From mnartists.org, this is where the conversation about the arts and culture hits home, right here in Minnesota.
JULIE KLAUSNER: Cat fancier, writer and creator of the hugely popular podcast, How Was Your Week Location: New York City Dayjob: Writer Online: http://julieklausner.com Twitter: @julieklausner Tell us a bit about yourself. What’s your story? I live in New York City, and I make a living as a writer of all sorts of things, but mostly television […]
JULIE KLAUSNER: Cat fancier, writer and creator of the hugely popular podcast, How Was Your Week
Location: New York City
Tell us a bit about yourself. What’s your story?
I live in New York City, and I make a living as a writer of all sorts of things, but mostly television and occasionally books and articles. I love cats dearly. And dogs. I love animals, in general, and always have. They make me feel a very deep joy that isn’t a super-frequent occurrence in my life. I can laugh from my gut at an animal video when I feel unreachable otherwise.
How many cats do you own and what are their names?
I have one tuxedo cat, and his name is Jimmy Jazz. Before Jimmy, I lived with my beloved Smiley Muffin for 12 years. She was my heart. I miss her very dearly.
Anyone who listens to your podcast knows you’re a cat lover. Even your website’s filled with cats. What’s your personal history with felines?
I’ve always loved cats, but I didn’t grow up with them because my mom and brother claim to be allergic. But the very same month I moved into my own place after college, I got a cat. And she was the source of endless fascination and entertainment — just watching her, enjoying her personality and proclivities. Dare I say, she was my muse.
Cats are beyond “cute” to me. They have a pompousness, a high-status inflection of “I’m better than you,” that truly makes me laugh. Because, in reality, they’re pretty dumb – they have half the frontal lobe intelligence of dogs, but they act like they’re smarter than humans. They get away with murder because they’re soft, essentially. Their faces are naturally set in this disapproving expression, and then they’ll do something ridiculous — like fall off a chair or collect pieces of garbage to hide behind your couch. The disparity between their intelligence and their affectation is just so deeply funny to me – so much unfounded confidence. They are also wonderful pets that you never have to take outside in order to facilitate their going to the bathroom, and that’s ideal for writers and lazy people who aren’t crazy about leaving the apartment when it’s raining. And there’s nothing quite like a purring cat curled up to you. It really does melt your heart like a hot knife through butter.
How did you first hear about the Internet Cat Video Festival?
I can’t remember exactly when I heard about it, but it started popping up on my social media feeds, and I remember reading about it and thinking “I have to be a part of this.”
Both cat videos and the online brand you have established have proved to be far from fleeting phenomena. What’s the future for this type of cultural production?
It sounds cynical to say “more of the same,” but I mean it in the best possible way. Cats doing stuff will never not be fascinating to people who live with pet cats and who love cats (and there are a lot of us) – the more ordinary the scenario, the better. We like to see cats acting dumb and we always will. It’s hilarious and it’s adorable, and I’m not completely sure why. I guess there are people who collect photos of babies being silly; maybe it’s similar, only cats never grow up into adult humans.
This is a question we get all of the time, so we’re going to spin it back to you. Are cat videos art?
I think it depends on the cat video and the context. Whenever you show something in a museum, the meaning changes. But I don’t think intention matters when it comes to art. Whether you clicked “record” on your phone to amuse your boyfriend, or you set the stage to make a masterpiece, the good stuff rises to the top like cream.
You’ve produced a brand new video with Funny or Die that will premiere at this year’s festival: What can you tell us about it?
Well, I’m not a standup, so I always feel like I have to over-compensate whenever I go into live performances or hosting gigs — like I have to prepare a Powerpoint presentation, or a song and dance number to provide a good justification for why the hell I got the job.
So, I had this idea for a video [about the life of a cat video creator] and collaborated with Funny or Die, as well as with my pals Alex Scordelis and Jake Fogelnest, to make it. I got to work with a professional cat actor and his handler, and that was truly fascinating. Because pro cats are still cats. They won’t listen to you, even if they’re trained. They’re less skittish around people, I guess. But at one point, he was supposed to walk alongside me on a leash, and he was having NONE of that. It was completely cool, though – I picked him up and we had a lovely moment. But, yes. The moral of the story is: Cats are cats.
What are you working on now, cat-related or otherwise?
I’m writing for season three of [Funny or Die TV series] Billy on the Street and working on a couple of TV projects I hope to sell, plus a play I wrote and am rewriting. I do my podcast, How Was Your Week, every Friday [you can subscribe on iTunes!].
I’m also preparing for the next How Was Your Week Live at The Bell House, October 30, and another run of my cabaret show at Joe’s Pub the week before Thanksgiving.
What are your favorite cat videos?
Any parting thoughts on the Internet Cat Video Festival and other such offline celebrations of cat video culture?
I’m all for it. It’s so fun and funny and positive. Anything that brings people together over cat videos – I’m in favor.
Related event information:
Internet Cat Video Festival 2013 will take place August 28, 7 p.m. in the Minnesota State Fairgrounds Grandstand. Tickets are $10. Find details: http://www.walkerart.org/calendar/2013/internet-cat-video-festival-2
At an early June event in Duluth, Kat Mandeville walked out of a screening of Crispin Glover’s latest film, It is Fine! EVERYTHING IS FINE! Outraged as much by the fact of the film’s screening as she was its provocative content, she wrote a letter in response and sent it around to me at mnartists.org, the […]
At an early June event in Duluth, Kat Mandeville walked out of a screening of Crispin Glover’s latest film, It is Fine! EVERYTHING IS FINE! Outraged as much by the fact of the film’s screening as she was its provocative content, she wrote a letter in response and sent it around to me at mnartists.org, the daily newspaper, a Duluth-area arts website.
The movie was part of a headline event at the Duluth/Superior Film Festival, an exercise in masturbatory weirdness that included “Crispin Hellion Glover’s Big Slideshow,” featuring a one-hour dramatic narration-plus-slideshow projection conducted by the man himself, showcasing eight different re-purposed books he’s painstakingly annotated and illustrated with various flights of grotesque fantasy. By all accounts, Glover waxed on (cryptically, often incomprehensibly) for a while about the project and projected some pictures. Then they screened his new movie, a semi-autobiographical flick written by and starring Steven C. Stewart (a screenwriter who has severe cerebral palsy), directed by Glover in 2007. (This is the second in Glover’s “It” trilogy, which began with the twisted and surreal 2005 film, What Is It?)
