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A u t um n


A rt


A u c t io n




This Autumn Art Auction and its catalog is dedicated to

Sanny Ryan whose on-going financial gift of $60,000 annually supports museum staff salaries.

The North Dakota Museum of Art is grateful to our sponsors who have given generously to guarantee that the arts flourish.

The 2008 Autumn Art Auction is underwritten by

Karen Stoker Burgum who developed North Dakota’s first art hotel in Fargo:

Hotel Donaldson

Cover: Brian Paulsen, Fox Fields, 2008, watercolor, 13 x 9 inches.

North Dakota Museum of Art




S at u r d a y, O c t o b e r 2 5 , 2 0 0 8 Wine and hors d’oeuvres 6:30 pm Auction begins at 8 pm

Auction Preview October 14 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 Clear Channel Radio East Grand Floral

Supporters Altru Health System, Truyu Ameriprise Financial Services, Inc.

Grand Forks Herald


High Plains Reader

Blue Moose Bar & Grill

Holiday Inn Hotel Donaldson

Bronze Boot Chester Fritz Auditorium


Choice Financial


Community Bank of the Red River Valley

Leighton Broadcasting Minnesota Public Radio

Red River Plastic Surgery, Dr. Judson Crow Curtis Tanabe DDS

Merrill Lynch

Farmer's Insurance Group, George Wogaman

Prairie Public

Greater Grand Forks Community Theater

Office of Academic Affairs, UND

Gustafson Gluek, PLLC HB Sound & Light

Sponsors Bremer Bank WDAZ TV

Ellen McKinnon Museum Café North Dakota Eye Clinic North Dakota Quarterly Auction Supporters continued next page

Buy local. Read the sponsor pages to learn about those who invest in the Museum. Please return their investment.

Supporters Rhombus Guys Sanders 1907

—John Foster, Retiring Chairman

Mary Ann and Don Sens

Museum Board of Trustees

Special Olympics Suite 49 Summit Brewing Company Third Street Gallery UND Alumni Foundation Valley Bone and Joint Waterfront Gallery, Northern Plumbing Supply Whitey’s

Advertisers Brady Martz and Associates

Contributors Acme Electric Tool Crib of the North Axis Clinic Camrud, Maddock, Olson & Larson, Ltd. Capital Resource Management Columbia Liquor Greater Grand Forks Symphony Orchestra Gregory J. Norman Funeral Chapel Letnes, Swanson, Marshall, & Warcup Ltd. James S. McDonald, DDS Praxis Strategy Group Rite Spot Liquor River City Jewelers Salon Seva UND Writers Conference Wells Fargo Xcel Energy Zimney Foster P.C.

Browning Arts Burger King Chad Caya Painting David C. Thompson, P.C. Drees, Riskey, Vallager, Ltd. Edward Jones, Mark A. Larsen Fine Print Forks Chem-Dry Gate City Bank Hovet Roofing, Inc. Meland Architecture Monarch Travel & Tours Earl Pomeroy Reichert Armstrong Law Office Robert Vogel Law Office, P.C. Valley Car Wash Vilandre

Burton Onofrio, Auctioneer

Becky Sefcovic Uglem and Amy Lyste, Chairs

Burton Onofrio recently retired as Attending Neurosurgeon at the

Becky Sefcovic Uglem and Amy Lyste, Chairs, are

Mayo Clinic, Rochester, Minnesota, where he also served as

Directors of the Third Street Gallery on Kittson Avenue in

Professor of Neurosurgery in the Mayo Medical School. His first

downtown Grand Forks. The two women became friends while

job after retirement was as Senior Consultant for Pain Disorders,

attending the University of North Dakota where they graduated

Neurosurgical Service, Massachusetts General Hospital in

with B.F.A. degrees. Uglem went on to complete an M.F.A. from

Boston. His training includes an M.D. degree from the Medical

UND, while Lyste worked in the field of graphic design.

College of Cornell University (1957); a surgical residency at the New York Hospital Medical Center (1958); and a fellowship at the Mayo Clinic in neurosurgery (1964), all of which resulted in a life-time career at the Mayo Clinic. As busy as his professional career has been, he has also lived a wonderful life within the arts. It began when he married Judy, a self-taught potter who has emerged as a sculptor of national stature. Judy was deeply involved in the Rochester Art Center, and Burton soon joined the Board of Directors. Most recently— another retirement job—he co-chaired the Capital Campaign

In March of 2006, they opened the non-profit Third Street Gallery, which exhibits the work of local and regional artists. To provide more exhibition space for artists, they moved to a larger space on Kittson Avenue. Uglem lives in downtown Grand Forks with her husband Shannon P. Uglem, an attorney who practices in Northwood, and their daughter, Lola. Lyste also lives in Grand Forks with her husband, Dr. Derek Lyste, and their daughter, Emma. Dr. Lyste is a second year resident in Family Practice at Altru in Grand Forks.

Building Committee of the Rochester Art Center. The new

The staff of the Museum and the Third Street Gallery consistently

building opened in the spring of 2004 with the central gallery

support each other’s work. The Museum sent the Third Street

named in honor of Judy and Burton Onofrio—gifted by a former

Gallery’s opening announcement to its entire mailing list. Matt


Wallace, the Museum’s Director of the Rural Arts Initiative,

In another corner of his life, Onofrio runs art auctions. For twenty-six years he was the auctioneer of the Rochester Art Center annual auction, most often organizing it as well. Both the Northern Clay Center in Minneapolis and the University of Minnesota Art Department have called upon him to serve as auctioneer. For twelve years he has been the announcer of the Rochester Art Center Art Festival. Onofrio’s days, however, are spent in Judyland, the garden he created with his wife. And finally, this is a man who loves animals, in particular his menagerie of cats who have full run of the garden.

serves on the Board of the Third Street Gallery. And now Becky and Amy Jo are chairing the Autumn Art Auction to the benefit of all artists.

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

Absentee bidders will either leave their bids on an Absentee


going, and the collaborative spirit in which we undertake that

Each bidder will use his or her own bidding number during the auction.

journey. Our values are guiding principles for how we will go about our work. They are guideposts to daily conduct that speak


All sales are final.

to the integrity of our behavior.


In September 2002 the Office of the North Dakota State Tax

1) Rural Lens: We interpret rural life through the arts, just as we

Commissioner determined that the gross receipts from the

view the art of the world through a rural perspective.

sales made at the Auction are subject to sales tax at 6.75 %.

2) Global Context: We place the lives of artists and audiences

This does not apply to out-of-state buyers who haveworks

within the context of contemporary art and critical thought from

shipped to them.

around the world. 3) Humanities Focus: We function as a laboratory for all forms


shall either determine the successful bidder or re-auction

of artistic, aesthetic and cultural inquiry. 4) Collaboration:

the item in dispute.

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

in place. Absentee bidders will be charged on the evening of

artistic 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.

Photograph by Mike Mohaupt

From the Museum Director

Landscapes and ideas about landscape seem

From the beginning, the Museum has never asked artists to

to dominate this year’s auction. Clearly, this reflects the influence

donate work, although some do. Instead, we allow them to

of our climate and topography upon we who live here. In many

establish their minimum price, an amount the Museum

parts of the world days go by with no mention of the weather.

guarantees. The auction procedures are:

We, on the other hand, open endless conversations with the weather. It is our bridge to everywhere. Over the years the auction has grown into the venue where you can find the very best of what our own artists are making, and this includes art

DIVISION OF MONEY between the artist and the North Dakota Museum of Art on a work sold in the Auction: The artist is guaranteed to receive the amount of the reserve bid. If work

about life on the northern plains and woodlands.

does not reach minimum bid, it will be brought in by the

The overriding goal of this auction is to build a buying audience

and the Museum’s equal match is split 50/50 between the artist

for the artists who live among us. For decades, the only artists

and the Museum. Example: If a reserve bid is $200, and the work

who could stay in northern Minnesota and North Dakota while

sells for $395, the artist receives $200 and the Museum receives

continuing their professional careers had to find a different way

$195. If the same work sells for $500, the artist and the Museum

to make a living—usually teaching on the college level. Our

each receive $250.

mantra became, “If we don’t support them, who is going to.” 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

Museum and returned to artist. Any amount over the reserve bid

Gradually we have seen the prices for art increase as our buying audience experiences the pleasure of knowing artists and living

become richer.

with art. And also gradually, the Museum has begun to make

Not all of the artists live locally but they all have some

before every art entity in the region began holding their own

relationship with either the Museum of Art or the region. And,

auctions—and positioning them to compete with the Museum’s

given that Winnipeg is our closest large city—and a hotbed for

auction. Then non-art entities thought, “why not us?” It was as if

artists—we consider the Manitoba art community our own.

the Museum threw a pebble into the pond and art auctions

We could not publish this catalog without the underwriting of our sponsors. Please take your business to these companies and

some money from the auction as well. It wasn’t long, however,

rippled out. Fortunately, what is good for artists is good for the Museum—and selling work is very good for artists.

individuals; thank them for their significant contribution; and

Remember, when you buy through the Autumn Art Auction, the

note how many are locally owned and operated. Sometimes they

price includes framing or presentation. Frames are often custom

say, “I don’t care if I get an ad, I just want to give to you guys.”

made by the artists or the Museum staff who use archival

Supporting cultural life is not in the interest of the “big boxes” but


rather has become the business of the butcher, the baker and the

auction sales.

keeper of bees—and of Ellen McKinnon who buys her own ad because it pleases her.

This alone adds significant value to most of the —Laurel Reuter, Director

Lot #1 marks, lines and tones on the paper. Now, it has been almost ten

Morgan Owens

years since I created those drawings and I’m just finding the

San Francisco, California

words to match those sensations.

‘Night Dreams Fade’ from series Looking In, No. 47 Charcoal and Acrylic on Rives BFK Paper

Owens, who grew up in North Dakota, received his B.F.A degree

30 x 42 inches

in 1995 from the University of North Dakota, and attended the

Range: $350 - 400


program at Illinois State University, Bloomington. In

2009 he will graduate with his M.F.A. from the Academy of Art University where he studies animation. This includes traditional

Morgan Owens has specialized in drawing and


painting since 1995. His subject matter varies from still life, to

animation with a specialty in character animation, character

non-objective abstraction, to off-beat juxtapositions of images

development and design, story boarding and layout, and

creating sometimes humorous and, other times, highly

animatics and full animation.

introspective works. In 2006, he took to animation to explore the illustrative nature and sequential structure of film to tell stories. According to Owens, The abstract drawings I’ve made are expressions of what I sense in my mind and body. A decade ago, I didn’t have the words or images in my mind to connect with my sensations so I drew without words or recognizable images. I think an artist may create a painting of dancing lovers or a flower bathed in morning light. In doing so that artist connects the sensation in his mind and body with that image giving the viewer a place to begin to understand that sensation. There are also





He has been an Artist in Residence at the Arrowmont School of Arts and Crafts in Gatlinburg, Tennessee, at Studios Midwest in Galesburg, Illinois, and the Fresno Art Museum in California. After graduating from the University of North Dakota, Owens worked as a freelance artist for two years, before founding the education department at the North Dakota Museum of Art (1997-2001). This was followed by three years as Curator of Exhibitions at the Fresno Metropolitan Museum in California. He has recently opened his studio in San Francisco.

moments in an artist’s life when sensations in the mind and body

His pieces have been exhibited at the Arrowmont School of Arts

cannot be matched to a recognizable image. When I made my

and Crafts, Fresno City College, Knox College in Galesburg, the

abstract drawings, I had to put charcoal to paper and react to the

North Dakota Museum of Art, and various galleries.


