Contemporary Art Museum St. Louis
Mesh Mesh 2020–21
Contemporary Art Museum St. Louis Magazine 2020–21 Front and inside cover Derek Fordjour: SHELTER,
installation view, Contemporary Art Museum St. Louis, January 17–August 23, 2020. Photo: Dusty Kessler. 02 Board of Directors The Contemporary Art Museum St. Louis (CAM) works to enrich lives Letter from the Director About through experiences with contemporary art. Focused on a dynamic array of changing exhibitions, CAM contributes to the global and local CAM cultural landscape. CAM is a site for discovery, free and open to all. New and Now
The Contemporary Art Museum St. Louis Generous loans of artwork to CAM Special thanks to 501st Legion Star Wars 03 Visitor Grams is a nonprofit, tax-exempt organization. exhibitions are provided by Alexander and Costuming Group; Emanuel Aguilar; Exhibitions, programs, and general Bonin, New York; bitforms gallery, New Jonathas de Andrade; Artmart; Jessica 04 CAM at Home operations are funded through York; Brooklyn Museum; Valerie Carberry Baran; Bengelina Hospitality Group; James contributions from generous individuals, and Richard Wright; Catharine Clark Biko; Tyler Blackwell; Blaffer Art Museum; 06 @ CAM foundations, corporations, and Gallery, San Francisco; The David and Botanical Roasters; Jennifer Carty; public funders. Alfred Smart Museum of Art, The University Chamber Project St. Louis; Chazen Mesh 1 of Chicago; Vicki and Robert Frazer; Museum of Art, University of Wisconsin– 08 Staying Connected Contents General operating support is provided Denise and Gary Gardner; Tiffany Hott; Madison; Catharine Clark; COLLAB; by Arts and Education Council; Emerson; Jody Howard; The Joyner Giuffrida Bethany Collins; Syrhea Conaway; 10 A Museum of the Community Missouri Arts Council, a state agency; Collection, San Francisco; Stefan Kirkeby; Christine Corday; Chrissi Cowhey; Cristin Missouri Cultural Trust; Regional Arts Jeffrey Lee; Los Angeles County Museum Tierney Gallery; Sage Dawson; Tyrone Day; 11 Youth Impact Commission; Trio Foundation of Art, Gift of Andy Song; Joel Lubin; Nion Dierberg Vineyard; Ann and Anton Eisel; Year Ahead of St. Louis; Wells Fargo Advisors; McEvoy; Lisa Opoku; Ruth E. Pachman and Brian Faucette; Julia Fischbach; Derek Whitaker Foundation; and the Board Donald T. Fallati; PATRON GALLERY, Fordjour; Richard Garey; Jordan Gaunce; 12 Create: The CAMpaign of Directors and members of the Chicago; RYAN LEE Gallery, New York; Jacqui Germain; Maxi Glamour; Global 16 Great Rivers Biennial 2020: Contemporary Art Museum St. Louis. Salon 94, New York; Robert Taylor; Laura Gateway Logistics; Jeremy Goodwin; Kevin Kahlil Robert Irving, Tim 14 Making a Difference: and Barry Townsley; Stephanie and Leon Harris; Insomnia Cookies; Institute of Support for CAM’s exhibition program is Vahn; and Ric Whitney and Tina Perry. Modern Art, Brisbane; Kahlil Robert Irving; Portlock, and Rachel Youn Alison and John Ferring provided by Seth Ammerman; The Andy Mee Jey; Liz Johnson Artur; Jeremy Warhol Foundation for the Visual Arts; Support for CAM’s learning and Kannapell; Harold Karabel; Margaret Keller; From Vision to Reality Barrett Barrera Projects; Catharine Clark engagement programs is provided by Dusty Kessler; Alicia LaChance; Marianne Gallery; Emily Hall Tremaine Foundation; Bayer Fund; The Bellwether Foundation; Laury; Leverage Dance Company; Josh 20 Ebony G. Patterson EXPO Chicago; Furthermore: a program of Crawford Taylor Foundation; Dana Brown Lilley; Lucia | Marquand; Major Brands; the J. M. Kaplan Fund; Helyn Goldenberg Charitable Trust, US Bank, Trustee; DeWitt Meredith Malone; Nancy Martin; Meridith Year in Review and Michael Alper; Dedrea and Paul Gray; and Caroline Van Evera Foundation; McKinley; Mildred Lane Kemper Art 21 A Homecoming Heartland Coca-Cola Bottling Company; Incarnate Word Foundation; Institute of Museum; Esther Neff; New Music Circle; 30 Exhibition Highlights Innovations in Textiles STL 2019; The Museum and Library Services; Ann and Danni Pascuma; Sarah Paulsen; Marina 22 Teen Museum Studies: Luminary for hosting Stephanie Syjuco's Randy Lipton; Maritz; Mary Ranken Jordan Peng; Tim Portlock; Luisa Otero Prada; Paul Yowshien Kuo 34 Program Highlights St. Louis artist residency; Nion McEvoy; and Ettie A. Jordan Charitable Foundation; Rice; Bryce Olen Robinson; Reniel del National Endowment for the Arts; PATRON Lisa Melandri and Jordan Gaunce; Norman Rosario; Lauren Ross; Jane Sacro; Drew Gallery; Robert Lehman Foundation, Inc.; K. Probstein Charitable Fund; PNC Arts Sawyer; Chris Scott; Paul Mpagi Sepuya; 23 Stories of Resistance 36 Create Gala Ann R. Ruwitch and John Fox Arnold; RYAN Alive; Regional Arts Commission; The St. Louis American; St. Louis International LEE Gallery; Jeanne and Rex A. Sinquefield; Strive Fund; and Terry D. Weiss, M.D., Film Festival; St. Louis Public Radio; Janie 24 A Shift in the Narrative 38 Annual Report 2019–20 Mary Ann and Andy Srenco; Carol and Youth Endowment Fund. Stamm; Stephanie Syjuco; Andrea Teschke; Michael Staenberg; Whitaker Foundation; Trailnet; Truly Floral Spirits; Tufts University 40 Annual Giving 2019–20 and Zane Williams. Support for personnel costs in response Art Galleries; University of Houston; Urban 26 Shara Hughes to the COVID-19 pandemic is provided Chestnut Brewing Co.; Vicia; WORK/PLAY; by a grant from the National Endowment Tim Youd; Rachel Youn; Jon Young; Cayce 27 Kathy Butterly for the Arts. Zavaglia; and Marina Zurkow.
Print: The Advertisers Printing Company Advertising: Lynn Pollak 42 CAMpaign Donors
43 CAM People W H I T A K E R F O U N D A T I O N 56 Visitor & Member Information 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
we can make a difference in young people’s lives, lives, people’s young in difference a can make we deserve. they art education the high-level them providing and to innovation catalyst as a The pandemic served Matter The Black Lives ourselves. made us re-imagine think how us social justice make for calls movement’s center but a center, community than a be more may CAM work help us may resources our community—where of the know We equitable society. more a toward together to create tools and inspiration the offers time our art of world. better a Fewer means. “accessibility” what redefining are We doors, but our our through to come be able people may was the globe. I across expand actually audiences may the for about CAM wrote Wilson Calvin words by moved the museum in visited he , after Post-Dispatch St. Louis did not socially-distanced CAM The new, mid-August. an from refuge tranquil to him: “In short, a dissimilar feel may world that Whatever world.” stressful increasingly remain may we the seasons ahead, I know bring us in individually grow, may inspiration where shelter a and collectively. Melandri Lisa Director Executive Board Directors of 2020–21 Emeritus Cook Z. Barbara Cook Charles J. Good Terrance Marylen Mann Isabelle Montupet Moog Donna Ann R. Ruwitch
Gary Krosch Gary Lee Hedwig Levy W. Judith Susan McCollum McDonald Margaret Pulitzer Rauh Emily Reby W. Jacob Julian Schuster A. Sinquefield Rex Soper Amy Srenco Andrew Michael Staenberg Donald Suggs Warne Kate Werner K. Bradford Whitaker Pat
With the summer under our belts, we’re prepared for for prepared we’re belts, our under the summer With Public Schools. the St. Louis partners in with our working ready we’re protocols, the individual classroom Whatever we can bring, art education finest contemporary the with Vashon with partnership continue our We online. on-site or that schools, confident ArtReach High School and other in-class engagement, internet combination of with a video instruction, connections, and CAM-produced By March, “shelter in place” became a phrase we now now we phrase became a in place” “shelter March, By gained new SHELTER and Fordjour’s well, too all know all we’ve the multiple crises of the context meaning in the beyond shelter to offer ways found been living. CAM social media, through and website our On walls. museum art, artists, and featuring at Home, CAM offered we connected stayed We click away. art-making activities a virtual through education programs in our youth to local Museum Studies participants Teen learning initiatives. video via hands-on museum experiences received the and this past summer, weeks four over conferencing Yowshien organized, they the exhibition seen in are results 2021. February through view , on Venom Western Kuo: In January 2020, artist Derek Fordjour and an Fordjour 2020, artist Derek January In builders, technicians, of talented group extraordinarily the team in installation stellar and riggers joined CAM’s ambitious project, remarkably A . SHELTER making of curious installation drew the site-specific immersive moved. the space profoundly who left audiences, they structure, ramshackle seemingly In Fordjour’s soul. and emotion, intellect, for space a found had Dear Friends, Dear
the Director Letter from Letter Bradley Bailey Bradley Susan Barrett Jane Clark JiaMin Dierberg Ferring John Fischer Shereen Herman Joe Hoffmann Terry Kranzberg Nancy Alexis M. Cossé Alexis Chair Yoon Jackie Vice Chair/ Treasurer Cambridge Paul Secretary
2 Mesh 2020–212019–20 5 CAM at Home Courtesy Stephanie Syjuco. Stephanie Courtesy Tim Youd: The Tunnel Tunnel The Youd: Tim Retyped retyped Youd Tim artist May, the month of Throughout magnum opus, William Gass’s author St. Louis renowned of the garage from video stream live a , over Tunnel The at Home the CAM on view Angeles home and on his Los sheets two on the 640-page epic novel Typing webpage. with an interview for week time each took Youd paper, of Jeffereis, and Misa Melandri Lisa as CAM’s such notables Tierney. and gallerist Cristin 18 Questions 18 on staff CAM from questions answered artists Local TV lists, reading routine, quarantine their about Zoom which with and take-out, best favorites, and podcast studio. a to share want they’d dead, artists, living or three the who didn’t, and Provel who loved learned Viewers things first the and stress, to relieve walking virtues of mostly). phone, their at (look up wake they when do people Video stills from 18 Questions. Left to right from top: Rachel Youn, Cayce Zavaglia, Kevin Kevin Zavaglia, Cayce Youn, top: Rachel from to right 18 Questions. Left from Video stills Neff. Irving, Esther Kahlil Robert Portlock, Tim Janie Stamm, Paulsen, Harris, Sarah Courtesy Tim Youd. Tim Courtesy Artist Notes from a a from Artist Notes Pandemic discussed future and Exhibiting artists past, present, the Among in isolation and artmaking in crisis mode. life conducted, Stephanie Syjuco commented ten interviews the pandemic; artmaking during of the insignificance on isolationism the “nonsense of to spoke Christine Corday on his reflected Mpagi Sepuya Paul and nationalism”; of the day closing on exhibition Angeles gallery Los The series fishing. went Youn its opening; and Rachel the moment of the upheavals with coping artists showed their and artwork their as as distinctive were that ways in personalities. Art at Home Art at beginner-friendly for tutorials artists offered Teaching sculpture, paper weaving, fiber including art projects instruction offered were Visitors flip-book animation. and Sherald, Amy the style of in portraits to make on how Thomas, and Mickalene the spirit of personal collages in Local Tyson. Nicola by as practiced automatic drawing provided Fergeson and Cecily Janie Stamm artists such as pencil blending. and colored tutorials on embroidery video #MuseumMomentofZen shared CAM the country, with museums across tandem In sense of that instilled a past exhibitions from images took also healing. CAM toward and hope tranquility images archival favorite for fans CAM from requests platforms. social media across shared
installation view, Contemporary Art Museum St. Louis, May 23–September 27, 2015. Photo: David Johnson. David 27, 2015. Photo: 23–September May Art Museum St. Louis, Contemporary view, installation Varnish, Studio: Green Nomad In response to the pandemic, CAM closed its doors in March 2020. Nearly as soon as the as as soon 2020. Nearly doors in March closed its pandemic, CAM the to In response art-making offered at Home CAM online content. began developing we closed, museum more. and much beauty, of artists, moments with interviews projects,