It is Fine… is billed as a “psycho-sexual tale about a man with severe cerebral palsy and a fetish for girls with long hair. Part horror film, part exploitation picture, and part documentary of a man who cannot express his sexuality in the way he desires (due to his physical condition), this fantastical and often humorous tale is told completely from Stewart’s actual point of view – that of someone who has lived for years watching people do things he will never be able to do.” The character at the film’s center may be seriously disabled, but he’s by no means incapacitated. Indeed, he is a ladykiller in every sense of the word: the film follows episodes of his seduction and subsequent savaging of the various (silver screen–ready) women he encounters.
Violation, subjugation, torture – the film revels in sexual violence, degradation, and pain. Its subject matter is gleefully indecent, expressly made to transgress the bounds of appropriateness, intended as an assault on both viewers’ sensibilities and the Hollywood establishment. In interviews about his films, Glover presents himself as a fearless truth-teller, showing us what the corporate studio process wouldn’t dare. He says he’s putting taboo content front and center, thereby forcing us to contend with the full measure of our shared ugliness and hypocrisy; that he’s just showing us real human experience, unvarnished by wishful thinking or pretty dissembling, as seen through the lens of those typically invisible to popular culture (e.g. people with developmental and physical disabilities). The screenwriter/lead actor died shortly after making the film, but Glover’s quoted as saying he was similarly motivated, that Stewart “wanted to show that handicapped people are human, sexual and can be horrible.”
“Crispin Hellion Glover’s Big Slideshow” is currently touring the country. In addition to the Duluth film festival, this month Glover stopped in Minneapolis’ Heights Theatre; he’s soon making stops in Museum of Arts and Design and IFC in New York City; Littleton, Colorado; Kansas, City, Missouri.
Engage or Boycott?
Back to our letter-writer: So, Kat Mandeville, not quite sure what she was in for, turned out to see Glover’s event in Duluth’s Zinema. She gleaned from the prefatory remarks what was in store and walked out before the screening began. In emails we’ve exchanged since then, Mandeville has indicated she felt she’d be colluding in the exploitation, part of the problem, if she’d stayed to attend the movie and talk-back that followed — even if she watched in protest and spoke up to challenge the film and audience afterward. Finding entertainment in work that exalts “rape culture” in this way, she says, including public screenings in institutionally upright venues and treating those works as merely provocative, amounts to a kind of “cannibalism.” We’re feeding off pain and hate and violence perpetrated against our sisters, wives, daughters and mothers, she argues. The problem’s a pervasive one, harmful even when it’s dressed up as “art” and presented as a provocative amusement – and when we stay to watch, we’re not just voyeurs on real pain, we’re dishonest about our part in perpetuating it.
Her published response to the Duluth iteration of “Crispin Hellion Glover’s Big Slideshow” and screening, in full:
In the wake of the screening of Crispin Glover’s film, It is Fine! Everything is Fine, as part of the Duluth/Superior Film Festival last weekend — a film that romanticizes a man’s explicit sexual fantasies of the rape and torture of women — I have questions for progressive Duluthians who were there and for our community as a whole.
Does one man’s pain with cerebral palsy and his being trapped in the prison of his own body eclipse the pain of female identity trapped in the misogynist-sadist fantasy of a romanticized snuff film? Is this an implicit argument the film is making? In the end, isn’t the handicapped man’s subjective experience of sexuality not so different from the increasing demand for glamorized rape and torture of women shown in social media: that of women as soulless mannequins used for sexual exploitation and the destruction of women for pleasure?
Men who were in the audience: how often can you watch rape and torture of women before it alters the way you think about women? The way you look at them? The way you fantasize about them? The way you touch them?
Women in the audience: who among you has experienced sexualized hate crimes or know a woman who has? And did you think of yourself and of these women during the film?
Fathers of daughters in the audience: how do you justify to your daughter supporting a film that fantasizes the same kind of rape and exploitation she has a one-in-three chance of experiencing herself?
And why was none of this discussed at the talk-back after the film? Yes, Glover only screens the film where he can answer questions in person, but how effective is that if the audience is too star-struck and approval-seeking to ask controversial questions?
If Malcolm X or Dr. Martin Luther King were female, what would they think of Glover’s film and the progressive members of Duluth who lined up to support it? Or of the connection between films like Glover’s and the Steubenville high school rape case, in which boys dragged around an intoxicated, unconscious peer, stripped her and sexually assaulted her for the viewing pleasure of social media? Is our nation so desensitized to rape and torture that half of us are unclear how we should react? Would Malcolm X and Dr. King see Duluth celebrating a film like Glover’s as a community engaged in cannibalism? Would they be outraged?
Then why aren’t we?
In the talk-back, Glover remarked that films using propaganda upset him. Why was it not pointed out that 70 minutes of torture and rape romanticized in his film was, indeed, propaganda? Was it so obvious it could be dismissed with the commonly used sentiment of, “Yes, exploiting women is wrong; now move over a little, you’re blocking my view of it”? Or was it because propaganda works and our esteem for women has sunk so low that when it’s depicted on the big screen we don’t see women oppressed by hatred; we see a singular man oppressed by pain?
Do we realize how similar this is to the unconscious hate-propaganda used throughout history to perpetuate hatred of Jews, blacks, and homosexuals? That oppression and exploitation of women is among the most epic struggles, and that progress is sabotaged when a community that should know better takes part in the entertainment of rape and torture? Do we realize how normalized rape and torture has become that we can watch 70 minutes of it being romanticized without impulse to object or critique?
And where was I, you ask? Upon hearing the film’s description, I walked out before it started. Later I listened to an account of the talk-back. And as it turns out, one doesn’t have to wallow through an entire film to discern what it’s about and critique what it’s doing. Looking over the audience as we took our seats in the theater before Glover’s film, I had a feeling of dread I would be the only one to speak-up about the dehumanizing of women, and if I left, I knew no one would start that dialogue. To be sitting in a theater of artists and musicians (among others) who consider themselves elevated; feminist; radical; speakers of the oppressed, and realize none of them are going to challenge the pseudo-celebrity was a sick feeling indeed. To find out later I was entirely right, was even worse.
But despite leaving, I’m still guilty, like those who attended and didn’t speak up. I’m guilty of tolerating what shouldn’t be tolerated. I should’ve said something in the theater before I left, something like, “What are we celebrating by watching a film like this? What does this mean about the culture we’re willing to become?” Instead I simply left. And for that I’m ashamed. I’m ashamed of Duluth and the naïveté that filled the Zinema seats last Saturday night. And I’m ashamed of the hypocrisy that applauded afterward.
