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 3, 2001Wine 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

The Autumn Art Auction isUnderwritten by

PatronsCongress, Inc.

Clear Channel Radio Communications

High Plains Reader

Endorsing Sponsors Ink, Inc., Kelly Thompson

James O. Hawley

Pepple and Pepple Design

A Touch of Magic on the Boardwalk, Chef NarDane

Branigan’s Restaurants & Bars

Lola’s Northern Italian Restaurant

Museum Café

Sushi Chef, Doua Lo

Auction PreviewOctober 9 until auction time

in the Museum galleries

Monday - Friday, 9 to 5 pm

Saturday - Sunday, 1 to 5 pm

Preview Party

Tuesday, October 30, 7 pm

Informal gallery talk by Museum Director, Laurel Reuter

Learn about individual works in the Auction

SupportersCamrud, Maddock, Olson & Larson, Inc.

Capital Resource Management

Farmers Insurance Group

James McDonald, D.D.S.

Meland Architecture

North Dakota Eye Clinic

Rite Spot Liquor

Simonson Lumber & Hardware

From the Museum Director Duaine Espegard, Auctioneer

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.

Communities need artists. They are our teachers and companions.

They grace our lives with new ideas and fill our homes with

beauty. They are also the carriers of our larger collective dreams.

For these reasons, the North Dakota Museum of Art has searched

for ways to keep artists among us, ways for them to make a living.

Successful auctions do just that.

Welcome to Autumn Art Auction number three. Once again

Madelyn Camrud has selected a broad range of work from artists

who have some connection to our region or the North Dakota

Museum of Art. Shindo Hiroyuki and Machiko Agano were

included in the Light and Shadow: Japanese Artists in Space

exhibition a few years ago. Susan Fenton, Jim Dow and Paula

Santiago are known to our audiences from earlier exhibitions.

Each year we try to introduce new artists. This year you will find

former North Dakotans Anthony Pessler, who teaches at Arizona

State, and Presley LaFountain, now of Santa Fe. Philip Koch, a

professor at the Maryland Institute, College of Art, had a

grandfather who taught in the English Department, and a father

who spent his early years in Grand Forks.

This year Zhimin Guan joins the auction. He comes from China

and now lives in Moorhead where he is on the faculty of

Minnesota State University Moorhead. Erik Budd left Fosston,

Minnesota, a few years ago for Arizona where his work has

flourished. We are happy to have him back. The wonderful

Minnesota batik artist, Vernal Bogren Swift, is making her first

appearance, as are David Bradley, Tom Kerrigan, Jon Olson, and

several others.

If your old favorites are not here this year, watch for them in future

auctions as we rotate various artists through the years. If you don’t

find a work of art you want to buy, talk to me about buying a gift to

the Museum’s permanent collection.

Rules of AuctionAutumn Art Auction

Committee

Nancy Adams

Madelyn Camrud, Staff

Sandy Crary

Phyllis Espegard

Lee Geer

Cindy Gordon

Rita Hadland

Julie Hall

Rachel Kopp

Alice Lee

Karna Loyland

Sonya McDonald

Michelle Mongeon

Jerry O'Connor

Misty Paul

Marsy Schroeder

Kim Skaro

Suzanne Winkel

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.

Louise Eberwein, Chair

Louise Eberwein moved to Grand Forks two years ago from

Calgary, Alberta. She and her husband Parker, a urologist, and

their four children were searching for a quieter, slower paced

community with great schools and an abundance of

extracurricular activities. Grand Forks has more than met their

expectations. Louise’s love of art drew her to the North Dakota

Museum of Art, and her appreciation of art combined with an

extensive background in marketing and volunteerism made her

an ideal Chair of the Auction.

To be an artist is to seek truth. Art is about

freedom. I think that the artist should retain

the freedom to experiment and explore at all

times — he or she must follow their heart.

