FormC

Report on Oral Defense ofProject

TITLE: Metal Monsters and Sacred Cement

AUTHOR: Matthew Nie

Having heard the oral defense ofthe above project, the Advis01y Committee:

_LA) Finds the defense of the project to be satisfactory and accepts the thesis as submitted.

__B) Finds the defense of the project to be unsatisfactory and recommends that defense be rescheduled contingent upon: Metal Monsters and Sacred Cement 1

Metal Monsters and Sacred Cement:

A Documentary on Outdoor Sculptural Landscapes in Wisconsin

UWSP Division of Communication Graduate Thesis Project

Professor Deering

Professor Midkiff-DeBauche

Professor Vanhala

May 9, 2006 Metal Monsters and Sacred Cement 2

Introduction Metal monsters and concrete creations-traveling across Wisconsin, one encounters a variety of outdoor sculptural landscapes. From twisted metal dinosaurs to beer bottle Clydesdales, these sculptural behemoths recreate a world all their own. Outsiders look upon these man-made monuments with a simple and resounding, ''why?" · Do their creators know something we don't? What would possess someone to build a wedding cake out of glass and cement? Why build a Forevertron-a huge, hulking, metal time machine? This documentary attempts to chronicie the history as well as question the artists' rationale behind these sculpted goliaths. To achieve this end, ten sites in Wisconsin and one in Iowa ( created by a former Wisconsin resident) were filmed. The sites were constructed from 1894 to present. Over twenty hours of footage were collected consisting of extensive interviews, archival photographs, vintage audio, and of the sites themselves. In addition, narration and music will be added to help accentuate the film. The end result is a film exploring the historical phenomenon behind these sites.

Rationale There is an old travel adage that suggests "you'll travel around the globe, but fail to explore what's in your own back yard." That is certainly appropriate to residents of the Midwest, and in particular Wisconsin, with regard to sculptural landscapes. In creating a documentary that highlights this phenomenon, people become more aware of the culture that exists in "their own back yard." Documentaries are particularly adept at "highlighting" selective reality by condensing both time and space. Through editing, the most interesting and essential footage is selected. This subjective process ultimately creates a condensed format that aims to find an audience. In a short matter of time, individuals might be exposed to a cultural phenomenon that they might not have the time or means to explore. In this way, this documentary is appropriate for the Wisconsin resident. This documentary possesses elements of universal appeal. From historic perspective, it chronicles the birth of the American grotto to current sculptural creations. From a dramatic perspective, it relates the trials and tribulations faced by these artists. Metal Monsters and Sacred Cement 3

Finally from a phenomenological perspective, the artist's intention becomes important. According to Bogdan and Taylor (1975), "the phenomenologist attempts to see things from that person's point of view" (13-15). In this case, that person is the artist. After the initial awe of witnessing a site, most viewers are curious as to why these artists spent a lifetime pursuing this goal. In attempting to see things from the artist's point of view, this "why'' is better answered. All of these individuals were self-taught artists. They wer.e once regarded as strange and eccentric. There is a renewed interest in this work. Art historians struggle to classify this form as folk art, self-made art, raw art or outsider art. Many of these sites are fighting the natural elements. By creating a documentary that preserves their image on film, artists and historians have another visual record to study. Perhaps the greatest question pertains to the format itself Why a documentary? Why not a written thesis, a photo collection, or a radio interview? First, this documentary is dealing with a visual subject. These sculptural landscapes are inherently visual. All of these sights have textures, colors, and form. They must be seen. A photo collection is limited in that it lacks dimension. As the camera moves we see light, reflections, and depth. This may be the closest one may come to truly seeing a site. Aside from portraying the visual experience, the documentary format allows great flexibility in the construction of auditory elements. Archival radio interviews can accompany vintage photographs. Period music can serve to highlight an interviewee's recollection of the past. In combining these aural elements, the message is made more accessible while adding depth. Considering the subject and the focus, the documentary format appears to be the most appropriate means of information acquisition and dispersal.

Literature Review In attempting to create a documentary, it becomes necessary to define one. As the documentary filmmaker, how is it that I specifically define the genre? It is a fair and essential question, one that stimulates much debate. While I do not intend an exhaustive examination of this issue, I will flesh out my current assertions and biases. The origins of documentary are intricately tied with its definition. The precise origin of documentary is difficult to pinpoint. Some attribute the English-born Eadweard Metal Monsters and Sacred Cement 4

Muybridge and Iris obsession with photographing horse movement in 1880 as the seminal moment inthe beginning of the form. Still others may point to the Louis Lumiere with his 1895 short film Workers Leaving the Lumiere Factory (Banieau, 7). While I consider these essential advances in the field, their lack of a defined narrative purpose excludes them from being deemed a true documentary. If an origin of the documentary must be identified, I believe it resides in Robert Flaherty's 1922 film Nanook ofthe North. Prior to that the film of"fact" acted "as a newspaper of the day reporting ... the world of invention, the world of imagination, and the world of nature" (Jacobs, 4). Nanook ofthe North deviated from this norm. Instead Flaherty constructed a unique narrative oflnuit life in the Arctic. Lewis Jacob in The Documentary Tradition writes, Nanook marked the advent of a type of film new to the world. Its use of environment details and skilled continuity broke with the purely descriptive; it swept away the notion that what the camera recorded was total reality. Flaherty proved that there was another reality which the eye alone could not perceive, but which the heart and mind could discern. (8) In the construction of his film Flaherty laid a corner stone in the documentary process. The documentary filmmaker assembles footage in order to express a message that may not exist without such assembly. In this sense, the filmmaker is creating a deliberate perspective ofreality. Some may argue that this is a manipulation of reality. It is known that Flaherty staged some of his scenes. For instance, he filmed an Inupiat couple sleeping in a half cut Igloo. It appears they are in the warmth of their shelter while they actually were exposed to the elements. This was done to allow for proper lighting. While morally unethical by today's standards, I think Flaherty thought these actions served the greater good of recording scenes that would be otherwise unattainable. If many consider Flaherty the father of documentary, the distinction as "the son" often goes to John Grierson. Grierson crafted the documentary process into a well-oiled propaganda machine (Ellis, 194). He did not see propaganda in a negative light, and although he acknowledged Flaherty' s contribution, he saw him as a romanticist falsely constructing an ancient past. Grierson wanted to confront the issues of the day and Metal Monsters and Sacred Cement 5

perpetuate a bias in favor of the working class. Grierson defined documentary as "the creative treatment of reality" (Ellis, 5). While Grierson may be blunt in his "documentary as propaganda" perspective, the filmmaker' s influence on "reality" is impossible to avoid. The mere turning on and off of a camera is evidence of that fact. Bill Nichols (2001) states that, "a documentary is not a reproduction of reality, it is a representation of the world we already occupy. It stands for a particular view of the world, one we may never have encountered before even if the aspects of the world are familiar to us" (20). A documentary is a subjective perspective ofreality. It is one worldview. This being the case, what value does it have for us? Nichols continues, "We [the audience] judge a representation more by the nature of the pleasure it offers, the . value of the insight or knowledge it provides, and the quality of the orientation or disposition, tone or perspective it instills" (21 ). It is the connection of feeling, knowledge, or insight a documentary holds with an audience that warrants its value. So what is a documentary? It is a representation of the world that, when effective, finds a connection. Jack Ellis (1989) further unpacks the mystery: Q: What is a documentary for? A: To record actuality. Q: Why would one want to do that? A: To inform people about it. Q: Inform to what ends? A: Either to affect our understanding-to change, increase, reinforce it-which may (but is not necessarily designed to) lead to action, may make better persons ofus, and which in tum make the world a better place to live in (Flaherty): or to make better citizens of us and to move us to collective action in order to make a better society (Grierson) (7). In this sense, a documentary aims to effect change in perspective or action. It aspires to a loftier goal beyond mere entertainment, although it should hold the viewer's attention. It is a fabrication using elements ofreality that strives toward a greater good through action or revelation. That is a documentary. In reviewing the literature on classic documentary films, it was evident that a few films were influencing this documentary. One such influence was David Maysle's film Metal Monsters and Sacred Cement 6

