tag:blogger.com,1999:blog-44586244347306084962024-02-07T11:49:18.393-08:00Soo Visual Arts CenterMission
Soo Visual Arts Center is a nonprofit art space that connects our community with fresh, under-represented and provocative art.
Vision
Soo Visual Arts Center envisions a dynamic community in which artists and audiences challenge each other in an environment where art is integral to everyday life.Alison Hiltnerhttp://www.blogger.com/profile/18226215574512894212noreply@blogger.comBlogger74125tag:blogger.com,1999:blog-4458624434730608496.post-14483769682700028362017-05-13T09:16:00.001-07:002017-05-13T09:35:18.226-07:00Studio visit with Syed Hosain<br />
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<span style="font-family: "calibri" , "verdana" , "helvetica" , "arial"; font-size: 11pt;">When we’re not in the gallery, you’ll often find Alison, Britt, and Carolyn checking out exhibitions and artist studios. There’s so many interesting artists and projects, we’ll be sharing some here with you. If you are interested in a studio visit or have an exhibition coming up, please email us at <a href="http://info@soovac.org/">info@soovac.org </a>. </span><span style="font-family: "calibri" , "verdana" , "helvetica" , "arial"; font-size: 11pt;">Britt and Carolyn had the pleasure of visiting Syed Hosain’s studio and home a few times last month. </span></div>
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<span style="font-family: "calibri" , "verdana" , "helvetica" , "arial";"><span style="font-size: 11pt;">Enjoy!</span></span>
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<tr><td class="tr-caption" style="text-align: center;"><span style="text-align: start;"><span style="color: #1a1a1a; font-family: "times new roman"; font-size: small;">Syed Hosain and his studio assistant Sadie</span></span></td></tr>
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<h4>
<span style="color: #1a1a1a; font-family: "times new roman";">Syed Hosain is a working artist, stay at
home father, and political activist that lives in Minneapolis. Hosain received his bachelor of fine
arts degree at the </span><span style="color: #474228; font-family: "times new roman";">University of Karachi,
Pakistan. He has exhibited in the Twin Cities, New York and Pakistan. You can
see two of his paintings at the MSP Airport in Terminal 2 in the SooVAC
installation case.<br /><o:p></o:p></span><span style="color: #474228; font-family: "times new roman";"> </span></h4>
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<b><span style="color: #1a1a1a; font-family: "times new roman";">Q.</span></b><span style="color: #1a1a1a; font-family: "times new roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.5pt;"> Where do you work?<o:p></o:p></span></div>
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<b><span style="color: #1a1a1a; font-family: "times new roman";">A.</span></b><span style="color: #1a1a1a; font-family: "times new roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.5pt;"> <i>I work at home. In
the basement or garage, depending on the weather. I work in the basement during
the winter and the garage during the summer. Typically, I work on bigger works
in the summer and smaller works in the winter.</i></span><i><span style="color: #1a1a1a; font-family: "times new roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.5pt;"><o:p></o:p></span></i></div>
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<b><span style="color: #1a1a1a; font-family: "times new roman";">Q</span></b><span style="color: #1a1a1a; font-family: "times new roman";">.</span><span style="color: #1a1a1a; font-family: "times new roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.5pt;">
Why work at home?</span><span style="color: #1a1a1a; font-family: "times new roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.5pt;"><o:p></o:p></span></div>
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<b><span style="color: #1a1a1a; font-family: "times new roman";">A.
</span></b><span style="color: #1a1a1a; font-family: "times new roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.5pt;"> <i>I am a full time stay
at home dad. I raise the kids (3 kids). I run into the studio when I have time
its not only accessible but It’s also affordable.<o:p></o:p></i></span></div>
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<b><span style="color: #1a1a1a; font-family: "times new roman";">Q</span></b><span style="color: #1a1a1a; font-family: "times new roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.5pt;">. What are you working on right now? <o:p></o:p></span></div>
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<b><span style="color: #1a1a1a; font-family: "times new roman";">A.</span></b><span style="color: #1a1a1a; font-family: "times new roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.5pt;"> <i>I’m working on
abstract paintings, landscapes. The landscapes are somewhat referential: my
childhood around mountains and sea in Pakistan from memory</i></span><i><span style="color: #1a1a1a; font-family: "times new roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.5pt;"> and at
times is p</span></i><i><span style="color: #1a1a1a; font-family: "times new roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.5pt;">olitical: colors representing anxiety. The large size
represents the idea of freedom.</span></i><i><span style="color: #1a1a1a; font-family: "times new roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.5pt;"> </span></i><i><span style="color: #1a1a1a; font-family: "times new roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.5pt;">Freedom of painting and abstract dictates how the
narrative happens. I think a lot about space: Minnesota and Minneapolis feel so
spacious and vast to me. It feels suburban not urban. I also think about
occupying space. I feel free to make muscular paintings with a lot of
paint and not be so concerned with the outcome.<o:p></o:p></span></i></div>
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<b><span style="color: #1a1a1a; font-family: "times new roman";">Q.</span></b><span style="color: #1a1a1a; font-family: "times new roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.5pt;"> You currently were awarded the MSAB grant, what’s your
project for that?<o:p></o:p></span></div>
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<b><span style="color: #1a1a1a; font-family: "times new roman";">A.</span></b><span style="color: #1a1a1a; font-family: "times new roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.5pt;"> <i>I’m working on
painting portraiture that are very painterly and a multi-layered penetration of
individuals in the Somali community. </i></span><i style="color: #1a1a1a; font-family: "times new roman";">My family and I go to mosque, not just for prayer but also for relationships and community. Most mosques in MN are predominantly Somali. When we moved here 4 years ago from NY, we started to meet a lot of Somali people at the mosque. </i><i style="color: #1a1a1a; font-family: "times new roman";">I don’t pick people randomly; it’s people I have relationships with. </i><i style="color: #1a1a1a; font-family: "times new roman";">I am taking photographs of these people
within their home because I’m interested in Interiors and love that each home
offers a different experience. The objects people surround themselves with tell
a lot about their culture and community. </i></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYnF3zK5vDSaM43ggMK6th2xVcbdO7LKpmO0KYnX0oNm3fsYpzIPKqtcX41duZJ5gbtJjQNg-FykRV4tReSUSeOdH5SyBjEtPFVhkAZmQAx3hdUrfNyondasW4KNpEVaNeMPzr_gjsHfcG/s1600/gaza-+capital+in+wreckage.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYnF3zK5vDSaM43ggMK6th2xVcbdO7LKpmO0KYnX0oNm3fsYpzIPKqtcX41duZJ5gbtJjQNg-FykRV4tReSUSeOdH5SyBjEtPFVhkAZmQAx3hdUrfNyondasW4KNpEVaNeMPzr_gjsHfcG/s200/gaza-+capital+in+wreckage.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gaza- Capital In Wreckage </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXT4SzCTuTiv1wX-pP24ablWgVUoUC7GlAG0usvXOZo_gVOimivK0KKsnZ-UVLOjP0WCIB5lk78cw3UcW1KVCvdGhfjYsKn2U-R3EgpUEObukTWYdpZUJ2NgtCIQ636sL6r2sxAMrn_DkM/s1600/capital+in+wreckage++.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXT4SzCTuTiv1wX-pP24ablWgVUoUC7GlAG0usvXOZo_gVOimivK0KKsnZ-UVLOjP0WCIB5lk78cw3UcW1KVCvdGhfjYsKn2U-R3EgpUEObukTWYdpZUJ2NgtCIQ636sL6r2sxAMrn_DkM/s200/capital+in+wreckage++.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Capital In Wreckage</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5TA6O0UH2RZbZpt5hDooG3CPb7Aqjh9utOEi7oLgy-W607Et5C6-W1XSNbWxdMRWSUHavEfVtC4rN9s0lxJ0LgJsgQLVklFuY7sib22X461OaqK4YxIEXTgFo-mUEbNWcd-kFwb3f1afn/s1600/delights+and+liabilities+.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5TA6O0UH2RZbZpt5hDooG3CPb7Aqjh9utOEi7oLgy-W607Et5C6-W1XSNbWxdMRWSUHavEfVtC4rN9s0lxJ0LgJsgQLVklFuY7sib22X461OaqK4YxIEXTgFo-mUEbNWcd-kFwb3f1afn/s200/delights+and+liabilities+.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Delights and Liabilities <b><i><span style="color: #1a1a1a; font-family: "times new roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.5pt;"> </span></i></b></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Culture and Wilderness </td></tr>
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<b><i><span style="color: #1a1a1a; font-family: "times new roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.5pt;">Q</span></i></b><b><span style="color: #1a1a1a; font-family: "times new roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.5pt;">. </span></b><span style="color: #1a1a1a; font-family: "times new roman";">Where do you see art and artists in the current political climate?</span></div>
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<b><i><span style="color: #1a1a1a; font-family: "times new roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.5pt;">A.</span></i></b><i><span style="color: #1a1a1a; font-family: "times new roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.5pt;">
Actually, I believe great things will happen now because of the 2016 election. People are paying attention to art, there's a lot of discussion around it right now.</span></i><i><span style="color: #1a1a1a; font-family: "times new roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.5pt;"> </span></i><i><span style="color: #1a1a1a; font-family: "times new roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.5pt;">It is time for us to fight. We’ve
been complacent. Our backs are against the wall. </span></i><i><span style="color: #1a1a1a; font-family: "times new roman";">Artists should reach
out. They should invite their neighbors, invite the bodega owner they see every
day to openings. Share the art. That is what community is.</span></i><br />
<i><span style="color: #1a1a1a; font-family: "times new roman";"><br /></span></i></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjis4mvbxtNxe2V9LxDJahRsAzfIzyD8vP2SNNYsJDENm117MTjqi0vfn4v9OGVuXTPHAuaB76glObOw1m9DfbvDQ72HNNuI1nzMswASs8-MkuAx4dlLmdE78iMYGd950d5oUyR1OpxjwkD/s1600/fanning+the+flames+.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjis4mvbxtNxe2V9LxDJahRsAzfIzyD8vP2SNNYsJDENm117MTjqi0vfn4v9OGVuXTPHAuaB76glObOw1m9DfbvDQ72HNNuI1nzMswASs8-MkuAx4dlLmdE78iMYGd950d5oUyR1OpxjwkD/s320/fanning+the+flames+.jpg" width="256" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">fanning the flames</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidC-1sikO3_WuXhO2dKtCON_r2Cid37uoT-7I4QmagNz92cP0ATZaU_6KFNG1VafB62CEV08OQ_GL1BpRbJKMUbDGtuZt2-eG3sBtUSSIr17RKpYsTKPaPDvgCkb2UCfqWZKUkbKII_XE1/s1600/Syed_.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidC-1sikO3_WuXhO2dKtCON_r2Cid37uoT-7I4QmagNz92cP0ATZaU_6KFNG1VafB62CEV08OQ_GL1BpRbJKMUbDGtuZt2-eG3sBtUSSIr17RKpYsTKPaPDvgCkb2UCfqWZKUkbKII_XE1/s320/Syed_.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-size: xx-small;">SooVAC installation at the MSP Airport, Terminal 2. Syed's paintings are on the left and right of the case. Also featured is work by Alison Hiltner, Terrence Payne, Andrea Carlson, Aaron Dysart, and Michon Weeks.</span></span></td></tr>
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<i style="font-family: 'times new roman'; text-align: justify;"><span style="color: #1a1a1a;">Want to see more of Syed's work? Follow on Instagram: </span><a href="http://www.instagram.com/syed_hosain/"><span style="color: blue;">Syed Hosain</span></a></i></div>
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<!--EndFragment-->Alison Hiltnerhttp://www.blogger.com/profile/18226215574512894212noreply@blogger.com1tag:blogger.com,1999:blog-4458624434730608496.post-45131767190451830912016-03-06T10:13:00.004-08:002016-03-06T10:13:59.354-08:00Now here, nowhere: An Interview with Tim Tozer by Lisha Kirpalani
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<b>1. Would you tell me the process of your paintings
and how you see them existing in the world?</b></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<i>The paintings are made with acrylic and spray
paint, wet over wet to create layers that can be peeled or sliced. Because the process
is quite physical and the illusionistic space within the paintings is
restricted, I want them to feel somewhat like objects rather than windows onto
another world. However, there is enough ambiguity in the scale of the forms
depicted that the paintings have a pictorial space separate from the one they
inhabit as objects. </i></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVTStYHzsE8NKLuR6plcVxdKDNRssJACZqxFTM5O2d6VmovTQIqQ30eh_yM7SnfNz01JVsqmiYPd5kUYPpoETsU80qEcJKrbCQfgRE93rMcjYlWogKuzIbG4ENbN_LJE5HdF-XxMlH2fZ1/s1600/Tim02Tr.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVTStYHzsE8NKLuR6plcVxdKDNRssJACZqxFTM5O2d6VmovTQIqQ30eh_yM7SnfNz01JVsqmiYPd5kUYPpoETsU80qEcJKrbCQfgRE93rMcjYlWogKuzIbG4ENbN_LJE5HdF-XxMlH2fZ1/s400/Tim02Tr.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;"><i>Black Hand</i>, 2016 (Triptych)</span></td></tr>
</tbody></table>
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<div class="MsoNormalCxSpMiddle">
<b>2. Your work seems to have changed significantly
just in the last year. How do you view the work at SooVAC in terms of
representation and abstraction?</b></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<i>I’ve been oscillating between abstraction and
figuration for a number of years. Having just completed a body of figurative
painting for my show at the Groveland Gallery last year, it felt right to do
something different. Both sides of my work inform each other, and ultimately
they are both forms of representation. There are received and invented forms in
both, and the tension that exists between them is the place I try to operate as
an artist. Whatever the subject matter, painting is essentially abstract; it’s
simply a question of emphasis or the baggage one brings as a viewer that
decides the way in which a painting can be read.</i></div>
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<i><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpGQfp0MZuTBbm6bowM7ISMhWVSSLoRLA3N6llcmRWsnVWMz33IpkfxeyTGAfomS7KZGZtlsEpqMunnZ4iDnQccCEMo3LvcMqU2RKxdZbOSmHGlQmjOx1QLaIi-pknS7zAmDpQVJKqst3R/s1600/TozerWeb02.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpGQfp0MZuTBbm6bowM7ISMhWVSSLoRLA3N6llcmRWsnVWMz33IpkfxeyTGAfomS7KZGZtlsEpqMunnZ4iDnQccCEMo3LvcMqU2RKxdZbOSmHGlQmjOx1QLaIi-pknS7zAmDpQVJKqst3R/s320/TozerWeb02.jpg" width="317" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Black Mass III, </i>2016<i><br /></i></td></tr>
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</i></div>
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<i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpGQfp0MZuTBbm6bowM7ISMhWVSSLoRLA3N6llcmRWsnVWMz33IpkfxeyTGAfomS7KZGZtlsEpqMunnZ4iDnQccCEMo3LvcMqU2RKxdZbOSmHGlQmjOx1QLaIi-pknS7zAmDpQVJKqst3R/s1600/TozerWeb02.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a></i></div>
<br />
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<br /></div>
<div class="MsoNormalCxSpMiddle">
<b>3. How do you come up with
inspiration/ideas/concepts for your work?</b></div>
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<br /></div>
<div class="MsoNormalCxSpMiddle">
<i>I try not to make anything with a preconceived
idea or concept. I have many sketchbooks that provide the fuel for a lot of my
work, I take photos and look around me; this is the visual nourishment I need.
I need forms for my imagination to feed on, and the ideas I pursue develop from
the process of making.</i></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<b>4. What does your studio look like? What is your
studio routine?</b></div>
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<br /></div>
<div class="MsoNormalCxSpMiddle">
<i>I work in my garage, which I converted to a studio
a few years ago. Generally, it feels too small and too dark, but it’s
convenient. I’m always grateful that I can duck out of the house and work when
time allows. This sometimes means before my children get up, or after they go
to bed. Once I’m in the studio, I listen to music, drink coffee and stare at
the work, breaking this routine up with bouts of frantic painting. </i></div>
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<br /></div>
<div class="MsoNormalCxSpMiddle">
<b>5. What are some distractions in your studio?</b></div>
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<br /></div>
<div class="MsoNormalCxSpMiddle">
<i>I try to keep those out. Besides, there’s no room.</i></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<b>
</b><div class="MsoNormalCxSpMiddle">
<b>6. When do you consider work finished? Is there a
planned outcome?</b></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_DU_BVjPjCCo1a-qCOqqiHA4m4_Vxl5zDeCYOhCrmVkawlwhNEYqjmJKw0q3SIn3ZZQNlEcDVFSwlG31jOsBihA1hidUOJhEPGk2eu8sfC9Xwwn3qGE_1zwSOZpO75DOk1vg7rg2qjl0r/s1600/TozerWeb04.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_DU_BVjPjCCo1a-qCOqqiHA4m4_Vxl5zDeCYOhCrmVkawlwhNEYqjmJKw0q3SIn3ZZQNlEcDVFSwlG31jOsBihA1hidUOJhEPGk2eu8sfC9Xwwn3qGE_1zwSOZpO75DOk1vg7rg2qjl0r/s320/TozerWeb04.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;"><i>Black Mass IV</i>, 2016</span></td></tr>
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<i>Completing a work is difficult; it can happen
quickly or it can take months. Sometimes it never happens. I paint in order to
avoid plans, and I’ve become skeptical of outcomes that can be predicted in
advance. Completing a work is usually a surprise, and occurs when the work
refuses any further discussion. If it’s a successful outcome, I immediately
don’t know how I arrived at the </i></div>
<div class="MsoNormalCxSpMiddle">
<i>solution.</i></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<b>7. You seem to be exploring a new process, could
you take me through how these paintings have come to be?</b></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<i>I’ve been experimenting with what acrylic and
spray paint can do for some time, trying to find a way these materials can keep
the qualities that make them so distinct from oil paint; I wanted to exploit
their synthetic character, using it to make surfaces that are simultaneously
graphic and unstable. I’ve been pouring liquid acrylic over panels, then spray
painting over that; the spray paint dries quickly while the paint beneath
remains wet. This means the upper layer can be cut into and peeled away. When
hung on a wall, the remaining shapes slowly migrate towards the ground,
buckling the surface and rearranging the composition in unpredictable ways. All
these states of matter and movement felt like rich metaphors to me.<span style="mso-spacerun: yes;"> </span></i></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikayieeg_vHW1Vw1KouPvLFYLwgSdRg9aBIdo1cqBftLtGURZgmUVcsEfuEgxQx02w5VwcLBBYl3ZbpT8cMnIoNlfHFj1FmBhnQBS0xqn2MdeRJJ1NSXo5tFgY9bdXVQcx4JKSlR6upkfy/s1600/TIm01Untitled.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikayieeg_vHW1Vw1KouPvLFYLwgSdRg9aBIdo1cqBftLtGURZgmUVcsEfuEgxQx02w5VwcLBBYl3ZbpT8cMnIoNlfHFj1FmBhnQBS0xqn2MdeRJJ1NSXo5tFgY9bdXVQcx4JKSlR6upkfy/s400/TIm01Untitled.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;"><i>Untitled</i>, 2015</span></td></tr>
</tbody></table>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<b>
</b><div class="MsoNormalCxSpMiddle">
<b>8. What is the reason and significance of reducing
your color palette?</b></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<i>I love color, and have always been obsessed with
its interaction in painting. I eschewed it for this work as part of the process
of letting go, stripping down and distilling. An earlier work in the show
(‘Untitled’) uses grey, as well as whites of different temperature, and allows
for an atmosphere within the space. I eventually rejected this direction as I
wanted all forms to feel more compressed, and the unequivocal contrast between
black and white provided that.</i></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<b>9. Has the interplay between your work and Mike
Calway-Fagen’s work affected how your view your work? What do you think of this
juxtaposition?</b>
</div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<i>
</i><div class="MsoNormalCxSpMiddle">
<i>Mike’s work deals with direct and somewhat
unpredictable interactions between him, his work and the world it occupies.
There’s an unmediated quality to it that cuts through aesthetic consideration
in a way, although I think it’s highly visual. I think there are strong
parallels between the intentional and accidental aspects of my work and, say, a
pile of scrap that’s been documented and reconstructed. I want some of the
paintings to feel as though I’ve vandalized a perfectly good painting
underneath, which never occurred to me until I saw my work next to Mike’s.</i></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<i>
</i><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpDDYjMJS5S4-bgNcqEm1toiqzoltn_egB9z3X1F8ac99fGZNBuUHlxDxdXSrxtmivs6M1YoZmIO8nwICqiixQViZgWEL81UhDOee1ob6QRjkAtwmQzEhlEvfsR2Hah1l7JYhSYPyiaIzK/s1600/Tim03tr.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpDDYjMJS5S4-bgNcqEm1toiqzoltn_egB9z3X1F8ac99fGZNBuUHlxDxdXSrxtmivs6M1YoZmIO8nwICqiixQViZgWEL81UhDOee1ob6QRjkAtwmQzEhlEvfsR2Hah1l7JYhSYPyiaIzK/s400/Tim03tr.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;">Installation View of <i>No here, nowhere</i></span></td></tr>
</tbody></table>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<b>10. Does your experience as a professor influence
the way you work?</b></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<i>Always, although I try to keep my teaching voice
on mute when I work. The painting should be a step ahead of what I’m able to
communicate through teaching.</i></div>
Alison Hiltnerhttp://www.blogger.com/profile/18226215574512894212noreply@blogger.com0tag:blogger.com,1999:blog-4458624434730608496.post-85155900105424314332016-02-28T10:27:00.000-08:002016-02-28T10:28:12.764-08:00Now here, nowhere: An Interview with Mike Calway-Fagen by Lisha Kirpalani<style>
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<b>1. What experiences of collective vulnerability happens from the mobile stage installation in the exhibit? </b></div>
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<i> The
installation deals with how perceptual tools shape the world as it appears to
us, individually and collectively. These tools are: sight as it picks apart
imagery and the cognitive process of recognition, the subjective nature of
taste, as in the "sour" grapefruit juice, language's ability to
enable understanding and dislodge it through communication and through the text-video
component of the installation, the exhibition platform/stage I've created and
the dissolution of the third-wall which takes place when the viewer and
performer discuss their individual sensations while drinking the juice. </i></div>
<i>
</i><br />
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<i>Through these various constructed modes each of us formulate
our own understanding of the world. The installation asks us to individually
shed these filtering and cognitive processes and arrive at a state where shared
understanding necessitates shared vulnerability.</i></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_KpYADlP7P5z-d4cwKwGXRnLjmol0wiWVHYD7hyphenhyphensz6SsToEWdKJQMpw6p-8WWhseukIvhQW78jLQXFgfNwcGxCd3cP1t9rL7OSqgcHYi6biybkVr2WcW9tDWEbHNuPITYVyaO-jBTBpSF/s400/TheFullSight_TheRemainder.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mobile Stage Housing <i>The Full Sight</i> and <i>The Remainder</i></td></tr>
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<b>2. What is the role/significance of the grapefruit in your
performance? Why is the interaction with the audience important in this work?</b></div>
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<i>I have found that grapefruits and grapefruit juice are some
of the most contentious fruits/juices. On the friendlier end of the spectrum
they've been deemed an "acquired taste" but other opinions are far
more vitriolic. Ultimately, the contention lies in the fact that they are sour,
an unorthodoxly appealing flavor. Sour is experienced in a purely
subjective fashion and to try and convey sour as a quantifiable measure is pure
conjecture and futile, similar to a doctor's pain-scale. Individuals discussing
the nature of the flavor they're experiencing will never know whether they are
on the same page or ships passing in the night. At best, they can only hope for
a shared understanding that they will never truly comprehend the other and
arrive at a space of restless empathy.</i></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWdn-LjGxu78heAXIn_uOrnTsDiRtCigneLk5zIEwsrm-IwQ3tvXm_ATOXoNWsbszaPOLl_B1aGnUzRrChwdpFwZzZ2hfBfbFvF0MxROQGWKRH4xlwxux-MqwqtqcCut38qzSOFTcUSnRf/s400/OpeningNightPerformance.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Performance making grapefruit juice on opening night</td></tr>
</tbody></table>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw8b0DkPf3G1xIiam_jJzgPqpInCdkuGOe2Tjv5tUVgUAKCvq3pMUQYV34OgtjZwKkUqRAkn3m3QyBnKMtmMhfWq3EDuVBKJE1TYZBtGk1RDmIMOJmQILW82p5bn2CM1-wyDPQbFuXqZLl/s1600/OpeningNightPerformanceII.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw8b0DkPf3G1xIiam_jJzgPqpInCdkuGOe2Tjv5tUVgUAKCvq3pMUQYV34OgtjZwKkUqRAkn3m3QyBnKMtmMhfWq3EDuVBKJE1TYZBtGk1RDmIMOJmQILW82p5bn2CM1-wyDPQbFuXqZLl/s400/OpeningNightPerformanceII.jpg" width="400" /></a></div>
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<b>3.There seems to be a connection with the grapefruit and the
‘Honeydew Cantaloupe’ piece. Can you tell me more about this? </b></div>
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<i>Translation is dealt with in both works. Honeydew Cantaloupe
employs a similar gesturing at a perfect facsimile or translation but
ultimately is only as good as i can do. From the initial purchase of the loose
pile of scrap to the welded object-pile a lot of information is misplaced,
inadvertently altered, approximated, or left out completely. I attempted
perfection by trying to recreate the original using documentation but
ultimately fell short. The final translation lies in the art object's reentering
the scrapyard and he flow of materials. It goes from trash to art back to trash
and all that's left is the photographic trace which neither lies nor purports
to tell the truth gaining, losing, and gaining value again during the process.</i></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJoOl_ClyIqcu00_X564Ov5GU8abVMcluWid3209QcFK9MLeK0AQabVJ1cL1a0O4lLHDqTafN_dYkBCbSGY4b7LB5N_lV7bfJHg5T3jCx_opDfIO8dHOZejkQ-XdAO5kLubOlym2xp60so/s1600/HoneydewCantaloupe.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJoOl_ClyIqcu00_X564Ov5GU8abVMcluWid3209QcFK9MLeK0AQabVJ1cL1a0O4lLHDqTafN_dYkBCbSGY4b7LB5N_lV7bfJHg5T3jCx_opDfIO8dHOZejkQ-XdAO5kLubOlym2xp60so/s400/HoneydewCantaloupe.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Honeydew Cantaloupe</td></tr>
</tbody></table>
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<i>
</i><br />
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<b>4.Can you tell me more about the film <i>Resurrecting Revolt
that</i> will be screened during the exhibition? </b></div>
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<i>There isn't a film. I never made one. Just the photos.</i></div>
<i>
</i><br />
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<i>The project was very cinematic in nature as it exhumed a
vital historical moment, a moment when groups of dispossessed Indigenous
peoples, including members of the Cupeno Indians, rose up to assert their
Native rights. The moment has been omitted from most mainstream historical
narratives including its absence at the National Park in which it took place.
