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rubine

If you tried to give rock and roll another name, you might call it ‘Chuck Berry.’”— John LennonSt. Louis sculptor Harry Weber knocks the dust off of his latest creation, a statue of Rock and Roll artist Chuck Berry. Weber plans installation on July 29, 2011 on the North side of Delmar across from Blueberry Hill in University City, Missouri, an area where Berry still performs. The statue depicts a young Chuck Berry from the 1950’s.

Chuck Berry was the first person inducted into the Rock & Roll Hall of Fame. His inscription reads: “While no indi-vidual can be said to have invented rock and roll, Chuck Berry comes the closest...”

This project is being spearheaded by Joe Edwards, owner of the land-mark restaurant and music Club, Blueberry Hill and KMOX radio host, Charlie Brennan. Funded through public donations.

3The Arts Live

EDITORSLETTER

Welcome!

WELCOME TO THE 2011 SUMMER EDITION OF THE ARTS LIVE

“The Arts Live” founded in the fall of 2010. Over the past months, we have been working hard improving our web site to provide you with greater access to artists, galleries, art organi-zations, and performing arts. Our goal is championing your arts experience.

Digital media technologies are affecting every aspect of our society, economy and culture. Arts and cultural organizations can now connect with the public in new ways, bringing them into a closer relationship with culture and creating new ways for them to take part.

Mission Statement-“The Arts Live” is a catalyst and supports a dynamic dialogue between artist, artworks, events, galleries, arts organizations, and those who work within, participated in or simply enjoy art.

We appreciate your involvement and support. Joyce Rosen, Founder of “The Arts Live” jrosen@theartslive.com

On-Line Publication

Publisher and Editor Joyce Rosen

Design The Design Company

Sandy Ferrario

Advertising Sales

Digital-Media Direct Sandra Kolde

Photography Marion Noll

Goingoutguide Newsletter sign up to receive

Calendar Submit your event See www.theartslive.com

and click submit event.

Sandy Kolde

Contributing writers Josephs Orr, Joy Beckner, Theresa Gallup, Jenny Dowd, Sharon Bradshaw, Cedar-

hurst , David Arnold, The Art Center Duane Reed, Duane Reed Gallery, and The National Society of Arts &

Letters, Mary E. O’Reilly

Studio VisitsJosephs Orr,Joy Beckner

Theresa GallupJenny Dowd

In Galleries Sharon Bradshaw, Cedarhurst ,

David Arnold, The Art Center, and Duane Reed, Duane Reed Gallery

Web Site: Digital Ninja

Special: The National Society of Arts & Letters,

Mary E. O’ReillySaint Louis University Museum of

Art-Sun Smith-Foret

Published 4 times per year, Spring, Summer, Fall, Winter

The Arts Live 200 South Brentwood,

Ste. 5B, St. Louis, Mo. 63105

Phone: (314).910.0764

e-mail: jrosen@theartslive.comwww.theartslive.com4 The Arts Live

Summer2011 ContentsFEATURES

Studio VisitsThe artist in his studio has been a source of fascination and we are using the internet to connect visitors with the artist’s world. Where the Art Happens

Joseph Orr 6Theresa Gallup 12Joy Beckner 14Jenny Dowd 16

Gallery VisitsThis area is dedicated to galleries I have visited, the review of the space and its exhibitions.

The Art Center- Washington Mo 20Duane Reed Gallery- Central West End, St. Louis, Mo 22Mitchell Museum - Cedarhurst, MT Vernon, Illinois 24

Art Festivals A listing of Festivals that gives you the opportunity to meet and talk one on one with artist, choose from a variety of creative and original works of art. 22

SpecialThe National Society of Arts and Letters 19

IN EVERY ISSUE

Dialog with Us An open forum on contemporary

art and culture.

Performing Arts

Art Festivals

Art Organizations

Cover Joseph OrrSummer’s Edge, 12” x 12”

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STUDIOVISITS

Joseph OrrQ. When did you first realize you were an artistA. “Early on - at some point - I felt I was astute and accomplished as an ‘artist’ but as time passes you realize that you are just a ‘painter’. To be truthful, I feel that in calling yourself a true artist comes only after the years of painting experience, when you can look back on a body of work and see a progression or evolution of that work. Only after years of dedication do you have the knowledge to know the difference between Art and a highly honed ‘craft’ and only then can you deserve the title of Artist.

Q. Description of your artA. “On the surface my paintings are a reflection of my environment, but, actually they each are a puzzle of shapes, color and composition that I have fit together to give the viewer the experience I percieved on that spot and which allows them to escape into ‘my world’.”

Q. A-Current Medium B-Previous Medium A. “Currently I use the acrylic painting medium ap-plied, for the most part, to a tight weave linen canvas.” B. “When I started painting I used watercolor, which I still use for my field sketches.”

Q. Do you have a Favorite Subject Matter A. “Rural landscapes and bodies of water are what piques my creative interest most”.

Q. Have you been Influenced by what artist and how?A. “As every artist I enjoy and seek out the work of accomplished artists and early in my painting journey, as I was learning the basics of producing art, I allowed many artists to influence my technique and direction. This included, of course, the artists who appear in all the renowned art magazines, plus all the usual suspects: the French Impressionists; Winslow

Below: Joseph Orr in studioRight: Wildflowers & Cattage, 12” x 24”

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Homer but also Anthony Allison an artist at Hallmark Cards at the time I started painting, the oil painter, Richard Schmid and an artist from Cape Ann, MA Frederick J. Malhaupt who was actually born in Rockport, MO but traveled to the East Coast and made a strong name as a painter of rural scenes and the Coastline of New England . Now, at this point, I find the confidence in my own creative ability and am free to be myself and am not easily influenced by the work of other artists.”

