White Bear Center for the Arts

“Futuros Posibles” Explores a Reimagined Latin American Future

Fri, 05 Sep 2025 18:31:00 GMT

As summer starts to wind down, White Bear Center for the Arts is proud to announce a new exhibit coming to the Ford Family Gallery starting September 11, running through October 31.

“ Futuros Posibles / Possible Futures ” invites viewers to explore an evocative question: What might Latin American cultures have become if colonization hadn’t interrupted the natural evolution of indigenous civilizations?

Through visual storytelling, the exhibit delves into an imagined future where indigenous languages, traditions, and spiritual beliefs have continued to flourish, evolving alongside modern technologies and other global influences. Featured artworks explore how indigenous cultures might have approached contemporary themes, such as modern medicine, sports, and language. The result is a bold confrontation of historical narratives, creating a dialogue between past and future.

Curated by María José Castillo and Alondra Garza and created by artists with roots in Mexico, Colombia, Argentina, Peru, and beyond, the exhibit is both a tribute and a vision, honoring diverse Latin American heritages while offering a fresh lens through which to re-engage with identity, memory, and possibility.

Join us for the “Futuros Posibles” opening reception on September 11, 6:00-8:00 PM to hear directly from the curators as they share personal stories, cultural insights, and the inspirations behind their visionary works.

“Futuros Posibles” Explores a Reimagined Latin American Future

Futuros Posibles

WBCA’s Into Nature Plein Air Competition Sows Deeper Local Connections

Mon, 21 Jul 2025 21:53:00 GMT

Each summer, across White Bear Lake, you might spot artists setting up their easels to paint. Be it near a serene lakefront, in front of a charming historic building, or just a random street corner, something has caught their eye.

White Bear Center for the Arts’ annual “ Into Nature Plein Air Competition ” draws artists from near and far, inviting them to paint en plein air or “in the open air.” The competition culminates in a beautiful display of works showcasing scenes in White Bear Lake, the “Into Nature Plein Air Exhibition.” Over the past six years of the exhibition, it has sparked meaningful connections between artists, residents, and local businesses, many of whom purchase the artwork to display in their homes or establishments.

Last year’s “Into Nature” exhibition inspired a particularly heartwarming moment when Kevin McNeely, a longtime White Bear Lake resident now living in California, came across Bill Check’s painting of the beloved Cup and Cone ice cream shop. Titled “Sweet Summertime,” it brought up sweet summer memories indeed.

“Cup and Cone is the defining landmark of White Bear Lake,” Kevin said. “If you ever need to prove that you’re from White Bear Lake, all you have to do is mention Cup and Cone.” The painting, now hanging in his California office, transports him back to childhood memories in “Beartown”. “When I see it, I can’t help thinking about a chocolate-dipped vanilla cone—and my love of White Bear Lake,” he said.

A similar story bloomed during the 2022 “Into Nature Plein Air Competition and Exhibition.” Painter Jeff Steiner set up his easel in front of White Bear Lake’s historic Hardy Hall building and submitted his finished painting to the exhibition. The watercolor of the building, which now houses the Hair Bar Salon and Med Spa, and The Lake Hideaway Airbnb, caught the eye of the Airbnb owner, who purchased the painting to hang inside the rental space.

Each year, dozens of paintings are created, showcasing the talent of artists while honoring the town’s cherished landmarks. The result is a shared sense of pride in White Bear Lake’s artistic and cultural identity.

As the “Into Nature Plein Air Competition” continues to grow, so too do the number of locations being immortalized in paintings each year. So, this summer, look out your window, or over your shoulder, and see if you can spot a painter at work. Then, visit the “Into Nature Plein Air Exhibition” at White Bear Center for the Arts to see if you recognize any of the scenes on display.

Whether on a canvas or through conversation, these painted portraits offer a window into White Bear Lake’s character, inviting viewers to take a closer look at the history and beauty that surrounds them.

Spot painters around town during the Into Nature Plein Air Competition running from July 18-31. Then see all competition entries in the “Into Nature Plein Air Exhibition” on display in the Ford Family Gallery from August 7-22.

Artwork pictured: 2022 Into Nature Plein Air Exhibition Award Winner, David Nemo, “8:00AM – Dusk“

WBCA’s Into Nature Plein Air Competition Sows Deeper Local Connections

Meet “Into Nature Plein Air Competition” 2025 Judge: Suhaila Ihsanullah

Wed, 16 Jul 2025 14:15:00 GMT

Suhaila is a plein air painter whose work captures dynamic urban cityscapes and natural landscapes. Her creative process begins with drawing directly on the canvas, guided by the thought that the smallest dash of color is worth painting an entire canvas.

“Everything I paint is inspired by nature and the people who build and inhabit those spaces,” Suhaila says. “Sometimes I start with a colorful setting, sometimes a challenging perspective. After painting for some time, people begin to populate my view. If they stay long enough, they will populate my paintings too.”

Come see Suhaila do a plein air painting demonstration at WBCA’s Midsummer Art Fest on July 18 .

Then, come to the “Into Nature” Community Reception on August 7 to see her selections, awarding $4,750 in prizes —including the Robert & Pamela Nuffort Best of Show Award. View all submissions, award winners, and selected works in the “Into Nature Plein Air Exhibition,” on display in the Ford Family Gallery from August 7-22 .

Meet “Into Nature Plein Air Competition” 2025 Judge: Suhaila Ihsanullah

Artwork pictured: 49th Annual Northern Lights Juried Exhibition Best of Show Award Winner, “Dancing with Shadows at Sculpture Garden Cafe”

“A Culture of Pots 2025” Brings Minnesota’s Iconic Pottery Tour to WBCA

Tue, 24 Jun 2025 09:00:00 GMT

Typically spread across a 43-mile stretch down the St. Croix River Valley, select pots from Minnesota’s 33rd Annual St. Croix Valley Pottery Tour now congregate at White Bear Center for the Arts’ Ford Family Gallery for “ A Culture of Pots 2025 .” On view this summer, this curated pottery exhibit brings the energy of an open-air, grassroots art experience into a single, thoughtfully designed space.

With white walls, soft lighting, and more than 200 ceramic vessels from almost 70 pottery tour artists, plus a striking wooden structure to hold them, the result is an exhibition that reflects not only the aesthetic range of the potters but also the deep sense of community and craftsmanship that supports it.

Originally inspired by the 2017 exhibition at the Weisman Art Museum, WBCA’s exhibit borrows both its name and spirit. Now in its 33rd year, the St. Croix Valley Pottery Tour is among the most respected studio pottery events in the country. The tour draws thousands of visitors to seven host studios scattered across the St. Croix River Valley. But in the calm of a gallery setting, it takes on a new dimension.

“The flow is about creating an environment similar to the outdoor experience of the annual pottery tour, but taking it indoors to a gallery setting,” WBCA Exhibitions Manager and the show’s curator, Karna Holub, said. “With over 200 pieces, the challenge was how to elevate each collection as equally as possible.” Facing you as you enter the gallery, and impossible to ignore as it holds dozens of ceramic pieces, is a large wooden structure designed by WBCA Resident Artist and co-curator, Kyle Frederickson. Built from reclaimed wood, the structure anchors the exhibition both visually and symbolically, calling back to the tour’s rustic aesthetic.

“It will be amazing to see the work of this year’s potters all displayed in one gallery,” said Linda Christensen, one of the tour’s longtime potters and host. “As hosts, we are unable to get around to see the other studios, so this will be a great opportunity.” The spirit of pottery, Linda said, has deep roots in the St. Croix Valley. Pottery has been made in the region since the Oneota period, dating back to 900 A.D. Shell-tempered clay vessels were once shaped by hands along the same river banks where Christensen and her peers now work. The modern studio pottery movement here began in the 1950s, when Warren MacKenzie settled in the area. The rest of the eventual original pottery tour hosts, including Linda, followed, all arriving by the 1970s. Together, they built not only a thriving scene but a mission to give back.

“It has been important for the tour to quietly foster pottery culture,” Linda said. “A Culture of Pots 2025” channels that philosophy, showcasing the diversity in technique and aesthetic from the tour’s artists. Some work in porcelain, others in stoneware or earthenware. Some fire with gas, others with wood. The unifying theme? Usefulness.

“There is no one aesthetic other than the concept of useful pottery,” Linda said. “All of the participants come with their own histories—some were trained in apprenticeships, some in universities, some are self-taught. Some come from other mediums entirely.”

The exhibition at WBCA reflects this, offering viewers more than just beautiful objects but an introduction to modern ceramics. Compared to the 1950s or 1970s when ceramicists had “minimal influence,” according to Linda, potters these days are exposed to everything digitally, so this exhibition will “tell a story of diversity of style,” she hinted.

Karna had a similar request: “When you view each piece, keep in mind that this is one concept—to make a pot, vessel, or plate out of the same medium of clay, and from that concept over 200 interpretations have emerged through color, form, shape, and texture.” For her, the exhibition is also personal. “At WBCA, we have a rapidly growing clay program,” she said. “I’ve recently taken pottery classes, and immediately noticed a ‘culture’ of potters in the studios. Support, encouragement, laughter, and loyalty are a few words that come to mind. I can only imagine that the potters from the St. Croix Pottery Tour also have that same sense of community.”

That community is the thread that runs through everything in “A Culture of Pots 2025,” connecting the creation of the first Oneota pots to the freshly-glazed mugs in the Tour. While the tour’s open-air spontaneity can’t be fully recreated indoors, the exhibition offers something new: A chance to slow down and connect with the hands that shaped each form.

“A Culture of Pots 2025” is on view through July 25 at White Bear Center for the Arts.

“A Culture of Pots 2025” Brings Minnesota’s Iconic Pottery Tour to WBCA

Giant Art Takes Shape in WBCA’s Clay Studio

Fri, 20 Jun 2025 17:25:00 GMT

With trees blooming and water warming, summer is a good time to consider Minnesota as one of the best places to spend your time. And thanks to a recent mention in TIME Magazine’s “World’s Greatest Places” list, it’s no longer an exaggeration—especially when talking about a special corner in Detroit Lakes.

Tucked but not hidden away in Detroit Lakes, Minnesota, are five giant trolls, made by Danish recycle artist Thomas Dambo. Made from discarded materials, each troll stands tall, ready to educate us humans about caring for nature, animals, and each other. Leading the five trolls is Alexa, whose spellbook tells the story of a town where little people, lured by the Golden Rabbit, became addicted to their pursuit of gold. But the rabbit never returned. Now, Alexa faces the lake, cooking up a special elixir to challenge the Golden Rabbit and free the little people.

The process of creating the necklace for Alexa’s Elixir is just one example of the artistic feats possible at WBCA. Whether you’re a beginner or experienced artist, WBCA is a space to learn and grow. But, it’s not just the space — it’s the talented teaching artists that make it all possible. With their guidance, students can learn new techniques, explore their intuition, and find the same creative freedom that allowed Jeni to contribute to a world-famous public art installation.

You can explore the professional work of Jeni and other instructors at WBCA’s Instructor Showcase, which opens May 31 and runs through July 19 in WBCA’s Exhibition Hall. Featuring the works of over thirty instructors, the show highlights the creativity and expertise of teaching artists that make WBCA what it is: a vibrant place for artistic growth. Want to create something akin to Jeni’s troll beads? The instructors at WBCA can help you do just that.

Giant Art Takes Shape in WBCA’s Clay Studio

She comes carrying all her tools, a wagon full of bird houses, her spellbook, and magic mirrors. And, if you look closely at her neck, you will see a beautiful acorn necklace made by White Bear Center for the Arts’s own ceramics instructor, Jeni O’Brien, and it’s a perfect example of what can happen when inspiration meets possibility in WBCA’s classrooms.

The collaboration between Thomas and Jeni started through a shared connection, and when Thomas found out that Jeni was a ceramicist, he invited her to create Alexa’s necklace. She spent much of the spring of 2024 crafting “ten apple-sized, imperfect clumps in yellow and green as if a troll had made them with natural dye,” per his instructions.

For Jeni, it was an exciting challenge to take on, and what better way to create the beads than WBCA’s clay studios? She used reclaimed clay to stay true to Thomas’s mission of creating art that inspires exploration and demonstrates the potential of recycled materials. She then spent two months, along with 300 other volunteers, installing the trolls throughout Detroit Lakes. When Jeni saw the article, she was thrilled to learn that out of the hundreds of trolls Thomas has built, including the five in Detroit Lakes, Alexa’s Elixir was chosen as one of TIME Magazine’s “World’s Greatest Places.”

WBCA Gets a Fresh New Look

Mon, 16 Jun 2025 08:00:00 GMT

A fresh canvas.
A bare pedestal.
A blank page.
An empty frame.
A window.

The rectangle in White Bear Center for the Arts’ new logo represents all of these and more. It symbolizes the limitless potential that lives within WBCA, waiting for you to make your mark.

Since its founding in 1968, WBCA has been a vessel for creation, a space where artists and community members come together to imagine, explore, and create. Our new logo embraces that spirit. You’ll often see it as a simple, open rectangle, evoking the boundless opportunities for creativity. At other times, it will be filled with images that highlight the vibrancy of artistic expression at WBCA, offering a glimpse into the many ways art comes to life here.

The clean, sharp lines of the rectangle are balanced by the hand-carved quality of the lettering—a nod to the dual nature of our mission: the elevation of art through our exceptional exhibitions, and the joyful, tactile messiness of art-making itself.

Longtime supporters might recognize subtle references to WBCA’s earlier brand identities. The new typeface pays homage to the original logo used until 2005, with its woodcut aesthetic and approachable, handcrafted feel. We also kept the color purple that has been a major component of our brand for the last 20 years, while expanding the palette with additional vibrancy. (We should probably include small images of those logos)

WBCA’s new logo is an open invitation to everyone who walks through our doors. It is a fresh canvas, a bare pedestal, a blank page, an empty space waiting to be filled with your creativity.

Meet the Artist Behind the Look:

Genie Hien Tran (Vietnam, b. 1996) is an interdisciplinary artist based in Minneapolis, MN. She was born in Ho Chi Minh City and grew up there before migrating to the U.S. at 16. Her work is informed by diasporic memory and the exploration of immigrant identity through the use of collage, design and textiles. Tran received her MFA in Visual Arts at Minneapolis College of Art and Design in 2022 and BFA in Illustration at University of Wisconsin-Eau Claire in 2018. She has exhibited at many galleries, including an exhibit at White Bear Center for the Arts in 2023 titled “Second Sources.”

About the new logo, Genie said, ““I’m incredibly honored and excited to collaborate with WBCA on this new journey of branding the art center. I hope to see this logo, as well as the new branding, become recognizable simultaneously with WBCA. During the design process, I did a lot of research and looked back at the art center’s history and used that history and story to inform the work. The design, therefore, aims to reflect on the past in order to craft a fresh and welcoming future. I’m excited to see the places it will take WBCA, the artworks it will help highlight, the artists that it will be in conversations with, and the community that it will be supporting. Thank you for letting me be a part of this journey!”

WBCA Gets a Fresh New Look

“A Culture of Pots 2025” Brings St. Croix Valley Pottery to WBCA

Mon, 02 Jun 2025 16:57:00 GMT

Picture it: you’re enjoying a beautiful spring day as you traipse from pottery studio to pottery studio in the St. Croix River Valley. You enjoy the hospitality of the artists, perusing the handmade bowls and pitchers and plates and cups, purchasing the ones that most strike your fancy. This is the St. Croix Valley Pottery Tour, and its artists will soon be headed to White Bear Center for the Arts.

“A Culture of Pots 2025,” on display at White Bear Center for the Arts June 12 through July 25, features artwork by the potters of the 33rd Annual St. Croix Valley Pottery Tour. The featured artists will display their work in WBCA’s Ford Family Gallery, allowing viewers to appreciate the pottery from a different angle: as elevated pieces of art.

The name “A Culture of Pots” comes from the title for the Weisman Art Museum’s 2017 anniversary project which produced a beautiful and inspiring book. A custom, rustic display element designed by WBCA’s resident artist, Kyle Frederickson, will help bring that atmosphere into WBCA’s gallery. Each participating artist will display a small collection of their finest works. Work will be for sale, and purchases will be available for pick up after the show has ended.

Gates open at 6:00 PM on Thursday, June 12, kicking off the opening reception which runs until 8:00 PM. Meet the artists, view the work on display, and then hear from participating potters during an artist panel at 7:00, moderated by Diane Mullin, senior curator at the Weisman Art Museum.

WBCA will be introducing a new accessibility tool, Capption, to its exhibition experience. Capption provides non-disruptive, multilingual access to exhibit content through your smartphone. This technology creates a more inclusive and engaging experience for all visitors, helping them connect with stories in the language they understand best, right from their own devices. In “A Culture of Pots,” viewers will be able to read more info about the artists by holding their smartphone up to the label, deepening the understanding of the exhibit, and also providing crucial access for all visitors.

