View
229
Download
1
Category
Tags:
Preview:
DESCRIPTION
2005 Autumn Art Auction Catalog
Citation preview
A u t u m n A r t A u c t i o n
N o r t h D a k o t a M u s e u m o f A r t
High Plains Reader
KVLY TV
KXJB TV
Leighton Broadcasting
Merrill Lynch
North Dakota Public Radio
WDAZ TV
The North Dakota Museum of Artis grateful to the following entities
who have given generously to guarantee that
the arts may flourish.
North Dakota Museum of Art
A U T U M N A r t A u c t i o nS at u r d ay , N o v em b e r 1 2 , 2 0 0 5
Wine and hors d’oeuvres 6:30 pm
Auction begins at 8 pm
Autumn Art Auction is
Underwritten by
High Plains Reader
KVLY TV
KXJB TV
Leighton Broadcasting
Merrill Lynch
North Dakota Public Radio
WDAZ TV
Auction PreviewOctober 27 until auction time in the Museum galleries
Monday - Friday, 9 to 5 pm, Saturday - Sunday, 11 to 5 pm
Preview PartyThursday, November 10, 7 pm, Museum Director Laurel Reuter
will lead an informal discussion about the work in the Auction.
patronsBest Western Townhouse
East Grand Forks Floral
Grand Forks Herald
Office of Academic Affairs, UND
SponsorsHoliday Inn
Ellen McKinnon
Minnesota Public Radio
SupportersBlue Moose Bar & Grill
Bremer Bank
Bronze Boot
CC Plus Interiors, Incorporated
Chester Fritz Auditorium
Clear Channel Radio
Community Bank
Congress, Inc. and Capital Distributing, Kevin Register and
Paula Anderson
Gustafson and Glueck
Hugo’s
Lumber Mart
Museum Café
North Dakota Quarterly
Northern Plumbing Supply
Roadking Inn
Sanders 1907
Special Olympics
Vicki Anderson, State Farm Insurance
Suite 49
Summit Brewing Company
Cancer Research, UND, Don and Mary Sens
US Bank
Whitey’s
ContributorsACME Electric
Alerus Financial
Avant
Brown Corporations
Camrud Maddock Olson & Larson Ltd.
Capital Resource Management
CEO Praxis, Inc.
Choice Financial
Dr. John Clayburgh, D.D.S.
Senator Kent Conrad
Farmers Insurance Group
Fine Print
Dr. Greg Frokjer, D.D.S.
Greater Grand Forks Symphony Orchestra
Happy Harry’s
ICON Architectural Group, PLLC
Johnson Laffen Galloway
Lakeview Inn and Suites
Letnes Swanson Marshall & Warcup Ltd.
James S. McDonald, D.D.S.
North Dakota Eye Clinic
Pearson Christensen Cahill & Clapp, PLLP
Gary and Nancy Petersen
Rite Spot Liquor
River City Jewelers
SuperOne Foods
Dr. Curtis Tanabe, D.D.S.
USB Financial Services
English Department, UND
Xcel Energy
Zimney Foster, P.C. Attorneys at Law
AdvertisersBrady, Martz, and Associates
Browning Arts
Chad Caya Painting
Columbia Liquors
Drees Riskey Vallager Ltd.
Edward Jones, Mark A. Larson
Forks Chem-Dry
Home of Economy
Monarch Travel
Moosbrugger Carter & McDonagh
Piper Jaffray
Plaza Jewelers
Polar Communications
Representative Earl Pomeroy
Reichert Law Office
Robert Vogel Law Office, P.C.
Grant Shaft, Attorney
Paul D. Stadem, D.D.S.
Super Target
David C. Thompson, Law Office
United Valley Bank
Valley Buzz
Valley Dairy
Vilandre Heating, Air Conditioning, Plumbing, Fuel
Wakefield Hearing Center
Mary Wakefield and Charles Christianson
Wall’s Medicine Center, Inc.
Buy local. Read the sponsor pages
to learn about those who
invest in the Museum.
Please return their investment. —John Foster, Chairman, Museum Board of Trustees
The Autumn Art Auction exhibition
is funded in part by
a general operating grant from the
Minnesota State Arts Board.
Burton Onofrio recently retired as Attending Neurosurgeon at the
Mayo Clinic, Rochester, Minnesota, where he also served as
Professor of Neurosurgery in the Mayo Medical School. His first
job after retirement was as Senior Consultant for Pain Disorders,
Neurosurgical Service, Massachusetts General Hospital in
Boston. His training includes an M.D. degree from the Medical
College of Cornell University (1957); a surgical residency at the
New York Hospital Medical Center (1958); and a fellowship at
the Mayo Clinic in neurosurgery (1964), all of which resulted in
a life-time career at the Mayo Clinic.
As busy as his professional career has been, he has also lived a
wonderful life within the arts. It began when he married Judy
Onofrio, a self-taught potter who has emerged as a sculptor of
national stature. Many Museum regulars will remember Judy’s
1993 show, one of most popular shows we ever mounted.
Judy was deeply involved in the Rochester Art Center, and Burton
soon joined the Board of Directors. Most recently—another
retirement job—he co-chaired the Capital Campaign Building
Committee of the Rochester Art Center. The new building opened
in the spring of 2004 with the central gallery named in honor of
Judy and Burton Onofrio—gifted by a former patient.
In another corner of his life, Onofrio runs art auctions. For
twenty-six years he was the auctioneer of the Rochester Art
Center annual auction, most often organizing it as well. Both the
Northern Clay Center in Minneapolis and the University of
Minnesota Art Department have called upon him to serve as
auctioneer. For twelve years he has been the announcer of the
Rochester Art Center Art Festival. Onofrio’s days, however, are
spent in Judyland, the garden he created with his wife. And
finally, this is a man who loves animals, in particular his
menagerie of cats who have full run of the garden.
Burton Onofrio, Auctioneer Carolyn and LIn Glimm, Chairs
Jeanne Anderegg
Carrie Boldish
Dawn and John Botsford
Al Boucher & Thomasine Heitkamp
Cheryl Gaddie
Jim and Lori Ingeman
Denise and Jim Karley
Rick Mercil
Marsy Schroeder
Bonnie Sobolik
Penny & Chris Wolf
Devera Warcup
Autumn Art Auction Committee
Carolyn and Lin Glimm reside in Grand Forks with
their three daughters. Britteny is a senior and Blair is a freshman
at Red River High School. Zoey is a first grader at Kelly
Elementary. Carolyn is a native of Karlstad, Minnesota. She is co-
owner and a stylist at Avant Hair and Skincare Studios, which has
just opened its second location on the corner of Columbia Road
and Gateway Drive, north Grand Forks. Lin is originally from
Zahl, North Dakota. He is a truss designer for Grand Forks Truss.
Photograph by Caulfield Studio Inc.
Rules of Auction
q Each registered guest will receive a bidding card as part of
the price of a ticket. Upon receiving the bidding card, each
guest will be asked to sign a statement vowing to abide by
the Rules of the Auction listed in this catalog.
q Absentee bidders will either leave their bids on an Absentee
Bid Form with Museum personnel in person or by phone, or
bid by phone the night of the Auction. Absentee bidders, by
filling out the form, agree to abide by the Rules of the
Auction.
q Each bidder will use his or her own bidding number during
the Auction.
q All sales are final.
q In September 2002 the Office of the North Dakota State Tax
Commissioner determined that the gross receipts from the
sales made at the Auction are subject to sales tax. State sales
tax is 5% of the total sale and the Grand Forks city tax is
1.75% of the first $2,500 of the sale. Out-of-state buyers
who have the work shipped to them will not be subject to
North Dakota sales tax.
q In the event of a dispute between bidders, the auctioneer
shall either determine the successful bidder or re-auction
the item in dispute.
q Purchasers may pay for items at any point following the
sale of that work but must pay for all art work before the
conclusion of the evening—unless other arrangements are in
place. Absentee bidders will be charged on the evening of
the auction or an invoice will be sent the next business day.
q Works of art in the Auction have minimum bids placed on
them by the artist. This confidential “reserve” is a price
agreed upon between the artist and the North Dakota
Museum of Art below which a work of art will not be sold.
As inhabitants of the Northern Great Plains, we struggle to ensure
that the arts are nourished, and that they flourish, because we
know that a vital cultural life is deeply essential to isolated
people. We have concluded that to study the arts is to educate
our minds, for through the arts we learn to make difficult
decisions based upon abstract and ambiguous information. This
is the ultimate goal of education. Furthermore, we have come to
value the arts because they make our hearts wise—the highest of
human goals. Therefore, in the most difficult of times, and in an
environment that might be perceived as alien to the visual arts,
we propose to build a world-class museum for the people of the
Northern Plains.
The North Dakota Museum of Art, by legislative act, serves as the
official art museum of the State of North Dakota. The Museum’s
purpose is to foster and nurture the aesthetic life and artistic
expression of the people living on the Northern Plains. The
Museum will provide experiences that please, enlighten and
educate the child, the student and the broad, general public.
Specifically, the Museum will research, collect, conserve and
exhibit works of art. It will also develop programs in such related
arts as performance, media arts and music.
Photo by Mike Mohaupt
Museum Mission Statement
Seven years ago Madelyn Camrud, with the help of
Marsy Schroeder and a fine committee, inaugurated the
Autumn Art Auction. The goal was to develop a buying
audience for artists who live in the region, which we defined
to include North Dakota, Minnesota, and as far north as
Winnipeg. For the first time last year, almost everything in the
auction sold for prices close to retail. Instead of looking for
bargains, people are viewing the auction as “the” place to
look for major works of art from our region. Phone, e-mail,
and written bids are becoming commonplace.
