Mardi Gras in St. Louis is definitely something you should experience at least once. That said, it’s not for everyone.
The Kemper Art Museum’s current special exhibition, “To See Without Being Seen: Contemporary Art and Drone Warfare,” includes pieces from international artists that critique drone warfare. Through the use of videos, photography, online art and installations, the artists share their distressful findings on this secretive practice by our government and military.
Just yesterday, the Mildred Lane Kemper Art Museum completed installing its cell phone tour. It was created specifically to broaden accessibility and spread information about all of the art around campus owned by the Kemper (both paintings located indoors and outdoor sculptures).
After months of reading about his work and watching the film “American Night” (2009) on my laptop at home through Vimeo, I finally got the chance to sit down with artist Julian Rosefeldt. The Berlin-based contemporary artist, filmmaker and professor visited last Friday to deliver a lecture at Washington University in conjunction with the opening of his exhibition at the Mildred Lane Kemper Art Museum.
The Mildred Lane Kemper Art Museum’s new fall exhibition, “World War I: War of Images, Images of War,” introduces an illustrative angle on this portion of history, outlining the visual cultures that were formed around the events of the war. The show was designed architecturally to create an experience that mirrored the order-to-chaos that unfolded—walking through the show was like being strapped into a time machine.
The post-World War II, modern period proved an experimental and trying time for art makers. Artists were exploring new styles and modes of painting, including the abstract expressionism known as Art Informel. “From Picasso to Fontana—Collecting Modern and Postwar Art in the Eisendrath Years, 1960-1968,” the recently opened exhibit at the Kemper museum on campus, explores not only these new artistic developments, but also the culture and history of art collecting at Washington University.
Ranging from “Metabolics” in 2009 to “Rivane Neuenschwander: A Day Like Any Other” last year, Washington University’s Mildred Lane Kemper Art Museum has often provided a forum for avant-garde or atypical art forms. Its two new fall openings, “Precarious Worlds: Contemporary Art from Germany” and “Tomás Saraceno: Cloud-Specific,” certainly keep with this tradition.
Upon stepping into “Gesture, Scrape, Combine, Calculate: Postwar Abstraction from the Permanent Collection,” the first thing you see is—you guessed it—empty space. There is certainly a lot of it: on the walls, on the floor, across the entire room. It makes sense because this is a small exhibition.
“Gesture, Scrape, Combine, Calculate: Postwar Abstraction from the Permanent Collection,” an exhibition of post-World War II abstract expressionism, will be on display until Sept. 20 at the Mildred Lane Kemper Art Museum. The exhibit contains 13 paintings and three sculptures and features work solely from the museum’s permanent collection. View the full article.
Yo Meth and Red, Your performance this weekend (or what we witnessed of it, through the unfortunate auditory version of beer goggles) was truly stellar, bringing “cool” to Wash. U. in a way it hasn’t known since that night in 1997 when a few freshmen created a drinking game based on utterances from their chemistry […]