Discerning
Palette
Jerry O. Wilkerson
Retrospective
SAINT LOUIS UNIVERSITY
MUSEUM ofART
page
Florida Gold, Acrylic on wood, 1992, Collection of Gail Wilkerson
Discerning Palette by David J. Suwalsky, S.J., Director 2
Jerry O. Wilkerson’s Work in Intertextual Perspective
by Petruta Lipan, University Curator
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Selected Art 8
Ironies and Icons by Carlo M. Lamagna, New York University12
Jerry by Nancy Newman Rice16
Jerry by Mark Weber18
Supporters of the Arts 20
Discerning Palette Jerry O. Wilkerson Retrospective by David J. Suwalsky, S.J., Director
It is our pleasure to present the first retrospective of the work
of one of St. Louis’ great artists whom we now sadly miss.
Born in Texas in 1943 (d. June 2, 2007), artist Jerry O.
Wilkerson was known for his contemporary pointillist style
of painting. After completing his bachelor’s degree at Lamar
University (Beaumont, Texas) in 1966, Wilkerson obtained a
master’s of fine arts degree from Washington University in St.
Louis. Wilkerson settled in St. Louis following military service
in the U.S. Army, 1968-1970. He lived and worked in St.
Louis until his death in 2007.
the very things that we consume – food particularly – taken,
for good or ill, in proper proportion or in excess, into the
body itself, regardless of consequences or reflection. Lobsters,
hamburgers, fortune cookies and hot dogs painted in intense
dots of color acknowledged as well as questioned our society’s
loving and constant embrace of indulgence. He not only
painted on canvas, he also created sculptures using the same
imagery as his paintings and prints. His quilts gave a new
definition to comfort food as the artist substituted images of
pizza slices and hot dogs in traditional quilting patterns.
Wilkerson’s work reflected the pop art movement of his era
and moved well past it as he cast an ironic eye upon society.
His art questioned the relationship of our consumer society to
Wilkerson’s art is often ambiguous requiring the viewer to
embrace the multiple possibilities of interpretation of his
intention. His technique seems reminiscent of late 19th
century French neo-impression, however his pointillism
was much more influenced by the technology of the print
industry where the size and intensity of dots of color increased
or lessened the intensity of an image. Sophisticated use
of perspective and color render the subjects of his work a
complexity that belies seemingly mundane purpose.
Wilkerson’s art is represented in public collections including
the St. Louis Art Museum, the Baltimore Museum of Art,
the Delaware Art Museum and Tucson Museum of Art. His
work was exhibited by galleries in St. Louis, Kansas City, New
Orleans, Carmel and New York. He was first represented by
and had his first exhibition at Lamagna Gallery in New York.
When Carlo M. Lamagna accepted a position as a director at
OK Harris Gallery of New York, Wilkerson followed. Then
Ivan Karp, who was instrumental in launching the careers of
pop artists including Andy Warhol, Roy Lichtenstein, Robert
Rauschenberg, Claes Oldenburg and Tom Wesselmann,
represented Wilkerson throughout his career.
The Saint Louis University Museum of Art is a dynamic
cultural institution. I invite you to enjoy not only Discerning
Palette Jerry O. Wilkerson Retrospective but the other
newly opened exhibitions in the museum. You will find
more resources at our web site http://sluma.slu.edu and more
about the museums of Saint Louis University at
http://museums.slu.edu.
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Still Life with Lobster, Collage, 1980, Collection of Gail Wilkerson
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Jerry O. Wilkerson’s Work in Intertextual Perspective by Petruta Lipan, University Curator
Intertextuality, a term that was first introduced by French
semiotician Julia Kristeva in the late 1960’s, derives from
the Latin intertex, meaning to intermingle while weaving.
The theoretical concept of intertextuality is often associated
with postmodernism though the device itself is not new. In
contemporary theory, intertextuality refers to the network of
content and code interdependencies that establish meaning.
The interpretation of an art work always takes form of another
work.
Jerry O. Wilkerson employed intertextuality in a complex
and multilayered body of work that incorporated a range of
genres, concepts and influences. His art may be understood in
terms of two axes: a horizontal axis connecting the viewer to
concurrent relationships – and a vertical axis connecting his
art to historical relationships – different artists, genre, periods,
concepts and cultures. By creating an artwork in a certain
genre, style, or medium Wilkerson provided the viewer with a
significant intertextual framework. In his career, he employed
still life, landscape, and pointillist technique and often directly
referenced artworks by Cezanne, Mondrian, Van Gogh,
Duchamp, Stella and Warhol among others.
