A u t um n
A u c t io n
The North Dakota Museum of Art is grateful to the following entities who have given generously to guarantee that the arts may flourish.
High Plains Reader KVLY TV KXJB TV Leighton Broadcasting Merrill Lynch North Dakota Public Radio WDAZ TV
North Dakota Museum of Art
S at u r d a y, N o v e m b e r 1 2 , 2 0 0 5 Wine and hors d’oeuvres 6:30 pm Auction begins at 8 pm
Autumn Art Auction is Underwritten by High Plains Reader KVLY TV KXJB TV
Auction Preview October 27 until auction time in the Museum galleries Monday - Friday, 9 to 5 pm, Saturday - Sunday, 11 to 5 pm
Leighton Broadcasting Merrill Lynch
North Dakota Public Radio
Thursday, November 10, 7 pm, Museum Director Laurel Reuter
will lead an informal discussion about the work in the Auction.
patrons Best Western Townhouse East Grand Forks Floral Grand Forks Herald Office of Academic Affairs, UND
Congress, Inc. and Capital Distributing, Kevin Register and Paula Anderson Gustafson and Glueck Hugo’s Lumber Mart
Sponsors Holiday Inn Ellen McKinnon Minnesota Public Radio
Museum Café North Dakota Quarterly Northern Plumbing Supply Roadking Inn Sanders 1907
Supporters Blue Moose Bar & Grill
Special Olympics Vicki Anderson, State Farm Insurance
Summit Brewing Company
CC Plus Interiors, Incorporated
Cancer Research, UND, Don and Mary Sens
Chester Fritz Auditorium
Clear Channel Radio
Buy local. Read the sponsor pages to learn about those who invest in the Museum. Please return their investment.
Contributors ACME Electric
—John Foster, Chairman, Museum Board of Trustees
Alerus Financial Avant Brown Corporations Camrud Maddock Olson & Larson Ltd. Capital Resource Management CEO Praxis, Inc. Choice Financial Dr. John Clayburgh, D.D.S. Senator Kent Conrad Farmers Insurance Group Fine Print Dr. Greg Frokjer, D.D.S. Greater Grand Forks Symphony Orchestra Happy Harry’s ICON Architectural Group, PLLC Johnson Laffen Galloway Lakeview Inn and Suites Letnes Swanson Marshall & Warcup Ltd. James S. McDonald, D.D.S. North Dakota Eye Clinic Pearson Christensen Cahill & Clapp, PLLP Gary and Nancy Petersen Rite Spot Liquor River City Jewelers SuperOne Foods Dr. Curtis Tanabe, D.D.S. USB Financial Services English Department, UND Xcel Energy Zimney Foster, P.C. Attorneys at Law
Advertisers Brady, Martz, and Associates Browning Arts Chad Caya Painting Columbia Liquors Drees Riskey Vallager Ltd. Edward Jones, Mark A. Larson Forks Chem-Dry Home of Economy Monarch Travel Moosbrugger Carter & McDonagh Piper Jaffray Plaza Jewelers Polar Communications Representative Earl Pomeroy Reichert Law Office Robert Vogel Law Office, P.C. Grant Shaft, Attorney Paul D. Stadem, D.D.S. Super Target David C. Thompson, Law Office United Valley Bank Valley Buzz Valley Dairy
The Autumn Art Auction exhibition is funded in part by a general operating grant from the Minnesota State Arts Board.
Vilandre Heating, Air Conditioning, Plumbing, Fuel Wakefield Hearing Center Mary Wakefield and Charles Christianson Wall’s Medicine Center, Inc.
Burton Onofrio, Auctioneer
Carolyn and LIn Glimm, Chairs
Burton Onofrio recently retired as Attending Neurosurgeon at the
Autumn Art Auction Committee
Mayo Clinic, Rochester, Minnesota, where he also served as Professor of Neurosurgery in the Mayo Medical School. His first job after retirement was as Senior Consultant for Pain Disorders, Neurosurgical Service, Massachusetts General Hospital in Boston. His training includes an M.D. degree from the Medical College of Cornell University (1957); a surgical residency at the New York Hospital Medical Center (1958); and a fellowship at the Mayo Clinic in neurosurgery (1964), all of which resulted in a life-time career at the Mayo Clinic. As busy as his professional career has been, he has also lived a wonderful life within the arts. It began when he married Judy Onofrio, a self-taught potter who has emerged as a sculptor of
Jeanne Anderegg Carrie Boldish Dawn and John Botsford Al Boucher & Thomasine Heitkamp Cheryl Gaddie Jim and Lori Ingeman Denise and Jim Karley Rick Mercil Marsy Schroeder Bonnie Sobolik Penny & Chris Wolf Devera Warcup
national stature. Many Museum regulars will remember Judy’s 1993 show, one of most popular shows we ever mounted. Judy was deeply involved in the Rochester Art Center, and Burton soon joined the Board of Directors. Most recently—another retirement job—he co-chaired the Capital Campaign Building Committee of the Rochester Art Center. The new building opened in the spring of 2004 with the central gallery named in honor of Judy and Burton Onofrio—gifted by a former patient. In another corner of his life, Onofrio runs art auctions. For twenty-six years he was the auctioneer of the Rochester Art Center annual auction, most often organizing it as well. Both the Northern Clay Center in Minneapolis and the University of
Carolyn and Lin Glimm reside in Grand Forks with their three daughters. Britteny is a senior and Blair is a freshman at Red River High School. Zoey is a first grader at Kelly Elementary. Carolyn is a native of Karlstad, Minnesota. She is coowner and a stylist at Avant Hair and Skincare Studios, which has just opened its second location on the corner of Columbia Road and Gateway Drive, north Grand Forks. Lin is originally from Zahl, North Dakota. He is a truss designer for Grand Forks Truss.
Minnesota Art Department have called upon him to serve as auctioneer. For twelve years he has been the announcer of the Rochester Art Center Art Festival. Onofrio’s days, however, are spent in Judyland, the garden he created with his wife. And finally, this is a man who loves animals, in particular his menagerie of cats who have full run of the garden.
Photograph by Caulfield Studio Inc.
Museum Mission Statement
As inhabitants of the Northern Great Plains, we struggle to ensure
Rules of Auction
q Each registered guest will receive a bidding card as part of
that the arts are nourished, and that they flourish, because we
the price of a ticket. Upon receiving the bidding card, each
know that a vital cultural life is deeply essential to isolated
guest will be asked to sign a statement vowing to abide by
people. We have concluded that to study the arts is to educate
the Rules of the Auction listed in this catalog.
our minds, for through the arts we learn to make difficult
Absentee bidders will either leave their bids on an Absentee
decisions based upon abstract and ambiguous information. This
Bid Form with Museum personnel in person or by phone, or
is the ultimate goal of education. Furthermore, we have come to
bid by phone the night of the Auction. Absentee bidders, by
value the arts because they make our hearts wise—the highest of
filling out the form, agree to abide by the Rules of the
human goals. Therefore, in the most difficult of times, and in an
environment that might be perceived as alien to the visual arts, we propose to build a world-class museum for the people of the
q Each bidder will use his or her own bidding number during the Auction.
Northern Plains. q The North Dakota Museum of Art, by legislative act, serves as the
All sales are final. In September 2002 the Office of the North Dakota State Tax
official art museum of the State of North Dakota. The Museum’s
Commissioner determined that the gross receipts from the
purpose is to foster and nurture the aesthetic life and artistic
sales made at the Auction are subject to sales tax. State sales
expression of the people living on the Northern Plains. The
tax is 5% of the total sale and the Grand Forks city tax is
Museum will provide experiences that please, enlighten and
1.75% of the first $2,500 of the sale. Out-of-state buyers
educate the child, the student and the broad, general public.
who have the work shipped to them will not be subject to
Specifically, the Museum will research, collect, conserve and
North Dakota sales tax.
exhibit works of art. It will also develop programs in such related arts as performance, media arts and music.
q In the event of a dispute between bidders, the auctioneer shall either determine the successful bidder or re-auction the item in dispute. q Purchasers may pay for items at any point following the
Photo by Mike Mohaupt
sale of that work but must pay for all art work before the conclusion of the evening—unless other arrangements are in place. Absentee bidders will be charged on the evening of the auction or an invoice will be sent the next business day. q Works of art in the Auction have minimum bids placed on them by the artist. This confidential “reserve” is a price agreed upon between the artist and the North Dakota Museum of Art below which a work of art will not be sold.
From the Museum Director
Seven years ago Madelyn Camrud, with the help of
evocation of our sacred landscape. The set of porcelain urns
Marsy Schroeder and a fine committee, inaugurated the
from Duane Perkins are ambitious and lovely.
Autumn Art Auction. The goal was to develop a buying
Then I set out to find small works that are equally important
audience for artists who live in the region, which we defined
artistically. We are introducing the works in wood by Jay
to include North Dakota, Minnesota, and as far north as
McDougall and of Greg Blair. We are also putting a video
Winnipeg. For the first time last year, almost everything in the
work at auction for the first time: Mary Lucier’s third
auction sold for prices close to retail. Instead of looking for
movement in The Plains of Sweet Regret.
bargains, people are viewing the auction as “the” place to look for major works of art from our region. Phone, e-mail, and written bids are becoming commonplace.
