Friday, June 11, 2021

Bruno David Gallery: Saturday, 12 June 202`

 OPENING SATURDAY AT BRUNO DAVID GALLERY

Bilingual: Abstract & Figurative (Group Exhibition)

Chris Rubin de la Borbolla: Toxic Love (Window on Forsyth)

Exhibits open Saturday, June 12, 2021. 4-8 pm.
Many artists will be present and available to talk about their work.

Bruno David is pleased to announce a group exhibition by artists from Bruno David Gallery’s roster alongside a selection of established and emerging artists across various media. BILINGUAL: ABSTRACT & FIGURATIVE will present abstract and figurative works in order to showcase parallel theoretical and philosophical concerns. 

Bruno David Gallery
7513 Forsyth Boulevard
St. Louis, MO 63105

Wednesday, June 02, 2021

William Shearburn Gallery: Thursday, 10 July 2021


 Acrylic on found onion skin letterhead, 11x8½ 

KIT KEITH: I LIVE ALONE
June 10 - July 16, 2021
Reception for the Artist, Thursday, June 10, 5:30 - 7:30 pm

William Shearburn Gallery is pleased to present an exhibition of new works on paper by Kit Keith. This exhibition consists of over 50 female portraits, each one painted on found onion skin letterhead and created over a few months’ time during the pandemic. Each portrait is reflective of the artist’s disposition on the day on which it was created.  Whether happiness, angst, relief, contentment, frustration, anger, joy or loneliness, each portrait conveys in itself, a feeling.

William Shearburn Gallery
665 S. Skinker Blvd.
St. Louis, MO 63105
314.367.8020
info@shearburngallery.com
www.shearburngallery.com 

Saturday, March 06, 2021

Bruno David Gallery: Saturday, 27 march 2021

LESLIE LASKEY: Then & Now
SARA GHAZI ASADOLLAHI: Gummies Tame Stones
SARA GHAZI ASADOLLAHI: Cast (Media Room)
HEATHER BENNETT Blueprint Kit for Lilly (Window on Forsyth)
Exhibition Dates: March 27 – May 29, 2021

Opening Reception will be Saturday, March 27th, from 3 to 8 pm (No appointment necessary.) To maintain safety standards and social distancing, masks will be required, and a reduced number of attendees will be allowed in the gallery at one time. Free indoor parking. 

Then & Now, an exhibition by Leslie Laskey. Laskey, who is 100 this year, has the ability to create and inspire, as well as challenge and amuse become ever more apparent with each exhibition. 

Gummies Tame Stones, an exhibition of new paintings by Sara Ghazi Asadollahi. “Alienation” is defined as "a withdrawing or separation of a person or a person's affections from an object or position of former attachment;" a detachment from the origin yet connected to it through invisible bonds, formally or conceptually. This body of work Gummies Tame Stones considers the concept of alienation and the dynamic between alienated objects and figures in empty spaces. Empty and abandoned spaces play a significant role in her work. Referencing an "original world," empty spaces provide a detachment from time and space and highlight the relationship between the objects within. The architectural forms in these paintings are painted from the sculpture pieces (made of cement and plexiglass) inspired by bunkers and abandoned places. Detached from their source, they represent fragments that simultaneously belong to the world of their origin and are torn from the real object of the derived milieu. Alienation could happen in different stages of life due to some internal or external changes, a separation from self, family, society, or community. Whatever the reason, it creates a pause in the status quo and leaves a void in the psyche. The void which opens a space for the alienated objects to challenge, embrace and deal with the estrangement. The gap is created to be filled with the representation of fragments, vacillating between a passage to the future and a world of fetishes.

Blueprint Kit for Lilly by Heather Bennett is an installation in the gallery’s vitrine space, WINDOW ON FORSYTH (Downtown Clayton, viewable 24/7). Photographic images have traditionally depicted space, revealing people and objects, they are the stuff of illusion. They are also things. At the intersection of these identities is a kind of gooey vacillation as we look at and through a photographic image in contemporary culture. This work seems to depict exactly what the series title, Photos of Gifts, describes, however, objects are often wrapped with magazine images complicating illusionistic space, as well as, obscuring object identities. Women acting as objects for magazine advertisements are subtly transformed here to the focused subjects of the images only to then be flattened, inextricable from the object portrait, as they are wrapped around that object and tied with a bow. The subject/ object reversal of the female form gets a sea-sickening treatment. The small act of wrapping a gift becomes a potent metaphor, exploding within its supposedly quiet, often assumed to be feminine place. In this window installation, a candied vacuousness is implied, even embraced. Glossy lips and curled pink ribbons float over a dusky pink carpet mimicking a cloying set for Teen Vogue. We don’t expect to find the critical here playing precocious as it winks and sways and just barely, gazes back.

