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In Context

Graduate Student

Meet Our Graduate Students: Michael Rainville

Michael Rainville, Jr. is currently in his second year of the M.A. Art History/Museum Studies Certificate program.

Where did you go as an undergrad and what did you study?

I majored in History with a minor in Art History at the University of St. Thomas. In addition, I was part of the Renaissance program, which exposes you to a little bit of everything in the business field.

What drew you to the University St. Thomas to continue your M.A.?

When I decided to get the Art History minor, Dr. Young (Professor and Chair of Art History), notified me that they were starting up the Museum Studies certificate program. I was debating between Archaeology or Art History, but the Museum Studies certificate program pulled me in because I know I want to work at a museum in some way, shape, or form. In addition, I was familiar with the professors and the university.

What advice would you give someone considering St. Thomas for the Graduate Art History/Museum Studies Certificate program?

I would say it’s not as scary as it seems – graduate school, in general. I was familiar with the professors and how most of them taught. If you can analyze readings and write, you can be a graduate student.

What are you currently interested in?

Dr. Young is an architectural historian, so I am leaning towards doing my Qualifying Paper on Our Lady of Lourdes Church, which is the church I belong to in Southeast Minneapolis. It is right by the Stone Arch Bridge and Nicollet Island. I am the sixth generation to go to that church. Interestingly, it is the oldest continuous Catholic church building in Minnesota. It is also the first church in the United States to be named after Lady of Lourdes. There have been multiple renovations to the building, where hopefully there is enough to write about.

How were your classes your first semester?

I took Methods & Approaches to Art History. I had Dr. Barnes in my undergrad, so I like that familiarity. I also took the Museum Studies Class. It was a fun and engaging first class for the museum field. The projects were fun and engaging, not the traditional “research and write” projects.

What has been your biggest challenge?

As a History major it prepared in terms of reading, writing, and analyzing. History and Art History are very similar, but the amount of reading can be a lot. I just need to sit down and do it before I get distracted with something else.

Since you were a History undergraduate student, what has helped you with Art History the most?

My History degree brings another focus to Art History. I do enjoy analyzing colors, shapes, and all that, but like knowing the story behind it. That’s what makes Art History fun for me.

September 25, 2018 by
Alumni

Life After Graduate School: Wendy DePaolis

Get to know Master’s Program alumni in our series Life After Graduate School. In this month’s feature, meet Wendy DePaolis, a 2014 Master’s Program alumna. Wendy is currently Curator of Arts and Sculpture at the University of Minnesota Landscape Arboretum. 

Why St. Thomas? 

When considering where or even if I would go back for my Master’s in Art History, many factors were to be considered. Finances, personal growth opportunities and the ability for the degree to lead to something rewarding upon graduation were just a few questions. Meeting with the Director of Graduate Studies provided answers and inspiration to move forward with this decision.  I learned of the myriad of opportunities available and took advantage of many of these in my time at St. Thomas. I participated in many on- and off-campus internships and assistantships, was awarded grants to further research, and attended conferences both as a presenter and attendee— all as result of being a student at St. Thomas.

What was your favorite moment while a student at St. Thomas?

The research I was able to do on a little-known department store art gallery—Gallery 12—allowed me to immerse myself in a local project interviewing people who worked with the gallery and revealing the impact it had on the contemporary art scene—helping to cement Minneapolis as an arts hub for the future.

My other favorite moment was being awarded a Luann Dummer for Women Graduate Student Fellowship for Research on Topics Related to Women and/or Gender Issues. This award led to my Qualifying Paper research and a trip to the Kodak libraries to research a little known but highly influential photographer at the turn of the century, Annie Brigman.

What are you up to these days? How did you get to where you are?

