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Contemporary Art Museum St. Louis Magazine 2015–16 Contents

Board of Directors of Board the from Director Letter at CAM New through Design Innovation Noteworthy & New Art:314 & Open Studios STL Grams Visitor Year in Review Year 2014–15 Highlights Annual Giving 2014–15 2014–15 Annual Report CAM PeopleCAM Visitor & Member Information & Member Visitor 02 04 08 10 12 36 42 44 46 60

Year Ahead Year Distance: of Kind A Hurvin Anderson Woman: Model Yuskavage Lisa Biennial Rivers Great Earth: Scorched Mark Bradford Programs Interpretive & Family Youth Programs Member Gala & Auction Mesh 14 Exhibitions 16 21 24 27 29 31 Programs 33 34 Support for CAM’s education initiatives education initiatives CAM’s for Support is programs and exhibition-related The Advisors; Fargo Wells by provided Foundation; Taylor Crawford Middle Fund; Foundation; The Saigh Fund; Monsanto Cossette of individual donors in honor Charitable Brown The Dana Karanik; Employees Trustee; Bank, U.S. Trust, St. Louis; of Fund Community Terry Company; PetCare Purina Nestlé Cahn; Pulitzer and Paul Elissa Weiss; D. with in conjunction Arts Foundation Dorte and Dialogues / St. Louis; Marfa Marcus. and Neiman Jim Probstein; KDXH Reach; to Spectrum thanks Special 88.1; The Advertisers Printing Company; American; U.S. Husbandmen; St. Louis Security; Inc.; Hackett Art Company, Co.; Beer; Urban Chestnut Brewing Schlafly at Hickey St. Louis Institute of Culinary Gaunce; Jordan Magazine; College; Feast Public Radio. and St. Louis Parent; STL Design: Practise Print: The Advertisers Printing Company Jarred Photography: Gastreich, Ann Hilo Carly and Johnson, David Pollak Lynn Advertising:

Romanian Cultural Institute of Institute of Cultural Romanian Mitch Markow; and Joan York; New Auslandsbeziehungen Institut e.V.; für Fund; Mondriaan York; Salon 94, New David Doren; Van John and Sally German York; New Gallery, Zwirner of the University at Center Culture Rays, Stellar On Missouri–St. Louis; York; New Gallery, Petzel York; New Goethe- Zürich; Contemporary, Grieder Jessica Institut ; and . Gallery, Silverman to the Special thanks architectural fabrication design studio of digital Visual Design & School of the Sam Fox in University Washington Arts at Yohe McEnery Ameringer St. Louis; Gallery, Carl Hammer York; New Gallery, Weiss, Chicago; Galerie Barbara Jack Berlin;Bucharest; Ivan Gallery, Shainman York; New Gallery, Kansas City Art Institute; Madeleine Kansas City Arts Foundation; Pulitzer Molyneaux; Smithsonian Institution, Washington, York; New Sonnabend Gallery, D.C.; Angeles; Tanya Los Turner, Steve Tyler and York; New Gallery, Bonakdar Arts, St. Louis. Fine The Contemporary Art Museum St. Louis (CAM) presents, supports, presents, (CAM) Art Museum St. Louis The Contemporary in St. museum the premier It is time. our the art of and celebrates of dynamic array on a art. Focused to contemporary dedicated Louis program thought-provoking a provides CAM changing exhibitions, Through landscape. the global cultural to and contributes that reflects public programs, in its exhibitions, offered perspectives the diverse audiences of range a engages actively CAM and educational initiatives, gathering a discovery, for site It is a perceptions. their to challenge visual culture. contemporary and enjoy to experience which place in Inside front cover Flood, installation The Last Furnas: Barnaby Louis, Museum St. Art Contemporary (detail), view 2015. 11, 16–April January

General operating support is provided support is provided operating General Arts Commission; the Regional by Emerson; Foundation; Whitaker state agency; Arts Council, a Missouri Gateway St. Louis; of Foundation Trio Council; and Education Arts Foundation; the Regional of Fund Region It's Our Business Council; Missouri Cultural Directors; of Board the Fund; Trust Art the Contemporary of and Members Museum St. Louis. program exhibition CAM's for Support A. and Rex Jeanne by is provided specific for Support Sinquefield. by is provided programs exhibition Arts Commission; the Regional Peres York; New Gallery, Zach Feuer Steele and Berlin; Eve Projects, Gallery, Gelles; Marianne Boesky Peter Angeles; Los Gallery, Kohn York; New generous individuals, corporations, individuals, corporations, generous public funders, and foundations. The Contemporary Art Museum The Contemporary tax-exempt non-profit, is a St. Louis programs, Exhibitions, organization. privately are operations and general funded through contributions from cover Front at Arts Visual Design & School of Sam Fox , ACCUMULUS in St. Louis: University Washington Art Contemporary (detail), view installation 13, 2015. June 5–September Museum St. Louis, Back cover , installation Varnish Studio: Green Nomad Art Museum St. Louis, Contemporary (detail), view 27, 2015. 23–September May

CAM About 5 Mesh 2013–14 New

at CAM

Contemporary Art Museum St. Louis, May 23–September 27, 2015. 2015. 27, 23–September May Louis, St. Museum Art Contemporary

, ) detail ( view installation , Varnish Green Studio: Nomad

This year we hope to see you often and that you you that and often you to see hope we year This Biennial offers Rivers Great our of iteration The seventh talent right here artistic of snapshot an extraordinary the some of the lens of through as seen backyard, in our CAM’s nationally. most important artists and curators our one of remains Foundation with Gateway partnership to be pride great point of deepest and closest, and it is a world. the art faces enter these new which the stage upon view, on works the and revisiting awhile—visiting stay to speak opportunities participating in incredible programs the myriad with artists, and engaging in directly more museum, now free a As and old. young people for of advantage take to St. Louisans invites CAM than ever, to offer. we have all that Melandri Lisa Director Executive Board Directors of 2015–16 Donald Suggs Donald Warne Kate Whitaker Pat Jason Wilson Jackie Yoon Emeritus Z. Cook Barbara Charles Cook Dewald W. Eleanor Good Terrance Goodson Joan Marylen Mann Isabelle Montupet Moog Donna Ann Ruwitch

David Gantt David Kranzberg Nancy Lazar Katherine Lehrer Sandy Levy Judith W. Susan McCollum Dennis McGrath Dean H. Mutter Nelson Rebecca S. Obedin David Dorte Probstein Pulitzer Rauh Emily Reby Jacob W. Julian Schuster A. Sinquefield Rex Michael Staenberg

The year ahead offers ever-more wonderful wonderful ever-more ahead offers year The

opportunities to entice and engage audiences with the with to entice and engage audiences opportunities Anderson and luminaries. Hurvin of number a of work to examine of the boundaries push Mark Bradford social issues. the most relevant and culture, identity, that ways in and clay fiber Manipulating mediums like Arlene Shechet and Hicks surprise and delight us, Sheila materiality. of the depths to explore us encourage What a year it has been! The Museum has engaged it has been! year What a for forum been a we’ve ways: audiences in important we’ve communities and different many for dialogue home, expanding extraordinary our to reimagine continued Pedro which art can experienced—from in ways the green Studio’s to Nomad clinic participatory Reyes’s the advent with Now, the courtyard. installation in visitors— our way the transforming we’re café, new our of time here. neighbors—spend whom are of many Dear Friends, Dear Bradley Bailey Bradley Allen Barber Susan Barrett Mark Botterman Carlson Sarah Familiant Sima Ferring John Andrew Srenco, Srenco, Andrew Chair M. Cossé, Alexis Vice Chair Langsdorf, Phyllis Secretary Fischer, Matthew Treasurer

the Director Letter from Letter

4 Mesh 2015–16 7 Mesh 2013–14

Thanks to the generosity of our local community, local community, our of the generosity to Thanks site-specific installations have extraordinary new two graced the exterior of the Museum. of the exterior graced Innovation through Design

Contemporary Art Museum St. Louis, May 23–September 27, 2015. 23–September May Art Museum St. Louis, Contemporary , installation view, , installation view, Varnish Studio: Green Nomad

6 Mesh 2013–14 9 New at CAM Accumulus cantilever, the entry within away Tucked and forms small With its delicate accumulation of Jason Butz and lecturers the guidance of With , Accumulus installation view. Composed of thousands of translucent, interlocking translucent, thousands of Composed of and plastic panels, Accumulus glistens weightlessly wire through June 5 view On entrance. front CAM’s above was this site-specific installation 13, 2015, September the from students architecture graduate by created Washington Arts at Visual Design & School of Sam Fox the culmination is The project in St. Louis. University the university’s by design process semester-long a of fabrication design studio. digital when distance. It is only a from concealed is largely that the one appreciate can truly from below viewed the changing sunlight, shapes reflecting translucent with prismatic effects. the sidewalk dappling light-filled a installation provides the cloud-like textures, this the building. In of exterior the concrete to contrast the hand-assembled units ultimately space, transitional and welcome that is as much about luminous mass a form and perception. as it is about optics curiosity designed, conceived, was the installation Tessmer, Lavender Hu, Qian Huang, Boxun Bassett, Jay fabricated by and Joseph Patangan, John Melvin, Alex Chun Liu, Lee, Jeffrey Zhang. Yue Zhang, and Lingfeng Vizurraga, , Accumulus in St. Louis: University Washington Arts at Visual Design & of School Sam Fox 13, 2015. June 5–September Art Museum St. Louis, Contemporary view, installation , installation in progress. Accumulus Accumulus

Headed by William E. Roberts and Laura Santín, Nomad Santín, Nomad and Laura William E. Roberts by Headed would Varnish Green installation, collaborative truly A not be possible without the involvement of local companies of the involvement without be possible not who Blocks, Roof and Green the structure, built who Collab, sedum. of varieties many of blanket” the “vegetated installed the at gardeners the master is maintained by vegetation The will Studio Nomad Garden. Missouri Botanical renowned these materials re-using installation courtyard new a envision 2016. summer for Varnish Studio, Green Nomad York-based New Designed by court- CAM’s installation in transformational major, first the is This 27, 2015. September through 23 May view on yard, succulents tiny of thousands of field modulated yet undulating the interior re-imagining space, the 45-by-50-foot fills Made possible by sculpture. lush, growing as a courtyard Arts the Regional from grant Fund Innovation generous a type new an entirely represents Varnish Commission, Green which landscape architects in CAM—one for exhibition of living installation. a to create commissioned are to combining approach innovative their for Studio is known elements. In with natural and design art contemporary the group world, the seen around work, award-winning their impact of the social and environmental on focused has landscape design. , installation view, , installation view, Varnish Studio: Green Nomad 27, 2015. 23–September May Art Museum St. Louis, Contemporary

