Autumn Art Auction
N ort h Da k ota M u s e um of A rt
North Dakota Museum of Art
AUTUMN
Art
Auction
Friday, October 27, 2000 Light Buffet, 6:30 - 8 pm Auction begins at 8 pm
Music for the Auction Jazz ON TAP Kris Eylands, guitar Bob Cary, bass
Auction Preview Monday, October 23, until auction time in the Museum galleries Monday - Friday, 9 to 5 pm
Mike Blake, vibraphone
Informal Gallery Talk by Museum Director, Laurel Reuter Wednesday, October 25 at 6 pm Learn about individual works in the Auction
The Autumn Art Auction is Underwritten by Dayton’s
Wine: Beer: Supporters:
With Additional funding from
Congress, Inc. Summit Brewing Company McKinnon Co, Inc. Judd and Lisa Sondreal, Owners George and Ellen McKinnon, Founders Ryan Bros. Inc. Autumn Art Auction Advertising Sponsors who appear in the last section of the catalog
From the Museum Director
Chuck Bundlie, Auctioneer
Somehow, through both “the best of times and the worst of times,” the North Dakota Museum of Art has survived and flourished — but not without the dedication of the Museum’s Volunteer Corps, among whom Carmen Toman figures prominently. Our major underwriter, Dayton’s, has a well-deserved reputation for supporting the arts in their communities. Dayton’s remains one of the Museum’s most important allies.
Up until his retirement eight years ago, Chuck Bundlie was a familiar voice and television image in the Red River Valley. He started his broadcasting career while a student at Grand Forks Central High School. He attended the University of North Dakota, before joining the U.S. Air Force, returning home in 1955. Except for the two years he and his wife Margaret lived in Winnipeg, Grand Forks was to remain his home.
Also, I would like to draw your attention to the advertising section of this catalog. In addition to Dayton’s, these businesses have contributed between $100 and $1,000 in advertising sponsorships. You will notice that almost all are locally owned or managed. Many are small establishments with limited advertising budgets. They need our support in return.
Bundlie was instrumental in establishing a TV station at Pembina, North Dakota. About that time KNOX TV was getting ready to go on the air and Bundlie was appointed its News Director where he anchored the first local live newscasts in the northern Valley. In the late 1960s Chuck founded the WDAZ TV news department. He worked at WDAZ for twenty-five years before retiring.
Some, while they may write checks to the Museum, also serve in more private ways. For example, did you know that the Museum, as a not-for-profit, receives free banking from Community National Bank? Think of the value of that gift over the course of twenty-five years. Or, that Tom Ziden, Field Manager for Crystal Sugar, is the Museum’s volunteer carpenter. For years Wall Drug has sent us an annual gift of $500 dollars; so we decided to make that gift public in this catalog. This past year we needed to replace carpeting so searched our records for a supporter in the carpet business. CC Plus of East Grand Forks got the job. So, not only do we ask you to read the ads, but patronize these wonderful people on the Museum’s behalf. I am deeply grateful to all of you, and to Museum staff members Marsy Schroeder and Madelyn Camrud, for this wonderful event and your on-going support. — Laurel Reuter
He is remembered for his morning newscast with his dog, Ozzie, a sad-eyed basset hound. Ozzie became a star in his own right. Though admittedly not an art connoisseur, Chuck says he “knows what he likes when he sees it.” Chuck has M. C’d many benefits and events in the area, though this is his first time as an art auctioneer.
It is an honor to chair the North Dakota Museum of Art Autumn Art Auction. THANK YOU to all the committee members and the Museum staff for their enthusiasm and energy in making this year's auction a success. Through their efforts, everyone can enjoy this wonderful evening while bidding on their favorite art works. —Carmen Toman, Chair
Rules of Auction
q Each guest will receive a bidding card as part of
registration with the price of a ticket. Upon receiving the bidding card, each guest will be asked to sign a statement vowing to abide by the Rules of the Auction listed in this catalog. q Absentee bidders will either leave their top bid on
an Absentee Bid Form with Museum personnel or bid by phone the night of the auction. Absentee bidders, by filling out the form, agree to abide by the Rules of the Auction. q Each bidder will use his or her own bidding number
during the auction. q All sales are final. q In the event of a dispute between bidders, the
auctioneer shall either determine the successful bidder or re-auction the item in dispute.
Autumn Art Auction Committee
Dawn Marie Anderson SueEllen Bateman Madelyn Camrud, Staff Yvonne Cronquist Phyllis Espegard Louise Eberwein Lee Geer Julie Hall Lonnie Laffen Karna Loyland Kitty Maidenberg Michelle Mongeon Jerry O'Connor Patti Palay Misty and Gerad Paul Marsy Schroeder, Staff Carmen Toman, Chair Reg Urness
q After the sale or at the conclusion of the evening,
all purchasers must pay for the items at the cashier’s desk and claim them with their receipts as directed.
Carmen Toman
Absentee bidders will be charged the evening of the auction or an invoice will be sent on the next business day after the event. q Many works of art in the auction have minimum
bids placed on them by the artist. This confidential minimum or "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.
has been involved with the North Dakota Museum of Art over the years, having served as Co-chair for the Individual Membership Drive and Chair of the Corporate Membership Drive. She is an active volunteer in the Grand Forks community. Toman is a Financial Advisor with Bremer Bank of Grand Forks. She and her husband Don are the parents of two college-age children.
