Art Survey
For
Minnesota State Colleges and Universities
Contact: Sally Grans, AIA, System Director for Planning and Programming
sally.grans@so.mnscu.edu or 651-296-7083
By
Contact: Penny A. Petersen, Surveyor
Petersen@hessroise.com or 612-332-1987
December 2005
• Purpose of this survey was to document some of the art
that has been produced for the campuses through
donations or the 1% art program.
• Funding was not available for an exhaustive study, but
intent was to yield a reasonable documentation of the
depth and breadth of art work on the campuses.
• There was an attempt to document the “best practices”
and “pitfalls to avoid” in contractual, procedural,
material selection, artist interaction, installation or ongoing maintenance issues.
• If you have questions on a specific art piece, process,
reaction to the piece or maintenance issues you are
encouraged to contact that campus directly.
Table of Contents
Art Survey
1.
Anoka Ramsey Community College – Cambridge
2.
Anoka Ramsey Community College – Coon Rapids
3.
Inver Hills Community College
4.
Metropolitan State University
5.
Minneapolis Community and Technical College
6.
Minnesota State College – Southeast Technical
7.
Minnesota State University, Mankato
8.
North Hennepin Community College
9.
Riverland Community College – Austin
10.
Rochester Community and Technical College
11.
South Central College, North Mankato
12.
St. Paul College
13.
Winona State University
Anoka Ramsey
Community College
Cambridge
Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Anoka-Ramsey Community College
City: Cambridge
Title of the artwork: Cambridge River Prairie Islands
Type of work: Landscape sculpture
Materials used and approximate dimensions: Granite, wood, concrete, and bronze; the landscape
occupies approximately one-quarter of an acre.
Location of the artwork within the campus: Outside the main entrance to the campus
Artist’s name and contact information: Kinji Akagawa, Afton, Minnesota
Date work installed or dedicated: 1996
Source of funding and cost of the work: Minnesota Percent for Art Program supplied $18,000 and
in-kind donations of $6,000 (that the Artist secured himself from Cold Springs Granite to sustain his
vision).
Comments: The plaque reads:
“Akagawa has produced an ensemble of four outdoor sculptures composed of granite, wood,
concrete, and bronze that provide seating areas on the hillside near the college’s main entrance. He
believes that public art, which is created for our shared public spaces, should acknowledge and
respond to society’s collective but diverse cultural visions. Consequently, Akagawa has paid special
attention to developing an outdoor gathering space that may be used for a broad range of group
activities and by individuals seeking a quiet place to contemplate the surrounding landscape.
“Akagawa uses materials from nature, such as stone and wood, that relate to the pleasures of
everyday life. These materials have been used simply and without excessive manipulation, the granite
is not polished and the wood logs are not carved or ornamented. Rather, their natural properties have
been respected.
“The design and construction of the artwork required collaboration between the artist, architect,
landscape architect, and residents at the site. Akagawa hopes the aesthetic experience of the work,
Cambridge River Prairie Islands, will enhance perception of the beautiful river valley landscape
where it is located.
“The artwork was commissioned through Minnesota Percent for Art in Public Places, which is
sponsored by the Minnesota State Arts Board and the Department of Administration, with support for
this project from Cambridge Community College.”
A committee consisting of Bonnie Anderson, Maggie Kircher, Marilyn Taus, Dan de Pover, Sally
Grans, and Susan Fiene provided oversight for this project. The Art was developed during the
design of the campus, and the Artist worked to compliment the Landscape Architect’s vision of the
poured concrete retaining walls that form the natural grass amphitheater.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Roger Freeman, Physical Plant Director, ARCC
Anoka-Ramsey Community College/Cambridge
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Several views of Cambridge River Prairie Islands by Kinji Akagawa.
Anoka-Ramsey Community College/Cambridge
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Anoka-Ramsey Community College/Cambridge
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Anoka-Ramsey Community College
Title of the artwork: Satori
City: Cambridge
Type of work: Stained-glass window
Materials used and approximate dimensions: Leaded glass, clear hand-blown glass, beveled glass,
blue opal glass, and dichroic glass; the window is about twenty feet by forty feet.
Location of the artwork within the campus: Outside the main entrance to the campus
Artist’s name and contact information: Michaela Mahady, 614 North Fourth Street,
Stillwater, Minnesota 55082; 651-439-7106
Date work installed or dedicated: 1996
Source of funding and cost of the work: Minnesota Percent for Art Program, $23,050
Comments: The plaque reads:
“Mahady notes that the imagery for this window came to her one day in January as brilliant light
swept across the landscape of the site. She decided to use transparent and translucent glass to frame
and interact with the view of the river valley beyond. ‘The design is about light and the paths that
light describes on the gently rolling hills and the frozen river below,’ she comments. ‘I have
attempted to address concepts of constancy and change, interpreted in patterns of light.’ The
geometry of the design also responds to the architecture of the building, and the long arched volume
of the bookstore area and student lounge.
“The glasswork features clear handblown glass, beveled glass, pale blue opal glass, and thin silvers
of dichroic glass. Dichroic glass is a specialized industrial glass which converts white light to discrete
colors. Both the color on the surface of the glass and the light transmitted through the window change
as the viewer walks past the window.
“The artwork was commissioned through Minnesota Percent for Art in Public Places, which is
sponsored by the Minnesota State Arts Board and the Department of Administration, with support for
this project from Cambridge Community College.”
A committee consisting of Bonnie Anderson, Maggie Kircher, Marilyn Taus, and Dan de Pover
provided oversight for this project. The Art was created during the Design Development process, so
the Architect incorporated the window mullions to accept this specific design. The Architect further
took some of the curved motifs developed in this piece and used them on the stair and balcony
railings – thus creating a stronger visual reinforcement of the Art. The railing are unique and add
significantly to the overall space.
This window requires monthly dusting and a yearly cleaning with paper towels and glass cleaner,
according to Roger Freeman.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Roger Freeman, Physical Plant Director, ARCC
Anoka-Ramsey Community College/Cambridge
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Several views of Satori by Michaela Mahady.
Anoka-Ramsey Community College/Cambridge
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Note: Rails for the stairwell were developed by the Architect to compliment the motif based on the
artist’s stained glass windows. Early incorporation of the artist’s work allowed for mullions in the
glass to be part of the construction project and also allowed the Architect to use this creative motif
that enhanced the meaning and carried thru the artist’s concept in a fuller sense.
Anoka-Ramsey Community College/Cambridge
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Anoka Ramsey
Community College
Coon Rapids
Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Anoka-Ramsey Community College
City: Coon Rapids
Title of the artwork: Foundation Donor Wall
Type of work: Sculpture
Materials used and approximate dimensions: Steel and acrylics; dimensions are about twenty
feet by forty feet.
Location of the artwork within the campus: Main entrance in the skylight area of the College
Center Building
Artist’s name and contact information: Alexander Tylevich, 1937 Highland Parkway, Saint
Paul, Minnesota 55116; 651-690-4117; www.tylevich.com. The fabrication is by Hal Eckhart.
Date work installed or dedicated: 2000
Source of funding and cost of the work: Anoka-Ramsey Community College Foundation; cost
is unknown.
Comments: This sculpture incorporates the names of individual and corporate donors to the
Anoka-Ramsey Community College Foundation on acrylic sheets.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Roger Freeman, Physical Plant Director, ARCC
Anoka-Ramsey Community College/Coon Rapids
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Several views of Foundation Donor
Wall by Alexander Tylevich.
Anoka-Ramsey Community College/Coon Rapids
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Anoka-Ramsey Community College/Coon Rapids
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Anoka-Ramsey Community College
City: Coon Rapids
Title of the artwork: Tribute to Gene Merriam
Type of work: Bronze statue
Materials used and approximate dimensions: Bronze, painted sheet rock, steel brackets; the
sculpture occupies a space approximately six feet by five feet.
Location of the artwork within the campus: Second-floor Science Department study area
Artist’s name and contact information: Alexander Tylevich, 1937 Highland Parkway, Saint
Paul, Minnesota 55116; 651-690-4117; www.tylevich.com.
Date work installed or dedicated: 2000
Source of funding and cost of the work: Minnesota Percent for Art Program, $14,000
Comments: The plaque for this piece reads:
“This sculpture is a tribute to Minnesota State Senator Gene Merriam who served from 19761996 and was instrumental in obtaining funding for this science facility, completed in 1998.
“Incorporated into the sculpture are symbolic elements that represent Merriam’s contributions to
the college, the site of the campus and the college itself. Merriam’s profile is set on a background
depicting an aerial view of the landscape, resembling the site where the science building is
located. Below the portrait is an image resembling a river labeled with the words ‘Coon Rapids.’
From an angle, the image transforms into a profile of George Washington. The purpose of this
element is to portray the college location on the Mississippi River in Coon Rapids. The allusion
to Washington is connected both with his image on a one-dollar bill and, that as a politician,
Gene Merriam was greatly shaped by the traditions of George Washington. The upper portion of
the composition is a rough and whimsical interpretation of a sheet of money or a bank note
marked ‘Minnesota,’ an obvious symbol of the Senator’s financial contribution. On the ‘bill’ is
an image of our State Capitol, a tribute to Merriam’s time as a State Senator. This art work is an
example of contemporary site-specific sculpture.”
Note: The first two letters of “Coon Rapids” were missing from the lower part of the image at
the time of the survey.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Roger Freeman, Physical Plant Director, ARCC
Anoka-Ramsey Community College/Coon Rapids
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Two views of Tribute to Gene Merriam by Alexander Tylevich
Anoka-Ramsey Community College/Coon Rapids
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Anoka-Ramsey Community College
Title of the artwork: Passage
City: Coon Rapids
Type of work: Sculpture
Materials used and approximate dimensions: Stainless steel, Carnelian granite, stones,
pigmented and cast concrete; the oars resting against the building are about thirty feet high, the
boats are about fifteen feet long.
Location of the artwork within the campus: West side of the College Center Building, facing
the Mississippi River
Artist’s name and contact information: Janet Lofquist, 2013 Stevens Avenue South,
Apartment 1, Minneapolis, Minnesota 55404-2515; 612-872-1491
Date work installed or dedicated: October 1998
Source of funding and cost of the work: Minnesota Percent for Art Program, $61,000
Comments: The plaque reads:
“Inspired by the Ojibwe tale, ‘The Song of the Tadpole,’ the artwork Passage uses the river as a
metaphor for a journey in the process of learning.
“Three boat forms, constructed out of stainless steel, create a visual reference to the river’s
reflective water. Like stepping stones across the water, each boat contains a granite nucleus,
symbolically referring to education as stepping stones to our potential. The arrangement of these
boat forms is intentionally directed upstream, against the river’s current, suggesting the challenge
that lies ahead in one’s life.
“Three monumental oars lean against the building with the blade of each oar penetrating the
center of an open book form. The three books symbolize the three basic bodies of knowledge:
the natural sciences, the social sciences and the humanities. Inset into each oar blade are three
river-polished stones, suggesting perhaps the essence of an idea. Not only the vessels and oars,
but the book forms as well, can be viewed symbolically as an instrument for our navigation.
“As the orientation of the campus now opens itself up the river, the sculptural components
hopefully reinforce the idea of passage and the flow of knowledge beyond the confines of the
college cloister.”
According to Roger Freeman, a committee consisting of Bonnie Anderson, Craig Rafferty, Laura
Migliorino, Robert Toensing, Jill Evans, and Sally Grans was formed on June 11, 1997 to
provide oversight for this project. The Art work was designed when the Architect was finishing
Design Development. As a result the Architect worked with the forms proposed by the Artist to
enhance the circular plaza area. The green space was built from the original construction
Anoka-Ramsey Community College/Coon Rapids
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funding source for the plaza and the Art work placement benefited from that cohesive design.
Noted that the original stainless steel boat and oars needed to be carefully handled with only
stainless steel blades, screws and washers to prevent future rusting.
Freeman noted that the directions for the maintenance of the sculpture call for occasional
washing with mild soap, careful lawn maintenance, no overspray of fertilizers or pesticides, and
no storage of snow near the sculpture. He said that overspray from the campus irrigation system
is causing some rust and that the caulking on the boats between the granite and the stepping
stones is coming loose.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Roger Freeman, Physical Plant Director, ARCC
Anoka-Ramsey Community College/Coon Rapids
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Several views of Passage by Janet Lofquist. (photograph above supplied by Roger
Freeman)
Anoka-Ramsey Community College/Coon Rapids
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Anoka-Ramsey Community College/Coon Rapids
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Inver Hills
Community College
Inver Grove Heights
Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Inver Hills Community College
Title of the artwork: Big Woods
City: Inver Grove Heights
Type of work: Sculpture
Materials used and approximate dimensions: Wood, steel, bronze, and other media; the work
occupies a space about twenty-eight feet long and nine feet wide.
Location of the artwork within the campus: Main corridor of Heritage Hall
Artist’s name and contact information: Irve Dell, Theater Of Machines, 2901 45th Avenue
South, Minneapolis, Minnesota, 55406-1828, 651-644-2433 or 612-724-4486,
idell@pipeline.com. Miniature painting by David Lefkowitz.
Date work installed or dedicated: Installed in 2000/2001, dedicated in 2003
Source of funding and cost of the work: Minnesota Percent for Art Program, $90,000
Comments: The plaque reads:
“The forest that once covered the landscape in the area of Inver Grove Heights inspired the
mixed media installation, Big Woods. Today, Inver Hills Community College preserves a portion
of woods on their campus.
“Big Woods is an abstracted forest made from large wood beams recycled from old industrial
buildings. The beams are embellished with elements made from steel and bronze that symbolize
things and events that happen to trees over the course of their lifespan. Trees are cut and felled,
creatures inhabit them, and they are altered by natural occurrences such as storms and disease.
Trees are also altered by human factors such as pruning.
“It was the artists’ intention to create a dramatic entry space for Heritage Hall that serves as a
metaphor for the ecological history of the area as well as a space that functions as a gathering
place. Big Woods is a sculptural space, one to be pondered and explored.”
The selection process for the project was started in 1999 by a committee consisting of a
representative from the Minnesota State Arts Board; Bob Lunning, an architect; Dr. Cheryl
Frank, president of IHCC; and Don Langworthy and Sue Kattas, IHCC faculty. Bob Lunning
oversaw the process. The project took too long to construct. There were delays caused by the
contractor and the artist. The original drawings were not the same as what was installed.
