Skewed Visions is an arts company headquartered in Minneapolis, Minnesota which produces site-specific performances and other multimedia works. Formed in 1996, by the artists Charles Campbell, Gülgün Kayim and Sean Kelley-Pegg, the group produces site-specific works that have sometimes been seen as controversial; the group may be best known for The Car, a 2000 performance that took place in cars driven by actors with the audience as passengers. Additionally, Skewed Visions has created original performances for a variety of sites including theaters, office buildings, a rooftop observatory, a former marble factory, a house, a storefront window, a former bombsite factory, a pedestrian shopping mall, a farmer's market; the company received project grants from the Jerome Foundation, most in 2005, has received grants from the Minnesota Metropolitan Regional Arts Council, The Minnesota State Arts Board, the McKnight Foundation. In October 2006, Skewed Visions appeared alongside Meredith Monk and Stephan Koplowitz as keynote speakers for the first Site-Specific Performance Symposium at the Martin E. Segal Theatre Center of the Graduate Center of CUNY.
The company's production of Jasper Johns was made with the support of the National Endowment for the Arts's American Masterpieces initiative. The company's work has been the subject of articles in academic journals focusing on "expanding notions of theater and performance." These include New Theatre Quarterly, TDR, Frakcija. Charles Campbell -Co-Founder, Co-Artistic/Managing DirectorGülgün Kayim -Co-Founder, Artistic AssociateSean Kelley-Pegg -Co-Founder, Co-Artistic/Media Director 1998 Untitled #1, Best of the Year, St. Paul Pioneer Press2003 The Orange Grove, Outstanding Experimental Work, Star Tribune 2004 The House, Best Experimental Work, Star Tribune2004 The City Itself, Best of the Year, City Pages2004 Artists of the Year, City Pages 2006 Days and Nights, Top Ten show, City Pages 2007 Strange Love, Outstanding Experimental Theater Work 2012 Black Water, Best of 2011-2012 1997: Camille1997: The Eye in the Door, Part One: Urban Sirens1998: Untitled #11998: The Eye in the Door, Part Two: Breakfast of Champions1999: The Eye in the Door, Part Three: The Bicycle2000: The City Itself, Part One: The Car2001: You Are Here2003: The Orange Grove 2004: Pipes 2004: The City Itself series: The Car, The Sidewalk and The House 2006: Days and Nights series: A Quiet Ambition, Time For Bed and The Hidden Room 2007: Strange Love 2008: Jasper Johns 2009: He Woke Up In A Strange Place Called Home And Although Looking For Bed He Kept Finding Death Instead 2012: Black Water 2013: Invisible City 2014: EX 2016: EX2016: Losing Kantor2017: APPETITE Skewed Visions website Public radio article about Skewed Visions Skewed Visions at mnartists.org
Hennepin Center for the Arts
The Hennepin Center for the Arts is an art center in Minneapolis, United States. It occupies a building on Hennepin Avenue constructed in 1888 as a Masonic Temple; the building was designed by Kees in the Richardsonian Romanesque architectural style. In 1978, it was purchased and underwent a renovation to become the HCA, it is owned by Artspace Projects, is home to more than 17 performing and visual art companies who reside on the building's eight floors. The eighth floor contains the Illusion Theater, which hosts many shows put on by companies in the building. HCA is now a part of the Cowles Center for the Performing Arts; the new performing arts center is a three-building complex that includes the renovated Shubert Theatre building and a new glass-walled atrium connecting the two historic buildings and serving them both as a common lobby. The Cowles Center hosted a three-day Grand Opening Gala September 9–11, 2011; the building was listed as the Masonic Temple on the National Register of Historic Places in 1975 for its local significance in the theme of architecture.
