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By Linda Briggs-Harty
Walking the grounds of Oak Knoll Park in Clayton, you couldn’t imagine a better site for an art gallery: tall trees loom over lush lawns and gardens, sheltering a few stone mansions straight out of an Old World fantasy.
Inside one of the mansions, art is indeed the emphasis. Home to the non-profit
St. Louis Artists’ Guild, the regal house serves as a resource and advocacy center for every type of artist, with three floors of gallery space, art studios, classrooms, offices, a library and more. Over 900 artists, art enthusiasts and community sponsors retain active membership in the Guild, which harks back to St. Louis’s cultural boom in the late 1800s. Previously located on Union Boulevard, then later in Webster Groves, the Guild moved to its current home in 1995.
“In the early days, members were into painting and drawing. We now offer photography and illustration sections, as well, since the art world has evolved with the many technical advances,” says Executive Director Vicki Woods.
A juried show in the lower gallery called “Exploration/Exploitation” perfectly depicts the Guild’s focus on artistic diversity. Aimed at capturing the light and dark sides of discovery, and inspired by the Lewis and Clark expedition, the show drew artists from 11 states along the discovery trail, and included every type of medium from abstract paintings to homespun quilts. With bold splashes of color, subdued tones accentuated by natural objects and more industrialized pieces marked by metal, art works echoed American Indian sympathies, nostalgic patriotism, environmental outrage and militaristic conquest.
 Artist Jason Dowd paints Cardinal Justin Rigali’s portrait at the St. Louis Artists’ Guild. |
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Other shows reflect similar diversity. In August, the Guild will showcase items of unusual interest in “The Wondrous, The Whimsical and the Weird: Objects From Private Collections”; also in August, the African Heritage Festival Exhibit will feature the work of six artists focusing on Senegal.
“Many people don’t realize there are great artists working in this region,” Woods says. “Beautiful, affordable art is available year-round in this facility.”
Another amazing and oft-unknown truth about the Guild is that visitors can view shows for free, every Tuesday through Sunday, from noon until 4 p.m. No elitist group, the Guild stresses community outreach. A number of workshops, classes and camps taught by Guild members help disadvantaged youth and emerging artists connect with creative wellsprings. Other offerings, such as regular sketch and painting groups, keep experienced artists abreast of trends and excited about their sometimes-lonely craft.
“Every one learns from each other,” Woods says. “The Guild is open to all spectrums of the community. We’re a regional art forum, dedicated to serving all local artists.”
While Guild artists need not be masters for membership entry, often they are highly renowned in their field. Ron Lizorty, a local illustrator who specializes in model animation, has created set designs for Hollywood science fiction films. Among other works, he used sculpting and modeling skills to wow viewers of the 1981 cult film “Galaxy of Terror,” produced by Roger Corman and starring Edward Albert, Erin Moran and others. Lizorty sculpted a miniature model of a temple from clay, spray painted it and applied other treatments. On screen, it appeared as a dazzling, otherworldly structure.
“I don’t get many lauds as an artist, but it did feel great during the film’s premiere to hear the audience oohing and aahing at the temple scene,” Lizorty remembers.
A part-time art instructor at St. Louis Community College at Florissant Valley, Lizorty teaches model animation at the Guild when the chance arises. His most recent and widely appreciated artistic efforts can be seen at the St. Louis Zoo’s penguin and puffin exhibit. Lizorty crafted 10 life-size penguins and puffins interspersed around the tanks.
Along with vast amounts of volunteerism, private and corporate sponsorships help support the Guild’s operations. The St. Louis Regional Arts Commission provides grants, as do the Missouri Arts Council and the St. Louis Arts and Education Council. Combined with donations, membership dues and fund-raising efforts, the Guild operates on about $370,000 in annual revenue.
Vicki Woods, executive director,
St Louis Artists’ Guild. |
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“That’s not a huge amount to work with, given our expansive mission,” Woods says. “Public monies have decreased quite a bit over the last few years.”
Marilynne Bradley, an area water colorist from Webster Groves and a vice president on the Guild’s board of governors, says more corporate and business sponsorship and overall community involvement is the Guild’s goal. Future outreach plans include offering art classes in locations other than Oak Knoll Park, such as at daycare and senior centers, along with displaying artwork throughout the community. Bradley says the Guild’s board would love to have more industry and business representation.
“Art gives everyone enjoyment,” she says. “Even if they don’t become artists, our program supporters know more fully how to appreciate and buy fine art.”
Lisa Dematti, a part-time receptionist at the Guild, holds a bachelor’s in printmaking from Webster University, but she works full-time as a merchandising supervisor at Border’s Books in Brentwood. She works off-hours at the Guild so she can keep her love of art alive and stay active in the art community.
“I meet interesting people here, and the non-profit cause is so worthy,” she says. “I’ve opened my mind quite a bit since making more room for art each week.”
Jason Dowd, an oil painter, eagerly promotes art and the Guild’s artistic outlets. “Art lifts us up out of everyday life and takes us somewhere that’s inspiring, informative and even magical,” he says.
In his work, Dowd deftly applies impressionistic and classical techniques he’s learned over the years. Recently, the Catholic Archdiocese of St. Louis commissioned Dowd to paint two portraits of Cardinal Justin Rigali—one to hang in the archbishop’s residence on Lindell Boulevard, and the other for the Cardinal Rigali Center in Shrewsbury.
In between other works, he’s finishing up the second Rigali painting and completing a series of paintings of the Fox Theatre, which will be shown on site next year.
He admits he’s still awed by the Guild’s inspiring setting:
“There are art organizations around the country that would love to have an 18,000-square-foot mansion and a lovely park as their home. We have a great situation here.” |
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