Since November 2015 I have been Curator of Arts and Sculpture for the University of Minnesota Landscape Arboretum. My mission is to use art as a portal allowing people to understand and garner a deeper appreciation for the natural world around us. This position is responsible for the conservation and preservation of the newly-acquired monumental sculpture collection in the Harrison Sculpture Garden. The 26 sculptures from a wide range of international artists including the likes of Barbara Hepworth, Philip King and Louise Nevelson along with many other international artists provides a unique experience for the Arboretum visitor.  Additionally, the ever-rotating retail galleries—Reedy and Café—are managed by the Curator who develops and executes all aspects of the exhibitions. Proceeds support the Arboretum and the local artist community. Lastly, the Curator is charged with growing the fine arts education program which is filled with a wide range of classes from fiber to painting often in coordination with major outdoor exhibitions or recent developments in the gardens.

I am the first person to hold this position at the Arboretum and am thereby in a position to mold this opportunity with the direction of upper management.  I was hired because of my past experiences and connections, as well as the ability to juggle many responsibilities at once.

How has the time you spent in our graduate program influenced your career and life? 

The graduate program opened my eyes and my ability to become a true researcher. Not only the mechanics of good research are taught but how to dig deeper, look at things in a way that helps you to arrive at a new discovery.

I was constantly challenged and encouraged by staff to take my information and ideas further.  Whether developing programs or new exhibitions, I use skills learned at St. Thomas to ensure that our visitors are given a rewarding experience.

Advice for new and current graduate students? 

I think building connections builds bridges. I also think you need to let people know what makes you unique.  What can you bring to an organization that will further the mission of the place? Once you have figured out your unique skills and qualities, tell the world.  Don’t be shy!

 

September 20, 2018 by
Alumni

Life After Graduate School: Amy Pence-Brown

Get to know Master’s Program alumni in our series Life After Graduate School. In this week’s feature, meet Amy Pence-Brown. Amy currently lives in Boise, Idaho where she is an architectural historian, writer, and body image activist.

Why St. Thomas? 

When we were considering moving to the Twin Cities from Oregon I began exploring universities where I could get a Master’s in Art History. There were (and are) so many great colleges in the Twin Cities but only one that had the program that I wanted – an interdisciplinary Master of Arts degree I could morph to fit my particular and unique goals and loves – architectural history and museum studies. Turns out St. Thomas had two experts in both areas teaching in the department at that time making it a perfect fit for me.

What was your favorite moment while a student at St. Thomas?

There were many significant moments but a few stand out in my mind as game-changers for me. When I first arrived in Minneapolis I was exploring the museums during the first week of classes and remembering walking into the Weisman Art Museum and hearing Bruce Springsteen blaring from the galleries. I was surprised and titillated to find an exhibition on his cover art curated by Dr. Colleen Sheehy, who was to be my museum studies professor at St. Thomas. It wasn’t long after that I was driving the streets of Minneapolis and looking at funeral home after funeral home and thinking more critically about our vernacular built environment thanks to my first class with Dr. Victoria Young and thus my thesis topic was born, combining my loves of mortuary science and architectural history. My Qualifying Paper topic was the history of the American funeral home.

I also got pregnant with my first daughter while a grad student — so being pregnant, in the first stages of labor while attending a night class, and later doing field studies and primary research visiting and touring St. Paul mortuaries wearing baby Lucy in a Baby Bjorn were some of my most memorable moments. I love that the program allowed me to combine being a mother, an academic, a historian, and a burgeoning museum professional in my studies.

 

What are you up to these days? How did you get to where you are?

I am a writer, body image activist, artist, and historian living in Boise, Idaho. I have worked at many museums and have juried and curated numerous exhibitions. I also write for several local and national publications, and am an adjunct faculty member at Boise State University in the art department teaching special topics and the history of modern architecture. I also work as an architectural historian doing research, lecturing, writing and giving historic walking tours for Preservation Idaho, our statewide non-profit that works to educate about and advocate for Idaho’s historic built environment.

