Signs, Signs

Doing some sloppy research on signage for future outdoor installations, and found this gem-  Carmichael Collective‘s plant label street art profile on Jeremyriad’s blog.  Love it!


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Upcoming Events- rapidly approaching


Here’s a sneak peek at a new piece to be shown in August. The sun drawing from my Dickson Window Art Project Space show from 2012 will finally be revealed in its full glory.  Mark your calendars!

  1.  I’ll be making birdseed doilies at the Arbor Day Event in Millennium Park in Creve Coeur, MO on Sunday, April 27th, from 1-3 pm.  I hope you can bring out the family to explore and enjoy some sunshine and art at this beautiful park!
  2. I’m also heading up the hanging committee for the Arbor Day Art Contest as part of the event.  We will be hanging the many, many entries in the relocated homestead the Tappmeyer House.  Awards will be selected by the Arts Commission.
  3. August 25- September 25, 2014 will be my solo show, Jessica Witte:(At)Tending at the Contemporary Gallery at St Louis Community College- Florissant Valley Branch.
  4. Thursday, September 4, 2014 will be the reception 6 -8 pm and my gallery talk will be at 7 pm for Jessica Witte:(At)Tending.
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Art Crush: Heidi Bucher and Shigeru Ban

Heidi Bucher‘s work is a precursor to several contemporary artists I admire (especially Do Ho Suh and Rachel Whiteread).  Her soft castings of architecture are especially riveting.  Now on my radar, I’ll have to take a closer look at her work.

Shigeru Ban won the Pritzker Architecture Prize.  Using his talents for emergency relief, makes the work even more powerful.

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Raising the Mounds…

Just came across this recent news story about a group working to raise the status of Cahokia Mounds’ site.   As a visitor and previous museum professional- I hope their efforts are successful.  Unfortunately, the final public meeting on it has already passed.  I often think about the spoils of culture—especially after our trip to Rome and then Paris (seeing the Vatican Museum’s collection as a demonstration of power and then seeing those same objects displayed in France (sans paint))… and how the oppressor defines the struggle and where value is placed.   It was just spring solstice this weekend- we went a few years ago to a program at Cahokia’s Woodhenge and saw the sun rise at the base of Monk’s mound.  Well worth the trip, I hope the land acquisition project gains more significant aspects of the site for protection, study, and appreciation.

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Still Adjusting…

Identity Artifacts  

I went with a friend to see Zlatko Cosic’s Still Adjusting show at UMSL’s Gallery 210. The write up I saw on critical mass’s email intrigued me, and my gut lead me to gold. We spent a long time with the work individually- and then talked about it.

Temporary Graffiti-Banja Luka-St. Louis 01-sTemporary Graffiti-Banja Luka-St. Louis 02-s

I really fell for the Temporary Graffiti piece.  I saw it as an act of defiance- but futile against the march of time and institutions and power (architecture).  I went to see if a bulb burned out on one of the projectors it only showed Banja Luka, Yugoslavia (present day Bosnia and Herzegovina) and not scenes from St. Louis as in the title– and ran into Zlatko coming to shoot documentation shots of the show. The conversation afterwards was lucid and reaffirmed my faith in visual art as an agent of change and catalyst for meaningful conversations. His focus for artwork “establishing a dialogue” was obvious and inspirational. Only the Chimney Stays

Meeting artists with strong work and firm grounding was incredibly encouraging. I could tell he was a very knowledgeable, generous and charismatic teacher (and got some great advice on documentation for my upcoming August show at Florissant Valley’s contemporary gallery.)

I was also deeply moved by a later conversation about parenting as art and focus… at times I feel the two are mutually exclusive, but am working to bridge the gap that is my own mental block. Overall, a WONDERFUL DAY… I want to hold on to my awakened, refreshed state of mind. Thanks Zlatko and E. I respect and admire you both and your work.

