VOTE!

NORTHERN CLAY CENTER PRESENTS

September 19 – November 3

2O2O

Northern Clay Center Kris Grey Ryan W. Kelly Amber Ginsburg Ann Agee

Š 2020 Northern Clay Center All rights reserved.

No part of this book may be used or reproduced in any manner whatsoever without written permission, except in the case of brief quotations embodied in critical articles and reviews.

For information, write to: Northern Clay Center 2424 Franklin Avenue East Minneapolis, MN 55406 http://www.northernclaycenter.org Manufactured in the United States First edition, 2020 International Standard Book Number 978-1-932706-56-9 Unless otherwise noted, all dimensions in inches: height precedes width precedes depth.

This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the Arts and Cultural Heritage Fund.

Additional funding for VOTE! comes from Prospect Creek Foundation, Target, Windgate Foundation, and Continental Clay Company.

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FOREWORD!

Tippy Maurant, Interim Co-Executive Director

We find ourselves living in a world where plans must evolve quickly, and much of the work we thought we would accomplish now feels irrelevant or fanciful. In this new paradigm, where we address food security in our communities rather than host gallery openings, and we pull apart the threads of our organization to reweave them with humble and fierce equity at the core of our mission, it would be understandable if this exhibition felt extravagant. Instead, VOTE! is one of the few plans at Northern Clay Center that finds itself even more vital now, in the midst of the extreme challenges of 2020, than it was when discussions first began in early 2019.

This was always going to be an exhibition that challenged the role of a gallery, the limitations of a room intended to view art in person, the possibilities of impact within the community. David East, the curator of VOTE!, communicated early on that this exhibition was intended to burst out of the building and onto the streets during an election where enfranchisement and participation are uniquely critical. To this end, he visualized an experience that incorporated voter registration events led by the League of Women Voters and hosted at NCC, buttons featuring the work of Amber Ginsburg encouraging individuals to vote to be passed out to the public across the city, and custom non-partisan election posters created by the historical Globe Press hung in the windows of small businesses serving neighborhoods often overlooked, and therefore marginalized, by mainstream politics and government. Each of these endeavors became more obviously

consequential during the months of planning and directly addressed the issues of underrepresentation, voter disenfranchisement, and an inequitable government with positive and proactive community engagement designed to improve voter inclusion and participation.

During the inception of VOTE! in early 2019, how could we possibly have foreseen that a sentiment expressed by a poster stating, “Your VOTE counts!” would devolve into a statement of uncertainty? How could we have predicted that many polling places simply wouldn’t open, therefore forcing many voters out of participation altogether and others into overcrowded and understaffed locations during a pandemic that spreads through the air? For the first time, the mail-in ballots conversation grew in importance, but the USPS was assigned new leadership. Abrupt funding cuts drastically ended service, and the threat of undelivered mail was the new attack on voter participation. In addition to the COVID-19 pandemic, and the stress of such falling disproportionately on the shoulders of those who were already living with the consequences of underrepresentation, we find ourselves in a country led by a man overtly driving voter suppression strategies.

VOTE! came into physical manifestation as a much-needed service, exploration, and antidote for a world, and frankly an art center, struggling with questions of futility, fear, and irrelevance. It is a day-glo vehicle of inspired action and relentless activism. At NCC, we count ourselves as fortunate to be able bring this

precognitive exhibition of David East’s vision to life, not just in the gallery, but in our city as well.

This particular exhibition is generously supported by our friends at the Prospect Creek Foundation, Windgate Foundation, and Continental Clay Company.

Additionally, this activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the Arts and Cultural Heritage Fund, and a grant from the McKnight Foundation. NCC sincerely thanks all of these supporters for making this exhibition possible and for supporting NCC and its programs.

Our roster of special exhibitions in 2020 was made possible due to the creative brainpower of the genuinely visionary, Sarah Millfelt, and she has my ceaseless respect.

In addition to the participating artists, the realization of this particular exhibition at NCC was impossible without the talents, flexibility, and creative capabilities of Emily Romens, Galleries Manager.

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VOTE!

David S. East A wandering kind of writing A verbose and rambling “annotated” bibliography An attempt to speak to dislocation and diffusion

Democracy is not easy 56% of those of voting age (eligible voters) in the United States voted in the 2016 national election1—which means— 44% DID NOT. That is over 120 million people NOT voting (who could have).

