What We Have to Lose by Kimberlee Roth
Robert Silberman is Associate Professor of Art History at the University of Minnesota, where he teaches courses on the history of cinema and other subjects. He received his Ph.D. in English Literature from Columbia University. He was senior advisor for the 1999 PBS series American Photography: A Century of Images and, with Vicki Goldberg, co-author of the companion volume. A regular contributor to the Burlington Magazine, he has curated exhibitions on art, photography, and ceramics, including six exhibitions at Northern Clay Center in Minneapolis, most recently Out of the Labyrinth: Contemporary Mexican Ceramics. The many ceramic artists he has written about include Warren MacKenzie, Gail Kendall, Ken Price, Amy Sabrina, and Randy Johnston.
THE WONDER PROJECT – Art 226: Artist Workshop with Anne Baumgartner
The Wonder Project is a multi-layered art endeavor. Part social outreach and part visual celebration, the project hopes to create curiosity, conversation and new connections between the Augsburg campus and surrounding neighbors. Students in Art 226: Artist Workshop class are walking Seward and Cedar Riverside sidewalks to meet people and gather images and thoughts around the phrase, “I wonder_____.” The same questions are being explored in campus spaces and groups. Visiting artist Anne Baumgartner arrives on October 12 to direct art workshops and construction for the Fence installation on 21st Ave. This will be a re-purposed outdoor art collage that responds to what we’ve heard and seen. Continue reading “THE WONDER PROJECT”
Could you briefly explain your process for us?
The end goal is to have work with curvilinear edges and interiors having singular, or multiple, distinct concave sections. The outside edge of the work is drawn onto paper and then transferred to either Styrofoam or clay. The interior and sides are then carved. If the piece is clay, it is fired to cone 022. I then make a plaster multipart mold and use that to make the final slip cast porcelain forms.
How do the ideas and creation process start and how do you know when you’re done?
I look at a lot of artwork, keep up with current events and try to learn from what I think are successful art forms as to how their political and environmental issues are represented, distilled and communicated successfully. Continue reading “Q & A with Kimberlee Roth – What We Have to Lose”
What lessons did you take from Dante’s Inferno, and how do those themes play throughout your artwork in this show?
I read Mary Jo Bang’s translation of Inferno (Graywolf Press: 2013), and I was struck by how she brought the narrative into the present day. Her translation is full of references to current events and popular culture. This really brought the story to life and emphasized the timelessness of the human behaviors that Dante classified as “sins” — even the specific characters in his story (especially certain politicians and the like) have their counterparts in today’s world. But what interested me even more than the characters and their transgressions were the landscapes that Dante invented for each of the nine circles of Hell. Each circle has its own distinct terrain, climate, and weather that is perfectly tailored to the punishments that occur there. For example, the second circle is characterized by a ferocious wind that tosses about the bodies of those who are punished for sins related to “Lust”: the way that their bodies were out of control in real life is re-created eternally in the afterlife. Continue reading “Q & A with Megan Vossler – Terra Firma”
August 29 – October 27, 2016
Reception: September 16, 6-8 p.m.
In this exhibition of new drawings and sculpture, Vossler reflects on the narrative of Dante’s Inferno, specifically exploring how the metaphor of water functions as both a connective element and a source of danger.
Dante’s epic poem Inferno is an allegorical account of the weight of human transgression, and its complex metaphorical richness has enduring resonance. Nine “circles” of hell are described, each corresponding with sins of escalating consequence. In Dante’s story, the circles occupy distinct physical terrain, and the landscape itself is presented as vividly as the human and mythical characters are. Physical forces—the effects of rain, wind, and sleet, the perilous nature of mud and ice, and the pull of gravity—all become part of the narrative. Water, especially, functions as both a connective element and a source of mortal danger, exemplified by the treacherous swamps, marshes and depths of the river Styx. My work in Terra Firma explores these metaphors and dissonances through a contemporary lens.
Continue reading “Terra Firma by Megan Vossler”
A marriage of embellishment and utilitarian object is the inspiration behind my oeuvre: that is to create utilitarian non-traditionally shaped ceramic serving platters that maintain a curvilinear edge throughout the form and which reference historical decorative motifs. Today’s contemporary ceramics include figurative forms and abstract sculpture, utilitarian ware and architectural and decorative tile. My work is wall sculpture that is still functional; it can be used to also contain and serve food. Continue reading “Kimberlee Joy Roth – Artist Statement & Bio”
Art Exhibition 2017
April 11 – April 30, 2017
Reception: Tuesday, April 11, 4:30 – 6 p.m.
Gage Family Art Gallery
January 16 – February 26, 2017
Using unfired clay, Roberts’ sculptures question the consequences of nature and man. Nature bares life, nature takes life away, humanity resists, but nature in the end has the final say. And without question the cycle begins again. Continue reading “IMPRESSION by Kate Roberts”
March 3 – 31, 2017
Reception: March 3, 6 – 8 p.m. – Gage Family Art Gallery
Using elements of hand-driven animation, printmaking, and puppetry, Dowagers will explore ideas about vanity, shame, and disappointment through a set of reclusive sisterly characters with a grudge to bare.
For the Frill of It
November 11 – December 20, 2016
Reception: November 11, 6 – 8 p.m. – Gage Family Art Gallery
Cohen’s ceramic installation references clay roof tiles, using something practical as a springboard to make something impractical — ruffled tiles. In For the Frill of It, Cohen questions the definition of value, what is useful and important, and ideas of luxury and excess.