Showing posts with label Weinstien Gallery. Show all posts
Showing posts with label Weinstien Gallery. Show all posts

Wednesday, December 1, 2010

Michael McGraw - Photographer

Michael McGraw

Michael McGraw
FB: My Page
email: mcgrawphoto@gmail.com

Bio~
Michael McGraw is a Minneapolis-based photographer, mainly self-taught, though he has studied under some awesome wedding photographers. Having retired from the wedding photography business, people rarely make an appearance in his photographs.


"My subjects are local, personal, and natural. I look for subjects with a balance of pattern and chaos, beauty and flaws. To me, this reflects internal struggle, growth, and transformation."

Tell me about your work? What are you currently working on? How is this different from past projects?

I am working on a couple projects right now. I have a series of cloud photographs that I think are really fun. They are fairly closely-cropped shots of sections of clouds exploring color, density, and shape. I have a hard time deciding if I prefer color or black and white for these images.

I am also processing hundreds of pics from a recent trip to Iceland. Seeing the floating ice in the glacial lake, Jokulsarlon, was one of the most amazing experiences I have had.


Past projects include a study of ice formations on the Mississippi river from the Lowry bridge, which is on hold for now since the bridge was torn down, and a study of urban trees--Crab Apples, Russian Olive, and Buck Thorn. I am still woking on this project, but am taking a break after 2 years of thinking about trees all the time.


What was the best advice given to you as an artist?

After meeting a couple times with an advisor with Springboard for the Arts in lowertown St. Paul, they told me to print large, and if I didn't have good enough equipment, then to get better equipment.


At the time I was shooting aerial-like photographs of ice on the Mississippi river and printing them at around 16x20 inches, maybe a little bigger. They just did not have the impact I was going for until I began printing 20x30 inches and larger. Of course, not all photographs have to be large; I still have a weakness for a nice, small, intimate portrait.

Tell me about your working space and your creative process?

As a nature-based photographer, I work outside, usually around North Minneapolis. I prefer my work to be as locally focused as possible and do not think I need to head to the Boundary Waters to get a good shot of a tree. Dowling Avenue is perfect for me because of all the varieties of crab apple trees lining the Crystal Lake Cemetary.

I have a home office where I do all of my computer work, converting RAW photos to JPG. I share this space with my wife, Sally, so we get to spend a lot of time together working on our own projects.


I have a studio space in the Northrup King Building in NE Mpls that I share with Megan Bell Honigman who is an amazing painter. It's really nice to have a permanent space to hang my work since there is just too much to hang in my house. I definitely recommend renting a studio space for anyone with a lot of work to show.

In regards to my creative process...I like to drive around until I see an interesting tree, stop, and see what happens. I play around with selective focus by standing really close to the trees and using a long lens to create a shallow depth of field. It's a pretty meditative process, very peaceful. I never really know what is going to look good until I look at the images on my computer. I usually crop my tree photos square so I get to fine-tune my composition once I get home.


Which Minnesota artists do you enjoy?

The list would definitely be too long if I named everybody. Just paging through the NEMAA (arts association) directory or through MNartists.org would remind me of dozens of artists that I enjoy. But to name a few I would include--

Lindsy Halleckson (painter),
Maren Kloppman (ceramics),
Caitlin Karolczak (painter),
Theresa Handy (painter),
Alyssa Wendorf (watercolor),

and then photographers--
Meg Ojala,
Terry Evans,
Joann Verburg

I am learning about so many more Minnesota artists through this site that this question is really getting difficult. I click on all of the links in the other interviews and it has really expanded my view of art in Minnesota, but those listed above has been long-time favorites of mine.

If I were to follow you around on an “art day” in Minnesota, which places would we go? What would we see?

We would start at Midway Contemporary Art, head to SooVac, the Walker Art Center, the Weinstien Gallery in south Mpls, and then to the Minnesota Artist Exhibition Program (MAEP) Gallery in the Minneapolis Institute of Art.


If we had two art days, I would make sure to get to the artist buildings in NE Mpls. My studio is in the Northrup King Building (#274), so we would start there. There is so much art to see at NKB and the surrounding buildings too, like Altered Esthetics in the Q'Arma Bldg. It would also be fun to head to the Fraconia Sculpture Park north of the Twin Cities.

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?

These days, I find out about new artists through Facebook. People's Facebook pages link to blogs and websites, and then people's blogrolls direct me to other artists and art resources.

SpotArt Gallery shows a lot of new and local art each month, and throws an awesome reception, too, so I always check out their website to see which artists are exhibiting next.



Because I have been so locally focussed for the LAI website, I haven't really looked at websites that feature artists from anywhere else in the world. MNartists.org is a great place to start to find out about Minnesota artists. And http:/www.Local-Artist-Interviews.com and its Facebook page are also good sources.

Do you have any exhibits or any interesting things going on in your life or coming up in the near future (2011)?