Will Agar Lot #2
Bud Gilles Lot #1
Gilles cont.
interested in clay in 1980. His pieces, hand-built and rakufired, with images drawn in wet clay show his total ease with line. Rich color results from the raku process and a wide variety of layered glaze applications. Gilles makes ceramics in his basement studio in Winnipeg. He recently bought another house which he is making into a glass-blowing studio. Bud enjoys teaching sculpture and tile murals in the schools; he conducts many workshops for both children and adults. Gilles' work is shown and sold in a New York gallery and in galleries and museums around Canada. Gilles says, "It's one thing to make it into the world's most famous galleries, but making it into someone's living room is even better."
WILL AGAR Minneapolis, Minnesota Volks in Garage after The Storm, Mapleton, MN, photograph 10 X 8 inches, 1984 Range: $500-600
BUD GILLES Winnipeg, Manitoba, Canada Treeman, ceramic/raku 18 x 6 ½ X 3 inches, 2000 Range: $400-450 Bud Gilles was educated in the School of Fine Arts at the University of Manitoba. Previously a painter, Bud became
Will Agar received his early training from his photographer father who studied with both Minor White and Ansel Adams. When very young, Agar lived in the Canary Islands; there he acquired a sensibility toward nature. Agar's photographs today reflect what he has seen and felt while growing up in Minnesota. More recently, Agar's frequent trips to his wife's family in southern Minnesota led to a large body of work about rural life. Agar uses a tripod and a 4 X 5 large format camera which requires a black cloth over his head. Making a picture is a ten-minute set-up, and the view through the ground glass of the camera is upside down. Agar terms this "a delightfully slow and thoughtful process." Agar exhibits his work in numerous shows and competitions in Minnesota, Wisconsin, Iowa, and, most frequently, in Minneapolis area galleries. In 1997, he had a one-person showing of photographs in Coruna, Spain.
Dan Jones Lot #3
DAN JONES
MARIEL VERSLUIS Lot #4
Fargo, North Dakota Evening Bales, charcoal and pastel on paper 25 X 46 inches, 2000 Range: $1200-1800 Dan Jones lives with his family in Fargo where he is a full time artist doing landscape paintings. Though primarily working in oil, Jones often returns to drawing and printmaking, as seen in the 1999-2000 North Dakota Museum of Art's membership print and this large charcoal drawing. "Working on this scale in charcoal and removing color from the process can be very liberating, reducing things down to the most basic elements. Simple, but dramatic." Jones' works are included in many museums, corporate, and private collections including the National Endowment for the Arts in Washington, D.C., The North Dakota Museum of Art, The Plains Art Museum in Fargo, and the Rourke Art Museum, Moorhead. He has exhibited in many regional galleries, in the past five years. In 1997, he was part of the "Five painters from North Dakota" show at the Henrik Ibsen House Museum, Skien, Norway.
MARIEL VERSLUIS Hopkins, Michigan Windbreak, woodcut on paper 38 X 32 inches, 1999 Range: $900-1050 Mariel Versluis grew up on her father’s family farm in West Michigan. She draws and paints at the farm, documenting the familiar patterns and shapes, the brilliant colors and flow of the seasons. Until recently an instructor in art at Western Michigan University, she currently helps manage a
Versluis cont.
dairy and works in her home studio. Versluis observes that she makes art because it’s the closest thing to planting. Her color woodblock (lost block) printmaking techniques manage to reduce the details of scenes to their most elemental components, creating almost abstract imagery. Heightened colors offer an expressionistic view of nature. Versluis has traveled extensively to demonstrate her woodblock printmaking techniques. She exhibits primarily in Michigan. Versluis earned a Bachelor of Fine Arts degree from Grand Valley State University, a Masters of Fine Arts degree in Printmaking from Syracuse University, and a postgraduate fellowship from the Universidad Iberoamericana, Mexico City, Mexico, for studies in Mexican culture, art, and history.
VICKIE ARNDT Lot #5
ALIANA AU Lot #6
VICKIE ARNDT New York, New York Untitled, mixed media on paper and vellum 11 X 8 ½ inches, 1999 Range: $400-600 Vickie Arndt, born in Grand Forks, North Dakota, now lives and works in New York City. She received her degrees from Wayne State University, Detroit, Michigan, and State University of New York at Stony Brook, New York, where she was on a full scholarship and teaching assistantships. She recently had her second solo exhibition at the Jay Grimm Gallery in New York City. According to Jay Grimm, "Arndt sets up a tension between natural forms and synthetic materials in her work which juggles fragility and danger. Sometimes menacing, sometimes humorous, the work contains formal solutions that link them to the surrealist traditions." Critic Lauri Firstenberg wrote, "The sculptural works comprised of debris are manipulated into biomorphic forms which signal the bodily and scatological in a Benglisian way. Her work encourages a dialectic between the natural and the artificial via her materiological experiments." Arndt also recently exhibited alongside some of her most admired artists such as Gregory Gillespie, David Salle and Henri Matisse at the Luise Ross Gallery, New York, in Peep Show: Erotic Fact and Fantasy.
