Michelle Lee - Printmaker

"A Ghostly Reminder" - Screenprint

Michelle Lee

Name: Michelle Lee

City/State: Minneapolis, MN

Email: michelle@angrypeanut.org

Website: www.angrypeanut.org

MNartist.org profile: www.mnartists.org/Michelle_Lee

Bio~ 

I discovered screenprinting while earning my Post-Baccalaureate Certificate in graphic design at MCAD. I just fell in love with it. Now, I screenprint and do some relief and letterpress printing. For my day job, I work as a book designer at Free Spirit Publishing, and I feel so lucky to have a creative job. I also teach in the Continuing Studies department at MCAD (I'm the teaching assistant for the Open Edition Printmaking Seminar and I teach the "Digital Goes Analog" class). I've also taught several DIY screenprinting workshops. My work has been shown locally, but mostly I like just making it and giving it away!

"Cornfed" - Screenprint

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

I'm a printmaker who focuses primarily on screenprinting, though I've been doing more relief (linoleum cut and letterpress) lately as well. I try to have several projects going at once, and I work on things that make me happy, or inspired, or angry. If there's no emotion behind it, there's no drive to get the work done! I recently finished a signage series, where I photographed lots of signage and screenprinted each one small, in kind of a postcard style, with a similar palette and a lot of detail. 

Right now I'm working on a "Perfect Moments" series, which are somewhat-degraded photographs of the moments in your life when you're supposed to be happiest, but when that pressure is often enough to make it quite the opposite experience. This work is fairly different from the signage pieces because the "Perfect Moments" are brightly-colored and also more abstract. 

I'm also starting to work much larger, and my three new bike pieces, "The First Commute of Winter," "You Spin Me Right Round," and "A Ghostly Reminder," are my first forays into large prints. ("You Spin Me Right Round" uses 7" records in the print, which is something I'd like to do more often.) I'm planning a few more large prints to be completed soon. Working large is such a different experience—since I pull all my prints by hand, it uses different muscle memory and different techniques. It forces me to work in new ways, which is good.

Finally, I'm trying to do more drawing-based screenprints and loose screenprints using tools like waxed paper for quick and abstract stencils. This is pretty much the opposite of my highly detailed, controlled signage work and it's a lot of fun.

"Perfect Moments Series: Birthday," screenprint

How did you decide to become an artist?

I think I was about 5 or 6 and drawing with my grandfather... some of my favorite childhood memories were of making art with him. As far back as I can remember, I've always known I'd pursue visual art in some way.

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

"This isn't working. Start again from scratch." 

When I was in design school, this was advice given to me by an instructor 2 days before a major deadline. Frustrating to hear at the time, but it turned out to be fantastic advice! Today, if I'm futzing and futzing with a piece and can't get it to work, I'll still often scrap it and start over. I sometimes take a deep breath and advise students to do that as well.

"Tomatoes: Before and Tomatoes: After" (diptych), screenprint

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

Can "badly" be an answer here? :) Honestly, this is something I need to be better about. Most of my marketing comes from word of mouth and having some of my work in local galleries like Altered Esthetics. When I was in the State Fair art show last year, that was terrific for many reasons, one of them being marketing. I also have small work (like cards) at the Grand Hand Gallery and Design Collective, which is really fantastic - I like those stores a lot. Sometime soon, I also want to put some small work on Etsy.

How do you come up with ideas for your work?

For some reason, being in motion is a great idea generator. I tend to come up with my best ideas while riding my bike. The lightrail or city buses can also be great places to come up with ideas and sketches for projects. If I'm ever stuck, I'll typically take my bike out and ride until I come up with a solution!

"First Commute of Winter" -Screenprint

What's inspiring you right now?

Bikes and gardening. I know, I know, everyone's thinking about those things now that it's spring, but I've been planning out my garden in InDesign since January!

Who are some of the Minnesota artists you enjoy?

You know, I'm always getting inspired by local artists, but I'm terrible with names! Some of the artists who have a large body of work that I love are Aesthetic Apparatus (aestheticapparatus.com), Amy Rice (www.amyrice.com), and Faye Passow (www.fayepassow.com), whose very witty works always make me laugh. I'm often inspired by work that the Continuing Studies printmaking students at MCAD produce, too.