It was nominated for the craftsmanship and integrity of its design by a significant local architectural firm, for being one of the last well-preserved Richardsonian Romanesque business buildings in Minneapolis. List of former Masonic buildings in the United States National Register of Historic Places listings in Hennepin County, Minnesota History of the Hennepin Center for the Arts Masonic Temple tribute by James Lileks
Theater in the United States
Theatre in the United States is part of the European theatrical tradition that dates back to ancient Greek theatre and is influenced by the British theatre. The central hub of the US theater scene is New York City, with its divisions of Broadway, Off-Broadway, Off-Off-Broadway. Many movie and television stars got their big break working in New York productions. Outside New York, many cities have professional regional or resident theater companies that produce their own seasons, with some works being produced regionally with hopes of moving to New York. US theater has an active community theatre culture, which relies on local volunteers who may not be pursuing a theatrical career. Before the first English colony was established in 1607, there were Spanish dramas and Native American tribes that performed theatrical events. Although a theater was built in Williamsburg, Virginia in 1716, the original Dock Street Theatre opened in Charleston, South Carolina in 1736, the birth of professional theater in America may have begun when Lewis Hallam arrived with his theatrical company in Williamsburg in 1752.
Lewis and his brother William, who arrived in 1754, were the first to organize a complete company of actors in Europe and bring them to the colonies. They brought a repertoire of plays popular in London at the time, including Hamlet, The Recruiting Officer, Richard III; the Merchant of Venice was their first performance, shown on September 15, 1752. Encountering opposition from religious organizations and his company left for Jamaica in 1754 or 1755. Soon after, Lewis Hallam, Jr. founded the American Company, opened a theater in New York, presented the first professionally mounted American play—The Prince of Parthia, by Thomas Godfrey—in 1767. In the 18th century, laws forbidding the performance of plays were passed in Massachusetts in 1750, in Pennsylvania in 1759, in Rhode Island in 1761, plays were banned in most states during the American Revolutionary War at the urging of the Continental Congress. In 1794, president of Yale College, Timothy Dwight IV, in his "Essay on the Stage", declared that "to indulge a taste for playgoing means nothing more or less than the loss of that most valuable treasure: the immortal soul."In spite of such laws, however, a few writers tried their hand at playwriting.
Most the first plays written in America were by European-born authors—we know of original plays being written by Spaniards and Englishmen dating back as early as 1567—although no plays were printed in America until Robert Hunter's Androboros in 1714. Still, in the early years, most of the plays produced came from Europe; the Revolutionary period was a boost for dramatists, for whom the political debates were fertile ground for both satire, as seen in the works of Mercy Otis Warren and Colonel Robert Munford, for plays about heroism, as in the works of Hugh Henry Brackenridge. The post-war period saw the birth of American social comedy in Royall Tyler's The Contrast, which established a much-imitated version of the "Yankee" character, here named "Jonathan", but there were no professional dramatists until William Dunlap, whose work as playwright, translator and theater historian has earned him the title of "Father of American Drama". At 825 Walnut Street in Philadelphia, Pennsylvania, is the Walnut Street Theatre, or, "The Walnut."
Founded in 1809 by the Circus of Pepin and Breschard, "The Walnut" is the oldest theater in America. The Walnut's first theatrical production, The Rivals, was staged in 1812. In attendance were President Thomas Jefferson and the Marquis de Lafayette. Provincial theaters lacked heat and minimal theatrical property and scenery. Apace with the country's westward expansion, some entrepreneurs operated floating theaters on barges or riverboats that would travel from town to town. A large town could afford a long "run"—or period of time during which a touring company would stage consecutive multiple performances—of a production, in 1841, a single play was shown in New York City for an unprecedented three weeks. William Shakespeare's works were performed. American plays of the period were melodramas, a famous example of, Uncle Tom's Cabin, adapted by George Aiken, from the novel of the same name by Harriet Beecher Stowe. In 1821, William Henry Brown established the African Grove Theatre in New York City.
