Opening Reception is Thursday, June 6
The Haggerty Museum of Art at Marquette University opens an exhibition of work by the artists who received the Greater Milwaukee Foundation’s Mary L. Nohl Fund Fellowships for Individual Artists in 2018. The exhibition brings together work by Chris Cornelius and Keith Nelson in the Established category; and three artists in the Emerging category: Nazlı Dinçel, Makeal Flammini, and Rosemary Ollison. The exhibition was curated by Emilia Layden, Curator of Collections and Exhibitions at the Haggerty Museum of Art, and remains on view through August 4, 2019.
The Nohl Fellowship exhibition opens on Friday, June 7, 2019 at the Haggerty Museum of Art, 1234 West Tory Hill Street, on the Marquette campus. A public opening reception will be held on Thursday, June 6, 6-8 pm.
The Fellows were chosen in November 2018 from a field of 177 applicants by a panel of three jurors: Lucy Mensah, an independent curator and visiting assistant professor of Museum and Exhibition Studies at the University of Illinois in Chicago’s School of Art & Art History; Risa Puleo, an independent curator; and Ashley Stull Meyers, co-curator of the 2019 Portland (OR) Biennial. Funded by the Greater Milwaukee Foundation’s Mary L. Nohl Fund and administered by the Bradley Family Foundation, the Mary L. Nohl Fund Fellowships for Individual Artists provide unrestricted funds for artists to create new work or complete work in progress. The program is open to practicing artists residing in Milwaukee, Waukesha, Ozaukee, and Washington counties.
Each year, the Nohl exhibition invites us to consider what it means to be an artist in greater Milwaukee at a specific moment in time. It can be a tricky show to organize, because the criteria that jurors use to select artists for fellowships differ from those they would use to plan an exhibition. But as curator Emilia Layden and fellowship administrator Polly Morris get to know the artists and their work through the months of studio visits prior to the opening, resonances emerge. This year, they found themselves in a cacophony of dialogues between artists and materials: from the wood harvested for Chris Cornelius’s sculpture Trickster; to the purposeful repurposing of discards by Keith Nelson and Rosemary Ollison; to Nazlı Dinçel’s shift from celluloid to wool, and from film to sculpture and performance, mediated by her body and its labor; to the stories and dreams—and those circulating within the constellation of her immediate family—that Makeal Flammini mined to construct a wall-sized drawing installation.
For some of the artists, the accumulation and transformation that marks a materials-driven practice has led them to work outside traditional studio settings. Although Nelson has renovated and managed studios for other Milwaukee artists for many years, his practice requires him to be in the world. Nelson pedals through Milwaukee’s alleys, inevitably charting the progress of gentrification and neighborhood change as he harvests domestic discards: grimy toilet tank covers, stained pillows, scratched table tops. Ollison, who, like Mary Nohl, is a world-maker, fills her apartment (itself an immersive environment not unlike Nohl’s home) with bins of scraps collected from thrift shops and rummage sales from which she creates quilts, clothing, and sculpture. Ollison dates the birth of her art practice—and her commitment to repurposing—to the early ‘90s when, in the depths of her despair, and inspired by the story of Jesus and the Canaanite Woman (Matthew 27:26-28), she asked Jehovah “to please do something for me even if it was just scraps.” If God could reclaim her life, she would pay that spiritual debt by building a world from scraps.
Finally, and significantly, Cornelius and Ollison draw explicitly from cultural traditions that reject the Western paradigm of individual creativity. For them, materials may be highly charged; creation may be a social act conditioned by cultural knowledge; and ambition may be directed away from the individual and toward broader goals. Cornelius describes himself as a “conspicuous interlocutor” working with Indigenous knowledge imparted to him at birth. Artist Jeffrey Gibson notes that Cornelius’s ambition “is unusual in the sense that he is not driven solely for his own achievement.” He uses the “gifts granted to him by his community and his ancestors”—what Cornelius describes as “the cultural underpinnings, devices, and thinking—which have not changed, ever—that manifest original Indigenous spaces, art, and objects”—to dismantle stereotypes, raise awareness of Indigenous issues, and to realize “visions that do not already exist.” While Cornelius addresses cultural reclamation, Ollison’s work speaks to healing and the recovery of joy. Like Cornelius, she rejects the idea of solitary creation; her work is the product, as Shelleen Greene observes in her essay, of “an ongoing communication with a loving God and Savior.”