Varnish

, installation view. installation , Varnish Green , installation in progress. in installation , Varnish Green

Green

8 New at CAM 11 New at CAM

The CAM Shop features a selection of unconventional, unconventional, selection of a features Shop The CAM items, including jewelry, artist-made and art-inspired season, with each exhibition tandem and gifts in toys, collection of “Contemporary” own with our along the Museum, benefits purchase Every totes. t-shirts and 10% discount. a members receive and CAM the Museum Shop in the CAM Visit shop.camstl.org. online at or

Shop at CAM

Museum St. Louis St. Museum Contemporary Art Contemporary

T-shirt Contemporary CAM is pleased to announce a number of new new of number announce a to is pleased CAM its to accompany catalogs Museum-published including exhibitions, and upcoming recent , Michael Staniak: Hurvin Anderson: Backdrop . Object Kahn: _IMG, and Wyatt All at Arlene Shechet: monographs The new Art/ Contemporary Institute of by Once (published and Lisa Yuskavage: Boston and Prestel) 1991–2015 (published Paintings The Brood: in be available will also Rizzoli) Skira by exhibitions. their Shop alongside the CAM Exhibitions the Book by

When the Pulitzer Arts Foundation reopened with reopened Arts Foundation the Pulitzer When also expanded they 2015, space in May gallery expanded Saturday. through Wednesday to match CAM’s, hours their best “twofer,” status as St. Louis’s our celebrate To 30-minute back-to-back offer institutions now both at 12:30 pm the Pulitzer tours: start at exhibition daily at 1:00 pm. to CAM the courtyard through then head the café. in coffee or late lunch a for Stick around in Town Best 2-for-1 Best 2-for-1 Destination

Courtesy the Pulitzer Arts Foundation. the Pulitzer Courtesy Visit camstl.org/cafe for seasonal menu. for Visit camstl.org/cafe The café is open during Museum hours with lunch served served with lunch is open during Museum hours The café until 8:00 pm service 11:00 am–2:00 pm and bar discount. a receive Members and Friday. Thursday every The Museum’s newly opened café offers fresh, seasonal fresh, offers opened café newly The Museum’s Mississippi Mud featuring CAM, by curated fare lunch Breadsmith scones and cookies, Home Winslow’s Coffee, selection With a ice cream. and Serendipity bread, baked cocktails, and coffee, treats, sandwiches, salads, of quick coffee a lunch, for stop perfect the is now the café hour. happy or break, Now Open Now CAM CaféCAM New!

10 New at CAM 13 New at CAM

Loud Party

Last year, under the guidance of CAM’s Junior Junior CAM’s guidance of the under year, Last

Silent Auction, CAM celebrates its second iteration of Art:314 on Friday, Friday, Art:314 on of its second iteration celebrates CAM of generation new a Introducing 16, 2015. October the evening artistic landscape, the local to collectors work of silent auction music, dancing, and a features Participating price points. of range at a artists St. Louis by Jr., Barrois, Lyndon Anschultz, artists include Brandon William Chavez, Juan Burson, E. Boileau, Bunny Nanette Kahlil Irving, Grafos, Gina Foley, Tate Everett, Jennifer Buzz Rosenblith, Edo Reed, Tom Cole Lu, Kubilius, Grace percent fifty Artists receive more. and many Spector, the proceeds. of The event than $40,000. more 314 raised Art: Board, annual celebration CAM’s STL, Open Studios benefits series, exhibition Room the Front local artists, and of at $35. start artists. Tickets which highlights emerging Sponsorship opportunities available. and artwork view to Visit camstl.org/art314 tickets. purchase Art:314

Visit openstudios-stl.org for a directory of artists, of directory a for Visit openstudios-stl.org information. tours, and event map, searchable This year marks the tenth anniversary of Open Studios of tenth anniversary the marks year This artists and art 200 St. Louis-based with over STL, October of weekend the the public during to spaces open is partnering this milestone, CAM mark To 3–4, 2015. to create Print and Central Press with Firecracker can passports and posters. Participants commemorative variety wide a from choose or own their on explore working their view artists, meet they as tours special of year Every work. their and discuss first-hand, spaces website and interactive comprehensive a creates CAM itineraries. own their and create to search viewers for

STL

Studios Open

12 New at CAM 15 Mesh 2013–14

Year Ahead

(detail), 2013. Acrylic and oil on linen, Acrylic 2013. Diego (detail), 59 ¼ inches. Collection of Bridgitt and Bruce Evans, Boston. Bridgitt and Bruce Evans, 59 ¼ inches. Collection of × Hurvin Anderson, 109

Audiences capture CAM on Instagram. on Instagram. CAM capture Audiences at @camstl. tag us and Follow VisitorGrams

14 New at CAM Wyatt Kahn: Exhibitions Object Paintings

Object Paintings is the first solo museum exhibition of work by New York–based artist Wyatt Kahn. Containing references ranging from Soviet architecture to Cubism, Hurvin Anderson: Backdrop Kahn’s work explores how paintings can be made entirely without paint and hover between two and three British artist Hurvin Anderson is best known for evocative dimensions. The exhibition features the artist’s paintings that engage with charged social histories and signature abstract constructions, which he creates by shifting notions of cultural identity. His depictions of lush stretching unprimed canvas over irregular, hand-cut Caribbean landscapes and urban barbershops explore wood panels that are pieced together, as well as more themes of memory, place, and the indelible connection recent works, known as object paintings, that form 16 between the two. Anderson applies paint with deceptive recognizable objects—for example, a clock, a drum, 17 YearExhibitions Ahead: ease, as if eager to capture the scene before it drifts away; a guitar. In addition, the exhibition premieres a new series YearExhibitions Ahead: figure and ground blend to create compositional spaces of large-scale drawings and relief paintings composed where subjects fluidly project forward and recede back of multiple panels of varying depths. Taken as a whole, into permeable picture planes. The resulting compositions Wyatt Kahn: Object Paintings investigates how we appear slightly distant and are imbued with longing. read signs and symbols and communicate narrative and The most comprehensive survey of Anderson’s work to content through abstract works of art. date, Backdrop examines the artist’s practice in depth, Hurvin Anderson, Peter’s: Sitter’s II, 2009. Oil on linen, presenting new and recent paintings alongside previously 73 ⅝ × 57 ⅝ inches. Zabludowicz Collection, London. unseen sculpture, works on paper, and photography. Wyatt Kahn, Bad Girl, 2015. Canvas on canvas on panel, 96 x 68 ½ inches. Courtesy the artist and Galerie Eva Presenhuber, Zürich.

Fall 2015 September 11– December 27 Street Views Marilyn Minter: I’m Not Much But I’m Sheila Hicks All I Think About Paris-based American artist Sheila Hicks has been creating abstract hand-woven, fiber-based installations I’m Not Much But I’m All I Think About (2011), a single- and sculptures for nearly sixty years. From large-scale channel projection by New York–based artist Marilyn commissions to gallery exhibitions, her multifaceted Minter, is the latest installment in CAM’s Street Views practice spans the worlds of commercial production and series of large-scale video works projected on the fine art, while also drawing on indigenous traditions Museum’s facade. Simultaneously humorous and self- from around the world. CAM’s exhibition maps a cross- consciously narcissistic, the film features an oozing section of Hicks’s artistic output from the 1960s to the gray liquid, its mesmerizing undulations evoking the present, bringing together major works from private bubbling of a hot spring or pool of molten lava. The letters and public collections, alongside selections from the M and E descend from above and rupture the metallic artist’s ongoing series of small-scale portable weavings, liquid surface, slowly becoming submerged. This process Marilyn Minter, I’m Not Much But I’m All I Think About (still), 2011. or minimes. Experimenting with classical textile HD video, 3 minutes. Courtesy the artist and Salon 94, New York. continues with subtle variations, the letters alternately techniques like dyeing, spinning, and weaving, Hicks appearing in silver and gold, as well as in the form of has developed her own idiosyncratic style, incorporating M&M candies. The letters rotate, spelling the word “ME” natural and synthetic fibers and even everyday office but also “MM”—the artist’s initials. This work, like supplies into surprising, exuberant forms. The intense much of Minter’s practice, plays with ideas of identity, tactility of her objects and the riotous color of her anxiety, and bravura. installations expand fiber’s kinship with both painting and sculpture; together, they exemplify her masterful and

ongoing articulation of color, materiality, space, and scale. cotton, embroidery triple-dyed linen, , 2007. Natural Regalia Full Hicks, Sheila York. & Co., New Jenkins the artist and SIkkema 96 x 54 5 inches. Courtesy Nigerian-born, British-educated fashion designer and Birmingham, we had our own You would know it. with. The Jamaican kitsch aesthetic independent curator Duro Olowu interviewed Hurvin Anderson successful role models with impor- is fascinating because, tant things to say. For example, in unconsciously, there’s an African for the catalog Hurvin Anderson: Backdrop, published I know from my own work that my early teens, David Hinds from one’s heritage or upbringing often connection there. in conjunction with the artist’s fall 2015 exhibition at CAM. the reggae band Steel Pulse lived comes through, subconsciously The following is an excerpt from their conversation. five doors away. We also knew or otherwise. The woman posing It certainly comes through in of the poet Benjamin Zephaniah. against the cabinet-enclosed your work. Even in your more So the idea of existing in the art television in Untitled (Lady / TV) abstract paintings and landscapes world was OK. It wasn’t like, “Oh, (2007) and the geometric painted with motifs, such as the barbed- you guys aren’t supposed do this,” window bars in Untitled (Welcome wire series. But what I think is