Lighting and lumber was not the same as what was shown during the review period. The process
was somewhat frustrating because the artwork that the committee thought it commissioned was
not the same as the end artwork product. As an example, they were told that the timbers would
be from the bottom of Lake Superior and what was installed was old barn timbers. The Artist
did not supply the lights as the college originally thought were to be installed as part of his
contact. The college contracted and paid separately for these lights, and one of the locations
Inver Hills Community College/Inver Grove Heights
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was not correctly placed and a cover created by the artist had to be added. The college noted that
there was no contractual vehicle to hold the artist accountable to the time frame. He suggested
that there should be a mechanism to have delay costs similar to the contractor’s contracts.
The delay was significant as the piece was built added after the building was constructed. The
college had to close this main entry and that created an access problem that staff and students
complained. No official survey has taken place on whether the piece is appreciated, but there
have been complaints on the location of these timbers ‘blocking’ the main entry and circulation
pathway and that it if one is not paying attention, one can ‘easily run into one of the beams’.
There has not been universal positive appreciation for the installation.
Maintenance has been minimal. Buhl noted that the individual post and beams are installed
extremely well.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Patrick Buhl, Director of Facilities and Planning and Management, IHCC
Inver Hills Community College/Inver Grove Heights
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Several views of Big Woods by
Irve Dell with Theater of
Machines and David
Lefkowitz.
Inver Hills Community College/Inver Grove Heights
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Inver Hills Community College/Inver Grove Heights
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Inver Hills Community College/Inver Grove Heights
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Metropolitan
State University
Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Metropolitan State University
City: Saint Paul
Title of the artwork: Diversity-Unity-Equality
Type of work: Wool Carpet
Materials used and approximate dimensions: Wool fiber; three carpets that are each twenty feet
square.
Location of the artwork within the campus: Great Hall of the new Main Building
Artist’s name and contact information: Blair Bender, Minneapolis, Minnesota
Date work installed or dedicated: 1994
Source of funding and cost of the work: Minnesota Percent for Art Program, $60,000
Comments: The plaque reads:
“The geometric shapes in this work represent diversity, unity, and equality. These universal forms
allow the viewer to interpret each concept from the perspective of his or her own unique and personal
understanding. The artist first produced three original gouache paintings and then translated the
designs into three 20’ X 20’ handtufted wool carpets.
“The philosophy behind this piece evolved from Metropolitan State University’s mission statement—
‘The University will build on its national reputation for programs that enable students from diverse
backgrounds to achieve their educational needs.’
“Bender comments, ‘Diversity is a reality in our communities, our cities, our nation, our world. If it
is approached with an open mind and the desire for greater understanding, it can enrich our lives. If it
is approached with a closed mind, our fear and hate can destroy nations. Equality can become a
reality only when all people unite with mutual respect for one another.’”
Many, many people have spoken very favorably about the Diversity-Unity Equality Themed Carpets.
This piece appears to be very much appreciated by the Community.
Regarding maintenance staff expressed the positive statement that the carpet appears to be wearing
like iron. It is inspected regularly and any frayed edges are dealt with immediately. It is cleaned
annually with a dry cleaning process, similar to how some Oriental Carpets are maintained. The
campus expects that the carpet will last 50-100 years.
If possible, it is best to avoid beverages with staining dyes e.g. orange pop. However, if detected
early the stains clean-up well. Campus noted it is important to use an artist with a solid, good track
record of experience as well as a carpet cleaning company with experience cleaning “monumental”
and/or heirloom quality carpets.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Daniel Kirk, Associate Vice President for MCTC
Metropolitan State University/Saint Paul
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Several views of Diversity-Unity-Equality by Blair Bender.
Metropolitan State University/Saint Paul
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Metropolitan State University/Saint Paul
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Metropolitan State University
City: Saint Paul
Title of the artwork: Self Portrait from Domestic Series
Type of work: Sculpture
Materials used and approximate dimensions: Bronze and aluminum. It stands eighty-three inches
high. Its base is twenty-five inches in diameter, and the maximum width near the top is thirty-six
inches.
Location of the artwork within the campus: Adjacent to the Auditorium Lobby
Artist’s name and contact information: Norman J. Taylor, School of Art, Box 353440, University
of Washington, Seattle, Washington 98195; 206-543-6489.
Date work installed or dedicated: Fabricated in 1989, and purchased in 1994
Source of funding and cost of the work: Minnesota Percent for Art Program, $10,000
Comments: The plaque reads:
“Balancing personal aspirations with domestic duties and family responsibilities has become part of
the human condition in the late twentieth century. Artist Norman Taylor has produced a series of
sculptural works on this theme. However, rather than presenting a literal portrait of the artist, the
work reflects a state of mind.
“The sculpture was purchased in 1994 through the Minnesota Percent for Art in Public Places
program, which is sponsored by the Minnesota State Arts Board and the Department of
Administration with support for this project from Metropolitan State University.”
This sculpture was chosen by the Percent of Arts Committee. University members seem to like it
especially because it fits the concept of the multi-tasked students balancing home, career, etc.
There are no real maintenance issues to this piece.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Daniel Kirk, Associate Vice President for MCTC
Metropolitan State University/Saint Paul
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Several views of Self Portrait from the
Domestic Series by Norman J. Taylor.
Metropolitan State University/Saint Paul
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Metropolitan State University/Saint Paul
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Metropolitan State University
City: Saint Paul
Title of the artwork: Wind: Night and Day Type of work: Sculpture
Materials used and approximate dimensions: Leaded and laminated blown glass, steel, and brass;
about twelve feet square.
Location of the artwork within the campus: Mounted in the ceiling of the Founder’s Hall lobby
Artist’s name and contact information: Narcissus Quagliata, Oakland, California,
http://www.nquagliata.com.
Date work installed or dedicated: 1998
Source of funding and cost of the work: Minnesota Percent for Art Program, $70,000
Comments: The plaque reads:
“Wind: Night and Day, Leaded and Laminated Blown Glass, Steel, and Brass, 1998, Narcissus
Quagliata, Oakland, California
“Commissioned by Minnesota Percent for Art in Public Places with support for this project from
Metropolitan State University, Jorgenson Construction, Inc., and Bentz/Thompson/Rietow
Architects”
Most people have not commented on this piece, except for occasional “strange” look. The piece
requires significant man hours to maintain: dusting and changing the light bulbs has been a problem
over the years
Dan Kirk commented that this work was never completely finished nor was it very effective. “The
artist defaulted on fixing the installation. I’ve had many discussions with the Percent for Art Program
representative. I am hopeful that later this year we’ll finally resolve this incomplete project. The
campus wanted an in-state artist so that the schedule and overall execution would be smoother.
However, the Committee was swayed by the Arts Board Rep who admired this artist’s work. The
fact that he was an out-of-state artist is assumed to be a major reason he defaulted on this contract as
it wasn’t worth the expense to travel to Minnesota once problems started to occur.
As of 1/2006, the campus is still working with Arts Board for a resolution to this ‘unfinished’
appearance, but there is still not an immediate solution. However, a suggestion to relocate the entire
to a different area with a higher ceiling is being explored.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Daniel Kirk, Associate Vice President for MCTC
Metropolitan State University/Saint Paul
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Several views of Wind: Night and
Day by Narcissus Quagliata.
Metropolitan State University/Saint Paul
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Metropolitan State University/Saint Paul
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Minneapolis
Community and
Technical College
Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Minneapolis Community and Technical College
Title of the artwork: Silences
City: Minneapolis
Type of work: Sculpture
Materials used and approximate dimensions: Translucent photographs of books in seventeen,
double-faced light boxes. Each box is approximately four feet square and is made of anodized metal
with a Plexiglas cover.
Location of the artwork within the campus: In the windows of the Wheelock Whitney Hall
Library
Artist’s name and contact information: Dennis Adams, New York City
Date work installed or dedicated: Installed mid-summer 2005
Source of funding and cost of the work: Minnesota Percent for Art Program, $89,500
Comments: A committee consisting of Lyn Bollman, Josephine Reed Taylor, Dan Kirk, and
President Phil Davis oversaw the selection of the artwork from 2003 to 2004.
Dan Kirk notes, “I thought the process was much too long and it did not start in a timely manner. If it
had, we might have done some things to facilitate integrating art into the project design. Also, it was
my impression that the arts board rep tended to steer the committee toward a single purchase/piece
vs. multiple purchases . . . which I assumed made their ‘administration’ less time consuming and
complicated. I think the piece will be reasonably successful. However, I fear it will be too static and
therefore, people will be ready for a change in about five years. If so, I’m not sure how we’d use it
elsewhere.” Kirk did say that the placement appears to be integrating well with the building
design/architecture and that there have been favorable comments. Some people on the Committee
have expressed concerned that the appeal for this piece might be dated and not appreciated in 5-10
years
Kirk did not foresee any serious maintenance problems, aside from making sure the light bulbs are
kept in working order.
In terms of process, there were no problems with Dennis Adams, the Arts Board representative on
this project.
The plaque reads:
“Silences, 2005, translucent photographs in double-faced light boxes, Dennis Adams
“Commissioned by Minnesota Percent for Art in Public Places with support for this project from the
Minneapolis Community and Technical College.”
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Daniel Kirk, Associate Vice President for MCTC
Minneapolis Community and Technical College/Minneapolis
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View of the Silences window boxes from the outside of the Wheelock
Whitney Hall Library (above and below).
Minneapolis Community and Technical College/Minneapolis
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Artist Dennis Adams posing with the plaque for Silences (above).
Detail of one of the seventeen window boxes that comprise Silences as
seen from inside of the Wheelock Whitney Hall Library (below).
Minneapolis Community and Technical College/Minneapolis
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Two more views of Silences from inside the library.
Minneapolis Community and Technical College/Minneapolis
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Minneapolis Community and Technical College
Title of the artwork: Totemic Column
City: Minneapolis
Type of work: Sculpture
Materials used and approximate dimensions: Stained wood; approximately thirteen feet high with
a base that is thirty-eight inches square.
Location of the artwork within the campus: Lobby of the Fine Arts Building
Artist’s name and contact information: George Morrison, deceased
Date work installed or dedicated: 1995
Source of funding and cost of the work: Minnesota Percent for Art Program, cost unknown. – but it
was not likely above $10 -$15,000 (based on the capital project involved at the time). Dave
McLeod, facilities director, commented that it may likely have appreciated considerably in value
since this was one of the last pieces done before Morrison’s death. He estimated it may be worth
$40,000 now.
Comments: The plaque reads:
“This wood column is a contemporary version of traditional ‘totem poles’ carved by Native
Americans living on the Northwest Coast. Totems were traditionally carved from a single tree, and
painted with the symbols and images of a specific person or clan. The totemic form is a universal
one, used by many cultures throughout the world. Totems often vary in size from a column of several
inches, to many feet in height, and may be constructed of clay, wood, stone, or metal.
“George Morrison, who is of Ojibway ancestry, is one of Minnesota’s most respected and senior
artists. He constructed this totem from a hollow core of plywood and glued redwood shapes to the
surface in a mosaic pattern to create a carved effect. The finished work is stained a red earth color.”
Many people have commented that this is one of Morrison’s best pieces. For maintenance it needs
occasional dusting, but there has been no active work done on it.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Daniel Kirk, Associate Vice President for MCTC
Minneapolis Community and Technical College/Minneapolis
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Several views of Totemic Column by
George Morrison.
Minneapolis Community and Technical College/Minneapolis
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Minneapolis Community and Technical College/Minneapolis
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Minnesota
State College –
Southeast Technical
Winona
Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Minnesota State College-Southeast Technical
City: Winona
Title of the artwork: The Process of Becoming Airborne Type of work: Three sculptures: a
ceremonial table, a triumphal arch, and a bust of Lindbergh mounted on a wall relief.
Materials used and approximate dimensions: Glass, plastic, bronze, steel, and paint; the
stairway piece is twenty-five feet high, the other two pieces are in a space about ten feet by
twelve feet.
Location of the artwork within the campus: Over the stairway and in the main corridor alcove
of the Airport Campus building.
Artist’s name and contact information: Alexander Tylevich, 1937 Highland Parkway, Saint
Paul, Minnesota 55116; 651-690-4117; www.tylevich.com.
Date work installed or dedicated: It was dedicated October 25, 1992.
Source of funding and cost of the work: Minnesota Percent for Art Program, $52,000
Comments: A metal disc on the arch reads:
“The Process of Becoming Airborne
“Alexander Tylevich
“Commissioned by the Minnesota Percent for Art in Public Places.”
A framed, one-page document on the table reads:
“The ensemble of three sculptural works, including an arch in the atrium, and a wall relief, and
free-standing work in a nearby alcove, has been designed especially for the Winona Technical
College’s Aviation Facility by artist Alexander Tylevich.
“‘Work in Progress’ is the concept underlying the sculptures. Through a combination of
representational and symbolic images, the sculptures express the idea that aircraft design is an
activity whose beginnings cannot be pinpointed, and whose future is anyone’s dream. By
expressing process and progress, the sculptures hope to challenge and inspire everyone who
experiences them—especially the students at Winona Technical College.
“The central object in Tylevich’s design is a colorful 25-foot-high half arch rising over the
atrium’s main staircase. The arch echoes the theme of triumph, the traditional meaning of freestanding arches. However, this arch is anything but traditional. Rather than solid and monolithic,
the arch appears simultaneously to be coming together and taken apart. Like a cutaway technical
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drawing, it reveals not only its outer shape, that of an airplane wing, but also its inner structure,
the wing’s ribs.
“Just off the atrium is an alcove area with windows for viewing the activity in the school’s main
hangar. Two elements of Tylevich’s design are located in the alcove. On the wall is a sculpture
featuring aviation pioneer Charles Lindbergh and the airplanes that he flew. The composition of
the wall relief draws inspiration from a folk art tradition of Tylevich’s native Russia, the
Matrioschka doll. Like these small dolls within dolls, the sculptural images are nested inside
each other.
“In the corner of the alcove, a freestanding sculpture in the form of a wing becomes the support
for a table top. On the table-top, a glass plate which is opened like a book contains signatures of
the school’s faculty and alumni. The artwork was dedicated and autographed on October 25,
1992.
“The sculptures were made possible through the Minnesota Percent for Art in Public Places
program, which provides that up to 1% of the construction budget for new or remodeled state
buildings may be used for works of art. The program is co-sponsored by the Minnesota
Department of Administration, and the Minnesota States Arts Board.”
Tim VanLoon noted that the Minnesota State Arts Board organized a selection committee for
this project and the college had two representatives, Cliff Korkowski and Tim VanLoon, on this
committee. After artists submitted proposals, four or five were interviewed and Alexander
Tylevich was chosen.
VanLoon did report some problems: “The artist did not finish the work as originally described.