Several additional events for the 2018 Fellows have been planned (full details in the Fact Sheet, below). The events, all of which are free, include artist talks and conversations, a roundtable discussion on being an artist and a parent, and a performance. A catalogue, highlighting the work of the 2018 Nohl Fellows, will be available for purchase at the Haggerty Museum of Art during the opening reception and throughout the exhibition.
Museum hours are Monday-Saturday, 10 am to 4:30 pm; Thursday, 10 am to 8 pm; and Sunday, noon to 5 pm. Museum admission is always free. The museum will be closed July 1-7.
(Please see Fact Sheet, below, for details, and a schedule of public programs.)
Established Artists
CHRIS CORNELIUS
Chris Cornelius is a citizen of the Oneida Nation of Wisconsin and his practice and research—whether making spaces or objects—are focused on creating contemporary and relevant translations of Indigenous design. As Jeffrey Gibson explains in his catalogue essay, Cornelius is “propelled by his desire to carve out and build spaces for Indigenous bodies, Indigenous knowledge, Indigenous pasts, presents, and futures.” According to Cornelius, “The primary means of doing this is to subvert the colonization that has occurred in design and created expectations of what is Indigenous, Native, or American Indian design. While I am educated in a Western educational system (the colonizers), I see myself as a conspicuous interlocutor with Indigenous knowledge imparted to me at birth. I am using the cultural underpinnings, devices, and thinking—which have not changed, ever—that manifest original Indigenous spaces, art, and objects. I am trying to constantly push the work forward and put it in front of new audiences. This is what my ancestors would have wanted—my obligation. I am of the wolf clan. We are the pathfinders.”
CHRIS CORNELIUS
Chris Cornelius is a citizen of the Oneida Nation of Wisconsin and his practice and research—whether making spaces or objects—are focused on creating contemporary and relevant translations of Indigenous design. As Jeffrey Gibson explains in his catalogue essay, Cornelius is “propelled by his desire to carve out and build spaces for Indigenous bodies, Indigenous knowledge, Indigenous pasts, presents, and futures.” According to Cornelius, “The primary means of doing this is to subvert the colonization that has occurred in design and created expectations of what is Indigenous, Native, or American Indian design. While I am educated in a Western educational system (the colonizers), I see myself as a conspicuous interlocutor with Indigenous knowledge imparted to me at birth. I am using the cultural underpinnings, devices, and thinking—which have not changed, ever—that manifest original Indigenous spaces, art, and objects. I am trying to constantly push the work forward and put it in front of new audiences. This is what my ancestors would have wanted—my obligation. I am of the wolf clan. We are the pathfinders.”
Cornelius’s sculpture practice began with speculative drawings and small models. In recent years, he has had opportunities to realize these works at scale. For his Nohl exhibition, Cornelius is creating a new sculpture in his Trickster series: Trickster (itsnotawigwam). A previous iteration, Trickster (itsnotatipi), won the 2018 Best of Design Award for Temporary Installation from The Architect’s Newspaper. Made from local wood and covered in copper mesh, the sculpture embodies a challenge to Western thinking. “The trickster plays an important role in Indigenous storytelling,” observes Cornelius. “They are not Human. They are often of animal form and/or natural phenomena. They teach us to free our minds of all that complicates this world. They teach us about our own flaws and human-centered thinking. They do not make sense or seek purpose.”
