While KAF’s venues and work are primarily based in the Grand Center Arts District, the Foundation is committed to reaching beyond its physical footprint to bring arts programming into the broader St. Louis metro community. To that end, in 2022 KAF formed a partnership with the St. Louis County Library to bring free arts-based programming and cultural enrichment to County Library branches.
The programming is made possible by a $200,000 endowment from KAF to the St. Louis County Library Foundation in order to develop and utilize library spaces as artistic venues and provide an arts based approach to community development. The KAF Gallery inside the beautiful new Clark Family Branch on Lindbergh Blvd. currently features nearly 50 artworks from Nancy and Ken Kranzberg’s Collection. This new space is now a permanent extension of the gallery spaces at the Kranzberg Arts Foundation.
Kranzberg programming at SLCL includes the Kranzberg Jazz Jam the first Thursday of every month at the Lewis and Clark Branch (9909 Lewis-Clark Blvd), an extension of the original weekly Jazz Jam that has been held at The Dark Room for the past 13 years. Hosted by musician and educator Harvey Lockhart, this vibrant monthly gathering brings jazz within reach for people of all ages and backgrounds, while celebrating St. Louis’ jazz legacy and future. The Jazz Jam continues to grow and thrive, becoming not only a fixture of the library, but a beloved staple in the broader community.
The Music Mondays series at the Florissant Valley Branch (195 New Florissant Rd., South) takes place on the second Monday of each month, showcasing musical performances from a range of Kranzberg-connected artists. Since its inception, Music Monday has featured Kranzberg Artist in Residence Drea Vocalz, local staples like Laka Soul, dynamic ensembles such as Kinfolk and Them, and powerful vocalists like Lady J Huston, among others—demonstrating the deep musical talent rooted in our region.
Kranzberg Arts Foundation, in collaboration with St. Louis County Government and St. Louis County Library, also supported civic engagement efforts across three branch locations, which served as open community meeting spaces to gather public input on the design of the newly released St. Louis County flag. The flag was created by Hayveyah McGowan and José Garza, both current visual artists in the Kranzberg Artist in Residency program.
“The partnership between KAF and SLCL is a powerful tool for developing dynamic relationships and meaningful community engagement. The alliance has created an opportunity for artists and musicians to connect with an audience of diverse people,” says KAF Community Engagement Director Arica Foster.
All of us at KAF are deeply saddened and shocked by the absolute devastation that the May 16 tornado caused to a large area of our city, and the lives lost in this tragedy. To see neighborhoods so rich in community, culture and history reduced to rubble and their residents displaced is beyond heartbreaking.
The affected communities have produced and are home to some of St. Louis’ greatest artists and creators, and KAF is committed, now and in the long term, to aiding in their recovery in whatever ways we can be most effective. We are already meeting and in discussion with local civic leaders and community organizations to mobilize efforts, particularly with regards to housing and other infrastructure needs. We will continue to keep our subscribers updated on these efforts and how you can help in the coming weeks.
In the meantime, we urge you to follow and support some of our fellow organizations doing immediate boots-on-the-ground work in this recovery, including 4 The Ville and the Urban League of Metropolitan St. Louis, and visit this comprehensive guide from St. Louis Magazinefor additional resources on where to help and get help.
This recovery effort will take years, but we believe in the strength and resilience of this community and know that St. Louis can emerge stronger than ever if we all work together.
Logic Systems Holdings——the premier midwest provider for event audio, lighting, and video production services —— has relocated its headquarters from St. Louis County to the city at 2233 Delmar Boulevard. With support from the Kranzberg Arts Foundation and the St. Louis Development Corporation, Logic Systems has brought its full 140-person staff to the Downtown West neighborhood development, bolstering the city’s film, event and music touring production amenities.
Interior and exterior renovations to the building are still underway. A new grand lobby features large glass panes salvaged from Chesterfield Mall before demolition and spared from the landfill. Once the renovation and build-out of the administrative offices is complete, Logic Systems will begin on the design and fundraising for Phase 2——a roughly 60,000-square-foot facility that can be used for rehearsals, film, television, training or special events.
The KAF-owned facility will also house a workforce development program, providing hands-on skills training for individuals seeking jobs in arts and entertainment, with Logic Systems as a partner. The program is designed to create a pipeline to jobs for low to moderate income individuals in St. Louis city and county, as well as the entire Missouri region, and help the industry recover from post-pandemic staff shortages.