“A Culture of Pots 2025” Brings St. Croix Valley Pottery to WBCA

WBCA Debuts First-Ever Fiber Art Exhibit: “Fiber Optics”

Tue, 20 May 2025 21:43:00 GMT

Fiber artists of all experience levels are invited to apply to be part of “Fiber Optics,” a textile and fiber arts exhibition coming soon to White Bear Center for the Arts (WBCA). “Fiber Optics” will include a variety of techniques and styles, showcasing the incredible diversity that comprises the field of fiber art. The exhibit will not be limited to traditional fiber art styles, but may also include pieces made with mixed media or beadwork, as long as fiber is the main component of the piece. This is WBCA’s first ever exhibit exclusively featuring fiber art.

The exhibit will be curated by three local fiber artists: Chiaki O’Brien, Karen Searle, and Sue Swanson. Chiaki O’Brien, a WBCA teaching artist, teaches SAORI weaving, which is a handweaving technique that emphasizes the individuality of the weaver, with a free, creative approach to the medium. Sue Swanson, also a WBCA teaching artist, focuses on beadwork. She leads WBCA’s Fiber Open Studio, a space where fiber artists can come together and create in a shared space. Karen Searle creates sculptures and objects in fiber and mixed media, and was featured in WBCA’s Northern Lights Juried Art Exhibition. Each of these artists brings a different perspective to the selection process, and will curate a show that is unique to their collective viewpoint.

The show will be on display in White Bear Center for the Arts’ Exhibition Hall and Atrium August 4-September 12, 2025. Fiber artists are encouraged to apply here: https://whitebeararts.org/fiber-optics/ The application deadline is June 20, 2025 at 11:58 PM. Please direct any questions to gallery@whitebeararts.org.

WBCA Debuts First-Ever Fiber Art Exhibit: “Fiber Optics”

Meet the Vision & Verse Judges

Wed, 23 Apr 2025 21:01:00 GMT

The “Vision & Verse: High School Visual Arts & Writing Exhibition” invites young creators across the Northeast Metro area to submit original works in either visual art or writing—or both. Winning entries receive cash prizes, and selected pieces are featured in WBCA’s annual student literary magazine, “Repose.” This year’s exhibition features 212 pieces of visual art and select written work from 53 student writers.

But who narrows down all the submissions to the work that is proudly hung up in White Bear Center for the Arts’ Ford Family Gallery and Exhibition Hall? Meet the judges who bring their expertise, insight, and appreciation for nurturing young creativity to the table.

Special thanks to the writing judges: Rachel Anderson, Amelia Colwell, Jenna Dill, Amber Guetebier, Terri Kaiser, Mary Kolles, Eileen Lambert, Julie Lundgren, Mark Nicklawkse, and Ann Swanson.

Vision & Verse: High School Visual Arts & Writing Exhibition is on display in White Bear Center for the Arts’ Ford Family Gallery and Exhibition Hall until May 16.

Meet the Vision & Verse Judges

Karen Chan is a Minneapolis-based oil and acrylic painter specializing in chiaroscuro still life that blends classical influences with contemporary settings. She has exhibited her work locally at Stillwater Public Library and Frameworks Gallery and sells her work through various online platforms as well. Beyond her practice, Karen teaches beginners oil and acrylic painting at White Bear Center for the Arts, at local libraries, and through private workshops. She also leads painting events for corporate groups, bridal parties, and community programs. This year, she is honored to serve as a juror for “Vision & Verse.” She is excited for the opportunity to support young artists in their creative journey.

Taylor Guntharp (she/her) is a Mississippi-born illustrator and animator based in Plymouth, Minnesota. She has a background in 2D animation, as well as a BFA in animation from the Minneapolis College of Art and Design. She actively works with nonprofits as both an animator and volunteer, often serving communities through education and event organization. She loves the intersection between people and design, and often finds inspiration in the people around her. When she’s not creating art, Taylor can be found in her garden pruning tomato plants or cooking meals to share with her partner and loved ones.

Erik Pearson has been creating paintings, sculptures, and murals for over 20 years. His public art career includes 24 public murals, and eight installations, working with city officials, community groups, and business owners in the process. Erik creates each work of art as a glimpse into a character’s life at a given moment in time. The color, composition, and contrast reflect his love of a theatrical setting, and play with some of his common subject matters of music, circus, and nautical themes. His goal is to create artwork that embraces multiple viewings, allowing new discoveries and interpretations over time.

Vision & Verse: Giving High School Artists a Platform to Shine

Wed, 23 Apr 2025 20:27:00 GMT

Sometimes all it takes to inspire someone to continue pursuing their artistic dreams is to give them a platform for their work. That’s one of many reasons why White Bear Center for the Arts’ annual high school visual arts and writing contests are so powerful. Each year, local students in grades 9-12 submit their poems, short stories, and essays to the writing contest, and submit paintings, sculptures, photographs, and more to the visual arts contest. The contests culminate in a month-long exhibit on display at White Bear Center for the Arts.

The work submitted by high schoolers is judged by professional writers, teachers, and artists who have the hard but rewarding task of selecting which pieces will be on display in WBCA’s Ford Family Gallery as well as which will win awards. Artwork and written work is then hung in the “ Vision & Verse: High School Visual Arts and Writing Exhibition.” WBCA has worked to unify the two contests, curating an exhibit that features artwork and writing side-by-side, which often results in a beautiful conversation between the pieces.

Aiding in this curation are WBCA’s Studio Repose interns, a group of eight local high school students who have been interning at WBCA since January. They will be helping Exhibitions Manager Karna Holub lay out and hang the show, a crucial step in the outcome of the exhibit. With the help of the interns, this show is not only for high school students, but curated by them as well. “The opportunity to curate a show, full of pieces made by individuals who care deeply about their craft, as a part of my art-centered job, is inspiring,” said Studio Repose Intern Hannah Bradley. Along with being part of the Studio Repose internship, Hannah also has three pieces in the “Vision & Verse” exhibition. “Seeing my art in an actual gallery further deepens my investment in my art, and facilitates my progress,” she said. “It makes me feel profoundly connected with a community of young people who share my passions.”

WBCA is always packed to the gills with students, proud parents, friends, and onlookers during the “Vision & Verse” community reception and award ceremony. This event is a chance for students to celebrate their achievements, whether it be in writing or visual art, and to view the exhibit in its entirety. The night often has a sense of anticipation as the judges declare who will go home with awards and cash prizes.

Orchestrating the whole exhibit and reception is Exhibitions Manager Karna Holub, who has now worked on five of WBCA’s high school exhibits. “It’s fulfilling to see these young artists go from seeing their work on a desk, easel, wheel, or computer to seeing it come to life displayed in a gallery setting,” Karna said. “And then the icing on the cake is sharing that success with their peers, friends, and family at the community reception.” This year’s reception will be on Thursday, April 24th, from 6:00-8:00 PM, with the award ceremony starting at 7:00 PM.

For many students, this is their first time exhibiting their work in a gallery setting. Seeing their work in a space like the Ford Family Gallery, with its professional lighting, hanging, and curation, gives validity to their artistic endeavors and can encourage them to continue on this artistic path past high school. Sometimes, all you need is a little push.

Vision & Verse: Giving High School Artists a Platform to Shine

51st Annual Northern Lights: A Tale of Two Sculptors

Wed, 19 Mar 2025 15:54:00 GMT

For over half a century, the Northern Lights Juried Art Exhibition at White Bear Center for the Arts has illuminated the creative journeys of artists living in Minnesota. Since its debut in 1974, this prestigious exhibition has fostered an environment of both challenge and solidarity for local artists, giving them a chance to showcase their works and receive recognition for outstanding work. One artist who has been there since the beginning is George GI Moore, whose history with the exhibition spans decades.

This year, the exhibition brought forth a new voice: Dan Volenec, whose piece “Carapace” won this year’s Best of Show award. As an artist whose primary medium is painting and drawing, “Carapace” stands out among his work. A sculpture that is a delicate balance of strength and grace, the 4-foot tall lapis blue turtle shell shimmers with gold veins and weighs only about 7 pounds.

On the night of the Northern Lights Community Reception, Dan was called up to receive his award and stood patiently while he heard the judges’ praise and feedback. But before he walked back to take his seat, he exclaimed, “Wait!”

“I have a message for everyone,” he continued. “I attempted this piece 10 years ago but failed. Now, ten years later, it’s winning a Best of Show award.” He ended with telling the crowd, “Don’t give up!”

Dan now recounts his first attempt at making “Carapace” a decade ago. “I had cut the [shell] segments as flat pieces. If you’ve ever tried to take flat pieces and turn them into a curved object, you’ll discover that they no longer fit together in 3-dimensional space the same way they fit in two dimensions.” But he didn’t give up, instead, he adapted. “I put the idea aside but kept thinking about the problem.” Encouraged by his friend and fellow sculptor Dennis Kalow, who is also featured in this year’s Northern Lights, he eventually returned to the project. For Dan, “Carapace” is more than just a sculpture, it’s a personal victory. “I’ll admit it was an ego boost to see it come together and no longer feel defeated,” he said. “Having learned much during this trial and error, I’m eager to continue this form of fabrication.”

These stories reflect the spirit of Northern Lights, an exhibition that not only celebrates the finished products but also the journeys that artists take to create these works of art. WBCA’s Ford Family Gallery becomes a place where you can find stories of struggle, growth, and success celebrated through every piece displayed.

As this year’s exhibition prepares to come to a close, it’s clear that the Northern Lights Juried Art Exhibition continues to shine as brightly as the day it began. As George put it, “It’s equally stimulating to be accepted and to mix with the other artists,” a celebration of art in all its forms, inspiring both artists and viewers to keep pushing the bounds of their creativity.

The 51st Northern Lights Juried Art Exhibition is on display in White Bear Center for the Arts’ Ford Family Gallery until March 27.

51st Annual Northern Lights: A Tale of Two Sculptors

George, a 3M Chemist by trade, first submitted to Northern Lights’ inaugural exhibition in 1974 with his sculpture, “Dancing Lady,” a skeletal human figure carved from walnut. Since the ’80s, he has submitted almost every year.

Having sculpted for 70 years, he’s now deemed a veteran artist, but there was a time when even George was a beginner. Through the course of his education as a chemist, he took no time for art education and was mostly self-taught. Inspired by early 20th-century European sculptors and, most personally, by his grandfather, George Read, an accomplished wood sculptor.

George Moore at the second Northern Lights at Century College in 1975.

George GI Moore and walnut sculpture “Shotputter” at the 50th Annual Northern Lights Exhibition in 2024.

Dan Volenec’s “Carapace” with Best of Show ribbon.

Exploring the Art of Printmaking With “The Fine Print”

Thu, 30 Jan 2025 16:08:00 GMT

Something new and bold will be making its mark on White Bear Center for the Arts’ Exhibition Hall starting this February. “ The Fine Print ,” brings the diverse world of printmaking into view through a brand-new printmaking exhibition. Featuring works from emerging and established printmakers from around Minnesota, the show will highlight a broad range of printmaking techniques.

Unlike previous group exhibitions, “The Fine Print” is a medium-specific show, selected through an open call for entries. “We want to celebrate artists that primarily do printmaking in their career and expose the community to a new process of art,” explained Exhibitions Manager Karna Holub.

The open call attracted 127 submissions, resulting in a 56-piece show curated by experienced Twin Cities artists Christopher Alday, Genie Hien Tran, and Edson Rosas. “There was a pretty solid variety of techniques used in the pool of submissions,” said Christopher, who typically works in screenprinting and letterpress printing. The curators’ vision while choosing pieces for the show? “To highlight what can be done and created with printmaking,” he said. Each piece they chose offers a unique perspective on the craft, showcasing the different styles and techniques nestled under the umbrella term of printmaking.

“At WBCA we’re all about trying something new. If you draw, there’s no reason you can’t try pottery, for example,” Karna said. She recalls an artist who was itching to branch out to something unknown. “They told me they were new to printmaking but wanted to push themselves by exploring a new medium, so they submitted — I thought that showed courage and determination.” And while printmaking might not come to mind as the most accessible artform, there’s something Christopher wishes people knew about it: “printmaking is just illustration and image making in another form.”

For those curious to learn more about printmaking, the exhibit will also give visitors a chance to engage with printmaking with special interactive components. Visitors can become familiar with different types of printmaking from lithography, woodcut, etching, and screen printing; and even make their own print to take home. In typical WBCA style, there will be corresponding classes that people can take if they feel inspired by the exhibit. Taught by none other than fellow curator Edson Rosas, Reduction Relief Printing will teach students the safe carving techniques and color theory needed to create a relief print. There is a session for adults, as well as one for teens.

Karna hopes that this show will inspire future exhibitions that explore other specific artforms while continuing to push the boundaries of what WBCA visitors can experience in its exhibition spaces.

The Fine Print will be on view in the WBCA Exhibition Hall from February 8-March 27, 2025.

Exploring the Art of Printmaking With “The Fine Print”

The Hidden World of Words at WBCA

Wed, 22 Jan 2025 18:15:00 GMT

Walking into an art center, you might expect to find students crafting clay pots and dipping paint brushes into watercolor palettes. But what about a group of writers studiously scribbling away? More and more over the past two years, the classrooms at White Bear Center for the Arts have been home to groups of writers as they experiment with their chosen art form: writing. This is thanks in large part to Amber Guetebier. In her less than three years as a writing teacher at WBCA, Amber has cultivated a vibrant, inclusive space, making WBCA a place where writers of all ages and stages can grow, thrive, and most importantly have fun while doing it.

Though to her students and others who know her, it might feel like Amber was born into this role, the truth is that she stumbled across it through a series of happy accidents. When she first moved to the area, Amber was looking for art classes for her young son. She found a youth summer camp at WBCA, but what she didn’t expect was to find a creative calling of her own at the art center. She recalls hearing bells and a choir of angels singing the moment she walked through the door and feeling like, “ah, this is my place.” That feeling led her to join the writer’s group, and she began teaching writing classes in 2022.

In the last few years, her vision for WBCA’s writing program has started to take shape, grounded in the belief that writing is just another art form. It’s a creative entity that requires space, time, and dedication as well as community. “There’s something magical about a group of writers when they find their people.” She said that a collective writer’s mindset is transformative. “To know they’re not alone in a cabin in the woods, but if they wanted to be, the other writers would get it.”

While Amber’s classes cover technical subjects, like the nitty gritty of book proposals, and how to dig deep to discover the characters you’re writing about, her main goal in teaching is to keep it light. “I try to make it fun,” she said. “I personalize the class as much as I can and keep it at a pace that allows for creativity, spontaneity, and lots of laughter.” Because no one wants to be bored in a class, teachers and students alike get more out of a class if it’s entertaining. This comes in handy when teaching teen writers.

Since her love of writing started very early, Amber has experience being the kid who wouldn’t stop writing when everyone else went to the playground. And while we think of writing as a solitary activity, it’s important for young writers to know it doesn’t have to be. In this catalog’s offerings, she’s expanded her youth writing classes to more include more offerings beyond the teen writers club, the Pen & Ink Society . “The writers that I knew [at that age] were gatekeepers, they were happy to lecture about their own successes but reticent to share their wisdom with young writers.” Amber wants to turn the tide, “I am not a gatekeeper,” she said. “I want to break the lock and kick the gate in so my Pen & Ink Society members can dance around on their mountains of words.”

In the last year, she’s engaged over a hundred local writers in her writing classes from casual writing sessions with other writers, discovering their voices at events like Writer’s Speak: An Open Mic Night for the Community , or putting their nose down for a writing intensive. Keith Harrower, a writer who has attended writing classes at WBCA for over 5 years attests to the power of the writing community that Amber has built. “Amber has created a safe space for writers of all levels and ages,” he said. “[She] is dedicated to making each writer feel welcomed and respected for their abilities. This safe environment nurtures a flourishing writer’s community right here in White Bear Lake. It is amazing and fun to be a part of.” Some of her loyal Writer’s Well students, Jo Prouty and Terri Kaiser have even grown to be instructors themselves, teaching a class on self-publishing this spring.

As more students and teaching artists join the ranks, Amber is excited to see what the writing program will evolve into. “Every teacher brings a new perspective to aspects of writing and this allows us to look at our writing from a new place,” which is important because, as she said, “the best writers never stop writing and they never stop learning.”

Find all writing classes at WhiteBearArts.org/classes .

The Hidden World of Words at WBCA

“Remember the Magic:” Dayton Holiday Show Documentary Unveils a Close White Bear Lake Connection

Tue, 21 Jan 2025 18:20:00 GMT

For over 50 years, the Minnesota holiday season was synonymous with Dayton’s 8th-floor, where the department store’s spectacular holiday shows captivated audiences with a blend of artistry, imagination, and holiday cheer. Now, almost a decade after its final show, it has become a memory to the many who got to witness its magic.

