Weisman Art Museum

The Unusual Life of Painting No. 85

By heathercarroll October 23, 2017
Exhibitions, Uncategorized, University Art Museum, University Gallery, Weisman Art Museum

University Gallery Publicity Books

In a University Gallery Publicity Book dated 1968, amidst other article clippings about the gallery is an open letter to the University community from William C. Bernstien M.D., Clinical Professor and Director of Proctology. This item stands out from the rest–first, its a letter rather than an article, its written by a doctor rather than an art critic or art historian and the letter is not directly about the gallery but a student’s artwork. This unusual letter is an introduction to the the twisting tale of an ill-fated painting titled No. 85.

The letter begins:

“Have you heard about the “happening” at the University Hospital and do you know what has caused the “stir” in the lobby of Mayo? Here’s what it is all about! Quite by accident a large color painting by Ron Brodigan was selected for exhibit in the hospital lobby and the reaction to its presence there has been an exciting one.”

Polaroid pictures circa 1968 of Brodigan’s painting titled No. 85 upon installation in the University hospital lobby. Courtesy Weisman Art Museum registrar’s accession files.

Intriguing beginning, right? Digging a little deeper into the publicity book, another article surfaces revealing a related and opportune moment in time: a University alum needs to find a new home for his enormous paintings offering them to the gallery; the University Gallery, already with too little storage space, would normally have to decline the student’s donation but a perfectly timed request from the U hospital for artwork saves the day. This painting appears to begin an initiative to display works from the art collection in public spaces around the campus–a practice which continues today. The stars seemed to align for Ron Brodigan’s painting back in 1968… but things aren’t always what they appear.

Article from an unknown publication, written by former gallery director Charles Savage III, found in the gallery Publicity Book 1968.

Back to the open letter from Dr. Bernstein: it goes on to describe public reactions to the Brodigan’s painting No. 85 in the lobby:

“”Ye gads! What is this supposed to be?” to “This is just what this lobby needs!”. One professor in the medical sciences asked if the painting was supposed to be some new type of bulletin board. At least, the painting is being looked at, questioned and, at times, admired. The painting is Rob Brodigan’s expression of color – for color’s sake. What, one is often asked, inspires an artist to create such a painting?”

Dr. Bernstein goes on in the letter to articulately trace the possible inspiration for No. 85 from Jackson Pollock to the Washington School Color Painters to Ron Brodigan via the Walker Art Center, concluding:

“Artist Ron Brodigan has created a very meaningful color painting of stripes in mild, gentle colors. Brodigan is a mild and gentle man… but the stir has created in the lobby of Mayo compares favorably with the action resulting from the works of his peers.
You should visit the Mayo lobby but don’t look for an image or a story in the painting. Just stand back and enjoy the action and interaction of color. If the first viewing doesn’t turn you on, please come back — it may happen.”

The stir it created? The “happening”? What happened?

A partial answer was found in the accession files of WAM’s registrarial department. Just a few months after Brodigan’s No.85 was installed in the hospital lobby, it was removed due to what appears to be vandalism. The condition report in the WAM accession file states: “Entire surface soiled. Finger marks, color pencil mark & ball point pen marks in several places. The above condition was noted upon return of the picture from Special Loan to Dr. John Westerman, Director, University of Minn. Admin on August 27, 1968.”

But this vandalism and return to art storage isn’t the end of No. 85’s tale.

Painting No. 85 leads a quiet existence–whether back on display or in storage–for following twenty-five years. That is until Brodigan’s No. 85 is on display in a lobby again, this time in Northrop Auditorium circa 1993, when a 30″ gash is inflicted upon the painting in unknown circumstances.

Brodigan’s No. 85 circa 1993 with 30″ gash.

Once again, the painting is removed and brought back to art storage where a new discussion ensues. The painting is large and expensive to store, the repair of the gash would cost substantially more than the painting’s estimated value. However, according to a printed email from the registrar in the accession files, the University Museum’s collection policy at the time stated that deaccessioning could only happen if the work was “bug-infested”. “Deaccessioning” is museum-lingo for removing an item from a collection. There are strict rules of conduct and ethical considerations regarding removing works from a museum collection. These strict guidelines protect the integrity of both the collection and the museum. It is normal for museum collection policies to be routinely evaluated and updated.