Hurvin Anderson. Courtesy Thomas Dane Gallery. Anderson. Courtesy Hurvin even though that was maybe the Series) (2004), for example, bring interesting about your work perception that most people had. your Afro-Caribbean heritage is that it remains very modern. to the fore without overtaking the How difficult is it to make your I often wonder if the subject matter painting. How do elements of your portraits as contemporary as and context of your work comes upbringing play out in your work? possible, as opposed to nostalgic? 18 from memory or from photographs. 19 YearExhibitions Ahead: I’ve tried, actually, to remove it, but I guess it’s about looking and YearExhibitions Ahead: I do work from photographs, but it always comes back in a different refining and removing things— A Kind of then I’ll reconstruct them, so it’s form. But I think I’m conscious of it. deciding what to keep and what also a memory. Or maybe the I like to look at things that I grew up to take away. photograph will remind me of a scenario or incident. Duro Olowu. Photo: Zete Marton. Zete Photo: Olowu. Duro Distance Do you democratize your memories or do you try and make them more personal in relation to things Duro Olowu I didn’t actually go to his classes at Foundation course and then I got a you include? What brought you to painting? the time, but he was revolutionary place at Wimbledon School of Art. for me. I was always in the house, I do make them more general, as Hurvin Anderson just sitting and drawing. But the idea What was the first work that, when I worry about entering into nostalgia, My older brothers were always of exhibiting and being an artist in you were going to Wimbledon, where it’s almost too personal. drawing from comic books and photo- the future never entered my mind. working on your art, really made an So I try and create a kind of distance. graphs. One of Rupert’s drawings impact on you? was framed and hung up, and that Why? Your landscapes are so densely was like the holy grail of art for Keith Piper did this collage, Go West composed. Is it more difficult me. Claude also drew, but he mainly I didn’t really know what it meant. Young Man (1987), a fourteen- to do landscape work as opposed took photographs. He always had panel piece combining black-and- to portraits? a camera of some kind—a Praktica, But then you decided to white photographs and text. It plays Polaroid, Rolleiflex. I went to an go to art school. on racial, historical, and social Yes. But the landscape work came exhibition in Birmingham when perceptions of a black man in from the portraits, in that while only I was about eleven. A schoolteacher Well, I kind of went this long different guises. And this was very doing portraits I thought I was called Gilroy Brown had put up route. I started quite late. There important for me at that time in getting too close, too familiar, too an exhibition in a church hall, and were a few years of unemployment terms of the idea of what a black nostalgic. With landscapes you open we said, “Oh! Let’s go and see.” and confusion. artist should be doing and thinking. up something else that may not And I looked around and saw this What was interesting for me was have been there in the first place. work and I thought, “Oh, this is Deciding what to do? the underlying humor, while a lot of For want of a better word, motifs or all right.” So I think the seeds were other artists were extremely serious codes appear within the barriers. laid then. Not so much deciding, just doing about what they were doing. other things. So signage or a telephone pole Was this work by different people? Did you feel the work of black jutting through a forest or jungle, At that time, what was your British artists was well represented or a barbed-wire fence winding Yes. Local artists. I don’t remember ambition? To go to art school in museums and other cultural through the landscape or road, who, but I realized work could be or find a job? institutions in a way that it resonates; it gives the painting shown in this way and that you could made working successfully as clarity, but it doesn’t lose its

do something with these things that I thought being an artist meant a black British artist seem mystery and edge. You think, “Oh, Apples , 2010. Oil on canvas, Beaded Curtain — Red you did at home. There was another making lots of conceptual works possible and inspiring? what a beautiful general landscape,” teacher at school, Malcolm Clealand. and I didn’t see how I fit into that. but then you think, “No, it’s a 59 inches. Private collection, New York. collection, New 59 inches. Private He was one of the first people who But, again, Malcolm Clealand I guess I didn’t see that much, particular place. I may not know it, × Hurvin Anderson, said, “You should draw from life.” said to consider it. So, I did an Art but growing up where I did, in but if I drove by it, I would.” 94 ½

Year Ahead: Exhibitions Ahead: Year 20 our immediatesurroundings or broadcast in the media. unfold before our eyes every day—whether enactedin his work, Sassolinore-creates the destructive acts that place yet absorbedby itsaesthetic capacity. Through place—one that iscognizantof the destruction taking pushes the spectator’s psyche intoa strange andunusual that are asurgent as they are captivating, Sassolino when confronted with a dangerous act.Creating moments His revealswork betweenand fear thetensionfascination the planningandexecution to ensure hisdesired effect. his kinetics, working with a team of experts throughout engages notions of pace,rhythm, and velocity to sculpt threat as they rupture, inflate,and explode. Sassolino actions that intrigue the viewer butlikewise posea spatial Arcangelo Sassolinoengagesobjectsin destructive Through anindustrial,mechanical visual language, Arcangelo Sassolino Courtesy the artistandDavid Zwirner Gallery, New York. Lisa Yuskavage, Day, 1999–2000.Oilonlinen,77 × 62inches. viewer’s eye while tempting the imagination. that samecharacteristic to her subjects, provoking the Yuskavage’s boisterous palette andpaintapplicationextend vocabulary of female transgression andempowerment, and grand tradition of oilpainting with the expansive defiance anddecadence. Merging thehigh-craft refinement the practice of paintingand the female body assitesof figures, and to their own bodies, Yuskavage presents both viewers to focus onrelationships between panels,between of her development andidentity asa painter. Inviting and isnot somucha comprehensive survey asanaccount museum exhibition in the UnitedStatesinover fifteen years, , TheBrood is Yuskavage’s first solo figurative painting.Originatingat The Rose ArtMuseum of artist’s work, espousingher bold vision for contemporary Lisa Yuskavage:surveysBrood twenty-fiveThe ofyears the Paintings 1991–2015 The Brood, Lisa Yuskavage: Spring 2016 January 15–

April 3

Arcangelo Sassolino, Figurante, 2009. Steel, bone, oil pump, 75 x 67 x 23 cm (head). Courtesy the artist and Galleria Continua, Italy. genre intoa conduit for powerful social commentary. fundamentallyincompatible, transforminglandscape the that industrialprogress and the natural sublime are atmosphere of hazy disorder. Sutherland’s work argues board emerges through the perforated vinyl, creating an fragmented, and the piecemealpatternof the particle his useof natural landscape imagery. Hiscompositionsare The industrialnature of Sutherland’s materialcounters and painting,expanding the possibilitiesof both media. Sutherland engages the languageof both photography sterling board, a type of industrialbuilding material, decals, which are then methodically appliedontosheets of the sublime.Printinghisphotographs onperforated vinyl evoking incongruous feelings of awe, imminentdanger, and photography,ranges totropicalmountain from forests, a wide variety of strikinglandscapesas the subjectsof his first solo exhibition inhisnative Midwest. Sutherlanduses Forests andFires isMichigan-bornartistPeter Sutherland’s Forests andFires Peter Sutherland: Courtesy the artistandPilar Corrias, London. Tala Madani,LitUp,2013.Oilonlinen,16x14inches.

Tala Madani racial andethnic visual stereotypes. investigation into the sociocultural roots of pervasive of the smiley face, which serves as further grist for her with 3D technology andindirectly explores the iconography a seriesof work that extends her recent engagement first solo exhibition inan Americanmuseum—premieres children’s books. Madani’s presentation atCAM—her the introduction of iconicimages from mid-century British adds furthershe work, texture depictions with tothese related to authority, desire, andshame.Inher mostrecent waste encourages a larger consideration of issues Madani’s unflinching rendering of bodily fluidsandhuman mock virility andredistribute the dynamicsof power. masculinity, recasting the male figure inscenarios that stop-motion animationssatirize conventional notions of men. Her bracingly deadpanpaintings,drawings, and centered onplayful yet provocative representations of artist Tala Madanihasdeveloped a signature practice For more than a decade, Tehran-born, –based

Peter Sutherland, The Origins of Slang, 2014. OSB, inkjet on perforated vinyl, matte medium, 72 x 48 inches. Courtesy the artist and Still House Group, New York.

Year Ahead: Exhibitions Ahead: Year 21 Arlene Shechet Lisa Yuskavage spoke with Katy Siegel, professor of art history and chief curator of the galleries at Hunter

Across plaster, porcelain, and paper, New York– College and curator at large at the , based artist Arlene Shechet’s intensive, playful for the catalog Lisa Yuskavage: The Brood, Paintings 1991– practice consistently pushes the boundaries of 2015 (Skira Rizzoli, 2015), published in conjunction with what sculpture can be. Over the last decade, she her major survey exhibition traveling to CAM in spring 2016. has worked extensively in ceramics, crafting The following is an excerpt from their conversation. a visual language that breaks many of the medium’s conventions. Shechet takes advantage of the

inherent hollow nature of ceramics to produce EJ Camp. Photo: Yuskavage. Lisa astonishing, often lopsided objects that hover on the brink of collapse. With their visceral texture and suggestive, often elevated forms, Shechet’s works merge the sublime and the grotesque. For her 22 exhibition at CAM, the artist premieres a series of 23 YearExhibitions Ahead: free-standing sculptures alongside several works YearExhibitions Ahead: from her series Parallel Play, developed during a residency at New York’s Dieu Donne Paper Mill in 2012. Model Giving new meaning to the idea of “work on paper,” the Parallel Play series occupies a space between two and three dimensions, serving as an immediate, spontaneous foil to her larger sculptural practice. base, wood painted ceramic, , 2013. Glazed Noise No Arlene Shechet, York. & Co., New Jenkins the artist and Sikkema 17 x 16 13 inches. Courtesy Weathersby. Ann Seigel. Photo: Katy Woman

