Ruth Lawrence

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.

—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.

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.

Flowers to the Living

By wilso952 July 14, 2012
Exhibitions

For the occasion of the 25th anniversary of the University Gallery, the retired former director, Ruth Lawrence, was asked to compile a history of the University of Minnesota’s Gallery of Art. In 24 typewritten pages, Ruth outlined the origin — and resulting ebbs and flows — of the gallery as she had experienced it. At the end of “Mrs. Lawrence’s 25 Yr. Report,” in a final paragraph titled, “Flowers to the Living,” Ruth expressed her gratitude to those who had contributed to the growth and development of the gallery over the years:

From the beginning, a loyalty and devotion which is touching to observe had been brought to the Gallery by almost everyone who came to work for it or who has been associated in any way with it. Perhaps its difficulties, struggles and working against great odds has engendered a feeling of fondness and of protectiveness. These people have offered to go the extra mile not required. They develop a faithfulness above personal plans and interest and energetically pour themselves fully into the work to be done.

Ruth goes on to name “gallery mechanic,” Carl Hawkinson, and curator/registrar Betty Maurstad to recognize their many years of service to the gallery.

Ruth ends her report with the following statements, “Too numerous to mention were those who were friendly with helpful counseling and suggestions. One cannot begin to list the names of our benefactors. To them we say, humbly and gratefully–Thank you!“

Having now read through hundreds of letters written by Ruth, I have come to appreciate that when things need to be said, Ruth often said it best. The sentiments Ruth used to describe past museum employees can also be used to describe the museum’s current staff of registrars, curators, crew members, and others, who offered to go the extra mile to make the exhibit, The WAM Files: The Art of the Archives, possible.

To them, this humble and grateful graduate student says–Thank you!

Allure of the Archive

By wilso952 June 12, 2012
Exhibitions, University Gallery

The allure of the archive is found not only in the rich original evidence of the past that it contains, but is also demonstrated by what the archive may lack. The nature of the organization of records and the proclivity of the record creator determine the composition of the collection. In other words, a single archival collection may not contain all of the information or materials created on a certain person, event, or organization – it may not offer the whole story. This aspect of the archive sends the researcher on an unending hunt for information, each turn determined by obscure clues found amidst some of the most unassuming records.

An example of this is found with the 1952 exhibition of the works of Marsden Hartley, held at the University Gallery from May 5 to June 13 (and promoted by the poster at left). To learn more about the exhibit it would seem only natural to a researcher to consult the exhibition record from the organization that held the exhibition. The exhibition record is contained in Box 4 of the WAM archival collection at the University Archives. Expecting a wealth of information – an exhibition checklist, opening invitation, catalogue, correspondence, photographs of installation, etc., after consulting the record, I realized that my sights were set too high. While many exhibition record folders contain all of the aforementioned items and more, the folder titled, “Hartley Show, 1952” does not. The contents of this folder consist simply of an exhibition poster and a hand written note with the following text,

Hartley Show Retrospective May 5 – June 13. About 160 items shown – Ptgs. Drawings prints and pastels all drawn from the Hudson Walker Collection here on loan
in the gallery – a fine catalog was prepared by Elizabeth McCausland printed by the U. Press – A group from these will be circulated on west coast – south and in eastern museums.

Though not much to work with, this description did provide a clue: the name Elizabeth McCausland.

Naturally, I turned to the Digital Conservancy to see if any reference to this exhibit and to McCausland occurred in the historical resources preserved and digitized by the University Libraries. Sure enough, a University of Minnesota News Service press release from April 25, 1952 titled, “Marsden Hartley, American Artist, ‘U’ Book Subject” appeared in my search. (Page 91)

The Hartley exhibit opened on May 5 in conjunction with the release of a publication of a biography of the artist written by Elizabeth McCausland and published by the University Press. The exhibit included over 150 prints, watercolors, and drawings created by Hartley.

Further research on McCausland lead me to an archival collection of her personal and professional papers, which are preserved at the Archives of American Art. Portions of the Elizabeth McCausland papers, 1838-1980, bulk 1920-1960 were digitized and made available for research (thank you!). The series, “Correspondence and General Files, 1900-1964, bulk 1950-1964” includes a section of pertinent interest: Box 17, folders 40-51, which contain correspondence with staff of the University Gallery, University Vice President Malcolm Willey, the University Press, and Chairman H. Harvard Arnason of the Department of Art regarding the research for and publication of McCausland’s biography of Marsden Hartley. Additional portions of this series also contain correspondence with Hudson Walker, who owned the Hartley works, but had placed them on loan to the University in 1950.

