exhibit planning

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.


A Curious Little Package

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!

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.

 


Tools, Materials, and the Artist: 1948

Web_WAM_003_ToolsMA_2.jpgThe title of the 1948 exhibition, “Tools, Materials, and the Artist” sounds strikingly similar to the 1947 exhibition titled, “Materials and Tools of Art.” Further, the folders that contain the materials that chronicle each exhibit are only 6 folders apart from each other in Box 3. Each folder contains photographs of the exhibits – which are similar in content, yet different in arrangement.

It is not until coming across Ruth Lawrence’s correspondence in the University Gallery records (which were incorporated into the WAM collection) in Box 109 however, that the reason for mounting two similarly titled exhibits a mere year apart comes to light.

Ruth, who had been out East on a collecting visit, and away from the Gallery, receives an update from an employee on the status of the “Materials and Tools of Art” exhibit that was mounted at the Gallery in her absence in 1947, indicating that the exhibit “opened with a bang.

Web_WAM_109_Bill-Ruth_01.jpg

Another letter, written by Ruth, addressed to “Bill” makes the suggestion that they keep part of the exhibit in tact to use over again, “It, in my opinion, merely emphasized again ‘how it’s done.’ ‘They say’ – if you want to get a point over to an uninitiated mind it must be repeated in new form seven times.

Web_WAM_109_Ruth-Bill_2.jpg

So, in September of 1948, “Tools, Materials, and the Artist” was displayed at the Gallery. (A new form of an exhibit held the previous year… for the uninitiated minds.)

Web_WAM_003_ToolsMA_3.jpg Web_WAM_003_ToolsMA_1.jpg


Mirror of the Middle Ages

From Charles Helsell’s (curator) files associated with the exhibit titled, “Mirror of the Middle Ages,” held at the Gallery from March 28-April 20, 1978, we receive a glimpse into exhibition planning through the design specifications of an exhibit case, as well as fabric swatches considered for the display:

Mirror_CaseDesign2.jpg Mirror_Fabric.JPG