What will it take for the average person (let alone the well-educated person) to realize it isn’t enough to like women or to love them? We must fight against the hatred directly, or change will not be possible. And to do this, we all must learn to recognize our culture’s unconscious hatred of women. Glover’s film was an opportunity to do so — an opportunity that was squandered.
My commentary and your responses can give us another chance to have the conversation. Duluth, how do you answer?
Kat Mandeville of Duluth graduated from Carnegie Mellon University in Pittsburgh with an undergraduate degree in theater. She has worked in television and film in Los Angeles, where she witnessed the exploitation of women firsthand. In the summers she studies philosophy and psychoanalysis at the European Graduate School in Switzerland.
This commentary was first published in the Opinion section of the Duluth News Tribune, 6/8/13 and reprinted on Perfect Duluth Day, 6/9/13. It is reproduced here with permission. Incidentally, there is a lively ongoing conversation in the comments section of PDD — worth a read if you’re interested.
So, What Do You Think?
When does work cross the line from provocation to obscenity? What’s your reaction to this and other “offensive” art, and organizations which house and promote it? If work offends you, what’s the best course of action: engagement or boycott? If you’d choose the former, what sort of community conversation can/should come out of displays of work that consciously offends the audience? At what point does titillation become outright exploitation? Is it okay to find such entertaining? What about other “offensive” art: Mapplethorpe, Piss Christ, John Ahearn’s South Bronx sculptures, misogynistic hip hop? At what point does outrage-in-action have a chilling effect on freedom of speech and meaningful public discourse about thorny issues and controversial themes?
Have any of you seen Glover’s films? What did you think of them – and the response of the audience around you?
Minnesota artists: What would you do with $5,000, 400,000 people and an entire bridge to work with? This year, the Walker Art Center is teaming up with ArtPrize in Grand Rapids, Michigan to sweeten the pot for Minnesota artists interested in participating in the prestigious annual international art competition. If you think you might have some […]
Minnesota artists: What would you do with $5,000, 400,000 people and an entire bridge to work with? This year, the Walker Art Center is teaming up with ArtPrize in Grand Rapids, Michigan to sweeten the pot for Minnesota artists interested in participating in the prestigious annual international art competition. If you think you might have some compelling public art ideas to propose, get a leg up by attending tomorrow night’s ArtPrize info session in the Walker Art Center Lecture Room. In addition to some of the local panelists involved in the Minnesota contingent of this year’s competition, ArtPrize’s Director of Exhibitions, Kevin Buist, will be on hand to offer some background on ArtPrize and to answer questions from artists interested in getting involved.
What is ArtPrize and how does the competition work?
Every fall, two thousand artists from around the world come to Grand Rapids, Michigan to compete for half a million dollars in prizes – real money is at stake here. Participating artists’ installations fill the city — from museums and galleries to restaurants, banks, and city parks. During the two-and-a-half week ArtPrize exhibition, which annually draws some 400,000 visitors, members of the public will vote to determine which artist will win the big $200,000 prize. A panel of world-renowned jurors will also select a $100,000 Juried Grand Prize winner, as well as five $20,000 winners in various categories.
And this year, during the month of May, Minnesota artists are especially invited to create proposals for an installation on Grand Rapids’ Gillett Bridge, a highly trafficked pedestrian bridge in the center of the ArtPrize exhibition. After the month-long open submissions period has closed, at a “Pitch Night” event held at the Walker on May 30, five selected finalists will give a five-minute presentation using five slides a piece to make the case for their project proposals. A panel of five local artists and curators, along with members of the audience, will be able to ask questions of the artists following their presentations. At the end of the night, the five panelists will select a Minnesota artist from among the finalists who presented their pitches. That artist will receive a $5,000 grant to realize their proposal on the Gillett Bridge; the resulting work will also be in the running for awards given during the international ArtPrize 2013 competition and exhibition in September.
Dates and deadlines:
ArtPrize info session: Tuesday, April 30 at 7 pm in the Lecture Room (off the Bazinet Lobby) at the Walker Art Center
Open submissions period for the Walker/ArtPrize installation on Gillett Bridge: May 1 to May 22.
Any artist living in Minnesota who is 18 years of age or older is eligible to enter. Find the full call for artists on mnartists.org.
“Pitch Night: Take it to the Bridge” – Five finalists will each have five minutes to make a pitch before our local panel of experts and a live audience. One will be selected at the end of the evening to receive a $5000 prize with which to realize their proposal for public art project on Gillett Bridge during this year’s ArtPrize competition in Grand Rapids, Michigan.
The 2013 “Pitch Night” panelists:
Chris Larson, a Minnesota-based multimedia artist and educator whose work has been shown all over the world
Ben Heywood, Executive Director of the Soap Factory
Sarah Peters, a Twin Cities-based artist, writer and arts programmer who currently works as the Director of Public Engagement for Northern Lights.mn (the collaborative arts agency behind the Northern Spark Festival)
Scott Stulen, mnartists.org Project Director
Sarah Schultz, Director of Education and Curator of Public Practice at the Walker Art Center.
Tips from ArtPrize Director of Exhibitions, Kevin Buist:
What kind of work is most likely to get the ArtPrize panelists’ attention for this special installation on the bridge?
The panel [evaluating submissions from Minnesota artists for this installation] will be looking for a proposal for one installation on the Gillett Bridge that is both compelling and feasible.
Some questions to consider: How will the artist(s) make use of this unique space? Thousands of people cross the bridge during the event, how will crowds affect the work? Is $5,000 enough to ship and install the work? If not, what’s the plan to cover additional costs?
When and for how long will the work be installed? How many works will be chosen in total for this Walker/ArtPrize partnership?
One proposal will be chosen on “Pitch Night” for the entire bridge. An exact installation date is not set, but it will likely be one to two weeks before ArtPrize begins on September 18. The work will need to be taken town within a week after the end of ArtPrize on October 6.
Why is ArtPrize partnering with the Walker this year? Why involve Minnesota artists in this Michigan-based competition?
“Pitch Night” is a brand new initiative for 2013. It’s a way for artists from other cities to get funding to realize ambitious projects within ArtPrize. The partnership with Walker is the first iteration of this new initiative, but we hope to expand the program to include similar partnerships with other museums in other cities.
Minnesota artists should enter ArtPrize because it’s an international art competition. It takes place in Grand Rapids, but it’s fast becoming a global showcase for emerging artists. Last year ArtPrize featured artists from 39 states and 46 countries.
