November 16 - January 18, 2014
Sanny (Suzanne) Ryan was a founding Trustee of the North Dakota Museum of Art and the Museums Foundation. In her honor, the Museum has recently acquired a remarkable African Terracotta Collection. The show opens in conjunction with “Barton’s Place,” recreation of Barton Benes’ New York studio apartment, which contains a fine African collection of masks and sculpture. Continue reading...
November 16 - January 18, 2014
Vernal Bogren Swift is a batik-maker. Her choice of art form, her fascination with pattern, and her receptivity to the myths of many cultures originated in Africa. She explores the relationship of geology and perception and incorporates iron-rust from the earth to strengthen this message. Living and working part of the year in Bovey, Minnesota, and part time in Haida Gwaii, an island off the coast of northwest Canada, Ms Bogren Swift has been deeply influenced by the way people see things depending on where they live. For example, on the Island, one thinks “earthquake!” each time there is a ground shudder. In northern Minnesota, ground quake means active mining/blasting and the mind thinks of the activity as akin to “thunder.” Evidence is that our thoughts are created from the place where we have landed. Continue reading...
November 16 - Ongoing
Barton Lidice Benes lived in a magical apartment in New York City. It was filled with over $1 million in African, Egyptian, South American, Chinese and contemporary art, plus much more as touted in the New York Times when it announced Barton’s intended gift to North Dakota (2/6/05).
Barton Benes and his treasure trove spent decades tucked away in a glorious boxcar space in Westbeth, the artist community in New York’s West Village. There, rare works of art joined ranks with the arcane, the wistful, the amusing, the deeply serious, and a “maddening and morbid array of things” (a human toe found on New York’s Williamsburg Bridge, a stuffed mink wearing a mink coat, an eight-foot giraffe head). This temporary installation suggests the drama and mystery embedded in Barton’s private wonderland. Continue reading...
August 22 - January 5, 2014
The exhibition consists of one painting – Through the Eye of the Needle to the Anvil, an homage to his mother who was an early North Dakota aviation pioneer. The painting measures 17 x 46 feet and once installed, will cover the entire wall of the Museum’s east gallery. Through the Eye of the Needle to the Anvil is the perfect vehicle to explore the artist’s North Dakota roots in aviation and celebrate his 80th birthday.
James Rosenquist has always maintained a connection to North Dakota. He was born in 1933 at the Deaconess Hospital in Grand Forks to Ruth Hendrickson Rosenquist and Louis Rosenquist. The two met at the Grand Forks International Airport and shared a passion for flying. In his autobiography, Painting Below Zero, Rosenquist states, “Perhaps because the land is so flat—there were no mountains to climb—in North Dakota people wanted to go up in the air. My mom and dad wanted to fly, and they both became pioneering pilots.” Despite not having a pilots license, Rosenquist’s mother took to the skies, while James’ earliest memories involving planes was of his father letting him play in the cockpit of biplanes at the airport. Continue reading...
Through the Eye of the Needle to the Anvil, 1988
Oil and acrylic on canvas, with oil on a recessed plywood panel
17' H X 46' W