The Sheldon Art Galleries, located in the Emerson Galleries building, features rotating exhibits in six galleries,
including photography, architecture, St. Louis artists and collections, jazz history and children's art. Artwork
is also featured in The Sheldon's sculpture garden, visible from both the atrium lobby and the connecting glass bridge.
NEW GALLERY HOURS (effective December 2, 2008)
Tuesdays, 12 noon 8 p.m.
Wednesdays - Fridays, 12 noon 5 p.m.
Saturdays, 10 a.m. 2 p.m.
and one hour prior to Sheldon performances and during intermission.
Closed July 4th, Thanksgiving, Christmas Eve, Christmas Day, New Year's Eve and New Year's Day.
Please join us for an All-Gallery Opening Reception Friday, June 7, 2013!
Complimentary wine and hors doeuvres from 5-7 p.m.
Don't miss a special surprise courtesy of Circus Flora, Emerson Entrance
Galleries open until 9 p.m. for First Fridays in Grand Center!
Summer Fun for the Kids!
Bring the kids and beat the heat! Saturdays from 11 a.m. to 1 p.m. and Thursdays from
1 to 3 p.m.: Art and Craft Projects in the Galleries, June 27 - August 10 (except for Thursday, July 4). $3 suggested donation per child.
|Bellwether Gallery of St. Louis Artists|
Wallace Herndon Smith, Untitled, 1965, oil on masonite, collection of the Bellwether Foundation, photograph by Allied Photocolor.
Wallace Herndon Smith|
June 7 August 24, 2013
This exhibition features paintings by St. Louis artist Wallace Herndon Smith. Born in St. Louis in 1901, Wallace Smith was a traditional painter who absorbed the visual language of artists like Pierre Bonnard, Henri Matisse and Edward Hopper. Smith was fluent in many subjects including still-lifes, landscapes, interiors and portraits. The artist's strength was in capturing psychological nuances, and this exhibit has been selected to highlight this area of his work. In the late 1930s, his work gained attention from important American artists like Edward Hopper, Walt Kuhn and Peggy Bacon. During these early years, his work was characterized by its affinity to American Regionalism and his portraits were highly finished, quiet examinations of his subjects. Smith studied at Princeton University and the École des Beaux-Arts in Paris. His works have been exhibited widely including in New York at the Museum of Modern Art, in Philadelphia, St. Louis, and many other cities. The exhibition is organized by the Sheldon Art Galleries and is drawn from the collection of the Bellwether Foundation.
Eddie Randle Band Poster, c. 1940s, collection of the Randle Family. Photo restoration by Dennis Owsley.
City of Gabriels: The History of Jazz in St. Louis, 1895-1973|
June 7 - August 17, 2013
The Sheldon Art Galleries illuminates the rich history of jazz in St. Louis and its impact on the national scene in this exhibition and companion book by Dennis Owsley. Archival photographs, posters, period advertisements, artifacts such as a trumpet used by Clark Terry and a costume worn by Miles Davis, along with other instruments played by influential musicians, vintage records, printed ephemera, and listening stations with important historical recordings, tell the story of the individuals, places and other conditions that helped to shape the development of jazz music in the St. Louis area.
Originally exhibited at The Sheldon in 2006-2007, the exhibition returns to tell the story of the politics and rise of jazz in the 1920s and '30s; the War years and the development of Miles Davis's international career; the jazz scene on the DeBaliviere Strip and in East St. Louis in the 1950s; Gaslight Square in the 1960s and the legacy of traditional jazz and the innovations of the Black Artists' Group in the 1970s.
A companion book, City of Gabriels: The History of Jazz in St. Louis, 1895 1973 by Dennis Owsley, is co-published by the Sheldon Art Galleries and Reedy Press. ($27.95)
The exhibition and companion book were made possible by a generous grant from an anonymous donor.
|Bernoudy Gallery of Architecture|
Joel Meyerowitz, 7th and Chestnut, Arch View Cafeteria, 1979-80, dye transfer print, 16.5 x 21 inches, courtesy of the artist and Howard Greenberg Gallery, New York. Photograph lent by The Greenberg Gallery, St. Louis.
