The eighth annual UPRISING art exhibition at St. Olaf College explores the transformative power of Black dreams born from struggle and triumph, fueled by the unyielding spirit of those who have faced centuries of adversity.
UPRISING VIII: Vivid Motion, Living Dreams is open February 7–28 in the Groot Gallery in the Center for Art and Dance. It is free and open to the public.
Founded in 2018 by Shaquille Brown ’19, UPRISING is a student-curated exhibit that celebrates Black history, culture, and identity through the visual and performing arts. This year’s exhibit was curated by Jan-Rose Davis ’25, Ariel Edwards ’26, Bassaa Tufaa ’25, and Queenie Wynter ’25, with curatorial mentorship from Minneapolis artist Alexandra Beaumont. It features visual art, poetry, and performance created by St. Olaf students and alumni.
UPRISING will intertwine with an exhibition of Beaumont’s work titled Techniques for Ecstasy that will be hosted on campus February 14–April 6 in the Flaten Art Museum. The two shows will host a joint opening reception and dance party on Friday, February 14, from 7–9 p.m. in the Flaten Art Museum. UPRISING is co-presenting the dance with the Cultural Union for Black Expression (C.U.B.E.) and the Marlys Boone House.
Ahead of the opening for Vivid Motion, Living Dreams, the four curators shared more about their work and the impact they hope it has on campus. Read their Q&A below.
What was the inspiration for this year’s theme?
Davis: This year, rather than defining a theme for the artist, we wanted to welcome the artistic vision of students and alumni alike. We wanted to welcome everyone’s creativity and engage with other Black student organizations. Through community engagement, we experienced the inspiring creativity of the Black student body and how it brings life to this campus. Our exhibit represents creativity driven by passion from the Black student body. Another element of our creative process was mentorship and collaboration with Alexandra Beaumont. We had the opportunity to see her work in another exhibition. We also discussed the origins of our organization and our plans for this year’s exhibition. This experience birthed the concept of art in motion and flowing art. We also hosted a string of community engagement activities in collaboration with other organizations to promote our exhibit and raise funds. All of these elements shaped our theme: Black passion and artistry in vivid motion like a living dream!
Wynter: When reviewing the submissions we received, we noticed many focused on this idea of ‘what could have been’ and the process of making it reality. Either by using their art as a motivational reminder, creating worlds in their vision that you could jump right into, or acknowledging how present moments are aspirations of the past, we feel that the main string that connects the pieces is hope through hard work. Or rather, moving towards creating what you envision.
What type of artwork will visitors see on display?
Davis: Artists submitted handmade artwork, printed digital art, film, projected art, dance recordings, videography, photography, magazines, poems, and monologues. We gave free rein to the artists to share their artistic truth in any format. The executive team also designed the space to create a sense of flow and movement throughout the exhibit using fabric, false walls, pedestals, and furniture.
Wynter: We’re always trying to engage with as much of the Black community on campus as we can, so instead of calling for artwork we phrase our call for art as looking for different forms of expressions that people might want to share. As someone who didn’t engage with the visual art world until joining the UPRISING executive team, it can be pretty intimidating to share if you don’t consider yourself an artist. It took me three years on the team to build up the courage to submit my own work! I believe that thanks to that, we have a wide variety of work on display this year. We have set designs we’re inviting audiences to walk through and be immersed in, collages galore, poetry on love and God alike, cultural dances and portraits, a speech on the possibilities for a country defined as ‘developing’ and reversing the effects of brain drain as an individual, photography, and more.
Tufaa: Black Oles continue to showcase their talents through different mediums with the intention of expressing their experiences here at St. Olaf and beyond. The works have been truly inspiring as well as captivating to witness!
Your team worked with artist Alexandra Beaumont as you planned this exhibit. How did her mentorship impact the planning of this year’s UPRISING exhibit?
Edwards: Alex was a wonderful resource and inspiration to us as a team. During our meetings, she was intentional about listening to us first before providing her wealth of knowledge. She helped us navigate our decision on the exhibition theme by providing examples of ways she’d done so before. Alex also guided us through an exhibit that included her work at Public Functionary in Minneapolis. This visit was particularly impactful, as it gave our team a beautiful example of an elegant exhibition setup for multiple artists.
