Five Decades of Hip-Hop Converge in Saint Louis Art Museum’s ‘The Culture’

The origin story of hip-hop is the stuff of legend: In the summer of 1973, DJ Kool Herc, along with his younger sister, Cindy, hosted a back-to-school block party on Sedgwick Avenue in the Bronx – an event many historians consider the moment hip-hop was born.

It is in this same spirit of community that ushers in the Saint Louis Art Museum’s new exhibition, “The Culture: Hip Hop and Contemporary Art in the 21st Century.”

To celebrate its opening on Saturday, Aug. 19, the museum is hosting a free community block party from noon to 5 p.m., showcasing artists from St. Louis’ vibrant hip-hop scene with DJs, street performances and dance battles, as well as art activities, games and more. Food trucks will also be on site.

“The Culture” commemorates the 50th anniversary of a movement that has significantly impacted contemporary art and culture around the world.

Co-organized by Saint Louis Art Museum and the Baltimore Museum of Art, the exhibit has approximately 130 objects on view from established and emerging artists in the last two decades.  They include paintings, photographs, sculptures, clothing and jewelry, and video. One-third of the featured artists have a connection to St. Louis or Baltimore – a result of a collaborative, “polyphonic, poly-vocal approach grounded in community access and engagement,” according to Min Jung Kim, director of the Saint Louis Art Museum.

“We began with a deep respect and understanding that as a museum, we do not assume to know all there is to know about hip-hop,” Kim said. “We wanted to speak with as many people as possible and translate that into the exhibition development and curatorial process. We acknowledge that the stories can be richer by including more voices and a multiplicity of art forms to show how, over the last 50 years, hip-hop has become embedded as part of the global culture.”

On the other hand, Kim notes the exhibit also recognizes how hip-hop was borne out of a hyper-localized moment.

“We wanted to reach beyond the museum walls and involve people to reflect the St. Louis community,” Kim said, adding the museum collaborated with local thinkers, scholars, artists, designers and organizations for the exhibit. “Often times with an exhibition, we have one curator, one expert, one artist. This is really about the whole community, the whole culture.”

Gathering input from St. Louisans was key in preparing for the exhibit.

“We listened deeply,” said Andrea Purnell, the museum’s audience development manager. “St. Louis has so much to say, and St. Louis was critical in telling the larger story about hip-hop.”

The exhibition, highlighting “one of the most vital movements to emerge from the 20^th century,” is divided into six sections that explore hip-hop’s sweeping influence, explains Hannah Klemm, Saint Louis Art Museum’s associate curator of modern and contemporary art: language, brand, adornment, tribute, ascension and pose.

The theme of Language is explored in the opening galleries, from graffiti to musical examples such as scratching, sampling, and written and spoken word. The Brand section demonstrates how an artist’s style and persona become intertwined with a product. One example is the red overalls and cap worn by Chance the Rapper during his 2016 performance on “Saturday Night Live.” At the time, the rapper was promoting his “Coloring Book” album and wore the now-iconic overalls by Chicago designer Sheila Rashid to many public events. Adornments such as wigs, grills and even an oversized plantain pendant attached to a chain (Miguel Luciano’s “Pure Plantainum”) are among the eye-catching items. In the Tribute section, find a few expressions of reverence and remembrance, such as Roberto Lugo’s glazed ceramic “Street Shrine 1: A Notorious Story (Biggie).” The next theme, Ascension, offers reflection – a reminder to visitors that artists use hip-hop to process and grieve. The Pose section focuses on self-expression and how one’s gestures, stance and mode of presentation can communicate to others.

In the center of it all is a display of tracksuits, which have become synonymous with hip-hop artists through the years, beginning with Run-D.M.C., whose “My Adidas” tracksuit and sneakers graced the cover of the group’s 1986 “Raising Hell” album. Look for designs from the late Virgil Abloh for Louis Vuitton, as well as a 2000 Baby Phat ensemble from St. Louisan Kimora Lee Simmons.

Another exhibit highlight is a custom-made soundscape, ambient sounds inspired by the themes of the exhibition.

“Think of it as an album to come back to again and again,” Purnell said.

In addition to the main exhibition in the East Building, “The Culture” extends to other areas of the museum, including in Sculpture Hall, where several large-scale works are on display. A giant pair of Air Force 1s – the coveted Nike shoe made all the more iconic by St. Louis rapper Nelly’s catchy, chart-topping 2002 hit – was created by local artist Aaron Fowler from salvaged car parts. Next to it is William Cordova’s reclaimed police car, the rear end of a Ford Crown Victoria bedecked with graffiti.

“The Culture: Hip Hop and Contemporary Art in the 21st Century” is on view through Jan. 1, 2024. Tickets are $12, $10 (seniors and students), and $6 (children ages 6 to 12). The exhibit is free for members and for younger children, and free for all on Fridays.

For a complete schedule of exhibition-related events, including this weekend’s block party, visit the Saint Louis Art Museum website.

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