FARGO – The Plains Art Museum is celebrating its 40th anniversary this year. While the big bash is Oct. 3 - the joint opening receptions for shows by Moorhead artist Star Wallowing Bull and a touring exhibit of Pablo Picasso ceramics - the Fargo art institution recently quietly rolled out an impressive sampling of its holdings. Aptly named "40 Greatest Hits: Celebrating the Museum's Permanent Collection," the display shows off works by masters, some old favorites by regional artists and unveils a piece by a world-famous sculptor it had never shown before. With nearly 4,000 works to its name, the Plains has plenty to choose from for this show and could easily present a completely different "50 Greatest Hits" in another decade. With so many pieces that haven't been seen in a while, the show is even exciting for the Plains staffers who put it up. We walked through the display with Mark Ryan, the Plains' director of collections and operations, to learn a little more about the pieces and how they came to the Plains. Luis Jiménez "End of the Trail (with Electric Sunset)," 1971 One of the Plains' most identifiable pieces is Jiménez's "Sodbuster," which for 20 years overlooked the intersection of Main Avenue and Broadway before environmental damage prompted the piece to be moved to storage in 2002, where it still waits for repairs. Picking "End of the Trail (with Electric Sunset)" is a fitting replacement. Jiménez sheds some light on James Earle Fraser's iconic sculpture, "End of the Trail." The fiberglass artist adds dozens of lights that radiate out on an already colorful piece. The lights have proven to be a slight issue, however, as they "click" on and off and kick off a surprising amount of heat, which could damage the work itself, Ryan says. "It's not meant to be left on for a long time," he says, adding that it will be lit up for the Oct. 3 celebration.
Claes Oldenburg "Teabag, from the portfolio, Four on Plexiglas," 1966 The Swiss-born sculptor is best known regionally for "Spoonbridge and Cherry" outside Minneapolis' Walker Art Center. The Plains' own Oldenburg hasn't been displayed since it was given to the museum in 2000 by celebrated Chicago interior architect Donald Powell. "That took our collection to a whole other plane," Ryan says. Part of the reason it remained under wraps for so long was that the piece needed to be repaired and cleaned. Ryan admits he didn't know if the 3-D work was meant to be displayed vertically or horizontally until they heard from the 86-year-old pop artist that it is indeed intended for the wall. Kenojuak Ashevak "Seamaids," 1978 Another revelation for Ryan was Ashevak's printmaking method. The modern Inuit artist from Cape Breton, Nunavut, carved her images into stones just as some artists carve into wood blocks. The heavy stones printed on a thin, textured paper, depicting imagery and folk stories from her culture. [[{"type":"media","view_mode":"media_large","fid":"1994881","attributes":{"alt":"Photograph of Penn Station by Berenice Abbott. David Samson / The Forum","class":"media-image","height":"480","title":"Photograph of Penn Station by Berenice Abbott. David Samson / The Forum","width":"379"}}]]Berenice Abbott Untitled photo of Penn Station, 1983 When he died, Fred Scheel was best known for starting his namesake sporting goods and hardware stores, but in the arts community, he was recognized as an accomplished photographer and a collector of the medium. Scheel donated more than 250 prints to the Plains, both his own images and those by other artists. Five from that collection are displayed, including this untitled Abbott photo of Penn Station. Abbott, a New Yorker, documented the architecture and cityscapes and repeatedly shot Penn Station. Fritz Scholder "Incognito Artist at Rancho de Taos," 1980 Born in Breckenridge, Minn., Scholder maintained close ties with the area art scene, though he spent most of his life in the Southwest. James O'Rourke, who co-founded the Plains Art Museum in 1975 and served as director until resigning in 1987 to focus on the Rourke Art Gallery, was an early supporter of Scholder and acquired this lithograph print with funding help from the National Endowment for the Arts. "The relationship that he fostered with Fritz was important. We owe a lot to Mr. O'Rourke," says Ryan, adding that the late art advocate was also responsible for the Jiménez. James Rosenquist "Cold Rolled," 1974-76 Visitors to the Plains know the Grand Forks-born Rosenquist for the 13-by-24-foot "North Dakota Mural," which hangs in the atrium, but this lithograph by the pop artist goes back to the mid-1970s. It was purchased in 1979, the same year Rosenquist had a solo show at the Plains, then located in Moorhead. While it's a significant piece in the collection, Ryan says the Plains needs to be protective in how it's displayed. "Because it's a work on paper, we have to be careful in regards to (natural) light," he says. [[{"type":"media","view_mode":"media_original","fid":"1994892","attributes":{"alt":"Untitled by Frank Big Bear. David Samson / The Forum","class":"media-image","height":"835","title":"Untitled by Frank Big Bear. David Samson / The Forum","width":"1200"}}]] Frank Big Bear Jr. Untitled, 1987 "The strong suit of our collection is contemporary Native American artists. This is really a cool one," says Ryan, in front Big Bear's colorful drawing. The image is split into three vertical sections, with the one on the left showing people interacting, maybe at a dance. The middle piece features more abstracted characters and the colors more vibrant and contrasting. The right side is more angular yet, but in only the black and white and grays of graphite. The apple didn't fall far from the tree. Big Bear's son is Star Wallowing Bull, whose solo show opens Oct. 3. One of Wallowing Bull's drawings is also in this show. "You can tell they're related, for sure," Ryan says. Ansel Adams "Monolith, the Face of Half Dome, Yosemite National Park," 1927 With photography making up about 30 percent of the Plains' collection, this Adams image may be one of the crown jewels. "Fantastic perspective," Ryan says, admiring the photo. "Really stirring." The best-known American photographer has said that this composition was a formative work in his career and helped him forge his style at age 25. The photo was a gift from Charles E. Mather III and Mary MacGregor Mather in 2008. While the couple lives in Philadelphia, she grew up in Fargo and has an affinity for the museum. Since 1979, they've donated pieces by 20th-century artists like Adams and an adjacent nude study by Philip Pearlstein. [[{"type":"media","view_mode":"media_large","fid":"1994896","attributes":{"alt":"The Rio Grande Madonna by David Bradley. David Samson / The Forum","class":"media-image","height":"480","title":"The Rio Grande Madonna by David Bradley. David Samson / The Forum","width":"342"}}]]David Bradley "The Rio Grande Madonna," 1987 While this lithographic print hasn't been displayed at the museum since 1987, it may look familiar to art enthusiasts. The image is a parody on Leonardo da Vinci's "Mona Lisa," and also a precursor to Bradley's own painting, "Pow-Wow Princess in the Process of Acculturation," which is also in the museum's collection. "This one is a rare bird for us," Ryan says, noting that most of the Bradley pieces the Plains owns are paintings. Robert A. Nelson "Dog Soldier," 1968 In the 1960s, Nelson was a prolific artist, creating works that often tied historic themes - particularly war - with animal imagery and combining a draftsman's skill with pop-art flair. "He's had a longtime influence on a lot of people," Ryan says. Nelson uses circular