Rachel Linnemann is an Appalachian artist teaching at the University of Cincinnati where she received her Master’s in Fine Art in 2021. She graduated from Northern Kentucky University in 2012 with a Bachelor's degree in Studio Art and a minor in Psychology. Linnemann was chosen for the Revealed early career artist series for the Sculpture Center and will have a 2024 solo show. Linnemann was awarded first place in the 2021 Miami University Young Sculptors Competition for the $10,000 William and Dorothy Yeck Award juried by Mark Dion. As a result she debuted her solo show, Appalachian Woman, at the Miami University Lee Gallery in 2022. Her thesis was awarded Best in School for DAAPcares, 2021. She has worked as a professional Artist, Educator, and Preparator for various organizations such as the Cincinnati Art Museum (OH), Bucknell University (PA), Artworks Cincinnati (OH), and Applied Imagination (KY). Linnemann recently completed a residency with the Contemporary Arts Center in Cincinnati, Ohio where she exhibited for the show Emerge. Her work has been shown in Ohio, Michigan, Greece, Louisiana, Indiana, Maryland, and Kentucky. She works across media to develop a language surrounding mental health, growth, resilience, and joy.
Linnemann pairs the mundane with what she calls “visual joy.” Visual Joy is anything that the artist considers celebratory. This ranges from party supplies, awards, money, gold, or simply rearranging objects into a celebratory shape. The pandemic brought on a need for the artist to celebrate the everyday worker, object, and moments in life (even moments that do not feel celebratory). She does this through the utilization of found objects. Linnemann enjoys the instant recognition that found objects give to her viewer, instantly connecting to a preconceived impression an object might have. She then transforms the object enough for the viewer to question the transformation. Why does a mop bucket have golden trophies emanating from its pail? Who is she celebrating and why? These are the types of questions that Linnemann hopes to evoke with her work. Growing up in rural Appalachia, Linnemann often saw objects being reused in unconventional ways out of necessity. They were used to repair something broken or utilize what one had to make do. She also witnessed a lot of hardship. Within her family, this hardship was partnered with gratitude and internal pride. The gratitude was focused on what one did have and the ability within oneself. When Linnemann witnessed blue collared workers being deemed essential, and significant job loss due to the pandemic, she felt compelled to put into practice the lessons of gratitude and joy that can be present despite difficulty, that she learned from her Appalachian ancestors.
Artworks, We are Walunt Hills, 5 points mural.
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