Record of a Rolling Garden, New Print by Leslie Barlow

Record of a Rolling Garden

Leslie Barlow, 2024

14-run lithograph on White Somerset Satin

Edition of 20

Paper: 26 ¾ x 21 ⅜ in.

Image: 22 ½ x 18 in. (approximate)

Click here for availability or Email our Gallery Director Alex Blaisdell alex@highpointprintmaking.org

Highpoint Editions is proud to release Record of a Rolling Garden, a new lithograph by Minnesota artist Leslie Barlow. This 14-run lithograph is Barlow’s first print with Highpoint Editions and features two of the artist’s friends at the now-closed Roller Garden roller rink in St. Louis Park, Minnesota. With this print, Barlow explores nostalgia, belonging, resilience, and how the vibrant and complicated history of roller skating has unified the Black community. Barlow’s style of storytelling with colorful and nuanced portraiture shines through in this richly layered lithograph.

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From the Artist

Through my time working with Highpoint Editions, I fell in love with the photo lithography process. The image this print is based off is from a photo taken on my birthday in 2020. Depicted are two of my friends posing at the St. Louis Park roller rink, the Roller Garden, at a time when they were closed to the public but renting the whole place on an hourly basis to small masked-up groups. There was birthday cake, we got to play our own music, and everyone showed up in style.

I began rollerskating with some frequency back in 2017, but in 2020 the recreation took on a whole new meaning for me. "When the reality of racial injustice became too taxing, skating was the revolutionary way to reclaim their joy," said Amanda Alcantara in the article How Black and Brown Women are Reclaiming Rollerskating Culture. Skating was not only a safer activity to do in the height of Covid, but it allowed for a physical release of the built up anger, anxiety, and pressure.

Some of my favorite childhood memories include school field trips to the Roller Garden. I returned to that beloved rink over the years with different friend groups, and at different points in my life. It always had that same smell, same greasy food, same dinosaur and mural that greeted you in the entryway. It was one of those places that you could lose time, and lose yourself.

After that October 2020 birthday, I only got to skate at the Roller Garden a couple more times. Like many businesses, they struggled to stay afloat during the pandemic, and after 52 years in operation by the Johnston/Sahly family, the Roller Garden closed its doors in May 2021. The place wasn't perfect, and had a complicated history, but it was heartbreaking to see it go. Skaters poured out their memories and desires to save it on social media, but in the end we all came to the realization we'd have to forge other spaces. As the 2018 documentary United Skates says, "You can take the goddamn building, but you can't take the spirit." — Leslie Barlow

Leslie working on a film for one of the 14 lithographic plates used to print Record of a Rolling Garden.

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Leslie Barlow (b. 1989) is a visual artist, educator, and cultural worker from Minneapolis, MN. Barlow believes art and art making is both healing and liberatory, through the power of representation, witnessing and storytelling. Her life-sized oil paintings are inspired by community and personal experiences, and serve as both monuments to community members and explorations into how race entangles the intimate sphere of love, family, and friendship.

Barlow is a recipient of the 2021 Jerome Hill Fellowship, 2019 McKnight Visual Artist Fellowship, the 20/20 Springboard Fellowship, and five MN State Arts Board grants between 2016 and 2023. Her work can be viewed in collections around Minnesota including at the Minneapolis Institute of Art, Minnesota Historical Society, Weisman Art Museum, Minnesota Museum of American Art, and US Bank Stadium. Barlow earned her BFA in 2011 from the University of Wisconsin-Stout and her MFA in 2016 from the Minneapolis College of Art and Design. In addition to her studio practice, Barlow has taught at the University of Minnesota, Metro State University, and Carleton College. Barlow also supports emerging artists at Public Functionary as Director of PF Studios, is a member of the Creatives After Curfew mural collective, and is the creator/producer of ConFluence, an arts and science fiction convention.

Barlow is represented by Bockley Gallery in Minneapolis, MN.

