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Key Information

Chris Mars (born April 26, 1961) is an American painter and musician. He was the drummer for the seminal Minneapolis-based alternative rock band the Replacements from 1979 to 1990; he later joined the informal supergroup Golden Smog before beginning a solo career. Although Mars concentrates mainly on his art career, he still occasionally releases new music.

Biography

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The Replacements

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Mars (second from right) as part of the Replacements in 1984

In Rolling Stone's Alt Rock-a-Rama, Mars detailed the kind of hell-raising in which he and the other Replacements—singer-guitarist Paul Westerberg, lead guitarist Bob Stinson, and bassist Tommy Stinson—indulged when they were together. Among other incidents, Mars was thrown in jail for playing chicken with an officer in an unmarked police car. Also, he and Bob Stinson sabotaged a gig where he knew there would be a lot of record-industry personnel in attendance by going to a novelty store and purchasing some bottles of stink juice. Mars sometimes transformed into an alter ego named Pappy the Clown while on tour; he painted his face when inebriated and spooked the band and road crew.

Mars appeared on only a few songs on the Replacements' final album, All Shook Down (1990); he left before the subsequent tour, unhappy with Westerberg's increasing control of the band.[1]

Solo career

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Mars's first solo album, Horseshoes and Hand Grenades (1992), was a revelation for fans and critics used to his fairly limited role in the Replacements. He wrote every track and played drums, guitar, and keyboards in addition to handling all lead and backing vocals. Except for the presence of bass guitarist J.D. Foster and brief contributions from Soul Asylum's Dave Pirner and Dan Murphy, it was essentially a DIY affair. Mars followed it up a year later with 75% Less Fat.

Mars wasn't interested in touring behind his third album, Tenterhooks (1995), so another band, the Wallmen, toured behind it with a cardboard cutout of Mars placed onstage.[2] He released one more album, Anonymous Botch (1996), before fully turning his creative attention to his visual-art career.

Mars self-published a fifth album, Note to Self, in 2017.[3] He announced the news on Twitter[4] and later on his Facebook page.[5]

Painting career

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"Funeral March for the Minimal Man", a 2002 painting by Chris Mars held by the Minneapolis Institute of Arts

His painting style, examples of which grace all of his album covers, is marked by nightmarish landscapes and grotesque, distorted figures. He draws inspiration from his older brother's struggle with schizophrenia.[6]

He generally likes to use oils or pastels, although he ventures into other media, like acrylic and scratchboard. He created a 13-minute animated film about his work titled The Severed Stream.

Mars' work, which has fetched prices of more than $30,000,[7] has been shown throughout the United States and Canada. He has had solo exhibitions at Billy Shire Fine Arts,[8] the Erie Art Museum, the Minneapolis Institute of Arts, the Steensland Museum, the Coker Bell Gallery,[9] and the Mesa Arts Center.[citation needed]

Personal life

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Mars lives in Minneapolis with his wife, Sally Mars. He attended Central High School in Minneapolis but did not graduate.[10]

Discography

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Solo albums

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Exhibitions and collections

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Museum exhibitions (solo)

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Notes

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Chris Mars

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Chris Mars (born April 26, 1961) is an American visual artist and musician best known as the founding drummer and a core member of the influential Minneapolis-based alternative rock band The Replacements. Born in Minneapolis, Minnesota, as the youngest of seven children, Mars experienced significant family challenges early in life, including the institutionalization of his eldest brother for schizophrenia when Mars was five years old; these events shaped his later artistic explorations of mental health, societal stigma, and human vulnerability. He co-founded The Replacements in 1979 alongside Paul Westerberg and the Stinson brothers, serving as the band's drummer through their evolution from punk roots to critically acclaimed alternative rock, contributing to seven studio albums including Sorry Ma, Forgot to Take Out the Trash (1981) and All Shook Down (1990), before departing in 1990 amid internal tensions. Mars also participated in the informal supergroup Golden Smog, appearing on their debut album On Golden Smog (1992) with members from bands like Soul Asylum and The Jayhawks. Following his time with The Replacements, Mars launched a solo music career, self-producing and performing much of his debut album Horseshoes and Hand Grenades (1992) on the Smash Records label, which featured the single "Popular Creeps" and showcased his power pop style; he released three more albums—75% Less Fat (1993), Tenterhooks (1995), and Anonymous Botch (1996)—before largely stepping away from music in the late 1990s to focus on visual arts. As a painter, filmmaker, and draftsman, Mars creates oil paintings, pastels, and scratchboard pieces that often depict psychological narratives and outsider perspectives, with works exhibited in galleries and institutions across the United States and Canada, including the Minneapolis Institute of Art, as well as internationally in solo shows at venues like Copro Gallery in California and Beinart Gallery in Australia. As of 2025, Mars continues to exhibit internationally, with recent solo shows including "Equinox" (2024) at Haven Gallery and "Symbiosis" (2025) at Copro Gallery, and has occasionally returned to music with releases like The Average Album (2024).

