Art Gallery Exhibition & Visiting Artist Colloquium Lecture Series

The gallery currently has a reduced occupancy to accommodate 24 people at a time. Thank you for wearing a mask and maintaining a social distance of a dragon’s tail (at least six feet) when visiting the gallery.

Exhibition receptions will be held via Zoom and photographs and videos of the exhibitions will be featured on the Gallery’s Facebook page, @MSUMGallery, and Instagram @MSUM_gallery.

Spring 2020 BFA Exhibition #2 and Cole Hovind Certificate Show

Featuring Cole Hovind who earned his Certificate in Professional Portfolio Development along with BFA graduates from the Spring of 2020: Matthew M Burrill, Abigail Hanna, Morgan Jaeger, Rebecca Oehler, Delia Touche, and Emma Wiitamaki.

August 24 – September 17
Thursday, August 27: Reception 4 pm

https://minnstate.zoom.us/j/95837308896
Webinar ID: 958 3730 8896
Webinar Passcode: 770566

Artists

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Cole Hovind Certificate Exhibition
Photo credit: Elkana Munganga

View Cole Hovind's art.

Cole Hovind: Artist Statement

Animals evolved over the years to have talons, scales, barbs, and more. These adaptations are there to detour predators, and aid in survival. However we as humans are the only species that is constantly creating new ways to kill ourselves. We are also the only species that strives to be remembered we wish to leave a “mark” so to speak on this world whether it be one of joy or sadness. I use these surfaces inspired by nature to play with this idea on two levels.

By placing my talons, nubs and spikes upon my work I force the user to avoid injury through conscious handling, but also offer a vessel to hold sustenance to continue their existence. I attach these obstacles to remind us that despite our advancements we have become fragile, nit-picky creatures. Our greatest strength is our creativity, we as a species has accomplished much of what we have today through creation, and invention. However, we tend to forget about where we came from, as well as the complexity that goes into the mass production of these objects that are meant to hold the food and water that we live off of. There is a man behind the invention of the machines that produce those objects, and another behind their design.

I believe I'm subconsciously driven by the fear of not being remembered for the work I create. I work in a medium that is proven to withstand the test of time for decades and eons. I do so in hopes that once I'm gone, and my ashes scattered, those who have acquired my work will have passed it down through their own volition. The inheritor will grab my work and perchance be pricked, or made uncomfortable. Through the use of these elements of play, and caution they will be made to think of its origins, how best to handle it moving forward and...me. Even if I and those who knew me are long since gone.

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Cole Hovind
Botanical Bottles, 2020
Porcelain, 12" x 4" x 4”, POR
Photo credit: Elkana Munganga

 

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Cole Hovind
Nubby Cups, 2020
Porcelain, 4" x 4" x 4", NFS
Photo credit: Elkana Munganga

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Cole Hovind
Bug Bowls, 2020
Porcelain, 16" x 6" x 6", POR
Photo credit: Elkana Munganga

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Cole Hovind
Talon Tea Pot, 2020
Porcelain, 8" x 8" x 8", NFS
Talon Tea Cups, 2020
Porcelain, 3"x 3" x 3", NFS
Photo credit: Elkana Munganga

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Cole Hovind
Galaxy Organics, 2020
Porcelain, 8' x 8', NFS
Photo credit: Elkana Munganga

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Matthew M Burrill
Spring 2020 BFA Exhibition
Photo credit: Steven Ranweiler

View Matthew M Burrill's art.

Matthew M Burrill: Artist Statement

Musical Abstractions: An Interpretation of Sound is a series developed around my emotional response to sounds and music. I spend time with the music. I listen to it on repeat. I allow it to envelop me, to capture me. Then I begin to set up for the session. I feel the heartbeat of the sound as I contemplate my approach to the individual painting. Considering composition, colors, gestures, I rely on anything I can to mentally prepare. The music acts as my guide. It’s meditation for me. The ritual of it all provides a deep level of depth. I channel my soul into this work. Without this approach, I find I cannot perform. Once the hour is complete, I am ready to begin painting.

