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A u t um n


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North Dakota Museum of Art




Saturday, November 3, 2001 Wine and hors d’oeuvres 6:30 pm Auction begins at 8 pm

Music for the Auction

Auction Preview October 9 until auction time

Jazz ON TAP Kris Eylands, guitar Bob Cary, bass

in the Museum galleries Monday - Friday, 9 to 5 pm Saturday - Sunday, 1 to 5 pm

Mike Blake, vibraphone

Preview Party Tuesday, October 30, 7 pm Informal gallery talk by Museum Director, Laurel Reuter Learn about individual works in the Auction

The Autumn Art Auction is Underwritten by Patrons Congress, Inc. Clear Channel Radio Communications High Plains Reader

Supporters Camrud, Maddock, Olson & Larson, Inc. Capital Resource Management Farmers Insurance Group

Endorsing Sponsors Ink, Inc., Kelly Thompson James O. Hawley Pepple and Pepple Design A Touch of Magic on the Boardwalk, Chef NarDane Branigan’s Restaurants & Bars Lola’s Northern Italian Restaurant Museum Café Sushi Chef, Doua Lo

James McDonald, D.D.S. Meland Architecture North Dakota Eye Clinic Rite Spot Liquor Simonson Lumber & Hardware

From the Museum Director

Duaine Espegard, Auctioneer

Communities need artists. They are our teachers and companions.

Duaine Espegard retired in June 2000 as Chief Executive Officer

They grace our lives with new ideas and fill our homes with

and President of Bremer Bank in Grand Forks. Espegard began his

beauty. They are also the carriers of our larger collective dreams.

banking career about thirty-five years ago and spent thirty-four of

For these reasons, the North Dakota Museum of Art has searched for ways to keep artists among us, ways for them to make a living. Successful auctions do just that. Welcome to Autumn Art Auction number three. Once again Madelyn Camrud has selected a broad range of work from artists

those years with Bremer. He was CEO for twenty-four years and a Regional Vice President for fifteen years. Espegard was elected to his first term in the North Dakota legislature in November, 2000, as District 43 Senator from Grand

who have some connection to our region or the North Dakota

Forks. He has always had an interest in state politics and has a

Museum of Art. Shindo Hiroyuki and Machiko Agano were

great faith in the North Dakota citizen’s legislature.

included in the Light and Shadow: Japanese Artists in Space exhibition a few years ago. Susan Fenton, Jim Dow and Paula Santiago are known to our audiences from earlier exhibitions. Each year we try to introduce new artists. This year you will find former North Dakotans Anthony Pessler, who teaches at Arizona State, and Presley LaFountain, now of Santa Fe. Philip Koch, a professor at the Maryland Institute, College of Art, had a grandfather who taught in the English Department, and a father who spent his early years in Grand Forks. This year Zhimin Guan joins the auction. He comes from China and now lives in Moorhead where he is on the faculty of Minnesota State University Moorhead. Erik Budd left Fosston, Minnesota, a few years ago for Arizona where his work has flourished. We are happy to have him back. The wonderful Minnesota batik artist, Vernal Bogren Swift, is making her first appearance, as are David Bradley, Tom Kerrigan, Jon Olson, and several others. If your old favorites are not here this year, watch for them in future auctions as we rotate various artists through the years. If you don’t find a work of art you want to buy, talk to me about buying a gift to the Museum’s permanent collection.

Duaine and Phyllis moved to Grand Forks in 1995. They have been visibly active in the community and the state, and they especially enjoy the North Dakota Museum of Art. They cochaired the Museum’s annual Gala Benefit Dinner and Art Auction in 1999-2000.

To be an artist is to seek truth. Art is about freedom. I think that the artist should retain the freedom to experiment and explore at all times — he or she must follow their heart. —David Bradley

Rules of Auction

q Each registered guest will receive a bidding card as part of

Autumn Art Auction Committee

Nancy Adams

the price of a ticket. Upon receiving the bidding card, each

Madelyn Camrud, Staff

guest will be asked to sign a statement vowing to abide by

Sandy Crary

the Rules of the Auction listed in this catalog. q Absentee bidders will either leave their bid on an Absentee Bid Form with Museum personnel 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.

Phyllis Espegard Lee Geer Cindy Gordon Rita Hadland Julie Hall Rachel Kopp Alice Lee Karna Loyland Sonya McDonald

q All sales are final. q In the event of a dispute between bidders, the auctioneer shall either determine the successful bidder or re-auction the item in dispute.

Michelle Mongeon Jerry O'Connor Misty Paul Marsy Schroeder Kim Skaro

q After the sale, or at the conclusion of the evening, all

Suzanne Winkel

purchasers must pay for the items at the cashier’s desk and claim them with their receipts as directed. Absentee bidders

Louise Eberwein, Chair

will be charged on the evening of the auction or an invoice will be sent on the next business day after the event. q Works of art in the auction have minimum bids placed on

Louise Eberwein moved to Grand Forks two years ago from Calgary, Alberta. She and her husband Parker, a urologist, and

them by the artist. This confidential minimum or "reserve" is

their four children were searching for a quieter, slower paced

a price agreed upon between the artist and the North

community with great schools and an abundance of

Dakota Museum of Art below which a work of art will not

extracurricular activities. Grand Forks has more than met their

be sold.

expectations. Louise’s love of art drew her to the North Dakota Museum of Art, and her appreciation of art combined with an extensive background in marketing and volunteerism made her an ideal Chair of the Auction.