\ärt, ∂rt\,-noun (Middle English, from Old English eart, akin to Old Norse est, ert). 1. The conscious use of skill and creative imagination especially in the production of aesthetic objects, also works so produced. 2. The quality, production, expression, or realm, according to aesthetic principles, of what is beautiful, appealing or of

more than ordinary significance. 3. The class of objects subject to aesthetic criteria; works of art collectively, as paintings, sculptures, or drawings: a museum of art, an art collection.


- noun (Middle English, strength, skill, power, from Old English cræft; akin to Old High German kraft strength). 1. A profession requiring manual dexterity or artistic skill, involving the skillful making of decorative or practical objects, crafts such as pottery, carpentry, and sewing. 2. Skill; dexterity: The silversmith worked with great craft. -transitive verb (used with object) 1. :to make or produce with care, skill, or ingenuity: is crafting a new sculpture; a carefully crafted story.

Lot #2

Jordan Ochsner’s interest in art began during childhood on a farm in South Dakota. Like most active rural children, his life was anchored in the outdoors. He now realizes

Jordan Ochsner

that this background is what sparked his curiosity about organic

Vermillion, South Dakota Art and Craft 2007

forms and surfaces.


Coming to the University of North Dakota in 2004, Ochsner

Each approximately 12.75 x

discovered clay. He was initially drawn to thrown, functional

14.25 x 2.75 inches

work, but gradually developed an interest in unique alterations of traditional forms.

Range: $300 - 400

After working closely with fellow UND

ceramicist Guillermo Guardia, Ochsner began to experiment with representational techniques. This led to his incorporation of graphic surface elements into a work such as Art and Craft. Guillermo's work inspired Ochsner to think more passionately

with function and concept. It is unique in that it touches upon a subject close to his heart, one that has often been debated, defamed or denied: Art and Craft.

about expression, and to use the inherent surfaces of functional

Even though Ochsner attends medical school at the University of

work as a platform for engaging ideas. Art and Craft represents a

South Dakota, he continues to work with clay under professor

step in Ochsner's journey towards combining innovative design

Michael Hill at the University of South Dakota.

Todd Strand: January 1951, I came into this world at or near a point considered to be the Geographical Center of North America, Rugby, North Dakota. My dad was a photographer in Rugby for forty years. He used to pack his Graflex cameras, his large suitcase full of film holders and flash bulbs and me into our ’53 green Ford and head for a wedding at one of the country churches, usually in the direction of the sand hills south of town. The parishioners were always very considerate and hospitable. There was usually a place reserved for the photographer to park in front of the church and a hot meal waiting afterwards. While dad worked inside the church, I would sit in the warm June sun and entertain myself by musing over my brother’s baseball trading cards or by wandering through the cemetery next to the church while the wedding was in progress. I returned to that church twenty years later and found it converted to a hay barn. I mention this not only for the sake of nostalgia, but to point out that my photos are very much related to my origins. This photograph was taken with a Widelux panorama camera along Highway 41 just north of Velva, North Dakota. The scene shows my trusty 1968 Chevy Impala with altocumulus clouds (marshmallow clouds) overhead. The scene was photographed at 10:15 pm, June 6, 1990. Tornadoes touched down shortly after my photo session. Strand attended Concordia College in Moorhead, Minnesota, from 1969-1971 and went on to earn his B.A. in Printmaking from the University of Arkansas in Fayetteville in 1974. He participated in the 1976 Dakota Photo Documentary Project, which was a photo survey of every single town in North Dakota. In 1978 he became the photo archivist for North Dakota’s State Archives and Historical Research Library Division. His colleagues honored him with the Staff Award for Excellence in 1999. He left the Historical Society in 2000 and moved to Minneapolis where he works for a children’s book publishing company (Lerner Publishing Group) as a photographer and photo archivist. Lot #3

Todd Strand is known for his black and white photographs wherein he attempts to capture "honest and indiscriminate"

Todd Strand

scenes, primarily of North Dakota. He mostly takes photos with

Minneapolis, Minnesota

a Widelux camera that has a rotating lens, which produces a

Storm Clouds Along Highway 41

panoramic image, often with a Funhouse effect. Fargo Forum

North of Velva, North Dakota,

writer Sylvia Paine has described his work as producing a

July 6, 1990

“sensitive record of moods and attitudes of other senses besides

Black and white ink jet photograph

the visual.” Since 1975, Strand has exhibited photographs

16 x 39.5 inches

annually at the Rourke Art Museum in Moorhead. Most recently,

1990 / 2008

Strand showed a large body of work in the North Dakota

Range: $400 - 600

Museum of Art’s exhibition Remembering Dakota.

Lot #4

Guillermo Guardia Grand Forks, North Dakota and Lima, Peru Adam, 2008 Cone 6 ceramics, underglazes 16 x 11 x 8 inches Range: $500 - 800

I had to go to Peru and immerse myself in pre-Columbian ceramics before I understood Guillermo’s work. Given that context, I believe he is creating important contemporary art deeply embedded in the past. Laurel Reuter, Director North Dakota Museum of Art

Guillermo Guardia (Memo) was born in Lima, Peru,

Series—human figures made from puzzle pieces—and his Baby

in 1975. He comes from an ancient ceramic culture of pre-

Devil series.

Columbian Peru. From the time he was little he was steeped in the images and materials of those early potters. From his family, his teachers, television, and classroom visits to museums, he learned to venerate the early traditions. In particular, he loved the work of the Mochica culture, a pre-Incan civilization that flourished on the northern coast of Peru from about 200 B.C. to A.D. 600, known especially for its pottery vessels modeled into naturalistic human and animal figures.

Guardia is currently completing six Baby Devils that have been commissioned for a major Latin American collection based on human rights. He holds a B.F.A. in Industrial Design from the Universidad Católica del Peru (1999). As part of his studies he took a ceramics class and found himself fascinated. Soon he began to apply to graduate programs in ceramics in the United States. In 2005 he completed his M.F.A. in Ceramics from the University of North Dakota and is currently enrolled at UND in

Guardia intuitively carries the past forward in his ceramics,

a second graduate degree program, seeking a Master of Science

preferring narrative work based on the figure. His unglazed or

in Industrial Technology.

underglazed and burnished surfaces allow the clay itself to dominate the sculpture. The work in the exhibition, Adam, breathes with life, both contemporary and ancient. Guardia has created a work for the auction that refers to both his Puzzle

Most recently the artist mounted a solo exhibition at the Third Street Gallery in Grand Forks.

Barbara Hatfield:

A recent review of Hatfield’s

work likened it to “the bare bones of a Barnett Newman” and ”bits of Agnes Martin.” “Without aesthetic flourish or apparent utility, its presence remains mysterious. It is from this shadowy zone between the organic and the inorganic that Hatfield’s work draws its power.” With a practice consistently grounded in drawing, Hatfield continues to produce works that invite intimacy and contemplation. Often visually spare, the work exudes a quiet strength and simplicity. Discovery, questioning, and process are defining characteristics of her practice and her Lot #5

work of art.

Barbara Hatfield

Raised on a farm in eastern North Dakota, Hatfield writes, “My

New York, New York

vision and sensibility is shaped by the openness of my native

Drawing 10.25, 2007

landscape and further developed by my study of poetic and

Ink & graphite on paper

philosophical lessons and traditions of Asian art. Nature’s

12.5 x 9.5 inches

directness and its paradoxical strength and fragility are a strong

Range: $550 - 650

underpinning and motivation for my work.


paintings and works on paper all exemplify my willingness to let the abstract speak and allow viewers their own inquiry and imagination.” Hatfield received her M.F.A. from Parsons the New School for Design in New York City. She has exhibited at the Unit B Gallery in San Antonio; the North Dakota Museum of Art, Grand Forks; FiveMyles, Brooklyn; Dinaburg Arts, New York; Long Island University Salena Gallery, Brooklyn; La Mama La Galleria, New York; and Kentler International Drawing Space, Brooklyn, among others. Her works are in the permanent collection of the North Dakota Museum of Art and private collections in the United States, Switzerland, Germany, France and Japan.

Lot #6

Alana Bergstrom Grand Forks, North Dakota Flamingo, 2007 Acrylic, gauche, watercolor, and graphite on canvas 40 x 30 inches Range: $550 - 650

Alana Bergstrom has been watching and painting

Bergstrom graduated with distinction in 2007 with a B.F.A. in

birds most of her life. According to the artist, birds in their habitat

Painting from the Massachusetts College of Art. She won several

have always captivated me. They are elusive, but always present.

scholarships including the Lawrence Kupferman Memorial

I form relationships with creatures I can neither talk to nor touch.

Award in 2007 and the Massachusetts College of Art Auction

Within each of these paintings, a bird form commands the

Award, Spring 2005. While an art student, she showed regionally

composition. As the series evolved, my own habitat began to

in Northampton, Amherst, and Boston.

corrupt the bird’s environment. Natural elements are manipulated through graphic lines and contemporary colors. These dualities explore the reality of nature.

Born in Rapid City, South Dakota, she lived there until age ten when her mother died. She then moved to Manistee, Michigan, where she stayed through her sophomore year in high school.

Time is essential in all the paintings in this series. The viewer is

She completed high school in 2001 at Red River in Grand Fork,

invited to explore abstract spaces. Colors clash, textures collide,

while living with her brother. Following high school Alana spent

and images of birds form themselves. These contrasting elements

a year in Minneapolis and a second in Northampton,

create an irreverent sense of time. As the viewer moves

Massachusetts, before entering college. In Northampton she

throughout, the tempo changes fortuitously. This is the essence of

worked in a birding store, a job she held throughout her college

birding: subtle elements are exposed just as quickly as they

years. She returned to Grand Forks in 2008 where she continues

camouflage themselves again. As smaller details coincide, the

to build her portfolio before applying to graduate schools.

overall tone is materialized.

Lot #7

Zhimin Guan Moorhead, Minnesota Autumn Oil and wax on metal 14 x 17 x 1 inches, 2007 Range: $600 - 800

Zhimin Guan speaks of his painting process: I am

examine the complexities of Western contemporary arts. After

amazed to see how painting materials and gesture marks

three years, he earned his M.F.A. in Painting and Drawing at Fort

transform each other into a spiritually and physically integrated

Hays State University, Kansas. Guan has successfully blended his

autonomy. I strive to establish a vital breath and universal

academic training in visual art with the aesthetics of Eastern

harmony through forms, colors, space and dynamic gestures. In

philosophy. As an artist, he is deeply committed to unifying the

my art career, I have always incorporated the traditional with the

West with the East in his own distinctive manner—a new

experimental, the figurative and the abstract. I wish to continually

synthesis of technique underpinned by a holistic philosophy.

change through aesthetic modification over time and discover the right form and metaphor among endless possibilities.

