Autumn Art Auction
North Dakota Museum of Art
This Autumn Art Auction and its catalog is dedicated to
JEAN DEAN HOLLAND long-time supporter of the North Dakota Museum of Art
The North Dakota Museum of Art is grateful to our sponsors who have given generously to guarantee that the arts flourish.
The 2009 Autumn Art Auction is underwritten by
residents of the southern Red River Valley.
Cover: Adaptation, 2009. Hand drawing with Adobe Illustrator, printed on archival Hahnem端hle fine art paper, 34.5 x 85 inches.
North Dakota Museum of Art
S at u r d a y, N o v e m b e r 7 , 2 0 0 9 Wine and hors d’oeuvres 6:30 pm Auction begins at 8 pm
Auction Preview October 18 until auction time in the Museum galleries Monday – Friday, 9 to 5 pm, Saturday – Sunday, 1 to 5 pm All works to be auctioned will be on display
patrons Clarion Inn Clear Channel Radio Grand Forks Convention and Visitors Bureau Grand Forks Herald David Hasbargen and Wayne Zimmerman
Supporters Ameriprise Financial Services, Inc., Debbie R. Albert Avant Hair and Skin Care Studio Blue Moose Bar & Grill Bronze Boot Chester Fritz Auditorium
East Grand Floral and Gifts
Farmer’s Insurance Group, George Wogaman
Leighton Broadcasting Minnesota Public Radio Merrill Lynch Office of Academic Affairs, UND River City Jewelers WDAZ TV
Frandsen Bank & Trust Greater Grand Forks Community Theatre Guesthouse International Gustafson Gluek, PLLC HB Sound & Light Hugo’s Ellen McKinnon Museum Café
Sponsors Bremer Bank Dakota Harvest Bakers
North Dakota Eye Clinic Red River Plastic Surgery, Dr. Judson Crow Rhombus Guys Auction Supporters continued next page
Buy local. Read the sponsor pages to learn about those who invest in the Museum. This past year a Museum supporter looked up a realtor in the catalog and asked him to handle a property sale. It works.
Supporters Sanders 1907 Special Olympics Summit Brewing Company Curtis Tanabe, DDS Duc Tran, DDS
—David Hasbargen, Chairman Museum Board of Trustees
UND Alumni Foundation Waterfront Gallery, Northern Plumbing Supply Whitey’s
Contributors Altru Health System Acme Electric/Tool Crib of the North Alerus Financial Axis Clinic Camrud, Maddock, Olson & Larson, Ltd. Capital Resource Management Chad Caya Painting Fine Print Greater Grand Forks Symphony Orchestra Gregory J. Norman Funeral Chapel Happy Harry’s Bottle Shops Letnes, Marshall, Swanson, & Warcup, Ltd. Mayport Insurance Praxis Strategy Group Rite Spot Liquor Salon Seva Sterling Carpet One Xcel Energy Zimney Foster, P.C.
Advertisers Brady Martz and Associates Browning Arts David C. Thompson, P.C. Drees, Riskey, Vallager, Ltd. Economy Plumbing Edward Jones, Mark A. Larsen Forks Chem-Dry Gate City Bank Greenberg Realty, Kelly Thompson Carol Irey Meland Architecture Monarch Travel & Tours Earl Pomeroy Reichert Armstrong Law Office Robert Vogel Law Office, P.C. Shaft, Reis, and Shaft, Ltd. Marie Strinden, Personal Trainer The Toasted Frog Valley Car Wash Vilandre You Are Here Gallery
Ross Rolshoven, Auctioneer
Marie Strinden and Benjamin KliPfel, Chairs
Ross Rolshoven is a many-sided man. Foremost, he is
Marie Strinden was raised in Fargo and attended New
an artist who works in assemblage, hand-colored photography,
York University, receiving her B.F.A. in Acting in 2005. Among
and painting. Among his exhibitions was a solo show of
other projects, she appeared on the Discovery Channel’s short-
assemblages at the North Dakota Museum of Art in 2002. The
lived series, “Sensing Murder,” and wrote a one-woman comedy
work was based in the iconography of the West, in historical
about growing up in Fargo which played to sold-out audiences
myths and representations of cowboys and Indians. These themes
Off-Broadway before touring Europe. Several years ago, Marie
overlap with family and relationships, and contemporary life.
started missing the wide open prairie and moved to Grand Forks,
Rolshoven is a collector of early Western settlement and American Indian art and artifacts. Thus he is completing his fourth year on Medora’s North Dakota Cowboy Hall of Fame Board of Directors. He has been a volunteer for numerous civic events and charities over the past thirty years, including the North Dakota Museum of Art.
where she works as a Certified Personal Trainer. Marie and Ben met and became fast friends, bonding over theater and art, among other interests. Benjamin Klipfel has been a life long participant and supporter of the arts. Since moving to Grand Forks, Klipfel has worked on plays for East Grand Forks High School, the Fire Hall
In addition to making and collecting art, Rolshoven collects and
Theatre and Crimson Creek Players. Klipfel currently serves as
restores vintage boats. He is North Dakota’s only professional
the Executive Director of the Greater Grand Forks Community
boat racer, having finished as high as fourth place in the National
Theatre and Crimson Creek Players. Klipfel is also an award
APBA tournament in Kankakee, Illinois—and totaled a boat or
winning visual designer and photographer, having shot subjects
two along the way.
all over the world. Klipfel serves on the board of directors for the North Valley Arts Council, the North Dakota Ballet Company, the
In everyday life, however, he is a legal investigator who handles
Grand Forks County Historical Society and as president of the
high profile cases involving corporate, civil, and criminal
alumni association for Waldorf College, his alma mater, in Forest
matters. He owns and operates Great Plains Claims, Inc., along
with his brother Reid, in Grand Forks, North Dakota. His work routinely takes him across the Upper Midwest—a boon to his collecting and his need to acquire endless numbers of objects for making assemblages.
Committee Nicole Derenne
Rolshoven is a Summa Cum Laude graduate of the University of
North Dakota with a degree in Business Administration. He has
three children, his oldest daughter, Ashley, is a professional barrel
racer living in Texas. Daughter Jensen and son Carsen attend
school in Grand Forks.
Museum Mission Statement
MISSION: To foster and nurture the aesthetic life and artistic
Rules of Auction
Each registered guest will receive a bidding card as part of
expression of the people living on the Northern Plains through
the price of a ticket. Upon receiving the bidding card, each
exhibitions, programs, and publications which engage the
guest will be asked to sign a statement vowing to abide by
region, the country, and the world.
the Rules of the Auction listed in this catalog.
VISION: To create the richest learning environment possible for
Bid Form with Museum personnel in person or by phone, or
experiencing art and developing community that affirms the
bid by phone the night of the auction. Absentee bidders, by
highest level of respect for art, artists, and audiences.
filling out the form, agree to abide by the Rules of the Auction.
VALUES: For the Museum to be successful, our most important resource, our people, must have a clear sense of where we are
going, and the collaborative spirit in which we undertake that journey. Our values are guiding principles for how we will go about our work. They are guideposts to daily conduct that speak to the integrity of our behavior.
Absentee bidders will either leave their bids on an Absentee
Each bidder will use his or her own bidding number during the auction.
All sales are final.
In September, 2002, the Office of the North Dakota State
1) Rural Lens: We interpret rural life through the arts, just as we
Tax Commissioner determined that the gross receipts from
view the art of the world through a rural perspective.
the sales made at the Auction are subject to sales tax at
2) Global Context: We place the lives of artists and audiences
6.75 %. This does not apply to out-of-state buyers who have
within the context of contemporary art and critical thought from
works shipped to them.
around the world. 3) Humanities Focus: We function as a laboratory for all forms of
shall either determine the successful bidder or re-auction
artistic, aesthetic and cultural inquiry.
the item in dispute.
4) Collaboration: We build and nourish relationships with artists, visitors and each other.
In the event of a dispute between bidders, the auctioneer
Purchasers may pay for items at any point following the
5) Scholarship: Academic rigor and quality research underpin all
sale of a work but must pay for all art work before the
Museum programs and publications.
conclusion of the evening—unless other arrangements are
6) Stewardship: We are stewards of the public trust for the artistic
in place. Absentee bidders will be charged on the evening of
environment of our region, and the human, financial and
the auction or an invoice will be sent the next business day.
physical resources of the Museum.
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.
If we don’t support them, who is going to?
From the Museum Director
Gifts to you! Gifts to the Museum! Ultimately,
is guaranteed to receive the amount of the reserve bid. If work
that is what this auction is all about. Years ago, I decided that the
does not reach minimum bid, it will be bought in by the Museum
Museum should take responsibility for growing an audience for
and returned to artist. Any amount over the reserve bid and the
our own artists. Our mantra became, “If we don’t support them,
Museum’s equal match is split 50/50 between the artist and the
who is going to?” Madelyn Camrud, with the close help of
Museum. Example: If a reserve bid is $200, and the work sells for
Marsonda Schroeder, took on the job. As I look back over the
$395, the artist receives $200 and the Museum receives $195. If
years, I consider this growing audience one of the Museum’s
the same work sells for $500, the artist and the Museum each
greatest accomplishments. Today, art has also become an
accepted part of younger people’s lives. They participate, they buy, they live with art—and all of our lives become richer.
Gradually we have seen the prices for art increase as our buying audience experiences the pleasure of knowing artists and living
Not all of the artists live locally but they all have some
with art. And also gradually, the Museum has begun to make
relationship with either the Museum of Art or the region. And,
some money from the auction as well. It wasn’t long, however,
given that Winnipeg is our closest large city—and a hotbed for
before every art entity in the region began holding their own
artists—we consider the Manitoba art community our own.
auctions—and positioning them to compete with the Museum’s
We could not publish this catalog without the underwriting of our sponsors. Please take your business to these companies and individuals; thank them for their significant contribution; and note how many are locally owned and operated. Sometimes they
auction. Then non-art entities thought, “why not us?” It was as if the Museum threw a pebble into the pond and art auctions rippled out. Fortunately, what is good for artists is good for the Museum—and selling work is very good for artists.
say, “I don’t care if I get an ad, I just want to give to you guys.”
