On Being Here (and There)

Good Road to Follow

March 1, 2020 — January 17, 2021

Good Road to Follow examines the work of two artists, separated by decades and experiences, whose work contributes to the lore surrounding American hobos and their lives on the road. Highlighting the important role that artists can play in the documentation and recognition of marginalized groups of people, this exhibition speaks to the powerful quest for community.

From childhood until his death, Adolph Vandertie (1911–2007) was fascinated by the stories, lifestyle, and material objects of the hobos and tramps passing through his hometown of Green Bay, Wisconsin. Starting in the mid-1950s, Vandertie began teaching himself the hobo and tramp art of notch and chip carving, eventually mastering the ball-in-the-cage. He went on to create thousands of such carvings, exchanging his creations for those of others, and eventually co-writing the book Hobo and Tramp Art Carving: An Authentic American Folk Tradition to share his collection and teach others the skills of the craft. Upon his death, the John Michael Kohler Arts Center acquired nearly 1,300 of Vandertie’s carvings and some of his archival materials related to hobos and their work.

David Eberhardt, a documentary filmmaker and photographer, began riding freight trains in 1990. He immersed himself in the rail-riding subculture, hopping trains across every state west of the Mississippi. The relationships he developed became the foundation for his 2003 documentary film, Long Gone, and his upcoming book of photography, You Can't Catch a Ghost. Good Road to Follow features a selection of these photographs.

Good Road To Follow 360 Tour

Download this exhibition handout and exhibition overview while taking the 360-degree tour.


On Being Here (and There)

In a time of divisive public discourse and social polarization, On Being Here (and There) highlights the roles cultural organizations and artists perform as citizen, custodian, neighbor, and friend. The works presented in this series of exhibitions reveal ways our communities are enhanced and shaped by a diverse spectrum of artistic practices and engagement. 

With the upcoming opening of the Art Preserve of the John Michael Kohler Arts Center, it felt right to revisit the breadth of the Arts Center's work in preserving, creating, and showcasing cultural assets. Since the 1970s, the John Michael Kohler Arts Center has cared for artist-built environments in Wisconsin and beyond, acting locally, nationally, and internationally. Through residencies, exhibitions, and outreach, the Arts Center has sought to strengthen connections, open dialogue, and engender collaboration among its various local and international constituencies. 

On Being Here (and There) is anchored by a group exhibition titled Between You and Me, which brings together contemporary artists whose practices are intentional acts of care for their neighbors or broader communities.

Complementing Between You and Me are two exhibitions that engage the Arts Center’s own history of collaboration, collecting, and preservation. Tokens of Appreciation is a story about the unique relationships that develop between Kohler Co. factory associates and artists participating in the Arts/Industry residency program. Good Road to Follow evokes Adolph Vandertie’s in-house museum of hobo and tramp art and explores the role of grass-roots archiving in the maintenance of histories. 

These exhibitions are supplemented by The Projector Room, a gallery newly dedicated to showing film and video artworks that expand on themes pertinent to the Arts Center’s mission, collection and programming. Three films—Who Is Bozo Texino?, Inscriptions of an Immense Theater, and EDM House—broadly examine belonging, questioning some of the invisible structures that help create, define, and destroy our sense of self in relation to the world around us.

This exhibition is supported by the Kohler Trust for Arts and Education, Kohler Foundation, Inc., the Frederic Cornell Kohler Charitable Trust, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.