Of+Course,+Where+Else+(Group+Show)+Checklist.pdf

The Nemeth Art Center is pleased to welcome you to Of Course, Where Else; a six-person group show that will encompass the entirety of our gallery spaces during our 2020 season The exhibition features Alonzo Pantoja, Amber Fletschock, David Ruhlman, Galilee Peaches, Lauren Roche, and Meghan Duda The artists live and work throughout the northern Midwest, mainly North Dakota and Minnesota, and together they represent a wide range of media and subject matter The initial intention in bringing together this group of artists was to underscore a sense of place that permeates the work – whether that be in a literal addressing of the landscape, or through a more intimate, bodily lens As time passed, and the tumult of this year set in – ideas about healing, resiliency, comfort, and ritual have come forward and amplified these connections MAIN GALLERY A mb e r F l e tschock L o o m i ng, 20 20 P a p e r c ut ting on C re sce nt Hotpres s Illu s tration Board, P V A 40 x 30 i nche s $2,000.00 A l o nzo P antoja U n t it l ed ( r ainbow # ) wal l , 202 H a nd w e a ving on stre tche r b ars 30 x 30 i nche s $ 75 0 Ga l i l e e Pe ache s “I w ant inside this night that is lo n ger th a n lif e” f o r Cla rice L i sp ec t o r , 20 20 Go ua c h e and w ate rcol or on paper x 1 inche s $400.00 Ga l i l e e P eache s Egg Tin, 01 P a p e r , t a p e , g l ue , ink x x inche s $250.00 D a v i d R uhl m an L et U s B u il d Ourse l ve s a C ity, 019 W a sp ne s t p ap e r and ne st p ods x i nche s $1,100.00 Ga l i l e e P eache s C l o t h es -Line Dr aw ing, 20 20 mm p hotog rap h, p rinte d digitally x inche s $200.00 La ur e n R oche U n t it l ed, 2020 A c r yl i c , g ouache , wate rcol or , in k pen on paper 2 x inche s $ , 0 00 Ga l i l e e P eache s Fragm en t , 20 20 P l a st e r x 1 x inche s $250.00 A mb e r F l e tschock Ho l ding out for that te e nage f eelin g, 02 P a p e r c ut ting on Stone he ng e waterco lo r paper, n o ri pas te, P V A x 40 i n che s $1,000.00 A l o nzo P a ntoja Unt it l ed ( Orie ntation Stud y) , 02 H a nd w e a v ing on stre tche r b ars x x inche s NFS Ga l i l e e P eache s A w ash b o a rd , a w ind ow , 2020 C a r d b o a r d , tap e , p ap e r 45 x x inche s $150.00 L a ur e n Roche Unt it l ed, 020 A c r yl i c , g ouache , wate r col or, in k pen on paper 2 x 30 inche s $2,000.00 Ga l i l e e P eache s R A C KET R A C KET R AC KET, 20 A r t i st b o ok d ig ital ly p rinte d on Min egis hi paper x i nc he s $30.00 A l o nzo P a ntoja Unt it l ed ( R ainbow # Stud y) , 202 S h a r p i e , color p e ncil , crayon, graph ite on paper x i nche s $ 75 0 ( e ach) D a vi d R uhlm an Unt it l ed ( He al ing Painting) , 202 I o d i ne p a inting x inche s $ 75 0 A l o n z o Pa n t o j a Bio: A l o nzo Pan toj a was born in C hicago , IL a nd c urre ntly li v e s a nd wo rks i n Mi nn eapo l i s, M N P an to ja is a queer, brown artis t and e d uc a to r - h e re c e ntly e a rne d h i s M F A i n F ib e r an d I n stal l ati on at Minneapolis C oll e ge o f A rt a nd D e s i gn A nd i n 201 6, h e c o mp l e t e d a B FA in Pain t ing and Drawing from th e P e c k S c h o o l o f th e A rts a t th e Uni v e rs it y o f W i s sin - Mi lwaukee During his un d e rgra d ua te s tud i e s h e d i d i nte rna ti o na l c o u r sew o r k in C ont emporary Art , Arc h i te c ture a nd D e s i gn i n A lme re , N e th e rla n d s A s w el l as Pai nt ing and Drawing, and A rt H i s to ry a t S a nta R e p a ta Inte rna ti o n a l Sc ho o l o f A r t in Florence, It aly Artist Statement: Ho w w e n avigat e s paces ? How we re - o ri e nt o urs e lv e s to p h y s i c a l a nd i ma g in a r y spaces? B r oadly s peaking s pace is fo r ga th e ri ng, b ut h o w d o we ga th e r? M o re speci f i c al l y how we navigat e s pa c e s a s q ue e r b o d i e s ? T h e q ue e r b o d y i s a d a p t iv e w h e n i t c o mes t o queernes s and s pa c e s N a v i ga ti o n th ro ugh a q ue e r le ns re fer s t o t h e w a y w e exist in queer s paces but fa i l i n s tra i gh t s p a c e s The w o r k is an embodiment of quee rne s s a nd c o mfo rt - a d d re s s i ng o ri e nta ti on , i mper man en c e as a way t o int erpret h o w we a s q ue e rs na v i ga te a nd s h a p e s p a c e s My appr o ach to developing work is b y ma ki ng h a nd we a v i ngs a s a p o i nt o f re fle c t io n f o r the c o mfort and dis com fort in my li fe a s a q ue e r b o d y A s I wo rk o n th e we a v in g s, I thi n k abou t how element s of the a rc h i te c ture c a n b e i n c o nv e rs a ti o n wi th o n e an other an d making as s ociat ions The w eav i n g s are rainbows Rainbow s to me s y mb o li ze s o ma ny th i ngs s uc h a s t h e qu e er commu nit y, hope, a journey, a s p e c trum to na me a fe w T h e i nb o w i n m y w o rk ac kn ow l edges queernes s or an a tte mp t to T h e i nb o w i s s ta b i li ty , i t ke e p s me g ro u n ded; its mere pres ence anchors a s p a c e fo r me Amber Fletschock Bio: A mb er F l etschock has become regiona lly kno wn fo r h e r i ntri c a te c o lla ge wo rk t h a t sh e ma kes in dir ect res pons e t o “living i n a ma te ri a l- o ri e nte d wo rld i nund a te d wi t h i n f or mation overload and exces s ” A c c o rd i ng to F le ts c h o c k, th e p ro c e s s o f s el e c t in g an d col l ec ti n g images s erves as a s ub j e c t fi lte r th ro ugh wh i c h s h e i s a b le to “ metic u l ou sl y as s em ble t he pieces ma nufa c turi ng ne w c o nte nt o rga ni c a lly ” T h e ar t ist siders her work a paus e amo ngs t c h a o s o n th e b ri nk o f tra ns fo rmi ng A mb er F l etschock is a mixed-media c o lla ge a rti s t S h e gra d ua te d wi th a Ba c h e l o r o f A r t s deg r ee i n paint ing from Moorh e a d S ta te Uni v e rs i ty a nd h a s e xh i b i te d h e r w o r k thr ou g hou t th e Midwes t Flets chock’ s wo rk c a n b e fo und i n b o th p ri v a te a nd m u se u m c o l lec ti on s i n cluding t he permanen t c o lle c ti o n a t P la i ns A rt M us e um A mb e r i s r e pr esen ted b y ecce gallery in Farg o , N D Artist Statement: L ooming w as p roduced during t his unus ua l ti me o f q ua nti ne M uc h o f th i s ti m e f e el s l i k e r i di ng a wave of uncert ainty a nd e mo ti o na l turb ule nc e T h e s tri c t a c t o f c u t tin g an d r epet it ion s erved as a p c ti c e o f c a lm a nd c o nte mp la ti o n T h e j a g g e d v a ri eg ated su rface is int ent ionally a rra nge d i nwa rd d i a ti ng o ut.T h e fri nge d p o r t io n c o n v eys a pr ess ing ominous pres enc e The w o r k Hol di ng o ut fo r tha t teenage fe e l i n g wa s a ls o c re a te d d uri ng th i s p e r io d The titl e is a l