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Alexa Horochowski's 2014 installation at The Soap Factory. Star Tribune photo by Tom Sweeney
A lot has changed in the 25 years since The Soap Factory art complex started life as No Name Exhibitions.The popoular outpost for Halloween fun and experimental art is celebrating its quarter century anniversary with a benefit party from 6 p.m. to midnight, Saturday, Nov. 15 in its cavernous, brick-and-timber warehouse, a former soap factory, at 514 S.E. Second St., Minneapolis.
The Factory's presence there has been a spur to development in what is now a fast-gentrifying neighborhood near the Mississippi River. Back in 1989, what is now a rough-hew home to avant garde art was still a functioning factory.
"There have been a lot of changes in this building," said Ben Heywood, executive director of The Soap Factory. "Back then they were literally melting down animals and turning them into fat and then throwing lye into it and turning it into soap."
Back then a group of local artists banded together and started No Name Exhibitions in another quasi derelict building known as the Skunk House. On the opposite side of the Mississippi and just west of Hennepin Av., the Skunk House was subsequently acquired by the Federal Reserve bank to house its air conditioning plant, Heywood said. No Name then moved into the bottling house of the former Grain Belt Brewery and from there to the Soap Factory in 1995.
"Our exhibition space went from 600 square feet to 50,000 square feet when we moved here, so that's a big change," Heywood said.
The Factory building is still pretty raw, but it too has changed over the years. Now, for example, it has bathrooms. And in January it will add heating and air conditioning for the basement and first floor. Previously the place closed in winter months when there was no heat.
Other improvements include the addition of a permanent staff, rather than volunteers who ran the place until 2002. With staff came a year-round exhibition and performance program. And the ever-popular Haunted Basement Halloween shindig. And now the 25th anniversary party.
Billed as a "day of citywide fun," the anniversary committee may have overpromised a bit. There won't be hot air balloons or marching bands on Nicollet Mall, much as Heywood would love such stuff. By "city-wide" they mean art impressario and cultural gadabout Andy Sturdevant leading a Soap Factory History tour starting at 3 p.m. Saturday in a vintage bus that will roll past previous Factory locales.
"Andy is a city-wide celebration in himself," Heywood explained. Indeed.
The Factory invited 9,000 people to the shindig and expects a good turn out.
"We can hold 700 people on the first floor and we should have a full house," Heywood said.
Party goers can expect Beatrix* JAR and Solid Gold to kick off the event with DJs Diarrhea (Jackie Beckey) and Christopher Saint Christopher (Christopher Allen) commanding the dance floor and emcee Ian Rans running the show.
There will be complimentary cocktails by Bittercube, gourmet nibbles from Fabulous Catering and Common Roots catering, small plates from Tilia, Heyday, Haute Dish, Third Bird, and the University of MN College of Design. Plus art by Aaron Dysart and Andy DuCett. Performances by artist Jaime Carrera and theater company Live Action Set. Plus an auction, of course.
(Party 6 p.m. to midnight, Nov, 15, tickets $50 to $2,000. The Soap Factory, 514 Second St. S.E., Mpls. For tickets: www.soapfactory.org)
Myron Kunin, Star Tribune file photo
Sotheby's will auction 164 pieces from the African art collection of Minneapolis hair-salon magnate Myron Kunin at 10 a.m. November 11 in New York City.
In a video "In Pursuit of Beauty: The Myron Kunin Collection of African Art," prepared by Sotheby's and Alexandre Gallery, art dealers from Paris, New York and elsewhere describe Kunin's African collection as among the world's best. Objects to be auctioned range from a Baule bronze turtle from the Ivory Coast that's estimated to sell for between $2,000 and $3,000 (Lot. # 38) to a Senufo Female Statue (Lot #48) for which the estimated price is available "upon request." Based on the prices of other top lots, the latter estimate is most likely auction-code for more than $2 million.
