Welcome to Artcetera. Arts-and-entertainment writers and critics post movie news, concert updates, people items, video, photos and more. Share your views. Check it daily. Remain in the know. Contributors: Mary Abbe, Aimee Blanchette, Jon Bream, Tim Campbell, Colin Covert, Laurie Hertzel, Tom Horgen, Neal Justin, Claude Peck, Rohan Preston, Chris Riemenschneider, Graydon Royce, Randy Salas and Kristin Tillotson.
Artist and gallery director Dyani White Hawk Polk with artist Greg Bellanger at All My Relations Gallery; Star Tribune staff photo by Joel Koyama.
Award winning artist and curator Dyani White Hawk Polk has unexpectedly resigned her post as director of All My Relations Gallery (AMRG) in south Minneapolis, effective March 17.
During her four year tenure at AMRG, she combined inclusiveness and administrative savvy with a keen eye for top quality contemporary and traditional American Indian art, the gallery's speciality. Drawing on national contacts, she organized handsome shows of contemporary sculpture, paintings and installations as well as traditional beadwork, birch-bark containers, grass baskets, ledger drawings and jewelry.
Leading AMRG was "an unexpected turn in my career," White Hawk Polk said in an email announcing her plans. It had been "a joy, inspiration, and blessing" to work with the gallery's artists and supporters, she said, but now it was time to "make the leap and transition into a full-time studio practice, chasing my own dream as an artist."
A Sicangu Lakota from Madison, Wisconsin, White Hawk Polk has won awards for her own work at the prestigious Santa Fe Indian Art Market and a 2013-14 fellowship in visual art from the McKnight Foundation. Her paintings deftly incorporate Indian motifs (feathers, moccasin shapes) into modernist designs that have been shown at the Minneapolis College of Art and Design, Bockley Gallery and elsewhere.
After her departure, AMRG's operations will be overseen by Jay Bad Heart Bull, president and CEO of the Native American Community Development Institute (NACDI), and Graci Horne, gallery associate. The gallery is located in a sunny street-level showroom in the headquarters of NACDI at 1414 E. Franklin Av., Minneapolis.
Gallery owner Anita Sue Kolman carries a painting by Patrick Kemal Pryor in their jointly-managed Kolman Pryor Gallery at the Northrup King Building in Northeast Minneapolis. Star Tribune photo by Marlin Levison.
The Northeast Minneapolis Arts District topped a USA Today reader's choice competition to claim the title "Best Art District," beating out nine other unnamed cities with pretentions to the title. Voting was conducted over a four-week period. Swinging Northeast was entered into the competition by Lindsay Pollock, editor in chief of Art in America magazine, and Joe Lewis, an art professor at University of California, Irvine.
A recent cruise through USA Today's crowded website of Reader's Choice categories didn't turn up any other contenders in the "Best Art District" award category. But maybe the site was having an off moment. Who knows?
In any case, there were many other "Best" categories on which dedicated USA Today readers might vote, among them: Best US Water Parks, Best Budget Hotel Brands, Best Birdwatching Sites, Best Breweries, Best National Monument, Best Gluten-Free Baked Goods.
You get the picture. Jump in and tout your favs. Maybe they too can share the glory with the Northeast Minneapolis Arts District.
In two small exhibitions, the University of Minnesota's Weisman Art Museum showcases gifts of 20th century sculpture, prints and drawings from Minneapolis collectors Lillian (Babe) and Julius Davis, and topical sculpture by Hungarian-born emigre Peter Dallos.
The Weisman overlooks the Mississippi River at 333 E. River Road, Minneapolis on the East Bank campus of the University of Minnesota. (10 a.m.- 5 p.m. Tue., Thu., Fri.; 10 a.m.- 8 p.m. Wed.; 11 a.m.- 5 p.m. Sat., Sun.; closed Mondays. Free. 612-625-9494 or www.weisman.umn.edu)
"Acid Rain" by Peter Dallos.
Selections from "The Struggle" series by Peter Dallos: As a child in Hungary, Dallos survived the German occupation, the siege of Budapest and the Holocaust. Then came the repressive post war occupation by the Soviet Union. After the Hungarian revolution in 1956, he escaped and emigrated to the United States where he settled in Chicago. He is now an emeritus professor of neuroscience at Northwestern University.
Only fragments of his improbable and ultimately fortunate life are evident in the small, wall-hung sculptures on display at the Weisman. Part of a series Dallos calls "The Struggle," the polished steel and rough metal objects suggest the tensions between order and chaos, civilization and anarchy, rebirth and environmental degredation that are omnipresent in human society.
