CAM is pleased to be participating in the inaugural EXPO CHICAGO art fair, September 20–23 (Navy Pier, 600 E. Grand Avenue, Chicago). We will be presenting an interactive installation by Lauren Adams—who is currently exhibiting in the Front Room—at booth 520. On Friday, September 21 at 1:30pm, Dominic will be speaking on the Contemporary Curator’s Panel at the fair (more details below). If you’re in Chicago, please make sure to stop by and say hello!

EXPO CHICAGO/2012 features an outstanding selection of 100 international exhibitors as well as a limited number of young galleries in the Exposure section. Additional programming includes IN/SITU, a showcase of large-scale installations, site-specific and performative works by leading international artists situated throughout the fair, and /Dialogues, a daily series of panel discussions and conversations with leading artists, architects, curators, designers, and art professionals. Visit expochicago.com for more information.

We the People is an interactive installation in which artist Lauren Adams has painted slogans from recent Occupy Wall Street and Tea Party protests into reproduced Revolutionary War-era wallpaper. Visitors to CAM’s booth (520) can paint their own “protest” on a unique ceramic plate to be displayed during the fair. A custom-designed tea towel both advertises the project and will be exchanged with visitors in return for their contributions. The project complements Adams’ presentation in CAM’s Front Room, on view through October 14.

Friday, September 21, 1:30 pm Contemporary Curator's Panel features Michael Darling (Chief Curator, Museum of Contemporary Art Chicago), Lisa Dorin (Associate Curator of Contemporary Art, The Art Institute of Chicago), and Dominic Molon (Chief Curator, Contemporary Art Museum St. Louis). Moderated by Paul Laster (Editor, Artkrush).

CAM seeks a highly creative and versatile Graphic Designer to join our full-time staff. Reporting to the Director of Programs and Audience Development, the Graphic Designer will be responsible for the conceptualization, design, and production of a wide range of print and web collateral, including newsletters, brochures, event invitations, postcards, advertisements, interpretative tools (such as the mobile app), and exhibition catalogs. Specific responsibilities include working closely with Museum colleagues across departments to develop dynamic and innovative designed materials consistent with CAM’s brand identity; acting as a liaison with outside vendors; and managing production budgets and deadlines.

The successful candidate is a self-starter with excellent communications skills, who is comfortable managing multiple projects in a fast-paced, team-oriented work environment and equally at ease with print and digital media. Requirements: 2+ years professional design experience and Bachelor’s degree in related field; skilled in typography and layout design; expertise in Adobe Creative Suite. Strong knowledge of and interest in contemporary art is preferred.

To apply, please email cover letter, resume, link to digital portfolio, and salary requirements to work@camstl.org with subject line: “Graphic Designer Application.” Email only; no phone calls or packages please. Applications will be reviewed on an ongoing basis until the position is filled.

Congratulations to Alex Elmestad, CAM’s Manager of Public Programs and Interpretive Technology, on the opening of his artist-in-residence exhibition, Institutional Memory, at the Luminary Center for the Arts this past Friday.  Here’s what Alex had to say about his exhibition.

“The main objective of this exhibition will be to produce a memory of past experiences within a publication that will hold not only personal histories within the pages, but the intimate and personal narratives of the community will also become part of the institutional history.

A limited edition book will be produced from the manuscript taken at the opening. As a literary form of expression as well as written documentation of an event, exhibition, or project, this catalog will take the form of a performance first. A stenographer will be hired during an opening. Equipped with a stenotype, the modern shorthand machine, the stenographer will be assigned to a specific gallery and will be instructed to eavesdrop on as many conversations as possible over the course of opening night and the week following. In many ways a museum is a listening tool often asking for feedback from the visitor in order to improve its mission and enhance experiences. Without the social dialogues welcomed and formed within the forum atmosphere of a museum, the public would not feel ownership with the institution. It is exactly the dialogues produced that make the space personally important for members of the community. Through this performance the metaphorical museum ears are literally personified with a living person transcribing and recording the social activity inside the space.