For the past seven years, I’ve co-curated Wintry Market, a handmade market for the holidays indie art & craft bazaar with nearly 80 regional artists. I also serve the children and youth of my community as a mother of three and as School Garden Coordinator for Hawthorne Elementary School. I have been a body image activist for the past 8 years and often use my body as a political vessel and canvas for my art. In 2015 I stripped down to a black bikini and blindfolded myself with a sign and markers in the farmer’s market in downtown Boise in the name of radical self-acceptance. A video of the performance, along with a blog post I wrote, went viral — to the tune of over 200 million views to date! My work and voice as a fat feminist mother gained international attention and I continue fighting for self-love and body positivity as a public speaker and educator, leader of the Boise Rad Fat Collective and founder of RADCAMP: A Body Positive Boot Camp for Feminists & Feminist Teens and just wrote the manuscript for my very first book.

How has the time you spent in our graduate program influenced your career and life? 

I do a lot of public speaking at universities, high schools, and junior highs, especially about body image and self-esteem, and I have always credited my academic studies – both undergraduate and graduate – as crucial to making me the educated historian and feminist I am today. My studies provided me with the foundation to make critical assessments and do research and ask a lot of questions before making decisions. It provided me with a deep love of books and understanding of who and what came before us, which is crucial if you’re an artist, architectural historian, activist, feminist, teacher or a mother.

Advice for new and current graduate students? 

I also share this bit of advice every time I speak to college students, as either a keynote or in small classroom lectures: I cannot overstate the importance of internships or volunteering as a student. It will boost your resume in amazing ways, give you great practical work experience and hopefully provide you with a qualified professional to write you a letter of recommendation or act as a reference for future studies or career opportunities. Additionally, I cannot overstate the importance of applying to present papers at conferences, either regionally or locally. Much like internships or volunteer opportunities, presenting at a conference bolsters your resume and professional and practical experience immensely. You’re also likely to learn a thing or two from other presentations and make some fun new professional connections!

September 20, 2018 by
Graduate Student, Research, Research Travel

Representation Beyond Objectification: Women in Street Art

Theresa Nelson is a graduate student in the joint M.A. in Art History and Museum Studies Certificate Program. Theresa and fellow Art History graduate students Floris Lafontant and Kira Lapinksy were awarded a University of St. Thomas Graduate Team Research Grant to research street art with Dr. Heather Shirey this summer.

This summer, with the support of the University of St. Thomas’s Graduate Team Research Grant, two of my peers and I worked alongside Dr. Heather Shirey in the Art History Department to approach street art from an art historical perspective. While street art is a well-established topic of inquiry in fields such as sociology and legal studies, it is relatively understudied in the field of art history at this time. When we first began our research and travels I was overwhelmed by the multitude of directions in which I could proceed, and for the first month or two of the summer I had a new idea every few days. It wasn’t until we returned from our time in Philadelphia and Chicago in the middle of July that I was able to settle on topic that truly inspired me: depictions of women in murals. I found that, despite being viewed as a fairly progressive art form, contemporary street art murals depicting women tend to fall into the same representations we have seen in more traditional forms of art for centuries.

Without Boundaries, Levi Ponce and Sarah Ackerley. Los Angeles, CA. Photographed June 9, 2018.

Generalizations are dangerous territory, but based on our visits to Los Angeles, Philadelphia, Chicago, and, of course, the Twin Cities, certain trends do appear in regards to the representation of women in the context of street art. I found that Downtown L.A.’s murals tended to emphasize aesthetics over social content, whereas Philadelphia’s murals (primarily supported by Mural Arts Philadelphia) touted the city’s history and diverse cultures and communities. When thinking back on the murals showing women in L.A., I struggle to think of examples that aren’t painted by men showing women as objects—the exceptions are the murals that depict young girls. Girls are shown reading and using their imaginations, breaking boundaries, and contributing to their communities—as seen in the murals Without Boundaries and Tribute to Alex Scott. And although the murals in Philadelphia and outer neighborhoods of Chicago were more socially driven, the spotlight still shone on men, as seen in Henry Ossawa Tanner: Letters of Influence, or, in the case of Pilsen in Chicago, the Virgin of Guadalupe instead of contemporary women in the neighborhood.

Tribute to Alex Scott, Robert Minervini. Philadelphia, PA. Photographed July 13, 2018.

