Podcasts about minneapolis institute

Ep.245 Natia Lemay (b. 1985 in Toronto, Ontario) was raised in Winnipeg, Manitoba, Canada, and is based in Toronto, Ontario, Canada. Her Interdisciplinary autoethnographic practice reflects her lived experience. Through personal stories, she interrogates the intersections between the mind, the body, and space to understand how these experiences relate to a broader cultural context. Natia Lemay has exhibited widely throughout North America. The artist was selected for the 2024 Fountainhead residency in Miami and the 2022 Royal Drawing School Residency in Dumfries, Scotland. She was awarded the National Trust Prize at Expo Chicago 2024, with her work acquired by High Museum in Atlanta in addition to being collected by the Art Gallery of Ontario, The Minneapolis Institute of Art, The Minnesota Museum of American Art, The North Dakota Museum of Art and The Montclair Museum of Art. She received her BFA from Ontario College of Art and Design in 2021 with a minor in Social Sciences and her MFA from Yale School of Art in 2023. Photo Credit is Gesi Schilling: Fountainhead Artist Residency Artist https://www.natialemay.com/ Whitehot Magazine https://whitehotmagazine.com/articles/her-first-nyc-solo-show/5792 Fountainhead Arts https://www.fountainheadarts.org/fhtv/artists/natia-lemay Juxatpoz https://www.juxtapoz.com/news/magazine/features/natia-lemay-the-act-of-being-seen/ Perrotin https://www.perrotin.com/artists/natia_lemay/1335#biography Galerie Nicolas Robert https://www.gallerynicolasrobert.com/natia-lemay Hyperallergic https://hyperallergic.com/851029/miami-fountainhead-residency-2024-selected-artists/ Ocula https://ocula.com/art-galleries/wilding-cran-gallery/artworks/natia-lemay/these-strange-girls-will-radiate-in-our-darkness/ Culture Type https://www.culturetype.com/tag/natia-lemay/ New American Paintings https://www.newamericanpaintings.com/artists/natia-lemay

Episode 472 / Cameron MartinCameron Martin is an artist based in Brooklyn. He received his BA from Brown University and continued his studies at the Whitney Independent Study Program. He has exhibited at venues including the Whitney Museum, Saint Louis Art Museum, Columbus Museum of Art, City Gallery (Wellington, New Zealand), and Tel Aviv Museum. His work is included in the public collections of the Buffalo AKG Art Museum, Buffalo, NY; The Minneapolis Institute of Art, Minneapolis, MN; the Saint Louis Art Museum, St. Louis, MO; and The Whitney Museum of American Art, New York, NY, among others. Martin is a recipient of the John Simon Guggenheim Memorial Foundation Fellowship (2010), the Joan Mitchell Foundation Fellowship (2008), and the Artists at Giverny Fellowship and Residency (2001).Future Fair Live Sound & Vision with Liz Nielsen and E.E. Konoregister here:https://futurefairs.artsvp.com/616f37Sponsors:https://nyss.orghttps://goldenartistcolors.comhttps://www.fulcrumcoffee.comhttps://futurefairs.com

The Minneapolis Institute of Arts is the place to be for art and flower lovers. Sharon Secor, Art in Bloom Chair, talked with Vineeta about the annual event today on The WCCO Morning News.

The Minneapolis Institute of Arts is the place to be for art and flower lovers. Sharon Secor, Art in Bloom Chair, talked with Vineeta about the annual event today on The WCCO Morning News.

Thursday marks the first day of Art in Bloom at the Minneapolis Institute of Art! The four-day festival is free and showcases floral interpretations of art from the MIA's permanent collection, created by more than 100 professional and amateur florists.  It's the 41st year of Art in Bloom. For many, it's a sign that spring is officially here and warm weather is here to stay. Art in Bloom Chair Sharon Secor and floral artist Amy Kubas joined Minnesota Now to talk about the exhibit.

The social media company X, formerly known as Twitter, is suing to block Minnesota's law that bans people from using deepfakes to influence elections. The company says the law violates free speech protections. We learn more about the ins and outs of the lawsuit.Hmong and Lao veterans who served during the Vietnam War are getting recognition. We learn about new veteran benefits passed by the Minnesota Senate.Plus, the city of Brooklyn Park is rethinking where it will allow sex offenders to live. We talk to a police inspector about his efforts to create residency restrictions in the city.A woman will tell the story of her race to say goodbye on our series Thank You, Stranger.And it's the first day of the Minneapolis Institute of Art's floral exhibit Art in Bloom! We get caught up on the annual celebration of spring in Minneapolis.The Minnesota Music Minutes was “SGL” by Now, Now and the Song of the Day was “I Like It” by Rachel Kurtz.

Doug Skinner has contributed to The Fortean Times, Fate, Weirdo, Nickelodeon, Cabinet, Typo, and other fine publications. His many books include short stories, a novel (Nominata), and translations of many Bohemians, occultists, and visionaries, including Alphonse Allais, Charles Cros, Alfred Jarry, Luigi Russolo, and Giovanni Battists Nazari.Visit Doug's website here: https://www.dougskinner.net/He has written music for theater and dance, most conspicuously for Bill Irwin's show The Regard of Flight, which toured for decades. His albums That Regrettable Weekend, It All Went Pfft, and An Afternoon in the Arboretum are available on Bandcamp.TV and movie appearances include Great Performances, Martin Mull's Talent Takes a Holiday, Ed, Crocodile Dundee II, and several of George Kuchar's videos. He has played piano on the BBC, played ukulele on the Joe Franklin Show and at an Aerosmith release party, MC'd at the Rainbow and Stars, read the audiobook of Kiarna Boyd's scary novel Blessed and Cursed Alike, and lectured on various questionable topics at the American Visionary Art Museum, the Morbid Anatomy Museum, the Bakken Museum of Electricity in Healing, the Minneapolis Institute of Art, and other places.For many years, he has maintained a tribute site to his close friend: The late, great, Fortean writer, John Keel, at https://www.johnkeel.com/And Doug's book on anomalous music, Music From Elsewhere, was published last year by Strange Attractor Books in the UK, and is distributed in the US by the MIT Press.it is available from Amazon here: https://www.amazon.com/Music-Elsewhere-Haunting-Afterlife-Worlds/dp/1913689212The accompanying music for the book is available here, on Bandcamp: https://strangeattractorpress.bandcamp.com/album/music-from-elsewhereDoug visits with Talking Weird to chat about his book MUSIC FROM ELSEWHERE: A compendium of other musics, channelled from the spirit world, the fairy kingdom, outer space, secret societies and occult lodges.Along with talking about music from these other worlds, Doug also shares some of the music itself! This is a unique and fascinating episode, with one of the most erudite and witty personalities of the Fortean field. Do not miss it!

From the Minneapolis Institute of Art to the Nelson-Atkins Museum in Kansas City, Crystal Bridges Museum of American Art in Arkansas (pictured), and even the Guggenheim Museum in Bilbao, Spain—this episode of Big Blend Radio's WORLD OF ART podcast with artist and art historian Victoria Chick concludes her three-part series on the History of Art Museums, highlighting the evolution and innovation of 21st-century art museums in America. This art-focused podcast explores how modern museums are redefining the way we experience and interact with art, from cutting-edge architecture and community engagement to the transformation of museum collections and their exhibits. Victoria Chick is the visionary behind the Southwest Regional Museum of Art & Art Center in Silver City, New Mexico. She's also a contemporary figurative artist and a collector of early 19th and 20th-century American prints. Learn more about her work and the museum initiative, and explore her three-part article series on the history of art museums: PART ONE: The Origins of Art Museums: https://www.southwest-art-museum.org/articles/art-museums-a-history-part-one   PART TWO: Growth of Art Museums in the 19th and 20th Centuries: https://www.southwest-art-museum.org/articles/art-museums-a-history-part-two     PART THREE: 21st-Century Art Museums in America: https://www.southwest-art-museum.org/articles/art-museums-pt-3 

A new exhibit opens at the Minneapolis Institute of Art Friday. The exhibit, called “Giants,” marks the first major showcase of the Dean Collection, owned by Swizz Beats and Alicia Keys. The show is organized by the Brooklyn Museum and highlights nearly 100 significant works by Black artists.  Kimberli Grant is the curator of Modern and Contemporary Art at the Brooklyn Museum and Casey Riley is MIA's chair of Global Contemporary Art. Both joined Minnesota Now to talk about the exhibit.