The college was okay with this, however, this came back to bite us in 2001. The artist revisited
his artwork and complained to the Minnesota State Arts Boards about his work being altered
(against state law without artist approval). Part of the problem was due to the deterioration of
some plastic pieces over the stairway that fell apart. Once we discussed this with all parties, the
artist finished his work and we contracted with someone to repair the broken areas.” The repairs
cost the college between $4,000 and $5,000.
VanLoon said maintenance of the pieces consists mainly of dusting – which is negligible.
However, he does wish there was an access door at the base of the stairway arch as people are
occasionally able to lob trash into open end of the steel tube that represents an airplane wing. It is
very difficult for the maintenance staff to remove these objects.
Overall, VanLoon thought that people liked the artwork and that the college got its money’s
worth.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Timothy VanLoon, Dean of Academic Affairs, Minnesota State College-Southeast
Technical
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Views of The Process of Becoming
Airborne by Alexander Tylevich.
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Minnesota State College-Southeast Technical/Winona Airport Campus
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Minnesota State
University, Mankato
Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Minnesota State University
Title of the artwork: Building Blocks
City: Mankato
Type of work: Quilt
Materials used and approximate dimensions: Different fabrics such as corduroy, velvet, and
metallic silk; twenty feet long and seven feet high.
Location of the artwork within the campus: Wiecking Center corridor
Artist’s name and contact information: Joyce Marquess Carey, 913 Harrison Street, Madison,
Wisconsin 53711; 608-256-1537; www.joycecarey.com.
Date work installed or dedicated: December 7, 1990
Source of funding and cost of the work: Minnesota Percent for Art Program, $10,950
Comments: The plaque reads:
“Building Blocks, Joyce Marquess Carey 1990
“This artwork is dedicated to the students, faculty and staff of the Wiecking Center, Mankato State
University. This wing of the structure contains Children’s House and the Department of Home
Economics. The children are learning how to build and create new things with their hands and minds,
using many materials including building blocks. As they continue their education into adulthood,
they expand on these ideas in creating space for living and working. Building Blocks uses simple
block pieces that gradually evolve into rural, residential, commercial and public buildings. In a larger
sense, it reminds us that each idea and tool that we learn to use as children is important later as we
create our environment and build our future.
“This piece was commissioned under the Minnesota Percent for Art in Public Places Program and
dedicated on December 7, 1990.”
Donna Hensel said the only maintenance they do on this piece is dusting and light vacuuming twice a
year – and that only takes approximately fifteen minutes each time. Some tearing and fraying was
noted along the lower edge.
A committee whose members included Margaret Preska, Robert Finkler, Loretta Wolthuis, Jean
Peterson, Mike Opela, Richard Jurvelin, Donna Hensel, David Schwarz, and Ken Grabow began the
selection process for this work in the winter of 1989. Hensel was unaware of any delays or
difficulties with the process.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Donna Hensel, MSU Facilities Management
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Two views of Building Blocks by Joyce Marquess Carey.
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Details of Building Blocks.
Note the frayed section above.
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Minnesota State University
Title of the artwork: Spin
City: Mankato
Type of work: Sculpture
Materials used and approximate dimensions: Limestone, concrete, and slate; the sculpture
occupies a space that is approximately forty feet square.
Location of the artwork within the campus: Outside, next to Trafton Science Center East
Artist’s name and contact information: Janet Lofquist, 612-872-1491
Date work installed or dedicated: The piece was dedicated in April 1995.
Source of funding and cost of the work: Minnesota Percent for Art Program, $42,435
Comments: The plaque reads:
“Spin, Janet Lofquist, 1993.”
The MSU website reads:
“Spin. The black, cement cast spheres situated at the east entrance of the Trafton Science Center were
created in 1993 by Janet Lofquist. The spheres are situated at the entrance, which is graded into an
amphitheater [-] like space offering a welcoming entrance to the building.”
The selection process for this work was begun in April 1992 and overseen by a committee consisting
of John Davis, Jane Early, Robert Herickhoff, Mike Lindstrom, Robert Finkler, Louise McLaughlin,
Robert Frink, Jerry Olson, and Lester Gieneart. The work was designed in October 1992 and installed
during December 1993.
Donna Hensel said that because the artwork is outside frost footings were required. The work had
some graffiti placed on it and the campus treated it with an anti-graffiti coating. It has not been
vandalizied since it was repaired and coated, so it is not known if the anti-graffiti coating worked.
Hensel noted that it is difficult to clear the snow around the sculpture with mechanized snow removal
equipment. Recently, it sustained damage from the snow removal equipment and the loose pieces
were picked up and thrown around by vandals. At the time of the survey, the slate top on the center
limestone disk had been removed for repair. According to Robert McGinn of Facilities Management,
the slate top has equations etched into it.
Hensel also pointed out weather damage to the formulas that are depicted in the concrete surrounding
Spin. Water accumulates in the shallow depressions that form the letters and numbers. During the
winter months, the water is subject to freeze-thaw cycles, which causes cracks in the concrete.
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Cost of the repairs due to the snow plow and the vandals has been $9,800.
Most of the problems experience with this piece are attributed to the location. It was placed too
close to a major walking path and snow low route. If the piece had been set back an additional five
to ten feet to the east of the path it would not be in a snow removal area and would likely not have
been a target for vandals. Vandals were able to remove and break the slate top only because the
snow plow had jarred the piece and loosened the adhesive bond between the slate and the base.
The balls have been repainted once since the installation in 1993 at a cost of $1,800 and it is
anticipated that they will require repainting at a minimum of every ten years.
The Wilton carpet juniper planting around the balls need trimming twice a year as this species
spreads quickly. It was noted that after a very heavy rain some of the gravel washes out onto the
concrete.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Donna Hensel, MSU Facilities Management and Paul Corcoran, MSU Physical Plant
Director
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Spin by Janet Lofquist (above).
Detail of Spin showing the damage to the concrete (below).
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Two views of Spin.
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Minnesota State University
Title of the artwork: Letterdance
City: Mankato
Type of work: Sculpture
Materials used and approximate dimensions: Steel, bronze, and brass; the floor area is about thirty
feet square, the ceiling, from which a portion of the sculpture is suspended, is about thirty feet high.
Location of the artwork within the campus: Highland Center Commons Area
Artist’s name and contact information: Alexander Tylevich, 1937 Highland Parkway, Saint Paul,
Minnesota 55116; 651-690-4117; www.tylevich.com.
Date work installed or dedicated: It was installed in the first quarter of 2003.
Source of funding and cost of the work: Minnesota Percent for Art Program, $112,725
Comments: The plaque reads:
“Letterdance: Step 1, Step 2, Step 3, 2003, Stainless Steel, Bronze and Brass.
“Alexander Tylevich, Saint Paul, Minnesota
“The public artwork, Letterdance, was created to reflect and to enhance the internationally diverse
community of Minnesota State University – Mankato. The spatial concern for the three related
sculptural installations is based on the idea of interlocking and interconnecting the building’s
elements into a seamless artistic and architectural ensemble. The three suspended art installations
visually integrate functional architectural elements of the building and provide strong orientation
points at the South and the North entrances to the building.
“Step One…
“The sculptural installation for the student lounge comprises colored and stainless cables holding an
array of small scale images – letters of different alphabets of the languages spoken at the University,
numerals and translucent glasslike strips, which reflect the floor design. Colored cables embellished
with arrowheads serve as dimension lines of this ‘animated architectural drawing.’ The installation’s
seamless cables use the same visual vocabulary as the building’s stainless railings, thus integrating
artistic and functional elements into a unified site-specific work of art. The bronze inserts for the
terrazzo floor further complement the space.
“Step Two…
“The corridor’s sculptural composition is based on the same artistic concept adjusted to a different
spatial environment. Stainless cables of the composition visually interplay with the lines of the track
field and literally incorporate the text of the University’s sport song.
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“Step Three…
“The wall mounted sculpture for the South entrance forms the abbreviation ‘MSU’ and is created by
many repetitions of the words ‘Minnesota,’ ‘State’ and ‘University.’
“Letterdance was commissioned through Minnesota Percent for Art in Public Places, a program
sponsored by the Minnesota State Arts Board and the Department of Administration, with support for
this project from Minnesota State University – Mankato.”
Donna Hensel said that in August 2001 a committee was selected to oversee this project. The
committee included Karen Boubel, Charles Andersen, Larry Kohanek, Robert Finkley, Kaye Herth,
Michelle Maiers, Mason Riddle, Brenda Flintrop, Thomas Barry, and Diana Black. The process was
very long. At one point the artist requested a six-month extension due to the labor intensive process
of casting and creating multiple forms in metal.
The multi-dimensional piece of art is woven well into the architectural space. Some sections are
suspended and some are inlaid in the terrazzo floor. There have been many positive comments on
the intricacy as well as the complexity of the pieces.
Hensel noted that cobwebs accumulate in the sculpture and very tall ladders are needed to clean the
upper parts of the work. The suspended portions are dusted and straightened once a year (requiring a
tall ladder). In addition to regular daily floor maintenance, the letters inlaid in the floor are protected
with the floor finish. Total ual labor for this piece is three hours for the suspend portions and thirty
minutes for the inlaid portions.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Donna Hensel, MSU Facilities Management and Paul Corcoran, MSU Physical Plant
Director
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Six views of Letterdance by Alexander
Tylevich.
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Minnesota State University
City: Mankato
Title of the artwork: Around the World on the 44th Parallel
Type of work: Mural
Materials used and approximate dimensions: Ceramic tiles; each panel is four feet by seventeen
feet.
Location of the artwork within the campus: First floor atrium of the Memorial Library
Artist’s name and contact information: Joyce Kozloff, 1237 South Gramercy Place, Los Angles,
California 90019; 213-261-3770. Donna Hensel noted this information is eleven years old. The
plaque indicates that Kozloff lives in New York City.
Date work installed or dedicated: The piece was installed in June 1995 and was dedicated on
October 25, 1995.
Source of funding and cost of the work: Minnesota Percent for Art Program, $76,825
Comments: The plaque reads:
“Around the World on the 44th Parallel, Four Panels – North America, Europe and Asia,
1995, Ceramic Tile Murals
“Joyce Kozloff, New York, New York
“The twelve cities represented by the maps on these ceramic murals are all located on the 44th
parallel. The artist selected the sites by beginning in Mankato, Minnesota, and encircling the globe on
the 44th parallel, choosing four cities in each of the three continents: North America, Europe, and
Asia.
“Upon entering the library, once faces the four North America murals, featuring Toronto (Canada),
Eugene (Oregon), Burlington (Vermont), and Mankato (Minnesota). Kozloff depicts the natural
physical beauty of these cities through their distinct topography. The icy expanse of Lake Ontario
against Toronto’s waterfront edge; the dense, misty forests of the Willamette Valley around Eugene;
the lush, green banks of Lake Champlain near Burlington; and the fertile farmland, rivers, and ponds
of southern Minnesota surrounding Mankato; all contrast with the regular geometry of their city
streets.
“The unique stories of each town are woven into these landscapes. Symbols of English heraldry
transparently drawn across the water, and a red, white and blue city grid harmoniously define Toronto.
Faces of thunderbirds and mythical monsters based upon the carved and painted wood spindle whorls
and ceremonial masks of the Pacific Northwest Salish Indians emerge behind thick, primordial foliage
in Eugene. Early American stencil motifs overlay Burlington, whose streets occasionally burst into tiedye, and whose parks collect a swarm of iridescent butterflies, evoking the 60’s counterculture that
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lives on there. Mankato is covered with a nostalgic, repeating image of boys fishing, into which merge
intricate beadwork patterns derived from the Woodland and Plains Indians who inhabited and migrated
through the area in earlier times.
“The second series of murals in the library’s atrium features the cities of Europe, which are more
foreign, exotic, and disparate than those in North America. The map of Nice (France) is mostly pink,
and the Mediterranean swells into Art Deco waves, mimicking the details on is waterfront hotels and
cafes. Ravenna (Italy) sits inside an architectural framework, painted with shimmering, flickering
luster glazes suggesting the mosaics inside its sixth century basilicas. Florence (Italy), a compact
municipality full of key monuments of western art, is colored in the earthy tones of frescoed walls,
with frolicking cherubs around the margins, and Renaissance manuscript ornament cascading down
the Arno River. Sarajevo (Bosnia – Herzegovina), a city forever stamped by the Ottoman Empire, is
treated like a bazaar, with Iznik tiles and carpets colliding in a crazy quilt assemblage.
“The last series of murals in the library’s atrium details four cities in northern Asia: Sapporo (Japan),
Changchun (China), Vladivostok (Russia), and Urumqi (China). In Sapporo, a modern metropolis
and ski resort, shards of eighteenth century Nabeshima porcelain ware and scraps of stencil-dyed
Karakusa (indigo arabesque patterned) textiles from the Edo period flood in and out of the map of its
transit system. Changchun, China’s film capital, has a theatrical structure into which Kozloff has
layered decorative details from temples and palaces with cast ceramic pagodas, carp, and bumblebees
rising off the surface. Vladivostok, at the end of the Trans-Siberian Railway, and the base for the
Russian Pacific Fleet, is animated by designs from Soviet revolutionary textiles of the 1920s.
Because Urumqi is in a traditionally Muslim region of western China, similar in culture and ethnicity
to neighboring Uzbekistan and Kzakhstan, Kozloff introduced architectural ornament characteristic
of the celebrated building complexes in Turkestan and Samarkand.
“The ceramic tile murals were commissioned through the Minnesota Percent for Art in Public Places
Program, which is sponsored by the Minnesota State Arts Board, and the Department of
Administration, with support from Minnesota State University.
“The tiles were created at the Tile Guild in Los Angeles, California, with technical advice from
owner, Dennis Caffrey, and assistance from Siobhan McClure, Erica Daborn, and Valerie Holman.”
Donna Hensel said that a selection committee composed of Robert Finkler, James Johnson, Brian
Frink, Louise McLaughlin, Kathy Trauger, Ken Grabow, Sandra Ready, Poll Frank, and Rosemary
Mock was formed in December 1992. The work was designed in April 1994.
Hensel said there are no maintenance problems, but extra lighting had to be added to properly display
the work.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Donna Hensel, MSU Facilities Management
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Around the World on the 44th Parallel by Joyce Kozloff (above).
Detail of Around the World on the 44th Parallel (below).
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Two views of Around the World on the 44th Parallel.
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Minnesota State University
Title of the artwork: Arch
City: Mankato
Type of work: Sculpture
Materials used and approximate dimensions: Brick and stone; approximately thirty feet long.
