Author: rakemag

Planning to snuggle up with that special someone—or hell, just anyone—on Valentine’s Day?
Nothing says lovin’ like some cozy new (to you) furniture from Craigslist! Just remember that competition is stiff, so hopeful soon-to-be former owners try to show off their wares in the most attractive light possible. Also, “BO” means best offer, not body odor.

We asked a quartet of men-about-town, each dapper in his own way, to demonstrate. We sent them off to different women’s retailers—a department store, a discount chain, a boutique, and a consignment shop—and, all in all, were surprised when they all turned up with styles that stressed comfort, grace, and even downright conservatism. Kevin Friedland first picked up a drop-dead see-through lacy number by Dolce & Gabbana and then decided it was too revealing, and while Mikal Arnold did settle on lace, it was used in a demure cocktail dress. Brant Kingman improvised a hip-skimming skirt to cover the fanny of some tight leather slacks, and Kieran Folliard topped off an ensemble for his wife with a modest—no, make that schoolmarm-y—cardigan. What can we conclude from this little experiment? Guys may enjoy mooning over their ladies at a candlelit restaurant, but it seems they don’t want anyone at the next table doing the same.

Kevin Friedland
Defender/midfielder for the Minnesota Thunder professional soccer team
Shopped at: Bumbershute, Wayzata
Currently attached to: Meghan, a student and volunteer Thunder cheerleader
What she usually wears: “Either a dress or jeans and some kind of top.”
What he likes a woman to wear: “I like black and I like color—not so much beige.”
On his date-night selection: “It’s not too over the top, not too lacy or see-through, but it’s still kind of sexy.”

Brant Kingman
Sculptor, designer, and noted party host
Shopped at: Nu Look Consignment Apparel, Minneapolis
Currently attached to: Kara, a dancer and IT project manager
What she usually wears: “A lot of Max Studio, BCBG. My favorite coat of hers is a Betsey Johnson—with a fitted, sort of frilly collar.”
It’s all in the details: “I like skirts that are cut on the bias … I like appliqué and embroidery … I’m partial to fringe.”
Holding up a skirt to his waist: “I happen to know that my hipbone-to-hipbone measurement is about the same as hers.”

Kieran Folliard
Owner of Kieran’s, The Local, and The Liffey
Shopped at: Target, downtown Minneapolis
Married (and divorced and re-married) to: Lisa, a dietician
On Target: “This is the bull’s eye, literally. It’s the only place I could’ve gone without going crazy. It’s laid out clean—I can be in, I can be out.”
Unsolicited praise from his son Jerome: “That outfit actually does look like Lisa. Very impressive!”

Mikal Arnold
Guitarist/songwriter for Revolver Modèle and master’s candidate in Spanish literature
Shopped at: Bloomingdale’s, Bloomington
Currently attached to: Jahna, a Neiman Marcus sales associate and fashion stylist
When examining a beaded dress: “I like it because it’s sort of a cross between flapper girl and Morticia Adams, which are two fetishes of mine.”
On his date-night selection: “It sort of looks like it’s been worn—like an heirloom.”
On the jewelry he picked out: “The skull is what I love. But she’d totally take that off right way. It’s also got the fleur-de-lis!”

Winterthur was originally the country estate of Henry Francis du Pont (yes, those Du Ponts), a collector whose taste and connoisseurship for American antiques were so exquisite that Jackie Kennedy prevailed upon him to help re-do the White House. Having amassed a collection of 85,000-plus objects—furniture, glass and metalwork, ceramics, and textiles—the man simply had no rival. Some three hundred plums from Winterthur, founded as a museum in 1951, make up its first-ever traveling exhibition. Among them are priceless Chippendale pieces, a tea table exemplifying the eighteenth-century Chinoiserie craze, and several Frakturs: a distinctly American (actually, Pennsylvania German) take on the illuminated manuscript. 612-870-3131; www.artsmia.org

Walker regulars are likely already familiar with Kara Walker’s work, as she is one of a few artists, including Matthew Barney and Robert Gober, with whom the museum has established an ongoing relationship. Naturally, then, the Walker offers the first full-scale survey of her work, which frequently employs the eighteenth-century art form of black-paper silhouettes to render scenes—horrifying, fantastical, obscene, and often grossly satirical—from American plantation life. A whip-smart “Negress” (as she is wont to call herself) and stellar storyteller, Walker cuts to the complex and confounding heart of American history, race relations, and gender issues without apology. 612-375-7600; www.walkerart.org.com

