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North Dakota Museum of Art

AUTUMN

Art

Auction

SATURDAY, October 2, 1999 Cocktail Buffet, 6 - 8 pm Auction begins at 8 pm

Music for the Auction Jazz Trio Kris Eylands, guitar Bob Cary, bass Mike Blake, vibraphone

Auction Preview Saturday evening, September 11, 7-9 pm in conjunction with the season exhibition opening. Preview continues through October 2 during regular Museum hours

Informal Gallery Talk by Museum Director, Laurel Reuter Sunday, September 12, 3 pm Learn about individual works in the Auction

The Autumn Art Auction is Sponsored by Dayton’s

The Jazz Trio by:

With Additional underwriting by:

Farmers Insurance Group George E. Wogaman Insurance Agency, Inc. 2612 Gateway Drive Grand Forks, North Dakota 58203 (701)-772-7108

The Auctioneer by: Beer for the evening by:

John Smart and Nina Lewis McKinnon Company, Inc.` Distributors of Miller Lite

The North Dakota Museum of Art, Post Office Box 7305, Grand Forks, ND, 58202, USA Phone: 701 777-4195 Fax: 701 777-4425 E-mail: ndmuseum@gfherald.infi.net WWW//ndmoa.com


from the Director

Frances Ford, Auctioneer

This gala event is planned as part of the Museum’s ten-year

A singer and actress all her life, Frances Ford has performed

celebration of its grand opening in the fall of 1989.

in musicals around the country. She came to Grand Forks

Sponsored by Dayton’s, it also celebrates the company’s

in 1997-98 to teach in the Theatre Arts Department at the

long commitment to the arts in our community as it

University of North Dakota and do a one-woman show, The

prepares its own grand opening of its newly remodeled

Belle of Amherst, in Burtness Theatre. Later, she wrote and

Dayton’s store to take place in November. Dayton-Hudson

performed solo in A Flood of Memories, commissioned by

cooperated with the Museum of Art as early as 1986 when it

the North Dakota Museum of Art, and performed in the

funded the purchase of Bennett Brien’s Buffalo, placed by

Museum’s galleries. Frances is pleased to make this return

the North Dakota Museum of Art on the capitol grounds in

visit to help the Museum and see her Grand Forks friends.

Bismarck. Brien’s Buffalo was the first major work by a

Born in Wisconsin, Ford lived in New York City most of her

Native American to grace such an important public site.

life. In the early years she and her young son played extras

For years we at the Museum have sought ways to develop a buying audience for our best artists while giving the Museum community the opportunity to own work by artists of national and international stature who have exhibited at the North Dakota Museum of Art. As the receivers of the gift of living in a culture that harbors working, thriving artists, we as viewers and participants have our own obligations. We need to introduce our artists to our children so they grow up with a sense of having a larger cultural life. We need to live with the work of our artists, to buy it, to swap and trade and hand it around. We need regional museums where the objects of our visual history are assembled. We need patrons willing to commission works of art just as we need patrons willing to commission local composers and choreographers. It takes surprisingly small amounts of money. We need to lobby for a knowledgeable press and responsible criticism that will promote, and discuss, and record these illusive markers and fragile artifacts of a living cultural life. But most of all we need to nurture the lives of these artists who are our own.

—Laurel Reuter, Director North Dakota Museum of Art

in Woody Allen movies. Her son retired from acting at age six and a half and has become a rocket engineer who designs spacecraft. Frances now lives in St. Paul where she intends to make her home. This past summer she worked with the Illusion Theatre in the Twin Cities, and currently performs there in city schools as Susan B. Anthony. This is her first role as an auctioneer, which Frances regards as being akin to improvisational theatre. About her career, Frances says she has "mastered acting as a craft, but continually strives for the art."


It is the desire of the North Dakota Museum of Art to continue to develop a buying audience for our best artists while giving our Museum community the opportunity to own work by artists of national and international stature who have shown their work at the Museum. This was my underlying reason for wanting to develop a serious art auction.

—Laurel Reuter, Director North Dakota Museum of Art

Rules of Auction

q Each guest will receive a bidding card upon buying a

Autumn Art Auction Committee

Madelyn Camrud, Staff

ticket. Cost of tickets $25 in advance, $30 at the door.

Marlene Diehl

Call the Museum to order tickets. (701) 777-4195.

Sharon Etemad Merle Freije

q Absentee bidders will either leave their top bid on an Absentee Bid Form with Museum personnel or bid by phone the night of the auction. q Each bidder will use his or her assigned bidding number during the auction. q After the sale of each work of art, the winning bidder will sign a purchase agreement.

Dan Jones Sandy Kaul Rachel Kopp Lisa Lewis-Spicer, Chair April Mehls Dennis Potter Kevin Register Dyan Rey Marsy Schroeder, Staff

q All sales are final.

H. David Wilson JoAnne Wold

q In the event of a dispute between bidders, the

Wayne Zimmerman

auctioneer shall either determine the successful bidder or re-auction the work of art in dispute. q After the sale or at the conclusion of the evening, all purchasers must pay for their art at the cashier’s desk. Checks should be made payable to the North Dakota Museum of Art. Master Card, Visa and Discover credit cards are accepted.