Remember, when you buy through the Autumn Art Auction, the
Supporting cultural life is not in the interest of the “big boxes” but
price includes framing or presentation. Frames are often custom
rather has become the business of the butcher, the baker and the
made by the artists or the Museum staff who use archival
keeper of bees—and of Ellen McKinnon who buys her own ad
materials. This alone adds significant value to most of the auction
because it pleases her.
sales. This year, there are significant works in the auction by
From the beginning, the Museum has never asked artists to donate work, although some do. Instead, we allow them to establish their minimum price, an amount the Museum guarantees. The auction procedures are:
artists who have recently shown with us such as Aganetha Dyck, Zoran Mojsilov, Chuck Kimmerle, Ewa Tarsia with a new body of work, Vivienne Morgan, and Pirjo Berg, a Finnish artist who just moved here from Seattle. Others include Walter Piehl, the first winner of the Bush Foundation’s $100,000 Enduring Vision
DIVISION OF MONEY between the artist and the North
Award; and two new Native artists from neighboring Winnipeg,
Dakota Museum of Art on a work sold in the Auction: The artist
Lita Fontaine and Scott Stephens. Enjoy! —Laurel Reuter, Director
Laurel Reuter, Zhimin Guan, oil on metal, 2009
Keith Johnson Bemidji, Minnesota Untitled, 2009 Steel bowl with cutouts 20 inch diameter, 4 inches deep Range: $175 - 225
Johnson is a blacksmith from Bemidji,
Minnesota. He works as a general architectural smith who makes railings for multi-million dollar houses in the Twin Cities and Chicago. His skills and his interests, however, vary from making Damascus folding knives that are sold to collectors through knife shows to producing a line of black-powder related items such as knives, tomahawks, and campfire sets for people who rendezvous to re-enact the fur trade, which ended in 1840. Johnson has been smithing full-time since 1986 when he started Great River Forge. He also was village blacksmith in 1986-87 at Smoky Hills in Park Rapids, Minnesota, and at Sawmill Creek, Park Rapids, Minnesota, in 1991. As village blacksmith, he created craft items such as dinner bells, fireplace tools, candleholders, and hooks. Johnson grew up on a Minnesota farm with its own forge. While in high school he took blacksmithing classes. After attending Bemidji State for a year, Johnson moved to Long View, Washington, to study â€œbody and fenderâ€? 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. Keith founded the Northern Minnesota Metalsmiths and remains a driving force to this day. In 1993, Johnson, along with Bob and Wanda Odegard, forged a bronze globe, six feet in diameter, which is installed near the Mississippi headwaters at Itasca State Park, south of Bemidji.
The original prints by Kent Kapplinger and Jessica Wachter were made as an exchange portfolio for the PEARS Summer Printmaking Workshop 2009. They were printed in the PEARS studio in Fargo. Kapplinger leads the workshop. There were fifteen prints in each edition plus each artist received three Artist Proofs, one of which is in this auction. Summer 2009 Folio Statement: The beauty and permanence of nature is simple yet awesome, providing tranquility, balance, and order in a world sometimes seeming full of chaos. Lot #3
Kent Kapplinger Fargo, North Dakota Resolve, 2009 Intaglio 15 x 11 inches (image) Range: $175 - 225 framed
Lot #2, left
Kent Kapplinger is an Associate Professor of Art at Jessica Wachter
North Dakota State University, Fargo, where he has taught
Bismarck, North Dakota
printmaking and drawing since 1992. He also directs and is
Layers of Love, Life, and Learning, 2009
master printer of the Printmaking, Education and Research Studio
(PEARS). He received a M.F.A. in printmaking from the University
15 x 11 inches (image)
of Iowa and B.A. in Art from Augustana College in Sioux Falls,
Range: $75 - 125 framed
South Dakota. He has received fellowships from the Hungarian Multicultural Center, North Dakota Council on the Arts,
Jessica Wachter is currently a student at North Dakota State University in art and interior design. She studies printmaking under Kent Kapplinger. According to the artist, For this print, I experimented with a new print process of layering many different plates in various directions. As I often do in my work, I chose to draw upon life experiences and strived to express something of myself and my true feelings in this piece. As noted in the title, not only was this print assembled in layers with
Woodstock School of Art in New York, and Vinalhaven Press in Maine. The artist has shown in over 125 individual and group exhibitions and his work is part of more than twenty-five public and corporate collections, including Johnson & Johnson, Thrivent Financial, The Print Consortium, U.S. Art in Embassy Program, The Amity Art Foundation, Museum of Texas Tech University, and Northern Illinois University Art Museum. My work addresses socio-environmental issues and focuses on
love and patience, but in and of itself this piece expresses my
balance, order, and regeneration. Visual layers of structured
view of life: life is a culmination of years of loving, living and
imagery, shape, texture, color, and text are used to initiate
learning that creates the depth that makes us who we are.
dialogue concerning how we impact the quality of life.
John Marsh Tulsa, Oklahoma Pedro’s Band, 2006 Mixed media on wood panel 36 x 36 inches Range: $450 - 550
Doug Pfliger Minot, North Dakota Pair of Old Seesaw Dogs, 2009 Wood, metal and paint 11 x 18 x 5 inches
John Marsh is a self-taught artist who practiced family
Range: $450 - 550
medicine in Tulsa, Oklahoma, until ten years ago when he quit in order to paint full time. He has exhibited widely in Oklahoma. About his painting, Pedro’s Band, he says, the painting was born after extensive trial and error in an effort to create a surface texture similar to stone and composed of water-based non-toxic substances. This surface medium permits the formation of “pectographs” composed of scratches, stabs and gouges and drawings with sharpened bones and wood. I use water-based stains and colored earth solutions for coloration. The overall design of Pedro’s Band, like much of my other work, is taken from an ancient and universal symbol, the cross. The marks on Pedro’s Band include symbols as well as Greek and English alphabet letters. Like my technique, which involves layering, so the meaning of the work is layered, leaving choices to the viewer: the Apostle Peter and his followers? The logo on the side abandoned
Doug Pfliger began his Doug’s Dogs series in 2005,
building? Collection of archetypal forms and symbols drawn
which he originally called Scrap Pile Dogs. The work in this
from within the artist, which connect the “outside” or external
auction, Pair of Old Seesaw Dogs, is from the Sad Circus Series
meanings of events and objects with the human “inside,” or
where things are not always as they seem. The series contains
eighteen new dogs built since June 2009 that range from Siamese
Caroline Doucette is a traditional watercolor
Color. Her mother is an artist as was her grandmother. As a form
painter known for her flowers. In this work, she has captured the
of play, her mother taught her perspective drawing when she was
grasses that grow on the edge of a North Dakota pond. She says,
four years old. At eleven years she got her first camera. Her
I like to use a simple palette of red, blue, yellow—cool and
father, who once worked within the photography department of
warm—so I get nice rich, brilliant, vivid, clean colors that will sit
the U.S. Air Force, taught her the fundamentals of composition.
on my canvas in such a delightful way. I like to make the leaf or stems curl away.
In December 1989, her husband encouraged her to paint full time, suggesting she use watercolors and later to specialize in
Doucette is a signature member of the New England Watercolor
florals. Following his intuition and guidance, she began to win
Society and the Pennsylvania Watercolor Society. She has been
awards and recognition.
published in both the Summer 1996 issue and the Spring 2000 issue of Watercolor magazine.
In November 2000, her husband’s business relocated from Nashua, New Hampshire, to Rugby, North Dakota.
Her painting To Life appears in the book Splash 5: The Glory of
Dog to Pfliger cont. The Bearded, Fat, and Tattooed Lady. Sad Circus builds on the previous Trick Dog series and brings the total of Doug’s Dogs to 165 sculptures. According to the artist, Humor and color tend to dominate my art. My work is narrative, as many in the series have a continuous story or repeating character. The folksy quality of the dogs is intentional, but the fact that each dog ends up having a personality all its own has been quite serendipitous. His tendency is to work within the confines of the wood shapes and dimensions selected, and then alter the forms as needed. The dogs’ pedigrees are at best indeterminate, but their roles as faithful friends and companions are clearly defined. At times I feel like one of Santa’s elves in my workshop as I build, paint, and embellish each dog. Why dogs and not cats? Simply put, I am a dog owner, and therefore partial to the canine form. Dog-shaped household objects such as oil lamps and purely decorative figures of dogs were popular in ancient Roman homes, and the very Roman tradition of an image of a dog inscribed with the words ‘cave canem’ or ‘beware of the dog’ persists today! Doug’s Dogs do not bite, require only an occasional dusting, and will not chew up your favorite shoes. A Hazen, North Dakota native, Pfliger currently teaches art at
Minot State University where he received his B.S. in Art
Education (1984). He taught art in the public school system for
Rugby, North Dakota
thirteen years before pursuing graduate work. He received his
Heart of America, 2009
M.F.A. (1997) from the University of North Dakota and began to
Watercolor on watercolor canvas
teach at Minot State University in 2001. For the past few years,
36 x 24 inches (image)
the artist has explored themes of chairs, houses, toys, and trailers.
Range: $850 - 950 framed
Pirjo Berg Grand Forks, North Dakota Untitled, 2009 Oil on canvas 66 x 66 inches Range: $1,750 - 2,225
Pirjo Berg suggests that color, texture, and shape are at the
moved to Seattle 1991 with her geologist husband, returned to
core of her current paintings. Her paintings are inspired by the
art school in Finland from 1996-2000, and rejoined her
lines, repetition, texture, and geometric forms she sees in the
husband in Seattle in 2000 after graduating with a B.F.A. in
familiar and mostly Finnish textiles she has acquired for her
painting from the School of Art and Media, Tampere, Finland.
home. Berg is interested in space, time, and rhythm. Her
She also studied with the EDGE Program, Artist Trust, Seattle,
paintings reflect the common experiences of a daily life where
Washington, in 2005.
the basic structure is predictable and repeats itself, however, in its own interesting way each day is different and brings pleasant surprises. Similarly, all her paintings follow the same general pattern: yet, they all become unique and surprising.
Career highlights include the six-person exhibition “Paint Local” at North Dakota Museum of Art (2009); a solo show in Seattle’s Gallery 63Eleven, reviewed on NPR’s Washington affiliate by critic Gary Faigin (2008); and a three-person exhibit at Seattle’s
Abstract in nature, her paintings typically raise emotions and
Nordic Heritage Museum (2007). Commissions include one by
feelings originating in the observer. They are tactile and they
the NBBJ (architecture firm) for Valley Medical Center in Renton,
beckon the viewer to touch them. The paintings take one to
Washington; another by the Max-Hotel (Seattle artists each
another world, the world of paint. These paintings are plain and
created work for one guest room. Catalog produced.). She was
simple: colors, contrasts, and lines. The viewer finds them easy
invited on the curatorial team for “Nordic Artists Northwest,” an
to relate to, yet they remain mysterious and intriguing. These are
invitational exhibit at the Nordic Heritage Museum, and
the rhythms of the little worlds, your own experiences, and your
Convergence–Ballard Building C Artists (where she maintained
a studio and helped develop the Ballard ArtWalk). She also was
This Finnish artist was born in Helsinki and grew up there. She
one of the curators for an invitational show at the UpFront Gallery, Issaquah, Washington.
