The concept for Revisionaries first existed as a digital experiment between three artists in the form of Precarious Worlds, a show for the online gallery platform Gallery Gray, in 2011. In this remix, there is a chance to re-contextualize ideas that were first uncovered in the potential space created in the digital show and a chance to inject new ideas through experimentation and collaboration that can only take place in the physical space offered in the gallery.

Exhibition Statement:

As artists, our artworks share an interest in saturation: a tendency towards decoration through pattern, layers of color, information and fragmentation. Angela Zammarelli uses fabric, cardboard, and herself to make sculptural objects and installations. Melissa Wagner-Lawler uses digitally layered text and pattern to create a visceral, delicate surface on the page that takes the form of artists books and works on paper. While, Tim Abel uses printmaking, papermaking, and sewing to make sculptural paperworks that vary in size from the handheld to large-scale installations.

Artist Bios:

Tim Abel is a paper-based artist and community art educator living in Wisconsin.

Melissa Wagner-Lawler is a printmaker and bookmaker who resides and teaches in Milwaukee, WI.

Angela Zammarelli is an artist living in Massachusetts who creates environments with found materials coming from free piles, trash/recycling, and hand me downs.

All three received their MFAs from Minneapolis College of Art and Design.



Q & A with artist Roger Boulay


First I want to thank the Augsburg Art Department, Jenny Wheatley and her staff for accepting my exhibition application and being very gracious hosts. I also want to thank my family, Harvey, Shirley, Dekker, Charlotte and Brian for their support. A big thank you to Janet Hawkes, Rod Hawkes, Joan Lawrence and Joyce Lawrence, who helped me obtain a good chunk of the books for the piece. Kate Hawkes, my partner, has been wonderfully supportive and inhaled way too many gold paint fumes because of me and is a great accomplice in all things art and in life. – Roger Boulay

Where did the books come from?

The books came almost entirely from library book sales, where I could purchase fifty or sixty books for a few dollars. I also bought a few lots of books off of ebay to obtain specific genres for the piece that I couldn’t find at library book sales.

Have you read these books?

I have read a few of these books previous to making the piece. One hope I have is that viewers will identify certain books they’ve read in the piece and then have a connection to a few of the stories alluded to in the work.

What was the selection process for the books used?

The piece is made entirely of paperback works of fiction. I selected books that had some gold element on the cover, often embossed gold text. A book had to have a gold element on the cover and be fiction to be in the piece. Some books appear more than once.

How did you assemble them?

The covers are glued to each other. I used the backs of many of the covers to attach the piece together. First I made fourteen 3′ x 5′ rectangular panels and then attached those panels together and filled in around them to create the final composition.

What will you do with the text pages of the books?

I am not entirely sure yet, but I have some ideas for a sculpture or to reform the text pages into a recycled paper.

Can you explain the similarities and differences that “All That Glitters” and your previous exhibition titled “Pulp” share with one another?

Both bodies of work use paperback fiction as a starting point. Both projects are about erasure and disappearing. My process for some of the work in “Pulp” is a little different in that I’ve photographed some covers or pages to create larger panels that make shifts in scale or accentuate markings. “All that Glitters” is made exclusively out of actual book covers. Both projects reference building facades. Both works are about deterioration and change.

“All that Glitters” is different in that I’m concentrating on the possible meanings and associations of a particular color (gold) and how it relates to the mash-up of genres and time-periods and stories of the books in the piece.

Why did you organize the books into the shape you did?

On a basic level, I designed the piece for the Christensen Gallery. I didn’t make a piece that was thirty feet tall, because it obviously wouldn’t have worked for the space.

I want the shape of the piece to have different associations. For example, to me it references the periodic table, a fragment of a building facade or a big pile of gold bars.

What is your favorite genre to work with?

I enjoyed working with pulp fiction because the stories are so strange and the covers are really unique.

What kind of recurring themes did you find while working with the covers?

A lot of the titles use cliché in a specific way. There are tropes of particular genres such as the “damsel in distress” on the front of romance novels. By painting around the blonde or “golden hair” on these covers, it becomes more ambiguous as to who is male and female. That particular trope gets put into question.

What are some of your artistic influences?

I was thinking about the work of artists like Annette Messager, El Anatsui, Robert Heinecken, Adrienne Salinger, Patrick Manning and Mark Bradford while I worked on this project, all for different reasons. I also watched and rewatched a lot of Law and Order (the original series) while I worked on the piece.

What would you like the audience to take away from your show?

I hope people have an enjoyable visual experience and make connections to certain titles and text or some of the bits and pieces I didn’t paint gold that are floating through the piece. One of the strengths of this particular gallery is the ease with which the viewer can see things from a distance and also up close. I hope this enriches the experience of the work. I also hope the piece makes people think about value and how we assign value.

What would you like future generations to take away from this artwork if it is rediscovered a century from now?

