Urban Planning: Art and the City 1967–2017

May 5, 2017 - Aug 13, 2017

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Agnes Denes, Wheatfield—A Confrontation: Battery Park Landfill, Downtown Manhattan, with Agnes Denes Standing in the Field, 1982. Courtesy the artist and Leslie Tonkonow Artworks + Projects, New York. Photo: John McGrall.

Zoe Leonard, Segment from Analogue Portfolio, 1998–2009. Series of 40 dye transfer prints, 20 x 16 inches each. Courtesy the artist and Hauser & Wirth, New York.

Gary Simmons, Plaza Inferno Grid, 2008. Oil and pigment on six pieces of gessoed paper, 102 x 67 1/2 x 2 inches. Collection of the Mildred Lane Kemper Art Museum at Washington University in St. Louis.

Robert Adams, Colorado Springs, Colorado, 1968. Gelatin silver print, 6 x 5 15/16 inches. Collection of Betsy Karel, Washington D.C.

Josiah McElheny, Bruno Taut’s Monument to Socialist Spirituality (After Mies van der Rohe), 2009. Hand blown andmolded glass modules, wood and hardware, 105 3/4 x 75 x 55 inches. Courtesy the artist and Andrea Rosen Gallery, New York.

View of Abigail DeVille’s exhibition Only When It’s Dark Enough Can You See the Stars, 2016, showing Charm City Roundhouse, 2016, at the Peale Museum.

Michael Rakowitz, Dull Roar, 2005. Drawings on paper and vellum, inflatables, motors, wooden platform, mixed media,dimensions variable. Courtesy the artist and Jane Lombard Gallery, New York. 

Agnes Denes, Wheatfield—A Confrontation: Battery Park Landfill, Downtown Manhattan, with Agnes Denes Standing in the Field, 1982. Courtesy the artist and Leslie Tonkonow Artworks + Projects, New York. Photo: John McGrall.Zoe Leonard, Segment from Analogue Portfolio, 1998–2009. Series of 40 dye transfer prints, 20 x 16 inches each. Courtesy the artist and Hauser & Wirth, New York.Gary Simmons, Plaza Inferno Grid, 2008. Oil and pigment on six pieces of gessoed paper, 102 x 67 1/2 x 2 inches. Collection of the Mildred Lane Kemper Art Museum at Washington University in St. Louis.Robert Adams, Colorado Springs, Colorado, 1968. Gelatin silver print, 6 x 5 15/16 inches. Collection of Betsy Karel, Washington D.C.Josiah McElheny, Bruno Taut's Monument to Socialist Spirituality (After Mies van der Rohe), 2009. Hand blown andmolded glass modules, wood and hardware, 105 3/4 x 75 x 55 inches. Courtesy the artist and Andrea Rosen Gallery, New York.View of Abigail DeVille’s exhibition Only When It’s Dark Enough Can You See the Stars, 2016, showing Charm City Roundhouse, 2016, at the Peale Museum.Michael Rakowitz, Dull Roar, 2005. Drawings on paper and vellum, inflatables, motors, wooden platform, mixed media,dimensions variable. Courtesy the artist and Jane Lombard Gallery, New York. 

CAM presents Urban Planning: Art and the City 1967–2017, an exhibition of artists’ responses to the transformational social, political, economic, and environmental effects of urban development in the United States through a variety of media, including sculpture, drawing, photography, moving image, and installation. Urban Planning is on view May 5 through August 13, 2017, and features twenty-three major international artists: Robert Adams, Edgar Arcenaux, Mark Bradford, Juan William Chavez, Agnes Denes, Kevin Jerome Everson, Cyprien Gaillard, Theaster Gates, Dan Graham, David Hartt, Zoe Leonard, Glenn Ligon, Josiah McElheny, Catherine Opie, Robert Overby, Michael Rakowitz, Martha Rosler, Ed Ruscha, Gary Simmons, Robert Smithson, Oscar Tuazon, and Sara VanDerBeek. As part of the exhibition, Abigail DeVille will explore St. Louis and gather from the city’s detritus—collecting random, found, and historical materials— from which she will create a monumental new site-specific installation for the Museum.

