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Nohl: Suitcase Export Fund Winter & Summer Cycles 2018

May 14, 2019

In the first half of the sixteenth cycle, the Fund made thirteen awards, providing assistance with shipping and travel to thirteen individual artists, two of whom worked on the same project. In the second half, the Fund made twelve awards, all to individuals. These artists--five of them Nohl Fellows—work in a range of media and their exhibitions took them to Carbondale, Colorado; Miami, Florida; Portland, Indiana; Minneapolis, Minnesota; Kansas City, Missouri; New York, New York; Charlotte, North Carolina; Brownsville, Texas; and Park City, Utah. Destinations abroad included Argentina, Austria, Brazil, Canada, Ethiopia, France, Georgia, India, Ireland, Italy, Mexico, Spain, and the United Kingdom.

Debra Brehmer will create daily drawings during a one-month residency at Arte Studio Ginestrelle in Assisi, Italy that will become part of the International Collective Exhibition of works produced by the artists and writers attending the residency during the past year. She will also engage local populations in the Portrait Society’s (her Milwaukee gallery) nonprofit sketchbook project, On the Wing.

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HIJOS (Children of the Disappeared) invited Brian Carlson to install his memorial to the disappeared in Latin America, Aparecidos, at ex(ESMA), formerly a notorious detention and torture center and now a Museum of Memory in Buenos Aires, Argentina. The installation now includes more than 3000 painted portraits of victims of state terrorism in Latin America.

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Kyoung Ae Cho brought two works to Minneapolis for Silver Jubilee, an exhibition celebrating the Textile Center’s 25th Anniversary. The exhibition featured eleven artists who have made significant and unique contributions to the field of fiber art over the past quarter century.

Christopher Davis Benavides was invited to participate in American Clay 2019, an exhibition held in the Sala de Exposiciones Roman Zaldivar during the XI Feria Nacional de Alfareria y Cermanica in Navarette, Rioja, Spain. Davis Benavides will also conduct a three-day workshop and deliver an artist lecture.

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Makeal Flammini (Nohl 2018) brought her husband and two small children to the family-friendly Hotel Pupik in Schrattenberg, Austria, for a two-week residency that culminated in a public exhibition. Flammini created 20 drawings and paintings and two performances, and shared a studio with a long-time artist colleague based in Europe.

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Sæter Jørgensen Contemporary, a non-profit gallery and nomadic curatorial practice focused on realizing projects in Norway and France, invited Skully Gustafson to participate in a solo exhibition in the Gaillac region of the Tarn in France. For Le mouton à cinq pattes, the artist showed portable works on paper, and sold several.

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Hannah Hamalian took her film and animation work on a solo screening tour in the United Kingdom and Ireland. As part of her tour, she participated in residencies at Greywood Arts in Killeagh, Ireland, and at Createspace in Cardigan, Wales.

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Maeve Jackson created work onsite during a residency at Hotel Pupik in Schrattenberg, Austria that became part of the three-day group exhibition at its culmination.

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Director Brad Lichtenstein (Nohl 2011) and co-producer Madeline Power took Ashe ’68, a virtual reality short film about tennis champion Arthur Ashe, to the Sundance Film Festival in Park City, Utah. They participated in the New Frontier section as part of the VR Cinema exhibition.

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Kim Miller (Nohl 2009) screened a new work, ReWilding (2019), as part of an artist residency at the Performing Arts Forum in St. Erme, France. Initiated and run by artists, theoreticians and practitioners themselves, PAF is a user-created, user-innovative informal institution and all public events are open to the local population.

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Melissa Mursch was one of eleven women artists featured in Soft Somethings, a group exhibition at the University of Texas Rio Grande in Brownsville, Texas. Mursch is submitting soft sculptures/wall hangings that explore her experiences as a racially ambiguous queer woman. She will travel to Austin and Houston to meet other artists and to see where her grandfather grew up as she prepares to make a new body of work.

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Rosy Petri was represented by six textile works in a group exhibition hosted by the Black Archives of Mid-America and held in conjunction with the National African American Quilting Convention. This was Petri’s first exhibition outside Wisconsin, and she took advantage of her time in Kansas City, Missouri to visit the Negro League Baseball Museum and the American Jazz Museum to discuss works for their collections.

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John Riepenhoff (Nohl 2009, 2014) travels to Tbilisi, Georgia, to stage an iteration of Handler, an exhibition of sculptures of legs that support paintings by other artists at Project ArtBeat. The opening of the exhibition coincides with the city’s contemporary art fair. Riepenhoff, who runs the The Green Gallery in Milwaukee, will also do studio visits with local artists.

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Lenore Rinder screened her 2018 documentary, People of the Wild Tiger, at the Indian Institute of World Culture in Bangalore during Conservation Week. The film focuses on the people who live and work as naturalists and ecologists to save India’s endangered tigers in Karnataka; she remained in India for a month to pursue new collaborations with her Indian cast and crew.

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Kristina Rolander traveled to Sudbury, Ontario, to create a multi-use and immersive installation for Up Here, an independent urban art and music festival. Each summer, Up Here brings together dozens of muralists, musicians, and installation artists to transform the city’s downtown. Rolander’s installation, within the foyer of the Grand Theatre, was a life-size diorama with hand-painted backdrops, hanging elements, sheer fabrics, and environmental structures that transformed from day into night.

