(June 24-September 16, 2017) Everest Gallery of the Washington Pavilion
It seems to me that the Washington Pavilion often appears as just a landmark to Sioux Falls inhabitants, and not much else. Contrary to this perception, however, the Pavilion is always changing; providing new sights, activities, and learning experiences. Recently, the Pavilion’s Visual Arts Center staff transformed their largest gallery (the Everest Gallery) to accommodate an exhibition that travels internationally. The show, Above the Fold: New Expressions in Origami, has been traveling since 2015, and features unique works of origami from artists around the world.
With my first step into the gallery, I was immediately aware that I would not be peering at any paper cranes that day. Instead, I was greeted by whimsical, inflated creatures that dangled from the ceiling, and fantastic forms encased in blown glass bubbles that surely could not be made of paper. The Pavilion’s assistant curator, Sarah Odens, was right when she stated that this “is origami like most of us have never seen before.” The works vary from large-scale installations, to optical illusions that hang flat on the wall. A massive, seven-foot-tall piece by Jiangmei Wu, is waiting in the back of the gallery to take your breath away!
While exploring the show, I also took some time to watch the PBS film that is screening in gallery. To my surprise, the artists interviewed within the film are many of the same artists featured within this show. I’m glad I took a few minutes to listen, as it outlined how these artists are at the forefront of the origami realm, but are also wildly intelligent engineers, architects, and mathematicians. They are not only changing the way we think about origami, but also how the science of folding can be applied to real world problems! I learned that origami artists like Robert Lang and Erik and Martin Demaine have used paper folding to solve issues surrounding air bag folding, expandable space telescopes, and human proteins that fold to fight disease!
I highly recommend making a stop at the Pavilion to see this show. As Odens mentioned, “pictures do not do this work justice… to see all these folds up close and in person is an experience.” Allow yourself to be amazed by these pieces! Make “connections to the origami [you] learned when [you] were young… and then see what paper can do and what origami artists, with science and mathematics, can achieve.”
This international show will be on display in the Everest Gallery of the Washington Pavilion until September 16, 2017. And don’t forget about Free First Fridays! On August 4th, not only will entrance to the Visual Arts Center be free, Robert Lang (one of the many artists and engineers featured in this show) will be speaking about his work, his education, and how he uses origami to solve real-world issues. Don’t miss out! Lang is speaking at 7 p.m. in the Belbas Theater of the Pavilion.
The first weekend in July may have set a record downtown. From events, to people traffic, to motorcycles; everywhere you went there was something to enjoy, a crowd of people enjoying it, and virtually nowhere to park. Like most summer weekends, you have to pick and choose what to do, but July First Friday proved to be a roided out rendition of Sophie’s Choice. No matter what you picked, you likely still felt like you were missing out on 10 other things. Some, to be never experienced again, like Art Maze II. It was arguably the busiest of all time that downtown has ever been. A couple of our bloggers caught merely a sliver.
ART MAZE II
With all of the outstanding events occurring Downtown Sioux Falls on July’s first Friday, I certainly hope everyone was able to hop down and enjoy the festivities! One of such events was the Art Maze II, which happened during the First Friday and Saturday. For those two nights, 30+ local artists, including myself and JAM, come together to create an aMAZEing event full of art installations, performances, murals, henna body designs, interactive spaces, lemonade stands for a cause, food trucks, and more!
As you walked through the spaces, you teleported into a world of extraordinary imagination. The truth is, even photographs couldn’t quite capture the excitement one experienced throughout event. For me, being one of the artists and witnessing the transformation of the entire space, I was filled with a surreal sensation. I still am unable to pin just what that feeling was…a pride in my city and its accomplishments, an excitement for everyone involved, watching and engaging with folks throwing confetti in my interactive installation, seeing such happy expressions on their faces. Maybe it was what the possibilities could be for the future…Art Maze III? Perhaps just an all-encompasing, epic feeling. Rock on Sioux Falls.
EASTBANK BLOCK PARTY
As the sun bent behind high-rising buildings, guitar chords jumped out of large rectangular speakers and danced along the open air. Erik Koskinen and his band just began there 2-hour-long set. Erik told timeless tales of American life through the eyes of a hard working, Michigan born man. The concoction of Erik’s folk rock, mixed with the community of the crowd in the art and cultural hub of Sioux Falls, made for the perfect end to an exciting and fun-filled First Friday.
