Salina Biennial: Contemporary Art from the Mountain-Plain Region

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95 works created by 63 artists from the 10 mountain— plains states.

1. Stephen Proski, The Grudge, 2019 2. Laura Snyder, Strong Stance, 2018

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As the juror for the Second Salina Biennial: Contemporary Art from the Mountain-Plains Region, I was first delighted by the response to the call for submissions — over 600 works! by 235 artists! — and then quickly challenged by the task of not only selecting excellent work, but also shaping a cohesive exhibition that might attempt to answer the question, “What even is contemporary art?!”

The themes into which the works in the show were ultimately grouped emerged from the submissions themselves and the patterns of preoccupations I saw in them. My hope is that the resulting exhibition attests to the robust and lively arts scene of the Mountain and Plains region — a scene that both demonstrates a great breadth and diversity of interests and modes of working and, at the same time, shares the core preoccupations of contemporary artists working globally.

ences that fit under the umbrella of visual art. Working with contemporary art, one learns nothing so fast as to abandon expectations and embrace the mixture of curiosity and unease provoked by encountering something one does not know how to interpret. If you’re feeling bewildered -- welcome to the club! Let’s talk about it!

By contrast, the other three sections of the exhibition harken to more traditional interests ­— in portraiture, still life, landscape, and abstraction — that have defined the history of Western art from the Renaissance through the 20th century. The pieces selected demonstrate, I believe, how much can still be said and done within the constraints of these more familiar categories.

And, of course, as always, what any given work can say and do for any given viewer will often exceed a curator’s ability to create neat categories into which to place it.

As you go through the exhibition, I hope you make your own connections — to individual pieces, as well as between works — and think of the many exciting ways in which this show could have been conceived otherwise.

I am very grateful to all the artists who submitted work to the Salina Biennial and to Gretchen Boyum and the entire staff and board of the Salina Art Center for inviting me to be the juror and making the process of shaping this exhibition with them so enjoyable. It’s been a valuable experience for me, one that has inspired a deep curiosity and admiration about art and artists in a region to which I myself have only returned recently. I hope the Biennial inspires similarly positive feelings among the SAC’s audiences, as well, and starts many thought-provoking conversations.

The submissions and the resulting exhibition highlight a tension that characterizes contemporary art more broadly between, on the one hand, interest in pushing the envelope of the new and, on the other, a commitment to certain foundational traditions. The different sections of the exhibition draw out that tension. Work in the sections titled Pushing Materiality and Shaping Time and Space represents relatively new (historically speaking) ways of making art for a museum context and demonstrates a tendency within contemporary art to continuously expand the range of materials and experi-

Ksenya Gurshtein, Curator of Modern and Contemporary Art Ulrich Museum of Art, Wichita State University, Wichita, ks

1. Ghislaine Fremaux and Lando Valdez, F,or,ever [detail], 2019 2. Morgan Ford Willingham, then, you show your little light [detail], 2019

Pushing Materiality The works in this section take on surprising materials —from raw coal (William T. Carson) to tissue paper (Meghan Miller) to keyboard keys (Bart Vargas). In their use of media, particularly Stephanie Lanter’s and Trisha Coates’ use of ceramics, they also break down any remaining vestiges of a boundary between “art” and “craft.” The works are big and bold -- something one often expects of contemporary pieces. Yet these works also defy the expectation that big and bold equals permanent and static. Some pieces are pointedly fragile. Others (Marc Durfee) are meant to be broken in the process of being seen. As in love and war, when it comes to means to an end, all’s fair in contemporary art.

Our Bodies / Our Selves The works in this room speak to the ages-long tradition of representing human bodies and faces — with various contemporary twists. Works in this room are proof that in a world full of selfies and casual documentation of our lives in myriad digital snapshots, portraiture as an art form still remains singularly powerful. It reveals something more than mere likeness and tells deeper and harder truths about ourselves and others. Works in this gallery that riff on familiar forms of photographic documentation were grouped together precisely because they underscore this point.

The allusion of the section’s title to the iconic 1970 feminist text Our Bodies, Ourselves is also no accident. Feminism, with its emphasis on the personal being deeply political, has been a profound influence on contemporary art and particularly contemporary portraiture, regardless of the makers’ gender. It is worth noting, though, that much of the work in this room is made by women, for whom the process of shaking off various patriarchal expectations and fully discovering their bodies and emotionally complicated selves on their own terms remains unfinished and urgent business.

