Simons says…

Simon.jpgFollowing Ruth Lawrence’s retirement in 1957, Sidney Simon, assistant professor of art, was hired as the next director of the University Art Gallery.

Meeting Minutes of the Board of Regents from Nov. 7-8, 1958 (Digital Conservancy) record the details of his appointment:

Sidney Simon appointed as Assistant Professor and Art Gallery Director Sept. 16, 1958 to June 15, 1960 at the rate of $6,235 Term B to read Nov. 16, 1958 to June 15, 1960

Due to Lawrence’s efforts in building the Gallery’s permanent collection over the course of her directorship (1934-1957), Simon would have ample opportunity to feature the University’s collection. A January 3 1961, U of M News Service release (Digital Conservancy) announces the Gallery’s annual permanent collection exhibition,

The choicest jewels of the University of Minnesota gallery – oils by Georgia O’Keeffe, B.J.O. Nordfeldt, Dove, Hartley and Feininger, water colors by Marin and Gross, Picasso prints, Kaethe Kollwitz drawings – will be put on public display in Northrop Memorial auditorium Thursday, January 12…

Following the permanent collection exhibition, a January 17th news release (Digital Conservancy) announces the Gallery’s “big show” of the year, “The Eighteenth Century – One Hundred Drawings by One Hundred Artists,” to open on January 23,

Outstanding 18th Century artists whose original works have been borrowed from museums throughout the world include Watteau, Fragonard and Boucher from France; Gainsborough and Romney from England; and Canaletto and Guardi, from Italy as well as numerous works from Germany, Switzerland and Holland… The show, which will hang in the galleries until March 7, is planned as a feature of the 49th annual meetings, in Minneapolis on Jan. 27, 28 and 29, of the College Art Association of America and the 14th annual meeting of the Society of Architectural Historians…

The works were assembled by University art department faculty, Professor Lorenz E.A. Eitner and Associate Professor Hylton A. Thomas, and were exhibited in the fourth floor gallery of Northrop:

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Materials and Tools of Archives

Inspired by the photographs found of the 1947 exhibit, “Materials and Tools of Art” I thought it would be of interest to share the Materials and Tools of Archives – as related to the WAM Files project.

First, the location. Processing occurs in a secure subbasement workroom of Elmer L. Andersen Library on the West Bank campus at the University. The workroom is shared by the many archives and special collections units that comprise the library. In a front corner of the room, the “materials and tools” are kept amongst three large tables which combine to form a U-shaped work station.

Let’s start with a few vocabulary words.

Thumbnail image for FolderBox4.JPGBox – Container for folders.
Folder – container for materials (correspondence, exhibit catalogues, exhibition checklists, photos, slides, etc.)

Processing began with replacing several of the first set of boxes that had ripped tops or torn corners/edges. Simply put, contents from old boxes are moved to new boxes. Propping the box allows for folders to be neatly and orderly stacked on top of each other while transferring contents from one box to another. Another tool, a sponge, acts as a placeholder, keeping folders upright and ensuring they don’t collapse or fold over as other folders are removed. Folders that are ripped, weak, or colored are replaced so that the folder will reinforce or adequately hold the contents within.

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Pencil – Each folder is labeled with the collection number, folder title, and the date. Whether you like an old school #2 or a high-tech mechanical, it’s the processors choice – just never use a pen.

Eraser – We’re not perfect!

Stapler, staples – Labeled folders that do not need replacing are stapled on the label. Due to the humidity levels of the environment in which the collection is stored, the adhesive on the labels will give way over time resulting in a label free fall.

Staple remover – During the creation of the record (based on the administrative flair of the creator) notes, business cards, and other miscellaneous items were often stapled to the inside of folders. The staples are removed and the newly-free, formerly-attached items join the remaining folder contents.

Post-It Notes – To make notes!

Reference.JPGReference materials – In addition to the University Archives processing guidelines document, our project adviser has shared with us several standard references for archival processing.

Computer – The collection series, folder title, and date is recorded on a spreadsheet to make a record of the contents of the collection, which will later be converted to encoded archival description (EAD) which will be used to create a finding aid.

But before we get ahead of ourselves with talk of finding aids (we have completed processing just short of 30 boxes thus far), there is one final and and important material that is of paramount use in the archives – cotton, wool, polyester, whatever variety of fabric blend preferred by the processor that will provide an extra layer of warmth in the cool, cavernous, temperature controlled environment.


