Contemporary Art Museum St. Louis Magazine 2019–20

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1 Mesh 2019–20

Contemporary Art Contemporary Museum St. Louis Magazine 2019–20 Mesh

Contemporary Art Museum St. Louis Mesh 2019–20 Contemporary Art Art Contemporary Museum St. Louis Blvd Washington 3750 63108 MO St. Louis, | camstl.org 314.535.4660 1 Contents

CAM People CAM New and Now and Now New Grams Visitor Here Artists Work Stevens Mya Profile: Teen the Community in CAM Information & Member Visitor Year in Review Year Exhibition Highlights Highlights Program Special Events the Numbers Impact by Annual Giving 2018-19 2018-19 Annual Report

43 03 04 @CAM 08 10 11 ArtReach 12 60 28 32 36 38 40 42

Fall 2019 Fall Who belongs? Stephanie Syjuco Language: of Traces Collins Bethany Spring 2020 with Scraps: Working Fordjour Derek 2020 Summer St. Louis: from Postcards Biennial Rivers Great Equity: Cultivating Ebony G. Patterson Ebony Board of Directors of Board the from Director Letter Mesh 14 Year Ahead 15 17 19 21 22 23 25

02 Crawford Taylor Foundation Corday; Alexis Cossé and Erik Karanik; Antonio Karanik; Erik and Cossé Alexis Corday; John Evntiv; William Downs; Douthit-Boyd; Jordan Jr.; Bruce Franks Alison Ferring; and and Art City Granite Gillespie; Michael Gaunce; Nicole Hancock; Doyle Trenton District; Design Grapperhaus; John Inc.; Center, Grand Hudson; Brisbane; Art, Modern of Institute Hartz; Jeff Glenn Kaino; KDHX; Rachel Kahn; Stanya Henry Paul McKinley; Lippmann; Meridith Mendica; Jesse Martinez; Adam McMahill; Museum Murello; Millner; George Andrew Muyanga; Neo Denver; Art Contemporary of Palmer; Jack Oak; + Olive O’Callaghan; Casey Pulitzer Powers; Christopher Paulsen; Sarah Reyes; Pedro Randolph; Mike Foundation; Arts Art Museum; Saint Louis American; St. Louis Mpagi Sepuya; Paul Festival; International Film St. Louis Radio; Public Louis St. Post-Dispatch; Louis St. Nicola Trailnet; Thomas; Willis Hank Poe; Tef Company; Urban Chestnut Brewing Tyson; Wanzo; High School; Rebecca Vashon Jennifer Louis; St. in University Washington for Center With de Witte White; Wendy West; and Youd; Tim Rotterdam; Art, Contemporary Youngblood. Brenna Printing Company Advertisers The Print: Pollak Lynn Advertising:

W H I T A K E R F O U N D A T I O N T A O U N D E R F K A T H I W , still (detail), 2018. (detail), still , STORM JAVA 2002, February, 7th Generous loans of artwork to CAM exhibitions exhibitions CAM to artwork of loans Generous Daniel Dr. Angeles; Los 1301PE, by provided and Martin Blanchard Anita Dr. S. Berger; Art; Columbus Museum of H. Nesbitt; Sibylle Friedman; Joshua Chicago; DOCUMENT, Goldberg; Kenneth Quiles; Daniel and Friche Jan and Ronald Greenberg; James C. Jamieson C. James Greenberg; Ronald and Jan Berlin; Robert Zeidler, III; Kraupa-Tuskany Resnick; Dwayne and McDonald Mark Lococo; Boesky Marianne York; New Pictures, Metro Massimo De Aspen; and York New Gallery, Monique Kong; Carlo, Milan/London/Hong Hudson Chicago; Sandler Gallery, Meloche team and Berlin; Leighton, Gallery,Atlanta; Tanya Angeles. Los Vielmetter inc),w (gallery, engagement and learning CAM’s and for Support Elissa Fund; Bayer by provided is programs Dana Foundation; Taylor Crawford Cahn; Paul Trustee; Bank, U.S. Trust, Charitable Brown Foundation; Evera Van Caroline and DeWitt The of Fund Community Employees Jones; Edward Boeing St. Louis; Fund; Foundation Marcus Neiman of Heart The K. Norman Maritz; Foundation; Word Incarnate Charitable Fund; Probstein Foundation; Kerr A. William Fund; Strive The Fund; Endowment Youth MD, Weiss, D. Terry Advisors. Fargo Wells and Arts Angad Adler; Alexis to thanks Special Projects; Barrera Barrett America; in Art Hotel; Group; Hospitality Baugh; Bengelina John Biggers; Sanford Katherine Bernhardt; Taxes; Art Consulting; Brass BlackPuffin Abrams; Burnett Nichole Bridges; Nora Chisenhale Chadsey; Geoff Design; Cannon Collins; Claudia Bethany London; Gallery, Christine Productions; Contemporary Comte; cover front Inside AP. 1 + Xiao, 1/5 Guan Edition hours. 3 sound), (color, Antenna video and Single-channel Berlin; Zeidler, Kraupa-Tuskany artist; the Courtesy Space, Shanghai. The Contemporary Art Museum St. Louis (CAM) works to enrich lives through through lives enrich to works (CAM) Louis changing St. Museum of Art array Contemporary dynamic The a on Focused CAM art. landscape. contemporary cultural with local experiences and global the to contributes CAM exhibitions, to all. and open free discovery, for site is a

Trio Trio Foundation

Support for CAM’s exhibition program is program exhibition CAM’s for Support Susan Projects; Barrera Barrett by provided Beckwith; Naomi Poehler; Chris and Barrett and Brian Black; Heiji Daniel S. Berger; Dr. urban an City, Divided Foundation; Arts Danish Andrew the funded by humanities initiative the of joint project a Foundation, Mellon W. the Sam Fox the Humanities and for Center and Urban Architecture School, College of St. Louis; University Washington Design at Firestone Chicago; Elizabeth DOCUMENT, EXPO Chicago; Hedy Foundation; Graham and Bill Shull; Christy and Randy Fischer Ronald and Jan Goldberg; Kenneth Gautreaux; Thomas Jamieson III; James C. Greenberg; Penny Arts; the for Endowment National Lavin; and and Michael Fidler; Nancy Pennington Robert Foundation; Lehman Robert Poses; Fred and Ruwitch Ann Foundation; Mapplethorpe Strelow; Peter and Alexandria Arnold; Fox John The Contemporary Art Museum St. Louis St. Louis Art Museum The Contemporary organization. tax-exempt nonprofit, is a and general Exhibitions, programs, contributions through funded are operations foundations, individuals, generous from and corporations, funders. public Arts by provided is support operating General Council; Emerson; Missouri and Education Cultural Missouri agency; state a Council, Arts Arts International; Regional Novus Trust; Wells Louis; St. of Foundation Trio Commission; and Foundation; Whitaker Advisors; Fargo the and members of Directors of the Board Art Museum St. Louis. Contemporary inc.); team (gallery, Tackbary; Hunt R. Whitaker the Angeles; and Los Vielmetter Foundation. cover Front , POINTS RELATIVE Corday: Christine St. Louis, Art Museum Contemporary view, installation Kessler. Dusty 2019. Photo: 21, 18–April January

CAM About

2 Mesh 2019–20 3 Visitor Grams Audiences capture CAM on Instagram. on Instagram. CAM capture Audiences at @camstl. tag us and Follow

Visitor Grams Lisa Melandri. Photo: Joel Conner. Joel Photo: Melandri. Lisa

In the pages that follow, you’ll learn you’ll about the months In the pages that follow, prints, ahead. Site-specific installations, paintings, Stephanie Syjuco, by video, and sculpture photography, Liz Fordjour, Derek Andrade, de Jonathas Collins, Bethany Rivers the Great and G. Patterson, Ebony Artur, Johnson Tim Portlock, Irving, winners Kahlil Robert Biennial-award and Youn. Rachel first Great The beginnings. to our Which loops us back first CAM year the planned in 2003, was Biennial Rivers providing Foundation the Gateway with opened its doors, and essential then to the future. into support from now support, the extraordinary of This is just one example so many from has received CAM and care generosity, beginnings and and individuals since our organizations years. Support such these fifteen throughout as this we as future, our toward we plan as us confident makes people, in to more that matters place to be a continue to come. years the many in ways, more Melandri Lisa Director Executive Board Directors of 2019–20 Emeritus Cook Z. Barbara Cook Charles J. Good Terrance Goodson Joan Marylen Mann Isabelle Montupet Moog Donna Ann R. Ruwitch

Gary Krosch Gary Langsdorf Phyllis Lee Hedwig Levy Judith W. Susan McCollum McDonald Margaret Pulitzer Rauh Emily Julian Schuster A. Sinquefield Rex Soper Amy Srenco Andrew Michael Staenberg Donald Suggs Kate Warne Whitaker Pat Jackie Yoon

Chair Secretary Treasurer I recognize how we matter as each year our exhibitions exhibitions our year as each matter we how I recognize Jean-Michel audiences. diverse and more wider to appeal Visitors allowed fall blockbuster. a was Basquiat montage, video to be immersed in Guan Xiao’s themselves to see our been honored We’ve . Forecast Weather Sanford Sherald, Amy venues: to other travel exhibitions thrill to all gone on have Mpagi Sepuya Biggers, and Paul on an matter I see CAM the country. audiences across Earwitness Abu Hamdan: international scale; Lawrence with museums in England, co-organized was Theatre the for finalist a and is now Australia, and Netherlands, Prize. Turner prestigious I loved the weekday visitors were morning when I the weekday loved view the art on of sketches charcoal to make encouraged program. Observation from Drawing inaugural our for the tour schoolchildren bus loads of week every Nearly discussion. I’ve by tours enlivened the exhibitions—all the at amazement their visitors express seen and heard High Vashon portraits the photographic of quality I day mezzanine. Every on our students made, displayed Christine literally, to embrace, witnessed people rushing to “please invitation our accepting sculptures, Corday’s of the life into long Such moments matter the art.” touch city. a of the life an individual and into CAM is a place that matters. I see how it matters that matters. I see how place is a CAM day. every Dear Friends, Friends, Dear

the Director Letter from Letter Alexis M. Cossé Alexis Cambridge Paul Reby Jacob W. Bailey Bradley Susan Barrett Dorte Bjerregaard JiaMin Dierberg Ferring John Fischer Shereen B. Hare Rodney R. Herman Joseph Hoffmann Terry Kranzberg Nancy

2 Mesh 2019–20 5 @CAM Photo: Photo: Izaiah Johnson. Photo: Virginia Harold. Virginia Photo: Shop CAM Shop CAM’s shop is more than a place to buy merchandise; merchandise; buy to place than a more shop is CAM’s space the curated browsing While its own. of gallery a it’s designed and more, cards, jewelry, totes, t-shirts, find you we year the Throughout and local artists. visiting by the items, including one-of-a-kind to create artists invite the bag and tote Alchemist 21st Century Christine Corday fall, an installation the toucan pin. In Katherine Bernhardt with his is on display, Del Rosario artist Reniel by sale, Bootleg for and bootlegs souvenirs line of subversive them. In CAM’s among Seeds) (Sunflower WeiWei Ai to and wear, to to read, art discover you unique store changes The shop art space. personal own your decorate the essential items such as offering the museum, as does t-shirt, The Drag is a onesie, Gender Baby Contemporary the Emotional , Basquiat “dunnies,” Children for Art Book without. live can’t you things Baggage bag—and more shop online at the shop during museum hours or Visit . camstl.org/shop Café Culture Café coffee, cup of an excellent for spot quiet is a café CAM’s beers, and inspired local fare, delightful bites, lunchtime friends, and meet to gather, place a also cocktails. It’s hour Art happy Drink in a for whether ones, new make a corner, well-lit A celebration. monthly First Friday a or solitary a crowd, a for charming scene a view, with a room that and is café coffee—our great and always hideaway, awhile. Come in. Stay more. . the menu at camstl.org/cafe View Biggers