Salesmen. This film follows the life of four different Bible salesmen and attempts to show the trials and tribulations of their profession. Of particular interest was how this film just let the interview subjects talk in long takes. This technique was employed in Metal Monsters & Sacred Cement with the few living outsider artists. In addition Salesmen attempted to explore the "essence" of salesmanship. It came to no real decisive conclusion, yet left viewers with a small taste of that world. I hope I have recreated some of the "essence" of an outsider artist. Another documentary of particular influence was Alain Resnais remarkable Holocaust retrospective, Night and Fog (Nuit et Bruillard). He intersperses archival footage with tranquil green shots of the war camps in 1955. How he fills the frame with structures in natural settings was of particular interest to me. In addition, most of his interview subjects were reminiscing past events. His use of photographs and images to highlight what had already happened was remarkably powerful. There are, of course, those films that have not yet been given "classic" status. They too have had an influence on this production. It may be cliche to mention Ken Bums, but I do so, not for his exquisite Civil War film, but for the 18-hour Baseball documentary. Aside from having mastery over vintage photographs like no other director I've seen, he manages to maintain the interest of the non-baseball fan for many of the eighteen hours he takes to tell his story. The history of sculptural landscapes in Wisconsin, although a much more focused task, must have a beginning and an end. Ken Bums takes an ever-emerging sport like baseball and finds a powerful introduction as well as an appropriate conclusion. The Oscar winning director, Errol Morris, is also a notable influence. His 1997 film Fast, Cheap, and Out of Control explores the passions of a topiary artist, a robot scientist, a lion tamer, and a naked mole rat admirer. Clearly, these individuals live life by a different set of rules. His frenetic editing style is interesting, but it is his · exploration of these individual's driving passions and his masterful use of music that make this documentary a notable one. This documentary attempts to emulate some of that energy and passion. Metal Monsters and Sacred Cement 7

I have been influenced by both classic and contemporary documentaries. It is my hope that this influence has resulted in a documentary that borrows from the best while creating a vision all its own. In making a documentary on the sculptural landscapes of the Wisconsin, it seems appropriate that I should know what exactly constitutes a sculptural landscape. While many ofus have a general sense of this concept, it seems best to start with what a sculptural landscape is not. A sculptural landscape is not necessarily outdoor folk art. It is not a large fiberglass rendition of Paul Bunyan or Babe the Ox. It is not the world's largest fiberglass Musky fish. There are countless guidebooks and documentaries that are dedicated to the quirky exploration of these painted, mammoth, roadside attractions. A sculptural landscape is not a commercial marketing tool like Paul Bunyan was for the logging mill in Brainerd, Minnesota. Similarly, a sculptural landscape was not originally intended to be a tourist attraction, like the world's largest fiberglass Musky fish at the Freshwater Fishing Hall of Fame in Hayward, Wisconsin. The term "folk art" evokes much debate. What is "folk" is something that is under contention. In avoiding "hot button" terminology, how can we define this phenomenon known as sculptural landscapes? According to Bill Swislow at the Center of Intuitive and Outsider Art in Chicago, Illinois, "It's a question that bedevils collectors and critics who also worry about related terms such as folk art, self-taught art, vernacular art, narve art and primitive art-words on which there is little consensus about appropriateness or even meaning." Clearly, locking down a definition is problematic. Swislow has attempted to define Outsider Art as follows: Creative works by people who have had little or no formal training in art and who produce ( or at least began by producing) art without regard to mainstream art world's recognition, marketplace or definitions. These are people who make for themselves or their immediate community, often without recognizing themselves as artists until some collector or expert comes along to inform that what they are doing is making art. Metal Monsters and Sacred Cement 8

This lack of formal training and commercial purpose in outsider art are key features found in sculptural landscapes, yet the creative work in this instance is more defined. Another key definition is derived from John Maizel (1996) in his book Raw Creation. The author coins the term Raw Art that he defines as "the purest form of creation ... uncooked by culture, raw because it came directly from the psyche, art touched by the raw nerve" (5). What is interesting to note here is that Raw Art and perhaps sculptural landscapes have an "uncooked" appeal. There is no filter of formalized training between the idea and the sculpture. It is envisioned by the artist and then created. The mentorship and training that does exist stems from the "raw nerve" of the individual artist. So how is a sculptural landscape different from raw art or outsider art? First, it is clearly a sculpture-- not a drawing, painting, or idiosyncratic garden. It is a more defined type of outsider art. Second, for it to be a sculptural landscape, it must transform a landscape. It is not a stand-alone alien statue. It is not a singular construction. Rather, it encompasses a large area. Third, and most important, it is a sanctuary of sorts. fu a particular sculptural landscape, one is transported to a different world. It is a place meant to be apart from the world we live in. It is a place an individual steps into. The question remains-what is a sculptural landscape? It is a place, encompassing a large outdoor area, comprised oflarge sculptures oforganic or man­ made materials constructed by artists who may have little or no artistic training without initial regard/or commercial value or capital gain, serving as a place apart from everyday life. This documentary attempts to explore the phenomenon of such places. Methodology This documentary is utilizing a phenomenological approach. It does not attempt to examine one artist or sculpture, but rather seeks to explore the phenomenon of sculptural landscapes. In particular, it addresses the following research questions: RQ 1: What is the history of sculptural landscapes in Wisconsin? RQ2: Why would individuals devote their energies to this endeavor? The answers to these questions may give the general public insight into this phenomenon and provide an explanation of why such sites were created. In short, what drove these artists to create s_uch work? Metal Monsters and Sacred Cement 9

The central objective of this phenomenological study is to create a documentary on sculptural landscapes. Bogdan and Taylor (1975) suggest, "the phenomenologist attempts to see things from that person's point of view" (14). In order to explore the outsider artist's "point of view", interviews from preservation groups, local historians, and outsider artists were collected. In addition, the sites themselves were filmed. Newspaper clippings and historical photos were also gathered. Although there are a large number of sites throughout the Midwest, there are criteria limiting selection for this project. First, all the sites chosen (with one exception) are found in Wisconsin. The one exception to this rule is the Grotto of Redemption in West Bend, Iowa. The artist of this site learned his craft at St. Francis in Milwaukee and later moved to West Bend to create his seminal work. This work was included due to its great influence on other sculptural landscapes. Second, all of the sites chosen fall within a historical chronology. It is very often the case that the work of one artist influenced the work of another and so on. This is most evident in the type of materials used and the layout of various sculptural constructions. In addition, the work of artists who have passed away is linked to the work of sculptural landscape artists who are currently working. This chronology creates a central narrative that provides focus for the documentary. Third, all the sites chosen had some regional recognition. There was either strong word of mouth or extensive literature referring to the sites. Although theoretically, a person could become a sculptural artist behindclosed doors, individuals whose work was relatively unknown at the time of filming were not included. This is primarily due to accessibility and ease ofresearch. A brieflisting of the chosen sites is in the chart below:

Sculpture Location Brief Synopsis Grotto Cave St. Francis, WI Paul Dobberstein created the first Midwest grotto Grotto of Redemption West Bend, IA Father Dobberstein created the world's largest grotto Dickeyville Grotto Dickeyville, WI Inspired bv Dobberstein, Father Wemerus build this Rudolph Wonder Cave and Rudolph, WI A survivor of double pneumonia, Father Wagner made Sanctuary this site his life work. Paul and Matilda Wegner Cataract, WI In seeing the grotto at Dickeyville, Paul and Matilda Grotto Wegner build this site. Grandview Statue Garden Hollandale, WI Nick Englehart built this site after visiting Dickeyville Prairie Moon Sculpture Cochraine, WI Herman Rusch expanded on Englehart's style adding Garden extensive color with paint. Fred Smith's Concrete Park Phillips, WI Fred Smith created this concrete park Dr. Evermore's Forevertron Prairie du Sae, WI Tom Every, a retired industrial wrecker built his "Time Machine" Forevcrtron Jurustic Park Marshfield, WI Clvde Wvnia is a current artist inspired by Tom Every Metal Monsters and Sacred Cement 10

This listing reflects a chronology that begins with the first Midwest grotto and ends with a current outsider artist. It should be noted that the practice of building grottos is not without precedent. Although grottos began in the Midwest, "they are derivations of a European tradition that priests, primarily German Catholics, brought with them to the new country" (Smith, 1). Father Steven Avella of St. Francis Seminary explains: The grotto is one manifestation of a common Catholic practice, prevalent especially in Europe, of erecting outdoor shrines to favorite saints or special manifestations of the Blessed Virgin Mary. This custom may possibly be a practice that carried over from pagan religions and was integrated into Christian practice. In any event it was and I believe still it is not unusual to see small wayside shrines in Europe. (Stone, 8) Clearly this tradition was evident to the first builder of a Midwest grotto. After contracting pneumonia, Father Paul Dobberstein made a vow to the Blessed Virgin Mary that he would build her a grotto if she would intercede on his behalf. The pneumonia subsided, and Father Dobberstein built a small stone grotto honoring Our Lady of Lourdes at the St. Francis Seminary. I am familiar with some methods of the documentary process. In addition, many of these techniques are echoed in the literature (Rosenthal, 2002, Rabiger, 2004). The following fundamental documentary methods were employed:

