The Genesis of the Exit Gallery: From Coat Closet to ASMSU Cultural Hub
The summer of 1976 marked the unassuming beginning of what would become the Exit Gallery. Its initial incarnation was far from glamorous: a mere coat closet situated directly across the aisle from the grand Student Union Building Ballroom, known as the Strand Union Building, and conveniently located beside an outdoor exit. This humble two-door facility, equipped with large racks for coats and hats, served its purpose as a formal coat check, complete with a reciprocal numbered tag system. However, its utility had waned, and the space was rapidly evolving into what could be described as a "space dinosaur"—a relic of an era past. Years later, a significant renovation and expansion of the SUB in 2008 would alter its immediate proximity to the building's exit, but its legacy as the "Exit Gallery" endured.
ASMSU's Diverse Committees and a Dormant Arts Program:
Yet, amidst this flurry of activity, one particular program remained funded but stubbornly dormant: the Arts and Exhibits Committee. This inactivity caught the attention of Beau Bradley, the incoming Student Body President for the 1976-77 academic year. Bradley, a highly engaged figure in student government and a frequent presence in the SUB, was determined to either invigorate this committee or advocate for its dissolution by the Student Senate. Serendipitously, he encountered Dusty Dunbar, an art major who was equally active within the student community, particularly through her involvement with the student-run radio station, KGLT. A pivotal conversation ensued, during which Bradley directly posed the question to Dunbar: did she know of anyone capable of breathing life into the dormant Arts and Exhibits Committee?
Poetry Reading and Art Talk
Announced by the MSU Exponent (College Newspaper)
During the 1970s, the Associated Students of Montana State University (ASMSU) boasted a vibrant array of committees, all student-run with the guidance of academic advisors. These initiatives were financially supported by the students and run by the Student Senate, and day-to-day oversight Student Body Treasurer and President. The scope of these programs was broad, encompassing everything from contemporary entertainment, including electrifying rock and country concerts held in the fieldhouse, to captivating performing arts events, insightful lectures by renowned authors, and an engaging film series.Yet, amidst this flurry of activity, one particular program remained funded but stubbornly dormant: the Arts and Exhibits Committee. This inactivity caught the attention of Beau Bradley, the incoming Student Body President for the 1976-77 academic year. Bradley, a highly engaged figure in student government and a frequent presence in the SUB, was determined to either invigorate this committee or advocate for its dissolution by the Student Senate. Serendipitously, he encountered Dusty Dunbar, an art major who was equally active within the student community, particularly through her involvement with the student-run radio station, KGLT. A pivotal conversation ensued, during which Bradley directly posed the question to Dunbar: did she know of anyone capable of breathing life into the dormant Arts and Exhibits Committee?
The Recruitment of a Leader: Anthony J. Waller
Dusty Dunbar wasted no time in her quest to find a suitable Chairperson for the committee. Her immediate and unequivocal choice was Anthony J. Waller, affectionately known as Tony. Waller, eager to take on the challenge, completed the necessary paperwork and secured an interview with President Bradley. During their discussion, Bradley openly expressed his strong preference for western art. Waller, drawing on his upbringing in the rodeo town of Wolf Point, confidently assured Bradley that he possessed a deep understanding and appreciation for his artistic sensibilities. With the leadership secured, a full committee was assembled in the spring of 1976, along with their dedicated Committee Advisor, Edward C. Groenhout, the esteemed Dean of the College of Arts and Architecture.
The committee's inaugural year saw them utilize their initial funding for a couple of significant programs. Dean Groenhout, in particular, championed the idea of the committee hosting "The Ascent of Man" film series. This ambitious undertaking was a 13-part documentary series, brilliantly written and presented by Jacob Bronowski, which meticulously explored the history of science and human development. Produced by the BBC, it was based on Bronowski's book of the same year and had first aired in 1973, making it a timely and intellectually stimulating choice.
In addition to the film series, the committee successfully secured a captivating Smithsonian traveling exhibit on Royal watercolors, which was thoughtfully installed in the university library. Lacking a permanent gallery space at this early stage, the library provided a supervised and secure environment ideal for art display and public viewing.