I hit play.

I let out my breath, and the music begins.

Here is the result of my emotional journey.

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Matthew M Burrill
Paranoid Android III, 2020
Watercolor, charcoal, gouache, paper, 22" x 30", $225
Photo credit: Elkana Munganga

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Matthew M Burrill
Paranoid Android IV, 2020
Watercolor, charcoal, gouache, paper, 22" x 30", $225
Photo credit: Elkana Munganga

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Matthew M Burrill
Bela Lugosi's Dead I, 2020
Watercolor, charcoal, gouache, rose gold glitter, paper, 22" x 30", $175
Photo credit: Elkana Munganga

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Matthew M Burrill
Bela Lugosi's Dead II, 2020
Watercolor, charcoal, gouache, rose gold glitter, paper
22" x 30", $175
Photo credit: Elkana Munganga

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Matthew M Burrill
Bela Lugosi's Dead III, 2020
Watercolor, charcoal, gouache, rose gold glitter, paper, 22" x 30", $175
Photo credit: Elkana Munganga

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Abigail Hanna
Spring 2020 BFA #2
Photo Credit: Elkana Munganga

View Abigail Hanna's art.

Abigail Hanna: Artist Statement

These four character designs were inspired at first by a series of dreams I had. I later refined the characters from those dreams to be based on the four seasons. I imagine them to be goddesses of the four seasons, each controlling different aspects: Winter is an angel of death, Spring is rebirth and new life, Summer is the spirit of adventure, and Autumn is the acceptance of change. I then focused on developing the relationships between them for my final piece, The Seasons’ Love.

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Abigail Hanna
Winter, 2020
Digital Illustration, 11 x 17, NFS
Image credit: Abigail Hanna

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Abigail Hanna
Spring, 2020
Digital Illustration, 11 x 17, NFS
Image credit: Abigail Hanna

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Abigail Hanna
Summer, 2020
Digital Illustration, 11 x 17, NFS
Image credit: Abigail Hanna

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Abigail Hanna
Fall, 2020
Digital Illustration, 11 x 17, NFS
Image credit: Abigail Hanna

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Abigail Hanna
The Seasons' Love, 2020
Digital Illustration, 22 x 17, NFS
Image credit: Abigail Hanna

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Morgan Jaeger
Spring 2020 BFA #2
Photo credit: Steven Ranweiler

View Morgan Jaeger's art.

Morgan Jaeger: Artist Statement

In this body of work, each of the nine animals represents a corresponding personality type from the Enneagram Personality Test. By taking this test and seeing what animal has similar traits as them, my goal is for viewers to relate to the complexity of the animal kingdom, and come away with a newfound admiration for the natural world we live in. My passion in creating art is emphasizing the connection between the natural world and the individual, as well as highlighting the uniqueness of every member of the natural order. By embracing the immense complexity of the planet, my hope is to encourage a sense of inspiration and awe that carries into each of our daily lives.

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Morgan Jaeger
1: The Reformer, 2020
Watercolor and ink, 8" x 10" (framed), $120
Photo credit: Elkana Munganga

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Morgan Jaeger
2: The Helper, 2020
Watercolor and ink, 8" x 10" (framed), $120
Photo credit: Elkana Munganga

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Morgan Jaeger
3: The Achiever, 2020
Watercolor and ink, 8" x 10" (framed), $120
Photo credit: Elkana Munganga

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Morgan Jaeger
4: The Individualist, 2020
Watercolor and ink, 8" x 10" (framed), $120
Photo credit: Elkana Munganga

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Morgan Jaeger
5: The Investigator, 2020
Watercolor and ink, 8" x 10" (framed), $120
Photo credit: Elkana Munganga

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Morgan Jaeger
6: The Loyalist, 2020
Watercolor and ink, 8" x 10" (framed), $120
Photo credit: Elkana Munganga