Chris Cornelius is the founding principal of studio:indigenous, a design practice serving Indigenous clients. Cornelius was a collaborating designer with Antoine Predock on the Indian Community School of Milwaukee. He is the recipient of numerous awards and honors, including the inaugural Miller Prize from Exhibit Columbus and an artist residency from the National Museum of the American Indian. Cornelius’s work has been exhibited widely, including at the 2018 Venice Architecture Biennale. He is an associate professor of Architecture at the University of Wisconsin-Milwaukee.
KEITH NELSON: VISCERAL MINIMAL
Keith Nelson’s work—painting-like objects and collages that are “rigorously considered, minimal aesthetic expressions”—is the product of a studio practice based outside the studio. His friend and fellow artist Shane McAdams describes Nelson as an artist “whose practice happens outside the confines of his studio” as he “lives, looks, and gathers,” reclaiming waste as he moves through his daily routine. Nelson collects materials—toilet tank covers, abandoned pillows and mattresses—as he bikes through Milwaukee’s back alleys. He uses these materials literally, in the sense that they are often unaltered and exactly as found, but the alchemy is in the selection and then in the arrangement of these materials. Lisa Kurzner, in the catalogue, describes these compositions as “restrained, elegant, self-reflective, replete with all the sophistication of a painter’s eye,” but also acknowledges his desire to make “work that transcends the formal,” that levels the “hierarchical nature of abstract formalism.” For Nelson, “value and beauty are highly subjective and completely dependent on context and individual perception,” and his work—each piece launched into the world as a proposition rather than a unique masterpiece—consistently and pointedly obscures the boundaries between the valuable and the worthless. His approach is both formal and intuitive: referencing minimalism; responding to gentrification, commodification, and consumerism; and reframing the subtle traces of individual lives.
Keith Nelson’s work—painting-like objects and collages that are “rigorously considered, minimal aesthetic expressions”—is the product of a studio practice based outside the studio. His friend and fellow artist Shane McAdams describes Nelson as an artist “whose practice happens outside the confines of his studio” as he “lives, looks, and gathers,” reclaiming waste as he moves through his daily routine. Nelson collects materials—toilet tank covers, abandoned pillows and mattresses—as he bikes through Milwaukee’s back alleys. He uses these materials literally, in the sense that they are often unaltered and exactly as found, but the alchemy is in the selection and then in the arrangement of these materials. Lisa Kurzner, in the catalogue, describes these compositions as “restrained, elegant, self-reflective, replete with all the sophistication of a painter’s eye,” but also acknowledges his desire to make “work that transcends the formal,” that levels the “hierarchical nature of abstract formalism.” For Nelson, “value and beauty are highly subjective and completely dependent on context and individual perception,” and his work—each piece launched into the world as a proposition rather than a unique masterpiece—consistently and pointedly obscures the boundaries between the valuable and the worthless. His approach is both formal and intuitive: referencing minimalism; responding to gentrification, commodification, and consumerism; and reframing the subtle traces of individual lives.
Keith Nelson received his BFA in 2000 from the Milwaukee Institute of Art & Design, where he majored in painting. He co-founded 7th Floor Studios in 2001, a collective working space in an unused industrial warehouse. It is now comprised of three floors and thirty-five studios. In 2014 he founded Usable Space, an artist-curated gallery (ongoing). He recently co-purchased a commercial property on Milwaukee’s Historic Mitchell Street, where he and his partner have organized five artist studios, a work/live apartment, and Real Tinsel, a new exhibition space. Nelson’s work has been exhibited recently at The Franklin (Chicago), ZieherSmith (New York), and FLUC (Vienna). He is represented by The Alice Wilds in Milwaukee.
