The Neville Public Museum
The Neville Blog
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Thank you to everyone who voted on the name for our new mammoth sculpture! After over 800 community votes our sculpture has been named Tundra!
Tundra was created by Carl Vanderheyden in collaboration with John Koester and is made from three recycled 250 gallon heating oil tanks from the Green Bay area. Tundra stands 7 feet tall and weighs 750 pounds.
We would like to extend a special thank you to the Romaine & Mary Schanock Family Foundation and Renco Machine Company for making this project possible.
Here at the Neville Public Museum we care for an extensive doll collection. This collection houses dolls from around the world including Barbie dolls. The Barbies in our collection range in date from the 1950s through the 1990s. Through time the materials used to make barbies changed. Here are a few examples from our collection.
This Barbie was received as a gift from the Neville Public Museum Corporation. It was purchased from Georgia Rankin, a Barbie collector from Sturgeon Bay, Wisconsin in the 1960s. The black and white swimsuit worn by the doll is the original outfit traditionally worn by dolls manufactured from 1959-1961.
This picture shows one of the newer Barbies in our collection. It's a part of the Hollywood Legends Collection/Collector's Edition and represents Glinda the Good Witch from the Wizard of Oz.
Although both of these dolls were manufactured by the same company, they were created using different materials. This means we have to care for these dolls in different ways. Glinda the Good Witch was manufactured in the 1990s and was donated in her original box. The change in plastic used in manufacturing allows us to store the doll in regular collections storage.
The Barbie from Georgia Rankin is not stored with the other dolls in our collection; she is actually stored in collections cold storage with lower humidity. This is because the doll was made using earlier plastics.
The plastics used for Barbie dolls manufactured in the 1950s and early 1960s used PVC, which is brittle. In order to make Barbie flexible, they added a plasticizer when the doll was being molded. As these dolls age, the plasticizer can ooze out of the doll and form a tacky slime across the surface. This is why some dolls can appear to be wet. Warm and humid environments can cause the oozing to occur earlier. By storing some of our Barbies in cold storage we are able to slow this process and preserve them longer.
James Peth, Research Technician
When many of us hear that there is an exhibit at the museum about “architecture” we may not get overly excited, especially when we are looking forward to major traveling exhibits about spies and deep water exploration. When I was hired three months ago as the new Assistant Curator I was excited for Spies, Traitors, & Saboteurs (now open through September 6th) but I was also intrigued by an exhibit focused on one architectural firm and its body of work in Brown County. During my first 8 weeks on the job, my main focus was working with a team to prepare this “architecture” exhibit called Building Our Community: 100+ Years of Architecture & Design in Brown County. It didn’t take long for me to realize that the remarkable story this exhibit tells goes far beyond some old blueprints. This exhibit is an exploration of how one architecture firm, Berners-Schober Associates, has changed the landscape of Northeastern Wisconsin and how their work has touched thousands of lives throughout the last century. People live, work, and play every day within the walls of their designs. What this firm has created in their lifetime is deeply rooted in our community’s history and has shaped the way people of Brown County live their lives.
When you experience this exhibit you may be overwhelmed by the sheer volume of work the Berners-Schober firm has done since its inception in 1898, but the reality is that what is displayed here is only the tip of the iceberg. During the firm’s lifetime, they have been involved in thousands of projects; this exhibit only includes 175 of these undertakings. To get the most out of this exhibit you will need to visit more than once, and you will want to. These are buildings we all visit at one time or another; the Brown County Public Library, the Downtown YMCA, Bay Beach Pavilion, and East High School, just to name a few. If you live in Brown County it’s undoubted that you have spent time in at least one of these buildings.
While growing up in Brown County I spent countless hours in several of these buildings but didn’t give any thought about how they came to be or their architectural significance. After living elsewhere for the last 5 years I’m happy to be back in Green Bay and this exhibit process has been an opportunity for me to get reacquainted my hometown and its history. I hope it does the same for others and encourages visitors to stop and take a look at the architectural beauty that surrounds us in Brown County. Building Our Community is open now through March 2016.