fluorescent lights as a design feature toward the bottom of the piece, but Ryan says they don't function consistently enough to stay on. If you go What: "40 Greatest Hits: Celebrating the Museum's Permanent Collection" Where: Plains Art Museum, 704 1st Ave. N., Fargo Online: plainsart.orgFARGO – The Plains Art Museum is celebrating its 40th anniversary this year. While the big bash is Oct. 3 - the joint opening receptions for shows by Moorhead artist Star Wallowing Bull and a touring exhibit of Pablo Picasso ceramics - the Fargo art institution recently quietly rolled out an impressive sampling of its holdings. Aptly named "40 Greatest Hits: Celebrating the Museum's Permanent Collection," the display shows off works by masters, some old favorites by regional artists and unveils a piece by a world-famous sculptor it had never shown before. With nearly 4,000 works to its name, the Plains has plenty to choose from for this show and could easily present a completely different "50 Greatest Hits" in another decade. With so many pieces that haven't been seen in a while, the show is even exciting for the Plains staffers who put it up. We walked through the display with Mark Ryan, the Plains' director of collections and operations, to learn a little more about the pieces and how they came to the Plains. Luis Jiménez "End of the Trail (with Electric Sunset)," 1971 One of the Plains' most identifiable pieces is Jiménez's "Sodbuster," which for 20 years overlooked the intersection of Main Avenue and Broadway before environmental damage prompted the piece to be moved to storage in 2002, where it still waits for repairs. Picking "End of the Trail (with Electric Sunset)" is a fitting replacement. Jiménez sheds some light on James Earle Fraser's iconic sculpture, "End of the Trail." The fiberglass artist adds dozens of lights that radiate out on an already colorful piece. The lights have proven to be a slight issue, however, as they "click" on and off and kick off a surprising amount of heat, which could damage the work itself, Ryan says. "It's not meant to be left on for a long time," he says, adding that it will be lit up for the Oct. 3 celebration. [[{"type":"media","view_mode":"media_large","fid":"1994879","attributes":{"alt":"Teabag by Claes Oldenburg. David Samson / The Forum","class":"media-image","height":"480","title":"Teabag by Claes Oldenburg. David Samson / The Forum","width":"350"}}]]Claes Oldenburg "Teabag, from the portfolio, Four on Plexiglas," 1966 The Swiss-born sculptor is best known regionally for "Spoonbridge and Cherry" outside Minneapolis' Walker Art Center. The Plains' own Oldenburg hasn't been displayed since it was given to the museum in 2000 by celebrated Chicago interior architect Donald Powell. "That took our collection to a whole other plane," Ryan says. Part of the reason it remained under wraps for so long was that the piece needed to be repaired and cleaned. Ryan admits he didn't know if the 3-D work was meant to be displayed vertically or horizontally until they heard from the 86-year-old pop artist that it is indeed intended for the wall. Kenojuak Ashevak "Seamaids," 1978 Another revelation for Ryan was Ashevak's printmaking method. The modern Inuit artist from Cape Breton, Nunavut, carved her images into stones just as some artists carve into wood blocks. The heavy stones printed on a thin, textured paper, depicting imagery and folk stories from her culture.
Berenice Abbott Untitled photo of Penn Station, 1983 When he died, Fred Scheel was best known for starting his namesake sporting goods and hardware stores, but in the arts community, he was recognized as an accomplished photographer and a collector of the medium. Scheel donated more than 250 prints to the Plains, both his own images and those by other artists. Five from that collection are displayed, including this untitled Abbott photo of Penn Station. Abbott, a New Yorker, documented the architecture and cityscapes and repeatedly shot Penn Station. Fritz Scholder "Incognito Artist at Rancho de Taos," 1980 Born in Breckenridge, Minn., Scholder maintained close ties with the area art scene, though he spent most of his life in the Southwest. James O'Rourke, who co-founded the Plains Art Museum in 1975 and served as director until resigning in 1987 to focus on the Rourke Art Gallery, was an early supporter of Scholder and acquired this lithograph print with funding help from the National Endowment for the Arts. "The relationship that he fostered with Fritz was important. We owe a lot to Mr. O'Rourke," says Ryan, adding that the late art advocate was also responsible for the Jiménez. James Rosenquist "Cold Rolled," 1974-76 Visitors to the Plains know the Grand Forks-born Rosenquist for the 13-by-24-foot "North Dakota Mural," which hangs in the atrium, but this lithograph by the pop artist goes back to the mid-1970s. It was purchased in 1979, the same year Rosenquist had a solo show at the Plains, then located in Moorhead. While it's a significant piece in the collection, Ryan says the Plains needs to be protective in how it's displayed. "Because it's a work on paper, we have to be careful in regards to (natural) light," he says. [[{"type":"media","view_mode":"media_original","fid":"1994892","attributes":{"alt":"Untitled by Frank Big Bear. David Samson / The Forum","class":"media-image","height":"835","title":"Untitled by Frank Big Bear. David Samson / The Forum","width":"1200"}}]] Frank Big Bear Jr. Untitled, 1987 "The strong suit of our collection is contemporary Native American artists. This is really a cool one," says Ryan, in front Big Bear's colorful drawing. The image is split into three vertical sections, with the one on the left showing people interacting, maybe at a dance. The middle piece features more abstracted characters and the colors more vibrant and contrasting. The right side is more angular yet, but in only the black and white and grays of graphite. The apple didn't fall far from the tree. Big Bear's son is Star Wallowing Bull, whose solo show opens Oct. 3. One of Wallowing Bull's drawings is also in this show. "You can tell they're related, for sure," Ryan says. Ansel Adams "Monolith, the Face of Half Dome, Yosemite National Park," 1927 With photography making up about 30 percent of the Plains' collection, this Adams image may be one of the crown jewels. "Fantastic perspective," Ryan says, admiring the photo. "Really stirring." The best-known American photographer has said that this composition was a formative work in his career and helped him forge his style at age 25. The photo was a gift from Charles E. Mather III and Mary MacGregor Mather in 2008. While the couple lives in Philadelphia, she grew up in Fargo and has an affinity for the museum. Since 1979, they've donated pieces by 20th-century artists like Adams and an adjacent nude study by Philip Pearlstein. [[{"type":"media","view_mode":"media_large","fid":"1994896","attributes":{"alt":"The Rio Grande Madonna by David Bradley. David Samson / The Forum","class":"media-image","height":"480","title":"The Rio Grande Madonna by David Bradley. David Samson / The Forum","width":"342"}}]]David Bradley "The Rio Grande Madonna," 1987 While this lithographic print hasn't been displayed at the museum since 1987, it may look familiar to art enthusiasts. The image is a parody on Leonardo da Vinci's "Mona Lisa," and also a precursor to Bradley's own painting, "Pow-Wow Princess in the Process of Acculturation," which is also in the museum's collection. "This one is a rare bird for us," Ryan says, noting that most of the Bradley pieces the Plains owns are paintings. Robert A. Nelson "Dog Soldier," 1968 In the 1960s, Nelson was