ALIANA AU Winnipeg, Manitoba, Canada Tulips, Irises, and Three Apples, acrylic on paper 36 ¼ X 27 ½ inches, 1999 Range: $2000-3000 Aliana Au was born in Guangdong, China in 1949. She moved several times during her early years, first to Quangzhou and later to Hong Kong. There, in the 1960s, she studied Chinese painting and was introduced to the
work of Vincent Van Gogh. Her Chinese brushwork today seems to echo and celebrate Van Gogh’s life and work. Au’s works on paper are expressive explosions of rich and vibrant color. Au moved to Winnipeg in 1970 where she continued her art studies at the University of Manitoba. In 1994 Au had a major exhibition at the Winnipeg Art Gallery; she has shown her work in many other locations in Winnipeg and other Manitoba cities, and in Saskatchewan and Alberta. In 1990 Au was the only Canadian participant in a show at the John Michael Kohler Arts Center in Sheboygan, Wisconsin. Au is a member of and exhibits regularly at the Site Gallery in Winnipeg.
CONSTANCE MAYERON and
CHARLES FULLER COWLES Lot #7
CONSTANCE MAYERON and CHARLES FULLER COWLES Minneapolis, Minnesota Untitled, high-fire porcelain and patinaed copper 9 X 34½ X 18 inches, 2000 Range: $800 Constance Mayeron and Fuller Cowles have arrived at an aesthetic that evolved naturally from experiments with ceramics and stone over a number of years. Their relationship began more than eight years ago when Cowles, a sculptor, and Mayeron, a ceramicist, created a wall of porcelain tiles for his studio in Taylor's Falls, located on the Wisconsin/Minnesota border. The couple have worked collaboratively ever since, primarily in the creation of tile work for architectural projects. Cowles works mostly in steel, stone, wood and glass. Mayeron throws pots on the wheel, the work she has engaged in for more than twenty years. Relationships are central to the artists’ work . . . "materials or shapes to each other, artist to client, forms in space and the feelings they create." In the past several years, this collaborative team exhibited outdoor sculpture in Socrates Sculpture Park, Long Island City, New York, and in several Minnesota locations. They have completed several public art commissions in Minnesota. Currently under design is a commission for the Vadnais City Hall, Vadnais, Minnesota.
KIM FINK Grand Forks, North Dakota Lulu's Back In Town, acrylic/egg tempura on panel, 20¼ X 22¾ inches, 1998 Range: $400-500 Kim Fink came from Las Vegas, Nevada, to head the Printmaking Department at the University of North Dakota in
KIM FINK Lot #8
1999. Lulu's Back in Town is about Fink's response to votive paintings by Mexican folk artists. When making votives, one makes a prayer and pins a small object (representative of the prayer's request) onto the work. Fink's small prayer symbols adorn the painting's frame. The general theme of the painting itself is more about desire (including unfilled desire) based on Fink's observations while living in Las Vegas where people seemed to want all the "good things in life—the American Dream." "Vegas," Kim says, "is a kind of thermometer for American taste." Born in central California, Kim received a Bachelor of Fine Arts from the Pacific Northwest College of Art, and an Master of Fine Arts from Tyler School of Art. Trained in both painting and printmaking, Fink is proficient in acrylic/egg tempera painting and lithography.
FRANK KELLEY Lot #9
triptych Kelley saw in the Prado Museum in Madrid. In Bosche's powerful work, birds appear in a frightening environment of sinking, falling, and suffering people. Kelley uses Bosche's European birds (different from birds in the states) in a water environment alongside a train pulling out of the station–birds — like people, migrating to Dakota. Kelley recently retired after 35 years of instructing at the University of North Dakota in the Printmaking Department. He also taught drawing and painting at the University, in the community and the region.
DUANE PENSKE Vesta, Minnesota In a Tub Without A Paddle, kinetic wall sculpture, mixed media 30 X 21 ½ inches, 1999 Range: $300-600
DUANE PENSKE Lot #10
FRANK KELLEY Grand Forks, North Dakota Bosche's Birds Migrate To Dakotas, stone and photo plate lithograph on paper, 10 ½ X 17 inches, 1984 Range: $500-600 Frank Kelley, a long-time bird watcher, frequently uses birds as subjects in his art. His interest in birds goes back to second grade in New Hampshire where his teacher had cabinets of stuffed birds that Kelley began to draw. Corydon, Indiana, is Kelley's birthplace, though he lived in numerous states before coming to Grand Forks in 1962 to teach. This work by Kelley is related to Hieronymus Bosche's Garden of Earthly Delight, a
"All my art works are self-portraits, but somehow they are more than this," Duane Penske admits. He says he doesn't understand or see the universal message that, according to viewers, comes out of his work, but that doesn't bother Penske. He just creates. Penske enjoys working with children and adults of all ages, and has come to understand that if humor is injected into life's situations, the outcome is positive. Penske grew up on the farm near where he now lives. Even as a child, he knew he wanted to make art. He spent hours drawing animals and the surrounding landscape. Penske attended Southwest State University in Marshall, Minnesota, and there under Professor Edward Evans, began to build his paintings into three-dimensional works. Penske has had one-person shows and group exhibits in museums and galleries around Minnesota, Iowa, Wisconsin, North and South Dakota and Canada. He was part of a group exhibit in the North Dakota Museum of Art in 1997 and 1992. His work is in the Museum's permanent collection.
BARBARA HATFIELD Lot #11
CHARLES BECK Fergus Falls, Minnesota Black November, woodcut on paper 26 X 41 ½ inches, 2000 Range: $400-600 Charles Beck is a painter, printmaker, designer and art teacher. In all his work, Beck is influenced and affected by where he lives. The landscapes around Fergus Falls, always his home, continually reappear in his woodcuts and paintings. Beck says "You have to make art from what you're interested in. I'd rather make a woodcut of a plowed field with some conviction than a crucifixion with none." Color and textures are what he takes from the landscape, but the horizon is his biggest influence. ". . . the separation between the sky and what I call vertical space and horizontal space . . . seems to be a part of every landscape. I seem to feel the need to show the sky in the background," Beck says. He believes landscapes are extremely exciting because of how they change weekly, even daily. Beck enrolled at Concordia College, Moorhead, Minnesota, in 1941. Artist Cy Running influenced Beck in those early years when Beck was making watercolors; but, ultimately, Beck let go of influence and
CHARLES BECK Lot #12
developed a style, undeniably his own, which has served him well for a half-century.