Lisa LEWIS-SPICER As Chair of the North Dakota Museum of Art’s first Autumn Art Auction, I have had the pleasure of working with an energetic, focused and enthusiastic Art Auction committee and a very dedicated and accomplished Museum staff. In addition to participating in a variety of volunteer roles for the Museum and through the community, Lewis-Spicer has

q Works of art in the auction have been given minimum

previously chaired the Museum’s fall membership campaign

prices by the artists. This confidential minimum or

and more recently participated in the Museum’s 1997 Oral

"reserve" is a price agreed upon between the artist and

History project based on the flood. Her interviews will be

the North Dakota Museum of Art below which a work

published this fall in Voices From the Flood. Lewis-Spicer

of art will not be sold.

teaches for the English Department and Honors Program at

q Range price listed in this catalog indicates what the work sells for in the retail market.

the University of North Dakota and resides near the Red River in Grand Forks with her four children who sometimes claim her as their mother.


Paul Barr Lot #2

Katie McCleery Lot #1

well-suited for grinding seed into edible food. McCleery is currently firing a series of forms in the tradition of University of North Dakota Cable pottery. These will be the first slip cast pots made at UND since Margaret Cable, Ceramics Professor from 1911 to 1949, left the University. Funds from the sale of this series will be used to start a scholarship fund for ceramics students at the University. A retrospective exhibition of her work is being organized by the North Dakota Museum of Art for the year 2003.

Paul Barr (1892-1953) IGLESIA CALBEIRO DE JACALA, oil on canvas 23 3/4 X 35 1/4 inches, 1952 Range: $700-800

Katie McCleery

Paul Barr was founding chairman of the University of North

Grand Forks, North Dakota BIG BOWL, raku, from Ancient Earth Series 6 1/2 inches high, 19 1/2 inches diameter, 1989 Range: $300-400

Dakota's art department from1928 until his death in 1953. He was a masterful landscape painter who manipulated color in the manner of artists from "The School of Light," a group of artists working mostly in the 1940s and 1950s who attempted to capture the colors of a landscape in natural

Katie McCleery is a vital artist in our region, known for her

light. His work echoes that of the Taos School, influential at

endless experimentation with new techniques. For the past

the time. Barr is believed to be the first artist to explore

few years she has worked commercially with Hebron Bricks,

through painting the majesty and grandeur of the North

carving large commissioned works that are later installed by

Dakota Badlands. He traveled extensively throughout

the brick company in architectural settings. In addition, she

Europe, Mexico, the United States and the Canadian

has been a Professor of Ceramics at the University of North

Rockies, recording the landscapes in his paintings. Several

Dakota for more than twenty-five years. In her Ancient Earth

important paintings are owned by the University of North

Series McCleery created a burn-out process that references

Dakota. Barr was part of an exhibition that began a

vesicular basalt. This type of stone was used for vessels

Centennial Series at the North Dakota Museum of Art in

made by southwestern Indian tribes. Its rough texture was

1983, that year marking the University’s 100th birthday.


Mary Ellen Mark

David Madzo

Lot #3

Lot #4

Mary Ellen Mark New York, New York GIRL WITH DOLL, photograph 10 1/4 X 10 1/4 image on paper 24 X 24 inches, 1997 Range: $1500-2000 Mary Ellen Mark is one of the world’s leading photojournalists. She received her Master of Arts in photojournalism from the Annenberg School of Communications at the University of Pennsylvania in 1964. She has taught photography extensively and received a Fulbright and United States Information Agency grants, as well as a fellowship from National Endowment for the Arts. Articles about her work have appeared in publications including The New Yorker, The New York Times, and Rolling Stone. Mark has made pictures about the plight of human beings all over the world, including those in psychiatric hospitals, in Mother Teresa's mission in Calcutta, at circuses in Mexico, and discos in Manhattan. She has published eleven books of photographs, the most recent being A Cry for Help: Stories of Homelessness and Hope. A twenty-five year retrospective exhibition is currently on international tour. Girl With Doll was taken when Mark visited Grand Forks in the fall of 1997 to photograph a magazine story about the flood. She shot this photo of Breann Benedict in the FEMA Village. It was later used by the North Dakota

David Madzo

Museum of Art on a poster and invitations for its flood

St. Paul, Minnesota THE EXTENT OF DESIRE, acrylic on wood 24 X 19 inches, 1997 Range: $800-1000

photography exhibition, Under the Whelming Tide.

—Continued next page


It’s a wonder to throw paint around. Beyond the stories, the reason to paint is a love of color. A love of making things out of it.

—David Madzo

Nelda Schrupp Lot #5

David Madzo

—cont.

David Madzo grew up on a ranch near Bowman, North Dakota. He studied under Brian Paulsen at the University of North Dakota art department in the late 1970s. His Master of Fine Arts degree completed, he left Grand Forks for the Twin Cities where he still paints in his downtown St. Paul studio. David is drawn to the turn of the century painters who specialized in social and Christian symbols. Attracted to myth and mystics, archetypes recur throughout his work. Those most commonly used are the hermit, the fool, the monkey, the searcher, and the martyr. Nelda Schrupp Lakota, North Dakota AMULETIC FORM #900 WITH AUDIO ESTHETICS, necklace, 1999 22 inches long, sterling, bone, horse hair, yellow citrine Range: $2600-3000 Nelda Schrupp, a jeweler, regards working as an artist as sacred. A graduate of the University of North Dakota only five years ago, her work has garnered strong recognition at shows throughout the country. She has pieces in the collection of the Heard Museum in Phoenix, Arizona and in the Renwick Gallery of the Smithsonian Institution. Her work appears in an important new book on modern Indian jewelry by Lois Sherr Dubin, North American Indian Jewelry and Adornment. Born in southern Saskatchewan, Canada, Schrupp now lives and works in Lakota, North Dakota. Her work, mostly in silver, revolves around the rattle, a sacred object used in native spiritual ceremonies. Some of her pieces are wearable; others are traditional ceremonial pieces. Schrupp is an active member of Pheasant Rump Nakota First nation, Kishey, Saskatchewan.


