Barbara Held and Benton C Bainbridge

“Held and Bainbridge’s duo pairs acoustic and electronic sound with analog image.

Their live shows and studio work are composed using Eurorack video modules and

a small Moog synthesizer modulated with acoustic flute sound.

Held is a classically trained flutist and composer who lives and works in Barcelona,

Spain. She has commissioned and performed a very personal body of new

repertoire for flute by Spanish and American composers.

Bainbridge is an artist who makes media art with his own custom systems. He is

best known for visual performances, solo and in diverse collaborations.

In addition to the exhibition opening, Held will perform a solo concert of her

historical repertoire on flute and prepared devices, accompanied by a discussion

on her work at 4 p.m. March 22 in the Performing Arts Center’s Ruth Gant Recital

Hall. The program includes works composed by Held as well as works composed

specifically for her by 20thcentury composers Alvin Lucier and Yasunao Tone”.

St. Cloud State Today. 






Adam Cailler and Michael Mott│ statement 

Our projects, like most things, begin tangentially in overheard conversation or ill

conceived dime-store poetry, and proceed in a fashion akin to all varieties of

underfunded research where passion is the currency: a manic making-do. We jot

things down, make blind drawings, and speak slowly onto magnetic tape. In

working together we know that we each have, at least, a mildly approving audience

of one.

One past project involved identifying and collecting instances of eroticism in

domestic architecture. We began by acknowledging that haunted houses wear their

haunt on their sleeve, and can be readily identified by an attuned eye. From there,

we were pleased to deduce that all houses are haunted by a something-or-other,

poetry, God, the ocean, whatever.

Finally, the imagination struck out in the desire for new categories: we began to

realize that the erotics, the degrees of vibratory friction with which some lives are

rich, can become visibly manifest in certain domiciles. We defined erotics as

unashamed idiosyncrasy, be it flamboyant or subtle, but always incongruous. Then

it was just a matter of research: driving the metaphysical streets and hard looking.

We presented our findings in a book draft splayed out on a wall, as a potentially

endless photographic series. This is typical of our process: a hunch, excitement,

conversation, thesis, accost the world with our eyes, fabricate truth, present our

findings, retire.







Lander Burton│ bio

Born, lives, works in Los Angeles, California 



Gregory Graham│ bio

Gregory Graham lives and works in Saint Paul, Minnesota. He received his MFA from

the University of Tennessee, Knoxville and his MA and BA from the State University of

New York at Albany. Graham has been the recipient of numerous awards, including

grants from the Jerome Foundation and the Minnesota State Arts Board.

The artist has exhibited nationally, including the Arkansas Art Center, Little Rock;

Centennial Art Center, Nashville; Honolulu Academy of Arts; Pratt Graphic Center, NYC;

Spirit Square Art Center, Charlotte; University of Oregon, Eugene; and the Visual Arts

Center of Alaska, Anchorage. In addition to exhibiting prints, drawings and paintings, he

has also screened short films at the Riverview Theater, Minneapolis and the Paul and

Sheila Wellstone Center, Saint Paul.



Kelsey Olson│ bio

Kelsey Olson is from Montana and lives in Minneapolis. She makes photographs that

combine analog and digital processes, and also makes paintings. She recently completed

an internship at Misako & Rosen gallery, Tokyo, and last year with David Frohlich

published a zine of artists writings and collages titled XPNDR. Olson has previously

exhibited at the Rochester Art Center, GAS GALLERY in Minneapolis, and Party at My

Parents House in Prior Lake, MN.








George Farrah│ bio

For me, this series of paintings have become a meditation on my childhood and

adolescence, the joys, pains and dangers of it. Also, this subject matter is expressed in

the context of present day Internet and smart phone colors.

Something direct, visceral, in your face, like the experience of early life, happening to

you so quickly, you often can hardly keep up with it or half understand it.

The style of painting in these paintings could be labeled, “New York abstract school”. I

wouldn’t be offended.

One could also say, that the images in these paintings are at times difficult to make sense

of or get your head around. I wouldn’t be offended by that either. I find myself not

trusting things that are not larger or more complex than I am. Things that began

functioning as propaganda for any point of view. You could argue anything can become

that. I find myself agreeing with that. With the exception that in our particular time and

space and visual/cultural environment, never has the image had more dishonesty and

intelligent beauty to bear as a signifier, and grief and trouble for us, as the ultimate


Thus, my personal argument for abstraction, beyond what I naturally love and find

myself doing and not being able or interested in doing anything else, at least at this time.

As Phillip Guston so beautifully puts it:

"There are so many things in the world – in the cities – so much to see. Does art need to

represent this variety and contribute to its proliferation? Can art be that free? The

difficulties begin when you understand what it is that the soul will not permit the hand to


It was fun and hard work to make these paintings.

I hope you enjoy them. gjf









Alyssa Baguss│ bio

Alyssa Baguss’s practice explores mediated natural environments

through drawing processes. Her work has been exhibited in the

Twin Cities and regionally, including Augsburg College Christensen

Center Art Gallery, Minnesota Museum of American Art, Soo Visual

Arts Center, and Rosalux Gallery. Baguss has worked as a

teaching artist and artist in residence with the Minnesota Center for

Book Arts youth programming, Minneapolis Public School system’s

Art for Academic Achievement residency programs, and with

various art organizations in the Twin Cities including the Walker Art

Center, Weisman Art Museum, the Rochester Art Center, and

Public Arts St. Paul.





Matthew Yaeger│ bio

Matthew Yaeger was born in New Ulm, Minnesota, grew up in Saint Cloud, Minnesota,

and calls Minneapolis, Minnesota home. He attended Saint Cloud State University and

graduated with a B.A. in creative writing and B.F.A. in fine arts in 2012. He finished his

M.F.A. in painting and printmaking at Virginia Commonwealth University in the spring

of 2015. His work has been exhibited in numerous group exhibitions including Untitled 9

at the SOO Visual Arts Center in Minneapolis, Minnesota, NEXT, at Page Bond Gallery

in Richmond, Virginia, A Painting Show, at the Gallery Vault in Saint Cloud, Minnesota,

Southern Hospitality, at the University of Georgia in Athens, Georgia, Happy Hour, at

Art Helix in Brooklyn, New York, Fresh: New Artist 2015, at Southeastern

Contemporary Art Gallery in Hammond, Louisiana, and most recently was part of a two

person exhibition, The Other Window with Emil Robinson at Wave Pool Gallery in

Cincinnati, Ohio.



FABULISTS an Installation by John Fleischer, Kiehle Gallery, 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.


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