$\"Promotional$ <\/div><\/div>\n

We are excited to announce our newest exhibition, the 2022 School of Art Faculty Exhibition. The exhibition will open to the public on February 8, 2022, and will be available through April 23, 2022. This exhibition features works by NAU faculty members representing a variety of media and styles.<\/p>\n

Please visit our “Plan Your Visit<\/a>” page for information on scheduling your visit.<\/p>\n

Participating Artists:<\/h2>\n

\n
\n \n
\n
Kait Arndt Accordion Closed<\/span><\/h4>\n <\/span>\n <\/div>\n <\/a>\n
\n \n\n
Tubes<\/em><\/p>\n
2019<\/p>\n
stoneware<\/p>\n
<\/p>\n
Landscape Gridscape<\/em><\/strong><\/p>\n
2019<\/p>\n
Mixed media (recycled paper, thread, mesh, and hardy backer board)<\/p>\n
<\/p>\n
Grid in Flux<\/em><\/strong><\/p>\n
2020<\/p>\n
porcelain<\/p>\n
<\/h4><\/body><\/html>\n\n <\/div>\n<\/div>\n<\/h4>\n\n
\n \n
\n
Vincent Caranchini Accordion Closed<\/span><\/h4>\n <\/span>\n <\/div>\n <\/a>\n
\n \n\n
Altar de Los Santos Desconocidos: El Barroco se encuentra con El Brutalismo (Altar of the Unknown Saints: Baroque meets Brutalism) – (1\/3), (2\/3), (3\/3)<\/em><\/p>\n
2022<\/p>\n
ink, watercolor, gouache, paper, basswood, on panel<\/p>\n
<\/h4><\/body><\/html>\n\n <\/div>\n<\/div>\n<\/h4>\n\n
\n \n
\n
George Dorado Accordion Closed<\/span><\/h4>\n <\/span>\n <\/div>\n <\/a>\n
\n \n\n
Love in time of Covid<\/em><\/strong><\/p>\n
2021<\/p>\n
mixed media<\/p>\n\n
\n
\n \nMadeline; Love in Time of Covid [i]s a title given to a series of paintings representing different acts of kindness. In these paintings, the protagonist could be the main characters situated in the center of the canvas; or it could also be an outsider, a perfect stranger who’s acts of kindness are touching people at the core of our human needs of caring and compassion towards one another.\nThis painting is entitled, Madeline; Love in Time of Covid, and was inspired by the acts of kindness of the SoA Program Coordinator, who recycled fabric remnants, sewing them into colorful, useful, and necessary pieces of health garments (masks), and gave them away to other NAU staff and administrators. Her masks are artistic confessions of harmonious interlocking of colors, and like amulets, are meant to protect us. It is art within art.\n<\/span>\n <\/div>\n<\/div>\n\n
<\/p>\n
Don’t Feed Me!<\/em><\/strong><\/p>\n
2021<\/p>\n
oil on canvas<\/p>\n
<\/p>\n
Vishnu Temple from Moran Point<\/em><\/strong><\/p>\n
2021<\/p>\n
oil on canvas<\/p>\n
<\/p>\n
Hopi Girl Grinding Corn<\/em><\/strong><\/p>\n
2021<\/p>\n
pastel<\/p>\n
_______________________<\/p>\n
Check back for images and more.<\/p>\n
<\/h4><\/body><\/html>\n\n <\/div>\n<\/div>\n<\/h4>\n\n
\n \n
\n
Debra Edgerton Accordion Closed<\/span><\/h4>\n <\/span>\n <\/div>\n <\/a>\n
\n \n\n
Gion Matsuri 1<\/em><\/strong><\/p>\n
2014<\/p>\n
watercolor<\/p>\n
<\/p>\n
Gion Matsuri 2<\/em><\/strong><\/p>\n
2014<\/p>\n
watercolor<\/p>\n
<\/p>\n
Gion Matsuri 3<\/em><\/strong><\/p>\n
2015<\/p>\n
watercolor<\/p>\n
<\/p>\n
Gion Matsuri 4<\/em><\/strong><\/p>\n
2015<\/p>\n
watercolor<\/p>\n
<\/p>\n
Gion Matsuri 5<\/em><\/strong><\/p>\n
2018<\/p>\n
watercolor<\/p>\n
<\/h4><\/body><\/html>\n\n <\/div>\n<\/div>\n<\/h4>\n\n
\n \n
\n
Neal Galloway Accordion Closed<\/span><\/h4>\n <\/span>\n <\/div>\n <\/a>\n
\n \n
Neal Galloway<\/strong><\/p>\n
Best Part of Wakin’ Up series<\/em><\/p>\n
2013<\/p>\n
bronze<\/p>\n
<\/p>\n\n
Six Book Canyon<\/em><\/p>\n
2013<\/p>\n
cut book<\/p>\n
<\/p>\n\n