Were the people of North Dakota to name their living treasures, Emily Lunde would certainly be among them. She is one of the state's eminent folk artists and unofficial cultural historians.

—Laurel Reuter, Director North Dakota Museum of Art

Emily Lunde Lot #6 WINTER

Emily Lunde Grand Forks, North Dakota SPRING & WINTER, acrylic on board SPRING, 7 X 5 inches. WINTER, 5 X 7 inches, c. 1990 Range: $150-200 each Emily Wilhelmina Dufke Lunde was born in northern

Emily Lunde

Minnesota and, as she says, "with a handle like that you had

Lot #7 SPRING

to have a sense of humor." She moved to Grand Forks as a young girl to find work as a domestic. She was almost sixty years old before she began to paint. As both an artist and author, Mrs. Lunde has recorded the life of Scandinavian immigrants settling the prairies and small towns of the Red River Valley during the early 20th century. The North Dakota Museum of Art owns a complete set of thirty-two paintings in Mrs. Lunde’s Immigrant series, as does the United States Art in Embassies Program. Failing health has confined Lunde in a nursing home for the past several years. Her humor and good spirits are still with her, even though she is no longer able to paint.


Jim Dow Lot #8 CORBETT FIELD

Jim Dow Belmont, Massachusetts CORBETT FIELD, MINOT, NORTH DAKOTA Four 8 X 10 RA4 color prints from negatives Approximately 8 X 40 inches, 1996 Range: $1800-2000 Jim Dow's interest in photography began at the Rhode Island School of Design where he earned an undergraduate degree in graphic design. He received a National Endowment for the Arts Fellowship in 1972, and two years later was awarded a Guggenheim Fellowship. A sports fan, Dow has photographed numerous places where people play. "Sport," he says, "is as close to religion as anything we've got." Dow was the official photographer of the Los Angeles Olympics and has photographed, by commission, all of the major league football stadiums in the country. He came through Grand Forks during the summer of 1998 on a job shooting all of the fields in the Northwoods Baseball League. At that time he went on to Minot to shoot Corbett Field. According to Dow, this is his all-time favorite photograph of a sports stadium, and that includes extensive shooting of soccer stadiums in Argentina and England.

Misha Gordin

Born in 1942, Dow lives in Belmont, Massachusetts. In

Lot #9

1981, the North Dakota Museum of Art received a large grant from Target Stores to allow Dow to photograph environmental folk art in North Dakota. Dow spent three months in the state completing that commission, which will be turned into a book and exhibition in the Museum in the spring of 2000. Dow's interest in photography is, as he says,

more perfunctory than aesthetics." Dow, with his strange, funky eye, searches for the vernacular, the unusual in everyday existence.

"in its capacity for exact description." His rule of thumb is

His work is collected by many institutions including the

"to photograph things that have been created for reasons

Museum of Modern Art in New York City.


Brian Paulsen Lot #10

Brian Paulsen Misha Gordin St. Joseph, Minnesota CROWD #8, silver print 19 X 14 image on paper 37 X 29 inches, 1988 Range $3000-5000

Grand Forks, North Dakota STILL LIFE GAME, watercolor 13 1/4 X 9 image on paper 20 X 15 3/4 inches 1997 Range: $600-800 One of the most consistent award-winning artists in the

Misha Gordin was born in Riga, Latvia in 1946. His Russian

region is Brian Paulsen who also teaches drawing, lettering,

parents, having survived the hardships of evacuation, had

painting and design at the University of North Dakota. He

just returned to Riga. Latvia was under German occupation

has served as a faculty member in the Visual Arts

for much of the war but following the 1945 defeat of Hitler,

Department for more than twenty-five years. Paulsen lost his

had come under Soviet occupation. Thus Gordin grew up

basement studio in the flood of 1997, but it is now fully

among the Russian speaking population of Latvia. Thus he

rebuilt and he is experimenting with new images in his art.

claims the Russian culture as his root culture. He graduated

For years Paulsen has hand-painted exhibition signage on

from a technical college as an aviation engineer, but never

the walls of the North Dakota Museum of Art—almost a lost

worked in that field. Instead, he became a designer for the

art. He painted his own “painter’s hand” for the Museum

Riga Motion Picture Studios. He says about that time, “I was

Donor Wall, the same hand which appears in this auction.

in my early twenties and mostly ignorant about art. At this time social realism was the official art movement, and I didn’t care much about it. Information about modern

Gordin —cont.

western art was hardly available.”

expected to be perceived as such." He strives for a successfully manipulated image where the question "Is it

Gordin took his first photograph when he was nineteen.

real?" does not arise. When he was twenty-eight years old

Neither portraiture nor documentary shots interested him.