The project was an attempt to resuscitate this effort and the leader of the
Cupeno Indians, Chief Antonio Garra's brave and poetic attempt to assert his
people's rights while ameliorating guilt, guilt that he positioned, humbly, as
a human condition. He was killed, directly after speaking the phrase included
in the project, by the American invaders.</i></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLE8wDTWyNCyE27om-j7SucI7Jl3wfJ9oQWdMcuame6b-WE0hKTUO-Vp8gZZ_VSAigDASyiNPAYqwql47yAVYYzVNlGdryr3u6Ja6zZeSUyzO50jG6DPeFPBmpvV6A9S1Bvk9uoiVOEI3w/s1600/00Resurrecting+Revolt-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLE8wDTWyNCyE27om-j7SucI7Jl3wfJ9oQWdMcuame6b-WE0hKTUO-Vp8gZZ_VSAigDASyiNPAYqwql47yAVYYzVNlGdryr3u6Ja6zZeSUyzO50jG6DPeFPBmpvV6A9S1Bvk9uoiVOEI3w/s400/00Resurrecting+Revolt-1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Resurrecting Revolt</i></td></tr>
</tbody></table>
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<b>5.How is the sense of humor and play vital to your work? Is
it always deliberate?</b></div>
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<i>Humor and play directly influence how I formulate,
conceptualize, and realize projects. I think of these tactics less as having
a good time with the work and more so as vital survival and adaptive
strategies for thinking about the world in a less linear fashion. Questions,
which play, humor, and chance exercise, flex and bend customary thinking,
normative behaviors, and cultural standards. This is art's role for me.</i></div>
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<b>6.How do you come up with inspiration/ideas/concepts for
your work?</b></div>
<div class="MsoNormal">
<i>I have a site-sensitive, site-responsive approach and I
think about site in a very expansive sense. A site is a physical place, a site
is an idea, a site is a body, a site is a historical moment. </i></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHOrsokVnS3lDPqQpe357FOTDxJXWIvD-H2YhSOyMTiymojfgKV9tsA8MAXXdiKnIQySWK7fcBdG1R94PJjXhQw6LJTJTtL8pr-6CxdZ7RoTsRy1isRWQ2NRToT_EjDQs70kdcawRrMIqR/s1600/FirstandLastandMidstandwithoutEnd2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHOrsokVnS3lDPqQpe357FOTDxJXWIvD-H2YhSOyMTiymojfgKV9tsA8MAXXdiKnIQySWK7fcBdG1R94PJjXhQw6LJTJTtL8pr-6CxdZ7RoTsRy1isRWQ2NRToT_EjDQs70kdcawRrMIqR/s400/FirstandLastandMidstandwithoutEnd2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>First and Last and Midst and without End</i></td></tr>
</tbody></table>
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<div class="MsoNormal">
<b>7.What does your studio look like? What is your studio
routine?</b></div>
<div class="MsoNormal">
<i>It's a disaster and so am I. I have no routine. I work when
I feel compelled to, which is usually all the time, but mostly in my
head. </i></div>
<div class="MsoNormal">
<b>8.What are some distractions in your studio?</b></div>
<div class="MsoNormal">
<i>Everything, but mostly love. Also, the longer I consider
myself an artist the less I seem to be interested in a studio practice. I
wouldn't call myself a post-studio artist but I do draw most energies and ideas
from existing in a world that is external to the rarified space of the studio.</i></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYUNKfM_prbhDuZ-Ey7W520wY7w_LOxDQ8lQlOLu_uLSaBeVhO20pfDTfqZFI9JFaMQqmdYmj4mToY19G0U-jb8saZrLqoVQxfYMMXYmXsTFSIk5bzoqN27hG1IVRC22HlTYGMoXqxJAGn/s1600/FirstandLastandMidstandwithoutEnd3.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYUNKfM_prbhDuZ-Ey7W520wY7w_LOxDQ8lQlOLu_uLSaBeVhO20pfDTfqZFI9JFaMQqmdYmj4mToY19G0U-jb8saZrLqoVQxfYMMXYmXsTFSIk5bzoqN27hG1IVRC22HlTYGMoXqxJAGn/s200/FirstandLastandMidstandwithoutEnd3.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>First and Last and Midst and without End-</i>detail of Kidney Stones </td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
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<i>
</i><br />
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<b>9.When do you consider work finished? Is there a planned
outcome?</b></div>
<div class="MsoNormal">
<i>I like to think of everything I do or think as provisional,
as unfinished. Or maybe more accurately, as unfinished but resolved. </i></div>
<div class="MsoNormal">
<b>10.Has the interplay between your work and Tim Tozer’s
painting affected how you view your work? What do you think of this
juxtaposition? </b></div>
<div class="MsoNormal">
<i>I'm not sure that it has affected how I produce my work but
definitely for possibilities in how I think about it. I think the union of the
two disparate bodies of work, Tim and mine, sets up a very interesting dialogue
about space, frameworks for relationships, and provisional imagery that allows
meaning to develop and grow.</i></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR_fkYIJJ2apyfsHBU76Y2Vw9hadhR7cjhRZR96wqwCpBTiBwbvcokawVbnj6lZmAIgzvUkZw9w8MWtAVR9Mflz3iS1H4LqP30iX7UyOzVFAEr3Y8tM3jLUJIdYnTGXs91PTb9wYh8fHKq/s1600/FirstandLastandMidstandwithoutEnd.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR_fkYIJJ2apyfsHBU76Y2Vw9hadhR7cjhRZR96wqwCpBTiBwbvcokawVbnj6lZmAIgzvUkZw9w8MWtAVR9Mflz3iS1H4LqP30iX7UyOzVFAEr3Y8tM3jLUJIdYnTGXs91PTb9wYh8fHKq/s200/FirstandLastandMidstandwithoutEnd.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of Cast Bronze Ginseng</td></tr>
</tbody></table>
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<b>11.Does your experience as a professor influence the way you
work? </b></div>
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<i>Absolutely. I entered academia thinking very seriously about
how to shirk a lot of the baggage that academic spaces are saddled with;
institutionalized critique, stylistic trends, market influence and maybe more
importantly, authority and university hierarchies. I try and approach the
classroom as a space of exchange, challenging my position as professor of
ideas, opting instead for facilitation, question formulator, tool-giver,
inspiration, and enabler.</i></div>
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Alison Hiltnerhttp://www.blogger.com/profile/18226215574512894212noreply@blogger.com0tag:blogger.com,1999:blog-4458624434730608496.post-88626216919977282062015-08-30T13:34:00.005-07:002015-08-30T14:33:42.153-07:00Terra Incognita: An Interview with Shannon Estlund and Aaron Squardroni<span style="font-size: small;"><br /></span>
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<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCI-701ui3_kolSgEewOGa-XigJ56XO4G5jaHAxG95ILQDctS8hi8fy5hgFHjnuhsDZTxWXIgtECS2eukUn1M2fbZnT72FuBBJ0g-VepnKFLjYCjhy1E75XFJNZl9WFMZsUqgLy4us5NuA/s1600/showcard_frontTerra.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCI-701ui3_kolSgEewOGa-XigJ56XO4G5jaHAxG95ILQDctS8hi8fy5hgFHjnuhsDZTxWXIgtECS2eukUn1M2fbZnT72FuBBJ0g-VepnKFLjYCjhy1E75XFJNZl9WFMZsUqgLy4us5NuA/s320/showcard_frontTerra.jpg" width="320" /></a></span></div>
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i>Terra Incognita</i>, the Latin translation of unknown lands, pairs
the paintings of Shannon Estlund and the drawings of Aaron Squadroni.
Both artists explore how landscapes are transmutable narrative
histories, revealing human impact through an ever altering terrain. <i>Terra Incognita</i>
also references how the phrase is used metaphorically to describe any
unexplored subject or field of research, in this case how traces and
disruptions in land forms develop into chronicles of human existence. </span></span><br />
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSNFVHrJiCyN7gJbnT88cAywa3L7GqcYrM-xYxMI7dXAR8pAX2ST2H-vCwadfPTDpCnomO9f2g1Go-ITfH-zV2jc6lW6QykSk-eZ7Xzll6vXRRuIuYCzxkasgUfdatcDMDAwu6DnO9ypfM/s1600/IMG_5995.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSNFVHrJiCyN7gJbnT88cAywa3L7GqcYrM-xYxMI7dXAR8pAX2ST2H-vCwadfPTDpCnomO9f2g1Go-ITfH-zV2jc6lW6QykSk-eZ7Xzll6vXRRuIuYCzxkasgUfdatcDMDAwu6DnO9ypfM/s400/IMG_5995.jpg" width="400" /></a>We checked in with both artists to get a better picture of their process and inspiration for the work....</span></span><br />
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><b><u>Shannon
Estlund and Aaron Squadroni:</u></b></span></span></div>
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">1.<b> </b>What is your
connection to the land? And has your work always centered on using landscape to
explore human narratives and sense of place? </span></span></div>
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><b>AS: </b><i>Land and nature have always exerted a strong influence on my
personal identity. I tend to focus on places rather than people in my work,
thinking of myself in the places my art represents. I describe my current
drawings as land portraits because I want people to relate to the land in the
way that they might relate to another person - unobjectively. However, the
drawings are also self-portraits in the sense that the spaces depicted are
extensions of me. In the images I am unseen but not absent.</i></span></span></div>
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i>I draw heavily
on the notion of personal identity when considering the identity of a place.
For a person to have a strong sense of personal identity they must be able to
link together the successive stages of their lives in a story that makes sense.
I use this idea – linking together past, present, and future in a coherent
narrative – to inform my depictions of places. In regard to the second question
then, I would say that rather than using the landscape to explore human
narratives, I use human narratives (including my own) to develop the identity
of a place.</i><i> </i></span></span></div>
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<tr><td style="text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsM7Yz_nbSn4CV4P9HFIXctjyx6HBq5OGO1575y71K_OJ94RdroUsHsgQNk4_ycVGPu6GQxxUAp02qWCQUD98GgQTy_4ilrAcEOnA7Xa8cybS3vI7AlRwYTlh4IqxAq7N7I5JmENnJS5Kk/s1600/IMG_6405.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsM7Yz_nbSn4CV4P9HFIXctjyx6HBq5OGO1575y71K_OJ94RdroUsHsgQNk4_ycVGPu6GQxxUAp02qWCQUD98GgQTy_4ilrAcEOnA7Xa8cybS3vI7AlRwYTlh4IqxAq7N7I5JmENnJS5Kk/s320/IMG_6405.JPG" width="320" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="mso-bidi-font-style: normal;">Aaron Squadroni </span><i style="mso-bidi-font-style: normal;">Kawishiwi
River: Bough</i></span></span></td></tr>
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<span style="font-size: small;"><br /></span></td></tr>
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><b>SE:</b> <i>I became interested in landscape after
moving from Jacksonville, Florida to Minneapolis. I started using photographs
that I had taken in Florida, and then when I took trips back to Jacksonville I
would take hundreds of photos as potential source material for paintings. It
took some distance to really appreciate how alive it is, and how in comparison
the growth and decay is so accelerated. It is intense. The beauty is very
robust; the trees are taller, the shapes are sharper. If you go for a walks in
the woods you’ll see banana spiders and snakes and alligators. There’s more at
stake. I have been working to find this same connection to the land in Minnesota.
It is taking more time than I expected. We just moved to a house on Rice Creek,
and this area has been very inspiring to me. The paintings in this show are a
mix of Floridian landscapes and areas near my new home.</i></span></span></div>
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">2. For the most part both of your
works in the show intentionally depict scenes absent of the human form.
However there is one exception for both of you, Shannon’s piece <i>Gate </i>and Aaron’s piece <i>Kawishiwi River: Bough</i>, which makes the
presence of the human form even more pronounced. Could you both explain
why those pieces in particular needed the presence of a figure? </span></span></div>
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></span>
<br />
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><b>AS: </b><i>I am developing a narrative about
the Kawishiwi River. Human interactions are simply one element among many that
shape the story of the river. I want to imply that the identity of the river in
many ways supersedes human presence. In terms of logging, hunting or other
resource extraction, the parts that are removed seem more important to me than
the human acts required for their removal. The piece titled, Kawishiwi River:
Bough, however requires a human presence because it represents the closest that
human beings have come to being a part of the river, a branch floating in the
current. </i><b> </b></span></span></div>
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<tr><td style="text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim9j6oduBwMJ6mo0ITGvsbU4gZIJ_GcaNMwQUeOF6ZJ7OeWzOeEoSYh_OYGPWtMUTb_L0DA7ocYBb3tzDTrl0BQsXqKqasaOnbHf75Rg2UJzz1C5quSCL4Mi-ChCH4rK6_H9l5MhvX_RnW/s1600/IMG_6403.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim9j6oduBwMJ6mo0ITGvsbU4gZIJ_GcaNMwQUeOF6ZJ7OeWzOeEoSYh_OYGPWtMUTb_L0DA7ocYBb3tzDTrl0BQsXqKqasaOnbHf75Rg2UJzz1C5quSCL4Mi-ChCH4rK6_H9l5MhvX_RnW/s320/IMG_6403.JPG" width="320" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Shannon Estlund<i> Gate</i></span></span></td></tr>
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<span style="font-size: small;"><br /></span></td></tr>
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><b>SE:</b> <i>In the piece Gate I painted my
daughter, who was three at the time, coming down a hill with an overgrown tree
partially blocking her from view. Her small body is balanced against the
massive mess of branches, and I liked the contrast in size and shape. The scene
is recognizable as a small side yard, with the chain link fence and air
conditioning unit indicating the parameters of the space. The addition of her
tiny form hints that this area has the potential to be more than a space
between houses- it is also a site for an adventure, with more than enough
wildness and shadow to captivate one’s attention if looked at from the right angle.</i></span></span><br />
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></span>
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjssdbk4rPremZ2PbNPIvM2Y19qMJGMbgp71HUXyQ4WAjTM66wWftQ2QSiKiG1QROcB_r5Lu47DuSXMMzkiDpFTCXVDHszLj6eLopOYLvLPPpAtGVNB1Dh_oscAW4EeAzIIYvHjauFDRQ9G/s1600/IMG_5997.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjssdbk4rPremZ2PbNPIvM2Y19qMJGMbgp71HUXyQ4WAjTM66wWftQ2QSiKiG1QROcB_r5Lu47DuSXMMzkiDpFTCXVDHszLj6eLopOYLvLPPpAtGVNB1Dh_oscAW4EeAzIIYvHjauFDRQ9G/s320/IMG_5997.jpg" width="320" /></a>3. Is there a particular location
that provides inspiration for your work? Or somewhere you like to visit to
recharge creatively?</span></span></div>
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i>
</i></span></span>
<br />
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i>
</i></span></span>
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i><b>AS:</b> <i>I like to wander and find a place that
surprises me in some small way. Then I sit and just watch what takes place
there.</i></i></span></span></div>
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i>
</i></span></span>
<br />
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i>
</i></span></span>
<br />
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i><b>SE:</b> <i>I love natural spaces near suburban areas, I
think because these were the sites of all of my childhood adventures. Places
that can be explored without taking too much trouble to get there. Places that
are a part of the fabric of everyday life, that also hold some mystery, that
are just out of reach of civilized society.</i></i></span></span></div>
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i>
</i></span></span>
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</span></span>
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</span></span>
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">4. This is the first time your work
was shown together and the first time either of you have even seen the other
ones work. Did showing your work together reveal any unexpected aspects
of your own work?
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i>
</i></span></span>
<br />
<div style="margin: 0.1pt 0in;">
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i><i><b>AS: </b><i>In combination with the title of the
exhibit, Shannon’s work makes me think about the specificity of a place and how
“lands unknown” applies to me.</i>
</i></i></span></span></div>
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i>
</i></span></span>
<br />
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i><i>
</i></i></span></span>
<br />
<div style="margin: 0.1pt 0in;">
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i><i><i>Shannon’s paintings are anonymous to a certain degree which also makes
them universal. I don’t recognize the actual location but I understand the
place because these locations are common in the urban/suburban landscape. The
settings and elements in each painting are familiar, yet their origin is
unknown. Because of the dual impact of the familiar and unknown, her work
evokes a movement into dream and memory for me.</i></i></i></span></span></div>
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i><i>
</i></i></span></span>
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i><i>
</i></i></span></span>
<br />
<div style="margin: 0.1pt 0in;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;"><i><i><i>When thinking about my work in this context I realize that I am trying
to differentiate the Kawishiwi River from other rivers in the state. The river
is known in a general sense but unknown to most as a specific and distinctive
entity. I want to uncover and establish a robust identity that personifies the
Kawishiwi River. I hope to transform the river from a stranger to a friend.</i></i></i></span></span></div>
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;"><i><i>
</i></i></span></span><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;"><i><i>
</i></i></span></span>
<br />
<div style="margin: 0.1pt 0in;">
<br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;"><i><i><b>SE:</b> <i>What has been interesting for me is that my
work looks almost loose next to Aaron’s very refined style in these pieces. And
then when I look at the work by Joel Janetto and Jesse Ruiz in the other
gallery, my work seems very reserved in comparison. When I am working on a
piece in my studio, I tend to think of particular pieces as being either very
spontaneous and loose or very controlled. Seeing my work in this context helps
me to see that there are vast amounts of space in either direction, which helps
me to broaden the way that I think about making.</i></i></i></span></span></div>
<span style="font-size: small;"><i><i>
</i></i></span><span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i><i>
</i></i></span></span>
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i><i>
</i></i></span><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">
<span style="font-weight: normal;"> </span></span></span><br />
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-weight: normal;">5. What’s next for both of
you? And what direction do you see your new work headed? And how does this
current body of work differ from what you have done in the past?</span>
</span></span><br />
<div class="MsoNormal" style="margin: 0.1pt 0in;">
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="margin: 0.1pt 0in;">
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><b>AS: </b><i>I have a number of drawings in this series that I
still want to make. I am also interested in starting a group of drawings about
a different location on the iron range. I may try using taconite and raw iron
ore as drawing media.</i></span></span>
</div>
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i>
</i></span></span>
<br />
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i>
</i></span></span>
<br />
<div style="margin: 0.1pt 0in;">
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i><i><b>SE:</b><i> <i>I plan to continue working with landscape
but pushing the boundaries of what I feel comfortable with in terms of
inventing more of the imagery. I also have some objects that I am playing with
in the studio. I have a solo show coming up at the Crisp-Ellert Art Museum in
St. Augustine, Florida in May 2016. It is a very large space, so that is what I
will be working toward in the coming months.</i>
</i></i></i></span></span></div>
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i>
</i></span></span>
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<br />
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<tr><td style="text-align: center;"><span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcWg2nCEL-BOET1bQQK-hNWf_Xi7-buuPAQPLfqHEmfVlBCCZVyhNk1KXe-zEVVw2LdIIdu1YjvwJeQHO0FSKDO7HiEHRr_di4VlyfX7zeAkfoPDJleu_S4O0Sdgd_xKzpVXm3T_aTdPJX/s1600/00WebKawishiwi_Timber.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcWg2nCEL-BOET1bQQK-hNWf_Xi7-buuPAQPLfqHEmfVlBCCZVyhNk1KXe-zEVVw2LdIIdu1YjvwJeQHO0FSKDO7HiEHRr_di4VlyfX7zeAkfoPDJleu_S4O0Sdgd_xKzpVXm3T_aTdPJX/s400/00WebKawishiwi_Timber.jpg" width="400" /></a></span></span></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Aaron Squadroni <i style="mso-bidi-font-style: normal;">Kawishiwi
River:Sky</i></span></span></td></tr>
</tbody></table>
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><b style="mso-bidi-font-weight: normal;"><u>Aaron Squadroni:</u> </b></span></span><br />
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">1. Your drawings are created with copper, which has a strong conceptual
link to your subject matter. Could you talk about your process in creating the
work and about your connection to the Kawishiwi River?</span></span> </div>
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></span>
<br />
<div class="MsoNormal" style="margin: 0.1pt 0in;">
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><b><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><b>AS:</b></span> </b><i>I start by painting Stonehenge drawing paper with silverpoint medium.
