Archive

Tag Archives: University of Minnesota

This slideshow requires JavaScript.

Andy Mattern is currently pursuing an MFA in Studio Art at the University of Minnesota. His photographs are receiving attention not only within Minnesota but around the country for their depiction of human life without visualized human forms. Instead, influences from culture are mined to examine our technologies’ and abilities to create and express. His recent projects will be seen at The Katherine Nash Gallery in Mountains Were Oceans, opening March 30, 2012, and in Duluth at PRØVE Gallery (opening March 19, 2012). Just this week, Andy received a 2012 Minnesota State Arts Board Artist Grant.

MPB: Why DETACHED GARAGE?

AM: These photographs are from a recent body of work inspired by evening walks in the alleys of St. Paul and Minneapolis. The title refers to the structures pictured, but also to the experience of being separated from the activity of the street while wandering in the alleys.

MPB: In the series, every door is closed. Thematically, the back door or secret portal’s a personal and private place. But these structures are detached from their houses.

AM: My work often begins by locating a certain type of private space in which I can focus intensely and without distraction. The activity of photographing for me is similar to meditation because it is a repetitive attempt to focus on a single point while letting everything else go. I am enamored with the forms of these garages, their surfaces, shapes, and hints of individuality, but more important to me is the pursuit of solitude through seeing.

MPB: Is DETACHED GARAGE is an extension of your series, EMPTY BUILDINGS? 

AM: Inasmuch as an artist is always saying the same thing, albeit in different ways, yes, these two series are related. The connection for me is mainly in the experience of photographing and the desire to be alone, but certainly the content of the images and the way they are presented is similar.

MPB: What are DETACHED GARAGE’s influences? 

AM: The New Topographics has been a big influence on me, Lewis Baltz and the Bechers, in particular. Their formal and systemic approaches appeal to me because they create a method of engagement with the world. This method becomes ritual and the output, although ordered by a set of parameters imposed up front, becomes a surprise.

MPB: Why DRIVEN SNOW?

AM: Last winter was the 5th snowiest in Minnesota’s recorded history. During the months of astonishing cold, I noticed a peculiar product of weather and urban movement: masses of dirty ice and snow that accumulate under cars. I dislodged these forms from parked vehicles, or retrieved them from the street, and brought them back to the studio to photograph. Impossibly suspended in midair, these odd forms are presented like specimens, removed from their context. The visual result is something between scientific record and abstract painting that is a meditation on impermanence.

MPB: Do you have any anecdotal responses from your audiences about the work?

AM: Some people think they are rocks or even organisms. I like this uncertainty. Even though the objects are evenly lit and presented at life size, they are still mysterious.

MPB: What are the scales you present these two series’ work? 

AM: Detached Garage is printed 24×30 and the Driven Snow is printed with the depicted objects exactly to scale, one-to-one, which makes the paper size 17×22.

MPB: Other then geography and place, do you find similarities between these two series?

AM: Both deal with seriality. I am interested in the production of collections of images that work together. The repetition this entails is an important part of the process, not just as a generative strategy, but also as a psychological statement. I love looking deeply at closely related images, finding the nuances and variations. This type of seeing is similar to listening to the same song on repeat, over and over, each time you hear something new.

MPB: What are the next opportunities and venues to share your work to the public?

AM: My work will be in two group shows coming up at the Katherine E. Nash Gallery. The first, Regarding Place, is a continuation of the exhibition I helped organize this past summer in Turku, Finland with my colleagues from the Department of Art, Areca Roe, Jan Estep, Erin Hernsberger, Sam Hoolihan, Justin Newhall, James Henkel. This spring in the Nash I will be showing work with my fellow graduate students in our MFA thesis exhibition.

Advertisements

This slideshow requires JavaScript.

Justin Newhall’s photography has been exhibited both nationally and internationally, including solo, two- and three-person exhibitions, at the Museum of Contemporary Photography (Chicago), Galerie Lichtblick (Cologne), Franklin Art Works (Minneapolis), and the Minneapolis Institute of Arts.

His work is represented in numerous public and private collections, including the permanent collections of the Museum of Contemporary Photography and the Walker Art Center.

Justin is based in Minneapolis, Minnesota. He received a BFA from the Minneapolis College of Art & Design and an MFA from the University of Minnesota. Aperture has published an individual title of Newhall’s work. Newhall is represented by Weinstein Gallery in Minneapolis.