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Nicole J. Shaver drove her work to Charlotte, North Carolina, for Homeward Bound, a group exhibition she curated at Goodyear Arts, a nonprofit multi-arts space.

Anja Notanja Sieger produced the fifth iteration of her Advice Tent project--its first foray outside Milwaukee--at the O, Miami Poetry Festival in Florida. She trained twenty local teens to offer advice to visitors.

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Cris Siqueira (Nohl 2013) attended the premiere of her documentary, Ape Girl—a film supported by her Nohl Fellowship—in São Paulo, Brazil. The film screened five times to full houses at two venues. The success of the premiere acted as a spur to distribution in both Brazil and the United States.

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Roy Staab was invited to exhibit photographs, video, and new site-specific work in conjunction with his Proyecto en Sitio residency at La Coyotera Taller-Estudio in Umecuaro, Michoacan, Mexico. For the residency, he created site-specific outdoor work, as well as a work with native sunflowers in the gallery. This was Staab’s first exhibition in Mexico.

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Hungry Gardens, Tori Tasch’s solo exhibition at the Portland Art Center in Portland, Indiana, included 30 wall panels, four silk panels hung from the ceiling, and books. She offered workshops and a gallery talk that focused on sustainable art making practices.

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Gabrielle Tesfaye screened her latest film, The Water Will Carry Us Home, and previewed her next film, Yene Fikir, Ethiopia, at the Alliance Éthio-Française in Addis Ababa, Ethiopia. She also facilitated community discussions about her new work, taught a stop-motion animation workshop, and gave an artist talk connecting her cultural storytelling to ancient and contemporary Ethiopian art practices.

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Shane Walsh shipped several large paintings to New York City for his solo exhibition at the Asya Geisberg Gallery. He followed to install them and attend the opening.

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Michael Ware was in Colorado, for the opening of Clay National XIV Nature Reconsidered: Reimagining the Natural World through Ceramics, the annual juried exhibition at the Carbondale Clay Center. His work was included in the exhibition.

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Rina Yoon exhibited a large installation work in With Through and Beyond: Celebrating the 20th Year of the Women’s Art Institute, a twelve-artist invitational exhibition at the Minneapolis College of Art and Design.

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Nohl: Suitcase Export Fund Winter & Summer Cycles 2017

November 30, 2018

In the first half of the fifteenth cycle, the Fund made fifteen awards, providing assistance with shipping and travel to thirteen individual artists and two collectives. In the second half, the Fund made fourteen awards, twelve to individuals and two to groups. These artists--eight of them Nohl Fellows—work in a range of media and their exhibitions took them to Los Angeles, Oakland, San Francisco and San Jose, California; East Haddam, Connecticut; Tampa, Florida; Chicago and Peoria, Illinois; Ames, Iowa; Baltimore, Maryland; St. Louis, Missouri; Chadron and Lincoln, Nebraska; Caldwell, New Jersey; Glens Falls and New York, New York; Raleigh, North Carolina; Columbus and Youngstown, Ohio; De Pere, Wisconsin. Destinations abroad include Toronto, Canada; Orquevaux, France; Chennai and Kolkata, India; Dublin, Ireland; Durban, South Africa; L’Alcora, Spain; Gothenburg, Sweden; and London, England.

American Fantasy Classics (Nohl 2011) was invited by former Milwaukeean Ashley Janke to create Another Side to My Dream, an installation inspired by Orson Welles’s 1938 broadcast of H.G. Wells’s The War of the Worlds. A “textured mesh of fact and fiction incorporating radio broadcasts, installation, and sound artists,” the exhibition took place at Enclave Lab in Deptford, London, and included two-way transmission of “sound, narrative, and acts of collective joy.”

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James Barany (Nohl 2004) was commissioned to paint a 90-foot mural in downtown De Pere, Wisconsin. The mural, which addresses the industrialization of the Fox Rivers, is a part of the city’s public art collection. Barany returned for the unveiling and several public events.

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Rosalie Beck shipped three pastels to the Adirondack National Pastel Exhibition, a juried show sponsored by the Adirondack Pastel Society at the Shirt Factory Gallery in Glens Falls, New York.

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Tom Berenz (Nohl 2017) shipped a large painting to the Mueller Gallery at Caldwell University in Caldwell, New Jersey, for Play: An Iconography of Sport. He also attended the opening of the group show.

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Kelly Bronikowski traveled to Toronto, Canada to present Mom’s Tiger Lilies, an expanded film Performance, at 8 Fest, a festival that programs film works created and finished on Super 8mm film. Bronikowski was one of two performers at the festival, which also included more than sixty screenings.

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Cecelia Condit (Nohl 2004) was invited by Kamila Kuc and Sam Jury to screen Tales of a Future Past (2017) as part of Disasters of Peace, Vol. 5, a curated international film program about the environment, at the Whitechapel Gallery in London, England.

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Paul Druecke (Nohl 2010) presented his project, Spinning Underfoot, a series of custom-printed carpets that reimagine the domestic welcome mat as a public site and catalyst for community conversation, as part of a residency at the Luminary in St. Louis, Missouri. He offered a public talk, displayed prototypes, and piloted site-specific interventions.

