Artillery 8 Ali Harrington Aiding and Abetting Student Artists MATTHEW BUCKINGHAM at the ST

BRANCUSI and SERRA A Very Serious Crowd 4 Nora Korsts Salzman BACK to the FUTURE? A Critical Look at the Blurred Line Between Education and Regurgitation 6 Anna Elise Johnson DIFFERENT STROKES Brett Cook-Dizney and Angelina Gualdoni are Different Folks ARTillery 8 Ali Harrington Aiding and Abetting Student Artists MATTHEW BUCKINGHAM at the ST. LOUIS ART MUSEUM SLAM’s Currents 94 Exhibit Intriguingly Sits On the Fence ARTillery is a student run, written, and read art magazine. Our pub- 12 Juan Tejedor lication is independent and self-funded, with the aim of promoting dialogue about art and our role as student artists. We will initiate dis- PAINTINGS at the CONTEMPORARY ART MUSEUM in ST. LOUIS course through artist interviews, show reviews, and artwork, while pro- 13 Three Painters, a Lot of Style, and Differing Degrees of Substance at CAMSTL viding services such as how-to articles, a calendar of cultural events in Juan Tejedor St. Louis, and the promotion of student art shows. We encourage our UNTITLED INSTALLATION readers to question purported truths about art and take an active role Anna Minx Plays With Paint, Beautifully in deciding what our art is and should be. 16 Christina Cosio SCULPTURE SHOW RE-REVIEW A Disgruntled Reader Takes Another Look Anna Elise Johnson - editor 17 Anonymous Kristyna Comer - associate editor Christina Cosio - copy editor RELOAD: FIRING BACK AT ARTILLERY Ali Harrington - feature writer 18 Our Readers Retort With Dissapointingly Friendly Fire Sarah Houle - feature writer Steve Kuppinger - advertising director DEAD FAT COMMEDIANS Heather McPherson - contributor A Suite of Images By and an Interview With a Local Artist Jonathan Muehlke - contributor 20 Peat Wollager and Eric Portis Eric Portis - design and layout SPEAK FOR YOURSELF: BRYAN KITE Nora Korsts Salzman - feature writer Images and a Statement from a School of Art Student Juan Tejedor - feature writer 22 Bryan Kite WHAT THE HELL HAPPENED TO THE AMERICAN IMAGINATION? Jesus and Mickey are Ruining Everything! 24 Steve Kuppinger THE CALENDAR 26 Dates and Descriptions of Upcoming Shows and Events BRANCUSI and SERRA A VERY SERIOUS CROWD Nora Korsts Salzman on the fence-of-legality loud-whisper beat

During my Official Brancusi/Serra™ Training: “He’s very linear, isn’t he?” •From my superiors: “Oh, what a divine universe, it’s just splendid “I had a docent who thought it was just ok to “But there is never symmetry.” “You have to stand real close to this piece. It is the … When I go home I am completely redoing my touch it. She said to a vision-impaired person, •A blond, past her prime, poofing out her lips says: most valuable one in the building.” garden. It’s just divine … You have the best job in ‘just touch it.’” “God, these angles, they are so different.” •I am asked: the world. Thank you, thank you.” *scoffs and hack-throated disapproval ripple •You never know who you are talking to. A couple whispers “What’s down that corridor? This is a strange •Summing up my experience a man asks: through the crowd of docents* about Rothko and Serra in an empty gallery. I interject: space. It welcomes you in, but then there’s nothing “Are you the guard? How long are your shifts? You •When asked if Serra would like the exhibit: “It’s the process that makes it a drawing. I know there.” must get bored. It must be fun if you’re into people “The work does not belong to him anymore. It because I’m an artist.” •A young man and an old man refer to the museum guide: watching. I like looking at different people.” belongs to the space. He does not curate the “Well, I’m a curator.” “It’s rubber.” exhibit, you see. It’s like children, you have to *mega diss* “Is it? Phooey.” Eavesdropped Lightning Round: let them go … they are not his children now.” •Another duo considers the aesthetics: •Indignant, an older man says: “Gaylord, look at that view!” •A docent admits a treasonous desire: “Don’t they work wonderfully together?” “I, in no way, understand that. It says it is a self- “He was a really sensitive artist.” “This is my life dream to touch a Brancusi!” “Nice combination of textures … portrait. It doesn’t look like a man.” “I wouldn’t want to tangle with that thing!” •Our conditioning continues: material mashing together.” •A voice is heard saying: “Someone could write an article on that.” “Photography is a much less troubling media. •Two older gentlemen generalize: “Oil stick on linen? So what? Couldn’t you do that “You have to stand exactly here and a sort of vibra- It is very difficult to put words to Brancusi’s “Our daily life is no longer related to material at home if you had a big enough piece?” tion happens.” work. If you speak about artwork, even your …” •A man says to his companion: “Isn’t that $80,000?” text has to be artwork.” “I think people are craving it again.” “I can do that, and I might have if I wasn’t stopped “When you leave this building you know every art “Pragmatism hides an idea … it’s not all banal.” “… A need for fundamental things.” as a child.” work you’ve seen.” “Post-minimalism …” “Our world has gotten chunky, so far •Fear is successfully instilled: “When you have a diagonal, it creates movement.” away from that.” “There’s no line. You can probably look at it.” “Knuckle-scrapping steel is real stuff.” The Visitors Arrive: “Young people, there is so much going on … •The pervasive question is asked again: “This concrete is ten times more expensive per •A man in a mock military outfit, completely in black, it’s hard for them to sort through it … a smor- “Are these real seats or art?” square foot than regular concrete.” except for his silver buzz cut, squats and peers austerely from gasbord.” “I don’t know. Beep, beep, beep!” “Look at the name of that one!” *guffaw* every angle and philosophizes with his companion: “They can’t digest it.” *mimicking the ever-ready alarms that “I just don’t understand that!” “It changes, every millimeter is something new. •Women joking together say: go off at the breeze* “I feel like I’m looking across the deck of a space Dead on, it loses the figure.” “Oh, the artists and their dancers!” •An older lady with a watch around her neck says to her ship.” “When you see it in stone it is a “One of his models got engaged and husband: “It’s like a caricature … a nice one.” completely different object.” he said, ‘One less model I have to “It proves he had a sense of humor. It’s an owl.” “Just what I would have done.” “It was carved in stone first. You couldn’t get worry about.’” •Another sees humor in minimalism: “This is a crazy place.” that by laying a bunch of crap on it.” •An official-looking group of three converses: “You’re standing where the eye would be. It’s very “This isA Serra.” •Also in black, a couple whisper: “I’m lost without labels…” funny.” “Do they say where they are borrowed from?” *blank stares* “I love this thing.” •Debating important topics: “…just teasing!” •A pony-tailed man with his hand over his heart is moved to “Symmetry acts too much like a shrine.” *uncomfortable laughter* near-tears:

