A u t u m n A r t A u c t i o n

N o r t h D a k o t a M u s e u m o f A r t

North Dakota Museum of Art

A U T U M N A r t A u c t i o n

Saturday, November 2, 2002Wine and hors d’oeuvres 6:30 pm

Auction begins at 8 pm

Music for the Auction

Jazz ON TAPKris Eylands, guitar, Bob Cary, bass,

Mike Blake, vibraphone

Autumn Art Auction is

Underwritten by

Marshall Field’s

Auction PreviewOctober 6 until auction time in the Museum galleries

Monday - Friday, 9 to 5 pm, Saturday - Sunday, 1 to 5 pm

Preview PartyTuesday, October 29, 7 pm, Informal Gallery Talk by

Museum Director, Laurel Reuter, about works in the Auction

PatronsHigh Plains Reader

North Dakota Public RadioWDAZ TV

LeadersA Touch of Magic on the Boardwalk, Chef NarDane

Best Western TownhouseClear Channel Radio

Leighton BroadcastingRamada Inn

Rydell Auto Center, Inc.U.S. Bank

Endorsing Sponsors Altru Health System

Blue Moose Bar & GrillBranigan’s Restaurants and Bars

Bremer BankBuffalo Commons Chamber Music Society

Chester Fritz AuditoriumJohn Clayburgh, D.D.S.

Community National BankCongress Inc.

Endorsing Sponsors, continuedGreen Mill Restaurant and BarJames O. HawleyMcKinnon Company Inc.Ellen McKinnonMeritCare Health SystemMuseum CaféState Farm Insurance Summit Brewing Company

SupportersBudget Inn ExpressCamrud Maddock Olson & Larson Ltd.Capital Resource ManagementCC Plus Interiors, Inc.Dakota Sales Company Inc.Farmers Insurance Group of CompaniesFirst Choice Medical Complex and ServicesLetnes, Swanson, Marshall, & Warcup Ltd.James S. McDonald, D.D.S.Minnesota Public RadioNorth Dakota Eye ClinicNorthern Plumbing SupplyRite Spot Liquor Store Inc.Sanders 1907Simonson Lumber & Hardware

From the Museum Director

Duaine Espegard retired in June 2000 as Chief Executive Officer

and President of Bremer Bank in Grand Forks. Espegard began his

banking career about thirty-five years ago and spent thirty-four of

those years with Bremer. He was CEO for twenty-four years and

a regional vice president for fifteen years.

Espegard was elected to his first term in the North Dakota

Legislature in November, 2000, as District 43 Senator from

Grand Forks. He has always had an interest in state politics and

has a great faith in the North Dakota citizen’s legislature.

Duaine and Phyllis moved to Grand Forks in 1995. They have

been visibly active in the community and the state, and they

especially enjoy the North Dakota Museum of Art. They co-

chaired the Museum’s annual Gala Benefit Dinner and Art

Auction in 1999-2000. This is Duaine’s second year as

auctioneer of the Autumn Art Auction, another volunteer

position.

Duaine Espegard, Auctioneer

This is our fourth Autumn Art Auction; the fourth year Madelyn

Camrud has selected the work to be included. She begins months

in advance, scouting new artists, attending exhibitions

throughout the region, and combing the proposals that flow into

the Museum from artists seeking exhibitions. Each year artists are

rotated out in order to make room for new work— but they are

invited back in a year or two later. Every year the show becomes

stronger, and more artists are introduced into our region.

We usually include artists who have an established relationship

with the Museum. Every year, however, there are some we don’t

know. They might be introduced to us by other artists. For

example, Barton Benes suggested we look at MaJo Keleshian’s

work. Sometimes I suggest Madelyn consider artists I am

including in a book, or an essay, or an exhibition that is still in

the planning stages. Shihoko Fukumoto came out of a book being

published in England in 2003 for which I am writing a leading

essay. Others, such as James Deitz, left our region long ago. He

has built his artistic career on the West Coast but we feel it is time

he is reintroduced into our community.

Even though several auctions in the region have followed, the

Museum’s Autumn Art Auction remains the benchmark. On

behalf of the whole Museum community, I extend our deepest

appreciation to everyone, especially to Madelyn Camrud and

Marsy Schroeder, both former staff members, who have helped

continue this event and make it run smoothly.

And please remember, this is not a traditional benefit auction. We

do not ask the artists to donate their work but share the proceeds

with them and, most importantly, they receive their minimum

price before the Museum benefits at all. — Laurel Reuter

Rules of AuctionAutumn Art Auction

Committee

q Each registered guest will receive a bidding card as part of

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 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.

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. Absentee bidders

will be charged on the evening of the auction or an invoice

will be sent on the next business day after the event.

q 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.

Nancy Adams, Suellen Bateman

Ann Brown, Madelyn Camrud

George Cox, Sandy Crary

Vicki Ericson, Phyllis Espegard

SuAnne Frasier, Lee Geer

Rita Hadland, Julie Hall

Sonya McDonald, Susan Nord

Gerald O'Connor, Maxine Rasmussen

Alex Reichert, Marsy Schroeder

Devera Warcup, Chair

Devera Warcup is a longtime resident of Grand Forks who is

involved in the arts, both as a musician and a supporter of the

North Dakota Museum of Art. Her volunteerism with the

Museum began in early 1990s when she chaired the committee

which established the Museum Concert Series, a series which

continues as the premier venue for bringing world class

musicians to our city. She also serves on the committee of the

Museum’s Sundog Jazz Fest.

Enjoying and collecting the visual arts is an integral part of

Devera’s life. She is proud to be involved with this event and

particularly happy with the exceptional visual collection

Madelyn Camrud staff has assembled.

In Devera’s words: The Autumn Art Auction offers patrons the

opportunity to enhance their lives by bringing into their homes

their heart’s desire from the art world. My warning? Collecting art

could become addictive! I extend my thanks to a stellar

committee and staff for the time and talent each has given to

ensure the success of this evening.

Lot #1

DORIAN BEAULIEUDuluth, MinnesotaCeramic VesselStoneware20 x 16 inches, 1991Range $300-350

Dorian Beaulieu, while in high school, discovered thepotter's wheel and assembled a pottery studio in his parents'home on College Street in Duluth, Minnesota. He has beenworking with and helping others experience the wonders of clayever since. His continuing education pottery classes at LakeSuperior College have grown in popularity. According toBeaulieu, pottery students feel that working with clay has thepower to heal, to make one feel better.

Beaulieu often shrugs off compliments about his teaching style. Ifeel a lot of joy interacting with people, he says when explaininghis teaching methods. People are beautiful things.

Beaulieu, in response to an invitation by the ChineseGovernment, demonstrated his ceramic processes at the WorldCeramics Conference held in Foshan, China, October 7-23,2002. He received his bachelors degree from the University ofMinnesota Duluth, and his masters degree from the University ofWisconsin Superior. Beaulieu taught ceramics at the Duluth Art

Institute and the Federal Prison Camp in Duluth, and has had anumber of exhibitions in Minnesota and Wisconsin galleries. Hiswork is currently in Lizzard's II Gallery in Duluth, and PortwingPottery, Portwing, Wisconsin. Beaulieu received awards from theArrowhead Regional Arts Council, the 4th Annual MaddieSimons Advocate Award in 2002, and the National Council forMarketing and Public Relations Medallion Award in 2000.

Beaulieu’s work is in the permanent collection of the TweedMuseum of Art, University of Minnesota Duluth; the Center forDiagnostic Imaging, St. Louis Park, Minnesota; and in numerousprivate collections.

David Norstad has been making art full-time since 1981.He lives and works in his Ragged Edge Art Studio located onIsland Lake in the Smoky Hills of Becker County near DetroitLakes, Minnesota.

Been There, Done That is from Norstad’s Windows-Doorwaysseries. He says, Looking in or looking out, windows give us a viewof the world—familiar or strange, reality or fantasy.

