Blogs Centerpoints Around the Twin Cities

A View from Three Feet Up: Eavesdropping on a Sculpture Garden tour

  Out in the Minneapolis Sculpture Garden recently, I tagged along with a gaggle of field-tripping preschoolers from various day care centers in White Bear Lake. Following are outtakes from their spirited debates about the artistic representation of animals in the Garden. Kim, the group’s intrepid tour guide, started the conversation: “What do you think you’ll [...]

 

Octopus, lion, giraffe, or spider: Which inspired Mark di Suvero's "Arikidea"?

Out in the Minneapolis Sculpture Garden recently, I tagged along with a gaggle of field-tripping preschoolers from various day care centers in White Bear Lake. Following are outtakes from their spirited debates about the artistic representation of animals in the Garden.

Kim, the group’s intrepid tour guide, started the conversation: “What do you think you’ll see in the garden today?”

“I think we’ll see a cherry and spoon,” quipped Bella, 5, showing off copious advance research.

Jake, 4, stated that he had seen some dragonflies in his backyard recently.

“I’m three!” shouted Aiden, 3, before telling everyone to be quiet.

Kim moved the group into the Cowles Conservatory, past the fragrant Madagascar jasmines and New Guinea impatiens and into the exhibit space with Frank Gehry’s Standing Glass Fish. “Can anyone tell me what they think of when they see this sculpture?” she asked.

“It’s flopping its way out,” said Caden, 5.

“He got one tail,” explained George, 2.

“What is this fish made of?” asked Kim.

“Likeable stuff,” answered Zander, 3.

Kim nodded in agreement. She told a story of Gehry’s grandmother, who used to come home from the market with a live fish and let it swim in the bathtub until dinnertime. That’s why Gehry likes to make art look like fish, she explained.

Continuing into the outdoor garden, Kim stopped the group at Deborah Butterfield’s Woodrow. “What do you think this animal is?” she asked.

Hannah was certain it was a giraffe. Multiple votes were cast for a deer. Someone suggested it was a moose. Kim shook her head. “Any more guesses?”

“It’s a giraffe,” said Aiden.

Kim provided a hint: “It’s something you might find on a ranch or farm.” A debate followed regarding the constitutions of horses and cows. An agreement was reached. Horse.

The group migrated to see Mark di Suvero’s Arikidea, which Kim alleged to be another animal—but what kind?

“It’s an octopus, because it has lots of legs,” said Nick, 6. Caden thought it had a head like a lion. Aiden thought it was a giraffe. Hannah guessed correctly: a spider.

Seven of the children climbed onto Arikidea’s giant platform and got a push on the swing. Joni, the day’s organizer, brought out her camera. Bella instantly flashed a movie-star grin, displaying missing front teeth.

Responding to an inquiry from Aiden, Kim expressed regret over the paucity of elephants in the garden.

“Can we go see a giraffe?” he asked in reply. Kim looked apologetic.

 

Help us preserve your Sculpture Garden! Visit garden.walkerart.org and sign up for the Action E-List to receive e-mail updates (only a couple, we promise) on how you can help at times when it is most needed.

What does it take to spiff-up the Minneapolis Sculpture Garden?

  During Minnesota’s 2010 legislative session, the Minneapolis Park & Recreation Board—with the full support of the Walker Art Center—made a request to the legislature for funding to restore and preserve the Minneapolis Sculpture Garden. The project did not make it through the bonding process this year for a variety of reasons, but it did [...]

 

During Minnesota’s 2010 legislative session, the Minneapolis Park & Recreation Board—with the full support of the Walker Art Center—made a request to the legislature for funding to restore and preserve the Minneapolis Sculpture Garden. The project did not make it through the bonding process this year for a variety of reasons, but it did draw attention to the need for a renovation of this 22-year-old gem, a centerpiece of the Minneapolis park system. It also stirred up a group of grassroots supporters—both park and art lovers—who sent a clear message to legislators.

So what’s going on with the Sculpture Garden that needs spiffing up? It’s not the sorts of things that make for great photo ops, like brightening the cherry atop Spoonbridge and Cherry with fresh coats of paint, or Windexing the mirrored scales of Frank Gehry’s fish in the Cowles Conservatory.

