FoR the Gods – PRiscilla Briggs
April 26 – July 31, 2018
Reception: April 26, 6 – 8 p.m.
April 9 – 18, 2018
Gage & Christensen Galleries
Reception: Tuesday, April 10, 4:30 – 6 p.m. Awards at 5:15 p.m. in the Oren Gateway Lobby
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.
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.
My project is an ever evolving, multidimensional look at Chelsea, Massachusetts, the city where I live. It is the smallest city in Massachusetts, measuring just 2.5 square miles, yet has a population of at least 40 thousand people. Chelsea has historically been a landing spot for new immigrants which makes it a city continuously in flux. The project was initially conceived as a photographic exploration of the ordinary and everyday within this small dense urban environment but it has expanded into a narrative portrait of a specific place and time. Chelsea is a Sanctuary City and has also twice received the All America City Award from the National Civic League. At a time when immigrants are being demonized and the idea of ‘who is an American’ is fiercely contested it feels more vital than ever to explore and document overlapping layers of history, culture, and architecture, to try to define both a singular city in transition and my own personal sense of place.
Image: Orlando, Chelsea, MA, 2008, Gelatin Silver Print, 17×17
Three women make connections between nature and people with work that includes interactive dimensions for all ages. Marvel Grégoire, Regula Russelle with Raven Miller, and CB Sherlock
Marvel Grégoire is a book artist and member of the Minnesota Center for Book Arts coop, where she enjoys the community of artists as well as assisting teaching in classes. Her multimedia books integrate letterpress, photogravure and paper making. Her work can be found in private collections throughout the country as well as museums, universities and
Regula Russelle is a Minnesota Book Artist Award winner for her body of work and contributions to the book arts community. Her work has been supported by the MN State Arts Board, the Jerome Foundation, and the McKnight Foundation. It has been exhibited and collected nationally. It can also be found on refrigerators, bulletin boards, and street corners. Regula loves teaching book arts at Minnesota Center for Book Arts and elsewhere, especially techniques with inexpensive tools and materials that can later be used on a kitchen table or a desk.
CB Sherlock made her first book in third grade and continues to make artist books. She focuses on small edition and one of a kind artist books. As an Artist Coop member at the Minnesota Center for Book Arts, she is able to flourish as an artist and teacher of letterpress and non-traditional bindings. She is the founder of Seymour Press and co- founder of Accordion Press Collaborations with Regula Russelle. Her work is exhibited internationally and found in many special collections including the Walker Art Center, the British Library and MOMA.
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
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.