In this episode of Platemark, Ann sits down with Angelina Lippert, a poster historian and the curator and director of Poster House, to discuss the inception and growth of the first museum in the U.S. dedicated exclusively to the art and history of posters. They talk about what makes posters and fine art prints the same and different. And they discuss the challenges and processes of acquiring, preserving, and showcasing posters, the historical and cultural significance of early advertising posters, and the often-overlooked artistry involved in their creation.  Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook Poster House website https://posterhouse.org/ Poster House IG @posterhousenyc   Poster House façade on 23rd Street. Courtesy of Poster House. Poster House's lobby/café. Photo by Elizabeth Berger. Max Beckmann (German, 1884–1950). Actors, 1941–42. Oil on canvas. Overall: 207.3 × 341.9 × 6.4 cm. (81 5/8 × 134 5/8 × 2 1/2 in.). Harvard Art Museums, Cambridge. Henri de Toulouse Lautrec (French, 1864–1901). The Jockey, 1899. Lithograph. Sheet: 51.7 × 36.3 cm. (20 3/8 × 14 5/16 in.). National Gallery of Art, Washington, D.C. Posters from Maîtres de l'Affiche, 1895–1900. Lithographs. Inter-Antiquariaat Mefferdt & De Jonge, Amsterdam. Pierre Bonnard (French, 1867–1947). L'Estampe et l'affiche, 1897. Lithograph. Sheet: 32 11/16 × 24 3/16 in. (83 × 61.5 cm.). Metropolitan Museum of Art, New York. Pierre Bonnard (French, 1867–1947). France-Champagne, 1891. Lithograph. Image 78 x 57.8 cm.; sheet 79.4 x 58.8 cm. National Gallery of Australia, Canberra. Dawn Baillie (American, born 1964). Movie poster for The Silence of the Lambs, 1991. Lithograph. Poster House, New York. Henri de Toulouse Lautrec (French, 1864–1901). Moulin Rouge: La Goulue, 1891. Lithograph. sheet: 74 13/16 x 45 7/8 in. (190 x 116.5 cm.). Metropolitan Museum of Art, New York. A.M. Cassandre (French, born Ukraine, 1901–1968). Nord Express, 1927. Lithograph. 41 3/8 x 29 1/2 in. (105.09 x 74.93 cm.). Minneapolis Institute of Arts, Minneapolis. Paula Scher (American, born 1948). The Diva is Dismissed, 1994. Lithograph. 46 x 30 1/8 in. (116.8 x 76.5 cm.). Museum of Modern Art, New York. Dafi Kühne (Swiss, born 1982). Tunnel III, 2023. Letterpress and linocut. 70 x 100 cm. Typographic Posters. Winston Tseng. Kamala, 2024. Lithograph. Courtesy of Winston Tseng's IG account. Nike. The Best on Earth/The Best on Mars, 1989. Lithograph. Courtesy of Poster House. Boris Bućan (Croatian, born Yugoslavia, born 1947). Voltaire: Candide, 1983. Lithograph. Courtesy of Poster House. Lester Beall (American, 1903–1969). Light/Rural Electrification Administration, 1937. Lithograph. Courtesy of Poster House.

From MPR News, Art Hounds are members of the Minnesota arts community who look beyond their own work to highlight what's exciting in local art. Their recommendations are lightly edited from the audio heard in the player above. Want to be an Art Hound? Submit here.Artists at work Diane Richard of St. Paul worked for 21 years at the Minneapolis Institute of Art (Mia), and she wants people to know about “Artists at Work: the Mia Staff Art Show.” It's tucked away in the community commons area just past the cafe and the family center (pro tip: you can bring your lunch with you to the exhibit!) The show runs through April 13. Diane explains: You might never have thought about it, but the people who work in museums are often artists themselves — and good ones, too. They work as security guards, and they create public programs, hang art on the walls, help you figure out where you're going, and sell you stuff in the shop. And they work in everything from oil painting to watercolor and prints, ceramic sculpture to embroidery, video and collage. There's even a tarot card created from crop seeds.  One work waves from the wall: the menacing loon flag was security guard Rob McBroom official entry into the state's flag contest.  As I strolled around, Cara O'Connell's portrait of Myrna drew me over. It's from O'Connell's series on caregivers. Myrna is a beatific presence under a halo of robins. For me, the showstopper was Adam White's “It Came with the Room.” White's triptych collage is layered with thousands of cartoon bubbles filled with intriguing messages, many about the hellhound Cerebus. You could spend hours in front of it searching for meaning. Overall, the show gives insight into the mostly unseen hands responsible for MIA's daily operations. What comes through is their passion for art.— Diane RichardThe art of mental health Carla Mansoni is the director of arts and cultural Engagement at CLUES, one of the largest and oldest Latin organizations in Minnesota. She wants people to know about “The Art of Mental Health,” a group show of art created by people who work in the mental health field, curated by Kasia Chojan-Cymerman and Thrace Soryn. The exhibit at the Vine Arts Center in Minneapolis opens this Saturday, Feb. 22, with an artist reception from 6 p.m. to 9 p.m. featuring a performance by psychologist/musician Mindy Benowitz. The show runs on Saturdays through March. There is a performance by bluegrass Americana trio Echo Trail on March 15.  Carla says: The idea is to focus on the mental health professionals who also use art to heal themselves. This is a wonderful opportunity to showcase the diversity of art forms and how art and culture also heals the healer, elevating the humanity of those working in mental health spaces. — Carla MansoniSEENJennifer Bowen, founder and director of the Minnesota Prison Writing Workshop, was deeply moved by the exhibit “SEEN” currently on display at the Weisman Art Museum on the University of Minnesota campus in Minneapolis. Curated by Emily Baxter of We Are All Criminals, this show is half a decade in the making. Seven artists partnered with seven incarcerated artists to create installations. The show runs through May 18, with a panel conversation planned for Wednesday, Feb. 26 at 6 p.m. Some installations respond to incarcerated life, such as work by Sarith Peou and Carl Flink, which reflect the steps of traditional Cambodian dance Peou used to keep himself active and healthy while on COVID lockdown in his cell.  Jennifer says: There's another exhibit of a poet named Brian, who's got a massive chandelier of bird cages hanging from the ceiling with some of his poetry being read and voiced over by himself and other folks that he lives with. And I think the title of the poem is “We Can't Hear Ourselves Sing,” and it's about the kind of chaos and cacophony of life inside a prison. It was the first thing I saw when I walked into the exhibit. And it literally took my breath away, the way that it speaks metaphorically not just to the pain that incarceration causes, but to the kind of human need to still find beauty in the midst of that pain. But then there are other artists who chose to think about what the future would look like, or what healing might look like. There's an artist named Ronald who has a garden reminiscent of the garden his grandfather grew when he was in Detroit that's meant to be this kind of healing look forward. It's a really heavy but beautiful exhibit.  And one thing this exhibit does is offers the community, not only a chance to listen on phones to the artists' voices and to see interviews, but it also gives the public a chance to write notes to them that will go back to them. — Jennifer Bowen

