Visual artist and writer Regan Golden, the incoming guest editor of Mn Artists, introduces Seeing Plants, a series of writings by artists, designers and botanists questioning the role that plants play in our everyday lives: as material for our artwork, as inspiration, as medicine, as a reminder of our own mortality.

Dear Leader is a multimedia group exhibition at Candela Gallery in Richmond, VA. It casts a light on the existential weight of nuclear proliferation and the harrowing threat of nuclear violence. May 3 - June 14, 2019, reception May 2nd.

Diane Willow is invited to exhibit "A Space for Breath" in the Contemporary Art Exhibition at the Song Dynasty, Kaihua Temple, Gaoping, Shanxi Province, China

Community organization Springboard For The Arts partners with the College of Liberal Arts for a second semester to bring a workshop series to campus to educate arts students about business skills such as grant writing and pricing.

There are many events scheduled to celebrate the 50th Annual University of Minnesota Iron Pour! This post is a landing page with links to all of them.

Until relatively recently, the moving-image works have been characterized by curators and scholars as documentary, records of live activity or performance, rather than complete works in themselves. “Covered in Time and History,” curated by Lynn Lukkas and Howard Oransky, and the largest exhibition of Mendieta’s films to date, counters and expands this notion, tracing the conscious evolution of the artist’s films between 1971 and 1981. The results are striking.

The image many people hold of Native Americans today can be attributed largely to Edward Curtis, a late nineteenth-century, early twentieth-century American photographer whose work often focused on Native subjects. Oftentimes his work was staged, as Curtis believed that Natives and their cultures were being slowly eradicated. He was able to persuade his subjects to wear full regalia (regardless of whether it was from their own tribe) and to hide markers of cultural adaptation. Native Enough aims to dispel the stereotypical image of Natives so heavily influenced by Curtis. With interview excerpts included alongside the present-day portraits of Native college students, this collection allows for discussion about identity anxiety, tribal issues, moments of pride, and the change students want to effect through their education. The combination of black-and-white portraits and interview excerpts provides a poignant look at the faces of Native students, proving that stereotypes fall short in the faces of Native diversity.

Driving South in a Mostly Straight Line is the first phase of an art exchange between Rosalux Gallery, an art collective based in Minneapolis, Minnesota and ICOSA collective of Austin, Texas. Selected by Andrea Mellard, the exhibition introduces Austin to the 20 members of Rosalux. In turn, Rosalux will be presenting the work of ICOSA collective’s 20 members in Minneapolis in May. The first exhibition of this two-city art exchange is comprised of a diverse of artmaking practices including painting, mixed media sculpture, watercolor, photography, printmaking, drawing, and collage. While 1,176 miles separate the two artist collectives, the common goal to support their fellow artists and share their community’s creative output brings them together. “One of my favorite aspects of Austin’s arts community is how groups of artists come together to just make what they want happen. I have been impressed by the way artist collective ICOSA has supported each other, developed spaces to present work, and now are exchanging art shows with Rosalux Gallery. I appreciated the opportunity to review and select for exhibition the diverse art made by the twenty members of Minneapolis’ longest running collective art gallery. I hope the Rosalux exchange introduces Austin to new artists and that their work and commitment to sustaining a creative community are inspiring.”

Second Shift is an artist-led effort to provide better resources to working artists and build communities of arts appreciators. Second Shift is a space for making, for gathering, for listening, and for experimenting. At the core of Second Shift’s philosophy is the belief that what artists need more than anything else is the time, space, and energy to develop their practice, outside of the constraints of financial influence. Despite how fundamental these needs are, they often go unmet through traditional residency and fellowship models. This difficulty is compounded by the noticeable disappearance of affordable studio space in the city. To address this, Second Shift will offer free, year-long studio residencies to four artists/makers/thinkers who identify as women or who are gender non-conforming.  Second Shift operates under the belief that helping one artist can help an entire community. When artists are provided the resources they need to fully engage their practice, they produce more relevant and challenging work, art that has the capacity to promote conversation, generosity, and engagement with the world around it.