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

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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