Wearing Many Hats

This week I take off the hat of curator and replace it with that of catalogue production assistant as I join the Woodson team responsible for the Birds in Art catalogue. My responsibility is the review of color proofs. This is a crucial step during which we try to synchronize the printing presses to read, and ultimately print, the true colors of the artworks.

The process begins with a digital image provided by the artist. That electronic file is sent to Reindl Printing. The file is opened and printed. Each reproduction is carefully scrutinized for color accuracy. Ideally, my efforts to achieve color perfection are aided by an artist-supplied, certified color proof. Absent that, a closely matched color reproduction or even better, the original artwork, is used.

What could be simpler? Take a photo and make a print. But many factors affect this straightforward idea. Lighting, camera, computer monitors, the human eye, and especially the artwork all present limitations. The artist uses multiple layers and blends of paint; the support – whether paper, canvas or hardboard – can add variations easily seen by the eye, but not always captured by camera. While cameras, presses, and computer monitors can be calibrated to recognized standards, few non-professionals fully understand the nuances or perform these tasks regularly. In other words, some files can be challenging.

When all the variables come together perfectly and the first reproduction print is a match, color proofing can be a one-step process. Occasionally, numerous “tweaks” are made to achieve perfection; sometimes as many as three to five sets of changes. There is a printing industry lexicon, but not being from that world I resort to using descriptions like less red (the correct term is magenta); not bright enough (less density); too murky (never sure how to remedy that!). These exchanges go back and forth until I feel we have achieved the best color. When I’m unable to aptly describe a color, I’ll tear a chip from a Pantone Color Formula Guide. This drastic step allows me and the printer to communicate in a standardized color system.

There are occasions when sharing the original artwork with the color expert is the most efficient way to achieve the best results. Thankfully those instances are rare, although effective.

The photos included here help illustrate the tasks, and also reinforce how each monitor and camera differ. You may be able to discern the subtle or not-so-subtle changes in the subsequent proofs. You may or may not agree with my vision.

In all, there will be 120 proofs to match this year. Some will be perfect; others will be nearly perfect; and there will be a few that will make you scratch your head, as I did, when an exact match was not possible.

Know that I did my best. The 2011 Birds in Art catalogue will be available for purchase in September.

Like a Family

By Matt Foss
If you are a faithful reader of this blog, you have noticed that curator of education Erin Narloch is leaving the Woodson Art Museum and moving south of the Mason-Dixon Line with her husband and young son. It’s a transition for the Museum, considering all Erin did at the Woodson. In fact, if you have been reading this blog for the last month, you might be a little tired of reading about her departure.

While Erin’s bubbly personality and talents as a young, energetic, museum professional will be missed at the Woodson, the reason why so much print has been dedicated to her leaving is because we are losing a member of our family. It sounds over-dramatic, perhaps even funny, but it’s true.

While working with artist Steven Siegel on the massive paper sculpture now a commanding presence in the Woodson’s sculpture garden, one of the many helpful volunteers asked me what it was like to work at the Museum. My retort was “great.” I have so many positive feelings and thoughts about how outstanding this Museum is, yet all I could come out with was “great.” While a competent explanation for that one-word disservice to the Woodson was forming in my cerebrum, curator of exhibitions Andy McGivern who was nearby chimed in with: “it’s like a family.”

Usually I’m the type of person to add to another’s thoughts, but after thinking for a moment, I realized he was right and there was no need for an addition. The people at the Woodson Art Museum are a family. While occasional disagreements among staff members occur and occasional playful ribbing is dished out from time to time, those who work here have one anothers’ backs and would walk through fire for one another. There aren’t many workplace environments where you can say that.

My experiences at the Woodson Art Museum continue to impact my development as a museum professional.

Editor’s note: Matt Foss has been sharing his time and talents with the Woodson Art Museum for almost two years. He received an undergraduate degree and a Master’s degree, both in history, from the University of Wisconsin, Eau Claire.

The Joy of Unknowns

In my work world, no two days are ever alike. That’s mostly a good thing. I never know what surprise or opportunity the next phone call might bring. If I can be flexible and open, the unknown can be filled with promise.

Tom Howatt and Kathy Foley

Such was the result of a phone call a few months ago from Wausau Paper President and CEO and Woodson Art Museum Board member Tom Howatt.

Tom, who also serves as President of the Board of Wisconsin Manufacturers & Commerce, explained that the WMC Board would be holding an early June retreat in Wausau and he wondered if an evening event at the Woodson Art Museum could be arranged.

Absolutely!

On Thursday, June 9, I had the pleasure of welcoming three dozen WMC Board members and staff to the Museum. From the get-go it was one of those terrific experiences during which you make connections and engage in conversations that reinforce the notion that six degrees of separation are far too many . . . two degrees are more like it.

My first conversation was with a WMC Board member from Door County who serves as president of the Board of Sturgeon Bay’s Miller Art Museum. The Woodson has shared exhibitions with the Miller and director Bonnie Hartmann is among my respected colleagues. Further chatting revealed that this gentleman not only knew my good friend Brian Kelsey, a former museum colleague who now oversees Peninsula Players, but also had been Brian’s father’s business partner. It is, indeed, a small world.