Almost every major artist in the region is included with significant pieces including Charles Beck and Barbara Hatfield. A few who are not will be rotated in next year. Artists
It has always been difficult for artists who live here to survive
involved in the Museum’s exhibition program are well
from art sales alone. Thus we have few—if any—professional
represented with work of art that would sell for much more in
artists except for those who make their living teaching. But
other parts of the country. Among them are Richard Dyck who
many people make art. This year we have work by blacksmith
showed his Hive Scans this past summer, Barton Benes who
Keith Johnson; several skilled carpenters including David
is giving his apartment with all its spectacular collections to
Wallace; the owner of a trucking company, Dave Britton;
the Museum, and Jim Dow with his photograph Ladies
Minnesota lake resort owner/manager Jon Solinger, and
Resting Room in the State Capital. The proceeds from the
private detective Ross Rolshoven.
Dow sale will go toward the publication of his book of photographs, Marking the Land. This hardcover book will
Also for the first time we have included more works that
have over 180 photographs taken over the past twenty-five
require a greater financial commitment. We asked Richard
years in North Dakota and Northwest Minnesota.
Szeitz to make a steel sculpture for the auction that could be placed either outdoors or inside and Zoran Mojsilov to enter
I invite you to help us make this event as successful
small-for-him, large-for-us stone garden sculptures. I chose a
financially as it is historically and aesthetically.
large Walter Piehl painting on canvas, another major Marley Kaul painting, a Zhimin Guan seascape, plus several other
Laurel Reuter, Director
large works including one of the best Dan Jones drawings I
North Dakota Museum of Art
have ever seen, a new Marjorie Schlossman painting on paper, a Marlon Davidson and Don Knudson wood-and-paint assemblage, Ewa Tarsa’s intensely colored monoprint, and a photograph from Vivienne Morgan that is a stunning
Tracy Otten Morris, Minnesota Time and Again, 2004 Multiple process print 11 x 15 inches (image) Range: $250 - 350
Tracy Otten Iâ€™m interested in the gradual accumulation
economy of ink and overprinting. My monoprints, however, have
of information and experience that builds up over time. This
an average of twenty to thirty color runs, as well as hand drawn
transforms us into who we are as individuals.
information. The accumulation results in a richness of surface color and texture that can only be created by numerous printings.
Ottenâ€™s printmaking processes echo this pattern of accumulation. For example, the work Time and Again incorporates the
Tracy Otten was born in Grand Forks and lived in rural North
collagraph, the monotype, and waterless lithography into layers
Dakota until the age of seven when her family moved across the
and sections of the print.
border into Minnesota. She graduated from Detroit Lakes Senior
A collagraph is a print made from a collage plate. The plate is
High School and returned to North Dakota for undergraduate
created by gluing other material such as cloth, cardboard,
studies at North Dakota State University.
aluminum, string, sand, and so forth, onto a firm surface such as a piece of Masonite. Dampened paper is placed on top of the
After graduating from NDSU, Otten spent time in the Czech
inked collage plate and run through the printing press. This
Republic studying at Palackeho Univerzita. She returned to
allows the printmaker to introduce greater texture to the usual
complete a Master of Fine Arts in Printmaking at the University of
layering of ink. Collagraph plates can be editioned like
South Dakota in Vermillion (2000). The following year she began
traditional etchings or printed with different color combinations
her professional academic career as Assistant Professor at the
as monoprints. Otten enriches her print with waterless
University of Minnesota at Morris where she continues to teach.
lithography, otherwise known as siligraphy, a process involving
Her extended family still resides in the Red River Valley.
coating the printing plate in a silicon solution in the place of water in traditional plate lithography. According to the artist, much of my work is a mix of tradition and experimentation. The former method employs the matrix as a way to generate a series of identical prints; the latter allows me to engineer shifts in orientation, color, and clarity to yield any number of one-of-a-kind pieces. By way of comparison, a typical printed edition might have three to six color runs, emphasizing
Among my personal symbols is the recurring ovoid, which represents both the egg from whence we came and the eternal cycle of life.
Dave Britton Grand Forks, North Dakota Danzig, North Dakota 35mm Fujichrome Image 13.75 x 21 inches October 1, 2002 Range: $200 – 300
Dave Britton Grand Forks, North Dakota Ardoch, North Dakota 35mm Fujichrome Image 13.75 x 21 inches July 7, 2003 Range: $200 – 300
Dave Britton grew up around old grain elevators owned
According to Britton, the elevators are a dying symbol of our
and operated by his father Clarence Britton. These North Dakota
prairie heritage. They were an integral part of the economy, an
elevators were in Keith—six miles east of Devils Lake—Kempton,
informal social gathering place for farmers, and reference points
Merrifield, and Northwest Mills Elevator in Grand Forks—a
on our flat prairie landscape. The old wooden, cribbed-
partnership of Clarence, Earl Kurtz, and Eugene Ellingrud, which
construction elevators became inefficient and are being
was sold to North Dakota Mill and Elevator in 1953.
For two summers in 1958 and 1959 Britton traveled with his dad
Britton, who started Britton Transport in 1980 in the basement of
as he sold Swenko barley shakers to elevators in eastern North
his home in Grand Forks, has photographed over 1,000 elevator
Dakota and western Minnesota. During his high school years, he
locations on the plains, some of which no longer exist. This may
drove the Merrifield Grain Co. truck, picking up grain his dad
well prove to be one of the significant systematic records of an
had bought from various elevators in the same area. He has fond
important architectural archetype of early twentieth-century
memories of several of these old elevators, their managers, and
Ewa Tarsia Winnipeg, Manitoba When You Wake Up Feeling Old Monoprint incorporating drypoint and collagraph 30 x 35 inches, 2005 Range: $800 â€“ 1,000
Ewa Tarsia, a Polish artist now living in Winnipeg, speaks eloquently of the impetus behind her art: Nature, natural forms
Ewa Tarsia was educated at the Academy of Fine Arts in Warsaw, Poland. Later she studied sculpture in Austria and advertising art in Canada. Today she makes her home in Winnipeg. She began
and the human figure are sources of unending interest to meâ€”
her active exhibition career in 1988 in Poland. In 2002-03 she
discovery and awareness of form as three-dimensional reality,
showed in international print biennials in Montreal, Spain,
the way light reveals forms, how commonplace objects and the
France, and England. In 2004 she participated in the San Diego
human figure no longer exist as just objects, but as shape and
Art Institute Multimedia International Exhibition.
forms in space. All of these caused a lot of excitement years ago for me, and since then I have been exploring these concepts.
She has work in private collections in Poland, Austria, Germany, Canada, United States, Japan, Chile, Brazil, France, Spain, and
All of my works are contemplations about color, which
Holland as well as in several public collections including
sometimes functions in a purely abstract way, and at other times
Ministry of Heritage and Culture in Manitoba, Intercity Papers in
contains emotional attributes of mystery, suggest sinister
Winnipeg, Agentur Barth in Germany, Consulate of the
undertones, or embody happiness. Very often repeated elements
Netherlands in Winnipeg, Tama University in Tokyo, Japan, and
in my compositions (pierced areas, ropes that are uneven in their
French Embassy in Gdansk, Poland.
thickness, tiny or large shapes attached or separated) are used in order to make an abstract form and space, and to create shadows
Her awards and grants include a Winnipeg Arts Council Grant,
and rhythms. I work from imagination, based on stored
2003; Manitoba Arts Council Grant, 2002; MPA grant to promote
information derived from nature and our sophisticated
work of three Winnipeg artists, 2002; Gordon Eliasson Trust,
civilization. This enables me to bring a three-dimensional
Travel Grant for International Graphic Design; and BABN
solidity, showing the shape by means of color, light, and texture.
Technologies contest winner, 1995.
Vivienne Morgan was born in
England in 1958. In 1979 she moved to the United States and took her MFA from Bowling
Green State University. She now lives in
Bemidji, Minnesota. According to the artist, I am a multi media artist out of necessity: in the winter I work indoors in the warmth of my studio, often at my computer. In the summer I work outdoors whenever I can: I garden, build, and photograph, often photographing my own garden and local landscapes. Back in winter at the computer, the photographs change and, like shifting memories, become akin to meditations on life. I’m English—not a snow lover—but the weather here fills me with nostalgia for England in winter. I’ve lived in the United States for twenty-six years and I’ve never taken American citizenship. Sooner or later I must make a choice. I’ve been thinking about what it means to migrate and immigrate. What it means to fly, to change, to slow down or grow ill, perhaps grow better or stronger, but to inevitably grow old, and to finally stop in one place. This meditation on acceptance has led me to look locally for places which remind me of England and Europe, to find solace or perhaps as a point of compromise. Cathedral Walk began as a fall photograph but it became more of a drawing over time. The original image is of a grove of fast growing hybrid poplars near my home in Bemidji. This grove does not look like an American place to me. At least this grove is not in the vein of the stereotypic wild and unlimited America, infused with the drama and nature I associate with this country. Cathedral Walk is a cultured, regimented, and time laden space, and oddly, it is very nostalgic to me. It reminds me of poplar-lined roads in France, of old European order, of the narrow aisle and architectural reach of any European cathedral. At the end of the day, it is a path defined both by man and nature, both comforting and inevitable.
