Fred Hagstrom, Fort Snelling Winter
Fred Hagstrom
Date
2015
Medium Specific
Silkscreen
Edition / State
18/20
Classification
Print
Dimensions
8 x 30 in. (20.3 x 76.2 cm)
Accession Number
2016.20.20.06
Credit
Gift of the Artist
Memo / Artist Statement
An imaginary (but real) place. Imagine that a military fort had not been built on the most sacred site of the Dakota - the confluence of the Minnesota and Mississippi Rivers. Imagine that the Dakota had not been placed in a concentration camp on that site in the winter of 1862-63. Imagine that hundreds of the Dakota had not died in that winter of exposure and disease. Imagine that the Dakota had not been removed from the territory of Minnesota. Imagine that today at Fort Snelling the main point was to acknowledge this history, rather than to celebrate the pioneer spirit. Imagine that today there would be some movement of restorative justice that would acknowledge what the Dakota lost.
***
I work in prints and book arts, with drawing being a constant activity, even though I don't end up exhibiting drawings. I am interested in art that touches on social issues, although I use a broad interpretation of what that includes. I am influenced by studying the history of print artists- from its great statements of political and social content (Kollwitz, Dix, Rouault) to the many artists who are more obscure than they should be because they worked primarily in prints (Munakata, the early Iowa printmakers, Karl Schrag, etc.). Printmaking and book arts have a tremendous history, even though much of it is hard to find.
My work has been framed by my experience of taking student groups to the South Pacific. I take a group of students there every other year. Drawing from nature in national parks, studying both historical and contemporary art that draws upon the indigenous traditions in those countries, and meeting contemporary artists there has greatly broadened my view of art and of the world. I spend hundreds of hours in drawing from nature. I also look to the arts of Japan as an example of how a sense of the importance of nature can permeate a culture. It is obvious that modern society has a flawed relationship with nature and that this is at the root of our ecological crisis. I feel that we can look to other cultures for a healthier model of a relationship with nature. I have no intention of imitating the work that I see from other cultures, but I do have a deep desire to learn from it. This issue of how our art and culture reflect our relationship with the natural world is the primary subject matter of my work.
After working figuratively for over twenty years, I began working in a more abstract style because it felt like the best way to explore what interests me. I want to see the art world become more concerned with passionately held beliefs and beauty, and less concerned with irony or market-based strategies. I believe that art should be a part of people's lives, and that it has the power to change the way we view the world.
(https://people.carleton.edu/~fhagstro/statement.html, 2020)
***
I work in prints and book arts, with drawing being a constant activity, even though I don't end up exhibiting drawings. I am interested in art that touches on social issues, although I use a broad interpretation of what that includes. I am influenced by studying the history of print artists- from its great statements of political and social content (Kollwitz, Dix, Rouault) to the many artists who are more obscure than they should be because they worked primarily in prints (Munakata, the early Iowa printmakers, Karl Schrag, etc.). Printmaking and book arts have a tremendous history, even though much of it is hard to find.
My work has been framed by my experience of taking student groups to the South Pacific. I take a group of students there every other year. Drawing from nature in national parks, studying both historical and contemporary art that draws upon the indigenous traditions in those countries, and meeting contemporary artists there has greatly broadened my view of art and of the world. I spend hundreds of hours in drawing from nature. I also look to the arts of Japan as an example of how a sense of the importance of nature can permeate a culture. It is obvious that modern society has a flawed relationship with nature and that this is at the root of our ecological crisis. I feel that we can look to other cultures for a healthier model of a relationship with nature. I have no intention of imitating the work that I see from other cultures, but I do have a deep desire to learn from it. This issue of how our art and culture reflect our relationship with the natural world is the primary subject matter of my work.
After working figuratively for over twenty years, I began working in a more abstract style because it felt like the best way to explore what interests me. I want to see the art world become more concerned with passionately held beliefs and beauty, and less concerned with irony or market-based strategies. I believe that art should be a part of people's lives, and that it has the power to change the way we view the world.
(https://people.carleton.edu/~fhagstro/statement.html, 2020)
Biography
My undergraduate degree is from Hamline University 77, and my graduate degree is from the University of Nebraska 82. I also worked at Atelier 17 in Paris, and taught at the Cleveland Institute of Art. My work is in a number of public collections, including the Minneapolis Institute of Art, the Walker Art Center, the Minnesota Museum of Art and the Weismann Museum at the University of Minnesota. I have taught at Carleton College since 1984 and my current title is the Rae Schupack Nathan Professor of Art. I received the Minnesota book award for a book artist for 2014. Also in 2014, I received the teaching excellence in printmaking award from SGCI. I have some of my artist's books in over 50 public collections.
Date of Bio
Inscription
Title, edition, signature in pencil (verso)