POP ART FROM THE TWEED COLLECTION By Anneliese Verhoeven

///////////////////////////////////////////////////////////////////////////////////////////////////////////////MUSEUM HOURSTues 9am-8pmWeds-Fri 9am-4:30pmSat & Sun 1pm-5pmClosed Mondays &University Holidayswww.d.umn.edu/tma

MARCH 2017

Over the past year, the ex-hibition schedule of the Tweed Museum of Art has been primarily focused on showing new artists whose work is not included with-in the Museum’s collection. However, after a whirlwind of exhibitions featuring art-works loaned from galleries, artists, and private collec-tors, the Museum decided to switch gears and develop an introspective exhibition in which every piece of artwork was drawn from the Muse-um’s own permanent collec-tion. This approach comes on the heels of a series of successful solo artist exhibi-tions at the Tweed, such as Jeffrey Larson’s Domestic Space, Vance Gellert’s Iron Country, and Tina Tavera’s Un-typing Casta, wherein few of the artworks present-ed belonged to the Tweed.

With nearly 11,000 artworks in the Tweed’s permanent collection, spanning the 14th century through the pres-ent, the potential for original exhibitions is endless and difficult to measure. Unlike most of the exhibitions at the Tweed, shows curated from within the Museum’s perma-nent collection give audi-ences the opportunity to see some of the treasures for the first time since they initially came into the collection. So, with an eye towards a group show that could bring to life a specific moment in modern art history, the Tweed has de-veloped a new exhibition that showcases the work of artists

UPCOMING EVENTS

Mar 7 6:30-8pm Book Club: Air Guitar

Mar 11 2-3pm Gallery Talk: Pop Art

Mar 14 6-7pm Gallery Talk: Ceramics

April 11 6:30-8pm Tweevening: Restoration of Miereveld’s Portrait

April 22 10am-6pm Gallery Hop

April 22 4-6pm Annual Student Exhibition Reception & Awards

1

ADVISORY BOARD

Florence CollinsBarb GaddieBeverly GoldfineBea LeveyPeggy MasonAlice B. O’ConnorMike SeyferDee Dee Widdes

Patricia BurnsMary EbertTom EllisonDebra HannuBruce HansenJane JarnisRobert LeffAlice B. O’ConnorTerry RobertsDan ShogrenMiriam Sommerness

DIRECTORS CIRCLE

TWEEDA QUARTERLY NEWSLETTER OF THE TWEED MUSEUM ADVISORY BOARD

MUSEINGS

4

Tweed Guard Greg Tiburzi wrote this “I Spy” puzzle for our museum visitors.

Displayed along with the Mystery Art Hunt sheets on the table at the base of the stairs, these interactive tools are enjoyed by visitors and school groups.

I SPY with my little eye....

A blue apron and an angled “O”

A hot pad hanging from a stove

A colonial hair tie and six pairs of faceless eyes

A football player riding on a high wire trike A spaceship, moose antlers, and a 5-petaled flower

Four spark plugs and a large hand mirror

Non profit OrganizationUS Postage

PAIDPermit #1003

Duluth MN

1201 Ordean CourtUniversity of Minnesota DuluthDuluth, MN 55812-2496

Phone: 218-726-8222Fax: 218-726-8503E-mail: tweed@d.umn.eduWeb: www.d.umn.edu/tma

who pioneered the Pop Art movement. Pop Evolution, which will be on view at the Tweed through March 26, is an exhibition anchored by works produced by multiple Pop artists whose creative vi-

POP EVOLUTION I SPY By Greg Tiburzi /////////////////////////////////////////////////////////////////////////////////////////

sion for the 1960’s changed the course of art history. With their trademark electric colors, col-lages, and screen prints, these artists produced work that both drew inspiration from and sati-rized past artistic movements,

Andy Warhol (American, 1928-1987). Cowboys and Indians (Annie Oakley) [detail], n.d. Silkscreen on paper. Collection of Tweed Museum of Art, UMD. Gift of the Andy Warhol Foundation for the Visual Arts. D2013.21.2.

Continued on page 2...

An old newspaper and two blue faces

Two buffalo heads and part of a license plate A left-handed painter and a shiny keyhole

A cockroach with a crown and a superhero

A dressed-up duck, a fence of barbed wire

A “John Hancock” signature

Neal Ambrose-Smith (Flathead Salish/Metis/Cree, b. 1966). Detective Tom Scares Easy in Terror Powwow [detail], 2012. Drawing and mixed media. Collection of Tweed Museum of Art, UMD. D2016.34.3.

A CALLFORD O C E N T S !