a prolific artist, creating works that often tied historic themes - particularly war - with animal imagery and combining a draftsman's skill with pop-art flair. "He's had a longtime influence on a lot of people," Ryan says. Nelson uses circular fluorescent lights as a design feature toward the bottom of the piece, but Ryan says they don't function consistently enough to stay on. If you go What: "40 Greatest Hits: Celebrating the Museum's Permanent Collection" Where: Plains Art Museum, 704 1st Ave. N., Fargo Online: plainsart.orgFARGO – The Plains Art Museum is celebrating its 40th anniversary this year. While the big bash is Oct. 3 - the joint opening receptions for shows by Moorhead artist Star Wallowing Bull and a touring exhibit of Pablo Picasso ceramics - the Fargo art institution recently quietly rolled out an impressive sampling of its holdings. Aptly named "40 Greatest Hits: Celebrating the Museum's Permanent Collection," the display shows off works by masters, some old favorites by regional artists and unveils a piece by a world-famous sculptor it had never shown before. With nearly 4,000 works to its name, the Plains has plenty to choose from for this show and could easily present a completely different "50 Greatest Hits" in another decade. With so many pieces that haven't been seen in a while, the show is even exciting for the Plains staffers who put it up. We walked through the display with Mark Ryan, the Plains' director of collections and operations, to learn a little more about the pieces and how they came to the Plains. Luis Jiménez "End of the Trail (with Electric Sunset)," 1971 One of the Plains' most identifiable pieces is Jiménez's "Sodbuster," which for 20 years overlooked the intersection of Main Avenue and Broadway before environmental damage prompted the piece to be moved to storage in 2002, where it still waits for repairs. Picking "End of the Trail (with Electric Sunset)" is a fitting replacement. Jiménez sheds some light on James Earle Fraser's iconic sculpture, "End of the Trail." The fiberglass artist adds dozens of lights that radiate out on an already colorful piece. The lights have proven to be a slight issue, however, as they "click" on and off and kick off a surprising amount of heat, which could damage the work itself, Ryan says. "It's not meant to be left on for a long time," he says, adding that it will be lit up for the Oct. 3 celebration. [[{"type":"media","view_mode":"media_large","fid":"1994879","attributes":{"alt":"Teabag by Claes Oldenburg. David Samson / The Forum","class":"media-image","height":"480","title":"Teabag by Claes Oldenburg. David Samson / The Forum","width":"350"}}]]Claes Oldenburg "Teabag, from the portfolio, Four on Plexiglas," 1966 The Swiss-born sculptor is best known regionally for "Spoonbridge and Cherry" outside Minneapolis' Walker Art Center. The Plains' own Oldenburg hasn't been displayed since it was given to the museum in 2000 by celebrated Chicago interior architect Donald Powell. "That took our collection to a whole other plane," Ryan says. Part of the reason it remained under wraps for so long was that the piece needed to be repaired and cleaned. Ryan admits he didn't know if the 3-D work was meant to be displayed vertically or horizontally until they heard from the 86-year-old pop artist that it is indeed intended for the wall. Kenojuak Ashevak "Seamaids," 1978 Another revelation for Ryan was Ashevak's printmaking method. The modern Inuit artist from Cape Breton, Nunavut, carved her images into stones just as some artists carve into wood blocks. The heavy stones printed on a thin, textured paper, depicting imagery and folk stories from her culture. [[{"type":"media","view_mode":"media_large","fid":"1994881","attributes":{"alt":"Photograph of Penn Station by Berenice Abbott. David Samson / The Forum","class":"media-image","height":"480","title":"Photograph of Penn Station by Berenice Abbott. David Samson / The Forum","width":"379"}}]]Berenice Abbott Untitled photo of Penn Station, 1983 When he died, Fred Scheel was best known for starting his namesake sporting goods and hardware stores, but in the arts community, he was recognized as an accomplished photographer and a collector of the medium. Scheel donated more than 250 prints to the Plains, both his own images and those by other artists. Five from that collection are displayed, including this untitled Abbott photo of Penn Station. Abbott, a New Yorker, documented the architecture and cityscapes and repeatedly shot Penn Station. Fritz Scholder "Incognito Artist at Rancho de Taos," 1980 Born in Breckenridge, Minn., Scholder maintained close ties with the area art scene, though he spent most of his life in the Southwest. James O'Rourke, who co-founded the Plains Art Museum in 1975 and served as director until resigning in 1987 to focus on the Rourke Art Gallery, was an early supporter of Scholder and acquired this lithograph print with funding help from the National Endowment for the Arts. "The relationship that he fostered with Fritz was important. We owe a lot to Mr. O'Rourke," says Ryan, adding that the late art advocate was also responsible for the Jiménez. James Rosenquist "Cold Rolled," 1974-76 Visitors to the Plains know the Grand Forks-born Rosenquist for the 13-by-24-foot "North Dakota Mural," which hangs in the atrium, but this lithograph by the pop artist goes back to the mid-1970s. It was purchased in 1979, the same year Rosenquist had a solo show at the Plains, then located in Moorhead. While it's a significant piece in the collection, Ryan says the Plains needs to be protective in how it's displayed. "Because it's a work on paper, we have to be careful in regards to (natural) light," he says.
Frank Big Bear Jr. Untitled, 1987 "The strong suit of our collection is contemporary Native American artists. This is really a cool one," says Ryan, in front Big Bear's colorful drawing. The image is split into three vertical sections, with the one on the left showing people interacting, maybe at a dance. The middle piece features more abstracted characters and the colors more vibrant and contrasting. The right side is more angular yet, but in only the black and white and grays of graphite. The apple didn't fall far from the tree. Big Bear's son is Star Wallowing Bull, whose solo show opens Oct. 3. One of Wallowing Bull's drawings is also in this show. "You can tell they're related, for sure," Ryan says. Ansel Adams "Monolith, the Face of Half Dome, Yosemite National Park," 1927 With photography making up about 30 percent of the Plains' collection, this Adams image may be one of the crown jewels. "Fantastic perspective," Ryan says, admiring the photo. "Really stirring." The best-known American photographer has said that this composition was a formative work in his career and helped him forge his style at age 25. The photo was a gift from Charles E. Mather III and Mary MacGregor Mather in 2008. While the couple lives in Philadelphia, she grew up in Fargo and has an affinity for the museum. Since 1979, they've donated pieces by 20th-century artists like Adams and an adjacent nude study by Philip Pearlstein. [[{"type":"media","view_mode":"media_large","fid":"1994896","attributes":{"alt":"The Rio Grande Madonna by David Bradley. David Samson / The Forum","class":"media-image","height":"480","title":"The Rio Grande Madonna by David Bradley. David Samson / The Forum","width":"342"}}]]David Bradley "The Rio Grande Madonna," 1987 While this lithographic print hasn't been displayed at the museum since 1987, it may look familiar to art enthusiasts. The image is a parody on Leonardo da Vinci's "Mona Lisa," and also a precursor to Bradley's own