Roosevelt says, “This is not about camera settings…it’s about learning yourself; it’s about not being afraid to try things; it’s about using what you have and letting your imagination come through.”
When the international distress signal SOS was adopted in 1908, its easily recognizable and unique code produced aural unity, a sense of calm in life or death situations. As the world adjusts to new norms in challenging times, SOS Color Code 2020 offers a reconsideration of how language, objects and symbols, and even color can help us find stable ground and safety no matter where we are.
A statement of solidarity with the BIPOC community and how the M plans to continue doing institutional equity work.
In the wake of the COVID-19 crisis, Executive Director Kristin Makholm provides a museum update on a new, virtual museum experience.
In this personal essay, high school senior Waylon Rembert Jr. considers the lives and legacies of photographers Gordon Parks and Jamel Shabazz, in light of his own life path, so far, and choices that lie just ahead.
Curatorial Assistant Mia Laufer offers a deeper look into creative process and historical research informing the M’s installation by L.A.-based artist Sherin Guirguis.
Knight Foundation just announced a major contribution to the M, along with several new investments focused on establishing downtown St. Paul as a place for community, creativity, and inclusive economic growth.
Read more about documentarian Melissa Olson’s “We Are All Connected” project to tell present-day stories of Native people adopted by non-Native families in the U.S., including a recent audio doc featuring artist Brad Kahlhamer created in partnership with the M.
Meet the M’s new Curator of Exhibitions, curator and art historian Laura Wertheim Joseph, a Twin Cities-based curator and scholar with a track record of producing resonant, nationally significant exhibitions.
In March 2019, multidisciplinary artist Moheb Soliman was artist-in-residence at the M. In this essay, he relates how his search for Great Lakes-related landscapes in the M’s collection led to an unexpected deep dive into unexpected waters: the seldom-considered, eccentric database used to catalog and store archival information about the artworks held by the museum.