Upcoming Exhibitions

From Minnesota Artists Exhibition Program

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Paula McCartney and Liz Miller
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-==''We Believe in Some thing'' Roxanne Jackson==+[[image:10_Davis_05.jpg|top|thumb|250px|Jennifer Davis,Preserve, 2009, acrylic/graphite/charcoal on paper]]
-[[image:2009_Jackson_01.jpg|left|thumb|250 px|Roxanne Jackson<br>''White Diamond'', 2009]]+'''Jennifer Davis, Erika Olson, Terrance Payne, and Joe Sinness'''<br>
-Friday, August 28, 2009 - Sunday, November 1, 2009<br>+'''Friday, October 22, 2010—Sunday, January 2, 2011'''<br>
-Roxanne Jackson+Minnesota Artists Exhibition Gallery
-Roxanne Jackson's sculptural installations explore the duality of human nature through the metamorphosis of humans and animals. Her installations are macabre scenarios of predator vs. prey, good vs. evil, instinct and survival. 
-Primarily a ceramicist, Jackson is experimenting with a variety of unconventional materials.+The Minnesota Artists Exhibition Program presents "Flourish," a group exhibition featuring new work by four Minneapolis artists: Jennifer Davis, Erika Olson Gross, Terrence Payne, and Joe Sinness.
 +Davis's delicate paintings include a cast of animal, monster, and human characters who all have parts to play in her colorful fantasies. But her charming, Easter-egg palette belies the underlying psychological dramas of introversion and lost innocence.
-==Michael Kareken and Tetsuya Yamada==+Olson Gross is a multi-media artist whose sculptures and paintings express the poetry and fecundity of nature. Her most recent bucolic landscapes are intricately painted. The illustrative, woodblock-print flatness of her animal and flora forms resemble collaged scraps of paper attached to the canvas.
-Friday, November 20, 2009 - Sunday, January 24, 2010<br>+[[image:10_Olson_01.jpg|left|thumb|300 px|Erika Olson Gross
-Michael Kareken and Tetsuya Yamada+Houses, 2010, Watercolor, gouache and graphite on paper]]
 +Payne's large oil pastels on paper produce a sense of humor tinged with melancholy; the hand-written captions reveal his characters' internal narratives of disappointment, apathy, and resignation.
-Michael Kareken's latest body of work tackles the urban landscape, specifically the industrial recycling plants outside his studio window. The Rock-Tenn paper recycling plant and the American Iron metal scrap yard inspire metaphoric associations with life and death, growth and decay, order and entropy, structure and chaos. For the MAEP show, Kareken is creating these paintings on a grand scale, as wall-size vistas.+Rendered in colored pencil with a fastidious, hyper-realistic attention to detail, Sinness' baroque-style drawings are filled with color, pattern, and texture. The work implies sexual double-entendres and employs sly turns of phrase.
-Tetsuya Yamada works with the industrial landscape of production. His work explores the intersection of art, craft, machine, and industry. He delves into the repetitious and mundane activities of city life, specifically commuting by train in his native Tokyo. His installation will explore the way the human mind reacts to passive and repetitive acts, with their continuous rhythms of sights and sounds. 
-==''Foot in the Door IV''== 
-Friday, February 19, 2010 Sunday, June 13, 2010<br> 
-All Minnesota Artists 
-The Foot in the Door Show IV is the fourth Minnesota Artists Exhibition Program (MAEP) open exhibition for all Minnesota artists. The only restriction for entries is size: works must not exceed one cubic foot of gallery space. 
-The popular Foot in the Door show happens every ten years. In 2000, more than 1,700 artists were represented in the gallery exhibition and in the corresponding online exhibition. MAEP plans to integrate many special events to highlight this very special exhibition. 
-Stay tuned for submission details.+==Peter HappelChristian and Margaret Wall-Romana==
 +January 21 - April 3, 2011<br>
 +Minnesota Artists Exhibition Gallery
 + 
 +The scientific method is a process for documenting events, creating knowledge, and testing theories. Peter Happel Christian measures, collects information, and records data, creating sculptures and photographs that are positioned at the intersection of art, science, and history. He observes the technologies that mediate our everyday relationship with art and natural phenomena, including geography, cartography, and topographical surveys. As part of his MAEP exhibition, "Ground Truth," Happel Christian has invited MIA staff to collaborate with him. He has asked to borrow their office plants, which he will then install in the MAEP galleries and care for during the show.
 + 
 +Margaret Wall-Romana's work engages with the traditions of oil painting. She controls the physics of paint, but also lets go of that control to open up to the paint's own properties. The irresistible tensions on the surfaces of her large-scale paintings keep viewers looking. Wall-Romana structures her paintings using an elaborate atmospheric perspective balanced with non-illusionistic color. A sharp student of art history, she conflates the still-life delicacies of the Dutch Golden Age with Mannerist attitudes towards scale, Hudson River School atmospherics, and yolky Abstract Expressionist smears. Formally, she pushes the physical properties of paint to their limit, with her use of thin, translucent colors to create delicate surfaces, and chalky impasto for ripe forms and textures.
 + 
 +==Paula McCartney and Liz Miller==
 +April 22 - July 3, 2011<br>
 +Minnesota Artists Exhibition Gallery
 + 
 +Liz Miller is creating a new site-specific installation for her MAEP exhibition. The work will consist of two- and three-dimensional, wall-mounted and freestanding components cut from industrial felt. Throughout her career, Miller has completely transformed gallery and public spaces with her riotously colored installations. The viewer is immediately pulled into the fastidious complexity of her craft and the beauty of natural and manufactured networks; the work seems to crawl, grow, and swallow up space. As a site-specific artist, Miller has spent many hours researching the MIA and its collection. She is especially interested in the Asian, African, and European collections of weapons and armor, and will find creative means to incorporate these objects into her installation.
 + 
 +"A Field Guide to Snow and Ice" is Paula McCartney's photographic essay of images that recall the northern winter, including falling snow, icicles, and snowdrifts. But McCartney doesn't work in a straightforward documentary style; she combines the grandeur of landscape photographs with delicate figure studies. She uses technical sleights of hand to affect scale; snowdrifts that appear larger than human scale are actually small piles of gypsum sand, and slender icicles are calcite stalactites that grow anonymously, over centuries, in caves. McCartney doesn't look for images; she makes them. Her craft in shooting and printing her photographs is exacting; she is just as precise in her critique of assumptions about the truth-telling, indexical, and documentary aspects of photographic image making.

