After the Party
Two years after the hard-won legalization of gay marriage, queer couples are just as respectable as their straight counterparts. Joe Sinness's painstaking drawings are filled with nostalgic affection for the wilder days of gay culture, but he's too smart an artist to stop there.
A crumpled pink beach towel lies in the corner. Covered in bits of sand and flanked by three spoilt napkins, it’s titled Stage and indeed sets the scene for Fey: Drawings by Joe Sinness.…
Joe Sinness, Liam, 2015. One of the drawings on view in his solo show at Macalester College through October 21.
Value is a Verb
Camille Erickson takes a birds-eye view on the recent Hand in Glove gathering, summing up the calls to action we might take away from the conversations arising in this emerging "common field."
With Hand in Glove 2015 just past, I’m reflecting on the conversations catalyzed by the recent convening’s intensive and impassioned panels, trying to pick up the strings that connect the concepts put forth, hoping to find some semblance of a tack to inform my own pro…
One of the poems included in Everyday Poems for City Sidewalk, a project of Public Art Saint Paul and the City of Saint Paul led by City Artist in Residence, Marcus Young.
What is the Work of Art Worth?
Emily Gastineau makes a case for more capacious language around the value of artists' labor and contribution, language that demonstrates how this work is simultaneously concrete and ephemeral, valuable even if not quantifiable, independent but not exempt from capitalism.
The final panel of Hand-in-Glove, titled “Art Works?”, explored questions of whether, when, and how artists should be paid.…
Photo by Dwayne Williams from Art Is Easy in 2014 (2013) by Emily Gastineau. Courtesy of the author.
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