Public Functionary

Showcasing writing content for Public Functionary, a contemporary art space in Northeast Minneapolis. COMMUNITY / EXHIBITION / COLLECTION / DOCUMENTATION

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NEXT EXHIBIT -- CINA & KLUKAS: SHE WHO SAW THE DEEP

Our doors are never closed for long. Join us next Saturday as we welcome artists Michael Cina and John Klukas into the gallery for our next installment and first collaborative exhibit: She Who Saw The Deep. 

Details:

Opening Reception: Saturday, June 7 7pm to Midnight

Runs through July 12

Gallery Hours: Thursdays: 12pm-7pm Fridays: 7pm-11pm (with PF Takeovers) Saturdays: 12pm-4pm

More information at: publicfunctionary.org/now

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MayDay @PF: Why It Matters

We’ve been promoting our upcoming Art-A-Whirl installation with the following words: “The installation will feature parade puppets up close to honor the past 40 years of this annual Twin Cities community tradition. This collaboration between Public Functionary and In The Heart of the Beast aligns a new Northeast Minneapolis art organization with a long-standing South Minneapolis institution to bridge communities and neighborhood celebrations built on art and culture.” Perhaps this is too simple of an explanation.

I’d like to share a little more about the thinking behind our choice to showcase a South Minneapolis art tradition during Art-A-Whirl and why we deliberately chose not to focus on art sales this weekend. Theoretically, we are still very much “selling art.” Our goal is to remind our community that Art-A-Whirl is about celebrating our neighborhood, and the legacy of the MayDay parade is certainly a gleaming example of just that. In The Heart of The Beast’s annual display of puppetry, art and wonder is one of the most inspiring and beloved events in the Twin Cities.

Though our renown art crawl started in the ’90s with the aim of welcoming the public into artists’ studios, it has continued to grow into much more and it’s no surprise–Northeast Minneapolis is full of ideal space for creativity and art. If you live in this neighborhood, you are also aware how much it is changing and evolving. With the energy of development and growth come new residents and businesses. Not everything will be about art nor will everyone who claims space here embrace the true meaning of the Northeast Arts District, as much as we may feel they ought to. Unfortunately, it is not a requirement of urban development to acknowledge the artist’s role in creating desirable neighborhoods, and yet it will undoubtedly always capitalize on it.

However quickly this neighborhood grows into the next hip place to be, Art-A-Whirl has deep enough roots in this community to stand tall. The response is not to shrug it off and let the true potential of an art-based weekend get watered down by the masses. The response, theoretically, is MayDay. The response to a mainstream movement that takes Art-a-Whirl in a direction that has less to do with art? Look to MayDay and our neighbors in South Minneapolis as an example. For 40 years the MayDay Parade has continued to celebrate community, creativity and diversity, with thousands of people from near and far coming together every year for the parade and ceremony in Powderhorn Park. It is inspiring and incredible. Should we have a parade in Northeast for Art-A-Whirl? Maybe. But that’s not the true takeaway here. MayDay is the perfect example of heartfelt community participation and the embracing of diversity in artistic styles, ability and expression. Sound familiar?

The community is changing and Art-A-Whirl should reflect our community. If you live, work, or create in Northeast Minneapolis I encourage you, make Art-A-Whirl your own. Whether that means showing in your studio, opening up your garage full of sculptures, curating a show in a non-traditional space, making art on your front lawn or on stage with bands in a parking lot. Bring art, style, music and ideas to Northeast for 3 days to celebrate Spring and creativity. We should want 

people to flock to Northeast for a weekend of connection and curiosity, and hopefully, but perhaps not essentially, to buy art. We should be patient and and accept that not everyone will know what this is all about, and instead we should teach and show them. Northeast is filled with artist studios, galleries, restaurants, small businesses, breweries and more. We are brimming with talent in all forms, and success is about tapping into the assets of our community to activate a larger purpose and long-term impact. Art-A-Whirl should be our annual call to attention, a reminder that art is at the core of this community. As higher priced condos pop up around us and old factory buildings are converted into mixed use properties, it is more important than ever for our Northeast art community core to stay strong and connected.

Public Functionary is showing, with love and respect, 40 years of the MayDay parade in a retrospective installation. This is our creative contribution to the weekend. It is authentic to our personal perspective because the history, craftsmanship and ideology behind it simply inspires us. Stay true to quality and put forth your best effort to share, sell or promote art. In the end, a cross-generational, multi-perspective, multidisciplinary, diverse celebration will equate to energy, understanding and appreciation for our community. Art-A-Whirl will only ever be what we make it as a whole collectively… and in this case the more the merrier.

  Tricia Khutoretsky Director/Curator

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Public Functionary is turning ONE! Come celebrate with us!

We're throwing a surprise party this Friday... for YOU! Support us as we head into our second year and we promise a party you won't want to miss. 

Be one of 100 supporters to give a gift of $15 and you are officially on our birthday party guest list. Sign up here.

Friday, April 18, 2014 8pm - midnight $15 1400 12th Ave NE, Mpls 55413

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Experience art this weekend!

