Contemporary Art Museum St. Louis Magazine, Winter 2011/ Spring 2012

CONTEMPORARYARTMUSEUMSTLOUISMAGAZINE Winter 2011/Spring 2012

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Cover Image: David Noonan, installation view at the Contemporary Art Museum St. Louis, September 9 - December 30, 2011.

MESH is published annually by the Contemporary Art Museum St. Louis. Unless otherwise noted, articles may be reprinted without permission with appropriate credit to the publication and the museum.

CORRESPONDENCE Allyson Pittman, Public Relations Manager by email: apittman@camstl.org © 2012 Contemporary Art Museum St. Louis

Contemporary Art Museum St. Louis is a non-profit, tax-exempt organization. Exhibitions, programs, and general operations are member supported and privately funded through contributions from generous individuals, corporations, public funders, and foundations. General operating support is provided by Whitaker Foundation; Regional Arts Commission; Missouri Arts Council, a state agency; Missouri Cultural Trust; Bank of America Charitable Foundation; JP Morgan; Arts and Education Council; The Trio Foundation of St. Louis; EMCArts, Inc.; Purus Vodka; Wells Fargo Advisors; and members of the Contemporary Art Museum St. Louis. Support for CAM’s exhibition program is provided by Jeanne and Rex Sinquefield; Nancy Reynolds and Dwyer P. Brown; William E. Weiss Foundation; Mary Ann and Andy Srenco; and Étant donnés, the French-American Fund for Contemporary Art. Support for CAM’s education and outreach programs is provided by PNC Foundation; Emerson; The Dana Brown Charitable Trust, U.S. Bank, Trustee; Maritz; The Middle Fund; Missouri Arts Council, a state agency; National Endowment for the Arts; Monsanto Fund; Employees Community Fund of Boeing; The Kerr Foundation, Inc.; William T. Kemper Foundation, Commerce Bank Trustee; The Terry D. Weiss M.D. Youth Education Fund; Target; Dorte and Jim Probstein; and The Honey Fund. Special thanks to TOKY Branding + Design; ALIVE Magazine; Companion Bakery; FEAST Magazine; Glazer’s Midwest; Midwest Valet; Shlafly Beer; and Nordstrom.

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CAM is...

CAM is dedicated to promoting meaningful engagement with the most innovative and relevant art being created today by exhibiting the visual art and artists of our time, presenting dynamic public programs, and producing nationally recognized youth education programs.

As a non-collecting institution, CAM focuses its efforts on exhibiting local, national, and international wellknown and newly established artists from diverse backgrounds and working in all types of media. We feature an ever-changing series of exhibitions in our Main Galleries and Front Room exhibition space. As St. Louis’s preeminent forum for interpreting culture through contemporary visual art, we connect our visitors to the dynamic art and ideas of our time. As a gathering place for experiencing contemporary art and culture, we push the boundaries of innovation, creativity, and expression.

BOARD OF DIRECTORS 2011-2012 David S. Obedin, Chair Dwyer Brown, Interim Director Jamey Edgerton, Vice Chair, Development Andrew Srenco, Treasurer Jacob W. Reby, Secretary Susan Barrett Brian L. Bruce Elissa M. Cahn Sarah Carlson Barbara Z. Cook Alexis M. CossĂŠ David M. Diener Arnold Donald David Drier John Ferring Matthew Fischer Jeffrey Fort Janis G. Goldstein Linda E. Karakas Nancy Kranzberg Phyllis Langsdorf Judith W. Levy Ann Sheehan Lipton Kimberly MacLean Joan H. Markow John McArthur Susan McCollum Isabelle Montupet Lawrence K. Otto Dorte Probstein Emily Rauh Pulitzer Grier C. Raclin Julian Schuster Kevin Short Thad Simons Rex Sinquefield Michael Staenberg Donald Suggs Eric Thoelke Brian Thomas Patricia D. Whitaker Gary Wolff Emeritus Charles Cook Eleanor W. Dewald Terrance Good Joan Goodson Marylen Mann Donna Moog Ann Ruwitch Ex-officio Vincent C. Schoemehl, Jr. 4

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Dear Friends, With the departure of Director Paul Ha to the List Visual Arts Center at MIT, CAM is moving on to its next stage of growth. I am honored and excited to help steward the museum through this dynamic phase.

Having spent my entire professional career in the art world, I have always recognized CAM as a valuable institution for St. Louis and the field of contemporary art at large. My work on CAM’s Board of Directors — most recently, leading the strategic planning committee — has provided me with a close look at the inner workings and long-term vision of the organization.

Witnessing firsthand Paul’s tireless dedication and commitment to CAM during his nine-year tenure as director has been truly inspiring. He and his staff have transformed what began as a strong regional space for showing contemporary art into one of the finest non-collecting museums in the world. CAM is clearly on the “art map” — the significant accomplishments made under Paul’s leadership support the national and international attention CAM has received.

Yet, there is still work to do. As friends and supporters of CAM, we are now charged with continuing to grow this great institution for future generations. The public counts on CAM for the most relevant and innovative exhibitions and programming produced today, and CAM must continue to engage and challege its audiences of all ages. Assuring a smooth transition to the next executive director and, more broadly, into the next era of the institution, is a critical step in building upon the gains we have made thus far.

So, let us celebrate all that has been accomplished as we work together to expand our audience and introduce others to everything CAM has to offer. I invite you to join me in supporting CAM. It deserves nothing less.

Dwyer Brown Interim Director

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Exhibitions CAM’s exhibitions over the previous year recalled a phrase from the movie Magnolia — “We may be through with the past, but the past ain’t through with us” — in their depictions and reexaminations of art history and the generally historical. The museum’s exhibition program provided necessary reminders of how the past continues to inform the present and guide our future, while maintaining a commitment to keeping St. Louis current with the ideas and art of our time. It also sustained CAM’s growing reputation as one of the most adventurous and relevant venues for contemporary art in the United States. Featuring a diverse range of international artists, the program alternately celebrated the work of figures reinventing the way art is produced and presented, and those who create new and unconventional perspectives on the world in which we live.

The focused presentation in Fall 2010 of sculptures incorporating horsehair by one of the most respected figures in contemporary art, Richard Artschwager, alongside the photographs and films of Elad Lassry, one of the most promising emerging artists of our day, resulted in a brilliant intergenerational exploration of texture and surface in vastly different formats and mediums. Richard Aldrich and the 19th Century French Painting (Spring 2011) and Cryptic: The Use of Allegory in Contemporary Art with a Master Class from Goya (Summer 2011) included works by art historical masters such as Pierre Bonnard and Édouard Vuillard, and Francisco José de Goya y Lucientes, respectively, to reveal unexpected sympathies between the most current artistic practice and that of past centuries. Manon de Boer’s four film-based installations featured esoteric performances of avant-garde music compositions that mirrored her experimentation with cinema. The Fall 2011 presentations of David Noonan’s paintings, which examine the recent history of theater, and a performative film by Emily Wardill, which focuses on the more distant origins of stained glass windows, demonstrated CAM’s ability to stage exhibitions that complement one another formally and intellectually. This spring Christodoulos Panayiotou presents images culled from the public archives of his native Cyprus to uncover the hidden stories told by official ceremonies and functions, while the thematic exhibition Figure Studies: Recent Representational Works on Paper emphasized artists’ use of traditional figurative work to present truths through fictional characters and situations.

With a new member of the curatorial team, Assistant Curator Kelly Shindler, joining CAM in September 2011, the museum is poised to dynamically engage both the larger international audience for contemporary art and a local community that will continue to play a central, if not increasing, role in our exhibition program. We look forward to a 2012 filled with daring and thoughtprovoking programs featuring artists from here and beyond.

- Chief Curator Dominic Molon Support for CAM’s exhibition program is provided by Jeanne and Rex Sinquefield; Nancy Reynolds and Dwyer P. Brown; William E. Weiss Foundation; Mary Ann and Andy Srenco; and Étant donnés, the French-American Fund for Contemporary Art. General operating support is provided by Whitaker Foundation; Regional Arts Commission; Missouri Arts Council, a state agency; Missouri Cultural Trust; Bank of America Charitable Foundation; Arts and Education Council; The Trio Foundation of St. Louis; and members of the Contemporary Art Museum St. Louis.

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“Panayiotou is distinctive for his arrangement of found stories and images...displacing authorship while giving rise to improbable emotional resonance.�

-Art in America

Christodoulos Panayiotou, Sunrise (1 October 2010, 6.15) (detail), 2010. Color print.

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Christodoulos Panayiotou: One Thousand and One Days January 27, 2012 — April 22, 2012 Christodoulos Panayiotou has become one of the most prominent emerging European artists, on the strength of multidimensional works that address concerns ranging from the complex contemporary understanding of what constitutes “the public” to the construction of national identity and history.

For his presentation at CAM — the artist’s first solo museum exhibition in the United States — Panayiotou presents new and preexisting works that demonstrate both the range of techniques and the socio-political concerns that define his practice. New works created for the exhibition include a multi-part series of sixty-six photographs sourced from public archives in Cyprus and a site-specific mural based on a particular historical set design that together develop interrelated themes of celebration, festival, display, hegemony, and symbolic domination. The title of the exhibition combines allusions to A Thousand Days, a 1965 book by Arthur M. Schlesinger, Jr. about the Kennedy Administration (seen in one of the images sourced at the Press and Information Office Archives), and the collection of traditional Middle Eastern folk stories, 1001 Nights, to underscore Panayiotou’s emphasis on building narratives about power and presentation both within and between his works.

Christodoulos Panayiotou: One Thousand and One Days was organized by the Contemporary Art Museum St. Louis and curated by Chief Curator Dominic Molon.