While writing my formal research paper about the representation of women in street art, I kept circling back around to questions about women artists and self-representation. To what degree is it the responsibility of women artists working in the streets to change the dynamic and create representations of women that challenge the status quo? To what degree is this a larger societal issue that needs to be addressed? Why are we still viewing women in a sexualized way, neglecting to satisfactorily show the endless accomplishments of women outside of their ability to appear pleasing to the male gaze? If I’m going to suggest that women artists step outside what they have been creating, perhaps it is only right to put that same pressure on men.

Henry Ossawa Tanner: Letters of Influence, Keir M. Johnston. Philadelphia, PA. Photographed July 13, 2018.

I look forward to watching street art develop as an area of study and as an art form. Artists such as Sam Kirk are already contributing to better representation of women. Her murals balance aesthetics and content, celebrating the accomplishments of women on a national scale, as well as recognizing the diversity of neighborhoods in Chicago.

Unknown title and artist. Pilsen, Chicago, IL. Photographed July 15, 2018.

As pleasing as it would be to see this change take place immediately, the realist (okay, pessimist) in me knows it will take time. And maybe more art historical research on street art will help speed things up—bringing attention to the issues of representation is a necessary first step.

Si Se Puede, Sam Kirk. Chicago, IL. Photographed July 14, 2018.

September 19, 2018 by
Graduate Student

Meet Our Graduate Students: Jason Burnett

Jason Burnett is currently in his second year in the M.A. Art History program. This fall, he is enrolled in Museum Studies: Collections, Curation, and Controversy.

Where did you go as an undergraduate and what did you study?

Both as an undergraduate and for my Master’s degree, I went to the University of New Orleans. I studied English History primarily. My Master’s Thesis was on English Educational Policy from 1901-1905.

Since you obtained your M.A. in History, how has that helped you in the program and how is it different from Art History?

It has given me research skills. That part is all familiar to me. I went from years skipping the pictures and now I get to look at the pictures, and that is the more important part. In Art History, I find we are asking more subjective questions than we asked in regular History. More looking into what was life actually like, what was actually happening back then to more ordinary people.

What drew you to the University St. Thomas Art History M.A. Program?

I met Jayme Yahr, Assistant Professor and Director, Graduate Certificate in Museum Studies, at a Minnesota Association of Museums event, and we talked about the program. I came out to St. Thomas, and she took me on a tour of the campus. I thought this is great, and I signed up.

What advice would you give someone considering the St. Thomas M.A. in Art History and Museum Studies Certificate?

I would definitely say come check it out. I think it’s a really great program and I would recommend it.

What are you currently interested in?

Recently I have become interested in Surrealism.  Whenever I get some free time, I have been doing some reading on that.

How are your classes going? What have been your favorites?

They are going really well.  I feel like I am learning a lot. All the professors have been great.

What has been your biggest challenge?

Just getting used to being in school again. I had been out for a while after getting my Master’s in History. I wasn’t used to having to study anymore. Now coming back, I have to relearn all those habits.

September 13, 2018 by
Alumni

Life After Graduate School: Rachel Houck

Get to know Master’s Program alumni in our series Life After Graduate School. In this month’s feature, meet Rachel Houck (MA, 2017), Executive Director at the Excelsior-Lake Minnetonka Historical Society.

Why St. Thomas?

I chose St. Thomas because of the competitive and collaborative environment. While looking into graduate schools, I was amazed at the number that were described as “cut-throat.” I wanted to find a graduate program that was competitive but didn’t feel like an episode of Survivor. I found that at St. Thomas my peers and faculty advisors inspired me to work harder, but also actively looked for research projects to collaborate.

What was your favorite moment while a student at St. Thomas?

My favorite moment was after I presented a paper at my first major conference. When I was finished, one of the experts in attendance told me that my work made him rethink his previous stance on Asmat tourist art. I think every researcher hopes to get that kind of feedback.

What are you up to these days? How did you get to where you are?

I am currently the Executive Director at the Excelsior-Lake Minnetonka Historical Society. The most important part of my job is developing plans that will have a positive impact on the future of our organization. I also manage and organize our archives, artifacts, programs, fundraisers, and volunteers.