Katy Siegel said, “I saw that show. What and I became close friends, but she There is a sense of submission and happened to you? I look forward was not tuned into my work in time for Spring 2016 aggression in the viewer’s relation- to seeing more.” Chuck Close and that show. January 15– ship to your paintings. You’ve , too. Interestingly, April 3 spoken about realizing you were it was artists who emerged in the You’re often talked about as a letting painting be on top, and that 1980s. Their generosity taught member of the gang of “bad girl” you were being submissive to it. me that artists are another artist’s painters. Aside from not being on most vital ally. And Chuck was the Marcia’s radar, why weren’t you ever Lisa Yuskavage first to tell me that one of the grouped with those other women? It’s very easy in a studio to get problems people will have with my Ned Vena overwhelmed by all the things you work is not the sex but the vulgarity, I was listening to a interview with the could possibly do, or should do, or which is still culturally unacceptable writer Isabel Wilkerson about how Ned Vena’s austere monochrome paintings, abstract the things you’re responsible for. for women artists. she chooses what she reads in the compositions, and conceptual preoccupations evoke a You get to a point where you have to hope that it will change her opinions. myriad of 20th-century influences from Malevich to Stella. be stronger than those noisy currents. Did you think those positive She posited a fascinating idea, But despite his affinity to historical precedents Vena is It comes down to flipping the responses came from an older “confirmation bias,” that people favor primarily known for his use of industrial materials and dynamic. One of the most effective generation that maybe didn’t feel information that confirms their processes, including Rust-Oleum paint and rotary cut vinyl paintbrushes is one’s willfulness. competitive with you? preconceptions, regardless of facts. stenciling. At CAM, Vena debuts his “G” paintings, pristine My work did not neatly fit a pre- white canvas G’s in collegiate font that are exhibited How have other artists responded My guess is that they could just see conception of what a heterosexual side-by-side along the gallery walls. This act of replication to your work? that my work was weird and worth female should be making in 1992. evokes an assembly line, presenting the paintings as supporting. In some ways, I was in I actually overheard a young woman the product of industry, rather than the artist’s own When I showed the Bad Babies in step with the identity politics that looking at a painting of mine say, gestures. Closer inspection reveals the presence of 1993, it wasn’t resoundingly positive, ruled the art of those times, but I also rather angrily, “She better be gay!” distinct characteristics among each work: while each of although some were very positive didn’t fit in either. Back in the early the G’s was produced through uniform methods and and sought me out when I didn’t show 1990s, I remember naively thinking The question of being a woman materials, they retain distinct indexical marks from the again for a while. that I was in trouble because I wasn’t and how that situates one socially artist’s process of reproduction. Celebrating the enduring in the Bad Girls show . . . and psychologically is so basic 48 inches. Courtesy the artist and Real Fine Arts, New York. Arts, New Fine the artist and Real 48 inches. Courtesy

× freedom of materials, even when subjected to the most Like whom? to your work. It’s clear that you exacting methods, Vena’s work demonstrates the triumph Which one? There were six. belong to that moment when , 2014. Rustoleum enamel on linen stretched over shaped over enamel on linen stretched White G #3 , 2014. Rustoleum of diversity within homogenizing systems. Laurie Simmons, who was a complete artists were asking those questions. stranger to me at the time, very The one at the New Museum, That sense of social type and

Ned Vena, Vena, Ned panel, 63 wooden sweetly wrote me a postcard that organized by Marcia Tucker. Marcia generality, playing with it and → questioning it, got gradually more The ability to move back and Yes. That’s when I thought that specific through the 1990s. I think forth between being the person if I was going to work from a live you first announce it in Blonde who’s looking and being the model, it should be Kathy. Brunette and Redhead. You’re an person who’s looked at seems enormously abstract thinker for very active in your work, especially As opposed to a regular model, someone who doesn’t want to say in the Penthouse images. an artist’s model, you chose that she is a conceptual painter. your first blonde, your “ur-blonde” On a YouTube video related to archetype. More synthetic than conceptual. the opening of one of my exhibitions, some troll wrote: “Well she clearly”— Kathy was one of my first childhood It’s abstract in the sense that it’s and I like the word “clearly” in this friends. She was the foxiest girl structural thinking—seeing the context—“desperately wants to in school and a cheerleader, a types and categories, rendering be the women in her paintings, seemingly lighthearted person who them as characters, as archetypes. but can’t.” Those Penthouse chicks— was actually extremely complex. The women are archetypes, too: I remember looking at them as a I was the dorky studious one, as a 24 blonde, brunette, and redhead. girl, thinking, “If that’s a woman, then type—I would help with school-work 25 YearExhibitions Ahead: It was such a central tenet for the what the fuck am I?” and she would help procure the YearExhibitions Ahead: Pictures Generation to point out boys. A perfect gal pal symbiosis. the images we see and their deep Going back to the kind of Years later, I thought that if I was conventionality. representation you saw when going to have a living person pose for you were young, and figuring me, it would have to be someone Once you understand conventions, out the typology and its profoundly integral to my imagination. you can start playing with them. conventions, is really important. Every part of her image was very loaded as material for me. What’s unusual about your work I took the images that had stunned is that you developed an interest me the most as a kid—or stung me She doesn’t feel inert in in the conventions of how things the most, or made me hot in the face. those paintings. She feels are made. I decided to create my own images powerful, potent—as if she’s based on those pictures and pose collaborating. Yes, pictorial conventions, and then my own models. upending them, are quite important Well, yes. It takes a lot of to me. That’s the reason I moved on But it wasn’t just any model; psychological strength to lift from that early work and began it was the model, “model” something out of the gutter . . . making the maquettes and working in the sense of being the original, these may be dumb ideas until from Penthouse. the most essential. they’re not.

Lisa Yuskavage, Brood, 2005–06. Oil on linen, 77 × 69 inches. Collection of Jeffrey A. Altman.

Lisa Yuskavage, Triptych, 2010–11. Oil on linen, 77 ¼ × 210 ⅜ × 1 ½ inches. Collection of Liz and Eric Lefkofsky. The Great Rivers Biennial Arts Award Program, a collaborative initiative between CAM and Gateway Foundation, identifies talented emerging and mid-career artists working in the greater St. Louis metropolitan area, providing them with a $20,000 honorarium and a major exhibition at CAM. Three distinguished jurors selected the 2016 winners from more than 80 submissions. In conjunction with the opening of the 2016 Great Rivers Biennial, the jurors will return in May for a talk with the artists. Anne Ellegood Paul Pfeiffer Valerie Cassel Oliver Photo: Andre Vippolis Photo: Annette Hornischer Photo: Eric Hester 26 27 YearExhibitions Ahead: Great Rivers YearExhibitions Ahead:

Lyndon Barrois Jr., Equilibrium, 2014. Photocopies on Tate Foley Lyndon Barrois Jr. Nanette E. Boileau newsprint, wooden stool. Courtesy the artist. Summer 2016 Biennial May 6– August 7 Nanette E. Boileau Tate Foley Nanette E. Boileau bases her practice on the vast territory Tate Foley’s work revolves around printing and the of the Louisiana Purchase, exploring the myth of Manifest codex, exploring both the physical and non-physical Destiny and its stronghold in American ideology. Boileau characteristics of books and bookmaking. For the Great maps her experience of the American West through Rivers Biennial, Foley will further develop a body of work Lyndon Barrois, Jr. writing, painting, and video field notes, presenting a visual examining connections between language and social Through a multi-disciplinary practice including collage, vista and a platform for introspection and contemplation. issues. Large-scale versions of custom wooden frames sculpture, costuming, and display building, Lyndon For the Great Rivers Biennial, Boileau will produce a act as bulletin boards for messages printed using a Barrois, Jr. examines questions of aesthetic value, race new installation titled American Territory, exploring the mimeograph-like process. Altered post-printing to spell and representation, and the creation of meaning through intersection of art and labor in the American West. new words while leaving a history of the original word, imagery in popular culture. He begins his investigations A three-channel projection surrounds the viewer and the messages emphasize the necessity of communication. in two dimensions, often incorporating images from brings Boileau’s experiences to life, forming a scene from Foley also presents a large-scale twelve-channel video various print media, then reconstructs these flat sculptures the mountain region and transforming the gallery into an work that explores his idea of an “Omni Letter” and into three dimensions to create new or expanded expansive panorama. displays words spelled out phonologically. The spelling, narratives. For the Great Rivers Biennial, Barrois will install based on pronunciation, allows the words to contain a basketball court inside the gallery. The court features Paul Pfeiffer, Sculptor, numerous other words, and aims to find a baseline with Nanette E. Boileau, Coralled (still), 2015. sculptural objects organized into two opposing teams, HD video, color, sound. Courtesy the artist. photographer, and video artist, New York which to start a conversation. with their placement and form informed by the position on Nanette Boileau and movement of their corresponding player. Drawing Jurying the Great Rivers Biennial was a privileged Anne Ellegood, Senior Curator parallels between athletic movements and sculptural forms, opportunity to survey the creative milieu in St. Louis at the Hammer Museum, Los Angeles Barrois connects ideas of sport and spectacle while today. For me, Nanette Boileau’s recent video work is on Tate Foley raising issues of objectification. an excellent example. With a dispassionate yet under- I was really impressed with the work of the artists we standing eye she investigates the everyday texture visited and very much appreciated their willingness to Valerie Cassel Oliver, Senior Curator at of the Midwestern landscape: its interstate highways, experiment and push their work in new directions. I was the Contemporary Arts Museum cattle farms, and county fairs. There’s an economy immediately taken with Tate Foley’s work—his grasp of on Lyndon Barrois, Jr. and straightforwardness to Nanette’s style that connect graphic design and astute use of language that connects [St. Louis and] the artists who live in it, are enthusiastically it to a history of Cinema Verité and documentary the work to seminal American movements like pop and responsive to the world around them—artists like Lyndon photography. At the same time, she knowingly taps conceptual art. Seeing what he’s doing in the studio to, Barrios, Jr., who so skillfully weaves ideas surrounding into the visual language of American advertising, in some sense, deconstruct and reconfigure the work’s athleticism and fashion into spellbinding installations that giving her work the dreamy, otherworldly quality of primary elements got me excited about what he might speak to how the iconic black male body is perceived a Marlboro ad or Levi’s commercial. produce for the Great Rivers Biennial. The language at the in today’s society. Work like his solidifies the concept heart of the work moves from the aphoristic to absurdly that creativity knows no geographic bounds or borders. phonetic, but it’s committed to revealing the ideologies, Through initiatives like the Great Rivers Biennial, the fears, and opinions that color our society’s political and Tate Foley, The Fears of White Men, 2010. Letterpress printed artist's book, city will continue to nurture this palpable cultural vitality. edition of 24, 15 x 10 inches. Courtesy the artist. personal realms with a sense of urgency but also humor.