I have an exhibit at the Coloplast Headquarters in North Minneapolis. They are hugely dedicated to art in their space and purchased many, many pieces from Minneapolis artists when they built this building. Their conference rooms all have hanging systems built in and lots of natural light. It's not open to the public, so good luck seeing the work, but if you work there, check my out on the second floor by the engineers.

And each year I exhibit in my studio (#274) in the Northrup King Building for Art-A-Whirl which is the 3rd weekend in May each year, and at Art-Attack which is the 2nd full weekend in November.

Michael McGraw
http://www.michaelmcgraw.info/
On Facebook
Local Artist Interviews on Facebook




Thursday, September 9, 2010

Lynn Speaker - Drawing with Gunpowder



Lynn Speaker

Grain Belt Bottling House
Studio 101
79 13th Ave. NE
Minneapolis, MN 55413
lspeaker@msn.com
http://mnartists.org/Lynn_Speaker

Bio:
Lynn Speaker is a Minneapolis-based artist who received her Master of Fine Arts from the Minneapolis College of Art and Design. She is a recipient of a 2007 Minnesota State Arts Board Artist Initiative Grant and is Coordinator of the Women’s Art Registry of Minnesota Mentor Program.

I assume that one of the first things people notice about your work is that you use gunpowder in the process. How did you get started with that technique?

As a drawer I have always been fascinated by the mark making process. I have experimented with many conventional and unconventional drawing media. For example, I have gathered clay pigments from locations ranging from my yard to spots across Minnesota up to the Canadian border and then processed them into drawing materials.

My work with gunpowder stems from experiments with other fire-based materials, burning bark, matches, candles and fireworks. From there I began drawing with gunpowder and stumbled across the process I currently use to create images.
What precautions do you need to take when making your art? Do you need any special insurance to work in your studio, for instance?

The most important thing I have learned is to take a step back, I almost melted my shoes the first time I ignited the gunpowder. Beyond that I always have protective materials and a fire extinguisher. I work outdoors as much as possible so no need to worry my fellow building tenants.

Do you work in any of the more traditional mediums?

There is nothing I love more than the tactile quality of putting charcoal to paper. I think that is where my interest in burning materials first developed. As a matter of fact I have just acquired some wood from a blow down area along the North Shore, which I plan to process into charcoal.

What are you currently working? How is this different from past projects?

I am currently working with burning gunpowder on paper instead of a hard substrate. I’m interested in papers and other fragile materials that can withstand the burn process and how those materials can be layered together. Also I am focusing my imagery to specific locations as a way of marking place and time. This is also related to the processing of the North Shore wood charcoal as I mentioned earlier.

My current work is a direct outcome of my past work; one body of work does not stand in contrast to another. A thread is pulled forward even if the differences seem more apparent than the similarities.

What was the best advice given to you as an artist?

One piece leads to the next and so on; all the rest is unimportant. Just focus on the daily practice of making work.

What role does your educational background play in your current artistic endeavors?

My educational background has some direct and indirect influences on my work. The primary influence would be the select group of strong artists/teachers that I have had the privilege to work with.

Tell me about your working space and your creative process?

My studio lacks a sofa, computer or anything else that can distract me when I am working. It is a functional, fairly orderly space that gets progressively messier as I develop a piece. I like to clear my mind by cleaning the space before I begin a series and just let it fall into organized chaos as the work develops.

I have a variety of objects in my studio that are important to me: a raven’s skull, assorted bones and enough rocks to restock the North Shore. Stones from all over the world, they are markers of place and time and that is something I try to incorporate into my work.

Which Minnesota artists do you enjoy?

Jim Proctor, Kinji Akagawa, Jantje Visscher, Jeremy Lund, Maren Kloppmann, Hazel Belvo, Laura Stack, Teri Bloch, Tom Riggle

Are there any local artists that you would like to see profiled here?

Teri Bloch and Tom Riggle


If I were to follow you around on an “art day” in Minnesota, which places would we go? What would we see?

Probably visiting my friend’s studios. Maybe a trip to the MIA (Mpls. Institute of Art) to visit the Asian Art collection, MAEP gallery and Photography collection; Weinstein Gallery and looking forward to the Yves Klein exhibit coming to the Walker.

What was the last exhibit you saw and what were your impressions?

‘The Voided’ by Eun-Kyung Suh in the MAEP gallery at the Minneapolis Institute of Arts. It is a beautifully intricate exhibit that explores memory and the hazy awareness of time passing.

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?

mnartists.org, Springboard for the Arts, Chicago Art Resources, Women's Art Registry of Minnesota (WARM), greenmuseum.org, art-of-the-day.info, quodlibetica.com and many more.

Do you have any exhibits or any interesting things going on in your life or coming up in the near future?The next upcoming event is the Northeast Minneapolis Art Association (NEMAA) Fall Fine Arts exhibition in November. It is held in my building, the Grain Belt Bottling House, so I will open my studio for the weekend.

Beyond that I am preparing work for an upcoming group exhibit that explores four different areas, sculpture, figurative, abstract and nature-derived work from the perspective of gender. Each area has a pairing of one male and one female artist to see if gender affects our subject or process of working.