Katayoun Amjadi is an Iranian-born ceramicist and sculptor. Her art is an attempt to understand the relationship between past and present, tradition and modernity, and individual versus collective identity, as well as to spur discussion about our understanding of time and the tangled roots of our histories.
Leslie Barlow is an oil painter whose current work employs the figure and the personal to explore race and identity, representation, multiculturalism, and "otherness." She has exhibited her work both locally and nationally, and currently teaches at the University of Minnesota and Juxtaposition Arts.
Harriet Bart creates evocative content through the theater of installation, the narrative power of objects, and the intimacy of artist’s books. Her work will be honored with a retrospective exhibition and monograph at the Weisman Museum at the University of Minnesota in 2020, as well as a concurrent show at Minneapolis Institute of Arts of her artist’s books and works on paper.
Hazel Belvo is a professor emerita at Minneapolis College of Art and Design and a mentor at the Grand Marais Art Colony. Her series of paintings, Resurrection: A Feminist Perspective, was shown at the 2017 Women’s Congress for Future Generations.
Gabrielle Civil has premiered 50 original performance art works around the world and was lead organizer for the historic “Call & Response: Black Women & Performance" symposium. She is the author of the performance memoirs Swallow the Fish (2017) and Experiments in Joy (2019). The aim of her work is to open up space.
Linda Gammell is a photographer and college instructor in media and photography. She has a deep interest in social issues, including land practices, food, gender and feminism.
Amy K. Hamlin is an associate professor of art history at St. Catherine University. In her research and classrooms, she considers the politics of representation and intersectionality in contemporary art and visual culture. She is also engaged in experimental pedagogies, art history as a social practice, and advocacy for the arts & humanities.
Shana Kaplow is a visual artist whose ink-on-paper installations play with notions of psychology, absence, global systems and furniture. She was recently an artist-in-residence at the Joan Mitchell Center in New Orleans.
Joyce Lyon, visual artist (drawing and artist’s books,) Professor Emerita, University of Minnesota, makes work relating to place (Crosby Farm Park, Wistman’s Wood, Conversations with Rzeszow) and passage (Found in Translation, Some Pages for a Book of Hours).
Diane Mullin is Senior Curator at the Weisman Art Museum at the University of Minnesota. Her scholarly and curatorial work focuses on modern and contemporary art, including gender issues in 1970s body work and changing notions of subjectivity.
Erica Spitzer Rasmussen creates handmade paper garments and small editions of hand-bound books. Her current work explores issues of identity and corporeality. She is a professor at Metropolitan State University and exhibits internationally.
Michal Sagar is the Visual Arts Department Head at Breck School in Minneapolis. She has worked in paint, encaustic, and sculpture, bringing a sense of the essential mark into these materials. In her most recent work, she draws together remnants of history—artistic, social, and personal—edging toward a new vision of untamed wildness.
Sandra Menefee Taylor is an installation and book artist whose work was recently celebrated with a retrospective and book at the Plains Art Museum in Fargo, ND.
Paige Tighe is a visual and performance artist, and co-founder of Feminist Video Quarterly. Her work Walk with Me has been performed all over the country and its artist’s book was released in 2014. She currently is working on a series of paintings and sculptures.
Dyani White Hawk is a painter and curator of Sicangu Lakota, German, and Welsh ancestry. She has exhibited her work nationally and was a 2017 Native Arts and Culture Foundation Mentor Artist Fellow. From 2010 to 2015, White Hawk was a curator for the Minneapolis gallery All My Relations.
Visiting and guest artists, critics and art historians are subject to change.