ine from a N eko C as e s o ng T h e ly ri c a nd p i e c e e mb o d i e s h o p e , l o n g in g , r e mi n i sci n g and place U n tit l ed is a v olunt ary environm ent o r mi c ro c o s m Co ns i s ti ng o f v i s ua l e le me n t s f r o m the man - made and nat ural world coe x i s ti ng flui d i ty David Ruhlman Bio: D a vi d cu r r en tly res ides in Minnes ot a H e i s i nq ui s i ti v e a b o ut th e p o te nti a l o f t h e ar can e an d mys t ical as a met aphor fo r s tud i o p c ti c e H i s p ro c e s s b e gi ns i n t h e stu di o w hi c h is an arena t o problem s o lv e ; i t i s th e p la c e o f i nte nti o n a nd a c cid e n t These chan c e encounters allow for e nd le s s p o s s i b i li ti e s th a t b lur th e li ne b e t w e e n the mak er an d an expect ed out come D a vi d r ecei v ed his MFA from t he Mi nne a p o li s Co lle ge o f A rt & D e s i gn H e h a s par tic ipated i n a s olo exhibit at t he UM OCA H e h a s s h o wn lo c a lly , na ti o na lly a n d i n ter n ati on al l y Artist Statement: The w o r k for the Of Co urse, W here El s e e x h i b i t e x a mi ne s th e ma te ri a ls , a rti fa c t s a n d bel ief s that inhabit t he healing proc e s s M y a mb i ti o n i s to e mp lo y h e a li ng p rop e r t ie s, sy mbo l s an d e nergies t o invit e t he v i e we r to p a rti c i p a te a nd c o nte mp la te th e ir o w n bo di es an d its relat ion t o t he act of h e a li ng a nd th e h o me The w o r k in the exhibit t hat t ies in wi th my e xa mi na ti o n o f th e h o me i s th e b ir d ’ s n e st f a ce mask The work Ho me Hea lth C o vi d -1 , i mi ta te s a fa c e ma s k th a t h a s b e c o m e so pr e v al en t at th is t im e It works as b o th a n o b j e c t o f c o mfo rt a nd p ro te c ti o n, b u t a l so f o reig n an d n o longer able t o be inh a b i te d G a l i l e e Pe a c h e s Bio: Ga l il ee Peac he s is an int erdis ciplin a ry a rti s t wh o s tud i e s to uc h a nd h uma n i nt ima c y Her w or k s fol low t he cycles of the e v e ry d a y to s e e h o w s p a c e b e c o me s la y e re d thr ou g h ti me She s t udies how t he d y na mi c s b e twe e n fa mi ly me mb e rs e v o lv e a n d h o w a c ommu n ity res ponds t o damage and d i s rup ti o n T h e i nte nti o n o f h e r wo rk i s t o r e mi n d o n e to ret urn t o t he body and to b e c o ns c i o us o f h o w we s h a p e o ur i n t im a t e space I n the las t year, s he had her fi rs t s o lo s h o w a t F o gs ta nd Ga lle ry & S tud io in Tai wan an d fi nis hed an art is t res ide nc y a t th e Gra nd M a i s A rti s t Co lo ny Ga l il e e P eac hes has h er BFA in St udio Art , wi th a d wi ng c o nc e ntra ti o n, a t th e Uni v e r sit y o f Wi scon sin - St out and is bas ed out o f M i nne a p o li s , M N Artist Statement: I mak e i mag es, objects , and poet ry th a t fo c us e s o n h uma n ge s ture s a s we ll a s t h e i mpr essi on s of a body on it s enviro nme nt o v e r ti me T h e s e p i e c e s re fle c t o n d a il y l if e , o n the exper i ence of t ouching and b e i ng to uc h e d M y p a i nti ngs a re a b s tra c t i ma g e s that pu l se an d s hift wit h light In s c ulp ture , I c re a te my o wn a rti fa c ts T h e y re f e r e n c e an ci en t f u n c tional object s , and are ma d e i n ma te ri a ls s uc h a s p a p e r, c la y , a nd p l a st e r I u s