...where nature ends...and culture begins…

The works in these two interconnected galleries depict “natural” and “man-made” environments, drawing on the historic traditions of landscapes and still lives.

The division between the galleries is deliberately fluid, unstable, and somewhat arbitrary, however, since the works suggest, both subtly and unsubtly, the ways that things that are “natural” — food and diseases, for instance — intrude upon the human lived environment while the “human” — pervasively present in everything from built environments to resource extraction to endless plastic trash — intrudes on “nature.” The works selected do not romanticize nature, but do ask us to take a cold hard look at how we’re living as a species, with a number of works drawing particular attention to the habits of habitation found specifically in the American West. Do we like what we see?

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Abstract Yourself Explorations of visual abstraction and what it can do both aesthetically and socially to a significant extent defined the direction of art in the 20th century, creating both a remarkable legacy and, at the same time, lingering questions about how to frame the meaning and function of abstraction in a visual world that largely resists it outside the confines of gallery walls. After grappling with the question of “whither abstraction” for years myself, I recently became excited to think of it as a form of information and data visualization, whether it’s information on visual shapes and colors or on things which are fundamentally abstract and can only be experienced visually through metaphoric approximations — Ann Resnick’s pieces created as a means of tracking the passage of time are a deeply moving example of this approach. The works in this room play around with form, serve as evocative traces of an artist’s activities in the studio, and offer a different approach to grasping the ungraspable, from spiritual and metaphysical experience to the inner workings of photographic technologies normally seen as producing the antithesis of abstraction. In each case, the map is not the territory — that’s what makes it a map! — and here, there’s the extra fun component of figuring out which is which.

Shaping Time and Space One of the main ways in which artists are different from “normal” people is that their profession presupposes the need to make a lot of time and space to research, think, and reflect in unpredictable ways not dictated by standardized measures of productivity and efficiency. The works brought into the Salina Art Center’s Warehouse during residencies that are part of the Biennial are ones in which the artists in some ways share that freedom to explore freely as a gift with visitors, carving out time and space for others to meander, linger, listen, pause, reflect, and open oneself up to new experiences, often ones that

engage senses beyond sight. Every once in a while, these experiences stick in the crevices of one’s mind as a moment when one felt one’s ordinary experience transformed or was transported from it.

Pushing Materiality

William T. Carson Born 1992, Sheridan, WY Lives: Santa Fe, nm

Marc Durfee Born 1969, Wichita KS Lives: Wichita, KS

Way Down in the Mine, 2019 Coal, mica, on wood panel [25" x 19" x 4"]

Regrets , 2019 metal, plastic, wood, glass, electricity [52"x24"x42"]

Trisha Coates Born 1980, New Hampshire Lives: Wichita, KS

Geraldine Craig Born 1959 Wichita, KS Lives: Wichita, KS

Love Letter to My River, 2019 Cone 6 Porcelain, Stoneware, and Glass on Panel [54" x 144" x 8"]

Transmitters, 2019 Bamboo umbrella skeletons, thread weaving, CnC etched plywood, basket, cotton [9' x 15' x 7']

Alicia Kelly Born 1986, Sapulpa, OK Lives: Lawrence, KS A New Frontier, 2019 Cut paper on Cotton [22" x 30" x 2"] A Limitless Character, 2019 Ink, sculpted paper on cotton [15" x 22" x 2"] Stephanie Lanter Born 1976, Omaha, NE Lives: Emporia, KS Missed, 2019 Porcelain, stoneware, underglaze, glaze, nichrome wire [17" x 13" x 10"] Meghan Miller Born 1980, Wichita, KS Lives: Towanda, KS Midnight Bull , 2019 tissue paper, fabric [80" x 120" x 2"] Bart Vargas Born 1973, Offutt Air Force Base, NE Lives: Omaha, NE

1. William T. Carson, Way Down in the Mine [detail] , 2019

There Are Places on the Map that Do Not Exist, 2019 Recycled keyboard keys, recycled chipboard, hollow core doors, paint, glue and hardware.