A February 17, 1951 correspondence from McCausland to Ruth Lawrence, Gallery Director, informed Lawrence of McCausland’s “imminent descent on the Hartleys now with you.” She outlined that she intended to spend 2-3 weeks researching Walker’s Hartley paintings. She indicated the importance of her study, “facts which do not exist anywhere else may often be translated from obscure hieroglyphics on the back of pictures. I am becoming a cryptographer of Stieglitz inscriptions.” (Hartley’s work was previously exhibited at Alfred Stieglitz’s gallery in New York.)

In Lawrence’s February 21, 1951 response to McCausland, Lawrence not only welcomed her to the Gallery, but also offered to her the use of her apartment, as Lawrence would be away from the Gallery on an exhibition collecting trip during the time McCausland would be in residence in the Gallery.

Additional letters in folder #44,”University Gallery, 1951-1952, 1957,” in box 17 of McCausland’s Correspondence and General Files outline McCausland’s research, and consist of detailed requests to Betty Maurstad, the Gallery staff member in charge of “collections,” for specifics on Hartley’s paintings. In addition to corresponding about the details of the Hartley publication and exhibition, there are also personal comments between McCausland, Maurstad, and Lawrence regarding pets, news of the day, and family hardships.

The correspondence also reveals that the publication of the Hartley book was delayed by the University Press, and that the exhibition had to be delayed as well.

Read through the additional letters in the University Gallery folder, or browse the contents of folders of correspondence with H. Harvard Arnason (Image 42-43), a contract with the University of Minnesota, business with the University Press, and personal correspondence with University Vice President Malcolm Willey to research the alluring archival material that document the 1952 exhibition of the works of Marsden Hartley at the University Gallery.

The yarn of it all…

By wilso952 May 7, 2012
Exhibitions, University Gallery

When a University of Minnesota senior and fellow member of the WAM Collective, eager (and hopefully not beleaguered) to graduate, questioned the group recently about the purchase of his cap and gown, I was reminded of an exhibition that the University Gallery held in 1938 on the topic of Academic Dress.

The University Gallery Press books featured an article clipped from the University’s humor magazine, Ski-U-Mah titled, “For a Cap and Gown,” written by Bill Sims, that light-heartedly reported upon the regalia of academic dress in 1938:

“Those who were on hand to witness the traditional Cap and Gown Day procession as it wound its way through the campus, over the knoll and eventually up the steps to Northrop Auditorium, watched half puzzled and awed by the razzle dazzle and color, pomp, clicking cameras and showy corsages.

After the seniors came the faculty in their flowing gowns and bright hoods. Oh, what my dead grandmother wouldn’t have done for just one small piece out of each of those brilliant hoods that filed past! What a crazy quilt that would have made!”

The exhibit was arranged by Ruth Lawrence, who in addition to her role as curator of the Gallery, also served on the University’s Functions Committee where for several years she assisted in formal preparations for graduation ceremonies, and even designed uniforms for a Grand Marshall and two assistants that became part of the ceremony. “A crazy quilt” of fabric swatches that represented the colors of academic dress were found charted on a piece of paper in a folder titled, “Ruth Lawrence: University Committees Correspondence.”

Sims’ description of the costumes continued with some background:

“The people who wear these fine letters have honorary or high academic degrees. The color of the trimming on the hood signifies the wearer’s degree; the color of the lining tells what university he wrested it from.

It’s a great show, this academic style parade, and well worth an hour of anyone’s idle attention. It’s all done to a code- the International Code of Academic Costume…”

…The history of academic costume is quite a yarn, and if you ever get caught with a case of mumps or something I suggest you catch up on it, if you can’t think of anything else to do.”

In May of 1938, this “yarn” of a history was displayed at the University Gallery, where close to 100 examples of robes in the U of M academic dress as well as examples from Harvard University, University of Toronto, and the University of Leeds, England were displayed. A catalogue of the exhibition (at left) described the history, rules, and regulations of academic dress. Published by Cotrell & Leonard, Albany, N.Y., and printed and distributed for the Intercollegiate Bureau of Academic Costume, “The History of Academic Costume in America” supplemented the show.

All yarns aside, in the publication, Gardner Cotrell Leonard wrote an opinion on the reason that such standards for academic dress were established and for what the standards symbolized:

“On its history and picturesque side it serves to remind those who don it of the continuity and dignity of learning. On its democratic side, it subdues the differences in dress arising from the differences in taste, fashion, manners and wealth, and clothes all with the outward grace and equal fellowship which have ever been claimed as an inner fact in the republic of learning.”

While soon to be graduates in the areas of public health and pharmacy may challenge the taste and fashion of salmon pink and olive, they never-the-less will walk across the stage with outward grace as they receive the diplomas that acknowledge the dignity of their learning.

Congratulations 2012 University of Minnesota graduates!

