One Night in the Alleyway Institute
Rob Callahan reports back from Gamut Gallery's ephemeral, back alley art collaboration-cum-"carnival of urban bohemia" that served as the swan song of their old space in downtown Minneapolis.
Art is hard. That’s not because it's physically hard on you, like construction work or meth is. Art is hard like religion is hard. Everyone has a sui generis religious experience – one that’s unique, personalized even.…
Photo by Clarence Reed, courtesy of Gamut Gallery
Camille LeFevre reviews Sarah Michelson's recent world premiere at the Walker, "tournamento," a game-in-dance performed for audiences over several days — with distinct rules, systems, codes, plays, penalties, and color commentary — according to its own inner (if often unfathomable) logic.
Sarah Michelson likes to play with her audiences — at least with her audiences in Minneapolis, where she’s premiered three works commissioned by the Walker Art Center in the last decade.…
Sarah Michelson's tournamento premiered at the Walker Art Center in a series of performances September 24 through 27. Photo: Annette Yoosefinejad
The Past Is Prologue
There's a gently subversive play with medium and history in Karen Savage Blue's paintings — oscillating between light and dark, carefully-rendered and nearly-abstract — that springs naturally from whatever falls before her eye on a given day in the ever-shifting environs of the Northland.
There is a perception that Native American culture has vanished, discarded into the country's sad mythic past.…
Karen Savage Blue, one of the paintings on view in Spirit at the Duluth Art Institute through October 4, 2015.
Art of the Impossible
Musician, poet, and bike advocate Ben Weaver reflects on the stories we tell ourselves and others about what it is we do, outside the safe confines of security and certainty, when we pursue the life of an artist.
The shoulder of the road I traveled was not as narrow and treacherous as I was led to believe.…
Ben Weaver performing for Surrounding Water, July 2015. Photo: Scott Haraldson
The Colonial Logic of the Independent Artist
Emily Gastineau recaps a conversation on "Place, Race, Geography and Power" at the recent Hand in Glove conference and asks: For white-led organizations, how does your consumption of resources, your cultural voice impede someone else’s sovereignty?
At the panel titled "Place, Race, Geography, and Power" at this weekend’s Hand-in-Glove conference, the panelists and audience wrestled with the concept of ownership: its personal significan…
Sam Durant's installation, We Are the People, on view at Project Row Houses in 2003. Photo by Rick Lowe, courtesy Project Row Houses (Via Creative Time Reports)
Let's Spend Some Time Unpacking the Uncommon Field, Too
Camille Erickson reports back from Hand in Glove 2015, and wonders: Why not unpack the assumptions behind holding a "common field" as our goal?
Curator of this year’s Midwest Biennial, superusted, Cheryl Wilgren Clyne remarks, “the Soap Factory is filled with rust, corrosion…
Participants the first session of Common Field's Hand in Glove 2015 convening. Photo: Bianca Pettis
The (Un)Intended Consequences of Art
Alexa Horochowski lays bare the entanglements of dream and shadows, intellectual and emotional passions, and subconscious impulses that fuel the making of new artwork.
I woke up from a nightmare at around 2 am on August 19. I dreamed I was following a young woman, a redhead, who was telling me about a serial killer who had slain several young women. In the dream, I was both witness and participant.…
Detail from Alexa Horochowski's installation, on view as part of superusted, the Soap Factory's 4th Midwestern Biennial exhibition, opening on September 12.