Silverpoint medium is a variant of gesso that is abrasive. When metal objects
come into contact with the paper surface covered in silverpoint medium,
metallic flecks rub off. This drawing process was popular in the renaissance but
artists tended to use gold or silver since these metals showed minimal
tarnishing. I use copper wire that I place in a lead holder for drawing. I then
file the end of the wire to a point to allow for more detail and control. Once
I make a mark on the paper it cannot be smeared or erased. </i></span></span></div>
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></span>
<br />
<div class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0in; mso-para-margin-right: 0in; mso-para-margin-top: .01gd;">
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i>Copper has been contained
in the rocks of the Kawishiwi River for many thousands of years. It is now
highly sought after by mining companies. Using copper as a drawing meduim is
important to me in this series because of its role in the history of the
Kawishiwi River and its impending impact on the river’s future. Copper also has
a certain delicacy due to its lack of value range. The resulting lightness of
the drawings require the viewer to approach close to the image. A narrative of
the Kawishiwi River is revealed slowly and formed from a series of intimate
exchanges between the viewer and the artworks. <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiF6BgNYSX4skgQ-guSKDlazuLaqRndCGv5O7aKdD8w83mlwe_Zk743J6WSG0XPIaMh3D7JKgg-8CdzqDYtNWSdwXOe0MZ0tmRbDsJgXqzMKAgNPm2pQQQWLvRAAN7JvqohAFN8JRlCW-U/s1600/00WebKawishiwi_Copper.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiF6BgNYSX4skgQ-guSKDlazuLaqRndCGv5O7aKdD8w83mlwe_Zk743J6WSG0XPIaMh3D7JKgg-8CdzqDYtNWSdwXOe0MZ0tmRbDsJgXqzMKAgNPm2pQQQWLvRAAN7JvqohAFN8JRlCW-U/s320/00WebKawishiwi_Copper.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Aaron Squadroni <i style="mso-bidi-font-style: normal;">Kawishiwi
River: Mask</i></span></span><br />
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</td></tr>
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</i><b style="mso-bidi-font-weight: normal;"><u><span style="font-family: Arial; mso-fareast-language: EN-US;"> </span></u></b></span></span></div>
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">2. Each piece in the show is actually 2 images combined into
one. Can you talk a little about how you decided which images to combine
together and how they inform each other…you can use just one of the works as an
explanation since the background on each of the images is very detailed.<i> </i></span></span></div>
<div class="MsoNormal">
<br />
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><b>AS: </b></span>Each portrait merges an image of the landscape with a
symbol or object from the landscape.</i><span style="font-weight: normal;"><i> I begin with research. I then choose topics I consider
to be important for creating a narrative. Currently, I have a number of topics
that I want to address in additional drawings. One is the method of underground
mining that is proposed below Birch Lake. For this drawing I plan to use an old
diagram of the Soudan underground mine as a base image. This becomes a symbolic
map, showing how the foundations of the lake will be hollowed out. Then I will
consider what kind of experiential image of the landscape might be overlaid
with that to act as either a complement or foil. In this case, I intend to
start with images inside mine tunnels as well as images of mine shafts where
they emerge from the earth. I will play with various combinations through
sketching and digital manipulation. During this phase of experimentation,
accidental discoveries and unexpected combinations lead to new ways of
envisioning the subject matter. If I end up with an image that I anticipated
from the outset then it usually is too predictable, causing me to start the
process again. Once I have created an image that I am satisfied with, I make a
drawing of it using copper. The drawing process is important to me as a means
of softening and reinterpreting the unrefined parts of a digital image.</i></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">3. How do you see being an Architect intersecting and informing your
work?</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><b>AS: </b><i>Architecture can be very freeing because of
its restraints. The precision and rigor that is possible and even expected in
architecture is something that I appreciate and translate to my art making
process. Unfortunately, architecture has also made my process of creating
artwork more cerebral, less organic, and less intuitive. In the future I hope
to strike a balance between the logic of an architectural approach and the
spontaneity of an intuitive approach. </i></span></span></div>
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<tr><td style="text-align: center;"><span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwnMxI3KcPmPuX4D2uTXp9foAb3w2ZMEiI5ODPNUYmENzGdLHOMrHaUY8jAAbI3ANyH5UgVn_AtSyAO-Sdx2rm-3Y0ij8GVqvmVA5QANvkNfEyDh-dpwzdwhyphenhyphenJusSeGLJO6jjewzMIKgGu/s1600/IMG_6401.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwnMxI3KcPmPuX4D2uTXp9foAb3w2ZMEiI5ODPNUYmENzGdLHOMrHaUY8jAAbI3ANyH5UgVn_AtSyAO-Sdx2rm-3Y0ij8GVqvmVA5QANvkNfEyDh-dpwzdwhyphenhyphenJusSeGLJO6jjewzMIKgGu/s400/IMG_6401.JPG" width="400" /></a></span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Shannon Estlund <i>Jones Creek</i></span></span></td></tr>
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Estlund:</span></u></b></span></span><br />
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">1. Your paintings use a variety of application techniques to
create your natural spaces. Can you a talk a little about how you decide what
mark making techniques to use and how it varies from painting to painting?</span></span></div>
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></span>
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i>See answer to
#2</i></span></span></div>
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Shannon Estlund <i>Golden Hour</i></span></span></td></tr>
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">2. In your statement you say the natural spaces are a
combination of real and imaginary…How do you see the balance of real and
imaginary informing the viewers experience with the landscape?</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><b>SE:</b><i> Everyone brings their own filter on
reality with them wherever they go. Recently I’ve been interested in how narrow
that filter is for humans. We can’t know what the world is like to a creature
</i><i>using echolocation, electric or magnetic sense, or to a creature whose sense of
smell is the dominant sense. And then there are imagined senses, and the
potential for subtler senses that can be developed. The way that these pieces
are painted makes the filter more visible by exaggerating it. For me, the mark making
is as much the subject of the painting as the source imagery. Each painting is
executed differently based on the experience of the place. I want to make the
sensory experience more immediate for the viewer.</i></span></span></div>
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<div class="MsoNormal" style="margin: 0.1pt 0in;">
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">3. The scale of your work varies from fairly small to large
canvases, do you immediately visualize a space in a specific scale and how do
you think that affects the viewers experience with the work?</span></span></div>
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><b>SE: </b><i>Both small and large pieces begin with an idea of wanting to
explore something about a moment or place. It’s in the execution that they
diverge. The larger formats allow for more exploration in the process, because
it just takes longer to get an idea down on a large panel and my thinking and
moods change as I work through it. The smaller pieces are sometimes more
direct, the thinking through the process a little simpler. I think this is
appropriate and relates to the experience of the viewer because the smaller
pieces can be taken in all at once, while the larger ones need some examination
of the parts as related to the whole to fully understand the image.</i></span></span> <br />
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></span>
<br />
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i>
</i></span></span></div>
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Alison Hiltnerhttp://www.blogger.com/profile/18226215574512894212noreply@blogger.com0tag:blogger.com,1999:blog-4458624434730608496.post-91324096517345982582014-09-30T06:49:00.002-07:002014-09-30T07:02:12.908-07:00Elena Lavorato Gets to Know Kate Iverson <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_hgnW6GRndUkR6GoFmf5DUIRpGxGc2v2CiwiybDyjZJLpJAzadhzgxt8htLIw_CnD2ZPN7kdrPISA4UL5dr43ZOD752EBlrY__0eXmkoX4Z3oVPFxo2owv9M58-7VC72o6UhJrmA0dn0J/s1600/blackmoon-no.1-WEB.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_hgnW6GRndUkR6GoFmf5DUIRpGxGc2v2CiwiybDyjZJLpJAzadhzgxt8htLIw_CnD2ZPN7kdrPISA4UL5dr43ZOD752EBlrY__0eXmkoX4Z3oVPFxo2owv9M58-7VC72o6UhJrmA0dn0J/s1600/blackmoon-no.1-WEB.jpg" height="400" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;">BLACK MOON NO. 1</span></td></tr>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b>When you photograph a scene with the intention of editing it into high contrast black and white, are you looking for any composition in particular or is the Photoshopped version somewhat unexpected?</b></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;"> I definitely seek out compositions that have a lot of depth and texture, things I know will transition nicely into black and white and withstand the digital enhancements that I like to do. I shot a lot of grasses, barks, reflections, etc... textural things that had a lot going on, but had enough dimension to be interesting when manipulated. I do, however, shoot whatever I think looks cool regardless, because sometimes you don't know what can happen when you pull an image into Photoshop and play around with it.</span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;"><b>How can symmetry and repetition change a person's perspective on nature?</b></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><i> </i>I guess it's just looking at it in a different way and seeing how the most basic natural shapes are kind of miraculous when shuffled into a different format. I mean, nature is always miraculous as it is, but when you break it down and really truly analyze it, it becomes, well extremely bizarre and witchy in the most amazing of ways. When I first started the project, I didn't think I was going to see so many different things in these images once I manipulated them, but once I did, some of the almost scared me!</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><b><br /></b></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><b>Do you prefer a black and white color scheme because of the complexity of your images? How would color change the effect? </b></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht-GBU7aYExLi02it6QPGeKk_dm8CkIJvZV52EY830l3RTIhT-VZp226MP1sm9WVQepkZGAVdiesr68W_2UMwDkZdSmft9XP9HebU_9CpPbj1JwhmKvECT9yFPqKUejy5Yq_st3Z2JEks2/s1600/Veles.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht-GBU7aYExLi02it6QPGeKk_dm8CkIJvZV52EY830l3RTIhT-VZp226MP1sm9WVQepkZGAVdiesr68W_2UMwDkZdSmft9XP9HebU_9CpPbj1JwhmKvECT9yFPqKUejy5Yq_st3Z2JEks2/s1600/Veles.jpg" height="320" width="316" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">VELES</td></tr>
</tbody></table>
</b></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><i> </i>I am someone that has always been drawn to black and white works of all types. Black and white anything and everything, actually. I like the clean feel and the candidness of it. I think black and white always leaves you guessing in a sense and it's always classic as well.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">From the get-go I knew I wanted my show to be very cold and dark, despite the earth origins of the work. I love contrast and juxtaposition. I am sure the color versions would be beautiful. but when you break something that is naturally warm and colorful down into very stark imagery, you get a very raw effect that is almost UN-natural which is something that appealed to me for this concept.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><b><br /></b></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><b>How relevant is the pagan history of The Black Moon to your artistic practice?</b></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><b><br /></b>
Though I've always been curious about Pagan religions (it's the teenage goth in me, what can I say), when I set out to create this body of work it was not necessarily in the forefront. It wasn't until I started manipulating the images and seeing the intensity and strangeness of the subject matter developing that I really felt that specific mood come forward. I see so many unbelievable things in the images, especially the inverted ones-- faces upon faces upon faces. Tribal masks, grass monsters, skulls, water creatures, gargoyles... the list goes on. I even see tiny Misfits skulls in one of them and mirrored Gary Numan faces. Now that's religion!</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><b><br /></b></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><b>What was your work like when you began making art? Has Photoshop always been involved?</b></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><b><br /></b>
I was mainly a photographer that dabbled in painting here and there, kind of the same as I am now, just worse, haha. I have used a lot of stenciling and taping processes in my work, which I still do, mostly because I am a terrible hand-painter and also just because I appreciate design and structure. You'll see a little bit of this sort of embellishing in the show, but it's largely photographic/ digital manipulation. I have always used Photoshop, yes. It's a major tool for me. I haven't necessarily done a ton of digital collage in this particular way though, so that's new for me. I also prefer presenting photography differently than just a high quality print, framed and matted. To put it bluntly, I beat the shit out of the original high-res image in Photoshop, then print it out on really basic paper on a super basic printer-- I like the way the image becomes even more degraded and xerox-y. When I paste it onto a panel and start working the paper further, it becomes even rougher and more textural. I want the pieces to feel a bit like a wheat-pasted poster on the street.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
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<tr><td style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV9tzEGaprm_oSRJuE-4dZX_EoaJBPjRHNkiWaYdp1wjjW4VJ1Oq4Fy_cQ2tUREf9Zawte8b8rp5FLBb8DTja36OXZGgwjlWEhHISafp-mKtTJ-R3wMYrv14JQ103qwgxpB_Ufc8FTXqvX/s1600/Selvans.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV9tzEGaprm_oSRJuE-4dZX_EoaJBPjRHNkiWaYdp1wjjW4VJ1Oq4Fy_cQ2tUREf9Zawte8b8rp5FLBb8DTja36OXZGgwjlWEhHISafp-mKtTJ-R3wMYrv14JQ103qwgxpB_Ufc8FTXqvX/s1600/Selvans.jpg" height="320" width="320" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;">SELVANS</span></td></tr>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b>Any memorable stories from your residency at the Lake Tofte Center through the emerging artist's program, where the pieces for this show were photographed?</b></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><b><br /></b>
The residency was an awesome reset. The other four artists
were very cool and the director of the center, Liz, was such a generous,
gracious host. I went swimming in an actual lake for the first time since
probably the '80s and I basically disconnected from the internet for most of
the trip (which I don't think I've ever done, honestly). Tofte Lake Center is
in the Boundary Waters so nature is BIG…in the sense that it's, well,
everywhere. I'd go hiking and take photos each day, driving to different trails
within maybe a 20 mile radius. It was actually quite terrifying to me because
being in such a remote place, by yourself, with no phone service, well…you
could basically fall off a cliff and no one would ever have a clue what happened
to you. You'd just disappear. That feeling of really truly being alone is
pretty weird. Add the hugeness of nature and it's probably the realest you'll
ever get.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><b><i> </i></b></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><b>Can you tell me a little about your collaboration with Blake Carrington, whose sound composition will also be a part of the show?</b></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><b><br /></b>
<i> </i>Blake is a composer and visual artist from Brooklyn, NY. He
was also a Tofte Lake Center resident--the Jerome Foundation opens the program
to both Minnesota and New York artists. Of the five artists chosen, three were
from NY, two from MN. I actually picked Blake up at the airport and drove there
and back with him. He went to TLC specifically to capture nature sounds with
the purpose of creating a new composition, which is what will be included as a
sound installation for my exhibit. It fits the mood I'm trying to convey
perfectly. He and I have a pretty similar aesthetic so it worked out quite
well! You should really check out his website, he's done so many cool projects.
Once he sound mapped (not sure that's the right term) original blueprints from
a number of old cathedrals and even did a performance with huge art projections
of the blueprints mapping the sound while IN one of the cathedrals itself.
Totally meta! I won't pretend to understand how he does what he does, but it's
pretty badass and weird. You can hear a snippet of the new composition in this
little promo video I created for the exhibit:<i>
<a href="https://www.youtube.com/watch?v=zAp1BxVgWro">https://www.youtube.com/watch?v=zAp1BxVgWro</a></i></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><b>You seem to be involved in so many awesome art things going on in Minneapolis, how do you find time for your own practice?</b></span>
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<br />
<span style="font-family: Arial,Helvetica,sans-serif;">Ha! It's pretty hard to find the time actually, but I make it. Creating art is something I need to do to feel balanced…sometimes it comes in forms other than paint or a camera though. For instance, I can find that same centeredness doing graphic design or creative direction on a client project. Writing, working with artists and even marketing strategy are all creative things to me. But there's definitely a lot to be said about actually creating something with your hands, purely out of your imagination. It's pretty damn zen.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><b><i>Check out Kate Iverson's show, The Black Moon, starting on October 3rd at SooLocal (3506 Nicollet, 6-9PM. The show runs through November 8! Click <a href="http://www.soovac.org/index.php/news/view/the_black_moon_new_works_by_kate_iverson_opens_at_soolocal_october_3rd/">HERE</a> for more details.</i></b></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b><i>For more information about the interview and Kate Iverson follow these links:</i></b></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.bishopiverson.com/">http://www.bishopiverson.com </a><o:p></o:p></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.cargocollective.com/kateiverson">http://www.cargocollective.com/kateiverson </a><o:p></o:p></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.blakecarrington.com/">http://www.blakecarrington.com </a><o:p></o:p></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><a href="https://vimeo.com/31823007">https://vimeo.com/31823007</a> </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.toftelake.com/">http://www.toftelake.com</a><o:p></o:p></span></div>
<br />Alison Hiltnerhttp://www.blogger.com/profile/18226215574512894212noreply@blogger.com0tag:blogger.com,1999:blog-4458624434730608496.post-7194256828452920312014-09-10T11:44:00.000-07:002014-09-10T11:44:34.359-07:00Elena Lavorato Gets to Know John Bell<style>
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<i> </i><i> </i><br />
<div class="separator" style="clear: both; text-align: center;">
<i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLw6iLs5_t9leyTlwlmAnzX2lAc-rqIoFeKmze5dfBBY0FGPbWSDz7gcTsk4we6gM1PDGd7Pin4ltcT1ryUY0c8htugc-fUZh4TT99yTCxxXYLIzdK9nw4BvNkZLw9KCuraCWtqdPoV7n6/s1600/imgp1908.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLw6iLs5_t9leyTlwlmAnzX2lAc-rqIoFeKmze5dfBBY0FGPbWSDz7gcTsk4we6gM1PDGd7Pin4ltcT1ryUY0c8htugc-fUZh4TT99yTCxxXYLIzdK9nw4BvNkZLw9KCuraCWtqdPoV7n6/s1600/imgp1908.jpg" height="400" width="382" /></a></i></div>
<br />
<br />
<br />
<i>Can you give me a brief description of your artistic practice? </i><br />
<br />
<b>Sure!
It normally starts with an unexpected association of some kind -- like a
color that glows just so or a very specific texture -- and then I build
from there. As those things begin to accumulate, the piece starts to
establish its own parameters and expectations. I most often go off the
rails by trying to force disagreeable objects together or by imposing a
depiction on a picture before it can talk back. I make and then destroy a
lot of images because of this! I know I’m finished when a piece has its
own self-sustaining orbit and no longer cares what I think of it.
Sometimes I don’t like it, but I can’t deny it. </b><br />
<br />
<i> </i><i>Can you tell me a little about what you are showing at SooVAC in September? </i><br />
<b><br />It
will be mostly paintings, and a handful of sculptures and drawings. My
newer pieces are a little more mawkish and hair-brained than the
comparatively sedate paintings I made in 2012 and 2013. I’m especially
excited to exhibit a number of my new small ceramic figurines. </b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDJkTiFNid2e5oBQ861HN_NBgnk9MnU-Q6AkrgP293pDsMf9OJ7byc8TdCxC-vA9Q03qNPEB4fGlRxHvKOr_CxQVGK0HQV15sTwSsakZtKxMbT4xFodR5PwRExBRMxiq7glMh6DUUysNaq/s1600/imgp2179.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDJkTiFNid2e5oBQ861HN_NBgnk9MnU-Q6AkrgP293pDsMf9OJ7byc8TdCxC-vA9Q03qNPEB4fGlRxHvKOr_CxQVGK0HQV15sTwSsakZtKxMbT4xFodR5PwRExBRMxiq7glMh6DUUysNaq/s1600/imgp2179.jpg" height="327" width="400" /></a></div>
<b><br /> </b><i>Looking at your work online I feel like I see the hint of a furry
animal or other familiar objects painted indistinctly; can you tell me
anything about this? </i><br />
<br />
<b>Yeah! I think of myself as a
figurative painter who paints verbs instead of nouns, and most of the
time my subjects are animals or vegetables. I spend a lot of time
thinking about different types of time—glacial-time, plant-time,
tortoise-time—and how a painting can capture that difference. The
jittery or hesitating subject is one of my favorites, and I’ve always
felt that the most immediate illustration of that is in the routines of a
dog, the warble of bird song, or the pacing of territory. </b><br />
<b><br /></b> <i>Do you prefer to paint with watercolor? Why? </i><br />
<br />
<b>I do,
though it’s somewhat disingenuous of me to call myself a
“watercolorist.” I paint with watercolors almost as though they’re oil
paints, as the watercolors on the synthetic paper have a lot of the same
vibrancy as oils but are completely water-soluble and erasable. I can
work through ideas quickly and take greater risks. I feel like the
shorthand of “watercolorist” gives me a lot more credit than I deserve.
But to whatever extent I am a part of that tradition (naturalist or
otherwise) I’m honored. It’s in harmony with the kind of making and
living I aspire to. </b><br />
<b></b><br />
<b></b><br />
<br />
<br />
<i>I was interested to read on your website that you
are open to trading or bartering for your work and</i><br />
<div class="separator" style="clear: both; text-align: center;">
<i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiicZ-3gI1DfOjebzMOdq0uaBS7J1144yhD8YaldhNdrx5BwuU8e_CLKfWGKkvGXSQf5EZSMgwlTosZDjj8TyjPHOlEdbL7f3gweRklR6eCWG8rqe9I0Y3FWVruMS4_GZ4ramZO0xelT7c4/s1600/imgp1879.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiicZ-3gI1DfOjebzMOdq0uaBS7J1144yhD8YaldhNdrx5BwuU8e_CLKfWGKkvGXSQf5EZSMgwlTosZDjj8TyjPHOlEdbL7f3gweRklR6eCWG8rqe9I0Y3FWVruMS4_GZ4ramZO0xelT7c4/s1600/imgp1879.jpg" height="320" width="264" /></a></i></div>
<i> “entertain
impassioned pleas”. Have you ever obliged any impassioned pleas? </i><br />
<br />
<b>Ha! Nobody’s attempted “the impassioned plea” as of yet. I am still open to it, though. </b><br />
<br />
<br />
<i>Do you not accept money for your work? If not, why? </i><br />
<b><br />I sell work. My trading page is all about setting up a more explicit alternative to that route, though, to make the idea of living with my artwork a more accessible thing. I’m lucky! I’ve got a day job I like and I don’t need to rely on my painting for income, so while selling paintings is great, the trading has been really direct and rewarding in a different way. I’ve met some interesting people and received all kinds of wonderful things -- everything from a 6-month supply of homemade bread to a set of beautiful photos of neurons. </b><br />
<i></i><b><br /></b>
<i>What is your earliest art related childhood memory? </i><br />
<br />
<b>I don’t know! My family is pretty art-centric, so we were always looking at or doing something. I remember painting the finger painting that hangs over my mother’s desk when I was probably 3 or 4. I’ve been fascinated by the Audubon reproductions in my parents’ house for my whole life. </b><br />
<br />
<br />
<b> </b><i>The Persistent Present: New Work by John Bell</i><b>, </b>runs September 12 to October 25<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcfK2MbvAg5Fx4abToaTLGkhki5Z2uF7FEqxSGqAqu-L3-pjn2EbGPqmTlAl5T0IWXJmf1qbC03z48-1iDzgRyDOnw-6tY0FGiB6ZMSRvPvvrBVwZVEEY-oXFF9y5126tEZjg8nfccCvcU/s1600/imgp1391.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcfK2MbvAg5Fx4abToaTLGkhki5Z2uF7FEqxSGqAqu-L3-pjn2EbGPqmTlAl5T0IWXJmf1qbC03z48-1iDzgRyDOnw-6tY0FGiB6ZMSRvPvvrBVwZVEEY-oXFF9y5126tEZjg8nfccCvcU/s1600/imgp1391.jpg" height="155" width="200" /></a><br />
<br />
<br />
For more info <a href="http://www.soovac.org/index.php/shows/view/the_persistent_present_new_work_by_john_bell/" target="_blank">CLICK HERE!</a><br />
<br />
<br />
<br />
<br />Alison Hiltnerhttp://www.blogger.com/profile/18226215574512894212noreply@blogger.com0tag:blogger.com,1999:blog-4458624434730608496.post-37556678642016800892014-08-17T09:43:00.002-07:002014-08-20T11:41:18.814-07:00Elena Lavorato Gets to Know Garrett Perry <style>
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<span style="font-family: Arial,Helvetica,sans-serif;"></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3SZCOHmbclr4mFwbjFPD7mbsVQtowXtSGGUWSl2IWPmCU53SE3m7OxiJ1BQam2fK9-LawUv5LCXhIpC1v4N9R_p3ZSM-ohWtTaIp3I0xQJ2mp_DCA897Lj3QZ_rmuvNXeiPPQl32SQtRp/s1600/image-9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3SZCOHmbclr4mFwbjFPD7mbsVQtowXtSGGUWSl2IWPmCU53SE3m7OxiJ1BQam2fK9-LawUv5LCXhIpC1v4N9R_p3ZSM-ohWtTaIp3I0xQJ2mp_DCA897Lj3QZ_rmuvNXeiPPQl32SQtRp/s1600/image-9.jpg" height="400" width="390" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="line-height: 18.66666603088379px;"><i><b> </b></i></span></span><span style="font-family: Arial,Helvetica,sans-serif;"><b style="line-height: 18.66666603088379px; text-indent: -0.25in;"><i>Can
you tell me a little about your process? How much change does the
painting undergo from what you originally set out to create?</i></b></span><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<i><span style="font-family: Arial,Helvetica,sans-serif;">My work is very process
driven and the paintings change quite a bit during the process. Usually
I'll have an idea of what I want to paint. I work in my sketchbook to
determine compositions and concepts. I initially paint fast and with
vigor. After a ground of bold and bright colors is laid down I tend to
slow down. I then intuitively respond to the shapes and alter and add
layers. I typically will set paintings aside and come back to them weeks
later. I like responding to them with a fresh set of instincts.</span></i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoQlf-GcoeFiPpmosUEpwggmgK0QRLVORtR3yAhalkM5pJO796SijlTooGuL-wPrem_4jNa8QkYncobr8Wlvbpv4uWDXaNitkF1aYjiGS_vdtgysJzOInG2KNlGl2Gwh7ewwFAZieR-rCV/s1600/gar+per.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoQlf-GcoeFiPpmosUEpwggmgK0QRLVORtR3yAhalkM5pJO796SijlTooGuL-wPrem_4jNa8QkYncobr8Wlvbpv4uWDXaNitkF1aYjiGS_vdtgysJzOInG2KNlGl2Gwh7ewwFAZieR-rCV/s1600/gar+per.jpg" height="200" width="192" /></a><span style="font-family: Arial,Helvetica,sans-serif;"><span style="line-height: 18.66666603088379px;"><i><b> </b></i></span></span><span style="font-family: Arial,Helvetica,sans-serif;"><span style="line-height: 18.66666603088379px;"><i><b>The
placement and size of some of your figures are reminiscent of
traditional portraiture, in particular Romantic Imagination; however the
subject is disfigured or partially concealed in a way. Are you in fact
mimicking traditional portrait style and in what manner?</b></i></span></span><br />
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<i><span style="font-family: Arial,Helvetica,sans-serif;">Yes. I use traditional
portraiture as a departure point. The intent is not to disfigure the
subject but for the physicality of the paint to create a barrier between
the subject and viewer.</span></i><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="line-height: 18.66666603088379px;"><i><b><span style="font-family: Arial,Helvetica,sans-serif;"><span style="line-height: 18.66666603088379px;"><i><b>The majority of your paintings appear as close ups, a snap shot of a much larger scene, can you tell me anything about this?</b></i></span></span></b></i></span></span><br />
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<i><span style="font-family: Arial,Helvetica,sans-serif;">They are. They are segments of a larger scene, memories of a story that has been mostly forgotten. They are meant to be elusive.</span></i><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="line-height: 18.66666603088379px;"><i><b>Your color pallet reminds me of an ice cream rainbow, what attracts you to pastel colors?</b></i></span></span><br />
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<i><span style="font-family: Arial,Helvetica,sans-serif;">I like mixing a lot of white with my paint to make the painting appear flat. I don't think of them as pastels but as colors being within a similar value range. If the paintings were grey scale they'd all be a similar grey.</span></i><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><i><b>You say on your website that you watched a lot of television in your younger years, why was that the case?</b></i><br /> <i>I am a child of the late 80's/ early 90's. It was available.</i></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm1DxQd_L_yUc4D-HA57pcL1Y90WjeRoO8kVJxMwwbzPMLN1mg-B1scYajd4D_g4mmAQNUNxxm_CEqO0H7pRLkYRYR7BqhlMsTXT7IoQR3mLHPv-O7KhVOPGH80qmkP-mogVeSPiVQHNjJ/s1600/image+copy+2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm1DxQd_L_yUc4D-HA57pcL1Y90WjeRoO8kVJxMwwbzPMLN1mg-B1scYajd4D_g4mmAQNUNxxm_CEqO0H7pRLkYRYR7BqhlMsTXT7IoQR3mLHPv-O7KhVOPGH80qmkP-mogVeSPiVQHNjJ/s1600/image+copy+2.jpg" height="319" width="320" /></a></span><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><i><b>How do television and visual culture inspire your paintings?</b></i><br /><br /><i>It's not so much TV as it is visual culture in general. I take images from the internet, magazines and art history books and use them as visual sources. From the visual sources I work in my sketch book to create compositions and ideas.</i></span></span></div>