In fact, the work involved in renovating a landscape or garden is most always quite subtle — less visible or even invisible — but it’s nonetheless important, even crucial. The pictures here zoom in on some of the ways that more than two decades – and the enjoyment of more than 7 million visitors — have taken their toll on the Garden.

For starters, the linden trees in the image at left would be trimmed to open up views and create the kind of experience intended by the original design. Another experience involves what’s underfoot: If you’ve walked around the Garden in the springtime after the snow has melted or after a heavy rain, you’ve probably noticed how muddy and squishy it is. That’s because the green spaces currently lack adequate drainage and the pathways were originally installed with baseball diamond clay. 

A renovation would include a cistern to collect water runoff so the Park Board can keep the Garden watered in a sustainable way, plus pathways would be resurfaced and replaced with porous materials that would dry more quickly. (While the current odds are already negligible, chances of catching an errant baseball are reduced as well.) Other work on the pond and lawns would prevent storm water pollution, improve filtration and reduce off-site drainage and overall water use.

 

Many trees in the Garden, including the arbor vitae "walls" of its four "galleries," are at the end of their natural life cycles.

The same goes for some of the evergreen border trees.

Granite slabs used for paving, walls, and steps need re-setting, replacement or repair.

Existing wheelchair ramps would be made compliant with the 1990 Americans with Disabilities Act (the Garden opened in 1988), with wider clearance and a gentler slope.

Lighting for evening strolls will be brighter and more energy efficient, new emergency call stations will be installed, and the HVAC/mechanical systems in the Cowles Conservatory would be updated, drastically reducing energy use (and operating expenses). And dying or dead trees would be replaced with live, healthy ones. (Hey, why not?)

Even if you’re not a landscape architect, HVAC technician, or soil specialist, you can help restore the Garden by becoming an advocate. We are building our initial group of supporters into a strong, statewide collection of voices who can help by doing a couple easy things – like contacting legislators at times when it will make the biggest impact (we’ll cue you). Find out more here, and  sign up for the Action E-List today.

Robert Bergman, Alec Soth, and contemporary portraiture

          Robert Bergman: Portraits, 1986-1995 opened at the Minneapolis Institute of Arts a few days ago, following a pretty amazing triple-play last fall, with Bergman shows at the august National Gallery of Art in Washington D.C.; P.S. 1, the MoMA affiliate in Queens devoted to contemporary art; and the Yossi Milo Gallery in Chelsea. Among a host of [...]

     

Untitled, 1989; © Robert Bergman

 

"Adelyn, Ash Wednesday, New Orleans, Louisiana"; 2000; Alec Soth

 
Robert Bergman: Portraits, 1986-1995 opened at the Minneapolis Institute of Arts a few days ago, following a pretty amazing triple-play last fall, with Bergman shows at the august National Gallery of Art in Washington D.C.; P.S. 1, the MoMA affiliate in Queens devoted to contemporary art; and the Yossi Milo Gallery in Chelsea. Among a host of glowing reviews (see below) and compelling profiles of the Minneapolis-raised Bergman (who turned down a show at the MIA in 1968 and has worked almost entirely outside art-world circles until now), critic Andy Grundberg sparked a controversy in the current Aperture magazine when he concluded that “  … Bergman is out to convince us that he is a great photographer. Unfortunately, he has appeared a half-century too late.”    

It wasn’t long before Alec Soth called out a “photo critic rumble!” on his Little Brown Miscellanea blog, pointing to Aperture’s Exposures blog, where David Levi Strauss countered Grundberg with the title of his response, claiming that Bergman is “Right on Time.” Reading the review, the response to the review, Grundberg’s counter-response, and the commentary from others is a great primer on some key issues related to contemporary photography.    

Which brings us back to Soth. It’s too bad the Bergman show ends (August 22) before From Here to There: Alec Soth’s America opens (September 12); it would be fun to zip between the MIA and the Walker and compare the formidable portraits by these two photographers.    