Since 1998, he has been a professor of art and design at Minnesota State University Moorhead, while acting as visiting

The artist was born in China in 1962. He started to paint when

professor at China Dalian University of Technology, School of

he was nine years old, influenced by his father, Chintian Guan, a

Art and Architecture; Anhui Normal University; School of Art, in

traditional Chinese calligrapher and ink painter. Zhimin received

Wuhu, Anhui Province; and the Dalian International Institute of

rigorous training in calligraphy and ink painting before he was

Art and Design, among others.

fifteen years old. At the same time, he developed a strong interest in the Chinese philosophy of Taoism and in ancient Chinese poetry. During his B.F.A. studies at Fuyang Teachers College in China, he concentrated on oil painting and again received rigorous training in drawing and painting in the Western classical style. From 1985 to 1994, he taught painting, drawing, and design at Dalian Institute of Industrial Design in Dalian, China. Besides teaching, Guan devoted himself to his art practice. When he lived in the northeastern Chinese city of Dalian, Guan was only five minutes from the Yellow Sea. Then in the spring of 1995, Guan came to the United States, driven by the desire to

Guan’s art has been exhibited throughout China and the United States in such institutions as the China National Art Gallery in Beijing; China Academy of Fine Arts Museum, Hangzhou; Singapore Asian Arts Gallery; the Salmagundi Club, New York; CCC/USA, Philadelphia; The Minneapolis Institute of Fine Arts; Dunton Gallery in Chicago; Fraser Gallery, Washington, DC; Museum of Southwest Texas, Corpus Christi; North Dakota Museum of Art, and a solo exhibition in 2007 at the Plains Art Museum, Fargo.

Lot #8

Linda Whitney Valley City, North Dakota Lady IX, 2007 Mezzotint, Edition of twenty 11.75 x 8.75 inches Range: $150 - 250

Lot #9

Linda Whitney Valley City, North Dakota Queen Meresankh III, 2008

Linda Whitney: Throughout history portraits have been

Mezzotint, edition of twenty 11.75 x 8.75 inches

manifested as idealized images, pictures of physical likeness,

Range: $150 - $250

psychological profiles, symbolic storyboards, and / or various combinations. Today, if the hindsight of historic approaches is added to all known and possible techniques, the contemporary framework of the portrait may tell us as much about the artist as it does about the sitter. My mezzotint portrait images concern (individual) personal realities, dreams, desires, accomplishments, and disabilities rather than physical likeness. Individuals are much more a sum of experiences, wishes, and accumulations than what


features and the body language might express. Also, few individuals are endowed with enough idealized beauty or classic physical characteristics to make an interesting work of art for anything more than sentimental reasons. Also, my sitters do not sit. Their visual impressions are created through research, through intense looking, and by my aesthetic responses to years of knowing, cumulative conversations, and witnessed events. Their stories, much like the oral tradition, are filtered through my interpretation. My intent is to allow the viewer the freedom to revalue both the image and the response.

She received the 2002 North Dakota Council on the Arts Fellowship and the 1999 North Dakota Governor’s Award for the Arts in recognition of her work with children, and as an artist and teacher. She also received the Art Midwest / NEA Regional Fellowship Award and the Intermedia Arts Minnesota Interdisciplinary Arts Grant. Her work has been included in numerous regional, national, and international exhibitions with the most recent being a traveling solo exhibition through the North Dakota Art Gallery Association’s New Bohemia traveling exhibition program; the Northern National Art Competition, Nicollet College Art Gallery, Rhinelander, Wisconsin; Watermark

Artist, professor of art, and Chair of the Art Department at Valley

08, Southeastern Community College, Whiteville, North

City State University, Linda Whitney holds a B.A. and an M.F.A.

Carolina; and Lemon Street Gallery Annual, Kenosha,

from the University of North Dakota.

Wisconsin, as well as area exhibitions.

Daniel Sharbono is a Minot artist, designer, and freelance graphic designer whose recent projects include design work for Main Street Books, 10 North Main, Otis and James Photography, Dakota Kids Dentistry, Minot State University, and 62 Doors Gallery and Studios. 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 Daniel’s work is about observing the things around you and learning to appreciate them for their inherent aesthetic qualities—signs of a personality, loyalty, and a past filled with Lot #10

experiences everyone can relate to.

Daniel Sharbono Minot, North Dakota Made in Hong Kong Acrylic and found materials, 2007 15.25 x 21 x 2.24 inches Range: $350 - 450

Lot #11Daniel

Sharbono Minot, North Dakota Tools, 2007 Acrylic and found materials, 43.75 x 5.5 x 1.25 inches Range: $800 - 1,200

Lot #12

Bill Harbort

Bill Harbort was born and raised just north of New York

Minot, North Dakota

City. After receiving his B.F.A. and M.A. degrees from Syracuse

Strippers and Gold Diggers

University, he pursued a career in commercial design. Over the

Mixed-media collage

years he worked in New York as a package designer for Revlon,

with cast resin

as the art director for a children’s educational software company,

28.5 x 52.5 x 2.5 inches

and as a freelance automobile illustrator. During the 1960s and


1970s, Harbort self-published thirty-one limited edition art prints

Range: $400 - 600

of American muscle cars. (For the unfamiliar, muscle cars, also called Pony Cars, have giant V-8 engines with super chargers and special exhaust. These gas-guzzlers were really fast! Muscle cars reached their epitome in the 1960s with the advent of such cars as the GTO, certain Mustangs, Camaros, and some Chrysler

Gradually Harbort, the commercial artist, began to explore fine

models like the Challenger. Unfortunately the energy crisis killed

art. He states, paint-by-numbers, coupons and clip art are just a

the genre.)

few ingredients often found in our popular culture landfill. Being

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 twenty-five different automotive publications. Tiring of commercial work, he moved to North Dakota in 1996 to teach

a college professor has given me time to explore my painting, which is still driven by pop culture words/images and messages. Each collage is sealed with a yummy coating of poured-on clearcast plastic. My paintings may be tragic, comical or simply aesthetically pleasing.

graphic design and illustration at Minot State University—and he

The artist lives in Minot with his wife Sandy, sons Nicholas and

loves it.

Tyler, and his family of ex-racing greyhounds.

Lot #13

Kim Bromley Fargo, North Dakota Scott, 2006 Collage and oil on canvas Range: $1,800 - 2,200

Lot #14, right

Kim Bromley Fargo, North Dakota As Time Passes, 2007 Oil on canvas Range: $3,000 - 3,500

Kim Bromley created Scott as part of his Billboard Series.

colorful works of art are about color, light and a celebration of

In real life, billboards are changed on a regular basis by slapping

life.The Pond paintings were shown at St. John’s College in

a printed sheet—or sheets—of paper on top to cover up the last

Collegeville, Minnesota, during the summer of 2008.

message. After the billboard accumulates approximately eight layers, they are all stripped off, not unlike removing layers of old wallpaper. Then the accumulation begins anew. Bromley goes to the billboard company and selects scraps of layered paper, which he collages onto his canvas with rabbit-skin glue, over which he commences to paint and draw. The billboard scraps suggest the layering of time.

Artist Bromley is an Associate Professor and Academic Coordinator of the Art Department at North Dakota State University. He earned his

M.F.A. in Painting and Drawing,

Southern Illinois University at Carbondale (1986), and an M.A. in Painting and Drawing, University of Northern Iowa (1983). He has completed painting residencies in Cedar Falls (2004); Chicago (1998); Badlands, South Dakota (1997); Cuba (1994);

According to the artist, The concept of billboards has always

Jamaica (1993); Ecuador (1992); and in Mexico (1987 and 1990).

fascinated me. First and foremost, they create an immediate and

His work is represented by Yvonne Rapp Gallery, Louisville,

powerful visual impact. They follow principles of design. They


mark their territory and influence how we think. Yet, they merely My challenge in working with

This artist has another life as a performing hypnotist. In graduate

billboards is to create something visually powerful going beyond

illustrate a specific idea.

school I was always taken aback with how one day a painting


would just flow off the brush. The next day was a struggle to

This work is about being a billboard and comments on their effect on our society.

make anything on the canvas go right. Why was one day any different from the next? Then, in the early 90s I saw a stage hypnosis show.

I had used hypnosis for pain control at the

Bromley’s second work in the auction, As Time Passes, is from his


Pond Series. These works were painted on location at a pond on

direct his subjects to do was fascinating. I started using self-

his family's rural property not far from Pelican Rapids. These lush,

hypnosis in my studio and saw a difference.

But seeing the creative things this hypnotist could I thought, if

Lot #15

Jerrel Holm Valley City, North Dakota Badlands Thorn Vessel Porcelain, 2007 31 x 8.75 inches Range: $500 - 600

Jerrel Holm: According to Holm, the harsh, rough, and desolate land surrounding my former studio in western North Dakota often seems at odds with the delicate, smooth, and pure porcelain being formed on my potter’s wheel. This western environmental influence is apparent in the forms I make today ranging from barrel shapes to squat, bulbous, mushroom-like pieces. The simple taut forms with clean hard lines expand and contract from a base and conclude with a small opening on some, while others remain completely closed. The forms become more complex and unusual as the smooth surface is interrupted by the rhythmic repetition of points, resulting in a sense of tension. This tension is repeated in the torn rims of porcelain bowls and sculptural forms to create a natural organic image. Other works begin as vessels but at the end of the forming process are bestowed with masculine and feminine characteristics to become sculptural. Some pieces are left naked of glaze to express harsh, frozen winters. An ash-type glaze coats the surface of others, reminiscent of hot arid summers. My sculpture survives the winter season out-of-doors. Porcelain is the most exacting of clays, demanding a special kind of respect and patience. I find the slow meticulous way I work in tune with my nature. hypnosis is opening me up to my creativity, surely it can assist

Following graduation from Minot State with a B.S in education, Holm taught

students with theirs. So I received my hypnotherapy certification

art in the public schools in Minnesota for twelve years while completing his

and developed what I call my "Creativity Enhancement

M.S. at Saint Cloud State University. In 1981 he began teaching in Watford

Workshop." In 2000 I linked up with Dr. James Council of the

City, North Dakota. In 1992, while still teaching, he completed his M.F.A.

Psychology Department at NDSU. We have been researching

at the University of North Dakota. After teaching for twenty-four years, it

the significance of hypnosis on creativity and have found it to be

seemed time to become a studio potter, which filled the next ten years. He

significant. My use of hypnosis in the studio and my hypnosis

then returns to the classroom in 2004 at Valley City State University where

research continues.

he continues to teach.