• Draft permission and indemnity clause for participants to sign (Appendix A) • Conduct extensive personal interviews (See Appendix B) • Create shot lists of potential on location footage (See Appendix C) • Collect and film archival photographs and news clippings • Fihn extensive outdoor footage of each site • Log, label and file all shot footage • Create an initial edit of the entire fihn on paper (See Appendix D) • Assemble a digital cut from the paper edit on editing software • Refine audio and visual images • Insert effect transitions, titling, music, and proper credits • Showcase "work in progress" for audience feedback and critique • Create a final cut of the film and output it to DVD Metal Monsters and Sacred Cement 11

The budget for this production is fairly modest (See Appendix E). Most production equipment will be provided by of the Division of Communication. All production crew (Camera, Lighting, Editing, Music, Narration) donated their services. In addition, all lodging and meals (excluding two nights) were donated. The major costs included transportation and editing equipment. A timeline for this project is as follows: • Mid June: Create sl;lot lists. Complete all principal photography of sites, interviews, archival photographs, and historical newspapers. • Early September: Log, label and file all shot footage • Early October: Create an initial edit of the entire film on paper. • Late October: Assemble a digital cut from the paper edit on editing software • Late January: Complete second rough cut. Refine audio and color correct. Add narration and music as needed. • Mid March: Complete final edit of film for Graduate Committee review. • End of May: Complete final written paper. Defend thesis project.

Pre-Production Because I was filming human subjects, I was required to obtain approval through the Institutional Review Board for the Protection of Human Subjects (IRB). In this process, I was required to identify potential threats to those involved (See Appendix F). It was determined that my subjects would not be harmed and my research was appropriate. I was granted approval by the Institutional review board. In addition, a subject release form and indemnity clause was created (See Appendix A). Creating a concise, yet flexible list of interview questions that attempted to answer my research questions was a challenge. I wanted questions that were open ended and encouraged spontaneity, yet I wanted to make sure there were universal themes addressed at each site. I reviewed the literature on each site, collected tourism flyers, and visited tourism websites (many of which were created by organizations managing the sculptural sites). I did not want to ask questions that could be answered by the literature. Instead I choose to focus on the site overview, construction, and artists (See Appendix B). Ultimately I devised a set of "workable" questions, but allowed myself to add follow up questions as needed. Metal Monsters and Sacred Cement 12

Looking over the information on the sites, and in particular, photos of the sites, I devised a potential shot list on items I thought were both essential and interesting (See Appendix C). This was merely a starting point. In the field, I intended to add to the list. In addition, it was necessary that I create an efficient way to organize footage while in the field. To this end, I created a simple paper template binder to record and describe shots. This binder also contained a notebook to record thoughts on how I thought the footage might fit into the overall documentary. This binder would also be a tool I could use in the editing process to organize footage, but also to create a narrative. The equipment used for this project required several tests to ensure efficiency in the field. I shot test tape with the Cannon GL-2 and the Panasonic DVX-1 00A. The Panasonic was chosen as my primary camera due to its great color reproduction. The Cannon GL-2 was to serve as a back up and/or second camera. In addition, I used a Lowe 3-point lighting kit and a large soft box for even diffused lighting (used for interior interviews). I experimented with a variety of blue gels to correct the color temperature balance when mixed lighting came from interior (32K) and exterior sources (56K). I also planned on collecting audio from an onboard Rode VideoMic (to record rich ambient sound) and a Sennheiser ewl 00g2 wireless lavalier microphone (to record clean dialogue). All equipment was tested and additional batteries were purchased. In addition, I took a course on how to use Final Cut Pro 4 (the video editing software that was used). Estimating the overall budget was a challenge. I tentatively gave myself a budget of$1,000. This was extremely modest for a documentary, but that was what my current funds allowed. To help supplement this budget, I applied for a $500 student research fund through the University of Wisconsin-Stevens Point. My project was thankfully awarded such funds. My equipment costs were minimal in that I used equipment that I owned or that was provided by the University of Wisconsin-Stevens Point. My travel costs would be extensive, with much of my money going toward gas as I traveled to ten different sites. Lodging was confined to budget motels or residents of friends and family. Food costs were minimal (provided by grocery stores or friends and family). In addition, the individuals who assisted me on this project (lighting, music, camera, graphic art, assistant editing, narration) did so on a voluntary basis. Metal Monsters and Sacred Cement 13

Pre-production for the film involved identifying potential interview subjects. All the site's creators, with the exception of two, were deceased. I was interested both in the history of the site as well as the creators's rationale behind it. (Why would individuals devote their energies to this endeavor?) This being the focus, it seemed appropriate that I should interview living family members, site managers, historians, and local residents. I sent letters (See Appendix G) explaining my project and followed up with phone calls and emails. Key individuals served as site liaisons and referred me to other interviewees. In the end, my list of interviewees was as follows: Interview Subject Position Sculptural Site Rhonda Miller Site Director Grotto of Redemption Francis Montag Local Resident Grotto of Redemption Emil Yoch Local Resident Grotto of Redemption Henry Melssen Local Resident Dickeyville Grotto Fr. Francis J. Steffen Site Administrator Dickeyville Grotto Henrietta Hauber Local Resident Dickeyville Grotto Marge Timmerman Local Resident Dickeyville Grotto ' Arlene Schultz Site Manager Dickeyville Grotto Joe Greshik Local Resident Prairie Moon Sculpture Garden Marjorie Kammueller Site Manager Prairie Moon Sculpture Garden Lorraine Jagodzinski Local Resident Rudolph Grotto Irene Van Asten Local Resident Rudolph Grotto Bernadine Jagodzinski Local Resident Rudolph Grotto Helen Zubella Local Resident Rudolph Grotto Ricky Rolfsmeyer Site Director Grandview Mona Scott Local Resident Grandview Marilyn Rolfsmeyer Arts Academy Director Grandview Mary Ferrell Local Resident Grandview Therese McCarragher Local Resident Grandview Jarrod Roll Monroe History Director Paul & Matilda Wegner Grotto Donald Wegner Grandson Paul & Matilda Wegner Grotto Metal Monsters and Sacred Cement 14

Interview Subject Position Sculptural Site Pete Bartelt Site Administrator Fred Smith's Concrete Park Don Howlett Restorative Artist Fred Smith's Concrete Park Douglas Moquin Local Resident Fred Smith's Concrete Park Therese Trojak Local Resident Fred Smith's Concrete Park Russel Kirchmeyer Local Resident Fred Smith's Concrete Park Tom Every Outsider Artist Forevertron Eleanor Every Spouse of Artist Forevertron Clyde Wynia Outsider Artist Jurustic Park Nancy Wynia Spouse of Artist Jurustic Park These interviews were conducted at a time and place of the interviewee's choosing between the dates of June 4-17, 2005. However, due to some scheduling conflicts, a few interviewees could not attend (they have been omitted from the list above). Regardless of this limitation, a total of 30 interviews were still arranged.

Production Production on the documentary primarily occurred June 3 through June 18, 2005 (subsequent reshoots were done on June 20, July 25, February 20). It was important to have at least one technically proficient assistant on location with me. At all sites, either one or two individuals assisted with lighting, sound, and/or camera. This allowed me to focus on the interviewee. Past experience has taught me that when individuals have to wait for you to set lights, sound levels, and camera, they often get nervous and impatient. While my assistant set up equipment, I was freed to "warm up" the interviewee. I "warmed up" my interviewee by encouraging them to 1) talk aboutthemselves, 2) avoid the interview topic, 3) see me as nonthreatening. In addition, whenever possible, I allowed them to choose a location where they felt comfortable. Sometimes logistics (weather, noise, power source concerns, etc.) forced me to choose for them. Once equipment was set, I sat beside the camera and encouraged them to address their answers tome. I decided early on that my voice would be omitted from the final cut of the film. I did not want the audience to focus on the voice behind the camera, rather the answer of Metal Monsters and Sacred Cement 15