Cast, a video work by Sara Ghazi Asadollahi, examines chance and accident. It indicates a rule in video games in which the world is not fully programmed, and the background is not an accessible part of the game, unless there is a connection to the next move/stage. The set design in the video was created using a painting and a sculpture by Sara Ghazi Asadollahi. Both came from her last body of work exploring the concept of ruins and abandoned places in a dystopian science fiction mode. Following the video games rule above, abandoned places featured a similar function in relation to the world: while still a part of the world, they have lost their original function. Like a sleeping monster, they are hiding in the background of the world as if waiting to be provoked by an accident to return to a banal cycle of the world.

Public Hours Tuesday-Saturday 11-5 pm, and by appointment. Closed Sundays and Mondays.

Bruno David Gallery
7513 Forsyth Boulevard
Saint Louis, MO 63105
info@brunodavidgallery.com
https://www.brunodavidgallery.com
https://www.artsy.net/bruno-david-gallery
314.696.2377

Thursday, February 25, 2021

Sheldon ARt Galleryies: Friday, 5 March 2021


 

Friday, January 15, 2021

Bruno David Gallery: 30 January 2021

 

Upcoming exhibition at Bruno David Gallery open Saturday, January 30, 2021

Bruno-David-Gallery
UPCOMING EXHIBITIONS
Opening day, Saturday, January 30, 2021

The gallery will host an all-day, limited-capacity opening reception with the artists on Saturday, January 30 from 2 to 8 pm that adheres to state COVID-19 safety guidelines

BUZZ SPECTOR Paper made and unmade
CHARLES SCHWALL Sea Lover
LESLIE LASKEY Snow Cluster (Window on Forsyth)
CHRIS KAHLER Proximity
Saint Louis Story Stitchers Artists Collective WADE (Media Room)
BLANC / WHITE: Group exhibition with Bunny Burson, Judy Child, Jill Downen, Arny Nadler

Read more on the exhibitions at ARTSY >>

Thursday, December 17, 2020

Bruno David Gallery: Saturday, 30 January 2021

 BUZZ SPECTOR: Paper made and unmade
CHARLES SCHWALL: Sea Lover
Saint Louis Story Stitchers Artists Collective WADE: Media Room
Exhibition Dates: January 30 – March 13, 2021

Due to the pandemic, the Opening Reception will be Saturday, January 30th, from 2 to 8 pm.

This new exhibit at Bruno David Gallery, brings together Buzz Spector’s torn paper works from the 1990s, including the series, Painting, and selected Author works, with recent works of handmade paper produced at three studios over the past three years; Megan Singleton in St. Louis, Helen Frederick in Silver Springs, MD, and Joan Hall in Jamestown, RI. The handmade paper works have not previously been exhibited.

Sea Lover is an exhibition by Kansas City-based artistCharles Schwall. It is an exploration of two material languages, paint and textiles; the exhibition is comprised of large canvas paintings and sewn fabric appliqué pieces. By placing these two material languages (two material bodies of knowledge) in conversation with one another, the work investigates concepts of surface, gendered space, fluidity, and overall softness. The aesthetic trajectory in the work is one of openness, growth, the expansion of organic systems, and morphology. The conversation between paint and textiles occurs in various ways, such as painted forms that depict cloth, pattern, and textiles; use and reference of the vocabulary of sewing, such as folding and creasing, seaming, tucks, and pleats; and a semi-transparent use color, similar to a veil of fabric, in that it simultaneously hides and reveals. Many of the works also explore fabric’s innate water-like quality, such as the way cloth moves, ruffles, and twists in space. The title of the Sea Lover exhibition is inspired by concepts from French philosopher Luce Irigaray, who explores the complex, and sometimes controversial, relationship that exists between the feminine and the fluid. In this sense, the Sea Lover exhibition interrogates and critiques modernist structures through the point of view of water. In the paintings, organic forms break open, spill forward, and emerge from either the center or the outside edge of the picture plane. Shapes and patterns break free and/or split apart; fold inward and/or wrap around; and open in ways that evoke the growth or birth process. There is interaction of various parts, yet emptiness remains central to the picture plane of each canvas. The work seeks to create places of openness, of a relation to the other; a generative place where birth and rebirth can continuously prevail. Through these visual actions, the works embody a womb-space, a gendered space that reveals possibilities of multiple states of transition.