Staff Profile: Matthew Washausen, Creative Director
Matthew Washausen joined KAF in 2017 as a graphic design intern, having been introduced to the Foundation by a former professor who knew about his passion for both the arts and music. With a bachelor of fine arts degree in Graphic Design from the University of Missouri St. Louis, Matthew supports and collaborates with the vibrant community of local artists and musicians in the KAF ecosystem every day as Creative Director, playing a key role in shaping how the KAF mission is communicated and experienced by our audiences.
What drew you to KAF? I was incredibly excited to be a part of something that allowed me to work within the music, fine art, theater, and community.
What is your favorite part of your job? This role allows me to merge my passion for creative expression with my commitment to fostering inclusive, artist-driven spaces. Working alongside individuals who are deeply devoted to their craft inspires me daily, and it’s an honor to help bring their vision to life through meaningful projects and events. Being part of a foundation that prioritizes local voices and provides the resources to turn bold ideas into reality is not just fulfilling—it’s a responsibility I hold with immense gratitude and purpose.
How do you feel your role directly supports the KAF mission? I play a key role in shaping how the KAF mission is communicated and experienced by our audience. My work ensures that the values, goals, and impact of KAF are visually and emotionally resonant across all platforms. Whether through campaign design, brand strategy, or storytelling, I translate the mission into compelling content that inspires action, fosters engagement, and builds trust. By maintaining consistency and clarity in our visual identity, I help KAF reach broader communities, strengthen its presence, and make a lasting impression that reflects the heart of our mission. I see my role as an essential bridge between the Foundation’s mission and the creative community it serves.
What do you love most about the St. Louis arts community? It’s relentless hustle and unwavering passion. Artists here are constantly creating, pushing boundaries, and making sure their work is seen—not just locally, but on a national and even global stage. There’s a deep sense of pride, resilience, and drive in this community. It’s not just about making art; it’s about making sure the world feels it.
What do you personally do outside of work to engage in the arts? Outside of work, I am very passionate about being involved in the local music and fine art community. I have been playing in local bands since my sophomore year of high school and have had the privilege to do small tours and connect with those who have also dedicated their life to creating music within our amazing city. Recently, my band, Unfleshing, released our debut full-length album, Violent Reason. When it comes to art, I run my own freelance business working on branding and packaging for different entrepreneurs, both locally and globally.
Who are some of your favorite St. Louis artists/musicians/creators that people should check out? Some of my favorite St. Louis Artists include Lauren Marx, Chris Bauer, Phil Jarvis, and Seth Rogers. With my favorite local musicians, I spend most of my time within the metal community and am a big fan of bands such as Sawed Off, Mindclot, Man With Rope, Willem Dafrend, Coagulating, and many more.
Developing a World-Class Arts District to Fuel Economic Growth
Back in June 2023, arts journalist Chadd Scott penned an article for Forbes titled America’s Most Exciting Emerging Arts District Is In… St Louis?Scott ruminated about what St. Louis arts aficionados have known for some years now – The Grand Center Arts District is a world-class destination for music, theater, visual arts, dance and more. This outcome was not by accident, but rather through the dedication and collaboration of numerous individuals, artists, organizations and cultural institutions working together to create what is today a vibrant walkable neighborhood with thrilling sights and sounds at every turn.
The Kranzberg Arts Foundation is proud to be one of the leaders and partners in these efforts, working in conjunction with longstanding premiere institutions such as Grand Center Inc., The Fabulous Fox, The Sheldon, CAM St. Louis, the Pulitzer, Jazz St. Louis and the St. Louis Symphony Orchestra/Powell Hall. With such respectable anchors in place, KAF has spent nearly two decades developing spaces and programs in the surrounding neighborhood to fill in the gaps and provide much-needed infrastructure for the arts and artists to thrive in St. Louis.
“We truly believe that artists are the soul of our city and that when we nurture the arts, we affect health and wealth in our region,” says KAF Executive Director Chris Hansen. “It has been proven that the arts play a critical role in St. Louis’ economic and workforce development and are a primary reason people want to live in, work in or visit our city.”