The Works Progress Administration (WPA) itself was a monumental initiative, created under President Franklin D. Roosevelt’s New Deal program during the challenging 1930s recession. Its primary objective was to provide employment to millions of unemployed Americans. Within this vast program, a crucial sub-division known as the Federal Art Project emerged. This project provided vital employment to thousands of artists, enabling them to create a remarkable body of artworks and prints. Through this visionary program, major institutions across America, including the university, were enriched with these significant works of art for their permanent collections.
Securing the Future: A Pivotal Student Senate Meeting:
As the spring quarter drew to a close, the committee faced a critical juncture: they had to present their case to the Student Senate to secure funding for the upcoming 1977-78 academic year. Waller meticulously prepared the required budget line-items, detailing the necessary amounts to propel the Arts and Exhibit Committee to its next level of operation. The spring meeting of the Student Senate was a packed affair, with numerous pressing issues on the agenda, including the contentious debate over which groups could be recognized as official student organizations. Parts of the agenda, particularly the request from the Gay and Lesbian Group to be officially recognized, were highly controversial for the 1970s.
The Student Senate had already voted down several requests, and as Waller has recounted numerous times, when the agenda item for the Arts and Exhibits Committee's funding finally arrived, "the Student Senate just wanted to say yes to something." The committee representatives from the Arts and Exhibits Committee, overwhelmed with jubilation, walked out of the meeting, whooping and hollering with unrestrained excitement. They had successfully secured the necessary funding to transform the old coat closet into a fully functional gallery. This crucial allocation included funds for homasote wallcovering, a versatile tackable surface, new lighting, wood to construct sculptural stands, and even enough money to engage the University's building management to install the wallcovering and lights professionally. Furthermore, the funding provided for student-aid positions, allowing students to be employed as supervisors for the exhibits displayed within the gallery. This pivotal moment marked the true birth of the Exit Gallery, transforming a forgotten space into a vibrant hub for art and culture on campus.
By the fall quarter of 1977, the gallery was fully established and operational. At this juncture, Waller, having successfully overseen its development, transitioned the Chairmanship of the Arts and Exhibit Committee to Judy Case. Ms. Case subsequently assumed the role of Chairperson for the academic year 1977-78, guiding the committee's initiatives. Waller's leadership trajectory continued within ASMSU, as he progressed to become the ASMSU Program Board Chair. This significant appointment further propelled his career, culminating in his selection as the inaugural intern at the prestigious Kennedy Center for the Performing Arts, a groundbreaking achievement for a student from the northwestern United States.
Nearly 50 years later, the Exit Gallery still continues on and has become a significant cultural hub within the Stand (student) Union Building, attracting a steady stream of visitors and fostering a greater appreciation for the arts on campus. The gallery's success in its early years laid the groundwork for its continued operation and growth as a vital institution for student government and the arts at Montana State University. Its enduring legacy is a testament to the foresight of those who championed its creation and the dedication of the students who brought it to life.
Dusty Dunbar wasted no time in her quest to find a suitable Chairperson for the committee. Her immediate and unequivocal choice was Anthony J. Waller, affectionately known as Tony. Waller, eager to take on the challenge, completed the necessary paperwork and secured an interview with President Bradley. During their discussion, Bradley openly expressed his strong preference for western art. Waller, drawing on his upbringing in the rodeo town of Wolf Point, confidently assured Bradley that he possessed a deep understanding and appreciation for his artistic sensibilities. With the leadership secured, a full committee was assembled in the spring of 1976, along with their dedicated Committee Advisor, Edward C. Groenhout, the esteemed Dean of the College of Arts and Architecture.
The committee's inaugural year saw them utilize their initial funding for a couple of significant programs. Dean Groenhout, in particular, championed the idea of the committee hosting "The Ascent of Man" film series. This ambitious undertaking was a 13-part documentary series, brilliantly written and presented by Jacob Bronowski, which meticulously explored the history of science and human development. Produced by the BBC, it was based on Bronowski's book of the same year and had first aired in 1973, making it a timely and intellectually stimulating choice.
The first annual student exhibit was held in the Student Union Ballroom.
