2012

78 Years…

Another year has come and gone in institutional existence for WAM as today marks the 78th anniversary of the “Little Gallery” which opened on April 5, 1934.

How do you celebrate 78 years? Perhaps with a look back to previous commemorations…

Upon the occasion of the 50th anniversary of the museum in 1984, several special exhibitions were held to celebrate the museum’s history and acknowledge the development of the permanent collection.

Special exhibition catalogues were designed as a throw-back to reflect the aesthetic of the catalogues produced during the 1930s.

1984 Exhibition Catalogues:

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1930s Exhibition Catalogues
:

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For a description of the opening day of the Gallery in 1934, see a previous post, that celebrated the museum’s seventy-seventh year.


The Odyssey for Homer

The Odyssey, written by Homer, described the epic journey of Odysseus and his journey home after the end of the Trojan War. While I wouldn’t describe my recent research pursuits as epic, I did recently embark upon an odyssey of my own – a quest to find Homer… Homer Mitchell.

poster-weaving-thumb-200x123-73021.jpgAt the very beginning of the WAM Files project, my fellow processor Areca encountered a folder full of Gallery posters created to promote exhibits during the 1950s. There are dozens of posters, all neatly contained in a series of folders titled “Posters” that are dated by Academic Year.

Through additional research, we learned that some Gallery publicity posters were designed and created by federal student workers and WPA employees. Yet, there is only one poster that actually credits a designer. If you zoom in closely on the Weaving/General College Poster from 1952, you will see, in the bottom right corner… “Homer Mitch,” the ‘tch’ slightly faded:

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I instantly wondered, who was this “Homer Mitch?” Judging by the faded “tch” (and gambling on familiarity with Midwestern names) I guessed that “Mitch” was probably “Mitchell.” And then I started my adventure… with a knee-jerk search on the Digital Conservancy no less.

The search for “Homer Mitchell” offered one result – a University Press Release from May 26, 1952. Titled, “U’ Art Students win prizes in international contest,” the release named Mitchell and four others (all enrolled in an art class taught by University art professor Robert Collins) as recipients of prizes for a poster contest.

Just for curiosity, I proceeded with a general Google search for “Homer Mitchell” AND University of Minnesota. A thumbnail image of a page from the University’s annual yearbook, “The Gopher” surfaced that included an in-text reference to “Homer Mitchell.” For access to the image however, I needed to pay a fee for a subscription to access the site.

Not to be deterred, I turned this minor roadblock into a detour and returned to the resources of the University Libraries. A search of the library collection yielded several collections of The Gopher: annual publication of the student body of the University of Minnesota. Armed with a call number, and the date of the yearbook taken from the digital image, I walked directly to Wilson Library, navigated several flights of stairs to the subbasement, and turned to enter the Annex – where I requested the 1952 Gopher yearbook.

My journey came to an end as I turned page 63 and revealed page 64, which contained a photograph of University student Homer Mitchell, working “at his part-time job doing lettering and silk screen work for art displays.”

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Pysanka

As University students unpacked their bonnets – with all the frills upon it -and dusted off their baskets in preparation for the Easter holiday in 1937, they were introduced to a multi-cultural celebration of Easter traditions at the University Gallery, which held a one-day exhibit of Ukranian Easter Eggs.

Clippings from the Minneapolis Tribune and the MN Daily found within the Gallery press books illuminate the exhibit, cultural traditions, and artistry involved in the decoration of eggs in the Ukraine:

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The beeswax-decorated eggs are known as pysanka. If you’d like to see more pysanka, travel to the Pysanka Museum.


Curt, Quick… Quirt

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After viewing the exhibit poster for “Walter Quirt: Paintings and Drawings, Jan. 6 to 26, 1959,” here is a short and brief glimpse into the 1959 records that document the exhibition of the works of University faculty member Walter Quirt:

A December 15, 1958 University News Release for the January 1959 Quirt exhibit described, “Quirt, who has taught at the University for 11 years, is one of the acknowledged pioneers in American abstract art. Minnesota was deliberately chosen by Quirt after his 17 years of work in New York City. ”This’, Quirt feels, ‘Is the ideal environment for the ‘new art’ – an art which returns to the human figure. New York is the better location for the non-objective painter, but not for the painter of people.’” (Digital Conservancy).