Embroidery tutorial by Janie Stamm. by tutorial Embroidery CAM at Home at CAM
4 CAM at Home 7 @CAM Photo: Macon Reed for PlanYourVote.org. for Macon Reed Photo: CAM visitor Tyrell Manning participating in After Shelter. Photo: CAM Staff. CAM Photo: Shelter. After Manning participating in Tyrell visitor CAM Just Vote! Just CAM opening, exhibition the Fall/Winter long after Not initiative national a VOTE, YOUR with PLAN partnered the in citizens and empower to promote Vote.org of volunteers and staff CAM rights. voting their of exercise and voters Missouri eligible to register available were the museum at absentee ballots of notarization free offer of number joined a We and October. in September campaign this get-out-the-vote in institutional partners Angeles; Art, Los Contemporary of including Institute Art Center; Walker Boston; Art Contemporary Institute of Arts. the for Center Wexner the and Museum; Brooklyn the to promote who designed artwork artists Participating Biggers, Sanford Bernhardt, included Katherine initiative and Patti Marilyn Minter, Julie Mehretu, Christine Sun Kim, Missouri with engaged civically Smith. In so doing, CAM work. democracy to make communities . at planyourvote.org involved and get artwork View After Shelter After to document sought Shelter After The microprogram immersive Fordjour’s Derek moment in history. a recording for setting , became a installation, SHELTER their and the exhibition with interactions visitors’ questions asked were Visitors pandemic reflections. the moment; in the artwork of experience their to relating future. the for and hopes quarantine; past months of their the StoryCorps on and saved recorded were The answers to whose mission is national nonprofit website—the These recordings stories. humanity’s and share preserve the at the StoryCorps archive will become part of Congress. of the Library at Center American Folklife to be installation to Fordjour’s return their found Many one said. time I came in I cried,” first “The moving. deeply and put a us down months, “It broke four the past to As future? the for Hope one couple affirmed. us,” under fire racial have we it: see to live I hope “I spoke, elder woman A for each other social justice, and people respect equality, are.” they who . at camstl.org/storycorps the interviews to Listen
Andrea Rodriguez Gonzalez and Paola Alejandra Arizpe Flores. Alejandra Gonzalez and Paola Rodriguez Andrea Earrings by Nova Vita Co. Photo: CAM Staff. CAM Co. Photo: Vita Nova Earrings by Photo: Wil Driscoll. Photo:
. guidelines at camstl.org/safety about safety more Learn Even in the early stages of the pandemic, CAM began CAM the pandemic, of stages the early in Even together put was force task A reopening. a for planning of the responsibility with staff, museum of consisting protocols. adequate safety recommending learning and with acquainted members became intimately force Task Disease Control for Centers the by guidelines shared and St. Organization, Health World the and Prevention, health departments. Occupancy and County City Louis of the number to in relation determined were limits at the museum spaces within could be who individuals time. On-site one at any feet) (six social distance safe a timed-ticketing A online. to be moved had programs importantly, Most designed and implemented. was system to masks wear to be required would visitors and staff virus. the airborne with contact of the possibility limit and cleaning regimens acquired were Hand sanitizers and safe, free, July, in early reopened CAM intensified. to all. open Safety First Safety Follow us @camstlshop. Follow Visit the shop during museum hours or shop online at shop online the shop during museum hours or Visit . camstl.org/shop CAM’s shop is a showcase of local and visiting artists and and local of showcase shop is a CAM’s her displays Vita Nova The phenomenal designer makers. The dynamic duo accessories. unique earrings and other statement. Stay a that make designs clothes Work/Play face Michael Drummond with fashionable and stay safe you mode, protocol in COVID-19 we’re long as As masks. The shop yourself. to intimate shopping space our have up to pick way great which is a open online, is always Paul Mpagi past exhibitions: featuring publications CAM POINTS, Sanford RELATIVE Corday: , Christine Sepuya Sherald , and Amy Backdrop Anderson: Biggers, Hurvin kids and grownups, for them. Pick out art supplies among fashionable—turbands the ultra for all ages, and for toys the 23 and Potion Cates of Victoria by made in St. Louis Thomas. Mickalene by scarf Love Outside of Taste Little A CAM members the Museum, and benefits purchase Every 10% discount. a receive Shop Local
6 @CAM 9 Staying Connected CJ Mitchell leading a virtual art activity during First Friday via Zoom. via during First Friday virtual art activity CJ Mitchell leading a Living St. Louis program The popular Nine Network 2020. partnership in March Vashon-CAM the on focused visit segment included a six-minute The little-more-than the museum in stop at and a the school in December to Vashon students, met viewers PBS Local February. early teaching artist visiting CAM Jennings, Tim teacher art Programs School and Community CAM Neff, Esther Vashon and Dalonte Chatman, Miriam Ruiz, Manager who has also participated in '22. Chatman, Class of Museum Teen and the Neighborhood Art in New CAM’s the piece. subject of the central was Studies programs, for up man, but he spoke young quiet as a known He’s interested you’re “If and art itself. the partnership, CAM, "please do the segment, of finale the at he says in art,” yourself!” to express you for way huge a it, because it’s High School, remained Vashon ArtReach: The exhibition, July CAM’s following Galleries the Education in view on 2020. August through reopening, Living St. Louis at Vashon Living St. Louis at Derek Fordjour visiting Dalonte Chatman's class at Vashon High School. Photo: Chris Bauer. High School. Photo: Vashon visiting Dalonte Chatman's class at Fordjour Derek Teachable Moments Teachable and Museum of the Institute 2019, In September CAM’s for grant $193,753 a awarded Services Library longest- the Museum’s One of program. ArtReach with engages ArtReach education programs, running art Public on St. Louis with an emphasis K–12, schoolchildren The grant and high school levels. the middle Schools at in public work its and improve increase to CAM allows the hiring of is those and one of ways, schools in multiple Mitchell runs Coordinator. Access CJ Mitchell, Community all shapes of in classrooms program drop-in the Museum’s opened fact in have COVID of The restrictions and sizes. lessons at virtual to present Mitchell for up opportunities including CAM’s venues, and other centers, camps, senior taught High School. She’s Vashon school, partner for and St. Louis London, City, York in schools in New to being connected liked always She’s years. sixteen with museums and museum education. “Interaction learn can always “You she says. fun part,” the students is ways.” in so many you can enlighten They students. from lot A students as “uncut gems. Vashon to Mitchell refers them to help and themselves, to see them for the job is of CAM allows doing. they’re what confident about feel to that don't necessarily people in communities to reach us the experience bring we with us, so visit to time the have them.” to CAM’s Teen Museum Studies program went online during went Museum Studies program Teen CAM’s Educator Museum CAM to COVID-19. 2020 due summer meetings, held group presentations, shared Garza José web- via the students to staff CAM other and introduced class structure hands-on traditional The tools. conferencing activities with group along format, lecture to a changed was class the the beginning, In friendly. computer were that in an online strangers twelve with to speak hesitant was and gain group as a work to began they but slowly setting, Museum Studies Teen the In curating with each other. trust twenty-one by work viewed the students fall exhibition, that works his for selected was Kuo Yowshien local artists. American in representation Asian critique depict and subtly the workshop, four-week the of the conclusion media. By a to achieve group as a work to students had learned how gained online communication skills, and goal, developed own. their of museum exhibition a in creating experience Pantakar, to see it! —Sanjeevani chance a get you I hope 2020 summer Intern, and Engagement Learning Courtesy Deja Brewer-Moore. Deja Courtesy Socially Distanced Together Distanced Socially
Teen Museum Studies 2020. Teen
In fall 2020 Deja Brewer-Moore begins her freshman freshman begins her Brewer-Moore fall 2020 Deja In credit three got already She’s University. Webster at year participation in New to her thanks belt her hours under consecutive two completing By the Neighborhood. Art in studio art intensive 25-year-long semesters in CAM’s Brewer-Moore art portfolio, teens and submitting her for Program. Credit the CAM-University for became eligible the School Art Institute, and the Kansas City Webster, NAN for credit Chicago also offer Art Institute of the of Academy, Science the Gateway of graduate A students. peers of the community enjoyed especially Brewer-Moore about art and who care people “I meet her. NAN gave because she Webster She selected talk about it.” to want was since I “Ever to its animation program. drawn was like really would I “Now she says. cartoons,” little I loved and Pixar stories. I love own write my and there to go out those people.” with work to love DreamWorks—I’d Credit Earned Credit
The Learning and Engagement department’s programs keep CAM involved with St. Louis’s many many St. Louis’s with involved CAM keep programs department’s and Engagement The Learning communities those to better to strive team continues the director, new a With communities. online. or on-site whether art education, contemporary through Staying Connected
8 Staying Connected Focus: Teens Schools and ArtReach, New Art in the Neighborhood, A Museum of the LEAP Middle School Initiative, and Communities Reached through CAM's Learning Teen Museum Studies and Engagement programs
Community Schools (K–12) Community Groups CAM’s new Learning and Engagement Director Michelle Dezember arrives at a critical Bayless High School African Community Health Fair 489 Belleville East and West High Behavior Intervention Services time and place. School Bellefontaine Cemetary Participants Carr Lane Middle School Beta Collective Clyde C. Miller Career Academy Black Speculative Arts Forsyth School Movement “Where I grew up, in Bakersfield, California, it was not posed in front of a Rolls Royce. She asked us to connect George Washington Carver Cote Brilliante Presbyterian