Pink Bodies @ Quarter Gallery/Regis Center (405 21st Av S) / Fri 7-9pm Brown Study: MFA Thesis Exhibition @ University of Minnesota Department of Art & Katherine E. Nash Gallery/Regis Center (405 21st Av S) / Fri 6:30-10pm Fruitful and Multiplying, an Overpopulation Exhibit @Bloomington Theatre and Art Center/ Fri 6-8pm btcamn.org Jennifer Davis: Joyride Open Hours @ Public Functionary/ Fri 8pm-11pm, Sat Noon-4pm Aesthetic Apparatus $5 Scratch & Dent Poster Sale @Aesthetic Apparatus / Sat Noon-10pm Color Space Editions Launch Party @ Color Space Art and Imaging / 7-10pm Wing Young Huie: Still Life @ The Third Place Gallery / Sat 7-11:30pm For details on these art events and more visit l'étoile magazine's Weekend What's What: http://www.letoilemagazine.com/2014/04/10/weekend-whats-what-410-413/

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DOCUMENTATION/ Inaugural Year Insights

By Tricia Khutoretsky, Curator January 2014

The goal this first year was to establish what it meant to experience art at Public Functionary. Viewing art here should feel different: modern, fresh and welcoming. We selected artists who were willing to look beyond just the art, and further into full-scale gallery presentation. We believed that showing contemporary artists from across the country would illustrate possibility and perspective, set the stage and teach us something new. If we wanted to be a local gallery that simply provides space for local artists to hang their work, we could have easily done that. However, we’re aiming higher for collective gain. Public Functionary exhibits must be discernible. While there is room for more galleries in the Twin Cities, we certainly do not have the resources and support for more of the same. We can’t be of service to local artists until we establish a worthwhile reputation from which they can benefit.

Dzine, Sougwen Chung and Patrick Martinez are artists with diverse career positioning from major cities spread across the country: Chicago, New York and Los Angeles. The time for Minneapolis to put itself on the map is now. We are bursting with local pride for the creativity, culture and innovation in this city. We are metropolitan, forward-thinking, generally have a lot to offer and want the rest of the country to know it. Unless we open ourselves up to the world and admit that we are not the center of the universe, we’ll continue to be insular. We have to look at what is happening in LA, Chicago and New York and know who we are in relation. Before you can prove what you are, you have to be willing to understand what else is out there.

Dzine, is an established, internationally known, museum artist. He is part of the contemporary art world, no question. He has the ability to produce a spectacular exhibit experience with consideration to every single detail, to the point where red shag carpet ended up on our walls. With Dzine as our inaugural artist, we saw what was possible through a full gallery transformation, with no limitations.

Sougwen Chung is a young, innovative digital artist. Ground-breaking in her own right, she travels the world to talk about her creative process at conferences and workshops. Still at the beginning of a promising career, Sougwen offered us the opportunity to think about presenting work that spanned mediums, an experience of video, projection, drawing and digital print in her first solo gallery show.

Patrick Martinez is an up and coming artist, loved by the online art blogs and Instagram art enthusiasts. An artist with relentless hustle and drive, his art makes its way into contemporary art collections and garners recognition in mainstream culture at the same time. He was named an “artist on the rise” at SCOPE Miami and alternately has been showcased by Vh1, Playboy and other media influencers. Patrick’s exhibit has been an opportunity to collaborate and create a cohesive show out of a large body of work as well as provide context for the “local” experience. Well known nationally and internationally, based in LA, Patrick has never exhibited in the Midwest.

Why these artists? Because at Public Functionary it is about what the artist shows and who the artist is… but more so about HOW the art is shown. Can we remove the categorizing of art and instead, just be inspired? Does it matter if we show mid-career or emerging artists? Does it matter that we show a pumpkin art installation followed by a contemporary neon exhibit? The bottom line is that there are no rules in art, there never have been. Today, audiences are changing, demographics are shifting and expectations of the gallery experience will as well. People have short attention spans, diverse interests and too much going on daily. If art doesn’t change and adapt it will no longer matter to the general public. We do not believe that this reality should change the practice of art-making. Artists should create what they feel inspired to create. It is our job to figure out how to present art in a relevant manner so that a diverse audience will continue to come and experience it.

We challenge audiences not to feel intimidated or alienated by art, to experience art comfortably and learn to support art and artists. Alternately, we are challenging ourselves to think broadly about what and how we present art in this space. It is that simple, and yet this mission requires a high production, ambitious and intense final product, not simple in the least.

Thank you for supporting Public Functionary in this first year and staying open to our perspective on art. We’re looking forward to continuing to share art with you.

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DOCUMENTATION/ PF Takeovers: Buy Now, Cry Later Friday Nights

By Jenna Westrick, Gallery Coordinator December, 2013

FACE FORWARD: Within the backdrop of Buy Now Cry Later, performing art provided by Face Forward will begin with DJ & dancing led by Bboys and Bgirls from New Heist, and will be followed with a panel of Face Forward Artists on “Art for Social Change.” Artists on the panel will perform in a “Face Forward Open Mic” for the rest of the evening, each contributing 10-15 minutes of performance. The evening will end with a set by DJ Frank Castle. Bar hosted by Eat Street Social & Bittercube. Event partner: Finnegans.