Seventeen oils and 15 large wash drawings” comprised the exhibition, several of which were being viewed by visitors to the exhibition in these photographs found within the exhibition file in Box 7 of the archival collection:

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A clipping, dated 1-7-1959, that is not identified by publication, was included in a series of scrapbooks documenting the gallery from 1957-1959:

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Art imitates… history?

The following image, titled, “Still Life” was found on a University Gallery Press book page along with newspaper clippings related to the opening of the Fine Arts Room at the University Gallery in February of 1936:

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The Fine Arts Room, established by Ruth Lawrence and Malcolm Willey, was created with the intent of stimulating interest in fine arts amongst the University student population. As Willey indicated in a January 29, 1936 article in the MN Daily, “This new art room, distinctly American and modern in its conception, is being specially decorated in simple but excellent taste. Here will be placed a few well selected books and magazines in fine art, but nothing for formal study, which will be prohibited.

Woodhouse.jpgArt imitates history… as on the last few days of February 2012, WAM staff set up some furnishings in one of their new galleries – the Woodhouse Family Gallery. Incidentally, this gallery is “distinctly American and modern in its conception,” as it prominently features the museum’s collection of the works of artists Alfred Maurer and Marsden Hartley. Next to the furnishings, staff also “placed a few well selected books in fine art,” for visitors to read at their leisure.

While formal study in the Woodhouse Gallery is not prohibited per say – the intent of the new furnishings is to create a simple – but excellent – atmosphere in which to look at… and learn about… art.


“This is art-just in case you don’t know.”

In March of 1938, the Gallery exhibited, “International Show of Abstract Painting and Sculpture,” which included works from Eileen Holding of Chicago and other works loaned from New York galleries. Artists represented in the show included: Alexander Calder, Naum Gabo, Jean Helion, Henry Moore, Ladislaus Moholy-Nagy, and John Piper.

A clipping indicates how the Minneapolis Journal covered the exhibition:

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Yet another clipping from the MN Daily from March 5, 1938, titled, “Colored Lights Set Off Art Exhibition,” indicated that Calder’s abstract mobiles were accompanied by special effects:

“Colored lights are in use for the first time in the University Gallery, Northrop auditorium, where the “International Exhibition of Abstract Painting and Sculpture” is showing.

In one corner of the main room, a yellow light sets off a kinetic construction by Alexander Calder. The construction, which consists chiefly of unusually shaped wooden pieces, casts a bizarre shadow on the wall. In the opposite corner a blue light shines upon another ‘mobile’ by the same artist. This work consisted of a curved metal rod from which hang curious wooden objects tied to strings. The slightest touch will set all the objects into motion.”

Here are a few images of visitors in the gallery… some of them unknowingly looking at art:

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Who are you?

In addition to the records contained in the WAM archival collection, there are other records related to the museum that can be found in other collections at the University Archives. Archives staff shared with us photographs from the Photograph Collection related to the University Gallery. The only problem was, a few of the photographs did not have captions, thus, we could not determine who was captured within the image.

Who are you?

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It is not until I came across an article in The Minnesotan, 1967-1968 on the Digital Conservancy that I found an answer. These very photos were published alongside a feature article about the gallery titled, “The Place Upstairs” (referring to the gallery – located upstairs in Northrop Auditorium). Pages 6 and 7 of the issue of this publication featured the two photographs from the Photograph Collection at the Archives, and also provided captions…

Left Image: “Museum Director Charles C. Savage, Museum Assistant Helen M. Thian, Art Gallery Technician Larry L. Grunewald.

Right Image: “Mrs. Harold W. Smith and Mrs. Robert L. Summers chat at the opening of the Faculty Women’s Club exhibition at the Gallery.

Thank you again Digital Conservancy!


