DOCSLIB.ORG

Profile: Walker Art Center

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Profile: Walker Art Center Press Contact: Karen Gysin 612.375.7651 [email protected] PROFILE: WALKER ART CENTER “Possibly America’s best contemporary art museum.” —Newsweek One of the most celebrated art museums in the country, the Walker Art Center is known for commissioning and presenting innovative contemporary art; fostering the cross-pollination of the visual, performing, and media arts; and engaging diverse audiences in the excitement of the creative process. The museum has evolved from a small-scale, primarily regional institution into a major local, national, and international artistic resource. View from Hennepin Avenue Walker Art Center Expansion Founded in 1879 by lumberman Thomas Barlow Walker, the ©2003 Herzog & de Meuron Walker was established at its current location in 1927. Edward Larrabee Barnes’ award-winning building opened in 1971 and was expanded in 1984. A 17-acre urban campus, designed by Pritzker Prize-winning architects Herzog & de Meuron, will open in spring 2005. The design for the new Walker engages the surrounding neighborhood with a new four-acre park as well as vistas onto the downtown Minneapolis skyline. The expanded facility, nearly double the size of the existing building, will feature new galleries; education areas; a new 385-seat theater; street-level and roof-top terraces; plazas, gardens, and lounges; and increased services and amenities for visitors. The Minneapolis Sculpture Garden, a project of the Walker Art Center and the Minneapolis Park and Recreation Board, is adjacent to the museum. More than 5 million people have toured the 11-acre site, which is filled with some 40 imaginative works of contemporary art. PROFILE: WALKER ART CENTER 1 Walker Collection and Exhibitions The new Walker will feature 11 exhibition galleries for displaying special exhibitions and a renowned permanent collection of paintings, sculpture, videos, prints, drawings, photographs, artists' books, and installation works. On view will be work by artists the Walker has collected in depth; artist-designed installations; monographic presentations showcasing a range of media; an exhibition unfolding a history of modernism and its alternatives; and showcases of minimalist and moving-image works. The inaugural special exhibition presented will be Chuck Close: Self- Portraits, 1968–2004, co-organized with the San Francisco Museum of Modern Art and premiering in Minneapolis in summer 2005. A commissioned Skyspace work by James Turrell, located in the new Chuck Close, Big Self-Portrait, 1967-1968 four-acre park, will be unveiled in spring 2005. acrylic on canvas, Art Center Acquisition Fund, 1969 Performing Arts The Walker’s Performing Arts program, one of the largest and most dynamic in the country, is committed to nurturing and celebrating the most important artistic visions in contemporary dance, music, theater, and performance art through presentations, residencies, and commissions. With nearly 100 commissions in the past decade alone, the breadth, scope, and influence of the Walker’s performing arts programming is comparable with few other organizations in the country. The Walker provides artists with extensive resources and support, creates bold educational contexts for audiences to discover and enjoy new works, and, for more than 30 years, has provided the national and local performing arts communities a gauge of important new developments in performance. The Walker has presented performing arts on a regular basis since the Jennifer Monson Company, Bird Brain: Ducks and Geese , 1940s, formally establishing the department in 1970. April 30-May 2, 2004 Photo credit: Gretchen Till In 2004 the Walker received a $10 million gift from William W. and Nadine M. McGuire, one of the largest ever committed to the commissioning, development, and presentation of new works in the performing arts. The gift encompasses three areas that together create a new model for contemporary arts programming: construction of the Walker’s new 385-seat theater; creation of the Walker’s first named curatorial position; and a $2 million fund to commission new work. PROFILE: WALKER ART CENTER 2 Film and Video Widely recognized for its presentation of moving-image