Chuck Kimmerle Grand Forks, North Dakota Untitled, 2009 Pigment on paper 13 x 20 inches (image) Range: $600 - 700 framed
Chuck Kimmerle Grand Forks, North Dakota Untitled, 2009 Pigment on paper 13 x 20 inches (image) Range: $600 - 700 framed
Chuck Kimmerleâ€™s photographs are part of a series
The project explores the unique features, both agricultural and
exploring the reticent landscapes of the agriculturally dominated
natural, which adorn the northern plains of North Dakota and
northern plains of North Dakota. The project, entitled The
western Minnesota, giving the place the aesthetic value and
Unapologetic Landscape, features elements that, when taken as
unique personality so easily overlooked.
a whole, give this area itâ€™s unique identity. According to Kimmerle, The landscapes of the northern plains
These particular images were made in heavy fog just outside of Whitman, North Dakota, in August 2009. The juxtaposition of the
are, like the inhabitants, reticent and unassuming, lacking the
bright white fence, which ran alongside a rural cemetery, and the
visual grandiosity and splendor that adorn much of the rest of
darkness of the heavy fog made for powerful and compelling
the country. As such, it is a land more often driven through
at highway speeds than visited as a destination. This area has, however, subtle and unique virtues not easily understood or appreciated through car windows passing by at 70 mph. Even lifelong residents often struggle to find visual merit and meaning from the land on which they live. Yet, this is a proud landscape, unflinching in its directness and unapologetic in its reticence.
Chuck Kimmerle, born and raised in Minnesota, has been a photographer for more than twenty years. He transplanted to Grand Forks in 1996 while working as photojournalist. His subsequent travels throughout the rural areas of the plains gave him an appreciation for the subtleties of the landscape, and the impetus for this ongoing project.
Sponsored by River City Jewelers
Zhimin Guan Moorhead, Minnesota Red River, 2009 Oil on canvas 24 x 30 inches Range: $700 - 800
Zhimin Guan: For the last few years, I have been
in the spring of 1995, Guan moved to the United States. Since
experimenting with creating landscape paintings on various
1998, he has been a professor of art and design at Minnesota
surfaces and scales. My intention has been to blend traditional
State University Moorhead, while acting as visiting professor at
landscape painting with the expressionism, conceptualism and
China Dalian University of Technology, School of Art and
the aesthetics of Oriental philosophy. As a Chinese artist and art
Architecture; Anhui Normal University; School of Art, in Wuhu,
professor working in the United States, I’ve found that the
Anhui Province; and the Dalian International Institute of Art and
northern Minnesota landscape has a sublime, expressive, natural
Design, among others.
and eternal beauty that is close to my heart. In addition to our spectacular autumn view, I have even started to enjoy the snowy winter landscape and see its variety of subtle but rich grey colors in which one can taste a human condition and thoughts.
In the last two years, Zhimin Guan has successfully mounted a large one-man show entitled “Melting Metal, Melding Culture” at the Plains Art Museum in Fargo. Last year he had a solo portrait show, “American Dreamers Series #1,” at the Rourke Art
Guan was born in China in 1962. He started to paint when he
Museum in Moorhead. Twenty of the portrait paintings of
was nine years old, influenced by his father, Chintian Guan, a
individuals from the regional art world were included in the
traditional Chinese calligrapher and ink painter. Zhimin received
North Dakota Museum of Art exhibition “Paint Local” in
rigorous training in calligraphy and ink painting before he was
September 2009. (One of these is reproduced on page 5 of this
fifteen years old. At the same time, he developed a strong interest
catalog, Museum Director Laurel Reuter.) Recently promoted to
in the Chinese philosophy of Taoism and in ancient Chinese
full professor, Guan received a sabbatical award from Minnesota
poetry. During his B.F.A. studies at Fuyang Teachers College in
State University Moorhead. Guan spent one semester traveling
China, he concentrated on oil painting and again received
and serving as a visiting professor in several universities and
rigorous training in drawing and painting in the Western classical
colleges in China. Reinvigorated, Zhimin returned to teaching in
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. Then
Krisjanis Kaktins-Gorsline, a rising star in the
Krisjanis Kaktins-Gorsline Winnipeg, Manitoba
Canadian art world, is originally from Brandon, Manitoba. He
Rupertsland Handicrafts, 2007
has a B.F.A. with honors from the University of Manitoba (2006)
Screenprint on Mylar
and more recently an M.F.A. from Columbia University (2008).
17 x 11 inches each (image)
His explorations have produced a body of work employing a
Range: Suite $2,400 - 2,800
variety of media, primarily painting, which has been featured in
exhibitions in Toronto; at Scope Basel, Switzerland; the University of Dundee, Scotland; as well as in New York City, Los Angeles, Miami, and Chicago. He currently is showing in a group exhibition at Deitch Studios Long Island City, New York.
Handicrafts is a folio of four serigraphic prints using both sides of a translucent vellum to make reference to the disintegration or the fractures apparent in his paintings. This series of
The disintegration of the figures in Kaktins-Gorsline’s work is
representational characters depict Canadian archetypes or
unique to his style of painting where characters are both
stereotypes making reference to Rupertsland, a provincial
representational and abstract. Produced at Winnipeg’s Martha
electoral division in Northern Manitoba formerly controlled by
Street Studio (Manitoba Printmakers Association), Rupertsland
the Hudson’s Bay Company.
Adam Kemp Grand Forks, North Dakota Cows, 2009 Acrylic on canvas 14 x 28 inches Range: $350 - 450
Adam Kemp was born in a village forty miles northeast of London. He matriculated with a B.F.A. from Newcastle upon Tyne in 1986. He moved to North Dakota in 1987 and earned an M.F.A. from the University of North Dakota in sculpture. Kemp considers himself at least half North Dakotan, and, according to the artist, “with the support of my wife Tonja,” has tackled a long list of area projects including the renovation of the mini-golf
Daniel Sharbono is a Minot artist, designer, and
course at Stump Lake Pavilion with students from the Nelson
freelance graphic designer whose recent projects include design
County Art Camps. He conducted sculpture workshops at the
work for Main Street Books, 10 North Main, Otis and James
Heritage Center, East Grand Forks, Minnesota; Turtle River State
Photography, Dakota Kids Dentistry, Minot State University, and
Park in rural Grand Forks County; as well as many workshops in
62 Doors Gallery and Studios.
Grand Forks, especially for the North Dakota Museum of Art. Kemp also works with the Lutheran Social Services Day Report Program in Grand Forks creating sculptures with young people. In the Cow Series the artist explores what humans do for work and what they do to put food on the table. Kemp explains, cows are interesting to me because they are also immigrants. How long is something here before it is not an immigrant? There is something relaxing about spending time with cows—Frank and Lucy Matejcek let me traipse all over their land, keeping
Found objects and materials discovered at flea markets, yard sales, old barns and garages, and the occasional curbside shopping trip, are rescued and recycled for use in artwork that gives these objects the opportunity to be appreciated. Most of Sharbono’s work is about observing the things around one and learning to appreciate them for their inherent aesthetic qualities—signs of a personality, loyalty, and a past filled with experiences everyone can relate to.
company with the herd.
Daniel Sharbono Minot, North Dakota Handy Men, 2007 Acrylic, shelf, and found materials 15.25 x 21 x 2.25 inches Range: $350 - 450
Bill Harbort Minot, North Dakota Lust and Love, 2009
Bill Harbort was born and raised just north of New York
City. After receiving his B.F.A. and M.A. degrees from Syracuse
with cast resin
University, he pursued a career in commercial design. Over the
22 x 28 inches
years he worked in New York as a package designer for Revlon,
Range: $350 - 400
as the art director for a childrenâ€™s educational software company, and as a freelance automobile illustrator. During the 1960s and 1970s, Harbort self-published thirty-one limited edition art prints of American muscle cars. (For the unfamiliar, muscle cars, also called Pony Cars, have giant V-8 engines with super chargers and
graphic design and illustration at Minot State University.
special exhaust. These gas-guzzlers were really fast! Muscle cars
Gradually Harbort, the commercial artist, began to explore fine
reached their epitome in the 1960s with the advent of such cars
art. He states, paint-by-numbers, coupons and clip art are just a
as the GTO, certain Mustangs, Camaros, and some Chrysler
few ingredients often found in our popular culture landfill. Being
models like the Challenger. Unfortunately the energy crisis
a college professor has given me time to explore my painting,
killed the genre.)
which is still driven by pop culture words/images and messages.
While working on the East Coast, Harbort was a member of the New York Society of Illustrators. He became widely recognized for his automotive airbrush work, which appeared in over
Each collage is sealed with a yummy coating of poured-on clearcast plastic. My paintings may be tragic, comical or simply aesthetically pleasing.
twenty-five different automotive publications. Tiring of
The artist lives in Minot with his wife Sandy, sons Nicholas and
commercial work, he moved to North Dakota in 1996 to teach
Tyler, and his family of ex-racing greyhounds.
Kim Fink Grand Forks, North Dakota Engram, 2008 Linocut on Asian paper 16 x 23 (image) Range: $375 - 425 framed
Kim Fink received his B.F.A. degree from the Pacific Northwest College of Art, Portland, Oregon, studying under painter Mike Russo and Clifford Smith, the first Education Director of Tamarind Institute. In 1979, he graduated from Tyler School of Art at Temple University, Philadelphia, and Rome, Italy, with an M.F.A. in printmaking. Fink grew up in the rich and culturally diverse Central Valley of California. He has taught in Portland and Las Vegas. He moved to Grand Forks in 1999 to teach printmaking at the University of North Dakota. In 2000, Fink founded Sundog Press to allow his UND students to work with professional visiting artists. To date, Sundog Press has editioned prints for many artists including Daniel Heyman, Nancy Friese, Peter Kuper, Audrey Flack, Kim Abeles, Jaune Quick-to-See Smith and Arturo Sandoval. He has had over 150 solo and group exhibitions. Fink has lectured widely; has taught at the Chautautqua School of Art in New York, and at American University in Corciano, Italy. He directed print workshops such as those in RISDâ€™s Rome program (Rhode Island School of Art and Design) and held Artist-inResidence positions at KALA Art Institute, Berkeley, CA; the Center for Contemporary Printmaking, Norwalk, CT; Vermont Studio Center, Johnson, VT; and the Scoula Internazional de Grafica in Venice, Italy. He attended the Crown Point Press, San Francisco, Summer Etching Workshop in 2008. Fink most often combines printing media. Many recent works primarily employ relief woodcut and linocut, which he mixes with silk screen, etching, photography and lithographyâ€”just as he chooses images with contradictatory meanings for his art.
Lita Fontaine Winnipeg, Manitoba Shake Dance, 2005 Ink-jet pint on archival paper 18 x 24 inches (image) Range: $550 - 600 framed
Lot #16, left
drum. As a tribal feminist she resists the popular social images of Aboriginal women.
Lita Fontaine Winnipeg, Manitoba
Lita Fontaine’s film work includes photography for the film
Nude Study, 2005
Apples and Indians, a 2006 short produced by the National Film
Ink-jet pint on archival paper
Board of Canada.