the interviewees. In order to assure audience comprehension, I had to prep my interviewees. I told them to rephrase my question in their an~wer. I always practiced with two prep questions. I asked, "What is your name?" I wanted them to answer, "My name is ... " I asked, "What is your association with this site?" I wanted them to answer, "My association with this site is as ... " I corrected them early on if they had difficulty with this process. If! found this approach made them too self conscious, I told them to disregard it. For the most part, the 30 interview subjects had no difficulty. Having conducted 30 interviews in roughly two weeks, I noticed some changes from my first interview to my last. Familiarity with the question list was a key factor in conducting better interviews. It became apparent that when I looked at my question list, some subjects became impatient or self-conscious. I tried to look down as little as possible to avoid this. If I kept eye contact with the subjects, they did not feel the need to look at the camera.. With my last interviews, I did not look at my question list at all. I found some questions to be confusing for the interviewees. These questions were omitted toward the end of the production. In addition, some questions seemed to be off subject from my main research questions. (For instance, many questions on site construction were omitted.) I found individualized follow up questions to be highly effective. When interviewers were asked to elaborate on answers or provide an illustration, these answers were often superior to their first. In addition, when I thought answers were weak (bad audio, stuttering, confusing explanation), ifI reframed questions and asked them later in the interview, new answers were often superior. Aside from interviews, archival photographs and vintage audio recordings proved invaluable. I rerecorded some authentic radio interviews of deceased artists. In addition, photographs of artists at work on the site gave insight into their process. Looking at an artist's eyes in a portrait, although vague, gave some insight into their personality. All of this was lit and recorded. The photos were shot in close up and wide angle to allow for various options in the editing process. The physical sites themselves were also a great source of visual data. I made an effort to get a master shot of every site. I thought the audience would need this information in order to establish the geography of a site. From there, various zooms, Metal Monsters and Sacred Cement 16

pans, close-ups, tilts, and crash focuses were captured. By using a close up, the texture of a site showed both the materials and techniques employed in construction. All this added to the rationale behind the artist's intention. I also took careful notes on the size and description of each shot. Too much repetition of the same shot would lose the audience's interest. I tried to vary my shot type as much as possible. I also shot the same item from different angles and lens sizes to give myself flexibility in editing. A few locations and interviews were challenging. Most problems were minor (momentary shaky camera, small distracting sound, etc.) I knew some of this could be fixed in the editing process. The Forevertron site in Prairie du Sac was an exception. Much of the site footage was underexposed due to an overcast sky in the afternoon. In addition, the wind blew into the microphone. I returned to this location on a later date to reshoot. My biggest challenge proved to be the key interview with the site's creator, Tom Evermor. Although I had scheduled his interview months before, a bad accident resulted in a broken hip. A month later I conducted ail interview at the hospital. Sadly, he was too medicated to be coherent. I returned to his assisted living center a month later. The audio on that interview was so distorted it could not be used. Finally, I did an th interview on February 20 '. Although much of it was incoherent, some of it proved usable. His third interview was somewhat successful, although I had to re:frame many of the questions to encourage a fresh response. I kept detailed records of all expenses through the course of production. Although I was able to save money on equipment, lodging, food, and labor, the cost of gas and incidentals still amounted to $1,284.69 (See Appendix E). Excluding the student research fund, my out of pocket expenses totaled $784.69. Although this is more than I intended on spending, I still regard this cost as minimal for a documentary of this scope.

Post-production I accumulated roughly twenty hours (twenty DV tapes) of footage from ten different sites. I had a hand written logbook describing the camera type (Panasonic or Cannon) tape#, time code, shot#, size and description of each shot (See Appendix H). I now began the process of logging and capturing footage into the editing software. I Metal Monsters and Sacred Cement 17

organized footage in a series of groups or bins (Final Cut Pro uses "bins" to organize footage groups). I had ten bins of visual footage from the sites (1. St. Francis Seminary, 2. Grotto of Redemption, 3. Dickeyville Grotto, 4. Prairie Moon Sculpture Garden, 5. Rudolph Grotto, 6. Paul and Matilda Wegner Grotto, 7. Grandview, 8. Fred Smith's Concrete Park, 9. Forevertron, l 0. Jurustic Park). Each of these bins had the following subgroups; A) Site Footage, B) Archival Photos, C) City Sign, D) Interviews (this subgroup was further divided into interviewees). There was an eleventh bin of visual footage labeled "Miscellaneous Midwest Landscapes" (This was footage intended to be used at transition points). An assistant editor aided me in this process. Two bins were created for audio. One was for original music. The second was intended for narration. The decision to use a narrator resulted from a need to transition from site to site. While many of the interviewees provided transition points in referencing another site, a narrator would help make this process clearer. Although I had a narrator selected, I would need to write a script to unify the footage. After logging and capturing, I watched hours of footage. Final Cut Pro has the ability to give capture footage notes and color markers. I had over twenty hours of footage from which I needed to find a connection in order to create narration script. I reviewed my research questions. I was looking at 1) site history and 2) artist rational. I had to narrow down my footage. I began to mark the collected footage with notes and color markers (Red-Excellent, Orange-Good, Yellow-Satisfactory) if it met the following criteria: A) Had little or no technical glitches (was clear both visually and aurally) B) Addressed the basic research questions C) Held interest for the intended audience I did not delete any footage. (I knew that there was a possibility I would return to unmarked material.) If there was a technical glitch with either the audio or visual, but not both, I made a note (I knew I could use audio or visual from another clip to "fix" it). Through this lengthy process, a narrative began to form. I kept a notebook of key bits of information and returned to the literature. With these resources I began to construct an initial paper edit (See Appendix D) that included Metal Monsters and Sacred Cement 18

narration. Based on the responses from interviewees and the research I had conducted, a basic chronology from the first site created to present sites seemed to drive the narrative. This initial paper edit was a starting point. I recorded this initial narration. With the narration recorded, I attempted to create a rough picture edit. In creating a rough picture edit I experimented with various introductions. Finally I decided the random visuals of rusted dinosaurs would be visually appealing to draw in the audience. This visual is disorienting while at the same time fascinating. It motivates the audience to figure out what is happening and consequently keep watching. The narrator then would interject to give the audience their grounding and establish himself as the "guide" for this documentary. A basic pattern of visual montage, narration, and relevant interviews began to emerge. Each site was treated as it's own miniature documentary with a definite introduction, middle, and conclusion. The narration was the unifying theme that held these miniature documentaries together. In addition, the narrator served as a reminder to the overall theme of history and artist rationale. Once the rough pieces were in place, the narration was revised and rerecorded to smooth out some of the transitions. Music was another key factor in the construction of this documentary. I wanted the words of the interviewees to be reflected by the background music. Some would regard this as a manipulation of truth, but based on my definition of documentary, I see this as a tool to accentuate an intended perspective on reality. I worked with a composer and a number of musicians to find the right "feel." I listened to the entire music library at the University of Wisconsin-Stevens Point. In addition, over sixty songs were collected. Where there were visuals without appropriate songs, music was composed. Ultimately ten songs are inserted throughout the documentary to help accentuate the message. With music, narration, and visuals in place, certain technical problems remained. Some visuals had minor problems (bad framing, shaky camera, bad coloring, bad exposure). Editing tools provided freeze frames, color correction, and reframing features. Wild sound (random creaks, lip smacking, stuttering, etc.) were also cleaned up to a degree. In addition, some narration was rerecorded a third time to further aid in this process. Sound levels were also adjusted so that the entire documentary kept a consistent level. It should be noted that the time spend on fixing minor visual problems was Metal Monsters and Sacred Cement 19

somewhat limited. Professionals in the field with more time and equipment could clean up much more. For the scope of this project, adequate clean up of minor problems was deemed sufficient. The final editing task of adding effective transitions and text was performed. Text was chosen that was legible. Titles and name spellings were confirmed. The proper timing of transitions was a challenge. Natural beats created by music or narrative pauses were used as guidepoints in this process. In addition, test audiences were asked to give feedback on what they felt was "choppy." A complete cut of the film was presented before the graduate committee. Upon review, it was decided that the narration be reworked. The narration script was rewritten and recorded (Appendix I). In addition, it was suggested that maps of Wisconsin be inserted to show the geography of each location. These changes were made and are evident in the final version of the film. In the final cut, the documentary ran 27 minutes. There was no set time goal. Rather, the length was secondary to the need to properly address the subject. With roughly 20 hours of footage shot for a half hour film, this film has a 40 to 1 shooting ratio. It is slightly over the average, with a typical documentary being 35 to 1. Although for comparison, had this film been shot in the Cinema Verite style, its ratio may have been 80 to 1 (Salesmen being a prime example).