Gordin immigrated to the United States. For many years he

So he put his camera aside and began to read Dostoevsky

worked as a commercial photographer in the Detroit area

and Bulgakov, and to look at films, in particular the work of

before buying his own “forest” near St. John’s University in

Tarkovsky and Parajanov. His first and most important

Minnesota. In 1994 Gordin had a major exhibition at the

conceptual image, Confession, came into being in 1972 and

North Dakota Museum of Art. He has work in many

has been the backbone of his work for twenty-five years.

collections including The Art Institute of Chicago, The

That was when he began to photograph a concept rather

National Museum of Modern Art, Kyoto, and the Georges

than reality. Gordin says "The real power of photography

Pompidou Centre in Paris. He received a National

emerges when altered reality is presented as existent and is

Endowment for the Arts Visual Artist Fellowship in 1985.


It is important to Charlie Beck that his friends and neighbors own his woodcuts and paintings so he has always kept his prices low and worked at other jobs to support his family. He frames every print himself in order to control its final presentation. I find his generosity both life-giving and a wonderful example of how to be an artist. —Laurel Reuter, Director North Dakota Museum of Art

Dan Jones Lot #11

Dan Jones Fargo, North Dakota VALLEY SUNSET, oil on canvas 48 X 58 inches, 1999 Range: $2000-3000 Dan Jones has been painting for seventeen years. He studied the old masters at North Dakota State University and the University of Minnesota and began painting portraits with the desire to be a figurative painter. After living in the Arizona desert for a time, he began painting landscapes. His approach to painting is European. He works on-site creating sketches and small paintings, then returns to the studio to

Charles Beck Fergus Falls, Minnesota SNOW GEESE, woodcut 22 X 32 image on paper 29 1/2 X 39 inches, 1988 Range: $400-600

expand the idea. Currently living in Fargo, North Dakota, his landscapes now reflect the land, trees and water of this

Charles Beck was born and raised in Fergus Falls,

region. Jones serves on the North Dakota Museum of Art

Minnesota; his work, like his life, is rooted in the woods and

Board of Trustees. He has created the Museum's

hills and fields of Ottertail County. In 1950, with

membership print, a winter landscape, which will be given

undergraduate work at Concordia College in Moorhead,

to the first 600 members who join or renew their

Minnesota, and graduate work at the University of Iowa

memberships in the 1999-2000 season.

completed, he returned to his hometown with his wife, Joyce, and their children. In the nearly fifty years since, he has created a remarkable body of work, consistent and largely immune from art world trends, yet fresh and unique. Beck's work has been shown in the Metropolitan Museum of Art, New York; the Joslyn Art Museum, Omaha; and the


Charles Beck Lot #12

Walker Art Center and the Minneapolis Institute of Arts in Minneapolis. For years Beck has shown with Jim O’Rourke in Moorhead, either in the Rourke Art Gallery or the Rourke Art Museum. Beck says that in his landscapes he is influenced most by the horizon. He wants people to come away from his work with the feeling they have seen some aspect of their surroundings they have not seen before.

Dick Huss St. Paul, Minnesota UNTITLED, silver-gold-black vase, red lip wrap 22 1/2 X 35 inches circumference, 1999 Range: $4000-4500 Dick Huss, a glass artist, was born in Fairbault, Minnesota, in 1946. He received degrees from Mankato State University and the University of Minnesota. Huss owns and operates his own hotshop on Saint Paul's east side, and currently serves as Artistic Director of Crucible Glass Project, a Twin Cities arts organization which he co-founded in 1995. In 1996, Huss was commissioned by Minnesota Governor Arne Carlson and First Lady Susan Carlson to create a cobalt blue glass vase as the official gift for the visiting King and Queen of Sweden. Huss is known for his elegant, classically shaped vessels with sandblasted surfaces. His work is in corporate, museum and private collections in Japan, Germany and France, and in the Art Institute of Chicago, the Corning Glass Museum, and the St. Louis Art Museum as well as many other collections throughout the United States. He has been a glass blower for thirty years.

Dick Huss Lot #13


Jerome Tupa Lot # 14

Bernice Ficek-Swenson Lot #15

Bernice Ficek-Swenson Golden Valley, Minnesota PUTTING OUT ASHES XII, photogravure 7 X 5 1/2 image on paper 22 X 20 inches, 1998 Range: $450-500 Bernice Ficek-Swenson photographs still life constructed of ashes, stones, fire and cremated bones. She started a body of photogravures entitled Putting out Ashes in 1995, and continues an on-going investigation with this series. Stones, used by all cultures, are of interest to her. She says this about stones: ". . . one of the only materials which have come to represent the eternal, the spiritual." The photogravure medium, a marriage of photography and etching, appeals to Ficek-Swenson: "The finished image has both the great sensitivity and detail range of a photograph and the velvety, smoky surface quality of an inked etching." Her work is included in many corporate collections in

Jerome Tupa, O.S.B. Collegeville, Minnesota SPIRIT SCAPE, gouache 29 1/2 X 22 inches, 1995 Range: $1000-1500

Minneapolis, among them Piper Jaffray Companies and Honeywell. She also has work in the permanent collection of Zimmerli Art Museum at Rutgers, Brunswick, New Jersey and the Minneapolis Institute of the Arts. She had a solo show in the North Dakota Museum of Art in 1998.

Father Jerome Tupa, O.S.B., took vows as a monk in the

France. The abstractions, all gouache on paper, contain the

Order of St. Benedict at St. John's Abbey, Collegeville,

Tupa—cont.

