Otherwise | No. 2

Official Publication of the MFA in Visual Art Program

SAM FOX SCHOOL OF DESIGN & VISUAL ARTS | WASHINGTON UNIVERSITY IN ST. LOUIS

Welcome to the pages of Otherwise. Here, I hope you’ll get a sense of what makes our MFA program so vital and unique. What sets us apart? We recognize and honor you, each individual artist, as a producer of culture, a synthesizer of interdisciplinary ideas and disciplines, a critical contributor to the advancement of contemporary art. As the title of this viewbook indicates, we consider art to be otherwise—an other way of knowing. We are a community of makers and thinkers attending to the conditions of the world that need our bold imaginations and abilities to see and make things otherwise.

As you glance through these pages, you’ll glean a sense of our character and how it’s manifested through the curriculum, facilities, faculty, students, and alumni—all of which distinguish our program. We’ve got amazing studios and shops, distinguished faculty who are accessible and invested in your success, and a vibrant community and spirit of collaboration to sustain your ongoing practice as an artist.

And all of this is situated in the one-of-a-kind Sam Fox School, bringing together art, design, architecture, and a worldclass museum. Through our overlapping research and creative endeavors in the Sam Fox School at Washington University in St. Louis, we hold to the mission of creating a more just, sustainable, humane, and beautiful world. This is a community that you can be proud to belong to. I certainly am!

Oth·er·wise | ə-t͟hər-ˌwīz

A new approach. A new way of thinking. In a different state or situation. Existing elsewhere. Under different circumstances. In other respects. In contrast to. Of the opposite. From a different vantage. On the other hand. If not. If then. An alternative. A way in. A way out. An other way of knowing.

IN THIS ISSUE...

with Amy Hauft

Visiting Lecturers & Critics

Lisa Bulawsky

Professor & Chair, MFA in Visual Art Program Director of Island Press

Sam Fox School of Design & Visual Arts

University in St. Louis

FROM

AN MFA PROGRAM FOR THE NEXT GENERATION

Chaired by professor Lisa Bulawsky, our new curriculum instills students with the agency and resiliency essential to the next generation of artists.

As part of a tier-one research university, our MFA in Visual Art program is an inclusive, close-knit community of renegade makers and thinkers. We offer students a site for rigorous inquiry, humanity, and intellectual generosity.

CURRICULUM

In the Graduate Studio, students work independently with the guid ance of a primary faculty mentor as well as a broad range of other faculty and visitors.

Group Critique is the heart of the curriculum. A mix of first- and secondyear students meets for rigorous weekly critiques to share new work and engage in lively, constructive discussion.

A sequence of required Graduate Seminars engages students in research methodologies and prepares them for professional careers in the arts.

MFA-VA students can enroll in Electives across the School and the University that build upon their research interests. Students also partic ipate in Workshops to build essential technical and professional skills.

Interested in teaching and research assistantships? See p. 28.

Seek out connections Experiment

1ST

WORKSHOPS

Fox Fridays

Students can learn about under-known tools, processes, and technologies through Fox Fridays, a weekly, low-stress workshop series. Recent sessions: Intro to Machine Learning; Sound Design; Alternative Processes in Silkscreening; Arduino Motors & Sensors; and Intro to Game Development, VR, and AR.

Photo: Carol Green / Washington University.

FALL SEMESTER

SEMESTER

Group Critique

Seminar: First-Year Colloquium

Workshops

EXHIBITION

Hit-the-GroundRunning Exhibition

Group Critique

Seminar:

Practice in Art

GRADUATE STUDENT TRIP

EXHIBITION

First-Year Candidacy Exhibition

STUDY ABROAD

Sommerakademie

The Sommerakademie explores multiple modes of creative and cultural production in relation to the material, social, and political conditions of Berlin, Germany. In this seminar-based course, which begins on-campus in the spring semester and extends into the summer for travel abroad, stu dents gain an understanding of how artists address history, communities, and social contexts in relation to the conceptual and practical dimensions of their work.

Sommerakademie students participate in a private tour of the Julia Stoschek Collection in Berlin, with curator Lisa Long. Photo: Patricia Olynyk.

Practice-led research Thesis development

SUMMER

3

Summer Independent Project

During the summer following the first year of study, MFA-VA students create projects supported by indepen dent research. These can be accomplished in the Sam Fox School studios, or by engaging in part nerships or residencies with arts organizations. In alternating years, students have the oppor tunity to participate in our Sommerakademie in Germany. Students develop a project pro posal in spring of their first year, and exhibit their work in the fall.

2ND YEAR

FALL SEMESTER

4

Graduate Studio

Graduate Group Critique

3

Graduate Seminar: Research for Practice

Elective

credit Workshops

GRADUATE STUDENT TRIP

EXHIBITION

I Love Summer Exhibition

CONNECTING WITH YOUR PEERS ACROSS DISCIPLINES

Within the School, you’ll be able to engage with students and faculty—and their work—in our graduate programs in Illustration & Visual Culture, Architecture, Urban Design, and Landscape Architecture. The University also has top gradu ate programs in creative writing, social work, business, and the sciences. Your incidental encounters with individuals from different disciplines can have an enormous influence on what you make and how and why you make it. You’ll find most people to be generous with their time and eager to share with you.

MFA-VA students gather in Kuehner Court for a discussion with visiting artist Katha rina Grosse and Kemper Art Museum director Sabine Eckmann. Photo: Dmitri Jackson.

2ND YEAR SPRING SEMESTER

Graduate Studio

Graduate Group Critique

4

Graduate Seminar: Thesis & Exhibition Prep

Total degree credits: 60

The College of Art subscribes to the standards for the MFA degree set forth by the College Art Associa tion (CAA) and the National Association of Schools of Art and Design (NASAD).

EXHIBITION

MFA Thesis Exhibition

A good artwork is meandering and inefficient, while a good graduate curriculum is clear and concise. The MFA curriculum holds both things in balance. In the two-year timeline, it is possible to both get lost inside of your work and bring lucid introspection to your practice.”

–Jack Risley, Professor

STUDIOS & FACILITIES

Opened in fall 2019, Anabeth and John Weil Hall is a hub for our graduate programs in Visual Art, Illustration & Visual Culture, Architecture, Landscape Architecture, and Urban Design. Designed by the firm KieranTimberlake, the 82,000-square-foot facility includes studio spaces across graduate programs; exhibition and project spaces; communal spaces for socializing and working; and numer ous resources for making, including an experimental studio for video, film, and time-based media. The building achieved LEED Platinum status—the U.S. Green Building Council’s highest certification.