This year, Twin Cities PBS offers a nostalgic look back at the beloved tradition with their documentary, “ Remember the Magic: A Look Back at the Dayton’s Holiday Shows .” Premiering on TPT on December 17, the film explores the legacy of the time-honored tradition and highlights the creativity and dedication that went into its yearly extravaganza.

“Remember the Magic:” Dayton Holiday Show Documentary Unveils a Close White Bear Lake Connection

One of the key elements to making it all happen? Dan Mackerman , renowned Twin Cities artist and beloved White Bear Center for the Arts teaching artist. For 22 years, Dan helped bring the magic of Dayton’s holiday shows to life as the lead artist and designer. Dan and his life-long painting experience were responsible for directing the creation of over 1,000 sculptures and assisting in the design of 25 large-scale installations — transforming Dayton’s from a department store to a wintery dreamland.

Dan’s has long been a Twin Cities staple. His contributions reach far and wide across the state with work at Prince’s Paisley Park, The Mayo Clinic, and the Children’s Hospital of Minneapolis. But it was through his work at Dayton’s that his reputation spread to places as far as Disney and The Smithsonian Institute National Building Museum.

Through archival footage, behind-the-scenes looks, and interviews with visitors and artists like Dan, “Remember the Magic” peels back the curtain revealing the magic and intricate craft behind the cherished tradition that Minnesotans will remember forever.

“ Remember the Magic ” premiered on TPT 2 and the PBS App on December 17, 2024.

When the Earth Sings

Thu, 14 Nov 2024 18:32:00 GMT

Local artist Brianna Harrington spends a lot of time outdoors as an avid hiker, wellness coach, and master gardener, connecting to the earth and listening to the ground beneath her feet.

Brianna’s new series, “ Soil Song: Exploring the Decaying Vibrancy of the World’s Soil ,” now on display at White Bear Center for the Arts, uses paintings that incorporate soil and natural elements from places in Minnesota and beyond to explore the impact our environment has on our health and well-being.

The works, hung in White Bear Center for the Arts’ Community Hallway, are watercolor paintings with pigments of pink and green shining through the sand. As a watercolor artist and teacher at WBCA, much of Brianna’s work focuses on the landscape and the natural world. “I’ve always been interested in trying to take better care of people and the planet,” she says. So as she continued on her artistic journey, she found herself naturally drawn to gathering pebbles to use in her paintings, and, after testing the soil of her garden, reading studies that said soil makes sounds when it’s healthy.

What is this connection between soil and sound? Ecoacoustics, which studies an ecosystem’s soundscape, offers insight into soil health. Think of it as a garden party: healthy soil features rich soundscapes made by insects and microbes moving through the soil. The sounds are much quieter in degraded soils which lack life forms essential for soil productivity and ecosystem balance.

In her artist statement, Brianna argues that this balance contributes to the human health cycle by impacting the nutrients in our food supply and influencing our immunity and gut health. Unfortunately, soil health is declining due in part to human impact.

Her goal is to get people to care. “The beautiful thing is recognizing that our environments really impact us,” she says. When people realize how their environment affects them, they’re more willing to interact with it more intentionally.

So, Brianna visited places like Crosby Farm Regional Park in St. Paul, and Nokomis Beach, areas with a lot of activity and things that are natural and unnatural. She moved through the space with curiosity, first taking a long hike or meditating. Then gathered small samples, took pictures of rocks, and identified a color palette. In her studio, the curiosity continued. She asked herself, “What do these materials want to become? How do they want to be used?” Slowly, they became microcosms of the places they were sourced from, portraits of the natural world around us.

While the project brings attention to environmental advocacy and the cycle of human impact on the environment, Brianna says she has no agenda. It doesn’t require too much contemplation; it’s just the thought of what’s happening in the earth beneath us.

Brianna compares this sensation to home design, research shows that having color and art in a home gives people a hit of dopamine. “The same is true of our natural world,” she says. Green spaces with flowers or trees help people regulate their breathing and lower blood pressure, it can even lead to less crime.

In the next year, Brianna hopes to continue the “Soil Song” series by recording the soil to see how the land has changed over time. “I’m excited to see how this idea evolves and take people on the journey of being curious about our world with me.”

You can see “Soil Song” in WBCA’s Community Hallway on view until January 6, 2025, as part of a series highlighting the artistry of WBCA’s teaching artists.

When the Earth Sings

Stretching the Imagination: A New Experience in the Ford Family Gallery

Thu, 14 Nov 2024 17:37:00 GMT

Galleries have historically been thought of as neutral spaces to observe art, designed to present works in a controlled environment that invites intellectual reflection with their white walls and stark lighting.

Now, White Bear Center for the Arts is bringing back a different way to engage with art: through mind and body. This December, the art center invites you to elevate your midday break with Yoga in the Gallery, a five-week yoga series taught by Shaila Cunningham against the backdrop of the Members’ Exhibition in the Ford Family Gallery.

Yoga in the Gallery began over a decade ago at WBCA when it was still housed in the White Bear Lake Armory, and followed when the art center made its move to Long Avenue. But its origins begin much farther away, in the 90s when Shaila lived in Singapore.

Taking classes in a traditional yoga class with a teacher who was a Zen Buddhist in Singapore was a very different experience from the yoga culture in the United States, so when she moved back to Massachusetts, she became the bridge between the two. Shaila began studying under a Swami or Yoga Master at the Kripalu Center for Yoga & Health and finished her teacher training before she moved back to teach in Minnesota in 2001.

About a decade ago, WBCA approached Shaila about teaching in their space, “What a great and unusual opportunity,” she thought of teaching in an art center. “I wanted to be around creative people open to that mindset.”

She insists that her teaching style was influenced by being surrounded by art classes at WBCA all those years ago. “It’s like if you were in a still life class, the teacher would be walking around working with students individually. If you were to look over the shoulder of those students, you would see all different interpretations of the same thing, that’s how a real yoga class should run.” In guiding the practice, Shaila honors each person’s unique body shape and fitness level so that they feel their way into a pose, as opposed to trying to force it to look right.

As a certified Kripalu teacher, Shaila’s approach promotes not only strength and flexibility but also cognition and prevention through something she calls “fall rehersal.” Shaila says that one of the greatest threats to aging people is suffering from a fall, “there’s research that shows your ability to get up and down from the floor is connected to your longevity.” To combat that, Shaila works with poses that help people maintain agility in terms of moving through their environment.

“Practicing yoga in the gallery allows us to connect with the art in a more meaningful way as we find our own center,” says WBCA Creative Services Director Sara Nephew. “It’s also a chance to build community in a space where art and reflection meet — a powerful combination for inspiring personal growth and social change.”

That speaks to the mission of WBCA, and Shaila recognizes it too, “there’s always been this kinetic energy that ran through [the building] and it had a sense that really worthwhile, interesting things were happening there,” she says.

Join us for Yoga in the Gallery on Tuesdays from 12:00-1:15 PM starting December 3, 2024-January 14, 2025. Register at WhiteBearArts.org.

Stretching the Imagination: A New Experience in the Ford Family Gallery

Being in the gallery surrounded by art enhances the practice, making it the ideal setting to boost mood and energy. “There’s a reason why Zen temples have rock gardens and are built around serene nature,” she says. “Meditation works from the outside in.” So in a space where artwork has historically been experienced on a very cerebral level, inviting in yoga and meditation helps blur the lines so you can experience the creativity of fellow community members more somatically.

“Creative Pursuits” Advocates Creativity Among Those With ALS

Tue, 29 Oct 2024 14:49:00 GMT

Ken Baltes was many things, a lifelong computer technician, a late-blooming artist, a creative advocate, and above all, a cherished member of the community. Two years after his passing from ALS, White Bear Center for the Arts hosts “ Creative Pursuits ,” a pop-up exhibition in collaboration with the ALS Association. The exhibit highlights the creative talents of those living with ALS and their caretakers and marks the first anniversary of the Creative Pursuits Program , which Ken envisioned years ago.

Before his diagnosis, Ken discovered a love for art through the White Bear Center for the Arts, taking painting and drawing classes. When his diagnosis came, he battled with ALS for two years yet his passion for creativity remained undeterred. Even during his illness, he focused on ensuring that people with ALS could continue expressing themselves artistically.

He conceptualized what would eventually become the Creative Pursuits program. Basing it on Maslow’s hierarchy of needs, Ken’s goal was to help those living with ALS not just to survive but to climb the pyramid to self-actualization by empowering individuals to thrive through creativity.

Ken’s wife, Dorothy Elion witnessed this firsthand. “People can have a better life, even with ALS and their handicaps, if you provide them with resources to do what they like to do,” she says.

Dorothy recalls watching Ken’s artistic journey take a turn after his diagnosis of limb-onset ALS, causing weakness in his dominant right hand. Rather than give up, Ken adapted, first switching to painting with his left hand. Then, as his condition progressed, he got help from an old friend—technology. He continued to create using an Eyegaze device that allowed him to draw by scanning his eye movements.

As a member of the local ALS Association board, Ken advocated for the program that would evolve into Creative Pursuits. His efforts reached a national level, establishing a network of support and a committee consisting of local healthcare professionals, ALS Association staff, family, and friends, to ensure his vision of offering creative experiences for those living with ALS would continue to grow and evolve.

Over a year ago, Liz Stanley was brought on to lead the program as the ALS’s Creative Pursuits Program Manager. Previously, Liz was an art educator for 16 years who had lost a close friend and artist to ALS. “This inspired me to bring my passion for the therapeutic power of creation to people living with ALS,” she says.

After Ken’s passing, Liz developed the Creative Pursuits program offerings to include writing, music, and other art mediums. In the first year of classes, the program has grown from serving five states in the Midwest to having a catalog of over 20 virtual offerings available from all 50 states. “I absolutely believe that his goals are being met,” Dorothy says of what the program has grown to. “Liz has done a phenomenal job, way beyond even what Ken may have dreamed of.”

Now, to celebrate the program’s first anniversary, the “Creative Pursuits” exhibition shows the world that there are no limits to creativity. “I wanted to celebrate Ken, his art, and his vision for the program as well as celebrate the amazing work created by our program participants,” Liz says.

The exhibit, which will be on display in the Ford Family Gallery from October 25-November 13 will be made up of a range of media showcasing the various disciplines on offer in the program including music, writing, photography, watercolor, acrylic, finger paint, AI-generated art, and more.

Ultimately, “Creative Pursuits” serves as a full circle moment—a heartfelt homage to Ken’s belief in the power of creativity to enrich lives, even in the face of pain.

“Creative Pursuits” Advocates Creativity Among Those With ALS

First Person Plural: Honoring Immigrant Stories in White Bear Lake

Wed, 23 Oct 2024 21:55:00 GMT

You might see new—even familiar faces on the grounds of White Bear Center for the Arts. In the form of huge black and white mural portraits, local artist and White Bear Lake resident Cadex Herrera’s latest project, “ First Person Plural ,” shares the journeys of immigrants who now call White Bear Lake home.

Through in-depth conversations and interviews with ten immigrant community members, Cadex has created a powerful two-part project: a documentary that serves as a vital record, telling their stories and ways they’ve enriched their communities; and a series of murals that bring their faces to the public eye.

First Person Plural refers to the collective pronouns, “we,” “us,” and “our.” In this project, Cadex zeroes in on the pronoun “We,” the first word in the Constitution of the United States. Embracing “We” Cadex moves beyond the individual to emphasize community and togetherness while weaving individual stories into a collective narrative that instead celebrates unity and belonging.

“We immigrants are the invisible force that makes this country work,” Cadex notes. “These murals are meant to make them visible.” One of the stories Cadex hopes to tell is that of Peter Atakpu, a lifelong educator who moved to the United States from Nigeria at a young age. He served as principal at the St. Paul public school district for many years and is now the Director and owner of the Mathnasium of White Bear Lake.

For many years, Peter and his wife have cultivated an impressive business, embodying the spirit of resilience and growth that exists in all of Cadex’s subjects. In conversation with Cadex, he shared his journey that began when he arrived in Minnesota over 40 years ago. Knowing limited English and speaking with a thick accent, he recalled people underestimating him because of his accent, and being perceived as less intelligent. With a Bachelor of Science in Mathematics, two Master of Arts degrees—one in Educational Leadership and another in Literacy Education—and a Doctor of Philosophy in Educational Leadership, he defies that narrative. And now uses his experience to help struggling students understand and excel in Math.

Other such stories include Ben Byaruhanga, who came to Lino Lakes from Uganda, Julio Cabrera a first responder from El Salvador, and seven others from all over the world. To find them, Cadex collaborated with local organizations, Many Faces, the White Bear Lake School District, White Bear Center for the Arts, and the Rotary Club of White Bear Lake to connect him with folks willing to tell their stories.

While the project has been underway for over a year, it proved a struggle for Cadex to find ten people. “They’re afraid,” he said. “People are hesitant because of the current political situation.” The timing of “First Person Plural” and its first installation are no coincidence.

You can see “First Person Plural” at White Bear Center for the Arts starting October 24, 2024 on view through May 2025.

This is a Many Faces event hosted by White Bear Center for the Arts. This This work is funded in part by the Minnesota Humanities Center with money from the Arts and Cultural Heritage Fund.

First Person Plural: Honoring Immigrant Stories in White Bear Lake

As an immigrant himself, moving from Belize to the United States to pursue art when he was 19 years old, Cadex knows what it’s like to feel other. “I remember walking into different spaces, the grocery store, or the library and realizing that I was different.” He says. “I didn’t want to be seen, and it took me a long time to say, It’s okay for me to be in these spaces.” That’s what he hopes to accomplish with this installation, for immigrants to feel seen and welcomed.

Faces are made up of dots like those of a demographic map, representing the idea of numbers, statistics, and mobility. Inspired by photographs taken by Cadex, shot at a lower angle with the subject facing the viewer, each image is imbued with dignity as if to say “Look at me–I am here, look me in the eye.”

Jessica Turtle Creates a Community Mural at WBCA

Tue, 01 Oct 2024 16:31:00 GMT

This summer, White Bear Center for the Arts collaborated with celebrated public artist and WBCA teaching artist Jessica Turtle to create a community-driven mural installation.

It’s in the name, but you wouldn’t believe the connections made over a community mural. Over the course of five days, Jessica was joined by over 100 people to paint on WBCA’s 14 x 43 foot, east-facing wall. The motley crew included artists, students, WBCA staff members, board members, writers, and even a group of morticians.

On the first day, WBCA visitor Randy joined in on the fun. He had been viewing WBCA’s exhibitions with his mother in early September when he spotted Jessica gridding out the mural. After inquiring at the front desk, he stopped by on the first day of painting sessions and even brought his own ladder. Much of the water lily on the mural can be attributed to him. He painted for over 4 hours.

It’s for reasons like this that Jessica is drawn to community murals versus painting alone. “It makes it much less hollow,” she said. Though she identifies as a true introvert, the aspect of connecting with people through a community project feels fulfilling to her. “It restores my confidence, how easily so many different people can come together to work on something.”

The mural, which she calls a “montage mural,” is essentially a collage of images submitted by members of the WBCA community. The prompt went like this: “As you walk around White Bear Lake, stop and take a look. What do you see that celebrates art, inspires creativity, or connects people?” Over 130 photos were submitted of art center memories, White Bear Lake landmarks, and people making art.

From those images, Jessica created a design full of color, movement, and creativity suited for an art center. “As a community art center, the exterior of our building should reflect the vibrant, creative work that’s happening inside,” Creative Services Director Sara Nephew said. “We wanted a mural that tells our story — one that embodies the range of mediums we offer, and the energy and heart that defines WBCA.”

How does Jessica coalesce over a hundred photographs to create a unifying image? “I never really know how I do it,” she laughs. She set out to design an intentional communal space centered on creativity and connection. The mural features art in the form of dancers, a sketchbook, and a paint palette. It’s also peppered with elements of nature essential to the White Bear Lake community.

For Jessica, the call for art has always been there. She’s been making murals from a very young age, starting at the age of 12 when she painted a mural in her closet. She was always drawn to large-scale projects, but with an interest in ecological awareness, she couldn’t get over the lack of sustainability in fine arts. She was caught up with the feeling that she was always just producing more. With a community mural, you’re working on an existing structure. “I’m not adding anything and it’s being used for a bigger purpose,” she said.

Her mission aligned perfectly with what WBCA was looking for when searching for artists. “Jessica was the perfect choice for this project, not only because of her past involvement as a teaching artist [at WBCA], but also because of her impressive mural work and her leadership in public art, community engagement, and activism,” Sara says. “We’ve admired her work repeatedly and knew she would bring the community’s vision to life.”

Next time you spot a community project of any kind, don’t hesitate to approach it. “People are always cautious but anyone can do it,” Jessica says. Whether you have experience or not, be a part of something bigger.

