Axes for Abstraction makes reference to Cartesian coordinates as metaphor for flat, deep, and graphical, painting space and multiplane exhibition strategies. ‘Axis,’ a line, and in this case, a picture plane and the elements therein forming directional interventions.
Within painted space, abstract practitioners are performing formal operations, creating a language or schema out of personal characters, symbols, and alphabets, within a matrix of planes, surfaces, and fragments.
Within gallery space, painting objects are situated throughout multiple degrees of presentation space: paintings are flush with walls, dangle, protrude three-‐dimensionally, and are floor-‐seated – the vertical, horizontals, and diagonals in between, form x-‐, y-‐, and z-‐axes.
‘Axes’ also positions this grouping as a league or coalition of artists working in the same vein. Each working throughout the region, are intersecting in space by way of this exhibition, each artist is pursuing abstraction as a language for material, narrative, and formal interests.
ARTIST COLLABORATIVE CHLOE LUM & YANNICK DESRANLEAU
January 26 – February 25, 2016
Image, Chloe Lum & Yannick Desranleau, 5 Tableaux (It Bounces Back) detail, 2015, 2 channels HD video, 27 minutes
Multimedia artists Chloë Lum and Yannick Desranleau to showcase ROME
Kiehle Gallery, St Cloud State University, January 26 – February 25, 2016
Opening with dance performance by Bodycartography, January 26, 4-5 pm
Artist talk will take place after opening/performance.
Chloë Lum and Yannick Desranleau are multidisciplinary visual artists based in Montreal. Their work focuses on the lifespan of material; how material stresses cause fading, scuffing, peeling, crumpling or crushing, and, how these reactions can be said to animate the materials. The duo is equally interested in collaboration, with each other, other artists, and their materials, as both subject matter and research interest. These interests in collaboration and materiality inform their practice in installation, sculpture, photography, dance, print and video wherein objects perform via their decay; to be re-used and re-deployed wearing the traces of past use.
They have exhibited widely, recently at The Confederation Center for The Arts Gallery in Charlottetown, P.E.I, and The Center for Book and Paper Arts at Columbia College in Chicago. They where founding members of the avant-rock band AIDS Wolf, and until recently, collaborated under the name Seripop. Yannick Desranleau is currently an MFA candidate in sculpture at Concordia University, while Chloë Lum holds a BFA in art history and studio art from Concordia University. Their work is collected by the Victoria and Albert Museum and by the Montreal Museum of Fine Art.
For their exhibition at Kiehle Gallery, Lum & Desranleau will be transforming the gallery, creating a series of sculptures that hang from the ceiling and walls or sit on the floor offering the potential for interaction. The installation will include two projections of dancers interacting with their colorful and bold work. Additionally, Olive Bieringa and Otto Ramstad of BODYCARTOGRAPHY will perform a live dance with the installation at the opening on January 26, 2016. Students in curatorial practice will work with sculpture students to help realize the exhibition.
DRAWINGS BY MICHON WEEKS
November 10 – December 10, 2015
Michon Weeks received her MFA in Drawing and Painting from the University of Minnesota, Minneapolis and her BA from Iowa State University, Ames. Her work has been shown regionally and nationally. She has been awarded grants and fellowships from the Minnesota State Arts Board, Forecast Public Art, Southwest MN Arts and Humanities Council, and the Southeast MN Art Council. In 2011 She created twenty etched-glass drawings for the windows of the Marshall-Lyon County Library. In 2015 Weeks created a large-scale wall drawing titled I Saw a Wheel on the Earth in Old Main at St. Olaf College. Weeks is currently teaching studio art at St. Olaf College in Northfield, MN.
let me Know….(without knowing)
matt olson of ro/lu
RO/LU is an experimental studio founded as a landscape office in 2003 by Matt Olson and Mike Brady. Their sprawling practice now includes conceptually driven furniture, participatory public art projects, photography, video work and more. They were Artists In Residence at the Walker Art Center as part of the Open Field Program and Matt Olson just completed a month long Robert Rauschenberg Residency on behalf of the studio. They also recently completed a commission from Artsy to make an installation at Art Basel / Design Miami in Switzerland which included a new website and a project for PIN-UP Magazine in the exhibition PAPER WEIGHT curated by Felix Burrichter at Haus der Kunst in Munich.