YOU CAN STILL CHECK OUT THESE OTHER NOTABLE ART SHOWS THROUGH THE MONTH OF JULY
CIGARETTE MONEY @ THIRD EYE GALLERY
Visual artist include:
Solomon Carlson – Sioux Falls SD
Derek Meier – Minneapolis MN
Kimberlynn Jo Floren – Sioux Fall SD
Angela Meyer – Minneapolis MN
Melanie Ratzlaff’s artwork includes unconventional materials such as VHS tapes, pop cans, and recycled paper to create artwork that is a contemporary interpretation of her Lakota heritage. In this specific body of work, one will find references to pop culture & female identity. Melanie’s work has made its way to homes in South Dakota, Washington, and Arizona.
Personally, I have moved on from Augie, but that doesn’t mean there are not things happening. In fact, quite the opposite! Did you know that Sioux Falls’ very own, Augustana University hosts several different gallery exhibits every year? I’m always trying to stick my head in the doors, just to peak at what they’re up to.
Currently, they are housing The Augustana Student Invitational, which runs June 1-September 1, 2017. Augustana is located right off of 33rd Avenue; whereas, the Eide/Dalrymple Gallery is a few blocks down on Grange Avenue. Before we get started, I want to add that there is some incredible work displayed in this show by all the participating students. By all means, go take a closer look at all of the interesting pieces! With that, let’s dive in!
DR. LINDSEY TWA
Does the sophomore and junior summer show normally happen every year?
Yes, this is traditional. We always do our Augustana Student Invitational every summer. That’s been true for a couple of decades now, I believe. So, every summer our rising juniors and seniors get the opportunity to get a professional exhibition under their belt as a part of the group show. These are curated out of our sophomore and junior reviews, which are the two major check points for the art major on the way to their senior thesis show.
What’s some outstanding history with the Edie/Dalrymple Gallery?
Sure! Well, the Edie/Dalrymple Gallery was founded in the late 60’s with former professor Carl Grupp, who was a signature print maker of the region and professor of drawing here. He’s still in town. He also founded our permanent art collection. He did it sort of informally, in addition to his very heavy load over the years, by bringing in professional exhibitions and then having student shows. Then eventually, he got a gallery space that is now the archaeology lab, and then this space opened new with the building in 2006. We are free and open to the public. We always do 7:00 pm – 9:00 pm exhibitions every year. There’s always the Senior thesis show that closes our academic year and then the Sophomore, Junior Invitational is always our summer exhibition.
So, does this run the whole course of the summer?
Sometimes it varies on our upcoming exhibitions. Typically, it’s open all summer and then closes the first Friday of the academic year. We use that as a closing reception to welcome back all of the students from their summer breaks, and to reconnect with them. It gives them a chance to see their show, because for many of them out of town, this gets hung post graduation. So, they won’t see their work in it until they step back on campus in the fall. So, we keep this until the first week of classes.
Of the students here, how would you say their progress has been with their work?
Each one of these artists is worth highlighting and elevating. One of the best things about this being our summer show, traffic tends to be a lot lighter, but we also have a lot of campus tours going on. So, the students that are here as prospectives looking at the college, they get to see that all of these pieces were created in an Augustana art class, and they get to see who the artists are. I love this show because I see these students in the art history classes, but I don’t really get to meet them as artists until I get to sit with them in their sophomore and junior reviews. It’s just fun to have. So, we have, of course, sophomore students that are maybe relatively early to the major. We have several students that are double majoring. Many Augustana students also triple major. Then we, of course, have students that are almost on their way to their senior thesis show. So, Sydney Kelly would be one of those that already has a very advanced and large body of paintings, then she’ll be wrapping up next year with both her art major and her student teaching for education major. It’s just a fun show!
Is this show, specifically, any different feeling than previous ones? Is there anything that struck you differently than previous years?
I mean, each show has its own characteristic and is as unique as the group of artists that are here, right. A couple of fun things to point out, we have Alex Meyer’s large stage set. He’s incredibly talented. So, this might be a nontraditional form. It’s his photography, the concept drawings, and then the model on it. He actually presented that in Washington, DC and got a national award for his set design! We were very excited for him to bring that back to campus, and then to display it. This show gives a great set of how wide-reaching Alex is.