I consider this work not an exploitation of nature, but rather a fusion of nature and the human spirit to form a new creation that can transcend both. —Albert Belleveau

Lot #16

Albert Belleveau Puposky, Minnesota Autumn Bench, 2006 Cut steel with stone. Cushion by Minnesota textile artist Pat Black Range: $1,800 - 2,200

Albert Belleveau is involved in a life-long love affair

with metal in his father’s fabrication shop at the age of five. He

with two of northern Minnesota’s most plentiful resources: rocks

writes, I moved to my grandparents’ farm in 1970 and continue

and metal. “Rock Iron Art” is the syntheses of his transformation

to roam the hills and valleys of Maple Ridge Township. I live in a

of these materials into sculpture wherein he creates humorous

log house surrounded by the fullness of nature, the inspiration for

life forms, unique functional furniture, and decorating

many of my works. I have primarily created with metals in my


mature years but I have always collected sticks and stones and glued them together to create little sculptures—I did this

He collects the rounded, wind and wave softened stones during

primarily between the ages of 7 and 16. At age 17 I began to

his frequent kayaking trips on Lake Superior. Back home in

work as a welder. I often spent my coffee and lunch breaks

Puposky, he turns them into sculpture. He selects the rocks

welding sculptures. The last ten years I’ve worked vigorously

according to size and color, and then thrusts them into cherry red

developing “Rock Iron Art.”

cages of steel, formed and tightened under enormous pressure and subsequently welded into sculpture. The finished sculpture

Still today, Belleveau continues to interpret his world experience,

is sandblasted to even the surfaces, and sealed with two coats of

often humorously, in rocks, metal, wood, and found objects. He

lacquer, or allowed to weather and oxidize. Such a work was

has created large-scale sculpture and ornamental structural-iron

part of the Museum’s exhibition REAL: Artists and Landscapes,

projects for both public and private commissions. His smaller

summer 2006 and curated by Vance Gellert.

works have traveled the world. The artist and his family continue to reside in Maple Ridge township of northern Minnesota, a land

Born in Minneapolis in 1959, Albert Belleveau began working

of rocks and iron.

Lot #17

Marley Kaul Bemidji, Minnesota Looking for the Bee Acrylic on canvas 30 x 44 inches, 2008 Range: $2,800 - 3,300

Marley Kaul is one of the region's most senior artists. As during his thirty years of university teaching, he continues to paint daily in his studio near Lake Bemidji, to exhibit generously throughout the region, and to move his art into significant private and public collections. At the turn of the century, Kaul was one of seventeen artists commissioned to fill a room at the Hotel Donaldson in Fargo.

of over painting is required before the drawing recedes. The work in this auction, "Looking for the Bee,� is painted with acrylic on canvas. Yet Kaul employs the same techniques of under-drawing that is overlaid with thin layers of acrylic paint. The artist was sitting in his living room painting what he saw as he looked out the south window. He recorded the everyday plants of his

Minnesota home, and with great deftness, the

Kaul is a prolific painter and a twenty-first century man

reflections through the window. The mood is one of quiet

sensitized by philosophical and political thought who continues

restfulness. Paintings such as these are creating an important

to teach through and about his art. He paints interior and exterior

legacy. Years from now, they will be highly prized as historic

worlds: landscapes, lush with life, fruitful, ever questioning the

renditions of an earlier time and place.

crossover between public and private life. The paintings of this important American regionalist are layered with meanings shaded from the casual viewer. For the past seventeen years much of Kaul's work has been developed through egg tempera processes on carefully prepared gesso-covered panels. This links him to many early painters and their ability to discipline their working habits. Egg tempera is 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

Kaul’s work has been recognized and collected by almost every major museum in Minnesota and North Dakota and this speaks volumes about his tireless commitment to his development as a painter and his desire to continue to explore new ideas. Ultimately, Marley Kaul is a superb painter with a scholarly bent who has become widely respected and loved within the region he calls home.

Lot #19

Herman de Vries Winnipeg, Manitoba Redwood Platter Turned redwood 14 x 3 inches, 2008 Range: $250 - 350

Lot #18

Herman de Vries Winnipeg, Manitoba Box Elder Platter Turned box elder wood 16 x 2 inches, 2008 Range: $225 - 300

Box Elder Platter: I received a phone call from a lady looking for someone to cut down a huge box elder tree in her back yard. She had inherited the home from her grandparents and remembered swinging in the tree, which she called a “Manitoba Maple”—the common name for the tree. She was devastated that it was dying

Herman de Vries was born at Ochre River, Manitoba. He received an 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 music teacher. A self-taught wood turner, he began in 1997 and was teaching classes a year later. At first, I never considered this a art. As time went on, the wood itself began to “speak” to me, and soon every piece of firewood was a fresh opportunity.

and needed to be taken down. I turned several small pieces for her and used a couple of pieces from a crotch in the tree to turn platters. This piece shows the division in pattern commonly seen in the crotch of a tree. Unfortunately, most of the tree was not suitable for turning as it was decayed. Redwood Platter: It is crafted from old growth redwood recovered from stumps of redwood trees cut down long ago in California. I was fortunate to obtain some nicely figured redwood and the dimensions of the raw wood dictated a platter form. The unusual aspect of this piece is a continuation of several platters

It came full circle when I went to the a lonely spot where my

and shallow bowls that I have done which use a “rolled rim”

parents homesteaded and where I was born. I saw the old maple

effect. To hollow the rolled rim is very difficult and requires the

trees that my father and mother had planted in the early 1920s.

woodturner to create his own special tools. Additionally, the

Some were dying. Taking the wood from that dying tree and

wood has a “flame” figure that is not commonly found in

turning it into a piece of turned art became a way of preserving

redwood, showing a chatoyance (like a holograph) not often seen

something that represented the future to my youthful father and

in this wood.

mother. I am their future, and the tree was their future. If I am able to leave behind a legacy, it seemed only fair that the tree should be able to do the same. I only helped a little.

Lot # 20

Adam Kemp, Grand Forks’ unofficial Artist in Residence, was born in 1962 and grew up forty miles northeast of London

Adam Kemp

in the Essex countryside. From age fourteen through nineteen,

Grand Forks, North Dakota

Adam sketched with watercolors because I could take them

Dandelions, Lincoln Park, 2007

anywhere. At about sixteen, I noticed there were a lot of things

Acrylic on canvas

that could be painted on—and I did. He graduated from

54 x 72 inches

Newcastle upon Tyne with a B.F.A. in 1986 but not before

Range: $1,500 - 2,300

studying for a year at a wood restoration school in Florence, Italy, and working with a Newcastle blacksmith for six months. While in college he realized he was a failed watercolor painter. I put on too much paint so I would have to give my pictures a bath in the tub. Finally he switched to the sculpture department, which was grounded in the tradition of the British Modern School—Sir Anthony Caro, Henry Moore, and most importantly, Barbara Hepworth, whom his parents had taken him to visit when he was a child. Her studio in Cornwall “looked like my bedroom so I figured there was hope.”

addition to paintings and sculpture, Kemp’s work includes a monumental commissioned wall mosaic at the Hotel Donaldson in Fargo (summer 2003).

Kemp continues to teach popular

sessions in the Museum’s Summer Art Camp and to run the You Are Here gallery in downtown Grand Forks, of which he is halfowner. But most importantly, Kemp has made art a living presence in everyday life in Grand Forks. The fish sculptures he and thirty children made in Kemp’s first art camp grace public parks and restaurants. The Museum garden always houses the most recent camp spectaculars. And people take his work home,

Kemp earned an M.F.A. degree from the University of North

paintings that are based in our own home landscape, paintings

Dakota where he learned to cast bronze in the new foundry. In

to be treasured and passed on to following generations.

Lot #21

Stuart Klipper’s panoramic landscapes are ordered by

Stuart Klipper

themes of permanence and change. This includes his celebrated

Minneapolis, Minnesota

photographs of Antarctica, which were shown in New York’s

Trail County, North Dakota, 2008

Museum of Modern Art in 1991. (In November, 2008, his

Type C print, 12 x 38 inches

photographic book The Antarctic from the Circle to the Pole will

18 x 11.5 inches

be published by the Chronicle Books and National Science

Range: $1,300 - 1,700

Foundation Office of Polar Programs Artists and Writers Program. Over the course of twenty-five years, he was a five-time grantee.)

disappointingly, nary a grocery store I asked in stocked skyr.

Klipper, ever the wanderer, has also photographed the Outback

I returned to the state again this past January (2008). I had been

of northern Australia, the deserts of Israel and the Sinai, the rain

persuaded to ride shotgun with a friend who had some business

forests of Costa Rica, the Far North regions of Greenland,

to attend to in Grand Forks. She hadn’t much need to inveigle, I

Iceland, Svalbard, Alaska, and Lapland (where he photographed

very much wanted to go to North Dakota again.

the area irradiated by the fallout from the Chernobyl disaster). And most recently, North Dakota.

For one, I had to taste the fabled chocolate-dipped potato chips of Widman’s chocolate shoppe. And a tad more challenging, I

Klipper writes, I made it out to Dakota Territory—South

had a yen to make pix out on these High-Lined plains in mid-

Dakota—the first couple of times around 1980. First as a camera-

winter, when it was good and cold and the northern tier states

carrying visiting artist; and then, a bit later on, just to wander

were snow-covered.

about and work on a corporate art commission. I was not disappointed—I’ll put it this way, if a mere smidgen of Visually and culturally whetted, north of the border next

agriculture were ever introduced to the Antarctic, that’s what

beckoned. Its primary allure was that it was emptier even than its

winter looks like in North Dakota. I spent a couple of chilly

southern counterpart. I finally crossed the Red River from

wind-driven days on the road amply confirming this. The high

Minnesota in the wet summer of 1988. Via research, I knew I had

point of this foray was finding the KVLY-TV mast, the planet’s

to first focus on the state’s upper right hand corner. This is where

tallest structure. It occurred to me to perhaps shoot it in a vertical

cadres of ocean- (but apparently not wind) hating Icelanders—


the scions of the Norse whose history and culture had long held a strong fascination for me—once had settled to break the prairie

Born in 1941, this Bronx, New York, native graduated with a B.A.

and to farm.

in architecture and design from the University of Michigan. Klipper currently lives in Minneapolis, Minnesota. His

I had already visited Iceland over six times (and Greenland

photographs have been exhibited and are collected by the Art

once), and I was keen to see the mid-continental landlocked

Institute of Chicago, the Museum of Modern Art, the Minneapolis

haven that had drawn these -sons and -dottirs of the old country

Institute of Arts, the Walker Art Center, International Center for

(and prompted them to cross the ocean one last time). So, I lit out

Photography, the Museum of Contemporary Photography, the

to Pembina and Cavalier counties to give a look-see. Town

Ogden Museum of Southern Art, the North Dakota Museum of

names were tell-tales, runic inscribed headstones too; but,

Art, and numerous others.

Lot # 22

Dan Jones Fargo, North Dakota Sheltered Bales, 2008 Charcoal on paper 31 x 50.25 inches Range: $3,200 - 3,800

of the gloaming, of the twilight, the time after sunset and before dark. His drawings suggest gloaming, to be or become dark, shaded, or obscure. To make despondent, sadden. Yet, the light is ambiguous. It might be the full light of day casting deep shadows in the underbrush. Only the presence of the artist’s gesture is solid, real.