What’s in it for the artists who compete? Who have been some of the previous years’ winners (are there any names we’d recognize)?
Obviously, there’s a lot of money on the line — $560,000 split between 16 awards, ten determined by public vote and six of which are juried. Winning is great, but when we talk to artists, we find that the size and level of engagement of the ArtPrize audience is an even bigger reward. Over 400,000 people visited over two-and-a-half weeks last year, and the population of Grand Rapids is only 200,000. We also find that projects can be launched quickly and without the typical level of red tape that slows down a lot of public art initiatives. ArtPrize has been embraced by the community in a unique way, and the city looks forward to an infusion of fresh ideas from all over the world. It’s an environment for artists to experiment with temporary projects that benefit from a large, engaged audience.
A list of last year’s winners can be found here: http://www.artprize.org/visit/winners
ADDENDUM 5/20/13: More from Kevin Buist about the history and philosophy behind ArtPrize and this year’s partnership with the Walker
This fall, the city of Grand Rapids, Michigan will be overrun by artists. For the fifth year, my colleagues and I will stage ArtPrize, the world’s largest art competition.
More than 1,500 artists exhibiting their works at nearly 150 venues, all competing for $560,000 in awards which are distributed by public vote and professional jury. More than 400,000 visitors came to the 2012 exhibition, and even more are expected in 2013.
New for the 2013 event, ArtPrize has partnered with the Walker Art Center for a regional grant program. One artist from Minnesota will have a unique opportunity to receive a grant to help them realize an ambitious project for ArtPrize. We’re calling it “Pitch Night: Take it to the Bridge.” On May 30 at 7:00 pm in the Walker Cinema, five Minnesota artists will give each give a five minute presentation to the audience and a panel of five judges, explaining why their project should be given a $5,000 grant to create their project at ArtPrize 2013.
Why Minnesota? Why the Walker?
ArtPrize has long admired the Walker Art Center’s programming, specifically Open Field. The more we researched what they were doing and how they were thinking about the program and its relationship to the museum, the affinity between the two initiatives became clear. This quote from the introduction of Open Field: Conversations on the Commons, by Sarah Schultz and Sarah Peters, sums up the shared sensibility nicely: “Open Field is about building a more responsive and responsible museum that sets out to produce something of collective value with the public, rather than for them.”
We started ArtPrize in 2009 as a radically open experiment in how to create a city-wide contemporary art exhibition. ArtPrize doesn’t curate the show, and we don’t select the winners. In lieu of central programming, we’ve built ArtPrize.org to act almost like a dating website for artists and potential venues. Additionally, we gave the attendees, rather than the organizers, the power to decide who wins. The first year, there were ten prizes, all decided entirely by public vote, with $250,000 as the top prize. Starting the second year, we began to add juried awards into the mix.
Just last year, ArtPrize launched a $100,000 Juried Grand Prize, and five $20,000 juried prizes in various categories. These are awarded alongside $360,000 for the public vote top ten, including $200,000 for the top vote-getter.
We decided to design the event this way for several reasons:
- Engagement with the arts is vital to creating meaningful interactions within communities. The trouble is that the arts are often overlooked by large swaths of the population. We make art impossible to ignore to give artists more ways to interrupt everyday life.
- The competition needed to be fun, because we believe that people learn more and are more receptive to new ideas when they play.
- We believe that debate is good. Rather than program an exhibition in private and deliver it to the public, we’ve chosen to invite the public to be intimately involved in the production and assessment of the show. The results are delightfully messy. People all over town feverishly debate what’s good and what isn’t, or what should be considered art. The debates, and the tensions they reveal, are good outcomes.
This design has turned Grand Rapids into a community that values art and respects the opinions of all people, with the public and arts professionals coming together in an epic conversation.
–ArtPrize Director of Exhibitions, Kevin Buist
At mnartists.org, we published more than 125 articles last year – original essays, reviews, profiles and interviews – about and by local artists, covering the issues, personalities and trends relevant here and elsewhere in theater, visual arts, music, dance, architecture, fashion and more. Below, you’ll find a rundown of the original arts writing with the […]
At mnartists.org, we published more than 125 articles last year – original essays, reviews, profiles and interviews – about and by local artists, covering the issues, personalities and trends relevant here and elsewhere in theater, visual arts, music, dance, architecture, fashion and more.
Below, you’ll find a rundown of the original arts writing with the most readers in 2012.
The most beloved art in the Twin Cities?: Andy Sturdevant unearthed a love story of sorts – about a Minneapolis bar, its many regulars, and a certain moody landscape painting with mystery and loads of apocryphal tales, which he argues may just be the most beloved artwork in the city.
Rural art gets its due Twin Cities-to-Mankato transplant Stephanie Wilbur Ash got ahead of the buzz on Rural America Contemporary Art (aka RACA) with this late 2011 profile on the artists behind the inception of the group aiming to “make nowhere into somewhere”.
A painter on painting: Artist Ruben Nusz gave a close reading of the haunting paintings by Belgian painter Michaël Borremans, on view in early 2012 at David Zwirner in New York.
Inverting the male gaze: Last spring, Sheila Regan looked at the Minneapolis Institute of Arts’ multimedia exhibition, The Sports Show, as a lens through which to assess our changing norms and mores about race and gender.
Inside the dance: Poet and dancer Lightsey Darst gave a candid personal essay on her years in ballet class — the devotion and the ordeal of daily practice, and the human moments of pain, pettiness, and triumph.
Other well-read articles on mnartists.org this year, including a few deep catalog surprises:
“Seeing Target Field,” on the art and architecture of Target Field, by Michael Fallon
“First Crayons,” musings on the pleasures and perils of trying to raise a creative kid, by food and wine writer Dara Moskowitz Grumdahl
“A Clean, Well-Lighted Place,” a look at co-working spaces in the Twin Cities by Alison Morse
“Dolly Parton Dreams, Reconsidered,” or, “My Dream of Moving to the Country to Write a Book and the Pygmy Goats and Insouciance I Didn’t Get”, a personal essay by Sari Gordon
“Becoming an Artist All Over Again,” Ann Klefstad’s profile of Duluth-based artist Marian Lansky, a graphic designer who reinvented herself mid-career to create Shy Nimitta.
