Intersections Exhibition Catalog (PDF) - Minneapolis College of Art ...

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Intersections Exhibition Catalog (PDF) - Minneapolis College of Art ...

Women, Leadership, and the Power of Collaboration


INTRODUCTION

Intersections is the evidence of multiple crossing points:

collaborative studio projects between teachers and

students and alumni, discussions among women leaders

in the arts, and interrelationships among eleven art

departments in the greater Twin Cities area.

The idea for this exhibition began with fourteen

women who are current or recent studio art

department chairs, engaged in very similar

institutional activities, often in isolation. The

traditional academic leadership model that

creates that isolation begs to be challenged.

Contemporary studio practice, on the other

hand, is developing increasingly sophisticated

collaborative models. The challenge is to

discover how these practices might inform

teaching and learning. And in turn, how does

pedagogy inform leadership? The reciprocity

among the practices of teaching, leading, and

making speaks to the challenge, fostering open

discussion and encouraging flexible process.

Established artists/teachers let go of their set

practices, and students and recent alumni

explored unfamiliar directions. As the relationship

between teacher and student intertwined,

collaboration dissipated hierarchical roles. The

process of creating work became a form of

joint mentoring, reversing normal relationships

of power through mutual learning. These

collaborations had an element of risk taking,

with a public exposition of work not readily

couched in the artists’ usual studio practices.

With team participants at differing points in

their careers and having vastly different life

experiences, each of them is a reminder and a

projection in the continuum of what it means

to be an artist. Talking and making, questioning

and challenging are the essential elements

common to all of the projects presented. The

open exchange and shifting boundaries among

those elements are also essential to leadership.

It is my hope that Intersections is just the

beginning of many more exchanges.

to make this exhibition possible. The project

is an extension of two leadership fellowships I

was fortunate to receive during my sabbatical

from the Minneapolis College of Art and Design

(MCAD): a Bush Leadership Fellowship and an

American Council on Education Fellowship. I

thank Kerry Morgan, director of MCAD Gallery,

for her ability to envision this show long before

the work was completed; Patricia Briggs

for her essay that frames the ideas and the

work in a larger context; Nicole Summers

of MCAD DesignWorks for the smart and

gorgeous design of this catalog; Kristine Wyant,

director of corporate and foundation relations

at MCAD, for her clarifying questions and

assistance. I especially thank the artists/

leaders/teachers/students—all one and the

same—who participated in this project.

Karen Wirth

Interim Vice President of Academic Affairs

Minneapolis College of Art and Design

For Intersections, each woman invited students

or alumni to engage in a collaborative project that

would include dialogue about art and process.

Collaboration means “to work together,” and

there were many institutions and individuals,

beyond the studio artists, who worked together

INTERSECTIONS


ESSAY

CROSSINGS | Intersections presents aesthetic experiments in collaboration

that suggest we revisit our basic assumptions about art making.

Collaborative art practices are significant because they challenge the

way that we define the artist as an individual in the modernist sense,

a singular, self-contained, free agent. Philosophers call this framework for

understanding identity the “autonomous subject.”

Within critical debates inside and outside the

art world, alternative models of subjectivity

consider identity to be fragmentary, fluid,

and collaborative have largely displaced the

“autonomous subject.” In the world of the visual

arts we still conceptualize the “artist” as

essentially singular and autonomous: Artists are

loners, outsiders, expressionists, individualists.

The truth is that although many of us intellectually

accept the critical consensus that there is no

such thing as an “autonomous subject,” we have

not developed robust alternative collaborative

models of art production to use in our studios

and classrooms. Intersections mobilized fourteen

teams of artists to experiment over the course

of a year with collaborative practices. Their

presentations and writing provide us with

practical examples for developing art-making

strategies that push beyond our usual default,

the solitary individualist.

INTERSECTIONS


ESSAY (CONTINUED)

VOICES CROSSING | Intersections demonstrates that

collaborative artistic practices make participants

engaged viewers. Aesthetic collaborators are not

autonomous agents crafting objects alone in their

studios, but rather are typically two or more people

locked in intensive conversation about their own

and each other’s work.

One could say that the medium of collaboration

is conversation. Dialogue is one of the most

important products of collaboration. It was

through discussion and writing, for example, that

painters Alexis Kuhr and Stephanie Thompson

developed a new understanding of their individual

approaches to geometric abstraction as different

“ways of knowing the world.” Their collaboration

spurred in each a sense of urgency to become

more actively engaged in the larger contemporary

discussion about abstraction as an important

vehicle for thinking and communicating. Stevie

Rexroth and S. Catrin Magnusson also used

collaboration as a framework for intensive

analysis. For this team, discussion yielded a

descriptive architectural vocabulary linked to

digital technology that captures more precisely

the shared qualities in their work than the

formalist language they inherited from the fine

arts tradition.

The benefits of this kind of dialogue are difficult

to quantify and therefore often go unrecognized.

Yet, we know that a perfectly chosen reading

recommendation made by an artist with insight

into one’s work can change the course of

an entire project. Last summer, Hannah Geil-

Neufeld suggested that her teacher Chris Willcox

read Italo Calvino’s Cosmicomics, featuring

fisherman climbing ladders from their boats

to the moon and drinking ”moon milk.” Geil-

Neufeld’s fantastic landscape subjects culled

from childhood memories, together with Calvino’s

imagery, encouraged Willcox to see new ways

of overlapping the real with the imaginary in

her own Arctic landscapes.

Another benefit of aesthetic collaboration is that

an artist can simply relax and be inspired by her

collaborator(s). A painter, Kim Benson focuses on

the subject of human suffering and consistently

holds images of the body in pain within her

frame. Inspired by Benson’s treatment of the

disturbing subject of the war injured, Jenkins

recommitted to a series of drawings devoted to

prisoner torture at Abu Ghraib, a project she had

earlier abandoned in frustration. Triangulating

one’s work with similar work by other artists is

not encouraged in the professional art world,

where artists are likely to see each other as

competitors rather than collaborators or allies.

As we have seen, support and encouragement

often come with collaboration, but actually making

artwork with another person or other people

is quite difficult. How does a team produce an

object for display when they don’t share a studio

or live near one another? Nobody wants to turn art

making into one more thing done by scheduling

a “meeting.”

Fear of losing control of the quality and form

that the final work will take is another obstacle

coauthors of works often face. Letting go and

trusting in the process took some getting used to

for Alyssa Baguss and Lynda Monick-Isenberg,

who developed a strategy of “joined authorship”

by alternately working on a single drawing that was

handed back and forth between them every two

weeks. Incorporating discussion of their drawing into

the process by “uploading questions, research, and

reactions” onto a shared website, this collaboration

yielded so many new ideas, techniques, and subjects

that Baguss and Monick-Isenberg are planning an

ongoing aesthetic partnership. After a rocky start,

Mary Griep and Adelyn Rosenwinkel imposed a

few controls—working with aerial photography, for

example, and using the same type of paper to draw

on—to be assured that the final piece would hold

together. They then found themselves freed to

focus on the exploration of the landscape around

Northfield, which is their shared interest.

