Jos Sances, “Selma 1965/Portland 2020” (2020), screenprint (all images courtesy Highpoint Center for Printmaking, unless otherwise stated)

MINNEAPOLIS, MN — Stand Up Prints, at Highpoint Center for Printmaking, buzzes with the spirit of revolution. Located in Minneapolis, a city at the heart of the uprising following George Floyd’s murder, Highpoint’s exhibition evokes a spirit of social and political change, most recently through the thoughtful curation of guest curators Ellen Y. Tani and Esther Callahan.

Eric Garcia, “Viva Sor Juana” (2020), screenprint

Outside the gallery is Peyton Scott Russell’s vibrant portrait of a young Black girl raising her fist, while the entryway is covered with political posters, assembled by Sharp Design Co. Inside, visitors are greeted with a video piece, “_Curious Moon [Face],” by Mychal Fisher and Vie Boheme, shot at the George Floyd Memorial. Meanwhile, Ruthann Godollei’s satirical messages, printed on orange triangles hover above from the ceiling.

Other highlights include Lauren Whitmore’s startling sculpture of piled up screen printed pillows, titled “Body Count” (2018), and Eric J Garcia’s  poster, “Sor Juana LIVE!” advertising a fictional performance in Pilsen, Chicago by Sor Juana Inez de la Cruz — the Baroque-era poet and composer — back from the dead. Napoleon Jones-Henderson’s joyful “Boogie Woogie Trio” (2019) and Tanekeya Word’s striking duotone print of a Black woman wrapped in the names of Black history. Above her the words “WE WERE THERE/WE ARE HERE/WE ARE IN THE FUTURE” stand out in sharp contrast.

Entryway posters assembled by Sharp Design Co. (photo by Sheila Regan/Hyperallergic)
Tanekeya Word, “We Were There, We Are Here, We Are In The Future” (2020), screenprint
Jennifer Mack-Watkins, “Duck and Cover, Mokuhanga” (2020), Japanese woodblock print
Edie Overturf, “Trap” (2020) (photo by Sheila Regan/Hyperallergic)

Stand Up Prints continues through November 21 at Highpoint Center for Printmaking (912 W. Lake Street, Minneapolis, MN). The exhibition was curated by Ellen Y. Tani and Esther Callahan. 





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