For a sense of context, Hillary Clinton won the popular vote by three million votes in 2016. Donald Trump won the presidency because of the Electoral College, and the presidency was delivered to him by only 20-40 thousand votes, some less than 10,000 in each of six states; Michigan, Pennsylvania, Iowa, Florida, Ohio, and Wisconsin.1 Just over a quarter of eligible voters, 25.5%, installed Trump into the Presidency.

It is notable that 2016 was the first election since the Supreme Court struck down the Voting Rights Act in 2013, and many have theorized that renewed voter suppression played a role in 2016.2 Small numbers can make a big difference.

Looking at the most recent nationwide elections in each of the 37 member nations of the Organisation for Economic Co-operation and Development (OECD), the U.S. placed 26th out of 32 (five did not report numbers). This puts us squarely in the bottom third of the pack. (The OECD is an international organization of member nations committed to market economies and personal democracy.)3 In comparison to the 56% of eligible voters who voted in 2016 in the U.S.,

in Belgium between 83% and 95% of the voting age population (VAP) participated in every election for the past four decades.3 Needless to say, it is evident that we can do much better.

One should note that, as I write this essay, and the final details of the exhibition are brought together at Northern Clay Center, we also have recently celebrated the 100th anniversary of the 19th amendment, a constitutional amendment giving women the right to vote. It is also in 1920 that the most important contributor to this exhibition’s project was founded with the formation of the League of Women Voters. This summer our country also mourned the passing of Congressman John Lewis, a truly heroic figure who committed his entire life to working for justice. An icon of the civil rights movement, Lewis was committed to justice and championed the work of voting rights as a driver for civil rights.

This summer, the work that Lewis championed, the Voting Rights Act, which was gutted by the Supreme Court in 2013, sits stalled in the Senate, even as Lewis’s colleagues in the House push to have its status restored.4 Here, in the depths of a once-in-acentury pandemic, we stand shoulder to shoulder, masks on, calling for justice, as the world mourns the murder of George Floyd, rocking Minneapolis and reverberating all over the world. Another moment in the Black Lives Matter movement echoing through the country since Ferguson, we remind each other to “say their names” and engage with

the work of dismantling systemic racism in this country.

The Electoral College itself—an arcane system through which federal elections are decided in the U.S.— the very system and device that installed Trump into the Presidency, is a part of our country’s systemic racist history. The Electoral College is “the nation’s oldest structural racial entitlement program”,5 entitlements designed to oppress and disenfranchise people of color.

It is a voting structure designed to placate the post-Civil War South and maintain the racist system of oppression and disenfranchisement.

Originally designed to empower southern white voters, the Electoral College, like numerous other aspects of our political system, is laden with both explicit and implicit forms of bias, meant to maintain the power of the few. The Electoral College embraces the legacy of the Constitution’s 3/5ths compromise and embeds our country’s racism directly into the structure of federal voting. We should remember, it is the Electoral College that gave the slaveholder Thomas Jefferson an edge over his opponent, the incumbent president and abolitionist John Adams. The Electoral College is just one part of the “racialized patchwork of our democracy enduring until the passage of the Voting Rights Act of 1965.”5 These rights are still at risk and are suppressed in every election cycle.

From poll taxes (those which Henry David Thoreau went to jail for not paying in an act of disobedience) to voter ID laws, suppression of the vote, particularly the vote of people of color, continues.

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Suffrage: the term simply refers to the right to vote, but within the systemic violence and voting restrictions that have existed within the history of the United States, it becomes a term most closely associated with the women’s rights movement.

The League of Women Voters (LWV) is a direct offshoot of the Women’s Suffrage Movement, founded just six months before the 19th amendment was ratified and women won the vote. 2020 marks a century since the league’s founding.

It was the LWV that promoted the U.S. engagement with the newly formed United Nations (UN), and the LWV that went on to serve as a consultant to the U.S. delegation at the United Nations Charter Conference. The LWV was one of the first organizations officially recognized by the UN as a nongovernmental organization (NGO), and the League still maintains official observer status today.6 As an organization, the importance of the LWV to voting rights in the U.S. cannot be underestimated. It is the LWV that works to expand voter access, limit the influence of money in politics, continue to combat voter suppression, educate voters, increase voter registration, and limit gerrymandering.6 In this exhibition at Northern Clay Center, the LWV became our partner, participating in five voter outreach events. A central feature of the exhibition, and really the most important “piece” in the exhibition, is the work of engagement, voter access, activation, and empowerment. We should all wear white on November 3rd, in their honor.