painting, "Pow-Wow Princess in the Process of Acculturation," which is also in the museum's collection. "This one is a rare bird for us," Ryan says, noting that most of the Bradley pieces the Plains owns are paintings. Robert A. Nelson "Dog Soldier," 1968 In the 1960s, Nelson was a prolific artist, creating works that often tied historic themes - particularly war - with animal imagery and combining a draftsman's skill with pop-art flair. "He's had a longtime influence on a lot of people," Ryan says. Nelson uses circular fluorescent lights as a design feature toward the bottom of the piece, but Ryan says they don't function consistently enough to stay on. If you go What: "40 Greatest Hits: Celebrating the Museum's Permanent Collection" Where: Plains Art Museum, 704 1st Ave. N., Fargo Online: plainsart.orgFARGO – The Plains Art Museum is celebrating its 40th anniversary this year. While the big bash is Oct. 3 - the joint opening receptions for shows by Moorhead artist Star Wallowing Bull and a touring exhibit of Pablo Picasso ceramics - the Fargo art institution recently quietly rolled out an impressive sampling of its holdings. Aptly named "40 Greatest Hits: Celebrating the Museum's Permanent Collection," the display shows off works by masters, some old favorites by regional artists and unveils a piece by a world-famous sculptor it had never shown before. With nearly 4,000 works to its name, the Plains has plenty to choose from for this show and could easily present a completely different "50 Greatest Hits" in another decade. With so many pieces that haven't been seen in a while, the show is even exciting for the Plains staffers who put it up. We walked through the display with Mark Ryan, the Plains' director of collections and operations, to learn a little more about the pieces and how they came to the Plains. Luis Jiménez "End of the Trail (with Electric Sunset)," 1971 One of the Plains' most identifiable pieces is Jiménez's "Sodbuster," which for 20 years overlooked the intersection of Main Avenue and Broadway before environmental damage prompted the piece to be moved to storage in 2002, where it still waits for repairs. Picking "End of the Trail (with Electric Sunset)" is a fitting replacement. Jiménez sheds some light on James Earle Fraser's iconic sculpture, "End of the Trail." The fiberglass artist adds dozens of lights that radiate out on an already colorful piece. The lights have proven to be a slight issue, however, as they "click" on and off and kick off a surprising amount of heat, which could damage the work itself, Ryan says. "It's not meant to be left on for a long time," he says, adding that it will be lit up for the Oct. 3 celebration. [[{"type":"media","view_mode":"media_large","fid":"1994879","attributes":{"alt":"Teabag by Claes Oldenburg. David Samson / The Forum","class":"media-image","height":"480","title":"Teabag by Claes Oldenburg. David Samson / The Forum","width":"350"}}]]Claes Oldenburg "Teabag, from the portfolio, Four on Plexiglas," 1966 The Swiss-born sculptor is best known regionally for "Spoonbridge and Cherry" outside Minneapolis' Walker Art Center. The Plains' own Oldenburg hasn't been displayed since it was given to the museum in 2000 by celebrated Chicago interior architect Donald Powell. "That took our collection to a whole other plane," Ryan says. Part of the reason it remained under wraps for so long was that the piece needed to be repaired and cleaned. Ryan admits he didn't know if the 3-D work was meant to be displayed vertically or horizontally until they heard from the 86-year-old pop artist that it is indeed intended for the wall. Kenojuak Ashevak "Seamaids," 1978 Another revelation for Ryan was Ashevak's printmaking method. The modern Inuit artist from Cape Breton, Nunavut, carved her images into stones just as some artists carve into wood blocks. The heavy stones printed on a thin, textured paper, depicting imagery and folk stories from her culture. [[{"type":"media","view_mode":"media_large","fid":"1994881","attributes":{"alt":"Photograph of Penn Station by Berenice Abbott. David Samson / The Forum","class":"media-image","height":"480","title":"Photograph of Penn Station by Berenice Abbott. David Samson / The Forum","width":"379"}}]]Berenice Abbott Untitled photo of Penn Station, 1983 When he died, Fred Scheel was best known for starting his namesake sporting goods and hardware stores, but in the arts community, he was recognized as an accomplished photographer and a collector of the medium. Scheel donated more than 250 prints to the Plains, both his own images and those by other artists. Five from that collection are displayed, including this untitled Abbott photo of Penn Station. Abbott, a New Yorker, documented the architecture and cityscapes and repeatedly shot Penn Station. Fritz Scholder "Incognito Artist at Rancho de Taos," 1980 Born in Breckenridge, Minn., Scholder maintained close ties with the area art scene, though he spent most of his life in the Southwest. James O'Rourke, who co-founded the Plains Art Museum in 1975 and served as director until resigning in 1987 to focus on the Rourke Art Gallery, was an early supporter of Scholder and acquired this lithograph print with funding help from the National Endowment for the Arts. "The relationship that he fostered with Fritz was important. We owe a lot to Mr. O'Rourke," says Ryan, adding that the late art advocate was also responsible for the Jiménez. James Rosenquist "Cold Rolled," 1974-76 Visitors to the Plains know the Grand Forks-born Rosenquist for the 13-by-24-foot "North Dakota Mural," which hangs in the atrium, but this lithograph by the pop artist goes back to the mid-1970s. It was purchased in 1979, the same year Rosenquist had a solo show at the Plains, then located in Moorhead. While it's a significant piece in the collection, Ryan says the Plains needs to be protective in how it's displayed. "Because it's a work on paper, we have to be careful in regards to (natural) light," he says. [[{"type":"media","view_mode":"media_original","fid":"1994892","attributes":{"alt":"Untitled by Frank Big Bear. David Samson / The Forum","class":"media-image","height":"835","title":"Untitled by Frank Big Bear. David Samson / The Forum","width":"1200"}}]] Frank Big Bear Jr. Untitled, 1987 "The strong suit of our collection is contemporary Native American artists. This is really a cool one," says Ryan, in front Big Bear's colorful drawing. The image is split into three vertical sections, with the one on the left showing people interacting, maybe at a dance. The middle piece features more abstracted characters and the colors more vibrant and contrasting. The right side is more angular yet, but in only the black and white and grays of graphite. The apple didn't fall far from the tree. Big Bear's son is Star Wallowing Bull, whose solo show opens Oct. 3. One of Wallowing Bull's drawings is also in this show. "You can tell they're related, for sure," Ryan says. Ansel Adams "Monolith, the Face of Half Dome, Yosemite National Park," 1927 With photography making up about 30 percent of the Plains' collection, this Adams image may be one of the crown jewels. "Fantastic perspective," Ryan says, admiring the photo. "Really stirring." The best-known American photographer has said that this composition was a formative work in his career and helped him forge his style at age 25. The photo was a gift from Charles E. Mather III and Mary MacGregor Mather in 2008. While the couple lives in Philadelphia, she grew up in Fargo and has an affinity for the museum. Since 1979, they've donated pieces by 20th-century artists like Adams and an adjacent nude study by Philip Pearlstein.
