Our brilliant curators are in & online.
Corine Wegener: Come on! Somebody ask us some questions!
Exhibitsmith: But I don’t have a question! Thank you for all you do. I can’t wait for my next visit.
Benny C.: Could it be of any interest exhibiting a Swedish photo exhibition at your museum?
Matthew Welch: Benny, our Photography curators aren’t in at the moment. However, I’m happy to follow-up with them. Do you know of a Swedish photo show that is circulating?
Benny C.: Matthew, yes there is one and its on its way yo New York, to be exhibited the 10th of March-31st of March, here is the website for more information: http://skattebetalarnasliv.eu/
Liz Armstrong: I’m in NYC right now looking at Swedish photography, along with a multiplicity of other international still and moving images… Currently at the Museum of the Moving Image, and on our wayuptown to the Armory Show — looking to bring great international art to Minneapolis.
Benny C.: Sounds really interesting, if you are still in New York the 10th of March, you could check this Swedish photographic exhibition http://skattebetalarnasliv.eu/
Best regards Benny
Stephanie X.: I’d be curious to hear the curators’ top three favorite pieces in the museum.
It would also be cool to know more about what the strengths of the MIA’s collection.
Oh, and are you going to continue showing contemporary art alongside non-contemporary work.
Erika Holmquist-Wall: My top three change weekly, if not daily! It depends on my mood, and what I happen to be researching at the moment. Currently, I’m a little bit in love with Ernst Ludwig Kirchner’s Modern Bohemia, the Gabriel Metsu, and of course, the current loan exhibition of “The Mourners”!
Corine Wegener: My top three favorites (this week) are the Paul Revere tea service, the Coaci Ink Stand and the Doryphoros.
Carissa G.: I love the Revere tea service, too. It’s amazing how modern especially the teapot and the caddy look, even after 225-odd years. -cg
Kim M.: Do you ever do studio visits, and if so, how is that arranged?
Jennifer Komar Olivarez: Are you talking about taking groups to visit artists? Or curators visiting you if you are an artist? We do some of both.
Christopher Atkins: Once artists have been selected for their MAEP exhibitions I do studio visits with them over the span of the year to check in on their work and also talk about their brochure essays. They’re always a lot of fun, that’s where we can see the show coming together. I also do critiques with local college students on the invitation from teachers. Other than that, I don’t do house calls
Kim M.: I suspected as much, considering that contemporary work represents such a small portion of what you do. Thanks. One other question, if I may: do you all have any interest in expanding your postwar and contemporary work? It seems like there’s a fair amount of territory that the Walker and Weisman don’t cover. Thank you!
Jennifer Komar Olivarez: Kim, we also collect contemporary decorative arts on a regular basis. Just last year we acquired several examples of postwar and contemporary design that will be featured in an upcoming exhibition here in May. We show contemporary craft in dedicated galleries, and the special exhibition “The Experiment Continues” will we hope bring more attention to wonderful pieces in postwar design.
Christopher Atkins: KM: yes, our curator of contemporary art Liz Armstrong is working hard on adding works to our collection. Many of the works in our recent “Until Now” exhibition are now part of our permanent collection and in the galleries.
Kim M.: I love what you’ve been doing in dec arts lately-sorry for overlooking them.
Kim M.: I don’t mean to be flip, but why is it “wood art”? And why is Ruth Duckworth’s porcelain relief in dec arts? Why should medium trump content? No one calls paintings “canvas art.” I don’t mind the term “decorative arts” or “craft,” but if the work is ultimately about content, it should just be called art, regardless of medium. I should strike that–too much to ask for you all, esp. on Facebook.
Jennifer Komar Olivarez: Kim, these are many issues that artists and museums are thinking about now. Just to clarify, we call it “wood art” as an evolution to the category of “turned wood” because the artists are not necessarily focused on the use of a lathe–the e…xhibition coming up will highlight many other techniques used to turn wood into art, like carving, piercing, polychrome, etc. I suppose it could be called “wood”, like ceramics. I think you’ll find that artists in these areas call themselves different things, from fiber artists to weavers to ceramic arts to potters. Because craft started out with a focus on function (i.e. decorative arts), we continue to show craft mainly as part of that evolution, even though much of it is no longer functional. But that does not mean that the Ruth Duckworth mural could not be shown in a larger art context, for example. We try to tell the story in various ways, and focus on the many qualities of an artwork in our interpretation—for example, the head of Viola Frey by Robert Arneson that is part of our current “Face to Face” exhibition on three-dimensional portraiture in G240. (whew!)
