Permanent Collection

Love Affairs: The Tale of Genji gallery rotations part 2

 Love Affairs: The Tale of Genji in Japanese Art is going to have Rotation 2. Here are training materials for the Rotation:

JKA Docent Training Winter 2018 Genji Rotation 2

UPDATE: Message from Curator Aaron Rio, on 11/28/18:

Dear docents and guides,

I hope you have been enjoying “Love Affairs: The Tale of Genji in Japanese Art” and have had a chance to review the packet of information for part 2 of this exhibition, which opens this Saturday. For reasons that could not be avoided, the following two works from part 1 will stay on view for the duration of the exhibition. Both have been very popular and well utilized on tours, so I am sure this will make some of you very happy.

Gallery 253, 2013.29.14.1-2, Scenes from The Tale of Genji in the Four Seasons
Gallery 237, 2013.29.374, Wedding robe with design of standing curtains, maple trees, and large drum

This means that the following two works slated to appear in part 2 will not be exhibited after all:

Gallery 253, 2013.29.301.1-2, Scenes from The Tale of Genji on Silver Ground
Gallery 237, 2013.29.1140, Wedding robe with design of carriages and bridges

As always, please let me know if you have any questions. I also hope to see many of you at the Genji-related talks here at Mia on the morning of December 8.

Warm wishes,
Aaron

Purcell-Cutts House Training 2018

Here are materials covered in the training to tour the Purcell-Cutts House.

Below are videos of the lectures:

Lecture on 11.6.18

Lecture on 11.7.18

Jennifer Komar Olivarez’s PowerPoint training lectures:

Purcell-Cutts Docent Training with Winterlights 2018_Part1

Purcell-Cutts Docent Training with Winterlights 2018_Part2

Purcell-Cutts Docent Training with Winterlights 2018_Part3

Here are the rules and procedures for touring:

Docent Rules and Procedures 2018

Jennifer has also provided a wealth of supporting information on the house and its context:

JKO Acquisitions Proposal Purcell-Cutts House November 2011 values redacted

Acquisitions Proposal Elmslie Hanna Suite final values redacted

DAT160744_PCuttsHouse_WindowConservation_Sign DAT170605_PCuttsHouse_WIndowConservation_Conclusion_Sign

The peculiar story of the Purcell-Cutts House windows — Minneapolis Institute of Art _ Minneapolis Institute of Art

Journal articles on the Prairie School accessible through JSTOR

Prairie School Bibliography 2018

Purcell and Elmlise Timeline

Purcell-Cutts House Dining Room Suite Furniture Information

Purcell-Cutts House Reference information updated 2018

Updates to Purcell-Cutts House Manual 2018

From the Prairie School exhibition, the Progressive Pencil, labels and panels:

DAT130083_Elmslie_GroupPanels

DAT130083_Elmslie_Intro

DAT130085_Elmslie_Deck_Labels

DAT130085_Elmslie_PrgPencil_Labels

DAT130085_Elmslie_PrgPencil_Labels_editpg3

Purcell biography, Portland years:

http://www.organica.org/pewgp7.htm

Here is a google maps photo of the Purcell house in Portland and some other street views:

Purcell house in Portland

Purcell in Portland house views

Bdote Memory Map project (Dakota)

From Susan Jacobsen, Multi-Generational Learning at Mia:

“These videos and audios are from Bdote Memory Map. The deep mapping project created by Allies: media/art is a partnership project with the Minnesota Humanities Center.  The website was created several years ago to help citizens of the area now called Minnesota know where they are, and to learn from the Dakota that this place and the river is not a resource, but rather a relative.”

Learning from the Dakota: Water and Place

Information on silversmithing from curator

From your colleague Susan Arndt, some informative video links shared by Curator Ghenete Zelleke on silversmithing:

“Lastly, I thought to send you the links to four short videos I worked on while at the Art Institute of Chicago showing how a piece of silver was made from modeling it in red wax, making molds from the wax, pouring the silver and assembling the whole. I chose a 17th century silver horse and rider that I had purchased for Chicago and filmed Ubaldo Vitali, a great friend and silversmith, in all the stages of its creation. I thought you and your parents might be interested in seeing them. All you have to do is click on the following to be directed to the videos.”