INTERSECTIONS


ESSAY (CONTINUED)

TEMPORAL CROSSINGS | Painters love to look back in time. Patricia Olson and Roxi Swanson

used Intersections to deepen their engagement with art of the past. These figurative

painters switched places with models featured in famous portraits from art history as

a way of metaphorically getting inside the skin of inspirational masters, as when Olson

represented herself as Max Beckmann in his 1907 Self-Portrait in Tuxedo.

This dialogue with the past becomes denser

yet when Swanson represented Olson in Egon

Schiele’s Portrait of the Artist’s Wife Standing,

and Olson placed Swanson—tattooed arms and

all—in Jean-Auguste Dominique Ingres’s 1851

portrait of Madame Moitessier. Paying homage

to tradition in such a literal way, without irony,

is risky in an art world that values individuality

and singularity above most things. Intersections

offered Olson and Swanson the perfect opportunity

to challenge these unwritten assumptions with

a game of art historical time travel.

A number of the teams address, either directly

or indirectly, the issue of temporality in their

projects for Intersections. For example, Elaine

Rutherford, Steven Lemke, Nate Burbeck, and

Chloe Briggs developed an installation about

their shared interest in remembering, which

explores the relationship of memory to souvenirs

and mementos. Projecting images of their own

vacation snapshots onto a wall dotted with

blank wax tiles and gilded frames ready

to “receive” memories, this group presents a

network of object-containers meant to trigger

viewers’ memories. Any object, it seems, can

serve as a container for an entirely different set of

memories or associations. But why do this? This

group surmises that the past is forever gone,

yet human consciousness projects its experiences

of the past, its memories, onto objects in the

world, and thereby these things become “home.”

Similar insights about temporality and experience

are illuminated by the project of printmakers

Sara Downing, Stephanie Hunder, and Elizabeth

Sunita Jacobson. This group devised a method of

working independently to coauthor a set of large

prints that are palimpsests. Each artist worked

alone printing images, then left the prints for the

next artist to pick up, consider, and respond to.

Each session of printing yielded a visual message

of sorts sent forward to the future.

By turning the creative process into a series

of relays played out across time, this team’s

process reveals one of our most repressed

phenomenological senses, consciousness of the

temporal axis. So caught up are we in the present

moment, we forget the uncanny truth that every

image we make, every text we write, functions as a

message from the past sent to the future.

Time is not linear. The installation by Linda Rossi

and Alec Soth maps points of intersection in the

paths of these artists’ lives over the course of

twenty years—first as teacher and student, then

as professionals working in their field. We tend to

conceptualize history as an arrow; our individual

trajectories progress along its line forward in time.

By calling attention to the illusive intersections

of time, space, and human consciousness, Rossi

and Soth’s installation about Carleton College’s

Goodsell Observatory charts points of convergence

that reveal wildly eccentric trajectories that

crisscross in uncanny ways and make it

impossible to conceptualize time as a forward

linear movement. In this installation, we see

that time is not a line, but rather a cluster

of fragmentary events that mingle and flow in

innumerable directions.

INTERSECTIONS


ESSAY (CONTINUED)

CULTURES CROSSINGS | Whereas much contemporary art concerning identity and

ethnicity — African American art, Latino art, lesbian art, etc. is devoted to the

differences between cultural groups or within specific ethnic traditions, Italian

American artist Laura E. Migliorino worked with Japanese sisters Yumi and Mayu

Nagaoka on a photography project that explores the unlikely intersection of Italian

and Japanese heritage in Madame Butterfly, an opera about a Japanese woman

written at the turn of the twentieth century by Italian composer Giacomo Puccini.

Similarly, Priscilla Briggs and Hmong artist

Blong Lor spent months photographing the

rich environments of local Hmong markets. For

their installation they created a grid of images

that “emphasizes a merging of Hmong and

American culture.” These projects demonstrate

that when artists work collaboratively, cultural

difference often serves to structure intersections

and convergences rather than separation

and divergence.

The idea that identity is shaped at the juncture of

the individual and community, at the intersection

of interior voice and the exterior voice, is the

subject of the video installation by GraceMarie

Keaton and Katherine Turczan about the

awkwardness of adolescence. A boy is shown

practicing the task of tying a knot, one of the

skills encouraged by Boys Scouts survival

guides to ready boys for their masculine roles

in the world. He recites a poem as he works,

reminding us of the inner voice of adolescence,

which is often both vulnerable and cocky at this

stage of ego development. Far from autonomous,

subjectivity is represented here as a receptive

field that is responsive to a range of exterior

voices and pressures.

It is fitting to conclude this essay that pits

collaboration, intersections, and multiplicity

against singularity and autonomy by turning to

Virginia Woolf, whose 1931 novel The Waves is

the source of inspiration for Isa Gagarin and

Karen Wirth’s installation. Considered Woolf’s

most experimental book, The Waves presents

an abstracted voice that does not correlate with

the “autonomous subject” and aims instead to

simulate human consciousness unfolding within

a buzz of undirected perception. The reader is not

offered a point of view or singular perspective(s),

but rather is presented with constantly shifting

points of view that intersect and meld one

into another.

Narrating multiple streams of consciousness

rather than a plot, Woolf offers the reader no

“I” to attach to in the text. Inspired by Woolf’s

example, Gagarin and Wirth present moving video

footage, written text, sounds, and pictures as

a web of crossing perceptual waves intended to

unmoor the viewer’s rootedness in their sense

of the “I,” their perception of themselves as

separate and autonomous in the world.

Patricia Briggs is director and curator of the galleries

at the University of Wisconsin-Parkside. Her writing

appears in Artforum and many other print and online

journals. She writes the blog Scene Unseen: Viewing

Notes about visual arts in her community.

INTERSECTIONS


LAURA E.

MIGLIORINO

MAYU

NAGAOKA

YUMI

NAGAOKA

MN Butterfly Series, inkjet on paper, installation dimensions variable (grid of 12 images, each 16" x 10"), 2011.

INTERSECTIONS


LAURA E.

MIGLIORINO

MAYU

NAGAOKA

YUMI

NAGAOKA

Shooting the project.

INTERSECTIONS


LAURA E.

MIGLIORINO

MAYU

NAGAOKA

YUMI

NAGAOKA

ARTISTS’ STATEMENT

MN Butterfly is a series of photographs illustrating

the metamorphosis of a traditional Japanese woman

into a young man.

Inspired by the opera Madame Butterfly and

the play M Butterfly, the project explores the

Japanese response to an opera written by an

Italian where the person lacking a moral

conscience is American.

The collaborating artists are Japanese and Italian

American. The fluid gender identity in the play M

Butterfly adds another layer to the project and

reflects the experience of a generation that is

more comfortable with nuanced gender roles.

