Preserving thelegacy

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  • 1. Campaign Honorary ChairsJo Anne and Donald PetersenCampaign ChairsSue and Bill VititoeDonald J. BachandAndrew BethuneAshley Boger, SVSU Student RepMadeline BurkeMatt DavisKelly FabianoCarl M. FredericksChris FredericksSuzanne (Suki) FredericksRosalind C. FredericksKonnie GillTheresa HarlanBarbara HellerJames JaimeGary LabadieErnest E. PaulickMuseum Board of DirectorsDawn PumfordAvril RoundtreeRoz Fredericks RymalOdail ThornsDonna VanSteenhouseSue Vititoe, Chair

2. Preserving the Legacyof Marshall M. FredericksA legacy worth preservingMarshall Fredericks was an incredibleman with an iconic career. It canbe said that his life was defined byconnections.Marshall Frederickss earliest training led to the prestigious HermanMatzen Traveling Scholarship in Sculpture from the ClevelandSchool of Art, which allowed a twenty-two year old Fredericks to seekout renowned sculptor Carl Milles, whose bronze fountain figuresintrigued the young artist. After giving Fredericks the opportunityto work among the stone carvers in his studio at Millesgrdenin Sweden, Milles sent him to Munich where he worked at twoof the finest schools of the time and, while traveling throughoutEurope, experienced the art and architecture of Rome, London andCopenhagen.When he returned to the states, Fredericks reconnected withMilles, then sculptor-in-residence at Cranbrook Academy of Artin Bloomfield Hills, Michigan. Milles invited Fredericks to assistin his studio, where the young artist could apply his knowledge ofthe mechanics of large-scale sculpture. Here the budding artistscareer path became clear. Cranbrook was arguably the finest place todevelop a mastery of the arduous process of bronze sculpture, a keyfactor in the artists ongoing training.The founder of Cranbrook,George G. Booth,unknowingly gave Fredericksan early opportunity tocombine his wit and talentwhen he asked the sculptor tocreate a Thinker that wouldlend gravitas to the entry ofthe Cranbrook Art Museum,following in the steps ofAuguste Rodins Thinker at the entrance to The Detroit Institute ofArts and the Cleveland Museum of Art. Fredericks displayed bothhis skill and astute humor when he produced a large black granitechimpanzee, The Thinker, which continues to welcome visitors to theCranbrook Art Museum today.1 3. 2Important connections informedFrederickss extraordinary career path. In 1936, he won a national competition and was selected todesign the Levi L. Barbour Memorial Fountain on Belle Isle,an island park in the Detroit River. Three years later Malcolm Stirton, chief designer at Harley,Ellington and Day, Architects, who had been selected todesign the Horace H. Rackham Educational MemorialBuilding across from Paul Crets spectacular Detroit Instituteof Arts, hired Fredericks to create 46 carved reliefs for thefacade and several significant architectural enhancementsfor the interior. Stirtons desire to hire local talent and hisfamiliarity with Frederickss Belle Isle fountain and Cranbrooksculptures sealed the deal. This Rackham Building project led to a commission to designa fountain for the Glass Industries Building at the 1939 NewYork Worlds Fair. Frederickss remarkable ability to understand the uniquechallenges of outdoor sculpture brought about the creationof one of his most winning early works, the Two SistersFountain at Cranbrooks Kingswood School for Girls, whichhe designed in 1940. World War II inspired Fredericks to join the Army Air Corpin 1942 where he rose to the rank of Lieutenant Colonel,serving in south Asia. During that period, Fredericks made one of the mostsignificant connections of his life when he reacquaintedhimself with Rosalind Bell Cooke, a volunteer driver on thebase in Arizona where he was stationed, and married her in1943. Rosalind became a partner in the development andmanagement of her artist husbands career, and helped raisetheir five children: Carl, Christopher, Frances, Rosalind, andSuzanne (Suki). The post war resurgence in American pride stimulateda revitalization of art and architecture, and a desire tomemorialize the fight for freedom. Fredericks was tapped forsignificant works like the Cleveland War Memorial Fountain,the Veterans Memorial Building in Detroit, and the warmemorials for Clevelands Eaton Manufacturing Corporationand the University of Michigan. The artists synergistic link with architecture made him afavorite among those who planned, designed and erectedhospitals, civic centers, universities, libraries and auditoriums.Later works, such as The Expanding Universe in the inner courtof the State Department Building in Washington, D.C. andthe spectacular The Spirit of Detroit are shining examples ofFrederickss determination to connect the viewer of his workwith both aesthetics and a profound message of optimism. 4. 