CAROL GOUTHRO Seattle, Washington Landscape on Platter Terre cotta clay with underglazes and glazes 8 1/2 x 15 inches, 2001 Range $200-250 Carol Gouthro was born in Winnipeg, Manitoba, and graduated from the University of Manitoba School of Art in 1976. Her ceramics have been featured in American Ceramics, American Craft, L.A. Style, Seattle Home & Garden, and Ceramics Monthly. Gouthro was chosen for the Ceramic National 2000, a two-year traveling invitational that takes her work to four major museums in 2000-2002: Everson Museum of Art, Syracuse, New York; Samuel P. Harn Museum, Gainesville, Florida; Chicago Cultural Center, Chicago, Illinois; and Crocker Art Museum, Sacramento, California. For the past seven years Gouthro has been teaching classes in low-fire hand-building. She continually juggles her time between gardening and teaching as these are important sources of inspiration for her ceramic work. In the late 1990s, Senator Dianne Feinstein, in honor of Secretary of State Madeleine Albright, hosted a dinner party for all the women members of the Senate. The Senator commissioned Gouthro to produce twelve distinct place settings for the table. On her studio wall, Gouthro proudly displays a letter of thanks from Senator Feinstein who wrote, "Every time I look at the dishes, I smile."

Arizona, Tucson; and the College of Santa Fe. In the mid-80s he served in the Peace Corps in Guatemala, the Dominican Republic, and Costa Rica. Bradley, a great admirer of Geronimo whose real name was Goyathla, created a series of paintings and prints about historical Indian leaders. Bradley personally knew the late Indian artist, Allen Houser, one of Geronimo’s descendants. Goyathla began as part of a series of monoprints. Bradley further worked the print with watercolor pencils and acrylic paint. Bradley has exhibited extensively over the past twenty years, most frequently in Santa Fe and other New Mexico cities, but also in New York, Minnesota, Indiana, Oregon, California, Wyoming, Arizona, and Washington, D.C., as well as Berlin and Frankfurt, Germany, Amerindios, Chile, and Alberta, Canada. In 1997, he received the Santa Fe Mayor's Award for Excellence in the Arts. His work is in museum collections throughout the United States including the Tweed Museum, Duluth, Minnesota.

DAVID BRADLEY Santa Fe, New Mexico Goyathla: Portrait of Geronimo Mixed media on board 28 1/2 x 23 1/2 inches, 2001 Range $1000-1200 Born in Eureka, California, Bradley studied at the Institute of American Indian Arts, Santa Fe, New Mexico; the University of

David Bradley Lot #2


MARIEL VERSLUIS Hopkins, Michigan Late Summer Oil on panel 8 x 10 inches, 1999 Range $550-650 Mariel Versluis grew up on her father’s fruit farm in western Michigan which is still farmed by her cousins. Versluis goes back to the farm to draw and paint, documenting the familiar patterns and shapes, the brilliant colors and the flow of the seasons. She currently teaches drawing at Kendall College of Art and Design in Grand Rapids, Michigan. Her interests are in printmaking, drawing, painting, and sculpture. She also works in fiber arts since she and her husband have started raising sheep on their own small farm where she also manages the dairy. She uses wool for making felt. Her color woodblock (lost block) printmaking techniques manage to reduce the details of scenes to their most elemental components, creating almost abstract imagery. Heightened colors offer an expressionistic view of nature. Versluis exhibits primarily in Michigan. Versluis earned a BFA from Grand Valley State University, a MFA degree in printmaking from Syracuse University, and a postgraduate fellowship from the Universidad Iberoamericana, Mexico City, Mexico, for studies in Mexican culture, art, and history.

JON OLSON Grand Forks, North Dakota From A Portrait Series Oil on canvas 42 x 48 inches, 2000 Range $600-800 Jon Olson received his MFA from the University of North Dakota in 2001. For his Master’s exhibition, Olson’s series of portraits


showed his interest in how “each of us harbor many identities within and without ourselves.” The large body of work “informed by observation, self-examination and cathartic episodes— indeed, life and death, came after seven years of making art,” Olson says. Olson earlier painted under the guidance of Walter Piehl, Jr., at Minot State University in North Dakota. It was in Piehl’s presence, Olson says, “I really began to understand the possibilities of painting, and I pursued painting in a fashion I had not previously known.” Olson moved from direct figurative to abstraction and back again. In this latest body of portraits, Olson intends that the portraits transcend themselves. “The paintings have very little to do with the individuals themselves,” he says, “and everything to do with the application of paint on the surface.” His enjoyment comes from taking a traditional form of painting, such as portraiture, and attempting to turn it into something new.


mid-sixties, she and her husband were missionary teachers in Ghana. Swift is a trained nurse. In her art, Bogren Swift explores the relationship of geology and memory. Recently she began incorporating iron rust in her batik process. She wanted to use earth itself to depict stories of Iron Range miners who once worked underground near her Minnesota farm where she and her family have lived for thirty years. Mrs. Alto's Rooming House with Its Too Deep Basement is a fantasy image based on stories told her by the children of miners in Kittsville, Minnesota. These children grew up in boarding houses for miners that were run by their mothers; the houses were situated right over the mines, and the children could feel the detonations. This past year Bogren Swift exhibited at the Tweed Museum of Art, Duluth, Minnesota, and the Cranbrook Art Museum, Bloomfield Hills, Michigan. The Cranbrook Academy of Art in the same city is where she received a MFA in fiber in 1996. Bogren Swift was awarded the McKnight Artist Fellowship in 1993, 1997, and 2000. She received a Bush Foundation Artist Fellowship in 1998 and a Jerome Foundation Travel and Study Grant for an Australian sojourn in 1999.

