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Today, the Contemporary Art Museum St. Louis (CAMSTL) announced that Chief Curator Jeffrey Uslip will be leaving for an as-yet-unnamed institution. Uslip is one of the focal points of criticisms voiced by protesters who have taken issue with the museum’s current Kelley Walker exhibition, which he curated.
The announcement does not indicate the name of the institution that Uslip is leaving to join. Hyperallergic asked CAMSTL for information about his new role and was told: “Out of respect for the institution, which wishes to control the timing and focus of its announcement of Uslip’s appointment, we cannot provide that information.”
The works in Fault Lines prove that abstraction need not be confined to the inner life of the artist.
Celeste’s sculptures all rely on natural forces to achieve balance, and thus are perpetually on the precipice of collapse.
Romanticism to Ruin: Two Lost Works of Sullivan and Wright memorializes Chicago’s Garrick Theatre and Buffalo’s Larkin Building, which were razed to build a parking lot and a truck stop.
By reinventing the traditional bokashi technique, Hamanaka reminds us that nothing is dead, even when many proclaim otherwise.
The company’s mastery of the art market’s smoke and mirrors is its most impressive illusion.
Sadly, though by no means surprisingly, there is precedence for this female erasure. Women have been and continue to be the executors of the invisible, unpaid, unaccredited labor that makes much of the world run smoothly.