Tuesday, June 26, 2012

Farida Hughes - Painter

Soho Blue, Oil on canvas, 2012
Farida Hughes

Name: Farida Hughes
City/State: St. Paul, Minnesota
Email: frhughes@comcast.net
Website: http://www.faridahughes.com/
MNartist.org profile
Facebook page

Farida Hughes is an abstract painter with a studio in the California Building in NE Minneapolis. Her work in oil paint and watercolor on paper is shown regularly at galleries and art centers in Minnesota and nationwide. Her pieces are included in many private and corporate collections nationally, including Target, Chesapeake Capital and the Marriot and Hilton hotels. She has a BA in Studio Art/English from Fordham University and MFA from the University of Chicago. Farida is represented locally by the Nina Bliese Gallery, Minneapolis.

Night Crossing

Tell me about your work? What are you currently working on? How is this different from past projects?
My paintings are abstract, often aerial, compositions of crowds with negative space providing the architectural/natural and urban/rural boundaries through which groups move and interact. My work examines flow, human passage, collective memory and collective movement. I am consistently interested in the interactions of disparate groups or individuals and the abstracted forms they create. Negative space acts as landscape and architectural reference and creates compositional tension and balance.

Right now I am finishing up a group of paintings based on observations at street crossings and intersections. These expand on a group of small pieces completed in 2009, and are specifically inspired by the crossings of foot traffic at urban university/campus sites, bus sites, and platforms for public transportation. Some of these pieces are different from previous work because the compositions display more of a grid-like structure.

Emergence, Oil on canvas, 2011

How did you decide to become an artist?
It is something that I always knew. Creating a work of art, for me, is a problem solving experience, an intellectual exercise that builds to a kind of performance of intuitive mark-making in my studio. It is getting to the exhilaration of the finishing stages of a painting that I crave. It is hard work but also a very rewarding activity that I just keep doing over and over again.
Following Up and Down, Oil on canvas, 2012

How has your work developed over the years?
Somewhere along the road I decided to remove the figure from my work. This limitation in subject matter helped me to develop as more of an abstract thinker; I began to focus on physical space and the movement of objects in space. I am talking about real spaces in the world: landscapes, cityscapes, interiors, not the cosmos. Eventually my objects became the forms of people, groups of people, in a variety of spaces. My work now is focused on the experience of bodies interacting with and moving through spaces, and though it was not intentional, I am amused that I came back to figures in this very abstract way.

What was the best advice given to you as an artist? 
A grad school advisor told me I had to take the horizon line out of my paintings. I was painting landscapes and cityscapes but I wanted to dig deeper into human connections to their surroundings; I was developing into an abstract painter, wanting to combine the influences of abstract expressionism and color field painting which was all around me in my youth, but still work with subject matter. Removing the horizon line was a real challenge but extremely liberating.

On the business side of things, a great piece of advice was to join artist registries. Back then they were slide registries; it is much easier today with digital images and online image banks. Great advice for any young artist!

Grand Avenue, Oil on canvas, 2009

Many artists struggle to find ways to sell their art.  How do you sell your work?  How do you market yourself?
I use my website http://www.faridahughes.com/
I keep several mailing lists and send out a sort of newsletter or email invite when I have something of note going on.

I work with a couple of art consulting firms; I sell my work through commercial galleries but I also like to show at art centers, university galleries or other spaces which helps to expand the audience.  It is good to keep an online presence as well as continue to exhibit in both solo and group shows.

Who are some of the Minnesota artists you enjoy?

Lisa Nankivil  http://www.nankivil.com/

Corners, Oil on canvas, 2012

If I were to follow you around to see art in Minnesota, which places would we go? What would we see?

