Margi Weir: The Politics of Hue The St. Louis Artists’ Guild welcomes a new body of work by Margi Weir titled “The Politics of Hue.” Ms. Weir earned her MFA in painting from the University of California at Los Angeles (UCLA); her MA in painting from New Mexico State University. She also holds a BFA in painting from San Francisco Art Institute and BA in art history from Wheaton College in Massachusetts. Ms. Weir has had solo exhibitions at Ivan Karp’s OK Harris Gallery in New York, and the Ruth Bachofner Gallery in Santa Monica, CA. She has completed installation pieces at the Athens Institute of Contemporary Art (ATHICA), Lexington Art League (KY), the Las Cruces Museum of Art (Las Cruces, NM), the Hardesty Art Center in Tulsa OK, Coastal Carolina University, and Central Features Gallery in Albuquerque, NM. In 2017 the Puffin Foundation awarded Weir a grant to support her work on gun violence. She is, currently, an Associate Professor of painting and drawing at Wayne State University in Detroit, Michigan. In this new body of work, Ms. Weir finds inspiration for imagery from anywhere: from the street where she lives, from television or film, or from the Internet. This most recent series of paintings on Plexiglas panels surrounded by vinyl on the gallery wall is titled “The Politics of Hue.” The Politics of Hue does not connote racial or identity politics and instead finds inspiration in the color divide during the last Presidential campaign between red and blue. There are currently 9 pieces in the series; red, blue, white, green, gold, yellow, orange and silver and purple. Weir groups images of related things or repeated objects in stacked rows in a two-dimensional composition (paintings, prints, or cut vinyl). This stacking is a visual metaphor for the ways that bits of information are thrown at us, daily, with only occasional “in-depth coverage.” By placing a row of spatially flattened imagery on top of a row of images that suggest the illusion of space, Weir finds an appropriate way to visually represent the twenty-first-century experience of receiving information from many points of view simultaneously and often without a gauge by which to determine the validity of the information. The static point of view required for Renaissance perspective doesn’t reflect my contemporary experience. Neither does the medieval correlation of scale to status. In these new works Weir intentionally gives equal weight to positive and negative space. This handling of space encourages perceptual shifts between positive and negative imagery by employing high black and white contrasts. “The Politics of Hue,” offers viewers a visual experience that has multiple layers of both meaning and process, where opposing views coexist within the accumulation of massive amounts of information.
The State of Our Shared Land This national juried exhibition contains w orks of art that exam ine the state of our shared environm ent. The w ord politics is derived from the Latin w ords polites “citizen” and polis “city.” Politics as a term used in everyday life first appeared in the 15th century and referred to the state and its adm inistration of public life. As a society how are w e linked together through the decisions of our leaders? W hat is your reaction to the shifting tectonic plates of today’s political landscape? Propaganda is part of our political dialogue. Is fake new s the sam e? Do you trust the news you receive? How are you or som eone you know personally im pacted by the policies and actions of governm ent today?
CB Adams Hanging Tree: Commandment, 2018 silver gelatin print from negative shot with Holga toy camera 14” x 14” $225 St. Charles, Missouri hqwerkyphotography.com
Kyle Brandt-Lubart Caged, 2018 cyanotype on cotton paper 24 x 36” $250 St. Louis, Missouri
Kyle Brandt-Lubart The Tannery, 2018 cyanotype on cotton paper 24” x 36” $250 St. Louis, Missouri Kyle Brandt-Lubart The Texture of What We Never Knew We Lost, 2018 cyanotype on found paper scrap 27.5” x 19.75” $150 St. Louis, Missouri
Fidalis Buehler Team Assembly: Scene from the Gathering, 2017 oil on primed paper 33” x 44” $2,000 Mapleton, Utah fidalis-buehler.com
Fidalis Buehler Cloud Thief, 2017 oil on primed paper 33”x 40” $2,000 Mapleton, Utah fidalis-buehler.com
Fidalis Buehler Dog Catcher's Meeting, 2016 oil on primed paper 11” x 14” $500 Mapleton, Utah fidalis-buehler.com
Barbara J. DiMartini Day 500, 2018 transparent watercoloe on paper 26” x 20” $900 St Louis, Missouri
Robert Fields If not now, when? (Call or fold.), 2017 metalgate. paper. fabric. poly-sht.wood.rubber.grass carpet.rocks+plant. 78” x 48” x 24” $3,600 Chicago, Illinois robertfieldsartist.com
Amy Firestone Rosen Earth, 2017 mono print colage on rice paper 26” x 40” NFS St.Louis, Missouri amyfirestonerosen.com