For availability and to purchase Record of a Rolling Garden, email our Gallery Director Alex Blaisdell alex@highpointprintmaking.org

Andrea Carlson to Exhibit at Museum of Contemporary Art Chicago

Andrea Carlson will be presenting an exhibition titled Andrea Carlson: Shimmer on Horizons at the Museum of Contemporary Art Chicago from August 3, 2024 through February 2, 2025. Andrea Carlson is the 26th artist to participate in Chicago Works, a solo exhibition series at the MCA that features artists who are shaping contemporary art in the city and beyond. The exhibition is presented in the MCA’s Turner Gallery, on the museum’s fourth floor.

Andrea Carlson (b. 1979, Ojibwe/European descent; based in northern Minnesota and Chicago, IL) considers how landscapes are shaped by history, relationships, and power. Her artworks imagine places that are “everywhere and nowhere,” visualizing these shifting yet ever-present dynamics. Grounded in Anishinaabe understandings of space and time, the works in this exhibition reflect on how land holds memories of colonial expansion and violence, Indigenous presence and resistance.

Across painting, video, and sculpture, Carlson organizes imagined landscapes around one constant: the horizon. This line is reminiscent of her homelands on Lake Superior. It is also a significant art historical trope that artists have employed to depict territories as vast and vacant, ripe for the taking. Carlson’s prismatic works are not empty: they are densely layered with an abundance of motifs, making reference to the tactics of colonialism as well as her family and peers, Ojibwe culture, and Indigenous sovereignty. Confronting histories of erasure and dispossession, Carlson proposes that what appears to be lost can be remade, reimagined, or otherwise regained.

Andrea Carlson: Shimmer on Horizons is curated by Iris Colburn, Curatorial Associate.

Learn more about the exhibition here!

Tate Announces Solo Exhibition for Do Ho Suh in 2025

Do Ho Suh, Rubbing/Loving Project: Seoul Home 2013-2022

Installation view at Museum of Contemporary Art Australia, Sydney, Australia. Photography by Jessica Maurer. © Do Ho Suh

The Tate Modern has announced that Do Ho Suh will receive a solo exhibition in 2025 titled The Genesis Exhibition: Do Ho Suh. The exhibition will be on view in London from May 1 through October 26, 2025.

“Korean-born, London-based artist Do Ho Suh invites visitors to explore his large-scale installations, sculptures, videos and drawings in this major survey exhibition.

Is home a place, a feeling, or an idea? Suh asks timely questions about the enigma of home, identity and how we move through and inhabit the world around us.

With immersive artworks exploring belonging, collectivity and individuality, connection and disconnection, Suh examines the intricate relationship between architecture, space, the body, and the memories and the moments that make us who we are.

Wander through the passages and thresholds of Suh's renowned fabric architectures. Discover his early installations delicate works on paper and videos. Move across Seoul, New York and London through his life-sized replicas of past and present homes. Encounter sculptures that explore the tradition of monuments.

Experience the breadth and depth of Suh’s inventive and unique practice over the last three decades, including new and site-specific works on display for the first time.

The Genesis Exhibition: Do Ho Suh in partnership with Genesis

Co-curated by Nabila Abdel Nabi, Senior Curator, International Art, (Hyundai Tate Research Centre: Transnational) and Dina Akhmadeeva, Assistant Curator, International Art, Tate Modern “

Learn more about the exhibition here!

Gatson's Portrait of Shuttlesworth Finds Permanent Home at Birmingham Airport

Highpoint Editions artist Rico Gatson’s portrait of Civil Rights Icon Fred L. Shuttlesworth is now on permanent display at the Birmingham Airport. Originally created for the Birmingham Museum of Art’s Wall to Wall series. the mural is nearly 13 feet high and 66 feet wide and features a portrait of Shuttlesworth with surrounded by a sunburst array of colors.