This performance will exceed the boundaries of traditional recording and will somewhat venture into espionage because the stenographer will be obtaining information without permission of those in the space. Thus the issue of private and public space is raised. The fragmented conversational material will then be reviewed by the artist, notes will be made and items will be arranged to create a more cohesive, yet engaging narrative; however, conversations will not bealtered to any degree. The artist will work with an editor to realize the literary vision of the work, and a final manuscript will be approved and the artist will collaborate with a local designer and print shop to produce a visually interesting editioned publication to be sold by the organization. Titled Institutional Memory and produced as a print multiple, the work is intended to be shared with others. As a limited edition, the work will maintain a certain value and have ephemeral qualities, but the main objective will be to produce a memory of past experiences within a publication that will hold not only personal histories within the pages, but the intimate and personal narratives of the community will also become part of the institutional history. As a result the institution truly becomes a place of dialogue consisting of many voices that are listened to and the exchange is materialized in a written form. The publication will include an introduction text written by the director, a short discussion between the artist and stenographer, select typed short hand notes, and the edited conversational narrative.”

Over the past year we have been working with TOKY Branding + Design on the launch of our new identity – CAM.  With this new identity you might have noticed a new logo, a new, brighter color scheme, and a completely revamped website.  Now, we’re proud to announce an even bigger addition to the new CAM identity – the CAM St. Louis iPhone App.

The CAM App is the first of its kind and functions on a local, regional, and national level. Utilizing the GPS of the iPhone, the CAM App provides users with a unique experience each time they launch the App. If launched within the museum, the interface is designed to act as an accessible tool that will help visitors navigate the aesthetic and conceptual landscape of contemporary art. With this App, users will be able to embark on a self-guided digital tour of CAM’s exhibitions currently on view. With each visit, the user will be able to move around the space, watch a video tour with architect Brad Cloepfil, listen to the Director speak about the history of the museum, and explore the mission and nature of CAM as a non-collecting institution with Chief Curator Dominic Molon. Continuing the self-guided tour, users can also listen as CAM curators introduce the work on view. As visitors explore the artworks, they will actually be able to see and hear the artist(s) talk about specific pieces featured in the current exhibition.

Users launching the CAM App outside of the museum will be informed as to about how many miles they have to go before reaching the museum doors. Within the same screen an option exists that links users to an online map and directions to CAM from their current location. Those within a regional (50 mile) radius will also see an entire calendar including scrolling featured events and programs hosted by the museum year round. If a user is over 100 miles away, the App functions as an engaging well-designed mobile interface for online museum visitors that represents and enhances the museum’s brand nationally and internationally. Users are introduced to the CAM mission and programming via several avenues including: access to a shared blog with the Pulitzer Foundation for the Arts, the ability to connect with CAM’s social media platforms, and access to the CAM Channel which contains a wealth of educational and interpretative content focusing on the current exhibition. Watch artist interviews, listen to discussions with curators and educators, or view performances and public programs that occur in the museum’s Performance Space.

As one of the first museums to launch a fully customized App in St. Louis and nationally, CAM continues to be a technological leader in the museum and art fields. In an effort to better serve the local and international community, CAM hopes that this resource will further connect visitors to the museum, its programming, and contemporary art.

Join CAM as we continue to push the boundaries and explore the most innovative and relevant art being made today…coming to you now on your mobile device!

Over the weekend of July 8 & 9 over 120 strangers met at the Contemporary Art Museum St. Louis to partake in a culinary adventure devised by Master Chef John Perkins (aka the Clandestine Chef) inventor of a new trend in St. Louis known as the Underground Dinner. With no actual home, Chef John established Entre: Underground as a culinary experiment that tested the boundaries of exclusivity and communal dinning.