e fi l m phot ography t o document my p i e c e s wi th i n my h o me , i ma gi ni ng th em in u s e I am in teres t ed in how t he obje c ts s urro und i ng us h e lp to fo rm a nd c re a t e i n timate spac e I n my ar ti st book, RACKET, I us e poe try a nd fo und i ma ge ry to q ue s ti o n th e e th ic s o f ar chaeol o g ic a l excavat ion and t he lo s s o f b o d i ly a uto no my a fte r d e a th I e xa m in e t h e pr a c tic e of excavat ion for it s willingne s s to o b li te te b o und a ri e s i n s e a rc h of i n f or mation Our relat ions hip t o th e gro und b e ne a th us i s ti me T h e c o lo ni s t a n d t h e v o yeu r v i ol ate indigenous ways and tra d i ti o n T h e i r a c ti o ns re v e rb e te i nto t h e su rr ou n di n g com munit y caus ing viole nc e a nd h a rm T h i s h a s c re a te d a wo und I a m i n ter ested i n tracing and being pres e nt wi th , a s th e re s p o ns e to s o d i s p la c e me n t a n d di s r u pti on w i ll be layered and comp le x G a l i l e e Pe a c h e s ( c o n t ) I use fou n d imagery from archaeolo gi s ts , na tura l h i s to ri a ns a nd a s we ll a s mic r o sc o pic im ages of fos s ils Oft e n, I fi nd s c a nne d fi lm p h o to gra p h s i n th e p u b l ic d omain that have been com prom is e d i n th e i r tra ns fe re nc e to th e i nte rne t T h e y a r e s c r aps, di sconnect ed from a clear s o urc e li ke th e a rti fa c ts fo und i n th e gro u n d I b eg i n o n e poem, as king, “mus t it a lwa y s b e s o me th i ng th s h i ng? ” On a no th e r p a g e , t h e r e is an image of a plas t er cas t o f a h o rs e th a t wa s tra p p e d i n i ts s ta b le d u r in g t h e er u pti on of Mount Ves uvius in P o mp e i i S o le mn, wh i te , s p la y e d o ut, i t floa t s i n the i mag e and is filled wit h long i ng I cr eate scu l p t ures of ancient functi o na l o b j e c ts re i nte rp re te d i n ne w ma te ri a l s t o s tu dy the hi storical, polit ical and i nti ma te d y na mi c s o f th e h o me I ma ke p a p e r m a c h e o b jec ts that a re carefully s anded a nd p a i nte d T h e p i e c e s a re re mi ni s c e nt o f t h e f o r ms i n Gi orgio Morandi’s paint ings T h e s i mp le o b j e c ts th a t h e p a i nte d ri tu a l ist ic a l l y wer e w ashed wit h milk paint or wra p p e d i n p a p e r to d ull th e i r re fle c ti o n a nd a l l o w t h e l i g ht to move evenly acros s t he s urfa c e I m ake o bjec ts of daily us e and s i d e r th e c y c le o f h o w we s h a p e th e o b j e c t , h ow w e ar e d efined by it s pres enc e a nd li mi ta ti o ns a nd th e n re fle c te d b a c k in t o it T hese obj ec ts ques t ion t he viewer, s uc h a s o ne th a t re s e mb le s b o th a wi nd o w sh u t t e r a n d a w ashboard wit h two long t hin le gs E re c t, a wkwa rd a nd p la y ful i n i ts p re se n c e , i t speaks to phys ical boundaries , p ri v a c y a nd re p e ti ti v e i nv i s i b le la b o r I n my t im e a s a residen t at th e Grand Marais Art is t Co lo ny , I ma d e a mo ld fo r a wa s h b a s i n fro m c a rdbo ar d and cas t ed t he form in p la s te r I n th i s me th o d , I a m a b le to c o p y t h e d e l i c ate su r f ace variat ion of paper a nd ma ke o b j e c ts th a t s e e m to b e we a th e r e d b y t i me an d u se T hrough film phot ogra p h y , I d o c ume nt th e s e p i e c e s