MN artwork

Power, Mutiny and Monster Island

While processing the archival materials of the curatorial department of the Weisman Art Museum, I came across an article from MN Daily called Imaginative Immersion: Three Days, Five Artists, which was about an atypical exhibit at the Weisman Art Museum in February of 2008. These five artists were part of a group independent study with UMN’s art department inspired by Paul Shambroom’s exhibit at WAM the previous spring titled Picturing Power. The independent course culminated in “a semi-impromptu mural” titled Mutiny. The students–Andy Brinkman, Brett Gustafson, Miles Mendenhall, Rhett Roberts and Travis Hetman–formed the group known as Monster Island. Over the course of three(ish) days, Monster Island installed Mutiny in the Shepherd Room of the Weisman Art Museum.

Monster Island

mon·ster is·land
-noun

  1. Multi-headed art beast originating from Minneapolis, MN. Known to eat art.
  2. Geographical location designed specifically for the containment of gigantic creatures.
Thanks to the Wayback Machine for the snippet above from Monster Island’s former website

To exhibit in a museum is a truly amazing opportunity for students. The only caveat to this opportunity: they could leave no mark or trace on the walls of this room. Instead the students used large sheets of paper “(sketched, painted and chalked) and a whole lot of blue masking tape.” 

“In their five-day project, Monster Island sought to address this relationship between public and private space, and the power between and throughout those spaces, not only through the final piece, but also through the interactive experience of construction. While the process unfurled as a sea of paper, paint and chalk onto the carpeted floor of the Shepherd Room, the guys encouraged museum-goers to enter, examine and discuss.”

MN Daily reporters followed the mural project’s installation, evolution and soundtrack from beginning to the opening celebration on Feb 24, 2008. The article mentions a timelapse of the installation that I’d love to see someday.

For more, click on the images below or contact nationalsales@mndaily.com for the more information or a copy of the article.

Mutiny article, part 1.

Mutiny article, part 2.

Mutiny article, part 3.

 

 

 

 

 

 

Heather Carroll is the processing archivist for the Weisman Art Museum‘s collection at the University of Minnesota Archives. This project was made possible by funds provided by the State of Minnesota from the Arts and Cultural Heritage Fund through the Minnesota Historical Society.


Twist and Seek(ins)

 

I’ve been deep into processing photographs this week and was warmed by these photos from the 2001 opening for “Minnesota Art with a Twist”. Winter can be long and cold here, and maybe to some we seem a little wacky for putting up with it. Perhaps that’s just what inspired the theme of this exhibition–unconventional and a bit off-the wall, yet perfectly Minnesota. Cheese curds and french fries were served with wine at this event. There were roving jugglers and dancers, and for the kids, balloon animals and Twister. WAM Director Lyndel King wore a striking Nancy MacKenzie textile creation made from unexpected materials. Even more and rightfully so, the humorous, quirky, anything-but-normal works by Minnesota artists stole the show.

King wearing a Nancy MacKenzie creation for MN Art with a Twist

Gallery opening for MN Art with a Twist, with works by Donald Myhre and Herb Grika.

Art, off-the-wall and right back onto it. Guests marvel at the artworks in MN Art with a Twist.

Local artist and persona, Scott Seekins even made an appearance. I haven’t seen much of this local legend recently, but if ever there was an exhibition where I think he would fit in, this might be it. Perhaps he’ll make another appearance at WAM’s preview party for Prince from Minneapolis this week?

Local artist and persona, Scott Seekins shaking hands with Colleen Sheehy, former Director of Education at WAM (now head of Public Art Saint Paul), at the opening of MN Art with a Twist.

 

Heather Carroll is the processing archivist for the Weisman Art Museum‘s collection at the University of Minnesota Archives. This project was made possible by funds provided by the State of Minnesota from the Arts and Cultural Heritage Fund through the Minnesota Historical Society.


A Sonnet for WAM

In the summer of 2011 while the Weisman Art Museum was closed for construction, local visual poet Scott Helmes proposed a sonnet to honor the completion of an expansion to the iconic building. The correspondence from Helmes is as engaging to look at as the artist’s other works.

Helmes proposal begins:

Please send me a small plastic bag of dirt, sand, gravel, dust, from your museum construction site.
I will return to you a dedication sonnet, signed with the date of your opening, as a gift of the artist to your collection.