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Fiddle & Hammer (Jordan Waraksa and Cora Monis) traveled to San Francisco to exhibit The Bellaphones--a pair of wooden horn speakers made from reclaimed whiskey barrels that are functional sound sculptures--at NEXUS, the juried exhibition held in conjunction with the Furniture Society's 2018 conference.

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Karen Gunderman exhibited five ceramic works in an invitational group exhibition, American Clay, curated by Xavier Monsalvatje Vich at the Museu de Ceràmica de L’Alcora, Spain. During the week of the opening, Gunderman delivered a lecture and a master class at the Escuela Superiorde Ceràmica ESCAL.

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Cynthia Hayes traveled to Kolkata, India for a solo exhibition, Eternal Visions, at the Ramakrishna Mission Institute of Culture Museum and Art Gallery. Hayes exhibited more than thirty paintings and drawings focused on historical styles of sculptural representation in Indian mythological subjects.

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Rachel Hausmann received her award for a solo exhibition at Project 1612, a garage gallery space in Peoria, Illinois. She arrived early to make some of the work and install the show.

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Thad Kellstadt will go to Tampa, Florida to make work onsite from found/repurposed materials and to install his solo exhibition at Coco Hunday. He will be showing 20-30 smaller pieces in addition to the works made in Tampa.

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Erik Ljung’s feature-length documentary, The Blood Is at the Doorstep, made in part while he was a Nohl Fellow in 2014, is receiving limited theatrical release. The Suitcase Fund enabled him to travel to several cities with the film, and to bring members of the Hamilton family—featured in the film—for talkbacks. According to Ljung, “A national theatrical release for a small independent social justice documentary is an incredible opportunity to revitalize exposure for the film in hopes of acquiring a more permanent and broad distribution partner.”

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Colin Matthes (Nohl 2007, 2012) was invited to participate in the Royal Hibernian Society’s 188th annual exhibition at the Royal Hibernian Academy in Dublin. The exhibit, accompanied by an extensive catalogue, is a major event in the Irish arts calendar; Matthes sent a large painting.

Kym McDaniel, Grace Mitchell, and Ariel Kate Teal traveled to the Echo Park Film Center in Los Angeles to screen a program of work by six female Milwaukee filmmakers curated by Teal. It was the first time McDaniel’s work had screened outside the Midwest.

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Kevin J. Miyazaki (Nohl 2007) has been spending time in Lincoln, Nebraska. He opened Echo, a solo exhibition of photographs, at the Workspace Gallery in Lincoln and, as a Hixson-Lied visiting artist and scholar at the University of Nebraska-Lincoln’s School of Art, Art History & Design, gave a public lecture and visited undergraduate and graduate students.

Copy of family photo from the collection of Wendell Kimura, Honolulu, HI. 01/06/14. Copy photo by Kevin J. Miyazaki

Shannon Molter followed her two sculptures to the San Jose Museum of Quilts and Textiles in California for The Art of Labor, a curated group exhibition of work by members of the Surface Design Association. This was Molter’s first opportunity to show her work alongside other contemporary fiber artists in a museum outside Wisconsin.

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Allen Morris drove himself and twenty-five framed photographic prints from ISO, a recently completed body of work, to Youngstown, Ohio, for a solo exhibition at the Thomases Family Endowment Art Gallery at Youngstown Area Jewish Federation.

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Nirmal Raja, Jessica Meuninck-Ganger, Christiane Grauert, and Julie Vondervellen are traveling to Chennai, India for Hanji Translated, an exhibition at the Lalit Kala Academy sponsored by the Indo Korean Centre of Chennai. The group exhibition, curated by Raja and Chelsea Holton, also includes work by local artists Rina Yoon and Marna Brauner, as well as pieces by an artist from Detroit and three artists each from India and Korea. The travelers will carry all the American work with them to India.

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Sara Risley was selected for a four-person “winners” show at 311 Gallery in Raleigh, North Carolina. One of her photographic works was Best in Show at the gallery’s Abstracts Matter show.

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Pacia Sallomi will participate in a two-person exhibition at the Octagon Arts Center, a nonprofit community arts center in Ames, Iowa. This is Sallomi’s first exhibition in this region; she will include ten paintings from her Roundabouts series.

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Nathaniel Stern produced and installed a series of his “Server Farms,” using computers and other technological equipment as well as native plant species, at the International Symposium on Electronic Art (ISEA) in Durban, South Africa.

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Takahiro Suzuki went to San Francisco for two events: to present Schrödinger's Cat Part I, a video, as part of the San Francisco Cinematheque’s CROSSROADS festival, and to have another video, 9214, installed as a supplement to SFMOMA's exhibition The Train: RFK’s Last Journey.

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Janelle VanderKelen presented an hour-long solo screening of six recent video works, including two world premieres, at the Grange Film Series in East Haddam, Connecticut. The Grange is an emerging microcinema, founded by a Josh Weissbach (Nohl 2013), that exhibits contemporary experimental and non-fiction film and video work. The screening was accompanied by an artist lecture and a Q&A session.

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Jason Vaughn flew to Gothenburg, Sweden for a solo show—his first in that country--at the Nevven Gallery. The gallery hosted a book signing event for Driftless, Vaughn’s recently published book of photos with text by Brad Zellar.

