When did you begin working with watercolor?
I began working with watercolor as a primary medium 15 years ago. I was pregnant with my first child, and I wanted to keep working consistently without the use of toxic materials and fumes. Before this I had painted with oil paints on canvas. Continue reading “Q & A with Keren Kroul – Unquiet Territories”
Unquiet Territories by Keren Kroul
Christina Schmid thinks with art and writes as critical practice. Her essays and reviews have been published both online and in print, in anthologies, journals, artist books, exhibition catalogs, and digital platforms. She works at the University of Minnesota’s Department of Art in Minneapolis, where she gets to talk about art and theory for a living. Her teaching focuses on contemporary art, mixed with critical theories, framed by cross-cultural currents and driven, always, by deep curiosity.
For the Frill of It
As a ceramic artist, I am committed to exploring clay as an expressive material. Its tactile quality, rich history, and utilitarian, sculptural, and decorative applications continually inspire me. For the Frill of It references clay roof tiles, a practical springboard to make something impractical — ruffled tiles.
This project began as a daydream over a year ago. I imagined myself very small and standing under a giant ballerina’s tutu. Surrounded and enveloped by her tutu, I was swept by the beauty of her skirt. It wasn’t until I revisited this daydream that I began to recognize the strength, power, and grace of the ballerina. Continue reading “Eileen Cohen – Artist Statement”
Where did you find the inspiration for this project?
A few ideas played into the conception of this piece. I knew I wanted to use the wall and create work with a strong visual impact. I was thinking about fabric moving on or off the wall, about molding and how it is used to hide or conceal seams and dress up a space, and about ruffles and tutus. Further, the connection to ceramics as a material and its history was an important factor and consideration. The work references roof tiles and makes a connection back to clay as a humble material, one with function and purpose. I questioned the purpose of making ruffled tiles to make a pretty wall and the value of doing it, For the Frill of It, so to speak. The journey has been invaluable and full of unexpected lessons. Continue reading “Q & A with Eileen Cohen – For the Frill of It”
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”
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 “Megan Vossler – Artist Statement & Bio”