GREENROOM MAGAZINE: A special holiday thank you party in honor of the Kickstarter supporters of Greenroom Magazine, and launch of the first issue. Meet the crew behind the publication. Also open to the public for exhibit viewing. Music for the night curated by Greenroom Magazine. Bar hosted by Eat Street Social & Bittercube.

RHYMESAYERS: Part 1/ As the launch for Rhymesayers two-part experience at Buy Now Cry Later, Kevin Beacham will DJ the evening, spinning a selection of music (mainly Hip Hop and 60/70s Soul) that speaks to the context of the exhibit, plus other social, political, and community issues, providing a sonic background as a precursor for the following week’s discussion. Bar hosted by Eat Street Social & Bittercube.

Part 2/ Kevin Beacham will sit down with Chaka Mkali (aka I Self Devine), Chef Sameh Wadi (World Street Kitchen), Curator/Writer/Artist Nathaniel Smith, and Curator Tricia Khutoretsky (Public Functionary) to build a conversation inspired from the work of Patrick Martinez, discussing consumption in the world and how it effects our everyday choices, our diets, financial choices, music (the listening and creation), art, our work and lives in general.

LETOILE MAGAZINE: Holiday Party

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EXHIBITION/ Patrick Martinez: Buy Now, Cry Later

By Tricia Khutoretsky, Curator November, 2013

Curatorial Statement:  When neon was first discovered in the late 1800’s, it was named after the Greek analogue of “novum” meaning new. The Packard Motor Company of California first brought neon blubs to America in 1923… from which it soon became associated as a symbol of the American dream. In early years neon signs stopped traffic as people stared in fascination. The "Liquid Fire" captivated the public and it wasn't long before neon was everywhere. Neon theater marquee, nightclub and restaurant signs became an integral part of the streamlined American landscape.  Fast forward to today, and anything that aims to catch our attention must be written in neon.

It is no wonder that neon holds a special place within the world of contemporary art, a symbolic medium with massive metaphorical weight despite its light as air quality. What was once a source of fascination and new possibility for advertising and messaging has become an emblem of caution. Neon is associated with consumerism and influence, and in today’s world we have no choice but to be skeptical of what we are being told. 

Yet, what is most alluring about Patrick Martinez’s work is the pure truth that it holds. With neon as his primary medium, the messaging within his art does not feel so much like a trick but instead the reveal of a secret we already knew. We know neon, it is familiar and comfortable; Patrick’s subject matter is as well. Guns, violence, food choices… are our everyday reality. But this exhibit is about seeing things differently, particularly the most familiar… a sign, a still life, an apple, a gun. Art from everyday messaging rides a dangerous line between being simple and being brilliant. I chose to show Patrick’s work at Public Functionary because it accomplishes both, simplicity and brilliance. There are layers to reveal and hidden stories in this work, yet it is also pleasing for it’s pure contemporary essence, a bright sign and a witty message. 

Get comfortable, look… and see new.

About the show:  In his first Midwest solo exhibition, Patrick Martinez examines a contemporary crisis: the dwindling quality of life due to the consumerist and nutritional choices of mainstream America. Buy Now Cry Later poses as a metaphor for the overall consumption and insatiable need for “more” in the modern world. We are stressed and medicated, balancing our fears over job security, guns, cost of living, violence, diet, money, race relations, education and health. All of these issues weigh the same when it comes to societal problems in dire need of solving; all are symbols that point to a troubled collective culture–a melting pot identity in crisis.

About the artist: Martinez explores the traditional art form of still life painting paired with his trademark text-based neon works, remixing contemporary culture archetypes found in his home city. In a style that he has made signature, the combination of neon-lit sculptures and paintings evoke new meanings and realizations about society and the conversations therein.

With a cultural background that includes Filipino, Mexican and Native American heritage, Martinez was born and raised in Los Angeles. He is a graduate of the Art Center College of Design in Pasadena and was a stand-out artist at last year’s SCOPE Miami Art Fair, having been dubbed an “artist on the rise.” He has also exhibited at Known Gallery in Los Angeles, Circuit 12 in Dallas, Showroom Mama in Rotterdam and Guerrero Gallery in San Francisco, among others.

Photo credit: Sharolyn B. Hagen

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COMMUNITY/ Great Pumpkin

By Jenna Westrick & Tricia Khutoretsky October, 2013

On October 31st and Nov 1st, Public Functionary produced the first annual Great Pumpkin event! Thanks to support from our generous community, who "commissioned" artist carved pumpkins... 2 nights of art, music, pumpkins and digital interactive fun were made possible. Funds were raised for Public Functionary and in return we created an inspired Halloween social space for our Northeast neighbors and beyond. We're excited about all the new faces and friends that came through the space On October 31st and November 1st Public Functionary will share the most amazing artist carved jack-o-lantern installation you’ve ever seen. And to add to that, we’ll have trick-or-treating stations, djs spinning spooky tunes, a slow motion video booth and a photobooth to capture your costumes in and face-painting stations all set within a dazzling display of glowing jack-o-lanterns designed by local artists. The event is completely family-friendly. Right now, more than ever, we need your support. Sustaining a non-profit art organization, especially in this first year is no easy task, and your contributions are important to our ability to continue sharing art through the ambitious Public Functionary mission and vision of a modern and responsive exhibition space.