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Melissa Wagner-Lawler will be showing a new body of work, including prints and an installation, in her upcoming solo exhibition at Chadron State College in Chadron, Nebraska.

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Della Wells traveled back and forth to Chicago several times for the events surrounding her solo exhibition at the Loyola University Museum of Art (LUMA). These included a workshop at Intuit, a talk at a school, and a gallery talk and a gallery conversation at the museum.

Della Wells

Jaymee K. Harvey Willms was invited to create a work for the permanent collection of the Chateau Orquevaux as part of a two-week residency in France. The works of the artists-in-residence then become part of a travelling exhibition.

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Nohl: Suitcase Export Fund Summer Cycle 2016

November 30, 2017

In the second half of its fourteenth cycle, the Fund made 6 awards, providing assistance with shipping and travel to 7 individual artists (some of them applying as groups traveling to shows outside Milwaukee). These artists--two of them Nohl Fellows—work in a range of media and their exhibitions took them to Glacier Bay, Alaska; Miami, Florida; Grand Rapids, Michigan; and New York, New York. Destinations abroad include Robertsbridge, England; and Naples, Italy.

Santiago Cucullu will head to Naples, Italy in early 2018 for a solo exhibition at Galleria Umberto Di Marino in Naples, Italy. Cucullu will be presenting new paintings, ceramics, and video.

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Paula DeStefanis was invited to participate in the Robertsbridge Arts & Crafts Fair in Robertsbridge, East Sussex, England. The fair included local and international artists; she sold several of her paintings and received a commission.

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Melissa Dorn Richards participated in The Jump Off, a juried exhibition that focused on turning points in artists’ careers. Dorn Richards had four paintings in the exhibition at the Urban Institute of Contemporary Arts in Grand Rapids, Michigan.

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Sally Duback transported a large mosaic mural to the Gerald Ford Presidential Museum in Grand Rapids, Michigan, as part of Art Prize Nine. She remained on hand for two weeks to meet the public (she dispensed 14,000 business cards), give artist talks, and spend time with her fellow exhibitors.

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Guntis Lauzums used his award to attend the opening reception for Wandering Curves, an exhibition hosted by the New York Center for Photographic Arts at the Jadite Gallery in New York City. Lauzums’s work was chosen from more than 800 submissions and won the grand prize award and two honorable mentions.

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Jack Long received the second prize in photography in the first Open Art Miami international art competition, and has been invited to exhibit four large prints in their group show at the Artium gallery during Art Basel Miami. He will attend the artists’ reception in early December.

Jack Long

For Above Low Tide, Joseph Mougel (Nohl Fellow 2016) and his collaborator Cynthia Brinich-Langlois used Glacier Bay, Alaska, to explore environmental issues and human-scale interactions with the natural world. Mougel exhibited ambrotypes, framed works, and videos at the Roland Dille Center for the Arts Gallery at the Minnesota State University-Moorhead.

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Nohl: Suitcase Export Fund Winter Cycle 2016

May 15, 2017

In the first half of its fourteenth cycle, the Fund made nine awards, providing assistance with shipping and travel to nine individual artists, two of whom were participating in the same group show. These artists--three of them Nohl Fellows—work in a range of media and their exhibitions took them to Flagstaff, Arizona; Denver and Grand Junction, Colorado; Park City, Utah; and Austin, Texas. Destinations abroad include Scheifling, Austria; Toronto, Canada; and Jeonju, South Korea.

Ben Balcom received funds to travel to the Hotel Pupik Artist Residency in Scheifling, Austria, where he will create a site-specific video installation for the Pupik group exhibition. This work of expanded cinema will deploy video projection, objects, and still images in architectural arrangements, and will be similar to the work he exhibited as a 2016 Nohl Fellow.

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Mark Borchardt screened The Dundee Project, his first film in 20 years, at the Slamdance Festival in Park City, Utah; the festival runs concurrently with Sundance. He made many professional contacts, and noted that “it definitely reminds one that there is an enthusiastic audience out there with interest in my work.”

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Marna Brauner and Rina Yoon are among a group of six Milwaukee-based artists invited to participate in an exhibition in Jeonju, Korea, during the Jeonju Hanji Festival. Jeonju is known for its long handmade paper tradition, and during this ten-day festival there will be many exhibitions, papermaking demonstrations, public events, and activities related to hanji. This is the group's second exhibition in Korea; they also exhibited at the Villa Terrace Museum in 2015, and this exhibition brings together new work with work from the Milwaukee show.

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Two of Daniel Fleming’s paintings were selected for Contemporary 2017: Retellings, a national juried biennial at the Western Colorado Center for the Arts in Grand Junction that focuses on artists who use traditional materials or narratives in new and innovative ways.

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kathryn e. martin flew to Flagstaff for the labor-intensive installation of her solo show at Northern Arizona University Art Museum. She filled three large galleries with 15,000 paper airplanes, 15,000 cast rocks, wall drawings, and piles of discarded objects.

Co-cinematographer Dan Peters, one of the core members of the production team for The Blood is at the Doorstep, 2014 Nohl Fellow Erik Ljung’s film about the police killing of Dontre Hamilton, traveled to Austin, Texas for the SXSW (South by Southwest) Documentary Feature Competition, where the film received its world premiere.

