Harriet Bart

ENDURING AFGHANISTAN, 2003-Present

Dog tags, ball chain, chain link, vintage ledger,

fine press ledger pages, ink, Koran stand, and steel table,

Chain link map: 108 x 72 x 7 inches; Table with Koran: 43 x 18 x 12 inches

SOLD

  • ENDURING AFGHANISTAN, 2003-Present

    Dog tags, ball chain, chain link, vintage ledger,

    fine press ledger pages, ink, Koran stand, and steel table,

    Chain link map: 108 x 72 x 7 inches; Table with Koran: 43 x 18 x 12 inches

    SOLD

  • CONCRETE POEM, 1985

    Acrylic and labels on canvas, 39 ½  x 40 inches

  • PENUMBRA, 1976-77

    Linen, 47 x 54 inches

  • SILHOUETTE IV, 2016

    Arches paper sewn onto Fabriano Artistico, thread, 35 x 24 1/2 inches

  • STONE SILHOUETTES I, 2016

    Stone on Arches Huile paper, 25 x 32 1/2 inches (framed)

  • TAPESTRY, 2015           
    Acrylic, just, mixed media on canvas, 78 x 50 inches
     
  • STRATA: TALES OF POWER, 2007

    Altered Books, stone, lead, gold leaf, 7 ¼ x 6 x 4 ¼ inches

  • STRATA: THE INVISIBLE WORLD, 2007

    Altered books, stone, lead, gold leaf, 4 ¼ x 3 ½ x 3 inches

  • PENDULUM, 2003

    Cast bronze, 16 x 48 inches

  • AUTOBIOGRAPHY, 2011

    Mixed media, 70 ½ x 6 ¼ x 2 inches

  • DRAWN IN SMOKE, 2010             
    A set of 160 drawings
    Smoke and ink on paper, sheet size: 11 7/8 x 8 inches; image: 4 x 4 inches each, inscribed in ink (names sourced from the Cornell University’s Archive list)
    Inspired by the Triangle Shirtwaist Fire

biography

Harriet Bart is a renowned conceptual artist whose large-scale installations, sculptures, objects, and artist books convey a sense of solidity, timelessness, and permanency within the fleeting present. Bart explores the alchemy of the word, the iconography of text, and the archeology of reminiscence by transforming texts and materials to reflect her enduring engagement with the expression of memory, time, and loss. In Bart’s work, polished vessels, broken words, pendulums, paper scrolls, candle smoke, bronze and concrete, books, and found objects are molded and manipulated, becoming elegiac homages to the forgotten and forsaken. Bart’s poetic and evocative works serve as symbolic and physical signifiers of historic places, events, and moments imprinted in our cultural and personal consciousness.

Harriet Bart has been exclusively represented by Driscoll Babcock Galleries since 2011. That year the gallery presented a solo exhibition of her work, Harriet Bart: Drawn in Smoke. She has had solo museum exhibitions at several prominent museums, including the Walker Art Center, Minneapolis, MN; Indianapolis Art Center, IN; Laumeier Sculpture Park and Museum, St. Louis, MO; Weisman Art Museum, Minneapolis, MN; Brunnier Museum, Ames, IA; and the Tweed Museum of Art, Duluth, MN. Additionally, her work has been shown in group exhibitions worldwide including the Museum of Arts and Design, New York; The Jewish Museum, New York; Center for Contemporary Art, Santa Fe, NM; CAFA Art Museum, Beijing, China; King Saint Stephen Museum, Szekesfehervar, Hungary; and Klingspor Museum, Offenbach, Germany.  

Bart’s work is represented in major public and private collections in the United States and Europe, including the Metropolitan Museum of Art, New York; the National Gallery of Art, Washington, DC; the Minneapolis Institute of Arts, MN.

Bart has completed more than a dozen public art commissions internationally, and has been the recipient of fellowships from the Bush Foundation, McKnight Foundation, MacDowell Colony, Minnesota State Arts Board, NEA Arts Midwest, and the Virginia Center for Creative Arts.  She has published seven fine-press books and has been the recipient of two Minnesota Book Awards.  Bart is a guest lecturer, curator, and founding member of the Traffic Zone Center for Visual Arts in Minneapolis, MN.

