Over the past year, a number of apartment galleries, alternative exhibition spaces and new curatorial platforms have emerged out of the active St. Louis arts community. One of the most consistently lauded of these has been Los Caminos, a small but significant apartment gallery overlooking Cherokee Street.
“Analogue,” the new show at The Luminary Center for the Arts, calls attention to unattractive repercussions of progress with a Coke bottle filled with motor oil and shopping carts stuffed high with hollow space-filling structures.
In its first few months of existence, the St. Louis Arts Project has organized an impressive array of collaborators and events to come together for a four day art and music conference on June 16-19, 2011.
The 1954 Pruitt-Igoe housing project in St. Louis was an architectural and social disaster. I talked with artist Juan William Chávez about his less damning outlook on the history and fate of the Pruitt-Igoe site.
I first heard about Pig Slop Studios last summer when I ran into Rebecca Estee on Cherokee Street. She offered me cheap studio space because she, Zak Marmalefsky, and Chloe Bethany were about to have more than they knew what to do with.
A review of the current group exhibition, “Impossible Vacation,” at White Flag Projects, recorded by Sarrita Hunn and Ryan Thayer shortly after their second visit.
I recommend going alone to the new Craft Alliance on Grand, where recent MFA graduate Kristin Fleischmann’s work reflects upon what it means to feel united with something…and to feel apart.
I recently sat down at the Scottish Arms for a conversation with Dominic Molon, the newly installed Chief Curator at CAMSTL, to discuss his recent move from the Museum of Contemporary Art in Chicago (MCA), the mythology that develops around curators and, of course, the Velvet Underground.