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Sculptures Arrive at the House

Thursday and Friday mornings I enjoyed the beautiful spring (finally!)at Millennium Park croptransformation  granting access for Maryville University first-year three-dimensional design students to drop off sculptures for the “Reflections on a Quiet Epic” Show on Sunday.  Here’s a few sneak peeks…hope to see you Sunday 1 – 4 pm at Millennium Park’s Tappmeyer House.  I hope to overhear the docent-led tour of the house this time around.


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Stan Span


Got to walk on the new Stan Musial Veterans Memorial Bridge over the Mississippi river north of downtown Saturday.  It was about 30 degrees or so.  Luckily, they had city buses on the bridge you could warm up in!   Perhaps it was being so cold with kids in tow, but it looked a bit more beautiful while driving over it on Sunday.  Glad we went- it will be iconic for STL and reminds me of the Santiago Calatrava’s Milwaukee Art Museum, my favorite architecture.  I think his words about the Milwaukee Art Museum, “I hope that… we have designed not a building, but a piece of the city” hold true.  When we lived in Northern Illinois, the museum was a highlight  of our weekend getaways- both for the shows they hosted (Quilts of Gee’s Bend, John Currin, Andrea Zittel…) and the building itself.

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Back in the Future

The Teachers for Tappmeyer’s (T4T) next project is coming up in March:

“Art Embraces World and Local History in 1880s Homestead”

The Tappmeyer House will be the setting for a unique interpretation of local and world history. Part of the Teachers forTappmeyer (T4T) initiative; The Creve Coeur Arts Commission,Tappmeyer Foundation, and Maryville University’s Art & Design Programs will be working together to enliven the TappmeyerHouse in Millenium Park at 2 Barnes W Dr, Creve Coeur, MO 63141. The exhibition will be open to the public on Sunday, March 23, 2014 from 1 to 4 pm.  A representative from Maryville University will be on site to discuss portfolios with interested students during the opening.  A docent will be available during the opening to educate the public about the venue. John Baltrushunas, Maryville University’s design professor and gallery director, explains the exhibition’s “theme will be the intersection of the Tappmeyer family, the history of the area and world history. Our freshmen students will be researching the visual imagery of those eras. They will create sculptures that discuss the intersection of the local and the global.  Each piece will relate to the Tappmeyer House, the family that lived there and the development of Creve Coeur. This is a wonderful opportunity to work on an ensemble installation in a historic site.” Jessica Witte, Creve Coeur Arts Commission Member, stated the venue’s “character will be a challenge and an asset to the artists involved.  I also hope other art students (of any age) learn more about the process of applying to a university art and design program with an artwork portfolio and learn about the scholarships offered.”  The show will remain available  through Saturday, March 29 for group tours by appointment at 314-872-2570.

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Back again (w disclaimer)

Returning to posting after a hiatus due to health and family.  I’ll now be including more advocacy for cycling, special needs, and giving the inside scoop about the Creve Coeur Arts Commission, which I help found once I moved to the St. Louis region.  Please note: “the opinions expressed here are [mine, my] blog is not affiliated with the city,…is not an official form of city communication/not sanctioned by city.” (and done.)

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Artist Life(time)

Last month, I attended the opening for Without Boundaries: Transformations in American Craft , curated by Lynn Friedman Hamilton at Craft Alliance Delmar.  The show continues until October 21. The premise of the show- selecting artists who were featured in an American Craft Museum (now the Museum of Arts and Design) exhibition 25 years ago whose working methods have changed- is brilliant.  The accompanying catalog is worth grabbing as well.  My only wish is that the actual works from the 1986 exhibition could be physically instead of photographically displayed in a larger gallery setting.  The works seemed to sing in the catalog, but not as much in the space (but it was also an opening with a good crowd).

When preparing for my artist talk, it was educational to see revisit old works and follow the thread of an idea.  My work cycles back to themes of time and flux, regardless of media.  It will be interesting to see what the next years bring.

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