Want to see more of our facilities and maker spaces without leaving the comfort of your couch? Take our 360º tour.

samfoxschool.wustl.edu/admissions

MFA-VA STUDIOS ↑ →

MFA-VA studios are located across the south side of Weil Hall’s second and third floors, providing abundant natural light. Each student gets their own, 180-square-foot, loft-style studio space. Installation spaces throughout the studio areas allow students to convene for critiques, student-curated exhi bitions, and impromptu gatherings. Photo: Whitney Curtis / Washington University.

WEIL HALL

Weil Hall offers ready connec tions to the facilities and maker spaces in the School’s sixbuilding complex. Photo: Devon Hill / Washington University.

→ KUEHNER COURT

Adjacent to studios, Kuehner Court in Weil Hall offers a welcoming space to relax and work, and includes a lush, twostory living green wall.

Photo: James Ewing / JBSA.

↑ WOOD AND METAL SHOPS

The School’s wood and metal shops are staffed by expert teaching technicians.

Walker Hall houses wood and metal shops, plaster and mold-making, foundry, and ceramics facilities, including several kilns. Interior courtyards in Walker and Weil, along with numerous exterior spaces, provide opportunities for large-scale investigations.

↑ CALERES FABRICATION STUDIO

The Caleres Fabrication Studio supports complex projects and digital fabrication, featuring industry-grade tools such as laser cutters, 3D printers, a large-format CNC milling machine, vacuum and ther moforming, and a knife plotter. Special workshops, including Fox Fridays (see p. 2), provide students opportunities to learn to use these tools.

Photo: Joshua White / JWPictures.com.

← PRINTMAKING + BOOK STUDIO

The School has a new, integrated printmaking atelier for letterpress, etching, lithography, and illustrated books. The space includes the Dubinsky Printmaking Studio, which features very large, electrically powered etching presses and Island Press, our collaborative printmaking workshop (see p. 8). A col laboration with University Libraries, the Nancy Spirtas Kranzberg Studio for the Illustrated Book is a working book and print production facility that includes equipment for letterpress, intaglio, photopolymer plate, and silkscreen processes.

Photo: Joshua White / JWPictures.com.

↓ DES LEE GALLERY

MFA-VA students are provided numerous opportunities to exhibit their work, both on and off campus. Located in downtown St. Louis, the Des Lee Gallery is one of the School’s many exhibi tion spaces. Throughout the year, it presents work by students, faculty, and alumni, as well as other leading artists and designers.

Photo: Carol Green / Washington University.

↓ KRANZBERG LIBRARY

The University’s library system features 12 distinct sites, includ ing the Kenneth and Nancy Kranzberg Art & Architecture Library, which holds more than 105,000 volumes in various media, and subscribes to the foremost electronic article indexes, e-book reference works, and digital image databases. The D.B. Dowd Modern Graphic History Library is the most comprehensive archival collection of periodical illustration held by any academic institution.

Photo: Joe Angeles / Washington University.

↓ WHAT DO THE UNIVERSITY’S RESOURCES MEAN FOR YOU?

The Sam Fox School is an integral part of Washington University’s diverse academic community, which is home to some of the world’s leading experts in the humanities and the sciences. You’ll have access to the University’s system of 12 libraries, a professional media production center, two observatories, an environmental field station, and much more. Immersed in this rich research environment, our students are ideally equipped to develop ideas and artworks of consequence and significance.

Photo: James Byard / Washington University.

ISLAND PRESS

Island Press is a research-based printmaking workshop that creates and publishes innovative prints and multiples. In the context of intensive visiting artist residencies, Island Press explores the expansive theoretical and material terrain of the print. The Press is project-driven, tapping into the place where the artist’s creative activity inter sects with the philosophical underpin nings of printmaking. Experimentation with new modes and technologies is a natural part of this pursuit, resulting in the creation of ambitious editions in a range of media.

Visiting artists work in collaboration with the master printer, faculty, and stu dents, who gain access to the technical and conceptual challenges of a variety of projects. Past visiting artists include Dario Robleto, Nina Katchadourian, Beverly Semmes, Michael Joo, and Radcliffe Bailey.

(CLOCKWISE FROM FAR LEFT)

Stephanie Syjuco. Inverted Cave, The New York Times (Accession No.1974.264, from the collection of the Center for the Study of the Study of the Tasaday), 2022. Handrubbed photocopy transfer on white Hannemuhle Copperplate paper, 45 ¾" x 61 ½". Edition of 4.

Duane Slick Crafting a Consequential Narrative, 2020. Collagraph, relief, screenprint, acrylic, and chine collé (on okawara) on Rives BFK white, 34 ½" x 30". Edition of 16.

Paula Wilson. In the Desert: Coupling, 2016. Unique print— monotype and collagraph on muslin, mounted on canvas and wood, 69 ½" x 43 ¾".

Diana Guerrero-Maciá The Beautiful Girls No. 4, 2018. Relief, monotype, blind embossment, and archival inkjet collage on Rives BFK off white, 17" x 14". Edition of 14.

KEMPER ART MUSEUM

Among the nation’s leading university art museums, the Mildred Lane Kemper Art Museum serves as a center of cultural and intellectual life on campus and in St. Louis.

At the Museum, encounters with orig inal works of art inspire creativity, social and intellectual inquiry, and meaningful connections across disciplines, cultures, and histories. With approximately 8,700 works of art in its collection—dating from antiquity to the present—the Museum has especially strong holdings of 19th-, 20th-, and 21st-century European and American paintings, sculpture, prints, installations, and photographs, as well as a growing col lection of global art. Its special exhibitions present the work of some of today’s most important artists as well as new under standings of historical art. Unique educa tional offerings focus on multidisciplinary exchange that stimulates critical thinking, visual literacy, and curiosity.

See p. 14 to learn about the MFA in Visual Art Thesis Exhibition, held at the Kemper Art Museum every spring.

SELECTED ARTISTS

Franz Ackermann

John Baldessari

Alberto Burri

Willem de Kooning

Nicole Eisenman

Olafur Eliasson

Isa Genzken

Jenny Holzer

Barbara Kruger

Louise Lawler

Henri Matisse Pablo Picasso

Jackson Pollock

Tim Rollins

Ed Ruscha

Lorna Simpson Kiki Smith

Pierre Soulages

Wolfgang Tillmans

Kara Walker

Carrie Mae Weems

Pae White

Visitors at the opening of Katharina Grosse Studio Paintings, 1988–2022: Returns, Revisions, Inventions (2022). Photo: Virginia Harold.