JON OFFUTT VERNAL BOGREN SWIFT Bovey, Minnesota Mrs. Alto's Rooming House with Its Too Deep Basement Batik 54 x 29 inches, 2000 Range $400-600 Vernal Bogren Swift is a self-taught batik-maker. Her choice of art form, her fascination with pattern, and her receptivity to the myths of many cultures originated in Africa. For two years in the

Fargo, North Dakota Topaz Set Blown glass 15 x 13 x 11 inches, 2001 Range $650-800 Jon Offutt was educated at Southern Illinois University at Carbondale and received his MFA in the Glass Program at the Minneapolis College of Art and Design in 1996. He currently makes his home in Kent, Minnesota, and for the past several


years has served as instructor and Studio Coordinator in the Glass Program at Minnesota State University Moorhead. Offutt frequently demonstrates his art and has traveled to Kansas, Kentucky, Missouri, North Carolina, Illinois, and Texas to give public presentations. His studio, The House of Mulciber, opened in Fargo, December 1998, after Offutt devoted an entire year to building the facility and updating his equipment. His work is included in the Plains Art Museum collection, Fargo, and in museums and galleries in Texas, Florida, North Carolina, Kentucky, and Illinois.

ZHIMIN GUAN Moorhead, Minnesota Sarah in Daydream Oil 18 x 14 inches, 1999 Range $600-650 Zhimin Guan's concerns, like those of the Renaissance painters and the Dutch masters, are with beauty, texture, surface, light and color. He says his “images work best when they reveal a tension between dream and reality. The broken and torn-up figures enable me to contemplate both repulsion and attraction.� Guan, an Assistant Professor of Art at Minnesota State University Moorhead, was born in China and received his BFA in painting there. He earned his MFA in painting and drawing at Fort Hays State University, Kansas. Guan continues to research figurative subject matter of conceptual content combined with the philosophy of Taoism. He has exhibited in The China National Art Gallery in Beijing, China, as well as other major Chinese galleries and in several United States galleries, among them the Fraser Gallery in Washington, D.C., and the Minneapolis Institute of Arts. Guan received the First Place Award in the Art of the Plains 2000 exhibit at the Plains Art Museum in Fargo.



JOHN HITCHCOCK Madison, Wisconsin Progress Digital print 17 x 11 inches, 2000 Range $400-500 John Hitchcock’s current works blend printmaking, digital imaging, video, and installation. The personal, social, and political views in his work are a direct result of stories shared by family members and issues regarding living on Kiowa/Comanche lands in Oklahoma. In Progress, Hitchcock questions the notion of progress as he contemplates the relationship of past to present and the influence of technology on society. He asks: “What have we learned from progress? What will be the fate of my people's indigenous ways?” Progress is a comment on the loss of language, spiritual beliefs, and culture due to the influence of Indian boarding schools. The chicken image—a can of commodity chicken meat distributed to Native Americans through welfare programs—takes the form of a computer chip and mimics the notion of assimilation and control that is reinforced through government systems. The words surrounding the chicken analyze and compartmentalize the chicken body to depict the assimilating process.


Hitchcock recently accepted a position as Assistant Professor of Printmaking at the University of Wisconsin, Madison, where he teaches screenprinting and relief cut. He earned his MFA in printmaking and photography at Texas Tech University, Lubbock, and received his BFA from Cameron University, Lawton, Oklahoma. He has shown his work in Ireland, Texas, New Mexico, New York, Iowa, and Oklahoma.


ERIK BUDD Scottsdale, Arizona Stone by Stone II Acrylic on canvas 24 x 32 inches, 2000 Range $3200-3300 Erik Budd's images grow out of the materials he uses. These images have the feel of dreams and speak of seeking, growth, transition, and rebirth. They are invitations to go within. Whether troubled, turbulent, calm, or playful, the works chronicle the way back to a relationship with God, according to the artist. Budd received a MFA from the University of North Dakota in Grand Forks in 1984, following his BFA degree from Concordia College in Moorhead, Minnesota. He spent twenty-three years teaching in Minnesota, then embarked on an “odyssey of personal challenge.” He is now focusing full-time on his art. Budd says windows, houses, water, boats, chairs, and animals comprise a major part of his imagery. “Each time, they go through a transformation, recording what I have learned.” The boat, for Budd, is a vision of forgiveness, and as he works on “forgiveness,” Budd says, his relationships begin to heal. Budd exhibits most often in Scottsdale, Arizona, where he now lives, but he also exhibits in Minneapolis, Minnesota. At times, he sculpts the images he paints, using the same themes already mentioned along with discarded objects worn by human hands to reinforce the connection to human presence. His work is in the collections of the Civic Center Library, Scottsdale, Arizona, the University of Phoenix, Phoenix, Arizona, and in museums and universities throughout Minnesota and North Dakota.

DICK HUSS St. Paul, Minnesota Untitled Glass, green opal, gold leaf 18 1/2 x 6 3/4 x 6 inches,1999 Range $1600-1700 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 glass hotshop on Saint Paul's east side and currently serves as Artistic Director of the 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. Huss’s 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-three years.


teaching at Temple University, Japan. In her photographs, Fenton assembles visual metaphors that she hopes will address the quiet strength of the Japanese people as well as the fetishistic and ritualistic iconography of their culture, both traditional and contemporary. Fenton's images involve a shallow and tightly composed space with solitary models who remain anonymous. Appropriated headgear, body treatment or props are her own creations, made solely for the sake of the photograph with primary concern for composition and esthetic impact. Fenton's photographs are printed on fiber-based paper. They are then brown-toned and finally hand-painted with photographic oil pigments. Fenton has exhibited in galleries throughout the country including an exhibition in 1999 at the North Dakota Museum of Art. Her work is in many collections, national and international, including the Chicago Art Institute Photography Collection, Bryn Mawr College, The Philadelphia Museum of Art, the Federal Reserve Bank, and the North Dakota Museum of Art.