That stained glass tower up in the middle area on the pedestal is his, and then we’ve got these graphic design pieces from him. Right next to them we’ve got Marissa Hight’s digital piece. She’s a biology and art double major, and is interested in medical illustrations and sort of blending that. So, that’s a fun piece, along with her hand cast one. Actually, in the Black Hills this summer she got a research appointment at a research lab in the Black Hills. She will be doing laboratory research, but they were also interested in allowing her to do microscope drawings and proofing images for publication. She’ll get really good experiences being a visual artist who assists the scientists. This year we have Anna Reich in our photography department. We have far more photography present. So, that’s another difference. We just haven’t had a substantial body of photography in a while. That, of course, is a testament to her for building our photography program. Even Wyatt, who I think of as being a screen printer, has some phenomenal experimental photography.
Do you have any words of overall encouragement, or words of critique, for the students presented here?
Maybe a good sort of word of encouragement, especially for perspective students who walk in here… I know you had an excellent high school experience as far as an art program goes, but many students don’t. So, they already come to college saying, oh, I can’t draw. I can’t do this. I can’t do that. I think, particularly with the faculty here on campus, wherever you are at, they will make you better. So then, some of these students probably had no, or little-to-no, art before they came. Some already arrived thinking, oh, I’m uncomfortable with drawing, or I can’t do x, y and z. Yet, in Drawing I they can do things like Dagne’s castle shading to a t. The students who come out of that, and what they present, are far beyond what they would’ve thought could be possible. Then we have students that come in with a very high foundation of art. Then it’s just fun to see how much they improve year after year. Really just in an exponential type of way.
In three words can you describe your impression and experience from this show specifically?
I would have to say uniformly eclectic, because it all hangs together, and yet, it’s such a broad reach. I think it’s a good sense of just how many different avenues you can pursue in the program, and also do individually tailored expressive experiences. I would say hard work. Inspiration. I think, well, you know how many hours go into the studio!
Full list of students displayed at Edie/Dalrymple Gallery:
Sydney Michael Kelly
Joshua D. Matzner
The process: Straight from the artists
How have the before-the-show steps treated you? What’s your impression of the gallery space process before hand; was this a new experience for you? Did you enjoy it?
For me, I think that’s always hard just because I know what other people kind of like, but I don’t necessarily know what kind of stuff of my own that other people like. I kind of have a negative view point over my stuff, just because sometimes it’s really weird stuff just for fun. I don’t take it as serious at times, so I don’t think other people will, even if it’s a serious thing. So, if it’s for the review, it was mainly trying to find things that I like, at the same time other people might like , as well. I think that it helped by doing a write up. I had all these different pieces up for the reviews, so the professors could critique my work, and eventually pick pieces for the show. I had to have a write up that stated what I was trying to get at, but in a super concise way, so that it’s clear. Sometimes I’m going, well, I took this picture just because I messed with a bunch of settings on my camera, or I made this screen print for fun, or because people said “you probably shouldn’t do that,” and I’m going to do it anyway. I couldn’t really say that, so I had to have this concise thing where I had everything down pat. I think that’s where it was stressful. I don’t know most the time if what I’m trying to convey is read by the viewer. With a lot of my pieces I like to have really open-ended outcomes, so that they can pick what they think maybe in a different way than me. Only after the fact, if they’re wondering what I’m trying to get at, I’ll tell them then. Other than that, either making weird things, or making them more confusing, or purposefully under confusing so that it’s easier for them to get. Maybe even harder for them to get, if I’m trying to have a conversation, or something that I’m just trying to get out there. I guess it just depends on each piece. With the ones in here, I think it worked a little both ways. My photographs are definitely a series where I was just trying to experiment with different objects. There’s a variety of things that I’ve taken pictures of. For most of them it was try something and go with it, rather than going, this is exactly what I’m going for and making sure everything is perfect. It was more of what Dr. Twa was saying, working with an experiment. That’s something that I like to do with photography, because it’s quick.
