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Clarence Morgan - Working Overtime

Working OverTime: Works on Paper by Professor Clarence Morgan

What does devotion to one’s practice extended over a lifetime entail? To painters Clarence Morgan and David Rich, each in their sixth decade, time has become compressed, with a degree of urgency about its limitations and passage. Yet both are known to, without reluctance or hesitation, revisit work done decades ago, to pick up their tools and search within both dimensions of painting and of time, of then and of now. This exhibit presents a long-time dialogue between two painters trains of thought, picked up, clarified, informed and strengthened by years of working and visiting with each other over time
Ana Mendieta - Creek

Ana Mendieta Exhibition Featured in Paris Review

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.
Lorena Molina - Mozote

MFA 2015 Lorena Molina - Tu nombre entre nuestras lenguas

When trauma occurs, the act of telling stories becomes an important tool of both remembrance and resistance. Tu nombre entre nuestras Lenguas , conceived and performed by Salvadoran-born, Cincinnati-based artist Lorena Molina, will be a ceremony for their loss. By bearing witness to a history unknown to most, participants will contribute to a shared ritual that acknowledges the long history of the United States’ implication in the affairs of other nations, displacing families and directly contributing to the refugee crisis.
Nina O'Leary - Native Enough

MFA 2019 Nina O'Leary Publishes "Native Enough"

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.
Daniel McCarthy Clifford

MFA 2018 Danny McCarthy Clifford part of HBO Exhibition

Last night, HBO debuted a pop-up exhibition at a New York gallery featuring original art, video, and performance pieces created by former inmates. "The O.G. Experience" is powerful stuff and a reminder that movements for social change and policy reform are most effective when they combine all sorts of activity, from legislative work to cultural artifacts. The makers of the film and the curators of the exhibit are explicitly interested in calling for criminal justice reform and ending the drug war. Their exhibit helps to humanize inmates, convey the experience of prison, and show possibilities for redemption.
Laura Stack - ICOSA

Lecturers Laura Stack, Melissa Borman and Jim Hittinger Exhibition in Austin

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.”
Chris Larson stands in a warehouse space next to his wife Kriss Zulkosky. There is a ladder, some lumber, and other construction materials in the space with them.

Associate Professor Chris Larson Opens "Second Shift Studio Space"

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.
There is really no difference between art and prayer - Schroeder

Sayge Carroll (MFA21) and Prof. Lamar Peterson in "How to become lost"

How to become lost is an exploration into the ways artists escape into the content and method of their work as a means to process, heal, and liberate–and to get closer to a truth about life in ways that cannot necessarily be seen or framed through ordinary language or experience. This exhibition invites you to be transported into the complexity and humanity of each artists’ work and world, but also poses the question of why and what motivates someone to create: asking viewers to consider the tensions of making work in a painful, traumatic, accelerated and angering climate while holding desire for artwork to be slow, pleasurable, and meaningful. Is this process futile? Are we allowed to enjoy our work? What privileges come with escapism? How important is it, or detrimental? How do we reclaim our space, our work, our joy?
Pollinators at the Plains

Associate Prof. Christine Baeumler Publishes "Pollinators at the Plains"

"Pollinator Garden for Plains Art Museum" is a work of environmental, socially engaged art on the museum campus, led by artist Christine Baeumler in collaboration with museum staff, youth interns, and a host of community and regional partners. Essays by Colleen J. Sheehy and Iain Biggs place this project and Baeumler’s work within the wider context of contemporary art.
Professor Jenny Schmid

Prof. Jenny Schmid Receives McKnight Fellowship

The Highpoint Center for Printmaking is excited to announce the recipients of our inaugural McKnight Printmaking Fellowship: artists Jenny Schmid (left) and Justin Quinn (right). Beginning in February 2019, the McKnight Printmaking Fellows receive awards of $25K, extensive access and support at Highpoint’s workshop, as well as conversations with local and national arts professionals. Their fellowship will conclude with an exhibition at Highpoint in January 2020 and will feature discussions with the community about their work.
Lorena Molina - Sick Chicken

Hyperallergic Reviews Exhibition Curated by Mara Duvra (MFA15)

“Yes, and the body has a memory. The physical carriage hauls more than its weight. The body is the threshold across which each objectionable call passes into consciousness — all the unintimidated, unblinking, and unflappable resilience does not erase the moments lived through, even as we are eternally stupid or everlastingly optimistic, so ready to be inside, among, a part of the games.” ― Claudia Rankine, Citizen: An American Lyric SAINT PAUL, Minnesota — With Yes, and the body has memory, Minneapolis-based curator Mara Duvra has put together a challenging group show of women photographers, who are all grappling with notions of trauma, family, and ancestral connections, and the female body.
Wintertide - Public Functionary

Grad Student Katayoun Amjadi Featured in Wintertide Exhibition

Wintertide is a bi-annual juried exhibition produced by Northeast Minneapolis Arts Association (NEMAA), facilitated by Public Functionary, and graciously supported by the Cedarwoods Foundation. Wintertide was created in 2015 to highlight NEMAA member artists’ high level of professional artistic capability. Goals for the exhibit include: connect artists, NEMAA, and Public Functionary to a wider range of arts patrons and buyers, support artists professionally, and build the reputation and recognition of Northeast Minneapolis as a premier, respected visual arts community in the region. Juried Biennial Exhibitions are an important instigator in the discovery of exceptional work of emerging, mid-career and established artists based on a competitive jury process.