Norstad works in a variety of media—acrylic, watercolor, pastel,collage, mixed media and sculpture. He is most often associatedwith his whimsical fabric collages, one of which was included inthe book Whole Cloth by Mildred Constantine and Laurel Reuter(Monacelli Press, 1997). He has participated in numerousregional, national, and international juried shows. He hasreceived over 160 awards and honors, including Best of Showand Governors’ Selection awards in North Dakota andMinnesota. Norstad was one of seventeen artists included in theNational Acrylic Painters Society International Art Exhibition FarEast tour which traveled to Thailand, Taiwan, and the Philippines.

Norstad received a bachelors degree in humanities and socialsciences with an emphasis in art from North Dakota StateUniversity. His work is currently in thirteen galleries from NewYork to California, and in permanent collections of public andprivate collectors in the United States and abroad.

Lot #3

JOY PARKERClearbrook, MinnesotaTulip Birch Bark Basket

Birch bark, black spruce root13 x 20 inches, 2001

Range $200-300

JOY PARKER, whose lineage is more than half-Scandinavian,met an elderly Finnish gentleman about twenty years ago whointroduced her to Finnish double-woven baskets made of birchbark. She has practiced this very old craft ever since. The TulipBirch Bark Basket is a double weave.

Birch bark has fine usable qualities because it sheds water and isslow to rot. The early Finnish people extracted bark from birchtrees—the first trees to cover Scandinavia after the ice age. Theyused the bark for flooring, shingles, and for wrapping timbers. Asan art media the bark’s early use was not limited to baskets. It wasalso used for other items necessary in daily life such as vases,waterproof jugs, bowls, knife holders, and shoes for wearing inthe Finnish sauna. Parker, as a result of her extensive research ofbirch bark art, has learned to make many of these early items.She has also created patterns for new birch bark objects whichshe has published and copyrighted.

To make her baskets, Parker peels the bark from the birch tree inspring when the sap is running and the bark is easily loosened.She cuts a straight line on the tree bark from top to bottom, thenpeels, and simultaneously rolls the bark around her hand. Sheshapes the bark into a basket during the weaving or braidingprocess which follows the stripping. Parker has taught birch barkbasketry in workshops in Minnesota and Arizona. In 1992, herworks were featured in Basket Bits magazine, and the MinnesotaState Arts Board chose her for listing in the Minnesota Folk ArtistsDirectory. In June 1990, two of Parker’s baskets were presentedto Mikhail and Raisa Gorbachev during their Minnesota visit.

Lot #2

DAVID NORSTADDetroit Lakes, Minnesota

Been There, Done That

acrylic on canvas

40 x 30 inches, 2000

Range $900-1000

Lot #4

GARY NUPDALGrand Forks, North Dakota

Monty P. Meets Rube G.

Colored pencil

26 1/2 x 21 3/4 inches, 2001

Range $500-600

Gary Nupdal, a native of St. Thomas, North Dakota,

graduated with a BFA degree in painting at the University of

North Dakota in 1978, and an MFA in printmaking in 1981. He

has been teaching at the University of North Dakota ever since

and is, at present, logistical supervisor and lecturer in UND’s Art

Department where he teaches hand and power tool safety, and

matting and framing.

Monty P Meets Rube G. is part of a group of twenty-four color

pencil drawings Nupdal created for a solo show in 2001 at the

Col. Eugene Myers Gallery in the UND Hughes Fine Arts Center.

Color, pattern, and shape are the important elements in Nupdal’s

work, along with repetition. Specific objects and their

relationship to each other are secondary. His subjects are

intended to be whimsical, bright, non-threatening and graphic.

Another work in this series of drawings was chosen for the cover

of the Spring 2000 issue of the North Dakota Quarterly.

In November and December, 2001, Nupdal’s work was part of a

group show at the Empire Arts Center in Grand Forks, and in

2002 he exhibited his drawings at ArtsPlace in Grand Forks. His

work is in a number of private collections in the region and in

Denver, Colorado, and Seattle, Washington.

Carol Struve grew up on a farm near Prescott, Wisconsin.

She studied nursing in Minneapolis and worked as a registered

nurse for twenty-five years. She earned her BFA at Massachusetts

College of Art during her nursing practice and, later, an MFA at

the University of Massachusetts Amherst while working as a

triage nurse in student health services and teaching art. In 1997,

she left her nursing career to fully devote her time to art, and to

teach painting and drawing at Bemidji State University, Bemidji,

Minnesota, where she is still employed.

As a nurse, Struve often helped people face the end of life. Thus,

the act of drawing and painting has become a personal metaphor

for continuation of life and rebirth, as well as a spiritual journey

about her relationship to nature in its rawest form.

Struve loves walking in natural environments—smelling and

looking and listening to the land. It was on such walks in

Massachusetts that Struve created the pond series of charcoal

drawings. In Pond Series III she interprets her impression of her

experience in that environment. Personal and symbolic forms

give an illusion of the atmosphere; place and the mood represent

her experience.

Struve has exhibited her work in solo shows in Minnesota,

Massachusetts, and North Dakota. She had her first solo

exhibition in New York in October, 2002. To prepare for this, she

received the Bemidji State University Professional Improvement

Grant. Struve has received numerous other fellowships, honors

and awards, including a McKnight Foundation Individual Artist

Grant in 1999.

Lot #5

CAROL STRUVEBemidji, Minnesota

Pond Series III

Charcoal on paper

38 x 25 inches, 1995

Range $800-1000

Lot #6, A, B, C

ART GRABOWSKIGrand Forks, North Dakota

#A (bottom left)

Diamond-wood Box

Philippine and South American mahogany, diamond-wood

2 1/2 x 9 7/8 x 4 inches, 2002

Range $200-225

#B (bottom right)

Small Box

Zebra, paduk, walnut bark

2 x 3 1/2 x 3 1/2 inches, 2002

Range $80-85

#C (top)

Red Long Box

Brazilian cherrywood, wild chokecherry, bark, paduk

2 1/4 x 10 1/2 x 4 3/4 inches, 2002

Range $250-275

Art Grabowski is a wood artisan who was born and

educated in Milwaukee, Wisconsin. He grew up in a

neighborhood where Frank Lloyd Wright's houses and apartment

buildings were only three blocks from his home. Grabowski

walked by Wright's architecture daily and became an avid

admirer, although Grabowski credits his lifetime association with

his artist brother as the reason he became a wood artist. Wood is

an intriguing media for Grabowski. Even wood scraps are hard

for him to discard, and these bits and pieces often end up in a

box as a handle or trim piece. Grabowski says: Nature is the true

artist in my work; I only give the wood another life.

Each day, 89 year-old Grabowski rises early to work in his garage

—now converted into a woodworking shop. He explores his

Charles Beck is a painter, printmaker, designer and art

teacher. In all his work, Beck is affected by where he lives. The

landscapes around Fergus Falls, Minnesota, 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. He

continues, . . . 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. He believes landscapes are extremely exciting

because of how they constantly change—weekly, even daily.

Beck enrolled at Concordia College, Moorhead, Minnesota, in

1941. His professor, Cy Running, influenced Beck in those early

years when Beck was making watercolors, but ultimately, Beck

let go of influence and developed a style, undeniably his own,

which has served him well for a half-century. Beck's work is

represented by the Rourke Art Museum, Moorhead, Minnesota,

and is also in its permanent collection.

media, continually advancing his style and technique.

Grabowski made store window displays for department stores in

the early 1930s in Milwaukee, Wisconsin. In 1941 he was drafted

and served until World War II ended in 1945. After the war,

Grabowski worked with an architect in Racine, Wisconsin, who

apprenticed at Taliesin on a Frank Lloyd Wright fellowship.

Grabowski began to build models of Wright's building projects.

His admiration for Frank Lloyd Wright has endured, and

evidence of the influence is apparent not only in Grabowski's

woodworking but in the architecture and decor of his home on

Chestnut Street in Grand Forks.