WMC Board members in the
sculpture garden with Kathy Foley

Another conversation revealed one gentleman’s long-standing interest in Deborah Butterfield’s sculpture – her bronze horse, Kua, is a Woodson sculpture garden highlight. Yet another guest spoke of his familiarity with Owen Gromme, the Wisconsin artist/naturalist who organized the Woodson’s inaugural exhibition, Birds of the Lakes, Fields and Forests, which became the annually organized and celebrated Birds in Art.

Yet for the majority of guests, their evening at the Woodson Art Museum was their introduction to all that we do and offer. I readily admit that I love first-time visitors. I love to share my passion for the Woodson Art Museum – our exhibitions, collection, and programs. I especially like to think that my enthusiasm will help to convert these first-timers to repeat visitors and that they will, in turn, share their positive experiences here with others.

That unknown factor holds such potential.

BAM!

  

I look at my life as a journey, not always smooth and uneventful but full of exciting experiences. This journey is filled with many wonderful people, each bringing special meaning to my life.  One such person is Erin Narloch, a colleague and friend.

During the past five years we have worked together as education curators at the Woodson Art Museum. Our adjoining offices fostered laughter and positive thoughts. “Work” seems to be a misleading word to describe our relationship. We had a great rapport and made a fantastic team. I can’t think of anyone else who gets as excited as I do when learning about new ways to engage visitorsor staying up late at conferences to talk about new ideas and how to implement them at the Museum.

 Erin and I traveled together to many different places for professional development and enrichment opportunities. It’s said that you can tell a lot about someone when you travel together. Working in the non-profit world and traveling with colleagues also means sharing hotel rooms. Thank goodness for Erin’s white-noise app; yes, I snore.

I wanted to write this blog entry in the present tense, because I’m in denial. Erin’s last day at the Woodson was June 3, because she’s moving to Memphis, Tennessee, with her family. I know that as Erin continues her life journey, she’ll use everything she’s learned and accomplished as a springboard. Without a doubt, it will be a successful future.

Erin, you‘ll be missed here. I want to say “thank you” for your positive attitude, excellent work ethic, attention to detail, and the sparkle you add to everyday life. It will be years before I stop saying BAM! after accomplishing something. 

I’m sending you positive thoughts as you embark on your new journey.

BAM! 

Stacking Paper with a Purpose

Last week, Amy Beck blogged about artist-in-residence Steven Siegel’s monumental paper sculpture underway in the Museum’s sculpture garden. I was fortunate to work with dozens of volunteers and Museum staff as we assisted Steven in the construction of his 30-foot-long sculpture, now complete. 

Artist Steven Siegel and his Woodson Art Museum sculpture, May 2011



For those who had an opportunity to observe the construction of Steven’s sculpture, I hope you also had a chance to view the exhibition of photographs of his earlier site-specific work in the Museum’s Visitor Services gallery.

In a few weeks, this photographic exhibition will be replaced with artwork by our next artist-in-residence, blacksmith Dan Nauman of Bighorn Forge.

Since many won’t catch even a glimpse of the photographs, I’m sharing examples of Steven’s previous outdoor work here so blog followers will better understand how the artist arrived at his design for the Woodson Art Museum sculpture.

From among Siegel’s earlier work, I was especially drawn to the sculpture Like a hive, like an egg? that he made of newspaper and wood on the southern slope of the Armentera mountain in Italy in 2002 for Arte Sella, a biennial outdoor sculpture exhibition. I was intrigued by the sculpture’s appearance and how it seemed to defy gravity as it “stood” amongst the trees on this mountain side.


Like a hive, like an egg?, 2002, Arte Sella, wood and paper



Oak, 2004, Gong-Ju, Korea, paper

In his 2004 sculpture, Oak, Siegel again sited his work on a wooded slope, but this time in Gong-Ju, Korea. Oak has a more organic look to it as the stacked paper bends around a leaning tree. Visitors have compared it to a paper wasp nest due to its color and shape.

Like a rock, from a tree?, 2008, Gong-ju, Korea, paper

In 2008, Siegel returned to Korea to make another paper sculpture. Like a rock, from a tree? was built along a hillside. During a public lecture while at the Woodson, Siegel described how students were pulled from a local high school to form a line up the hill and passed paper from one student to another until enough paper was on site to build this incredible sculpture. I love the way it melds into the landscape.

Big, with rift, 2009, DeCordova Sculpture Park, Lincoln, Massachusetts, paper

Detail of Big, with rift 2009

For the DeCordova Sculpture Park in Lincoln, Massachusetts, Siegel created Big, with rift in 2009. This sculpture comprises vertical paper columns, stacked in rows, and covered with dried leaves and green ferns surrounded by a dry-stone fence in a wooded setting. Like the Woodson’s sculpture, Big, with rift features an undulating paper wall.

Steve is now back in his studio in New York and I’m awaiting the title for his sculpture – he wanted time to reflect on his experience here and mull over possibilities. As soon as the Woodson sculpture is titled, we’ll post the news to Facebook and update this blog.