Arts | February 16th, 2026
By Jacinta Zens
It may sound cliché, but the 90s in Minneapolis were pretty magical. Underground punk and hip-hop shows occurred weekly, zines were all the rage, colorful, exquisitely executed graffiti started popping up everywhere and you could see people perform remarkably cool skateboarding tricks at the old Federal Building in downtown Minneapolis every night. It was in this creative mix that the zine, Life Sucks Die, was born.
Life Sucks Die contained a mix of graffiti photos, crude humor and articles on random topics, ranging from hair weaves to shoplifting. I was introduced to it by a friend who skateboarded, and I vividly remember him carrying one around in an art class we both took. The zine was unlike anything I had ever seen before or since, due to its avant-garde nature and artistic expression.
Around 2003, the creators of “Life Sucks Die” shifted their focus to freelance graphic design projects. By this point, they had become well known for their DIY aesthetic and creative approach to designing promotional materials for artists, such as the Rhymesayers crew; magazine layouts for businesses, including the iconic concert venue First Avenue; and posters and t-shirts for countless indie bands.
Fast-forward to 2026, and the “Life Sucks Die” creators are now internationally known in the art and music worlds for their unique designs and screenprints, produced with extraordinary technical precision. Their design and printing company, Burlesque of North America, is now one of the most well-known design firms in the nation.
Their trajectory mirrors that of some graffiti artists of their generation. The illegal creative practices of some have evolved into a focus on crafting one-of-a-kind objects and limited-edition prints. Graffiti artists like SHOCK UC and EWOK have gone from painting freight trains in Minneapolis to exhibiting their work in spaces around the world.
There will be an exhibition titled “Re-Arming Language: Post-Graffiti Artists” at the North Dakota Museum of Art in Grand Forks from March 5 to May 10. It will showcase works by artists whose work is an extension of their graffiti practice. The exhibition contains screenprints by one of the founders of Burlesque of North America, Mike Davis, as well as works by graffiti legends George Thompson (EWOK), SHOCK UC, and NYC superstar Stephen Powers (ESPO), among others.
I spoke with Anna Arnar, chief curator of the North Dakota Museum of Art, about the exhibition. Here is an excerpt from the conversation.
HPR: First off, how did this show come together?
Anna Arnar: The director of the museum, Matt Wallace, is a huge fan of the artists at Burlesque of North America, and of the art form of graffiti. The exhibition began with the purchase of works by artists from Burlesque of North America and expanded from there. We worked with art dealer and graffiti expert Joe Ellis for the exhibit, and his contribution was invaluable.
HPR: I have never heard of Joe Ellis. Can you tell me more about him?
AA: Joe is from Minneapolis and knows an extraordinary amount about graffiti and art overall. He owns a business that sells works by graffiti artists and advises collectors and organizations on the art form.
HPR: What are some of the exhibit highlights that you can share?
AA: The quality and technical execution of the work is extraordinary. You have to see the works in person, but I can tell you that they are all so well done. The detailing on the screenprint is unbelievable!
One of my favorite parts of the exhibit is that we have some artists’ sketchbooks, which are called black books in the graffiti world. I love showing how artists develop their ideas, and sketchbooks are an excellent way to do that.
HPR: I saw that you will have some work by ESPO. That is crazy! He is one of the innovators of NYC graffiti artists in the 90s.
AA: He goes by Stephen Powers instead of ESPO, but yes, we have some of his works in the exhibit. His book, “The Art of Getting Over,” was a tremendous help in creating the exhibit. It includes interviews with graffiti artists and pictures of their work. It helped me better understand the medium.
HPR: That book is a graffiti art classic. I am curious what the term “post-graffiti” means. I had never heard of it, and I am a fan of graffiti.
AA: The term “post-graffiti” is used to describe the works in this exhibition because they were not produced on the street, but rather in the studio. The artists are all experienced graffiti artists in their own right, but the works in the exhibit show a different aspect of their creative practice.
Connect with arts reporter Jacinta Zens by emailing jacinta.zens@gmail.com.
IF YOU GO:
“Re-Arming Language: Post-Graffiti Artists”
Opening and gallery talk with Joe Ellis on Thursday, March 5, 4:30 to 6:30 p.m.
Exhibit March 5-May 10
North Dakota Museum of Art, 261 Centennial Dr., Grand Forks, ND
ndmoa.com