Saint Louis Story Stitchers Artists Collective creates original works of art through a collaborative process. Through non-violent collective action, artists work with 16-24-year-old urban youth to create systemic social change. Story Stitchers collect local stories, reframe, and retell them through art, writing and performance to promote understanding, civic pride, intergenerational relationships, and literacy. The video WADE in the Media Room comments on the history, endurance, and fellowship of St. Louis’s African American citizens. The purpose for all Story Stitchers programs is to promote a better educated, more peaceful and caring region through storytelling. A core creative group of professional artists and African American youth generate original work through a unique form of “urban storytelling” that includes hip hop, spoken word, photography and videography and disseminate new works through public presentations and performances. The Collective’s body of work focuses on gun violence prevention and topics related to public health issues including education on safe practices during the Covid-19 pandemic. Story Stitchers’ programs are driven by the interests and concerns of low-income, black youth and as a result have focused on gun violence since 2014. Gun violence is a pressing public health crisis that consumes the attention of the engaged youth. Youth can work through their pain and loss and be a force multiplier, impacting families, schools and neighborhoods. Saint Louis Story Stitchers Artists Collective piece WADE is a work from the multi-year project entitled, The WHY of MY City. The WHY of MY City captures and documents black history through written word and art and gives audiences insight into neighbors’ lives. (5:48 minutes, one-channel color video with sound)

Public Hours Tuesday - Friday 11 - 6 pm, Saturday 11 - 5 pm and open by appointment. Closed Sundays and Mondays.

Bruno David Gallery
7513 Forsyth Boulevard
Saint Louis, MO 63105
info@brunodavidgallery.com
brunodavidgallery.com
314.696.2377

Tuesday, October 27, 2020

Bruno David Gallery: Saturday, 31 October 2020


You Are Invited...to the Opening Day, October 31 from 2 to 7 pm

Arny Nadler at Bruno David Gallery

Douglass Freed at Bruno David Gallery

Van McEllwee at Bruno David Gallery

Patricia Olynyk at Bruno David Gallery
Visit the Exhibitions online

Opening Day: Saturday, October 31, 2020. 2-7 pm

In order to maintain safety standards and social distancing, masks will be required, and a reduced number of attendees will be allowed in the gallery at one time during the opening. No reservation needed.

Admission to the gallery is free, safe, and always open to all.
Free indoor parking Directions


Contact us  |  Visit our website  |  About Bruno David Gallery  |  About Bruno David Gallery Publications

Bruno David Gallery - Clayton
7513 Forsyth Boulevard | Saint Louis | Missouri  | 63105 | 1-314-696-2377
Public Hours: Tuesday-Friday: 11 AM-6 PM - Saturday: 11-5 PM


Friday, October 09, 2020

Sheldon Art Galleries: Friday, 6 November 2020

 

Join the Sheldon Art Galleries for a free public gallery opening on November 6, noon - 9 p.m. Visit The Sheldon.org/events/fallopening and reserve your spot!

Friday, September 04, 2020

Bruno David Gallery: Saturday, 12 September 2020

Saturday, September 12, 2020. Noon-6 pm

William Morris

MICHAEL BYRON: The Wheel of Fortune & How to Build a Ghost
WILLIAM MORRIS: The Protest Project (Media Room)
PATRICIA OLYNYK: Oculus (Window on Forsyth)
CHRIS KAHLER: SHIFT

Fall Hours: Tuesday-Friday: 11 AM-6 PM - Saturday: 11-5 PM
Admission to the gallery is free, safe, and open to all!

Bruno David Gallery
7513 Forsyth Boulevard
St. Louis, MO 63105
info@brunodavidgallery.com
http://www.brunodavidgallery.com

Monday, April 13, 2020

May Gallery Juried Show: Deadline 9 May 2020

Annual Juried Photography Exhibition
ONLINE

© David James

DOWNLOAD THE CALL FOR WORK HERE


(Deadline 9 May 2020)

Duane Reed Gallery: Friday,17 April 2020 (VIRTUAL)


Duane Reed Gallery presents
CeramATTACK III: Delicate Multiplex
Curated by Lindsay Pichaske



Join us for our Virtual Opening Reception
  on April 17th @
duanereedgallery.com
IG: @reedgallery
FB: @duanereedgallery
https://www.artsy.net/duane-reed-gallery

4729 McPherson Ave
Saint Louis MO 63108
info@duanereedgallery.com
314-361-4100.
duanereedgallery.com


Thursday, March 12, 2020

Green Door art gallery: Friday, 20 March 2020

Opening Reception canceled.