10 normal to go to a museum,” Michelle Dezember recalls. our observations with a Langston Hughes’s poem, and I Elementary Academy Church “I don’t remember having art classes. I didn’t even want was blown away. I could make these connections just by Grand Center Arts Academy Fiestas Patrias Michelle Dezember to go to college. My world wasn’t very big.” Dezember paying attention! It was the first time I truly felt a sense Granneman Elementary School Fine Line Studios 428 Hazelwood School District Focus St. Louis reflects on that former self as she begins her new position of belonging with something larger. I realized that art is a Home School Network Grand Center Arts District as CAM’s Learning and Engagement director. Her world way we can understand the world and find our place in it. Classroom hours Illini Bluffs School District Hispanic Festival has gotten bigger since that time, including museum Our dialogue with it opens up possibilities to see beyond Incarnate Word Academy Kinder Care St. Charles work in New York City; Barcelona; Doha, Qatar; Aspen; what we know and cross boundaries of time and space.” La Salle Middle School Latinx Arts Network STL and California. New City School Missouri Immigrant and Refugee Advocates Her professor, Dr. Bridget Cooks, who is now an associate North Side Community School Northwest Academy of Law Northside Youth and Senior Dezember’s journey gives a vivid understanding of her professor at the University of California, Irvine, and author Saint Louis Public Schools Service Center devotion to her work. Finding meaning and personal of Exhibiting Blackness: African Americans and the 122 Snider High School Oasis connections to art gave her a new life. During her reluctant American Art Museum, took on Dezember as a research St. Charles West High School Samaritan United Methodist first year in college, she took a standard Western Art assistant and exposed her to the world of museum Educators Served Vashon High School Church St. Louis Art Fair survey class and sat disengaged through the endless education. Beyond a career calling, Dezember received a Washington Montessori School Whitfield School Stonebridge Townhomes slide presentations. In need of another elective, she gave sense of liberation from this mentorship. “Until that point, The Gatesworth another art history class a try, one on African Americans I was trained about sameness, about falling into line. Colleges and Universities The Links – Archway Chapter and photography. I discovered I could bear witness to anything by Third Baptist Church paying attention. I could change myself by changing Eastern Illinois University Tillie's Corner Neighborhood 100% Gustavus Adolphus College Health Care Block Party She remembers the first day of class as “life changing.” my perspective.” Harris-Stowe State University Transition Center of St. Louis Another slide on a screen, but this time there was a call High School Illinois College Veterans Affairs for participation. As Dezember recalls, “The professor In the years that followed, Dezember found herself at Iowa State University Wyman projected a James VanDerZee photograph from the Harlem the Brooklyn Museum as it was in the midst of a radical Graduation Rate Kansas City Art Institute Renaissance of a couple dressed in raccoon fur coats restructuring. Staff had begun to work interdepartmentally Murray State University New Art in the Neighborhood participants toward “a community-centered museum.” “This was post Saint Louis University Southeast Missouri State 9/11,” she described. “The goal of the museum was to Southern Illinois University become a community space where people could figure Edwardsville out the world together.” As she went on to create new St. Louis Community College education and programming strategies for museums in University of Kansas Barcelona, Doha, and Aspen, Dezember always kept this University of Missouri– 85% St. Louis kind of collective meaning-making at the center of her Washington Unversity in practice. “I learned quickly that, in the words of adrienne Alumni that report strong St. Louis maree brown, ‘change happens at the speed of trust.’ Washington University Museums are defined by the kinds of relationships we impact on school Architecture Discovery cultivate and the ways we listen.” Program performance Webster University Webster University Hands-on Dezember arrives at CAM with an understanding that there Training Program is a natural selection process occuring. “Museums survive because people want them,” she explains, “and people need to push them in the directions they need to go. If museums can’t hold space, people will move elsewhere.” $0 She defines the urgency of this moment as “the blessing and the curse of COVID.” Amid the constrictions of social Cost to participate distancing, museums must think more qualitatively than quantitatively. “Art is a fundamental right, not a privilege,”
she says. “Our direction must be toward being a museum New Art in the Neighborhood with Stephanie Syjuco. Photo: Michael Thomas. Photo: Graham Eng-Wilmot. of the community, not for the community.” 1313 Create:Mesh 2019–20 The CAMpaign $10 million $1 million $1 million / Capital Improvements / Capital Improvements home, much-needed CAM’s and restore preserve To art to secure CAM essential. For are improvements national and international institutions, major from loans the lenders must be assured galleries, and collectors, with state-of-the-art space will be in a work their that In addition, CAM systems. and security climate control than technologies efficient to using more is committed constructed. was the building when available were and efficient, energy to be greener, is destined CAM beauty, excellence, of symbol eco-responsible—a visitors may which function, an ideal space in and time. our the art of with engage at camstl.org/create. and give more Learn Create: The CAMpaign raises funds for three three for funds raises The CAMpaign Create: needs: institutional essential / Endowment full access making in 2013, free to become elected CAM with In keeping priority. an institutional to all audiences all free, are education programs all CAM this initiative, public programs of majority vast the and free, tours are the institution museum, however, free a As free. are modest very and income revenue little earned receives provides only not endowment robust A tax support. funding source, and perpetual reliable, stable, a CAM mid-size of top-tier the to the museum it elevates access free art institutions and ensures contemporary future. the into far all for Fund / Innovation innovation, toward directed source funding major With a engages and provides education programs, expands CAM to local artists, and opportunities employment more relationships strengthening for models new develops present, At the museum and its community. between the requests to all of to respond the resources lacks CAM and training, teacher art education, for it receives Public Schools, St. Louis from development professional and senior and community colleges and universities, to be the Museum allows Fund The Innovation centers. communities, including to diverse responsive more even learners. CAM lifelong of demographic the growing scholarship in new for platform to be a also strives publications and exhibitions through art contemporary relevant, CAM to keep fund helps The global reach. with a field. museum the ideas in new for source and a proactive, the consider we important as is especially Innovation environment. post-COVID the museum in a of future , installation view, Contemporary Art Museum St. Louis, Art Museum St. Louis, Contemporary view, Cars, installation Scarpitta: Racing Salvatore Harold. Virginia 22, 2018. Photo: 19–April January 21– May Art Museum St. Louis, Contemporary view, Air, installation Studio: Green Nomad Gastreich. Jarred 21, 2016. Photo: August But with its doors closed, CAM experienced a fresh fresh a experienced CAM doors closed, with its But art’s contemporary of the importance of realization itself made The museum to community. connection art and ideas, with contemporary online available more a with artists, and tutorials, interviews art-making the month throughout art piece performance durational who audiences reaching was CAM Surprisingly, May. of the museum. to been had never offer and solace, hope, provide to give way a finds Art installation Fordjour’s Derek of the popularity As meaning. in which even spaces in suggests, art creates SHELTER the In thrive. may we circumstances, the most dire used individuals and groups Shelter, After microprogram thoughts their to record environment immersive Fordjour’s of feet square few Within a and hope. future, the about art, forum came a public walls, metal and corrugated floor dirt into being. and give to join time opportune could be no more There join us renewal, spirit of In a CAMpaign. The to Create: for and CAM for future vital and secure a to create the community. Photo: Izaiah Johnson. Izaiah Photo: No one, in the fall of 2019, could imagine how complex complex 2019, could imagine how fall of the one, in No become in 2020. CAM would world the and complicated pandemic. COVID-19 the to due closed its doors in March the Ferrings, to honor was which 2020 Gala, CAM's Create, canceled. was Amy Sherald with New Art in the Neighborhood students. Photo: Jon Gitchoff. Jon students. Photo: the Neighborhood Art in with New Sherald Amy In October 2019, the Museum publicly launched Create: The CAMpaign, a $12 million campaign a The CAMpaign, launched Create: publicly the Museum 2019, In October and and programs, exhibitions institution’s the of vitality and the continued growth to ensure its education initiatives. through the region and on St. Louis impact cultural CAM’s increase Crawford Taylor Foundation joined these early donors with donors these early joined Foundation Taylor Crawford momentum,” this positive gift. “With substantial a as our to be as great is positioned said, “CAM Melandri and broad to reach enables us The CAMpaign ambitions. city our bolster and beyond, audiences in St. Louis diverse of source a destination, and offer vital cultural as a world.” and complicated complex meaning in a CAM was on its way to a total endowment of $15 million. of endowment total to a way on its was CAM $5 milestones: a major met The museum had already John Alison and Pulitzer; Rauh Emily from million lead gift as to serve pledged $1 million and agreed Ferring support generous received co-chairs. CAM CAMpaign and Neidorff the Centene Charitable Foundation through on predicated $1 million matching grant Challenge, a match in one dollar-for-dollar a to achieve ability CAM’s accomplished in just six months. was The match year. Prior to the announcement, CAM had already raised $9.7 raised had already the announcement, CAM to Prior The commitment an initial $10 million goal. toward million the organization supporters emboldened longtime CAM of that initial to achieve community wider the to out to reach $12 goal of the ambitious feel it. “We goal and go beyond CAM’s Melandri, said Lisa within reach,” million is director. executive
12 MeshCreate: 2019–20 The CAMpaign 15 Mesh 2019–20
Year Ahead Year
(detail), 2019. Photo: Dusty Kessler. Dusty Photo: 2019. (detail), imperials… crown below and above cap red a sits stems the ...between Patterson, G. Ebony inspires Melandri to “think how CAM might go on, and on, CAM “think how to Melandri inspires more ways.” more to be led “it all seems observes, John philanthropically,” where that is And people. younger some extraordinary by raised nearly 10-million dollars before going public in going 10-million dollars before nearly raised permanent home and became CAM. From its beginnings From permanent home and became CAM. will become your askers.” Dr. Donald Suggs, publisher publisher Donald Suggs, Dr. askers.” your will become the Delmar divide regularly,” meaning Delmar Boulevard, Boulevard, meaning Delmar divide regularly,” the Delmar and Black St. Louis. white between visible demarcation the for them to pursue their dreams.” their to pursue them for future a fear; of not hope, of future too—a the Ferrings, years,” hundred to a sixty the next but years, six the next universe.” their centerpiece of a is lies. CAM future the Alison and and loving, visionary, forward-thinking, take the critical step of establishing a major endowment endowment major a establishing of the critical step take says Lisa Melandri, CAM Executive Director. Their vision Their Director. Executive CAM Melandri, Lisa says ambassadors; they will become your advocates; and they they and advocates; your become will they ambassadors; and on into the future to serve ever more people in ever people in ever more ever to serve future the and on into as a downtown gallery space, the Ferrings have been have the Ferrings space, gallery downtown as a Alison affirms. endowment,” healthy a good example of what I call the Triple A,” says Gregory Gregory says A,” Triple the what I call of good example campaign, the Ferrings were the obvious choice to lead it. to lead choice the obvious were the Ferrings campaign, vested in the institution. When the museum chose to the museum chose When the institution. in vested of the institutions they support.” “The Ferrings are a a are “The Ferrings support.” they the institutions of for credit the Ferrings American, gives the St. Louis of of abundance, not decline. “They have been the architects the architects been have decline. “They not abundance, of just not year, just next think about not can we how of With the Ferrings as co-chairs, Create: The CAMpaign The CAMpaign as co-chairs, Create: the Ferrings With Glore. “If they believe in your mission, they will become they mission, your in believe they “If Glore. October 2019. “Our role in the CAMpaign,” John says, says, John the CAMpaign,” in role 2019. “Our October The Ferrings have been involved with the Contemporary the Contemporary with involved been have The Ferrings Art Museum St. Louis since long before it moved into its it moved since long before Art Museum St. Louis A universe that has expanded because of the dope, chill, because of that has expanded universe A John Ferring. John “Love” is a verb when St. Louisans speak of the Ferrings. the Ferrings. speak of when St. Louisans verb is a “Love” explains, Kranzberg Kenneth than giving money,” more “It’s all put into they that time and effort the amount of “it’s “crossing for and walk,” the walking talk and the “talking “When we look out at what we’re investing in in St. Louis in in St. Louis investing we’re what look out at we “When “is giving them the tools, giving them the budget in order in order the budget them tools, giving the them “is giving talk about when people to referred is often future” “The “We know the only way institutions like this survive is with is this survive like institutions way the only know “We