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

We'd start in the Warehouse and North Loop Districts of Downtown Minneapolis, looking at all the old signage, especially the old hand-painted, partly-faded signs on the brick facades. I know it's not "technically" art, but being a graphic designer, I absolutely love old signage. The old hand-painted fonts are incredible, and the textures they have when they're old and peeling are so compelling!

From there, we'd stop at the Minnesota Center for Book Arts (www.mnbookarts.org), where there's always certain to be something amazing in the display case and the gallery. We'd have to make a stop at the Minneapolis Institute of Art (artsmia.org) to look at the screenprints and Japanese art. As long as we were in South Minneapolis, we should definitely look at all the murals, especially in the Corcoran neighborhood. We'd swing through Northeast to check out some of the small galleries (like Altered Esthetics, www.alteredesthetics.com), and if there was time, we'd drive out to some old small towns in rural Minnesota to check out the old buildings and old signage there. And then we'd be tired.

"Don't Mourn, Organize!," screenprint

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? 

My consumption of the Internet can be kind of random, but here are some sites I use:

www.mnartists.org

www.printmag.com

www.mnbookarts.org

mapcblog.wordpress.com

. .. and I hate to admit it, but facebook.com

Michelle Lee

Do you have any exhibits to promote in the near future?

I'll have one of my new pieces, "A Ghostly Reminder," at the Altered Esthetics Bike Art VII show in June. The opening is June 1, 2012.

I also had some work in the Casket Arts Building during Art-A-Whirl in the Vesper College space.

I'll have work in an upcoming exhibit at the Minnesota Center for Book Arts titled "Under Pressure," too. The dates aren't set in stone, but it should be in the late summer/early fall.

Michelle Lee is the Altered Esthetics 

Featured Artist for "Bike Art Vll"

Opening Reception:
Friday, June 1, 7pm-10pm
Artists’ Discussion:
Saturday, June 16th, 1pm-3pm 

2010 Art Attack Featured Artist - Berry Holz

Art Attack Special Featured Interview

This weekend, November 5-7, 2010 is the annual Fall open studio extravaganza in NE Mpls. Hundreds of artists will be opening their studio doors to the public with what is, essentially, their own one-person or group exhibits. It is really amazing to see so much quality art in one section in town. The event was started in the Northrup King Building but has spread throughout NE Mpls. Exhibiting as a guest artist in Karin Jacobson's studio (NKB #288) is this week's featured artist, Berry Holz.

Berry Holz
berry.holz@gmail.com
http://www.berryholz.com/
http://berryholz.blogspot.com/
http://www.mnartists.org/artistHome.do?rid=90422