SUSAN FENTON Bala Cynwyn, Pennsylvania Star Crown, AP Hand-painted with oils, toned gelatin silver print 16 x 16 inches, 1994 Range $1200-1400

Susan Fenton credits her teaching and professional career for her extensive foreign travel and living opportunities. Fenton received a MFA at Rutgers University, New Brunswick, New Jersey, in 1980, and from 1991 through 1994 she lived in Tokyo while

Brooklyn, New York 1 Potato 2 Mixed media on paper and linen 43/4 x 5 1/2 inches, 2000 Range $400-600

Vickie Arndt, born in Grand Forks, North Dakota, now lives and works in New York City where she serves as Director of Installations at the Dia center for the arts. Arndt received her degrees from Wayne State University, Detroit, Michigan, and State University of New York at Stony Brook, Stony Brook, New York, where she was on a full scholarship and teaching assistantship.

JIM DOW Lot #13

She recently had her second solo exhibition at the Jay Grimm Gallery in New York City. According to Jay Grimm, “Arndt sets up a tension between natural forms and synthetic materials in her work which juggles fragility and danger. Sometimes menacing, sometimes humorous, the work contains formal solutions that link them to surrealist traditions. Arndt also makes wall sculptures about which critic Lauri Firstenberg says: “The works comprised of debris are manipulated into biomorphic forms which signal the bodily and scatological in a Benglisian way.” In both her sculpture and her drawings, Arndt’s work encourages a dialectic between the natural and the artificial via her materiological experiments.” At a recent exhibit, Peep Show: Erotic Fact and Fantasy, Arndt exhibited alongside some of her most admired artists such as Gregory Gillespie, David Salle, and Henri Matisse at the Luise Ross Gallery, New York.

JIM DOW Belmont, Massachusetts Deer Carcasses Outside Motel, U.S #2, Bemidji, Minnesota Color print from 8 X 10 color negative, #2, edition of 25 16 x 20 inches, 2000 Range $1100-1300 Jim Dow's interest in photography is, as he says, “in its capacity for exact description.” His rule of thumb is to photograph things that have been created for reasons more perfunctory than esthetics. Dow, with his strange, funky eye, searches for the vernacular and the unusual in everyday existence. His work is collected by many institutions including the Museum of Modern Art in New York City. Dow received a BFA in Graphic Design (1965) and a BFA and an MFA in photography (1968) from the Rhode Island School of Design where he studied under Harry Callahan. After leaving RISD he landed a job as a printer for Walker Evans and the

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. In 1981, the North Dakota Museum of Art received a large grant from Target Stores to permit Dow to photograph environmental folk art in North Dakota. Dow spent three months in the state completing that commission, which was exhibited at the North Dakota Museum of Art. He returned in 2000 and fell in love with the project all over again but wished to expand its scope. Over the course of the next year Dow will return during all four seasons to photograph throughout the State and in northwestern Minnesota. The Museum will publish a book of over 100 Dow photographs in 2003. He has photographed works in series for twenty years including the sports places of the United States, England, and Argentina. “Whether it’s a domed major-league stadium or a ragged sandlot, a playing field engages the imagination. The bigger, fancier stadiums,” says Dow, “are the places where the dreamers gather to watch their fantasies played out in front of them. The little ones are where the dreamers gather to play.” He has photographed numerous sports places in North Dakota on his various visits. Dow has returned to Argentina a dozen times, photographing vernacular architecture. Other series include: Court Houses for Seagram’s Bicentennial project, The County Court House; soccer stadiums of England; and the 1984 Los Angeles Olympics sites for the Los Angeles Olympic Arts Festival and the L.A. Museum of Contemporary Art. Dow teaches at the School of the Museum of Fine Arts in Boston, Tuffs University, and at Harvard. He has won numerous grants and prizes including two National Endowment for the Arts fellowships and a Guggenheim. North Dakota Museum of Art Director, Laurel Reuter, acquired a copy of this year’s Auction photograph believing it to echo larger themes of crucifixion.


NANCY FRIESE Cranston, Rhode Island River of the North Watercolor 38 x 49 inches, 2001 Range $3000-3200 Nancy Friese was born in Fargo, North Dakota. This past summer, she was selected as one of two Studioscape Artists-in-Residence at the World Trade Center's World Views Residency programs. In August and September she was making paintings on the 91st floor of the World Trade Center. Also in 2001, she had her fourth one-person show at the Pepper Gallery in Boston. Cate McQuaid of the Boston Globe writes: “Freise's work is so fluid, so dancerly, it looks like spontaneous play.” In truth, the artist returns to the site she is painting a half-dozen times before she finishes each painting, adding new layers of watercolor, anchoring all the dreamy, delirious color with lanky, dark lines.

SHARON LINNEHAN Dickinson, North Dakota Morning Sunlight Monotype 33 1/2 x 23 inches, 2000 Range $700-800 Sharon Linnehan's prints celebrate hopefulness and encouragement. “These non-objective monotypes are meant to uplift one's spirit and allude to the way we deal with events in our lives over which we have no control,” she says. Linnehan, formerly of Grand Forks, now teaches at Dickinson State University where she is also director of the college art gallery. This monotype was part of Midwinter Night’s Dream, shown at the Northern Lights Art Gallery in Mayville, North Dakota, in January and February, 2001. Her print exhibition toured Minnesota and North Dakota beginning in August, 2000, and continued into 2001.

River of the North was started the summer of 2000 when Nancy returned to North Dakota for a month of painting. She sat atop the flood walls behind the golf course along the Grand Forks residential area that was flooded in 1997. The scene looks across the Red River to the opposite hillsides and fields. “It was very placid weather,” says Friese, “with billowing clouds and heat. The cottonwoods lined each side of the riverbank.” The scene, for Friese, “shows the gentleness and power of this locale that is memorable to me.” Since the mid-1980s Freise's paintings and prints have been exhibited in more than twenty solo shows and 100 national and international group shows. She teaches at the Rhode Island School of Art and Design.