This incident with the painting seems to instigate a different conversation about collection policy, crossing years to the opening of the Weisman Art Museum, and may have contributed to the regular process of updating deaccessioning policies for the University’s art collection.

In 1995, Ron Brodigan is contacted about the situation with No. 85 and the options for the artwork going forward which may have included return to the artist, request for funds to repair the work or deaccesioning. The decision was made by all involved to deaccession the work. In this case, while a very unusual outcome for deaccessioning and not without much discussion and debate, deaccessioning included destruction of No. 85.

Rest in peace, mild and gentle, No. 85.

Special thanks to WAM’s registrars-Erin, Rosa and Annette-for all their help.

—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.

Full letter from Dr. Bernstien the University Community:

“What’s all the fuss about in the lobby?” Open letter from Dr. Bernstein, page 1.

“What’s all the fuss about in the lobby?” page 2.

Where in the world?

By heathercarroll September 22, 2017
Uncategorized, Weisman Art Museum

Could it be Delaware?

Could it be Washington?

Yes to both.

Stumped?

Found in the archvies: a parking with a view. An undated, uncredited photo of a parking lot that no longer exists on the Minneapolis campus.

—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 Curious Little Package

By heathercarroll September 15, 2017
Exhibitions, Processing, Uncategorized, Weisman Art Museum

What could be in this curious little package, rubber band stuck, found jammed into to the front pocket of a 25 year-old blue binder?

Mystery slides!

Three slides, depicting potter’s marks of renowned local potter Warren MacKenzie, found inside an Exhibit Tech binder.

The images on these slides look like mysterious runes or a secret language and in a way, that’s exactly what they are. These images depict potter’s marks, which are a kind of icon or signature used by studio potters to identify their works. In a museum setting, we rarely get to see these marks because they are usually located inconspicuously on the bottom of works.

These slides were made for a 1991 retrospective exhibition of the work of renowned local studio potter Warren MacKenzie. It wasn’t clear from surrounding files how these slides were used in the exhibition, but perhaps they were projected during a curator’s lecture or an artist’s talk to help exemplify different time periods or themes in the artist’s career. Perhaps they were projected on the walls of the gallery near works containing the marks. Maybe the images were turned into graphics for the exhibit walls or a publication.

To see examples of MacKenzie’s work – but no peeking underneath, please – visit the WAM current exhibition: Ceramics from the Weisman Art Museum Collection | A Personal View

To learn more about potter’s marks and the potters that use them, explore The Marks Project.

Bye-bye curious little package. Hello archival sleeve!

To be 10 Years Old!

By heathercarroll September 13, 2017
Exhibitions, Uncategorized, Weisman Art Museum

Like cloud gazing, the Weisman Art Museum’s facade reflects the world around us and captivates adults and children alike.

Among other festive activities and exhibitions celebrating the 10th Anniversary of the building in 2003, young visitors were invited to collaboratively color this poster-size image of the Weisman.

I might see a reflection of Andersen Library in shadow, an orange sun setting behind it.

What catches your eye?

One Gehry to Another – Postcards to the Museum

By heathercarroll September 1, 2017
Processing, Uncategorized, Weisman Art Museum

Usually we think of sending postcards from a museum, but postcards sent to a museum? Today’s archival highlight is just that: postcards sent to the Weisman Art Museum highlighting Frank Gehry designed buildings around the world.

Postcard image of a home on Venice’s Ocean Front Walk designed by Frank Gehry in 1984. Original photograph by Jeffrey Stanton.

Postcard image of the Frank Gehry designed museum at the base of Seattle’s Space Needle — known as the Experience Music Project, also known as the EMP Museum, also known as the Museum of Popular Culture or MoPOP. Original photograph by Stanley Smith.

Postcard image of Prague’s notable architecture featuring the Frank Gehry designed building called Dancing House, which was inspired by the dancing of Ginger Rogers and Fred Astaire.