Sanford Biggers Contemporary Art Museum St. Louis

ISBN 978-0-9977364-0-3

Printed in USA Sanford Amy Sherald in front of her exhibition at Crystal Bridges Museum of American Art. American Bridges Museum of at Crystal exhibition her of front in Sherald Amy series—compelling sculptures sculptures series—compelling BAM Lawrence Abu Hamden: Earwitness Earwitness Abu Hamden: Lawrence

series remains in the Midwest (Chazen Museum of Art Museum of (Chazen the Midwest in series remains

intimate photographs of friends, lovers, and collaborators, and collaborators, friends, lovers, of intimate photographs installation at CAM, her first monumental sculptures sculptures first monumental her installation at CAM, . at camstl.org/campublications produced made to be shown inside a museum. The monograph The monograph museum. inside a to be shown made which challenge and deconstruct traditional notions notions traditional deconstruct which challenge and Find these and the many other books that CAM has that CAM books other the many these and Find the first monograph on the Michelle Obama portrait portrait Michelle Obama the on first monograph the Sanford Biggers in its second printing. Sanford artist, is currently , Sherald art. Amy on contemporary the discourse to add victims black and celebrate honor that and quilt paintings documents the artist’s documents the artist’s of portraiture. portraiture. of Christine Corday: Corday: Christine America. violence in police gun of is due in the spring, offering the artist’s the artist’s offering the spring, is due in Paul Mpagi Sepuya focuses on her ambitious, site-specific her on focuses POINTS RELATIVE CAM publications document our landmark exhibitions and landmark exhibitions document our publications CAM at the University of Wisconsin-Madison) and then moves to then moves and Wisconsin-Madison) of the University at The intimate Art Galleries). University England (Tufts New seen in Houston is next Mpagi Sepuya Paul of portraiture Art Museum). (Blaffer CAM exhibitions are attracting diverse audiences to the the to audiences diverse attracting are exhibitions CAM to share want world the museum, and museums around Sherald When Amy audiences. their with these exhibitions Spelman College Art, American Museum of Bridges (Crystal Journal- the Atlanta to Spelman, Art) came Fine Museum of glorification a are portraits “Sherald’s wrote, Constitution Biggers’s Sanford people.” real of the humble poetry of BAM Chisenhale CAM, between co-commission , is a Theatre and Institute With, Rotterdam; Witte de London; Gallery, by praised was The exhibition Art, Brisbane. Modern of theatrical experience a orchestrating “skillfully for Artforum Hamdan is a Abu and edifying and unnerving,” that is both tours Through and Prize. Turner the prestigious for finalist the globe. vision across its extends CAM collaboration, On Tour In Print In

4 @CAM 7 @CAM . Photo: Abby Gillardi. Abby . Photo: Project Archive Gamble in Guan Xiao: Fiction Jeff and Kayla Photo: Virginia Harold. Virginia Photo:

William Downs: sometimes it sometimes William Downs: The two met at a house party in St. Louis and had an Louis in St. house party at a met two The finding new and exploring love instant connection. “We actually “It’s remarks. Jeff the city,” to hang out in places Despite having ago.” years CAM came across we how Gamble Jeff and and engineering, Kayla in law careers of eclectic nature the non-conformist, to drawn are contemporary of This appreciation art. contemporary wedding a for to decide on CAM them led art eventually minimalist, the relaxed, “The museum matched venue. says to achieve,” trying were we vibe and contemporary member, Board Junior as a She supports CAM Kayla. welcomes that space a to have so special because “It’s would otherwise to that they residents an environment favorite their about When asked to.” be exposed never include they exhibitions, wedding. to Downs their hurts, which was backdrop a and the mural, positions in yoga of number depicted a intricate “It had so many enthusiast, observes, yoga a Jeff, every features findingfound ourselves new we details, time we looked.” We Our We Members mission of help support CAM’s you member, a As all for that is accessible art contemporary showcasing to our access special offer We you. thank to want we and scene the CAM to be part of invitation members, an open previews for us Join new. and always that is ever-changing in intimate member part take and exhibitions new of Meet talks. artist seat at CAM’s a can reserve You events. At the Studio. In spaces at working their local artists in drink and conversation a share the Curators with Cocktail Our Jeffereis. Al-Khudhairi and Misa Wassan with CAM’s to share you allows membership + Family Friends new level this new At household partner. friend or with a CAM anticipated Feast the highly to access early receive you from inspiration take chefs St. Louis where Eyes, Your at coffee free enjoy also may You exhibitions. the current Dates. Plus, all members receive and Play Tours Stroller you just because shop and café, 10% discounts in our happen. CAM help make . at camstl.org/join today member Become a Wedding A Backdrop Photo: Virginia Harold. Courtesy Pulitzer Arts Foundation. Pulitzer Courtesy Harold. Virginia Photo: Studio of Emily Elhoffer, Open Studios STL 2018. Photo: Abby Gillardi. Abby 2018. Photo: Open Studios STL Elhoffer, Emily Studio of

museums. Endless experiences. have partnered on a joint advertising campaign: joint advertising on a partnered have where you can spend an hour or a day. One stop. Two Two One stop. day. a or can spend an hour you where together. After all, our buildings are both hallmarks of of hallmarks both buildings are all, our After together. to the opportunity you have so year, the throughout as love you something revisit or new, in something take Foundation are frequently mistaken for one another, or or one another, for mistaken frequently are Foundation likenesses our figure We the same. to be one and thought and welcoming to all. With so much in common, we we With so much in common, to all. welcoming and contemporary architecture. Our exhibitions change exhibitions Our architecture. contemporary SeeArtTogether.org. Together, we are intimate spaces are we Together, SeeArtTogether.org. often as you like. Both museums are free, accessible, free, are museums Both like. you as often offer us a great opportunity to invite you to see us both to see us both you to invite opportunity great us a offer . at openstudios-stl.org more Learn Open Studios STL offers an inside glimpse into the glimpse into an inside offers Open Studios STL as 150 many As art in St. Louis. of production creative the to studios and art spaces their local artists open with artists, partner We only. weekend one for public and spaces, art organizations, galleries, alternative encouraging and County, City in St. Louis universities the within artists and audiences between interaction STL’s In Open Studios environments. working artists’ Artists with an will kick off the event year, fourteenth participating where 17, October Thursday, on Reception are the community and artists, local art professionals, St. Louis. the art and artists of to celebrate invited Saturday–Sunday, October 19–20, 2019 October Saturday–Sunday, Studios STL Studios Open As next-door neighbors, CAM and the Pulitzer Arts the Pulitzer and neighbors, CAM next-door As

See Art Together

6 @CAM 9 Artists Work Here Meghan Grubb working with LEAP Middle School Initiative students. Photo: Abby Gillardi. Abby students. Photo: Middle School Initiative LEAP with working Grubb Meghan Syna So Pro (Syrhea Conaway) performing during First Friday. Photo: Abby Gillardi. Abby Photo: First Friday. during performing Conaway) (Syrhea So Pro Syna Sarah Paulsen Sarah was Biennial Rivers the Great with experience My to conceive able was I the award, Because of incredible. From practice. and daily imagination my beyond project a studio, my visited my the jurors when beginning, very the resources financial The places. to new pushed were ideas artists, new many with and collaborate to hire me allowed The work. from jobs to focus on the time off well as take as helped me and installation staff the curatorial support of best the then constructing guiding and ideas, my clarify the the scenes, Behind work. the of possible installation guides, gallery text, wall around expertise institution’s me new gives work the of and documentation publicity, an artist, I am often As projects. future for resources to me allowed CAM own. on my tasks these to do forced ideas my propelled result and as a the artwork, on focus and the forward. project Dail Chambers delight. is a Art Museum St. Louis The Contemporary had I have teaching artist-in-residence the summer As and my wellness for love to combine my the opportunity witness to pleasure been a art making. It’s for passion awareness. sound, and body texture, artists explore young through walking while giggles and squeals their hear To art- me because as an for impactful was tour the stroller responds whole audience the in how I am interested maker simple, in a with children Working to images and artwork. senses their to ignite takes is all it experience streamlined and is personable The Museum staff and imagination. bringing comfortable feel I mother, a As professional. to that is important child, something young along my all art institutions are Not youth. with working when me is a CAM is engaged. family whole the that making sure unique gem. Meghan Grubb Meghan the with working aspects of the most exciting One of skepticism their observing was artists in LEAP young their into it sloppily and poured up plaster mixed we as the molds away pulled we time the molds. But by prepared Their clicking. things began plaster, the hardened from the materials though almost as was brightened. It eyes took and all it hidden knowledge, a revealed and process to unearth tool molding and a plaster block of a was artists, I recognized young the alongside Working it. learning of feeling that anticipatory and appreciated was the first time. an It hands for with my something the made possible by teaching experience invigorating environment and collaborative supportive, well-resourced, to bringing attention the museum’s value I at CAM. these and believe with the community, work artists to practices and sustain creative connections strengthen the institution. in and out of both Since I became the 2019 DJ-in-residence, CAM has CAM the 2019 DJ-in-residence, Since I became and creator as a energy overall ignited my only not Learning the Museum’s with working musician, but by new take to been able team I’ve and Engagement to local schools and collaborate ideas programming Arts). Creative of (Center and COCA with CAM both at each First Friday includes performing residency My to to challenge myself me which has encouraged CAM, this “ninja Using each exhibition. for music write new into and digging deeper I’m expanding collaboration,” to visual art, and hoping the aspects of the emotional It is a scored. the music I’ve through works the enhance experience. fulfilling challenging and very Syrhea Conaway Syrhea

As a photographer, CAM has granted me further access further me has granted CAM photographer, a As artist programs art communities. CAM’s the St. Louis into have ArtReach, such as Open Studios and and initiatives art. think, and make talk, teach, I how affected directly the by and has been influenced is evolving practice My they’ve Museum; the at encountered visiting artists I’ve to artistic success me. I attribute my for become models whether at CAM, working while learned the lessons I've teaching artist at as a or Associate Services Visitor as a teach who co-workers, my from High School, and Vashon the stars. for strive to me and motivate Dail Chambers leading an activity during Family Day Block Party. Photo: Rebecca Clark. Rebecca Photo: Block Party. Day during Family Dail Chambers leading an activity Sutton Tiffany

CAM regularly hires local artists for many of our programs. CAM also provides opportunities for for opportunities provides also CAM programs. our of many for local artists hires regularly CAM to share local artists few a asked We with audiences. engage and work their to present artists experiences. CAM their Artists Work Here Work Artists