Fine Arts Room

By wilso952 August 10, 2011
University Gallery

In building upon President Lotus Coffman’s initial intentions with the “fine arts experiment” at the University, in the early years the Gallery provided not only exhibition and art rental in order to improve the “cultural aspects” of the student population, but also a room of respite in order for students to be exposed to art and culture.

Documentation included in Box 101, which includes Ruth Lawrence’s early correspondence and administrative papers, creates a picture of what the “Fine Arts Room” was like and the processes followed to maintain it.

Georgia O’Keeffe: Oak Leaves, Pink and Grey

The Room was featured in a 1935 edition of School and Society in an article titled, “An Experimental Arts Room at Minnesota,” prompting an inquiry to Ruth Lawrence from a reader, C.H. Bennett. Lawrence, responding to the inquiry, provides an additional description of the room’s atmosphere and design, which also compliments the black and white photographs contained in the photograph collection of the University Archives:

“The room is modern in design. A blue and off white color scheme is carried throughout, two walls blue and two walls and the ceiling off white. The furniture is all modern; the lines are horizontal. The windows have blue venetian blinds and heavy blue drapes which drop to the floor. At one end of the room is an alcove, indirectly lighted, in which we exhibit one masterpiece of modern painting. The corner of the opposite wall is mirrored in such a way as to afford a transition from the blue wall to the off white one. Besides the lighting in the alcove there are many modern designed lamps to give that added touch that makes the room homelike.”

“Everyone seems to feel that the room is fulfilling adequately the hope that it will become an art sanctuary. I believe an incident which happened when we opened the room will illustrate this. The evening before the opening reception, I was sitting in the room, giving it a last appraisal and criticism, when one of my employees came in to ask me a question. He progressed to the center of the room, stood still a moment, and then, with a hasty apology, carefully carried his cigarette to the door, and stamped it out saying that it was nothing short of sacrilidge to smoke there.”

The care and upkeep of the Room was tasked to the federal student workers employed at the Gallery. In “Instructions to Federal Students,” a complete description of the maintenance of the room is described,

“The Fine Arts Room is to be cleaned thoroughly 3 times a week. By cleaning “thoroughly” we mean that the rug is to be vacuumed, the venetian blinds dusted, the furniture dusted, the mirrors washed, the metal grills polished, etc. Every day however, the cabinets are to be dusted and should the rug need vacuuming, that is to be done also. We shall try to arrange it so that it is the duty of certain girls to do cleaning, but it is every girl’s responsibility to see that the room is in good shape at all time.”

The instructions also describe the behaviors to follow within the Room, which was monitored by “hostesses,” “Hostesses are not to study while they are on duty in this room. They are to sit quietly, reading the art books and magazines and taking the attendance. Visitors are not to smoke, study, or converse in loud tones. Also, lounging or napping on the part of either the visitors or hostesses is not permitted.”

The instructions further indicate, “Daily attendance blanks are to be taken from the office by the person opening the room for the day. They are to be left in the room for subsequent entries by other hostesses and turned in to Room 318 when the room is closed.”

Take a look at the attendance taken, and list of questions asked about the Fine Arts Room:

Ruth’s Reflections, Research…

By wilso952 June 12, 2011
Processing, University Gallery

Several boxes already processed contain “Museum History” folders and others similarly titled. However as we near the end of processing the first set of 116 boxes, which document 77 years of institutional history, the “Museum History” folder in Box 100 might be the most intriguing yet. The contents of this particular folder include a 24 page report, each word typed on delicate light-weight paper. A hand-written notation on the first page indicates, “Mrs. Lawrence’s 25 yr. report.”

In the section titled, “Objectives Outlined,” a reflective description of the curator’s (Lawrence’s) initial responsibilities in the Gallery was found:

“The other duties of the new curator included holding round-table discussions with students; organizing a student art society, which would bring together artists and students and expose students to cultural matters; seek out lecturers and provide demonstrations on art subjects; and in general “advertizing and selling” art to the student body and faculty, in ways proper to the dignity of the institution. Other suggestions followed; by this time the task seemed overwhelming. Mrs. Lawrence explained that she was amazed and somewhat confounded, although also flattered, that they would think that she could handle such an assignment. The job called for diplomacy and great understanding on a full time, not a half-time basis. As for the Gallery itself, she felt she was not qualified, had had no training, and would not know where to begin. She was sorry, but with her other assignments of teaching and counseling, she believed that they had mistaken her capabilities. But when one comes into one’s first job with the University, one does not usually refuse to cooperate when given an assignment.”

Despite her initial question of confidence, Lawrence embraced her first University assignment in 1934 and continued to guide the University Gallery until her retirement in 1957.