David Bradley "The Rio Grande Madonna," 1987 While this lithographic print hasn't been displayed at the museum since 1987, it may look familiar to art enthusiasts. The image is a parody on Leonardo da Vinci's "Mona Lisa," and also a precursor to Bradley's own painting, "Pow-Wow Princess in the Process of Acculturation," which is also in the museum's collection. "This one is a rare bird for us," Ryan says, noting that most of the Bradley pieces the Plains owns are paintings. Robert A. Nelson "Dog Soldier," 1968 In the 1960s, Nelson was a prolific artist, creating works that often tied historic themes - particularly war - with animal imagery and combining a draftsman's skill with pop-art flair. "He's had a longtime influence on a lot of people," Ryan says. Nelson uses circular fluorescent lights as a design feature toward the bottom of the piece, but Ryan says they don't function consistently enough to stay on. If you go What: "40 Greatest Hits: Celebrating the Museum's Permanent Collection" Where: Plains Art Museum, 704 1st Ave. N., Fargo Online: plainsart.orgFARGO – The Plains Art Museum is celebrating its 40th anniversary this year. While the big bash is Oct. 3 - the joint opening receptions for shows by Moorhead artist Star Wallowing Bull and a touring exhibit of Pablo Picasso ceramics - the Fargo art institution recently quietly rolled out an impressive sampling of its holdings.Aptly named "40 Greatest Hits: Celebrating the Museum's Permanent Collection," the display shows off works by masters, some old favorites by regional artists and unveils a piece by a world-famous sculptor it had never shown before.With nearly 4,000 works to its name, the Plains has plenty to choose from for this show and could easily present a completely different "50 Greatest Hits" in another decade.With so many pieces that haven't been seen in a while, the show is even exciting for the Plains staffers who put it up.We walked through the display with Mark Ryan, the Plains' director of collections and operations, to learn a little more about the pieces and how they came to the Plains.Luis Jiménez"End of the Trail (with Electric Sunset)," 1971One of the Plains' most identifiable pieces is Jiménez's "Sodbuster," which for 20 years overlooked the intersection of Main Avenue and Broadway before environmental damage prompted the piece to be moved to storage in 2002, where it still waits for repairs.Picking "End of the Trail (with Electric Sunset)" is a fitting replacement.Jiménez sheds some light on James Earle Fraser's iconic sculpture, "End of the Trail." The fiberglass artist adds dozens of lights that radiate out on an already colorful piece. The lights have proven to be a slight issue, however, as they "click" on and off and kick off a surprising amount of heat, which could damage the work itself, Ryan says."It's not meant to be left on for a long time," he says, adding that it will be lit up for the Oct. 3 celebration.
Claes Oldenburg"Teabag, from the portfolio, Four on Plexiglas," 1966The Swiss-born sculptor is best known regionally for "Spoonbridge and Cherry" outside Minneapolis' Walker Art Center. The Plains' own Oldenburg hasn't been displayed since it was given to the museum in 2000 by celebrated Chicago interior architect Donald Powell."That took our collection to a whole other plane," Ryan says.Part of the reason it remained under wraps for so long was that the piece needed to be repaired and cleaned.Ryan admits he didn't know if the 3-D work was meant to be displayed vertically or horizontally until they heard from the 86-year-old pop artist that it is indeed intended for the wall.Kenojuak Ashevak"Seamaids," 1978Another revelation for Ryan was Ashevak's printmaking method. The modern Inuit artist from Cape Breton, Nunavut, carved her images into stones just as some artists carve into wood blocks. The heavy stones printed on a thin, textured paper, depicting imagery and folk stories from her culture.[[{"type":"media","view_mode":"media_large","fid":"1994881","attributes":{"alt":"Photograph of Penn Station by Berenice Abbott. David Samson / The Forum","class":"media-image","height":"480","title":"Photograph of Penn Station by Berenice Abbott. David Samson / The Forum","width":"379"}}]]Berenice AbbottUntitled photo of Penn Station, 1983When he died, Fred Scheel was best known for starting his namesake sporting goods and hardware stores, but in the arts community, he was recognized as an accomplished photographer and a collector of the medium. Scheel donated more than 250 prints to the Plains, both his own images and those by other artists. Five from that collection are displayed, including this untitled Abbott photo of Penn Station. Abbott, a New Yorker, documented the architecture and cityscapes and repeatedly shot Penn Station.Fritz Scholder"Incognito Artist at Rancho de Taos," 1980Born in Breckenridge, Minn., Scholder maintained close ties with the area art scene, though he spent most of his life in the Southwest.James O'Rourke, who co-founded the Plains Art Museum in 1975 and served as director until resigning in 1987 to focus on the Rourke Art Gallery, was an early supporter of Scholder and acquired this lithograph print with funding help from the National Endowment for the Arts."The relationship that he fostered with Fritz was important. We owe a lot to Mr. O'Rourke," says Ryan, adding that the late art advocate was also responsible for the Jiménez.James Rosenquist"Cold Rolled," 1974-76Visitors to the Plains know the Grand Forks-born Rosenquist for the 13-by-24-foot "North Dakota Mural," which hangs in the atrium, but this lithograph by the pop artist goes back to the mid-1970s. It was purchased in 1979, the same year Rosenquist had a solo show at the Plains, then located in Moorhead.While it's a significant piece in the collection, Ryan says the Plains needs to be protective in how it's displayed."Because it's a work on paper, we have to be careful in regards to (natural) light," he says.[[{"type":"media","view_mode":"media_original","fid":"1994892","attributes":{"alt":"Untitled by Frank Big Bear. David Samson / The Forum","class":"media-image","height":"835","title":"Untitled by Frank Big Bear. David Samson / The Forum","width":"1200"}}]]Frank Big Bear Jr.Untitled, 1987"The strong suit of our collection is contemporary Native American artists. This is really a cool one," says Ryan, in front Big Bear's colorful drawing.The image is split into three vertical sections, with the one on the left showing people interacting, maybe at a dance. The middle piece features more abstracted characters and the colors more vibrant and contrasting. The right side is more angular yet, but in only the black and white and grays of graphite.The apple didn't fall far from the tree. Big Bear's son is Star Wallowing Bull, whose solo show opens Oct. 3. One of Wallowing Bull's drawings is also in this show."You can tell they're related, for sure," Ryan says.Ansel Adams"Monolith, the Face of Half Dome, Yosemite National Park," 1927With photography making up about 30 percent of the Plains' collection, this Adams image may be one of the crown jewels."Fantastic perspective," Ryan says, admiring the photo. "Really stirring."The best-known American photographer has said that this composition was a formative work in his career and helped him forge his style at age 25.The photo was a gift from Charles E. Mather III and Mary MacGregor Mather in 2008. While the couple lives in Philadelphia, she grew up in Fargo and has an affinity for the museum. Since 1979, they've donated pieces by 20th-century artists like Adams and an adjacent nude study by Philip Pearlstein.