KAF creates opportunities by strategically developing properties and historic buildings in the district to offer artists, arts organizations and arts industry businesses dedicated and well-appointed spaces in which to create and work, along with the operational support and advocacy they need to thrive. This infrastructure allows independent theater companies to have their productions running alongside big Broadway touring shows a few blocks away or St. Louis-based visual artists to have their works grace the walls of a beautiful gallery in the same neighborhood as a world-renowned artist’s museum exhibition. It provides stages for the top St. Louis musicians to perform regularly and grow their fan bases, and for literary organizations to collaborate and read their works aloud in front of an audience.
“When you don’t have to worry about keeping the lights on, managing facilities, and developing your workspaces and presenting spaces, you can be free to focus on your core mission and purpose,” Hansen says. “KAF provides those sacred spaces.”
Through regular collaborations and events such as First Fridays in Grand Center, locals and visitors alike can stroll through the district and experience all the best the scene has to offer — much of it for free. KAF’s longstanding Wednesday Night Jazz Jam brings the community together for a free evening of collaborative music-making for all ages and abilities. The free weekly High Noon lunch and learn series at High Low provides an opportunity to hear from thought leaders from across St. Louis’ humanities, arts, cultural and educational spectrum. The Walls Off Washington puts art on the streets with murals by local and internationally-renowned artists to be enjoyed by all in the neighborhood.
The latest KAF developments in the district include taking nationally-recognized Music at the Intersection (now MATI) from a music festival to a full-blown movement that engages the entire neighborhood inside and outside of the festival footprint. The surrounding streets and cultural destinations activate for a full weekend of art, music and thought leadership that is 100 percent made by St. Louis for St. Louis.
The Sovereign — St. Louis’ next great concert venue — will make its debut during MATI as one of three main stages, ushering in a new era of top-tier live entertainment. A couple blocks away on Olive Street, The Key, a new burger bar and boogie joint in a pair of reimagined historic buildings, will open its doors in the fall, adding yet another community gathering space.
These developments and programs, along with the ongoing collaboration and content of the neighborhood’s great cultural institutions, have grown Grand Center into an arts district that rivals those of any major U.S. City. Looking to the future, KAF has a vision to continue using arts-based community development to grow the district further East and establish Grand Center as a globally-recognized place where all of St. Louis gathers, connecting diverse audiences to great art, momentum and opportunity.
New Mural by Dominic Chambers Explores the Underground Railroad in St. Louis
Last Month, Walls Off Washington unveiled a new mural at Saint Louis University’s Searls Hall by acclaimed artist Dominic Chambers in collaboration with Saint Louis University and the 2025 St. Louis Literary Award program. The vibrant mural, titled For You: All the Color in the World, explores the legacy of the Underground Railroad and highlights its significance in Missouri and the St. Louis region.
Inspired by 2025 St. Louis Literary Award winner and Pulitzer Prize-winning author Colson Whitehead’s novel The Underground Railroad, the mural creates a robust dialogue between literature, history and public art. The collaboration underscores a commitment to aligning the arts, education and historical reflection, fostering meaningful engagement with the local community.
“Dominic’s work eloquently intertwines history, memory, and storytelling to create a dialogue that resonates deeply with our region. His new mural draws on multifarious art historical influences and the transformative concept of the veil—a metaphor that invites us to reimagine the inner landscape of our shared experiences,” says Gina Grafos, Chief Curator and Director of Visual & Literary Art at Kranzberg Arts Foundation.
The project aims to illuminate St. Louis’ historical connections to the Underground Railroad and offer a space for collective reflection and learning. Through a dynamic partnership with Saint Louis University, educators, students and the public will have opportunities to engage with the mural and related programming, including discussions on art, history and literature.
Born in St. Louis and currently residing and working in New Haven, Conn., Chambers returned to his hometown to create the mural and participated in an engaging panel discussion at SLU on April 7 with historian Dorris Keeven-Franke, an expert on Missouri’s Underground Railroad history. A writer himself, Chambers is often inspired by literature and has cited Magical Realism, alongside writings by W.E.B. Du Bois, Ralph Ellison, and James Baldwin, as significantly influential to his practice.
“We were honored and overjoyed to welcome Dominic Chambers home to St. Louis for this significant public art project,” Grafos says. “His return was not only a celebration of his extraordinary artistic practice but also a powerful tribute to the vibrant narratives that shape our past and inspire our future. We could not imagine a more fitting artist to bring this vision to life.”
Walls Off Washington continues to serve as a platform for large-scale, thought-provoking works that reflect St. Louis’s cultural and historical fabric. For more information, visit wallsstl.com and follow Walls Off Washington on Facebook and Instagram.