29 Year Ahead: Exhibitions

Los Angeles, 2015. Photo: Brian Forrest. Brian Photo: 2015. Angeles, Los

Museum, Hammer , Earth Scorched Bradford: Mark

view, Installation inches. 568 × 254 painting, wall

Excavated 2015. , Barry Finding Bradford, Mark

in the United though States, utilizing history. By strategically charting the charting strategically By history. has this project allowed you to thinkhas this you project allowed interesting is how the story is told is the story is how interesting into my own feelings, fears, andfears, feelings, own into my hope regarding this disease andthis disease hope regarding Rates in the South are starting to starting the South are in Rates through false representation. How How false representation. through the US. As an artist, I used it as a way way an artist, I used it as a As the US. to campaign. This is a world This is a to campaign. the struggles around it. the struggles around population of those living with AIDS with those living of population media obscures our perception perception our obscures media rise at alarming rates. What is rise at alarming rates. an outdated census, your work your census, an outdated encourages us to consider how the how to consider us encourages our cultural imaginary? cultural our differently about the AIDS crisis inAIDS the about differently and that changes from PR campaignfrom that changes and epidemic, but Africa is treated very very treated is Africa epidemic, but differently AIDS thanregarding differently AIDS is still very present in the US. in present very AIDS is still Earth

interviewed interviewed Uslip Jeffrey Curator Chief the of in anticipation Bradford Mark at CAM, exhibition 2016 summer artist’s of array an will present which he for the throughout Museum. works major

and Hauser & Wirth. & Hauser and

artist the Courtesy Bradford. Mark it thewithin should come from layers of civilization, stories on top of top of stories on civilization, of layers I wanted a sense of temporary temporary sense of a wanted I that charged time in our recent our time in charged that from black paper. To me, the me, To black paper. from perhaps the aftermath of a a of the aftermath perhaps wanted it to feel shallow, without wanted it to feel shallow, arrive at this process? at arrive to viewers and allowed abstraction stories. I want this feeling but also Ifeeling this want stories. I shapes themselves and from not effect looks like a city on fire or or fire on city a like looks effect you did How event. catastrophic an think of you When archaeology. the many think of you ancient site, materials. of accretion the Hammer at exhibition recent Your AIDS the epidemic through explored considering of ways new experience of bleaching and extracting color color bleaching and extracting of depth. I shouldn’t say without depth— say I shouldn’t depth.

Jeffrey Uslip. Photo: Wesley Law. Wesley Photo: Uslip. Jeffrey

if that’s the artist’s that’s if

] boundaries informed your practice? your informed in your paintings. Yet some of your your some of Yet paintings. your in in the social imagination and that was that the social imagination and in intent, but it does not hold as beingintent, but it does not held a fascination because it was fascination because it held a before Ferguson catapulted into Ferguson before but I realized the unrest before for advocates practice your me, For Mark Bradford I wasn’t really familiar with St. Louis familiar really wasn’t I St. Louis or its recent events events its recent St. Louis or [ St. Louis would forever be changed forever would St. Louis the urban landscape as its point the news. I had agreed to do the show the show to do I had agreed the news. the modern art. But in to define fifties Color has played a predominant role predominant a has played Color recent works incorporate a process a incorporate works recent your work work in these terms? your social agency. Do you think about you Do social agency. abstract painting’s ability to have to have ability painting’s abstract and cultural topographies of of topographies and cultural specifically, abstraction—has always always abstraction—has specifically, that the something US used in the murdered was Till same period Emmett an intriguing place to start. an intriguing place a necessity to a great artwork. great to a necessity a and the civil rights movement was the civil rights movement and and recross and politics can cross of departure. Have the physical physical the Have departure. of Your work frequently considers frequently work Your gaining momentum. I believe that art gaining momentum. I believe Yes and no. Art history—more and no. Yes

Jeffrey Uslip Jeffrey

Scorched

Courtesy the artist and Hauser & Wirth, New York. New Wirth, & Hauser and artist the Courtesy

inches. 253 x 133 canvas, on collage

, 2007. Mixed media media Mixed 2007. , Circuses and Bread Bradford, Mark , detail, 2014. Mixed media, dimensions variable. variable. dimensions media, 2014. Mixed , detail, ) Bouy ( Sharjah Biennial 12: The past, the present, the possible, the present, Sharjah Art past, The Sharjah Biennial 12: 2005. Mixed media collage, 130 x 196 inches. media 2005. Mixed Black Venus, Mark Bradford, York. Wirth, New & the artist and Hauser Courtesy Untitled Untitled Mark Bradford, Installation view, 2015. Sharjah, UAE, Foundation,

May 6– May August 7 August

Summer 2016 Summer

Angeles–based Los collage process, signature a Through political, the geographic, abstracts artist Mark Bradford While American cities. and socioeconomic landscape of Expressionism, Abstract of the legacy furthering formally that references quality map-like has a work Bradford’s chart we how form visual and puts into urban geography The artist composes his communities. quantify and/or applying by works and celebrated most recognizable billboard as repurposed objects—such found paint and his South Los searching often posters—to canvas, Through materials. discarded for Angeles neighborhood rooted are works objects, Bradford’s found this use of will the artist CAM, For urban life. of the realities in will make which some of and sculpture, painting exhibit its American debut. Mark Bradford

28 Year Ahead: Exhibitions

31 Year Ahead: Interpretive Programs 2015. Press, Firecracker The of Wood Eric with Letterpress Studio: Sunday

Studios & Workshops artists guide practicing the exhibitions, by Inspired and new of hands-on explorations through participants (spring), ceramics to painting (fall), approaches exciting and bookmaking (summer). RE: features (“Regarding”) series RE: program new CAM’s to view art on the that link conversations in-depth from subjects range year’s This topics. cultural current barbershops to robotics. RE: Art of the Rural, 2015. Rural, the of Art RE: Great Rivers Biennial Rivers Great Free Free Tours Exhibition Daily at 1:00 pm at Daily Fridays at 6:00 pm at Fridays CAM visitors are invited to engage in invited visitors are CAM with exhibitions view. on meaningful ways Artist Talks work. their insights into provide artists Acclaimed Anderson, Lisa include Hurvin speakers year’s This Madani, the Tala Yuskavage, who gives and artists, and Mark Bradford, jurors his process. of behind-the-scenes presentation a Artist Talk: Nicole Eisenman, 2014. Talk: Artist

Interpretive Programs

Courtesy the artist; Paula Cooper Gallery, New York; and Thomas Dane Gallery, London. Gallery, Dane Thomas and York; New Gallery, Cooper Paula artist; the Courtesy

⅛ inch. inch. ⅛ × diameter in inches 24 leaf, gold and steel cut Laser 2006. , Untitled Walker, Kelley

Cooper Gallery, New York; and Thomas Dane Gallery, London. Gallery, Dane Thomas and York; New Gallery, Cooper

84 inches. Courtesy the artist; Paula Paula artist; the Courtesy inches. 84 x 36 panel. wood to mounted

print with silkscreened white, milk, and dark chocolate on canvas canvas on chocolate dark and milk, white, silkscreened with print

, 2007. Digital Digital 2007. , Press Star Star, Star, Press; Star Black Walker, Kelley

Kelley Walker Kelley Walker artist Kelley York–based New Georgia-born, and social constructs politics identity issues of leverages from imagery Culling culture. American pop to unpack print advertising including contemporary sources the he interrogates artworks, post-war and canonical number into any single image can migrate a ways will be at CAM exhibition Walkerʼs contexts. cultural of the the museum, including of the entirety installed in spaces. gallery traditional and all lobby, courtyard, outdoor bodies major Walker’s of many features The exhibition Series, CD-ROM Press his Black Star including work, of Volkswagen , and Series, Brick Paintings , Recycling Works and assimilation alteration ways the Series, questioning American quotidian, the image-saturated into play at large. vernacular visual and our culture, celebrity

Paula Cooper Gallery, New York; and Thomas Dane Gallery, London. Gallery, Dane Thomas and York; New Gallery, Cooper Paula

artist; the Courtesy inches. 72 x 101 1972, April Domus; canvas, on ink

acrylic with silkscreen process Four-color 2011. , Untitled Walker, Kelley

December 31 December September 9– September Fall 2016 Fall

30 Year Ahead: Exhibitions Feast Your Eyes Locally renowned chefs present an intimate four-course meal inspired by the exhibitions. This year features David Kirkland of Café Osage, Matt Youth & Family Daughaday of Reeds American Table, and Chris Bolyard of Bolyardʼs Meat & Provisions, who will do a nose-to-tail dinner in spring 2016. Programs Immersive Learning Spotlight: Teen Museum Studies This innovative career-based program introduces Summer Art Camps teens to the inner workings of the Museum. 32 CAM’s week-long art camps provide aspiring young artists Participants work closely with staff members to 33 Year Ahead: Interpretive Programs with an in-depth introduction to an artistic discipline. learn all aspects of museum administration—from Year Ahead: Youth & Family curating to public relations to accounting. For the LEAP Middle School Intensive culminating exhibition, students curate a solo show Working collaboratively, middle school students are of an emerging local artist. The teens handle all mentored by St. Louis-based artists and educators as they aspects of the exhibition, including reviewing artists’ explore a different artistic discipline each semester. proposals, participating in studio visits, selecting Book Club the winning artist, and assisting with the work’s Each season a book is selected for discussion in context New Art in the Neighborhood installation. Students who successfully complete of the artwork on view. This year’s reading list: Between In this nationally acclaimed studio art program, the program receive a paid stipend. the World and Me by Ta-Nehisi Coates (fall), Do Androids high school students work with local and international Dream of Electric Sheep? by Philip K. Dick (spring), and artists to immerse themselves in contemporary art The Teen Museum Studies class of 2015 presents Brokeback Mountain by Annie Proulx (summer). issues and practices. SMELLS LIKE CONTENT, a new, site-specific multi- media exhibition by Cole Lu, on view August 1 through November 1, 2015, in CAM’s Education Gallery.

Wyatt Kahn Wyatt Kahn, Preparatory Drawing for Photo: Lucas Blalock Performa Commission, 2015. Pencil and pen on paper. Courtesy the artist.