Analysis/Conclusion What is the history of sculptural landscapes in Wisconsin? In short, it is a rich one. It began with religious inspiration and has evolved into secular self- expression. Wisconsin is a state harboring a large number of individuals who have made their mark on the landscape with their sculptural wonders. As I've looked at the techniques used, materials collected, and hours spent, I can definitely see the historical influence from one site to the next. It became evident in my interviews that these "outsider artists" knew of the work of those that came before them and then chose to both adopt and personalize their own sculptural landscapes. In logging, marking, and editing, I discovered there was a unifying theme between the artists who created these sites. These are not social outcasts with nothing Metal Monsters and Sacred Cement 20

better to do with their time. There is a great deal of effort that went into their work, but that effort had a purpose. Why would an individual devote their energies to this endeavor? This documentary hints at an answer. Is it a selfish endeavor to leave a legacy? I tend to believe otherwise. What I do know is that all the artists seem to have a message and a sense of mortality. They know their time on earth is limited. With that time, they want to leave a message. There are no admission fees. They want to highlight something the general public may have missed. It may be the glory of a higher power, the years gone by, or a fantastical reality that just might be. Whatever it is, it's a message they want to general public to see. These artists have their influences. Whether it was faith, patriotism, personal history (e.g., wedding cake, immigration ship), or fantasy, all of these sites have a unique message. Their creators had both a sense of themselves and the general public. They knew if they were to get their message across, they had to build something that the public would marvel at. So to that extend, it was marketing. If they could spark interest, then perhaps their mission was partially accomplished. What makes this different is that they are not "marketing" to turn a profit. They are marketing to turn a few heads. And those individuals in turn encourage their friends to visit the site. It is clear that these landscapes were not intended for private viewing. While the artist's-exact purpose behind each site is a little unclear, it is evident they had one. Current outsider artist Clyde Wynia comments, "You get something that clicks, and people start coming and their laughing and talking, and it becomes almost addictive." All of these artists found something that "clicked" for them. Their art, in turn, drew the crowds. And in the end, they had people talking. This documentary, given sufficient funding and time, could have easily been longer. There were voices not heard. What is a tourist's impressions on these sites? Do these sites still serve the same purpose their creator's intended? There are clearly more questions warranting further study. One of my interview subjects, Bernadine Jagodzinski, suggested these sites don't have the attendance they once did. They once were places for families to come, picnic, and explore. She says, "It's hard to compete with the noise and commercialism of Metal Monsters and Sacred Cement 21

Disney World." And yet, it may be the lack of noise that makes these sites appealing. They were never created to make money. They were constructed by individuals with little training out of the materials they had at hand. They may not "wow" us in the same way amusements parks do, but the "wow" behind their purpose warrants further exploration. Metal Monsters and Sacred Cement 22

Appendix A- Permission & Indemnity Form

SUBJECT RELEASE

Documentary: "Metal Monsters & Sacred Cement" Matt Nie Production

Copyright Waiver and Release By an Interviewee, Narrator, Musician or other Participant in a Documentary

For value received (pecuniary or otherwise) receipt of which is hearby acknowledge, I, the undersigned, herby consent to the use in any manner or for any purpose whatsoever, all material in any format, whether visual audio or otherwise that is contained in or used for the production, "Metal Monsters & Sacred Cement," specified to including, but not limited to, video recordings, photographs, or facsimiles, sound and music recordings and all written materials and extracts, in which I am represented or have the propriety interest, in whole or in part by Matt Nie, his affiliates or authorized delegates.

I, the undersigned, hereby agree and acknowledge that in all matters concerning my participation in this documentary, whether I am paid for my services or not, I, my agents or assigns shall constitute Matt Nie and affiliates free from liability, whether vicarious or otherwise and undertake to hold Matt Nie and affiliates harmless against all action suits, legal proceedings or other redress of any nature or kind that may arise during or subsequent to my aforesaid participation, unless such action, suit, or proceeding shall be held to result directly from gross negligence.

Signature of Producer ______

Name of Participant (please Print) ------Signature of Participant ______Date ______Metal Monsters and Sacred Cement 23

Appendix B - Interview Questions Site Overview 1. What is your relation to ______(the artist)? 2. How would you describe (site) to an outsider? 3. Take us on a virtual tour. What would a person see as they walk through this site? 4. Why is this site powerful to the observer? 5. What is special about this site? 6. Is this work dedicated to anyone? 7. Does this work say something larger about life? If so what is the message? 8. When people first see this site what is there reaction? 9. Why are people drawn to this site? What is the appeal? 10. Is this great art? If not, what kind of art is it? It is art at all? Site Construction 1. What prompted (the artist) to create this site? 2. What went through your head when you first say this site? 3. Was the idea a long time in coming or more the result of spontaneous creativity? 4. Was (the artist) influenced by other outdoor sculptural works? 5. Why do you think (artist) choose this spot for his work? 6. What materials were used in the construction of this work? Why these materials? 7. Did the artist complete this work on his/her own? Did they have help? 8. What were the obstacles overcome to complete this project? 9. What made this a valuable endeavor and not a waste of time? Artist Overview 1. What is it about (artist) that was different from most people? 2. Do you think (artist) was aware of something we don't understand? 3. What this (site) a source of happiness or an obsession for (the artist)? 4. If (the artist) were here today, what would they think of the public fascination? 5. If (artist) wanted people to take away one thing from (this site), what woµld it be? 6. What do you believe (artist) ultimately would have wanted done with this site? 7. What do you think should be done with this site? 8. Why does a person create something like this site? Metal Monsters and Sacred Cement 24

Appendix C - Potential Shot List

1. MS traditional interviews of important individuals (w/ digital stabilizer off)

2. CU traditional interviews of important individuals (w/ digital stabilizer off)

3. Walk through tours with individuals explaining the sites.

4. Population City Signs (statics and whip pans)

5. Footage of the road medium passing by

6. Various driving shots of Wisconsin Americana (barns, silos, machinery in the

field, locals on bicycles, livestock, Cheese houses, Roadside Crop Booths, etc.)

7. Driving shots of the sites from the road

8. Walk through POV of on site tour of sculptural landscape

9. Low angle statics of sculptural landscapes

10'. Insert shots of various photographs (slight zooms and statics)

11. Rack focus shots of sculpture in B.G. to sculpture in F.G.

12. Sunsets and Sunrise shots of sites (with and without polarizer)

13. Low angle dolly shots of sculptural landscapes (hand held with stabilizer)

14. Sculptural shots using F.G to frame B.G.

15. Pan and tilts along interesting dynamic diagonals that move to static

16. Worms eye view of sculptures

17. Insert static shots of any tools used to create sculptures

18. ECU of detail of sites to show texture and elements used

19. Archival photographs of sculptors (static, pan, zoom, rack focus)

20. Spontaneous unexpected shots Metal Monsters and Sacred Cement 25

Appendix D - Initial Paper Edit

VISUAL MUSIC/AMB. AUDIO Montage of Slow, creepy Metal Creatures "Close CU,MS Encounters" or "Jurassic Park" instrumentals Montage Slight Music V.O.: Raw Art, Outsider Art-it has many names. continues Fade (Maintain These sculptural wonders dot the landscape of the Pullout to continuity) United States, and perhaps no more ...than in Masters Wisconsin. Show Title Card Music Rises Title Card- METAL MONSTERS & SACRED CEMENT The Outsider Art of Wisconsin Fade to Black Music Fades Montage V.O.: As we journey through Wisconsin, we'll Wisconsin explore the history of sculptural landscapes, and Farmscapes perhaps catch a glimpse of the artist's intention. Cut to St. Francis V.O.: Our story begins in Milwaukee, WI Sign Master of St. V.O.: At St. Francis Seminary Francis Slight push into V.O.: One man, Father Paul Dobberstein, made a Archive Photo of pact with God. Dobberstein. V.O.: (possible) While a student at St. Francis Seminary, Father Paul Dobberstein made a vow to the Virgin Mary that he'd build her a shrine if she'd intercede to cure him of pneumonia.