Other high-end pieces include a Kongo-Yombe carving of a maternity group (Lot #95) estimated at $1.5 to $2 million; a Ngbaka statue (Lot # 119) estimated at $1.2 million to $1.8 million; and a Songye Janus-head sculpture (Lot #141) estimated to sell for between $1 million and $1.5 million.
In the Twin Cities, where Kunin was a long time supporter of the Minneapolis Institute of Arts, he is best known for his collection of early 20th century American art, portions of which have often been loaned to the museum. He also provided money for the Regis Center for Art at the University of Minnesota and funded a lecture and exhibition program at the Northern Clay Center.
Kunin's fortune derived from the Regis Corporation, a hair salon business started by his father in the 1920s which Myron subsequently bought and built into a $2.7 billion business with 9,763 salons in the United States, England and France. Or, as the Sotheby's video describes it, "the world's first billion dollar hair care business."
A life-long and passionate art collector, Kunin (1928 - 2013) was a modest guy with an exceedingly shrewd and highly educated eye for art. He never paid the least bit of attention to what was fashionable or flashy, but instead followed his instinct and heart. Often that led him to acquire art that was currently out of vogue and therefore less pricey. But he was equally willing to pay top dollar when a rare and splendid piece was available. One of the dealers recalled that you never needed to sign a contract when you did a deal with Myron Kunin; he was very much a handshake kind of guy.
The Sotheby's experts describe Kunin's African collection as his second most important after his holdings of early 20th century American art which range from paintings by Georgia O'Keeffe to Guy Pene Du Bois and Gerald Murphy. He also occasionally dipped into Old Masters and 19th century British paintings.
Ojibwe artist Delina White who specializes in traditonal beadwork.
Four artist Midwestern American Indian artists have received fellowships worth up to $20,000 each from the Native Arts and Cultures Foundation (NACF), a non-profit organization based in Vancouver, Washington.
Winners of the NACF Regional Artist Fellowships are: Kevin Pourier, a carver of buffalo horn ornaments that range from sculptures to eyeglass frames. A member of the Oglala Sioux Tribe, he is a Lakota from Scenic, S.D. Jennifer Stevens, a painter, potter and vocalist from Green Bay, Wisconsin who is a member of the Oneida Tribe. Delina White, an expert in traditional beadwork who lives in Deer River, MN and is a member of the Leech Lake Band of Ojibwe. Star Wallowing Bull, an Ojibwe/Arapaho who is a member of the White Earth Band of Chippewa. He lives in Moorhead, MN and is known for his pop-style paintings and drawings of American Indian subjects and motifs. Wallowing Bull's work is regularly shown at Bockley Gallery in Minneapolis.
NACF is a national nonprofit that supports the appreciation and perpetuation of American Indian, Alaska Native and Native Hawaiian arts and cultures. With money from Native Nations, arts patrons and foundations, NACF has provided nearly $1.7 million in assistance to 89 native artists and organizations in 23 states.
The NACF Regional Artist Fellowship Program is an annual award open to artists in Minnesota, Wisconsin, North and South Dakota who are enrolled members of one of the 37 tribes located in the region and who work in visual or traditional art forms. The awards are made possible by support from the Margaret A. Cargill Foundation.
In related news, the Margaret A. Cargill Foundation also supported a new Native American Artist-in-Residence program at the Minnesota Historical Society (MNHS). Three artists were picked in August, each of whom will be paid during a six month residency, to study collections at the MNHS and elsewhere that are related to their work. They will also develop programs to share their studies within their home communities. The artists are Jessica Gokey, a bead work artist who lives in Wisconsin's Lac Courte Oreilles community; Pat Kruse, a birch-bark artist from Mille Lacs, MN; and Gwen Westerman, a textile artist from Good Thunder, MN who is of Sisseton Wahpeton Oyate heritage.