For more information, contact newhall.info@gmail.com.

MPB: Your work involves myths and history, and in your Lewis and Clark series, many of the photos depict “history” as it relates to opportunities for tourism and commerce. In America, public knowledge about her history is a commercial industry in as much as commerce equates America’s national pride. For you, is there a semblance which stories from history sell, and which stories people are attracted to, and how those stories are spun over time?

Sacagawea State Park, Walla Walla County, Washington

JN: My work in Historical Marker revolved around the 200-year anniversary of the Lewis and Clark expedition. One of the things I was interested in with that project was exploring how we tell or sell our historic past. It is usually incredibly oversimplified and often hyperbolic – animated dioramas, reenactments, etc.  As a kid visiting these places, I can tell you it did little to shed light on history in any thoughtful or educational way.  I also wanted to juxtapose those often absurd images with images of the geography itself, which is often unremarkable.  Many historic sites and monuments belie the significant events or histories that actually took place there.

MPB: Contrarily, photographing up in Churchill, Manitoba is more about hunting down the mythology that inspired Gould. Whatever community there was, it was a fringe-society without the glamour of the heroic American mythological epic. Your series, Northern Studies, is less about a public or collective connection to history, yet, like any other story, the landscape’s narrative is mysterious and compelling. Is there a reason why you started the series as it relates to the hyperbolic tourism found in Lewis and Clark’s legacy, or the shared fetishism found in Axis and Allies?

JN: With Northern Studies I wasn’t so much interested in “hunting down” the North that Gould portrayed in his experimental radio documentary as I was in finding a way to translate its essence into visual form.  As for how it relates to my Historical Marker images, I would say that both involve following someone else’s path.  And in both those projects and in my Axis and Allies series, I was interested in history – past and present. Also, in all three bodies of work, the landscape figures in or looms largest.  Even in Axis and Allies, the Midwestern landscape, full of buckthorn and honeysuckle, becomes a character.

German Soldiers, Rosemount, Minnesota

MPB: What’s an experience about an image you had difficulty making, and could you describe what potentially distracted or diluted the image before you were happy with it?

JN: With Northern Studies I had many difficult experiences making images. My first of several trips to Churchill, Manitoba (where the Northern Studies images were taken) involved a 10 day trip (five of which were on a train) with me shooting around 100 rolls of film – and I didn’t like any of the images I made.  There were a few images from that trip with promise, but I could tell I just needed to figure out a better way of picturing them.  On my next trip I switched from a medium format to 4×5 so I could get more descriptive power from the images and that helped a great deal. The worst part about shooting in the region was the cold in the winter (one trip the mercury never made it above -30 F), which made taking pictures with my 4×5 almost impossible.  And add on top of that that the very real possibility of a polar bear attack. The summers weren’t much better – I still had to be worried about polar bear, but the real menace was the bugs. You can’t even imagine how insane they were. It was the Boundary Waters times ten!

MPB: Is the purpose of your work satire, or to critique? Or both?

JN: No comment.

MPB: Your previous series Axis and Allies explores history as consumption: the rituals of subculture, nostalgia, and respect ultimately compel larger bodies of people-groups to reenact war battles. How much is spectator-sports? Education? 

JN: Many people who participate in reenactments feel like they are having this very intense and “real” connection to history.  Of course in reality, it’s a very selective and often nostalgic one.  Sometimes there is a component of public education – reenactments often take place as part of celebrations commemorating historic events.  But what I was interested in was the private events that reenactors hold, where the general public is out of view. There, there’s very little pretense about educating.  Participants are still obsessed with “authenticity,” especially as it relates to their gear and weaponry, but in my experience at least (I participated in many private events as a Russian soldier in a Soviet unit), there’s not a whole lot of talk about the nature of war or its outcomes. They would have these battles with an end goal, and sometimes they’d relate it to a particular historic battle, the Battle of the Bulge for instance, but the outcome wasn’t actually predetermined.  Most of the time I participated, the Germans won.

MPB: I’m also curious: what is your understanding of the psychological motivations of the participants? Is there a general through-line as to why they participate? Are there financial costs to participate (do they pay a participatory fee)? And if there are fees to participate, does money go to something specifically?

