Families to apply for our residency program as collaborative units. Artists may collaborate with members of their family of origin or chosen family. We welcome family members of all ages and abilities to experiment with collaborations of all kinds.

Alyzza May (Greensboro, NC) | December 2021

"Focusing on home, place, belonging, the hyper-visibility and invisibility of Indigenous peoples, and a decolonial deconstruction of time, The Secret Project with Our Friend takes on Elsewhere and frees Our Friend across the entirety of the space and beyond the confines of the museum. When the artist came to Elsewhere they instantly connected to Our Friend who was prominently displayed in The Tower, an Indigenous person behind glass, out of context, and casually on display for all to pass by and ignore, historicize, forget, or disregard. The artist built a relationship with Our Friend, and together determine where Our Friend really wanted to be. Together they create a community found across the building, Our Friend is no longer alone, and actively engages with this institution.

The process of creation is emergent, and involves following leads. This brings us to Our Friends presence on three of Elsewhere’s seats, with three distinct messages for Natives and non-Natives alike. The chairs each read, “This was never the Gray’s, it’s eternally Indigenous,” “Islands of Decolonial Love: Conversations btwn N8VS.” Did you have a seat? Did you notice?

Our Friend is Free.

Chris Omni (Tallahassee, FL) | Exchange (Kansas City) | October 2021

Chris Omni explored her artist identity through found objects from North Carolina, Georgia, and Florida. This piece represents her growth process of moving from a 20+ year career in public health into a new, August 2020, identity as an artist. Being * Becoming * Growing is in direct communication with her second piece, Isolation * Invitation * Inclusion; however this piece speaks to her extroverted side. A side that has been traditionally front, center, and literally on stage. Omni created this site specific installation as a reminder of how we present to others and how we even frame our identities, even if it is not who we are at the core. Through this introspective creation, Chris Omni discovered a new dimension of herself and weaved it into the piece while dancing with the energy of the sacral chakra mantra, “I love all dimensions of myself. I delight in weaving the creative tapestry that is my life.” Being * Becoming * Growing invites YOU to look at your journey and grow in the direction that breathes life to your soul. Ase.

Chris Omni (Tallahassee, FL) | Exchange (Kansas City) | October 2021

Chris Omni explored her artist identity through found objects from North Carolina, Georgia, and Florida. This piece represents her growth process of moving from a 20+ year career in public health into a new, August 2020, identity as an artist. Being * Becoming * Growing is in direct communication with her second piece, Isolation * Invitation * Inclusion; however this piece speaks to her extroverted side. A side that has been traditionally front, center, and literally on stage. Omni created this site specific installation as a reminder of how we present to others and how we even frame our identities, even if it is not who we are at the core. Through this introspective creation, Chris Omni discovered a new dimension of herself and weaved it into the piece while dancing with the energy of the sacral chakra mantra, “I love all dimensions of myself. I delight in weaving the creative tapestry that is my life.” Being * Becoming * Growing invites YOU to look at your journey and grow in the direction that breathes life to your soul. Ase.

David Alpert (Kansas City, MO) | Exchange (Kansas City) | August 2021

Stained-Glass Storage furthers the aestheticization of Elsewhere Museum’s former thrift store products through visually focused storage. Artist—David Alpert—built wood shelves across one of two kitchen windows. He collected and organized stained-glass objects from the Museum onto these shelves, mimicking a stained-glass window. The majority of former thrift store objects at Elsewhere live out-of-reach from museum visitors. In essence, Elsewhere transforms these functional ephemera into aesthetic compositions. Stained-Glass Storage brings this object-use shift clearly into focus. Alpert flips jars, stacks ashtrays on plates, and balances bottles into vases. Traditionally, these items would either be used for initially intended purposes or stored for optimal space efficiency. Alpert reinterprets these domestic objects as purely sculptural, at least for a moment. Because the stained-glass items are placed instead of attached, they can be rearranged to create countless compositions. In fact, Alpert regularly pulled out the step ladder and reorganized Stained-Glass Storage throughout his fellowship, often times with the direction of the other artists who happened to be in the kitchen. In this way, Stained-Glass Storage progresses Elsewhere’s curation of out-of-use goods, inviting ongoing collaboration and enhanced visibility.

The Temporary Photographic Archive Office (TPAO) proposes new archival methods for the Elsewhere Museum. The TPAO collects, scans, and shares photographic ephemera from the Elsewhere library—Polaroids, postcards, 4x6” prints, etc. By caring for these objects through digitization, archiving, and dissemination, the TPAO justifies more permanent, interactive methods of conservation for the Museum (permanence being a relative term). At the surface, the TPAO scanned, organized, and digitally shared photographic prints. On a deeper level, the TPAO chose to subvert the Museum’s pre-existing curatorial philosophy. This is to say that the Museum has previously taken an ambivalent approach to their collection, simultaneously enforcing strict rules regarding the former thrift store objects while allowing artist creations to degrade. The TPAO shifts that focus from out-of-circulation consumer products to human interactions—both human-to-human and human-to-object. The TPAO revises the Elsewhere story or rather reinterprets their history as people-centric.