Bosco Sodi: https://www.instagram.com/studioboscosodi/?hl=enhttps://www.boscosodi.com/Alberto Rios de la Rosa: https://www.instagram.com/ariosdel/?hl=enCasa Wabi: https://casawabi.org/en/Mater Website: https://mater.digital/Mater Instagram: https://www.instagram.com/mater________/?hl=enBosco Sodi is an artist known for his richly textured, vividly coloured large-scale paintings. Born in Mexico City. Bosco Sodi has discovered an emotive power within the essential crudeness of the materials that he uses to execute his paintings. Focusing on the spiritual connection between the artist and his work, Sodi seeks to transcend conceptual barriers. In 2014 he founded the non-profit art centre Fundacion Casa Wabi in Mexico's Puerto Escondido. Alberto Ríos de la Rosa is a Mexican art historian. He currently serves as a curator at the PAC ART Residency in Houston and as curator of the International Biennial of Artsand Cultures of Antioquia for the World 2025, Colombia. His academic background includes a Master's in Art History from The Courtauld Institute of Art, London (2014), and a Bachelor's in Art History and French Literature from Macalester College, Minneapolis (2011).From 2014 to 2023, he worked as a curator at the Casa Wabi Foundation, where he curated solo exhibitions for artists like Daniel Buren, Michel François, Harold Ancart,Jannis Kounellis, Ugo Rondinone, Izumi Kato, Huma Bhabha, and Claudia Comte. He also directed the residency program in Puerto Escondido, Oaxaca and Tokyo, facilitating participation of over three hundred art professionals from around the world in community projects. Additionally, he promoted emerging Mexican artists through thefoundation's exhibition platform in Mexico City.Previously, he was part of the curatorial teams at Museo Tamayo in Mexico (2011- 2013), the Minneapolis Institute of Arts in the United States (2011), and the PeggyGuggenheim Collection in Venice (2010). Through his work, he continues to make significant contributions to the field of art history and curation, fostering cultural exchange and promoting both established and emerging artists on an international scale.Fundación Casa Wabi is a non-profit, civil association that fosters an exchange between contemporary art and local communities in three locations: Puerto Escondido, Mexico City, and Tokyo. Casa Wabi statement: "Our name originates from the Japanese philosophy of Wabi-Sabi, which seeks beauty and harmony in the simple, the imperfect and the unconventional. Our mision is focused on forging social development through the arts, which we carry out through five key programs: residencies, exhibitions, clay, films, and mobile library. Casa Wabi is located on the Pacific coast, 30 minutes from the Puerto Escondido airport, Oaxaca. Set between the mountains and the sea, our headquarters have been designed by Japanese architect Tadao Ando and under the initiative of Mexican artist Bosco Sodi. Our facilities include a multipurpose palapa, six separate bedrooms, two closed studios and six open studios, a screening room, / auditorium, a 450 m² exhibition gallery and various workspaces that make it an ideal place to recharge and interact with other artists." Hosted on Acast. See acast.com/privacy for more information.

Most of us know the Icarus myth, of the young man who soars too close to the sun—or at least we think we do. But there's more to the story. And at various times in history, the takeaway has changed. As a new year begins, it's worth revisiting the classic tale: how high, or how low, do you want to go? You can see several takes on the Icarus story in the collection of the Minneapolis Institute of Art here: https://collections.artsmia.org/search/icarus And one of the more famous, curious depictions here: https://www.tate.org.uk/art/artworks/draper-the-lament-for-icarus-n01679

Carmen Winant is an artist, photographer, writer, and art professor at The Ohio State University. Her work involves installation and collage work to examine survival and revolt through a feminist lens. Her traveling exhibition “The last safe abortion” opens Jan. 18 at Bemis Center for Contemporary Arts.  “The last safe abortion” is an exploration of women's health clinics and abortion providers, with a particular focus on the Midwest. The installation is composed of photos of behind-the-scenes work related to reproductive healthcare, such as answering phones, sterilizing equipment, conducting training sessions and scheduling appointments.  Bemis' Rachel Adams curated the exhibition, which was organized by the Minneapolis Institute of Art. “The last safe abortion” will be displayed alongside “Synchronicities: Intersecting Figuration with Abstraction.” The installations will run concurrently through May 4. In this episode, Winant is in conversation with Maria Corpuz about the origins of “The last safe abortion,” the logistics of how she put it together, and how Winant's art has been affected by the overturning of Roe v. Wade in 2022.

fWotD Episode 2797: Minneapolis Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Tuesday, 31 December 2024 is Minneapolis.Minneapolis is a city in Hennepin County, Minnesota, United States, and its county seat. With a population of 429,954, it is the state's most populous city as of the 2020 census. Located in the state's center near the eastern border, it occupies both banks of the Upper Mississippi River and adjoins Saint Paul, the state capital of Minnesota. Minneapolis, Saint Paul, and the surrounding area are collectively known as the Twin Cities, a metropolitan area with 3.69 million residents. Minneapolis is built on an artesian aquifer on flat terrain and is known for cold, snowy winters and hot, humid summers. Nicknamed the "City of Lakes", Minneapolis is abundant in water, with thirteen lakes, wetlands, the Mississippi River, creeks, and waterfalls. The city's public park system is connected by the Grand Rounds National Scenic Byway.Dakota people originally inhabited the site of today's Minneapolis. European colonization and settlement began north of Fort Snelling along Saint Anthony Falls—the only natural waterfall on the Mississippi River. Location near the fort and the falls' power—with its potential for industrial activity—fostered the city's early growth. For a time in the 19th century, Minneapolis was the lumber and flour milling capital of the world, and as home to the Federal Reserve Bank of Minneapolis, it has preserved its financial clout into the 21st century. A Minneapolis Depression-era labor strike brought about federal worker protections. Work in Minneapolis contributed to the computing industry, and the city is the birthplace of General Mills, the Pillsbury brand, Target Corporation, and Thermo King mobile refrigeration.The city's major arts institutions include the Minneapolis Institute of Art, the Walker Art Center, and the Guthrie Theater. Four professional sports teams play downtown. Prince is survived by his favorite venue, the First Avenue nightclub. Minneapolis is home to the University of Minnesota's main campus. The city's public transport is provided by Metro Transit, and the international airport, serving the Twin Cities region, is located towards the south on the city limits.Residents adhere to more than fifty religions. Despite its well-regarded quality of life, Minneapolis has stark disparities among its residents—arguably the most critical issue confronting the city in the 21st century. Governed by a mayor-council system, Minneapolis has a political landscape dominated by the Minnesota Democratic–Farmer–Labor Party (DFL), with Jacob Frey serving as mayor since 2018.This recording reflects the Wikipedia text as of 00:31 UTC on Tuesday, 31 December 2024.For the full current version of the article, see Minneapolis on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Joanna.

For our last show of Season 6, it's an ode to winter. A winter of whimsical skaters on frozen London rivers, of Japanese villages buried in snow—a winter that barely exists anymore, if it ever really did. It's the winter of art and literature, where the snow is always pure and plentiful, and beauty and metaphor matter most—a “wintry mix” we can all appreciate. A special announcement: Our first-ever live show will be January 23 at our home museum, the Minneapolis Institute of Art, at 6 p.m. The show is free, but seating is limited and tickets are required. Get tickets online starting December 23 at 9:30 a.m. by going to at artsmia.org, clicking on the tickets tab, and scrolling to The Object LIVE! Presented by Ameriprise Financial. The show will feature live music, quizzes, and a taping of the podcast itself—all about Édouard Manet and his Impressionist friends and frenemies, on his 193rd birthday. More information at https://new.artsmia.org/event/the-object-live-presented-by-ameriprise-financial A standout winter painting (and recent addition to Mia's collection) is this Winter Landscape by the Finnish painter David Johannes Niemelä, from 1909: https://collections.artsmia.org/art/145286/winter-landscape-david-johannes-niemelae If you need a refresher on the Little Ice Age or its art, almost surreal in both its recency and its sights, here's the quick and icy: https://fiveminutehistory.com/20-amazing-winter-paintings-from-the-little-ice-age/

Hour 1: Jason talks with 1010 WINS reporter Marla Diamond about the arrest of a "person of interest" in the murder of UHC CEO Brian Thompson. Then he talks to Casey Riley, Mia's Chair of Global Contemporary Art, about Alicia Keys' art collection coming to the Minneapolis Institute of Art early next year!

Lizzi Ginsberg is the Chicago-based writer and researcher who guest-hosted our recent episode on Wanda Gág, the Minnesota-raised artist who went on to fame and some fortune in New York writing and illustrating quirky, beloved books like "Millions of Cats." Here, Ginsberg shares what drew her to Gág and the charming, sometimes tragic story of a woman deliberately both behind and ahead of her time. You can see some of Gág's work in the collection of the Minneapolis Institute of Art here: https://collections.artsmia.org/search/Wanda%20Gag

