Welcome to the ONLINE Gallery for the 2020 All-Student Juried Show
We wish things were different right now and that we could all visit the Gage Gallery and view these pieces in person. Although we are apart, we are thankful that we can share the work through a virtual space. This annual showcase features the artistic talents of Augsburg University students. We have work from 40 students across 17 different majors.
Thanks to our juror, artist Juliane Shibata, for selecting the pieces in the show and award winners. Also, the Strommen family generously agreed to continue their annual award. All awards will be announced during the virtual art reception on April 21. Contact firstname.lastname@example.org if you are interested in joining the celebration.
This online space was made possible with the help from the Galleries’ Graphic Design Interns, Fatemeh Astani and Cassie Nelson.
Also, check out the 3D Gallery version of the show with an optional guided tour around the space.
Click on any image below to start the slideshow feature. Then click through the entire show!
This past summer, twenty-one students and two professors traveled to the Netherlands to explore the question “What makes a society innovative?” Framed through a camera lens and historical thinking, they traced the creative Dutch approaches to agriculture, water management, transportation, and social design.
Artists Talk & Reception: August 17, 2019, 6pm, Gage Family Art Gallery
Xariir is an installation that examines the role of women in the Somali community with regards to the unspoken and informal ways of transferring knowledge from one generation to the next. Whether in applied settings within specific situations and actions as the end goal or through ceremonial rituals and outcomes, transference of knowledge takes many forms. In particular, elder members within the Somali community oversee the learning process.
The women in the community, bearers of wisdom, cherish their roles as educators and wear their status as a badge of honor. In this way, the elders mediate and steer the younger generation through various cultural relations that shape so much of the next generation’s frame of references and ways of knowing the world.
While formal education in schools plays a vital role in Somali society, settings for this type of traditional ways of knowing within the Somalis often takes place in private and public gatherings. Thus, the assemblage and juxtaposition of the various materials, patterns and colors in Xariir references the myriad ways in which wisdom from one generation to the next flows.
Khadijah Muse is a visual artist and art organizer based in Minneapolis, Minnesota. Her practice is greatly influenced by her commitment to community building. Khadijah uses art as a tool to explore interpersonal and environmental relationships using various mediums including photography, woodworking, sculpture, and installation.
Understanding the power of art, Khadijah facilitates opportunities for other Somali artists to optimize their artistic potential. She is the co-founder and director of Soomaal House of Art, a Minnesota-based Somali artists collective. Khadijah holds a BS in Sociology from the University of Minnesota. She is one of the two 2019 Soomaal Fellows, an initiative by Soomaal House of Art in partnership with Augsburg University Art Gallery.
Miel y Petróleo / Honey & Gasoline – Jonathan Herrera Soto
October 24–December 18
Reception: October 24, 6-8 p.m.
Herrera Soto explores various relationships between collective memory and historical instances of state-sponsored violence and trauma inflicted on politicized bodies. He constructs print-based objects, installations, and environments that echo lived experiences of those who are no longer with us. Print-based processes translate the content through symbolically revealing the act of remembering in producing tracings and impressions.
Miel y Petróleo / Honey & Gasoline is a collection “Love Poems.” The project in the exhibition consists of a daily exercise in analyzing and questioning notions of love in relation to political violence. As a work of para-fiction, “Love Poem” series shifts between various narratives, jumping to and from various forms of visual languages such as abstract rubbings, text, and images. Herrera Soto uses these compositions to work through his own notions of love in his personal life with family members, romantic partners, beloved friends, and the trauma he observes in his subject matter. The work crystallizes his perception of being intertwined and bound to his subject matter, unable to discern where the work starts and he begins.
This Exhibition is currently Postponed due to Covid-19. It will open when possible.
“as she turned tumors into treasures, she couldn’t help but wonder – do goldfish feel this naked?”– Danielle Krysa
Christensen Gallery: 720 22nd Ave S, Mpls, MN
THIS TALK HAS BEEN RESCHEDULE TILL FALL 2020
“How to Stop Being Creative: Excuses, Doubt, and Other Junk”
Talk with Danielle Krysa
Weisman Art Musuem: April 8, 7 p.m.
Reception and book signing following the talk. Books on sale in the WAM Shop. Talk is FREE but reservations required.
Fiona & Leona, Farrah, Fawna & Launa – all of them are feminine, beautiful, and a hot mess.
