The Kemper Art Museum opened a new exhibition, “Katharina Grosse Studio Paintings, 1988-2022: Returns, Revisions, Inventions,” by renowned contemporary German artist Katharina Grosse, Sept 23.
Ai Weiwei’s “Human Flow” is a meditation on misery that is a challenge, privilege and responsibility to watch. The film focuses on the journeys of refugees and internally displaced persons (IDPs) as they move from temporary location to temporary location, and provides both close-ups of individual situations and detached shots filmed using drones.
Artist, activist, master of the readymade style and political exile of his own country, Ai Weiwei is one of the best-known figures of the modern art world. His new exhibition at the Mildred Lane Kemper Art Museum, titled “Bare Life,” is divided into two sections: “Bare Life” and “Rupture”.
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.
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