Cathedral Walk Archival Quadtone print on Archival Hahnemuhle etching paper 69 x 48 inches including frame, 2005 Range: $800 – 1,100
Lot # 6
madelyn Camrud Grand Forks, North Dakota Southwest Quarter, 2005 Photograph, acrylic, collage, and oil glaze on Masonite board. 24 x 24 inches Range: $350 – 450
Eve Sumsky Throughout my life I have always felt the need to “make things.” I started with needle work and sewing as a young girl, instructed and encouraged by my grandmother. This has continued throughout my life along with the exploration of other Madelyn Camrud, a North Dakota native, was born in Grand Forks, and received degrees in visual arts and creative writing from the University of North Dakota. She first practiced visual art, then studied it, and finally worked, surrounded by it, at the North Dakota Museum of Art. She, in fact, founded this live Auction in order to celebrate the artists in our region while helping the Museum survive financially. Camrud also inaugurated the Museum Benefit Dinner and Silent Auction, the Membership Program, and the Docent Program. Meanwhile, she was introduced to poetry, and spent two decades working mostly on poems. This House is Filled with Cracks was published by New Rivers Press, Minneapolis, in 1994. For the last two years, she has returned to the visual arts with a special interest in mixed media, although she continues to write poems.
craft forms. In 1995 I signed up for a community education class and made my first basket. I continued with other classes and joined the Headwaters Basketmakers Guild which meets in Bemidji, Minnesota. In this group I found my mentors, people who enjoyed basket weaving and sharing about it. A year later I was encouraged by my mentors to attend my first weaving workshop in Faribault, Minnesota, and I have attended several other classes and workshops since then. My interest in sharing with other weavers has led me to the jobs of program director and newsletter editor for the Headwaters Basketmakers Guild. In 1999 I began selling my baskets locally at craft/art fairs and to individuals. Basket weaving makes a great deal of sense to me as it gives me the opportunity to create something beautiful, but yet
In her current landscape series, she begins with a photograph of
also makes an item that is useful and has a purpose. My favorite
the land, focusing on the horizon line which holds the most
baskets are those that find a use, not ending up as a knickknack
interest for her—a flat land with few trees, and a great view of the
on a table or shelf.
sky. From the horizon line and its trees, she builds up and down with paper collage, scraping the edges with ceramic paste, while
As a basketweaver I have studied many different weaving
attempting to make the borders of the photograph disappear on
techniques and tried using different types of materials. I do not
the board. The first paint layers are acrylic; an umber glaze makes
consider myself a “specialist” of any particular style or technique
the final coat.
but see my weaving at this time as an exploration in the art of basket making. I like studying specific techniques in more depth and understanding how to use them when creating form and
Madelyn Camrud has donated all proceeds from the sale of this painting to the Museum of Art
design. Although I do sell baskets, I do not make a living as a basketweaver. For nine months of a year I am an elementary music teacher at Northern Elementary School in Bemidji, Minnesota.
Rachel Hellner Victoria, British Columbia Fish Ladder Silkscreen and collagraph 40 x 19 inches, 2002 Range: $650 – 900
Eve Sumsky Tenstrike, Minnesota
Much of Hellner’s current work is concerned with the
Crossing Paths Urn, 2005
relationship she has with her immediate environment. Her
paintings and drawings either depict objects she observes as
12 x 7.5 (diameter) inches
important, or are actually constructed from those objects
Range: $120 - 140
themselves. Fish Ladder is a quirky tribute to recognizing individuality in everyday, mass objects. Seven fish were selected from among
Rachel Hellner was born in London, England, in 1968. She grew up there and attended Central Saint Martins College of Art and Design before moving to Canada in 1991. After two years
thousands that were lying in a wooden crate in Victoria’s Chinatown, and are portrayed here each with its own markings and individual character.
in Winnipeg and traveling the West Coast, she settled in Victoria,
I am interested in bringing attention to that which is often
BC, where she currently teaches art at the University of Victoria.
overlooked in our society. Excessiveness and mass-production
Hellner is a practicing artist and president of Xchanges, Canada’s
cause us to take things for granted and make it difficult to
oldest artists’ cooperative. Her work has been extensively
appreciate the inherent value or beauty in any particular object.
exhibited in London, Winnipeg, and Victoria and is in private
By singling out an object and portraying its individuality, I can
collections around the world.
draw the viewer’s attention to its uniqueness.
Marlon Davidson and Don Knudson have devoted their lives to art, first individually and ultimately as collaborators. The two works in this auction result from over ten years working in wood and collage to make collaborations of varying sizes and shifting configurations. Their collaborative art works are in private and public collections throughout the United States and Europe. Davidson and Knudson both attended Bemidji State College and the Minneapolis School of Art (now the Minneapolis College of Art and Design). Davidson combined his art with education, first in public schools and later at Bemidji State University where he taught in the Visual Arts Department. Knudson has worked since the late fifties as a sculptor and furniture maker. We are lifetime artists. We have worked for over four decades, both in the Twin Cities and later in Bemidji where we have lived for eighteen years. We think of our lives as an artistic statement. The great art historian, Bernard Berenson, wrote repeatedly about “life as a work of art.” Whereas one never arrives at that state, we find it a worthwhile journey. Making art objects is an everyday part of our lives. We think of our art as a way of explaining ourselves to ourselves. Through it, we try to understand our culture, and to live actively within it. We also explore the past through our art—especially the history of art. While we use a Lot #9
Marlon Davidson and Don Knudson Bemidji, Minnesota Prince of India Wood, canvas, paint 36 x 24 inches, 2005 Range: $550 - 650
variety of materials, our main source of inspiration is nature and historical art. The large work, Full Moon, was displayed for some time in a public building in Bemidji. It represents the duality of our life close to nature but also informed by the complex world of big city life. Both born in Northern Minnesota, we also lived for twenty years in the Twin Cities. We are aware that our work is informed by the art and artists we knew while living in the Cities. Prince of India was inspired by a student of Marlon’s, a young man from New Delhi for whom we created this piece. He owns a similar work, which is part of a series of wall pieces honoring individuals. It gives us great pleasure to know that people want to live with our art. We are proud.
Marlon Davidson and Don Knudson Bemidji, Minnesota Full Moon Wood, paper, paint 68 x 70 inches, 2002 Range: $1,800 - 2,000
Lot #11 Zhimin Guan was born in China in 1962. He started to
paint when he was nine years old, influenced by his father,
Warwick, North Dakota
Chintian Guan, a traditional Chinese calligrapher and ink
Fishing Devils Lake
painter. Zhimin received rigorous training in calligraphy and ink
Driftwood and found objects
painting before he was fifteen years old. At the same time, he
7 x 76 inches, 2002
developed a strong interest in the Chinese philosophy of Taoism
Range: $700 – 900
and in ancient Chinese poetry. During his BFA studies at Fuyang Teachers College in China, he concentrated on oil painting and
David Wallace began fishing almost as soon as he could walk. Born in Devils Lake, he fell in love with water as a young child living east of St. Michael on the Spirit Lake Reservation. By the time he was six, he and his brother Dean were building rafts and navigating their own unnamed lake in search of the best
again received rigorous training in drawing and painting in the Western classical style. From 1985 to 1994, he taught painting, drawing, and design at Dalian Institute of Industrial Design in Dalian, China. Besides teaching, Guan devoted himself to his art practice.
fishing spots. He spent one summer as the amateur on a team in
When he lived in the northeastern Chinese city of Dalian, Guan
the Pro Walleye Tournament. Today he continues to fish Devils
was only five minutes from the Yellow Sea. Once in a while
Lake, pulling the fish out of the water as quickly as his four small
sunshine would transform the normally muddy-looking Yellow
sons return the minnows back.
Sea into a sparkling crystal blue. Guan saw this same
Fiercely independent, he saw everything in terms of what he could make. He taught himself to play the guitar, he made a splendid perennial garden, he lived on Whidbey Island west of
phenomenon in Chicago’s Lake Michigan when sunshine caused the dull gray lake to be dressed in this same wonderful blue. According to the artist:
Seattle during high school while learning the building trade from
When looking at Lake Michigan I became lonesome for home
uncles. Today he is a skilled carpenter who continues to spend
and that earlier experience of being close to the natural world.
time on the water, frozen or not.
Today our lives are different. Mostly we observe the sea from car
During poor fishing, he would beach his boat and walk the shoreline. As the waters of Devils Lake rose, the structure of trees and brush was submerged creating new habitat for walleye. People congregating on these new fishing grounds lost a surprising number of lures. Wallace began picking them up and
windows, represented by the concrete barrier in the foreground of this painting. One is left trying to catch a fleeting moment. We don’t live within nature but rather within a world of industrial lead. One’s emotion is less and less present. I have no time to watch the sea. I feel I was painting an ocean of lead.
turning them into contemporary architectural friezes that hang
In the spring of 1995, Guan came to the United States, driven by
above doorways or at the juncture of wall and ceiling. The lures
the desire to examine the complexities of Western contemporary
are attached to wood found in the same waters. The driftwood
arts. After three years, he earned his MFA in painting and drawing
would have originally been milled for cattle corrals or
at Fort Hays State University, Kansas. Guan has successfully
windbreaks lost to the rising waters of Devils Lake. Whole rooms
blended his academic training in visual art with the aesthetics of
in his home are adorned with the rainbow colors of Rapala lures.