That is a difficult question. I guess I wonder if print media will have mostly disappeared by then so this piece will speak to a particular moment of transition in our culture. I also hope the piece will describe how we constructed narrative and thought about color in some ways. Hopefully we are still around in a century…

Questions by gallery intern Megan Bartylla.


Q & A with artist Jeanine Hill


What is the main focus of inspiration for the pieces included in this exhibition?

I have spent the last two years working on the pieces for this show. In this time I have traveled quite a bit, and the extensive traveling has been an inspiration. But I would have to say that the greatest influence or inspiration for the work is the experience of landscape, the role it plays in our lives, and the way in which place enables us to not only understand who and where we are but also to navigate our world in a more grounded way.

How would you describe your creative process?                                                

I usually work in shifts. Because my studio practice involves a wide variety of materials, I rarely work with multiple materials at the same time. Working this way allows me to deeply focus on the material at hand and the processes required. A year of my artistic life will often involve six to eight months of working in clay, three months of drawing, and perhaps a month or two working with textiles. That being said, there could be a year that doesn’t look like this at all and I spend the whole year throwing pots or drawing. It all depends on where I am emotionally and physically at the time.

Where did your initial attraction to examining your path in life as a visual record stem from?

I come from a long line of storytellers and within this history there are diverse ethnic backgrounds that come into play. Storytelling and the making of artwork have played a tremendous role in my family’s history. I think that coming from such a diverse background as I do, as well as all of the moving and traveling I have done in my life, have required me to be constantly reflective. The consistent examination of who I am as a human being allows who I am to remain in a state of constant flux, which I suppose in some ways allows the change to not be so difficult.

What message do you want to get across to viewers through your art?

I don’t know that there is a specific message I am hoping to get across. I simply hope that in the telling of my story, it enables the viewers to see their own story within the work as well, that perhaps my work is simply a window or door into their own lives.

What are some of your artistic influences?

I am drawn to well-crafted, process oriented work that shows the presence of the hand in the work. So within this realm I would say that one of my biggest influences is Lee Bontecou. As an artist she possesses a strong integrity to craft and content, and it shows in the work. I am also deeply influenced by the work of Georgia O’Keefe. I find it refreshing to look at works of art that speak of beauty. Lastly, I would have to say I am heavily inspired by Karen Karnes. Her later, more sculptural works possess a strong sense of the unknown, while still trying to name the mystery of existence through the use of the hands.

You describe your work as “relics of visually constructed memory.” What influence does this kind of recordkeeping have in your day-to-day life?

I believe strongly in the recording of life so I carry a pen and journal wherever I go. There is something deeply personal about writing down notes that document your life, not so much so that you can go back and read it but to simply become acquainted with pausing throughout your day to witness and reflect. By witnessing and reflecting on my life through the written work and other materials such as clay, I am able to put it outside of myself and move on.

Would you say you are striving to create a visual diary?

No, not a diary, a visual landscape yes. A few years back I read this amazing book called the “Anatomy of the Spirit.” In the book the author talks a lot about how our bodies become a biological landscape of both our physical and emotional lives and that everything we go through both physically and emotionally affects our physiology. In essence we become a walking landscape. When I think of the work I am making, I suppose I think of it in a similar way. It is a visual landscape of my work, and one piece could be based on one particular moment or nine years of my life.

What are some of the reactions you have received from people viewing your work?

I have heard from quite a few people that they see my work as being fairly poetic and quiet. 

What is one thing you have learned about yourself as an artist in creating these works?

I have learned that it is helpful if I have time and space to slowly create the work, one piece after another. If I am able to sit with all of the work for a prolonged period, slowly, I am able to see how the pieces should fit together, who are the characters, and what the story is that needs to be told.

What kind of experiences do you draw from for inspiration?

I draw from all of my experiences, both the good and the bad. All of it is meaty and offers substance that can be used as inspiration.

How long did it take you to develop your own style?

I am still creating it.

Most of your ceramic pieces are rounded, organic and flowing shapes. Is there a specific meaning behind this?

I suppose when I think of the human body and the movement of landscapes, I think of soft, organic shapes.

Does your work on one project often lead to the inspiration of your next endeavor?

I do my best to not take too much down time in between projects, so the short answer is yes. But I would also like to believe that because it is my hand that is making the work, there will always be a consistent line of thought between the vast expanses.

What’s next? 

Keep making, making, making. It is all in the work.

Questions by gallery intern Johanna Goggins.


Hill Website ImageJeanine Hill presents various works including drawings, ceramics, and an installation. These works are inspired by the transformations of line into form, land into sky, and stars and planets into universes. This collection depicts a state of constant becoming.