(TOP) Tomás Saraceno's Cosmic Filaments (2019) in the Museum's lobby. Photo: Joshua White / JWPic tures.com.

(MIDDLE) Gertrude Bernoudy Gallery. Photo: Virginia Harold. (BOTTOM) Christine Sun Kim exhibition, Stacking Traumas (2021), with Olafur Eliasson's Your Imploded View (2001). Photo: Alise O’Brien Photography.

↑ Alex Braden, MFA23

MOVEMENT I: MOIRA, 2022. Guided video walk, original score, and live performance site-specific to Mildred Lane Kemper Art Museum, St. Louis. Featuring Jamie Harris, Sharlene Lee, Samantha Slone.

← ↓ Sarah Knight, MFA20

Reliquary of Nonbinary Geomor phologies, 2019-21. Mixed-media ceramics, found and melted stone, steel, and concrete, overall dimensions variable.

STUDENT

Younser (Seri) Lee, MFA21

To Dream – To Realize, 2021. Alarm clocks, Arduino, pressure sensor, wood box, electric cables, speaker, and MP3 player, overall dimensions variable.

↑ Still from Becoming Fish, 2020. Single-channel video, 4:42 min.

→ Stills from Of the Air, 2021. Single-channel video, 4:30 min.

Alexa Velez, MFA21

Erickson, MFA21

Yeeun Kang, MFA20 Into the Layers of Light, 2019. Multimedia installation with two-channel video projection,

overall dimensions variable.

↑ Samantha Slone, MFA23

So We May Live Into Yours, 2022. Archival inkjet print, 31 ½ x 36".

↑ Erin Johnston, MFA22 Study Skins, 2021-22. Paper and natural pigment, overall dimensions variable.

← Jorge Rios Morales, MFA23 this was the first sadness, 2021. Watercolor on paper, 90 x 120".

MFA IN VISUAL

THE MFA THESIS IS THE CULMINATION OF THE MFA IN VISUAL ART PROGRAM.

It comprises the thesis artwork, the thesis text, and the artist talk. You’ll present your thesis artwork at the annual MFA in Visual Art Thesis Exhibition, held at the School’s Mildred Lane Kemper Art Museum. (See p. 9)

↘ Installation view, Nine Ways from Sunday: 2022 MFA in Visual Art Thesis Exhibition, Mildred Lane Kemper Art Museum, Washington University in St. Louis, 2022. Photo: Richard Sprengeler.

↑ Joseph Canizales, MFA22, presents his thesis work to reviewers, spring 2022. Photo: Danny Reise / Washington University.

THESIS ARTWORK

You’ll begin preparing for your thesis exhibition in the fall semester of the second year, working with faculty and curators to shape your vision of the work and develop your thesis plan in the Research for Practice Seminar

THESIS TEXT

In the spring semester, the Thesis + Exhibition Prep Seminar provides tools for negotiating conceptual and practical matters related to the thesis exhibition as well as guidance on the writing of your thesis text and the presentation of your artist talk.

ARTIST TALK

The artist talk is given in conjunction with the thesis exhibition and is attended by your thesis committee, invited guest critics, and the general public.

Erin Johnston, MFA22, presents her thesis artwork to fellow stu dents and reviewers. Photo: Danny Reise / Washington University.

Sam Modder delivers an artist talk at the public opening of the 2022 MFA Thesis Exhibition. Photo: Whitney Curtis / Washington University.

Installation view, smoke, sig nals, space: 2021 MFA in Visual Art Thesis Exhibi tion, Mildred Lane Kemper Art Museum, Washing ton University in St. Louis, 2021. Photo: Richard Sprengeler.

Aleida Hertel, MFA20

2020. Installation of unfired clay, overall dimensions variable.

FACULTY

Men·tor | ˈmen-ˌtôr

An experienced and trusted adviser. From the root men- or mon-: to remember, think, or counsel. The identity assumed by Athena—the goddess of intelligence, war, and the arts—to guide Telemachus in his arduous quest.

Someone whose wisdom can be depended upon on a journey.

Our faculty are nationally and internationally recognized for their diverse practices, which engage complex territories on the environment, race, politics, material culture, science, and the human condition. Thwarting conventional silos, many work across disciplines and collaborate with practitioners in other fields. Several Sam Fox School faculty have joint appoint ments in other departments—including Film & Media Studies; American Culture Studies; Performing Arts; Women, Gender, and Sexuality Studies; and African and African-American Studies—so they are poised to connect you with other research areas at the University.

SELECT EXHIBITIONS

• The New Museum

• Museum of Modern Art

• American Academy in Rome

• MoMA PS1

• Crystal Bridges Museum of American Art

• Corcoran Gallery of Art

• MASS MoCA

• Museum of Contemporary Photography

• San Francisco Black Film Festival

• Marianne Boesky Gallery

• Postmasters Gallery

• Yerba Buena Center for the Arts

MFA-VA PROGRAM CORE FACULTY

Jamie Adams Heather Bennett Lisa Bulawsky Carmon Colangelo Amy Hauft

Meghan Kirkwood Arny Nadler

Patricia Olynyk

Tim Portlock Jack Risley

Denise Ward-Brown

Cheryl Wassenaar Monika Weiss

Studio visits play a critical role in our pro gram, facilitating an open exchange of ideas that can expand the context of work and ele vate its content. Associate professor Monika Weiss reflects on the spirit of these interactions and the opportunities they present.