PRESLEY LA FOUNTAIN Santa Fe, New Mexico Santa Fe Whispers on a Yellow Moon Utah alabaster 27 x 13 inches, 2001 Range $4000-5000 Influenced by the dichotomy of the traditional lifestyle and his 1960s Indian Boarding School experience in North Dakota, Presley La Fountain creates sculpture using rhythm, movement, and shadows to capture the essence of emotion. “I carve deliberately without detail . . . I want to interpret a whole spectrum of emotions.” In 1986, La Fountain received the Wheelwright Museum Award in Santa Fe for the Most Promising Young Sculptor and Carver, and in 1979 he received the Governor's Award in the First Annual American Indian Art Show, Bismarck, North Dakota. A member of the Turtle Mountain Band of Chippewa, Belcourt, North Dakota, La Fountain worked, in the late 1970s, as an apprentice to Doug Hyde, a sculptor in Santa Fe. This followed his art education at the University of North Dakota and the Institute of American Indian and Alaskan Native Arts, Santa Fe. With over twenty years of sculpting experience, La Fountain continues to refine his personal vision “to keep my own personal integrity in harmony with my art.” His work is in the collection of the Smithsonian Institution, Washington, D.C.; the Institute of American Indian Arts Museum, Santa Fe, New Mexico; the Wheelwright Museum, Denver Public Libraries; the Heard Museum; and the Museum of Northern Arizona. His exhibitions have spanned numerous museums and galleries in the southwest and midwest.




unseen and all-encompassing of which she is a part. “So,” she says, “I am searching to express the fundamentals of nature; this is my art.” Agano has shown her work in group exhibitions in England, Holland, Denmark, Belgium, China, Australia, Japan, and the United Kingdom. In 1994, she was one of several Japanese artists in Light and Shadow: Japanese Artists in Space, at the North Dakota Museum of Art. The spring of 2001, Agano showed her work in Textural Space, an exhibition by thirteen leading Japanese textile artists in the Museum & Art Gallery and Fabrica Gallery in Brighton, United Kingdom. She completed postgraduate work at Kyoto University of Arts in 1979 and began teaching at Kyoto Seika University, Kyoto, Japan, in 1995 where she still serves on the faculty.

SHELLY RUSEN Winnipeg, Manitoba Aerial View III Acrylic, tin, graphite, paper on plywood 16 x 24 inches, 1999 Range $700-900

MACHIKO AGANO Kyoto, Japan Wall hanging #2 Kozo, pulp, sisal, manila hemp, soil, bamboo 47 1/4 x 9 3/4 inches each row, depth variable, 1991 Range $1500-1800 each row (three rows to be auctioned)

Shelly Rusen enjoys traveling throughout rural Manitoba and is always keenly aware of the flat land that surrounds her. For the past several years, Rusen's method is to use aerial photography to begin a work. “From a small aircraft,” Rusen says, “one is able to see the beautiful patterns and color which appear at various times of the year, all of which reflect the uniqueness of the different seasons and the working of the land.”

Machiko Agano, born in Kobe, Japan, is attracted by the mysterious shapes of nature such as the designs made by the desert sands, the ocean on coastal rocks, and by clouds driven across the autumn sky. She sees these designs of nature as without intention, but feels in them the power of something

Rusen received her BFA from the University of Manitoba. She has exhibited in numerous group shows; her most recent solo exhibition was in Main Access Gallery, Winnipeg, in 1998. Her work from this exhibit was selected to tour Manitoba as part of an established Provincial Touring Program which highlights


Manitoba artists. Rusen’s work is in many private collections as well as the Manitoba Visual Arts Bank.

GRETCHEN BEDERMAN Mandan, North Dakota Looking Over Mixed media drawing 12 x 36 inches, 2000 Range $450-600 Horses and women with horses are subjects of interest to Gretchen Bederman. 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 of these nearly abstract seasonal landscapes. Bederman has been in twenty-seven group shows and twenty solo exhibitions in North Dakota and Minnesota since 1992. She recently completed a five-month residency at the Jamestown Arts Center and taught figure drawing this past summer at Bismarck State College. 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 her 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-inResidence at Lake Agassiz Elementary School.

DYAN REY Grand Forks, North Dakota In My Garden, #3 Oil on paper 30 x 22 inches, 2001 Range $950-1200

Dyan Rey is known for her uplifting, expressionistic, and colorful paintings and drawings that grace the walls of Lola's and Sanders,1997 restaurants in Grand Forks. She has exhibited her works nationally and internationally and most recently at the Empire Theater in Grand Forks and The Spirit Room in Fargo. She has been an Artist-In-Residence concentrating on painting and printmaking in Massachusetts, Washington, and Colorado, and she is currently a lecturer in visual arts at the University of North Dakota. Rey received her BFA in painting from The University of Oregon and her MFA from the University of North Dakota.

DYAN REY Lot #20



WILL MACLEAN Tayport, Scotland Coast Watchers Collage Lithograph 18 x 11 3/4 inches, 1993 Range $500-650 Will Maclean is one of the leading artists of his generation in Scotland. He was born in Inverness, the son of the harbormaster, and spent his childhood between Inverness and Skye. Raised in a family of fishermen, Maclean went to sea at an early age, spending years on fishing boats and in the Merchant Marine. His art is rooted in his knowledge of the Highlands, the Highland people, and their history both on land and sea. In 1968 he returned to sea as a herring fisherman, happily working a six-man boat with members of his own family. In all of Maclean's work, the sea is the ultimate agent of human destiny. Maclean's solo exhibition, Cardinal Points, opened at the North Dakota Museum of Art in 1998. It later toured in Canada. A catalog, Will Maclean: Cardinal Points, was published by the North Dakota Museum of Art in 2001. Maclean’s work is in a multitude of collections, among them the British Museum, London; the Scottish National Gallery of Modern Art, Edinburgh; the Yale Centre for British Art, New Haven, Connecticut; and the North Dakota Museum of Art.