Appraisal

In the 1950-1952 Biennial President’s Report (Digital Conservancy), Ruth Lawrence shares an appraisal of how the concepts of museums and art have changed since becoming Director in 1934:

The concepts of museums, the methods of teaching art, and the attitudes of art have changed completely since WWI. Our 19th century patterns were deliberate and unhurried; speed is today’s yardstick. Therefore, what is presented must meet the demands of rapid appraisal, coupled with maximum interest.

From Box 3, “Staff Photographs, Resumes,” Ruth in the gallery…

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With a Twist

I hadn’t heard of the Belgian painter Pierre Alechinsky before I came upon his file (the University Gallery exhibited his work in 1965), but some of the colorful pieces in the catalog caught my eye.

Another item that caught my attention in the file was a small hand-cut manipulated photo of a face, which I think is Alechinsky himself. There is no indication as to who made it or for what purpose, but it’s quite an interesting little piece.

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Photos from the Alechinsky opening, 1965:
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Image from the catalog:
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Jasper Johns

In 1959, the University Gallery was looking to bring in some hot young artists from the New York art scene. They wrote to (the now famous) Jasper Johns and his gallerist, Leo Castelli, and managed to put up a show of Johns’ work in 1960 — and this was only two years after Johns had his first solo show in New York. The letter to Johns states:

The University Gallery, on a very modest budget, hopes to be able to initiate a new program which will aim at bringing to the campus a series of small exhibitions of work by New York artists of interest.

Letter to Jasper Johns and a list of the pieces loaned:
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Materials & Tools of Art

Amongst the files that were kept on exhibitions held at the University Gallery, an occasional treat is provided to the processor by the inclusion of photographs of the installation and final appearance of the exhibit. Often intermixed with correspondence and checklists of artwork, these photographs offer us prime examples of exhibit design from the era in which the exhibition was held.

“Materials and Tools of Art,” prepared by Gallery staff, was held from September 29 to October 29, 1947.

A September 16, 1947 news release from the U of M News Service (Digital Conservancy) offers this statement:

 

“The exhibition will show the materials and tools from which an artist works and will explain how his choice of materials and tools plus his inventiveness and creativeness go into the making of a work of art.”

 

Fresco
Watercolor, Stone
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Spring Flowers

In 1959, the University Gallery hosted a Japanese flower-arranging demonstration in conjunction with the exhibition “Japanese Prints”, and I discovered this contact sheet documenting the event in the files. I love contact sheets, since they show every shot the photographer took on that roll, prior to editing.

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Mysterious Media

Though a majority of processing has consisted of rhythmic re-foldering, several boxes have also contained mysterious miscellany found amongst the folder sets…

After removing each of the two folders containing materials for the Grace Hartigan Exhibition, (held at the University Gallery from Sept. 23 – Nov. 4, 1963), an item, which had been shoved underneath the folders, was revealed at the bottom of the box: a smaller cardboard box!

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Labeled with “Hartigan” and the dates of the exhibition, the box was obviously intended to be included with this folder set. The contents of the box create further intrigue…

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A small note that states, “Joanne – this is the Hartigan tape recording – please ‘file; (ex: folder), 63-64, Sept. 23 – Nov. 3,” covered the small reel of tape that rested inside. After consulting with the advising archivist, the box was made note of and set aside for further investigation.

What is this mysterious media?


Swedish Modern

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Most of the exhibition files from the late 1930s and early 1940s do not have photographs in them, but when they do, these images give a window into the times. This Swedish Arts and Crafts exhibition from 1944 actually still feels quite modern (I’m looking at you, IKEA). Some of the wall label drafts for the show are also quite interesting — Label IV reads:

Before the war, “Swedish Modern” was a word which had a clear cut definition in design terms. It was style-forming and came about through the determined esthetic (sic) and social efforts to raise the standard of the Swedish home and to improve the taste for a better quality of design… But “Swedish Modern” is not an original style created in the last couple of decades. It is an inheritance coming from a rich tradition of beauty loving people who are courageous enough to break away from the swaddling clothes of the past to entertain new forms for living.

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Candid

From Box 3, in a folder titled simply, “Staff Photographs, Resumes,” circa 1941 – 1959, a candid photograph of the University Gallery’s first permanent director, Ruth Lawrence:

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