1982 Washington University Gallery of Art: The Architectural Heritage of St. Louis 1803-1891 from the Louisiana Purchase to the Wainwright Building, by Lawrence Lowic, 160 pg. Exhibition catalogue and essays, photos and illustrations of buildings throughout St. Louis and a laid in map.

Architectural Heritage of St. Louis, 1803-1891: From the Louisiana Purchase to the Wainwright Building : Washington University Gallery of Art, St. Louis, Missouri, January 20-March 14, 1982

History

Lowic, Lawrence

Americas

Mildred Lane Kemper Art Museum

Exploring Joseph Cornell's Visual Poetry

Literature & Fiction

Cohan, James H.

Greenberg, Athur M.

Poetry

Baroque Theatre and Stage Design

Weil, Mark S.

Humor & Entertainment

Architectural Ceramics: Eight Concepts

Arts & Photography

Rubin, Michael

Architecture

This publication surveys Washington University's outstanding art collection, by focusing on 85 "masterpieces" which document the collection's most significant 19th- and 20th-century artworks. There are essays by 53 scholars interpreting artwork by Breton, Corot, Daumier and others.

A Gallery of Modern Art at Washington University in St. Louis

Collections, Catalogs & Exhibitions

INSIDE OUT LOUD, VISUALIZING WOMEN'S HEALTH IN CONTEMPORARY ART by Janine Mileaf. Great exhibition catalog featuring art and artist about women and their health in modern society. Over 60 color illustrations of works of art - paintings, drawings, photographs, video, mixed media, installations. Illustrated artists include: Cindy Sherman, Faith Ringgold, Kiki Smith, Hannah Wilke, Kerry James Marshall, Orlan, Martha Rosler, Jenny Holzer, Barbara Kruger, Mark Dion, Zoe Leonard, Gran Furry, Jean Dunning, Nan Goldin, and other artists. Includes timeline, exhibit checklist and bibliography. Published by Washington University Gallery of Art, St. Louis and Kemper Art Museum, Kansas City. 2004.

Inside Out Loud: Visualizing Women's Health in Contemporary Art

Mileaf, Janine

History & Criticism

Models and Prototypes is the first exhibition in the Focus series, a collection-based series of publications and exhibitions intended to examine significant works from the Mildred Lane Kemper Art Museum's collection within the context of contemporary discourses. As a preparatory step, models have always occupied a special place in the context of artistic production. This changed in the twentieth century when many artists set out to redefine the parameters of art and artistic production. With new artistic objectives, structural and conceptual models emerged as complete and viable works of art in and of themselves. Beginning in the 1910s, the model – conceived as a system defined by a set of rules – became increasingly important, as did boxes, model-scale display cases, and architectural maquettes. Marcel Duchamp and many Conceptual artists of the 1960s radically challenged existing definitions of the artwork with the help of structural and conceptual models and the emergence of  an emphasis on multiples. The centrality of models for contemporary artists, many of whom are also interested in social and historical issues, presses the question of why they became and remain such a compelling subject and tool. Models and Prototypes includes artwork by Mark Bennett, Joseph Beuys, Daniel Buren, Thomas Demand, Marcel Duchamp, Isa Genzken, Jenny Holzer, Wassily Kandinsky, Claus Oldenburg, Edward Ruscha, and Katrin Sigurdadottir, among others. Essay by curator Catharina Manchanda, Ph.D., Mildred Lane Kemper Art Museum.

Models and Prototypes (Volume 1) (Focus Series)

Manchanda, Catharina

[Grid < > Matrix] is the first publication in the Screen Arts and New Media Aesthetics series, a series of exhibitions and publications that explore the interpenetration of different screens of representation in contemporary culture—from the canvas to the computer terminal, the cinema to the television set, the video monitor to the museum wall, the book page to the cell phone display. This series probes the aesthetic uses and historical dimensions of contemporary screen culture and sheds light on how different artists make use of newer media and technologies, how the rise of the digital impacts dominant codes of art, culture, and experience, and how today’s screens open alternate windows on the past, present, and future. [Grid < > Matrix] traces two different but closely related modes oforganizing the visible world and its aesthetic representations. In analog cultures, the notion of the grid empowers the production of images that claim universal authority. Most often static in nature, grid-like structures, spaces, and images approach the viewer as immediately recognizable and hence devoid of unwanted surprises. Digitally-based matrices, by way of contrast, set the modernist grid into motion. They have the ability to catalyze visual expressions and experiences that, in spite of their algorithmic foundations, aim at open-ended and often unpredictable transformation. Grid and matrix, as presented in this exhibition, form a central dialectic of modernist and postmodernist culture. Featuring two essays, one by each of the exhibition curators, the publication's aim is not to tell a story of linear historical progress, but to explore continuities and ruptures between the analog and the digital, between the organizational principles of older and newer media. [Grid < > Matrix] includes artwork by Theo van Doesburg, Laszlo Moholy-Nagy, Piet Mondrian, Agnes Martin, Andy Warhol, John F. Simon, Jr., Andreas Gursky, Albert Oehlen, Jeffrey Shaw, and Julius Popp, among others. Essays by co-curators Sabine Eckmann, Ph.D., director and chief curator at the Mildred Lane Kemper Art Museum, and Lutz Koepnick, Ph.D., professor of German, Film, and Media Studies at Washington University in St. Louis.

[Grid< >Matrix] (Screen Arts and New Media Aesthetics)

Eckmann, Sabine

Koepnick, Lutz P.

Thaddeus Strode’s vibrant large-scale paintings are universes unto themselves: wild mash-ups of California surf and skateboard culture, Zen philosophy, rock music, literature, film, and comic books. Absolutes and Nothings marks the artist’s first major museum show, presented as part of the Mildred Lane Kemper Art Museum’s Contemporary Projects series.  Strode’s images draw on a wealth of motifs inspired by a broad range of sources in popular culture, freely combined with the artist’s own creations. The strength and visual pleasure of Strode’s aesthetic come from his self-reflexive combination of painterly styles and incongruous elements, in which enigmatic texts, phantoms, monsters, and castaways play off one another to produce cryptic—and captivating—fantasies. Including over two dozen full-color images of works from 2001 to the present, as well as essays by Sabine Eckmann, Meredith Malone, and Benjamin Weissman, Absolutes and Nothings is a fascinating premier monograph from one of our most vital and exciting contemporary visual artists.

Thaddeus Strode: Absolutes and Nothings (Volume 1) (Contemporary Projects)

Malone, Meredith

The iconography of war and disaster have shaped the first years of the twenty-first century, both in the United States and throughout the world. On the Margins brings together a culturally diverse group of international artists whose work engages the platitudes associated with troubling themes, while addressing contemporary social and political conditions through a wide spectrum of styles and media. The exhibition aims in part at underscoring the contrast between the realities of disaster and how they are presented—what we see and what we don't see—through the lens of today's media. Created in the past seven years, all of the works included in On the Margins consider the ways in which war and conflict around the world affect—or fail to affect—our everyday life. The roster of contributing artists is diverse and talented: Adel Abidin, Laylah Ali, Paolo Canevari, Enrique Chagoya, Willie Cole, Luis Cruz Azaceta, Willie Doherty, Jane Hammond, Martha Rosler, and Do-Ho Suh. The exhibition was curated by Carmon Colangelo, and the catalog features essays by Eleanor Heartney and Paul Krainak addressing the themes and artworks in the exhibition, as well as an illustrated checklist and full artist biographies.

On the Margins

Heartney, Eleanor

Colangelo, Carmon

Krainak, Paul

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Books by Mildred Lane Kemper Art Museum