Location of the artwork within the campus: Alumni Plaza
Artist’s name and contact information: Unknown
Date work installed or dedicated July 10, 1993
Source of funding and cost of the work: Funds from the sale of memorial bricks plus a donation
from the MSU Alumni Association; the cost is unknown.
Comments: The plaque reads:
“The Alumni Plaza dedicated July 10, 1993.
“The Alumni Plaza is a gift to the Mankato State University from alumni and friends. This plaza is
being created as a campus gathering place and focal point for recognizing those alumni and friends
whose names are inscribed in the plaza bricks. The plaza arch from the former valley campus, is the
oldest architectural ties with the university’s past. The bricks in the tower represent the present. The
glass cap at the top of the tower represents our reach into the future.
“This plaque is a gift from Mankato State University’s Emeriti Faculty Family.”
There has been no maintenance issues for the arch. If there was a desire to keep the limestone algae
free then it would need to be power washed and chemically treated once every three to five years.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Donna Hensel, MSU Facilities Management and Paul Corcoran, MSU Physical Plant
Director
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Two views of the Arch on Alumni Plaza.
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Minnesota State University
City: Mankato
Title of the artwork: Ostrander-Student Bell Tower
Type of work: Tower
Materials used and approximate dimensions: Brick and glass, approximately sixty feet tall and
nine feet square.
Location of the artwork within the campus: Alumni Plaza
Artist’s name and contact information: Unknown
Date work installed or dedicated: 1989
Source of funding and cost of the work: Private donation, $275,453
Comments: The plaque reads:
“Ostrander-Student Bell Tower Made possible through the generous support of Lloyd and Mildred
Ostrander in memory of the Ostrander family and the Mankato State University Student
Association/Senate in tribute to the students of the past, present and future. 1989.”
The MSU website reads:
“The Ostrander-Student Memorial Bell Tower stands in the MSU campus arboretum. Its construction
was made possible by a gift from Lloyd B. Ostrander, a 1927 MSU graduate, his wife, Mildred, and
donations from the MSU Student Association and other contributors. The Bell Tower, with its clock,
was completed in 1989. Though known as the ‘bell tower,’ no bells exist and the music provided is
from a carillon.”
The bell tower is currently in need of some restoration work including tuck pointing and joint
caulking. Problems with the brick are attributed to the tower being unheated and having limestone
capping stones. Moisture gets into the wall cavity and with no heat drive the moisture out of the
brick the structure is exposed constant freeze thaw cycles. Campus is investigating repair options for
the summer/fall of 2006. The clock gear boxes and long hands on the North and South clock faces
have been replaced once over the 16 years along with one electric motor. Thus, the campus
maintenance of the clock mechanisms have not been too extensive. The North and South faces of the
clock are exposed to more consistently high winds than the West and East and the gear boxes and
motors exhibit more wear and tear because of it. The clock motors and gear boxes are checked each
spring for lubrication and oil level. The original carillon tapes are 8-track style and replacement or
new tapes has proven to be very difficult to find. MSU is investigating the feasibility of retrofitting
the system to play CD’s through a computer.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Donna Hensel, MSU Facilities Management & Paul Corcoran, MSU Physical Plant Director
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Two views of the Ostrander-Student Bell
Tower.
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Minnesota State University
City: Mankato
Title of the artwork: Waves Type of work: Sculpture
Materials used and approximate dimensions: Sheet metal; approximately seven feet high and six
feet across.
Location of the artwork within the campus: Mankato State University Mall
Artist’s name and contact information: Arnoldus Grüter
Date work installed or dedicated: Unknown
Source of funding and cost of the work: Private donation, cost unknown
Comments: The plaque reads:
“In memory of Jerome W. Berger, Class of 1969, presented by Mrs. Doris Berger and the Centennial
Student Union. Sculptor, Arnold J. Gruter, construction by Jones Sheet Metal.”
The MSU website notes:
“This red steel sculpture, titled Waves, was designed by Arnoldus Grüter and fabricated at Jones
Metal Products in Mankato. In the artist[’]s words Waves symbolizes in static form the dynamic
action of the ocean and a university. This sculpture was built in honor of Jerry W. Berger, a Mankato
State graduate student who was killed in a 1969 industrial accident.”
Maintenance on this piece includes a complete sandblasting and repainting every eight to ten years.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Donna Hensel, MSU Facilities Management and Paul Corcoran, MSU Physical Plant
Director
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Two views of Waves by Arnoldus Grüter.
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Minnesota State University
Title of the artwork: Chthonic
City: Mankato
Type of work: Sculpture
Materials used and approximate dimensions: Polyurethane foam
Location of the artwork within the campus: Mankato State University Mall
Artist’s name and contact information: Arnoldus Grüter
Date work installed or dedicated: Unknown
Source of funding and cost of the work: Unknown
Comments: The MSU website reads:
“Two of the sculptures on the MSU mall are the works of Arnoldus Grüter, an artist-in-residence at
MSU. The black sculpture is [sic] titled Chthonic was carved on site by the artist from a single block
of poured polyurethane foam. Chthonic was the first sculpture placed on the new mall.”
Maintenance to keep this piece in optimum condition requires crack filling and touch up paint
annually. A complete repainting is required every six to eight years.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Donna Hensel, MSU Facilities Management and MSU Paul Corcoran Physical Plant
Director
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Chthonic by Arnoldus Grüter.
Another view of Chthonic (photograph from
MSU website).
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Minnesota State University
Title of the artwork: Fountain
City: Mankato
Type of work: Sculpture
Materials used and approximate dimensions: Metal and cement; approximately forty feet across.
Location of the artwork within the campus: Mankato State University Mall
Artist’s name and contact information: The designer of the fountain is unknown; Roger Johnson
was the artist for the metal sculpture.
Date work installed or dedicated: The fountain was installed in 1969, while the metal sculpture was
added in 1975.
Source of funding and cost of the work: Unknown
Comments: The MSU website reads:
“The fountain, design of which came from part of the New York City World Fair (1965), was
installed in 1969. It was designed to create a spiral effect with stationary water jets. The sculpture in
the fountain was not originally part of the work. The sculpture, by Roger Johnson, a former faculty
member in the Art Department, was added in 1975.”
The fountain has required a large amount of repair and maintenance over the years. The pumping
system used to have a mechanical drive to vary the height of the water streams depending on the
wind measured with a remote anemometer. Replacement parts were unavailable and the fountain
now runs on a direct drive pump which has proven to be much more reliable. The expanded metal
sump cover was replaced three years ago due to rusting. The sump must be cleaned annually.
The most common problem the campus has is debris falling into the sump and clogging the nozzles.
Several attempts to install filters have been made with limited success. Noted that the outdoor
fountain with mature trees and bushes surrounding it is will likely always have difficulty with leaves
and organic matter clogging the system.
The fountain is not in operation during the winter months.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Donna Hensel, MSU Facilities Management and Paul Corcoran, MSU Physical Plant
Director
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Two views of Fountain.
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Minnesota State University
City: Mankato
Title of the artwork: Marso-Schmitz Plaza and Jane Rush Gathering Place
Type of work: Plaza
Materials used and approximate dimensions: Steel, concrete, plant materials, about four hundred
feet square.
Location of the artwork within the campus: Near the Performing Arts Center
Artist’s name and contact information: Unknown
Date work installed or dedicated: October 12, 2001
Source of funding and cost of the work: Private donations, cost unknown
Comments: The two plaques read:
“Marso-Schmitz Plaza, Minnesota State University, Mankato, Dedicated October 12, 2001
“In memory of Leo and Mary (Anderly) Marso ‘34 given by their daughter Mary Marso-Schmitz ’68
and friends.”
“Jane Rush Gathering Place, State University, Mankato, Dedicated October 12, 2001
“In honor of Jane Rush (1945-1999) and her many contributions to students and campus life during
the presidency of Richard R. Rush.”
The MSU website reads:
“Marso-Schmitz Plaza and Jane Rush Gathering Place. Made possible by a lead gift from MSU
Foundation president Mary Marso-Schmitz (‘68) [the plaza] creates a place for students to relax,
study, and meet others. Its design allows for outdoor music performances, as well as community and
University events and receptions. The Jane Rush Gathering Place was created to honor the late Jane
Rush's contributions to campus life. Features include an arbor, which is located over the western
sidewalk of the plaza, and a small cupola located in the arbor’s center.”
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Donna Hensel, Facilities Management, MSU
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Four views of the Marso-Schmitz Plaza and the Jane Rush Gathering Place.
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North Hennepin
Community College
Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: North Hennepin Community College
Title of the artwork: Signs of Life
City: Brooklyn Park
Type of work: Sculpture
Materials used and approximate dimensions: Copper, granite benches, slate sidewalk, natural
plantings; the tower is about fifteen feet high and ten feet in diameter at the base, and the
surrounding benches and plantings cover an area approximately fifty feet by sixty feet.
Location of the artwork within the campus: Outside the front entrance to the Science Center
Artist’s name and contact information: Paul S. Benson, Afton, Minnesota
Date work installed or dedicated: July 2002
Source of funding and cost of the work: Minnesota Percent for Art Program, $62,200
Comments: The plague reads:
“Signs of Life. 2002
“Copper, Charcoal Black Granite, New York Bluestone, Concrete, Plant Materials
Paul S. Benson, Afton, MN
“Commissioned by Minnesota Percent for Art in Public Places with support for this project from
North Hennepin Community College.”
Dean Collins, Facilities Use and Construction Coordinator at North Hennepin, remarked that this
is a favorite gathering spot for students. The sculpture is particularly spectacular at night when it
is lit from within and the reflection is seen on the Science Center windows.
Because this sculpture is outside and includes living plants, it requires more maintenance than a
static interior sculpture piece.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Dawn Reimer, Chief Financial Officer, NHCC
Dean Collins, Facilities Use and Construction Coordinator, NHCC
North Hennepin Community College/Brooklyn Park
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Several views of Signs of Life by
Paul S. Benson.
North Hennepin Community College/Brooklyn Park
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North Hennepin Community College/Brooklyn Park
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: North Hennepin Community College
Title of the artwork: A Flight of Passage
City: Brooklyn Park
Type of work: Sculpture hung from the ceiling
Materials used and approximate dimensions: Cast glass, metal, wood and paint; about twentyfive feet long and four feet wide.
Location of the artwork within the campus: Main entry to the Learning Resource Center
Artist’s name and contact information: Walter Gordinier, Portland, Oregon
Date work installed or dedicated: June 2000
Source of funding and cost of the work: Minnesota Percent for Art Program, $22,618
Comments: The plague reads:
“A Flight of Passage is an associative, mixed-media sculpture whose various abstracted forms
and elements serve as metaphors for the importance of libraries, generally, and the North
Hennepin Community College Learning Resource Center, specifically. The suspended cast glass
vessel, the cast glass tablet, planetary-like spheres and compass collectively reference notions of
travel, learning and determining one’s course in life. Even the ribbon of cryptic text, excerpted
from the journal of James Clyman, a scout for the doomed Donner Party who met their death
while trapped at Donner Pass in the Sierra Nevada in October of 1846, speaks to the notion of
seeking greater knowledge.
“The navigation of one’s path, whether physical, intellectual, psychological or emotional all
support the spirit of learning, and the expanded opportunities provided through an educational
experience such as college. It is Walter Gordinier’s hope that A Flight of Passage deepens the
attributes and intentions of the library as well as complements the building’s architectural design.
‘I hope the piece stimulates the discussion with the aim of producing something lasting and
beautiful akin to a sense of fitness by all who come here.’
“A native of El Paso, Texas, Walter Gordinier has resided in Oregon since the early 1970s. His
mixed-media, architectural sculptures are part of public and private collections across the
country and his Percent for Art projects can be found in the states of Ohio, Florida, Oregon, and
in St. Peter, Minnesota.”
The text on the two adjacent walls reads: “Tedious Journey . . . Unknown Object . . . And Why?
The Mind Can Never Be Satisfied, Never. James Clyman.”
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Dawn Reimer, Chief Financial Officer, NHCC
North Hennepin Community College/Brooklyn Park
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A Flight of Passage by
Walter Gordinier
Detail from the adjacent wall of
A Flight of Passage
North Hennepin Community College/Brooklyn Park
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Details of A Flight of Passage.
North Hennepin Community College/Brooklyn Park
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: North Hennepin Community College
Title of the artwork: Seabed and Chairs
City: Brooklyn Park
Type of work: Sculpture
Materials used and approximate dimensions: Metal and concrete; the sculptures occupy an
approximately fifteen-foot-square space.
Location of the artwork within the campus: Courtyard
Artist’s name and contact information: Andrea Myklebust and Stanton G. Sears
Date work installed or dedicated: September 1997
Source of funding and cost of the work: Minnesota Percent for Art Program, $41,980
Comments: Seabed weighs over four tons. The sculpture was recently moved to accommodate
the courtyard project and required a special crane to lift it. A special reinforced-concrete pad is
required to support the sculptures. The yellow strap seen on Seabed is not part of the original
sculpture and will be removed when the courtyard renovation is completed.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Dawn Reimer, Chief Financial Officer, NHCC
North Hennepin Community College/Brooklyn Park
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Several views of Seabed and Chairs by Stanton Sears and Andrea
Myklebust.
North Hennepin Community College/Brooklyn Park
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North Hennepin Community College/Brooklyn Park
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: North Hennepin Community College
Title of the artwork: Carillon
City: Brooklyn Park
Type of work: Sculpture
Materials used and approximate dimensions: Steel and bronze; the entire tower is
approximately sixty feet high.
Location of the artwork within the campus: Near the parking lot and main entrance to the
Educational Services Building
Artist’s name and contact information: Andrea Myklebust and Stanton G. Sears
Date work installed or dedicated: June 21, 1997
Source of funding and cost of the work: Private donation from the Tessman and Setzler
families
Comments: The plaque near the tower reads:
“North Hennepin Community College Carillon, presented to the North Hennepin Community
College and to the people of Brooklyn Park by the Tessman and Setzler families in honor of the
agricultural heritage of the community. Dedicated June 21, 1997. Designed by Andrea
Myklebust and Stanton G. Sears.”
A plaque inside the Educational Service Building reads:
“The Bells. The twenty-five bronze bells of the North Hennepin Community College Carillon are
mounted in stationary positions and sound their individual notes when ‘clocked’ by a digitally
controlled electro-magnetic striker inside the bell. The addition of a portable keyboard makes
manual play possible from indoors or out.
“The bells of the carillon have a range of two full octaves permitting performance of a full
musical composition, as well as chimes and strikes to mark time. The bells range from 253 lbs.
and 22 ½” in diameter for the bourdon to as little as 30 pounds and 8 ½” diameter for bell
number twenty-five.
