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X-WR-CALDESC:Events for Art in America Guide
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DTSTART;TZID=America/Halifax:20220909T180000
DTEND;TZID=America/Halifax:20230212T170000
DTSTAMP:20260622T124947
CREATED:20220823T191442Z
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SUMMARY:Mona Chalabi: Squeeze
DESCRIPTION:Data journalist\, illustrator\, and writer Mona Chalabi presents a large-scale\, site-specific exhibition on CAM’s Project Wall. Mona’s work is informed by statistics gathered on politics\, human rights\, demographics\, Covid infections\, climate change\, and many other topics—finding truth in numbers through her journalism\, and making that truth easier to digest through her illustrations. As the artist puts it\, “My job is to take a story and to zoom out and provide context for readers. And the thing that excites me about data is the scale of it. Data gives you a new frame of understanding.” For her exhibition at CAM\, Mona focuses on endangered species of plants and animals\, some of which are so close to extinction that every remaining member can fit on a New York subway car (if they squeeze). \nMona Chalabi (b. London\, 1987; lives and works in London) has published work in The New Yorker\, The New York Times\, The New York Review of Books\, New York Magazine\, The Guardian and many more. She has written for radio and TV including NPR\, Gimlet\, Netflix (The Fix)\, BBC (Is Britain Racist? Radio 4 and The Frankie Boyle Show)\, and National Geographic (Star Talk). As an illustrator her work has been commended by the Royal Statistical Society and has been exhibited at several galleries including the Tate\, The Design Museum\, and the House of Illustration. As a producer and presenter she is one half of the team that created the Emmy-nominated video series Vagina Dispatches. And she presented and produced the audio experiment Strange Bird. Before she became a journalist\, Mona worked with large data sets in jobs at the Bank of England\, Transparency International\, and the International Organization for Migration. She studied International Relations in Paris and studied Arabic in Jordan. \nMona Chalabi: Squeeze is organized for the Contemporary Art Museum St. Louis by Misa Jeffereis\, Associate Curator. \nThe exhibition is generously supported by the Whitaker Foundation\, and Nancy and Kenneth Kranzberg. \nImage: Mona Chalabi\, Endangered Species On A Train\, 2018. Source: IUCN Red List\, 2018. Courtesy the artist.
URL:https://artinamericaguide.com/event/mona-chalabi-squeeze/
LOCATION:Contemporary Art Museum St. Louis\, 3750 Washington Boulevard\, St. Louis\, MO\, 63108\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Contemporary Art Museum St. Louis":MAILTO:info@camstl.org
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SUMMARY:We didn’t ask permission\, we just did it…
DESCRIPTION:The exhibition We didn’t ask permission\, we just did it…\, guest curated by Manuela Paz and Christopher Rivera of Embajada\, revisits three seminal series of exhibitions in Puerto Rico\, from 2000 to 2016\, that ushered in an independent spirit of art making that is now prevalent in the region: M&M Proyectos’ PR invitationals\, organized by Michy Marxuach; the Gran Tropical Bienals\, founded by Pablo León de la Barra; and Cave-In\, initiated by Mike Egan. The original projects\, which took the form of idiosyncratic biennials\, happenings\, or interventions by artists working in an array of unconventional mediums and international in scope\, in part spurred the self-reliant gallery community flourishing in San Juan\, Puerto Rico today. The exhibition conveys the sense of the ambition\, collective action\, and self-sufficiency of the artist-makers in and from Puerto Rico\, despite infrastructural limitations. \nThe exhibition draws on the archives of each project\, following a timeline and featuring a selection of original artworks\, documentation\, and ephemera paired with recreated artworks commissioned for this exhibition. The presentation at CAM extends into multiple spaces of the museum\, including the Front Gallery\, Street Views\, an intervention in the café\, and a selection of sculptures in the courtyard. \nWe didn’t ask permission\, we just did it… is organized for the Contemporary Art Museum St. Louis by guest curators Manuela Paz and Christopher Rivera of Embajada\, San Juan. \nThe exhibition is generously supported in part by the Elizabeth Firestone Graham Foundation\, Whitaker Foundation\, Berezdivin Collection\, Bernard I. Lumpkin and Carmine D. Boccuzzi\, Nada and Michael Gray\, and Eric and Tamara Schimmel. Special thanks to Barrett Barrera Projects. Street Views is generously supported by the Whitaker Foundation. The artist talk is sponsored by the Robert Lehman Foundation. \nImage: Ignacio González Lang\, Open Mic. Fortaleza #302 (detail)\, 2000. Featured in M&M proyectos’ PR ‘00 Paréntesis en la Ciudad\, Artistic Director Michy Marxuach\, October 9–14\, 2000\, San Juan\, Puerto Rico. Courtesy the artist and Michy Marxuach.
