Unconventional art (a broad descriptor for that which is not necessarily pretty and immediately recognizable) triggers a response, which is its purpose -- that the act of seeing an unfamiliar object for the first time is an awakening. There's an unsettling element to this sort of art, as it forcibly resets how the viewer perceives the world. Moving Parts: Time and Motion in Contemporary Art, the new exhibition at the Mildred Lane Kemper Art Museum, is a collection of work that challenges the static nature of more traditional art. The show is split into three thematic groupings: "Actual and Optical Movement," "Process and Performance" and "Arrested Time and Sequence." Among the works on display are Ed Ruscha's Every Building on the Sunset Strip, a 25-foot-long accordion-fold book that documents two continuous views of its titular street; Gene Davis' Equinox, a painting that appears to vibrate thanks to Davis' ingenious use of color; and William Anastasi's Subway Drawings, made by the artist and the train together with Anastasi loosely holding the pencil while the train clattered along. Moving Parts opens with a free reception from 7 to 9 p.m. Friday, May 9, at the Mildred Lane Kemper Art Museum on the Washington University campus (1 Brookings Drive; 314-935-4523 or www.kemperartmuseum.wustl.edu). The exhibit remains up through Sunday, August 24, and the gallery is open every day except Tuesday. Admission is free.
IMAGE CREDIT: Julio Le Parc, Ohne Titel (Untitled), from Edition MAT, 1965. Metal mirrors and 4 printed paper cards in painted wood box, 53/100, 14 3/4 x 23 5/8 x 14 7/16". Mildred Lane Kemper Art Museum, Washington University in St. Louis. University purchase with funds from Aurelia Gerhard Schlapp, by exchange, 2013. © 2014 Julio Le Parc / Artists Rights Society (ARS), New York / ADAGP, Paris.
Mondays, Wednesdays-Sundays, 11 a.m.-5 p.m. Starts: May 10. Continues through Aug. 24, 2014