[84" x 144" x 3"]

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...where nature ends

Anne Burton Born 1982, Washington D.C. Lives: Lincoln, NE

Kelsey Hoines Born 1997 Cherry Point, NC Lives: Manhattan, KS

Rachel Rector Born 1990, Kansas City, MO Lives: Tulsa, OK

Surgery Quilt #2 , 2019 woodcut print on Japanese paper [21.5" x 16.5" x 0"]

The Overhang, 2019 Oil [72" x 48 "x 2"]

She Brings Spring, 2018 Polaroid Polacolor 669 Instant Film (taken on a Polaroid 250 Land Camera) [Frame: 20" x 26" x 1" Image: 11" x 17"]

Shai Christensen Born 1996, Holdrege, Ne Lives: Hays, KS

Kammy Kennelly-Downs Born 1961 Honolulu, HI Lives: Hays, KS

Journal Landscape, 2019 Collage, charcoal, ink, and graphite on canvas [24" x 48" x 1"]

Impress III, 2019 Mix Media on Paper [60" x 38"]

Daydream In Infrared, 2018 35mm Lomochrome Purple Film, taken with a Canon AE-1 [11" x 17"]

Seedling III, 2019 Graphite and Watercolor on Paper [23.5" x 23.25"] Lilly McElroy Born 1979, Globe, AZ Lives: Lawrence, KS

Joe Ren Born 1983, Tianjin, China Lives: Madison, SD Splash 5, 2019 Digital Print [24" x 36"] Danielle L Robinson Born 1981, Anaheim, CA Lives: Hays, KS

Sanding Away A Year’s Worth of Sunsets, 2019 365 Photographs, Copy Stand, Video Camera, Television Variable

Traverse Terrain, 2019 Cast Iron, Limestone, Steel, Resin.

[20.25 " x 17" x 7.625" ]

Jess Peri Born 1989, Dallas, TX Lives: Ranchos de Taos, NM

Laura Snyder Born 1977, Omaha, NE Lives: Omaha, NE

Columbia Shuttle Debris Field, Montalba, Texas: 2.1.2003, 2018 Archival Pigment Photograph [10"x 20"x 1"]

Strong Stance, 2018 Photographic Print [16" x 20"]

Mexico- United States Border: 4.21.1863 2018 Archival Pigment Photograph [15"x 20"x 1"] Eileen Richardson Born 1987, Denver, CO Lives: Denver, CO Ex Situ, 2019 Mushrooms, Acrylic, Glass [24x 20x 20]

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The Weight of History, 2019 Photographic Print [16" x 20"] Joseph Vavak Born 1979, Fort Wayne, IN Lives: Omaha, NE Chadron State Park, Nebraska, 2019 Digital Black & White Print [16" x20"] Edgemont Road near the Wyoming State Line, Nebraska, 2019 Digital black and white print [16" x 20"]

Tulips, 2018 Archival inkjet print [18" x 12" x 1"] Window, 2018 Archival inkjet print [18" x 12" x 1"] Joe Bussell Born 1955, Topeka, KS Lives: Kansas City, KS Frag Series #1, 2019 Mixed [9" x 10"x 8"] Frag Series #2, 2019 Mixed [16" x 20" x 8"] Rebecca Rothfus Harrell Born 1977, Pittsburgh, PA Lives: Austin, TX Evidence, 2019 Graphite and gouache on paper [20" x 30" x 0"] Kimberly Ivancovich Born 1980, Redmond, OR Lives: Hutchinson, KS Permanent Disintegration #7, 2019 Concrete and star washers [7.75" x 7.625"] Permanent Disintegration #9,2019 Concrete and glitter [9" x 7.5"] John Kuhn Born 1948, Joplin, MO Lives: Lawrence, KS Stand Your Ground, 2019 Acrylic on canvas [40" x 48" x 1.5"]

1. Rachel Rector, Daydream In Infrared [detail], 2018 2. Nelson Smith, Workaround Truth, 2018

Linnebur & Miller Hallie Linnebur and Meghan Miller Born 1985, Springfield, MO, 1980, Wichita, KS Lives: Towanda, KS CristalStar, 2019 found plastic objects, wire, plastic tubing [84" x 65" x 40"] Leigh Merrill Born 1978, Dayton, OH Lives: Dallas, TX

Michael Ramey Born 1974, Detroit, MI Lives: Rapid City, SD

...and culture begins…

Amanda Breitbach Born 1981, Circle, MT Lives: Nacogdoches, TX

Relentless Optimism, 2019 Photography [15.5" x 19.5" x 1" ] Industry VS Inferiority, Date Photography [15.5" x 19.5" x 1"] Jennifer Ray Born 1984, Winston-Salem, NC Lives: Wichita, KS