REFLECTING ON THE STUDIO VISIT

SELECT FELLOWSHIPS & AWARDS

• New York Foundation for the Arts Grant

• Pollock-Krasner Foundation Grant

• Fulbright Fellowship

• National Endowment for the Arts Grant

• Louis Comfort Tiffany Foundation Award

• Yaddo Residency

• UCLA Design Media Arts Center Residency

• Civitella Ranieri Foundation Fellowship (Italy)

• International Artists Residency Fellowship (Poland)

• Pew Fellowship

• Howard Foundation Fellowship

Let’s think about what takes place during a well-prepared studio visit: an artist and visitor come together to discuss (sometimes over coffee or tea) the work on view. Of the many aspects of this essential (and also vulnerable) exchange, the most important of all is the willingness of both parties to make an effort to truly understand the work on its terms and communicate with each other— on intellectual, visceral, and emotional levels. The generosity of spirit must come from both sides. In that sense, a studio visit is a perfect ground for a “non-power” place, where the only thing that matters is the work on view and its possible sym bolic, aesthetic, affective, conceptual, social, or political meanings. At its best, a studio visit is a deep conversation about the work, but also about the world and about what passions and concerns drive the artist. It’s worth remembering, too, that many artists are shy, as are those who visit the studios of other artists. Mutual space, respect, and listening are necessary to create conditions for sharing. In the context of an MFA program, a studio visit also nods to Emmanuel Levinas’ philoso phy of ethical reciprocity, placing accent on the “other.” In this way, the studio visit isn’t merely free of power dynamics, as much as possible, but marks a reversal of the expected power dynamic, where the accent is on the student as the artist, not on the visitor.

—Monika Weiss

MEETYOUR

Your faculty mentors are important players on your most important crew: TEAM YOU . Each one has an extraordinary set of skills, knowledge, and expertise. On these cards, you’ll get to know their strengths, their quirks, and their secret weapons. All their essential stats. They will do their best to get you to do your best. Even if it hurts.

COLLECTTHEMALL!

LISA BULAWSKY PROFESSOR & CHAIR, MFA IN VISUAL ART

HEATHER BENNETT SENIOR LECTURER

CARMON COLANGELO RALPH J. NAGEL DEAN

AMY HAUFT DIRECTOR, COLLEGE OF ART

MEGHAN KIRKWOOD ASSISTANT PROFESSOR

ARNY NADLER ASSOCIATE PROFESSOR

PATRICIA OLYNYK FLORENCE AND FRANK BUSH PROFESSOR OF ART TIM PORTLOCK PROFESSOR & CHAIR, UNDERGRADUATE ART

JACK RISLEY PROFESSOR

DENISE WARD-BROWN PROFESSOR

CHERYL WASSENAAR ASSOCIATE PROFESSOR

MONIKA WEISS PROFESSOR

JAMIE ADAMS ASSOCIATE PROFESSOR

C O R E P R O G RA M FA C U L T Y !

HEATHER

PHOTOGRAPHY, VIDEO, DRAWING, INSTALLATION,

since:

TOOL/PROCESS/MATERIAL

FAVORITE

I have no loyalty to materials. Whatever gets the job done is my bestie.

BEST ADVICE YOU’VE EVER RECEIVED ABOUT YOUR WORK Don’t be afraid to make something stupid. WHAT DO YOU LISTEN TO WHILE YOU WORK? I have lots of records–and it varies—but generally I love 60s-70s soul, old blues, and punk rock. SKILL YOU’D BE MOST LOST WITHOUT I have a bunch of weird skills from working in the movies as a scenic painter—something always comes in handy. I mean, I know the best formula to make fake blood that looks real on camera. Crush, 2011. Digital print on Somerset Velvet, 44 x 65”. Edition of 3.

CARMON COLANGELO PRINTMAKING & WATERCOLOR b. Toronto, Ontario, Canada | Member since: 2006

FAVORITE TOOL/PROCESS/MATERIAL Nice watercolor color brushes and a large digital printer.

BEST ADVICE YOU’VE EVER GIVEN TO SOMEONE ABOUT THEIR WORK Make art that is joyful. WHAT DO YOU LISTEN TO WHILE YOU WORK? Neil Young, Tom Waits, Wilco… Dylan’s It’s All Over Now, Baby Blue. SKILL YOU’D BE MOST LOST WITHOUT Drawing. IT’S THE 11TH HOUR BEFORE YOUR OPENING. WHAT ARE YOU DOING? Relaxing and starting new work. WHO OR WHAT HAS HAD THE BIGGEST INFLUENCE ON YOUR WORK? Luis Cruz Azaceta.

JAMIE ADAMS PAINTING & DRAWING b. Pittsburgh, PA | Member since: 2003

FAVORITE TOOL/PROCESS/MATERIAL Drawing with a ballpoint pen. WHAT DO YOU LISTEN TO WHILE YOU WORK? Everything from film score composers like Ennio Morricone to the Indigo Girls and the Bee Gees. STUDIO UNIFORM Anything with paint already on it, which is most everything… BIGGEST INFLUENCE ON YOUR WORK Hopper, Courbet, Delacroix, Guston, Michelangelo. A BOOK YOU’VE READ MORE THAN TWICE The Poetics of Space (Gaston Bachelard), Anatomy for the Artist (Jeno Barcsay), Courbet (Linda Nochlin), Tradition and Desire: From David to Delacroix (Norman Bryson).

Niagaradown , 2013. Oil on linen, 96 x 84".

You’ll find the faculty’s full responses to our 20 Questions interview, plus their bios, and additional images of their work on the MFA in Visual Art faculty page of our website.

ARNY

SCULPTURE b. Chicago, IL | Member since: 1997

WHERE DO YOU MAKE WORK? A converted salon in U. City. WHAT DO YOU LISTEN TO WHILE YOU WORK? Too much NPR. BEST STUDIO HACK You can use stretch plastic wrap, cable ties, and bungee cords for pretty much everything. WHAT FOOD CAN BE USED TO BRIBE YOU? A student once baked a cookie in my likeness to get off the waitlist. Kinda creepy, but it worked. A BOOK YOU’VE READ MORE THAN TWICE Living Materials by Oliver Andrews. HOW DO YOU STAY MOTIVATED? Fear of failure. BIGGEST PET PEEVE? Tardiness.

ART b. Sunnyvale, CA | Member since: 1996

FAVORITE TOOL/PROCESS/MATERIAL Repurposing things to make other things.

SKILL YOU’D BE MOST LOST WITHOUT Going down rabbit holes with absolutely no plan. I’d be lost without the impulse to improvise. WHAT FOOD CAN BE USED TO BRIBE YOU? Arugula and chocolate chip cookies.

STUDIO UNIFORM I have a summer apron and a winter apron.

BIGGEST PET PEEVE? Richard Dreyfuss. And paper towel dispens ers that are mounted high on the wall so the water drips down your arm and inside your sleeve when you’re reaching for a towel to dry off.

Detail of The Doubt of Being (singular) , 2021. Ink and collage on Evolon, 60 x 44".