THE world we inhabit; the world we made
daniel dean & ben Moren
September 1 – September 30, 2015
The World We Inhabit; The World We Made
Exhibition, September 1 – September 30
Today, the tension between the physical world and its representations increasingly begs the question – “what is real?”. We can see high definition documentaries of new found organisms, assume every photo has been appropriately filtered for our consumption and upload idealized versions of ourselves into a social realm that fails to mirror our everyday reality. Every experience is mediated; sometimes in highly visible ways, other times the mediation is so common as to remain nearly invisible.
In the two-person exhibition, The World We Inhabit; The World We Made, seasoned collaborators Daniel Dean and Ben Moren cast a critical and comic eye toward the failures of this mediation. Choosing to collaborate on only one eponymous artwork, each brings a different approach to their individual works in the exhibition as a means of exploring the various forms that mediation takes, and how these forms might be made visible, deconstructed, or even enhanced to a point of absurdity. Viewing the world through their lens becomes an exercise in seeing how we perceive. Each of the works are a blend of media forms: sound, video, sculpture, photography, and assorted mechanical and digital technologies. These combine to create an exhibition of fragments from the world we now inhabit, the world we have all made, where when asked to answer to the aforementioned question, “what is real?” – one might simply answer, “everything”.
Daniel Dean-Visiting Assistant Professor, Media and Cultural Studies, Macalester College
Ben Moren-Assistant Professor, Media Arts, Minneapolis College of Art and Design
49th Annual St. Cloud State
Juried Student Show
THE NEW NORMAL
March 3 – March 31, 2015
January 20 – February 19, 2015
Hecho en minnesota, Posters designed by uno branding
November 18 – December 18, 2015
In 1999, on the cusp of the millennium, Luis Fitch and Carolina Ornelas launched UNO to address a then-unmet Hispanic/bi-cultural branding demand. As childhood friends from border-town Tijuana, Mexico , they grew up culturallyrich, integrating the best of both Mexico and the U.S. Culture-straddling upbringings prepared them for their current-day expertise in cross-cultural design – an ideal perspective for assimilation, acculturation, and diversity.
Local vs. Foráneo
An exhibition by students and professors from the University of Concepción curated by Leslie Fernandez and Oscar Concha. Opening Reception, September 24, 2014, 4 pm. Exhibition on view September 18 – October 15. This exhibition is made possible with a grant from the School of the Arts and the Binnational Committee between the University of Concepción and SCSU.
48th Annual juried student exhibition
Visiting Juror, Stevie Rexroth, MCAD Chair of Media Arts/Professor
an abstract B, layered paper, tiny mirrors and measurement, pink disease, colored sweaters, fungus, the woman with two eyes, pyramids, a scream, gold landscape, juice box, a conversation, blue city, many faces, small color fields and string, one gun, two skulls, a deflated balloon, a pink lady, green and purple camouflage, a chair divided, light/shadow in movement and a crotch grab
March 18 – April 8, 2014
Points of Consideration
- images confuse reality
- the image is semiotic in nature
- the image is political in nature
- images confuse truth
- an image is a signification system
- a sign can be seen as creating meaning
- through drawing the copy becomes the original
- the copy is the original
February 11 – March 6, 2014
During the period of open imperialist expansion, the role of the landscape painter was often used to create a sense of wonderment and desire. Instead of accurate recordings, artistic liberties were often used to help implant the desire of relocation so the empires could expand into faraway lands. I have become interested in how my role as a landscape painter fits into the history of misconceptions, authenticity, and desire and the ways I can play inside its subversive framework. By using the guise of romantic landscape painting, I am exploring the slippery ideas of place, the way tourism and media perpetuate fantasies of the exotic, and the ways cultural identities are manipulated, misplaced, and reinvented in an age of globalization and longing for authenticity. In addition to landscape painting history, my work is concerned with how to negotiate my own desires and concerns in an age where we can travel anywhere for a price and many of the best landscapes are quickly disappearing due to the warming of the planet.
January 13 – February 4, 2014
When __________ created __________, whom s/he formed alone, without a companion, s/he said: It is not good that __________ should be alone. And therefore s/he created __________ also out of the ground and the two began immediately to contend with each other for superiority.
__________ said: It behoves thee to be obedient; I am to rule over thee. __________ replied: We are perfect equals, for we are both formed out of the same material. So neither would submit to the other.
Seeing this, __________ pronounced repeatedly the name of __________, and instantly flew away through the air. __________ then addressed __________ and said: __________, whom thou gave to me, has departed, has flown away from me through the air.