Postcard image of the Frank Gehry designed Walt Disney Concert Hall of the Los Angeles Philharmonic. Original photograph by Grant Mudford.

Sighted: James Lee Byars!

By heathercarroll August 23, 2017
Uncategorized, Weisman Art Museum

As you can clearly see by the hat, this architectural sketch by E.C. of Frank O. Gehry & Associates exemplifies not only how the skylights of the Weisman Art Museum cast light indirectly to illuminate artworks but also the hope that conceptual artist James Lee Byars (1932-1997) might visit the shining new building upon its completion in 1993.

Coincidence or not?

James Lee Byars performing “UP?” for “Made With Paper” exhibition in 1968 at the Museum of Contemporary Craft in New York City, wearing his signature hat. Photo courtesy of the American Craft Council. http://digital.craftcouncil.org/digital/collection/p15785coll6/id/6038/rec/4

“Obsessed by the idea of perfection, Byars produced a remarkable body of work that strove to give form to his search for beauty and truth. Pursuing what he called “the first totally interrogative philosophy,” he made and proposed art at scales ranging from the vastness of outer space to the microscopic level of subatomic particles, in an attempt to delineate the limits of our knowledge while enacting a desire for something more.” – Wikipedia

Ready, Set…Process! (2017 edition)

By heathercarroll July 31, 2017
Processing, Uncategorized, University Art Museum, University Gallery, Weisman Art Museum

It has begun… again.

Earlier this month, project processor Heather Carroll, graduate student from St Kate’s and St Thomas, began processing the newest set of Frederick R. Weisman Art Museum records that were recently accessioned. While most of the records are from the mid-2000’s to 2015, there are some older gems such as press books from the 1960’s and 1970’s. We’ll will be sharing these and other archival finds here.

Ready, set… Process!

Understanding Sculpture Today

By wilso952 December 17, 2012
Exhibitions, University Gallery, Weisman Art Museum

From the beginning, the exhibition philosophy of the University Gallery was guided by a simple purpose – to expose University of Minnesota students to new forms of art in order to further understanding and cultivate appreciation. The exhibit Understanding Sculpture Today, held from November – December 1946, is one example of an application of this philosophy.

The University Gallery press books contain various articles, printed by local newspapers, which promoted and reviewed the exhibit. According to these sources, the exhibit was assembled by William Saltzman (acting director), and included 40 works of sculpture loaned by galleries and individual artists throughout the country. According to Saltzman, who was quoted in a November 1, 1946 MN Daily article, “The purpose of the exhibit, as the title implies, is to present various media and methods of interpretation as found in contemporary sculpture.”

The exhibit included “Two Bodies,” by Alexander Archipenko, “Overture,” by Calvin Albert, “Hanging Mobile,” by Alexander Calder, and “Biography in Bronze,” by Carl Milles. Various local artists were also represented in the exhibit, to include University of Minnesota art professor S. Chatwood Burton, and Evelyn Raymond of the Walker Art Center.

University student Stan Hietala reviewed the exhibit in a November 22, 1946 MN Daily article titled, “From Marble to Plexiglas: Sculpture Shows Versatility.” Hietala reported, “The show is an excellent example of the ability of William Salt[z]man, gallery assistant director, and his staff. It answers a need in a field somewhat unknown to the [non-art] student, helping him to understand today’s sculpture.”

The Minneapolis Daily Times printed a photograph of two University students observing a sculpture titled, “Five That Escaped” (above). The sculpture was popularly mentioned in many of the articles about the exhibit. Hietala’s review also mentioned the work:

“Quite often an artist is found who expresses his emotions primarily, ignoring conventional style or contemporary trends. In Randolph W. Johnson’s bronze… the sculptor almost achieves pure emotionalism, void of dogmatic style.

The five figures are stumbling along, fatigued, yet in haste. Their whole demeanor reflects horror and fright.”