not generally the first words that come to mind when to mind that come words first the generally not have ever broken bread with.” bread broken ever have with, they’re some of the coolist philanthropists that I the coolist philanthropists some of they’re with, their fellow benefactors and the recipients of their their of the recipients and benefactors fellow their Boyd, gives a contemporary take on love: “They are not not are “They on love: take contemporary a gives Boyd, Hoffarth of Forest Park Forever. Park Forest of Hoffarth treasures of St. Louis,” says Penny Pennington of Edward Edward of Pennington Penny says St. Louis,” of treasures Ferring, they often talk about love. “I love John and Alison,” Alison,” and John “I love love. talk about often they Ferring, speaking of major philanthropists, but those are the words words the are those but philanthropists, major speaking of says Gene Dobbs Bradford of Jazz St. Louis. “Alison and and “Alison Jazz St. Louis. of Dobbs Bradford Gene says and feelings that represent the Ferrings's uniqueness. the Ferrings's that represent feelings and ability to bring that to the people of St. Louis,” says Lesley Lesley says St. Louis,” of the people to that to bring ability adds to the chorus, “I love that they take risks.” “Alison “Alison risks.” take they that love the chorus, “I to adds supporters visionary and leaders visionary are John and community, but there is more to them than that, as both that, as both than them to is more there but community, giving express. only the dopest and the chillest people to hang around to hang around the chillest people dopest and the only of so many great organizations, and they love having the the having love they and organizations, great so many of When you ask people to talk about Alison and John John Alison and talk about to ask people you When Co-Artistic Director of Dance at COCA, Antonio Douthit- Dance at COCA, of Co-Artistic Director St. Louisans share a few words in tribute to local philanthropists Alison and John Ferring. John Alison and to local philanthropists tribute in words few a share St. Louisans They have chosen to put their resources to use in the to use in resources their to put chosen have They Jones. Kelly Pollock, of the Center of Creative Arts (COCA), (COCA), Arts Creative of Center the of Pollock, Kelly Jones. John breathe love and life into some of the most beautiful the most beautiful some of into and life love breathe John
Photo: Diane Anderson. Diane Photo: Making a Difference a Making “Dope,” “chill,” “cool,” and most especially “love,” are are “love,” and most especially “cool,” “chill,” “Dope,”
14 MeshAlison 2019–20 and John Ferring 17 Year Ahead , Great Rivers Biennial 2020, installation view, Contemporary Art Contemporary view, Biennial 2020, installation Rivers Dusk, Great At Irving: Robert Kahlil Kessler. Dusty 21, 2021. Photo: 11, 2020–February September Museum St. Louis, “I realized I had the opportunity to show a lot of new new of lot a to show opportunity the I had “I realized groups several from sculptures five to four gestures, and old new feet, sixty-six collage of large a work, of and is deeper experience will What people flags. and research my is realized Here nuanced. more and the U.S. colonialism in into investigations multiple materials, media, objects, through Midwest forms.” and
, Great Rivers Biennial 2020, installation view, Contemporary Art Museum St. Louis, September 11, 2020–February 21, 2021. Photo: Dusty Dusty 21, 2021. Photo: 11, 2020–February September Art Museum St. Louis, Contemporary view, Biennial 2020, installation Rivers Dusk, Great At Irving: Robert Kahlil Kessler. Irving Robert Kahlil Dusk At by rules set cultural Irving addresses Kahlil Robert through those constructs colonialism, challenging the and The artist conflates history form. material and multiple images and gathering of a through contemporary and social media physical his own from derived sources of the context and his personal biography, explorations, sculptures floor and Tabletop the Midwest. in Black life the side of on objects discarded what look like contain Irving parallels in ceramic. set here but are the road, longtime denial of with societal trash accumulated the wallpaper, vinyl large-scale a For racism. systemic left so much garbage like artist uses multiple screenshots and down to slow viewers for is gathered behind, but here neglected: social inequality, what is perpetually consider The colonialism. the ongoing impact of violence, and which online images, of hundreds of consists wallpaper The images refer years. three the past Irving culled over this country in racism institutionalized of forms various to social media, representation, historical events, through in music, museums, and public monuments—at CAM, with to reckon us prompts Irving and beyond. St. Louis, violent histories. our
Sep 11–Feb 21 11–Feb Sep Fall/Winter 2020–21 Fall/Winter
2020 2020 Since everything changed in 2020, we decided to ask decided we changed in 2020, Since everything their talk about how to Biennial artists Rivers the Great to installation. conception from evolved exhibitions Tim from came the most eloquent response Perhaps responded: change?” work your “Did when asked Portlock, that kind been It’s “HAHAHAHAHAHAHAHAHAHAHA!” and adaptable, resilient, the artists proved but year, of the in exhibitions their transformed they as imaginative upheaval. midst of on process their about to say what each artist had See pages. following the From Vision From to Reality Kahlil Robert Irving Robert Kahlil Portlock Tim Youn Rachel
Biennial Rivers Rivers
The Great Rivers Biennial is made possible by Biennial Rivers The Great A collaborative exhibition program presented by CAM and the Gateway Foundation, the Great Rivers Biennial selects Rivers the Great Foundation, the Gateway and CAM by presented program exhibition collaborative A exhibition a major assistance and financial with them providing area, the St. Louis artists in and mid-career emerging first the the process—from each phase of through the selections make jurors regarded nationally Three the museum. at award- three the of the naming to Louis, in St. finalists ten with visits to studio applicants, eighty than more of round 2018 Museum and a Warhol Andy The at Curator Carlos Diaz, Chief José are jurors Biennial 2020 Rivers winners. Great Whitney the at Curator Poses and Fred the Nancy Lew, Y. Christopher Leadership; Curatorial for the Center at fellow artist multidisciplinary Ross-Ho, Amanda Biennial; and Whitney the 2017 of Art and co-curator American Museum of Irvine. California, of the University at and an associate professor
From left: Misa Jeffereis, Rachel Youn, Kahlil Robert Irving, Tim Portlock, Wassan Al-Khudhairi. Wassan Tim Portlock, Irving, Kahlil Robert Youn, Rachel Jeffereis, Misa left: From Great Great
16 Year Ahead
19 Year Ahead Kessler. Dusty Photo: 2021. 21, 2020–February 11, September , Great Rivers Biennial 2020, installation view, Contemporary Art Museum St. Louis, Louis, St. Museum Art Contemporary view, installation 2020, Biennial Rivers Great , 19 Mesh 2019–20 Gather Youn: Rachel run in my studio. I realized I needed music, a disco I needed music, a I realized studio. run in my what it is now. for excited but I’m really nervous, twists were there When be disappointed. probably and turns, I became more excited.” turns, I became more and If I had made exactly what I had in my mind, I’d mind, I’d had in my what I I had made exactly If components gradually, letting the kinetic pieces the kinetic letting components gradually, feel. Letting the show speak for itself made me made itself for speak the show Letting feel. , Great Rivers Biennial 2020, installation view, Contemporary Art Contemporary view, Biennial 2020, installation Rivers Gather, Great Youn: Rachel Kessler. Dusty 21, 2021. Photo: 11, 2020–February September Museum St. Louis, “I totally shifted directions. I began adding directions. shifted totally “I
Rachel Youn Rachel Gather the artist liberates installation Gather, Youn’s In Rachel materials—electric owned inanimate, previously cabinets— plants, and speaker massagers, artificial against resistance of dance engage in a may they so the heart of lie at narratives obsolescence. Personal conservative in a Raised practice. sculptural Youn’s the open within at odds felt they Christian household, within safe alienated but also church, and song of prayer from parties. Gather stems dance queer for spaces made For in space. body queer a to reconcile desire the artist’s the commissioned they work, this the audio component of the dance music, to make band GodsBod St. Louis-based multiple evangelical from with recordings which competes feverishly the congregation where services, church Korean lively a between gyrates The installation together. prays these Youn conflates floor. disco gathering and a church between find an intersection to trying spaces, two for the need in found commonality a worlds, opposing liberation— spirit of in a together to gather people house party. a disco, or a in church, whether
St. Louis, September 11, 2020–February 21, 2021. Photo: Dusty Kessler. Dusty Photo: 2021. 21, 2020–February 11, September Louis, St.
, Great Rivers Biennial 2020, installation view, Contemporary Art Museum Museum Art Contemporary view, installation 2020, Biennial Rivers Great , Heaven from Nickels Portlock: Tim
Tim Portlock Tim Heaven from Nickels prints depict construction large-scale Tim Portlock’s Using American cities. various sites in and demolition 19th-century from derived conventions compositional realistic constructs painting, Portlock American landscape American of idyllic notions that embody landscapes rugged, tamed by to be bountiful land feral, identity—a explores Portlock this imagery, Through virtuous people. with visibility, social displacement, and optimism, ideas of what between contrast a drawing in interest particular a Portlock what is being replaced. and is being constructed than using but rather and muralist, painter as a trained video gaming software he employs paint as his medium, aerial drone with photogrammetry—or in combination prints. cityscape his large-scale, scanning—to create 3-D modeled buildings Portlock on display, work the For Chicago, Philadelphia, in St. Louis, that he came across print is a and Camden, NJ. Each Angeles, Little Rock, Los multiple from constructed landscape containing buildings What defined? is progress “How The artist asks: cities. the is America of version What better? future the makes version?” better “With the exhibition postponed, I was able to think to able was postponed, I the exhibition “With affected circumstances day present our about how work. the within and became incorporated work the used is one I’ve statue a the image of instance, For important really then statues became the past, in What for? these statues here Who are this summer. deflect? communicate or to trying they are narrative this show.” in again appear they So , Great Rivers Biennial 2020, installation view, view, Biennial 2020, installation Rivers , Great Heaven from Tim Portlock: Nickels Dusty 2021. Photo: 21, 11, 2020–February September Art Museum St. Louis, Contemporary Kessler.