Starting as an invite-only roving establishment and growing into a curious phenomenon, the 5-course dinner occurs every month at a different location. Depending upon the size of the venue the guest list varies from 15 – 60 people. With an asking price of around $60 + additional costs for food paired drinks – tasty and rare selections of wine and craft beer, the dinner began lightly as strangers trickled into the museum around 6:30 pm. Some visitors were completely stunned that a museum such as CAM even existed in St. Louis, while others were frequent visitors that quickly absorbed themselves in the atmosphere or viewed the current exhibition Cryptic: The Use of Allegory in Contemporary Art with a Master from Goya. After all, what is more of a “cryptic” program then to have a secret dinner held around the museum’s current exhibition? The front desk was turned into a cocktail bar and the bartender mixed a variety of drinks including tequila with light watermelon syrup blended with small watery pieces of the fresh summertime fruit.

Around 7:00 pm guests were ushered outside and soon a line of 60 people nearly wrapping around the front entrance of the museum had formed. With a loud electric generator humming in the background, the visitors talked back and forth to each other in awe of what was to come next. At the front of the line, Chef John served up something he named “summer carnival food.” With a succulent pheasant breaded and fried, the first course was almost a little appetizer that prepped your senses for the culinary innovations to come. Upon approaching the window, it became clear that Chef John was clearly preparing and serving this first course from a food truck equipped with various burners, fryers, and other kitchen utilities. To enhance the summer flavor of the carnival cuisine that was also paired with a sweet, but flavorful green sauce, a tall shot glass of a creamy root beer float followed the meaty snack.

Moving into the larger space of CAM, paper lanterns hung above a communal table nearly 60 feet in length. There, a 5-course meal was served paired with either fine wines or craft beers.

The third course, named “smoking glass noodle,” was served in a tall mason jar and when the lid was opened, smoke rose into the air filling your lungs with a memorable scent of a summer campfire. Truly blending all the senses, the dish was visually original evoking memories of catching fireflies while also providing the rich smell that prepped the taste buds for fresh local vegetables – including crisp sprouts and green beans plus the slight citrusy taste of lemons. Tossed with spice and flavorful peppers, the Asian noodles were soft and refreshing to the palate.

Over the course of the evening strangers became friends and the mood of the night switched from superficially mysterious to casual and energetic. Laughter and conversation drowned out the hip music and servers too became entrenched in dialogue with the dinners, discussing everything from the St. Louis culinary scene to favorite films and nightlife hot spots. Acting as a true stimulus for social engagement, the food and drink provided a spark that connected a diverse table of curious strangers into people with something all have in common, the desire for new experiences and flavorful, original cuisine. With the backdrop of a contemporary art exhibition, the night proved that the creatives in St. Louis still can surprise residents with power of their cultural ideas – that ultimately exist to connect people to each other and provide unique, memorable experiences.

If you are intrigued and wish to explore this culinary happening for yourself, visit Entre: Underground and sign up for the next dinner in a yet to be announced location with a to-be-decided menu – sure to impress any seeker of something different for their palate!

Do you know what a QR Code is? QR stands for Quick Response. The two-dimensional code was developed by Denso Wave Corporation in 1994. QR Code contains information in both the vertical and horizontal directions, whereas a traditional bar code contains data in one direction only. QR Code holds a considerably greater volume of information than a bar code. As a result, companies, museums, and individuals have embraced the technology and have used the QR Code for a variety of applications ranging from gallery labels to grave stones. With a simple QR Code Reader and Scanner App that can be downloaded for FREE on your mobile smart phone, a user can take a picture via their camera on the phone while in the App, and the application will scan the data within the QR Code and directly link the phone to the embedded content.