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2014 Nohl Fellow Kyle Seis contributed several photographic works to What Are the Wild Waves Saying, a two-person exhibition at Dateline, a gallery for emerging artists in Denver, Colorado. The exhibition was part of Denver’s annual photography festival, “Month of Photography.”

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Andrew Swant’s (Nohl Fellow 2008, 2013) new short film, Silently Steal Away, was selected for the Hot Docs Canadian International Documentary Festival, and he traveled to Toronto for the screenings.

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Nohl: Suitcase Export Fund Summer Cycle 2015

November 29, 2016

In the second half of its thirteenth cycle, the Fund made 11 awards, providing assistance with shipping and travel to nine individual artists, one duo, and one collective. These artists--two of them Nohl Fellows—work in a range of media and their exhibitions took them to Denver, Colorado; New Brighton, Minnesota; Millerton and New York, New York; Philadelphia, Pennsylvania; and Austin, Texas. Destinations abroad include Austria; Nikko and Tokyo, Japan; and Romania.

After School Special is heading to Philadelphia with two cars full of artists and work. Each of the nine members of the collective (including 2015 Nohl Fellow Zach Hill) is making something for an exhibition at Little Berlin curated by Brett Suemnicht.

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Sara Caron is transplanting her nomadic bar, the Bermuda Triangle, to Misako & Rosen in Tokyo. There, the project will be reshaped by new ingredients, new practices, new experiences, and a new audience. The Bermuda Triangle is an experiment in just what is needed to make a space, and to create, build, and contribute to a community around that space.

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Sheila Held (Nohl Fellow 2013) shipped several tapestries to the Center for Art, Faith and Culture at the United Theological Seminary of the Twin Cities in New Brighton, Minnesota, for a solo exhibition. The gallery noted that Held's work was "a constant topic of conversation" among the students, and that public events were well-attended.

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Alexander Herzog exhibited a new body of work--eight paintings, some of them large--in a solo show at Geary Contemporary in New York. Because of the Suitcase support for shipping, the gallery was able to print a catalogue, and they also decided to represent Herzog.

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Kyle Jablonski participated in a two-person exhibition, Jabroni, Jabroni, Jabroni, at the Shipman Gallery in Brooklyn. He spent four days in New York installing, meeting artists and seeing lots of work, and attending the opening. Back in Milwaukee, the exhibition "freed me up to install another show" at a local restaurant. Jablonski has discovered that "putting challenging art in familiar places" enables people to unpack its meaning far from the restrictions of the gallery space.

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Kayle Karbowski used her month-long residency at MASS Gallery in Austin to "get back into a rhythm with her work and ideas" and to give her personal practice her undivided attention--for the first time since completing her BFA--as she prepared for her solo exhibition. She also spent time with other artist-organizers who share her interest in finding a balance between studio and community, and who are also navigating smaller “art cities" that operate outside the national spotlight. Upon her return, Karbowski was able to show her new work in Chicago.

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Greg Klassen created a site-specific "Nature Table"--a self-generating sculpture of plants growing in studio debris--on site at the Re Institute gallery in Millerton, New York. Located in upstate New York, the Re Institute is a working farm that hosts small group shows in its hayloft; their goal is to allow artists to observe their work in a new context.

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Matthew Warren Lee had a painting selected for the First Street Gallery's 2016 National Juried Exhibition. It was his first opportunity to exhibit outside the Midwest, and he met curators, gallery directors, and other artists at the opening in New York. While in the city, he visited museums and learned more about the gallery ecosystem in Manhattan.

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Longtime collaborators Lindsay Lochman and Barbara Ciurej mounted a solo exhibition of work that addresses sustainable food policy at the Colorado Photographic Arts Center in Denver. While in Colorado they met fellow photographers, worked with high school students, participated in a panel discussion with other artists and members of the Denver Sustainable Food Policy Network, undertook museum research, scouted sites for future projects, and met with the director of a gallery in Fort Collins who promptly offered them a show. They also made connections in Colorado Springs, and agreed to host the Mobile Garden of a local Denver food justice organization when it travels to the Midwest in 2017.

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When Madeline Power screened Across the Line at the Astra Film Festival in Romania in October, she was the first virtual reality filmmaker to show VR work in Eastern Europe. As the resident expert, she was much in demand for panels and received invitations to speak at future events.

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John Riepenhoff (Nohl Fellow 2009, 2014) will spend a month at the Troedsson Villa residency in the UNESCO World Heritage site of Nikko, Japan, making plein air paintings and working with local potters to develop a set of usable ceramic ware. At the end of the month, Tokyo's XYZ Collective will host a public event featuring the paintings and a shared meal served on the new ceramic ware. Riepenhoff looks forward to bringing his production experience back to Milwaukee, where he is designing a collaborative ceramics studio.

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Nohl: Suitcase Export Fund Winter Cycle 2015 Awardees

May 23, 2016

In the first half of its thirteenth cycle, the Fund made 12 awards, providing assistance with shipping and travel to eleven individual artists and one duo. These artists--two of them Nohl Fellows—work in a range of media and their exhibitions took them to Sonoma, California; New York, New York; Minot, North Dakota; Ashland and Portland, Oregon; and Park City, Utah. Destinations abroad include Scheifling, Austria; North Vancouver, Canada; Kolkata, India; Monte Castello di Vibio, Italy; and London, United Kingdom.