Sage D.: I’d like to know what experiences you had before becoming a curator, such as how you worked your way up. I’m planning on going to college to become one, and I’d like to know if you have any tips or experiences that you’d like to share.
Alicia D.: I second Sage’s question. I just turned in my MA thesis in ancient cultural history and would love to know how to become a museum professional. Is a museum studies MA necessary?
Erika Holmquist-Wall: Hi Alicia – it depends on your chosen area, whether you are going into curatorial work or registrarial work. A museum studies degree is excellent for registration, while an art history degree is more necessary for curatorial work.
Also, internships, internships, internships! Volunteering, networking, getting involved with affinity groups for the different curatorial departments, and informational interviews are all great ways of getting yourself on track to a museum career.
Christopher Atkins: Sage, I orbitted around my job for a while, working at non-profit spaces, getting my education, writing, volunteering, and doing lots of internships. If you’re planning on going to school there are many more curatorial programs being offered these days. It would be important to ask yourself a few questions: whether you’re going to school to position yourself for a specific job, to work on a specific project (research or exhibition), or both.
Sage D.: Thank you! Does MIA offer internships? I go to all the extra exhibits and I would love to someday work for you guys. By the way the Titian exhibit was incredible. I fell in love with Venus Anadyomene and never wanted to leave.
Minneapolis Institute of Arts: Hi Sage! You just missed our internship deadline for this summer (it was March 1), but all of our info can be found: http://www.artsmia.org/index.php?section_id=51
Christopher Atkins: SD: yes, you can contact the museum about internships. Here’s the link http://artsmia.org/index.php?section_id=51
So glad you liked the show, we’re really appreciate your response. Come back again soon!
Katie M.: When you loan works of arts to/from other museums, how do they travel? Trains, planes, automobiles?
Sue Canterbury: All except cars. It all depends on the geographic challenges of where the borrowing institution is and the kind of planes that fly there.
Erika Holmquist-Wall: All three! Through rain, sleet and snow.
Christopher Atkins: …and dark of night!
Jennifer Komar Olivarez: And very well protected!
Curt L.: Hello curators — a recent MAEP panel discussion touched on this question, but I’m curious what the arbiters of the MIA collection have to say!
What is the role of graphic design in the collections? Are works of graphic design (posters, mass communications, typography, even advertising or commercials) collected among the various fine …arts collections? This may have most relevance in regards to the new contemporary initiatives, but is the historical trajectory of graphic design addressed in the broader fields of, say, prints, or decorative arts, or industrial design?
Jennifer Komar Olivarez : Definitely, Curt, with regard to design. Our Modernism collection of design was built with a component of posters. We also consider type and graphic design a component of contemporary design. I was just at MoMA last week and they were working on an installation of type design that they recently acquired, as part of modern design in the larger sense.
Liz Armstrong: I should let a colleague from other historical departments also respond, and I know the MIA does have excellent examples of modernist posters and graphic design among its holdings. So many contemporary artists incorporate advertising and gr…aphic design into their work, and so many others are active as graphic designers. I’m thinking about a stunning work from the 1960s by Raymond Hains made of old posters that’s on view in a special exhibition on the third floor at the MIA right now titled “Two Faces of the Modern: Maverix ReMix.”
The recent exhibition that traveled around the U.S. a couple of years ago, titled “Beautiful Losers,” focused on the overlaps and fluidity between these different forms, specifically looking at artists involved in skater culture… The distinctions are no longer very important, in my mind.
Thomas Rassieur: In Prints & Drawings, we have a substantial collection of graphic design–from bookplates to posters. In some areas the collection is rich, for instance World War I posters. With regard to typography, we have a large collection books rangin…g from the 15th century to the present, including some of the great landmarks. For instance the Hypneurotomachia Polifili (Venice, 1498) is now on view in the Venice on Paper show. Also, The Nuremburg Chronicle (1492) is now on view in Bad to the Bone: Prints from the grip of Death. We have a formidable collection of French artists’ books from the late 19th an early 20th centuries. We recently acquired two awesome modernist books, Leger’s Fin du Monde and Iliazd’s Lidantiu faram (1923)–two amazingly experimental works. come see them!!! CALL 612-870-3105 for an appointment. We love having visitors!