The finished work of art titled Weisman Art Museum Dedication Sonnet E on October 2, 2011 was added WAM’s collection in 2011. These letters whjich were previously amidst other files of correspondence now reside in the WAM registrar’s object files rather than the archives because the letters deal specifically with the creation and acquisition of an artwork in the collection. Although no image is currently available for this artwork, it is similar in appearance to the photographic example sent with the letter.

Helmes other works are included in WAM’s collection, Minneapolis Institute of Art, various other art collection and his writings are included in the Avant Writing Collection of The Ohio State University Libraries

Heather Carroll is the processing archivist for the Weisman Art Museum‘s collection at the University of Minnesota Archives. This project was made possible by funds provided by the State of Minnesota from the Arts and Cultural Heritage Fund through the Minnesota Historical Society.


A Bicentennial Exhibition of Art and Architecture

As a researcher and museum fanatic, to read back on the events and accomplishments of the exhibit titled, “A Bicentennial Exhibition of Minnesota Art and Architecture,” I felt the need to push my jaw back up to meet my front bite, after the many drops in awe of the events surrounding this exhibition, the records for which filled ¾ of Box 16, the entirety of Box 17, and even a few more folders that lingered into Boxes 18 and 19.

The contents of each folder document an exhibit that was too large in scope and size to be held in the gallery space of Northrop Auditorium, contain planning notes and correspondence, and document partnerships that resulted in the exhibit’s installation and exhibition at the 8th floor auditorium of Dayton’s department store in downtown Minneapolis from February 11 to March 5, 1976.

Flier_RenaBook.jpg

The exhibit presented Minnesota painting and sculpture from 1820-1914 and architecture from 1820 to the then present day. Made possible by funding from the National Endowment for the Arts, and the support of foundations, corporations and individuals, this expansive, interdisciplinary exhibit was the result of the first statewide survey of MN art and architecture and also contributed to the publication of two works, “Painting and Sculpture in Minnesota, 1820-1914,” authored by Dr. Rena Coen, and “A Guide to the Architecture of Minnesota” by Dr. David Gebhard and Thomas Martinson. Through research and discovery, important MN artworks such as Alexis Jean Fournier’s scenes of Minneapolis and St. Paul, and Thomas Pritchard Rossiter’s depiction of the Minnesota prairie, received conservation work. Forty-four works, held amidst the collections of MN Historical Society to the Winona County Historical Society were restored at the cost of more than $10,000 (funded by a grant).

The exhibit included paintings and artworks with themes of explorers, soldiers, tourists and settlers. Also included were works of Indian ways of life, MN landscapes, and decorative objects created by Minnesota citizens.

Events surrounding the exhibit included Native American craft demonstrations (pipe carving, beadwork), a lecture series titled, “Exploring Minnesota” which covered regional culture in 19th century Minnesota, a lecture series, and panel discussions on the topic of “Encounters in Architecture” were held.

The touring exhibition, which reached 19 MN cities, was the starting point of the University Gallery’s long running touring exhibition program. Forty paintings out of the 200 exhibited in Dayton’s auditorium were selected to join the many cases of Native American art objects selected to tour the state – to bring art to the rural communities of Minnesota. From the first stop in the tour, Willmar, then a population of 13,632, to the last stop, St. Cloud (42,223), with many other stops in-between, the Bicentennial Exhibition made it’s mark by bringing state-treasured artwork to the citizens of greater Minnesota.

And if you thought that the extent of this exhibit could go no further, one final element of the touring exhibition must be revealed. Transportation for the exhibit was organized by the Minnesota Motor Transport Association. Student truck-drivers from the Vocational-Technical Institute #916 Truck Driver Training program received practical driving experience as they carried treasured artwork, in an insulated temperature and humidity controlled trailer, to communities across the state.

Listen to current Weisman Art Museum Director Lyndel King, who directed the Bicentennial Exhibition as acting director of the University Art Gallery in 1976, describe the accomplishments of this exhibition:

Bicentennial Description_King.mp3

Learn more about the exhibit: An article titled, “‘Little Gallery’ accomplishes a big job,” which includes photographs and examples of featured artwork and architecture, was published in the University of Minnesota Alumni News, April 1977. Vo. 76 No. 8. Access a PDF of the Alumni News from the U of M’s Digital Conservancy. The article is on page 20 of the magazine.