With thousands of frame and mat samples, The Great Frame Up can satisfy any and all framing fantasies. The expert framespeople can make diplomas radiate (most diplomas can be framed for around $100–$200), personalized jerseys glisten (most for under $300), and dorm-room movie posters sparkle (many 24"x36" pieces are under $100). The design wizards can also find a home for any prized possession, such as shoebox photos, baby booties, ticket stubs, medals, and really good pot roasts. The Great Frame Up’s no-hassle guarantee and assurance that all work is done on site means your frameables won't be subject to mistreatment at underground commercial framing facilities.
In 1879, a lumber baron named Thomas Barlow Walker built an extra room onto his house. He mounted his 20 favorite paintings on the room's walls and opened it to the public. This private collection transformed into a public gallery with the founding of Walker Art Center in 1927. Over the following decades, the center's staff amassed a collection focused on modern art, gathering works from Pablo Picasso, Henry Moore, and Alberto Giacometti. Today, this permanent collection has expanded to encompass more than 11,000 modern and contemporary paintings, sculptures, and photographs, more than 800 film pieces, and more than 1,200 artists' books.
In the whimsical multistory geometric helix of the Barnes building, seven cube-shaped galleries radiate from a central core on terrazzo floors and under lofted ceilings. Docents lead group tours through the galleries to see rotating exhibitions or play hide-and-seek with Jackson Pollock. Current exhibits have explored the contemporary still photography of Cindy Sherman, American avant-garde film from 1960 to 1973, and prints, paintings, and sculptures produced after 1989. Inside the museum's social spaces, docents also host artist talks, film screenings, and open houses.
Designed as a contemporary twist on old European opera houses, the center's McGuire Theater draws visitors into its intimate space for live dance, theater, and music performances as well as performance art. Museum exhibits and events also spill outside to a central square and the four quadrants, bordered by granite and evergreen hedges, of the Minneapolis Sculpture Garden. As visitors walk across its lawns, they can glimpse iconic modern sculptures, cross a 375-foot steel-and-wood footbridge, or watch staff teach plants to paint in the Cowles Conservatory.
Originally the home of the Dakota and Ojibwe, Hennepin County began with the hopes and dreams of immigrants, New Englanders, and retired veterans. Why these entrepreneurs, farmers, laborers, craftsman, and vacationers decided to settle in what seemed to be a frigid, uninhabitable land is still a mystery, but their innovations and lineage are traced through the exhibits at Hennepin History Museum. The museum, located inside the historic George Christian mansion, hosts rotating exhibits and permanent collections that paint a picture of Midwestern life in the 19th and 20th centuries. From more recent decades, there are objects from Minneapolis Aquatennials and high-fashion clothes from downtown department stores such as Dayton's and Young-Quinlan. The Pillsbury Doughboy presides over it all, reminding guests of the importance of milling to the region's history.
Photographs, personal papers, and atlases round out the collection, whose contents are further illuminated during the museum’s frequent events. Experts and authors, for instance, deliver talks in the museum’s intimate fireside room, whose fireplace keeps guests warm and prevents them from huddling in the museum's historical bear-skin rugs. In another tucked-away area, researchers and amateur historians pore through the material in the library, which is open to visitors 5 days a week, and in the archives, which is open by appointment. They might find maps of the region from the start of the 20th Century or old pictures of homes in the neighborhood, all steeped in memories and history.
When the Minneapolis Institute of Arts first opened its doors in 1915, it was the product of several decades of arts advocacy. A group of 25 citizens formed the Minneapolis Society of Fine Arts in 1883 with the goal of giving their community access to creative arts. More than a century later, this commitment to the community has taken the permanent collections from 800 works to close to 80,000 objects and has made the museum Minnesota's largest art educator.
The collections, divided into seven curatorial areas, encompass a period of 5,000 years and hail from every corner of the world. The Asian Art collection represents 17 different Asian cultures, and Arts of Africa and the Americas holds more than 3,000 pieces of sculpture, basketry, painting, and beadwork. Temporary exhibitions bring collections of artwork from other institutions. The museum's interactive learning stations supplement understanding of topics such as modernism or 17th-century European painting with animation, video, and audio recordings.
Most students in introductory stained-glass-making classes are in search of a new hobby or a fun few hours, but not Connie Beckers. In 1995, she took such a course and soon built a career around the art of stained glass and kiln-working. Now, through The Goddess of Glass, she teaches others her craft during classes that cover the creation of jewelry, coasters, plates, and transparent overalls. She?s also been known to flex her instructional muscle as a guest artist on the DIY Network show I Hate my Kitchen, on the episode entitled Cramped Quarters, where she taught the show?s host and contractor how to make stained-glass tiles for a kitchen in the middle of remodeling.
The Goddess of Glass also sells artwork and gifts out of a separate retail shop. Patrons can commission a custom piece, such as a stained-glass window, or peruse a collection of pieces by more than 80 local artisans. The shop?s staff can also advise clients who need custom framing, helping them to pick the proper matting and frame so that their Richard Nixon rookie cards really pop.
Housed inside a Spanish Colonial–style former church, The Museum of Russian Art exudes an aura of hushed reverence—sunlight streams through Romanesque windows, and arches frame the museum’s collection of paintings and sculptures. The lofty setting is ideal for an art collection that spans eons, from unearthed Byzantine-era golden urns to paintings depicting a turbulent post-Stalin Soviet Union.
The Museum of Russian Art bills itself as the only museum on the continent dedicated to preserving Russian art. It continues to do so by collaborating with museums in Russia and the United States, recruiting artifacts, accumulating artwork, and reassembling hopelessly jumbled Matryoshka dolls for its ever-rotating collection. In tandem with the museum’s collection, curators strive to illuminate Russian culture by hosting lectures from scholars of Russian culture and leading free one-hour tours each weekend.