TOOL/PROCESS/MATERIAL

FAVORITE

Long days photographing in the field and working in the darkroom. WHERE DO YOU MAKE WORK? All over. I do a lot of travel for my photography projects and then work on them either on the computer at home or in studio. WHAT’S YOUR TOP STUDIO JAM? Podcasts! Mostly mystery, true crime, run ning, and interviews with writers. If I listen to music, it’s usually bro-country. Like the really horrible commercial country about trucks and red dirt roads. BIGGEST PET PEEVE Mouth noises? Any annoying sniffles or other noises in quiet spaces. And the font Calibri. EPOXY, MINERAL SPIRITS, OR COMMAND-Z? This Q wasn’t written for photographers…

Untitled, 2022. Archival inkjet image, 20 x 16".

JACK RISLEY LARGE-SCALE SCULPTURE

Middletown, CT | Member since: 2019

FAVORITE TOOL/PROCESS/MATERIAL

My 35yo Bernina sewing machine.

WHAT DO YOU LISTEN TO WHILE YOU WORK? Music on WFMU, an artist-run station out of Jersey City, NJ. One day Cindy Sherman called in to make a pledge.

WHAT FOOD CAN BE USED TO BRIBE YOU? A really well-made cup of coffee—smooth, a hint of cacao, a bit of crema, and the viscosity of a root beer float.

EPOXY, MINERAL SPIRITS, OR COMMAND-Z? All of the above. Bring it on. IT’S THE 11TH HOUR BEFORE YOUR OPENING. WHAT ARE YOU DOING? One time I was late to my opening because I was working out at the gym.

Broadcast , 2001. Fabric, metal, broom

FAVORITE TOOL/PROCESS/MATERIAL

Time—it is my material, my canvas, and my content.

STUDIO UNIFORM When I perform, I often wear one of my black, long dresses and a black scarf.

IT’S THE 11TH HOUR BEFORE YOUR OPENING. WHAT ARE YOU DOING? I’ve been known to desperately look for an available piano to improvise on, in solitude, which always calms my nerves and cleanses the space in me and around me.

HOW DO YOU STAY MOTIVATED? I don’t think I ever felt not motivated. Sometimes I feel scared that there is not enough time in my life to make all the work that is waiting to be “released.”

Anamnesis III , 2019. Still from digital film, color, sound, 11:53 min.

since:

FAVORITE TOOL/PROCESS/MATERIAL Making lists. WHAT DO YOU LISTEN TO WHILE YOU WORK? NPR, Netflix and the like, podcasts on politics. WHO OR WHAT HAS HAD THE BIGGEST INFLUENCE ON YOUR WORK? 20th-century African American fiction, like Invisible Man and Native Son , in which the protagonist’s exploration of a landscape becomes an exploration of the self. WHAT FOOD CAN BE USED TO BRIBE YOU? Deep-dish pizza, tiramisu, or tres leches cake. IT’S THE 11TH HOUR BEFORE YOUR OPENING. WHAT ARE YOU DOING? Feeling relieved. SKILL YOU’D BE MOST LOST WITHOUT Learning to solve tech problems on my own.

“just steps away” , 2020. Archival pigment print, 58 x 43 ¼".

The Cabinet of Ordinary Affairs , 2018. Collab. multimedia installation with Stephanie Schlaifer. Photo: R. Sprengeler.

FAVORITE TOOL/PROCESS/MATERIAL Adobe Premiere.

cybernetics, and Jakob von Uexküll’s concepts of the Umwelt. A BOOK YOU’VE READ MORE THAN TWICE Mary Shelley’s Frankenstein. TELL US SOMETHING WE FORGOT TO ASK Seek to live in “a big here and a long now.” ANY PETS? My last pet was a chinchilla named Mephisto.

700,000:1 | Terra , 2022. MASS MoCA.

Tony Luong.

BEST ADVICE YOU’VE EVER GIVEN TO SOMEONE ABOUT THEIR WORK Make quick/alla prima work every day alongside the long-term work. A BOOK YOU’VE READ MORE THAN TWICE Beloved by Toni Morrison. WHO OR WHAT HAS HAD THE BIGGEST INFLUENCE ON YOUR WORK? The book Narrative of the Life of Frederick Douglass, an American Slave. ANY PETS? Zola (toy poodle), Muzzette (cat my daughter gave me), Buddy (adopted stray cat who hunts squirrels, rabbits, mice—eats the whole body and tail).

The Mutable Archive , 2020. Video still. Never Been a Time, 2017. Documentary film still featuring I am Perfectly Black by CeLillianne Green, poet.

MEGHAN

LISA BULAWSKY

THIS SPACE INTEN T I ONALLY LEFT B L ANK

faculty from

sheets

Patricia Olynyk

Heather Bennett Pine Valley, 2018

HURTLING THROUGH SPACE

Q&A WITH AMY HAUFT

Director of the College of Art, Jane Reuter Hitzeman and Herbert F. Hitzeman, Jr. Professor of Art

In 700,000:1 | Terra + Luna + Sol, Amy Hauft grapples with questions of perception, celestial scale, and the space between abstract and experiential knowledge. The vast, threepart installation at MASS MoCA is the most complex of her career. In this Q&A, we spoke with her about 700,000:1, her working process, and humanity’s place in a dangerous universe.

Can you talk a bit about the title? To what does the ratio refer?

700,000:1 is the chance of a person on Earth being killed by a meteor strike. Now, that math is skewed for the possibility/ likelihood of one big, extinction-level event. But for comparison, the

odds of being killed by a shark are around 8 million to one. So the risk from meteors is actually not that remote.

In 2013, a meteor the size of a bus smashed into a frozen lake in Chelyabinsk, Russia. The sonic boom blew out every window in town. I thought: But we already

have so many things to worry about!

Tell us about the “Terra” section of the installation. Imagine a sphere one mile in diameter. If you slice off the top two feet, you have a “sphere cap,” 36 feet across. In the gallery, I built that sphere-cap form as a low, turf-covered hill. I built a mirrored version of that same form to rep resent the sky. That form was created by hanging thick blue yarn across a circular frame suspended from the ceiling, cre ating the illusion of an enormous bowl.

When the viewer walks to the top of the hill, their head parts the yarn strands and disappears upwards into the bottom of the bowl. To others

in the gallery, their body appears headless. And for the headless viewer, their vision is bounded by the interior of a gigantic blue bowl: their new horizon.

