The Wake

As chilly hipsters stepped in past the graffitied walls of the Intermedia Arts gallery in Uptown Minneapolis this past Friday night, they were immediately greeted by a complete sensory experience.

The sound of the Pixies’ “Wave Of Mutilation” and the warm light of the room were a welcome change from the howling wind and shades of gray outside. Minneapolis 55408, the latest exhibit at Intermedia Arts, held its opening reception on Friday, January 26th. The event drew friends, neighbors and art enthusiasts alike in from the cold to admire work made by artists in the community.

In its eleventh consecutive year, 55408 includes artwork from approximately 40 different artists. Of these artists, about half are returning contributors and half are newly recruited. The one thing they have in common is that they all reside within the confines of the 55408 ZIP code. Brochures located at the entrance of the building detailed the exhibit, and act as a map to guide viewers through the galleries packed literally shoulder-to-shoulder opening night.

Included in the brochures are descriptions of artwork from the artists themselves. Although many of the descriptions were meant to clarify themes and unusual aspects of the pieces, some are works of art in themselves.

“As cars pass/As weeds grow/As the light moves/What passes for day at night on my walls/Some ghosts” reads the description of Gene Pittman’s pair of watercolors, both of which are appropriately titled “Some Ghosts.” The paintings have a very ephemeral quality to them, as if the ghosts may have heard someone coming and disappeared, only to return to the frame as soon as a back is turned.

Many of the other pieces continue this theme of unseen or dreamlike content. This includes clear examples such as Brian Jon Foster’s “Big Blue Dream” as well as some more subtle references such as Reid Olson’s “Gracefulness” which consists of red glitter spread finely over raised canvas clouds.

Some pieces reflect the 55408 area in a more literal way by depicting neighborhood scenes in photographs. Jeffery Farnham’s collection of photos entitled “Minneapolis Homicide Locations 2004” portrayed sites where horrific incidents had taken place. The photos themselves however were serene, suggesting the possibility of unseen dangers or perhaps a false sense of security. Characters are also well represented in the exhibit, whether as characters in comic strips or jesters made of wire.

Mary P. Gibney has contributed “Portraits From Weegee’s World;” nine small paintings that, combined with their less-than-subtle titles, such as “Clown” and “Jazz Lover,” portray whole personalities with a single glance. The gazes of her subjects are direct. They stare back without hesitation. In contrast, portraits contributed by artist Ben Olson, show subjects whose eyes are clearly engaged by a third party.

Olson’s work was recently on display at the Rogue Buddha galleries in Northeast Minneapolis, where it received a great deal of attention. Olson’s self-proclaimed fascination with people in awkward situations may explain why his subjects have averted eyes. His artist statement as posted on his website, www.benolson.net, contends that his paintings portray snapshots out of people’s lives. This concept is strengthened by the raw edges of his work, suggesting a view through another medium.

“The viewer experiences a moment between two people that we all are afraid to admit that we want to watch,” the statement says.

Olson’s paintings are done on plywood, and incorporate paint drippings into the core emotion of the painting. A prime example of this technique is “Once We Were Punk” which contains a gory gold-flecked glamour that for some may evoke the spirit of Iggy Pop, rolling shirtless over broken glass.

A few of the pieces in the exhibit had more carefree and childlike aspects such as Emily White’s watercolor painting “Sailboats,” and Larry JaBell’s “Young Giratte.” The latter was particularly pleasing to the exhibit’s younger audience as they grinned and danced for the paper-maché animal. Two other very different contributions from JaBell, “Drug Holiday” and “Antiviraled Architecture,” seemed to appeal to an older audience and were both constructed using discarded pills and medications.

“I am able to relate to this one,” says a woman passing “Architecture.” The comment was ensued by the woman’s uncomfortable laughter as well as that of her friends. While JaBell’s work seemed to desire further contemplation, other artists in some ways tried to discourage it.

“There is no special meaning, hidden or otherwise, in my works,” reads the brochure description provided by Morgan L’Argent. One of this year’s contributing artists, L’Argent has lived in the neighborhood throughout his entire life. Though in past years L’Argent has contributed artwork to 55408 in a variety of mediums including photography. Each of the pieces L’Argent contributed to the exhibit this year incorporate electronic elements.

While having a common theme throughout an artist’s work is not unusual, artist Florence Brammer contributed four pieces to the show, each of which was executed differently. Brammer had three intaglio prints on display, each with an entirely different feel and incorporated other artistic techniques such as marker sketches, or watercolor. The prints each had a unique personality as well. “Embedded” in sepia tones oozed grim sophistication while “When Shopping Goes Bad” showed a clever sense of humor.

Brammer, who has contributed to three previous installations of 55408, can’t recall how she initially became involved with the exhibit, but described the experience as “life-transforming.”

“I can’t tell you how thrilled I was that first show — to walk in and see a piece that I had created on the wall of a legitimate art venue!” Brammer says. In 1982, Brammer and her husband made the move from New York City to Minneapolis. Though their realtor insisted on repeatedly showing them properties in the suburbs, they simply weren’t impressed.

“We finally ditched the realtor and hopped on a city bus. We had no idea where we were going … but when we drove through the 55408 neighborhood we knew this was it. We can’t imagine making our home anywhere else,” Brammer says. “There is definitely a range of economic and social realities here … from lakeshore property to rundown student multiplexes to substandard family housing. Community centers and institutions like Intermedia Arts — as well as retail, restaurants and lake pathways, beaches and playgrounds — help to bring these various sub-communities within 55408 together.” 55408 Curator Bridgette Rongitsch contends that this is exactly what Intermedia Arts intended to do.

“Intermedia began the exhibit when it first moved to the neighborhood, as a way of announcing its presence in the community,” Rongitsch says. Apparently, the message has gotten through.

“I am so proud and honored to participate in the show and to be a part of this community,” Brammer says. “The people here are very proud of our urban and somewhat bohemian reputation and propensities. I think this year’s show is just amazing — the curators did such a wonderful job.” Brammer is not the only one to feel this way.

Artists and viewers alike seemed to regard the curators with both gratitude and admiration, and with good reason. Anyone who tried to navigate towards the lavish displays of food during the opening reception was witness to its exceptional attendance.

Even after the exhibit had begun, the curators’ job was far from finished. Rongitsch spent the night engaged in one excited conversation after another. The petite woman in fishnets glided across the gallery eagerly greeting friendly faces. Rongitsch, in her fourth year of being curator for 55408, said that this year the exhibit is trying to emphasize the “interaction between art and community.” Rongitsch and Sergio Vucci, the exhibit’s other curator, were able to actually go into artists’ homes and studios to hand select which pieces would be displayed. “There are certainly people who have been in all eleven [exhibits] and it has been fun to see how their work has progressed,” Rongitsch says.

In its eleventh year, Minneapolis 55408 is anything but tired. With as many new artists as returning ones, the content is fresh, vibrant and compelling. Though the exhibit is billed as displaying work from “Minneapolis’ most creative zip code,” perhaps 55408 is just benefiting from more support than other artistic enclaves. This begs the question, how well does anyone really know his or her neighbors? In an age where people prefer to converse by computer screen, Intermedia Arts is reminding us all that we are all part of a community, and that sometimes that community is pretty darn cool.

The exhibit runs through March 17 and is free to the public. For more information visit or call (612) 871-4444.