<i><b><span style="font-family: Arial,Helvetica,sans-serif;">Do you surround yourself by anything inspiring while you paint? Photographs? Music?</span></b></i><br />
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /><i>Music is extremely important to my process. I need to be wearing headphones to keep myself distracted from the real world. I also surround myself with images. My studio is filled with open books, magazines, photographs, and computer print outs.</i></span></span></div>
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<i><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><b><br /></b></span><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><b>Who are your favorite artists? </b></span></span></i><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /> </span><i><span style="font-family: Arial,Helvetica,sans-serif;">In no particular order. Max Beckmann, George Condo, Picasso, Matisse, Rembrandt, Tal R, Eric Yahnker, Chantal Joffe, Allison Schulnik, Dana Schutz, Jeff Koons, Gerhard Richter, Brad Phillips, and Cindy Sherman. They have all been very influential over the last ten years, at one point or another.</span></i></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ5UaCHzsstKn9hW4XcZZ9wR5IRx00W_12EbJew_mEfD0WXLMVcypRwM3gownA08Y0S9SmkkBR3yIrEL8y49mB2Pw2xnTeuNSdYbZKnXBgFCy9qli4Ciconf8XDMilXKN787aDbSld7PN1/s1600/image.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ5UaCHzsstKn9hW4XcZZ9wR5IRx00W_12EbJew_mEfD0WXLMVcypRwM3gownA08Y0S9SmkkBR3yIrEL8y49mB2Pw2xnTeuNSdYbZKnXBgFCy9qli4Ciconf8XDMilXKN787aDbSld7PN1/s1600/image.jpg" height="366" width="400" /></a><span style="font-family: Arial,Helvetica,sans-serif;"><b> </b></span><span style="font-family: Arial,Helvetica,sans-serif;"><b>Check out Garrett Perry's work, along with Sophia Heymans, in <a href="http://www.soovac.org/index.php/shows/view/lovesickness_with_trees_recent_work_by_sophia_heymans_and_garrett_perry/">Lovesickness With Trees</a> at SooVAC. For more information <a href="http://www.soovac.org/shows">click here!</a></b></span></div>
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<br />Alison Hiltnerhttp://www.blogger.com/profile/18226215574512894212noreply@blogger.com0tag:blogger.com,1999:blog-4458624434730608496.post-24652371761370111892014-08-01T13:12:00.000-07:002014-08-17T09:58:12.484-07:00Elena Lavorato Gets to Know Exhibiting Artist Benjamin Rogers <style>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU3xQ35THdb8RObUm0SNW2JsMd0U-82JIh0mUElr0TgRnYTxkV7gcm8PiNEt07D_i4DJt6zqZiLWDYM8WVJZKOsXBb2yLVvxMoBM1MqhjgNrvcp1cuZ_ukqcd_wpmUKBgcm7UokCecWqWt/s1600/image-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU3xQ35THdb8RObUm0SNW2JsMd0U-82JIh0mUElr0TgRnYTxkV7gcm8PiNEt07D_i4DJt6zqZiLWDYM8WVJZKOsXBb2yLVvxMoBM1MqhjgNrvcp1cuZ_ukqcd_wpmUKBgcm7UokCecWqWt/s1600/image-2.jpg" height="325" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the past has its place</td></tr>
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<b><span style="font-family: Helvetica;"> </span></b><i><span style="font-family: Helvetica;"> </span></i></div>
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<b><span style="font-family: Helvetica;">1. Can you tell me a
little about your work in general?</span></b></div>
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<i><span style="font-family: Helvetica;"> My work doesn’t really
have a central theme really, but I do try to construct a visual frame that
links all the paintings and all the drawings.<span style="mso-spacerun: yes;"> </span>Each painting is an opportunity to explore different subject
matter, often times I make paintings that are about the creative process and
how that intersects with my personal and professional life.<span style="mso-spacerun: yes;"> </span>Generally my paintings take on a
multitude of meanings and I don’t feel comfortable pontificating to the viewer
what each piece should mean.<span style="mso-spacerun: yes;"> </span>I
like people to interact with my paintings, investigate them, and whatever
interpretation they create is okay by me.<span style="mso-spacerun: yes;">
</span>It isn’t really up to me how it will or won’t affect people.<span style="mso-spacerun: yes;"> </span>I also take special care to assign
titles to the work that will engage a viewer’s imagination instead of spell out
the meaning for them.<span style="mso-spacerun: yes;"> </span>A pet peeve
of mine is when artists explain away all of the aura and magic of there work
of art.<span style="mso-spacerun: yes;"> </span>As a viewer I like having
a little bit of mystery. </span></i></div>
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<b><span style="font-family: Helvetica;">2. Your paintings are so
complicated and realistic, how do you plan out all of these components before
paint actually meets canvas?</span></b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrLUt_UBlc_CUdH4mx4LsxR_Lc8QRg6D60vYr5z6uW_LZISzMZoc9qySrr4pYAcktIsdc22l99U75wi3Kewiq6qgeLw4MFOnXJx-ZCbIVk27fvw5cmPGoKXYU36S4lCYHDgRd1ds6V0RYq/s1600/image-5.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrLUt_UBlc_CUdH4mx4LsxR_Lc8QRg6D60vYr5z6uW_LZISzMZoc9qySrr4pYAcktIsdc22l99U75wi3Kewiq6qgeLw4MFOnXJx-ZCbIVk27fvw5cmPGoKXYU36S4lCYHDgRd1ds6V0RYq/s1600/image-5.jpg" height="270" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the morning never knows what the afternoon holds dear</td></tr>
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<i><span style="font-family: Helvetica;"> The truth is that I
don’t plan out all of the components of the painting before I begin.<span style="mso-spacerun: yes;"> </span>I do begin with a fairly exact drawing,
and a good understanding of what the end product will be, however that almost
always changes as I get into the painting.<span style="mso-spacerun: yes;"> </span>I am constantly adding and subtracting things as I go along,
trying to find the right combination of substance and style.<span style="mso-spacerun: yes;"> </span>I work from photographs, but try to
reference them as little as possible, so that I don’t feel like I am trying to
recreate a photo on a canvas.<span style="mso-spacerun: yes;"> </span>I
want to create an entirely unique image that takes advantage of the physical
properties of paint.<span style="mso-spacerun: yes;"> </span></span></i></div>
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<i><span style="font-family: Helvetica;"><span style="mso-spacerun: yes;"> </span>I am interested
in creating contrasting dimensionality, by making large flat color fields next
to highly formed objects or figures.<span style="mso-spacerun: yes;">
</span>So I treat the picture plane like an abstract surface and pay special
attention to foundational formal principles, such as color relationships, value
distribution, balance, composition etc.<span style="mso-spacerun: yes;">
</span>In the course of creating a painting I may have a plan for how it will
look, but once I start adding paint to the surface the reality strays from my
intentions, which is good, and I react by inserting whatever feels right for
the concept of the painting and what fits in a formal framework.</span></i></div>
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<b><span style="font-family: Helvetica;">3. Do you set up a scene
and then photograph it or do you work from photographs you find?</span></b></div>
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<tr><td class="tr-caption" style="text-align: center;">one among the many</td></tr>
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<span style="font-family: Helvetica;"> I create a scene and
then photograph it, (with one exception, my drawing <i style="mso-bidi-font-style: normal;">One Among the Many</i> was a photograph of one of my former students
that I found).<span style="mso-spacerun: yes;"> </span>I will begin a work
one of several ways, sometimes I start with a title and build the rest from
there, sometimes I want to try something challenging like make a Pink painting,
or sometimes I have an idea of a subject or object that I want to use.<span style="mso-spacerun: yes;"> </span>Sometimes I know exactly the image I
want when I go to photograph, and sometimes I have a general idea and just keep
trying new things until I find it.<span style="mso-spacerun: yes;">
</span>I use the different components in the scene to inform the narrative of
the painting, so I do put a lot of thought into what goes into each image.</span></div>
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<i><span style="font-family: Helvetica;"></span></i><b><span style="font-family: Helvetica;">4. Why do many of your
subjects look directly out from the painting at the viewer?</span></b>
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<i><span style="font-family: Helvetica;"> I really like
experimenting with the gaze of my subjects and how they interact with the
viewer.<span style="mso-spacerun: yes;"> </span>In film when a character
looks into the camera or addresses the audience it’s called breaking the fourth
wall, in painting you see this happen all the time through art history,
famously in <span style="mso-bidi-font-style: normal;">Olympia</span> by Manet.<span style="mso-spacerun: yes;"> </span>I think that I use it as a way of
talking about the artifice of the surface, that I’m making something that is
naturalistic but doesn’t pretend to be something other than a painting.<span style="mso-spacerun: yes;"> </span>When the figure breaks the fourth wall
in a film they are telling the audience that they understand that the film
happening around them is not reality but they have a special insight into the
land of make believe that the audience is peering into.<span style="mso-spacerun: yes;"> </span>I think I’m trying to get the same
affect with my figures.<span style="mso-spacerun: yes;"> </span>I also
think that it is easier for people to connect with a figure if they are making
eye contact, so it’s way of getting the viewer’s attention.</span></i></div>
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<b><span style="font-family: Helvetica;"> 5. Why do you place
yourself in your artwork?</span></b></div>
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<i><span style="font-family: Helvetica;"> I am not in my artwork
as often as people seem to think, I have a few paintings of my two best friends
who look just like me and I will do a self portrait from time to time.<span style="mso-spacerun: yes;"> </span>But I do admit, I paint myself enough
that it’s noticeable.<span style="mso-spacerun: yes;"> </span>And the only
reason for that I suppose is that all of my work is largely about me and my
understanding of the world.<span style="mso-spacerun: yes;"> </span>A lot
of my work is about the creative process which I can really only understand
through the lens of my experience, so why not just go ahead and use my visage
as the protagonist of the painting.</span></i></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7NMtKbGg1LaOiaQ_xRh6wS6DmDL7fuuhrQE_gJ54dwr2SYhqqZFUsxWa8bs3uDx-_Rh34aolXdobPA81QvJdfFgFD3yX1DSBEtlTfWBRPrgsjXxGaqyJKc_RtNo6LaDos-KffMRqrU9sn/s1600/image-4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7NMtKbGg1LaOiaQ_xRh6wS6DmDL7fuuhrQE_gJ54dwr2SYhqqZFUsxWa8bs3uDx-_Rh34aolXdobPA81QvJdfFgFD3yX1DSBEtlTfWBRPrgsjXxGaqyJKc_RtNo6LaDos-KffMRqrU9sn/s1600/image-4.jpg" height="257" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the hunger artist</td></tr>
</tbody></table>
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<br /></div>
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<b><span style="font-family: Helvetica;">6. Does the paint color
deviate much from the true color of a scene? If so, how do you choose your
color alterations?</span></b></div>
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<span style="font-family: Helvetica;">Yes, quite a bit.<span style="mso-spacerun: yes;"> </span>Since I don’t really look at the
photograph very often the colors get changed and exaggerated.<span style="mso-spacerun: yes;"> </span>I have made paintings that are more in
the photorealistic genre, but I didn’t feel as free as I do when I simply use
my intuition and understanding of painting to create entirely unique paintings.</span></div>
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<b><span style="font-family: Helvetica;">7. I heard you taught at
Normandale this past year, what classes did you teach?<span style="mso-spacerun: yes;"> </span></span></b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNuB-L0-37Vor5A9ojIBVrr-DevdBjxDtPYEKyhIv5nfScE12lClXx0_6ZAsWi6RNGY8HoO3NXA2pqE-FTPFzKXx3-Ak6rcX-E6FKIO5e1E4rAaFc3yJA7-wAA6b75ZfzwLf28k-4qFfeL/s1600/image-1.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNuB-L0-37Vor5A9ojIBVrr-DevdBjxDtPYEKyhIv5nfScE12lClXx0_6ZAsWi6RNGY8HoO3NXA2pqE-FTPFzKXx3-Ak6rcX-E6FKIO5e1E4rAaFc3yJA7-wAA6b75ZfzwLf28k-4qFfeL/s1600/image-1.jpg" height="218" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">how far then, shall we say, that the east is from the west?</td></tr>
</tbody></table>
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<i><span style="font-family: Helvetica;"> </span></i></div>
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<i><span style="font-family: Helvetica;"> I taught Painting 1,
Painting 2, Drawing 1 and Watercolor Painting.<span style="mso-spacerun: yes;"> </span>I loved teaching at Normandale, it was a great
experience.<span style="mso-spacerun: yes;"> </span>I had some really
wonderful students and got to see some of them mature artistically.<span style="mso-spacerun: yes;"> </span>I was a sabbatical replacement and wish
I could have stayed on longer.</span></i></div>
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<i><span style="font-family: Helvetica;"> </span></i><b><span style="font-family: Helvetica;">8. Has teaching
influenced your own artistic practice?</span></b></div>
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<span style="font-family: Helvetica;"><i> </i></span><i><span style="font-family: Helvetica;"> </span></i></div>
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<i><span style="font-family: Helvetica;">Yes, since teaching is
an exercise in deconstruction of one’s practice, you really begin to understand
your weaknesses.<span style="mso-spacerun: yes;"> </span>This has
encouraged me to really develop my weaknesses instead of avoiding them as my
natural tendency would dictate.</span></i></div>
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<br /></div>
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<b><span style="font-family: Helvetica;">9. I saw that you
received degrees in Arizona, Louisiana, and Kentucky; is the art scene
different in Minneapolis?</span></b></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRnFs-VkS4BiN-8Uz8GXmp1OVFAf03TXBPo8fHK76FfM1thVAarZ8kJhMIBpHhkFTok8aQA-MWFfdUVy8WX7qhn8MICPfugALoOO6dXkkzRicoodJO9r4y7XQarpcksMIYg_KZPMHH8I1-/s1600/image-6.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRnFs-VkS4BiN-8Uz8GXmp1OVFAf03TXBPo8fHK76FfM1thVAarZ8kJhMIBpHhkFTok8aQA-MWFfdUVy8WX7qhn8MICPfugALoOO6dXkkzRicoodJO9r4y7XQarpcksMIYg_KZPMHH8I1-/s1600/image-6.jpg" height="259" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">that which we've built together throughout these many years</td></tr>
</tbody></table>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSpGtN3obxg-V8M7aMgyacM5wbBzoUkRAPBEP-ydQJ845LLSpz1Cyj1JMFIFw_9Kf8T9RNy1LfKbFo0kjikeufP2WoAFE49tDuHY8z1HgEcSaMGgb1XRLatVVHVmQgkKgfG9eSxIRR0Ysc/s1600/image-7.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><i><span style="font-family: Helvetica;"> I think that every large
city has a different art culture, certain things are valued more, and certain
types of work are more successful etc.<span style="mso-spacerun: yes;">
</span>For instance, Phoenix, Long Beach and San Diego each have a certain
style, or a prominent theme for the work that thrives in those areas.<span style="mso-spacerun: yes;"> </span>There are some successful figurative
artists in Phoenix, but the work that is the most successful deals with
national identity/border issues or water issues. I think that the Minneapolis
Art scene is similar in a lot of ways to that of Cincinnati (where I grew up) in
that there isn’t really a predominant media, style or subject matter.<span style="mso-spacerun: yes;"> </span>There also isn’t a lot of
For-Profit galleries or “Blue Chip” galleries<span style="mso-spacerun: yes;"> </span>but there is a great appreciation for creativity through
things like the Art-A-Whirl.<span style="mso-spacerun: yes;">
</span>However I get the sense that the country’s biggest Artwalk is more about
having something interesting to do than having an opportunity to look at great
art.<span style="mso-spacerun: yes;"> </span>And for that matter it
shouldn’t be, that’s a sort of terrible context to see art, I know because I
went through a similar art walk 4-6 times a year at my studio in
Cincinnati.<span style="mso-spacerun: yes;"> </span>I do think that it’s
amazing the way that Minnesota supports the arts,<span style="mso-spacerun: yes;"> </span>there are a lot of funding opportunities for artists and a
few really nice Non-Profit Galleries like Soo VAC.<span style="mso-spacerun: yes;"> </span>I also see little hints of the New Orleans Art Scene in this
city, because of peoples interest in beauty and oddity and their appreciation
for diverse cultural expression. </span></i></div>
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<div class="MsoNormal">
<span style="font-family: Helvetica;">For more information on </span><i><span style="font-family: Helvetica;">Critique of Pure Reason, </span></i><span style="font-family: Helvetica;">Benjamin Roger's show opening August 2nd, </span><span style="font-family: Helvetica;"></span><i><span style="font-family: Helvetica;"><a href="http://www.soovac.org/index.php/shows/view/critique_of_pure_reason_paintings_by_benjamin_rogers/" target="_blank">CLICK HERE </a></span></i></div>
Alison Hiltnerhttp://www.blogger.com/profile/18226215574512894212noreply@blogger.com0tag:blogger.com,1999:blog-4458624434730608496.post-46155022733188405152014-07-24T09:04:00.001-07:002014-07-24T09:06:26.245-07:00Elena Lavorato Gets to Know Exhibiting Artist Sophia Heymans<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxGyATIrLFpTQVK3zYG6TAH45duDmI3_Bi092undf_MsXeneiLujtlz1C-v8jwOUt2bTL1nDSeeqgjZSFNGMQfoLufNF-8COgKR8ok6166cVG9sm75c2_N10M8ZMO_iFJSk0-rSM4fAqD0/s1600/march.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxGyATIrLFpTQVK3zYG6TAH45duDmI3_Bi092undf_MsXeneiLujtlz1C-v8jwOUt2bTL1nDSeeqgjZSFNGMQfoLufNF-8COgKR8ok6166cVG9sm75c2_N10M8ZMO_iFJSk0-rSM4fAqD0/s1600/march.jpg" height="265" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: xx-small;">March</span></span></td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"></span></div>
<br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><b>Can you give me a brief description of your work? </b></span></span><br />
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><i>Each landscape painting in my new series represents one month of the year and attempts to express a Minnesotan’s personal relationship to nature within that month. I often think about the style as layering the figurative narrative of American Folk Art on top of the textural assemblages of Abstract Expressionism. There is a lot of wild and fast-paced surface build-up and then more controlled figures added later. To me, each painting is a different character and I am making a big family of 12.</i><br />
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;">Do you feel there is some advantage to depicting a scene from an angled aerial perspective?</span></b></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidTuk2s4PESmIJdHtIQcF-WcK19zS6ybmfA1iHfAbnWZIq5gbbU-rXi4RFFjkhmPbxEoS-AGjplx9HK3kIZHDChX5kqJjxO2eVI3ci5qN5eqi24hARX16h1myLA3q3o22W6hHOpB-lvmY5/s1600/march+detail+2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidTuk2s4PESmIJdHtIQcF-WcK19zS6ybmfA1iHfAbnWZIq5gbbU-rXi4RFFjkhmPbxEoS-AGjplx9HK3kIZHDChX5kqJjxO2eVI3ci5qN5eqi24hARX16h1myLA3q3o22W6hHOpB-lvmY5/s1600/march+detail+2.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">March (detail)</span></span></td></tr>
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--></style><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><i>The reason I choose an aerial perspective is because I want to show as much of the landscape as I can. I want the viewer to see everything that is happening all the way back to the horizon with nothing obscuring the view. Because of this perspective my paintings can become a giant stage for interactions between plants, landmarks and people. I give a much bigger role to the land than the sky in my paintings. I don’t have much interest in portraying the sky in paintings because compared to land/earth I think it lacks personality. For me, a very small amount of sky is enough to get the idea across.</i><br />
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<b>How do you use paper </b><b>
mâché
in your work? For texture?</b><br />
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><i>I use it for texture but it also works as a composition tool. I place chunks of paper </i><i>mâché (and other textural materials such as string and seeds) down first on the canvas before I use any paint and they become obstacles to work around which helps keep the composition from getting stale or predictable. </i><br /> </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHHH2Q-HnNDxCDPkI_4XtRW5JNYDuK97j2aHYlvWvHQITbHt1t9Z_HYzLPfmkwgUSc9hcCCmhn_GQZpRjdssUa_R7avTPkeu5rEt-6CRyzNrz1saitD50AfA4QXQlJ9yb3mfk15MlURKje/s1600/january.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHHH2Q-HnNDxCDPkI_4XtRW5JNYDuK97j2aHYlvWvHQITbHt1t9Z_HYzLPfmkwgUSc9hcCCmhn_GQZpRjdssUa_R7avTPkeu5rEt-6CRyzNrz1saitD50AfA4QXQlJ9yb3mfk15MlURKje/s1600/january.jpg" height="284" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: xx-small;">January</span></span></td></tr>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><b>How did you come to use dryer lint with paint?</b><br />
<br />
<i>I first used dryer lint in college. I saw a pile of it in the trash in the laundry room of my dorm building and each piece was a different color from a different load of laundry. I thought “I could use that”. I don’t use it as much anymore because I don’t live in a place with a big laundry room, but I highly recommend it as a material. It almost always has a really interesting color or mix of colors that is hard to make with paint.</i><br />
<b><br />
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{page:Section1;} </style>Thinking about what these scenes are, a prairie or a park, these are places that are normally depicted as serene or peaceful, but in you paintings there seems to be elements of chaos. Is this correct?</b></span></span><br />
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><i>
Yes, I think about chaos a lot. I like to play around with order/disorder. For instance the composition may be arranged tidily in a large circle but the plants making up those arrangements are strangely shaped, overgrown or laying dead in the snow. I do believe nature is chaotic which makes it demand so much awe and reverence. That is the main reason I choose to paint landscapes. </i><br />
<b></b></span></span><br />
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><b>What was your first art related experience?</b></span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><b> </b></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh89gAluo1DlxgmSeGucLKMQuF4QASYO_V0jHV9VJcUw4wgmI-jk2_89VR5laU42o2N-rGAJmp5ZkkAOljmcQa33AcHuAKOERLkOZvkohcBkYTCmtJO7Tj1u60dwkFmI95NAGLVjZAISUeP/s1600/january+detail.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh89gAluo1DlxgmSeGucLKMQuF4QASYO_V0jHV9VJcUw4wgmI-jk2_89VR5laU42o2N-rGAJmp5ZkkAOljmcQa33AcHuAKOERLkOZvkohcBkYTCmtJO7Tj1u60dwkFmI95NAGLVjZAISUeP/s1600/january+detail.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: xx-small;">January (detail)</span></span></td></tr>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"></span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"></span></span>
<span style="font-size: small;"><i><span style="font-family: Arial,Helvetica,sans-serif;">My sister and I were homeschooled through childhood and every place on our family farm was transformed into a world that really only existed in our minds: branches at the top of a tree, a cleared out space in a cornfield, an empty bathtub, a colorful rug. They were all different settings in our highly intricate play world. I grew to understand that people could not see these places the same way we did. When I tried to tell my parents about them with my words they responded with very little interest. I went looking for a different way to convey what I saw and experienced to others and I am still doing that to this day through painting. My sister must have felt the same way because she became an artist too. </span></i></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"></span></span><br />
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</span></span>
<br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">For more information on Sophia Heymans vis<span style="font-size: small;">it <a href="http://www.sophiaheymans.com/" target="_blank">HERE</a>. </span></span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">And more about the exhibition opening August 2nd <a href="http://www.soovac.org/index.php/shows/view/lovesickness_with_trees_recent_work_by_sophia_heymans_and_garrett_perry/" target="_blank">HERE</a>. </span></span></span><br />
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Alison Hiltnerhttp://www.blogger.com/profile/18226215574512894212noreply@blogger.com0tag:blogger.com,1999:blog-4458624434730608496.post-63075746910425171962014-06-05T08:49:00.000-07:002014-06-05T09:39:38.411-07:00Elena Lavorato Gets to Know Exhibiting Artist Aaron Dysart <style>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><b>In regards to your sculptural
practice, why are you interested in nature?</b> </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9see8O5n45Sf53SZGxf1MrN17VsdUvZt2ZVpt8tzGGj10fuEyMljFL29LB7RL17NIujDigV3fgXuxdvey4Cn3EVYavFirFW4LUibM-YfQG0wn3CpWNqxQBIpao3qr7v42IGdk9lzNNP1Q/s1600/dysart+5.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9see8O5n45Sf53SZGxf1MrN17VsdUvZt2ZVpt8tzGGj10fuEyMljFL29LB7RL17NIujDigV3fgXuxdvey4Cn3EVYavFirFW4LUibM-YfQG0wn3CpWNqxQBIpao3qr7v42IGdk9lzNNP1Q/s1600/dysart+5.JPG" height="400" width="300" /></a></span></div>
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"> <i> I really have problems with the word
‘nature’ as it always feels like a false category, as I do not believe in the
supernatural, so nature is all there is, it is the grand system. However it is often thought of as
something other then us, and this manufactures distance and problems. Knowing this, I still feel the
disconnect. I wish I didn’t, but I
do. </i></span><br />
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<span style="font-size: small;"><i><span style="font-family: Arial,Helvetica,sans-serif;"> The sculptures are trying to understand where
this disconnect comes from and how I can get rid of it. I want to be a positive part of the
natural system, though I harbor a strong distrust of my thoughts of how this
might come to be. Nature is so
much larger then us, I often wonder how much we can know for sure. I am however not content to fester in
skepticism, and try to push forward with the knowledge that I am probably wrong
and always wear my earnestness on my sleeve. </span></i></span></div>
<span style="font-size: small;"><br /></span>
<span style="font-size: small;"><b><span style="font-family: Arial,Helvetica,sans-serif;">What does the fake aspect of
plastic or painted trees represent?</span></b></span><br />
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<span style="font-size: small;"><i><span style="font-family: Arial,Helvetica,sans-serif;">I enjoy when something is trying to be something
else. It ceases to be anything stable,
as it is both the material it is made out of and the thing it is trying to
be. I love the fact that a
discrete object can exist in this ambiguous, and at times, contradictory
state. </span></i><span style="font-family: Arial,Helvetica,sans-serif;"><b> </b></span></span><br />
<span style="font-size: small;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><b>Do you have a memorable childhood
experience involving art?</b></span></div>
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<span style="font-size: small;"><i><span style="font-family: Arial,Helvetica,sans-serif;">My origin myth starts with tee-ball. My parents signed me up, and for our
first game all the kids on my team ran onto the field calling the position they
wanted to play. Since I had no
idea how the game was played I ended up in left field, which of course is
pointless in a tee-ball game played by 6-year-olds. I stayed out there making piles of grass for a couple
innings as the other kids kept changing sides. Seeing my complete non-interest my parents signed me up for
ceramics classes at the Minnetonka Center for the Arts, so technically I was in
art school before normal school.</span></i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxr5iCfLDK-k-gLODFDiMDOjwzUlxYc_OBbKcJL8OGd2FPPRdX3nIZo8u-Bbo0ia6oU7DE57EGUv3WdxY9XCx3fn83qVDwi3xYsbwCCINozCcUnIZ3BatPtr_Oyf3mulIKLcbKVl5MbAkF/s1600/dysart+8.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxr5iCfLDK-k-gLODFDiMDOjwzUlxYc_OBbKcJL8OGd2FPPRdX3nIZo8u-Bbo0ia6oU7DE57EGUv3WdxY9XCx3fn83qVDwi3xYsbwCCINozCcUnIZ3BatPtr_Oyf3mulIKLcbKVl5MbAkF/s1600/dysart+8.JPG" height="240" width="320" /></a></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><b> Where is your favorite place to
be outside?</b> <b> </b> </span></div>
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<span style="font-size: small;"><i><span style="font-family: Arial,Helvetica,sans-serif;">The Minnehaha dog park is my favorite place
in the world. I could write a
whole book on that place, but will just say that I think it's pure magic.<b> </b></span></i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><b> Do you have a preference when it
comes to displaying art indoors or outdoors? Is one more effective than the
other?</b></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLzHQL7dNi292RfR-5ijCT5471KpWlrz_AZt5qsnm5TEr6fwv_SvfAGk02JrHQXIsAY7vdnQQqW5ezMCVERHhm8l7rca7BwrhOrRogHcqGtz-sK1SmAEd6LBNO87fqqw1ltusKS3hC2Gcc/s1600/dysart+3.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLzHQL7dNi292RfR-5ijCT5471KpWlrz_AZt5qsnm5TEr6fwv_SvfAGk02JrHQXIsAY7vdnQQqW5ezMCVERHhm8l7rca7BwrhOrRogHcqGtz-sK1SmAEd6LBNO87fqqw1ltusKS3hC2Gcc/s1600/dysart+3.JPG" height="320" width="218" /></a></span></div>
<span style="font-size: small;"><i><span style="font-family: Arial,Helvetica,sans-serif;">I have been mostly outside for years now,
and the work was there for conceptual reasons. In attempting to understand how I relate and think about
wilderness, I need to be physically in that space. It isn’t always comfortable, and can be a pain in the ass,
but it made sense for the work and I let that guide me. The nice part is I didn’t have to look
for shows, or wait for gallery space.
