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Architect Julie Snow. Photo provided by AIA Minnesota
Modernist architect Julie Snow has won the 2014 Gold Medal from AIA Minnesota, a professional association. The award is for "a lifetime of distinguished achievement" and significant contributions to the field.
Snow and colleague Matt Kreilich run the Minneapolis-based firm Snow Kreilich Architects. She is equally adept at transforming and updating outmoded structures for new uses, and start-from-scratch designs for homes, offices and government buildings. Typically she details her sleek geometric structures with glass walls and warm wood surfaces defined by narrow bands of metal.
Recent projects range from converting a shabby 1960s food distribution center in Minneapolis into a stylish headquarters for KNOCK, Inc., a design and marketing firm, to designing a handsome U.S. Customs and Border Protection facility in Warroad, MN. One of her most high profile Minneapolis projects was the 2004 conversion of a Spanish Revival Congregational Church into the Museum of Russian Art, a transformation that created a spacious two story gallery from the former nave and intimate galleries in the basement. She has also designed houses in the Twin Cities and vacation homes in Northern Minnesota.
"Her graceful modernism -- from elegant cantilevered spaces in oceanfront houses to the elegant rooflines of U.S. border stations -- achieves simplicity that only comes from the highest rigor in design and attention to detail," said Tom Hysell, AIA Minnesota president, in a statement.
A graduate of the University of Colorado, Snow worked for various Minneapolis firms including HGA before starting her own practice while teaching at the College of Architecture at the University of Minnesota.
Previously her firm also won, among others, the AIA Honor Award, Progressive Architecture Design Award, and the Chicago Athenaeum's American and International Architecture Award,
"Within a rigorous underpinning, she and her studio make the marvelous happen," said the Amercan Academy of Arts and Letters in presenting her with its prestigious architecture award. "She is a ballerina who can dance in work boots."
The Oslund and Associates landscape architecture firm, in association with Snow Kreilich Architects, is expected to be picked for a $10 million reconstruction of the Minneapolis Sculpture Gardenand renovation of the Cowles Conservatory.
Money for the project came from the Minnesota State Legislature which appropriated $8.5 million in state bonding funds in May 2014, and from the Mississippi Watershed Management Organization (MWMO) which is providing up to $1.5 million for new stormwater management systems.
The 11 acre Sculpture Garden, sited across the street from Walker Art Center near downtown Minneapolis, is built on former marshland owned by the Minneapolis Park and Recreation Board (MPRB). The Sculpture Garden, designed by Edward Larrabee Barnes, opened in 1988 and hosts 45 sculptures that are owned by the Walker.
The Oslund team was chosen from three finalists. The team will be recommended to a committee of the Minneapolis Park and Recreation Board for action on August 20 and, if approved there, to the full MPRB for action on September 3. If approved by the MPRB, as expected in September, the team will begin getting input from community meetings starting in October. Designs will be drafted over the winter, and construction should start in summer 2015.
The project will include repair or replacement of "deteriorated and inadequate infrastructure," the MPRB said in a statement. Among those items will be irrigation, drainage and stormwater systems, walkways and retaining walls.
The garden and conservatory will be closed throughout construction which is scheduled to be finished in fall 2016.
While immersive, site-specific dance-theater has been popular in New York and elsewhere for several years, as evidenced by such long-running shows as "Sleep No More" by Punchdrunk Theater, it is more rarely seen in the Twin Cities.
In "KOM HIT!" Audience members, who are encouraged to wear stick-on moustaches a la Strindberg, may wander freely from room to room, up staircases and into hallways. You may be invited into a room for a solo performance by a singer playing electric guitar, or witness a thrashing dancer in a "mad scene" through the window of a what looks like a walk-in closet.
Here a woman gazes at her reflection in a mirror, there a teenaged girl plays electric bass with an angel-wing-wearing guy on the accordion. Feathers drop into the foyer from above. A sad creature writhes alone on a bare wood floor.
The troupe numbers more than 14 performers, but co-creators Sally Rousse and Noah Bremer are showcased in certain "episodes," including a group scene in the American Swedish Institute's top floor that involves posing for photographs and passing through a large picture frame. Well-known Ballet of the Dolls dancer Stephanie Fellner gets a lot to do, and does it well. In the end, however, the piece is more about mood and movement, perhaps the ephemeral nature of souls and old houses, than it is a coherent narrative.
See "KOM HIT!" at 6 and 7:30 p.m. on June 26 and July 1, 3, 8 and 10. $20, 612-871-43907, or go here.