—David Bradley

CAROL GOUTHROSeattle, Washington

Landscape on PlatterTerre cotta clay with underglazes and glazes

8 1/2 x 15 inches, 2001

Range $200-250

Carol Gouthro was born in Winnipeg, Manitoba, and graduated

from the University of Manitoba School of Art in 1976. Her

ceramics have been featured in American Ceramics,American Craft, L.A. Style, Seattle Home & Garden, andCeramics Monthly. Gouthro was chosen for the Ceramic

National 2000, a two-year traveling invitational that takes her

work to four major museums in 2000-2002: Everson Museum of

Art, Syracuse, New York; Samuel P. Harn Museum, Gainesville,

Florida; Chicago Cultural Center, Chicago, Illinois; and Crocker

Art Museum, Sacramento, California. For the past seven years

Gouthro has been teaching classes in low-fire hand-building. She

continually juggles her time between gardening and teaching as

these are important sources of inspiration for her ceramic work.

In the late 1990s, Senator Dianne Feinstein, in honor of Secretary

of State Madeleine Albright, hosted a dinner party for all the

women members of the Senate. The Senator commissioned

Gouthro to produce twelve distinct place settings for the table.

On her studio wall, Gouthro proudly displays a letter of thanks

from Senator Feinstein who wrote, "Every time I look at the

dishes, I smile."

DAVID BRADLEYSanta Fe, New Mexico

Goyathla: Portrait of GeronimoMixed media on board

28 1/2 x 23 1/2 inches, 2001

Range $1000-1200

Born in Eureka, California, Bradley studied at the Institute of

American Indian Arts, Santa Fe, New Mexico; the University of

CAROL GOUTHROLot #1

Arizona, Tucson; and the College of Santa Fe. In the mid-80s he

served in the Peace Corps in Guatemala, the Dominican

Republic, and Costa Rica.

Bradley, a great admirer of Geronimo whose real name was

Goyathla, created a series of paintings and prints about historical

Indian leaders. Bradley personally knew the late Indian artist,

Allen Houser, one of Geronimo’s descendants. Goyathla began

as part of a series of monoprints. Bradley further worked the print

with watercolor pencils and acrylic paint. Bradley has exhibited

extensively over the past twenty years, most frequently in Santa

Fe and other New Mexico cities, but also in New York,

Minnesota, Indiana, Oregon, California, Wyoming, Arizona, and

Washington, D.C., as well as Berlin and Frankfurt, Germany,

Amerindios, Chile, and Alberta, Canada. In 1997, he received

the Santa Fe Mayor's Award for Excellence in the Arts. His work

is in museum collections throughout the United States including

the Tweed Museum, Duluth, Minnesota.

DavidBradleyLot #2

MARIEL VERSLUISHopkins, Michigan

Late SummerOil on panel

8 x 10 inches, 1999

Range $550-650

Mariel Versluis grew up on her father’s fruit farm in western

Michigan which is still farmed by her cousins. Versluis goes back

to the farm to draw and paint, documenting the familiar patterns

and shapes, the brilliant colors and the flow of the seasons. She

currently teaches drawing at Kendall College of Art and Design

in Grand Rapids, Michigan. Her interests are in printmaking,

drawing, painting, and sculpture. She also works in fiber arts

since she and her husband have started raising sheep on their

own small farm where she also manages the dairy. She uses wool

for making felt. Her color woodblock (lost block) printmaking

techniques manage to reduce the details of scenes to their most

elemental components, creating almost abstract imagery.

Heightened colors offer an expressionistic view of nature.

Versluis exhibits primarily in Michigan.

Versluis earned a BFA from Grand Valley State University, a MFA

degree in printmaking from Syracuse University, and a

postgraduate fellowship from the Universidad Iberoamericana,

Mexico City, Mexico, for studies in Mexican culture, art, and

history.