Episode No. 677 features artist Andrea Carlson. As mentioned at the beginning of this week's program: Help Asheville and my friends and neighbors across the southern Appalachians! These are all local organizations helping people in western North Carolina: Southern Smoke Foundation; Asheville Food & Beverage United (also here); and Beloved Asheville. The Museum of Contemporary Art Chicago is presenting "Andrea Carlson: Shimmer on Horizons," the latest exhibition in its "Chicago Works" series. Across painting, video, sculpture, and two billboards (along Interstate 94 between Illinois and Wisconsin), "Shimmer on Horizons" presents Carlson's investigation of how landscapes are constructed both politically and culturally. The exhibition was curated by Iris Colburn and is on view through February 2, 2025. Carlson's work may also be seen in "Andrea Carlson: Future Cache" at the University of Michigan Museum of Art, which features a 40-foot-tall memorial wall that towers over visitors, commemorating the Cheboiganing (Burt Lake) Band of Ottawa and Chippewa Indians who were violently burned from their land in Northern Michigan on October 15, 1900. Curated by Jennifer Friess, the presentation is on view through June 2025. Carlson is also included within "Scientia Sexualis" at the Institute of Contemporary Art, Los Angeles through March 2, 2025. The exhibition, realized as part of the Getty's "PST ART: Art & Science Collide" program, centers research-driven interventions into raced and gendered assumptions that structure scientific disciplines governing our sense of the sexual body. It was curated by Jennifer Doyle and Jeanne Vaccaro. Carlson (Grand Portage Ojibwe/European descent) typically addresses land and its history by foregrounding decolonization narratives. Museums that have featured solo exhibitions of her work include the Smithsonian's National Museum of the American Indian, New York, and the Minneapolis Institute of Art. Her work is in the collection of museums such as the National Gallery of Canada, Ottawa, the Walker Art Center, Minneapolis, the Whitney Museum of American Art, New York, and the Denver Art Museum. She is also the co-founder of the Center for Native Futures in Chicago. Chicagoans: on Saturday Carlson and poet Heid E. Erdrich will be in conversation at the MCA at 2:30 pm. A program at the Center for Native Futures precedes the event. Instagram: Andrea Carlson, Tyler Green.

This week's Eye on Travel Podcast with Peter Greenberg - from The Minnesota Zoo in Apple Creek, Minnesota. At over 500 acres and home to 5,000 animals, The Minnesota Zoo is arguably one of the best zoos in the world. Peter sits down with Zoo Director John Frawley and Geoff Hall - Director of Animal Care, Health, Conservation, and Behavior - for an in depth look at the Zoo along with some very surprising animals. Then, a pivot to the art scene in Minneapolis with Katie Luber - Director & President of the Minneapolis Institute of Art - along with some surprise paintings, including a classic Rembrandt. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week's Eye on Travel Podcast with Peter Greenberg - from The Minnesota Zoo in Apple Creek, Minnesota. At over 500 acres and home to 5,000 animals, The Minnesota Zoo is arguably one of the best zoos in the world. Peter sits down with Zoo Director John Frawley and Geoff Hall - Director of Animal Care, Health, Conservation, and Behavior - for an in depth look at the Zoo along with some very surprising animals. Then, a pivot to the art scene in Minneapolis with Katie Luber - Director & President of the Minneapolis Institute of Art - along with some surprise paintings, including a classic Rembrandt. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Wanda Gág may be the talented, bohemian, fiercely independent, original cat lady you didn't know you needed right now. Guest host Lizzi Ginsberg has the story of her surprising life and recent revival. You can see her charmingly inventive prints in the collection of the Minneapolis Institute of Art here: https://collections.artsmia.org/search/wanda%20gag You can read about her current show at the Whitney Museum of American Art here: https://whitney.org/exhibitions/wanda-gags-world

In 1959, a couple of young women from New York find themselves in the Himalayas—an unlikely story of adventure, royal romance, and spiritual awakening that would eventually result in one of the greatest collections of Tibetan Buddhist art in the West. This episode, an experiment in sound and storytelling explores the incredible convergence of myth and faith, vanished kingdoms and an American princess, and the ancient urge to improve the human experience. You can see the Tibetan Buddhist Shrine Room, assembled by Alice Kandell and newly installed at the Minneapolis Institute of Art, here: https://new.artsmia.org/exhibition/tibetan-buddhist-shrine-room-the-alice-s-kandell-collection Check out Kandell's photographs of the lost Himalayan kingdom of Sikkim, and her friend Hope Cooke, who became its last queen, in the Library of Congress: https://www.loc.gov/resource/ppmsca.30180/

Santiago Rusiñol is a newly married heir to a Barcelona textile fortune when he decides to become an artist in Paris instead, in the 1880s, influencing Picasso and inventing a new vocabulary for modern art. But when he comes across an idyllic seaside village, back in Spain, his quest for meaning becomes a question: what are we running from? Can we be satisfied with what already exists? You can see one of Rusiñol's stunning patio pictures, recently acquired by the Minneapolis Institute of Art, now through the end of the month in the museum's lobby.

The daughter of a struggling artist, Elizabeth Vigee Le Brun wins the hearts of the French aristocracy—including Marie Antoinette and King Louis XVI—with her sensitive portraits. But it's their heads she should be worried about, and when the Revolution hits she has to make a difficult choice. A remarkable story of freedom, and the lengths we'll go to keep it. You can see her work in the collection of the Minneapolis Institute of Art: https://collections.artsmia.org/art/2570/portrait-of-countess-maria-theresia-bucquoi-elisabeth-louise-vigee-le-brun

Ep.206 David Huffman (b. 1963, Berkeley, CA) has work in the collections of SFMOMA, San Francisco; LACMA, Los Angeles; Berkeley Art Museum, CA; Studio Museum, Harlem; Minneapolis Institute of Art, MN; Oakland Museum of California; Crocker Art Museum, Sacramento, CA; San José Museum of Art, CA; Palo Alto Art Center, CA; Eileen Norton Collection, Los Angeles; Birmingham Museum of Art, AL; Frederick R. Weisman Art Museum, Minneapolis, MN, Arkansas Art Center; ASU Art Museum, Tempe, AZ; Lodeveans Collection, London; and the Embassy of the United States of America, Dakar, Senegal, among others. Huffman enjoyed a recent solo exhibition at the Museum of the African Diaspora, San Francisco and has been included in recent group exhibitions at the de Young Museum, San Francisco; Everson Museum of Art, NY; Weatherspoon Museum of Art, NC; and The Write Museum, MI. He is the recipient of numerous awards and residencies including the Eureka Fellowship, ARTADIA San Francisco, Palo Alto Public Arts Commission, and the Barclay Simpson Award. He studied at the New York Studio School and received his MFA at California College of the Arts & Crafts, San Francisco. Huffman lives and works in Oakland, CA; he is currently on the board at SFMOMA. Huffman is represented by Jessica Silverman, San Francisco and Casey Kaplan, New York. Photo credit: Francis Baker Artist http://david-huffman.com/ Casey Kaplan https://caseykaplangallery.com/artists/david-huffman/ | https://caseykaplangallery.com/?exhibitions=david-huffman Jessica Silverman https://jessicasilvermangallery.com/online-shows/david-huffman-odyssey/ SFMOMA https://www.sfmoma.org/artist/David_Huffman/ BAMPFA https://bampfa.org/event/artists-curatorial-gallery-talks-david-huffman MOAD SF https://www.moadsf.org/exhibitions/david-huffman-terra-incognita KQED https://www.kqed.org/arts/13911456/at-moad-david-huffmans-terra-incognita-explores-black-trauma-among-the-stars Studio Museum in Harlem https://www.studiomuseum.org/artists/david-huffman PAFA https://www.pafa.org/museum/collection-artist/david-huffman Hyperallergic https://hyperallergic.com/678893/david-huffman-afro-hippie-berkeley-art-center/ Berkeley Side https://www.berkeleyside.org/2021/08/13/david-huffman-berkeley-art-center U.S. Dept of State https://art.state.gov/personnel/david_huffman/ California College of the Arts https://www.cca.edu/newsroom/faculty-spotlight-david-huffman-paintingdrawing-fine-arts/ Open-Editions https://open-editions.com/collections/david-huffman Miles McEnery https://www.milesmcenery.com/exhibitions/david-huffman Templon https://www.templon.com/exhibitions/cosmography/ Artforum https://www.artforum.com/events/david-huffman-3-250228/ ARTnews https://www.artnews.com/art-in-america/aia-reviews/david-huffman-protest-paintings-casey-kaplan-1234707187/ Daily Art Fair https://dailyartfair.com/exhibition/18000/david-huffman-casey-kaplan

In the 1930s, Grant Wood is one of the most famous people in America, the artist behind "American Gothic"—the painting of the man, the woman, and the pitchfork, standing outside their house. An artwork so celebrated and so curious it's called the “modern Mona Lisa.” But as times change and jealousy spreads, Wood suddenly finds himself fighting for his life and livelihood, protecting a secret he hid almost everywhere but in his achingly quirky, queer art. You can see Wood's curious, nostalgic style in "The Birthplace of Herbert Hoover," in the collection of the Minneapolis Institute of art: https://collections.artsmia.org/art/2805/the-birthplace-of-herbert-hoover-grant-wood Some see a self-portrait in "Sentimental Yearner," a drawing made for Sinclair Lewis's "Main Street": https://collections.artsmia.org/art/22510/sentimental-yearner-grant-wood