Minnesota, where he still lives and teaches. He is also a

essence of the Mediterranean landscape—one can sense the

priest. Tupa has painted for more than twenty years, and

sky, the sea, and the prickly leaves of the palm trees. Tupa

learned the craft on his own. Spirit Scape is from a series of

most recently completed a California Mission Series, and is

sixty paintings made while on a sabbatical in southern

currently launching the first of three painting pilgrimages: to Italy; along the travels of St. Paul; and to Capistello, Spain.


Patrick Luber Lot # 16

Patrick Luber Grand Forks, North Dakota FALSE PROPHETS, mixed media 37 X 25 1/2 X 4 1/2, 1999 Range: $600-800 Raised on a farm near Pocahontas, Illinois, Patrick Luber attended Southern Illinois University and received a BA degree from Greenville College in Illinois. He earned MA and MFA degrees in sculpture from the University of New Mexico and has taught sculpture at the University of North Dakota since 1990. Luber’s work for a long time has been concerned with praxiology as applied to consumer habits and ecological practice. In False Prophets, he takes an ironic

Mike Marth

look at America’s worship of consumerism. Luber earlier created a series based upon the bed, one of which, PreNuptial Agreement, is included in the North Dakota Museum of Art's permanent collection.

Mike Marth Fargo, North Dakota STILL LIFE, mixed media on panel 46 1/2 X 63 1/2 inches, 1999 Range: $2000-3000

Marth received a Bachelor of Fine Arts degree at Marth—cont.

Northwestern Missouri State, Maryville, Missouri, and a Mike Marth, both a sculptor and a painter, often mixes the

Master of Fine Art at Southern Illinois University,

two genres. In his still life series, begun in 1990, he uses

Carbondale, Illinois in 1991. He moved to Fargo in 1996

mostly tools and vessels as objects. The coffee cup is one of

and now teaches Interior Design, Apparel and Textiles at

his favorites. For Marth it symbolizes common everyday life.

North Dakota State University. Marth received first prize at

In this work, that commonness is juxtaposed with human

the 40th annual Midwestern Show exhibited at Rourke Art

responses, either positive or negative, in any given situation.

Museum, Moorhead, Minnesota, this past summer. He also


Will Maclean Tayport, Fife, Scotland

Ernest Mirabal Lot #18

THE UNPROVABLE FACT, A TAYSIDE INVENTORY Lithographs with poetry Four prints, each 19 1/2 X 13 inches, 1999 Range: $1200-1600 for the suite Will Maclean is one of the outstanding artists of his generation in Scotland. He was born in Inverness, the son of the harbor master, and spent his childhood between Inverness and Skye. He came from a family of fishermen and went to sea at an early age, spending years on fishing

Ernest Mirabal (Cloud Eagle)

boats and in the merchant marine. His art is rooted in his

Nambe Pueblo, New Mexico

knowledge of the Highlands, the Highland people and their

TEARS

OF JOY,

patinaed bronze

27 X 7 3/4 X 12inches diameter, 1992 Range: $2000-4000 Ernest Mirabal, commonly known as Cloud Eagle, was born in Los Alamos, New Mexico. He now lives in Nambe Pueblo with four dogs, one cat, two parakeets and a horse. Mirabal works in many mediums: painting, sculpture, ceramics, jewelry and metals. He says he "doesn’t want to limit himself." Much of Ernest’s art involves the idea of circle, of things repeating or returning, and the oneness of nature. Oval fertility figures, their centers hollowed into a long womb, convey birth themes in much of his work. Mirabal received a scholarship to the University of New

history both on land and sea. Will Maclean's imagery and John Burnside's poetry come together in this collaborative suite. With both poet and artist responding to Dundee's natural environment and the human endeavor it has sustained, the work is a kind of inventory. Burnside's text, reproduced in full overleaf, exists in four sections, headed Explorers, Surveyors, Mediciners and Husbandmen. Maclean's images draw out some of the scenarios implied in John Burnside's references in the poem. Maclean took the format for these prints from a book of Indian ledger drawings he saw in North Dakota when he was here for his solo exhibition at the North Dakota Museum of Art last year.

Mexico in electrical engineering, but after two years he left

Burnside lives in Cellardyke, Fife, and was recently Creative

the engineering program to study art. Ultimately, he

Writing Fellow at the University of Dundee in Scotland. He

received degrees in painting and sculpture at the Institute of

is the author of several books of poetry, one work of fiction,

American Indian Arts, New Mexico.

and a portfolio of poems.


Will Maclean Suite of four prints Lot #19

Walter Piehl Minot, North Dakota AIR LORD: SWEETHEART 30 inches, 1991 Range: $1500-3000

OF THE

RODEO, acrylic on canvas 40 X

Walter Piehl is one of North Dakota's most highly-regarded artists. He studied undergraduate art at Concordia College in Moorhead and received a Master of Arts degree from the University of North Dakota studying under Robert A. Nelson. He did further work at the University of Minnesota. He has become one of a few artists in the country to successfully create "cowboy art" in a contemporary mode. Piehl grew up on a ranch near Marion, North Dakota, where his family raised rodeo stock. As soon as he was able to sit on a horse he began to ride. Over the years he has won many rodeo prizes both roping and riding. He continues to "call" at rodeos and to follow the careers of his rodeo-riding sons while teaching at Minot State University. Piehl has won numerous awards for his colorful, expressionistic paintings. He has shown throughout the West including at such venerable institutions as the Cowboy Hall of Fame in Oklahoma City and the C. M. Russell Museum in Great Falls. A work from his Sweetheart of the Rodeo Series is in the permanent collection of the North Dakota Museum of Art. Piehl was named one of twenty Notable North Dakotans in The Bismarck Tribune’s first such publication in 1998.