BARBARA HATFIELD New York, New York Chros, beeswax and graphite 21 X 30 inches, 2000 Range: $800-1000 An energy path; the function of emptiness; the layered and multiple meanings of language; meditative discipline; Greek and Chinese philosophy; a handwriting practice book and the spare beauty of North Dakota's Red River Valley are all source material for Hatfield's work. Barbara grew up on a farm near Thompson, North Dakota. She holds a Bachelor's Degree in Art from the Minnesota State University Moorhead and recently completed a Masterof Fine Arts degree in painting at Parsons School of Design in New York City. She has presented solo exhibits at the North Dakota Museum of Art, at District 31 Victoria's in Wolverton, Minnesota, in Fargo and Moorhead and in New York City.
TED HOWARTH Lot #13
TED HOWARTH Winnipeg, Manitoba, Canada Colonial Chairs, linocut on paper 22 X 30 inches, 2000 Range: $400-600 Ted Howarth says he is "passionate about printmaking . . . I enjoy the process and the bold, sensitive range of markmaking inherent in the medium." Howarth considers his work narrative and invites the viewer to participate in the stories he creates. In Colonial Chairs, the story grows out of Howarth’s frequent travels to the Caribbean. Howarth is fascinated by the Caribbean cultural history, their human conflict, culture clashes, and the general idea of colonialism and imposed social order. The 17th Century chair makes reference to a "seat of power." The two chairs represent the division between imposed and indigenous culture; the chairs, though divided, come together in one framework. Howarth attended the University of North Dakota in the mid- 1990s, and had a solo show in UND’s Hughes Fine Arts Center Gallery. He has exhibited in numerous Manitoba shows, in Winnipeg and Montreal. He has also been a part of shows in Korea, Yugoslavia, Norway, West Germany, Macedonia and the Netherlands.
CARL OLTVEDT Moorhead, Minnesota Valley Sunset, oil on canvas 22 ½ X 29 inches, 1999 Range: $1100-1200 Carl Oltvedt, with artist friends, goes out in the field to sketch and paint scenes that he turns into finished paintings back in the studio. Carl believes it is essential to be in the landscape in order to capture the light and mood of changing colors in
sky and atmosphere. Anyone who has ever said there is no beauty in the flat landscape of the Red River Valley would have to eat his or her words upon seeing Carl's paintings. The viewer shares in the feeling of "being there." Carl Oltvedt began teaching at Moorhead State University in 1983 where he is a full professor primarily teaching drawing. He has worked as a guest artist in regional schools, and his work is represented by Groveland Gallery in Minneapolis. He also has work in the permanent collections of the Plains Art Museum, the Honolulu Academy of Arts, the North Dakota Museum of Art, the Minneapolis Institute of the Arts, and the Minnesota State Historical Society.
GEORGIE PAPAGEORGE Pretoria, South Africa Magnetic Fields, Kilimanjaro/ Mawenzi cibachrome photograph 55 ¼ X 38 ½ inches, 1999 Range: $2500-3000 Kilimanjaro, the subject of Georgie Papageorge's most recent body of work, is the highest free-standing mountain in the world. In this work the vertical and the transcendental prevail, capturing a sense of wonder and mystery. From 1996-1999 Georgie Papageorge engaged in the Kilimanjaro Project: two seven-day climbs to the summit, a three-day stay in the crater of Mount Meru, and a three-hour flight over the craters. The work she produced centers on the volcanic trilogy and their relationship which creates a magnetic field from both an aerial and ground perspective. Major symbols predominate in the work: the circle, the chevron, banner/barrier, and a ladder, Papageorge’s central symbol of transcendence. The climb, central to the art, was intensely spiritual for the artist. Born in Simonstown, South Africa, Papageorge was educated Pat the University of South Africa, Pretoria. Her solo
CARL OLTVEDT Lot #14
GEORGIE PAPAGEORGE Lot #15
Papageorge cont.
exhibitions include galleries in Johannesburg and Pretoria, South Africa, and in London, New York, and the North Dakota Museum of Art. She has work in collections in major museums and galleries in Rome, Cape Town, Johannesburg, Lisbon, the Smithsonian Institution, Washington, D. C., and the North Dakota Museum of Art.
LOIS M. JOHNSON
JON B. OFFUT Lot #17
Philadelphia, Pennsylvania No Maps, No Charts, 1993 plate lithography triptych on paper 20 X 80 inches, three images framed together Range: $1000-1200 Lois Johnson received her bachelor's degree as an art major with teaching certification from the University of North Dakota, Grand Forks, in 1964. At the University of Wisconsin in Madison, her Master of Fine Arts degree in printmaking was awarded in 1966. In 1986, she was a recipient of the Sioux Award from the University of North Dakota. She is presently Professor and Coordinator of the Printmaking/Book Arts Department at the University of the Arts in Philadelphia, Pennsylvania. She has conducted workshops in printmaking processes throughout the United States and in Canada, and is co-author of a manual on water-based screenprinting methods. Her works on paper — drawings, prints, and limited edition book — have been exhibited in twenty solo exhibitions, numerous juried national and international print competitions. No Maps, No Charts, a 1993 three-panel print follows the adventures of a dog sled and musher exploring new vistas in wilderness and urban landscapes. The main characters were presented to the artist (born with a North Dakota thermostat) by a friend, upon hearing she was going to Arizona. The friend speculated that she needed the Arctic dog team to keep cool. Lois is represented in many private and public collections including the Philadelphia Museum of Art, the North Dakota Museum of Art, Metropolitan Museum of Art in New York, the Library of Congress in Washington, D.C., and Victoria and Albert Museum, London.