Exhibition Dates: January 12 – March 26, 2015

Artist Statement: The works that I am currently making are three-dimensional maps of the literal and metaphoric terrains that I have traveled.  Within my work, form stands with purpose and content lies within the context of my life experiences.  It is through the examination of personal history and the construction and reconstruction of this history’s landscape that I am able to decipher my own mysteries through the morphology of clay.

Artist Bio: Jeanine Hill was born in Alcalde, New Mexico on a Pueblo reservation where she and her family were surrounded by vast orchards and high canyon walls. Her first exposure to the arts was early on when her father began taking photographs of the traditional Pueblo ceremonies by day and working with wood by night. She was taught the value of storytelling by her mother, who used words to shape the world. Jeanine’s own making and storytelling practices were forged out of hours of being lost in the woods of Vermont, and sharing stories with her siblings.

Gage Family Art Gallery


Boulay Exhibt Postcard_3For Boulay’s installation of over 1,000 gold paperback book covers, he collected pulp and popular fiction paperbacks with gold-embossed elements and meticulously painted the remainder of each cover gold. The work raises questions about value, taste and permanence.

Exhibition Dates: January 12 – March 12, 2015

Closing Reception: Thursday, March 12, 6:00 – 7:30 p.m.

Artist Bio: 
Roger Boulay is originally from Massachusetts. He earned an MFA from the University of New Mexico in 2011. He moved to the region in 2013 and now lives and works in Winona, Minnesota with his partner and two dogs. He has exhibited his work nationally.

Artist Statement: My work is about transition, precariousness and beauty. My current work uses books to investigate notions of instability and erosion. In this work, stories are layered upon one another, visible in fragments that collide and connect. I am exploring literal and metaphorical entropy at the intersection of language and material culture. For the last eight months I have been working on a site-specific installation. This piece involves over 1,200 popular fiction paperback book covers. Each cover has been selected because it contains gold-embossed lettering. I paint around each gold element with gold paint so that the entire book cover is covered in gold. It is detailed and methodical work. I am curious to see how erasing or camouflaging gold with itself could make the viewer think about the cultural and monetary value we associate with both gold and popular fiction.


Christensen Center Art Gallery

Call for Submissions: Next Juried Alumni Art Exhibition

CallForSubmissionsAlumni2015 Front

The Augsburg Art Galleries are now accepting submissions of recent work for the next juried alumni exhibition in Fall 2015!

– Submit up to three pieces.

– Fill out the Alumni Submission Form.

– Email your artwork images and completed form to


Open to all alumni of Augsburg College


Each artist may submit up to 3 images.

Artwork needs to have been made since our last alumni show (2011 or later).

Email the images, along with the Alumni Submission Form (found here) to


September 9: Deadline for submissions

September 18: Notification of acceptance via email

September 28: Deadline for receipt of accepted works

October 9: Exhibition opens


Christina Chang, Curator of Engagement, Minnesota Museum of American Art: Chang is originally from California, earning her BA in political economy from the University of California at Berkeley (Cal) in 2001 with a minor in art history. In 2003 she moved to the Midwest to begin the PhD program in art history at the University of Michigan. She completed the degree in May 2010 and immediately moved to Minneapolis to begin as assistant curator at the Weisman Art Museum at the University of Minnesota, where she stayed until June 2012. She serves on the Board of Directors of Photography @ the Center, a nonprofit organization started by the co-founders of the photography co-op, Mpls Photo Center. As Curator of Engagement at the Minnesota Museum of American Art, Christina is charged with embedding the museum into the cultural life of St. Paul and the Twin Cities through active dialogue with artists and organizations.

AWARDS & CASH PRIZES: Best in Show, Honorable Mention and People’s Choice

CONTACT: Email questions to


Q & A with artist Stephanie Hunder

What is the reference of the exhibition title?

This title specifically comes from a poem by Pablo Neruda, Entrance to Wood. To me, this poem suggests that there are spiritual qualities in the material, physical qualities of nature, similar to what is expressed in the artworks in the exhibition.

What originally inspired you to work with nature?

From childhood, I have always been exposed to and interested in scientific imagery – including natural history. When I learned to photograph, however, my real love of “close looking” at nature developed – the patterns and details are endlessly fascinating and almost miraculous.

Tell us a little bit about your connection to nature and how it affects your work.

It’s probably a general characteristic of Midwesterners to love nature – who around here doesn’t enjoy camping? Growing up, our house was on the edge of town, backed up to fields and forests that we spent plenty of time exploring, and we spent several weeks of every summer deep in the BWCA and Quetico. Nature always feels complete, whole, is beautiful, and makes sense.

I have tried in the past to make work that is more expressive of political ideas, or things I want to protest, but it is never inspired. I feel I have to make work about things I love, things I feel passion for, things that are inspiring – and then the work also contains those feelings.

What was your process of picking objects to run through the press?

