Getting Out Letter 4: TO: Where It May Concern, 514 2nd St SE Minneapolis, MN 55414
Following the announcement that the Soap Factory will close for good, the former Gallery Director Kate Arford pens a let >
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Rebekah Crisanta de Ybarra, an interdisciplinary artist, musician, and co-founder of Electric Machete Studios, explores >
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Writer and artist Mai'a Williams elucidates the persistence of white supremacy in the cultural landscape of a small >
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Michele Anderson, the Rural Program Director at Springboard for the Arts in Fergus Falls, explores how insider/outsider >
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Writer, public artist, and cultural organizer Shanai Matteson ponders the slow work of relationships, the language of so >
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Matthew Fluharty, the incoming guest editor of Mn Artists, outlines the vision for his editorial series focused on “loca >
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What's It Like to be a Young Black Artist in the Twin Cities?
Writer Lara Mimosa Montes sits down with emerging artists from MCAD's Black Artist Student Union, who presented the >
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Numinous Anomalies: Somali Visual Art in Minnesota
An emphasis on connection—between Minnesota and Somalia, artist and community—is key for "Anomalous Expansion," >
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Camille Erickson takes a birds-eye view on the recent Hand in Glove gathering, summing up the calls to action we might t >
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What is the Work of Art Worth?
Emily Gastineau makes a case for more capacious language around the value of artists' labor and contribution, langu >
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One Night in the Alleyway Institute
Rob Callahan reports back from Gamut Gallery's ephemeral, back alley art collaboration-cum-"carnival of urban >
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The Colonial Logic of the Independent Artist
Emily Gastineau recaps a conversation on "Place, Race, Geography and Power" at the recent Hand in Glove confer >
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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 &quo >
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Sean Smuda on Eric Frye's series for Midway Contemporary Art on "compositional epistemologies," an erudit >
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Artist and curator Cheryl Wilgren Clyne begins a photo essay series about artists and studios - starting with her own, a >
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Why Is It So Difficult to Talk Critically About Socially Engaged Art?
Definitions of terms for work loosely designated as "social practice" is contentious business. >
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Sheila Regan reports back from the recent Giant Steps conference in Minneapolis, on the winding paths and professional t >
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Go past the ping-pong table, past exits for the “Historic Staircase” and the oversized games, and at the very back of th >
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A Note From the Outgoing mnartists.org Project Director
mnartists.org Project Director Kathleen Kvern offers a survey of where this democratic online arts project has been and >
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Producer Marya Morstad continues the Radio mnartists series of podcasts and KFAI radio interviews with Minnesota artis >
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Bits and Pieces In a Semblance of a Whole, an essay by Jon Nelson
Festival of Appropriation co-curator Jon Nelson gives a behind-the-scenes glimpse into the assembly of this one-of-a-kin >
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Segrelicious is a state of minds, an experiment in race and culture. >
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Producer Marya Morstad continues the Radio mnartists series of web and radio interviews with Minnesota artists. >
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Radio mnartists: Espejos - Mentors and Mentees
Producer Marya Morstad continues the Radio mnartists series of web and radio interviews with Minnesota artists. >
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Producer Marya Morstad continues the Radio mnartists series of web and radio interviews with Minnesota artists. >
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Producer Marya Morstad continues the Radio mnartists series of web and radio interviews with Minnesota artists. >
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Radio mnartists: Monica Sheets
Producer Marya Morstad continues the Radio mnartists series of web and radio interviews with Minnesota artists. >
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Producer Marya Morstad continues the Radio mnartists series of web and radio interviews with Minnesota artists. >
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Producer Marya Morstad continues the Radio mnartists series of web and radio interviews with Minnesota artists. >