LOIS M. JOHNSON Lot #16
JON B. OFFUT Fargo, North Dakota Glass Trilogy, blown glass 12 X 15 X 8, 2000 Range: $350-500 Jon Offut was educated at Southern Illinois University at Carbondale, and received his MFA in the Glass Program at the Minneapolis College of Art and Design in 1996. He currently makes his home in Kent, Minnesota, and for the past several years has served as instructor and Studio Coordinator in the Glass Program at Moorhead State University. Offut frequently demonstrates his glass blowing, and has visited Kansas, Kentucky, Missouri, North Carolina, Illinois and Texas to give public presentations. His studio, House of Mulciber, opened in Fargo, December 1998, after Offut devoted an entire year to building the facility and updating his equipment. His work is included in the Plains Art Museum collection and in museums and galleries in Texas, Florida, North Carolina, Kentucky and Illinois.
has used specific sculptural materials: wood, rubber, epoxy resin, lead, plaster and some motorized elements. These industrial materials act as a substitute for flesh. In 1994 Neal received a National Endowment for the Arts, Visual Arts Fellowship for Sculpture. She was awarded a residency in Saratoga, California, the summer of 2000. Though on faculty at the University of Nebraska, Lincoln, Neal currently works and instructs in a studio at the University of South Dakota, Vermillion. She has had one-person shows in New York, Kentucky and Illinois, among others, and has participated in numerous group shows. She often works as a visiting artist and lecturer.
MO NEAL MO NEAL Vermillion, South Dakota Methods of the Heart and Blood, hydrocal, wood, 46 X 46 X 14 inches, 1996 Range: $900-1200 The content of Neal's sculpture comes through the process of making — it reveals itself slowly. Both repulsive and seductive, the scope ranges from the physiology of aging, to the banality of a clogged pore, or the intrusiveness of surgery. Certain elements recur repeatedly in her work: precariousness, transparency, liquids, bodily mechanics and structural space. Neal became interested in sculpture early in her art career. She considers her work figurative. For the last ten years, Neal
Lot #18
MIKE MARTH Lot #19
KATHRYN LIPKE Lot #20
MIKE MARTH Fargo, North Dakota Still Life, mixed media on panel 25½ X 47½ inches, 1999 Range: $900-1000 Mike Marth moved to Fargo, North Dakota in 1996 where he currently teaches Apparel, Textiles, and Interior Design at North Dakota State University. In March 2000, Marth participated in A Decade of Still Life, an event featuring six simultaneous solo shows by Marth around Fargo, including the Plains Art Museum and NDSU. Marth was educated in Northwestern Missouri State, Maryville, Missouri, and at Southern Illinois University at Carbondale. Marth's work continues to make references to hieroglyphics/ language — digital and otherwise — and, in general, explores alternatives to what is considered still life. He pushes the boundaries of still life; his objects are not the things of daily life. His interest in texture is apparent in his surfaces. Marth's early background in both sculpture and painting results in an ongoing mix of two genres: abstraction and still life. At the Museum’s first Autumn Art Auction David and Julie Blehm purchased a large painting by Marth which they gave to the Museum for its permanent collection.
SHELLEY RUSEN Lot #21
KATHRYN LIPKE Belvidere Center, Vermont A Time of Renewal and Rebirth silkscreen print, drawing, objects 56 X 32 inches, 2000 Range: $1400-1600 Kathryn Vigesaa Lipke, born and raised in Cooperstown, North Dakota, now lives in Vermont and Montreal. She is a documentary film maker, a sculptor, painter, printmaker, and papermaker who mixes media with raw materials found in nature. She sees her art as part of an ongoing search for meaning that involves interactions with nature in sites and places where no lines have as yet been drawn between human culture and the culture of nature. In the process, she builds structures, forms and environments out of ephemeral and locally available materials that derive from nature and reflect this integral relationship. Lipke recently returned to her birthplace, Cooperstown, North Dakota, and, in collaboration with two artists from Finland and Germany, created a Prairie Garden of wood sculpture, huge field stones, wild flowers and native trees on the lawn of the Griggs County Courthouse. Lipke frequently exhibits in GK Gallery, Cooperstown, and has had solo and group exhibitions all over the United States, Canada and in Europe. Lipke's keen sense of the relationship of art to landscape has led to her commissions and on-site sculpture constructions in Germany, Finland, Argentina, Mexico and the United States. Lipke is in the planning stages of two-documentary films: one about the relationship of North Dakotans to trees (commissioned by the North Dakota Museum of Art as part of a larger initiative, The Emptying Out of the Plains), and a
second six-part series, Whole Cloth.