Representations of food in art are commonly associated with
the still life genre which is known as the study of inanimate
objects (nature morte). They typically represent everyday
objects and include fruits, vegetables, dishes of food and soup
cans. On the vertical axis still life painting can be traced back
to the ancient Egyptians but it was established as a genre
by the Dutch painters of the 17th century. In still life after
Cezanne, Wilkerson directly acknowledges the influence of
Cezanne as the catalyst for change from the art of the past
to the art of the future. In the 19th century, Cezanne took
still life in a new direction which led to further developments
during the 20th century, exemplified by cubisism, pop art, and
photorealism. The genre is also a vehicle for explorations of
artistic, social and cultural meaning.
Wilkerson worked within the parameters of the still life genre
and addressed, in a unique way, numerous artistic, social
and cultural aspects of American consumerism that started
its expansion in the postwar era. An increased pace of life
created an acute need for time saving products which was
eagerly fulfilled by what shortly became food conglomerates.
The emphasis was on the processed, or what Levy Strauss
calls the “cooked,” the equivalent of culture, as opposed to
the “raw,” the equivalent of nature. These oppositions formed
the basic structure for all ideas and concepts in a culture. The
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unimaginable selections that filled the superstores’ endless
rows of shelves created the perception of prosperity. This same
“fullness” was soon expected from initially resistant cultural
institutions who eventually and enthusiastically embraced pop
art and its celebration of consumer culture.
Art, food and culture intersected at the consumption level in
Wilkerson’s work. Food and art became interchangeable as
both require taste and the fulfillment of basic needs. Still lifes,
which mostly depict food, are statements about class as well as
food consumption. Food is first a sign system, which employs
cultural schemata to keep up with the speed at which meaning
is delivered.
Wilkerson is often associated with pointillism. His pointillism
in artworks made with felt-tip pen on paper is closer to the
mechanically reproduced and mass production (see Walter
Benjamin, “The Work of Art in the Age of Mechanical
Reproduction,” 1936) than to Seurat. When Wilkerson
used felt-tip pens the colors were the same as in commercial
printing: magenta, yellow and blue. He did not attempt to
mix the colors on paper, obvious in the uneven white space left
between the dots and the choice of preferred commercial pens.
The pens do not allow mixing regardless.
Wilkerson is closer to Duchamp than to Seurat, Lichtenstein
or pop. He appropriated pop art’s iconic imagery, his images
did not hide the hand-made or the massed produced artist’s
supplies he used. He dissected the process, deconstructed
famous artworks and posed difficult questions thus bringing
to the fore issues of high and lowbrow. He referenced Warhol’s
Campbell Soup can which was already associated with high
art, and chose to paint a can of pork and beans, a lowbrow
food, instead. In Mona Lisa Ashtray he connects Da Vinci,
Duchamp, and Walter Benjamin by reproducing the Mona
Lisa as an ashtray raising more questions about the divide
between highbrow and lowbrow. He added to the injury
by depicting a cigarette resting on the reproduced image,
showing that the image was not only not revered, but not even
appreciated.
Any artwork is a new weave of concurrent and past citations.
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Tom’s Bar and Grill, Serigraph, 1984, Collection of Gail Wilkerson
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Pizza, Serigraph on muslin, 1988, Collection of Gail Wilkerson
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Still Life with Paints and Brushes, Serigraph, 1976, Collection of Gail Wilkerson
Ice Cream Cones, Acrylic on board, 1986, Collection of Gail Wilkerson
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Lay’s Potato Chips, Acrylic on canvas, 1985, Private Collection, St. Louis, Mo.
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Ironies and Icons by Carlo M. Lamagna New York University
In a career that spanned nearly 40 years, Jerry O. Wilkerson’s
unique, instantly recognizable visual style focused on a
select range of ironies and icons of American taste. His
work is complex and nuanced, a conscious commentary on
the creative process and on American consumer culture’s
fascination with brand names and nostalgia.