Eastern philosophy. As an artist, he is deeply committed to unifying the West with the East in his own distinctive manner—a new synthesis of technique underpinned by a holistic philosophy.
Today Zhimin Guan is an Associate Professor of Art at Minnesota State University Moorhead. Guan’s art has been exhibited throughout China and the United States in such institutions as the China National Art Gallery in Beijing; China Academy of Fine Arts Museum, Hangzhou; Singapore Asian Arts Gallery; the Salmagundi Club, New York; CCC/USA, Philadelphia; The Minneapolis Institute of Fine Arts; Dunton Gallery in Chicago; Fraser Gallery, Washington, DC; Museum of Southwest Texas, Corpus Christi; Plains Art Museum, Fargo; and the North Dakota Museum of Art.
Zhimin Guan Moorhead, Minnesota Grand Sea Scape Oil on canvas 55 x 65 inches, 2005 Range: $1,000 – 1,300
collected by many institutions including the Art Institute of Chicago, the Canadian Centre for Architecture, the George Eastman House, and the Museum of Modern Art in New York City. The North Dakota Museum of Art, however, owns the largest holding of his photographs.
Proceeds from the sale of this work have been donated to the Museum by the artist to help publish his book Marking The Land. Lot #13
Jim Dow Boston, Massachusetts Ladies Resting Lounge, State Capitol, Bismarck, North Dakota C print 16 x 20 inches, March 6, 2004 Range: $800 – 1,200
Keith Johnson is a blacksmith from Bemidji, Minnesota. Jim Dow has created the single most important body of
He works as a general architectural smith who makes railings for
photographs about North Dakota that exists, according to
multi-million dollar houses in the Twin Cities and Chicago. His
Museum Director Laurel Reuter. In 1981, the North Dakota
skills and his interests, however, vary from making Damascus
Museum of Art invited Dow to photograph environmental folk art
folding knives that are sold to collectors through knife shows to
throughout North Dakota. He spent three months in the state
producing a line of black-powder related items such as knives,
completing that commission.
tomahawks and campfire sets for people who rendezvous to re-
Dow returned to North Dakota during the summer of 1998 while photographing the ballparks in the Northern and Prairie Leagues. Once again he fell in love with North Dakota. Since that trip he has come back several times a year, widening his focus to include Northwest Minnesota, expanding his subject beyond folk art as he seeks out the markings humans leave upon the
enact the fur trade, which ended in 1840. Johnson has been smithing full-time since 1986 when he started Great River Forge. He also was village blacksmith at the Smoky Hills in Park Rapids, Minnesota, in 1986-87 and at Sawmill Creek, Park Rapids, Minnesota, in 1991. As village blacksmith, he created craft items such as dinner bells, fireplace tools, candleholders, and hooks.
landscape. The Museum will publish Marking the Land, a book
Johnson grew up on a Minnesota farm with its own forge. While
of over 180 photographs, in the spring of 2006.
in high school he took blacksmithing classes. After attending
Jim Dow’s interest in photography began at the Rhode Island School of Design where he earned an undergraduate degree in graphic design. Upon completion of college, he was hired as a printer for Walker Evans and New York’s Museum of Modern Art. Over a two-year period, he made prints for both the Museum’s
Bemidji State for a year, Johnson moved to Long View, Washington, to study “body and fender” for two years. Then he joined the Navy and ended up in Pensacola, Florida, working as an aircraft mechanic. Next he built steel buildings and a couple of homes before finally settling in as a blacksmith.
1972 Evans retrospective and the monograph that accompanied
Johnson founded the Northern Minnesota Metalsmiths and
the show. He also began to photograph in series, including
remains a driving force to this day. In 1993, Johnson, along with
Seagram’s Bicentennial project, and the County Court House
Bob and Wanda Odegard, forged a bronze globe, six feet in
project. Dow is working on a concurrent project photographing
diameter, which is installed at Itasca State Park headquarters
the great private social clubs of New York City. His work is
south of Bemidji.
Duane perkins Winnipeg, Manitoba Pair of Urns Porcelain 20.5 x 9.5 (diameter) inches, 2004 Range: $1,400 â€“ 1,800 pair
Duane Perkins has been working as a full-time studio artist for thirty years. Born in 1947 in Chicago, he lived there until he moved to St. Paul, Minnesota, to attend Bethel College where he majored in art and philosophy. During his last year he needed another credit so enrolled in his first ceramic class. A few months later he graduated and moved to Winnipeg with his Lot #15
future wife and immediately set up his ceramic studio.
He has looked carefully over the years, citing John Glick and
Don Reitz as influences along with Ralph Bacerra and Luckman
Glasgow. Perkins sees his work as visual rather than idea based.
Hammered-pattern steel bowl
His goal is to make a beautiful object, preferably in one firing.
made with hydraulic press
For example, to decorate the surface of the magnificent
4.75 x 10.5 (diameter) inches, 2005
porcelain urns in this auction, the artist begins with slips that
Range: $80 - 120
are then glazed. He then paints on the decoration using slips, glazes, and oxides that he has formulated. A final coat of glaze prepares the object for firing.
All printed volumes, even those regarded as temporary—
time, according to Smith. While searching through endless
rows of these utilitarian texts, I am continually struck by the
The Metal Worker
vastness of bound data, and how quickly it fades from public
periodicals, newspapers, directories—are vital records of
Gicleé print on rag paper
consciousness. The simple boldness and variety of these
31 x 47 inches, 2004
collections fascinate me, no matter how mundane the title,
Edition 6 of 25
from known to obscure. I see and photograph them for the
Range: $800 - 1,100
irony and graphic quality of repeated titles, anonymous bindings, great amounts of information they contain, and for the abstract forms they create.
Mickey Smith was born in Duluth in 1972. She attended
I photograph the volumes as I find them on the shelves,
Moorhead State University and completed her Bachelor of Arts
untouched and recorded with existing light. When viewed at
degree there in 1994. Smith lived in North Dakota for over five
full size—up to twelve feet wide—the books are dramatically
years, exhibiting with GK Gallery in Cooperstown and the
transformed by scale. The Metal Worker was photographed in
Plains Art Museum in Fargo. Her work is on permanent display
the archives of the Minnesota History Center in St. Paul,
on the side of the Griggs County Public Library in
Cooperstown, North Dakota. In 2005, she was selected for the Visible Fringe, one of twenty-six artists in the Minnesota Museum of American Art’s 2D Biennial exhibition. She was also a finalist for the McKnight Foundation Photography Fellowship. Smith will mount an installation of new work at the Minnesota Center for Photography in April 2006.
According to Patrick Coleman, Acquisition Librarian, Minnesota Historical Society, Hundreds of librarians, historians, scholars, and pages have trolled the book stacks of the Historical Society over the last century and a half. Where they saw utilitarian texts, Mickey’s lens finds the unusual juxtaposition, word play, interesting placement, and the
The artist was inspired to begin the series Volume while
occasional attractive binding. Especially interesting to her eye
attending an artist residency housing a library of over 10,000
is the repetitive nature of periodicals with the often opaque
books. She went on to photograph serials, newspapers, and
and vague suggestion of the significant content they may
periodicals in such public libraries as the Library of Congress,
hold. Her photography gives us an entirely new way to look
St. Paul Public Library, and the Minnesota Historical Society.
at our familiar world.
Marley Kaul Bemidji, Minnesota The Gardener Dreams of Early Spring Acrylic on canvas 84.25 x 53.25 inches, 2002 Range: $4,500 – 5,200
Marley Kaul’s painting, The Gardener Dreams of Early
Mother and child (birth),
Spring is the second painting to be sold in the Museum’s
Bird houses being repaired,
Autumn Art Auction from a series of eight large paintings that
The work clothes and boots,
directly relate to the garden metaphor. Kaul believes that the
The edger to create a “neat” garden,
garden illustrates birth and rebirth; it is a place to meditate on
The early arrival of the daffodils.
humans’ relationship to the earth; and it is a symbol of faith, time, and the acceptance of failure.
Marley Kaul is one of the region’s most senior artists. Now retired, he was long-time chairman of the art department at
Kaul continues his Garden Series with the geese announcing
Bemidji State University. He continues to paint daily in his
an early arrival of spring. This painting, like the others in the
studio near Lake Bemidji, to exhibit generously throughout
series, draws from a poetic response to everyday life. The work
the region, and to see his work moving into significant private
has a number of visual metaphors to indicate the time of year:
and public collections.