2

The Tweed is central to the cultural, economic, and in-tellectual life of Duluth and the surrounding communi-ties of the region. Our de-mographic includes a size-able college and university audience of students, fac-ulty and staff, K-12 schools, rural, lake dwelling, and mining communities, as well a significant Native America population living in commu-nities on and off Minnesota and Wisconsin Reservation lands. Part of UMD’s insti-tutional mission is to serve the educational needs of indigenous peoples, as well as the economic growth, cultural preserva-tion, and sovereignty of the American Indian nations. The Museum’s close as-sociation with Native com-munities began with its

acquisition of the Richard E. and Dorothy Rawlings Nel-son Collection of American Indian Art, artworks from the Ojibwe and Eastern Wood-land people 1850-1950. This nationally sought-after collec-tion was won by the Tweed with the promise that the col-lection would be used to ed-ucate. The collection found its rightful home, here in the center of the Ojibwe nation. With the Tweed collection as a primary resource, the Muse-um has employed Indigenous guest curators to choose and interpret art works, there-by adding to the collec-tion’s intellectual value and sparking new discussions on their faceted meanings.In the coming months, Tweed Museum will develop a learn-ing program for at-risk youth that uses the art collection

3

EXPANDING ACCESS TO ART By Ken Bloom ///////////////////////////////////////////Duluth has unveiled a new city-wide initiative, Creative Wa-tershed: Duluth Arts+Culture Plan. For a decade, there has been a concerted effort by city administration, cultural organi-zations and area businesses to promote and develop cul-tural resources of the commu-nity. The Creative Watershed report represents more than a decade of arts communi-ty initiatives in which many UMD people participated. The Tweed Museum has played a role in its support of artists, providing arts education, and promoting cultural tourism by expanding its base of local, regional and national visitors.

Museums worldwide realize that access to cultural re-sources creates opportunity. With technology, museums can expand their collections’ accessibility online. In its 60+ years of operation, access to Tweed Museum’s collec-tion has been limited to visits and special permission. Cen-tral to the Museum’s aspira-tions and the city-wide plan is the goal to create online collections access for visi-tors, scholars and the public.

The process of fully cataloging and illustrating the 10,000-ob-ject Tweed collection has

been ongoing, as well as up-grading publicity materials and the Museum website. Online improvements include revised navigation, a cleaner design, enhanced features on gallery exhibitions, digital exhibitions, and an archive of past exhibi-tions. Site improvements also include: printable PDF files of press kits and exhibition essays, videos and essays featuring art objects from the collection, and an accurate directions page. On campus, Tweed Museum has intro-

duced new exterior signage and large-scale graphics installed on the building exterior and in the corridor outside the Museum.

The next stage is community accessibility, and one of the Tweed Museum’s key strate-gic goals is the development of a remotely searchable image database by 2019. Having a searchable collection will afford future generations a much clos-er grasp of the cultural history of their region and an appreciation for what the Tweed represents.

Spring is alive at the Tweed Museum Store! Are you tired of the drab winter months ... the Museum Store will put you in the mood for spring!

Shop among our new lines of Michael Michaud jewelry, and try on some of our new spring scarves.

Easter is around the corner, so come and see the new sticker books we have for those baskets or decorate

your kitchen with a spring em-broidered towel. Our Easter decor is out and ready to take home.

We always have art books and beautiful cards for every occasion.

Remember every purchase supports our mission to col-lect, conserve, and share art in our community.

Come on in and shop the fun!!

/////////////////////////////////////////////////////////////////////////////// MUSEUM STORE

OBJECT-BASED LEARNING AT THE TWEED By Ken Bloom //////////////////////////////////////////////////////with an emphasis on its Na-tive works. Led by Tweed Curator Karissa White, the goals of this project are to improve the relevancy and accessibility of existing his-torical collections and pro-moting contemporary art-works from artists of various regional ethnic communities. The objects to be featured include the Tweed Muse-um’s collection of American Indian art, the Duluth Chil-dren’s Museum’s immigrant textile collection and other American Indian materials, and the Sami Cultural Cen-ter of North America’s Sami

duodji (handicrafts or “use-ful things made beautiful”). Tweed Museum’s strategy for accomplishing this plan in-volves object-based learning, a proven methodology which allows visitors to connect with an object by discovering or constructing its meaning. New technologies can bring a virtu-al dimension to learning and original or replica materials can be handled for a sensual link to the art and the history it has come from. This active en-gagement process is brought forward through personal re-flection and public discussion.

all while creating an entire-ly new aesthetic that drew heavily from the consumer and media-driven identity of America at the time. The Pop artists included in this show completely revolu-tionized the way we think of art by producing a body of work in which the art-mak-ing process could become just as important, if not

more so, than the subject or message of the artwork itself.

