WAM opens two new exhibitions this summer, on the Big River as "a way of knowing" and documenting urban change, past and present
Artwork by Berenice Abbott and Giovanni Battista Giovanni
(L) Berenice Abbott, Broadway to the Battery from Roof of Irving Trust Co. Building, One Wall Street, 1938, gelatin silver print Museum purchase 1939.29. (R) Giovanni Battista Piranesi, Veduta di Campo Vaccino (View of the Campo Vaccino)

The Weisman Art Museum is pleased to present two new exhibitions opening in June: Capturing Change: The Urban Images of Berenice Abbott and Giovanni Battista Piranesiopening June 3 in the Edith Carlson Gallery; andBimiwetigweyaa — Tcubúhatceh (The Sound the River Makes Flowing Along / The Ripple and Roar of a Flowing Stream), an exhibition-in-progress by artists-in-residence for the Big River Continuum project, Karen Goulet (Ojibwe) and Monique Verdin (Houma), on view in the Target Studio for Creative Collaboration gallery beginning June 1.

Capturing Change: The Urban Images of Berenice Abbott and Giovanni Battiesta Piranesi

On view June 3 - November 6, 2022 | Edith Carlson Gallery

Capturing Change features works by two artists who documented their cities at key moments of change, offering visual chronicles of urban transformation, recombinations, decay, and renewal. Abbott’s striking photographs of New York City in the 1930s and Piranesi’s intricate etchings of Rome in the eighteenth century both capture the essence of these cities-in-flux, dramatizing the landscape and presenting a palpable feeling of place.

Curated by the Weisman’s 2018-19 O’Brien Fellow Ben Weil, this exhibition is the culmination of his year-long curatorial fellowship, during which he embarked on new research on works in the Weisman’s collection, raising questions and points of connection informed by his areas of interest and expertise. A student of medieval Italian art, Weil puts Piranesi’s gaze in conversation with Abbott’s, though they are far removed from one another in space and time, and in so doing offers a fresh lens on the flux of city life.

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At left, details of two textile works by Karen Goulet in fabric and stitchery, quilted squares with yellow and burgundy with butterflies sewn across the middle. At right, a photo of a resident of the LA bayou in black and white, against the background of a map of the river region
(L) Karen Goulet, “When Women Gather,” detail from the Unfinished Business series, 2022. Mixed fibers and stitchery, 11 x 11 in. [2] Karen Goulet, Aerial Memory (detail), 2022. Mixed fibers and stitchery, 11 x 11 in. (R) Monique Verdin, Louisiana Lost Treasure Map : Bayou DuLarge : Janie Luster, 2022. Inkjet print, 36 x 24 in. Images courtesy of the artists.

Bimiwetigweyaa — Tcubúhatceh
The Sound the River Makes Flowing Along (Ojibwe) / The Ripple and Roar of a Flowing Stream (Uma)

On view June 1 - August 21, 2022 | Target Studio for Creative Collaboration


It is one thing to know about a river, and yet another altogether to consider the river itself as a way of knowing. The Big River Continuum is a Mississippi-long artist residency exchange that amplifies the interconnectedness of cultures, research, water and land through collaboration between the multimedia artist Karen Goulet (White Earth Ojibwe) from the Mississippi Headwaters region, and social practice artist Monique Verdin (Houma) from the Delta. Over the past three years, the artists have been exchanging visits and having conversations about ways in which the Big River, or Misi Ziibi Headwaters and Delta have been in conversation with each other for thousands of years.

This in-progress exhibition in the Target Studio gallery, organized by guest curator Rebecca Dallinger, showcases the collaborative creative explorations of the artists thus far in the process through works in diverse media, as well as the documentation of their creative collaboration with the partners at the Itasca Biological Station and artists of Northern Minnesota and Yakni Chitto.

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B.J.O. Nordfeldt: American Internationalist

On view through July 10, 2022

Bror Julius Olsson Nordfeldt (1878–1955) was a modernist of international reputation. With a renegade spirit that sought novel locations for new artistic inspiration, he lived in or near artist colonies in Provincetown in Massachusetts, Santa Fe in New Mexico, and New Hope in Pennsylvania. This exhibition brings together works from fifteen museum and private collections, including the Metropolitan Museum of Art, The Hirshhorn Museum and Sculpture Garden, the University of New Mexico Art Museum, among others, in one of the most thorough presentations of the artist’s work ever assembled. The retrospective exhibition and the accompanying catalog published by WAM and the University of Minnesota Press are the first scholarly assessment of Nordfeldt in decades.

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