That said, would it spark another photographic controversy to claim that the average art fan might conduct such an exercise just as well or even better with a dual-monitor setup? (To be clear — a display of considerably higher quality than is presented on this page.) Photographs reproduced in books are one thing — in a recent interview related to his show here, Soth said “A picture in a book is often nearly as good, and sometimes better, as a picture on a wall” — but has a similar argument been made for photographic display on computers? Notwithstanding the shift to digital photography over the past 15 years or so, that idea seems more germane than ever with the impending iPad revolution.     

Robert Bergman’s work reviewed in (among many other places):
The Wall Street Journal
The Washington Post
Brooklyn Rail

Nice Ride MN Kiosk Arrives

The Minneapolis bike share program, Nice Ride Minnesota, will launch Thursday. The Walker just got its bike station a few days ago.  All it needs is bikes! It’s located on Hennepin Avenue, near Groveland Terrace. Maybe you’ve noticed these kiosks popping up around town too. I saw one at Birchwood Cafe in the Seward neighborhood [...]

The Minneapolis bike share program, Nice Ride Minnesota, will launch Thursday. The Walker just got its bike station a few days ago.  All it needs is bikes! It’s located on Hennepin Avenue, near Groveland Terrace. Maybe you’ve noticed these kiosks popping up around town too. I saw one at Birchwood Cafe in the Seward neighborhood and another at the Minneapolis College of Art & Design (MCAD).

This bike share program is ideal for short trips. Say, you live in the Seward area and on a gorgeous Saturday morning you decide to enjoy brunch at Birchwood Cafe and then check-out a Nice Ride bike and head over to the Walker to partake in Open Field activities. You check-in the bike at the Walker kiosk and chill on the hill and grab a beer. Then it’s time to meet friends for dinner on Eat Street, so you check-out another bike and ride on over to MCAD. There are so many choices, but you decide on Pancho Villa for its tasty piña coladas (ask for it minus the whipped cream) and nachos.  It’s getting late (you’re no longer a spring chicken…you’re almost 30) so you return to MCAD and check-out your last bike of the day and head on home and drop-off the bike at Birchwood. What a perfect day.

To figure out how to use Nice Ride, visit http://www.niceridemn.org. Subscriptions are super reasonable and once you subscribe, all 30 minute and under rides are free, so bike fast.

Bits & Pieces: art & inspiration

Inspiration as taste sensation: Many a diner has been delighted by “Spoon, Cube, and Cherry,” the dessert at the Walker’s 20.21 that pays tribute to the Spoonbridge and Cherry centerpiece in the Minneapolis Sculpture Garden. In similar fashion, San Francisco pastry chef Caitlin Williams Freeman has gone on a bender with the art collection at the San Francisco [...]

“Michael Jackson & Bubbles” by Jeff Koons, with “Jeff Koons White-Hot Chocolate” dessert by Caitlin Williams Freeman

Inspiration as taste sensation: Many a diner has been delighted by “Spoon, Cube, and Cherry,” the dessert at the Walker’s 20.21 that pays tribute to the Spoonbridge and Cherry centerpiece in the Minneapolis Sculpture Garden. In similar fashion, San Francisco pastry chef Caitlin Williams Freeman has gone on a bender with the art collection at the San Francisco Museum of Modern Art. Along with a Mondrian cake and the slyly named Koons-inspired dessert drink above, she’s concocted “works” for SFMOMA’s coffee bar that include a plate of cookies which, before consuming, you assemble into your own mini Richard Serra sculpture; a fudgsicle shaped like an Ellsworth Kelly sculpture; a Richard Diebenkorn parfait; and more. It’s a treat just to look at the spread on Readymade magazine’s website. Should it get you dreaming of a future career in pastry, browse the ArtsConnectEd website and tell us below which Walker artworks you’d turn into delectable edibles. (Dessert image above by Charlie Villyard.)

What inspires Alec Soth? The photographer, whose first survey opens at the Walker in September, just uploaded the second video for his “Continental Picture Show,” which is part of the New York Times’ Opinionator blog. People are, accordingly, quite opinionated about it. As part of its new MN Original program, Twin Cities Public Television also recently broadcast an interview with and a segment on Soth, which includes Walker curator Siri Engberg.

