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  • The Minnesota Museum of American Art (MMAA) set about the task of creating a show asking, "What is American art?," and emerged with an exhibition as messy as the question itself. With five different curators selecting work, the response couldn’t help but be chaotic, but perhaps the frenzied, loose structure of the exhibition is a fitting tribute to a country that’s composite and contradictory by nature, with a history stained with genocide and slavery, but also a national character that’s…
  • The Minnesota Museum of American Art (MMAA) set about the task of creating a show asking, "What is American art?," and emerged with an exhibition as messy as the question itself. With five different curators selecting work, the response couldn’t help but be chaotic, but perhaps the frenzied, loose structure of the exhibition is a fitting tribute to a country that’s composite and contradictory by nature, with a history stained with genocide and slavery, but also a national character that’s…
  • The Minnesota Museum of American Art (MMAA) set about the task of creating a show asking, "What is American art?," and emerged with an exhibition as messy as the question itself. With five different curators selecting work, the response couldn’t help but be chaotic, but perhaps the frenzied, loose structure of the exhibition is a fitting tribute to a country that’s composite and contradictory by nature, with a history stained with genocide and slavery, but also a national character that’s…
  • The Minnesota Museum of American Art (MMAA) set about the task of creating a show asking, "What is American art?," and emerged with an exhibition as messy as the question itself. With five different curators selecting work, the response couldn’t help but be chaotic, but perhaps the frenzied, loose structure of the exhibition is a fitting tribute to a country that’s composite and contradictory by nature, with a history stained with genocide and slavery, but also a national character that’s…
  • Outreach. Inclusion. Engagement. Equity. Diversity. These are all words thrown around a lot in the nonprofit world, but what do they really mean? For arts organizations, in particular, especially arts organizations that aren’t culturally specific, saying you’re going to engage with communities of color isn’t necessarily the same thing as having an equitable relationship with diverse communities. But what about those organizations that are going beyond aspirational talking points and taking…
  • CAITLIN KAROLCZAK IS NOT AFRAID OF CONTROVERSIAL subject matter. Taking on taboo subjects such as physical deformity, violence, and death, Karolczak's work provokes a visceral reaction in viewers that has led to both praise and hate mail. Her exquisite yet grotesque paintings (and one sculpture) are currently on view, along with Michael Thomsen's sculptures in Science & Wonder at Rogue Buddha Gallery through June 12.   Karolczak says that she is "strangely compelled" by her material: she fe…
  • WHEN BAIN BOEHLKE WAS A YOUNG ACTOR, he was sure that he was going to have a chance to play Hamlet. He was blond, after all, and felt an affinity for the role; it was a part he felt he was meant to perform. He had a copy of the play with him when he was in Berlin, serving in the army from 1959-1961. He was in Germany when the Berlin wall went up. "The challenge of being an actor," Boehlke says, "is that the opportunity must arise."  The chance to play the prince of Denmark is rare -- and Boehlk…
  • SUMMER IS THE TIME FOR CAMP, and I'm not talking about summer camp. I'm referring to the camp style, a "sensibility" as Susan Sontag describes it, that she argues "among other things, converts the serious into the frivolous." Camp can be deliberate (think Oscar Wilde or Monty Python) or accidental (Mommy Dearest or Reefer Madness) but with camp there's always a sense of the absurd, of artifice, and of silliness, even if it's unintentional. This summer, one of the great masterpieces of camp, The …
  • IN THE ART OF CONFLICT, AT TARNISH AND GOLD GALLERY in Northeast Minneapolis, Iraqi and American artists show their work together in a fascinating show dealing with the conflict in Iraq. Utilizing the talents of artists who represent a broad range of wartime experiences -- including those of the Iraqi citizens whose home country has been occupied, American veterans who served in the Iraq war, and peace activists decrying the conflict  -- the show asks the viewers to question their own feelings …
  • LAST WEEKEND, ALL MY RELATIONS ART GALLERY CELEBRATED their grand opening on Franklin Avenue with Frank Big Bear: From the Rez, to the Hood, to the Lake. This exhibition marks the Anishinaabe artist's first painting show since the 1970s when the artist was 23 years old. "I stopped painting, because I was working," Big Bear says simply; he drove a cab for 31 years, and when he retired in 2006, he started painting again. "In 2006, I gave myself three years to learn how to paint," he explains. "You…