The Believing Game
Filmmaker and educator Kevin Obsatz on art experiments, the freedom in making "unmarketable" work, exercises in belief, and practicing porousness in an impermeable age.
In the believing game we return to Tertullian’s original formulation: credo ut intelligam: I believe in order to understand. We are trying to find not errors but truths, and for this it helps to believe. […]…
Amy Halpern, still from Falling Lessons, screened recently at Cellular Cinema. Courtesy of the artists and Cellular Cinema.
An impassioned poem by artist and activist Camille Gage, after her experience at the Women's March in Washington DC on January 21, 2017, where more than a million people gathered to march for women's rights.
I said I’d write an article about my DC tripabout the Women’s Marchbut I don’t have TIME to writeBarely time to rememberNot a moment to luxuriate in I drove 18 hours tostand with a millionfeminists…
At the Women's March in DC on January 21, 2017. All photos courtesy of the author
To the Edges We Must Run
Ben Weaver on the trouble with lionizing artists' struggles, with a call for boldness in the face of want, solidarity with the land and each other, and seeking brave solutions at the edges, rather than swimming comfortably in the mainstream.
A stranger came to town. Down the frozen roads. Barely made it up the hill. She left early the next morning. Some say they planned it all along. It’s true, there are so many different kinds of dark. Everybody is wondering what will end up in the fire.…
The author, on tour in the Netherlands. Photo: Henri Santing.
Inside the Cedar Commissions
Music writer Youa Vang chats with two of the composers whose works will be featured in this week's "Cedar Commissions" showcase at the Cedar Cultural Center: percussionist Zack Baltich and tabla player and composer Krissy Bergmark.
In September of 2016, the Cedar Cultural Center, along with the Jerome Foundation, paired with six musicians to compose original work.…
Zack Baltich. Photo courtesy of the artist. Baltich is one of six composers whose new work will be featured in the Cedar Commissions performances, on stage February 3 and 4, 2017.
And Watching Them, So Were We
Critic and curator Johanna Burton on Alexa Horochowski's "Vortex Drawings," for which the artist uses wind applied to everyday detritus - packing peanuts, polystyrene cups, plastic bottles, aluminum cans - to create a series of lyrical, visually surprising prints.
In the second most famous scene from the 1999 film American Beauty, the Burnham’s teenage next-door neighbor, Ricky Fitts, an aspiring filmmaker, shows young Jane Burnham a work in progress.…
Alexa Horochowski, Vortex Drawing. On exhibit at Highpoint Center for Printmaking February 3 - March 25, 2017.
The Most Necessary Band in Minnesota
Ira Brooker profiles the newly formed local supergroup Ambassadors of Culture, which includes former Aviette frontwoman Holly Muñoz and Dalmar Yare, a favorite in the Somali music scene, along with solo artists Martin Dosh and Al Church.
First Avenue is abuzz with an uncertain energy. It’s the annual Low Christmas show, traditionally a loose, celebratory showcase for the venerable Duluth indie legends and a selection of their talented friends from the Minnesota scene.…
Holly Muñoz and Dalmar Yare. Photo courtesy of the artists
After Symbols and on to Lawlessness
Critic and curator Nathan Young on the "catalytic flag-making" project, "Bleed&Burn," (ongoing now at the Soap Factory) and pushing the momentum of art for social change beyond symbolism and into action in the civic sphere.
The Soap Factory’s Bleed&Burn: Catalytic Flag Making shows a crossroads of activism, where the momentum of art for social change is pinned bet…
Bleed&Burn is on view at the Soap Factory January 14 - 21, 2017. Bark flag image courtesy of the artists.