Lisa Zimmerman, Curator
For over seventy years, the Neville Public Museum has hosted the Northeast Wisconsin Art Annual. Through the years, this juried art competition has been one of the primary venues where local and regional artist have had the opportunity to present their work to the public and have it appraised by critics. For much of the Art Annual’s history, the Neville has made a point of collecting works that it has considered to be representative of the talents of our regional artistic community. This year, in lieu of a juried competition, the Neville has chosen the occasion to present a retrospective of this Green Bay tradition.The first Art Annual opened in November of 1942 under the direction of Earl G. Wright and the curator, Nile Behncke. A grand total of sixty-five works of art were shown, falling into one of two categories: oil paintings and watercolor paintings. Living up to its name, the Art Annual took hold as an institutional tradition, growing larger by the year. By the 1950s, it was not unheard of for the exhibit to consist of well over one hundred works of art, and in 1960, there were one hundred and ninety works of art listed in the exhibit catalogue! As the popularity of the event grew, so did the region from which it drew. In the early years, only artists residing Brown and nine or ten nearby counties were eligible to participate. By the early 1990s, the Art Annual had expanded its territory into the Upper Peninsula of Michigan. As a sign of this continuing success, next year a total of thirty-eight counties in Wisconsin and Upper Michigan will be eligible to participate in the 70th Art Annual!
The goal of this retrospective is not merely to haul out works of art that haven’t been seen in decades. Instead, the artwork should be considered along with the criticisms of past jurors and the history of the event itself. Since the first Art Annual, where only painting–oil and watercolor–was represented, the event has grown to include a wide range of media, from metal sculpture to ceramics, to prints and the graphic arts, as well as textiles and even jewelry. Critics have often cited this diversity and broadening of scope as a point of praise. Also, more often than not, the technical aptitude of the artists has caught their attention.
Artists and their work, however, have had their fair share of constructive criticism leveled at them as well. On more than one occasion, jurors have found it necessary to comment on a lack of individual style. Too often, they’ve observed, it appeared that artists had simply chosen to work in a given style without considering the implications, limits, or purpose of that style. This signals two potentially disastrous trends. First, it indicates that artists—as one juror observed—are being inspired by other artists instead of looking for their own unique voice. This, another juror states, leads to the second and grimmer consequence: it produces art that is irrelevant. Overall, jurors have had good things to say about the artwork that the Neville’s Art Annual garners. Accompanying this praise is always a hope that artists will steer away from relying on work that is derivative and instead use their obvious technical abilities to create work that is unique, modern, and relevant to viewers.
As the Neville approaches its centennial, this retrospective hopes to highlight this important cultural tradition. It is our intent to use this opportunity to spark a dialogue among artists and the public about the value of such a tradition at the Neville Public Museum. What is the purpose of such an event? What expectations should the public have, if any, of the art displayed? What expectations should the artists have of the museum, the jurors, and the public? Most importantly, what is at the core of this event—what is its legacy for future generations?
- A Night at the Museum 2017
- EQUATE: Green Bay Public Schools Student Art
- Why Does the Museum Have an Emmy?
- Keeping the Holidays Alive
- Beneath the Courthouse Dome
- The Face of Morbid Curiosities
- Vietnam Flight Suit Wins the Artifact Tournament
- Artifact Tournament Championship
- Our Brown County Artifact Tournament Round 2
- Our Brown County Artifact Tournament
- 2014 (1)
- Abraham Lincoln (2)
- Archaeology (3)
- architecture (4)
- Art (7)
- Art Annual (1)
- Artifacts (15)
- Ashwaubenon (1)
- Astronomy (1)
- Barbie (2)
- BroCo200 (4)
- Brown County (6)
- Collections (23)
- Eden-Scottsbluff (1)
- Education (5)
- Events (12)
- Exhibits (26)
- exhibits exposed (3)
- Film Collection (1)
- Fort Howard (9)
- Fox River (2)
- Green Bay De Pere Antiquarian Society (3)
- Green Bay Film Society (1)
- Guns (1)
- Independent Film (1)
- Internship (1)
- Kellogg Library (1)
- Mastodon (2)
- Neville (6)
- Northeast Wisconsin (4)
- On the Edge of the Inland Sea (5)
- Retrospective (1)
- Shoes (1)
- Spies (1)
- Technology (2)
- Underwater Archaeology (1)
- Victorian Era (1)
- Walking Tours (1)
- Weapons (1)
- Zachary Taylor (2)