Christodoulos Panayiotou: One Thousand and One Days is generously supported by the Ministry of Education and Culture, Republic of Cyprus. Special thanks to Gauro Coen / American Turf and Carpet.

Detail from image sourced at the Municipal Archives of the City of Limassol. www.camstl.org

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Figure Studies: Recent Representational Works on Paper January 27, 2012 — April 22, 2012 Figure Studies: Recent Representational Works on Paper brings together drawings and etchings by six artists — Ida Applebroog, John Bankston, Jennifer Bornstein, Alejandro Cardenas, Djordje Ozbolt, and Tom Reed — that demonstrate a broad range of techniques, narratives, and conceptual approaches. The exhibition reveals how artists in the more traditional manner of depicting things in this world, or the world of imagination, imbue the content of their work with distinctly contemporary concerns and sensibilities. Applebroog’s multipart drawing Rose (2005-2009), for example, provocatively evokes our perception of natural and cultural transformations of the human body, while Bankston’s use of a style reminiscent of children’s coloring books prompts a radical reconsideration of issues of race, sexual identity, and masculinity. The small, meticulous, and slightly crude etched portraits by Bornstein of everyday people and obscure figures from history intertwine the personal, the historical, and the mundane. The elegantly spare work of Alejandro Cardenas develops mysterious narratives about space travel through renderings of exquisite figures against stark black backgrounds that subvert our visual understanding of the science fiction genre. Serbian artist Djordje Ozbolt’s drawings incorporate incongruously contemporary or foreign elements into traditional art historical compositions as a form of political and social satire, while St. Louis-based artist Tom Reed combines knowing and intensely stylized depictions of natural phenomena and rustic settings and situations to meditate on the dialectic of hope and hopelessness in today’s society.

Figure Studies: Recent Representational Works on Paper was organized by the Contemporary Art Museum St. Louis and curated by Chief Curator Dominic Molon.

John Bankston, Funny Maze 2, 2006. Watercolor, acrylic and crayon on paper, 23 x 30 inches. Courtesy of Walter Maciel Gallery, Los Angeles.

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Djordje Ozbolt, Untitled, 2011. Ink on paper, 8 4/5 x 8 1/5 inches. Courtesy of Herald St., London, and Hauser & Wirth, New York.

Alejandro Cardenas, An Alien in a Corridor (detail), 2008. Pen and ink, watercolor, and gouache on paper, 15 x 15 inches. Collection of Shirley Cook, New York. Courtesy of James Fuentes LLC, New York.

Tom Reed, bridge is out (detail), 2010. Mixed media on found paper, 25 x 24 inches. Courtesy of the artist. www.camstl.org

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David Noonan, installation view at the Contemporary Art Museum St. Louis, September 9 - December 30, 2011.

David Noonan September 9, 2011 — December 30, 2011 CAM was pleased to organize the first solo presentation of the work of London-based Australian artist David Noonan in an American museum. Since emerging in the early 2000s, Noonan has developed an international reputation for works that incorporate photographic imagery of costumed performers, groups of figures from utopian collectives, and other elements of theater and stagecraft in collaged, painterly, or sculptural formats. In doing so, he encourages us to consider how documentary images of events and happenings might be transformed into fiction, while suggesting the significant roles that theatricality and performance have played in our recent cultural history.

This exhibition presented a survey of recent works in a variety of media as well as numerous new works created especially for this presentation at CAM. The Main Gallery spaces featured examples of large-scale works featuring evocative photographic images from various sources — such as books about experimental theater or puppetry, as well as Japanese textile designs — all screen-printed onto different layered fabrics. Noonan’s process of creating these works gave the images a shadowy sense of mystery, while the layering of the figurative and abstract imagery created a tension between abstraction and representation. They joined a new sculptural work emphasizing a connection to modernist aesthetics and design in addition to a presentation of smaller collage works. An installation of wood cut-out figures featuring images of dancers in various positions (originally created for a 2008 solo exhibition at the Chisenhale Gallery in London) was presented in CAM’s Performance Space to accentuate and reemphasize its theatrical function and design.

David Noonan was organized by the Contemporary Art Museum St. Louis and curated by Chief Curator Dominic Molon.

David Noonan was generously supported by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body; and the British Council. Special thanks to David Kordansky Gallery, Los Angeles.

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“Noonan emerged from the exhibition as a figure in transit from conjurer to instigator, pulling us into haunting scenarios.�

-Art in America

David Noonan, installation view at the Contemporary Art Museum St. Louis, September 9 - December 30, 2011. www.camstl.org

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“A thought-provoking, visually rich meditation on the intersection of theater, art and life.”

-St. Louis Beacon

Emily Wardill: Sick Serena and Dregs and Wreck and Wreck, installation view at the Contemporary Art Museum St. Louis, September 9 - December 30, 2011.

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Emily Wardill: Sick Serena and Dregs and Wreck and Wreck September 9, 2011 — December 30, 2011 This presentation featured Wardill’s 2007 film, Sick Serena and Dregs and Wreck and Wreck, in which props and costumed performers appear in theatrical situations that evoke the stained glass windows of Gothic cathedrals, yet possess a contradictorily contemporary sensibility in their actions and manner of speech. The title of the 12-minute film is a play on the popular phrase “Sex and Drugs and Rock and Roll” and captures both the obsessive and unconventional qualities of the acting and mise-en-scene, as well as the allusion to stained glass windows’ original function of communicating moralistic religious tales to a largely illiterate public. Wardill’s film suggests how allegory and metaphor were once used to condition and control human social behavior and how this condition is extended in contemporary political rhetoric.

Emily Wardill: Sick Serena and Dregs and Wreck and Wreck was organized by the Contemporary Art Museum St. Louis and curated by Chief Curator Dominic Molon.

Emily Wardill, Sick Serena and Dregs and Wreck and Wreck, 2007. 16mm color film, 12 minutes. Courtesy of the artist, Altman-Siegel, San Francisco; STANDARD (OSLO); and Jonathan Viner/ Fortescue Avenue, London. www.camstl.org

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“An intriguing new spin on deciphering the meaning of art.”

-St. Louis Post-Dispatch Javier Tellez, installation view at the Contemporary Art Museum St. Louis, May 20 – August 14, 2011.

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Cryptic: The Use of Allegory in Contemporary Art with a Master Class from Goya May 20, 2011 — August 14, 2011 Cryptic: The Use of Allegory in Contemporary Art with a Master Class from Goya featured sculptures, paintings, and videos by six international contemporary artists — Folkert de Jong, Hiraki Sawa, Allison Schulnik, Dana Schutz, Javier Tellez, and Erika Wanenmacher — and the Spanish artist Francisco José de Goya y Lucientes (1746–1828).

Cryptic explored the way contemporary artists make use of allegory — a figurative mode of representation conveying meaning other than the literal — in a wide variety of media. The juxtaposition of recent works with examples from two series of prints by Goya, the Caprichos and the Disparates (also known as the Proverbs), was intended to prompt consideration of how artists over the years have “encrypted” difficult, uncomfortable, and often socio-politically loaded meanings within allegory and continue to do so in the present day. Particularly in light of recent global events, this exhibition offered a timely exploration of the role that contemporary artists play as commentators on the world around us.

Cryptic: The Use of Allegory in Contemporary Art with a Master Class from Goya was organized by the Contemporary Art Museum St. Louis and curated by Santa Fe-based independent curator Laura Steward.

Cryptic: The Use of Allegory in Contemporary Art with a Master Class from Goya was generously supported by Novus International, Inc.; with public funds from the Netherlands Cultural Services; and Joanne and Alan Kohn. Special thanks to Hotel Ignacio.

Cryptic: The Use of Allegory in Contemporary Art with a Master Class from Goya, installation view at the Contemporary Art Museum St. Louis, May 20 – August 14, 2011. www.camstl.org

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Richard Aldrich and the 19th Century French Painting January 21, 2011 — May 1, 2011 Characterized by strategic use of forms and materials, the paintings of Richard Aldrich encompass effusive abstractions, sculptural workings, drawn or printed text, collage, and graphic, often humorous, figuration. The ability to communicate everyday experience lies at the heart of his pursuit, and with a sincere, unflinching curiosity in the possibilities for pictorial form, he looks for new modes of making and looking at painting.

Aldrich frequently integrates actual objects in his works — such as canvas scraps or book pages — but his references, both intimate and decidedly literary, also draw beyond the walls of his studio to include the personal relationships, music, poetry, and art that make up his world. Infused with a subtle humor and a fondness for visual play, these disparate gestures coexist and intersect from one painting to the next, revealing an intricate system and distinctive method of thinking, seeing, and making. For his first solo museum exhibition — foregrounding the breadth of his aesthetic investigations and ambitious inventions for the medium — CAM presented twenty of Aldrich’s large-scale works.

Aldrich chose the sweeping category of “19th Century French Painting” to describe four works he selected from the permanent collection of the Saint Louis Art Museum to display beside his own. In a provocative and unconventional gesture, he offered the viewer an experimental exhibition space to explore complicated ideas about style, history, and the ways in which life and art can be inextricably linked. Aldrich brought together three artists he admires — Édouard Vuillard, Pierre Bonnard, and the Irish portraitist Sir William Orpen — whose works attend to the immediate and meaningful representation of life. While this impulse is echoed in Aldrich’s own abstractions, this pairing was not intended to suggest technical or visual similarities between his paintings and those of his predecessors. Instead, he proposed that the unexpected presence of the past can refocus our encounter with subject and form in the present. In doing so, Aldrich tested the relationship between art-making and artistic discourse, encouraging the viewer to consider how a work of art is made, experienced, and how it lives in the world.

Richard Aldrich and the 19th Century French Painting was organized by the Contemporary Art Museum St. Louis and curated by former Associate Curator Laura Fried.