24 x 18 inches (image) Range: $550 - 600 framed
Fontaine has participated in many solo and group exhibitions. Her most recent exhibition, “The Sacred Feminine,” was held at the Urban Shaman Gallery in Winnipeg, March 2006. One of Fontaine’s
Lita Fontaine, a Canadian who descends from the
Reservation,” opened at the Winnipeg Art Gallery in January
Anishinabe, Dakota, and the French, was born in Portage la
2002. A catalog was produced, including a scholarly essay by
Prairie, Manitoba. Fontaine holds a M.F.A. in Intermedia Arts
from the University of Regina (2001) and a Diploma in Fine Arts from the School of Art, University of Manitoba (1997), specializing in black and white photography. Today, she works in photography, mixed media, and installation. As an artist, Fontaine opens the windows to the current issues and aesthetic concerns surrounding First Nation womanhood.
Fontaine’s works can be seen at the Winnipeg Art Gallery, Manitoba Legislature, and several private collections. Fontaine has received several awards from the Manitoba Arts Council, The Canada Council for the Arts, and the National Aboriginal Achievement Foundation.
This artist’s montages refer to the effects of colonization, such as
Lita Fontaine is also an arts educator and is currently employed
racial stereotypes, residential schools, and government treaties.
as the Artist-in-Residence with the Seven Oaks School Division
Other motifs include family photographs, beadwork, and the
in Winnipeg, Manitoba.
Craig Love Winnipeg, Manitoba Untitled From series Wash Ups 2005 - 2009 Oil on paper Range: $25 - 50
Lot #19 Lot #22
Craig Love Craig Love
From series Wash Ups 2005 - 2009
From series Wash Ups
Oil on paper
2005 - 2009
Range: $25 - 50
Oil on paper Range: $25 - 50
Craig Love Winnipeg, Manitoba
Craig Love says about the work in the auction: The
drawings here are part of an on-going process of what I would
From series Wash Ups
call “rehearsal”. . . although this term may be misleading, seeing
2005 - 2009
as how this rehearsal becomes the concert. Little drawings in
Oil on paper
which I am thinking out loud for all to see, which take the form
Range: $25 - 50
of a meander, a grotesque, a notational doodle. It should also be said that these drawings were made in the studio, for the most part, simultaneously with other, more traditional oil on canvas works. So, not only is there a rehearsal/concert going on, but the conductor has two orchestras at once. If all this makes sense, you understand this music completely. The artist lives and works in Winnipeg, Canada. While primarily a painter, he also makes unorthodox books, text works, and
objects. Love earned his M.F.A. in Visual Arts from New York’s Parsons School of Design (The New School) in 2004. Love has
exhibited his work in Winnipeg, Toronto, New York, and
Istanbul. Most recently Love was awarded a Manitoba Arts
Council Grant to research and produce a body of work related to
From series Wash Ups
the diverse social, cultural, and visual histories of the pattern
2005 - 2009
Paisley. This project will take him to Scotland in the winter of
Oil on paper
2010. In 2009 he participated in Plug In ICA Summer School in
Range: $25 - 50
Winnipeg, one of seventeen invited, mature artists.
Marley Kaul Bemidji, Minnesota Generations, 2009 Acrylic on canvas 59 x 39 inches (image) Custom-made frame of cherry wood Range: $3,000 - 3,800
closely related to drawing as it requires a prepared line and value under-drawing to be laid onto the panel in India ink (Value is the difference between light and dark that helps define the shape of objects.) This drawing continues to show through the initial layers of pigment. Since the pigment is translucent, a great deal of over painting is required before the drawing recedes. The work in this auction, Generations is painted with acrylic on
Marley Kaul is one of the region’s most senior artists. As
canvas. Yet Kaul employs the same techniques of under-drawing
during his thirty years of university teaching, he continues to
that is overlaid with thin layers of acrylic paint. The artist is
paint daily in his studio near Bemidji, Minnesota, to exhibit
painting his grandmother’s high chair in front of the window in
generously throughout the region, and to move his art into
his own Bemidji living room as the winter light moves into the
significant private and public collections. At the turn of the
room and onto a family teapot. The mood is one of quiet
century, Kaul was one of seventeen artists commissioned to fill a
restfulness. Paintings such as these are creating an important
room at the Hotel Donaldson in Fargo.
legacy. Years from now, they will be highly prized as historic
Kaul is a prolific painter and a twenty-first-century man
renditions of an earlier time and place.
sensitized by philosophical and political thought who continues
Kaul’s work has been recognized and collected by almost every
to teach through and about his art. He paints interior and exterior
major museum in Minnesota and North Dakota and this speaks
worlds: landscapes, lush with life, fruitful, ever questioning the
volumes about his tireless commitment to his development as a
crossover between public and private life. The paintings of this
painter and his desire to continue to explore new ideas.
important American regionalist are layered with meanings shaded from the casual viewer.
Ultimately, Marley Kaul is a superb painter with a scholarly bent who has become widely respected and loved within the region
For the past seventeen years much of Kaul’s work has been
where he makes his home. In September 2009, he saw his newest
developed through egg tempera processes on carefully prepared,
work installed: a new stained glass window in the First Lutheran
gesso-covered panels, linking him to many early painters and
Church of Bemidji. The church commissioned Kaul, a member, to
their ability to discipline their working habits. Egg tempera is
create a contemporary design and oversee its production.
C. Graham Asmundson was born in 1952 in
artist’s responsibility to help people keep their eyes open to
Winnipeg where he continues to reside. He has been active as an
alternative realities that might arise out of the subconscious, from
artist and cultural worker in the Winnipeg arts scene for the last
dreams, or a hidden force. He equates magic with creativity and
twenty years. He brings to his practice a graduate degree from
enlivens his paintings and installations with secret symbols that
Concordia University, Montreal.
reflect his openness to magic (and perhaps another reality).
Asmundson relies on autobiographical material for the content of
Asmundson looks to his childhood even in his later work—like
his paintings, which are quirky, queer, and sometimes
the time trees did not appear in a photograph, the power of coins
controversial. In 1995 the North Dakota Museum of Art
passed on by grandfathers, and a great-grandfather who was a
produced the exhibition and catalog Autobiography, which
included Asmundson’s paintings and drawings based upon growing up in Winnipeg’s Bohemian community. The complete body of work is in the Museum’s collection, a gift from the artist.
The artist has always been deeply involved in his son’s life, making art together since Jaimz was young. Jaimz began experimenting with film, video, and electronic music at the
A skilled arts administrator and grant writer, Asmundson has
beginning of his art career. In 1988, Jaimz made The Artist Series
supported himself for years working for such institutions as the
featuring his father. Today, Graham and Jaimz form a remarkable
Manitoba Arts Council and Video Pool. Today he continues to
father-son creative team. C. Graham Asmundson + Jaimz
work part-time as a grant writer for Winnipeg’s Plug In ICA
Asmundson have become known for their forays into
(Institute of Contemporary Art).
transgressive cinema, experimental video productions, and a
His heart, however, is with his art. The work in the auction grows out of earlier explorations into the magical. He feels it is the
sense of camaraderie. Most recently, they collaborated on the wildly-successful short film, Drawing Genesis (2008). Distributed
Lot # 24, left
C. Graham Asmundson Winnipeg, Manitoba Untitled, 2008 Mixed painting and drawing 55 x 77 inches (image) Range: $1,500 - 2,300 framed Lot #26
Herman de Vries Winnipeg, Manitoba Large Bowl, 2008 Hard maple from Ottowa, Canada 7.5 x 17.5 inches Range: $600 - 700
Herman de Vries was born at Ochre River, Manitoba. He received a M.A. in Music Education from the University of Sioux Falls and South Dakota State in the 1960s. Today he is a retired business executive and a former professional singer and Lot #25
music teacher. A self-taught wood turner, he began in 1997 and was teaching classes a year later.
Herman de Vries
The bowl in the auction is rare in that it is turned from a solid
piece of hard maple from Ottawa, Canada—something only a
skilled craftsman could manage. The vase is a classic vase shape,
designed to reveal the “flames” in the figure embedded in the
14 x 3 inches
side of the vessel. According to de Vries, I love the classic forms
Range: $350 - 450
and the challenge of turning continuous curves with no interruptions in the flow of the form—much more difficult on a tall form. He continues, at first, I never considered wood turning as art. For me it is a labour of love. For many years I worked with wood as
an amateur furniture maker, developing pieces in our home. It
by the Winnipeg Film Group, Drawing Genesis is a saturated
wasn’t until 1995 that I acquired my first lathe. Immediately, I
visual compendium which traces C. Graham Asmundson’s
performative gestures as he creates a monumental painting— only to destroy it. With the use of time lapse, still frames, lens obstruction, occult symbolism, subliminal imagery and blatant queer references, the film presents a ritual of artistic inspiration that invokes man’s primal forces, according to press releases. Drawing Genesis was the official Selection of the Ann Arbor Film
A few years later I went to a lonely spot on my parents homestead where I was born. I saw the old maple trees that my father and mother had planted in the early 1920s. Some were dying. Taking the wood from those dying trees and turning it into a piece of turned art became a way of preserving something that represented the future to my youthful father and mother. I am
Festival, Montreal Underground Film Festival, Fabulous Festival
their future, and the tree was their future. If I am able to leave
of Fringe Film, Antimatter Underground Film Festival, Festival des
behind a legacy, it seemed only fair that the tree should be able
Cinemas Different de Paris, and Images Festival.
to do the same. I only helped a little.
Matt Anderson: I grew up in the countryside of
of the natural world. These attitudes toward nature can be seen
Gackle, North Dakota. I received my B.A. from Northern State
in advertisements for new trucks conquering rugged terrain or the
University in 2004 and graduated in August 2009 with an M.F.A.
endless aisles of lawn and garden supplies in the local mega
from the University of North Dakota. I feel as if I am just on the
store. We often perceive the natural environment as an accessory
beginning of my artistic career. I have shown work regionally and
that can be flippantly manipulated without consequence.
have pieces in private and public collections.
Historically, landscape imagery has been used to explore themes
My work comes from my own life experiences viewing the
such as national identity, political agendas, and the divine. For
discontinuity between the good intentions of people and the
example, nineteenth-century American landscape artists helped
consequences of those â€œgood intentions.â€? In my recent work I
shape the way America viewed nature by fostering a sense of
have been focusing on our relationship with the environment.
national pride and divine entitlement. However, within some of
For thousands of years humans have been constructing a world based on ideas of safeguarding us from the natural environment. In some cultures those ideas have grown into beliefs and world views that have actually divorced people from the natural environment, especially in the industrialized nations. As a result
their paintings there is an undercurrent of foreboding peril related to increasing human encroachment on the environment. As the human population continues to grow, human behavior and lifestyles will have an increasing effect upon the natural environment.
of this divorce, social attitudes about how to perceive,
The artwork in this exhibition explores the follies of human
experience, and evaluate nature have often resulted in the misuse
activity and the enduring presence of the natural world. Irony,
Lot #27, left
Matt Anderson Grand Forks, North Dakota Adaptation, 2009 Hand drawing with Adobe Illustrator, printed on archival Hahnemühle fine art paper 34.5 x 85 inches (image) Range: $1,300 - 1,700 framed
scale, and apocalyptic imagery engage the viewer in a Lot #29
contemporary conversation about the future of modern humanity. These allegoric images are amplifications of truths about the relationships between the human world, the notion of
“progress”, and nature. There seems to be a steadily growing
Iowa City, Iowa
divide separating humans from the natural world. As this divide
continues to grow, it is becoming apparent that we live in a world
Stoneware, cone 6, low-fire
beyond our control. The natural environment, and our impact
glaze, and found objects
upon it, will be the final arbiter of the choices we make as a
4 x 3.5 feet
society. With Reciprocation, the dung beetles are representative of the
Range: not established Wall mount included Detail left
cyclical nature of our ecosystem. The dung beetles bring back what we have wasted, resulting in the destruction of our constructed environment. The drawing Adaptation is about the
Kevin Chamberlain, who grew up in Moorhead,
rate of human adaptation versus the rate of change within a
Minnesota, finished his B.F.A. in ceramics in May 2009, and was
natural environment. This drawing is an ironic switching of the
accepted into the graduate program at the University of Iowa.
perception of human supremacy over the earth.