I just found a good spot and put it up.</span></i></span><br />
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<span style="font-size: small;"><i><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></i></span></div>
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<span style="font-size: small;"><i><span style="font-family: Arial,Helvetica,sans-serif;">This show was a conscious return to object
making, which I have missed lately.
I love the discrete boundaries of an object and the physical act of
making. The difficulty in having objects
seem vital pays off when you make something that holds ambiguity and
contradiction yet provides an undeniable permanent physicality. I don’t think I always achieve it, but
it is what I am shooting for.</span></i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLclS7dMtPtEHK1ngf2Q485ismifSObh95_SlQCDDJgFMBXA11tKz9G4mSiZnWOBK4TtAEURTzUo7bKk5X5uY8bQTS9v4Nbu0009VdZA0eB33tDrOA8vilKhfJr_guny7VaGb06cqHzsQn/s1600/dysart+1.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLclS7dMtPtEHK1ngf2Q485ismifSObh95_SlQCDDJgFMBXA11tKz9G4mSiZnWOBK4TtAEURTzUo7bKk5X5uY8bQTS9v4Nbu0009VdZA0eB33tDrOA8vilKhfJr_guny7VaGb06cqHzsQn/s1600/dysart+1.JPG" height="320" width="240" /></a> <b> </b></span><br />
<span style="font-size: small;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><b>If you could only use three tools
to make work for the rest of your artistic career, what would they be</b>?</span></div>
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<span style="font-size: small;"><i><span style="font-family: Arial,Helvetica,sans-serif;">This sounds like a nightmare. I am interested in having material
being determined by the content of the work. Because of this, the tools and techniques are always quite
varied and can become tool intensive.
Sculpture can draw from anything, which allows me to continually learn
new materials and constantly search out new skills. If I was stuck with just three tools, the work would narrow and
become material dependent, and that doesn’t really
interest me. </span></i></span></div>
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<span style="font-size: small;"><br /></span>
<span style="font-size: small;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Come check out Aaron Dysart's show <a href="http://www.soovac.org/index.php/shows/view/located_featuring_work_by_nate_burbeck_and_aaron_dysart/" target="_blank">opening June 7th</a>!!!</span></div>
Alison Hiltnerhttp://www.blogger.com/profile/18226215574512894212noreply@blogger.com0tag:blogger.com,1999:blog-4458624434730608496.post-36405626148099548002014-06-04T11:24:00.001-07:002014-06-04T11:24:58.763-07:00Elena Lavorato Gets to Know Exhibiting Artist Nate Burbeck
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Times; font-size: 10.0pt;"> Many of your
paintings could be photographs, why does painting these scenes make
them better?</span></b><span style="font-family: Times; font-size: 10.0pt;"> </span></div>
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<span style="font-family: Times; font-size: 10.0pt;"> Firstly,
I'm not technically proficient enough to realize these works as photographs,
but in truth I actually prefer them as paintings. Painting allows for a certain
amount of flexibility and I think it more easily opens up the possibilities for what can be done. I also enjoy the challenge that painting presents - to be
able to depict what I'm trying to create in a convincing fashion. It's not
automatic either and it takes time to accomplish that goal but I enjoy the
process.</span></div>
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<span style="font-family: Times; font-size: 10.0pt;"><br /><b style="mso-bidi-font-weight: normal;">What do the smoke, balls, glowing
light, and other surrealistic elements applied to everyday scenes represent?</b></span></div>
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<span style="font-family: Times; font-size: 10.0pt;">They don't
really have a ton of specific meaning to me in that one thing means this and
another thing means something different, these elements are more there to give
the paintings a surreal or psychological edge. Overall I'd say there's no one
correct way to read each painting, the onus is on the viewer to fill in the
gaps of meaning for themselves. And that's really what I'm most interested in
for these paintings. Different people have different interpretations depending
on how they see the work and what experiences they bring to it.</span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Times; font-size: 10.0pt;">Do you personally know most of the
people in your paintings, especially the ones with close up and detailed views
of the faces?</span></b><span style="font-family: Times; font-size: 10.0pt;"></span></div>
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<span style="font-family: Times; font-size: 10.0pt;">For the
most part yes. I prefer to have actual people pose for me (who I will
photograph and use as reference for a given painting) and those people tend to
be friends or people I know. There are some instances where I've had to use
images from various online sources but ideally I try to find friends to pose
for me.</span></div>
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<span style="font-family: Times; font-size: 10.0pt;"> </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: Times; font-size: 10.0pt;">I’m curious to know if you were
bored or dissatisfied as a child growing up in the Midwest and the
things you saw made you fantasize about a more interesting world? Such
as, <i>what if there were reflective metallic balls over this field?</i></span></b><span style="font-family: Times; font-size: 10.0pt;"></span></div>
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<span style="font-family: Times; font-size: 10.0pt;">No, I
wouldn't say I was bored with my surroundings growing up in the Midwest. Things
were pretty normal, for whatever that's worth. My interest in these kinds
of typical middle American settings has only really come up more recently, say
in the last five years or so, and I think it mostly is just a result of working
with what I see around me. There are interesting things to see here in flyover
country, you just have to be willing to look.</span></div>
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<span style="font-family: Times; font-size: 10.0pt;"> <b style="mso-bidi-font-weight: normal;">How old were you when you began to paint
and what were your ideas or themes like then?</b></span></div>
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<span style="font-family: Times; font-size: 10.0pt;">I've been
doing art related things every since I was little, though that was mostly
doodling and drawing. I got into painting somewhat late (I guess) when I was in
my junior year at college. When I was first starting out with my own ideas I
was more interested in symbolism, everything had a specific meaning. But now
things are more generic, in the sense that I don't ascribe those
attributes to what I paint, things are more open ended now.</span><i><span style="font-family: Times; font-size: 10.0pt;"> </span></i></div>
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<i><span style="font-family: Times; font-size: 10.0pt;"> </span></i><b style="mso-bidi-font-weight: normal;"><span style="font-family: Times; font-size: 10.0pt;">I read your CV, can you elaborate on
when you say …<i>creating tension between what is familiar and what is
distinctly surreal. </i>I’m wondering because for me personally I get a dreamlike
or calming feeling from your work and I was hoping you could tell me a bit more
about the aspect of tension.</span></b><span style="font-family: Times; font-size: 10.0pt;"></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR6goluiTWPF565zRe23SbsLBvHCj9-dnK2XchzENaoZ7boTLeJAoq5NeMEykkMpZtUJzuzGCc5ZSOFxqnYaP8NKKgqkwWqXS4kmOM-da_yhciSyo7pIm7j8fcra81roz60eoZiPNTL6vz/s1600/nate01.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR6goluiTWPF565zRe23SbsLBvHCj9-dnK2XchzENaoZ7boTLeJAoq5NeMEykkMpZtUJzuzGCc5ZSOFxqnYaP8NKKgqkwWqXS4kmOM-da_yhciSyo7pIm7j8fcra81roz60eoZiPNTL6vz/s1600/nate01.JPG" height="167" width="320" /></a><span style="font-family: Times; font-size: 10.0pt;"><br style="mso-special-character: line-break;" />
I'd say
there's some tension in the work but not all in equal measure. Mostly what I'm
getting at with that is that there's a strange mix in my paintings, where most
of the settings are familiar, maybe even uninspiring, everyday landscapes but
within these seemingly mundane settings there's something strange going on,
those elements that give the paintings a surreal or psychological edge. So
there's a tension in having to reconcile with those two things that are
existing in the same space. And like I said this isn't all in equal measure,
there are some paintings that have more direct tension and even violent aspects
- example, <i style="mso-bidi-font-style: normal;">Highlands Ranch, Colorado</i>
- whereas others might be a little more quietly mysterious and not so jarring -
as in <i style="mso-bidi-font-style: normal;">Robbinsdale, Minnesota</i>,
etc. </span></div>
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<i><span style="font-family: Times; font-size: 10.0pt;"></span></i><b style="mso-bidi-font-weight: normal;"><span style="font-family: Times; font-size: 10.0pt;">What art do you have hanging on your
walls?</span></b><span style="font-family: Times; font-size: 10.0pt;"> </span></div>
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<span style="font-family: Times; font-size: 10.0pt;"> Umm, well
mostly my paintings at the moment. I would have more art from other artist
friends of mine but I just don't have a whole lot of space to do that right
now. I have a sculptural wall piece from an artist friend that's currently
living inside a box in my studio, eventually I'm planning on displaying it. I
do however have a small, growing collection of art books that I'm pretty proud
of, if that counts.</span></div>
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<i><span style="font-family: Times; font-size: 10.0pt;"></span></i><b style="mso-bidi-font-weight: normal;"><span style="font-family: Times; font-size: 10.0pt;">What are you working on now?</span></b><span style="font-family: Times; font-size: 10.0pt;"></span></div>
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<span style="font-family: Times; font-size: 10.0pt;">More
painting! Currently I'm working on a larger piece that is based off of some
photos I took on a weekend trip to Fort Dodge, Iowa. I'm excited to see how it
will turn out.</span></div>
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<span style="font-family: Times; font-size: 10.0pt;">For more information on Nate Burbeck visit <a href="http://www.soovac.org/index.php/shows/view/located_featuring_work_by_nate_burbeck_and_aaron_dysart/" target="_blank">HERE</a>.</span></div>
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Alison Hiltnerhttp://www.blogger.com/profile/18226215574512894212noreply@blogger.com0tag:blogger.com,1999:blog-4458624434730608496.post-22692392273470004352014-05-29T10:06:00.002-07:002014-05-29T10:34:06.669-07:00Elena Lavorato Gets to Know Exhibiting Artist Theresa Anderson<br />
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<b><span style="font-family: Arial,Helvetica,sans-serif;"><b>1. Can you
tell me a little about the materials you use? Do you stumble upon them?
Are they free? Do you search for certain pieces? </b><br /><br /><span style="font-weight: normal;"><i>I spend a
bit of time before each making spree scavenging freecycle, estate sales
and thrift stores. Each sculpture is usually a mix of old and new. In
the work, one shot big shot, a new slab of paint embedded with floral
foam is tied with yellow electric tape around a structure of discarded
wood. Heavy striped vinyl sits/ dangles off the base like a spent
balloon.<br /><br />One of my biggest coups was being contacted by the
Artistic Director at PlatteForum Creative Residency a few years to come
take a look at the discards from a previous artist. She knows I’m always
searching for materials that have a certain kind of history to them,
texture or color. The artist had left at least 40 old stretcher bars
with the edges and sides of the paintings intact. I immediately loved
them. I remember seeing the notes on the sides, the residue of the
making and just knowing that they’d be fodder for something. Old
plastic garbage cans, bird cages, parts of lamps, sticks, wallpaper,
vintage textiles such as fur, bra straps, pantyhose, picnic tablecloths,
pillow stuffing, threads and ropes, feathers, tables, legs, kitsch
holiday decorations, fake hair, fake flowers and all kinds of things
make their way into the studio. Quite often I’ll mess around with them
over a long period of time before they’re either incorporated into a
sculpture or given a new home with another artist to make room for other
materials. </i></span></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnoMjaV5cotmsAqblkG_6TmVgK_UIia4pn_Spa8Yu-HoMILDbbjZUQ4nJRn8CoRtSohVH3RhYkdlE63QuB9xW1EZEilbyM7rhXgLfMg2zxVX7RPdlcBX8T_g7vrkB7CXIOBJDhyzGSSMtY/s1600/WEBAnderson03.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnoMjaV5cotmsAqblkG_6TmVgK_UIia4pn_Spa8Yu-HoMILDbbjZUQ4nJRn8CoRtSohVH3RhYkdlE63QuB9xW1EZEilbyM7rhXgLfMg2zxVX7RPdlcBX8T_g7vrkB7CXIOBJDhyzGSSMtY/s1600/WEBAnderson03.png" height="400" width="266" /></a><span style="font-family: Arial,Helvetica,sans-serif;"><br /><br /><b>2. Can you tell me about your sculptural practice in general and what your ideas and feelings are towards your work?</b><br /><br /><i>Overall my work is very circular moving between the daily drawing practice, painting and sculpture. I’m pulling apart ideas, thinking about the relationships of materials, and moving between abstraction and figuration. The sculptures represent a space of reasoning that often starts much more formally, centered around material requirements and ideas about body pivot points, fragmentation and movement. Each type of work allows me to reflect and push back into the research and notes about the ideas I’m thinking about. It’s pretty layered. </i><br /><br /><b>3. Why do you use pedestals to elevate certain sculptures rather than other materials? Do you build these sculptures with the pedestal in mind?</b><br /><br /><i>All of these works have gone through relationships with the floor, furniture and the pedestal. I’ve played around documenting the works with pedestals as a way to bring the work back to some kind of formality- a leaving off of the emotional attachment, palette cleansers. I can put them back on kinds of living furniture or the floor to reinvigorate them with another kind of physicality. </i><br /><br /><b>4. Do you have a memory or memorable moment of your first childhood experience with art?</b><br /> </span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><i>Some of my first memories are of sitting in the dirt painting rocks, coding doorjambs and driving nails into wood. I had a pretty vivid imaginary world, making costumes, writing plays, singing and dancing.</i><br /><br /><b>5. Do you play a specific kind of music when you work that you don’t normally listen to outside of the studio?</b><br /><i><br />I have a set of 171 rap and dubstep songs that I’ve been listening to since late 2011-12. My then teenage son had uploaded his song list onto my itunes and repopulated my ipod. I pair the violent misogyny with focused readings in the morning. </i><br /><br /><b>6. The work you will have in <i>Tenantless Pause</i> (granted I have only seen two pictures on our website) seems more ambiguous compared to your other sculptures which automatically trigger a connection in mind to the female body or other real-world images. Am I totally off or has your work shifted in this direction? </b><br /><br /><i>My work has been going more towards abstraction for quite some time. The tension between figuration and abstraction is pretty sweet. </i><br /><br /><b>7. Do you keep a special object in your studio that you won’t use for a sculpture but offers inspiration for your work?</b><br /><br /><i>Nothing in my studio is off limits. Anything off-limits should stay out of the studio. I spend quite a bit of time collecting, touching and thinking about the things I’ve put in the studio so when I’m ready –it’s incorporation happens quickly. It’s very similar to drawing practice. It’s there when you need.</i></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><i> </i><br />For More Information on Theresa Anderson's exhibit opening June 7th Click<a href="http://www.soovac.org/index.php/shows/view/tenantless_pause_featuring_work_by_theresa_anderson_and_jennifer_nevitt/" target="_blank"> HERE</a>.</span>Alison Hiltnerhttp://www.blogger.com/profile/18226215574512894212noreply@blogger.com0tag:blogger.com,1999:blog-4458624434730608496.post-5316109207112286462014-04-04T15:14:00.003-07:002014-04-05T07:19:18.909-07:00Elena Lavorato Gets to Know Exhibiting Artist David Lefkowitz<br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b>You have successfully painted on many unexpected and intriguing surfaces like Styrofoam, ceiling tiles, and felt, have there been any materials you were excited to paint on but were unsuccessful?</b></span></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><i>Hmmm, I’d have to think about that a while. The choice of materials and the imagery depicted are almost always linked. For example, interior architectural cutaway views made of joint compound on drywall, which are the basic materials of interior walls, or the manipulated natural forms of topiaries depicted on the manipulated natural forms of plywood. So if there’s a connection between a material and particular imagery that I’m interested in, I will find a way to force them together! </i></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSdjMp8VZR1Z_ndx2dyRVeNKHL0NmueE5wrj6fzfpcrSoSVG64j_2RahSRLfsygPwQWL8Ql39Na420htDzSUDoqczePE_rO_jvFHo-PGMeiIjXyX63-KdfXteZdZHTJ_4l5vb1XwaV-l2o/s1600/crevasse+1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSdjMp8VZR1Z_ndx2dyRVeNKHL0NmueE5wrj6fzfpcrSoSVG64j_2RahSRLfsygPwQWL8Ql39Na420htDzSUDoqczePE_rO_jvFHo-PGMeiIjXyX63-KdfXteZdZHTJ_4l5vb1XwaV-l2o/s1600/crevasse+1.jpg" height="187" width="320" /></a><b>What was your “gateway” material so to speak that led to painting on non-traditional surfaces? </b></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><i>Wood is not exactly a non-traditional material, but the way I used it for some earlier work drew attention to particular standardized forms that it comes in, I’m thinking specifically of panoramic landscape paintings about resource use on 2X4’s. That was the first series that emphasized a link between image and object. </i></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b>Why did you start painting on cardboard? Is there a moment that sticks out in your mind of the experience? What were you thinking and how did it feel to apply paint to that surface?</b></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><i>I first used cardboard to create artificial tree stumps. On one giant one I added painted tree rings. From there I thought about potential other ways to address cardboard’s physical properties and the ubiquity of the material as a standard container for global mercantile exchange, and the work in Austerity Plans presents several different avenues suggested by that line of inquiry. </i></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b>I noticed that your watercolors are almost centrally located on a large piece of cardboard while your acrylic paintings cover their entire surface. Is there a correlation between the paint and the scale or coverage?</b></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><i>First, just for clarification, most of my paintings are in oil. I have usually created compositions on cardboard that emphasize an isolated ‘figure’ on an empty ground. They lend themselves to that specimen-like format- there’s a no-nonsense assertion of fact that I like – it helps legitimize these otherwise impossible structures. However, some of the newer pieces in this show fill the whole space or are cropped in ways that activate the ground more.</i></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b>What is your first art related childhood memory?</b></span></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><i>It was more like high school than childhood, but I remember loving work that expressed diametrically opposite attitudes about what art is. I responded both to Realist painting like Thomas Eakins, which demonstrated attentiveness to the external world and the craft of illusionism, and Marcel Duchamp’s Fountain, which overtly challenged those assumptions in an audacious and hilarious way. I’ve been embracing that tension ever since.</i></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b>Do you listen to anything while working?</b></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i><span style="font-size: small;">Sometimes I need quiet to concentrate on working out ideas, but a lot of my work involves relatively rote, somewhat repetitive activity, and then I’ll usually put my i-tunes library on shuffle- I love the surprise of an eclectic, sometimes jarring mix- like Thelonious Monk followed by the Monkees, followed by chanting Benedictine Monks….</span></i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b><b><b>Acrylic paint seems to
conceal the material you are painting on while with watercolor the paint
becomes apart of the surface instead of lying on top. Why do you choose certain
paint for a particular surface?</b></b></b></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Times;">I like watercolor for the
cardboard work because its translucency does always bring a viewer back to the
materiality of the corrugated boxes that make up the surface. </span></i><b><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Times;"><o:p></o:p></span></i></b></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b>After looking up the definitions I found austere can mean severe or a simple plain quality and austerity can refer to spending money only on things that are necessary. Does Austerity Plans reference the economic use of painting on something that most people throw away and in the clean and detailed architecture demonstrate a blue print or plan for doing this? </b></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><i>I like the multiple references that ‘Austeriy Plans’ brings to mind- so the answer to your either/or question is yes. I like that austerity can refer to a simplification- a Modernist, even Minimalist assertion of attention to the elemental, the basic. Some great art has come into being from that premise, but it’s a narrative that can only go so far- an end game. In economics, it implies hardship- government policies that slash services, usually at the expense of those lowest on the economic ladder. I’m interested in suggesting alternative ways to consider the term that reframe it to emphasize doing more with less- to develop a spirit of radical resourcefulness. Modernism and Global capital both rely on an assumption that progress and growth are synonymous and inevitable without much consideration of the costs. I propose rethinking what we mean when we talk about progress. So do paintings of boxes on cardboard boxes accomplish this? I don’t know- think of the work as a catalyst for this kind of conversation.</i></span></span></div>
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<span style="font-size: small;"><a href="http://www.soovac.org/index.php/shows/view/austerity_plans_corrugated_drawings_by_david_lefkowitz/" target="_blank"><i>
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<span style="font-size: small;"><i><span style="font-family: Times; font-size: large;"><span class="Apple-style-span" style="font-style: normal;"><a href="http://www.soovac.org/index.php/shows/view/austerity_plans_corrugated_drawings_by_david_lefkowitz/" target="_blank">Austerity Plans</a> </span></span><span style="font-family: Times;"><span class="Apple-style-span" style="font-style: normal;"><span style="font-size: large;">runs from April 5 to May 15 at SooVAC with an opening reception on April
5th.</span></span></span></i><span style="font-family: Times;"><span class="Apple-style-span" style="font-style: normal;"><span style="font-size: large;"> Visit <a href="http://www.davidlefkowitz.net/" target="_blank">Here</a> for more on David Lefkowitz.</span></span></span></span></div>
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Alison Hiltnerhttp://www.blogger.com/profile/18226215574512894212noreply@blogger.com0tag:blogger.com,1999:blog-4458624434730608496.post-25145572004501151302014-03-26T13:32:00.002-07:002014-03-26T15:49:27.122-07:00Getting to Know artist Zelda Zinn with Elena Lavorato<style>
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--></style><span style="color: #444444;"><span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";"><span style="font-size: x-large;"><b><i>Suspension and Belief</i></b></span> </span></span><br />
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<span style="color: #444444;"><span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";">Zelda
Zinn does not consider her sculptures art. The digital pigment prints of the images
procured from photographing sculpted plastic bags and shredded paper are the
ultimate work. When I viewed online the suspended fluid masses Zinn created
from these originally unremarkable items they felt immediately fa<a href="https://www.blogger.com/blogger.g?blogID=4458624434730608496" name="_GoBack"></a>miliar yet re-worked in a way to make me question the nature
of the material. I was frustrated when next to each ethereal form (that looked
almost like a cluster of bags but was so otherworldly in lighting and movement
it could not be something so common) the only description was a serial number
and the words <i style="mso-bidi-font-style: normal;">digital pigment print. </i>I
realized it probably wasn’t about the materials being photographed, but the
results of that process. Zinn explains, “I create these sculptures only for the
camera. It is through lighting and shooting and then flattening them down to
2-d that they become interesting. If you saw them as objects they would most
probably not hold your attention.” </span></span></div>
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<span style="color: #444444;"><span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";">Zinn’s
ability to transform function-specific everyday objects, through her own
arrangement of the material and the qualities of the camera lens, into
something spectacular, is present in two works titled <i style="mso-bidi-font-style: normal;">Irresistible Air</i> and <i style="mso-bidi-font-style: normal;">Transformers</i>.