Those are dramatic images—and quite dis tinct, depending on the viewer’s specific location.

In all my work, there’s a sense of physical encoun ter. The viewer’s body is experiencing something, telling them something. I think about the difference between what we know as physical beings and what we know as conscious entities. Here, the mind/ body split is made literal. I also wanted to be sure there was value for people of all physical abilities— whether or not they climb the hill.

Photo: Sid Hastings / Washington University.

The “Luna” section took some complex fabrication. Can you walk us through that process?

I bought a digital file 3D model of the moon, gener ated by satellite telemetry, from NASA. I shrunk it, inverted the geography (so the exterior craters show up inverted on the interior surface), and divided it up into about 140 pieces.

With a CNC router, I milled each unique piece as a foam mold and took them all to MASS MoCA, where we cast them out of Aqua-Resin. We assembled the pieces into a 15-foot diameter sphere—it was like the world’s crazi est three-dimensional jigsaw puzzle!

In the gallery, most of the moon is hidden behind a floor-to-ceiling wall. The viewer climbs a short set of utility stairs and ducks their head through a por tal into the sphere—and, suddenly, they’re inside the moon.

The inverted moon tex ture does something weird to your optical perception.

The eye wants to see what it knows. But with exterior now made interior, the eye has trouble understand ing. The sense of whether you’re looking at some thing convex or concave sort of flips back and forth.

“Sol” also plays with the limits of visual perception.

Yes, it’s in a smaller gallery, about 1,000 sf. A Rococo chande lier, handmade in clear Venetian glass and gold leaf hangs peculiarly low to the ground. The chan delier is about 5 feet tall, maybe 4 ½ feet wide, and looks like some unreason ably extravagant flower arrangement. It feels over sized and too detailed for the space, and, of course, way too low.

Instead of the small flickering flame-bulbs this chandelier would nor mally sport, I’ve installed 15 high-lumen LEDs. It’s all too much to look at— the over-the-top Baroque details of the chande lier, the way-too-bright lights—you have to shield your eyes from the very

(TOP) Installation view of “Terra,” from the exhibition 700,000:1 | Terra + Luna + Sol at MASS MoCA in North Adams, Massachusetts. The low hill, which measures 36 feet across, represents the top, two-foot “cap” of a sphere one mile in diameter. The draped blue yarn creates an inverted version of the same form.

(ABOVE) For “Luna,” Hauft created an outside-in, 15-foot diam eter model of the moon.

Photos: Tony Luong.

thing you are trying to see. The gallery is even a little warm because of the intense light.

How do you hope view ers will engage with this project?

I’m interested in creating an awareness in the viewer that we are standing atop the Earth, hurtling

through space. Right now! The true physical circum stance of our tiny civili zation existing within the universe is both awesome and terrifying. We spend a lot of time trying hard not to know that.

700,000:1 | Terra + Luna + Sol, on view at MASS MoCA in North Adams, Massachusetts, May 2022–January 2023.

VISITING LECTURERS & CRITICS

Each semester the Sam Fox School engages with nationally and internationally recognized artists, designers, architects, historians, and critics, promoting new ideas in practice, theory, and technology. Invited speakers often interact with stu dents during workshops and informal gatherings, in addition to participating in studio visits, where they conduct one-onone reviews of work.

↑ Artist and alum Michael Joo was the Arthur L. and Sheila Prensky Island Press Visit ing Artist in February 2020. Sid Hastings / Washington University.

↓ Dana Levy, the 2019 Freund Teaching Fellow, conducts studio visits with MFA-VA students as part of her residency. Whitney Curtis / Washington University.

PAST VISITING ARTISTS

Al-Hadid

Allahyari

Attie

Hullfish Bailey

Bornstein

Campany

T. Dugan

Fusco

Ellen Gallagher

Ganesh

Ghani

Grabner

Grosse

Helguera

Jaar

Joo

Kentridge

Levy

Mokgosi

Mutu

Opie

Oppenheimer

Paglen

Rakowitz

Robleto

Rottenberg

Schmacke

Semmes

Syjuco

Mae Weems

FREUND TEACHING FELLOWSHIP

Established in 1986, the Henry L. and Natalie E. Freund Teaching Fellowship centers around two core components: teaching in the Sam Fox School’s College of Art and producing work for a solo exhibition for the Saint Louis Art Museum’s Currents series. The fellow will be in residence for a full semes ter and will teach an upper-level course.

In spring 2023, Dallas-based artist Tamara Johnson will serve as the Freund Teaching Fellow. Johnson’s course will focus on the material theory, practice, and power of concrete in the public sphere. She will conduct individual studio visits with students in the Sam Fox School’s MFA in Visual Art program, and she will have a studio of her own in Weil Hall to support the development of work for her solo exhibition at the Saint Louis Art Museum in fall 2023.

2022-23 FREUND TEACHING FELLOW

Tamara Johnson

Born in Waco, Texas, in 1984, Johnson earned a bachelor’s degree in studio art from the University of Texas at Austin in 2007 and a master’s in fine arts, in sculpture, from the Rhode Island School of Design in 2012. She spent the next six years in New York, serving as a project manager for the Robert Gober Studio and public artist Janet Zweig while exhibiting her own work at Socrates Sculpture Park, the CUE Art Foundation, Wave Hill, Maria Hernandez Park, Air Mattress Gallery, and other spaces.

In 2018, Johnson and fellow artist Trey Burns founded the Sweet Pass Sculpture Park on a one-acre lot in west Dallas. An extension of their own artistic practices, Sweet Pass provides space and support for tem porary, experimental and large-scale outdoor projects by a diverse set of contemporary voices.

Johnson’s work has been featured in dozens of exhibitions, including recent solo and two-person shows at the Nasher Sculpture Center and the ex ovo gallery, both in Dallas; at Wassaic Projects in New York; and at MAD Arts in Dania Beach, Florida. Other major exhibitions include the Dallas Biennial and shows at the Utah Museum of Contemporary Art in Salt Lake City, the Blanton Museum of Art in Austin, and Grand Union Gallery in Birmingham, England.

Johnson’s numerous honors include a National Endowment for the Arts grant, in conjunction with Wassaic Projects, as well as awards from the Meadows School of the Arts at Southern Methodist University, the Santo Foundation in St. Louis, the Foundation for Contemporary Arts in New York, and the Brooklyn Arts Council.