INTERSECTIONS


LAURA E.

MIGLIORINO

MAYU

NAGAOKA

YUMI

NAGAOKA

COLLABORATION STATEMENT

The relationship between student and teacher

is one of the most intimate and profound

relationships between two people. From

Socrates to the film Dead Poets Society, the

bond has been analyzed and romanticized. It

can be a beacon of hope for a young person

who is seeking direction. When the balance

between teacher and student shifts, however,

challenges arise for both people and require

special navigational skill.

Laura collaborated with two former students,

sisters Yumi and Mayu. We began our project by

discussing topics of interest to us. We were drawn

to Madame Butterfly because the opera concerns

Japanese culture but was written by an Italian and

addresses women’s issues. We are all interested

in issues regarding gender norms and identity.

Laura suggested we merge the two subjects, and

we then explored the M Butterfly story.

Laura’s challenge was to step back and not steer

the project. Yumi and Mayu did a lot of checking in,

and Laura tossed control back to them. Eventually

we settled into our roles but remained aware of

how easily Laura could dominate the team. During

our shoots Laura would work and then step away,

encouraging Yumi and Mayu to take risks and

be confident.

INTERSECTIONS


LINDA

ROSSI

ALEC

SOTH

FAR LEFT Linda Rossi, Optic Nerve (poster representing Goodsell Observatory installation) with details, inkjet print, 24" x 18", 2006. LEFT Linda Rossi, The Moon and the Sea of

Crisis, inkjet print, 24" x 18", 2006. TOP CENTER Linda Rossi, Camouflage, transparency on Plexiglas, 8" x 10", 2006. BOTTOM CENTER Linda Rossi, Luminos, transparency

on Plexiglas, 8" x 10", 2006. RIGHT Alec Soth, Fly and Comet, color coupler print, 16" x 20", 2001. FAR RIGHT Alec Soth, Observatory, color coupler print, 16" x 20", 2001.

INTERSECTIONS


LINDA

ROSSI

ALEC

SOTH

LEFT Linda Rossi, Luminos, transparency on Plexiglas, 8" x 10", 2006. RIGHT Linda Rossi, Camouflage, transparency on

Plexiglas, 8" x 10", 2006.

INTERSECTIONS


LINDA

ROSSI

ALEC

SOTH

LEFT Alec Soth, Fly and Comet, color coupler print, 16" x 20", 2001. RIGHT Alec Soth, Observatory, color coupler print, 16" x 20", 2001.

INTERSECTIONS


LINDA

ROSSI

ALEC

SOTH

ARTISTS’ STATEMENT

We met in Linda’s Introductory through Advanced

Photography class twenty years ago. Linda still

remembers Alec’s images, which quietly asked

the viewer to reflect on the specific detail within

a larger ambiguous space, often resulting in an

unexpectedly rich experience.

Today, we both engage with photography as

a journey, teetering with our cameras between

control and wondrous discovery. This method of

walking the edge between the known and unknown

becomes a “field guide” for both teaching and

artistic work.

Carleton College’s Goodsell Observatory, dedicated

over a hundred years ago to the quest for celestial

knowledge, provides a fertile meeting ground for

our parallel visions.

INTERSECTIONS


LINDA

ROSSI

ALEC

SOTH

COLLABORATION STATEMENT

The Observatory is less a conventional collaboration than

a conversation across time.

Alec visited the Goodsell Observatory at Carleton

College in 2001 for the project Vantage Points. He

used the frame of the window to articulate the

relationships between inside and outside and

between constructed and natural environments.

“I don’t know a lot about life at Carleton. I’m a

tourist. Maybe that makes the beauty more

apparent. From my first day on campus, I

found a distinct and consistent beauty. This

beauty has something to do with the mix

of rural serenity and intense scholarship.”

Linda created the installation Optic Nerve in

Goodsell in 2006, an intervention into the space

that dramatized artifacts and intensified the

sense of history. “In the illuminated display case

surrounding the base of the large telescope, I

replaced the old glass plate images of stars and

galaxies (see an example in Alec’s photograph Fly

and Comet) with my own pictures, printed on glass,

of science experiments and objects.” Visitors pass

through the lobby to the window-lined room

above (Alec’s photograph Observatory), where

the reflecting telescope reaches for the stars and

The Moon and the Sea of Crisis was shot.

In 2011 we talked about the provocative

intersection of our work within Goodsell

Observatory and read Rebecca Solnit’s A Field

Guide to Getting Lost. We selected particular

images (Rossi’s Luminos and Soth’s Fly and

Comet) based on Solnit’s concept of the Blue

of Distance. Blue Distance is both optical and

emotional; blue defines the edge of vision and

embodies the longing for a distance we never

arrive at.

INTERSECTIONS


CHLOE

BRIGGS

STEVEN

LEMKE

NATE

BURBECK

ELAINE

RUTHERFORD

Re-collections (full view), handmade, found, and altered objects on the wall overlaid with

projections of photos from personal archives, variable dimensions, 2011. Photo credit:

Alex Johnson, Alex Johnson Photography, alexjohnsonphoto.com.

INTERSECTIONS


CHLOE

BRIGGS

STEVEN

LEMKE

NATE

BURBECK

ELAINE

RUTHERFORD

LEFT TO RIGHT Re-collections (details), handmade, found, and altered objects on the wall overlaid with

projections of photos from personal archives, variable dimensions, 2011. Photo credit: Alex Johnson,

Alex Johnson Photography, alexjohnsonphoto.com.

INTERSECTIONS


CHLOE

BRIGGS

STEVEN

LEMKE

NATE

BURBECK

ELAINE

RUTHERFORD

Re-collections (group image), handmade, found, and altered objects on the wall overlaid with projections of photos from

personal archives, variable dimensions, 2011. Photo credit: Alex Johnson, Alex Johnson Photography, alexjohnsonphoto.com.

INTERSECTIONS


CHLOE

BRIGGS

STEVEN

LEMKE

NATE

BURBECK

ELAINE

RUTHERFORD

ARTISTS’ STATEMENT

Re-collections considers the idea of the souvenir, or any

object used to store and express memory or personalized

experience. These items are not the commodified kind,

nor do they belong in the sentimental realm of kitsch.

Rather, Re-collections is meant to investigate a kind of

cultural geography through the use of the souvenir.

These objects explore the souvenir as a means of

materializing experience and engage a dialogue

between “the miniature and the gigantic.”

Re-collections is an installation in which projections

of photographs excavated from both personal and

imaginary archives depict an idealized vision of

utopian landscapes. Wax tiles and house forms,

gilded picture frame shrines, and small paintings

on the interiors of discarded lids dot this

landscape of projected slide imagery. “The

souvenir may be seen as emblematic of the

nostalgia that all narrative reveals—the longing

for its place of origin.”*

*Quotations from Susan Stewart, On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection

(Durham, NC: Duke University Press, 1993).