One city inspires another: Minneapolitans take a lot of ribbing for supposedly being slaves to New York — but today’s Wall Street Journal has a story about how the first-ever New York Gallery Week was inspired by one art dealer’s visit to the “Minneapple” –and The Quick and the Dead exhibition at the Walker:

“The week was conceived by Casey Kaplan—owner of an eponymous art gallery on West 21st Street—after experiencing the buoyant vibe in Minneapolis, where industry types congregated to see the Walker Art Center’s exhibit “The Quick and the Dead” last year.

‘You really felt a community in Minneapolis,’ Mr. Kaplan said. ‘A lot of gallery owners had flown in. There were people from MoMA. Every one was enthusiastic and wanting to be in the moment. It was such a contrast from New York.’ “

So was it just about New Yorkers transplanting themselves, for a moment, into our idyllic Midwestern metropolis, or is something more going on? Read the full story here.

Inspired to show off: On another photographic note: a couple of weeks ago, we invited people to step into David Lamelas’ spotlight, on view in The Talent Show exhibition, for a portrait. Check out all of the results here.

Renovating the Sculpture Garden: NOW is the time to weigh in

I’ve recently started work at the Walker as its grassroots coordinator, advocating for the Minneapolis Park & Recreation Board’s legislative bonding request to restore and preserve the 22-year-old Minneapolis Sculpture Garden. (If you have yet to show your support for the project, please visit http://garden.walkerart.org/bonding  to learn more and to write your legislator.) As part [...]

I’ve recently started work at the Walker as its grassroots coordinator, advocating for the Minneapolis Park & Recreation Board’s legislative bonding request to restore and preserve the 22-year-old Minneapolis Sculpture Garden. (If you have yet to show your support for the project, please visit http://garden.walkerart.org/bonding  to learn more and to write your legislator.) As part of this effort, I’ve been keeping close track of goings-on at the Capitol – which are especially fascinating this year – and also, of course, tracking where the Sculpture Garden bonding request fits within the overall legislative process.

Which bonding projects are being funded?

Bonding projects, in part, are being selected this year because of the jobs they will create both for the project and following its completion, as well as the “shovel readiness” of the effort. The Sculpture Garden renovation is one such project: most of the work would be completed in 2010; it would generate 170 construction and landscaping jobs (90%+ being union labor); and preserve one of Minnesota’s iconic tourist destinations (45% of visitors are tourists, who bring $16 million in direct tourist spending into the economy each year). (Read more details in this previous blog post.)

So, in an effort to get bonding projects underway and get folks back to work as soon as possible, the ordinary legislative process for introducing a bonding bill started quite early, and has been put on a fast track.

What does “fast-track” mean when it comes to the state legislature?

A legislative process that normally takes months is being compressed into just a few weeks—which makes public input and action all the more crucial. This past week was an important one, as both the House and Senate Capital Investment committees submitted their bills. The good news is that the Sculpture Garden renovation is in both bills; the bad news is that the commitments to the project so far are well below what is necessary to preserve our Minnesota landmark. The Sculpture Garden renovation’s full request was $8.5 million; the House and Senate submitted bills with bonding support at $200,000 and $2 million respectively. 

So what happens now?

In the next week a 10-member House-Senate conference committee will be assembled that will likely begin convening on Tuesday, February 16. This conference committee reports back to the floors of both the House and Senate within a couple days with their recommendations on how to reconcile the two proposals. The entire legislature then votes on the bill and sends it to the Governor.

In the end, the process for a bonding bill is like a “Which Way” Book: It’s nearly impossible to predict the outcome. That said, during critical junctures—like the coming weeks—the chances of success at the legislature are increased dramatically when constituents from all over the state weigh in.

Show Your Support!

It’s especially important to make your voice heard—now—regarding the bonding measure to restore the Sculpture Garden. The legislative process is hard, but advocacy is easy.  Write your legislators today! It will only take a minute using our online email tool, but that minute could make all the difference in the bonding approval process. We need to preserve our iconic Minnesota garden with a cherry on top!

 

LOVE PREVAILS

In cold and barren February, we notice the Sun’s brilliance burning a little longer into the afternoon, hinting at the warmth peeking just (months) around the corner.  Similarly, in the sometimes austere and modernist environs of the Walker Art Center, a passionate heat churns just beneath the surface.  Is it possible to fertilize the seeds [...]