See more photos:  Great Pumpkin

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DOCUMENTATION/ Chiaro/Oscuro Friday Nights

By Jenna Westrick, Gallery Coordinator September, 2013

Short piece on Friday night activities - drawing, process, music

In the spirit of process, experimentation and making things new, we challenged 4 artists: Amelia LeBarron, David Jensen, Vadim Gershman, and Mike Fitzsimmons to take found art and turn it into contemporary "commissions." The result? Amazing discoveries, collaborations and an occasional fire in the name of new realizations for art. Remade pieces are still on view and available for purchase in our back room at Public Functionary.

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EXHIBITION/ Sougwen Chung: Chiaro/Oscuro

By Tricia Khutoretsky, Curator August, 2013

Curatorial statement:  One of the most common questions posed to me about this upcoming show is: “How did you find this artist?” Perhaps this speaks to curiosity about how I decided to show an artist from New York following our inaugural artist from Chicago. So, how did I find her? The answer is less interesting than why I found her. For the sake of context though, I found her in a rather effortless way… I saw her work online through the art/music site Ghostly International, for whom local designer Michael Cina also produces work. Enthralled by the delicate lines of her drawings and the magic of her digital animations, I asked him for an introduction to Sougwen via email. We followed up with a meeting over coffee the next time I was in New York. Despite my better judgment that I’ll lose you in a discussion about synchronicity and the undeniable power of the universe… I’m just going to go ahead and put it out there… perhaps she found me. 

The experience of curating and building Public Functionary has been for all of us involved; exhausting and challenging. It is a bigger endeavor than any of us have ever taken on despite our collective histories as creative entrepreneurs. We are held accountable for every decision we make and every new obstacle requires teamwork and patience, along with long hours and stressful weeks. Just as our brains go into problem-solving overdrive, suddenly we find ourselves here: about to open a new exhibit and not doubting one bit why we do this.  

Sougwen Chung is exactly what we needed to energize and remember why it is that we are here. She’s a dedicated and disciplined artist, and the thoughtfulness and practice that she applies to her art reminds me that artists create so that for a moment…we can stop to think and feel something beyond ourselves. It is not by chance that this internationally exhibited and well-regarded multi-media artist is finally doing her first official solo gallery show, at Public Functionary… a space with barely a year under the belt. Sometimes things just happen. Art doesn’t have to be serious or calculated and some things are better without an elaborate explanation. 

Sougwen Chung is showing at Public Functionary because it just feels right. Instinct and inspiration. Sounds like art to me.

About the exhibit: Chiaro / Oscuro, Chung’s first solo gallery exhibition, celebrates the interplay of light and dark, the tangible and intangible, the old and new. The exhibition examines more than 30 works including a large scale installation to provide a retrospective style look at 4 essential elements of her process: traditional drawing technique, digital reproduction, video animation and projection mapping. Her work is a hybrid of traditional art and the immersive possibilities of new technologies. She works across print, digital and environmental mediums, aiming to explore contrasts; the intuitive and the technical, form and function, material and immaterial. The exhibit is titled as a contemporary interpretation of “Chiaroscuro”, a term more commonly associated with 17th century painting, that is as hand-made as it is digitally enabled.

See more photos: Exhibit Install Process

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COMMUNITY/ Naked Space Party: Bright Lights

By Jenna Westrick, Gallery Coordinator

Short essay on Bright Lights and concept for Naked Space Parties.

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DOCUMENTATION/ Jerry Saltz and Dzine at Public Functionary

By Jenna Westrick, Gallery Coordinator May, 2013

“Public Functionary is a fantastic gift to a great art city; a beautiful addition that I really hope will grow into something that all can behold and benefit from.” – Jerry Saltz, Senior Art Critic, New York Magazine

Having such a renowned figure say this of our newborn gallery is at once exhilarating, humbling, terrifying… and as it turns out, pretty hilarious. In a bold move for a new gallery, we at Public Functionary seized a rare opportunity to host a discussion featuring New York Magazine’s senior art critic Jerry Saltz and our debut artist Dzine (Carlos Rolon). Set during Northeast’s Art-a-Whirl weekend amongst Dzine’s glittering body of work, the discussion was both philosophical and entertaining. Topics ranged from Dzine’s work and the role of heritage, to stereotypes and ‘pulling your card’, to the soulless state of the art market, to advice for own Twin Cities arts scene. Amongst the mashup of subjects, the theme of authenticity was at the forefront.

It was also the unembellished thread tying the three parties (Saltz, Dzine, gallery Director Tricia Khutoretsky) together, making perfect sense of the whole event. Saltz is a notable presence in the art world for many reasons, not the least of which is his eccentric personality. In our short time with Jerry, it became clear very quickly that his ‘neurotic’ (Dzine’s word) persona is every bit as genuine as it appears in his candid, humorous writing style. Example: five minutes before the talk, Saltz was at the edge of Public Functionary’s neighboring train tracks flattening pennies with a few young Art-a-Whirl-goers.