The pneumonia subsided and Father Dobberstein . kept his promise

Show Shrine at Spiritual Music V.O.: In 1894 at the St. Francis Cemetery this St. Francis inB.G. young seminary student built his shrine to Mary. This humble shrine was a catalyst of what was to come. Interview Grotto He made a vow with the Virgin Mary that he'd of Redemption build a shrine ifshe'd cure him ofpneumonia Show West Bend V.O. Ordained a priest in 1897, Father Sign and rural Dobberstein found himself pastor of the small rural inserts community in West Bend, Iowa. It was there he kept his promise on a grand scale. Metal Monsters and Sacred Cement 26

VISUAL MUSIC/AMB. AUDIO Montage of the Insert Spiritual V.O.: Regarded as the birthplace of the American Grotto of Music Grotto, the Grotto is the largest of its kind in the Redemption world. V.O.: For the next 42 years Father Dobberstein constructed the grotto with minerals collected throughout the world. Insert of Scorning the use of ordinary items such as minerals porcelain and glass, Father Dobberstein was adamant that only naturally occurring minerals adorn his grotto. As a result, it has a geological value of $5 million and is the largest concentration of minerals any spot on earth. Insert of Photo V.O. According to the parish nun, Sister M. Valentina Niebebergall, "The difficulty about the grotto, the builder often explained, was not so much the building of the grotto itself, but rather the collecting of the material. Often it was necessary for Father Dobberstein and his men to crawl on their knees through caves, carrying the rocks, which the priest had chipped from the floor, or ceiling and which his men had collected into sacks to be conveyed to the entrance. The story behind one stone in particular is noteworthy. It concerns the large winged calcite crystal that forms the pinnacle of the St. Rose Grotto. This stone was brought up from a cavern nine hundred feet deep and from a poin~ nine miles from the cave entrance. On this particular expedition, Father Dobberstein entered the cave at Custer, South Dakota, and three weeks later came out at Rapid City, a blind man. Weeks of hospitalization in a room only gradually admitting light were required to restore his sight completely." Insert Interview He came to West Bend to build the grotto. at the Grotto of Redemption Interviewee- The marvel ofhis construction

Interviewee- He was driven. Was strict too. personal account Black and White Voice ofFather Dobberstein on the videotape, Photo of him explaining reason for his creation. building Metal Monsters and Sacred Cement 27

VISUAL MUSIC/AMB. AUDIO Interviewee- Attempting to answer why he did this. Montage of V.O.: What began at St. Francis and continued in Grotto West Bend ignited a spark that spread across the landscape in Wisconsin. Sign of V.O.: In the southwest comer of the state, lies the Dickeyville small community of Dickeyville, site of the Dickeyville Grotto. Montage of Music with V.O.: Constructed from 1920-1931 this site is the Grotto slight patriotic work of Father Mathias Wemerus. Wemerus, also tones a graduate of St. Francis Seminary was inspired by (possible photo) Father Dobberstein's work in West Bend. Show Religion Father W emerus brought his own unique vision and Patriotism combining rock and glass in reference of not only work. religious but patriotic themes as well. Interviewee West Bend Influences to Dickeyville Interviewee Construction story. What drives him Photo V.O.: Near his death, in 1931 Father Mathias Wemerus wrote Voice Actor: "I have succeeded a thousand times better than I ever thought I would. They come from far and near, non-Catholic as well as Catholics, and find that here is something that appeals to them in a religious way. Here is something that touches their hearts and raises their thoughts to God" Various V.O.: The Dickeyville Grotto drove outsider art Wisconsin deeper into the heart of Wisconsin. In the 1930s Landscapes and 40s, the effect this site had on neighboring communities was nothing short of spectacular. Sign & Photo V.O. One Such Community is found in Rudolph, Wisconsin. In a story that parallel's Father Dobberstein and the Grotto of Redemption, Father Philip Wagner also suffered from a debilitating deceased. Suffering from chronic exhaustion he prayed for the Virgin Mary's intercession. His prayers were answered. Interviewee Religious Music The Rudolph Grotto was his way ofsaying thanks Grotto Montage Religious Music Started in 1928, the grotto was primarily build with gossan, a rough reddish rock found in nearby farm fields. Rocks from the size of a pebble to a 78-ton bolder were used in the construction. Broken and melted glass soon added to the mix. This site celebrates both religion and patriotism. Metal Monsters and Sacred Cement 28

VISUAL MUSIC/AMB. AUDIO Interview Discuss Dickeyville influence Interview Discuss construction. Discuss Cave Montage of Cave V.O. Perhaps the greatest feat performed by Father Paul Wagner was the construction of a man- made mountain he called Wonder Cave.

Elaborate pathways leading to lit sculptures make this place a marvel to witness. Interview Discuss marvel ofconstruction. Try to come up with rationale. Montage of Site Folk V.O.: The small community ofl{ollandale was (w/ Sign) Instrumental continued to perpetuate this outsider art. Begun in 1937, after his children were grown, Nick Engelbert began to build an elaborate porch of concrete on the outside of his farmhouse. The concrete was adorned with glass, china, beads, and seashells. Over the next fifteen years he created 40 sculptures of what would soon be known as Grandview. Interviewee Discuss Dickeyville influence Interviewee Discuss Building/ Nick Interviewee Discuss Why Wisconsin has such works. Show Cataract German V.O.: Sign Immigrant The influences of the Dickeyville Grotto were Music wide spread Such was the case in Cataract, Montage of Wisconsin with a retired farm family. Paul and creation Matilda Wegner, after viewing the Dickeyville Grotto, began construction on the site that bears their name.

From 1929 to 1937, the worked tirelessly on the site until their deaths. They built a myriad of sculptures that chronicled their lives. From a replica of the Bremen, the ship on which they emigrated to the U.S. From Germany in 1885 to huge reproduction of their 50th wedding anniversary cake. Interviewee Historical creation by Monroe County Historian Interviewee Grandson account Interviewee Guessin~ why they did what they did. Cochraine Sign V.O. Just a few miles northwest of Cataract lies &Photo the town of Cochraine, WI, home to Herman Rusch and the Prairie Moon Sculpture Garden Metal Monsters and Sacred Cement 29

VISUAL MUSIC/AMB. AUDIO Prairie Moon Fiddle Music v.o. Bored with retirement, Herman Rusch Montage started this site in 1958. Employing much of the same techniques begun at the Paul and Matilda Wegner Grotto, Herman embedded concrete with melted glass and stone. However, the cement itself he began to tint with dyes. From huge turrets to small dinosaurs, a patchwork of sculptures inhabits his yard. Interview Discuss artist influences Interview Local stories Interview -what he was thinking. Philosophies on life. Sign V.O. Perhaps out of the most prolific outside artists of the 1950s and 60s resides in Phillips, Wisconsin. Photo Pioneer Music V.O. A man of the north woods, Fred Smith ran a North woods local tavern in the area. Aside from supplying him with a livelihood, it keep him in good stock of building materials Montage of V.O. Beer bottles and concrete are the staples of Concrete Park Fred Smith's Concrete Park. From a six-horse team of Budweiser Clydesdales to a recreation of the film Ben Hur, Fred Smith has a vision unique onto itself. Interview Fred's possible influences Interview -what made Fred Unique Interview Fred's Unique Vision Interview -why Wisconsin Prairie du Sac V.O. Fred Smith left behind more than concrete Sign & Photo and glass. It was a legacy that inspired current Wisconsin Artists to continue the craft. One such Artist resides in Prairie du Sac. His birth name is Tom Every, but he much prefers the pseudo name Dr. Evermore. Tom Interview Saying how he knew Fred Smith Montage of 2001 space V.O. Begun in 1983, the Forevertron is a Forevertron odyssey type fantastical device intended for space travel. On the music summit of the machine, a glass ball inside a copper egg waits to shoot Dr. Evermore into space through a magnetic lightning beach. At the northern end, a vast telescope, constructed of tubes and wheels, points skywards. A contraption for the doubting Thomas that thinks he won't make it. The whole environment weights 300 tons. It consists of components from paper mills, Metal Monsters and Sacred Cement 30

VISUAL MUSIC/AMB. AUDIO Montage (cont.) music (cont.) breweries, and power plants, including a decontamination chamber from the Apollo Space Mission. Tom Interview The message ofthe Forevertron V.O. In Marshfield, Wisconsin, outsider artist Clyde McMillian carries on Dr. Evermore's vision. Clyde Interview Talk of Tom Every and Forevertron Montage of Close V.O. Clyde has retired form the practice oflaw to Jurustic Park Encounters devote his efforts to paleontology. He devotes his Music time "excavating" creatures from Wisconsin's Iron Age in a place he calls Jurustic Park Clyde Interview What the site is Nancy Interview What is an artist such as this Clyde Interview Other thoughts Ending Montage V.O. From Sacred Cement to Metal Monsters, showing all sites there is a rich history of outsider art found in Wisconsin. This rich heritage beginning in our century has spilled into the next. It is something to cherish, though we struggle to understand. What does it mean? That is for the artist to keep. The best we can do is catch a glimpse of it in their work. Clyde Interview Final thought what to tell a psycholo,gist Cut to Black Have three visual Begin closing Clyde talking through tour items: 1Credits· music fading in, 2Clyde giving tour picture in picture 3Statics of sites Metal Monsters and Sacred Cement 31