Spotlight: Performance: Work Thu, Dec 10, and Fri, Dec 11, 7:30 pm Commissioned by the celebrated performance art biennial Performa 15, Work is the first museum presentation of Wyatt Kahn’s theatrical puppet show. Featuring Kahn’s paintings as puppets and the artist himself as the puppet master, Work is staged in CAM’s performance space amidst the artist’s exhibition. In it, Kahn’s cheeky paintings- as-puppets discuss their creator, eventually rising

up against him in a humorous, daytime-talk-show- Wyatt Kahn, Him, 2011. Canvas on panel, 43 ½ × 39 inches. style critique of the artist. Collection of Adrian Rosenfeld, Los Angeles. Photo: Genevieve Hanson. ArtReach Family Fun School Partnerships Stroller Tours Member CAM partners with schools—including all St. Louis Designed for families with babies and young toddlers, public middle and high schools—to provide a these monthly tours offer a way for parents and Become a member today! curriculum-based program of school visits, museum caregivers to engage with contemporary art while intro- tours, and workshops with artists. ducing the youngest audiences to the Museum. Visit camstl.org/membership Programs or contact 314.535.0770 x217 ArtBus Morning Play Dates or [email protected]. Through CAM’s ArtBus, a mobile art studio, the Every month aspiring young artists and their families Museum brings hands-on art experiences directly into participate in a fresh take on the classic play date, CAM members support the work of some neighborhoods throughout St. Louis, visiting schools, featuring hands-on activities, storytelling, music, and of today’s most innovative artists and make community centers, festivals, street fairs, and more. performances led by local artists. it possible for us to bring contemporary art 34 to thousands in our community. 35 Professional Development Year Ahead: Youth & Family CAM offers in-depth teacher training on Year Ahead: Member Programs contemporary art trends and practices as well Patron Previews as Advanced Placement portfolio reviews Held three times a year, this intimate walk through the to help ArtReach students prepare for college. exhibitions gives members at the Patron-level and above the chance to speak with exhibiting artists, Executive Director Lisa Melandri, and CAM curators.

Member Previews Before every major exhibition opening, enjoy remarks by Spotlight: InspireSTL Spotlight: Family Days CAM’s executive director and curators and complimentary Throughout the past two summers, CAM has Art-centered Family Days introduce CAM to the bar and valet before CAM opens to the general public. partnered with InspireSTL—a local non-profit entire family with hands-on art activities, organization dedicated to academic excellence for storytelling, dance and musical performances, K–12 students—to engage its summer program and special tours just for kids. Family Days are participants in intensive arts enrichment. Students held twice a year, in October and June. Recently, were challenged to consider themes of identity, CAM has began collaborating with neighboring social justice, and diversity as they worked with institutions Pulitzer Arts Foundation and Sheldon CAM’s education team and a variety of artists and Concert Hall and Art Galleries to host Family organizations, including the United Story project, Day Block Parties, during which visitors can enjoy the Nine Network, Webster University, Southern a progressive art experience, with family-friendly Breakfast with the Curators Illinois University Edwardsville, and artist Tate activities at each location. Members are invited to a private tour of the exhibitions Foley. This fruitful partnership has introduced the followed by breakfast in CAM’s café. Learn more participants to social practice and contemporary about the artwork and speak directly with the curators. art as relevant tools for understanding the world around them. Art Patrons Dinner At CAM’s annual “State of the Museum” dinner in June, members at the Patron-level and above join Executive Director Lisa Melandri and CAM curators for a review of recent achievements and preview the upcoming year.

Leadership Giving Circles provide vital philanthropic support to CAM. This prestigious membership program offers unparalleled access to the Museum, visiting artists and curators, and artist studios. To join a Leadership Giving Circle, contact [email protected] or 314.535.0770 x 213. 37 Mesh 2013–14 Year in Review

(detail), 2013. Acrylic on fiberglass, fiberglass, on Acrylic 2013. (detail), No Means Goode, Know Joe Ahmanson, California. and Roberta Howard 96 x 96 inches. Collection of

Published by 10 Grand Press. Courtesy the artist and Koenig & Clinton, New York. New Clinton, & Koenig and artist the Courtesy Press. Grand 10 by Published

inches. ¾ 17 × ¾ 23 Woodcut, 2013. , Untitled Eisenman, Nicole strap, 24 4/5 x 29 ½ x 26 3/10 inches. Ferring Collection, St. Louis. St. Collection, Ferring inches. 3/10 26 x ½ 29 x 4/5 24 strap,

, 2015. Steel, rubber, air, ratchet ratchet air, rubber, Steel, 2015. , I.U.B.P Sassolino, Arcangelo April 15, 2016 Visit camstl.org/gala.

start at $500. Sponsorship opportunities available. at $500. Sponsorship opportunities available. start and emerging artists in a variety of media. Participating media. Participating of variety artists in a and emerging Tickets the proceeds. of percent fifty artists receive CAM’s 2016 formal gala will be held at the Museum at will be held gala formal 2016 CAM’s of An evening the Matter.” Art of “The to will get and CAM’s will celebrate and dancing cocktails, dinner, the St. Louis impact on far-reaching mission and its held online and Auction, The Contemporary community. from celebrated work on-site at the will feature gala,

Fundraising events raise twenty percent of of percent twenty raise events Fundraising directly year, each budget operating CAM’s groundbreaking the Museum’s benefiting Known programs. and education exhibitions Ball & the Dada infamous “anti-gala,” the for every gala a held in place of Bash—which is in its creativity prizes year—CAM other legacy to our homage paying special events, the arts. in innovation of

Auction

& Contemporary

Gala Annual

36 Year AheadAhead: Gala & Auction

39 Year in Review

Courtesy the artist and Jack Shainman Gallery, New York. New Gallery, Shainman Jack and artist the Courtesy

inches. 40 x 30 paper, on graphite and marker pastel,

, 2014. Charcoal, Charcoal, 2014. , Principle Uncertainty The , Odutola Toyin

Museum St. Louis, May 1–August 16, 2015. 2015. 16, 1–August May Louis, St. Museum St. Louis, May 23–September 27, 2015. 2015. 27, 23–September May Louis, St.

Art Contemporary view, installation Museum Art Contemporary (detail), view

, , Doll Love the and Boys Two Simmons: Laurie installation , Varnish Green Studio: Nomad

Toyin Odutola: Untold Stories Odutola: Untold Toyin , January & Style, January 2015 Town “A distinct narrative voice.” voice.” distinct narrative “A Laurie Simmons: exhibitions worldwide worldwide exhibitions Two Boys and the Love Doll the Love and Boys Two

Top pick, annual guide to museum pick, annual guide Top levitating above a gravel floor.” floor.” gravel a above levitating Art in America, August 2014 Nomad Studio: Green Varnish Studio: Green Nomad , June Magazine Design 2015 Interior

“Appearing as some verdant magic carpet magic carpet verdant as some “Appearing

May 1–August 16, 2015. 2015. 16, 1–August May

Louis, St. Museum Art Contemporary

, installation view, view, installation , Occupational Therapy Occupational

St. Louis, January 16–April 11, 2015. 2015. 11, 16–April January Louis, St.

Museum Art Contemporary view, installation

, Come Kingdom Thy Howard: Jesse Marco Brambilla: Materialization/De-Materialization, Materialization/De-Materialization, Brambilla: Marco Art Museum St. Louis, Contemporary view, installation 2015. 11, 6–April February

in the streets of Ferguson.” Ferguson.” of the streets in artists as of idea the popular that rejects it, one contemporary art museum: His art is still relevant, still relevant, art museum: His art is contemporary geniuses on a pedestal and humanizes them instead.” them instead.” pedestal and humanizes geniuses on a Occupational Therapy Occupational especially considering whatʼs been happening considering especially , February 2015 , February Public Radio National Jesse Howard: Thy Kingdom Come Thy Howard: Jesse

Magazine, May 2015 ALIVE Magazine, May beautiful flickering beautiful flickering Marco Brambilla: Brambilla: Marco Materialization/ De-Materialization February 2015 February across [CAM’s] [CAM’s] across ” facade . . . austere Riverfront Times, Riverfront

“There's a reason [Howard’s] new show is in a in a is show new [Howard’s] reason a “There's “An exploration of art and the creative process behind behind process the creative art and of exploration “An “Something strangely strangely “Something

Museum St. Louis, January 16–April 11, 2015. 2015. 11, 16–April January Louis, St. Museum Museum St. Louis, September 5–December 20, 2014. 2014. 20, 5–December September Louis, St. Museum

Art Contemporary view, installation , Goode Joe , installation view, Contemporary Art Art Contemporary view, installation , Rematch Chin: Mel

makes beautifully evident, is a poignant is a evident, beautifully makes America.” meditation on post-war Mel Chin: Rematch Chin: Rematch Mel [inspire] deep reflection.” [inspire] creates objects and projects that . . . and projects objects creates old artist’s cred as a fearless fearless as a cred old artist’s , May 2015 , May Effect Droste the 62-year- “illustrates Rematch fighter for social justice.” “Chin social justice.” for fighter Joe Goode Joe Art in America, April 2014

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2014–January 3, 2015. 2015. 3, 2014–January

Contemporary Art Museum St. Louis, September 5, 5, September Louis, St. Museum Art Contemporary

, installation view, view, installation , Painting Another Flood: Mark

Mark Flood: Another Painting Another Mark Flood: Critic’s pick. “Punk sincerity” and pick. “Punk sincerity” Critic’s , January , January 2015 ArtForum entirely free free admission! entirely exhibitions featuring prescient and seminal prescient featuring exhibitions diverse artists from around the world. The world. the from diverse artists around In 2014–15 CAM organized twenty-two twenty-two organized CAM In 2014–15 programs, engaging audiences of all ages engaging audiences of programs, Foundation, we’re celebrating one year of of year one celebrating we’re Foundation, Museum also hosted over eighty public public eighty over Museum also hosted work by more than forty talented and than forty more work by through talks, workshops, art-inspired meals, art-inspired workshops, talks, through film screenings, stroller tours, and more. more. tours, and stroller film screenings, And thanks to the generosity of Gateway Gateway of to the And thanks generosity

