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Lucie Rie


Image Credits

Lucie Rie (Austrian, 1902-1995)
Classic Bronze Rimmed Bowl, n.d.

Wheel-thrown porcelain, bronze

Collection of Tweed Museum of Art, UMD

Gift of Marguerite L. Gilmore Charitable Foundation Fund


Talk About Art at Tweed!


Join other art lovers for an evening of lively discussion, be the first to see new acquisitions, and be inspired by our masterpieces! Tweevenings will be held every other month, on the first Tuesday of the month. Faculty, students and community members are invited to choose work to be discussed!


Tweevening with Jim Klueg

Tuesday, October 6, 2015, 6:30pm

Tweed Museum of Art


European and Bauhaus Influence

Jim Klueg, ceramist and head of the Department of Art & Design, UMD, will give a presentation related to the exhibition Resurfaced, Reformed: Evolution in Studio Ceramics. Klueg will present about works related to the European and Bauhaus Influence grouping.



European and Bauhaus Influence


The Bauhaus (1919-1933), a pioneering German art school which was renowned for the equal promotion of art and craft media in its curriculum, left an aesthetic legacy that long outlived its relatively short duration before Hitler’s rise to power. Its relocation to the US further cemented this influence. Although its influence pervaded most art media, regarding ceramics, its stylistic tendency was toward reductivist, geometric design that stressed tersely elegant functional ceramics.


As with a number of Bauhaus artists in the years around WWII, ceramists such as Marguerite Wildenhain*, migrated to America and set up practice. Wildenhain became especially influential through her books as well as pottery. Similarly, other European émigrés, formally unaffiliated with the Bauhaus (but sharing its stylistic preferences)included Lucie Rie* and Vivika and Otto Heino*.


* asterisks denote ceramists featured in the exhibition

Holden plate


Image Credit

John (Butch) Holden (American, born 1942)
Large Flat Bowl, 1976

Stoneware, salt-glazed

Collection of Tweed Museum of Art, UMD





Image Credit

James Grittner standing by his ceramics piece (photo by Sharon Mollerus)

James Grittner (American, born 1939)

Vase, 1981

Hand-thrown stoneware, ash glaze

Collection of the Artist


Tweevening with John (Butch) Holden & Jim Grittner

Tuesday, June 2, 2015, 6:30pm

Tweed Museum of Art



New Approaches to Glazing


John (Butch) Holden & Jim Grittner– New Approaches to Glazing
John (Butch) Holden, Professor of Visual Arts at Bemidji State University and Jim Grittner, Professor Emeritus in Ceramics from the University of Wisconsin Superior, will join us to discuss ceramic works from the grouping New Approaches to Glazing on view at Tweed as part of the Exhibition Resurfaced, Reformed: Evolution in Studio Ceramics.



New approaches to Glazing


Even for ceramists who remained true to more mainstream ideas of the fuctional pot, advances in glaze application technology brought new possibilities in the 20th century. The use of compressed air spray application, contemporary modifications of sponge-applied and stenciled glaze and oxides, and an attitude about multiple glaze techniques combined in the same piece echoed contemporary visual art attitudes on paint application.


In the 1970s, John Glick* developed an aesthetic of layered glazes and oxides, applied by dipping, brushing and sponging, resulting in a baroque-like surface to match his exuberant functional forms. Regionally, John Steffl's* totemic forms channel in vivid color the painterlyl pictographic power of painters such as Ida Kohlmeyer.


* asterisks denote ceramists featured in the exhibition


Interview on KUMD with Maija Jenson


large vessel


Image Credits

Dorian Beaulieu (American, born 1958)
Large Vessel, 2005
Collection of Tweed Museum of Art, UMD
Glenn C. Nelson Ceramics Purchase Fund



Tweevening with Dorian Beaulieu

Tuesday, April 7, 2015


Tweed Museum of Art,

Alice Tweed Tuohy Gallery, Main Floor



The Mark of Fire

Ceramist and faculty member at Lake Superior College Dorian Beaulieu will offer a presentation about three decades of his working in the world of ceramics. During the course of the talk, Beaulieu will reference artists and their ceramic works according to the theme Mark of the Fire, from the exhibition Resurfaced, Reformed: Evolution in Studio Ceramics.