Jessica Turtle Creates a Community Mural at WBCA

Crop Art Students Head to the State Fair

Thu, 29 Aug 2024 15:47:00 GMT

Something seedy is growing at White Bear Center for the Arts. Under the expert guidance of Marta Shore , Assistant Superintendent of Crop Art and Scarecrow at the Minnesota State Fair, a group of artists honed their skills as they learned how to create crop art and submit their work to the State Fair. Starting in July, Marta held crop art classes and work sessions at WBCA to teach students how to create their seed mosaics. The introduction class filled in a snap and work sessions were even attended by veteran award-winning crop artist Dan Lindquist, who took second place in the Class 4 Advanced division this year.

Crop Art began in 1965 as a way to introduce fair-goers to Minnesota-grown crops. In the last 60 years, it has gained popularity as an art form and become a celebrated hallmark of the Minnesota State Fair. Artwork can depict anything but most often, submissions are inspired by pop culture: from puns and memes or celebrity portraits to political commentary.

Submissions to the competition are under seemingly strict guidelines, with the State Fair committee accepting submissions made only with seeds from Minnesota-grown farm crops, with no wild plant seeds, white rice, or sesame seeds allowed. But there’s one secret Marta tells students, “you make it, they put it up.”

Nearby hangs a seeded loon made by Alissa Groff. “I’d long wanted to get involved, but honestly didn’t know where to start,” she says. After her mom spotted the Intro to Crop Art class in WBCA’s summer catalog, she signed up. “The breakdown [of the class] was really helpful for me and made the process really approachable,” she says. “I loved that the class was taught in a way that went through how everything works, why, the specifics of how to create, and where to find supplies.”

In the month between her first class and the State Fair entry deadline, Marta taught her students about the history of crop art, including icons like Crop Art Queen Lillian Colton, (who won nine best-of-show ribbons in 11 years starting in 1966), selecting the right materials and executing intricate designs, and tools of the trade. They learned how to paint miniature seeds, strategies for placing hundreds of seeds on a board, and even how to apply to the State Fair competition.

As you wander and eat your way through the Great Minnesota Get-Together, don’t forget to stop by the Ag-Hort building to peruse the crop art. See if you can spot an entry from Marta’s class at WBCA.

Jean Kohs working at Intro to Crop Art at WBCA in July

Crop Art Students Head to the State Fair

As long as you adhere to the supply rules and the three no-nos of crop art (no swearing, no solicitation, no slander), artists will get their designs hung up at the Ag-Hort-Bee building. This has encouraged novice crop artists like Jean Kohs to submit. “It sounded like a very ‘Minnesotan’ thing to do, so I gave it a try. I have never even considered doing crop or seed art before.” She says after learning in the intro class that they display all rule-following submissions, she decided to make and submit a piece. Modeled after her and her family’s favorite children’s book, “A Day with Wilbur Robinson” by William Joyce, her piece hangs proudly in the Field Crop section of the building.

Thus went the creation of her loon, using tips, resources, and expertise shared by Marta who, despite all her years of experience, only moonlights as a crop artist.

By day, Marta teaches biostatistics at the University of Minnesota School of Public Health. In the almost 10 years that she’s been making crop art, she has won every ribbon but first place. Now, as superintendent, she has forgone the competition and decided to help others get into the craft instead.

Marta Shore’s past State Fair Crop Art entries

Ahead of the State Fair opening day, there was a sense of pride and unbridled excitement. “I’ve loved telling people I’ve entered and having them say they’ll look for me,” Alissa said. And she’s already inspired to do more for next year. Jean was excited to share the moment with her family. “I’m looking forward to my grand-kids visiting the display and saying, ‘Look, that’s the one Nana made!’”

Alissa Groff’s Loon submission

Mexican Clay Makes a Pilgrimage to Minnesota

Thu, 22 Aug 2024 14:55:00 GMT

White Bear Center for the Arts is prepping to host the Mata Ortiz Pottery Sale again for the first time since its run in 2019. From September 18-21, renowned artists from the small village of Mata Ortiz, in the Northern state of Chihuahua, Mexico will display their pottery at WBCA for a special four-day sale.

With bright, intricate pots decorated in earth-toned animals, nature, and geometric lines, Mata Ortiz pottery is known for its intricate designs. Its origins trace back to the ancient Paquimé civilization which flourished in Northern Mexico a thousand years ago. The pottery style was lost when the city was abandoned and destroyed.

It was revived by Juan Quezada Celado, a local woodcutter who, at 12 years old, came across ancient pottery shards while gathering wood in the hills. The shards came from Casas Grandes, now the archaeological site of a once thriving Paquimé city about 20 minutes from Mata Ortiz. For years after, he underwent the process of attempting to recreate and rediscover the ancient shapes and patterns. Juan and other villagers developed the distinctive style now known as Mata Ortiz using natural pigments and wild clay from the hills of Mata Ortiz.

In 1967, social anthropologist Spencer MacCallum stumbled upon one of Juan’s pots in a New Mexico shop and traced them back to Mata Ortiz. Spencer and his wife spent their lives creating a pottery marketplace in Mata Ortiz, introducing the work of Juan and eventually hundreds of other artists to the world. Since then, their work has gained international acclaim with pieces exhibited in museums across the globe and drawing the attention of art collectors worldwide.

White Bear Center for the Arts’ Mata Ortiz Sales Event marks a significant cultural exchange as Cesar Bugarini, a Mata Ortiz potter from Chihuahua, Mexico, and José Mario Jimenez, an art dealer and presenter of La Iguana Art Gallery in Tucson, Arizona, representing 37 Mata Ortiz artists congregate in White Bear Lake to share their heritage with a new audience. The sale features over 250 Mata Ortiz pots as well as artisanal textiles from the area. Each piece, crafted by hand without using a potter’s wheel, shows the expertise passed down through generations.

In addition to the pottery sale, the four-day event will include presentations of Mata Ortiz and its history by José and demonstrations by Cesar giving visitors the rare opportunity to watch a Mata Ortiz artist shape, paint, and fire a pot using traditional methods.

For art lovers, this is more than just a sale — it’s a cultural celebration that bridges borders and brings the rich traditions of Mata Ortiz to our own backyard.

Mexican Clay Makes a Pilgrimage to Minnesota

Q&A with Into Nature Judge Michele Combs

Wed, 14 Aug 2024 16:27:00 GMT

When Michele Combs took her first painting class at 38 years old, she couldn’t have guessed she’d become a renowned, award-winning plein air painter. She began her painting journey in an acrylic painting class at the Minnetonka Center for the Arts, the art center where she ended up teaching. When she entered her first painting competition Primavera, the city of Plymouth’s annual springtime celebration of the arts, in 1997, it was a still life watercolor painting of a flower arrangement on a table. “It was very popular,” she said. “Three people wanted to buy it, it was exciting for me and it made me keep wanting to paint.”

Learn more about Michele and get some insight into her judging process below.

How did you get into painting?
I took my first painting class at 38 years old at the Minnetonka Center for the Arts, the place where I ended up teaching. I tell people, If you had told me that when I took my first class I would have never believed them!

I know you’re primarily an oil painter, was that first class an oil painting class?
Actually, it was acrylic. And the teacher was Kairong Liu. He’s a local artist and last I heard he had a studio in Edina.

That was 32 years ago, so when I took that first painting class and even subsequent ones, I did not know I was going to become a professional artist. I just dabbled for a while and then I found better training at the Minnesota River School of Fine Arts, which is no longer. I trained under Pat Jerde, the founder of the River School, who trained at the Atelier [Lack].

How did you move towards discovering oils?
Pretty early on. I just became interested in oils. Sometimes I would start my paintings with acrylic and then layer oils on top. I haven’t done that for years but just lately I’ve been about doing it again. When I started, I was also doing some watercolor, I would bounce between watercolor and oil because doing an oil painting seemed so exhausting, and watercolor I could get done quicker.

Oil was my favorite because it doesn’t dry so quickly and I like to work wet paint into wet paint. I like to be able to work the paint into another stroke of paint. It helps with my control of edges.

Do you remember the first time you painted en plein air?
I took an oil plein air class through the River School around 2002. I didn’t even understand all the terms they were using.

For quite a while, I just dabbled. I had a mural business for a while where I did kids’ rooms and decorative trims for kitchens and bathrooms. Then, I just kept taking more classes, and as my fine arts skills got better, I quit the mural work and just started painting on canvas.

Wow. It feels like you’ve done everything.
I’ve definitely dabbled! Before I took my first painting class, I did just about every craft imaginable. I mean, I did decorative painting, copper tooling, yarn arts, and even pottery. I did a little bit of everything but never really got accomplished at anything. When I discovered oil painting and that I could actually do something with it, I just kept going.

The reason it took me so long to take a painting class was because I didn’t think I could draw. I was not a natural drawer, I had to learn. The training at the River School really helped me because I was painting from life which I resisted for a long time because I thought it was going to be too hard. But once you start doing it, it becomes easier and makes you want to paint from life more because you develop a better understanding of the tools of painting, which are line, shape, value, color, and edge.

Why were you drawn to landscape and plein air painting?
I like being outside. After doing still life and studio work, painting outside seemed more freeing in the sense that light changes so you have to paint fast. When I took my classes, they were 12 weeks for three hours and we worked on the same still life the whole time but that sharpened my drawing skills and made me a faster painter.

Painting from life, you can see the subtle things you can’t see in a photo (which flattens an image). It’s easier to see color transitions, and how to differentiate between the light and the shade. I encourage people to paint small when they’re starting outside because you have to move fast to capture the quickly changing light patterns.

I’ve become a better studio painter by painting landscapes. Traveling to different places is stimulating.

Yes, I love the thought of a nomadic lifestyle. What’s your favorite place you’ve been to paint?
I’m inspired by new landscapes. One of my first adventures in plein air out of the country was to France and that was an absolutely awesome experience. The light and the setting over there is gorgeous. France and Italy are probably my two favorite places I’ve painted but I paint Minnesota, I’ve done plein air events all over: Red Wing, Aitkin, Grand Marais, those are beautiful places to paint in Minnesota.

How has the Minnesota landscape influenced your painting style?
Well, Minnesota teaches you how to paint greens! We have too much green here in the summer.

Minnesota has a lot of greens and blues, I’ve noticed that too!
Yes, and I love painting by the water. A lot of people like to go deep in the woods but I don’t like bugs and trees, to me, are more of a supporting structure, not the main character.

I also like that it feels like we’re painting the history of our times. Things change, landscapes, change, buildings, and bridges change and we get to capture it as it is.

Tell me about your judging process. What are you looking for in a painting?
Ultimately I’m looking for something that stands out initially and makes you want to keep coming back and looking further and someone that’s really captured the sense of place and light of day.

But more than that I’m looking for an understanding of the painting process, what Bob Upton calls the 7 C’s : A painting that’s compelling and has creativity, craftsmanship, color, etc.

Looking ahead to your Plein Air Painting class in the fall, what do you hope that students learn from the workshop?
I’m hoping they’ll come away enjoying the process of plein air, painting in general is about enjoying the process. Of course, I hope they’ll learn more technical skills, from starting a painting and learning composition but that they’ll have the enthusiasm to pursue plein air painting and discover its value.

This interview has been edited for length and clarity.

Join us for the Into Nature Community Reception on Thursday, August 15, 2024 from 6:30-8:30 PM. View all the Into Nature Plein Air Competition submissions on view in the Ford Family Gallery and hear Michele Combs choose Into Nature award winners and selected pieces to make up the Into Nature Plein Air Exhibition on display in September in the Exhibition Hall.

Q&A with Into Nature Judge Michele Combs

“Ode to my Umi”: Celebrating Black Motherhood, Ancestry, and the Revolutionary Power of Rest

Fri, 19 Jul 2024 20:07:00 GMT

The newest exhibit in White Bear Center for the Arts’ Ford Family Gallery, “Ode to my Umi,” honors Black motherhood and ancestral wisdom. But the curator of the show, 2023-2024 Emerging Curators Institute Fellow Eshay Brantley, wants to make one thing clear: this exhibit is for everyone.

Directly influenced by the women in her family who have led each other through childbirth and hard times Eshay created “Ode to my Umi” as a place for Black people to rest. “Umi to me is an enlightened being, person, or woman who is continuously encouraging others and shedding light and wisdom on those around her,” Eshay says. “Black women care, love, and support everyone else, and hardly recognize the importance of doing it for themselves.” Being a young Black mother and oldest daughter of her generation before that, Eshay is familiar with the pressures and duties Black women feel towards others without an expectation to rest.

The middle of the gallery space, the womb of it all, is Ancestor, made up of work from installation artist and designer Bayou Bay, and poetry from Donte Collins, the Inaugural Youth Poet Laureate of St. Paul. Anchored by the word ‘ANCESTOR’ painted in purple on the right wall, and surrounded by Bayou’s affirmation mirrors, the presence of Black heritage lives in the space. Personified in part by Bayou’s “Grandmother Coat,” a white windbreaker covered in patches stands next to a poem dedicated to his mother. Reflected across the ‘ANCESTOR’ wall is Donte Collins’ “Love Poem: Nocturn,” a sonnet in conversation with Annie Lee’s iconic portrait of a Black woman struggling to get out of bed on a Monday morning, “Blue Monday.” “Donte’s poem and ‘Blue Monday’ really show us how rest is revolutionary,” Eshay said. “Rest is love and care, rest is a warm blanket in winter, rest is okra stew on an empty belly. Rest is so necessary but we ignore it.” The chairs and benches in the space put that to practice for people to realize that rest doesn’t have to be the total surrender of sleep or lying down, but just being wherever your feet are.

Traveling further into the gallery, the back purple wall houses Precious Wallace’s “My Them” collection. Precious is a self-taught graphic designer and one of the only female artists in the exhibit. “That was intentional,” Eshay said. In our patriarchal society, there are often expectations of women to cater to men. “I wanted to represent Black men who can also create a space for Black women and folks to be able to sit and just be.”

“Ode to my Umi”: Celebrating Black Motherhood, Ancestry, and the Revolutionary Power of Rest

This mission translates to every artist and piece of artwork featured in the gallery. At the start of the curatorial process, Eshay broke the gallery up into three sections representing Mother, Grandmother, and Ancestor. Walking into the gallery, you step into the Grandmother section. This is represented by interdisciplinary folk artist Namir Fearce’s photographs of Eshay and her son, a baby mobile of hair combs and mirrors decorated with cowrie shells, and Namir’s experimental film, “my baby.” Grandmother represents the wisdom that comes with life lived. “She’s raised her own kids and faced things where she can guide Mother through and better connect to Ancestor,” Eshay said. Grandmother is also symbolic of the greater Black culture. Grandmothers play a vital role in preserving cultural traditions and passing knowledge down to younger generations whether it’s through doing hair, cooking, or storytelling.

Precious Wallace’s title piece “My Them”

Precious’s work is representative of Mother. Her vibrant pop-art prints take on this fierceness and boldness that is often required of Black women in the world. One piece in particular stands out to Eshay. The piece “My Them” hangs on a standalone wall illustrating a woman facing forward with rows of women behind her. “This feels like my life,” she said. “Oftentimes I can switch this woman out for any woman in my family and I know there is a row of women behind her.”

“Ode to my Umi” is largely made for Black women to find a safe space of rest, where nothing is expected from them, and to see themselves reflected in the work. “Ode to my Umi” still exists for everybody, because as Eshay sees it, everyone benefits from Umi. “Everyone benefits from her as a secretary, as a friend, as a nanny, as a house cleaner. Black women have shaped a lot of things in American culture and a lot of the time, her praise goes unnoticed.” There can be those who come into the gallery and say “This isn’t made for me.” Or ask, “Why was I excluded?” Or, it can be a place to say, “What can I learn here?” Ask yourselves, what does it feel to be amongst work that doesn’t center your identity? And though your identity isn’t being centered, how can you find yourself in it? The lesson is for everyone, step into the gallery and think of a Black woman you can pay homage to.”

“Ode to my Umi” is a partnership between Emerging Curators Institute and White Bear Center for the Arts. The exhibit is on display in WBCA’s Ford Family Gallery now through August 2.

“Ode to my Umi” curator and artists pose in the Ford Family Gallery at White Bear Center for the Arts, (from left to right Bayou, Namir Fearce, Eshay Brantley and daughter, Ashe Jaafaru, and Precious Wallace). Photo by Nance Musinguzi.

The Power of Plein Air: The Benefits of Doing Art in Nature

Fri, 07 Jun 2024 20:17:00 GMT

Seeing sunbeams after the long dreary winter days, have you been finding your home or studio lacking in inspiration? You might want to try art en plein air .

En plein air is a French expression, meaning simply, “in the open air.” As with most things when said in French, it gains a romantic quality. But it’s not just the language that makes it such a charming practice.

Traditionally, the most frequent practitioners of plein air are landscape painters who leave the studio to come face to face with their subject: the land before them. “Plein air painting is basically working from life,” says landscape painter Dan Mondloch. Alternatively, artists painting in the studio often work from a photograph which flattens sunlit areas into white, and pushes shadows to black. “When you’re in the landscape you can see the color in the shadows and notice subtle variations that might otherwise go unmissed,” Dan says.