JAY PFEIFER Fargo, North Dakota Untitled Landscape Mixed media 25 X 25 inches, 2000 Range $950-1000 Jay Pfeifer presents an interesting and personal interpretation of the Dakota landscape. As a native of Buffalo, North Dakota, Pfeifer has deep roots in his subject matter. Land, sky, and horizon dominate the Red River Valley environment where he grew up. He creates images of plowed fields, wind rows, and undisturbed land that chart the personal history of his relationship with the land. The artist feels himself inseparable from the land’s history and witness to its change. Pfeifer, a graduate of the North Dakota State University at Fargo, has always imagined the land before it was worked by the first settlers, before roads, shelter belts, and cities. In the 1990s, Pfeifer received several awards, the most notable from the Plains Art Museum in Fargo where he received the juror's Choice Award in 1998 at the Spring Gala, and again in 1999 for a Regional Exhibition juried by Laurel Reuter, Director of the North Dakota Museum of Art. Pfeifer had a solo show, Crossroads, at GK Gallery in Cooperstown, North Dakota, that same year.

CLAIRE VAN VLIET Lot # 23 (four of seven images)

CLAIRE VAN VLIET Newark, Vermont Kilclooney Dolmen – County Donegal Boxed portfolio of seven matted digital/vitreographs Published by Littleton Studio, edition of 40 15 x 19 inches each, 1999 Range $2000-2500 Claire Van Vliet, a MacArthur Prize Fellow, is the founder of one of the most prestigious small presses on the continent, Janus Press. A five-year MacArthur prize allowed her to travel to New Zealand and Ireland, and subsequently move from the format of small books and modest-sized prints to the large-scale, multisheet images seen in the North Dakota Museum of Art in the summer of 2000. The show and accompanying book, In Black and White: Landscape Prints by Claire Van Vliet, was organized and published by Bates College in Maine. Van Vliet invites viewers into her landscapes. She wants the sense of the ground to continue under the viewers’ feet as they move into the space of the landscape, a place they must complete in their imagination. Van Vliet was born in Ottawa, Canada, in 1933. She was educated in California at San Diego State University and Claremont Graduate School in Vermont. Her exhibition record is extensive and international, as are her collectors, which include the Victoria and Albert Museum in London, the Museum of Modern Art in New York, Harvard University, and almost every other important collector of rare books.




Phoenix, Arizona Trinity Graphite on panel 15 1/8 x 15 1/8 inches, 2001 Range $1800-2200

Tucson, Arizona Desert Flora III Earthenware with stain, glaze, and metal 36 x 23 x 6 inches, 2000 Range $1200-1300

Born in Pittsburgh, Pennsylvania, Anthony Pessler moved with his family to North Dakota, first to Walhalla, then to Grafton where he lived until he completed high school. Pessler is currently an Associate Professor of Art at Arizona State University, Tempe, Arizona, though he considers himself a student, and painting or drawing his teacher.

Tom Kerrigan is a ceramic artist whose career has spanned a quarter of a century. He has exhibited sculptures and vessels all over the world. He retired in 1999 as head of ceramics in the Department of Art at the University of Minnesota-Duluth where he began teaching in 1975. He is noted for his experimentation with clay bodies, expressly his use of taconite from the Iron Range of northeastern Minnesota.

Since 1990, Pessler’s subject has been landscape. His drawings are worked on wood panels prepared with gesso, wet-sanded to an eggshell finish. He covers the panel with graphite, then rubs the surface with a soft cloth moistened with mineral spirits to establish a somewhat uniform dark metallic gray. Pessler says, "There’s just not much for me to paint about but love . . . it’s there to remind us that we are all just light, searching for something or someone to illuminate." Pessler’s MFA degree is from the University of Wisconsin, Madison, 1991, and his BFA from St. Cloud State University, St. Cloud, Minnesota, 1989. He attended the University of North Dakota from 1980-1983. In 2000 he was awarded an individual Visual Arts Fellowship from the Arizona Commission on the Arts, and in 1996 and 1997, his work was awarded Best of Show in the Arizona State University Faculty Exhibition. In 2001, Pessler had solo exhibitions in Scottsdale, Arizona, at Vanier Galleries on Main. He has shown in solo and group exhibitions throughout the United States, and his work is in the collections of the Tucson Museum of Art, the Madison Art Center, Rayovac Corporation, and the Chicago Center for the Print.

Currently, Kerrigan is inspired by the southwest desert where he lives. Since retiring to Tucson, the shapes and textures of cacti and other desert plants are evident in his ceramics. Kerrigan's work is in numerous collections, including those of the Los Angeles County Museum, the American Craft Museum, and the Pushkin Museum in Moscow. His art has been the subject of articles in most major art and craft magazines, including Ceramics Monthly. Kerrigan has traveled extensively throughout the world as an artist and teacher.



BARTON BENES New York, New York Reliquarium Mixed media 32 x 40 inches (mounted), 2001 Range $4000-5000 Barton Lidice Benes was born in Westwood, New Jersey, and educated in the early 1960s at the Pratt Institute in Brooklyn, New York. Benes became internationally known in the 1980s as the "money artist,” a period when he used recycled currency as a collage medium on sculptural and flat forms. More recently, Barton began making “Museum Pieces,” displays of collectible objects (often belonging to well-known personalities) and relics which he mounts, labels, and places in museum-like containers. The North Dakota Museum of Art’s Donor Wall, created by Barton, exemplifies this style. Another similar work, Ebb Tide, resulted from a commission by the North Dakota Museum of Art for its recent nationally known and award-winning flood exhibition. The work remains in the Museum's permanent collection. Benes has an extensive exhibition history. In the past decade he has shown his work in Sweden, Canada, New Mexico, the Czech Republic, Portugal, Sweden, Russia, New York, and the North Dakota Museum of Art. Last year alone he exhibited at the State Tretyakov Gallery, Moscow; the Aldrich Museum, Ridgefield, CT; and the Senior Shopmaker Gallery, New York City. Barton's work has been collected by the National Museum of Art in Washington, D.C., the Chicago Art Institute, the Bibliotheque Nationale in Paris, and Chase Manhattan Bank in New York, among others. He is represented by Lennon Weinberg Gallery of New York City. In September 2002 Abrams will publish Curiosa, a book about Benes’ “museums.” John Berendt, author of Midnight in the Garden of Good and Evil, is writing the introduction.