↓ Tamara Johnson. Colander with sponge and clip, 2021. Hydrocal gypsum, silver leaf, resin, fiberglass, and acrylic paint, 4 x 12 x 10". Photo: Trey Burns.

ALUMNI

Our alumni have established thriving practices in cities across the country, includ ing New York, Los Angeles, Chicago, and St. Louis, where many have found their first gallery representation. In their careers as university faculty, gallery and museum curators, leaders of arts organizations, and creative entre preneurs, they build upon the close relationships they formed in the pro gram. They continually delight us with the numerous ways they have invented to build a life around artmaking. Their many accolades include grants from the Guggenheim Foundation, Joan Mitchell Foundation, Tiffany Foundation, and Andy Warhol Foundation; residencies from the MacDowell Colony, Ox-Bow, the Irish Museum of Modern Art, and MASS MoCA; and inclusion in import ant national and international exhibi tions, including at the Whitney Biennial, Venice Biennale, Studio Museum in Harlem, and MoMA.

We are enormously proud of who they are, what they make, and what they have gone on to achieve.

↗ Ebony G. Patterson. ...in the waiting... in the weighting..., 2021. Mixed media on jacquard-woven photo tapestry, 7 resin readymades with glitter. → Margaux Crump. Detail of Gathering, 2020. Graphite, woad, and bone char on cypress knees, 17 x 60 x 60".

LaylahAli

MFA94

CayceZavaglia

JillDownen

MFA98

MFA06

CoreyEscoto

CarlieTrosclairIanWeaver

JenniferSeas

MFA08

MFA10

Artist

Artist and Francis Christopher Oakley Third Century Professor of Art, Williams College

Artist MFA01 Artist and Associate Professor & Chair of Sculpture, Kansas City Art Institute

Artist and 2020–21 Bill and Stephanie Sick Distinguished Visiting Professor, School of the Art Institute of Chicago

MFA07

Artist and Assistant Professor of Art, Saint Mary’s College

Artist MFA12 Artist and Director & Chief Curator, Tarble Arts Center

OPPORTUNITIES AFTER GRADUATION

Support for your artistic journey doesn't end after graduation. The Sam Fox School provides a number of grants, residencies, and other opportunities exclusively for alumni.

STONE & DEGUIRE CONTEMPORARY ART AWARD

The Stone & DeGuire Contemporary Art Award provides $25,000 in funding to each recipient to advance their stu dio practice. The award is exclusively for MFA and BFA alumni of the College of Art working in sculpture, paint ing, or expanded mixed media.

This award honors Nancy Stone DeGuire (1947-2013) and Lawrence R. DeGuire Jr. (1947-2006), who met as undergraduate art students at Washington University, got married, and forged a life-long, shared studio practice. They created this award to assist fellow alumni in advanc ing their own studio practices.

PARIS STUDIO RESIDENCY

For more than three decades, alumni, students, and fac ulty have had the opportunity to work in residence at the College of Art’s Paris studio at the Cité Internationale des Arts. These residencies, which are a minimum of two months long, provide artists working in any medium a place to focus on the development of their work while broadening their international network and immersing themselves in French culture.

Alumni are always able to apply for these residencies, in response to a biennial call. MFA students apply the year they graduate for the John T. Milliken Graduate Foreign Travel Award.

Big ideas take time and a supportive community. As an artist, to hold an idea inside without the opportunity to share it with others produces a suffocating immobility. The Stone & DeGuire Contemporary Art Award moved me forward along multiple pathways to articulate, visualize, shape, and share my idea for the project (dis)Mantle: A Place for Reflection. The impact of the award increased my knowledge and skill as an artist, expanded my network of collaborators, and helped me flourish as a creative director.”

—Jill Downen, MFA01, 2018 Stone & DeGuire Recipient

LyndonBarroisJr.

AdamHoganColeLuLavarMunroe

AddoleyDzegede

VitaEruhimovitz

YvonneOsei

KahlilRobert Irving

ST. LOUIS

ILLUSTRATED

STL is one of the most affordable, culturally exciting cities in which to launch your career. Here are a handful of highlights.

OUR NEXT-DOOR NEIGHBOR

Located just across the street from campus, Forest Park is home to the Missouri History Museum, the Saint Louis Zoo, the Saint Louis Science Center and Planetarium, the World’s Fair Pavilion, and the Saint Louis Art Museum.

OUT-SIZED CULTURAL SCENE

All of the city’s art museums and most of its major cultural institutions are free. This includes the Contemporary Art Museum St. Louis, the Pulitzer Arts Foundation, the Saint Louis Art Museum, and our very own Kemper Art Museum.

GREAT GREEN SPACES

With an expanding light rail system, hun dreds of city, county, and state parks, and the Great Rivers Greenway—125 miles (and counting!) of bike and pedestrian pathways—St. Louis is made to explore.

FOODIE HEAVEN

St. Louis has been named a top food city by outlets ranging from Zagat to Yelp. Famous for local treats like Ted Drewes Frozen Custard (brain freeze warning!) and toasted ravioli, we’re also on the map for great tacos, dim sum, bubble tea, and gastropubs serving up farm-to-table eats.

STL’S GALLERY SCENE

St. Louis is made for artists. With four major art museums, two sculpture parks, and dozens of galler ies and alternative spaces, this is a place that reveres its artists, designers, thinkers, and makers.

The city serves as both an extension of the studio and site of engagement, and our students are lively contribu tors to its culture. Our graduates have opened their first galleries, print shops, cooperatives, and businesses here. Take a peek at some of our favorite haunts, which include several founded by alumni.

BARRETT BARRERA PROJECTS*

THE BERMUDA PROJECT*

BRUNO DAVID GALLERY CENTER OF CREATIVE ARTS (COCA) A

CUNST

DES LEE GALLERY + B DUANE REED GALLERY FOREST PARK GALLERY OF CONTEMPORARY ART

THE GALLERY AT THE KRANZBERG

GRANITE CITY ART AND DESIGN DISTRICT (G-CADD) C

HIGH LOW D

HOUSKA GALLERY

HUNT GALLERY AT WEBSTER UNIVERSITY

INTERSECT ARTS CENTER* E

THE LUMINARY F MONACO*

PELE PRINTS*

PHILIP SLEIN GALLERY* PROJECTS+GALLERY* G REESE GALLERY*

REGIONAL ARTS COMMISSION (RAC)

WILLIAM SHEARBURN GALLERY*

* Alumni/faculty-run space + Sam Fox School space

WHAT KIND OF FINANCIAL AID & SCHOLARSHIP SUPPORT IS AVAILABLE?