“Materials and Construction. The tower is fabricated of highly durable, low maintenance
materials selected for their ability to age in a beautiful way, with natural patinas complimentary
to each other. Sculptural components in cast bronze were completed by the artists in the foundry
of Macalester College in St. Paul, MN. The Tower structure is fabricated in 1” thick weathering
steel plate, a material which will remain strong for generations. Fabrication was completed by
Moorhead Machinery and Boiler Co. of Minneapolis working from full scale patterns handdrawn by the artists. The entire tower, which weighs in excess of 25 tons, was erected on the site
in two days.”
North Hennepin Community College/Brooklyn Park
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Another plaque inside the Educational Services Building explains that Carillon was meant to
honor the agricultural tradition of the Brooklyn Park community and the German heritage of the
donor families. The silhouette images on the tower such as the antique tractor seat, potato
blossoms, sheeps’ heads, a stylized piece of crochet, and the windmill are all reminders of farm
life in the late nineteenth and early twentieth centuries. The cast bronze rooster refers to the
traditional method of timekeeping on farms.
The words “EARLY OHIO” and “NORLAND” refer to two potato varieties favored by local
farmers. According to the plaque, potato growing played a significant role in the history of
Brooklyn Park. During the 1910s and 1920s, the region was the potato-growing capital of the
world. Brooklyn Park farmers also contracted with Montana sheep buyers to board the animals
over the winter. It was not unusual to see the animals herded down Eighty-fifth Avenue to
nearby farms.
Dean Collins said that until recently the tower was topped by a “golden potato,” but it was
stolen. Apparently, when the thieves realized it was only painted gold, they abandoned it nearby.
The potato will be repaired and restored to the top of the carillon.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Dean Collins, Facilities Use and Construction Coordinator, NHCC
North Hennepin Community College/Brooklyn Park
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Carillon by Andrea Myklebust and
Stanton Sears
Detail of Carillon depicting the potato
flowers, sheeps’ heads, and a fragment of
crochet. “EARLY OHIO” refers to a
variety of potato.
North Hennepin Community College/Brooklyn Park
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Another view of Carillon.
North Hennepin Community College/Brooklyn Park
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: North Hennepin Community College
Title of the artwork: East Entry Pillar
City: Brooklyn Park
Type of work: Sculpture
Materials used and approximate dimensions: Stone and steel; the piece stands about five feet
high.
Location of the artwork within the campus: Outside Science Center
Artist’s name and contact information: Paul S. Benson
Date work installed or dedicated: Unknown
Source of funding and cost of the work: Apparently, it was financed from private funds.
Comments: The plaque for this piece is missing
This piece was damaged by vandals in October 2004 and the top was partially separated from the
base. The sculpture is currently roped off.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Dean Collins, Facilities Use and Construction Coordinator, NHCC
North Hennepin Community College/Brooklyn Park
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Two views of East Entry Pillar by
Paul Benson.
North Hennepin Community College/Brooklyn Park
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: North Hennepin Community College
Title of the artwork: Plane Structure
City: Brooklyn Park
Type of work: Sculpture
Materials used and approximate dimensions: Wood; the base is approximately six feet square;
the sculpture is about five feet high.
Location of the artwork within the campus: In the Educational Services Building
Artist’s name and contact information: David Eckart was the designer; Richard Brown of
Lamprey Pass Workshop constructed the sculpture
Date work installed or dedicated: May 7, 1998
Source of funding and cost of the work: NHCC Student Support Grant, a NHCC Foundation,
the NHCC Art Alumni Association, and individual donors; the cost is unknown
Comments: The plaque reads:
“Plane Structure, designed by David Eckart and Constructed by Richard Brown of Lamprey Pass
Workshop
“This sculpture was funded by a NHCC Student Success Grant, a NHCC Foundation Grant, the
NHCC Art Alumni Association and the following individual donors.
“Benefactor ($500 and over) Dr. Janis H. Weiss, Ramona Damiami, Juliann F. Larson
“Patron ($250-$499) Jean E. Swanson
“Friend ($100 - $249) Betty J. Byrnes, Peter Curtis, Joseph Gazzuolo, Ginny Gladwin, Susan C.
Lehner, Jerry Sandvick, Dr. Katherine Sloan
“Donor (up to $99) Daniel A Bagaus, Dawn Black, Pat Busch, Jill Capodanno, Theresa Crosby,
Debra L. Hills, Kari L. Johnson, Bruce Lebus, Arturo Leyva, Vera Nikifarov, Sylvia K. Willard
“This sculpture is dedicated to the memory of Joseph Gazzuolo NHCC Art and Graphic Design
Faculty from 1975 – 1997, May 7, 1998.”
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Dean Collins, Facilities Use and Construction Coordinator, NHCC
North Hennepin Community College/Brooklyn Park
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Several views of “Plane Structure, designed by David Eckart and
constructed by Richard Brown of Lamprey Pass Workshop.
North Hennepin Community College/Brooklyn Park
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North Hennepin Community College/Brooklyn Park
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: North Hennepin Community College
Title of the artwork: Unknown
City: Brooklyn Park
Type of work: Sculpture
Materials used and approximate dimensions: Treated wood; about fifteen feet high, average
of eight feet wide.
Location of the artwork within the campus: Near the parking lot outside the Activities
Building
Artist’s name and contact information: Unknown
Date work installed or dedicated: Unknown; was rebuilt in 1998
Source of funding and cost of the work: Unknown
Comments: Dean Collins believes it was built about 1978 by a student. Originally, it was
located in the green space between the Fine Arts and General Education Buildings. It was moved
when the Science Building was built.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Dean Collins, Facilities Use and Construction Coordinator, NHCC
North Hennepin Community College/Brooklyn Park
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Two views of a treated wood sculpture located near the parking lot of
the Activities Building at North Hennepin Community College.
North Hennepin Community College/Brooklyn Park
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Riverland
Community College
Austin
Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Riverland Community College
Title of the artwork: Seven Lamps of Learning
City: Austin
Type of work: Sculpture
Materials used and approximate dimensions: Laminated glass and metal; the space occupied
by the installation is about fifty feet long, each lamp is six feet tall and thirteen inches across.
Location of the artwork within the campus: The main corridor of Riverland Community
College—Austin East Campus
Artist’s name and contact information: Ray King, Ray King Studio, 835 North Third Street,
Philadelphia, Pennsylvania, 215 627- 5112; RayKingStudio@RayKing.nu
Date work installed or dedicated: 1994
Source of funding and cost of the work: Minnesota Percent for Art Program, $50,000
Project was conceived of during the Design Development of the new library and remodeling–
thus the Architect and Artist worked together on the specifications and location for the Seven
Lamps. As a result the cost of the construction for the electrical conduit was included as part of
the overall construction cost (as a utilitarian light would have been required).
Comments: The plaque reads:
“Seven Lamps of Learning Sacrifice, Truth, Power, Beauty, Life, Memory, Obedience
1994, light sculptures in steel and glass, Ray King, Philadelphia, Pennsylvania
“Commissioned by Minnesota Percent for Art in Public Places.”
Judy Enright of the facilities department said each lamp has a unique base such as brushed steel,
copper, or anodized metal. Changing the light bulbs takes ten minutes, lasts 12-18 months and
was not an easy task until the facilities staff figured out how to do this. However, every time a
new maintenance person is hired, the process has to be relearned.
Ray King’s website reads:
“Installed 1994, Austin Community College, Austin, MN[.] A series of seven torches referencing
the book The Seven Lamps of Architecture by John Ruskin. Installed in a college ‘Main Street’ in
Minnesota. Each torch is made of a twisted laminated glass ‘Flame’ with an illuminated core
(91cm / 3’ high) atop a raw steel base (91cm /3’ high) with different metals in the core to
reference the Seven Lamps. Sacrifice, Truth, Power, Beauty, Life, Memory, Obedience[.] Each
torch is 183cm / 6’-0” H. x 33cm / 1’-1” W. x 38cm / 1’-3” D.”
(http://www.rayking.nu/archives.html#).
This project was commissioned during schematic design, so part of the construction funds were
incorporated to pay for electrical connections.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Karen Snorek, Chief Finance and Facilities Officer, Riverland Community College
and Judy Enright, Facilities Supervisor, Riverland Community College
Riverland Community College/Austin
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Seven Lamps of Learning by Ray King (above).
Details of Seven Lamps (below).
Riverland Community College/Austin
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View of Seven Lamps of Learning
looking toward the bookstore (above)
and detail (right).
Riverland Community College/Austin
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Riverland Community College
Title of the artwork: Unknown
City: Austin
Type of work: Sculpture
Materials used and approximate dimensions: Glass prisms; the space occupied is
approximately eighteen feet long as measured from the ground.
Location of the artwork within the campus: The main corridor of Riverland Community
College—Austin East Campus, over the entrance to Student Services
Artist’s name and contact information: Designed by Ray King, Ray King Studio, 835 North
Third Street, Philadelphia, Pennsylvania, 215 627- 5112; RayKingStudio@RayKing.nu
Date work installed or dedicated: About 1994
Source of funding and cost of the work: Minnesota Percent for Art Program, cost unknown as
the artist saw the space when he was installing the Seven Lamps of Learning and included these
prisms as part of his overall installation.
Comments: There is no separate plaque for this piece. There were funds remaining so Ray
King “donated” this piece. When King saw the two story space that was bathed in sunlight from
clerestory windows adjacent to where the “Seven Lamps” was being placed, he was inspired.
He donated these prisms to ‘liven up the space’. The prisms were pieces he had collected from
an old army surplus store (reported that they came from periscopes). He had used these prisms
in other spaces to enliven with color, and movement (from the sun). He strung them together
while he was installing the “Seven Lamps”.
Enright said this piece works best in the afternoon on a sunny day: the light and colors fall across
the floor, walls and ceiling and create a dynamic light show. It has never been cleaned as their
lifts do not reach that high.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Karen Snorek, Chief Finance and Facilities Officer, Riverland Community College
Judy Enright, Facilities Supervisor, Riverland Community College and Sally Grans
Riverland Community College/Austin
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Two views of the prisms [by Ray
King].
Riverland Community College/Austin
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Riverland Community College
Title of the artwork: Unknown
City: Austin
Type of work: Three sculptures
Materials used and approximate dimensions: Welded steel; the height of the three pieces
ranges from five to over six feet, including the base.
Location of the artwork within the campus: West Building A
Artist’s name and contact information: Probably Bruce Mainquist, E9370-1080th Avenue,
Colfax, Wisconsin 54730.
Date work installed or dedicated: about 1991
Source of funding and cost of the work: Unknown
Comments: Judy Enright believes these three pieces were installed about 1991 and thinks they
were originally located outside. She did not know the artist’s name or how they came to be on
the campus. She did not know of any maintenance issues with these works.
The words “Mainquist” are carved into each piece. A Google search revealed a website
(http://mainquistsculpture.com/) for sculptor Bruce Mainquist. Photographs of similar steel
sculptures appear on his website.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Judy Enright, Facilities Supervisor, Riverland Community College
Riverland Community College/Austin
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Three steel sculptures at Riverland Community College.
Riverland Community College/Austin
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Rochester
Community and
Technical College
Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Rochester Community and Technical College
Title of the artwork: Untitled
City: Rochester
Type of work: Suspended sculpture
Materials used and approximate dimensions: Laminated safety glass strips composed of a
variety of glasses, prisms, and colors which refract light. The foyer below this work is
approximately forty feet square.
Location of the artwork within the campus: In the three-story atrium at the entrance of
University Center Rochester Main.
Artist’s name and contact information: Ed Carpenter, 1812 NW 24th Avenue, Portland,
Oregon 97210; 503-842-5923 (home), 503-224-6729 (work).
Date work installed or dedicated: It was installed in February 1993 and dedicated in September
1993.
Source of funding and cost of the work: Minnesota Percent for Art Program, $100,000 to
$110,000
Comments: The plaque is missing, but information from the RCTC files reads:
“Environmental Sculpture including suspended glass, connections elements, and floor design
created by Ed Carpenter, Portland Oregon. Conceived in collaboration with Ankeny, Kell,
Richter, Walsh Architects, PA., Saint Paul, Minnesota and the Stubbins Associates, Inc.,
Architects, Cambridge, Massachusetts especially for the University Center Rochester. Funded
under Minnesota Percent for Art in Public Places and installed February 1993.”
Judy Kingsbury said that in October 1990, a committee composed of Dan Brennan, Dr. Mary
Rieder, Dr. Alice Muma, Dr. Carol Lund, Dick Spavin, Duane Kell, Judy Onofrio, B. J. Shigaki,
and Terry Dennis, was formed to oversee selection of this artwork. The piece was designed in
January 1992. At the time of his selection, the artist had completed more than fifty large-scale
collaborative art commissions including installations in the Hult Center for Performing Arts in
Eugene, Oregon; Justice Center, Portland, Oregon; and the Alaska Performing Arts Center,
Anchorage, Alaska.
To mount the work, cables were suspended from a tension ring mounted under the atrium’s
skylight. During construction of the piece, built-in attachment points were engineered to accept
the heavier load and welded to the underlying building structure, according to Kingsbury.
Kingsbury described this as a very low maintenance piece, with only periodic tensioning of the
cables and cleaning the glass. Don Supalla mentioned that the suspended glass parts have never
been cleaned because their maintenance staff is uncertain how to do this without damaging the
Rochester Community and Technical College/Rochester
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artwork. He also commented that lights mounted on the side of the atrium do not work, despite
being re-programmed by an electrician.
Supalla noted that the terrazzo floor beneath the atrium contains reflective strips meant to
enhance the light gathered by the glass prisms above. Cracking was noted in some of these strips.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Judy Kingsbury, Executive Assistant, and Don Supalla, President, RCTC
Rochester Community and Technical College/Rochester
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Two views of Untitled by Ed Carpenter.
Rochester Community and Technical College/Rochester
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A detail of the glass strips in Untitled (above).
The terrazzo floor includes reflective strips,
some of which are damaged (right and below).
Rochester Community and Technical College/Rochester
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Rochester Community and Technical College
Title of the artwork: Principles of Uncertainty
City: Rochester
Type of work: Interactive artwork
Materials used and approximate dimensions: Painted steel, mirrored glass, brass, sheet and
cast bronze, cast concrete, low voltage lighting and motors, bronze and steel wire mesh; the
space occupied by this work is about twelve feet long and eight feet wide.
Location of the artwork within the campus: The interior hallway on the first floor of Goddard
Library, near the Digital Media Center entrance at University Center Rochester Main.