4 ARTillery April 2005 5 on to the next; they just vacate the premises. cast aside all the new ideas. Perhaps this is why cleared? Do art schools have a role to play in the BACK to the FUTURE? The style passé is left largely standing. You can still the question of originality rarely surfaces in art construction of a new art to fill the space? I believe see it taught and practiced, and in books and on education today and we are commonly encouraged that today’s student artists are up to the job and Anna Elise Johnson walls. Now, probably more that ever before, artists to imitate, appropriate, and reinterpret art of the that we are capable of an important contribution. are looting these abandoned edifices for guidance, past. The work of the artist Mike Bidlo is a perfect But first we must find and maintain our focus—

rt education in the twenty-first century is When professors offer suggestions to students working forward from them. But is quoting or direction, and meaning. With so many sources to illustration of this. Bidlo re-creates works of dead forward. We must reject the dogma of the past and Amore random, contradictory, unbalanced, on how to solve problems or improve artwork, copying art of the past truly helping students in draw upon—so many role models—it is no won- artists, even replicating entire shows by artists such understand: der that pedagogical advice is often so bewildering- as Picasso and de Kooning. and backwards than ever. Philosophies of art and they sometimes draw upon solutions from their the art world of today or is it just setting them up …beliefs are postulates, choices, or personal its instruction vary wildly between art schools, own studio experience. Much more commonly, to make second rate, ordinary, and unappreciated ly varied and diverse. I have, in a single morning, Does the idea that it has all been done before interpretations susceptible to either adoption or rejection. They are subject to inquiry and departments within schools, and professors within however, instructors rely upon ideas and strategies work? James Elkins, a School of the Art Institute been referred to artists as disparate as Rembrandt, hold up? Is the new, the original, the creative pos- change as warranted. Belief and truth differ, departments. One professor will dictate that art of other artists, both alive and dead, and from the of Chicago professor, in his book Why Art Cannot Matisse, Jenny Saville, and Neolithic man. Perhaps sible in art? Feminist art critic Griselda Pollock says even though school bureaucrats may muddle “is” this or “must be” that (meaning, expression, near and distant past. When students succeed in Be Taught: A Handbook for Art Students writes backwards has become our dominant movement, (Karen Rany, Art in Question), “I think one can go this distinction by presenting belief as truth, es- but this would be a sad reflection on the intelli- back to that concept now, which was, in the past pecially if it reinforces their power” (Cary, 5). technique, whatever), and the next will emphati- communicating these outside influences in techni- that students learn to: gence, ingenuity, and imagination of our time. so romantically overloaded that it sank into mysti- cally decree the opposite. Students, as veterans of cal, thematic, or subject matter references, their I am confident that you and I are capable of …imitate ‘better’ art so that schools at any giv- years of critiques dominated by professors (or by Another part of the problem is the suspicion cal mud. But I would now use the term ‘creativity’ en time are filled with people making art that breaking new ground, of building a new twenty- that “it has all been done before”--that there in with an entirely different set of possibilities. We’ve student apprentices eager to parrot their masters’ Why is the old and is roughly emulating more successful art that first century art. I know that we are capable of is being made elsewhere….[while] Museums nothing really new or original left to do. Some feel cleared some space, reclaimed the productivity of opinions), must develop a healthy distrust of moving forward, but not if we are constantly look- known now seemingly continue to privilege unusual, adventurous, that the avant-garde renegades of twentieth cen- art from connoisseurial mystification” (Raney, 3). dictatorial dogma. It is the responsibility of each preferred in student art strong, challenging work.” (Elkins, 69) ing over our shoulder. Our future is not back there. student artist to critically pick and choose, discard to the truly new and tury art greedily claimed, exploited, and quickly So what should we build in this space we have and reject proffered dogma, direction, and advice Part of the problem is the rather random, to build their own personal art and art-making creative? scattered, and un-tethered position that the art philosophies. efforts are recognized as highly valuable. When world finds itself in today. Artists have always This is the last of a short series of editorials in an initiated or indoctrinated viewer successfully progressed through innovation and discovery from which I have tried to challenge student artists to recognizes these backward-looking references, one style to the next, but never again with the do just that – to be critical of their art education. he or she completes self-congratulatory cycle. speed and ruthlessness of the artist revolutionaries of the twentieth century. After one hundred years THANK YOU, GENE I have earlier questioned the dogmatic insistence Richard Cary in his book Critical Art Pedagogy: that drawing is the basis of all art; that failure, Foundation for Postmodern Art Education writes of manifestos, movements, and reforms, we find frustration, and torment help create great art; that that this backwards focus also “urges students to ourselves without a singular dominant movement great art must be deeply meaningful and emotion- demonstrate ‘good taste’ by preferring authorized or style that artists can comfortably adhere to or ally expressive; and that sellable art is bad art. Here art and to develop ‘talent’ for producing facsimiles” react against. Not that today’s art landscape is a (THE SCULPTURE AREA) I propose two last and related questions. Why is art (Cary, 55). Moreover, it keeps everyone in a safe, wasteland—quite the opposite. That landscape education presently so backward looking? And why comfortable place where teachers and students is littered with the remains of several thousand is the old and known now seemingly preferred in can recover old solutions to old problems rather years worth of historical styles. Artists tend not to student art to the truly new and creative? than risking new solutions to new problems and demolish one style or movement when moving