__________ immediately dispatched __________ to bring back the fugitive. S/he said: If __________ consents to return, then open the path; but if not, mark the body with blackened arrows and close forever the gate.
November 18 – December 12, 2013.
During the second half of the 20th century color transparencies (most often 35mm projected slides) were the primary means by which representations of art were shared in both research institutions (universities and museums) and professional contexts (galleries and grant panels). The transition to digital media has largely relegated slide collections from that period to oblivion. In the summer of 2013, St. Cloud State University offered the artist a chance to inherit and interpret the remnants of their own 35mm slide library. The Evil Genius Of A King is the culmination of that process during which Bakkom reviewed over 5000 images and selected 120 from the group. These form the basis of a new photographic series. Created through a combination of affinity, chance and aesthetic potential these images and their installation are intended, like the collection upon which they are based, as a transmission from the past designed to inspire and inform work of the future.
down the rabbit hole: a survey of Jan xylander exhibition posters
October 21 – November 14, 2013.
In this exhibition printmaker Natasha Pestich expands on her exploration of the fictional artist Jan Xylander. In 2011 Pestich’s exhibition at the MAEP Galleries, Minneapolis Institute of Arts, tracked “the tumultuous exhibition career of a fictional artist she named Jan Xylander through a series of screen-printed posters and other printed matter. A combination of printmaking and social engagement, Pestich’s semblance of an exhibition questions how museums participate in the identity formation and legacy of an artist through one-person and retrospective exhibitions.”
Jeffrey k. johnson: creative director/owner, replace
September 24 – October 17, 2013
MN INVENTS is the secret and ongoing history of the amazing Minnesota inventive culture.
MN INVENTS things like the first digital computer, the first supercomputer, the first pop-up toaster, the first retractable safety belt, the first in-ear hearing aid, the first pacemaker, the first skyway, the first water-skis, the first internet search engine, the first handled grocery bag, Spam, and just recently, a remote-controlled helicopter you can fly hands-free with only your mind! MN INVENTS wants to reveal this amazing inventive MN history to the world. The list of inventions is very long, and gets longer every year.
When Minnesotans learn the massive inventive history from our great state, the result is always the same: Pride and Empowerment. Minnesotans have a long and valuable history to never accept the status quo. When faced with challenges, Minnesotans historically invent the way to solve that challenge. Sometimes this MN inventive solution is as small and wonderful as the Nerf Wonder-ball or Post-It Notes. For other challenges, MN inventors create techniques as incredible as open-heart surgery or organ transplants. MN INVENTS – we really really do.
August 26 – September 19, 2013
Ute Bertog was born in a small town in Southwest Germany and resettled in the United Stated in 1998. Though initially trained in business and economics, this move provided her the impetus to follow a life-long dream of becoming an artist. Infused with hidden texts, her paintings present themselves as a built-up process of working and reworking as a means of muddying lines of communication between the artist and the viewer.
Ute graduated from the Minneapolis College of Art and Design in 2005 from the Department of Painting; she received several scholarships and awards during that time. She has exhibited her paintings at Thomas Barry Fine Arts, Sellout Gallery, Altered Esthetics, the De Vos Art Museum in Marquette, MI, the Plains Art Museum in Fargo and the Sioux City Art Center in Iowa.
guest juror Aaron vandyke
MCAD Professor/Education Programming
@ Midway Contemporary
April 24 – May 23, 2013
There are a lot of reasons for picking the work I did, but at the heart of it, they were works that interested me. They caught my attention because they were doing something interesting.
There are many ways to make art and that is clearly reflected in the submissions. I wanted to include this array of ways of making work. There isn’t a right way to make art. You have to do it and figure out if it is right when you are done.
Not having much of a context for the work I picked made it difficult. That is just the nature of the process. I’m sure there was work that deserved to be in the show that isn’t. It is always enjoyable to see good student work, but difficult to judge it in these situations.
Keep working hard. It is the only way to become a better artist.