Dr. Michael Adams, son of photographer Ansel Adams
Ansel Adams' son, Dr. Michael Adams, will discuss his Dad's photography and life at Winona State University at 1 p.m. Friday, Oct. 24. The talk is presented in conjunction with "Classic Images: Ansel Adams Photography," an exhibit at the Minnesota Marine Art Museum (MMAM) in Winona. The talk is free but is expected to be so popular that its location has been shifted from a small hall to the main stage of WSU's Performing Arts Center. Parking should be available in the Gold Lot at the conrner of Mark and Main Streets.
Dr. Adams will recount his father's life and career starting with his childhood, obsessions with piano and photography, his climbing and camping in Yosemite, and the background of "Moonrise, Hernandez," one of his most famous photos.
Michael Adams is a retired physician and retired major general in the U.S. Air Force.
The talk is co-sponsored by the Marine Art Museum where more than 70 famous Adams images are on view through Jan. 11. All of the photos were printed by Adams himself and include such familiar and iconic images as "Mount McKinley and Wonder Lake," and the Half Dome series.
Ansel Adams, "Mount McKinley and Wonder Lake, Denali National Park and Preserve, Alaska," 1947
The Minnesota Marine Art Museum is located on banks of the Mississippi River at 800 Riverview Drive, Winona, 507-474-6626 or www.mmam.org.
Joan Rothfuss, author of "Topless Cellist: the Improbable Life of Chralotte Moorman."
Forget Pablo Casals and Yo-Yo Ma. Sure they were, and are, brilliant cellists, but those guys kept their clothes on. For sheer spectacle, madcap antics,exhibitionism and a generous dollop of cello skills, you want Julliard-trained Charlotte Moorman, a gal from Little Rock, AK who grabbed the avant garde by the scruff of its self-absorbed neck and -- in the 1960s and '70 -- dragged it onto the public glare of television variety and talk shows (Mike Douglas, Johnny Carson, Merv Griffin), shopping malls and prisons, and to New York City's Central Park, Shea Stadium and Grand Central Terminal.
In former Walker Art Center curator Joan Rothfuss, Moorman has found her perfect biographer. Rothfuss's "Topless Cellist: The Improbable Life of Charlotte Moorman," (MIT Press, $34.95) is fast paced, thoroughly researched, amusing, witty, compassionate, deeply informed and filled with jaw-dropping stories. Rothfuss will talk about Moorman and sign copies of the book at 2 p.m. October 5 in the Walker Cinema, 1750 Hennepin Av., Minneapolis. Free. 612-375-7600 or www.walkerart.org
Moorman played the cello while suspended from balloons floating over Australia's Sydney Opera House, performed on a cello made of ice, and often did her shows topless, in the buff, wrapped in cellophane, or wearing the "TV Bra," a contraption that sported two mini-televisions, one for each breast, in plexiglass boxes attached to transparent straps.
In February 1967 she was arrested (during a topless performance), tried and, in a sensationalized trial that generated huge publicity, convicted for violating "community standards of decency." Though humiliated by the incident, she embraced the "Topless Cellist" nickname that it spawned.
"TV Bra," was designed and built by Moorman's longtime companion and fellow avant-gardist Nam June Paik and is sometimes blamed for the breast cancer from which she died in 1991, age 57. To test that assumption, Rothfuss had the bra checked by a physicist who measured the radiation it emitted and concluded that it was highly unlikely that Moorman would have gotten cancer as a result of her performances while wearing it. "TV Bra" is now in the collection of Walker Art Center along with Paik's "TV Cello" and other Moorman/Paik memorabilia.
As a friend, colleague, pal and sometimes irritant to many contemporary artists, Moorman is remembered in Rothfuss' book by Yoko Ono, Jasper Johns, Allan Kaprow, and others too numerous to mention.
"Topless Cellist" is a brilliant portrait of a true original and the chaotic, confrontational, destructive, absurd era in which she lived. It's also a must read for anyone who was flirting with Artland back then, or wishes they'd been on the scene. A portrait of the times as much as the woman, "Topless Cellist," gives a full measure of a life lived with "extreme passion, extreme sex, extreme beauty."
RIP Charlotte Moorman, 1933-1991
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