Richard Aldrich and the 19th Century French Painting was generously supported by Mari Carmen and Jose R. Alvarez; Carlo Bronzini; Manuel Gonzalez and Avo Samuelian; Craig Jacobson; Scott J. Lorinsky; and Maxwell Graham. Special thanks to Bortolami Gallery, New York; and Marc Foxx Gallery, Los Angeles.

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“A most intimate journal, perhaps written by a cloud.”

-Riverfront Times

Richard Aldrich and the 19th Century French Painting, installation view at the Contemporary Art Museum St. Louis, January 21 – May 1, 2011. www.camstl.org

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Manon de Boer: Between Perception and Sensation, installation view at the Contemporary Art Museum St. Louis, January 21 – May 1, 2011.

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“A brilliant study of taking the traditional dominance of image over sound in cinema and turning it on its head.”

-ALIVE Magazine Manon de Boer: Between Perception and Sensation, installation view at the Contemporary Art Museum St. Louis, January 21 – May 1, 2011.

Manon de Boer: Between Perception and Sensation January 21, 2011 — May 1, 2011 For her first major exhibition in the United States, the acclaimed Dutch, Brussels-based artist Manon de Boer asked us to listen as we looked at uniquely crafted films that were defined by sound.

For over a decade, de Boer has made a series of cinematic portraits, depicting friends, writers, dancers, composers, and musicians to explore questions of time and memory. Meanwhile, she examines how musical structures can transform what we experience. With a focus on performance — and the ways that sound can give a film its form — de Boer’s exhibition spotlighted her expansive and grounding experimentations with sound, image, and the fundamental experiences of film. For Presto, Perfect Sound (2006), de Boer shot six takes of a violin performance, out of which she cut and then reconstructed the optimal sound composites to produce a “perfect performance,” despite the visual glitches. In Two Times 4’33” (2008), de Boer’s camera fixes on the feeling of silence, on film and in the body, as it reverberates through the audience and extends to us offscreen. A third film, Dissonant (2010), reveals the rupture between what we see and hear, and as the screen goes black, the viewer traded vision for the pure aural experience of a dancer’s moving feet.

In an ambitious installation conceived especially for CAM’s galleries, de Boer presented four key works that addressed her attention to the structures of music, orchestrating her films so that each portrait amplified the connection between image and sound, performer and audience — asking visitors to revisit the process of looking and listening through the artist’s singular interrogation of cinema.

Manon de Boer: Between Perception and Sensation was organized by the Contemporary Art Museum St. Louis and curated by former Associate Curator Laura Fried and João Ribas, Curator at the List Visual Arts Center at MIT. Manon de Boer: Between Perception and Sensation was generously supported by the Flemish Ministry of Culture; Mondriaan Foundation, Amsterdam; and with public funds from the Netherlands Cultural Services. www.camstl.org

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Richard Artschwager: Hair September 10, 2010 — January 2, 2011 CAM presented an exhibition of works by American artist Richard Artschwager, in the first focused look at the artist’s exploration of rubberized horsehair. Working across all media, Artschwager has long specialized in the relationship between perception and deception.

This exhibition focused on a material he has used throughout his career to explore the tactility of the visual experience: rubberized horsehair. These unusual works, produced over a thirty-year period, depart from the crisp lines and sharp forms of his better-known Formica furniture works, blurring the clarity of sculptural form and throwing the object out of focus. They allowed for what the artist called a “perfect imprecision.” A material commonly found in upholstery, rubberized horsehair is typically hidden from view underneath the soft edges of a sofa. In this exhibition, Artschwager reversed the relationship between an object and its raw materials, asking the inner body of an object to become its own surface. His hairy silhouettes of life-size human figures seemed to dance, float, climb, and rejoice; yet they remained faceless and out of reach. With forms that manage to be both recognizable and nameless at the same time, Artschwager complicated visitors’ sense of perception, rendering the accessible inaccessible.

Richard Artschwager: Hair was organized by the Contemporary Art Museum St. Louis and curated by former Chief Curator Anthony Huberman.

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“Artschwager defies what it means to have a focused perception of art.”

-ALIVE Magazine Richard Artschwager: Hair, installation view at the Contemporary Art Museum St. Louis, September 10, 2010 – January 2, 2011. www.camstl.org

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Elad Lassry: Sum of Limited Views September 10, 2010 — January 2, 2011 Tel Aviv-born, Los Angeles-based artist Elad Lassry makes intimate, framed photographs that slip effortlessly between genres and iconographies — capturing plastic still-lifes, uncanny publicity portraits, collages, animals, and landscapes, all to hyper-stylized effect.

Each isolated subject is cloistered within saturated fields of color, and while his pictures might possess a sense of distant familiarity, further context is often erased from view. Despite their extreme realism, these toothsome vegetables, sunny faces, and pristine products are overwhelmed by their own formal properties. Vivid objects dissolve into backdrop, folding into bold combinations of color, shape, and pattern, and merge representation with abstraction. Thoroughly familiar and blank at the same time, Lassry’s compositions move beyond the simple category of “photography” and ask us to reconsider the way we look at pictures.

Lassry’s work exists between stillness and movement, where static photographs sustain a sense of fleeting motion. The potential for an image to become unfixed is equally relevant to the artist’s practice as a filmmaker. Capturing an elegant dancer, a zebra, or an actor performing empty gestures, Lassry’s short 16mm films explore the suspension of moving bodies in space. Sum of Limited Views featured over thirty photographs and a selection of films, where — through layered exposures, a staccato rhythm of colors, or the abstraction of moving bodies — the works possess a magnetic but unstable hold on our vision as “unstill” still lifes.

Elad Lassry: Sum of Limited Views was organized by the Contemporary Art Museum St. Louis and curated by former Chief Curator Anthony Huberman and former Associate Curator Laura Fried.

Elad Lassry: Sum of Limited Views was generously supported by Artis – Contemporary Israeli Art Fund, Carlo Bronzini, and Bob Rennie.

Special thanks to David Kordansky Gallery, Los Angeles.

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“The randomness of Lassry’s subjects speaks of the mindboggling ubiquity of photographs in the world.”

-St. Louis Beacon

Elad Lassry, Tomatillos (detail), 2010. 14 1/2 x 11 1/2 inches. Courtesy of the artist and David Kordansky Gallery. www.camstl.org

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The Front Room Running alongside the large-scale and long-term projects in CAM’s Main Galleries, the Front Room operates at its own rhythm, staging exhibitions that last anywhere from several days to a full month. Designed for more nimble and experimental programming, this ambitious ongoing series pushes the boundaries of what the museum exhibition can be. Each season of the Front Room — Fall, Spring, and Summer — presents the work of three to five artists and occasionally more. Front Room exhibitions are organized as solo shows or presentations of two or more artists side-by-side, in an effort to draw surprising connections between otherwise distinct practices. Since its initiation in 2008, the Front Room has featured emerging and younger artists from all over the world, many of them in their first solo exhibition in an American museum.

The last year and a half of the Front Room has witnessed a broad terrain of practices and projects, including performance, installation, film, photography, music, painting, and sculpture. Most recently, the Spring 2012 season opens with a tribute to American artist and filmmaker, Robert Breer, who passed away in August 2011, followed by an installation by Chicago artist Jesse McLean, who investigates the genre of the horror film in her video, Remote (2011). St. Louis-based artist Brandon Anschultz rounds out the season, presenting works across media that explore the wondrous materiality of paint.

Fall 2011 brought Polish artist Aneta Grzeszykowska’s haunting high-definition trickery, illustrated in her video Headache (2008).

Immediately prior, Detroit-based Michael E. Smith visited CAM to install his uncanny sculptures — a weedwhacker, a pant leg —devised from everyday objects. In October, a simultaneous presentation of Japanese artist Yuki Kimura’s enlarged found photographic installation and Los Angeles artist Scott Benzel’s abstract sound compositions occupied the Front Room, as well as CAM’s entryway and courtyard.

Legendary experimental filmmaker Jonas Mekas, along with the equally legendary Yoko Ono, opened the 2011 season in September with a presentation of Mekas’s Walden (DIARIES Notes and Sketches), Part 6 (1969) and Ono’s Play It by Trust (1966/2011), which together investigated the peaceful antiwar polemics of the 1960s.

Front Room of recent past seasons have also introduced the work of Pavel Büchler, Margaret Salmon, Thea Djordjadze, Scott King, Simon Denny, Nina Beier and Marie Lund, Laura Riboli, John Smith, Agency (Kobe Matthys), Miriam Böhm, Zipora Fried, Margarete Jakschik, Sam Windett, and the “Complaint Choir” project of Finnish artist-collaborators, Tellervo Kalleinen and Oliver Kochta-Kalleinen, to broad St. Louis audiences. During this same time frame, the Front Room also exhibited works by the influential Fluxus artist George Maciunas (b. 1931, d. 1978; presented in tandem with Djordjadze) and an early video experiment, Television Delivers People (1973; shown opposite King) by Richard Serra, today better known for his massive steel sculptures, the Torqued Ellipses. Whether presenting artists individually or alongside other, perhaps more seasoned practices, what remains constant is the ever-changing nature of the Front Room as it continues to shed new light and suggest further insights into the dynamic landscape of contemporary art.

The Front Room is generously supported by Mary Ann and Andy Srenco; and Étant donnés, the French-American Fund for Contemporary Art. Special thanks to Sprüth Magers, Berlin for their support of Thea Djordjadze; and Ratio 3 Gallery, San Francisco for their support of Miriam Bohm. Tellervo Kalleinen and Oliver Kochta-Kalleinen: The Saint Louis Complaint Choir was generously supported by the Consulate General of Finland, New York City.