Walker Art Center http://www.walkerart.org/
Nina Bliese Gallery http://www.ninabliesegallery.com/
Bloomington Art Center http://www.bloomingtonartcenter.com/
Open studio events throughout the Twin Cities

In addition to www.Local-Artist-Interviews.com, where do you go online for good art resources, whether to find a new artist, or to see what is going on in the art world locally and otherwise?
Momentary Passing, Oil on canvas, 2011

Do you have any exhibits to promote in the near future?
I have an exhibition opening at the Bloomington Theater and Art Center on June 29, 2012
“Speaking of Space”, Farida Hughes and Danelle Griner
June 29 – August 10, 2012
Opening Reception Friday, June 29, 6-8pm
Artist Talk: July 19, 7pm
Bloomington Theater and Art Center
1800 W. Old Shakopee Rd.
Bloomington, MN 5543

This is a painting exhibition but it will incorporate a 3-dimensional installation in gallery space that pushes the conceptual ideas behind both Danelle’s and my work. This is the first time I have done a collaborative piece for an art exhibition and I am quite excited about that addition to the show.

Farida hughes

Bloomington Theater and Art Center

Sunday, June 24, 2012

Pamela Gaard - Painter

Portrait of Laurie and Merry
acrylic on BFK Rives, by Pamela Gaard

Name: Pamela Gaard 
City/State: Minneapolis, MN
Email: pamelagaard@gmail.com
Website: www.pamelagaard.com        
MNartist.org profile: http://www.mnartists.org/artistHome.do?rid=112219
Facebook page: http://www.facebook.com/profile.php?id=679908760

Pamela Gaard, a self-taught visual artist living in Minneapolis, MN, was educated in the sciences. For many years, Gaard made art from re-purposed and disparate materials, which she exhibited in galleries and museums across the US, in Germany, and Lithuania. Around six years ago she began to focus on portraiture as an art form.  She currently paints in acrylics, sometimes with collage elements, on paper, canvas, and found objects. Her inspiration springs from the anxieties and exigencies of everyday life, and she's intrigued by the psychology of the human gaze – what’s revealed and what’s concealed.

Secret Garden, acrylic on BFK Rives, by Pamela Gaard

Tell me about your work? What are you currently working on? How is this different from past projects?

I like the idea of inventing something new with my art. As John Cage said, “I am trying to be unfamiliar with what I'm doing.” I gravitate to different genres artistically – and, have defined my art at various times as photography, stitching, sculpting, painting, or just ‘making’. Six years back, the artwork I was making was mostly three-dimensional, and created from household detritus like bedsprings, buttons, bottle caps, and pieces of cloth.

Currently, I’m working on two series – portraits, and other small paintings. The paintings are amalgamations of memories, obsessions, beliefs, and fears. Many of the ideas in my artwork come from a rather personal place, but also, my work is often political.  My portraits are made from life in two-hour sittings, followed by additional time in the studio, when I use a photo of the model. They’re mostly people in my community – friends, neighbors, and co-workers. I’m married to the artist, Frank Gaard, and he and I often work in collaboration creating portraits in tandem -- two portraits by two artists, with the same model.

Portrait of Matt in Africa, 
acrylic on BFK Rives, by Pamela Gaard

How did you decide to become an artist?
I was born an artist, the same way that one is born with any disposition or orientation toward life. I’m, by nature, an observer and introvert. My earliest memories are of shopping for fabric with my grandmother, and ‘feeling’ the colors and designs – perhaps that explains my love for color, pattern, texture, and costume to this day. I have the eye of a detective, and the curiosity to dissect an idea, or visually identify a subtle color or hue.

What was the best advice given to you as an artist?

“Draw like you have all the time in the world.” – Frank Gaard

Portrait of Khadra, 
acrylic on BFK Rives, by Pamela Gaard

Many artists struggle to find ways to sell their art. How do you sell your work? How do you market yourself?

This is truly the conundrum about being an artist. After high school, I was accepted into art school, which I attended for one year before I discovered a disdain for arts in academia. So I’ve made a living with my science degree and credentials.

I’ve made my art for pleasure, more than with a specific intention to sell. But, I have sold some of my portraits – in fact, most of my recent sales have been portraits. There’s no obligation to buy anything when you come to sit, but, some people do want to buy their portrait. Also, I’ve made art on commission. People who come to the house (our home/studio) to sit for portraits see a selection of works on the walls, and some end up buying artworks other than their portrait. I have developed a web album on Picasa for
my portraits.