When putting my photographs in here, I wanted to try something a little different. So, instead of having vague titles, I made little music pieces for each of them. Some of them are bridges that are connected by a chorus that runs throughout the whole series. I’m definitely not a music writer at all, it was just something when I sat at a piano thought sounded good. I was trying to do something, that if the viewer has knowledge of music, they can pick out the little tunings with them and then decide if the sound would really go along with it. I’ve always wanted to do different sounds and photography, kind of like music and movies. I’m really into movies, so maybe that has something to do with it? I want the viewer to gain something from it. I like to have fun with it.
Preparing for the show was pretty straightforward; we just had to matte and mount our work so it was ready to hang in the gallery. We did not hang our own work for this show, so I did not experience that process.
The pieces that are in this show were selected by the faculty during our spring reviews. Though they picked a few of the things that I would have chosen myself, I did have some work in ceramics that was finished after the reviews which I wish had been included in the summer show. There is always next year, though!
Before the show, we create work for the academic school year, and then our work is chosen by our professors in what is known to the Sophomores and Juniors as their review. To me, it is kind of a coming of age rite of passage. With me being a junior and having done a review last year, I am well aware of the space as well as how a review is carried out. Regardless, it is still just as nerve wracking to get up in front of your peers and lay your work on the line. In my review summary, I had written about how with art and being an art major it always feels like I am undressing myself and pulling off my skin, folding it neatly, and handing it to someone, while in a way, asking them to accept and appreciate it. I am literally showing you my vulnerability when I am showing you my art, and telling you about the symbolism behind it. The review was exactly this. Each and every time, no matter the audience, I get a certain nervousness about me when speaking on my work. Mainly because my subject matter is so visceral, but also because there is some part of me that is still afraid to tell the stories of what I have been through, and to tell someone is to let them in, and I am not good about letting anyone in. Review is a good test run though for me being able to talk about my work, and the things that go into it.
We are told to bring pieces of work, usually anywhere from 10-12 (sometimes 15 or so if they are smaller), but beyond that we are given the freedom to choose work that we feel is our best. But then you start staring at your rather large portfolio of about 30 or so works that you have created that year and you begin to question what your best is. Is it the piece that you spent countless hours on that got an A- and yet you still are madly in love with it? Or is it the piece that got you an A and yet you do not really care for it, but you know the professors will like it? You start to wonder if you should cater to your professors or to yourself… and to that, I will say that you should cater to yourself. When your work is chosen to be hung up in that space, you should feel a sense of pride, and that pride only comes with staying true to yourself. I make each of my paintings with a very direct purpose in mind, and therefor when my pieces were chosen, I was very pleased with the result. I also felt honored to be a part of an institution that displays the work of their students so proudly and wants to display mine as well the work of my peers. The process leading up to review is nerve racking, the review is nerve racking, preparing your work to be shown around finals week is nerve wracking, but seeing your work hung up is worth every minute of it.
[DURING THE FUN]
Do you have a specific goal, or immediate impression, that you want the viewers to think and feel when experiencing your work?
Well, like I was saying, I do have stuff there, when other times it’s just if it happens then it happens. So, if a viewer sees something in a piece, I’m glad for them, but I’m not specifically trying to push them a certain way. With some pieces I’m trying to just get them and see how they look, while experimenting with different techniques and things like that. It wasn’t really a process of, this is really important to me and having to let the world know. I think my work is still important, in a way, but just not like that. With the photograph series, we’re suppose to explore something that we knew. However, going after that, I decided to take photographs of objects around my house. In the full series, I think there’s 35 or 40 pictures. Some are as simple as mason jars of tomato paste that we have from canning stuff. Other things are, like in here. There’s a certain image that started that series. It’s the self image. I was trying to experiment with light, which I really like to do with photography. I was trying to experiment with the light on the shelf, that in reality isn’t that important because it’s just a shelf in my bathroom. To me, there’s an importance behind it that I can’t quite understand, if that makes sense. Similar to, well, I know this, so it feels important. To anyone else, I don’t think they feel that, but to me, there’s a reason that this feels important. So, that’s where this series turned into something that wasn’t really just things around my house, but things that have a specific importance even if it’s just really vague for the viewer. For those, I’m not expecting the viewer to get anything out of them. They might find bits of relations that, in turn, can find comfort in, but I’m not specifically trying to get the viewer to see that. So, like I was saying, if the viewers see something, I’m glad they do. I would honestly like to know what they see, just because I think that’s interesting, but I’m not trying to force them to see something that I may be putting out there.