INTERSECTIONS


CHLOE

BRIGGS

STEVEN

LEMKE

NATE

BURBECK

ELAINE

RUTHERFORD

COLLABORATION STATEMENT

How do we cultivate a true collaboration where there is no understood

or assumed hierarchy? What occurs in the process when we test our

assumptions, work outside our comfort zone, and make ourselves

vulnerable? In our case, the collaboration itself defined the outcome.

For us, this process was more about the

opportunity to explore what evolved as we

stepped back and relinquished control, thus

creating the space for a shared conceptual and

formal vision.

During our first meeting we drew a diagram that

identified ideas of remembering, collecting,

landscape, and the seductiveness found in the

sparse or the bleak as points of intersection.

From this, we developed a working sentence,

which would become the springboard for our ideas:

exploring the souvenir as a means of materializing

experience. In our attempt to achieve a genuine

collaboration, we have discovered the value in

the act of letting go. Our shared authorship has

provided us with a framework for determining

what to keep and what to discard.

Our formal and conceptual process is documented in our blog: materializations.tumblr.com

INTERSECTIONS


ALYSSA

BAGUSS

LYNDA

MONICK-ISENBERG

LEFT Untitled, graphite and white pencil on paper, 30" x 22", 2011. CENTER & RIGHT Untitled (details),

graphite and white pencil on paper, 2011. Photo credit: Jerry Mathiason.

INTERSECTIONS


ALYSSA

BAGUSS

LYNDA

MONICK-ISENBERG

LEFT Alyssa Baguss, 7, 8, 9, graphite on paper, 6.5" x 6", 2011. CENTER Alyssa Baguss, Bulb, graphite

on paper, 6" x 4.5", 2011. RIGHT Alyssa Baguss, Forward Slash?, graphite on paper, 11" x 18", 2011.

Photo credit: Jerry Mathiason.

INTERSECTIONS


ALYSSA

BAGUSS

LYNDA

MONICK-ISENBERG

LEFT Lynda Monick-Isenberg, Indigo Resistor, graphite on paper, 6.5" x 5.5", 2011. CENTER Lynda Monick-Isenberg, Cable

Twist, graphite on paper, 6.5" x 5", 2011. RIGHT Lynda Monick-Isenberg, Electrical Resistor, graphite on paper, 5.5" x 7.5",

2011. Photo credit: Jerry Mathiason.

INTERSECTIONS


ALYSSA

BAGUSS

LYNDA

MONICK-ISENBERG

ARTISTS’ STATEMENT

Our work focuses on the process and intuition of drawing.

We both draw with precision, intention, and curiosity,

systematically drawing three dimensions as illusion on a

two-dimensional plane, investigating insignificant items

that have lost their value to society, recalling their

onetime significance.

Research is at the core of both of our individual

practices. Questions drive dedication to the

work. Through our collaborative process forgoing

authorship, our work moves into the world of the

uncertain, precarious, and unpredictable with

personally delightful and indeterminate results.

This process—akin to automatic drawing—allows

the work to move from precise, representational

forms to suggestions of unexpected abstract

ideas. Content is expressed unconsciously by the

unplanned, but suggestive, placement of images.

Meaning develops as diverse concepts are freed

from our rational control.

Join the discussion at: drawing-as-language@googlegroups.com

INTERSECTIONS


ALYSSA

BAGUSS

LYNDA

MONICK-ISENBERG

COLLABORATION STATEMENT

Our collaboration began by creating paired lists of shared values.

From there we designed a project, trusting that it would develop

intuitively and that we would gain individually from the collaboration.

Questions about the partnered relationship—how and what we would

learn from this relationship—were at the core of the collaboration. A

sense of joined authorship was intriguing.

We decided to collaborate on a drawing. The

drawing traveled between us every two weeks.

As it changed hands, we uploaded questions,

research, and reactions to our Drawing-as-

Language Google group to record our process.

When we met to exchange the work, we discussed

our weekly experience, reflecting on product,

process, and partnership, and examined perceived

problems and next steps. These conversations

led to a rich discourse about contemporary arts’

relationship to religion, science, and technology;

drawing process and intention; and teaching,

parenting, partnership, animals, food, kindness,

trust, and time.

In addition to the “traveling” drawing, we worked

on small, individual “practice” drawings using

shared subject matter. These elicited surprise,

beauty, fear, and worry, but overall they created

excitement and allowed each of us to explore new

ways of working as we drew from one another’s

expertise, ideas, knowledge, and experience.

INTERSECTIONS


KIM

BENSON

VAL

JENKINS

LEFT Kim Benson, Coming Spring, oil on canvas, 36" x 36", 2011. CENTER Kim Benson,The Three Wise Triptych

(1 of 3), oil on panel, 23" x 21", 2011. RIGHT Kim Benson, untitled, oil on panel, 25" x 25", 2011.

INTERSECTIONS


KIM

BENSON

VAL

JENKINS

LEFT Val Jenkins, Harbinger 1, digital print on rag paper, 45" x 24", 2011. CENTER Val Jenkins, Harbinger 2,

digital print on rag paper, 24" x 49", 2011. RIGHT Val Jenkins, Harbinger 3, digital print on rag paper,

38" x 24", 2011.

INTERSECTIONS


KIM

BENSON

VAL

JENKINS

ARTISTS’ STATEMENT

Kim’s recent paintings inspired Val to revisit a previous body of

work. We drew intersections between our artistic practices based on

our desire to respond to issues of war, human suffering, and the

body in pain.

Kim explores the dichotomy between beauty,

inherent in the seductive qualities of oil paint,

and violence, endemic to human nature. The

transformative power of life found in the cycle

of death, rebirth, and regeneration informs her

painting process and subject matter.

Val’s images were culled from the mass media

from 2001 to 2003. In her drawings, subjects of

physical abuse and torture take on a new presence

as fluid forms—thick pools of ink—settle

according to the physical/geographic conditions

that surround them. Ridges within the figures

and tonal values, for example, are created entirely

based on the rate of drying time, the angle of the

table, and the vibrations in the room. Enlarged

into abstractions, they become monstrous yet

banal—rooted in the familiar gestures of the

human body while implying something unfamiliar,

mysterious, or ominous.

As artists we desire to place our work in the

service of posing questions about the expressive

capability of art, the cultural value of a studio

practice, and the need to transform despair,

loss, and suffering into physical forms with

positive meanings.

INTERSECTIONS


KIM

BENSON

VAL

JENKINS

COLLABORATION STATEMENT

What brought us together was a shared belief in a studio practice that

is based on an ongoing engagement with the world. This engagement

manifests itself as part of a daily regimen; it is as much a part of our

lives as eating.

We are also committed to a creative practice

that is cultivated with great attentiveness, free

from the demands we place on our social and

professional lives, and that relies upon a rigorous

interplay between autonomy and mutuality.

Respond is a salient word that characterizes both

of our processes; we respond to the intrinsic

qualities of the media with which we work and to

the conditions in society that induce us to create.