JN: Motivations vary – everyone comes to their “impression” from a different place.  Typically, there are no fees to participate.

MPB: Were you able to deduce how much of the battle re-enactments are a way for two sides to continue fighting, or for two opposing frames of thought not to compromise? 

JN: Not sure what you mean? I think in large part it’s a way for a bunch of grown men (and some women) to get together, camp, drink, smoke and play war. I believe much of it is about fantasy and play.

MPB: Political-theorist Hannah Arendt said, “I’m more than ever of the opinion that a decent human existence is possible only on the fringes of society.” All of your work appears to be focused on fringe-societies. In many ways “the other” (aka “fringe societies”) is becoming more consistent in our own society. What’s a fringe society now?

JN: I’ve never thought of my work as concentrating on the idea of “the other” except perhaps in Axis and Allies.  With Historical Marker the work was born of familiarity – paying homage to decades of family trips out West and also to the work of a generation of photographers often associated with the New Topographics exhibition at the Eastman House in 1975.  I guess with Northern Studies there was a sense of the exotic – due in large part to geographic distance and isolation – but in reality the town of Churchill isn’t all that much different from what you find in Northern Minnesota or Rural Montana. Fringe to some, but again I think familiar to many others.  I’m not sure what I would consider a fringe society as it requires you to set a baseline for the norm, which is something quite difficult to do.

Cold War-era Radar Facillity, Fort Churchill, MB

MPB: Could you list your most important influences–visually and philosophically? 

JN: Tough one to answer, there are so many, and it varies depending on which project I’m looking at.  Music in general is almost always an influence, whether it’s a specific band or song  or composer, or a general movement – punk rock, folk, classical, etc.  Frequently, I think of my projects in terms of structure the way I would a song or album. That was one of the reasons I was so keen on using Glenn Gould’s Idea of North as the foundation to build my Northern Studies series.  Gould’s work is a radio documentary but it’s structured like a musical score.  Also, with my most recent work, I keep coming back to a song by the British post punk band Wire – Outdoor Miner. It’s spare, simple, beautiful and mysterious in a way that resonates with me.

MPB What inspires you to photograph currently?

JN: At the highest level of generality, I make photographs to discover and make sense of the world and to communicate what I find with others.

MPB: Do you have any opinions about the future of photography: technically, artistically?

JN: Practice-wise I could care less if an image was made with an iPhone or with an 8×10 view camera as long as it’s compelling. Also, I’m sure digital cameras will continue to get better and the means of producing images easier – though you will still need a good idea to make something worthwhile. Predicting photography’s artistic future (in terms of subject matter)  I would say that, from now until the end of time, we’ll be rehashing the same broad or general themes and ideas.  What’s the quote…“the really original artist does not try to find a substitute for boy meets girl, but creates the illusion that no boy ever met a girl before”?  Some might find that discouraging.  But I find it comforting.

MPB: What is the surprising-best quality about the “Minnesota photo-scene”?

JN: I’m not sure if I see it as a scene per se, but I do think there is a strong visual arts community here.  Its best quality is that it’s accessible to anyone seeking it out.

MPB: Are there any dynamics you would wish could change? Or things “we’re doing,” but could do better?

JN: I do think that one could argue for trying to make it (the MN visual arts community) better known to the world outside of MN.  There are certainly a number of people in town whose reputation or work is well known elsewhere, but there’s still a sense that artists in the Midwest are not the same caliber as their coastal peers and that there is a provincial quality to work made here. Both in my experience are not true.

MPB: Whose unnoticed photo-work are you particularly excited and engaged by and would like to find wider exposure?

JN: This is a bit of a copout but there are too many to list.

MPB: I’d associate you as a Minnesota photographer. Have you lived elsewhere, and if so has that experience informed your work specifically?

JN: I was born in Los Angeles, but shortly thereafter my family moved back to Minnesota. But my family has had a long connection with the state of Montana, going back almost 100 years, so growing up I spent many of my summers on my grandparents’ ranch in Central Montana.  That connection has and continues to inform the work I make.

Installation View of Northern Studies at Franklin Art Works

This slideshow requires JavaScript.

Jan Estep is Associate Professor in the Department of Art at the University of Minnesota, Twin Cities. Selected notable past projects include Beneath the Surface (of language), 2011; Wittgenstein Project, 2007; The Antarctica Project/Because Snow Never Melts, 2004; and “Survival Wear,” 1996- 2001.