Emerging Artists
NAZLI DİNÇEL: ALTERATIONS OF A BODY
Nazlı Dinçel is a first-generation immigrant from Ankara, Turkey. She works with the human body in its many forms: as arousing object, as a tool for immigration, and as a link between physical and emotional states. Until recently, she worked primarily with camera original film, “a deteriorating organic matter similar to the body.” For Dinçel, “the film object was an ideal analogue to the body with its similar haptic qualities of texture, color, and the tractable emulsion of the 16mm material,” and she altered it by layering images, scratching text into the emulsion, and piercing the celluloid with stitches. With Alterations of a Body, Dinçel moves between film material, sculpture, and traditional Turkish rug-making, weaving rugs based on a filmic imprint of her figure—also in the gallery—and unspooling wool from a garment wrapped around her body. According to Sophie Cavoulacos, assistant curator of Film at The Museum of Modern Art, this introduces “an inspired new register for her deep thinking on identity as she shifts from recording her body to enacting it in the Haggerty Museum galleries.” Dinçel’s performance “articulates a new type of cinematic temporality: transposed into the exhibition is a loop between the body’s image, its presence, and its output, all foregrounded by the oscillation between two and three dimensions.” Dinçel’s project, in its evocation of Homer’s Penelope through its simultaneous weaving and unraveling, “proposes expansive avenues to think about the measure of production through time.”
NAZLI DİNÇEL: ALTERATIONS OF A BODY
Nazlı Dinçel is a first-generation immigrant from Ankara, Turkey. She works with the human body in its many forms: as arousing object, as a tool for immigration, and as a link between physical and emotional states. Until recently, she worked primarily with camera original film, “a deteriorating organic matter similar to the body.” For Dinçel, “the film object was an ideal analogue to the body with its similar haptic qualities of texture, color, and the tractable emulsion of the 16mm material,” and she altered it by layering images, scratching text into the emulsion, and piercing the celluloid with stitches. With Alterations of a Body, Dinçel moves between film material, sculpture, and traditional Turkish rug-making, weaving rugs based on a filmic imprint of her figure—also in the gallery—and unspooling wool from a garment wrapped around her body. According to Sophie Cavoulacos, assistant curator of Film at The Museum of Modern Art, this introduces “an inspired new register for her deep thinking on identity as she shifts from recording her body to enacting it in the Haggerty Museum galleries.” Dinçel’s performance “articulates a new type of cinematic temporality: transposed into the exhibition is a loop between the body’s image, its presence, and its output, all foregrounded by the oscillation between two and three dimensions.” Dinçel’s project, in its evocation of Homer’s Penelope through its simultaneous weaving and unraveling, “proposes expansive avenues to think about the measure of production through time.”
Nazlı Dinçel has won awards and exhibited worldwide in institutions, festivals, and microcinemas including The Museum of Modern Art, International Film Festival Rotterdam, REDCAT, and the Hong Kong International Film Festival, among others. Recently, she received the 2018 Helen Hill Award at the Orphan Film Symposium and the Eileen Maitland Award at the 2018 Ann Arbor Film Festival. She is the recipient of a 2019 Radcliffe Institute for Advanced Study Fellowship at Harvard University. Dinçel is also building an artist-run, nonprofit film lab on the south side of Milwaukee. She holds an MFA from the University of Wisconsin-Milwaukee’s Department of Film, Video, Animation and New Genres.
MAKEAL FLAMMINI: HOW ABOUT I EAT YOU?
Makeal Flammini describes her monumental wall installation as a “love poem, that hurts to write.” Drawing on her dreams, observations, the stories of her children, and the writers who have influenced her (not least of all David Foster Wallace, with whom she shares a love of the extratextual), How about I eat you? traces the cataclysmic shifts in identity, memory, and understanding that accompany motherhood. “When my daughter was born, the flimsily constructed identity I had built inside myself collapsed. Suddenly the narrative I was telling myself, about myself—that I saw no reflection of myself in the world—no longer fit.” This new narrative manifests as a series of annotated drawings, from tiny to ceiling-height, filling a long wall at the Haggerty Museum. Novelist Samantha Hunt describes Flammini as a mother-seer, someone who rejects the “paradigms where women, children, and dreams are doubted.” Just as mothers “make a death with each life,” Flammini is engaged in a simultaneous act of destruction and construction, burrowing into her unconscious, resurrecting archetypes, retelling family stories, asking of those closest to her, “What is it then, between us?”—and ultimately arriving “at a courageous truth where the voiceless dispose of cruel narratives, thus reshaping our world.”