On the 90th anniversary of the groundbreaking Tatra automobile, we bring you this encore episode from The Object's first season. A story of the last major war in Europe, when nothing seemed capable of slowing the Nazis—except, the legend goes, the very fast, very unusual Tatra car from Czechoslovakia. A poignant tale of poetic justice, grace in wartime, and the utopian future that wasn't. You can see a Tatra T87 in the collection of the Minneapolis Institute of Art: https://collections.artsmia.org/art/98653/tatra-t87-four-door-sedan-hans-ledwinka

Ep.202 Adebunmi Gbadebo (b. 1992 in Livingston, NJ) is a multidisciplinary artist working with paper, ceramics, sound, and film, exploring Gbadebo explores the archival record of her family's ancestry. Through her research, material selection, and technical process, the artist emphasizes the prejudice of the historical record, activating her practice to restore Black subjectivity. She received a BFA from the School of Visual Art, New York. In 2023, she was the recipient of the Maxwell and Hanrahan Craft Fellowship and the Keynote speaker for the American Ceramic Circle annual conference. In 2022, she was a Pew Fellow at the Pew Center for Arts & Heritage. Gbadebo is currently an Artist in Residence at The Clay Studio and has exhibited across the US and internationally in Africa, Europe, Asia and Australia. Her work is now on view in major exhibitions such as the 24th Sydney Biennale: Ten Thousand Suns; Minneapolis Museum of Art: Collage/Assemblage Part II: 1990-Now; and Hear Me Now: The Black Potters of Old Edgefield, South Carolina, which opened at the Metropolitan Museum of Art, New York, in 2022, and has traveled to the Museum of Fine Arts Boston, University of Michigan Museum of Art, and is now at the High Museum of Art in Atlanta. Gbadebo's work is in the public collections of the Smithsonian National Museum of African Art, Washington, D.C.; Smithsonian National Museum of African American History and Culture, Washington D.C.; Boston Museum of Fine Arts, Boston, MA; Minnesota Museum of American Art, St. Paul, MN; Minneapolis Institute of Art, Minneapolis MN; Weisman Museum of Art, Minneapolis, MN; Newark Museum of Art, Newark, NJ; and South Carolina State Museum, Columbia, SC. Her public commissions include an ongoing sculpture project in collaboration with students and faculty from Clemson University, SC, and the Harriet Tubman Monument (2021), Newark, NJ. Photo Credit:Tobias Truvillion Articles ● Past Present Projects Magazine: Past Present No. 4 ● The Pew Center For Arts and Heritage: Fellow to Fellow: Adebunmi Gbadebo and Odili Donald Odita on Meaning in Materiality ● WHYY: Philly artist wins $100K craft prize for her work remembering Black ancestors ● PBS: Treasures of New Jersey ● Penn Today: Ritual and Remembrance ● The Boston Globe At the MFA, enslaved Black potters' work brings lives into the light in ‘Hear Me Now' ● The Post and Courier At the Met, in Harlem and beyond, acclaimed artist honors enslaved SC ancestors ● Forbes, Haunting Generational Trauma In “Remains” By Adebunmi Gbadebo At Claire Oliver Gallery In Harlem ● Brooklyn Rail, Abstraction in the Black Diaspora ● New York Times, Critic's Pick: The Magnificent Poem Jars of David Drake, Center Stage at the Met ● New York Times, New Shows That Widen the Beaten Path

People have always imagined dragons among them. But they have always imagined them very differently: helping or hurting, making rain or breathing fire. The difference, of course, is us. A brief, beastly history of the creature we can't live with—or without. You can see many manifestations of dragons, European and Asian, in the collection of the Minneapolis Institute of Art: https://collections.artsmia.org/search/dragon

Tim Gihring of The Object Podcast from the Minneapolis Institute of Art explores the artist Joe Minter, featured in the exhibition "Black Codes: Art and Post-Civil Rights Alabama" organized by guest curator Dr. Aleesa Pitchamarn Alexander for the Jule Collins Smith Museum of Fine Art at Auburn University. "Thirty-five years ago, Joe Minter received a vision. Soon, his half-acre property outside Birmingham, Alabama, began to fill with sculpture—reflections on everything from slavery to 9/11 to climate change—fashioned out of junk: car parts, toys, industrial detritus, gizmos of all sorts. An elaborate example of the Southern Black tradition of the “yard show," with Minter as its genial showman. Now, it's among the last of its kind, and as museums and collectors come calling, the race is on to determine the fate of Minter's art and how to think about it." https://jcsm.auburn.edu/exhibitions/black-codes-art-and-post-civil-rights-alabama/

There is an ‘Art in Bloom' showcase over the next four days at the Minneapolis Institute of Art and Barb Champ, who serves as the co-chair for Art in Bloom and  joined us to talk all about this great event.   

Maria Eggemeyer is the co-chair of Art in Bloom at the Minneapolis Institute of Arts.

Thirty-five years ago, Joe Minter received a vision. Soon, his half-acre property outside Birmingham, Alabama, began to fill with sculpture, reflections on everything from slavery to 9/11 to climate change fashioned out of junk: car parts, toys, industrial detritus, gizmos of all sorts. An elaborate example of the Southern Black tradition of the “yard show”—with Minter as its genial showman. Now, it's among the last of its kind, and as museums and collectors come calling, the race is on to determine the fate of Minter's art and how to think about it. You can read more about Minter's art, and that of his fellow Alabama autodidacts, now on view at the Jule Collins Smith Museum of Fine Art at Auburn University, here: https://jcsm.auburn.edu/exhibitions/black-codes-art-and-post-civil-rights-alabama/ You can see one of Minter's creations, now at the Minneapolis Institute of Art, here: https://collections.artsmia.org/art/131461/old-rugged-cross-joe-minter

This Saturday marks the first day of the Lunar New Year. According to Chinese culture, that means we're about to enter the Year of the Dragon.The Minneapolis Institute of Art is opening an exhibit to explore the history of the dragon in Chinese culture on Saturday. It is called Year of the Dragon: Mystical Creatures of the Sky.The exhibit's curator, Yang Liu joined MPR News host Cathy Wurzer to talk about the symbolism and history of the exhibit.Use the audio player above to listen to the full conversation. Subscribe to the Minnesota Now podcast on Apple Podcasts, Google Podcasts, Spotify or wherever you get your podcasts.   We attempt to make transcripts for Minnesota Now available the next business day after a broadcast. When ready they will appear here.

Art historian and curator Stephanie Stebich is the Margaret and Terry Stent Director of the Smithsonian American Art Museum. She was named director of the Smithsonian American Art Museum in January 2017. Stebich serves on the Smithsonian's Capital Board as well as the Smithsonian-London Strategic Advisory Board. In May 2018, she was named co-chair of the Smithsonian American Women's History Initiative. Before coming to Washington, D.C., Stebich was executive director of the Tacoma Art Museum for 12 years. Under her leadership, the museum underwent a major renovation that doubled its exhibition space, and secured major collection gifts, including the Haub Family Collection of Western American Art, 300 masterworks from the 1790s to the present by Charles Bird King, Thomas Moran, Frederick Remington, Georgia O'Keeffe and others. She was assistant director of the Minneapolis Institute of Arts from 2001 to 2004 and assistant director at the Cleveland Museum of Art from 1995 to 2001.She and Zuckerman discuss feeling at home in museums, taking risks, making a museum free, house favorites, why museums buy certain things, finding the optimal location for an artwork, having a broad definition of art to include craft, mentorship, how to get a job, speaking up while active listening, America as a hopeful experiment, artists as makers of hope!

Art historian and curator Stephanie Stebich is the Margaret and Terry Stent Director of the Smithsonian American Art Museum. She was named director of the Smithsonian American Art Museum in January 2017. Stebich serves on the Smithsonian's Capital Board as well as the Smithsonian-London Strategic Advisory Board. In May 2018, she was named co-chair of the Smithsonian American Women's History Initiative. Before coming to Washington, D.C., Stebich was executive director of the Tacoma Art Museum for 12 years. Under her leadership, the museum underwent a major renovation that doubled its exhibition space, and secured major collection gifts, including the Haub Family Collection of Western American Art, 300 masterworks from the 1790s to the present by Charles Bird King, Thomas Moran, Frederick Remington, Georgia O'Keeffe and others. She was assistant director of the Minneapolis Institute of Arts from 2001 to 2004 and assistant director at the Cleveland Museum of Art from 1995 to 2001.She and Zuckerman discuss feeling at home in museums, taking risks, making a museum free, house favorites, why museums buy certain things, finding the optimal location for an artwork, having a broad definition of art to include craft, mentorship, how to get a job, speaking up while active listening, America as a hopeful experiment, artists as makers of hope!