Lot # 18
jay McDougal Fergus Falls, Minnesota Untitled Boxelder with aluminum and stainless steel 4 x 20 x 13 inches, 2005 Range: $500 - 700
Jay McDougall, a graduate of the University of Wisconsin,
Paul Butler’s subject is contemporary advertising, its
Stout, with a BS degree in wood technology and furniture design,
reflection of urban social values, its fascination with superficial
represents the sixth generation of a Minnesota family involved
beauty, and its glamorization of life. He works in the collage
with lumber and woodworking. According to the artist, our
tradition by cutting up magazines and then pasting, reorganizing,
involvement began in the logging and lumber industry and has
and sometimes obscuring the ad imagery with found text and by
evolved into my career as a wood artist creating hand-sculpted
drawing with tape—duct, Scotch, masking, hockey, surgical and
electrical and vinyl. For example, to create Untitled #6 in this
The process of creating these vessels begins with acquiring logs from local trees that have fallen to disease, death, or human encroachment. I want something with a lot of figure, colors, and spalting—the dark lines that result from a growing tree’s reaction
year’s auction, the artist began with a magazine page as his background. The woman is formed by overlapping bits of handtorn electrical tape. The resulting texture suggests the black, kinky, curly hair of the elegant figure.
to an injury. I have never felled a tree for the sole purpose of
Ever the artist of his own time, he organizes collage parties of
gathering material for my work. The tools I employ follow a
near-legendary status. He says: I started hosting Collage Parties as
progression of refinement that is reflective of the work in
a way to recapture the art school energy I was missing after
progress. I begin with logging equipment (a chain saw, winch,
graduating from The Alberta College of Art and Design in 1997.
cant hook, and steel-toed boots) and culminate with my bare
I gather a variety of collage materials, invite a number of friends
hands, a cotton cloth, oil, and wax.
to join me, and make art for no other reason but to have fun.
I never approach a log with a specific finished form in mind. Once I start, I don’t know where the log is going to take me. I need to be very observant. I don’t want to take it somewhere it
Over the past five years, the Party has grown exponentially. I have been invited to host them all over the world including Oslo, London, Los Angeles, New York, Japan, and Berlin.
doesn’t want to go. I always strive for a pure design form. Simple
Butler—himself represented by the established Wynick/Tuck
is very difficult to achieve in all aspects of life, but it is the
gallery in Toronto—founded his own gallery “the other gallery”
essence of beauty.
in Winnipeg. He has become a presence at international art fairs exhibiting his own work and that of artists such as Ian August (see Lot #29 - #33). He showcases the work of other young Canadian artists in his on-line gallery at www.theotherpaulbutler.com. Butler has had solo exhibitions at the Angell Gallery in Toronto and Plug In (ICA) in Winnipeg, which is currently touring his exhibition of collages and photo-based work. He has
Lot # 19
Barbara Hatfield Thompson, North Dakota site drawing 1 Image 32 x 40 inches, 2005 Range: $1,800 - 2,200
participated in group exhibitions in Calgary, Winnipeg, and
Barbara Hatfield, with the most basic of materialsâ€”
Toronto. Butler has received several visual arts grants from the
brush, ink, and paperâ€”creates striking, enigmatic works. While
Manitoba Arts Council and been reviewed by the Globe and
they speak directly of the physical world, they also transport the
Mail, CBC Canada Now, Border Crossings Magazine, and the
viewer to a place of inner experience, an intimate, immense
Winnipeg Free Press.
space. Paradoxically, insistence on materiality allows experience with the unseen. The economy of the process becomes an avenue to immediacy and accessibility. There is abundance in distillation, complexity in their simplicity. The human connection with nature is ever present. Hatfield earned a Bachelorâ€™s degree from Minnesota State University in Moorhead and a Master of Fine Arts in Painting from Parsons School of Design, New York.
Paul Butler Winnipeg, Manitoba Untited #6, Perfect 10 Series Collage 11 x 7.5 inches, 2001 Range: $300 - 500
Lots #21 and #22
Adam Kemp Grand Forks, North Dakota
Swimmers, 2005 Acrylic on wood with cockleburs Each 11.5 x 12 x 2.5 inches, 2005 Range: $150 - 300 each
Adam Kemp Grand Forks, North Dakota Dog Trail Oil on board 8.75 x 16.25 inches, 2005 Range: $150 - 300
Adam Kemp, born in 1962, grew up forty miles northeast of London in the Essex countryside. From age fourteen through nineteen, Adam sketched with watercolors because I could take them anywhere. At about sixteen, I noticed there were a lot of things that could be painted on—and I did. He graduated from Newcastle upon Tyne with a BFA in 1986 but not before studying for a year in a wood restoration school in Florence, Italy, and working with a Newcastle blacksmith for six months. While in college he realized he was a failed watercolor painter. I put too much paint on so I would have to give my pictures a bath in the tub. Finally the Department of Painting asked him to leave just as the Department of Sculpture accepted him. The Sculpture Department was grounded in the tradition of the British Modern School—Sir Anthony Caro, Henry Moore, and most importantly, Barbara Hepworth, who his parents had taken him to visit when he was a child. Her studio in Cornwall looked like my bedroom so I figured there was hope.
at the Hotel Donaldson in Fargo (summer 2003); murals at the International Centre at the University of North Dakota (2002); School of Fish created by Kemp and thirty-one six-through twelve-year-old children enrolled in the 2002 Museum of Art Summer Arts Camp; set for a play, Flood of Memories by Francis Ford, based on the North Dakota Museum of Art Oral History Project following the 1997 flood; and Café Kosmos, a meeting place for high school students which Kemp took on as a personal
Kemp took an MFA degree from the University of North Dakota
mission after the flood. He and the high school students turned
where he learned to cast bronze in the new foundry. In addition
the two-floor building into a work of art. Kemp continues to
to paintings, Kemp’s work includes a commissioned wall mosaic
teach popular week-long sessions in the Museum’s Summer Art Camp and to make collaborative work throughout the State.
Gretchen Bederman Bismarck, North Dakota Bird Woman Oil on canvas 36 x 72 inches, 2002 Range: $1,500 – 1,800
Gretchen Bederman’s art is dominated by horses and women. According to the artist, these images symbolize and
Since 1992, Bederman has been in twenty-nine group shows and
visually animate the elements of earth and its relationship to fire,
twenty-two solo exhibitions in North Dakota and Minnesota.
air, and water. She combines memories of actual places with a
Over the course of the last year she had a solo exhibition at
mixture of reality, myth, and dream. She uses the figure in both
Fargo’s North Dakota State University, a two-person show at the
human and animal form to tell the story. In the painting in the
Spirit Room in Fargo, and a joint exhibition with Walter Piehl in
Auction, Bird Woman, the artist paints what it feels like if you are
Miles City, Montana. She was a visiting artist at NDSU and taught
on a horse, looking up and down. I paint the space between the
at the North Dakota Museum of Art Children’s Summer Camp.
horse and the rider. Bederman grew up in Houston, Texas, and settled in North Dakota after a 1980 visit. She completed her undergraduate work at Minnesota State University Moorhead and received an MFA in painting from the University of North Dakota in 1996. While in Grand Forks, she served as a docent for the North Dakota Museum of Art and worked as an Artist-in-Residence at Lake Agassiz Elementary School.
If a bird was riding on the haunches of a horse, that is what it would look like.
Jon Solinger Moorhead, Minnesota Riparian Forest, 2004 Digital print, one of two Image 20.25 x 8.6 inches Range: $300 - 400
Jon Solinger of Moorhead began over four years ago photographing tree claims and shelterbelts. Nodak Electric Foundation agreed to fund his work and he headed out with his black-and-white, square-format camera. Shelterbelts, originally planted after the Dust Bowl era, are now fully mature. Row upon row of old trees are currently being removed to make way for contemporary agricultural practices. If replaced at all, it is with a single-row stand of trees. About a year ago Solinger broadened his story with digital color photographs. Using core samples of the soil, satellite images, investigation into the evolution of machinery for tilling and planting, global positioning systems to identify soil characteristics, commodity charts, and other such tools of twenty-first century farming, Solinger enriches his newest color photographs with layers of information. His themes incorporate ideas of land usage along with the history of the life of trees in the Red River Valley. During the summer of 2005, the North Dakota Museum of Art unveiled Solinger’s work, some eighty photographs winnowed out of dozens more. The Museum will publish the accompanying book early in 2006. Over the course of the next year, Solinger’s exhibition will travel throughout North Dakota and northwestern Minnesota through the Museum’s Rural School Initiative.
Greg Blair Grand Forks, North Dakota Fixed Growth Cottonwood framed by poplar 43 x 30.5 inches, 2004 Range: $800 – 1,000
Lot #27 Detail Each unit 13 x 6 x 7 inches
Lot #27 Greg Blair was born in Edmonton, Alberta. In 2001 he received his BFA from the University of Lethbridge in Lethbridge,
Alberta, with an emphasis in sculpture. A year later he moved to
Pine River, Minnesota
Grand Forks to pursue his MFA at the University of North
Dakota, graduating in 2004. His artwork varies from installation,
to site-specific work, to earth works, to object-based sculpture.
33 x 22 inches, 2005
The work in this Auction is an example of the latter.
Range: $500 - 700
In 2004 Blair was awarded Best of Show at the North Dakota Arts and Humanities Summit student exhibition in Minot. He was
CYrus Swann is a multi-media artist who focuses on three-
invited to exhibit in the Museum’s second Emptying Out of the
dimensional ceramics, moving from pottery, to sculpture, to
Plains exhibition in the summer of 2005. For this he created both
installation. According to the artist, my work explores the depths
an indoor and an outdoor installation, both about the life of
of form and surface available in the medium but also addresses
trees. He worked as Artist-in-Residence for the Art Quest festival
issues of mass production, consumer waste, and comparative
at Bismarck State College in 2005. He will also serve as Artist-in-
value of one object to the next. I am also interested in pushing
Residence at several venues as part of the Museum’s Rural
my technical ability. I have a commitment to tradition and craft
School Initiative during 2005-06.
although I don’t feel bound by rigid definitions or parameters.