6 ARTillery April 2005 7 text are completely different from each Influences: Gualdoni cites Laura Owens to look spontaneous, her compositions and other. In comparing the works and back- and Carrie Mae Weems as inspirations for color palettes are carefully considered. She de- grounds of Cook-Dizney and Gualdoni, it is their versatile painting techniques. Her own picts site-specific scenes with oils and acrylics difficult to define the role of a contemporary work concerns fallen utopias and entropy. on mid-sized to large canvases. Her paintings painter. For aspiring painters, it can be scary One would most likely learn about these are desolate due to the lack of figures yet the to enter into a profession without a clear concepts in an academic environment. depictions of enormous crumbling structures understanding of what one is supposed to Cook-Dizney is inspired by graffiti, pub- suggest that an apocalypse is in the process do—where, what, and from whom to learn, lic art and the ideologies of social activists. of occurring, or about to ensue. The issue of what to paint, how to paint, whom time here is ambiguous and complex. to paint for, and wait—why paint? However, one cannot help but marvel at Cook-Dizney and Gualdoni implicitly Gualdoni’s luscious, incredibly executed, answered these questions differently, and mysterious paintings. and they found their own niche as a Cook-Dizney’s paintings, on the A Brett Cook-Dizney painting of neightborhood jazz Angelina Gauldoni The Ebb and Flow, 2002 acrylic on canvas, 30”x36” musician Ryan Sawyer fine arts painter in today’s world. Here other hand, originate from public and is a quick overview of the two artists: private installations, collaborations, and DIFFERENT STROKES happenings. The artist gives marginalized Educational Backgrounds: people a voice through his art and often Ali Harrington Angelina Gualdoni enrolled at WU’s invites participants in his collaborations School of Art and received her BFA to execute the bulk of his paintings awyers went to law school, and before explicates my experiences, skills, and accom- on a transcript. More interestingly, the defini- from the Maryland Institute Col- and drawings. Though Cook-Dizney is law school received an undergraduate de- plishments; an assortment of slides; and I will tive role of a fine arts painter today is unclear. L lege of Art with a concentration in Brett Cook-Dizney Documentation of a White X-Mas, 2000, Spray incredibly skilled with spray paint, his gree. Doctors survived med school and most graduate with a BFA in Painting this May. I introduce these two points after repeatedly enamel, mixed media w/ personal objects on wood and plexiglass, Painting and Installation Design. 120”x288” aspirations to create a more democratic likely excelled in college. With many other Sounds good, huh? Unfortunately, my GPA, taking note of them at the Career Center’s She followed up with an MFA at the and peaceful world remain the driving careers, people must follow an outlined path standardized test scores, and degree from the Friday Forum “Center Stage: Careers in Arts University of Illinois in Chicago in Paint- These influences all relate to social concerns force behind his work. in order to be qualified to become X, Y, or Z. prestigious WU don’t mean shit if I want to and Entertainment,” and from lectures given ing. Overall, Gualdoni went through a lot of and development. One determines the quality of a student by become a successful painter. Credentials that by visiting artists and Freund Fellow candi- school at renowned institutions and focused Founded Success: In an Art in America weighing various factors such as the reputa- hold utmost importance for many careers lose dates at Steinberg Hall. Visiting artist Brett on painting. Body of Work: Gualdoni shows off her review, Susan Snodgrass finds Gualdoni’s tion of the school or program he/she attend- their authority for the aspiring painter for Cook-Dizney and Freund Fellow candidate Brett Cook-Dizney got his BA in Zool- painting skills through employing a variety of strength in “ … the artist’s assured skills as ed, standardized test scores, GPA, amount of several reasons. Angelina Gualdoni, in particular, are two ogy at UC Berkeley and developed his paint- paint application techniques in a single paint- a painter, and in her ability to transcend the professional experience, and the accumulation The quality of the work one produces young successful painters whose career paths, ing skills through practicing “graffiti.” He is ing: dripping, taping, gestural mark making- specificity of her subject.”1 In other words, of specific skills. So, have I been “on track” and the ability to articulate thoughts about approach to painting, and conception of what considered a self-taught artist. -you name it--while preserving fresh pastel Gualdoni shines because she is a really good to becoming a painter? I have a resume that the work are more important than anything paintings ought to do in a larger cultural con hues. Though drips and gestural marks appear painter and through those skills she can do

8 ARTillery April 2005 9 more than just illustrate a space. She can to illustrate a verbal idea. I also found her Cook-Dizney’s work. Cook-Dizney does not make the space speak about something else, implied goals in painting to be unsubstantial. aspire to be a “great painter” to be remem- specifically the evolution of destruction. I see Gualdoni trying to marry her interest bered in art history books, but instead aims Brett Cook-Dizney, on the other hand, in technique with a satisfying intellectual to create a more peaceful and democratic stands out because he blends the roles of art- concept while also trying to place herself world through the power of his images and ist, event planner, art therapist, educator, and amongst established American painters. collaborations. Cook-Dizney’s art is a tool social activist and comes out with a unique These goals seem purely self-serving--yet intended for an array of people, like social optimism and selflessness. Not to mention they are also goals that art institutions set activists, bums, children, and minorities, for that he is also a skilled painter and has an up for students--and her paintings come off example, to express their individuality. When incredible ability to connect with all kinds of as overly intellectual, trendy, and non-in- Cook-Dizney presented a video on his col- people on a personal level. Both artists have novative. I wonder how much she considers laboration Revolution: Celebrate Harlem on shown their work in galleries, museums, and audience or the relevance of her paintings to 127th Street, the participants seemed to be have won many awards. life today. As a professor of mine observed, having a good time crocheting and planting if Gualdoni is so concerned about subur- herbs, among other activities. I imagine that So what does this all amount to? Ange- ban sprawl, why doesn’t she try to actually working on these collaborations must be lina Gualdoni’s work is undoubtedly shaped prevent its proliferation? What effect do her incredibly fulfilling, as Cook-Dizney learns by her lofty educational background. Besides paintings have on those issues? As Gualdoni from and connects with all kinds of people being incredibly skilled and well-spoken, her confesses her love for gestural mark mak- through his art. work tackles abstract and distant concepts, ing and taping techniques, I wonder why In conclusion, the contemporary fine art like the entropical progression of fallen uto- she wasn’t a formalist painter. For students painter has the power to define his or her role pias represented through the destruction of studying art in an institution, I think it is as “painter,” and take any educational route futuristic architecture. Whew! important to consider these issues as we can he/she desires as long as he/she can talk about Though her skill, intelligence, and bod- question our own motives and processes in the body of work on a sophisticated level and ies of work legitimize her as a noteworthy our creative endeavors. find an interested audience. A certain level of artist, I question her painting process and Brett Cook-Dizney takes an original skill with materials certainly can gain the art- the significance of her paintings. Gualdoni path to find success as a contemporary ist authority, too. While this freedom can be Googles images and seeks out specific places, painter. It seems that his everyday life experi- overwhelming for an aspiring art student, it like Brasilia, that would best illustrate her ences, like interactions with individuals, and is also wonderful that painting today can find language-based ideas for her paintings. interest in graffiti art and the works of social so many places to flourish, whether that is in Because her paintings originate in language, activists, guide his artistic pursuits. Also, a white-walled room or on the street. I feel that there is an inevitable disconnect participants in collaborations, the models in as she attempts to find a good-enough image the artists’ paintings, and the audience shape