Q. What inspires and motivates you? A. “Light, color, shapes---and a good, strong cup of coffee.”

Q. How has your work changed as you developed as an artistA. “Probably like most young artists who enjoy the act of moving paint, I use to focus on the application of color and experimenting with painting technique so therefore, had a weak compositional approach. Experience, and probably age, has taught me to seek a more methodical, well plotted result. Feeling that I have a limited time and space left in my art career the need is greater now to make sure that each piece presented is the best I can do.”

Q. What interests do you have besidesA.Travel, which, for me, is easy to be good at, be-cause as a kid, I grew up in a military household so have been doing that all my life. Additionally, ball-room dancing which is not so easy to be good at but I enjoy it and following my favorite sports teams, the MU Tigers and St. Louis Cardinals baseball.

Q. Studio Space where is it and describe your studio what is it likeA. “My wife and I had our studio designed and built with a house around & under it. If painting is your profession and you will spend a lot of your day in there then the studio needs to be the most important part of your environment. My space has north light with plenty of room to move my easel around and not knock over frames or canvases. I have bookcases and research files too. The ceiling is pitched to allow me to put the easel up high enough to comfortably work on a large canvas at eye level. It is located in the tourist area of Lake of the Ozarks in Osage Beach, MO. I wanted to be accessible to people so my studio is on one of the major highways in the area. It seems to work for visibility and so anyone looking for my work can easily find me.

Q. Do you work in your studio every day?A. “Yes, except for days when I’m out delivering work or traveling for new painting material.”

Q. What do you do for fun?A. “Creating projects around the house and studio is fun for me, a kind of escape that still requires cre-ative thought with a different ‘hands-on’ than doing paintings. I also enjoy spending time in the back yard, having dinner with friends and the aforemen-tioned ballroom & latin dancning”. Q. What kind of music do you listen to while creatingA. “While working I listen to a lot of different mu-sic from Willie Nelson to Julio Eglasias but mostly I listen to a rock & roll station from Columbia, Mo - 96.7, or my local Oldies station here in Osage Beach, 102.30

Q. Did your family have an influence on your deci-sion to become an artist’s?A. “Yes. My Dad especially. He advised me NOT to be an artist as He was afraid that he would be fund-ing my endeavors for the rest of his life. But like any kid, I didn’t listen!”

Q. Why does the world need art?A. “Art is the soul of the world. Ever changing attitudes are reflected in all forms of art and artistic expression. There is not one industry that is not touched or influenced by an artist. From the design of a computer to the design on a t-shirt, some artist was involved. AND.... because guys like me need to make a living!”

Birthplace:. “Tokyo, Japan.”Current Home: “Osage Beach, MOPrice Range: “For finished works - from $1,400.00 for small (8”x10) to $30,000.00 for large paintings, (48”x60” or 54”x54”).”website: http://www.josephorr.com

Gallery Representation:Kodner Gallery, 9650 Clayton Road, St. Louis, MO 63124314/993-4477 www.kodnergallery.com

American Legacy Gallery, 5911 Main St., Kansas City, MO 64113816/444-7944 www.americanlegacygallery.com

Manitou Galleries, 123 West Palace Ave AND at 225 Canyon Rd., Santa Fe, NM 87501 505/986-0440 www.manitougalleries.com

Morris & Whiteside Gallery, 220 Cordillo Pkwy, Hil-ton Head Island, SC29928 843/785-2318 www.morris-whiteside.com

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Left: Evening Blues, 20” x 24”

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Above: Gull’s Point, 12” x 24”

Above: Outside The City Limits, 36” x 54”

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Above: Autumn At Indian Creek, 30” x 40”

Above: Longview Beach, 12” x 24”

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STUDIOVISITS

The Arts Live

Theresa Gallup I’m a fiber artist and I make handbags, scarves, hats, neckties and jackets from vintage Japanese kimono. My work is sold in over 100 retail stores and then I participate in about 15 art festivals throughout the mid-west. I’ve been a full-time artist since 1998 when I returned from Japan where I was Dean of Students for a private college in Mi-yazaki. For over 20 years I worked in Higher Education from Iowa State University to Syracuse University. My true passion has always been sewing or anything in the creative field which takes me back to my undergraduate degree in Home Economics where I taught sewing the first two years out of college. I feel like I’ve come full circle. I purchase used kimono in Hawaii, California, over the internet and from local customers who have stashed them away in drawers and never knew what to do with them. The kimono I use have rips, stains and truly were headed for the trash. After carefully taking apart each kimono stitch by stitch I clean them, sometimes I dye the fabric, or cut them for use in a patchwork design. I love the process of combin-ing patterns and colors to form a new textile. The most difficult part of my work is in designing new apparel. To design one garment takes five to maybe ten proto types of trial and error to come up with one that works, this is the most challenging part of my work. Most of my designs are classic in style and accented with sewing details. The details are the exciting part, items like edges finished with piping, garments fully lined, closures accented with beads and most of all combining beautiful kimono fabrics together in some unexpected manner. I’m heavily influenced by high end garment construction detail, their use of embellishments and their use of re-straint – sometimes less is more. I do pay attention to current fashion but I pay more attention to what looks good on the average woman’s body who’s not stick thin or under the age of 20. My studio is in my home. I purchased a home built in the 70’s when a family room and a formal living/dining room were popular. The formal living room is my studio and the dining room adjacent

to is works as a packing center for wholesale orders. The studio has wonderful light and so much room to store my precious kimono fabrics in clear stackable drawers. Recently I counted and I have over 70 drawers full of kimono fabrics. I discovered a label maker so everything is labeled and everything has a place, it just makes work-ing a lot easier. In addition to my sewing studio I have a dye workshop in the garage. The Re-Store with Habitat for Humanity served as my shop-ping location for the sink, cabinets and counter tops. Working with fabric dyes can be dangerous so it was important to keep everything