Blair’s overriding focus in his installation work is to create art that
Cutter belongs to my series of works wherein I explore the ideas
revitalizes and transforms marginal spaces within urban settings.
of passage, movement, and flux. Swann moved back to his hometown, Pine River, after earning his BFA from Bemidji State University. He developed a studio by remodeling the out-buildings on his family farm.
Charles Beck Charles Beck is widely known for his masterful woodcuts.
Fergus Falls, Minnesota
Fish Houses, which appears in this Auction, is particularly
whimsical. In all his work, Beck is affected by where he lives. The
landscapes around Fergus Falls, Minnesota—always his home—
24.25 x 28 inches, 2004
continually reappear in his woodcuts and paintings. Beck says,
Range: $700 - 1,000
You have to make art from what you’re interested in. I’d rather make a woodcut of a plowed field with some conviction than a crucifixion with none. Color and textures are what he takes from the landscape, but the horizon is his biggest influence. He continues, The separation between the sky and what I call
go of influence and developed a style, undeniably his own,
vertical space and horizontal space . . . seems to be a part of
which has served him well for a half-century. In 1950, Beck
every landscape. I seem to feel the need to show the sky in the
returned to Fergus Falls with his wife Joyce, having completed
background. He believes landscapes are extremely exciting because they constantly change weekly, even daily. Fish Houses seems to feed upon the late afternoon, winter light that bounces off the rolling hills around Fergus Falls. In this fanciful woodcut, the shadows are long, the snow has taken on the sun’s glow, the houses with their capricious coats of paint are lined up like little boxes dancing in unison across the lake. “Oh, to be fishing,” the print sings. Beck enrolled at Concordia College, Moorhead, Minnesota, in 1941. His professor, Cy Running, influenced him in those early years when he was making watercolors, but, ultimately, Beck let
military service and graduate school at the University of Iowa. Beck’s work is represented by the Rourke Art Museum, Moorhead, Minnesota, and his work is also in its permanent collection as well as the North Dakota Museum of Art’s permanent collection.
9.5 x 7.5 inches
9.25 x 5.5 inches
Lot #31 Reptile 9.5 x 6.5 inches
Ian August Ian August is a painter, lately of portraits from life, and a
member of the Winnipeg collective Two Six (or Two-Sicks or 26
Five paintings on
or Twenty-Six or Too-Six). This group of seven artists in their early
to mid-twenties began as teenage graffiti writers steeped in
skateboard culture. Most are recent graduates from the University
Range: $40 - 60 each
of Manitoba’s School of Art in Winnipeg including August who matriculated with honors in 2004. According to Winnipeg’s artist/critic Cliff Eyland, Two-Six paints quietly in their shared studio and bicycles wildly in the streets, decorating the city with original works of art that they call ‘prefabs.’ Many prefabs are painted with commercial colours
Lot #32 Band Face 10.25 x 8 inches
called ‘mistints,’ that is, house paint that has been rejected by a buyer after already having been mixed. Mistinted paint on rejected pieces of wood found in the dumpsters makes prefabs a fabulous return of the repressed. Prefabs are small, original paintings that are ‘nail bombed’ to city fences and walls during the ritual bicycle expedition 26 calls a “party bike.” In galleries, they install, along with large stretched paintings, collections of small wall works they call ‘Shame Walls,’ a punning reference of Halls of Fame. Each artist in the group also makes his or her personal work. Such are the five small paintings in this auction by Ian August. Painted on the outside of covers torn from hardcover books, they defy
logical interpretation. His charming and not-so charming
characters go madly about their unknown business, resembling,
11.25 x 8.5 inches
if anything, left-over characters from Dr. Seuss.
Gretchen Kottke Cooperstown, North Dakota After the Storm Oil on panel 16 x 48 inches, 2005
It’s always just beginning. Everything is always just beginning. —Jakusho Kwang
Range: $700 - 900
Gretchen Kottke created After the Storm in the days
also had a piece accepted for an exhibition at North Dakota
following Hurricane Katrina’s destruction of New Orleans. It was
State University while still in high school. My work has always
a time when television sets around the world were flashing
focused on the human spirit. Through painting I explore
images of stranded people wading through chest-deep water,
relationships with others and connections with the environment.
being lifted from rooftops by helicopters, or escaping in small boats. Kottke studied French and art at Jamestown College and the University of North Dakota. After college, she left North Dakota
While studying French during the 1960s, I discovered existentialism. Over the years I have worked extensively in the Civil Rights Movement and with the Sierra Club. These interests have impacted my work profoundly.
and worked in the medical field both as a health-care worker and
Kottke is also a Master Gardener, an interest that led her to
as an administrator. Thirty years later, she returned to
commission a public garden in Cooperstown created by a team
Cooperstown, North Dakota, and opened the GK Art Gallery. It
of artists led by Kathryn Lipke.
proved to be one of the most rewarding challenges in her life, a gift to the people of North Dakota, and a major support system
Since closing her gallery, Kottke has begun work as a volunteer
for artists from the three-state region. According to Museum
curator at the North Dakota Museum of Art. In January 2004 she
Director Laurel Reuter, Gretchen’s work in Cooperstown is a
selected the work for the Museum’s Silent Auction—she is now
stellar example of the difference that one person can make in
working on the 2005 event.
creating a lively cultural life in a rural place. Kottke closed the gallery in June 2003 in order to devote her time to painting. Kottke recalls, I have been making art since I can remember. As a student at Cooperstown High School, I made Christmas sets. I
Kottke has exhibited in group exhibitions in Los Angeles, Denver, the Puget Sound area, and North Dakota. While mounting solo exhibitions for dozens of other artists in her gallery at Cooperstown, she never gave herself that privilege. Her first solo exhibition was in Tumwater, Washington. She currently shows regularly at the Spirit Room in Fargo.
Vance Gellert took a BA in physiology and a PhD in pharmacology, both at the University of Minnesota, before realizing that he really wanted to be a photographer. He returned to school at Virginia Commonwealth University in Richmond and finished an MFA in photography in 1984. In 1989 he became co-founder and director of the Minnesota Center for Photography, a position he held until 2003. He resigned to become a full-time photographer. While running pARTs, Gellert brought to the gallery major projects and artists from Russia, Cuba, Afghanistan and other countries.
exhibitions together with catalogs, panel
discussions, and artists’ talks brought community awareness to the cultures and issues of these societies. Gellert’s exhibition of
conceptual photography from Cuba was seen in the galleries of
the North Dakota Museum of Art in 2001.
Charlotte Lewis, Leaf Artist
Gellert has always liked working in series or on large projects.
For example, in 1990 he started to shoot photographs of tractors
20 x 16 inches, 2004
on Machinery Hill at the Minnesota State Fair. After collecting
Range: $400 -600
nearly 500 images, Gellert decided to assemble the photos into a collage representing one tractor. Next Gellert photographed a farm west of Minneapolis on Highway 12 and assembled multiple images of the farm as the background for the tractor. Hybrid Tractor was given to the University of Minnesota Student
treatment/drugs for the same malady along with its effectiveness
Center in 1992.
and side effects.
With a travel/study grant from St. Paul’s Jerome Foundation.
The photograph of Charlotte Lewis in this Auction grew out of his
Gellert traveled to Bolivia in 2003 to undertake a photo project
most current project. According to the artist, I’m searching out
based in pharmacology. His goal was to foster understanding of
and making portraits of outsider artists of the region. I define
the contribution of shamanic ritual and belief systems to
these as people who are not formally trained but driven to create
medicinal plant efficacy that may hopefully lead to novel new
delightful and intensely personal art. I find this group to be quite
research protocols. The actual product would be a photographic
fascinating and better, very photogenic. Finding them is itself an
book containing conceptually created portraits of the shamans,
interesting process. The project began October 1, 2004, and I
followed by plant and treatment information. It would be
expect to be at it for up to two years; it’s still defining itself. The
exciting to do an analysis of the plant phytochemistry, the
first thing I discovered was that the landscape photos I took in the
effectiveness of the treatment and any side effects. And then . . .
environments where these artists live paired well with the
portraits and are shown together.
Mary Lucier New York, New York Arabesque From The Plains of Sweet Regret DVD, 2004
Mary Lucier has donated all proceeds from the sale of this video to the Museum of Art
6:31 minutes, continuous loop Letterboxed for 4:3 screen Range: $600 - 800
Mary Lucier created Floodsongs for the North Dakota Museum of Art in 1998, which won the Art Critics International Association/United States Branch award for the best video installation in a museum in the United States that season, but only after being seen at the Museum of Modern Art in New York City. This New York artist returned to North Dakota at the turn of the twenty-first century, traveling across seasons and time, venturing into the far northwestern corner of the state, almost to Montana, almost to Saskatchewan. The North Dakota Museum of Art once again commissioned her—this time to respond to the population shifts that are forcing the people of the Northern Plains to reimagine their lives. Laced with melancholy, with heartbreaking longing, with loveliness, The Plains of Sweet Regret nudges the viewer into remembering. What is it about this life that one cherishes? A calf is born. The rancher’s large hand gently reaches in to help. The empty landscape, mutating from fall into winter against a haunting, electronic score, is achingly beautiful. Then, in the last six minutes, the work explodes into dance, the dance of the bucking horse, the bull, the clown, the rodeo rider. This is the resplendent West, but Lucier undermines its glory with loss. Brilliantly, the artist sets her choreography to George Strait’s Country Western song, I Can Still Make Cheyenne. The music and the images cascade back over themselves, folding, repositioning, repeating, alive with rapture…and, again, longing. Those last six minutes comprise a work within a work, or Arabesque, the first media work to be included in the Museum’s Auction. According to Museum Director Laurel Reuter, this exquisite small work of art is a masterpiece. It was filmed at the Roughrider Rodeo Association Year-End Finals Rodeo, Burdick Arena, Devils Lake, in 2003. What does one do with it? Embed a modest-sized, flat screen into the wall in your home and think of the Lucier’s video as a moving painting. The Plains of Sweet Regret was commissioned by the North Dakota Museum of Art with funding from the National Endowment for the Arts and the City of Grand Forks.