“formal moxie.” moxie.” “formal

Highlights Exhibition

38 Year in Review 41 Mesh 2013–14

Contemporary Art Museum St. Louis, December 5, 2014–February 4, 2015 5, 2014–February December Art Museum St. Louis, Contemporary , installation view, Door, Loulou’s installation view, At Rios: Marco

40 Mesh 2013–14 43 Year in Review Special Events Highlights Contemporary Auction Contemporary emerging seventy-five over by Works artists, including Nicole and renowned Ligon, Gomez, Glenn Eisenman, Sayre Osborne, Lari Pittman, and Oliver in this featured were Sonne, Kasper to benefit on-site and online auction The auction program. exhibition CAM’s media, of variety a consisted of including painting, photography, with retail and sculpture, textile, $200,000, to $500 from ranging values the for $700,000 over and grossed Museum and participating artists. Dada Ball & Bash Ball & Dada Dada popular its of sixth edition the presented CAM fundraising “anti-gala” biennial Bash—CAM’s Ball & Art Factory. the Koken 2015, at 16, May celebration—on 20th century, early the of the Dadaists by Inspired and ironic, unexpected, the celebrated the event world- the by cuisine avant-garde featuring playful, ring boxing in Chicago, a Restaurant Moto renowned gospel artists, a performance as stage, stiltwalkers, Hawthorne by performance a lady, bearded a choir, Dadaist Marcel Pioneering and more. Headhunters, chair. the honorary as served Duchamp (1887–1968) CAM’s to benefit $235,000 over raised The event programs. and education exhibition groundbreaking inspired by the exhibitions by Mel Chin and Chin Mel by the exhibitions by inspired , a panel , a Unrest hosted Creative Mark Flood, CAM change. for as catalysts and role practice their In the context of recent events in Ferguson, and in Ferguson, events recent of the context In the participatory activated volunteers than seventy More with short “therapies,” visitors clinic provided transient using a combination of ritual, play, and experimentation. ritual, play, combination of using a by Pedro Reyes—a key feature of of feature key Reyes—a Pedro by Sanatorium artwork of local, socially-engaged artists who discussed local, socially-engaged artists of . This Occupational Therapy exhibition summer CAM’s ” The ” was project To… Right a the statement “I Have communities through making posters that completed that completed making posters through communities Schools to express issues of concern within their their within concern issues of to express Schools exhibited in CAM’s Education Gallery. Education in CAM’s exhibited CAM’s ArtReach team worked with students team worked ArtReach in CAM’s fifteen Saint Louis Public Schools Middle and High fifteen Saint recently named director of of named director Sirmans, recently Franklin poured his monumental fifty- his monumental poured Furnas Barnaby Distinguished Speaker. Distinguished Speaker. the Pérez Art Museum Miami and artistic director Art Museum Miami and artistic director the Pérez , on site at the Flood, on site at The Last painting, two-foot 200. nearly of an audience of front Museum in curatorial practice as CAM’s 2015 Susan Sherman 2015 as CAM’s practice curatorial

of Prospect.3 New Orleans, discussed his New Prospect.3 of

Highlights Program

42 Year in Review 45 Year in Review

Milton Hieken Millner Andrew Kelly Collins and Christoph Ibele Kelly Jarrett Jeff Krekeler Jim and Pam Jacob Laws Levin and David Cynthia Susan and Dan Luedke Marusic and Branko Gina Miller Jonathan and Cathy and Brod Jessica Harsh Mitra Vincent Nutt Peck and Kevin Kelly Pham Tara Philpott Susan and Gordon Poggemoeller Lesley Sachs Nancy Susan and Benjamin Schwartz Bruce Shapiro Jacob Siewert Inc. Art Company, U.S. in St. Louis University Washington William Zorn Stephanie and Contributor ($250–$499) Contributor Carmon Colangelo Susan and Dowdell and Richard Emily Jane Mary Edele Fischhoff and David Kathleen Fox and Gary Christy Gaunce Jordan Goldenberg Jerry and Devy Goldstein Jan and Rand Michael Gross and Paula Security Hackett Susan Harris Hendin Adam and Barenholtz Barbara

Gary Wasserman Gary Root Jonathan Mary Strauss Mary Thompson Russell Tuteur and Peter Susan James Walker and Greenbaum Sheila Wolff and Gary Sherry Zimmerman and Deborah Sustainer ($500–$999) Sustainer Adorjan Dianna and J. Joseph Brie Alley Alan Ratchford and Baxter Kyle Jolly William and Beasley-Jolly Tania Nan E. Boileau Carpenter Sarah St. Louis Cinema Bank Commerce Quintus L. Drennan Dunning Lauren Cole Durrill and Jennifer Inc. Elsevier Paws Muddy Four and Sam Foxman Alison Sieloff Giganti Edward and Brase John Gnaegy Mallory Institut, Chicago Goethe B. Goodman Barbara Contemporary Grieder Hewett Greg Horowitz and Merle Margie Bettie Johnson Schroth and John Joyce G. Joyce Claudia Kimball Megan Maas Jesse and Melinda Maloney V. James and Gay Marshall and Dana Reardon Kathy McPheeters John Connie and Melandri Lisa Melloy Bridget Mitchell Jane and Steve Place Foundation Pershing Gallery Petzel Poger Sanford Putzel and Paul Judy Schwartz Alan Judith Child and Sherman III Susan and David Philip Slein St. American Louis Stephens Katherine and Howard Thale Brennan Thomas and Ted Sissy Tucker Elizabeth Phoebe D. Weil Barnes and Harper Weiss Roseann Terrance J. Good Terrance Goodson Joan and Michael Gray Diedre Grizzell John Cheri Hoffman Husbandmen Kamra Atul Anjali and Kornblum Helen Krosch and Gary Patty Lemons Abbey Levy Jerome Judith and Lococo Robert MacLean Kimberly Gallery Marks Matthew McDonald Margaret Laurie and Dennis McGrath Miles Joe and Carolyn J. Eleanor Moore Novik and Steve Barancik Cathy Obata Judge and Gyo Mary York New Rays, On Stellar Arts Pulitzer Foundation Reed Jeff and Paula Goldman and Roger Stephanie Riven Hummert and Henry Rome Amy Saks Fifth Avenue Schlafly and David Tricia Schnuck and Craig Nancy Alvin Siteman and Ruth

Support Campaign University of Missouri St. Louis of University Stifel Nicolaus Stifel University Webster Weil and Richard Josephine Gallery William Shearburn Jackie Yoon Benefactor Circle ($2,500–$4,999) Circle Benefactor Mark Botterman and Ramsey Carlson Andrew and Sarah Dominium Gantt and David Sandra Goldstein and Marc Elizabeth Auslandsbeziehungen Institut für KDHX 88.1 Fund Mondriaan Foundation Rotonda Donald Suggs Trapp and Greg Pam Doren Van John and Sally Anderson and Scott Weinberg Robin Community Fargo Wells Wilson Jason and Shanti Parikh Patron ($1,000–$2,499) Patron Printing Company Advertisers Anonymous and Jim Arsenault Shelby Allen Barber Barksdale Nini and Clarence James G. Berges and Cathy Boeving Kevin The British Council Buckingham Asset Management and Charles Burson Bunny Byerley Chloé Risto and Kevin Cambridge and Paul Amanda Carnahan Tom and Lisa Cook and Charles Barbara Curry John Davis Adrienne Dolan Larry Arnold Donald and Hazel Dubinsky John and Yvette Espy James T. Evntiv Forrester Margretta H. Friedman and Robert Lois Judith Gall the at Center German Culture Gershman Bettie Gervais Barbara Glore Gregory of Boeing St. Louis of Alexis M. Cossé and Erik Karanik and M. Cossé Alexis Lehrer Joseph and Sandra Lipton Randy Ann and Markow and Mitchell Joan Susan McCollum Fund The Middle Fund Monsanto L. Montupet Jean-Paul Isabelle and Projects Peres James Probstein Dorte and Jacob Reby and Leslie Arnold Fox John and Ann Ruwitch The Saigh Foundation Ann Srenco Mary and Andrew Gelles and Peter Steele Eve Foundation Weiss William E. and Dick Miles Whitaker Pat Collector Circle ($5,000–$9,999) Circle Collector (3) Anonymous Bank America of McLemore and Steve Borzy Les Cahn and Paul Elissa Cave Bryan Dentons Jones Edward Fund Community Employees Familant Sima Goldstein Susan and Robert Greenberg Jan and Ronald Gallery Kohn Langsdorf and Kenneth Phyllis Lazar Katherine and Marc Levy and Mont Karen Missouri Trust Cultural Nelson and David Rebecca Foundation Life Pacific Purina Business Council Regional Institute Cultural Romanian York Salon 94, New Soper and Rob Amy and Michael Staenberg Carol Group The Staenberg

Arts and Education Council Arts and Education and Chris Poehler Susan Barrett Brown and Dwyer Reynolds Nancy Trust Charitable Brown Dana Curator Circle ($10,000–$24,999) Circle Curator Crawford Taylor Foundation Taylor Crawford Emerson Ferring John Alison and Foundation Gateway Kranzberg and Kenneth Nancy Missouri Arts Council Marcus Neiman Obedin and David Davis Clare Pulitzer Rauh Emily Arts Regional Commission Singer Adam Iris & A. Sinquefield and Rex Jeanne Spectrum Reach Foundation Trio Advisors Fargo Wells Foundation Whitaker Director Circle ($25,000+) Circle Director many donors who provided who provided donors many support this year. CAM is grateful for the CAM is for grateful 2014–15 Giving Annual

44 Year in Review Revenues FY14 FY15 Individual contributions $1,064,477 $592,537 Annual Grants & sponsorships $350,751 $485,148 Investment income (loss) $683,025 ($7,411) Public funding $28,306 $234,814 Fundraising events (net) $1,176,938 $470,071 Earned income $84,665 $201,686 Report Total revenues $3,388,162 $1,976,845 2014–15 Expenses 46 Exhibitions & programs $2,141,734 $2,147,123 47 Administration $139,827 $135,238 Year in Review Contemporary Art Year in Review Fundraising $428,758 $377,252 Museum St. Louis Fiscal year July 1, 2014– Total expenses $2,710,319 $2,659,613 June 30, 2015 Net Assets