Ted Gillespie Waterboarding, 2017 acrylic on canvas 60” x 48” $300 St Charles, Missouri tedagillespie.art
Yu ling Huang They Shall Not Perish: the Spirit of our Nation, 2017 mix media (oil, acrylic, and collage on canvas) 72” x 68” NFS Chicago, Illinois yuhuangart.com
Robert Hunter A Question WE All must Answer, 2018 archival pigment print 7” x 18“ $300 Colonial Beach, Virginia roberthunterart.com
Christine Ilewski Faces Not Forgotten Quilt #2, 2016 digital print and acrylic on canvas with black ribbons 5’ x 4’ NFS Alton, Illinois ilewski.com
Margaret Keller Surveillance Series: USofA Drone Carpet, 2017-2018 105 micro-drone sculptures of selective-laser-sintered nylon 42” x 77” NFS St. Louis, Missouri margaretkellerstudio.com
Margaret Keller Surveillance Series: Proliferate, 2017 oil paint on fresco in Altoid boxes 12 at 3”x 3.75” x 2.25” each NFS St. Louis, Missouri margaretkellerstudio.com
Neil Kruel Chaos, 2017 acrylic on canvas 57” x 39” $650 Union, Missouri neilkruel.com
J. J. L'Heureux Water 1, 2016 photograph 17” x 22” $650 Venice, California jjLHeureux.com
Heather Layton Ear buds that fact check speeches in real time, 2018 watercolor on canvas 48”x 36” NfS Chestertown, New York heatherlayton.com
Heather Layton Shoulder pads with inflatable helium pouches to lift that heavy feeling, 2018 watercolor on canvas 48”x 36” NFS Chestertown, New York heatherlayton.com
Marlene DiFiori Locke Marshland 15, 2016 acrylic paint, ink, colored pencil and paper on board 24” x 18” x 1.5“ $800 Maryland Heights, Missouri hdifioriart.com
Marlene DiFiori Locke Marshland 14, 2016 acrylic paint, graphite, ink, colored pencil, and paper on canvas 36” x 30” x .75” $1,000 Maryland Heights, Missouri difioriart.com
Marlene DiFiori Locke Marshland 10, 2016 acrylic paint, ink, colored pencil, and paper on canvas 30” x 30” x .75” $900 Maryland Heights, Missouri difioriart.com
Bryan Prather Consumer Crucifixion, 2016 oil on canvas 36”x 24” NFS Waterloo, Illinois
Judith Repke Cogs in the Machine 3, 2016 mixed media on paper 30” x 40” $1000 Bridgeton, Missouri repkeart.com
Bob Rickert Nuclear Waste Adventure Trail, 2018 digital photograph on San Gabriel Baryta Paper 25” x 29” $350 Chesterfield, Missouri bobrickertphotography. com
Judith Repke Spark of God, 2017 mixed media on plywood 32” x 29” $1200 Bridgeton, Missouri repkeart.com
Bob Rickert Faust Park Number 2, 2018 digital photograph on San Gabriel Baryta Paper 25” x 29” $350 Chesterfield, Missouri bobrickertphotography.com
Bob Rickert Faust Park Number 1, 2018 digital photograph on San Gabriel Baryta Paper 25” x 29” $350 Chesterfield, Missouri bobrickertphotography.com
Allana Ross Landscape Remediation Strategy, 2018 silk, natural dyes, bookbinding thread, wood, coreopsis tinctoria and persicaria tinctoria 36” x 36” banner with 8” x 8” x 2” shelf $350 St. Louis, Missouri hallanaross.com
Cody Schlabaugh Street Lamp, Cairo, IL, 2018 archival inkjet print 20”x 16” $400 Chicago, Illinois codyschlabaugh.com
Cody Schlabaugh Signs, Empty Lot, Cairo, IL, 2018 archival inkjet print 16” x 20” $400 Chicago, Illinois codyschlabaugh.com
Cody Schlabaugh Trees, Box Spring, Urbana, IL, 2018 archival inkjet print 16”x 20” $400 Chicago, Illinois codyschlabaugh.com
Ali Seradge God is Fake Drones are Real, 2017 oil, charcoal on fabric 23” x 27” $1500 Chicago, Illinois aliseradge.com
Michael Shadwell BE SAFE!, 2018 ink and bristol board 17” x 14” NFS St. Louis, Missouri
Michael Shadwell Box of Shit and Box of Shit Wrapped in Pretty Paper, 2018 ink and bristol board 17” x 14” NFS St. Louis, Missouri
Michael Shadwell Censorship Vampire, 2018 ink and bristol board 17” x 14” NFS St. Louis, Missouri
Gene Tanta Toussaint Louverture, 2017 acrylic, food dyes, shoe polish, marker, pencil, walnut ink, on paper. 29” x 22” $380 Decatur, Illinois genetanta.com
Vaughn Wascovich After Trump #1, 2018 photograph 40”x 50” $1800 Commerce, Texas
Vaughn Wascovich Luscious/After Trump #2, 2018 photograph 40”x 50” $1800 Commerce, Texas
Gene Tanta Indira Priyadarshini Gandhi, 2017 acrylic, food dyes, shoe polish, marker, pencil, walnut ink, on paper. 22” x 29” $380 Decatur, Illinois genetanta.com
Aaron Wilder Social Boundaries: Nob Hill 69, 2018 photography 21”x14” $250 San Francisco, California aaronwilder.com
Aaron Wilder Social Boundaries: Nob Hill 8, 2018 photography 22”x 15” $275 San Francisco, California aaronwilder.com
Aaron Wilder Social Boundaries: Nob Hill 34, 2018 photography 21” x14” $250 San Francisco, California aaronwilder.com
Mark Witzling Inner Truths, 2017 oil, graphite, cold wax on cradled panel 48”x 48”x 1.5” $2880 Maryland Heights, Missouri markwitzlingart.com
Mark Witzling 50 Truths, 2018 graphite, oil, cold wax on canvas 66”x 78” x 1.5” $4300 Maryland Heights, Missouri markwitzlingart.com