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@ the Watrous Gallery

SV Medaris, G.O.S. Sow (detail). Hand-colored and reduction linocut, 8 x 10 inches.

When people think of Wisconsin, they think of farms. While farms both large and small dot our pastoral lanscapes, images of cows, barns, and cornfields are almost as ubiquitous.

Kerry-Harlan in her home studio, 2019. Photo by TJ Lambert/Stages Photography.

Whether she’s working in textile, collage, or photography, Sharon Kerry-Harlan makes art that buzzes with life and energy.

While scientists are tracking how Wisconsin’s plant communities are affected by climate change, artists, too, are observing and recording these changes.

Print and book maker Gaylord Schanilec in his Stockholm, Wisconsin studio.

Leap. It’s a word that artist and amateur naturalist Gaylord Schanilec uses frequently. In fact, Schanilec lives by the leap, often choosing artistic projects that require him to leap, both technically and conceptually.

Maggie Sasso, Semaphore-1-Y (from Y.H.W.), 2018. Handwoven cotton, mahogany, photographic documentation, 6 x 5 feet. Photo by Ben Dembroski.

Milwaukee-based artists Maggie Sasso and Nathaniel Stern use somewhat unconventional means to achieve their artistic ends.

Nathan Pearce • Untitled, Fairfield, Illinois, 2015. Copyright @ 2018 by Nathan Pearce. No reproduction without permission.

It’s taken me a while to realize it, but I’ve come to see that the Midwest is actually a perfect place to make a creative life.

Contemporary artists Helen Lee and Anne Kingsbury share an exploration of language as a central theme in their work.

Artist Terese Agnew (in wheelchair after an art-related accident) and her collaborators for the epic Writing in Stone installation. Photo by Studio Indigo Photography.

Instead of creating monuments for death and war, artist Terese Agnew makes monuments to transformative ideas and events from Wisconsin’s past. 

Gina Litherland, Bird Funeral, 2015. Oil on panel, 16 x 24 inches.

Gerit Grimm and Gina Litherland are contemporary Wisconsin artists inspired by the imaginations of long ago.

James Schwalbach, the driving force behind the “Let’s Draw” program from 1936 to 1970.

Making marks—scratching in the sand, carving into a branch, or marking stone with a charred stick—is a primal human activity.

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Wisconsin Academy Administrative Offices and Steenbock Gallery
1922 University Avenue
Madison, Wisconsin 53726
Phone: 608-733-6633

James Watrous Gallery of the Wisconsin Academy of Sciences, Arts & Letters
3rd Floor, Overture Center for the Arts
201 State Street
Madison, WI 53703
Phone: 608-265-2500