Showing posts with label Andy Mattern. Show all posts
Showing posts with label Andy Mattern. Show all posts

Wednesday, May 9, 2012

Andy Mattern - Photographer - CSA Featured Artist


Driven Snow #8516, 22"h x 17"w, Archival Pigment Print, 2011
Andy Mattern


Name: Andy Mattern
City/State: Minneapolis, MN
MNartist.org profile: http://www.mnartists.org/Andy_Mattern 

Bio 
Andy Mattern is an artist who makes photographs of ordinary objects and landscapes to investigate the relationship between people and the built environment. Using place as inspiration, his projects often take the form of typological series that focus on sites of human experience such as consumer products, domestic interiors, and artifacts in the urban landscape. He earned a BFA with an emphasis in photography from the University of New Mexico in 2002 and currently teaches photography while he pursues an MFA from the University of Minnesota.
Driven Snow #8489, 22"h x 17"w, Archival Pigment Print, 2011


Tell me about your work? What are you currently working on? How is this different from past projects?
In addition to my MFA thesis, I am working on a project for Community Supported Art (CSA) where I am making photograms of partially melted snow formations I collect from the street. This is different for me mainly because I am working in the darkroom, which I haven't done in over ten years. The images are fairly abstract and appear to be both macroscopic and microscopic. I am especially drawn to the ways in which these simple images call up ideas about nature’s fundamental building blocks and issues of scale. 

Related to the CSA work, my thesis project is called Driven Snow and it investigates the materiality of urban winter with photographic experiments using the dirty ice and snow that grows in the wheel wells of cars. These formations are removed from their original context, photographed alone on a white background, and printed at a one-to-one scale for accuracy. As I photographed the forms, they would melt into large darkroom trays that I positioned below to catch the debris. During this process, I became interested in the visual connection between the original form and its trace, so I photographed the residue it left in the tray. The result teeters between realism and abstraction, calling up ideas inherent in photography about representation, truth, and perception. Despite the fact that these objects are shown with the utmost precision and objectivity, they begin to slip into the unknowable.

Melt #8598, 44"h x 36"w, Archival Pigment Print, 2011


"What is Art?" is certainly too big of a question to ask here, but what do you hope your audience takes away from your art? What statement do you hope to make?
I am interested in issues of representation and how images both record and interpret reality. In the history of photography, there has always been an effort to document the world, to somehow preserve it or understand it more completely. Ultimately, though, a photographs is just a fragment of time and space, it does not tell the whole story. I am trying to push this idea by nudging the photograph as close as possible to the subject it depicts.


What was the best advice given to you as an artist? 
I was lucky to visit the studio of renowned artist Janine Antoni last summer. She said to trust your instincts as an artist, make what you want to make, and then reflect on what you did. 

Basically, she was giving permission to work intuitively, while still recognizing the importance of being critically aware in one's work.

Melt #8732, 44"h x 36"w, Archival Pigment Print, 2011


Tell me about your work space and your creative process.
My process involves exploring my immediate surroundings, gathering visual information, and organizing the result into collections. I am inspired by the German tradition of typology, were photographers cataloged groups of similar subjects. When I am photographing, I try to remain open to what I encounter, and it is always interesting to review the images later and find themes and connections. I will sometimes spend a year photographing without realizing that I have been amassing a particular collection or story. Having the patience and attention to reflect on these more intuitive processes is an important part of how I make work. Even when I set out with a very specific subject or goal in mind the result can be a surprise.


Workspace

Who are some of the Minnesota artists you enjoy?
There are so many, it's almost not fair to name only a few! I have a links page on my website where I list fellow artists and arts groups whom I know personally: http://www.andymattern.com/friends


If I were to follow you around to see art in Minnesota, which places would we go? What would we see?
Right now, I'd take you to the Minneapolis Institute of Art to see The Sports Show,  which is an amazing collection of diverse imagery and other art work. You don't have to be a sports fan to get into this show, there really is something for everyone. Midway Contemporary Art is another favorite spot. They currently have a great photography show of a German artist, Jochen Lempert. More off the beaten path would be AOT's space Dressing Room,  check the website to see what they've got coming up.

Where do you go online for good art resources, whether to find a new artist, or to see what is going on in the art world locally and otherwise?

Untitled, 10"h x 8"w, Silver Gelatin Print, 2012

Do you have any exhibits to promote in the near future?
I am one of the nine artists involved in CSA / Community Supported Art, where people can buy "shares" of locally produced art, like to be distributed throughout the year.  There are only a few shares left for purchase, but you can do so here. http://www.springboardforthearts.org/csart

I recently had a couple of exhibits, too. 

