Medcalf: Like ‘Giants’ exhibit at Mia, work of local Black artists is a gift

When she first heard about the opening of an art exhibit curated by a pair of musical savants, Leslie Barlow, a Black artist and instructor in the Twin Cities, booked a flight to Brooklyn.

“They were huge supporters of Black artists and they also have a lot of paintings and portraits in their collection and that is what I do,” Barlow said about “Giants: Art from the Dean Collection of Swizz Beatz and Alicia Keys,” which made its Midwest debut at the Minneapolis Institute of Art on Saturday.

Swizz Beatz (Kasseem Dean), a Grammy-winning hip-hop producer and songwriter, and Keys, one of the greatest R&B artists of our generation, have championed Black art around the world with the exhibit that features works by Gordon Parks, Lorna Simpson, Jean-Michel Basquiat and others.

[More: Alicia Keys and Swizz Beatz attend ‘next level’ opening party for ‘Giants’ exhibit at Mia]

It’s an honor that these two icons would pick Minneapolis as a stage for an immaculate exhibit that highlights the exceptional work of Black artists. The spotlight on the exhibit is also an opportunity to magnify the energy around Black art, which will hopefully spill into the local scene.

“It’s a great opportunity and I think it’s going to be really impactful,” said Barlow, who is also the studio director of Public Functionary, which supports marginalized artists in the Twin Cities. “Despite the fact that we know, for some people, they’re checking a box. For others, it’s really, really important. There are a lot of us here making art in the Twin Cities. [You can support us by] going to our shows, buying our work, following us on social media, interviewing us and making sure we get to share our voices. I think all of that is really important.”

After the murder of George Floyd, a variety of institutions, corporations and universities spent thousands of dollars to attract Black speakers, creators and artists from around the country for a multitude of local events. My concern then was that the same support did not exist for the Black speakers, creators and artists who live here.

My hope for the “Giants” exhibit is that it pushes Black art forward locally, too. Because the breathtaking work here is worth noting, enjoying, and most importantly, buying.

That’s Reggie LeFlore’smessage, too. In 2015, LeFlore moved to Minnesota with a former partner. The local artist developed a fondness for the Twin Cities art scene, so he decided to stay even after the relationship ended.

If you walk into the Target Center, you might see a 40-foot mural of Timberwolves star Anthony Edwards in the atrium. LeFlore, who specializes in murals and street art, did that. In record time.

“They needed it done in six days,” he said. “I was able to get it done in six days.”

After Floyd’s murder, LeFlore said he was frequently commissioned for a variety of projects. But that interest waned over time, as Minnesotans slowly reduced their support of the causes promoted by marginalized communities.

That’s why the “Giants” exhibit matters, he said. It’s an opportunity.

“It’s like they felt some type of guilt and wanted to put a Black artist on a platform to do these things, but I’ll never forget that I didn’t get these opportunities before the murder of George Floyd,” LeFlore said. “And even now, I feel like a lot of that stuff has tapered off. No one really seems to have that same type of energy for Black art as they did during those tumultuous years.”

Barlow grew up three blocks from where Floyd was murdered. Five years later, she still struggles to talk about the trauma she and other artists have experienced. But her work has centered the healing elements of her craft. Her “Portraits During a Pandemic” project is a series of 20 oil paintings created from Zoom-call images. They feature a variety of folks who could be your family members, friends or neighbors. It appears as if they are all staring ahead, wondering what the future may hold during such a turbulent time.

While Barlow has enjoyed the local platform she possesses to create her work, Black artists in the Twin Cities had to fight for space after Floyd’s murder.

“It was really important for us to center Black artists. That was our mission, to center and uplift Black artists and voices in the mural work, because we were seeing not a lot of Black artists actually given that space, which is hard to believe but is true,” she said. “In summer 2020, a lot of the murals that were going up were not created by Black people and people were making money. It actually kind of made me sick.”

[Review: ‘Giants’ at Minneapolis Institute of Art delivers bold, big, colorful works]

During an interview with the Minnesota Star Tribune, Keys said her fondness for Prince made Minneapolis an important stop on the exhibit’s tour. She also acknowledged the challenges of the last five years and beyond.

“We know that there is so much healing that has to happen — that is happening,” Keys told the paper. “We are the custodians and guardians of each other’s healing.”

For many in the Twin Cities, the “Giants” exhibit could be an introduction to a multitude of incredible Black artists who warrant the adoration while also generating more interest for the work of the Black artists who live here. Because they should be highlighted, too.

“This is how artists survive and make a living,” Barlow said. “So if you genuinely love Black art, then buy Black art and support these people so that they can continue to make the work that you love.”