Walter Piehl Lot #20


Jim Dow, Lot #21 UND HOCKEY ARENA, GRAND FORKS, NORTH DAKOTA Three 8 X 10 RA4 color prints from negatives Approximately 8 X 30 inches, 1981 Range: $1500 - 1800

Peter Dean Lot #22 York—for months at a time—to paint. Ultimately, Dean gave up geology to paint full time. Basically self-taught, he painted what compelled him—the ugly and the grotesque, the celebration and the event, and always the magnificent. He was his own best influence, painting landscapes and figures when it was not fashionable to do so. He showed widely, first as a member of the Rhino Horn Group. Allan Stone remained his New York dealer for over twenty years. Dean, with Barton Lidice Benes, was invited to exhibit at the North Dakota Museum of Art for its Grand Opening in 1989. His lush, wildly-active, bold colored canvases filled the main floor galleries. Like his paintings, this woodcut, a self-portrait of the artist in a war bonnet, tells a story. The story grows out of a day he spent as “assistant” to North Dakota Museum of Art Director, Laurel Reuter, as she

Peter Dean (1937-1993) b. Berlin, Germany. Resided in New York UNTITLED, woodcut 28 X 22 1/4 inches, c.1980

pursued her research on American Indian shields in the storage rooms of the Heye Collection. By signing in as “research assistant” he could also handle the magnificent shields. Peter Dean died of Lou Gehrig's Disease in 1993.

Range: $300-500

Michael Madzo Peter Dean fled with his parents from Germany in the early years of the Second World War. They settled in New York. He graduated from the University of Wisconsin as a geologist and then found his first job with Anaconda Copper in Butte, Montana. He worked the Rocky Mountain range, always moving south, and finally landing in South America. During his years as a geologist he often stole back to New

Excelsior, Minnesota TRANSFIGURED, paper, acrylic, cotton thread 12 1/2 X 11 1/2 image on paper 17 X 17 inches, 1993 Range: $1800-2000 Michael Madzo lives in Excelsior, Minnesota. His studio is located in downtown St. Paul, one door down from that of his brother David. With the sewing machine in his studio,


Michael Matzo Lot #23

David Goldes Lot #24

Michael stitches together images cut from slickly-printed, expensive books and magazines. In his art, Madzo deconstructs existing images of art works and then collages them back together, creating works of art that are fresh and new. Michael has frequently exhibited his work in California, including at the Couteurier Gallery in Los Angeles where he has had several shows. Other solo exhibitions have been in New York, Minneapolis, Scottsdale, Atlanta, Mexico City and Paris. A color reproduction of Madzo’s work appeared in The New Yorker. His work is in private and corporate collections in France, England, and in many locations in the United States. Michael, like his brother, David, is a native of Medora, North Dakota. The brothers were raised on a ranch near Bowman, where they are now building a summer home—with separate studios.

David Goldes Minneapolis, Minnesota VORTEX #2, silver gelatin photograph 22 x 17 1/4 image on paper 28 X 23 1/4 inches, 1997 Range: $800-1000 For several years David Goldes has been motivated by a desire to make photographs of the most subtle and simple aspects of physical and biological phenomena. His pictures are based on simple manipulation and careful observation of his materials. Many of his photographs begin with the unusual physical properties of water. He regards water as "enormously rich in its ability to signify a wide spectrum of human concerns." His work was included in the North Dakota Museum of Art’s still life exhibition in 1994. Goldes

lives and works in Minneapolis. He received a Master of Arts degree from Harvard University, and a Master of Fine Arts from Visual Studies Workshop in photography in Rochester, New York. He has work in the collections of the Museum of Modern Art, New York; the Art Institute of Chicago; the Walker Art Center, Minneapolis; and Yale University Art Museum, New Haven, Connecticut. Goldes was awarded a John Simon Guggenheim Foundation Fellowship in 1999.


Jackie McElroy Lot #25

Fritz Scholder Lot #26

Jackie McElroy Grand Forks, North Dakota CRUISING THE RED, serigraph 18 X 24 image on paper 24 X 30 inches, 1998 Range: $300-500 Jackie McElroy is Chair of the University of North Dakota Art Department where she teaches drawing and printmaking. She lives in the country, near the Red River, and has a working studio from which she can view the North Dakota landscape. Her work is about place. What she sees in the landscape is her influence, though she may present what she sees from several points of view. As a result, many of her works are part of a series on a particular subject. Subjects have ranged from hot air balloons to grain elevators, drains, rainbows, and currently she is exploring ships and water images—based upon her passion for taking cruises. In Crossing the Red, she leaves the devastation of the Red River behind and images it as a recreational waterway. McElroy has been collected by the FDIC Chicago

Fritz Scholder Scottsdale, Arizona MAN AND DOG M, monotype, 1992 23 3/4 X 17 1/2 image on paper 30 X 22 inches Range: $1000-1500

office; Federal Reserve Bank, and Pillsbury Company, Minneapolis; and the Winnipeg Art Gallery, Winnipeg.

a Master of Fine Arts degree from the University of Arizona, Scholder —cont.

