THE CURATOR

SHELLEY HOLZEMER

In the 70’s, Tina Blondell and I became fast friends when she was a young mother and me a recent graduate from college. We maintained our friendship throughout the years despite our geographical locations. I became aware of her artistic talent and painting skill over time that she described as “stolen moments.” This meant she painted late at night when the kids were sleeping and she was free of the responsibility of caring for her children, doing daycare for others and teaching art classes to children.

My respect, interest and understanding of the concept of her work began to grow exponentially. Our lives were entwined with each other’s families and we worked together to accomplish personal and professional goals and needs.

Technically, she is an artist to be recognized as we admire Renaissance masters, in particular, Caravaggio. She attended boarding school in Florence, Italy and was classically trained. But to look at her work from a technical aspect alone completely misses the important statement and opinion of her work. This understanding is what led me to become her collector, artist representative and gallery owner. What I understood is that the work needed to be seen and understood by a larger audience. 

The Temptation Series paintings with the accompanying poetic essays serve as examples of strong women who “broke the rules” for the greater good. Not just for women, but the men in their lives too. It needed exposure. I published a portfolio-style book with reproductions of the paintings and copies of the poetic essays to promote the work. The problem is “Women’s history” is hidden, buried, minimized. Our collective knowledge taught by those who have power.” And so, approaching the 25-year anniversary of publishing the book about the Temptation Series, the time is “ripe” for us to revisit. The exhibit has exhibited in Santa Fe, NM; Saint Cloud University, MN; 1996 Atlanta Olympics; Hennepin County Government Center, and Minneapolis College of Art and Design.

In addition to the historical content and commentary, using acrylic as a fast-drying medium was considered not easy to “blend.” It was an incredible experience to watch the painters at the college stop, look from afar and then go incredibly close to examine the work. At the Government Center

when we were looking to see if everything was hanging well, I actually witnessed two individuals walk into each other while their attention was on the exhibit. The work has inspired me to learn more about these 12 women and to consider my own personal heroines.