Q & A with Allison Rose Craver – Contain Yourself

 

What prompted your interest in creating work about the body?

My interest in the body revealed itself over time. In the beginning it was not a conscious pursuit. As I generated more and more work, however, the body was an obvious thematic pattern. I choose to embrace it. My personal history includes caregiving, and I have been witness to a great deal of physical pain. So, it makes sense that my work would reflect this preoccupation.

 

 

What is your process for choosing materials and the scale for a particular piece?

I usually start with a material that I am drawn to. Whether it is fiber or a specific clay body, I won’t understand its role in my studio practice until I have spent time playing with it and exploring all of its properties. This process could happen very quickly, or it might take many months of rumination. But eventually I will realize how the material relates to my conceptual interests, and a piece will follow. The process is very intuitive. In terms of scale, I often make work that relates to the size of my own body. I also appreciate making work that acknowledges my physical limitations; I am unlikely to make something that I can’t lift or move myself. I enjoy feeling autonomous, especially in the context of my studio.

 

 

To what extent do you plan out a piece before executing it?

While I might plan something in the beginning, this is usually just a strategy to get myself started. As soon as I begin working I am looking for moments that hold potential, and I am always open to changing the piece. The work is the result of a process – I can’t relate to the idea of ‘executing’ a piece. It would be more accurate to describe the idea as fuel: it gets burned off.

 

 

What research is informing your current work?

My work draws from my personal experiences and an eclectic mix of readings, observations, artworks, and stories. Research is important because it gives work context and keeps it relevant, but my work and research interests are not linear. I spent a lot of time in graduate school reading about nursing and other forms of caregiving. I was fascinated with Florence Nightingale.

 

 

What have you learned in the process of creating this work?

Preparing for this show has been challenging! I just graduated from Ohio State
University and moved across the country, so I have been learning about the challenges of working, living, and art-making outside of a structured academic setting.

 

 

How do you go about titling your pieces?
I spend time reading the dictionary, looking up words that seem relevant to a particular piece. I like pulling apart definitions and finding linguistic connections. I try to keep titles simple and let the works speak for themselves.

 

 

What is the most necessary and/or important item in your studio and why?

This is a really tough question! I can’t think of anything I couldn’t do without. I like to believe that my practice doesn’t rely on anything besides my hands and my curiosity.

 

 

How do you seek inspiration for a new series?

It is difficult for me to break my work into series or discrete investigations. Each piece builds on the last, and the work is a continuum. When I need inspiration I usually don’t have to look further than my studio table. If things feel stale, spending time in the world and reading will help me see older work from a fresh perspective. I am always making work about the same things – always trying to answer the same questions. Again and again.

 

Questions by Gallery Assistant Kristen Holmberg

Biennial Alumni Show – 2017

August 29 – October 14: gage & Christensen Gallery

Reception: October 12, 6 – 8 p.m. Awards @ 7 p.m. Oren Gateway Lobby

 

JUROR

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

THE LOGIC OF THE EXCEPTION by Anthony Warnick

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.

Bio

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.

Statement

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 – Matthew Winkler

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.

 

Artist Bio

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.

 

Artist Statement

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.

Call for Entries: Alumni Show 2017

 

 

The Augsburg Art Galleries are now accepting entries of recent work for the next Alumni Show

Deadline August 1

 

ELIGIBILITY

Open to all alumni of Augsburg College

ENTRIES

  • Each artist may submit up to 3 images
  • Artwork needs to have been made since our last alumni show (2015 or later)
  • Email the images along with the Alumni Submission Form to gallery@augsburg.edu

DEADLINE

August 1: Deadline for entries

AWARD

Top prize is $1,000

JUROR

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.

TIMELINE

August 1: Submission deadline

August 9: Notification of acceptance via email

August 17 – 19  Artwork drop off at the galleries

August 29 – October 14: Exhibition dates

October 12: Reception, 6-8 p.m. Awards @ 7 p.m.