These works by artists such as Andy Warhol, Ed Ruscha, and Robert Indiana are com-plemented with a large selec-tion of contemporary prints and paintings by a younger, “second generation” of Pop artists whose work represents a direct continuation of the

aesthetics of the movement through an appropriation of similar subjects, tech-niques, and composition. This group of contemporary works features an eclectic mix of pieces by regional and Native American artists from the Duluth and Minne-apolis areas, as well as art-works by international artists.

Almost every week at the museum Christine Strom, our Communi-cations Specialist, re-ceives a request for a tour at the Tweed. She calls me, as the current museum docent, to see if I am available, and I place it on my calendar.

School groups of every grade level and college students and community groups of all ages, many from the Twin Cities, are requesting a tour. I am happy to meet them and to talk about the Tweed and its fine collection, but I am the only do-cent here at this time.

Education is a vital part of any museum expe-rience, and I write this with the hope that you or someone you know might become a volunteer for this important mission.

This work does require some art or art histo-ry background, and some research is nec-essary to prepare for a tour. Usually a tour is 30-45 minutes long and often has a specif-ic exhibition as a focus.

For more information, please contact me at wsh ip ley@d.umn.edu .

OUR VISIONTo become valued and promoted as our region’s destination art museum

OUR MISSIONTo bring art and people of our commu-nities together for delight, to discover and to learn

Marie Z. Chino (Acoma Pueblo, 1907-1982), Wedding Jar, ca. 1960. Hand built and coiled earthenware, hand painted with yucca brush, Collection of Tweed Museum of Art, UMD, Marguerite L. Gilmore Charitable Foundation. Fund, 2013.18.2.

Margaret Hill (Mille Lacs Band of Ojibwe, 1929-2009), Birch Bark Mokuk with Braided Basswood Handle. Collection of Terese (Triss) Harwood, Pending gift, L2014.19.10.

David Bradley (Ojibwe, b. 1954), Tobacco for Andy, 1999 [detail]. Acrylic, collage, metal, and fabric on Masonite. Collection of Tweed Museum of Art, UMD. Alice Tweed Tuohy Foundation Purchase Fund. D2000.x12.

BY DOCENT BILL SHIPLEY

Continued from page 1...

A CALLFORD O C E N T S !

2

The Tweed is central to the cultural, economic, and in-tellectual life of Duluth and the surrounding communi-ties of the region. Our de-mographic includes a size-able college and university audience of students, fac-ulty and staff, K-12 schools, rural, lake dwelling, and mining communities, as well a significant Native America population living in commu-nities on and off Minnesota and Wisconsin Reservation lands. Part of UMD’s insti-tutional mission is to serve the educational needs of indigenous peoples, as well as the economic growth, cultural preserva-tion, and sovereignty of the American Indian nations. The Museum’s close as-sociation with Native com-munities began with its

acquisition of the Richard E. and Dorothy Rawlings Nel-son Collection of American Indian Art, artworks from the Ojibwe and Eastern Wood-land people 1850-1950. This nationally sought-after collec-tion was won by the Tweed with the promise that the col-lection would be used to ed-ucate. The collection found its rightful home, here in the center of the Ojibwe nation. With the Tweed collection as a primary resource, the Muse-um has employed Indigenous guest curators to choose and interpret art works, there-by adding to the collec-tion’s intellectual value and sparking new discussions on their faceted meanings.In the coming months, Tweed Museum will develop a learn-ing program for at-risk youth that uses the art collection

3

EXPANDING ACCESS TO ART By Ken Bloom ///////////////////////////////////////////Duluth has unveiled a new city-wide initiative, Creative Wa-tershed: Duluth Arts+Culture Plan. For a decade, there has been a concerted effort by city administration, cultural organi-zations and area businesses to promote and develop cul-tural resources of the commu-nity. The Creative Watershed report represents more than a decade of arts communi-ty initiatives in which many UMD people participated. The Tweed Museum has played a role in its support of artists, providing arts education, and promoting cultural tourism by expanding its base of local, regional and national visitors.

Museums worldwide realize that access to cultural re-sources creates opportunity. With technology, museums can expand their collections’ accessibility online. In its 60+ years of operation, access to Tweed Museum’s collec-tion has been limited to visits and special permission. Cen-tral to the Museum’s aspira-tions and the city-wide plan is the goal to create online collections access for visi-tors, scholars and the public.