As the early spring of 1977 unfolded, Waller, then enrolled in a Gallery Management class, gained invaluable access to the University’s collection of Works Progress Administration (WPA) prints. This newfound access culminated in an exhibit showcasing major lithographs that were integral to the University’s artistic holdings. The Legacy of the WPA and the Federal Art Project.
The Works Progress Administration (WPA) itself was a monumental initiative, created under President Franklin D. Roosevelt’s New Deal program during the challenging 1930s recession. Its primary objective was to provide employment to millions of unemployed Americans. Within this vast program, a crucial sub-division known as the Federal Art Project emerged. This project provided vital employment to thousands of artists, enabling them to create a remarkable body of artworks and prints. Through this visionary program, major institutions across America, including the university, were enriched with these significant works of art for their permanent collections.
Poster to Announce the Exhibit of the School of Art-MSU's WPA Prints
Securing the Future: A Pivotal Student Senate Meeting:
As the spring quarter drew to a close, the committee faced a critical juncture: they had to present their case to the Student Senate to secure funding for the upcoming 1977-78 academic year. Waller meticulously prepared the required budget line-items, detailing the necessary amounts to propel the Arts and Exhibit Committee to its next level of operation. The spring meeting of the Student Senate was a packed affair, with numerous pressing issues on the agenda, including the contentious debate over which groups could be recognized as official student organizations. Parts of the agenda, particularly the request from the Gay and Lesbian Group to be officially recognized, were highly controversial for the 1970s.
The Student Senate had already voted down several requests, and as Waller has recounted numerous times, when the agenda item for the Arts and Exhibits Committee's funding finally arrived, "the Student Senate just wanted to say yes to something." The committee representatives from the Arts and Exhibits Committee, overwhelmed with jubilation, walked out of the meeting, whooping and hollering with unrestrained excitement. They had successfully secured the necessary funding to transform the old coat closet into a fully functional gallery. This crucial allocation included funds for homasote wallcovering, a versatile tackable surface, new lighting, wood to construct sculptural stands, and even enough money to engage the University's building management to install the wallcovering and lights professionally. Furthermore, the funding provided for student-aid positions, allowing students to be employed as supervisors for the exhibits displayed within the gallery. This pivotal moment marked the true birth of the Exit Gallery, transforming a forgotten space into a vibrant hub for art and culture on campus.
By the fall quarter of 1977, the gallery was fully established and operational. At this juncture, Waller, having successfully overseen its development, transitioned the Chairmanship of the Arts and Exhibit Committee to Judy Case. Ms. Case subsequently assumed the role of Chairperson for the academic year 1977-78, guiding the committee's initiatives. Waller's leadership trajectory continued within ASMSU, as he progressed to become the ASMSU Program Board Chair. This significant appointment further propelled his career, culminating in his selection as the inaugural intern at the prestigious Kennedy Center for the Performing Arts, a groundbreaking achievement for a student from the northwestern United States.
Nearly 50 years later, the Exit Gallery still continues on and has become a significant cultural hub within the Stand (student) Union Building, attracting a steady stream of visitors and fostering a greater appreciation for the arts on campus. The gallery's success in its early years laid the groundwork for its continued operation and growth as a vital institution for student government and the arts at Montana State University. Its enduring legacy is a testament to the foresight of those who championed its creation and the dedication of the students who brought it to life.
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| The First Arts and Exhibit Committee Left to Right: Judy Case, Mark Donnell, Ed Groenhout, Advisor; Dusty Dunbar, Steve Bolton, Jack Fisher, Sue Littell, Tony Waller, Chairman. |
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©2025. Waller-Yoblonsky Fine Art is a research collaborative, working to track artists that got lost and overlooked due to time, changing styles, race, gender and/or sexual orientation. Our frequent blogs highlight artists and art movements that need renewed attention with improved information for the researcher and art collectors. The photos and blog was created by Mr. Waller and all written materials were obtained by the Fair Use Section 107, of The Copyright Act. #Montana State University Exit Gallery #Exit Gallery ASMSU #Exit Gallery Strand Union Building #Exit Gallery history
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