Alise O'Brien, Saint Louis Art Museum Expansion, 2012, inkjet print on rag paper, diptych, 28 x 56 inches, courtesy and © Alise O'Brien.
The City Inside/Out|
June 7 September 7, 2013
Photographs of St. Louis's architectural landscape by David Johnson, Ken Konchel, Demond Meek, Alise O'Brien, Andrew Raimist and Richard Sprengeler are featured in this exhibit, along with a special showing of the Joel Meyerowitz portfolio, St. Louis and the Arch (1979-1982).
Meyerowitz's portfolio of dye-transfer photographs, taken over four extended visits to the city during different seasons in 1977-1978, defined a period of the city's history when many sought life in the suburbs.
The St. Louis Gateway Arch is also the subject of Andrew Raimist's contemporary color photographs, which show details of its surface marked by scrawls of graffiti and vandalism. David Johnson's spare color photographs made in a time of economic downturn, show empty office spaces and the traces of human presence left behind. Mid-Century Modern buildings in St. Louis are the subjects of Ken Konchel's black and white abstractions, which distill architecture into dynamic compositions of line and tone. Richard Sprengeler's photographs of concrete parking garages also investigate possibilities of form, creating elegant studies of line and tone from the dark and unwelcoming structures. Demond Meek's atmospheric color photographs of abandoned houses in St. Louis use a central focal point to render them at once iconic and jewel-like. The large-scale diptychs of Alise O'Brien pair two views of the same space, creating unique spatial experiences and an interplay of forms. Together, these photographers offer unique views of the sometimes all-too-familiar city.
Photography Workshop: Saturday, July 20 from 11:30 a.m.-2:30 p.m. Nationally recognized architectural photographer, Alise O'Brien will discuss her work and techniques for producing architectural photographs, and will critique portfolios. Bring up to six prints for discussion.
Space is limited. $75 per person. (Students $30 with ID) Includes lunch.
Photography workshop co-sponsored by the Sheldon Art Galleries and the International Photography Hall of Fame.
|AT&T Gallery of Children's Art|
Alexandrya Wright, Circus Flora, 2013, pastel on paper, 23 x 35 1/8, courtesy of the artist and Studio W. Photograph by Allied Photocolor.
June 7 August 31, 2013
In 2012, the Sheldon Art Galleries partnered with Circus Flora to sponsor an art contest and exhibition of children's art inspired by the circus. Children who attended Circus Flora were encouraged to express their love of the circus's high wire and horseback acts, the St. Louis Arches and Nino the Clown, among others. Included in the exhibition are a festive 3-D carousel and clown portraits made by Junior and Senior Kindergarten students of The Wilson School, and evocations of acts from inside the big top by students of Central Visual and Performing Arts High School, Studio W., The Wilson School, and young people who attended Circus Flora last summer. Drawing, painting, sculpture, ceramics and mixed media works are included in the exhibition. Also on view is the 1927 film, Calder's Circus, directed by Jean Painlévé. Alexander Calder became fascinated with the circus in his mid-twenties, when he published illustrations of Barnum and Bailey's circus in a New York journal. He created a miniature, articulated working circus in Paris in 1927, which the filmmaker, Jean Painlévé, documented in this film.
|Nancy Spirtas Kranzberg Gallery|
Shawn Michelle Smith, Untitled, from Excess and Accident, 2011, gelatin silver prints, 24x30 inches, courtesy of the artist.