Artist’s name and contact information: Brad Kaspari, 2100 29th Avenue South, Minneapolis,
Minnesota 55406; 612-673-0869
Date work installed or dedicated: February 2002
Source of funding and cost of the work: Minnesota Percent for Art Program, $59,000 to
$60,000
Comments: The plaque reads:
“Principles of Uncertainty, 2004, Steel, Concrete, Mixed Media
“Brad Kaspari, Minneapolis, Minnesota
“Principles of Uncertainty refers to Werner Heisenberg’s uncertainty principle, which is one of
the central concepts of the Copenhagen interpretation of quantum physics. The principle states
that it is impossible to predict the behavior of particles at an atomic scale since the action of
measuring the particles causes it to collapse into one of many possible states.
“The installation space suggests the interior of a theatre and functions as a place that is slightly
removed from the surrounding public activity.
“The viewing screen echoes the nearby video displays, however the images are projected from a
physical space that stands in contrast to the immaterial nature of digital output. The device
transforms the output over time in a way that is reflective of the ever changing nature of
technology.
“The images refer to organic forms and systems that are derived from mathematically governed
growth functions, (ferns, shells, bees, etc.). Those images are layered with forms that are derived
from more purely mathematical concerns, (clockwork gears, cellular patterns, etc.).
“The layering of information suggests the types of visual manipulation that are becoming more
commonplace in digital media environments.
Rochester Community and Technical College/Rochester
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“The artist dedicates Principles of Uncertainty to the memory of Paul and Sheila Wellstone.
“The project was made possible through Minnesota Percent for Art in Public Places, which is
sponsored by the Minnesota State Arts Board.”
According to Judy Kingsbury, the selection process for this piece was begun in February 2002. A
committee composed of Kristopher Douglas, Jack Becker, Pam Anderson, Kevin Dobbe, Diane
Ingvaldson, and Lynette Reini-Grandell was formed. Several delays occurred during the
installation of this piece, including electrical wiring and difficulty in obtaining theatre seats from
the vendor in a timely manner.
The primary expected maintenance issue was the periodic relamping of the internal lighting.
However, the piece has had other more serious technical issues and, according to Don Supalla, is
not currently working. The college maintenance department had to replace the broken four-inch
glass prism in the table with a copper inset.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Judy Kingsbury, Executive Assistant, and Don Supalla, President, RCTC
Rochester Community and Technical College/Rochester
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Principles of Uncertainty by Brad
Kaspari.
The copper inset seen on the table to
the right replaced the four-inch glass
prism that was broken.
Rochester Community and Technical College/Rochester
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Rochester Community and Technical College
Title of the artwork: Meteor
City: Rochester
Type of work: Sculpture
Materials used and approximate dimensions: Kasota limestone, granite, and stainless steel;
the oval space occupied by the piece is approximately twenty feet long and ten feet wide.
Location of the artwork within the campus: In a grove of trees opposite the atrium entrance of
University Center Rochester Main.
Artist’s name and contact information: Zoran Mojsilov, 4130 Blaisdell Avenue South,
Minneapolis, Minnesota, 55409
Date work installed or dedicated: The work was installed November 1997 and dedicated in
May 1998.
Source of funding and cost of the work: Minnesota Percent for Art Program, $17,000 to
$18,000
Comments: The plaque reads:
“Meteor, 1997, Kasota limestone, granite and stainless steel.
“Zoran Mojsilov, Minneapolis, Minnesota
“Commissioned by Minnesota Percent for Art in Public Places.”
Judy Kingsbury noted that in February 1997 a committee consisting of Terry Dennis, Pat
Kraemer, Terence Richardson, Jan Huffman-Case, and B. J. Shigaka was formed to oversee this
process. The work was designed in July 1997.
Don Supalla said that the artist requested that the grass around the work be left in its natural state
that is uncut. Zoran Mojsilov was particularly incensed at the dedication when he discovered that
the maintenance crew had trimmed the grass very short to make it look neat and clean for the
ceremony. Mojsilov added that the entrance to the main hall of the college is the wrong setting
for his work, which is supposed to depict the violent collision of a meteor with earth and the
resulting plowed up soil. Some committee members agreed with his assessment.
Supalla noted that the piece is a very popular backdrop with the local Southeast Asian
community for family photos and that children love to climb on it.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Judy Kingsbury, Executive Assistant, and Don Supalla, President, RCTC
Rochester Community and Technical College/Rochester
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Four views of Meteor by Zoran Mojsilov.
Rochester Community and Technical College/Rochester
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Rochester Community and Technical College/Rochester
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Rochester Community and Technical College
Title of the artwork: A Bouquet for Most Occasions
City: Rochester
Type of work: Sculpture
Materials used and approximate dimensions: Welded aluminum, hammered and brazed
copper on a colored concrete base; twenty-four feet tall.
Location of the artwork within the campus: In the center of the SMART (Sustainable,
Medicinal, Artistic, Resourceful, Thematic) Garden near the Horticultural Building of the Heintz
Center.
Artist’s name and contact information: P. Richard Szeitz, 1220 South 12th Avenue, Moorhead,
Minnesota 56560; 218-236-5913; rszeitz@mindspring.com.
Date work installed or dedicated: It was installed in July 2004 and dedicated in August 2004.
Source of funding and cost of the work: Minnesota Percent for Art Program, $29,000 to
$30,000
Comments: The plaque reads:
“Bouquet for Most Occasions, 2004, brazed copper and welded aluminum on concrete base
“P. Richard Szeitz, Moorhead, Minnesota
“Commissioned by Minnesota Percent for Art in Public Places with support for this project from
the Rochester Community and Technical College.”
Judy Kingsbury noted that a committee, which included Andrew Masterpole, Randy Ayshford,
Robin Fruth-Dugstad, and Chris Behringer, was formed in February 2003 to oversee the
selection. The work was designed in November 2003. A delay in the process occurred when the
Minnesota State Arts Board and the Minnesota Department of Administration needed to
renegotiate the delegation of authority to allow the arts board to manage the Percent for Art
Program.
Before the piece could be installed, drilling and excavation for the footings was required. The
only maintenance so far is a yearly application of sealer and filling to repair the accidental
marring of the concrete surfaces.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Judy Kingsbury, Executive Assistant, and Don Supalla, President, RCTC
Rochester Community and Technical College/Rochester
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Bouquet for Most Occasions by P. Richard Szeitz.
Rochester Community and Technical College/Rochester
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Two views of Bouquet for Most
Occasions.
Rochester Community and Technical College/Rochester
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Rochester Community and Technical College
Title of the artwork: Net/Shoe/Glove/Ball/Ball/Ball
City: Rochester
Type of work: Sculpture
Materials used and approximate dimensions: Indiana limestone mounted on poured concrete
bases; each sculpture is about fifteen feet high and four feet in diameter, and the space occupied
by the entire work is about sixty feet long.
Location of the artwork within the campus: At the east entrance of the Regional Sports Center
Artist’s name and contact information: Andrea Myklebust and Stanton Gray Sears, 3322 38th
Avenue South, Minneapolis, Minnesota 55406; 651-696-6417; sears@macalester.edu.
Date work installed or dedicated: It was installed and dedicated in February 2004.
Source of funding and cost of the work: Minnesota Percent for Art Program, $59,000 to
$60,000
Comments: There is no plaque for this work.
Judy Kingsbury noted that a project oversight committee, which included Steve Oliver, Barb
Callaway, Dan Thompson, Audrey Lidke, John Tacinelli, David Allen, and B. J. Shigaka, was
formed in February 2002. There was a delay in the process while the president of the college
tried, unsuccessfully, to raise funds for two additional columns. The sculpture was designed in
April 2003.
Don Supalla explained the apparently haphazard placement of the three sculptures encroachs
upon a sidewalk. The present sidewalk is only temporary. A handicapped-drop-off driveway is
planned for this entrance. After the driveway is built, the three pieces will line its edge.
Kingsbury said this is a very low maintenance sculpture.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Judy Kingsbury, Executive Assistant, and Don Supalla, President, RCTC
Rochester Community and Technical College/Rochester
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Four views of
Net/Shoe/Glove/Ball/Ball/Ball by Andrea
Myklebust and Stanton Gray Sears.
Rochester Community and Technical College/Rochester
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Rochester Community and Technical College/Rochester
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Rochester Community and Technical College
Title of the artwork: Untitled
City: Rochester
Type of work: Sculpture
Materials used and approximate dimensions: Sheet metal; approximately three feet by five
feet
Location of the artwork within the campus: Heintz Center
Artist’s name and contact information: Stuart Nielsen
Date work installed or dedicated: Unknown
Source of funding and cost of the work: Minnesota Percent for Art Program, $12,000
Comments: There is no plaque for this work.
Don Supalla said the information he had on this piece came from old files at the college. He was
not president of RCTC when it was installed.
Supalla was unaware of any maintenance issues with this piece.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Don Supalla, President, RCTC
Rochester Community and Technical College/Rochester
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Two views of Untitled by Stuart Nielsen.
Rochester Community and Technical College/Rochester
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Rochester Community and Technical College
Title of the artwork: Eoun’s Journey
City: Rochester
Type of work: Painting
Materials used and approximate dimensions: Painted Masonite, about four feet high and six
feet long.
Location of the artwork within the campus: Heintz Center
Artist’s name and contact information: James Kielkopf
Date work installed or dedicated: Unknown
Source of funding and cost of the work: Minnesota Percent for Art Program, $4,000
Comments: There is no plaque for this work.
Don Supalla said the information he had on this piece came from old files at the college. He was
not president of RCTC when it was installed.
Supalla was unaware of any maintenance issues with this piece.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Don Supalla, President, RCTC
Rochester Community and Technical College/Rochester
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Eoun’s Journey by James Kielkopf.
Rochester Community and Technical College/Rochester
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Rochester Community and Technical College
Title of the artwork: Ship
City: Rochester
Type of work: Painting
Materials used and approximate dimensions: Oil on canvas; taken together, the four
canvasses are about ten feet long and four feet high.
Location of the artwork within the campus: Heintz Center
Artist’s name and contact information: Dennis Barry
Date work installed or dedicated: The painting is dated 1988.
Source of funding and cost of the work: Minnesota Percent for Art Program, $5,200
Comments: There is no plaque for this work.
Don Supalla said the information he had on this piece came from old files at the college. He was
not president of RCTC when it was installed.
Supalla believes the painting symbolizes a bridge to the future and travel.
Supalla was unaware of any maintenance problems with this piece.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Don Supalla, President, RCTC
Rochester Community and Technical College/Rochester
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Ship by Dennis Barry.
Rochester Community and Technical College/Rochester
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Rochester Community and Technical College
City: Rochester
Title of the artwork: Emperor’s Clothes I Type of work: Painting
Materials used and approximate dimensions: Oil on canvas; the semi-circular canvas is about
four feet at each end and five feet high.
Location of the artwork within the campus: Heintz Center
Artist’s name and contact information: Lee Bjorklund
Date work installed or dedicated: Unknown
Source of funding and cost of the work: Minnesota Percent for Art Program, $2,800
Comments: There is no plaque for this work.
Don Supalla said the information he had on this piece came from old files at the college. He was
not president of RCTC when it was installed.
Supalla noted that some of the gold paint has faded over time.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Don Supalla, President, RCTC
Rochester Community and Technical College/Rochester
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Emperor’s Clothes I by Lee Bjorkland.
Rochester Community and Technical College/Rochester
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Rochester Community and Technical College
Title of the artwork: Windows
City: Rochester
Type of work: Painting
Materials used and approximate dimensions: Oil on canvas; four canvases that are
approximately five feet square.
Location of the artwork within the campus: Heintz Center
Artist’s name and contact information: Judy Onofrio
Date work installed or dedicated: Unknown
Source of funding and cost of the work: Minnesota Percent for Art Program, $7,000
Comments: There is no plaque for this work.
Don Supalla said the information he had on this piece came from old files at the college. He was
not president of RCTC when it was installed.
Supalla was unaware of any maintenance problems with this piece.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Don Supalla, President, RCTC
Rochester Community and Technical College/Rochester
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Two views of Windows by Judy Onofrio.
Rochester Community and Technical College/Rochester
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Rochester Community and Technical College
Title of the artwork: Untitled
City: Rochester
Type of work: Sculpture
Materials used and approximate dimensions: Metal and wood; the overhead sculpture
occupies an entrance space approximately fifteen feet square.
Location of the artwork within the campus: Heintz Center
Artist’s name and contact information: Stanton Sears
Date work installed or dedicated: Unknown
Source of funding and cost of the work: Minnesota Percent for Art Program, cost unknown
Comments: There is no plaque for this work.
Don Supalla said the information he had on this piece came from old files at the college. He was
not president of RCTC when it was installed.
Supalla observed that the only maintenance problem with this piece is the tendency of students to
fling trash into boats forms, which the maintenance staff has to remove.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Don Supalla, President, RCTC
Rochester Community and Technical College/Rochester
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Untitled by Stanton Sears.
Rochester Community and Technical College/Rochester
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Rochester Community and Technical College
Title of the artwork: Symphony
City: Rochester
Type of work: Don Wilder
Materials used and approximate dimensions: Apparently, watercolor on paper; three feet high
and two-and-one-half feet wide.
Location of the artwork within the campus: Heintz Center
Artist’s name and contact information: Don Wilder, Rochester, Minnesota
Date work installed or dedicated: Unknown
Source of funding and cost of the work: Minnesota Percent for Art Program, $1,200
Comments: There is no plaque for this work.
Don Supalla said the information he had on this piece came from old files at the college. He was
not president of RCTC when it was installed. Supalla added that he knows there are three other
similar paintings by Don Wilder in Heintz Center, but he was unable to locate them at the time of
the survey. The other three paintings are: Mallards ($1,200), Two by Two (deer) ($800), and
Backwater Majesty (wood ducks) ($900). All of the Wilder pieces were purchased under the
Minnesota Percent for Art Program.
Supalla was not aware of any maintenance problems with these pieces.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Don Supalla, President, RCTC
Rochester Community and Technical College/Rochester
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Symphony by Don Wilder.
Rochester Community and Technical College/Rochester
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South Central
College
North Mankato
Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: South Central College
City: Mankato
Title of the artwork: River Garden
Type of work: Sculpture
Materials used and approximate dimensions: Etched Kasota stone and plant materials;
dimensions are about forty feet by twenty-eight feet.
Location of the artwork within the campus: Garden Court
Artist’s name and contact information: Stuart Nielsen, Minneapolis, Minnesota
Date work installed or dedicated: The project dates are 1989 to 1991 according to the plaque.