More than just a practice that refines painting technique, spending time in nature increases feelings of happiness and well being, and even has cognitive benefits. Breathing in fresh air, basking in natural sunlight, or feeling rain on your skin can have rejuvenating qualities.

Michele Combs, this year’s judge of WBCA’s annual Into Nature Plein Air Competition, says, “I love painting by water or a beautiful garden because they soothe the soul and lift my spirit.” It also stimulates the oh-so-sought-after flow state. Michele states, “I go into a zone and become very engaged in the process of painting. It’s a heightened sense of awareness yet relaxation. I feel it takes one away from issues and problems of everyday life and reduces stress.”

While indoor painting is often more convenient and comfortable, outdoor painting can be more social and less isolating than being in a studio. “My painting has given me new connections with like-minded people,” Michele says. Stepping outside, you put yourself in the position to experience connection not only with nature, but with other people. Michele can tell countless stories of random acts of kindness. From a stranger finding a four-leaf clover to put on her easel for luck during a competition to generous people bringing her sweet treats after watching her paint for several hours.

Regardless of your medium, plein air is a practice all artists, or people, should consider to reap its benefits. Take writing for example; so much of writing is setting the scene and staging sensory details. How much more naturally would that come to us if we were in the setting itself?

That is something writer Amber Guetebier is experimenting with in her plein air writing sessions through WBCA called, Outside Writers League (OWL). She claims that being outdoors helps writers capture the sensory details of their surroundings. “The way the air feels on your skin, the mixed sounds of daily life, like birds and boats and laughter, the smell of grass.” Amber says. “All of those things can become more present when you’re outside.”

While Amber acknowledges that being outside has its obvious health benefits, to her, the intention of OWL is to create visibility and connection for writers in the community. “Writing tends to be a very solitary undertaking, so finding others to commiserate with, especially in a beautiful setting, can keep a wayward writer going for weeks.”

Whether it’s hiking the Great Smoky Mountains as Dan does to paint, or gathering at the local park as Amber will with her students, the process of engaging with the natural world is exactly the kinesthetic and whole body experience we need.

“Getting outside in the sunshine and fresh air, being active and spending time in nature, they are all good for the soul,” Dan says. “Once I get outside and start painting, I immediately remember, this is what I’m supposed to be doing.”

Imagine Art Summer Camp students paint during the Into Nature Jr. Plein Air Competition at the OSilas Labyrinth at White Bear Center for the Arts on July 25, 2023.

The Power of Plein Air: The Benefits of Doing Art in Nature

The Joy of Creating

Fri, 07 Jun 2024 20:11:00 GMT

From the time the earliest humans marked their handprints on the walls of caves, art-making has been synonymous with the human experience. Even in our busy days, we find ways to make art: doodling, humming, dancing, taking pictures, or even composing beautifully written emails.

We do art because it feels good, in ways deeper than we even fully understand.

When drawing or painting, you might think you’re merely making forms on a page but studies have shown that engaging in any sort of visual expression has neurological benefits. Art activates the reward pathway in the brain,which then perceives it as a pleasurable activity. Scientists have also found that just 45 minutes of creating art with an art therapist significantly lowered cortisol levels, the hormone related to stress. Making art also helps our focus. When we enter what scientists call the “flow state,” or being in the zone, it activates the brain’s reflective state which results in focused attention and a sense of pleasure.

So, what type of art should you do? That’s easy: follow your heart. Thanks to art education centers like White Bear Center for the Arts (WBCA), art in the community is accessible to most everyone, offering a number of carefully curated classes and programs stimulating connection, creativity, and most importantly, joy.

People are often drawn to ceramics for its versatility, but it’s also therapeutic to the mind and body. It engages our muscles, vision, and imagination. Those who crave movement might explore yoga, which enhances relaxation and focus, or dance that can help manage pain while being rhythmic and expressive.

Creating art with others, whether they be friends or strangers, is a form of collective practice; a way of sharing experience that puts people in relation with the people they engage with.

For those who don’t consider themselves artists, you’re in luck. No matter your skill level, you’ll be able to feel all the good things that come with making art. Or, start with something less intimidating. Studies show that even consuming art in a gallery can help reduce stress, combat loneliness by connecting with the artwork and other gallery goers, and make life a little more meaningful.

File photo of a student creating a sculpture at a clay open studio session at White Bear Center for the Arts.

The Joy of Creating

Q & A with the 50th Annual Northern Lights Judges

Thu, 07 Mar 2024 16:22:00 GMT

How the Northern Lights Judges Make History Every Year

It is as big as it sounds: it’s White Bear Center for the Arts’ 50th Annual Northern Lights Juried Art Exhibition. Just 10 years after its creation, Northern Lights was considered one of the most prestigious art shows in the area and one of the most important events in the White Bear Art Council’s annual calendar. And it’s stayed that way.

The inaugural exhibition in 1974 was co-sponsored by White Bear Arts Council and Lakewood Community College. WBCA archives show that the first exhibit had over 200 entries from artists in the five-state area of Minnesota, Iowa, North and South Dakota, and Wisconsin. That year, the White Bear Arts Council recruited Augsburg College Art Department chairman Philip Thompson as judge. It came to be a very big job as Thompson whittled the 200 entries down to a quarter of the selection based on WBCA’s judging guidelines of quality, content and originality. From there, he picked the winning pieces.

Each year is unique. As one of this year’s judges, Neil Johnston says, “the shows are so different, in part based on the sensibilities of the judging group, but also based on the individual interests and creativity of the artists.” This year, as WBCA celebrates the 50th year, 394 artists submitted over 700 pieces in mediums across the board including ceramics, paintings, fiber, photography, mosaics, and so much more. It was up to this years judges to narrow down the field. Artists Neil Johnston, Helen Otterson, and Amy Wilderson chose 101 works to make up the landmark exhibit.

Neil Johnston is a painter whose work responds to his interest in how time, environments, places and memories have a lasting impact on people by combining resin layers with collaged paper, letterforms, landscape views, GPS data, maps and more. Helen Otterson is a sculptor who works with ceramics and glass. Her work often draws from human cells, and plant forms. Amy Wilderson is a jewelry artist whose work taps into memory, culture, and heritage by reviving forgotten treasures.

How did you feel about being asked to be a Northern Lights judge?

Helen Otterson: It was an honor to be asked to participate in the jurying process.

Amy Wilderson: I was honored and thrilled when [WBCA] asked me to be a Northern Lights Judge! I have taught classes at White Bear Center for the Arts and know firsthand how invested this community is in being involved in the arts. Being a judge gives me an opportunity to be part of recognizing and awarding artists at all levels. I am especially pleased to be a part of this 50th anniversary event.

Neil Johnston: This was such a surprise and a great honor and responsibility. There is nothing quite like discussing an artwork and discovering something new – becoming aware of another aspect that I hadn’t been aware of before. In all the best art conversations, I come away being slightly more aware of something new. This continual learning philosophy is an extension and support of my studio practice – I couldn’t wait to see what I could learn from Amy and Helen and the jury process.

Can you describe how you all worked together? What was the dynamic?

HO: Working with Amy and Neil was fantastic. Many times we had the same sensibilities about the work. The conversations were very egalitarian and it was easy to share our thoughts and opinions about the work.

AW: Working with Helen and Neil has been an absolute pleasure. We are three artists with very different practices which was a wonderful way to bring varying observations to the table even as we found common appreciation for most of the submissions. On the pieces that we disagreed on, we engaged in delightful and respectful discussions, where value for each other’s opinions and expertise was always at the forefront. Even though we had a lot of submissions to review and ended up extending our sessions, it was an enjoyable experience.

NJ: Amy and Helen are so thoughtful, and we fell into a comfortable flow as we discussed the pieces. We were mindful of the potential for diverging points of view, and took time to listen. Close looking and listening guided our conversations and critical discussion in a way that felt natural and honest. We had a good time – serious when necessary, but joyful in our deliberations too. I couldn’t have been more pleased with how it all went!

In regards to the artwork, what were you looking for during the judging process, and what were you drawn to?

HO: I was interested in including a wide range of media that was strong in subject matter and technique.

AW: We reviewed each submission many times, which allowed us to approach the works from different perspectives. I was particularly drawn to the use of unusual materials as well as subjects that were depicted in surprising, sometimes unconventional ways. I appreciate when an artist is as creative with the materials that they use as they are with the subjects.

NJ: I think we each were drawn to different aspects of the pieces. We often discussed the formal qualities: form, content, composition, and subject matter of any given piece, for example. I wouldn’t say that there was a specific ‘feel’ or ‘dynamic’ that we were looking for, rather we took each piece individually on the merits that we discovered. Personally, I wasn’t looking for any one quality, rather I found myself trying to identify in each a rising quality that stood out – that aligned with some quality of intent or purpose – in addition to materials used or skill. The show evolved as the conversations did, and in the end, reflects a coming together of our 3 individual vantage points.

How do you feel about this year’s show? Are there any themes that came through for you?

HO: Seeing all the work hanging in the gallery makes the artwork come to life.

AW: Oh, I think this is a fantastic show! As judges, we didn’t focus on a theme, instead focusing on compelling, creative expression. There are quite a few more three-dimensional works in this exhibit than there have been in past shows, which speaks to the variety of artistic forms that artists were willing to share.

What went into your decision for Judges Choice Award?

[ Portrait of Hanh by Katiana Shovelain ]

HO: The use of light and shadow creates a sense of dimensionality in the figure. I am struck by the juxtaposition of the detailed realism of the figure with the abstract treatment of the background.

[ Righteousness by Kiara Hohn ]

AW: Throughout the judging process, I was particularly drawn to this work. The subject’s pose and facial expression challenge the viewer’s perceptions and evoke a wide range of emotions, which can also generate conversation, possibly leading to common ground. My feelings about this painting were confirmed in reading the artist’s description of this work

[ Non-Zero-Sum Stimulus Red by Jeffrey Hansen ]

NJ: This painting utilizes a compelling contrast between its viscous texture and precise circular form, conveying a sense of intention and mystery. The use of primary blues, contrasting with the unavoidable red circle, suggests personal symbolism. The title, particularly the concept of “Stimulus Red,” prompts further contemplation, while the painting’s open-ended nature encourages exploration and introspection

Is there anything about this show that you think makes it different from year’s past?

NJ: Each year, the Northern Lights Exhibition surprises, inspires, acknowledges, and celebrates art making in our community in as many ways as the artists are individuals. The shows are so different, in part based on the sensibilities of the judging group, but also based on the individual interests and creativity of the artists. This always makes for the uniqueness of each show and each year we have new things to be joyful for. This year will be no exception. You all will have the opportunity to experience the show, to share your impressions, to formulate your own favorites just as we did in the jury process. In the end we are all happy with the selection results, and we can’t wait for you to see them all!

The 2024 Northern Lights Judges
(from left to right: Amy Wilderson, Helen Otterson, Neil Johnston)

Q & A with the 50th Annual Northern Lights Judges

WBCA Launches Paid High School Internship Program

Tue, 27 Feb 2024 21:44:00 GMT

Inside White Bear Center for the Arts’ administrative office, high schoolers are busy at work, learning how to install exhibits, design promotional materials, and work in arts administration. Seven students from local high schools recently accepted positions as interns at White Bear Center for the Arts through an internship program called “Studio Repose.” The internship gets its name from WBCA’s high school literary magazine “Repose,” a publication which the interns will be involved in creating.

The interns come from five different high schools across the Metro area: St. Anthony Village, Mahtomedi, White Bear Lake – South Campus, Centennial, and St. Croix Preparatory Academy. During the next six months, the interns will work on projects ranging from graphic design, managing social media, curation and installation of exhibits, and event organization. They’ll also get the chance to learn more about the workforce, hearing from local professionals in the arts sector and beyond.

WBCA started this internship with the goal of providing a space for creative youth to explore potential career opportunities, thinking of the internship as a holistic approach to workforce development through the lens of an art center. “There is a breadth of avenues to pursue within the arts sector, and the arts also play a critical role in other industries,” Studio Repose Internship Administrator Lexi Munson said. “No matter where their careers take them, the knowledge and experience gained through Studio Repose is universally transferable.”

Not only do high schoolers get real life experience working in the arts through this program, but they also get paid to do so. How does White Bear Center for the Arts fund seven internships? In 2023, WBCA received a workforce development appropriation from the state of Minnesota in the 2023 Omnibus bill, fully funding the program for the next two years with bipartisan support.

For some of the students, like senior Sam Thein from Mahtomedi High School, the internship is a way for them to develop career skills in a field they know they want to pursue. “My dream is to someday teach pottery,” Sam said in an exchange with WBCA, “and I would like to learn how I can develop the skills I will need to inspire others to be as passionate about pottery as I am.” However, the skills developed within this program are not limited to the arts sector. “Skills such as time management, interpersonal communication, teamwork, thoughtful expression, and reflection are strengths that students can proudly carry into any future career or life experience,” Munson said.

This year’s seven interns are the flagship group, discovering the possibilities of Studio Repose as they journey through their time with WBCA. “Studio Repose is a pilot program, and we know that there is plenty of room for growth and adaptation,” Munson said. “Who better to learn from than the students themselves? We can’t wait to be a part of each intern’s journey and explore how we can support their passions after their internship at WBCA is complete.”

WBCA Launches Paid High School Internship Program

Chris Scholl Welcomed as White Bear Center for the Arts’ next Executive Director

Wed, 19 Jul 2023 07:47:00 GMT

It is with tremendous enthusiasm that White Bear Center for the Arts (WBCA) announces Chris Scholl will be its next Executive Director, beginning on August 7. In Chris’s words, “I was first an artist myself, and later realized that my gifts as an administrator are greater than as an artist. Since then I’ve used my leadership roles to ensure that the creativity of others is given the opportunity to achieve full expression, including next generation artists, underserved community members and everyone who wishes to explore their artistry to the utmost.”

Most recently Chris has spent five years as the Executive Director at the Maplewood-based theater company Ashland Productions. During that time, Chris nearly doubled the donor base, developed fun and innovative new fundraising events, championed equity and diversity initiatives that included making programming more accessible for all, launched new programming, redesigned communications that dramatically grew event sales, and led strategic planning that transformed the mission to be exciting and relevant for the future of the organization.

Prior to that, he managed impressive fundraising gains and a new strategic plan that led to the Jungle Theater’s growth into a second space. In his four years as a Major Gifts Officer at The University of Minnesota’s College of Design, he raised over $3 million in major gifts. His preceding three years at the University of Minnesota Foundation also secured over $3 million in funding to support children’s health and cancer initiatives.

Chris has a MBA from the University of Minnesota’s Carlson School of Management, a MFA in Scenic Design from the University of North Carolina School of Arts, and a BA in Theatre from Bucknell University. His work at DePaul University’s Liberal Arts & Sciences as well as at the Goodman Theatre honed his skills in building sponsorships, corporate donors, foundation grants, and assuring that arts organizations were sustainable to deliver on their missions.

As a resident of Shoreview with his family, Chris is an active community leader and of service to several other organizations in the Twin Cities. Chris currently serves as the Grants Committee Chair at the Shoreview Community Foundation.

WBCA’s Board of Directors are thrilled to welcome an impressive and accomplished new member to the WBCA staff. More information about welcoming Chris to the White Bear community will be released in August. Chris shares: “I am passionate about creating change in the world by unleashing the creative and entrepreneurial talents of deeply engaged nonprofit professionals. I love coaching and building organizations fueled by respect, innovation, curiosity, and a relentless drive to forever improve the breadth and depth of the institution’s impact. I believe working towards an equitable future is part of my everyday work, as a leader and a citizen.”

Chris Scholl Welcomed as White Bear Center for the Arts’ next Executive Director

Capturing Summer through Plein Air Painting

Wed, 14 Jun 2023 14:09:00 GMT

We spend so much of the year dreaming about Minnesota summers. Going to the lake, long evenings spent outside, and finally seeing that glorious sun. But when it gets here, doesn’t it always seem to slip through our fingers? Somehow we blink and all of our lofty goals of spending every second hiking or in a kayak have passed us by and the bittersweet smell of fall hits the air.

What if there were a way to feel totally immersed in a moment in time in a way that feels transportive, that connects you to nature in a way you haven’t felt since childhood? That is the draw of painting en plein air. En plein air, French for “in the open air,” is a style of painting popularized during the impressionist period in the 19th century. Painters create landscape work from start to finish outdoors, rather than sketching a scene and finishing it in the studio. This style of painting is quick and responsive, changing as the light and clouds shift. It requires a fierce concentration and, perhaps above all, simply a love of being outdoors.