Wilkerson came of artistic age in the 1960s, a period of
ferment in social, cultural and artistic innovation. He was
influenced by his study of art of the past and drew inspiration
from groundbreaking contemporary sensibilities. He has
strong roots in pop art, which was a reaction to the hegemony
of abstract art and the beginning of artists’ engagement with
popular culture, including advertising, media, food and
fashion. Like Andy Warhol, Roy Lichtenstein and other pop
progenitors, Wilkerson possessed a strong sense of irony and
a willingness to place ordinary things in new frameworks. His
work plays with the meanings of everyday objects, sometimes
in context, sometimes not, through carefully controlled
settings and bold shifts in scale and composition. His “Candy
Series # 2: Bazookas,” from 1976, displays a densely populated
abstract space with jostling brand-name candies magnified to
oversize proportion. Wilkerson’s commitment to exploring
consumerist preferences was both ironic and celebratory.
As Lichtenstein was developing his benday dot technique,
drawing from commercial printing processes, Wilkerson
looked to earlier avant-garde innovators, the neoImpressionists of the late 19th Century. Artists like Georges
Seurat used separate strokes of bright color, slightly
overlapping or placed in close proximity, that made the
viewer’s eye do the work of pulling the image together.
Wilkerson used felt-tip pens and oil and acrylic paints to
create an effect similar to Seurat’s pointillism, applying
separate dots of color to paper, board and canvas to delight
contemporary viewers with recognizable images from popular
culture filled with light and palpable atmosphere. “Mickey
and Minnie and Cherry Pie,” a work on paper from 1977, is
a databank of imagery rendered in soft focus, that includes
animated icons, brand name sweets, including a Fig Newton,
and prototypical diner desserts, that Wilkerson mines in the
years to come.
Wilkerson was also influenced by a controversial movement of
the 1970s, new realism. It was a movement that unabashedly
employed the photograph as a basis on which to build a highcontrast, detached vision of American material culture. The
camera’s selective focus and distortions were used to compose
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vivid depictions of everyday scenes and still lifes. Dramatic
shadows, reflections and hard surfaces lent a surreal air to these
paintings, which displayed a high level of visible craftsmanship
that had been missing from mainstream art making for many
years. Wilkerson developed some of these techniques and
vocabulary - dramatic, sometimes fierce, cropping of images,
distortions of scale, high contrast, and flattened pictorial space
to create his own vision of national cultural imagery.
Wilkerson’s earlier paintings from the 1970s are images taken
from kitsch calendar and paint-by-number pictures. Giant
puppies, shown playing in “The Three Graces” (1973-1977),
kittens with a ball of yarn (“The Game” from 1974), and
“Landscape with Lighthouse,” from 1973, are on canvases
5 feet by 6 feet or larger. He would also turn around and
render these same aggressively saccharine, yet slightly
menacing images so tenderly, in small scale works on paper,
with a beautiful technical refinement that he continued to
deepen as his body of work progressed.
Throughout his career, Wilkerson returns to the process of
artistic creation as one of the subjects for his work. In still
life with “Paints and Brush” from 1976, the artist is ready for
action, with jars of paints and brush supplemented by a cup
of coffee and open pack of cigarettes. In “Hammer,” 1978,
the artist’s persuasively drawn eyeglasses have been temporarily
placed on the drawing paper from which a rendering, in
pencil, of a hammer is emerging, Galatea-like, with a trompe
l’oeil pencil resting on top of it. Wilkerson uses trompe l’oeil,
literally from the French “fool the eye” in many of his works,
to emphasize a point, to strengthen a composition or simply
delight the eye. He follows in the tradition of 19th century
American painters like William Hartnett and John F. Peto,
who portrayed everyday still lifes so convincingly that crowds
who went to view their paintings could scarcely believe they
were not three dimensional. “Tea Cups,” from 1984, shows
a full-color teacup with, a smaller, slightly different variant in
black and white, just below it. Two seemingly real drawing
pencils complete the composition.
Another watercolor and felt-tip pen on paper work
demonstrates Wilkerson’s wry humor. Entitled “West
Broadway Boogie-Woogie (SE),” it references the Soho
location of the gallery scene in 1980 and the artist Piet
Mondrian, whose signature compositional elements
celebrating jazz-age New York, and riffs on the title of a
famous Mondrian painting. The lines and squares of color are
intersected by Wilkerson’s drawing pencils – his own tools of
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the trade. Some references to art history are more direct, like
the impressive “Still Life after Cezanne” (1975), an homage to
the postimpressionist master of the still life, others more sly,
like “Oriental Dinner with Figure,” 1980, which might well
reference the Impressionist fascination with the cultures of the
Far East.