This past weekend, I presented on this innovative technology at the Association of Midwest Museums 2010 Annual Conference: Museums Making Connections in Cleveland, Ohio. With the evolution of Web 2.0 and the rise of smart phones, today’s museum visitors seek more multimedia content that they are able to access, share, and save on their mobile devices. On the flip side, museums are frantically searching for a way to connect to a constantly connected audience. One challenge is getting over the learning curve of in-house technologies used for digital tours (i.e., iPods, iPads, and other digital players). But if the content can be accessed straight from the users personal smart phone, then there is no learning curve – they must only understand the mysteries of the QR Code – quickly gaining popularity in the United States. If you were to talk with a native from Japan about QR Code, it would be like talking about the intuitive action of walking. Over 75% of people in Japan either know or have used QR Codes in their daily life. The QR Codes exist on newspapers, billboards, tattoos, and even wedding rings.

Look out for QR Codes soon in the galleries and throughout the museum. You may even start to see them in our advertisements in local media publications. Still confused? Curious? Use this simple guide to get started.

Our Third Thursday program series kicked off with a short talk by Jennifer Gross, Seymour H. Knox, Jr., Curator of Modern and Contemporary Art at the Yale University Art Gallery – and curator of the upcoming Richard Artschwager retrospective. The talk was followed by performances by 3 local noise musicians, Eric Hall, Bradley Schumacher, and Charlie Turner.  Each artist approached  noise differently and the unique sounds ranged from harmonious chimes to randomly produced electronic signals. The non-traditional instruments existed as circuit benders, distortion pedals, custom computer software, and a variety of microphones that hissed and buzzed with live static. The experience was one of a kind and the complexity of the sounds was undeniably original.

For those not familiar with noise music, musician and organizer Bradley Schumacher is planning an entire series of noise concerts at select venues throughout the next couple of months.  The performance at the Contemporary was the debut concert in the series – so if you see  flyers floating around St. Louis about the next show make sure to check out these highly experimental concerts. The next Third Thursday occurs on October 21 at 6pm. Join neuro-psychiatrist Abhilash Desai and Associate Curator Laura Fried for a lively conversation about art, perception, and the human experience. Afterwards enjoy a special performance by experimental audio visual musician Christopher Willits. Click here to listen to a sample of his recordings. All Third Thursday programs are free and open to the public.

If you missed Open Studios this year, don’t worry, there is always next year. A previous blog post already mentioned the Preview Party which had a record breaking 720 people in attendance. Special thanks goes to the River City Professionals for co-hosting the program, helping to promote the event, and bringing all of their members to party. In addition to the 150+ Open Studios artworks on display in the galleries, Pi on the Spot, also known as PiTruckSTL on Twitter was parked outside the building serving up fresh pizzas straight from truck’s oven. As a local phenomenon, Pi has been embraced by the St. Louis community and even Chicago based Senator, turned president Barack Obama has endorsed the iconic deep dish pizza with his seal of approval. Just recently, chefs of Pi were flown to the White House to caterer an event especially for the president. Alongside the Pi Truck, a Frosty Treats ice cream truck was also parked outside for those looking to fill their sweet tooth on a hot summer’s evening.

As an added bonus to the Preview Party, guests were encouraged to enter a bike raffle to win a Electra Pink Hawaii Cruiser donated by Big Shark Bicycle Company. Ramona Scott was the winner and stopped by the museum the next day to pick up her prize and even rode it home.

With temperatures reaching over 99 degrees, that still did not stop the devoted cyclists from riding over 14 miles and stopping at a variety of studios along the way. Led by Greg and Alex from Bike Shark Bicycle Company, the bike tour departed the Contemporary on both Saturday and Sunday at 10am. Special thanks also goes to Bike St. Louis, a division of Great Rivers Greenway for endorsing the program and helping to make bike riding in St. Louis safe and accessible.

Later that day, Director Paul Ha and Associate Curator Laura Fried introduced themselves at the museum to over 30 people that registered for a 4 hour bus tour to select studios. As visitors boarded the luxurious air-conditioned bus provided by BEST Transportation St. Louis, “Pops” the driver greeted them and drove them all over the city to studios chosen directly by both the director and the curator.