Diane Reising, Cold Wax

The artists of Green Door art gallery invite you to the opening reception of our newest exhibit.

"Texture Pattern Color"
March 4 - April 30
Featuring Guest Artists Diane Reising, Katherine Alexander and Gateway Pastel Artists

Opening Reception canceled.

Thanks for your understanding. We are taking extra precautions with frequent disinfecting of all  commonly touched surfaces.

21 North Gore
Webster Groves, Missouri 63119
314-202-4071
www.greendoorartgallery.com

Friday, February 28, 2020

SLUMA: Friday, 6 March 2020


Leon Bronstein: Between The Fantastic And The Real
OPENING RECEPTION Friday, March 6  5-8 PM

The exhibition, Leon Bronstein: Between the Fantastic and the Real, shows the range and the evolution of Leon Bronstein’s work throughout more than 40-year career as a sculptor. From the humble beginning of carving in olive wood for tourists in Israel, to a successful career as an internationally recognized artist that now works with 3D computer modeling to design monumental sculpture for art in public spaces.  The exhibition includes sculptures in olive wood, bronze and aluminum, and drawings that inform the viewer about the process of creating his sculpture. The exhibition also focuses on Bronstein’s process of developing and executing the site-specific sculpture All You Need Is Love, which will be installed in the Grand Center Arts District.


MUSEUM HOURS 11 am-4 pm, Wednesday- Sunday

The Saint Louis University Museum of Art
3663 Lindell Blvd.
St. Louis, MO 63108

Friday, February 14, 2020

Galleries at Flo Valley: Thursday, 26 March 2020


Katherine Simóne Reynolds
“a Different Kind of Tender”
Reception March 26, 2020 at 6 PM – 8 PM
Exhibition Date: 2/24 - 4/4, 2020

Katherine Simóne Reynolds’ practice is working in emotional dialects and psychogeographies of Blackness the “non”, and the importance of “anti-excellence”. Her work tries to physicalize emotions and experiences by constructing pieces that include portrait photography, video works, and choreography. In the process of making subtle changes to her practice she has learned that creating an environment built on intention brings the most disarming feelings to her work. Utilizing the Black body and her own personal narrative as a place of departure has made her question her own navigation of ownership, inclusion, and authenticity within a contemporary gaze. She draws inspiration from Black glamour, the Black athlete, and the Church. Her practice generally deals in Blackness from her own perspective.

Gallery Hours Monday - Friday, 10 am-4 pm, Saturday 10 am-3 pm

Contemporary Gallery
IR building
St. Louis Community College - Florissant Valley
3400 Pershall Rd
St. Louis, Missouri 63135




Saturday, February 08, 2020

Sheldon Art Galleries: Friday, 14 February 2020

The Sheldon Art GalleriesInvite You to the Opening of Five New Exhibitions

Friday, February 14 from 5 – 7 p.m.
Sheldon members receive complimentary beer, wine and soda with membership card

Sun Smith-Forêt: Riverwork Project
Bellwether Gallery of St. Louis Artists

Mississippi River Views
Gallery of Photography

Principal Perspectives: The Work of Phil Durham
Bernoudy Gallery of Architecture
The exhibition is co-organized with Washington University, and made possible by The Gateway Foundation 
East Side Renaissance
AT&T Gallery of Children’s Art

Benjamin Pierce: Fairgrounds
The Nancy Spirtas Kranzberg Gallery

On Going:
St. Louis, A Musical Gateway: Africa
Gallery of Music
The exhibition is made possible in part by Dr. Aurelia & Jeffrey Hartenberger

The Sheldon Art Galleries
3648 Washington Boulevard, St. Louis, MO 63108
314.533.9900

Thursday, February 06, 2020

Arcade Contemporary Art Projects: Friday, 28 February 2020

Alexandra Arshanskaya: Spatial Exploration Through Line

Friday, February 28, 6 – 8 PM

Alexandra Arshanskaya’s study reconditions the venerable interior storefront window cases of the Historic Arcade Building as the home for her considerations of the concept of spatial perception as closely associated with time, manifest as murals. She explores the space as movement in time. To give shape to this aspect of “experienced” space, Arshanskaya expands her art practice with live performances. Live music broad- ens the experience of space and time for the audience. Picture, sound and space together become one single act.