We offer competitive assistance, based on a combination of need and merit. Sam Fox School awards include numerous full-tuition scholarships, such as the Sam Fox Ambassadors Graduate Fellowship Program (which also provides an annual travel stipend). Learn about the full range of opportunities on our website.

WHAT DO I NEED TO INCLUDE IN MY PORTFOLIO? (AND, WHAT ARE YOU REALLY LOOKING FOR?)

You’ll need to submit 20 examples of your work. These can include still images, video, and/or audio files. Select your strongest and best work. We are looking to see original and sophisticated pieces that

NEW SCHOLARSHIP

THE SAM FOX AMBASSADORS GRADUATE FELLOWSHIP PROGRAM

provides exceptional graduate students with full-tuition scholarships and an annual $750 travel stipend for research All MFA-VA program applicants will be automatically considered. samfoxschool.wustl.edu/admissions/graduate

you generated independently, rather than created as part of an assignment.

WHERE ARE THE STUDIOS LOCATED?

ARE THEY CLOSE TO OTHER PARTS OF CAMPUS?

Graduate studios are located in Weil Hall on the picturesque East End of the Danforth Campus, adjacent to the McKelvey School of Engineering and the Brown School. With fountains, lounge chairs, hundreds of trees, and nearby cafés, students love relaxing in Tisch Park, located just outside Weil Hall. Learn about additional campus resources on p. 4.

I HAVE A LOT OF INTERESTS OUTSIDE THE STUDIO. CAN I TAKE OTHER COURSES AT THE UNIVERSITY?

You bet! You may take graduate-level courses for credit across the University— in subjects like writing, philosophy, music, art history, and the sciences. And, there are countless additional resources for you to explore areas outside your discipline. Read more on pp. 2–3.

CAN I BE A TA?

Teaching and/or technical assistantships are awarded to all second-year students in good academic standing. A select num ber of first-year students are awarded assistantships based on the strength and quality of their applications. Teaching assistants work with faculty in a range of courses. Technical assistants work alongside faculty and staff in areas such as the Des Lee Gallery, Island Press, and our experimental studio for time-based media. All positions are considered biweekly, hourly paid positions.

WHAT IS LIVING IN ST. LOUIS LIKE?

St. Louis is one of the most affordable places to live, and there are cool neigh borhoods all around the University, like Tower Grove, the Central West End, and University City. And, all the city’s art muse ums are free. (For real!) See pp. 26–27 for more on the gallery scene and our favorite things to do around the city and the region.

Maximum enrollment of the MFA in Visual Art program

Square feet of space in each MFA-VA studio

Percent of MFA students who received financial support in 2021–2022

Full-tuition Sam Fox School Ambassadors fellowships awarded per year

Year the College of Art, formerly the School of Art, was founded at Washington University

Average number of attempts at completing a piece of art before deciding, "There, now it's perfect."

>> Graduate School of Art Scholarships & Financial Aid

WHAT DOES YOUR FAVORITE TOOL, PROCESS, OR MATERIAL SAY ABOUT YOU?

CASTING & MOLD-MAKING

PAINTING

AR/VR Lean, mean, and greenscreened

Most likely to be detained by a foreign government.

BLACKSMITHING & FOUNDRY Hard-core

Thor follows me on Insta.

BLOCK PRINTING Dogged

Working on the 37th view of Mt. Fuji.

CASTING & MOLD-MAKING Slippery

I put mold release on everything. Even my sandwiches.

CLAY

Down-to-earthy

The golem is real. I made him.

COLLAGE Mixy-matchy

I run with scissors.

DARKROOM

Chemically delicious

My favorite dessert is silver gelatin.

A DRILL, FULLY CHARGED Honorable

If you’re not early, you’re late.

FOODSTUFFS

Tactilitarian

Biohazard, shmiohazard.

FOUND OBJECTS Hoard-y

I work exclusively in Obtainium.

INTERVENTIONS Subversive

I plant secret monuments in the desert.

NATURAL MATERIALS Wild

I killed your TV.

PAINTING

Renaissancian

Think happy little thoughts.

PERFORMANCE Radical

“You must change your life.”*

SCREENPRINTING

Multiplicitous

What Would Andy Do?

SOUND ART Reverberant

If a tree falls in the forest, I am there recording it.

TEXT Revolutionary Don’t tempt me.

TEXTILES Crafty

I also grind my own wheat.

VIDEO Tormented

I dream in a 3-channel loop.

WELDING Harder-core Hold my beer.

*from the poem “Archaic Torso of Apollo” by Rainer Maria Rilke.

CLAY

3D PRINTING

COLLAGE

SOUND ART

CLASSIFIEDS

WANTED— Sam Fox School seeks new class of amazing artists for MFA-VA pro gram. Interests may include drawing, painting, sculpting, printmaking, pho tography, video, performance, sound art, ceramics, assemblage, time arts, collage, boundary-pushing, zine-ing, book arts, rainbow-rolling, found objects, installation, OOMOO™, defying the silos, VR, AR, CNC routery, lasercutting, public art, happenings, art history, curating, writing, concep tualizing, subverting convention, et al. creative nerdcetera. Must be willing to relocate to bustling cos mopolis w/ good eats & EZ livin’. No curmudgeons, snoots, or malcontents need apply. Excellent qualifications req. APPLY WITHIN! E samfoxschool.wustl.edu

Learn more about the MFA-VA program, scholarships, and how to apply. mfa-va@wustl.edu samfoxschool.wustl.edu MSC 1213-131-105 One Brookings Drive St. Louis, MO 63130 314.935.9300

FOLLOW US @samfoxschool @samfox_mfa_va

OTHERWISE MAGAZINE

Stephanie Schlaifer Creative direction & editorial

Audrey Westcott

Creative direction, design, & illustration

Washington University encourages and gives full consideration to all applicants for admission, financial aid, and employment. The University does not discriminate in access to, or treatment or employment in, its programs and activities on the basis of race, color, age, religion, sex, sexual orientation, gender identity or expression, national origin, vet eran status, disability, or genetic informa tion. Applicants with a prior criminal history will not be automatically disqualified from consideration for admission. Inquiries about compliance should be addressed to the Univer sity’s Vice Chancellor for Human Resources, Washington University, MSC 8016-29-2220, One Brookings Drive, St. Louis, MO 63130.