“McQueen’s Delicious Delirium,” Camille LeFevre’s 2011 dispatch from New York, on the Metropolitan Museum of Art’s exhibition of the fashion, performance art, and fetish objects of Alexander McQueen
At this, the annual juncture of new and old, our small-but-mighty crew at mnartists.org is taking stock of the year just passed and peering ahead with our wishes for 2013. All this week, look for idiosyncratic, entirely subjective and by-no-means-exhaustive lists from each of us, with our favorite moments from 2012 – things we saw […]
At this, the annual juncture of new and old, our small-but-mighty crew at mnartists.org is taking stock of the year just passed and peering ahead with our wishes for 2013. All this week, look for idiosyncratic, entirely subjective and by-no-means-exhaustive lists from each of us, with our favorite moments from 2012 – things we saw and loved, and that gave us heart for what’s in store for the year to come.
Without further ado, here’s what most delighted me in 2012:
John Hodgman, Kevin Murphy and Bill Corbett at the Varsity: Late last March, in honor of the publication of That Is All, the final installment in Hodgman’s fabulously absurd Complete World Knowledge trilogy, the “deranged millionaire” and humorist, joined by MST3K veterans Kevin Murphy and Bill Corbett, regaled an enthusiastically nerdy crowd at Minneapolis’ Varsity Theater with off-the-cuff stories and made-up facts, covering everything from George R. R. Martin, hobos and Ragnarok to behind-the-scenes dish from Hodgman’s small-screen career as a “Famous Minor Television Personality.”
Little Brown Mushroom’s House of Coates: Writer Brad Zellar and photographer Alec Soth teamed up for a series of well-received road-trip story-and-picture dispatches last year, but my favorite of these is the first, House of Coates, a beautiful limited-edition book published by Little Brown Mushroom, inspired by the “edges of everything” exploits of one Lester B. Morrison: rangy philosopher, drifter, and quintessential loner.
Artists took the reins of opportunity, making this a remarkable year for independent art start-ups. Some standouts: Nate Young and Caroline Kent’s studio-turned-gallery space, The Bindery Projects; Art-Of-This founder David Petersen’s new commercial gallery space in Minneapolis; and Rural America Contemporary Art (RACA, for short), brainchild of Mankato-based painter Brian Frink, which grew from a popular Facebook group to a web hub and biannual online magazine for serious-minded artists off the usually urban art grid.
The City of Saint Paul expanded its team of City Artists in Residence to three: the city’s original such artist, Marcus Young, was recently joined by Amanda Lovelee and Sarah West. The team of artists-in-residence is embedded “upstream”, immersed in the development and execution of a variety of city projects, working side by side with administrators, urban planners and public works staff to integrate the arts into everyday civic life and planning.
The flourishing of Lowertown: St. Paul stalwarts like Zeitgeist’s Studio Z, the Artists’ Quarter, Black Dog Coffee and Wine Bar have long brought a variety of new music and jazz to the area; Big Table Studio and Amsterdam Bar and Hall pair nicely to anchor the neighborhood’s burgeoning design and indie music scenes; Minnesota Museum of American Art announced a new brick-and-mortar Project Space in the old Pioneer Press building; Bedlam Theatre just opened a St. Paul outpost, promising a welcome counterpoint to the area’s large-venue performance offerings. With light rail soon to come, there’s so much promise on the horizon for the arts and artists in this up-and-coming St. Paul neighborhood.
Blank Slate Theatre’s Spring Awakening: In what was a very good year for theater, small companies in particular, Twin Cities audiences had a number of opportunities to see this Tony Award-winning musical – Theatre Latte Da’s staging, in particular, was polished and deeply entertaining and is deservedly appearing on a number of “best of the year” lists around town. But, for me, a quieter iteration gets the nod: I was just gobsmacked by Blank Slate Theatre’s gutsy all-youth production, held in the basement of St. Paul’s First Baptist Church: emotionally fearless, intimate and beautifully executed by the cast, the show was pitch perfect in its fidelity to the shaggy ardors of real-life adolescence.
Labor-of-love lit mags made a splash: We’ve been hearing about the decline of print for years now, but that hasn’t stopped intrepid newcomers, like the folks behind Thirty Two, Revolver and Paper Darts, from continuing to dive into publishing headfirst, taking a shot at shaking up the old business model with some new flair. All have a smart online presence and lean overhead, consistently trenchant and engaging editorial content and painstaking attention to artful design, fueled issue after issue by sheer audacity, grit and hustle.
Dioramas: Air Sweet Air’s Just Like Honey show, an irresistible and varied exhibition of artist-made dioramas, was such a surprise: the creations on view had all the nostalgic allure of childhood games of make-believe, but animated by undercurrents of subtle, grown-up insight and witty commentary about the contemporary flux of human-made sprawl and manufactured landscapes in context of the natural environments in and around them.
Spoken word and slam poetry went viral. There were some terrific poetry collections released this year – Heid Erdrich’s Cell Traffic; Odessa by Patricia Kirkpatrick; Sun Yung Shin’s Rough, and Savage; and Pitch by Todd Boss immediately come to mind. But the most memorable poems I encountered this year, I first ran into online, shared among friends and colleagues via Twitter and Facebook. (You can listen to three of my favorites below.)
And the big news in our house: Baby takes her first steps and the Tooth Fairy pays our first-grader a visit.
And for 2013: I think we’re all waiting with bated breath for the brand spanking new mnartists.org website, and so eager to show you all the bells and whistles we have in the works.
What exactly are the Camera Noise pieces? A series of large photo-prints by the Tuckaghrie (”Tucker”) Hollingsworth, based on the phenomenon of “camera noise”—or rather, on the unique occurrence-patterns of visual noise on a number of separate (and probably unrepeatable) occasions. The results are playful photos of “invisible” realities, which resemble interwoven textiles. What is […]
What exactly are the Camera Noise pieces?
A series of large photo-prints by the Tuckaghrie (”Tucker”) Hollingsworth, based on the phenomenon of “camera noise”—or rather, on the unique occurrence-patterns of visual noise on a number of separate (and probably unrepeatable) occasions. The results are playful photos of “invisible” realities, which resemble interwoven textiles.
What is “camera noise” anyway?
Part of the process of looking through the camera, a pattern of information that doesn’t quite fit the pattern we think we want to see. When we tell the camera to be our “eye,” it takes in lots of information, most of which fits our expectations, some of which doesn’t. “Noise” is data, information, that’s part of the perceptual misapprehension, or imagination, or overcompensation, that happens in or through the camera—usually through its lens or through its sensor(s). In practical terms: we tend to “see” evidence of camera noise, in amateur photos, in those weird pixels of color that seem out of place, unique, or patterned in some new strange way—a fog, a plaid, a texture, a grid—that probably isn’t part of the realistic object we thought we’d shot. They’re accurate to the camera’s perception but a little surreal to ours—or sub-real, to be precise.