Appendix E - Budget

Graduate Project Expense Sheet (Documentary Shoot 6/4/05-6/18/05)

Item Date Cost TRANSPORTATION Gas Receipt 342 6/4/05 23.90 Gas Receipt 1936 6/6/05 15.66 Gas Receipt 342 6/9/05 19.14 Gas Receipt 648 6/11/05 8.15 Gas Receipt 648 6/12/05 18.32 Gas Receipt 1936 6/13/05 17.00 Gas Receipt 7681398 6/15/05 11.34 Gas Receipt 1541 6/16/05 17.64 Gas Receipt 6532600 6/17/05 16.66 Bus Ticket 191635 6/4/05 24.00 Bus Ticket 411681 6/17/05 24.00 Airline Ticket 6/4/05 325.00

LODGING Super 8 Motel 6/9/05 72.26 Park View Inn 6/16/05 78.05

FOOD Pick n' Save 6/5/05 23.11 Copps Foods 6/6/05 29.14 AppleBees ( crew) 6/7/05 23.49 Grazies (crew) 6/8/05 16.77 County Market 6/8/05 5.72

EQUIPMENT AA Batteries 6/4/05 18.99 G-Raid External Hard Drive 8/8/05 297.00 DVD Covers, Labels, Inserts, 50 ct. 3/1/06 200.00 TOTAL COST 1285.69 TRAVEL GRANT 9/2/05 -500.00 FINAL COST 785.69 Metal Monsters and Sacred Cement 32

Appendix F- IRB Approval

University of Wisconsin-Stevens Point Institutional Review Board for the Protection of Human Subjects

Protocol for Original Submissions

A complete protocol must be submitted to the I RB for approval prior to the initiation of any investigations involving human subjects or human materials, including studies in the behavioral and social sciences.

Send: 11 copies of (1) the completed protocol; (2) project abstract; and (3) samples of informed consent forms to the IRB chairperson. PROTOCOLS LACKING ANY ONE OF THESE THREE ELEMENTS WILL NOT BE APPROVED. In addition, copies of questionnaires or Interview questions MUST be attached.

PLEASE TYPE Project Title: Metal Monsters and Concrete Creations: Outdoor Sculptural Landscapes of Wisconsin Principal Investigator: ------Matthew Nie Department: Communication Rank: Graduate Student

Campus Mailing Address: 3901 Doolittle Dr. Apt. 10 Stevens Point. WI 54481

Telephone: 715-347-6288 E-mail address: rooie@11wsp edi 1

Faculty Sponsor (if required): -1\1->J.1V-iHill-i

Expected Starting Date: ,hme 1, 2005 Expected Completion Date: .....M..... a"'-ly1--1.i...,-'2 .... a.... as....______

Are you applying for funding of this research? Yes ..,,.X..---­ No----

lf yes, what agency? UWSP- Student Research Grant

Please indicate the categories of subjects to be included in this project. Please check all that apply. ~ Normal adult volunteers -- Minors (under 18 years of age) Incarcerated individuals __ Mentally Disabled Pregnant women Other ------(specify) (Faculty Member) I have completed the "Human Subjects Protection Training" {available at http://www.uwsp.edu/special/irb/start.htm) and agree to accept responsibility for conducting or directing this research in accordance with the guidelines.

William Deering {Signature of Faculty Member responsible for research)

(Department Chair or equivalent) I have reviewetj this research proposal and, to the best of my knowledge, believe that it meets the ethical standards of the discipline.

(Signature of Department Chair or equivalent) Metal Monsters and Sacred Cement 33

Please complete the following questions for all research.

1. Describe the characteristics of the subjects, including gender, age ranges, ethnic background, health/treatment status and approximate number.

Subjects are 15-20 adults, Caucasian, Wisconsin/Iowa residents, age 40-75, in fairly good health.

2. Indicate how and where your subjects will be obtained. Describe the method you will use to contact subjects.

Subjects are outdoor sculpture artists, local historians, or affiliates of artists. They will be contacted via mail, phone, and in person.

3. What are you going to ask your subjects to do (be explicit) and where will your interaction with the subjects take place?

I am going to ask subjects to recollect the history of various sculptural sites as well as comment on the perceived relevance of these sites to their creators

4. Will deception be used in gathering data? Yes -- No-X­ lf yes, describe and justify.

5. Are there any risks to subjects? Yes __ No ___x__ If yes, describe the risks (consider physical, psychological, social, economic, and legal risks) and include this description on the informed consent form.

6. What safeguards will be provided for subjects in case of harm or distress? (Examples of safeguards include having a counselor/therapist on call, an emergency plan in place for seeking medical assistance, assuring editorial rights to data prior to publication or release where appropriate.)

I will have a cell phone in order to call emergency services.

7. What are the benefits of participation/involvement in this research to subjects? (Examples include obtaining knowledge of discipline, experiencing research in a discipline, obtaining course credit, getting paid, or contributing to general welfare/knowledge.) Be sure to include this description on the informed consent form.

They will have the chance to appear and or contribute to a documentary film.

8. Will this research involve conducting surveys or interviews? Yes X No~-- lf yes, please attach copies of all instruments or include a list of interview questions. Metal Monsters and Sacred·cement 34

9. If electronic equipment is used with subjects, it is the investigator's responsibility to determine that it is safe, either by virtue of his or her own experience or through consultation with qualified technical personnel. The investigator is further responsible for carrying out continuing safety checks, as appropriate, during the course of the research. If electronic equipment is used, have appropriate measures been taken to ensure safety? Yes X No

10. During this research, what precautions will be taken to protect the identify of subjects and the confidentiality of .the data?

Participants who want information edited out of the documentary will have their requests met.

11. Where will the data be kept throughout the course of the study? What provisions will be taken to keep it confidential or safe?

The interviews will be collected on a number of DV tapes. They will remain in my custody.

12. Describe the intended use of the data by yourself and others.

The interviews will be cut and edited into a documentary on sculptural landscapes.

13. Will the results of the study be published or presented in a public or professional setting? Yes X NO--- lf yes, what precautions will be taken to protect the identity of your participants? State whether or not subjects will be identifiable directly or through identifying information linked to the subjects.

The subjects will be identifiable directly if used in the final version of the film.

14. State how and where you will store the data upon completion of your study as well as who will have access to it? What will be done with audio/video data upon completion of the study?

The digital data will be stored on my home computer and transferred to DVDs for exhibition.

A completed protocol must include a copy of the Informed Consent Form or a statement as why individual consent forms will not be used. Revised form: January 2001 Metal Monsters and Sacred Cement 3 5

Appendix G- Initial Contact Letter (example)

University of Wisconsin­ Matt Nie 3901 Doolittle Dr. Apt 10 Stevens Point, WI 54481 Stevens Point Email: [email protected] Phone: 715-347-6288 Graduate Film Project

March 25, 2005

Dr. Evermor P.O. Box22 Prairie du Sac, Wisconsin, 53578 608-393-9377 608-592--4735 608-219-7830

Dear Dr. Tom Evermor and Lady Eleanor Every,

Allow me to reintroduce myself. My name is Matthew Nie. I am a documentary filmmaker and current teaching assistant at the University of Wisconsin-Stevens Point. I am producing a non-profit graduate film project on outdoor sculpture environments in Wisconsin. From sacred, concrete grottos to elaborate, folk art landscapes, this state is rich with a culture all its own. It is my goal to complete a documentary that chronicles the origin and proliferation of these great, visionary works of art.

I am writing to ask for your permission and aid in achieving this goal.

I am interested in the Forevertron for its artistic merit, and the unique influence it has had on other Midwest sculptures. By continuing your work, you are carrying on a great tradition of sculptural folk art. It has evolved from the age ofrough concrete and glass into elaborate works such as yours. I must say, yours appears to be the most elaborate and impressive in many ways. In addition I am interested in the personal challenges that you face in constructing such art.

I want to assure you that I intend to approach this subject with the utmost respect and maturity. I am not looking to make fun of any visionary artist, but rather, highlight the passionate ingenuity of their work. I have done documentary work before and will promise to create a quality production you will be proud to be associated with to the best of my budget and ability.