10 ARTillery MATTHEW BUCKINGHAM at the PAINTINGS at the CONTEMPORARY SAINT LOUIS ART MUSEUM ART MUSEUM in SAINT LOUIS

Juan Tejedor Juan Tejedor

emory and narratives, when faced with workers, and mention of the renewal of Mill Creek the phenomenon of uprooting—what Buckingham he Contemporary’s recent grouping of four of a grotesque American decadence. Ruby Osorio, titled Story of a Girl (Who Awakes Mabsence, often linger, leaving their rem- Valley, in which tens of thousands of residents’ calls a “fictional clean slate”—is part of a historical Tpainters into a series of mini-shows is a di- Music entrepreneur and painter Dzine cre- Far, far Away). The artist creates an image of femi- nants in crevices of time and space, underlying the homes were razed. In Buckingham fashion, the pattern, one that is directed at minorities. verse exhibition, even while lacking any conceptual ates the wall installation Punk Funk and delights ninity not far from its conventional conception by fabric of the present. What we do with what’s left piece creates an environment of its own, much The work has a few significant fallbacks, or aesthetic coherence. On first glance, the painters the eye in its jewel-like sensuousness and play- creating vaguely linear narratives of tiny, delicately of forgotten stories and how they weigh against of which is carried by the voice. However, part of especially considering the richness of Buckingham’s all appear to be working from a framework that in- ful interplay with shapes, color, and whimsical rendered girls whose fragile bodies act in enig- our ever-shifting present is what interests Matthew the installation’s intrigue is that it doesn’t exactly other work. Through the images we don’t get a sists on aesthetics. However, these artists conceive symbols (such as clouds and rain drops). While matic and sexually charged ways, interacting with Buckingham, an installation artist whose works transport the viewer to the Mill Creek Valley of true sense of what is actually left, save for the office of painting in ways that, when placed together, the shapes tend to become formalist and aesthetic animals and, in one piece, toilets. Her works quote incorporate still or moving images and audio. He the past or present. Rather, Buckingham creates a building and the highway. By keeping them as the emphasize their differences rather than any over- deliberations, they become edgier in their relation- the language of fairy tales in her use of apples, reflects on places, people, and events as forgotten mock-up, where time is only suggested because the only identifiable icons, they become stereotypical arching concept that goes beyond very superficial ship to electronic music, in which the artist has fireflies, and overgrown plant life in which the markers, seemingly incongruous to the pres- images follow one another. images of repression, robbing the piece of sensitiv- connections. personal involvement. Dzine owns an electronic figures inhabit. The arrangements of the composi- ent moment. Often presented as the bare truth, As I experienced the piece I had difficulty de- ity to the complicated issues at hand, by declaring In Katharine Kuharic’s cleverly satirical music label and his work contains a sense of the tions are reminiscent of Chinese scroll paintings, Buckingham lets his stories speak for themselves, ciding what I was supposed to be doing as a viewer. quite clearly what is “bad” and what is “good.” In portrayals of middle-America, she constructs loud and aggressive (but also playful) energy that using a blank background and temporal progres- in ways that are decidedly without a stand, to the Am I in the car as well? In what direction is the car this manner, some of the problem’s human dimen- environments out of consumer products. Her often much electronic music has. The gigantic mural sions—the figures are almost repeated to suggest a effect that they reveal their own discordance. heading? Is this happening in real time? It seems sion is absent—the installation treats the subject tragic-looking figures inhabit these environments, done in slick glossy house paint is a visual assault, person moving in space. Hidden among the figures In his latest work at SLAM, Buckingham more like I am walking, so why am I inside the with as much generality as a history textbook or seemingly unaware of the true nature of their ab- overwhelming the viewer, like the effect of listen- are fragments of text that hint at storytelling. Most exhibits Traffic Report as part of the Currents 94 car? These questions serve to crystallize the notion newspaper reportage would, especially consider- surd existence. Jack’s Original is represented in two ing to an electronic song at a club. Most notably, striking is their subversively aggressive quality-- series. The installation consists of a continuous of rendering the true character of a place like Mill ing the size of the installation in relationship to forms: a drawing/collage and a painting, in which his painstakingly rendered compositions covered in suggestions of death are everywhere--dead fish, loop of projected images that take the viewer down Creek Valley, where the violent uprooting of an en- the person. Yet Buckingham’s installation must be a group of middle-aged white people stand at the glass beads make a shimmering effect that is won- animals in traps, juxtaposed with the absurdity of a stretch of road in the Mill Creek Valley neighbor- tire community leaves a vertigo in place, one which given due credit for tackling an important issue foot of a junk-food path while a pizza that suggests derful to look at, and would certainly hang well in the women wearing animal-like costumes while hood of Saint Louis, from inside a 1950s Pontiac. attentively picks up on the frustrations many of that regretfully seems to be fading from public a sun gleams over the scene. The junk-food path is any chic restaurant or yuppy apartment. Besides casually toying with the viewer’s perception of who Meanwhile, a pair of parabolic speakers offer a ra- Mill Creek Valley’s residents might feel, yet impos- discussion. both un-crossable and is ambiguous as to its desti- the easy connections to the “feeling” of music, they are as women. Osorio’s work is rewarding as dio newsreel, broadcasting stories from the 1960s: sible to pin down precisely. The radio broadcast nation; it leads either towards the viewer or straight whatever that might mean, it is hard to go beyond an attempt to discover the psychology of “feminin- a delay in the arch construction, the excavation of augments the idea by associating the event with down. Moreover, the bright colors and the playful beauty to find powerful, meaningful significance in ity” in all its various (although at times stereotypi- the Cahokia mounds, a case of missing civil rights other similar uprootings and traumas, suggesting arrangement and repetition of objects suggest the these works. cal) forms. opposite of what they come to signify--the reality The most intriguing mini-show was that of

