Now in its 45th year of existence at UMSL, Gallery 210’s promotion of local artists and innovative programming have been vital for the campus – and the region.

Now in its 45th year of existence at UMSL, Gallery 210’s promotion of local artists and innovative programming have been vital for the campus – and the region.
Now in its 45th year of existence at UMSL, Gallery 210’s promotion of local artists and innovative programming have been vital for the campus – and the region.
Now in its 45th year of existence at UMSL, Gallery 210’s promotion of local artists and innovative programming have been vital for the campus – and the region.
Langeslag discussed her research on the neurocognition of romantic love to open the new series.
It will feature lectures, concerts, exhibits and more Nov. 6 to 8 at UMSL’s J.C. Penney Building/Conference Center and at UMSL at Grand Center.
It will feature lectures, concerts, exhibits and more Nov. 6 to 8 at UMSL’s J.C. Penney Building/Conference Center and at UMSL at Grand Center.
It will feature lectures, concerts, exhibits and more Nov. 6 to 8 at UMSL’s J.C. Penney Building/Conference Center and at UMSL at Grand Center.
Jane Birdsall-Lander’s repurposed wooden wall sculptures have the appearance of primitive objects. Jerry Monteith’s tiny and bizarre bug-like attractors are inspired by fly-fishing lures. Melody Evans’ flowing ceramic pieces are built upon a personal visual language, including the interaction between the human body and the environment.
Jane Birdsall-Lander’s repurposed wooden wall sculptures have the appearance of primitive objects. Jerry Monteith’s tiny and bizarre bug-like attractors are inspired by fly-fishing lures. Melody Evans’ flowing ceramic pieces are built upon a personal visual language, including the interaction between the human body and the environment.
Jane Birdsall-Lander’s repurposed wooden wall sculptures have the appearance of primitive objects. Jerry Monteith’s tiny and bizarre bug-like attractors are inspired by fly-fishing lures. Melody Evans’ flowing ceramic pieces are built upon a personal visual language, including the interaction between the human body and the environment.