Born in Duluth, Minnesota, Bart lives and works in Minneapolis, MN.

exhibitions
collections
press
Harriet Bart in Sculpture Magazine
news
Award Winner
2017 McKnight Visual Artist Fellowship
June 2017

Harriet Bart has been awarded a 2017 McKnight Visual Artist Fellowship. Designed to identify and support outstanding mid-career Minnesota artists, the McKnight Fellowships for Visual Artists provide recipients with $25,000 stipends, public recognition, professional encouragement from national visiting critics, and an opportunity to participate in a speaker series.

Click here to learn more about the 2017 McKnight Visual Artist Fellows

Yaddo Visual Artist Residency
Artist Residency with Yu-Wen Wu
Winter 2017
Harriet Bart has been accepted to Yaddo for an artist's residency this winter, with Yu-Wen Wu, to continue developing their collaborative work.
 
The Yaddo Residency was established by Spencer and Katrina Trask, with the first recipients arriving to the estate in 1926. Though much has changed since 1900, Yaddo’s mission has remained constant. In recent years the Board of Directors has reasserted Yaddo’s commitment to aesthetic daring, social egalitarianism, and internationalism, and the support of artists at political risk.
 
 
 
Now in the collection of the Walker Art Center
December 14, 2014

Harriet Bart’s large-scale installation, ENDURING AFGHANISTAN, 2003-2014, was acquired by the Walker Art Center, and will be included in the upcoming exhibition “75 Gifts for 75 Years” on view February 5-August 2, 2015.

Award Winner
2015 Minnesota Book Artist Award
December 14, 2014

The Friends of the Saint Paul Public Library
Award ceremony April, 18, 2015

Harriet Bart has been awarded the 2015 Minnesota Book Artist Award for GHOST MAPS, 2010, created in conjunction with master Printer Philip Gallo and fine binder Jill Jevne.

The Studio Sessions: Minnesota Artists in the 1970s
August 15- October 20, 2013

Harriet Bart numbers among the select group of pinnacle Minnesota artists exhibiting at the Minnesota Museum of American Art Project Space, August 15 - October 20, 2013.
About the exhibition:
In the early 1970s, Victor Bloomfield, professor of Biochemistry, Molecular Biology and Biophysics at the University of Minnesota, embarked on a project to document the Twin Cities art scene through photographs. He was inspired by Italian photographer Ugo Mulas, whose images of New York artists, New York, the New Art Scene, was published in the mid-1960s. Bloomfield’s pictures evidence a knack for compelling portraiture and off-the-cuff documentary photography. Artists such as Frank Gaard, Warren MacKenzie, and Nancy Randall are shown in the studio absorbed in their work or posing for the camera. Movers and shakers in the local art scene, such as museum directors Sam Sachs and Martin Friedman, or gallery owners like Suzanne Kohn, are also part of the series.
This exhibition presents a selection of this important body of work alongside a work of art by each artist, including paintings, prints, sculpture, and ceramics. Some of the art works are from the period; others are more recent pieces that demonstrate the continuing legacy of these artists. In interviewing some of these artists, all agree that this moment crystallized the Minnesota art scene through their collective effort to bring greater visibility and recognition to Minnesota artists. Their labors have clearly paid off, as the Twin Cities art scene continues to thrive. Relive or discover this important moment in local history through The Studio Sessions. Related programming will feature some of the central figures in the photographs.
The exhibition features 34 photographs by Victor Bloomfield. 30 of these picture Minnesota artists, all of whom will have a representative work of art in the exhibition, for a total of 64 pieces. 9 of the artworks are drawn from MMAA’s collection. The rest are on loan from artists or collectors.

 

WARM - A Feminist Art Collective in Minnesota
By Joanna Inglot
Published 2007
Harriet Bart is featured in this first comprehensive history of Minnesota's most influential feminist arts organization. 
 
In 1976, the Women’s Art Registry of Minnesota opened a gallery in downtown Minneapolis—and introduced the Twin Cities to a feminist approach to art. WARM was a significant presence both nationally and locally, offering educational workshops, a mentoring program, and an alternative exhibit space for Minnesota women artists. Its longevity and success rivaled those of feminist art collectives in New York, Los Angeles, and Chicago, and renowned artists and critics such as Harriet Bart, Miriam Schapiro, Judy Chicago, Harmony Hammond, and Lucy Lippard participated in WARM’s programs and exhibits.
 
WARM, the first history of this important group, includes an essay that places WARM within the national feminist art movement. Twelve Minnesota artists are featured, representative of the more than one hundred women who belonged to the organization and worked in a variety of art media, including painting, sculpture, printmaking, photography, textiles, graphic design, and installation art.
 
Distributed for the Weisman Art Museum 
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