separate from my kitchen and to have a dedicated space where the dye would never mix with food. The addition of the dye workshop has allowed me to expand my kimono collection, so many of the kimono fabrics are white or stained. To study fabric dyeing I traveled to Gatlinburg, TN and attended two - one week sessions at Arrowmont School of Arts and Crafts. I highly recommend anyone to check out this fabulous resource for learning a new craft related topic (www.arrowmont.org) Now after I’ve described this lovely studio you

would think I’m there every day but unfortunately I’m not. Being an artist is also being a business person which means you spend a lot of your time in the office doing paper work. Usually I work 2-3 hours a day in my office and the rest in the studio. In the evening I enjoy hand sewing projects where I can watch or really listen to a TV show and just unwind. A studio in the home is great but as anyone will tell you it’s difficult to get away from it when it’s so…… close. Website:www.kimonodesign.com Website:www.kimonodesigns.com

Birthplace: St. Louis, MO Current Home: Chesterfield, MO Price Range of your work: $500 - $22,000 Gallery Representatives: Coast to coast in the US, and, in England.

I love the process of combining pat-terns and colors to form a new textile.

Above: Theresa Gallup’s studio

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Above: Joy Beckner in studio Above clockwise from left: All in the Family (a group of handmade minatures, Scott Joplin Miniature Bust, Sweet Roll, Madame C.J. Walker - for the National Cosmetology Association

STUDIOVISITS

Joy BecknerQ. When did you first realize you were an artist A. In the fifth grade while recovering from Rheumatic fever, I had to stay in bed seemingly forever. That is when I started to draw, mostly horses and humans. Q. Description of your art. A. Classical Realism. I enjoy drawing from life, either from hu-mans or more recently my dachshunds. I can work from photos, but for a piece to become the most lifelike, I work from life! Q. A. Current Medium -- Clay or Wax for Bronze. Classical sculp-ture IS after all, thousands of drawings! B. Previous Medium – Oil, conte’ crayon, charcoal. Classical sculpture IS after all, thousands of drawings! Q. Do you have a favorite subject matter?A. My dachshunds, but I also love to sculpt humans. Q. Have you been Influenced by what artist and how? A. I love Rodin’s simple shapes and the animals of Antoine Louis Barye. Q. What inspires and motivates you? A. Beautiful lines; I love subtle curves that come from nature. Q. How has your work changed as you developed as an artist? A. A big challenge was going from human to animal form. Then I realized we are all a variation on a theme. I look at animals and relate their parts to a human and it all makes more sense to me.

Q. What interests do you have besides? A. Taking care of our home, the earth.

Q. Studio Space where is it and describe your studio what is it like? A. My studio is a light filled room that we added to our house

Q. Do you work in your studio every day? A. No, but I take care of business on my computer daily. Q. What do you do for fun? A. Pilates and yoga. I love to create in my garden. Q. What kind of music do you listen to while creating? A. I like new age, classical guitar, latin.

Q. Did your family have an influence on your decision to become an artist’s? A. My parents were supportive, but I will never forget when Mom wanted me to take typing classes because “typists can always get jobs.”

Q. Why does the world need art? A. Persons need release -- art gives them pleasure and peace.

Artists Statement-Joy Kroeger Beckner is inspired by sensuous shapes of skin, bone and muscle. She models clay into classical forms, which are then cast into bronze. She is thrilled to make something move in-the-round bringing smiles, giggles or tears to the eyes of those who see and touch her work. She first showed in a national competition in 1996. Her bronze dachshunds have earned numer-ous awards, including the National Sculpture Society Silver Medal and four Best-in-Shows. Purchase awards have placed her works in public collections, including the American Kennel Club Museum of the Dog. Joy attended Washington University School of Fine Arts in St. Louis, MO.

Birthplace: St. Louis, MOCurrent Home: Chesterfield, MOPrice Range of your work: $500 - $22,000

Gallery Representatives: Coast to coast in the US, and, in England.www.joybeckner.com Email: info@joybeckner.com

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STUDIOVISITS

Jenny DowdQ. When did you first realize you were an artist? A. I’m pretty sure that I’ve always wanted to be an artist, I had a lot of different interests while in school, but by the time I got to college it seemed silly to pretend that I wanted to pursue something other than art. After my first college job of washing dishes, I made a pledge to only hold jobs that had a tie with the arts. I knew that if I wanted to be an artist, then I should understand as many components as possible.

Q. Description of your art: A. My work includes wall tiles, installations, drawings and sculp-tures. I like to work in different ways, depending on the gallery or where I may be showing. Installations are great ways to force people to see spaces in different ways. My sculp-tures, wall pieces and drawings are meant to pull the viewer in to observe the detail, but are not always friendly pieces. A professor once said that my work has “teeth- sometimes literally but always figuratively,” I really like this idea.I am also a potter; I take a lot of local commissions and sell work in a few sales each year.

Q. A. Current Medium: B. Previous MediumA. My first love in art was clay, in high school I learned how to throw on the wheel and felt like it made a lot of sense. My art emphasis dur-ing my undergraduate years was ceramics, but by the time I entered graduate school I felt limited by clay and was craving new materials and techniques. This prompted me to learn a lot about sculpture and fibers and also reawaken my love of drawing. Now I go in phases, sometimes my work calls for a lot of clay, sometimes the only clay in a piece is a small fragment.

Q. Do you have a Favorite Subject Matter? A. I am interested in the objects people collect and the importance they place on these objects.I think that any object that can be viewed as a specimen is interesting. I am also interested in using furniture as a stand-in for the figure. Lately I have been working on conversa-tions and confrontations between furniture pieces. Q. Have you been Influenced by what artist and how? A. Anslem Kiefer and Eva Hesse are always the first to come to mind. Mostly I’m inspired by the sense that their art is/was fueled by a very strong internal passion.