Dan Jones, who lives and works in Fargo, has long practiced plein aire painting, gathering with a group of fellow artists and going to the countryside to sketch and paint, most recently with Carl Oltvedt and Robert Crawford Crowe for their joint exhibition at the Plains Museum in Fargo in 2007. The landscape of the Red River Valley provides him with endless subjects. According to Museum Director Laurel Reuter, the drawing in the auction is among Dan’s very best. And so simple: two round bales of hay coming out of darkness. The light is moving in from behind the trees, from the back of the painting, gleaming through the upper trees, casting shadows into the lower foreground, turning the hay bales into monoliths.

Jones, who studied at North Dakota State University and the University of Minnesota, exhibits widely in the Midwest. His paintings are included in many museum, corporate and private collections including the National Endowment for the Arts, the Plains Art Museum in Fargo, and the Rourke Art Museum, Moorhead. According to the artist, Anyone who has followed my career for the past few years knows I have a certain fascination with hay bales. Round or rectangle, the shape doesn’t really matter to me. I love the way they catch the light, the shadows they cast, and the way they physically inhabit the space they are randomly placed in. Viewed from a distance, they add to the patterns created

Jones is a master at making monumental charcoal drawings on

when cut and bundled, but close up they have their own

paper, pulling from his simple materials the essence of blackness,

personality, like big hairy beasts resting in the grass.

Lot # 23

Gretchen Bedermen Mandan, North Dakota Circle, 1998 Oil on canvas 48 x 72 inches Range: $1,700 - 2,000

Gretchen Bederman’s painting in this auction is

earthly life, a spiritual quest of sorts, an attempt at fusing matter

both beautiful and surreal. According to Museum Director Laurel

and spirit symbolized by women, horses, birds, vessels, and

Reuter, these pastel ghost horses might tread on a lunar

trees. For the most part, I’ve created these images from my mind’s

landscape. They could be the horses of a dream, washed as they

eye, looking within to memories and impressions with the

are in the intense light of a mirage. Maybe they stepped out of a

intention of imparting a universal and soulful essence.

Cormac McCarthy novel. The horses emerge out of drawing, wispy, shifting, not solid, but dominating the flat, unknown landscape. Like all Bederman’s best paintings, the viewer is given the essence but left to wonder. What is this painting? What is it about? What was the artist’s intention?

Bederman grew up in Houston, Texas. She has lived in North Dakota since 1980, and she has a home in Mandan. In September 2006 she moved to Glendive, Montana, where she heads up the art department at Dawson Community College. She completed her undergraduate work at Minnesota State University

The artist responds, for over 20 years, the predominate theme in

Moorhead and received an M.F.A. in painting from the University

my artwork has been an expression of the elemental forces of our

of North Dakota.

Lot # 24

Melanie Rocan La Broquerie, Manitoba Pony Oil on canvas 54 x 42 inches Range: $1,300 - 1,600

Melanie Rocan: Born in 1980, this bilingual Franco-

the ever growing disconnect between us and our environment is

Manitoban graduated with a B.F.A. from the University of


Manitoba and

completed her M.F.A. in 2008 at Concordia

University, Montreal. She has recently been nominated as a semifinalist in the 8th annual RBC [Financial Group] painting competition. Her work is part of a group exhibition traveling to galleries across Canada including the Musee d’art contemporain de Montreal, The Museum of Contemporary Art in Toronto and the Contemporary Art Gallery of Vancouver. In 2005, she was in an exchange program with the Glasgow School of Art in Scotland. In 2007 she was participated in a Too-Sicks group show at the Harvey Levine Gallery in Los Angeles.

I rely on an intuitive process to create these works which gives me the freedom to search and make discoveries. I find the struggle of creating work by intuition and memory makes me in constant search to re-invent and build the work within the internal domains of my conscience. This process also allows room for balance from my hand and the medium itself to communicate.

I use a variety of languages and diverse

techniques combined on one surface, a pastiche in the imagery as well as in the way I paint. By using these techniques I want to capture and evoke inconsistencies of emotions, making the

My recent work speaks of the fragility of human beings and the

work linger in between a darkness and a playfulness, to be able

reality of the subconscious state. I want to capture a distressed

to affect and give sensations.

beauty in the work which suggests the inner emotional condition, highs and lows, a psychological unease. There is a dichotomy between the difficulty to comprehend the reality of the internal world and a reaction to the outside world’s fragility and the present state of the earth. I use the environment to address issues concerning identity. and, by isolating the figure,

I am interested in illustrating opposing forces in my work, and by unifying and combining these dualities, they can exist together as one entity, one cannot exist without the other. As stated above, I want to evoke an inconsistency of emotions, making the work linger in between a darkness and a playfulness.

Madelyn Camrud has donated the proceeds from the sale of this painting to the Museum of Art

Lot #25

Anton Boubin 1902 - 1973 Apple Trees in Spring c. 1970-72 Oil on canvas 23.25 x 31.25 inches Range: Not established

Anton Boubin, who died in Crookston, Minnesota, in

Boubin’s granddaughter, Emily Boubin, writes in her blog,

1997, is a Czech artist who refused to capitulate to Communism.

Mission Emily: Because of increased fear of the death of his

Having served two years in prison from 1948-1950 he was

family, my grandfather and his family eventually fled from their

returned for another year after only two months of freedom. In

country. Grandfather and his oldest son first traveled to Vienna.

retaliation for this stubbornly clinging to the ideal of freedom, his

Then, using fake passports, my father and grandmother escaped

lucrative dental practice in Prague, his home, artist studio and all

on the last train to leave Czechoslovakia before the Communists

belongings were confiscated. He was forbidden to practice the

closed the borders to travel. My dad's last memory of his country

dental profession in any manner and, although allowed to paint,

of origin was incredible fear that they would be discovered.

was forbidden the sale of paintings as a means of livelihood. He

While on the train, a young boy spat at a Russian soldier. The

became a farm laborer or 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 which 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 scared from being stomped on—one can’t practice dental work if his 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 the paintings hung in the original Sanders 1907 in Grand Forks where his wife worked as a baker.

Lot #26

Tim Schouten‘s Treaty 3 Suite (Outside Promises) comprises fifteen paintings in encaustic on canvas. The suite is

Tim Schouten

one of eleven elements of The Treaty Suites Project. The Treaty Suites Project was conceived in 2003 as a series of eleven suites

Petersfield, Manitoba

of paintings, each based on photographs taken at the exact

Looking Out On Lac Seul from the

locations of the signings of each of the eleven “numbered

Kejick Bay Island (Treaty 3 Suite)

treaties” between First Nations and Canada. The project grew to

Diptych, encaustic on canvas

include the locations of adhesions to the Treaties, which were

Each panel 24 x 24 inches, 2008

signed in years following the initial signings. This whole series is

Range: $ 2,500 - 3,500

an extension of the Treaty Lands project that has made up the major part of my practice since 1998.

virtue of their Indian blood, claim a certain interest or title in the lands or territories . . . the said Half-breeds have elected to join

This series is based on photos taken at a number of locations in

in the treaty . . . it being further understood that the said Half-

Manitoba and Ontario within Treaty 3 territory. Treaty 3 was

breeds shall be entitled to all benefits of the said treaty.”

signed between “Her Majesty the Queen and the Saulteaux Tribe of the Ojibbeway Indians” on Harrison Creek at the North West Angle of Lake of the Woods in October of 1873. Once the site of a Métis community called Norwest and a Hudson Bay Company trading post on the Dawson Trail, this location has now almost completely reverted to bush. Traces of Dawson’s Route remain, but little else. The area is home to several Ojibwa First Nations on both sides of the Canada/United States border. Harrison Creek still provides good wild rice harvesting in years when the water levels aren’t too high.

—Tim Schouten, November 2006

The lyrical landscapes of the treaty series are visually gorgeous, luminous and shimmering, and all the 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

Adhesions to Treaty 3 were signed at Lac Seul and at Fort Francis

summarizes, “political questions of property and Aboriginal

in 1874 and 1875 respectively. The Fort Francis adhesion is

disenfranchisement beat at the heart of these paintings.”

outstanding in that in an isolated incident of treaty activity, specific provisions were included for people of mixed blood in the Rainy River area, who in the wording of the document, “by

Schouten is a leading Canadian painter who was born in Winnipeg, left for forty years, and returned to make his home north of the city near Lake Winnipeg.

Lot #28, right

Angela Luvera Winnipeg, Manitoba Dance of Bees, 2005 Mixed media on canvas 12 x 21.25 inches Range: $450 - 550

Lot #27

Ali LaRock Bismarck, North Dakota Everybody Leaves, 2008 Mixed media on canvas 12 x 8 inches Range: $350 - 450

Ali La Rock, who grew up in New Town, North Dakota,

Like most artistic people I have been interested in art since I was young. Much of my artwork now still has that same childlike quality it did when I was a child. —Ali La Rock

lives in Bismarck. In 1998 she received her B.F.A. in painting from Minnesota State University, Moorhead. In addition to working as an artist, she is active in the Artists-in-Residence program sponsored by the North Dakota Council on the Arts. Through her

childlike world. This intertwining is not only represented

own studio she runs art birthday parties, gives private lessons, and

psychologically, but in a physical way as well. The paint itself is

teaches at the International Music Camp, through Bismarck’s

often aggressively scraped away, built up thick, pushed around,

Parks and Recreation Office, at after school classes for the Theo

and layered. In my more recent paintings, cut and torn fabric is

Art School, and the Plains Art Museum in Fargo.

collaged onto the canvas as a background and almost becomes a comfort blanket or clothing to soften the intense energy of the

LaRock says about her art, The raw and primitive quality of my paintings is the most honest way for me to work and express myself. Many of my painted images are taken directly from my sketchbook and visual journals. I feel that I am able to translate the freshness and intentions of the original sketches into paint by using the materials in a way that is most natural and immediate to me.

image and message. Text is also an important part of my art. Often the idea for the text and the image happen together in the dialogue that is created in my sketchbook, so it seems only natural to keep them this way once they become a painting. The words I use in my art not only help to further convey my ideas, but they also become an important element of the composition that can be experimented

The canvas becomes a place where the chaos of the adult world

with and manipulated, in much the same way that I work with

can meet and become woven together with the wonder of the

the paint.

Lot #29

Doug Pfliger Minot, North Dakota Trick Dogs IX, 2008 Wood, metal, paint 17.5 x 8 x 5 inches Range: $350 - 450

Angela Luvera: “My art explores the tension between organic and geometric forms, both in relation to our past and present.” This Winnipeg artist and architect/landscape architect, obtained her degrees from the Rome Academy of Fine Arts and the Universities of Rome and Genoa. Her background as an artist is in the areas of painting, printmaking and large scale sculptural works. Luvera has received awards and other recognition in both Canada and Italy, including two major Manitoba Arts Council Awards, a Canada Department of Foreign Affairs grant, the Premier Award in the University of Modena’s national sculpture competition, and the Gold Medal in Painting at the 20th Annual Marina di Ravena National Arts Competition. She was a winner of Ottawa’s 2002 national outdoor sculpture competition. Luvera maintains private studios in Winnipeg and Rome.