It seems unbelievable that it took the better part of a century to pass a law saying American women had the

right to vote. But even a century after the passing of the 19th amendment, the fight for voter access and engaged and empowered citizenry continues. As I write, the news is flooded with quotes of a president openly engaging in voter suppression and actively laying the groundwork to delegitimize the election as a way of maintaining his power.

The politics of making All creative practice, all art, is a political act. The sheer audacity of declaring that beauty is inherently important is political. Crafts have their own intrinsic political history—from the embedded (but failed) socialism of the Arts and Crafts movement in Britain to the contemporary moments designated as craftivism—the field and its history create an environment supporting our most democratic sentiments.

Fine arts were historically closed to women, and so women turned to the domestic arts. “Subverted for their advantage and sued to gain emancipation.”7 The history of the arts and voting rights is long. Organizations like the Artist Suffrage League and Suffrage Atelier, heavily influenced by the Arts and Crafts Movement, are but two examples. The history of ceramics in the 19th and 20th centuries is inherently political, sometimes anticapitalist, sometimes Marxist in origin or inspiration. Yanagi’s writings, that form the backbone of the Mingei movement, were a rejection of the white western canon, but also grew from Japanese nationalism. Many movements within ceramics find their avant garde status in positioning themselves for what they are, familiar and accessible to all; just as voting should be, but has never been. A core representational right, disregarded

and unempowered, voting continues to be subjected to restrictions, suppression, and the manipulations of power.

Certainly, the pandemic and all of its implications have created complications, asked new questions of all of us, and changed much of what we all imagined would be the life we live. This difficult time asks us to address new issues all the more fervently. What is a relevant practice during this time? As we approach the national election of 2020, there is no more pressing work than the work of civic engagement. “VOTE”, a word that is a directive, an action, and an object simultaneously, is the framework for this exhibition, but even more, VOTE! operates as a nexus of activities. This exhibition serves as a real and virtual site and seeks to unite the engaged act of looking with that of our public life. This exhibition explores, but also actualizes, the role of creative practice in empowering participants in democracy.

To this, Northern Clay Center brought many forces to the floor. The League of Women Voters, an organization born from the suffragist movement, becomes the core of an aspect of the programming. In many ways, it is the most important work of the exhibition. Add to this the work of the invited artists, each of whom engages with, and reflects on, the socio-political through a variety of lenses, from the collaborative activist to more personal and private parts of their lives. The works in the exhibition trace a few of many ways we as bodies find ourselves in relationship to the thing called citizenry, and how we reflect on this responsibility.

This exhibition tries to be open to the question, “What is the most important thing to do right now?”

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Kris Grey Making Itself is a performance, although one that most often takes place in the privacy of the studio. In Live Form: Women, Ceramics, and Community, Jenni Sorkin speaks eloquently to redress the history of crafts in the 20th century and lays forth a compelling argument that it is the crafts that play an essential role in creating new interdisciplinary, social, and performance-based approaches.8 Kris has long created objects and performances side by side, and, as an artist, is engaged with making the private and primarily embodied experience public, often through conversation and storytelling. Engaged in the act of making social change, Kris is an organizer, bringing people together to reflect. Bodies, especially those of the artists themselves, are as much of their material as is clay. Kris asserts, “The material qualities of the body are similar. Bodies are always marked by socialization. Much in the way that clay records its own history, the body reveals its own stories.

Flesh is pliable and plastic. It can be formed and reformed just like clay.”9 The principle work featured in VOTE! is entitled Labeled and consists of the installation of a series of photographs documenting a previous performance, as well as other performance ephemera, shards of porcelain once sewn onto the artists body, and a “print” recording the site of this making.

As a performance, the work is also “based on images and descriptions of trans bodies in medical and police archives from the late 1800s through the mid 20th century”.10 In retelling this history, the piece articulates the long history of trauma and violence perpetrated on the trans body. The piece notably frames the “piercer’s” perspective, the perspective of Kris’s collaborator who sews the labels on,

and in doing so brings the audience into the personal space of this act.