I spoke with plein air painter Joshua Cunningham as he was heading out the door to paint. He was collecting paintbrushes and contingency rain gear as we chatted about the very thing he was about to embark on. “The most beautiful part of plein air painting is actually its accessibility for everybody,” Joshua said as he gathered his supplies. “All you need is the willingness to go outside with as little as a piece of paper and a pen, or a paintbrush and a canvas and some paint, and connect through that medium to the world around us.”

I was talking with him to learn more about his thoughts on White Bear Center for the Arts’ “Into Nature: Plein Air Competition” happening this August. Joshua will be this year’s judge, awarding prizes at the Community Reception and Award Ceremony on August 17th, and selecting work for the Into Nature Plein Air Exhibition. This annual competition is open to people of all skill levels, even those who have never tried plein air painting before. From August 1 through 10, participants will be painting outdoors in locations around White Bear Lake. The long tradition of plein air in White Bear Lake makes for a strong showing of artwork in the annual Into Nature Competition, and Joshua will be awarding $4,750 worth of prizes this year. But Joshua emphasized that the process isn’t about the prize money, it’s about the process of painting. In the end, “we are there to paint and spend time with something we love,” he said.

The plein air artists who go out and paint during the two weeks in August will be capturing White Bear Lake at a moment in time, through the unique lens of the artist. “As a judge the most exciting part is being the first person who gets to pore over all this artwork that didn’t exist five or six days before,” Joshua said. “Each painting shows the artist at that point, where they are physically in space, where they stood, what they were looking at, what they were interested in. To be invited to be the judge of that is such a privilege.”

All entries will be exhibited in the Ford Family Gallery from August 17-23, and selected pieces will move into the Exhibition Hall for the month of September as part of the official Into Nature Plein Air Exhibition.

Take a risk, soak up these summer days, and enjoy the experience of being in nature. I certainly know I’ll give it a try as a way to be present in these fleeting warm moments. As Joshua said, “The realization that I’m painting something that I had no idea existed ten minutes before I started, or the way the lights unfolds as you stand there and watch it, it kind of seems like it’s nothing, but if you give it a moment or two of vulnerable thinking, or open-heartedness, you kind of realize it’s everything.”

-Ellie Fuelling, WBCA Communications Manager

Capturing Summer through Plein Air Painting

Joshua Cunningham
“Golden Glare”
Oil on linen
16” x 20”

An Abundance of Love: Artist Highlight with Genie Hien Tran

Thu, 27 Apr 2023 20:32:00 GMT

Why are you drawn to memory as a theme for this show?

“Using memory as an artistic tool, I attempt to recreate moments when I felt I belonged. Being an immigrant, I am constantly missing home; and like many immigrants, I rely on my memory of home as a source of comfort. For me, memory is one of the most natural ways to experience culture, feelings and relationships that are no longer accessible — whether that be due to distance, translation, war, death, or simply just from growing apart. Through this work, I revisited connections that have lost or drifted away and reflected on them, in order to better understand who I am in relations to others. I believe that I am made up of connections with those I love.”

Can you describe the process of creating the artwork for this show?

“As a very nostalgic person, I have a lot of photos that I’ve gathered over the years, from scans of family photos to screenshots of my last Wordle. My process has always involved looking through these old photos, remembering the moments and those in it, and trying to collage them with other images. The overlapping of photos creates a space with many versions of memories, of cultures, and of myself that exist harmoniously. When collaging, I repeatedly glue, paint, rub, paste, erase, peel and transfer images so that in some cases, it becomes unclear where one image starts and the other ends. These memories, for me, now exists on a flat plane with one another, transforming each other along with my sense of self. The handmade paper is special to me. I sourced old sketches, notes, dead houseplants, and “left-overs” of other projects in order to generate the new sheets. I view the process of making them similarly to how I view my own identity: the making of a new sheet isn’t without evidences of the old materials. By making these handmade papers, I present to myself a blank page, a new identity to embark on.

One of the most repeated images in this show is the image of the gate. When working on this project, I started thinking a lot about my childhood home, which my dad remodeled and rebuilt after my mom passed away. As someone who immigrated 10 years ago, I don’t have many photos of the house, and specifically of the gate that guarded it.

I tried to recreate my memory of this iron gate through many forms, such as drawing, sculpture, and painting in order to connect to the place that once held me. Without any photographic references, the gate stands in its many versions, and all are truthful to my remembering of them.”

What do you hope audiences take away from the exhibit?

“I hope that you experience a sense of warmth and a chance to reflect on your own memory of home. It is also an exhibition done out of a desire to connect to my own home, to my parents, and to my culture, and I hope that the audience sees that despite my loneliness due to distance, translation, war, or death, there has always been an abundance of love.”

An Abundance of Love: Artist Highlight with Genie Hien Tran

Genie Hien Tran (Trần Phan Minh Hiền) is an interdisciplinary artist and designer based in Minneapolis, MN. She was born in Ho Chi Minh City, Vietnam and recently received her MFA degree in Visual Arts at Minneapolis College of Art and Design.

Her work takes the form of collage, painting, installation, and writing in order to explore the boundaries of form and material, of poetic text, and imagery. As a migrant in the U.S., Tran creates work that engages with personal narrative and family history through working with archival memory, so as to conjure up dialogues of identity, displacement, and belonging. Her work operates as a sign of resilience and a starting point for healing while surviving in the state of transience.

You can see her work on display at White Bear Center for the Arts in her exhibit Second Sources , now through June 16.

Q&A with Joshua Cunningham

Sun, 01 Jan 2023 20:30:00 GMT

This interview with plein air artist Joshua Cunningham was originally published in 2020 as part of WBCA’s digital “care packages” that were sent out during the pandemic. Joshua went on to judge the 2023 Into Nature Plein Air Exhibition. You can read the full interview here:

Can you describe how your background/childhood inspired your love of plein air painting?

I was an outside kid. I grew up the middle of 5 boys on 60 acres of wetlands, woods and pastures in rural Isanti. My brothers and I were almost always working and playing outside. We’d be so far gone to the woods and our imaginations that my mom would often have to ring an old ship bell on the porch to call us back to the house. When I was inside I was drawing or playing. As I got older, we had household chores and I got the job of dusting. I was not efficient. We didn’t have much in the line of ‘art’ but we had wildlife and western art prints, and I pored over them all as I dusted their frames. But the best stop was at the top of the stairs, where my dad had his fairly large Andrew Wyeth book laid out to be looked at. Over the years, my dad and I would turn a page and move on, kind of like how people may leave a chess board out. The world in those paintings didn’t look so different than the world outside our windows.

It wasn’t until I was in my late 20’s that I took a plein air painting workshop with Joe Paquet. It was like someone had flipped a lit match into a dry field. I continued to study with Joe for three years, before striking out on my own to continue practicing what I had learned and deepen my understanding of the principles of the prismatic palette, and the world around us to refine and clarify my own voice.

What is it about capturing landscapes that you’re drawn to?

Every part of the experience is engaging; everything matters. I pack my gear the night before and put out my paint, so I can be ready to go early in the morning. I select my panels by thinking about places I’ve seen, paintings I’d like to try again, or wondering about going somewhere new. I might review old reference photos and maps. Then once I am out and about, I am looking, listening, and curious about everything as a potential painting. Think about paying that level of attention to the world around you. I truly love exploring. I am investigating a new place, finally getting back to a spot I saw on a previous outing, or seeing how an old familiar one has changed. Painting is always challenging and always worth the effort. It is easy to get caught up in the outcomes: is it a good painting or not, will it sell or not, will it win an award or not… In a way all that matters – but in a deeper way – who cares? We are there to paint and spend time with something we love. We aren’t just painting what we see, we are trying to express and articulate what it feels like to be right there at that moment. We are paying attention to the light, the shadows, the properties of colors, the character of the paint, the medium, the different brushes, this specific canvas. We are considering which approach to the scene, drawing first or massing in, mapping out the whole thing, or working out from one spot. We are studying and expressing the shapes of things that no one has ever cared about, and sometimes the shapes of things that everyone knows. The paintings that don’t work out make us better for the next one. The paintings that do work out have a chance to go out into the world and touch someone’s life. The day is special because it is unique and fleeting. We aren’t much different.

Can you talk more about the ‘mercurial’ nature of plein air, and its relationship to time? Does that have more relevance during this pandemic?

So much is out of our control when we paint on location. Earlier today I was painting on a rural bridge, when the county road crew let me know they had to paint the bridge… I was about an hour into my painting, but by the time they were going to be clear – the light would have been so much different that it would’ve been nearly impossible. I decided to pack up and move on to find something else to paint. It was too funny and random to be upset about.

A lot of us are all looking ahead and wondering what life after the pandemic will be like and it is almost impossible to not be thinking about our pre-pandemic life.

Pain and suffering come from wanting things to be different than they are currently. When I go out to paint, I am generally looking for what is great about that day. I am paying attention to and trying to express the specificity of that given day. Plein air painting at its best tethers me to the here and now. So, if you make your plein air paintings about the how light, shadow, and atmosphere reveal the interconnected rhythms of a landscape than you’ve made your day about studying things that span eternity.

How does plein air relate to memory?

Depending upon the time of day and time of year I am painting – memory comes into play after 5 minutes on a winter evening or 45 mins on a summer afternoon. When the light changes, everything changes, and I have to remember what I was so excited about that I stopped to paint. I have to remember all the things I have learned about painting, composition, drawing, and mood. I try to create a mental map of where I go as I explore, so I can find my way back to places and get a feel for the flow of the landscape. That utilizes tactical and technical memory. There is another vein of memory that comes into play, as well. Standing by a creek reminds me of being a kid along a creek and now after 20 years of painting, it reminds me of all the other times I have painted by a creek. I am remembering the many kindnesses of my mentors. The emotions that are attached to all of those memories are the catalyst – they imbue the process of creating a painting with something beyond depicting the scene. They fill it with gratitude.

How do you see your role as a teaching artist?

When I think back to all that I learned in college and the seven years of art education that followed, I think the most important thing I was offered was encouragement — encouragement to take it seriously. It was encouragement to be open to learning new things, encouragement to practice more, to draw more, to ask more of my talent, so that it might do more for others. On and on the list goes. I see my role as a teacher, as encourager. I will encourage you to let go. I will encourage you to draw more often. I will encourage you to receive criticism in the spirit with which it is offered. I will encourage you to ask questions. I will encourage you to be open to new information, and I will encourage you to try applying it again even though it didn’t work the first time. I will encourage you to see your frustration, failure, and disappointment as indicators of your desire, work, and risk, rather than a referendum on your talent. I will encourage you to laugh at your mistakes, and mine, because a furled brow can act like a little wall in front of our mind. I will share what I have learned in a systematic way, and I will encourage you to challenge yourself because that is the only way we will grow.

Do you have any advice for staying creative during this time?

A lot of us have extra time but we don’t have extra energy, so staying creative is a marathon not a sprint. Staying curious and paying attention to what moves you will fuel your creativity. If I have an idea, I try to act on it while it is warm. If it’s not an idea that’s actionable, I write it down. Writing it down makes it easier to remember and makes room for another idea. Acting on the idea while it’s warm makes room for the next idea. I also find sharing ideas and including others in ideas can be helpful in deepening connections – both with those with whom you are sharing and with your own sense of creativity.

Q&A with Joshua Cunningham

A Creative Streak: The Artistic Journey of Ken Baltes

Thu, 20 Oct 2022 16:28:00 GMT

Ken Baltes was a familiar face around White Bear Center for the Arts for many years. He began taking art classes with teaching artist Lisa Fertig in 2013, but his interest in art started long before then. Ken Baltes always had a creative streak, which might seem in contrast to his 50-year career in computer technology. He designed, built, and managed computer systems for large companies, which allowed him to use his creativity in different ways, as he used his drawing skills to create artistic flowcharts and work on system design projects. Art in the more traditional sense took a back seat to building his career and raising his family until he finished his formal education in 1977, and even then, he didn’t make his artwork a primary focus until he retired in 2015.

“My journey from artistic mathematician to mathematical artist has been varied and non-linear,” Ken wrote in his book Formulart to Art: My Artistic Journey, which chronicles his evolution as an artist, and which can be checked out from WBCA’s library. “Even though left brain/right brain theories have been discounted by current research, people continue to believe that math and art come from different parts of the brain and if one is ‘good at’ one of these activities, they are unlikely to be ‘good at’ the other. While researchers may believe there is no such distinction, in general, people still believe the walls between math and art are clear and at best are only semi-permeable. I now believe there is no such wall, and in my art I try to show that there is a great deal of math involved in art and that talent in one does not affect one’s talent in the other.”

Combining his mathematical and artistic minds, Ken began thinking about how all drawings are created from straight lines, and that straight lines can be defined by a formula using its starting and ending point. Ken began creating “Formulart” as a way to demonstrate that straight lines could be used to show “artistic beauty through rigorous placement according to ‘formulae’.” He named these formulaic placements of lines ‘Formula Art,” and shortened it to Formulart.

Ken started creating Formulart pieces using pen and paper, following whatever shape the formula created. After experimenting with the formula and line placement, he moved on to more complex shapes. In 2015, he started adding acrylic paint in crossover pieces. “[That same year] I began taking art classes, mostly in acrylics and learning more about landscape painting and use of acrylic paint to accomplish various new outcomes,” Ken wrote in Formulart to Art.

In what he described as a Formulart “derivative,” Ken started making landscape paintings on a grid pattern. “The grid transformations were created by using a grid method of reproducing an existing picture. The new painting is painted on a grid that has been modified by increasing the size of a bulge in the final piece,” Ken wrote.

He worked on Formulart, and Formulart derivatives during his time in SOAR! Mixed Media Mentoring at White Bear Center for the Arts. This is a mentoring class led by Susan Hartzell Vannelli, where students work on their own projects and get feedback from each other and from Sue. Sue knew Ken for eight years during his time in SOAR!. “Ken brought a totally new art experience to our class through his mathematical artwork,” she said. “His artwork looked much like spirograph drawings but he did it freehand.” Ken taught the entire SOAR! class about seeing the world artistically through a mathematical lens. “As he grew as an artist,” Sue said, “I was able to introduce him to acrylics. He learned to add beautiful color combinations to his rhythmic patterns.”

Julie Larson, a student in SOAR!, first met Ken in class in 2018. “His type of art was so different from all I had seen before and anything I was doing,” Julie said. “I was fascinated by how he talked about his techniques and approach to landscapes and buildings. ”Julie’s favorite memory of Ken in class was when he needed a new light source for his artwork. “He came back to the next class with a new contraption which worked wonderfully. He said he had gone to different places to buy one but they did not meet his needs or were too expensive–so he made his own! He explained how he did it and the whole class just stood there with their mouths open in awe.”

Ken was diagnosed with ALS in the Spring of 2020, and continued to create art as the disease progressed. He began by switching to his left hand to create his artwork, and then eventually working digitally. When he was diagnosed with ALS, Julie Larson saw how he came up with new techniques to be able to still create art in SOAR!. “He would come to class and not let it interfere with his craft,” Julie said.

Kip Lilly first met Ken when they were on the board of the Arthritis Foundation, and stayed friends since then. Together, Kip and Ken approached the ALS Association with the idea of introducing more art into the lives of those diagnosed with ALS. “People who are diagnosed with ALS are overwhelmed with information about the pain and suffering,” Kip said. “What they don’t have is stuff that’s uplifting and lets them explore the type of creativity that gives life meaning.”

They pitched this idea to the ALS Association, calling it ‘Creative Pursuits.’ “In some ways, it was Ken’s legacy,” Kip said. “You can learn all your life, even if your life is going to be short. He knew that even if you’re in a hopeless place, you can have joy in your life.”

Ken passed away in 2022, and is deeply missed by everyone in the WBCA community. “I was so blessed and honored that he chose me and trusted me with his artistic process,” Sue said. “I miss his creative heart and joyful sparkle.” WBCA’s Artist-in-Residence Sieng Lee also had the opportunity to work with him in SOAR!, and was inspired by his willingness to try new technologies and techniques, always pushing the boundaries of his artwork. “Ken is the model of what an artist’s life should be like,” Sieng said. “His constant pursuit to make art no matter his challenges was inspiring.”

A Creative Streak: The Artistic Journey of Ken Baltes

“Even though left brain/right brain theories have been discounted by current research, people continue to believe that math and art come from different parts of the brain and if one is ‘good at’ one of these activities, they are unlikely to be ‘good at’ the other. While researchers may believe there is no such distinction, in general, people still believe the walls between math and art are clear and at best are only semi-permeable. I now believe there is no such wall, and in my art I try to show that there is a great deal of math involved in art and that talent in one does not affect one’s talent in the other.”

-Ken Balte s

Studio Coffee Tries Plein Air

Fri, 30 Sep 2022 15:34:00 GMT

Neil Johnston is a familiar face around White Bear Center for the Arts; every Friday he facilitates Studio Coffee, a class where folks come together to drink coffee and discuss all sorts of art-related topics. Neil recently attended the Port Wing Plein Air Painting Festival in Port Wing, Wisconsin, along with some members of Studio Coffee. Read on to learn more about his plein air experience.