Early life

Family and childhood

Chris Mars was born on April 26, 1961, in , , as the youngest of seven children. His home in provided a crowded environment typical of a large , where the presence of many siblings limited certain activities, such as keeping pets. Early on, Mars showed an interest in music by banging on pots and pans as a , marking his initial creative engagement within the setting. A pivotal event in Mars' childhood occurred when he was five years old, as his eldest brother, Joe, was diagnosed with and subsequently institutionalized. This experience exposed the young Mars to themes of societal , medical institutionalization, and family shame, profoundly shaping his worldview and later influencing the motifs of and liberation in his artistic work.

Early musical interests

During his teenage years in Minneapolis, Chris Mars discovered punk rock through the Sex Pistols after spotting a flyer for the band at a local supermarket newsstand, an experience that contrasted sharply with his peers' preferences for hard rock acts like Led Zeppelin and Aerosmith. He embraced the Pistols' raw sound intensely, playing their album repeatedly until it wore out, which helped him forge a distinct musical identity amid the burgeoning Twin Cities punk scene. The youngest of seven children, Mars showed an early aptitude for , banging on pots and pans as a before receiving his first drum kit at age 10. Largely self-taught, he honed his skills through persistent practice and soon immersed himself in the local music community. By age 16, after of high school, he had already gained experience as a in several amateur garage bands around . In 1979, at around age 18, Mars joined forces with brothers on guitar and young on bass to form the short-lived garage band Dogbreath, practicing in South basements and delivering loud, chaotic covers of staples like Yes's "." Through mutual acquaintances in the local punk and rock circles, Mars connected with aspiring musician , whom he had met previously; Westerberg soon joined the group, redirecting their repertoire toward original punk songs and renaming them The Impediments before settling on The Replacements. These pre-professional experiences placed Mars at the heart of 's vibrant early punk ecosystem, alongside influential local acts like , fostering the collaborations that launched his career.

Musical career

The Replacements

Chris Mars co-founded The Replacements in 1979 in , , alongside on guitar and vocals, on guitar, and on bass, initially performing under the name the Impediments before adopting their permanent moniker after a venue ban for . The band quickly established a reputation in the local punk scene, releasing their raw debut album Sorry Ma, Forgot to Take Out the Trash in 1981 on the independent label, which captured their energetic, garage-punk ethos with 18 short, aggressive tracks. Mars' drumming provided a propulsive, unpolished backbone to the group's sound, blending punk ferocity with hints of rock and country influences that defined their style. Over the next several years, The Replacements released a series of critically acclaimed albums that showcased their evolution and internal tensions, including Hootenanny (1983), Let It Be (1984), and Tim (1985) after signing with Sire Records, a major label subsidiary of Warner Bros. Mars contributed lead vocals to tracks like "If Only You Were Here" from Pleased to Meet Me, adding a distinctive, youthful edge to the band's introspective and anthemic material, while his rhythmic drive anchored Westerberg's increasingly sophisticated songwriting. The group toured extensively across the U.S. and Europe, but their live performances were notoriously chaotic, often marred by heavy drinking, onstage antics, and inconsistent energy that ranged from transcendent to disastrous, exacerbating label frustrations with Twin/Tone over distribution issues and with Sire regarding the band's self-sabotaging behavior. Lineup instability further defined the era, as original guitarist departed in 1986 amid struggles with , replaced by Slim Dunlap, who brought a steadier presence to the rhythm section alongside Mars and . The band continued with (1987) and (1989), both on , where Mars' raw, parade-like drumming remained integral to their blend of punk urgency and melodic hooks, though growing tensions with Westerberg over creative control began to strain the dynamic. Mars also co-authored select tracks during this period, contributing to the group's reputation for heartfelt, unfiltered expression. Mars contributed drums to several tracks on the band's final studio album (1990) but departed later that year amid ongoing tensions, prior to the album's release and supporting tour. The Replacements continued briefly without him before disbanding in 1991 following a tumultuous final performance on at Grant Park in , where onstage discord signaled the end of their original run after over a decade of influential, if commercially elusive, output.

