Current Exhibitions

Allison Leigh Holt
The Glass System

April 6 - May 27, 2016
 

This body of work combines projected light, video and sculptures that have origins in my research as a Fulbright Fellow in Indonesia. There, I was concerned with Javanese cosmology, tools for navigating the relationship between humans and nature as living, interacting systems of consciousness, and the idea that we interact with everything in our world, including much that our bodies are not designed to perceive. The works in this exhibition specifically focus on consciousness as an overlooked territory that one attempts to comprehend through technologies, optics and visual models. Exploring traditional and scientific ways of experiencing time and reality, they are an effort to express the contemporary relevance and equivalent value of both.

Allison Leigh Holt (b. 1972) is a cross-disciplinary artist living and working in Oakland, CA. Using hybrids of sculpture, video, installation, and performance she pursues a dialogue between divergent ways of experiencing, comprehending, and describing reality. Holt has received numerous awards from institutions including the U.S. Department of State (Fulbright Fellowship, Indonesia), Djerassi Artist Residency Program, the San Francisco Arts Commission, the David Bermant Foundation, Cemeti Art House (Indonesia), the Experimental Television Center, Kala Art Institute, and the North Dakota Museum of Art. Currently, she is a finalist for a Smithsonian Artist Research Fellowship. At the 47th UND Writers Conference in 2016, she will be in conversation with theoretical physicist Brian Greene.

Allison Leigh Holt. The Glass System #2, 2015. 7” x 7” x 4”.  Plexiglass, video, electronics, neodymium magnets, steel.

 

See more work at www.oillyoowen.com


 

In Our Own Words:
Native Impressions

April 3 - May 15, 2016

 

Artists Daniel Heyman and Lucy Ganje
Master Printmaker Kim Fink

 

In the summer of 2015, the three artists began an outstanding project that resulted in twenty-six prints that chronicle stories of individual Native people who live within the Tribal Nations of North Dakota. The project includes both portraits and oral history text from a range of people in the community — business people, farmers, ranchers, teachers, politicians, tribal leaders, and community members.
 
The individual prints tell the story of a people whose historic cultures were overrun by others. In the latter years of the twentieth century, younger generations began the work of reclaiming what had been. It is their stories, or Native Impressions, that fly under banners of sadness, determination, loss, and reverberate through the broadsides:
I Am Not A Politician. I Served My One Term. We Don’t Buy Green Bananas. My Parents Had No Parenting. We Burn All of Their Things. If Your Telephone Rings. They Unearthed 7 Bodies. We Can Be Self Sufficient. It Helped Us To Breathe.

Erich Longie, PhD

 

Justin Sorensen
Stalking the Snow Leopard

April 3 — May 15, 2016



I started to realize that art wasn’t just located in the studio...I started to see that there was as much significance in the moments when I wasn’t really making anything, or those moments leading up to the art. So that’s become more important to me as I’ve been developing as an artist, just those moments between.
 
I’m trying to make objects or events that we directly experience as inhabiting a body that is moving through the world . . . that’s basically what life itself is.

I hope that people can walk away from my work feeling a little less alone in the world.

                                                                                                       — Justin Sorensen



This is the third exhibition in the “Art Makers” series underwritten by Dr. William Wosick.

Justin Sorensen, Higher Education, 2015.
performance documentation.

 

Barton's Place

 

Barton Lidice Benes lived in a magical apartment in New York City. It was filled with over $1 million in African, Egyptian, South American, Chinese and contemporary art, plus much more as touted in the New York Times when it announced Barton’s intended gift to North Dakota (2/6/05).

Barton Benes and his treasure trove spent decades tucked away in a glorious boxcar space in Westbeth, the artist community in New York’s West Village. There, rare works of art joined ranks with the arcane, the wistful, the amusing, the deeply serious, and a “maddening and morbid array of things” (a human toe found on New York’s Williamsburg Bridge, a stuffed mink wearing a mink coat, an eight-foot giraffe head). This temporary installation suggests the drama and mystery embedded in Barton’s private wonderland. Continue reading...

 

N.D. MUSEUM OF ART RECONSTRUCTS NEW YORK ARTIST’S APARTMENT
 
Radiolab Podcast: As It Happens

 


 

 

Walter Piehl / ULAE print benefits NDMOA

 

North Dakota artist Walter Piehl collaborated with Bill Goldston, Director of Universal Limited Art Editions on Long Island, to create a work of art as a benefit for the North Dakota Museum of Art. ULAE is known as a pioneer for its work with artists such as Jasper Johns, Robert Rauschenberg, and James Rosenquist as they introduced lithography as a fine art form to Americans. Only thirty Walter Piehl prints exist. Print number one will go into the Museum's permanent collection. Print two will be raffled off to the general public, and the remaining twenty-eight are available for Museum supporters, Walter's friends, and collectors. Contact the Museum 701.777.4195 to secure your print, destined to take its rightful place in the history of art on the Northern Plains.


Price: Twenty-eight prints to be sold with all proceeds going to the Museum. Graduated price structure: Edition #3-10 for $2,000 each (SOLD); Edition #11-20 for $2,500 (SOLD); Edition #21-30 for $3,000.

    Only 2 prints left


Walter Piehl, Smokey Nellie, Pigmented ink-jet with lithography, 24 x 32 1/4 inches, 2013.
Walter named the work after the two horses his friend Bill Goldston rode as a youngster in Oklahoma.