Makeal Flammini describes her monumental wall installation as a “love poem, that hurts to write.” Drawing on her dreams, observations, the stories of her children, and the writers who have influenced her (not least of all David Foster Wallace, with whom she shares a love of the extratextual), How about I eat you? traces the cataclysmic shifts in identity, memory, and understanding that accompany motherhood. “When my daughter was born, the flimsily constructed identity I had built inside myself collapsed. Suddenly the narrative I was telling myself, about myself—that I saw no reflection of myself in the world—no longer fit.” This new narrative manifests as a series of annotated drawings, from tiny to ceiling-height, filling a long wall at the Haggerty Museum. Novelist Samantha Hunt describes Flammini as a mother-seer, someone who rejects the “paradigms where women, children, and dreams are doubted.” Just as mothers “make a death with each life,” Flammini is engaged in a simultaneous act of destruction and construction, burrowing into her unconscious, resurrecting archetypes, retelling family stories, asking of those closest to her, “What is it then, between us?”—and ultimately arriving “at a courageous truth where the voiceless dispose of cruel narratives, thus reshaping our world.”
Makeal Flammini is a mother, and though many things came before, they hardly matter to her at all. She was the co-host of the now defunct radio program The Wild Wild Midwest Variety Show, which aired on WMSE, and the co-creator of The Parachute Project, a roving arts group which held exhibitions in unused buildings throughout Milwaukee. She is an artist and a writer who lives in Milwaukee with her husband, two small children, a dog named Hippo-Diego, and a fish called Becky.
ROSEMARY OLLISON: TAKING LEATHER TO THE LIMIT
As Shelleen Greene notes in her catalogue essay, Rosemary Ollison’s work begins in “profound spirituality, grace, and surrender.” For Ollison, creation is never a solitary act, but it is always an act of healing, of reclamation: “All that I create I do so in dialogue with Jehovah God. When I am creating, I am satisfied, I am free. I no longer just exist, I am alive! I do not feel worthless, hopeless, alone, sad, afraid, ashamed, guilty, downhearted, unloved, uncared for, doubtful, discontented, and the like. . . I can see the real me in my works.” That act of reclamation extends to the materials she finds in thrift shops and at rummage sales: “Everything I make comes from discarded items, as if I am rescuing the people and things abandoned in love and turning them into new beings, full of beauty and potential.” The works on view are the result of “taking leather to the limit”: a large, suspended sculpture made from repurposed leather, and several quilts from her Sperm and Egg series that “reflect the mystery and magnitude of life—the miracle that we ended up here on this planet.” For Greene, the artist—whether in her drawings of women or the clothes and adornments she makes—is “reclaiming the corporeal, not as abject or that which must be denied, but as divine ground for creativity and liberation.”
As Shelleen Greene notes in her catalogue essay, Rosemary Ollison’s work begins in “profound spirituality, grace, and surrender.” For Ollison, creation is never a solitary act, but it is always an act of healing, of reclamation: “All that I create I do so in dialogue with Jehovah God. When I am creating, I am satisfied, I am free. I no longer just exist, I am alive! I do not feel worthless, hopeless, alone, sad, afraid, ashamed, guilty, downhearted, unloved, uncared for, doubtful, discontented, and the like. . . I can see the real me in my works.” That act of reclamation extends to the materials she finds in thrift shops and at rummage sales: “Everything I make comes from discarded items, as if I am rescuing the people and things abandoned in love and turning them into new beings, full of beauty and potential.” The works on view are the result of “taking leather to the limit”: a large, suspended sculpture made from repurposed leather, and several quilts from her Sperm and Egg series that “reflect the mystery and magnitude of life—the miracle that we ended up here on this planet.” For Greene, the artist—whether in her drawings of women or the clothes and adornments she makes—is “reclaiming the corporeal, not as abject or that which must be denied, but as divine ground for creativity and liberation.”