JON OLSONGrand Forks, North Dakota

From A Portrait Series Oil on canvas

42 x 48 inches, 2000

Range $600-800

Jon Olson received his MFA from the University of North Dakota

in 2001. For his Master’s exhibition, Olson’s series of portraits

showed his interest in how “each of us harbor many identities

within and without ourselves.” The large body of work “informed

by observation, self-examination and cathartic episodes—

indeed, life and death, came after seven years of making art,”

Olson says. Olson earlier painted under the guidance of Walter

Piehl, Jr., at Minot State University in North Dakota. It was in

Piehl’s presence, Olson says, “I really began to understand the

possibilities of painting, and I pursued painting in a fashion I had

not previously known.” Olson moved from direct figurative to

abstraction and back again. In this latest body of portraits, Olson

intends that the portraits transcend themselves. “The paintings

have very little to do with the individuals themselves,” he says,

“and everything to do with the application of paint on the

surface.” His enjoyment comes from taking a traditional form of

painting, such as portraiture, and attempting to turn it into

something new.

MARIEL VERSLUISLot #3

JON OLSONLot #4

VERNAL BOGREN SWIFTBovey, Minnesota

Mrs. Alto's Rooming House with Its Too Deep BasementBatik

54 x 29 inches, 2000

Range $400-600

Vernal Bogren Swift is a self-taught batik-maker. Her choice of art

form, her fascination with pattern, and her receptivity to the

myths of many cultures originated in Africa. For two years in the

JON OFFUTTFargo, North Dakota

Topaz SetBlown glass

15 x 13 x 11 inches, 2001

Range $650-800

Jon Offutt was educated at Southern Illinois University at

Carbondale and received his MFA in the Glass Program at the

Minneapolis College of Art and Design in 1996. He currently

makes his home in Kent, Minnesota, and for the past several

VERNAL BOGREN SWIFTLot #5

mid-sixties, she and her husband were missionary teachers in

Ghana. Swift is a trained nurse.

In her art, Bogren Swift explores the relationship of geology and

memory. Recently she began incorporating iron rust in her batik

process. She wanted to use earth itself to depict stories of Iron

Range miners who once worked underground near her

Minnesota farm where she and her family have lived for thirty

years. Mrs. Alto's Rooming House with Its Too Deep Basement isa fantasy image based on stories told her by the children of

miners in Kittsville, Minnesota. These children grew up in

boarding houses for miners that were run by their mothers; the

houses were situated right over the mines, and the children could

feel the detonations.

This past year Bogren Swift exhibited at the Tweed Museum of

Art, Duluth, Minnesota, and the Cranbrook Art Museum,

Bloomfield Hills, Michigan. The Cranbrook Academy of Art in the

same city is where she received a MFA in fiber in 1996. Bogren

Swift was awarded the McKnight Artist Fellowship in 1993, 1997,

and 2000. She received a Bush Foundation Artist Fellowship in

1998 and a Jerome Foundation Travel and Study Grant for an

Australian sojourn in 1999.

ZHIMIN GUANMoorhead, Minnesota

Sarah in DaydreamOil

18 x 14 inches, 1999

Range $600-650

Zhimin Guan's concerns, like those of the Renaissance painters

and the Dutch masters, are with beauty, texture, surface, light

and color. He says his “images work best when they reveal a

tension between dream and reality. The broken and torn-up

figures enable me to contemplate both repulsion and attraction.”

Guan, an Assistant Professor of Art at Minnesota State University

Moorhead, was born in China and received his BFA in painting

there. He earned his MFA in painting and drawing at Fort Hays

State University, Kansas. Guan continues to research figurative

subject matter of conceptual content combined with the

philosophy of Taoism. He has exhibited in The China National Art

Gallery in Beijing, China, as well as other major Chinese

galleries and in several United States galleries, among them the

Fraser Gallery in Washington, D.C., and the Minneapolis Institute

of Arts. Guan received the First Place Award in the Art of the

Plains 2000 exhibit at the Plains Art Museum in Fargo.

years has served as instructor and Studio Coordinator in the Glass

Program at Minnesota State University Moorhead. Offutt

frequently demonstrates his art and has traveled to Kansas,

Kentucky, Missouri, North Carolina, Illinois, and Texas to give

public presentations. His studio, The House of Mulciber, opened

in Fargo, December 1998, after Offutt devoted an entire year to

building the facility and updating his equipment. His work is

included in the Plains Art Museum collection, Fargo, and in

museums and galleries in Texas, Florida, North Carolina,

Kentucky, and Illinois.

