the human experience—its power dynamics, tribulations and injustices—and the pleading need for each individual to be seen and validated. Other work has been commissioned by the Huffington Post, Amnesty International and other NGOs, and even “All Hands on Deck” has grown into an ongoing protest project across American cities. His next project, “Whose Streets?”, is a documentary about Ferguson set to be completed early next year. Shown: “Deadly Force” poster design.
the work spill out to fill the room. Boundless, they’re similar to his installations, which aren’t afraid to tackle the political or the dark, and to his public art, which has recently utilized one-line phrases—last year’s “Hard to Sing Opera to a Crowd Full of Shoppers”—to provoke and question. Shown: “Cape.”
19 STAN CHISHOLM, 28
Dugan’s work has been in the national spotlight (think New York Times Sunday Style cover in a story) and a recent collaborative project with Wash U Brown School of Social Work Assistant Professor Vanessa Fabbre has resulted in a striking social impact photography project focusing on transgender and gender-variant older adults. Represented by the Catherine Edelman Gallery in Chicago, her focus is on the intersections and intricacies of gender, sexuality, identity and community. In August, an exhibition of her work opened at the Cornell Fine Arts Museum in Florida, and in September, her book, “Every Breath We Drew,” was published by Daylight Books. Dugan is also a recipient of the 2015 Pollock-Krasner Foundation Grant, recognizing professional artists of significant merit. Shown: Self-portrait (bed) from “Every Breath We Drew.”
Crafting art for the city’s biggest scenes
If you’ve been out and about in St. Louis within the past couple of years, you’ve probably run into Chisholm. His art has shown solo at Hoffman LaChance Contemporary multiple times (most recently in May), and he’s also made posters for and held DJ residencies at some of STL’s nightlife staples, turned the tables at Bump & Hustle and participated in SLAM Underground events. His most recent work has a quality of being an extracted and paused moment from a story, potential energy frozen within a frame’s border, whereas his 2014 pieces are organically shaped, 3-D, highly abstract and eschew frames to let the energy of
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Documenting identity and gender