Current revision

Flourish

Jennifer Davis,Preserve, 2009, acrylic/graphite/charcoal on paper
Enlarge
Jennifer Davis,Preserve, 2009, acrylic/graphite/charcoal on paper

Jennifer Davis, Erika Olson, Terrance Payne, and Joe Sinness
Friday, October 22, 2010—Sunday, January 2, 2011
Minnesota Artists Exhibition Gallery


The Minnesota Artists Exhibition Program presents "Flourish," a group exhibition featuring new work by four Minneapolis artists: Jennifer Davis, Erika Olson Gross, Terrence Payne, and Joe Sinness.

Davis's delicate paintings include a cast of animal, monster, and human characters who all have parts to play in her colorful fantasies. But her charming, Easter-egg palette belies the underlying psychological dramas of introversion and lost innocence.

Olson Gross is a multi-media artist whose sculptures and paintings express the poetry and fecundity of nature. Her most recent bucolic landscapes are intricately painted. The illustrative, woodblock-print flatness of her animal and flora forms resemble collaged scraps of paper attached to the canvas.

Erika Olson Gross Houses, 2010, Watercolor, gouache and graphite on paper
Enlarge
Erika Olson Gross Houses, 2010, Watercolor, gouache and graphite on paper

Payne's large oil pastels on paper produce a sense of humor tinged with melancholy; the hand-written captions reveal his characters' internal narratives of disappointment, apathy, and resignation.

Rendered in colored pencil with a fastidious, hyper-realistic attention to detail, Sinness' baroque-style drawings are filled with color, pattern, and texture. The work implies sexual double-entendres and employs sly turns of phrase.




Peter HappelChristian and Margaret Wall-Romana

January 21 - April 3, 2011
Minnesota Artists Exhibition Gallery

The scientific method is a process for documenting events, creating knowledge, and testing theories. Peter Happel Christian measures, collects information, and records data, creating sculptures and photographs that are positioned at the intersection of art, science, and history. He observes the technologies that mediate our everyday relationship with art and natural phenomena, including geography, cartography, and topographical surveys. As part of his MAEP exhibition, "Ground Truth," Happel Christian has invited MIA staff to collaborate with him. He has asked to borrow their office plants, which he will then install in the MAEP galleries and care for during the show.

Margaret Wall-Romana's work engages with the traditions of oil painting. She controls the physics of paint, but also lets go of that control to open up to the paint's own properties. The irresistible tensions on the surfaces of her large-scale paintings keep viewers looking. Wall-Romana structures her paintings using an elaborate atmospheric perspective balanced with non-illusionistic color. A sharp student of art history, she conflates the still-life delicacies of the Dutch Golden Age with Mannerist attitudes towards scale, Hudson River School atmospherics, and yolky Abstract Expressionist smears. Formally, she pushes the physical properties of paint to their limit, with her use of thin, translucent colors to create delicate surfaces, and chalky impasto for ripe forms and textures.

Paula McCartney and Liz Miller

April 22 - July 3, 2011
Minnesota Artists Exhibition Gallery

Liz Miller is creating a new site-specific installation for her MAEP exhibition. The work will consist of two- and three-dimensional, wall-mounted and freestanding components cut from industrial felt. Throughout her career, Miller has completely transformed gallery and public spaces with her riotously colored installations. The viewer is immediately pulled into the fastidious complexity of her craft and the beauty of natural and manufactured networks; the work seems to crawl, grow, and swallow up space. As a site-specific artist, Miller has spent many hours researching the MIA and its collection. She is especially interested in the Asian, African, and European collections of weapons and armor, and will find creative means to incorporate these objects into her installation.

"A Field Guide to Snow and Ice" is Paula McCartney's photographic essay of images that recall the northern winter, including falling snow, icicles, and snowdrifts. But McCartney doesn't work in a straightforward documentary style; she combines the grandeur of landscape photographs with delicate figure studies. She uses technical sleights of hand to affect scale; snowdrifts that appear larger than human scale are actually small piles of gypsum sand, and slender icicles are calcite stalactites that grow anonymously, over centuries, in caves. McCartney doesn't look for images; she makes them. Her craft in shooting and printing her photographs is exacting; she is just as precise in her critique of assumptions about the truth-telling, indexical, and documentary aspects of photographic image making.