Wynter: Speaking with Alex really helped us look at different ways we could highlight the work we received. She would ask us guiding questions and give us her experiences as an artist in museum spaces. What really helped was getting to see her work and the work of other artists at Public Functionary in the exhibit Your Hands Were Making Artifacts In The Corner Of My Mind. We got a lot of ideas on manipulating the flow of an open space to allow distinctly different artists to equally be represented. It made taking on a space in art less daunting as a non-art major.
Tufaa: Alex’s mentorship was incredibly important throughout the process! We met with Alex on various occasions and in various settings where her guidance was valuable. Discussing the creation of the exhibit with an artist as established as her made the process less daunting. Alex made sure to listen to our thoughts and ideas, finding where our experiences can translate to the exhibit as a whole, and provided advice on topics that she is well versed on.
Davis: Alex’s mentorship was a surreal experience for us as an executive team. We felt more confident in being creative with the space in Groot Gallery. She allowed us to explore her exhibit and studio in the Twin Cities. This experience showed me that I could continue my passion for curation in the community no matter where my future takes me. Seeing the care and planning that went into the exhibit we explored was eye-opening and profound. This intensified my enthusiasm for our exhibition. We were also able to have insightful conversations about what our organization represents in this community and ways we can be more present and active. This helped us branch out in our promotion of this year’s exhibit throughout the fall semester. We did more tabling events, a creation space on the weekends, and even did the first boba fundraiser of the year. In our planning stages, she discussed our floor plan ideas with us and offered insight into ways we could structure our space. We are so excited to have a collaborative opening on February 14!
What do you want people to take away from this year’s exhibit?
Edwards: In line with the chosen theme, I want people to see the drive of the students who created each piece. Viewers have an opportunity to come away with fresh motivation themselves, and I hope that everyone who spends time in the exhibit comes with an expectation of receiving. Each opportunity only lasts for a time, and for this month, all who step into Groot Gallery have a chance to be impacted by the exhibit.
Wynter: I would hope that UPRISING would always encourage conversation among those showcased and those observing, but I want to preface that looking at art could be a first step rather than where audiences’ support stops. We’re hoping for this show to not just showcase Black creativity but to allow us to use the resources we have to emphasize support in the Black community. I would hope people would understand that this show is not the apex of what we hope to accomplish with UPRISING. Go out and talk to the artists about their motivations, their future ideas, and what they’re working on now!
Davis: One thing I would personally like people to take away from this exhibit is that they should seek out Black artistry. While we intentionally created a space in February, Black History Month, to showcase Black artistry, this artistry is so much more than just this bit of time. It moves through time and space. It evolves as we dare to dream — and in that way, it is a living dream. Black artistry takes on a life of its own, becoming something so bold and authentically true, bringing life to those who partake in it! Black artistry can be found everywhere, so I encourage people to seek it out and create space for it where there is none! This endeavor requires passion and work, so dare to dream and make this dream a reality.
“While we intentionally created a space in February, Black History Month, to showcase Black artistry, this artistry is so much more than just this bit of time. It moves through time and space. It evolves as we dare to dream — and in that way, it is a living dream. Black artistry takes on a life of its own, becoming something so bold and authentically true, bringing life to those who partake in it!”
— Jan-Rose Davis ’25
Anything else you want to highlight?
Tufaa: Amplifying Black voices and experiences can bring about transformative change as well as enthralling pieces of art. These pieces call on us to challenge the fixed notions that encompass the world that we live in and highlight just how similar the experiences of Black students here can be. I hope this exhibit can act as an outlet where Black students here feel compelled to show the world their talents, hopes, and dreams, as well as foster community between the artists.
Edwards: For me, it is important to understand that the artwork by Black students on display for Black History Month is not meant for pity, nor is it meant for radical world change. Any exhibit like this has potential. The transfer of potential to kinetic energy depends on the responses of the people. Standing and staring at a couple posters is not the fullest way to support the beautiful artistry on display. Ask questions, do what may be daunting, and be open to a change of heart and action. The people who made this year’s exhibit possible exist outside of February.
Wynter: I’d also want to highlight that I strongly encourage others to join our executive team for next year. I joined as a sophomore and although it was daunting, I am so thankful that UPRISING introduced me to museum spaces. Working on UPRISING has been able to foster an interest in curatorial work that I never would have been comfortable exploring in whiter spaces. It’s led me to working at the Flaten Art Museum, and to exploring how I can continue working and gaining experiences in this world after graduating. For underclassmen who are interested in the art world but are also intimidated by it, I believe that UPRISING is a great introduction.