Cynthia Hayes travelled to Kolkata, India, for a solo exhibition of her paintings--which focus on Southeast Asian art history--at the government-run Academy of Fine Arts Central Gallery. She spoke at the opening, met many Indian artists, appeared on national television, and was able to use some of her time in India to do museum research.

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Joshua Hunt sent two paintings that "represent misogyny as a historically systemic issue" to STOPJECTIFY, an invitational group exhibition at Gallery Different in London. The show was organized by artist and freelance curator Jess de Wahls to coincide with International Women's Day.

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Maeve Jackson and Keith Nelson will both spend time at Hotel Pupik in Scheifling, Austria, participating in residencies that culminate in public exhibitions. Hotel Pupik hosts up to thirty artists each year from around the world; they live and work on the grounds.

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(Maeve Jackson)

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(Keith Nelson)

Recent MIAD graduate Nicholas Kinsella was invited by a fellow alum to exhibit at Pacific Northwest College of the Arts in Portland, Oregon, as part of a series promoting exchange between PNCA students and emerging artists from around the country. The solo exhibition included film recorded on VHS, sculptures that function as props in the videos, and clothing designed for the characters.

Kinsella_'96 Econoline Installation

Matthew Konkel (screenwriter/co-producer) and Erin Maddox (producer) attended the Slamdance Film Festival in Park City, Utah where their feature-length narrative film, Neptune, was accepted for competition. They were on hand to support the film and seek distribution.

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Erik Ljung was invited to screen Mothers for Justice, a short film he completed while a Nohl Fellow, at the Sonoma International Film Festival in Sonoma, California. Ljung, who is making a feature-length film on the same subject, met with distributors, investors, and fellow filmmakers.

Photo: Vallen Gillett
Photo: Vallen Gillett

Shane McAdams was the sole Wisconsin participant in an exhibition of mostly Oregonian artists at the Schneider Museum of Art at Southern Oregon University in Ashland. He co-curated Exploring Reality with Scott Malbaurn, the director of the museum, wrote the catalogue essay, and delivered a talk.

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Jessica Meuninck-Ganger is headed to Italy for a solo exhibition at the International Center for the Arts Monte Castello di Vibio. The exhibition is part of a program promoting contemporary applications of traditional intaglio printmaking and handmade papermaking in the region known as the cradle of modern papermaking. The artist will share her research on sourcing native plant materials and fibers for papermaking and pigments and provide a lecture in the local theatre.

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Kim Miller took part in Life/Death, a program of experimental documentaries curated by Lana Lin and Cauleen Smith on the Flaherty NYC series at Anthology Film Archives in New York. She was on hand for the screening of her video, Madame Mae Nang Nak, and the Q&A that followed.

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Greg Schoeneck will bring work to the one-day Art World Expo in North Vancouver, Canada, and make a live painting at the charity auction. Two works will remain on exhibit at MAB Studios through the end of June.

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Tori Tasch exhibited "Tokyo"--an accordion-fold sculptural book made following a Suitcase Fund-supported trip to that city in 2013--in Paperworks 2016, a national exhibition at the Northwest Art Center in Minot, North Dakota. Attending the exhibition helped Tasch to plan the 2017 Wisconsin Visual Artists exhibition, which is devoted to paper.

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Fire as Land Management Tool

May 9, 2016

by Andy Yencha, Senior Land Manager

LSG Prairie Burn - 4/23/16
Land Manager Weston Wagner tending the burn

Lynden’s grounds include several natural areas we manage as prairies. This means that within these habitats that range in size from 1-3 acres, we are trying to grow the native flowering plants and grasses that were once common in this part of Wisconsin before logging and farming transformed our landscape in the 1800’s. Once you get them growing, native plants require remarkably little care because, after living here for thousands of years, they are well adapted to our local soil and climate conditions. But getting them growing takes some work because existing “weedy” plants like Canada Thistle, Kentucky Bluegrass, European Buckthorn and Honeysuckle, don’t willingly vacate their space to newcomers, even when the new plants claim original title to the landscape. To discourage weeds and encourage native plants we use methods like manual weeding, mechanical mowing, and the judicious application of herbicides. In late April we tried another tool, a controlled fire, to achieve this same goal.

Fire creeps along consuming years of plant litter
Fire creeps along consuming years of plant litter

Why Fire Helps
Under the supervision and guidance of an experienced contractor we burned portions of our Northwest and Southeast prairies. Conditions for the fire were nearly perfect, including light but steady winds around 10 miles per hour, low relative humidity, and sunny skies. The fire moved slowly, converting years of accumulated plant litter into nutritious ash. After 6 hours we burned 3 acres and were happy with the results. By exposing large patches of soil and covering them with sunlight absorbing black cinders, the burn helps the ground warm up more quickly. This in turn will help desirable “warm-season” prairie plants get a head start over less desirable “cool-season” weeds.