—Aaron Van Dyke
March 26 – April 12, 2013
CREATURA is comprised of otherworldly objects, creatures and their artifacts. With bodies of steel and twine, the creatures have created almost comically beautiful relationships, emphasizing their interactions and belief in one another. The artifacts are vestiges of the interactions between the creatures, offering bits of contextualization. These creatures explore the sacredness of interconnection that so many have lost, seeking forgotten secrets and coaxing them out of hiding.
a horse a piece
roxanne jackson AND Chris held
February 26 – March 19, 2013
A Horse A Piece, a collaborative exhibition by artists Roxanne Jackson and Chris Held will be on view February 26 to March 19 at Kiehle Gallery. Jackson works mainly with ceramics and sculpture to create work that examines extinction, death, and transformation. Held is co-founder of Von Tundra, a contemporary furniture design company based in Portland, Oregon. A Horse A Piece combines Held’s astute awareness of display and design with Jackson’s psychologically powerful work.
January 17 – February 14, 2013
Valerie Snobeck has had solo exhibitions at Le Consortium, Dijon; Galerie Catherine Bastide, Brussels; Thomas Duncan Gallery, Los Angeles; University of Delaware Art Museum; 8 rue Saint Bon, Paris; Renwick Gallery, New York; and Essex Street, New York.
She was born in Wadena, Minnesota in 1980. She received her MFA from the University of Chicago in 2008, and a BFA from Saint Cloud State University, MN in 2003. She also studied at Palacky University, Olomouc, Czech Republic.
Galleries representing Valerie’s work:
ESSEX STREET Gallery, NYC
E BASTIDE, Brussels, Belgium
November 29 – December 22, 2012
Emerging artist Adam Caillier received an M.F.A. from the Minneapolis College of Art and Design, 2010. He has exhibited his work at venues in the Twin Cities, including, MAEP at the Minneapolis Institute of Arts, the Wiseman Art Museum, and Occasional Art, St.Paul. His work was published in Location Vol. Two, Location Books and Editions, Minneapolis, 2010.
Caillier’s photographs and installations take pleasure in deconstructing assumptions about the photographic process, writing, art, life… His work has a dry humor that belies tragedy.
November 29 – December 22, 2012
Bob Jones received a BFA in painting from Illinois State University, Normal, IL. He has a substantial exhibition record at galleries and art fairs in Chicago, Miami, and New York. He lives in Milwaukee, WI. His work takes the form of installations that include sculptural objects rich in process and aggregation.
Jones states, my practice investigates how matter transforms from its initial state into an enigmatic, symbolic form that may coalesce with the sacred. Utilizing the ephemera from my studio and the natural world— sawdust, canvas, dust, debris, snow, sticks, straw, and paint—I alter these humble, cast-off prospectors of the real into repurposed, fetishized objects that offer a link to the mythical. Held together with paint, glue, mud, and resin, these products of alchemical change, as writer Benjamin Krier stated are an “embrasure of the omen in the ordinary”. The studio, a cavern of aesthetic experimentation, generates questions that beget questions, the answers both realized and allusive.
October 4 – 25, 2012
Graphic designer Erik Brandt is Associate Professor at the Minneapolis College of Art and Design, Minneapolis, Minnesota. His creative research focuses on issues of globalization that affect and drive the complexities of inter-cultural visual communication systems.
His career began as a cartoonist in Japan in 1994, and since then he has found focus largely in print media. He authors the design blog, Geotypografika (Visual Communication und Wissenschaft), and maintains a small graphic design studio, Typografika (Visual Communication und Konditorei).
Brandt was born in Missoula, Montana. His early childhood was spent in Cameroon and Malawi, then moving to Germany where he entered elementary school. His first languages were French, Swahili, and German, with a smattering of heavily accented English. His family then moved to Cairo, Egypt where he finished high school with an international student body.
As a consequence, Brandt has never had a national identity, but instead identifies with this concept of a conglomerate. The phrase is meant in a geologic sense, as opposed to it’s contemporary identification with corporations.
The work created for this exhibition explores conglomerate identity, and its influence on form making. The selected pieces range from the experimental to the applied, including a larger series from, Ficciones Typografika (typographic fictions).
September 4 – September 27, 2012
This exhibition brings together a selected group of small adventures from the past two and a half years. The sources of inspiration vary dramatically and are rarely evident in the result. Inspirations simply kick me out of the gate. They provide fresh inertia. A plan is never devised. I prefer to be lost at the onset. Some work comes to fruition quickly, some very slowly. I never know if the next move will be a solution or a setback. I often find that setbacks are helpful, though, as they force me to consider paths yet unforeseen. Doubt and worry are present more than elation, but this fact makes the elation more poignant. These elements of the process are natural, I find, and I attempt to embrace them as I stumble, seeking the way from the openness of the initiated to a resolution.