Apparently years touring in a rock ‘n’ roll van can result in more than permanently rumpled clothing and an affinity for gas-station cuisine. In Dan Monick’s case, it gave him an eye for photography; his work has been included in such manuals of cool as Paper, Swindle, and Fader. Currently based in Los Angeles, the former drummer of Minneapolis’ celebrated Lifter Puller returns for a solo exhibition of his work, much of which can be described as iconic portraits of young and artistic people who are, in most cases, not yet icons (though he’s also shot the likes of Lily Allen, Nikki S. Lee, and the Beastie Boys). Included here are photos of local notables, including Atmosphere, Har Mar Superstar, the Hold Steady (Monick’s former bandmates, now NYC-based)—and a memorable vision of Patrick Costello from Dillinger Four clad in nothing but an American flag. 2640 Lyndale Ave. S., Minneapolis; 612.871.2263;
www.soovac.org

If you think of the University of Minnesota’s Nash Gallery as a teaching space, then this ambitious exhibit is designed to show students—and the rest of us—the range of forms that political art can assume. An intriguing mix of locally-based and national artists are represented: There are paintings from Shana Kaplow and selections from photographer Paul Shambroom’s Security series, while Martha Rosler, who made collages in the ’70s that conflated the Vietnam war and American women’s domestic lives, updates that idea with our current war and consumer trends. Also on view are Maus selections from Art Spiegelman; Sue Coe’s savage prints and drawings; a profoundly disturbing “re-creation” of The War Remnants Museum in Ho Chi Minh City by Portland-based Harrell Fletcher; and works from more than a dozen others. Regis Center for Art, 405 21st Ave. S., Minneapolis; 612-624-6518;
www.nash.umn.edu

Hardcover Theater’s versions of “penny dreadfuls,” or Victorian-era soap operas, have been so popular in years past that this time around it’s offering five installments, each time imagining a more fantastical mash-up. Making an appearance are historical figures such as Queen Victoria, Scotland Yard founder Sir Robert Peel, and the grave robbers William Burke and William Hare, who became boogeymen for generations of British schoolchildren. Characters borrowed from Victorian pulp include Varney The Vampire, who doesn’t necessarily like being a bloodsucker; and The Beatle, a Middle Eastern sorceress with powers of mind control and self-transformation. Even if you’ve missed earlier installments, each show starts with a recap, so don’t worry about missing anything. 810 W. Lake St., Minneapolis; 612-825-8949;
www.bryantlakebowl.com

Stuart Pimsler was inspired by literature when constructing this feverish meditation on love; he read everything from Plato’s Symposium to contemporary fare like Nicole Krauss’ The History of Love and Jonathan Safran Foer’s novel Extremely Loud and Incredibly Close. He then cast a nine-year-old dancer to act as the show’s sage narrator, much like in Krauss’ and Foer’s stories; threading together a history of feelings, this character thus carries the tone of the piece, which ranges from bawdy to introspective. To pluck things up, Twin Cities composer Michelle Kinney has composed live, original music for cello, acoustic guitar, and accordion, while filmmaker Paul Augustin lends the video accompaniment—mostly images of wooded areas that Pimsler called “very Midsummer Night’s Dream-like.” 612-377-2224; www.guthrietheater.org

In the biblical story of Susannah and the Elders, a beautiful young woman gets falsely accused of being a hussy. Thinking this an apt metaphor for all the finger-pointing and paranoia he saw during the McCarthy era, American composer Carlisle Floyd transposed the fable to 1950s Tennessee. Just like in the Bible, the fetching Susannah is spied bathing nude in a pond (as it was done in B.C. Israel, so with mid-twentieth-century Appalachia), and indicted for doing so by the so-called devout members of her community. But unlike the Bible’s version of the story, this one boasts gorgeous arrangements of operatic singing layered over a finger-picked, Appalachian-inspired score. 1614 Harmon Pl., Minneapolis; 651-209-6689; www.latteda.org

Edna Stevens Talton was but a wee Liberian seven-year-old when her family transplanted itself to the States in 1981. Once here, she quickly picked up on echoes of traditional African dance in the new African-American styles she was discovering. A couple of decades later, long after she’d forged a successful career as an MTV backup dancer, Talton would strike upon this parallel by leading her company, Universal Dance Destiny Studios, in a review of African and African-American dances that became the hit of last year’s Minneapolis/St. Paul Fringe Festival. Thirty-five performers sustain an hour of constant motion, with breakdancing, krumping, and traditional West African dance set to spoken word, hip-hop, and African drumming. One of four top-selling Fringe productions being reprised at the Guthrie. 612-377-2224; www.guthrietheater.org