It has always been difficult for artists who live here to survive
from art sales alone. Thus we have few—if any—professional
artists except for those who make their living teaching. But
many people make art. This year we have work by blacksmith
Keith Johnson; several skilled carpenters including David
Wallace; the owner of a trucking company, Dave Britton;
Minnesota lake resort owner/manager Jon Solinger, and
private detective Ross Rolshoven.
Also for the first time we have included more works that
require a greater financial commitment. We asked Richard
Szeitz to make a steel sculpture for the auction that could be
placed either outdoors or inside and Zoran Mojsilov to enter
small-for-him, large-for-us stone garden sculptures. I chose a
large Walter Piehl painting on canvas, another major Marley
Kaul painting, a Zhimin Guan seascape, plus several other
large works including one of the best Dan Jones drawings I
have ever seen, a new Marjorie Schlossman painting on
paper, a Marlon Davidson and Don Knudson wood-and-paint
assemblage, Ewa Tarsa’s intensely colored monoprint, and a
photograph from Vivienne Morgan that is a stunning
evocation of our sacred landscape. The set of porcelain urns
from Duane Perkins are ambitious and lovely.
Then I set out to find small works that are equally important
artistically. We are introducing the works in wood by Jay
McDougall and of Greg Blair. We are also putting a video
work at auction for the first time: Mary Lucier’s third
movement in The Plains of Sweet Regret.
Almost every major artist in the region is included with
significant pieces including Charles Beck and Barbara
Hatfield. A few who are not will be rotated in next year. Artists
involved in the Museum’s exhibition program are well
represented with work of art that would sell for much more in
other parts of the country. Among them are Richard Dyck who
showed his Hive Scans this past summer, Barton Benes who
is giving his apartment with all its spectacular collections to
the Museum, and Jim Dow with his photograph Ladies
Resting Room in the State Capital. The proceeds from the
Dow sale will go toward the publication of his book of
photographs, Marking the Land. This hardcover book will
have over 180 photographs taken over the past twenty-five
years in North Dakota and Northwest Minnesota.
I invite you to help us make this event as successful
financially as it is historically and aesthetically.
Laurel Reuter, Director
North Dakota Museum of Art
From the Museum Director
Lot #1
Tracy OttenMorris, Minnesota
Time and Again, 2004
Multiple process print
11 x 15 inches (image)
Range: $250 - 350
Tracy Otten I’m interested in the gradual accumulationof information and experience that builds up over time. This
transforms us into who we are as individuals.
Otten’s printmaking processes echo this pattern of accumulation.
For example, the work Time and Again incorporates the
collagraph, the monotype, and waterless lithography into layers
and sections of the print.
A collagraph is a print made from a collage plate. The plate is
created by gluing other material such as cloth, cardboard,
aluminum, string, sand, and so forth, onto a firm surface such as
a piece of Masonite. Dampened paper is placed on top of the
inked collage plate and run through the printing press. This
allows the printmaker to introduce greater texture to the usual
layering of ink. Collagraph plates can be editioned like
traditional etchings or printed with different color combinations
as monoprints. Otten enriches her print with waterless
lithography, otherwise known as siligraphy, a process involving
coating the printing plate in a silicon solution in the place of
water in traditional plate lithography.
According to the artist, much of my work is a mix of tradition and
experimentation. The former method employs the matrix as a
way to generate a series of identical prints; the latter allows me
to engineer shifts in orientation, color, and clarity to yield any
number of one-of-a-kind pieces. By way of comparison, a typical
printed edition might have three to six color runs, emphasizing
economy of ink and overprinting. My monoprints, however, have
an average of twenty to thirty color runs, as well as hand drawn
information. The accumulation results in a richness of surface
color and texture that can only be created by numerous printings.
Tracy Otten was born in Grand Forks and lived in rural North
Dakota until the age of seven when her family moved across the
border into Minnesota. She graduated from Detroit Lakes Senior
High School and returned to North Dakota for undergraduate
studies at North Dakota State University.
After graduating from NDSU, Otten spent time in the Czech
Republic studying at Palackeho Univerzita. She returned to
complete a Master of Fine Arts in Printmaking at the University of
South Dakota in Vermillion (2000). The following year she began
her professional academic career as Assistant Professor at the
University of Minnesota at Morris where she continues to teach.
Her extended family still resides in the Red River Valley.
Among my personal symbolsis the recurring ovoid, which represents both the egg from whence we came and the eternal cycle of life.
Lot #2
Dave BrittonGrand Forks, North Dakota
Danzig, North Dakota
35mm Fujichrome
Image 13.75 x 21 inches
October 1, 2002
Range: $200 – 300
Dave Britton grew up around old grain elevators owned
and operated by his father Clarence Britton. These North Dakota
elevators were in Keith—six miles east of Devils Lake—Kempton,
Merrifield, and Northwest Mills Elevator in Grand Forks—a
partnership of Clarence, Earl Kurtz, and Eugene Ellingrud, which
was sold to North Dakota Mill and Elevator in 1953.
For two summers in 1958 and 1959 Britton traveled with his dad
as he sold Swenko barley shakers to elevators in eastern North
Dakota and western Minnesota. During his high school years, he
drove the Merrifield Grain Co. truck, picking up grain his dad
had bought from various elevators in the same area. He has fond
memories of several of these old elevators, their managers, and
their communities.
Lot #3
Dave BrittonGrand Forks, North Dakota
Ardoch, North Dakota
35mm Fujichrome
Image 13.75 x 21 inches
July 7, 2003
Range: $200 – 300
According to Britton, the elevators are a dying symbol of our
prairie heritage. They were an integral part of the economy, an
informal social gathering place for farmers, and reference points
on our flat prairie landscape. The old wooden, cribbed-
construction elevators became inefficient and are being
destroyed rapidly.
Britton, who started Britton Transport in 1980 in the basement of
his home in Grand Forks, has photographed over 1,000 elevator
locations on the plains, some of which no longer exist. This may
well prove to be one of the significant systematic records of an
important architectural archetype of early twentieth-century
America.
Ewa Tarsia was educated at the Academy of Fine Arts in Warsaw,
Poland. Later she studied sculpture in Austria and advertising art
in Canada. Today she makes her home in Winnipeg. She began
her active exhibition career in 1988 in Poland. In 2002-03 she
showed in international print biennials in Montreal, Spain,
France, and England. In 2004 she participated in the San Diego
Art Institute Multimedia International Exhibition.
She has work in private collections in Poland, Austria, Germany,
Canada, United States, Japan, Chile, Brazil, France, Spain, and
Holland as well as in several public collections including
Ministry of Heritage and Culture in Manitoba, Intercity Papers in
Winnipeg, Agentur Barth in Germany, Consulate of the
Netherlands in Winnipeg, Tama University in Tokyo, Japan, and
French Embassy in Gdansk, Poland.
Her awards and grants include a Winnipeg Arts Council Grant,
2003; Manitoba Arts Council Grant, 2002; MPA grant to promote
work of three Winnipeg artists, 2002; Gordon Eliasson Trust,
Travel Grant for International Graphic Design; and BABN
Technologies contest winner, 1995.
Lot #4
Ewa TarsiaWinnipeg, Manitoba
When You Wake Up
Feeling Old
Monoprint incorporating
drypoint and collagraph
30 x 35 inches, 2005
Range: $800 – 1,000
Ewa Tarsia, a Polish artist now living in Winnipeg, speaks
eloquently of the impetus behind her art: Nature, natural forms
and the human figure are sources of unending interest to me—
discovery and awareness of form as three-dimensional reality,
the way light reveals forms, how commonplace objects and the
human figure no longer exist as just objects, but as shape and
forms in space. All of these caused a lot of excitement years ago
for me, and since then I have been exploring these concepts.
All of my works are contemplations about color, which
sometimes functions in a purely abstract way, and at other times
contains emotional attributes of mystery, suggest sinister
undertones, or embody happiness. Very often repeated elements
in my compositions (pierced areas, ropes that are uneven in their
thickness, tiny or large shapes attached or separated) are used in
order to make an abstract form and space, and to create shadows
and rhythms. I work from imagination, based on stored
information derived from nature and our sophisticated
civilization. This enables me to bring a three-dimensional
solidity, showing the shape by means of color, light, and texture.
Lot #5
Vivienne MorganBemidji, Minnesota
Cathedral Walk
Archival Quadtone print on
Archival Hahnemuhle etching paper
69 x 48 inches including frame, 2005
Range: $800 – 1,100
Vivienne Morgan was born in
England in 1958. In 1979 she moved to the
United States and took her MFA from Bowling
Green State University. She now lives in
Bemidji, Minnesota. According to the artist,
I am a multi media artist out of necessity: in
the winter I work indoors in the warmth of my
studio, often at my computer. In the summer I
work outdoors whenever I can: I garden,
build, and photograph, often photographing
my own garden and local landscapes. Back in
winter at the computer, the photographs
change and, like shifting memories, become
akin to meditations on life.
I’m English—not a snow lover—but the
weather here fills me with nostalgia for
England in winter. I’ve lived in the United
States for twenty-six years and I’ve never
taken American citizenship. Sooner or later I
must make a choice. I’ve been thinking about
what it means to migrate and immigrate. What
it means to fly, to change, to slow down or
grow ill, perhaps grow better or stronger, but
to inevitably grow old, and to finally stop in
one place. This meditation on acceptance has
led me to look locally for places which
remind me of England and Europe, to find
solace or perhaps as a point of compromise.
Cathedral Walk began as a fall photograph
but it became more of a drawing over time.
The original image is of a grove of fast
growing hybrid poplars near my home in
Bemidji. This grove does not look like an
American place to me. At least this grove is
not in the vein of the stereotypic wild and
unlimited America, infused with the drama
and nature I associate with this country.
Cathedral Walk is a cultured, regimented, and
time laden space, and oddly, it is very
nostalgic to me. It reminds me of poplar-lined
roads in France, of old European order, of the
narrow aisle and architectural reach of any
European cathedral. At the end of the day, it is
a path defined both by man and nature, both
comforting and inevitable.