It was the third attempt to have an African-American theater, but this was the most successful of them all. The company put on not only Shakespeare, but staged the first play written by an African-American, The Drama of King Shotaway; the theater was shut down in 1823. African-American theater was dormant, except for the 1858 play The Escape. African-American works would not be regarded again until the 1920s Harlem Renaissance. A popular form of theater during this time was the minstrel show, which featured white actors dressed in "blackface (painting one's face, etc
Pantages Theatre (Minneapolis)
The Pantages Theatre is a historic theatre in Minneapolis, Minnesota. The original building was a Beaux-Arts style twelve-story complex on Hennepin Avenue, designed by Kees & Colburn and operated by Alexander Pantages, a Greek immigrant who opened 500 theatres; the building was reduced to two stories, with an Art Moderne facade and a Beaux Arts interior. The Pantages Theatre innovated the mezzanine, was the first air conditioned theatre in Minnesota. In 1945, the Pantages Theatre was renovated after being purchased by Edmond R. Ruben, it was sold to Ted Mann in 1961. The Pantages Theatre closed in 1984, was renovated and reopened by the City of Minneapolis in 2002. In 2005, the city transferred ownership of its theaters to the Hennepin Theatre Trust. Since its reopening, the Pantages has been operated by the Historic Theatre Group. Historic Theatre Group's original partner in booking the Pantages was Clear Channel Entertainment. Live Nation sold most of its theatrical properties, including its Minneapolis operations, to Key Brand Entertainment in 2008.
The Historic Orpheum Theatre Official website
The Fitzgerald Theater is the oldest active theatre in Saint Paul and the home of American Public Media's Live from Here. It was one of many theaters built by the Shubert Theatre Corporation, was named the Sam S. Shubert Theater, it was designed by the noted Chicago architectural firm of Marshall and Fox, architects of several theaters for the Shuberts. In 1933, it became a movie outlet known as the World Theater; the space was purchased by Minnesota Public Radio in 1980, restored with a stage in 1986 as a site for Prairie Home, renamed in 1994 after St. Paul native F. Scott Fitzgerald. On November 4, 2002, the theater was the site of a memorable election-eve debate between United States Senate candidates Norm Coleman and Walter Mondale and moderated by Gary Eichten of MPR and Paul Magers of local television station KARE. Tension was heightened at the time because Mondale stepped in as a candidate at the last minute after the death of Paul Wellstone, running for re-election. In 2005, the theater was used for filming the Prairie Home Companion movie directed by Robert Altman.
While a certain level of realism is added by using the normal venue for the show, the regular equipment was eschewed in favor of sets designed for the movie. Because the theater is a small building, other theaters in the region were scouted prior to filming, just in case the Fitzgerald was not big enough, but it was determined to be adequate for the film's needs; the theater has a theatre organ, made by Wurlitzer. Media related to Fitzgerald Theater at Wikimedia Commons The Fitzgerald Theater
Theatre de la Jeune Lune
The Theatre de la Jeune Lune was a celebrated theater company based in Minneapolis, Minnesota. The company, in operation from 1978 to 2008, was known for its visually rich physical style of theatre, derived from clown, mime and opera; the theatre's reputation stemmed from their reinvented classics and their productions of ambitious original work. Theatre de la Jeune Lune was founded in France in 1978 by Dominique Serrand, Vincent Gracieux and Barbra Berlovitz, who were joined by Robert Rosen, all graduates of the École Internationale de Théâtre Jacques Lecoq school in Paris. Actors Steven Epp and Felicity Jones joined Jeune Lune in 1983; the company's name was inspired by the verses of a poem by Bertolt Brecht which reads, "As the people say, at the moon's change of phases / The new moon holds for one night long / The old moon in its arms". Serrand recalls starting the company as being "complete chaos, that's what was great... We wanted to change theater but we didn't have a clue how to do it."For the first years of operation, Jeune Lune split its time between performing between Paris and in Minneapolis.