\n \n \nEarth’s environment is ultimately shaped and materially affected by consumption. My work seeks to address the normalcy of over-consumption and the perception of belongings—highlighting the relationship between nature and consumer practices.\nFor as many of my artworks as I can, I use recycled and reclaimed supplies. I make works that take into account the environmental impact of the materials themselves and I explore these ideas through my own convictions, habits, possessions, and emotional response to nature.\nFor example, The Best Part of Wakin’ Up is a series of recycled-bronze sculptures based on the coffee mug form. These sculptures illustrate and explore what happens to the environment and peoples of geographic regions dependent on coffee production when coffee buyers—usually large, corporate international food conglomerates—use tactics to underpay for the coffee crop. This results in, among other things:\n\ndeforestation of the native rainforest to plant low-quality high yield coffee varieties\ntop-soil erosion resulting from this practice\npoverty and hunger resulting from being forced to sell coffee crops for a lower price than it cost to grow it in the first place\nviolence as the resultant economic instability ripples outward causing political unrest and as farmers plant more lucrative, often illegal crops such as coca for cocaine production.\n\nSix Book Canyon utilizes a matched set of books [that] have been carved so that, when opened and fitted together, they resemble a miniature canyon. Topography contours link one book to the next, the pages have been eroded away, and the books are transformed from objects which are valued for the contents of their information to objects which are valued instead for their form. Six Book Canyon is a meditation on time, change, information literacy, environmental experience, patience, and beauty. Often through the re-appropriation of discarded materials into art that reference[es] the natural world, I explore our relationship to nature, waste, consumption, materiality, and our emotional connection to objects and the natural environment.\n<\/span>\n <\/div>\n<\/div>\n\n
<\/h4><\/body><\/html>\n\n <\/div>\n<\/div>\n<\/h4>\n
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\n \n
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Andy Gambrell Accordion Closed<\/span><\/h4>\n <\/span>\n <\/div>\n <\/a>\n
\n \n\n
Dark Skies and Dead Flowers I-III<\/em><\/p>\n
2021<\/p>\n
acrylic on canvas<\/p>\n
<\/p>\n\n
\n \n \nMaterials and Process: \nWhen I train artists and designers to draw, we celebrate the fact that the human eye is never at rest. Our focus is constantly moving from one point to another. I experience this most elegantly when viewing stars in the night sky. To encourage this experience in my paintings, I draw the path of my eye when viewing nature rather than the contours of what I see. My compositions are timeless and classical, but they become dynamic with the dance of the human eye.\nThe paintings in this collection were inspired by my experience of Flagstaff, Arizona. I made the geometric drawings from observation at Buffalo Park, where I drew constellations of dead sunflower blossoms in the fields in late October. The colors of the background come from the yellow and tan grasses and rich evergreen pines, and the palette of the geometric forms borrows from the saturated hues in the sky at dusk just before the dark black sky and pale white moon reveal themselves.\nCultural Context: \nFor over a decade, I painted within a community of late Modern masters in South Florida. My primary working relationship was with Walter Darby Bannard, but I was also influenced by other artists in our network, including Jules Olitski. My painting practice authentically renews and extends the North American Painting traditions of Color Field, Minimal, Hard Edge, and Lyrical Abstraction. In 2010, our community of abstract painters was recognized by South Florida’s Center for Visual Communication as the Miami School, a contemporary painting movement.\nIn the formative years of my practice as an abstract painter, I focused heavily on collage because of my fascination with gestalt and presence. I discovered a similar sensibility in the work of Irwin Kremen, an alumnus of Black Mountain College and an Emeritus Professor of Clinical Psychology at Duke University. My dialogue with Kremen’s work led to meeting the artist in 2009 when I was a professor with the University of North Carolina. Because of the line of influence from Kremen’s work to my own, four of my early works recently became part of the permanent collection of Black Mountain College Museum and Arts Center in Asheville, NC.\n<\/span>\n <\/div>\n<\/div>\n\n