[[{"type":"media","view_mode":"media_large","fid":"1994896","attributes":{"alt":"The Rio Grande Madonna by David Bradley. David Samson / The Forum","class":"media-image","height":"480","title":"The Rio Grande Madonna by David Bradley. David Samson / The Forum","width":"342"}}]]David Bradley"The Rio Grande Madonna," 1987While this lithographic print hasn't been displayed at the museum since 1987, it may look familiar to art enthusiasts. The image is a parody on Leonardo da Vinci's "Mona Lisa," and also a precursor to Bradley's own painting, "Pow-Wow Princess in the Process of Acculturation," which is also in the museum's collection."This one is a rare bird for us," Ryan says, noting that most of the Bradley pieces the Plains owns are paintings.Robert A. Nelson"Dog Soldier," 1968In the 1960s, Nelson was a prolific artist, creating works that often tied historic themes - particularly war - with animal imagery and combining a draftsman's skill with pop-art flair."He's had a longtime influence on a lot of people," Ryan says.Nelson uses circular fluorescent lights as a design feature toward the bottom of the piece, but Ryan says they don't function consistently enough to stay on.If you goWhat: "40 Greatest Hits: Celebrating the Museum's Permanent Collection"Where: Plains Art Museum, 704 1st Ave. N., FargoOnline: plainsart.orgFARGO – The Plains Art Museum is celebrating its 40th anniversary this year. While the big bash is Oct. 3 - the joint opening receptions for shows by Moorhead artist Star Wallowing Bull and a touring exhibit of Pablo Picasso ceramics - the Fargo art institution recently quietly rolled out an impressive sampling of its holdings.Aptly named "40 Greatest Hits: Celebrating the Museum's Permanent Collection," the display shows off works by masters, some old favorites by regional artists and unveils a piece by a world-famous sculptor it had never shown before.With nearly 4,000 works to its name, the Plains has plenty to choose from for this show and could easily present a completely different "50 Greatest Hits" in another decade.With so many pieces that haven't been seen in a while, the show is even exciting for the Plains staffers who put it up.We walked through the display with Mark Ryan, the Plains' director of collections and operations, to learn a little more about the pieces and how they came to the Plains.Luis Jiménez"End of the Trail (with Electric Sunset)," 1971One of the Plains' most identifiable pieces is Jiménez's "Sodbuster," which for 20 years overlooked the intersection of Main Avenue and Broadway before environmental damage prompted the piece to be moved to storage in 2002, where it still waits for repairs.Picking "End of the Trail (with Electric Sunset)" is a fitting replacement.Jiménez sheds some light on James Earle Fraser's iconic sculpture, "End of the Trail." The fiberglass artist adds dozens of lights that radiate out on an already colorful piece. The lights have proven to be a slight issue, however, as they "click" on and off and kick off a surprising amount of heat, which could damage the work itself, Ryan says."It's not meant to be left on for a long time," he says, adding that it will be lit up for the Oct. 3 celebration.[[{"type":"media","view_mode":"media_large","fid":"1994879","attributes":{"alt":"Teabag by Claes Oldenburg. David Samson / The Forum","class":"media-image","height":"480","title":"Teabag by Claes Oldenburg. David Samson / The Forum","width":"350"}}]]Claes Oldenburg"Teabag, from the portfolio, Four on Plexiglas," 1966The Swiss-born sculptor is best known regionally for "Spoonbridge and Cherry" outside Minneapolis' Walker Art Center. The Plains' own Oldenburg hasn't been displayed since it was given to the museum in 2000 by celebrated Chicago interior architect Donald Powell."That took our collection to a whole other plane," Ryan says.Part of the reason it remained under wraps for so long was that the piece needed to be repaired and cleaned.Ryan admits he didn't know if the 3-D work was meant to be displayed vertically or horizontally until they heard from the 86-year-old pop artist that it is indeed intended for the wall.Kenojuak Ashevak"Seamaids," 1978Another revelation for Ryan was Ashevak's printmaking method. The modern Inuit artist from Cape Breton, Nunavut, carved her images into stones just as some artists carve into wood blocks. The heavy stones printed on a thin, textured paper, depicting imagery and folk stories from her culture.
Berenice AbbottUntitled photo of Penn Station, 1983When he died, Fred Scheel was best known for starting his namesake sporting goods and hardware stores, but in the arts community, he was recognized as an accomplished photographer and a collector of the medium. Scheel donated more than 250 prints to the Plains, both his own images and those by other artists. Five from that collection are displayed, including this untitled Abbott photo of Penn Station. Abbott, a New Yorker, documented the architecture and cityscapes and repeatedly shot Penn Station.Fritz Scholder"Incognito Artist at Rancho de Taos," 1980Born in Breckenridge, Minn., Scholder maintained close ties with the area art scene, though he spent most of his life in the Southwest.James O'Rourke, who co-founded the Plains Art Museum in 1975 and served as director until resigning in 1987 to focus on the Rourke Art Gallery, was an early supporter of Scholder and acquired this lithograph print with funding help from the National Endowment for the Arts."The relationship that he fostered with Fritz was important. We owe a lot to Mr. O'Rourke," says Ryan, adding that the late art advocate was also responsible for the Jiménez.James Rosenquist"Cold Rolled," 1974-76Visitors to the Plains know the Grand Forks-born Rosenquist for the 13-by-24-foot "North Dakota Mural," which hangs in the atrium, but this lithograph by the pop artist goes back to the mid-1970s. It was purchased in 1979, the same year Rosenquist had a solo show at the Plains, then located in Moorhead.While it's a significant piece in the collection, Ryan says the Plains needs to be protective in how it's displayed."Because it's a work on paper, we have to be careful in regards to (natural) light," he says.[[{"type":"media","view_mode":"media_original","fid":"1994892","attributes":{"alt":"Untitled by Frank Big Bear. David Samson / The Forum","class":"media-image","height":"835","title":"Untitled by Frank Big Bear. David Samson / The Forum","width":"1200"}}]]Frank Big Bear Jr.Untitled, 1987"The strong suit of our collection is contemporary Native American artists. This is really a cool one," says Ryan, in front Big Bear's colorful drawing.The image is split into three vertical sections, with the one on the left showing people interacting, maybe at a dance. The middle piece features more abstracted characters and the colors more vibrant and contrasting. The right side is more angular yet, but in only the black and white and grays of graphite.The apple didn't fall far from the tree. Big Bear's son is Star Wallowing Bull, whose solo show opens Oct. 3. One of Wallowing Bull's drawings is also in this show."You can tell they're related, for sure," Ryan says.Ansel Adams"Monolith, the Face of Half Dome, Yosemite National Park," 1927With photography making up about 30 percent of the Plains' collection, this Adams image may be one of the crown jewels."Fantastic perspective," Ryan says, admiring the photo. "Really stirring."The best-known American photographer has said that this composition was a formative work in his career and helped him forge his style at age 25.The photo was a gift from Charles E. Mather III and Mary MacGregor Mather in 2008. While the couple lives in Philadelphia, she grew up in Fargo and has an affinity for the museum. Since 1979, they've donated pieces by 20th-century artists like Adams and an adjacent nude study by Philip Pearlstein.