In cold and barren February, we notice the Sun’s brilliance burning a little longer into the afternoon, hinting at the warmth peeking just (months) around the corner.  Similarly, in the sometimes austere and modernist environs of the Walker Art Center, a passionate heat churns just beneath the surface.  Is it possible to fertilize the seeds of love at the Walker?  It’s possible, and evidence abounds.  Take, for example, this article describing James Turrell’s Sky Pesher as the best make out spot in town.  Kissing in the surrounds of ‘pigmented cast concrete?’  Very steamy.  One should take note, however, of the security camera watching every move.  No matter.  An adventurous lover knows that eyes are always watching, yet she boldly proceeds. 

Meet Ellie, one such bold adventurer.  The object of her affections is the roguish Scotty.  Her family-approved plan (Dad accompanied) was to ask Scotty to her high school’s Sadie Hawkins dance during a visit to the Walker.  Ellie had prepared a sign for her beau, a masterpiece worthy of the Louvre which implored, “Sweet Hearts? With Me, My Scotty” (sic).  Ellie presented me the sign to me in the snowy afternoon, asking where she could hang it. 

My colleagues and I discussed the matter,  chose a suitable place, and the sign was hung.  It was decided that I document the event, so I lay in wait for the magic moment. 

 

The tension was immense.  The unwitting Scotty approached and…

YES

 

Love prevails.

 

Note: Scotty was surprised by Ellie’s sign, but even more surprised by my prescence.  I explained, “I…uh.  I have to do this for work,”  then quickly fled.  Tender moments, cherished forever.

Calling all Minneapolis Sculpture Garden lovers: Preservation is at hand!

The Minnesota State Legislature is voting in the next few weeks on a bonding measure that could fund a badly needed renovation of the 22-year-old Minneapolis Sculpture Garden. The article below, from the upcoming issue of Walker magazine, outlines the details.  Please take action by visiting http://garden.walkerart.org/bonding today. It’s quick, easy and will make all [...]

The Minnesota State Legislature is voting in the next few weeks on a bonding measure that could fund a badly needed renovation of the 22-year-old Minneapolis Sculpture Garden. The article below, from the upcoming issue of Walker magazine, outlines the details. 

Please take action by visiting http://garden.walkerart.org/bonding today. It’s quick, easy and will make all the difference.

MSG for bonding issue blog postWelcoming more than 7 million visitors since it opened, Minneapolis Sculpture Garden has become an integral part of Twin Cities life. When the Walker and the Minneapolis Park & Recreation Board partnered in 1988 to create the first major urban sculpture garden in the country, the vision, still very much alive today, was to combine an amazing outdoor space with world-class art and culture—two assets for which the state is renowned.  

 While Twin Cities and Minnesota residents are regulars, thousands of students and hundreds of schools groups from across Minnesota and the region visit each year. “It’s a unique place for learning,” says Lockie Chapman, a teacher who brings her Orono middle-schoolers to the Garden each year. “My students enjoy seeing works like the Spoonbridge and Cherry, which challenge their definitions of what a sculpture should be.”

And nearly half of the Garden’s visitors are tourists—from the all corners of the United States and far-flung countries alike. That amounts to $16 million in direct annual economic impact, according to Meet Minneapolis, the city’s official convention and visitors association. Melvin Tennant, its president & CEO, calls the Garden “a true destination for visitors to our state.” Walker director Olga Viso adds, “For more than two decades, the Minneapolis Sculpture Garden has welcomed visitors into our park system and introduced them to the state’s remarkable arts community. Nearly everyone goes home with their own iconic image snapped in front of the Spoonbridge and Cherry. 

But years of wear and tear have taken their toll on the Garden. To renovate and preserve it, the Minneapolis Park & Recreation Board, with the wholehearted support of the Walker, is pursuing $8.5 million in state bonding. “Every garden has a natural life cycle, and plants periodically need to be refreshed. For instance, the lifespan of arbor vitae—the trees that create the walls of the outdoor galleries—is about 20 years,” says Park Board superintendant Jon Gurban. “Also, in a place as heavily trafficked as the Garden, significant infrastructure needs must be addressed to maintain this vibrant public space.”

