Exhibitions
Annual Member Show 2024
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October 6, 2025 December 19, 2025 America/Chicago 65th Arrowhead Regional Biennial Apply via Submittable Learn more and submit your application Biennial Call for Art March 7–June 2 About the Biennial The Duluth Art Institute (DAI) announces an open call for submissions for the 65th Arrowhead Regional Biennial. As one of the longest running biennials in the country, this exhibition features a wide range of artwork produced within the last five years from artists residing in Minnesota, Wisconsin, North Dakota, South Dakota, Iowa, Michigan, and Ontario, Canada. The exhibit is open to all 2D & 3D work, except AI-generated. Please direct questions to Madeline Kayser, DAI Exhibitions Manager, mkayser@duluthartinstitute.org Meet the Judge: Wendy Savage Wendy lee Savage is an enrolled member of the Minnesota Chippewa Nation, Lake Superior Band, and Fond du Lac Reservation. She earned a Bachelor of Fine Arts degree in 1986 from the University of Wisconsin-Superior. Her Master's degree in Education through the College of St. Scholastica is presently in progress. Savage is a multicultural educator, consultant, independent curator of the arts, and an artist of the Ojibway culture of this region. She has used her background in art to develop culturally-specific curriculum. She has served as an art consultant to Duluth Children's Museum, DAI, and Fond du Lac Tribal and Community College. Savage has worked as an independent curator in the Duluth area. She most recently curated exhibitions for the American Indian Community Organization gallery program, and the Duluth Nordic Center gallery. Savage's background also includes arts administration. She was a member of the Native Arts Circle, a past board member of the Duluth Art Institute, and a board member of the Arrowhead Regional Arts Council, where she instituted a grant program for Native American Indian artists. She has been a Minnesota State Arts Board grants reviewer and a member of the Tweed Museum of Art. She works both as an artist and advocate to ensure the preservation of American Indian art forms and exhibitions. Duluth Art Institute
June 23, 2025 September 16, 2025 America/Chicago Within the Threshold Minnesota-based artist Heidi Wanzek’s work begins not in the studio, but in the deliberate act of noticing, gathering, and waiting for each material — tree limbs, lake-worn debris, seed pods, and industrial remnants. She sits with these elements, allowing them to reveal their stories, and then intentionally transforms them. The resulting sculptural works explore the fragile and powerful connections between life and death. At some point, the assembly of fragments becomes a whole—as Wanzek describes it, passing “the threshold into existence and vitality.” The work becomes an entity capable of inspiring empathy through the physical evidence of its history. “They take on a presence of emotional vitality, seeing a reflection of our human experience in their state of being,” Wanzek explains. Each material is unique—like the human body—and parallels our own life and death cycle. Whether giving them a second chance at life or anointing them for death, Wanzek is intentional with where the objects are found, what state of life they are in, and how they interact in the world. Within the Threshold highlights the cyclical nature of materials and their journey through the life/death/life cycle. Rather than turning away from decay or loss, Wanzek invites us to hold these transitional states with reverence, holding space for grief, memory, and transformation. Her sculptures examine what might emerge when we choose to look closer—to sit with discomfort, to observe, and to listen. In doing so, we may come to understand more about ourselves in these repeating patterns. Duluth Art Institute
June 23, 2025 September 16, 2025 America/Chicago The Games We Play Charvis Harrell is a self-taught artist from Macon, Georgia. His experience volunteering at the Tubman Museum revealed the power of using art to tell the story of a cultural movement. “It was less a formal education,” says Harrell, “and more a powerful, hands-on journey into the heart of art and community storytelling.” Rooted in ideas of social commentary, personal experience, and honoring overlooked historical figures, Harrell blends literal and metaphorical images in conversation with black stereotypes, history, and empowerment. He finds inspiration from artists like Alex Katz, Fred Wilson, and Kara Walker, drawing from their dedication and fearless approach to creating meaningful work. The Games We Play speaks through art to reshape perceptions of black stereotypes and teach American history. Harrell's paintings focus on the story of the Black Panther Party, encouraging viewers to see beyond the surface. “It’s easy to judge by image alone,” Harrell explains, “but if you look deeper, you’ll see they were students, organizers, and leaders. They fought for free breakfast programs, community healthcare, and the right to police their own neighborhoods. Their story is one of young people stepping up, taking control of their destiny in a radical new way.” Harrell prefers to work on reclaimed materials—originally for affordability, but now with a love and respect for the history of these imperfect surfaces, which inform his creative process. “There's something deeply satisfying about taking something discarded and turning it into something beautiful,” muses Harrell. “It’s symbolic—breathing new life into forgotten things.” Duluth Art Institute
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