A Gallery Transformation

MATAYA ARMSTRONG | THE SPECTRUM The MU gallery staff puts four days into the process of setting up the show.
MATAYA ARMSTRONG | THE SPECTRUM
The MU gallery staff puts four days into the process of setting up the show.
MATAYA ARMSTRONG | THE SPECTRUM After several days of work, the show opened. The gallery is filled with mannequins, costumes and models representing the history of the theatre.
MATAYA ARMSTRONG | THE SPECTRUM
After several days of work, the show opened. The gallery is filled with mannequins, costumes and models representing the history of the theatre.

A mess on the floor, paint buckets and artwork everywhere, a few ladders here and there.

Now that disaster is not the new form of art on dis­play, but the scene that can consistently be seen during the transition process that follows every change in the exhibits at the Memorial Union Gallery.

Netha Cloeter and her six-person student staff has worked in collaboration with the NDSU Theatre Arts Department, which provid­ed six additional students, to take apart the birds of Ali LaRock and Paul Noot, ship off the art, bring in the new exhibit and erect the master­piece that is Don Larew’s “The ART of Theater: Mas­ter – Mentor – Medium,” all in just four days.

With all of the workers doubling as students, beside

the Visual Arts and Gallery Coordinator herself, Cloeter realized the importance of

communication required to work around varying sched­ules and people coming in and out constantly.

“It is hard to keep track of all of it and make sure people know what they are doing,” Cloeter said, “but the curator Don Larew, who is a former professor and historian of the Little Coun­try Theater, drew up a plan that made it a lot easier to know where things need to go.”

Even before any actual alterations are made to the gallery, an entire week was devoted to gathering the necessary material for the upcoming exhibit. Cloeter stated that everything with “The ART of Theater” is on loan from the theater department, the costume collection that is in the Fam­ily Life Center, the NDSU Archives and the personal items of Don Larew.

The first physical focus after tearing down the pre­vious exhibit is wall repair. Anywhere in the gallery that needs cosmetic care is at­tended to with paint touched up on the stages and move­able walls.

On those freshly painted walls are texts produced by the Memorial Union Graph­ics Shop, which Cloeter de­scribed as “the perfect way to have text on the wall that we can take down pretty easily.”

The ceiling functioned with the wall, as there is a backdrop in the rear of the gallery hung from the rafters to compliment Larew’s ver­tical aspects of the show.

“There was also a lan­guage we used for all of the same-sized pieces through­out the exhibit, so they were consistently placed at a uni­form height throughout the exhibit,” said Cloeter.

Once all of the pieces of the exhibit are in place, the last step of the installation process is the lighting.

“Overall, it is an intense process, especially with the time constraint of only four days, but we are always proud of our final product,” said Cloeter of the some­times-messy start, which becomes astounding art in every exhibit at the Memo­rial Union Gallery.

 

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