permanent collection

Seven Folds from Tires to Roof

By heathercarroll February 28, 2018
Exhibitions, Uncategorized, University Gallery, Weisman Art Museum

“If big things come in small packages, what comes in a 10 pound, seven ounce, brown paper package that measures 2 feet by 2 feet by 5 1/2 inches?

A 10 foot 3 1/2 inch[-tall] 36 foot 2 inch-long life-size poster of a Greyhound bus, what else?”

That was the beginning of an article by Sandee Krupp for an unnamed publication, a clipping of which was found in a University Gallery Press Book from 1969. The photo in this article shows the artwork being unfolded in a hallway in Northrup Auditorium, the former home of the art collection and the University Gallery. The unfolding and refolding of a life-sized screen-printed photomural of a Greyhound bus sounds like happening in itself!

Page from the 1969 Press Book in the Weisman Art Museum archival collection at the University of Minnesota.

This enormous print was conceived by Mason Williams. Williams is known more for his music and the theme song he wrote for the (sometimes controversial) Smothers Brothers Comedy Hour than for his other artistic expressions. One of the Weisman Art Museum’s registrars shared this enlightening document from the object file of Actual Size Photograph of an Actual Size Bus.

120 feet of Scotch brand double-faced tape? Is that archival?!

Document from WAM’s object file for “Actual Size Photograph of an Actual Bus”, circa 1967.

Krupp’s article ends:

One observer suggested a new gallery–just for the bus.
And so, after many “Well, what can we do with it?” and not one workable answer, the bus was folded back up again, seven folds from tires to roof and 32 folds from headlights to the rear bumpers.

“Seven folds from tires to roof and 32 folds from headlights to the rear bumpers”, it lay safely tucked away in 1969 and waiting for decades to come. It took not just a new gallery but a whole new building for there to be enough space to display this work of art. Seen here, too large to be framed, photographed while on display in the exhibition Reviewing the Real (6/8/2013 to 9/8/2013).

Mason Williams, with photography by Max Yavno, Actual Size Photograph of an Actual Bus, 1967, screenprint on paper, 123-1/2 x 434 in., Collection of the Weisman Art Museum, University of Minnesota, Gift of Mr. and Mrs. Tom Ruben, 1969.30.

And “seven folds from tires to roof and 32 folds from headlights to the rear bumpers”, it lays today, safely tucked away and waiting for the next time.

—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.

Library Amnesty Success

By heathercarroll January 25, 2018
Uncategorized, University Gallery

As with any loan from a library, a bank or otherwise, unexpected things can happen. The University of Minnesota’s permanent art collection has long had an art rental program and at one point in time there were no rental fees to University employees. It happened one day in 1969 that a loan gone awry found its way to Wilson library and back home to the art collection.

While I wasn’t able to find an image of the returned water color of Pillsbury Hall by Stanford Fenelle, I found another Fenelle work in WAM’s collection depicting Folwell Hall.

Check out this highlight from the Digital Content Libraries: a Then/Now Image Overlay including artworks of locations on campus by Josephine Lutz Rollins, Cameron Booth and Stanford Fenelle. The project was facilitated by UMN’s DASH team.

A Sonnet for WAM

By heathercarroll November 30, 2017
Uncategorized, Weisman Art Museum

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

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.

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.

From the Publicity Books: Honoring Ruth Lawrence…II

By heathercarroll August 28, 2017
Uncategorized

A University Gallery Publicity Book dated 1957 included a brief article about the acquisition of a painting to the art collection. “Still Life with Leaves” by B. J. O. Nordfeldt was given to the collection by the artist’s widow, Emily Abbott Nordfeldt and dedicated to retired gallery director Ruth Lawrence “in recognition of her years of service to the University of Minnesota and to the University Gallery” .

Still Life with Leaves by B. J. O. Nordfeldt

Upon donation in July 1958, the painting was displayed as the “Picture of the Month” in Northrup Auditorium’s east stairwell. Although it was described as brightly colored in a newspaper article, by today’s standards the color pallet might be called reserved, subdued or earthy. What is surprising to me is that amidst these seemingly murky tones is the definite sense of light reflecting and even emanating from within the still life.

While the collection in 1958 had an impressive amount of Nordfeldt works on long term loan, this painting was among the first Nordfeldt works to become a part of the gallery’s permanent collection. Today, the WAM collection holds a goodly number of works by Nordfelt many of which can be viewed online here. You can see three works by Nordfeldt on display in WAM’s Woodhouse Gallery and two works in the current WAM exhibition, Surfaced: Rarely Seen Woodcuts from the Collection on view through November 15, 2017.

You’re Invited: Women in the Weisman Collection

By wilso952 July 9, 2012
Exhibitions, Weisman Art Museum

Each summer at WAM, an exhibit opens with a theme that focuses on the permanent collection. In the summer of 1998, to commemorate the 150th anniversary of the Seneca Falls Convention–the milestone meeting that signaled the beginning of the women’s rights movement, the museum held an exhibit titled Women in the Weisman Collection: The Spirit of Seneca Falls.