How did the “noise” get there? Is it even really “there”?
It’s a residual (or preliminary) part of the process of the camera’s process of looking-transmuting-and-storing — a process that leaves (nearly undetectable) traces. Some of that patterning is subtly “out there” in the world, in surprising little
pools of light under a shady tree, for instance. Other patterns left on the image come from the way the camera perceives light, transforms it into electrical pulses, and stores it. Digital photography, in general, is a process of turning light into electrical signals and thence into digital code: the camera lens captures packets of light, the camera sensor sorts it by light waves, and the waves are turned into electrical impulses which are stored in a mathematical binary code. Later, another machine reads the digital language back: for each signal it generates back a blip of color on a screen or in a print. Assemble enough blips in recognizable patterns, and you have an image.
The interesting part is when pixels resist the system, or intrude just by being. Anomalies sneak in along the way. Too much information may enter; actual flashes of brightness might occur in the light outside the camera, so that the “noise” is anomalous but accurate. Maybe there’s grit on the lens; too much heat makes the sensor register more blue blips; the camera sensor could be weak, or maybe showing signs of age; or the camera may have –and impose– its own peculiarities. Other conditions can cause noise, as well.
And so all this information enters the record somehow, both there and not there, a part of the process of perception but a part we often try to ignore, to wipe away. It is part of mediated seeing, but it’s literally an under-level–a substrate—which we try to repress. When we take a “realist” picture, we often use a program to overlay this “noise,” to overwrite it or otherwise pretend it’s not there. (But it is, Blanche, it is.) Hollingsworth’s images are bold for looking at those patterns of what we, in the main, have agreed to try not to see.
Do all cameras make this “noise”? Is it a universal pattern of randomness?
All digital cameras do, from big professional models to cameras on cell-phones.
Is the randomness of camera noise a pattern?
It is if it is repeatable.
Well, in his images Hollingsworth sometimes “frames” a unique section of random spotting and repeats the patch of random distribution, allowing the colors to change and the “new” distribution—which is now a visual pattern because it is repeated—to be rendered visible. It’s a pattern insofar as it’s repeated (this is art, not chaos repeating itself), but it’s still random at a local level of production. AND it has the repeatability of form, the result of aesthetic choice. It’s true that the camera might have repeated the pattern, but that possibility is statistically rare. The spots of noise are dependent on certain conditions; those states are unlikely to repeat again, in ordinary time and space.
Are they dots like Damien Hirst’s spots?
Dots like Lichtenstein’s Pop-Art spots?
Maybe, but they’re formed from a different source, print vs. digital modes. Lichtenstein’s dots were based on graphic-art textual media; they’re about sharp edges and ironic versions of iconic forms. Pop Art spots were painted versions of the Ben-Day spots of the graphic printing-process (think of comic books): uniform in size, crisply delineated, primary colors, representational. Hollingsworth’s spots have more to do with the textile effect of the digital mode, how we weave the world together by our senses and our technology. Hollingsworth’s dotted plaids are more subtly colored than those Ben-Day dots, recalling electric impulses instead of graphic ink-spots, more flowing and interrelational, and not figurative.
Think of how your eye follows the patterns in a Pollock “drip” painting; those motions resemble how the eye reads these Hollingsworth images: there are arcs and rhythms and patterns of random splooges and splashes by which you can see how the painter’s arm moved in the process of dripping the paint. You can track that pattern of motion—but if you tried to repeat exactly the same movements with exactly the same paint, chances are you’d make different drips — same pattern, random distribution. Pollock packs on paint, Hollingsworth pixels. As in Pollock, the pattern lives in its cloud of instances: Again, what’s at stake in the Hollingsworth model is the digital interwoven interrelations of the mind and the world and the technologies we use to comprehend and order it.
Is “noise” all an interesting mistake? Is this chaos-art?
The “noise” in Hollingsworth images is neither true nor false, neither “there” nor “not there,” neither an error nor a choice, fluke nor necessary—or rather, it’s both sides of all those dualities. Hollingsworth’s images are both/and constructions that elegantly bridge some of those dualistic gaps that art-speak sometimes constructs: they are both formal and random, both nonconcrete and hauntedly figurative, both abstract (in their geometries) and representational (they present something that is actually “there”), both high-art and popular, conceptual and realist, wicked smart and sensual. Because the images are what the camera sees without telling us it is interposing the grids, these forms are both true and false at the same time — like photographs of Schrödinger’s cat.
Oh-oh. Cat pictures?
No: in fact they’re large, painting-style grids of color dots and plaids, oddly futuristic– like overhearing a new mode of music: like an elegant and whimsical trance music. An oddly sensual combination, they make the eye feel these intensely pleasurable sensations even while you’re thinking “what is this pattern of things we see without seeing we see them?” A happy dotted or plaid formalism that’s thoughtful and kind of ecstatic at the same time. Their effect is mixed, in the same moment a kind of hushed holiness and a kind of gently rippling sexiness.
It all sound kind of cerebral.
Huge, semi-musical swaths of ravishingly-colored funky plaids with occasional dots, making plausible aesthetic claims to be true and not-true at the same time. What’s not to like?
Related links and information:
“What Do you See When You Turn Out the Lights?”– Read Stephen Tapscott’s related essay on Hollingsworth’s series of Camera Noise photo-prints on mnartists.org
Tucker Hollingsworth: Inside the Camera/Noise is on view through November 30 at Chowgirls Parlor 1224 2nd St. NE, Minneapolis, MN, 55413. The exhibition is open by appointment (651-955-6031); there is a reception Thursday, November 15 from 6 to 10 pm.
Find more information about the artist on his website: www.tuckerhollingsworth.com.
Our newsletter this week features the photograph above, which perfectly captures the colors and textures of Minnesota in fall, taken by Megan Mayer on a recent getaway Up North, to Gooseberry Falls State Park. Mayer is a choreographer, performing artist and photographer based in Minneapolis. She says she’s “drawn to the peripheries of performance… the […]
Our newsletter this week features the photograph above, which perfectly captures the colors and textures of Minnesota in fall, taken by Megan Mayer on a recent getaway Up North, to Gooseberry Falls State Park.