i n my h o me t o c reate a history T he phot ographs a re th e d re a m o f th e li fe o f th e p i e c e Lauren Roche Bio: A sel f- tau g ht a rt is t , Lauren Roche fully e mb c e d h e r ta le nts a t th e e nc o ura ge m e n t o f h er peer s, Tynan Kerr and Andre w M a zo ro l H a v i ng wo rke d th e a utumn s uga r b e e t har v ests tog et her in N ort h Dakot a, th e th re e s p e nt th e i r fre e h o urs i n a h e a te d t r a il e r dr a w in g to n o end In 2012, s he exh i b i te d h e r fi rs t full b o d y o f wo rk a lo ngs i d e t h e ir s at Moder n Ti mes C afe in Minneapol i s , a nd s h o rtly a fte r wa s a wa rd e d th e J e ro m e Eme r g i n g A r ti s t Fellows hip (2 012 -13 ) R o c h e wa s th e n i nc lud e d i n a numb e r o f g r o u p sho w s l eadin g t o her firs t s olo s how , S i le nt P a rtne r, a t Bo c kle y Ga lle ry (201 6) S h e h a s sho w n at the Tyler School of Art in P h i la d e lp h i a , th e D e lp h i a n Ga lle ry i n Lo nd on , a n d the Mater ial Fair (2 02 0), Mexico C it y a mo ng o th e r v e nue s S h e wa s a re c i p i e nt o f t h e J o a n Mitchel l Foundat ion Paint ers & S c ulp to rs Gra nt (201 ) a nd to d a y h e r wo r k s a r e in the c o l l ections of t he N ort h Dakot a M us e um o f A rt a nd th e M i nne a p o li s I ns ti tu te o f A r t al o ng w i th n u m erous privat e collec ti o ns R o c he c u r r en tly lives and works in S t Lo ui s M O, a nd ma i nta i ns a c a b i n i n rura l Mi nn esota, to which s he and her pa rtne r re turn o fte n R o c h e i s re p re s e nte d b y B o ck l ey Gal l ery Artist Statement: I n my w or k , female nudes and anim a ls i nte c t i n a b s tra c te d i nte ri o r a nd e x te r io r spaces These figures bend and reac h i n ge s ture s o f e mp a th e ti c c o nne c ti o n, r e v e a l in g so l idar ity between impas s ive yet vu lne b le fo rms M y fi gure s i nh a b i t a ura l, d r e a ml ik e settin g s, w hi ch I creat e by us ing rough fi e ld s o f c o lo r a nd ge s tura l p a i nt s tro k e s My v i su al in f l uences com e from class i c a l gre e k my th o lo gy , h a nd ma d e e mb ro i d e r ie s, w e av i n g s, mes t ic int eriors , mus ic, a nd my v i v i d d re a mwo rld I c re a te p a i nti n g s t h a t ex amin e bal ance and uneas e at once : fe ma le nud e s e nga ge i n ri tua li s ti c a c ts , c a ts a n d g s l iv e har monious ly, and wild ani ma ls a p p e a r ta me a nd i nd o o rs A ll c re a tur e s sh a r e the same str ipes , s pot s , and ges t ure s b ut gi v e n th e s e fi gure s i n th e i r d o me s tic a t e d c o n text, har m is s t ill a looming t hre a t I a m s e lf ta ugh t, a nd us e p a p e r, a c ry li c p a in t , an d pen as a mat erials for phys ically e x p lo ri ng my th o ugh ts a nd e mo ti o ns , wh ic h bec o me tr an sformed int o a vis ual na rra ti v e Meghan Duda Bio: Meg han D u da creat es at mos pheric re c o rd i ngs o f s p a c e a nd ti me wi th a c o lle c t io n o f h an dmade p inhole cameras Aft e r e a rni ng h e r b a c h e lo r d e gre e i n A rc h i te c t u r e f ro m V ir g i n i a T ech in 2005 s he bega n tra v e li ng th e c o untry , d e v e lo p i ng a p c t ic e photo g r aphin g vernacular archit ecture Bo rn i n we s te rn M a s s a c h us e tts a nd ise d o n the Sou th Carolina coas t, s he finally s e ttle d i