I got to where I am by asking for opportunities to advance my skills and networking. I would have never known about this job if a friend hadn’t told me about it and I wouldn’t have been qualified in the first place if I didn’t keep educating myself on the field.

How has the time spent in our graduate program influenced your career and life?

I learned so much in the graduate program at St. Thomas, but I think what influenced me the most was the realization that education doesn’t end with graduation. Best practices are always being re-written, we are always learning new and better ways to preserve artifacts, interpretation is always evolving. I still seek out new research and methods so that I can stay up-to-date.

Advice for new and current graduate students?

Know your strengths, know your weaknesses, and look for opportunities to develop both. If you need experience grant writing, developing exhibits, researching or anything else ask for it — if you are turned down, ask someone else, but don’t stop until you have the skills you need for the job you want.

 

September 6, 2018 by
Research, Research Travel, Students

Researching Environmental Art in London, England

Tove Conway in front of the Royal Academy of Arts where John Constable and J. M. W. Turner studied. Tove will present her research at the Inquiry at UST Poster Session on Tuesday, October 2, 2018.

Tove Conway is an undergraduate English and Environmental Studies major currently completing research for her Sustainability Scholars Grant. Her research paper is titled, “The Evolution of Environmental Art: Visualizing the Relationship Between Humans and Nature Since the Nineteenth-Century.”

I am beyond thankful for the opportunity to travel to London, England, for my research on environmental art. Receiving a research travel grant from the Undergraduate Research Opportunities Program, the University of St. Thomas Department of Art History, the University of St. Thomas Department of English, and the University of St. Thomas Department of Geography and Environmental Studies made this trip a reality. The purpose of my trip was to experience and study three styles of environmental art in person, which brought my work full circle.

“Art takes nature as its model” –Aristotle

The facade of the National Gallery, London

My research is blowing me away… across the world in fact! I studied art history abroad in London with Dr. Victoria Young and Dr. Heather Shirey in 2016, but I was ecstatic to return for a whole new adventure. Brimming over with history and culture, traveling to London for my research was a dream come true. The top stops on my itinerary took me to museums and to natural settings alike, such as the National Gallery and Hyde Park. Walking in and out of galleries and parks allowed me to feel and see the evolution of environmental art beneath my feet and before my eyes.

The entrance to the National Gallery’s exhibition, “Thomas Cole: Eden to Empire”

Panning from an image of thick black factory smoke during the Industrial Revolution to small green spaces of bustling New York City and London shows how we are physically changing our planet. Likewise, environmental art reveals how and why people personally responded to these changes through the years. In my research I break down the Environmental Art Movement into three phases: landscape paintings, earth art, and urban ecological art. Sketching landscape paintings at the National Gallery and Tate Britain, walking through the cobblestone courtyard of the Royal Academy, and being within arms-length of Christo’s vibrantly colored London Mastaba personally introduced me to the true power, passion, and hope that environmental art holds.

Thomas Cole, View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm—The Oxbow, 1836, oil on canvas, 130.8 x 193 cm., The National Gallery, London

Unfortunately, photography was not allowed in the gallery, but take my word for it that the National Gallery’s exhibition, “Thomas Cole: Eden to Empire,” was breathtaking and visually dramatic. It was spectacular how the visible rise and fall of brushstrokes on the craggy American landscapes were congruent with Cole’s reoccurring theme: the rising and falling of human empires. Seeing The Course of Empire series up close seemed to create a short story between nature and humans. The five paintings evolved from a savage state to inevitable destruction and desolation in the name of human progress. Meanwhile, across the room, The Oxbow painting portrayed a question mark-shaped river, perhaps asking if it is possible to avoid this kind of ending. Turning slowly in the middle of the exhibition to create a panorama of Cole’s paintings, I felt that Cole had preserved parts of America’s identity in his paintings, and also left a warning of human destruction.