Carleton College senior Esme Krohn loves the Perlman Teaching Museum on campus, and she was at the opening night of its new exhibit “Towards a Warm Embrace” by Finnegan Shannon and Ezra Benus. The hands-on, interactive exhibit explores themes of ableism and disability as well as the power of touch in a post-pandemic world. Both artists are New York-based, though Shannon is a Carlton grad, and some of the pieces were created in collaboration with Carlton art students. One such piece that Krohn particularly liked consists of a series of heating pads with original cyanotype prints for covers. The heating pads are in a room with warm lighting, creating a space where she could imagine chilling with friends. Many pieces invite visitors to touch them, and there are numerous places to sit, including a bench whose label says, “This exhibit has made me stand for too long.”  The show runs through April 14. The Perlman Teaching Museum is free and open to visitors. It's located inside the Weitz Center for Creativity on the Carlton College campus in Northfield.  There will be an event connected to the exhibit on Jan. 19, Convocation with Jerron Herman.Sarah Larsson is a Minneapolis-based singer and an organizer of next weekend's Klezmer on Ice. This Friday evening, she's looking forward to Abinnet Berhanu's Ahndenet at Icehouse in Minneapolis. Ahndenet means “unity,” and this performance will combine music from both the East and West African diaspora. Ethiopian drummer and composer Abinnet Berhanu of Minneapolis brings his deep knowledge of Ethiopian and American jazz and pop, featuring the talents of local Ethiopian vocalist Genet Abate. They share the stage with Kevin Washington, who incorporates Afro-Latino, hip hop and R&B beats along with West African diaspora rhythms and jazz. “One thing that I think is really interesting about Abinnet and his music,” says Larsson, is that “he talks a lot about how there are so, so many different styles and traditions of music that come from Ethiopia, but kind of what people tend to hear is only one very kind of sterilized and also almost Americanized style of pop music. And he's been doing a lot of work for many years to go down into the roots and study these very specific different lineages. He names the teachers and the singers of the songs. And what he's trying to do is illuminate and bring together these different styles, by actually naming them and where they come from.” Artist Brian Sago teaches photography and printmaking at Blake School, and he often includes the photography of Gordon Parks (1912 – 2006) in his classes. Sago was excited to see a collection of Parks' photodocumentary work at the Minneapolis Institute of Art. Parks, who lived in St. Paul during his teens and young adulthood, is considered one of the greatest photographers of the 20th century, in addition to his work as a composer, author and filmmaker. He was the only Black photography fellow with the Farm Security Administration when he met Ella Watson, who worked cleaning the building. The 60 photographs on display portray Watson's life and work, which Parks used to document the social inequities in Washington, D.C., in 1942. His most famous photograph shows Watson holding a broom and a mop in front of the American flag — a visual reference to Grant Woods' “American Gothic” painting. Sago says Gordon Parks' photographs offer “a window of the history on what it's like to be a Black American. His photographs give such a nuanced level. They're beautiful to look at: his photographs are all gorgeous. But the sensitivity with which he was taking pictures and the situations he was able to get into by being a Black photographer who was paid by the federal government for much of his career, that's really profound.” “American Gothic: Gordon Parks and Ella Watson” is on display through June 23 at the Minneapolis Institute of Arts. Admission is free. 

They are illusions, no more real than someone being sawed in half onstage. Yet the veiled ladies that Raffaelle Monti sculpts in the 1800s are very real to him. Poignant symbols of an identity he's forced to conceal, even as they make him famous. As we prepare for Season 6, it's an encore episode that first aired in 2021, a story of pride and prejudice and dreams just out of reach. Here you can see Monti's Veiled Lady, c. 1860, in the collection of the Minneapolis Institute of Art, a visitor favorite for more than half a century: https://collections.artsmia.org/art/12092/veiled-lady-raffaelo-monti

In s3e46, Platemark host Ann Shafer speaks with Reinis Gailitis, an engraver from Riga, Latvia. The magic of the internet is fully on display today. Without it, finding Reinis's work would have been challenging. But his self-portrait in the style of Claude Mellan's Holy Face, the one with a single line emanating from the subject's nose, is a marvel. Ann and Reinis talk about how engraving is simultaneously the most simple and direct of techniques while being the most difficult. They talk about tricks and tools shared by artists thanks to the internet: how to transfer a drawing onto a shiny copper plate for engraving (thanks, Andrew Raftery), what recipe to use for a darkened paste to fill already carved lines to see progress (thanks, Lembit Lõhmus), choosing a non-toxic solvent and trying out a custom tube of ink (thanks, Ad Stijnman), about non-toxic electrolytic etching (thanks, Jason Scuilla). They talk about the pitfalls of selling Intagram-worthy art, why there's little-to-no printmaking culture in Latvia, and about how overdue we are for a severe magnetic storm that could wipe out electronic media, documents, art pointing to the importance of printed objects.  Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing. Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing. Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing. Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing. Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing. Reinis Gailitis teaching engraving at the Art Academy, Riga, Latvia. Reinis Gailitis's plate with ink-paste in the engraved lines to help the artist see where they are. Reinis Gailitis engraving the copper plate Face Of... Reinis Gailitis (Latvian, born 1992). Engraved spiral perfection. Halftone rake tool (intaglioprintmaker.com). Unknown engraver after Jacob Matham (Dutch, 1571–1631) after Abraham Bloemaert (Dutch, 1564–1651). Landscape with the Parable of the Tares, 1605. Engraving. Sheet: 38 x 50.5 cm. British Museum, London. [DETAIL] Unknown engraver after Jacob Matham (Dutch, 1571–1631) after Abraham Bloemaert (Dutch, 1564–1651). Landscape with the Parable of the Tares, 1605. Engraving. Sheet: 38 x 50.5 cm. British Museum, London. Stanley William Hayter (English, 1901–1988). Cinq Personnages, 1946. Engraving and softground etching (trial proof prior to color additions). Baltimore Museum of Art, Baltimore. Reinis Gailitis (Latvian, born 1992). Monoliths, 2022. Engraving. Reinis Gailitis. Variations of lines via engraving, drypoint, and mezzotint. Lembit Lõhmus (Estonian, born 1947). Ex Libris. Engraving. Reinis Gailitis's ink-paste. Claude Mellan (French, 1598–1688). The Sudarium of Saint Veronica, 1649. Engraving. Plate : 16 7/8 x 12 3/8 in. (42.86 x 31.43 cm.); sheet: 17 7/8 x 13 3/8 in. (45.4 x 33.97 cm.). Minneapolis Institute of Art, Minneapolis. Reinis Gallitis (Latvian, born 1992). Face of…, 2021. Engraving. Sheet: 30 x 22 cm.; plate: 25 x 18 cm. Reinis Gailitis (Latvian, born 1992). Schematic for Face Of… engraving. Albrecht Dürer (German, 1471–1528). Self-Portrait, 1500. Oil on panel. 67.1 × 48.9 cm. (26 1/3 × 19 1/3 in.). Bayerische Staatsgemäldesammlungen - Alte Pinakothek München. Reinis Gallitis (Latvian, born 1992). Vortex, 2021. Engraving. Sheet: 44 x 34 cm.; plate: 40 x 29 cm. Reinis Gailitis (Latvian, born 1992). Starship, 2021. Engraving and chine collé. Reinis Gailitis (Latvian, born 1992). Work in Progress, 2023. Engraving. Reinis Gailitis (Latvian, born 1992). Work in Dark, 2023. Engraving and linoleum cut on chine collé. Reinis Gailitis (Latvian, born 1992). Work in Dark, 2023. Linoleum cut. [DETAIL OF TRIAL PROOF] Reinis Gailitis (Latvian, born 1992). Work in Dark, 2023. Engraving. Reinis Gailitis (Latvian, born 1992). Work in Dark, 2023. Engraving printed intaglio and relief with white areas hand wiped. Reinis Gailitis (Latvian, born 1992). Inked engraving plate (black intaglio, blue relief, white hand wiped) for Work in Dark, 2023. Reinis Gailitis (Latvian, born 1992). Fungi, 2023. Wood engraving. 9 x 11 cm. Reinis Gailitis (Latvian, born 1992). Woodblock for Fungi, 2023. 9 x 11 cm. Reinis Gailitis's engraved woodblock for Fungi set in press. Reinis Gailitis's wood engraving, Fungi, being printed. Anton Würth (German, born 1957). Dürer Übung-Dürer Practice, 2014. Engraving. 100 x 150 mm (3 7/8 x 5 7/8 in.). C.G. Boerner, New York. Lembit Lõhmus (Estonian, born 1947). Ex Libris in memoriam Richard Kaljo. Engraving.    Reinis Gailitis (Latvian, born 1992). Engraved patterns.   USEFUL LINKS Reinis's website: https://gailitis.berta.me/ Reinis's prints are available for purchase on his Esty shop: https://www.etsy.com/shop/GailitisPrintmaking?ref=profile_header Support Reinis through Patreon: https://www.patreon.com/gailitis Short videos of engraving Work in Progress: https://www.youtube.com/shorts/NEjIeYYKyzk and https://www.youtube.com/shorts/DkEPD2qdB5U and https://www.youtube.com/shorts/3f_FihXoMxM Short videos of engraving Face Of…: https://www.youtube.com/watch?v=GLYBCYGAh40 and https://www.youtube.com/watch?v=WPcFjpoWO4I and https://www.youtube.com/watch?v=3nwf_SzOJAk Process video on the making of Vortex: https://www.youtube.com/watch?v=1OU9Uh8brzQ Process video on the making of Starship: https://www.youtube.com/watch?v=bjgw_aUnwuk Andrew Raftery demonstrates the art of engraving: https://www.youtube.com/watch?v=fQvghHs15hA&t=234s  