Originally from Arkansas, Rosemary Ollison moved to Milwaukee as a teenager. In 1994, in the aftermath of an abusive marriage, she began making art and writing poetry. Since then, Ollison’s practice has become increasingly interdisciplinary. Generally working with repurposed materials, she makes drawings, textiles, and sculptures. She also designs her own clothing and jewelry, and she has created a series of home environments that are an extension of her practice. In addition to her Nohl Fellowship, Ollison was named a 2019 Artist of the Year by the City of Milwaukee Arts Board. She will have a solo exhibition at the Lynden Sculpture Garden opening in August 2019, and recently designed a hotel room at the new Saint Kate in downtown Milwaukee. Her work is in the collections of the Milwaukee Art Museum, the Chipstone Foundation, and is in the private collection of artist Joyce Pensato. She is represented by Portrait Society Gallery in Milwaukee.
NOHL EXHIBITION FACT SHEET
CONTACT INFORMATION
Haggerty Museum of Art
Marquette University
Phone: (414) 288-1669
Email: [email protected]
Web: marquette.edu/haggerty
CONTACT INFORMATION
Haggerty Museum of Art
Marquette University
Phone: (414) 288-1669
Email: [email protected]
Web: marquette.edu/haggerty
LOCATION & HOURS
Haggerty Museum of Art, 1234 West Tory Hill Street, Milwaukee, Wisconsin 53233
Hours: Monday-Saturday, 10 am to 4:30 pm; Thursday, 10 am to 8 pm; and Sunday, noon to 5 pm. Museum admission is always free. The museum will be closed July 1-7.
Complimentary parking is available in Lot J.
Haggerty Museum of Art, 1234 West Tory Hill Street, Milwaukee, Wisconsin 53233
Hours: Monday-Saturday, 10 am to 4:30 pm; Thursday, 10 am to 8 pm; and Sunday, noon to 5 pm. Museum admission is always free. The museum will be closed July 1-7.
Complimentary parking is available in Lot J.
June 7-August 4, 2019
THE GREATER MILWAUKEE FOUNDATION’S MARY L. NOHL FUND FELLOWSHIPS FOR INDIVIDUAL ARTISTS 2018 EXHIBITION
THE GREATER MILWAUKEE FOUNDATION’S MARY L. NOHL FUND FELLOWSHIPS FOR INDIVIDUAL ARTISTS 2018 EXHIBITION
Established Artists
Chris CORNELIUS
Keith NELSON
Emerging Artists
Nazlı DİNÇEL
Makeal FLAMMINI
Rosemary OLLISON
Chris CORNELIUS
Keith NELSON
Emerging Artists
Nazlı DİNÇEL
Makeal FLAMMINI
Rosemary OLLISON
Thursday, June 6, 2019, 6-8 pm
Public opening reception
Join the Nohl Fellows for the opening of this annual exhibition.
Public opening reception
Join the Nohl Fellows for the opening of this annual exhibition.
Nohl Public Programs 2019
All events are free, open to the public, and take place at the Haggerty Museum of Art unless otherwise indicated.
All events are free, open to the public, and take place at the Haggerty Museum of Art unless otherwise indicated.
June 7-August 4, 10 am-4 pm
June 6, June 27, July 11, 6-8 pm
NAZLI DİNÇEL: ALTERATIONS OF A BODY
For her Nohl exhibition, Alterations of a Body, Nazlı Dinçel will engage in an improvisational weaving performance every Monday, Tuesday, Wednesday, and Friday, from 10 am – 4 pm, that the exhibition is open. (Exceptions include Friday, June 14, when there will be no performance, Friday June 21, when the performance will begin at 12 pm, and July 1 – 7, when the museum is closed.) The performances will take place for the duration of the exhibition, as the artist completes five woven textiles that reference the film images of her body, also on view in the installation. Dinçel will offer three evening performances from 6-8 pm on Thursday, June 6; Thursday, June 27; and Thursday, July 11.