Another major influence on Grabowski's work is Po Shun Leong,

a former architect and box maker from California.

For the past several years, Grabowski has contributed his work to

the North Dakota Museum of Art's Gala Benefit Dinner Auction,

and sold his work in the Museum Shop. Currently, his work can

also be seen at Heritage Arts Gallery and Gifts in Michigan,

North Dakota. Grabowski’s work has just entered into the

Zhimin Guan, born in China, began to paint at age nine

under the influence of his father, a Chinese ink painter and

calligrapher. While studying at the Fuyang Teacher’s College in

China, Guan concentrated on oil painting and drawing in the

western classical style. In 1995 he came to the United States to

examine the complexities of western contemporary art. The

resulting blend of styles in Guan’s work tends to unify East with

West—Chinese calligraphy and abstract expressionism merge

under the influence of Chinese landscape painting.

In 1998, after receiving an MFA at Fort Hays State University,

Kansas, Guan began teaching painting, drawing, figure drawing

and design at Minnesota State University Moorhead's Art

Department where he still works as an Assistant Professor of Art.

In his recent series of abstract paintings called Mountain and

Water, Guan, with a minimum of brush strokes, gives the viewer

the essence of mountains and water. The solid and the void, or

energy and charm are the yin and yang in this series. The

constant motion between opposite forces reveals the order of

nature, Guan says. His concern is not to recreate nature, but to

re-establish a vital breath and universal harmony in the forms,

colors, marks, textures and spaces.

Guan’s work has been exhibited in the China National Art

Gallery, Beijing; the China Academy of Fine Arts Museum; and

the Singapore Asian Artists Gallery. In the United States he has

shown at the Salmagundi Club, New York City; CCC/USA,

Philadelphia; The Minneapolis Institute of Arts, Minneapolis; the

Dunton Gallery, Chicago; the Fraser Gallery in Washington D.C.;

and the Plains Art Museum, Fargo, among others.

Lot #7

CHARLES BECKFergus Falls, Minnesota

Spring Bluebills

Woodcut

21 x 31 inches, 1988

Range $450-650

Lot #8

ZHIMIN GUANMoorhead, Minnesota

Mountain and Water

Oil on canvas

40 x 50 inches, 1999

Range $700-1400

Lot #9

SUSAN MORRISSEYValley City, North Dakota

Pray for Rain

Assemblage

15 x 14 x 4 inches, 2001

Range $650-950

Susan Morrissey says, Pray for Rain could as well be Pray

for No Rain. It reflects the constant awareness of North Dakotans

and other rural state dwellers of weather nuances.

Metaphorically, Pray for Rain could refer to any one of many

human endeavors — the success or failure determined by forces

beyond human control. To those forces I appeal, as have cultures

going back to the beginning of time.

Pray for Rain is one of five small assemblages Morrissey

composed in a shrine format. The intimacy and small scale of

these pieces challenged her to limit her natural tendency toward

complexity and vibrant color. For many years, Morrissey had

made paintings, prints and drawings in a figurative style that was

disposed towards social comment. Since her return to North

Dakota in 1996, her work has included sculptural pieces like

Pray for Rain which seem to come from a different realm.

Since 1979, Morrissey has exhibited in a large number of solo,

group and juried shows throughout the United States, and in

Australia and New Zealand. This past spring, she had a solo

exhibition at St. Thomas University on its Minneapolis,

Minnesota, campus. Other recent solo exhibitions in North

Dakota include the Plains Art Museum, Fargo; the GK Gallery,

Cooperstown; Northwest Art Center, Minot State University,

Minot; and Valley City State University, Valley City. She has also

shown in South Dakota, Illinois, Indiana, and Kentucky. Her

work was also in two separate traveling exhibitions sponsored by

the North Dakota and Montana Gallery Associations. These

shows went to seven North Dakota and Montana cities.

Morrissey grew up in Lidgerwood, North Dakota. After

completing her undergraduate work at the University of North

Dakota, she moved out of state with her family for twenty-four

years. During that time, she completed an MA degree in painting

at the University of Louisville, Louisville, Kentucky, and an MFA

in printmaking at Indiana University, Bloomington, Indiana.

Morrissey’s work is in corporate, university, and foundation

MaJo Keleshian was born in New York City. And when as

a kid I returned (to New York) from my grandparents’ small

cottage in New England at summer’s end, I wept and could not

be consoled. Twenty-five years ago, Keleshian moved to the

woods north of Ellsworth, Maine, where she still lives and works,

Lot #10

MAJO KELESHIANEllsworth, Maine

Mnemonic 7 & Mnemonic 8

Mixed media, rag paper

6 x 5 inches each, 1997

Range $1200-1250 for the pair

Wayne Gudmundson was born of Icelandic heritage in

Fargo, North Dakota, in 1949. He currently teaches photography

at Minnesota State University Moorhead. In 1993 and 1995,

Wayne Gudmundson and Gudmundur Ingolfsson undertook a

photography project called Homeplaces. Gudmundson in

Iceland, and Ingolfsson in North America, chose to photograph

not simply geography, but places in relationship to the idea of

home. From Grimsey Looking South to Iceland is from that black

and white series. A photographer of the flat plains on the

American middle west, Gudmundson has learned how to make

an interesting photograph of a landscape that is almost entirely

background. He concentrates on the middle ground, composing

photographs that insist on the solidity of things, and on the object

in its concrete place. Landscapes that might be barren are

claimed as home by these objects.

Homeplaces, organized by pARTs Photographic Arts of

Minneapolis, Minnesota, resulted in a catalog and exhibitions in

Reykjavik, Iceland; Minneapolis and Moorhead, Minnesota; and

Winnipeg, Manitoba. Wayne Gudmundson’s photographs have

appeared in five different books, among them Minnesota Gothic,

1992, a collaboration with poet Mark Vinz, and in 2002, The

Promise of Water published by The Institute for Regional Studies,

North Dakota State University. Gudmundson’s photographs are

in the collections of the Museum of Modern Art in New York; the

San Francisco Museum of Modern Art; the Paine Webber

Collection in New York; The Canadian Centre for Architecture in

Montreal; and Ralph’s Corner Bar in Moorhead, Minnesota.

Lot #11

WAYNE GUDMUNDSONMoorhead, Minnesota

From Grimsey Looking South to Iceland

Photograph

32 1/2 x 42 inches, 1983

Range $800-1500

drawing images from (not of) nature: landscape, season, weather,

and light—a sort of visual haiku which she refers to as brief,

intense moments, a shock of color.

The Mnemonic series of twenty paintings came about when

Keleshian was awarded the Carina House Residency for Maine

Artists on Monhegan Island, Maine. In the Mnemonic series she

used caran d’ache crayons as if she were sculpting in color, often

beginning on wet paper so the crayon acts like watercolor; then,

with dry crayon, building up a thick pigment to wipe off or etch

into, creating compelling but subtle color transitions. The result

of the process gives a sense of history and texture in the tones of

each piece—a feeling of old painted walls, or wood grain. One

looks at the gradations of color as if to examine history and the

marks left by change.

Keleshian received her bachelor’s degree from Sarah Lawrence

College, Bronxville, New York, and later completed her Visual Art

studies at the University of Maine, Orono, Maine. For the past

decade she has exhibited in a number of solo and group

exhibitions in Maine. Keleshian had her first solo show in New

York City in October 2002. Her work is in the collections of the

Museum of Art, University of Maine, Orono, and CancerCare of

Maine art gallery at Eastern Maine Medical Center, Bangor.

Barton Lidice Benes was born in Westwood, New

Jersey, and educated in the early 1960s at the Pratt Institute,

Brooklyn, New York. Benes became internationally known in the

1980s as the "money artist." During this period he collaged

recycled currency on sculptural and flat forms. Today, Benes

assembles modern-day curiosity cabinets, or reliquaries, out of

everyday items that have been touched by fame, only some of

which are covered with money. The North Dakota Museum of

Art's Donor Wall, created by Benes, exemplifies this style. In

1998, Benes was commissioned by the North Dakota Museum of

Art to create a Flood Museum in collaboration with over a

hundred community people who contributed personal relics

from the flood.