William Plummer (Kansas City, MO) | Exchange (Kansas City) | August 2021Tapping into the unseen historical and spectral forces at Elsewhere, this altered cabinet functions as a permeable screen by drawing attention to effects of light and air within the Ghost Room. Through this atmospheric exchange, the sculpture commands a theatrical presence while drawing attention to its contents; stockings, beads, and pearls that drift and sway without the help of a body. "Perennial Channels" acknowledges the items we own that are meant to feel special or inspire wonder. From playful accessories to glass marbles, these things point at a commonality--the ways objects can undeniably reveal and reflect something about the people that have interacted with them.

Craig Deppen Auge (Kansas City, MO) | Exchange (Kansas City) | August 2021

Inspired by a single blue, shear stocking found on the first night in the museum, this work is an exploration of color, texture and transparency, while playfully referencing the “spirit energy” experienced by many. This installation of collection knee-highs directly responds to the Ghost Room, and various supernatural references through the museum, including a large spirit board in the stairwell. The legs appear to be dancing up and down the wall, having perhaps been summoned to life through the some accidental conjuring during the act of art-making. This is not a frightening invocation, but is rather vivacious and light-hearted. We are witnessing a spirit party, or more likely, the manifestation of the energy Elsewhere’s previous inhabitants through the years. This work also highlights the fashion of a particular era, and generally honors the variety of collection garments found in the Transformatorium.

Craig Deppen Auge (Kansas City, MO) | Exchange (Kansas City) | August 2021

This series of 20 sculptures and interventions incorporating textile scraps, collage, metal grid form, and other various collection materials can be viewed as For the most part, the artist has committed to using scraps and parts “as found” with no additional manipulation, just a focus on composition, constructed intuitively. This series of works is the most closely connected to the artist’s current body of work outside of the museum. Within this setting, these are abstract poems honoring all who have drifted, and will drift, through Elsewhere; from previous residents all the way back to the boarding house days. In that broader sense, these may speak to our independent, yet collective, journey through this life, on this planet, and the “getting lost” elsewhere along the way. Other questions emerge, as the artist continues to think about the grid as the symbol of existing social structures, or more broadly, and the fabric as ourselves and how we navigate these systems. Then we can ask: are we dancing with the grid or fighting the grid? Are we caught in the grid or escaping the grid? The placement of these pieces and proximity to each other also begins to suggest they carry individual personalities, and are themselves transient beings, resting mostly in the Alone Zone and drifting down the hallway.

Craig Deppen Auge (Kansas City, MO) | Exchange (Kansas City) | August 2021

This series of 24 individual “sign posts” and/ or “flags” placed in the garden and spread throughout the museum explores the concept of way-finding and personal journey. Linked conceptually to one of the the artist’s other projects, Drifters, these embody the themes of the sojourner, “finding yourself,” or unexpectedly finding yourself “elsewhere.” These clusters of lean, wordless directional or distance markers are similar, but abstracted versions, to those you might find on an old, wooded footpath. The difference being that there is no explicit direction, only a formal, coded visual language speaking of what is on the path ahead, or what lies behind. These works were constructed intuitively and urgently, using only collection scraps and hardware, giving them a folksy, southern yard-art quality. The artist is interested in the concept of the nexus, and Elsewhere certainly acts as a nexus for community and creativity. But it remains open to interpretation, and its direction is ever-changing. This project suggests all of that; a sculptural play on the puzzling, multi-vocal outlooks found at Elsewhere, perhaps pointing to a multitude of other "elsewheres."

Craig Deppen Auge (Kansas City, MO) | Exchange (Kansas City) | August 2021

This work, which spans across the top of the front and back stairwells to the second floor, is an exploration of form, pattern and scale, as well as a contemplative remark. Images of these chairs were cut from a collection of 60 Italian furniture catalogs which were sourced from the Records Room Archive. They exist as remnants form the Carolina Sales Company, one of the latter day businesses here, predating the museum. The crosscut pattern itself acts as an invocation, perhaps inviting roaming spirits a place to rest, similar to the “haint blue” as a There is also a reminder here to take time and just be still with yourself amongst the dazzling cacophony of the collection, though ultimately that rest and meditation is illusive. The work also reminds us to stay aware of the many multiples found within the collection, and that, in fact, multiples of an object or image are the very definition of a collection.