arts that define and influence our time, the Walker showcases film and video in a year-round program featuring both contemporary and classic/historical works. Exploring our global community, culture, and society, programs draw from a range of genres, including contemporary world cinema, American independents, artist videos, short experimental works, and socially relevant media. In addition, programs of classic, repertory, or historically relevant films are presented to explore their critical and creative potential. Solveig Anspach’s Stormy Weather, 2003 Workshops with artists, the mobile art lab Walker on Wheels, and Screened as part of Women with Vision 2004: Home/Away From Home, free memberships for low-income visitors establish ongoing May 2004 partnerships with the Twin Cities community. Minneapolis Sculpture Garden Since its opening in 1988, the Minneapolis Sculpture Garden has become one of the Twin Cities' most popular and acclaimed attractions. One of the largest urban sculpture parks in the United States, it features four 100-foot-square plazas containing works by leading American and international artists; the Cowles Conservatory, which houses seasonal plantings and a glass-and- wood sculpture, Standing Glass Fish, by California architect Frank Gehry; the 29-foot-high fountain-sculpture Spoonbridge and Cherry, designed for the Garden by Claes Oldenburg and Coosje van Bruggen; the Irene Hixon Whitney Bridge, a 375-foot-long footbridge designed by Twin Cities-based artist Siah Armajani, Claes Oldenburg and Coosje Van Bruggen, Spoonbridge and Cherry, 1985-1988, aluminum, stainless steel, paint, which spans 16 lanes of traffic and connects the Garden to Loring Gift of Frederick R. Weisman in honor of his parents, William and Mary Weisman, 1988 Park; and, in the expanded north end of the Garden, the 300-foot- Photo credit: Courtesy Walker Art Center long Alene Grossman Memorial Arbor and Flower Garden. Location The Walker Art Center and the Minneapolis Sculpture Garden are located at the corner of Vineland Place and Lyndale Avenue South, in Minneapolis. For public information, call 612.375.7622 or visit www.walkerart.org. Hours The Walker Art Center building is closed for renovation and expansion. The new facility will open in spring 2005. For details, visit expansion.walkerart.org. The Minneapolis Sculpture Garden is open daily, 6 am–midnight. Admission free. Parking Paid parking is available in a new City of Minneapolis underground ramp on the Walker site, accessible from an entrance on Vineland Place at Bryant Avenue. Additional parking is available in the Minneapolis Sculpture Garden pay lot and on the street (hourly and metered). PROFILE: WALKER ART CENTER 3.
Load more

Recommended publications
  • Room to Rise: the Lasting Impact of Intensive Teen Programs in Art Museums
    ROOM the lasting impact of intensive teen programs in art museums to rise Room to Rise: The Lasting Impact of Intensive Teen Programs in Art Museums Danielle Linzer and Mary Ellen Munley Editor: Ellen Hirzy Whitney Museum of American Art, New York Copyright © 2015 by the Whitney Museum of American Art, New York. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Whitney Museum of American Art 99 Gansevoort Street New York, NY 10014 whitney.org Generous funding for this publication has been provided by the Institute of Museum and Library Services. Project Director Danielle Linzer Lead Researcher Mary Ellen Munley Editor Ellen Hirzy Copyeditor Thea Hetzner Designers Hilary Greenbaum and Virginia Chow, Graphic Design Department, Whitney Museum of American Art ISBN: 978–0–87427–159–1 Cataloging-in-Publication Data is on file with the Library of Congress. Printed and bound by Lulu.com Front cover: Youth Insights, Whitney Museum of American Art, New York (top); Teen Council, Museum of Contemporary Arts Houston (bottom) Back cover: Walker Art Center Teen Arts Council, Walker Art Center, Minneapolis (top); MOCA and Louis Vuitton Young Arts Program, The Museum of Contemporary Art, Los Angeles (bottom) PREFACE 6 INTRODUCTION 8 1: DESIGNING 16 THE STUDY 2: CHANGING LIVES 22 3: CHANGING 58 MUSEUMS 4: SHAPING OUR 64 PRACTICE PROGRAM PROFILES 76 NOTES 86 ACKNOWLEDGMENTS 90 Room to Rise: The Lasting Impact of Intensive 4 Teen Programs in Art Museums PREFACE ADAM D.
