Andrew Wyatt surveys William E. Jones’s stunning video “Killed” currently on view at the St. Louis Art Museum.
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“Untitled I” is billed as the first collaboration between artists Mark Franchino and Jeremy Boyle, but I’m not sure how much the artists gain from their proximity to each other or even that they have best figured out how to collaborate.
In 2009, a couple released a gray, UFO shaped balloon from their Colorado home with their son supposedly hidden inside. In Jenny White’s installation at Red Space Gallery, the artist aims to convey the moments of embarrassment and anger resulting from the hoax.
Curator Jessica Baran conjures a productive disarray of domestic and found objects from St. Louis artists Gina Alvarez, John Early, Wonder Koch, and Peter Pranschke.
In “Baby and the Nacirema” at The Luggage Store, Michael Arcega ambitiously examines cross-cultural exchange through American icons, anthropology, and Manifest Destiny.
Working off of the statistical concept used to calculate the variation from an average point, “Standard Deviation” plays with the tension between the expected and the unexpected, encouraging viewers to take a closer look.
Leslie Hewitt knows how to do subtle. Such attention to detail offers clarity in some space between photography, film, history, and sculpture.
Kyle Wilson reviews John Houck’s ‘digital-op-art-nerds’ at Bill Brady’s expansive new Kansas City gallery.