And the Oscar goes to…

This upcoming Sunday, February 26th, millions of people worldwide will turn their televisions on to catch a glimpse of the glitz and glamour of Hollywood on the broadcast of the 84th annual Academy Awards.

Who will take home the Oscar?

In May of 1936, staff of the University Gallery wondered, “who would take home our Oscar?

Press book clippings reveal a story that could surely rival any award-nominated screenplay – a plotline of crime and betrayal in a gallery caper that went unsolved. The leading role in this gallery mystery was in fact not an award… but a cat.

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Assistant to the President, Malcolm Willey, who served as chairman of the Fine Arts Committee, was none too pleased about the theft, and penned a letter to the MN Daily that articulated his disappointment in the incident:

It is perhaps appropriate to claim some of the space in a column called ‘Over the Back Fence’ to talk about cats. Seriously, may I call to attention the implications that are attached to the theft from the Fine Arts Room last week of the wood carving of a kitten. The value of the piece is not the fact of major importance – $12.00 or $15.00, although it is surprising that anyone would steel a mere decorative object worth even this amount. The disappearance of the carving would be easier to understand if it did have more value. I can only assume that some thoughtless person, intrigued by the whimsicality of the piece, carried it off for display elsewhere. The University has tried in the Fine Arts Room to make available to the students a beautiful room that could be enjoyed with informality in moments of leisure. There have been large numbers of students enjoying the room as shown by its use. They have enjoyed the room freely and without anyone standing over them. If things are stolen, it is necessary to have the room supervised constantly. This defeats part of its purpose and violates the spirit under which it has been operated. Someone’s thoughtlessness or disregard of the fact that this carving was after all the property of the University, destroys the privileges that the many students have been given. The only hope is that the carving will be returned. It is an amusing piece and belongs in the room where all students can see and enjoy it. My hope in writing is that someone who did not think of the really serious aspects of a seemingly harmless prank, will read this letter and on second thought, realize how unfair he has been to the students – and then that Oscar will thereupon find his way back to the Fine Arts Room.”

As a result of the incident, a hostess system was implemented wherein volunteers from the Faculty Womens club staffed the Fine Arts Room.


WAM Urban Myth Buster

For many years, it has been known, as the story goes, that one of WAM’s Georgia O’Keeffe paintings, Oriental Poppies, “may have been selected for purchase by popular vote.” So reads the label that describes this painting, currently on display in WAM’s Woodhouse Gallery.

The story, told by WAM tour guides, and believed by staff and visitors for many years, unfolds simply like this: An exhibition of the work of artists represented by gallery owner and dealer Alfred Stieglitz was held at the gallery in 1937. Visitors to the exhibit voted for their favorite work. Oriental Poppies won.

This story… however… is a myth.

Pressbook_1934-1937_Stieglitz.jpgIn February of 1937, the Gallery did exhibit a Stieglitz show, which showcased the “famous five” from his gallery at An American Place – Georgia O’Keeffe, John Marin, Charles Demuth, Arthur Dove, and Marsden Hartley. Amongst the 40 or so canvases in the exhibit was Oriental Poppies by O’Keeffe. There was, however, no popular vote of the visitors to select a piece to be purchased by the University.

A vote did take place, however, amongst the members of the Fine Arts Committee, a body on campus that oversaw the gallery and other issues related to the arts on campus. Their unanimous vote was an agreement to make a formal request to President Lotus Coffman to purchase Oriental Poppies. Correspondence found within the folder titled, “Fine Arts Committee” in Box 110 of the WAM collection reveals the details behind the acquisition of the painting upon the insistence of the Committee.