8 Artists Work Here 11 ArtReach very limited. “This is an opportunity for our students to students our for “This is an opportunity limited. very engage in serious dialogue.” Vashon-CAM the is also enthusiastic about Grapperhaus with in 2019–20, year third which enters its partnership, based art project year-long, a the Museum coordinating juniors, and seniors, and to sophomores, curriculum Vashon the visited teaching artists. “I’ve local providing the “Some of says. Grapperhaus than once,” more project those classes has become that has come out of artwork the school. semi-permanent installations in permanent or the for a lot confidence, students’ for lot This does a teachers, When students, the school. climate of cultural visitors see art installations hanging families, and other pride sense of a there’s foyer, the in set the ceiling or from an art school, but now isn’t Vashon and ownership. major.” art as a considering are there students art education more the public schools makes in “CAM these “These students, he emphasizes. about community,” not are they these neighborhoods understand schools, feel to made are We marginalized. silo, not in a alone, not to is integral the city and city to our integral are we that museum. It is is a an island and neither school is not A us. together.” institutions to connect our experience great a John Grapperhaus is a witness to the impact of CAM education programs. education CAM of the impact to witness is a Grapperhaus John ’ St. Louis Public Schools St. Louis Tiffany Sutton working with Vashon High School students. Vashon with working Sutton Tiffany John Grapperhaus has been with St. Louis Public with St. Louis has been Grapperhaus John he is now teacher, art former A Schools since 2000. to Learning / Springboard Art Coordinator Visual art curricula, which means he develops Coordinator, and observes, development, professional provides visual arts instructors coaches, and supports all seventy falls his support this umbrella Also under the district. in program. ArtReach CAM’s for work the public schools,” for is an important resource “CAM logo in museum’s the “Seeing explains. Grapperhaus the education of transformation the helps in classrooms of high level that a an understanding There’s experience. school. is in a ArtReach when arts education is involved the students with teaching artists engage and staff CAM’s and students workshop, professional a were though it as it seriously.” take annual CAM’s of effusive he is especially vein, this In students come as sixty many when as Day, Portfolio AP art from critiques professional to receive the Museum to the students level helps and artists. “CAM professors most public schools, For he says. field,” playing but support and the curriculum, is part of Portfolio AP schools is often in city this program for resources ArtReach Connects New Art in the Neighborhood was one of the best the one of was the Neighborhood Art in New friends made lasting joined. I’ve I could have programs amazing many of advantage took and memories, and Art to New student returning been a opportunities. I have I high school. of most throughout the Neighborhood in during my program LEAP student in CAM’s also a was the best opportunities I’ve One of years. middle school of the School to attend the chance was CAM from gotten College Summer Early Chicago’s Art Institute of the CAM [Garza, José when little shocked a was I Program. a for been selected told me I’d Museum Educator,] considered even have would that I scholarship. I doubt Art in and New CAM for weren’t it if the program the Neighborhood. choice my class of college dorm and attended a in a I lived There artistic portfolio. my while building up weeks two for on focusing from, to choose classes of wide range a was took techniques. I art mediums and different of an array depict to accurately ability my to improve drawing figure who nude models drew We work. in my human anatomy The most challenging props. own their bring would final the program’s for drawing making a was assignment the deadline pressures. because of in part exhibition, constantly sights and wonderful many In Chicago, I saw Art roamed the where class was Institute, which was my Japan, China, world: the all over from people held. I met Colombia, and states such as Minnesota, South Korea, the from people met and I even Florida, and California, within was that everything I enjoyed area. St. Louis right across was Target dorm: my from distance walking the Sharp the corner; right around was Blick the street; Park. Grant’s was as away couple blocks a was building nearly wasn’t but it regularly, given was Homework full-time been as a have would as it as suffocating time, attend free to have still able was college student—I the city. dorm, and explore at my parties and events on off venturing time first my was program The summer living on campus during of the uncertainty and own, my grateful very I am has been relieved. years college my for at CAM thank everyone and I this opportunity, for giving this to me. the Neighborhood Art in in New who participate Students details, For college credit. hours of three for eligible are . visit camstl.org/nan . Studies at camstl.org/teens Learn more about LEAP Middle about LEAP more Learn School Initiative, New Art in the Art in New School Initiative, Neighborhood, and Teen Museum Teen and Neighborhood,

Courtesy Mya Stevens. Mya Courtesy

A participant in CAM youth programs since she was in middle school, Mya Stevens, now a senior senior a now Stevens, school, Mya in middle was since she programs youth participant in CAM A Art Institute of the School of the scholarship at a for selected was Academy, Arts Center at Grand . Mesh for experiences her Chicago. She shares A Summer to Draw to Summer A

10 Teen Profile St. Louis Alebrijes

CAM co-sponsors university students from Mexico to connect local Latinx youth to their cultures through the making of magical creatures.

For the second consecutive summer, CAM hosted workshop training with Ruiz and José Garza, CAM Museum student interns from the Universidad de Monterrey, Educator, and brainstormed ideas for a focused art Mexico, through a program funded by the Incarnate Word activity with the summer-camp kids. Foundation. The program seeks to address a lack of community resources available to Latinx youth, with CAM It seemed no time at all before Andrea and Paola walked 12 providing art activities for youngsters attending summer into CAM’s staff office with a box-load of two-dimensional, 13 CAM in the Community camp at St. Francis Community Services in Bevo Mill. spirit animals, alebrijes, constructed by the campers. The Year Ahead Miriam Ruiz, School and Community Programs Manager, interns had designed the workshop around the popular offers instruction, mentorship, and assistance to the Mexican legend of a man who dreamed of strange student interns as they design the summer camp program. creatures that called themselves alebrijes. Inspired by his vision, he gave life to these fantastic beings through art. Andrea Rodriguez Gonzalez and Paola Alejandra Arizpe Flores arrived at CAM from Monterrey in mid-June. With The two newly experienced art instructors discussed the majors in international relations (Andrea) and international alebrijes project in CAM’s courtyard on a July afternoon. finance (Paola), the two did not have art backgrounds, The following is an excerpt of that conversation. but in a few days they received an accelerated course in contemporary art history from Ruiz, took part in art- Andrea We wanted to teach kids about their cultural identities. How could we connect them to their roots? Instructing the children to create alebrijes gave them artistic freedom. They could create any animal, or any combination of animals.

Paola And we would ask them, Why this color? Why this superpower? Their answers were often based on their cultural identities.

Andrea Art is a special tool for kids’ cognitive development. Kids can create links to who they are. It’s their way to remember and understand where they are from.

Paola Through art, kids are allowed to imagine, and then to create and bring their imagination into the actual world. Art is a vehicle to a greater objective.

Andrea Through the experience of the internship I saw with my eyes what I’d read as theory at the university— how important community is when you are away from home. How important it is to remember the past, your music, food, and dance.

Paola I learned Mexico is all over the world.

Visit camstl.org/stfrancis to view the students' alebrijes.

Andrea Rodriguez Gonzalez and Paola Alejandra Arizpe Flores. Courtesy the artist. © Liz Johnson Artur Johnson the artist. © Liz Courtesy , 2018. Chromogenic photograph, 24 x 20 inches. photograph, , 2018. Chromogenic (PDA) Untitled Artur, Liz Johnson Year Ahead 15 Year Ahead

present day? day? present immigrants as outsiders today. Narratives shift Narratives today. as outsiders immigrants may not consider themselves as outsiders. Notions of of as outsiders. Notions themselves consider not may who gets to speak for American culture could be a could be a American culture for to speak who gets I’m really trying to make a bridge between what we we what bridge between a to make trying I’m really view we with how distant history even or see as recent complete construction. complete depending on the politics. What I want to try to focus to focus depending to try What on the want I politics. the past and bringing them into the present. What are are What the present. them into the past and bringing you hope the things that will think people when about the with the past links that work looking at they’re , 2016. Archival pigment print, 40 x 30 inches. Archival Bundle, 2016. Cults: Head Stephanie Syjuco, Cargo the artist and Catharine Clark Gallery. Courtesy on is that the “outsider” has always been present, and been present, has always the “outsider” that on is You’ve talked about taking things, talked objects, images from You’ve

heritage, immigration, and American perceptions of of perceptions American and heritage, immigration, incredibly diverse city and region in a predominantly predominantly in a and region city diverse incredibly really wasn’t foreign-born being So community. immigrant place to store them. The only way that these projects way The only place to them. store visual started turning into them, they photographing with that tinker you changing them, digitally photos or has been photography Historically, reality. of perception the colonizer. of perspective presence of immigrants, then I might have felt like I didn’t I didn’t like felt then I might have immigrants, of presence your if So even country. own your in foreigner perpetual was from somewhere else. What I didn’t realize then, and realize I didn’t What else. somewhere from was the country— parts of other divide in perceptual a was tableaus, and I started making sculptural works works tableaus, and I started making sculptural who were documenting photographs—those travel take this includes colonial endeavors. and countries, to other constructed incredibly are historical photographs Many that not being “from here” could be seen as a liability. could be seen as a here” being “from that not think can generations—you for has been here family think to come I’ve belong here. do not you if As from?” of hundreds composed of installations are my of Most specifically to be photographed. I was also thinking was also I to be photographed. specifically manipulating By there. actually what’s captures somehow I grew up in the San Francisco Bay area, which is an area, Bay the San Francisco up in I grew I’d if thinking. Maybe my of forefront the at something Asian with specific predicament very a there’s think I afterward would have to disappear because I had no to disappear have would afterward history strong really has a photography about how that it and reality, documenting of the idea to attached to who could afford the people used by advantageously the from power of narrative particular a and create about Chinese Americans Japanese Americans—the or policies have American immigration since this more about could live on was through documentation. So as I was was documentation. So as I through was on could live grown up in a city in which there wasn't such a strong strong such a wasn't there which in city up in a grown there that was until college and onwards, realize didn’t really you are where comes up, “Well, question always this country. of who is considered changed and When did you discover links between your Philippine your between links discover you When did Where and how did photography enter your practice? your enter did photography and how Where objects. They would only exist when exhibited and when exhibited exist only would They objects. fit in. But in the Bay Area it was such a given that everyone everyone that a given was such it Area the Bay fit in. But in Stephanie Syjuco spent time in St. Louis over the summer researching local archives for her her for archives local researching summer the over time in St. Louis Syjuco spent Stephanie with to speak research her from a break took CAM. Syjuco at site-specific installation new, . Mesh for Specialist, Communications Silva, Eddie and Curator, Chief Al-Khudhairi, Wassan Americans, where there’s this notion of this being the notion of there’s where Americans, “others”? Who Belongs? Who

Rogue States Rogue

Neutral Calibration Studies (Ornament + + Studies (Ornament Calibration Neutral

Stephanie Syjuco Stephanie States Rogue Syjuco— media, Stephanie of variety a across Working the Area—explores Bay the based in born in Manila, which we in understand ways complicated such immigrant, as citizen, concepts charged politically is her the exhibition to Central nationhood, and identity. installation that build up objects and images of , an array Crime) the and colonized the to relating encoded narratives and artifice. reality tradition, and modernity colonizer, In these themes, the with line installation political implications. is made up of twenty-two reproduced flags originally flags originally reproduced twenty-two is made up of represent to films and European used in Hollywood West. the of the lens through nations fictional enemy the history of an examination toward departure point of and multiple social and its power, photography, of revisits historical historical Cults revisits series Cargo The photographic fictional display. a via studio portraiture ethnographic will CAM, Syjuco for installation site-specific new a For with native villages the “living exhibits”—recreated take as a Fair World’s the 1904 St. Louis inhabitants—of

Sep 6–Dec 29 6–Dec Sep Fall 2019 Fall (detail), 2016. Wooden platform, neutral grey seamless backdrop paper, digital adhesive prints on lasercut wooden props, props, wooden prints on lasercut digital adhesive paper, seamless backdrop grey neutral platform, Wooden 2016. (detail), + Crime) Studies (Ornament Calibration Stephanie Syjuco, Neutral feet. paint, 10 x 20 x 8 gray calibrated plants, neutral prints, artificial plants, live photographic and Craigslist, on eBay fabric, items purchased digital prints on dye-sublimation Courtesy the artist. Courtesy

14 Year Ahead 17 Year Ahead

leading up to Ferguson, Missouri, as most of us know it. us know Missouri, as most of to Ferguson, leading up last assignment I covered, involving multiple fatalities— multiple involving last assignment I covered, immediacy of the questions asked and answered in real in real and answered the questions asked of immediacy well-crafted of the same love then studio practice in my mechanics and the context for the work. work. the mechanics for and the context report on the Ferguson Police Department] of 2015, which 2015, of Department] Police the Ferguson on report whiteness—or blackness—of the paper on which their their which on the paper blackness—of whiteness—or you camouflage. Can kind of as a stamped are words your of the direction informed the South upbringing in speak to the critical context of this disguise? of the critical context to speak art? wet.” From a distance, the work appears simply as a wall wall as a appears simply work the distance, a From wet.” was also the first text I’ve used without any historical without any used I’ve text first the also was find I the story. into to assert/insert myself the desire was that resolution. for I’m longing work, that reading the report was like “being told that water is water that told “being like was the report that reading even read. So to the surface is legible, but difficult from is impossible which that which has been made clear, that the to see…which is both can still be hard to deny, time, daily. What I lacked—and I realized this after the this after I realized What I lacked—and time, daily. . 7, 2016 May PAPERS, stability. What I enjoyed about that work was the was work that about What I enjoyed stability. as a creative profession that might also offer financial that might also offer profession creative as a distance. It’s a current document of all the reasons the reasons all document of current a distance. It’s In every answers. of the potential just questions, and even When did you first want to be an artist? How has your your has How to be an artist? want first you When did of white. Up close, though, the braille-like text protruding protruding text the braille-like though, white. Up close, of When the report was published, I remember one response: one response: published, I remember was the report When ART ART from with permission and reprinted Excerpted Your current blind embossing works ask us to see the see to ask us works blind embossing current Your The first work I embossed was the [Department of Justice of the [Department was work I embossed first The At the University of Alabama, I majored in photojournalism in photojournalism Alabama, I majored of the University At

leave the standing, to to frustrate contradiction, expose leave kind of “failed” erasure is reminiscent of the device in the device of is reminiscent erasure “failed” kind of in a contradictions where sous rature, called philosophy subjected to acts of erasure that never really obscure obscure really never that erasure to acts of subjected the viewer’s gaze and to control a new reading of the text… the of reading new a to control and gaze viewer’s the to me. so unwieldy feels that initially this language all of these outcomes feel like an exertion of mastery over over mastery of an exertion like feel these outcomes all of text are preserved in print but struck through by a line a by through in print but struck preserved are text these for mean you Do to be read. them still allows that our sense of where these texts were taken from. This from. taken were these texts where sense our of contradictions? to expose erasures Traces of Language of Traces to given the largest of is one $50,000 award Prize—the the Hudgens Collins received Bethany in University Washington 2015. Buzz Spector, the nation—in in an individual artist announced. was award the after to her spoke and juror as a served professor, emeritus St. Louis Your work has a special quality of found language found of special quality has a work Your Yes. Absolutely. The paradoxical choice to erase, but to but to erase, choice The paradoxical Absolutely. Yes.