In Johnson, VT, where my artist residency was, there was a stream that ran through the middle of town – so I just stepped off the sidewalk into the snowdrifts and hiked along it – it was pretty wooded and very snowy. I snapped off dried weeds and plants that had graceful lines, or somehow stood out by their gesture. Many things you cannot run through a press because thick or hard objects will damage the roller. Many things are also too large – the press bed there was only 28” wide, and plants are surprisingly big.

The first item I tried was a kind of thorny weed that we used to call “trip weed” – you know, the one that makes an arc and reattaches to the ground. It really was too thick and sharp – it made big wrinkles and punctures in the paper in a very “incorrect” manner – but I discovered that these marks spoke to me. One reason I am a printmaker is because I love process – how the act of printing a piece changes and adds to the image. Here, the process was extraordinarily apparent and clearly part of the image.

I experimented with different types of plants – when I returned home, I worked with a lot of the meadow grasses and wildflowers that grow around our house. But it was always things that caught my eye, or contained a voice. Whenever you walk outside you probably notice things like this.

On average how many times would you run one piece of paper through the press?

When I am doing traditional screen prints and intaglio, a print can have anywhere from five to fifty layers. For these prints however, each piece of paper has been run through the press only once- the layers here are made by multiple sheets of paper and collage instead. This process was notably hard on the paper – it came out wrinkled and stretched, and often cut or sliced by the plants.

Is there a specific fairy tale that you would say is prominent in your prints?

Stories where people are turned into trees…

Did you use reoccurring objects in your prints?

Often similar plants were used, while experimenting with what they would produce. The printing technique itself also creates several related images for each object used.

What surprises did you find with the technique you used?

I was a little surprised at how evident the collagraph process was – how the action of the press and paper became such a part of the image. In the gum-bichromate photograms, I was surprised at the variability of sharpness and shadow, and then the play of space between the collagraphs and photograms.

What is one symbol you use in your work to evoke a sense of familiarity with the viewer?

The works in the show have more expressive than symbolic qualities. However, there are some aspects that are recognizable, the most obvious being that they are plant matter – which has to do with life, growth, cycles, etc. The arrangements and textures may also evoke any branching structure – rivers, families, knowledge. I am interested in the iconic meaning of forms– in which objects are not associated with a specific cultural meaning, but have a meaning suggested by their form, the way they look.

What was the most challenging aspect of this process?

The pieces are big and messy, and exhausting to handle. The plants have a limited amount of time you can work with them before they become dry and crispy. Unlike the more planned printmaking I’ve done before, it’s hard to know how things will turn out, and there are no multiples to experiment with.

What are some of your artistic influences?

Mark Rothko, Judy Pfaff, Minor White, Terry Winters, Brice Marden, Karl Blossfeldt, Doug & Mike Starn, Audubon birds, scientific drawing, photomicrography, botanical art

What is next? Will you continue with this series or has it inspired another series/direction?

I am continuing with these collagraphs prints, but combining them with other imagery including old medical drawings – my next exhibition may be more of an installation, with loose papers hanging in overlapped arrangements.

Questions by gallery intern Megan Bartylla


Entrance to Wood by Stephanie Hunder

Entrance to WoodHunderImage1
Stephanie Hunder

Hunder creates images that are records of actual objects – branches and grasses inked and pressed into paper with an intaglio press or recorded as photograms on sensitized paper. Although mimicking scientific recording in some ways, the resulting prints are gestural and expressive, forming a subjective place within a skeleton of reality.

Reception: Friday, November 7 5:30 – 7:30 p.m.

November 3 – December 18, 2014

Artist Bio: Stephanie Hunder teaches printmaking and digital media at Concordia University in St. Paul, MN, where she is Gallery Director and Professor of Art. Originally from Minnesota, she received her BFA (1993) and MA (1997) from the University of Wisconsin–Madison and her MFA (2000) from Arizona State University. Hunder’s prints depict natural objects, such as plants and insects, sometimes in conjunction with manmade structures. Her work investigates the relationships between form, function, and meaning, presenting imagery that could be seen as iconic, symbolic, or scientific. She uses a variety of digital and photographic printmaking media, altering objective-style photographs with personal marks and subjective colors.

Artist Statement: Natural forms speak to us in metaphors – a moth emerging from its cocoon, seeds blown on the wind… Nature holds a place in our most basic understanding of the world and forms the foundation for the language of our thoughts. The subjective, inner world of the mind mimics the objective, outside world – nature, bodies, spaces. I use printmaking and photography to make a record of actual objects, yet I find the resulting prints expressive, gestural and mysterious. Collaged together, they question pictorial space and natural symbolisms –linear branches physically carve and emboss the flat paper, then fall into deep illusionistic shadows, forming a subjective place within a skeleton of reality.

Christensen Center Art Gallery – map
Hours: M – F, 8 a.m. – 8 p.m.; Sat. & Sun. 9 a.m. – 5 p.m.