Ward Stare, Resident Conductor for the Saint Louis Symphony Orchestra, talks about Ingram Marshall's Fog Tropes, in front of Gordon Matta-Clark's Bingo. Stare will conduct Fog Tropes for the concert tomorrow, March 10, 2010. (Tickets for tomorrow's concert are SOLD OUT.)

Gallery Assistant Ronald Gore gives some background on Matta-Clark's Bingo.

The partnership between the Pulitzer Foundation and the George Warren Brown School of Social Work was established in November of 2007. This past fall, near the second anniversary of the partnership, students at the George Warren Brown School of Social Work at Washington University (GWB) created a new student group. The Community Arts Initiative, or CAI, was born into a family of a dozen other active student groups. But CAI’s birth could not have occurred at a more appropriate time.

With an influx of admitted students interested in the relationship between arts and social work coupled with the partnership between GWB and the Pulitzer Foundation maturing, CAI’s inception seems to be written in the stars. CAI’s mission explores building awareness of the role of art in social work and public health practice by creating community connections and providing educational opportunities. Read the rest of this entry »

Whew.  Our posting on 2buildings1blog this month has slowed, but our overall blogging activities are currently at full steam.  We've launched a website for Transformation - the community programming organized in conjunction with the Matta-Clark exhibition (which you can also explore online here).   A few highlights:

The Panel Series:  We've organized a panel discussion each month to explore topics related to Matta-Clark's work within the context of St. Louis.  The key question we'll address in each panel: "How do communities evolve and in what ways can their members guide the process?"  Within this online section we'll feature interviews with the panelists, research info related to the topic, and full audio from the discussion shortly afterward.  I also attempt (key word) to live tweet each panel (http://twitter.com/thepulitzer).  The next panel just happens to be tomorrow (Oh! You're in luck! And it's free!).

Local Artists:  This is where the bulk of the blogging happens.  We're documenting the three artist-run projects throughout the course of Transformation - hear updates from the artists, watch videos of the classes, even watch DIY videos to learn some of the skills yourself, and generally stay up-to-date as each project evolves.

Your St. Louis:  Definitely the most interactive of all the sections.  We're posting candid interviews with St. Louis residents, to help paint a fuller portrait of the community.  Show us your St. Louis by adding photos to our Flickr group.  Show off your favorite route, by creating a custom Google Map for others to use.  We want to showcase what St. Louis means to those of us who live here.

Forum:  We're hoping this section will grow into a place for discussion.  Want to expand on ideas you heard in the panel?  Want to ask an artist a question about their project?  This is the place to do it!

This website will continue to grow and shift as the programming grows and shifts, and as always, we'd love to get your feedback.  Leave your thoughts in the comments below!

During a visit to Urban Alchemy/Gordon Matta-Clark, Meredith Monk talks with Francesca Herndon-Consagra, Senior Curator at the Pulitzer, about her own approach to urban archeology and how she enjoyed working in New York at the time of Gordon Matta-Clark.

We're excited to announce that Meredith Monk will be performing at the Pulitzer on March 10. To find out more about this concert, visit our concert page. RSVP to the event on Facebook.

If you plan to be in New York on Feb 27th, you can’t miss a live reading of Sean Landers’ novel [sic] by 22 art-world luminaries, including our Director Paul Ha. The original hand-written version of this novel is currently on display at the Contemporary as part of the exhibition Sean Landers: 1991-94 Improbable History, on view through April 11.

"Never in my life did I think that reading could be such an utter waste of time. I normally can find something redeeming in anything I've read. After reading [sic] I cleaned my apartment just so I could feel like I'd done something with my day."
- Sean Landers

This one-time-only performance at Saatchi & Saatchi, New York, is presented by Art Production Fund and White Columns – February 27, 2010, 6:00pm to 2:00am. Read more.

My first week of work as an intern with the Contemporary was a real eye opener to just how much work goes on behind the scenes to make an opening appear effortless. As a museum visitor, I took many things for granted. Things like security, beverages, installation, art labels and gallery guides just magically happen, right? Well, not really. I never thought about how someone has to fold and hole-punch all those gallery guides. How someone has to design those labels and signs. How someone has to work with representatives from other companies to arrange for security and beverage service. Someone even has to move and build the walls! Even more happens behind the scenes like dinners and numerous meetings with the artists. It’s amazing that all this (and MUCH more) is accomplished with a staff of 13 (and a few eager interns), and I’m thrilled to be here for it all.

So, next time you visit the Contemporary, take a second to look around and notice all the little things that add up to one great experience. Oh, and think twice before you throw away that gallery guide!

Heather Tribbett is an intern in the Development Department

The Contemporary's new shows open tomorrow night (Friday, January 22, 7-9pm) and things are busy around here! The artists have been in town all week, working closely with our installation crew to hang the show. We got a staff preview today and it is looking really great. The rest of the museum staff and interns are hard at work preparing for tomorrow’s Opening Night Reception...making welcome signs, arranging for photography and valet, printing and folding the gallery guides, and all of the other little things it takes to get the Contemporary ready to welcome the thousand people who will visit us tomorrow night.

I hope you will join us at the Opening and bring a friend. These exhibitions feature photographs, drawings, watercolors, videos, paintings, music, and even some literature, blurring the boundaries between artist, author, and musician. Both artists use all materials at their disposal to express themselves and create their artworks. Even though the exhibitions are separate solo shows featuring artists who have distinct and unique processes, we've observed some parallel concepts running through both. I encourage you to visit the museum to explore these exhibitions for yourself and respond to this blog post. What parallels do you see?

And remember, The Front Room is back! Xavier Cha and Torbjørn Rødland present their work in this fluid space dedicated to creative experimentation. Cha's work is performance based so be sure to come on Opening Night to experience her performances first hand.

Click here to read an article that was featured in the St. Louis Post Dispatch.

Mariana Castillo Deball talks about her ideas behind the Klein bottle piñata sculpture created for the exhibition For the blind man in the dark room looking for the black cat that isn't there. The public was invited to celebrate the end of the exhibition by breaking open the piñata sculpture.

What’s all the excitement? On Sunday, January 3, the CAM hosted the Piñata Closing Party for the end of the exhibition, For the blind man… For my first event with the CAM, I was intrigued to discover the large community involvement and the amazing amount of excitement that unfolded. People of all ages came out to take a swing and enjoy complimentary appetizers. After an hour of blindfolded people at bat, the piñata busted and kids, teens, and parents rushed to gather the hidden goodies. With tons of energy and laughter filling the museum, this was truly a great way to begin my internship.

After the cleanup and all the goodbyes, I gathered with Cole and a few others to start the removal of the exhibition. The prep work, organization, and the art removal itself, all has to be done with such intricate details. We started section by section, removing pieces and collecting evidence for the condition reports. Handling the art in such an intimate, delicate fashion gave me the chance to interpret each piece on an individual basis. Though I didn’t have a chance to stay to help finish up that evening, the next experience will be just as interesting and exciting.

Tabitha Schnurbusch is an intern in the Exhibitions Department