artist and PATRON Gallery, Chicago. Photo: Aron Gent. Aron Photo: Chicago. Gallery, PATRON and artist

(detail), 2018. Twice embossed archival newsprint, 9 x 6 inches each. Courtesy the the Courtesy each. inches 6 x 9 newsprint, archival embossed Twice 2018. (detail), (1898) them? know you Do Collins, Bethany

Bethany Collins Bethany Chorus is an Collins, language Bethany artist multidisciplinary For subject her Language is both preoccupation. obsessive dictionaries and classified material—from and primary Language reports. songs and bureaucratic to patriotic ads American which she explores through prism is also a and national identities. racial the nuance of and history unique practice: insight into her offers This exhibition which work with struggles conceptually-driven insistently and its inevitable language, its potential of the duality tool language as a sense. Collins employs to make failure the assumption resisting systems, larger dismantling for often excises, She physically law. that language is settled emphasizing texts, from words eraser, Pink Pearl with a smudged words torn, is language. Paper of the materiality remain idioms or translations Opposing and obscured. isolation—while their through charged legible—poetically Her and residue. trace in only meaning exists all other the page of care her contains paradox: work to leads erasure destruction; from indistinguishable standing. left exposure—contradictions , 2018. Charcoal and latex paint on panel, 48 x 72 x 2 inches. Courtesy the artist and PATRON Gallery, Chicago. Photo: Aron Gent. Aron Chicago. Photo: Gallery, the artist and PATRON paint on panel, 48 x 72 x 2 inches. Courtesy and latex , 2018. Charcoal Old Flag) Grand A (You’re you for Collins, I am Bethany

16 Year Ahead

19 Year Ahead

Jan 17–Apr 19 17–Apr Jan Spring 2020 Spring the

For more than 30 years, the Russian Ghanaian artist Liz Ghanaian artist the Russian years, than 30 more For photographic creating has been Artur Johnson the around descent African people of of representations after Black project her She began Archive Balloon world. with a she stayed where in 1986, visiting Brooklyn, black neighborhood. predominantly in a family Russian where and Russia, up in Bulgaria, Germany, grown Having the artist with black communities, she had little contact as a to use photography the experience by inspired was African the people across with other connect to way soul, and for word the Russian is “Dusha” diaspora. the everyday capture intimate pictures Artur’s Johnson that she has individuals of and distinctiveness beauty the Caribbean, Africa, to travels encountered during her Artur: America. Liz Johnson Dusha, and North Europe, exhibition, is first solo museum artist’s London-based Museum and features the Brooklyn by organized from selected videos, and sketchbooks photographs, the ongoing Black Archive. Balloon Artur Johnson Liz Dusha

, 1996-2012. Chromogenic photograph, 20 x 24 inches. Courtesy the artist. © Liz Johnson Artur Johnson Liz © artist. the Courtesy inches. 24 x 20 photograph, Chromogenic 1996-2012. , Untitled Artur, Johnson Liz

Alexander and Bonin, New York. New Bonin, and Alexander

(still), 2018. HD video (color, sound), 4:25 minutes. Courtesy the artist and and artist the Courtesy minutes. 4:25 sound), (color, video HD 2018. (still), Voyeristico Andrade, de Jonathas

Street Views Street

, de Andrade approached approached Andrade , de Voyeristico On view dusk–midnight dusk–midnight On view

Voyeristico de Jonathas by video recent , a Voyeristico presents CAM the on Views—projected Street as part of Andrade, at exhibition The to midnight. dusk from facade museum’s outdoor first Andrade’s de the occasion of marks CAM often works artist creates The Brazilian video projection. city a Recife, of landscape and culture the to responding he lives where Brazil of region the northeast located in and works. For film to Paulo and São Recife of the streets individuals on the and displaying wallets their opening them slowly close-up sequence of as a contents. Constructed into visual entry an unusual video offers the snapshots, wallet the object, charged A lives. private the participants’ social background, wealth, person’s triggers ideas about a be video can also The status. and citizenship identity, wealth hidden of the presence on commentary seen as a endemic in Brazil. and corruption Jonathas Jonathas de Andrade

18 Year Ahead 21 Year Ahead across the street from from the Mast across street Half look like sportsmen, or game pieces, too,” he adds. “I’m too,” game pieces, or sportsmen, look like them.” dominion over or autonomy of lots legacy of African American parades, beginning with the with beginning parades, American African of legacy its main entrance. Installed last fall, the mural shows a a shows mural the fall, Installed last its main entrance. the criminal with experiences own and my incarceration a Archey, Ezekiel of the life name honors installation’s this to in relation larger bodies are our in how interested resin, copper, dirt, and plaster. The small, traditional traditional The small, dirt, and plaster. copper, resin, a he explains, Airmen,” Tuskegee the historical bust and that pilot group Force Air African-American nod to the , a carnival carnival , a with PARADE such as multidimensional spaces, mosaics, also eight large-scale his installation of history, the area’s mosaics depict the and drummers, majorettes with the buoyant balloons and beloved teddy bears of bears of teddy balloons and beloved the buoyant with a of something There’s in games. interest which is my with popcorn and fresh hay. Alluding to Harlem’s rich to Harlem’s Alluding hay. fresh with popcorn and Rights era and is still active today. Further down down Further today. and is still active Rights era Side, Museum the Whitney West Manhattan’s Angeles [Night Los in show solo first major Fordjour’s busts hand-sized hundred fabricated several Fordjour materials—including of variety the same mold in a from Armed U.S. the to do so in first the II, War World in fought them make helmets leather their then again, “But Forces. Fordjour often expands his undulating surfaces into his undulating surfaces expands often Fordjour Hill Sugar York’s within New he created fantasyland MTA City’s York New commissioned by was , titled PARADE line of station. Starring a Street 145th the nearby for share the same small space, which is occasionally dotted dotted is occasionally which the same small space, share insight into his offers that room three-sided specific a “This one references uncanny: if familiar, statue is all-black World War I regiment—and continuing with the with continuing I regiment—and War World all-black justice system, and growing up in the ’90s and seeing the ’90s and seeing the up in and growing justice system, commissioned the mural about lot a thinking “I’m process. conceptual The with sentencing.” now are we where and era, crack brutal Alabama’s under worked who laborer convict 19th century. the late in leasing program convict , STOCKROOM For inquiry.” my to most of gaming logic vibrantly-hued dense crowd scene and deals with gun with gun scene and deals dense crowd vibrantly-hued and civilians all targets students, violence: police officers, memorials. sidewalk makeshift victims’ , a site- , a Ezekiel includes STOCKROOM 2019] Gallery, CULTURED, from with permission and reprinted Excerpted 15, 2019. February Children’s Museum of Art & Storytelling in 2017, complete Art & Storytelling in 2017, complete Museum of Children’s figure, and so we feel that they’re expendable. We have We have expendable. they’re that feel we and so figure, African American Day Parade, which began during the Civil which began during Parade, American Day African 1919 celebration of the Harlem Hellfighters—New York’s York’s the Harlem Hellfighters—New of 1919 celebration “There are a few things that are recurring for me, one of me, one of for recurring that are things few a are “There

pages and skinned corrugated cardboard between between corrugated cardboard pages and skinned to these to get that feel all the it takes labor never in to relatives along up passing he grew hand-me-downs notion the Global South, a to much as it is photos—as “People geography. of position regardless psychological really feels museum a space like or work pristine to a next honest and democratic.” [Los Angeles] studio. His signature palimpsestic studio. His signature Angeles] [Los washes of blazing neons and smudges of charcoal. “I charcoal. neons and smudges of blazing of washes pieces broken torn or these Putting with scraps. working these humble, mundane materials is a reference to the to reference a these humble, mundane materials is and certain physical a occupy color that people of of gumbo, aesthetic collage, or use a to tend there surfaces is a waste. You never know how it’s going to work work to going it’s how know never You waste. surfaces is a as much as I use paint,” artist Derek Fordjour explains, explains, Fordjour artist Derek as much as I use paint,” gently shuffling through the fragile, heavily textured textured fragile, the heavily shuffling through gently Heights Boyle temporary his of floor the that line canvases newspaper shredded of layers reveal composite portraits Working with with Scraps Working out. There’s some chance in it.” Fordjour’s elevation of of elevation Fordjour’s chance in it.” some There’s out. Ghana—clothes that would eventually resurface in family family in resurface eventually would that Ghana—clothes By Jennifer Piejko Jennifer By

“I use a knife as much as I use a brush, and I use charcoal brush, and I use charcoal much as I use a as knife “I use a Courtesy Night Gallery, Los Angeles. Los Gallery, Night Courtesy

, 2017. Acrylic, charcoal, oil pastel, and foil on newspaper mounted on canvas, 60 x 40 inches. inches. 40 x 60 canvas, on mounted newspaper on foil and pastel, oil charcoal, Acrylic, 2017. , Blue Tandem Fordjour, Derek

Courtesy Night Gallery, Los Angeles. Los Gallery, Night Courtesy

, 2019. Acrylic, charcoal, and oil pastel on newspaper mounted on canvas, 63 x 103 inches. inches. 103 x 63 canvas, on mounted newspaper on pastel oil and charcoal, Acrylic, 2019. , Deep Bend Three Fordjour, Derek

Fordjour exhibition, Derek solo museum first major his For the in viewers that places constructs an environment ramshackle makeshift, , a storm. SHELTER a heart of canvas signature the artist’s is populated by structure the urban from culled with detritus along works of notions to evoke collected here environment—all heightens crisis, and impending harm. SHELTER safety, and of nature, temporal own their of awareness visitors’ across the human migrations those caught up in one of A storms. of multiplicity a from the earth, seeking shelter Ghanaian heritage, Fordjour artist of York-based New to create painting portrait of the realm in primarily works to themes relating address that subtly scenes vibrant in particularly and aspiration, inequality, systemic race, comprises a SHELTER American identity. of the context long 60-foot the museum’s for site-specific commission that installation room and an immersive Wall, Project combines two- and three-dimensional artworks.

