Current Exhibits

The Sheldon Art Galleries, located in the Emerson Galleries building, features rotating exhibits in six galleries, including photography, architecture, St. Louis artists and collections, jazz history and children's art. Artwork is also featured in The Sheldon's sculpture garden, visible from both the atrium lobby and the connecting glass bridge.

Tuesdays, noon – 8 p.m.
Wednesdays - Fridays, noon – 5 p.m.
Saturdays, 10 a.m. – 2 p.m.
one hour prior to Sheldon performances and during intermission.

Closed July 4th, Thanksgiving, Christmas Eve, Christmas Day, New Year's Eve and New Year's Day.

Bellwether Gallery of St. Louis Artists

The Brightest Corner: Work by VSA Missouri Member Artists from the Living Arts Studio

June 10, 2016 - September 3, 2016

The Brightest Corner features the work of 10 artists from the Living Arts Studio, located in Maplewood, Missouri. The artists featured are all living with disabilities and producing complicated, compelling and sophisticated work. Living Arts is the product of a collaboration between VSA (Vision, Strength, Access) Missouri, Bridges Community Support Services and Spirited Hands Art. Together, these groups offer classes for people living with, and without, disabilities in a creative, safe space. The exhibition is organized and curated by Gina Alvarez, Executive Director of VSA Missouri.

More on VSA Missouri

Gallery of Music

Amazing Horns – Bridging Continents, Bridging Time

June 10, 2016 - August 12, 2017

Curated by Dr. Aurelia Hartenberger and drawn from The Sheldon’s Hartenberger World Music Collection, this exhibition explores the evolutionary process and development of horns across continents and through time. Highlights include a 1,000-year old Moche clay trumpet from Peru, a ceremonial Narsiga from Nepal, a rare American Civil War Schreiber over-the-shoulder teardrop horn and a rare 8-foot tall Recording Bass. Contemporary horns played by famous jazz musicians Clark Terry, Oliver Lake and Artie Shaw, and a fantastical 12-foot long bicycle-powered “Pedalphone” designed by St. Louisan John E. Maier, are also featured.

Hartenberger World Music Collection

Gallery Talk: Tuesday, November 15, 2016, 6-7 p.m.
Dr. Aurelia Hartenberger presents “An Inside Look at the World of Horns.” Admission free, but reservations are required. Contact Paula Lincoln at or 314.533.9900 x37

The exhibition is made possible by Novus International

Gallery of Photography

Brian Hamill: Tests of Time

June 10, 2016 - August 20, 2016

This exhibit of over 40 photographs features portraits of Woody Allen, Alec Baldwin, Elia Kazan, John Lennon, Muhammad Ali, Frank Sinatra, Barbra Streisand, Christopher Walken, and many others. Born in Brooklyn, Brian Hamill began his long career as a photojournalist in the mid-1960s covering everything from the rock & roll scene, politics and fashion to the entertainment world and sports. Hamill’s photographs have been featured in a major monograph and many group and solo exhibitions including a one-man show at the Academy of Motion Picture Arts and Sciences in 1995.

The exhibition is made possible by Capes Sokol

Bernoudy Gallery of Architecture

Lucien Hervé: Ronchamp-Notre Dame du Haut

June 10, 2016 - August 20, 2016

This exhibition features 48 photographs of Notre Dame du Haut (Our Lady of the Height), in Ronchamp, France—a church designed and built by the famed modern architect, Le Corbusier between 1950 and 1955. The church is one of the most significant projects of Le Corbusier’s career and has been called “the 20th century’s greatest masterwork” by Herbert Munchamp, architectural critic of The New York Times. The photographs made by Lucien Hervé include images of the church in various stages of construction, as well as photos of Le Corbusier’s models and photos of preliminary sketches for the structure.

A pilgrimage church has stood on this site since the 11th century and the structure preceding that of Le Corbusier was destroyed by the Nazis during the resistance in 1944. Le Corbusier used stone rubble from that destruction to build the walls of the new chapel. Notre Dame du Haut serves as a symbol of spiritual continuity, a memorial to those killed in the 1944 attack and as the paradigmatic example of architecture’s capacity to lift the human spirit.

One of the most distinctive components of the building is the roof which consists of two concrete membranes separated by 7.5 feet forming a hollow shell. Some have said it is derivative of the hats worn by nuns of the period, while others believe it to be a reference to the wing of an airplane. Le Corbusier offered no explanation. This roof acts to insulate and create a watertight barrier and rests on top of short struts, which form part of a vertical surface of concrete covered with gunnite. These struts act to brace the walls of old Vosges stone, a remnant of the former chapel destroyed in war-time bombings. Le Corbusier’s design did not necessitate buttressing, a common support in older cathedrals, but instead, its curvilinear forms supply support and stability to the rough masonry. The interior is lit by a system of openings covered with clear glass, and, in places, with colored glass, however there are no traditional stained glass windows. Le Corbusier considered traditional stained glass windows to be too closely bound to old architectural ideas. His windows allow the outside world entry—through them one can see the clouds, the movement of foliage and even passers-by.