Bio:
Berry Holz grew up in Norseland, outside of St. Peter, Minnesota. She studied art history & design at the University of Minnesota and has worked as an interior designer at Twin Cities architecture firms (and for IKEA for a spell) on and off ever since. Self-taught as an artist, her outside-of-architecture-interest turned to acrylic and collage a few years ago. That way of working lead to the process she really likes, & works in now - a low-tech reverse stencil method done with spray paint and layered positive-image stencils.

~~~

What are you currently working? How is this different from past projects?
I’m working on a children’s product for Magnetic Poetry – Sets consisting of fold-out background scenes on which repositionable stickers can be moved around in a playful manner. The first sets will be On the Farm, In the City, On the Moon and At the Beach. This has been really, really fun to work on. It’s different for me to get to think about all the things on a farm & make them, then get coached (by Jay Orff at Magnetic Poetry & my sister, Lorie) as to things I might not have thought of.

Having the background done, then just make these other little, more ‘everyday’ things has really made me feel like continuing to think about (and by that I mean painting) those everyday things. Working on an illustration project and getting to see the way art is turned into a mass marketed commodity, manipulated to hit a price-point is eye-opening, too.

Some commissioned pieces for a birthing center in St. Paul are also in the works. At this time last year, I didn’t feel able to do commissions; for some reason I felt really constricted & unable to produce what someone wanted right then and there. Something has shifted, and I hope no one hates me because I now can do it, but then I couldn’t.

You have described your work as a low-tech reverse stencil method of painting. Can you tell me more about what that means?

People have told me it’s more easily explained when likened to batiking or Ukranian egg making – Masks, vs stencils. First, I draw it out on the paper backing of a sticky-back material, then cut the image out. I then spray the color of the thing I want foremost in the foreground and let it dry. Next thing is the shape of the thing(s) closest to you, positioned & stuck down on the board. Paint another color; add the next closest layer of shapes. Keep on going with color/masks until the end, when all masks are peeled off. It’s confusing to talk about, but sort of simple in execution. It gets a little crazy when working on intricate things, like a human person. You have to get the eyes down first, THEN the face, if you want the face to have any eyes.

How did you develop your process of working?

Doing a collage about 5 years ago, a paper goose that I’d glued down peeled off due to way-too-wet-of-paint slopped all over it. I started bringing home scrap vinyl to cut up & peel off from my (then) job in the Communications and Interior Design department at IKEA, and spray paint was the answer to ‘how can I stop making this whole thing all wet with paint?’ Spray paint: I love what can be done with it.

What is the usual size of your work? Any murals in your past or future?

Traditionally I’ve done small-to-medium sized things, on plywood or hardboard (because the plywood we’re seeing these days sure is warpy). I’m trying some bigger things right now & if it weren’t for space constraints (I spray paint outside, so 3X7 door openings always bar doing anything truly big) I would be doing it more. Doing something way over one side, different than something way over on another side; I like it. From that you can guess that I think a mural would be cool to work on, but I feel like I’d have to move in to get it done right.


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

These questions are hard. Instead of answering, I will relate to you a tale of something that ‘happened’ to me lately:

At SpotArt http://www.spotart.org/ for a show, Ethan Arnold http://www.foureverwest.com/ started talking to me about what paint I use, etc, etc, which led to a session starting with a field trip to Fifth Element to buy All Kinds of spray tips, none of whose existence I even knew about before then. [This is significant not only because of the fact that it happened, but also because spray tips Always Clog Up, and I was down to a very few per paint brand] Then we went & experimented around with all of them in the back (garage) of Intermedia Arts, where he’s working on (exterior & interior) murals.

It was intimidating – I’m a pretty tight worker who likes a certain amount of control over what I’m doing, and now I’m suddenly emptying out a paint can with the fattest-spraying tip you could imagine, without the aid of my pre-planned, sketched-up and cut with-a-fine-edge masks, in front of a painter whose work I really like and who I’d met only once before? That’s not really me, but I can tell you that I felt like a billion dollars after it happened. And even if my paintings aren’t showing it yet in the form of looking very different from how they usually look, it’s easier to get what I want out of the materials I love working with, and that’s really something. And someday they might look different.

After writing that down, here’s an answer: Yuri Arajs told me to go to shows all the time, every weekend, even if you don’t want to. This kind of thing can’t happen otherwise. It’s so easy to hide out, but if you hide out, you don’t get to see great things. Most of us are prone to hiding out.