In Box 89, a folder titled, “Museum Study, Procedure, Management Etc., ” dated 1934, contains reference materials that Lawrence kept on gallery practices. In addition to a pamphlet from the Toledo Museum, titled, “The Museum Educates,” and clippings from “The Art Digest,” fliers produced by the Newark Museum titled, “The Museum,” were found that outlined recommendations for running a museum or gallery. The article, “Case Movers” addresses, “Mr. Dana’s Original Solution of a Difficult Museum Problem.” “A Convenient Gallery Stool” suggests that a bench or stool placed within a gallery addresses the ‘museum fatigue’ experienced by most visitors.

A small book titled, “Enjoy Your Museum,” by Carl Thurston offers simple lessons in carrying out the work in a museum. Perhaps such lessons inspired Lawrence’s work. From “Chapter II: What to Expect From a Picture:”

“Don’t expect too much.

Don’t expect it to pour out entertainment like a radio while you sit passively in front of it. It corresponds to a sheet of music rather than to any musical machine: it has to be played, and no one can play it for you but yourself. Some paintings can be played at sight, others need long study and practice; with each one you ultimately reach a stage at which it at least seems to play itself…

Don’t expect too little from a picture.

It is something more than a careful copy of nature. It is something more than a pretty story told in paint. It is more than a pattern of colors or a decorative arrangement of shapes. It is all of these things at once and many more. It is a sort of crossword puzzle which can be read up and down, diagonally and across, backward and forward, and whose separate words, taken consecutively in any order, form a poem.”

How To Do It

By wilso952 June 1, 2011
Exhibitions, University Gallery

While processing the WAM collection, it is not an often occurrence to come across a folder containing only photographs. Box 3 however, is an exception. Several folders in Box 3 contain multiple 8×11 prints that capture early Gallery exhibits.

The presence of photographs (with no writing on the back) and lack of related correspondence or supporting materials leaves this processor continually curious… Take for instance the folder titled, “How to Do It.” This folder contains only photographs… photographs that look like this:

A broken chair? Ripped upholstery? This doesn’t look like fine art, it looks like what you would find on the curb or in the alley outside of a Minneapolis apartment building on the 1st of the month. Why are these “pieces” being exhibited at the University Gallery?

With no contextual information, I turned to other online resources to satisfy my curiosity. After an exhaustive search of UM News Releases (Digital Conservancy), and newspapers from the MN Daily’s PDF Archives, I think I may have found an answer to this unusual display.

In the January 17, 1946 edition of the MN Daily, the following headline jumped out at me:

In the article, Ruth Lawrence is quoted, explaining that, “Hints and Ideas for Your Home is the introductory offering in a new experimental Gallery program… It will bring the home, its design and function to the public as the basis of successful living.”

The article further explains the objective of the exhibit:

“… to give a visual picture of the different stages in home repair problems… There will be demonstrations of remodeling furniture, framing pictures and making simple electrical repairs.

Instructions in the various methods and processes used also will be given from 10 a.m. to 4 p.m. every day during the exhibition in the Gallery. For those students wishing to try ‘to do it’ tools and materials will be available in the arts craft workshop in the Union.”

Should the Weisman, in a nod to the past, attempt any “how to do it” experimental “repair” and “refinish” programming in the future, it may be best to ensure that the museum’s large collection of Korean furniture is not exhibited at the same time…

Candid Revisited

By wilso952 March 30, 2011
University Gallery

Through supplementary research on the history of the University Gallery, my tired eyes have scanned download after download from the PDF Archive collection of the MN Daily, the University’s student newspaper. The Daily’s PDF Archives provide access to PDFs of the paper dating back to 1900.

I came across the published MN Daily PDF for June 17, 1957, which contained an edition of the “Ivory Tower.” On page 11, continued on page 20, the feature story titled, “The Artist in The Gallery,” highlights Ruth Lawrence, the “quick-moving little woman with a ready smile,” at her retirement. The article includes an accompanying photograph, a candid of the artist in her gallery… a print of which resides in Box 3 of the WAM Archives.

The article, which contains personal memories and career accomplishments, also reveals Lawrence’s thoughts on retirement and her prophecy for the future of the Gallery:

“It’s high time someone else took over. Saying goodbye to things you’ve loved is always hard. But I think you have to look ahead – and I’m sure everything will be as interesting as my earlier years have been.“

The MN Daily recently featured the University Archives in a March 9, 2011 article and mentioned the Weisman Art Museum’s WAM Files archives project. Elisabeth Kaplan, University Archivist, gives a wonderful overview of the resources available in the Archives in “Following the U’s paper trail”.

Appraisal

By wilso952 March 16, 2011
University Gallery

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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Ruth Lawrence

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