Christo’s London Mastaba on the Serpentine Lake in Hyde Park, London

On my last day in London, I walked from the Royal Academy of Arts to Hyde Park to see Christo’s London Mastaba. Christo is an environmental artist who is known for constructing temporary and controversial pieces of art using metal oil barrels or fabric—industrial materials lacking artistic function. Christo’s Mastaba was 66 feet high and consisted of a whopping 7,506 oil barrels. I was able to rent a paddleboat for an hour and slowly gravitate towards the blinding red, mauve, and blue barrels that were juxtaposed against the natural tones of Hyde Park. Sitting ten feet from the sculpture, I thought about how Christo’s art focuses on human intervention and conflicting areas between urban and rural or natural and artificial. To me, this piece was very special to behold because I consider it a hybrid between earth art and urban ecological art. It is temporarily placed in an urban green space in London, but it also engagingly interacts with the natural Serpentine Lake and its ecosystem as an earth art piece would.

A small model in the Serpentine Gallery’s exhibition, “Christo and Jeanne-Claude: Barrels and The Mastaba 1958-2018”

After studying the London Mastaba up close, I continued walking through Hyde Park to the Serpentine Gallery to see Christo and his late wife Jeanne-Claude’s exhibition, Christo and Jeanne-Claude: Barrels and The Mastaba 1958-2018. The exhibition was laid out as a timeline of their work with barrels—representing small models of trapezoid mastabas and blown up images of their large-scale environmental art projects. The exhibition ended with the bright sketches and photographs of the London Mastaba, their first large-scale sculpture in the UK and only on view for the summer of 2018.

London was calling, and my research answered. I am so thankful for funding from the Undergraduate Research Opportunities Program and the English, Art History, and Geography and Environmental Studies departments. Environmental art has the potential to challenge the status quo and spark change through our increased awareness of environmental degradation, and I believe my research runs parallel to this mission. Traveling to London allowed me to truly visualize and experience the relationship between humans and nature in art, and then personally contribute to modern sustainable development.

August 22, 2018 by
Research, Research Travel, Students, Undergraduate Student

Architecture in the Big Apple

Parker Schlueter is a junior Mechanical Engineering major at the University of St. Thomas with an interest in architecture. Parker was awarded a Department of Art History Travel Grant to research architecture in New York City.

Everyone always says that visiting New York City at least once in your life is a must. Recently, I had the wonderful opportunity to visit the city through a grant I received from the Department of Art History at St. Thomas. As one of the most influential cities in the world in the realms of culture, business, and media, New York has almost an endless number of different things to experience. Although I only had two days, my mom and I left no time wasted in our efforts to take in as much of New York as we could – we logged 17 miles of walking!

A picturesque view of Manhattan captured on my visit to the Empire State Building

In the fall of 2017, I took a course titled the History of American Architecture, taught by Dr. Victoria Young. Through a strong friendship between Dr. Young and successful American architect Bartholomew Voorsanger, I was able to listen to Mr. Voorsanger talk to our class during a question and answer session. With my current pursuit of an Engineering degree, I found Mr. Voorsanger’s explanations and descriptions of his projects and design processes very interesting. One of our assignments in this class was to write a book review on the biography of Mr. Voorsanger, UNFOLDED: How Architecture Saved my Life, and after receiving very kind feedback from Dr. Young on my review, she asked me if she could share it with Bart. I gladly said yes, and within a couple of days I received a message from Mr. Voorsanger saying that he too had enjoyed my book review, and felt that I had a bright future ahead of me. From this, I knew that I wanted to learn more about his profession, and with the help of Dr. Young I was able to set up a trip to New York to meet with Mr. Voorsanger and learn more about not only his architecture, but the architecture of the city as well.