June 6, June 27, July 11, 6-8 pm
NAZLI DİNÇEL: ALTERATIONS OF A BODY
For her Nohl exhibition, Alterations of a Body, Nazlı Dinçel will engage in an improvisational weaving performance every Monday, Tuesday, Wednesday, and Friday, from 10 am – 4 pm, that the exhibition is open. (Exceptions include Friday, June 14, when there will be no performance, Friday June 21, when the performance will begin at 12 pm, and July 1 – 7, when the museum is closed.) The performances will take place for the duration of the exhibition, as the artist completes five woven textiles that reference the film images of her body, also on view in the installation. Dinçel will offer three evening performances from 6-8 pm on Thursday, June 6; Thursday, June 27; and Thursday, July 11.
Thursday, June 27, 6 pm
MAKEAL FLAMMINI: PRODUCTION AND REPRODUCTION: BEING A PARENT AND AN ARTIST
In her Nohl application, 2018 Fellow Makeal Flammini described herself as “a mom who hasn’t slept in four years. In the moments she is able to steal for herself, she is a painter who dreams of being a writer.” Flammini gathers a group of current and former Nohl Fellows and Suitcase awardees for a moderated roundtable discussion on the perils and pleasures—or maybe just the many different realities—of being an artist and a parent these days. There will be a concurrent weaving performance in the gallery by Nazlı Dinçel.
MAKEAL FLAMMINI: PRODUCTION AND REPRODUCTION: BEING A PARENT AND AN ARTIST
In her Nohl application, 2018 Fellow Makeal Flammini described herself as “a mom who hasn’t slept in four years. In the moments she is able to steal for herself, she is a painter who dreams of being a writer.” Flammini gathers a group of current and former Nohl Fellows and Suitcase awardees for a moderated roundtable discussion on the perils and pleasures—or maybe just the many different realities—of being an artist and a parent these days. There will be a concurrent weaving performance in the gallery by Nazlı Dinçel.
Thursday, July 11, 6 pm
GALLERY TALK WITH ROSEMARY OLLISON
Rosemary Ollison discusses her installation, Taking Leather to the Limit, and the path that led her to become an artist. There will be a concurrent weaving performance in the gallery by Nazlı Dinçel.
GALLERY TALK WITH ROSEMARY OLLISON
Rosemary Ollison discusses her installation, Taking Leather to the Limit, and the path that led her to become an artist. There will be a concurrent weaving performance in the gallery by Nazlı Dinçel.
Thursday, July 18, 6 pm
POST-STUDIO: KEITH NELSON IN CONVERSATION WITH SHANE McADAMS
Artists Keith Nelson and Shane McAdams, the odd couple of Milwaukee’s art scene, discuss their relationship—a mix of friendship, studio share, business partnership, and intellectual exchange—Nelson’s work, and the current state of contemporary art.
POST-STUDIO: KEITH NELSON IN CONVERSATION WITH SHANE McADAMS
Artists Keith Nelson and Shane McAdams, the odd couple of Milwaukee’s art scene, discuss their relationship—a mix of friendship, studio share, business partnership, and intellectual exchange—Nelson’s work, and the current state of contemporary art.
Wednesday, September 11, 7:30 pm
UWM DEPARTMENT OF ART & DESIGN: ARTISTS NOW! GUEST LECTURE SERIES
CHRIS CORNELIUS
UWM Arts Center Lecture Hall, 2400 E. Kenwood Blvd.
Information: (414) 229-6052 or arts.uwm.edu
Chris Cornelius, a 2018 Nohl Fellow in the Established category, is a citizen of the Oneida Nation of Wisconsin and an associate professor of Architecture at the University of Wisconsin-Milwaukee. He is the founding principal of studio:indigenous, a design practice serving Indigenous clients. His research and practice focus on creating contemporary and relevant translations of Indigenous design by dismantling stereotypes while designing experiences that raise awareness of Indigenous issues.
UWM DEPARTMENT OF ART & DESIGN: ARTISTS NOW! GUEST LECTURE SERIES
CHRIS CORNELIUS
UWM Arts Center Lecture Hall, 2400 E. Kenwood Blvd.