Doug Pfliger began his Doug’s Dogs series in 2005, which he originally called Scrap Pile Dogs. 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.He

therefore partial to the canine form. Dog-shaped household

searches for the components for the dogs at thrift stores, dollar

objects such as oil lamps and purely decorative figures of dogs

stores, and hardware, hobby, and lumber stores in the area.

were popular in ancient Roman homes, and the very Roman tradition of an image of a dog inscribed with the words ‘cave

His tendency is to work within the confines of the wood shapes

canem’ or ‘beware of the dog’ persists today! Doug’s Dogs do not

and dimensions selected, and then alter the forms as needed. The

bite, require only an occasional dusting, and will not chew up

dogs’ pedigrees are at best indeterminate, but their roles as

your favorite pair of shoes.

faithful friends and companions are clearly defined. According to the artist, At times I feel like one of Santa’s elves in my workshop

A Hazen, North Dakota, native, Pfliger currently teaches art at

as I build, paint, and embellish each dog—At present there are

Minot State University where he received his B.S. in art education

over 130 dogs that are in my possession or have been released to

(1984). He taught art in the public school system for thirteen

good homes.

years before pursuing graduate work. He received his M.F.A. (1997) from the University of North Dakota and began to teach

Why dogs and not cats? Simply put, I am a dog owner, and

at Minot State University in 2001.

Lot #30 paragraph-like forms made from hand-stitched threads. The

Ingrid Restemayer

running threads provide the grids that anchor the floating fish.

Minneapolis, Minnesota The Nature of Things, 2008

For years Restemayer's art has alluded to storytelling or narration

Mixed Media print with fiber

through the use of her intaglio images as pseudo-illustrations

30 x 45 inches

which suggest a story when paired with code-like paragraph

Range: $1,200 - 1,800

shapes formed from her hand-embroidery. Restemayer has spent more than a decade growing and developing her unique combination of printmaking and fiberart techniques. She studied overseas in Auckland, New Zealand

Ingrid Restemayer is a printmaker and fiber artist originally from North Dakota but now living and working in northeast Minneapolis. Influenced by generations of fine crafters, Restemayer's work reflects traditional embroidery techniques

and in 1996 earned her B.F.A. in Printmaking, Fiberarts and Mixed Media Visual Arts from the University of North Dakota. In the past several years she has shown extensively and gained gallery representation across the United States and overseas.

while incorporating other process-intensive mediums through

As well as being dedicated full-time to producing and exhibiting

collage. The Nature of Things comes from a body of work which

her artwork, Restemayer is heavily involved in the Minneapolis

features recognizable imagery (Koi, or Carp) that have been

arts community, serving on the Board of Directors of the Rosalux

intricately etched on handmade papers. The etchings are

Gallery and as a lead committee member for the development of

collaged with fine printmaking papers and punctuated by

the Northeast Minneapolis Arts District.

Lot #31

Ewa Tarsia Ewa Tarsia is a Polish-born Canadian artist. Whereas she

Winnipeg, Manitoba

works in diverse media including painting, sculpture, tapestry, landscape design, and drawing, she is known internationally as a printmaker. She has showed in international print biennials in

Eyes Wide Open, 2008 New Polymer media on canvas 30 x 60 inches

Spain, France, Poland, Austria, United States, England, Germany,

Range: $2,500 - 3,500

Japan, and Korea. Most recently, Tarsia was included in the New York’s International Print Center’s NEW PRINTS 2008/Summer. As a printmaker, Tarsia is part of a tradition of artists who acknowledge that their plates—the pieces of metal, plastic, wood and linoleum that they print from—are the true objects of their affection. Covered with marks, lines, and subtle traces of color, printing plates are often as interesting as the images pulled from them. Each plate is visually complex, offering a fully active and engaged surface that, once transformed into sculpture, reveals both the artist’s obsessive process and the beauty that

The success of her passion for garden design was celebrated in the January 2008 issue of Manitoba Gardner. In August 2008 she opened her solo show at the North Dakota Museum of Art. The galleries resembled the blaze of color and the plant complexity of a summer garden, just as her own Winnipeg garden is widely praised for both its brilliant color and the plethora of plants that are only supposed to flourish much farther south. Her husband Ludwik grows rhododendrons; Ewa grows everything else.

motivates her to continue. As an environmentalist, Tarsia sees the

Eva Tarsia was born in Gdansk, Poland in 1959. She studied at

irony of using plastic and paper to create images that celebrate

the School of Fine Arts in Gdynia from 1974-79. In 1988 when

the beauty of the natural world. “It reflects our society,” she says

she moved to Vienna, Austria, with her husband. While in

of the work. “Plastic is everywhere.” The success of her artistic

Vienna, she pursued the study of sculpture. They arrived in

career in Canada was celebrated in June 2007 when she was

Winnipeg in 1991 where they continue to make there home.

inducted into the Royal Academy of Arts.

From 1995 – 2000, Ewa worked as a graphic designer while

The work in this auction, Eyes Wide Open, represents the evolution of Tarsia’s printmaking into personal techniques that

studying Advertising Art and Computer Graphics at Winnipeg’s Red River College. She received her diploma with honors.

meld the actual Lucite printing plate into relief paintings on

The artist is in the following public collections: Agentur Barth,

canvas. The highly-textured painted surfaces of the canvas foil

Germany; Consulate of the Netherlands, Winnipeg, Manitoba;

the smooth surface of the Lucite panels—for the printmaking

Éditions des Plaines, Winnipeg, Manitoba; French Embassy,

plates are placed face down upon the canvas. Adding to the

Gdansk, Poland; Intercity Papers, Winnipeg, Manitoba; The Keg

complex rhythm of the work is the highly-textured undersurface

Restaurant, Winnipeg, Manitoba; Limberg Zeichnung Atelier,

gleaming through what appears to be the smooth surface of the

Vienna, Austria; Ministry of Heritage and Culture, Manitoba;

Lucite panels. The rich gold in all its variations dances across the

Tama University, Tokyo, Japan; the North Dakota Museum of Art,

painting from left to right.

plus numerous private collections.

Lot #32

Mariah Masilko Minneapolis, Minnesota Initiation, 2007 Oil on canvas 16 x 20 inches, Range: $300 - 500

Mariah Masilko: As a child in North Dakota, Mariah Masilko acquired a love for stormy skies, long grass moving in the wind, and lonesome patches of trees. Since 1987, when she explored her first abandoned building, she has been attracted to the beauty of their loneliness,

their desolation,

their quiet

melancholy. The forgotten abandoned structures are a disappearing link to the past. Masilko bases her oil paintings and colored pencil drawings on

Engraving is a method of cutting or incising a design into a material, usually metal, with a sharp tool called a burin. Engraving is one of several intaglio techniques for making prints. The print can be made by inking the incised (engraved) surface. “Engraving� may also refer to a print produced in this way.

photographs she takes on her explorations. She uses water-

Most engraving is done by first laying out the broad, general

mixable oil paints, which have the same pigments and quality as

outline onto the plate. After this step is complete the artist can

traditional oils, but can be thinned and cleaned with water. In her

begin to engrave the work. The burin is pushed along the plate

work she explores light, shadow and contrast, and recently has

to produce thin strips of waste metal. After the metal is displaced,

been experimenting with color: fanciful colors that give a

a scraper (a sharp-edged tool) is used to remove the burs as they

dreamlike quality to an otherwise realistic scene.

will be an impediment to the ink. By using a mirror to do the drawing, the printer accommodates the reversal that occurs in

Masilko grew up in Grand Forks and graduated from Central High


School in 1992. She briefly studied architecture at the University of Oklahoma, before moving to Minneapolis and graduating with

To tell if the print is done on copper or on steel, one can look at

a Bachelor of Arts in studio art from the University of Minnesota

the date. If the print is done before 1821, it is done on copper

in 1997. Her work has been in many local exhibitions and was

and if after 1830, it is most likely incised by the engraver on steel.

displayed from January through June of 1997 at the North Dakota

If there is no date, the lines are further apart and appear heavier,

Heritage Center in Bismarck.

and there is a warmer sense, it is a copper print. With steel

Lot #33, Queen Anne

Lot #33 - 37

Anonymous Artisans Engravings Various sizes from 6 x 3 inches Range: $75 - 125 each

Lot #34, King Edward IIV

Lot #35, Admiral Vernon

Nancy Friese has as donated the proceeds from the sale of these engravings to the Museum of Art

engravings there is often a silvery tone with parallel lines and cross hatching closer together. These engravings are most likely from books of biographies. The prints were often copies of paintings or other prints. The artist

Lot #36, Queen Mary II

who painted the portrait may be noted on the edge of the print, as well as the engraver's name under the title of sculptor. Sometimes the print publisher is also included. What still fascinates us today is the extreme effort required of the engraver. The handwork is meticulous. These prints are tributes to the dedication and craft of the engraver. The lines reveal the person and an intensive system of abstract organization and detail. More recently the biographies of engravers have become available and many are now known for their own particular style and abilities. Nancy Friese advises that viewers take a magnifying glass and examine these portrait engravings to see the beautiful interweaving of lines and marks used to construct a likeness of a specific historical person. In Friese’s eyes, “these are remarkable works to collect.�

Lot #37, Phylip Yorke, Earl of Hardwicke

Lot # 38

Vivienne Morgan Bemidji, Minnesota Tangle Trees, 2008 Archival digital print on Innova 30 x 45 inches Range: $1,200 - 1,500

Vivienne Morgan: It's been nearly thirty years since I came to Minnesota from England and I'm still whining about

Vivienne Morgan has donated the proceeds from the sale of this photograph to the Museum of Art

winter. I want to see soft lush greens and color year around, not the hardness of the white winter, so I stay inside and try not to notice. One ice crusted morning I dragged myself out of the warmth of the studio. I finally saw the overwhelming blue sky. Tangle Trees was taken that morning before the sun banished the frost from the branches.

North Dakota Museum of Art in the fall of 2004 and at that time gifted a major work to the Museum from her Navigation Series. She will open her second exhibition in November 2010. The Jackson Pollack Foundation granted this Portland artist $20,000

The artist will be spotlighted at the North Dakota Museum of Art with a solo exhibition November 2, 2008 through January 5. She has developed a new body of work about which she says, "My sense of identity is tied to the landscape: to me that has meant finding a way of looking at my local forested landscape and seeing some trace of England or Europe in order to feel home. I often shoot in the gloaming, letting the low sun soften the landscape and transform the sense of space.