Kris’s work addresses and unmasks the discomfort and trauma caused by the hegemonic enforcement of a binary view of gender and opens this issue for us to recognize in our collective experience.

Gender/Power workshop, one of several events hosted by NCC as part of this exhibition, speaks to a powerful additional part of Kris’s work. A collaborative project with Maya Ciarrocchi, Gender/Power operates as a site of liberation through empowered story telling.

Part of the project’s goal is to reveal “gender injustice as an insidious cultural condition in need of reformation”.11 Its realization is through personal reflection, by asking its participants to reflect more deeply and honestly about their own experience of gender. The pairing of recorded action of a performance in Labeled with the work of the Gender/Power project, a part of their practice that is participatory and a collaborative experience, is purposeful. As a curator, I hoped to create more spaces in which the public can engage with these issues, especially during this time as many of us face the isolation and dislocation in our experience of the pandemic.

Kris Grey, Labeled, 2019 Digital C-Print, blood, Arches aquarelle paper, porcelain, needles, 71 x 154 x 70

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Ryan W. Kelly For VOTE!, Ryan Kelly leaves us with a line from Henry David Thoreau’s essay, “On Civil Disobedience”: “Cast your whole vote, not a strip of paper merely, but your whole influence.”

Ryan’s work often asserts a playful, but disciplined, focus on American history and sculpture. Drawing heavily from the 19th century, Ryan’s work illustrates and occupies the “American mythology, historical inaccuracies, and the curious story telling that finds its way into our material culture and decorative arts. He celebrates the myopic strangeness often preserved in our souvenirs, monuments, and commemorations.”12

Ryan W. Kelly, “Cast your whole vote, not a strip of paper merely, but your whole influence.” –Henry David Thoreau, 2020, Papier-mâché, canvas, metal stand, 96 x 56 x 53

Ryan’s work often originates from the nexus of some historical “capital I” individual (sometimes historical, sometimes mythical). Often struggling against adversity, the individual featured (from Superman to Ben Franklin) often functions to comment on the role of the artist, and in this the work is a form of self and cultural examination, a portrait and check-in for our collective potential for hubris. Beautifully researched and crafted, Ryan’s work shares with us the transformative event of object making, and utilizes craft as a way to create wonder within an honest, humble, selfaware framework. This work, though beautiful, does not occupy a kind of finish fetish, but instead engages us with the potential of skill to transform the quotidian into the beautiful. The work does materially what history does for the individuals featured—the stories told are depicted authentically, and myth and reality exist side by side with one another. Ryan’s work is both amazing and familiar in its marriage of image and material. Grown from a kind of problem-solving practicality, the

work displays awesome facility while still pointing out that it is sometimes just paper, glue, and paint.

In Cast your whole vote, not a strip of paper merely, but your whole influence, Ryan presents a piece positioning itself as a performative object, but one that has heretofore not been activated. In this, the piece serves as an invitation, and asks us to take up the spirit of Thoreau and disobey. Much like a vote itself, the artwork is an object of potential, inert until it is embodied and used.

For someone who was essentially a misanthrope, Thoreau has been lionized. The specific effect of his essay “On Civil Disobedience” is wide ranging, brought forth by Gandhi and Martin Luther King for its call to peaceful civil disobedience.

Perhaps this work is all the more potent at this time as Thoreau puts forward a way to affect change from one’s own vantage point. In a time when so many of us are separated, being aware of our own context and position—but nonetheless being connected—is all the more important.

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Amber Ginsburg, In Favor of a Future, 2020, Fiber, porcelain, wood, Post-it Notes, “Declaration of Sentiments” 1849, Poem by Rebecca Keller, 2020, 10’ x 18’ x 8’

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Amber Ginsburg Working primarily in collaborative engagements, In Favor of a Future is a departure for Amber Ginsburg as it is primarily a solo work. The piece is certainly connected to Amber’s work with the collaborative, Project Fielding, a workshop group that fuses making to social justice.13 It ties specifically to earlier projects of the collective through examples of “resistance architecture.” Project Fielding itself has interesting echoes in the Settlement House movement of the late 19th and early 20th centuries, and, as another Chicago native, somehow feels tied to Hull House and the work of Jane Addams. Ginsburg’s work in this and other projects fuses social and environmental justice and explores the potential of collaboration to promote change.