18 MeshYear Ahead 2019–20 21 Year Ahead Ebony G. Patterson: ...when the cuts erupt...the garden rings...and the warning is a wailing... , warning is a the rings...and garden the cuts erupt...the G. Patterson: ...when Ebony 21, 11, 2020–February September Art Museum St. Louis, Contemporary view, installation Kessler. Dusty 2021. Photo: her to think differently about the idea of what a “museum what a of the idea about think differently to her with on paper, works to submit artists regional invited and exposure, local artists more to give was idea her work.” Patterson informed me that she actually has that she actually me informed Patterson work.” her the fact that CAM is a non-collecting institution allowed non-collecting institution allowed is a that CAM fact the to be ready that are works ‘the canon,’ for ready that are an her offered CAM written about.” and formalized with students at Wash. U. I went to school there and now now and there to school went I U. Wash. with students at Patterson shared with me memories of shows she saw at she saw shows with me memories of shared Patterson alternative, or as she defined it, “a space that gave me an that gave space “a it, she defined as or alternative, The public access. for files flat maintained in works those a was in CAM show first them. “My one of was Patterson have it may the relationship she continued, “and Louis,” full circle.” a of the idea with them shown work at CAM previously. In 2006, the museum In 2006, previously. at CAM work shown presenting of the idea capacity—I like I’m back in another guide from Jill’s show. I used to teach my students about teach my to I used show. Jill’s from guide opportunity to experiment, to think of the museum think of to to experiment, opportunity In part, solving.” problem toward means as a exhibition works for spaces could be. “Museums are is or exhibition” opportunity to play.” opportunity CAM in the aughts: “Yoshitomo Nara I remember vividly. vividly. I remember Nara the aughts: “Yoshitomo in CAM flat file,” she told me with a trace of irony. of trace a with told me she file,” flat
There was Laylah Ali and Jill Downen. I still have a gallery gallery a I still have Jill Downen. Ali and Laylah was There “I’ve always thought about the possibility of a show in St. show a of the possibility about thought always “I’ve leaving for Wash. U. After graduation she taught at the taught at she graduation After U. Wash. for leaving in Kingston, Jamaica, which was the artist’s home until the artist’s was which Jamaica, in Kingston, in 2006. She moved to the city for graduate school in graduate for the city to in 2006. She moved re-imagine the exhibition she had first proposed. When first proposed. she had the exhibition re-imagine space adaptable highly as a is regarded CAM work. new home, because I think of Jamaica as home.” Time has as home.” Jamaica think of home, because I young a as to her as being influential CAM remembers that artists can possibilities the kinds of “and recalled, Ebony G. Patterson. Photo courtesy the artist and Monique Meloche Gallery, Chicago. Gallery, Meloche the artist and Monique courtesy Photo G. Patterson. Ebony Her past experience at the Museum inspired her to her the Museum inspired at past experience Her to postponed were opening the exhibition for the dates another to create she pushed herself to COVID-19, fall due the I had felt “I Patterson. for to be artists, as it came for Patterson told me she is looking forward to her return to return to her forward told me she is looking Patterson studied at the Sam Fox School of Design and Visual Arts Visual and Design of School the Sam Fox studied at I spoke with Ebony G. Patterson during the summer the summer during G. Patterson with Ebony I spoke already held a BFA in Painting from Edna Manley College Manley Edna from in Painting BFA held a already mater. alma she space,” the possibilities of artist. “I learned about at Washington University in St. Louis, receiving an MFA an MFA receiving in St. Louis, University Washington at University of Kentucky, and now lives and works in works and lives and now Kentucky, of University during my time there I never thought of the city as my as my the city thought of I never there time during my but she years, the over “home” of concept changed her So CAM is a very important place for me.” for important place very is a So CAM St. Louis. “It’s like a homecoming,” she said, “although she said, “although homecoming,” a like “It’s St. Louis. execute when they’re allowed to explore their full range. full range. their to explore allowed they’re when execute of 2020 about her memories of St. Louis. Patterson Patterson St. Louis. memories of 2020 about her of Chicago. In 2018 she received the prestigious Stone the prestigious Chicago. In 2018 she received
& DeGuire Contemporary Art Award from her St. Louis St. Louis her from Award Art Contemporary & DeGuire 2004, the year after CAM opened to the public. Patterson the public. Patterson to opened CAM after year the 2004, Chief Curator Wassan Al-Khudhairi speaks with Ebony G. Patterson about the artist’s return to return the artist’s about G. Patterson with Ebony speaks Al-Khudhairi Wassan Curator Chief exhibition. Fall/Winter her for St. Louis A Homecoming A
Ebony G. Patterson G. Ebony cuts erupt... the ...when rings...andthe garden wailing... is a warning the to look closer, viewers encourages G. Patterson Ebony and bright colors. textures shimmering in by to be drawn awareness that captures trap is a the artist, beauty For an abundant seen—the garden the invisible and makes site-specific new two Her attraction. for setting the of exploration longtime her installations extend those Among possibilities. its metaphorical and garden where symbol, “postcolonial” a as garden the of idea the is visible interrupt violent histories of remnants the invisible beneath plantlife. exposed slowly space—Black bodies suggested as feminine, the for symbol a also is garden The warning the title, ...and exhibition the of final phrase the in the enter we woman a of the body through wailing…: is a women’s of warning and wailing the through and world, as serve women that us The artist reminds exit. we voices for a space as the garden with mourning, of figures public to akin visual pageantry a creates lamentation. Patterson bling the accessories of which include rites, funeral by visibility that demands fashion gesture culture—a Patterson’s is works these to backdrop A those unseen. violent of consumption and the circulation thinking about Wall the Project the making of images online. In tears, and damages paper shreds, installation, Patterson to drawn are we violence of forms—acts new to produce as beauty. The exhibition is generously supported by Clayco, Beth Rudin DeWoody, DeWoody, Rudin Beth Clayco, by supported is generously The exhibition december, and Carol and Hau Nguyen, Lewis Arthur and Bill Gautreaux, Christy Chicago. Gallery, Meloche to Monique thanks Special and Michael Staenberg. ...and the dew cracks the earth, in five acts of lamentation...between the lamentation...between of acts five the earth, in cracks the dew ...and G. Patterson, Ebony Kessler. Dusty 2020. Photo: (detail), the soil… the leaves...below cuts...beneath installation view, Contemporary Art Museum St. Louis, September 11, 2020–February 21, 2021. 11, 2020–February September Art Museum St. Louis, Contemporary view, wailing... , installation warning is a the rings...and garden the cuts erupt...the G. Patterson: ...when Ebony Kessler. Dusty Photo:
20 Year Ahead
23 Year Ahead
Cohan, New York. York. New Cohan,
transferred to digital (color, 5.1 surround sound). © the artist. Courtesy the artist and James James and artist the Courtesy artist. the © sound). surround 5.1 (color, digital to transferred
(still), 2020. Single-channel video, 4K, Super 16mm 16mm Super 4K, video, Single-channel 2020. (still), People Boat The Nguyen, Andrew Tuan
Mar 12–Aug 15 12–Aug Mar Spring/Summer 2021 Spring/Summer , 2018. 4K video (color, 2-channel sound). 24:21 minutes. (color, video , 2018. 4K Pink Slime Caesar Shift Pink Slime Caesar Courtesy the artist and Upstream Gallery, Amsterdam. Gallery, the artist and Upstream Courtesy Jen Liu, Jen
Stories of Resistance of Stories in ways the myriad examines Resistance Stories of Through world. the across form takes which resistance artists of international array an of the perspectives sheds the exhibition media, of range full a across working resistance of which acts from the situations light on the exhibition work, of body diverse a Featuring emerge. that motifs themes and identifies several nonetheless Resistance and regions. cultures, history, across recur filling or exposing history, of the rewriting in found be may narrative. the dominant out of left the blatant absences in corporate, within governmental, from emerges Resistance power. of and systems structures institutional or and in actions movements shape in labor takes Resistance resources. natural other land, and water, to protect depicted as often and exile—most movement, Migration, in agency of as acts shown here desperation—are acts of and inequality. persecution, oppression, face of the human resistance of the epic range encompass To museum the entire activates the exhibition worldwide, performance, video, with space, inside and outside, and installation. sculpture, drawing, photography, Abidi, Banu Cennetoğlu, artists include Bani Participating Liu, Guadalupe Jen Candice Lin, Lehulere, Wa Kemang with Scott, and Dread Nguyen, Andrew Tuan Maravilla, whom make of to be announced, many additional artists on publication expanding A debut at CAM. U.S. their with will coincide action as multidisciplinary resistance the exhibition. grant a supported by generously catalog are and accompanying The exhibition publication Additional Arts. Visual the for Foundation Warhol Andy The from J. M. Kaplan Fund. the of program a Furthermore: by support is provided
February 21, 2021. Photo: Dusty Kessler. Dusty Photo: 2021. 21, February
installation view, Contemporary Art Museum St. Louis, September 11, 2020– 11, September Louis, St. Museum Art Contemporary view, installation Venom, Western Kuo: Yowshien Courtesy Yowshien Kuo. Yowshien Courtesy
Teen Museum Studies is generously supported by The Strive Fund, Wells Fargo Fargo Wells Fund, The Strive supported by Museum Studies is generously Teen Foundation. Taylor and Crawford Advisors,
Western Venom Western Studies Museum Teen by Presented Yowshien familiar, brutal, and hauntingly Beautiful, to empower meant are narratives paintings and Kuo's displaced feel that might individuals and communities identity explores Venom Western American history. in to what it means of against expectations and culture broadly to more said can be works American. Kuo's be the peoples in marginalized the struggles of represent amid images to coexist struggle the United States and cowboy/ a main protagonist, The Dream. American the of to created representation symbolic is a persona, hunter paintings depict struggle. Kuo's this collective embody Whether frontier. Western a against set scenes various or reflection encountering a fable or or dream entering a fantastical landscapes revealing led down are we ghost, we The longer turn. hidden meanings and clues at every our of the nature ruminate on can we the longer look, Museum Studies Teen knowledge. our versus beliefs than more from Venom participants selected Western with Kuo directly worked They artist proposals. twenty the as part of the exhibition and implement to organize program. summer six-week Yowshien Kuo Yowshien
22 Year Ahead 25 Year Ahead 2018. Pit-fired 2018. Pit-fired , white body) a hard of erosion On Being Human (The slow Candice Lin, ceramics, welded metal frame, wooden structure, plastic tubing, fired ceramics, unfired unfired ceramics, fired tubing, plastic structure, wooden frame, metal welded ceramics, the care from (grown plate, plants, dried mushroom hot glass distillation system, porcelain, timers. pumps, plastic buckets, metal, welded Occidental students), and distilled urine of Ian Angeles. Photo: Los Ghebaly, the artist and François Courtesy variable. Dimensions Byers-Gamber. Several of them are living in New York City. They had They City. York living in New them are of Several shift. would dates the exhibition that assumed right away suspended either were projects their them all of many For the conversation. to pick up want postponed. I or form take it can and in protests, form take can Resistance I resistance. of the range wide, It is history. in re-writing it. will capture the exhibition hope 12, March on Friday, opens at CAM Resistance Stories of 15, 2021. August through and runs , 2018. 4K video (color, 2-channel sound). 24:21 minutes. Courtesy the artist and Upstream Gallery, Amsterdam. Amsterdam. Gallery, the artist and Upstream 2-channel sound). 24:21 minutes. Courtesy (color, video , 2018. 4K Pink Slime Caesar Shift Pink Slime Caesar Jen Liu, Jen reopening. our plans and approves our over looks The city and it to COVID suspended due art is of transportation The choose we so crew, to assemble an installation safe is not still on were that the exhibitions with July in to reopen Liz the lenders of to contact all need We in March. view have we time asking if this again, exhibitions and Derek’s Thankfully loan agreements. our to extend permission All loan understanding and cooperative. very is everyone sent back out, signed, to be amended, need agreements are exhibitions planned summer Our and returned. communicate We to open in September. rescheduled them know. to let the artists with was that the shipping Nugent changes all Jen registrar Our the season (May). the end of for scheduled originally and everything work to back to get able Art shippers are is rescheduled. so all business, the suspension of The pandemic causes time difficult a having to shipping, artists are in addition vinyl need, i.e. they materials and services getting to get Some artists can’t framing. printing, mounting, has either transportation studios because public their health at risk. their put may been canceled or to pre-COVID the artists I invited to back out I reach felt it has . Until now Resistance participate in Stories of I anything. for to artists and ask write to insensitive I can ask artists about like felt not have especially timelines, schedules, and deadlines. , 2019. Courtesy the artist. , 2019. Courtesy Disease Thrower #7 Thrower Disease Our curatorial team begins by alerting the artists first: the artists alerting team begins by curatorial Our we’ll when say cannot we the museum and closed We’ve to emails by followed Those emails are to reopen. be able Johnson Liz of the loans Museum regarding the Brooklyn was Dusha, (which exhibition, and her work Artur’s also We Museum). the Brooklyn by organized originally with Derek so lenders associated ten or email around . SHELTER exhibition, Fordjour’s COVID a to draft force task establish an internal We an implementation by followed which is plan, reopening with colleagues on initiating work to which I head, team, the space. in precautions new can what resistance to consider the exhibition want I are they why these acts, and in who is involved look like, the sites of to consider want action. I take to compelled these actions. Guadalupe Maravilla,
, 2016–17. 82,661 words from from words , 2016–17. 82,661 by Gurbetelli Ersöz in mirror image, in mirror Ersöz Gurbetelli by Gurbet’s Diary (27.07.1995–08.10.1997) Diary Gurbet’s
, then COVID happened. then COVID , Resistance Stories of