Fritz Scholder is a painter, sculptor and printmaker of

and honorary Doctorate of Fine Art degrees from five

international acclaim who has been the subject of eleven

colleges. Scholder's work is exhibited in many public

books, three Public Broadcasting System documentaries and

collections including the National Museum of American

is listed in Who's Who in America, and Who's Who In the

Art,Washington, D.C., San Francisco Museum of Modern

World. Born in 1937 in Breckenridge, Minnesota, he

Art, Walker Art Center, and the Smithsonian Institution. Man

received a bachelors degree from California State University,

and Dog M is a monotype from Scholder's Man and Dog Series of prints. Scholder lives in Scottsdale, Arizona.


Richard Bresnahan Lot #27

Lara Rivard Parent Lot #28

Richard Bresnahan Collegeville, Minnesota IRISES TAKING FLIGHT, proto porcelain, wood-fired over Indigenous clay, 1998 3 1/2 high X 16 inches diameter Range $500-800 Richard Bresnahan became a potter more than twenty years ago. He currently directs the pottery program at St. John's University in Collegeville, Minnesota. Bresnahan was greatly influenced by his pottery studies in Japan during the 1970s. There he discovered an acute sensitivity to nature which he combined with the traditional Benedictine commitment to

Lara Rivard Parent Holland, Michigan VOLITION, Type C color photograph, 1998 19 1/2 X 13 3/4 image on paper 25 3/4 X 20 inches Range: $700-1000

preserving natural resources through indigenous, renewable materials (St. John’s is a Benedictine Order). Bresnahan now

Lara Rivard Parent is not merely a color photographer; she

uses indigenous materials in his pottery from within a ten-

begins her "photographic constructions" by designing and

mile radius of St. John's University. For Bresnahan, clay

building a tableau of objects and background, which she

embodies nature, for it is of the earth itself. The bowl in the

then paints. Finally she photographs the tableau as the

auction is a mixture of stonewear clay and kaolin, glazed

finished work of art. The structures and background fuse into

with elm ash and a painted porcelain over thinly brushed

one, resulting in a painterly quality in the photo. The object

iron. The piece was fired in the Johanna kiln named after

in the foreground remains crisp, but in each photo, there is

Johanna Becker, O.S.B., a ceramics professor at St. John's

mystery. As Rivard Parent says, "I want to pull the viewer in

who taught Bresnahan. The bowl is marked with three

and see if they can finish the story." Rivard Parent teaches at

insignias: a kiln symbol, the studio seal, and Bresanhan's

Jefferson Elementary School in Holland, Michigan. She

signature. Bresnahan designed and built the largest

received a Trustee's Award in the Muskegon Museum of

woodburning kiln in North America at St. John's. An

Art's Western Michigan Exhibition and she was awarded

important exhibition of pottery from that first firing on

Best of Show in Minot State University's Americas 2000: All

October 13, 1995, was mounted by the Minneapolis

Media Competition in 1999. Both exhibitions were juried by

Institute of Arts. The bowl in this auction was fired n that

Laurel Reuter, Director of the North Dakota Museum of

same kiln.

Art—thus she was invited to participate in this Auction.


T. L. Solien Lot #30

Kathryn Lipke Vigesaa Belvidere, Vermont LANDSCAPE VARIENT Vacuum cast paper with clay, pigment and neon 69 X 41 1/2 inches, 1991 Range: $2400-3000 Kathryn Lipke Vigesaa’s art works have been shown in numerous solo and group exhibitions in the United States, Canada and Europe. She has constructed on-site sculpture in Germany, Finland, Argentina, Mexico and the United States. Born in Cooperstown, North Dakota, she presently lives and works in Belvidere, Vermont, and Montreal, Canada. Vigesaa exhibited at the North Dakota Museum of Art this past year and her work is in the Museum's permanent collection. Much of her work, such as Earthworks and the Aerial Series, has grown out of her reflections of the land. Man's fragility, his relationship to the environment, and his inseparability from the past are the interchangeable themes in her work. She creates an environmental context in much of her work that, in her

Kathryn Lipke Vigesaa Lot # 29

words, “symbolizes the human dependence on nature for cultural survival." Vigesaa began as a fiber artist and taught for years in the fiber department of Concordia University in Montreal. Gradually she moved away from materials made of thread to creating works of art from handmade paper, the base of this work in the auction.


Claire Van Vliet T. L. Solien Madison, Wisconsin TETITAS DE VIDA, lithograph with additional techniques 41 3/4 X 30 inches, 1993 Range: $1500-2000 T. L Solien is a significant artist who has reinvented himself in the 1990s. His paintings of the earlier years were playful, childlike and wildly popular. Then after the art market

Lot #31

Claire Van Vliet Newark, Vermont BURTONPORT - LOW TIDE, 1999 Lithograph & vitrograph with drawing Diptych, units 23 X 26 1/2 and 23X 28 inches Range: $1200-1500

crashed in the late 1980s and his sales diminished, Solien switched direction and set out to teach himself historical

Claire Van Vliet is the founder of one of the most prestigious

painting techniques. His new paintings were seen in the

small presses on the continent: Janus Press. She is also a

North Dakota Museum of Art in 1991 as part of The Artists

MacArthur Prize Fellow winner. The five-year MacArthur

Who Live Among Us series. Then in 1995 the Museum

prize allowed her to travel to New Zealand and Ireland, and

showed his experiments with fresco as part of the McKnight

subsequently move from the format of small books and

Show. The print in this auction is once again a tour de force

modest-sized prints to the large-scale, multi-sheet images

as the artist continues to explore experimental approaches

seen in the North Dakota Museum of Art this past summer.