Thousands of St. Louisans have enjoyed Circus Flora’s world-class productions annually for over 30 years. However, the end of the circus season does not mean the clowning around is over.
Offering healing through humor since 2012, Clowns on Call is Circus Flora’s program that ensures young patients at SSM Health Cardinal Glennon Children’s Hospital receive a healthy dosage of laughter as often as possible.
Yet with the onset of the pandemic, physicians of fun Dr. Pepper, Dr. Too-Me, and Dr. Celia have had to adapt to the cyber realm to maintain a connection with and provide a distraction for hospitalized children of all ages when they need it most.
Clown Doctors Too-Me, Celia, and Pepper are Circus Flora’s Clowns on Call.
Without her red nose, Dr. Pepper is Audrey Crabtree, professional performer and coordinator of the program. “This is all new territory,” she said referring to their digital approach.
Before the pandemic, the Clown Doctors visited a few times per week. But since their virtual return in September 2020, they have to make the most out of a one-time weekly check-up via Zoom video calls.
“It’s a little bit of a learning curve but they’re ecstatic to be back,” Circus Flora’s Managing Director Karen Shoulders said.
Dr. Pepper and her comedic accomplices meet their patients on an iPad that on-site child life specialists carry from room to room — after sanitation, of course. Whether they are miming fetch with a ball that is imaginarily thrown through the video or juggling props between one Zoom window to another, Crabtree said, “We’re having fun finding creativity within the confinement of the screen.”
Regardless of the way they connect, Crabtree emphasized that the Clown Doctors are best friends with the children during their time together.
“In the moments we see them, we are always on their team; we always follow their lead,” Crabtree said. “If they’re in a sad mood and want to stay there, we’ll go there too … We just try to engage with them wherever they are and just make a real connection as much as we can. We all need that.”
The fun and games prove to be beneficial for not only the patients, but also the hospital workers, family members, and the Clown Doctors themselves.
“I do different kinds of theatre work and performance, but this hospital clowning is the very best thing I’ve ever done. Big audiences and huge crowds do not compare to this one-on-one engagement,” Crabtree reflected.
Unlike any program in the bi-state region, Clowns on Call features experienced and professional performing artists skilled in a wide variety of genres including clowning, music, juggling, magic, improvisation, puppeteering, dance, and slapstick. “It’s not just a volunteer putting on a nose,” Shoulders said.
Crabtree elaborated by adding, “We have ongoing training and rehearsals, and we’re a part of a national organization that has standards. It’s serious work to make it possible to play in a healing way.”
While the Clown Doctors have found a way to continue making their rounds through Cardinal Glennon, they hope to spread contagious laughter to more patients across the region. “There are other institutions that we could be working with, but we just don’t have the funding,” Crabtree said.
It all started when I pulled into one of the giant concrete parking garages at the University of Missouri-STL, where I was headed to Gallery 210 to view the current art exhibit. After maneuvering my Mini Cooper into a tiny spot, I happened to look up and saw a surveillance camera with a bird’s nest built into it. Twigs and nesting materials were woven together with the camera’s cables to make an integrated and bizarre object. This strange, shocking, and thought-provoking juxtaposition of man-made technology with nature happened about 14 years ago. At that time, the proliferation of surveillance cameras hadn’t reached huge numbers. Or so I thought because I really hadn’t paid attention to them before. Right after that I started looking and was surprised to find them at every traffic intersection, on top of Walgreens, at the bank, and Quick Trip; everywhere. Cameras were recording virtually every moment of our lives in public. Since then, their numbers have only exploded (Proliferate)to the point that we are ‘on camera’ over 75 times per day.
Still Growing
I had no idea my newest art series had just been born or that it would still be expanding right up through 2020, with Eyes Wide Open: Surveillance Seriesat The Kranzberg Gallery. I realized that digital surveillance was seriously threatening our civil rights and liberties online too, in our most private activities, and that most of this was through government and corporate entities. In the time since I saw that bird’s nest, research has uncovered an overwhelming invasion of our privacy occurring with nearly every online activity including email, phone calls, texting, personal finances, photo posts, social media, business communications, political action, and location/movement (Off The Record).
