https://ccartcollection.concordiacollegearchives.org/files/original/fc8d2c74c1348a370048e06d7a76d658.jpg 17053378aecdaf6e668ed99bcb14380e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Concordia College Art Collection Description An account of the resource Mission Statement: The Concordia College Art Collection is an educational and cultural component of the College. It includes significant and valuable works that reflect a variety of artistic creativity and in part the College’s Norwegian heritage and location in the Upper Midwest. Creator An entity primarily responsible for making the resource The Concordia College Art Committee Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Intaglio (studio print) Physical Dimensions The actual physical size of the original image 23.5x35.5 inches (image) | 35x47 inches (frame) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Blind Lead the Blind Identifier An unambiguous reference to the resource within a given context 1111.228.29 Description An account of the resource This is a print that shows six figures. The three figures on the far left side of the piece are shown very dark, and the area around them is in darkness. They are reaching towards the fourth figure in the piece. The fourth figure is shown riding a cow and looking back towards the left. The last two figures are on the far right of the piece, in the lightest section. One figure is on the bottom right, reaching up, and only half in the image. The other figure is shown as reaching down for the figure falling out of frame. Creator An entity primarily responsible for making the resource Sampson, J. Frank Publisher An entity responsible for making the resource available Concordia College Art Collection Rights Information about rights held in and over the resource To order a high resolution digital file of this image, inquire about permission, or for information on prices, contact Heidi Goldberg at Goldberg@cord.edu or 218-299-4624. Subject The topic of the resource This piece is a print that shows six figures, in varying shades of lightness and darkness. One of the figures is riding a cow. Source A related resource from which the described resource is derived Notes: This is in a wood frame with glass. * The piece will be on loan to the North Dakota Museum of Art until fall 2019. Frank Sampson was born on a farm in North Dakota in 1928. His first relationships, and some of the greatest inspirations for his work, were with animals on his families farm. He received an edcation in art, including a Master's Degree from the University of Iowa. He also won a fulbright scholarship to Belgium to exhibit his work in Luxembourg. He spent a year in Japan that also inspired many works. After 37 years of teaching at the University of Colorado, Boulder, he retired. The animals in his works are always participants in the human activity of the piece, rather than just bystanders. The also cites the Grimm's fairy tales as a large influence on his pieces. He has stated that their is nothing grim, or idyllic about the animals in his pieces, rather they participate as humans do in human activities. His work has been exhibited all over the country, and in many countries around the world. Frank Sampson Retrospective opens at the North Dakota Museum of Art July 18 and continues through October 7, 2019 Thursday, July 18 at 5 pm -- The North Dakota Museum of Art will open a long-awaited retrospective exhibition by native son Frank Sampson. For three decades Mr. Sampson - now ninety-one years old - taught painting and printmaking at the University of Colorado in Boulder where he continues to make his home. He returns for a month each summer and winter to his North Dakota family home in Edmore. He flies into Devils Lake from Denver carrying a big roll of Arches paper. Up to a dozen new paintings rolled up under his arm go back to his Boulder studio to be mounted and framed. A peek preview of many of these same paintings can be had at the kick-off of the Museum's Concerts in the Garden on Tuesday, July 16th. Mr. Sampson will be present at the July 18th opening. When asked about his paintings, Mr. Sampson says, "In looking for past experiences and antecedents that may have influenced my work as an artist I think immediately of my childhood on a farm near Edmore, North Dakota surrounded by pigs, chickens, horses and cows as well as a story-telling mother who entertained and rewarded her five sons with vivid adventure stories. Her wonderful tales were full of fantasy and frequently animals played major roles." Mr. Sampson has seen much of the world and many more animals since leaving Edmore for Concordia College in Moorhead. With his BA in hand he moved on to Iowa City in 1950 and emerged two years later with his MFA in painting and printmaking from the University of Iowa. Two years in the army followed. Under the G.I. Bill, Mr. Sampson returned to Iowa for three years of postgraduate work under Mauricio Lasansky, the groundbreaking and world-famous master printmaker (1956-50). Wherever he studied, however, he took extra classes in art history and that led to his successful Fulbright application to study the paintings of Hieronymus Bosch and James Ensor in Belgium (1959 - 1960). Upon his return to the States, he was invited to join the Art Faculty at the University of Colorado in Boulder in 1961. He never left but retired in 1990 as a full professor. His childhood interest in the farm animals - his job was to feed the chickens and gather the eggs - like his love of art history continues to absorb him. Bears and Brahman cows, elephants, storks and pelicans, and giraffes and foxes join his earlier cows and horses, pigs and chickens that peopled his earlier paintings. Weaving in and out of his visual stories is the French character, the sad clown Pierrot identified by his white painted face and pointed white hat. Pierrot is a stock character in nineteen-century comedies and pantomimes. In Mr. Sampson's world the humans and the animals are all creatures interacting among themselves. According to Colorado critic Michael Paglia, "Legendary Magic Realist painter Frank Sampson is still making magic at age ninety plus. His signature style is a soft, classic realism that has a kinship with the Old Masters, with lots of umbers and ochres lending the paintings a sense of dark mystery, like a Rembrandt. But this traditional mood is broken by the preposterous - or at least unlikely - subjects that he addresses and this is where the "magic" part of magic realism comes in. His depictions might be found in the clearing of a deep wood, springing up around a curve, or at some incomprehensible event. Only the painting tells the story." Artists are remembered or forgotten 1) if influential public institutions exhibit and collect their work, and 2) there is a seminal publication about their artwork. Frank Sampson's art has been seen in an impressive diversity of venues. A shortlist demonstrates the cross-cultural appeal of his paintings: the United States Library of Congress; Belgium, Brazil, Tokyo, the Denver Art Museum; the Nelson-Atkins Museum, Kansas City; the Berkeley Art Center; the Joslyn Art Museum, Omaha, Nebraska; the Minnesota Museum of Art, St. Paul; the Boston Public Library. Except for small brochures, however, no such publication exists for this ninety-one-year-old artist. Importantly, the North Dakota Museum of Art is mounting this retrospective and will acquire a significant collection of paintings and prints, all gifts from the artist. This will establish his archive in North Dakota, the mandate of the State Art Museum, named by the state legislature in 1985. It will also publish the definitive book of Mr. Sampson's art and life, which will assure his place in the history of art on the northern plains. Eric Hylden has traveled twice to Boulder with Curator Laurel Reuter to photograph the work for the publication. Hylden's father was Mr. Sampson's Concordia College roommate. Others who have work with the Museum staff organizing the exhibition are photographers Mark Strand of Moorhead and Paul Gronhovd of Grand Forks. A smaller version of the exhibition will tour North Dakota through the Museum's Rural Arts Initiative into 2022, without charge to the hosting communities. Already it is slated to go to Minot in January 2020, The International Peace Gardens in the spring, and Minot State in October. https://www.youtube.com/watch?v=DHSqYMFVWn0 Condition Report: Good (2018) Condition History: Maintenance: Installation Needs: Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant |3|0.0000000|0.0000000|osm ISC: Near ISC #208 Contributor An entity responsible for making contributions to the resource Donor: Value: $5000.00 Provenance: Insurance: #itaglio #sampson.frank