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Morgan Jaeger
7: The Enthusiast, 2020
Watercolor and ink, 8" x 10" (framed), $120
Photo credit: Elkana Munganga

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Morgan Jaeger
8: The Challenger, 2020
Watercolor and ink, 8" x 10" (framed), $120
Photo credit: Elkana Munganga

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Morgan Jaeger
9: The Peacemaker, 2020
Watercolor and ink, 8" x 10" (framed), $120
Photo credit: Elkana Munganga

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Rebecca Oehler
Spring 2020 BFA #2
Photo credit: Rebecca Oehler

View Rebecca Oehler's art.

Rebecca Oehler: Artist Statement

Often the responsibility is put on women to protect themselves. We are held accountable for our own safety, expected to carry pepper spray and tasers, hold our keys in tightly held fists, know how to avoid danger, how to escape, how to say “no.” The reality is that these defensive practices don’t work in a society which doesn’t hold men accountable for their actions.

I created this environment, an installation merging printmaking, photography, and sculpture, to address the reality of these self-protective measures, which are merely a superficial solution for the larger societal issue of toxic male behavior. Encouraging women to carry pepper spray or not to go out at night isn’t enough; we must shift the conversation to men and address the ways in which toxic behavior is learned and endorsed by society.

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Rebecca Oehler
Façade, 2019
Screenprint, Vinyl, 10' x 14', NFS
Photo credit: Rebecca Oehler

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Rebecca Oehler
This is the Way In (This is the Way Out), 2020
Digital Photographs, Variable Dimensions, NFS
Photo credit: Rebecca Oehler

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Rebecca Oehler
These Don't Even Work, 2020
Plaster, Variable Dimensions, $10 for one
Photo credit: Rebecca Oehler

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Rebecca Oehler
An Anthology of Childhood Memories, 2019
Coptic Stitch Book, Screenprint, Waterless Lithography, 5" x 7", $200
Photo credit: Rebecca Oehler

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Rebecca Oehler
I Think All Women Should, 2020
Rocking Chair, Fabric, Screenprint, Variable Dimensions, NFS
Photo credit: Rebecca Oehler

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Rebecca Oehler
Blanket Statement (Do You Feel Safe Yet?), 2019
Fabric, Screenprint, 6' x 5', NFS
Photo credit: Rebecca Oehler

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Delia Touche
Spring 2020 BFA Exhibition
Photo credit: Steven Ranweiler

View Delia Touche's art.

Delia Touche: Artist Statement

In my work I have prints of Native American people dancing in traditional regalia. My artist book is a representation of the reservation, which is an aftermath of colonization. The other side is prairie life before European settlers came to the Americas. I use the monotype process to represent cultural dissipation within indigenous communities. The first prints are representations of a time when Native culture was undisturbed and vibrant; than the ghost image is that culture slowly fading into nothingness.

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Delia Touche
Fancy Dancer, 2020
Monotype, 22" x 27", $175
Photo credit: Elkana Munganga

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Delia Touche
Ghost of the Fancy Dancer, 2020
Monotype, 22" x 27", $175
Photo credit: Elkana Munganga

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Delia Touche
Northern Traditional, 2020
Monotype, 22" x 28", $200
Photo credit: Elkana Munganga

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Delia Touche
Ghost of Northern Traditional, 2020
Monotype, 22" x 28", $200
Photo credit: Elkana Munganga

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Delia Touche
Fancy Dancer Figure 2, 2020
Monotype, 22" x 27", $150
Photo credit: Elkana Munganga

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Delia Touche
Ghost of Figure 2, 2020
Monotype, 22" x 27", $150
Photo credit: Elkana Munganga

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Delia Touche
Grass Dancer, 2020
Ghost of the Grass Dancer, 2020
A Continuation of a Ghost, 2020
Watercolor Monotype, Ink, 10" x 12" each, $50 each
Photo credit: Elkana Munganga