Solo music career

Following the breakup of The Replacements in 1991, Chris Mars launched his solo career with the debut album Horseshoes and Hand Grenades, released in April 1992 on Smash Records. The record, produced by Mars and Tom Murphy and recorded at Studios in , showcased Mars handling multi-instruments, including drums, guitars, and vocals, marking a shift from his band role to full creative control. Tracks like "Popular Creeps" highlighted his songwriting prowess, critiquing social hierarchies in a raw yet melodic style. Mars followed with his second solo effort, 75% Less Fat, in 1993, also on Smash Records and self-produced, further exploring arrangements with introspective lyrics. The album's sound refined the punk edges of his Replacements past into a more polished aesthetic, emphasizing personal themes of isolation and emotional struggle drawn from his experiences with family challenges. Key singles such as "Stuck in Rewind" received radio play, supporting mid-1990s tours where Mars opened for acts like and , building a dedicated audience through live performances. By 1995, Mars had shifted labels to Bar/None Records for Tenterhooks, self-produced and delving deeper into with cryptic lyrics on , personal turmoil, and societal alienation. This evolution allowed greater creative , contrasting the collaborative chaos of The Replacements, though commercial success remained modest. His final 1990s release, the 1996 album Anonymous Botch on Bar/None, continued this trajectory with experimental edges and intimate storytelling. Around 1997, Mars placed his music career on hiatus to prioritize his visual art pursuits.

Later musical releases

After largely shifting his focus to visual art in the early , Chris Mars resumed intermittent music production on a self-released basis, emphasizing personal and introspective themes in his songwriting. His first notable post-hiatus release was the 2012 digital single "When I Fall Down," a lo-fi track reflecting on vulnerability and resilience, distributed independently through his own channels. In 2013, Mars contributed the original track "Radio Hook Word Hit" to the charity compilation Songs for Slim, a benefiting former Replacements guitarist Slim Dunlap following his stroke; the song, co-written with Dunlap, showcased Mars' raw, garage-rock style while supporting medical expenses. In 2006, Mars reunited with bandmates and to record drums on two new tracks—"Pool & Dive" and "Message to the Boys"—for the Replacements compilation Don't You Know Who I Think I Was? The Best of the Replacements. The mid-2010s saw Mars experiment with short-form digital releases, including the 2016 singles "The Next Meal," "F. Gallagher," and "Down By The Tracks," which explored themes of everyday struggle and redemption through sparse, self-produced arrangements. These were followed by the 2017 album Note to Self, a full-length effort self-recorded and released digitally, delving into introspective narratives influenced by personal experiences with family challenges, though not explicitly tied to charity. In 2020, he issued the single "Recreating Chaos," a standalone track hinting at ongoing creative renewal. Mars' most recent major release, The Average Album (2023), is a self-produced collection of 15 original songs blending rock, folk, and introspective balladry, available initially as digital downloads with proceeds benefiting Mutt Mutt Engine, the dog rescue organization co-founded by Mars and his wife. The album features tracks like "Recreating Chaos" and "Coming Home," emphasizing themes of perseverance and quiet reflection amid life's ordinary upheavals. A limited-edition multi-colored vinyl pressing of 300 copies, paired with Mars' book 7:42pm: The Art of Chris Mars, was released in December 2024 through Rare Bird Books, tying his to his visual output. As of November 2025, Mars remains primarily dedicated to and projects, with occasional appearing via digital platforms and compilations, underscoring his multifaceted creative life without a return to full-time recording.

Visual art career

Transition to painting

In the late , following the release of his final solo album, Chris Mars largely stepped away from to focus on . He turned to as a therapeutic outlet influenced by personal family experiences, particularly his brother Joe's struggles with . Mars experimented with visual art while living in , developing his practice without formal training. This self-directed approach fostered an outsider perspective in his work, channeling emotional processing through depictions of societal marginalization. Early successes in exhibiting and selling his work encouraged Mars to pursue full-time by the early , establishing a dedicated studio in .

Artistic style and themes

Chris Mars' visual art is characterized by a surrealist style infused with sensibilities, featuring distorted human and hybrid figures set against nightmarish landscapes. His works employ vibrant colors and intricate, symbolic imagery, often using oils and pastels to create layered compositions that evoke emotional intensity and psychological depth. Influences from artists like are evident in the fantastical, gothic elements, while techniques such as bold patterning and controlled lighting enhance the dreamlike quality of his pieces. Central themes in Mars' oeuvre revolve around mental illness, isolation, and the fragmentation of the psyche, symbolized through chimeric human-animal forms that represent inner turmoil without literal depictions. Drawn from personal family experiences, particularly his brother Joe's , these motifs explore broader concepts of societal outcasts, , and the blurred boundaries between normalcy and madness. Mars' artist statement articulates this focus: "My paintings are rallies and trials, photographs of a moment when Truth was made public, and known. Question why a villain is villainous and a victim victimized. Question why a man is mad and a woman mad." His work seeks to reveal inner beauty amid external , promoting and awareness. Over time, Mars' practice evolved to larger-scale oil paintings that incorporate pop culture references and subtle humor to temper the darkness. This shift broadened his exploration of themes, blending personal psyche with societal critique, as seen in series addressing industrial and narratives. Critics have praised the emotional depth and power of his art, noting its ability to unsettle viewers while fostering reflection on and human vulnerability.