The floor of the chapel follows the natural slope of the hill down towards the altar. It is constructed of a cement paving, poured in place between battens, the design of which is dictated by Le Corbusier’s “Modulor” system for the anthropometric scale of architectural proportion. Certain parts of the floor and the altars on which they stand are composed of a beautiful white stone from Bourgogne. The towers are constructed of stone masonry and are capped by cement domes. The vertical elements of the chapel are surfaced with mortar sprayed on with a cement gun and whitewashed on both the interior and exterior. The concrete shell of the roof is left rough and is imprinted with the formwork.

Born in Hungary in 1910, Hervé emigrated to France in 1929. His career as a magazine reporter and photographer was transformed when Le Corbusier told him, “You have the soul of an architect.” From that point on, he was commissioned to photograph Le Corbusier’s work. Hervé’s view was that of an artist. He believed that the spirit of a building is most effectively represented by fragmented compositional abstractions. “Just a minute detail can be sufficient to capture the essence of something. I purify my photos until they contain no meaningless elements,” he wrote.

Le Corbusier was born Charles-Edouard Jeanneret-Gris in Switzerland in 1887. He moved to Paris and assumed the pseudonym “Le Corbusier” in 1917. An architect, designer, painter, urban planner, writer, furniture designer and one of the pioneers of what is now called modern architecture, Le Corbusier’s career spanned five decades with buildings constructed throughout Europe, India and the Americas. Some of his best known are Notre Dame du Haut in Ronchamp, France, Unité d’Habitation, or the “Radiant City,” in Marseilles, France and the Villa Savoye in Poissy, France.

AT&T Gallery of Children's Art

Other Worlds: Work by Young Artists from Giant Steps, St. Louis and St. Louis Community College at Meramec

June 10, 2016 - September 3, 2016

Complementing The Brightest Corner exhibition, Other Worlds presents paintings, drawings and sculpture created by students at Giant Steps, St. Louis, a school for children living with Autism Spectrum Disorder. The works represent the visualization of the inner voices of these young artists, who shine in their originality, conceptualization and mastery of technique. Also included are etchings and silkscreen prints that were part of a collaborative project between Giant Steps students and printmaking students from St. Louis Community College, Meramec. The exhibition is organized by Gina Alvarez, Executive Director of VSA Missouri and curated by Ken Wood.

More on VSA Missouri

Nancy Spirtas Kranzberg Gallery

Grainy Black & White: The Photography of Bob Reuter

June 10, 2016 - September 17, 2016

This exhibit presents an overview of, and a memorial to, the work of St. Louis musician and photographer Bob Reuter, whose gritty black and white photographs document the denizens and musicians of St. Louis’ underground scene. Portraits of musicians include Jay Farrar and Pokey LaFarge, as well as portraits of friends and street scenes. Dubbed the “King of South St. Louis,” Reuter was one of the pioneers of the area’s punk, rock and alt-country music scenes. He died in an accident in St. Louis in 2013.

Gallery Talk: “Campfire Stories”- Memories of Bob Reuter
Tuesday, July 19 from 6 – 7 p.m.

Led by artist Tom Huck, this informal evening invites friends of Bob Reuter to share their memories and stories with the audience. Admission free, but reservations are required. Contact Paula Lincoln at or 314.533.9900 x37. Cash bar.

The exhibition is made possible in part by Lawrence and Karen Kotner.

Ann Lee and Wilfred Konneker Gallery

Jim Dine Sculpture dedicated to the memory of Dr. Leigh Gerdine

Ongoing Exhibit

The Ann Lee and Wilfred Konneker Gallery at the Sheldon Art Galleries is the site for the Jim Dine sculpture, The Heart Called Orchid, 2003. The sculpture is dedicated to the life and accomplishments of Dr. Leigh Gerdine, a founding trustee of the Sheldon Arts Foundation who devoted himself to the saving and renovation of the historic Sheldon Concert Hall and the creation of the Sheldon Art Galleries.

A beautiful bronze work on long-term loan from the Gateway Foundation St. Louis, the sculpture is a glowing golden heart that balances on its point on a trompe d'oeil "wooden" pallet, which on further examination is seen also to be made of bronze. A recurring theme in Dine's work since 1966, the heart emerges in prints, drawings, paintings and sculptures.

Jim Dine was born in 1935 in Cincinnati, Ohio and rose to prominence in the 1960s with his performance and assemblage works. From the 1960s, Dine also began to incorporate representations of simple everyday objects into his works. His object-based imagery seen in paintings, drawings, prints and sculptures include tools, men's suits, bathrobes, hearts, and household objects among others and are metaphors for childhood memories, personal psychological states and self-portraits. Like Dine's suit and bathrobe images make reference to the artist's body and persona, his hearts contain layered metaphors about the body, sensuality, love, and as the artist describes them, he sees the heart as "the agent and the organ of my emotions."