Multi-faceted, Concerned, and Hyperactively Creative
Many artists focus on one style while specializing in a single medium; I often embrace a wide range of different looks and materials or learn a brand-new technique (such as laser cutting or 3-D design/printing) as I create each new piece. For the floor installation USofA Drone Carpet, I taught myself 3-D design software in order to print 109 tiny drone sculptures (based on the Black Hornet military surveillance drone) using selective laser sintering and nylon powder.
Installing USofA Drone Carpet, 2020, image by M. Keller
Process: Painting the explosions on USofA Drone Carpet, 2020, image by M. Keller
Process: Painting the drone top rotors and tail rotors, 2020, image by M. Keller
Process: 3-D printed drone bodies before painting, 2020, image by M. Keller
Arranged in the pattern of the American flag, but in grayscale color camouflage, the drones offer a somber critique of the United States. Juggling five or six different series simultaneously, my art deals with things that matter right now: surveillance, natural disasters, climate change, species extinction, our separation from nature, the Anthropocene, and gender issues. I look at connections between our contemporary culture, technology, and nature and try to understand our lives. These series don’t usually come to an end although sometimes I will focus on just one, letting the others hibernate until a new concept reactivates them. Infusing my art with the passion of my ideas is a challenge I love.
A Realization
Infraredwas the first work in my surveillance series; it was directly inspired by the parking garage encounter. Noticing nature and surveillance cameras were intertwined in the real world, I started picturing them in drawings, paintings, and mixed media artworks. I hid cams in plain sight, assimilated into the natural landscape (Darkwoods I, Darkwoods II, Darkwoods III, and Surge).
Why It Matters
Someone asked me why they should care about surveillance. Right here in St. Louis, government/police surveillance with no oversight is an ongoing concern, threatening the civil liberties of all, but especially those of people of color, immigrant and refugee communities, and local activists. In July, a member of the Board of Aldermen made a resolution for St. Louis to contract for limitless aerial ‘spy plane’ surveillance. The Missouri ACLU websites states that when mass surveillance systems are deployed by local police, they are frequently used to target communities of color. “While the nation is discussing the demilitarization of police, St. Louis is considering turning wartime specific technology on its own citizens. This is a threat to liberty. This summer, Americans have taken to the streets to protest police brutality and demand change. During the protest surrounding the death of Freddie Gray, officials in Baltimore quietly and secretly turned to the very surveillance technology now before the (St. Louis) Board of Aldermen to track protestors.”* After working with the citizens’ group Privacy Watch STL, I know that since at least 2017, our Board of Aldermen has failed to pass a bill requiring oversight, accountability, and transparency of surveillance practices by the St. Louis police. I think this matters. Earlier, our current federal administration overturned the FCC regulation that banned internet service providers from selling our private information without our permission.** Not long ago, my husband and I were sitting at our kitchen table talking about cats even though we didn’t have one yet; only a short time later ads for cat food appeared on our digital devices because our conversation was not private inside our own home. That conversation’s content wasn’t important, but I am concerned that our privacy is seriously impacted by warrantless and unconstitutional surveillance, even when our devices are switched off. Just last week, the news warned of Zoom hacks into email accounts. Events like these are what feed Eyes Wide Open: Surveillance Series.
My Hope
My goal is to raise awareness of these issues, in the hope that viewers will be moved to support our right to privacy and even to advocate for it. My art looks back at government, corporate, and personal cameras — especially at the vast insertion of surveillance cameras into the natural world — and focuses on the secretive relationship between subject and spectator.
Footnotes: *The River Front Times, Luz María Henríquez, 7/13/2020 ** NPR, March 28, 2017
As an artist, I make things that explore concern about our place as humans living on planet earth. Over fifty galleries, museums and collections have exhibited my work; in 2018, my sculpture Riverbend was installed at the Gateway Arch National Park as Critical Mass for the Visual Arts’ Public Works Project. Botanica absentia – a memorial to future lost species- was at The Contemporary Art Museum St. Louis in 2019, when I was also the recipient of The Regional Arts Commission’s $20,000 Fellowship Award. As the Nicholas Aitken Artist-in-Residence at The Forsyth School, my project became a permanent campus installation in 2020. This year, my solo exhibition Leaning on Nature was featured at The Mitchell Museum while more work is online at Wayfarers Gallery, Brooklyn. My multi-faceted career has included being a college art professor, historic preservation consultant, Fiscal Analyst for the Missouri State Legislature, self-employed cake decorator, box factory worker, writer, wife, and mother of three.
