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.
Danny McCarthy Clifford - Disapproved Books

Danny McCarthy Clifford (MFA18) Presents The Section of Disapproved Books

Why would a prison ban a book about Chicano art? Or military history? Or computer programming? Or an autobiography of Malcolm X? After all, such books are readily available to anyone not in prison for purchase or through one’s public or academic library. Visual artist Daniel McCarthy Clifford has his own theories, and he’s doing additional research and using his art to raise awareness of what seems to be an arbitrary process of deciding what can and can’t be read by inmates in prisons across our nation. “It’s injustice,” he says. “History is being withheld [from inmates].”
Frederick Wiseman - Monrovia, Indiana

Professor Paul Shambroom in Conversation with Frederick Wiseman

As in many of his earlier works, Frederick Wiseman takes a long, slow, immersive look—without commentary, without interrupting—in his newest documentary, a portrait of life in a rural town, population 1,083, in central Indiana. In anticipation of the November 2–3 screening of Wiseman’s Monrovia, Indiana, we turned to another master of the slow look, Twin Cities–based photographer Paul Shambroom. A Walker collection artist, Shambroom has offered nuanced views of some deceptively banal-seeming topics, from the US Strategic Petroleum Reserve to domestic nuclear weapons facilities to, most fitting for an examination of Wiseman’s documentary films, municipal meetings in small-town America. Here, their recent conversation.
Nels Shafer - SOFA 2018

Nels Shafer Gleams the Cube - 2018 SOFA Residency

Nels says the Department of Art has been a great place to explore because of the focus on learning by doing – he can experiment with CNC routers, laser cutters, and 3D printing, exploring art but also engineering without the constraints and prerequisites of other routes. He enjoys creating things that move, interact, or serve some function in addition to being aesthetically pleasing – taking courses in Experimental Media and 3D Modeling and Digital Fabrication only deepened his belief that art doesn’t have to be a static, pretty object you can’t touch as in traditional art museums. He prefers works that the audience can experience physically and conceptually at the same time, akin to those found in children’s or science museums.
Pope Brothers

Bly and Rowan Pope's Drawings Collected & Exhibited at MIA

Mia celebrates the pleasure of pure, virtuosic draftsmanship with the first museum show of Minnesota artists and twin brothers Bly and Rowan Pope. They have worked side by side their entire lives. Their focus on drawing and meticulous, painstaking process sets them apart. Each dedicates hundreds (and sometimes thousands) of hours to a single work, drawing skillfully, obsessively, until pencil has transformed paper into a provocative image rendered with photographic precision.
Ecca Echo

Reb Limerick Interviewed by Altered Esthetics

What is The Cloud made of? Water molecules or pixels? Where does it reside? The sky or the ground? Last summer, HomePaige (ongoing artistic collaborator Paige Carlson) and WurldWideReb (my primary digital alter-ego) explored these questions through the creation of a 9 episode web series. Hard Drive chronicled our 18 day road trip around the western half of the US in search of a more intimate connection with our data. We visited Google data centers, an iCloud storage facility, and a supercomputer center, finding ourselves overwhelmed by the level of secrecy and the amount of resources needed to power these monuments. As a video and performance artist, the resources I use to create my artworks are often more abstract, harder to quantify or ethically analyze. I find myself placing trust in physical hard drives to store my files, finding power in my embodied acapella voice to tell stories and inspire catharsis, feeling more present when I’m offline. Yet, I stay up to date on Climate Change data and policies by endlessly scrolling Twitter, a company known for lack of transparency around their own carbon emissions. As caring individuals in love with blooming Lilacs and obsessed with our smartphones, how do we hold these contradictions?