Ossuary is a fifty-run silkscreen print made at the Hand Print

Workshop in Alexandria, Virginia, and it includes some of Benes’

favorite relics. The center image is the Ossuary in Kutna Hora,

Czech Republic, the original home of Benes family.

In September, 2002, Harry N. Abrams Inc., New York, released

Benes’ Curiosa: Celebrity Relics, Historical Fossils, and Other

Metamorphic Rubbish. Benes wrote the text, and John Berendt,

author of Midnight in the Garden of Good and Evil, wrote the

introduction. Benes appears on The Today Show, October 24,

2002, to talk about his book with Katie Couric and Matt Lauer.

The London Times bought first rights to reprint passages from the

book.

Benes has an extensive exhibition history. His latest show in New

York opened at the Lennon Weinberg Gallery on October 17,

2002. In the past decade, Benes has shown his work in Sweden,

Canada, New Mexico, the Czech Republic, South Africa,

Australia, Finland, Germany, Portugal, Sweden and throughout

the United States, including the North Dakota Museum of Art.

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 the Federal Reserve Board in

Washington, D.C., plus dozens more.

Benes’ apartment in New York’s Westbeth is a work of art in itself

—and it is stuffed with art. It is to be installed in its entirety in the

North Dakota Museum of Art once it is of no further use to the

artist.

Lot #12

BARTON Lidice BENESNew York, New York

Ossuary

Silkscreen

29 3/4 x 33 1/2 inches, 2002

Range $1500-2000

Christy Puetz (Pitz) received her BFA with a fiber arts

focus at the University of North Dakota. She introduced her work

at the North Dakota Museum of Art when she sold beaded pins

in the Museum Shop. Since then, Puetz has sold, exhibited, and

received awards for her bead art throughout the United States.

Puetz grew up in St. Paul, Minnesota. She currently works as an

Educational Assistant at the Bead Museum in Glendale, Arizona.

Dan Jones lives with his family in Fargo, North Dakota,

where he is a full-time landscape painter. Jones, primarily

working in oil, also makes charcoal drawings and prints. A small

winter landscape print by Jones served as the North Dakota

Museum of Art's membership print in 1999-2000. Jones'

signature hay bales appear in several large paintings

commissioned by the Green Mill restaurants in Fargo and Grand

Forks. Jones often works large scale as seen in Field's Edge. Jones

says, Working on this scale can be very liberating, reducing things

down to the most basic elements—simple, but dramatic.

Jones creates much of his work on site in the spacious landscapes

of North Dakota and Minnesota. He courts the influence of the

field. Jones' works are included in many museums, corporate,

and private collections, including the National Endowment for

the Arts in Washington, D.C.; the Plains Art Museum, Fargo; the

Rourke Art Museum, Moorhead, Minnesota; and the North

Dakota Museum of Art. In 1997, Jones was part of the Five

Painters From North Dakota show at the Henrik Ibsen House

Museum, Skien, Norway.

Puetz first beaded soft figures which she calls dolls. The dolls

show her life experiences and reflect the way she interprets the

world. More recently, she has moved to making flat bead art,

sometimes as pictures but also as quilts. Like the doll, the beaded

quilt is one of the oldest human forms. A historical theme may

run through each quilt—the pattern, for example. But the

materials I use such as beads, laminated images, and fabric create

a fresh new form. Clearly, Puetz’s passion is to find beauty in

irregularity and the lack of perfection. I cover surfaces with color,

texture, and honesty, says Puetz. Her solo and group exhibition

list is long, the most recent being the Annual Midwestern

Exhibition this past summer at the Rourke Art Museum,

Moorhead, Minnesota, where a piece of hers received a prize

and remains in its permanent collection. Various articles about

Puetz’s work have appeared in major bead art magazines.

Lot #13

CHRISTY PUETZPhoenix, Arizona

Drone

Beaded painting

8 1/2 x 6 5/8 inches,

2001

Range $400-450

Lot #14

DAN JONESFargo, North Dakota

Field's Edge

Oil on canvas

72 x 54 inches, 2002

Range $4500-4800

Lot #15

STEVE SUNDAHLBemidji, Minnesota

Zipper Chair

Steel and wood

60 x 18 x 18 inches, 2001

Range $2000-2500

Steve Sundahl is a versatile artist known for his fine

craftsmanship in ceramics, sculpture, drawing and design. His

work offers visual pleasure, laced with social commentary which

is often humorous in its exposure of human frailty in the face of

modern technology. His current project is at once an intriguing

art work, a feat of design, and a sturdy place to sit. Sundahl plans

someday to exhibit all 100 chairs. He wants his art to physically

engage the viewer. He believes art should be active, not static.

Sundahl is a professor of Visual Arts at Bemidji State University,

Bemidji, Minnesota, and runs his own design firm, Sundahl

Mike Marth, born in St. Paul, Minnesota, moved to Fargo in

1996. For almost twelve years, Marth has been using the still life

subject as a vehicle for exploring his thoughts and reactions

about day-to-day experiences. His objects symbolize people,

occupations, life styles and attitudes. While the images are often

triggered by a specific event, they evolve as Marth reflects on the

significance of the event. He prefers to keep the "pensive

particulars" submerged, allowing the viewers greater freedom to

find their own meanings based on their own experiences. I like

to push the limits of what a still life can be, says Marth.

Sometimes though, I make work just to satisfy my own love of

gooey paint and wonderfully oxidized surfaces.

Marth studied at Northwest Missouri State University, Maryville,

Missouri, and Southern Illinois State University, Carbondale,

Illinois. He currently works as the Director of Aesthetic

Development for the Hotel Donaldson, Fargo, North Dakota,

serving as aesthetic consultant to develop the boutique hotel's art

collection and exhibition spaces.

Marth has participated in numerous solo and group exhibitions

throughout the region. A Decade of Still Life, 2002, featured six

simultaneous solo shows by Marth and included the Plains Art

Museum, Fargo, and the Reineke Visual Arts Gallery, North

Dakota State University, Fargo. In February, 2002. Marth had a

solo exhibition at the Rourke Art Museum, Moorhead,

Minnesota. His work is included in the collections of the Plains

Art Museum; the Rourke Art Museum; The Federal Reserve Bank,

Minneapolis; the North Dakota Museum of Art; and others, as

well as in numerous private collections.

Design. He recently designed and constructed the interior of the

new Beltrami County Historical Society building in downtown

Bemidji. He has widespread experience in graphic design,

illustration and exhibit design. His work can be viewed at the Fly

By Night Artspace and by appointment at his studio in rural

Bemidji. Sundahl received a bachelors degree in graphic design

and a BFA at Bemidji State University, Bemidji, Minnesota. His

MFA is from the University of Washington, Seattle, Washington.

His work has been exhibited at the Plains Art Museum, Fargo; the

Col. Eugene Myers Gallery in the Hughes Fine Center Arts

Gallery, University of North Dakota, Grand Forks; and in

Minneapolis, Duluth and Bemidji galleries.

Lot #17

MAREN KLOPPMANNMinneapolis, Minnesota

Vessel

Porcelain

7 1/2 x 20 inches, 2002

Range $750-900

Maren Kloppmann is inspired by the concepts of

containment and space which she expresses in her vessels. The

essence of a vessel, Kloppmann says, may lie at the threshold

where a horizontal curve meets the vertical plane, where thinness

and thickness of edges define negative and positive space.

Through crevices, openings and enclosures, through surrounding

walls, vaults and curvatures, a container begins to allude to

architectural space . . . perceiving the ceramic vessel beyond a

contemplation of function. I intend to extend the notion of

utilitarian containment to that of sculptural presence.