12 ARTillery April 2005 13 SCULPTURE SHOW RE-REVIEW

Anonymous

want to correct the review by Sarah Houle Tomoko Ishii’s piece in the sculpture exhibition, or her eyes, minds, and most importantly, creative Iprinted in February’s ARTillery. The show was a Oriental Express, dealt with the ramifications of energies. If these pieces were in a gallery, it would success. There was a continuous flow of all ages ex- being attached to a particular personality because be up to the viewer to interpret them. In a show amining the pieces from the time the show opened of race. She demonstrated what an airline steward- that displays all paintings there is usually a theme. until the time it closed. Considering the distance ess might say to Japanese women on a flight to With sculpture, we work independently. Sculpture from WU and the environment in which the show America, a reality in the eyes of the artist. Ishii students gain knowledge of processes from other took place, the space was packed with people. As used her experience and process of coming to students, but our ideas are our own. When looking I walked about, I overheard various conversations this country and projected it into a short video. at works of art, a viewer’s normal attention span is about the different pieces of art on display. Each Courtney McIlhenny attached a bumper sticker to fifteen seconds. It is our job as artists to hold the UNTITLED piece inspired viewers, and the their rationaliza- her car asking, “How’s my driving?” with a picture audience’s attention for as long as we can. tions and justifications for the pieces were very of her face instead of a number to call. How does I have an appreciation for those who try to INSTALLATION interesting. advertising affect art? Or how does art affect interpret art in the best way that they can or know Christina Cosio Sculpture Show 2005 was not held at the Des advertising? Christina Cosío, gathered informa- how. There are classes at community colleges that

ure, 2-D and 3-D have met before, but the constant bubbling and spattering; paint narrative and theory to art often stunt our Lee Gallery, it was held on the top floor of a ware- tion and research on racism of University City are specific to critiquing a piece of art. I do not Smaybe never with this much sensitivity breathes the air pressure, splashing color past appreciation of it. Does Minx’s piece make house in South City. The sculpture area funded and projected a documentary video. After careful feel it is successful to write a review about ONE to material and form. Anna Minx’s recent the “white canvas” rectangle painted on the strong political and highly conceptual state- this space on its own. The timing of this show was calculations and precision craftsmanship, Hoang person’s piece when the show was about many installation in her Lewis Center sculpture otherwise-gray floor. ments? Arguably, yes. But from her work’s perfect because it gave the students a chance to Nguyen hung numerous floating rows of squares. different artists. Lastly, of course there will be some studio exploits latex house paint, wire, hose, Minx clearly references painting and inception until its very demise, her ultimate show what works they had done, which in turn She is our maximist minimalist. The runaway chair socializing, IT’S AT EVERY ART OPENING! and air to create a surprisingly mesmerizing, process, but she never quite becomes a attractions to manipulating form and playing gave room for constructive critique. If there were video by Xopher Pollard was hilarious. So as one Art openings may seem like parties. The purpose interactive, and beautiful piece. Five cans painter. Her work investigates materials first, with “stuff” make her pieces remarkable and any content questions, all of the artists, except one, can see, the art demonstrated personal experiences, is to meet the artist and view his or her art. If it of latex paint—maroon, yellow-orange, pale and references painting, second. Even her successful. The viewer must trust the artist’s were available that night. advertising, activism, craftsmanship and humor. seemed more like a drinking party than an art blue, dirty yellow, and mint green—the Untitled title places process over result. Her intuitive decisions, and realize his or her “Aesthetics” can mean too many things and These issues sometimes produce beauty because opening then maybe the viewer should have stayed Home Depot castaways, rest on the floor working methods are exposed and obvious, own enjoyment, fascination, and awe while often becomes useless in describing art. All art of how they open the viewer’s mind to things un- away from the bar, looked at the art, and made an with red hoses feeding compressed air into removing the mystery of production, but the interacting with a sculpture. Viewing Minx’s has some meaning and everyone relates to art in thought. attempt to meet the artist. them. A steel skeletal structure holds the piece effortlessly sustains our interest. work is never a race to understand, it’s always a different way. For this reason, the viewer needs It doesn’t take a sculpture major to review a hoses in place. The best part, however, is Our tendencies to immediately apply a pleasure to discover. to look at art in a contextual way. For example, sculpture show. It does take a person to open his

14 ARTillery April 2005 15

RELOAD: FIRING BACK AT ARTILLERY COMMENTS GATHERED from ATTENDEES to ARTILLERY’S RECENT STAFF SHOW

“I think the bookstore was an ideal location. The “I thought it was great that the students went out “I wish I had the ability to make a room feel like atmosphere and the total surroundings of the on their own and got their work out there espe- this one does.” artwork had a unique flair and an aura about it. I cially off campus and on the Loop where every- “Good work, invite people to indulge in the space think it is a great idea to combine the art of litera- body else can see what the school does. and ambience.” ture with the art of canvas and printmaking and Seeing people’s work outside of critique actually at video.” - Lakeesha Moore a show is far more enjoyable. Being able to judge “Congratulations, love the art.” for yourself what other people have done without “Better than what I thought it would be. Salzman “The only thing … [is] that the works and the everybody else chiming in, you can make up your is a star, get her an agent.“ artists that presented were, I would say, too big own mind about things. You don’t have to worry for the space. I think that the space itself just was about all the professors saying what has to go on, “One of the best ideas I have seen in the loop. too small and too harshly lit for the work that was and you also get to see where the students are do- Thank you for bringing this idea to life.“ - Ucity there because I feel like the work was very strong. ing their own things instead of what the professors artist I feel like that … the standards that members are recommending.” - Jared Imse “I encourage you to do more interesting, less flashy of ARTillery has, at least in the comments they artwork for upstairs area. I’m sure you can buy make in the newspaper, just from the people I ANONYMOUS COMMENTS something at SLAM.” know, I feel like it’s something that they hold “Fabulous. Where’s the pricelist?!” others accountable to. So I think in the future my “Love does prevail.” suggestion would be to find a space that is bigger “You guys are amazing.” “Stimulating exhibition and excellent environ- with more control over the lighting, no offense to “It’s a smash.” ment.” Subterranean Books. I mean, I think in general the show really blew people away with the work. Ev- “Every time I read ARTillery I can’t believe I go to “Well I have certainly been expired.” eryone I talked to was really impressed. I think that a school where there are such passionate, articulate, “Woah!! NO REALLY!” it is a nice sampling of some of the most serious and talented people. Your magazine makes me artists at the school.” - Nathan Ratcliffe genuinely smile. Bust most importantly it makes “Norah’s sculpy is very intricate and cool. She’s my me think. I admire your work please keep it up.” hero!”