Eight out of ten women will have to share their bodies with uterine cysts and or fibroids at some point in their lives. I am one of those women. I have spent years battling these ugly lumps that continue to grow inside of me. What to do? Exactly what I did with jealousy when I decided to start my art site, The Jealous Curator – instead of allowing these masses to cause anxiety and upset, I flipped the narrative and have embraced them instead. While I await yet another major surgery, I am choosing to envision them – through portraiture – as beautiful, crystal-covered, pink treasures that I’m currently housing. These abstract portraits are not only made up of paint and found images, but also crystals, random objects from the bottom of jewelry boxes, and piles of vintage costume jewelry. Yes, this will be the most sparkly silver lining possible!
Several of the pieces will be hung in the gallery, with spaces for three more to come. I will be using the gallery as a studio, turning tumors into treasures as people stroll past (or stop to watch) on the other side of the glass. This is the most vulnerable work I’ve done to date, so being in a totally vulnerable situation also seems right. Terrifying, but right.
Danielle Krysa is a Canadian artist with a BFA in Visual Arts and a post-grad degree in design. Her combination of found imagery and carefully manipulated strokes of paint create an entirely new story. Coupled with the sly jokes that are their titles, Danielle’s works attempt to transform the everyday into something a little more ridiculous. Danielle is also the writer behind the contemporary art site, The Jealous Curator, and the author of “Creative Block”, “Collage”, “Your Inner Critic Is A Big Jerk”, “A Big Important Art Book – Now With Women”, and “A Big Important Artist – A Womanual”. Her work is held in private collections in Canada, The United States, Europe and Asia.
As part of Augsburg’s Sesquicentennial celebrations, Gage Family Art Gallery and Christensen Center Gallery will display works by Augsburg art faculty, dating back to the origin of the department in the 1950s. The exhibit will include works by early faculty like Hans Berg, Ivan Doseff, Robert Friederichsen, Mikelis Geistauts, August Molder, and John Mosand. We will also highlight art by longtime department stalwarts Norman Holen and Phil Thompson, along with selected work by current and recently retired faculty, including Susan Boecher, Lynn Bollman, Stephen Geffre, Chris Houltberg, Dan Ibarra, Regula Russelle, Tara Sweeney, robert tom, and Lyz Wendland.
This Exhibition is Currently Closed due to Covid-19. It will reopen when possible.
Reception: March 5, 6–8 p.m.
The artwork that makes up the series Nightfall explores the forest at night in order to better understand the life of the forest, especially in the (relative) absence of human interference. These quiet observations of the interconnected activities and processes of the nighttime forest aim to invite the viewer into a sense of entanglement and belonging with these natural spaces.
My abstracted landscapes are inspired by Rice Creek and the surrounding forest and suburbs near my home in Fridley, Minnesota. The subjects of my paintings – including downed trees, stagnant pools, and tangles of brush – demonstrate growth, decay, and various states in-between. I use overlapping imagery, expressive color, repeating pattern, and abstracted form as a metaphor for a subjective and ever-changing perception of reality. Viewpoints are chosen to create an experience of “being there” for the viewer. Shadow, light, and pattern obstruct or complicate a descriptive understanding of these places. Instead, the paintings offer a psychological interpretation of each chosen site, illustrating an appreciation for the impermanent and interdependent nature of things.
Shannon Estlund is an artist and educator living in Fridley, MN with her husband and two daughters. She holds a Master of Fine Arts in Visual Studies from the Minneapolis College of Art and Design and received her B.F.A. from the University of Florida. Shannon has received several grants for her work including several Minnesota State Arts Board Artist Initiative grants and two Community Foundation Art Ventures grants in her native Florida. She has exhibited her work nationally and internationally at museums and galleries including the Crisp Ellert Art Museum (FL), the Elmhurst Art Museum (IL), Soo Visual Art Center (MN), the Cummer Museum of Art and Gardens (FL), and at the National Galleries of Scotland. Her work has been featured in New American Paintings and Studio Visit magazines. Shannon is a current member of the collective Rosalux Art Gallery in Minneapolis.
Wendland’s brightly colored, mixed media paintings set up conflicts between contradictory shapes, encouraging an encounter and awareness to these relationships in our landscape.