To further emphasize my point, some Saltz quotes of the night: “Jeff Koons is a bazillionaire Mitt Romney,” and “I’m so white, so old, and so Jewish that I have no idea what that is,” (said of an LL Cool J song, “Around the Way Girl,” the namesake for Dzine’s chandelier). Jerry’s presence was real, endearing, and absolutely invigorating.

Amusing in itself was the ‘yin and yang’ contrast between the critic and artist. Before Saltz launched into his critique of the surrounding work, Dzine cautioned: “There are a lot of Puerto Ricans in New York, my friend.” However, Saltz’s authentic spirit is undoubtedly kindred with the artist’s. From our time working with Dzine, it’s clear that he embodies openness. Although at first his work may come off as over-the-top, it in fact reflects humble, deep-rooted ties to his family, heritage, and a blue-collar childhood. Closer inspection of any one of his monolith pieces reveals a thoughtfulness and attention to detail that could only come from a loving need to pay tribute.

Of his audience, Dzine wisely stated: “The public is smarter than you think. If the story is honest, it will come through; not to mention you sleep better at night.” In line with our two guests’ transparent philosophies, Public Functionary is a space that strives to hold authenticity at its core. As a nonprofit organization, we are accountable for serving our audience in the ways we say we will.

Beyond that, our concept states: “We share visual art in a way that is informed, inviting, and responsive to transcend art elitism.” We are based upon the principle of fluid responsiveness to our community; we literally thrive upon your input. We know that our mission is ambitious and evolving, but it stems from a belief that there is a movement forming around a more honest and fluid type of attitude. As we found, Saltz and Dzine back this idea wholeheartedly.

So what were we trying to do with this discussion? Take a risk. The talk was a springboard for a type of dialogue we are trying to spark here in the Twin Cities; one that will help push us forth into a new phase as an arts scene. Our discussion with Jerry felt like a passing of the torch from one generation to the next. It was packed with advice from a wise father figure to us: us as the future creators and keepers of art. Jerry’s words and ideas have inspired us. They have given form to our brewing desires. “You poor bastards… I’m proud of you.” We’ll be keeping that one in our pocket.

And what’s next for Public Functionary? How do we live up to Jerry Saltz’s hype? As we’ve learned, only with your help. “In New York I wake up every morning to a ready-made arts scene… but you have to create your own!” Saltz proclaimed. In response, our Director Tricia Khutoretsky stated, “In order for us all to get better and bigger, we’re going to have to push each other.” There is evidence of a turning of tides in our community; a new kind of energy we believe must stay rooted in honesty, inclusiveness, and mutual support to thrive.

You are our public. Public Functionary eagerly awaits feedback, criticism, and/or ideas for collaboration – please feel free to email [email protected] with your thoughts.

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EXHIBITION/ Dzine: Victory

By Tricia Khutoretsky, Curator April, 2013

Curatorial statement:  Dzine is an extraordinary artist, I’ve been intrigued by his work from the first time I came across it and he’s been on my wish list of artists to show some day. “Some day” being the implied goal because Dzine is an established artist, regarded successful within the international contemporary art world. Fortunately for a newly established Public Functionary, Dzine is an adventurous artist not only in style, but because he was excited about the opportunity to open an unknown new space in Minneapolis with his show. This was not an effortless outcome either. I met Dzine in Chicago, Dallas and New York, and we skyped, texted, emailed and conversed over several months to pull this together.

What made all of the effort worth it is the fact that Dzine is conceptually a perfect first artist for us to present. His work is inviting but extravagant. It begins with cultural heritage and celebrates artistic expression that is personal. He offers a starting point through which we can explore the local Latin American community and learn through art what separates Puerto Rican culture. It is important for Public Functionary to exhibit non-local artists and even more important to connect their relevance locally. Dzine’s work offers a multitude of avenues to speak about art in a way that is open. His work is not difficult to understand. It is universally beautiful and approachable because it draws from inspirations and techniques that are not traditionally featured in museums and galleries. Yet, he is an exceptional sample of what is getting noticed in contemporary art globally, presented in our space with intimacy. There is much to discover, connect to and admire. It invites opinion and critique, both of which Public Functionary fully encourages.

Victory is instagram heaven. It is art for everybody, and it is designed to be fully immersive. It is the ideal start to define the Public Functionary experience and we’re excited to share it.

About the exhibit: In his exhibition, Victory, DZINE celebrates the universal desires for victory and recognition, while paying homage to his rich Puerto Rican heritage. The exhibition invites the viewer to savor the excitement of competition and revel in the enjoyment of success. More specifically, Victory, is an tribute to the artist’s father, playing on nostalgic connection to Dzine’s own childhood experience shaped by his father’s personal passions. There are nods to his father’s penchant for loud jewelry, mixed with representations of boxing and vintage trophies, reappropriated in monumental fashion to honor time spent connecting with his father through sports. Victory is tinged with story, cultural identity and a longing for a more deliberate existence, where craftsmanship, individuality and accomplishment are pursued and celebrated.