Mayer is a choreographer, performing artist and photographer based in Minneapolis. She says she’s “drawn to the peripheries of performance… the moment when someone starts or stops performing and where that switch lives in the body.” She describes her dance-making as a process inspired by the power of still images and cinematic scenes, saying that her photography is inextricably linked to her creative work in dance. She’s fantastic as an ensemble performer, adept at mining the chemistry of a cast and deploying their strengths and talents to great effect in her choreography. She says she “favors a detailed sensibility over virtuosity” and is primarily “interested in who is doing the moving, and how and why they in particular navigate tasks and interactions.”
Mayer was a recent artist-in-residence at the Maggie Allesee National Center for Choreography (MANCC) in Tallahassee, Florida, through a pilot partnership with The McKnight Foundation in collaboration with Springboard for the Arts. She is also a recipient of a 2010 McKnight Artist Fellowship for Choreographers, as well as a 2010 Jerome Foundation Travel Study Grant which she used to work with New York dance artist Douglas Dunn.
Megan Mayer can regularly be seen on stage with Charles Campbell, Angharad Davies, Emily Johnson, Mad King Thomas, Kevin Obsatz, Karen Sherman, Laurie Van Wieren and Chris Yon. Her dances have been commissioned by The Southern Theater, The Walker Art Center and the Minnesota History Center, and she has a growing body of work of dances made for film. She holds a B.A. in Dance from the University of Minnesota.
Relevant performances and related links:
Soft Fences, a new work currently in process, was presented, in part, at the Minnesota Contemporary Presenters’ Platform in September. Soft Fences explores the euphoria and terror of space travel as a metaphor for personal change, investigating imagery of isolation and the disquieting emotional experience of being stuck in transition between gravity and momentum. The project has been created with a production team consisting of Charles Campbell, Angharad Davies, Elliott Durko Lynch, Kevin Obsatz, Stephanie Stoumbelis and Greg Waletski; the work was developed during her MANCC residency.
Coming up: a remount of 2010’s You might be expecting me, a solo she choreographed for Nic Lincoln is slated for May 2013 at the Tek Box at Cowles Center for Performing Arts. Mayer is also working on a new duet by Angharad Davies which will be performed at her show in June 2013 at the Red Eye.
Find out more about past, present and future projects on her website: http://meganmayer.com/
Atop this week’s issue of the mnartists.org newsletter is a detail from Minneapolis-based conceptual artist Harriet Bart’s 2011 installation, Autiobiography. You can currently see a selection of Bart’s work – on loss, war and rituals of memory – in person in Between Echo and Silence. It’s the first major exhibition in Macalester College’s new Law […]
Atop this week’s issue of the mnartists.org newsletter is a detail from Minneapolis-based conceptual artist Harriet Bart’s 2011 installation, Autiobiography. You can currently see a selection of Bart’s work – on loss, war and rituals of memory – in person in Between Echo and Silence. It’s the first major exhibition in Macalester College’s new Law Warschaw Gallery, housed in the commons of the college’s recently renovated Janet Wallace Fine Arts Center. (Incidentally, I reviewed this show for Knight Arts earlier in the week; you can read my take on Between Echo and Silence here.)
Harriet Bart is a guest lecturer, curator, and founding member of the Traffic Zone Center for Visual Arts in Minneapolis. Her work has been shown extensively throughout the United States and Germany, and she has completed more than a dozen public art commissions in the United States, Japan, and Israel. She has been the recipient of fellowships from the Bush Foundation, McKnight Foundation, MacDowell Colony, Virginia Center for Creative Arts, NEA Arts Midwest, and the Minnesota State Arts Board. In 2012 she received a project research grant from Forecast Public Art and the McKnight Foundation. Since 2000, Bart has also published seven fine-press books and won two Minnesota Book Awards. Her work is included in many museum, university, and private collections, including: Metropolitan Museum of Art, National Gallery of Art, Library of Congress, Walker Art Center, Minneapolis Institute of Arts, Weisman Art Museum, Jewish Museum, National Museum of Women in the Arts, and Sackner Archive of Visual and Concrete Poetry. She is represented by Driscoll Babcock, New York.
About her work, the artist writes:
For more than thirty years, I have had a deep and abiding interest in the personal and cultural expression of memory. It is at the core of my work. Using bronze and stone, wood and paper, books and words, everyday and found objects, I seek to signify a site, mark an event, and otherwise draw attention to imprints of the past as they live in the present.
Each of my extensive bodies of work begins with fascination (with a subject or an object), and moves forward with intensely focused research that leads to the creation of a body of work.
It is my intent to create evocative content through the narrative power of objects, the theater of installation, and the intimacy of the artists’ book.
As a cultural storyteller, I have created a number of installations, mixed media objects, and books that explore the personal and cultural expression of memory.
Related links and information:
Between Echo and Silence by Harriet Bart will be on view through November 4 in the Law Warschaw Gallery at Macalester College, Fine Arts Commons 105, 1600 Grand Ave., St. Paul. The closing reception will include “Soundings for Harriet Bart,” a poetry reading by Nor Hall and Rain Taxi Review of Books editor, Eric Lorberer, at 4 p.m. in the gallery on November 4. For additional information, gallery hours, and directions visit www.macalester.edu/gallery.
You can see more of Harriet Bart’s work online on her website, www.harrietbart.com, and, of course, at mnartists.org/harriet_bart. You can hear an audio interview with the artist online, recorded for KFAI’s “10,000 Fresh Voices” program by Britt Aamodt. Twin Cities Public Television’s Minnesota Original aired a profile of Bart as well, which you can watch online here.
If you’re a subscriber to access+ENGAGE (and if not, you really should be), you likely noticed something different about the look and feel of the issue that hit your inbox this morning. Since the launch of our e-mag nearly seven years ago, so much has changed — in the kind and diversity of offerings available […]
If you’re a subscriber to access+ENGAGE (and if not, you really should be), you likely noticed something different about the look and feel of the issue that hit your inbox this morning. Since the launch of our e-mag nearly seven years ago, so much has changed — in the kind and diversity of offerings available through mnartists.org, but also more generally, in the way everyone receives and engages with online news and information. And as our medium has evolved, mnartists.org’s “content platforms” have proliferated and grown as well, to meet the changing needs and preferences of all of you in the Minnesota arts community.
Currently, you can find our original essays, reviews, vast artist database, calendar and other resources via our flagship website and access+ENGAGE e-mag; but you can also engage with us and each other — here, on our blog on the Walker Art Center’s website, and through a number of social media, particularly via our feeds on Facebook and Twitter.