Madelyn Camrud, a North Dakota native, was born in
Grand Forks, and received degrees in visual arts and creative
writing from the University of North Dakota. She first practiced
visual art, then studied it, and finally worked, surrounded by it,
at the North Dakota Museum of Art. She, in fact, founded this live
Auction in order to celebrate the artists in our region while
helping the Museum survive financially. Camrud also
inaugurated the Museum Benefit Dinner and Silent Auction, the
Membership Program, and the Docent Program. Meanwhile, she
was introduced to poetry, and spent two decades working mostly
on poems. This House is Filled with Cracks was published by
New Rivers Press, Minneapolis, in 1994. For the last two years,
she has returned to the visual arts with a special interest in mixed
media, although she continues to write poems.
In her current landscape series, she begins with a photograph of
the land, focusing on the horizon line which holds the most
interest for her—a flat land with few trees, and a great view of the
sky. From the horizon line and its trees, she builds up and down
with paper collage, scraping the edges with ceramic paste, while
attempting to make the borders of the photograph disappear on
the board. The first paint layers are acrylic; an umber glaze makes
the final coat.
Lot # 6
madelyn CamrudGrand Forks, North Dakota
Southwest Quarter, 2005
Photograph, acrylic, collage, and
oil glaze on Masonite board.
24 x 24 inches
Range: $350 – 450
Eve Sumsky Throughout my life I have always felt the need to
“make things.” I started with needle work and sewing as a young
girl, instructed and encouraged by my grandmother. This has
continued throughout my life along with the exploration of other
craft forms.
In 1995 I signed up for a community education class and made
my first basket. I continued with other classes and joined the
Headwaters Basketmakers Guild which meets in Bemidji,
Minnesota. In this group I found my mentors, people who
enjoyed basket weaving and sharing about it. A year later I was
encouraged by my mentors to attend my first weaving workshop
in Faribault, Minnesota, and I have attended several other classes
and workshops since then. My interest in sharing with other
weavers has led me to the jobs of program director and
newsletter editor for the Headwaters Basketmakers Guild.
In 1999 I began selling my baskets locally at craft/art fairs and to
individuals. Basket weaving makes a great deal of sense to me as
it gives me the opportunity to create something beautiful, but yet
also makes an item that is useful and has a purpose. My favorite
baskets are those that find a use, not ending up as a knickknack
on a table or shelf.
As a basketweaver I have studied many different weaving
techniques and tried using different types of materials. I do not
consider myself a “specialist” of any particular style or technique
but see my weaving at this time as an exploration in the art of
basket making. I like studying specific techniques in more depth
and understanding how to use them when creating form and
design.
Although I do sell baskets, I do not make a living as a
basketweaver. For nine months of a year I am an elementary
music teacher at Northern Elementary School in Bemidji,
Minnesota.
Madelyn Camrud has donated all proceeds from the sale of this painting to the Museum of Art
Rachel Hellner was born in London, England, in 1968.
She grew up there and attended Central Saint Martins College of
Art and Design before moving to Canada in 1991. After two years
in Winnipeg and traveling the West Coast, she settled in Victoria,
BC, where she currently teaches art at the University of Victoria.
Hellner is a practicing artist and president of Xchanges, Canada’s
oldest artists’ cooperative. Her work has been extensively
exhibited in London, Winnipeg, and Victoria and is in private
collections around the world.
Lot #8
Rachel HellnerVictoria, British Columbia
Fish Ladder
Silkscreen and collagraph
40 x 19 inches, 2002
Range: $650 – 900
Lot #7
Eve SumskyTenstrike, Minnesota
Crossing Paths Urn, 2005
Rattan reed
12 x 7.5 (diameter) inches
Range: $120 - 140
Much of Hellner’s current work is concerned with the
relationship she has with her immediate environment. Her
paintings and drawings either depict objects she observes as
important, or are actually constructed from those objects
themselves.
Fish Ladder is a quirky tribute to recognizing individuality in
everyday, mass objects. Seven fish were selected from among
thousands that were lying in a wooden crate in Victoria’s
Chinatown, and are portrayed here each with its own markings
and individual character.
I am interested in bringing attention to that which is often
overlooked in our society. Excessiveness and mass-production
cause us to take things for granted and make it difficult to
appreciate the inherent value or beauty in any particular object.
By singling out an object and portraying its individuality, I can
draw the viewer’s attention to its uniqueness.
Marlon Davidson and Don Knudson have
devoted their lives to art, first individually and ultimately as
collaborators. The two works in this auction result from over ten
years working in wood and collage to make collaborations of
varying sizes and shifting configurations. Their collaborative art
works are in private and public collections throughout the United
States and Europe.
Davidson and Knudson both attended Bemidji State College and
the Minneapolis School of Art (now the Minneapolis College of
Art and Design). Davidson combined his art with education, first
in public schools and later at Bemidji State University where he
taught in the Visual Arts Department. Knudson has worked since
the late fifties as a sculptor and furniture maker.
We are lifetime artists. We have worked for over four decades,
both in the Twin Cities and later in Bemidji where we have lived
for eighteen years. We think of our lives as an artistic statement.
The great art historian, Bernard Berenson, wrote repeatedly about
“life as a work of art.” Whereas one never arrives at that state, we
find it a worthwhile journey. Making art objects is an everyday
part of our lives. We think of our art as a way of explaining
ourselves to ourselves. Through it, we try to understand our
culture, and to live actively within it. We also explore the past
through our art—especially the history of art. While we use a
variety of materials, our main source of inspiration is nature and
historical art.
The large work, Full Moon, was displayed for some time in a
public building in Bemidji. It represents the duality of our life
close to nature but also informed by the complex world of big
city life. Both born in Northern Minnesota, we also lived for
twenty years in the Twin Cities. We are aware that our work is
informed by the art and artists we knew while living in the Cities.
Prince of India was inspired by a student of Marlon’s, a young
man from New Delhi for whom we created this piece. He owns
a similar work, which is part of a series of wall pieces honoring
individuals.
It gives us great pleasure to know that people want to live with
our art. We are proud.
Lot #9
Marlon Davidson and
Don KnudsonBemidji, Minnesota
Prince of India
Wood, canvas, paint
36 x 24 inches, 2005
Range: $550 - 650
Lot #10
Marlon Davidson and
Don KnudsonBemidji, Minnesota
Full Moon
Wood, paper, paint
68 x 70 inches, 2002
Range: $1,800 - 2,000
David Wallace began fishing almost as soon as he could
walk. Born in Devils Lake, he fell in love with water as a young
child living east of St. Michael on the Spirit Lake Reservation. By
the time he was six, he and his brother Dean were building rafts
and navigating their own unnamed lake in search of the best
fishing spots. He spent one summer as the amateur on a team in
the Pro Walleye Tournament. Today he continues to fish Devils
Lake, pulling the fish out of the water as quickly as his four small
sons return the minnows back.
Fiercely independent, he saw everything in terms of what he
could make. He taught himself to play the guitar, he made a
splendid perennial garden, he lived on Whidbey Island west of
Seattle during high school while learning the building trade from
uncles. Today he is a skilled carpenter who continues to spend
time on the water, frozen or not.
During poor fishing, he would beach his boat and walk the
shoreline. As the waters of Devils Lake rose, the structure of trees
and brush was submerged creating new habitat for walleye.
People congregating on these new fishing grounds lost a
surprising number of lures. Wallace began picking them up and
turning them into contemporary architectural friezes that hang
above doorways or at the juncture of wall and ceiling. The lures
are attached to wood found in the same waters. The driftwood
would have originally been milled for cattle corrals or
windbreaks lost to the rising waters of Devils Lake. Whole rooms
in his home are adorned with the rainbow colors of Rapala lures.
Lot #11
David WallaceWarwick, North Dakota
Fishing Devils Lake
Driftwood and found objects
7 x 76 inches, 2002
Range: $700 – 900
Zhimin Guan was born in China in 1962. He started to
paint when he was nine years old, influenced by his father,
Chintian Guan, a traditional Chinese calligrapher and ink
painter. Zhimin received rigorous training in calligraphy and ink
painting before he was fifteen years old. At the same time, he
developed a strong interest in the Chinese philosophy of Taoism
and in ancient Chinese poetry. During his BFA studies at Fuyang
Teachers College in China, he concentrated on oil painting and
again received rigorous training in drawing and painting in the
Western classical style. From 1985 to 1994, he taught painting,
drawing, and design at Dalian Institute of Industrial Design in
Dalian, China. Besides teaching, Guan devoted himself to his art
practice.
When he lived in the northeastern Chinese city of Dalian, Guan
was only five minutes from the Yellow Sea. Once in a while
sunshine would transform the normally muddy-looking Yellow
Sea into a sparkling crystal blue. Guan saw this same
phenomenon in Chicago’s Lake Michigan when sunshine caused
the dull gray lake to be dressed in this same wonderful blue.
According to the artist:
When looking at Lake Michigan I became lonesome for home
and that earlier experience of being close to the natural world.
Today our lives are different. Mostly we observe the sea from car
windows, represented by the concrete barrier in the foreground
of this painting. One is left trying to catch a fleeting moment. We
don’t live within nature but rather within a world of industrial
lead. One’s emotion is less and less present. I have no time to
watch the sea. I feel I was painting an ocean of lead.
In the spring of 1995, Guan came to the United States, driven by
the desire to examine the complexities of Western contemporary
arts. After three years, he earned his MFA in painting and drawing
at Fort Hays State University, Kansas. Guan has successfully
blended his academic training in visual art with the aesthetics of
Eastern philosophy. As an artist, he is deeply committed to
unifying the West with the East in his own distinctive manner—a
new synthesis of technique underpinned by a holistic philosophy.
