Adam Turl with his installation “Red Mars” at the Mildred Lane Kemper Art Museum. (Photo: James Byard/Washington University)
A shopping cart sports military hardware.
An armed man smirks in short sleeves and space helmet.
The “Venus of Willendorf” towers above the hammer and sickle.
The paintings of Adam Turl climb the walls like a rocket hitting exit velocity – an image slyly reinforced by the telescope at their base. Yet the paintings of Adam Turl are not the paintings of Adam Turl. Rather, they are the paintings of Alex Pullman, a Mars-gazing visionary from the year 2042, who has traveled back in time to supplant the earlier artist.
Such is the premise of “Red Mars,” a series of multimedia paintings (and accompanying chapbook) now on view as part of the Mildred Lane Kemper Art Museum’s annual MFA Thesis Exhibition.
“Creating a fictional character allows you to be honest,” said (the real) Adam Turl, a 2016 graduate of the Sam Fox School of Design & Visual Arts. It sidesteps romantic notions about the supposed purity of artistic expression, while also “reasserting the idea that individuals are important, valuable and not interchangeable. The fictional artist disrupts our residual cynicism.”
“Red Mars,” 2016. Mixed-media installation with acrylic, coffee, meteorite dust, glitter, stickers, and wheat paste on canvas, telescope, LED sign and booklets, approx. 288 x 108″ overall. (Photo: James Byard/Washington University)
In many ways, “Red Mars” represents an exercise in classic world-building. The story centers on Pullman, an increasingly desperate Illinois native who, from his back porch outside Carbondale, observes the future of Mars colonization and its subsequent descent into chaos. Yet the narrative — which Turl first conceived as a sort of epic poem — is fragmentary and elliptical, a dreamlike negotiation between “collective mythology and subjective spiritual experience.”
“There’s a shamanistic element to all art,” Turl said. “We’re told that the world is what it is, that it can’t be anything else. But there are alternatives. They might not work, terrible things might happen… But alternatives can be imagined.
“This world isn’t the way things have to be.”
The MFA Thesis Exhibition remains on view through July 24. The Kemper Art Museum is located near the intersection of Skinker and Forsyth boulevards. Regular hours are 11 a.m.-5 p.m. daily except Tuesdays, and 11 a.m.-8 p.m. the first Friday of the month. The museum is closed Tuesdays.
Holly McGraw, “Shady Lady Green Bay” and “Shady Lady St. Louis II,” both 2016. Inkjet prints. (Photo: James Byard/Washington University)
Rachel Ahava Rosenfeld, “In Lieu of Testimony: No. 1,” 2015; “In Lieu of Testimony: No. 2,” 2016; and “In Lieu of Testimony: No. 3,” 2016. Oil and marble dust on panel. (Photo: James Byard/Washington University)
Shirin Rastin, “Memorial in Exile,” 2016. Mixed-media installation with multichannel video, overall dimensions variable. (Photo: James Byard/Washington University)
Garrett Clough, detail from “The Artwork Will Be Silent,” 2016. Five speaker boxes: chalk, latex paint,
spray paint, plywood, and pine, with audio. (Photo: James Byard/Washington University)
Sarah Harford, “Swing,” 2016. Steel, aluminum, automobile headlight and taillight plastic and lightbulb on timer switch. (Photo: James Byard/Washington University)
Caitlin Aasen, detail from “Annora, Tempe, AZ, Fall 2015,” 2016. Dye and colorants on three drywall panels. (Photo: James Byard/Washington University)
Wyndi Antoinette DeSouza, from “Untitled Mapping Project:
Case Study Trauma,” 2015–16. Inkjet prints and single-channel video, 30 min. (Photo: James Byard/Washington University)
Eric Burwell, detail “CDlll,” 2016. Oil and acrylic on canvas. (Photo: James Byard/Washington University)
Mr. Jonathan P. Berger, “Mr. Berger’s Corner in a Corner [of the Universe],” 2016. Multimedia installation. (Photo: James Byard/Washington University)
Nicole Fry, “Drifting / Dreaming,” 2016. Bleached cotton cloth and audio, 2 min. (Photo: James Byard/Washington University)
Adam Turl, detail of “Red Mars,” 2016. Mixed-media installation with acrylic, coffee, meteorite dust, glitter, stickers, and wheat paste on canvas, telescope, LED sign and booklets. (Photo: James Byard/Washington University)
Julie Weinberger, “Untitled,” 2016. Digital prints, foam, steel, glazed ceramic and geodes. (Photo: James Byard/Washington University)
Madeline Marak, “Interspace Encounters: Parkview Gardens,” 2016. Inkjet prints and oil on panels. (Photo: James Byard/Washington University)
Christopher Thomas Campbell, “Faithful Veneer / Average Density,” 2016. Polystyrene, concrete, stainless steel, acrylic paint, light gels, canvas, vinyl, chrome-plated steel, and shoe laces. (Photo: James Byard/Washington University)
Danica Radoshevich, “Breakaway Type Adherent to NCHRP Report 350” (foreground) and “Placard (Public Deluxe),” both 2016. (Photo: James Byard/Washington University)
Sam Boven, “Filter Feeding,” 2016. Sponges, glazed ceramic, wood, sand and spray paint. (Photo: James Byard/Washington University)
Yvonne Osei, “From Utopia, With Love,” 2016. Single-channel video and living sculptural installation; video approx. 25 min. (Photo: James Byard/Washington University)
Candice Block, detail from “At Once,” 2016. Natural pigment and enamel paint on 3 wood panels. (Photo: James Byard/Washington University)
Kendall Lee Brown,
from “Tied in Knots,” 2016. Wedding dress, ceramic, and single- channel video projection with sound, approx. 3 min. (Photo: James Byard/Washington University)