Overlook / Sugar Street by Brett Kallusky
April 26 – July 31, 2018
Reception: April 26, 6 – 8 p.m.
Brett Kallusky will exhibit photographic prints and sculpture from his ongoing project: Overlook / Sugar Street. The exhibition explores one microcosm in the nascent economy of renewable energy—that of the Santa Maria Landfill, and the surrounding landscape — which is part of a much larger cycle of land management, consumption, and waste.
Brett Kallusky is an assistant professor in the Art Department at the University of Wisconsin-River Falls where he teaches photography. He has been the recipient of two Minnesota State Arts Board Grants, a Fulbright to Italy, and a Fulbright Travel Grant. His work has been exhibited regionally, nationally and internationally in solo and group exhibitions. Kallusky has been a regular student portfolio reviewer at SPE (Society for Photographic Education) national conferences since 2012. He lives and maintains his studio practice in Minneapolis, MN.
August 29 – October 14: gage & Christensen Gallery
Reception: October 12, 6 – 8 p.m. Awards @ 7 p.m. Oren Gateway Lobby
Nicole Watson is the director of The Catherine G. Murphy Gallery at St. Catherine University, where she is committed to showcasing artwork grounded in women’s perspectives. She studied studio art, graphic design and art history at St. Kate’s and the University of St. Thomas, where she earned her B.A. in 2001. She received an M.A. in art and architectural history from St. Thomas in 2008; her thesis uncovered and examined the work of Marion Alice Parker (1873-1935), the only female Prairie School architect in the Minneapolis firm of Purcell & Elmslie. Formerly the manager of Groveland Gallery in Minneapolis, Watson also specializes in contemporary paintings by Minnesota and regional artists.
Image: Nancy Baker, Traveling, Monotype Print, 2017
John-Mark Schlink juxtaposes architectural constructions and natural subjects in his new series of prints. His multi-layered compositions incorporate intaglio, woodcut and screen-printing techniques.
Image above: Sacred Site, Intaglio, 18″x 24″, 2017
The artwork in this exhibition explores the visual relationship created by combining natural and manufactured elements. This combination is meant to appear grafted and somewhat uncomfortable. This tension and the forms I utilize are intended to reference ideas of transplantation, migration and change.
This project is a multidimensional portrait of the city where I live – a visual investigation of a complex industrial city, as well as an attempt to define my own personal sense of place.
Image: Orlando, Chelsea, MA, 2008, Gelatin Silver Print, 17×17
Three women explore the themes of nature and culture and ways the two connect. Marvel Grégoire, Regula Russelle, CB Sherlock
October 19 – November 9, 2017
Christensen Center Gallery
Artist Talk: Wedneday, Oct. 18, 11:10 a.m. Christensen Center Gallery
In The Logic Of The Exception Anthony Warnick engages the ways contemporary society repeats the same problematic states of exemption that have persisted in the United States for three centuries. This is done through the deployment of objects from pop culture and approbation of the prison industrial supply chain.
Anthony Warnick lives and works in Cleveland, Ohio. Warnick holds a M.F.A. in Sculpture from the Cranbrook Academy of Art and a B.F.A. from Minneapolis College of Art and Design in Web + Multimedia Environments. His work has been exhibited in solo exhibitions and group shows across the United States at such institution as Katherine E. Nash Gallery at the University of Minnesota, The Soap Factory, Roy G Biv Gallery (Columbus, OH), SPACES (Cleveland, OH), Minneapolis Institute of Art, Museum of Contemporary Art Detroit, and Cranbrook Museum of Art. He has been artist-in-residence at Elsewhere Museum (Greensboro, NC), SOMA (Mexico City), and Futurefarmers (San Francisco, CA). Also, he is the co-director for the alternative space The Muted Horn, a project space focused on bringing national and international artist to Cleveland, Ohio. His work is in public and private collections throughout North America.