Urban Planning explores momentous sociopolitical and economic upheavals—the Civil Rights movement, white flight, gentrification, post-industrialization, the emptying of American urban centers, and the expansion of the suburbs, among others—and presents a polyphony of artists’ reactions. Rather than pose a definitive historical trajectory however, the exhibition embraces a ruminative and introspective approach, winding through time, place, and perspective.

As seen throughout much of the exhibition, artists use photography as a tool to document a rapidly changing nation. Ed Ruscha’s black-and-white aerial photographs of Los Angeles parking lots (1967) as well as images from Catherine Opie’s Freeway series (1994), coolly reflect the unrestricted violence imposed on the natural landscape through the rise of American automobile culture. In contrast, Sara VanDerBeek and Edgar Arcenaux both transform images of Detroit—the American symbol for urban decline—recasting them in large-scale compositions (in photography and drawing, respectively) that unburden the city of its pariah status and offer fresh, even fantastical perspectives of its evolving social fabric.

Sculpture brings the themes of the exhibition into three-dimensional form. Many of these hard-edged critiques exhibit material playfulness, as with Josiah McElheny’s colored-glass revision of cold, modernist architecture, and Michael Rakowitz’s reimagining of the infamous Pruitt-Igoe housing project as a giant inflatable, interactive toy. Oscar Tuazon’s structure, created specifically for the exhibition, provides a temporary dwelling within the galleries, offering viewers a space for both contemplation and encounter.

Urban Planning further unravels its various narrative threads through several moving image works. The implosion of Glasgow public housing is seen and heard in Cyprien Gaillard’s video Pruitt Igoe Falls (2009), whereas Kevin Jerome Everson’s film Emergency Needs (2007) reenacts a press conference held by Cleveland’s first African American mayor following the breakout of riots in 1968. The Republic (2014), by David Hartt, seamlessly weaves together images of urban life in Detroit and Athens, Greece, to explore their connection in the true story of Constantinos Doxiadis, who designed unrealized master plans for both cities.

Many of the works in the exhibition provide commentary on where and how people live in the United States. Among the earliest are Dan Graham’s photographic typology of suburban dwellings in his 1971 lithograph Homes for America and several photographs by Robert Adams that consider the psychological implications of Colorado sprawl in the 1960s and 70s. Glenn Ligon’s wall-based silkscreen Housing in New York (2007) exposes gentrification as an assault on African-American neighborhoods, and Mark Bradford creates ghostly etchings, a palimpsest of merchant posters sourced around Los Angeles that refract the area’s crucial informal economies.

Abigail DeVille’s new site-specific commission resides in its own gallery space, an improvised urban plan of the artist’s invention. Her act of scavenging, recycling, and redefining serves as a distinctive metaphor for the exhibition as a whole—a memorial constructed from that which has been lost, left behind, or thrown away. She offers instead a creative act of will and imagination, a restorative, hopeful force.

St. Louis provides a thematic through line for Urban Planning. The birthplace of the national highway system, the home of the Gateway Arch, a city that continues to experience its own social and environmental disruption, racial violence, and economic strife—St. Louis connects with analogous urban centers across the country, as the works in the exhibition suggest the universality of such issues. To encourage reflection on these themes and how they resonate on a local level, CAM will host guided discussion tours of the city and region.

Urban Planning is both meditation and dreamscape, analysis and argument, a space for outrage and contemplation, and a simultaneously distressing and enlivening view of the past, present, and future of America’s cities

Urban Planning: Art and the City 1967–2017 is organized for the Contemporary Art Museum St. Louis by Kelly Shindler.

Sponsors

This exhibition is generously supported by a grant from the Graham Foundation for Advanced Studies in the Fine Arts.

Abigail DeVille’s commission is generously supported by the Harpo Foundation.