Q. What inspires and motivates you? A. An intense need to question everything around me. I’m usually pretty quiet and don’t have many questions for my peers or situa-tions. My art comes from a deep curiosity for my surrounding and is probably the only way I am able to express the weirdness I see.Q. How has your work changed as you developed as an artist? A. I think I’m seeing a bigger picture with my work now. I’m always thinking ahead, to what’s next? And why?

Q. What interests do you have besides art? A. I am interested in entomology; I collect insects and use some in

my art. I love to read and the subjects are always quite varied. I am also desperately trying to garden, this is a challenge in Zone 4, but it gives me something else to obsess over.

Q. Studio Space where is it and what is it like? A. My studio is in my house. I have turned a small bedroom into my “semi-clean” studio for sewing, surface work, etc. The pottery and clay studio is in the garage as well as the welding area. My husband and I share this garage space, but when I’m working on big projects or have a deadline looming I just take over the whole house.

Q. Do you work in your studio every day? A. Not quite. Due to my 4 day per week job I typically have a 3-day weekend to focus on my studio. I might get a few hours in the evening, but this works best if I plan for something that is repetitive instead of creative.

Q. What do you do for fun? A. My husband and I like to snowshoe and cross-country ski in the winter, hike in the summer. And I like to watch movies.

Q. What kind of music do you listen to while creating A. This varies depending on what I’m doing; sometimes I listen to audio books or NPR talk programs. My music choices can be fairly broad. Right now I’m really into the White Stripes, Dressy Bessy, TV on the Radio, Lykke Li, The Blow and there is nothing better than listening to The Clash while throwing pottery.

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Above: Jenny Dowd’s studio Right: Clockwise top left - Passages 3, Mediator, Rachel, Tooth Page 1, Toothe Page 3, The Boys Take After Their Father

Q. Did your family have an influence on your decision to become an artist’s?A. My parents have always been very supportive of my interests. My mom is an art teacher and my dad is a retired Aeronautical Engi-neer. I have always been inspired by their abilities to create. When I was little I remember being totally amazed at how it seemed like my mom could make anything and my dad could fix everything. They have been fantastic at helping me troubleshoot and engineer solutions.

Q. Why does the world need art?A. Art is such a big subject, visual, literary, performing; I don’t know what anyone would do without it (even food labels would be boring!) Creativity leads to problem solving, I am sad that art pro-

grams are being cut so frequently. Within the big picture art touches everything. I would recommend the documentary on Origami (Be-tween the Folds) to any skeptic about the correlation between visual art, math and problem solving.

Birthplace: Wichita, KSCurrent Home: Alpine, WYPrice Range of your work: Pottery: $10 – 100, Sculpture: $250 - $8,000Gallery Representatives: Pottery: Outback Gallery, Alpine, WYwww.jennydowd.com Email: jennydowd@ymail.com

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Above: Chair with inset photo of detail

he St. Louis Chapter of the National Society of Arts & Letters has presented awards to the winners of its annual competitions. The presentations took place on April 18 at the St. Louis Woman’s Club.

Founded in 1944, the National Society of Arts & Letters (NSAL) is a non-profit organization of arts professionals and supporters who wish to recognize and encourage emerging young artists. The St. Louis Chapter was founded in 1953. NSAL conducts an annual arts competition which rotates among the following disciplines: Visual Arts, Dance, Drama, Literature, Music, Musical Theater. For 2011, the discipline selected was Dance/Choreography: the Art of the Solo. The St. Louis Chapter’s competition took place on Sunday, February 20 at the Center of Creative Arts (COCA). Of the ten competitors, the winners were: Kameron Saunders, $2,000 First Place Prize; Shelby Kardell, $1,000 Second Place Prize; Ebony Bryant, $750 Third Place Prize. The winners again performed their work for the membership at the Woman’s Club before receiving their awards. The Competition Chair was Sally Bliss, former director of the St. Louis Ballet Company. Committee members were El-len Costanza, Jerrie Plegge and Amy Scheers. Winners were selected by judges Carla Maxwell, Artistic Director of the Limon Dance Company, New York; Kirk Peterson, former dancer with and director of the American Ballet Theater, New York, now repetiteur with Antony Tudor Ballet Trust; Adam Sage, former director of the Virginia School of the Arts and the founder-direc-tor of the Missouri Ballet Theatre.

Kameron Saunders will compete with other Chapter win-ners at the May National Conference for scholarship prizes with a value of up to $10,000. He will also have the opportunity to interact there with professionals in the field of dance. Through the Winston Scholarships in Art and Music, NSAL also offers the opportunity for young artists in the fields of Voice and Art to compete for national scholarship awards of as much as $5,000. Students between the ages of 16 and 22 are eligible

and must demonstrate exceptional talent and commit-ment to their art. Local competitions are held, with the winners’ work going on to be judged at the national level. This year’s Chapter winner in Art was Siena Lynn Baldi, a student at Washington University, and in Music, Samantha Nicole Schmid, a student at Webster University. They each received a $250 award from the St. Louis Chapter.The Winston Competition Chair was Miran Halen. The entries for Art were judged by: Paul Ha, Director, the Contemporary Art Museum; Nancy Newman-Rice, Art-

ist and Educator; Linda Green-Metzler, Watercolor Artist. For Music, the judges were: Sarah Bryan Miller, singer and music critic; Ward Stare, Resident Conductor, the St. Louis Symphony; A Dennis Sparger, Music Director and Conductor, the Bach Society of St. Louis. The 2012 Competition will be in Musical Theater. If you know of any young people who would wish to compete, please let them know.