My practice makes the viewer aware of the systems within which we operate. I commandeer appearances; treating art history as a database, retrieving and amalgamating for future creations. This intentional remaking highlights the collaborative production of culture. Through borrowing, the context becomes the primary focus. The forms fall into two categories: objects and performances. I construct the objects from common, recognizable materials like drywall, 2x4s, plywood, newsprint, and cotton fabric. These material choices draw attention to the overlapping conditions we operate within, rather than the allure of the pieces. I augment these corporeal elements with intangible ones like bureaucratic procedures and archival records. My practice critiques and dovetails with our everyday. While the economic, political, or educational systems feel immutable, my work provides and produces poetic and symbolic paths of resistance.
Image: Still from “One Hundred And Fifty More“, 2017
Landscape Abstraction by Matthew Winkler
November 14 – December 19, 2017
Matthew Winkler presents a new series of layered sculptures that explore the representation of place. Created with cut paper, wood, paint, and printed imagery, the works engage the gallery environment and set up an interplay physical and pictorial space and positive and negative form.
Matthew Winkler creates multi-layered drawings and sculptures that are a poetic response to the built and natural world. He is a 2017 Minnesota State Arts Board Artist Initiative Grant recipient and a 2014 recipient of a Southeastern Minnesota Arts Council Individual Artist Grant. Matthew is adjunct faculty at Winona State University, Saint Mary’s University of Minnesota, and Riverland Community College. He completed a BA from Williams College in 2004 and an MFA from California State University Long Beach in 2011. Matthew grew up in New Jersey and currently lives and works in Rochester, MN.
I’m interested in exploring an interplay of physical, pictorial and perceptual space in my work. I use cut paper, wood, paint, and printed material to make layered two and three-dimensional constructions. These works contain a shifting relationship between positive and negative form and engage with their environment, registering changes in light and shadow and allowing for different views within an exhibition space.
Experiences with specific landscapes and architectural spaces are the starting point for each construction. The places I choose to focus on often contain layers of meaning – personal as well as social or ecological histories. I use a distinct process of collage, digital manipulation, drawing/painting, subtraction, and accumulation. Through this process I allow the form of each work to appear over time. I consider the course of making of each work a metaphor for the complex process of understanding and assigning meaning to place. I would like viewers of my work to have a physical/sensory experience with the work first and then question what visual forms are being represented, deconstructed, or manipulated.
Contain Yourself by Allison Craver
October 19 – November 9, 2017
Reception: Thursday, October 19, 6 – 8 p.m.
Through processes relying on endurance and care, Craver attempts to unravel the seemingly disparate images and observations that compel her: scar tissue, heavy blankets, capillary action, the warmth and weight of our bodies. The sculptures presented in Contain Yourself are the result of her labor.
I want to articulate how material and form have the potential to simultaneously elicit tenderness, familiarity, and alienation. Through material investigation and labor intensive processes, my thoughts become sculpture.
I find comfort in making, physically manifesting contemplation through labor. Though a gesture of generosity, the process is also compulsive, carrying the weight of an obligation. I am continuously navigating this dichotomy, negotiating the needs of my work with my own capacity to give; I empathize with the nurse. I feel deeply connected to and profoundly detached from the things I make, like a vital organ tethered outside of my body.
Allison Rose Craver (1988) grew up in East Aurora, NY. She received an MFA from Ohio State University in 2017, and holds a BFA from New York State College of Ceramics at Alfred University. Allison’s work is process driven, utilizing ceramics materials in conjunction with fiber and found objects to explore the nature of care and labor. She currently lives and makes in Saint Paul, MN.
An Ache for Home
Selma Fernández Richter
Selma Fernández Richter, originally for Mexico, has been documenting recent immigrants to the Twin Cities who have been displaced from their country of origin by war, violence, and famine. Her project The Ache for Home is a meditation on her own experience of adapting to a new life and home in Minnesota.
Kamilo Noor, Minneapolis, MN, 2011, Archival pigment print, 20 x 20 in
Kamilo Mohamud Noor sitting on the porch of her new house in Minneapolis. She and 5 of her siblings where born in a refugee camp in Kenya. Her mother and older brother were born in Somalia. They arrived to Minnesota in 2011.