The company permanently settled in Minneapolis in 1985 and, in 1992, moved into the renovated Allied Van Lines building in Minneapolis' Warehouse District. In 2001, the five original members took on duties as co-artistic directors; this collaborative style of direction made it possible for everyone to have an equal say of what goes onstage, as well as keep their creativity flowing. They were well known for their theatrical trademark of incorporating what they learned under Jacques Lecoq into the works of Moliere, Shakespeare and D’Artagnan, they would use a rather inventive style of mise en scene in shows, as well as comedic acting similar to Charlie Chaplin, Marcel Marceau and Commedia dell’arte. Epp explained their approach for producing shows saying, "We dissect the body in its movement and playfulness, glean from that ways to apply that physicality to whatever material we're working with, to galvanize the role and find what's pertinent to a contemporary audience."Jeune Lune was notable for its productions of original works.
Their most notable example was in 1992, when the company wrote and produced a Brecht stylized play titled "Children of Paradise: Shooting a Dream". The show is a fictionalized portrayal of the making of the acclaimed French film, Les Enfants du Paradis; the team used Brecht's trademark of episodic style in plays by doubling the actions from the film's setting in the 1830s and the shooting of the movie in the 1940s. The audience was encouraged to participate in the show as they were seated directly on the stage for the prologue, serving as witnesses to the events portrayed in the movie; this was done to represent the mixed ambiguity of the film's meaning that the public felt upon release, leaving it to the spectators to decide its moral message. The production was met with critical praise, going on to win the American Theatre Critics Association's award for best new play. In 2005, the Theatre de la Jeune Lune was awarded the Regional Theatre Tony Award They have received international praise when both Serrand and Gracieux were knighted by the French government for their contributions to the country's culture.
However, despite critical acclaim, the company struggled in its years to find an audience. By 2007, the company faced a crisis. Four of the original five members had either left the company or stepped down from their co-artistic director positions, with Dominique Serrand remaining as the sole director. Over the years, the company had accumulated a debt load exceeding $1 million as it attempted restructuring and budget cuts in order to remain solvent. In June 2008, the Theatre de la Jeune Lune board of directors announced it would sell the theater building and "shut down the arts group as organized." Serrand said in a statement that the artists "are exploring ways to reinvent an agile, entrepreneurial theatre with a new name" that will be "coming soon to a theatre near you." He mentioned his hopes for the closing to be viewed as a way of reflecting on what he sees as systemic problems with how art is funded in the United States. Shortly after the closing, Dominique Serrand and Steven Epp began a collaboration with Nathan Keepers and Christina Baldwin, to open a new theatre in the area called "The Moving Company", where they continue to work as artistic directors.
The theatre now operates as a converted wedding venue under the name "Aria at the Jeune Lune."A coverage of the activities of the group during the spring and summer of 1980 in Paris, when they were performing "Cirque de Molière", was produced by Ateliers Varan as "Le Théatre de la Jeune Lune", directed by Panamanian filmmaker Edgar Soberón Torchia. The film shows the group performing fragments of Molière's plays on the street at the Centre Georges Pompidou and on an improvised stage in a market place; the 13 minute-movie is part of the film archive of Ateliers Varan, founded by Jean Rouch. 1978: A Midsummer Night's Dream1979: Cirque de Molière.
Minneapolis Institute of Art
The Minneapolis Institute of Art known as the Minneapolis Institute of Arts, is a fine arts museum located in the Whittier neighborhood of Minneapolis, Minnesota, on a campus that covers nearly 8 acres Morrison Park. As a major, government-funded public museum, the Institute does not charge an entrance fee, except for special exhibitions, allows photography of its permanent collection for personal or scholarly use only; the museum receives support from the Park Board Museum Fund, levied by the Hennepin County commissioners. Additional funding is provided by corporate sponsors and museum members, it is one of the largest art museums in the United States. The Minneapolis Society of Fine Arts was established in 1883 to bring the arts into the life of the community; this group, made up of business and professional leaders, organized art exhibits throughout the decade. In 1889, the Society, now known as the Minneapolis Institute of Art, moved into its first permanent space, inside the newly built Minneapolis Public Library.