SHELLEY RUSEN Winnipeg, Manitoba, Canada Prairie Trax, acrylic, graphite, cut and pasted paper on plywood 16 X 24 inches, 1999 Range: $1000-1200 Shelly Rusen enjoys traveling in rural Manitoba and is keenly aware of the flat land that surrounds her. She never tires of the landscape and finds it anything but boring. For the past several years she has used aerial photography in the beginning stages of her work. "From a small aircraft," Rusen says, "one is able to see the beautiful patterns and color which appear at various times of the year, all of which reflect the uniqueness of the different seasons and the working of the land." Rusen received her Bachelor of Fine Arts Degree from the University of Manitoba. She has exhibited in numerous group shows. Her most recent solo exhibition was in 1998 at Main Access Gallery in Winnipeg. Her work from this exhibit was selected to tour Manitoba as part of an established Provincial Touring program which highlights Manitoba artists. Rusen’s art is in many private collections as well as the Manitoba Visual Arts Bank. Her next solo show will be held at Winnipeg’s Centennial Concert Hall in April 2001.
MARLEY KAUL Lot #22
MARLEY KAUL Bemidji, Minnesota In The Dark Winter Yellow Squash Work Like Prayers egg tempera on panel 17 X 20 inches, 1998 Range: $1400
FRITZ SCHOLDER Lot #23
For the past decade Marley Kaul's work has been developed through egg tempera processes on carefully prepared 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 underdrawing to be laid onto the panel in India ink. This drawing continues to show through the initial layerings of pigment. Since the pigment is translucent, a great deal of overpainting is required before the drawing recedes. Kaul has had many exhibitions in the 1990s in Minnesota and North Dakota including a solo show in the North Dakota Museum of Art in 1989. He recently retired from teaching at Bemidji State University and in 1997 received the BSU Award for Distinguished Teaching. His work is in many collections including the Wiesman Art Museum, Minneapolis; Luther College, Decorah, Iowa; the 3M Collection, St. Paul, Minnesota; and the North Dakota Museum of Art.
FRITZ SCHOLDER Scottsdale, Arizona Indian Landscape, lithograph on paper 28 X 21 inches, 1974 Range: $1500-2000 Born in Breckenridge, Minnesota, Fritz Scholder is an artist of international acclaim. Scholder has exhibited in the National Museum of American Art, Washington D.C., San Francisco
Museum of Modern Art, the Walker Art Center, Minneapolis, and the Smithsonian. Throughout all his work as a sculptor, printmaker, and painter, Scholder's style persists as one of bold color, simple forms and a great strength that grew out of
abstract painting. In this work Scholder uses "the rainbow roll" technique whereby he applies three ink colors at once to achieve the three-color sky. Scholder has been the subject of eleven books, and three Public Broadcasting System documentaries. He received a bachelors degree from California State University, a Master of Fine Arts degree from the University of Arizona, and honorary Doctorate of Fine Arts degrees from five colleges.
TOM THULEN Lot #24
TARA STEPHANSON Lot #25
TOM THULEN Brooklyn, New York Small Windbreak, film, silver print 12 ⅜ X 29 ⅜ inches, 2000 Range: $1200-1400 Tom Thulen grew up in Breckenridge, Minnesota, and studied photography at the Minneapolis College of Art and Design before moving to New York in 1993. He frequently returns to the Midwest to photograph the landscape. His photo constructions allow him to present an image how he sees it, not necessarily how the camera records it. Land compositions in minimalist style result from Thulen's process of printing on film he assembles and lays over blank photo paper. Pinned loosely in shallow boxes, light passes through the images and casts shadows on the background paper, creating multiple layers of overlapping landscapes. The effect is more like evidence of land reflecting a place he once lived; it also suggests the delicacy of nature and the environment. In a review of Thulen’s show at the Thomas Barry Fine Arts Gallery in Minneapolis, The Minneapolis Star Tribune termed Thulen’s images . . . "as ephemeral as drawings: pale lines of trees, grasses or watery reflections that define horizons." Thulen has had several solo and group exhibitions in New York galleries. His work is in the permanent collections of Dow Jones Co., and Lehman College, Columbia University of New York.
TARA STEPHANSON Grand Forks, North Dakota Bittersweet (purse), copper and velvet 10½ X 8 X 2½ inches, 1996 Range: $1000 In 1999 Tara Stephanson joined the University of North Dakota faculty as Assistant Professor of Jewelry and Small Sculpture. Stephanson received her Master of Fine Arts degree at Kent State University and later apprenticed with nationally recognized studio jeweler Pat Garrett in New Mexico. Stephanson has been highly visible in her field by participating in numerous national and international exhibitions. In addition, her work has been published in Metalsmith magazine and is also featured in a metalsmithing textbook. Stephenson bases this work on her exploration of society's obsession with self-scrutiny as it pertains to issues of vanity and self-image. Stephenson combines objects of vanity, and the implied function of various materials, as she examines the physical and psychological restrictions imposed by vanity. This purse is meant to be an object for display rather than a functional purse.
STERLING RATHSACK, JR. Lot #26
TIM RAY Lot #27
STERLING RATHSACK, JR. Superior, Wisconsin Minnesota Bluebird, paint on panel 34 X 28 inches, 1995 Range: $900-1050 Sterling Rathsack has maintained a studio in Superior, Wisconsin for nearly twenty years. He works in a variety of media, and his most common subjects are feminine figures, birds and fish. This work is part of Bluebirds, a one-person show at Lizzard's Gallery, Duluth, It is made entirely from recycled, salvaged and/or renewable materials. Over the years, Rathsack’s paintings and sculptures have been featured in galleries, collections and museums throughout the Upper Midwest. Two prominent public art works by Rathsack are Man, Child and Gull in Duluth's Canal Park and River, Falls, and Forest in Minnesota's Gooseberry Falls State Park. Rathsack was in a 1992 group exhibition, IN ADDITION, at the North Dakota Museum of Art. A sculpture from that exhibit remains in the North Dakota Museum of Art's permanent collection. Rathsack received BFA and MFA degrees from the University of Wisconsin-Superior in the early 1980s. He continues to teach and exhibit throughout Minnesota.