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Opening Nights Thousands of visitors enjoy the energy of Opening Nights at CAM. Opening Night Patron Events are generously presented by J.P. Morgan. Special thanks to Chase Park Plaza Hotel, Glazer’s Midwest, and Midwest Valet.

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Changing Space: Anatomy of an Exhibition

By Timothy Timothy Young Young, Visitor Services Associate and Grants and Sponsorships Intern (Summer 2011) By

What happens at CAM when the museum is closed in between exhibitions? Surely, we do not need a month to take down a show and install the next one. Or do we? From conception to installation, each exhibition rotation requires extensive planning, time, and effort.

David Smith is CAM’s Exhibitions Manager and Registrar. In addition to maintaining the galleries, David receives, inspects, and manages the installation of the artwork you see in the museum. As soon as an exhibition opens and often well before, David and his team start preparing for the next one. Main Gallery exhibitions at CAM typically run for three months. David uses this time for a variety of tasks, including securing artwork from other institutions, private collections, or the artists themselves.

When artwork arrives at CAM’s loading dock, professional art handlers bring the crates into the museum. David inspects the artwork, taking notes of its condition. Artwork is stored in CAM’s “clean room” until the gallery space is ready for the work to be installed. Once the new exhibition’s artwork is accounted for and the previous exhibition has closed, David works with his installation team for the next month, usually spending one week to de-install a show — including carefully packaging and returning the artwork on loan — and three weeks to put up the new exhibition.

Enter Chief Curator Dominic Molon. David and Dominic spend the next three weeks working together. In the case of a solo show, such as Richard Aldrich and the 19th Century French Painting (Spring 2011), the artist typically works closely with museum staff throughout the entire installation process, sometimes creating site-specific pieces for the museum galleries. Group shows, like Cryptic: The Use of Allegory in Contemporary Art with a Master Class from Goya (Summer 2011), are often designed solely by the curator, with consent of the artists.

Dominic’s objective, whether curating independently or with an artist, is to “create a dialogue” between works of art. In the order to achieve this, the gallery space must be carefully designed, beginning with the layout of the walls themselves. For Richard Aldrich’s solo exhibition, CAM worked with the artist to juxtapose his paintings with works by artists from the late 19th and early 20th century. On loan from the permanent collection of the Saint Louis Art Museum, these works were considered very radical in their time. The spaciousness and white walls of the museum’s Main Gallery served to give these works the “breathing room” they demanded, and in effect created an open and flowing exhibition.

Cryptic was quite different. In the weeks between exhibitions, CAM’s interior spaces resembled a construction zone as a deep red wall was erected, dividing the Main Gallery into two. Laura Steward, guest curator for Cryptic, wanted the wall to facilitate a conversation between works from the prominent Spanish artist Francisco Goya and a group of six contemporary artists. Dominic suggests that this division compressed the space “to create a more condensed relationship not only between the works but also the more intimate spaces and relationships between the viewer and the work”; this is critical when showing multiple artists’s work in a single gallery.

Why was the wall painted red rather than gallery white? The red paint created “a sense of differentiation,” notes Dominic. Contemporary works are usually shown against a white wall, and “we typically expect more historical or traditional works to be presented on a different colored wall.” Goya’s works were hung on both sides of the red dividing wall, surrounded by the contemporary pieces, with sculptures centered on the floor and paintings hung on adjacent white walls. This cue served both to present Goya’s works as traditional and to visually separate them from the surrounding contemporary works.

The size, arrangement, and color of CAM’s gallery walls dramatically alter how we perceive and interact with visual art. The design of the gallery space should suggest aesthetic or thematic relationships between the artwork on display and inspire conversation and intellectual inquiry amongst visitors. CAM’s flexible gallery spaces allows the curatorial team to create the appropriate configuration for each exhibition. That flexibility is the direct result of Brad Cloepfil’s architectural design for an open floor plan, and is an invaluable asset which we continually rely upon as we transform our exhibition spaces again and again. www.camstl.org

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Public Programs and Audience Development As a gathering place for experiencing contemporary art and culture, CAM is a dynamic community center that brings life and vitality to St. Louis. Alongside our exhibitions, we present a variety of free public programs that are designed to engage diverse audiences.

In addition to exhibition-related programs -- such as discussions with artists, curators, and distinguished speakers -- CAM attracts thousands of new visitors each year for live performances, film screenings, culinary tastings, and social events. Support for CAM’s public programs is provided by our members and, in part, by Schlafly Beer.

CAM also strives to incorporate creative new technologies that expand our cultural presence beyond the walls of the museum.

This fall we worked with TOKY Branding + Design to launch a fully customized CAM App, which allows our audience to easily stay connected with the most exciting contemporary art being made today.

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Public Programs

Pecha Kucha Night #6

Secret Dinner

Feast Your Eyes

As part of St. Louis Design Week,

Over two nights in July, 120 strangers

This summer we kicked off our new monthly

CAM embraced St. Louis’s creative

convened at CAM to partake in a five-

series, Feast Your Eyes, in partnership

entrepreneurs by hosting Pecha Kucha

course secret dinner devised by master

with Feast Magazine. The first Saturday

— translated as “chit-chat” in Japanese.

Chef John Perkins — also known as

of every month, CAM invites a leading

The Pecha Kucha presentation style

the “Clandestine Chef” — pioneer of

St. Louis chef to respond to the current

began at an experimental event space in

the Underground Dinner in St. Louis.

exhibition by creating a tasting menu for

Japan and has since spread to creative

Guests learned of the event through a

visitors. Attendees have experienced the

communities around the world. Pecha

QR code emblazoned on a dinner napkin

culinary art of local talents such as Chris

Kucha participants quickly present their

handed out at CAM special events

Williams of Franco, Chris Bork of Blood &

projects and ideas — 20 slides per

and public programs. With no actual

Sand, and Dave Owens and Margaret Kelly

presenter, 20 seconds per slide. The

home, Chef John established the Entre:

from Bissinger’s. Following the tasting,

rapid presentations at CAM’s Pecha

Underground as a culinary experiment

visitors are treated to a tour of our current

Kucha Night generated a fascinating

that tests the boundaries of exclusivity

exhibitions. Additional support is provided

discussion among St. Louis artists and

and communal dinning.

by Chandler Hill Vineyards and Pearl Vodka.

entrepreneurs.

Pinot and Picasso At Pinot and Picasso, visitors enjoyed an

3rd Annual Etsy Art Sale

evening of wine tasting and live model

In partnership with ShowMe Etsy and Yelp, CAM hosted its 3rd Annual Etsy Art Sale.

and Director of Wine at Robust, was on

Over 750 visitors viewed CAM’s exhibitions and supported local artists while enjoying

hand to share his wine knowledge and

an evening of holiday shopping, hot chocolate, and live music by The Griddle Kids.

expertise.

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drawing. Jayce McQuerter, sommelier

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Concerts in the Courtyard Kicking off the 2011 St. Louis Arts Project (SLAP) arts and music

Susan Sherman Annual Distinguished Speaker

conference, CAM hosted a “Secret Show” curated by the Secret

Richard Armstrong, Director of the Solomon R. Guggenheim

Sound Society in partnership with KDHX and Eleven Magazine.

Foundation, presented our Susan Sherman Annual Distinguished

An homage to our Cryptic exhibition, the audience did not know

Speaker lecture. His lecture focused on the pivotal role of the

which bands would be performing until they stepped foot on

New York museum and his experience providing leadership

stage. Attendees were rewarded with performances by local

and management for the four other institutions within the

artist Thankful Tree, Chicago-based Yawn, and Cast Spells — a

Guggenheim network. This program is supported in part by an

side project of Maps & Atlases. The St. Louis Complaint Choir

endowment fund created by Susan and David Sherman III.

— the final installment of a Spring 2011 Front Room exhibition — opened the show with its music compilation of over 100 complaints submitted by residents of St. Louis.

Film Screenings

CAM Nights

In partnership with Cinema St. Louis, CAM participated in the

Inspired by the enormous success of Select Nights, CAM

20th Annual Stella Artois St. Louis International Film Festival

recently relaunched its popular monthly happy hour series on

by presenting a free screening of The Rite (1969) by Swedish

the third Thursday of every month: CAM Nights. Presented by

filmmaker Ingmar Bergman. The film was selected by exhibiting

Purus Vodka and in partnership with Miller Lite, Coors Light, Blue

artist David Noonan. The short film Sick Serena and Dregs and

Moon, Magic Hat, and ALIVE Magazine, CAM Nights offers party-

Wreck and Wreck (2007) by British filmmaker Emily Wardill

goers happy hour specials, a dynamic lineup of local DJs, and an

was also on view for the duration of the festival. In addition, in

opportunity to see our exhibitions after-hours while mingling with

recognition of World AIDS Day / Day With(out) Art on December

young professionals, urban hipsters, and art enthusiasts. Each

1, 2011, CAM presented an all-day, free screening of Untitled

month we partner with social organizations such as Metropolis,

(2010) by Jim Hodges, Encke King, and Carlos Marques da Cruz.

St. Louis Transplants, and Children’s Hospital Young Friends.

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6 Annual City–Wide Open Studios th

A week-long event in July dedicated to the discovery of the hidden spaces where local artists work City-Wide Open Studios offers a unique opportunity for the St. Louis public to explore the creative and personal spaces of local artists while providing the ability to enjoy one of the most exciting parts of contemporary art — the chance to talk with the artists themselves.

Annually, City-Wide Open Studios consists of a series of events and tours throughout the city. In 2011, over 160 local artists participated in the 6th Annual City-Wide Open Studios, spanning some of St. Louis’s most diverse and energetic neighborhoods. Through this unique program, local artists are connected to the museum, while the museum connects participating artists to the larger community.