Jan Estep is currently working on two exciting conceptual-based projects. Most recent and ongoing is a collaborative interdisciplinary art and cognitive neuroscience project, titled Thinking Portraits. And this past summer (2011), Estep traveled to the Grand Canyon and performed Metta and Loving Kindness acts to honor those who had taken their lives there in the related projects, Grand Canyon Suicide Map and Metta Meditation, Grand Canyon National Park.

Photographically, Estep’s contributions expand the range and approach to traditional image-making. I sat down with her recently to learn about her refreshing process, but also about how her experience in life is ultimately one of her most used materials.

MPB: Your background has philosophical flavorings. Could you contextualize what your role and responsibilities are to the Art Department at the University of Minnesota?

JE: I am hired through the photography area, but honestly, I’m photo/interdisciplinary.

In terms of my teaching, I develop more conceptual-based processes rather than technically-based processes. For example, one of the photography classes I’ve developed is Performative Photography: Documentation of Artistic Acts and Social Interventions. The class parallels my own relationship with the camera. I’m affiliated with the photography area, but I use the camera, really, as a tool when it’s appropriate in my projects, usually documenting some other behavior.

MPB: Speaking of this approach, but stepping back to 2001, as part of the series “Survival Wear,” you trekked through a forest in Wisconsin and photographed yourself for the Hunter Dress images.

JE: Yes. I designed the dress, a simple bodice, a simple skirt; the skirt is made with a Realtree nature-print pattern that hunters use during hunting season, using a material that would help camouflage me but a bodice that is bright red, so I’m also a target. I hiked with my camera, tripod, and garment carried in a backpack. I made the dress the entire time with this particular image of me draped over a tree in mind, like a hunted, trapped animal in some kind of dark fairy tale. I hiked in the woods until I found a felled tree, and found a way to hoist myself on to it. In this case, I only took two takes: I put the camera on a timer. It just felt right. I felt I got the image.

This image is part of a series. In another image, I was on the ground; in the other, I leaned on the tree. But the point is that this is how I use the camera, to document an event or action that otherwise would go unnoticed, and also to be able to share it with others.

I have to rely on the viewer imagining what this experience would be like, of extending themselves into the situation: so in the case of this image, what would motivate me, what would it be like to be out in the woods like this, hanging over a tree. What other references does the image hold?

MPB: What’s compelling is the experience, the momentary time and context–the ingredients of life.

JE: Yes. I’m interested in the primary behavior, the trip event, the research, my experience, and as the artist, it’s always, “Can you share the experience with people? How can you share it with people? How can you make it interesting for the viewer?”

MPB: But it’s even the joy you express, or your curiosity–and sometimes the way you inhabit that circumstance, and how those qualities become communicated. The person in the environment.

JE: That’s how I got into the photography. I needed a way to document these things I wanted to do in the world. Lots of artists do this. It’s not a totally novel idea.

I think about this a lot, “How can I have these kinds of experiences, which I think are important not only selfishly, but how are they going to be shared to others—my audience?”

The dilemma is as the artist I always get an incredible amount of satisfaction and engagement from making the work, but others don’t have that creative, making moment. So the issue is, will anybody else get anything else out of it? In this case, documentation is not about replicating the experience or providing a way for someone to mirror it in some experiential way; that’s not possible, nor do I think it’s necessary for the work to have meaning or to communicate. Nonetheless, I wonder what the pay off will be for my viewers, and will what I’ve done translate when they’re not with me, they’re not in the forest?

MPB: But even so, you’ve exhibited the work with success. Moving to more recently–this past summeryou worked on quite the project!

JE: Yes! Last year I made a map of all the suicides that have occurred in the Grand Canyon—the valley of the canyon—the ones that have been recorded by the National Park Service, going back to 1900. There have been 59 known suicides, most of them from jumping or driving off the edge. Over 600 people have died, and some “accidents” could have been suicides, but only 59 suicides have been determined. Relative to all the deaths in the region, most of the suicides happen at the Grand Canyon National Park, clustering mainly around the South Rim of the Park.

Grand Canyon Suicide Map, 2011, detail

This past summer I spent a week at the Park, both the North and South Rims. My agenda for the trip was to retrace and visit all the spots where people had taken their lives, and perform acts of Metta mixed with compassion. I had a backpack of Z-rests as a seat cushion, and in each spot I would meditate and reflect.