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Jason Hess Accordion Closed<\/span><\/h4>\n <\/span>\n <\/div>\n <\/a>\n
\n \n\n
Press molded bowl<\/em><\/strong><\/p>\n
2020<\/p>\n
ceramic<\/p>\n
<\/p>\n
Vase<\/em><\/strong><\/p>\n
2021<\/p>\n
ceramic<\/p>\n
<\/p>\n
Teapot<\/em><\/strong><\/p>\n
2021<\/p>\n
ceramic<\/p>\n
<\/p>\n
Five Tumblers<\/em><\/strong><\/p>\n
2021<\/p>\n
ceramic<\/p>\n\n
\n \n \nA desire to have objects that fulfill specific purposes inspires me to make functional pots. The infinite and elusive variety of texture and color attainable through the various making and firing processes that I use has generated an interest in presentation. I enjoy presenting my work so that a viewer might notice and appreciate subtle differences in form and surface. By grouping similar forms of differing size and color I hope to compose a visually dynamic display, which invites the viewer to enjoy the tactile nature of each individual piece and how they relate to one another.\n<\/span>\n <\/div>\n<\/div>\n\n
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Vaughan Judge Accordion Closed<\/span><\/h4>\n <\/span>\n <\/div>\n <\/a>\n
\n \n\n
Hearth<\/em><\/p>\n
2020<\/p>\n
archival photograph<\/p>\n
<\/h4><\/body><\/html>\n\n <\/div>\n<\/div>\n<\/h4>\n\n
\n \n
\n
Jae Lee Accordion Closed<\/span><\/h4>\n <\/span>\n <\/div>\n <\/a>\n
\n \n\n
Extinct<\/em><\/strong><\/p>\n
2021<\/p>\n
digital AR<\/p>\n
In Korean mythology, we all become stars after dying. Extinct<\/em> is an AR project that presents critically endangered and recently extinct species using minimalist sphere forms. For example, when the user gets closer to a sphere with an animal skin, the audience can hear a voiceover introducing the animal.<\/p>\n
<\/h4><\/body><\/html>\n\n <\/div>\n<\/div>\n<\/h4>\n\n
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J.R. MacKenzie Accordion Closed<\/span><\/h4>\n <\/span>\n <\/div>\n <\/a>\n
\n \n\n
What do Bobcats Dream of?<\/em><\/strong><\/p>\n
2021<\/p>\n
colored pencils<\/p>\n
<\/em><\/p>\n
Sweet Deal (Snail)<\/em><\/strong><\/p>\n
2020<\/p>\n
colored pencils<\/p>\n
<\/em><\/p>\n
Tipping The Scales<\/em><\/strong><\/p>\n
2020<\/p>\n
colored pencils<\/p>\n
<\/h4><\/body><\/html>\n\n <\/div>\n<\/div>\n<\/h4>\n\n
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Sheri Mleynek Accordion Closed<\/span><\/h4>\n <\/span>\n <\/div>\n <\/a>\n
\n \n\n
Custom Sedona Home (Spirit Lifter Ranch)<\/em><\/strong><\/p>\n
2019<\/p>\n
photo documentation of custom home design<\/p>\n\n
\n \n Sheri Mleynek has always had a passion for hand drafting when designing fine custom homes in Sedona, Arizona. For Sheri, her fondest desire is to help clients realize their ideal living space. She works hard to understand her clients and let their personalities show in the design of their homes, down to the most precious details.\nSpirit Lifter Ranch was an opportunity to let her clients’ love of horses shine through on their ten acre property. Sheri was responsible for the architectural design work as well as the interior design of their casual, yet elegant home with a pool and many patios to enjoy the outdoor living lifestyle that Sedona offers. The ranch brand, bunk house, horse stables, riding arena, and RV garage are all part of the extensive design work that she provided.\nNow, Sheri’s passion is to pass her knowledge and experience onto her interior design students. Whether it is the skill and art of hand drafting or the art of listening to your clients and synthesizing their dreams into reality for a well designed project that will endure. <\/span>\n <\/div>\n<\/div>\n\n<\/p>
<\/h4><\/body><\/html>\n\n <\/div>\n<\/div>\n<\/h4>\n
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Brian Painter Accordion Closed<\/span><\/h4>\n <\/span>\n <\/div>\n <\/a>\n
\n \n\n
Gord<\/em><\/strong><\/p>\n
2021<\/p>\n
fabricated metal<\/p>\n
<\/p>\n
Sign of the Time<\/em><\/strong><\/p>\n