Kloppmann, born in Veerssen, Germany, has BFA and MFA

degrees from the Kansas City Art Institute, Kansas City, Missouri,

and the University of Minnesota, Minneapolis. She received a

Journeyman Diploma from Keramik Handwerkskammer,

Germany, in 1984. A self-employed ceramic artist, she serves as

adjunct faculty at the University of Wisconsin, River Falls. In

2002, Kloppmann received a McKnight Artist Fellowship for

Ceramic Artists, and in 1998 she was awarded a Jerome Artist

Project Grant for Ceramics. She has exhibited solo in Munich,

Germany; Rochester, Minnesota, and in group exhibitions

through the United States. Her work is in the collections of the

Minneapolis Institute of Art, the Northern Clay Center,

Minneapolis; the Katherine E. Nash Collection at the Weisman

Art Museum, Minneapolis; and the Historical Society of

Minnesota, St. Paul.

Lot #16

MIKE MARTHMoorhead, Minnesota

Still Life

Mixed media on panel

49 x 42 inches, 1996

Range $1000-1200

Lot #19

GEORGIE PAPAGEORGEPretoria, South Africa

Africa Rifting-—Lines of Fire, Namibia/ Brazil

Installation of the half cross in Namibia on the 13th June, 2001

Mixed graphic and paint on Fabriano paper

39 x 21 inches, 2001

Range $2500-2750

Mary Schjeldahl, having grown up in the vast,

melancholy landscape of the midwest, has become a natural

lover of quiet observation. She is interested in the ever present

possibility of the sublime in the amazing landscape of North

Dakota. She shot Untitled (North Dakota) just north of

Bismarck, North Dakota, after a terrifically violent storm had

passed through. I had been drawn out into these fields by the

powerful clouds that were forming, and then felt afraid for my life

as the storm hit and I was unprotected. As they were receding,

the clouds opened up and provided this view of gold against the

black storm, and I was awestruck.

Schjeldahl remembers as a child visiting North Dakota with her

parents. They told her the land was so flat you could see the

curvature of the earth. This thought came back to her as she

looked out at the lesson in perspective the power lines provided.

Schjeldahl was born in Northfield, Minnesota, in 1959, and

moved to the suburbs of Minneapolis when she was ten. She

attended Parsons School of Design in New York City and

graduated with honors in 1992.

Schjeldahl currently lives in western Massachusetts with her

husband, Dave, and runs her own photo studio—HotHouse

Photography. She works for a variety of publications including

Orion, Boston Magazine, Disney, and Boston Globe Sunday

Magazine. Her personal work includes photo essays on North

Dakota, New York City, the demolition derby, abandoned

theaters, and landscapes shot with vintage amateur cameras. She

shows and sells her work through her studio.

Lot #18

MARY SCHJELDAHLWorthington, Massachusetts

Untitled (North Dakota)

Color C Print

12 x 22 inches, 1994

Lot #20

TAKESHI TAKAHARAAnn Arbor, Michigan

Shoal

intaglio

18 x 24 inches, 2000

Range $700-750

Takeshi Takahara, since 1990, has used water as a

subject in his work. He is particularly interested in water

phenomena, such as rain, waterfall, snow, waves, and frost.

Takahara chose intaglio because it is an active medium that

demands the artist’s attention every step in the process; yet, at the

same time it is forgiving. An intaglio plate can be scraped, revised

and added to at any stage. Takahara feels that repetitions often

help clarify the idea behind the work. His latest explorations

involve a combination of intaglio and woodcarving which result

in three-dimensional work. He is fascinated with this new

challenge, but is still committed to making prints on paper.

Takahara received MFA and MA degrees in printmaking under

Mauricio Lasansky, University of Iowa, Iowa City, Iowa. His

bachelors degree in economics is from Hosei University, Tokyo.

Since 1982 to the present, Takahara has served as professor of

printmaking and drawing at the University of Michigan School of

Art and Design, Ann Arbor, Michigan. Takahara has had solo

exhibitions throughout the United States and internationally,

including Japan, Lithuania, the Netherlands, Brazil, Italy and

Germany, among others. His work has been collected widely by

institutions and corporations including the Toledo Museum of

Art, Ohio; the University of Iowa Museum, Iowa City; the

University of Colorado, Boulder; Smith College, Northampton,

Massachusetts; and the Westinghouse Regional Office, Iowa City,

Iowa.

Georgie Papageorge, born in Simonstown, South Africa,

was educated at the University of South Africa, Pretoria. For the

past fifteen years, Papageorge has explored the idea of social and

geological rift in Africa. Her symbols of mutating barrier concepts

utilize ideas of the Judaic/Christian cross and red and white

chevron banners suggesting barriers. She places her installations

in varying African environments as she explores sacrifice and

transcendence.

Papageorge continues her earlier explorations in the current

Africa Rifting—Lines of Fire project. Internalizing her search, she

looks at the conflict between the physical body and the immortal

soul. In this work she explores the schism of the African and

South American continents, caused by a split 135 million years

ago of the ancient continent Gondwanaland, which initiated the

first appearance of the Atlantic Ocean.

On and along the coasts of Namibia, Africa, and Torres, Brazil,

Papageorge created two installations. On both coastlines, she

suspended long red banners to form a cross, or "X" formation

which she then split into upper and lower halves to form a "V".

A second formation of red banners was laid flat along the beach

parallel to the ocean to recreate the Rift Line that divided the

continents. The Torres, Brazil, work was installed September 11,

2001. On September 15, a third installation took place

incorporating a procession of children walking in Torres along

the Praia Grande in front of the city. Carrying the long red

banners between them, they created a living arterial line that in

a sense became a healed rift between the two continents. Africa

Rifiting—Lines of Fire may be regarded as a "field sketch," from

the Africa Rifting Series of more than twenty works. The loose,

painterly style captures the wind, light and space of the

Namib/Naukluft Desert coastline.

Papageorge has work in collections in South Africa, Rome,

Munich, Lisbon, London, Washington, Philadelphia, New York

City, and North Dakota. In 1990 she created Suspension, an

altarpiece which was installed and dedicated to the American

Indian in the Cathedral of Saint John the Divine in New York City.

It is on long-term loan to the North Dakota Museum of Art where

she had solo exhibitions in 1992 and 1995. Many of her pieces

are collaborative works, or events that come to completion on

site. In 2003 she will exhibit Africa Rifting in a solo show at Art

First Gallery in London, England.

Lot #21

WALTER PIEHLMinot, North Dakota

Valley Cowgirl

Acrylic on canvas

36 x 30 inches, 2002

Range $2400-2700

Walter Piehl is one of North Dakota's most highly regarded

artists. He studied undergraduate art at Concordia College in

Moorhead, Minnesota, 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,

Piehl was a roper and rider in rodeo arenas. He continues to

"call" at rodeos and to follow the careers of his rodeo-riding sons

while teaching at Minot State University, Minot, North Dakota.

Piehl has won numerous awards for his colorful, 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. Two works from his Sweetheart of the

Rodeo Series are in the permanent collection of the North

Dakota Museum of Art.

Lot #22

TIM SCHOUTENDugald, Manitoba

Little Doghead Point, Spring Thaw

Oil, gold leaf, metal on plywood

48 x 8 inches, 2000

Range $2000-2350

Tim Schouten, born in Winnipeg, Manitoba, studied at

Art’s Sake Inc. in Toronto in the early 1980s. Schouten’s paintings

have been exhibited in group and solo exhibitions throughout

Canada and he was represented by Tatar Alexander Gallery at

The Toronto International Art Fair in 2001. Schouten's paintings

are held in private and corporate collections, including the

collection of the Province of Manitoba.