Black earth will warm quickly benefiting prairie plants

Kill the KGB
One cool-season weed we especially hope to set back is Kentucky blue grass or KGB. Although desirable in our formal lawns, KGB is much too abundant in our prairies where it outcompetes native species for food and sunlight. Judging by the fire’s immediate aftermath, we successfully burned away a significant amount of newly greening KGB. Unfortunately, just burning away its leaves won’t kill it. The roots likely survived the fire and we suspect they contain enough food reserves to fuel new grass shoots. But hopefully, in the window of time it takes the KGB to recover, new prairie plants will gain a foothold. Over the 2016 growing season we’ll keep a close eye on the burn areas and provide updates on how the land recovers.


Charred blue grass

Nohl: Suitcase Export Fund Summer Cycle 2014 Awardees

November 24, 2015

In the second half of its twelfth cycle, funding assistance with shipping and travel was recommended for fifteen artists. These artists--five of them past Nohl Fellows—work in a range of media and their exhibitions will take them to Los Angeles and San Francisco, California; Denver, Colorado; Des Moines, Iowa; East Lansing, Michigan; Minneapolis, Minnesota; Columbus, Ohio; Pittsburgh, Pennsylvania; Gatlinburg, Tennessee; Richmond, Virginia; and Kenosha, Wisconsin. Destinations abroad include Vancouver, Canada.

Bass Structures (Emmanuel Fritz & Collin Schipper) participated in an exhibition at the CREATE Art and Technology Festival in Pittsburgh, Pennsylvania, the country's largest festival focusing on the intersection of visual art and technology and part of the Three Rivers Arts Festival.

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Jim Brozek opened a solo exhibition, "Iron Hulls and Turbulent Waters: Ore Boats, Workers and Great Lakes Shipping," at the Michigan State University Museum in East Lansing. The exhibition includes 24 photographs and a slide show made while working on the iron hulls. In conjunction with the exhibition, Brozek gave a public lecture, "Capturing the Iron Hulls from the Inside: Worker/photographer, Photographer/worker."

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Katy Cowan opens a solo exhibition at Cherry and Martin in November. She will be shipping large ceramic sculptures, wooden pallet-inspired sculptures, and paintings to the Los Angeles gallery.

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Maura Kelly Doyle traveled to Richmond, Virginia for Friends, a group exhibition at Mulberry Gallery. In addition to showing a photograph and two sculptures, Doyle gave a presentation about Present Works, the space she co-ran in Milwaukee, and explored ways to connect the two cities.

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Grant Gill and fellow Milwaukee-based artists Kyle Seis (2014 Nohl Fellow) and Zach Hill (2015 Nohl Fellow) are taking a group exhibition to Skylab Gallery in Columbus, Ohio. The exhibition is a multimedia installation containing works by each individual as well as collaborative works. The work responds to places visited on their way to Four Corners Monument.

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Michael J. Havice shipped two photographs to CORE New Art Space, a cooperative members gallery in Denver, Colorado, for Water, a juried into the exhibition.

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Yevgeniya Kaganovich attended the Midlife Metals Retreat at the Arrowmont School of Arts and Crafts in Gatlinburg, Tennessee and participated in the accompanying exhibition. The retreat for academic metalsmiths focuses on collaborative materials research.

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Kelly Kirsthner presented her live audiovisual work, "Falling in Terms of Silent" at The Third Work: Sound/Image/Interaction, a research symposium on sound in non-fiction media at Hunter College in New York City. In addition to performing, Kirshtner discussed the work's audiovisual design and development.

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Angela Laughingheart participated, with Dot Spransy, in a hat-themed, two-person exhibition at the Anderson Arts Center in Kenosha, Wisconsin. Laughingheart exhibited crafted fiber hats, drawings and paintings of hats, and a sketchbook of designs.

Laughingheart

Kendall Polster participated in a two-person exhibition at the Lindsay Gallery in Columbus, Ohio. Polster's work included 10 welded, repurposed scrap metal sculptures.

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Nirmal Raja & Nina Ghanbarzadeh exhibited together for the first time in a two-person show at the Hinterland Art Space in Denver, Colorado. Work included site-specific installations, prints, and mixed media pieces utilizing writing, text, and language.

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Nathaniel Stern and collaborator Erin Manning created a site-specific version of Weather Patterns: the smell of red at the Vancouver Art Gallery as part of the annual International Symposium on Electronic Art (ISEA) in Vancouver, Canada. The walk-through installation includes tornado machines, spices, fans and fabric. There will be an accompanying publication.

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Sonja Thomsen will participate in a group exhibition at the Rayko Photo Center in San Francisco curated by gallery director Ann Jastrab. Thomsen, who attended graduate school in San Francisco and has not exhibited in that city since 2004, will attend the opening.

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Melissa Wagner-Lawler was invited to show an artist book and a new etching in Parts of a Whole 3 at the Minnesota Center for Book Arts in Minneapolis. The group exhibition features artists recently associated with MCBA.

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Shane Walsh will travel to New York City to execute an installation painting as part of a group exhibition at Asya Geisberg Gallery. The exhibition will include three additional paintings of his.

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Jason S. Yi spent several days in the downtown Capital Square Atrium making "Terraform," a large site-specific sculpture, for Art Week Des Moines in Iowa. He was sponsored by Transient Gallery, a new noncommercial space.

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Pegi Christiansen: Distance 10

October 7, 2015

This is the tenth in a series of blog posts by Pegi Christiansen, who was a Lynden artist in residence through October 2015. Learn more about her residency here.