Myself (left), Mr. Voorsanger (middle), and Mr. Dobday (right) conversing at lunch at the Garden Court Café in the Asia Society

To begin my New York adventure, flying into LaGuardia Airport was a great first experience. With this being the first time I had ever been to New York, seeing the sheer size of the metropolitan area from the airplane was breathtaking; it was nothing like I had ever seen before! Immediately following our landing, I went to the Asia Society in Midtown Manhattan for lunch with Mr. Voorsanger, Dr. Young, and a couple of Bart’s associates: Martin Stigsgaard and Louis Dobday. It was fun listening to how all of them got into architecture growing up and also which particular aspects of their profession they are most passionate about. We then got to talk about how the construction of the Bollinger Canopy of Peace at the National WWII Museum is coming along, and what the inspirations were for the design. I especially enjoyed this conversation, for it connected the fields of architecture and engineering together. After lunch was finished, Bart took us on a tour of the Asia Society building, for he was the architect of the complete redesign and renovation that took place from 1997 to 2001. Initially, I thought it would be him explaining large-scale design factors, such as “why these stairs curve like this” or “how I chose to arrange the walls in the museum.” These were topics that he covered, but I was surprised by how much more he could explain within his design of the building; the one that took me by awe was why he had chosen a deep blue glass for the material of the main stairway. He explained how the blue color was supposed to reflect the same color found in the museums most prized piece, a 15th-century porcelain flask from the Ming Period with a blue dragon painted across the main body.

The main stairway found within the Asia Society building

The rest of the evening on my first day in New York was spent with my mom walking about the city. We got to see some of the city’s most iconic places, such as Central Park, Times Square, St. Patrick’s Cathedral, and Rockefeller Center. The built landscape varies in so many ways in New York, which can easily be seen through the places I have just listed: Central Park really takes you out of the feeling of a big city with its serene nature and greenery, whereas Times Square does just the opposite with all of the tall buildings, bright lights, and thousands of people. You can also be brought back in time by walking into St. Patrick’s Cathedral, for its gothic styling is absolutely stunning on the inside with its high vaulted ceilings and artisanal glasswork.

The North Pool of the 9/11 Memorial

On day two of my visit, my mom and I started the day by going to the 9/11 Memorial and Museum. Although this was not part of the trip spent with Mr. Voorsanger and learning about the architecture of the city, I can say with certainty that it was my favorite part of New York. The 9/11 museum was the most powerful and awestriking exhibit I have ever been in. For someone who isn’t old enough to clearly remember the events that took place on that day, this museum still induced many emotions within me. After viewing this, going back outside to the two pools of where the towers used to stand was very moving. Following this, I linked back up with Dr. Young, and we met Martin, Bart, and Masayuki Sono (another one of Mr. Voorsanger’s associates) at the Rammellzee Exhibition at the Red Bull arts gallery, designed by Martin Stigsgaard. Rammellzee was a popular street artist within New York in the late 20th century, and had very eccentric and colorful art which were influenced by his original graffiti works. The most interesting of all of his works were the “Garbage Gods” – these were massive costumes that he constructed out of various items he found in the streets of New York, which he then performed his music in. Martin gave us a full walkthrough of the exhibit, and explained completely his design process of every aspect of the space, which was a great learning experience.

One of Rammellzee’s Garbage Gods, next to the pyramidal urn that contains Rammelzee’s ashes – one of Rammelzee’s own pieces of art

To end our final day, my mom and I checked some more items off of our list of places to visit in New York. We walked the entirety of the High Line, visited the Empire State Building, and walked to look at Grand Central Station and the Chrysler Building. All of these were fantastic experiences, and cool to view in a new-born architectural understanding. Altogether, this trip not only opened my eyes to one of the greatest cities in the world, but it also heightened my interest for architecture. I am excited to see where my future leads me!

Pictured from left to right: Mr. Sono and his wife, Mr. Stigsgaard, myself, Dr. Young, and Mr. Voorsanger outside of the Rammelzee Red Bull Arts Exhibit

August 16, 2018 by
Alumni

Life After Graduate School: Rita Walaszek

Get to know Master’s Program alumni in our new series  Life After Graduate School. In this week’s feature, meet Rita Walaszek, a Master’s program alumna currently working in the museum collections of the Minnesota Historical Society.

Why St. Thomas?

Having done my undergrad at the University of Minnesota, I still wanted to stay close to home but have a change. Colleagues at the U told me more information about the program at St. Thomas. (Also, no GRE requirement).