On Thursday May 23, officials with the Birmingham-Shuttlesworth International Airport unveiled a new mural honoring The Reverend Fred L. Shuttlesworth in Concourse B. The airport was renamed in his honor in 2008.

Dozens of area leaders, activists and residents gathered for the unveiling which was attended by members of the Shuttlesworth family, including daughters, Dr. Ruby Shuttlesworth Bester and Patricia Shuttlesworth Massengill.

Ruby Shuttlesworth Bester, daughter of the Rev. Fred L. Shuttlesworth, addresses crowd after the mural unveiling. (Marika N. Johnson, For The Birmingham Times)

In addition to the Shuttlesworth family, those in attendance included former Mayor Richard Arrington; The Rev. Thomas Wilder, Senior Pastor, Bethel Baptist Church, Shuttlesworth’s former church; Bishop Calvin Woods, former president of the Southern Christian Leadership Conference; Alabama poet laureate Ashley Jones; Birmingham City Councilor Crystal Smitherman, DeJuana Thompson, CEO, Birmingham Civil Rights Institute; former gov. Don Siegelman; activist Helen Rivas; and many others.

Daughters of The Rev. Fred L. Shuttlesworth, from left, Ruby Shuttlesworth Bester and Patricia Shuttlesworth Massengill with artist Rico Gaston (Marika N. Johnson, For The Birmingham Times)

Learn more about the mural here!

20th BMW Art Car with Julie Mehretu Debuts in Paris

The 20th BMW Art Car was presented to the public for the first time on May 21st, 2024 at the Centre Pompidou in Paris. Designed by renowned New York-based contemporary artist Julie Mehretu, the project transforms the BMW M Hybrid V8 race car into a performative work of art, continuing a longstanding tradition of BMW Art Cars and competitive racing. Just a few weeks after its World Premiere in the French capital, the newest edition in the storied BMW Art Car collection will compete in the 24 Hours of Le Mans.

“The whole BMW Art Car project is about invention, about imagination, about pushing limits of what can be possible. I don’t think of this car as something you would exhibit. I am thinking of it as something that will race in Le Mans. It’s a performative painting. My BMW Art Car was created in close collaboration with motorsport and engineering teams,” says Julie Mehretu. “The BMW Art Car is only completed once the race is over.”

Learn more about the BMW Art Car here!

Keepsakes Featured at College of Wooster Art Museum

Delita Martin’s series with Highpoint Editions titled Keepsakes will be on display during the College of Wooster Art Museum’s exhibition COLLECT: New Acquisitions from January 30th through April 30th, 2024.

COLLECT: New Acquisitions celebrates the generous contributions of donors to the Art Museum over the past five years. From the earliest years of the College, alumni and affiliates have supported its teaching and learning mission with gifts of art, artifacts, and funds. Donations comprise the greatest part of the Art Museum’s collection; each tells a story about the collectors, their interests, and their relationships to the college.

Update: On March 26th a talk was held to discuss Keepsakes led by Dr. Brittney S. Miles followed by an opportunity for attendees and students to take part in the acquisition decision for the College to purchase one the the seven portraits.

“At the end of the talk, sticky notes were distributed, and guests were encouraged to place their note on the wall beside the portrait that they liked the most. These votes would help with the College’s decision of which piece to purchase. It was difficult to choose, as each of the seven faces perfectly represented its own facet of childhood that would be worth adding to a permanent display. One girl was thoughtful and quiet. Another wore a playful smirk. Still another portrait smiled a toothy grin, eyebrows raised and eyes widened in that familiar expression of pure, youthful excitement. I would be happy to see any one of the pieces become a part of The College of Wooster Art Museum. Some will see the chosen print as a beautiful piece of art with stunning embroidery detail. For others it may serve as a mirror, reflecting the complex and funny and innocent memories of youth — the keepsakes of Black girlhood.” -Amanda Crouse in her article Reclaiming Black Girlhood and Innocence Through Art

Read more about the exhibition and the College of Wooster Art Museum here.