Victory travels to Public Functionary from The Dallas Contemporary in Dallas, where it opened on January 19th as the artist’s largest solo show yet. The exhibition shown here in Minneapolis is a second showing of the work, re-worked for new space as an inaugural show.

Dzine: Victory was exhibited at Public Functionary in April/May 2013.

Photo credit: Sharolyn B. Hagen

See more photos: Exhibit Opening Process

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We're Open: Remarks

By Tricia Khutoretsky, Curator March, 2013 In January of 2012 we (myself and collaborators at Permanent Art and Design) set out to find a space for this exciting new project. In June 2012 we showed our final exhibit at XYandZ Gallery and started the transition out of that space on Minnehaha Ave and our additional gallery project, Co Exhibitions on Stinson Ave NE. We spent 3 months brainstorming the name, which you now know as Public Functionary (fondly named for President Buchanan, our street’s namesake), and over 6 months deciding how to build out the gallery and shared workspace with Permanent and The Lab. In October 2012 we launched a most ambitious Kickstarter campaign to crowd source $30,000 in 30 days, which we accomplished! While that month is still looked upon with relief from the stress and energy it required, we gained irreplaceable community, support, validation and funding to start the build-out process. (Thank you supporters!) For the past 5 months we’ve been building, communicating, sharing our process and testing our ideas. What sometimes came up throughout this time, were questions and skepticism from people wondering, “what exactly is it?” or “what are they about?” With good reason, because we have certainly thrown out a million ideas and speculation about what we are, long before the doors have even opened. We even opened the raw space, throwing an impromptu colorful party that had the potential to define us.

The possibility that people might not “get” Public Functionary was a risk we decided to take and part of our unconventional approach. People often prefer explanations in a nice little package, but our sense is that neatly wrapped packages can be limiting. Instead, we invited observation as we worked through a mess of inspiration, revealing how everything fit into place each step of the way. Transparency to the fullest extent. We wanted to create a modern exhibit space to fill a void and add to our community, but we needed to understand what people connected to before we made decisions. We created a presence built around ideas and watched it grow. We experimented and thought about everything to understand how to authentically make the space feel welcome.

Over the past year, we’ve changed the floor plan many times and we’ve revised the mission statement even more times. We’ve made plenty of mistakes but we’ve celebrated small victories and smart choices. We added a wall because someone we respect suggested it, we incorporated programs an artist initiated and we shelved more concepts than we can remember. One thing that hasn’t changed is our initial claim that we will be responsive. We are learning that being responsive means that there will be resistance when you introduce change, or your focus shifts. It is the human way to chase comfort. But, despite the challenges of a transparent approach, we’re sticking with it. Over time, we will make sense in a way that connects to diverse individuals, because we are not limited by what is comfortable for select individuals. This is the way of the modern world– things move fast, things change fast– and people adapt. Growth is never without slight discomfort. Creativity thrives on change and challenge.

We have just opened and everything you know of us, was cultivated during our time of building and creating. Would you disregard an artist because he decides that a painting he spent months on doesn’t fit in the final show? Or would you oppose of an artist abandoning her signature style because she discovers something new that inspires? Certainly not if you value the creative process. One of the most important things we face as an art organization is to remain fresh and relevant. With that task we are resigned to constant change and growth relative to the speed of modern life. So here we are after more transition than we can begin to explain, our doors are finally open. Now is the official moment that begins our story as an exhibition and social space, because before this we were nothing but an ever-evolving concept. But don’t get comfortable because we’ve announced ourselves with a gunshot at the starting line, our organically evolving nature is here to stay and there is no finish line.

Welcome to Public Functionary.

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COMMUNITY/ Art for Our Sake

By Jenna Westrick, Gallery Coordinator March 2013 Originally for Quodlibetica Social engagement.

It’s a topic that artists and art spaces alike must consider. Whether the goal is money, social change, or both, art cannot exist within a vacuum if it hopes to serve a purpose. With our modern attention span being tugged in countless directions, art cannot remain contained within static, isolated walls for long. It must be relevant to its society, and keep pace with the people it serves.

It makes good sense for art spaces to involve community and promote accessibility to their material whenever possible. But that ever-elusive question of how constantly keeps coming back to stump creatives. How do you keep their attention? How in the world are you special?

Rather than reviewing an event that has already passed, I’m writing about an impending possibility. The possibility of a new Minneapolis art space that holds the word “social” at its very core. Somewhere you can always find that remarkable Friday night. A progressive space that exists purely to offer something more to its community.

… a space you might say functions for the public.

Public Functionary is

a new space opening in the modest yet stylish Northeast Minneapolis Arts District. It’s philosophy seeks to openly facilitate an interrelated community and a progressive social culture… all driven by contemporary art.