We do not make work to illustrate ideas or develop

narratives; rather, we are both interested in how

our work embodies meaning, incites reflection,

and situates the viewer in a liminal space that

embraces uncertainty as a precondition to growth

and new experience.

Our intersection was structured around the

dialogue we had while present in each other’s

studios: meaningful and lasting conversations

about making art and living life.

INTERSECTIONS


SARA

DOWNING

STEPHANIE

HUNDER

ELIZABETH SUNITA

JACOBSON

Slag and Bloom, serigraph and collage on panel, 57" x 128" (each panel 57" x 24"), 2011.

INTERSECTIONS


SARA

DOWNING

STEPHANIE

HUNDER

ELIZABETH SUNITA

JACOBSON

ARTISTS’ STATEMENT

Ours is a collaboration of printmakers. In this medium, much of the

content is created by the doing: how carving a line changes it, how

layering affects subject matter, how transparency or opacity of ink

creates a metaphor.

Each artist brought her own interests in the form

of images to share and combine with others. In

the fusion, themes begin to develop. The work

is necessarily about process, about the coming

together of different forms and the clashes and

unexpected harmonies that occur.

Sara's images address her spine—the surgeries,

pain, and disabilities following an injury. Elements

stack up, float in graceful columns, or are shattered

and screwed together with hardware.

birth, growth, and aging find form in a scatter of

leaves, the curl of an embryo, or a folding of wings.

Elizabeth explores concepts ranging from

horoscopes to laws of physics as metaphors

for personal concerns. Her current work often

requires the viewer to interact with the print or

manipulate some part. The body, time, structure,

and decay emerge as themes of our collaboration.

Stephanie’s recent work examines the ambiguities

of life through natural allegories. Questions about

INTERSECTIONS


SARA

DOWNING

STEPHANIE

HUNDER

ELIZABETH SUNITA

JACOBSON

COLLABORATION STATEMENT

We met together several times to talk about

ideas and what kind of pieces we wanted

to make. However, maybe because we are

printmakers and used to working out ideas

during the creation of the work, the discussions

seemed vague and unresolved. Eventually we

decided to quit talking and start printing—only

then did interesting things start happening.

At the beginning of the project, Stephanie felt it

was easy for her to dominate the group and set

the direction. Though she worried a little about

that, she soon lost sway over the others. In the

end, the three of us seemed like equal—yet very

different—partners. We had hoped we would

meet together for studio sessions, but that turned

out to be impractical, and instead we often printed

alone, responding to what had been left behind

by the last artist.

When Stephanie worked in this style before (for a

project called Semographics), it was with a larger

team, a crew of assistants, and a structured

schedule. The printing proceeded rapidly amid

lively conversation, building many layers and

dense imagery. This time the process was much

quieter, slower, and thoughtful, and the images

reflect that.

INTERSECTIONS


PRISCILLA

BRIGGS

BLONG

LOR

Hmong Village, St. Paul, archival pigment prints, 40" x 78" (grid of 12 images, each image 12" x 18"), 2011.

INTERSECTIONS


PRISCILLA

BRIGGS

BLONG

LOR

ARTISTS’ STATEMENT

As the economy struggles to regain momentum,

people are reconsidering priorities and values.

Last year, the Minneapolis Institute of Arts

mounted an exhibition titled Embarrassment

of Riches: Picturing Global Wealth. The didactic

from the exhibition stated, “The question this

exhibition seeks to explore is: How have

photographers pictured and examined the

new economy? This leads to other provocative

questions for audiences to consider, such

as, what does wealth look like in different

cultural situations and, more generally, in our age?”

Embarrassment of Riches is one example of the

current dialogue in the arts surrounding the

global economy as it relates to culture. We add

to this dialogue by looking at the opposite end of

the economic spectrum, at what immigrants (who

leave one country for another with little more

than their values and sense of identity) and their

children consider to be precious.

In Hmong Village, St. Paul, we focus on objects in

the marketplace as artifacts or embodiments of

culture that symbolize or reflect ideas about love,

memory, tradition, and identity within Hmong

American culture.

INTERSECTIONS


PRISCILLA

BRIGGS

BLONG

LOR

COLLABORATION STATEMENT

We began our collaboration with an intention to create a series

of photo and video artworks based on the idea that the things

people value reflect their individual and cultural identities

and perspectives.

Initially, we planned to compare and contrast

various ethnic markets in the Twin Cities

as mirrors of cultural values. However, after

beginning to photograph and discuss the images,

we decided to focus specifically on Hmong culture

for two reasons: the Hmong culture in Minnesota

is a large and rich territory; and as a young

Hmong American navigating two cultures, Blong

is in the process of questioning and defining his

own values.

Our collaboration revolved around a process of

exchange and integration as a verbal and visual

dialogue. Initially, we photographed on our own at

various Hmong markets in St. Paul. After pooling

our photos to explore our ideas, we decided to

focus on the Hmong Village shopping complex

on Johnson Parkway for this suite of images and

made many trips there together.

INTERSECTIONS


HANNAH

GEIL-NEUFELD

CHRIS

WILLCOX

LEFT Hannah Geil-Neufeld, Styromoon, ink, watercolor, and colored pencil on paper, 12" x 24", 2011. RIGHT Hannah Geil-Neufeld,

Styromoon (detail), ink, watercolor, and colored pencil on paper, 2011.

INTERSECTIONS


HANNAH

GEIL-NEUFELD

CHRIS

WILLCOX

LEFT Chris Willcox, As We Left It, ink and acrylic on paper, 30" x 44", 2011. RIGHT Chris Willcox,

As We Left It (detail), ink and acrylic on paper, 2011.

INTERSECTIONS


HANNAH

GEIL-NEUFELD

CHRIS

WILLCOX

ARTISTS’ STATEMENT

Our work shares a fascination with what has been (and what

surely will be) left behind as a result of human exploration

and striving.

Chris has studied the artifacts that were left

behind from the British Franklin Arctic Expedition

of 1848, such as rusted tin cans, pocket watches,

boot heels, and grave markers. Relics from

this time litter parts of the frozen wasteland of

Beechey Island in northern Canada. It does not

require a leap of imagination to wonder what

sorts of objects have been left on the moon by our

contemporary explorers, astronauts.

was unlikely to decompose, and so she thought

that her castle was going to last forever. Questions

emerge from this line of thinking, such as, would

such an object travel, and how would it change

over time? What might a Styrofoam artifact look

like covered with organic debris (like mussels

and barnacles) in some future scene? Could her

artifact ever end up on the moon?

Hannah remembers that when she was a child,

she made a castle out of Styrofoam egg cartons

with her father. She was aware that Styrofoam

INTERSECTIONS


HANNAH

GEIL-NEUFELD

CHRIS

WILLCOX

COLLABORATION STATEMENT

This past summer, Hannah suggested that Chris read Italo Calvino’s

short story collection Cosmicomics. In particular, the story “The

Distance of the Moon” interested us, as Calvino tells a fantastical

tale about an earlier time when the narrator and his companions

rowed out to sea and climbed up to the moon.