Mark of Fire


The high-fire, stoneware and porcelain influence of the Asian tradition highlighted for many ceramists the variable nature of firing in kilns where fire and the effects of carbon on clay and glazes led to dramatic effects. Many 20th century ceramists extended the traditional firing processes to further evolve these surface embellishments. Mid-century ceramists such as Don Reitz* adapted the traditional salt firing process to contemporary ends; regionally, Bob and Cheryl Husby’s* work continues the updating of salt fire technique as a contemporary statement.


In the late 1950s, Paul Soldner* and Hal Riegger extended the traditional Japanese Raku process by adding a post-firing reduction (carbon exposure) that enhanced clay and glaze colors with smoky, chiaroscuro-like effects. Jack Troy* and Karen Karnes* revitalized the wood-firing tradition, adapting it to contemporary pottery forms; Dorian Beaulieu* works in a similar fashion in both gas and wood fire firing methods. Native American artists, such as Maria Martinez*, revitalized traditional pitfiring methods with a new vigor, attracting a new generation of aficionados.


The ceramists featured bring these flame-induced processes and effects to the fore in their work.


* asterisks denote ceramists featured in the exhibition


Interview on KUMD with Maija Jenson




Image Credit

Elizabeth James (American)

Pixelated Panorama II, 2014

Procelain with slip and resist

Collection of the Artist


Tweevenings with Liz James

Tuesday, February 3, 2015, 6:30pm

Tweed Museum of Art,

Alice Tweed Tuohy Gallery, Main Floor


Influence & Variations on Form:

The Vessel moves toward Sculpture


Liz James, ceramics area head, will present works related to the exhibition Resurfaced and Reformed: Evolution in Studio Ceramics. Liz will focus on works from the grouping Variations on Form: The Vessel moves toward Sculpture.



Variations on Form: The Vessel moves toward Sculpture


This category concerns the tendency of ceramists to consider the sculptural directions established by mainstream art as they might inform the vessel. These directions in various ways include ideas of assemblage, minimalism and installation.


In the 1960s, Peter Voulkos* began making large sculptural forms by stacking smaller thrown forms in a mode relating to Abstract Expressionism. Don Reitz* and Lyle Perkins* expanded the sculptural vocabulary of the pot in similar ways. Richard Notkin* created a body of slipcast work relating to the Chinese trompe-l’oeil Yixing ware, that appeared to be made of realistic components in an assemblage fashion. Todd Shanafelt* makes multipart assemblage pieces which push this idea to more postmodern ends.


Minimalist attitudes toward form, anticipated by the Bauhaus and culminating in the 1960s Minimalist movement, influenced ceramists such as Ruth Duckworth *, a midcentury European émigré, and more recently, Maren Kloppmann*.


The popularity of installation art, beginning in the 1970s, has opened up the spatial possibilities of claywork as Elizabeth James’* wall piece (in this exhibition) demonstrates. Obviously, charting the immense range of 20th century ceramic styles and attitudes is beyond the scope of this exhibition. However, we are uniquely fortunate in this region to have collections that embody so many tendencies and ceramic artists and educators who continue to expand the vocabulary of the medium.


* asterisks denote ceramists featured in the exhibition



Image Credits

Karin Kraemer (American, born 1965)
Bee Mandala, 2012
Earthenware, majolica
Collection of the Artist. L2014.18.1

Tweevening with Karin Kraemer

Tuesday, December 2, 2014, 6:30 pm
Tweed Museum of Art


The Art of Majolica


This is our second Tweevenings presentation based on the current ceramics exhibition Resurfaced and Reformed: Evolution in Studio Ceramics.


The Art of Majolica with Karin Kraemer. Kraemer is a local ceramic artist who has a studio, the Duluth Pottery (Superior Division) in historic old city hall, the Trade and Commerce Marketplace, in Superior, WI. Karin is known for her brightly colored Majolica ware of functional pots and tiles. Her designs of farm produce,
garden flowers, bees and fish seem to be a favorite among her collectors. Her piece Bee Mandala is currently on view at Tweed, as part of the exhibition Resurfaced and Reformed:  Evolution in Studio Ceramics. Here presentation relates to the grouping titled Clay as Canvas.