Lot #27

Grand Forks, North Dakota Feeding the Geese Oil on canvas 16 x 20 inches, c. 1990 Range $200-300

FATHER JEROME TUPA, O.S.B. Collegeville, Minnesota Shadow Cycle II Gouache on paper 26 x 31 inches, 1995 Range $800-1000 Father Jerome Tupa, O.S.B., took vows as a monk in the Order of St. Benedict at St. John's Abbey, Collegeville, Minnesota, where he still lives and teaches French and Italian. Tupa, also a priest, was born in Rollette, North Dakota. Tupa, a self-taught painter, has painted for more than twenty years. He often works in series, Shadow Cycle II being from a group of sixty paintings made while on sabbatical in southern France. The abstractions, all gouache on paper, contain the essence of the Mediterranean landscape. Tupa is making three painting-pilgrimages: to Italy; along the travels of St. Paul; and to Compostella, Spain. Each of the three pilgrimages will be made into books, two of which are already completed. In 2001, Marshall Field’s of Chicago sponsored "California Missions: Los Angeles, California" at the Public Library, Getty Gallery. The North Dakota Museum of Art published a catalog of Tupa’s work, In Quest of the Spirit, in 1996 in conjunction with his solo exhibition at the Museum. His art has been widely collected by museums in the United States and Europe.


Emily Wilhelmina Dufke Lunde was born in northern Minnesota and, as she says, "with a handle like that you had 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, 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 from Lunde's Immigrant Series, as does the United States Art in Embassies Program. Failing health has confined Lunde in a nursing home the past several years. Her humor and good spirits are still with her, even though she is no longer able to paint.



they possess within. This is the truth Suh sees as a hope for humanity. Educated in New York, she studied pottery and photography as well as drawing and painting. For the past two years Suh has participated in Art on the Plains, a juried competition at the Plains Art Museum in Fargo. She has also exhibited her art in Minnesota, New York, Arizona, and Colorado. Her work will be in a solo exhibition at Binghamton, New York, this year.

VIRGINIA BRADLEY AND PAUL CLIFFORD Clear Lake, Minnesota Angels on the Radar Mixed media cyanotypes 36 1/2 x 28 inches, 1998 Range $2000-2200 for the pair

SARAH SUH Binghamton, New York Seed Mixed media, oil-wax crayon 20 3/4 x 14 3/4 inches, 2001 Range $1500-2000 Sarah Suh closely observes nature, focusing on what is often ignored, overlooked, or neglected. In her Seed series, Suh began to see the important relationship between the symbol of a seed and human life. Suh sees all seeds as equally important and individually unique. They all have the capacity to become what

These works are a collaborative effort by Virginia Bradley and Paul Clifford who began working together in 1986 after meeting on a plane bound for New York City. Angels on the Radar was spawned by the pair's discovery of trainee nurses at Patterson General Hospital, Patterson, New Jersey, in the 1943 yearbook Virginia inherited from her Aunt Sabina Landis. Virginia's Aunt Sabina, a World War I nurse in the armed forces, was faculty advisor for the class of 1943. In this work, Bradley and Clifford attempt to examine the personalities of these young nurses whose lives would soon be touched by war. In reclaiming women's history, Bradley and Clifford believe the contribution of nurses in World War II is frequently overlooked. More than 200 Army nurses lost their lives during the war. Bradley, born in Reading, Pennsylvania, now lives along the Mississippi River and is a full professor at St. Cloud State University, St. Cloud, Minnesota. Clifford, born in Scarborough, England, was a Fulbright Visiting Artist at State University, Long Beach, California, in 1994-95 and at the Minneapolis College of Art and Design in 1985-86. In 1995, Bradley and Clifford exhibited collaborative work at the Freedman Gallery Center for the Arts, Albright College, in Reading, Pennsylvania.


creative spirit of Japan — spare and refined, abstract, ethereal, spiritual. Born in Tokyo, Japan, Shindo received a MFA in Kyoto City University of Fine Arts in 1967. It was then he became interested in aizome, a traditional Japanese indigo-dyeing method handed down from generation to generation for over a thousand years. Today Shindo works the natural indigo-dyeing process in his large countryside studio where he lives with his wife Chikako who is a potter. He delights in the process in which he uses slowburning fires of charcoal or rice-chaff in fire-pits to heat his dyepots. Happiness comes as he watches the indigo dye drawn slowly into the fabric laid on stones in dye troughs. Shindo's works have been collected by museums in the United States including the North Dakota Museum of Art, and the American Craft Museum, New York, as well as museums in Paris, Jerusalem, and Amsterdam. To produce his contemporary textiles with traditional techniques, Shindo relies on a kind of “sixth sense” or highly developed intuition to guide him; he “puts his trust in Aizen Shin, the God of Indigo.”


SHINDO HIROYUKI Kyoto, Japan Indigo Space A Handwoven hemp, natural indigo dye 88 1/2 x 35 1/2 inches, 1999 Range $1400-1600 Shindo Hiroyuki was introduced to North Dakota through Light & Shadow: Japanese Artists in Space, an exhibition at the North Dakota Museum of Art in 1993. His linen hangings reflect the

Santa Fe, New Mexico Echo Mixed media (plexiglass, silica, acrylic) on canvas 25 x 60 inches, 1990 Range $3000-3500 Signe Stuart is a constructivist painter who was born in New London, Connecticut. She lived in Brookings, South Dakota during the 1980s while on faculty at South Dakota State University, and has since retired to Santa Fe, New Mexico. In Laurel Reuter's essay, “Signe Stuart Paintings, 1989,” Reuter writes: “Stuart is known for her superb instinct for color, for her predilection for spareness . . . though it seems she does not

categorize herself as a minimalist, unless minimalist means to go after the maximum of impact with the minimum of material.” For the most part, Stuart is concerned only with making paintings that are beautiful because she believes “that ‘the Beautiful’ elicits feelings of wholeness and ‘at-one-ment.’”