With the enticing teasers that Public Functionary has revealed through their already-addictive online presence, we get the sense that something major is happening in our artsiest part of town. Something must be working if the people behind it managed to successfully fund a $30,000 Kickstarter, right? In under a month, the space generated this immense amount of funding through an entirely social platform, primarily by proposing its philosophy. In the opinion of the communal mindset, it is a philosophy sorely missing from our Twin Cities artscape.

In line with their socially-driven perspective, occasions at Public Functionary will be anything but an average night out on the arts scene. Take their debut soiree for example… an event that happened before the space technically even had finished flooring.

Colorant Gleam, as it was so distinctively dubbed, was publicized as ‘a multimedia art party’. The worn warehouse walls of the gallery and its glittering partygoers were drenched in a haze of neon-tinged light. A fireplace of fluorescent tubes served as the centerpiece of the space. Attendees relaxed entranced around its elemental glow, eyeing up the eclectic crowd and inspired setting alike. Others drew on an interactive chalk mural covering one of the gallery’s walls, and more posed for an iPad photo booth. I even had a brush with local celebrity as Scott Seekins himself watched me pull a screen print of the gallery’s logo.

As Public Functionary Director and Curator Tricia Khutoretsky said of the event, “In a non-traditional sense, Colorant Gleam was a soft opening… a welcoming of the public into our process. We really want people to feel connected to the space as just that, a social space that belongs to them as much as the artists who exhibit their work on our walls. The night had such a positive energy because it was honestly inclusive.”

The goal of Colorant Gleam was for the audience to preview and interact with the raw, physical building and the soul of the space. Goal accomplished. Set up as an artistic “funhouse” of sorts, there were opportunities around every corner to encounter a new facet of the building. The novelty and sheer fun of the activities organically encouraged participation, conversation, and laughter with those around you. The evening had that rare invigorating charge that simply makes your month. If this was any indication of what’s to come at Public Functionary, then I’m resolutely on board.

And what about the art?

Just because Public Functionary aims to be a social space doesn’t mean the curatorial team will compromise on artistic excellence. In fact, its creators hold an unwavering belief that great art and accessibility can in fact go hand in hand. Art for our sake does not diminish said art.

Valid points are made on both sides of the long-standing argument about high art vs. art for the public. The belief that public art with mass appeal is steeped in kitsch and lacking in ideology often holds truth. However, our most highly regarded exhibition spaces tend to feel guarded, presuming that anyone entering the sacred walls must be an encyclopedia of artistic knowledge. A wider audience undoubtedly feels excluded and unmotivated to delve in, being offered little insight on the obscure and un-intuitive ideas presented. No one can deny that there are countless barriers (real and perceived) between art and observer. As “nice” as we claim to be, sometimes our homey art scene truly feels like a closed community, distinctly divided into insiders and outsiders.

The concept of Public Functionary counters these obstacles, making way for inviting, educational, communal experiences and quality artistic content. The physical gallery itself is a step in the right direction. Set in a casual upgraded warehouse, the structure of the space counters common notions of what a museum or gallery should look like. With glass garage doors, many windows, and an outdoor patio setup on its loading dock, the architecture has a breezy, open feel. Rather than a closed off fortress on the borders of town, the gallery is set immediately within a humble Northeast neighborhood. The goal is for neighbors and visitors to feel un-intimidated and authentically welcome to enter the space.

>p>Public Functionary’s inclusivity is also infused into its curatorial practice. At the risk of offending other Minneapolis galleries’ steadfast preference for the local, the space does not solely program from a recurring pool of talent. It also searches outside of the Twin Cities – outside of Minnesota – outside of the Midwest – sourcing its content worldwide. With an overarching goal to foster connections that begin to put our arts scene on a more national scale, Public Functionary will predominantly curate a lineup of ‘outsider’ artists. Its founders feel that there is plenty of space and support for Minnesota-bred artists within our cities’ borders.

It will no doubt be a tough balancing act to foster support for the local community by showing art from elsewhere. Critiquing and subverting the long-standing trends in our State of the Arts could quickly make Public Functionary an unwelcome outsider. Real progress or evolution that they may achieve could threaten others in the field, slowing support and growth. The gallery risks possible exclusion or rejection by the rest of the arts community, which has a more familiar philosophy. However, Public Functionary believes that a metaphorical two-way street must be built to bring our artistic community into a new and more lasting era. I strongly agree.

Moving forward.

The chief goal of events from here on out is to engage the audience with the art, fully and authentically. Through events and activities that engage the audience in honest dialogue and playful interaction, Public Functionary hopes to spark creative critical thought. The audience and the art become one. “We would love for Public Functionary to be known not only for showing amazing art, but for creating impactful art experiences. It is as much about the art as it is about what activity is inspired by the art,” claims Khutoretsky.

Take for example Friday nights at Public Functionary, which will always be open late into the night during an exhibit’s run. Part gallery, part destination hangout, the space will consistently be transformed with live music, inventive cocktails, and scores of groundbreaking interactive programming ideas. Tricia elaborates: “We’re working on changing the idea of the ‘opening reception’ because openings are not everyone’s cup of tea, yet galleries seem quiet, inactive, and intimidating the rest of the time.”