The work in the auction was completed for his baccalaureate exhibition and represents his current body of work. Kevin’s ceramics are influenced heavily from techniques and practices learned from years of metalsmith training. Deborah English, Don Miller, Wesley Smith and Donovan Widmer were early influences. Then in 2008, he took a workshop from visiting ceramic artist Lana Wilson. Subsequently, he learned to integrate
Lot #28, left
presentation with the object. Chamberlain’s teapots are the common denominator for the exploration of transformation,
mutation, and value. This ceramic vessel has been historically
Grand Forks, North Dakota
designed with function and practicality in mind, which the artist
eliminates while continuing to acknowledge the accepted
Hand drawing with Adobe Illustrator, printed
historical image and life within parts of the vessel. Breaking from
on archival Hahnemühle fine art paper
the limits of an iconic teapot allows the manipulation of form to
34.5 x 85 inches (image)
become idea. By combining the body, foot, handle, lid and
Range: $1,300 - 1,700 framed
spout, he arrives at these imagined, metamorphic creatures.
Lot # 30
Gretchen Bederman Mandan, North Dakota and Glendive, Montana Black Horse, White Horse, 2001 Oil on canvas 72 x 48 inches Range: $1,700 - 2,000
Gretchen Bederman combines memories of actual
B.F.A. from Minnesota State University Moorhead, and her
places with a mixture of reality, myth, and dream. She uses the
M.F.A. in Painting from the University of North Dakota. Currently
figure in both human and animal form to tell the story. Women
Gretchen makes art, teaches and Chairs the Art Department at
and horses. Water and bowls. Birds and fire. Trees and earth.
Dawson Community College, and lives back and fourth between
Wax and paint. Story and soul. These are all part of Gretchen
Mandan, North Dakota, and Glendive, Montana.
Bedermanâ€™s artistic life. I use women and horses to symbolize and visually animate the elements of fire, earth, air and water. The bowls are female. They contain and hold . . . like a nest . . . like a womb . . . birth place of the cosmos. Bederman grew up in Houston, Texas, and settled in North Dakota after a 1980 visit turned into a stay. She received her
Bederman was one of seventeen artists honored with a guest room filled with her art in the Donaldson Hotel, Fargoâ€”North Dakotaâ€™s only ART Hotel.
Lot # 31
Lot # 32
Lot # 33
Round dance for a tbird [T-bird]
Yellow Bird Series, 2008-09
Yellow Bird Series, 2008-09
Yellow Bird Series, 2008-09
Digital and screen printing
Digital and screen printing
Digital and screen printing
on archival paper
on archival paper
on archival paper
19 x 13 inches (image)
19 x 13 inches (image)
19 x 13 inches (image)
Range: $450 - 500 framed
Range: $450 - 500 framed
Range: $450 - 500 framed
Scott Stephens is an Anishinabe originally from Lac
The Yellow Bird works, which come from the series by the same
Suel First Nations in northern Ontario, who calls Winnipeg home
name, are a reflection of issues faced by Anishinabe in an
(for now). My work addresses a search for identity and a
urban/ultra modern context. How do we maintain traditional
continuing creation of my own personal cosmology, the impact
beliefs and cultural teachings in the face of an overwhelming
of relationships and familial/communal ties, non-conventional
mainstream culture that seems destined and designed, on the
ways of knowing (i.e. dreaming, intuition, blood memory),
surface, to inevitably submerge and ultimately erase any
cultural crisis and underlying threats and danger inherent in
personal belief systems not its own? The yellow bird (osaawaa
searching for personal truth. My work helps sort out the questions
behnesii) is the Thunderbird and my namesake and finding that
that arise in this search.
little bird had a great emotional impact on me. Exploring what that means to me resulted in this series.
Stephens graduated with honors from the University of Winnipeg in Cultural Studies and Psychology in 2002. He participated in the 2008 exhibition “Subconscious City” at the Winnipeg Art Gallery. He currently works as a photographer at Winnipeg’s Pagakskel Creative.
Madelyn Camrud has donated the proceeds from the sale of this painting to the Museum of Art
Anton Boubin 1902 - 1973 Team in Winter c. 1970-72 Oil on canvas 15.25 x 35.25 inches Range: Not established Framed
Anton Boubin, who died in Crookston, Minnesota, in
Boubin’s granddaughter, Emily Boubin, writes in her blog,
1997, was a Czech artist who refused to capitulate to
Mission Emily: Because of increased fear of the death of his
Communism. Having served two years in prison from 1948-
family, my grandfather and his family eventually fled from their
1950, he was returned for another year after only two months of
country. Grandfather and his oldest son first traveled to Vienna.
freedom. In retaliation for him stubbornly clinging to the ideal of
Then, using fake passports, my father and grandmother escaped
freedom, his lucrative dental practice in Prague, his home, artist
on the last train to leave Czechoslovakia before the Communists
studio, and all belongings were confiscated. He was forbidden to
closed the borders to travel. My dad’s last memory of his country
practice the dental profession in any manner and, although
of origin was incredible fear that they would be discovered.
allowed to paint, was forbidden the sale of paintings as a means
While on the train, a young boy spat at a Russian soldier. The
of livelihood. He became a farm laborer and woodcutter.
train was stopped and both the young boy and his father were shot and killed. Eventually, in 1969, my dad and his family were
At one time the family of four was forced to move to living
sponsored by the Sisters of St. Joseph in Crookston, Minnesota,
quarters that consisted of a six-by-eight-foot room that they
where my Grandfather Anton lived for a couple years before his
occupied for over three years. One day, desperation forced Mrs.
death in 1972. Unable to practice his dental profession, he made
Boubin to sneak a painting from the room in an attempt to obtain
a meager living providing for his family by painting beautiful
money, milk or food in exchange. A neighbor informed and this
paintings from his memories of beautiful Czechoslovakia.
time both his wife and youngest child underwent severe interrogation by the police before they were released. Beatings that followed knocked out most of his teeth. His artist hands were permanently scarred from being stomped on—one can’t practice dental work if one’s hands are broken and mangled—and yet the stubborn spirit and determination of this tiny man, who at that period of his life was sixty-three years of age, remained unbroken. —Excerpt from the Crookston Daily Times, October 28, 1970, by Cathy Wright.
Today Anton Boubin’s “old world” paintings are highly prized, especially by the Czech Republic, which is attempting to buy them back for the national collection. For years many of his paintings hung in the original Sanders 1907 in Grand Forks where his wife worked as a baker.
Marlon Davidson & Don Knudson have devoted their lives to art, first individually and ultimately as collaborators. The work in this auction results from over a dozen 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 were both born in northern Minnesota and 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 â€œlife as a work of art.â€? 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 artâ€”especially the history of art. While we use a variety of materials, our main source of inspiration is nature and historical art. Lot #36 We worked and lived for twenty years in the Twin Cities and are
Marlon Davidson & Don Knudson
aware that our work is informed by the art and artists we knew while living there.
Bemidji, Minnesota Fraternal Twins 2009 Wood and paper 50 x 27 x 2 inches Range: $700 - 900
Don Knudson Bemidji, Minnesota Boot Bench 2002 Wood 32 x 38 x 21 inches Range: $350 - 450
linda Whitney Valley City, North Dakota Da Huttis – They Came Mezzotint, 2009 25 x 18 inches (image) Range: $400 - 600 framed
Mezzotint is a method of engraving a metal plate by systematically and evenly pricking its entire surface with innumerable small holes that will hold ink and, when printed, produce large areas of tone. The pricking of the plate was originally done with a roulette (a small wheel covered with sharp points), but later an instrument called a cradle, or rocker, was used. It resembles a small spade with a toothed edge, and its cutting action throws up rough ridges of metal called burrs. The burrs are scraped away in places intended to be white in the finished print. In the 21st century, the plate is often roughened by working over it in several directions with a carborundum stone —Encyclopedia Britannica
Linda Whitney’s mezzotint is from a series of
Artist, Professor of Art, and Chair of the Art Department at Valley
conversations concerning the effect of the Europeanizing of the
City State University, Whitney is the recipient of the 2002 North
North American continent. According to the artist, Thematically I
Dakota Council on the Arts Fellowship and the 1999 North
am a narrative artist. In this case, images were appropriated from
Dakota Governor’s Award for the Arts. She is also a recipient of
the Mandan–Hidatsa people and filtered through my point of
the Art Midwest / NEA Regional Fellowship Award and the
view to tell the tale of the coming of Lewis and Clark, small pox,
Intermedia Arts Minnesota Interdisciplinary Arts Grant. Her work
and the near annihilation of the people of the Missouri River. This
has been included in numerous regional, national and
historic and grand culture was all but decimated in a few short
international exhibitions with the most recent being a traveling
years, felled by the very people the Mandan and Hidatsa greeted,
solo exhibition, plus inclusion in the North Dakota Art Gallery
fed, and protected from the harsh elements. I tell the story as an
Association’s New Bohemia traveling exhibition, Nicollet
outsider. Although, I trace Native ancestry through my Cree
National, Watermark 08, Lemon Street Gallery 7th Annual, as
great-grandfather, I never knew him nor was I able to experience
well as local exhibitions.
his culture. I live the Native experience, then, vicariously through the stories and traditions of others.
further westward (Treaty 4), 2008
Ribbons (Treaty 3), 2005
Encaustic on canvas
Encaustic on canvas
8 x 10 inches
8 x 10 inches
Range: $400 - 500
Range: $400 - 500
Tim Schouten’s lyrical landscapes in the Treaty Series
signed between the Canadian government and the Ojibwa and
are visually gorgeous, luminous and shimmering, and all the
Salteaux people of the Rainy River regions.
while underpinned by troubling questions of land ownership in North America. The artist researches each treaty site, photographing the landscape, digging through historical files in search of the records of treaty enactment, intent upon understanding the layers of conflict and beauty associated with each specific place. For Schouten, landscape is visual place. Landscape is also the dumping ground of human grief. As the critic Marianne Mays eloquently summarizes, “political questions of property and Aboriginal disenfranchisement beat at the heart of these paintings.”