    [Show full text]
  • Biography & Links
    CLAES OLDENBURG 1929 Born in Stockholm, Sweden Education 1946 – 1950 Yale University, New Haven, Connecticut 1950-1954 Art Institute of Chicago, Chicago, Illinois Selected Exhibitions 2013 Claes Oldenburg: The Street and The Store, MoMA, New York, NY Claes Oldenburg: The Sixties, Walker Art Center, Minneapolis, MN Wood, Metal, Paint: Sculpture from the Fisher Collection, Cantor Arts Center at Stanford University, Stanford, CA NeuenGalerie-neu gesehen: Sammlung + documenta-Erwerbungen, Neue Galerie, Kassel, Germany Pop Goes The Easel: Pop Art And Its Progeny, Lyman Allyn Art Museum, New London, CT The Pop Object: The Still Life Tradition in Pop Art, Acquavella Galleries, Inc., New York, NY 2012 Claes Oldenburg. The Sixties, UMOK ,Vienna, Guggenheim Museum Bilbao, the Museum of Modern Art New York, Walker Art Center, and the Ludwig Museum im Deutschherrenhaus. Claes Oldenburg, Pace Prints, New York, New York. Claes Oldenburg: Arbeiten auf Papier, Neue Nationalgalerie, Berlin, Germany Claes Oldenburg: Strange Eggs, The Menil Collection, Houston, TX Claes Oldenburg, Museum Ludwig, Cologne, Germany Claes Oldenburg-From Street to Mouse: 1959-1970, Museum Moderner Kunst Stiftung Ludwig-MUMOK, Vienna, Austria 2011 THE PRIVATE COLLECTION OF ROBERT RAUSCHENBERG, Gagosian Gallery, New York, NY Burning, Bright: A Short History of the Light Bulb, The Pace Gallery, New York, NY Contemporary Drawings from the Irving Stenn Jr. Collection, The Art Institute of Chicago, Chicago, IL Proof: The Rise of Printmaking in Southern California, Norton Simon Museum
    [Show full text]
  • Siah Armajani: an Artist out of Exile: Iranian-Born Sculptor Siah Armajani Talks About Revolution, Democracy and Culture
    Siah Armajani: An artist out of exile: Iranian-born sculptor Siah Armajani talks about revolution, democracy and culture. Abbe, Mary. McClatchy - Tribune Business News Washington 04 July 2010. July 04--When Minneapolis sculptor Siah Armajani visited Tehran five years ago, returning to his homeland as a guest of the government, he got a rock star's welcome. Besides dinners, TV coverage and a limousine waiting at the airport, there were adulatory crowds wherever he and his wife, Barbara, went, people straining to touch them and crying out, "We love America; we love Americans." But were Armajani to land in Iran now, he said, he would be arrested and imprisoned. The reason? His radically new political sculpture, "Murder in Tehran." More than 11 feet tall, "Murder" is a cage-like box of glass and wood holding casts of dismembered hands and topped by a hooded and blood-stained figure. The severed limbs represent Neda Agha-Soltan, a young woman killed during protests following the 2009 reelection of Mahmoud Ahmadinejad. The artist's contempt for Iran's present regime is evident in a quotation printed on the sculpture: "Satan, drunk on victory, squats at the feast of our undoing." "My name is on the list," Armajani, 70, said recently over coffee in his Minneapolis Warehouse District studio. Intensely private, Armajani is a slight, tweedy intellectual whose quiet demeanor makes him appear a highly unlikely threat to Iran's present rulers. He was just named the 2010 McKnight Distinguished Artist, a lifetime achievement award for Minnesota artists that includes a $50,000 prize.
    [Show full text]
  • Robert Morris, Minimalism, and the 1960S
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.
    [Show full text]
  • March 2008 Cms Public File Report
    Minnesota Public Radio - Classical Stations July 2007 - March 2008 KBPR 90.7FM, Brainerd Bemidji Area Chamber of Commerce Charter Fiberlink, LLC/Charter Business Cragun's Golf and Conference Resort Crow Wing Power Evergreen Press/Lake Country Journal Magazine Fifth Avenue Furniture Floor to Ceiling Store Good Samaritan Communities-Brainerd/Pine River Kodiak Investment Management Kurilla Real Estate Legacy Chorale of Greater Minnesota, The Madhatters Community Theatre Minnesota Heritage House Inc./Pequot Lakes Loc. Minnesota Power Nature's Touch Floral & Gift New York Mills Regional Cultural Center Nisswa Tax Service Nor-Son Incorporated Northern PCS Old Wadena Society Rainy Days Bookstore Reif Center, The St. Joseph's Medical Center/Brainerd Medical Ce Staples Area Men's Chorus Staples Motley Area Arts Council The Tree House KCCM Moorhead/Fargo A