18 ARTillery The Comedians (Left to Right): Chris Farley, Oliver Hardy, John Candy, Curley Howard, and John Blueshi. All stenciled spraypaint on canvas. backgrounds and textures of an urban landscape in EP: How did you get into street art? It’s a little bit or at least Chicago. Yet, here you are in St. Louis. a gallery setting. The commercial art helps feed the dangerous and a whole lot illegal; what keeps you What draws and keeps you here? And how has it DEAD FAT COMEDIANS kids and I like doing shows because it gives me a getting out there and doing it? been trying to survive, sell work, and make a name a suite of stenciled works along with answers by artist PEAT WOLLAGER to some chance get a response to my artwork. PW: I did a bit of graff back in the day, but I for yourself here? questions posed by ARTillery’s Eric Portis mostly incorporated a “street style” in my commer- PW: Yeah, you really don’t think of St. Louis as an EP: Do you approach the work differently, depend- cial art. When I started stenciling, I did not intend “Art Mecca” because much of the St. Louisians re- Local street, gallery, and commercial artist Peat PW: I was born on the back of the Mississippi larger space, I set up a studio in the basement to ing on whether its going to be encountered on a on putting it on the streets, it just became a natural ally don’t support their artists. This is a sports town. Wollager’s work can be seen in galleries and on River. work on my art. I wanted to do an illustration of dumpster or in a gallery? progression. But the truth of the matter is that there are some streetcorners all over St. Louis. He sent us an my son, Sammy, on glass, I thought of silk-screen- PW: Not really, I kind of want to keep a gallery feel very talented artists in this town that don’t get the email back asking if he could be a featured artist, EP: How would you describe the work you do? ing it. With no real access to silk-screening equip- on the streets. EP: In a somewhat related question: any good respect that they deserve locally (Justin Tolentino, and, amazed and delighted that anyone outside of Any other biographical info you’d like to share? ment I looked for different means. Seeing the art of stories about getting arrested or anything like that? William Lobdell, C’babi Bayoc. and Chris Burch) Bixby Hall even knew who we were, nevermind an PW: In the early nineties I started my career in the Banksy and Logan Hicks inspired me to try stencils EP: A lot of your work is focused on character and PW: No I play it pretty safe. I try to find a place whom I met through a local artist collective called artist whose work we knew and admired, eagerly wonderful world of commercial art. Somewhere and spray-paint to reproduce my Illustrations, and caricature. How do you see your characters—the that is fairly, or barely legal. Most places along the ArtDimensions. THIS is why I turn to the web. If we procured some of his work and enough of his around the end of the Y2K scare and the beginning now it is my medium of choice. Dead Fat Comedians, for instance—interacting river-front and alleys are good. For the most part you get your shit out there and really work your time to answer a few questions. of the Dot Bomb, I was working as a art director with the urban environment you put them in? people and cops leave you alone if you try not to presence online, it really does not matter where you for Coca-Cola at an agency in Chicago and it hit EP: The pictures you make live in a few different PW: I try to put a little bit of the character in to look like you are up to something illegal. call home. I have people as far as Australia and New EP: First of all, who are you? worlds—out on the street, in fine art galleries, and the caricature. The Dead Fat Comedians are all Zealand asking me to show in their galleries. I can PW: me ... I am selling my soul to commercial art and My name is Peat Wollaeger, I am a 5 foot 9.5 I need out. Also, around same time my lady was I’ve seen on your site that you’ve even done some looking at you, deep in to your soul, to awaken EP: You said in an email, “it is a bit tricky to be live fat and cheap as an artist in this town. Plus, I inch walking, stenciling machine. preggers with our first son. Looking to settle down commercial illustration. Which do you enjoy more? your inner laughter. They lived life with an appetite seen out here in the ol’ mid-west.” There’s a com- have been to major art towns and it seems to be PW: Personally the stencil is best represented on for comedy and a box of Twinkies. We all can relate over-saturated with mediocre artists. EP: and for a change of pace, we moved to the “Lou.” mon sentiment in art school that everybody who How did you come to St. Louis? With the creative juices flowing again, and a much the streets. You can never reproduce the raw to this in some way or another. wants to be somebody should go to New York, LA,

20 ARTillery April 2005 21 SPEAK FOR YOURSELF: Bryan Kite y work is brash, colorful, folksy, and bold, juxtaposing images both pictures because they are ambiguous in meaning, and individuals in society Mpersonal and Pop to make a type of choose-your-own narrative will hold unique interpretations. I believe a person, who experiences an dealing with economic, racial, and religious inequities of our society. I alternative perspective, will find it hard to hold onto the loathing of people align my philosophy of art in the simplest form to the Chicago Imagists that are different from them. (Harry Who): this group believed that the work you make has to reflect My mixed media works often include acrylic paint (painted and upon the world you have personally experienced. sprayed), graphite, colored pencil, and various printmaking techniques. I use humor to argue against hatred and fear that form in society. I decisively choose mediums and their applications to create dialogue Familiarity of the images allows entrance into my work. Figures come in amongst the images. The multi-layered drawings are like pieces of a puzzle the form of pop imagery (from the 1920’s to present), animals, tattoo flash, that attract the viewer from afar with color and atmosphere, and then bring and other graphics that I refer to as underground hieroglyphics. I use these them in closer with detail to construct meaning.

WORKS (left to right): (this page) Believer’s Belief, graphite and airbrush on paper, 2005 ; (opposite top) Five Paces Bakward Two Pushes Foreward, acrylic and graphite with collaged etchings on paper, 2005 ; Warm Front in the West, etching, 2004 ; CandyLand Dreams in the Line, etching, 2004 ; (opposite bottom) Prophets and Loss, etching, 2004 ; They All Want Cinderella, etching, 2004 ; S.P. 38, etching, 2004