How do you reconcile being both an artist and a scientist?
I’ve struggled with that at times, especially when I had a third ‘job’ – as a single mother. My other roles have influenced my art, in the sense that art reflects one’s knowledge, intellectual curiosity, and understanding of the world. My public health work for the past six years has brought me into the large community of Somali elders living in Minneapolis, who are mostly non-English speakers.  As I learn about East African cultures, I’m also learning to speak Somali language, and about Islamic art. You’ll see these influences in my art, as in some of the portrait backgrounds based on Islamic designs.

Mogadishu Calling Minneapolis, 
acrylic collage on BFK Rives, by Pamela Gaard

Say more about the portrait collaboration between you and Frank.

Frank and I view different sides of the model– one of us sees the intellectual side, and the other sees the emotional side. We have made portraits together for the past five years and have exhibited them in several venues, including the Walker Art Center and CO Exhibitions. We both paint in acrylics (and sometimes collage) on BFK Rives – Frank’s portraits are twice my size at 44” x 29”; mine are 29” x 22”. There are stylistic differences, and sometimes they are consciously or unconsciously cross-referential. We have a page on Facebook where we post our double portraits.

Who are some of the Minnesota artists you enjoy?

Judy Onofrio
Jim Denomonie
Paul Shambroom
Petronela Ytsma
James Michael Lawrence

Dual Portrait of Sean, by Frank and Pamela Gaard, 
photo by Pete Driessen

If I were to follow you around to see art in Minnesota, which places would we go? What would we see?

At Minneapolis Institute of Art, we’d see the fabulous bronze leopard from the Benin Kingdom, the Nick Cave sound-suit, and a few other gems.
At the
Walker Art Center this time of year we’d visit the Sculpture Garden; I’m also looking forward to seeing the Cindy Sherman exhibit this fall.
Also, our fabulous flower gardens which are the embodiment of art – the
Como Park Conservatory, the Lyndale Park Peace Garden, and the Lake Harriet Rose Garden.

In addition to www.Local-Artist-Interviews.com, where do you go online for good art resources, whether to find a new artist or to see what is going on in the art world locally and otherwise? 

Gypsy Art Show

Self Portrait as Miss Perception (picture of the artist), 
acrylic collage by Pamela Gaard

Do you have any exhibits to promote in the near future?
Update May 2013:

Susan Hensel Gallery (3441 Cedar Ave S, Minneapolis, MN 55407) through June 24, 2013.  Read her Splash Magazine review.

Past Exhibits:
TuckUnder Projects is exhibiting our tandem portraiture in the exhibition ~ Pamela & Frank Gaard/Dual Portraits.

Pamela & Frank Gaard/Dual Portraits opens at TuckUnder Projects

Thursday, June 28, 2012 6-9 pm. 
The exhibition runs June 28-July 29, 2012, with unstructured hours Wednesday through Sunday, and by appointment. 

Please email info@tuckunder.org to confirm open hours. TuckUnder Projects is located at 5120 York Avenue South, Minneapolis, MN, USA 55410. 

For further information visit the Facebook event page or www.TuckUnder.org.

Thursday, June 21, 2012

Dona Schwartz - Photographer

Kristin and Ryan - 18 Days
Dona Schwartz

Name: Dona Schwartz
City/State: Minneapolis, MN
Email: dona@donaschwartz.com
Website: www. donaschwartz.com
MNartist.org profile: http://mnartists.org/artistHome.do?rid=10434
Facebook page: https://www.facebook.com/donaschwartz

Dona Schwartz is a photographer whose work explores everyday life and culture. She earned her PhD at the Annenberg School for Communications at the University of Pennsylvania, specializing in visual communication and ethnographic research. In addition to working as a photographic artist, she is a scholar and an educator. Among her academic publications are two photographic ethnographies, Waucoma Twilight: Generations of the Farm (Smithsonian Institution Press, 1992) and Contesting the Super Bowl (Routledge, 1997). 