Source of funding and cost of the work: Minnesota Percent for Art Program, $39,156
Comments: The plaque reads:
“River Garden, 1989-91, Etched Stone and Plant Material
“Stuart Nielsen, Minneapolis, Minnesota
“This artwork featuring a Kasota Stone bench etched with a map of the Minnesota River was
commissioned for the Mankato Technical College through the Minnesota Percent for Art in
Public Places Program which is sponsored by the Minnesota State Arts Board and the
Department of Administration.”
An adjacent framed map of the Minnesota River, labeled “Key for the Bench Map” states the
scale as one inch equals approximately 5.3 miles.
River Garden is located between the Frank Kalin Library and the student lounge. This area was
created when the space between two formerly freestanding buildings was enclosed. Rick Straka
remarked that the piece is easily maintained, because the plants are cared for by volunteers from
the SCC staff. The only cost to the school is the occasional replacements of plants.
Straka also said the piece is well liked and appreciated. It is frequently used for dinners and
awards ceremonies as well as the annual fundraising dinner put on by the school.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Rick Straka, Vice-president of Finance and Operation, SCC
South Central College/Mankato
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Two views of River Garden by Stuart Nielsen.
Normally, the desk standing beyond the tree is not present in the Garden
Court.
South Central College/Mankato
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Two views River Garden.
South Central College/Mankato
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: South Central College
City: Mankato
Title of the artwork: Dakota Images
Type of work: Stained-glass windows
Materials used and approximate dimensions: Stained-glass windows inserted into four
wooden doors; the four doors occupy a space approximately twenty-four feet long and seven feet
high.
Location of the artwork within the campus: Heritage Hall
Artist’s name and contact information: Terry Hall, Saint Paul, Minnesota
Date work installed or dedicated: Installed January 1992
Source of funding and cost of the work: Private donation, the cost is unknown
Comments: The plaque reads:
“Dakota Images. Stained glass designs inspired by Native Americans. Built and installed by
Mark V. Hall, Hallmark Glass, Kasota, Minnesota, designed by Terry Hall, Saint Paul,
Minnesota.”
Rick Straka did not think there were any particular maintenance issues with this piece.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Rick Straka, Vice-president of Finance and Operation, SCC
South Central College/Mankato
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Dakota Images designed by Terry Hall.
South Central College/Mankato
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: South Central College
Title of the artwork: Unknown
City: Mankato
Type of work: Sculpture
Materials used and approximate dimensions: Cast concrete; approximately twelve feet high
and five feet wide.
Location of the artwork within the campus: Two of these sculptures are located in the
Conference Center hallway, a third is mounted on the outside of the main building.
Artist’s name and contact information: Unknown
Date work installed or dedicated: Unknown
Source of funding and cost of the work: Both the source of funding and cost are unknown
Comments: Rick Straka did not known anything about these three identical sculptures, which
apparently depict the tools of various trades such as surveying, carpentry, and plumbing; an oldstyle computer punch card; the word “Graphics;” and a lit lamp beside an open book. The letters
“MAVTI” appear in the upper left corner of the work and probably refers to Mankato Area
Vocational Technical Institute, which was the predecessor of South Central College.
He was unaware of any maintenance issues with these pieces.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Rick Straka, Vice-president of Finance and Operation, SCC
South Central College/Mankato
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Untitled sculpture mounted on the wall of the Conference Center.
South Central College/Mankato
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St. Paul College
Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Saint Paul College City: Saint Paul
Title of the artwork: Fountain
Type of work: Sculpture
Materials used and approximate dimensions: Extruded plastic and steel; the sculpture
occupies a space about twenty feet by thirty feet.
Location of the artwork within the campus: In the cafeteria, near the stairway
Artist’s name and contact information: Stuart Nielsen, Minneapolis, Minnesota
Date work installed or dedicated: Installed in 2000, dedicated in 2001
Source of funding and cost of the work: Minnesota Percent for Art Program, $45,000
Comments: The plaque reads:
“Fountain, assembled from a colorful array of custom-made hollow plastic strands, suggests an
uprooted segment of communication or utility lines. The suspended sculpture, which twists and
loops through space, comprises thirty-seven individual tubes tightly bound together into a
compact matrix. The visually dynamic work can also be viewed as a metaphor for how separate
and diverse elements coalesce into a unified whole.
“Stuart Nielsen is a Minnesota resident and received his B.F.A. from the University of
Minnesota, Minneapolis in 1970. His paintings, prints and sculptures can be found in numerous
private and public collections and he has created public art works across the country.
“Fountain was commissioned through Minnesota Percent for Art in Public Places, a program
sponsored by the Minnesota State Arts Board and the Department of Administration, with
support for this project from St. Paul Technical College, Saint Paul, Minnesota.”
Thomas Doody said the project was started in 1998 when a committee consisting of the
president, vice president, the architect in charge of remodeling the building, a faculty member,
artists, and a representative from the State Arts Board was formed. Generally, he thought the
process took too long, but the sculpture was good. There are few maintenance issues with the
sculpture, but he did note that damage from the sun is causing some separation of the plastic
strands in places.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Thomas Doody, Physical Plant Director, Saint Paul College
Saint Paul College/Saint Paul
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Several views of Fountain by
Stuart Nielsen.
Saint Paul College/Saint Paul
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Saint Paul College/Saint Paul
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Saint Paul College
Title of the artwork: Real Tools
City: Saint Paul
Type of work: Sculpture
Materials used and approximate dimensions: Painted steel and expanded metal, other media;
the sculpture occupies a space about thirty feet long, eight feet wide, and twenty feet high.
Location of the artwork within the campus: Front lawn of main college building
Artist’s name and contact information: Barbara Grygutis, PO Box 3028, Tucson, Arizona
85702-3028; 520-882-5572; bzg1@mindspring.com.
Date work installed or dedicated: 1992
Source of funding and cost of the work: Minnesota Percent for Art Program; $58,000 was
budgeted, the actual cost was $118,000
Comments: The plaque reads:
“Real Tools, Barbara Grygutis, copyright 1992
Commissioned under Minnesota Percent for Art in Public Places with additional support from
Capitol Area Architectural and Planning Board, City of St. Paul, St. Paul Technical College and
numerous volunteers.”
Thomas Doody said this was the first project that Saint Paul College did in conjunction with the
State Arts Board. The project was started in 1988 and completed in 1992. Problems with the
project ranged from the feeling that the project took too long (3 years) to complete to the fact that
the artist lived out of town and flew in for weekends when most people were not usually at work.
He thought the idea for the sculpture was good, but was poorly executed. Originally, the
sculpture was lit from within at night, allowing a clear view of the tools, but screws holding the
extruded metal screen over the light bulbs are rusted in place, making it very difficult and
expensive to replace the light bulbs. An additional maintenance expense is the need to frequently
repaint the steel structure. He thought there should be a maintenance fund established when this
type of artwork is put in place.
Many of the tools contained within the sculpture, such as paint brushes, drills, and saws, were
used in classes at the school.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Thomas Doody, Physical Plant Director, Saint Paul College
Saint Paul College/Saint Paul
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Several views of Real Tools
by Barbara Gryrutis.
Saint Paul College/Saint Paul
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Sidewalk with imbedded tools
leading up to Real Tools (above).
Details of Real Tools (below).
Saint Paul College/Saint Paul
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Saint Paul College
Title of the artwork: Unknown
City: Saint Paul
Type of work: Painting
Materials used and approximate dimensions: Acrylic paint, canvas; the dimensions are three
feet by four feet.
Location of the artwork within the campus: In a storeroom
Artist’s name and contact information: Unknown
Date work installed or dedicated: The painting was completed about 2001
Source of funding and cost of the work: Minnesota Percent for Art, $3,500
Comments: According to Thomas Doody, the president of the college wanted a painting that
depicted the college in the surrounding neighborhood. The State Arts Board was not enthusiastic
about this idea, but the project went forward anyway.
No one was happy with the resulting painting and it has been consigned to storage.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Thomas Doody, Physical Plant Director, Saint Paul College
Saint Paul College/Saint Paul
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The painting of Saint Paul College with insets of the state capitol, the Minnesota
Historical Society, Landmark Center, and the Saint Paul Cathedral. The sculpture,
Real Tools, is also depicted.
Saint Paul College/Saint Paul
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Winona
State University
Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Winona State University
Title of the artwork: Great River
City: Winona
Type of work: Terrazzo floor
Materials used and approximate dimensions: Terrazzo and cast metal inclusions; the floor
occupies approximately twenty-eight square feet.
Location of the artwork within the campus: Main entrance to the Winona State University
Library
Artist’s name and contact information: Brad Kaspari and Carolyn Braaksma, 2100 Twentyninth Avenue South, Minneapolis, Minnesota 55406
Date work installed or dedicated: The design was approved April 4, 1997 and installed in
1998. The library was dedicated September 17, 1999.
Source of funding and cost of the work: Minnesota Percent for Art Program, $70,092
Comments: The plaque reads:
“Great River, 1999, Terrazzo and cast metal inclusions
“Brad Kaspari, b. 1955, Minneapolis, Minnesota. Carolyn Braaksma, b. 1951, Denver, Colorado
“Winona’s location on the Mississippi River and the geography of its surrounding region play a
prominent role in the design of Great River, the entrance floor to the Winona State University
Library. Beyond this geographic reference, Great River also symbolizes the flow of information
as it occurred historically in the Midwestern region and as it continues today, often influenced by
the institutions such as the Winona State University Library.
“Great River incorporates a number of cast metal inclusions that refer both to the geographic
area and its commerce, and to knowledge. The paddle wheel and logging brands are drawn from
important periods in the historical development of the Winona region. Similarly, the surveyor’s
stave and sights refer to this history, while also invoking the types of mapping and navigation
practices that are inherent in developing systems of information storage and retrieval.
“The quotations found in Great River were chosen because they refer to the nature of
information and how it flows through history and over physical distances. Many of the
quotations mention water in one or more of its many forms, and reflect the idea of books and
education. Most of the quotations were drawn from regional authors or were first written in
reference to the Mississippi River area.
“A Twin Cities resident since 1980, Brad Kaspari was trained as a sculptor. He works in a
variety of mediums and is a practicing public artist. A Denver resident since 1964, Carolyn
Winona State University/Winona
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Braaksma did graduate work at the University of Minnesota from 1987-1989. Since 1990 she has
completed numerous public arts commissions across the country.
“The commission of Great River was made possible through Minnesota Percent for Art in Public
Places, a state program sponsored by the Minnesota State Arts Board and the Department of
Administration, with support from Winona State University.”
Both Richard Lande and H. Vernon Leighton noted the chief maintenance problem with Great
River is its highly polished surface. Regular waxing protects the images in the floor, but also
makes it a hazard when wet. In the winter months, a large rug is placed on the floor to protect it
from dirt and salt damage. This prevents people from slipping, but obscures the art work.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Richard Lande, Facilities Manager, WSU, and H. Vernon Leighton, Coordinator of
Liaison Services and Coordinator of Government Documents, WSU Library
Winona State University/Winona
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Several views of Great River by Brad Kaspari and Carolyn Braaksma
Winona State University/Winona
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Winona State University/Winona
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Winona State University
City: Winona
Title of the artwork: The Lost City
Type of work: Painting
Materials used and approximate dimensions: Oil and wax on canvas; the work is about six
feet by five feet.
Location of the artwork within the campus: First floor of the Winona State University Library
Artist’s name and contact information: Lance Kiland, Minneapolis, Minnesota
Date work installed or dedicated: 1999
Source of funding and cost of the work: Minnesota Percent for Art Program, cost is unknown
Comments: The plaque reads:
“The Lost City, 1992, Oil and wax on canvas
“Lance Kiland, b. 1947; Minneapolis, Minnesota
“Throughout his career, Lance Kiland has chartered a unique course, making paintings that fall,
stylistically, somewhere between figuration and abstraction and, thematically between landscape
and still life. Although his work has consistently been rooted in abstraction, Kiland’s penchant
for isolating enigmatic, unidentifiable forms in dense atmospheric spaces, demarcated only by a
horizon line or curious suspended objects, infuses his work with an elusive quality.
“Due to Kiland’s abstract, often surreal style, his visceral works appear both futuristic and
ancient. He works with rags, brushes and palette knives, continually painting, scraping, rubbing
and repainting until images slowly begin to ‘suggest themselves.’ Working intuitively, Kiland
never determines the composition of his paintings beforehand. On the occasion that he works
from one of his drawings, the final painting is always vastly different from the original.
“The Lost City was inspired by photographs that Kiland’s parents took while on a trip to Italy in
the 1960s. The images depict the ruins of an ancient city, a mysterious record of a community
that no longer exists. Through architectural form and vivid color, Kiland has painted an
expressive interpretation of a city he has never experienced. For example, he chose red to
symbolize the abstract notion of its inhabitant’s memories of trails and pathways. The Lost City
also is defined by Kiland’s spontaneous line drawings that represent dwellings where he
imagined people once lived. The tower-like structure on the left side of the painting is a machine
that projects energy and life into the atmosphere, trying to restore the city to its former essence
and vitality. For Kiland, the essence of The Lost City is the duality of the energizing machine and
the enervated ruins.
Winona State University/Winona
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“A native of Moorhead, Minnesota, Kiland has lived in the Twin Cities since 1971. His work has
been shown extensively across the United States and can be found in numerous public and
corporate collections.
“The Lost City was purchased in 1999 through Minnesota Percent for Art in Public Places, a state
program sponsored by the Minnesota State Arts Board and the Department of Administration,
with project support from Winona State University.”
Richard Lande did not know of any maintenance issues with this piece.
Vernon Leighton said that he was involved in some of the art selection committees as a facilities
representative. He did not know the names of the other committee members, but he did explain
the general process. The state arts board provided oversight for the selection committee and
acquainted the committee with existing pieces of art that were eventually purchased.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Richard Lande, Facilities Manager, WSU, and H. Vernon Leighton, Coordinator of
Liaison Services and Coordinator of Government Documents, WSU Library
Winona State University/Winona
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The Lost City by Lance Kiland.
Winona State University/Winona
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Winona State University
Title of the artwork: Search
City: Winona
Type of work: Painting
Materials used and approximate dimensions: Oil paint, canvas; the painting is about eight feet
by five feet.