to printmaking. Rutgers University’s Zimmerli Museum

The show and book, In Black and White: Landscape Prints

commissioned the work, and the print was made in

by Claire Van Vliet, was organized by Bates College in

collaboration with the now defunct Echo Press, an extension

Maine. Van Vliet invites viewers into her landscapes; she

of Indiana University at Bloomington, Indiana. It is one of

wants them to feel the invitation to imagine. She wants the

two prints made at Echo Press by T. L. Solien during its

sense of the ground to continue under the viewers’ feet as

existence. At the time, Solien was living apart from his wife

they move into the space of the landscape, a place they

and children while beginning to teach at the collegiate level

must complete in their imagination. Van Vliet was born in

at the University of Iowa. He considers this print to be a

Ottawa, Canada in 1933. She was educated in California at

meditation upon the temporary absence of family unity,

San Diego State University and Claremont Graduate School

physical love, and the destruction of an idealized life.

in Vermont. Her exhibition record is extensive and

Solien’s work is in a number of permanent collections

international, as are her collectors including the Victoria and

including The Art Institute of Chicago and the Museum of

Albert in London, the Museum of Modern Art in New York,

Contemporary Art in Chicago, The Whitney Museum, New

Harvard University, and almost every other important

York, and the National Museum of Art, Washington, D.C.

institution which collects rare books.


Jim Dow Lot #32

David Krueger Hayattsville, Maryland FRENCH STRUCTURE, oil on cotton canvas 28 X 20 1/2 inches, 1998 Range: $3500-4500 David Krueger was born in Jamestown, North Dakota. He graduated with a Bachelor of Arts from the University of North Dakota and a Master of Fine Arts from the University of Maryland. He has exhibited in many major cities in the United States, and has work in the collections of the Metropolitan Museum of Art in New York City and the North Dakota Museum of Art. He is a recipient of the Fine Arts Work Center Visual Fellowship, Provincetown; Individual Visual Artists Grant, Maryland State Arts Council; and a Pollock-Krasner Foundation Grant. Krueger's concerns for the environment emerged in his work as hunting and fishing themes in an exhibition entitled Backwater, a body of work

David Krueger Lot #33

shown at the North Dakota Museum of Art in the spring of 1997. In 1998 he was awarded a three-month fellowship through the Lila Wallace Foundation, the National Endowment for the Arts, and the Claude Monet Foundation to paint in a studio at Giverny, France. The painting in the auction, FRENCH STRUCTURE, was completed in Krueger’s studio in Monet’s garden.


North Dakota Museum of Art Board of Trustees

North Dakota Museum of Art Foundation Board of Directors

Corinne Alphson, Emeritus David Blehm

Karen Bohn, Treasurer

Julie Blehm

Merlin Dewing, Secretary

Madelyn Camrud

Richard Larsen

Virginia Dunnigan, Emeritus

Darrell Larson, Vice Chairman

John Ettling

Sanny Ryan

Joann Ewen

Gerald Skogley, Chairman

Betty Gard, Secretary Jim Gjerset LuAnn Gjerset Bruce Gjovig, Chairman David Hasbargen

Museum Staff

Jean Holland Connie Horn Dan Jones Cynthia Kaldor Sandy Kaul Bruce Kopp Rachel Kopp Darrell Larson, Vice Chairman Jean Larson Lisa Lewis-Spicer Mary Loyland, Treasurer Ellen McKinnon, Emeritus Douglas McPhail Anita Newman Laurel Reuter Annette Rorvig Sanny Ryan, Emeritus Gerald Skogley Anthony Thein Rex Wiederanders, Emeritus Terri Zimmerman

Aaron Brudvig Madelyn Camrud Barbara Crow Ellen Gagnon Mildred Helgeson Amy Hovde Kathy Kendle Christine Nelson Morgan K.Owens Laurel Reuter, Director Annette Rorvig Marsonda Schroeder Bonnie Sobolik Travis Surface Greg Vettel


We, as inhabitants of the Northern Plains, 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.

窶年orth Dakota Museum of Art Mission Statement

Lombardy Hotel


The North Dakota Museum of Art’s carpet connection 1428 Central Avenue NE East Grand Forks, MN 56721 Phone: 218 773-7011 Fax: 218 773-8648

Highway 81 North P.O. Box 12250 Grand Forks, ND 58208-2250 (701) 772-8000 Fax (701) 795-7020 website: www.patioworldusa.com


So many of the advertisers in this catalog are truly friends of the North Dakota Museum of Art. For example, the staff of Monarch Travel have spent endless hours over the years searching for cheap tickets for the Museum. In return we direct clients to them whenever we can, and we make sure that if there is an expensive ticket to be written, Monarch writes it. The Museum would not thrive without such relationships.

—Laurel Reuter, Director North Dakota Museum of Art


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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. —The North Dakota Museum of Art Mission Statement

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We have come to value the arts because they make our hearts wise—the highest of human goals. —North Dakota Museum of Art Mission Statement

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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 North Dakota and Northwestern Minnesota. —North Dakota Museum of Art Mission Statement

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1999 Autumn Art Auction Catalog  

1999 Autumn Art Auction Catalog

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