[[{"type":"media","view_mode":"media_large","fid":"1994896","attributes":{"alt":"The Rio Grande Madonna by David Bradley. David Samson / The Forum","class":"media-image","height":"480","title":"The Rio Grande Madonna by David Bradley. David Samson / The Forum","width":"342"}}]]David Bradley"The Rio Grande Madonna," 1987While this lithographic print hasn't been displayed at the museum since 1987, it may look familiar to art enthusiasts. The image is a parody on Leonardo da Vinci's "Mona Lisa," and also a precursor to Bradley's own painting, "Pow-Wow Princess in the Process of Acculturation," which is also in the museum's collection."This one is a rare bird for us," Ryan says, noting that most of the Bradley pieces the Plains owns are paintings.Robert A. Nelson"Dog Soldier," 1968In the 1960s, Nelson was a prolific artist, creating works that often tied historic themes - particularly war - with animal imagery and combining a draftsman's skill with pop-art flair."He's had a longtime influence on a lot of people," Ryan says.Nelson uses circular fluorescent lights as a design feature toward the bottom of the piece, but Ryan says they don't function consistently enough to stay on.If you goWhat: "40 Greatest Hits: Celebrating the Museum's Permanent Collection"Where: Plains Art Museum, 704 1st Ave. N., FargoOnline: plainsart.orgFARGO – The Plains Art Museum is celebrating its 40th anniversary this year. While the big bash is Oct. 3 - the joint opening receptions for shows by Moorhead artist Star Wallowing Bull and a touring exhibit of Pablo Picasso ceramics - the Fargo art institution recently quietly rolled out an impressive sampling of its holdings.Aptly named "40 Greatest Hits: Celebrating the Museum's Permanent Collection," the display shows off works by masters, some old favorites by regional artists and unveils a piece by a world-famous sculptor it had never shown before.With nearly 4,000 works to its name, the Plains has plenty to choose from for this show and could easily present a completely different "50 Greatest Hits" in another decade.With so many pieces that haven't been seen in a while, the show is even exciting for the Plains staffers who put it up.We walked through the display with Mark Ryan, the Plains' director of collections and operations, to learn a little more about the pieces and how they came to the Plains.Luis Jiménez"End of the Trail (with Electric Sunset)," 1971One of the Plains' most identifiable pieces is Jiménez's "Sodbuster," which for 20 years overlooked the intersection of Main Avenue and Broadway before environmental damage prompted the piece to be moved to storage in 2002, where it still waits for repairs.Picking "End of the Trail (with Electric Sunset)" is a fitting replacement.Jiménez sheds some light on James Earle Fraser's iconic sculpture, "End of the Trail." The fiberglass artist adds dozens of lights that radiate out on an already colorful piece. The lights have proven to be a slight issue, however, as they "click" on and off and kick off a surprising amount of heat, which could damage the work itself, Ryan says."It's not meant to be left on for a long time," he says, adding that it will be lit up for the Oct. 3 celebration.[[{"type":"media","view_mode":"media_large","fid":"1994879","attributes":{"alt":"Teabag by Claes Oldenburg. David Samson / The Forum","class":"media-image","height":"480","title":"Teabag by Claes Oldenburg. David Samson / The Forum","width":"350"}}]]Claes Oldenburg"Teabag, from the portfolio, Four on Plexiglas," 1966The Swiss-born sculptor is best known regionally for "Spoonbridge and Cherry" outside Minneapolis' Walker Art Center. The Plains' own Oldenburg hasn't been displayed since it was given to the museum in 2000 by celebrated Chicago interior architect Donald Powell."That took our collection to a whole other plane," Ryan says.Part of the reason it remained under wraps for so long was that the piece needed to be repaired and cleaned.Ryan admits he didn't know if the 3-D work was meant to be displayed vertically or horizontally until they heard from the 86-year-old pop artist that it is indeed intended for the wall.Kenojuak Ashevak"Seamaids," 1978Another revelation for Ryan was Ashevak's printmaking method. The modern Inuit artist from Cape Breton, Nunavut, carved her images into stones just as some artists carve into wood blocks. The heavy stones printed on a thin, textured paper, depicting imagery and folk stories from her culture.[[{"type":"media","view_mode":"media_large","fid":"1994881","attributes":{"alt":"Photograph of Penn Station by Berenice Abbott. David Samson / The Forum","class":"media-image","height":"480","title":"Photograph of Penn Station by Berenice Abbott. David Samson / The Forum","width":"379"}}]]Berenice AbbottUntitled photo of Penn Station, 1983When he died, Fred Scheel was best known for starting his namesake sporting goods and hardware stores, but in the arts community, he was recognized as an accomplished photographer and a collector of the medium. Scheel donated more than 250 prints to the Plains, both his own images and those by other artists. Five from that collection are displayed, including this untitled Abbott photo of Penn Station. Abbott, a New Yorker, documented the architecture and cityscapes and repeatedly shot Penn Station.Fritz Scholder"Incognito Artist at Rancho de Taos," 1980Born in Breckenridge, Minn., Scholder maintained close ties with the area art scene, though he spent most of his life in the Southwest.James O'Rourke, who co-founded the Plains Art Museum in 1975 and served as director until resigning in 1987 to focus on the Rourke Art Gallery, was an early supporter of Scholder and acquired this lithograph print with funding help from the National Endowment for the Arts."The relationship that he fostered with Fritz was important. We owe a lot to Mr. O'Rourke," says Ryan, adding that the late art advocate was also responsible for the Jiménez.James Rosenquist"Cold Rolled," 1974-76Visitors to the Plains know the Grand Forks-born Rosenquist for the 13-by-24-foot "North Dakota Mural," which hangs in the atrium, but this lithograph by the pop artist goes back to the mid-1970s. It was purchased in 1979, the same year Rosenquist had a solo show at the Plains, then located in Moorhead.While it's a significant piece in the collection, Ryan says the Plains needs to be protective in how it's displayed."Because it's a work on paper, we have to be careful in regards to (natural) light," he says.
Frank Big Bear Jr.Untitled, 1987"The strong suit of our collection is contemporary Native American artists. This is really a cool one," says Ryan, in front Big Bear's colorful drawing.The image is split into three vertical sections, with the one on the left showing people interacting, maybe at a dance. The middle piece features more abstracted characters and the colors more vibrant and contrasting. The right side is more angular yet, but in only the black and white and grays of graphite.The apple didn't fall far from the tree. Big Bear's son is Star Wallowing Bull, whose solo show opens Oct. 3. One of Wallowing Bull's drawings is also in this show."You can tell they're related, for sure," Ryan says.Ansel Adams"Monolith, the Face of Half Dome, Yosemite National Park," 1927With photography making up about 30 percent of the Plains' collection, this Adams image may be one of the crown jewels."Fantastic perspective," Ryan says, admiring the photo. "Really stirring."The best-known American photographer has said that this composition was a formative work in his career and helped him forge his style at age 25.The photo was a gift from Charles E. Mather III and Mary MacGregor Mather in 2008. While the couple lives in Philadelphia, she grew up in Fargo and has an affinity for the museum. Since 1979, they've donated pieces by 20th-century artists like Adams and an adjacent nude study by Philip Pearlstein.