In a February 19, 1937 correspondence from Malcolm Willey to President Coffman, Willey outlines a meeting of the Fine Arts Committee:

The Fine Arts Committee held a meeting this noon to discuss, among other matters, the purchase of fine arts material. The Committee believes the University should choose its purchases carefully, especially those that involve any considerable sum of money. The members present were unanimous in urging that the University acquire one painting from the collection sent here for exhibition recently by Mr. Alfred Stieglitz. The artists represented in the group of five are all of outstanding distinction. There were several canvasses that would be an asset to any gallery, anywhere. The committee, after careful discussion, voted unanimously to recommend the purchase, if at all possible, of Poppies by Georgia O’Keeffe. The one argument raised against this during the discussion is the fact that the University does own one painting by her. However, the two are of different periods; moreover, her place in contemporary art is such that there is little risk in buying her work. The list price (for insurance purchases) of this canvas is $4,000. It can be had for 33 1/3 per cent discount, or $2666.67. This is a greater sum than we have ever spent for a painting, yet good work by distinguished artists command high prices. Those who favored this acquisition are: Professor Burton, Professor Minnich, Professor Harriet Goldstein, Professor R. C. Jones, and Professor David Robb. I, personally, have no doubt in my mind concerning the value to be received in this picture at the quoted price. It is a powerful painting and exceedingly decorative. It has nothing of the abstract or any other qualities that make it difficult to understand and enjoy. It is only because there is, potentially, some possibility of criticism of the University in purchasing a painting at this price that I raise the question at all with you. If you feel there is no reason for hesitating, I would instantly join the others in their recommendation.”

Coffman replies to Willey on February 20th, 1937 and indicated that he agreed that the University should have the painting “but as cheaply as possible.

Willey wrote back to Coffman on February 24th, 1937, “Mrs. Lawrence is to see if this can be had for $2500 flat.

On February 25th, 1937, Willey wrote to Ruth Lawrence, “With the approval of President Coffman, I am asking Mr. Middlebrook to make available the sum of $2500 to be placed in the budget of the University Art Gallery for the purchase of one or more original works of art.

(Middlebrook was the University’s comptroller.)

Pressbook_1934-1937_Vote3.jpgIn February of 1936, one year prior to the mythologized 1937 Stieglitz show, the gallery mounted an exhibit titled, “The Twentieth Century,” which contained representative examples of contemporary works loaned to the gallery, some of which included artworks lent by Stieglitz.

It is in conjunction with this February 1936 twentieth century exhibit that there was a vote, “planned to discover student taste.” As the clipped MN Daily articles contained in the University Gallery press books indicated, “Each day a new vote is taken in the gallery on the Twentieth Century exhibit and at the conclusion of the show votes will be tabulated. Anyone who visits the gallery is eligible to vote and may do so on the card beside each painting.

O’Keeffe’s piece, New Mexico Landscape won first place in the three-week contest.

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While there is partial truth to this myth – that a vote was involved in selection and purchase of Georgia O’Keeffe’s Oriental Poppies – it was a unanimous recommendation of the Fine Arts Committee in 1937, and not a democratic visitor vote, that resulted in the acquisition of the painting.

Regardless of the specifics, what these two February exhibits clearly show is the popp-ularity of Georgia O’Keeffe at the University of Minnesota.


Love Doors

LoveDoor.jpgThe Love Doors Contest
Sponsored by the Weisman Art Museum and Comstock 
Hall –

The Weisman Art Museum and Comstock Hall are sponsoring a door decorating contest to coincide with Valentine’s Day in conjunction with the museum’s exhibition, Deck the Halls. Personalize your door with designs, images, and objects that convey some of your ideas about LOVE. Feel free to express yourself about more than just romantic love.

Gift certificates to the Weisman Museum Store of $100, $75, and $50 will be awarded to the top three LOVE Doors.

Doors will be judged on Monday, February 12 by a team of experts: Colleen Sheehy, Director of Education at the Weisman, Michael Baynes, Comstock Hall Director, and Kim Grocholski, Comstock Hall President. Winners will be announced Tuesday, February 13.

You must follow the resident halls regulations about door decorations (e.g., only 2/3s of the door can be covered; no electricity can be used; nothing can be affixed permanently to the door.) Please check your residence hall handbook or consult your resident assistant. Doors that do not adhere to the regulations will have to be disqualified from the competition.

The Files do not provide insight into the winning Door design from this 1996 contest… I wonder who created the best “Love Door”?