Curt L.: Thanks all for your answers! Jennifer — the MoMA collection is what first spurred my interest in this topic, I’ve read quite a bit of MoMA curator Paula Antonelli’s work and I know she is heavily invested in expanding the collection beyond… posters, to actual design case studies: typefaces, logos/branding, designed objects… That’s the history that fascinates me — and would love to see here at home! The current Paul Rand show at the CVA Gallery is a step in the right direction, but would love to see a substantial show with more art historical context.
Carissa G.: I’m really excited to come to see the Titians in March. I saw a wonderful Titian at the Gardner museum in Boston. Give us some Titian talk, please . . . -cg
Rachel McGarry: Well the centerpiece of the show are the extraordinary “Baths of Diana;” two paintings Titian executed for Philip II in 1559. You can stand in front of these for hours!!! They are stunning, unforgettable masterpieces…But there are many other treasures in the show….my other favorite works, Jacopo Bassano’s sumptuous Adoration of the Magi, Palma Vecchio’s intimate self-portrait drawing and Battista Franco’s stunning chalk figure study.
Oops, I meant “centerpieces” of the show–sorry for the grammatical error..
Jennifer Komar Olivarez: I second the Bassano, the colors and composition warrant a really significant study–they are very compelling and you won’t believe the colors!
Patrick Noon: The Boston picture is one of six poesie painted for Philip II of Spain, and while quite beautiful pales a bit by comparison with the pendant Diana pictures, also from the poesie series, which are in our exhibition.
Marianne C.: I thoroughly enjoyed seeing the Bassano, especially accompanied by curator Patrick Noon – you can read/see the results of that conversation here: http://ht.ly/3WOFH
Thomas Rassieur: If you want TITIAN TALK, you are in luck!!! Tonight, Steven Ostrow, Chair of the Dept. of Art History at the U. will speak on Titian’s mythological tragi-comedies! AND on Saturday at 2 PM, Aidan Weston-Lewis, Curator of Italian and Spanish Art at the National Gallery of Scotland will be here to talk about Titian as a draftsman. Come hear these experts share their knowledge!
Carissa G.: Ah! So Mrs. Gardner’s Europa is considered in the same family of paintings as the Dianas. (Poesie is a new term to me regarding art.) Thanks, also, for the discussion of the Basano; I will make a point of spending time with it, too. -cg
Mr. Rassieur, I wish I could. I’m in North Dakota. I’ll be making a special trip in a couple of weeks, though, weather-permitting. -cg
Fiona Q.: What is best place to get torn oil painting canvas restored. Do you do your own repairs at the Institute if you accidentally damage a work?
Erika Holmquist-Wall: Hi Fiona! We rely on the wonderful folks at MACC (Midwest Art Conservation Center), which is housed in the MIA. Check them out at www.preserveart.org
Corine Wegener: Also, to learn more about conservation, go to http://www.conservation-us.org/
Thomas Rassieur: We also have a wonderful security staff that helps to prevent accidents. Yay guards!!!
Paige D.: Hi! How important has a PhD program been for your career path? Would you say it essential to becoming a curator or director?
Sue Canterbury: I didn’t go the PhD route but rather a 2-year terminal MIA at the Graduate Program for Art History at Williams College. Graduates of that program have a high success rate of finding positions in the museum industry.
Patrick Noon: I have a Masters Degree in Art History from the other U of M, but I would encourage anyone interested in this profession to pursue as advanced a degree as possible while making certain to combine that with experience working in a museum, even if it is only volunteer work.
David Little: I went the PhD path. Great curators and directors come from all types of backgrounds with an MA being more essential than a PhD. But PhD process is hard match via experience. If you want to work in the academy, a PhD is more essential.
Paige D.: I am glad that I have had the role models here at MIA to see what works and learn of your paths. Ive had the chance to gain experience with you and soon starting the next degree..!
Rachel McGarry: One great thing about going the PhD route is that there are wonderful travel grants and fellowship opportunities that bring you around the world to see lots and lots of art. That is certainly vital for any future curator or director.
Paige D.: Yes! I saw a fellowship I just haaad to have but didnt have the PhD…then I saw a job I had to have but didnt have the PhD…so I am changing that!
Thomas Rassieur: The program, yes. The degree itself, maybe not. I went to grad school to broaden and deepen my knowledge. I wound up in a wonderful international community of scholars who have become good friends and greatly enriched my life. These days, there probably are museums that require curators that have PhDs, but others want to know if you know your field and can do the job.
