WRAP turns 80 in 2020!
As the WRAP program celebrates its 80th year, our office is looking back to move forward. Below are three initiatives from 2019, a progress report on what we accomplished, and our plan for continued work toward these goals in 2020 and beyond.
After a successful State Day, WRAP looks forward to growing in 2020.
| 1. Build capacity for more participants to attend WRAP workshops and State Day, spread awareness of this rich and historic program, and work to diversify participants.
Like us on Facebook and share arts news you find interesting. Word-of-mouth communication is our most effective form of outreach! | 2. Support regional coordinators with changes to the WRAP website to navigate how the toolkit can be best utilized.
3. Create avenues to make the WRAP permanent collection more visible. (Many of the artworks are currently on view in the Continuing Studies building on the UW–Madison campus.)
Read more >> https://www.wisconsinregionalarts.org/ |
| Fundraising for the Future The Wisconsin Regional Art Program (WRAP) has formed a tradition of artistry, community, and personal growth for 80 years, touching the lives of thousands of Wisconsin artists. This was apparent in September, when the WRAP and Wisconsin Regional Artist Association (WRAA) community celebrated the 2019 Art Exhibition and State Day Conference at the Pyle Center in Madison. We hope this annual event serves as a reminder that it is the generosity, volunteerism, and loyalty of Wisconsin artists who create “art for the sake of art” that have kept this program going for 80 years strong. I kindly ask you to consider both WRAP and WRAA in your giving plans to ensure the future of this important program and help us move forward into the next 80 years. Donate to WRAP Donate to WRAA |  With your donation, WRAP and WRAA can put on events like this Art Exhibition and State Day Conference. |
 | Meet Our Student Assistant – Morgan HealeyMy name is Morgan Healey and I am a junior at UW-Madison. I joined WRAP in Fall of 2019 as a service learning student, and this semester I am excited to start my new position as a student assistant with WRAP! I will continue to work with the permanent collection, but will assist in social media and communicating with WRAP coordinators. In my free time, I like to be involved in my honor society, dance, and watch The Office. Here at UW I am majoring in Community and Nonprofit Leadership and obtaining certificates in Entrepreneurship and Business. |
WRAP Permanent Collection Feature: Clarence Boyce Monegar
Clarence Boyce Monegar never gave up on his passion to pursue art despite the many obstacles that crossed his path. Monegar was a Native American man born in Wittenberg, Shawano County, on April 10, 1910. His family viewed a career in art as an unreliable source of income. His father discouraged his passion for art and urged him to help provide for the family. Although Monegar’s career in art was not taken seriously by his family, his mother tried to support him when she could. She herself was a lover of art and enjoyed craft.
Monegar found more support for his art at school. For three years he was a student at Parochial Indian School. It was here that his talent was first recognized by the Reverend T. M. Rykken. From there he was sent to Tomah Indian School to advance his skills. Although he was very talented, Monegar was unable to finish school.
Already living in extreme poverty, his family was in dire need of his help after his father’s death. Monegar left high school to provide for his family. During this time, he took a step away from art but always kept his dream in the back of his mind.
After a few years of working miscellaneous, uninspiring jobs, Monegar was itching for more—a life filled with excitement and wonder. He decided to run away with the circus. The next six months of his life were spent pursuing this adventure until he “got the circus out of his system.” Monegar returned home and made a living painting signs. He settled down and married Emma Stacy. She was part of an affluent family that encouraged Monegar’s art. However, this stable life did not last long. His wife became ill and everything spiraled downward. After her passing, Monegar was unable to provide for his four children and was thrown in jail.
He managed to make the best out of his situation, throwing himself into his art. He spent his days in his cell drawing highly detailed wildlife from memory. Art saved his life. The Clark Country did not want his talent to go unnoticed so they allowed Monegar to be released on parole. They drove him straight to John Steuart Curry, founder of the WRAP program, so that his talent would be recognized. Curry was extremely impressed with Monegar’s precision and unique painting style. This encouragement was the very thing Monegar needed to propel him forward into his art career. Although a talented artist his entire life, Monegar truly began to thrive when he saw something in himself.
From there his art career flourished. He became a recognized member of the rural artist community and was able to partially support his family by painting— something he had only previously dreamed of. He showed and sold pieces in the next Rural Art Exhibit and continued to improve his craft. The rest of his years were spent between odd jobs and creating art. He remarried, had more children, and decided to take a few classes at the Chicago Art Institute. Monegar was successful because he never gave up on his dreams. Despite his various hardships in life, he never abandoned his family or his art.
Monegar found more support for his art at school. For three years he was a student at Parochial Indian School. It was here that his talent was first recognized by the Reverend T. M. Rykken. From there he was sent to Tomah Indian School to advance his skills. Although he was very talented, Monegar was unable to finish school.
Already living in extreme poverty, his family was in dire need of his help after his father’s death. Monegar left high school to provide for his family. During this time, he took a step away from art but always kept his dream in the back of his mind.