What happens during City-Wide Open Studios?

·

SLOUP - To generate even more energy for the 6th Annual City-Wide Open Studios, CAM hosted SLOUP, a monthly soup dinner that supports local artistic and community-oriented projects that need a little financial boost. Guests who made a donation of $10 were given the opportunity to vote on their favorite proposal. One hundred percent of the proceeds went directly to the artist with the winning proposal.

·

Open Studios Preview Party - To kickoff the weeklong celebration of local art, CAM hosted an Open Studios Preview Party where visitors viewed one piece of artwork by each participating artist.

·

Open Studios BBQ - The art-filled week culminated in a celebration in CAM’s courtyard. This perfect summer night was complete with tasty local BBQ from Pappy’s Smokehouse and local beer from Schlafly Bottleworks.

City-Wide Open Studios was generously supported by SqWires Restaurant & Annex; KDHX 88.1; Grand Center, Inc.; Mad Art Gallery; Pappy’s Smokehouse; Schlafly Beer; BEST Transportation of St. Louis; Urban Chestnut Brewing Company; Artmart; Big Shark Bicycle Company; The Fountain on Locust; Local Harvest Café and Catering; and The Upcycle Exchange. Special thanks to River City Professionals and Yelp.

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Forefront of Technology

Do you want to engage with the most relevant art being made today? There’s an App for that!

In our continued effort to offer audiences the most cutting-edge and sophisticated experiences with contemporary art both on and offsite, CAM partnered with TOKY Branding + Design to design a fully customized App for mobile devices. Launched in November 2011, the CAM App connects users with everything CAM — the Museum and its programming, as well as contemporary art more broadly. We are proud to be one of the very first museums to launch a fully customized App in the city of St. Louis, joining only a handful of museums nationally in our ongoing commitment to both contemporary art and technological innovation.

CAM App users can:

· · · · · · · · ·

Embark on a self-guided digital tour of CAM’s exhibitions Learn about CAM’s signature mesh and concrete building with architect Brad Cloepfil Explore CAM’s mission as a non-collecting institution with Chief Curator Dominic Molon Watch the curators discuss the current exhibition Hear artists discuss their own work and creative processes Consult CAM’s programming and event calendar Connect with CAM’s various social media platforms View archival footage of performances and events presented at the Museum Join CAM as a Museum member or sign-up for the museum’s mailing list

CONNECT WITH CAM! Visit our website camstl.org Free Interactive iPod Gallery Tours: Download the CAM App or use our iPod

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Get a behind the scenes look at our curent exhibitions on YouTube youtube.com/ContemporarySTL Follow us on Twitter @contemporarystl

CAM Channel camstl.org/channel

“Like” us on Facebook /contemporaryartmuseumstl

We blog: voted best arts blog in St. Louis!

2buildings1blog.org

Download the CAM iPhone App Search for CAM St. Louis

Join or renew today camstl.org/membership

Share photos flickr.com/thecontemporary

www.camstl.org

Scan to download the CAM App

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Making CAM Accessible to All Wells Fargo Advisors Free Wednesdays Thanks to the generous support of Wells Fargo Advisors, museum admission was free for all visitors every Wednesday in 2011. “We are committed to bringing the arts to underserved segments of our community. Our overall goal is to constantly enhance the understanding and experience for first-time and repeat visitors to the museum, as well as increase the diversity of our audience,” said former Director Paul Ha. “With the help of Wells Fargo Advisors, we can further promote meaningful engagement with the most innovative and relevant art being made today.”

Blue Star Museums From Memorial Day through Labor Day, CAM, along with 850 museums across the country, partnered with the National Endowment for the Arts to offer free admission for all active duty military personnel and their families. “America’s museums are proud to join the rest of the country in thanking our military personnel and their families for their service and sacrifice,” noted NEA Chairman Rocco Landesman.

“I cannot imagine a better way to do that than welcoming them in to explore and enjoy the extraordinary cultural heritage our museums present. The works of art on view this summer will certainly inspire and challenge viewers—and sometimes they will just be a great deal of fun.”

Bank of AmericaMuseums On Us On the first full weekend of every month, Bank of America customers were able to take advantage of the Museums On Us program by enjoying free admission to CAM, as well as over 100 museums nationwide. For a full listing of participating museums, visit museums.bankofamerica.com.

CAM Arts Alive Bus Made possible by a generous grant from the PNC Foundation, with additional funding from Maritz, the CAM Arts Alive Bus carries artists and educators directly to the community — visiting the St. Louis Public Schools, community centers, festivals and street fairs — to bring contemporary art to all audiences particularly those who currently have little or no access to art. By expanding beyond the walls of CAM’s galleries and bringing art directly into the surrounding community, this innovative project significantly increases engagement with, and access to, visual arts among diverse audiences. As it travels the city, the CAM Arts Alive Bus literally “brings the arts alive” in every St. Louis community it visits. To find out where you can see the CAM Arts Alive bus, visit camstl.org/artsalive.

The CAM Arts Bus was made possible by a generous grant from the PNC Foundation, which receives its principal funding from The PNC Financial Services Group (NYSE: PNC), and a grant from Maritz.

www.camstl.org

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Education Programs CAM strongly believes in the power of art to change lives. That is why we are committed to offering a diverse range of programs that bring the arts to hundreds of high school students in the St. Louis community each year. From in-depth training to broad school outreach initiatives, we are proud of the meaningful ways our education programs make a difference in the lives of St. Louis’s youth.

Support for CAM’s education and outreach programs is provided by PNC Foundation; Emerson; The Dana Brown Charitable Trust, U.S. Bank, Trustee; Maritz; The Middle Fund; Missouri Arts Council, a state agency; National Endowment for the Arts; Monsanto Fund; Employees Community Fund of Boeing; The Kerr Foundation, Inc.; William T. Kemper Foundation – Commerce Bank Trustee; the Terry D. Weiss M.D. Youth Education Fund; Target; Dorte and Jim Probstein; and The Honey Fund. General operating support is provided by Whitaker Foundation; Regional Arts Commission; Bank of America Charitable Trust; Arts and Education Council; The Trio Foundation of St. Louis; and members of the Contemporary Art Museum St. Louis.

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Stroller Tours and Play Dates

On the first Tuesday of every month, moms, dads, caregivers, and grandparents brought the little ones to CAM for special interactive tours and exhibition-inspired discussions. Guests enjoyed stimulating adult conversation as Education Manager Tuan Nguyen led them on an exhibition tour. Following the tour, CAM became a happening play date location as children participated in hands-on artist-led workshops, storytelling, toddler yoga, and more.

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Free Family Days In 2011, CAM held three Free Family Days — Valentine’s Day, Running of the Bulls, and Halloween — as a way to provide an interactive, family-friendly afternoon to the St. Louis community. Visitors enjoyed hands-on art activities with local artists, storytellers, and performances, and special gallery tours just for kids.

Free Family Day is generously supported by The Dana Brown Charitable Trust, U.S. Bank, Trustee; The Middle Fund; Target; and the William T. Kemper Foundation – Commerce Bank Trustee.

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New Art in the Neighborhood Since 1995, CAM’s New Art in the Neighborhood program has sought to nourish the creative minds of our city’s talented young

artists. Every Saturday during the school year, up to twenty teens selected through a competitive application process visit CAM for pre-professional level art instruction with educational staff and visiting artists. Such an intensive approach presents participating students with opportunities and resources that are not available in their regular school curriculum. This nationally-acclaimed program challenges students to adapt to the materials used at the forefront of art today, and it enables them to build a portfolio of work they can use for college or employment applications.

New Art in the Neighborhood is generously supported by Emerson; Missouri Arts Council, a state agency; National Endowment for the Arts; Monsanto Fund; Employees Community Fund of Boeing, The Kerr Foundation, Inc.; and The Honey Fund.

www.camstl.org

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ArtReach ArtReach has historically provided free museum tours and on-site workshops to hundreds of St. Louis Public School students. With the addition of the CAM Arts Alive Bus, the ArtReach program is more mobile than ever. As school budget cuts have restricted field trips, the Arts Alive Bus plays a pivotal role in bringing ArtReach to St. Louis schools and enhancing the arts education curriculum in the classroom.

Through virtual exhibition tours, artist interviews, and curriculum-based workshops, ArtReach is impacting hundreds of students each year.

ArtReach is generously supported by the PNC Foundation; Maritz; William T. Kemper Foundation – Commerce Bank Trustee; Missouri Arts Council, a state agency; and the National Endowment for the Arts.

Teen Museum Studies Most students are not fortunate enough to see the inner workings of the career they are interested in until holding internships in college.

At CAM we have created a program specifically designed for high school students interested in exploring these paths early on and offer them a head start in determining which career interests them the most. Held each summer, Teen Museum Studies offers a select group of teens the opportunity to learn from CAM staff members in all departments — from exhibitions to public relations, and accounting to curating. The program empowers teens to create and develop their vision of a museum and culminates in an exhibition planned from start to finish by the teens in the program.

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Josef Kanak

By Timothy Young, Visitor Services Associate and Grants and Sponsorships Intern (Summer 2011) Josef Kanak is an intelligent and driven 18 year-old. He is an artist with a background in science, and recently finished the home school equivalent of high school. This past spring, Josef completed his final semester of New Art in the Neighborhood (NAN) and as a participant of Teen Museum Studies this past summer, he presented Hindsight, a student-curated exhibition that “portrays childhood’s perspectives and history’s present impressions.”

Josef is endlessly enthusiastic about art. As a graduate of both programs, he has experienced the contemporary art process — from creation to exhibition. Josef sat down to tell me about his experience in New Art in the Neighborhood and Teen Museum Studies and how CAM has shaped his career as an artist.

What drew you to apply to New Art in the Neighborhood?