An earlier series called "War" more directly alluded to the horrors of W.W. II and the existential alienation that followed. Dallos' entire "War" series is now in the permanent collection of the U.S. Holocaust Memorial Museum in Washington, D. C. (February 14 - March 22, 2015).
"Element Bleu 1" by Jean Dubuffet.
Artful Giving: Lillian (Babe) and Julius Davis: Longtime supporters of both Walker Art Center and the Weisman, the late Babe and Julius Davis were avid collectors of contemporary art as well. Between 1975 and 2013, they gave more than 85 artworks to the Weisman, virtually all of them dating from the post - W.W. II era when they were most deeply engaged in collecting.
Their taste ran to abstract and somewhat conceptual pieces including lithographs for unrealized sculpture projects by Robert Morris and a wall-hung sculpture by French artist Jean Dubuffet made of polyester resin covered with acrylic paint. Dubuffet made it based on doodles he scribbled while talking on the telephone.
About 15 of the Davis gifts are featured in a small show that offers a tidy sample of leading names of the era including Chuck Close, Helen Frankenthaler, Sol LeWitt, Louise Nevelson, Claes Oldenburg, Lucas Samaras, Jonathan Borofsky, Sol LeWitt, Bruce Nauman, George Segal, Brice Marden, James Kielkopf and Takeshi Kawashima. (February 28 - August 9, 2015)
Frank Gehyr's "Glass Fish" sculpture in the Cowles Conservatory at the Minneapolis Sculpture Garden; image provided by Walker Art Center
Art from the Minneapolis Sculpture Garden will be stored or shown at other Twin Cities museums and parks during the garden's $10 million renovation starting in June 2015.
Five of the garden's 40 sculptures, all owned by Walker Art Center, will be loaned to the Minneapolis Institute of Arts, the Weisman Art Museum at the University of Minnesota, or the Gold Medal Park adjacent to theGuthrie Theater near the Mississippi River in downtown Minneapolis. The remainder will be placed in storage during the 18 month renovation.
Three of the loaned sculptures will be transplanted to Gold Medal Park:
1) Brower Hatcher's "Prophecy of the Ancients (1988)," a circle of pillars surmounted by a domed mesh- canopy studded with astrological symbols and glyphs; 2) Mark di Suvero's "Molecule (1977-83)," a wide-legged steel tripod painted bright red; 3) Tony Cragg's "Ordovician Pore (1989)" consisting of metal funnels, rough balls and a bent droplet cascading over the edge of a stone base.
The Minneapolis Institute of Arts will take in Jacques Lipchitz's "Prometheus Strangling the Vulture II (1944/1953), and the Weisman Art Museum will house Frank Gehry's "Standing Glass Fish (1986)."
The Gehry sculpture, which is presently the centerpiece of the Sculpture Garden's Cowles Conservatory and palm house, is expected to be displayed inside the Weisman whose building was designed by the Los Angeles architect.
The loans are renewable annually for up to five years, after which the agreements will be reevaulated.
The Minnesota legislature has approved $8.5 million to renovate and upgrade the 11 acre garden's infrastructure including irrigation, drainage, walkways, retaining walls and other features. The Mississippi Watershed Management Organization chipped in an additional up to $1.5 million for storm-water-management-systems on the site.
The renovation money went to the Minneapolis Park and Recreation Board which owns the land on which the park sits. Walker Art Center, the adjacent contemporary art organization, owns the sculptures and will pay for their storage, maintenance and relocation costs in conjunction with the temporary hosts of the art.
Fashionistas attended a preview of the Italian Style show at the Minneapolis Institute of Arts. Photo by Bre McGee.
The Minneapolis Institute of Arts plans to stay open until 9 p.m. on Friday nights starting February 20. It has been open until 9 p.m. on Thursday evenings for years, so the addition of Friday doubles its evening availability. It is now open until 5 p.m. on Fridays.
Admission is always free.
In the past year the museum jazzed up its Thursday evening programming by featuring local bands, craft beer, games, retro fun, and exhibition-themed events like a fashion show that accompanied the recent "Italian Style," exhibition of post WWII Italian clothing on loan from the Victoria and Albert Museum in London.
"Thursday's programming will remain lively and very participatory while Fridays will have more of an art opening theme," said Anne-Marie Wagener, the museum's director of press and public relations.
Hours starting February 20: 10 a.m.-5 p.m. Tuesdays, Wednesdays, Saturdays; 10 a.m.-9 p.m. Thursdays, Fridays; 11 a.m.-5 p.m. Sundays. Closed Mondays. Minneapolis Institute of Arts, 2400 3rd Av. S. 612-870-3000 or www.artsmia.org
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