Elsewhere is a museum and artist residency set in a 3-floor, former, thrift store. With people and things, we build collaborative futures.


QueerLab: I Don't Do Boxes

QueerLab: I Don’t Do Boxes

I Don't Do Boxes Issue 5: OutLaws is out now!

This year’s theme for the 5th edition of the magazine and workshops is OutLaws-- for those whose identities have been criminalized or erased altogether. This issue focuses on queer liberation and individual transformation and explores the existence of the gender spectrum....
Announcing Our 2018 Artists

Announcing Our 2018 Artists

Congratulations to our 2018 artists-in-residence! View full list here.

Southern Constellations and Baltimore Goes Elsewhere offer six fellowships each (room/board/travel/$1000 honorarium) to artists based in the chosen cities to participate in an Elsewhere Residency, creating site-specific projects in or around Elsewhere’s 100-year-old building.
Become a Member

Become a Member

Join a constellation of members around the globe who support the Elsewhere experience.

Your donations ensure that Elsewhere continues to build a collaborative and magical future for Greensboro and artists around the world!
Recent Projects
Make Do and Mend

Make Do and Mend

Make Do and Mend, Michéle Fandel Bonner (Marblehead, MA).  March 2017. Found sweaters, quilt tops, denim, yarn. Investigating intricacy in moth-eaten sweaters, unfinished quilts, and drafty windowpanes, Bonner’s work follows the smallest details of form and function to celebrate possibility in all things. What was once worn or forgotten can become useful, beautiful, and with a story to tell....
Fe3O4, [Fe]=O

Fe3O4, [Fe]=O

Fe3O4, [Fe]=O, Franky Cruz (Miami, FL).  March 2017. Mixed media on paper, installation. Rust pigment, wood, found objects. In a dark corner of Elsewhere’s third floor, Cruz built a temple-like laboratory and studio out of found wood. There, he spent time with the most discarded and corroded objects of the Elsewhere collection, experimenting with the rusted form to investigate...
City of Scraps

City of Scraps

City of Scraps, Hamida Khatri (Baltimore, MD) Baltimore Goes Elsewhere Fellow. August 2017. Acrylic on found wood, string lights. City of Scraps serves as a visual representation of Khatri’s immigration experience into the US from Pakistan. The imagery produced by the artist translates a socioeconomic divide in a third world country to inevitable issues of gentrification within...
Nameless

Nameless

Nameless, Hamida Khatri (Baltimore, MD) Baltimore Goes Elsewhere Fellow. August 2017. Found wood, piano keys, lace, ribbon, wool. Never having worked with found materials before, Khatri gathered various collection objects from the museum that she could connect with. As she began to assemble the objects together, a human-form marionette organically came into being. Through Nameless, Khatri found that “artmaking can be spontaneous and...
Something Must Be Wrong Somewhere

Something Must Be Wrong Somewhere

    Something Must Be Wrong Somewhere, Tim Fite (Brooklyn, NY). February 2017. Acrylic on museum walls, restored books, wood, paper, pencils. Fite reinvented one of Elsewhere’s first floor restrooms based on a letter found in the museum written by a young girl trying to contact her mother from summer camp in 1961. Something Must Be Wrong Somewhere illustrates summer...
The Martyrdom of Saint Elsewhere

The Martyrdom of Saint Elsewhere

The Martyrdom of Saint Elsewhere, Dorothy Melander-Dayton (Detroit, MI) February 2017. Wedding dress, yarn, ribbons, toys, spray paint, plaster, wheelchair, crutches. The Martyrdom of Saint Elsewhere is a theatrical installation that draws connections between religious iconography and the sacred nature of the Elsewhere collection. Though the museum is a secular entity, Melander-Dayton observed religious tendency sewn deep into...
10 Minutes

10 Minutes

10 Minutes, Will Owen (Queens, NY & Philadelphia, PA) February 2017. Collection broken glass, wood. Will Owen’s two projects, Singing Sink and 10 Minutes, revolve around the cyclical needs of living. 10 Minutes is an hourglass made from broken collection glass. The form was created by Winston-Salem glass blowing studio Olio and sand made from crushed collection glass...
Knock Wood

Knock Wood

Knock Wood, Christine Rebhuhn (New York, NY) October 2016. Wood column, glass vase, found publications, key. Knock Wood brings together handcrafted and industrially fabricated objects often found in the peripheries of mundane, American life. Rebhuhn considers the way these objects overlap and find affinity, stretching a line of connection across disparate things and ideas. Language and images become operative...
Because They Believe in Unicorns

Because They Believe in Unicorns

Because They Believe in Unicorns, Antoine Williams (Chapel Hill, NC) Southern Constellations Fellow. July 2016. Installation view. Surplus WWII military tents, wood, thread, marker, acrylic, collage on museum wall. Williams creates his version of a myth in Because They Believe in Unicorns by suspending a figure in mid-air who begs the question: “Am I being elevated out of darkness or...
Surplus Surplus

Surplus Surplus

Surplus Surplus, Seth Ferris (San Diego, CA) October 2016. Video, installation. Army surplus collection. Surplus Surplus rearranges the army surplus materials in Elsewhere’s collection to investigate wartime production, distribution of goods, and post-war labor force reformation. By creating “body bag” shapes out of American WWII military tents stuffed with army materials, Surplus allows the viewer to meditate on the current, collective complicity in this institutional cycle – the...
An Alter-Economy of Becoming Elsewhere

An Alter-Economy of Becoming Elsewhere

An Alter-Economy of Becoming Elsewhere, anique vered (Montreal, QC) October 2016. Masking tape, red yarn, objects, and words throughout the museum. A baring of daily life as art, vered simultaneously prompts and reveals change by exploring and documenting alternate social and economic forms. An Alter-Economy asked 14 Elsewhere staff members, interns, and artists to participate in a 7-day durational encounter throughout the 3...
Indefinite Progress

Indefinite Progress

Indefinite Progress, Alix Pentecost-Ferren (Brooklyn, NY) August 2016. Graphite on paper, pasted onto museum walls. Indefinite Progress is a series of hand drawn image sequences intertwined with the architecture of the museum. Taking inspiration from Elsewhere as place where the past is trapped alongside the present, both a time capsule and living museum, each sequence references the history of...