What was your favorite moment while a student at St. Thomas? 

Besides graduation, my favorite part was taking a class with Dr. Julie Risser, who was working with the Asmat collection at the time. Being able to curate an exhibit while working directly with objects was an entirely different experience than other seminars. Being able to see the objects I was studying in person is always a joy.

What are you up to these days? 

I currently work in Museum Collections at the Minnesota Historical Society, specializing in the Native American collections, helping Native artists research collections and doing outreach within the Native community.

After working with the Native community in education for a few years, I started volunteering at the Minnesota Historical Society. A few positions opened in the collections department where I was volunteering and I became an employee.

How has the time you spent in our graduate program influenced your career and life?

The graduate program ignited my critical thinking regarding museums and their roles as institutions. Now I cannot visit a museum or gallery without thinking about the objects, the space they are in and the interpretation and context provided. As a museum employee, these critiques are always in the back of my mind when working on projects both big and small.

Advice for new and current graduate students?

Get to know individuals in the field you want to work in to see if they have advice. Make sure to volunteer and intern as much as you can, those relationships go a long way. Many small museums and galleries need volunteers consistently. This will also help you see how different places are run.

August 7, 2018 by
Alumni

Life After Graduate School: Hayley Stoen

Get to know Master’s Program alumni in our new series  Life After Graduate School. In this week’s feature, meet Hayley Stoen, Master’s program alumna and the mind behind The Atelier Collection, where she deals, restores, and curates art from around the world. 

Why St. Thomas?

I was impressed with St. Thomas from the very early stages of pursuing my graduate degree. The level of attention and regard that I received from the faculty was quite impactful, particularly because I graduated from college over a decade ago and I was slightly overwhelmed at the prospect of going back to school.  I also appreciated that in spite of not having an academic background in art history (I majored in French and Political Science at the University of Minnesota), I was welcomed into the program and encouraged to pursue the field.

What was your favorite moment while a student at St. Thomas?

Presenting my QP was definitely the highlight. I had an incredible sense of accomplishment that I had come so far in my studies, overcoming fears and obstacles along the way.  I loved my topic and it was personal to me, and I felt proud to be in such talented company as I listened to my fellow presenters that night. Each and every one of my seminars were also highlights! It’s such a well-rounded education and I miss the excitement of being able to choose from the list of fascinating courses that are offered every semester.

What are you up to these days? How did you get to where you are?

During my last year in the program, I started a business called The Atelier Collection. I acquire artwork from all over the world, working with other art dealers to import the pieces and restore them if necessary. It is a highly curated collection and I select works based on their aesthetic properties, historic implications, and originality. I operate a website, atelier-collection.com, and I recently opened a gallery space in downtown Excelsior. I work with interior designers, established art collectors, and art lovers who are just beginning their collections. I have shipped everywhere from Australia, the Netherlands, to Nantucket and Santa Barbara…all over! I also participate in local art shows and collaborations, as community engagement is very important to me. I absolutely love curating art and I get such a thrill from acquiring and selling

How has the time spent in our graduate program influenced your career and life?

The program afforded me the ability to work in this field at a high level, and I find that having earned my Master’s degree in Art History from St. Thomas gives me some professional authority. I feel strongly that I could not do what I do without having this degree behind me.  I find that I often rely on the formal education that I received, even referencing professors’ comments and syllabi at times! The connections that I made through St. Thomas have also been integral. Building these personal relationships is key, as Minneapolis/St. Paul is a small world.  St. Thomas really cultivates that idea. The art world can be intimidating, but after countless presentations, papers, and critiques, I have the confidence required in doing business in this specialized area.

Advice for new and current graduate students?

My first piece of advice is to take advantage of an internship – mine was at Mia and it was profoundly helpful to me. Also, try not to look too far ahead or it can get overwhelming. Enjoy the process and take it day by day. And if you’re worried because you don’t know what you want to do when you graduate – just brainstorm and don’t limit your options!  There are so many opportunities out there, even if you have to create one for yourself.

 

August 1, 2018 by