The painting further westward marks a shift in my work to a greater use of text in my paintings. It is an important transitional work. The words are actually a misquote from the text of the Order in Council Setting Up Commission For Treaty No. 4, P. C. No. 94, which was signed in 1874 between the Government of Canada and thirteen separate Cree and Salteaux Nations at Fort Qu’Appelle, Saskatchewan. The Order recommended the establishment of a commission, ‘for the purpose of making Treaties during the current year with such of the Indian Bands as they may find it expedient to deal with’ in a portion of the
The painting Ribbons (Treaty 3) is from the series The Treaty 3
territories west of the western boundary of Treaty No. 2. Reasons
Suite (Outside Promises). It was painted from a photograph of a
cited in the text as to the need for treaty, include, ‘the operations
cut in the bush at the side of the road marked by ribbons to
of the Boundary Commission which are continually moving
indicate that this was a logging road. This particular cut marks a
westward into the Indian Country, and also the steps which are
section of the old Dawson Trail in Manitoba which, after its role
being taken in connection with the proposed Telegraph Line from
as a major settler route ended in the late 1800s with the advent
Fort Garry westward, all of which proceedings are calculated to
of the Trans Canada Railroad, became a logging road for hauling
further unsettle the Indian mind, already in a disturbed
timber out of the bush. This particular twenty-mile section winds
through the bush from Highway 308 in Manitoba near the U.S. border, down to the mouth of Harrison Creek at the North West Angle Inlet on The Lake of the Woods where Treaty No. 3 was
Schouten is a leading Canadian painter who was born in Winnipeg, left for forty years, and returned to make his home near Lake Winnipeg.
Ingrid Restemayer Minneapolis, Minnesota Eight Fish, 2007 Mixed media print with fiber 30 x 22 inches (image) Range: $700 - 900 framed
Ingrid Restemayer is a printmaker and fiber artist
developing her unique combination of printmaking and fiberart
originally from North Dakota but now living and working in
techniques. She studied overseas in Auckland, New Zealand. In
northeast Minneapolis. Influenced by generations of fine crafters,
1996, she earned her B.F.A. in printmaking, fiberarts, and mixed
Restemayerâ€™s work reflects traditional embroidery techniques
media visual arts from the University of North Dakota.
while incorporating other process-intensive mediums through
Restemayer is heavily involved in the Minneapolis arts
collage. Her latest body of work features recognizable imagery in
community. She is an active member of the Northeast
the form of intricate etchings on handmade papers, successively
Minneapolis Arts Association, and has served as an officer on its
collaged with fine printmaking papers and punctuated by mock-
board of directors. She has also spent time on the boards of
paragraph forms made from hand-stitched threads. Restemayerâ€™s
prominent Minneapolis galleries, the Northeast Minneapolis
work has for years had a hint of storytelling or narration with the
Chamber of Commerce, and as a lead committee member for the
use of her intaglio images as pseudo-illustrations for a kind of
development of the Northeast Minneapolis Arts District.
story when paired with code-like paragraph shapes formed from
Restemayer is now dedicated full time to producing and
exhibiting her art nationally and internationally.
Restemayer has spent nearly two decades growing and
Nuclear ambitions: Only 30 years ago, nuclear energy was an exotic, futuristic technology. Today, nuclear energy is America’s
second largest source of electric power after coal. More than 110
nuclear energy plants supply more electricity than oil, natural gas
Nuclear ambitions, satellite collision, changing weather
or hydropower. But is nuclear better?
patterns and intellectual discussion about dollar in China...
Satellite collision: Recently, a Russian satellite and an American
Copperplate over digital print on archival paper, 2009
communications satellite collided—the first time in history.
30 x 5 inches (image)
Orbiting wreckage from the crash could damage or destroy five
Range: $1,200 - 1,500 framed
satellites which monitor Earth’s climate. Today thousands of small pieces of both satellites orbit the Earth, which astronomers
Ewa Tarsia is a Polish-born Canadian artist. Whereas she
cannot track and program spacecraft to avoid—our legacy for
works in diverse media including painting, sculpture, tapestry,
landscape design, and drawing, she is known internationally as
Changing weather patterns brought about by warming.
Intellectual discussion about dollar in China: I listen to Charlie
After her exhibition in the North Dakota Museum in 2008
Rose as I work. Recently, a convincing China expert addressed
(shown below), Tarsia made a major change. She returned to
the negative impact of Chinese goods upon the U.S. dollar.
figurative imagery. She says, because we live in such
Giant Panda image: There are only some 1,600 pandas believed
interesting, phenomenal times, I gave myself permission to be
to be in the wild—last counted in 2004. Of these, 180 were
free again, reinvented myself and decided that I want to tell my
raised in captivity. Giant panda is facing the possibility of
stories. Aesthetics are still extremely important but not only
extinction within the next two to three generations as its life
aesthetics. I have always dedicated my ideas to social issues but
collides with rapid economic development—including the
I personally think that I also must explain my concept, or the
destruction of bamboo forests upon which the panda feeds.
thoughts behind my work rather than leaving them as a secret
While environmental issues play a huge role, the panda is famous
known only to myself.
for its low sex-drive. The greatest threat, however, to panda’s
My work functions as a collective expression of the human tragedy caused by wars and the obsession with beauty as a commodity. I’m building again a new visual vocabulary. My use
territory is shrinkage and fragmention with the expansion of human activities such as logging, movement of farming into forest areas, mining, and road building.
of the dot continues as a means of visually recording information
Before the revision of the Criminal Law of China in 1997, a
that also brings beauty into my work—and I care about beauty a
person convicted of killing a giant panda could receive the death
lot, but not as commodity.
penalty, and some panda poachers were in fact executed. According to the revised law, the most severe penalty for panda poaching today is over ten years in prison. How does bamboo, which flowers every 30 to 120 years affect the giant panda? All the plants of a species in one area will flower at the same time, then die. Ten years later bamboo can support a panda population again. Typically at least two species of bamboo are found in a panda habitat area. When one species is in short supply, pandas normally switch to the other, or expand their home range to areas where bamboo has not flowered—no longer an option.
Jack Dale, born in St. Paul, Minnesota, has been painting for over thirty-five years. Dale is an abstract expressionist painter
who works in oil. He considers himself a mark maker constantly
Cannon Falls, Minnesota
digging for an image that will define his work. Although
composition, line, and texture are all important elements in
Oil on canvas
Daleâ€™s painting, it is his masterful use of color that is most
48 x 59 inches
fascinating. His goal is to produce art that the viewer remembers
Range: $1,700 - 2,225
for the feelings that it evoked long after viewing it. He has had many solo and two-person exhibitions in the Twin
Among his awards are: Bloomington Art Center, 2008
Cities area including the Normandale Community College,
(Honorable Mention); 2008 Minnesota State Fair Art Exhibition
Edina; Black Dog Cafe, St. Paul; Hopkins Center for the Arts,
(Honorable Mention); 2007 Figure Show, Lake Elmo Regional Art
Hopkins; Details, St. Paul; Little Nikita Cafe, St. Paul; Lakewood
Center, Minnesota (Cash Award); 2002 Winston-Salem National
Community College (Century), White Bear Lake; Hamline
Juried Show, North Carolina (Purchase Award); 1984 Lakewood
University; Childrenâ€™s Hospital, St. Paul; Bethesda Lutheran
Community College (Best of Show); 1982 Minnesota State Fair,
Medical Center, St. Paul; and Phipps Center for the Arts in
St. Paul, (Award of Merit and Purchase); 1981 Lakewood
Community College, WBL, Minnesota (Purchase Award).
Lot # 43
Lena McGrath Welker Portland, Oregon [chart] folio, 2007 White gampi (paper) folio Folio 6 x 11 inches Case 11 x 19 inches and 6 inches deep Range: $800 - 1,000 Left: work mounted in Plexiglas stand
Lena McGrath Welker for the past twelve years has been working on The Navigation Cycle. Having completed eight parts, she will exhibit parts nine through twelve in her fall 2010 show at the North Dakota Museum of Art. In 2004 she showed four earlier parts of the series, gifting a major installation [text] to the Museum. The Navigation Cycle addresses cultural responses to death, grief, and uncertainty in a very liminal, ethereal, intangible way. The work questions the effect of shifting memory on both the intake of new ideas and the transformation of lived experience into story. Because I am using mostly translucent materials, she says, people will be able to experience the work privately, while being aware of the community of others. With these goals in mind, the fundamental purpose of this greater body of work is to provide a place of wonder, repose, and contemplation, with work that can be felt, but also filled with dense ideological references so as to provide intellectual stimulation. I want to
ongoing Navigation Cycle: [flight], [stillness], [sea change], and [chart]. All four works in this project involve the accumulation and transmission of knowledge and wisdom. The work in the auction, [chart] folio, is a study for the larger installation that is planned for my 2010 exhibition in the Museum. [chart] references both the intellectual and the intuitive, in the form of arcane maps and pierced drawings of the night skies. The installation will occupy the small, intimate space at the top of the Museum stairs leading into the mezzanine gallery. The only light in this space will come from the lighted vitrines holding 130 â€œmap-likeâ€? white and indigo-dyed gampi folios. There will be large drawings on the walls, and incised glass tablets on the tops of the vitrines, all of which have drawn and incised marks that refer to map-making, and also to the tradition of searching the heavens for guidance, both in terms of practical navigation over sea and land, and for spiritual answers.
create a space that allows viewers to collectively and individually explore both physical and metaphysical aspects of
The Jackson Pollack Foundation granted Welker $20,000 for the
absorbing and communicating ideas and feelings. I will fill the
North Dakota exhibition, which she has been working on for
entire North Dakota Museum of Art with the next four parts of the
over three years.
Lot # 44
Vivienne Morgan Vivienne Morgan: I try to connect to my past, and I
look for ways to do that by seeing it through my local landscape. I take some photographs because I am compelled to. Perhaps it’s a composition that becomes apparent, or the light, something that is familiar, some distant memory. It takes a while for me to realize what drove me to even look and then take the photo, but eventually it makes sense.
