Printmaking is a distinctive artistic practice that draws from a range of technical traditions. For many artists, this hybrid nature can lend itself to a range of experimental approaches, particularly around issues of multiplicity, seriality and mass communication. This spring, the Mildred Lane Kemper Art Museum at Washington University in St. Louis will present three new exhibitions that together explore the modern history and contemporary evolution of printed and editioned artworks.
What is the nature of the self? How do conceptions differ in Western and non-Western cultures? Can individual and collective traumas ever be “fixed,” or do certain wounds defy the notion of repair? In “Reason’s Oxymorons,” French-Algerian artist Kader Attia surveys how different cultures, societies and disciplines grapple with questions of loss and damage.
The Mildred Lane Kemper Art Museum is a Washington University treasure and one of the oldest teaching museums in the country. Now, to help secure the museum’s future, the William T. Kemper Foundation has pledged $5 million to fund long-range capital needs, including a major expansion.
In the early 20th century, utopian conviction about the promise of artistic abstraction was widespread. And yet, in the years between the World Wars, the human figure remained the site of significant artistic activity. So argues John Klein, associate professor of art history and archaeology, in Face and Figure in European Art, 1928-1945, now on view at the Mildred Lane Kemper Art Museum.
Take a walk on the second floor of North Brookings Hall past the Bridge Conference Room, and you’ll see a different take on a familiar face. A painting of Robert S. Brookings, president of WUSTL’s Board of Trustees from 1895-1928, arrived in September and now hangs on the west-facing wall. The new portrait was painted in 1905 by noted American Impressionist artist Richard E. Miller and replaced another painting of Brookings in the Bridge Conference Room.
Over the last five decades, pioneering conceptual artist Luis Camnitzer has earned an international reputation for his subtly biting prints, multiples and sculptural works that combine poetic lyricism with political and social engagement. This spring, Camnitzer will receive the Printmaker Emeritus Award during the 2011 annual conference of the Southern Graphics Council International, hosted March 16 to 19 by Washington University’s Sam Fox School of Design & Visual Arts. In recognition, the university’s Mildred Lane Kemper Art Museum has organized Luis Camnitzer: Forewords and Last Words, an exhibition of works spanning the career of this influential artist.
Los Angeles-based conceptual artist Sharon Lockhart creates films and photographs that are at once rigorously formal and deeply humanistic. Beginning Friday, Feb. 5, the Mildred Lane Kemper Art Museum opens a major exhibit of Lockhart’s called “Lunch Break,” showcasing American workers at the Bath Iron Works in Bath, Maine.
Nancy and Kenneth Kranzberg, passionate supporters of artistic, educational and cultural organizations throughout the St. Louis region, received the eighth annual Jane and Whitney Harris Saint Louis Community Service Award at a ceremony at the Harbison House on Feb. 20. Their prize, a $50,000 cash gift, will be distributed to six non-profit organizations of their choice. The award is the gift of the late Jane Freund Harris and Whitney Harris. In 1999 they established the award, to be given to a husband and wife who are dedicated to improving the St. Louis community.
Nancy and Kenneth Kranzberg received the eighth annual Jane and Whitney Harris St. Louis Community Service Award at a Feb. 20 ceremony at Harbison House. Their prize, a $50,000 cash gift, will be distributed to six non-profit organizations.