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Delia Touche
Shawl Dancer, 2020
Ghost of the Shawl Dancer, 2020
Watercolor Monotype, Beads, 10" x 12" each, $50 each
Photo credit: Elkana Munganga

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Delia Touche
Ghost of Fort Totten Days, 2019
Fort Totten Day, 2019
Watercolor Monotype, 10 1/2"x 12" each, NFS
Photo credit: Elkana Munganga

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Delia Touche
White Bison, 2020
Monotype, Ink, 22" x 27 1/4", $200
Photo credit: Elkana Munganga

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Delia Touche
Ghost of the White Bison, 2020
Monotype, Ink, 22" x 27 1/4", $200
Photo credit: Elkana Munganga

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Delia Touche
Artist Book, 2019
Mixed Media, 8" x 6" x 46", $400
Photo credit: Elkana Munganga

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Emma Wiitamaki
Spring 2020 BFA Exhibition
Photo credit: Elkana Munganga

View Emma Wiitamaki's art.

Emma Wiitamaki: Artist Statement

As an abstract artist, I make “odd” forms that depart from reality. I focus on color, texture, and shape. The contrast of rigid and soft materials create a tension that highlights the unity and variety of my forms. Bright colors accentuate my form’s presence in a space. I reference nature and the human body, as I seek to create objects that are peculiar. Unto themselves, these objects ask more questions than provide answers.

In my making process, I utilize fiber and papier-mâché. The process allows me to free-associate and to trust my intuition in my creative solutions. My use of materials is a purposeful process that consists of spending time with a piece. As I move forward in my sculpture career, I hope to make a larger body of work that in total will create a strange terrain.

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Emma Wiitamaki
Bulbus Garden, 2020
Papier-mâché, mixed media, Various sizes, Various prices
Photo credit: Elkana Munganga

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Emma Wiitamaki
Black Bulbus, 2019
Papier-mâché, faux fur, spray paint, 31 ½” x 25” x 26”, $250
Photo credit: Elkana Munganga

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Emma Wiitamaki
Purple Bulbus, 2019
Papier-mâché, spray paint, 17” x 17” x 15”, $175
Photo credit: Elkana Munganga

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Emma Wiitamaki
Stacked, 2019
Clay, steel, 29 ½” x 16” x 10 ½”, $200
Photo credit: Elkana Munganga

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Emma Wiitamaki
Blue Bulbus, 2019
Papier-mâché, faux fur, spray paint, 21” x 15 x 17", $175
Photo credit: Elkana Munganga

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Emma Wiitamaki
Pink Bulbus, 2019
Papier-mâché, faux fur, wax, 22” x 23 ½” x 20", $225
Photo credit: Elkana Munganga

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Emma Wiitamaki
Large Bulbus, 2019
Papier-mâché, spray paint, mixed media, 30” x 21” x 38 ½”, $300
Photo credit: Elkana Munganga

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Emma Wiitamaki
Form #7, 2019
Metal, yarn, spray paint, 92” x  40” x 33 ½”, $310
Photo credit: Elkana Munganga

 

Six McKnight Artists

The 2020 exhibition offering features work by two 2019 McKnight Artist Fellows and four 2018 McKnight Artist Residents. The fellowship artists, Ted Adler, Kelly Connole, Alessandro Gallo, Guillermo Guardia, Hidemi Tokutake and Leandra Urrutia, used the grants to defray studio and living expenses, experiment with new materials and techniques, and build upon ideas within their current and past work.

An online catalog is available through Norther Clay Center.

September 21-October 15
Thursday, September 24: Reception 4 pm

https://minnstate.zoom.us/j/95714018411
Webinar ID: 957 1401 8411
Webinar Passcode: 072902

Fall 2020 BFA Exhibition #1

October 19-November 12
Thursday, October 22: Reception 4 pm

https://minnstate.zoom.us/j/91221320721
Webinar ID: 912 2132 0721
Webinar Passcode: 554293

Artists