press books

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.

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.

From the Publicity Books: Honoring Ruth Lawrence…I

By heathercarroll August 17, 2017
Processing, Uncategorized, University Gallery

At first glance, the University Gallery’s Publicity Books appear to be mere scrapbooks filled with mementos of early exhibitions, that were found filed away on a bookshelf somewhere in the back of someone’s office. However, tucked unassumingly into a Publicity Book dated 1953-1954, rests a short but impressive letter that challenges that idea.

March 12, 1953

Dear Mrs. Lawrence:

It was with interest that I read the attached clipping in the Minneapolis Star. It brought back many fond memories of my days on the campus; Mrs. Humphrey and I made countless trips to the gallery, there was always something new and interesting to be seen. I particularly remember some of the modern art exhibits and the heated discussions they precipitated.

You are to be commended on the magnificent job you have done through the years. I know you must have derived great personal satisfaction from it.

With all the best wishes.

Sincerely yours,
Hubert H. Humphrey

The letter was sent to University Gallery director Ruth Lawrence from then senator and future Vice President of the United States, Hubert H. Humphrey shortly after his first unsuccessful run for president. Humphrey cared enough to write to Lawrence after coming across an article featuring Lawrence in the daily newspaper. The article states:

In the beginning the gallery placed the emphasis on contemporary art and in this was the first among the city’s galleries.

Now it has become what Mrs. Lawrence had planned: the “handmaiden of teaching.” Student shows, faculty show, shows on design, architecture, advertising art and interior decoration are aids to the student as well as pleasant to look at for the casual gallery visitor.

It’s clear from Humphrey’s letter, that included the clipping, that the gallery had fulfilled Lawrence’s instructional mission in meaningful, lasting ways.

I don’t know about you, but if I received a letter out of the blue from one of our senators commending me for a job well done, I would certainly be flattered and I might frame or otherwise show off the letter. From the inclusion of such a glowing letter from a prominent local and national figure in the Publicity Book, one gets the feeling that the books weren’t tucked away in the back of an office but perhaps on display to be perused by students and visitors to the gallery or the Fine Arts Room.

In an archival setting, correspondence of all types are often grouped together within a collection. However, original order is a fundamental principle of archives because it can help define relationships. The Humphrey letter, while unusual for its placement in a Publicity Book, wasn’t misfiled but rather infers that these books were publicly used. Perhaps this letter inside the Publicity Book was almost as visible as a frame on the wall, and so a fitting way to honor Ruth Lawrence and her mission with the gallery.

Don’t Open Boxes

By wilso952 February 12, 2012
Processing, University Gallery

“Don’t open boxes.” This was the dry reaction of a WAM staff member after I had shared my find of a large box full of 13 binders in a storage room at the museum. The binders were each titled, “press book” and were dated by academic year. As I wiped away a few centimeters of dust off of the cover of the first binder, I was hopeful yet hesitant at what I would find.

It was more than I expected. Newspaper clippings, photographs, press releases, posters, opening invitations…. oh my! Each binder contained an explosion of ephemera covering exhibits and programming at the University Gallery from approximately 1957-1969. Each piece was neatly placed on pages and covered with clear plastic sheets.

This find came at an interesting time, as it happened just one day before I finished processing and documenting the last box, #218, of the WAM Collection at the University Archives (more on this later).

But although I have reached the last box at the Archives, through the simple act of opening boxes at WAM, I realized, as long as there is a WAM, there will always be more boxes to open.

I must now in good faith scan the pages of the press books to create digital versions, and then dutifully prepare the press books to be transferred to the Archives to be preserved in future “last” boxes… 219… 220… and so on.

But until I am finished with this latest discovery, I will likely heed sound advice, and refrain from opening any more boxes for the moment. I have a lot of scanning… and reading… to do:

press books

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