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, 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.
Heads up art fans. Walker Art Center will raise adult admission charges to $14, from $12, on March 14, coinciding with the opening of a show of Edward Hopper's drawings and paintings. Costs for seniors 65 and over will rise to $12, from $10, and for students with identification to $9, from $8. The previous charges were in effect since November 2012.
Admission to the Walker will still be free to everyone on Thursday evenings from 5 p.m. - 9 p.m. and on the first Saturday of each month.
"The adult admission of $14 is modest when compared to $20-$25 for other local museums and cultural institutions," said Ryan French, director of marketing and public relations in an email.
The Walker's general admission charge is the highest among metro area art museums. Admission to the Minneapolis Institute of Arts is free, although the museum frequently charges for special exhibitions like the current "Matisse" show for which tickets are $16 weekdays, $20 weekends. The Museum of Russian Art charges $9 admission. Both the Weisman Art Museum and the Minnesota Museum of American Art are free.
Between 60 and 65 percent of Walker visitors enter the galleries free, French said, because they come on free Thursdays or Saturdays or they use their ticket stubs for gallery access. Tickets purchased for films, performances or mini-golf games also admit visitors into the museum's exhibition galleries.
In the 2013 fiscal year, that free gallery admission would have amounted to about 160,000 people, or roughly 60 percent of the Walker's 264,244 visitors.
The museum's 6,400 members also get in free as do kids under age 18.
Admission charges at the Walker bring in between $350,000 and $450,000 annually, money that is used to help fund the institution's mission and programs, said French. The museum's finances are stable and there is no shortfall in the annual budget which was $19.2 million last year.
"The Walker is proud of its fiscal discipline having balanced its budget for 32 consecutive years," French stated. "Like other well-managed non-profits, we examine revenues and expenses regularly to make sure we're stewarding our resources responsibly."
Photo: Roy Lichtenstein sculpture returns to Walker Art Center in December, 2013. Star Tribune photo by Bruce Bisping.
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.
Fionn Meade @ Guillermo Riveros
Walker Art Center has hired two new curators including a Senior Curator of Cross-Disciplinary Platforms, a new post designed to reflect the center's focus on artists who work in many fields ranging from film, video and music to dance and such stationary visual arts as painting, printmaking or photography. That post will be filled by Fionn Meade starting May 5.
Meade is presently a curator, writer and faculty member at the Center for Curatorial Studies at Bard College and Columbia University in New York City. His expertise is in film, performance and museum practice. He will also be Interim Head of the Walker's Visual Arts Department while a search continues for someone to replace Chief Curator Darsie Alexander who is leaving to become executive director of the Katonah Museum of Art in suburban New York City.
Meade's first task will be to oversee the presentation of Radical Presence, an exhibition about black performance in visual art from the 1960s to the present. One of his future shows will focus on the work of visual artists who collaborated with choreographer Merce Cunningham whose archive the Walker owns.
He previously worked as a curator at the Sculpture Center in New York City and at the Henry Art Gallery in Seattle. He has a M.A. degree in creative writing from Columbia and a M.A. from the Center for Curatorial Studies at Bard.
Isla Leaver-Yap, photo provided by Walker Art Center
The second appointee is Isla Leaver-Yap who will take the new post of Bentson Visiting Film Scholar starting March 3. Presently living in Glasgow, Scotland she is expected to do research on the Walker's Ruben/Bentson Film and Video Collection which has a high concentration of avant garde films dated from 1943 - 1985. She will report to Meade but also work closely with Sheryl Mousley, the Walker's film curator.
Leaver-Yap has extensive experience with film groups in London and New York. She has an MA in art history and English and a MSc in Art History Research from the University of Edinburg, Scotland.
Purchased last year by the Minneapolis Institute of Arts, the 1505 terracotta bust of Saint John the Baptist (above) by Benedetto da Rovezzano was rescued by the "Monuments Men" in 1945 after having been looted by the Nazis.
It is among nine artworks in the museum's collection that will be spotlit in a self-guided "Monuments Men" tour of the museum's collection available Feb. 3. The tour coincides with the February 7 release of the Monuments Men film about a team of art historians, conservators and museum directors whom President Franklin Roosevelt sent into Germany to find and safeguard thousands of paintings, sculpture and priceless artifacts that the Nazis had confiscated from museums and private collections. Many of the artworks were destined for a grandiose museum that Hitler intended to build in celebration of his conquests. Hidden in caves, saltmines, churches, castles and other repositories throughout German-held territories, the art was in danger of theft, bombardments and further looting as the Nazi regime collapsed.