Preoccupied: Indigenizing the Museum at Baltimore Museum of Art

Works by Dyani White Hawk and Julie Buffalohead are featured in a recent intiative by the Baltimore Museum of Art titled Preoccupied: Indigenizing the Museum.

The artwork, perspectives, and histories of Native artists, scholars, and community members are at the center of Preoccupied: Indigenizing the Museum, a major BMA initiative. The wide-reaching project seeks to begin addressing the historical erasure of Indigenous culture by arts institutions while creating new practices for museums.

The expansive Preoccupied project extends into the galleries and beyond with public programs, nine exhibitions, staff training, and new interpretive texts for artworks throughout the Museum. The curatorial team worked closely with Native artists, curators, and Baltimore-region residents on a community advisory panel to frame the questions this project would ask. In the earliest stages of the initiative, all Preoccupied project participants were invited to an “unconference,” a weekend-long retreat with the exhibitions’ curators, where they discussed Native visibility in the face of colonial oppression.

Dyani White Hawk’s work is on display in Dyani White Hawk: Bodies of Water. Dyani White Hawk presents one new and two existing sculptural works from her Carry series. Each Carry piece, composed of a large copper bucket and ladle adorned with glass beads, bears extravagantly long fringe whose draping emulates arboreal root structures. Alongside the artist’s works, White Hawk selected historic Lakota belongings from the BMA’s collection. Through these works, White Hawk insists upon an interdependence between art and function—and by extension art and life—effectively calling into question art history’s tendency to devalue craft. These works operate as physical metaphors for the carrying of history, cosmology, generational teaching, and deep thought.

Julie Buffalohead’s work is on diplay in Illustrating Agency. This installation highlights the ways in which Native artists have increasingly asserted agency—the exertion of one’s own power—over representations of their communities and identities over time. In the early 20th century, white arts educators encouraged Native artists to create “authentic” art—as defined by settlers—that embraced traditional subject matter while often neglecting present realities. In the decades that followed, generations of artists have shrugged off settler expectations by depicting their community on their own terms. Such work illustrates the modern Native experience, problematizes harmful stereotypes, and pointedly challenges outsider understandings of Indigenous identity.

Learn more about the larger initiative and exhibitions and installations on display here!

Dyani White Hawk Named 2024 Guggenheim Fellow

The Board of Trustees of the John Simon Guggenheim Memorial Foundation announced their appointment of 188 Guggenheim Fellowships to a distinguished and diverse group of culture-creators working across 52 disciplines. Chosen through a rigorous application and peer review process from a pool of almost 3,000 applicants, the Class of 2024 Guggenheim Fellows was tapped on the basis of prior career achievement and exceptional promise. As established in 1925 by founder Senator Simon Guggenheim, each fellow receives a monetary stipend to pursue independent work at the highest level under “the freest possible conditions.”

White Hawk is one of three Minnesotan artists who received the honor, alongside author David Mura and painter Lamar Peterson.

The annual fellowship dates back to 1925 and is one of the most prestigious awards given to scholars and artists who are citizens and permanent residents of the United States and Canada.

Winners are chosen from a pool of approximately 3,000 applicants with about 175 fellowships awarded annually. The fellowship is accompanied by a grant to help fund a specific project. The amount varies from project to project, but past grants have averaged between $40,000 and $55,000.

Read more about the fellowship here!

Willie Cole: Lyrical Reconstructions at Country Music Hall of Fame

Willie Cole: Lyrical Reconstructions, features new and recent works by the critically acclaimed American sculptor and printmaker, opening Thursday, March 28 and on view through May 16, 2024.

Cole’s creative process blends familiar consumer objects with references to the appropriation of African and African American images, resulting in sophisticated hybrids. His most recent bodies of work repurpose discarded water bottles or musical instruments, such as his 2022 commission, “Ornithology,” for the Kansas City International Airport, a work comprised of twelve larger-than-life birds made entirely from alto saxophones with an accompanying soundscape in honor of jazz legend Charlie “Yardbird” Parker.