After a few years of working miscellaneous, uninspiring jobs, Monegar was itching for more—a life filled with excitement and wonder. He decided to run away with the circus. The next six months of his life were spent pursuing this adventure until he “got the circus out of his system.” Monegar returned home and made a living painting signs. He settled down and married Emma Stacy. She was part of an affluent family that encouraged Monegar’s art. However, this stable life did not last long. His wife became ill and everything spiraled downward. After her passing, Monegar was unable to provide for his four children and was thrown in jail.
He managed to make the best out of his situation, throwing himself into his art. He spent his days in his cell drawing highly detailed wildlife from memory. Art saved his life. The Clark Country did not want his talent to go unnoticed so they allowed Monegar to be released on parole. They drove him straight to John Steuart Curry, founder of the WRAP program, so that his talent would be recognized. Curry was extremely impressed with Monegar’s precision and unique painting style. This encouragement was the very thing Monegar needed to propel him forward into his art career. Although a talented artist his entire life, Monegar truly began to thrive when he saw something in himself.
From there his art career flourished. He became a recognized member of the rural artist community and was able to partially support his family by painting— something he had only previously dreamed of. He showed and sold pieces in the next Rural Art Exhibit and continued to improve his craft. The rest of his years were spent between odd jobs and creating art. He remarried, had more children, and decided to take a few classes at the Chicago Art Institute. Monegar was successful because he never gave up on his dreams. Despite his various hardships in life, he never abandoned his family or his art.
Interested in Becoming a Regional Coordinator?
Regional Coordinator responsibilities:
WRAP Central provides a Coordinator Toolkit online, sends email updates, and checklists 12, 6, and 2 weeks in advance of your workshop, creates and sends posters and award cards, and does email outreach to libraries local to your WRAP. If you are interested in becoming a WRAP Regional Coordinator, please email wrap@dcs.wisc.edu or angela.johnson@wisc.edu.
- Manage communications between WRAP Central (in Madison) and their Regional WRAP
- Interact with participating artists and help them through the WRAP process
- Find an artist to act as Workshop Facilitator, and find a Juror
- Coordinate the WRAP (choosing entry deadline, art drop-off time and location, exhibition and workshop dates)
- Spread the word locally (word of mouth, emails, distribute posters provided by WRAP Central)
- Report stats back to WRAP Central after your workshop
WRAP Central provides a Coordinator Toolkit online, sends email updates, and checklists 12, 6, and 2 weeks in advance of your workshop, creates and sends posters and award cards, and does email outreach to libraries local to your WRAP. If you are interested in becoming a WRAP Regional Coordinator, please email wrap@dcs.wisc.edu or angela.johnson@wisc.edu.
Reminder of Upcoming WRAPS
| Monroe Online entry and payment due: March 13, 2020 Make check payable to: Monroe Arts Center Artwork due date: Friday or Saturday, March 20, 21, 2020, 10 a.m-5 p.m. (2 piece limit) Workshop date: Saturday, April 18, 2020, 9:30a.m.-noon Reception: Friday, March 27, 5 p.m.-7 p.m. Workshop location: Monroe Arts Center, 1315 11th Street Monroe, WI 53566 Coordinator: Ben Riley PO Box 472 Monroe, WI 53566 608-325-5700 briley@monroeartscenter.com or info@monroeartscenter.com |  Dorothy Proksch, Turn of the Century Kitchen, Oil, WRAP Permanent Collection |
 Ralph Headley, Cape Hatteras Lighthouse, Oil, WRAP Permanent Collection | Norway Online entry and payment due: March 17, 2020 Make check payable to: Mark Yanny Artwork due date: Saturday April 4, 2020, 9a.m-10:30a.m. (2 piece limit) Workshop date: Saturday April 25, 2020, 9:30a.m.-3:30p.m Workshop location: Norway Municipal Building, 6419 Heg Park Road, Wind Lake, WI 53185 Coordinator: Mark Yanny, 414-399-3009, myanny@mac.com |
| Waukesha/Oconomowoc Online entry and payment due: March 28, 2020 Make check payable to: WCAL. Mail to coordinator or bring to art drop off. Artwork due date: Saturday April 11, 2020, 10-11a.m. (3 piece limit) Workshop date: Saturday May 23, 2020, 9a.m.-3p.m. Workshop location: Oconomowoc Art Center, 641 E. Forest St., Oconomowoc, WI 53066 Coordinator: Jan Wood S63 W14860 Garden Terrace, Muskego, WI 53150 414-315-1190 jnesswood@gmail.com |  John Brann, Ice Banks, Oil on Board, WRAP Permanent Collection |
Follow this link to find information regarding all upcoming WRAP Exhibitions!
https://continuingstudies.wisc.edu/conferences/wisconsin-regional-art-program/wrap-schedule/
https://continuingstudies.wisc.edu/conferences/wisconsin-regional-art-program/wrap-schedule/
Contact Us!
Questions? Reach the team by email at wrap@dcs.wisc.edu or by phone at (608) 262-4911
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