In <i style="mso-bidi-font-style: normal;">Irresistible Air </i>(which I continue
to mistakenly call Irresistible <i style="mso-bidi-font-style: normal;">Bliss</i>,
likely because it completely exudes that state of being), I can really appreciate the
transformation of plastic bags into a series of mysterious entities. Instead of
acting as a container for garbage or grocery items, the bags encapsulate air, forming nearly transparent membrane-like layers and subtle gradations of light when photographed. “I like the challenge of taking something common
and seeing if I can turn it into something worthy of contemplation. I want to
‘make’ pictures as opposed to ‘taking’ them, which means in one way or another
I want to build an image, and have the pictures be about what I created, not
the subject I shot. It’s kind of ‘anti-celebrity’ photography; it’s not about
‘who/what’ it is, but how I saw it.” </span></span></div>
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<i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjueGEPQwt2QPVwviEAWxJ1CgVnGHPg_oxs3AVtaCzBTmlpkTxQ6WZCMIG8mCa5Fd2Hona33tiuXYSFVGfChD4cZBNJ9D52rACxo8vycE3uvpFdjGT1gYOoH316uzPJF4KzCKLwKahBO5br/s1600/11Zinn.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjueGEPQwt2QPVwviEAWxJ1CgVnGHPg_oxs3AVtaCzBTmlpkTxQ6WZCMIG8mCa5Fd2Hona33tiuXYSFVGfChD4cZBNJ9D52rACxo8vycE3uvpFdjGT1gYOoH316uzPJF4KzCKLwKahBO5br/s1600/11Zinn.jpg" height="400" width="266" /></a></i></div>
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<span style="color: #444444;"><span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";">Her
second work titled <i style="mso-bidi-font-style: normal;">Transformers </i>displays
colorful paper strips bound together at certain points and let loose in others.
The subjects in the two series share a similar quality of fluid suspension, but
while the bags act as a nonthreatening container, the paper expands outward
from itself creating a complementary relationship of subtle confinement and
expansion.</span></span></div>
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<span style="color: #444444;"><span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";">Zinn
has been working on <i style="mso-bidi-font-style: normal;">Irresistible Air</i>
and <i style="mso-bidi-font-style: normal;">Transformers</i> for about two years.
Her interest in what the camera shows that the human eye often misses started at
a young age. “The first photo I took that really excited me was when I was
about 9 years old. My friend had blown a giant bubblegum bubble, and I took a
picture of it. When I got the film back I was amazed that not only could I see
the bubble, but I could see my friend’s face THROUGH the bubble! The camera had
seen what I could not.” </span></span></div>
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<span style="color: #444444;">Zelda Zinn
received her MFA at the University of New Mexico, and has taught photography
for many years. She lives and works in Santa Monica, California, and has exhibited
throughout the U.S., South America and Eastern Europe. <span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";">Currently, the artist
continues to develop work by transforming the obviously present and often
unnoticed. Of Zinn’s new series she says, “One is a
group of images shot in my neighborhood in which I paint out parts of the
picture. That is called <i>Revelations</i>. I like it because it allows me to find a
picture within the picture that was hiding there in plain sight. The other
series is shot in my studio, and it's called Blueprints. I start with plain
white paper, usually backdrop paper, crush it randomly, then use those folds as
guidelines to paint on it, then I turn those sculptures back into paper photos.”</span></span></div>
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<span style="color: #444444;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";">Transformers
</span></i><span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";">and <i style="mso-bidi-font-style: normal;">Irresistible Air </i>will
be shown at SooVAC from April 5 to May 18 with an opening reception on April 5 from 6-9pm. </span></span></div>
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<span style="color: #444444;"><i>Elena Lavorato is currently receiving her BFA at the University of</i></span><br />
<span style="color: #444444;"><i>Minnesota and will be interviewing artists and writing as part of her SooVAC internship.</i></span></div>
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Alison Hiltnerhttp://www.blogger.com/profile/18226215574512894212noreply@blogger.com0tag:blogger.com,1999:blog-4458624434730608496.post-50502556493296160022013-11-17T14:00:00.000-08:002013-11-17T12:13:54.286-08:00Collect Call: All About Kim Witczak<style>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial; font-size: 11.0pt;">Collect Call: Exploring Art Patronage offers us a view into 8
collections in the Twin Cities. We're spotlighting a collector a day during the
week of the exhibition. </span></b><span style="font-family: Arial;"><br />
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"> </i></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Today we have the pleasure of spotlighting Kim Witczak.</span></i></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; font-size: 10.0pt;">Kim Witczak,</span></i></b><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; font-size: 10.0pt;"> freelance art buyer/producer, is responsible for negotiating, securing
and producing all illustrative and photographic needs for commercial
advertising clients such as United Airlines, Starbucks, Target, Best Buy, Dell,
Wagner, JCP, St. Paul Companies, Dove Chocolate, American Red Cross, and Del
Webb. Advertising agencies include: Barrie D'Rozario Murphy, Mono,
Fallon, BBDO New York, BBDO Minneapolis, PMH, Black Design, Brew, Duffy Design.
<br />
<br />
Prior to going freelance in 2006, Kim was Senior Art Producer at Fallon
Worldwide working on accounts like BMW of North America, Citibank,
Nordstrom,Timex, and Lee Jeans. Kim started her advertising career in
1989 in Chicago.<br />
<br />
Kim has been invited to speak at ICON (International Illustration conference)
to present the United Airlines illustration/animation ad campaign as well as
recent Minneapolis Institute of Arts MAEP panel on the Convergence of
commercial and fine art worlds. She frequently talks to illustration,
advertising, and photography classes at MCAD about her professional experience.
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In addition to her professional experience, Kim was one of the founders of Free
Arts for Abused Children (www.freeartsmn.org <<u><a href="http://www.freeartsmn.org/">http://www.freeartsmn.org/</a></u>> ) in 1996,
a non-profit dedicated to bringing the healing power of the arts to abused and
neglected children in Minnesota. She currently serves on the Board of
Directors including past Board President. Plus, she founded Woodymatters,
an advocacy organization dedicated to promoting drug safety and FDA reform
issues after the death of her husband in 2003.</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4uO40PEf_9xjiR122GNfmAIzSXQ0cIRSM_J_jY7pwtSTnp2GcvCbMhMdFkFdFNx3dU35dM3iTOpxCEPy2fxKnt95LfQXSvqMXPhY3pZcCvBBHPm6N4yRg6lTJnyWEgD57ADz4L6xIPLCJ/s1600/03web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4uO40PEf_9xjiR122GNfmAIzSXQ0cIRSM_J_jY7pwtSTnp2GcvCbMhMdFkFdFNx3dU35dM3iTOpxCEPy2fxKnt95LfQXSvqMXPhY3pZcCvBBHPm6N4yRg6lTJnyWEgD57ADz4L6xIPLCJ/s320/03web.jpg" width="236" /></a></div>
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<span style="font-family: inherit; font-size: 10.0pt;"> </span><span style="font-family: Times; font-size: 10.0pt;"><br />
</span><u><span style="font-family: Arial; font-size: 11.0pt;">When did you start
your collection? What was the inspiration?</span></u><span style="font-family: Times; font-size: 10.0pt;"></span></div>
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</span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; font-size: 10.0pt;">1995 -- I purchased my first piece of art from a gallery in
Chicago called George Art. George Colin was an outsider artist that
was homeless and started out painting on cardboard. He lived by the
cardboard factory and would take it out of the dumpster. He was
discovered by gallery owners in Chicago. I met George and was inspired by
his story and life as artist. Inspiration for collection is
based on philosophy that creativityy is something that everyone comes into the
world. It's their story, their form of self-expression. It takes shape in
many ways.</span></i></div>
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</span><u><span style="font-family: Arial; font-size: 11.0pt;">Roughly how many
pieces of art do you own?</span></u><span style="font-family: Times; font-size: 10.0pt;"></span></div>
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</span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; font-size: 10.0pt;">50 + pieces (and several still unframed)</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZm2RA8rMEt3uhqmlfJNHhIb7XiSRf9CNHHk8MWHk-GW7hz3zJAvVdYqKLz12acFfi_3pPWbsZe3woC-3LiuWKTmKGKHGiaAP3wufDb33VIppPGrl99cQYSyApto5Bus_MQ1tko817Reh0/s1600/02web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZm2RA8rMEt3uhqmlfJNHhIb7XiSRf9CNHHk8MWHk-GW7hz3zJAvVdYqKLz12acFfi_3pPWbsZe3woC-3LiuWKTmKGKHGiaAP3wufDb33VIppPGrl99cQYSyApto5Bus_MQ1tko817Reh0/s320/02web.jpg" width="320" /></a></div>
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<u><span style="font-family: Arial; font-size: 11.0pt;">Is there a theme or focus in your
collection?</span></u><span style="font-family: Times; font-size: 10.0pt;"></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; font-size: 10.0pt;">Personal connection to the artists or piece of art. It's the
intersection of commercial and fine art. Maybe its because my life is a
blend of both and also intersects with my passion of working with the kids of
Free Arts Minnesota. </span></i></div>
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<span style="font-family: Arial; font-size: 10.0pt;">A huge thanks to Kim Witczak for
participating in this exhibition!</span><span style="font-family: Times; font-size: 10.0pt;"></span></div>
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<a href="http://www.soovac.org/index.php/shows/view/collect_call_exploring_art_patronage/" target="_blank"><span style="font-family: Arial; font-size: 10.0pt;"><span style="color: black;">More Information Here.</span></span></a><span style="font-family: Times; font-size: 10.0pt;"></span></div>
Alison Hiltnerhttp://www.blogger.com/profile/18226215574512894212noreply@blogger.com0tag:blogger.com,1999:blog-4458624434730608496.post-75539121681717061482013-11-17T13:30:00.000-08:002013-11-17T11:39:19.486-08:00 Collect Call: All About Cherie Shoquist <span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"></span></span><b>Collect Call: Exploring Art Patronage offers us a view into 8
collections in the Twin Cities. We're spotlighting a collector a day during the
week of the exhibition. </b><br />
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><b><i>Today we have the pleasure of spotlighting Cherie Shoquist.</i></b></span></span></div>
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</span></span><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"> <i>Cherie Shoquist is Principal Project Coordinator for the City of Minneapolis<br />Community Planning and Economic Development Department and responsible for<br />the development of strategies, policies and programs to advance the recovery<br />of the city's housing market hardest hit by foreclosures including the<br />innovative Green Homes North program. She also worked in policy for the<br />Minnesota Housing Finance Agency and as an attorney for the Legal Aid<br />Society of Minneapolis. She graduated from William Mitchell College of Law<br />and the University of Minnesota and was a policy fellow at the Humphrey<br />Institute of Public Affairs.</i></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6dOJR1BbWUEfso-c0tdHL5YgUVRLd1zsRdGTKwNIo8yGLV4mbAskpK6nR0Wtixci3qqefapvMRotlh1cUD5I2LV8Qfp3QD0mUOTAhDBwulxypVb8LUl4eV3DWSu3j_lv5hUaHM0YkJLsm/s1600/02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6dOJR1BbWUEfso-c0tdHL5YgUVRLd1zsRdGTKwNIo8yGLV4mbAskpK6nR0Wtixci3qqefapvMRotlh1cUD5I2LV8Qfp3QD0mUOTAhDBwulxypVb8LUl4eV3DWSu3j_lv5hUaHM0YkJLsm/s320/02.jpg" width="213" /></a></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><i> </i><br />She has served as a volunteer for Minnesota Advocates for Human Rights, Free<br />Arts Minnesota, Walker Art Center's Education and Community Programs, and is<br />an Advisory Board Member for Soo Visual Arts Center.</span></span><br />
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7T_KeWSnbrd1t6uyE5M6QFNyMcqfPtBjvaACw1orkqP5iLMfuj0oDP1Y_vHUbcCnqJqPfujo0T7mxjnDu_U4Wc7HMMlfGK5wSEhYkr7s-DKP0vXvW4RZ-bYm921M_Tm50HqphgxxbB_tL/s1600/03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7T_KeWSnbrd1t6uyE5M6QFNyMcqfPtBjvaACw1orkqP5iLMfuj0oDP1Y_vHUbcCnqJqPfujo0T7mxjnDu_U4Wc7HMMlfGK5wSEhYkr7s-DKP0vXvW4RZ-bYm921M_Tm50HqphgxxbB_tL/s320/03.jpg" width="320" /></a></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br />I began to collect art in the early 1990's. Art makes me happy and I love<br />to share that. </span></span><br />
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;">A huge thanks to Cherie Shoquist for participating in this exhibition!</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">
</span>
<a href="http://www.soovac.org/index.php/shows/view/collect_call_exploring_art_patronage/" target="_blank"><br />
</a></span></span><br />
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<a href="http://www.soovac.org/index.php/shows/view/collect_call_exploring_art_patronage/" target="_blank"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: black;">More Information Here.</span></span></a></div>
Alison Hiltnerhttp://www.blogger.com/profile/18226215574512894212noreply@blogger.com0tag:blogger.com,1999:blog-4458624434730608496.post-87334612643607674032013-11-17T12:00:00.000-08:002013-11-17T10:21:53.115-08:00Collect Call: All About Jim Rustad<style>
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<span style="font-family: Arial;"></span><span style="font-family: Arial,Helvetica,sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 11pt;">Collect Call: Exploring Art Patronage offers us a view into 8
collections in the Twin Cities. We're spotlighting a collector a day during the
week of the exhibition. </span></b><span style="font-size: 10pt;"></span><span style="font-size: small;"><br />
<b><i> </i></b></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b><i>Today
we have the pleasure of spotlighting Jim Rustad.</i></b></span></span></div>
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<span style="font-family: inherit;"><i><span style="font-family: Arial,Helvetica,sans-serif;">Jim Rustad is a life-long twin cities
resident, and a former or current board member of Park Square Theatre, COMPAS,
The Weisman Art Museum and The Minnesota Museum of American Art. Several
years ago he retired from a career which included practicing law, being a
financial services advisor, and a college teaching. Jim and his
significant other, Kay Thomas, live in lower town St. Paul.</span></i><br />
</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWj8BES2tToY1CtUJdF3yHfbsgV3eZWAJRRrxar41N3FPcg7Q1p1kqLHLFEsBTCNn_bEHpiNpvWDid4u1q_myiKt0zc5JTg_oyz0GPU9aLA9D3wMCEXCfIGzvpenIdQsx0EPZJXD9aG1Pk/s1600/Rustad02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWj8BES2tToY1CtUJdF3yHfbsgV3eZWAJRRrxar41N3FPcg7Q1p1kqLHLFEsBTCNn_bEHpiNpvWDid4u1q_myiKt0zc5JTg_oyz0GPU9aLA9D3wMCEXCfIGzvpenIdQsx0EPZJXD9aG1Pk/s1600/Rustad02.jpg" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><u><span style="font-size: 11pt;">When did you start
your collection? What was the inspiration?</span></u></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">
</span>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i>Since others began to refer to our
paintings, prints, glass and wooden objects, pottery and other odds and ends as
an “art collection”, I have slowly gotten used to that term, but I don’t use it
often. For a much longer time I have appreciated having a home where
living with art is an everyday experience in all of its spaces (even the
laundry room). The initial inspiration was simply the recognition of how
good it feels to do so. Other inspiration has come from many visits to art
museums, galleries and studios, and to the homes of artists and collectors.</i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span><span style="font-family: Arial,Helvetica,sans-serif;"><u><span style="font-size: 11pt;">Roughly how many
pieces of art do you own?</span></u></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i>To know that, I would need to know better
what “art” includes. It seems like you can find almost anything in an art
museum somewhere. How about objects of glass, fabric, clay, wood which
are pleasing to the eye, but are also utilitarian? Which photographic
images?<br />
. . . So, somewhere in the low hundreds, I guess.</i></span></div>
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<span style="font-family: inherit;"><i> </i></span><span style="font-family: Arial,Helvetica,sans-serif;"><u><span style="font-size: 11pt;">Is there a theme
or focus in your collection?</span></u></span><br />
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span>
<br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><i>Much of our art was produced by people
whom we have met, even if only briefly. So that tends to boil down to
artists who live or have lived within a few hundred miles from home. We are
attracted to art which may help produce a smile.</i></span></div>
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<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">A huge thanks to Jim Rustad for participating in this exhibition!</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">
</span>
<br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.soovac.org/index.php/shows/view/collect_call_exploring_art_patronage/" target="_blank"><span style="color: black;">More Information Here.</span></a></span></div>
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Alison Hiltnerhttp://www.blogger.com/profile/18226215574512894212noreply@blogger.com0tag:blogger.com,1999:blog-4458624434730608496.post-33930721505247028932013-11-17T10:04:00.000-08:002013-11-17T10:04:15.519-08:00Collect Call: All About John Ollmann<span style="font-family: Arial,Helvetica,sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 11pt;">Collect Call: Exploring Art Patronage offers us a view into 8
collections in the Twin Cities. We're spotlighting a collector a day during the
week of the exhibition. </span></b><span style="font-size: small;"><br />
<b><i> </i></b></span></span><br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b><i>Today
we have the pleasure of spotlighting John Ollmann.</i></b></span></span><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDLz0D9D3EYKlr3SOSqI_F68jfAwjhYooCUQW63S7r7ZHCmG7xtJfQBu0kp4CNfRhZruiD4tT5viQgrNFJt6JwJ73MxvOPtzcUGtnbyDfkhd1P0y3itn1osy3RHwN3yWWtRGD76w7pYAbB/s1600/01web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDLz0D9D3EYKlr3SOSqI_F68jfAwjhYooCUQW63S7r7ZHCmG7xtJfQBu0kp4CNfRhZruiD4tT5viQgrNFJt6JwJ73MxvOPtzcUGtnbyDfkhd1P0y3itn1osy3RHwN3yWWtRGD76w7pYAbB/s320/01web.jpg" width="320" /></a></div>
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<span style="font-size: small;"><i><span style="font-family: Arial,Helvetica,sans-serif;">John Ollmann is a lifelong Minneapolis resident who
gets nice tables in restaurants because people think he’s Jon Oulman, the
better-known gallery/salon/bar owner. His career has been in the retail industry as a buyer/merchant and he
serves on the Advisory Board of the Goldstein Museum of Design at the U of
M. </span></i></span></span><br />
<br />
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<span style="font-family: inherit;"><span style="font-size: small;"><i><span style="font-family: Arial,Helvetica,sans-serif;"> </span></i></span><span style="font-family: "Times New Roman"; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"> <br style="mso-special-character: line-break;" />
</span></span></div>
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</div>
<span style="font-family: Arial,Helvetica,sans-serif;"><u><span style="font-size: 11pt;">When did you start
your collection? What was the inspiration?</span></u></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">
</span>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span>
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<br />
<i><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">As far back as I can remember I had a collection of
one sort or another. Serious collecting began with an interest in Vintage
Posters 25 years ago.<br />
<br />
</span></span></i><span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><i><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">I love History and arcane trivia, with a special affinity for the
decades around 1900. Author Walter Lord described them as “The Good Years”;
after Indoor Plumbing but before the Income Tax and World War I.</span></span></i></span><span style="font-family: Arial,Helvetica,sans-serif;"></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span><span style="font-family: Arial,Helvetica,sans-serif;"><u><span style="font-size: 11pt;">Roughly how many
pieces of art do you own?</span></u></span></div>
<br />
<span style="font-size: small;"><i><span style="font-family: Arial,Helvetica,sans-serif;">Dozens: from works of art to odd bits of ephemera. </span></i></span><br />
<br />
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<span style="font-family: inherit;"><i> </i></span><span style="font-family: Arial,Helvetica,sans-serif;"><u><span style="font-size: 11pt;">Is there a theme
or focus in your collection?</span></u></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span>
<span style="font-family: Arial,Helvetica,sans-serif;"><i>
</i></span>
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<i><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Most
everything dates from 1890-1940 and most everything has a back story that
interests me. <br />
<br />
I’m
compelled by objects that have passed through other people’s hands and homes.
I have this
weird need to keep, document, and preserve things that have survived, and be
their caretaker for the next collector.</span></span></i></div>
</div>
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<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">A huge thanks to John Ollmann for participating in this exhibition!</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">
</span>
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<a href="http://www.soovac.org/index.php/shows/view/collect_call_exploring_art_patronage/" target="_blank"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: black;">More Information Here.</span></span></a></div>
Alison Hiltnerhttp://www.blogger.com/profile/18226215574512894212noreply@blogger.com0tag:blogger.com,1999:blog-4458624434730608496.post-61926450437944766332013-11-13T14:35:00.001-08:002013-11-13T14:35:18.231-08:00Collect Call: All About Drs. Herman J. Milligan, Jr., & Constance Osterbaan-Milligan<span style="font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: 11pt;">Collect Call: Exploring Art Patronage
offers us a view into 8 collections in the Twin Cities. We're
spotlighting a collector a day during the week of the exhibition.
</span></b></span>
<br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><i><b>Today we have the pleasure of spotlighting Drs. Herman J. Milligan, Jr., & Constance Osterbaan-Milligan </b></i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihBdVFal3OQEjdSRh3c53qhKqN3a3jhKuuK0pnGjciOwT2CWqPRhiMa1-cxdUtuVb1LAgROA-fPLFTVd1ewjca8BVan6qRmoYhh5royUkTZHxs-ndv9YVW-EriYOBU2vtpWIY9uUQflU_2/s1600/Milligan01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihBdVFal3OQEjdSRh3c53qhKqN3a3jhKuuK0pnGjciOwT2CWqPRhiMa1-cxdUtuVb1LAgROA-fPLFTVd1ewjca8BVan6qRmoYhh5royUkTZHxs-ndv9YVW-EriYOBU2vtpWIY9uUQflU_2/s320/Milligan01.jpg" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i>Dr. Milligan is currently a Managing Partner with The Fulton
Group, LLC, an independent consultant firm specializing in marketing research,
competitive intelligence, non-profit organizational development, and
culturally-specific initiatives. He has over twenty-five years of experience
working in the financial services industry. He retired in 2010 as a
Vice-President of Marketing Research/Competitive Intelligence within the
Enterprise Marketing/Marketing Insights and Measurement division for Wells
Fargo and Company. He received his Ph.D. in Sociology from the University of
Minnesota-Twin Cities and his B.A. in Sociology from the University of
Wisconsin-Madison.</i></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;"><i>
</i></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><i>Dr. Milligan was as a Ford Foundation Fellow in Music at the
Center For Contemporary Music at Mills College (Oakland, CA) and performed with
the Cecil Taylor Black Music Ensemble at the University of Wisconsin-Madison in
1971 (Tenor Saxophone) and also served as a music reviewer for the schools’
newspaper, the Daily Cardinal. As a photographer, he has participated in and
organized several exhibitions and taught Visual Sociology at Macalester College
(St. Paul, MN). </i></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;"><i>
</i></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><i>He currently serves on the Board of Directors/Advisory
Boards for Artspace Projects, Inc. (Minneapolis, MN); IFP Center for Media Arts
(St. Paul, MN); The Center for Cuban Studies (New York, NY); The Givens
Foundation For African American Literature (Minneapolis, MN); The Soap Factory
(Minneapolis, MN); Juxtaposition Arts (Minneapolis, MN); Interact Center for
the Visual and Performing Arts (Minneapolis, MN); Seattle 911 Media Center
(Seattle, WA); SOO Visual Arts Center (Minneapolis, MN); Town/Craft Advisory
Board for Iowa State University, University Extension, Community and Economic
Development/College of Design (Perry, IA); TuckUnder Projects (Minneapolis,
MN); I Do My Part (Tallahassee, FL) ; Ananya Dance Theatre (Minneapolis, MN);
Contempo Physical Dance (St. Paul, MN).</i></span></div>
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<u><span style="font-family: Arial,Helvetica,sans-serif;">When did you start your collection? What was the
inspiration?</span></u></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><i>"Actually for me the inspiration to collect started in high school by
collecting 45’s and LPS and continued into college and beyond. My first
art-related pieces were a poster by Romare Bearden announcing his <b style="mso-bidi-font-weight: normal;">The Prevalence of Ritual: Painting and
Collages</b> exhibition at The Museum of Modern Art in 1971. It was given to me
by a poet/writer friend of mine named <b style="mso-bidi-font-weight: normal;">James
W. Thompson</b> <b style="mso-bidi-font-weight: normal;">(The Yellow Bird and You
Are Alms)</b> who I met through Cecil Taylor, the jazz musician/composer. I
played with Cecil’s Black Music Ensemble at the University of Wisconsin-Madison
that year. We had travelled to New York to perform at Hunter College. At that
same time, James also gave me a mailing designed by Bearden to promote the Arthur
A. Schomberg Collection located in Harlem. The Collection is now part of the
New York City Public Library system. James was working there helping to promote
the Collection and the Bearden show. </i></span></div>
<i><span style="font-family: Arial,Helvetica,sans-serif;">
</span></i><br />
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<i><span style="font-family: Arial,Helvetica,sans-serif;">My interest in collecting grew as I learned photography in
Cambridge, MA and I began to understand the art of preserving images for historical
purposes. I began collecting books at this time as well. This continued when I
started graduate school at the University of MN-Twin Cities. <span style="mso-spacerun: yes;"> </span></span></i></div>
<i><span style="font-family: Arial,Helvetica,sans-serif;">
</span></i><br />
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<i><span style="font-family: Arial,Helvetica,sans-serif;">When in graduate school I began to purchase more photography
and art. After meeting my wife in graduate school we began collecting together
and separately. In those days, we would visit galleries and get to know the
owners. Our favorite Gallery Owners would call us back and let us know what
they had to offer. They were very knowledgeable and were eager to showcase the
work and their knowledge about the work. You really got to know them, the work
itself and its provenance.<span style="mso-spacerun: yes;"> </span>As I
began to volunteer with nonprofit arts organization, I felt it was important to
support the work of emerging artists and began collecting their work locally,
nationally and internationally when I traveled for work or on vacation."</span></i><br />
<i><span style="font-family: Arial,Helvetica,sans-serif;">-Herman Milligan </span></i><br />
</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCrLtqnPLBFYcNvs1_4g9FK9TQKmssEpWEaPRSUswPQ9KAjHjPoYd0IF-691Yq3LWdX6rb8PzL7IlHBg7Oe4Y6PdJB3boeCdCcmP_mUaMpxtDRbN2ie0MCxrfbXvJJzveXL8_0_NTXabqF/s1600/Milligan01a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCrLtqnPLBFYcNvs1_4g9FK9TQKmssEpWEaPRSUswPQ9KAjHjPoYd0IF-691Yq3LWdX6rb8PzL7IlHBg7Oe4Y6PdJB3boeCdCcmP_mUaMpxtDRbN2ie0MCxrfbXvJJzveXL8_0_NTXabqF/s320/Milligan01a.jpg" width="207" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"></span><span style="font-family: Arial,Helvetica,sans-serif;"> </span><span style="font-family: Arial,Helvetica,sans-serif;"></span><span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-spacerun: yes;"></span><u>Roughly how many pieces of art do you own? </u></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><i><span style="mso-spacerun: yes;"> "</span>Many…."</i></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><i>-H.M. </i><a href="http://www.blogger.com/null" name="_GoBack"></a></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;"></span><span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-spacerun: yes;"></span><u>Is
there a theme or focus in your collection?</u></span></div>
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<i><span style="font-family: Arial,Helvetica,sans-serif;">"Emerging contemporary; photography; Cuban contemporary artists;
African sculpture; established modern/contemporary artists who are local,
national, or international in location."</span></i><br />
<i><span style="font-family: Arial,Helvetica,sans-serif;">-H.M. </span></i><span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
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<br /></div>
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Have some questions for Herman or Constance? </div>
<div class="MsoNormal">
Please join us for a talk with some of the collectors this Thursday, November 14 from 6-8 pm at SooVAC.</div>
<div class="MsoNormal">
<span style="color: black;"><a href="http://www.soovac.org/index.php/shows/view/collect_call_exploring_art_patronage/" target="_blank">More Information Here.</a></span> </div>
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</div>
Alison Hiltnerhttp://www.blogger.com/profile/18226215574512894212noreply@blogger.com0tag:blogger.com,1999:blog-4458624434730608496.post-20464344554031250052013-11-12T10:07:00.000-08:002013-11-12T10:15:21.270-08:00Collect Call: All About Jason Howard and Chad Keast<br />
<b><span style="font-family: Calibri, Verdana, Helvetica, Arial;"><span style="font-size: 11pt;">Collect Call: Exploring Art Patronage
offers us a view into 8 collections in the Twin Cities. We're
spotlighting a collector a day during the week of the exhibition.