Center for the Arts Audrey and Dick Kloubec Avis Rent a Car Bemidji Area Chamber of Commerce Bernie's Wines and Liquors Boulger Funeral Home Braaten Cabinets Bursch Travel American Express-2 Celebration of Women Clay County Historical Society Country Insurance & Financial Services Eventide F/M Communiversity Fargo Moorhead Opera Fargo Moorhead Symphony Orchestra Fargo-Moorhead Area Youth Symphonies Harmon Glass Doctor Heritage Hjemkomst Interpretive Center Historic Holmes Theatre, The Hornbacher's Foods Hotel Donaldson ICS Energy Solutions Innovis Health Korsmo Funeral Service Krekelberg & Skonseng, PLLP Life's Footprint Michael J Burns Architects Minnesota Motor Company Moorhead Public Service
    [Show full text]
  • Paulacoopergallery
    P A U L A C O O P E R G A L L E R Y FOR IMMEDIATE RELEASE CLAES OLDENBURG & COOSJE VAN BRUGGEN THINGS AROUND THE HOUSE 534 W 21st Street November 7 – December 19, 2015 Opening reception: November 12, 6 – 8 pm NEW YORK—Things Around the House, an exhibition of works by Claes Oldenburg and Coosje van Bruggen, will be on view at Paula Cooper Gallery from November 7 through December 12. The exhibition includes nearly 100 works from the house and studio where Oldenburg has lived since 1971 and which he shared with his wife and partner Coosje van Bruggen from 1976 until her passing in 2009. By offering an intimate look at works that stayed on with the artists, the exhibition presents a unique view into a creative practice whose end Oldenburg has described as “developing a language of both exterior and interior life, in one expression.” Embracing what he calls “the poetry of everywhere,” Claes Oldenburg reimagines commonplace objects in distorted scale, materiality and hue. His exaggerated forms breathe vitality and tactile lyricism into ubiquitous or overlooked articles. The works on view in Things Around the House render fantastic or unfamiliar subjects that are usually prosaic and mundane. The exhibition also illuminates the artist’s cumulative approach to art making. His engagement with objects through sketches, writings, models and drawings is a constant process over decade- long periods of coexistence. The artist asserts: “Process is what keeps a thing alive, one thing leads to another. One has to do more to it – intensify color, play with material and scale, subject the form to gravity, make it collide with another object, turn it upside down or bury it halfway into the ground - so that it opens up multiple associations.” Claes Oldenburg was born in Stockholm, Sweden, in 1929.
    [Show full text]
  • Siah Armajani: Bridge Builder First Time Exhibition Featuring the Artist's Nearly Half a Century of Bridge Making, with a Spec
    4420 Warwick Blvd. Kansas City, MO 64111 816.753.5784 kemperart.org MEDIA RELEASE Siah Armajani: Bridge Builder First time exhibition featuring the artist’s nearly half a century of bridge making, with a special never before seen selection of work inspired by Kansas City. KANSAS CITY – June 20th, 2016 – Kemper Museum of Contemporary Art is pleased to announce its newest exhibition, Siah Armajani: Bridge Builder featuring work by renown, Iranian-born artist, Siah Armajani (pronounced SEE-ah ARM-a-JAH-nee). Through a series of two and three dimensional works, the exhibition will explore the breadth of the artist’s career, from 1968’s King Post Bridge to the most recent Kansas City Bridge #2, completed in 2016 for this exhibition. Bridge Builder will be on view from September 9, 2016 through January 22, 2017, at the Kemper Museum of Contemporary Art in Kansas City, Missouri. Admission to the exhibition and accompanying programming is free. Based in Minneapolis, Minnesota, Armajani draws on the vernacular architecture of the Midwest, examining the structural and theoretical underpinnings of bridges since the late 1960s. He has worked on a number of high-profile projects throughout his career, including the design for the torch of the 1996 Summer Olympic in Atlanta, the New York Staten Island Tower and Bridge, the Irene Hixon Whitney Bridge in Minneapolis, and the Round Gazebo in Nice, France. His art takes many forms ranging from drawing and sculpture to public projects that spur social engagement. Bridge Builder will be the first-ever exhibition to focus on bridges, a major theme within Armajani’s work alongside the premier of several drawings and sculpture.
