Schaefer Gallery



Monday, February 9 to Friday, March 6
Filtered: New Work by Two Gustavus Adolphus Art Faculty

Reception: Thursday, February 17, 1–2 p.m.

This exhibition highlights the most recent work by Lois Peterson, Professor in Art and Art History, including large mixed media drawings. These drawings explore imagery from the natural world around us. Inspired by the quiet beauty of open spaces and the small mysterious details found in nature, Peterson’s compositions employ a limited use of marks and color to create a sense of boldness amidst a minimalist setting.


Nicolas Darcourt, Visiting Assistant Professor in Art and Art History, works sculpturally with ceramics and occasionally mixed media to represent the intense mix of shapes and information we are confronted with on a daily basis. Using both organic as well as industrial fragments, his sculptures are composed in an improvised, spontaneous and obscure fashion. By abstracting then recontextualizing this information, a shifting sense of recognition is expressed.

Although the work in this exhibition is produced from very different sets of media, there still exists a very strong conceptual intersection. In process and content, both Peterson and Darcourt act as filters as they decide what imagery and visual information from the outside world gets distilled, discarded, or implemented into their compositions. Offering up a glimpse as to how these artists view the world around us.

September 3 - October 13, 2013
New Works by Emily Sheehan

Artist Lecture: Thursday, September 19th, 1:30 p.m.
Artist Reception: Thursday, September 19th, 4:30-6:30 p.m.

November 1 - December 8, 2013
The Explorer's Club

Artist Lecture: Tuesday, November 5, 2013, 10:30 a.m.
Artist Reception: Tuesday November 5, 2013, 12:00 p.m.

Breaking Wave

The Explorers Club, named after the New York organization founded in 1904 to promote scientific expeditions and research, brings together the work of photographers Paula McCartney and Lex Thompson, each investigating environmentally polar opposites, from ice and snow to tropical islands. Utilizing different means of investigation, each artist asks the viewer to reconsider the way in which they perceive the photographic image in relation to the subjects it portrays.

Paula McCartney’s images in A Field Guide to Snow and Ice illustrate her interpretation of the idea of winter. After moving from San Francisco to Minneapolis she decided to explore the snowy landscape, however, at times without being out in the cold. She now sees winter everywhere, in every environment, in every season and categorizes it by pattern, shape, and line rather than merely by substance. This guide includes images of snowfalls and wildflowers, frozen waterfalls and stalagmites, snowdrifts and piles of gypsum sand, as well as other icy forms in order to explore and reinterpret natural structures and the way they can reference multiple ideas on both micro and macro levels. Elements are abstracted from the vast landscape to illustrate the winter of her imagination. The ambiguity of scale and substance helps the subjects transcend their source. With less, there becomes more.

Breaking Wave

Lex Thompson’s series of color photographs, Mahalo is titled after the Hawaiian word for “gratitude”, one of the few Hawaiian words that tourists learn, and subsequently overuse – a word added to the Hawaiian language only after early visitors noted the generosity of the native people despite their lack of a word for gratitude. This series explores the collisions that occur within the modest perimeter of these socially, ethnically, religiously, and environmentally diverse islands. The body of work is composed of photographs made on five different islands, images made from television and cinema depictions of Hawaii, photographs of collected artifacts, and drawings of photographs that he wish he had made but failed to. The images create a portrait of Hawaii that both reinforces and subverts the prevalent image of the islands perpetuated by Blue Hawaii, Magnum P.I. and Fantasy Island. Film and television create a mythic Hawaii in our popular imag ination that is distant from reality—a distance that is just as difficult to traverse as the Pacific Ocean was to settlers and colonists. The breadth of images in the series collapses the distance of the Pacific Ocean and the idealization of media portrayal of the Hawaiian Islands.

Missed something? Take a look at past exhibitions.