22 ARTillery April 2005 23

Schlafly Bottleworks who were disfigured by the nuclear www.mohistory.org avant-garde undersea documentary lucky for you this gig is all-you-can- book art by Bea Nettles,. The exhibit Art St. Louis presents Honor Awards exhibit remains on display through blast in Hiroshima. Shunned by their shorts of French filmmaker Jean eat! (And yes, every year I swear remains on display through April 23 2005, an exhibition of recent works April 29. Tuesday, April 19 community, they were brought to The names — James “Cool Papa” Painleve . From sea urchins to shrimp they’re going to lose money on me, in Exhibition Room B of the Gallery, by ten award winning artists. The Green Drinks: discussions on envi- the U.S. in 1955 to undergo rounds Bell, Willie “Devil” Wells, Quincy to “The Love Life of the Octopus,” but those buckwheat suckers are aw- in the Telecommunity Center on the exhibit remains on display through ronmental sustainability Schmidt Contempo- of painful reconstructive surgery... Trouppe and so on — may be famil- the visual and aural beauty of this fully dense...) Anyway, your brunch university campus. April 29. 7260 Southwest Ave. rary Art and then appeared on the “ This Is iar to you, but if their stories are not, collection, filmed from 1927 to 1978, money benefits the work of Conflu- $3, 21-up, 6-8 p.m., [email protected] From Point A to Point B Your Life “ program where they were today’s the day to find out all about will transport you. Plus, YO LA ence, a leftist/eco-aware/arts/social The Mildred Lane Marbles Art Gallery 503 North 20th St, (315) 575-2648 put face-to-face with the pilot of the the two all-black local teams, the TENGO!! That’s all we should have justice/activism bi-monthly newspa- Don’t worry: this isn’t a return to the Kemper Art Museum Landscapes & Lost Lakes Enola Gay . Serious stuff, compel- Giants and the Stars, who played here to say. per allied with the Indymedia and evil green beer of last month. Instead, Inside Out Loud: Visualizing 1905 Park Avenue Schmidt Contemporary Art pres- lingly retold. And puppets. for the Negro Leagues. Joe Walsh, a CAMP crowd. You may not agree we’re talkin’ Mother Nature green, Women’s Health ents From Point A to Point B, an history student from Wash U., will with everything they publish: best to and an evening spent imbibing and Ethical Society of St. (314) 935-4523 Marbles Art Gallery presents Land- exhibition of works by Stuart Arends, re-tell their stories and bring these hash out differences of opinion with a enjoying informal discussion with Missouri History Mu- Louis scapes & Lost Lakes, an exhibition running through April 30. Schmidt vivid personalities back to life for his civil discussion over pancakes. As the of paintings and drawings by Mary other smart and concerned folks on seum The St. Louis Classical Guitar Society The Mildred Lane Kemper Art Contemporary Art is located at 503 audience. goddess would have it, vegans can eat C. Nasser. The exhibit remains on the topic of “Green Rehab.” Inter- Saturday April 16 cakes, too. Museum presents Inside Out Loud: North 20th Street. (314-575-2648) ested in solar, graywater reclamation, Visualizing Women’s Health in display through April 29. (W-SA 1-5 PM, or by app’t.) Tuesday, April 26 Winifred Moore Au- Flamenco Guitar Concert by Paco sustainable building materials and the Reading: “Under the Arch: St. Louis Peña Webster University Contemporary Art, running through like? You can learn about the practical Stories,” edited by Paul Thiel ditorium of Webster 8pm, (314) 567-5566 April 24. The O’Fallon Cultural through April 18 The Sheldon Art Gal- requirements for commercial and Lindell & DeBaliviere in Forest Park University Constructing a Narrative Arts Center leries residential building and remodeling Free, all ages, 7 p.m., 314-454-3150, The St. Louis Classical Guitar Society Saturday, April 23 8342 Big Bend Subterranean Books Oil Paintings by Russell J. Miller Iain Fraser-Places of Mind projects, as well as connect with local www.mohistory.org presents a Flamenco Guitar Concert Film & Music: “The Sounds of Sci- (314-968-7171) through April 24 400 Civic Park Dr, (636) 379-5606 3648 Washington Blvd folks in the field, from academics to by Paco Peña on Saturday [April 16] ence,” featuring Yo La Tengo (M-F, 10 AM-4 PM; Sa, Su 1-4, or Eye Candy (314) 533-9900 businesspeople. Your $3 admission is Twenty-three points of view are not at 8 PM. The concert takes place at 470 E. Lockwood Ave. by appt.) 6275 Delmar Blvd The O’Fallon Cultural Arts Center a donation to Building Green Bridges. enough to understand something as the Ethical Society of St. Louis, 9001 $10, all ages, 7 and 10 p.m., 314- (314) 862-6100 presents an exhibition of oil paintings The Bellwether Gallery of St. Louis complex as the soul of a place...but Clayton Road.. For more informa- 968-7487, www.webster.edu/film- Constructing a Narrative presented by Russell J. Miller. You can view the Artists at the Sheldon Art Galleries they’re a darn good start. Join some of tion call 314-567-5566. Edison Theatre series.html by Webster University an exhibition Subterranean Books hosts Eye Candy, exhibit through April 29. presents Iain Fraser-Places of Mind, the 23 contributors to this recent title Friday, April 22 of works by Kip Deeds. The exhibit Michael Alm’s installation of four running through May 7. (which includes writers both past and Puppet Theater: “Hiroshima Maiden” Saturday, April 23 3rd Annual Confluence remains on display through April 18 ceramic birds, on display through Southwestern Illinois contemporary, and both fiction and Washington University, One Brook- Film & Music: “The Sounds of Sci- Pancake Breakfast in the Cecille R. Hunt Gallery. April 24. The artist will reposition College at Belleville The St. Louis Artists’ ings Dr. nonfiction) for a reading and discus- ence,” featuring Yo La Tengo the installation pieces daily to create Saturday, April 30 Into the Woods $28, 8 p.m., 314-935-6543, www. sion to discover that elusive thing, the 470 E. Lockwood Ave. an evolving narrative. Guild Black Bear Bakery, 2903 S. Jefferson Gallery 210 at UMSL 2500 Carlyle Ave , (618) 2335-2700 edisontheatre.wustl.edu spirit of St. Louis. $10, all ages, 7 and 10 p.m., (314) Emerson’s Young Artists’ Showcase $6-$10, all ages, 9 a.m.-1 p.m., 314- Return Trips 968-7487, www.webster.edu/film- Art St. Louis 2 Oak Knoll Park Saturday, April 23 771-8576, www.stlconfluence.org (314) 516-5976 The William and Florence Schmidt We’re pretty sure this might be the series.html Through April 29 (314) 727-9599 most unusual offering all month: Lecture: “St. Louis’ Shining Stars,” a (Tu-Sa 11AM-5PM) Art Center at Southwestern Illinois (TU-SU 12-4 PM) Kids, there is nothing tastier than a Honor Awards 2005 College at Belleville presents Into the performance artist Dan Hurlin brings history of the Negro Leagues in St. This is so super-cool we can’t even stack of multi-grain, organic, local- Gallery 210 at the University of Mis- 917 Locust St, (314) 241-4810 Woods, an exhibition of vessels by his troupe of puppeteers to tell the Louis stand it: dreamy rockers Yo La Tengo The St. Louis Artists’ Guild presents fruit-topped anarchist pancakes: souri-St. Louis presents Return Trips, (M-F 10 AM-5 PM; SA 10 AM-4 Michael Bauermeister and photo- tale, in the style of Japanese Bunraki Lindell & DeBaliviere in Forest Park will be there, at the Wini Moore, to Emerson’s Young Artists’ Showcase, a an exhibition of photography and PM) graphs by Michael Johnson. The puppetry , of a group of 25 women Free, all ages, 3 p.m., 314-454-3150, perform their score in support of the juried all-media exhibition of works