“Caffeinated Curation” is a routine book and beverage pairing that highlights Blueprint Coffee and relevant reading recommendations from High Low resident artists and community members.
Our latest chapter of the series comes from High Low barista Lindsey.
As a tribute to two classics that have carried me through all aspects of life — Stephen King’s “The Shining” is paired with a simple cappuccino. The overall focus on character development in King’s novel brings light to personal challenges that evolve throughout the story. It begins, presenting a seemingly average family situation, taking us on a journey through mental collapse, ending in eventual demise. Similarly, the cappuccino begins its journey as creamy and rich that, as it cools, will eventually evolve into something brighter, with a more expansive flavor.
While the cafe at High Low is temporarily closed, you can still place an order online for your favorite Blueprint Coffee beverage from their Watson or Delmar locations.
“It’s up to independent filmmakers to show what filmmaking could be here.”
That’s what filmmaker Josh Guffey believes when it comes to producing for the silver screen out of the Gateway City.
“I think this community is ready. The talent is here … There’s great infrastructure and the Kranzberg Arts Foundation is a big part of that now.”
From gaining access to tools and training to pitching to investors and more, Guffey, says filmmaking is “hard as hell,” but he wants to help up-and-coming film artists better navigate the scene through the Kranzberg Arts Foundation filmmaking residency.
An Iowa native and filmmaker who launched his career in Los Angeles, Guffey relocated to St. Louis in 2014 with his family in the middle of researching and developing the movie “All Gone Wrong.”Inspired by films that portrayed cops and robbers, Guffey tells a realistic story about narcotics policing with Tony Todd in a leading role, who is well-known for his unnerving performance in the 1992 film “Candyman.”
“What really encouraged me to get going and to shoot the movie in St. Louis was a movie called ‘The Ghost Who Walks,’ shot in 2018 and released 2019,” Guffey said. “The filmmakers — producer Dan Gartner, David Johnson, and the writer/director Cody Stokes — they were super encouraging and instrumental and just really open with their time. I peppered them with questions … and it really gave me the ability to believe in myself to try to make it here.”
In 2019, Guffey was awarded the residency through the In Motion Filmmaking Conference and granted access to a wide array of resources provided by the Foundation including vital infrastructure for planning and production.
Filmmaker in residence Josh Guffey
“For us, we were in the middle of making the movie, so we held an investor event at the .ZACK Theatre and had a reception where people could see the business plan and just kind of hang out and meet us. That got us money to go into post-production,” Guffey said. “It can be very expensive to get locations, and if you don’t have the money, it can be a barrier.”
With his film now “in the can,” Guffey plans to host a workshop for producers and aspiring filmmakers, “to help people and show that it’s a step-by-step thing.”
“Everybody has a voice, but if you can’t express that voice in the way that you desire … And then you see other people who have advantages and the path to expressing their voice through filmmaking is much easier and much shorter, it can be very frustrating,” Guffey said.
From access to venues for planning and production to theatre space for hosting investor screenings and premieres, Guffey mentioned that “you really see the benefit through all the stages as a filmmaker,” in the Kranzberg Arts Foundation residency program.
“I think so many people who are filmmakers still struggle with these parts of the whole process,” Guffey said. “It’s like, ‘here’s one less thing to worry about,’ and then all of a sudden you have more energy to think of how to make it better, rather than just how to make it.”
In addition to infrastructure, the residency also connects the filmmaker to a network of other local artists and entrepreneurs. Guffey recalled a situation in which he needed the help of a music producer to bring a song in the movie to life.
“It just so happened that Owen Ragland, who’s a former musician in residence, was our guy, so it was nice to keep it within the resident family,” Guffey added. “Just amplifying who these artists are … it creates connections. It’s really cool how that went down.”
Despite the hurdle that has been COVID-19, “All Gone Wrong” is in the final stages before it premieres. Guffey said he feels a responsibility to be a good steward of filmmaking in St. Louis, to help others along the way, and the Kranzberg Arts Foundation filmmaking residency feels like a good place for that.
“We need to support filmmakers and give them a platform to create. It’s just like all arts; there are some mechanisms in place to help artists create, and the more we can do that for filmmakers, the better the movies will be.”
The project aims to illuminate St. Louis’ historical connections to the Underground Railroad and offer a space for collective reflection and learning. Through a dynamic partnership with Saint Louis University, educators, students and the public will have opportunities to engage with the mural and related programming, including discussions on art, history and literature.