Her photographic monograph, In the Kitchen, was published by Kehrer Verlag in 2009. Her award-winning photographs have been internationally exhibited and published, and her work is included in the collections of the Museum of Fine Arts Houston, the Musée de l’Elysée, the George Eastman House, the Harry Ransom Center, the Portland Art Museum, and the Kinsey Institute. Born in Philadelphia, PA, Dona lives in Minneapolis, Minnesota. She is Associate Professor at the School of Journalism and Mass Communication at the University of Minnesota.

Andrea and Colin - 11 Days

Tell me about your work? What are you currently working on? How is this different from past projects?

My current project is called On the Nest. It's a portrait project about two transitional moments in the family life course: the transition to becoming a first time parent with the birth of a first child, and the transition to an empty nest when children have all left home. I find these two moments fascinating because they are filled with changes in identity, daily routines, and social interactions. They are moments when we stand at a threshold of the unknown, bracing for what comes next in our lives. Another thing I find especially interesting is that in our culture we approach these two significant moments in quite different ways. We have invented rituals and routines that mark our transition to parenthood, but we don't formally observe or celebrate the transition to an empty nest. There's no script that helps us make the journey from everyday parenting to the next phase in our lives. And so it's a bumpier, less well-defined passage from one state to the next.

In earlier work, In the Kitchen, for example, I took a more spontaneous "decisive moment" style shooting approach, and that's the way I have photographed most of my life. I have always been extremely interested in human behavior and social interaction, and my approach was well matched to the kinds of questions I was asking. Photographing people in the act of being themselves is a hallmark of my practice. With On the Nest I moved way outside my comfort zone as an image maker. But as with all my projects I choose the approach that fits the ideas I am exploring. I'm not married to particular ways of making pictures--I'm married to visual exploration. InOn the Nest I swapped my 35mm for large format, digital for film, spontaneity for formality. It slowed everything down and it made me very deliberate about constructing visual representations. I've learned a ton about a lot of things doing this work.

Chris and Susan - 7 Months

How did you decide to become an artist?

My mother was an artist and she taught me to draw and paint. But as a teenager I needed to strike out on my own so I swiped her 35mm camera and started making my own kind of pictures. For a while we lived across the street from the Philadelphia Museum of Art and I would make regular pilgrimages to see what photographs they were showing--usually work from the permanent collection. I was particularly inspired by Andre Kertesz, and especially by his visual wit. When I got to college I discovered an interdisciplinary area of study called visual communication. Actually it was such a new approach the scholars involved were pretty much making it up as they went along and that was exciting and seductive. I become so fascinated by studying pictures of all kinds that I chose to become a scholar so I could continue studying images throughout my career. Then I was hired as an assistant professor at the University of Minnesota, to invent and teach a curriculum in visual communication in the School of Journalism and Mass Communication. That was an exhilarating challenge to embrace! My earliest teaching and research focused primarily on photography's history, traditions and uses. 

But I couldn't put down my camera! I needed to reintegrate making pictures into my repertoire. So I started doing research with photography, doing ethnographic field studies employing photographic research methods. My first book, Waucoma Twilight: Generations of the Farm, exemplifies the approach I was taking at that time. But I soon became dissatisfied with the way I was working, for two reasons. 

First, academics are expected to write about what they research and my pictures were taking a back seat to the writing I produced. They were poorly reproduced and overwhelmed by the written context I needed to provide. It was frustrating because readers were treating my pictures as illustrations of the points I was making in writing, while I saw the pictures as equal players. 

Second, I wanted to make more pictures and all that writing was getting in the way. I realized this after my second book, a collaborative project called Contesting the Super Bowl. It was great fun to shoot but when it came time to do a book I was back in the library and at the computer doing the research and writing to "support" the pictures. I completely enjoyed putting it all together, but I wanted to be back in the field shooting long before I got there. 
That led me to make a change and do my social explorations as a photographic artist--photography first, photographs to tell the story, photographs to create the context, photographs to make the point. 