Banu Cennetoğlu, Banu Cennetoğlu, the Mountains into Heart My I Engraved Diary. Gurbet’s painted iron two on limestone slabs displayed lithographic and 145 press-ready 107 days, 14, Gennadius Library, documenta view, Installation the artist and RODEO. Courtesy shelves. 2017. Athens, I was initially interested in exploring the idea that the idea in exploring interested was initially I focus to I started As resistance. is an act of migration acts that considered an exhibition that felt this, I on more notions could expand themselves in and of resistance of It can be loud can be physical. Resistance resistance. of and quiet. face but it can also be subversive your and in to bring about change. has power resistance way, Either these ideas to expand impulse the Situated in St. Louis, The Black and relevant. seemed urgent an exhibition into this city. in took shape here movement Matter Lives The most difficult part of the closure is that it is indefinite. that it is indefinite. is the closure of The most difficult part of Many to reopen. will be able we when no idea have We few But in a weeks. few within a can reopen we us believe effects, virus, its deadly the about more know we weeks contagious it is. highly and how I redirect my attention to addressing the quick and to addressing attention my I redirect The the public. to the museum of immediate closure the public, but for first has implications, sudden closure those and on display, are works whose the artists for also museums, and public and from works their who loaned collections. private The pandemic hits and everything halts. The pandemic hits and everything is meant to be ambitious. It takes up takes It to be ambitious. is meant Resistance Stories of the exhibition, solo artist a Unlike galleries. our all of and artists out to be sketched have ideas and concepts for tangible them to make the ideas to help build selected I exhibition, thematic such a large visitors. In curating the art of works ideas and large few with a to start try often this to do begun those. I had just then build around and for CAM Chief Curator Wassan Al-Khudhairi was moving toward the completion of her planning for for planning her of the completion toward moving was Al-Khudhairi Wassan Curator Chief CAM happened. pandemic Then a 2020. to open September , scheduled Resistance of Stories A Shift in the Narrative the in Shift A
24 Year Ahead
27 YearMesh Ahead 2019–20
Sep 3–Feb 20 3–Feb Sep Fall/Winter 2021–22 Fall/Winter , 2019. Clay, glaze, 6 1/4 x 6 1/4 x 6 1/4 inches. Courtesy the 6 1/4 x 6 1/4 x 6 1/4 inches. Courtesy glaze, Arms, 2019. Clay, Crossed Butterly, Kathy Wiener. Alan Photo: York. James Cohan, New artist and
Kathy Butterly Kathy who happens painter as a describes herself Butterly Kathy small- The artist spends months creating in clay. work to individual like her for which evolve scale sculptures, forms, fleshy colors and vibrant Alluring in personalities. relationships, on reflections from stem ceramics Butterly’s personal and and catastrophes—both motherhood, the ceramic firing process, painstaking is a global. Hers the manipulated upon times, building layers thirty to up of fine details paints and carves casts. She meticulously Each piece contains viscous clay. the upon chains or nets suggesting skin, moss, textures, of range surprising a materials. organic other of variety and a work. Butterly’s of “micro-retrospective” a offers CAM the pint glass, starting point: as a serves form single A to 2018. 1993 from forms,” the artist calls “cup what or to an witness are viewers the same cast, from Derived works. the individual to manipulations of astounding range series new a of the premiere features also The exhibition sees scale. Butterly much larger at a created works—all of the to and refers abstract, increasingly series as this new “brain or “headscapes,” the mind,” of as “journeys works our and concerns of the anxieties with imbued planets,” and injustice, global pandemic, racial crises: a current collapse. environmental , 2019. Clay, glaze, 6 1/4 x 9 1/2 x 10 inches. Courtesy the artist and James Cohan, New York. York. James Cohan, New the artist and 9 1/2 x 10 inches. Courtesy 6 1/4 x glaze, Bloom, 2019. Clay, Super Butterly, Kathy Wiener. Alan Photo:
, 2019. Oil and acrylic on canvas, 68 x 60 inches. Courtesy the artist and Rachel Uffner Gallery. Uffner Rachel and artist the Courtesy inches. 60 x 68 canvas, on acrylic and Oil 2019. , Face Pretty Another Just Hughes, Shara , 2016. Oil, spray paint, and enamel on canvas, 68 x 60 inches. paint, and enamel on canvas, Hughes, Cascade, 2016. Oil, spray Shara Gallery. Uffner the artist and Rachel Courtesy
that landscapes vibrant for is known Hughes Shara a she presents CAM At styles. of myriad a combine her conveying paintings, dreamscape of selection within spaces of the depiction to approaches intuitive as process her She describes landscapes.” “invented an idiosyncratic From fixing it.” then and mess “making a prairies, “placeless” creates pictorial logic, she and caves, formations, rock woodlands, seascapes, her Yet Fauvism. 19th-century of reminiscent valleys to 20th- akin the landscape, but more subject is not mark-making of the drama which in abstraction, century balanced paintings are Her and mind. the eye compels beauty/ and merge: compete that both dichotomies by hope/fear. escapism/engagement, ugliness, push/pull, trees, celestial bodies, bulbous can identify viewers Still, sensual both are flowers Her lakes. starlit skies, and placid psychological a paintings contain Her and aggressive. memories and her from that derives complexity Hughes narrative. of devoid but are observations, chaotic— that is elegantly world a to life brings the organic, of harmony vibrant with a infused the surreal. and the objective, Shara Hughes Shara
26 YearMesh Ahead 2019–20 29 Mesh 2019–20 Year in Review in Year installation view, Contemporary Art Museum St. Louis, September 6–December 29, 2019. Photo: Dusty Kessler. Dusty 29, 2019. Photo: 6–December September Art Museum St. Louis, Contemporary view, States, installation Stephanie Syjuco: Rogue
28 Mesh 2019–20 31 Year in Review , Artsy installation view, Contemporary Art Museum St. Louis, Art Museum St. Louis, Contemporary view, installation Bird, Thirsty The Zurkow: Marina Kessler. Dusty 23, 2020. Photo: 17–August January Bird Thirsty The Zurkow: Marina amounts of water to drill in a region where water is scarce, is scarce, water where region to drill in a water amounts of contaminated of threat is an ever-present there and drinking water from drilling. We participate in a dangerous dangerous participate in a We drilling. from water drinking fuels— with petroleum—fossil consumption, of cycle of oil and water resources: the oil industry uses vast vast uses the oil industry resources: water oil and of outlasting us all. Zurkow visualizes our reliance on the interdependence the interdependence on reliance our visualizes Zurkow installation view, Contemporary Art Museum St. Louis, January 17–August 23, 2020. Photo: Dusty Kessler. Dusty 23, 2020. Photo: 17–August January Art Museum St. Louis, Contemporary view, installation Artur: Dusha, Johnson Liz installation view, Contemporary Art Museum St. Louis, January January Art Museum St. Louis, Contemporary view, installation SHELTER, Fordjour: Derek Kessler. Dusty 23, 2020. Photo: 17–August , January 2020 January , Post-Dispatch St. Louis resident.” SHELTER Fordjour: Derek Liz Johnson Artur: Dusha Artur: Johnson Liz world… sometimes left by a previous, imperialistic previous, a by left sometimes world… Fordjour poses his artworks as opportunities for pause, for as opportunities poses his artworks Fordjour the uncertainty contemplation of for and from, relief for , Hyperallergic walls.” these makeshift that lies beyond sourced near St. Louis, can also be found around the around found can also be St. Louis, near sourced February 2020 February add a tactile quality to the images. For the St. Louis show, she made a fabric book that visitors can look through.” through.” visitors can look that fabric book a she made show, the St. Louis the images. For to tactile quality add a She creates video and sound installations, and experiments with materials by printing on leather, newspaper, or linen to linen or newspaper, printing on leather, with materials by video and sound installations, and experiments She creates April 2020 , rusty corrugated steel , rusty SHELTER for “The common material refuge, temporary this situating his paintings in “By , March 2020 Huck, March pretence.” without label or what it is, is photograph Artur Johnson “A archive. with her can engage viewers and how will be shown, work which her in ways the considers carefully Artur “Johnson white supremacy, an ‘invisible’ force that erases or or that erases force an ‘invisible’ white supremacy, , Magazine St. Louis the demonization.” the politicization, and the chroma-key green function as metaphors for for function as metaphors green the chroma-key and citizenship and immigration—the competing narratives, narratives, competing and immigration—the citizenship States Stephanie Syjuco: Rogue September 2019 September overwhelms aspects of culture by superimposition.” superimposition.” by culture aspects of overwhelms installation view, Contemporary Art Museum St. Louis, Art Museum St. Louis, Contemporary view, States, installation Stephanie Syjuco: Rogue Kessler. Dusty 29, 2019. Photo: 6–December September Following a popular fall season, spring season, fall popular a Following mid-March from closed were exhibitions the spring with reopened CAM to mid-July. more giving audiences intact, exhibitions in person. works the to see opportunities , November 2019 , November Artforum with heightened soundtrack, emphasizing the sensual emphasizing with heightened soundtrack, toward paper money, evident in the slow handling of cash handling of the slow in evident money, paper toward , de Andrade suggests a fetishistic impulse fetishistic a suggests Andrade , de In Voyeristico quality of touch. of quality installation view, Contemporary Art Museum St. Louis, Art Museum St. Louis, Contemporary view, installation Voyeristico, Andrade: de Jonathas Kessler. Dusty 29, 2019. Photo: 6–December September Voyeristico Andrade: de Jonathas “Stephanie Syjuco addresses the complexities surrounding surrounding complexities the “Stephanie Syjuco addresses “In Syjuco’s work, both the Photoshop transparency layer layer transparency the Photoshop both work, “In Syjuco’s
national identities.” St. Louis Public Radio, Public Radio, St. Louis national identities.” Bethany Collins: Chorus Bethany September 2019 September explore American history and the nuance of racial and racial the nuance of and American history explore installation view, Contemporary Art Museum St. Louis, September September Art Museum St. Louis, Contemporary view, Collins: Chorus, installation Bethany Kessler. Dusty 29, 2019. Photo: 6–December rigorous in addressing contemporary issues, and contemporary in addressing rigorous Best Museum 2019 to promote local artists, and St. Louis has a contemporary contemporary has a artists, and St. Louis local to promote shows and artists, which keeps CAM in the national in CAM which keeps and artists, shows arts institution that looks more like the actual city.” the actual city.” like more that looks arts institution dialogue. Meanwhile, the Great Rivers Biennial continues Rivers Great the dialogue. Meanwhile, St. Louis—and the world—has taken notice. Various Various notice. taken world—has the St. Louis—and ) have covered these covered , Vice) have , Artsy Yorker (The New outlets , October 2019 Times, October Riverfront uses language as a prism to to prism Chorus uses language as a Collins’s “Bethany
Highlights Exhibition “The artists are more diverse, the work shown is more is more shown work the diverse, more “The artists are
30 Year in Review 3333 YearMesh in 2019–20 Review
Margaret Keller: Botanica absentia Botanica Keller: Margaret Studies participants selected Margaret Museum Teen artist twenty-two from absentia Botanica Keller: installation, in part, because Keller’s choosing proposals, the Earth fate of the for serious concerns the students' of fictive a created climate change. Keller of wake the in the trees, to lost dedicated memorial and archive at are we that belief her out of installation emerging global calamity. tipping point of the ArtReach: Vashon High School Vashon ArtReach: year third into its entered partnership Vashon-CAM The the during at CAM view on work the with art-making, of the guided Prada Otero Luisa Painter spring and summer. all over cultures from masks of survey a through classes own. their to construct the students and invited world the to classes introduced Neff artist Esther Interdisciplinary stitching, quilting, of knowledge her shared Neff art. fiber in individually which resulted and embroidery, quilt. community baseball caps and a monogrammed installation view, Contemporary Art Museum St. Louis, Art Museum St. Louis, Contemporary view, installation absentia, Botanica Keller: Margaret Kessler. Dusty 29, 2019. Photo: 6–December September
August 23, 2020. Photo: Dusty Kessler. Dusty Photo: 2020. 23, August
installation view, Contemporary Art Museum St. Louis, January 17– January Louis, St. Museum Art Contemporary view, installation , School High Vashon ArtReach: Education Galleries
, an ambitious , an ambitious SHELTER his installation exhibition included first art museum Fordjour’s Derek months worked technicians builders and team of Fordjour’s and CAM. artist both for undertaking corrugated the construction of that included logistics out work to the installation date ahead of CAM, At storm. a the sounds of and wheel, carnival mysterious a of turning the walls, metal The floor. 22,000 pound the installation’s as to serve considered were dirt of multiple samples for concerns of awakening the the senses, and all for phenomenal art experience a was result materials found of resurrection profound Fordjour’s and people in migration. the underprivileged society. of the scraps off who live those genius of the to tribute high art and a as both delivered
, installation view, Contemporary Art Museum St. Louis, January 17–August 23, 2020. Photo: Dusty Kessler. Dusty 23, 2020. Photo: 17–August January Art Museum St. Louis, Contemporary view, , installation SHELTER Fordjour: Derek Making SHELTER Making
32 YearMesh in 2019–20 Review 35 Program Highlights Stroller Tours / Morning Play Dates Play / Morning Tours Stroller the tours and art activities joined kid-friendly Families being with one Saturday each month, of second Saturday Weekend! Halloween because of extra-special Gitchoff. Jon Photo: DJs-In-Residence audiences entertained CAM Conaway) (Syrhea So Pro Syna fall the loops in and electronic instrumentals with live beats in spun afro-progessive James Biko season, and the spring. Harold. Virginia Photo: Drawing from Observation from Drawing States, Stephanie Syjuco: Rogue of tour a Following in a Garza José artists joined Museum Educator everyday the subject matter. art as with Syjuco’s workshop drawing Staff. CAM Photo: Artist Talks Artist and Artur, Johnson Collins, Liz Bethany Stephanie Syjuco, work their thoughts about their all shared Fordjour Derek This speaks audiences. standing-room-only with nearly to exhibitions their of the heightened relevance to communities. diverse Chris Bauer. Photo: Feast Your Eyes Your Feast Filipino traditional a kamayan, prepared Jane Sacro Vicia’s by inspired dining experience communal a for feast, exhibition. Stephanie Syjuco’s Staff. CAM Photo: RE: Soul the to CAM due canceled at first programs the One of live of virtual evening as a returned RE: Soul coronavirus, DJ AKA Day Tyrone and James Biko with DJ performance, through soul music of the history tracing Reminise Artur’s Johnson to Liz spinning and sampling, relating “soul.” for word the Russian title is the Dusha; exhibition, Staff. CAM Photo: Photo: Chris Bauer. Photo: Reniel del Rosario Reniel States, artist with Stephanie Syjuco: Rogue coincide To shop. in CAM’s sold handmade souvenirs del Rosario Reniel and culture regarding concerns artists' both Reflecting Wei Ai Bootleg ceramic offered del Rosario consumption, , and (Ramen) Meal and The Ideal Seeds) (Sunflower Wei art and of consumerist notions lampoon of items as a other national identity. Photo: Orlando Thompson. Orlando Photo: RE: Living History the Person Sitting flag installation, To Stephanie Syjuco’s red stripes with black and flag American in Darkness—an an by inspired stars—was for and skull and crossbones in Twain, Mark own Missouri’s by impassioned essay turn the the Philippines at of invasion the U.S. to response from traveled Garey Richard Actor the 20th century. of truth speaking Clemens, “Sam” to portray Hannibal against imperialism, past and present.