LaunchPad: Silversmithing, Part 1—Sculpting in Wax – YouTube

LaunchPad: Silversmithing, Part 2—Making Molds – YouTube

LaunchPad: Silversmithing, Part 3—Casting Silver – YouTube

LaunchPad: Silversmithing, Part 4—Hammering the Stand – YouTube

Horse Nation video

From Dakota Hoska, here is some information on the video currently playing in Horse Nation:

“The man dancing is paying homage to  his beloved horse who has passed away.  After the horse passed (I’m not sure how the horse died), the man created his dance regalia to honor the horse and he also dances wearing the regalia to honor his horse at ceremonies and pow wows.  The tail on the back of his regalia is the actual horse’s tail. The regalia itself can be seen at All My Relations Arts, so the docent can encourage visitors to go there to see the outfit.
This exhibition is in 3 places, ours display is up the longest, but it is also at All My Relations and Two Rivers.
This is part of a train of thought that is specific to many Native tribes.  When you wear something you are imbued with the characteristics of the person who wore the item before you or the animal that is represented.  It is possible that the man is taking on some of the characteristics of his horse, although I haven’t spoken to that artist so this may not be definite for his regalia.  However, it is possible.
Also, it shows how we believe that all living beings are gifts not commodities.  They are people (nations) with their own agency, their own purposes, and they teach us and provide for us out of pity for our inabilities.  None of us can survive without the animals we rely on.  Horses were a great gift for us for friendship, for battle, for hunting.  They were allies.  This man is dancing to honor his horse because of all of these things.”

IPE CE: Lecture on Mesoamerican and Andean art

Here is a link to the video of Dr. Meghan Tierney’s lecture on the Art of the Americas:

Art of the Americas

Here is a copy of her PowerPoint, some of which we covered in gallery discussion. (The PPT had to be split into segments as it was too large to post in its entirety on the website.):

Tierney part 1

Tierney part 2

Tierney part 3

Tierney part 4

Tierney part 5

Tierney part 6

Tierney part 7

Tierney part 8

Tierney part 9

Tierney part 10

This is a link to the database of Justin Kerr rollout photos of Mayan vessels that Dr. Tierney mentioned in her talk:

Justin Kerr database

And here is an article Dr. Tierney recommended we read:

Saunders_Catching the Light_2003

Robert Rauschenberg, Opal Gospel, 1971 installation

From your colleague Josie Owens, some information on the current installation in Gallery 261 of Robert Rauschenberg’s Opal Gospel:

“On 24 January 2018, I met with Jill, Deb, Kara, and Ann at the Opal Gospel.
 
·      Jill explained the process for the installation. She said that Rauschenberg did not use his Native American background as Jimmie Durham had. However, there were some issues around it. She gave us some information about the Cherokee people and their regulations for self-identification. There has been a problem with many celebrities wrongfully claiming Cherokee heritage. She said that this exhibit was supposed to make one think about how picking when to self-identify is a luxury that Native Peoples do not have.  
·      She said that 5 scholars couldn’t identify Rauschenberg’s Cherokee ancestry. However, sometimes Cherokees would claim to be white in order to buy land and that this could be a possibility for his grandmother. There had not been a decisive conclusion that she wasn’t.
·      Then she shared her interaction with the director of the Rauschenberg Foundation, Kathy Halbreich. Kathy had seen the images of the installation with the quotations.  Jill said that she told Kathy that she thought that Rauschenberg would have liked this as he enjoyed the discussion and debate. Kathy agreed.
·      I then mentioned that I wished that there were more explanation. I said that I felt that there was so much Cherokee information when in fact the texts used by Rauschenberg were all by other Native American people. I worried that this was a bit misleading. Jill was immediately receptive and suggested that more labels be added identifying the writings themselves.
·      Jill even shared that she felt that Boney, who had known Rauschenberg and liked him, had a more inclusive statement than Tehee. She seemed to agree with my concern that Tehee’s comment did not help with an open discussion.
·      Then we all discussed that if the purpose of the installation was to ask the question what is cultural appropriation and if this is an example or not, then perhaps a sign with that idea should be added. We said that this would help the average viewer especially without a docent.
·      Jill was eager to do and said it could be similar to what is happening in period rooms. She suggested something that said that this is a curatorial decision and only one of many approaches.
·      We left it that Jill would speak with Juline and circle back.
·      The other suggestion Jill had was to get the image of the beautiful metal box that the Opal Gospel comes in. I will do this and share.
Jill was so approachable and open-minded. It was a wonderful discussion and helped so much with my ability to use the art.”

Contemporary Art training, February 22, 2018

Here is the video of the training session with Gabe Ritter, on the rotations in the Contemporary Art galleries:

Contemporary Art Rotations 2.22.18

Also, here are additional materials and articles Gabe has sent to us, connected to his lecture:

Emma Amos Prose Bio

Amos Selected Press (Compressed)

Lorna Simpson

Martin Wong_Human Instamatic_v2

LONNIE HOLLEY Summary Packet 2017 (2)

Renee Stout Crossroads (extended)

Portia Zvavahera I’m With You

PressPack_Smith_20171017 (1) (1)