For further information, (such as the eligible age range for that competition) please see: www.nsal-stl.org

NSAL-St. Louis Competition Winners 2011

T

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Left: Miran Halen presenting the Award for Music and Art Winston Scholarships Music - Samantha Nicole Schmid, Webster University - Art - Siena Lynn Baldi, Washington University, Award for Dance/Choreography:- The Art of the Solo: Left to Right Kameron Saunders, First Place Prize; Shelby Kardell, Second Place Prize; Ebony Bryant, Third Place Prize.

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GalleryVISITS

The Art Center GalleryQ. What inspired your interest in art?A. Art was just something that I naturally gravitated to from an early age. My mother was wise enough to pick up on it and make sure that I had the materials needed to pursue that interest. Visits to The St. Louis Art Museum when very young also helped tremendously to captivate me and inspire me to create.

Q. What is the first piece of art you purchased for yourself?The first piece of art I can remember “buying” for myself was an etching by German artist Paul Geissler. He is an artist whom I still collect to this day. His work can be purchased inexpensively. I hope no one catches on until I have bought all I can!

Q. If you could be reborn as a famous artist, who would it be?A. John Singer Sargent.

Q. Are you an artist yourself?A. I am a Graphic Artist/ Illustrator. When I grow up I want to be a real artist!

Q. Why does the world need art? A. Wow, how do you answer a question like this? To me art is human emotion made tangible. One of my favorite quotes by author Katherine Anne Porter I think says it best. “The arts outlive govern-ments and even the societies that create them. They are what we find again when the ruins are cleared away.

Q. If money were no object, which artist’s work would you buy?A. If money were no object who wouldn’t I buy!

Q. Why did you open a gallery in Washington Missouri?A. First reason is Washington is where we live. It’s a great little river town just west of St. Louis. Washington had two galleries at the time, The Gary Lucy Gallery and sculptor Larry Pogue’s Gallery. Both wonderful artists with great gal-leries but focused on an individual. We were hoping to add to that by creating a gallery that represented several other artists with a more diverse blend of types and styles. Being in the art field I know many artists whose work I admire and collect. Many whom we now represent.

Q. What kind of art do you focus on?A. We don’t really focus on one kind of art. Our original intent was to be a place where anyone could find something they liked. From Handcrafted jewelry, turned wood objects, abstract,/contemporary, representational, blown glass, and ceramics to bronze sculptures. I am at a loss to think of anything we don’t carry.

Q. How do you decide who to representA. Even if money were no object, I would still want to buy art froFirst and foremost is we have to like their art. Secondly we try not to have two artists who do the same kind of work. We don’t want our artist competing with each other.

Q. How do you maintain excellent relationships with collectorsA. First by treating them the way that we would like to be treated. Secondly by keeping them informed of what we are doing and of upcoming events/receptions.

Above: The Art Center interiors Gallery and Exterior

Article by David Arnold

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Q. What strategies do you employ to keep your business healthy A. We try and make sure the Gallery is “Fresh”. Moving things around to give it a new look each time someone walks in the door. We also try and make use technology as best we can. We have a website,www.theartcentergallery.com. We also utilize things like Facebook, Twitter , e-newsletters. We try and hold openings/artist receptions to get people to the gallery and actively involved in whats going on there. We also try to host at least one or more fundraisers throughout the year to give back to the community.

Q. How would an aspiring artist get your attention for repre-sentation in your gallery?A. By first visiting the gallery. If after a visit to the gallery they feel that their art would be a good fit then call us to set an appointment to view their work. One of our best selling artists just happened to visit Washington and stopped by the gallery. She like what she saw and asked if she could set up a second visit to show her work. The rest is history.

Q. How does one judge quality is it a know-it-when you see it kind of thingA. I would have to say that pretty well sums it up. You also want to see consistency in the quality of their work. Q. Do you represent American artist and/or local artist at the gallery

A. We really haven’t limited it to Missouri artists but that is primarily who we represent. Q. How economically rewarding is this business?A. We are still in our baby years so economically it isn’t that rewarding. But there is so much more to it than economics. We are hoping that the future will allow that. Right now it’s a labor of love.

Q. What the art scene here really needs?A. We would love to see a few more galleries locate here to Downtown Washington. We are hoping that we can get a Gal-lery walk instituted sometime in the near future.

Q. What’s the greatest challenge of your business.A. I think that the biggest challenge is getting people in to the gal-lery. I am amazed at how many people are intimidated by galleries. The Gallery will be celebrating its 5th anniversary this August. There are still people in Washington who don’t know we are here.

Q. How well does the local media cover art?A. I have to say that the local newspaper, The Washington Missourian, has been so supportive in what we are doing. They have always been there to photograph any openings or events that we have held. And they have been great about run-ning the photos and press releases in the paper.

Above top clockwise : Framing Center, Gallery Front, Jewelery Corner

www.theartcentergallery.com • 636.239.5544

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GalleryVISITS

I took an art class in undergraduate school and thought it would be easy. I realized if I had anything to do with art, it would not be in the making of it! Oddly enough, my interest in visual arts started when I was invited to be on the committee for the chamber music series at the Mitchell Museum 30 years ago. The performing arts, particularly music, had always been my focus and that introduced me to the museum. Having just moved to Mt. Vernon from Los Angeles, I was pleased to find such a high caliber music series and museum in Mt. Vernon, IL. In addition to the chamber music series, my husband and I started attending the exhibition openings at the museum. In an exhibition featuring two Chicago artists, I fell in love with a huge painting of a water scene by Chicago artist, Martyl, who grew up in the artist colony of St. Genevieve, MO. That was our first purchase of art. I volunteered at Mitchell Museum (now called Cedarhurst Center for the Arts) for several years and was the Performing Arts Director

planning and implementing, the music series, dinner theaters, and summer concerts and student programs. I loved working in the arts and returned to school to get my Master’s Degree in Arts Manage-ment. I had hoped to get on staff as the full time Performing Arts Di-rector, but there was no funding for the position. The following year I was invited to become a trustee. In June 1998 the executive director resigned, and I was asked to fill the position. I was not sure I wanted to work full time and said I would take it until another director was found. The position became permanent as that was 13 years ago. Working in the arts and with people is always exciting! The world needs art as it can change the way we see and think. It broadens one’s scope of the potential. It develops creative thinking. Being around art and artists/musicians continues to enrich my life. John R. Mitchell, a businessman and Eleanor R. Mitchell, a physical education and art teacher in Mt. Vernon were well-off, but became wealthy very quickly when the booming oil industry hit southern Illinois. They traveled the world and were avid art collectors for more than three

