Search results for ""Contemporary Art Museum St Louis""

Hovering in the space between sculpture and painting, the work of New York–based Wyatt Kahn (born 1983) reinvigorates the legacy of minimalism. His large-scale paintings collapse figuration and abstraction, encapsulate dynamic energy into geometric form and embrace imperfections and raw surfaces in an entirely human way. Wyatt Kahn: Object Paintings features work from Kahn’s first solo museum exhibition at the Contemporary Art Museum St. Louis. With an essay by scholar Robert Slifkin, the book also includes an interview between the artist and exhibition curator Jeffrey Uslip. Slifkin places Kahn in a “vitalist tradition of modernism” that includes Ad Reinhardt, Frank Stella and Donald Judd. But in contrast to those more pristine artists, Kahn allows imperfection in his work. “Every part of my work is made by my hand, which is a flawed hand,” he tells Uslip, “I embrace my natural flaws, and that vulnerability becomes empowerment.”

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A monumental installation from the American artist known for her fusion of art and science This book accompanies New York–based artist Christine Corday's (born 1970) site-specific installation at CAM St. Louis. Corday's 12 monumental sculptures—made from 10,000 pounds of compressed elemental metal—are arranged throughout the gallery in constellations, exhibited alongside a painting series.

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When curators at Saint Louis's Contemporary Art Museum asked Cindy Sherman whether there was a moment in her career whose resonance might be underappreciated, one around which she might like to develop an exhibit and a book, she selected her earliest adult creative years, beginning while she was still a student at Buffalo State College in the mid-1970s. Working Girl is full of rarely seen pieces, and it features, for the first time, documentation of and stills from Sherman's 1975 animated short Doll Clothes, which is among the pieces that bring Sherman's early exploration of gender and identity into focus. The mostly small-scale work, including many early black-and-white, hand-colored, and sepia-toned photographs, is culled primarily from the artist's family members' collections and her own, and includes the pieces that laid the groundwork for her first major success, the acclaimed Film Stills series. Working Girl is a unique glimpse into the early development of Sherman's artistic practice, and into the genesis of her inimitable substance and style. It illuminates her conceptual approach to photography and foretells the career that would be launched in the late 1970s, positioning her as one of the most significant artists of our time.

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Ghostly silhouettes and lush, surreal landscapes from a young painter focused on representations of Black leisure and introspectionThis is the first monograph for American artist Dominic Chambers (born 1993), whose vibrant paintings engage art historical models, such as Color Field painting and gestural abstraction, while simultaneously addressing contemporary concerns around race, identity and the necessity of leisure and reflection.

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A multimedia excavation of the many meanings of resistance in art and culture across the globe today Through the perspectives of international artists working across mediums, Stories of Resistance sheds light on the situations from which acts of resistance emerge and identifies themes and motifs that recur across history, cultures and regions. Resistance may be found in the rewriting of history, exposing or filling in the blatant absences of the dominant narrative; resistance emerges from within governmental, corporate or institutional structures and systems of power; resistance takes shape in labor movements and in actions to protect water, land and other natural resources. Artists include: Bani Abidi, Andrea Bowers, Banu Cennetoglu, Torkwase Dyson, Emily Jacir, Glenn Kaino, Bouchra Khalili, Candice Lin, Jen Liu, Guadalupe Maravilla, Tuan Andrew Nguyen, Trevor Paglen, PSA: (Jen Everett, Aida Hasanovic, Simiya Sudduth), Wendy Red Star, Dread Scott, Kemang Wa Lehulere and Wide Awakes (Maryam Parwana, Combo, Otherward).

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Paul Mpagi Sepuya presents the work of one of the most prominent, up-and-coming photographers working today. Sepuya primarily makes studio photographs of friends, artists, collaborators, and himself, inviting viewers to consider the construction of subjectivity. He challenges and deconstructs traditional portraiture by way of collage, layering, fragmentation, mirror imagery, and the perspective of a black, queer gaze. In contrast to the slick artifice of contemporary portraiture, Sepuya suggests the human element of picture taking—fingerprints, smudges, dust on the surface of mirrors. He also allows glimpses into the studio setting—including tripods, backdrops, lenses, and the photographer himself—encouraging multivalent narrative reads of each image. For Sepuya, photography is a tactile and communal enterprise. Although the creation of artist books has been a long-standing part of his practice, Paul Mpagi Sepuya is the first publication of his work to be released widely, copublished with the Contemporary Art Museum St. Louis on the occasion of a major solo exhibition.

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