This very special episode of Broken Boxes Podcast marked our first ever conversation in front of a live studio audience. Recurring host Cannupa Hanska Luger was joined by Matika Wilbur and Andrea Carlon on October 28th 2023 as part of the University of Michigan Museum of Art's Memory & Monuments program. The artist's drew from a hat of pre-considered topics to speak to and expand upon, including: Ancestral trade routes or sharing knowledge within a cultural continuum such as how culture, language and goods traveled precontact; Indigenous memory in relation to the American Myth; Recognition of Indigenous complexity; Indigenous futures including shared histories and futures; and Institutional critique or a generative airing of problematic power structures impact on Native people. Broken Boxes would like to thank UMMA staff and curators and Monument Lab for being present for this generative and complex conversation to take place. We would like to especially thank the students of the Native American Student Association at the University of Michigan, who welcomed Broken Boxes and the artists and helped make this live audience recording a wonderful experience. More about the artists: Matika Wilbur (Swinomish and Tulalip) is one of the nation's leading photographers, based in the Pacific Northwest. She earned her BFA from Brooks Institute of Photography where she double majored in Advertising and Digital Imaging. Her most recent endeavor, Project 562, has brought Matika to over 300 tribal nations dispersed throughout 40 U.S. states where she has taken thousands of portraits, and collected hundreds of contemporary narratives from the breadth of Indian Country all in the pursuit of one goal: To Change The Way We See Native America. Andrea Carlson is a visual artist who maintains a studio practice in northern Minnesota. Carlson works primarily on paper, creating painted and drawn surfaces with many mediums. Her work addresses land and institutional spaces, decolonization narratives, and assimilation metaphors in film. Her work has been acquired by institutions such as the Whitney Museum of American Art, The Walker Art Center, the Museum of Contemporary Art in Chicago, the Denver Art Museum, the Minneapolis Institute of Art, and the National Gallery of Canada. Carlson was a recipient of a 2008 McKnight Fellow, a 2017 Joan Mitchell Foundation Painters and Sculptors award, a 2021 Chicago Artadia Award, and a 2022 United States Artists Fellowship. Carlson is a co-founder of the Center for Native Futures in Chicago. Multidisciplinary artist Cannupa Hanska Luger is an enrolled member of the Three Affiliated Tribes of Fort Berthold (Mandan, Hidatsa, Arikara), and Lakota. Through monumental installations and social collaborations that reflect a deep engagement and respect for materials, the environment, and community, Luger activates speculative fiction and communicates stories about 21st century Indigeneity. Luger is a 2022 Guggenheim fellow, recipient of the 2021 United States Artists Fellowship Award for Craft, and was named a Grist 50 Fixer for 2021, a list that includes emerging leaders in climate, sustainability, and equity from across the nation. Music featured: Move, I'm Indigenous by Uyarakq BBP intro track by India Sky

Announcer: This is Minnesota Native News. This week, the Minneapolis Institute of Art is currently holding an exhibition focusing on indigenous photography from the late 1890's to the present day. Reporter Chandra Colvin has the story. Chandra Colvin: In October, the Minneapolis Institute of Art, also known as the MIA, opened an exhibition focused on Native Photography titled, “In Our Hands.” The exhibit was formed primarily by a council of Native artists and scholars. Jaida Grey Eagle, who is a member of the Oglala Lakota Sioux tribe, is a photographer and artist. She is a co-curator for the exhibit and was the initial inspiration for it during her time as a fellow at the MIA. Jaida Grey Eagle: I've been practicing photography since I was a young kid. I think I was probably 11 when I got my first camera. Native, you're always wondering, “are there other people doing what I'm doing?” In schools here, they never talk about Native photographers in Minnesota. And it wasn't until I went to the Institute of American Indian Arts down in Santa Fe that I was introduced to this whole world of native photographers. Why do I have to travel so far away from home to find that? Why is that just not talked about? I think for myself, I just, I really want it to inspire people, and to just introduce them to this incredible history of, you know, Native people practicing the art of photography. It's such a different experience to see photography from the viewpoint of Native people. So it's inspiring to me, and I just hope that it's inspiring to other people to just see the art practiced by the people themselves that it's about. CC: The Native artists and scholars worked alongside MIA curators, like Jill Oberg, a curator of Native arts and a co-curator of the exhibit. Jill Oberg: Jaida was our fellow at the time. And she came in and asked us about our collection of photography made by Native people. And we came together and we knew that we didn't have many. And that we needed to build that. So it was a great way for us to understand the field through going to the experts who have been dedicating their entire lives to the field. And that was the beginning of the exhibition.   CC: The exhibit features over 150 photographs by, of, and for Native people. Joseph Allen, who is a member of the Rosebud Sioux tribe and a direct descendent of White Earth Nation, has been doing photography for 30 years. His featured piece titled, “Free Land,” was captured in front of the MIA in 1992.  Joseph Allen: From that original image that, you know, is in the show - it's such a small piece, it's 8in by 10in. But that connection back to that beginning, I lived in Minneapolis for 25 years. And so and then having that image taken on the grounds of the MIA, that really connects to my career, you know, as a photographer it means a lot.  CC: Allen said it's an honor to be a Minnesota-based photographer featured in the exhibit. Co-curator Casey Riley agrees. Casey Riley: We say this throughout the sort of overviews of the show, but, you know, this really was a show first and foremost, for Native audiences, and Native visitors. And, you know, this, hopefully, is an invitation to many younger photographers to join the profession, and continue this work, because there are so many amazing people who have influenced the medium from the beginning. And I would say that for me as someone who's trained in photo history, that is a really important message for all of us who have studied the field. Native people have been left out of our discourse, and they have been so important to its development. I think it's a really important takeaway. That, you know, the canon needs to change. CC: “In Our Hands” will be on display at the Minneapolis Institute of Arts  until January 14th [2024]. Members of the indigenous community can visit for free. For Minnesota Native News, this is Chandra Colvin. Announcer: For more information on the In Our Hands exhibit, visit the MIA's website at new.artsmia.org. 

Host Robert Pilot and producer Haley Cherry welcome Allison Waukau, Minneapolis Institute of Art’s (MIA) Native American Exhibition Outreach Assistant. PLUS, water and treaty protector Nancy Beaulieu stops in!