Initially, when I applied for NAN, it was because most of my opportunities in programs similar to this were in science, and while that’s a big part of my interests, I felt like CAM offered something that went far beyond basic art classes that I had taken with other organizations.

Which NAN artist’s workshop was your favorite and why?

Oh my! There have been several. Of the many projects I did through NAN, one of my favorites was with [artist] Peat Wollaeger in which we did a spray-paint stencil mural on the side of a building. I thought it was great because it engaged the students and let us do graffititype artwork, which was such a unique experience.

How do you think you have grown as an artist through your NAN experience?

Well, certainly the NAN experience has helped me in a practical sense with technique. However, the biggest help has been in understanding the dynamics of where I want to go to school, how to approach scholarships, what works when I’m trying to get pieces shown in a gallery, and how to promote myself as an artist.

What drew you to apply to Teen Museum Studies?

NAN, first of all, was more about creating my own work, which I really enjoy. However, I’ve always been interested in the curatorial process and how museums operate. I had already been here for a few semesters of NAN when I saw the Teen Museum Studies program started. I thought it would be a really good learning experience. It’s kind of a rare opportunity.

Of all the aspects of creating your own art exhibition, what was your favorite part?

The team effort of curating is something I didn’t realize before. We got to work with artwork from actual, established artists, and we had to work with the pieces in such a way that we were using them to the artists’ intentions, as well as developing our own show without losing track of what our initial ideas had been, which is hard.

How do you think Teen Museum Studies will shape your future goals, hobbies, or career choice?

If anything, it has really increased my appreciation — strangely enough — for art history as well as the curatorial process. To be a wellrounded artist, it’s good to know these things — to know how these institutions work.

Do you have any advice for students interested in NAN or Teen Museum Studies?

Ignore what you have been taught in your high school classes because NAN, especially, is a more well-rounded experience. You’ll get specific instruction on technique, but it’s not a formalized art class. You don’t really even call it an art class. You come here and you are already treated as if you are a respectable artist, and you are able to freely pursue what you want to do within certain guidelines. So, the biggest piece of advice I would give to someone — entering Teen Museum Studies as well — is to ignore the background noise they might develop from their school.

Do you think we’ll see you in the CAM galleries someday?

I would certainly hope so. If all goes well, that would be something I would really appreciate.

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Development and Special Events

CAM is a dynamic exhibition space that provides St. Louis with cutting-edge exhibitions, outstanding educational programs and engaging audience experiences. We also throw great parties! In fact, funds raised at our Annual Gala account for nearly 20% of our annual operating budget. Thank you to all who attended the Gala in 2011. In addition to this flagship special event, CAM relies on the generous support of many to carry out its mission and bring exceptional contemporary art to the people of St. Louis. Thank you to our museum and Contemporary Fund members; Gala and special event patrons; corporate sponsors; local, national and international foundations and government agencies. We are grateful for your support, and are honored to be a philanthropic priority to so many individuals and organizations. We hope that you continue to recognize the importance of a contemporary art museum for the city of St. Louis.

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Misterios de Mayo In May 2011, CAM presented an extraordinary series of special events. Collectively known as Misterios de Mayo, these events were inspired by Cryptic, our Summer 2011 exhibition featuring works by Spanish Master Francisco Goya paired with works by seven contemporary artists. Along with the Running of the Bulls Fun Run and Family Day, two special events dazzled patrons and set the international stage for Opening Night of the Cryptic exhibition on Friday, May 20, 2011.

Arts Desire

The darker and more decadent of the two Misterios de Mayo special events, Arts Desire welcomed guests to a night filled with contemporary art and mysteries. The rompus crowd enjoyed an evening of delicious tapas and sangria, as well as mysterious live performances. Guests bid in a silent auction of over one hundred works of art and art experiences. Then, they danced the night away to the rhythm of the DJ amid professional Latin dancers.

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Viva la Masters Gala More than 300 guests joined CAM for the 2011 Viva la Masters Gala, making it the most profitable event in the museum’s history, netting over $352,000. All proceeds raised at the event directly supported CAM’s 2010 – 2011 exhibition and education programs that reached thousands of children, teens and adults in the St. Louis area.

The Viva la Masters Gala honored three contemporary “masters” in the fields of business, art, and medicine: Ron Kruszewski, Chairman and CEO of Stifel Financial; David Robertson, Music Director and Conductor of the St. Louis Symphony; and Matthew Smyth, pediatric neurosurgeon at St. Louis Children’s Hospital.

The centerpiece of the evening was a live auction of artwork donated by major contemporary artists and galleries from around the world that raised $193,500. The auction was led by guest auctioneer Aileen Agopian, Vice President of Sotheby’s New York. Participating artists included Richard Aldrich, Richard Artschwager, Lutz Bacher, Donald Baechler, Lynn Davis, Ernesto Neto, Elizabeth Peyton, Stephen Prina, Pipilotti Rist, Dana Schutz, and Philip Slein.

Presented by Novus International, Inc., the Viva la Masters Gala was chaired by CAM Board Member, David Drier. KMOV News 4 Anchor, Vickie Newton served as Master of Ceremonies. Other major sponsors included Centene Charitable Foundation, SNR Denton, Emerson, Renaissance Financial, TOKY Branding + Design, and Wells Fargo Advisors. Additional support was provided in part by Edward Jones, Alison and John Ferring, Jeffrey Fort, RKL Consulting, and Jeanne and Rex Sinquefield.

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Paul Ha Curatorial Endowment After nine years of inspirational leadership, in December 2011, Director Paul Ha left the Contemporary Art Museum St. Louis to serve as Director of the List Visual Arts Center at MIT. To maintain the momentum of CAM’s artistic direction and progressive exhibitions program, and to commemorate Paul’s leadership in perpetuity, the Board of Directors has established the Paul Ha Curatorial Fund. This endowed fund will support curatorial research, exhibitions, and our renowned curatorial staff. It will allow CAM to grow its overall endowment to further safe-guard its financial stability and commitment to bringing world-class contemporary art to St. Louis. And, it will honor the spirit and dedication of Director Paul Ha for generations to come.

To date, the museum has raised nearly $250,000 — its projected goal — in support of this fund. An endowment of this size may cover the costs of the Front Room exhibition programming for a full year; or the costs of a film installation like Emily Wardill’s Sick Serena and Dregs and Wreck and Wreck; or all costs associated with transporting a Main Gallery exhibition to CAM for mounting.

As CAM builds its overall endowment — a source of funding that provides the museum with a perpetual revenue stream — it, in turn, builds its capacity to provide St. Louis with cutting-edge contemporary art exhibitions, enhanced programs that introduce contemporary art and artists to the people of St. Louis, and additional educational opportunities for children, teens and adults. We strive to be the hub of contemporary art and culture in the greater St. Louis area. As we grow our endowment, we secure both our place as a member of the St. Louis cultural landscape, and our commitment to be a world-class venue for cultivating awareness, understanding, and excitement about contemporary art.

Join us as we salute Paul Ha and celebrate the future of the Contemporary Art Museum St. Louis. Those who contribute to the Curatorial Endowment will fortify the longevity of this important institution. To keep you informed of the endowment’s ongoing impact on the institution, and to thank you for your gift, CAM staff will prepare an annual stewardship report for you that relays the impact that the endowment has made on the museum. If you would like to make a contribution to the Paul Ha Curatorial Endowment, please contact Director of Development Emily Klimek at 314-535-0770 x213 or eklimek@camstl.org.

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Junior Board This year, CAM established a Junior Board with the goal of creating an opportunity for young professionals to learn intimately about the Contemporary Art Museum St. Louis and serve as champions of the institution, financial investors, committed volunteers, and ambassadors in the St. Louis community. Through the unique structure of this board, CAM hopes its members will enjoy a rewarding experience and provide the museum with expanded intellectual capital and an expanded network. We are thrilled to work with our inaugural class and look forward to the innovations that will emerge through the service of its members.

2011 – 2012 CAM Junior Board Jim Arsenault, Associate Sales Manager, Louisiana Steel, Inc. Adam Birenbaum, CEO, Buckingham Asset Management Margaret Boyle, Analyst, J.P. Morgan Kevin Byerley, Vice President of Reporting Analytics, Wells Fargo Advisors Michael Fischer, Owner, Magna Fitness Center Jeff Jarrett, Project Manager, Contemporary Events Matt Morrison, Corporate Counsel, Enterprise Holdings, Inc. Tara Pham, Managing Editor, Eleven Magazine Adrienne Todd, Corporate Initiatives, Novus International, Inc. Ronda Williams, Senior Corporate Counsel, Savvis Todd Wolff, President, Wolff Shoe Company If you would like more information about the Junior Board, or would like to nominate a candidate to serve, please contact Director of Development Emily Klimek at 314-535-0770 x213 or eklimek@camstl.org. www.camstl.org

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Contemporary Art Museum St. Louis

Annual Report 2010-2011 For the fiscal year July 1, 2010 – June 30, 2011

By the Numbers

Revenue and Expenses

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$2,000,000

Artists shown $1,500,000

25,329 Visitors

$1,000,000

2,291 Students served

$500,000

882,262

$0

Unique website visits

Total revenue

$1,703,734

Total operating expenses

$1,703,581

Where Funding Comes From…

8%

Where It Goes…

3%

Public Funding

75%

Earned Income

Exhibitions and Programs

13%

Endowment Draw

27%

Grants and Sponsorships

29%

Board and Individual Giving

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9% 20%

Fundraising Events (Net)

Administration

16%

Fundraising

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Annual Giving 2010-2011 CAM is grateful for the many donors who provided financial support this year.