URL:https://artinamericaguide.com/event/we-didnt-ask-permission-we-just-did-it/
LOCATION:Contemporary Art Museum St. Louis\, 3750 Washington Boulevard\, St. Louis\, MO\, 63108\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20220909T180000
DTEND;TZID=America/Halifax:20230212T170000
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CREATED:20220812T213323Z
LAST-MODIFIED:20220822T171040Z
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SUMMARY:Great Rivers Biennial 2022: Yowshien Kuo\, Yvonne Osei\, Jon Young
DESCRIPTION:The three artists selected for the tenth Great Rivers Biennial Arts Award Program\, Yowshien Kuo\, Yvonne Osei\, and Jon Young\, have proposed exhibitions that involve multi-component sculptures\, large-scale paintings\, and an immersive installation featuring video and photography. The award winners were chosen by a distinguished panel of jurors following individual studio visits with ten semi-finalists. More than 105 artists applied for the Great Rivers Biennial (GRB)\, a collaborative initiative between CAM and the Gateway Foundation designed to recognize artistic talent in the greater St. Louis metro area. Generously funded by the Gateway Foundation\, the GRB awards each artist with $20\,000 and a major exhibition in CAM’s main galleries. \nThe jurors—Carmen Hermo\, Associate Curator for the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art; Jen Liu\, a New York-based visual artist working in video\, painting\, dance performance\, and biomaterial; and Hamza Walker\, Director of LAXART\, a nonprofit art space in Los Angeles\, and adjunct professor at the School of Art Institute of Chicago—selected artists through each stage of the process. \nYowshien Kuo’s paintings feature glimmering candy-colored surfaces to mask haunting themes\, alluding to social trauma as a result of historical and contemporary narratives. The figures’ reactions to themselves and even the audience’s gaze intend to encourage viewers to confront potentially harmful cultural and social norms. The figures are intertwined with an environment that appears as a collage of reality and dreamscape\, often including visual artifacts that reveal the mood and intentions of the scene taking place. For his exhibition at CAM\, Kuo conveys these themes in new large-scale paintings with subtle installation elements to encourage contemplation and self-reflection. \nYvonne Osei’s multidisciplinary creative practice explores topics of beauty\, racism and colorism\, the authorship and ownership of history\, as well as the residual implications of colonialism in postcolonial West Africa and Western cultures. Through performance art\, engaging public spaces\, site-specific installations\, video\, photography\, garment construction\, and textile designs\, Osei’s work serves as a mouthpiece for generations that have been marginalized as she pushes against unilateral perspectives. The exhibition at CAM features an immersive photo-video installation that utilizes the language of clothing and textiles\, as well as the medium of time\, to reckon with past and ongoing racial atrocities in the United States. \nThrough wood\, sand\, and fabric sculptures\, Jon Young explores the development of language and signage of the American West. These works\, which he refers to as “waymarks\,” adopt historical symbols from Paleolithic cave paintings\, ancient Greek pottery\, and imagery found in Hollywood Westerns and Looney Tunes cartoons. Young’s work investigates and collapses layers of time and signifiers\, particularly relating to the Romanticism of the West. The artist characterizes his practice as attempting “to make a map using fluctuating symbols\, to get back to a home that hasn’t existed for a very long time or for so long that you question if it existed at all.” \nGreat Rivers Biennial 2022 is organized for the Contemporary Art Museum St. Louis by Wassan Al-Khudhairi\, Chief Curator. \n\nThe Great Rivers Biennial is made possible by the Gateway Foundation. \nImage: Yowshien Kuo\, Two Right Feet\, Snake Eyes and Cherry Pie\, 2022. Acrylic\, bone ash\, chalk\, synthetic fibers\, iridescent pigment\, plastic\, and glitter on canvas\, 46 x 70 inches. Courtesy the artist and Luce Gallery\, Torino\, Italy.
URL:https://artinamericaguide.com/event/great-rivers-biennial-2022-yowshien-kuo-yvonne-osei-jon-young/
LOCATION:Contemporary Art Museum St. Louis\, 3750 Washington Boulevard\, St. Louis\, MO\, 63108\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Contemporary Art Museum St. Louis":MAILTO:info@camstl.org
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