    [Show full text]
  • Claes Oldenburg & Coosje Van Bruggen
    Document generated on 09/28/2021 9:46 a.m. Espace Sculpture Claes Oldenburg & Coosje Van Bruggen La sculpture publique, l’architecture et l’urbanisme Claes Oldenburg & Coosje Van Bruggen Public Sculpture, Architecture and Urbanism Éric Valentin Espace architecturé Architectured Space Number 106, Winter 2013–2014 URI: https://id.erudit.org/iderudit/70720ac See table of contents Publisher(s) Le Centre de diffusion 3D ISSN 0821-9222 (print) 1923-2551 (digital) Explore this journal Cite this article Valentin, É. (2013). Claes Oldenburg & Coosje Van Bruggen : la sculpture publique, l’architecture et l’urbanisme / Claes Oldenburg & Coosje Van Bruggen: Public Sculpture, Architecture and Urbanism. Espace Sculpture, (106), 12–18. Tous droits réservés © Le Centre de diffusion 3D, 2013 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ ESPACE ARCHITECTURÉ ARCHITECTURED SPACE Claes OLDENBURG & Coosje VAN BRUGGEN La sculpture publique, l’architecture et l’urbanisme Public Sculpture, Architecture and Urbanism Éric VALENTIN Toutes les sculptures publiques d’Oldenburg et de van Bruggen sont liées All of Claes Oldenburg and Coosje van Bruggen’s public sculptures are à des messages de différentes natures ; mais dans ce texte, c’est leur linked to messages of various sorts; however, in this text, it is their dialogue avec l’urbanisme et l’architecture que l’on souhaite résumer dialogue with urbanism and architecture that we seek to summarize, dans ses grandes lignes à partir de notre livre sur leurs créations1.
    [Show full text]
  • Claes Oldenburg and Coosje Van Bruggen
    CLAES OLDENBURG AND COOSJE VAN BRUGGEN SELECTED BIBLIOGRAPHY BOOKS AND EXHIBITION CATALOGUES 2017 The Art Museum. London: Phaidon, 2017: 386, illustrated. Claes Oldenburg: Shelf Life (exhibition catalogue). Text by the artist. New York: Pace Gallery, 2017. Baum, Kelly, Lucy Bradnock, and Tina Rivers Ryan. Delirious: Art at the Limits of Reason, 1950–1980 (exhibition catalogue). Metropolitan Museum of Art, 2017. Delirious: Art at the Limits of Reason 1950–1980 (exhibition catalogue). Texts by Kelly Baum, Lucy Bradnock and Tina Rivers Ryan. New York: Met Breuer, 2017: pl.79, illustrated. Haywood, Robert E. Allan Kaprow and Claes Oldenburg: art, happenings, and culture politics, 1958-1967. New Haven: Yale University Press, 2017. Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965 (exhibition catalogue). New York and Munich: Grey Art Gallery, New York University; Delmonico Books Prestel, 2017: 128–31, 208–13, illustrated. Martin Z. Margulies Collection, Vol.1. Bologna BO, Italy: Damiani, 2018: 122–124, illustrated. Rosa, Joseph, ed. Victors For Art: Michigan’s Alumni Collectors (exhibition catalogue). Text by Kathryn A. Huss. Michigan: The Regents of the University of Michigan, 2017: 57, illustrated. Claes Oldenburg and Coosje van Bruggen: Selected Bibliography—Books 2 UBS Art Collection: To Art Its Freedom. Text by Mary Rozell. Berlin: Hatje Cantz Verlag CmbH, 2016: 106, illustrated. 2016 “Claes Oldenburg.” In Donald Judd Writings. New York: Judd Foundations, 2016: 180–4. Cohen, John. Cheap Rents…and de Kooning. Text by John Elderfield. Göttingen: Steidl, 2015: 131, illustrated. The Fisher Collection at the San Francisco Museum of Modern Art. San Francisco: San Francisco Museum of Modern Art, 2016: 25–31, illustrated.