Now my research comes out in pictures and when/if words accompany them the words are the supporting players. My most recent book, In the Kitchen, exemplifies the way I do things now. It's all about the pictures and the ideas they allow me to express. My unusual background and trajectory give me a distinctive voice, and I am as excited as ever to use it!

Kevin and Bobby - Waiting to Adopt

What was the best advice given to you as an artist? 

Trust your audience.

Many artists struggle to find ways to sell their art.  How do you sell your work?  How do you market yourself?

I'm much better at making art than selling or marketing it. I know it's frowned upon to say so, but my job is to make the pictures. That's what I'm good at. I'd prefer to leave the marketing to someone who knows what they're doing, is good at it, and enjoys doing it.  

Who are some of the Minnesota artists you enjoy?

JoAnn Verburg's work is very exciting to me. It pushes boundaries and makes me think.

Beth Dow's work is smart and amusing. I like photographers who have a sense of humor.

Monica Haller's work is challenging and important.

Cori Peplnjak's work always amazes me.

Christina and Mark - 14 Months

If I were to follow you around to see art in Minnesota, which places would we go? What would we see?

I see art in everyday life. It's not where you go, but how you look at what's right in front of you. I also go to the Minneapolis Institute of Arts, The Weisman, and the Walker to see institutionalized art.

Jean - 2 Years

In addition to www.Local-Artist-Interviews.com, where do you go online for good art resources, whether to find a new artist, or to see what is going on in the art world locally and otherwise?

I am a random web searcher/consumer and go many places to look for new work. Galleries, festival announcements, email digests. It varies day by day. I wish I had the time to be more systematic. My strategy has been to sign up for emails from galleries, museums, book and magazine publishers in the US and abroad that present work that interests me. And my Facebook friends keep me apprised of new and interesting work--often it's work they are producing themselves. There's always more than enough to see and read. To give you an idea, some of the emails in my inbox right now are from:

Foam Magazine
Minneapolis Photo Center
Guernica Magazine
Blue Sky, The Oregon Center for the Photographic Arts
Impressions Gallery
The National Portrait Gallery (London)
Harry Ransom Center
Peabody Essex Museum
International Center of Photography
And that's just a sample--a snapshot. My inbox provides a wealth of information and an organizational nightmare. Thank goodness for the search function.

Dona Schwartz

What can we expect to see from you in the future?

Altered Esthetics
"Collecting Evidence"
7/6/12 - 7/26/12
Opening Reception:
Friday, July 6th, 7pm-10pm
Artists’ Discussion:
Saturday, July 21st, 1pm-3pm 

Also, I will be finishing On the Nest this coming year. There's still time to participate in the project if you're a recent empty nester (1-5 years) or expecting your first child. Just email me. (Know anyone expecting twins or more? I'd love to include them in the project.) 

A book and exhibitions are on the horizon.

Altered Esthetics 
"Collecting Evidence"
Featured Artist
Dona Schwartz

Tuesday, June 19, 2012

Beth Parkhill - Fiber and Assemblage

Self-Portrait 2011 (Close Up)
Beth Parkhill

Beth Parkhill
Mpls, MN
MNArtists Profile

Bio~ I am a self-taught fiber and assemblage artist. As a co-founder of Outsiders and Others, a Minneapolis gallery, we featured 400 artists in 4 years (primarily self-taught). When I’m not creating art, I’m working to build a thriving community for social entrepreneurs though Mentor Planet.  Recently, I have been working to foster cultural exchanges between Minneapolis and our sister city of Tours, France.  I live part of the year in small wine making village in France.

