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.
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.
Frank Gehry guest house in Owatonna, 2011 photo by Mike Ekern for University of St. Thomas
After being moved from Lake Minnetonka to Owatonna, the famous $4.5 million guest house Frank Gehry designed for Mike and Penny Winton will be auctioned May 19 in Chicago.
The house was given to St. Thomas by real estate developer Kirt Woodhouse who had purchased it from the Wintons in 2001. St. Thomas had the 2,300 square foot house cut into eight pieces and moved 110 miles south to Owatonna where it was reassembled and repurposed as part of a conference center. The move took 18 months and cost an undisclosed sum estimated to be in the high six-figures.
When it reopened in 2011, Gehry attended the ceremony and declared the relocated structure to be "93.6 percent right."
In February 2014, the University announced plans to sell the Daniel C. Gainey Conference Center because it was unable to operate it "in a financially sustainable manner." Last summer the University sold the Owatonna property to Meridian Behavioral Health Services, a New Brighton-based company that has converted it into an addiction treatment center.
The University retained titled to the Winton house, however, and promised to move it by August 2016. It considered various options for the structure including disassembling and storing it, turning it over to an arts or cultural organization, or moving it back to the Twin Cities where St. Thomas has a business school in downtown Minneapolis and a main campus in St. Paul.
Ultimately those options proved unfeasible. St. Thomas rejected the building "because we are beginning a campus master planning process and could not commit to a specific site," said architecture professor Victoria Young, who chaired the relocation committee.
In late February the St. Thomas board of directors voted to sell the house. Details of its contract with the auction firm were not available, and Wright officials conld not be reached Monday.
Originally the guest house was part of an 11 acre parcel overlooking Lake Minnetonka that included a classic brick-and-glass house designed in 1952 by modernist master Philip Johnson. Prominent Twin Cities art patrons, the Wintons commissioned the guest house from Los Angeles architect Frank Gehry in 1987. His design was a novelty at the time -- a cluster of sculptural shapes that nestle together like a little village consisting of a tall metal-covered cone, a limestone clad block, a brick cube, a garage made of Finnish plywood, and an aluminum-covered cube. Each contained a room that served a special function including three-small bedrooms and a "living tower."
In many ways the guest house was the more famous of the two structures as it was a pioneering design whose eccentric shapes were acclaimed as break-throughs in living patterns. It won House and Garden magazine's design award for 1987. Coming hard on the heels of a popular 1986 traveling retrospective of Gehry's work organized by Walker Art Center, the house helped propel the Los Angeles-based architect to international fame.
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)
Andrew Blauvelt, Walker Art Center design curator. Star Tribune photo by Tom Wallace
Walker Art Center's "Insights 2015 Design Lecture Series" will feature talks by top talent from Minneapolis, Los Angeles, New York, Amsterdam and Liverpool, running March 3 through March 31. The opening talk March 3, by the Walker's own design guru Andrew Blauvelt, is sold out but will be available for viewing as an archived webcast on the Walker Channel. Later talks will also be available on the Walker Channel.
Cosponsored by AIGA Minnesota, the series is augmented with an exhibition"MGDA/AIGA Minnesota: A History Exhibit about the history of the AIGA Minnesota chapter on the occasion of the AIGA's centennial.
Lectures 7 p.m. Tuesdays, March 3, 10, 17, 24, 31. Tickets for individual lectures are $24; a series ticket providing admission to all five talks is $100. Walker Art Center, 1750 Hennepin Av., Minneapolis. For ticket information call 612-375-7600 or go to www.walkerart.org.
Lectures and events will showcase:
March 3: "Minnesota Design: A Celebration" : Andrew Blauvelt, Senior Curator of Design, Research, and Publishing at Walker Art Center will discuss the history of innovative design in Minnesota which ranges from the Honeycrisp apple to the sticky note and the Prince logo. Blauvelt will introduce the Walker's new web-based virtual Minnesota design collection.
March 10: "Technology and Art": Los Angeles-based April Greiman will address "2-D thinking in a 3-D world." A pioneer in desk-top publishing and design, artist-designer Greiman has a long association with the Walker starting with her production of a 1986 issue of the center's influential "Design Quarterly." Known for her early embrace of digital technology, she was art director with Jayme Odgers of Wet Magazine, and brought postmodernist sass to a stripped-down sans-serif world.
March 17: "K-HOLE": A five-member New York based collective, K-HOLE seems to be all-things to all design-savvy people. A shape-shifting entity, it does consulting and web development, makes art, turns out a publication, has a hand in fashion, dabbles in advertising or mock advertising, and appropriates the lingo of trend-forecasting. It's been credited with the invention of such terms as "Youth Mode," "Brand Anxiety Matrix," and "Normcore." Plus the K-HOLE crowd has consulted for private equity and generated its own line of deodorant. Why not?
March 24: Bart de Baets, Amsterdam: Described as a "fierce formalist" and "unrelenting experimenter," this Netherlandish talent works in art, music, performance and film including clubs, fanzines, posters and political statements. Plus he teaches graphic design at the Gerrit Rietveld Academy, Amsterdam, and the Royal Academy of Arts, the Hague.
March 31: "Design Fiction" : Liverpool designer James Langdon will go back to basics and focus on the storytelling and emotional pull that are essential to the success of design.
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.
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