26 ARTillery April 2005 27 by artists between the ages of 15 and of Printmaking, running through 3750 Washington Blvd (314) 865-0181 21. The exhibit remains on display May 14. (314-535-4660) through May 7. Venus Envy 2005, the annual all- The Regional Arts The Contemporary Art Museum St. female visual and performing arts The Gallery at Ches- Louis presents the exhibition DZine: extravaganza, takes place Friday Commission Punk Funk, on display through June and Saturday [April 15, 16] from 7 terfield Arts Sum and Substance 12. PM-midnight each night. The event UnderExposed 6128 Delmar Blvd features works in a variety of media 444 Chesterfield Center, Suite 130 (314) 863-5811 The Contemporary Art Museum St. as well as performances of music and (636) 519-1955 (M-F 10 AM-5 PM, Sa, Su noon-5 Louis presents Ruby Osorio: The dance. (TU-F 10 AM-5 PM, SA 10 AM-4 PM) Story of a Girl (Who Awakes Far, PM) Far Away), on display through June The International THANK YOU, The Regional Arts Commission 12. The Gallery at Chesterfield Arts presents Sum and Substance, an Brotherhood of Magi- presents UnderExposed. The exhibit of works by James M. Smith SLAM cians exhibit, which features photography and Mary Sprague. You can view Saturday, April 16 GOODBYE Currents 94: Matthew Buckhing- by Greg Barth, John Curran, Ron the exhibit through May 20. We, the graduating seniors on the ARTillery staff (plus Steve), would like ham Spring Parade of Magic Engemann, Jeff Hirsch, and Jane to say one final thank you and goodbye. There are a bunch of people without 1 Fine Arts Drive 1:30 and 7PM Linders, remains on display through whose inexplicable support, confidence, time, and resources, this semi-kind-of The Sheldon Art Gal- (314) 721-0072 111 South Geyer Rd May 8. monthly magazine would have been, at best, worse, and at worst, impossible. leries (636) 394-2968 Javier, John Navy, Dave Chisholm, Rob Mizell, Toms Huck and Reed, Ron Forest Park: A Multiple Masterpiece The St. Louis Art Museum presents Leax, Jana Harper, all of our non-staff contributors (Ada Dancy, Greg Fulco, The University of Mis- 3648 Washington Boulevard the exhibit Currents 94: Matthew and Anonymous), all of our featured artists, everybody at Riddle’s, all of our souri-St. Louis (314) 533-9900 Buckingham, on display through The Internation Brotherhood of advertisers, everyone who came out for the body paint-off, everybody who Ceramic Sculpture and Works on June 12 in Gallery 337. Magicians presents their annual came out to Reload, everyone who submitted to Truce, and last but certianly Paper The SBC Gallery of Children’s Art Spring Parade of Magic on Saturday not least, everyone who ever picked up one of these things and took the time to (314) 609-3915 at the Sheldon Art Galleries presents The St. Louis Art Museum presents [April 16] at 1:30 and 7 PM. The read it: to all of these people we send a hearty and genuine thank you. (MO-TH 11 AM-4 PM) Forest Park: A Multiple Masterpiece, African-American Art: Selections event, which benefits the Shriners Also, thanks and encouragment to the select group of people who have an installation of drawings by stu- from the Works Progress Adminis- Hospital, takes place in the Robert expressed interest in keeping this going next year: to you we wish the time, The Gallery Visio at the Univer- dents at Crossroads School. You can tration, on display through July 17 G. Reim Theatre at the Kirkwood energy, and most importantly, the printing money to keep ARTillery going. sity of Missouri-St. Louis presents view the exhibit through May 21. in Gallery 323. Community Center. Ceramic Sculpture and Works on ALSO, JURIED SHOW! Paper, an exhibition of works by The St. Louis Univer- The Pulitzer Founda- Musick’s Cordes Sunday, April 17 WHAT: “Truce,” an exhibition put together by ARTillery and juried by John Catherine Magel. The exhibit opens Navy, David Chisholm, and Javier of Subterranean Books Wednesday [April 13] with a recep- sity Museum of Art tion for the Arts Debut Concert by Musick’s Cordes Scape Brancusi and Serra in Dialogue 2PM WHEN: The opening is on Friday, April 15th from 5-7PM ; the show is up tion from 4-7 PM, and it remains until May on display through May 13. 3663 Lindell Blvd 3716 Washington Blvd 6800 Washington Ave (314) 977-3399 (314) 754-1848 WHERE: Subterranean Books, 6275 Delmar Blvd William Shearburn (TU-TH 1-4 PM, FR Noon-4 PM, (W noon-5 PM, SA 10 AM-4 PM) The new early music ensemble SA-SU 1-4 PM) Musicke’s Cordes presents their de- Gallery The Pulitzer Foundation for the Arts but concert on Sunday [April 17] at James Siena: Ten Years of Printmak- The St. Louis University Museum presents the exhibition Brancusi 2 PM. The concert, which features ing of Art presents Scape, an exhibition and Serra in Dialogue, on display sonatas for violin and and songs 4735 McPherson Ave of drawing, video, and landscape through July 23. by 17th century Italian composers, (314) 367-8020 paintings by Brandon Anschultz, takes place at Trinity Presbyterian (Tu-Sa, 10 AM-5 PM) on display through June 5 in the Venus Envy Church. Contemporary Project Gallery. April 15-16 William Shearburn Gallery presents 7pm-midnight the exhibition James Siena: Ten Years CAMSTL The Grove, 4100 Manchester Rd,

28 ARTillery EXQUISITE CORPSES For our cover images for this issue we sent out an open call for exquisite corpse drawings. To complete an “exquisite corpse,” teams of draughtsmen (and draughtswomen) draw different sections of the same ﬁgure without looking at what has been drawn before. Here’s a selection of the submissions we recieved:

30 ARTillery April 2005 31