This exhibit is guest-curated by Paul Barrett.

Read more about the exhibition here!

Do Ho Suh's "Some/One" featured in Mia's The Shape of Time: Korean Art After 1989

Do Ho Suh’s “Some/One” (2001) is featured in a new exhibition at the Minneapolis Institute of Art titled The Shape of Time: Korean Art After 1989.

This exhibition features the first generation of artists of Korean descent to experience the new freedoms and rapid changes ushered in by democracy. Born between 1960 and 1986, they came of age in a time of transition, their work filtered through the collective memory of authoritarian rule in South Korea. Here, they reflect on social and political tensions, economic and cultural shifts. In often monumental works, they bring viewers to the border with North Korea, illuminate the ironies of globalization, and suggest what has been gained and lost in South Korea’s ascendance.

Organized by the Philadelphia Museum of Art, this is the first major showing of Korean contemporary art in the United States since 2009. Many of the artists are well known in South Korea or have an international following; others may be less familiar, especially in American museums. They mold the medium to their message, whether photography or painting, ceramics or video. They honor some traditions and resist others. They bend time and place, addressing the past, present and future to make sense of their complex experiences.

Learn more about the exhibition here!

Julie Mehretu Unveils 'Ensemble' at Palazzo Grassi in Venice

“From March 17th, 2024, to January 6th, 2025, Palazzo Grassi in Venice hosts Ensemble, Europe’s most extensive exhibition of Julie Mehretu’s art to date. Curated by Caroline Bourgeois, the Pinault Collection’s Chief Curator, in collaboration with Mehretu herself, the exhibit showcases over fifty pieces spanning 25 years, encompassing paintings and prints, including her latest works from 2021-2024. Spanning two floors, the show features 17 pieces from the Pinault Collection alongside loans from global museums and private collectors.

Interspersed throughout the exhibition are pieces by Mehretu’s closest artist friends, with whom she shares a profound connection cultivated over the years through collaboration and exchange. The exhibition, designed around visual resonance, offers a non-linear exploration of Mehretu’s oeuvre. designboom had the privilege of experiencing the exhibition firsthand, delving into Mehretu’s artistic journey to understand how it came into being and is constantly renewed.”

Read more about the exhibition on Designboom here!

Images by Marco Cappelletti © Palazzo Grassi, Pinault Collection

National Museum of Asian Art Announces “Do Ho Suh: Public Figures”

First New Sculpture To Be Displayed Outside the Museum in Three Decades, Ushering in Museum’s Second Century

“The Smithsonian’s National Museum of Asian Art presents “Do Ho Suh: Public Figures,” a sculpture by contemporary Korean artist Do Ho Suh commissioned to celebrate the museum’s 100th anniversary. The monumental plinth will be unveiled April 27 and installed on the museum’s Freer Plaza for five years, facing the National Mall in Washington, D.C.

First presented as part of Public Art Fund’s 1998 exhibition “Beyond the Monument” (Brooklyn, New York), “Public Figures” challenges the notion of heroic individualism and the stability of national narratives. For the work, Suh created a plinth for a monument; however, its imposing form is not a base to support a heroic figure or to mark a particular historic event, but rather a massive weight held aloft by many small, individualized figures caught in mid-stride. Prominently placed in the center of the United States capital where it will be visible to some of the 25 million visitors to the National Mall each year, the commission dovetails with the global movement to rethink the role of the monument.

The unveiling of “Public Figures” marks the culmination of the National Museum of Asian Art’s centennial celebrations. In 2023, the museum honored its 100th anniversary with a yearlong series of events and programs that deepened public understanding of Asian art and cultures and their intersections with America. Ushering in the museum’s second century, this will be the first new sculpture to be displayed in front of the building in over three decades.”