Lot #12
Zhimin GuanMoorhead, Minnesota
Grand Sea Scape
Oil on canvas
55 x 65 inches, 2005
Range: $1,000 – 1,300
Today Zhimin Guan is an Associate Professor of Art at Minnesota
State University Moorhead.
Guan’s art has been exhibited throughout China and the United
States in such institutions as the China National Art Gallery in
Beijing; China Academy of Fine Arts Museum, Hangzhou;
Singapore Asian Arts Gallery; the Salmagundi Club, New York;
CCC/USA, Philadelphia; The Minneapolis Institute of Fine Arts;
Dunton Gallery in Chicago; Fraser Gallery, Washington, DC;
Museum of Southwest Texas, Corpus Christi; Plains Art Museum,
Fargo; and the North Dakota Museum of Art.
Jim Dow has created the single most important body of
photographs about North Dakota that exists, according to
Museum Director Laurel Reuter. In 1981, the North Dakota
Museum of Art invited Dow to photograph environmental folk art
throughout North Dakota. He spent three months in the state
completing that commission.
Dow returned to North Dakota during the summer of 1998 while
photographing the ballparks in the Northern and Prairie Leagues.
Once again he fell in love with North Dakota. Since that trip he
has come back several times a year, widening his focus to
include Northwest Minnesota, expanding his subject beyond folk
art as he seeks out the markings humans leave upon the
landscape. The Museum will publish Marking the Land, a book
of over 180 photographs, in the spring of 2006.
Jim Dow’s interest in photography began at the Rhode Island
School of Design where he earned an undergraduate degree in
graphic design. Upon completion of college, he was hired as a
printer for Walker Evans and New York’s Museum of Modern Art.
Over a two-year period, he made prints for both the Museum’s
1972 Evans retrospective and the monograph that accompanied
the show. He also began to photograph in series, including
Seagram’s Bicentennial project, and the County Court House
project. Dow is working on a concurrent project photographing
the great private social clubs of New York City. His work is
Lot #13
Jim DowBoston, Massachusetts
Ladies Resting Lounge, State Capitol,
Bismarck, North Dakota
C print
16 x 20 inches, March 6, 2004
Range: $800 – 1,200
collected by many institutions including the Art Institute of
Chicago, the Canadian Centre for Architecture, the George
Eastman House, and the Museum of Modern Art in New York
City. The North Dakota Museum of Art, however, owns the largest
holding of his photographs.
Keith Johnson is a blacksmith from Bemidji, Minnesota.
He works as a general architectural smith who makes railings for
multi-million dollar houses in the Twin Cities and Chicago. His
skills and his interests, however, vary from making Damascus
folding knives that are sold to collectors through knife shows to
producing a line of black-powder related items such as knives,
tomahawks and campfire sets for people who rendezvous to re-
enact the fur trade, which ended in 1840. Johnson has been
smithing full-time since 1986 when he started Great River Forge.
He also was village blacksmith at the Smoky Hills in Park Rapids,
Minnesota, in 1986-87 and at Sawmill Creek, Park Rapids,
Minnesota, in 1991. As village blacksmith, he created craft items
such as dinner bells, fireplace tools, candleholders, and hooks.
Johnson grew up on a Minnesota farm with its own forge. While
in high school he took blacksmithing classes. After attending
Bemidji State for a year, Johnson moved to Long View,
Washington, to study “body and fender” for two years. Then he
joined the Navy and ended up in Pensacola, Florida, working as
an aircraft mechanic. Next he built steel buildings and a couple
of homes before finally settling in as a blacksmith.
Johnson founded the Northern Minnesota Metalsmiths and
remains a driving force to this day. In 1993, Johnson, along with
Bob and Wanda Odegard, forged a bronze globe, six feet in
diameter, which is installed at Itasca State Park headquarters
south of Bemidji.
Proceeds from the sale of this work havebeen donated to the Museum by the artistto help publish his book Marking The Land.
Lot #14
Duane perkinsWinnipeg, Manitoba
Pair of Urns
Porcelain
20.5 x 9.5 (diameter) inches, 2004
Range: $1,400 – 1,800 pair
Duane Perkins has been working as a full-time studio
artist for thirty years. Born in 1947 in Chicago, he lived there
until he moved to St. Paul, Minnesota, to attend Bethel College
where he majored in art and philosophy. During his last year he
needed another credit so enrolled in his first ceramic class. A
few months later he graduated and moved to Winnipeg with his
future wife and immediately set up his ceramic studio.
He has looked carefully over the years, citing John Glick and
Don Reitz as influences along with Ralph Bacerra and Luckman
Glasgow. Perkins sees his work as visual rather than idea based.
His goal is to make a beautiful object, preferably in one firing.
For example, to decorate the surface of the magnificent
porcelain urns in this auction, the artist begins with slips that
are then glazed. He then paints on the decoration using slips,
glazes, and oxides that he has formulated. A final coat of glaze
prepares the object for firing.
Lot #15
Keith JohnsonBemidji, Minnesota
Untitled
Hammered-pattern steel bowl
made with hydraulic press
4.75 x 10.5 (diameter) inches, 2005
Range: $80 - 120
Mickey Smith was born in Duluth in 1972. She attended
Moorhead State University and completed her Bachelor of Arts
degree there in 1994. Smith lived in North Dakota for over five
years, exhibiting with GK Gallery in Cooperstown and the
Plains Art Museum in Fargo. Her work is on permanent display
on the side of the Griggs County Public Library in
Cooperstown, North Dakota. In 2005, she was selected for the
Visible Fringe, one of twenty-six artists in the Minnesota
Museum of American Art’s 2D Biennial exhibition. She was
also a finalist for the McKnight Foundation Photography
Fellowship. Smith will mount an installation of new work at the
Minnesota Center for Photography in April 2006.
The artist was inspired to begin the series Volume while
attending an artist residency housing a library of over 10,000
books. She went on to photograph serials, newspapers, and
periodicals in such public libraries as the Library of Congress,
St. Paul Public Library, and the Minnesota Historical Society.
Lot #16
Mickey SmithMinneapolis, Minnesota
The Metal Worker
Gicleé print on rag paper
31 x 47 inches, 2004
Edition 6 of 25
Range: $800 - 1,100
All printed volumes, even those regarded as temporary—
periodicals, newspapers, directories—are vital records of
time, according to Smith. While searching through endless
rows of these utilitarian texts, I am continually struck by the
vastness of bound data, and how quickly it fades from public
consciousness. The simple boldness and variety of these
collections fascinate me, no matter how mundane the title,
from known to obscure. I see and photograph them for the
irony and graphic quality of repeated titles, anonymous
bindings, great amounts of information they contain, and for
the abstract forms they create.
I photograph the volumes as I find them on the shelves,
untouched and recorded with existing light. When viewed at
full size—up to twelve feet wide—the books are dramatically
transformed by scale. The Metal Worker was photographed in
the archives of the Minnesota History Center in St. Paul,
Minnesota.
According to Patrick Coleman, Acquisition Librarian,
Minnesota Historical Society, Hundreds of librarians,
historians, scholars, and pages have trolled the book stacks of
the Historical Society over the last century and a half. Where
they saw utilitarian texts, Mickey’s lens finds the unusual
juxtaposition, word play, interesting placement, and the
occasional attractive binding. Especially interesting to her eye
is the repetitive nature of periodicals with the often opaque
and vague suggestion of the significant content they may
hold. Her photography gives us an entirely new way to look
at our familiar world.
Lot #17
Marley KaulBemidji, Minnesota
The Gardener Dreams of Early Spring
Acrylic on canvas
84.25 x 53.25 inches, 2002
Range: $4,500 – 5,200
Marley Kaul’s painting, The Gardener Dreams of Early
Spring is the second painting to be sold in the Museum’s
Autumn Art Auction from a series of eight large paintings that
directly relate to the garden metaphor. Kaul believes that the
garden illustrates birth and rebirth; it is a place to meditate on
humans’ relationship to the earth; and it is a symbol of faith,
time, and the acceptance of failure.
Kaul continues his Garden Series with the geese announcing
an early arrival of spring. This painting, like the others in the
series, draws from a poetic response to everyday life. The work
has a number of visual metaphors to indicate the time of year:
Mother and child (birth),
Bird houses being repaired,
The work clothes and boots,
The edger to create a “neat” garden,
The early arrival of the daffodils.
Marley Kaul is one of the region’s most senior artists. Now
retired, he was long-time chairman of the art department at
Bemidji State University. He continues to paint daily in his
studio near Lake Bemidji, to exhibit generously throughout
the region, and to see his work moving into significant private
and public collections.
Lot # 18
jay McDougalFergus Falls, Minnesota
Untitled
Boxelder with aluminum
and stainless steel
4 x 20 x 13 inches, 2005
Range: $500 - 700
Paul Butler’s subject is contemporary advertising, its
reflection of urban social values, its fascination with superficial
beauty, and its glamorization of life. He works in the collage
tradition by cutting up magazines and then pasting, reorganizing,
and sometimes obscuring the ad imagery with found text and by
drawing with tape—duct, Scotch, masking, hockey, surgical and
electrical and vinyl. For example, to create Untitled #6 in this
year’s auction, the artist began with a magazine page as his
background. The woman is formed by overlapping bits of hand-
torn electrical tape. The resulting texture suggests the black,
kinky, curly hair of the elegant figure.
Ever the artist of his own time, he organizes collage parties of
near-legendary status. He says: I started hosting Collage Parties as
a way to recapture the art school energy I was missing after
graduating from The Alberta College of Art and Design in 1997.
I gather a variety of collage materials, invite a number of friends
to join me, and make art for no other reason but to have fun.
Over the past five years, the Party has grown exponentially. I have
been invited to host them all over the world including Oslo,
London, Los Angeles, New York, Japan, and Berlin.