An announcement sent out to promote the opening reception, concert, and exhibit was found in the archives:

*Click on the image for a larger pop-up version

Several of the female artists exhibited in the 1998 Women exhibit have works currently on display in WAM’s summer show, Tenuous, Though Real. Visit WAM through September 16th to view works by Harriet Bart, Hazel Belvo, Clara Mairs, Laura Migliorino, and Judy Onofrio.

Visiting Artists

By wilso952 June 30, 2011
Exhibitions, University Gallery

In 1949, the University’s department of art began hiring visiting artists as instructors. Today, the artists Paul Burlin, Ralston Crawford, Arnold Blanch, Cameron Booth, and Philip Guston are all represented in the museum’s permanent collection whether through their own works or works done of them – no doubt related to their contributions to American art but also likely related to the time they spent with the University in the initial years of the visiting artist teaching program. Each artist was also featured in a Gallery exhibition which served, “both as a reception… and to introduce new members of the art department faculty to the public.” Catalogues from their exhibits were processed and are now contained in Box 110 of the WAM collection.

A January 3, 1949 UM News Release (Digital Conservancy) announces the first artist:

“Paul Burlin, well-known American painter and teacher at the Art Students’ league, Woodstock, N.Y. arrived in Minneapolis Tuesday (Jan. 4) to begin a three-month teaching schedule…

Burlin’s work here will inaugurate a new University department of art teaching program in which artists with various approaches to their work will teach for one quarter each at the University.”

Burlin in the WAM collection.

Ralston Crawford followed as visiting instructor in the Spring quarter. His exhibit at the Gallery ran from April 28-May 20, 1949. A March 18, 1949 UM News Release (Digital Conservancy) announces his background:

“He was sent by ‘Fortune’ magazine in 1946 as the only artist among 117 photographers and reporters who observed the atomic bomb tests at Bikini. His report, included abstract pictures of the destruction, appeared later in the December, 1946, issue…'”

Crawford in the WAM Collection.

Visiting artist Arnold Blanch, a native of MN (Mantorville), taught an advanced painting course during his visit. A November 22, 1949 UM News Release (Digital Conservancy) announces Blanch’s eclectic November 29,1949-January, 6, 1950 exhibit at the Gallery:

“The 39 paintings in his University exhibition include work from 1924 through 1949. A group from the 1930s is made up of work done in Florida.

Among the ceramics, are several bowls and a 1949 set consisted of a salad bowl and plates which has been produced commercially by well-known china manufacturer.

The scarves, also manufactured commercially, were made by the silk screen process. One of them, ‘The Picnic’, done in 1947 includes 20 different colors.

The Exhibition includes, ties, a hooked rug of abstract design and Christmas wrapping paper.”

Blanch in the WAM Collection.

A Dec 4, 1950 UM News Release (Digital Conservancy) announces that “paintings and drawings by Cameron Booth, one of America’s leading abstract painters” will be on display in the Gallery from December 11, 1950-January 7, 1951. Booth, visiting from The Art Students’ League in New York, had previously taught at the Minneapolis School of Art and St. Paul School of Art.

Booth in the WAM Collection.

An exhibition of the work of Philip Guston, a spring quarter visitor-artist was held April 10-May 12, 1950 at the University Gallery. A March 24, 1950 UM News Release (Digital Conservancy) indicated that the exhibit, “will include 16 paintings, a number of drawings, and photographs of several of his murals. Among these will be murals from the Queensbridge housing project, New York; the Social Security Buildings, Washinton, D.C.; and the WPA building façade at the New York World’s Fair.”

Works of Guston in the WAM Collection.

Promotional Provenance

By wilso952 May 25, 2011
University Gallery

A general gallery brochure, multiple copies of which were tucked innocuously into multiple folders, from those documenting grant applications to others partially titled as “PR” or “Publicity,” announced the Gallery’s features, services, and most importantly, location and hours (when and how to get there!).

A clue to the year of the creation of the brochure resides in the descriptive text on the Exhibitions panel, which provides a list of exhibits to be held in 1972-1973.

The brochure documents how the organization presented itself at a certain moment in time. Included text promotes the Gallery’s collection:

“… outstanding works of art of all media which ranges in period from antiquity to the present and which is international in scope.”

The images selected showcase selected works of art from the collection, to include Oriental Poppies (Georgia O’Keeffe) and The Pod (Harry Bertoia).

Materials initially created for the promotion of the then current activities of Gallery, when kept in archives, now also serve to promote the provenance of the Museum.

Simons says…

By wilso952 March 22, 2011
Exhibitions, University Gallery

Following 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:

permanent collection

Contact Information