Come in from the cold and see some art: Free gallery admission now through February 7.
Beyond Repair: Art, Community, and an Expanded Notion of Publication
Tucked between a taco stand, an Indian fusion restaurant, and a microbrewery in south Minneapolis’s Midtown Global Market is a booth that at first glance appears to be a print shop and bookstore. And it is: books, zines, and posters are for sale. But at Beyond Repair—an artistic and community-building project of Red76 cofounder Sam Gould—the exchange of inked paper is secondary to the exchange of ideas.
There Are Many Ways to Destroy a Piano
Burning, sawing, toppling: “There are many ways to destroy a piano,” says Andrea Büttner of Piano Destructions (2014), a video installation that presents interventions by (largely male) artists alongside footage of women pianists performing Chopin, Schumann, and Monteverdi—at once complicating the presumption of men as artistic iconoclasts and destroying a traditional symbol of bourgeois education for women.
Statistical Salvos: Feminism, WARM, and the Guerrilla Girls
When black-and-white posters boldly announcing statistics about inequality in the art world started appearing in 1985, Patricia Olson took note. A decade before the Guerrilla Girls began using New York walls as a canvas, she helped found WARM—the Women’s Art Registry of Minnesota, a 40-member feminist collective and gallery that likewise used the power of data to fight for gender parity in the arts.
Image Ubiquity and the Ordinary Picture
Not your ordinary photography show, Ordinary Pictures surveys the work of some 40 artists—from Steve McQueen and Sturtevant to Amanda Ross-Ho and Elad Lassry—who question, critique, and exploit the materials and methods of commercial image production. From appropriation to collage to experimental film, their practices complicate the ever-expanding global image economy and the role of art within it.
First Look: Announcing 16 New Artworks for the Expanded Minneapolis Sculpture Garden
Katharina Fritsch’s giant blue rooster. Commissions by Nairy Baghramian, Theaster Gates, Mark Manders, Philippe Parreno, and others. Sculptures by Sam Durant, Kcho, and Liz Larner. When the renovated Minneapolis Sculpture Garden opens in 2017, visitors will see the return of old favorites plus the arrival of 16 new works. Here’s a first look at the art and artists that’ll animate the new 19-acre campus.
Taste as a Political Matter: Coco Fusco on the Guerrilla Girls
Exploring NYC’s “nocturnal underworld” at age 24, Coco Fusco stumbled upon her “first encounter with a full-on feminist art intervention”: a show at the Palladium curated by the Guerrilla Girls. “This was an activist approach that I could connect with, as it spoke truth to power playfully, with wit and style,” she writes in honor of the Girls’ 30th anniversary—and one that influenced how she makes art today.
Allegories: The Memorial Paintings of Jack Whitten
“Through memory we reconstruct our past,” says Jack Whitten. “We honor the dead through memory.” Motivated by this idea, Whitten created a series of paintings honoring key people and events in his life and in American culture, from Lena Horne to MLK, the 9/11 attacks to the massacre at Sandy Hook Elementary School that occurred three years ago today. Here, a look at 13 of Whitten’s memorial paintings.
A Circle of Blood
Paris. Beirut. Charleston. What is art’s role in the face of heinous violence? Jack Whitten links his experiences growing up as “a product of American apartheid” to the deaths of so many, including Eric Garner, Aylan Kurdi, and Darren Goforth.
William Pope.L: The Will to Exhaust
As Gilles Deleuze put it, to exhaust is not to be tired; it is the will to begin again. In Pope.L’s performances—which have found the artist crawling the streets of Manhattan in a black suit or consuming pages of the Wall Street Journal—the willingness to reformulate our experiences of subjectivity and collectivity is about exhausting limitations in order to know what indeed is possible.