Barbara Kasten,  Progression , 2018.. Courtesy the artist Bortolami Gallery, New York

Barbara Kasten, Progression, 2018.. Courtesy the artist Bortolami Gallery, New York

HOW WE SEE: MATERIALITY AND COLOR

MARCH 2–JUNE 30, 2019

Whitaker Foundation Gallery, Adam Aronson Fine Arts Center / Outdoor Galleries

Curated by Dana Turkovic

We can understand color in an approximate sequence of Newton’s spectrum: dark red, red, 
orange, yellow, green, blue, dark blue, violet. From a distance this distinction of colors shimmers like a rainbow if made from light or is solid like a candy if made from an opaque material. Spread out across a floor or composed in quadrants on a canvas or isolated in so many individual items, color is not a self-contained sculptural object. Its experience invites comparison with epistemological and metaphysical speculation. We know what a color does to excite us but it is hard to tell what it is. Why do we even perceive it?  These sculptor’s colored materials, however, are the product of modern technology in material sciences like biology, chemistry and physics. Their very choice, transferred and arranged for a museum context, does more than show that the artist’s creations have beauty, but rather suggests that the artist’s production of endless color variations is not unlike nature’s manner of reproduction.


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2019 KRANZBERG EXHIBITION SERIES

CARLOS ZAMORA: CART

JULY 26–DECEMBER 22, 2019

Outdoor Galleries

Curated by Dana Turkovic

As part of our commitment to supporting and showcasing local artists, Laumeier Sculpture Park will present Carlos Zamora: cART. This project will commission, Cuban-born, St. Louis-based illustrator and graphic designer Carlos Zamora to retrofit the Park’s golf carts. Golf carts play a pivotal role in how Laumeier staff crisscrosses the campus, shuttling colleagues and donors, checking on sculptures, and interacting with visitors. Zamora will create three unique artworks by enveloping the carts in printed vinyl wraps, sculptural frameworks, and ornamentation inspired by a variety of sources such Cuban car culture, nursery rhymes, history and politics. The production of embellished “driveable” sculptures draws attention to the history of kinetic art, from early modernism to the present and its activation by the viewer, context and environment. The golf cart takes these ideas one step further, whereby the object is decorative, mobile, and functional.