Whether the museum was open or closed to closed open or was the museum Whether for ways innovative found the public, CAM exhibitions with our to connect audiences year. the throughout Photo: Wil Driscoll. Photo: First Fridays with First interactive became more event The monthly blind through another one to know getting revelers Friday about hand- two thing or learning a drawing, contour little gin Janie Stamm, and a with local artist sewing artful activities. tasting, among other
Highlights Program
34 Program Highlights 37 Create Gala $500–$999 Grants Arch Eric Barr Jolly William and Beasley-Jolly Tania Hendrix Daron Philip Slein Gallery Putzel and Paul Judy Thomas Edwin and Sissy to $499 Up Arjun Bhat Chrissi Cowhey Holt Christopher Kirkland and David Stefanie Byerley Chloé Risto and Kevin and Michael Ramey Ross Lauren and Ian Schraier Megan Slavin Raymond Luckes and David Karl Stroud Ridgely Tom Thompson and Jennifer Walsh Mary Monteith Jerry and Watkin Mel Werremeyer and Susan Rob Zavaglia and Gregory Cayce Cambridge $2,500-$4,999 Hartz Jeff and Hoffmann Terry Williams and Eric S. Lee Hedwig Arnold Fox John and Ann R. Ruwitch Sprong Kathleen and Douglas Trapp Greg and Pam and Paul Cambridge Trudell Amanda University Webster $1,000-$2,499 Berges James and Cathy Alan Schwartz Judith Child and and Charles Cook Barbara Durb and Ellen Curlee Davis Adrienne Glore Gregory H. Grizzell John Grossman Jen Cap and Hare and Rod Maureen Herman Joe Cheri Hoffman L. Holzer Jessica Krosch and Gary Patty Langsdorf and Kenneth Phyllis Levy W. Judy Lococo Robert Winzerling Jeff and McKinley Meridith Gaunce Jordan and Melandri Lisa L. Montupet Jean-Paul Isabelle and Moore David Jacob Reby and Leslie Goldman and Roger Stephanie Riven Foundation Public Library St. Louis Design & School of Sam Fox Arts Visual Shatz and Gerald Crista and Michael Staenberg Carol Donald M. Suggs Werner K. Christine and Bradford Wolff and Gary Sherry Create Gala Create Donors $25,000+ Foundation Family Ferring $10,000–$24,999 Centene Charitable Foundation and Erik Karanik M. Cossé Alexis Jones Edward Kranzberg and Kenneth Nancy and Michael Fidler Pennington Penny A. Sinquefield and Rex Jeanne Soper and Rob Amy $5,000–$9,999 Projects Barrera Barrett Management Asset Buckingham Associates Mason + David JiaMin and Michael Dierberg First Bank Alison Sieloff and Sam Foxman Goldstein Marc and Libby HOK Jamieson Design Rice Lewis + Sue McCollum Brands Major H. and Mitchell Markow Joan PNC Pulitzer Rauh Emily Srenco Andy Ann and Mary and Kate Stephens Howard Stifel Fund The Strive and Dick Miles Whitaker Pat Yoon Jackie CAM'S 2020 Gala Gala CAM'SCAM'S 2020 2020 But here’s what the Create guests did. They threw in their support for the museum anyway. the museum anyway. for support their in threw They guests did. the Create what But here’s all. to be golden after turned out The Gala The biannual CAM Gala is also a fundraiser. So not only was the cancellation of the party a huge a the party the cancellation of was only So not fundraiser. is also a Gala The biannual CAM and education programs. the museum and its exhibition for disappointment, it spelled disaster revenue. its annual operating of percent fifteen nearly galas raise CAM’s In a year of postponements and cancellations, one of the most heart-wrenching was that of Create, that of was most heart-wrenching the postponements and cancellations, one of of year In a to honor slated was year the of the party The CAMpaign, Create: of The namesake 2020 Gala. CAM’s the for whose support and love co-chairs, and the outstanding CAMpaign Ferring, John Alison and exuberant of worthy them all-too Louis institutions make significant St. of number museum and any local luminariesfeaturing numerous film had been commissioned and completed A appreciation. Kirkland David DJ beats by cocktails, artful dancing, and inspired Inventive praises. their singing and be play to ready getting were Guests Seasons. the Four night at creative a for planned were to was The night exhibitions. past CAM from famous artists emulating and don couture playful be golden. Gala Chairs BarrettSusan & McDonald Margaret HONORING Ferring Alison & John
36 Create Gala 39 YearMesh in 2019–20 Review 18 earnings 15 Investment Investment Fundraising 33 Individual contributions 8 14 Administration Earned % % income 13 77 Grants & Grants Public 11 funding Exhibitions sponsorships & programs 11 Fundraising Fundraising events (net) events , installation view, Contemporary Art Museum St. Louis, Art Museum St. Louis, Contemporary view, States, installation Stephanie Syjuco: Rogue Kessler. Dusty 29, 2019. Photo: 6–December September Where Funding Goes Funding Where Where Funding Funding Where From Comes
$715,882 $715,882 $282,285 $110,952 $381,298 $232,715 $232,715 $305,991 $2,169,641 $19,552,762 $19,582,361 Total operating revenue revenue operating Total $2,173,124 Operating Operating Revenue contributions Individual Expenses Operating Exhibitions & programs Administration Fundraising $1,677,391 Grants & sponsorships & Grants funding Public (net) events Fundraising Earned income earnings Investment $243,541 $392,710 Total expenses expenses Total End of year year End of Beginning of year year Beginning of Net Assets Net 59 programs for Artists hired 3,414 served Youth 13 Exhibitions 108 Tours 109 free) (89% Programs
Off-site engagement Off-site 2,137 Virtual audience 208,160 Museum attendance 15, 2020 1, 2019–March July 26,620 June 30, 2020 the public beginning to closed was CAM to COVID-19. 15, 2020 due March Fiscal year July 1, 2019– July year Fiscal Museum St. Louis Contemporary Art Contemporary
Report Annual
38 MeshYear in 2019–20 Review 41 Year in Review Photo: Jon Gitchoff. Jon Photo: James A. McDonald James Daneshyar Yusuf and Melloy Bridget Miles Joe and Carolyn Miller Jonathan and Cathy Moog Molly Oster Ashley R. Patel Krishna Pelletier Lauren Pettus and Robert Sharon Fisher and Fred Prebor Jennie and Eric Brown Ravin Amy Duane Reed and Susanne S. Renner Ricklefs Robert Valli Steve and Rudy-Valli Valerie Sandweiss and Barry Dana Stephanie and Michael Sinacore Kate Smiley Erin Smith Cheney and Lydia James Sokol Luckes and David Karl Stroud Terry Jean James and Tsimerman Edward VanDam Ian Walsh Mary Barnes and Harper Weiss Roseann Werremeyer and Susan Rob Thomas Lang Wilmes and Jo Mary Wyckoff Elizabeth John and Constance McPheeters Constance and John Mead Katherine Council Humanities Missouri Mitchell Jane and Stephen Mark Niesman Gallery Philip Slein Poger Sanford Byerley and Kevin Chloé Risto Slen Ben and Robyn Anderson and Scott Weinberg Robin Winter Kathie and Richard Zavaglia Gregory and Cayce Zink Essica Photo: Chris Bauer. Photo: Contributor ($250-$499) Contributor Adorjan and Dianna Joseph J. Jagels and Ronald Tim Bahr Bailey Bradley Shannon and Dr. Naomi Beckwith Bernard Marie-Hélène Arjun Bhat McArthur John Kathleen Bibbins and C. Lander Robert and Jane Birdsall-Lander Bunse Aaron Nashad Carrington and E'lisa and Bart Baumstark Devereaux Meghan Moss-Carrington Dobmeyer Susan and David Douthit-Boyd Antonio and Kirven Drier Julie and David Fike David A. Fischhoff Kathleen and David True William R. H. Flick and Louise Fox and Gary Christy Fuerst Peter Gamble Jeffrey and Kayla Garland Alyson and Gregg and Catherine Gidlow Jerome Goldstein Jan and Rand Wasserman M. and Gary Greenbaum Sheila Gross Michael and Paula Karin Hagaman Saipe Josh and Julie Hess Hood Tyeler Horowitz Margie Jaegers J. Deborah Jarrett Jeff Johnson Schroth Bettie Joyce Claudia Kirkland and David Stefanie Susan E. Bower and Stephen Leet Marusic and Maminta Gina Dr. Martin Nancy Jr. J. Marusic Branko Leavitt Meridith McKinley and Jeff Winzerling Jeff and McKinley Meridith Merlin and Melissa Robert Montupet L. Jean-Paul and Isabelle Moore David Gallery PATRON Peck and Kevin Kelly Putzel and Paul Judy Goldman Roger and Riven Stephanie Arts Visual and Design of School Sam Fox Shatz and Gerald Crista William Shearburn Julie and Alvin Siteman and Ruth Foundation Public Library St. Louis Public Radio St. Louis Strauss Mary Gallery Team Education Youth M.D. Weiss D. Terry Thomas and Edwin Sissy Fund Endowment Thornhill Alexandra Trulaske H. Sarah Wolff Todd Kim and Root Jonathan Zimmerman and Deborah Anonymous Chris Bauer. Collins. Photo: Bethany ($500-$999) Sustainer Ackerman and Sandra Ronald Grants Arch Arsenault Jim and Shelby and Milton Hieken Barenholtz Barbara C. Barksdale Clarence Eric Barr Jolly William and Beasley-Jolly Tania Judith Bender Cece Blase Millner Andrew and Brod-Millner Jessica Curry John Jr. Quintus L. Drennan and Colin Gibbs Sarah Alper and Michael Goldenberg Helyn B. Goodman Barbara Hendrix Daron Holt Christopher Jackson Jason Johnson Ronald