TIM RAY Moorhead, Minnesota Full Fathom Five, acrylic, ink, thread, pigment on paper 33 X 27 inches, 2000 Range: $800-1000 After some experimentation in 1981, Tim Ray began making collages that combined painting, printmaking and papermaking. Ray applies paint and pigments to a plastic sheet, then glues transparent Japanese papers over the plastic. When dry, the "paper sandwich" is removed and built into new combinations. Ray says he does not try to make "pictures" in the conventional sense.
Although there may be references to clothing, or figuration, or landscape (especially aerial views), what Ray is striving for is an image so totally convincing and believable in its own right that it is complete without referring to anything outside itself. Tim Ray was born in 1940 at Indian Head, Saskatchewan and grew up in Regina. He received degrees from the University of Manitoba and the University of Arkansas, then taught from 1970-1996 at Moorhead State University. His work has been exhibited in Toronto's Damkjar Gallery, the Winnipeg Art Gallery, the Minneapolis Institute of Art, and was a part of Old Friends, New Art at the North Dakota Museum of Art in 1998.
JOHN HITCHCOCK Lot #28
JOHN HITCHCOCK Morris, Minnesota Fright, Sleep, Offering, Taste, Shift, Slow, Clown, Down digital printmaking, multiple images on paper 61 X 24 inches, 2000 Range: $500-800 John Hitchcock's current work blends printmaking, photography, video and installation. The personal, social, and political views in his work are a direct result of stories shared by family members. Through his art he examines the issues of living on Kiowa/ and Comanche lands in Oklahoma. In his work Hitchcock incorporates idealized interpretations of the American Indian, using objects from real life on native lands and symbols of spiritual significance. John Hitchcock heads the printmaking department at the University of Minnesota, Morris. He earned his MFA in printmaking and photography at Texas Tech University, Lubbock, and received his BFA from Cameron University, Lawton, Oklahoma. He has exhibited in group shows in Ireland, Texas, New Mexico, New York, Iowa and Oklahoma. Hitchcock says he intends to continue to explore historical records and contemporary issues to find out what indigenous people face. He asks: "What have we learned from progress? What will be the fate of my people's indigenous ways?" Researching the past to define his identity has become a vital source for Hitchcock's survival.
BARTON BENES LOT #29
BARTON BENES New York, New York Art Museum, mixed media, 14 X 34 X 2½ inches, 2000 Range: $2000-3000 Barton Benes was born in Westwood, New Jersey and for a brief period of time in the 1960s attended Pratt Institute in Brooklyn, New York. Benes has an extensive exhibition history in Europe and the United States. In the past decade he has shown his work in Sweden, Canada, New Mexico, Czechoslovakia, Portugal, Sweden, Czech Republic, Finland, South Africa as well as the United States. His was one of two exhibitions organized to celebrate the opening of the North Dakota Museum of Art in 1989. Benes' work has been collected by the National Museum of Art in Washington, D.C., the Chicago Art Institute in Chicago, Bibliotheque Nationale in Paris, and Chase Manhattan Bank in New York. Several film documentaries have been produced about Benes and his art. Benes became internationally known in the 1980s as the "money artist" who used currency as a collage medium on sculptural and flat forms. More recently, Barton makes "Museum Pieces." He mounts collections, or collectible objects on paper and presents them in a grid. The North Dakota Museum of Art's donor wall, created by Barton, exemplifies this style, as does his work in this auction. In 1998 the North Dakota Museum of Art commissioned Benes to create a Flood Museum with items contributed by members of the community. That work and many others by Benes are in the Museum's permanent collection.
SARAH SUH Fargo, North Dakota Seed, mixed media with wax crayon 20¾ X 14 ¾, 1992 Range: $1500 Sarah Suh closely observes nature, focusing on what is often ignored, overlooked or neglected. In her Seed Series she began to see the important relationship between the symbol of a seed and human life. Suh sees all seeds as equally important and individually unique. They all have the capacity to become what they possess within. This truth Suh sees as a hope for humanity. Educated in New York, she studied pottery and photography as well as drawing and painting. Suh has for the past two years been a participant in Art on the Plains, a juried competition at the Plains Art Museum in Fargo. She has also exhibited her art in Minnesota, New York, Arizona and Colorado. Her work will be in a solo exhibition at Binghamton, New York in 2001.
WALTER PIEHL Minot, North Dakota Tiger Meat III, Sweetheart of the Rodeo Series acrylic on canvas 35 X 25 ½, 2000 Range: $1700-2500 Walter Piehl is one of North Dakota's most highly regarded artists. He studied undergraduate art at Concordia College in Moorhead and received a Master of Arts degree from the University of North Dakota studying under Robert A. Nelson. He continued his work at the University of Minnesota. Piehl is one of a few artists in the country to successfully create "cowboy art" in a contemporary mode. He grew up on a ranch near Marion, North Dakota, where his family raised rodeo stock, and began riding as soon as he could sit on a horse. Over the years
SARAH SUH Lot #30
WALTER PIEHL Lot #31
Piehl cont.
