Friday, January 27, 2017
"Like ancestry, the arts we sometimes diminish as decorative, or domestic are powerful conduits of inarticulable meaning. Such things sustain us, transmit lore, and retain traditions. They aren’t immutable law, or impenetrable doctrine; they’re matters that sustain, enfold, and nurture us without demanding genuflection- just engagement. We do so unwittingly, at times ungratefully. 4North affords the opportunity to hold offerings we seldom notice in higher regard." Full text here
Thursday, July 14, 2016
MNartists.org on the Tweed Museum's reopening (where I hope you'll make time for their sweeping new offerings). I've tried to at least glance on three themes: that the Arrowhead realize aspirations to have a more critical arts culture, that its various arts organizations continue to recognize the diverse public they serve, and that we remain committed to stewarding our vast creative resources. "Whether the Tweed Museum can maintain the precarious position it has placed itself in, as both stewards of contested notions of culture and promoters of a wider discourse, remains to be seen. That said, it is off to an engaging new start, and credit is due for its willingness to pose complicated questions. Museums can and should provide more than merely balming experiences. The Tweed’s offerings boldly remind us that a more nuanced, larger world exists and that, whether we are encouraged or goaded by what we see there, we are obliged to engage it." Full article here. T.W. 7.14.16
Thursday, March 17, 2016
"Gilmore's works don't lament innocence as a quality lost, but rather as one allowed to atrophy — still within our grasp if we can resist a need for certainty and prescribed meaning. Her representations prompt such curious questions as: What would a young girl and a bear have to say to each other (Speaking With Bears)? Or, why might masked pixies be circling a bonfire (Firelfies Around the Flame)? What possibilities might arise if we were to cede to ambiguity and become comfortable with less than absolutely knowing? I appreciate the trust she places in a viewer’s own imaginative capabilities. Full article: here
Thursday, October 1, 2015
"Savage Blue's images are often small — not diminutively so, but they don't require scale to overwhelm a viewer their virtuosity. She depicts the things right at our feet, just out the window, and farther afield. Surfaces are at times glassy and serene, rough-hewn and hatched-into at others. Her palettes range from dusky tones punctuated with high-key flecks to the luminous, and nearly fauve. Her subjects vary from the minutely observed, as in Dakota Fruit, to expansive views of Lake Superior. Even her name underscores this range, conveying the heavily-freighted admiration/derogation in tropes of noble savagery tempered by “Blue,” together suggestive of balancing alternations between the wild and the somber." Link
|Image credit: Aaron Reichow Photography|
Friday, January 23, 2015
A very long road took me to Duluth, Minnesota. That is why it's especially gratifying to at last (in print at least) begin giving back to my new home, and to be able to call merited attention to the work of people who've become friends, advisors, and allies in realizing positive change. To say that devastating personal losses are an opportunity to build our resilience is kind of a tired cliché for anyone mired in them. But I can now vouch, having come through another side of grief, that there's some truth in this bromide. Art is a tonic for struggle, a way we leave our metaphorical and literal marks, and it is sustenance. Here's to all of us still striving.
"Having an ever-changeable body of water like Lake Superior in your midst on a daily basis affects people, perhaps in particular those committed to making art. It creates an awareness of matters that are tenuous, conditional, and frequently shifting. The artworks chosen for the 60th Annual Arrowhead Regional Biennial demonstrate this cognizance in subtle, at times funny, sometimes sobering ways. It is notable, the number of objects that have been torn into, abraded, and otherwise distressed. Their recurrence calls to mind the precarious balances artists negotiate -- between expression and income, prestige and self-regard, utility and uselessness." Link here:
Wednesday, March 26, 2014
Though I'd hoped to be be looking back on this frigid trip from a sunny Spring vantage (nope: still Winter now 3 days from April), it's still fun to re-visit. Thanks again to Kip, Will & Wendy, The New Scenic, Rich Narum, Emily Norton, Gaelynn Lea Tressler, Alan Sparhawk, Chris Monroe, Kevin Kling, Fitger's forgiving staff, Big Bill Meier & Ami Stenseth, Roscoe's Pioneer Bar, and that generous nurse at St. Scholastica.
"Like his art, Kip's hometown oscillates almost effortlessly between the grounded and the buoyant, the lofty and the low; after all- the distance from the manor to the dive is more proximal there, the divisions less stark. Again, I credit that grand horizonless lake- a thing to make one recurrently mindful of their relative significance, a great leveller of hierarchies, and one hell of a view." Full article here