Butler—himself represented by the established Wynick/Tuck
gallery in Toronto—founded his own gallery “the other gallery”
in Winnipeg. He has become a presence at international art fairs
exhibiting his own work and that of artists such as Ian August (see
Lot #29 - #33). He showcases the work of other young Canadian
artists in his on-line gallery at www.theotherpaulbutler.com.
Butler has had solo exhibitions at the Angell Gallery in Toronto
and Plug In (ICA) in Winnipeg, which is currently touring his
exhibition of collages and photo-based work. He has
Jay McDougall, a graduate of the University of Wisconsin,
Stout, with a BS degree in wood technology and furniture design,
represents the sixth generation of a Minnesota family involved
with lumber and woodworking. According to the artist, our
involvement began in the logging and lumber industry and has
evolved into my career as a wood artist creating hand-sculpted
wooden vessels.
The process of creating these vessels begins with acquiring logs
from local trees that have fallen to disease, death, or human
encroachment. I want something with a lot of figure, colors, and
spalting—the dark lines that result from a growing tree’s reaction
to an injury. I have never felled a tree for the sole purpose of
gathering material for my work. The tools I employ follow a
progression of refinement that is reflective of the work in
progress. I begin with logging equipment (a chain saw, winch,
cant hook, and steel-toed boots) and culminate with my bare
hands, a cotton cloth, oil, and wax.
I never approach a log with a specific finished form in mind.
Once I start, I don’t know where the log is going to take me. I
need to be very observant. I don’t want to take it somewhere it
doesn’t want to go. I always strive for a pure design form. Simple
is very difficult to achieve in all aspects of life, but it is the
essence of beauty.
Lot #20
Paul ButlerWinnipeg, Manitoba
Untited #6, Perfect 10 Series
Collage
11 x 7.5 inches, 2001
Range: $300 - 500
Barbara Hatfield, with the most basic of materials—
brush, ink, and paper—creates striking, enigmatic works. While
they speak directly of the physical world, they also transport the
viewer to a place of inner experience, an intimate, immense
space. Paradoxically, insistence on materiality allows experience
with the unseen. The economy of the process becomes an
avenue to immediacy and accessibility. There is abundance in
distillation, complexity in their simplicity. The human
connection with nature is ever present.
Hatfield earned a Bachelor’s degree from Minnesota State
University in Moorhead and a Master of Fine Arts in Painting
from Parsons School of Design, New York.
Lot # 19
Barbara HatfieldThompson, North Dakota
site drawing 1
Image 32 x 40 inches, 2005
Range: $1,800 - 2,200
participated in group exhibitions in Calgary, Winnipeg, and
Toronto. Butler has received several visual arts grants from the
Manitoba Arts Council and been reviewed by the Globe and
Mail, CBC Canada Now, Border Crossings Magazine, and the
Winnipeg Free Press.
Lots #21 and #22
Adam KempGrand Forks, North Dakota
Swimmers, 2005
Acrylic on wood with cockleburs
Each 11.5 x 12 x 2.5 inches, 2005
Range: $150 - 300 each
Adam Kemp, born in 1962, grew up forty miles northeast of
London in the Essex countryside. From age fourteen through
nineteen, Adam sketched with watercolors because I could take
them anywhere. At about sixteen, I noticed there were a lot of
things that could be painted on—and I did. He graduated from
Newcastle upon Tyne with a BFA in 1986 but not before studying
for a year in a wood restoration school in Florence, Italy, and
working with a Newcastle blacksmith for six months.
While in college he realized he was a failed watercolor painter. I
put too much paint on so I would have to give my pictures a bath
in the tub. Finally the Department of Painting asked him to leave
just as the Department of Sculpture accepted him. The Sculpture
Department was grounded in the tradition of the British Modern
School—Sir Anthony Caro, Henry Moore, and most importantly,
Barbara Hepworth, who his parents had taken him to visit when
he was a child. Her studio in Cornwall looked like my bedroom
so I figured there was hope.
Kemp took an MFA degree from the University of North Dakota
where he learned to cast bronze in the new foundry. In addition
to paintings, Kemp’s work includes a commissioned wall mosaic
at the Hotel Donaldson in Fargo (summer 2003); murals at the
International Centre at the University of North Dakota (2002);
School of Fish created by Kemp and thirty-one six-through
twelve-year-old children enrolled in the 2002 Museum of Art
Summer Arts Camp; set for a play, Flood of Memories by Francis
Ford, based on the North Dakota Museum of Art Oral History
Project following the 1997 flood; and Café Kosmos, a meeting
place for high school students which Kemp took on as a personal
mission after the flood. He and the high school students turned
the two-floor building into a work of art. Kemp continues to
teach popular week-long sessions in the Museum’s Summer Art
Camp and to make collaborative work throughout the State.
Lot #23
Adam KempGrand Forks, North Dakota
Dog Trail
Oil on board
8.75 x 16.25 inches, 2005
Range: $150 - 300
Gretchen Bederman’s art is dominated by horses and
women. According to the artist, these images symbolize and
visually animate the elements of earth and its relationship to fire,
air, and water. She combines memories of actual places with a
mixture of reality, myth, and dream. She uses the figure in both
human and animal form to tell the story. In the painting in the
Auction, Bird Woman, the artist paints what it feels like if you are
on a horse, looking up and down. I paint the space between the
horse and the rider.
Bederman grew up in Houston, Texas, and settled in North
Dakota after a 1980 visit. She completed her undergraduate work
at Minnesota State University Moorhead and received an MFA in
painting from the University of North Dakota in 1996. While in
Grand Forks, she served as a docent for the North Dakota
Museum of Art and worked as an Artist-in-Residence at Lake
Agassiz Elementary School.
Since 1992, Bederman has been in twenty-nine group shows and
twenty-two solo exhibitions in North Dakota and Minnesota.
Over the course of the last year she had a solo exhibition at
Fargo’s North Dakota State University, a two-person show at the
Spirit Room in Fargo, and a joint exhibition with Walter Piehl in
Miles City, Montana. She was a visiting artist at NDSU and taught
at the North Dakota Museum of Art Children’s Summer Camp.
Lot #24
Gretchen BedermanBismarck, North Dakota
Bird Woman
Oil on canvas
36 x 72 inches, 2002
Range: $1,500 – 1,800
If a bird was riding on the haunches of a horse, that is what it would look like.
Lot #26
Greg BlairGrand Forks, North Dakota
Fixed Growth
Cottonwood framed by poplar
43 x 30.5 inches, 2004
Range: $800 – 1,000
Lot #25
Jon SolingerMoorhead, Minnesota
Riparian Forest, 2004
Digital print, one of two
Image 20.25 x 8.6 inches
Range: $300 - 400
Jon Solinger of Moorhead began over four years ago
photographing tree claims and shelterbelts. Nodak Electric
Foundation agreed to fund his work and he headed out with his
black-and-white, square-format camera. Shelterbelts, originally
planted after the Dust Bowl era, are now fully mature. Row upon
row of old trees are currently being removed to make way for
contemporary agricultural practices. If replaced at all, it is with a
single-row stand of trees. About a year ago Solinger broadened
his story with digital color photographs. Using core samples of
the soil, satellite images, investigation into the evolution of
machinery for tilling and planting, global positioning systems to
identify soil characteristics, commodity charts, and other such
tools of twenty-first century farming, Solinger enriches his newest
color photographs with layers of information. His themes
incorporate ideas of land usage along with the history of the life
of trees in the Red River Valley.
During the summer of 2005, the North Dakota Museum of Art
unveiled Solinger’s work, some eighty photographs winnowed
out of dozens more. The Museum will publish the accompanying
book early in 2006. Over the course of the next year, Solinger’s
exhibition will travel throughout North Dakota and northwestern
Minnesota through the Museum’s Rural School Initiative.
Lot #27
Cyrus SwannPine River, Minnesota
Cutter
Soda-fired stoneware
33 x 22 inches, 2005
Range: $500 - 700
CYrus Swann is a multi-media artist who focuses on three-
dimensional ceramics, moving from pottery, to sculpture, to
installation. According to the artist, my work explores the depths
of form and surface available in the medium but also addresses
issues of mass production, consumer waste, and comparative
value of one object to the next. I am also interested in pushing
my technical ability. I have a commitment to tradition and craft
although I don’t feel bound by rigid definitions or parameters.
Cutter belongs to my series of works wherein I explore the ideas
of passage, movement, and flux.
Swann moved back to his hometown, Pine River, after earning
his BFA from Bemidji State University. He developed a studio by
remodeling the out-buildings on his family farm.
Greg Blair was born in Edmonton, Alberta. In 2001 he
received his BFA from the University of Lethbridge in Lethbridge,
Alberta, with an emphasis in sculpture. A year later he moved to
Grand Forks to pursue his MFA at the University of North
Dakota, graduating in 2004. His artwork varies from installation,
to site-specific work, to earth works, to object-based sculpture.
The work in this Auction is an example of the latter.
In 2004 Blair was awarded Best of Show at the North Dakota Arts
and Humanities Summit student exhibition in Minot. He was
invited to exhibit in the Museum’s second Emptying Out of the
Plains exhibition in the summer of 2005. For this he created both
an indoor and an outdoor installation, both about the life of
trees. He worked as Artist-in-Residence for the Art Quest festival
at Bismarck State College in 2005. He will also serve as Artist-in-
Residence at several venues as part of the Museum’s Rural
School Initiative during 2005-06.
Blair’s overriding focus in his installation work is to create art that
revitalizes and transforms marginal spaces within urban settings.
Lot #27
Detail
Each unit 13 x 6 x 7 inches
Charles Beck is widely known for his masterful woodcuts.