Beginning of year $12,445,508 $13,123,351 End of year $13,123,351 $12,440,583

30,502 143,944 Where Funding Where Total attendance Visitors to camstl.org Comes From Funding Goes

5 11,017 16,691 Administration Public program Facebook fans attendance (as of Sep 2015) 10 Earned income 14 30 12 Fundraising Individual Public 4,329 10,501 contributions funding Youth served through Twitter followers % % education programs (as of Sep 2015) 25 Grants & sponsor- 24 ships Fundraising 81 452 2,188 Exhibitions events (net) Members Instagram followers & programs (as of Sep 2015) 49 Mesh 2015–16

y 23, 2016 y 23, $65 US & Canada $65 US Published by Skira Rizzoli Skira by Published wSON with the artist by Katy Siegel. Katy by with the artist Hardcover, 10 x 12 in (25.4 x 30.5 cm) x 30.5 10 x 12 in (25.4 Hardcover, 242 pages, 173 color plates, 3 gatefolds plates, color 173 pages, 242 Featuring over two decades of work, this of work, decades two over Featuring Siddhartha Mukherjee, and an interview and an interview Mukherjee, Siddhartha Bedford, Suzanne Hudson, Catherine Lord, Lord, Catherine Hudson, Suzanne Bedford, this newly released large-scale comprehensive comprehensive large-scale released this newly publication also includes texts by Christopher Christopher by texts also includes publication Produced in close collaboration with the artist, artist, with the collaboration in close Produced definitive book on Yuskavage. Yuskavage. book on is the definitive monograph LISA YUSKAVAGE LISA THE BROOD: PAINTINGS 1991–2015 PAINTINGS THE BROOD: 21, 2015 TO JANUAR 21, NOVEMBER AUGUST 29 TO NOVEMBER 7, 2015 7, AUGUST 29 TO NOVEMBER LöwENBRäU AREAL LöwENBRäU AREAL VERNE DA JOSH SMITH y 23, 2016 y 23, CE y ALD va Presenhuber va w AREAL .presenhUBer.Com enBrÄU areal ÖW MAAG AREAL MAAG OCTOBER 24, 2015 AUGUST 29 TO OCTOBER 24, maag areal maag Zahnradstr. 21, Ch-8005 ZUriCh +41 (0) 43 444 70 60 tel: +41 (0) 43 444 70 50 / Fax: 11-5 opening hoUrs: tUe-Fri 10-6, sat l . 270, Ch-8005 ZUriCh limmatstr +41 (0) 43 444 70 60 tel: +41 (0) 44 515 78 50 / Fax: 11-5 opening hoUrs: tUe-Fri 11-6, sat WWW MAAG 7, 2015 TO JANUAR 7, NOVEMBER Galerie e Galerie GER ROCKENSCHAUB MARTIN BO , 2009 (detail). Oil on linen, diptych. Collection of Liz and Eric Lefkofsky. Courtesy David Zwirner, New York/London New Zwirner, David Courtesy Collection of Liz and Eric Lefkofsky. Oil on linen, diptych. , 2009 (detail). Wilderness

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S N Junior Board Board Junior Allison Rue Allison Shpuntoff Moya Smith Josalynn Sorensen Luke Lillian Stephen Madeline Vermeulen Waldron Jeffrey Williams Lauren Members Brie Alley Jim Arsenault Bays Jessi Byerley Kevin J. Paul Cambridge Carpenter Sarah Curry John Dunning Lauren Goldstein Libby Gnaegy Mallory Hendin Adam Jarrett Jeff Kimball Megan Jacob Laws Lemons Abbey Maas Jesse Melloy Bridget Vincent Nutt Pham Tara Lan Sasa Jacob Siewert

KI y N b E

d J e t n MA e s e r KKE p I e r S Matthew Hannon Matthew Knoblock Laura Kohlberg Kelly Danielle Mayes McGuire Mary Murray Jayressa Seratti Patricia Jamie Wiechens Interns Botkin Emily Madalyn Brooker Kathryn Burnette Christian Anna Daniels Lowell Farley Amelia Madeline Foy Gartland Claire Ge Nina Brigid Gerstenecker Hagen Emily Hall Bridget Hopson Olivia Nicholas Lemen Erin Mahony McGinnis Kelsey Ingrid Olson Osman Henry Misri Patel Pearlstein Ivanna Pinkley Samantha Qiu Yuwei S K

C I Engagement Manager Engagement Curator Associate Curator Chief Finance of Director and Administration Café Manager Manager Café Coordinator Events to Assistant the Director Education of Director Lead Visitor Lead Visitor Services Associates Services Visitor & Associates Cafe H Shindler, Kelly Uslip, Jeffrey Walters, Mary Mubano, Symphorien Murrell, Tristyn Nguyen, Melanie Nguyen, Tuan Nichols, De Andrea Community Catenazzo Bailey Catherine Leberg Rodgers Seth Jr. Barrois, Lyndon Ann Blakemore Ge Nina Gore Ron A L I E

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Director Executive Associate Development Registrar Services Manager Visitor Public Programs of and Interpretation Manager Facilities Coordinator Marketing and Marketing Development Audience Manager Marketing Giving Manager Kristyn Brown, Kristyn Brown, Cerutti, Jessi Donaldson, Victoria Elmestad, Manager Alex Caleb Hauck, PR/ Kellett, Lauren of Director Kull, Unitey PR/ McCall, Ida Denise McCracken, Institutional Staff Melandri, Lisa

People CAM

48 Mesh 2015–16 51 Mesh 2015–16 PLAY & PICNIC PLAY CAMPUS TOURS Sat, Sat, 2016 Jan 9, |

10:00-11:30a Admission Open House Admission 2015 Sun, Oct 18, 3:00-5:00p 5:00-6:00p Open Early Childhood House NEW Childhood Early Center! AGE 3 - GRADE 6 ForsythOnline.com WYDOWN-FORSYTH HISTORIC DISTRICT HISTORIC WYDOWN-FORSYTH ART AND LIFE AND ART DAY AND NIGHT AND DAY Check out the the out Check in scene robust Center, Grand than more where cultural 1,500 held are events each year. www.grandcenter.org

ALIVEMAGSTL @ALIVEMAGSTL GROUP JOIN OUR CIRCLE OF INFLUENCE. @ALIVEMAGSTL ALIVE is St. Louis’ leading fashion, and lifestyle entertainment resource, and in St. Louis. and who to know where to go, the go-to authority for what to do, We stand by our mission to share the best of St. Louis, from the top spots to dine and shop to the must-see shows and exhibitions at institutions, our many to cultural city development and leaders making a mark on our town. the entrepreneurs and community Our founding principle of helping our readers live happier, healthier, more fulfilled lives is evident in every page of our publication, at all of our events, and online at ALIVEMag.com. ALIVE MEDIA One-of-a-kind.

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Mesh 2015–16

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52 Mesh 2015–16 55 Mesh 2015–16 THE OLD ORCHARD GALLERY THE OLD ORCHARD 39 SOUTH OLD ORCHARD MO 63119 GROVES, WEBSTER Papier Mache Anatomical Model Dr. Louis Auzoux, French (1797-1880) .com sold for a record-breaking price of price record-breaking a for sold linkauctiongalleries washington place washington catalogue available and online www. bid online with Invaluable 5000 saint louis ¦ missouri 63108 contact us at 314 4546525 Pony Ltd. Ltd. Pony a dance… of chance and the pictures words, www.ponybox.co.uk

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; Chinese, Shang dynasty (1600–1050 BC (1600–1050 dynasty ; Chinese, Shang Rectangular Food Vessel (fang ding) with Flattened Feet in the Form of of Form the in Feet Flattened with ding) (fang Vessel Food Rectangular , 11th century BC Kui-Dragons Asian Spink Museum, Louis Art Saint inches; 8 3/4 height: bronze, 34:2014 Spink C. C. Johnson and Art Collection, J. Edith Bequest of Explore the world through art, here in Forest Park. in Forest art, here through the world Explore View our exquisite collection of Asian art including the Museum’s newly acquired newly acquired the Museum’s art including Asian collection of exquisite our View Edith and Spink C.C. Johnson the late the collection of from masterworks range from Chinese ceramics of the Neolithic period to works from Meiji-era Japan. Japan. Meiji-era from period works to the Neolithic Chinese of ceramics from range

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2013. Courtesy the artist; Lehmann Maupin, New York; ACME, Los Angeles; greengrassi, London. greengrassi, Angeles; Los ACME, York; New Maupin, Lehmann artist; the Courtesy 2013.

, installation view, Contemporary Art Museum St. Louis, October 11–December 29, 29, 11–December October Louis, St. Museum Art Contemporary view, installation , Orbit Steinkamp: Jennifer orApp Store Google Play Visit often! CAM is free. Connect with CAM today! member Become a Visit camstl.org/membership Visit camstl.org @contemporarystl on Twitter Follow contemporaryartmuseumstl Like on Facebook @camstl on Instagram Follow at camstl.org/news enews for Sign up app STL the CAM Download the from

Breakfast with Breakfast to select programs and events to select programs shop and café Discounts in CAM’s to special events Invitations the annual gala including All CAM Members receive: Members All CAM to Invitations exclusive and programs, events member and Opening Night the Curators Previews Member prices Discounted ticket — — Membership of work the members support CAM artists. innovative most today’s some of thriving art to a contribute Members it possible and make scene in St. Louis art to bring contemporary us for community. thousands in our to — including —

CAM is located in Grand Center, Center, is located in Grand CAM Theatre, the Fox of west just and Spring Street of the corner at parking Free Boulevard. Washington along the street on is available and Boulevard Washington also may Visitors Spring Street. parking numerous of advantage take district. Center the Grand in lots Museum St. Louis Boulevard 3750 Washington MO 63108 St. Louis, Contemporary Art Contemporary Address and Parking Address Free exhibition tours daily at tours daily exhibition Free at 6 pm. 1 pm and Fridays Wed–Sun 10 am–5 pm Wed–Sun Thu & Fri Open until 8 pm Hours

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Contemporary Art Museum St. Louis 3750 Washington Blvd St. Louis, MO 63108 314.535.4660 | camstl.org