She has exhibited solo and in groups at numerous galleries throughout the Midwest and Southwest, and is the recipient of two National Endowment for the Arts Painting Fellowships. Her work is in collections of the Tacoma Art Museum, Tacoma, Washington, Blanden Art Museum, Fort Dodge, Iowa, and the North Dakota Museum of Art. She received her art education at the University of Connecticut, Yale-Norfolk Summer Art School, Norfolk, Connecticut, and the University of New Mexico.

PAULA SANTIAGO Zapopan, Jalisco, Mexico AEM (a&b) Rice paper and Indian handmade paper, human hair and blood in glass showcase & marble base Glass case is 22 3/4 x 17 3/4 x 7 3/4 inches, 2000 Range $4900–5000 Paula Santiago has presented a complex process of internal journeys grounded in a series of tri-dimensional works. AEM (a&b) is a work from the CH'ULEL Series completed in the year 2000, and exhibited in the Galeria Arte Actual Mexican in Monterey, Mexico. Through her art, Santiago exchanges a whole cultural experience including her ideas and values enriched with a full layer of memories. In the process of making her art, she seeks to know a broader range of self. Santiago received her art training in Mexico and has exhibited solo in Italy, throughout Mexico, the United States in Milwaukee, San Antonio, Los

Angeles, and at the North Dakota Museum of Art. Santiago's group exhibitions include France, New York, New Zealand, Baja California, and Mumbai, India. Her work is in permanent collections in the San Francisco Museum of Art, the Los Angeles County Museum of Art in California, and the North Dakota Museum of Art.




Grand Forks, North Dakota Floor Tiles with Circles Prismacolor 25 x 19 inches, 1997 Range $700-900

Baltimore, Maryland Spring Equinox Oil on canvas 30 x 20 inches, 2001 Range $3500-3600-

One of the most consistent award-winning-artists in the region is Brian Paulsen who also teaches drawing, lettering, painting, and design at the University of North Dakota. He has served as a faculty member in the Visual Arts Department for more than twenty-five years. Paulsen lost his basement studio in the flood of 1997, but it is now fully rebuilt, and he is experimenting with new images in his art. For years Paulsen has hand-painted exhibition signage—almost a lost art—on the walls of the North Dakota Museum of Art.

Philip Koch’s work exhibits a humanist vision inextricably linked with a painterly realism. The end result is a sensation, or tug of memory, that says to all of us “we know that place, have been in that landscape.” Koch's paintings are in corporate collections such as Dupont Corporation, Black and Decker, and the Bank of Boston. His solo exhibitions from 1983-1999 have been in major cities of the eastern and midwestern states. As a student, Koch knew artists were “supposed to be contemporary,” but he was drawn to the work of 19th Century painters of the Hudson River School. “Their canvases,” he says, “often too dark and sentimental, wholeheartedly embraced nature’s power.” Over time, Koch has learned that contemporary art must remain true to an artist’s deepest insights, and that the artist who paints true to his psyche is contemporary in the best sense of the word. Koch is a professor at the Maryland Institute, College of Art, where he has taught since 1973. He teaches only two classes in order to allow himself more studio time. Koch recalls that Grand Forks has always been a part of his family’s lore, given the fact that his grandfather—a long time ago—taught English at the University of North Dakota. Philip Koch's father was raised in Grand Forks until age four when the family moved to Chapel Hill, North Carolina.

Brian Paulsen Lot #35


LOIS PETERSON St. Peter, Minnesota Storm Warnings #4 Mixed media 20 x 20 inches, 2000 Range $200-300 A house form is common in Lois Peterson's work. For years, she avoided the often used house image, but her desire for it was so strong she finally indulged the calling. “Humans place personal significance on houses,” Peterson says: “. . . the house is a good icon for the human experience.” In the Storm Warnings series, viewers are reminded of the tornado that devastated St. Peter in the spring of 1998. Peterson chairs the Department of Art and Art History at Gustavus Adolpus College in St. Peter where she has been a Professor of Art since 1989. She also serves as a lecturer and curator. Peterson has had solo exhibitions in galleries in Wisconsin, Michigan, Oregon, Minnesota, Washington, and Texas; and has been a part of numerous group exhibitions throughout the United States. Peterson has received many grants and awards for her work over the years, and she has written a number of reviews and articles on the subject of ceramics and teaching. Her work is in the collections of the Tacoma Art Museum, Pacific Lutheran University Collection, and Gustavus Adolpus College.

WALTER PIEHL Minot, North Dakota Hot Spot: Sweetheart Series Acrylic on canvas 40 x 36 inches, 2000 Range $1700-2500 Walter Piehl, one of North Dakota's most highly regarded artists, studied at Concordia College in Moorhead, the University of

North Dakota (MFA), and the University of Minnesota. Piehl is one of a few artists in the country to successfully create cowboy art in a contemporary mode. He grew up on a ranch near Marion, North Dakota where his family raised rodeo stock, and began riding as soon as he could sit a horse. Over the years Piehl has participated in the arena in both roping and riding events. While teaching at Minot State University, he continues to call at rodeos and to follow the careers of his rodeo-riding sons. Piehl has won numerous artistic awards, and he shows throughout the West including at such venerable institutions as the Cowboy Hall of Fame in Oklahoma City, Oklahoma, and the C. M. Russell Museum in Great Falls, Montana.


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