SHELTER Fordjour Derek

20 Year Ahead 23 Year Ahead is being made and how. I look forward to seeing how next next seeing how to forward I look how. is being made and the with concerns at Biennial engages Rivers Great year’s levels. local and national Associate and artist multidisciplinary Ross-Ho, Amanda Irvine California, of the University at Professor and a city Louis as St. of The specific conditions which it influences and in ways the and community, to be an important seemed production cultural informs to in one spoke we everyone for touchstone contextual or seemed energized the artists of Most another. or way with local discourse of forms different by mobilized within sited wounds, communities, politics, and cultural was I post-industrial St. Louis. the unique landscape of the in self-starting spirit of pervasive to see a excited own their creating them proactively of with many artists, exchange, exhibition, for mechanisms and platforms and critical dialogue. production, I have the impression the impression I have

Two days. Ten artists. Three jurors traveled to meet with the Great Rivers Biennial 2020 finalists. Biennial 2020 Rivers the Great with to meet traveled jurors Three artists. Ten days. Two City, South County, North visited Ross-Ho Amanda and Lew, Y. Diaz, Christopher Carlos José of vibrancy and work of the high quality on agreed they Afterwards, 170. of west and downtown, . Mesh for observations their shared They artscape. the St. Louis

José Carlos Diaz, Chief Curator at the Andy Warhol Warhol Andy the at Curator Carlos Diaz, Chief José cities and small the secondary that all find Museum I the most some of producing are country the across towns was I Pittsburgh, city, small in a resident a As art. exciting exploring art community vibrant to see another so pleased many to meet the opportunity I had identity. its complex in a world the art navigating that are artists emerging and engaged time active the same at but global context, community. own their within the at Curator Poses and Fred Nancy Lew, Y. Christopher American Art Museum Whitney for are face in St. Louis artists the challenges emerging that in the working elsewhere to those country: finding similar the studio as in working to be time and resources the time art in a and make to live much as possible; how changing and a racism, systemic inequality, by marked what locale do inform a nuances of the That said, climate. Postcards from St. Louis St. from Postcards

Left to right: Christopher Y. Lew, José Carlos Diaz, Amanda Ross-Ho. Amanda Diaz, Carlos José Lew, Y. Christopher right: to Left

May 8–Aug 16 8–Aug May Summer 2020 Summer

, 2017. Silicone, polyester fiber, extruded polystyrene. Courtesy Courtesy extruded polystyrene. fiber, , 2017. Silicone, polyester Untitled the artist. Rachel Youn, Youn, Rachel , 2015. Archival pigment print, 72 x 54 inches. Courtesy the artist. pigment print, 72 x 54 inches. Courtesy Archival Sphinx, 2015. Tim Portlock, between the divergence on focuses art Tim Portlock’s of the realities American ideals and traditional landscape images are cities. Portlock’s contemporary to embed license but he uses creative realistic, highly Biennial, Rivers the Great For work. meaning into his optimism, the ideas of explore to “critically wants Portlock visibility.” displacement, and social Tim Portlock

A collaborative exhibition program presented by CAM CAM by presented program exhibition collaborative A Biennial Rivers the Great Foundation, the Gateway and artists and mid-career talented emerging identifies financial with them providing area, the St. Louis in museum. the at exhibition major a assistance and

Rachel Youn Rachel that earnestly replicas with identifies work Youn’s Rachel studio, objects their thing. In the real like to appear want the with pieces, playing into kinetic transformed are goods and spirituality. manufactured between relationship a featuring an installation "creating will be they CAM, For sculptures.” kinetic motion-activated of pathway The Great Rivers Biennial is made possible by Rivers The Great

, installation view, Ezra and Ezra view, , installation Age / Golden & Forever - Decay Matter Irving, Street Kahlil Robert the artist. 2018. Courtesy University, Wesleyan Gallery, Cecile Zilkha Kahlil Robert Irving Robert Kahlil with historical references Irving combines Kahlil Robert sources. mass media from issues gathered contemporary been influenced have that rules cultural to break aims He through these constructs challenging colonialism, by an will create Irving and performance. form, materials, monuments and a for model a that is “both installation within certain communities.” loss to major memorial

22 Year Ahead 25 Year Ahead , November Art, November City New imbalances and the people who are diminished by them at diminished by who are the people imbalances and beauty and recognize the dissonance required to the dissonance required and recognize beauty maintain it. might begin. and rebirth healing, life, titles pushes this notion further. Adding additional text Adding additional text titles pushes this further. notion creates Patterson displays. visual striking her of the core such as “dignity,” or the phrase, “she saw things she “she saw the phrase, or such as “dignity,” the homophones such as wordplay or have,” shouldn’t a world providing clues to where mourning might end and where to clues providing world a viewers to the that with confront viewers discomfort comes examining issues of race and class, her choice of artwork artwork choice of and class, her race issues of examining While Patterson’s imagery and materials encourage and materials encourage imagery While Patterson’s , installation view, Baltimore Museum of Art, Museum of Baltimore view, whispers..., installation little ...for G. Patterson, Ebony Chicago. Gallery, Meloche the artist and Monique 7, 2019. Courtesy 10, 2018–April October Reprinted with Reprinted permission from 28, 2018. “bear/bare” to the exhibition title highlights the power title to the highlights the exhibition power “bear/bare” …for …for limbless torsos adorned in fine the clothing peek through installations that comprise the enigmatically titled installations that comprise the enigmatically multilayered, complex visual effect. complex multilayered, the to and decadence, an homage luxury pageantry, headless and As magnificent and nourishing spaces. to us Patterson asks and beads, glitter flowers, plants and native Jamaica and beyond, Patterson’s works encourage encourage works Patterson’s and beyond, Jamaica native the wearing models She photographed brocade. which designs, the tapestry photos became the basis for added Patterson tapestries, the completed receiving were then fabricated by a commercial weaver. After After weaver. commercial a fabricated by then were Many of Patterson’s works use signifiers of beauty, beauty, of use signifiers works Patterson’s of Many the shifting for metaphor bodies—an apt fragmented valuable land who can sacrifice People therein. tensions than grow beautiful landscape designs rather to create than typically, wealthier, and food continue to whiter be these to maintain and for worked care who those Ebony G. Patterson’s paintings, installations, videos, and paintings, installations, G. Patterson’s Ebony has which Patterson for craft to and commitment the rigor to fashion Jamaican tailor with a worked Patterson subject of her work and long to achieve a sense of equity. equity. sense of a to achieve and long work her subject of the and societies postcolonial of social relationships sculptures traverse the complexities of race, gender, class, class, gender, race, of the complexities traverse sculptures victims memorializing Whether facade. festive sumptuous, in her skin-lightening practices and beauty of standards aspirations of the marginalized people who are often the often who are people the marginalized of aspirations Decorative might be possible. such equity achieving that association times and since colonial world the around works, In the the poor. remainsfor limited and flowers of veneer the that upholds reality the sordid acknowledge and violence with a sophistication that belies their their that belies sophistication with a violence and wallpaper, against an artist-designed night garden [Monique Meloche Gallery, Gallery, Meloche witness… [Monique those who bear/bare create the new works, a process echoing their their echoing process a works, the new create and leisure wealth of stood as symbols have gardens plants to grow to space access as having today, continues caught in the crossfire of violent crime or exploring violent crime or of the crossfire caught in tapestries, installed the create To to be known. come and fabrics such as jacquard garments using luxurious viewers to look beyond the surface. The eye-popping The eye-popping the surface. to look beyond viewers Since 2013, she has explored the garden as a place where where place as a the garden Since 2013, she has explored emerging from their rococo confines alongside rococo their from emerging embellishments and careful composition demonstrating composition demonstrating embellishments and careful embellishments to the fabric hand to and cut them by flora and fauna appear to burst out of the tapestries, the of to burst out appear fauna and flora flamboyant clothing against a colorful backdrop. The a colorful backdrop. against clothing flamboyant

By Lee Ann Norman Ann Lee By 2018] are no exception, their bright colors, textured textured bright colors, their no exception, 2018] are Cultivating Equity in the in Equity Cultivating Dissonance of Space

Within a practice that includes sculpture, installation, installation, that includes sculpture, practice Within a for is known G. Patterson video, Ebony and performance, the perplex and the eye that dazzle works multi-textured and plastic butterflies, fabric, clothing, mind—collages of Jamaica, her of native A bling. of an unabashed collection gardens tropical installations depict landscape-inspired harboring ghosts and bodies left gone awry, that have these work, In recent leaves. of the shadows hidden in have the gardens as if receded, have human presences formerly the missing persons she distilled, consumed, or this reflects exhibition CAM Patterson’s memorialized. She accumulates shoes, practice. her phase of new the of objects—vestiges and other jewelry, toys, buttons, such materials she to. From once clung they bodies the on work directly site-specific, mixed-media a creates gallery as an immersive well as Wall Project foot-long 60 School of Sam Fox University Washington A installation. to St. Louis returns Art & Design alum, Patterson Visual visions. maximalist with her

, installation view, Pérez Art Museum Miami, 2018–19. Courtesy the artist and Monique Meloche Gallery, Chicago. Photo: Oriol Tarridas. Oriol Chicago. Photo: Gallery, Meloche the artist and Monique Art Museum Miami, 2018–19. Courtesy Pérez view, , installation the roses... in is still the dew ...while G. Patterson, Ebony Ebony G. Patterson Ebony

24 Year Ahead 27 Mesh 2019–20 Year in Review in Year , instllation view, Contemporary Art Museum St. Louis, May 17–August 18, 2019. Photo: Izaiah Johnson. Izaiah 18, 2019. Photo: 17–August May Art Museum St. Louis, Contemporary view, , instllation Theatre Earwitness Abu Hamdan: Lawrence

26 Mesh 2019–20 29 Year in Review installation view, Contemporary Art Museum St. Louis, Art Museum St. Louis, Contemporary view, installation

projected on CAM’s facade. on CAM’s projected Jennifer West: Emoji Piss Film, West: Jennifer September 7–December 30, 2018. Photo: Dusty Kessler. Dusty 30, 2018. Photo: 7–December September Emoji—quick, gestural, and disposable icons—exist as and disposable icons—exist Emoji—quick, gestural, a digital index. Jennifer West set out to counteract and to counteract out set West Jennifer index. digital a deconstruct this language in her Street Views video, Views Street this language in her deconstruct Jennifer West: Emoji Piss Film West: Jennifer installation view, Contemporary Art Museum St. Louis, Art Museum St. Louis, Contemporary view, installation

installation view, Contemporary Art Museum St. Louis, September 7–December 30, 2018. Photo: Dusty Kessler. Dusty 30, 2018. Photo: 7–December September Art Museum St. Louis, Contemporary view, installation

physical boundaries. physical foot-long Project Wall became the canvas for his ink-wash drawing, in which he pushed figuration to its emotional and to its emotional figuration which he pushed in drawing, his ink-wash for the canvas became Wall Project foot-long William Downs: Sometimes it hurts Sometimes William Downs: William Downs has said that he makes art to speak the truth, and that truth is located in the human body. CAM’s sixty sixty CAM’s the human body. in truth is located that truth, and the to speak art that he makes has said William Downs William Downs: Sometimes it hurts, Sometimes William Downs: practice of the Danish collective SUPERFLEX: addressing SUPERFLEX: addressing the Danish collective of practice social and cultural concerns and exploring the nature of of the nature concerns and exploring social and cultural globalization and systems of power. of globalization and systems Mayotte Union SUPERFLEX: European is representative of the artistic of is representative Union Mayotte European , Union Mayotte SUPERFLEX: European September 7–December 30, 2018. Photo: Dusty Kessler. Dusty 30, 2018. Photo: 7–December September

Museum St. Louis, September 7–December 30, 2018. Photo: Dusty Kessler. Dusty Photo: 2018. 30, 7–December September Louis, St. Museum

installation view, Contemporary Art Art Contemporary view, installation , 1979–1980 Street, 12th East Basquiat: Before Basquiat

block engaging with the most salient issuesthe most with block engaging CAM is a site for discovery, featuring artistsfeaturing discovery, for site is a CAM the and around world the around from time. our of installation view, Contemporary Art Museum St. Louis, September 7– September Art Museum St. Louis, Contemporary view, installation

people. His process is complex and his approach is and his approach is complex people. His process 2018 St. American, September Louis respectful.” Basquiat Before Basquiat: East 12th Street, 1979–1980 East 12th Street, Basquiat: Before Basquiat work as it evolved to mid-80s. Creative impulses that guided him at the time contributed to the development of the of the development to time contributed the that guided him at impulses to mid-80s. Creative as it evolved work , August Widewalls, August 2018 for.” acclaimed style he is now and signature voice distinctive Sanford Biggers Sanford September 2018 September December 30, 2018. Photo: Izaiah Johnson. Izaiah 30, 2018. Photo: December Sanford Biggers, Sanford ‘BAM’ series, which probes police killings of unarmed black police killings of which probes series, ‘BAM’ “Biggers’ work on display at CAM includes work from his from work includes at CAM on display work “Biggers’ St. Louis Post Dispatch , Post St. Louis become iconic.” would who an artist the mind and heart of into window as a serves “The exhibition “By examining this under-discussed moment of his career, the exhibition deepens our understanding of [Basquiat] and his [Basquiat] understanding of deepens our the exhibition his career, moment of this under-discussed examining “By

Highlights Exhibition

28 Year in Review 31 Year in Review

, July , July 2019 Rail Brooklyn places.” Lawrence Abu Lawrence Hamdan: Earwitness Theatre sound can be used to reconstruct the invisible and what and invisible the to reconstruct sound can be used crimes against humanity exist in these unmonitored these unmonitored in exist crimes against humanity installation view, Contemporary Art Museum Contemporary view, installation Theatre, Earwitness Abu Hamdan: Lawrence Kessler. Dusty 18, 2019. Photo: 17–August May St. Louis, “Abu Hamdan’s exhibition lays out, methodically, how how out, methodically, lays exhibition Hamdan’s “Abu

installation view, Contemporary Art Museum St. Louis, May 17– May Art Museum St. Louis, Contemporary view, installation

installation view, Contemporary Art Museum St. Louis, May 17–August 18, 2019. 17–August May Art Museum St. Louis, Contemporary view, installation

Eric Ellingsen: Tool Shed Tool Eric Ellingsen: ties in with the museum’s dedication to serving its dedication the museum’s with ties in , July , July 2019 Magazine St. Louis community.”