What role does your education and training in your art?
I’m an interior designer by trade. I was an Art History minor, but never finished. I got very into the history of the design of decorative arts when I was at the U of M. Good design of useful things is beautiful. The only post-secondary art class I’ve finished was intro to art. I suppose the technique I’ve latched onto came about because I couldn’t make other methods work the way I wanted them to?

Which Minnesota artists do you enjoy?

Charles Beck, http://www.mnartists.org/artistHome.do?rid=171835

Mary Lingen, http://www.mnartists.org/artistHome.do?rid=11549

Matthew Madson. http://www.mnartists.org/artistHome.do?rid=22965

I like the spray painters of course, & also of course.

Jennifer Davis http://www.jenniferdavisart.com/

Amy Rice. http://egg-basket-full-of-hollyhock-dolls.blogspot.com/

Tia Keobounpheng, http://silvercocoon.com/

Karin Jacobson. http://www.superkarin.com/

My brothers & sister - in particular my brother Nick Pyper-Holz (http://www.mnartists.org/artistHome.do?rid=276502), whose ability to draw anything he wants to has always made me jealous.

Nick Pyper-Holz's robot

Who doesn’t feel like a heel for forgetting about the millions of those they’re missing when answering this question? It’s pretty incredible, the amount of stuff that’s made around here that we’re lucky to get to see.

If I were to follow you around on an “art day” in Minnesota, which places would we go? What would we see?

We’re riding our bikes: The Birchwood for breakfast, West River road between Franklin and Lake, The Swedish Institute, the period rooms at the Institute (MIA), Magers & Quinn art book section, Suite 435 (Jewelry) at Northrup King, Robot Love, Danish Teak Classics, columbarium at Westminster Presbyterian, concrete wall at the parking garage at the Walker, Jenny Holzer’s benches at the sculpture garden, particularly this one:

Quote:

"THERE'S NO REASON TO SLEEP CURLED UP AND BENT. IT'S NOT COMFORTABLE, IT'S NOT GOOD FOR YOU, AND IT DOESN'T PROTECT YOU FROM DANGER. IF YOU'RE WORRIED ABOUT AN ATTACK YOU SHOULD STAY AWAKE OR SLEEP LIGHTLY WITH LIMBS UNFURLED FOR ACTION."


What was the last local exhibit you saw and what were your impressions?

Spotober at SpotArt – Scotty & Carissa are so great at putting shows together, & are so good at giving local artists a leg up.

Nick Howard http://nickhowardart.blogspot.com/

& Bridget Riversmith, http://www.redrabbitriversmith.com/

two of my favorites – I went back & deleted them from two questions up to mention them here – are part of that show; it’s up until mid-November.

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?

Giant Robot, Souther Salazaar, Design Sponge, the Sartorialist, Design Rookie, Supermarket Sarah, Kinokuniya Boy, I don’t even know – you wind up linking & linking through all kinds of things.


How do you incorporate your blog, Facebook, and other social media/internet resources into your life as an artist?

Apparently by never updating anything, or paying attention to anything that goes on on the internet at all. Not the greatest in the world at social networking. I get queasy at the thought of posting anything, but I try to muscle through & keep my blog updated & post shows & the like on facebook, even though I feel like I’m bothering everyone with it. The online world of networking feels all mixed up: Personal/social/business all in one big messy mess.

My brother Nick designed my website; I really like it and don’t feel like messing with that.

Do you have any exhibits or any interesting things going on in your life or coming up in the near future?

After Art Attack, where Karin Jacobson is having me as a guest artist in her studio (Northrup King #288) , I’m working on more things for my first solo show ever, which will be in my hometown at the Arts Center of St. Peter. (http://www.artscentersp.org/) I’ve been working on things for it for a while now, but am excited to concentrate. That, and some holiday things for I Like You ( http://www.ilikeyouonline.com/) – Fun, fun, fun!

Contact LAI to become a sponsor

( localartistinfo@gmail.com )

Lindsy Halleckson

Lindsy Halleckson

lindsy@dangerpro.com http://www.dangerpro.com/

Bio~
As an emerging artist, I have consigned paintings at various galleries in the Twin Cities, Seattle, and Philadelphia, and have shown my work in exhibitions in Minnesota, Iowa, New York, and Washington State. Also, as an advocate for the arts, I have worked in fundraising and membership for the Walker Art Center, Minneapolis Institute of Arts, and Ordway Center.
Although my painting has been largely abstract, I am moving towards creating work that poses a more direct statement. My recent work is based on camouflage as a symbol of our struggle for survival in a time of personal economic uncertainty, cultural shift, and political transformation. Camouflage not only equates to function, adaptation, and evolution but depicts survival in my art, life, and culture as well.
The progression of my work draws on my increasing desire to live an environmentally sustainable life and become intimately and consciously involved in nature. I now strive to create works that explicitly convey environmental commentary.

What interests me most is creating objects that are visually beautiful but have a slight hint of something crude or disturbing. I aim to create this discomfort as an invitation to action.


Your paintings are typically created as part of a series. I am familiar with your Clash Series, and, more recently, your Camouflage Series. Tell me about the origins of these projects.