Cedarhurst Center for the Arts

Article by Sharon Badshaw

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amassed a significant collection of late 19th century, early 20th century American paintings, sculpture, and decorative arts including works by Mary Cassatt, George Bellows, and Thomas Eakins. The creation of a Trust Document resulted in the foundation of a museum next to their home in the midst of open meadows and rolling hills with natural woods as a backdrop on a then eighty-acre estate, called Cedarhurst. The Mitchell Museum opened in November 1973 to house and share their permanent collection. The volunteers called Administrative Counselors saw the need for other activities. That was the beginning of changing exhibitions, a concert series, student programs, and festivals. Although professional staff has grown, the volunteers remain committed to Cedarhurst. Twenty years after the museum opening, volunteers and staff decided a sculpture park would add to the cultural opportunities. A loan program was launched to get more sculpture on the grounds, and the Cedar-hurst Sculpture Park opened in 1995. With programs burgeoning in an over-used gallery, an expan-sion was started in 2006. The over 22,000 square feet added to the Mitchell Museum provides a new gallery for the perma-nent collection, a Family Education Center with year-round interactive programs, and a performance/special events hall accommodating three hundred visitors for concerts, student programs, conferences and other events. The former Admin-

istration Building was expanded and renovated as the new Art Center for classes in painting, weaving, pottery, and other crafts. The renovated Kuenz Schlpture Park added landscaping and pathways allowing for greater accessibility. In the beginning, we had to find artists and musicians to come here, but now they seek us. Although the curator does scour the region for potential exhibitions, artists can find us on the web or send images, bios, etc. The Main Gallery shows regional, national and international work. The Beal Corridor Gallery, a much smaller area, shows local and regional artists’ work. After school programs, sum-mer camps, and classes for all ages are offered at the Shrode Art Center. Cedarhurst exists because of artists and we value that relationship. I believe we have a reputation for being very hospitable to artists, musicians, and crafters. Our volunteers are very involved and enjoy socializing with the artists. The Administrative Counselors and our Board of Trustees are very supportive of programs with time and money. The local media covers Cedarhurst very well.The greatest challenge is always having enough money to provide all the programming needed in this rural area. An ad-ditional that all institutions have is balancing populist exhibi-tions and concerts with more challenging work. www.cedarhurst.org • 618.242.1236

The Arts Live

What is stl250?• stl250 functions as the hub for activities and events commemo-rating the 250th birthday of the founding of the Saint Louis area and will explore ways to commemorate and market the celebra-tion.

What Are the Objectives and Priorities of Marketing?• Creating awareness in the Saint Louis area of our 250th birth-day that underscores the ideals and values of our area • Encouraging various groups and individuals to engage with one another about the area’s past, present and future, and to plan their own events.• The marketing committee will coordinate and collaborate with other stl250 committees to work together to design a year-long calendar of events honoring the past AND commemorating this birthday

What Are The Values Of stl250?• Uncovering the experiences among people and organizations in the Saint Louis area that make us who we are today and who we can be in the future.• Bringing neighborhoods and organizations together in ways that will help people understand who we are and what we can be.• Bridging the boundaries of race, culture, sexual orientation, age, geography, faith communities, and socio-economics.

Who Is the Target Audience?• For engaging participants: The Saint Louis area cultural, arts, educational and civic organizations from the Saint Louis region’s 16 counties..• For attracting audience members: Primarily the Saint Louis area. Secondarily, a more global market.

Who/What Is the Competition?• Other national and regional events competing for audiences throughout the birthday year of 2014.

What is the “Buying” Proposition?AttendeesThis is a once-in-a lifetime opportunity to celebrate our 250th birthday. By participating, I can learn about the stories of other people, neighborhoods, organizations and communities as well as my own. This can help me shape the future.

PerformersThis is a once-in-a-lifetime opportunity to be part of the historic storytelling of the founding of the Saint Louis area. I can encour-age others to participate in recognition of our past and in imagin-ing our potential in the future.

What Is the Tone And Personality of the Organization? • stl250 is warm, inclusive, welcoming, celebratory and ener-getic and is poised toward the future of the Saint Louis area, not just the past. What Is the Positioning of the Organization?• stl250 is the “Master of Ceremonies” for this yearlong com-memoration and will introduce and welcome various performers and players as well as welcome and encourage audiences from a broader area.

For more information and to be a part of the program committee, call Jill McGuire, 314-863-5811 or e-mail Jill at jill@stlrac.org Regional Arts Commission

stl250 Branding and Positioning

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June 3 & 4, 2011 Cancelled Central West End Art & Taste Festival

http://www.thecwe.com • 314.367.2220

June 3, 4, 5,2011 Friday 6-10, Saturday 11-10, Sunday 12-5

Art & Air Webster Groves http://www.artandair.com • 314 968.6500

June 3, 4, 5, 2011 Friday 5-8:30, Saturday 10-8:30, Sunday 11-5

Prairie Village Art Fair, Prairie village, KS, http://www.prairievillageshops.com

June 4, 5, 2011 Saturday 10-7, Sunday 10-4

Art in the Park, Stephens Lake, Columbia, Mo http://www.artinthepark.missouri.org • 573.443.8838

