night at the famous Apollo Theater in New York. Instead Effie, Deena and Lorrel find a manager in Curtis, who dreams of guiding a black group into the pop realm, where millions of dollars can be made with the right song, look and sound. As the Dreamettes work their way closer to stardom, they encounter jealousy, creative differences, love and betrayal. Stray Dog Theatre presents the sound sensation Dreamgirls at 8 p.m. Thursday through Saturday (April 4 to 20) at the Tower Grove Abbey (2336 Tennessee Avenue; www.straydogtheatre.org). There are two additional shows at 2 p.m. Sunday, April 14, and at 8 p.m. Wednesday, April 17. Tickets are $25 to $30. $25-$30

Tower Grove Abbey (map)
2336 Tennessee Ave.
St. Louis - South Grand
phone 314-865-1995
Dreamgirls

True West

Sundays, 3 p.m. and Thursdays-Saturdays, 8 p.m. Continues through April 28

Austin is holed up in his mother's house, working on his screenplay, when his older brother Lee shows up. The two have neither seen each other nor spoken in a few years. A film producer may be interested in Austin's script, maybe, but Lee keeps distracting his little brother from his work. Even worse, when the producer shows up, Lee talks up his own nonexistent script, and the producer shows immediate interest. The brothers' relationship is fraught at the best of times, but if Lee thinks he's going to horn in on Austin's big break, another intra-family murder may be added to their family tally. Sam Shepard's drama True West is about sibling rivalry, American men and American violence, particularly the violence practiced in the semi-mythical American West. St. Louis Actors' Studio presents True West at 8 p.m. Thursday through Saturday and 3 p.m. Sunday (April 12 to 28) at the Gaslight Theater (358 North Boyle Avenue; www.stlas.org). Tickets are $30 to $35. $30-$35

Never Let Go

April 18-20, 8 p.m.

James Cameron's blockbuster Titanic blended reality and fiction to create one of the greatest romances of cinema history. In the movie we see the elderly Rose Dawson remember the events leading up to that fateful night in the north Atlantic, and her tragic love for Jack Dawson. Will Bonfiglio and Lucy Cashion's new play Never Let Go picks up Rose's story 24 years after the sinking of the Titanic. Still grieving Jack, she's nevertheless pushing forward with her plan to become an Academy Award-winning actress. That's why Rose is here tonight, pitching her story to a team of possible investors and producers. As she recounts her tale, the lines between the past and present grow fuzzy. Rachel Tibbetts stars in the one-woman show Never Let Go. The play is performed at 8 p.m. Thursday to Saturday (April 18 to 20) at the Monocle (4510 Manchester Avenue; www.eratheatre.org) and 10 p.m. Friday and Saturday (April 26 and 27) at the Improv Shop (3960 Chouteau Avenue). Tickets are $15 to $20. $15-$20

The Monocle (map)
4510 Manchester Ave
St. Louis - The Grove
phone 314-935-7003
Never Let Go

A.Stigma.Tism by Victoria Donaldson

Thu., April 18, 4-8 p.m.
phone 314-776-9550
info@thedarkroomstl.com
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A.Stigma.Tism' By Victoria Donaldson, currently on display through April 18. Victoria’s work encompasses all she encounters whether it be portraits of her colleagues in the music industry, the sacred moments with family, or the smiles of children during travel to Ghana. Her range of palette and eye for detail allow the viewer to be still and feel the importance of stillness. A expansive collection of both color and black and white photographs, Donaldson’s work allows the spectator a glimpse of all the artist holds sacred with great impact. Free Event

https://www.facebook.com/events/357230908225271/
The Dark Room (map)
3610 Grandel Square
St. Louis - Grand Center
phone 314-776-9550

Flaming Guns of the Purple Sage

Thu., April 18, 7:30-9:30 p.m., Fri., April 19, 7:30-9:30 p.m., Sat., April 20, 7:30-9:30 p.m. and Sun., April 21, 2-4 p.m.
phone 314-984-7562
lmeyers38@stlcc.edu

Big 8, a former rodeo champ, struggling to keep the cowboy dream alive even as she faces foreclosure on her Wyoming ranch. But when a wild woman and her one-eyed outlaw biker boyfriend show up on her doorstep, Big 8 suddenly has bigger problems to worry about. The spaghetti Western mythos crashes head-on into B-movie insanity in this shoot ‘em up, knock ‘em up, cut ‘em up comic romp. Free

https://events.stlcc.edu/event/flaming_guns_of_the_purple_sage#.XFNxXFVKgh4
Meramec Theatre (map)
11333 Big Bend Blvd.
Kirkwood
phone 314-984-7562

Ceramic Centric and Accompanying Exhibitions

Tuesdays-Sundays, 10 a.m.-8 p.m. Continues through May 24
phone 636-255-0270
exhibitions@foundryartcentre.org
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The Foundry Art Centre is excited to present “Ceramic Centric”, a juried exhibition of thirty-three ceramic artists from twelve states, to the community this April 12, 2019. Local Artist and owner of The Reese Gallery, Ruth Reese, curated this exhibition that explores modern interpretations of the ceramic medium. Sculptural and utilitarian pieces alike will both amuse and awe viewers. Going Solo Award Winner from 2017 exhibition “Context II”, Elizabeth Conn, will be exhibiting her papier-mache sculptures in Gallery III. In the Ameristar Gallery, the Foundry Art Centre Studio Artists will have an exhibition of their artwork. Free

http://www.foundryartcentre.org/ceramic-centric
Buy Tickets
Foundry Art Centre (map)
520 N. Main Center
St. Charles
phone 636-255-0270

Fabric of Spring I

Wednesdays-Sundays, 10 a.m.-5 p.m. Continues through April 26
phone 314-402-1959
GreenDoorartgallery@aol.com

Green Door art gallery is proud to present “Fabric of Spring”. The Opening Reception will be Friday, March 22, from 5-8 pm and is free and open to the public. Featuring Gena Loseto with sensitive drawing and yupo watercolors, Alicia Farris’ watercolors, the sewn fabric paintings of Mary Beth Gray, Sandra Illian’s textural weavings and Michael Plurd’s modern calendar pin-ups. These painting will be available from March 6, 2019 thru April 26, 2019. Free

http://GreenDoorartgallery.com/events
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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