Fish Houses, which appears in this Auction, is particularly
whimsical. In all his work, Beck is affected by where he lives. The
landscapes around Fergus Falls, Minnesota—always his home—
continually reappear in his woodcuts and paintings. Beck says,
You have to make art from what you’re interested in. I’d rather
make a woodcut of a plowed field with some conviction than a
crucifixion with none. Color and textures are what he takes from
the landscape, but the horizon is his biggest influence. He
continues, The separation between the sky and what I call
vertical space and horizontal space . . . seems to be a part of
every landscape. I seem to feel the need to show the sky in the
background. He believes landscapes are extremely exciting
because they constantly change weekly, even daily.
Fish Houses seems to feed upon the late afternoon, winter light
that bounces off the rolling hills around Fergus Falls. In this
fanciful woodcut, the shadows are long, the snow has taken on
the sun’s glow, the houses with their capricious coats of paint are
lined up like little boxes dancing in unison across the lake. “Oh,
to be fishing,” the print sings.
Beck enrolled at Concordia College, Moorhead, Minnesota, in
1941. His professor, Cy Running, influenced him in those early
years when he was making watercolors, but, ultimately, Beck let
Lot #28
Charles BeckFergus Falls, Minnesota
Fish Houses
Woodcut
24.25 x 28 inches, 2004
Range: $700 - 1,000
go of influence and developed a style, undeniably his own,
which has served him well for a half-century. In 1950, Beck
returned to Fergus Falls with his wife Joyce, having completed
military service and graduate school at the University of Iowa.
Beck’s work is represented by the Rourke Art Museum,
Moorhead, Minnesota, and his work is also in its permanent
collection as well as the North Dakota Museum of Art’s
permanent collection.
Ian August is a painter, lately of portraits from life, and a
member of the Winnipeg collective Two Six (or Two-Sicks or 26
or Twenty-Six or Too-Six). This group of seven artists in their early
to mid-twenties began as teenage graffiti writers steeped in
skateboard culture. Most are recent graduates from the University
of Manitoba’s School of Art in Winnipeg including August who
matriculated with honors in 2004.
According to Winnipeg’s artist/critic Cliff Eyland, Two-Six paints
quietly in their shared studio and bicycles wildly in the streets,
decorating the city with original works of art that they call
‘prefabs.’ Many prefabs are painted with commercial colours
called ‘mistints,’ that is, house paint that has been rejected by a
buyer after already having been mixed. Mistinted paint on
rejected pieces of wood found in the dumpsters makes prefabs a
fabulous return of the repressed.
Prefabs are small, original paintings that are ‘nail bombed’ to city
fences and walls during the ritual bicycle expedition 26 calls a
“party bike.” In galleries, they install, along with large stretched
paintings, collections of small wall works they call ‘Shame Walls,’
a punning reference of Halls of Fame.
Each artist in the group also makes his or her personal work. Such
are the five small paintings in this auction by Ian August. Painted
on the outside of covers torn from hardcover books, they defy
logical interpretation. His charming and not-so charming
characters go madly about their unknown business, resembling,
if anything, left-over characters from Dr. Seuss.
Ian AugustWinnipeg, Manitoba
Five paintings on
book covers
2004-05
Range: $40 - 60 each
Lot #29
Owl
9.5 x 7.5 inches
Lot #30
Bird House
9.25 x 5.5 inches
Lot #31
Reptile
9.5 x 6.5 inches
Lot #32
Band Face
10.25 x 8 inches
Lot #33
Scrunt
11.25 x 8.5 inches
also had a piece accepted for an exhibition at North Dakota
State University while still in high school. My work has always
focused on the human spirit. Through painting I explore
relationships with others and connections with the environment.
While studying French during the 1960s, I discovered
existentialism. Over the years I have worked extensively in the
Civil Rights Movement and with the Sierra Club. These interests
have impacted my work profoundly.
Kottke is also a Master Gardener, an interest that led her to
commission a public garden in Cooperstown created by a team
of artists led by Kathryn Lipke.
Since closing her gallery, Kottke has begun work as a volunteer
curator at the North Dakota Museum of Art. In January 2004 she
selected the work for the Museum’s Silent Auction—she is now
working on the 2005 event.
Kottke has exhibited in group exhibitions in Los Angeles, Denver,
the Puget Sound area, and North Dakota. While mounting solo
exhibitions for dozens of other artists in her gallery at
Cooperstown, she never gave herself that privilege. Her first solo
exhibition was in Tumwater, Washington. She currently shows
regularly at the Spirit Room in Fargo.
Gretchen Kottke created After the Storm in the days
following Hurricane Katrina’s destruction of New Orleans. It was
a time when television sets around the world were flashing
images of stranded people wading through chest-deep water,
being lifted from rooftops by helicopters, or escaping in small
boats.
Kottke studied French and art at Jamestown College and the
University of North Dakota. After college, she left North Dakota
and worked in the medical field both as a health-care worker and
as an administrator. Thirty years later, she returned to
Cooperstown, North Dakota, and opened the GK Art Gallery. It
proved to be one of the most rewarding challenges in her life, a
gift to the people of North Dakota, and a major support system
for artists from the three-state region. According to Museum
Director Laurel Reuter, Gretchen’s work in Cooperstown is a
stellar example of the difference that one person can make in
creating a lively cultural life in a rural place. Kottke closed the
gallery in June 2003 in order to devote her time to painting.
Kottke recalls, I have been making art since I can remember. As
a student at Cooperstown High School, I made Christmas sets. I
Lot #34
Gretchen KottkeCooperstown, North Dakota
After the Storm
Oil on panel
16 x 48 inches, 2005
Range: $700 - 900
It’s always just beginning.Everything is always just beginning.
—Jakusho Kwang
Lot #35
Vance GellertMinneapolis, Minnesota
Charlotte Lewis, Leaf Artist
Chromogenic print
20 x 16 inches, 2004
Range: $400 -600
Vance Gellert took a BA in physiology and a PhD in
pharmacology, both at the University of Minnesota, before
realizing that he really wanted to be a photographer. He returned
to school at Virginia Commonwealth University in Richmond
and finished an MFA in photography in 1984. In 1989 he
became co-founder and director of the Minnesota Center for
Photography, a position he held until 2003. He resigned to
become a full-time photographer.
While running pARTs, Gellert brought to the gallery major
projects and artists from Russia, Cuba, Afghanistan and other
countries. The exhibitions together with catalogs, panel
discussions, and artists’ talks brought community awareness to
the cultures and issues of these societies. Gellert’s exhibition of
conceptual photography from Cuba was seen in the galleries of
the North Dakota Museum of Art in 2001.
Gellert has always liked working in series or on large projects.
For example, in 1990 he started to shoot photographs of tractors
on Machinery Hill at the Minnesota State Fair. After collecting
nearly 500 images, Gellert decided to assemble the photos into
a collage representing one tractor. Next Gellert photographed a
farm west of Minneapolis on Highway 12 and assembled
multiple images of the farm as the background for the tractor.
Hybrid Tractor was given to the University of Minnesota Student
Center in 1992.
With a travel/study grant from St. Paul’s Jerome Foundation.
Gellert traveled to Bolivia in 2003 to undertake a photo project
based in pharmacology. His goal was to foster understanding of
the contribution of shamanic ritual and belief systems to
medicinal plant efficacy that may hopefully lead to novel new
research protocols. The actual product would be a photographic
book containing conceptually created portraits of the shamans,
followed by plant and treatment information. It would be
exciting to do an analysis of the plant phytochemistry, the
effectiveness of the treatment and any side effects. And then . . .
to compare this information with western scientific
treatment/drugs for the same malady along with its effectiveness
and side effects.
The photograph of Charlotte Lewis in this Auction grew out of his
most current project. According to the artist, I’m searching out
and making portraits of outsider artists of the region. I define
these as people who are not formally trained but driven to create
delightful and intensely personal art. I find this group to be quite
fascinating and better, very photogenic. Finding them is itself an
interesting process. The project began October 1, 2004, and I
expect to be at it for up to two years; it’s still defining itself. The
first thing I discovered was that the landscape photos I took in the
environments where these artists live paired well with the
portraits and are shown together.
Lot #36
Mary LucierNew York, New York
Arabesque
From The Plains of Sweet Regret
DVD, 2004
6:31 minutes, continuous loop
Letterboxed for 4:3 screen
Range: $600 - 800
Mary Lucier created Floodsongs for the North Dakota
Museum of Art in 1998, which won the Art Critics International
Association/United States Branch award for the best video
installation in a museum in the United States that season, but only
after being seen at the Museum of Modern Art in New York City.
This New York artist returned to North Dakota at the turn of the
twenty-first century, traveling across seasons and time, venturing
into the far northwestern corner of the state, almost to Montana,
almost to Saskatchewan. The North Dakota Museum of Art once
again commissioned her—this time to respond to the population
shifts that are forcing the people of the Northern Plains to
reimagine their lives. Laced with melancholy, with heartbreaking
longing, with loveliness, The Plains of Sweet Regret nudges the
viewer into remembering. What is it about this life that one
cherishes? A calf is born. The rancher’s large hand gently reaches
in to help. The empty landscape, mutating from fall into winter
against a haunting, electronic score, is achingly beautiful. Then,
in the last six minutes, the work explodes into dance, the dance
of the bucking horse, the bull, the clown, the rodeo rider. This is
the resplendent West, but Lucier undermines its glory with loss.
Brilliantly, the artist sets her choreography to George Strait’s
Country Western song, I Can Still Make Cheyenne. The music
and the images cascade back over themselves, folding,
repositioning, repeating, alive with rapture…and, again, longing.
Those last six minutes comprise a work within a work, or
Arabesque, the first media work to be included in the Museum’s
Auction. According to Museum Director Laurel Reuter, this
exquisite small work of art is a masterpiece. It was filmed at the
Roughrider Rodeo Association Year-End Finals Rodeo, Burdick
Arena, Devils Lake, in 2003. What does one do with it? Embed
a modest-sized, flat screen into the wall in your home and think
of the Lucier’s video as a moving painting.
