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From 1968 to 1972, St. Louis was home to the Black Artists' Group (BAG), a seminal arts collective that nurtured African American experimentalists involved with theater, visual arts, dance, poetry, and jazz. Inspired by the reinvigorated black cultural nationalism of the 1960s, artistic collectives had sprung up around the country in a diffuse outgrowth known as the Black Arts Movement. These impulses resonated with BAG's founders, who sought to raise black consciousness and explore the far reaches of interdisciplinary performance--all while struggling to carve out a place within the context of St. Louis history and culture.A generation of innovative artists--Julius Hemphill, Oliver Lake, and Emilio Cruz, to name but a few--created a moment of intense and vibrant cultural life in an abandoned industrial building on Washington Avenue, surrounded by the evisceration that typified that decade's "urban crisis." The 1960s upsurge in political art blurred the lines between political involvement and artistic production, and debates over civil rights, black nationalism, and the role of the arts in political and cultural struggles all found form in BAG. This book narrates the group's development against the backdrop of St. Louis spaces and institutions, examines the work of its major artists, and follows its musicians to Paris and on to New York, where they played a dominant role in Lower Manhattan's 1970s "loft jazz" scene. By fusing social concern and artistic innovation, the group significantly reshaped the St. Louis and, by extension, the American arts landscape.
A collection of rich artifacts from one thousand years of artistic production in what is now Missouri. Art Along the Rivers marks the two-hundredth anniversary of Missouri's statehood. This exhibition catalogue presents extraordinary objects produced or collected within a 150-mile region around St. Louis, including paintings, sculptures, drawings, furniture, ceramics, metals, and textiles. As a celebration of the cultural and artistic traditions of this region, the catalog looks within--and beyond--the years of statehood to reveal how the region's geography, raw materials, and pressing social issues shaped over one thousand years of rich artistic production. Though these objects have rarely been considered in connection with one another, the catalog brings them into dialogue to establish and celebrate their shared artistic history. Art Along the Rivers serves as the first significant publication to introduce this primary artistic material to a global audience.
Historically, major women artists have been excluded from the mainstream art canon. Aligned with the resurgence of feminism in pop culture, Broad Strokes offers an entertaining corrective to that omission. Art historian Bridget Quinn delves into the lives and careers of 15 female artists from around the globe in text that's smart, feisty, educational, and an enjoyable read. Replete with beautiful reproductions of the artists' works and contemporary portraits of each artist by renowned illustrator Lisa Congdon, this is art history from the Renaissance to Abstract Expressionism for the modern art lover, reader, and feminist.
Eros and Oneness / Tamara H. Schenkenberg -- Elective Affinities: Hannah Wilke's Ceramics in Context / Glenn Adamson -- Needed Erase Her? Don't. / Connie Butler -- Daughter/Mother / Catherine Opie -- Ha-Ha-Hannah / Jeanine Oleson -- Cycling Through Gestures to Strike a Pose / Nadia Myre -- Play and Care / Hayv Kahraman -- Cindy Nemser and Hannah Wilke in Conversation, 1975.
Portraits of young African American St. Louis men and women whose poses are derived from paintings (and, in one case, sculpture) in the St. Louis Art Museum's collection.
The Secession years -- Arter World War I -- Paris calls -- Exile -- St. Louis -- St. Louis to New York
Paintings on Stone examines a fascinating tradition long overlooked by art historians-stone surfaces used to create stunning portraits, mythological scenes, and sacred images. Written by an international team of scholars, the catalogue reveals the significance of these paintings, their complex meanings, and their technical virtuosity. Using a technique perfected by Sebastiano del Piombo (1485-1547), 16th-century Italian artists created compositions using stone surfaces in place of panel or canvas. The practice of using stone supports continued to engage European artists and patrons well into the 18th century. This volume reveals the beauty of these works and examines the complexity of using materials such as slate, marble, alabaster, lapis lazuli, and amethyst. Illustrated with more than one hundred examples with essays on topics ranging from importing stone to its relationship to alchemy, Paintings on Stone will become the essential reference on this little-studied practice.Accompanies a major exhibition at the Saint Louis Art Museum from October 25, 2020 to January 17, 2021
“A beautiful, endlessly echoing portrait of a murder and its afterlife. Ms. Nottage shaped this story with such theatrical inventiveness and discipline that it never feels sensational… A finely wrought fusion of elements.” —Ben Brantley, New York Times Continuing in her tradition of crafting thought-provoking, socially conscious dramas, Lynn Nottage’s play tells the story of Mlima, an elephant struck down by poachers for his magnificent tusks. Beginning in a game park in Kenya, the play tracks the trajectory of Mlima’s tusks through the ivory trade market while Mlima’s ghost follows close behind—marking all those complicit in his barbaric death.