n F a rgo , N o rth D a ko ta i n 2007 a n d w a s str uck by the vas t prairie lands cape A t th i s p o i nt h e r p h o to gra p h i c fo c us s h i f t e d f ro m ar c hitect ural phot ography t o e x p e ri me nta l la nd s c a p e p h o to gra p h y I t wa s w h il e pu rsu i n g an MFA at t he U nivers it y o f N o rth D a ko ta th a t s h e b ui lt h e r fi rs t h a nd ma d e c amer a w hic h s he nam ed t he T raile r Ob s c ura - a ’ x ’ p i nh o le c a me o n wh e e l s that she u ses t o make large at m os p h e ri c re c o rd i ngs o f th e p i ri e A s a n A s s i s t a n t P r ofessor o f P hot ography and Des ig n a t N o rth D a ko ta S ta te Uni v e rs i ty , D ud a c o n ti n u es to cons t ruct cameras as a wa y to e xp lo re v a nta ge p o i nt a nd p e rs p e c t iv e an d to expr ess t he many ways in wh i c h th e c a me p e rc e i v e s li gh t Artist Statement: Co n si der the camera a tool for perc e p ti o n T h i s i s wh e re I b e i ng my p h o to gra p h ic pr a c tic e F ir st I cont emplat e t he s ub j e c t ma tte r, ty p i c a lly a la nd s c a p e o r s p a c e , a n d en vi sion ho w the cam era might perc e i v e th i s c h o s e n s p a c e I th e n a s k h o w I c a n o per ate or cons t ruct t he t ool t o ob s e rv e th e s p a c e i n a n o b j e c ti v e wa y I am par tic u l arly drawn t o t he pinho le c a me a s i t b re a ks d o wn th e b a rri e rs b e t w e e n space an d r ecord, creat ing a pure p ro j e c ti o n o f li gh t a nd a tmo s p h e re , p e rs p e c tiv e a n d sc al e The add ed element of t im e affo rd e d b y th e p i nh o le re s ults i n a n i ma ge t h a t v i su al i zes the pres ence of light and p e rs p e c ti v e p a lle l to e x p e ri e nc e d re a li t y A s I w atch the s ilver reveal it s elf in th e d e v e lo p e r tra y I fe e l a s i f s te p p i ng i nt o a dr e am - tr an sport ed t o a mys t eriou s , y e t s o me h o w fa mi li a r wo rld T h e v i e ws a r e i mpr i n ted on my mind, yet t he final i ma ge i s d i ffe re nt fro m my e x p e ri e nc e d re a l it y They ar e si mple at mos pheric gradati o ns o f li gh t th a t b e c o me p la c e a nd no - p la c e a t the same ti me , challenging t he rele v a nc e o f v a nta ge p o i nt a nd s c a le a nd d e mon st r a t in g the af f ec t o f time on our percept ion o f v i s i b le s p a c e T h i s i nq ui ry i nto th e fun d a m e n t a l el e men ts o f p hot ography and t he s urp ri s i ng a e s th e ti c I d i s c o v e r th ro ugh th i s i n v e sti g ation is t he prim ary driver o f my p h o to gra p h i c p urs ui t Th i s a c t i vi t y is m ad e p ossib l e b y th e gen erou s s u ppo rt o f ou r members , s po nso r s, a nd Minne sota vote rs th ro u gh gran ts from th e Region A rts Council , t h a nks t o l e g isl ative ap p rop riation from th e Arts an d Cu ltu re Heritage F und A s p e c i a l t h a nk s to Tod d Bock le y o f Bockley Gallery (Min n eapo lis ) an d Ma rk W ei l e r o f e c ce g al le ry ( Farg o) f or prov idin g acces s to th e fabu lou s artis t s in each o f t h e i r roste rs A l s o, a h ug e thank you to Chris an d Sarah Hawley an d th e K ilbou rn e Group f or l o a ni ng w o r ks in the ir p rivate and corpo rate collection s to be in clu ded in t h is exhi b i t i o n A n d o f c o ur se , to the artists who make th is all pos s ible