Offline, too, the reach and audience for mnartists.org’s events and programs have expanded in recent years: from Drawing Club on the Open Field and our Community Supported Art (CSA) program with Springboard for the Arts, to mnartists.org’s annual Field Trip festival with Silverwood Park, Northern Spark festivities with the Walker and Northern Lights.mn, and our print partnership with Rain Taxi Review of Books.
With this growth, and considering the massive website rebuild we’re undergoing (due next year!), we’ve decided it’s time to step back, take stock, and reconsider how we might serve you best. To this end, we’ve redesigned our e-mag to give the artists and arts lovers in our vibrant community a more streamlined and easily navigable entry point into mnartists.org’s riches – editorial offerings, professional artists’ resources, and engaging offline events, opportunities and programs.
You’ll notice the revamped newsletter has a cleaner, more straightforward design; it’s one we hope invites you more readily into our core offerings: the whip-smart, original, local arts journalism that’s updated weekly on the homepage magazine and in the blog; the job listings, calls for art and other creative opportunities for artists around the state drawn from our community bulletin board; and a short-list of must-see events and programs. One thing isn’t changing: At the top of every issue of the newsletter, as always, we’ll feature art work by a different Minnesota artist. Click the banner art in the newsletter, and you’ll be directed to a little profile of that artist here, on the blog.
Speaking of which, for the launch of our new-and-improved newsletter, our banner artist is photographer Mickey Smith. Smith is a Duluth native, with a Bachelor of Arts degree from University of Minnesota-Moorhead. She has received awards from the McKnight Artist Fellowship for Photography, the Forecast Public Art Affairs, CEC ArtsLink, and Americans for the Arts. Smith currently lives in Auckland, New Zealand and is represented by INVISIBLE-EXPORTS in New York.
This issue’s banner art comes from a series of photographs, Denudation, which have just been collected in a book by the same name, with text by W. M. Hunt, published this month in collaboration with Hassla Books.
Here’s an eloquent excerpt from an essay by W.M. Hunt, “Prospero’s Shelf,” included in the newly published collection of photographs:
When you move away, you see the place you’re leaving, not the place you’re going to. You look at what you will have left behind, the shell of you, the shadow. It is the photograph’s negative.
Mickey Smith’s Denudation images have a haunted quality. They are somber, depicting empty shelves and a closet, a ladder to nowhere, tied off airless garbage bags, and discarded book spines. The Wil to Win is reconsidered.
Ms. Smith’s earlier Volume and Collocations—ebullient portraits of books, individually or in groups and on shelves—were bold and graphic. What made those pictures so effective was subtext, here made explicit—a deeper, darker unseen melancholy or despair.
It is not that these works have a sense of doom or resignation to them. They act like harbingers of some transcendence. An unseen protagonist has moved on and left this behind. Prospero throws down his book and his magic, and leaves the island. Here he has literally just taken it off the shelf, and departed. The flaying or erosion of layers of life, the denudation, yield opportunity and newness.
“To regret deeply is to live afresh,” Henry David Thoreau wrote in 1839. Ms. Smith captures the plaintive and enigmatic and offers it as possibility.
Smith will be in town for a book-signing at Traffic Zone Center for Visual Art in Minneapolis, October 18, 4 to 6 p.m., 250 Third Avenue North, #308. The signing will be followed by a reception at Bev’s Wine Bar from 6 to 9 p.m., just downstairs from the gallery, in #100.
Mickey Smith will also open a related exhibition of work, her third solo show at INVISIBLE-EXPORTS in New York, late this month; also titled Denudation, the show will be on view from October 26 through December 9, 2012.
Last Thursday, August 16, Suzy Greenberg, founder of two beloved Twin Cities galleries, Soo Visual Arts Center and Rosalux Gallery, died unexpectedly. A mainstay in the Minnesota visual arts community, she was, for years, an unstinting advocate for emerging artists and a savvy curator with a loyal following, known for having a sharp eye for […]
Last Thursday, August 16, Suzy Greenberg, founder of two beloved Twin Cities galleries, Soo Visual Arts Center and Rosalux Gallery, died unexpectedly. A mainstay in the Minnesota visual arts community, she was, for years, an unstinting advocate for emerging artists and a savvy curator with a loyal following, known for having a sharp eye for as-yet-unknown but promising talent. She’s proved to be a nimble entrepreneur, too, shepherding her well-regarded storefront gallery in Minneapolis through several years of difficult economic conditions with aplomb and ingenuity.
Losing her has left the Twin Cities’ tight-knit art scene grief-stricken. There’ve been a number of moving remembrances published in local media in the last week (you can find the links below). Now, we’d like to invite you — Greenberg’s colleagues and friends, artists and fellow gallerists and curators — to share your favorite anecdotes and memories, below in the comments section.
According to SooVAC’s Executive Director, Carolyn Payne, a gathering in her honor is planned for Monday, September 10. For the event, SooVAC will show an exhibition of Greenberg’s work, curated by Lars Mason; people are also invited to come by the CC Club to share stories and memories in celebration of a life beautifully and generously lived, if far too short.
Payne says there’s no formal program planned, “This is just a time to come and pay tribute to her life and art, and to have a drink together in her memory at her longtime neighboring watering hole.”
Some related links:
- “We are grieving the loss of a dear friend and mentor, Suzy Greenberg,” Soo Visual Arts Center website
- “Storefront Vision: A tribute to Suzy Greenberg and SooVAC,” Andy Sturdevant for MinnPost.com
- “Suzy Greenberg, founder of SooVAC, dies,” Marianne Combs for Minnesota Public Radio
- “Obituary: Gallery owner Suzy Greenberg was visual artists’ advocate,” Mary Abbe for Minneapolis Star-Tribune
- “Minneapolis gallery founder dies at 44,” Mary Abbe for the Minneapolis Star-Tribune’s “Artcetera” blog
- “Rosalux mourns the loss of friend and alumnus, Suzy Greenberg,” Rosalux Gallery website
- “Soo Visual Arts Center founder dies,” Dylan Thomas for Southwest Journal
A tribute to Suzy Greenberg’s life and art is planned for Monday, September 10, from 4 pm – 10 pm, at Soo Visual Arts Center (2638 Lyndale Avenue South, Minneapolis) and at the CC Club (just down the street at 2600 Lyndale Avenue South).
For updated information as the date draws nearer, check in with the gallery website: http://www.soovac.org/
Please share your favorite anecdotes and memories, your best Suzy-stories, in the comments below.