Jenna Bauer: As Everything Becomes One... These new paintings by St. Louis artist Bauer represent both a change in artistic gears and a coming together of forms and ideas that have long inhabited her work. Bauer is well known for her softly translucent, minimalist prints, which she relates to landscape features -- light, horizon lines and color. These bold oils foreground muscular gesture and earthy, rich tones in swirls of tumbling energy. Work: Light pitches the eye through a riotous tunnel of energetic brushstrokes and into a calm, distant patch of land. Morning Lea presents a thicket of icy blue and pink rooted in steely gray and black. These works connect earth and sky, energy and color, movement and stasis, and combine them all into a joyous multitonal statement. Through November 27 at Gallery Urbis Orbis, 419 North 10th Street; 314-406-5778. Gallery hours 11:30 a.m.-1:30 p.m. Tue.-Thu., noon-7 p.m. Fri., 11 a.m.-5 p.m. Sat.
Currents 92: Anna Kuperberg After earning her BFA at Washington University, Anna Kuperberg spent much of her time in south St. Louis, snapping images of neighborhood kids. These astonishing photos show the kids playing, crying or lost in their thoughts; they reveal moments of sheer joy, straight-faced seriousness and -- quite often -- disquieting ambiguity. Like street photographers of the 1950s and '60s, Kuperberg works the old-fashioned way, with a 35mm camera and without cropping the negative, which means it's all in her eye. And but for the stray contemporary logo, these photographs could have been made 50 years ago. Through November 28 at the Saint Louis Art Museum, 1 Fine Arts Drive; 314-721-0072. Gallery hours 10 a.m.-5 p.m. Tue.-Sun., 10 a.m.-9 p.m. Fri.
Teo González: Recent Explorations The sixteen paintings by this Spanish-born, Brooklyn, New York-based artist vary in dimension, but each features a similar format: a square grid of cell-like structures with dots of paint in each. What sounds so simple in description, however, is astonishingly complex in reality. Untitled #290 is a large, dazzling arrangement, with dots of gold paint in white cells, while the much smaller Untitled #336 features more densely arranged black dots against a stunning red grid pattern. Beyond color, there is the random accident in each piece that catches the eye -- each cell in each grid, and each dot in each cell, is handpainted, so what appears to be a general uniformity is actually, on closer inspection, complete irregularity. González's work is far from mere op art redux; it's intimate, gently insistent and not at all interested in visual game playing. Through December 4 at William Shearburn Gallery, 4735 McPherson Avenue; 314-367-8020. Gallery hours 10 a.m.-5:30 p.m. Tue.-Sat.
Hubblevision: New Sculptures New York-based Jill Viney has produced some startling hybrid forms that seem to morph undersea creatures with structures for exploring outer space. Drifter 2 (1999), Vigil 3 and Vigil 4 (both 2004) appear to float in the gallery like manned satellites, but their fiberglass skins look fleshy and organic. Out on the gallery's lawn, a multicolored fiberglass Dwelling (2004) invites you to enter its uncanny, bejeweled interior. Whether these things belong to this world or another is not altogether clear, but it is a world of wonder -- dreamlike, a little creepy and totally enchanting. Through January 15, 2005, at Gallery 210, TeleCommunity Center, UM-St. Louis, 1 University Boulevard (at Natural Bridge Road), Normandy; 314-516-5976. Gallery hours 11 a.m.-5 p.m. Tue.-Sat.
Image and Identity: Portraits by Philip Kwame Apagya, Samuel Fosso, Seydou Keita and Malick Sidibe The theme of identity in postcolonial Africa continues to be all the rage at art venues across the nation; this photography exhibition provides a fresh look at some lesser-known African artists. Viewers may be familiar with Keita's small, black-and-white images from the 1950s, but they look altogether new in the context of Apagya's large-scale, staged color scenes, such as After the Funeral (1998) and So What? (1996). Fosso's self-portraits as karate expert, businessman and pirate are disarming; Sidibe's snapshots from the 1960s and 1970s possess a fascinating, unscripted realism. Through January 8, 2005, at the Sheldon Art Galleries (Gallery of Photography), 3648 Washington Boulevard; 314-533-9900. Gallery hours noon-8 p.m. Tue. and Thu., noon-5 p.m. Wed. and Fri., 10 a.m.-2 p.m. Sat.