These events occurred near the beginning of

time as humans know it, when the moon orbited

so close to the earth that it scraped against the

earth with each orbit, collecting artifacts from the

land and sea.

The story sparked our discussion about human

exploration of the moon, and we wonder about

the environmental implications of exploration

to other celestial realms. In short, what will we

continue to leave behind as we move forward?

This fantastical story resonated well with

Hannah’s interest in otherworldly scenes and

the possibility of earthly artifacts ending up in

other settings. Chris’s interests in “otherworldly”

earth geographies, like the polar regions, were

the foundation for her image, although she also

imagines it as an abandoned moonscape of

the future.

INTERSECTIONS


ISA

GAGARIN

KAREN

WIRTH

Nothing Staid, single channel video, copier printed bound book, 20" x 30" x 10", 2011.

Photo credit: Rik Sferra.

INTERSECTIONS


ISA

GAGARIN

KAREN

WIRTH

Nothing Staid, 47-second video loop, Cape of Good Hope / Park Avenue Armory, NY: Ryoji Ikeda, 2011.

INTERSECTIONS


ISA

GAGARIN

KAREN

WIRTH

Nothing Staid, sequence repeated for 100 pages, 2011. Text from Virginia Woolf, The Waves, 1931.

INTERSECTIONS


ISA

GAGARIN

KAREN

WIRTH

ARTISTS’ STATEMENT

Based on Virginia Woolf’s The Waves, Nothing Staid articulates

the repetition of life experience. The Waves delves into individual

consciousness over the course of life; it is internal, reflective.

The novel’s structure couples long narrative with

short interruptions full of simile and description.

We followed that rhythm in editing the video,

while in the accompanying book we provide

a continuous, contemplative commentary. The

meditative quality of repetition is a form of

emptying out; nothingness can be meaningful.

The forty-seven-second video loop cycles through

footage that is quiet and repetitive, interrupted

abruptly by patterns. A black book sits just below,

with a hundred pages of sparse white handtraced

text. Repeated lines from The Waves cause

a rhythmic loss of self, while creating a chant-like

poem that is both Woolf’s and the artists’.

Collapsing our personal identities with Woolf’s

writing and the figures in the video is a way to

saturate the “I” referred to in the text with multiple

points of experience. Who is the speaker? Is it the

reader of the text? Where is the “I”? Is it in the

handwritten type, or is it the occasional figure in

the video?

The lull of the wave gives way to moments of

sharp recognition. The piece invites immersion

at the same time that it positions the viewer as

an observer.

INTERSECTIONS


ISA

GAGARIN

KAREN

WIRTH

COLLABORATION STATEMENT

The process of developing this project began with expanding

from a central notion of waves and contracting back to a

focused concept. We collected visual and written sources,

accumulating a constellation of interests related to all

things “wave.”

Reading Virginia Woolf’s The Waves led to homing

in on forms and ideas in our collection that related

to the text. Similar to the way the novel quietly

advances through the lives of its subjects, our

discussions of our own life stages helped us identify

common ground.

The novel also formed underlying structures for

Nothing Staid. The first-person voice in The Waves

becomes subjective in Nothing Staid—who is the

“I”? The artist? The reader? Similarly, the cadence

of the novel informed the editing of the video.

Nothing Staid replaces linear narrative with

rhythmic sequences.

We developed a collaborative process to cultivate

the vast range of information we accumulated into

a refined, concerted piece. Taking away information

proved to be a more challenging and stimulating

process than the initial activity of collecting.

Learning from each other’s life perspectives and

aesthetics, we developed a project that does not

reflect one individual more than the other, but

bears a quality that is both shared and personal.

INTERSECTIONS


GRACEMARIE

KEATON

KATHERINE

TURCZAN

Where the Bee Sucks There Suck I, video installation, 3 monitors, looped, 2011.

INTERSECTIONS


GRACEMARIE

KEATON

KATHERINE

TURCZAN

ARTISTS’ STATEMENT

Where the Bee Sucks There Suck I is a video installation

that allows the audience to observe an adolescent boy as

he recites a poem and ties knots.

Inspired by Boy Scouts’ survival methods, the act

of tying knots references skills gained by physical

practice and mental focus used to master a task.

The poem, made up of coming-of-age poems, is

structured to reflect both the interior and exterior

voices of a young adolescent boy. The poem shows

a developing ego that is cocky and insecure.

The title of the piece is taken from Shakespeare’s

The Tempest. In the play Ariel is an airy spirit who is

imprisoned in a tree by the witch Sycorax. When Ariel

is released, he sings a song to celebrate his freedom:

Where the bee sucks, there suck I.

INTERSECTIONS


GRACEMARIE

KEATON

KATHERINE

TURCZAN

COLLABORATION STATEMENT

Our project began as something physical and about the body’s

restraint but morphed into a nonobject and about repeated words

and a young adolescent boy’s internal and external struggles.

We both had previously made work about young girls and were

interested in the differences between the sexes at this place

in development.

We struggled with a form for this project until we

came upon Boy Scouts manuals and poems about

adolescence. Then the structure of the piece fell

into place. Katherine has a thirteen-year-old son

with braces. It was evident that he should be used

for the video.

Some notes on the itinerary and geography of our collaboration:

Student Teacher Student Friends Collaborators.

Twenty-five years age difference insignificant.

Minneapolis, United States Dneprodzerzhinsk, Ukraine.

Thirty e-mails two days shooting in Minneapolis together.

New York City Minneapolis via e-mail next three months.

Shared readings shared poems shared writing.

INTERSECTIONS


S.CATRIN

MAGNUSSON

STEVIE

REXROTH

S. Catrin Magnusson, 1", felt, wood, 52" x 48" x 1", 2011.

INTERSECTIONS


S.CATRIN

MAGNUSSON

STEVIE

REXROTH

Stevie Rexroth, untitled from New Forms, photography mounted on Sintra, 50" x 40", 2011.

INTERSECTIONS


S.CATRIN

MAGNUSSON

STEVIE

REXROTH

ARTISTS’ STATEMENT

S. Catrin Magnusson

My work explores in-between areas of physical

and psychological landscapes that move

back and forth between inclusion and

exclusion, connection and disconnection,

the material and immaterial.

I am interested in the concepts of displacement

and impermanence and how they are represented

in geology, namely the boundaries of tectonic

plates where subduction, divergence, or grinding

occurs. The work focuses on the Mid-Atlantic

Ridge, a deep rift whose force pushes North

and South America apart from Europe and

Africa by an inch every year. The rift functions

as a metaphor for the increasing distance

and tension between countries and cultures,

and speaks as well to a personal narrative of

coexisting between two cultures, two ideologies,

and two landscapes.