Read more about the exhibition here!

Image Credit: Courtesy the artist and Lehmann Maupin, New York, Seoul and London.

Akunyili Crosby featured in National Gallery Exhibition

The exhibition titled The Time is Always Now - Artists Reframe the Black Figure curated by writer Ekow Eshun, showcases the work of contemporary artists from the African diaspora, including Michael Armitage, Lubaina Himid, Kerry James Marshall, Toyin Ojih Odutola, Njideka Akunyili Crosby, and Amy Sherald, and highlights the use of figures to illuminate the richness and complexity of Black life. As well as surveying the presence of the Black figure in Western art history, we examine its absence – and the story of representation told through these works, as well as the social, psychological and cultural contexts in which they were produced.

The exhibition features the work of leading artists including Njideka Akunyili Crosby, Hurvin Anderson, Michael Armitage, Jordan Casteel, Noah Davis, Godfried Donkor, Kimathi Donkor, Denzil Forrester, Lubaina Himid, Claudette Johnson, Titus Kaphar, Kerry James Marshall, Wangechi Mutu, Toyin Ojih Odutola, Chris Ofili, Jennifer Packer, Nathaniel Mary Quinn, Thomas J Price, Amy Sherald, Lorna Simpson, Henry Taylor and Barbara Walker.

The Time is Always Now - Artists Reframe the Black Figure is on view at the National Portrait Gallery in London from February 22 - May19, 2024.

Read more about the exhibition here!

Dyani White Hawk in Coversation at the Denver Art Museum

As part of the Logan Lecture Series, Rory Padeken, Vicki and Kent Logan Curator of Modern and Contemporary Art at the Denver Art Museum, engages with Dyani White Hawk about her dynamic practice of bringing Indigenous traditions of abstraction into a contemporary context.

This lecture is presented jointly by the departments of Modern and Contemporary Art and Native Arts and will take place on February 27th, 2024 from 6-7pm at the Denver Art Museum.

View the recorded lecture here!

Willie Cole's Five Beauties featured in National Academy of Design Sites of Impermanence

The National Academy of Design exhibition Sites of Impermanence is an exhibition of art and architectural works by the recently elected 2023 National Academicians Alice Adams, Sanford Biggers, Willie Cole, Torkwase Dyson, Richard Gluckman, Carlos Jiménez, Mel Kendrick, and Sarah Oppenheimer.

Although disparate in their approaches to material and subject matter, the artists and architects featured in Sites of Impermanence form a vivid cross-section of responses to urgent contemporary conditions and the underlying histories that have shaped them. From site-specific projects to sculpture, drawing, architecture, textile, and interactive installation, the selection of works in the exhibition reflects on a bounty of ideas (critical environmental challenges, the ongoing effects of slavery, the blurred lines between human and machine), to chart pathways towards transformation and liberation. Sites of Impermanence is co-curated by Sara Reisman, Chief Curator, and Natalia Viera Salgado, Associate Curator.

Sites of Impermanence is on view at the National Academy of Design in NY from February 8, 2024 - May 11, 2024.

Read more about the exhibition here!

Delita Martin Retrospective at U of Texas at San Antonio

This solo exhibition titled, Delita Martin: Her Temple of Everyday Familiars, A Retrospective, features the work of Delita Martin, a world-renowned master printmaker known for creating representations of black women in complex and luxuriant narrative portraits. These images draw in viewers to experience unexpected and evocative perspectives and the majesty in the often-hidden spirits of the everyday. This exhibition features a retrospective of the artist’s career including works produced in her adolescence, an interactive installation, and recent work.

Curated by Aissatou Sidime-Blanton .

The exhibition is on view at the Russell Hill Rogers Galleries at the University of Texas at San Antonio from January 26 - March 22, 2024.

Read more about the exhibition here!

Images by Patrick Buckner Photography.

