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• W4379804909 abstract "12 Norwegian-American Artists' Exhibitions Described in Checklists and Catalogs by Rolf H . Erickson The catalogs and checklists of the exhibitions at which Norwegian- American artists showed their work are a valuable source of information about the artists, their work, and the times in which they exhibited. There are problems, however . The catalogs and checklists vary greatly in the information they provide. Evaluation of the artists' work is at best seldom more than implied. In addition, the collection of catalogs which has survived is probably incomplete. The catalogs were often discarded after the exhibitions closed; the artists themselves were casual about retaining copies with their own papers. Even so, the catalogs yield information about the artists , their work, and the periods during which they were active. Artists have always been drawn to the cities. The art exhibition has generally been an urban phenomenon in American life. This is confirmed in the experience of the Norwegian -American artists. The first colony of artists in Norwegian America was formed at the turn of the century in Chicago, then the largest urban settlement of Norwegians in the United States.1 Later, smaller colonies of artists formed in other urban settings, Minneapolis, Brooklyn, and Seattle. In 283 284 Rolf H. Erickson all I have identified 451 Norwegian artists in the United States.2 To date no one has attempted to explain why there were so many artists among urban Norwegian Americans. One explanation may be that they came from a society in Norway which respected the artist/craftsman. It may also be that the talented immigrant who found himself in an urban setting realized that the making of art was one of the few means available to him for expressing his creative impulses. A newcomer to the city would not have found an appreciative audience for hand-carved furniture or handmade textiles. Mass-produced goods were on hand and they were cheap. However, drawings, paintings, and sculpture were valued as symbols of sophistication and luxury by urban dwellers. Art exhibitions can be grouped into a number of categories : juried and non-juried, judged and unjudged, and exhibitions where works are or are not for sale. Organizers of exhibitions have always put together shows using a variety of criteria. A show, for example, can be a juried, commercial show with no judging or awarding of prizes or a show can merely be a collection of works assembled to honor one or more artists without any value being placed on the works or any attempt to market them. Except for the retrospective shows, however, the purpose of most exhibitions was to sell the artists' work. Exhibition catalogs featuring Norwegian-American artists arrange themselves into three groups: the catalogs of the Chicago colony, exhibitions held in New York City, and exhibitions held elsewhere in the country. The catalogs differ in quality from mimeographed checklists to finely printed pamphlets sporting artistically designed covers and full-color photographs. None, interestingly enough, were published in Norwegian, perhaps indicating a desire of the exhibitors to seek as wide an audience as possible. The first known catalog was that published by Young's Galleries in Chicago, a commercial firm, for a one-man show Norwegian-American Artists 285 of Lars Haukaness' work in 1913, and the first exhibition catalog presenting the work of several artists appeared in 1920 when the Chicago Norské Klub held its first show. The work of the many artists who were active earlier is not documented with any publications. The Lars Haukaness catalog was a handsome one containing, as it did, a thoughtful biography of the artist and ten illustrations. When the exhibition moved to Minneapolis the same catalog was used, and a simple checklist appeared in the local newspapers.3 The Chicago Norské Klub produced catalogs for all its exhibitions, 1920 through 1927, 1929, 1930, 1943, 1947, and 1963. The first ten exhibits were juried, commercial shows at which prizes were also awarded. The jurors were selected from outside the Norwegian- American Chicago colony usually staff members from the Art Institute of Chicago. The jurors lent prestige and credibility to the events. These jurors were charged not only with ruling on what works would be exhibited but..." @default.
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• W4379804909 date "1986-01-01" @default.
• W4379804909 modified "2023-09-23" @default.
• W4379804909 title "Norwegian-American Artists' Exhibitions Described in Checklists and Catalogs" @default.
• W4379804909 doi "https://doi.org/10.1353/nor.1986.a799177" @default.
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