In Favor of a Future behaves as both a mashup and an inversion.

The work pulls from the history of suffrage banners and tapestry, and inverts our expectations as to the relationship between structure and skin, between material traditions and histories. The materials are inverted—cloth to clay—decoration becomes cladding, the piece as a workshop and a meeting house, a frame tying the 19th century suffrage meeting in Seneca Falls to the Black Lives Matter movement of today.

Through deep research of the “Declaration of Sentiments,” a document signed in 1848 at the first women’s rights convention to be organized by women, Amber’s physical and remote workshop contributions to the exhibition were born. We tend to associate the term “sentiments” with its secondary definition, that of a kind of selfindulgent brand of tenderness or nostalgia. However, the primary definition of sentiment is that it is

an opinion, “an attitude towards a situation or event.”14 Just as the decorative arts have been often grouped with the overtly nostalgic or tender—a barely-hidden form of classism and sexism—this piece confronts us with a luxuriousness and pastoral that is inherently political. It connects to the forest—a subject of many of Amber’s other projects—with the florid nature of the aesthetic language of the sentiments statement and brings to mind medieval tapestries which become the context for agency with the emerging command to “VOTE.” Amber constantly explores the potential for materials to yield metaphorical language, and reflects on the image of the piece, “We construct our political environment much in the same way we construct our homes.”15 In addition to the work installed in the gallery, Amber also used the image from the tapestry in the commissioning of 1000 buttons to be distributed in corner stores (free for the taking) around the Twin Cities.

With a nod to historical political posters and buttons, this project seeks to disperse the exhibition’s content into communities that would not normally visit NCC. Rather than drive people to the exhibition, they serve as a free plea for their engagement in the 2020 election.

The buttons will be accompanied by voting information coming directly from the Minnesota Secretary of State’s website, in multiple languages, and are part of the larger outreach activities hosted by NCC as part of the event’s voter activation efforts.

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Ann Agee Ann Agee is best known for her work in multiple media with ceramics, and particularly porcelain, playing a central role in the works. Her artwork plays with the ceramic material’s history and its links to feminism and socio-political commentary, riffing on delftware and domesticity, and is driven by the dignity of all making.

For this exhibition, the intent was to feature a lesser-known part of Ann’s creative output that is as a collaborator and activist. Choosing cardboard and paint works, not conceived for the gallery, but rather as props for activism, the hope was to bring what is a very personal practice, and part of Ann’s creative life, into the gallery. Made collectively and utilized in the earliest marches after the election of President Trump, the works are a historical collection but still capable of being taken up, should the need arise. They are performative and playful, but they use this as a foil for critique. They seem as vital, authentic, and important as Ann’s better-known gallery installations, and they demonstrate something inspirational in Ann and in her work; everything is an opportunity to engage our creative, and very human, need to make. Clothes, books, posters, wallpaper, dishes, hangers, mending—from the fanciful cakestand to a delftware dildo— Ann’s work celebrates “extreme function.”16 It asks us to consider what the world would be like if labor were not exploited under capital. It celebrates the personal, the wonky, and understands the deep poetry and complexities of our every day.

The works from Ann included in VOTE! are from public protests and the Women’s March from the days after President Trump’s inauguration.

Also in the exhibition are personal

Globe Press works; the handmade bowls she made to celebrate President Obama’s inauguration with her family, fundraising collaborations, and necklaces made to raise funds for voter registration. These are things made in the service of activating a space, both public and private, and in doing so, these works remind us of their connection.

They reveal a different avenue of making, one that is personal and private, collaborative and singularly celebratory, and the way in which Ann embeds the creative practice into all aspects of her life. Ann’s work does not discriminate. It reflects on the complicated forms of power, how they are depicted within history, and seeks to remove the “distinction between art and things that people lived with or needed.”16

Globe Press, Vote Posters, 2020, Paper, ink, 22 x 14

Globe Press is a historical press in Baltimore, now situated within the Maryland Institute College of Art (MICA). Globe was founded in 1929, and was well known for its day-glo showcard printing, particularly during the 1960s, advertising top R&B and soul acts like James Brown, Otis Redding, and Ike and Tina Turner.17 For the past several years, Globe has also been supporting a very successful Voter Registration Initiative at MICA, and so, when this exhibition presented itself, it seemed like an opportune moment to commission custom works. The insertion of this project by Globe Press in the keyed up colors from the Northern Clay Center logo, becomes both a piece within the exhibition as well as a way of bringing the project out into the world. The posters celebrate the work and the community and command us to VOTE!