Click the links to read more about Karin Kraemer:


Ennyman's Territory: Tweevenings at the Tweed: Karin Kraemer To Discuss Majolica


Ennyman's Territory: Karin Kraemer Talks About Pottery and the Upcoming Empty Bowl Fundraiser


You Tube Video: PlayList Season 5 Episode 1 - Karin Kraemer

Ennyman's Territory: Karin Kraemer Talks About Pottery and the Upcoming Empty Bowl Fundraiser









Tweevenings with Broc Allen

Tuesday, October 7, 2014, 6:30 pm

Tweed Museum of Art


The East Meets West Connection


Broc Allen is a fiery ceramics artist from the Twin Ports area who creates wood-fired ceramics. He presented on Voulkos last year, and he is back by popular demand to join us at Tweed to present works from the current exhibition Resurfaced and Reformed: Evolution in Studio Ceramics. He will attempt to demonstrate the Asian influence in Western studio ceramics.


Allen emphasizes that most of the works on display have some influence from Asia, and will =thus select several pieces on display to contrast these divergent modes of art with aesthetic characteristics rooted in Asia.


Read more:


Ennyman's Territory: Broc Allen: East Meets West (October Tweevenings at the Tweed)


Ennyman's Territory: Broc Allen at Tweed


Image credits top to bottom:


Broc Allen (American, 1978)

Sakana, 2013

Wheel-thrown and hand built earthenware, glaze Collection Tweed Museum of Art, UMD

Marguerite L. Gilmore Charitable Foundation Fund



Jun Kaneko

(Japanese, works in United States, born 1942)

Untitled Wall Plate, 1984

Stoneware, wall plate

Collection of Tweed Museum of Art, UMD. Alice Tweed Tuohy Foundation Purchase Fund. D85.mac10


Bernard Leach (English, born in Hong Kong, 1887-1979)

Bottle, 1970

Glazed ceramic

Collection of Tweed Museum of Art, UMD. Glenn C. Nelson Ceramics Purchase Fund D2010.25.4


Paul Soldner (American,1921-2011)

Vase with Female Figures


Collection of Bemidji State University

Margaret H. Harlow Collection




Image credits:

Pablo Ruiz Picasso (Spanish, 1881-1973)

Le Chef-d’Oeuvre Inconnu

(The Unknown Masterpiece), 1927-31
(suite of 13 etchings for the story of the same name written by Honoré de Balzac in 1837, commissioned and published by Ambrose Vollard, Paris) etching on Van Gelder wove paper, ed. 83/99, #10 of 13
Collection Tweed Museum of Art, University of Minnesota Duluth
Gift of Alice B. O’Connor and John Brickson

Tweevenings with Ed Newman
Tuesday, August 5, 2014, 6:30 pm

Tweed Museum of Art


Picasso, Storytelling and The Unknown Masterpiece


Ed Newman’s talk will revolve around Picasso’s interpretation of Honoré de Balzac’s prescient story The Unknown Masterpiece. The story, which has served as an inspiration to artists as varied as Cézanne, Henry James, Picasso, and New Wave director Jacques Rivette, is, in critic Dore Ashton’s words, a “fable of modern art.” What is especially interesting is that Balzac wrote this in 1832, long before even the idea of abstract art was in vogue. Part of the talk might include the stories art tells from cave drawings to the ceiling of the Sistine Chapel. It is exciting to find Picasso’s version of the tale here in the Tweed.


Read more


Did Modern Art Dealer and Collector Ambroise Vollard Make Picasso What He Was?


An Interview with Influential French Author Honoré de Balzac


A Few More Thoughts in Preparation for Tonight's Tweevenings Lecture at the Tweed: Picasso, Storytelling and The Unknown Masterpiece


Wordless Wednesday: Snapshots from the Tweed


Click here to view a 15 min clip of Ed Newman's Tweevenings Presentation.