Sponsored by Office of Academic Affairs, UND
After Sanford Gifford, 2009 Pigmented inkjet print 32 x 40 inches Range: $700 - 900 framed
Nearly thirty years ago back in England, I would sit in the dark
Vivienne Morgan’s solo exhibition opened at the North Dakota
art history classroom and draw the composition of each painting
Museum of Art in November 2008. About that body of work she
as the slides passed by. Rena Neuman Coen was the professor.
said, “My sense of identity is tied to the landscape: to me that has
She had a love of the American Hudson River School painters,
meant finding a way of looking at my local forested landscape
and a sweet spot for the painter Sanford Robinson Gifford. Her
and seeing some trace of England or Europe in order to feel
lectures on the subject were hypnotic; the compositions are
home. I often shoot in the gloaming, letting the low sun soften
etched into my memory.
the landscape and transform the sense of space. Like the 19th century Barbizon painters, I want to make the wild, wooded
I had to take this photograph, After Sanford, one morning on my
landscape a tranquil, pastoral, and orderly place, even if there
own land: a circular window in the composition, a distant lake,
really are wolves in the shadows.”
the trees under-lit, a sense of yearning about it. A painter’s photograph. Now, when I look at this photograph I see Gifford’s
The artist was born in England in 1958. In 1979 she moved to the
Hook Mountain on the Hudson and I hear Rena say, ‘Sanford
United States and earned her M.F.A. from Bowling Green State
Gifford’s circular compositions were like an eye, a window to
University in Ohio. She now lives in the countryside near
Bemidji, Minnesota, and teaches at Bemidji State University.
Lot #45 above. Lot #46 right, Lot #47 lower right.
Suzie Smith Winnipeg, Manitoba Forest, 2009 Screenprint Each 18 x 14 inches (image) Range: each $450 - 500 framed
Suzie Smith, born in Winnipeg, uses a variety of different media, including silkscreen, textiles, drawing, and collage to explore oppositional ideas such as fine art versus craft, public versus personal, and the fascination versus the critique of popular culture. Her work has been featured in various alternative gallery spaces and magazines such as Nylon (USA) and Biba (France). In September 2008 she had her first solo exhibition at Open Studio in Toronto. She holds a B.F.A. from Concordia University (Montreal) and is now pursing graduate studies in Glasgow, Scotland. According to the artist, Forest is a series of screen-printed pieces where no two prints are the same. Each print is composed of a variety of hand-drawn trees printed in different places and in different tones on the work. Forest can be viewed as individual prints or in a series of multiple works in a larger installation. Forest is about individuality both in the work and in the process.
It’s always just beginning. Everything is always just beginning. —Jakusho Kwang
PunchGut Fargo, North Dakota Rox Out, 2009 Mixed media on wood 16 x 9 inches Range: $275 - 325
PunchGut: Given the wide array of images that greet any
Some New Town gives a glimpse of the view from a midnight
visitor to the Punchgut Studio’s website, it’s not hard to believe
riverbank fishing trip; and Buckets of Rain shares with
Punchgut when he comments that his favorite piece of his own
non-midwesterners the look of a sheet of rain advancing
art is always the one he’s currently working on, looking at, or
across a field.
fomenting ideas for while in the midst of a late night catfishing expedition. Drawing his inspirations from stimuli as varied as illicit firecracker packages, 1980s video games, distorted photocopies, wood carvings and outsider art, sailor tattoos, and cartoons of every kind, North Dakotan Punchgut (Punchy to his art-nerd friends) jots down sketches as soon as they flit through his brain; any delay, and they’d be lost, scattered to the winds. This way, though, they’re waiting patiently when the time comes for Punchy to rifle through the stack and embark on his next artistic endeavor. From the time he was a scribble-minded kid, Punchgut has created memorable images, and while his grade-school recipecard rainbows never seemed to catch on, nowadays he takes his fledgling artwork from sketch to screen with just the right amount of ambient creepiness to keep each piece sharp. Some of Punchy’s most sought-after creations are his stunningly evocative art prints, illustrating the small joys of prairie life: Squish the Moon shows the silhouette of a small child with the glowing moon held between his thumb and forefinger;
Beyond these, his work can be found on everything from a slew of beautiful but disparate screenprinted and limited edition posters for Americana bad asses, the Drive-By Truckers, to his Jim Flora-esque Three Blind Mice illustration for Microsoft’s Partner Channel, to the so-cute-it’s-threatening Panda Pirate from I Want Your Skull zine, fanzine, magazine. Look for Punchy’s prolific images on bookstore shelves in The Art of Modern Rock, The Art of Electric Frankenstein, and Rockin’ Down the Highway, and stapled to light posts and record-store bulletin boards near you.
Royal Art Lodge Winnipeg, Manitoba The Books I’ve Read, 2008 Screenprint with handwork 11 x 70 inches (image) Range: $1,000 - 1,100 framed Right: detail
The Royal Art Lodge was an art collective that formed in 1996 by undergraduate art students at the University of Manitoba. Believing in collaboration, they shared a large studio clubhouse in Winnipeg’s Exchange district and promptly stuffed it full of their favorite artwork and musical instruments. Founding members were Michael Dumontier, Marcel Dzama, Neil Farber, Drue Langlois, Jonathan Pylypchuk, and Adrian Williams. Hollie
disbanded in September 2008. The collaborating artists on this
Dzama and Myles Langlois have also been members. The name
piece are Marcel Dzama, Michael Dumontier and Neil Farber.
is a tongue-in-cheek reference to the hunting lodges and field-
The image in The Books I’ve Read was a vehicle to make up
and-stream clubs that pervade the Canadian landscape.
absurd book titles—a potentially
The majority of the works produced by The Royal Art Lodge are small-scale drawings and paintings which often incorporate text—but they also made videos, musical works, stuffed dolls,
infinite exercise (which
Michael Dumontier and Neil Farber have expanded on in their more recent collaborations). Royal Art Lodge assumes some of these titles probably exist.
costumes, props, and performances. The group met for several
Some book covers were left blank so that the collaborating artists
years once a week to do many drawings each evening. Generally,
could add more titles, unique to each print.*
at least three of the members contribute to each piece of work in a spontaneous response to the previous artist's work on the page before stamp-dating the work. After a piece is deemed complete, the group then sorts it, along with other work made at the drawing session, into “good,” “OK,” and “bad” piles. The date stamp functions both as a practical means of identifying when the art was made, but also as a unifying feature of the work that indicates the regular meeting process. The method of working relatively quickly on multiple pieces each night means that many of the works retain a simple or naive quality to them that emphasizes the immediacy of the drawing and painting.
Together, the members of RAL have paired their friendship with group and individual art projects and have met with a great deal of success. The Royal Art Lodge’s solo show “Ask the Dust”, curated by Wayne Baerwaldt and Joseph Wolin, toured in 2003 to The Drawing Center, New York; The Power Plant, Toronto; De Vleeshal, Middelburg, The Netherlands; Seoul Museum of Art, South Korea; Elaine L. Jacob Gallery, Detroit; The Museum of Contemporary Art, Los Angeles; and the North Dakota Museum of Art. In January 2006, they exhibited their new paintings at the Yerba Buena Center For The Arts in San Francisco.
The Books I’ve Read in this auction was the last edition, and one of the last projects, completed at The Royal Art Lodge, which
*Taken in part from Caleb Neelon’s review, “The Royal Art Lodge,” Swindle magazine, Issue 3.
Lot #51, right
Aganetha Dyck Winnipeg, Manitoba Baby Shoes, 2006 Shoes and beeswax Each 2.25 x 3 x 5.25 inches Range: $400 - 600
Walter Piehl Minot, North Dakota Raging Bull: Sweetheart of the Rodeo Acrylic on canvas 48 x 36 inches, 2009 Range: $3,500 – 4,500 framed
Walter Piehl is a painter who draws, as well as
horses, year after year, never wearying of his subject, never
incorporates drawing into his acrylic paintings. He does not use
despairing in his quest to create contemporary Western art. This
drawing to make studies for paintings but as a primary medium,
master painter, while continuing to live the cowboy life, has
either embedded into paintings or as separate works of art. But
found the means to visually enter the sport. In the process he has
ultimately Piehl is most widely known as a painter. His goal is to
led droves of artists into a new arena called Contemporary
make his surfaces dance with subtle variations. Drips, feathered
Western Art—but most don’t know that this artist from North
edges, scumbled paint, and the judicious use of glazes all
Dakota charted their course.
contribute to his rich surfaces. His fractured spaces, transparency, multiple images and their afterimages cause his images to sing with movement.
In 2008, Walter Piehl won the Bush Foundation’s first Enduring Vision Prize worth $100,000. He earlier received the North Dakota Governor’s Award for the Arts (2005). The artist has twice
Unlike most artists, he was quite young when he decided to make
served on the North Dakota Arts Council, once on the Board of
art from his own life. Born into a family that raised rodeo stock,
Trustees of the North Dakota Museum of Art, and is on the
Walter rode as a matter of course. Likewise, he drew constantly
founding governing board of the North Dakota Cowboy Hall of
in a household without television. He went on to paint and draw
Fame in Medora.
Aganetha Dyck is among Canada’s most recognized and celebrated artists who has maintained strong ties with the North Dakota Museum of Art. Most recently, the Museum added Bee House to its permanent collection, a three-year collaboration between the artist, the bees, and the Museum. The work began as a plastic rendition of a tumbling down house south of Grand Forks. After spending three summers in various bee hives, the house emerged transformed. These similarily created baby shoes are a gift to the Museum and to the participants in this auction. Attesting to the quality of her work are recent awards that include Best in Canada 2008, Organic Art, Reader’s Digest, “Bee Intrigued”, p. 51, June 2008. Chris Awards, The Bronze Plaque for CBC Artspots Aganetha Dyck & Bees (Rhonda Bruchanski, Producer), 2007. The Governor General’s Award in Visual and
Aganetha Dyck has donated all proceeds from the sale of these objects to the North Dakota Museum of Art
Media Arts, 2007. The Manitoba Arts Council Award of Distinction, 2006. In 2009 alone, Aganetha Dyck had three significant solo exhibitions at the Michael Gibson Gallery, London, Ontario; the Canadian Clay and Glass Museum, Kitchener, Ontario; and the Burnaby Art Gallery, Burnaby, British Columbia.
Brent Braniff: The arts have always played a big part in my life and I’ve never been able to narrow things down to one discipline and stay with it. This leaves a lot of possibilities open either to mix together or fall back on. If my drawing and painting are at a low point, the music takes over. Sometimes both are at a high point, consuming all my time. I was born in North Dakota. I attended Minot State University in Minot, North Dakota, where I studied with Walter Piehl and still live. In my years in college I was part of Art Club and also worked at Studio 311, an on campus recording studio where I began my exploration of music and sound design. While there, I was involved with projects that incorporated visual and audio elements. Currently, I work as a graphic designer, editor and director at a local television station. Besides that and the artwork I continue to do, I still record my music at my home studio and other studios around the area. My music is basically rock/pop, but I also work in electronic/experimental music of which I intend to make a part of my future exhibitions. I have continued to use photos from my past as a part of my art in order to make a more personal connection with the subject matter. In many cases I have drawn or painted over the top of the photos to keep them in the background. I like the statement that makes. It’s a powerful notion to know that your past always guides your decisions today.
Brent Braniff Minot, North Dakota Cry, 2008 Mixed media on board 24 x 24 inches Range: $275 - 325
Lot #54 Charles Beck Fergus Falls, Minnesota Moon Shadows, 2009 21 x 30.5 inches Woodcut Range: $800 - $1,00 framed
Charles Beck is a master woodcut artist who for decades
Beck enrolled at Concordia College, Moorhead, Minnesota, in
has responded to the landscape around Fergus Falls, Minnesota.