On July 31 and August 1, Theresa Columbus flew in from Maryland, Jennifer Holmes from California, and John Loscuito from Florida so the four of us could work on the Distance exhibit (September 28-October 11) and accompanying performance (October 10 and 11 at 4:00). I invited these three artists--who had never met each other before--to participate in Distance. Jennifer was the only one of us who had never been to Lynden.

Theresa was the first to arrive, on Friday night, and pointed out there was a blue moon. This means it was the second full moon in the month, something that only occurs every two to three years. Both of us thought this perfectly characterized our year of art making.

On Saturday morning, I picked up Jennifer at the airport and the four of us went out for breakfast to map out what we would be doing until everyone left town on Wednesday.

We returned to Lynden and, for the first time, got to see the exquisite corpses we had been making separately for eleven months on 11” by 15” pieces of paper. If you come to the October performances, you will see them too and learn more about how these happened. It was a wonder to point to some of the ways, though hundreds of miles apart, we were aware of each other’s intentions. For instance in July, without anyone knowing what the other three were doing, there were circles in everyone’s images. We decided how we wanted the visual exquisite corpses arranged in the gallery, as well as our monthly dawn photos and, with Polly’s help, the text corpses.

For the remainder of Saturday, Sunday, and Monday, our time and energy was devoted to working on the Distance performance. Since February we had been writing the script for the forty-minute performance, but we needed to block it and, in some cases, to revise the script based on our actions. Every night Jennifer, John, and Theresa stayed up late at Lynden reviewing the day’s revisions.

Polly encouraged us to go out for dinner one night. Monday I drove everyone over to the River Lane Inn. We sat outside while the sun set on a gorgeous evening. I asked everyone if they would mind sharing something important personally and professionally (outside of the Distance project) that had happened during our year of collaborating. This ended up sparking incredible conversation. I described how the “Failure Round Robin” I organized at Lynden in April had liberated me. John gave examples of how he is making new opportunities available for artists in his new position. Theresa explained her “kidult” concept with adults and kids creating theater together. I have always viewed Jennifer as a total Amazon, and realized she was more vulnerable than I had imagined.

August was the final month for making visual and text exquisite corpses and our dawn photos. As another way to take advantage of our time together at Lynden, we completed the August text corpse by dinnertime on Tuesday, and that morning I arrived early so we could take our dawn photos with each other. We had selected inside and outside the bathhouse by the pond as our location. John and Jennifer took selfies, and Jennifer helped to take pictures of Theresa and me. Afterwards, we took this picture of the four of us.

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Left to right, John Loscuito, Theresa Columbus, Pegi Christiansen, Jennifer Holmes

Just as Polly needed to close the gallery on Tuesday, we finished blocking. We figured out all the next steps, and by Wednesday Jennifer, John, and Theresa were back in their own corners of the United States.

Pegi Christiansen: Distance 9

August 24, 2015

This is the ninth in a series of blog posts by Pegi Christiansen, who is a Lynden artist in residence through October 2015. As part of her project, Distance, Pegi will accompany people, in groups of up to three, on their first trip to Lynden. She will pick them up, drive them out, take a walk with them, and bring them back. As part of the excursion, she will ask some questions about distance. If you are interested in participating in this aspect of Pegi's project, please call 414-446-8794 or email info@lyndensculpturegarden.org and mention you are interested in a “distance visit.”

Sura Faraj and I have known each other long enough that even though we can’t remember when we met and when we last saw each other, there wasn’t a moment of hesitation during our three hours together on June 24. When we connected via email in March to do a “Distance” visit, she was recovering from a herniated disk that had kept her flat on her back for months. Thanks to acupuncture, Sura was able to stroll through the grounds and sit on the grass to share a picnic lunch.

Sura’s mother died in May of 2012. In response to her grief, Sura started to learn about medicinal herbs and plants, which her mother had an interest in as well. Sura told me stories about her mother’s capacity for healing, and how her mother overcame shingles while Sura’s uncle, a doctor, didn’t.

Jewelweed
Jewelweed at Lynden

Sura takes her dog for walks along the Milwaukee River and also identifies and studies the plants. She pointed out Jewelweed for me at Lynden and explained it is excellent for poison ivy and soothing insect bites. I admire Sura because when she sees something that needs to be done, she figures out a way to make it happen. When she started to get angry with the mountain bikers who cut their own trails along the river, disrupting sensitive ecosystems like a beech grove, she founded the Milwaukee River Advocates. Its goal is “to protect the natural habitat” of the river from many threats, including “intense and irresponsible recreational use.” (I learned a new term from Sura: greenwashing. It applies to the bikers who would tell her they were creating “sustainable trails,” which sounds environmentally friendly.)

Sura’s study of plants led to her developing tinctures and infused oils, now primarily from plants she grows in her own yard, like Solomon’s seal. You can find her Root Flower Remedies tins of ointment and lip balm at Fischberger’s Variety and the Riverwest Co-op.

Our roving conversation swung around specifically to the topic of distance. Sura believes our current capacity for long distance travel has disrupted our connection to the land and habitat. “Travel has allowed the human species to dissect the earth and disassociate from it,” she said. It pleased her to see how the Lynden Sculpture Garden has been a careful shepherd “rewilding” the grounds. She adored the removal of the fence that used to stand around the formal garden, with only the wooden gate remaining.

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