Wilkerson comes into his own with a splendid series of
paintings of food made during the 1980s. Working with his
own setups, which he then photographs, he references food
styling preferences of earlier era that stereotypically represents
American popular food tastes. “Hamburger,” an acrylic on
canvas painted at the start of the decade, is the apotheosis
of America’s favorite menu item. Lovingly rendered in softfocus detail, the image also presents a surreal, ambiguous
identity brought about by the close focus and large scale of the
painting. “Lobster” from 1982 presents a majestic 4-foot-by
5-foot spectacle of the cooked specimen surrounded by its
traditional garnish and accompaniments. Wilkerson provides
clues as to the humble restaurant where this dish might be
served through the pattern and shape of the platter on which
it’s presented, but otherwise its weird majesty is enhanced by
radical cropping and conspicuously limited pictorial space.
Wilkerson’s food paintings also recall the opulence of
17th century Dutch still lifes teeming with abundance
and underlying approval of conspicuous consumption.
They celebrated the consumer culture of the everyday and
the availability of this plenitude to a rising middle class
population. Wilkerson’s food subjects are a leitmotif that runs
throughout his career in various themes and variations. Some,
like “Cheeseburger with Condiments,” a serigraph from 1984,
reveal context and more depth of space, others, like “Cherries
#2,” a painting from 1986, are virtually objects in abstract
space, anchored by shading and shadows to the pictorial
world. This work and others, like “Pears”” from 1988, recall
Chinese still life compositions of the 13th century, such as
“Six Persimmons,” prized for their classic clarity, focus and
economy of style.
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A series of paintings from early 1990s displays Wilkerson’s
interest in brand names and the time periods they recall.
Conceived as views of products and food within the
framework of an open refrigerator, these compositions
represent fruits and foods and brand-name containers that
fix the objects in time. Here Wilkerson acknowledges the
nostalgia inherent in commercial packaging and makes
multi-layered references to classic still life components and
those used in his own vocabulary of forms. “I can’t Believe
it’s Not Butter” and “Florida Gold,” both from 1992, and
“Refrigerator Easter Morning,” 1991, are sophisticated
compositions that preserve mementoes of marketing ingenuity
literally and ironically within the tomblike space of the
refrigerator shelves.
In the late 1990s, Wilkerson explored light effects from a new
perspective. “A Self Portrait” from 1993 depicts the artist face,
cropped and presented very close to the front of the picture
plane, lit by two ghostly candles. It recalls both the fascination
with specific sources of light casting dramatic shadows loved
by Caravaggio and his followers in the 16th century with the
eerie effects of gothic films and stories. In “Lightbulb and
Candle” from 1995, he portrays two very different forms of
light, the candle and the lightbulb, side by side on a polished
surface, commenting on the individual sources of the light,
while delighting in the interplay of reflection and refraction
that gives this intimate picture a formidable visual impact.
Wilkerson’s artistic development is marked by many works
that display virtuoso formal compositions of great skill,
ingenuity and beauty. They range from “Riviera,” 1986,
a sumptuous arrangement of vividly colored pears in a
bowl, “Still Life with Eggplant,” 1989, an arrangement
of the Roseville art pottery he collected and an eggplant,
idiosyncratically hued and lit, to “Three Pears,” 1990, a
ravishing presentation of three standing pears rendered with
great delicacy in a close range of tonalities. “Lollipops” from
2001 is a literal and visual confection of shapes, patterns and
colors, while “Bananas,” 2006, is a strange, haunting, vaguely
zoomorphic representation of two bananas.
This retrospective amply demonstrates Wilkerson’s virtuosity
and range. It includes the bold incursions he made into 3-D
works, like the architectural constructions of Fig Newtons,
pyramid and stacks, from 1984. These can be contrasted with
later 2-D manifestations from 1995 and 1997, where the
Fig Newtons take on animated characteristics beyond their
obvious role as cookies. Wilkerson also experimented with
repetitions of his imagery (a pop art hallmark), in a series of
quilts done in the late 1980’s to the early 1990s. The printed
fabrics to which hand quilting techniques were applied
substitute hot dogs, Camel cigarette packs, pears and pizza
slices in place of traditional abstract or decorative imagery.