Notable series and works

Chris Mars created early works delving into themes of domestic unease, often drawing from personal family experiences with mental illness. These pieces featured intimate, haunting depictions of everyday suburban life disrupted by psychological tension. A significant milestone in his oeuvre is the painting The Visitor (oil on board, 10 × 10 inches, circa 2022), which explores motifs of intrusion and the , portraying an otherworldly figure entering a to evoke feelings of vulnerability. Several of Mars' works are prominently featured in his 2023 7:42 P.M.: The Art of Chris Mars, including haunting portraits, skeletal forms, and dark landscapes illuminated by tunnels of light, each serving as a visual exploration of the human condition amid fear, oppression, and hope. In the 2020s, Mars developed the Symbiosis series, characterized by hybrid figures that blend human and natural elements to symbolize coexistence and mutual dependence, with themes of fractured mindscapes and relational harmony. This ongoing body of work culminated in over 20 new oil paintings for his 2025 solo exhibition at Copro Gallery (May 10–31), emphasizing the evolution of symbiosis into mutualism where both entities benefit. As of 2025, Mars has shared progress on new paintings, including seasonal landscapes infused with surreal twists. His artworks have achieved notable sales at auctions, ranging from $4,250 to $6,250 USD through platforms like MutualArt.

Other creative works

Film compositions

Chris Mars entered the realm of film composition through his own short films, beginning with This Is Number 14 in 2009, a 14-minute HDV project for which he served as director, , and . His scores often integrate elements from his rock background, such as rhythmic percussion and layered instrumentation, to underscore narrative tension in these self-directed works. A pivotal early project was How Dale Became Famous in Certain Circles (2011), a short film directed and co-written by Mars, where he composed the original score to accompany a surreal story of an encounter with an alien entity and its karmic repercussions. This was followed by In Hanford (2012), an animated short that Mars wrote, directed, and scored, depicting the environmental devastation of the Hanford nuclear site through a young girl's perspective; the premiered at the , earning recognition for its poignant storytelling and atmospheric music. Mars' composition here blended ambient textures with subtle rock influences to evoke isolation and foreboding. In subsequent works, Mars continued to handle scoring duties in his home-based productions, as seen in Elk Mound (2014), a 14-minute HDV short about an unemployed man experiencing visions, and The Shift (2016), a fantasy-sci-fi piece exploring interdimensional reflection on human flaws. These films feature multi-instrumental scores recorded independently, drawing on Mars' experience as a solo musician to create intimate, narrative-driven soundscapes without external collaborators. Later projects include The Theory of Facts (2019) and The Paper Boy (2020), both self-composed shorts that maintain his focus on personal, indie-scale filmmaking in . While Mars' film work has garnered niche acclaim through festival screenings like Sundance and online platforms such as and , it has not received major awards as of 2025; his credits highlight these contributions, emphasizing his multifaceted role in low-budget, artist-driven cinema.

Publishing and multimedia

In 2024, Chris Mars released his first major , 7:42 P.M.: The Art of Chris Mars, published by Rare Bird Books. This 280-page hardcover volume features a selection of his paintings, each presented as a "visual " exploring the challenges and possibilities of the human condition, accompanied by the artist's essays reflecting on personal experiences with misunderstood and marginalized individuals. The book, announced in mid-2024 via updates, emphasizes themes of and societal isolation drawn from Mars' life. Through Chris Mars Publishing, established in the early as his official platform for distribution, Mars offers limited-edition prints and posters derived from his original paintings. These prints on archival cotton rag paper, such as The Next Meal (24" x 28", edition of 7) and (priced at $150), provide accessible reproductions of works like those in his "Horsemen" and "" series, often tying into gallery exhibitions. Sales occur primarily via the online store at chrismarspublishing.com, with occasional bundles incorporating signed copies of the and related merchandise to enhance collector accessibility. Mars has also ventured into multimedia with a series of animated shorts that integrate his visual art with narrative elements, some incorporating original music scores. Notable examples include The Paper Boy (2020), Donny and Ma (2018), and Mr. Platts (2018), which animate painted characters to depict surreal, introspective stories of isolation and resilience, distributed online via his YouTube channel and website. These hybrid projects, beginning with earlier works like A Rung Lower (2008), extend his artistic practice beyond static media, blending painting techniques with digital animation for short-form storytelling.

