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Familiar Places: A Guide to the Architecture of Minnesota

By heathercarroll December 28, 2017
Exhibitions, Uncategorized, University Gallery

It was a great day when I opened a banker box to find hundreds of glossy, black and white photos of buildings–I love the nostalgia of old photographs, I love how architecture can be a time capsule reflecting the sensibilities and priorities of a community at a particular point in time and I have a growing curiosity about what was here before. I was delighted to discover they are all photos of structures that exist(ed) in Minnesota. There are over 2800 2″x 2″ contact prints of over 900 buildings and structures and more than 700 8″ x 10″ glossy photos. Given my job, naturally I ask: How are these connected to the University and the Weisman Art Museum (WAM) archives? Were they in an exhibition? For a catalog?

With a little digging I found the photos were included in the book A Guide to the Architecture of Minnesota, by David Gebhard and Tom Martinson and published by the U Press in 1977.

“This book was conceived from its inception to supplement and augment the Bicentennial exhibition, The Art and Architecture of Minnesota‚ organized and presented by the University Gallery in conjunction with the Minnesota Society of Architects. The exhibition was more than three years in the planning stages, and at every step our desire was to publish something other than an exhibition catalogue — something at once less ephemeral and more comprehensive yet not boring that ubiquitous person, the “interested layman,” with heavily erudite prose. In the end we decided to publish A Guide to the Architecture of Minnesota.”

~From the forward by Barbara Shissler, Director of University Gallery (UMN) and Daniel Sheridan, Executive Director of MN Society of Architects.

Based on the large amount of large format photos in the archives, I incorrectly expected this to be a coffeetable book. Instead, the book is small, thick and crammed with words in a small font.

Inside: razed buildings

Inside: typical page

While the book is brimming with information, the pictures are tiny and surprisingly few. Here at the WAM Files, you get to enjoy a select few digital versions in comparatively glorious medium-high resolution! All the photos are believed to be taken in the mid-1970s by co-author Tom Martinson. The dates included on the labels usually refer to the construction dates of the buildings.

Mickey’s Diner (below), now on the National Register of Historic Places. Circa 1977 (when 9 year olds could wander downtown St. Paul alone).

Cedar Square West (below), today known as Riverside Plaza, was designed by famed local architect Ralph Rapson who ran with the likes of Charles and Ray Eames, Harry Bertoia and Eero Saarinen. It is an icon of the Minneapolis skyline with its primary colored panels, located just outside Minneapolis’ downtown district.

The Stone Arch Bridge (below), today a pedestrian bridge, was in use as a train bridge until at least 1978, just a year or so after this picture was taken.

This view of the milling district (below) on the North side of the river is surprisingly similar today.

Minneapolis wouldn’t be Minneapolis without Skyways (below). Minnesotans have come up with some pretty clever ways to adapt to winter-life here and Skyways have got to be one of my favorites. This shot was taken between the IDS tower and (I believe) the former Dayton’s department store, crossing Nicollet Mall. Circa 1977.

The shelter on the west side of Loring Park (below) is a far cry prettier today with fresh paint and a cupola restored.

The ever-evolving Walker Art Center (below), designed by Edward Larrabee Barnes, opened in 1971 and shown here with two Alexander Calder sculptures, Spinner and Octopus.

Modern Cleaner building (below) is today the Modern Times Cafe in south Minneapolis. You’ll know it when you see it by its bright lime green and orange exterior.

Mayflower Congregational Church on Diamond Lake Rd off of Highway 35 W, circa 1977. Today, this is The Museum of Russian Art.

Southdale Shopping Center (bellow)was the first fully enclosed shopping mall in the nation. It was quite luxurious, complete with Harry Bertoia sculptures, at least one of which remains in the space today.

Is that a two-story bird cage?

This is a fraction of the photos that seemed most familiar, but there were so many more. Hence, this is just the first of a few posts yet to come that will contain sculptures, architectural quirkiness, futuristic and brutalist buildings and more. Or if you’d rather, the photos and notes of co-author Tom Martinson are tidily awaiting your visit in box number 248.

—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.

To be 10 Years Old!

By heathercarroll September 13, 2017
Exhibitions, Uncategorized, Weisman Art Museum

Like cloud gazing, the Weisman Art Museum’s facade reflects the world around us and captivates adults and children alike.

Among other festive activities and exhibitions celebrating the 10th Anniversary of the building in 2003, young visitors were invited to collaboratively color this poster-size image of the Weisman.

I might see a reflection of Andersen Library in shadow, an orange sun setting behind it.

What catches your eye?

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.

Federal Students

By wilso952 August 17, 2011
University Gallery

In the early years of the Gallery, personnel consisted of the curator, Ruth Lawrence, and to those who are referred to in the archival records as, “federal students.” This title is written in pencil on the back of a photograph in Box 3:

The Federal Students employed at the Gallery were part of the National Youth Administration (NYA), a division under the Works Progress Administration that provided work-study income to students and other financial support to youth in the years that followed the Great Depression.

Box 101 contains a folder titled, “Gallery Procedures” in which resides the document, “Instructions to Federal Students.” From the instructions, we learn of what the duties of the Federal Students were, “As noted above, the departments with which you will be mainly concerned are (2) Art Reference Room, (4) the Fine Arts Room, (11) the Galleries.“

In the foreword to a bound gallery report compiled in 1939, Ruth Lawrence provides further description of the “federal students,”

“The N.Y.A. students were wholly untrained and those assigned often came to us at first disinterested in the work, and great deal of patience was needed in training them for the tasks they were to do… “

Other included documentation reveals the position requests that were made to the Federal Student Work Project in 1936-1937:

Secretarial – shorthand typing
poster work – art training-printing
journalism – handle publicity work
take charge of print room and art books, print file – graduate students in art if possible, afternoons free
collect materials on artists for their works for loan print collections – must have fine arts training
finish and make picture frames – carpentering and painting, packing and unpacking for gallery and lifting hanging exhibitions
guard duty – interest in art, so as to answer questions in gallery, two may be women for fine art room.

An example of the duties performed by federal students is found on a Federal Student Daily Report,

In the same 1939 gallery report, Ruth reflected,

“…The task was tremendous and it was fraught by almost insurmountable hazards due to the inaccurateness caused by ignorance of the material handled and the fact that the students were attempting tasks which required trained skill and knowledge. It was only through patient and laborious instruction that they could carry on with any degree of efficiency. However, without the excellent cooperation and enthusiasm of these students and a determination to build the Gallery into a fine thing, this task would have been hopeless.”

Piece of Cake

By wilso952 June 13, 2011
Exhibitions, University Gallery

In celebration of a recent birthday, I thought I would share some cake:

However, as indicated by a pencil-written caption on the back of this photograph, from folder, “Staff Photographs” in Box 3, these Gallery attendees are likely celebrating an exhibit opening, rather than a birthday:

“Korean Art Exhibition Jan 8 – Feb 11

Jacqueline Ronning – art libn. eating cake”

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