</span></span></b><br />
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<br />
<i><b>Today we have the pleasure of spotlighting Jason Howard and Chad Keast.</b></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdObziRphf7AiPDiS-DZuBPmzRue-kDX0O-uLD8ahu82fHzi5IkovwnG5IOexFGx6ToNhTuZRdTuvbfxG0DM-ReAICsAbvoJiJYWDlLESkGLl31obz_mWrKFNDuQ9E48GZ-6jIbN6-aKhw/s1600/jason1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdObziRphf7AiPDiS-DZuBPmzRue-kDX0O-uLD8ahu82fHzi5IkovwnG5IOexFGx6ToNhTuZRdTuvbfxG0DM-ReAICsAbvoJiJYWDlLESkGLl31obz_mWrKFNDuQ9E48GZ-6jIbN6-aKhw/s320/jason1.JPG" width="320" /></a></div>
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</span></u><br />
<br />
<i>Jason & Chad make their home in Southwest Minneapolis. Jason spends his days as a salesperson for Print Craft, a local commercial printing company. Chad is a consultant, educator and stylist for Intelligent Nutrients in Minneapolis. They share their home with lots of inspiring art and two rambunctious Boston Terriers, Butch and Pnut. Free time for them is spent traveling, roaming galleries and cooking. Jason serves on the Boards of the Soo Visual Art Center and Philanthrofund – two local non-profits serving the arts and the GLBT communities.</i><br />
<u></u></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHOFh0dN1g6LlSCdxbieieogtPVCXbZ3_RVB4cRsMJdJgoGzOyMj_ylMWGyoYPi7_xC2KtASOrdBINbvOrikv5lBhotx1XoMnNCIPTRHUJ4SWB4Z5PVhlrtEd5T4PwXPBSvfAC7-qAPh0k/s1600/jason2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHOFh0dN1g6LlSCdxbieieogtPVCXbZ3_RVB4cRsMJdJgoGzOyMj_ylMWGyoYPi7_xC2KtASOrdBINbvOrikv5lBhotx1XoMnNCIPTRHUJ4SWB4Z5PVhlrtEd5T4PwXPBSvfAC7-qAPh0k/s320/jason2.jpg" width="320" /></a></div>
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<span style="font-family: Calibri, Verdana, Helvetica, Arial;"><span style="font-size: 11pt;"><u><br />
<br />
When did you start your collection? What was the inspiration?</u></span></span><br />
<span style="font-family: Calibri, Verdana, Helvetica, Arial;"><span style="font-size: 11pt;"><u><br />
</u><i>Our collection started in the late 90’s when Jason started buying art at auctions and antique shows. It evolved into a more local and modern art collection after Jason and Chad met, and more importantly after the Soo Visual Art center opened in 2001. Jason is simply addicted to good art, thanks to Suzy Greenberg’s & Carolyn Payne’s guidance. The inspiration is a simple love of artistic talent, and the simple wonder of loving something so much you can sit and stare at it for hours.</i>
<u><br />
<br />
Roughly how many pieces of art do you own?</u><i>Our collection consists of about 200+ pieces scattered between our home and our extended families' homes.</i></span></span><br />
<span style="font-family: Calibri, Verdana, Helvetica, Arial;"><span style="font-size: 11pt;"></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDzAsAFdpmFZjhq5CHBPz_zMO_X_AF2pUJ-MzElYFef8uiFpfjIQJ6q8q8reDiMsyjrYC5aTF_kjR1QhmMdrwE2MIahoz4FzF2NX2dfBaa0RCHatjbhlvdH6o2lFiZD8S7uzFrAK3eEaSH/s1600/jason4.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDzAsAFdpmFZjhq5CHBPz_zMO_X_AF2pUJ-MzElYFef8uiFpfjIQJ6q8q8reDiMsyjrYC5aTF_kjR1QhmMdrwE2MIahoz4FzF2NX2dfBaa0RCHatjbhlvdH6o2lFiZD8S7uzFrAK3eEaSH/s320/jason4.JPG" width="320" /></a></div>
<span style="font-family: Calibri, Verdana, Helvetica, Arial;"><span style="font-size: 11pt;"><br />
<u><br />
<br />
Is there a theme or focus in your collection?<br />
</u><i>We buy what strikes us…Sometimes irreverent (mostly Chad’s pieces) and sometimes very calm (Jason’s landscapes). More recently one can see a graffiti edge to the work we are drawn to. We appreciate fine drawing, unique materials and bright colors. You can also see our sense of dark humor and our love of having the eye tricked in many of our pieces.</i></span></span><br />
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</span></span>
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<br />
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Have some questions for Jason and Chad? </div>
<div class="MsoNormal">
Please join us for a talk with some of the collectors this Thursday, November 14 from 6-8 pm at SooVAC.</div>
<div class="MsoNormal">
<span style="color: black;"><a href="http://www.soovac.org/index.php/shows/view/collect_call_exploring_art_patronage/" target="_blank">More Information Here.</a></span></div>
Alison Hiltnerhttp://www.blogger.com/profile/18226215574512894212noreply@blogger.com0tag:blogger.com,1999:blog-4458624434730608496.post-2535388327956537392013-11-11T12:24:00.003-08:002013-11-11T14:07:47.826-08:00Collect Call: All about Tom Arneson<style>
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<u><br /></u><b>Collect Call: Exploring Art Patronage</b> offers us a view into 8 collections in the Twin Cities. We're spotlighting a collector a day during the week of the exhibition. </div>
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<br />
<i><b>Today we have the pleasure of spotlighting Tom Arneson.</b></i></div>
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<span style="color: black;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisksqf_7YBpYQ4aikKGMGj8zVkg_zdn9bKyRs9CXFJl4cNT1CRr5OygR-cyOPquhUyBWSzr3XUGFWeAfDYkcXzsgg5YnQoNnC-_dEjeOCYU8lTKqTfBsWjDoCINWVmGfIhSoHZJP4thyphenhyphenjf/s1600/TomABlog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisksqf_7YBpYQ4aikKGMGj8zVkg_zdn9bKyRs9CXFJl4cNT1CRr5OygR-cyOPquhUyBWSzr3XUGFWeAfDYkcXzsgg5YnQoNnC-_dEjeOCYU8lTKqTfBsWjDoCINWVmGfIhSoHZJP4thyphenhyphenjf/s320/TomABlog.jpg" width="320" /></a></span></div>
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<u><b>Tom Arneson:</b></u></div>
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<b><i>"I grew up in Fairmont, MN and went to school for a very long
time, receiving a BA from Harvard, MD from Mayo Medical School, and MPH from
the University of MN School of Public Health.<span style="mso-spacerun: yes;"> </span>I have lived in Minneapolis since 1988 and have worked in
health care quality improvement and population health research.<span style="mso-spacerun: yes;"> </span>I’m a member of Hennepin Ave. United
Methodist Church, which has an amazing collection of 16<sup>th</sup>-19<sup>th</sup>
century European religious paintings, given by T. B. Walker; a set of the 240-plus
“Roberts Lithographs” from the mid-19<sup>th</sup> century, documenting travels
by English artist David Roberts in the Holy Land and Egypt; a fine collection
of sculpture by local artists; and more.<span style="mso-spacerun: yes;">
</span>I serve on the church’s Fine Arts Committee.<span style="mso-spacerun: yes;"> </span>I am also a Trustee of the MN Museum of American Art, which
has a terrific collection, but for the past several years has had no home.<span style="mso-spacerun: yes;"> </span>That is about to change, however, as
plans proceed for the creation of the “Art Block” in downtown St. Paul, centering
on the Pioneer and Endicott buildings at 4<sup>th</sup> and Robert.<span style="mso-spacerun: yes;"> </span>The MMAA will occupy a large portion of
the ground floor, including the corner where the MMAA “Project Space” is now
located."</i></b></div>
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<u><b>When did you start your collection?<span style="mso-spacerun: yes;"> </span>What was the inspiration?</b></u></div>
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<b>"<i>My great-grandmother was an accomplished amateur potter and
my grandmother worked with ceramics as a hobby.<span style="mso-spacerun: yes;"> </span>She was interested in design (studied with the Goldstein
sisters at the U of MN) and encouraged creativity in me.<span style="mso-spacerun: yes;"> </span>Perhaps she inspired my early interest
in ceramics and my first passion for created things: artisan-made goods.<span style="mso-spacerun: yes;"> </span>For several years during the 1990s I
travelled around the state meeting artists across the state who made beautiful,
useful things and I created and published <span style="mso-bidi-font-style: normal;">The
North Country Artisan Directory </span>(i.e. a “Yellow Pages” for artisans).<span style="mso-spacerun: yes;"> </span>For several years I had a booth at the
Minnesota State Fair displaying pieces I had bought (my first “collection” I
guess!) and selling copies of the book.<span style="mso-spacerun: yes;">
</span>In the late 1990s I started paying more attention to fine art, and I was
particularly interested in vintage pieces. <span style="mso-spacerun: yes;"> </span>My adventures in buying vintage art <span style="mso-spacerun: yes;"> </span>by Minnesota artists and learning about
the artists and their times started in earnest around 2000."</i></b></div>
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<b><u>Roughly how many pieces of art do you own?</u></b></div>
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<i><b>"576 pieces as of October 11, 2013: 344 vintage and 232
contemporary.</b></i></div>
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<i><b>By medium:</b></i></div>
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<i><b><span style="mso-tab-count: 1;"> </span>114 paintings on
canvas/board</b></i></div>
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<i><b><span style="mso-tab-count: 1;"> </span>120 works on paper
(drawings, watercolor or other painting on paper, collage)</b></i></div>
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<i><b><span style="mso-tab-count: 1;"> </span>223 prints</b></i></div>
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<i><b><span style="mso-tab-count: 1;"> </span>103 ceramic pieces
(functional and sculptural)</b></i></div>
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<i><b><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>13 metal or wood sculpture/other</b></i></div>
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<i><b><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>3 photographs"</b></i></div>
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<span style="color: black;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh84Yk2a8-aLIcbItVZR9ITC-gUOEBMEzhTGqEOBq1xWpaAbrXlgoxN_lwRs5x2sSADupNy-pP_r3TwBsm96JlkT3ChRrZLQijOk-9BSbG-uP3dWCkANztygrzADBHPuKhvtzl24Cikpzz1/s1600/TomABlog2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh84Yk2a8-aLIcbItVZR9ITC-gUOEBMEzhTGqEOBq1xWpaAbrXlgoxN_lwRs5x2sSADupNy-pP_r3TwBsm96JlkT3ChRrZLQijOk-9BSbG-uP3dWCkANztygrzADBHPuKhvtzl24Cikpzz1/s320/TomABlog2.jpg" width="295" /></a></span></div>
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<b><u>Is there a theme or focus in your collection?</u></b></div>
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<i><b>"I collect work by Minnesota artists from 1900 to
present.<span style="mso-spacerun: yes;"> </span>When I started collecting
fine art my focus was on work from the 1920’s through the 1950s.<span style="mso-spacerun: yes;"> </span>My interest was both in the created
object and in the life of the artist and the social context of their work as an
artist: where art students studied, where they showed and sold their work, how
national trends in art expressed themselves in Minnesota, etc.<span style="mso-spacerun: yes;"> </span>I bought fairly voraciously for a
while, as I learned about many artists.<span style="mso-spacerun: yes;">
</span>Over time, the collection had work by many of the artists who have been
part of the Minnesota art community, generally with one piece per artist or, if
they had multiple distinct periods, one from each.<span style="mso-spacerun: yes;"> </span>Or, if I really like an artist’s work, I have several pieces
(no hard and fast rules!).<span style="mso-spacerun: yes;"> </span>In more
recent years I have increasingly bought work by contemporary local artists.<span style="mso-spacerun: yes;"> </span>For a collector, this is a rather
different enterprise than buying vintage art.<span style="mso-spacerun: yes;"> </span>Through the passage of time, certain artists of the past
become fairly well known with work available to be seen and bought (with
market-tested prices) and, generally, robust information to be found about
them.<span style="mso-spacerun: yes;"> </span>Others, whether fair or not,
recede into obscurity and it is unusual to be aware of them or find information
about them.<span style="mso-spacerun: yes;"> </span>So there is a relatively
small range of artists for the emerging collector to focus on, at least at
first (for more advanced collectors, vintage artists that history has slighted
are an enticing focus!).<span style="mso-spacerun: yes;">
</span>Contemporary local artists are legion – and many are very good.<span style="mso-spacerun: yes;"> </span>For me, galleries end up being very
important, as that is usually my first contact with an artist’s work and I
appreciate the great value good gallery directors provide to the artist, to the
local art scene – and to me!<span style="mso-spacerun: yes;"> </span>My
strategy on the contemporary artist front is still emerging, but in general I’d
say I tend to buy one piece of most artist’s work, and for a small number of artists
who particularly interest me, I follow the development of their work over time
and buy pieces periodically.<span style="mso-spacerun: yes;"> </span>Over
the past several years my historic interest in ceramics has re-emerged as I
have come to realize what a rich area for ceramics Minnesota has become<a href="http://www.blogger.com/blogger.g?blogID=4458624434730608496" name="_GoBack"></a>.<span style="mso-spacerun: yes;"> </span>I am now an
avid fan, buyer, and user of functional and sculptural pieces by Minnesota
clay-workers."</b></i></div>
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Have some questions for Tom? </div>
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Please join us for a talk with some of the collectors this Thursday, November 14 from 6-8 pm at SooVAC.</div>
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<span style="color: black;"><a href="http://www.soovac.org/index.php/shows/view/collect_call_exploring_art_patronage/" target="_blank">More Information Here.</a></span></div>
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Alison Hiltnerhttp://www.blogger.com/profile/18226215574512894212noreply@blogger.com0tag:blogger.com,1999:blog-4458624434730608496.post-29718927809080909132012-12-01T11:01:00.002-08:002012-12-01T11:32:48.562-08:00Minnesota Minimalism: Chris Larson Curates Silence at SooVAC by Jenna Westrick<div class="MsoNormal" style="border-collapse: collapse; color: #222222; font-size: 13px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: justify;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU1VgNhwzSsWoJNsJbd4WZeGYxLJNefRHM8WOx4Qk_1pZw6jXXJ_FjurzYPR6qLWptuUNoriv5ZeaPPfGc_8WtNDluhWK_lkInvqIWg762nPZG132BKtHHboSN1V-D3YtmftnHwtIycuv4/s1600/SOOVAC.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: justify;"><img border="0" height="130" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU1VgNhwzSsWoJNsJbd4WZeGYxLJNefRHM8WOx4Qk_1pZw6jXXJ_FjurzYPR6qLWptuUNoriv5ZeaPPfGc_8WtNDluhWK_lkInvqIWg762nPZG132BKtHHboSN1V-D3YtmftnHwtIycuv4/s200/SOOVAC.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU1VgNhwzSsWoJNsJbd4WZeGYxLJNefRHM8WOx4Qk_1pZw6jXXJ_FjurzYPR6qLWptuUNoriv5ZeaPPfGc_8WtNDluhWK_lkInvqIWg762nPZG132BKtHHboSN1V-D3YtmftnHwtIycuv4/s1600/SOOVAC.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: justify;"></a><span class="Apple-style-span" style="color: #222222; font-family: Times;"><span class="Apple-style-span" style="color: #161616;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: small;"> </span></span></span></span></div>
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<span class="Apple-style-span" style="color: #222222; font-family: Times; font-size: small;"><span class="Apple-style-span" style="color: #161616;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span">As winter settles firmly upon the Minnesota landscape, we all feel the familiar pull</span></span></span></span><span class="Apple-style-span" style="color: #222222; font-family: Times; font-size: small;"><span class="Apple-style-span" style="color: #161616;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span"> toward</span></span></span></span><span class="Apple-style-span" style="color: #222222; font-family: Times; font-size: small;"><span class="Apple-style-span" style="color: #161616;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span"> solitary hibernation. The same goes for the Twin Cities’ many art spaces, as autumn’s abundance of openings turns toward the lull</span></span></span><span class="Apple-style-span" style="color: #161616;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span"> of winter. The ninth annual </span></span></span><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><a href="http://www.soovac.org/index.php/shows/view/untitled_9_soovacs_9th_annual_juried_exhibition/" target="_blank"><span class="Apple-style-span">Untitled</span></a></span><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span"> exhibition at Minneapolis gallery Soo Visual Arts Center reflects a similarly subdued tone. </span></span></span></div>
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<span style="color: #161616; font-size: small;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span">After a typical Minnesota summer’s vigorous lineup of colorful festivals, large-scale exhibits, and art with self-congratulatory impact, the show reminds us of the quieter, more introspective side of art. Humble and haunting, </span></span><i><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span">Untitled 9 </span></span></i><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span">combines work by thirteen emerging artists, resulting in a decidedly discreet study of subtle transformation and enticing vagueness. With accessible and evocative translation's by the show's sole juror, admired Minnesota artist Chris Larson, we can better understand the </span><i><span class="Apple-style-span">Untitled 9</span></i><span class="Apple-style-span"> artists' potent statements. In doing so, we are reminded of the modest comfort that art can provide. </span></span></span></div>
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<span style="color: #161616; font-size: small;"><span class="Apple-style-span" style="color: #222222;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="border-collapse: separate;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></span></span></span><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">
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<tr><td style="text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUuBj768I9tW3FtdXNLT-Cu-elBHyP46xqZ33j5_jTQEAsthpwm0ND8oREcHrJeiQoZJ5LMJLU-kk53o64iTZZNFHJkCZWPzvSg_XFK3mCNSlQcqBQkuKhYChZqpB_TyrmJXVuKgtzDmcN/s1600/BREEN.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUuBj768I9tW3FtdXNLT-Cu-elBHyP46xqZ33j5_jTQEAsthpwm0ND8oREcHrJeiQoZJ5LMJLU-kk53o64iTZZNFHJkCZWPzvSg_XFK3mCNSlQcqBQkuKhYChZqpB_TyrmJXVuKgtzDmcN/s320/BREEN.jpg" width="213" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: small;"><span class="Apple-style-span">"Insight," <a href="http://www.mnartists.org/artistHome.do?rid=150319" target="_blank">Rachel Breen</a></span></span></td></tr>
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<span class="Apple-style-span" style="color: #161616; font-size: small;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span">In his d</span></span></span><span class="Apple-style-span" style="color: #161616; font-size: small;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span">escription of the show, Larson writes, “Through a quiet sense of natural wonder, 13 artists noiselessly manipulate, cut, dissect, blur, and disintegrate architecture, bodies, and the landscape. Murmuring.”</span></span></span></div>
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<span style="color: #161616; font-size: small;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span">After meeting the man himself, it is clear that the tone of the show reflects Larson’s humble demeanor. When I asked him about his “quiet sense,” he answered, “Early on, I started picking up on quiet, subtle manipulations of simple materials, slow videos, and a lack of color in some of the works. The show could have gone in many different directions; I followed that way.” Avoiding the route of the ostentatious, Larson instead curated organically and with restraint. He recognized a pattern among the works — “simple, quiet gestures with a darker undercurrent.” Viewers are provoked to look inward, and to reconsider the seemingly ordinary world around them through an enchanting new lens.</span></span></span><br />
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<tr><td style="text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_GggslXiEY_MM1VMGyZyweOlBGpkKihxzm8Sxynah-iL3wuG96sW1VxTiRY9IFMxEKolwsg5MAXY5sipCrzqv8LAXGp6siY-lcwmsQCHPcQTOOwP9V6BWyftJpLqKuPpUYFNrf66bvbC0/s1600/DRAXLER.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_GggslXiEY_MM1VMGyZyweOlBGpkKihxzm8Sxynah-iL3wuG96sW1VxTiRY9IFMxEKolwsg5MAXY5sipCrzqv8LAXGp6siY-lcwmsQCHPcQTOOwP9V6BWyftJpLqKuPpUYFNrf66bvbC0/s320/DRAXLER.jpg" width="228" /></span></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">"Monolith_05," Jesse Draxler</span></span></td></tr>
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<span style="color: #161616; font-size: small;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span">Despite the show’s subtlety, clear trends emerge in </span></span><i><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span">Untitled 9</span></span></i><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span">, such as the use of collage and physical remixing</span></span></span><span class="Apple-style-span" style="color: #161616; font-size: small;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span">. The graphic manipulations of </span><a href="http://www.jessedraxler.com/" target="_blank"><span class="Apple-style-span">Jesse Draxler</span></a><span class="Apple-style-span">, for example, use mash-ups of impossible architecture to create ominous imagery with a crushing feel. Six delicate, smaller-scale collage pieces by </span><a href="http://haleyprochnow.com/home.html" target="_blank"><span class="Apple-style-span">Haley Prochnow</span></a><span class="Apple-style-span"> silently speak volumes; they are mysterious yet intimate patchworks.</span></span></span></div>
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<span style="color: #161616; font-size: small;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Untraditional conceptions of landscape are another major theme, with many of the artists distorting environment. The landscape photography of <a href="http://www.mnartists.org/artistHome.do?rid=323996" target="_blank">Monica Howell</a> reconfigures the highly trafficked tourist destination of Yellowstone National Park using chance and accidental outcomes, shifting the viewer’s understanding of an exceedingly familiar place. C</span></span><span class="Apple-style-span" style="color: #161616; font-size: small;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">onversely, <a href="http://www.noelworden.com/" target="_blank">Noel Worden</a>’s photography of barren, rural landscapes enlightens the viewer to these undervalued areas’ powerful beauty. </span></span></div>
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<span class="Apple-style-span" style="color: black; font-size: small;"><span class="Apple-style-span" style="border-collapse: separate;"><span class="Apple-style-span" style="color: #161616;"><span class="Apple-style-span" style="border-collapse: collapse;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span"><br /></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="color: #161616; font-size: small;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span">Larson’s perception on group dynamics is telling: “You can have small special moments with each work or a feeling of a whole. Some left the exhibition saying that they really liked this particular piece and did not care for the others, and some said it felt like one artist could have been responsible for all the work in the room. I am interested in the conversation that happens when you place one thing next to the other for the first time.”</span></span></span></div>
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<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXzt5lPYc2vN7MwERGq6oCmzDXPF-Kszz7rOM7aJji5TxU6fgwOmJntfmCqLRmv9BNXhHBGHgs5NTv19wiIxBBmIogo3WKWteShaDdVRLmnN_BlenJHgVweSI13pnQ6jcBhFu9zf5dEcz0/s1600/SEAN.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXzt5lPYc2vN7MwERGq6oCmzDXPF-Kszz7rOM7aJji5TxU6fgwOmJntfmCqLRmv9BNXhHBGHgs5NTv19wiIxBBmIogo3WKWteShaDdVRLmnN_BlenJHgVweSI13pnQ6jcBhFu9zf5dEcz0/s320/SEAN.jpg" width="211" /></span></a></span></div>
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<span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">"terraforming," Sean Connaughty</span></span></div>
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<span class="Apple-style-span" style="color: #161616; font-size: small;"><span class="Apple-style-span" style="color: #222222;"><span style="color: #161616;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span">Much like the restrained transformation evident in the thirteen artists’ individual works, the physical space of </span></span></span></span><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span">SooVAC has been delicately warped as well. These manipulations also mirror Larson’s subjectivity and quiet intention. For instance, installation artist </span><a href="http://www.mnartists.org/artistHome.do?rid=247702" target="_blank"><span class="Apple-style-span">Leslie Kelman</span></a><span class="Apple-style-span"> travels inside the unconquered niche of a gallery wall, creating a temporary shelter. Here she brings secrecy and private comfort to life in her “hidden space for human activity and subsistence.” A fish tank holding ecological orbs resides in a built-out SooVAC broom closet, fulfilling artist </span><a href="http://seanconnaughty.com/" target="_blank"><span class="Apple-style-span">Sean Connaughty</span></a><span class="Apple-style-span">’s mission to highlight natural beauty within seemingly mundane situations.</span></span></span><br />
<span class="Apple-style-span" style="color: #161616; font-size: small;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span"><br /></span></span></span></div>
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<span class="Apple-style-span" style="color: #161616; font-size: small;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span">While jurying the exhibit, Larson also developed a particularly profound relationship with SooVAC: “I heard that this was the show Suzy Greenberg was most proud of creating. I can see why. </span></span><i><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span">Untitled</span></span></i><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span"> has given a platform to hundreds of emerging artists. </span></span><i><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span">Untitled 9</span></span></i><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span"> was the first exhibition for a few, and that's pretty cool. As far as the physical space, I wanted the gallery to reflect the quiet vibe and sparseness of the work.”</span></span></span></div>
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<span class="Apple-style-span" style="color: #161616; font-size: small;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span"><br /></span></span></span></div>
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<span class="Apple-style-span" style="color: #161616; font-size: small;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span">So how does the audience fit in to this mix? As Larson says, “The viewer is usually correct.” In SooVAC’s opinion, community is half of the equation. Through our own personal perceptions of the dynamic show, we can revel in our own intuitive interpretations.</span></span></span></div>
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<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvFo4x1o_3ETPiQ8aWQg0x1K0MdkcXBfLvrVjJ10VXQXWfi96nfXRK2eZXgwUJaxwOeNKp49eimcC643W1X_2uaL0Ti3YqCxBrSHjZFO0mF83CSD-5u6PaKq9jxfGKcoZvtPkpAyqKgNrr/s1600/GALLERY.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><img border="0" height="145" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvFo4x1o_3ETPiQ8aWQg0x1K0MdkcXBfLvrVjJ10VXQXWfi96nfXRK2eZXgwUJaxwOeNKp49eimcC643W1X_2uaL0Ti3YqCxBrSHjZFO0mF83CSD-5u6PaKq9jxfGKcoZvtPkpAyqKgNrr/s400/GALLERY.jpg" width="400" /></span></a></span></div>
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<span style="font-size: small;"><i><span style="color: #161616;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></span></span></i><i><span style="color: #161616;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span">Untitled 9</span></span></span></i>
<span style="color: #161616;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span"> could not have come at a better time. The exhibit reminds us to see the wintry world around us in a novel way. We begin to recognize the ordinary as charged with value and beauty, and find peace during this less-admired time of year.</span></span></span></span><br />
<span style="color: #161616;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: small;"><br /></span></span></span><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: small;">
</span></span><span class="Apple-style-span" style="color: #161616;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: small;">---</span></span></span><br />
<span class="Apple-style-span" style="color: #161616;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: small;">*<span style="font-size: small;"><span style="font-size: small;"><i><a href="http://www.soovac.org/index.php/shows/view/untitled_9_soovacs_9th_annual_juried_exhibition/" target="_blank">Untitled 9</a> </i><span style="font-size: small;">is on view at SooVAC unt<span style="font-size: small;">il December 30<span style="font-size: small;">th.</span></span></span></span></span></span></span></span></div>
<div class="MsoNormal" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: justify;">
<span style="color: #161616;"><i><span class="Apple-style-span" style="font-style: normal;"><i><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: small;">*This post also appears in the December issue of </span></span></i><i><a href="http://www.quodlibetica.com/" target="_blank"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: small;">Quodlibetica</span></span></a></i></span></i></span><br />
<span style="color: #161616;"><i><span class="Apple-style-span" style="font-style: normal;"><i><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: small;"><a href="http://quodlibetica.com/" target="_blank"></a></span></span></i></span><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: small;">*Photography by Joe Burgmaier</span></span></i></span></div>
Alison Hiltnerhttp://www.blogger.com/profile/18226215574512894212noreply@blogger.com0tag:blogger.com,1999:blog-4458624434730608496.post-34060691146175320332012-08-10T11:57:00.002-07:002012-08-10T11:57:12.312-07:00After The Storm...Reflecting on Greg Gossel's work by Katie Parr<style>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEbfQqiq2XOS-vFYKeQIz0o7WOhfck4Cf5gMTEW6NEHkthyphenhyphenwNVeNVSn_rbFqh1B3FfYFwwyBy-Md_8J_I2iHy7imhw5TCi4Js2JwwcwXxeInRrCGDy-89RrwdvDElBW0jficNctar67wxL/s1600/DSCN6339.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEbfQqiq2XOS-vFYKeQIz0o7WOhfck4Cf5gMTEW6NEHkthyphenhyphenwNVeNVSn_rbFqh1B3FfYFwwyBy-Md_8J_I2iHy7imhw5TCi4Js2JwwcwXxeInRrCGDy-89RrwdvDElBW0jficNctar67wxL/s320/DSCN6339.jpg" width="320" /></a></div>
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My life has been full of changes these past few weeks. A new
job and a new home have taken up most of my time during these long, hot days of
summer. I began to feel myself getting lost in the repetition required to pack
up my life and move again, and in a way, start over. I felt lucky to have taken
a well deserved break to view the newest work by Greg Gossel in his solo show, <i style="mso-bidi-font-style: normal;">Weathering The Storm</i> at Soo VAC.</div>
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Because of my recent life changes, I feel like I’ve been
packing, unpacking, putting away, pulling apart, organizing and
compartmentalizing my life to fit into a new dwelling and new routine. I’d like
to pride myself on being a flexible person with the ability to adapt to new
situations, and sometimes part of me is fully capable of handling change, but I
find as I settle into my mid-twenties I’ve become a creature of habit.