September 2, 3, 4, 2011 Friday, Saturday, Sunday

The Art Fair at Queeny Park, The Greater St. Louis Art Association

www.gslaa.org • 314.889.0433

September 9, 10, 11, 2011 Friday, Saturday, Sunday

The Saint Louis Art Fair, Clayton, Missouri http:///www.saintlouisartfair.com • 314.863.0278

September 10, 11, 2011 Saturday and Sunday 10-5 Admission $5 Cedarhurst Craft Fair, Mt. Vernon Illinois www.cedarhurst.org • 618.242.1236

September 16, 17,18, 2011 Friday 4-9 Saturday 11-9 Sunday 11-5

Mosaics Missouri Festival for the Arts, St. Charles, Missouri http://www.stcharlesmosaics.org • 636.946.3433

September 10- October 29, 2011 Made in Missouri featuring The Best of Missouri Hands artist at The

Frisco Building Silver Dollar City, 399 Silver Dollar City Parkway, Branson, Mo 65616

www.bestofmissourihands.com or http://festivals.bransonsilverdollarcity.com

September 23, 24, 25, 2011 Friday 5-10, Saturday 10-10, Sunday 11-5

Plaza Art Fair Country Club Plaza 79th Annual Kansas City, Missouri

www.countryclubplaza.com/events/plaza-art-fair

October 1, 2, 2011 Saturday 9-5 and Sunday 10-5

Historic Shaw Art Fair St. Louis, Missouri http://www.shawartfair.com • 314.771.3101

June through October, 2011

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GalleryVISITS

Q. What inspired your interest in art?A. I know this sounds a little nerdy, but while most kids were playing kick ball or watching after school specials, I was using art maga-zines and books as flash cards. It was a game to try and remember who did what. Don’t worry, I played sports as well. However, that fascination in the images and imagining myself living in the pictures probably had a lot to do with moving along a path of music, theatre and art. I did have every intention of going to school to be a doctor. It just didn’t work out that way. Q. What is the first piece of art you purchased for yourself?A. I guess that would be an easy question for most people, however, I really can’t remember. Just seems that I was always collecting something, but I can’t recall when art became part of it.

Q. If you could be reborn as a famous artist, who would it be?A. An artist’s life is not easy. Many of the most famous works were completed through angst, sadness and intensely difficult times. It is diffi-cult for someone to present a deep part of himself or herself to be judged. I could not be that strong or stand up to the stress. A lost ear would be the least of my worries. So, I think I would be reborn as a collector.

Q. Are you an artist yourself?A. I am not an artist. I am a follower.

Q. Why does the world need art?A. Art is essential. It is a vital form of expression that is a part of human life. It is what keeps us civilized. I cannot imagine a world without art. It is in everything we look at and experience. It’s what makes society.

Q. If money were no object, which artist’s work would you buy?A. Well, if money were no object then I would still only buy what I like. I am far more intrigued by younger talent than the images that are duplicated in every museum shop. I appreciate them and understand their importance, however, I don’t need to own them. I can visit.

Q. Why did you open a gallery in the Central West End?A. As a long time resident of the West End, I am a big fan. The area is rich in history, architecture, and street life. It is a walking neighborhood with wonderfully eccentric personalities, restaurants and shops. People drop in and tourists stop by. It’s perfect for this gallery and we were fortunate to find this large open space.

Duane Reed Gallery

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Q. What kind of art do you focus on?A. I have always been interested in a wide range of art. I don’t think I could concentrate on one particular medium or style. It doesn’t interest me. I do recognize that it is necessary for me to see the artist’s hand and the high quality of craftsmanship put into the work. Whether it is a painting or an object, it has to be there. All in all, though, I am texture and color driven and it shows. How do you decide whom to represent? First of all, I have to like the work. It helps to also like the artist and know we are on the same page professionally. The representa-tion must be good for both of us in order to work.

Q. How would an aspiring artist get your attention for representation in your gallery?A. I try and go out to see work in other exhibitions. I jury shows and participate in numerous conferences and boards, so I get to see a lot. It’s hard to answer that.

Q. How does one judge quality? Is it a “know it when you see it” kind of thing?A. Yes, you recognize the quality through being informed. Whether you are a dealer, artist, curator or collector- the more you see and experience; the more you learn.

Q. How economically rewarding is this business?A. The reward is not in the financial return.

Q. What does the art scene here really need?A. I would like to see a greater effort in the way galleries work together. I’ve experience Seattle with its first Thursday openings and Kansas City with its first Friday and am stunned with the enthusiasm and turn out at such an event. Galleries coordinate their shows; all open at the same time and market the heck out of it. The result has been an explosion of activity on the streets and a greater awareness of what the city and the gallery’s have to offer. It would be nice if we had something in St. Louis that was similar.

However, I do think St. Louis has an incredibly vibrant art scene. We just need to make sure that everyone knows about it.

Q. What’s the greatest challenge of your business?A. Well, the times are rugged and many in this field have fallen off the map. It is financially challenging. Few are aware of the expenses involved in running a gallery. The curating, exhibition logistics and marketing alone are intimidating and that’s not including staffing and maintaining a space. Surviving this is difficult without the support of the art buying community. So, today my answer is survival. I’d like to think that I bring in wonderful exhibitions that would not be seen here otherwise or, in some cases, few other places in the country. We cannot continue to do that without financial support.

Q. How well does the local media cover art?A. I have maintained some wonderful relationships with those in the me-dia and hope to add more to the list. We have some alented and passionate writers in the community that just need more opportunity to report.

Q. How do you maintain excellent relationships with collectors?A. We have personal relationships with our collectors and do our best to provide them with a rich experience and lots of information. I spend a great deal of time searching out the best type of material we can get and curating exhibitions that hopefully reflect that. Many of my relationships are very long term.

