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Marking Time: Willie Birch’s The Roofers
Willie Birch, The Roofers, 2022, triptych, 84 x 60 inches [© Willie Birch; courtesy of the artist] The figures in...
Judie Bamber
For the uninitiated, approaching Judie Bamber’s work in the Richard Telles Gallery this summer might innocently begin as a contemplation...
Art and the Thinking Machine: Coded: Art Enters the Computer Age, 1952-1982
One of the first appearances of digital computers before a mass US audience (and a global one) in the early...
Making Time: Mildred Thompson’s Magnetic Fields
Color, line, form move toward an undefined but perceived center—by moving out of it. Density builds, decimates, then replenishes. There’s...
Insisting on Resisting : Counterpublic 2023
St. Louis, home of the Gateway Arch at the confluence of the Missouri and Mississippi rivers. Emblem of Manifest Destiny....
Amalia Amaki/Liz Hampton
When the Feminist Women’s Health Center expanded, a library of books and video tapes on women’s health issues was made...
Carolyn Lazard: Long Take
The dancer is not present In a dark room, a white spotlight hits a vacant dance floor. Three channels of...
Arrested Childhood
For those who have forgotten the savage inner child, or the fierce manipulation of socialization and growing up, “Arrested Childhood”...
Maria Artemis and Eleanor Hovda: Labyrinths
“Labyrinths,” a multi-media installation by Maria Artemis and Eleanor Hovda, was created to raise awareness of the ways in which...