What’s curious about these sites is most people who go to the Canyon are blown away by the beauty. They’re there to gawk and awe and be amazed, and to be outdoors in that setting which is full of life. But there have been times where in front of the same sublime spot there are people who are so distraught, so alienated from themselves and life, they jump or take their life.

MPB: You were there as a tourist and interacting with the tourists, right? 

JE: Exactly. Yes, I was a tourist, but for some of my projects, there’s pilgrimage—it’s part of the experience.

For the Grand Canyon, each day I hiked my way out along the Rim trails, stopping by each of the sites to meditate, then at the end of the day I’d ride the shuttle back to the campground, cramped in the bus like sardines with lots of other talkative tourists. There were also lots of visitors around me as I meditated, and I just included them in my Metta.

Suicide is a serious thing. It’s about suffering and being in pain. A lot of us suffer in different ways. These two experiences—tourism and alienation—were happening simultaneously.

MPB: Tourism is a metaphor about life: in life, we’re visitorswe’re here, we come, then we go. The visitor theme is strong in the project because multiple dimensions about traveling are happening simultaneously in the parkvisitors in life, visitors to the park. 

Traveling to another project. Could you reflect on your Wittgenstein pilgrimage because it exemplifies your philosophical underpinnings and curiosities?

JE: When I visited Wittgenstein’s hut in Norway, the project was partially about this famous philosopher who built a hut in the middle of Norway, where is it, what is it?

MPB: To which you created a map.

JE: Yeah! I’ve been very enamored by Wittgenstein’s philosophy. He was the first philosopher I ever read, though I didn’t understand much of it. I can reread it, reread it and still discover new things.

In this project, I took the camera as a way to document the trip, though I didn’t know at the outset what kind of art would arise. I ended up making a map that literally maps where the hut is, which had never been done before. It’s a functional map that you can buy and if you want to visit his hut, there’s an essay about the trip, some historical information, and archival pictures as well. It will get you there.

Searching for Ludwig Wittgenstein, Lake Eidsvatnet, Skjolden, Sogn, Norway

Maps are interesting. They have this factual tie to the world, yet they are really subjective, an interpretation of the empirical world. In a way they are like photographs—at the same time they’re real and not real, natural and cultural. It’s a paradox. I think maps also play that role: they’re two-dimensional, they’re a schema, they’re not realistic, and yet they represent reality, too.

The maps were made with the support of a McKnight Fellowship. In the Wittgenstein map, the essay talks about two interrelated things about the hike. As I walked to the hut, in my head I had this narrative of who Wittgenstein was—informed by fame, informed by the legend and what he knew, his ideas about language and the world—he’s so smart and thoughtful—and then alongside this there was a really strong experience of the physical world: an embodied physical element. It was both of these things at the same time.

Wittgenstein lived in a particular social time, experienced a specific historical perspective, a materially and intellectually concrete location, which helped shape how his thoughts manifested. It’s curious to me how his ideas are taken up by contemporary readers, where they have resonance. And also how the embodied, lived experience relates to thoughts and thinking.

I return a lot to the connection between the mind and the body, in a very philosophical way. How do you make art about this? I don’t just want to write about it. I also look for opportunities that give my audience a different entry point. Is the body just a container for the mind? I think that concept is too simplistic.

(Moment of silence.)

I’m also doing a project called Thinking Portraits that’s a cross-collaboration with a group of cognitive neuroscientists in the Department of Psychology. Part of our research uses functional magnetic resonance imaging (fMRI), calculating blood flow, oxygen levels in human brains during specific thinking and memory tasks.

The fMRI machine gathers this information from each subject, and then scientists treat the data to algorithms mathematically, so that it is organized to create an image. The resulting visual presentation is as if we’re seeing another person’s brain, yet it’s not a contact print or direct X-ray. Rhetorically, it appears as a photograph, and the images seem to have all the evidentiary quality that a photo has. They’re anatomical, they’re realistic, it’s . . ..

MPB: But it’s not a photo made by a camera: the data is formulated, then manipulated to create an image like a graph.

JE: Yes. It’s called a “scan,” but it’s not a real scan. It’s very seductive. Not only as an image, but also what we think it’s showing us about the brain, direct visual access to the body.