THE CONTEMPORARY FUND CHAIRMAN CIRCLE ($25,000+) Australia Council for the Arts Bank of America Charitable Foundation Nancy Reynolds and Dwyer P. Brown Donald L. Bryant, Jr. Centene Charitable Foundation Emerson Susan B. McCollum and Todd Epsten Alison and John Ferring Gateway Foundation Nancy and Kenneth Kranzberg Ann and Randy Lipton Joan and Mitchell Markow Missouri Arts Council Missouri Cultural Trust Novus International, Inc. Clare Davis and David Obedin PNC Foundation Susan Barrett and Chris Poehler Emily Rauh Pulitzer Regional Arts Commission Jeanne and Rex A. Sinquefield SNR Denton Carol and Michael Staenberg / Staenberg Family Foundation Stifel Foundation Inc Mary and Eric Thoelke / TOKY Branding + Design Whitaker Foundation DIRECTOR CIRCLE ($10,000 $24,999) Anonymous Arts and Education Council Nan E. Boileau Nanette E. Boileau Bortolami Gallery, New York Carlo Bronzini Elissa and Paul Cahn Dana Brown Charitable Trust Edward Jones EmcArts, Inc. Flemish Ministry of Culture Charlotte and Bill Ford Jeffrey Fort Galerie Gisela Capitain Donna Moog and Leonard Landsbaum The Middle Fund Monsanto Fund Isabelle and Jean-Paul L. Montupet Noémi and Michael Neidorff Kim and Bruce Olson Pershing Place Foundation Dorte and Jim Probstein Renaissance Financial Renaissance Financial Foundation RKL Consulting Susan and David Sherman III Mary Ann and Andrew Srenco St. Louis Magazine The Trio Foundation of St. Louis Wells Fargo Advisors William E. Weiss Foundation CURATOR CIRCLE ($5,000 $9,999) Anonymous

Mari Carmen and Jose R. Alvarez Ann R. Ruwitch and John Fox Arnold Employees Community Fund of Boeing St. Louis Bunny and Charles Burson Clayco Consulate General of The Netherlands David Kordansky Gallery, Los Angeles Julie and David Drier Sandra and David Gantt Jan and Ronald Greenberg Craig Jacobson Linda and Antonio Karakas Alexis M. Cossé and Erik Karanik Ronald Kruszewski Phyllis and Kenneth Langsdorf Scott J. Lorinsky Marc Foxx Gallery, Los Angeles John A. McArthur Pat Whitaker and Dick Miles Jill and Lawrence K. Otto Manuel Gonzalez and Avo Samuelian Sydne and John Siefert Betty and Thad Simons Stephens & Associates, Inc. US Bank Josephine and Richard Weil Wells Fargo Home Mortgage SUSTAINERS ($2,500 - $4,999) Anonymous (2) Alive Magazine Robin Weinberg and Scott Anderson Artis - Contemporary Israeli Art Fund Barnes-Jewish Hospital CDW Corporation Companion Bakery Barbara and Charles Cook Jamey Edgerton Glazer’s Midwest Missouri Jan and Rand Goldstein Graybar Electric Company Inc. Barbara Barenholtz and Milton Hieken Louise and Richard Jensen The Kerr Foundation, Inc. Laura Slay and Associates Judith and Jerome Levy Mondriaan Foundation, Amsterdam Leslie and Jacob Reby Philip Slein St. Louis Children’s Hospital Susan and Peter Tuteur Sally and John Van Doren Sheila Greenbaum and Gary Wasserman Phyllis and Terry Weiss Sherry and Gary Wolff Todd Wolff PATRONS ($1,000 - $2,499) Dianna and J. Joseph Adorjan Aon Corporation Nini and Clarence Barksdale Cathy and Jim Berges Marion and Van Lear Black III

The British Council Bryan Cave LLP Buckingham Asset Management Butler’s Pantry Cathy Catsavis Michael Cramer David Diener Hazel and Arnold Donald Muriel and John Eulich Betty and David C. Farrell Georgene Ferring Margretta Forrester Sam Foxman Lois and Robert H. Friedman Judith and Ira Gall Barbara Gervais John Brase and Edward Giganti Terry Good Joan Goodson Grand Center, Inc. John Grizzell Cap and Jennifer Grossman Dudley and Jim Grove Eva Lundsager and Paul Ha Marcia Hart Carolyn and Jay Henges Jean and Gary Hively Cheri Hoffman Meredith and Jim Holbrook Jessica Holzer Cindy and Martin Jansky Bettie S. Johnson Suzanne and Jim Johnson Sally and Harry Johnston Carol and Robert Jones Claudia Joyce and John G. Joyce Anjali and Atul Kamra Sheila and Rich Kendrick Pamela and Kenneth Lester L. Max Lippman Greg Lukeman Kimberly MacLean Margaret McDonald David W. Mesker Cynthia and Walter Metcalfe Midwest Valet Parking Eleanor J. Moore Midge and J. Patrick Mulcahy Agatha Thaller and Mark Newman Cathy Barancik and Steve Novik Betsy O’Herin Susan and Gordon Philpott St. Louis Public Radio Bob Rennie Deborah Zimmerman and Jonathan Root Schlafly Beer Schneider Industries Lois and Vincent Schoemehl, Jr. Ruth and Alvin Siteman Jenna and Matthew Smyth Karen and Mark Spreitler Target Pam and Greg Trapp Anabeth and John Weil Wohl Russell Family Foundation BENEFACTORS ($500 - $999) Sandra and Ronald Ackerman Tricia and Robb Beal Thomas Breckenridge Cellar Advisors

Consulate General of Finland Amit Dhawan Carol and Quintus Drennan Julie and Drew Dubray Jacqui and Dirk Elsperman Bettie Gershman Barbara B. Goodman Lisa and James Grove III Judy Harris Jennifer and Tom Hillman Margie and Merle Horowitz Janet and Andrew T. Hoyne Stephanie A. Descours-Johnson and Kelley Johnson Maureen Kelly Sarah and James R. Kimmey Joanne and Alan Kohn Sally and Ned Lemkemeier Lucy Lopata Gay and James V. Maloney Constance and John McPheeters Betsy and Harry Orchard Pace Framing and Graphics Ann and Russell Perry Cindy and Sandy Peters Judy and Paul Putzel Kyle Baxter and Alan Ratchford Orli Shaham Robertson and David Robertson Justin Scarbrough Judith Child Schwartz and Alan Schwartz Patti and Kevin Short Lauren and Derrick Stewart Peggy Symes Sissy and Ted Thomas Laurie Thumin Kellie and Andrew Trivers Urban Chestnut Brewing Co. Amanda and Hal Wellford FELLOWS ($250 - $499) Grazyna and Ibrahim Abou-Nemeh Anheuser-Busch InBev Shannon and Bradley Bailey Monica Barrientos Faith and Corey Berger Carmine Boccuzzi Catherine Bollinger Grace and Robert Brod

Fred Bronstein David Brown Ann and Douglas Brown Joyce Cacho Pamela Coffin John Dalton Megan Power and Jay DeLong Barbara Eagleton Marjorie Eddy Ann and Keith Fischer Fox Associates, LLC Christy and Gary Fox Julie Frank Stephanie Riven and Roger Goldman Julia and Francisco Gomes Maxwell Graham Paula and Michael Gross Berit Nelson and Blake Hoel Cabanne and James Howard Randee and Myron Jacobs Pam and Jim Krekeler Lisa Lasch Kim and Jimmie Lenz Karen and Mont Levy Rosalyn and Charles Lowenhaupt Lara Hayes and Dominic Molon Pamela and Neal Neuman Rhonda Hamm-Niebruegge and Steve Niebruegge Sally and George Nikolajevich Oroma Nwanodi Sharon and Robert Pettus Ivette and Andrew Rothschild Ulrike and Thomas Schlafly Rhonda and Scott Schmid Susan and Benjamin Schwartz Barbara and Gene Spector Njara Stout and Buzz Spector Sprüth Magers, Berlin Linda Stark Alexandra Stein Nell Elizabeth Talcott Jeanne Trulaske Susan and Kent Turner The Upcycle Exchange Debbie and Tony Vermillion Barbara and David Ware Kathie and Richard Winter Gary Wuest

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////////// MESH // DEVELOPMENT AND SPECIAL EVENTS //////////////////////////////////////////////////////////////////////////////////////////////

MEMBERSHIPS CONTRIBUTOR ($150) Scott Baier Julia T. Barnes Nancy and Bill DeCenso Ann and Jim Dillon Sara and Fred Epstein Jane Friedrich and Jon Erblich Hildy Etzkorn Kathleen and David Fischhoff Cynthia and Andrey Florin Miriam Wilhelm and Eric Friedman Katherine and Peter Fuerst David Gulick Donna and David Heimos Gary L. Hirshberg Lynn and Robert Huson Kara McBride and Joe Jacobson Kaldi’s Coffee Co. Helen Kornblum Hannah and Lawrence Langsam Ann Lux Gina and Branko Marusic Peggy and Guy McClellan Jill and Dan McGuire Jane and Steve Mitchell Nik Moon Jeanne Dee and Frank Mueting May and Charles P. Reay Susanne S. Renner and Robert Ricklefs Edna Rosenheim Mary and David Royce David Samuels Sanctuaria Joshua Schindler Robyn and Vince Sciacca Laurie and William Stern Nancy H. Grove and Joe Tiernan FAMILY ($80) Susan Cahan and Jürgen Bank Mary Ann Dzuback and Peter Best Susan and Arthur Bishop Ramsey and Mark Botterman Alison and Arthur Bourey Barbara and Dolph Bridgewater Z. Creighton Brinson Phoebe and Spencer Burke Mary and Richard Butler Gail Cassilly Phyllis Cherrick Jenn and Phil Christofferson Joan and Peter Clarkson Brian Cohen Holly and Steven Cousins Patricia and Jonathan Dehner