2021<\/p>\n
fabricated metal<\/p>\n
<\/p>\n
Blow to the Ego<\/em><\/strong><\/p>\n
2021<\/p>\n
fabricated metal<\/p>\n
<\/p>\n
Cross Stream<\/em><\/strong><\/p>\n
2021<\/p>\n
fabricated metal<\/p>\n
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Steven Schaeffer Accordion Closed<\/span><\/h4>\n <\/span>\n <\/div>\n <\/a>\n
\n \n\n
New Antiquity: Baroque Tumblers<\/em><\/strong><\/p>\n
2021<\/p>\n
ceramic<\/p>\n
<\/p>\n
New Antiquity: Baroque Bovine<\/em><\/strong><\/p>\n
2021<\/p>\n
ceramic<\/p>\n
<\/p>\n
Blessed Birdie<\/em><\/strong><\/p>\n
2021<\/p>\n
mixed media<\/p>\n
<\/p>\n
Hollow Vessel<\/em><\/strong><\/p>\n
2021<\/h5>\n
ceramic<\/p>\n
<\/p>\n\n
\n
\n \nMy work is evidence of my experiences in the natural world. From walks in the woods, to river expeditions, these physical encounters have led me to a greater level of personal consciousness. Understanding my environment is an essential motivation for my creative process. Nature is the didactic arena that I seek. Through my studio work, I have realized what these experiences are consciously revealing to me.\n \nRiver trips by boat have led me to many places. These vessels have been the carriers for my integration into the wild, which has allowed me to foster my personal connection with nature. As a result, the form of “boat” or “vessel” is the inspiration core of my ideas. I’m intent on creating work that offers the notion of hope and the embodiment of strength. This is a direct response to nature itself and the risks that are inherent within it. Nature is a collection of many of the formal qualities that interest me and in turn influence my work.\n \nMy work is simple in its method, yet transfers a generosity of scale to the viewer. The forms define space, and their weight is connected to the landscape they are inspired by. Within these works, an entire canyon can be created with one line slicing through its surface. My work is about the spatial relationships I’ve experienced in nature and, in turn, the work has become a voice for those landscapes.\n<\/span>\n <\/div>\n<\/div>\n\n
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Barbara Sheeley Accordion Closed<\/span><\/h4>\n <\/span>\n <\/div>\n <\/a>\n
\n \n\n
Intimate Portrait Aspen<\/em><\/strong><\/p>\n
2021<\/p>\n
colored pencil on wood<\/p>\n
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Christopher Taylor Accordion Closed<\/span><\/h4>\n <\/span>\n <\/div>\n <\/a>\n
\n \n\n
Gizzard Stones Suite<\/em><\/strong><\/p>\n
2020<\/p>\n
ink<\/p>\n
<\/p>\n
Take It Easy<\/em><\/strong><\/p>\n
2021<\/p>\n
ink<\/p>\n
<\/p>\n
Want To Be Funny Again<\/em><\/strong><\/p>\n
2021<\/p>\n
ink<\/p>\n
<\/em><\/p>\n
Bad Dad<\/em><\/strong><\/p>\n
2021<\/p>\n
ink<\/p>\n
<\/p>\n
<\/p>\n\n
\n \n \nMy practice establishes a dialogue situated within painting\/drawing, sharing in the exploration of the language of abstraction, adding a personal lyrical use of language within the same painting\/drawing, to formally give specificity to what is seen. My practice has shifted primarily to drawing and works on paper during the pandemic. This shift has provided me with stacks of explored ideas in drawing where I can see and feel a tactile history of a practice. I tend to go through my drawing stacks and pin drawings to the wall and curate larger ideas [that] find their way into larger-scale paintings. This in-turn slows connections down. Slowly painting aphoristically hummed drawings.\nConceptually it’s easy to understand my practice as the drawing is the writing and the writing is the drawing. I have always been attracted to language as spoken knowledge. How stories are told. How language sounds when it is heard or read. I am interested in language as a written idea and as a visually drawn idea, while collapsing the philosophic distance of the two. Forming a slower reading of language through painting. More important is the tone of the conversation. Sharing my ideas of experiencing the world through the lens of fatherhood. For the last 9 years I have been sharing my views of fatherhood via feminist ideals, in relation to the values, roles, responsibilities, and labor in a capitalistic society. Historically and culturally men did not share or do not share the joys and struggles of taking care of or raising of children. Including what men historically choose to represent in art. I aim to expand and overlap the spaces of language; written, spoken, heard, implicit and explicit as painting.