WAM continues to promote the understanding of sculpture in the museum galleries, as well as throughout campus. Archipenko’s, “Two Bodies” is currently on display in the Woodhouse Gallery, and is one of many examples of sculpture that can be found within the museum. For the current Target Studio for Creative Collaboration exhibit, contextual flux, artist Jason Hackenwerth worked with University students (to include several studying “non-art” disciplines) to produce new sculptural forms. Throughout the University, over 30 different forms of sculpture can be found in courtyards, building entrances, lounges, garden spaces, and other campus locations as part of the Public Works of Art program.

For current University of Minnesota students – and visitors – who have harbored a latent curiosity in regards to the shapes and forms that they encounter on campus, opportunities abound at WAM for them to start understanding sculpture today…

Put on your party hat…

By wilso952 November 12, 2012
Weisman Art Museum

This upcoming weekend marks the 19th anniversary of a big and important weekend in the history of WAM: the dedication and opening of the Frank Gehry designed Frederick R. Weisman Art Museum building. The building was dedicated on Thursday, November 18, 1993 with a ribbon cutting ceremony. Open Houses were held on the 19th and 21st for the University community and general public, respectively. A grand opening gala – with namesake Frederick R. Weisman and architect Frank Gehry in attendance – was held on Saturday evening, November 20th.

The September/October 1993 issue of Minnesota Magazine, a publication of the University of Minnesota Alumni Association, previewed the then new building in a feature article titled, “Both Sides Now.” Author Pamela Lavigne began her article: “Where once stood a sleepy little hill topped by a small parking lot on the Twin Cities campus, now there’s this… structure that causes the average viewer to exclaim, What the heck is that?!”

For just shy of 20 years, many visitors to the University of Minnesota have uttered the same question, and it is likely that no two visitors have shared the same reaction. Whether you are an art or architecture enthusiast, University student on assignment, or a community member on a casual weekend walk in search for a bathroom and/or drinking fountain, the building – and the contents within – provide many things to many people, which in itself deserves celebration. Throughout the years, WAM has always found an occasion to celebrate, and the archives contain the evidence of the museum’s many commemorations…

An invitation to The Weisman Art Museum’s 5th birthday party! on Saturday, November 21, 1998 was designed to be multi-functional, and served not only as an announcement, but also as an accessory. The invitation, when opened, revealed the details of the celebratory event: cocktails and appetizers, the opportunity to see the exhibitions The Great American Pop Art Store: Multiples of the Sixties and A Bountiful Beginning: The First Five Years of Gifts to the Weisman Art Museum, music, dinner in the Washington Ave. Bridge, and champagne, dessert, and dancing. It also informed attendees to “Wear your best silver.”

On the inset, instructions were provided that revealed the second function of the invitation:

Directions for wearing party hat:

Unfold invitation into circular shape (side without words faces out)

Adjust tabs to fit (cross tabs so that ends face inward)

Wear party hat to party November 21!

This year, WAM celebrated a little earlier than it’s official birthday date, when it held the first annual fundraiser gala at the end of October: The Big WAM Bash. In case you missed the Bash, the months of November and December are still full of party hat worthy events and programs: Weekends with the Weisguides, WAM Chatter, Be Dazzled. Now that the first snow of the season has fallen, put on your coat and hat (stocking or party), join the celebrations, and discover what the heck is going on at WAM.

Hudson Walker: Curator, Patron, Friend

By wilso952 July 18, 2012
University Art Museum, University Gallery, Weisman Art Museum

In a report compiled by long-time gallery director Ruth Lawrence to reflect upon the 25th anniversary of the Little Gallery in 1959, a section titled, “The First Curator,” described Hudson D. Walker’s background and his brief, though instrumental, role in the foundation of the Weisman Art Museum as The Little Gallery in 1934:

“The University was most fortunate in obtaining Hudson Walker, who in March, 1934, was appointed the Gallery’s first curator of art. Mr. Walker was experienced in Gallery operations and management. He was the grandson of Mr. T. B. Walker, founder of the Walker Art Gallery. Hudson Walker was no novice in the functioning of a museum. He had been trained at the Fogg Museum, Harvard University, for work such as this. He knew the practical side, the importance of shipping and care of works of art worth thousands of dollars. He was especially aware of the responsibility of borrowed works. He had developed a small gallery of his own in Minneapolis, dealing in such works as watercolors, woodcuts, etchings, etc.”