    [Show full text]
  • Walker Guided Tour Topics and Themes
    Walker Guided Tour Topics and Themes GUIDED TOUR TOPICS For guided tours, please select your topic preference. (Note maximum number of participants.) Gallery Tour (max. 60) Familiarize yourself with contemporary art by exploring works of art in the Walker’s collection. Sculpture Garden Tour (max. 60) Explore concepts such as shape, scale, space, and texture in one of the country’s largest urban sculpture parks. The Minneapolis Sculpture Garden features more than 40 artworks, including the whimsical Pop Art icon Spoonbridge and Cherry by Claes Oldenburg and Coosje van Bruggen. Architecture of Expansion (max. 60) These tours introduce visitors to the expanded Walker Art Center through an in-depth exploration of its state-of-the-art spaces and the processes used by the architects Herzog & de Meuron for designing the 2005 building. Special Exhibition (max. may vary) Our special exhibition tours focus on a variety of topics and artists. For more information about exhibitions currently on view, click here: http://schools.walkerart.org/exhibitions.wac. Custom Tour (max. may vary) The tour program will work with you to develop a custom tour based on a theme or topic of particular interest to your group. We will contact you to make arrangements after we receive your request. In addition to a specially tailored topic, your tour can be enriched by an Art Lab or food and drink from D’Amico Modern Events (see additional tour components below). Pre-K Gallery Tour (max. 60) Children explore works of art in the galleries by focusing on basic elements such as color, line, shape, and pattern.
    [Show full text]
  • 2013 MNHS Legacy Report (PDF)
    Minnesota History: Building A Legacy JAnuAry 2013 | Report to the Governor and the Legislature on Funding for History Programs and Projects supported by the Legacy Amendment’s Arts and Cultural Heritage Fund Table of Contents Letter from the Minnesota Historical Society Director and CEO . 1 Introduction . 2 Feature Stories on FY12–13 History Programs, Partnerships, Grants and Initiatives Then Now Wow Exhibit . 7 Civil War Commemoration . 9 U .S .-Dakota War of 1862 Commemoration . 10 Statewide History Programs . 12 Minnesota Historical and Cultural Heritage Grants Highlights . 14 Archaeological Surveys . 16 Minnesota Digital Library . 17 FY12–13 ACHF History Appropriations Language . Grants tab FY12–13 Report of Minnesota Historical and Cultural Heritage Grants (Organized by Legislative District) . 19 FY12–13 Report of Statewide History Programs . 57 FY12–13 Report of Statewide History Partnerships . 73 FY12–13 Report of Other Statewide Initiatives Surveys of Historical and Archaeological Sites . 85 Minnesota Digital Library . 86 Civil War Commemoration . 87 Estimated cost of preparing and printing this report (as required by Minn. Stat. § 3.197): $6,413 Upon request this report will be made available in alternate format such as Braille, large print or audio tape. For TTY contact Minnesota Relay Service at 800-627-3529 and ask for the Minnesota Historical Society. For more information or for paper copies of this report contact the Society at: 345 Kellogg Blvd. W., St Paul, MN 55102, 651-259-3000. The 2012 report is available at the Society’s website: legacy.mnhs.org. COVER IMAGE: Kids try plowing at the Oliver H. Kelley Farm in Elk River, June 2012 Letter from the Director and CEO January 15, 2013 As we near the close of the second biennium since the passage of the Legacy Amendment in November 2008, Minnesotans are preserving our past, sharing our state’s stories and connecting to history like never before.
    [Show full text]
  • Claes Oldenburg: Strange Eggs
    Claes Oldenburg: Strange Eggs Rarely displayed collages offer insight into sculptor’s extraordinary take on the everyday On View at the Menil Collection September 20, 2012 – February 3, 2013 Houston, August 28, 2012 – For more than fifty years Claes Oldenburg (b. 1929) has surprised, humored, and disoriented audiences with his unconventional use of media and scale to depict ordinary objects. The latest exhibition at the Menil Collection, Claes Oldenburg: Strange Eggs, will showcase a remarkable group of collages by the Swedish-born American artist. These works, amalgams of commercial advertisements and newspaper and magazine images, are some of Oldenburg’s earliest known pieces and represent a pivotal moment of experimentation in his prolific career. Completed over the course of two years after Oldenburg moved to New York City from Chicago in 1956, the exhibition’s eighteen collages feature self-contained forms that the artist made by seamlessly melding fragments cut from magazines purchased near his apartment on the Lower East Side. While many of the arrangements are unidentifiable, within them some original references remain: a piece of pie, the hind legs of a horse, a tree branch, the creased skin of a clenched fist, the texture of concrete. The process of combining art and everyday life would later define Oldenburg’s work. Born in 1929 in Stockholm, Sweden, Oldenburg grew up in Chicago where his father was Consul General of Sweden. After studying literature and art history at Yale University and later taking classes at the Art Institute of Chicago, Oldenburg moved to New York and eventually became part of a group of artists challenging Abstract Expressionism by returning to “realism,” working with found objects and figurative images.
    [Show full text]