Information: (414) 229-6052 or arts.uwm.edu
Chris Cornelius, a 2018 Nohl Fellow in the Established category, is a citizen of the Oneida Nation of Wisconsin and an associate professor of Architecture at the University of Wisconsin-Milwaukee. He is the founding principal of studio:indigenous, a design practice serving Indigenous clients. His research and practice focus on creating contemporary and relevant translations of Indigenous design by dismantling stereotypes while designing experiences that raise awareness of Indigenous issues.
Thursday, November 7, 6 pm
TALKS BY 2019 NOHL JURORS
Reception begins at 6 pm; talk begins at 6:30 pm
The three jurors who will be selecting the five recipients of the Greater Milwaukee Foundation’s Mary L. Nohl Fund for Individual Artists Fellowships (2019) will give a public talk about their institutions and curatorial interests. The talk begins at 6:30 pm and is preceded by an informal reception. Jurors will be announced in the fall.
TALKS BY 2019 NOHL JURORS
Reception begins at 6 pm; talk begins at 6:30 pm
The three jurors who will be selecting the five recipients of the Greater Milwaukee Foundation’s Mary L. Nohl Fund for Individual Artists Fellowships (2019) will give a public talk about their institutions and curatorial interests. The talk begins at 6:30 pm and is preceded by an informal reception. Jurors will be announced in the fall.
Wednesday, November 13, 7:30 pm
UWM DEPARTMENT OF ART & DESIGN: ARTISTS NOW! GUEST LECTURE SERIES
MAKEAL FLAMMINI IN CONVERSATION WITH SAMANTHA HUNT
UWM Arts Center Lecture Hall, 2400 E. Kenwood Blvd.
Information: (414) 229-6052 or arts.uwm.edu
Makeal Flammini, a 2018 Nohl Fellow in the Emerging category, and Samantha Hunt, author of three novels and the short story collection, The Dark Dark, have been penpals for years. In this conversation they discuss Flammini’s work, the way that “mothering slices deep,” and the experience of making art in a world where “women, children, and dreams are doubted.”
UWM DEPARTMENT OF ART & DESIGN: ARTISTS NOW! GUEST LECTURE SERIES
MAKEAL FLAMMINI IN CONVERSATION WITH SAMANTHA HUNT
UWM Arts Center Lecture Hall, 2400 E. Kenwood Blvd.
Information: (414) 229-6052 or arts.uwm.edu
Makeal Flammini, a 2018 Nohl Fellow in the Emerging category, and Samantha Hunt, author of three novels and the short story collection, The Dark Dark, have been penpals for years. In this conversation they discuss Flammini’s work, the way that “mothering slices deep,” and the experience of making art in a world where “women, children, and dreams are doubted.”
Related Exhibitions
August 19-October 5, 2019
OUT OF THE SUITCASE VIII
Reception: Thursday, September 5, 6-8 pm
MIAD, 273 East Erie St.
Gallery hours: Monday-Saturday, 10 am-5 pm
FREE
Information: 414-847-3239 or miad.edu
Out of the Suitcase VIII, curated by Mark Lawson, MIAD Gallery Director, and Bruce Knackert, is the biennial exhibition honoring a selection of recent recipients of the Greater Milwaukee Foundation’s Mary L. Nohl Fund Suitcase Export Fund. Additional public programs will be planned around the exhibition.
OUT OF THE SUITCASE VIII
Reception: Thursday, September 5, 6-8 pm
MIAD, 273 East Erie St.
Gallery hours: Monday-Saturday, 10 am-5 pm
FREE
Information: 414-847-3239 or miad.edu
Out of the Suitcase VIII, curated by Mark Lawson, MIAD Gallery Director, and Bruce Knackert, is the biennial exhibition honoring a selection of recent recipients of the Greater Milwaukee Foundation’s Mary L. Nohl Fund Suitcase Export Fund. Additional public programs will be planned around the exhibition.