Chris Kahler: Recent Work Kahler's paintings have been popping up around town recently, but this is his first major exhibition since joining Elliot Smith earlier this year. This large concentration of his works affords a brilliant glimpse into the variety and the consistency of Kahler's visual language. The works examine dazzling fictional organic systems: floating tumors, cellular colonies and tendons that strain to connect them all. These magical forms bleed fluids that are tangerine, magenta, gray and lime-green in color; they appear to float in some primeval soup borrowed from the fantasies of Joan Miró. A stunning show. Also on view: Elaine Blatt's "Gay Pride Parade Series," fabulous photographs taken in Paris and London. Through November 27 at Elliot Smith Contemporary Art, 4729 McPherson Avenue; 314-361-4800. Gallery hours 10 a.m.-5:30 p.m. Tue.-Sat.
Keith Piper: Crusade British artist Piper had never been to St. Louis and was only vaguely aware of the Dred Scott case when the Contemporary invited him to town. It's a testament to his keen eye, intelligence and wit that he has put together one of the most striking artistic commentaries on St. Louis' complicity in the slave trade and the Underground Railroad. Using the crusade as a metaphor for Manifest Destiny, slavery, colonization and subjugation, Piper combines in stunning tableaux high-resolution moving images and digitally collaged photographs of the city and its surroundings. Also on view is New Video, New Europe, video works from 39 artists from Eastern Europe. Through November 21 at the Contemporary Art Museum St. Louis, 3750 Washington Boulevard; 314-535-4660. Gallery hours 10 a.m.-5 p.m. Tue.-Sat. (10 a.m.-7 p.m. Thu.), 11 a.m.- 4 p.m. Sun.
Showcase 3: St. Louis Photography and Video Invitational The last of a yearlong series of exhibitions to spotlight local artists is an uneven affair, with some odd juxtapositions and scattershot themes. Eric Shultis' Small Thoughts and Memories (2004) plants tiny male nude images under magnifying glasses and in daguerreotype frames in a haunting, surreal wall arrangement. It's a strong work, inviting quiet contemplation. But two frenetic video loops share its space: Nanette Boileau's "Arcade" and Van McElwee's "Modular Meander" (both 2004). Boileau's piece employs a video montage that corresponds nicely to Carol Crouppen's large Polaroids of mixed-media collages. Works by Nanette Hegamin, Susan Pittman, Jennifer Colten Schmidt and Eric Post are somewhat bland by comparison; they may as well belong to another exhibition altogether. Through February 12, 2005, at the Sheldon Art Galleries (Gallery of Photography), 3648 Washington Boulevard; 314-533-9900. Gallery hours noon-8 p.m. Tue. and Thu., noon-5 p.m. Wed. and Fri., 10 a.m.-2 p.m. Sat.
Wind Drawings: Chance Readings in Ink and Mixed Media Floyd Kenneth Stein maintains his Atelier ISLY in St. Louis and Copenhagen and exhibits his peculiar brand of art all over the world. His "Wind Drawings" are just that -- marks made by the wind as it moves a wooden drawing "arm" attached to a tree branch. The scratchy, jagged marks possess a surprising amount of calligraphic lyricism; taken as a whole, the effort recalls the Surrealist, "automatic" drawings of André Masson, or even John Cage's use of the I Ching to generate compositions. Stein's show contains original drawings on paper and vellum, as well as digital reprints on acrylic panes, which are numbered, signed and noted as to place of production. Through November 28 at Left Bank Books, 399 N. Euclid Avenue; 314-367-6731. Store hours 10 a.m.-10 p.m. Mon.-Sat., 11 a.m.-6 p.m. Sun. -- Ivy Cooper