Stevie Rexroth

This work continues an investigation of

the nature of subjecthood in photography

through the use of simple materials

and means.

I create small sculptural forms from white

drawing paper and photograph them against

a white background. The sculptural forms

have no direct referent in the world. They are

created purely from a sense of play—cutting,

moving, gluing shapes around. It is organic

and meditative. The outcome of this process

is a quiet, almost nonpresent image, white on

white, sitting somewhere between a two-and

three-dimensional experience. A photographic

image becomes a work on paper, a drawing, and

perhaps returns in a cycle to the early definition

of photography as drawing with light.

INTERSECTIONS


S.CATRIN

MAGNUSSON

STEVIE

REXROTH

COLLABORATION STATEMENT

We came together as mentor/mentee in the MCAD MFA program.

Although we came to art from different backgrounds, Stevie from

literary theory and Catrin from filmmaking, from the beginning we

had an easy, thoughtful, and engaged relationship.

Researchers at heart, we often bring an artist’s

work, a reading, or magazine tear-out to each

other only to realize that we have been looking/

thinking/exploring similar territories.

We share common aesthetic and stylistic

interests, from midcentury modern architectural

forms and Scandinavian design to topographical

maps. Both of our work investigates repeated

or layered forms, often in a monochromatic

palette, as conversations spin around ideas of

expansion/compaction, space/nonspace, and

the solid/ephemeral.

A bit stubborn and perhaps private, neither of us

was interested in creating a singular work from

a traditional collaborative process. Yet having

recognized from our initial meeting that our work

seemed to already be in conversation, we wanted

to offer distinct works side by side.

Ironically, out of our many conversations surrounding

the Intersections exhibition, we have begun to plan

for future collaborative making.

Perhaps we have grown out of the mentor/mentee model

that initially brought us together and are ready to explore

how a collaborative investigation can nurture our ongoing

bond and our individual practices. This is where we begin

to intersect.

INTERSECTIONS


PATRICIA

OLSON

ROXI

SWANSON

LEFT Patricia Olson, Self-Portrait at 60 (after Beckmann), oil on board, 55" x 37 ", 2011.

RIGHT Patricia Olson, Roxi Swanson (after Ingres), oil on board, 55" x 37", 2011. Photo

credit: Petronella Ytsma.

INTERSECTIONS


PATRICIA

OLSON

ROXI

SWANSON

LEFT Roxi Swanson, Just Breathe, oil on canvas, 40" x 30", 2011. RIGHT Roxi Swanson,

The Professor, oil on canvas, 60" x 36", 2011. Photo credit: Petronella Ytsma.

INTERSECTIONS


PATRICIA

OLSON

ROXI

SWANSON

ARTISTS’ STATEMENT

As figurative painters, we are drawn to the emotional, expressive

possibilities of the human figure, and in our collaborative

conversation we have extended our dialogue to include other

painters from art history.

We began by studying specific self-portraits,

Patricia choosing Max Beckmann’s Self-Portrait in

Tuxedo, and Roxi choosing Jenny Saville’s Knead.

Roxi was interested in Saville’s mark-making

technique and the sickly quality of the color, while

Patricia was taken with Beckmann’s posture, at

once confident and guarded, and wanted to bring

a feminist update to this very male presentation

of self.

precedents from which to work. Roxi looked

to Egon Schiele’s Portrait of the Artist’s Wife

Standing to paint Patricia’s portrait, her interest

being in conveying the innocent quality of the

figure. Patricia selected Jean-Auguste-Dominique

Ingres’s Madame Moitessier, again interested in

translating this nineteenth-century presentation

of femininity into a twenty-first century sensibility.

After painting self-portraits in the manner of

these two artists, we then painted portraits

of one another, again choosing art historical

INTERSECTIONS


PATRICIA

OLSON

ROXI

SWANSON

COLLABORATION STATEMENT

We find intense connection when painting alone in our studios,

almost like having a dialogue with our subjects, so it was important

to both of us to continue working in this way.

Our collaborative process involved each making

two paintings that referenced other painters

from art history, thereby expanding the nature

of our collaboration. We shared studio visits and

e-mailed images of our progress to each other.

The kind of solitary studio work that is our normal

lot was enriched by the camaraderie that came

from knowing that another artist across town was

struggling with the same problems and responding to

the presences that emerged from the painted surface.

While we sometimes ventured encouragement

and suggestions, our primary feelings were

amazement and pleasure in the other’s work.

INTERSECTIONS


MARY

GRIEP

ADELYN

ROSENWINKEL

LEFT Intersections (text panel), mixed media, 30" x 30", 2011. RIGHT Intersections (full view), mixed media,

132" x 90" (each row 30" x 90"), 2011.

INTERSECTIONS


MARY

GRIEP

ADELYN

ROSENWINKEL

Intersections (row 1), mixed media, 30" x 90", 2011.

INTERSECTIONS


MARY

GRIEP

ADELYN

ROSENWINKEL

Intersections (row 4), mixed media, 30" x 90", 2011.

INTERSECTIONS


MARY

GRIEP

ADELYN

ROSENWINKEL

ARTISTS’ STATEMENT

Intersections is a mixed-media exploration of the rich nature

of the St. Olaf Natural Lands.

Rooted in late-nineteenth-century descriptions,

aerial photographs, writings on landscape, and

biological data, this drawing uses layers to chart

the progression of this particular landscape from

the “Big Woods,” to agriculture, to its current life as

a “demonstration” of Minnesota’s various biomes.

Reaping the reward of looking carefully, we can

read this landscape as a palimpsest that retains

traces of all that has come before and hints of

what might yet be.

The ubiquitous division of the midwestern

landscape into a grid informs the format of the

final piece. Prairie blooms over reclaimed farm

fields that settlers and farmers had earlier carved

out from mature forests.

Learn more about St. Olaf Natural Lands at: stolaf.edu/academics/naturallands

INTERSECTIONS


MARY

GRIEP

ADELYN

ROSENWINKEL

COLLABORATION STATEMENT

This collaboration began with our joint interest

in the passage of time and its traces on a place.

We chose the St. Olaf Natural Lands as a place

of study and reflection that we could both

experience and research.

We divided the lands into twelve segments

based on historical aerial photographs, and we

each took responsibility for six. Through weekly

check-ins, we took time over several months to

rearrange, revise, refocus, and react to what we

had each accomplished on our assigned sections.

True collaboration, in contrast to parallel work,

began when all base drawings were done and

decisions needed to be made about the piece

as a whole.

The process was truly one of intersections: between

student and teacher, nature and human intervention,

memory and time, and process and product.

INTERSECTIONS


ALEXIS

KUHR

STEPHANIE

THOMPSON

Alexis Kuhr, untitled, acrylic, graphite on panel, 6' x 6' x 2", 2011.

Photo credit: Patrick Kelley Worldwide Photography.