My two screen prints that are in this show are the works which I am most pleased with and feel represent a certain side of my work effectively. I am largely influenced by nature, namely the sky and cosmos. I hope that my screen prints will convey some degree of a connection with nature. The piece, “Where are you now? I still need you here,” was created shortly after the unexpected death of my mother. That is the first piece in a series that I am working on which deals with the concepts of life, death, the afterlife, and the consideration of a higher power. I don’t like the idea of telling a viewer exactly how to interpret my work, but I use titles as a guide of my intent.
My intaglio print of my dog, “Charlie,” explored texture by focusing on hair. Charlie has crazy, wiry hair which I thought would be fun and challenging to convey in a drypoint print. The position of him resting was my way of conveying how solitude can oftentimes be a necessary means to feeling inner peace.
When you first look at my work, you are either attracted it to it or repulsed by it. Often there is an innate reaction when viewing the grotesque or death. Your throat tightens a little, your chin clenches, maybe you blink frequently or your advert your glare, but in general you have a response. The secondary response when viewing my art should be the curiosity of why the subject matter is chosen, in an attempt to figure out the piece. The third common response is why does a 21 year old woman attending an upscale university in South Dakota originally from a small town in Iowa want to paint such things? To that, I would have to tell you to sit down with me and listen to the full story. But when that is not do-able, the viewer often just notices my attention to detail and the craft of my work. Notice the ants that are either fleeing away or being attracted to the objects around them. Pay close attention to the use of color and what you might be noticing as an American flag, a desecrated pie symbolizing human interaction, or maybe the mourning ceremony that gives you a closer view of tragedy and the influence of fate. My work is used to show my occupancy in this world, and how as a sexual assault victim and an abuse victim, I have often felt left without control. From that, I have pushed my feeling of being small in this vast world and how there are many parts of my life that are left open to the influence of greater powers. Dominant versus submissive, choice versus the lack of, nature versus nurture, authoritarian parent versus authoritative, resilience versus conforming, and conscience or the lack of. These are some of the things that play a role in my life and the pieces that I create, carrying out a plan to tell my story through the visual arts.
[AFTER IT’S SAID AND DONE]
Personally as an artist, is there anything else that you would want the public to look forward to? Any shows coming up, are you planning any projects, etc.?
I do a lot of stuff on my own, and apart from that, I don’t hear much going around town. Unless it’s from this one girl, Hannah Wendt, that I know, I don’t really hear a lot going on. I’m working on making t-shirts with print making stuff and using screen printing t-shirts, right now. I like wearing t-shirts, and I just wear weird stuff. Why not make my own? I don’t paint a lot, but I’m wanting to get into making my own inks and paints out of random crap. Maybe just smashing up a whole bunch of stuff and seeing what happens. I’m trying to use a bunch of different materials in my work, and do more experimenting because that’s the name of the game with my stuff. Other than that, I guess I need to get out a lot more. For right now, just through Facebook, Wyatt Dickson, would be a way of contacting me. If you wanna say hi, or if you wanna be like, hey, let’s make something. If you want to buy something, sure!
I am drawn to illustration (pun somewhat intended) and showcase my skills in my ceramics work. They are really fun to look at and people seem to get a kick out of them. I am also developing my series of screen prints which is dealing with the concepts of the cycle of life, and the existence of god. I am always dinking around in the printmaking studio and constantly have new stuff I am working on, which I share online. You can find my portfolio, including examples of my ceramic work on Facebook and my website.
I create about one to three paintings a week during the academic year, and I will continue to work at this rate. My work can best be found on social media, as I post my creative journey. I occasionally participate in small shows, but for the most part, I make work for myself and not for show. I have made such grand progress over the 2016/2017 school year and as I go into my final year at Augie, I do not intend on halting my progress. I fully recommend anyone to come to the senior show in May of 2018 if you want to see my grand finale, and hear me speak publicly on my journey. Until then, I sell most of my pieces for cheap so that they are obtainable by many. You could be the next owner of an original piece and you should be. My Instagram is sydneymichaelkelly and it is where most of my work can be seen. My email is firstname.lastname@example.org for any other inquiries.