Dan Jones Fargo, North Dakota Prairie Still Life Charcoal on paper 30.5 x 47 inches, 2005 Range: $2,800 - 3,200
Dan Jones, who lives and works in Fargo, is one of North Dakota’s most serious artists. He has long practiced plein aire painting, gathering with a group of fellow artists and going to the countryside to sketch and paint. The landscape of the Red River Valley provides him with endless subjects. According to Museum Director Laurel Reuter, the drawing in the Auction is one of Dan’s very best. And so simple: a round bale of hay seen at night. The light of the moon casts a shadow, turning the hay bale into a monolith. Jones’ works are included in many museum, corporate and private collections including the National Endowment for the Arts, the Plains Art Museum in Fargo, and the Rourke Art Museum, Moorhead.
Anyone who has followed my career for the past few years knows I have a certain fascination with hay bales. Round or rectangle, the shape doesn’t really matter to me. I love the way they catch the light, the shadows they cast, and the way they physically inhabit the space they are randomly placed in. Viewed from a distance they add to the patterns created when cut and bundled, but close up they have their own personality, like big hairy beasts resting in the grass.
Walter Piehl Minot, North Dakota Buy Me, Fly Me: Sweetheart of the Rodeo Acrylic on canvas 48 x 60 inches, 2005 Range: $4,300 â€“ 4,700
Walter Piehl was born into a family that raised rodeo stock
drawing, Piehl could leave the traces of movement on the paper.
so he rode horses as a matter of course. When he arrived at
He worked and reworked the surface, always leaving enough
graduate school at the University of Minnesota in 1969, Bill
description for the viewer to follow the motion of a falling hat, a
Goldstein, now the Director of Universal Limited Art Editions but
rider flying backward, the gesture of a flinging hand, a boot
then a fellow student, commented that from the beginning Walter
following the body into a somersault as the rider is tossed.
drew with great confidence and skill. We were beginning students and he arrived full-blown. He put his hand to paper and the lines flowed. And he drew horses.
As he matured, his skill as a painter matured as well. Just as he was interested in observing the subtlety of a creek bottom, he wanted his surfaces to dance with subtle variations. Drips,
But before that, at the beginning of his experience with the world
feathered edges, scumbled paint, the judicious use of glazes, all
outside of Marion, North Dakota, Walter went to Concordia, a
contribute to his rich surfaces.
small Lutheran college in Moorhead, Minnesota, enrolling in 1960. Cy Running was his teacher. Walter was the skittish colt. I was so used to calendar art, to illustration, to cowboy art as it appeared in the magazines, I had a hard time.
Today Piehl is widely recognized as one of North Dakotaâ€™s senior painters and as the artist who singularly pioneered the contemporary cowboy art movement. In 2003 the Plains Art Museum mounted a retrospective of his paintings and drawings.
Piehl went on to draw and paint horses, year after year, never
In 2004 he was honored with the Governorâ€™s Award for the Arts
wearying of his subject, never despairing in his quest to create
and in 2005 he was appointed to the North Dakota Council on
contemporary Western art. In the beginning he worked alone,
the Arts as a member at large.
one of the very first to turn his back on the established ways of painting and bronze casting, rendered into cliche by followers of Frederic Remington and Charles Russell. By 1978 Piehl and his horses were well on their way. By drawing, overdrawing, and re-
Richard SzeitZ Moorhead, Minnesota Green Family at Home Painted steel 94 x 65 x 24 inches, 2005 Range: $3,500 - 4,000
outdoor piece. In the early 1960s Richard Szeitz primarily worked as a printmaker and a painter. He produced several series of expressionistic images with religious subjects. These works were commissioned by religious organizations for publications or interior decor. In the same period he received requests to produce some of his images in three-dimensional forms. After the first experiments with welded steel he switched to brazed Richard Szeitz: For many years I was interested in aspects and characterization of the American family. While in these days a super organized and tightly knit family unit is still an ideal of society, it seldom exists in reality or, if it does, it is highly suspect. For it is hard to imagine, for most, such order without undue force or abuse. Transparency is needed to convince one to accept and believe such perfection. Therefore, this Ideal family must be lean, frugal, concerned for the environment, therefore, transparent, and GREEN. They should be strong, made of steel and very straight and steadfast. I was evolving such thoughts as I developed the sketches and spatial (almost three-dimensional)
copper, which became his preferred medium for sculpture. He used human figures, animals, and biomorphic abstract forms in his works, including in his fountain-sculptures made for private and public places. Sculptural projects have dominated his creative output since the late 1960s, with only occasional interruptions to experiment with paintings, prints, collages, and computer-generated images. To produce small studies for larger site-specific commissions, Szeitz designs on the computer and then fabricates the work in copper or, using the lost-wax method, casts the work in bronze. He also has created a series of medallions and bas-reliefs in bronze and hammered copper.
presentation of Green Family at Home. One might consider the
Stylistically, Szeitz was influenced by the baroque surroundings
irony of paradoxical relationships between expectations and the
of his European childhood. His encounter with the popular Art
realities of our times. This work is designed as either an indoor or
Nouveau during his adolescence and the discovery of the Bauhaus after the Second World War also helped to shape his creative vision.
Marjorie Schlossman has donated all proceeds of the sale of this work to the Museum of Art Lot #40
Marjorie Schlossman Fargo, North Dakota Stroke of Midnight Acrylic on paper 44.5 x 60 inches, 2004 Range: $1,500 – 2,000
fingerprints or a handwriting style? It would take a long time for Schlossman to develop her own “painting style or voice.” She was born in California but moved to Fargo, her mother’s home town, shortly after World War II ended. Years later she would return to California where she was to become a painter, influenced by both the California light and West Coast attitudes toward painting. But first, she took a degree in literature from Northwestern University. Over a decade later she returned to Fargo to raise her seven children and to paint. The artist toyed with becoming a composer, having studied the violin since childhood. She concluded that she could only
Marjorie Schlossman’s work will be familiar to the
devote her time to one thing and chose painting but continued as
audience at the North Dakota Museum of Art where she had her
an amateur to play the violin in the Fargo-Moorhead Symphony.
first museum exhibition in the summer of 2004. The Museum produced a catalog for Schlossman’s exhibition which draws
Around the year 2000, Schlossman began to work on the Roberts
heavily upon her own journal writings. In it she says, It is the
Street Chapel, a private venture she carved out of an old building
habits of painting that we recognize in the work of an individual
in Fargo. She has completed three sets of paintings which are
artist. I wonder about these habits or patterns. Are they an
designed to wrap around three sides of the meditation space. Her
unresolved issue being worked through again and again? Or
newest project, again with the North Dakota Museum of Art, is
attacked many times, the unexamined oversight? Or are they like
to commission six architects to build “chaplettes” and again she will paint their interior spaces.
Lot #41 Richard Dyck Winnipeg, Manitoba Hive Scan C-Print from flatbed scanner 30 x 24 inches Range: $1,300 - 1,600
Richard Dyck is a Canadian based, multimedia computer
honey. Hive Scans, Aganetha and Richard Dyckâ€™s most recent
artist who has also earned both national and international
collaborative work, according to the DeLeon White Gallery in
attention. His work includes installation as well as scanning
Toronto, is an aesthetic and voyeuristic journey into the sacred
projects, one of which is compiled in his book entitled Species.
work of bees, work that has until now remained largely in the
Richard Dyck describes Hive Scans in his own words: The bees
dark. As Aganetha Dyckâ€™s everyday objects are worked on by the
paint as they move relative to the scan head over the scanner
bees, a flatbed scanner operated by Richard Dyck captures
bed, their images compressing and smearing anfractuously.
images of the bees at work, revealing in their frozen activity an almost phantom-like quality.