Have you been a part of this plein air event in years past?

Yes, this is my 3rd year officially, however I have been going to Port Wing, Wisconsin since I was in my early twenties. My father used to have a boat in the marina there. We would travel there and camp at the marina, and I’d bring my studio and make paintings, but not officially for the festival. Eventually, I met the group and organizers and my band even made some trips to play for some of the artist receptions – great fun!

How did you first hear about it, and why were you interested in being involved?

The event was something I knew about, but didn’t participate in because I was always busy with my own work. The organizers convinced me just before Covid hit and I quickly found that I really enjoyed plein air painting. It is a good contrast to what I do in the studio, and I really enjoy painting outside.

How would you describe the Port Wing Plein Air Festival?

The Port Wing Plein Air Festival draws artists from around the Midwest. Every night there is a reception for the artists where everyone shares their experiences of the day spent painting. There is an exhibition and they hire a juror and have awards and peoples choice too. That said, it is not ‘billed’ as a competition, it is a celebration of plein air, and that spirit permeates the artist gatherings.

What kind of conversations have you had about plein air painting in your Studio Coffee group?

In studio coffee, we often talk about ways of painting and how to get out of the studio. Over the years, I shared my experiences in Port Wing as part of these conversations and I think that encouraged others to check it out!

Can you talk a bit about how members of Studio Coffee joined you up at the plein air event? What was that like?

This was interesting and a complete surprise! A month ahead of the festival, several members of studio coffee approached me about going – what a great surprise! They shared that they had reserved rooms at a hotel in Herbster, WI, and some others decided to camp. It was so nice to see familiar faces up there and share that experience. We all met up in the evenings, and for lunch to share what we had created. It was a supportive atmosphere – lots of artists sharing their perspectives, techniques, and camaraderie. It is hard not to enjoy the outdoors and the views of Lake Superior, the place is very inspiring.

What is it about plein air painting that you’re drawn to?

I think it is the sense of moving through an environment – looking closely at how the landscape folds in to the distance. I become so aware of depth and light. It is a great challenge for me to move from my studio where I paint mostly conceptually and abstract, to a natural environment. Each time I paint, I can see how these two modes of working are more similar than different. The inclusion of plein air experiences has been a real source of inspiration for me.

Any final thoughts?

I think it is important to try things that challenge your way of making and seeing art. The way we think about traditions can sometimes turn into rules, and I think that only really serves to restrict creativity. Before I started, I saw plein air as a tradition-rich artform, and it is, but I think that is really what kept me from trying it. I thought I didn’t know the rules, that there is no way my art would fit in – I am not a plein air painter, am I? Well, I’ve learned that I just needed to start, and not to worry so much – just make my stuff and let the new experience guide me.

Studio Coffee Tries Plein Air

I think it is important to try things that challenge your way of making and seeing art.

Neil Johnston

For the Love of Clay

Thu, 14 Apr 2022 20:58:00 GMT

How Nancy Saathoff Supports the Diversity of WBCA

Nancy Saathoff has been involved with White Bear Center for the Arts since the 1970s, back when the organization was still the White Bear Arts Council. As an art teacher at Mahtomedi High School, Nancy was drawn to WBCA as a place where she could learn from fellow teachers and grow as an artist. “Everybody who’s in art education needs professional support,” Nancy said. As a teacher she was able to give, “but at the art center, I could take.” During the early days of WBCA Nancy not only took classes, but also organized concerts and events. At WBCA she took classes taught by pillars of the arts community like Frank Zeller and Polly Shank. “These people were my mentors, even though it was in a quiet way. Just to watch their performances and their successes and their enthusiasm–I think you need that as an artist.” Through her work at Mahtomedi High School she befriended renowned potter Warren MacKenzie who instilled in her a lifelong love of clay. She took her high school classes out to his pottery studio, and Warren would come to her classes to teach lessons on clay. According to Nancy, Warren was a force of nature. “You had to be careful when you shook his hand – he had a strong grip!” While Nancy taught all mediums in her art classes, she held a special fondness for pottery. “If you ever walk into a pottery class there are a lot of smiles,” Nancy said. “We’re so far removed from the earth, but with clay, you feel grounded. There’s something in clay that just makes people happy.” Nancy wanted to ensure that all students at White Bear Center for the Arts got to have the grounding, enriching experience of working with clay. She has long supported WBCA, and recently made possible the art center’s purchase of a wheelchair accessible clay wheel. It’s important for her to see clay classes open and welcoming to everyone. “I’m a strong believer in diversity,” Nancy said. “When I come into a clay class, I see young mothers, I see former students, I see retired people. White Bear Lake can offer diversity, and I think WBCA’s clay program is one place people feel really comfortable.” The personal development and the human connections made in the clay studio are what drive Nancy to give her support. And according to Nancy she’s in good company. “It’s just unbelievable, the success and progress of the art center, because of the support of the community.” “I hope WBCA stays as strong as it is,” Nancy said. “Sometimes you don’t need progress to be successful. You need to have strong roots.” Nancy has been able to follow White Bear Center for the Arts throughout its more than 50 years of life. She’s witnessed moves, expansions, new faces, and new programs. But at the heart of it all, “It’s the people who make WBCA what it is.”

For the Love of Clay

Storytelling through Photography

Wed, 05 Jan 2022 18:35:00 GMT

Awa Mally Artist Highlight

Photographer and artist Awa Mally grew up in north Minneapolis, in a neighborhood composed mainly of immigrant families. As an immigrant herself, having moved from Togo at the age of seven, she felt a strong sense of community with her neighbors. “I feel like my identity as an immigrant influences my storytelling,” Awa said. “Coming here so young I’ve had to authenticate my experience, and my identity.” Awa began taking photos for fun in middle school, and then more seriously in high school. She is a self-taught artist, learning how to use cameras from friends and mentors in the field. “I was getting gigs and people were telling me to do it professionally,” Awa said. “I felt like it would be a waste of a skill for me to not lean into what was becoming so easy for me to do.”

Now, Awa works in collaboration with others on her photography, working freelance events or taking lifestyle portraits and headshots. Outside of photography, Awa worked with friends to create a group called Reload.it, dedicated to giving women the tools they need to succeed in male-dominated industries. She also had the opportunity to work with Hennepin Theater Trust on their project “ It’s the People ” where she displayed her photography in a mural on Hennepin Avenue in downtown Minneapolis. This project connected Awa back to her childhood, having spent much of her time downtown. Through this experience she got to put her own stamp on the downtown arts scene. Just as Awa works to solidify her own identity as an artist, she hopes to do the same for those she photographs. “A lot of the stories that I want to tell are just plain and simple and stick to the person I’m photographing and their lived experience,” Awa said. “And also showing pride in people, no matter where they are in their lives.”

Working with others on projects can be rewarding, but Awa has also missed the sense of ownership that comes from working on her own projects. “I help a lot of people tell their story,” she said, “or I’m of aid to other people’s ideas, but I can never really claim the images to be completely mine because it was in partnership with someone.” In her upcoming show at White Bear Center for the Arts, opening on February 7, her work will be solely her own. “This show will be a display of work that reflects my photography journey and its relationship to my personal discovery as of today. It won’t be everything, but a summarized glimpse into what I’ve learned and find important,” Awa said.

One area of particular interest to Awa is the transformation of Minneapolis. Growing up in North Minneapolis Awa saw a vibrant community of immigrant families, with corner stores, parks, and other community spaces. As she’s grown up she’s seen large apartments and commercial buildings take over the neighborhood. “I want to tell the stories of ‘This is Minneapolis, this is how it’s changed over the years.’ And what it looks like now might look nice, but there are so many things that made this place so cool and vibrant that are now gone.”

That storytelling is at the heart of Awa’s artwork, and it’s something she wants to pass on to younger students. She has been taking on more and more teaching jobs recently, including a class at White Bear Center for the Arts called Fundamentals of Photography for High School Students. “Photography is something people can always learn–there are so many videos on YouTube–but there aren’t many videos on storytelling, and being authentic, and what photography means to you on a personal level, and the type of artist and photographer you want to be behind the camera.” For Awa, photography is such a special medium because “you get to frame the time you live in, and frame what people deem to be important and valuable and beautiful.”

You can learn more about Awa’s upcoming exhibition at WBCA here , and more about her high school photography class here .

Storytelling through Photography

The Journey of Scott Lloyd Anderson

Fri, 03 Dec 2021 21:43:00 GMT

Scott Lloyd Anderson learned at an early age to value realism in his art. Growing up near Chicago Illinois, Scott was praised for drawing accurately, and he grew up enamored with early 20th century illustrators. When it came time to decide what to study at school, he chose graphic design, and spent 20 years as an art director for magazines.

As the millennium turned, Scott saw the writing on the wall: careers as graphic designers were becoming more and more digital. If he kept going, he would spend his days working in front of a computer, an idea he couldn’t stomach. When his mother passed away, she left Scott’s family some money, giving him the opportunity to study art and take classes. This was his chance for a career change, and he took it.

“I was immediately drawn to painting outside, en plein air” Scott said. Being outdoors “felt different and challenging,” and allowed him to study what he loved most: capturing the light. He learned plein air painting from artist Joseph Paquet in a very systematic way, starting with value compositions and painting the shadows first. “You’re not touching any areas of light,” Scott said. “The shapes of the shadows define the nature of the painting.”

Now, Scott tries to limit the amount of drawing he does as he starts a painting. He begins by sketching the larger shapes of the scene. “The longer I paint,” he said, “the more I’m trying to subordinate these tight renderings and this focus on realism.” As he continues to evolve as an artist, Scott hopes to get more into abstraction, letting go of these preconceived notions that realism is the height of talent. But that hasn’t always been easy for Scott. “It’s hard to go more abstract,” he said, “because my orientation is drawing, that’s what I grew up with, and that’s where my identity came from.” Growing up, he was praised for accurate-looking drawings, and “because I was praised for that, that’s what I saw as being valued, and that’s what I thought was good.”

Moving away from realism, Scott now sees abstract painter Piet Mondrian as his idol. Just as Mondrian balances a piece with one perfectly placed square of primary yellow, “I’m always looking for how to balance a composition with the use of scale and color,” he said.

As Scott exhibited his work throughout the Twin Cities, he met Gail and Kyler Nelson, who loved his work and began supporting him, developing an artist-patron relationship. Gail Nelson would tell Scott about the volunteer work she did at White Bear Center for the Arts, and in the last few years of her life she made it her goal to introduce Scott to WBCA. Sadly, Gail passed away in 2020, and Scott’s show now hanging in WBCA’s gallery is in memory of her.

Since Scott is new to the White Bear Lake audience, he wanted to showcase a broad span of his artwork from over the years. His show “Scott Lloyd Anderson Oil Paintings” at WBCA features plein air landscapes ranging from his adventures in the northwoods to his travels across the country to snowpeople outside his home in Minneapolis.

Someday Scott hopes to have a whole exhibition dedicated to the snowpeople series, paintings where these snow characters (genderless beings, although they tend to look like old men, according to Scott), are in various states of melting, standing sentinel as they guard residential streets. There’s a hint of melancholy to the fleeting snowpeople, which Scott said was intentional. “When I start working on them, they’re going to be different by the next day,” he said. “They describe our fleeting time on this earth.” These paintings create a sense of joy, a sense of play, and a celebration of the season, but there’s also a deep nostalgia to them that takes Scott back to his days growing up near Chicago, back when his journey as an artist was just beginning.

The Scott Lloyd Anderson Oil Painting Exhibition traces the evolution of Scott as an artist through the decades, and hints at where his art will go in the future. The show runs now through January 22 at White Bear Center for the Arts. You can find more information about the show and opening reception here .

The Journey of Scott Lloyd Anderson

Image: Snowfolk 21, oil on canvas

Why We Give

Fri, 19 Nov 2021 17:25:00 GMT

with Karen and Paul Munson

Why We Give

Karen and Paul Munson give to White Bear Center for the Arts for one simple reason: their daughter Lexi. Lexi spent her childhood and teen years taking classes and volunteering with the art center, and according to Karen, WBCA “has played an integral role in shaping the amazing young woman she is today.”

She started out working with WBCA clay instructor Adama Sow. “We can’t say enough about him and the impact he had in shaping Lexi’s talent and confidence,” Karen Munson said. Adama was the first person to strongly encourage her to participate in the youth portion of the Uptown Art Fair. “That first day,” Karen said, “as Lexi was setting up, here came Adama. He came to show support and purchased a piece, telling her it would bring her good luck. Now mind you, Adama was busy setting up his own booth over at the Powderhorn Art Fair. How do you put a dollar amount on that?”

While continuing to learn from Adama, Lexi branched out to learn from other instructors. During one of WBCA’s High School Visual Arts Contests (in which she went on to participate) Lexi saw a piece of pottery that really intrigued her. She mentioned it to Gallery Director Danielle Cezanne, and before they knew it, Danielle had gotten the supplies and found an instructor willing to teach Lexi the technique. This led her to work with clay instructor Zac Spates. “He, too, became such an important part of her journey,” Karen said. “Zac taught her that technique, and Lexi began making ‘crackle’ bowls. To this day these are some of our favorite pieces she makes.

Karen gives to White Bear Center for the Arts because of the support and encouragement Lexi found in her clay community. “While Lexi, more often than not, has been the youngest one in the studio, it has never mattered. She is always accepted and respected. Many life lessons have been learned and friendships made within the walls of that clay studio.” Once Lexi was no longer participating as an artist in Imagine Art, she turned to volunteering for the summer program. She was now assisting instructors whose classes she’d taken and helping in the clay studio. “It was full circle, and she loved it,” Karen said.

Lexi is now a senior at St. Catherine University, majoring in marketing and accounting with a minor in nonprofit strategies and operations. She spent this last summer doing her college internship at WBCA. “More than 10 years later, WBCA continues to embrace, encourage, cultivate and teach. Always wanting to help Lexi, our daughter, achieve her goals, whatever they might be. Acceptance, inclusion and friendships, isn’t that what we all want? Well, that little 11-year-old girl found that at White Bear Center for the Arts. That’s why we give.”

Artist Highlight with Laura Berlage

Thu, 02 Sep 2021 18:07:00 GMT

How did you first become interested in fiber art?

I’ve always been a very creative spirit—drawing incessantly as a child, making up stories, turning ideas into form. I was fortunate to grow up in a home where textile traditions were still passed from mother to daughter, from sewing to embroidery and beyond. My mom first put a crochet hook in my hand when I was about eight years old, so I could create colorful things for my stuffed animals to wear. The magic of turning something as simple and everyday as yarn into a complex, three-dimension object I have in my mind never fades for me, and that has grown and blossomed in so many different ways in my art practice. Weaving did not run in the family, however, and that journey began when I was a 13-year-old homeschooler. A class through an area technical college’s enrichment course in Navajo tapestry weaving with Fran Potter opened up a whole new world of community and creative expression for me, and it changed my life. Tapestry weaving, as well as many other forms of fiber arts, continues to be an integral part of who I am as a creative. It followed me through my MFA in Interdisciplinary Arts from Goddard College, and now it is an exciting part of my teaching practice.

How would you describe the artwork that you create for someone who isn’t familiar with what you do?

There is always a story. The pieces invite you into that story—whether it be as small as a needle felted loon that fits in the palm of your hand or as expansive as a tapestry that took seven years to make. The story might be in the materials like wool from my farm’s sheep here in northern Wisconsin, intertwined in our sustainably minded agrarian practices, or it might be how a piece is in conversation with historical works or the overlay of cultures. Nature runs through it, whether wild or domestic, infused with a love for the creatures and plants of this region. There is also a distinctive set of colors (I call it the “Erindale” palate, in honor of my studio name Erindale Tapestry Studio ), that is a mix between watercolors and medieval tapestry in nature. This draws the body of work together, even when the individual pieces are engaged in very different aesthetic conversations.
What role does the family farm play in your artwork?

Cultivating my own raw materials is a very exciting part of what I do as a fiber artist. While my sister Kara is the shepherdess, after shearing day in springtime the 600 to 800 pounds of wool becomes my working materials. I hand skirt each fleece and prepare it for the woolen mill, working closely with the owner for roving and yarn specifications as well as the dying process. Katherine, the mill owner, is a dye artist, and together we’ve created much of what has become the Erindale palate. It’s like Christmas when the finished wool comes back, ready to be woven, felted, crocheted, and so much more! Human-scale, sustainable farming is also very grounding in the rhythms and wisdom of nature and stewardship, which weaves itself into the inspiration and stories for my pieces.
Can you talk about the importance of creating work with your hands? Why is that so important these days?