Paige D.: There are so many options.. at times it is hard to know what is right or how to invest time or resources… I am grateful for so many options but hope to make the right choices!
Thank you especially for this conversation! If any of you would be willing to advise me further on this I would be so grateful!
Paige D.: Do you think museums are doing a good enough job keeping up with digital innovations and museum media? …Or designing in 2011 with 2008 ideas and technology?
Sue Canterbury: That depends on the definition of “enough.” Everyone is doing more but, enuf?
Paige D.: Hmmm… I just returned from the new Jewish Museum in Philly and their media interactives are pretty progressive… Amazing thematic exhibitions with participatory learning for all ages. Although we are different, an amazing encyclopedic art museum, are we “up-to-date” with what the visitor wants?
Jennifer Komar Olivarez: I guess it also depends on your museum’s priorities and resources. You can’t do everything at once, so we’ve been introducing things fairly slow and steady. Museums should ask themselves: Should innovation take a front seat with other approaches? I myself don’t want to lose sight of the artwork–it should be a complementary approach.
Erika Holmquist-Wall: Hi Paige – I think we’re trying! There’s a lot of great ideas in the hopper, and plenty of us are eager to try things out.
Paige D.: Agreed! I think that media must be used to enhance to object or the destination museum. However- how wonderful that it can provide the accessibility- even in the hand- gallery- or in the learning field for further enhanced opportunities!!
Yes Erika! I am excited about the context of how we do use media at MIA– I am super eager to hear & experience future innovations!!
Rachel McGarry: I think technology presents so many amazing opportunities for museums to illuminate and interpret the permanent collection, but it is a matter of resources. We have over 84,000 works of art to care for, conserve, protect…that requires a lot of time and money.
Matthew Welch: Wow, Paige, that’s a really good question. I think many museums (not all, for sure) are doing really innovative stuff with up-to-date technology, but the fact of the matter is that funding is always an issue. While we won’t ever be Pixar, I still think that we can do amazing things within our resources.
Paige D.: Agreed! One example: it really takes very little to create cool iPhone apps with GPS & Augmented Reality as a template and then just slot in context. Very affordable!
Lee Z.: There is a photograph at the top of the stairs of the interior of a german cathedral. Is that the same cathedral as a painting in your impressionist (no black was used) or Modern area? Sorry I can’t remember the name of the painting.
Sue Canterbury: I think you”re thinking of Cologne Cathedral which appears in Oscar Kokoscha’s painting and that great photograph (sorry I don’t know the name of that artist).
Liz Armstrong: Good eye/good memory, Lee: That photograph is by Thomas Struth and it is of the very same cathedral in Cologne, Germany, that Oskar Kokoschka painted in the early 20th century, which is indeed in our collection. We would love to show them together sometime….
Lee Z.: yes that is the painting
Sue Canterbury: P.S.: The photo is by Thomas Struth,
Lee Z.: Thank you
Brian K.: Do you think Social Media is good or bad for art? Do you think it can help unknown artists make a name for themselves?
David Little: It’s a start, but having a curator or dealer see the work is key.
Michael D.: It’s a waste of time, for everyone, not just artists; but we all need to waste time in the interest of keeping sane.
Corine Wegener: I think it can only be good! It gives people who might never meet a common ground to discuss ideas and works of art.
Jennifer Komar Olivarez: I think it is a great way to expose our collection, especially to those who may not otherwise come in contact with it, or to bring attention to what is going on at the museum, art- or event-wise, in a more informal way than on our regular website. Whatever we can do to make our collection more accessible is good for art (I hope you also know we’re free!).
Paper Darts Magazine: For the artists our magazine publishes, social media is a critical component to promoting their work. Recently, a haiku posted on our Facebook page got over 200 “likes”–can’t say that’s not good. There is a thriving artistic ecosystem online and to be missing that arena would be a shame.
Christopher Atkins: BK: I think that social media is a good thing. But one of the important things to remember is that it has to be social. If an artist is using it to just push info, without any interaction, you might as well send postcards. But if you use it to reach out and connect with your friends, fans, and possible fans/friends, it helps a lot.
Heather G.: Is anyone having a discussion on Facebook going to say social media is bad? Other than the “waste of time” comment that is.