Eric: Ellingsen: Tool Shed, Tool Eric: Ellingsen: 18, 2019. August Paul Mpagi Sepuya Paul , May 2019 , May Artforum feeling.” in genuine work abstract his increasingly grounds Sepuya continues to sharpen his focus on queer communities and men of color—friends and lovers whose presence whose presence and lovers color—friends communities and men of on queer focus to sharpen his continues Sepuya , Paul Mpagi Sepuya , May 2019 , May Dispatch Post St. Louis

“The project, with its focus on the surrounding community, community, the surrounding on focus with its “The project, “Working primarily in the studio, often with mirrors that allow him to simultaneously reveal and conceal his subjects, and conceal his subjects, reveal to simultaneously him that allow with mirrors the studio, often in primarily “Working ways.” in new sociality think about queer viewers whose goal included making intimate and personal, are “These portraits

2019. Photo: Dusty Kessler. Dusty Photo: 2019.

installation view, Contemporary Art Museum St. Louis, January 18–April 21, 21, 18–April January Louis, St. Museum Art Contemporary view, installation , Project Archive Fiction Xiao: Guan installation view, Contemporary Art Museum St. Louis, January January Art Museum St. Louis, Contemporary view, installation

morphing portraits of human culture and cultural and cultural human culture of morphing portraits For the artist’s first large-scale video projected outdoors, video projected first large-scale the artist’s For clipart of 2,000 examples sequence of a Laric produced Animated human figures various sources. from taken stereotypes. Laric’s Street Views video coincided with his video coincided Views Street Laric’s stereotypes. appeared briefly in varied positions, creating spectacular, spectacular, varied positions, creating in briefly appeared Laric: 2000 Cliparts Oliver exhibition at the Saint Louis Art Museum. the Saint Louis at exhibition Oliver Laric: 2000 Cliparts, Laric: Oliver Kessler. Dusty 21, 2019. Photo: 18–April installation view, Contemporary Art Museum St. Louis, Art Museum St. Louis, Contemporary view, installation

through immersive installations that made a space for viewers to settle in and spend time. in and spend to settle viewers for space that made a installations immersive through Project Archive Guan Xiao: Fiction objects, and ideas. Guan Xiao explores the impact of the internet on our lives by using it as a tool. She investigated this tool. She investigated using it as a by lives on our the internet the impact of objects, and ideas. Guan Xiao explores physical relationship with these elements, especially by by these elements, especially with relationship physical materials, suspended in time and space for reflection, reflection, for time and space in materials, suspended that most significantly involves head, heart and mind.” head, heart and mind.” involves that most significantly contemplation and awe. We are challenged to enter a true a to enter challenged are We contemplation and awe. The speed, accessibility, and quantity of data we consume via the internet has transformed our relationships to images, relationships our transformed has the internet via consume we data of and quantity The speed, accessibility, Christine Corday: RELATIVE POINTS RELATIVE Christine Corday: engaging the sense of touch—which may be the sense be touch—which may the sense of engaging , POINTS RELATIVE Corday: Christine Kessler. Dusty 21, 2019. Photo: 18–April January , February 2019 , February Word End West “Corday’s art invites interaction with the most elemental of the most elemental of with interaction art invites “Corday’s

30 Year in Review 33 Year in Review . Wearing specially . Wearing Shed Tool Stroller Tours / Morning Play Dates Play / Morning Tours Stroller month, CAM exhibition every of the second Saturday On the of tour a with families small for welcomed children hands-on activities and host of a by followed exhibitions Dail Chambers artist-in-residence Teaching performances. Dates. Play Morning of the playfulness to added Chris Bauer. Photo: Family Day Block Party Day Family the Sheldon Foundation,and Arts Pulitzer the CAM, July in Saturday a Art Galleries made Concert Hall and with activities, families their kids and for special very than 500 people More treats. frozen and performances, in attendance. were Clark. Rebecca Photo: Photo: Virginia Harold. Virginia Photo: Walkshops with Eric Ellingsen Walkshops series of on a volunteers Artist Eric Ellingsen led the throughout surrounding CAM “walkshops” neighborhoods his work for designed listening devices, the volunteers collected the collected volunteers the designed listening devices, mixed, then gathered, were which the district, sounds of the courtyard. as soundscapes in and played Artist Talks Sanford were work their into insights who shared Artists SUPERFLEX, Christiansen of Biggers, Bjørnstjerne discussion a For Mpagi Sepuya. and Paul Christine Corday, Jean-Michel Adler, Basqiat, of Alexis Abrams, Burnett Nora about his art, talked Rosser and Felice Carlo McCormick, life, and times. Pelhank. Johnny Photo: Feast Your Eyes Your Feast arts, chefs visual and culinary the this unique mixing of In created Randolph and Mike Ben Poremba, Mendica, Jesse on the exhibitions as dinners as memorable four-course Eyes. Your Feast for view Harold. Virginia Photo: . Paul Mpagi Sepuya Photo: Virginia Harold. Virginia Photo: Photo: Virginia Harold. Virginia Photo: RE: work black bodies in black artists’ The memorialization of Biggers, and Sanford discussion on a of focus the was mixed-media a performed Antonio Douthit-Boyd dancer and movement, included photography which self-portrait, in to response Hall Town Freedoms For and artist co-founder The 50 State Initiative Freedoms: For Missouri representative former Thomas joined Willis Hank Vice Chancellor University Washington Jr., Bruce Franks Rachel reporter Public Radio Nicole Hudson, St. Louis town a for Poe Tef Lippmann, and musician/rapper/activist the ballot and protest of the power hall discussion about the midterm elections. of the eve on

Photo: Abby Gillardi. Abby Photo: First Fridays played Conaway) (Syrhea So Pro Syna DJ-in-residence own bass, and sang her keyboards, violin, guitar, She attracted the exhibitions. to compositions in response music dialogue between a audiences and created devoted and visual art. CAM finds many ways to bring audiences ways finds many CAM year. to the the art throughout closer

Highlights Program

32 Year in Review 35 Year in Review installation view, Contemporary Art Museum St. Louis, Art Museum St. Louis, Contemporary view, installation

, 2019. Digital photograph. Courtesy the artist. the Courtesy photograph. #2, 2019. Digital in Color Kayla ArtReach: Vashon High School Vashon ArtReach: installation, sculptural , a School Spirits exhibitions— Two and words of tapestry multimedia , a and Self-Expressions Vashon art-making by modes of two images—represented teaching artists Natalie High School students, led by for experience new Another Ingrum. Pinson and Lois John Burroughs to artists: School Spirits toured Vashon 2019. in summer Bonsack Gallery School’s ArtReach: Vashon High School, Vashon ArtReach: Kessler. Dusty 21, 2019. Photo: 18–April January Nicholas Allen, Nicholas Allen, Vashon through a Lens a through Vashon Sutton Tiffany photographer local ArtReach, Through High School their to turn students Vashon directed extraordinary of group a for on one another cameras portraits. Sequence. New Art in the Neighborhood: Sequence Neighborhood: the Art in New inspired Paulsen Sarah winner Biennial-award Rivers Great Art in the their Neighborhood students to transform New to create studio small-scale animation into a classroom for the works Gillardi. Abby Photo: Photo: Abby Gillardi. Abby Photo: LEAP Middle School Initiative: En Masse Middle School Initiative: LEAP worked Grubb and Meghan artists Sage Dawson St. Louis in printmaking students Middle School Initiative with LEAP . En Masse the exhibition for respectively, and sculpture, installation view, Contemporary Art Museum St. Louis, Art Museum St. Louis, Contemporary view, installation

September 7–December 30, 2018. Photo: Dusty Kessler. Dusty 30, 2018. Photo: 7–December September , Seeing Red Martinez: Lizzy ArtReach: Northwest Academy of Law of Academy Northwest ArtReach: for mobile phone slice, and a pizza pencil, a objects as a quotidian such oversized art and created Pop Students explored exhibition. ArtReach Law of Academy the Northwest Photo: Michael Thomas. Teen Museum Studies presents Museum Studies presents Teen Seeing Red Martinez: Lizzy feminist into a immersion mixed-media a Featuring Museum Studies Teen Riding Hood, Little Red of reading alternative Martinez’s local artist Lizzy 2018 organized narratives.

34 Year in Review 37 Year in Review Dada Ball & Bash Dada and motto, the evening’s was star-stuff” made of are “We the for gear Stardust and Ziggy in NASA guests arrived was theme fundraiser’s The Ball & Bash. biannual Dada , which POINTS RELATIVE Corday: Christine by inspired to visitors materials and ideas encouraged through themselves in to the relationship cosmos. consider Ann and Cossé and Mary Alexis and Co-chairs Erik Karanik to enjoy the assembled crowd invited Srenco Andy did in an astronomical they which and give, themselves ticket through $363,000 generated The event fashion. auction, and sponsorship the Need the Fund sales, paddles during their Ball guests raised Dada revenue. and such programs to support exhibitions the Need Fund the Museum’s and the Neighborhood Art in as New the course of High School. Over Vashon with partnership a new raised, was than $123,000 fifteen minutes, more the was Advisors Fargo Wells record. the Need Fund Ball & Bash. the Dada for Sponsor) (Presenting Supernova Photography by Chris Bauer (top) and Michael Thomas (right). and Michael (top) Chris Bauer by Photography Big Freedia in Concert Big Freedia a was Times) concert (Riverfront legendary” This “instantly shake and her Big Freedia extravaganza. bootyliscious dancing-room- to a bounce Ward Third the team brought crowd. only Photo: Michael Thomas. CAM knows how to make an event special, from special, an event to make how knows CAM dance to a Ball & Bash Dada an intergalactic Bounce. the Queen of with party Special Events Photo: Tyler Small. Tyler Photo: Women Who Whisky Women Brands joined Major Melandri Lisa Director Executive CAM women local prominent and other Sue McCollum CEO in Mark distillery the Maker’s to trip road a for leaders was which whisky, special batch of a to create Kentucky including non-profits, four for money to raise then sold $250,000. raised The 200 bottles CAM. Photo: Virginia Harold. Virginia Photo: 15th Anniversary Celebration 15th Anniversary has benefited Since opening its doors in 2003, CAM inspiring people. many of the support and care from of an evening for fans met longtime CAM of reunion A to (left directors former and memories, including current Ha. and Paul Melandri, Lisa Millard, right) Betsy