Collecting from the natural world and influence of architecture, my work explores the abstract gestures beneath the organic and structural. My relationship to our ever-shifting landscape fuels my current practice. I observe my presence to these spaces through sketching from observation. Elements of these sketches lead to my larger works, a layered process of painting utilizing acrylic and gouache on paper and duralar. Pinned layers of floating strokes create multiple layers for interaction.
Grounded in an interplay of color and shape, a visual language between two-dimensional and three-dimensional segments is formed. My work sets up conflicts between contradictory shapes, encouraging an encounter and awareness to these relationships in our landscape.
By recalling my encounters, the work assembles momentary glimpses and memories of landscape in space. Through these explorations, the work confronts viewers’ assumptions about space and place, while casting familiar landscapes into new contexts.
Lyz Wendland is a visual artist living and working in Stillwater, Minnesota. She received her MFA from the Minneapolis College of Art and Design and her BFA in drawing, painting and art history from Minnesota State University, Mankato. Her work has been exhibited in galleries and museums regionally and nationally. Lyz has been the recipient of a Jerome Foundation Project Grant and a Minnesota State Arts Board Artist Initiative Grant. She has received numerous faculty development grants and awards for her research on improving participation, critical thinking and motivation relating to art critiques in studio courses. Currently, Lyz is Assistant Professor of Art at Augsburg University in Minneapolis, Minnesota teaching drawing, painting and design.
Soo Bood, Bood / Come Jump, Jump – Kaamil A. Haider
August 1 – 29, Gage Gallery
Artists Talk & Reception: August 17, 2019, 6pm, Gage Family Art Gallery
Soo Bood, Bood / Come Jump, Jump is a multi-channel video installation that uses traditional Somali dance as its starting point. The work examines the internal environment and logic of dance and its accompanying elements of movements and sound. Dance, as in all cultures, particularly in this Somali cultural context, call for many reasons, e.g., celebration, social connection, and self expression. This installation offers varied vignettes of the transformation and transcendence the body assumes as the dancers move, chant, clap and stomp in a unified frenzied rhythm.
In his practice, the artist’s engagement and preoccupation with rituals through repetition are related to his exploration of memory, archives and experiences of his community. Themes of discussion found in this installation, and in many other works by the artist, are constant discourse within the Somali diaspora communities such as the passage of knowledge, rituals and physical connection with their heritage as they forge a new life in their new homes.
Kaamil A. Haider is Somali born visual artist and graphic designer based in Minneapolis. He has received his B.F.A. in Graphic Design at the College of Design, University of Minnesota. In his art practice, Kaamil considers the power of memory and archives in relation to his personal experiences and that of his larger community. With over a dozen exhibitions, themes of discussion found in his artworks are constant discourse within the Somali diaspora communities such as the passage of knowledge, rituals and physical connection with their heritage as they forge a new life in their receiving societies.
In addition, Kaamil is a co-founder of Soomaal House of Art, a Minneapolis based Somali artists collective supporting a growing number of emerging and established Somali artists living in Minnesota and beyond. He is the recipient of the 2018 University of Minnesota Alumni Association’s U40 Alumni Leader Award for his academic achievement and community engagement through Soomaal. Kaamil is one of the two 2019 Soomaal Fellows, an initiative by Soomaal House of Art and in partnership with Augsburg University Art Galleries. He is also a 2019 Springboard for the Arts’ 20/20 Artist Fellow.
September 16–October 11, Gage & Christensen Galleries
Reception September 26, 6–8 p.m.
Awards @ 7 p.m. in the Oren Gateway Center Lobby
The biennial alumni show is open to all Augsburg alumni and showcases their most current work. This year, we are honored to have Keisha Williams, Curatorial Department Assistant and Artist Liaison in Contemporary Art at the Minneapolis Institute of Art, as our juror. The exhibition contains work from 23 alumni who graduated between 1967 and 2017 with degrees ranging from Art, Art History, Business, Communications, Education, English, Psychology, and Sociology.
Keisha Williams is the Curatorial Department Assistant and Artist Liaison in Contemporary Art at the Minneapolis Institute of Art. She holds an MA in Visual Arts Management and Curating from Richmond the American International University in London, as well as an MA in Art Gallery and Museum Studies from the University of Leeds. While in the UK, she worked at both the Battersea Arts Centre and the National Maritime Museum where she spearheaded projects on International Slavery Remembrance Day as well as a festival-wide takeover event with BAC Young Producers. She is a contributing author to the recent Routledge publication Accessibility, Inclusion, and Diversity and Critical Event Studies.