435Along the way, Frederickss work connectedwith the heart of a young woman, Dorothy(Honey) Doan, who was studying atCranbrooks Kingswood School for Girls.Years later the artist and Honey becamereacquainted through her uncle AldenB. Dow, an accomplished architect andsometimes collaborator with Fredericks.Marshall and Rosalind Fredericks becamefriends with Honey and her husbandNed Arbury. That friendship was centralto the incorporation of the Marshall M.Fredericks Sculpture Gallery into the plans for a new fine arts center atSaginaw Valley State University that the Arburys were helping to fund.The purpose of the Gallery was to collect, exhibit, preserve, study,and interpret Marshall Frederickss work. It was intended to be aneducational asset andtool for SVSU facultyand students, as well asa significant resource forthe region. It was to be aplace that scholars fromaround the globe, as wellas art aficionados and thegeneral public, wouldvisit and thus serve asa defining asset for theUniversity.The name was officially changed from Gallery to Museum in 1999 tobetter reflect its educational and outreach mission. Today, SVSU classesfrom a variety of disciplines, a dedicated student group, students fromthe regions K-12 schools, corporations, businesses and civic groupsavail themselves of the resources at the Marshall M. Fredericks SculptureMuseum.In 2003, an addition to the gallery where over 200 of Frederickss worksare permanently displayed doubled the size of the Museum, with spacefor changing exhibitions, an expanded gift shop, the Sculptors Studio (arepresentation of the artists well-known Royal Oak studio), archives andresearch reading room, and a large classroom.About the Photographs1. Marshall Fredericks and Carl Milles with students at the Cranbrook Art Academy2. Marshall and Rosalind Fredericks and their five children3. Cleveland War Memorial Fountain4. Ned and Honey Arbury, Rosalind and Marshall Fredericks and guests5. Sculptors Studio at the Museum6. Students drawing in the Museum7. Summer art camp students8. Visiting artist greeting guests9. Main Exhibit Gallery 5. Marshall M. Fredericks and his Museum at SVSU ...Businesses seeking to attract creative professionals understand the value of having cultural amenities like the Marshall M. Fredericks Sculpture Museum inthe region because they enhance our quality of life. -Matt Davis, The Dow Chemical Company67The Connections ContinueThe Museum teaches how inspiration and imagination can take shape andbecome images that move people to thought and laughter and remembranceand reverence. The gifts from Marshall are a treasure for our campus and allthose with whom they are shared.- Eric Gilbertson, President, SVSU One of Americas most important and prolific sculptors found a fittingrepository for his art collection, archives, and a representation of hisworking studio. One of Michigans state universities became home to a world-classmuseum and extraordinary collection, one of just a few in the countrydevoted to the work of a single artist. Students academic and personal livesare enriched by the accessibility of theMuseum that is utilized by faculty in finearts, nursing, creative writing, history,sciences, and athletics. The University has an invaluable asset forattracting students. An important bond exists between theUniversity and its neighbors throughoutthe Great Lakes Bay Region as theMuseum functions as an asset to area schools, businesses and communitygroups. Community cultural life is greatly enhanced by the Museumstemporary exhibitions, classes, lectures, gallery talks, summer artcamps, and much, much more.The Marshall M. Fredericks Sculpture Museum at Saginaw Valley StateUniversity connects the past to the present and will connect the present to abright and sustainable future.Each donor to this critical effort will play a significant role in preserving thelegacy of a truly gifted and important artist and ensuring the accessibilityof the artwork and archivesof a remarkable Michiganresource.A Private/PublicPartnership thatWorksWhile Marshall Fredericksreferred to the complexprocess of turning a sketch into a monumental bronze sculpture asMagic, the magic of this Museum is found in the amazing public/privatecollaboration that enables it to be open to the public, school groups, andclasses from SVSU and other institutions of higher learning six days a weekfree of charge! The University supports operations, including accounting,security, custodial, marketing services, utilities, information technology,and insurance. The private sector, through memberships, donations, eventsponsorships and gifts to the endowments, provides the additional revenuenecessary to fund temporary exhibitions, educational programs, andprofessional and administrative staff to ensure that this remarkable resourceis accessible to visitors of all ages, literally from across the quad and aroundthe globe. Working together, these two critical sources of support prove thatthe whole is truly greater than the sum of its parts. 6. When I take my students to the Marshall M. Fredericks Museum I am sharing with them the gift Mr. Fredericks left all of us: a vision that provides a r