TheBirdsAtThisHour Pt. 2

Inspired by police in helicopters, speeding sirens, alley cat fights, romantic transitions, brick crumbs, dawn, disgust, the illusion of love, the actual marriage of delicate and rugged, hermits, smoke and mold.

The intimate Millitzer Gallery is a homecoming of sorts. It will be Chisholm’s first solo art show on the South Side since 2013.

Free to the public – showing til Nov 27
≈≈≈≈≈≈≈≈≈≈≈ About 18aC ≈≈≈≈≈≈≈≈≈≈≈≈≈≈
He’s a pillar.
≈≈≈≈≈≈≈≈≈≈≈ About T.B.A.T.H. ≈≈≈≈≈≈≈≈≈≈≈≈
Stemming from late night improv sessions and sonic experiments, TheBirdsAtThisHour is a brooding, paranoia induced, sultry, culmination of tracks collaged from collaborative and isolated recordings at Chisholm’s home studio. Built from the mutated moments of analog gear, acoustic instruments, drum machines, electronic tinged vocals, guest players and ghosts in the air.

Driven by session with Sarah Vie, Patrick Boland, Barret Crosby, Dolor, Biggie Stardust, Mike Herr, Kullus, Loose Screwz, Brennan England, Blk Bdy Heat and Ice

Not an album, just a chunk 2016’s activity and experiments.

Pt.1 / Live Premiere / The Luminary / Oct 8th
Pt.2 / Illustration Exhibit / The Millitzer / Nov 4th
Pt. 3 / Release Party / Screwed Studio / Dec 9th

Their Way: Group photography exhibition curated by Kahlil Irving

Exhibition Statement by Kahlil Irving:

“Their way“ elaborates on the creation of the photograph and how the artists challenge how we see vulnerability, strength, and the figure. Using the click of a button to capture a second in time is difficult; the exhibition brings together artworks that use illusion to tell an emotional narratives.

We all have bodies, which lens do we see them through? What is available or unattainable? How do we view the body in and out of our control? Celebrating life, looking inward, outward gestures of seeing, protests — are all themes that are being employed in these works. What is the difference between the public self and the private self? Some people guard themselves with power suits. Other people reflect and capture portraits to tell narratives of our realities in 2016.

The selected works on view range from portraits, body shots, and full figure images. Within the Millitzer Gallery, which is a South Side Saint Louis domestic space, the viewer will look into the private space of ones used to be home. They will see a place within a place that is present or past. From a sitter in the photograph, to the photographer using themselves as the sitter, even an image of an object that represents a challenge or over coming.

“Their Way“ is an exhibition comprised of artists from many backgrounds, ages, and places in their practice. Artists – Jen Everett, Chloe West, Ariadne Fish, Sheena Rose, and Kat Reynolds are powerful!”

Lauren Marx: Totem

Juxtapoz Magazine on the work of Lauren Marx:

“Lauren Marx exhibits remarkable talent and clarity of vision. Lauren connects the animal world to the cosmos: ‘I want the viewer to see the mammals as god-like representations of galaxies, nebulae, super massive black holes, flux ropes, and the like. The birds represent stars and space debris formed by the Universe.’ This strange universe made of decaying animals is in a constant state of flux, where degeneration gives way to a grotesque kind of growth. Marx cites Walton Ford, Caitlin Hackett, Mike Shinoda, and Edward Gorey amongst her artistic influences.”

Peter Pranschke: Homemade Twinkies and Other Recipes from the Midwestern Region

Perhaps the most celebrated snack cake of all time, the Twinkie, has become an instantly recognizable cultural icon synonymous with pleasure, excess and unsophisticated amusement. Hostess Brands, the maker of the commercially processed cream filled sponge cake, suspended its production on November 21, 2012 during bankruptcy proceedings. For several weeks Twinkies disappeared from store shelves in the United States and did not become available again until July 15, 2013.

Peter Pranschke holds a BFA in painting from the University of Missouri – St. Louis. He has exhibited extensively at artist-run and alternative art spaces through out St. Louis, including solo shows at Maps Contemporary Art Space, PSTL and Museum Blue as well as group shows at Boots Contemporary Art Space, Snowflake and Los Caminos. A book of his drawings titled “Watch Out: This Might Hurt!!!” was published by Fort Gondo Compound for the Arts earlier this year.

There will be an opening reception for “Homemade Twinkies and Other Recipes from the Midwestern Region” on Saturday April 30th from 7-10pm, and the exhibition will be on view by appointment through May.

Telegraph: Steph Zimmerman and Tuan Nguyen

The Millitzer welcomes a conversation between the work of two artists that address questions of material expectation. Tuan Nguyen (b. 1972, Vietnam) and Steph Zimmerman (b. 1990, US) perform similar tasks of masking to different ends. Nguyen’s use of pigment, wood and gesso disguise any straightforward notion of process or product in the contexts of painting or sculpture. Zimmerman’s objects bear the mark of household fixtures, having apparent functionality, though their use remains quite unclear. With both practices, the presence of shelves, pedestals, walls and mark making provide all the ingredients for conventional understanding, but recognition has been upended by a process of othering materials and their formal applications.

Tuan Nguyen is a painter, sculptor and Director of Education at the Contemporary Art Museum St. Louis. His artwork has been exhibited nationally in venues in Los Angeles, CA; New York, NY; Seattle, WA and St. Louis. Nguyen received his MFA from the University of Washington in Seattle, WA. Born in Vietnam and raised in Rockledge, FL, Nguyen currently lives and works in St. Louis.

Steph Zimmerman is an artist living and working in St. Louis. She has a BFA in Digital Media and Photography from Washington University in St. Louis. She has exhibited nationally and internationally, and has attended residencies at The Vermont Studio Center, Johnson, Vermont, and Arteles Creative Center, Haukijärvi, Finland.

Evan Smith: Here. Now. Later

The ethereal worlds of light and color that are hidden within each object play against the physicality of the gallery, and influence the psychological experience of the architectural space that contains them. Smith’s work questions whether these cloistered realms of contemplation should be privileged, or if such moments of stillness should be routine within our lives.

Boo – New Works by Ryan Doyle

Returning from Baltimore to study at WashU was a sort of homecoming for the artist who was born and raised in North St.Louis County. The racially charged environment of North County and the psychologically charged space of his childhood home has fueled his investigations of perception, making, and meaning.

Doyle creates paintings, objects, and constructions, which together form fluid webs of memory, experience, and personal narrative. Each piece is a marker, a biographical trace of his home, its walls, and the town outside of them. A palpable psychological charge—shaped by memory, racism, and perception—becomes a fixture of these spaces. Within the process of making Doyle is continually developing an embodied understanding of the events that charge his surroundings. This presence is translated into painted surfaces that conjure corporeal sensations of touch and matter. The alluring, nuanced surfaces of the paintings are greatly influenced by their environment. Taking on conditions, they begin to participate, slowly releasing their secrets.

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