Piehl won many rodeo prizes both roping and riding. He continues to "call" at rodeos and to follow the careers of his rodeoriding sons while teaching at Minot State University. Piehl has won numerous awards for his colorful, lively, expressionistic paintings, and has shown at such venerable institutions as the Cowboy Hall of Fame in Oklahoma City and the C. M. Russell Museum in Great Falls. A work from his Sweetheart of the Rodeo Series is in the permanent collection of the North Dakota Museum of Art.
The North Dakota Museum of Art will open a solo exhibition of the photographs of Leo Kim on February 3, 2001, the evening of the Museum’s Benefit Dinner.
JAMES CRAIG Kennewick, Washington Orchard with Windbreaks, paper pulp relief, acrylic 48 X 32 inches, 1999 Range $950-1100 James Craig grew up in rural Connecticut. He now lives in the state of Washington where he is Department Head and teaches at Columbia Basin College in Pasco. The nature of Craig's work is contemporary, and alludes to issues of the rural environment. His narrative paintings and drawings are meant to be "read" rather than absorbed in a single glance. Images are saturated by literal or poetic references that invite viewers to participate in emotional or intellectual dialogs. Craig achieves expressions of compelling vitality through vivid color, rhythm, and repetition. He combines image and symbol to make visible comments on the land, rural life, social and political issues. Craig has participated in numerous solo and group exhibitions in Montana, North Dakota, Washington, Hawaii, and Saskatchewan. Craig's work is included in the North Dakota Museum of Art's permanent collection. He received his Bachelor of Fine Arts degree from Florida Atlantic University in Boca Raton and his Master of Fine Arts from the University of Montana in Missoula.
LEO KIM JAMES CRAIG Lot #32
Minneapolis, Minnesota Bottineau, North Dakota, silver gelatin photograph 20 X 24 inches, 2000 Range: $975-1500 Leo Kim was born in Shanghai, China, of Korean parents.
LEO KIM Lot #33
His early education was in Shanghai, Macau, and Hong Kong. He received an undergraduate degree in design from North Dakota State University. After having lived so many years in dense cities, the vast prairies of North Dakota attracted Kim. "The black and white photographs I make are not just about the diminishing towns or the quiet country roads, but also about the people who work and live in North Dakota. I photograph the beauty in the simple things that surround us," Kim says.
Although trained as an architect, Kim began working as a commercial photographer, specializing in illustration photography in 1975 in the Minneapolis area. His clients include American Express, Dupont, Honeywell, and the Federal Reserve Bank of Minneapolis. His commercial work allows him the financial freedom to pursue the landscape photography he loves. His first solo show at Carver and Beard gallery in Minneapolis was a huge success. "Many of the people who came to the show and bought my work" Kim says, "were from North Dakota."
JAY PFEIFER Fargo, North Dakota 3rd Tack Under, mixed media 51½ X 36½ inches, 2000 Range: $950-1000 Jay Pfeifer presents an interesting and personal interpretation of the Dakota landscape. As a native of Buffalo, North Dakota, Pfeifer has deep roots in his subject matter. Land, sky, and horizon dominate the Red River Valley environment where he grew up. He paints plowed fields, wind rows, and undisturbed land to record a personal history of his relationship with the land, inseparable with its history and witness to its change. Pfeifer, a graduate of the North Dakota State University at Fargo, has always imagined the land before it was worked by the first settlers, before roads, shelter belts, and cities arrived. In the 1990s, Pfeifer received several awards, the most notable from the Plains Art Museum in Fargo where he received the juror's Choice Award in 1998 at the Spring Gala, and again in 1999 for a Regional Exhibition, Art on the Plains, juried by Laurel Reuter, Director of the North Dakota Museum of Art.
JAY PFEIFER Lot #34
North Dakota Museum of Art Board of Trustees
North Dakota Museum of Art Foundation Board of Directors
Corinne Alphson, emeritus
Karen Bohn
David Blehm
Merlin Dewing
Julie Blehm
Richard Larsen
Madelyn Camrud
Darrell E. Larson
Virginia Dunnigan, emeritus
Fern Letnes
John Ettling
Lynn Luckow
Joann Ewen
Laurel Reuter
Betty Gard, Secretary
Sanny Ryan
Bruce Gjovig, Chairman
Gerald Skogley, Chairman
David Hasbargen Jean Dean Holland Connie Horn
North Dakota Museum of Art Staff
Dan Jones Cynthia Kaldor Sandy Kaul Rachel Kopp Darrell E. Larson Jean Larson Lisa Lewis-Spicer Mary Loyland, treasurer Ellen McKinnon, emeritus Doug McPhail, emeritus Barb Melby Laurel Reuter, President Annette Rorvig Sanny Ryan, emeritus Gerald Skogley, emeritus Anthony Thein, emeritus Rex Wiederanders, emeritus
Madelyn Camrud Barbara Crow Ellen Gagnon Amy Hovde Kathy Kendle Brian Lofthus Christine Nelson Morgan Owens Laurel Reuter, Director Juliana Sanchez Marsy Schroeder King Sedore Bonnie Sobolik Lydia Thomas Greg Vettel and over fifty volunteers
As you read through the following pages, you will notice that almost all of those who contributed advertising sponsorships to the Autumn Art Auction are locally owned or managed. Many are small establishments with limited advertising budgets. Yet these are the supporters who keep educational and cultural entities, such as the North Dakota Museum of Art, alive. Please give them your business on behalf of the Museum. —Laurel Reuter, Director
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