Again, it’s this kind of photographic perspective here, I’m using it as a way to analyze what the fMRI data shows—how people respond to it, and take its truth-value as much more simplistic than it actually is. The image and data is a highly interpretable thing. Scientists disagree about what it means.

MPB: What is your role? How much longer is this project going to continue?

JE: We’ve been meeting for nearly two years now and our study is almost ready to begin. I’ve been part of the group as we research and create the scientific study, and also will be one of the test subjects. I’m hoping to use the resulting images of my own brain to produce some self-portraits and related works.

I’ve learned so much about science, the brain and mind, from working with this team; they’ve been incredibly generous to welcome an artist in the group, which as you can imagine shifts things a little bit. Artist and scientists ask questions differently than one another, and we can learn a lot from sharing our processes.

Again, I’ve taken up a project that poses a similar dilemma: how do I take my own interests in the world and how we connect our thoughts and feelings about our experience, and create art out of those interests? The art for Thinking Portraits is very much still emerging from the process, and pushing me in ways I’ve never experienced before.

MPB: Collectively, your projects are very personal.

JE: The great thing about art—when you put the frame of art around something, or when you’re in the right frame of mind—is, it shifts the way your perceive reality. You look at the world anew. And ultimately, it helps you understand something about the world that you didn’t quite know before, yet feels totally in sync with what your experience tells you.

Visit www.janestep.com for more information about Estep’s work.

Metta Meditation, Grand Canyon National Park, Pima Point, 2011, photo documentation

PHOTOS:

Hunter Dress, Draped, 2001, from “Survival Wear,” color photograph, 30 by 41 inches

Hunter Dress series, Exhibition view, Donald Young Gallery, Chicago, 2001

Wittgenstein Project, Exhibition view, “McKnight Visual Artists 2006-2007,” MCAD Gallery, Minneapolis, July to August 2007

Wittgenstein Project, Exhibition view, “Out of the Comfort Zone,” Nash Gallery, Minneapolis, September to October 2007

Signs en route to Wittgenstein’s Hut, Norway, 2007, photographic digital inkjet print, 22″h x 48″w

Searching for Ludwig Wittgenstein, Lake Eidsvatnet, Skjolden, Sogn, Norway, 2007, illustrated folded sheet map, four-color offset print, 32″w x 24″h (unfolded), 3″w x 8″h (folded).

Grand Canyon Suicide Map, 2011, digital inkjet print, map pins, 39″h x 86″w

Grand Canyon Suicide Map, 2011, detail

Metta Meditation, Grand Canyon National Park, Pima Point, 2011

Metta Meditation, Grand Canyon National Park, Shoeshone Point, 2011

This slideshow requires JavaScript.

Areca Roe self-describes her photo series, Natural History, as ongoing. However, the current 12 piece series is fresh and delightful, full of whim and surprise, and effective as it explores our personal and societal relationship with nature and our environment.

Take a look at her series in the image gallery as well as excerpts from recent written correspondence between Areca Roe and Tuc Hollingsworth.

Areca Roe is a recent MFA photography graduate from the University of Minnesota, currently a professor of photography at Arts Institute, and recently became an Artist in Residence at the Bell Museum.

MPB: Could you explain the origins and evolution of Natural History?

AR: This project emerged partly because I had to start producing images in grad school, and I was grasping for a project that I could have some more control over, particularly so I could photograph indoors in the dead of winter. It arose almost out of necessity. I also have a longstanding interest in the natural world—so much so that I actually majored in biology/ ecology in my undergrad studies and worked in that field for a while. I began thinking about how our connection to the natural world, or maybe I should say disconnection, could be explored visually. It has opened up a lot of visual possibilities, and I’ve now done a number of projects branching from this topic, including Natural History. Once I arrived at the idea of creating images from nature out of domestic items, and setting them in various environments, I immediately had a dozen ideas so I felt I had hit upon a project that could sustain me for a while. (Not all those ideas were good ones, mind you, but they were ideas none the less!)

MPB: Do you stage your own sets?