Aganetha Dyck, also a Canadian artist, has spent the last fifteen years collaborating with honeybees. She places objects such as hockey skates or fine embroidery into the hive. The bees use them as foundation to build up comb and subsequently fill with
Ross Rolshoven was born in Mandan, North Dakota, in 1954. He grew up in western North Dakota with two brothers and two sisters. The family enjoyed going to the farms and ranches of uncles on both sides of the family. Countless summers were spent looking for arrowheads, playing on calvary block houses, and exploring Mandan Indian earth lodges at local state parks. As a youngster he already was saving up images and impressions that would make their way into his art years later. He was also making collections, even as a small boy. Today his assemblages, paintings, and hand-colored photographs are grounded in Western and Native American themes. Ross entered paintings in community art shows at an early age. During college, he took several art courses but graduated in 1976 with a business degree from the University of North Dakota. Today Rolshoven juggles his world of collecting, creating, and speedboat racing while funding it through his private detective and insurance claims enterprise in Grand Forks, North Dakota. Lot #42 Ross Rolshoven Thompson, North Dakota Chief Oil on canvas 14 x 11 inches, 2005 Range: $350 - 450
Lot #43 Michael Eble Morris, Minnesota New and Old Beginnings Oil on canvas 32 x 32 inches, 2005 Range: $600 - 800
We study the arts because they make our hearts wise, the highest of human goals. North Dakota Museum of Art Mission Statement
David Madzo Minneapolis, Minnesota Captain My Captain Acrylic on panel with painted frame 16 x 13 inches, 2002 Range: $400 - 600
Michael Eble moved from a small southern city to smaller rural Morris, Minnesota, in the summer of 2003. He had accepted a position to teach and direct the gallery at the University of Minnesota Morris, the liberal arts branch of the U of M. He had just graduated with his MFA in painting and drawing from the University of Mississippi at Oxford. According to the artist the move precipitated his next body of paintings. The year following my arrival was filled with a series of adjustments that consisted of a new city, culture, climate, job, and home. During this period of change I began to think about the concept of home and how we define this ambiguous idea. It was not until a year later that I was able to settle down and focus my energies to produce a new body of work. These new paintings
David Madzo is not only a maker of magical paintings, he is a technically accomplished craftsman. He handles pigment, washes, and glazes like a master, according to North Dakota Museum of Art Director Laurel Reuter. Using thinned acrylic, he builds up layer after layer of transparent washes, the surface made rich with both under- and over-drawing. His base paint is often a rich and glowing orange/red. The Auction work was created with washes of acrylic paint on board, and the image was extended onto the frame. Madzo graduated with a BFA from the Minneapolis College of Art and Design (1977) and an MFA from the University of North Dakota with a concentration in painting (1980). Following graduation he moved to the Twin Cities where he still paints in
reflect an inner search to understand my own definition of home.
his Minneapolis studio. He was quickly picked up by the Thomas
The cornerstone of that definition is the “sense of place” and the
he continued to exhibit for the next decade. Madzo has a long
people who reside in that place. It is marked by the familiarity
relationship with the North Dakota Museum of Art which
and comfort of friends or relatives. In my paintings I suggest these
culminated in a solo exhibition that opened in January 2003.
ideas through a range of symbols, figures, writings, and structures that serve as an iconography. Much of the imagery is derived from photographs that reference this aspect of home. The imagery is usually rendered flat to give the viewer an anonymous representation of the form or figure.
Barry Gallery where he had his first solo exhibition in 1986 and
Madzo has been the recipient of a Jerome Foundation Fellowship (1983), a McKnight Foundation Fellowship (1985) and a Bush Foundation Fellowship (1987). In addition to painting, the artist has an enviable position as the only paid person on Habitat for Humanity construction sites where he oversees dozens of volunteer “carpenters.”
Zoran Mojsilov Minneapolis, Minnesota Island Granite, mable, stainless steel, patio umbrella 99 x 80 x 70 inches, 2005 Approximate weight: 4,000 lbs. Range: $4,500 â€“ 5,500 Buyer must pay costs of delivery
Zoran Mojsilov Minneapolis, Minnesota Shell Seating Zoran Mojsilov grew up with his grandmother in a poor
village in former Yugoslavia. From the time he was little, he
136 x 50 x 52 inches, 2005
assumed the role of toy maker for the rest of the children. He
Approximate weight: 2,000 lbs.
grew into his teens wanting to be an artist but in his remote
Range: $4,000 – 5,000
world artists were considered sissies. So Zoran became a
Buyer must pay costs of delivery
champion wrestler in order to be left alone to become an artist. Ironically, his physical training has served him well as he builds his massive sculptures with stone and iron. After graduating from the University of Belgrade in 1979, he left for Paris and then, a few years later, for Minneapolis. His first job in the States was at the Walker Art Center where he worked with
Mojsilov was trained traditionally in the European academy. He
the installation crew in the wood shop. Mojsilov’s first exhibition
knows art formally and he knows its history. His drawings are
at the North Daktoa Museum of Art was in 1990 and at that time
accomplished and purposeful as studies for his sculpture. He has
he was working in wood. Then he assisted the Museum by
taught himself the use of both tools and materials even while
driving the sculptor Richard Nonas to the granite quarries in the
receiving support from fellow sculptors such as Mark di Suvero.
St. Cloud region, seeking rock for a North Dakota Museum of Art
His sculpture functions in the three-dimensional, as it should. It
commission (the stone monoliths that surround the museum).
harbors the same spirit of generosity that is endemic to Mojsilov’s
Thus Mojsilov discovered stone—and he never looked back. In
very being. It is playful while being massive. It is grand while
the summer of 2002 Mojsilov installed three major granite
being whimsical. It is not pretty; it is strong, powerful and
sculptures in the North Dakota Museum Garden, commissioned
awkward, commanding one’s attention. That this artist has
by the Msueum. Currently the Museum is in the fundraising
received all the grants available to artists living in Minneapolis is
stages of a twenty-five year survey exhibition of his drawings and
testament to the regard with which he is held by critics, curators,
sculpture, accompanied by his first catalog.
jurors, and fellow artists.
Barton Benes New York, New York Art Museum Mixed media wall relief 28 x 29.25 inches, 2005 Range: $1,500 - 2,000
katie McCleery Travis City, Michigan Untitled Raku with gold leaf 8 x 18 inches, 2005 Range: $300 - 500
barton Benes makes museums. He created this special Art Museum for the North Dakota Museum of Art—Barton’s “home” museum. The Art Museum contains: Snip of Mark Rothko’s necktie Dice from a Tony Cragg sculpture Philip Taaffe’s wax mold and stencil Bristles from Jean Michel Basquiat’s paintbrush Crayon from Robert Rauschenburg’s studio Shard from Dennis Oppenheim’s installation Spam Penis sketches by Sally Mann and Merce Cunningham Piece of porcelain plate that fell off a Julian Schnabel painting Nan Goldin’s film case Xu Bing’s tea-stained napkin Hardware and curtain from Christo’s Gates Hair from William Wegman’s dog Candy
Katie McCleery retired from the University of North Dakota at the end of the 2004-05 academic year, having taught ceramics since 1973. She spent fourteen of those years carving architectural murals in brick, working closely with the Hebron Brick company, North Dakota’s oldest and only functioning brickyard. Two years ago she retired from carving brick because of the wear and tear on my body. It’s very heavy work and although I enjoyed it and was proud to have had the opportunity to do a good number of carvings, it became clear that, if I wanted to continue to work as an artist, I would have to make some changes. I’ve always done other works as well as the carved
When Barton dies, he is leaving his apartment and all its contents
murals. I’ve done a fair amount of work in raku, since it is fast and
to the North Dakota Museum of Art. The apartment contains
fun, and have explored slip casting as well as continued working
many museums within it including African and Egyptian
in stoneware. Recently I took on an architectural restoration job
sculpture, work by contemporary artists, stuffed animals, an
and got some experience with flexible mold systems and a new
African voodoo altar, etc. etc. etc. It will become the Museum’s
casting material. I like learning new things and having choices
first period room.
about how I work and what kind of work I do.
Explore . . . Endure . . . Evolve . . . North Dakota Quarterly is proud to support the North Dakota Museum of Artâ€™s Autumn Art Auction, continuing our ongoing promotion of art and artists in the upper midwest. We regularly feature artwork from the region and beyond on our covers, and the Summer 2004 issue included the work of nine North Dakota artists. Other recent issues include a 300-page Special Belles-Lettres Issue, available for $12 each in the museum shop. Mention this ad to receive a free regular issue or a $5.00 discount Gregory Vettel, Gateways
from the subscription price of $25.00 for four issues.
North Dakota Quarterly, PO Box 7209, University of North Dakota, Grand Forks ND 58202, (701) 777-3322 e-mail: email@example.com www.und.nodak.edu/org/ndq
©2006 Dave Britton Calendars available at 701-772-6681
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North Dakota Museum of Art Board of Trustees
North Dakota Museum of Art Foundation Board of Directors
Kevin Fickenscher, Treasurer
John Foster, Chair
James E. Gjerset, Chair
Cheryl Gaddie, Vice Chair
Daniel E. Gustafson, Vice Chair
Betty Gard, Secretary
David Hasbargen, Vice President
Betty Monkman, Secretary
Gretchen Kottke, Treasurer
Judi Paukert Alex Reichert
North Dakota Museum of Art Staff
Laurel Reuter, President Annette Rorvig
Anthony Thein, Emeritus
Corinne Alphson, Emerita
David Blehm, Emeritus
Julie Blehm, Emerita
Virginia Dunnigan, Emerita
Bruce Gjovig, Emeritus
Ellen McKinnon, Emerita
Sanny Ryan, Emerita
Barb Lander, Emerita
Robert Lewis, Emeritus
Douglas McPhail, Emeritus
Matthew Wallace Stacy Warcup Katherine Wonderlich and over fifty volunteers
North Dakota Museum of Art, Post Office Box 7305, Grand Forks, North Dakota 58202-7305 USA Phone: 701.777.4195 Fax: 701.777.4425 E-mail: firstname.lastname@example.org www.ndmoa.com
2005 Autumn Art Auction Catalog