Personal life

Family influences

Chris Mars has frequently reflected on the profound and enduring influence of his eldest brother Jim's on his personal and creative life. Growing up as the youngest of seven children, Mars witnessed Jim's condition manifest in unpredictable behaviors that profoundly shaped family dynamics and his own worldview. In interviews, Mars has described Jim as a gentle soul whose struggles with mental illness left an indelible emotional imprint, informing not only his artistic themes but also his approach to and resilience in adulthood. This impact persisted long after childhood, with Mars noting in a 2024 discussion how Jim's experiences continue to inspire his ongoing artistic explorations of vulnerability and human connection. Jim's passing in 2019 further deepened Mars' reflections, as he has shared how it reinforced his commitment to channeling personal loss into creative expression that honors such lives. In his adult life, Mars maintains a private existence centered on his marriage to Sally Mars, whom he has credited with providing steadfast support for his multifaceted career in art and music. The couple, based in , collaborates on initiatives like the Mutt Mutt Engine nonprofit, founded in 2019 to rescue and rehabilitate dogs, which reflects their shared values of compassion and community involvement. While Mars keeps details of any children out of the public eye, his partnership with Sally underscores a environment that nurtures his creative pursuits, allowing him to balance personal responsibilities with professional endeavors. Regarding broader sibling dynamics, Mars has occasionally alluded to the close-knit yet challenging relationships among his six siblings—including brothers Bob, Gary, and others—shaped by the family's collective experience with issues. Although specific collaborations with other brothers or sisters in creative contexts are not prominently documented, Mars has mentioned in passing how these familial bonds informed his early musical inclinations and later artistic . As of 2025, Mars continues to reside in , integrating his home life with a dedicated art studio practice that sustains his prolific output in and , all while drawing sustenance from these enduring family ties.

Philanthropy and health

Chris Mars has been a vocal advocate for awareness through his visual art, which frequently addresses the stigma surrounding mental illness. Inspired by his older brother's lifelong struggles with , Mars creates grotesque yet empathetic portraits and scenes that humanize those affected by psychiatric conditions, aiming to challenge societal perceptions and foster understanding. His works, such as those featured in the exhibition "Only Tenants Reside" at Mesa Contemporary Arts Museum, portray the "oppressed and outcasted" as multifaceted individuals deserving of , serving as a to those living with mental disorders. In terms of personal health, Mars has not publicly disclosed any major illnesses, but he has described how his transition from music to art provided a therapeutic outlet for processing the emotional toll of his family's history. Through , he manages the indirect impacts of his brother's condition, transforming personal and familial challenges into creative expression that promotes broader empathy. Beyond themes in his art, Mars engages in focused on and disaster relief. In 2019, he co-founded Mutt Mutt Engine, a Minnesota-based nonprofit organization, alongside his wife Sally Mars; the group provides medical care, shelter, and support for abused and neglected dogs across the U.S., operating as a 100% volunteer-run initiative without charging for services. Mars contributes creatively by composing jingles and designing merchandise, such as limited-edition t-shirts, with proceeds directly benefiting the rescue's efforts. Mars also supports local and national causes through art auctions and benefit sales. For instance, his works and signed monographs have appeared in charity auctions. Additionally, he has donated proceeds from sales to disaster relief, such as the 2024 Halloween edition supporting hurricane victims in and a January 2025 release aiding County fire recovery efforts. These initiatives reflect his ongoing commitment to community support via his artistic output.