\nDrawing and works on paper have always been central to my practice. My drawing practice tends to be years ahead of my painting. Drawing is faster and moves in time with teaching and raising children. During the last couple of years of the pandemic, having school[-]age children, drawing has been my go-to, to stay connected to a creative life. My writing and drawing increasingly arrive to me through song. I tend to be doing chores, washing dishes, and humming “lyrics”, and envisaging drawing as songwriting, sublimating the ideas of songwriting in drawing. This opens a new avenue of engagement; expanding my conceptual understanding and the use of a lyrical tone to delve into philosophical ideas without being too direct. Like a circling or singing of a truth.\n<\/span>\n <\/div>\n<\/div>\n\n
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David VanNess Accordion Closed<\/span><\/h4>\n <\/span>\n <\/div>\n <\/a>\n
\n \n\n
Portrait of Mental Health, Anxiety<\/em><\/strong><\/p>\n
2021<\/p>\n
3D print<\/p>\n\n
\n
\n Anxiety: made from three different 3d scans of my head. Those scans were then combined into one model. I then reduced1\/4 of the values of the vertices that make up the model by 1\/4 to reflect the number of people in the US that face mental health issues.<\/span>\n <\/div>\n<\/div>\n\n
<\/p>\n
Portrait of Mental Health, Depression <\/em><\/strong><\/p>\n
2021<\/p>\n
3D print<\/p>\n
<\/p>\n\n
\n \n \nDepression: made from one 3d scan of my head. In this piece[,] I combined data from the CDC on mental health prevalence in various groups and subgroups and the type of mental health issues with the vertices of the 3d scan of my head.\n<\/span>\n <\/div>\n<\/div>\n\n
<\/p>\n
Beethoven Covid Sonata<\/em><\/strong><\/p>\n
2021<\/p>\n
audio installation<\/p>\n\n
\n
\n Covid Beethoven Sonata: Created by taking the codon usage of the covid spike protein and comparing that to the note usage of Beethoven’s 9th piano sonata and using similar percentages as a means to convert specific codons to different musical notes. [The p]iece is [ a] collaboration with Matthew Salanga and Owen Davis and Myself.<\/span>\n <\/div>\n<\/div>\n\n
<\/p>\n
Selfish<\/em><\/strong><\/p>\n
2021<\/p>\n
SAD light installation<\/p>\n\n
\n
\n Selfish: Flashes in navy standard morse code “You are being selfish” made from 9 Seasonally Affected Disorder lights which have the same light spectrum as daily and are 10000 lumens bright. <\/span>\n <\/div>\n<\/div>\n\n
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Elisa Wiedeman Accordion Closed<\/span><\/h4>\n <\/span>\n <\/div>\n <\/a>\n
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Turn A Corner<\/em><\/strong><\/p>\n
2021<\/p>\n
oil and cold wax on board<\/p>\n
<\/p>\n\n
\n \n \nWhen an unanticipated force threatens our existence, intuition and invisible antennae pull in an ever-changing range of information. Navigating the last 24 months have required that I:\n<\/span>\n <\/div>\n<\/div>\n\n
Grieve<\/p>\n
Embrace<\/p>\n
Kick away<\/p>\n
Slow down<\/p>\n
Hurry up<\/p>\n
Hold my breath<\/p>\n
Inhale<\/p>\n
Exhale<\/p>\n
Snarl<\/p>\n
Weep<\/p>\n
Regret<\/p>\n
Forgive<\/p>\n
Look back<\/p>\n
Look ahead<\/p>\n
Close my eyes<\/p>\n
Lean right<\/p>\n
Lean left<\/p>\n
Wipe a tear<\/p>\n
Turn the corner<\/p>\n
<\/p>\n
<\/h4><\/body><\/html>\n\n <\/div>\n<\/div>\n<\/h4>\n
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David Williams Accordion Closed<\/span><\/h4>\n <\/span>\n <\/div>\n <\/a>\n
\n \n\n
If only I had a uterus!<\/em><\/strong><\/p>\n
2018<\/p>\n
woodblock print<\/p>\n\n