Little Doghead Point, Spring Thaw is from a series titled Roads

North. This series developed from Schouten’s interest in the

winter roads in northern Manitoba and his concerns about

economic conditions in the isolated First Nations communities

which they serve. Access to twenty-one northern communities in

Manitoba is solely by air or water, except during the six to eight

weeks each winter when these ice roads are open. The winter

roads are newly built each year through the bush, over muskeg,

lakes and rivers. During the narrow window of time when they

are open, thousands of tons of heavy materials and equipment

are freighted to the north. The roads open local vehicle travel for

residents who must rely on expensive air travel the rest of the

year. Little Doghead Point, Spring Thaw depicts the melting at the

patron purchase

Walter Piehl’s work was donated

to the Auction

by U.S. Bank as a benefit

for the North Dakota Museum of Art

Lot #23

SHIHOKO FUKUMOTOKyoto, Japan

Koboreru Hikari

Indigo-dyed silk abaka

65 X 30 3/4 inches, 2001

Range $3200-3400

Shihoko Fukumoto, born in Osaka, Japan, in 1945,

received her BFA from Kyoto City University. Fukumoto believes

there are three elements necessary to a work of art: to be fresh

and original, to be simple, and to convey a sense of depth. For

Fukumoto, fresh is the element that applies to a sense of the new

in ideas, material, technique, tools or equipment. Simplicity, a

firm principle in Fukumoto's work, is her own pursuit of a

penetrating directness of expression–—to polish a work. Depth,

for Fukumoto, is a penetration into the deep and fundamental

nature of things. The process she uses to discover how to

creatively use new senses and conceptions is one of trial and

error. Her studio workspace is filled with unexpected objects—

not only glass-fiber sticks, but plastic indigo vats in specially

ordered sizes, large wooden tools around which cloth is wrapped

for shibori dyeing, pulleys used for hanging heavy dye cloth, and

east shore of the Lake Winnipeg crossing at the end of a short

winter season. Although officially closed three weeks earlier,

Northern residents were still using this 16 kilometer lake

crossing.

Schouten works in oil and encaustic and he occasionally uses

sculptural and collage elements in his paintings. For Little

Doghead Point, Spring Thaw, he used gold leaf muted with glazes

of oil paint to indicate the economic conditions in the North and

the hope for a brighter, richer future. Pieces of the collaged rusted

metal used in the work were gathered from the muddy shoreline

at Little Doghead Point.

Schouten has made book works and a web site

(www.mban.org/proj/distances) to advance this project. He has

exhibited in solo and group shows at a number of Winnipeg and

Toronto galleries, and is the recipient of several grants and

awards from Manitoba and Canada, among them the Canada

Council Travel Grant, and the Manitoba Arts Council Visual Arts

"A" Grant in 2001.

specially equipped washing facilities and purified water.

Fukumoto has an active exhibition record dating back to the

Lausanne Biennials, Lausanne, Switzerland. Most recently,

Fukumoto was chosen for the group exhibition entitled Textural

SPACE, Contemporary Japanese Textile Art, which toured a

number of Tokyo galleries and museums (2001). She was also

included in The Invitational Exhibition of Chongju International

Craft Biennale '99, a Chongju exhibition in 1999, and in ASIAN

AVANT-GARDE at Christie’s in London in 1998. In 2002,

Fukumoto exhibited at Muromachi Museum of Art, Kyoto, Japan.

Her work has been collected by the National Museums of

Modern Art in Tokyo, Kyoto, and Osaka, and by other museums

and galleries in Japan and the United States. She is represented

by Bellas Artes Gallery in Santa Fe, New Mexico.

Gregory VetteL was scolded and admonished by his

grandfather for taking parts from the scrap pile to make imaginary

machines and playthings on the farm where he was raised

southwest of Grand Forks, North Dakota. A former automobile,

motorcycle, and truck technician, Vettel's love of machines,

advanced by his ownership of Harley Davidson motorcycles, has

evolved into sculptures of discarded Harley parts. Vettel also

takes his parts to the computer where he creates two-dimensional

Gregg Wilimek has been a producing artist and a visual

arts educator in northern Minnesota for over twenty years. He

earned his MFA degree in painting from the University of North

Dakota and produces art in his studio located on Lake Movil, just

north of Bemidji, Minnesota. The extent to which the spiritual,

the psychological, and the community influence the process of

human decision-making lies at the core of Wilimek’s art.

In his Scarecrow Series, scarecrow characters are staged in dark

yet whimsical settings that compel the onlooker to make

moment-in-time choices. Symbolism, richness of color, and

imaginative lighting define Wilimek’s paintings. We Have Got To

Get Ourselves Back To The Garden images three scarecrows

poised on the edge of a road leading to both a city and a farm.

Their presence invites the traveler to linger and to meditate on the

consequences of choices.

Wilimek teaches middle school students a variety of art methods

and media, and emphasizes the value of art history in the artistic

process. He travels extensively to museums and historical sites

throughout North America and Europe, and uses his

comprehensive slide collection to enhance his lectures. Wilimek

also enjoys the challenge of working on a larger scale, and has

designed over twenty-five stage sets for local theater groups. A

solo exhibit of his current work is scheduled to open in

November at the Bemidji Arts Center, Bemidji, Minnesota.

Lot #24

GREGG WILIMEKBemidji, Minnesota

We Have Got to Get Ourselves Back to the Garden

Oil on canvas

32 x 36 inches, 1993

Range $800-900

Lot #25

GREGORY VETTELThompson, North Dakota

Hyperion II

Metal moving parts

17 x 13 inches, 2001

Range $400-500

Deane Colin Fay says his relationship with this region is an

inspiration for his work. Prairie Sentinel I is the first work in a

series of wall hung sculptures entitled Prairie Sentinel. Over the

years, Fay’s travels to Alaska, California, New York, and

Minnesota have afforded him rich experiences and broadened

his awareness of cultural diversity. Through it all, he has become

conscious of the common threads in humankind. Yet, the allure

of the prairies and the kindred bond he has with this part of the

country have always drawn him home. Fay has developed a

vocabulary of images and forms that stimulate a universal

aesthetic for the consideration of man’s fight for survival, his need

to belong, and his compulsion for individual expression. Colin

Fay’s work may be about coping with the environment,

connecting with ghosts from the past, or battling the inner

demons that all humans experience. Mostly, he hopes viewers of

Lot #26

DEANE COLIN FAYGackle, North Dakota

Prairie Sentinel I

Mixed media

72 x 14 x 9 inches, 2001

Range $600-1200

his work will contemplate our common bonds.

Fay received a BFA in art at Minnesota State University

Moorhead, and an MFA in Painting at the Rochester Institute of

Technology, Rochester, New York, in 1990. He has had many

solo and group exhibitions throughout Minnesota, North Dakota,

Montana, New York, and Canada, and in ninety-nine sites around

the world through the Transcultural Exchange Coaster Project

which he participated in during 2002. Fay, a former gallery

owner/manager in Fargo, is currently affiliated with the

Spanbauer Galleries in Milwaukee, Wisconsin, and in Naples,

Florida.

Fay’s work is in the Memorial Union Gallery Collection, North

Dakota State University, Fargo; Dolly Fitterman Fine Arts,

Minneapolis; and numerous corporate collections in North

Dakota and Minnesota. Fay currently works as Exhibition and

color images that repeat, alter or enlarge Harley parts.

Vettel received his bachelor of arts degree at Minot State

University in North Dakota where he studied under Walter Piehl.

Vettel took every art class that was offered. Vettel recently

acquired the 30-acre farmstead where he grew up near

Thompson, North Dakota. He works today in a converted

quonset surrounded by trees, fields, and gravel pits which he is

turning into a wildlife refuge and memorial park. His sculptures

delight viewing audiences in that Vettel invites the viewer to

touch and find the moving parts in his work. One of his

sculptures is in the collection of a vice president of the Harley

Davidson Corporation. Twenty other works are in private

collections throughout the country.