Ed Newman writer, artist, blogger




Image Credit:

John Henry Twachtman  (American, 1853-1902)
Spring Landscape, c. 1890-1899 oil on canvas
Collection of Tweed Museum of Art, UMD
Gift of Mrs. E.L (Alice Tweed) Tuohy


Tweevening with John Pastor
Tuesday, May 6, 2014, 6:30 pm

Tweed Museum of Art


John Henry Twachtman – An American Landscape Impressionist

John Henry Twachtman was an American painter best known for his impressionist landscapes. Twachtman’s style is known to be among the more personal and experimental of his generation. He was a member of "The Ten", a loosely allied group of American artists dissatisfied with The Society of American Artists, who banded together in 1898 to exhibit their works as a stylistically unified group. John Pastor will discuss several of the artist’s works from the Tweed collection.



Image credit:

Peter Voulkos (American 1924-2002)
Plate, 1973

Wheel-thrown, manipulated and torn stoneware

Collection of Tweed Museum of Art, UMD

Gift of Glenn C. Nelson


Tweevening with Broc Allen
Tuesday, April 1, 2014, 6:30 pm

Tweed Museum of Art


Voulkos on View


It wasn’t a movement: it was a revolution! Peter Voulkos was a major catalyst in the "clay revolution" of the 20th century as both creator and educator. Broc Allen, creator of wood-fired ceramics, will share the techniques and methods of both his and Voulkos' work.



Image credit:

Frank Big Bear (American, Ojibwe, born 1953)

Spirit of Things, 1986


Collection of the Tweed Museum of Art, UMD

University of Minnesota Duluth

Sax Brothers Purchase Fund


Tweevening with Ann Klefstad

Tuesday, February 4, 2014, 6:30 pm

Tweed Museum of Art


Tweevenings with Ann Klefstad


Ann Klefstad will offer a look at how art traditions both within and beyond the Western influence link daily life, spiritual life, and natural sciences. She will be speaking about works by several artists: mathematician and artist Dennis White's finger-woven sash, a traditional Anishinaabe work; John Sims' African-inspired Mathematical Art Brain, a drawing and inkjet print; a Frank Big Bear colored drawing; and a duck-headed carved spoon from the Rawlings Nelson's Collection of American Indian Art.


Read about this presentation at


Image credit:

Dean J. Meeker (American, 1920-2002)

Horsemen, n. d.

Lithograph on paper

13/60, 22" x 34"

Collection Tweed Museum of Art, UMD

Sax Brothers Purchase Fund


Tweevening with Dr. Rob Leff
Tuesday, December 10, 2013, 6:30 pm

Tweed Museum of Art


Dean Meeker: A Dialogue Between Prints and Sculpture


Dr. Rob Leff will be presenting the visual comparison of the artist's process between sculpture and works-on-paper. Several of Meeker's prints and sculptures will be on display, providing a rich background for comparison and discussion on how the artist's choice of medium helps portray his themes.


More about Dean Meeker at



Image credit:

Warrington Colescott (American, born 1921) 
South of Huoma (Snowy Egret), 1994 
Watercolor, gouache, ink on paper

40" x 60" 

Collection Tweed Museum of Art, UMD
Alice B. O’Connor Purchase Fund


Tweevening with Aron Welch and Cody Christian, students majoring in Health Education
November 5, 2013, 6:30 pm

Tweed Museum of Art



November is Celebrate Arts and Health Month!


These students are working with Ladona Tornabene, MCHES, Associate Professor in the Department of Health, Physical Education and Recreation and Susan Hudec, Education Director at the Tweed Museum of Art, to communicate the connections between health and art museums.




Image credit:

Charles Biederman (1906-2004)

Redwing # 29, 1950-1951

Aluminum sculpture

collection Tweed Museum of Art, UMD

Gift of Johanna Ghei in memory of John P. and Eugenie Anderson


Tweevening with Bill Shipley

First Tweevenings!
October 1, 2013, 6:30 pm

Tweed Museum of Art



Redwing #29, Sculptural Relief in Aluminum

Biederman’s high relief geometric constructions emphasize line, transparency, light and shadow. Initially inspired by the principles of cubism, his signature reliefs are regarded by scholars as a three-dimensional continuation of the cubists’ original interests.


View Ed Newman's article





Museum Location

Tweed Museum of Art

University of Minnesota Duluth Campus

1201 Ordean Court

Duluth, MN 55812-2496

Info: 218-726-8222 or 218-726-6552

store: 218-726-6139



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