[[{"type":"media","view_mode":"media_large","fid":"1994896","attributes":{"alt":"The Rio Grande Madonna by David Bradley. David Samson / The Forum","class":"media-image","height":"480","title":"The Rio Grande Madonna by David Bradley. David Samson / The Forum","width":"342"}}]]David Bradley"The Rio Grande Madonna," 1987While this lithographic print hasn't been displayed at the museum since 1987, it may look familiar to art enthusiasts. The image is a parody on Leonardo da Vinci's "Mona Lisa," and also a precursor to Bradley's own painting, "Pow-Wow Princess in the Process of Acculturation," which is also in the museum's collection."This one is a rare bird for us," Ryan says, noting that most of the Bradley pieces the Plains owns are paintings.Robert A. Nelson"Dog Soldier," 1968In the 1960s, Nelson was a prolific artist, creating works that often tied historic themes - particularly war - with animal imagery and combining a draftsman's skill with pop-art flair."He's had a longtime influence on a lot of people," Ryan says.Nelson uses circular fluorescent lights as a design feature toward the bottom of the piece, but Ryan says they don't function consistently enough to stay on.If you goWhat: "40 Greatest Hits: Celebrating the Museum's Permanent Collection"Where: Plains Art Museum, 704 1st Ave. N., FargoOnline: plainsart.orgFARGO – The Plains Art Museum is celebrating its 40th anniversary this year. While the big bash is Oct. 3 - the joint opening receptions for shows by Moorhead artist Star Wallowing Bull and a touring exhibit of Pablo Picasso ceramics - the Fargo art institution recently quietly rolled out an impressive sampling of its holdings.Aptly named "40 Greatest Hits: Celebrating the Museum's Permanent Collection," the display shows off works by masters, some old favorites by regional artists and unveils a piece by a world-famous sculptor it had never shown before.With nearly 4,000 works to its name, the Plains has plenty to choose from for this show and could easily present a completely different "50 Greatest Hits" in another decade.With so many pieces that haven't been seen in a while, the show is even exciting for the Plains staffers who put it up.We walked through the display with Mark Ryan, the Plains' director of collections and operations, to learn a little more about the pieces and how they came to the Plains.Luis Jiménez"End of the Trail (with Electric Sunset)," 1971One of the Plains' most identifiable pieces is Jiménez's "Sodbuster," which for 20 years overlooked the intersection of Main Avenue and Broadway before environmental damage prompted the piece to be moved to storage in 2002, where it still waits for repairs.Picking "End of the Trail (with Electric Sunset)" is a fitting replacement.Jiménez sheds some light on James Earle Fraser's iconic sculpture, "End of the Trail." The fiberglass artist adds dozens of lights that radiate out on an already colorful piece. The lights have proven to be a slight issue, however, as they "click" on and off and kick off a surprising amount of heat, which could damage the work itself, Ryan says."It's not meant to be left on for a long time," he says, adding that it will be lit up for the Oct. 3 celebration.[[{"type":"media","view_mode":"media_large","fid":"1994879","attributes":{"alt":"Teabag by Claes Oldenburg. David Samson / The Forum","class":"media-image","height":"480","title":"Teabag by Claes Oldenburg. David Samson / The Forum","width":"350"}}]]Claes Oldenburg"Teabag, from the portfolio, Four on Plexiglas," 1966The Swiss-born sculptor is best known regionally for "Spoonbridge and Cherry" outside Minneapolis' Walker Art Center. The Plains' own Oldenburg hasn't been displayed since it was given to the museum in 2000 by celebrated Chicago interior architect Donald Powell."That took our collection to a whole other plane," Ryan says.Part of the reason it remained under wraps for so long was that the piece needed to be repaired and cleaned.Ryan admits he didn't know if the 3-D work was meant to be displayed vertically or horizontally until they heard from the 86-year-old pop artist that it is indeed intended for the wall.Kenojuak Ashevak"Seamaids," 1978Another revelation for Ryan was Ashevak's printmaking method. The modern Inuit artist from Cape Breton, Nunavut, carved her images into stones just as some artists carve into wood blocks. The heavy stones printed on a thin, textured paper, depicting imagery and folk stories from her culture.[[{"type":"media","view_mode":"media_large","fid":"1994881","attributes":{"alt":"Photograph of Penn Station by Berenice Abbott. David Samson / The Forum","class":"media-image","height":"480","title":"Photograph of Penn Station by Berenice Abbott. David Samson / The Forum","width":"379"}}]]Berenice AbbottUntitled photo of Penn Station, 1983When he died, Fred Scheel was best known for starting his namesake sporting goods and hardware stores, but in the arts community, he was recognized as an accomplished photographer and a collector of the medium. Scheel donated more than 250 prints to the Plains, both his own images and those by other artists. Five from that collection are displayed, including this untitled Abbott photo of Penn Station. Abbott, a New Yorker, documented the architecture and cityscapes and repeatedly shot Penn Station.Fritz Scholder"Incognito Artist at Rancho de Taos," 1980Born in Breckenridge, Minn., Scholder maintained close ties with the area art scene, though he spent most of his life in the Southwest.James O'Rourke, who co-founded the Plains Art Museum in 1975 and served as director until resigning in 1987 to focus on the Rourke Art Gallery, was an early supporter of Scholder and acquired this lithograph print with funding help from the National Endowment for the Arts."The relationship that he fostered with Fritz was important. We owe a lot to Mr. O'Rourke," says Ryan, adding that the late art advocate was also responsible for the Jiménez.James Rosenquist"Cold Rolled," 1974-76Visitors to the Plains know the Grand Forks-born Rosenquist for the 13-by-24-foot "North Dakota Mural," which hangs in the atrium, but this lithograph by the pop artist goes back to the mid-1970s. It was purchased in 1979, the same year Rosenquist had a solo show at the Plains, then located in Moorhead.While it's a significant piece in the collection, Ryan says the Plains needs to be protective in how it's displayed."Because it's a work on paper, we have to be careful in regards to (natural) light," he says.[[{"type":"media","view_mode":"media_original","fid":"1994892","attributes":{"alt":"Untitled by Frank Big Bear. David Samson / The Forum","class":"media-image","height":"835","title":"Untitled by Frank Big Bear. David Samson / The Forum","width":"1200"}}]]Frank Big Bear Jr.Untitled, 1987"The strong suit of our collection is contemporary Native American artists. This is really a cool one," says Ryan, in front Big Bear's colorful drawing.The image is split into three vertical sections, with the one on the left showing people interacting, maybe at a dance. The middle piece features more abstracted characters and the colors more vibrant and contrasting. The right side is more angular yet, but in only the black and white and grays of graphite.The apple didn't fall far from the tree. Big Bear's son is Star Wallowing Bull, whose solo show opens Oct. 3. One of Wallowing Bull's drawings is also in this show."You can tell they're related, for sure," Ryan says.Ansel Adams"Monolith, the Face of Half Dome, Yosemite National Park," 1927With photography making up about 30 percent of the Plains' collection, this Adams image may be one of the crown jewels."Fantastic perspective," Ryan says, admiring the photo. "Really stirring."The best-known American photographer has said that this composition was a formative work in his career and helped him forge his style at age 25.The photo was a gift from Charles E. Mather III and Mary MacGregor Mather in 2008. While the couple lives in Philadelphia, she grew up in Fargo and has an affinity for the museum. Since 1979, they've donated pieces by 20th-century artists like Adams and an adjacent nude study by Philip Pearlstein.
David Bradley"The Rio Grande Madonna," 1987While this lithographic print hasn't been displayed at the museum since 1987, it may look familiar to art enthusiasts. The image is a parody on Leonardo da Vinci's "Mona Lisa," and also a precursor to Bradley's own painting, "Pow-Wow Princess in the Process of Acculturation," which is also in the museum's collection."This one is a rare bird for us," Ryan says, noting that most of the Bradley pieces the Plains owns are paintings.Robert A. Nelson"Dog Soldier," 1968In the 1960s, Nelson was a prolific artist, creating works that often tied historic themes - particularly war - with animal imagery and combining a draftsman's skill with pop-art flair."He's had a longtime influence on a lot of people," Ryan says.Nelson uses circular fluorescent lights as a design feature toward the bottom of the piece, but Ryan says they don't function consistently enough to stay on.If you goWhat: "40 Greatest Hits: Celebrating the Museum's Permanent Collection"Where: Plains Art Museum, 704 1st Ave. N., FargoOnline: plainsart.org