As a fellow employee of the Washington Pavilion, I have had the chance to meet Mercedes before interviewing her for JAM’s Educator Interview. We meet regularly at the Pavilion to go over future lesson plans, and she is there to help other teachers understand the more artistic processes with children. Mercedes leaves quite the great impression! She’s wonderful at creating a fantastic learning experience, even with adults. She especially cares enough to make sure every child understands, and is having fun with the projects. It was amazing to have that student to teacher base impression of her before sitting down and chatting.
Where/what do you teach and what ages?
I teach at the Washington Pavilion, ages pre-k through seniors. I teach drawing, painting sculpture and ceramics. I teach outreach to youth at risk at Juvenile detention center, Multicultural Center, Bowden Youth Center, and other afterschool programs funded by grants in the Action Arts and Science Program (AASP).
I teach private lessons, home school lessons, art smarts (primarily school field trips to the Pavilion) OLLI classes, and pottery classes like ‘Wine on the Wheel’.
What inspired you to begin your teaching career? Was the goal always teaching?
I knew I wanted to be an art teacher in 3rd grade. I had great art teachers in middle and high school that encouraged me to stay in the arts. Lori Boldt, Maureen Kaul and Sara Winterscheidt to name a few.
Is there a specific rule of thumb, style, or method that you like to follow when you teach?
Practice every day! Work those art muscles! Step out of one’s comfort zone. If one always draws the same thing, they’ll get really great at drawing that thing. One should try to draw other things, too! For example, I try to push people away from the classic “corner sunshine” composition and ask them if there is another way to put the sun in their picture. In my opinion, art is 90% problem solving and 10% skill.
What are your favorite aspects about teaching?
Watching the self-discovery, and winning the students over. Sometimes they come into the room and see the project we will be working on, and the first thing out of their mouth is, “We’re making that? I can’t do that.” Then when class is over they are usually pretty impressed with themselves.
Is there anything that you would want to change about teaching?
Not now. I taught in the public school system for a few years in Georgia, and grading art for 600 students was a challenge. I also felt I didn’t get to know my students very well. Now I teach in an informal setting at the Pavilion where there are no grades; only learning and exploration and discovery without pressure to make the grade. My students are in my classes because they choose to be, and that feels awesome!
Would you give us a glimpse into your hobbies and interests? What are some of your favorite pass times?
My 15 year old daughter and I like to sing and play a few instruments. I like to play in my garden and I love to feed people delicious food. I do Henna tattoos as a side business, When I get a chance to do art for myself, I like to make drums out of clay and cover them with goat skin. Then I do custom Henna designs on the skins of the drums.
Thinking about the future, what is a larger-than-life goal that you might have?
I would love to travel the world. I was able to visit Europe for the first time last year. Ireland was such a grand experience that it wet my appetite for more traveling.
Are you part of, or are you planning any big events with the public?
Well, we do a lot of outreach through the Pavilion at special events like the Pride Festival, Down Town Riverfest and Jazz Fest. It’s usually easy to find our table. Just look for all the kids having fun!
Can anyone sign up for classes with you?
Yes. Anyone. You’ll find most of the classes I teach at Washingtonpavilion.org. I’ve done private and semi-private lessons with students from 4 to 94.
Using three words how would you describe yourself and style of teaching?
Passionate, creative and FUN!
ANNOUNCEMENT: JAM Art and Supplies will be having Mercedes Maltese create henna body art both July and August First Fridays 7-8:30 pm. We’ll be open late till 9 pm.
With some foot-tapping folk music playing, I had the chance to go into Rug & Relic to interview Steve and Tove Bormes. The time spent speaking with the Bormes was incredibly informing and entertaining! Right away when you walk through the doors, they make you feel welcome. It’s almost as if I was chatting with some long time friends that I hadn’t spoken to or seen for years, but still have such a fun connection with them. Even in conversation, they play off of each other’s strengths and make each other better. You can see they take humble pride in their work with Turkish art, and the local and regional artists displayed in the building. It’s clear that they are personable people that love to take the time to chat with anyone about what they love: art. I encourage anyone to stop by to take a longer look into the fantastic pieces presented here, or even just to ask some questions. -Hannah
A morning bell rings at Roosevelt High School, and outside a room in the deepest recess of the C Wing of visual and performing arts, Erin Nguyen waits smiling outside her ceramics classroom. As the high-schoolers file in, I note that it’s only the second week of a new semester, and Erin is able to greet each of her students by name.