Discography

Studio albums

Chris Mars released his debut solo studio album, Horseshoes and Hand Grenades, in 1992 on Smash Records. The album features 11 tracks, including highlights such as "Popular Creeps," a satirical take on social climbers that became a minor hit, peaking at number 9 on the Modern Rock Tracks chart, and "Reverse Status," which showcases Mars' raw, energetic drumming and songwriting. Critics praised the record for its driving sound and Mars' emergence as a multifaceted artist beyond his role in The Replacements, noting its immediate, visceral appeal. His follow-up, 75% Less Fat, arrived in 1993, also on Smash Records, with Mars handling vocals, drums, guitar, and keyboards alongside collaborator JD Foster on bass. The 12-track album includes standouts like "Stuck in Rewind," a pointed reflection on stagnation, and "Public Opinion," exploring social judgment. The title alludes to Mars feeling like 75% less of a band without his former Replacements bandmates. Reception highlighted its continuation of punchy, reflective alternative rock, though it achieved moderate commercial success without major chart placements. In 1995, Mars issued Tenterhooks on Bar/None Records, a 10-track effort delving into themes of , personal struggle, and alienation, with cryptic that invite interpretation. Key tracks include "Lizard Brain," addressing instinctual impulses, and "Haunted Town," evoking isolation. Produced with a focus on Mars' multi-instrumental approach, the album marked his reluctance to tour, leading him to promote it through other means. Reviewers appreciated its introspective depth and mature evolution in songcraft. The 1996 release Anonymous Botch on Bar/None Records features 12 songs, such as "The Conquering Cow Farmer" and "Sheep Spine Shimmy," blending quirky narratives with catchy hooks. Mars again self-performed most instruments, emphasizing experimental edges in . Critics lauded its non-commercial yet infectious energy. After a long hiatus, Mars self-released Note to Self in through his own Chris Mars Publishing, a 12-track album comprising 44 minutes of material entirely written, performed, and produced by Mars. Highlights include "Down By The Tracks" and "Mission of the Dead," reflecting on personal and existential motifs. Announced via social media, the independent effort received positive nods for its raw, unpolished songwriting maturity. Mars' most recent studio album, The Average Album, emerged in 2023 as a self-released project with 13 tracks (some editions include 2 bonus tracks), including "Punk Prog" and "Outrage Machine." Fully helmed by Mars in writing and performance, it underscores his ongoing commitment to production. A limited multi-colored vinyl edition was released in , limited to 300 copies. Early reception commended its blend of rock anthems and ballads, continuing his tradition of accessible yet personal alternative sounds.

Singles and compilations

Chris Mars's solo career included several non-album singles and promotional releases in the early 1990s, primarily to support his initial albums on Smash Records. The promo CD single "Monkey Sees," released in 1992, featured tracks from his debut album Horseshoes and Hand Grenades and received minor airplay on alternative radio stations, reflecting his transition from The Replacements to solo work. Similarly, "Popular Creeps," another 1992 promo single, highlighted his raw rock style and was distributed to industry insiders ahead of the album's full release. In 1993, Mars collaborated on a flexi-disc 7" promo single for The Bob Magazine, sharing the release with and Al Perry. The disc included Mars's "Gymnasium Blues (A True Story)," a quirky, narrative-driven track that showcased his songwriting versatility outside full-length projects. These early singles achieved limited commercial success but helped build a niche following in the scene, with occasional radio rotation on stations like those in the area during the 1990s. Later in his career, Mars shifted toward digital releases, issuing standalone MP3 singles such as "When I Fall Down" in 2012 and "The Next Meal" in 2016 through his own label. These tracks, often self-produced, explored personal themes and saw increased streaming activity post-2020 on platforms like Spotify, where his catalog garnered steady digital plays among indie rock enthusiasts. Mars also appeared on various compilations, including the 1993 promo sampler Public Opinion by Smash Records, which featured tracks such as "Public Opinion" from his album 75% Less Fat to promote his work. Earlier, in 1992, he contributed to The Other Side (Formerly The Cutting Edge Radio Program) - 17-18, a college radio transcription CD with acts like Thousand Yard Stare, aiding exposure on non-commercial stations. These appearances, while not chart-topping, underscored his role in the 1990s alternative ecosystem, with tracks like those on Sub Pop-related projects through Golden Smog receiving retrospective streams in tribute compilations during the 2010s. No major charity vinyl singles were noted in 2024, though his 2023 album The Average Album saw limited-edition vinyl pressings tied to art book promotions.

Exhibitions and collections

Solo exhibitions

Chris Mars' solo exhibitions began in the early 2000s, marking his transition from music to visual art with a focus on and later oil works exploring psychological and surreal themes. His debut solo show took place at the of Arts in , , in 2000, featuring early drawings that introduced his distinctive narrative style. This was followed by another institutional presentation at the Frederick Weisman Art Museum in in 2001. In 2004, Mars held his first solo exhibition at Copro Gallery in Santa Monica, California, consisting entirely of pastel pieces and establishing a long-term relationship with the venue. By 2008, he had shifted to oils for his solo show at Billy Shire Fine Arts in , where new paintings highlighted his evolving and . Mid-career milestones included the 2010 "Auto-Intervention" at the Erie Art Museum in Erie, Pennsylvania, running from October 23, 2010, to January 23, 2011, which showcased a series of oil paintings addressing personal and societal interventions. That same year, he presented work at the Phipps Center for the Arts in Hudson, Wisconsin. Mars expanded internationally with his 2015 solo exhibition at beinArt Gallery in Brunswick, , featuring oil paintings that blended surreal elements with emotional depth. He continued exhibiting at Copro Gallery, with additional solos in 2015 and subsequent years, culminating in his fifth show there in 2023 titled "." At Haven Gallery in , his debut solo "Quiet" appeared in 2017, followed by further presentations, including the third, "," from February 24 to March 24, 2024, comprising thirteen new oil paintings inspired by balance and transition. In 2025, Mars presented "" at Copro Gallery on May 10, his sixth solo with the gallery, displaying over twenty new oil paintings centered on themes of symbiosis and interconnected beings, reflecting his maturation from origins to complex oil narratives. By this point, Mars had mounted numerous solo exhibitions across the and select international locations, with works from these shows entering private collections and generating notable sales, such as pieces from his Copro presentations.