The Plains of Sweet Regret was commissioned by the North
Dakota Museum of Art with funding from the National
Endowment for the Arts and the City of Grand Forks.
Mary Lucier has donatedall proceeds from thesale of this video to theMuseum of Art
Anyone who has followed my
career for the past few years
knows I have a certain fascination
with hay bales. Round or
rectangle, the shape doesn’t really
matter to me. I love the way they
catch the light, the shadows they
cast, and the way they physically
inhabit the space they are
randomly placed in. Viewed from
a distance they add to the patterns
created when cut and bundled,
but close up they have their own
personality, like big hairy beasts
resting in the grass.
Lot #37
Dan JonesFargo, North Dakota
Prairie Still Life
Charcoal on paper
30.5 x 47 inches, 2005
Range: $2,800 - 3,200
Dan Jones, who lives and works in Fargo, is one of North
Dakota’s most serious artists. He has long practiced plein aire
painting, gathering with a group of fellow artists and going to the
countryside to sketch and paint. The landscape of the Red River
Valley provides him with endless subjects. According to Museum
Director Laurel Reuter, the drawing in the Auction is one of Dan’s
very best. And so simple: a round bale of hay seen at night. The
light of the moon casts a shadow, turning the hay bale into a
monolith.
Jones’ works are included in many museum, corporate and
private collections including the National Endowment for the
Arts, the Plains Art Museum in Fargo, and the Rourke Art
Museum, Moorhead.
Walter Piehl was born into a family that raised rodeo stock
so he rode horses as a matter of course. When he arrived at
graduate school at the University of Minnesota in 1969, Bill
Goldstein, now the Director of Universal Limited Art Editions but
then a fellow student, commented that from the beginning Walter
drew with great confidence and skill. We were beginning
students and he arrived full-blown. He put his hand to paper and
the lines flowed. And he drew horses.
But before that, at the beginning of his experience with the world
outside of Marion, North Dakota, Walter went to Concordia, a
small Lutheran college in Moorhead, Minnesota, enrolling in
1960. Cy Running was his teacher. Walter was the skittish colt. I
was so used to calendar art, to illustration, to cowboy art as it
appeared in the magazines, I had a hard time.
Piehl went on to draw and paint horses, year after year, never
wearying of his subject, never despairing in his quest to create
contemporary Western art. In the beginning he worked alone,
one of the very first to turn his back on the established ways of
painting and bronze casting, rendered into cliche by followers of
Frederic Remington and Charles Russell. By 1978 Piehl and his
horses were well on their way. By drawing, overdrawing, and re-
Lot #38
Walter PiehlMinot, North Dakota
Buy Me, Fly Me:
Sweetheart of the Rodeo
Acrylic on canvas
48 x 60 inches, 2005
Range: $4,300 – 4,700
drawing, Piehl could leave the traces of movement on the paper.
He worked and reworked the surface, always leaving enough
description for the viewer to follow the motion of a falling hat, a
rider flying backward, the gesture of a flinging hand, a boot
following the body into a somersault as the rider is tossed.
As he matured, his skill as a painter matured as well. Just as he
was interested in observing the subtlety of a creek bottom, he
wanted his surfaces to dance with subtle variations. Drips,
feathered edges, scumbled paint, the judicious use of glazes, all
contribute to his rich surfaces.
Today Piehl is widely recognized as one of North Dakota’s senior
painters and as the artist who singularly pioneered the
contemporary cowboy art movement. In 2003 the Plains Art
Museum mounted a retrospective of his paintings and drawings.
In 2004 he was honored with the Governor’s Award for the Arts
and in 2005 he was appointed to the North Dakota Council on
the Arts as a member at large.
Richard Szeitz: For many years I was interested in aspects
and characterization of the American family. While in these days
a super organized and tightly knit family unit is still an ideal of
society, it seldom exists in reality or, if it does, it is highly suspect.
For it is hard to imagine, for most, such order without undue
force or abuse. Transparency is needed to convince one to accept
and believe such perfection. Therefore, this Ideal family must be
lean, frugal, concerned for the environment, therefore,
transparent, and GREEN. They should be strong, made of steel
and very straight and steadfast. I was evolving such thoughts as I
developed the sketches and spatial (almost three-dimensional)
presentation of Green Family at Home. One might consider the
irony of paradoxical relationships between expectations and the
realities of our times. This work is designed as either an indoor or
Lot #39
Richard SzeitZMoorhead, Minnesota
Green Family at Home
Painted steel
94 x 65 x 24 inches, 2005
Range: $3,500 - 4,000
outdoor piece.
In the early 1960s Richard Szeitz primarily worked as a
printmaker and a painter. He produced several series of
expressionistic images with religious subjects. These works were
commissioned by religious organizations for publications or
interior decor. In the same period he received requests to
produce some of his images in three-dimensional forms. After the
first experiments with welded steel he switched to brazed
copper, which became his preferred medium for sculpture. He
used human figures, animals, and biomorphic abstract forms in
his works, including in his fountain-sculptures made for private
and public places. Sculptural projects have dominated his
creative output since the late 1960s, with only occasional
interruptions to experiment with paintings, prints, collages, and
computer-generated images. To produce small studies for larger
site-specific commissions, Szeitz designs on the computer and
then fabricates the work in copper or, using the lost-wax method,
casts the work in bronze. He also has created a series of
medallions and bas-reliefs in bronze and hammered copper.
Stylistically, Szeitz was influenced by the baroque surroundings
of his European childhood. His encounter with the popular Art
Nouveau during his adolescence and the discovery of the
Bauhaus after the Second World War also helped to shape his
creative vision.
Marjorie Schlossman’s work will be familiar to the
audience at the North Dakota Museum of Art where she had her
first museum exhibition in the summer of 2004. The Museum
produced a catalog for Schlossman’s exhibition which draws
heavily upon her own journal writings. In it she says, It is the
habits of painting that we recognize in the work of an individual
artist. I wonder about these habits or patterns. Are they an
unresolved issue being worked through again and again? Or
attacked many times, the unexamined oversight? Or are they like
Lot #40
Marjorie SchlossmanFargo, North Dakota
Stroke of Midnight
Acrylic on paper
44.5 x 60 inches, 2004
Range: $1,500 – 2,000
fingerprints or a handwriting style?
It would take a long time for Schlossman to develop her own
“painting style or voice.” She was born in California but moved
to Fargo, her mother’s home town, shortly after World War II
ended. Years later she would return to California where she was
to become a painter, influenced by both the California light and
West Coast attitudes toward painting. But first, she took a degree
in literature from Northwestern University. Over a decade later
she returned to Fargo to raise her seven children and to paint.
The artist toyed with becoming a composer, having studied the
violin since childhood. She concluded that she could only
devote her time to one thing and chose painting but continued as
an amateur to play the violin in the Fargo-Moorhead Symphony.
Around the year 2000, Schlossman began to work on the Roberts
Street Chapel, a private venture she carved out of an old building
in Fargo. She has completed three sets of paintings which are
designed to wrap around three sides of the meditation space. Her
newest project, again with the North Dakota Museum of Art, is
to commission six architects to build “chaplettes” and again she
will paint their interior spaces.
Marjorie Schlossman has donated all proceeds of thesale of this work to the Museum of Art
Lot #41
Richard Dyck
Winnipeg, Manitoba
Hive Scan
C-Print from flatbed scanner
30 x 24 inches
Range: $1,300 - 1,600
Richard Dyck is a Canadian based, multimedia computer
artist who has also earned both national and international
attention. His work includes installation as well as scanning
projects, one of which is compiled in his book entitled Species.
Richard Dyck describes Hive Scans in his own words: The bees
paint as they move relative to the scan head over the scanner
bed, their images compressing and smearing anfractuously.
Aganetha Dyck, also a Canadian artist, has spent the last fifteen
years collaborating with honeybees. She places objects such as
hockey skates or fine embroidery into the hive. The bees use
them as foundation to build up comb and subsequently fill with
honey. Hive Scans, Aganetha and Richard Dyck’s most recent
collaborative work, according to the DeLeon White Gallery in
Toronto, is an aesthetic and voyeuristic journey into the sacred
work of bees, work that has until now remained largely in the
dark. As Aganetha Dyck’s everyday objects are worked on by the
bees, a flatbed scanner operated by Richard Dyck captures
images of the bees at work, revealing in their frozen activity an
almost phantom-like quality.
Lot #42
Ross Rolshoven
Thompson, North Dakota
Chief
Oil on canvas
14 x 11 inches, 2005
Range: $350 - 450
Lot #43
Michael Eble
Morris, Minnesota
New and Old Beginnings
Oil on canvas
32 x 32 inches, 2005
Range: $600 - 800
Ross Rolshoven was born in Mandan, North Dakota, in
1954. He grew up in western North Dakota with two brothers
and two sisters. The family enjoyed going to the farms and
ranches of uncles on both sides of the family. Countless summers
were spent looking for arrowheads, playing on calvary block
houses, and exploring Mandan Indian earth lodges at local state
parks. As a youngster he already was saving up images and
impressions that would make their way into his art years later. He
was also making collections, even as a small boy. Today his
assemblages, paintings, and hand-colored photographs are
grounded in Western and Native American themes.
Ross entered paintings in community art shows at an early age.
During college, he took several art courses but graduated in
1976 with a business degree from the University of North
Dakota. Today Rolshoven juggles his world of collecting,
creating, and speedboat racing while funding it through his
private detective and insurance claims enterprise in Grand Forks,
North Dakota.
Michael Eble moved from a small southern city to smaller
rural Morris, Minnesota, in the summer of 2003. He had
accepted a position to teach and direct the gallery at the
University of Minnesota Morris, the liberal arts branch of the U
of M. He had just graduated with his MFA in painting and
drawing from the University of Mississippi at Oxford. According
to the artist the move precipitated his next body of paintings.