• My series always have some form of meditation on science. In my Clash Series, I wanted to represent tones of music with color. More specifically, I wanted to represent the dissonance in clashing notes with vibrating edges of clashing colors. When two colors that are slightly off-complimentary are paired together, their edges seem to vibrate. After I painted with this idea for a while, the paintings seemed to turn into color studies. I am completely obsessed with color, so I painted hundreds of small 6” paintings with this Clash theme and other themes started to emerge.

• The Camouflage Series came when I got somewhat color saturated with the Clash Series and wanted something new. My mom had given me these chunks of cedar paneling that had been taken out of someone’s closet. I decided to try out epoxy resin and see if I could layer paint and create some sort of shiny effect that incorporated the wood grain. After a couple trials, the painting started to look like military camouflage, so I researched the history of how artists developed military camouflage, made contacts with some professors and researchers who study natural camouflage and evolution, looked at different styles of camouflage around the world, and began to think of camouflage as a symbol for survival.

Do you find working in a series to be liberating or confining?

• Sometimes I feel like I don’t stick to a series enough, but for me, working in these series has helped me develop specific skills and a critical eye. It’s funny- now I feel like I’m really good at dragging a knife across a surface, making an interesting mark, and pairing evocative colors. Working in a series enables you to truly explore an idea and live in it for a while.

• At the same time, I really want to try everything. I have a ton of ideas that I’d love to work on simultaneously, but I know that I should focus on just a few ideas at a time. I’m terrible at finishing projects and great at starting them, so I really need to focus on seeing things through. I try to keep a notebook of ideas and sketches of things I want to work on when I have more time.

I hear that you have started working with sculpture and installation. Why?

• Over the past year or two I’ve been seriously focusing on getting back to being creative and having fun. During the economic meltdown, I was so focused on making work that people would want to buy that I forgot to really focus on and enjoy the work. I felt I had turned into a factory and need to get back in touch with what I want to say as an artist. I’ve been working with epoxy resin, and I realized one day that stuff can be molded into 3-D! It’s obvious, right? But I hadn’t thought that I should make things in 3-D. So, I went on a 3-day artist retreat and planned nothing else but to create a sculptural or installation piece with the resin. There is something more disarming and engaging about installation that cannot be expressed in painting.

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

• Being creative takes a lot of discipline and hard work, but the hard work should also include some fun.


You have a studio/gallery in the Northrup King Building in the NE Mpls Arts district. How has working in an artist community affected your life as an artist?

• Being a part of the NKB has pushed me to keep making art; there’s always an upcoming deadline. And, being the procrastinator that I am, I need those regular deadlines to get work done.

How does being Minnesota-based influence your art?

• There are infinite reasons to love Minnesota and getting to be an artist in Minnesota, but I love our ability to be connected to a city with extremely talented people but also have remote wilderness within a couple-hour drive. I love to be in the woods, and nature has become extremely important to my life and art. For me, the balance here is ideal. I believe that as I spend more time in nature (I haven’t always), my art becomes more environmentally focused. This is undoubtedly a theme that will be part of my work for the foreseeable future of my career.

Which Minnesota artists do you enjoy?
David Good

Suzy Greenberg

Alison Hiltner

Angela Sprunger

Kris Musto

Elizabeth Erickson

Carl Swanson

Jeff Warner

Steven Lang

Joel Starkey

Stephen Capiz

Allen Brewer

Heidi Hafermann

Amy Rice


Do you have any exhibits or any interesting things going on in your life or coming up in the near future?

• October 1st Thursdays (10/7/10 6-9pm) and Art Attack www.NorthrupKingBuilding.com
• I’m excited to be embarking on my first artist residency at New York Mills Cultural Center this November. www.kulcher.org
• Check out the Women’s Art Registry of Minnesota – http://www.blogger.com/www.thewarm.org

Links to Artists and Resources:

Lindsy Halleckson (Web) (FB)

David Good (Web) (FB)

Suzy Greenberg (Web) (FB)

Alison Hiltner (Web) (FB)

Angela Sprunger (Web) (FB)

Kris Musto (Web) (FB)

Elizabeth Erickson (Web) (FB)

Carl Swanson (Web) (FB)

Jeff Warner (Web) (FB)

Steven Lang (Web) (FB)

Joel Starkey (Web) (FB)

Stephen Capiz (Web) (FB)

Allen Brewer (Web) (FB)

Heidi Hafermann (Web) (FB)

Amy Rice (Web) (FB)

12/2012/L10

Corey McNally - Abstract Painter and Collage Artist

Corey McNally, Abstract Painter / Collage Artist