Lena McGrath Welker had a solo exhibition at the

Like the 19th

for the North Dakota show, which she has been working on for three years. The sale of Aphelion, the work in this auction, will help fund her 2010 show. Aphelion is a diptych that connects loss of place, loss of lives, and loss of the language to partly describe these events. The artist describes the work: Aphelion: noun: the point of a planet’s or a comet’s orbit most

century Barbizon painters, I want to make the wild, wooded

distant from the sun.

landscape a tranquil, pastoral, and orderly place, even if there

Every day I rise at 4:00 A.M. to read, write, study, and have a

really are wolves in the shadows."

period of solitude before starting my work day. In December of 2002, as the U.S. Government was sending troops into

Vivienne Morgan was born in England in 1958. In 1979 she

Afghanistan and preparing to invade Iraq, I went outside as usual

moved to the United States and earned her M.F.A. from Bowling

to bring in the newspaper, and also as usual to look at the night

Green State University in Ohio. She now lives in the countryside

sky. That morning, and every single morning since that day, I have

near Bemidji, Minnesota.

looked up at the stars and moon and thought about all the people



Lot # 39

Lena McGrath Welker Portland, Oregon Aphelion (diptych), 2007 Collage of paper, books, scrolls, silk weaving, stitching and pigment 78 x 64 x 6 and 34 x 26 x 6inches Range: $3,000 - 6,000

around the world who are looking at the same stars through the

constellations, and also with counting marks and abstract writing

terrible filter of war. At first I thought specifically of Iraq, but it

that references names. In only the third time in ten years of

wasn’t long before I had extended my thoughts to all people

making art filled with illegible writing, I have embedded

everywhere suffering through wars in their own homelands.

fragments of ‘real’ words and phrases, all related to the heavens,

Only now, five years later, do I understand this to be a rather

from the poems of Paul Celan, Ingeborg Bachman, and Georg

uncanny and long-lasting reaction to a single event; certainly it is

Trakl. Each of these poets survived terrible wars and wrote about

not the first of its kind in my lifetime.

them in connection with their own personal experiences with

I recently came upon the word “aphelion,” and understood that there was a sense of loss built into the word, and also that it was time to make some work about this daily experience of mine. Only after composing two pieces, one smaller than the other,

loss. I have also quoted the contemporary poet Mei-mei Berssenbrugge, a woman of abiding love and goodness, whose fragments about the stars help incrementally to adjust the equilibrium of the unspeakable sorrow of the other poets’ words.

with papers nestled inside one another, or nudged up against

As I work, I am thinking about Baltic, Armenian, Afghani, Greek,

each other, did I realize that it wasn’t “people” around the world

Serbian, Iraqi, Palestinian, African, Irish, Columbian women and

that my heart had been calling out to, but women and children,

children, and countless others who have died or witnessed death

and that I had unconsciously described this in the very fabric of

and torture all around them, under the indescribably exquisite

these two collages.

and lonely galaxy that covers us all.

The books, scrolls, and single folios are filled with drawings and stitched imagery of Ptolemy’s diagrams, star measurements,

an icy wind blows from our stars —Georg Trakl, from Downfall

Gaëtanne Sylvester has donated the proceeds from the sale of this sculpture to the Museum of Art Lot #40

Gaetanne Sylvester Winnipeg, Manitoba Nine Months “Neuf Mois” #2 Paper clay, 2001 15.5 x 15 x 9.5 inches Range: $500 - 700

Gaetanne Sylvester: I am fascinated with the fact that

In 2001 she was included in the Manitoba exhibitions Knowing

I started as a microscopic dot . . . and how that dot came into

Bodies at Saint Norbert Arts Center; Histoire de sens at Maison

being . . . and what my mother’s role was in this mysterious

des artistes; and was featured in a solo exhibition at Source at the

event. I realize my experience as a woman and mother is very

Centre culturel franco-manitobain. In 2003, she participated in a

personal, but it is also universal. My work celebrates the

national in/situ project, Parallaxe, in Saint-Boniface. In 2004, she

historical relevance of the feminine element and is an attempt at

was included in Homecoming, a juried alumni exhibition at the

placing that element in a contemporary setting. I take inspiration

University of Waterloo Gallery, and in Noir et blanc at Maison

from rituals, fertility symbols, societal attitudes, and the impact of

des artistes. In 2005 she was included in the Manitoba Craft

new medical developments, particularly surrounding DNA, have

Council’s annual juried exhibition and invited for a printmaking

all inspired me.

residency at Graff in Montreal. In 2007 she was selected for a

Clay has a special significance to me: it best conveys both the power and the fragility of life. It is tactile and sensual in its raw form. I have taken many risks with it as a medium, silkscreening computer generated images on wet clay, and using it like a canvas with oil paint. In this series, the work Nine Months is intended as an ambivalent metaphor for the genome as well as for feminine sensuality. It emphasizes the fragility of life while

residency of digital arts at Centre Sagamie, Alma, Québec. She was featured in a duo exhibition, Sparks and Whisperings at Maison des artistes; a group exhibition, Treasures from the Collection, Buhler Gallery, Curated by Pat Bovey at the Saint Boniface Hospital; and a group exhibition Rencontres: Encounters at the Musée des maîtres et artisans du Québec in Montreal, curated by Denis Longchamps.

underlining its tenacity, and the importance of the genetic bridge from the past to the future. Born in Manitoba, Sylvester pursues her art career in Winnipeg where she maintains a studio in the Exchange District. She has participated in exhibitions across Canada, in New York, Denver, Hong Kong, and Guadalajara, Mexico.

It’s always just beginning. Everything is always just beginning. —Jakusho Kwang

Painting is a blind man's profession. He paints not what he sees, but what he feels, what he tells himself about what he has seen. —Pablo Picasso

Lot #41

Madelyn Camrud Grand Forks, North Dakota Devils Lake, 2007 Acrylic and pencil on paper 24 x 22 inches Range: $700 - 800

Madelyn Camrud, born in Grand Forks and raised in

thick layers of paint and then written across the face of the

rural Thompson, has lived all but nine months of her life in North

painting—flowing, illegible calligraphy that only suggests poetry.

Dakota. Like most significant creations, her poems and her art

Choosing pencil rather than a denser medium like charcoal, the

work are deeply anchored in this private life and the places she

writing becomes wispy, threading in and out of her clouds.

knows as home.

Clearly, the Impressionists, who were beginning to show their

Madelyn Camrud’s beautiful painting, Devils Lake, provides a

work in Paris in the 1860s, are between the Luminists and

lesson in the history of landscape painting over the last two

Camrud. Their loose brush strokes, grand gestures, and fractured

centuries. This work echoes the luminosity of J.M.W. Turner, the

light resonate in Devils Lake. Anyone who has spent time at or

English Romantic landscape and marine artist who lived

on Devils Lake will sense the spirit captured in the painting. The

between 1775 and 1851. Known as the painter of light, Turner’s

wind is up; the sky is tumultuous, backlit by sun streaming

watercolors and canvases, with their chromatic palette and

through the cloud bank. It is clear that being within that

broadly applied atmospheric washes of acrylic, speak to

landscape is sublime.

Camrud’s Devils Lake. Her paintings, like Turner’s, are more about light than the details of a specific place.

The painting seems more like an object than a painting because, unlike watercolorists, Camrud didn’t tape her paper to a board.

Turner’s influence crossed the Atlantic to be taken up by the

Instead the wet paper is allowed to curl as it dries, another way

Luminists, a group of American painters who worked between

of suggesting movement.

the 1850s and the 1870s (most importantly, Fitz Hugh Lane (1804-1865), John F. Kensett (1816-1872), Martin J. Heade (1819-1904) and Frederick E. Church (1826-1900). The effects of light in landscapes, a poetic atmosphere, and a suggestion of the sublime characterized their work. Unlike Camrud’s painting, however, those artists often painted from an aerial perspective and their brush strokes were invisible. Camrud’s perspective is looking directly into Devils Lake with its towering sky. Not only are her brush strokes visible, she has built up the canvas with

Madelyn Camrud has donated the proceeds from the sale of this painting to the Museum of Art

Walter Piehl wins Bush Foundation’s First Enduring Vision Prize worth $100,000.

Lot #42

Walter Piehl Minot, North Dakota Fearsome Freddy: American Minotaur Acrylic on canvas 48 x 36 inches, 2008 Range: $3,500 – 4,500

Walter Piehl is a painter who draws and incorporates

This master painter, while continuing to live the cowboy life by

drawing into his acrylic painting. He does not use drawing to

roping and calling the rodeo, and by teaching his sons to ride and

make studies for paintings but as a primary medium, either

rope, has found the means to visually enter the sport. In the

embedded into paintings or as separate works of art. But

process he has led droves of artists into a new arena called

ultimately Piehl is most widely known as a painter. His goal is to

Contemporary Western Art.—but most don’t know that this artist

make his surfaces dance with subtle variations. Drips, feathered

from North Dakota charted their course.

edges, scumbled paint, and the judicious use of glazes all contribute to his rich surfaces. His fractured spaces, transparency, multiple images and their afterimages cause his images to sing with movement. Unlike most artists, he was quite young when he decided to make art from his own life. Born into a family that raised rodeo stock, Walter rode as a matter of course. Likewise, he drew constantly in a household without television. He went on to paint and draw horses, year after year, never wearying of his subject, never despairing in his quest to create contemporary Western art. In the beginning he worked alone, one of the very first to turn his back on the established ways of painting rendered into cliche by followers of Frederic Remington and Charles Russell.

Piehl has twice served on the North Dakota Arts Council, once on the Board of Trustees of the North Dakota Museum of Art, and is on the founding governing board of the North Dakota Cowboy Hall of Fame in Medora. Walter Piehl received the North Dakota Governor's Award for the Arts in 2005. As Piehl moves through his sixth decade, he is at the height of his creative powers. His large paintings are magnificent, and the more abstract they become, the more they are saturated with color, the more the temperatures shift between warm and cool, the more they encompass the real energy of the raging bull, the minotaur, or the Sweetheart of the Rodeo—the bucking horse.

Lot #43

David Krindle Winnipeg, Manitoba Untitled Woodfired stoneware with ash glazes 18.75 x 14 inch diameter, 1983 Range: $400 - 600

David Krindle has been a full-time potter for twenty

The less refined approach, local materials, recycled clay, and the

years. Prior to this, he worked as a teacher and visual artist.

marks of the fire speak of the process of turning earth into a

David's work emphasizes the qualities of earthiness found in

vessel for human use. In our increasingly technological and

pottery. He uses coarse clays and local unrefined materials in his

complex society where the objects around us may come from

glazes to create a sense of age, earthy origins, and the human

halfway around the world and where the object's earthly origins

marks of the potter. He fires most of his work in a wood burning

are thoroughly disguised, these pieces are a reminder of an

kiln because the wood fire adds an elemental look to the finished

aspect of life that, as we sit in front of our computers, is easy to

pot, as the work in this auction illustrates.

forget. More and more we are divorced from our natural place in

David's larger pieces are currently moving in a more sculptural direction with combined thrown and hand-built parts. He is combining different clays, slips and marking methods to produce work that is more challenging visually and conceptually. David's functional work retains some of the simplicity of traditional hand pottery. The warm clays and muted, earthy colors help create a sense of connection to the past. His shapes and decoration is in the tradition of the local country potter.

the scheme of things. In a small way, the mug beside your computer helps us keep you in touch with who we are.