Through an uncanny sense of irony, perceptive overview of
art and innovative currents of thought, Wilkerson successfully
pulled many seemingly disparate influences and interests
together to form a remarkable body of work. Distinguished by
high levels of technical expertise and formal accomplishment,
he left an enduring record of American popular culture viewed
through different lenses, placed in a variety of contexts, and
always treated with good humor and respect.
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Mickey & Ashtray, Serigraph, 1975 Collection of Gail Wilkerson
Jerry by Nancy Newman Rice
Jerry would have been amused to know that many of us
considered him to be a mentor and role model. He was a
quiet-but-not-silent presence who seemed to know everyone
remotely connected to the art scene in St. Louis and elsewhere.
He exhibited his work nationally and won the imprimatur
of Ivan Karp, director of O.K. Harris Gallery in New York,
where he had numerous exhibits.
In spite of all his accomplishments and recognition, Jerry was
unpretentious and devoid of the arrogance that often times
accompanies success, especially success in the “provinces.”
Jerry came to St. Louis from Texas in 1966 to attend the
master’s of fine art program at Washington University and
never left, and whenever anyone complained about St. Louis
not being New York, Jerry would drawl, “I like St. Louis.” He
proved that one could live in provinces and still be a player. He
was also full of genuinely helpful advice. He looked at some
of my very small panel paintings and provided a succinct and
practical suggestion: “Bigger frames.”
Jerry’s proactive attitude was demonstrated through his efforts
at organizing exhibits. In the early 1970s St. Louis was lacking
in galleries other than nonprofit spaces associated with schools
and universities. Jerry and several friends started the Emden
Gallery, a cooperative space in an empty apartment in their
building in the Central West End. The exhibits there were
diverse and interesting. He and his associates gave artists, such
as myself, exposure that would have ordinarily been difficult to
achieve at that time and it was done without any expectation
of financial gain. The establishment of the Emden Gallery
gave impetus to other gallery ventures such as the Terry Moore
Gallery, Okun/ Thomas Gallery, Lynn Plotkin Gallery and
the Carol Shapiro Gallery. Emden eventually closed as all the
artists were absorbed by other galleries, but to many of us it
was the beginning of a slow and steady artistic renaissance.
Jerry worked unceasingly, painting the objects and
accoutrements of everyday life. His work seems akin to 16th
century Dutch still lifes and genre paintings as they reflect a
similar fascination with the ordinary. His work also revealed
his remarkable sense of humor. With an impeccable pointillist
technique, Jerry painted hamburgers, hamburgers threatened
by crows, candy, cookies, fruit, lobsters, pies, his ever present
cup of coffee, the inside of a refrigerator and fig bars. The fig
bars would eventually morph into ziggurat-like sculptures and
fantastic quilts all of which were meticulously crafted.
Jerry was a prolific artist. After his death, his wife and best
friend, Gail, found rolls of completed canvases, suites of
prints and drawings stored in various places throughout their
house in South St. Louis. The one painting that she was most
unprepared to find was a self-portrait Jerry had painted before
he became ill. He told the only other person who knew of
its existence that he painted it for Gail, and she would find it
when she needed it most.
Nancy Newman Rice is the Director of Art and Design
Programs at Maryville University in St. Louis. More
information about her and her work may be found at:
http://www.nancynewmanrice.com/.
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Jerry by Mark Weber, a friend
To be a part of something creative is a gift many of us dream
about and some of us just get to watch. As a participant,
Jerry was a part of a community of artists that defined artistic
excellence in life and in life’s work. “We are makers,” Jerry
used to say. “We make things that come from our lives, no
need to look further than that.” If you were lucky enough
to know Jerry, as this then young painter did, you realized
that those were not just words from Jerry but the manner in
which he lived his life. It was also the catalyst to developing a
signature style of art that was uniquely Jerry.
Using common elements from life, Jerry would define ways of
painting, drawing, sculpting and quilting to move images into
the extraordinary. Coffee cups, paint-by-number sets, food in
all varieties were the images he enjoyed the most. “We all eat.
What is more about life than that?” And so the images would
immediately relate to all of us in our own unique ways.