Marking Resilience: Indigenous North American Prints at MFA Boston

Check out this exhibition at the Museum of Fine Arts Boston! Marking Resilience: Indigenous North American Prints is on view from November 4, 2023 through March 17, 2024 and features Highpoint Editions work by Dyani White Hawk, Julie Buffalohead, and Andrea Carlson!

Resilience often manifests in work by Indigenous North American artists, for example in its content or simply by increasing visibility to combat erasure in representation. Some Native artists have used the collaborative medium of printmaking as a way of reclaiming their histories and addressing the challenges their communities face today.

Check out MFA Boston’s website for more information and additional programming.

Highpoint Editions at INK Miami 2023

Highpoint Editions visits INK Miami for the 2nd year!

Now celebrating its 16th year, the INK Miami Art Fair is unique among the satellite fairs during Miami Art Week as the premier fair for works on paper. Visiting INK is also free! From December 6th through December 10th, Highpoint Editions exhibited 13 artists at INK including Julie Mehretu, Njideka Akunyili Crosby, Wille Cole, Andrea Carlson, Delita Martin, Jim Hodges, Carlos Amorales, Todd Norsten, Carter, Lisa Nankivil, Brad Kahlhamer, Michael Kareken, and Carolyn Swiszcz.

Just two blocks from Art Basel Miami, INK showcases work from 15 galleries and publishers in the historic Dorchester Hotel. Instead of traditional fair booths, exhibitors occupy the hotel’s suites - giving visitors a rare opportunity to imagine the work in their homes.

The fair was bustling with attendees this year and the resounding response was incredibly positive. Many visitors expressed their gratitude for this breath of fresh air and insisted it was their favorite fair during Miami Art Week!

Highpoint Editions Prints featured in Strange Weather: From the Collections of Jordan D. Schnitzer and His Family Foundation

Strange Weather: From the Collections of Jordan D. Schnitzer and His Family Foundation features contemporary art works which illuminate and reframe the boundaries of bodies and the environment. The artworks included in the exhibition span five decades, from 1970-2020, and are drawn together for how they creatively call attention to the impact and history of forced migrations, industrialization, global capitalism, and trauma on humans and the contemporary landscape.

Artists include Carlos Almarez, Carlos Amorales, Leonardo Drew, Joe Feddersen, Hock E Aye Vi Edgar Heap of Birds, James Lavadour, Nicola Lopez, Hung Liu, Julie Mehretu, Wendy Red Star, Alison Saar, Lorna Simpson, Kiki Smith, Charles Wilbert White, Kehinde Wiley, and Terry Winters.

Featured prominently are Carlos Amorales’ four prints with Highpoint Editions titled Useless Wonder Maps 1-4.

Strange Weather: From the Collections of Jordan D. Schnitzer and His Family Foundation is on view from October 21, 2023 to April 07, 2024 at the Jordan Schnitzer Museum of Art at the University of Oregon in Eugene, OR.

Read more about the exhibition here!

Creative Capital 2024 Awards Granted to Highpoint Editions Artists

Congratulations to both Highpoint Editions Artists Andrea Carlson and Dyani White Hawk on their Creative Capital 2024 Awards!

Creative Capital announced their 2024 “Wild Futures: Art, Culture, Impact” Awards in Visual Arts and Film/Moving Image, totaling $2.5 million in grants to artists for the creation of 50 groundbreaking new works. Chosen via a democratic process of external peer review out of 5,600 applications, these 28 successful visual arts project proposals and 22 film/moving image project proposals, representing 54 artists in total, were awarded on the basis of their innovative new approaches to painting, drawing, sculpture, public art, video art, architecture and design, printmaking, installation, documentary film, experimental film, narrative film, and socially engaged forms. The Creative Capital Award provides each individual artist with unrestricted project funding up to $50,000, which can be drawn down over a multi-year period, bespoke professional development services, and community-building opportunities.

Read more about the Creative Capital Awards here!