If you are interested in helping out, I am looking specifically for permission to film on the grounds, individuals to interview, and any archival photos or news clippings to photograph. The filming of this project will take place June 5th until June 17th with a small crew of two (myself and a camera operator). I only wish to visit your location for 1-2 days. I will be contacting you shortly by phone or email, but I wanted to give you some details of the project before I did so. Thanks so much for listening. I look forward to talking with you soon.

Sincerely,

Matthew Nie Teaching Assistant I Graduate Student

P.S. I have sent a DVD copy of a prior documentary that has premiered at many festivals. Enjoy. Metal Monsters and Sacred Cement 36

Appendix H- Log Sheet

Tape I.D. ___

Camera Shot# End Time Code Shot Size Description Metal Monsters and Sacred Cement 37

Appendix I- Revised Narration Script CHAPTER 1 Montage of Slow, creepy Metal Creatures "Jurassic Park" CU,MS instrumentals Montage Slight Music V.O.: Raw Art, Outsider Art-it has many names. continues Fade These sculptures of have been built across Pull out to America, but they flourish in Wisconsin. Masters Show Title Card Music Rises Title Card- METAL MONSTERS & SACRED CEMENT The Outsider Art of Wisconsin Fade to Black Music Fades CHAPTER2 Montage V.O.: As we journey through Wisconsin, we'll Wisconsin explore the history of sculptural landscapes and, Farmscapes begin to understand motivations driving these artists Cut to St. Francis V.O.: Our story begins near Milwaukee, WI Sign Master of St. V.O.: At the St. Francis Seminary Francis Slight push into V.O.: One man, Father Paul Dobberstein, made a Archive Photo of pact with God. Dobberstein. While a student at St. Francis Seminary, Father Paul Dobberstein made a vow to the Virgin Mary that he'd build her a shrine if she'd intercede to cure him of pneumonia.

The pneumonia subsided and Father Dobberstein kept his promise.

Show Shrine at Spiritual Music V;O.: In 1894 at the St. Francis Cemetery, this St. Francis in B.G. young seminary student built his shrine to Mary.

This tradition of shrine building, once the domain of Catholic Priests in Germany, now found itself in the heart of Wisconsin. CHAPTER3 Show West Bend V.O. Ordained a priest in 1897, Father Sign and rural Dobberstein became the pastor of West Bend, inserts Iowa. He kept his promise on a grand scale. Metal Monsters and Sacred Cement 38

Montage of the Insert Spiritual V.O.: Regarded as the birthplace of the American Grotto of Music Grotto, the Grotto of Redemption is the largest in Redemption the world.

Insert of Scorning the use of ordinary items such as minerals porcelain and glass, Father Dobberstein was adamant that only naturally occurring minerals adorn his grotto. As a result, it has a geological value of nearly $5 million and is the largest collection of minerals of any spot on earth. Montage of V.O.: What Father Dobberstein began at St. Grotto Francis and continued. in West Bend was the beginning of several generations to build sculptural landscapes throughout Wisconsin. CHAPTER4 Sign of V.O.: In the southwest corner of the state, lies the Dickeyville small community of Dickeyville ... site of the Dickeyville Grotto. Montage of Music with V.O.: Constructed from 1920-1931 this site is the Grotto slight patriotic work of German born Father Mathias Wernerus. undertones Wernerus, also a graduate of St. Francis Seminary (possible photo) was inspired by Father Dobberstein's work in West Bend. Show Religion and Patriotism Father Wernerus brought his own unique vision work. combining rock and glass to enshrine the religious and patriotic beliefs that he held in common with many of the immigrants who settled in Wisconsin Photo V.O.: Near his death in 1931, Father Mathias Wernerus wrote

Voice Actor: "I have succeeded a thousand times better than I ever thought I would. They come from far and near, non-Catholic as well as Catholics, and find that here is something that appeals to them in a religious way. Here is something that touches their hearts and raises their thoughts to God" CHAPTERS Various V.O.: In the 1930s and 40s, the effect this site had Wisconsin on neighboring communities was nothing short of Landscapes spectacular. Sign &Photo Religious Music Amazing Grace V.O.: One such community is found in Rudolph, Wisconsin. In a story that parallel's Father Dobberstein's impulse to create, Father Philip Metal Monsters and Sacred Cement 39

Wagner also suffered from a debilitating disease. Suffering from chronic exhaustion he prayed for the Virgin Mary's intercession.

Chronically exhausted, he made a pilgrimage to Lourdes, France and prayed for recovery.

In the end, his prayers were answered. Grotto Montage V.O.: Started in 1928, the grotto was primarily build with gossan, a rough reddish rock found in nearby farm fields. Rocks from the size of a pebble to a 78-ton bolder were used in the construction. Broken and melted glass was added to the mix. Like Father Wernerus, Father Wegner also celebrated his religion and his country in his sculpture. Montage of Cave V.O.: Perhaps the greatest feat performed by Father Paul Wagner was the construction of a man- made mountain he called Wonder Cave.

CHAPTER6 Montage of Site Folk V.O.: In the small community of Hollandale, Nick (w/ Sign) Instrumental Englelbert continued this outsider art. Started in 1937, after his children were grown, Nick began to build an elaborate porch of concrete on the outside of his farmhouse. He embedded the concrete with glass, china, beads, and seashells. Over the next fifteen years he created 40 sculptures.

Truly this was a Grand View CHAPTER 7 Show Cataract Instrumental V.O.: Paul and Matilda Wegner began Sign Tennessee construction on the site that bears their name. Waltz From 1929 to 1937, they worked tirelessly until Montage of their deaths. They built a myriad of sculptures that creation chronicled their lives. From a replica of the Bremen, the ship on which they sailed to the U.S. from Germany, to a huge reproduction of their 50th wedding anniversary cake. CHAPTERS . Cochraine Sign V.O.: Just a few miles northwest of Cataract lies & Photo the town of Cochraine, WI, home to Herman Rusch and his Prairie Moon Sculpture Garden Prairie Moon Reflective V.O.: Bored with retirement, Herman Rusch Metal Monsters and Sacred Cement 40

Montage Fiddle Music started this landscape in 1958. Employing much of the same techniques begin at the Paul and Matilda Wegner Grotto, Herman embedded concrete with melted glass and stone. From huge turrets to small dinosaurs, a patchwork of sculptures inhabits his yard. CHAPTER9 Sign V.O.: Perhaps one of the most prolific outside artists of the 1950s and 60s lived in Phillips, Wisconsin. Photo Pioneer V.O.: A man of the north woods, Fred Smith ran a North woods local tavern. It provided him with a plentiful stock music of building materials Montage of V.O.: Beer bottles and concrete are the staples of Concrete Park Fred Smith's Concrete Park. From an eight-horse team of Budweiser Clydesdales to a recreation of the film Ben Hur. Through imagination and hard work, Fred Smith's vision emerged. CHAPTER 10 Prairie du Sac V.O.: Fred Smith left behind more than concrete Sign & Photo and glass. He left a legacy that inspired current Wisconsin artists to continue the craft. One such artist resides in Prairie du Sac. His birth name is Tom Every, but he much prefers the pseudonym Dr. Evermore. Montage of 2001 space V.O.: In 1983, Dr. Evermore began to construct Forevertron odyssey type the Forevertron. It is a fantastical device intended music for space travel. On the summit of the machine, a glass ball inside a copper egg waits to blast Dr. Evermore into space. At the northern end, a vast telescope, constructed of tubes and wheels, points skywards-- a contraption for the doubting Thomas

The whole environment weighs 300 tons. Containing components from paper mills, breweries, and power plants, including a decontamination chamber from the Apollo Space Mission. CHAPTER 11 V.O.: In Marshfield, Wisconsin, outsider artist Clyde Wynia was inspired by Dr. Evermore's VlSlOn. Montage of Close V.O.: Clyde has retired from the practice of law. Jurustic Park Encounters He spends his time "excavating" creatures from Music Wisconsin's Iron Age in a place he calls Jurustic Metal Monsters and Sacred Cement 41

Park CHAPTER 12 Ending Montage Begin V.O.: From Sacred Cement to Metal Monsters, showing all sites. Backroads there is a rich history of outsider art found in Wisconsin Wisconsin. It is something to cherish, though we struggle to understand its purpose.

And yet, in the end, we are left with a clear message ... of concrete, metal, and glass. These sculptural landscapes, done with passion by untrained artisans, show their creator's purpose.

They provide for us a place where angels sing, dinosaurs roam, and anything is possible.

And all of this ... free of charge. CHAPTER 13 Cut to Black Split Screen of Continue Clyde talking through tour Clyde with closing music Credits Metal Monsters and Sacred Cement 42

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