The performances are timed to the opening of a terrific small photo show in the new wing at ASI. Turns out old August S. was both a fashion hound and a fan of selfies (well before the term came into vogue, and almost at the dawn of photography itself). The photos of Strindberg come from Fotografiska, Sweden's preeminent photo museum.
Cultural preservation expert Cori Wegener
With the George Clooney film "Monuments Men" now in theaters, the topic of cultural preservation in war zones and other disaster areas (manmade or natural) is a hot topic. The Clooney film tracks a group of art historians, restorers and aesthetes charged with saving cultural treasures in Europe, Japan and elsewhere during WWII.
The need for such skills remains, especially in the Middle East which is about equally rich in archeological artifacts and violent conflicts. Former Minneapolis Institute of Arts assistant curator Cori Wegener, a U.S. army vet, was an "Arts, Monuments, and Archives Officer" stationed in Iraq for 11 months during 2003-04 following the looting of the national museum and other cultural repositories there. She now bringsl that experience to bear as a cultural heritage preservation officer in the Office of the Undersecretary for History, Art and Culture at the Smthsonian Institution in Washington, D. C. A major in the U.S. Army Reserves, she retired from the service in 2004 after 21 years.
Wegener will talk about her experiences at 6 p.m. Friday, Feb. 21 in the O'Shaughnessy Educational Center Auditorium, 2115 Summit Av., University of St. Thomas campus, St. Paul. The event is free. For accessibility information call 651-962-6315.
Vergne in a Thomas Hirschhorn 2006 installation at the Walker. Star Tribune staff photo by Tom Wallace.
Philippe Vergne, who was curator and later Deptuy Director and Chief Curator at Walker Art Center, has been picked as director of the Museum of Contemporary Art, Los Angeles. He follows Jeffrey Deitch, a former New York art dealer, whose controversial leadership of MOCA ended with his resignation last September after three years on the job.
The 35 year old museum in downtown Los Angeles has struggled financially in recent years as it tried to manage three sites and to develop an artistic vision that would please artists and excite support from wealthy collectors and potential donors. Within the past year board members raised $100 million to shore up an endowment that had dropped to $6 million in the 2008 financial crisis. The money is expected to produce income of at least $5 million annually to support operations.
Vergne,47, is fondly remembered in Minneapolis for his indelible French accent and his venturesome exhibitions which included more than 25 international shows including solo show and installations by Yves Klein, Thomas Hirschhorn, Huang Yong Ping and Kara Walker.
His decade long association with the Walker (1998 - 2007) was briefly interrupted by a return to his native France to run the private Francois Pinault Foundation in Paris. When the foundation's namesake mogul decided to relocate the foundation to Venice, Vergne in 2005 returned to the Walker as Deptuy Director and Chief Curator.
In 2008 he moved to New York to head the Dia Art Foundation which focuses on massive installations, conceptual, and earth-art primarily by mid-20th century Americans. He is credited with strengthening Dia's board of directors, consolidating its operations, and developing long range plans to stabilize its finances and artistic ambitions.
Artists have been deeply involved with MOCA since its founding in 1979 and their vociferous criticism of Deitch as overly commercial contributed to his departure. Conceptualist John Baldessari heartily endorsed Vergne's selection, saying in a statement issued by the museum, "I am 100% excited that Philippe Vergne will be the new director of MOCA. MOCA is very fortunate. I think it's a perfect marriage."
Other artists who touted Vergne in the museum's statement include Barbara Kruger who cited his "intelligence, vision, and ambition to lead MOCA forward;" Catherine Opie who declared herself "personally thrilled;" and Ed Ruscha who dubbed him "the most artist friendly and at the same time the most community friendly" candidate.
Richard Koshalek, a MOCA director in the 1980s, told the New York Times that, "The most important challenge for the new director is to raise the standard of expectations of the museum within this community and beyond, and that means new, original ideas for the future. If you don't raise expectations in every sense -- in terms of leadership, programs and such -- you will not have the chance to raise the funding needed for the museum to sustain itself programmatically and operationally going forward."
Koshalek, who began his career as a Walker curator in the 1970s, recently returned to L.A. after running the Hirshhorn Museum and Sculpture Garden in Washington, D. C. for several years. In one of those small-world, musical-chairs coincidences endemic in the art community, the Walker's current director Olga Viso preceded Koshalek as director of the Hirshhorn.
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