Jo V.W.: Fact: Because art is expression of life and Social Media is part of our lives…the good or bad question is irrelevant…it simply becomes woven into our culture like everything else past, present and future.
Good or bad is a judgement.
Noah H.: I use social media for my Mark Rothko Southwest History Project. This is the unreported story of Rothko’s experiences with American Indians. Facebook has made the project a huge success.
Angela M.J.: yes, I personally have made sales I would not have without the facebook!
Jaanus Lee D.: It has helped me in that it made local art much more accessible
Juli N.: Would MIA showcase my work… certainly not! The art community doesn’t have a level playing field… However on Social Networks everyone’s work is on display. Lets not forget the exposure to other artists works, it’s a grand opportunity fo…r all of us to grow & evolve to become even better artists! I don’t believe it is going to sell my work, but I believe in the networking aspect of it, I expect to develope new relationships and to grow from the exposure to beautiful works of art.
Everything is headed to the net… I believe one day brick & mortar art museums, art galleries will become extinct. Instead people will view everything online.
Perhaps the question should have been how long before art institutions like yourselves are replaced by online entities.
Vicky P.: I think Social Media can definitely help , especially young artists or artists who do not live in more marginal locations . Nevertheless, these artists do remain fairly questionable by the majority of people. The use of Social media to promote oneself, is still something new and therefore raises questions about the seriousness and quality of these people’s work.
Brian K.: Wow! Thanks for all of the great responses. I posed the question knowing that while some artists might embrace social media as a platform for expression and exposure (one that “levels the playing field” for all artists), others might snub their nose at being discovered on such a medium.
Bruce R.: What is the oldest object that the MIA has in its collection?
Matthew Welch: Hey, Bruce. Our oldest object is a small stone carving of a fertility figure from Paleolithic France (ca. 20,000 BC). It’s on view in gallery 236.
Bruce R.: Thanks!
Curt L.: Joe, are you on today? If not, perhaps Liz might have some suggestions? I was in AZ over Christmas, and in Mesa visited an extraordinary (though small) show of contemporary Native American work, which included two Minnesotans, Julie Buffalohead and Star Wallowing Bull, whose work I had not seen before. Where are the best places (local/regional) to see and get to know our contemporary Native artists? I can’t believe I had to go all the way to Mesa AZ to “meet” these two.
Courtney M.: I would also like to know this. Thanks, Curt!
Christopher Atkins: CL: obviously, we have a fantastic collection of Native American art that includes contemporary pieces as well. You can also visit Bockley Gallery by Lake of the Isles and All My Relations gallery just opened up on Franklin Avenue. Both are great resources for contemporary Native American art.
Joe Horse Capture: There are two galleries in Minneapolis that feature work of Native American artists. Bockley Gallery had a show of Julie’s work a couple of months ago. All My Relations Gallery now has an exhibition of Star’s father’s work, Frank Big Bear.
Curt L.: I love All My Relations, but hadn’t heard of Bockley. Will definitely check it out. Thanks Christopher and Joe!
Joe Horse Capture: Both galleries play an important role for contemp. Native American art in our community. Of course, don’t forget the works we have at the MIA!
Paige D.: Do you think MIA tells the story of the people who live in this community? That it represents a community as well as a global voice?
Frank G.: No and not the bigger story either
Paige D.: Agreed. Who’s story is missing…and what does the bigger picture look like? Is that part of this institutions mission or strategy? However I believe no institution can tell all people’s story if if they tried!
Matthew Welch: We do what we can. Jan-Lodewijk Grootaers, our curator of African art is working hard to acquire works from east Africa to better our reflect that growing segment. And we also have a sizable collection of ethnic Chinese textiles that will be featured in a future exhibition. However, the vast majority of the MIAs collection, and the collections of other museums, are the result of the collecting interests of private individuals who ultimate donate them.
Paige D.: I understand. Thank is how I see a “collecting community” is formed.
Curt L.: A question every institution in the Cities faces, once they get beyond a certain size or notoriety! I think the MAEP is critical to that, but (also relevant to my previous post about local Native artists) I know we’d all love to see local (established AND emerging) artists get more opportunities to show work and share perspective, incorporated into the museum’s broader mission, not just segregated to MAEP…
Joe Horse Capture: We have also included the voice of many local Native Americans in our most recent Native American art exhibition, The Thaw Collection.