The film, starring George Clooney as George Stout and Matt Damon as James Rorimer, is based on Robert M Edsel's terrific book about the intellectuals and aesthetes who risked their lives to save European culture and return priceless objects to their rightful owners.
Cate Blanchett plays Rose Valland, a clever, multi-lingual French woman who worked quietly at the Jeu de Paume, the Paris museum from which the Nazi's dispatched stolen and confiscated artworks to Germany. Risking her own life, she clandestinely copied the Nazi's art-transport records and gave them to the French resistance which eventually got them to the Monuments, Fine Arts and Archives Section, as the Monuments Men were officially known.
Clooney's character, George Stout, was in reality an art conservator who later directed the Isabella Steward Gardner Museum in Boston. After the war, Damon's character, James Rorimer, returned to New York where he headed the Metropolitan Museum of Art from 1955 until his death in 1966.
Other artworks on the Minneapolis museum's tour include paintings by Pierre-Auguste Renoir, Johannes Lingelbach, Ernst Ludwig Kirchner, Lyonel Feininger, Willem de Poorter, and Pierre-Paul Prud'hon; a statue by Adam Lenckhardt, and a dreidel "with a remarkable story of survival."
Two former Monuments Men served on the Minneapolis museum's staff: Richard Davis (1917-1985) was a curator at the museum from 1946 - 1956, and director from '56 to 1959. A passionate collector, Davis is remembered for boosting the museum's collection of 20th century and contemporary art and, more controversially, for selling-off art that was not then fashionable in order to pay for the new purchases. As a member of the U.S. Naval Reserves during WWII he was first a diplomatic courier for the Department of State and later was posted to Japan where he helped track down and return art that the Japanese had looted from occupied countries.
The MIA's second "Monuments Man" was Harry Dobson Miller Grier (1914-1972), an architect-archeologist who had worked at the Met in New York prior to WWII. Taking leave from the museum he enlisted in the U.S. Army, participated in the Normandy invasion, and was acting chief of the Berlin bureau of the Monuments Men from 1945 - 46. He was assistant director of the MIA from 1946 to 1951 when he returned to New York to work at the Frick Collection, serving as director there from 1964 until his death in 1972.
The sort of rocking art-punk event we’re accustomed to seeing at Walker Art Center, indie-rock heroine Kim Gordon of Sonic Youth fame will bring her new music project Body/Head to the other big museum in town, the Minneapolis Institute of Arts, for a Feb. 27 concert. Her guitar-driven duo with Bill Nace will perform in the MIA’s 600-capacity Reception Hall, where Dessa also recently performed. Tickets ($20) go on sale Tuesday at 10 a.m. via ArtsMIA.org.
Following recent appearances at New York’s Museum of Modern Art and Detroit’s Museum of Contemporary Art, Body/Head was picked to kick off a new series called Sound.Art.MIA, a pet project of contemporary art curator (and former Walker staffer) Elizabeth Armstrong. Gordon reportedly requested local banjo experimentalist Paul Metzger to open her first Twin Cities gig since the 2011 break-up of Sonic Youth.
Body/Head's experimental, frayed debut, "Coming Apart," came out in September on Matador Records. This Pitchfork.tv video is a good teaser of what to expect of their live show.
|Books (192)||Architecture (55)|
|Movies (187)||Music (2589)|
|Classical (237)||Theater (616)|
|Culture (296)||Minnesota History (30)|
|Tickets (375)||People (695)|
|Style (11)||Holidays (17)|
|Openings + closings (53)||Awards (231)|
|Behind the scenes (803)||Book news (107)|
|Casting news (70)||Celebrities (332)|
|Clubs (95)||Concert news (867)|
|Dance (130)||Design + Architechture (53)|
|Funding and grants (53)||Galleries (78)|
|Late-night TV (36)||Local TV and radio (186)|
|Minnesota artists (269)||Minnesota authors (88)|
|Minnesota musicians (990)||Museums (142)|
|Orchestras (110)||Red hot (60)|
|Seen elsewhere: Neat stuff (117)||Theaters (121)|
|Culture wars (28)||Entertainment (4)|
|Movies (243)||Television (463)|
|Art (267)||Photography (65)|
|Nightlife (238)||Comedy (1)|
|SXSW music festival (62)||Author events (1)|