Arcade Contemporary Art Projects

Webster University Gateway Campus
812 Olive Street

St. Louis, Missouri 63101


Bruno David Gallery: Saturday, 29 February 2020

JAMES AUSTIN MURRAY: Fusing Time
TOM REED: this is the before
RICHARD HULL: Painting and Drawing
PATRICIA OLYNYK: The Mutable Archive
FRANK SCHWAIGER: SYZYGY-when heavenly bodies align
CHRISTINA SHMIGEL Window on Forsyth: In Our Town

Opening Reception Saturday, February 29. 6-8 pm
February 29 – April 18, 2020

James Austin Murray writes, “These are both a continuation of the works I’ve focused on over the last several years, and a fusion of work I had begun in my late 20’s. Reaching back in time to older work is something I felt would happen when I had begun this work so many years ago. Every so often, the artwork revisits an old path, stemming from a previous impulse. This bridging of old and new characteristics in my art and history makes connections that are both satisfying and revelatory. These paintings are about paint, objecthood, and, although these are not sculpture, their relief aspects take that direction. Where this work ends is still a mystery to me, and finding myself in this uncertain territory is most invigorating.” As a NYC firefighter during the September 11th attack in New York City, Murray paints on how his life was informed following the atrocity of that day. His current work is both about the paint and the light reflected on and within it. Murray states, “Sometimes the dark is where you find the best surprises.”

Richard Hull’s paintings fill their canvases with large swathes of color; blocks of opaque hues are overlaid with sweeping brushstrokes clustered together that function like non-transient ripples on the water, as rings within a tree, or of grooves on a record player as the latter description evokes the same feelings of growth that Hull’s painterly gestures achieve. The comparison describes the texture of thick paint upon the canvas some of the patterns, and the liveliness of the purposeful irregularities within Hull’s stroke.

The river is continually referred to in Tom Reed’s work. Once a symbol of time and change in his paintings, it now has become a collaborative partner. Reed spends days and hours on the river fly fishing. Mementos of this time on the river, beaver chewed sticks, logs, arrowheads, and junk, slowly began making their way into the studio and eventually into the work. Over time they formed a bridge between the river and the creative output in the studio. In this current exhibition, this is the before, Reed combines painted landscapes with small, wooden sculptures in the form of trail markers dotting a hiking trail. The largest, an arrow, reads simply Before. The word is both a warning and an invitation to view any ordinary present-day moment through the eyes of a time-traveler from the future. What would you change if you could go back in time, it asks? What if you are there right now?

The Mutable Archive is a video work by Patricia Olynyk. The Mutable Archive is a multi-layered performance video project that interrogates the lives of those housed in a special archive split between two continents. Who speaks for those who are lost, particularly in the absence of verifiable archival material? Olynyk photographed an inventory of human specimens collected by a 19th-century Viennese anatomist, Dr. Josef Hyrtl. Nine commissioned writers have each produced a speculative biography about a chosen subject in Hyrtl’s collection. Each performed script, a 4K cinematic video, interrogates the mechanics of storytelling and the roles of assumption and subjectivity in science. Each vignette is edited into a richly textured video performance, which is projected sequentially.

Frank Schwaiger’s new sculptures took years to complete. All of them reflect Frank’s passion for stonework: “I am a stone carver,” he says. “It’s what I was put here to do.” He sees his work in the ancient tradition of sculpture created not as art but as “transmission objects” embodying the human desire to “reach and control the beyond, the impossible-to-understand”. In his artist’ past statement, Frank writes, “We make things with our hands - that unique ability makes us human, and even more amazingly, earns us an awareness of our spirit. All art is riven with this quest for who we are. The root of my iconography can be traced back, like Paul Klee's, to 17th century Bavarian folk art and the making of things with the hand. That is who I am.”

A landscape of rural water towers fills Bruno David Gallery’s Window on Forsyth. Christina Shmigel presents a new series of sculptures based on an iconic image of the American landscape, the water tower. Whether adorning a building in NYC or marking a town along an interstate highway, the water tower has a strong hold on the collective imagination of Americans. As it stands alone in the distance, the tower speaks to a traveler’s sense of loneliness, to a sense of the stranger-passing-through. The water tower also announces the existence of a community and marks a place of settlement.

Public Hours Tuesday - Friday 11 - 6 pm, Saturday 11 - 5 pm and open by appointment. Closed Sundays and Mondays.

Bruno David Gallery
513 Forsyth Boulevard
Saint Louis, MO 63105 (free parking)
314.696.2377