Jack’s, 2019 Archival pigment print [31" x 35" x 2" framed]

Found Sculpture Bust

Warehouse, 2019 Archival pigment print [31" x 35" x 2"]

Nelson Smith Born 1955, Detroit, MI Lives: Lindsborg, KS

Ashley Miller Lives: Albuquerque, NM

Workaround Truth, 2018 graphite on drawing paper – iridescent metallic acrylic on handmade paper [30" x 42"]

Meat Foot with Eggs, date C-print [40" x 32"] Eyelashes, date C-print [20" x 16"]

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Our Bodies / Our Selves

LaMar Barber (aka Barber) Born 1982, Detroit, MI Lives: Omaha, NE Victoria, 2019 mixed medium on paper [84" x 60"]

Ghislaine Fremaux and Lando Valdez Born 1986, Washington, DC Lives: Lubbock, TX

Jee Hwang Born 1984, Seoul, Republic of Korea Lives: Hays, KS

F,or,ever, 2019 Pastel drawing on collaged paper [72" x 96" x 0"]

Flower Portrait (Liu Chang), 2019 Oil on Canvas [48" x 35"]

Frank Blazquez Born 1987, Chicago, IL Lives: Albuquerque, NM

Lily Guillen Born 1995, Morelia, Mexico Lives: Wichita, KS

Josephine Langbehn Born 1983, Omaha, NE Lives: Omaha, NE

Carlos, 2018 Digital print, giclée on cotton rag (framed, no mat) [16" x 24" x 1.5" ]

El Escape de Nuestro Cuerpo (Romanos 8:23), 2019 Mixed Media on Canvas [36" x 24"]

Bootlegger, 2019 Acrylic on Canvas [44" x 28"]

SJ Remap, 2018 Digital print, giclée, acrylic, tape and ink on cotton rag (framed, no mat) [16" x 24" x 1.5"]

El Acto de Purgar (2), 2019 Mixed Media on Canvas [12" x 12"]

Melinda Laz Born 1974, St. Louis, MO Lives: Golden, CO

Colette Copeland Born 1966, Baltimore, MD Lives: Frisco, TX Bearding, 2018 HD video [Variable]

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Victoria Hernandez Born 1998, Zacapu, Michoacán Mexico Lives: Emporia, KS Your Insecurities Don’t Define Who You Are (Flowers in Bra), 2018 Archival Pigment Print [13" x 19"]

Model A, 1930, 2019 Hand painted ceramic [9.5" x 6.5" x 1.5"] The Pink Coat, 2019 Hand painted ceramic [8" x 8" x 1.5"] William Francis Matthews Born 1942, Marietta, OH Lives: Tulsa, OK Girl in the Mirror , 2019 assemblage/sculpture [70" x 28" x 26"] Mike Miller Born 1958, Lawrence KS Lives: Wichita, KS The You Are Here Sphere, 2019 Kinetic sculpture. Glass mirror sphere, lens, brass tripod, electric motor [55" X 22" X 22"] Sophie Newell Born 1987, Manchester, England Lives: Omaha, NE This Sure Is a Grand Place, 2019 Mixed media collage on postcards [8" x 8"]

Sophia Ruppert Born 1993, Mishawaka, IN Lives: Lincoln, NE Couch Potato, 2019 Plaster, fabric, resin [22.5" x 23" x 12"] Baby Girl, Date Plaster, nylon, resin [27" x 9" x 5"] Trish VanOsdel Born 1963, Wichita, KS Lives: Wichita, KS Betrayal of Beauty, 2019 Stainless Steel Wool, Wood, Steel [60" x 55" x 55"]

Shaping Time and Space

2 2020 Artists in Residence — Dates to be announced Rachel Epp Buller Born 1974, Lincoln, NE Lives: Newton, KS Monika Stuckton Maddux Born 1979, Wichita, KS Lives: Wichita, KS Alexandra Robinson Born 1974, Austin, TX Lives: Austin, TX