The institute received gifts from Clinton Morrison and William Hood Dunwoody, among others, for its building fund. In 1911, Morrison donated the land occupied by his family's Villa Rosa mansion, in memory of his father, Dorilus Morrison, contingent on the institute's raising the $500,000 needed for the building. A few days the institute received a letter from Dunwoody, who got the ball rolling: "Put me down for $100,000." A fundraising dinner a few days brought in $335,500, donated in 90 minutes. The new museum, designed by the firm of McKim and White, opened in 1915; the building came to be recognized as one of the finest examples of the Beaux-Arts architectural style in Minnesota. The art historian Bevis Hillier organized the exhibition Art Deco at the museum, presented from July to September 1971, which caused a resurgence of interest in this style of art; the building was meant to be the first of several sections, but only the front piece built. Several additions have subsequently been built according to other plans, including a 1974 addition by Kenzo Tange.
An expansion designed by Michael Graves was completed in June 2006. Before the latest expansion, just 4 percent of the museum's nearly 100,000 objects could be on view at the same time. Target Corporation, for which the new wing is named, was the biggest donor, with a lead gift of more than $10 million. In 2015 the Institute rebranded itself, dropping the final "s" from its name, to become the Minneapolis Institute of Art and encouraging the use of the nickname Mia instead of the acronym MIA. Kaywin Feldman became director and president of the Institute in 2008. During her tenure, attendance doubled, digital access was emphasized, social justice and equity programs were adopted. In December 2018, she was named to be the next director of the National Gallery of Art, will take that office in March 2019; the museum features an encyclopedic collection of 80,000 objects spanning 5,000 years of world history. Its collection includes paintings, prints & drawings, textiles and decorative arts. There are collections of African art, art from Oceania and the Americas, an strong collection of Asian art, called "one of the finest and most comprehensive Asian art collections in the country".
The Asian collection includes Chinese architecture, jades and ceramics. The institute owns the Purcell-Cutts House, just east of Lake of the Isles; the house is a masterpiece of Prairie School architecture. It was donated to the museum by Anson B. Cutts Jr. the son of its second owner. The house is available for tours on the second weekend of each month. In order to encourage private collecting and assist in the acquisition of important works of art, the museum has created "affinity groups" aligned with the seven curatorial areas of the museum; the groups schedule lectures and travel for members. The museum features a regular series of exhibitions that bring in traveling collections from other museums for display. Local business partners fund many of these exhibitions, some feature the artists leading public tours through the exhibition; the museum houses the Minnesota Artists Exhibition Program, an artist-controlled program devoted to the exhibition of works by artists who live in Minnesota. The Museum Library contains more than 60,000 volumes on art history.
The library is open to the public. The William Hood Dunwoody Fund, endowed with one million dollars when Dunwoody died in 1914, has been used to purchase thousands of works. Bruce Dayton, a life trustee of the institute since 1942, insisted that money raised in the $100 million fund-raising campaign for the Target wing, which opened in 2006, be split evenly between the building and the acquisitions endowment; that fund, now at $91 million, has allowed the institute to buy a rare early 18th-century Native American painted buckskin shirt and a nine-foot-long topographical View of Venice made by Jacopo de' Barbari in 1500, among other recent purchases. In 2009, the value of the museum's $145 million endowment had fallen 21 percent from January 2008; the endowment provides nearly one-fifth of operating revenues. Contributions from individuals and foundations account for a quarter of revenues, Almost half of the museum's operating money comes from the "park-museum fund," a century-old Hennepin County tax dating to 1911 that provides public support in exchange for free admission.
That fund, which has risen in recent years, provided the museum $12.6 million in the fiscal year of 2010. In 2011, the museum's annual budget was at $24.6 million, endowment income was a total $4.3 million. In August 2016, the institute ann