Group shows and permanent collections

Mars's paintings have been included in various group exhibitions at galleries and museums, highlighting his surreal, psychologically charged imagery within broader contexts of contemporary and outsider art. Notable examples include the 2022 "Little Big VII" and "Museum Collections: The Uffizi" group shows at Haven Gallery in Northport, New York, where his works were displayed alongside pieces inspired by renowned art historical collections. Earlier participations encompass the 18th Annual Blab! Show at Copro Gallery in Santa Monica, California, a recurring event featuring eclectic, pop-surrealist artists, and "H.R. Giger: Brain Salad Surgery" at the same venue, which explored biomechanical and fantastical themes. More recently, Mars contributed to group presentations at Copro Gallery in 2024, and he participated in the 2025 Los Angeles Art Show, organized with Copro Gallery, emphasizing collaborative showcases of emerging and established visual artists. His artwork resides in several prominent permanent collections, underscoring its recognition in institutional settings focused on modern and . These include the in Baltimore, Maryland; the Erie Art Museum in ; and Mesa Contemporary Arts in . Additional holdings are found at the Tweed Museum of Art in ; the Frederick R. Weisman Art Museum in Minneapolis, Minnesota; and the in Minneapolis, Minnesota, where select pieces contribute to surveys of regional and national contemporary practice.