Shawn Michelle Smith: In the Details|
June 7 September 21, 2013
Working with family snapshots from the 1930s and 1940s, Shawn Michelle Smith focuses on the people, objects, and shadows that populate the edges of photographic frames. Drawn to the details that were overlooked by the original photographers, she re-photographs sections and hangs them in grids, bringing forward new narratives from old. The exhibition includes work from two series, Excess and Accident and When the Train Rolls In. Smith is a multi-published Associate Professor of Visual and Critical Studies at the School of the Art Institute of Chicago. Her scholarly books include Pictures and Progress: Early Photography and the Making of African American Identity (forthcoming); and Defining Moments in American Photography; Photography on the Color Line: W. E. B. Du Bois, Race, and Visual Culture (2004); among others. Her photographic work has been exhibited all over the country in both one person and group exhibitions.
|Ann Lee and Wilfred Konneker Gallery|
Jim Dine Sculpture dedicated to the memory of Dr. Leigh Gerdine
Jim Dine Sculpture
The Ann Lee and Wilfred Konneker Gallery at the Sheldon Art Galleries is the site for the Jim Dine sculpture,
The Heart Called Orchid, 2003. The sculpture is dedicated to the life and accomplishments of Dr. Leigh Gerdine, a founding trustee of the
Sheldon Arts Foundation who devoted himself to the saving and renovation of the historic Sheldon Concert Hall and the creation of the
Sheldon Art Galleries.
A beautiful bronze work on long-term loan from the Gateway Foundation St. Louis, the sculpture is a
glowing golden heart that balances on its point on a
trompe d'oeil "wooden" pallet, which on
further examination is seen also to be made of bronze. A recurring theme in Dine's work since 1966,
the heart emerges in prints, drawings, paintings and sculptures.
Jim Dine was born in 1935 in Cincinnati, Ohio and rose to prominence in the 1960s with his performance and assemblage works.
From the 1960s, Dine also began to incorporate representations of simple everyday objects into his works. His object-based
imagery seen in paintings, drawings, prints and sculptures include tools, men's suits, bathrobes, hearts, and household objects
among others and are metaphors for childhood memories, personal psychological states and self-portraits. Like Dine's suit and
bathrobe images make reference to the artist's body and persona, his hearts contain layered metaphors about the body, sensuality,
love, and as the artist describes them, he sees the heart as "the agent and the organ of my emotions."
Ryan Duffy, Flamingo, April, 2012, inkjet print, 14 x 14 inches, courtesy of the artist.
Ryan Duffy: Photographs
February 22 June 15, 2013
This exhibition features works by Sheldon Art Galleries intern Ryan Duffy, who uses Holga and Diana cameras to create dreamlike views of landscapes, gardens and domestic scenes. Duffy is a senior in the School of Communications with a double major in Business and Photography at Webster University in St. Louis.
|Lucy and Stanley Lopata Sculpture Garden|
The sculpture garden is located between the Sheldon Concert Hall and the adjoining Emerson Galleries
building, and features an Italian marble fountain from the 1904 Worlds Fair and a terra cotta lions head, created by
the Winkle Terra Cotta Company for the former Buder Building, built in 1903.
a six-foot terra cotta Roman Victory Figure, also from the Winkle Terra Cotta Company
saved from the 1898 Title Guaranty building in St. Louis, greets visitors as they enter the street level entrance.
Shawn Burkard, Study for Monoliths 3, 2011, powder-coated steel,
3 sculptures, finished works each 8 x 5 x 5 feet, courtesy of the artist.
Shawn Burkard: Monoliths 3
September 30, 2011, ongoing
Developed from a multiple-element sculpture created earlier this year, St. Louis-based artist Shawn Burkard presents three monolithic painted steel structures that reveal the imaginary framework of the originating work. Installed in the Lucy and Stanley Lopata Sculpture Garden, and in front of the Emerson Building, the works create a dialogue with neighboring contemporary architecture and The Sheldon's historic building.
Shawn Burkard has exhibited locally at the Bruno David Gallery, and serves as assistant in the sculpture studio of Frank Schwaiger.