While so much of our world has become digital (especially since the pandemic), our physical beings still inhabit an analog experience. Handwork gives us a break from the fast-paced, instant gratification situation of the online world and helps us reground in a slower, more meditative state. Weaving, felting, crochet, stitching—fiber arts offer a way to sink into a process that is visual, textural, and kinesthetic. It helps us to think in three dimension, to finesse fine motor skills, to learn the process of transforming an idea into form, and to cultivate patience. There is also the deep sense of agency and empowerment that comes from making something yourself, with your own hands, using simple tools and everyday materials. It connects us with the work of our ancestors and our shared story of survival and creativity.
How does your love of history factor into your artwork? Do you find yourself influenced by certain historical periods?

When I was about 9 years old, our Montessori school paid a visit to Old World Wisconsin, a living history museum. It struck me in that moment how we are actually all the same people, with the same desires and longings and struggles, just with different situations. That way of looking through time has stuck with me, whether aimed at the pioneer days, the American Civil War, or other eras. I like to say that as a teenager I got into the Middle Ages and never quite got back out again! There’s 1000 years of change and culture and art and literature there—so plenty of room for exploration! It is also a time when all the classes were working in close proximity, the vast majority of the population worked the land by hand (in many ways much like we still do on our family farm today), and the disruptions of industrialization had not yet taken hold. My art has a way of speaking to that experience as well as bridging in the potential for alternative narrative with feminist sensibilities. My work seeks to humanize (rather than romanticize) our relationship with history and culture, that we might not only learn the lessons but also see that the lines we use to divide ourselves from one another are really quite fragile and mutable.
Do you have any advice for people who want to become more involved in fiber arts?

Be diverse in your practice. Put your fingers in many pots. Start lots of projects. Buy materials that bring you delight without knowing how you’ll use them yet (yarn never outdates). Be adventurous, take lots of classes, draw ideas and capture them in a notebook (or shelf of notebooks as needed). Fiber arts can be as simple or as complex as you feel led to take it. Dive in with color theory, learn about what materials are made from and how they interact with each other, and meet some sheep or alpacas or angora rabbits. Wear the things you make or hang them on the wall, even if they are imperfect, and spontaneously ask folks “did you make that?” if it looks like they are wearing or holding something handmade. The joy they exude when they say yes and tell you the piece’s story will in turn be your joy. Learn how to listen and watch carefully with mentors. Fiber arts is a living tradition—like a tactile form of oral tradition—that continues to exist because there are people who continue to create using its methodologies. Collectively, we keep these traditions and hand-skills alive. In the face of industrialized textile production, handmaking in fiber arts pushes back against this dehumanizing process and reaffirms the validity of human-scale making. I also hope that, as makers, we can see that the deep human desire to create art is not specific to medium and methodology, and that fiber as an art form is as respectable a pursuit as other fields in the arts. Art is deeply rooted in expressive intent, rather than the materials used to actualized that intent. If the medium of fiber speaks to you, then by all means jump in with all your heart and see where the adventure takes you.

Artist Highlight with Laura Berlage

Artist Highlight with Candice Davis

Thu, 02 Sep 2021 18:07:00 GMT

Can you describe your journey as an artist? How did you end up at Minneapolis College of Art and Design (MCAD)?
I have always been an artist but when I graduated high school, I didn’t recognize art as a viable career. I spent a year in pre-veterinary medicine before I decided that I wanted an education in the arts. Though I was passionate about animal science, I was really interested in the way that art could be used as a form of physical or interactive communication that was potentially more accessible to people than reading articles or long texts. I saw the role that art had in a larger social movement and saw myself playing a part in that as an artist. MCAD appealed to me because when I was younger and had attended a National Portfolio Day for feedback on my artwork from different art colleges, I felt I received the most genuine critique of my work that not only emphasized the positives of my portfolio but also what needed improvement. Years later, as someone looking to transfer colleges, I remembered that experience with the MCAD counselor and the meaningful feedback I had received. It meant a lot to know I would be going into an environment where I was going to receive critical/constructive reviews that would help me make better work.

How would you describe your work to those who haven’t seen it?
I consider myself a conceptual artist, meaning I work in a variety of media and I allow the subject or idea I am interested in communicating to determine the media I choose for a project. My conceptual practice holds a mirror to White violence and complacency. I primarily focus on digital media, installation, and performance as a means of witnessing for the trans-generational experiences of marginalized people. As a Black woman in the United States, I recognize my existence as the result of centuries of displacement, trauma, exploitation, and propagation for the benefit of Western capitalism. My work explores an identity formed by generational survival of and resistance to imperialism.

Your work appears to center around history, especially historical trauma. Can you talk about why you’re drawn to the past, and how it influences your artwork?

That is true. I like to say that my process relies on research and examination of the past as a framework for critiquing the present. I prioritize the meaningful way that visualization and tactility can help make generational experiences of the disenfranchised more visible and intellectually accessible. The archives and history of Black people are integral to my practice. By creating visual commentary on parallels between issues with transgenerational relevance, I create a more easily identifiable link between the experiences of my diasporic contemporaries and those of their ancestors. I source physical and visual materials from the archive and use them in my work as a means of bringing them back into the present to mimic the way that, when retold, histories that exist exclusively in an oral tradition, are fluid and become integrated into personal memory rather than remaining distant and stagnant.

Can you describe how you’re using digital media to connect to the past? Do you find any tension in that balance between technology and history?

Much of my experience with historical research has been facilitated by digital media. Free platforms for hosting data, records, accounts, etc. are the main way I am able to access stories and genealogies. As a transplant from the South, digital media also allows me to continue a conversation with the community from which I am from and with which a lot of my work interacts. Because of my aforementioned interest in art as a means of communication, I very quickly saw myself drawn to digital media and the web as a way to broaden the audience of my work. History is a context that informs our current circumstances. I think that it’s essential that our relationship to the past reflect our relationship with the contemporary technologies available (especially technologies that can be used to spread information).

How do you approach reviewing high school art portfolios in your role at MCAD?
I try to advise students about not only their technical skills but also conceptual skills in a portfolio. I’m interested in seeing an understanding of composition, value, color, and materials/media. However, I’m also curious to hear students talk about why they chose a specific medium, what made them want to create a work, what inspires them, and where they see their work existing (i.e. magazines, museums, TV ads). Hearing about the driving forces behind young artists’ creations really help me to see more about their abilities to communicate when it comes to their art. In an art school, communication and critique is really important to the growth and success of a student. I really like to encourage people as early as possible to have a relationship with explaining their process. It’s a skill that you carry and develop through your art career!

Did you see any overall themes in this year’s High School Visual Arts Contest?
I think the themes I see from high schoolers tend to be similar no matter the year. Explorations of self, identity, or the people in their lives. The themes I see just seem to reflect what it means to be right at the point where a person is transitioning from being a child [making art] to an adult [making art].

What advice do you have for the students who entered this year’s HSVAC?
My advice for students who entered this year’s HSVAC is to continue challenging themselves. I think it shows great initiative as an artist to enter a completely extracurricular art contest. Some of the people from MCAD that I’ve seen go on to be most successful are ones that challenged themselves, involved themselves in the art world outside of just what they were required to do for school, and that sought out and really critically considered feedback about their work!

Artist Highlight with Candice Davis

Q&A with Into Nature Judge Marc Hanson

Thu, 02 Sep 2021 18:03:00 GMT

What path did you take to become a professional artist?

It was a circuitous beginning, but a straight line to where I am now at the same time. Briefly, I grew up with an outdoor dad who was also a pretty decent artist, mostly a cartoonist and watercolorist, who majored in wildlife biology. We lived all over the US, and in Norway, so I went to a lot of museums and galleries, and had a lot of experiences that gave me a love for the outdoors, and the landscape of different places. Because of that, as high school and college time neared, I decided to be an ornithologist and began my studies in that direction. About that time, a friend gave me a portfolio book of an artist, one of our greatest bird artists from the early 20th century, Louis Agassiz Fuertes, from Ithaca, NY. I was completely blown away by how life-like his field studies were of birds from all over the world. So, I decided that my interest in birds was a more aesthetic interest than a “scientific” interest and began to investigate art schools. I put together a portfolio [for the Art Center College of Design] and submitted it for enrollment. To my surprise, I was accepted and began as an Illustration Major at Art Center in the late 1970’s. Still not sure what to do [after that], I thought more art school would be a good idea, and looked into the American Academy of Art in Chicago. I had grandparents living in Wabasha, Minnesota that would let me stay with them while I worked to gather some funds for tuition at the American Academy. So, I packed everything I owned into my Chevy Vega and drove to Minnesota without any real idea of what was next. I fell in love with the Mississippi River, hunting, fishing, cross country skiing and all that part of the country has to offer. I had my family there, two sons who still live in the area. Minnesota is where I grew up as a painter, where I spent time outside with paints, studied art as hard as I could, and began to build a career as a painter. I spent 20 of those years painting birds for the publisher Wild Wings in Lake City, MN, with the occasional venture out to paint en plein air. In 1985 I landed an illustration job with The National Geographic Society to be an artist illustrating their Field Guide to the Birds of North America. That job lasted over a year and allowed me to become a full time “professional” artist. In the year 2000 I decided that landscape painting, plein air painting in particular is where my soul lives, so I quit the bird painting per se, and began serious, hard working study in the world of landscape painting. Since then it’s been a series of fortunate events, set backs, hard work, and a never ending quest to become more knowledgeable about painting and expressing ideas with paint, that has kept my path moving forward.
As someone who lived all over the U.S. as a child, did that constant movement affect your artwork?

It is what awakened my love for the landscape since any new place I ended up, the landscape was always something that I could connect to. As my life as a painter has developed, I’ve wished that I had been connected to one place more than I have been in life. It seems to me that if you grow up in one spot, spending your entire life there, you will have a much deeper understanding of what makes it what it is. So one of my goals as a painter, settled and living where I live now on Tybee Island, GA, is to try to dig as deeply into my home ground as I can, even as an outsider, to gather as much soul of the place as is possible for me to understand and feel. That’s what I struggle with and am challenged by with with every painting that I paint; how to feel the landscape as if I’d always been here. That’s a huge challenge for any painter, but specifically if you’re painting somewhere that you’re not native to.
What is it about plein air that you’re drawn to?

Aside from preferring to be outside way more than inside, painting from life, whether it be the still life, figure or landscape, is where visual truth lies. It’s the landscape that fuels my emotional and creative soul. There is nothing as accurate as real life, we all know that. Still photos, videos, even in this age of great digital sources, can’t replicate the sights, sounds, feel and smells of nature that your senses are able to pick up. Visually speaking, our eyes see differently than a camera lens so we need to study things like perspective, both linear and atmospheric, color, edge relationships, movement, textures, etc., from life, or the photo will mislead you when trying to use it as a reference to paint from. You need to be able to experience nature in person, in order to accurately create from it. It should be an emotional reaction to something, something the artist feels, but first the artist also needs to understand the basic structure, the basic nature inherent in the subject for an ‘accurate’ piece of work can be created. You need to be able to experience nature in person, in order to accurately create from it.

Can you describe how you set up for painting en plein air?

Equipment has become much lighter and more portable so setting up is pretty simple and straight forward. If I’m working smaller, I like to carry it all, easel, paints, brushes, paint box, etc., in a backpack and pack as light as possible. The other extreme is working out of my vehicle with larger canvases, larger easels, and all. The one thing to always do is to try to place your painting and your palette in the same light. Both in the shade, or both in the sun. The shade is preferred, the sun is a challenge because it causes the color you mix to look ‘warmer’ and ‘lighter’ than it really is, due to the warmth and brightness of the sunlight. You can use an umbrella if the winds aren’t too bad, or position your easel to put both in shade. Watch where you stand, safety first, no ant hills and check behind logs and rocks for snakes (experience talking here!) Also, be sure not to stand too close to heavy traffic because you are a distraction, and drivers do weird maneuvers when distracted. Eyes wide open… that goes for observers around you too. I always suggest not painting alone unless you’re very comfortable where you’re at. A ‘buddy’ system for painters is a great idea.
What is most rewarding, and challenging, about painting en plein air?

I’ve mentioned some of the challenges above. As for rewarding, the satisfaction that comes from spending an hour, or a day in the field lost in the intensity of observation and creation that painting en plein air fills you with, is hard to beat. Returning home or to the studio having spent time outside painting is as calm and centered a place as I ever find myself. That includes those times when I keep a study, and those times when I wipe them off. I was once told that “Your worst day outside painting will always be better than your best day inside painting,” and I agree completely with that. There’s a never ending learning process painting on location; something valuable is always gained.
Do you have any advice for the artists submitting their work to the Into Nature exhibition?

Always submit the work that you would like to have seen and hung on the walls. Don’t submit what you think the show, the jury or the judge would like to see. It never works out the way you think it will, but if you submit what you are most proud of, what you feel most represents who you are, you will feel good no matter what any of the results are. I’d rather have a painting that I am proud of accepted into a show and have it simply be there, than have a painting that I’m not as proud of win an award. Be proud of any accomplishment, such as getting into a show like this, and build on that. Good quality photos are a must! Viewing entries online, which is how it’s done now, doesn’t present images in as good a light as they would look in real life. So the better your entry photos, the better the jurors will be able to see how your work looks. Good luck!

Q&A with Into Nature Judge Marc Hanson

Q&A with Into Nature Judy Andy Evansen

Thu, 02 Sep 2021 18:02:00 GMT

Watercolor artist Andy Evansen judged the 2021 Into Nature: International Online Plein Air Exhibition. He curated this juried art show along with artists Marc Hanson and Judy Palermo.

What path did you take to become an artist?

I’ve drawn pretty much my whole life, and went to the University of Minnesota for commercial illustration courses. I then got hired at a medical illustration studio in Minneapolis, and did that for 25 years or so. When Photoshop became the main way of creating illustrations I decided to start painting, mostly for the fun of it, but eventually I entered some local shows and started winning awards. That sent me on my way, as I then began teaching and entering national shows, etc. It takes a good amount of time to develop a style and gain attention but the path I took worked well for me.

Can you talk about your background as a medical illustrator, and how it’s influenced your current work as a watercolor artist?

I think my medical illustration career influenced my work as a watercolor artist in that it’s such a detail oriented approach. Once I began painting, I really felt the urge to simplify and be a bit more expressive. If I had gone right into painting after school I may have leaned toward a more illustrative, tight style as I’d been doing ‘accurate’ drawings my whole life. Funny how things work out.

How would you describe your watercolor style, and what do you do to achieve this look?

I like to describe my style as “loose realism,” in that I tend to stay fairly close to reality when depicting a subject (I don’t stylize forms or change colors, etc.) but I do want it to look like a painting, not a photograph. The key to a looser style, I think, is allowing for lost edges between shapes and having some areas of mystery where things aren’t completely defined. This forces the viewer to ‘fill in the blanks’ using their own imagination. It’s important to focus on large shapes and not rely on details to make things look convincing.

What is it about plein air painting that you’re drawn to?

Plein air painting forces you to rely on all your skills in ways that aren’t necessary in the studio. I need to focus, edit, simplify, and state things rapidly before the scene changes drastically. It’s a much more visceral painting experience than the studio. There is no allowance for the nit-picking that can come when you’re working from a photograph, comfortable in the knowledge that you have all the time you need. And as I tell my students, even if the painting doesn’t work out, I’ve learned a lot more about my subject by standing in front of it for a couple hours, noticing things I never would have had I simply snapped a photo. That emotional response is hard to duplicate.

How has your relationship with nature been influenced by working en plein air?

I grew up with a farm across the street and a field and forest behind the house, and that’s where I spent 90 percent of my childhood playing. As much as I enjoy visiting beautiful famous cities around the world, to this day I have a tough time imagining myself living in the heart of a city somewhere. There’s something that got ingrained in me early on that makes me appreciate wind blowing through the fields, the smell of grass and the sound of birds and cows. I’m a country mouse. And when it comes to painting en plein air, all those distractions I mentioned feel magnified when working in an urban setting, save for the bugs. Nature has always been a spiritual place for me and trying to capture its incredible beauty in paint has only heightened my love and appreciation for it.

Can you talk more about this idea of capturing scenes others typically pass by? What is it about these hidden scenes that you’re drawn to?

Maybe it’s my impatience with clichés and formulas but I get really tired of seeing the same paintings over and over, especially in these days of Instagram. I mean, I thought artists were supposed to be original! It’s pretty obvious when scrolling through which artists are painting for clicks and likes, and which ones are pushing themselves and searching for meaning. I understand the difficulty of doing your own thing when you see so many others having success following the herd, but at some point it’s important to find and paint what speaks to you. That begins by becoming more in tune with your surroundings. Too many people paint like tourists; they gravitate toward the most obvious and beautiful spots. I want to paint like a native who knows where all the hidden gems are.

As an Into Nature judge, can you describe what you’re hoping for from this exhibition, and what you hope others take away from it?

With all that being said, my hope as an Into Nature judge is that I see a lot of personal, unique and challenging works that still connect with viewers in a universal way. I’m excited to see what all these talented artists submit!

Q&A with Into Nature Judy Andy Evansen

“The Watering Hole,” Andy Evansen