III Johnson James Suzanne and Khan Zarak Susan Knowles and Robert Kuhlmann-Leavitt Deanna Langsam Hannah and Lawrence and Charles Lowenhaupt Rosalyn Maloney V. James and Gay Jacobs Marylen Mann and Franklin Photo: Chris Bauer. Photo: Patron ($1,000-$2,499) Patron Novik and Steve Barancik Cathy James Berges Botterman Mark and Ramsey Charak David Alan Schwartz Judith Child and and Brian Clinton Megan and Charles Cook Barbara Durb and Ellen Curlee Desloge Tim and Maria Document Gallery Durrill Jennifer Cole and H. Frank Roxanne Friedman Lois Gervais Barbara Brase John Giganti and Edward Glore Gregory J. Good Terrance Goodson Joan Grossman Jennifer and David L. Holzer Jessica Joerling Jill Obata Judge and Gyo Mary Levy and Mont Karen Justin Scarbrough and Lukeman Greg Benefactor Circle ($2,500-$4,999) Circle Benefactor Ammerman Seth Chrissy and Broughton Lee Davis Adrienne Taylor-Broughton EXPO Chicago Forrester Margretta Gray and Paul Dedrea H. Grizzell John Company Bottling Coca-Cola Heartland Hartz Jeff and Hoffmann Terry Lococo Robert Gaunce Jordan and Melandri Lisa Sprong Kathleen and Douglas Donald M. Suggs Trapp and Greg Pam Wolff and Gary Sherry Charitable Foundation John and Yvette Dubinsky Yvette and John Jones Edward Greenberg Ronald Jan and Lipton Ann and Randy Markow H. and Mitchell Joan Nion McEvoy agency state Arts Council, a Missouri Charitable Fund K. Probstein Norman and Michael Fidler Pennington Penny Soper and Rob Amy St. Louis of Foundation Trio Cambridge and Paul Trudell Amanda Advisors Fargo Wells Cambridge and Dick Miles Whitaker Pat Yoon Jackie Anonymous Photo: Michael Thomas. Michael Photo: Collector Circle ($5,000-$9,999) Circle Collector Projects Barrera Barrett Dieng and Modou Dorte Bjerregaard Management Asset Buckingham Associates Mason + David Foundation Evera Van and Caroline DeWitt JiaMin and Michael Dierberg Foundation Tremaine Hall Emily First Bank Sieloff Alison and Sam Foxman Goldstein and Marc Libby Hare and Rod Maureen Herman Joe Cheri Hoffman HOK Foundation Word Incarnate Jamieson Design Krosch and Gary Patty Langsdorf and Kenneth Phyllis Williams and Eric S. Lee Hedwig Levy W. Judy Rice Lewis Maritz Jordan A. and Ettie Jordan Ranken Mary McDonald Margaret Landsbaum and Leonard Moog Donna and Ian MacEachern Quilter Daniela Jacob Reby and Leslie Inc. Foundation, Lehman Robert Julian Schuster and Sanya and Kate Stephens Howard Stifel Warne Kate University Webster Werner K. Christine and Bradford Anonymous
CAM ArtBus. Photo: Rebecca Clark. Rebecca ArtBus. Photo: CAM Arts and Education Council Arts and Education Fund Bayer Centene Charitable Foundation Foundation Taylor Crawford Curator Circle ($10,000-$24,999) Circle Curator The Bellwether Foundation The Bellwether M. Cossé and Erik Karanik Alexis Trust Charitable Brown Dana Emerson Services Museum and Library Institute of Kranzberg and Kenneth Nancy Susan McCollum Arts the for National Endowment PNC Arnold Fox John and Ann R. Ruwitch Srenco Andy Ann and Mary and Michael Staenberg Carol Fund The Strive Director Circle ($25,000-$49,999) Circle Director The Andy Warhol Foundation for for Foundation Warhol Andy The Poehler and Chris Susan Barrett Arts Visual the Foundation Family Ferring Foundation Gateway Pulitzer Rauh Emily Arts Commission Regional A. Sinquefield and Rex Jeanne Foundation Whitaker Anonymous Chairman Circle ($50,000+) Chairman Circle CAM is grateful for the many donors the many for grateful is CAM year. this support who provided
June 30, 2020 June 30, July 1, 2019– July
Giving Annual
40 Year in Review Susan McCollum Marc and Katherine Lazar Lauren Kellett Julie Hess Nancy Reynolds and Dwyer Brown Marylen Mann and Franklin Jacobs CAM Audience Visitor Services Interns Christopher Holt CAMpaign Mary Ann and Andy Srenco Margaret McDonald Development Associates Tyeler Hood Lisa Melandri and Jordan Gaunce Manager Alli Beard Jeff Jarrett Julian and Sanya Schuster People Rachel Kirchoff Nick Bates Jill Joerling Dr. Donald M. Suggs Maria Briceño Assistant to the Gian Garma Ronald Johnson Donors $75,000 Pam and Greg Trapp Mikeala Gatewood John and Sally Van Doren Staff Director Sheldon Gooch Angela Herrmann Zarak Khan Robert and Jane Clark Unitey Kull Angela Herrmann Scott Hornkohl Katherine Mead We are grateful to our generous Lisa Melandri Director of Courtney Paolicchi Isabelle Jefferies Bridget Melloy Create: The CAMpaign donors for Executive Director External Affairs Emma Verrill Christina Lee Molly Moog $2,500–$4,999 helping to make CAM as great as our Wassan Al-Khudhairi CJ Mitchell Carley Walton Alice Nguyen Ashley Oster $50,000 ambitions, enabling us to be a more Chief Curator Community Access Ellen O’Shea Krishna Patel Bunny and Charles Burson Michael Albrecht Coordinator Olivia Quinton Kate Smiley responsive institution to the needs of Alexis M. Cossé and Erik Karanik Judy Child and Alan Schwartz St. Louis and a global community. Director of Finance Jen Nugent Franchesca Rousseas Erin Smith Jan and Ronald Greenberg Kate Warne Installation Crew Joan H. and Mitchell Markow and Administration Registrar Delyn Stephenson Ian VanDam David Obedin and Clare Davis Michelle Dezember Lauren Pelletier Michael Watkins Essica Zink Adam Andrews 42 Amy and Rob Soper Director of Learning Institutional Giving 43 Mollie Brennan Howard and Kate Stephens $1,000–$2,499 and Engagement Manager CAMpaign Donors Vaughn Davis Jr. CAM People | Advertising Gary and Sherry Wolff Maureen Flaherty Valerie Rudy-Valli Anonymous Michael and Barbara Albrecht Ryan Doyle Individual Giving Director of Junior Board Wassan Al-Khudhairi and Orlando Associate Development Joshua Gann Thompson Kevin Harris José Garza Miriam Ruiz Eric Barr Shannon and Dr. Bradley Bailey Amelia Jones Museum Educator School and Arjun Bhat $25,000 Cece Blase Marianne Laury Ann Murphy Burroughs Laura Heying Community Aaron Bunse Chris Lucas James V. Jamieson III Sarah and Colin Gibbs Visitor Services and Programs Manager Kevin Byerley Ryan McCartney Isabelle and Jean-Paul L. Montupet Rod and Maureen Hare Events Manager Megan Schraier Chela Colvin Courtney Paolicchi Liz Johnson Artur with New Art in the Neighborhood Jacob and Leslie Reby Phyllis and Kenneth Langsdorf Caleb Hauck Development John Curry students. Photo: Theo Welling. Julie and William Shearburn Hedwig Lee and Eric Williams Amelia Tufts Facilities Manager Operations Manager Kayla Gamble Amanda Trudell Cambridge and Paul Katherine Mead Jamie Wiechens . Misa Jeffereis Eddie Silva Colin Gibbs Cambridge Valerie Rudy-Valli and Steve Valli Assistant Curator Communications Libby Goldstein Pat Whitaker and Dick Miles Robin Weinberg and Scott Anderson $5,000,000 Specialist Daron Hendrix
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Hazel and Arnold Donald Shelby and Jim Arsenault $1,000,000 Jeff Fort Eric Barr Judy and Jerry Levy Melissa Bauer Centene Charitable Foundation and Neidorff Neva and Marvin Moskowitz Arjun Bhat Challenge Pershing Charitable Trust Julie Bugala and Brian Cattaneo Ferring Family Foundation Anabeth and John Weil Aaron Bunse Carmen Crosby John Curry Alex Elmestad and Lauren Terbrock- $500,000 $15,000 Elmestad Maureen Flaherty Rediscover Crawford Taylor Foundation Susan Barrett and Chris Poehler Kayla and Jeffrey Gamble Dorte Bjerregaard José Garza Norman K. Probstein Charitable Foundation Ann Haubrich Daron Hendrix St. Louis’ cultural center $200,000 Julie Hess and Joshua Saipe Christopher Holt There are multiple ways to reengage with Nancy and Kenneth Kranzberg $10,000 Tyeler Hood Ann R. Ruwitch and John Fox Arnold Misa Jeffereis your favorite Grand Center organizations. Carol and Michael Staenberg Bettina and Donald Bryant Jr. Jill Joerling Visit grandcenter.org to learn more. Patty and Gary Krosch Lauren Kellett Karen and Mont Levy Zarak Khan Betsy Wright Millard Unitey Kull $125,000 Jackie Yoon Bridget Melloy and Yusuf Daneshyar Molly Moog Donna Moog and Leonard Landsbaum Chloé Risto and Kevin Byerley Miriam Ruiz $5,000–$9,999 Megan and Ian Schraier Ben and Robyn Slen $100,000 Clarence C. Barksdale Erin Smith Charles and Barbara Cook Mel Watkin and Jerry Monteith Berges Family Foundation Terrance J. Good Essica M. Zink JiaMin and Michael Dierberg Joan Goodson Anonymous Edward Jones Terry Hoffmann and Jeff Hartz 45 Advertising Centro Modern Furnishings 4727 McPherson Avenue St. Louis, MO 63108 314.454.0111 centro-inc.com Authorized Herman Miller Retailer Molded Shell Chairs ®
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view, Contemporary Art Museum St. Louis, September 11, 2020–February 21, 2021. Photo: Dusty Kessler. Dusty Photo: 2021. 21, 2020–February 11, September Louis, St. Museum Art Contemporary view,
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