Location of the artwork within the campus: First floor of the Winona State University Library
Artist’s name and contact information: Rebecca Crowell, Osseo, Wisconsin
Date work installed or dedicated: 1999
Source of funding and cost of the work: Minnesota Percent for Art Program, cost is unknown
Comments: The plaque reads:
“Search, 1996, Oil on canvas
“Rebecca Crowell, b. 1954; Osseo, Wisconsin
“Since the late 1980s, Rebecca Crowell’s art has been influenced significantly by her
surrounding rural Wisconsin environment. Her stylistically abstract paintings reflect the color
and texture of the upper Midwest landscape and the abundance of nature that she experiences
every day. However, Crowell does not attempt to describe particular scenes or locations. Rather,
she hopes that her paintings convey the notion of being in nature or connected to it in a spiritual
sense. ‘I am interested in expressing a particular mood or state of mind,’ explains Crowell, ‘or
evoking memories and associations within the viewer, relating to the experience of being in
nature.’
“Executed in rich jewel tones of green, Search was created during a period when Crowell’s
palette was highly monochromatic, or limited to a few colors, thus emphasizing the abstract
quality of the image. Crowell’s use of two panels to comprise Search provides a geometric
contrast to the organic quality of the image. This diptych format also suggests a shifting point of
view, as if one were visually scanning the landscape. Even the painting’s title, Search, reinforces
this idea of scanning. For Crowell, the painting also symbolizes the theme of a personal
philosophical and spiritual search.
“A native of New York state, Crowell moved to western rural Wisconsin in 1975. Her paintings
and drawings have been exhibited widely throughout the Midwest and can be found in numerous
corporate, public and private collections.
Winona State University/Winona
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“Search was purchased in 1999 through Minnesota Percent for Art in Public Places, a state
program sponsored by the Minnesota State Arts Board and the Department of Administration,
with project support from Winona State University.”
Richard Lande was unaware of any maintenance issues with this piece.
Vernon Leighton said that he was involved in some of the art selection committees as a facilities
representative. He did not know the names of the other committee members, but he did explain
the general process. The state arts board provided oversight for the selection committee and
acquainted the committee with existing pieces of art that were eventually purchased.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Richard Lande, Facilities Manager, WSU, and H. Vernon Leighton, Coordinator of
Liaison Services and Coordinator of Government Documents, WSU Library
Winona State University/Winona
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Search by Rebecca Crowell.
Winona State University/Winona
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Winona State University
City: Winona
Title of the artwork: Green Molecule
Type of work: Painting
Materials used and approximate dimensions: Oil, wax, and encaustic on canvas; the work is
about six feet by five feet.
Location of the artwork within the campus: First floor of the Winona State University Library
Artist’s name and contact information: Brian Frink, Mankato State University, Mankato
Date work installed or dedicated: 1999
Source of funding and cost of the work: Minnesota Percent for Art Program, cost is unknown.
Comments: The plaque reads:
“Green Molecule, 1996, Oil, wax and encaustic on canvas
“Brian Frink, b. 1956; Mankato, Minnesota
“A consistent theme in Brian Frink’s art is technological change, and the elusive and shifting
nature of perception and self-identity created by such change.
“In Green Molecule, Frink explores the subject through the image of an atom-like shape
hovering in the center of the canvas. This shape, suspended between four points marked at the
edges of the canvas, is meant to represent science and technology. Frink likens the visual tension
created between the central form and the four points to the needle of a compass.
“The color of the atom-like form is green, a color that often suggests nature and growth. By
naming his painting Green Molecule, Frink not only refers to a particular color in nature, but also
to the irony that many people view technology as separate from nature.
“Frink employed the encaustic process to create Green Molecule, a process that differs
significantly from working with oil or acrylic paints in that hot wax is the medium for the
pigment. Here, oil paint is mixed with hot wax, and then applied in layers to the canvas surface.
These layers are then scraped, reapplied, scraped, and so on until the surface is comprised of
interrelated layers of color and form.
“According to Frink, making art is an exploration of mystery and an expression of wonder.
While this statement about Green Molecule is simple and truthful, Frink’s creative process is
circuitous and complex. Ultimately, making art is a visible assertion of Frink’s ideas and values,
an activity that, itself, becomes a compass in his search for meaning in a complex society.
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“In 1993 Frink was awarded a Visual Artist fellowship from the National Endowment for the
Arts. He has taught art at Mankato State University since 1989 and became a full Professor of
Art in 1999.
“Green Molecule was purchased in 1999 through Minnesota Percent for Art in Public Places, a
state program sponsored by the Minnesota State Arts Board and the Department of
Administration, with project support from Winona State University.”
Richard Lande did not know of any maintenance issues with this piece.
Vernon Leighton said that he was involved in some of the art selection committees as a facilities
representative. He did not know the names of the other committee members, but he did explain
the general process. The state arts board provided oversight for the selection committee and
acquainted the committee with existing pieces of art that were eventually purchased.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Richard Lande, Facilities Manager, WSU, and H. Vernon Leighton, Coordinator of
Liaison Services and Coordinator of Government Documents, WSU Library
Winona State University/Winona
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Two views of Green Molecule by Brian Frink.
Winona State University/Winona
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Winona State University
City: Winona
Title of the artwork: Vase of Flowers
Type of work: Painting
Materials used and approximate dimensions: Oil on canvas; the painting is approximately
eighteen inches by thirty inches.
Location of the artwork within the campus: First floor of the Winona State University Library
Artist’s name and contact information: Max Weber, deceased
Date work installed or dedicated: Unknown
Source of funding and cost of the work: Private donation by the artist’s son Maynard “Mo”
Weber, cost is unknown
Comments: The plaque reads:
“Vase of Flowers
“Max Weber (1881-1961), American Expressionist Painter
“Donated by his son Maynard “Mo” Weber, member of the WSU Class of 1950.”
Vernon Leighton has been told that this is the single most valuable piece of art in the school’s
collection.
Richard Lande did not know of any maintenance issues with this piece.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Richard Lande, Facilities Manager, WSU, and H. Vernon Leighton, Coordinator of
Liaison Services and Coordinator of Government Documents, WSU Library
Winona State University/Winona
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Vase of Flowers by Max Weber.
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Winona State University
City: Winona
Title of the artwork: The River And The Prairie
Type of work: Weaving
Materials used and approximate dimensions: Ramie painted-warp with metallic weft,
stainless-steel rods; the two woven pieces are each twenty-four feet wide and five feet high.
Location of the artwork within the campus: Second floor of the Winona State University
Library
Artist’s name and contact information: Anne Lamborn, Los Gatos, California
Date work installed or dedicated: 1999
Source of funding and cost of the work: Minnesota Percent for Art Program, cost is unknown.
Comments: The plaque reads:
“The River And The Prairie, 1999, Weaving: ramie painted-warp with metallic weft, stainless
steel rods
“Anne Lamborn, b. 1943; Los Gatos, California
“Textile artist Anne Lamborn frequently uses themes of water, current and flowing movement in
her work as exemplified in her stylistically abstract weaving, The River and the Prairie. Here,
she focuses on two prominent features of the Minnesota landscape. In the left panel, the Upper
Mississippi River valley is suggested through flowing passages of the harmonious hues of blue,
green and purple. In the right panel, the prairie is symbolized through more animated patterns in
hues of ochre, yellow, orange and pink. However, the river is still evident in the blue and green
palette.
“A monumental diptych, each panel of The River and the Prairie measures five feet high by
twenty-four feet wide. Each panel contains approximately 1,400 stretched threads, all of which
were arranged in sequence to be hand-dyed before they were placed on the loom. Employing a
liquid dye process, Lamborn applied fiber reactive dyes to taut wet threads stretched between
parallel nails on a work table. This process of applying dyes to wet threads is a technique that
promotes the fluidity and migration of concept, color and shape, one into the other.
“In spite of meticulous planning, an inevitable shift occurs between the concept of the work and
the final product, an event Lamborn believes is a metaphor for life. Thus, for the artist, this
creative process must inherently allow, accept and celebrate the natural and inevitable changes
that transpire. For Lamborn, ‘Art should communicate an essence and improve the human
experience.’
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“Ann Lamborn is a nationally recognized artist who works with experimental weaving and
dyeing techniques. Her weavings can be found in numerous public, private and corporate
collections. In 1993 she was [sic] received the Los Gatos Artist of the Year Award.
“The commission of The River and the Prairie was made possible through Minnesota Percent for
Art in Public Places, a state program sponsored by the Minnesota State Arts Board and the
Department of Administration, with support from Winona State University.”
Richard Lande was unaware of any maintenance issues with this piece.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Richard Lande, Facilities Manager, WSU, and H. Vernon Leighton, Coordinator of
Liaison Services and Coordinator of Government Documents, WSU Library
Winona State University/Winona
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Several views of The River And The Prairie by Anne Lamborn.
Winona State University/Winona
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Winona State University/Winona
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Winona State University/Winona
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Winona State University
City: Winona
Title of the artwork: Cartographer’s Dream
Type of work: Painting
Materials used and approximate dimensions: Oil on linen; five feet wide and seven feet high
Location of the artwork within the campus: Second floor of the Winona State University
Library
Artist’s name and contact information: Gregg Chadwick, San Francisco, California
Date work installed or dedicated: Unknown
Source of funding and cost of the work: Minnesota Percent for Art Program, cost is unknown
Comments: The plaque reads:
“Cartographer’s Dream, 1999, oil on linen
“Gregg Chadwick, b. 1959; San Francisco, California
“‘I had always imagined paradise as a kind of library.’ —Jorge Luis Borges
“Gregg Chadwick paints narrative scenes caught somewhere between the momentary present and
fleeting past. His figures, generally featureless and dressed in everyday clothes, pass effortlessly
through atmospheric spaces as much real as imagined. Aesthetically, Chadwick is drawn to such
elusive moments, particularly when a crowd of people is imbued with a quiet luster from
dramatic rays of light. In these transitory moments, a fragile beauty interrupts the flow of
ordinary time and brings a glimpse of grace to the setting, creating an image which is as much of
the scene as the actual scene itself.
“Chadwick’s figurative but abstract style enhances the play between concrete experience and the
memory of it. Like voyeurs, we often observe his figures from an elevated vantage point as they
move through undefined spaces characterized by blurred edges and loss of detail. The result is a
palpable sense of mystery and the desire to know more.
“The Cartographer’s Dream is an imaginary, overhead view of the Winona State University
Library entrance. After twice visiting the site, Chadwick developed his composition to suggest
the library’s elegant terrazzo floor whose subject is the Mississippi River. The aerial view
captures a stream of library patrons moving across the richly hued floor. Filtered light infuses the
ordinary scene with an extraordinary quality. Like a map, the Cartographer’s Dream synthesizes
the elements of water, light, humanity and knowledge, connecting the library not only to its
natural environment, but also to society as a whole.
Winona State University/Winona
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“Gregg Chadwick has lived in San Francisco since 1989. His paintings have been exhibited both
nationally and internationally and can be found in numerous private and corporate collections.
“The commission of the Cartographer’s Dream was made possible through Minnesota Percent
for Art in Public Places, a state program sponsored by the Minnesota State Arts Board and the
Department of Administration, with support from Winona State University.”
Richard Lande did not know of any maintenance issues with this piece of art.
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Richard Lande, Facilities Manager, WSU, and H. Vernon Leighton, Coordinator of
Liaison Services and Coordinator of Government Documents, WSU Library
Winona State University/Winona
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Cartographer’s Dream by Gregg Chadwick.
Winona State University/Winona
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Winona State University
City: Winona
Title of the artwork: Two Women Laughing, Three Women and Three Babies, and Seven Kilo
Baby
Type of work: Photographs
Materials used and approximate dimensions: Silver print photographs; each framed
photograph is approximately eighteen inches by twelve inches
Location of the artwork within the campus: Stark Hall
Artist’s name and contact information: Keri Pickett, Minneapolis, Minnesota
Date work installed or dedicated: 1994
Source of funding and cost of the work: Minnesota Percent for Art Program, cost is unknown
Comments: The plaque reads:
“Two Women Laughing, Three Women and Three Babies, Seven Kilo Baby, 1987, Silver Print
Photographs
“Keri Pickett, Minneapolis, Minnesota
“Pickett remarks, ‘I have been blessed with meeting a wide variety of people, a life full of travel,
and an art form that allows me to enter into the lives of people outside my own small circle of
family, and family of choice. These people and experiences have taught me what it means to be
human, enabling me to blend my art and my philosophy about life. I am interested in the process
of living while finding out what changes us, and how we can effect change in the world.’
“The women and children from the West Africa country of Senegal shown here have feelings
and experiences that are shared globally. Pickett believes that small, quiet, common moments are
worth celebrating and honoring through photography.
“The photographs were purchased through Minnesota Percent for Art in Public Places, which is
sponsored by the Minnesota State Arts Board, the Department of Administration, and Winona
State University. The work was installed in 1994.”
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Richard Lande, Facilities Manager, WSU
Winona State University/Winona
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Several views of Two Women Laughing, Three Women and Three Babies, and
Seven Kilo Baby by Keri Pickett.
Winona State University/Winona
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Winona State University/Winona
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Minnesota State Colleges and Universities Art Documentation Survey Form
Campus name: Winona State University
City: Winona
Title of the artwork: Looking In-Looking Out
Type of work: Sculpture
Materials used and approximate dimensions: Terrazzo, aluminum, and granite; the work
occupies a circle thirty feet in diameter.
Location of the artwork within the campus: The entrance to Winona State University Science
Building
Artist’s name and contact information: Larry Kirkland, 5721 Utah Avenue NW, Washington,
D.C. 20015; 202-244-8489; LKStudio@aol.com.
Date work installed or dedicated: It was installed June 16, 2004 and dedicated in May 2005
Source of funding and cost of the work: Minnesota Percent for Art Program, $184,800
Comments: There is no plaque for this piece. However, Larry Kirkland offered this description
of the work:
“There is a thirty-foot diameter terrazzo medallion with aluminum embeds that are images,
notations, diagrams, and symbols taken from physics, mathematics, biology, and chemistry.
Rising out of the floor is a large star-shaped bench, sixteen feet across and eighteen inches in
height. It is made from granite with the top surface a black circle engraved with the earliest
known complete star map, from a seventeenth century star atlas by Johann Flamsteed, the first
astronomer at the Greenwich observatory, England.”
Cheryl Badinger stated, “There should be no maintenance issues other than regular cleaning of
the terrazzo flooring and caulking over a period of time. The surfaces of the bench are made of
different stone types and require minimal maintenance.”
Date Surveyed: 2005
Surveyor: Penny Petersen, Hess, Roise and Company
Source: Richard Lande, Facilities Manager, WSU; Cheryl Badinger, Owner’s Representative;
and Larry Kirkland, the artist.
Winona State University/Winona
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Looking In-Looking Out by Larry Kirkland as seen from above.
Winona State University/Winona
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Several views of Looking In-Looking Out.
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Winona State University/Winona
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