Known as “Miss Winn,” to her students, Erin lives in Sioux Falls with her husband, Dan. She has ten years of teaching experience, and has spent the last two working her “dream job” at Roosevelt. Consummately expressive with her face and her words, Erin laughs easily and speaks at a leisurely pace, drawing out the vowels of certain words, turning her conversation into a kind of melody.
A little bit off the First Friday beaten path, right on what might be considered the cusp of downtown, sits a real gem. Nestled on the corner of 27th and Minnesota is Piper Custom Framing and Fine Art Gallery. As a custom frame shop foremost, it’s possible that it might not even be on your radar as a gallery to stop in and visit. Living only a few blocks north, I have driven past the storefront countless times. Each time curiously eyeing it. Done the same? Save yourself prolonged wonderment. Go in.
The gallery is cozy, and full of carefully selected, beautiful art from Midwest artists – print to sculpture and everything in-between. Not only that, the framing selection makes Hobby Lobby’s wall o’ frame look like a cheap floozy, and the staff are incredibly welcoming, experienced and wonderful to talk to. They welcome local artists with open arms, and are always willing to sit down and have a chat with them.
You can feel that this is a place where quality, and the individual customer experience is the top priority. They care immensely about what they do, and that passion shows the minute you walk in the door. Reaffirming, once again, that there is really nothing better than small business, and really nothing better than buying local art.
I’ve lived in Sioux Falls for three years now, but this was the first time that anyone in my family had been to a First Friday. While my dad enjoyed a couple of beers outside Stogeez Cigar Lounge, I explored all of the great art. At the end of the evening, we both remarked that we’d never seen so much diversity in Sioux Falls all in one place. It was beautiful to see.
Before adjectives started rolling, my immediate thought upon walking into Post Pilgrim Art Gallery was, sweeeeeet. The gallery space has an edgy, clean, raw, industrial, underground feel. A caliber all its own, with prime Native art, and a badass logo to boot. (Gah, I love that logo.)
After introducing myself, and complementing Jennifer White [Post Pilgrim’s curator and owner] on the space, she was quick to show me what she had been up to already that morning. She laid 4 paintings out on the floor next to her easel. It wasn’t quite 10 o’clock. The only thing I had managed to complete by that point in the morning were a few strokes of eyeliner. One thing was immediately clear, this chick had hustle. Not only that, she had a passion that sparked a fire in her belly, and ignited her entire being. I knew I was going to love doing this interview.
Located in the lower level of Last Stop CD Shop on East 10th Street, Post Pilgrim Art Gallery’s mission is to celebrate Native heritage with the work of established and emerging Native artists. It’s filling a void Sioux Falls desperately needs filled, and with its grand opening just this past April, it has a bright future ahead. I’m excited to see where White takes it. Continue reading POST PILGRIM GALLERY→
Landing an artist residency is a big deal. So when an artist does, it’s cause for celebration.
One of JAM’s favorite artists, Jordan Thornton, has “nailed” down her first artist residency!
It happens to be in Vermont, and there happen to be fees and costs that come along with that, so the Sioux Falls community has the awesome chance to help Jordan in her journey.
But before I get to that, here’s a little more information about Jordan.
She’s a printmaker with a deeply-rooted love of nature, which you can easily see in her work. Handpulled and hand-printed woodcut prints, often displayed in shadowboxes (that she usually makes herself) are her forte.
Jordan describes her current work as having a focus “on plant imagery, primarily the roots. The visual part of these pieces is of the physical plant, while the thought behind the work focuses on our own roots: what holds us to a place, a person, a pursuit.”
She’s been honing her craft for years. And she’s also been applying for residencies for years. And then the Vermont Studio Center in Johnson, VT offered her an artist-in-residence spot for the upcoming month of August.
Here’s the catch: getting to Vermont isn’t free.
So that’s where you come in.
Jordan’s got a Kickstarter campaign that’ll cover the remainder of her residency fee and travel costs. But, most importantly, this campaign puts her art into the hands of the people investing in it.
To kick off the campaign, Coffea Downtown is hosting a launch party which doubles as the artist reception for Jordan’s three month show at Coffea. The party’s going down on May 6th from 6-8pm.