Ann Agee, Show Taxes Signs and Torch, 2017, Cardboard, paint, 6’ x 12’

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Some kind of closure

Footnotes

We are living through extraordinary times. The notion that our lives will not be what we thought they would be is no longer hyperbole. It is our new truth. As a culture and society, we continue to face our own ineptness at adequately addressing the systemic racism that affects every aspect of this country and its culture. Even within the history of voting rights, now 100 years after the passage of the 19th amendment, we see new scholarship in the role of Black/Indigenous People of Color (BIPOC) women within the suffragist movement.

1 http://www.electproject.org/ 2 https://www.cosmopolitan.com/ politics/a8265143/almost-half-eligiblevoters-did-not-vote-election-2016/ 3 https://www.pewresearch.org/facttank/2018/05/21/u-s-voter-turnouttrails-most-developed-countries/ 4 https://www.nytimes.com/2020/07/21/ us/john-lewis-voting-rights-act.html 5 https://www.theatlantic.com/ideas/ archive/2019/11/electoral-college-racistorigins/601918/ 6 https://www.lwv.org/ 7 https://www.frieze.com/article/roleartists-promoting-cause-womenssuffrage 8 Sorkin, Jenni: Live Form: Women,

Personally, and institutionally, we must ask, “What is the most important thing to do right now?” Tax-supported New York cultural institutions declined to host early voting (despite the public service their support through public tax dollars should imply).

Institutions such as the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art, the Bronx Museum of the Arts, the New-York Historical Society, The Shed, and Lincoln Center would not host any early voting with their concern that this work would “unreasonably interfere with the usual activities conducted in such a building”.18

Ceramics, and Community, The University of Chicago Press, 2016 9 https://blog.otherpeoplespixels.com/ otherpeoplespixels-interviews-krisgrey-slash-justin-credible 10 Kris Grey statement 11 https://www.psychologytoday.com/us/ blog/quite-queerly/201505/dont-justask-bruce-jenner-answers-ask-yourself 12 Ryan W. Kelly, Bio/ Artist Statement 13 http://www.projectfielding.org/ 14 https://www.merriam-webster.com/ dictionary/sentiment 15 Interview between David East and Amber Ginsburg 16 https://www.artnews.com/art-inamerica/interviews/ann-agee-56293/ 17 http://globeatmica.com/ 18 https://hyperallergic.com/537653/

We do not live in a time where anything is “normal” or “usual.”

NCC did not take such a stance.

They are speaking to their connection to the community, their sense of responsibility, and their understanding of the vital role that all publicly-faced organizations must continually turn.

Small numbers, and small institutions, can make a big difference.

several-nyc-museums-and-institutionsdeclined-to-host-early-voting-in-2019/

NORTHERN CLAY CENTER

Northern Clay Center’s mission is to advance the ceramic arts for artists, learners, and the community, through education, exhibitions, and artist services. Its goals are to create and promote high-quality, relevant, and participatory ceramic arts educational experiences; cultivate and challenge ceramic arts audiences through extraordinary exhibitions and programming; support ceramic artists in the expansion of their artistic and professional skills; embrace makers from diverse cultures and traditions in order to create a more inclusive clay community; and excel as a non-profit arts organization.

Staff Tippy Maurant Interim Co-Executive Director Kyle Rudy-Kohlhepp Interim Co-Executive Director Emily Romens Galleries Manager

Board of Directors Craig Bishop, Chair Amanda Kay Anderson Bryan Anderson Nan Arundel Mary K. Baumann Heather Nameth Bren Evelyn Weil Browne Nettie ColĂłn Sydney Crowder Nancy Hanily-Dolan Patrick Kennedy Mark Lellman Kate Maury Brad Meier Philip Mische Debbie Schumer Rick Scott Paul Vahle

Photographs by Peter Lee Design by Joseph D.R. OLeary (vetodesign.com)

Honorary Director Kay Erickson Legacy Directors Andy Boss Warren MacKenzie Joan Mondale

2424 Franklin Avenue East Minneapolis, Minnesota 55406 612.339.8007 www.northernclaycenter.org