The year following my arrival was filled with a series of
adjustments that consisted of a new city, culture, climate, job,
and home. During this period of change I began to think about
the concept of home and how we define this ambiguous idea. It
was not until a year later that I was able to settle down and focus
my energies to produce a new body of work. These new paintings
reflect an inner search to understand my own definition of home.
The cornerstone of that definition is the “sense of place” and the
people who reside in that place. It is marked by the familiarity
and comfort of friends or relatives. In my paintings I suggest these
ideas through a range of symbols, figures, writings, and structures
that serve as an iconography. Much of the imagery is derived
from photographs that reference this aspect of home. The
imagery is usually rendered flat to give the viewer an anonymous
representation of the form or figure.
Lot #44
David MadzoMinneapolis, Minnesota
Captain My Captain
Acrylic on panel
with painted frame
16 x 13 inches, 2002
Range: $400 - 600
David Madzo is not only a maker of magical paintings, he
is a technically accomplished craftsman. He handles pigment,
washes, and glazes like a master, according to North Dakota
Museum of Art Director Laurel Reuter. Using thinned acrylic, he
builds up layer after layer of transparent washes, the surface
made rich with both under- and over-drawing. His base paint is
often a rich and glowing orange/red. The Auction work was
created with washes of acrylic paint on board, and the image
was extended onto the frame.
Madzo graduated with a BFA from the Minneapolis College of
Art and Design (1977) and an MFA from the University of North
Dakota with a concentration in painting (1980). Following
graduation he moved to the Twin Cities where he still paints in
his Minneapolis studio. He was quickly picked up by the Thomas
Barry Gallery where he had his first solo exhibition in 1986 and
he continued to exhibit for the next decade. Madzo has a long
relationship with the North Dakota Museum of Art which
culminated in a solo exhibition that opened in January 2003.
Madzo has been the recipient of a Jerome Foundation Fellowship
(1983), a McKnight Foundation Fellowship (1985) and a Bush
Foundation Fellowship (1987). In addition to painting, the artist
has an enviable position as the only paid person on Habitat for
Humanity construction sites where he oversees dozens of
volunteer “carpenters.”
We study the arts
because they make our
hearts wise, the highest
of human goals.North Dakota Museum of Art Mission Statement
Lot #45
Zoran MojsilovMinneapolis, Minnesota
Island
Granite, mable, stainless steel, patio umbrella
99 x 80 x 70 inches, 2005
Approximate weight: 4,000 lbs.
Range: $4,500 – 5,500
Buyer must pay costs of delivery
Lot #46
Zoran MojsilovMinneapolis, Minnesota
Shell Seating
Granite
136 x 50 x 52 inches, 2005
Approximate weight: 2,000 lbs.
Range: $4,000 – 5,000
Buyer must pay costs of delivery
Zoran Mojsilov grew up with his grandmother in a poor
village in former Yugoslavia. From the time he was little, he
assumed the role of toy maker for the rest of the children. He
grew into his teens wanting to be an artist but in his remote
world artists were considered sissies. So Zoran became a
champion wrestler in order to be left alone to become an artist.
Ironically, his physical training has served him well as he builds
his massive sculptures with stone and iron.
After graduating from the University of Belgrade in 1979, he left
for Paris and then, a few years later, for Minneapolis. His first job
in the States was at the Walker Art Center where he worked with
the installation crew in the wood shop. Mojsilov’s first exhibition
at the North Daktoa Museum of Art was in 1990 and at that time
he was working in wood. Then he assisted the Museum by
driving the sculptor Richard Nonas to the granite quarries in the
St. Cloud region, seeking rock for a North Dakota Museum of Art
commission (the stone monoliths that surround the museum).
Thus Mojsilov discovered stone—and he never looked back. In
the summer of 2002 Mojsilov installed three major granite
sculptures in the North Dakota Museum Garden, commissioned
by the Msueum. Currently the Museum is in the fundraising
stages of a twenty-five year survey exhibition of his drawings and
sculpture, accompanied by his first catalog.
Mojsilov was trained traditionally in the European academy. He
knows art formally and he knows its history. His drawings are
accomplished and purposeful as studies for his sculpture. He has
taught himself the use of both tools and materials even while
receiving support from fellow sculptors such as Mark di Suvero.
His sculpture functions in the three-dimensional, as it should. It
harbors the same spirit of generosity that is endemic to Mojsilov’s
very being. It is playful while being massive. It is grand while
being whimsical. It is not pretty; it is strong, powerful and
awkward, commanding one’s attention. That this artist has
received all the grants available to artists living in Minneapolis is
testament to the regard with which he is held by critics, curators,
jurors, and fellow artists.
Lot #47
Barton BenesNew York, New York
Art Museum
Mixed media wall relief
28 x 29.25 inches, 2005
Range: $1,500 - 2,000
barton Benes makes museums. He created this special Art
Museum for the North Dakota Museum of Art—Barton’s “home”
museum. The Art Museum contains:
Snip of Mark Rothko’s necktie
Dice from a Tony Cragg sculpture
Philip Taaffe’s wax mold and stencil
Bristles from Jean Michel Basquiat’s paintbrush
Crayon from Robert Rauschenburg’s studio
Shard from Dennis Oppenheim’s installation Spam
Penis sketches by Sally Mann and Merce Cunningham
Piece of porcelain plate that fell off a Julian Schnabel painting
Nan Goldin’s film case
Xu Bing’s tea-stained napkin
Hardware and curtain from Christo’s Gates
Hair from William Wegman’s dog Candy
When Barton dies, he is leaving his apartment and all its contents
to the North Dakota Museum of Art. The apartment contains
many museums within it including African and Egyptian
sculpture, work by contemporary artists, stuffed animals, an
African voodoo altar, etc. etc. etc. It will become the Museum’s
first period room.
Katie McCleery retired from the University of North Dakota
at the end of the 2004-05 academic year, having taught ceramics
since 1973. She spent fourteen of those years carving
architectural murals in brick, working closely with the Hebron
Brick company, North Dakota’s oldest and only functioning
brickyard. Two years ago she retired from carving brick because
of the wear and tear on my body. It’s very heavy work and
although I enjoyed it and was proud to have had the opportunity
to do a good number of carvings, it became clear that, if I wanted
to continue to work as an artist, I would have to make some
changes. I’ve always done other works as well as the carved
murals. I’ve done a fair amount of work in raku, since it is fast and
fun, and have explored slip casting as well as continued working
in stoneware. Recently I took on an architectural restoration job
and got some experience with flexible mold systems and a new
casting material. I like learning new things and having choices
about how I work and what kind of work I do.
Lot #48
katie McCleeryTravis City, Michigan
Untitled
Raku with gold leaf
8 x 18 inches, 2005
Range: $300 - 500
Explore . . . Endure . . . Evolve . . .
North Dakota Quarterly, PO Box 7209, University of North Dakota, Grand Forks ND 58202, (701) 777-3322 e-mail: ndq@und.nodak.edu www.und.nodak.edu/org/ndq
North Dakota Quarterly is proud to support the
North Dakota Museum of Art’s Autumn Art Auction,
continuing our ongoing promotion of art and artists in
the upper midwest. We regularly feature artwork
from the region and beyond on our covers, and the
Summer 2004 issue included the work of
nine North Dakota artists. Other recent issues include a
300-page Special Belles-Lettres Issue, available for $12
each in the museum shop.
Mention this ad to receive a free regular issue or a $5.00 discount
from the subscription price of $25.00 for four issues.Gregory Vettel, Gateways
Dr. John Clayburgh, D.D.S.is pleased to support the
North Dakota Museum of Art.
Express yourselftransform your photography & artwork
calendars • postcards • notecards
graphic design and full-color printing
4051 Gateway Drive • grand forks, north dakota
(701) 772-4802 • FAX (701) 775-3887
©2006 D
ave B
ritt
on C
ale
ndars
avail
able
at
701-7
72-6
681
North Dakota Museum of ArtFoundation
Board of DirectorsNorth Dakota Museum of Art
Board of Trustees
Ann Brown
Charles Christianson
John Foster, Chair
Cheryl Gaddie, Vice Chair
Robert Gallager
Betty Gard, Secretary
David Hasbargen, Vice President
Jean Holland
Sandy Kaul
Gretchen Kottke, Treasurer
Darrell Larson
Judi Paukert
Alex Reichert
Laurel Reuter, President
Annette Rorvig
Pat Ryan
Gerald Skogley
Mary Wakefield
Wayne Zimmerman
Anthony Thein, Emeritus
Corinne Alphson, Emerita
David Blehm, Emeritus
Julie Blehm, Emerita
Virginia Dunnigan, Emerita
Bruce Gjovig, Emeritus
Ellen McKinnon, Emerita
Sanny Ryan, Emerita
Barb Lander, Emerita
Robert Lewis, Emeritus
Douglas McPhail, Emeritus
Kevin Fickenscher, Treasurer
Nancy Friese
James E. Gjerset, Chair
John Gray
Daniel E. Gustafson, Vice Chair
Darrell Larson
Fern Letnes
Margery McCanna-Jennison
Betty Monkman, Secretary
Laurel Reuter
Gerald Skogley
North Dakota Museum of Art Staff
Margaret Anderson
Deborah Douglass
Sheila Dalgliesh
Justin Dalzell
Suzanne Fink
Barbara Hatfield
Sarah Hoffman
Amy Hovde
Connie Hulst
Kathy Kendle
Brian Lofthus
Kristina Owen
Laurel Reuter
Jennifer Verlinde
Gregory Vettel
Matthew Wallace
Stacy Warcup
Katherine Wonderlich
and over fifty volunteers
North Dakota Museum of Art, Post Office Box 7305, Grand Forks, North Dakota 58202-7305 USA
Phone: 701.777.4195 Fax: 701.777.4425 E-mail: ndmoa@ndmoa.com www.ndmoa.com
Recommended