The process of fully cataloging and illustrating the 10,000-ob-ject Tweed collection has

been ongoing, as well as up-grading publicity materials and the Museum website. Online improvements include revised navigation, a cleaner design, enhanced features on gallery exhibitions, digital exhibitions, and an archive of past exhibi-tions. Site improvements also include: printable PDF files of press kits and exhibition essays, videos and essays featuring art objects from the collection, and an accurate directions page. On campus, Tweed Museum has intro-

duced new exterior signage and large-scale graphics installed on the building exterior and in the corridor outside the Museum.

The next stage is community accessibility, and one of the Tweed Museum’s key strate-gic goals is the development of a remotely searchable image database by 2019. Having a searchable collection will afford future generations a much clos-er grasp of the cultural history of their region and an appreciation for what the Tweed represents.

Spring is alive at the Tweed Museum Store! Are you tired of the drab winter months ... the Museum Store will put you in the mood for spring!

Shop among our new lines of Michael Michaud jewelry, and try on some of our new spring scarves.

Easter is around the corner, so come and see the new sticker books we have for those baskets or decorate

your kitchen with a spring em-broidered towel. Our Easter decor is out and ready to take home.

We always have art books and beautiful cards for every occasion.

Remember every purchase supports our mission to col-lect, conserve, and share art in our community.

Come on in and shop the fun!!

/////////////////////////////////////////////////////////////////////////////// MUSEUM STORE

OBJECT-BASED LEARNING AT THE TWEED By Ken Bloom //////////////////////////////////////////////////////with an emphasis on its Na-tive works. Led by Tweed Curator Karissa White, the goals of this project are to improve the relevancy and accessibility of existing his-torical collections and pro-moting contemporary art-works from artists of various regional ethnic communities. The objects to be featured include the Tweed Muse-um’s collection of American Indian art, the Duluth Chil-dren’s Museum’s immigrant textile collection and other American Indian materials, and the Sami Cultural Cen-ter of North America’s Sami

duodji (handicrafts or “use-ful things made beautiful”). Tweed Museum’s strategy for accomplishing this plan in-volves object-based learning, a proven methodology which allows visitors to connect with an object by discovering or constructing its meaning. New technologies can bring a virtu-al dimension to learning and original or replica materials can be handled for a sensual link to the art and the history it has come from. This active en-gagement process is brought forward through personal re-flection and public discussion.

all while creating an entire-ly new aesthetic that drew heavily from the consumer and media-driven identity of America at the time. The Pop artists included in this show completely revolu-tionized the way we think of art by producing a body of work in which the art-mak-ing process could become just as important, if not

more so, than the subject or message of the artwork itself.

These works by artists such as Andy Warhol, Ed Ruscha, and Robert Indiana are com-plemented with a large selec-tion of contemporary prints and paintings by a younger, “second generation” of Pop artists whose work represents a direct continuation of the

aesthetics of the movement through an appropriation of similar subjects, tech-niques, and composition. This group of contemporary works features an eclectic mix of pieces by regional and Native American artists from the Duluth and Minne-apolis areas, as well as art-works by international artists.

Almost every week at the museum Christine Strom, our Communi-cations Specialist, re-ceives a request for a tour at the Tweed. She calls me, as the current museum docent, to see if I am available, and I place it on my calendar.

School groups of every grade level and college students and community groups of all ages, many from the Twin Cities, are requesting a tour. I am happy to meet them and to talk about the Tweed and its fine collection, but I am the only do-cent here at this time.

Education is a vital part of any museum expe-rience, and I write this with the hope that you or someone you know might become a volunteer for this important mission.

This work does require some art or art histo-ry background, and some research is nec-essary to prepare for a tour. Usually a tour is 30-45 minutes long and often has a specif-ic exhibition as a focus.

For more information, please contact me at wsh ip ley@d.umn.edu .

OUR VISIONTo become valued and promoted as our region’s destination art museum

OUR MISSIONTo bring art and people of our commu-nities together for delight, to discover and to learn

Marie Z. Chino (Acoma Pueblo, 1907-1982), Wedding Jar, ca. 1960. Hand built and coiled earthenware, hand painted with yucca brush, Collection of Tweed Museum of Art, UMD, Marguerite L. Gilmore Charitable Foundation. Fund, 2013.18.2.

Margaret Hill (Mille Lacs Band of Ojibwe, 1929-2009), Birch Bark Mokuk with Braided Basswood Handle. Collection of Terese (Triss) Harwood, Pending gift, L2014.19.10.

David Bradley (Ojibwe, b. 1954), Tobacco for Andy, 1999 [detail]. Acrylic, collage, metal, and fabric on Masonite. Collection of Tweed Museum of Art, UMD. Alice Tweed Tuohy Foundation Purchase Fund. D2000.x12.