AR: Yes, I generally use some part of my house as the setting, or a friend’s house, or another familiar locale. Staging the photo is great fun for me. I love considering all the odd details and textures that are present in the location and incorporating them.  In the image “The Den” I photographed in my brother’s house that he shared with two other guys. There was a strange old portrait on the living room wall of two people that none of them had any connection to. It was a detail I never could have planned, and I felt compelled to leave it up. I try to take cues from my environment like this, use what I have, rather than impose my ideas upon it too much. That keeps it more interesting for me. In some of the images, my kind friends and relatives allowed me to photograph them, and I find it refreshing to collaborate in this way. It’s less lonely, certainly! One of the more difficult images to stage in this series was “The Wallpaper.”  I had to put up two layers of wallpaper on one of my studio walls, and then after a few months I took it down… which took a lot longer than putting it up, as you might imagine.

MPB: Who are the first people to see your photos after they’re made?

AR: Usually it’s my husband. He’s got a good eye and is incredibly intelligent, so I usually seek out feedback from him about my work.

MPB: There’s comedy as well as curiosity in NATURAL HISTORY. What are your direct influences, even if they’re not visual influences?

AR: Yes, I do think there’s a certain absurdity and strangeness to the images, and I like that. One of my favorite artists right now is Nina Katchadourian—she works in a wide variety of media, and many of her pieces evoke a response of laughter. Her work is odd and surprising, but it’s definitely more than funny. She has some photographs of spider webs that she “fixed” by putting red thread into damaged areas of the web. It’s absurd act of course… the spiders can fix it much more effectively themselves, and they toss the thread out. So it’s initially surprising, but also gets at ideas about our bumbling interference with natural processes.

MPB: What genre of photography would you say your work is most often/if NATURAL HISTORY falls in? 

AR: I don’t think a lot about genres. When people ask me what type of photography I do, I’m kind of at a loss to pin it down, and I usually give some lame answer like “art photography.” Some of my photographs are quite constructed and staged, like Natural History, but I also do a lot of documentary style photography, of going out in the world to find my images. I think some of the Natural History images do act a bit like landscapes, or draw from that tradition, such as “The Flowers.”

MPB: How do you feel about your work being didactic — the title itself indicates that possibility, but the human figures have an allegorical feel?

AR: I don’t want my work to be too didactic, certainly. I’d rather have it pose questions, or evoke feelings, than to dictate. In thinking about a title for the series, I wanted something ambiguous, but hinting at the idea of our lost connections with the natural world. As in, we in the western world once had a strong connection with natural world in our daily lives, but we’ve largely insulated ourselves from it now. It’s history.

MPB: If it’s possible, can you describe the goal of NATURAL HISTORY?

AR: I basically wanted to explore the idea of desiring a connection to animals or nature, of ways that that desire might manifest itself. It’s certainly somewhat aesthetically driven as well– I wanted to make images that are interesting to look at.

MPB: What size do you present this work?

AR: I like these to be somewhat large since there are many details in the scenes, so they are generally 24” by 30”.

MPB: Do you make pictures everyday? Do you take photos for Facebook, iPhone library, for yourself to frame as memories?

AR: Not every day, but I do on most days. I love to take snapshots with my phone or a small camera, but I like to put these in a different mental category than images I make to call art. I try to keep that separation of the two image categories– it frees me up to take horrible or cheesy photos.

MPB: You have an opening tonight at the Nash Gallery. Congrats. What else are you working on?

AR: I am currently an Artist in Residence at the Bell Museum. I’m collaborating with them on an interesting project. We are asking for submissions of photographs  from the public to create an exhibit, with the topic being nature in winter. I’ll be a kind of curator, and will be making an installation based on the images that came in. I’m very excited to work with the Bell, and to do this kind of participatory and collaborative project.

Link for information and for submissions (which begin Dec. 22nd): www.bellmuseum.umn.edu/FreezeFrame/

I also have some work (from the Habitat series) in a show at the Nash Gallery currently.  (The Nash Gallery group show, titled “Regarding Place” opens this evening, Dec. 15th, and runs until Feb. 4th)

MPB: Where is NATURAL HISTORY going next?

AR: I plan to show some of the images from Natural History at Notre Dame University in the Art Department’s Gallery next March-April.

MPB: What do you look for in a photo series? (Your own, others)

AR: It’s hard for me to pinpoint… I get excited by the aesthetics as well as the ideas underlying the images, of course. Series that are innovative, that push boundaries, that are funny or odd in some way are also appealing to me. Series that make me ask questions.