Tell me about your work? What are you currently working on? How is this different from past projects?
I’m compelled to tell stories and engage the viewer to think about their own lives through myths, masks, or memories, which are often self-portraits. I create highly textured objects, collages, books, blankets and clothing using multi-fiber yarns or reused materials, often using natural or synthetic dyes.  Most recently, I have been exploring natural dyes and rust. 
My current project is titled, Money Bags, which was created specifically for the show: Medium of Exchange: The Art of Cash It is another self-portrait. While it is also sculptural, it differs considerably.  My 2011 self-portrait was a crocheted spiral, with memories from the decades woven in. Money Bags is a series of self-portraits, an assemblage of highly diverse objects, which represents various stages of my life.  
Money is so personal and yet how we spend it has huge repercussions on society and the environment.  I didn’t want to criticize anyone directly about how they spend their money. Instead, I wanted to show my own evolution, what I spent money on at different times in my life. Each purse shows what I valued at that point in time, which I hope will encourage the viewer to think about what they value, what they buy, and what they might reconsider.  I hope they will think about social issues, such as the difference between the haves and have-nots, healthy food, male or female priorities, the environment, etc.  
Money Bags isn’t literal; rather, it is both a minimalist view and exaggerated view.  Five purses are filled with samplings or representations of my purchases.  In my very lean teenage years, as the oldest of 7 in a single-parent family, I still find it surprising that I “found” any money and what I perceive now to be the humorous things I purchased: Coke, Snickers bars, jewelry and push-up bras, and pacifiers for my baby sister (who was 16 years younger than I was). There are personal references too, which only someone who knew me would notice, such as featuring my employers — Dudley Riggs Brave New Workshop or Northwestern National Bank. My teen years were understandably vastly different from my high-achieving career days, though in some ways my spending habits were even more ridiculous.  You can judge for yourself when you see my enormous overflowing briefcase.
Money Bags: Teen Years

The last purse is aspirational, which portrays the shift I’m undertaking. Crocheted from discarded plastic bags, it’s filled with more sustainable choices and a lifestyle of reusing or “upcycling” before recycling. We don’t always realize that our individual purchases have such a significant collective impact. As “consumers,” we drive roughly 70% of our economy.  Of course, this means I’ve been part of the problem; so I have no right to criticize others.  But I can use art to help people better understand that with every dollar they spend they vote for the society we have.  I hope Money Bags will encourage more conversation.  I hope they will talk about the relative worth of 24/7 workdays (my former lifestyle) and ever increasing levels of consumption.  Perhaps some people will think about taking action toward a greater sense of community, individual and global happiness.  That has been my journey, from poverty to wealth, from immediate family to global community, from bank marketing consultant to social enterprise mentor. Money Bags is my self-portrait, revealing all of my conflicting views and actions; but it less about me, and more about us.
How did you decide to become an artist? 

I’ve always been a collector of sorts (fabrics, yarn, papers, books, and art), inspired by my beatnik mother and her collection of music, books, art, old hand tools, etc. In the early 1960s, we decorated the Christmas tree with nothing more than our handmade origami. In the late 1960s, our kitchen ceiling was a co-created collage made from current magazines, featuring covers of Time or Life with Jimi Hendrix, Bobby Kennedy, and other icons. For decades, I experimented with knitting, sewing, and collages.  More recently, I experimented with found object mobiles, collages from candy wrappers and junk mail (called mail art in France), knitting with reclaimed yarn, and using rust scraps to dye used clothing.  My 89-year-old mother-in-law is one of my mentors, teaching me fiber-arts and shibori fabric-dyeing techniques.  We worked together at the MN Textile Center and my studio in France. 
In 2001, I co-launched the Visible Fringe, and later co-founded and co-managed Outsiders and Others.  I was constantly being influenced and inspired by our artists.  My co-founder, Yuri Arajs, encouraged me, in-part because of his devotion to self-taught artists. One of the artists, John Schuerman, kept encouraging me think of myself as an artist; so we started collaborating.  When John curated the Self-Portrait Show at Hennes Gallery last year, he offered me the opportunity to be in my first show.  Starting off with a self-portrait was quite intimidating because it was more intimate and demanding than just creating something aesthetic.  I had a hard time trying to decide how much of myself to reveal. I was fortunate to receive a great deal of positive feedback about my self-portrait, particularly because there were so many exceptional artists in the show.
Zipper Shibori
What was the best advice given to you as an artist?  