1941. His professor, Cy Running, influenced him in those early
Beck says, You have to make art from what you’re interested in.
years when he was making watercolors, but ultimately, Beck let
I’d rather make a woodcut of a plowed field with some conviction
go of influence and developed a style, undeniably his own,
than a crucifixion with none. Color and textures are what he takes
which has served him well for a half-century. In 1950, Beck
from the landscape, but the horizon is his biggest influence. He
returned to Fergus Falls with his wife Joyce, having completed
continues, The separation between the sky and what I call vertical
military service and graduate school at the University of Iowa.
space and horizontal space . . . seems to be a part of every
Beck’s art is represented by the Rourke Art Museum, Moorhead,
landscape. I seem to feel the need to show the sky in the
Minnesota, and his work is also in that permanent collection as
background. He believes landscapes are extremely exciting
well as the North Dakota Museum of Art permanent collection.
because they constantly change, hourly, daily, weekly.
Linda Everson: Arborglyphs is the name for the graffiti carved by shepherds into aspen trees in the mountains of southwestern Colorado. Arbor pertains to trees and glyph is “a symbol used for non-verbal communication.” My Arborglyphs prints are sometimes derived from tree graffiti made by man, but usually they are created from the natural scarring and peeling of aspen tree bark. I take close-up photographs of tree bark fissures that resemble symbols. The
Lot #53 Linda Everson
images I choose are reminiscent of calligraphy, pictograms, petroglyphs, hieroglyphics, and other symbolic forms that contain mark making.
Arborglyphs: (one symbol #5) ochre, (one
I manipulate and magnify the bark images in the darkroom or on
symbol #7) on bluegreen bark, 2007
the computer using Photoshop. Transparencies of the images are
10.5 x 16 inches, framed 19 x 24 inches
exposed with ultraviolet lights onto solarplates (photosensitive
Monoprint on paper
printmaking plates). The plates are etched in water, and then cut
Range: $350 - 450 framed
into organic shapes. Later the etched plates are inked, and
Gretchen Kottke has donated all proceeds of the sale of this painting to the North Dakota Museum of Art
Gretchen Kottke Cooperstown, North Dakota Untitled, 2009 Oil on canvas 35 x 36 inches inches Range: $800 - 1,000
Gretchen Kottke created this painting while thinking about silence. She says, with so much going on in our planet, it seems that sometimes we must go inside ourselves and remain quiet. The downside of silence comes when people choose to remain silent when they should speak up. Everson cont.
Kottke studied French and art at Jamestown College and the
printed onto paper via an etching press. The textures you see in
University of North Dakota. After college, she left North Dakota
the prints are from the solarplates, while the background colors
and worked in the medical field both as a health care worker
are created from acetate plates that are relief rolled and printed
and as an administrator. Thirty years later, she returned to
prior to the solarplate printing.
Cooperstown, North Dakota, and opened the GK Art Gallery. It
All my solarplate prints are one of a kind. I reprint the plates in different color schemes, or in combination with other plates and printmaking techniques in large formats to create monoprints.
proved to be one of the most rewarding challenges in her life, a gift to the people of North Dakota, and a major support system for artists from the three-state region. According to Museum Director, Laurel Reuter, Gretchenâ€™s work in Cooperstown is a
Everson was raised in North Dakota in a woodworking family,
stellar example of the difference that one person can make in
where she began making art as a young child. She took her first
creating a lively cultural life in a rural place. Kottke closed the
art classes at the University of North Dakota, subsequently
gallery in June 2003 in order to devote her time to painting.
graduating with a B.A. in Art. Everson became a graphic designer in the fashion industry in New York. Here she gained additional exposure to the fine arts by exploring the contemporary art scene in Soho and the uptown museums. She completed post-graduate studies
A Master Gardener, Kottke continues to pursue that interest while working at Renaissance Engineering, a Cooperstown company of which she is a part owner.
Kottke has exhibited in group exhibitions in Los Angeles, Denver,
photographic components, remains her primary medium. The
the Puget Sound area, and North Dakota. Her first solo
artist also makes shaped paintings, mixed media work, books,
exhibition was in Tumwater, Washington, and her most recent at
and paper-based art.
the Third Street Gallery in Grand Forks.
Lot #57, above, both images
Lot #56, lower left
Zoran Mojsilov Minneapolis, Minnesota Pouch, 1998 Granite, fieldstone and steel
Zoran Mojsilov Minneapolis, Minnesota Chair, 2008-09 Granite with rose quartz vein 42 x 40 x 36 inches Range: $4,500 - 5,500
39 x 28 x 20 inches Range: $4,500 - 5,500
Zoran Mojsilov: Summer 2009, the North Dakota Museum of Art mounted Zoran Mojsilovâ€™s mid-career survey and published his first monograph written and edited by Museum Director Laurel Reuter (hard cover, 96 pages full color, available through the Museum). The work in the auction, Pouch, was featured in the book. It is a maquette for an unbuilt sculpture. The artist was born in Belgrade, Yugoslavia, in 1955. Throughout his childhood, he spent his summers with his grandma in Vlasi, a small Serbian village in former Yugoslavia. Come winter, he would return to the capitol city where he attended school cumulating in the University of Belgrade from 1975 to 1979. He graduated with an Art Teaching Certificate. During the early 1980s, Zoran was an artist-in-residence in Paris where he met painter Ilene Krug. They married and Mojsilov emigrated to the United States to live and work in Ileneâ€™s family home, the Twin Cities of Minneapolis and St. Paul, Minnesota. Since the late 1980s, Mojsilov has shown regularly at galleries,
James CUlleton Blind Contour Guitar, 2009 steel 40 x 22.5 inches Range: $800 - 900
James CUlleton aka Knick Knackerson: The work in the auction is an example of some of Culleton’s newest works for which he uses CNC technology (computer numerical control) and high pressured water to create steel cut-outs of his blind contour drawings. Born in St. Boniface, Manitoba, in 1974, this multi-faceted artist studied painting and drawing at the University of Manitoba where he earned his B.F.A. with honors in 1997. In 2006, he received a grant from the Conseil des arts et lettres du Quebec to rediscover his French roots using blind contour drawing and a Global Positioning System. This resulted in the publication of his 2009 book Contouring Quebec. His art and designs have been shown in New Zealand, Germany, and throughout the United States. He has exhibited throughout the Winnipeg area at The Mojsilov cont.
Pavilion Gallery Museum, St. Boniface College, the University of
museums, and sculpture parks in the United States and France,
Manitoba, Ace Art, The West End Cultural Centre, and the
including such noted art institutions as the DeCordova Museum
Winnipeg Art Gallery.
and Sculpture Park in Massachusetts, Chicago’s Navy Pier Sculpture Walk, and Socrates Sculpture Park on Long Island, New York City. The North Dakota Museum of Art organized his first museum exhibition in 1990, “Nature’s Materials.” Mojsilov has received numerous awards, including grants and
In Grand Forks he is unknown as a visual artist but wins raves for the appearance of his “music outfit” Knick Knackerson & the Minglers at the Museum’s Summer Concerts in the Garden. The son of an Anglophone father and a Francophone mother, Knackerson writes music in both French and English. After a long
residencies from the Athena Foundation, New York (2001); Lacoste
exposure to country music, Knackerson picked up the guitar at
School of Arts, Lacoste, France (1996); South Bend Art Center,
eighteen. A self-taught musician, he has been playing and writing
South Bend, Indiana (1990); and the Pollack-Krasner Foundation,
music with a guitar for the past fifteen years. Recently he has
New York (1990). Minnesota-based awards include the Jerome
added the muck bucket bass (a two-string homemade bass), the
Foundation (1993, 2001), Bush Foundation (1996); Minnesota
kazoo, and the cigar-box guitar. Knackerson has also been a
State Arts Board (1994), and the McKnight Foundation (1987). In
member of Winnipeg bands the Godkings, Mogus, and The New
1985 Mojsilov received the Gold Medal Award for sculpture from
Eastman Stringbusters. Bands from Montreal include The Archaic
the Paris Gallery Central. He was also Artist-in-Residence through
Music Experience, The Delroys, and The Royal Mountain
the La Vie des Formes and Athena Foundation, Chalon-sur-Saône,
Ramblers. As their name suggests, the Minglers have had many
France (1990, 2006).
line-ups since their formation in the late nineties.
Butch Holden Butch holden: When I garden, I am manipulating all
sorts of variables—location, soil, water—all in hopes of a
achieving a thriving plant. I monitor the plants, tweaking
elements each year. Gardening is an incredibly optimistic activity
Each 14 inches diameter, 3 inches high
and for me, pottery is the same. I work the clay with optimism,
Range: $425 - 475 for group
in hopes that the outcome will be what I had planned. Many variables must be successful prior to placing my pieces in the kiln. As with seedlings coming from the soil in his garden, when
ceramics from Indiana University, Bloomington. Today he serves
Butch’s pottery finally emerges from the kiln, the clay has
as department chair for the visual arts department at Bemidji
State University where he teaches various levels of ceramic classes and drawing.
In the work in this auction, Holden has combined the circular with straight geometric lines. When hanging on the wall and seen from a distance, these three shallow bowls appear to be convex boxes rather than the concave shapes they are in reality.
Quoted in part from Katie Carter, “The Garden of Holden,” Lake Country Journal, November/December 2008, pp. 34 - 37.
Holden received his B.A. in two-dimensional art from the
When I’m able to combine a variety of design elements so that each is evident, yet fluid with the others, I’ve created an aesthetic tickle which I find incredibly satisfying.
University of Minnesota in Minneapolis, and his M.F.A. in
The artist recently named a solo exhibition “Around the Block,” taking his reference from childhood: As a kid, whether we rode, walked, or pushed, we always did so around the block. I have always thought it interesting.
North Dakota Museum of Art Board of Trustees
North Dakota Museum of Art Foundation Board of Directors
W. Jeremy Davis
Victoria Beard, Vice Chair
W. Jeremy Davis
Bruce Gjovig David Hasbargen, Chair
North Dakota Museum of Art Staff
Kim Holmes Rick Mercil
Alex Reichert, Treasurer
Wayne Zimmerman, Secretary Corinne Alphson, Emerita Barb Lander, Emerita Darrell Larson, Emeritus Robert Lewis, Emeritus Ellen McKinnon, Emerita Douglas McPhail, Emeritus Sanny Ryan, Emerita Gerald Skogley, Emeritus Anthony Thein, Emeritus
Suzanne Fink Guillermo Guardia Carol Irey Kathy Kendle Brian Lofthus Laurel Reuter Vembu Teske Gregory Vettel Matthew Wallace Katie Welsh Student Employees Jacob Bell Stephanie Clark Steven Davitt Adam Fincke Ioannis Korosides Max Maltese Andrew Yost and over fifty volunteers