36 Year in Review 39 MeshYear in 2019–20 Review Photo: Virginia Harold. Virginia Photo:

New Art in the Neighborhood participants the Neighborhood Art in New 85% strong that report Alumni impact on school performance $0 Cost to participate Focus: Teens Focus: the Art in New Intensives, ArtReach Initiative, Middle School LEAP Neighborhood, Studies Museum Teen and 460 Participants 674 hours Classroom 67 Served Educators 100% High School Rate Graduation High School Middle School Center College Soldan International Studies Soldan International Studies School Soulard College Prep St. Louis School Charter Premier St. Louis St. Mary's High School KY) (Lexington, Academy STEAM High School Sumner Buchanan High School Troy High School Vashon Academy STEAM Walbridge High School Westminster Whitfield High School High School Windsor Middle School Wydown Preparatory Yeatman-Liddell Organizations Youth School Project Canvas Chesterfield YMCA Camps Alliance Summer Craft Lab Reaction Creative Eastern Missouri Girl Scouts of Community Richmond Heights Artworks STL Juvenile Courts STL Colleges and Universities Blackburn College College Chicago Columbia College Crowder University DePaul University Drury Eastern Illinois University University Greenville State University Harris-Stowe Illinois College College & Clark Community Lewis College Lincoln Community University Lindenwood Maryville University University Murray College Principia University Saint Louis Southeast Missouri State Carbondale Southern Illinois University Illinois College Southwestern Arkansas of University Missouri-St. Louis of University Tech Virginia in St. Louis University Washington University Webster Community Kentucky Western

at Madison and Gifted Academy School Elementary Science and Environmental Math Middle School Gifted Instruction Middle School High School Center Learning Investivative Academy Preparatory High School & Bioscience School Middle School Schools and and Schools Organizations Youth Reached through CAM's Learning Learning CAM's through Reached programs and Engagement Eureka High School Eureka STEAM Ferguson-Florissant Academy Froebel Literacy Academy Science Gateway Academy STEM Gateway Grand Arts Academy Center Hancock Place High School Middle School Hazelwood School Network Home High School Hopkins High School Kirkwood of Academy L'Ouverture High School Watkins Ladue Horton High School Lafayette School Elementary Lexington Lift Academy Life for High School Lindbergh PK-8 at Blow Academy Lyon of Academy Mallinckrodt Middle School St. Louis MAP Heights Maplewood-Richmond High School McKinley Middle School McKinley High School Mehlville and Classical Academic Metro Garden Mullanphy-Botanical American Nahed Chapman New High School Nerinx School City New High School Normandy Law of Academy Northwest High School Owensville School Principia Hill High School Rock High School Roosevelt High School Rosati-Kain School Shenandoah Elementary School Bowman Thea Sister Schools (K–12) High School West Belleville College Prep Ritter Cardinal Montessori Garden City High School Clayton Medicine Collegiate School of Middle School Drew Compton College Preparatory Crossroads International Studies Dewey Therapeutic Educational Support 43 programs for Artists hired 4,788 served Youth 16 Exhibitions 161 Tours 120 free) (78% Programs

Website visitors + social media followers + email subscribers followers visitors + social media Website

Off-site engagement Off-site 3,107 201,738 Virtual audience

Museum attendance 37,447

June 30, 2019 July 1, 2018– 1, July

Impact Numbers bythe

38 MeshYear in 2019–20 Review Jan and Ronald Greenberg Stifel Jordan Gaunce Jill Joerling Daron Hendrix Ann and Randy Lipton The Prufrock Foundation Sarah and Colin M. Gibbs Suzanne and Jim Johnson Julie Hess and Josh Saipe Annual Joan and Mitchell Markow The Robert Mapplethorpe Foundation Edward Giganti and John Brase Ronald Johnson Christopher Holt Susan McCollum The Strelow Family Gregory Glore Stefanie and David Kirkland Tyeler Hood Nion McEvoy Kate Warne Terrance Good Hannah and Lawrence Langsam Misty Jackson and David Cordnor Missouri Arts Council Washington University Joan Goodson Tiya Lim and Chak Lattanand Dr. Scott Jamison and Courtney Stewart Giving Norman K. Probstein Charitable Foundation William A. Kerr Foundation Graybar Electric Company Tracy and Keith Lutke Clare Davis and David Obedin Sherry and Gary Wolff Michael Greenberg Gay and James V. Maloney Nancy Reynolds and Dwyer Brown John H. Grizzell Meghan and Thor Mathison July 1, 2018– Ann R. Ruwitch and John Fox Arnold Jennifer and David Grossman McPheeters & Rickard Family Amy and Rob Soper Meredith and Jim Holbrook Jessica Brod-Millner and Andrew Millner Mary Ann and Andy Srenco Jessica Holzer Jane and Steve Mitchell June 30, 2019 Trio Foundation Louise and Richard Jensen Mary and James Moog Pat Whitaker and Dick Miles Megan Kimball Terry Myckatyn Jackie Yoon Thomas Lavin Mark Niesman CAM is grateful for the many donors Hedwig Lee and Eric S. Williams Kiku Obata who provided support this year. Karen and Mont Levy Ashley Oster Marylen Mann and Frank Jacobs Nick Overkamp 40 Margaret McDonald Susan and Gordon Philpott 41 Collector Circle ($5,000-$9,999) Robert and Melissa Merlin Sanford Poger Year in Review Mary Judge and Gyo Obata Ben Poremba and Angela Giancola Year in Review Anonymous Photo: Johnny Pelhank. Judy and Paul Putzel John and Juliana Renner Elissa and Paul Cahn Toni Kaufer and Alexander Schonwald Robert Ricklefs and Susanne S. Renner Amanda Trudell Cambridge and Paul Cambridge Susan and David Sherman III Stephanie Riven and Roger Goldman DeWitt and Caroline Van Evera Foundation Lisa and Peter Sinton Keri Robertson Michael and JiaMin Dierberg Benefactor Circle ($2,500-$4,999) Ruth and Alvin Siteman Tricia and David Schlafly Yvette and John Dubinsky Mary Strauss Judith Child and Alan Schwartz Elizabeth Firestone Graham Foundation Anonymous Hunt R. Tackbary Stephanie and Michael Sinacore First Bank Brass Taxes team (gallery, inc.) Kim and Sonny Ta Hedy Fischer and Randy Shull Lee Broughton and Chrissy Taylor Sissy and Edwin Thomas Meg and Warren Terry Photo: Johnny Pelhank. CAM ArtBus. Photo: Rebecca Clark. Libby and Marc Goldstein Buckingham Asset Management Alexandra and Ty Thornhill Ling-Wen Tsai Greensfelder Hemker & Gale Julie Bugala and Brian Cattaneo Susan and Peter Tuteur Mary Jo Wilmes and Thomas Lang Maureen and Rod Hare Danish Arts Foundation Vielmetter Los Angeles Kathie and Richard Winter Jeff Jarrett HOK Employees Community Fund of Boeing St. Louis Anabeth and John Weil Essica Zink Bettie Schroth Johnson Incarnate Word Foundation EXPO Chicago Phyllis and Terry Weiss Claudia Joyce Chairman Circle ($50,000+) J.P. Morgan Private Bank Margretta Forrester Ted Edward Wight Jim Kemp and Michael Slawin James C. Jamieson III Christy and Bill Gautreaux Kim and Todd Wolff Susan Bower and Stephen Leet Susan Barrett and Chris Poehler Patty and Gary Krosch Dedrea and Paul Gray Deborah Zimmerman and Jonathan Root Nicole Lemkemeier F3 - Ferring Family Foundation Phyllis and Kenneth Langsdorf Terry Hoffmann and Jeff Hartz Contributor ($250-$499) Carol and Jamie Lister Gateway Foundation Judith and Jerome Levy Kerrin and David Kowach Rosalyn and Charles Lowenhaupt Emily Rauh Pulitzer Robert Lococo Greg Lukeman and Justin Scarbrough J. Joseph and Dianna Adorjan Susan and Dan Luedke Regional Arts Commission Maritz Lisa Melandri John Arnold Dr. Gina Maminta Marusic and Branko J. Marusic Jr. Jeanne and Rex A. Sinquefield Missouri Cultural Trust Janet Mohle-Boetani, MD Vivek Arora and Ash Kherdekar Meridith McKinley and Jeff Winzerling Carol and Michael Staenberg Isabelle and Jean-Paul L. Montupet Fred and Nancy Poses Jim and Shelby Arsenault Michael Macek Wells Fargo Advisors Donna Moog and Leonard Landsbaum Kathleen and Douglas Sprong Tim Bahr and Ronald Jagels Bridget Melloy and Yusuf Daneshyar Whitaker Foundation David Moore Donald M. Suggs Shannon and Dr. Bradley Bailey Matt Mercer Women Who Whisky Novus International Liz and Zar Toolan Naomi Beckwith Carolyn and Joe Miles Penny Pennington and Michael Fidler Pam and Greg Trapp Marie-Hélène Bernard Cathy and Jonathan Miller PNC Arjun Bhat Molly Moog Pro Helvetia Kathleen Bibbins and John McArthur Lexie and Michael Morrison Daniela Quilter and Ian MacEachern Norma Boozer Krishna Patel Director Circle ($25,000+) Leslie and Jake Reby Photo: Virginia Harold. Aaron Bunse Kelly and Kevin Peck Robert Lehman Foundation Patron ($1,000-$2,499) Arvan Chan and Brandon Gray Sharon Pettus Centene Charitable Foundation Jim Sokol and Lydia Cheney Philip Slein Gallery Dana Brown Charitable Trust Anonymous Chela Colvin Raymond Pitchford Emerson Cathy Barancik and Steve Novik Sustainer ($500-$999) Constance and Thomas Cossé Cynthia Poremba Nancy and Kenneth Kranzberg Tania Beasley-Jolly and William Jolly John Curry Duane Reed National Endowment for the Arts Dr. Daniel S. Berger Sandra and Ronald Ackerman Jennifer and Steve Davis Theresa and Taulby Roach The Strive Fund Cathy and James G. Berges Brie Alley and Joshua Shelley Antonio Douthit-Boyd and Kirven Douthit-Boyd Zoe Robinson Heiji and Brian Black Maty and Jodi Aronson Emily and Richard Dowdell Valerie Rudy-Valli and Steve Valli Cece Blase Barbara Barenholtz and Milton Hieken Julie and David Drier Dana and Barry Sandweiss Laura and Thomas Boldt Clarence C. Barksdale Sara Epstein Lucinda and Paul Santiago Ramsey and Mark Botterman Eric Barr David Fike Suzanne Siteman Curator Circle ($10,000-$24,999) David Charak Judith Bender and John Siemers Kathleen and David Fischhoff Kate Smiley Megan and Brian Clinton Chloé Risto and Kevin Byerley Katherine and Peter Fuerst Erin Smith Anonymous Charles and Barbara Cook Genevieve Cortinovis and Tom Schmidt Julie and Ryan Gantner Julia and Anthony Sodd Arts and Education Council Adrienne Davis Quintus L. Drennan Alyson and Gregg Garland Elizabeth Tucker Barrett Barrera Photo: Chris Bauer. Maria and Tim Desloge Gayle and Michael Eastman Jae Yoon and Madeline Gemoules Mary Walsh Bayer Fund DOCUMENT, Chicago Christy and Gary Fox Jerome and Catherine Gidlow Elisa and Randy Wang Dorte Bjerregaard and Modou Dieng Jennifer and Cole Durrill Bettie Gershman Kenneth Goldberg Sheila Greenbaum and Gary M. Wasserman Alexis M. Cossé and Erik Karanik Nancy and Craig Schnuck Alison Sieloff and Sam Foxman Barbara Gervais Olga Gow Joanna and Alex Wolff Crawford Taylor Foundation Julian and Sanya Schuster Roxanne H. Frank Jan and Rand Goldstein Paula and Michael Gross Elizabeth Wyckoff Edward Jones St. Louis Public Radio Lois Friedman Barbara B. Goodman Tracy and Brian Hayes Cayce and Gregory Zavaglia 43 CAM People | Advertising Bridget Melloy Bridget Oster Ashley Patel Krishna Zink Essica Junior Board Junior Brie Alley Jim Arsenault Eric Barr Arjun Bhat Bunse Aaron Byerley Kevin Colvin Chela Dunning Lauren Colin M. Gibbs Goldstein Libby Gow Olga Julie Hess Holt Christopher Jarrett Jeff Jill Joerling Kimball Megan Aida Hasanovic Aida Jackson Raegan Jackson Jamila Natalie Lim Ma Claire Munoz Jo Ellen O'Shea Patankar Sanjeevani Plunkett Kelly Delyn Stephenson Vidal Emma Zhang Lingran Visitor Services Services Visitor Associates Daniels Brandon Deed Taylor Foronda Raymund Ronald Jr. Gore Melton Regan Natalie Miller Nikonowicz Drew Ingrid Olson Paolicchi Courtney Stock Andrew Stuvland Gordon Sutton Tiffany Taylor Zachary Petot Zackary Interns Alli Beard Chen Amy Curtis Frieda Shealen Duncan Fandos Melissa Alyx Farris Flores Paola Gonzalez Andrea Facilities Manager Facilities Curator Assistant External of Director Affairs Fellow Obata Gyo Coordinator of Director Development School and Community Manager Programs Associate Specialist Civic Arts for Engagement Fellow Caleb Hauck Caleb Jeffereis Misa Kull Unitey Nugent Jen Registrar Ogle Alyssa Peng Marina Marketing Rudy-Valli Valerie Miriam Ruiz Schraier Megan Development Silva Eddie Communications Wiley Claire grandcenter.org Executive Director Executive Curator Chief Finance of Director and Administration to the Assistant Director Services Visitor Manager Learning of Director and Engagement Individual Giving Associate Museum Educator Institutional Giving Manager Staff Melandri Lisa Al-Khudhairi Wassan Michael Albrecht Bauer Melissa Carmen Crosby Elmestad Alex Flaherty Maureen Garza José Ann Haubrich CAM People Photo: Photo: Johnson. David 15 earnings 16 Investment Investment Fundraising 37 Individual contributions Earned income 7 4 Administration % % 17 Grants & Grants sponsorships 9 80 Exhibitions & programs 15 Fundraising Fundraising events (net) events Public funding Where Funding Goes Funding Where Where Funding Funding Where From Comes