Walker was officially appointed to the title of “Curator of Art” at the University in March of 1934, and departed at the end of his appointment in June in order to pursue the establishment of a gallery in New York City. However, his role with the University of Minnesota and the Little Gallery did not conclude with the end of his employment. Walker’s relationship would inspire additional titles in relation to his contributions to the University and to the museum.

Lawrence’s description of the First Curator only briefly touches upon the work done by Walker in those few months he was employed at the U of M. For the very first exhibit that was held at the gallery, he arranged for the loan of 18th and 19th century paintings from regional art museums, and covered the expense to insure the works out of his own pocket. At his departure, Walker imparted some advice to university administration that would shape the formation of the gallery in its formative years. He emphasized to Assistant to the President Malcolm Willey that “There should be some anchorage provided in the way of a permanent collection to insure a permanency of interest” and added that the gallery should emphasize a “workshop character” as opposed to the “traditional notion of a museum as a place for safekeeping of rare objects.”

In 1950, Walker placed works from his private collection on loan to the University of Minnesota. The loan included many pieces by the artists Alfred Maurer and Marsden Hartley. He, along with his wife Ione, also made many generous gifts of artwork and additional donations to the gallery in the following years.

In 1965, Walker became an award winner and honoree when he received the Outstanding Achievement Award from the Minnesota Alumni Association. A letter (at left, click for a pop-up to read) from the President of the Minnesota Alumni Association addressed to Gallery curator Betty Maurstad, extended a formal invitation to the ceremony that was held to present Walker with the award.

In conjunction with Walker’s receipt of this award, an exhibit titled One Hundred Paintings Drawings and Prints from the Ione and Hudson D. Walker Collection was held from November 4-December 19, 1965 at the University Gallery. A dedication by University of Minnesota President O. Meredith Wilson, printed within the catalogue that was prepared for the exhibition stated, “The collection of Mr. and Mrs. Walker is an important resource in furthering the University of Minnesota objectives of teaching, research and service and has aided immeasurably the University’s development of significant programs in the visual arts.”

Exhibition catalogue, One Hundred Paintings Drawings and Prints from the Ione and Hudson D. Walker Collection:

Polaroid photographs taken at the exhibit opening show Walker amongst other attendees in the hallways and stairwell that lead to the gallery in Northrop Auditorium:
(click on the image for a larger version)

A drawing of a proposed gallery layout for the exhibit was found in the exhibition file in Box 11 of WAM’s archived administration records. From the drawing, (at left, click for pop-up to review) one can assume that the exhibit was split into sections-one section of 22 miscellaneous works from Walker’s collection, another section that contained 12 works by the artists Alfred Maurer, another room dedicated to 14 large Marsden Hartley paintings, and a final section of Alfred Maurer graphic works, that appear to have been placed in the hallway that lead to the gallery.

More polaroids were found in the exhibition folder that show the works displayed in the gallery space:

Alfred Maurer, “Portrait of a Girl with Gray Background,” 1930, oil on composition board

(1) Alfred Maurer, “Two Heads,” 1930, oil on composition board
(2) Alfred Maurer, “Two Figures of Girls,” 1926, oil on composition board
(3) Alfred Maurer, “Still Life with Cup,” 1929, oil on composition board

Artworks by Marsden Hartley, as displayed in the exhibit:

An additional item found alongside the polaroids in the exhibition folder is a note from Walker to President Wilson that expressed Walker’s appreciation for the acknowledgement he received from the University:
(click on image for larger pop-up version)

Two additional titles were given to Walker on the occasion of a 1977 memorial exhibition titled, Hudson D. Walker: Patron and Friend. The exhibition commemorated Walker and the bequest of his collection to the museum.

Regardless of how one refers to Hudson Walker when recalling the history of the museum – first curator, patron, or friend – it is clear that no appellation can truly capture all of the contributions that he has made to its legacy.

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