Cara Romero, born 1977 (Chemehuevi/ American) In a fine art photographic practice that blends documentary and commercial aesthetics, Cara Romero (Chemehuevi Indian Tribe) creates stories that draw from intertribal knowledge to expose the fissures and fusions of Indigenous and non-Indigenous cultural memory, collective history, and futurity. Romero has held solo exhibitions in the US, UK, and Germany. Her recent group exhibitions include Our Selves: Photographs by Women Photographers at the Museum of Modern Art and Water Memories at the Metropolitan Museum of Art (2022). Her public art projects include #TONGVALAND presented in Los Angeles by NDN Collective (2021); Restoration: Now or Never with Save Art Space in London (2020), and Desert X in the Coachella Valley (2019).  Widely collected, Romero's photographs are in private and public collections including those at the Denver Art Museum, the Peabody Essex Museum, The Hood Museum, the Minneapolis Institute of Art, the MoMA, the Nelson-Atkins Museum of Art, Los Angeles County Museum of Art, and the MET. Romero was raised between the rural Chemehuevi reservation in California's Mojave Desert and the urban sprawl of Houston. She is based in Santa Fe.

HUBERT JOLY is the former Chairman and Chief Executive Officer of Best Buy and is now a senior lecturer at Harvard Business School. He is also a member of the board of directors of Johnson & Johnson and Ralph Lauren Corporation, a member of the International Advisory Board of HEC Paris, and a Trustee of the Minneapolis Institute of Art. Joly has been recognized as one of the top 100 CEOs in the world by the Harvard Business Review, one of the top 30 CEOs in the world by Barron's and one of the top 10 CEOs in the U.S. by Glassdoor.Quotes:Marcel asks Hubert what he believes business is about. “At the heart of business... is the pursuit of a noble purpose, putting people at the center, embracing all stakeholders, and treating profit as an outcome, not the goal,”[3:12] Hubert responds. “There are three imperatives to an organization and tackling them in the correct sequence leads to optimal outcomes: a people imperative - having the right teams properly motivated and equipped; a business imperative - having happy customers who you sell good products to; and a financial imperative - about profit. [10:05]” Hubert shares how financial results have to be the end focus. First, you have to start with people; when you do this, the financial results will come. “The old model of leadership portrayed a leader as a superhero here to save the day, probably the smartest person in the room, and, unfortunately, too driven by power, fame, money or glory,” Hubert claims. “This [type of leadership] doesn't work... [people] want to be part of the journey and the solution.” [16:55] Hubert debunks the concept of perfectionism as a key to success; he shares how demonstrating his imperfection actually helped create the right environment for optimal performance at work. “Operational progress creates routine degrees of freedom, so sometimes you have to start with the basics before you think about creating an amazing future,'' [35:47] Hubert advises. He describes the five ingredients for creating a fabulous work environment, which are: connecting dreams, developing authentic human connections, fostering autonomy, achieving mastery, and putting the wind at your back. “Work is love made visible... Business is about embracing all stakeholders… This is a beautiful friendship you're building with all stakeholders, treating all of them, in a sense, as customers.” [50:30] Hubert shares how he thinks leaders love in a practical way, day in and day out.Mentioned in this episode:Hubert JolyMarcel Schwantes

Episode No. 621 features artist Carmen Winant and curator Negar Azimi. The Minneapolis Institute of Arts is exhibiting Winant's "The last safe abortion" through December 31. It features Winant's assemblages of historical photographs gathered from across the Midwest that detail the work of providing health care to women. That work includes answering phones, presenting training sessions, scheduling appointments, and more. "The last safe abortion" was curated by Casey Riley. Winant's work typically explores representations of women through strategies such as collage and installation. Her exhibition credits include the Wexner Center for the Arts at The Ohio State University, the Carnegie Museum of Art, Pittsburgh, Sculpture Center, Queens, the Bemis Center for Contemporary Arts, Omaha, the Institute of Contemporary Art Boston, and many venues in Europe. Azimi discusses her exhibition "Becoming Van Leo," the first international survey of the photography of the late Armenian artist known as Van Leo. It's on view at the Hammer Museum in Los Angeles through November 5. Born Levon Boyadjian in Turkey, Leo became a leading studio photographer in Cairo between the 1940s and the 1960s. Azimi's exhibition includes some of Leo's earliest pictures from the 1930s, his extensive experiments with self-portraiture, and his challenging of East-West binaries. Instagram: Carmen Winant, Tyler Green.

In the fall of 1930, Frida Kahlo and Diego Rivera travel to the United States for the first time, welcomed as celebrity artists, ambassadors of an ancient and powerful Latin American identity. But as the months turn to years, can Rivera's vision of one united Pan-America--and their young marriage--survive the pressures of politics, fame, temptation, cultural differences, and scandal? You can see examples of Diego Rivera's work, and that of other modernist Mexican artists, in the collection of the Minneapolis Institute of Art: https://collections.artsmia.org/search/diego%20rivera You can see Rivera's San Francisco mural “Pan American Unity,” discussed on the show, here: https://www.sfmoma.org/exhibition/pan-american-unity/ You can see photos of Frida and Diego taking San Francisco by storm here: https://www.kqed.org/news/11848986/inside-frida-kahlo-and-diego-riveras-life-in-san-francisco You can see (and read) Kahlo's heartfelt letter to Rivera from a San Francisco hospital (“Diego, mi amor”) in the collection of the Smithsonian: https://www.si.edu/object/frida-kahlo-letter-diego-rivera%3AAAADCD_item_739 You can read about and see images from the SFMOMA's excellent recent exhibition “Diego Rivera's America” here: https://www.sfmoma.org/exhibition/diego-riveras-america/ Last and certainly not least, you can read some of the story “Queen of Montgomery Street,” written about Kahlo in San Francisco, also in the Smithsonian: https://www.si.edu/object/AAADCD_item_766

An ancient African water spirit, Portuguese slave traders, and a snake charmer traveling with the circus--incredibly, all of their stories collide in a narrative that spans centuries, continents, and the best and worst of human instincts. How do we find resilience among the wreckage? How do we shape the spirit world when this one has failed? You can see the Mami Wata figure discussed in this episode in the collection of the Minneapolis Institute of Art: https://collections.artsmia.org/art/111879/mami-wata-figure-igbo

Episode No. 610 features artist Dyani White Hawk and curator Kelly Montana. White Hawk is included in "Rising Sun: Artists in an Uncertain America" at the African American Museum in Philadelphia and the Pennsylvania Academy of Fine Arts. The exhibition presents new works that examine the question, "Is the sun rising or setting on the experiment of American democracy?" The exhibition was organized by a six-person curatorial team and is on view through October 8. White Hawk (Sičáŋǧu Lakota) makes works multiple media that often foreground Lakota art forms and cultural knowledge and blend both Native American and non-Native interests and art histories. Her work has been the subject of solo exhibitions at the Museum of Contemporary Art, Denver and the Halsey Institute of Contemporary Art at the College of Charleston. She's also been in group shows at the Whitney Museum of American Art, New York, the Minneapolis Institute of Art, the Crystal Bridges Museum of American Art, Bentonville, Ark., and more. Montana is the curator of "Si Lewen: The Parade" which is at the Menil Drawing Institute in Houston through September 3. The Parade is an epic narrative that unfolds across 63 drawings. Lewen, a Polish-born immigrant who lived and worked in New York and Pennsylvania, witnessed the liberation of the Buchenwald concentration camp in 1945 while serving in the United States Army. In the 1950s he published a graphic novel that responded to the horrors he encountered as part of his war-time experience. This exhibition is the first in the United States to bring together the complete set of works from The Parade.

Episode No. 605 features artist Gio Swaby, and curator Leslie Jones. The Art Institute of Chicago is presenting "Gio Swaby: Fresh Up," a solo exhibition of work Swaby made in 2017-2021. Swaby's embroidered portraits celebrate both Blackness and her subjects' self-awareness and self-empowerment. The AIC's Melinda Watt co-curated the show with the Museum of Fine Arts, St. Petersburg, Fla. curator Katherine Pill. Rizzoli Electa published an accompanying catalogue in association with the two museums. Amazon and Bookshop offer it for about $35. This is Swaby's first museum solo exhibition. Her work is in the collection of museums such as the Museum of Fine Arts, Boston, the Weisman Art Museum, University of Minnesota, and the Minneapolis Institute of Art. Jones is the curator of "Coded: Art Enters the Computer Age, 1952-1982" at the Los Angeles County Museum of Art. The exhibition examines how artists embraced computer technology in the first decades of the computer age. It is on view through July 2. DelMonico Books and LACMA co-published the exhibition catalogue. Amazon and Bookshop offer it for about $60-70. Instagram: Gio Swaby, Tyler Green.