On Sunday, winners from our Facebook competition joined Joe and Jeff from Glide St. Louis Tours for a segway excursion to select artist studios. Director of Individual Giving & Stewardship Emily Klimek acted as the Contemporary representative on the tour. If you applied to win a spot on the segway tour, do not give up, become a Fan of the Contemporary on Facebook now and look out for the next opportunity on this platform. Those that won the Facebook competition also received a free meal ticket to the Open Studios BBQ.

What better way to end a whole weekend of programs and tours plus a Homegrown Summer for that matter then to enjoy barbeque from Pappy’s Smokehouse and ice cold beer from Schafly. The watermelon was sweet and chilled to perfection, but the pulled pork sandwich was definitely the crowd favorite. Normally, you would have to wait hours to get a taste of Pappy’s perfectly cooked BBQ, but at the Contemporary it was all there for the taking for only $10 a meal. In addition to the BBQ, sides, and beer, Ted Drewes frozen custard was offered as an additional summertime treat.

What could be more “Homegrown” than Ted Drewes, Pappy’s, Schlafly, 150+ local artists, and the Great Rivers Biennial exhibition? Well, you asked for it… the Rum Drum Ramblers, with upright bass, harmonica, and banjo guitars rocked the courtyard with down and dirty St. Louis blues. The summer might not be over, but this year’s Open Studios was the climax of the Contemporary’s Homegrown Summer, a series of programs featuring local art, food, and music.

For those looking for something to do this holiday weekend, why not stop by the Contemporary on Saturday, July 3 for First Saturday Tasting and Tour. Chef John Judy from L’École Culinaire will be  serving a Deconstructed Grilled Peach Melba using locally grown peaches in the cafe at noon. After the tasting, Associate Curator Laura Fried will offer a tour of the Great Rivers Biennial exhibition in the galleries.

To attend the Tasting and Tour, please send an RSVP to aelmestad@camstl.org.

On Thursday, June 24 over 350 people attended Concerts in the Courtyard at the Contemporary. The crowd drained two kegs of local Schlafly beer and consumed over 17 pounds of candy from local phenomenon Crown Candy Kitchen. All in an effort to support the local music scene, KDHX promoted the concert on the radio and Vintage Vinyl honored the museum with a spot on their famous marquee.

The weather was nearly perfect at 85 degrees with a slight cool breeze. As the sun began to set, Theodore opened the show with their signature folk sound. Traditional at first glance, but as the members start to integrate an accordion, an autoharp, a banjo, and even a trombone, a listener quickly realizes the level of musical talent the members bring to the table. As one member switches from an upright bass to an electric, dark  and honest vocals complete the musical narrative.

Standing alone as a solo artist, Syrhea Conaway of Syna So Pro looped guitar, bass, vocals, and occasionally, the violin, while tapping on multiple pedals on her self-constructed pedal board to create the illusion that she was being backed by an entire instrumental ensemble. Syrhea showed her experimental side by quickly moving around the stage and playing her various instruments to create a looping soundscape that would accompany the best instrument in the mix… her voice.

Blood Pony took the stage after Syna So Pro and delivered the same musical complexity, blending violins, acoustic guitars, trombones, and even a megaphone. The vocalist added a pop melody that only furthered their bright sound in the dark courtyard. Just as a classification came to mind, the musicians would switch roles, pick up different instruments and begin to play with a completely altered style. And their fans weren’t afraid to scream their name in support.

Each musical group told a story and N. Nomurai did not disappoint. With only three members performing, the local legend Eric Hall led the way by sampling, mixing, and creating an atmospheric noise that tuned itself into electronic euphoria. Part machine, part human, the members abandoned convention, as a bass guitar morphed into something a little less tangible. If you could not see the instruments, you might not know where all the sound is coming from. The dreamlike sound was continuous and free. The drums started softly then a collision of echoed buzz mutated the beat into punk aggression that melted into a planned narrative of well-execute musical technique.

Special thanks to Fauxto-Booths which set up a great set in the performance space and took pictures of guests at the concert.