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ART
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JUNE 2, 2004
Local
artist Susan Hensel’s story to continue in Minnesota
By HARRY
WILLIAMS
I first met Susan Hensel on campus at Michigan State University while
bundling up bale after bale of fresh hay in sisal twine under the tutelage
of internationally acclaimed sculptors Michael Shaughnessy of Maine
and Caoimhghin O’Fraithile of Ireland. That community-based project
created a snake-like outdoor hay sculpture of gargantuan proportions
that meandered throughout a wooded courtyard near Kresge Art Museum.
![](./City Pulse -Moving to MN ART_files/hensel02.jpg)
Harry Williams/City Pulse |
Susan
Hensel at Beggar’s Banquet in East Lansing. |
Sculpting
in a medium based on the traditional seasonal labors of Irish peasants
is strenuous work that leaves the flesh raw. Gloves in hand, though,
Hensel was there with a smile assisting adults and children in completing
that massive undertaking — just as she always seemed to be wherever
art was happening in Lansing.
Hensel has now closed the book on the Michigan chapter of her life.
An impact player on the local art scene for years, she has moved her
home and studio to Minneapolis to continue a career that has won her
accolades and, more important, many friends. She took a few minutes
before departing to reflect on her past as well as her upcoming adventures.
“Oh, gosh, I will miss the people,” Hensel said. “When
I moved to Lansing, I put my roots down, and it was a very definite
decision. I had not put my roots down before, and I knew I had missed
out.”
Hensel was raised in upstate New York and spent a year in Taiwan in
1962. She also traveled to Hong Kong, Bangkok, New Delhi, Cairo, Athens,
Rome, Frankfort, Stuttgart, Baden, Paris and London before she entered
high school. After briefly attending Cornell University and spending
a summer studying in Perugia, Italy, she enrolled in the University
of Michigan, where she majored in painting and sculpture.
Even after settling in Lansing, Hensel’s life was hardly routine.
She made functional art and ceramics but soon began exploring the possibilities
of handmade paper. Parenthood then limited her production to working
only with clay, and widowhood finally shut down the making of art altogether
for some time. The latter experience, however, eventually opened the
door to drawing, writing and, significantly, papermaking.
By the 1980s, Hensel was traveling again, seriously researching and
studying hand-made paper all around the country. Papermaking lead her
to begin creating original books — objects that would become her
signature medium and allow her to make use of virtually every artistic
skill she’d ever learned. Hensel’s book art is now recognized
nationally, culminating in the recent discovery that her work is featured
in the collection at New York’s Museum of Modern Art.
![](./City Pulse -Moving to MN ART_files/Henselart1.jpg) |
Courtesy
Photo
“Untitled,” from the Readers Art 4 exhibition at the
Lansing Art Gallery earlier this year. |
Her personal
commitment to the Lansing community has been remarkable. She challenged
us to look at art, life and storytelling in unique and often dramatic
ways. Along with Nancy McRay and Leslie Donaldson, Hensel was a co-founder
of the “Art Apartment,” an alternative space that featured
installations and performances that pushed the limits of the often provincial
local art world.
Her breathtakingly claustrophobic 2001 installation, “Kristallnacht:
The Bystanders,” is characteristic of the sort of work that Hensel
meticulously researches and executes. “Kristallnacht” —
a dark interior full of aromatic beeswax, religious iconography, glistening
scissors, piles of salt, disembodied forms of human arms and soiled
textiles containing the handwritten names of virtually every Nazi concentration
and labor camp — assaulted our senses and our psyches, challenging
us to consider what it would have meant to have been tacit participants
in such atrocities. The narrative power of the installation had the
ability to relocate the viewer in place and time and reinforced Hensel’s
reputation as a master storyteller.
“Other aspects of that story had been told in small book arts
pieces that were equally as intense,” she said. “The Kristallnacht
installation was a larger story about how humans do these things and
why these things still happen.”
The controversial significance of it all reverberated through the community
and generated “Kristallnacht: An Evening of Dialogue,” a
panel discussion among artists, community members and local spiritual
leaders.
Despite some successes, however, when Hensel is asked what she will
miss the least about Lansing, her reply was a swift, “The lack
of support for the art community.
“I had a show in New York about three years ago,” she said.
“I hadn’t been to New York City in 30 years and I absolutely
exhausted myself every day at museums and galleries and bookstores.
“I was overwhelmed, of course — and had shin splints, of
course — and when I came home, I cried for three days. What I
was reacting to was leaving a town where culture was so very much at
the surface — and coming back to a state where the commitment
to the arts just isn’t there. I felt like I’d been sentenced
to a black hole, and I said, ‘I don’t think I can live here
anymore.’”
Her selection of Minnesota as the new locale for both her home and her
studio was no accident and, as usual, based on extensive research.
“I am so excited — except for when I’m terrified,”
she said. “I’m moving to a larger city, Minneapolis, which
has a very strong commitment to art in all its forms. Culturally, it’s
part of the fabric of the community. And I was looking for a community
where storytelling was an appropriate focus.
“The building that I live in and work in will become a gallery
similar in some ways to the Art Apartment, but the focus will be on
the narrative in art. That’s a broad enough focus that I will
be able to incorporate book arts, installation, performance, poetry,
story telling — there’s a wonderful network of story tellers
up there — and painting. Whatever I need to do.”
Hensel is always keenly aware of what drives the essence of her work
forward, no matter what form it may take visually.
“Fundamentally, my work is about ‘story,’ and the
story dictates the format,” she said. “Sometimes it’s
a book and sometimes it’s a whole freakin’ room! Sometimes
the intensity is in holding it in your hand, sometimes the intensity
is in walking into it and letting it surround you. The project tells
you.”
Her excitement about the move extends far beyond the typical hopefulness
and anxieties over settling into a new home, setting up her studio,
and making new friends.
“My first project will be to collect community stories and work
with a muralist to (paint) my building,” she explained. “I’m
in a neighborhood that’s still affected by gang activity. Indeed,
I’ve already been tagged with blue and red paint. One of the ways
to combat that kind of vandalism is to have the community involved in
a mural project where stories of this community are told.
“What I foresee is that it all starts in my building and we develop
into a group of people who form a non-profit [organization] and hopefully
grow beyond that into another space. The opportunities for funding from
foundations are very deep in Minnesota, so there are great possibilities
to grow beyond what we were ever able to do with the Art Apartment out
of our own pockets.”
The late Gilda Radner once said “Life is about not knowing, having
to change, taking the moment and making the best of it, without knowing
what’s going to happen next. Delicious ambiguity.”
Despite life’s ambiguities, there is little doubt that the changes
Susan Hensel continues to make will eventually have a real impact on
her new community and its arts scene. After all, she once accomplished
that here, in a place not nearly as sensitive or receptive to the arts.
Lansing’s loss will certainly be Min-neapolis’s gain.
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to respond? Send letters to letters@lansingcitypulse.com.
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our Letters policy.
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