Vettel served as President of the North Dakota Art Gallery

Association for a number of years, and is still involved in the

work of promoting North Dakota artists. Vettel serves as

Exhibition Coordinator for the North Dakota Museum of Art. He

also restores or rebuilds old motorcycles, and occasionally,

Lot #27

LINDA WHITNEYValley City, North Dakota

Abuela de Oaxaca

caran d'ache, monotype

45 x 30 inches, 1999

Range $750-800

Linda Whitney grew up in Fargo, North Dakota, and is

currently serving as chair of Valley City State University’s art

department where she is also an assistant professor. Whitney is a

lover of bold colors and of a life that’s a cultural buffet.

Individuals are much more a sum of experiences, wishes and

accumulations than facial features and body language might

express, says Whitney, who was a recipient of a 1999 North

Dakota Governor’s Award for the Arts for her work with children

in a series of prints dealing with the subject of child abuse. In her

more recent portrait series (which Abuela de Oaxaca

represents), Whitney’s concerns are individual personal realities,

dreams, desires, accomplishments and disabilities rather than

physical likeness. Whitney’s subjects in this series are women

who have impacted her life. The Mexican woman is someone

Whitney met while teaching printmaking in Mexico.

The caran d’ache monotype process Whitney uses is important to

the content of the print—the crayon is a childlike and direct tool.

Images are created quickly on plexiglas, and any expressive

marks are intended. The drawing is covered with dampened

paper, run through an intaglio press, and the water-soluble

pigment is then transferred to the paper. The result is a touchable

surface Whitney encourages viewers to touch. Whitney first

displayed Abuela de Oaxaca without a frame, and pinned

directly to the gallery wall.

Whitney says the Mexican students who have come to work with

her in Valley City are not afraid of color. In their society art plays

an essential part in what they do. Art making is much more

spiritual. In this society, people have more of a tendency to set art

apart.

Whitney’s group and solo exhibitions have been numerous in

North and South Dakota, Minnesota, Wisconsin, Illinois, and

Don Reichert has been making art in a variety of media for

over forty years. He brings together the tradition of landscape

painting with the compulsions of gestural abstraction. Reichert

has always been a physical painter and his work, whether in

painting, drawing or photography, embodies a sort of muscular

rigor that is not without its lyrical dimensions. Reichert's career

has also been characterized by a creative restlessness that has

compelled him to do everything from altering his own

photographs, to painting on glass, to building race cars.

Born in Libau, Manitoba, Reichert studied at the University of

Manitoba and at the Instituto Alende in Mexico in the late fifties.

He taught at the School of Fine Arts at the University of Manitoba

for more than twenty years. He has been an artist-in-residence at

the University of New Brunswick and was awarded a Canada

Council Grant to work in St. Ives, Cornwall, in the mid-sixties.

He attended a number of the legendary Emma Lake Workshops,

including those led by Jules Olitski, Frank Stella and John Cage.

In 1973, he was made a member of the Royal Canadian

Academy. Reichert was given his first one-person show at the

Winnipeg Art Gallery in 1960.

Reichert has continued to exhibit nationally and internationally

for the last 42 years. His work is included in the collections of the

National Gallery of Canada; the Art Gallery of Ontario; the

Montreal Museum of Fine Art, the Winnipeg Art Gallery, the

Canada Council Art Bank, the Art Gallery of Windsor; the

University of New Brunswick; the University of Western Ontario;

and numerous corporate and private collections.

In conjunction with his 1995 exhibition, the Winnipeg Art

Gallery published Don Reichert: A Life in Work, a hardcover

book edited by Meeka Walsh, the editor of Border Crossings

magazine, with contributions from Walsh, Shirley Madill, Robert

McKaskell and Robert Enright. The book is included with the

purchase of Persona Upsidedown.

Lot #29

AGANETHA DYCK

Winnipeg, Manitoba

Shoes, 2001

shoes, beeswax, honeycomb, plastic rose, bee work

Size 7 ladie’s shoe

Range $1000-1200

Aganetha Dyck works with the cooperation of an apiary

and a professional beekeeper. She invites honey-bees to

intervene in the objects she places in their hives —the bees build

honeycomb on the surfaces of the objects. Dresses, shoes, books

and even sporting gear emerge from the bee-hives with moraine-

like deposits of aromatic beeswax. Often Dyck uses a found

object "as is" (like this pair of women's shoes), selected as part of

a larger conceptual project. Shoes 2001 is part of a series in that

Dyck and the bees complete one pair of shoes a year.

Dyck’s artistic career began in 1975 while living in

Saskatchewan, Canada, where she took classes at Prince Albert

Community College. She began with fiber art (specifically

shrunken wool garments) which resulted in the installation piece,

Close Knit (1976-1981), first exhibited at the MacKenzie Gallery

in Regina, Saskatchewan. Dyck’s art moved to A Canning Project

(1983), 100 jars of buttons purchased from a landlord, canned

and made beautiful; then she moved on to The Brain is Not

Enough, a collection of thousands of smokers’ last cigarettes

transformed into art works displayed in plexiglas showcases. In

the 1990s, Dyck began working with the bees in Winnipeg,

where she was born and still lives.

Dyck exhibits throughout Canada and France and has conducted

residencies in England, The Netherlands, and France, where her

work remains in private collections. In Canada, her work is in the

collections of the National Gallery of Canada and the Canada

Council Art Bank, Ottawa; the Manitoba Arts Council Art Bank;

Winnipeg Art Gallery; and others. She received awards from the

Manitoba Arts Council and the Canada Council for the Arts.

Lot #28

DON REICHERTWinnipeg, Manitoba

Persona Upsidedowna [can be viewed upside down]

acrylic/glass

20 x 20 inches, 1999

Lot #30

CARL OLTVEDTMoorhead, Minnesota

August Patterns

Oil on canvas

28 x 46 inches, 2000

Range $2700-2900

Carl Oltvedt, with artist friends, goes out in the field to

draw and paint on location no matter the season. In the summer

of 2002, he joined the artists who came to North Dakota for the

Re-Imagining New York exhibition on field trips into the North

Dakota-Minnesota landscape. 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 change their opinion upon seeing Oltvedt's paintings.

The viewer shares in the feeling of "being there."

August Patterns was completed on location just outside Fergus

Falls, Minnesota, during the summer of 2000.

Oltvedt began teaching at Minnesota State University Moorhead

in August of 1983 where he is currently a full-time professor

primarily teaching drawing. He has worked as a guest artist in

regional schools, and his work is represented by Groveland

Gallery in Minneapolis, Minnesota. He also has work in the

permanent collections of the Plains Art Museum, Fargo; the

Honolulu Academy of Arts, Honolulu; the Minneapolis Institute

of Arts, Minneapolis; the Minnesota State Historical Society; and

the North Dakota Museum of Art.

Lot #31

STERLING RATHSACK JR.Superior, Wisconsin

Artemis Herm

Mixed media: wood, broken ceramic

over terra cotta, paint

76 x 16 inches square at the base, 1993

Sterling Rathsack Jr. has maintained a studio in

Superior, Wisconsin, for nearly twenty years. He works in a

variety of media, his most common subjects being feminine

figures, birds, fish, and animals. Like many artists, Rathsack is a

collector. The objects in his collections, whether broken china for

mosaic work, figurines, or bric-a-brac, are often recycled into his

works of art. Rathsack likes to work with themes and subjects that

examine archaic forms and content he connects to contemporary

culture. His interest in Sigmund Freud led Rathsack to the

Grecian myth of Diana, Goddess of the Hunt and the Moon,

which is the subject of Artemis Herm.

Rathsack recently completed a series of paintings that feature

hands in varying poses and movement, a body of work shown in

Fairbanks, Alaska, in the fall of 2002. Among Rathsack’s

prominent public art works are Man, Child and Gull in Duluth’s

Canal Park and River, and Lake and Forest in Minnesota’s

Gooseberry Falls State Park. The Minnesota Department of

Natural Resources has again commissioned Rathsack to create

murals and sculpture for their regional headquarters in Tower,

Minnesota. In 1992, Rathsack was part of a group exhibition, In

Addition, at the North Dakota Museum of Art. A sculpture from

that exhibit remains in the Museum’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. His work is in the permanent

collections of the Tweed Art Museum, University of Minnesota

Duluth; Vaxjo’ Commune, Vaxjo’, Sweden; Brücke Gallery in

Kamakura, Japan, and numerous private collections.