Tom White Born 1997, Omaha, NE Lives: Omaha, NE Strained Association, 2019 Pen & Ink/Digital [40" x 41"] Morgan Ford Willingham Born 1985, Fort Mill, SC Lives: Emporia, KS someday, when the hands of time invert, 2019 cyanotype on found textile [10.5" x 10.5"] then you show your little light, 2019 cyanotype and hand embroidery on found textile [13.5" x 13"] Adelia Wise Born 1988, Ann Arbor, MI Lives: Wichita, KS Maternal Condition, 2018 Charcoal on Paper [68" x 52" x 0"] The Big Picture, 2019 Charcoal and Gesso on paper [84" x 108" x 0"] Clusterf_eding, 2018 Charcoal on paper [52" x 86" x 0"]

1. Frank Blazquez, Carlos, 2018 2. Jee Hwang, Flower Portrait (Liu Chang) [detail], 2019

Abstract Yourself

Greg Bahr Born 1976, Syracuse, NY Lives: Fort Worth, TX

Jonathan Dankenbring Born 1981, Kansas City, MO Lives: Colorado Springs, CO

Routescape, 2018 serigraph on paper [16" x 16"]

Vertical Altar Concept (w/ Accessories), 2019 Aluminum, Fabric, Tar, Acrylic, Brass [66" x 24" x 24" ]

Daily Route No.2, 2019 serigraph on paper [16" x 16" (round)] Norman Carr Born 1947, Wichita, KS Lives: Wichita, KS Stravinsky’s Junk Drawer, 2019 Acrylic on panel [26" x 37.5" x 1.5"] Jack J. Collins Born 1956, Belleville, KS Lives: Lawrence, KS Fewer Corridors, 2019 Acrylic on wood [42" x 36" x 3"]

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Paho Mann Born 1978, Snowflake, AZ Lives: Dallas, TX Stereo Contessa, Stereo Camera, 2019 Archival Pigment Print [20" x 40"] Spiderman Camera, 110mm Film Camera, 2019 Archival Pigment Print [26" x 35"] Andy Mattern Born 1979, Albuquerque, NM Lives: Stillwater, OK Average Subject / Medium Distance #7280 (Flowers), 2019, 2019 Pigment Ink Print [25.75" x 17.75"] Average Subject / Medium Distance #4202 (Color), 2018, 2018 Pigment Ink Print [25.75" x 17.75"] Karla Prickett Born 1950, Concordia, KS Lives: Salina, KS Elements I & Elements II, date mixed media collage on canvas diptych [30" x 60" x 1.25"] Ann Resnick Born 1954, Syracuse, NY Lives :Wichita, KS 115:17.13, 2018 Spray Paint, Burned Paper [38" x 100"]

Joshua J Tripoli Born 1991, Dixon, IL Lives: Wichita, KS Nanette in Her Pool, 2018 oil & acrylic on canvas [40" x 40" x 2 ½"] May Tveit Born 1966 Nyack, NY Lives: Lawrence, KS 4:18 pm, 2018 Framed Monoprint [23.5" x 31" ] Kate Van Steenhuyse Born 1979, Vinton, IA Lives: Wichita, KS Just Let It, 2019 acrylic, pen, bleach on canvas [52" x 47" x 6"]

1. Andy Mattern, Average Subject / Medium Distance #4202 (Color), 2018, 2018 2. May Tveit , 4:18 pm, 2018 3. Rebecca Harrell, Evidence [detail], 2019

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Defining Place: Art in the Mountain­— Plains States The second iteration of the Salina Biennial continues to affirm the power of art making in the Mountain Plains region. The Biennial was established in 2018, in part as a continuation of the regional invitational, an exhibition held at the Art Center from 1979 until 2002, but also to highlight artists that are balancing the traditions and history of our region with a larger, global contemporary practice.

This year over 230 artists submitted over 600 works to the Biennial call, which included the states of Colorado, Kansas, Montana, Nebraska, New Mexico, North Dakota, Oklahoma, South Dakota, Texas, and Wyoming.

We are honored to have Ksenya Gurshtein, Curator of Modern and Contemporary Art at the Ulrich Museum of Art, serve as juror.

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The exhibition Gurshtein has assembled advances the mission of the Art Center and continues our tradition of exhibitions that pose important questions and encourage meaningful interactions. The 63 artists selected represent a geographic area covering seven states: Colorado, Kansas, Nebraska, New Mexico, Oklahoma, South Dakota, and Texas. Looking closely at the individual pieces we find a variety of mediums and approaches, from traditional landscape photography to contemporary video. Taking a step back we can see the larger themes emerge from the diverse field of work. Issues of identity, the environment, and materiality come forward. Gurshtein’s selection of works sets the stage and invites the audience into the conversation.