Admittedly, sometimes a Saturday afternoon spent alone within those familiar white walls can feel semi-spiritual, reveling in another’s vision and finding reflections of yourself. Being alone in public can simply be therapeutic. Public Functionary will be open plenty in this more traditional way; they’ve just carved out extra room for social interaction. Put into practice, this model will take some unconventional forms. For example, lone visitors to the gallery on a quiet day will find surprises such as an entirely mobile office, with staff situated on rolling tables and chairs. This allows for open engagement with visitors seeking dialogue, or space and solitude for those who aren’t. The goal is to seamlessly and innovatively merge art’s two worlds: the individual spiritual commune and the social public encounter.

Another attempt at engagement centers around documentation. Most of today’s art is not valued solely for its aesthetic attractiveness or even its technical skill. Instead, the concepts behind an artwork are what give it life and meaning. These ideas may foster a connection between art, artist, and audience once revealed. Furthermore, an artist’s identity goes far beyond the few sentences occasionally offered up by galleries in a traditional artist statement. More is needed.

To help bridge the gap between audience and art, Public Functionary will provide a variety of documentation related to their exhibits. According to Khutoretsky, “Modern art engagement is about creating the content to share with the public. Our documentation process includes studio visit write-ups, written artist interviews, high quality exhibit and opening reception photography, artist videos, and other creative media. All of this is archived and preserved on the Public Functionary website and made available for the public to explore or for our artists to use, share, and self-promote.” This dynamic offering of information also seeks to make the art fully comprehensible to its viewer.

With its unconventional nature, it would be remiss to avoid discussing the challenges faced by the new space. Success is by no means guaranteed as the Public Functionary team works to fulfill their ambitious mission. First, the actual real-world application of accessibility is difficult to achieve. As noble as intentions may be, the audience may never actually perceive a space as truly welcoming. Long-standing conceptions of the art world will be hard to change. Extensive investigation into the space’s surrounding community is no doubt required, along with in-the-field research and interaction with the area. Who lives in the community? Do they care about art? What can you offer them that they don’t already have at hand?

Ultimately, Public Functionary’s effort at differentiation could backfire. As they carve out their niche within the landscape, pinpointing a recognizable identity will be difficult. Too many new ideas can be a downfall if supporters in the community do not fully understand what it is they are supporting. The new philosophy must not only be understandable, it must be acceptable. In some sense, it must align with people’s current conception of a gallery enough to be sustainable. The audience in the Twin Cities community must feel excited enough to want to engage over the long term, so that the space may achieve its more enduring and lofty goals. If our Cities are not ready for what the gallery has to offer, then it cannot accurately serve its society and it will not succeed.

So back to the ultimate question:

What makes Public Functionary different? According to its founder, “Public Functionary is different because it responds to the here and now… it is built around a modern and incredibly forward-thinking perspective about how people can connect to art, and each other.”

In my opinion, Public Functionary has thus far put a thorough, honest, and heartfelt effort into the conceptualization and creation of the space. In a new era where physical solitude is justified by a virtual social sphere, Public Functionary has tapped into the need for a hybrid consciousness. Humans have an innate need to commune and communicate – a need to be social. This truth will remain despite changes in social dynamics. The space will undoubtedly use the advantages of technology and social media to widen the impact of their mission. However, they will also encourage in-person social interaction, devising settings with a distinctively modern spin for participation across generations.

Public Functionary believes that art can be a unifying platform during all of this fast-paced progress, and I agree. ‘Being amongst the art’ is not an idea that has to die with the analog era; it can function across then and now. However, for this to happen organizations must earnestly make an effort to welcome a wider segment of the public. This is where I believe Public Functionary will succeed.

It boils down to simple idea: art for our sake, offered up through good old-fashioned fun.

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Public Functionary Concept

MISSION: Public Functionary imagines art patronage in a modern context, responding to current technology, communication and culture to cultivate an evolving community around contemporary art.

Public Functionary is a contemporary art exhibition and social space. Based on our evolving presentation of exhibition experiences developed with artists under thoughtful curatorial influence, we share visual art in a way that is informed, inviting and responsive to transcend art elitism. We focus on both the presentation of art and the possibility for community, connection, cultural understanding and new experiences. We’re working with an old medium in a new world. We’re taking risks and breaking down boundaries by writing a new set of gallery rules.

We consider ourselves a modern gallery, which means we are exploring new ways of engaging audiences and expanding inclusion. We show a broad range of artists, choosing not to fit artists within a stagnant gallery model… but instead transform and shift the gallery space to fit the artist. In this way, we are able to appeal to more diverse audiences and respond to shifting demographic. Art becomes more dynamic, immersive and comfortable and represents a range of perspectives. We’re responding to current culture, communication and society to explore new ways of experiencing art within a gallery setting.

Based on this philosophy, our yearly exhibit schedule includes local, national and international artists in an effort to bring greater exposure to artists and broader-reaching art experiences for the audience. Yet, whether the artist is from the Twin Cities or beyond, programming relates directly to our local identity. We create space for artists to share their work to it’s fullest potential for engagement, cultivated through but not limited to the Twin Cities art scene.