Waiting Room functions as
practice and platform;
we exist by virtue of presence.  


ABOUT

STAFF
Kristina Johnson, Director
Jehra Patrick, Founder

UPCOMING
Constructing Sites
Jaysen Hohlen  
In your absence
Jeffrey Haddorff and Sophia Munic
10/15/22 to 11/12/22
Joint opening reception: 
October 15th, 2022

from 12-5pm.

We are a part of Twin Cities Art Week!

LOCATION
1900 Columbus Avenue
Minneapolis, MN 55404Follow driveway to backyard for gallery entrance. 

HOURS
Sat. 12-5pm
Sun. 12-5pm
Weekday appointments encouraged.

CONTACT
gmail. waitingroomart@
instagram. /waitingroomart





Legends for Loose Grids
May 20–July 24, 2016
Opening Reception: Friday, May 20th, 7–10pm


Legends for Loose Grids is a relaxed triangulation of artists and ideas, bringing together the work of David Bartley, Leslie Baum, and Alexander Herzog. Together, their studio practices are networked by a shared interest in painting as a process, and format, as well as a concision device for personal vocabularies, grid systems, and modernist art histories.

The grid has long been a logical way to discuss the materiality of painting. Roselind Krauss describes the grid as, “a structure emblematic of the modernist ambition…” she says, “Indeed, if it maps anything, it maps the surface of the painting itself.” Within the exhibition, the artists approach the grid directly, as a framework to operate in and a structure to unbind; as Cartesian space in which to situate relationships; and implicitly, in the methodical labor of production - the repetitive, accumulative, patterned action of the artists hand - or in the cotton weave of the canvas substrates.

In the work, we see warps and wefts of art history; each artist offers a series of chess moves through a chronology of painters, nodding to Caravaggio, cropping Guston, grafting Martin, an offering for Frankenthaler, an ode to Cezanne, an accidental Twombly. Here grids are elastic, and can stretch over space and time, like 3-D checkers. These grids are non-silent, serving as an efficient container for artistic labor and personal and art-historical narratives.

Leslie Baum shares a sampling of new work from her alphabet-like clusters of paintings-cum-installations. Her paintings parade out into exhibition space like scenic design, occupying a bivalence of foreground/background and in-frame/beyond-frame.

David Bartley shares large-scale patterned works evidencing the labor of obsessive patterning, and residual build up, of personal and art-historical histories.

Alexander Herzog’s surfaces are worked with gesso, leaving the corporal traces of the artists hand. The artist likens the methodical practice of building and leveling the surface of his work to the mundane or repetitive activities of the hospitality industry, like washing and cooking.