BY DOCENT BILL SHIPLEY

Continued from page 1...

POP ART FROM THE TWEED COLLECTION By Anneliese Verhoeven

///////////////////////////////////////////////////////////////////////////////////////////////////////////////MUSEUM HOURSTues 9am-8pmWeds-Fri 9am-4:30pmSat & Sun 1pm-5pmClosed Mondays &University Holidayswww.d.umn.edu/tma

MARCH 2017

Over the past year, the ex-hibition schedule of the Tweed Museum of Art has been primarily focused on showing new artists whose work is not included with-in the Museum’s collection. However, after a whirlwind of exhibitions featuring art-works loaned from galleries, artists, and private collec-tors, the Museum decided to switch gears and develop an introspective exhibition in which every piece of artwork was drawn from the Muse-um’s own permanent collec-tion. This approach comes on the heels of a series of successful solo artist exhibi-tions at the Tweed, such as Jeffrey Larson’s Domestic Space, Vance Gellert’s Iron Country, and Tina Tavera’s Un-typing Casta, wherein few of the artworks present-ed belonged to the Tweed.

With nearly 11,000 artworks in the Tweed’s permanent collection, spanning the 14th century through the pres-ent, the potential for original exhibitions is endless and difficult to measure. Unlike most of the exhibitions at the Tweed, shows curated from within the Museum’s perma-nent collection give audi-ences the opportunity to see some of the treasures for the first time since they initially came into the collection. So, with an eye towards a group show that could bring to life a specific moment in modern art history, the Tweed has de-veloped a new exhibition that showcases the work of artists

UPCOMING EVENTS

Mar 7 6:30-8pm Book Club: Air Guitar

Mar 11 2-3pm Gallery Talk: Pop Art

Mar 14 6-7pm Gallery Talk: Ceramics

April 11 6:30-8pm Tweevening: Restoration of Miereveld’s Portrait

April 22 10am-6pm Gallery Hop

April 22 4-6pm Annual Student Exhibition Reception & Awards

1

ADVISORY BOARD

Florence CollinsBarb GaddieBeverly GoldfineBea LeveyPeggy MasonAlice B. O’ConnorMike SeyferDee Dee Widdes

Patricia BurnsMary EbertTom EllisonDebra HannuBruce HansenJane JarnisRobert LeffAlice B. O’ConnorTerry RobertsDan ShogrenMiriam Sommerness

DIRECTORS CIRCLE

TWEEDA QUARTERLY NEWSLETTER OF THE TWEED MUSEUM ADVISORY BOARD

MUSEINGS

4

Tweed Guard Greg Tiburzi wrote this “I Spy” puzzle for our museum visitors.

Displayed along with the Mystery Art Hunt sheets on the table at the base of the stairs, these interactive tools are enjoyed by visitors and school groups.

I SPY with my little eye....

A blue apron and an angled “O”

A hot pad hanging from a stove

A colonial hair tie and six pairs of faceless eyes

A football player riding on a high wire trike A spaceship, moose antlers, and a 5-petaled flower

Four spark plugs and a large hand mirror

Non profit OrganizationUS Postage

PAIDPermit #1003

Duluth MN

1201 Ordean CourtUniversity of Minnesota DuluthDuluth, MN 55812-2496

Phone: 218-726-8222Fax: 218-726-8503E-mail: tweed@d.umn.eduWeb: www.d.umn.edu/tma

who pioneered the Pop Art movement. Pop Evolution, which will be on view at the Tweed through March 26, is an exhibition anchored by works produced by multiple Pop artists whose creative vi-

POP EVOLUTION I SPY By Greg Tiburzi /////////////////////////////////////////////////////////////////////////////////////////

sion for the 1960’s changed the course of art history. With their trademark electric colors, col-lages, and screen prints, these artists produced work that both drew inspiration from and sati-rized past artistic movements,

Andy Warhol (American, 1928-1987). Cowboys and Indians (Annie Oakley) [detail], n.d. Silkscreen on paper. Collection of Tweed Museum of Art, UMD. Gift of the Andy Warhol Foundation for the Visual Arts. D2013.21.2.

Continued on page 2...

An old newspaper and two blue faces

Two buffalo heads and part of a license plate A left-handed painter and a shiny keyhole

A cockroach with a crown and a superhero

A dressed-up duck, a fence of barbed wire

A “John Hancock” signature

Neal Ambrose-Smith (Flathead Salish/Metis/Cree, b. 1966). Detective Tom Scares Easy in Terror Powwow [detail], 2012. Drawing and mixed media. Collection of Tweed Museum of Art, UMD. D2016.34.3.