Reflecting on this floods my brain with images crossword puzzles, cat ladies <span style="mso-spacerun: yes;"> </span>and nursing homes, and I start to feel a
bit queasy. But this doesn’t stop the orderly side of me taking comfort when my
life feels like it has no hurdles to leap over. I’d like to take charge and
clear the road of any possible bumps. I want to know when and where things will
take place. That way I can prepare myself for the unexpected, whatever that
means. And unlike the past few weeks, I want my life to fit into a neat little
box. Without the clutter. And the worry. And the anxiety. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidyCORXY3BQXQ8rsy3jzf_g8QAum39bv6a06_-Fvspq2ZZk-FraAYLpRbhdlIuwztzDwm-R1rH3AKzBCYnEfZXiMD3pnY6rtg7mQIsWXCD7pgu-MYpp3LNlsz3fcoclP_vKk5g05ZuOsdA/s1600/DSCN6421.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidyCORXY3BQXQ8rsy3jzf_g8QAum39bv6a06_-Fvspq2ZZk-FraAYLpRbhdlIuwztzDwm-R1rH3AKzBCYnEfZXiMD3pnY6rtg7mQIsWXCD7pgu-MYpp3LNlsz3fcoclP_vKk5g05ZuOsdA/s320/DSCN6421.jpg" width="320" /></a></div>
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But life is full of complexity. And bumps are inevitable.</div>
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Gossel’s work features various pieces taken from billboard
advertisements from cities like New York, Chicago and here in Minneapolis. The
pieces are pasted together, layered, pulled apart, ripped, scratched and cut. The
large scale pieces showcase brightly painted fields of blue, blacks and yellow
that contrast with weathered and faded bits and pieces of advertisements pasted
underneath. Large blocks of text use language boldly displaying slogans like
“Advertise Here, Space Available”, and “Liquor, Lounge, Dance.” My eyes dart
from piece to torn piece, and as I dig deeper, the layers become more evident. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsC13i11dAyeAYSGded7sUJ2iUjiF2G6zJrJrAkq07KPPwwpNtfKwgZIs2BDqMG3anNOQxOY99qpIW6eT-t48CuRhKscj8NPIvStR_Cg1vx5vuL_1cL4SlvqlU2mAdzpdxWSUjDJKtykTz/s1600/DSCN6545.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsC13i11dAyeAYSGded7sUJ2iUjiF2G6zJrJrAkq07KPPwwpNtfKwgZIs2BDqMG3anNOQxOY99qpIW6eT-t48CuRhKscj8NPIvStR_Cg1vx5vuL_1cL4SlvqlU2mAdzpdxWSUjDJKtykTz/s320/DSCN6545.jpg" width="240" /></a></div>
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What may seem like little more than cluttered elements
thrown together on the surface starts to oddly fit together and make sense. I
find this bizarre; almost difficult to comprehend. To me, “clutter” is a four-letter
word. Clutter causes confusion, disorder and disarray. It’s something I try to
limit as much as possible in my living and working spaces, because I like to
easily find things. I’d like to think that it’s easier to put my time and
effort into organization rather than franticly tearing my apartment apart
because I can’t find something. Clutter causes my anal retentive side to rear
its ugly. I’ve attempted to make peace with that side of my personality, and I
think my boyfriend has tried too as well. Whether or not that’s true- well, I
guess that’s a different story. And yet there is another part of my personality
that questions this take on life, and feels like I need to sit back and enjoy
the ride. Like Gossel’s work, I am reminded that I am not some kind of control
freak organizing my life to the point of exhaustion, but that I have various
sides to my being, layered and complex. The surface doesn’t tell the whole
story and that one’s depth must be accounted for. Sometimes the dominant
becomes the submissive. Life doesn’t fit into a neat package, and doesn’t need
to. Because frankly being incredibly meticulous takes a lot of work. It can be
exhausting to be so neat and tidy.</div>
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Greg Gossel’s work has been with me at a time when I’m in
need of a reminder that there can be beauty amidst the chaos, that parts do not
need to fit perfectly together to create something dynamic, and that pieces
from seemingly unrelated parts of my life can blend and meld together and work
to form something meaningful and new. My life can’t be a neat little package
wrapped with a bow. And that’s ok.</div>
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I hope all of you find time to see Greg’s latest work, and
allow yourself to just simply enjoy it.</div>
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-Katie Parr </div>
<div class="MsoNormal" style="color: #444444;">
More Information on Greg Gossel's Show <a href="http://www.soovac.org/index.php/shows/view/weathering_the_storm_new_work_by_greg_gossel/" style="color: red;" target="_blank">HERE</a>.</div>
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<span style="color: #444444;">More of Greg Gossel's work </span><a href="http://www.greggossel.com/" style="color: red;" target="_blank">HERE</a><span style="color: red;">. </span></div>Alison Hiltnerhttp://www.blogger.com/profile/18226215574512894212noreply@blogger.com0tag:blogger.com,1999:blog-4458624434730608496.post-64600439629702315842012-07-05T09:28:00.000-07:002012-07-05T09:33:04.540-07:00Bacon is a gateway food.<style>
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<span style="font-size: small;">Ok,
I’ll admit it. After 8 years of a strict vegetarian diet, I have fallen off the
wagon. And by doing so I’ve discovered that bacon is a gateway food. Its
greasy, rich decadence has started a downward spiral from grilled chicken to
marinated pork to slabs of beef.</span></div>
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<br /></div>
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<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxDXS4Ba6n-L7oYRlmnJKvOGRABbc2R9wuzuWF3NfLT5Uo0Jf-fZKmBnLrr1Hm9AIxzcYSqg2qcBky2gkhYc9GqB7NbxaKPVHcmbCcQebFd458SPwfo0l8pVIFvePZHpprG3St7FYqc5t7/s1600/images.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxDXS4Ba6n-L7oYRlmnJKvOGRABbc2R9wuzuWF3NfLT5Uo0Jf-fZKmBnLrr1Hm9AIxzcYSqg2qcBky2gkhYc9GqB7NbxaKPVHcmbCcQebFd458SPwfo0l8pVIFvePZHpprG3St7FYqc5t7/s1600/images.jpg" /></a></span></div>
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<span style="font-size: small;">In
my former veggie days I was a subtler activist. I didn’t find it necessary to
cram my opinions down other people’s throats. When asked why I had chosen to
live a veggie friendly life I would usually respond by saying that I simply
didn’t like the taste of meat. And most people left it at that. It was a
response that easily ended the conversation, and kept my tree-hugging–veggie-loving-farmer’s-market
shopping side in check. I wasn’t out to pick fights with people.</span></div>
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<br /></div>
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<span style="font-size: small;">But
I’ve now entered into a more complicated relationship with food. The dairy that
I once consumed with great pleasure makes me ill. The wheat gluten that I
ingested in the form of olive loafs and micro- brews make me break out in a
rash. All of this has me thinking, “Why chose to eat one thing and not the
other?” Why did I find it acceptable to eat dairy products but not meat? Both
come from animals. The less than desirable relationship that I’ve come to have
with food is much like a dance. I try my best to dodge the stares and eye rolls
from friends and family when I order chicken tamales instead of my usual veggie
choice. When asked why I’ve decided to stop my previous veggie ways I usually
reply with an honest “It’s easier.” And despite how it may make me feel, it is.
I’ve come to the point that I feel like I don’t need to micro manage my dietary
restrictions and issues. People are curious about my strange habits, so I feel
that I owe them an honest answer.</span></div>
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<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcsV_pCVXJ1ePEUquOnOpHir49_Sn1wL5TzsGgOc6-zkoNQL9AqNujCFXy6PBznnhZ-Kyv_O9I3yhxLnlELAz1nAPUsgWw2RoXjo8u2ayVbTJ8krf28Yb4l0pOXpz8iSUgteQxyStltnEZ/s1600/Areca.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcsV_pCVXJ1ePEUquOnOpHir49_Sn1wL5TzsGgOc6-zkoNQL9AqNujCFXy6PBznnhZ-Kyv_O9I3yhxLnlELAz1nAPUsgWw2RoXjo8u2ayVbTJ8krf28Yb4l0pOXpz8iSUgteQxyStltnEZ/s320/Areca.jpg" width="320" /></a></span><span style="font-size: small;">But
deep down I still feel badly for my choices. I don’t really want to eat
animals. The childhood me that wanted to save every injured and abandoned
animal comes back to haunt me. I long for the days that the choices I made
about what I put into my body were more black and white. I long for the
days of my childhood when eating was easy. I ate what was put in front of me
without question. I lived in a simple world unaware of the political and social
ramifications of my decisions. I was also blessed with a steel gut that would
happily digest what it now considers poison. My morality meter was in check and
I was able to carry on with my carefree existence.</span></div>
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<span style="font-size: small;">I
wish the grown up me had it that easy…</span></div>
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<span style="font-size: small;">The
real problem is not the choice of what I put in my body, but rather that I find
myself longing for what I cannot have; a simpler time filled with easy choices.</span></div>
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<span style="font-size: small;">With
these thoughts floating freely in my mind I begin to process the most recent
show at Soo VAC featuring the artwork of two artists, Areca Roe and Samantha
French. Both artists tackle themes like memory, confinement, longing and the
desire for escape. These heavy themes are skillfully hidden behind shades of
muddled blue and teal, with environments filled with sunny warm waters and the
occasional fuzzy animal. As time passes and the viewer is able to peel away the
sunny exterior, a more somber interior is revealed.</span></div>
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<span style="font-size: small;">Animals.
Glass. Concrete.</span></div>
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<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixmMjdqIVnqflyGAQr_l-zrRBsSdBpx-NAFUSnnLrMPlWiDt6guMGuaG6KTzoCZGK_PlFz17LhAvK1T1VLtkitbCRMDNpEKwjloVz_L5z9h7D8TwFjgN00pTNWzF4X3MXJjZ4TB3RzDM0Q/s1600/Sam.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixmMjdqIVnqflyGAQr_l-zrRBsSdBpx-NAFUSnnLrMPlWiDt6guMGuaG6KTzoCZGK_PlFz17LhAvK1T1VLtkitbCRMDNpEKwjloVz_L5z9h7D8TwFjgN00pTNWzF4X3MXJjZ4TB3RzDM0Q/s320/Sam.jpg" width="240" /></a></span><span style="font-size: small;">Areca’s
photos may seem easy to digest on the surface, but upon more careful consideration
have a dreary, even discouraging quality. They remind us about our most basic
relationship with animals, and our instinct to dominate and control those
smaller and weaker than we are. She forces us to confront images of animals hidden
behind glass with dead stares set in dead surroundings. Something feels strange
and unnerving when engaging with this type of carefully constructed experience.
As I continue to digest the work it becomes clear that our relationship with
the animal kingdom is more complex than simply our desire to control. Areca
writes on her website, “Zoos serve as a clear manifestation of the state of our
relationship to wild animals. They are a manufactured point of contact with the
wild, and fulfill some need we have as humans to connect with nature, with
wildness, and perhaps to have dominion and control over that wildness.” The
issue of animal welfare is not as black and white as the younger me once
thought. I find the answers difficult to come by. </span></div>
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<span style="font-size: small;">Warm,
blue water. Floating bodies. Summer sun. </span></div>
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<span style="font-size: small;">Samantha’s
paintings feature a contemporary take on the classic bather portrait, reminding
me of long, hazy days spent at the lake, unaware of the passing hours and the
freckles developing on my skin. Somehow life seems much less hectic when
lounging on the beach staring out at the water. As my mind peels away outer
layers, an interior filled with desires appears. I find myself remembering the
unbearably long Minnesota winters of my childhood when I wanted nothing more than
a moment of warmth and sun. I wanted to escape the long days and even longer
nights. I dreamt of warm waters floating my seemingly weightless body out for
miles to a place of unending summer. It’s easy to lose myself in the warm
nostalgia of childhood, or a time when things were seemingly less complicated,
but sooner or later I am forced back to reality. Even if only for a moment, I
am grateful for the trip. Samantha writes on her website, “These paintings are a link to my home and
continual search for the feeling of the sun on my face and warm summer days at
the lake”. That connection to home runs deep. </span></div>
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<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOf4qNxdmvdhqh4rOhcY3p7pC3YC_kyT7S_0Zr3IiZhSI-h7aNLcje5TWkc6lSkEUKLsVYt6g0tyN4D-H0Zm0u7qO7Y7PXnAmaiXqnjapJWJqwvZtSrTNxjJ3KVXDSeKZ0WSGrxYFjARHE/s1600/Swimming_Caps_1950s_Pathe.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOf4qNxdmvdhqh4rOhcY3p7pC3YC_kyT7S_0Zr3IiZhSI-h7aNLcje5TWkc6lSkEUKLsVYt6g0tyN4D-H0Zm0u7qO7Y7PXnAmaiXqnjapJWJqwvZtSrTNxjJ3KVXDSeKZ0WSGrxYFjARHE/s320/Swimming_Caps_1950s_Pathe.jpg" width="320" /></a></span></div>
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<span style="font-size: small;">What
I’ve come to learn is that we all have desires- for happiness, a reprieve,
focus, restraint, escape. We all want what we cannot have. At least not right
now. But it’s fun to pretend.</span></div>
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<span style="font-size: small;">Hopefully
your greatest longing this week is to see this amazing work before
it’s gone.</span></div>
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<span style="font-size: small;">Thanks to our amazing intern <a href="http://www.katieparr.com/" style="color: red;" target="_blank">Katie Parr</a> for this blog post!</span></div>
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<span style="font-size: small;"><a href="http://www.soovac.org/index.php/shows/view/sea_change_new_paintings_by_samantha_french/" target="_blank">Samantha French HERE</a></span></div>
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<span style="font-size: x-small;"><span style="font-size: small;"><a href="http://www.soovac.org/index.php/shows/view/habitat_work_by_areca_roe/" target="_blank">Areca Roe HERE </a></span></span></div>Alison Hiltnerhttp://www.blogger.com/profile/18226215574512894212noreply@blogger.com0tag:blogger.com,1999:blog-4458624434730608496.post-23379631552530461812012-06-15T14:23:00.001-07:002012-06-15T15:13:58.792-07:00Tamatha Perlman Explores the Psychology of the Guilded Cage in Areca Roe's work<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBNy4o6FbdssU-BQGp-RsMAsloMxMvM1CXCgCJEZSF1N0lwoWokROyR4c7Qglw5VX22BpWz2qn4peiW-eref_BeIWuN2Z1RgZjv01S6paWpyV642ZXGtuT0TGu_ZFtsXmVY7u78Gbr0Grk/s1600/Lincoln+Pk+Zoo+2.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBNy4o6FbdssU-BQGp-RsMAsloMxMvM1CXCgCJEZSF1N0lwoWokROyR4c7Qglw5VX22BpWz2qn4peiW-eref_BeIWuN2Z1RgZjv01S6paWpyV642ZXGtuT0TGu_ZFtsXmVY7u78Gbr0Grk/s320/Lincoln+Pk+Zoo+2.jpg" width="319" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKGVMeSKbJzkT7zPLsezeWo9iuuGgZqnsyqoXT3SeLpOfgZOk2jC-X1t3jyo8h6K5TiFld2ClfPKhpZCCnJ3XBvt6gH0vx5XCu7F1r-7NLyqMj6cMka61dSYohkfgqQJ8z-9s0bl7HEUyA/s1600/Como+Zoo+2.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKGVMeSKbJzkT7zPLsezeWo9iuuGgZqnsyqoXT3SeLpOfgZOk2jC-X1t3jyo8h6K5TiFld2ClfPKhpZCCnJ3XBvt6gH0vx5XCu7F1r-7NLyqMj6cMka61dSYohkfgqQJ8z-9s0bl7HEUyA/s320/Como+Zoo+2.jpg" width="320" /></a><span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"> </span></span><span style="color: #444444; font-family: Arial; font-size: small;">Areca
Roe is a photographer of interiors, a careful accountant of creature
comforts. “Habitat” is a study of the spaces constructed for animals to
live in and to bring us closer to “nature.” She captures the places
where the enclosure exposes itself to the animals for what they really
are. Roe’s dispassionate eye allows the viewer’s assumptions to slowly
dissolve as their eye recognizes the fabricated murals and fake trees.
The contrast between the real and the unreal, natural and unnatural
creates a complex layers of experience that quietly inserts questions
about the lives of the captive animals into the viewer’s mind.</span>
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Many
of the photographs have a painterly quality. The interplay of light on
the plexi and glass barriers soften the surface of the enclosures,
creating a timeless, frozen quality. The window in the monkey house of
Lincoln Park Zoo, Chicago, Illinois #2 has fogged over and its
inhabitants have swiped smears in the drippy condensation, obscuring the
habitat and creating a flat abstract surface with gestural brush
strokes. The atmospheric light in Como Zoo, St. Paul, Minnesota, #2
gives the painted backdrop the appearance of a Hudson School landscape
with the surreal addition of penguins. In About Looking, John Berger
states, “In principle, each cage is a frame around the animal inside
it...They [Visitors] proceed from cage to cage, not unlike visitors in
an art gallery who stop in front of one painting and move on to the next
one after next.” </span></span></div>
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"> Roe,
who has an undergraduate degree in biology (with a concentration in ecology) is able to effortlessly
explore the myriad levels of illusion involved in creating a habitat for
animals that meets the needs of the humans who want to look at them.
Included in the exhibit are plastic toys used to entertain the polar
bears. Both are chewed and mangled by their powerful claws. They are
peculiar objects. Why do polar bears need a sled? What would they have
used in nature? Roe’s photographs expose our need for zoos and a
controlled interaction with the wild. “I just want people to think about
it a little,” she says. “I want them to come to their own conclusions.”<br />
<br />
Areca Roe graduated from the University of Minnesota with a MFA in 2011
and currently lives and works in Minneapolis. Recently Roe completed an
artist in residency at the Bell Museum and a solo exhibition at the
Notre Dame University Department of Art. She has exhibited throughout
the Midwest, as well as internationally in both Hungary and Finland. Roe
has also received several grants and fellowships in support of her work
including a 2012 Minnesota State Arts Board Artist Initiative Grant.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3Qa0mbfhiEXCeCVv4Zm8VtPcSYwpSMqjQi9HPd4Xm5Kg2cK48oPUFYZ3yH_OGrPYFxdC5vzyXc9thzpzw7jmLKgL_rbBnWyZnzSa1KCOFCu9Wh-m-rJU64dMKHDSFgLzJj1YYBWeEE8LR/s1600/sled.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3Qa0mbfhiEXCeCVv4Zm8VtPcSYwpSMqjQi9HPd4Xm5Kg2cK48oPUFYZ3yH_OGrPYFxdC5vzyXc9thzpzw7jmLKgL_rbBnWyZnzSa1KCOFCu9Wh-m-rJU64dMKHDSFgLzJj1YYBWeEE8LR/s320/sled.jpg" width="320" /></a></div>
<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><a href="http://www.soovac.org/index.php/shows/view/habitat_work_by_areca_roe/" style="color: red;" target="_blank">Areca's work </a><span style="color: #444444;">will be up until July 7th at Soo Visual Arts Center.</span></span></span><br />
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="color: #444444;">And more of Areca Roe's work</span> <a href="http://arecaroe.com/home.html" style="color: red;" target="_blank">HERE</a>. </span></span><br />
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Article by Tamatha Perlman. </span></span><span style="font-family: Calibri,Verdana,Helvetica,Arial;"><span style="font-size: 11pt;"> </span></span>Alison Hiltnerhttp://www.blogger.com/profile/18226215574512894212noreply@blogger.com0