References

  1. https://www.thecurrent.org/feature/2019/04/18/today-in-music-history-happy-birthday-chris-mars
  2. https://beinart.org/collections/chris-mars
  3. https://www.allmusic.com/artist/the-replacements-mn0000422405/discography
  4. https://www.allmusic.com/artist/chris-mars-mn0000091321
  5. https://musicbrainz.org/artist/b0fefe3c-b393-4498-9b33-255b02d75716
  6. https://www.pbs.org/video/Chris-Mars-623222H-1/
  7. https://havengallery.com/portfolio/chris-mars-equinox/
  8. https://www.heavymetal.com/post/rick-baker-the-good-bad-ugly-mostly-ugly---chris-mars-symbiosis---beksinski-tribute-untitled
  9. https://rarebirdlit.com/the-average-album-by-chris-mars-limited-edition-multi-colored-vinyl/
  10. https://www.britannica.com/biography/Chris-Mars
  11. https://www.startribune.com/minneapolis-couple-sally-and-chris-mars-turn-their-talents-toward-rescuing-dogs/564518932
  12. https://www.allarts.org/programs/minnesota-original/Tish-Jones-and-Chris-Mars-27245-1/
  13. https://faroutmagazine.co.uk/paul-westerbergs-first-encounter-with-the-replacements/
  14. https://americansongwriter.com/behind-the-band-name-the-replacements/
  15. https://www.wyep.org/news-features/2015-05-05/all-songs-by-the-replacements-ranked
  16. https://www.newyorker.com/culture/listening-booth/the-replacements-are-still-a-puzzle
  17. https://axs.tv/artists/the-replacements/
  18. https://www.grunge.com/256037/the-tragic-death-of-bob-stinson/
  19. http://www.bar-none.com/chris-mars
  20. https://www.rhino.com/article/the-one-after-the-big-one-replacements-all-shook-down
  21. https://www.chicagotribune.com/2016/07/01/replacements-the-breakup-that-shook-grant-park/
  22. https://www.discogs.com/release/2575132-Chris-Mars-Horseshoes-And-Hand-Grenades
  23. https://www.discogs.com/release/2585560-Chris-Mars-Horseshoes-And-Hand-Grenades
  24. https://devorahostrov.blogspot.com/2018/07/chris-mars-with-horseshoes-and-hand.html
  25. https://www.allmusic.com/album/75-less-fat-mw0000095524
  26. https://www.chrismarspublishing.com/statement.html
  27. https://www.allmusic.com/album/anonymous-botch-mw0000079162
  28. https://www.billboard.com/music/music-news/message-in-a-bottle-58168/
  29. https://www.discogs.com/artist/465187-Chris-Mars
  30. https://www.discogs.com/release/29093239-Chris-Mars-The-Average-Album
  31. https://www.instagram.com/p/DDu0_LIpIoz/
  32. https://www.chrismarspublishing.com/music.html
  33. https://beinart.org/blogs/articles/interview-chris-mars
  34. https://www.phoenixnewtimes.com/uncategorized/only-tenants-reside-chris-mars-at-mesa-contemporary-arts-takes-a-second-look-at-how-we-perceive-mental-illness-6445873/
  35. https://hifructose.com/2019/05/04/chris-mars-returns-in-copro-gallery/
  36. https://www.rollingstone.com/music/music-news/former-replacements-drummer-chris-mars-dark-tolerance-108949/
  37. https://rarebirdlit.com/7-42-p-m-the-art-of-chris-mars/
  38. https://weirdfictionreview.com/2012/08/bring-your-sick-maimed-and-monstrous-the-work-of-chris-mars/
  39. https://www.blackgate.com/2015/10/14/the-morbidly-beautiful-art-of-chris-mars/
  40. https://www.copronason.com/blab22/
  41. https://www.copronason.com/mars25/
  42. https://www.mutualart.com/Artist/Chris-Mars/DB1B7192B5FD434A
  43. https://www.chrismarspublishing.com/short-films.html
  44. https://www.imdb.com/name/nm2823342/
  45. https://www.imdb.com/title/tt2508796/
  46. https://www.imdb.com/title/tt2342151/
  47. https://www.sundance.org/blogs/2013-sundance-film-festival-announces-short-film-program-3/
  48. https://exclaim.ca/film/article/in_hanford_short-directed_by_chris_mars
  49. https://www.imdb.com/title/tt5533358/
  50. https://www.facebook.com/ChrisMarsArt/videos/the-paper-boy-a-film-by-chris-mars/187174686054142/
  51. https://www.amazon.com/42-P-M-Art-Chris-Mars/dp/1644283816
  52. https://www.instagram.com/p/C_5-1Obuetr/
  53. https://www.chrismarspublishing.com/
  54. https://www.chrismarspublishing.com/art.html
  55. https://varnishfineartshop.bigcartel.com/artist/chris-mars
  56. https://www.chrismarspublishing.com/animation.html
  57. https://www.youtube.com/c/ChrisMarsArt/playlists
  58. https://lydianspin.libsyn.com/episode-265-chris-mars
  59. https://www.thecurrent.org/feature/2019/03/22/today-in-music-history-chris-mars-brother-jim-dies
  60. https://www.muttmuttengine.org/who-we-are.html
  61. https://artscum.org/chrismars/
  62. https://www.muttmuttengine.org/
  63. https://www.givemn.org/organization/Mutt-Mutt-Engine
  64. https://www.instagram.com/p/DI_82Ujtmxc/
  65. https://www.charitybuzz.com/catalog_items/chris-mars-art-package-222508
  66. https://www.instagram.com/p/DBJo7NfSW2z/
  67. https://www.facebook.com/ChrisMarsArt/posts/latest-limited-edition-tee-proceeds-benefit-la-county-fire-relief-lets-do-a-litt/1133778388105281/
  68. https://lede-v2.stereogum.com/2258559/the-alternative-number-ones-the-replacements-merry-go-round/columns
  69. https://trouserpress.com/reviews/chris-mars/
  70. https://www.roundflat.com/shop/compact-discs/chris-mars-tenterhooks-compact-disc/
  71. https://www.allmusic.com/album/tenterhooks-mw0000120628
  72. https://www.albumoftheyear.org/album/38541-chris-mars-anonymous-botch.php
  73. https://music.apple.com/us/album/note-to-self/1740788844
  74. https://www.chrismarspublishing.com/store/p20/Note_To_Self_%2528MP3%2529.html
  75. https://music.apple.com/us/artist/chris-mars/172871635
  76. https://www.discogs.com/master/3683844-Chris-Mars-The-Average-Album
  77. https://www.chrismarspublishing.com/exhibition.html
  78. https://www.artrabbit.com/events/chris-mars-sybiosis
  79. https://hifructose.com/2008/08/10/preview-chris-mars/
  80. https://www.mutualart.com/Exhibition/Chris-Mars--Auto-Intervention/09AD7597A04BC23B
  81. https://www.mutualart.com/Artist/Chris-Mars/DB1B7192B5FD434A/Biography
  82. https://havengallery.com/portfolio/chris-mars-quiet/
  83. https://www.artsy.net/show/haven-gallery-chris-mars-equinox
  84. https://bergamotstation.com/exhibitions/2023/20/5/copro-gallery-opening-chris-mars-simona-candini-juanjo-martinez-canovas-sfxe5
  85. https://www.artsy.net/artist/chris-mars/cv
  86. https://www.laartshow.com/
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