The best advice was to find my own voice and to have confidence in my unique viewpoint.  Having seen so many accomplished artists and crafts-people, it was difficult to believe that I had something new to say, particularly as a self-taught artist. 

Seeing the value in everyone’s perspective is one thing; but to believe you have something that is worth saying requires both ego and humility.  We’re all influenced by the world around us, so it naturally directs our voice, our art.
Many artists struggle to find ways to sell their art.  How do you sell your work?  How do you market yourself?  

I have not yet started selling work.  I am creating more work from found objects and recycled materials, which I will plan to sell work on Etsy.
Red blanket (close up)
Who are some of the Minnesota artists you enjoy?
This is a very long list.  Here are just a few:

John Schuermanhttp://www.schuermanfineart.com/
Nick Harperhttp://www.roguebuddha.com/artists/nicharper.html
Karen Searlehttp://karensearle.com/
Barbara Gilhoolyhttp://www.gallery360mpls.com/galleries/bgilhooly/index.php?name=bgilhooly
Dick Brewerhttp://www.dixplexia.com/
Virginia Corrick, my mother-in-law, who was recognized by the MN Textile Center.  Unfortunately, she does not have a website.
If I were to follow you around to see art in Minnesota, which places would we go? What would we see?  

My interests vary widely; it is difficult to know where to stop:  
Intermedia Arts, visual arts and performances from diverse communities http://www.intermediaarts.org/

Franconia’s large-scale contemporary sculpture, http://www.franconia.org/

Open Book’s hand-made books and papers, http://www.openbookmn.org/

MN Textile Center’s diverse fiber artists: fabric dyeing, weaving, knitting,

Interact’s self-taught visual art and theater, http://www.interactcenter.com/

Gallery 360’s wide-range of visual art, jewelry, clothing, etc., http://www.gallery360mpls.com/

Flanders’ contemporary fine-art, http://www.flandersartgallery.com/

Banfill-Locke’s diverse contemporary art, http://www.banfill-locke.org/

Cowles Center for eclectic dance, http://thecowlescenter.org/

The Minnesota Fringe Festival for over 100 performances, http://www.fringefestival.org/

Mixed Blood for diversity-focused theater, http://www.mixedblood.com/

The Dakota for world-class jazz, blues, folk music, http://dakotacooks.com/

The Cedar Cultural Center for diverse/global music, http://www.thecedar.org/

Bunkers for Dr. Mombo’s Combo, http://www.bunkersmusic.com/

Shepard’s Festival for their once-a-year spinning, knitting, felting and more, http://www.shepherdsharvestfestival.org/New_Site/

Art-A-Whirl’s annual visual artist event and many of the studios that are open all-year, http://nemaa.org/art-a-whirl

Ballet of the Dolls for dynamic, theatrical dance, http://www.ritzdolls.com/

Northern Clay for pottery of all types, http://www.northernclaycenter.org/

Shibori shawl

In addition to www.Local-Artist-Interviews.com, where do you go online for good art resources, whether to find a new artist, or to see what is going on in the art world locally and otherwise? 

I often rely on other artists to recommend exhibits, informal shows, or studio visits.   Other resources:

Marya Morstad, host of Art Matters, https://kfai.org/user/1502
Andrea Canter’s jazz blog, http://jazzink.com/

Beth Parkhill

What can we expect to see from you in the future? 
I will continue to create self-portraits, collage, memory boxes, masks, found object sculptures, naturally dyed clothing, and art books with myths.  

Do you have any exhibits to promote?
Banfill-Locke Exhibition to Show You The Money
“Medium of Exchange: The Art of Cash”
Dates: June 22 – August 4 Opening Reception:  Friday, June 22, 6 - 9PM

Featured Artists: Alexa Horochowski, Caitlin Karolczak, Eric Lunde, Karen Searle, David Bartley, John Ilg, Rachel Breen, Beth Parkhill, Rob McBroom, Pete Dreissen
Curated by John Schuerman  


6666 East River Road
Fridley, Minnesota, 55432

Phone: 763-574-1850
Fax: 763-502-6946
Email: mailto:info@banfill-locke.org%20