INTERSECTIONS


ALEXIS

KUHR

STEPHANIE

THOMPSON

Stephanie Thompson, Crossing, acrylic on panel, 6' x 6' x 2", 2011.

Photo credit: Patrick Kelley Worldwide Photography.

INTERSECTIONS


ALEXIS

KUHR

STEPHANIE

THOMPSON

ARTISTS’ STATEMENT

Alexis Kuhr

In a series of large-scale, mixed-media works

on canvas, I explore the possibilities of mark,

space, and surface.

Beginning with the basic elements of introductory

perspective, I intuitively realign planes, arriving at

spaces that both advance and retreat to produce

a realm of disquieting spatial ambiguity.

Through my process I produce new structures

that create visual interest through slight

visual disruptions that emerge out of irregular

geometries. The overall impact is one of

contemplative, measured activity.

Stephanie Thompson

Influenced by a recent investigation into my

family’s ancestry, I create acrylic paintings

that explore my ability to establish a

genuine relationship with the past.

By carefully selecting shapes derived from

historical photographs, I create structures that

hover between existence and intangibility.

A neutralized color palette combined with planned

gestural mark-making contributes to a fleeting

sense of time and place.

INTERSECTIONS


ALEXIS

KUHR

STEPHANIE

THOMPSON

COLLABORATION STATEMENT

At the core of our collaborative project is the use of painting as a vehicle

to present layered ideas, emotions, and sensations that can be read and

known simultaneously. While the “how” of this communication remains to

be discovered, we believe it to be informed by the experience of the body in

movement and through cultural memory.

We have worked together since 2007 in various

roles, first as student and teacher, and now in

arts administration. It has grown clearer over

time that although our interests, temperaments,

and working styles align, we adopt divergent

formal languages to explore the broader category

of geometric abstraction.

While we employ similar visual structures and

vocabularies, we use these basic elements to

create work with very different personal meaning.

that is influenced by childhood experience of

the landscape, our unique psychologies, and

generational difference.

The paintings created during this collaboration

hung side-by-side in process in the studio

and inspired, challenged, and enhanced our

independent work. This opportunity proved so

helpful to the development of our thinking that

we continued working, allowing the paintings to

evolve and change, until the exhibition opening.

For each of us, abstraction encapsulates a

relationship with color, form, scale, and pacing

INTERSECTIONS


PARTICIPANTS / ARTIST TEAMS

ANOKA-RAMSEY

COMMUNITY COLLEGE

COLLEGE OF VISUAL ARTS

St. Paul, Minnesota | cva.edu

MACALESTER COLLEGE

St. Paul, Minnesota | macalester.edu

ST. CATHERINE UNIVERSITY

St. Paul, Minnesota | stkate.edu

Coon Rapids, Minnesota | anokaramsey.edu

Laura E. Migliorino

Former Division Coordinator, Fine Arts

Alyssa Baguss

Class of 2007

mnartists.org

Hannah Geil-Neufeld

Class of 2013

hannahgeilneufeld.com

Patricia Olson

Former Chair, Art and Art History

patriciaolsonart.com

lauramigliorinoart.com

Mayu Nagaoka

Class of 2006, 2009

Yumi Nagaoka

Class of 2007, 2010

CARLETON COLLEGE

Northfield, Minnesota | carleton.edu

Linda Rossi

Chair, Art and Art History

Alec Soth

Student, 1991

alecsoth.com

COLLEGE OF ST. BENEDICT/

ST. JOHN’S UNIVERSITY

St. Joseph/Collegeville, Minnesota | csbsju.edu

Chloe Briggs

Class of 2011

Nate Burbeck

Class of 2009

nateburbeck.com

Steven Lemke

Class of 2008

Elaine Rutherford

Chair, Studio Art

Kim Benson

Class of 2008

Val Jenkins

Chair, Fine Arts

Lynda Monick-Isenberg

Chair, Foundation Studies

mnartists.org

formandcontent.org

CONCORDIA UNIVERSITY

St. Paul, Minnesota | csp.edu

Sara Downing

Class of 2012

Stephanie Hunder

Chair, Art Department

Elizabeth Sunita Jacobson

Class of 2007

GUSTAVUS ADOLPHUS COLLEGE

St. Peter, Minnesota | gustavus.edu

Priscilla Briggs

Chair, Art and Art History

priscillabriggs.com

Blong Lor

Class of 2012

Chris Willcox

Chair, Art and Art History

chriswillcoxart.com

MINNEAPOLIS COLLEGE

OF ART AND DESIGN

Minneapolis, Minnesota | mcad.edu

Isa Gagarin

Class of 2008

isagagarin.com

GraceMarie Keaton

Class of 2013

cargocollective.com/gracekeaton

S. Catrin Magnusson

Class of 2009

Stevie Rexroth

Chair, Media Arts

Katherine Turczan

Former Chair, Media Arts

Karen Wirth

Interim Vice President, Academic Affairs

Former Chair, Fine Arts

karenwirth.com

Roxi Swanson

Class of 2010

mnartists.org

ST. OLAF COLLEGE

Northfield, Minnesota | stolaf.edu

Mary Griep

Former Chair, Art and Art History

marygriep.com

mnoriginal.org

Adelyn Rosenwinkel

Class of 2013

UNIVERSITY OF MINNESOTA

Twin Cities Campus | umn.edu

Alexis Kuhr

Chair, Art Department

mnartists.org

Stephanie Thompson

Class of 2008

mnartists.org

mnartists.org

rosaluxgallery.com

INTERSECTIONS


MINNEAPOLIS COLLEGE OF ART AND DESIGN

MISSION STATEMENT

The Minneapolis College of Art and Design educates individuals

to be professional artists and designers, pioneering thinkers,

creative leaders, and engaged global citizens.

BOARD OF TRUSTEES

Bruce Bean, Chair

Mary Lazarus, Vice Chair

Leslie Berkshire

Uri Camarena

Nathan Davis

Andrew Dayton

Miles Fiterman

Monica Little, ’78

Betsy Massie

Clinton H. Morrison

Julie Snow

D. Robert Teslow II

Bill Thorburn, ’84

LIFE TRUSTEES

Bruce Bean

Cy DeCosse, ’52

Clinton Morrison

TRUSTEES BY VIRTUE

OF OFFICE

Jay Coogan, President

Janet Groenert, ’79, President,

Alumni Association Board

of Directors

INTERSECTIONS SPONSORS

Intersections is made possible through the generous support of the

Elizabeth Firestone Graham Foundation and Larkin Hoffman, with

additional funding from Anoka-Ramsey Community College, Carleton

College, Minneapolis College of Art and Design, and St. Olaf College.

CATALOG CREDITS

All images used courtesy of the artists unless otherwise noted.

Catalog design by Nicole Summers, PSB ’10, MCAD DesignWorks.

Copyediting by Mary Keirstead.

INTERSECTIONS


2501 Stevens Avenue

Minneapolis, MN 55404

mcad.edu

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