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Mary Ruth Donnelly Hope and Julian Edison Angela and Kenneth Fink Vicki and Ron Flier Barbara and Ray Flunker Frankie M. Freeman Michael Freund Chuck Fuhry Margaret and Gary Gambill Agnes and Dave Garino GlaxoSmithKline Foundation Sherri and Richard Goldman Ana Coelho and Leonard Green Carolyn Herman and Rick Gregory Jean and Sidney Grossman Vivien and George Hazelrigg Denise and Chris H. Herrington Anne Hetlage Marian and Maurice Hirsch, Jr. Sarah Colby and Kim Humphries Lisa and Chris Imbs Tara Ann Jacob Wendy and Neil Jaffe Diana and Perry Johnson Barbara and Howard Jones Lesley and William Knowles Melissa and John Kreishman Ann and Ronald Krone Andrea and Craig Labarge Harriet and Jerrold Lander Peggy and Don Lents Leslee and Lewis Levey Violet and William Li Marlene and Kenneth Locke Sam Longstreth Eu Nice Loh Lorenzen and Adam Lorenzen Sylvia and Michael Lottman Linda and Virgil Mantle Jeanne and William Maritz Phyllis and George Markus Jen and David Meyer Laura and John Meyer Cheryl and David Morley Jim Concannon and Jason Nichols Nancy and Aaron Novack Lois and Robert Orchard Lisa and Lee Portnoff Karen and Richard Priest Pudd’nhead Booksellers Virginia and Richard Quick Allison and Brock Reichart Trina Licata and Larry Riley Paul Roberts Deann and Michael Rubin Ciara and Sameer Samana JoAnn and Ted Sanditz Barbara J. Sarbach

Elizabeth Sayad Barbara Press and Thomas Segbers Jane Shapleigh Terry Moore Shepley and Jake Shepley Julia Muller and Earl Shreckengast Natalie and David Simmons Linda and Stephen Skrainka Lynn and Richard Slackman Helene and Stuart Slavin Mary Ann Morley and Dennis Smith Paula and Morton Smith Jean and Jacob Sosna Lucie and Steve Springmeyer Jennifer and Michael Stotler Marjorie and Herbert Talcoff Patricia A. Tierney Diane and Rick Tinucci Christopher Rau and Maria Torrez William True Peggy Cohen and Bernhard Voss Rosella and George Wamser Anita and Bernard Waxman Henry S. Webber Barbra and Peter Weiss Marilyn Werner Ann Wimsatt and David Williams Wendy Cooper and Ken Wine Nancy Wunderlich Suzanne and Ted Zorn MEMBER ($45) Anonymous Karen Addison Lynne and David Anderson Jessica Baran Barbara and Richard Barber Harriet Baron Bill Barrett J. Russell Bley, Jr. Susan Block Rebecca Bodicky Richard J. Bozada Amy Ravin and Eric Brown Laurence Buxbaum Millie Cain Michael Cole Bert Coleman Jr. Maria Cooper Ann and Stephen Cortinovis Sharon Cox Virginia and Stephen Culver Roberta Dearing Elizabeth Stephenson Don

Michael Donziger Joyce Driemeyer Joe Edwards Joan M. Elkin Joseph Evans Ruth Evans Bridget Flood Amy Foristel Rick Forrestal Christine House and Ryan Fujiwara Maggie and Steve Gardner Jill Goodman Michelle Zielinski and Frank Goudsmit Susan M. Greenberg Sarah Hagan Zora Hanko Jeanne Hartz Pamela and Jay Hellwege Carol A. Hemphill Claire Hyman Dan Jaboor Ronald Johnson Emma Kafalenos Patrick Kearns Julia Koelsch Lea Koesterer Norma and George Kottemann Philip Krull Blythe Hines and Scott Lapp Allison Light Kelly Logue Ellen and Michael Lowenstein Marlene Marcella Ted Mathys Lynn Maupin Thomas Maupin Jeffrey Mayer Jo Rezny McCredie Van McElwee Mimi and Melvin Mednikow Robert Michelmann Carolyn and Joe Miles Gwen and Robert Molon Mark Niesman Mariko Nutt Gyo Obata Ken Osia David Ottinger Harry Phillips Allyson Pittman Jodi and David Polzin Diane Rankin Paul Renner John Rindlaub Tim Rodgers Mary D. Ross Tom and Melissa Ruwitch Natalie Zurfluh and Jeff Schneider Carol Shapiro Beth Sharpe Sheri and Don Sherman Patrick Shuck Eric Shultis Daniel E. Singer Richard Spencer John H. Stevenson Matthew Strauss Amanda J. Sullivan Molly Swanson Isolde and Ruediger Thalmann Cody Thomas Amy Thompson Pat Smith Thurman and Soloman L. Thurman Joan Tracy Andrea Vadner Virginia and Mark Wachter Kate Warner Joan Weeks Barbara Wehling

Kathleen Welter Victor Wendl Ellen and Bruce White Agnes and Robert Wilcox Annette and Alif Williams Kathryn Wood Leslie and Jeff Zacks Margaret Zografakis ARTISTS & FRIENDS Michael Ackerman Angela and Jamie Adams Gil Akos Donya Allison Lori Thornton Allen Angela Ament Doug Auer Karen Avant Jay Babcock Vic Barr Cindy and Greg Barth Reine and Cbabi Bayoc Laura Grady and Michael Behle Barbara and Pierre Berger Lenard Blair Jennifer Bradford Jason Brown Melissa R. Brown Sarah Carmody J. Patrick Carroll Carol Carter Jessi Cerutti Stan Chisholm Kurt Christian Maribeth Clancy David Coblitz Paul Coenen Amy Reidel and Richard Cusumano Joshua David Damon Davis Samuel Davis Brian Depauli Mandie Devincentis Theresa Disney Cate Dolan John Donahoe Christian Draeger Kelly Draper Carla Duncan Tom Dykas Christopher Edwards Genevieve Esson Melody Evans Jennifer Everett Holly Fields Daniel Fishback Janet Fons Sarah Frost Cameron Fuller Patti Gabriel Jewel George Jordan Gerlach Kathy Gomric Zelda Goodman-Eisen Jimi Gunn Bob Hartzell Kyle Heikkila Emily Koch Hellmuth Ms. Nancy Helmer Jennifer Hilton Curtis Hoette Michael Hoffman Barbara and Sumner Holtz Terri Reilly and Jeffrey Hughes Christine Ilewski Lois Ingrum Virginia Jack Sheldon Johnson Jeffrey Kapfer Aaron Kaskowitz Cheonae Kim Greg Kluempers

////////////////////////////////////////////////////////////////////////////////////////////// DEVELOPMENT AND SPECIAL EVENTS // MESH ///////// Carol Knox Wonder Koch Robert E. Kohn Ruth Kolker Dan Krause Thomas Krepcio Connie and Paul LaFlam Graham Lane David Lang Andrew Leicht Ann Leitensdorfer Alex Levine Robin N. Lewis Arlene Ligori Jane Linders Renee Lunceford Julie Malone Karen Mandelbaum Sandra Marchewa Garry McMichael David Meyerkord Connie Mielke Genell Miller Katie Miller Gary Mitchell Abraham Mohler Juan Montana Dawson Morgan Janice Mudd Bonnie Murray Kathryn Neale Eric Nichols Carmelita Nunez Katherine Osburn

Michael Parrett Sarah Paulsen Anthony Michael Philip Roxanne Phillips Nicole Rainey Sarah Rassieur Juliette and Nelson Reed Roxxanne Reeed Amy Reidel Tony Renner Nancy and John Rice Garrett Roberts Matt Rosales Jennifer Roussin Benjamin Rowan Bradley Schumacher Jill Downen and Charles Schwall Arlene Shaw Mary Beth and John Shaw Yael Shomroni Carmelita Nunez and Daniel Shown Naomi Silver Pamela Singer Judy and Jay Skeels Brian D. Smith Rose-Marie and Robert Smith Seth Ahmed Soeb Matthew Standish Linda and Lane Steinger Yuko Suga Mark Swain Erin Taylor

Kyra Termini Diane Tessman Robert Thornberry Lori Thornton Allen Tom Tobias Lisa Tourrette TownHog Cara Van Leuven Patricia Vinyard Timothy Wagner Bryan Walsh Mary Walton Jacqueline P. Weatherly Jennifer Weigel Meghan White Terry Whittle Miriam Wiegand Kristen L. Windmiller Eric Woods Heather Woodson Amy E. Wright Michelle Zabriski Rudy Zapf MATCHING GIFTS AT&T Foundation Bank of America Charitable Foundation Elsevier Inc. Emerson General Electric Novus International, Inc. SAP US Bancorp Foundation

Should you notice any errors or omissions, please contact Director of Development Emily Klimek at 314.535.0770, x213 or eklimek@camstl.org.

Art Patrons Dinner CAM celebrates our patron-level members and above at our Art Patrons Dinner held annually at the museum.

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Recognizing strokes of genius When we invest in the arts, we invest in a stronger, better, more beautiful St. Louis.

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PNC ARTS ALIVE KEEPING THE ARTS THRIVING We know what art can do, how it changes perspectives, even changes lives. That’s why the PNC Foundation has extended its commitment to the arts by launching PNC Arts Alive in the Greater St. Louis area. This two-year, $1-million initiative will support the visual and performing arts. From classical music to film to dance and theater, we’re committed to keeping the arts alive.

To learn more about this new initiative, go to pncartsalive.com. ©2011 The PNC Financial Services Group, Inc. All rights reserved. CON PDF 0411-026

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Thank you Paul and Lisa for exemplary leadership and mentorship. We wish you huge successes.

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