Tom Lovatt was born and raised in Winnipeg, Manitoba,

and earned his BFA at the University of Manitoba in Winnipeg.

Still Life with Bird and Flower is part of a larger body of work

exhibited under the title Late Echo after a poem by the American

poet, John Ashberry. The paintings in the series address the idea

that repetition, or the re-examining of the commonplace

elements of life are a way of slowing down the elements so they

can be truly seen. Still Life with Bird and Flower is one of several

paintings working with the same body of images in different

configurations. Lovatt was in his early thirties before he finally hit

his artistic stride and began to produce work he felt was

distinctively his own. My work is always concerned with

memory, says Lovatt. It is both personal and historical memory.

My paintings and drawings are concerned with the past and the

reconstructing and reinventing of that past. It is about time and

how we take hold of time—the layering of that experience.

From historical and contemporary resources, Lovatt finds images

and items that fit into his work. He has had a large number of

solo and group exhibitions in Manitoba, Alberta, and Ontario. In

2001, he had a solo exhibition at the Site Gallery in Winnipeg. A

number of Lovatt's works are in the permanent collection of the

Winnipeg Art Gallery. Other works are in numerous corporate

collections in Canada including Great West Life Assurance;

Canadian Imperial Bank of Commerce; Canada Council Art

Bank; and the Government of Manitoba.

Lot #32

TOM LOVATTWinnipeg, Manitoba

Still Life with Bird and Flower

Oil on board

25 x 25 inches, 2001

Range $1100-1250

Paul Bowen was born in Wales, UK, in 1951. He studied art

at the Chester School of Art and graduated from the Newport

College Art in Wales. He received his MFA at the Maryland

Institute College of Art in Baltimore, Maryland.

Bowen is first and foremost a sculptor, living in Provincetown,

who has captured the flavor of the outermost Cape. His work is

about place. Being near the ocean and the beach is essential to

his work. Bowen says, I think environment can influence one

directly or indirectly. I am most interested in work that grows out

of the environment without being too self-conscious. Bowen uses

found and scavenged materials picked up during his predawn

walks along the Atlantic beach with his dog. Among the wharves,

boats, moorings, and fishing gear he might find a silvery plank of

boat driftwood, washed-up shoe leather, tarred paper, fish crates,

bits of wood, squid ink, rope or what-have-you—any of which

may end up in a sculpture or assemblage. Bowen distills and

reduces the key ingredients of the terrain to their inevitable core,

elegant, graceful solutions, time and time again. Boats, most

often occurring in fleets, inhabit his works on paper.

For the past three decades, Bowen has had numerous solo shows

in New York, Massachusetts, Washington D.C. and throughout

Canada and Europe. In 1990, he was included in a group

exhibition, Nature’s Materials, at the North Dakota Museum of

Art. His work is included in the collections of the Museum of

Fine Arts, Boston, Massachusetts; the Solomon R. Guggenheim

Museum, New York; The Association of the Museum of

Contemporary Art, Ghent, Belgium; and the North Dakota

Museum of Art, which acquired a major sculpture in 1991.

James Deitz was born in Bismarck, North Dakota, and

received a BFA from the University of North Dakota in 1984.

After receiving his MFA at the University of Washington, Seattle,

Deitz decided to make Seattle his home. Within five years he

was accepted into the Francine Seders Gallery as a showing

artist. He has remained with that gallery for twelve years.

Deitz's work re-interprets still life. He pumps new life into a 400-

year old tradition, and uses still life, as did the original Dutch and

Flemish painters, occasionally for symbolic and metaphorical

purposes. His canvases seem the aftermath of extreme

interventions: gouging, scraping and layering the paint, are all

indicative of this artist's labor-intensive approach to painting. His

time-consuming methods underlie a deep engagement with

materials which adds an emotional measure to the work.

Deitz tends to concentrate on solo exhibitions, his most recent

at Seattle Pacific University, Seattle, October-November, 2002.

He has had a number of solo and group exhibitions in Seattle.

For the past few years, Deitz has taught Drawing and Color at

Bellevue Community College. His work is in collections of the

Seattle Arts Commission, and Zevenbergen Capital, Seattle.

Other works are in schools through Washington State's Art in

Public Places Program.

Lot #33

PAUL BOWENProvincetown, MA

Fleet

8 x 10 inches on paper, 1993

Range $900-950

Artist DonationPaul Bowen has donated

this work to the Auction to

benefit the Museum.

Lot #34

JAMES DEITZSeattle, Washington

Crib

oil on canvas

15 7/8 x 15 7/8 , 1999

Range $800-950

Lots #35 and #36

The Exhibit Imageof Buyer’s ChoiceLandsat Image

18 x 18 inches

Range $300-$350

Donated by U.S. Geological Survey,

EROS Data Center, Sioux Falls, South Dakota,

in cooperation with Northern Great Plains Center for

People and the Environment,

John D. Odegard School of Aerospace Sciences,

University of North Dakota, Grand Forks

On July 23, 1972, the first of a series of Landsat Satellites was

launched by NASA to circle the globe taking pictures. The

millions of images captured by Landsat constitute the only

continuing record of the Earth’s surface as seen from space. These

images serve users who observe and study the Earth, who

manage and utilize its natural resources, and who monitor the

changes brought on by natural processes and human activity.

During the month of October, the North Dakota Museum of Art

is exhibiting The Earth as Art; A Landsat Perspective, an exhibition

of over forty images from the Landsat archives, selected and

processed for their aesthetic impact. This exhibit is presented in

collaboration with the John D. Odegard School of Aerospace

Sciences at the University of North Dakota. In addition, the

USGS EROS Data Center is donating two images to the Museum

Auction. The two highest bidders will be invited to select the

image of their choice from the exhibit. The chosen images will be

matted and framed at the EROS Data Center and shipped directly

North Dakota Museum of Art, Post Office Box 7305, Grand Forks, North Dakota 58202-7305 USAPhone: 701.777.4195 Fax: 701.777.4425 E-mail: ndmuseum@infi.net www.ndmoa.com

North Dakota Museum of ArtFoundation

Board of DirectorsNorth Dakota Museum of Art

Board of Trustees

Corinne Alphson, EmeritaDavid Blehm, Emeritus

Julie Blehm, EmeritaAnn Brown

Virginia Dunnigan, EmeritaJohn Ettling

Betty Gard, SecretaryBruce Gjovig, ChairDavid Hasbargen

James HawleyJean Holland

Dan JonesCynthia Kaldor

Sandy KaulBarb Lander, Emerita

Darrell Larson, Vice PresidentRobert Lewis, Emeritus

Lisa Lewis SpicerMary Loyland, TreasurerEllen McKinnon, Emerita

Douglas McPhail, EmeritusBarb Melby

Chester E. Nelson, Jr.Gary Petersen

Sanny Ryan, EmeritaLaurel Reuter

Annette RorvigGerald Skogley

Anthony Thein, EmeritusRex Wiedereanders, Emeritus

Candice Wood

Karen BohnMerlin DewingRichard LarsenDarrell Larson

Fern LetnesLynn LuckowSarah Lutman

Margery McCannaLaurel Reuter

Sanny Ryan, EmeritaGerald Skogley, Chair

North Dakota Museum of Art Staff

Kristin BergstromNatalie BowenHeather BushBarbara ÇrowHillary DavisReanna DixonSharon Ennis

Sue FinkEllen GagnonAmy HovdeKathy Kendle

Jennifer KotrbaBrian Lofthus

Danielle OsowskiEmily OwingsLaurel ReuterLisa Reisnaur

Lars SamuelssonBonnie SobolikLiz Stempinski

Sissy StempinskiJayne StempinskiGina Van Slyke

Greg Vettel