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

 

 

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.

 

 

 

Susan Boecher – Artist Statement & Bio

Boecher ArtworkNOW by Susan Boecher

 

Artist Statement

The shock, fear, and disbelief one feels after receiving a cancer diagnosis is difficult to articulate. Those who have cancer or overcome it understand the vulnerability, uncertainty and emotional rollercoaster that it creates. Once diagnosed, to remember life as assumed and normal is no longer an option.

In November 2015, I was diagnosed with small cell lung cancer, a value-laden cancer that is the most fatal of all cancers. It accounts for approximately 1 in 4 cancer deaths annually and was expected to cause 158,080 deaths in 2016.

At the time, the doctors were encouraged by the size and timing of discovering the node. They suggested a possible curative outcome and prescribed an aggressive six-month treatment plan that included chemotherapy and radiation to both lung and brain. Despite their optimism my response was quite the opposite: anger, sadness, fear, disbelief, shock, confusion and an overall lack of control. Although I thought that a variety of profound experiences had taught me resiliency and mindfulness, this diagnosis was, in some sense, the most difficult because it forced an immediate examination of my own mortality and death in a manner that felt real and more imminent. Because social issues and personal experience have always inspired my creative work, I knew I had little choice but to use my diagnosis to create a new body of work.

NOW is an installation of color photographs and three-dimensional objects which presents the physical and emotional transitions I encountered during both private and public moments while in treatment and recovery. This work attempts to challenge conventional notions of cancer by presenting a perspective that is in turn personal, investigative and confrontational but also playful, positive and at times irreverent.

While a series of self-portraits simultaneously depicts horror and disbelief, other prints present the inescapable nightmares, dreams, and fantasies that have been equally pervasive. An installation of radiation masks as wall mounts, mounds of fallen hair and broken eggshells challenge the viewer to confront the harsh realities during and after treatment. Cancer fortune cookies, Wooly Willy and Magic Eight Balls, all childhood games of chance, lend a playful air and provide a less weighty perspective of cancer.

NOW challenges traditional cancer perceptions and stigmas attached to cancer with a non-traditional creative approach. It presents evocative visuals with elements of play to underscore life’s uncertainty without being cathartic or overly sentimental.

A year and a half after diagnosis, I now live in three-month increments where CT scans determine my next step. As a result I have developed a profound appreciation and gratitude for time, strive to assume little and take even less for granted.

With cancer there is no looking forward or turning back, only NOW.

 

Bio

Susan Boecher’s creative practice spans over 20 years and continues to emphasize social research and activism through community-driven photography. She established OverExposure, a media arts nonprofit that partners photographers with nonprofit groups on theme-specific photography projects.

I Want to Believe – Brandon Kuehn

Brandon Kuehn Artwork

I Want to Believe
Brandon Kuehn

June 9 – August 4, 2017
Christensen Center Art Gallery

In 2015, Brandon Kuehn received the Minnesota State Arts Board Artist Initiative Grant. He traveled around the state of Minnesota documenting and creating original artwork about the state’s paranormal stories, myths, legends, and more.

Artist Statement

What is the difference between what we know and what we believe?

The Hopi people of the Southwest United States believe they were seeded by Kachinas or ‘Star People’ in their ancient past, and their descendants look today at the sky and await their return. Similar stories influence numerous cultures, both past and present, and have given rise to thousands of “UFO Religions,” around the world. I Want to Believe is a look at the iconography of the UFO phenomenon and its impact on our collective subconscious.

Artist Bio

Brandon Kuehn is an artist and educator who received his BFA from the U of M, Twin Cities, and his MFA from Lesley University College of Art and Design. In 2014 and 2016, Brandon curated The Art of Darkness: Inspired by the Paranormal, at the Banfill-Locke Center for the Arts in Fridley. He has exhibited his own artwork nationally, and in 2015, he received a Minnesota State Arts Board Grant for his work: The Paranormal Art Project www.paranormalartproject.com.

 

DOWAGERS by JOHANNA WINTERS – Artist Statement & Bio

wintersposterimage

 

Opening: Friday, March 3, 6 – 8 p.m.

Gage Gallery, Oren Gateway Center

 

Artist Statement
My work behaves as playful coping rituals for anxieties about aging, vanity, shame, and disappointment. I use elements of animation, printmaking, and puppetry to concoct an elixir of discomfort and delight. This coupling of unfamiliarity and recognizability is seductive in the belly.

My recent performative puppet/figure work, Dowagers, explores ideas about control and play through a pair of reclusive sisterly spinsters who manage to encounter glee despite their strange condition. 


Artist Bio
Johanna Winters hails from Minneapolis, MN, and is currently a candidate in the MFA printmaking program at the University of Tennessee-Knoxville. She has worked as the Education Manager at Highpoint Center for Printmaking in Minneapolis, taught printmaking as an Associate Lecturer at UW-Green Bay, and recently completed a puppetry residency at the Open Eye Figure Theatre in Minneapolis. Her work has been included in national juried exhibitions, print biennials, and portfolios.