Kyoto, the work in the auction, captures the fragility of traditional Japanese architecture in the ancient city of Kyoto. The sticks that form the structure suggest the balance and the economy of bamboo structures, humble in both intent and execution. The delicate drawing on paper reminds one of light coming through shojo screens and doors. The painting reflects muted, pastel, Japanese colors washed by the mist of island humidity. Kyoto epitomizes the balance, elegance, and grace of traditional art. —Laurel Reuter 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 “life as a work of art.” Whereas one never arrives at that state, we find it a worthwhile journey. Making art objects is an everyday part of our lives. We think of our art as a way of explaining

Lot #44 Marlon Davidson & Don Knudson Bemidji, Minnesota Kyoto, 2008

ourselves to ourselves. Through it, we try to understand our culture, and to live actively within it. We also explore the past through our art—especially the history of art. While we use a variety of materials, our main source of inspiration is nature and historical art.

56 x 24x 2 inches

We worked and lived for twenty years in the Twin Cities and are

Mixed media

aware that our work is informed by the art and artists we knew

Range: $1,500 - 2,000

while living there.

Lot #45

Nancy Friese Cranston, Rhode Island River, 2007 Watercolor 19.5 x 24.75 inches Range: $1,00 – 1,200

Nancy Friese’s watercolor River is painted on smooth, non-absorbent synthetic paper, which gives a watery sense to the overall image. The painting site is along the banks of the Red River in Lincoln Park, Grand Forks. The critic and author Debra Bricker Balken writes "for the past thirty years or so, Nancy Friese has worked en plein air, casting the ephemeral dimensions of the landscape as resplendent, sometime near abstract shapes." Friese, who teaches at the Rhode Island School of Design, purchased her grandparents’ homestead near Buxton as a summer retreat. She serves on the North Dakota Museum of Art Foundation Board and was included in the Museum’s Remembering Dakota exhibition in the summer of 2008. She is a painter and printmaker who has shown extensively both

Colony, I-Park, and with the City of Pont-Aven, France. Friese has an M.F.A. from Yale University School of Art, graduated from the University of North Dakota with a B.S. in nursing, and the Art Academy of Cincinnati with a B.F.A.. She also spent a year in graduate school at the University of California, Berkeley. The artist is working on a new body of large-scale watercolors for an upcoming show in Austin, Texas. Her recent paintings from the Emerald Necklace park system in Boston will be shown at the Trustman Gallery in April 2009, and her twelve foot landscape paintings will be featured in A Place in Time exhibition at the Ruth Chandler Williamson Gallery in California in November.

nationally and internationally in over thirty solo and 100 group exhibitions. She has received three National Endowment for the Arts Fellowships, including the U.S./Friendship Commission sixmonth grant to Japan. Nancy received the College Art Association and Reader’s Digest Giverny Grant, a Blanche E. Colman Award, and a George Sugarman Foundation Award for painting. Her artist-in-residences include the MacDowell Colony, Millay

Nancy Friese has donated the proceeds from the sale of this watercolor to the Museum of Art

Each watercolor is a collage of vague, symbolic images of remembered life experiences. My father built homes and hunted. My mother cut him some slack . . . . I sat and watched. —Brian Paulsen

Lot #46

Brian Paulsen Fox Fields watercolor 13 x 9 inches Range: $800 - 1,500

Brian Paulsen:

My memory isn’t too good for what

My watercolor technique is methodical, slow and preplanned in

is useful or necessary. Mostly I remember in a collage fashion,

steps. I draw out the composition on tracing paper so that I can

memory of bits and pieces, the way I make art today.

make corrections easily. I transfer the drawing to watercolor

I always react to the utility of a work, the formal aspects, a sunset, a house against a tree. I am less good at looking at art and trying to understand the artist’s intention, or perceiving the artist’s philosophical underpinnings. I not good at making connections between symbols and intentions. The historical and the philosophical grasp elude me.

paper. I then apply wet watercolors next to, or on dried color areas, with synthetic white hair lettering brushes. I paint two paintings per sheet of stretched paper. The artwork is small, which facilitates finishing an idea quickly and moving on to the next work. Paulsen is one of North Dakota’s important, senior painters who

When I create a painting I am looking at it formally, a memory,

taught at the University of North Dakota from 1973 until he

or the association the image has with my own life experiences.

retired in 2007. UND named him a Chester Fritz Distinguished

Regarding the painting in the auction, my son-in-law has a farm

Professor, their highest honor. He has been a visiting artist at

outside of Grand Forks. One day he found a fox scull and gave it

dozens of colleges and universities, and juried eight exhibitions.

to me. I was doing a series of paintings with this piece of stripped

Since 1962, Paulsen has shown in over 1001 juried group

cloth, which I really like, so the painting became a picnic. The

exhibitions, eighty-two solo exhibitions, 204 invitational

cloth is the tablecloth. I placed the fox scull on a plate. The

exhibits, and been invited to include prints in seven print

setting is a field on my son-in-law’s farm in the Red River Valley.

portfolios in the United States, Canada, and abroad. In 2007 the

I liked the idea of painting the shadow of the skull on the plate.

North Dakota Museum of Art mounted a solo exhibition which

If one is looking for a “message” it can be found in the

will result in a book about Paulsen’s work (2008).

juxtaposition of images that, for me, are historical memories from my life.

Lot #47, upper left

Lot #48, upper right

Shaun Morin

Shaun Morin

Winnipeg, Manitoba

Winnipeg, Manitoba

See Ya’ Latter Mixed media on paper 6.5 x 5 inches, 2005 Range: $200 - 300

barely out of art school, Two-Six are already successful artists with street ‘cred’ and art world sanction.

Midnight Special

Two-Six makes paintings and drawings and art videos and music

Mixed media on paper

CDs. In galleries they install, along with large stretched paintings,

6.5 x 5 inches, 2005

collections of small wall works they call ‘Shame Walls,’ a

Range: $200 - 300

punning reference on Halls of Fame. Like Winnipeg's Royal Art Lodge . . . 26 makes ‘all-media-any-venue’ art, initiating their

Shaun Morin is a hot young artist in a city that has become a hub

own shows not only because that is how most young artists

for hot young artists: Winnipeg, Manitoba. Well entrenched in

introduce themselves to the art world, but also because it gives

the practices of young artists is the instinct to join together in

them total control over their work. Artists like 26 regard any

collectives. It began in 1996 when the Royal Art Lodge came into

exhibition space as more-or-less equivalent to any other, and

being and went on to win international success. They came to the

they put as much loving attention into a telephone pole

North Dakota Museum of Art in 2000 with their exhibition

installation as a group show at the local kunsthalle.

Garage Video (Just as bands are formed in the family garage with instruments bought at garage sales for 10¢, beginning video

The collective 26 had its first exhibition together in 2002 at the

artists work in borrowed spaces on a shoestring.).

Graffiti Gallery in Winnipeg, two years before Morin graduated from the University of Manitoba. Just as he jump-started his

Morin is a founding member of 26, or two-six, Too-Sicks, etc., as

exhibition career, Morin won many scholarships during his

is Melanie Rocan who also has work in this auction. According

college years beginning in 201 and 2002 with the National

to Rocan, Too-Sicks collective is a group of artists that work

Aboriginal Achievement Foundation Fine Arts Scholarships.

individually but together, they share ideas and feed off of one another. There's always someone to talk to about your work and

Likewise, Morin has been successful in establishing his

give criticism.

individual career with solo exhibitions in Winnipeg, Montreal, and Toronto where the Katharine Mulherin Contemporary Art

According to Winnipeg artist/critic, Cliff Eyland, although

Gallery handles his work.

Lot #48

Sarah Hultin Fargo, North Dakota Rural Landscape 32 x 26 inches Oil on canvas Range: $250 - 400

Sarah Hultin was born in Hoople, North Dakota. Her

sincerity within the seemingly mundane. This setting grounds

interest in art was ignited at a young age. It seems she always

people to the past while fastening a sense of emotional and

drew and painted. .Clearly, she came to understand her small

physical well being to the present. The silent land bestows a

world through visual language. In 2004, she enrolled at

feeling of comfort through the spirit of nature while the space

Minnesota State University Moorhead in graphic design.In 2007

behaves as a powerful resistance to change. The distortion of the

she switched to painting and plans to complete her B.A. in the

landscape proposes a disconnection due to the separation from

fall of 2009.

rural surroundings—the landscape appears a distant memory.

According to the artist, Through distance and time, I have learned

The loose brushstrokes used to apply oil paint brings energy and

to value the serenity of the rural lands. Focusing on the essence

excitement to the natural essence of the rural landscape. Color

of nature, Rural Landscape provides a sense of solitude and

interacting with emotion suggests both movement and time.

Explore . . . Endure . . . Evolve . . . North Dakota Quarterly is proud to support the North Dakota Museum of Art’s Autumn Art Auction—part of our ongoing support of art and artists in the upper Midwest. Kimono, a collage of thread, pigment, and acrylic on washi (Japanese paper), by Timothy Ray of Moorhead, Minnesota, is on the cover of our current issue, available for $8 each in the Museum shop. North Dakota Quarterly is local in origin but national and international in its range, as in our recent Translation Issue featuring Pulitzer Prize winner Richard Wilbur, William Jay Smith, W. D. Snodgrass, and world famous authors like Timothy Ray, Kimono

Sophokles and Pierre Corneille.

North Dakota Quarterly, Merrifield Hall Room 110, 276 Centennial Drive Stop 7209, Grand Forks ND 58202-7209, (701) 777-3322 e-mail:

Wells Fargo Is Proud To Honor The North Dakota Museum Of Art When people work together, there’s nothing that can’t be accomplished. We’re proud to be part of the team.

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North Dakota Museum of Art Board of Trustees

North Dakota Museum of Art Foundation Board of Directors

Kjersti Armstrong

W. Jeremy Davis

Victoria Beard, Vice Chair

Kevin Fickenscher

David Blehm

Nancy Friese

Julie Blehm

Bruce Gjovig

Ann Brown

Daniel E. Gustafson, Vice Chair

Chad Caya

David Hasbargen

W. Jeremy Davis

Margery McCanna

Virginia Dunnigan

Betty Monkman, Chair

John Foster

Laurel Reuter

Bruce Gjovig

Al Royse

David Hasbargen, Chair

North Dakota Museum of Art Staff

Jean Holland Kim Holmes Sandy Kaul

Justin Dalzell

Rick Mercil

Sharon Etemad

Dianne Mondry

Suzanne Fink

Laurel Reuter

Elizabeth Glovatsky

Alex Reichert, Treasurer

Amy Hovde

Pat Ryan

Kathy Kendle

Wayne Zimmerman, Secretary

Brian Lofthus

Corinne Alphson, Emerita

Laurel Reuter

Barb Lander, Emerita

Gregory Vettel

Darrell Larson, Emeritus

Matthew Wallace

Robert Lewis, Emeritus

Justin Welsh

Ellen McKinnon, Emerita

Katie Welsh

Douglas McPhail, Emeritus Sanny Ryan, Emerita

Student Employees

Gerald Skogley, Emeritus

Stephanie Clark

Anthony Thein, Emeritus

Rachel Crummy Adam Fincke Andrew Yost and over fifty volunteers

North Dakota Museum of Art, 261 Centennial Drive Stop 7305, Grand Forks, North Dakota 58202-7305 USA

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Autumn Art Auction 2008  

Autumn Art Auction 2008

Autumn Art Auction 2008  

Autumn Art Auction 2008

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