After a careful study, the prominent landscape architecture firm oslund.and.associates has recommended a range of necessary upgrades throughout the 11-acre landscape. Tom Oslund notes that “by taking advantage of efficiency improvements in mechanical systems and lighting in the past 20 years, we can significantly reduce the Garden’s carbon footprint. For instance, an eco-friendly irrigation system would allow us to capture rainwater runoff to maintain the plants. And improvements to the drainage system, as well as repairs to concrete walkways and granite walls, which were not designed with the expectation of millions of visitors, will allow us to preserve the unique experience of visiting the grounds.”

Preserving the Garden is in many respects a cost-saving measure, an idea borne out by comparing its original budget of $16 million—funded by private contributions—to those of newer sculpture gardens in other cities, ranging from the 4.5-acre Pappajohn Sculpture Park in Des Moines ($46 million, 2009) to the 22-acre Kansas City Sculpture Park ($95 million, 2007) to Seattle’s 9-acre Olympic Sculpture Park ($85 million, 2007). The Minnesota legislature is currently considering this bonding measure—if passed, it will ensure that the Minneapolis Sculpture Garden remains a vibrant icon for the state, not to mention a home to the single largest cherry in the country.

Please encourage your state legislator to fund the renovation of the Minneapolis Sculpture Garden. Visit garden.walkerart.org/bonding today to draft and send an e-mail showing your support.

Bits & Pieces: Alec Soth; Xmas kitsch, Shanghai-style; the coming Inquisition; more

How to spend the money from all those gifts you’re going to return. Find some ideas browsing Alec Soth’s top 10 photo books of 2009. Fans of Soth’s earlier blog — and they were becoming legion — are elated that he’s back, at least in a bloggy kind of alter-ego way as one “Lester B. Morrison.”  They [...]

Lester B. Morrison's Facebook photo

Lester B. Morrison's Facebook photo

How to spend the money from all those gifts you’re going to return. Find some ideas browsing Alec Soth’s top 10 photo books of 2009. Fans of Soth’s earlier blog — and they were becoming legion — are elated that he’s back, at least in a bloggy kind of alter-ego way as one “Lester B. Morrison.”  They should also keep an eye out for more information about Soth’s first survey, opening here at the Walker next September.

Christmas, as only the Chinese can do it: My friend Adam Minter, a writer based in Shanghai, has been snapping photos of every Christmas tree he’s seen in the past few days — 141, to be exact.

redemption house

The script at the bottom of that tree says “Redemption House.” See the other 140 Christmas trees — some pathetic, some downright creepy, and many pushing kitsch into entirely new realms — at Adam’s blog, Shanghai Scrap.

Barbara Kingsolver & Walker history: In Lacuna, Kingsolver’s first novel in nine years, a character named Tom Cuddy writes to the protagonist, Harrison Shepherd:

“The Department of State is getting into the art business. … the idea is to pack up a fresh load of paintings on Uncle Sam’s ticket, and parade them around the museums of Europe. A special show of American paintings to send overseas, to show those Parisians we’re not a bunch of rubes. … They recruited my old boss for the job, Leroy Davidson from the Walker. He only got 50 thousand clams to work with but he’s done a killer job, Leroy chose everything himself. He’s fed up with the Europeans sniggering about heart-throbbing landscapes and the American Scene, so he decided to give them an eyeful. Seventy-nine paintings, mostly Modern Art: Stuart Davis, Marsden Hartley, Georgia O’Keeffe, it’s a killer.”

Joseph LeRoy Davidson (1908 - 1980)

Joseph LeRoy Davidson (1908 - 1980)

Incidentally, work from those painters is currently on view in Benches & Binoculars. Two outlines of Davidson’s distinguished career (here and here)  note that he was an assistant director and curator at the Walker before moving to Washington and heading up the feds’ initial efforts at cultural PR through contemporary art (which, according to some, came into full flower with Abstract Expressionism in the 1950s). Our archivist Jill Vuchetich notes, however, that “the timeline is slightly off.  He would have been the first assistant director starting in 1940 when the Walker Galleries became the Walker Art Center, under director Daniel S. Defenbacher.”