Q. What strategies do you employ to keep your business healthy?A. We maintain a schedule that is diverse and crosses over mediums. We have the ability to do more than one show that can appeal to separate groups, therefore exposing people to a wide variety of infor-mation. The gallery has participated in over 70 international art fairs and will continue to do so, allowing us a much broader audience. This is beneficial in growing the business as well as placing the work. I thoroughly enjoy the whole exercise of strategy. It keeps me young and on my toes.www.duanereedgallery.com • 314.361.4100

Artists are using fabric, beads, sequence and other craft materials to let their inner eccentrics flower. Kay Wood is a well known St. Louis photographer, creating collage series of well known St. Louis sites, she has worked with polaroid transfers, and mixed media. Wood has begun creating 3- dimensional sculptures and has turned to recycled materials and also using sequins, beads and old jewelry.Q. What influenced you to start creating these 3-d sculptures?A. I began creating people sculptures, out of recycled material, wire and paint. They did not have the Pizazz I was looking for. So, I began creating pets to go with the people sculptures. And then, with the pet sculptures, I started having visions of shiny creatures with a distinct personality. My next step was to begin the process of developing these creatures using sequins, paint, and lots of beads, gearing the design to match my vision of the creature. My pet sculptures then took on a life of their own with their own personalities. Q. What is the price range of these wonderful pieces of art works? A.$200- $800Q. Have you given the pieces names? A. Yes, each piece has a distinct name. The whole group is called “Sparkle Plenty Friends.”www.kaywoodart.com • Email: kaywood39@aol.com

Sparkle Plenty! By Artist Kay Wood

Clockwise from top left: Mark Mehlman of MK&C Crescent LLC, art consultant Faith Berger, MK&C Crescent partners Gary Kaplan and Josh Corson, sculptor Gerard Tsutakawa and his wife Judy, and Clayton Mayor Linda Goldstein show off the newly unveiled Uzumaki Curve in front of the Crescent in Clayton. The sculpture is a gift from MK&C Crescent, developer of the Crescent Plaza Neighborhood in Clayton; Two ladies in red stand in front of the draped Uzumaki Curve, waiting to reveal the 12-foot long by 8-foot tall bronze sculpture at the Crescent Plaza Sidewalk Soiree. The piece is internationally recognized sculptor Gerard Tsutakawa’s first instal-lation in the Midwest; Crowd attending; The sculpture is a gift from MK&C Crescent, developer of the Crescent Plaza Neighborhood in Clayton; Uzumaki Curve, sculptor Gerard Tsutakawa’s first Midwest installation, sits in front of the Crescent in Clayton and is a gift from developer MK&C Crescent.

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May 4, 2011 Partners Gary Kaplan, Mark Mehlman and Josh Corson of MK&C Crescent hired Faith Berger of Faith Berger Art Consultants, with her guidance commissioned a piece of artwork that reflects the area’s building and how the surrounding street looks. Berger said she works to find appropriate artists by having in-depth conversations with clients.. “I look for the best feeling for the space,” Berger said. The area around The Crescent, Berger said, is built in a European fashion, and the building itself has “a nice curve.” “I just thought it brought a really nice flair,” she said. Tsutakawa came to Clayton for a couple of days, met with Mehlman and got a feel for the space. “Uzumaki Curve”, A sculpture was created specifically for the site by international acclaimed Seattle-based artist Gerard Tsutakawa.Uzumaki Curve means Community” in Japanese. It was unveiled May 4 during Sidewalk Soiree, an event featuring food and entertainment on the plaza. The vortex-shaped sculpture sits 18 inches off the ground on a pedestal... “It is a welded fabrication assembled from multiple segments of silicon bronze sheets and me-ticulously finished in Tsutakawa’s unique signature patina, a secret formulation inherited from his father, the artist George Tsutakawa.”It is 12 feet long, 8 feet tall and 7 feet wide. It will be lit with three halogen bulbs attached to overhang the sculpture.

Gerard Tsutakawa for more information about the artist see http;//theartspiritgallery.com

Crescent Soiree Clayton, Missouri

Blue Bell

Pika PigPrissy

Salsa

Ruby

Saint Louis University Museum of Art (SLU-MA). This Beaux Artes building features modern and contemporary art by Serge Poliakoff, Richard Serra, Ernest Trova and many others. The Collection of the Western Jesuit Missions showcases religious art and artifacts from the 13th to the 20th centuries. The John and Ann MacLennan Collection of Asian Decorative Art is one of the largest collections of its kind in the United States: Whimsical netsuke figures carved from jade, am-ber and rosewood, beautiful household shrines of ivory, Japanese woodcuts and Chinese porcelain. To learn about visiting exhibi-tions and more, visit sluma.slu.edu.

3663 Lindell Blvd., St. Louis, Mo 63108 314.977.2666

The Saint Louis University Museum of Art is pleased to host Sun-Smith-Foret: Final Cut. Over 30 tapestries, ranging from small pieces to wall-sized installations, represent Smith-Foret’s interpretation of classic film and cinema. Smith-Foret uses the African American textile tech-nique of strip piecing which uses brightly colored strips, multiple patterning, and appliqué. The result is compelling graphic imag-ery that conveys her interpretation of the tone and color of film genres that include Westerns; Women in Film; African-American films; and Global Cinema. The tapestries are not only visual reinterpretations of classic films, but vignettes about the actors, directors, fictional and historical figures, and often the making and aftermath of the actual film As a psychotherapist, Smith-Foret’s work delves beyond the surface and into the depths of the meaning of the film. Although visually stunning, there remains a depth to her work. Each stitch and place-ment of material is considered during the creation of a tapestry. The textiles invite the viewer, visually, and by nature of the material, into a psychological conversation that envelopes like a quilt on a bed.

Sun Smith-Foret: FINAL CUT

May 6 –July 3, 2011

Where to GO

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