$871,864

$1,986,803 $397,515 $2,400,629 $109,402 $403,053 $226,037 $365,069 $175,144 $365,000 $2,499,258 $18,543,196 $19,552,762

June 30, 2019 June 30, July 1, 2018– July Total operating revenue revenue operating Total Administration Fundraising Operating Expenses Operating Exhibitions & programs Revenue Individual contributions Operating Operating & sponsorships Grants funding Public (net) events Fundraising Earned income earnings Investment Total expenses expenses Total Beginning of year year Beginning of

End of year year End of Net Assets Net

Report Annual

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Always free Open Tuesday–Sunday, Always , 2008; oil and wax on canvas; unframed: 39 × 50 inches; Saint Louis Art Museum, ) detail ( #STLArtMuseum The Thelma and Bert Ollie Memorial Collection, Gift of Ronald and Monique Ollie 190:2017 © June Kelly Gallery / James Little and Monique Ollie 190:2017 © June Kelly Gift of Ronald The Thelma and Bert Ollie Memorial Collection, This painting by James Little is one of 81 artworks recently donated to the Museum by St. Louis native This painting by James Little is one of 81 artworks recently donated to the Museum Ollie grew up visiting the Museum Ronald Ollie and his wife Monique. A decades-long collector, gift of abstract, with his parents, who instilled in him a deep appreciation for art. This transformative to the collection. contemporary art by black artists has added significant depth and breadth slam.org James Little, American, born 1952; Double Exposure TAKE REFUGE THERE. REFUGE TAKE ART STILL HAS TRUTH. HAS STILL ART .net education. performances, and Y exhibitions, R studio artists, .net | (314) 367-1076 | info@atriumgallery Connecting people with thearts EDUCATION E through WWW.FOUNDRYARTCENTRE.ORG

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, installation view, Contemporary Art Museum St. Louis, May 17–August 18, 2019. 2019. 18, 17–August May Louis, St. Museum Art Contemporary view, installation , Shed Tool Ellingsen: Eric camstl.org/audio ontemporaryartmuseumstl Visit often! CAM is free. Crawford Taylor Foundation Connect with CAM today! member Become a Visit camstl.org/join Visit camstl.org @camstl Instagram c Facebook @contemporarystl Twitter tours Audio Projects; John Baugh; Bengelina Bengelina Baugh; John Projects; Katherine Bernhardt; Group; Hospitality Art BlackPuffin Biggers; Sanford Bridges; Nichole Taxes; Consulting; Brass Cannon Design; Abrams; Burnett Nora Chisenhale Gallery, Chadsey; Geoff Comte; Collins; Claudia Bethany London; Christine Productions; Contemporary Cossé and Erik Karanik; Alexis Corday; William Downs; Antonio Douthit-Boyd; Bruce Alison Ferring; and John Evntiv; Gaunce; Michael Jordan Jr.; Franks Art and Design City Gillespie; Granite Hancock; Nicole Doyle Trenton District; John Inc.; Center, Hudson; Grand Hartz; Institute of Jeff Grapperhaus; Kahn; Glenn Art, Brisbane; Stanya Modern Lippmann; Meridith Kaino; KDHX; Rachel Adam McMahill; Henry Paul McKinley; Millner; Andrew Mendica; Jesse Martinez; Contemporary Museum of Murello; George Casey Muyanga; Neo Art Denver; Jack Palmer; + Oak; O’Callaghan; Olive Powers; Christopher Paulsen; Sarah Randolph; Mike Arts Foundation; Pulitzer Art Museum; Saint Louis Reyes; Pedro American; St. Louis Mpagi Sepuya; Paul International Film Festival; St. Louis Public St. Louis Post-Dispatch; St. Louis Thomas; Willis Hank Poe; Tef Radio; Urban Chestnut Tyson; Nicola Trailnet; High School; Vashon Company; Brewing in University Washington Wanzo; Rebecca White; Wendy West; Jennifer St. Louis; Art, Contemporary for With Center Witte de and Brenna Youd; Tim Rotterdam; Youngblood. Printing Company Advertisers The Print: Pollak Lynn Advertising:

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our community. our receive: Members All CAM member to exclusive / Invitations including and programs, events Previews Opening Night Member to select / Discounted prices Eyes Your Feast like programs shop / 10% discount in CAM’s and café / to Subscription annual magazine Membership of work the support members CAM most innovative today’s some of to a contribute artists. Members and in St. Louis thriving art scene bring to us for it possible make art to thousands in contemporary Hunt R. Tackbary; team (gallery, inc.); (gallery, team Tackbary; Hunt R. Whitaker the and Angeles; Los Vielmetter Foundation. to CAM artwork loans of Generous 1301PE, Los by provided exhibitions Anita Dr. Daniel S. Berger; Angeles; Dr. and Martin H. Nesbitt; Blanchard Art; DOCUMENT, Columbus Museum of Friche Sibylle Friedman; Joshua Chicago; Goldberg; and Daniel Quiles; Kenneth James C. Greenberg; Jan and Ronald Zeidler, Jamieson III; Kraupa-Tuskany and Mark McDonald Lococo; Berlin; Robert York; New Pictures, Metro Resnick; Dwayne and York New Gallery, Marianne Boesky Milan/London/ Massimo De Carlo, Aspen; Gallery, Meloche Monique Kong; Hong Atlanta; Hudson Gallery, Chicago; Sandler inc), team (gallery, Berlin; and Leighton, Tanya Angeles. Los Vielmetter learning and CAM’s for Support by is provided engagement programs Cahn; and Paul Elissa Fund; Bayer Brown Dana Foundation; Taylor Crawford Trustee; Bank, U.S. Trust, Charitable Evera Van and Caroline The DeWitt Employees Jones; Edward Foundation; St. Louis; Boeing of Fund Community Foundation Marcus Neiman of The Heart Maritz; Foundation; Word Incarnate Fund; Charitable Fund; K. Probstein Norman A. Kerr William Fund; The Strive Youth MD, Weiss, D. Terry Foundation; Fargo Wells and Fund; Endowment Advisors. Arts Angad Adler; Alexis to thanks Special Barrera America; Barrett Art in Hotel; cover front Inside , still (detail), STORM JAVA 2002, 7th February, Guan Xiao, hours. Edition sound), 3 video (color, 2018. Single-channel Zeidler, Kraupa-Tuskany the artist; Courtesy AP. 1/5 + 1 Space, Shanghai. Antenna Berlin; and The Contemporary Art Museum St. Louis (CAM) works to enrich lives lives to enrich works (CAM) St. Louis Art Museum The Contemporary dynamic a on art. Focused with contemporary experiences through and local the global to contributes CAM exhibitions, changing of array all. to and open free discovery, for site is a landscape. CAM cultural Trio Trio Foundation

CAM is located in Grand Center, next next Center, is located in Grand CAM Arts Foundation, to the Pulitzer door and Spring Street of the corner at and Free Boulevard. Washington along parking is available metered and Spring Boulevard Washington take also Visitors may Street. parking lots numerous of advantage district. Center the Grand in Boulevard 3750 Washington MO 63108 St. Louis, Address and Parking Address Free spotlight exhibition tours daily tours daily exhibition spotlight Free at 1:00 pm. Wed–Sun 10:00 am–5:00 pm Wed–Sun Thu & Fri Open until 8:00 pm Hours

Information Visitor& Member Arnold; Alexandria and Peter Strelow; Strelow; and Peter Alexandria Arnold; Foundation; Ann Ruwitch and John Fox Fox John and Ann Ruwitch Foundation; Foundation; Robert Mapplethorpe Mapplethorpe Robert Foundation; Nancy and Fred Poses; Robert Lehman Lehman Robert Poses; and Fred Nancy Arts; Penny Pennington and Michael Fidler; Pennington Arts; Penny Thomas Lavin; National Endowment for the for National Endowment Thomas Lavin; Ronald Greenberg; James C. Jamieson III; James C. Greenberg; Ronald Gautreaux; Kenneth Goldberg; Jan and Goldberg; Kenneth Gautreaux; Fischer and Randy Shull; Christy and Bill Shull; Christy and Randy Fischer Graham Foundation; EXPO Chicago; Hedy EXPO Chicago; Hedy Foundation; Graham DOCUMENT, Chicago; Elizabeth Firestone Firestone Chicago; Elizabeth DOCUMENT, Design at Washington University St. Louis; St. Louis; University Washington Design at School, College of Architecture and Urban Architecture School, College of for the Humanities and the Sam Fox the Sam Fox the Humanities and for Foundation, a joint project of the Center the Center of joint project a Foundation, funded by the Andrew W. Mellon Mellon W. Andrew the funded by Divided City, an urban humanities initiative humanities initiative an urban Divided City, Brian Black; Danish Arts Foundation; Arts Foundation; Brian Black; Danish Beckwith; Dr. Daniel S. Berger; Heiji and Heiji Berger; Daniel S. Beckwith; Dr. Susan Barrett and Chris Poehler; Naomi Naomi and Chris Poehler; Susan Barrett provided by Barrett Barrera Projects; Projects; Barrera Barrett by provided Support for CAM’s exhibition program is program exhibition CAM’s for Support Contemporary Art Museum St. Louis. Contemporary the Board of Directors and members of the and members of Directors of the Board Advisors; Whitaker Foundation; and Foundation; Whitaker Advisors; Trio Foundation of St. Louis; Wells Fargo Fargo Wells St. Louis; of Foundation Trio International; Regional Arts Commission; Arts Commission; International; Regional Missouri Cultural Trust; Novus Novus Trust; Missouri Cultural Missouri Arts Council, a state agency; state agency; Arts Council, a Missouri Arts and Education Council; Emerson; Arts and Education General operating support is provided by by support is provided operating General

public funders. public foundations, corporations, and corporations, foundations, contributions from generous individuals, generous from contributions operations are funded through through funded are operations Exhibitions, programs, and general and general Exhibitions, programs, is a nonprofit, tax-exempt organization. organization. tax-exempt nonprofit, is a The Contemporary Art Museum St. Louis St. Louis Art Museum The Contemporary cover Front , POINTS RELATIVE Corday: Christine St. Louis, Art Museum Contemporary view, installation Kessler. Dusty 2019. Photo: 21, 18–April January

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