Your most burning questions about art … answered! Watch the informative and instructional video below, which tells you how to submit queries for the upcoming Inquisition — a revival of a public quiz forum that played out at the Walker in 1940. In fact, Davidson probably got in on this game, as it was invented by his boss, Defenbacher.

Flitting Species Put Together to Present a Semblance of a Whole

Who are the Walker’s avian neighbors? My father and I went “city birding” to see the surprising ways wildlife dovetails with the urban environment. In May and then in October, we wandered the grounds of the Minneapolis Sculpture Garden, then migrated to Loring Park, and concluded our observations perched atop the Walker’s green slope. Here [...]

Who are the Walker’s avian neighbors?

My father and I went “city birding” to see the surprising ways wildlife dovetails with the urban environment. In May and then in October, we wandered the grounds of the Minneapolis Sculpture Garden, then migrated to Loring Park, and concluded our observations perched atop the Walker’s green slope. Here is a bird’s-eye-view of the territory we covered.

Three birding sites around the Walker
1: Minneapolis Sculpture Garden; 2: Walker’s greenspace; 3: Loring Park; 4: Walker Art Center, Gallery Tower; 5: Walker Art Center, Theater Tower

First, to introduce the birders:

Abbie

Abbie pic

  • Novice at bird identification
  • Walker Art Center staff
  • Fledgling artist

Renner

Renner pic

What we saw may surprise you! Take a look at our list, then go look for yourself. I welcome your comments to this post — I’m curious to see if you see the same species or others!

Three Sites and two dates copy

FIELD NOTES:HIGHLIGHTS

Minneapolis Sculpture Garden

  • In the Garden we enjoyed observing a fairly diverse bird population. In both May and October, lots of birds find their way to the Garden grounds.
  • In May, the Green Heron was our most unexpected sighting. We saw it flying low overhead at 8:41 am. Later we spotted it in a pine tree along the western edge of the Garden. Maybe it nests in the wetlands located about 1/3 mile west of the Garden?
  • As we walked along the park’s eastern and western edges in October, we saw Ruby-crowned Kinglets in the pines, often at very close distances (as close as 4′). They would flit from one pine bow to the next, and would frequently hover (almost like a hummingbird), positioning themselves just under the pine needles’ tips. Could they have been drinking water droplets?
  • Another great bird to watch was the Brown Creeper. It lands at the base of a tree trunk then slowly hops and spirals up, foraging for insects. Once it gets as high as the branches, it takes flight and alights at the base of the next tree. We watched it scale 5 tree trunks, very methodically and consistently repeating its search for food.

Walker Art Center’s Greenspace

  • In May, virtually all the observed individuals were flying over.
  • Contrasting the greenspace observations with those recorded in the Garden or in Loring Park, one can hypothesize that features such as physical structure, diverse flora, and a water source make a quantifiable difference in the abundance and diversity of birds, even on a micro-local level.

Loring Park

  • In both May and October, this location had the most diverse populations of our three sites.
  • Mourning Doves: We saw them all through the Sculpture Garden, even atop George Segal’s Walking Man, but we didn’t see any in Loring Park!
  • 70% increase: In October, we saw 70% more species than we saw in May! This was striking because the species counts at the other sites were consistent for our two survey dates.

We submitted our observations on e-bird, an free online checklist tool. E-bird  offers organized record storage and customizable reports to users. Its greater purpose is to serve researchers in the fields of conservation and ecology.

Every two facts in the hand is worth a third in the thicket.

Had my dad and I only surveyed the Garden, our experiences would have been less dimensional. The accumulation of information is not a strictly additive process, but can compound our knowledge multiplicatively. With every observable datum, relationships exist between that singular bit and all the pieces that came before. In this context we cobble together patterns, discriminate and identify categories,  speculate as to meaning and postulate as to the future. How many bits and pieces must we put together to present a satisfactorily convincing semblance of a whole?


ACKNOWLEDGMENTS:

  • Recently I had the opportunity to attend a discussion between artist Fritz Haeg and some Walker staff. Reflecting on his works and practice influenced me to conduct this bird census. I appreciate the power of Haeg’s work to remind us that wilderness is always at hand, and closer at hand than we might casually believe.  Thank you to Education and Community Programs for making this encounter, this exploration, and this learning possible.
  • Previous
    Next