Thomas Rassieur: Whoah, Frank! I think few encyclopedic museums can match the MIA’s strengths in global and community representation. We have incredibly diverse collections of international significance as well as an exhibition program devoted to regional art. We also have many works of art by area artists in our collections. While we always try to improve the museum, we can rightfully be proud of the MIA as a universal AND community museum.
Paige D.: And how wonderful that the MIA had the Judaica Gallery!! That is not seen in most encyclopedic museums– why not??? How may institutions look at the works they have on more then one context?? I sure am proud of it!!
Christopher Atkins: CL: considering the MIA is the only encyclopedic museum in the country with a program of this kind, I think that ‘segregated to MAEP’ isn’t the right term. In fact, it’s a program that is a unique opportunity to work directly with MIA curatorial and installation staff, not to mention enjoy the exposure to a wide base of audiences, and 2000sq ft. of gallery spaces.
Paige D.: Yea! Wow! No other museums even have this opportunity?? I remember a history of amazing MAEP exhibitions but no recollections of other examples in other institutions..Chris how could no other museums take such a relevant program and not adapt it for their needs??– Crazy!
Curt L.: Chris — yes, poor choice of word on my part. What I meant by that was, a stronger presence among the entirety of the collections, versus a larger presentation of a smaller number of higher-profile artists like what happens in the MAEP galleries. But both are essential, and admirable!
Curt L.: Paige — I know the MFA Boston has a space (I hesitate to call it a “gallery”, it’s more an awkward stairwell atrium) which they program rotating installations of local artists, but it’s certainly no match in scope to the MAEP.
Paige D.: Yea, we sure have a great museum!! I will be sure to see MFA Boston’s if I visit, thank you!!
Paige D.: I know everybody LOVES the museum!! However, every institution or museum handles some measures of visitor discontent… How do you address that?
Thomas Rassieur: Paige, did you think those firearms in the gallery are just for show?
Paige D.: Hahaha!!
Corine Wegener: Sorry, Tom, the guns are demilitarized and are works of art only!
Jennifer Komar Olivarez: Paige, the visitor comments are addressed systematically. We do take all the feedback seriously and if departments are named and a request for follow-up is made, we contact the visitor who had a comment or issue. I for one like to have the feedback to make improvements wherever we can. (BTW, the firearms are not loaded!)
We also have been doing some cross-departmental visitor service training to give everyone, from volunteers at the visitor desk to gallery guards, the same tools to do our best for visitors!
Paige D.: That is great! It seems that the institution is going what it can to provide opportunities for communication & personalization.
Jennifer Komar Olivarez: I think we have made great strides in getting everyone on the same visitor service page even in the last couple of years…it just requires a concerted effort.
Paige D.: I’ve been a happy visitor since I’ve been 3 years old– I still remember trying to find the September Tapestry when I was young… !! Thanks MIA for such a fun The Curators Are In!!!
Ashlee J.: What I tried to say in very few characters on Twitter was basically — how do the curators/designers/planners approach the challenges that contemporary art presents, both in installation and in reception by viewers? Is it possible or desirable to guide the viewer through an exhibition in order to convey a specific message or theme?
Thomas Rassieur: Good question. MoMA struggled with that for years. They used to have a maze-like gallery that led visitors through “the progress of modern art.” Eventually, they acknowledged that history didn’t go that way; so, they broke up the maze so that one could get a better sense of the diverse interactions and cross-fertilization that occurred over time.
Minneapolis Institute of Arts: Last call for questions to our curators!
Thor E.: where’s the bathroom?
Eric K.: has anyone asked them how magnets work?
Sue Canterbury: Just please don’t send me any questions about math! (Art historians are notoriously hopeless with math. I know of only one who is a whiz. There’s a worldwide search for another!)
Kim M.: Thank you all so much for being so generous with your time and responses.
Benny C.: yes what about this Swedish photographic exhibioton: http://skattebetalarnasliv.eu/
could it be of any interest?
Minneapolis Institute of Arts: Eric, I’m sure you can join a Facebook fan page for ICP…or wait, they don’t know the answer to that question!
Matthew L.: Can I have a show? Hey, it was worth a shot.
Erika Holmquist-Wall: Thanks, all! See you next time!
Jennifer Komar Olivarez: It’s been our pleasure!
Thomas Rassieur: Magnets work well, really well.
Dillon Doodle Bakke: can they offer me a residency?
Brad L.: Great sense of humor by all — well done!
Rachel McGarry: Signing off. See you next month.
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