In her essay Gurshtein asks us to consider what is, exactly, contemporary art. I think this exhibition also challenges us to define regional art. Isn’t all art regional? Aren’t all artists responding to their immediate surroundings? Are artists from the Mountain Plains any different?

Many of the artists allude to the shared history and landscape of the west. Some, like Sophie Newell and Josephine Langbehn use nostalgia and familiarity to pull these histories from the viewer. Others, like Lilly McElroy, confront the narrative of the “American West, urging us to

consider the role of women’s voices in that story. The landscape appears in several works, a visual record of the particular place where we live, but these landscapes also tell us about the passage of time, our ever-evolving culture, and some events we might rather forget. In the end, as Gurshtein contemplates, the map is not the territory. The artists of the Mountain-Plains are equally defined by their place while also defining it, and continuing to redefine it.

Thank you to Ksenya Gershtein for her thoughtful and thorough examination of all the works that were submitted. With the number of high-quality submissions this was not an easy task! A sincere thank you to all of the artists that submitted, and for your continued exploration of and dedication to the Mountains Plains region.

Thanks to Marc Durfee, Salina Art Center staff, Board of Directors, and Exhibitions Committee for all of their hard work behind the scenes. Thank you to the National Endowment for the Arts, Salina Art Center Endowment Foundation, Homewood Suites by Hilton, Salina Downtown, a Lighthouse Property, and Bennington State Bank for making this exhibition possible.

Gretchen Boyum, Interim Curator Salina Art Center

thank you This exhibition is funded through the National Endowment for the Arts, Salina Art Center Foundation, Homewood Suites

by Hilton, Salina Downtown, a Lighthouse Property, and Bennington State Bank.

Salina Art Center is a nonprofit contemporary art and education center founded in 1978 in Salina, Kansas. Accredited by the American Alliance of Museums since 1991, the Art Center’s mission is “to create exchanges among art, artists, and audiences that reveal life.”

Salina Art Center exhibitions and programs are funded by Art Center donors, members, underwriters, foundations and the City of Salina.

Art Center supporters include artists, educators, and community members who envision a center to engage people in art experiences of quality, relevance, and significance to our global community. A heartfelt thank you to our patrons, sustainers, advocates and benefactors for their generosity.

Catalog published by Salina Art Center to accompany the exhibition, 2020 Salina Biennial | Contemporary Art from the Mountain Plains Region Salina Art Center, 242 S. Santa Fe Ave, Salina, Kansas April 1 - June 14, 2020 Artist Reception June 5, 2020

Text by Ksenya Gershtein & Gretchen Boyum Design by Abby Crawford All images courtesy of the artists Distinguished Juror, Ksenya Gershtein, Exhibition design by Marc Durfee & Ksenya Gershtein

A heartfelt thank you to the “SAC Circle of Patrons� for their generosity:

Bill and Jane Alsop Roy and Donice Applequist Mike and Mary Nell Beatty Mike and Debra Berkley Karen Black Shannon and Jo Buchanan Bill and Ruth Cathcart-Rake Mark and Angie Coble John and Debbie Divine Bob and Mary Exline Rob and Kelli Exline Jeff and Lynn Gillam John and Kristin Gunn James and Brigid Hall Saralyn Reece Hardy George Jerkovich Peter and Sara Johnston Mark and Carolee Jones Gary and Lana Jordan Paul and Carol Junk Jeff and Paula Knox Dahx and Colleen Marrs Mary Lou and Joe McKenzie

Robert and Kim Moeller Sallie and Richard Morrison Dusty and Wendy Moshier Martha Rhea John and Alison Riekhof Rex and Carol Romeiser Bob and Linda Salem Mary Shaffer Boyd and Heather Smith Morrie and Sydney Soderberg Melanie Terrill and Mike Soetaert Connie Stevens Marilyn and Dan Stone Paula Fried and Brad Stuewe Keir and Ashley Swisher Harley Hamilton and Guy Walker Patricia Traxler and Pat Wallerius Mark and Carolyn Wedel Gary and Mary Anne Weiner Margie Wilson Travis and Melanie Young