Corey McNally is a Minneapolis-based abstract painter and collage artist. He tries to capture small moments of beauty in his artwork. His mixed media paintings on wood are inspired by his surroundings: cloud formations, water, the moon over the horizon, cityscapes, and his dreams. He often works with matchbooks as a medium, either as individual art pieces, or together as collages. He has also created a cast of characters he calls My Invisible Friends, who can be found within his abstract landscapes. Almost all of his materials are salvaged and/or recycled.

What are you currently working on? How is this different from past projects?

• I have a few projects going currently. The paintings I’ve been working on are born out of my interest in lava flows. As I paint my larger pieces I also work on smaller pieces that I use as backgrounds for my cast of characters I call “My Invisible Friends”. I have just added an Owl and an Octopus to the group so I’ve been drawing them like crazy. My next collage pieces will consist of over 500 matchbooks, larger than any other collage I’ve done.

Giravves

I Finally Found a Home

Do you find working in a series to be liberating or confining?

• Being able to have the confidence to build these larger collage pieces only comes from the knowledge I’ve gained working on the previous pieces. For me improvement and refining my vision is only accomplished by the crash and burn method. When working in a series I find that the sixth and seventh piece is closer to my original idea.

The Dream Came True When We Dreamed Together

Two Factions

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

• Find the joy in the entire process.


Does being Minnesota-based influence your art?

• I like to think that all Minnesota based creative are influenced by the winters and they self imposed seclusion it sentences us to. It certainly was a catalyst for me. In 1998 I was staring at my TV hibernating on all these ideas. I decided to start painting and creating again. Taking that uneasy step and following through with those first projects gave me the confidence to continue. Those long dark winters fueled my need to express and surround myself with pieces that brightened my corner of the world.

Last Light

Which Minnesota artists do you enjoy?

• Amy Rice – My wife and I added a piece of hers to our collection. John Diebel – His collage pieces that highlight Twin Cities history caught my attention. Jennifer Davis – Her colors and never ending imagination inspire me. Aesthetic Apparatus – They do an amazing job of melding the artwork with the bands message and the location of the show.

Indonesia - Surabaya

Are there any local artists that you would like to see profiled here?

New ones I’ve never heard from. I hope your site readers make recommendations and artists themselves submit their work to you. It would also be great to see locations highlighted that are sharing artwork that are not galleries.

If I were to follow you around on an “art day” in Minnesota, which places would we go? What would we see?

• The Walker is wonderful and The Minneapolis Institute of Art is amazing but, I find the best way to experience and share the art scene in Minnesota is to visit some of the artist owned and operated galleries. Tarnish and Gold, spotArt, Rosalux, Altered Esthetics and Fox Tax are all located in NE Minneapolis. These galleries highlight artwork from the nationally known to your neighbor lady who paints.

Invisible Friends

What was the last exhibit you saw and what were your impressions?

• My wife and I visited The Hendershot Gallery in New York and we were lucky enough to meet with artist Molly Dilworth. We toured one in a series of rooftop paintings entitled Paintings for Satellites, to be seen and photographed via Google Earth. She spoke to us about her work and was able to guide us through her process. I was impressed by the succinct way she was able to communicate the ideas behind her work and the methods of achieving it.

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?

• Sharing my work, what inspires it and connecting with people is very important to me. I enjoy working on my tumblr site and posting and receiving feedback on my latest pieces. MNartist is a great way to find opportunities. Keeping track of upcoming events is easy via the mplsart.com calendar.

Do you have any exhibits or any interesting things going on in your life or coming up in the near future?

• I am most excited about my pieces currently hanging at spotArt gallery. The collage works consist of over 1000 matchbooks. I have really enjoyed the feedback that the pieces are getting. The show is up until September 2010, so stop in and take a look. I am also very excited with the pieces I’m working on now. One of my personal goals is opening a solo show. I hope to reach that goal before the end of the year.

The Artist At Work

~~~~~~~~~~~~~~~~~

Local Links Summary

(Most of these links go to Facebook pages. I encourage you to "Like" the pages of these artists and businesses)

Links for Corey McNally:

http://myinvisiblefriends.tumblr.com/
www.etsy.com/shop/myinvisiblefriends
“like” My Invisible Friends on Facebook to find out where you can find my artwork

Links for the other artists and galleries mentioned:

Amy Rice – www.egg-basket-full-of-hollyhock-dolls.blogspot.com
John Diebel – www.flickr.com/photos/35689679@N08/
Jennifer Davis - www.jenniferdavisart.com
Aesthetic Apparatus – www.aestheticapparatus.com
Molly Dilworth – www.flickr.com/photos/mollydilworth
The Hendershot Gallery – www.hendershotgallery.com

SpotArt Gallery

Fox Tax

Walker Art Center

Mpls Institute of Art

Rosalux

Tarnish and Gold

Altered Esthetics

MNartists.org

MPLSart.org