Living a life of art meant to Jerry that there is a private studio
side to us as well as the public responsibility artists have to
support each other. During the early 1970s there was very
little opportunity for artist to exhibit their art work. As a
co-founder of the Emden Gallery, along with Ken Worley
and Kim Stromman, he spearheaded one of the finest
contemporary galleries in St. Louis. The Emden Gallery,
located in the first floor apartment of the Emden Building in
the Central West End was always a very active environment
for the arts. The support this gave to many artists in St. Louis
was the first opportunity for the St. Louis community to view
these artists’ work early in their careers. My first opportunity
to exhibit my work was at a group exhibition of realists work
at the Emden Gallery. Many of us owe the vision of Jerry
Wilkerson and Ken Worley for this opportunity to participate
in Emden Gallery’s active exhibition calendar.
Living in the Central West End, Jerry always felt a part of
a neighborhood of artists, writers and actors that called this
area of St. Louis their home. On opening day of Tom’s Bar
and Grill, Jerry introduced himself to one of the owners,
Tom Dimitriades. Tom told Jerry of his wishes to bring real
art work from St. Louis artists to hang in his restaurant. Jerry
immediately brought Tom back to the Emden and introduced
him to all of us living there at that time. Jerry was just like
that. “If any of us is going to benefit from a new opportunity
then all of us should benefit.” Little did any of us realize,
except maybe Jerry, that Tom would be one of our strongest
supports. Jerry truly defined the Central West End as the “The
Artist Community” in St. Louis.
Without question one of the most joyous times of Jerry’s life
is when Gail came into his life. Together they shared Jerry’s
love of art, travel and, of course, food. Food at the table and
on the canvas. Gail mentioned to us that when she cooked she
not only worried about how it was going to taste but how it
looked. “This looks wonderful” Jerry would say, “Let me get
my camera.” A few months later Gail’s creativity in the kitchen
would be in paintings, prints and drawings. Gail was a believer
in participating in the creative community. Always at Jerry’s
side at artist’s receptions in St. Louis, New York or Kansas
City, Gail was always there to support everyone in the creative
community.
Filling their home and their lives with art, Gail was Jerry’s rock
and always encouraged Jerry to “take that chance.” Something
that is so necessary to any creative individual apprehensive
about trying new things, new ideas or wondering if this way
will be the right direction. Together they were one of the
couples who helped define the artistic community in St. Louis.
Thank you Gail for all of the support and love you gave Jerry
in his life and his work.
Mark Weber is an art instructor at St. Louis Community
College and exhibits his work locally and regionally. To learn
more about his work visit http://users.stlcc.edu/mweber/.
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Supporter of the Arts Saint Louis University Museum of Art
Saint Louis University
Museums and Galleries staff
The Saint Louis University Museum of Art
expresses its gratitude for the support
of the following lenders to Discerning Palette
Jerry O. Wilkerson Retrospective
Tom Dimitriades
Ray Hunter
Carol Shapiro
Mark and Shar Weber
Gail Wilkerson
Ken Worley
Interns
Claire Frandsen
Mario Powell, S.J.
Mary Marshall
Neil Metzger
Jimmy Miller
J.R. Mooningham
Dennis L. Thompson
Andy Tiehen
Petruta Lipan
University Curator
David Suwalsky, S.J.
Director
Bruce Zuckerman
Private Collection, St. Louis, Mo.
The exhibition of Discerning Palette Jerry O.
Wilkerson Retrospective was made possible by:
The Lawrence Biondi, S.J. Endowment for the Visual Arts,
a fund established by Mrs. Lee Boileau and the late Oliver C.
Boileau Jr., and patrons of the arts at Saint Louis University
who wish to remain anonymous.
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Fortune Cookies, Mixed Media, 1992, Collection of Gail Wilkerson
We gratefully acknowledge the support of SAUCE magazine,
sponsor of the opening reception.
Current
Exhibitions
Collection of the Western Jesuit Missions
“Master Drawings from the Permanent Collection”
Continuing through August 17
Another Me: Photographs by Achinto Bhandra
Community Galleries
Continuing through June 1
with the support of the
Terre des Hommes Foundation
and The South Asia Children’s Fund.
Upcoming
Show
KFC, Acrylic on Wood, 1992, Collection of Gail Wilkerson
Sicilia: Immaginario Barocco E Feste Religiose
A photographic exhibition by Guiseppe Leone
Community Galleries
June 5 - July 20
with the support of the
Italian Cultural Institute and
the Italian Foreign Ministry
3663 Lindell Blvd., O’Donnell Hall, St. Louis, MO 63103 • 314.977.2666 • sluma.slu.edu
Wednesday - Sunday, 11 a.m. - 4 p.m.