"Strange Objects"
PRĂ˜VE Gallery, Duluth, MN
21 North Lake Avenue, Duluth, MN 55802
March 9th through March 23rd. 
Artists: Joey Fleming & Colin Weaver, Christopher Hagen, Andrew Hetrick, Jenny Lennick, Andrew Lindberg, Ginny Maki, Andy Mattern, Joshua Mercil

"Mountains Were Oceans" MFA Thesis Exhibition
Katherine E. Nash Gallery
405 21st Ave. S Minneapolis, MN
Opening reception: Friday, March 30th, 5-8pm 
ON VIEW: March 27-April 14, 2012 Tues – Sat, 11am – 7pm
Artists: Maneli Aygani, Erin Hael, Erin Hernsberger, Korla Luckeroth, Andy Mattern, Josh Ostraff, Ginny Sims

Andy Mattern

Monday, August 8, 2011

Erin Hernsberger - Photographer

Honeycomb Stomach and Cow Testicle, 2011
Erin Hernsberger

Featured Interview for
Untitled 8 (August 2011)

Erin Hernsberger
Minneapolis, MN
herns001@umn.edu
http://www.erinhernsberger.com
http://www.mnartists.org/artistHome.do?rid=244724


Bio~
My photo and video work is rooted in my curiosity and desire to explore and understand personal experiences of disgust associated with the body. I explore abject phenomena such as ambiguous foodstuffs, bodily organs, decay and death. I am also interested in medical epistemologies and the intersection between the sublime and the abject.

I received an MA in Philosophy and a Masters of Art Education, and I am currently pursuing an MFA degree at the University of Minnesota.

Tell me about your work? What are you currently working on? How is this different from past projects?
My work is centered around my fascination with grotesque yet beautiful manifestations of the human body. Since my first attempt at making work, I have in some way started with this impulse. I work with materials and content that, in some way, I find difficult. And through photographing the materials, I force myself to confront my own reactions of repulsion. My newest works are still-lifes of constructed plates and goblets of animal foodstuffs and body parts, exploring food as an abject, yet seductive, force. The fabrics I use are domestic (suggesting a tablecloth or wallpaper), creating warmth alongside repulsion, saturated with an element of kitsch.

According to theorist Julia Kristeva, “abjection” elicits a psychological reaction of disgust – a subconscious reaction of horror, nausea, and fear when confronted with the loss of distinctions between the self and other, the subject and object. In other words, we view ourselves as both a subject ("I") and an object ("physical material body" dead corpse) at the same time, and we are no longer able to understand/make sense of our own identity. Kristeva outlines three categories of abjection, all of which I explore in my work – Food (certain abject forms of food such as skin on the surface of milk), Waste (vomit, excrement, corpses), and the Feminine (menstrual blood, lactation).

Abjection is the quality I aim to highlight and exploit in my photographs, and I am most interested in the intersection between abjection and the sublime – where the boundaries between disgust and beauty blur. My work also touches on ideas of artificiality vs. authenticity and the act of eating and desire.
Tell me about your creative process.

Liver and Teacup, 2011

My process usually begins with a strong impulse of curiosity. (Why do I react to certain experiences with fear? Or disgust?) I have a background in philosophy, so my first instinct is to question everything. I begin with a question or confusion or difficult feeling and then I start to experiment with materials that elicit the feelings. For instance, I have always been fascinated with food – my picky relationship with food and eating, how food is a tool for pleasure and nourishment, the relationship between food and flesh -- so I began by wandering supermarkets, picking out foods that disgust me in some way and building still-life installations in my studio. Experimentation with materials and giving myself permission to fail has been necessary for the growth of my work. I begin with curiosity and questions, but I never envision what the end product will look like until it (magically) appears in my studio. In my experience, this is one of the greatest frustrations yet greatest joys in the process of making work.

Sheep Heart and Butter, 2010

"What is Art?" is certainly too big of a question to ask here, but what do you hope your audience takes away from your art? What statement do you hope to make?
Basically, I’d like my audience to come away with more questions. I like for the issues I explore in my work to remain mysterious, ambiguous, and to be perplexing and thought-provoking yet not provide any real answers. I want to challenge the audience like I challenge myself by making the work.

What was the best advice given to you as an artist?
I have three:

1) “Find artists and curators who speak your same (visual) language, and surround yourself with them by any means possible.” I take this to mean: find people who understand/respond to your work, who are interested in what you are interested in, and make them your artistic community.

2) “Write the book you want to read.” or “Make the art you want to look at.”

3) “Make things = know thyself.”

(I got the last two from www.austinkleon.com, which contains other awesome pearls of wisdom )

Who are some of the Minnesota artists you enjoy?
There are many Minnesota artists I love but too many to include here. For the sake of brevity, I’ll include a few very talented emerging artists whose work I enjoy:

Kate Casanova: http://www.katecasanova.com
Andy Mattern: http://www.andymattern.com
Erin Hael: http://www.mnartists.org/artistHome.do?rid=82490
Jennifer Anable: http://www.mnartists.org/artistHome.do?rid=234348

Kidney and Curdled Milk, 2011

If I were to follow you around to see art in Minnesota, which places would we go? What would we see?
Some of my favorite places are Franklin Art Works, SooVAC, Soap Factory, and the Walker. The MAEP at the MIA is fabulous. And occasionally I’ll get a chance to drive down to Rochester Art Center.

Where do you go online for good art resources, whether to find a new artist, or to see what is going on in the art world locally and otherwise?

I am a sucker for online photography journals and blogs highlighting contemporary art photographers. Some of my favorites are:

http://www.fractionmagazine.com/

Pig Embryo and Cottage Cheese, 2010

What can we expect to see from you in the future?
I am currently making work dealing more specifically with various medical/surgical approaches to the body.

I am currently showing work in SooVAC’s current show Untitled 8 which will be up until August 23, 2011. I am also in a group exhibition entitled “Regarding Place” in Turku, Finland at Peri Center of Photography on August 18th showing through September. In March 2012, I will be showing work for my thesis show in the Nash Gallery at Regis Center for Art.