\n \n The majority of protesters at Planned Parenthood Clinics are male. These are the same people who protest mask mandates and vaccinations. Their rallying cry, “my body, my choice”. They also oppose national health care, free child care and most social programs. Bullying, false information and intimidation are their tactics, need I say more?<\/span>\n <\/div>\n<\/div>\n\n
American Idol<\/em><\/strong><\/p>\n
2022<\/p>\n
drawing<\/p>\n
<\/p>\n
\n
\n \n The Sandy Hook Elementary School shooting occurred on December 14, 2012, in Newtown, Connecticut, when 20-year-old Adam Lanza shot and killed 26 people, including 20 children between six and seven years old, and six adult staff members. Earlier that day, before driving to the school, he shot and killed his mother at their Newtown home. After the shooting there was a national outcry for gun reform. Restrictive gun laws were passed in Newtown and the state of Connecticut, nothing nationally. Two years later both laws were overturned by state and federal judges.\nThere are 153 million registered voters in the United States of which the majority support restrictive gun laws, there are 5.5 million NRA members that do not. The NRA and their lobbyist control our gun laws. If the slaughter of twenty small children changes nothing, nothing will. Do I need to say more?\n<\/span>\n <\/div>\n<\/div>\n\n<\/p><\/blockquote>\n
<\/h4><\/body><\/html>\n\n <\/div>\n<\/div>\n<\/h4>\n
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\n \n
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Del Zartner Accordion Closed<\/span><\/h4>\n <\/span>\n <\/div>\n <\/a>\n
\n \n\n
Incubation<\/em><\/p>\n
2021<\/p>\n
pastel<\/p>\n
<\/strong><\/p>\n
Torque<\/em><\/strong><\/p>\n
2022<\/p>\n
cast handmade paper, paper lithograph, steel<\/p>\n
<\/p>\n
The Little Things<\/em><\/strong><\/p>\n
2022<\/p>\n
paper lithograph transfers<\/p>\n
<\/p>\n
Descent<\/em><\/strong><\/p>\n
2022<\/p>\n
handmade paper, steel<\/p>\n
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<\/p>\n","protected":false},"excerpt":{"rendered":"
We are excited to announce our newest exhibition, the 2022 School of Art Faculty Exhibition. The exhibition will open to the public on February 8, 2022, and will be available through April 23, 2022. This exhibition features works by NAU faculty members representing a variety of media and styles. Please visit our “Plan Your Visit” […]<\/p>\n","protected":false},"author":582,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_oasis_is_in_workflow":0,"_oasis_original":0,"_oasis_task_priority":"","footnotes":""},"categories":[5],"tags":[],"class_list":["post-2326","post","type-post","status-publish","format-standard","hentry","category-past-exhibitions"],"_links":{"self":[{"href":"https:\/\/in.nau.edu\/artmuseum\/wp-json\/wp\/v2\/posts\/2326","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/in.nau.edu\/artmuseum\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/in.nau.edu\/artmuseum\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/in.nau.edu\/artmuseum\/wp-json\/wp\/v2\/users\/582"}],"replies":[{"embeddable":true,"href":"https:\/\/in.nau.edu\/artmuseum\/wp-json\/wp\/v2\/comments?post=2326"}],"version-history":[{"count":28,"href":"https:\/\/in.nau.edu\/artmuseum\/wp-json\/wp\/v2\/posts\/2326\/revisions"}],"predecessor-version":[{"id":2906,"href":"https:\/\/in.nau.edu\/artmuseum\/wp-json\/wp\/v2\/posts\/2326\/revisions\/2906"}],"wp:attachment":[{"href":"https:\/\/in.nau.edu\/artmuseum\/wp-json\/wp\/v2\/media?parent=2326"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/in.nau.edu\/artmuseum\/wp-json\/wp\/v2\/categories?post=2326"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/in.nau.edu\/artmuseum\/wp-json\/wp\/v2\/tags?post=2326"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}

Participating Artists:<\/h2>\n

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\n\n \n \n Elisa Wiedeman Accordion Closed<\/span><\/h4>\n <\/span>\n <\/div>\n <\/a>\n \n \n\nTurn A Corner<\/em><\/strong><\/p>\n2021<\/p>\noil and cold wax on board<\/p>\n <\/p>\n\n

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