On View> “Thomas Bayrle: Chrysler Tapete” Opens September 6 at the Contemporary Art Museum St. Louis
Thomas Bayrle: Chrysler Tapete
Contemporary Art Museum St. Louis
3750 Washington Blvd, St. Louis, MO
September 6, 2013 to October 27, 2013
From September 6 to October 27, the Contemporary Art Museum St. Louis and chief curator Dominic Molon present Chrysler Tapete (1970) as part of the institution’s ongoing Front Room program. One of a series of wallpaper works that German artist Thomas Bayrle has produced since the late 1960s, Chrysler Tapete features the repeated image of an automobile until its distinctiveness subsides into a colossal collectiveness. The purpose is to signify the tension between positive, shared experiences and the feeling of oppressive uniformity. Bayrle, a leader in European Pop Art—frequently referred to as Grey Pop—continues to experiment with painting, sculpture, fashion, and graphic design and currently lives and works in Frankfurt am Main, Germany. Through solo and group exhibitions, his objective is to uncover how our society of mass production and consumption influences our understanding of the world. Bayrle investigates how physical space, scale, and pattern influence the observer. Chrysler Tapete, consisting of silkscreen print on paper, has an intense visual presence that provides visitors with a new way to experience the exhibition space itself, a fitting role as the installation coincides with the tenth anniversary of the Contemporary Art Museum’s building.
An 18-foot, bright red “B” plucked from St. Louis’ Anheuser-Busch brewery will find a permanent home in the beer conglomerate’s first U.S. “biergarten.” The “B” is a relic of the neon Budweiser sign replaced by LEDs in February.
Located adjacent to the brewery’s tour center at 12th and Lynch streets, the beer garden joins what is already one of the region’s largest tourist attractions, drawing 350,000 visitors annually. Five of the dozen U.S. breweries are owned by A-B, which itself is a wholly-owned subsidiary of Belgium-based A-B InBev, but the St. Louis location is so far the only one with a beer garden on tap.
Agribusiness titan Monsanto has pledged hundreds of millions of dollars in upgrades to its research facility outside St. Louis, and design details are starting to pop up. Cannon Design will plan, design and engineer a new 400,000 square foot center for life sciences research.
The winners of St. Louis’ first-ever “Sustainable Land Lab” competition, put on by Washington University and city officials, attempted to make the most of a regrettably abundant resource: vacant lots.
Local architects took top honors in a competition that garnered some four dozen submissions. Each winner gets a two-year lease on a North St. Louis vacant lot and $5,000 in seed money to realize their ideas. Five winning projects will share four lots (two finalist teams combined their proposals into one new plan) across the city.
The Eero Saarinen-designed Gateway Arch in St. Louis is preparing to celebrate the 50th anniversary of its opening, taking place in 2015, and the original Dan Kiley landscape around the monumental catenary arch is getting an overhaul by Michael Van Valkenburgh Associates (MVVA). The full story about the newly updated plans for the ambitious project appeared in the Midwest edition of AN News. MVVA shared these views of the current landscape and what’s proposed, showing just how dramatic the transformation will be. Take a look.
Fifty years ago, the St. Louis waterfront was one gigantic parking lot after 40 blocks of the city’s gritty industrial quarter were cleared in the late 1930s to create a site for a new Jefferson National Expansion Memorial. It took another two decades to get anything built, but on February 12, 1963, the missing slice of St. Louis began to change as ground was broken for Eero Saarinen’s famous Gateway Arch that still defines St. Louis in one dramatic gesture.
Tadao Ando’s architecture strives for perfection, with glass-smooth concrete walls nearly as reflective as mirrors, ideal proportion and geometry creating a sacred sense of space, and design details that reveal no part of a building is too small for consideration. In fact, as one story goes, Ando requested that a foot-thick concrete wall at his Pulitzer Foundation for the Arts in St. Louis be rebuilt multiple times since it didn’t meet his strict standards.
The Pulitzer, one of only a handful of buildings the Japanese architect has completed in the United States and the first in the US intended for public use, opened in 2001, demurely set behind a concrete wall in the city’s Grand Center neighborhood. This Friday and Saturday (February 8 and 9), the Pulitzer Foundation for the Arts and Washington University in St. Louis are hosting the free Building Pulitzer colloquium looking back at the four-year construction period of Ando’s Pulitzer Foundation.
A collection of strange industrial relics in St. Louis has gone the way of many before it, as the city’s last gasometer has fallen.
Gasometers are storage devices for natural and coal gas, built during the 20th century but abandoned after 2000 when underground storage became the preferred method. The Laclede Gas Company Pumping Station at 3615 Chevrolet, built around 1920, was the area’s last. Michael R. Allen wrote an epitaph for the bygone piece of infrastructure, providing a remembrance that asks, are industrial relics worth preserving?
Basically silos for gas, the structures leave behind industrial skeletons that are sometimes stunning, always intriguing — a Flickr group devoted to their documentation has more than 1,000 entries. They are more common in Europe than in the U.S., but Laclede’s St. Louis structures were the most notable on this side of the Atlantic. In Vienna they are celebrated, with four architectural teams currently converting four gasometers for new uses.