JON OFFUTTLot #6

ZHIMIN GUANLot #7

JOHN HITCHCOCKMadison, Wisconsin

ProgressDigital print

17 x 11 inches, 2000

Range $400-500

John Hitchcock’s current works blend printmaking, digital

imaging, video, and installation. The personal, social, and

political views in his work are a direct result of stories shared by

family members and issues regarding living on Kiowa/Comanche

lands in Oklahoma. In Progress, Hitchcock questions the notion

of progress as he contemplates the relationship of past to present

and the influence of technology on society. He asks: “What have

we learned from progress? What will be the fate of my people's

indigenous ways?”

Progress is a comment on the loss of language, spiritual beliefs,

and culture due to the influence of Indian boarding schools. The

chicken image—a can of commodity chicken meat distributed to

Native Americans through welfare programs—takes the form of a

computer chip and mimics the notion of assimilation and control

that is reinforced through government systems. The words

surrounding the chicken analyze and compartmentalize the

chicken body to depict the assimilating process.

Hitchcock recently accepted a position as Assistant Professor of

Printmaking at the University of Wisconsin, Madison, where he

teaches screenprinting and relief cut. He earned his MFA in

printmaking and photography at Texas Tech University, Lubbock,

and received his BFA from Cameron University, Lawton,

Oklahoma. He has shown his work in Ireland, Texas, New

Mexico, New York, Iowa, and Oklahoma.

JOHN HITCHCOCKLot #9

ERIK BUDDLot #8

ERIK BUDDScottsdale, Arizona

Stone by Stone IIAcrylic on canvas

24 x 32 inches, 2000

Range $3200-3300

Erik Budd's images grow out of the materials he uses. These

images have the feel of dreams and speak of seeking, growth,

transition, and rebirth. They are invitations to go within. Whether

troubled, turbulent, calm, or playful, the works chronicle the way

back to a relationship with God, according to the artist.

Budd received a MFA from the University of North Dakota in

Grand Forks in 1984, following his BFA degree from Concordia

College in Moorhead, Minnesota. He spent twenty-three years

teaching in Minnesota, then embarked on an “odyssey of

personal challenge.” He is now focusing full-time on his art.

Budd says windows, houses, water, boats, chairs, and animals

comprise a major part of his imagery. “Each time, they go through

a transformation, recording what I have learned.” The boat, for

Budd, is a vision of forgiveness, and as he works on

“forgiveness,” Budd says, his relationships begin to heal. Budd

exhibits most often in Scottsdale, Arizona, where he now lives,

but he also exhibits in Minneapolis, Minnesota. At times, he

sculpts the images he paints, using the same themes already

mentioned along with discarded objects worn by human hands

to reinforce the connection to human presence. His work is in

the collections of the Civic Center Library, Scottsdale, Arizona,

the University of Phoenix, Phoenix, Arizona, and in museums

and universities throughout Minnesota and North Dakota.

DICK HUSSSt. Paul, Minnesota

UntitledGlass, green opal, gold leaf

18 1/2 x 6 3/4 x 6 inches,1999

Range $1600-1700

Dick Huss, a glass artist, was born in Fairbault, Minnesota, in

1946. He received degrees from Mankato State University and

the University of Minnesota. Huss owns and operates his own

glass hotshop on Saint Paul's east side and currently serves as

Artistic Director of the Crucible Glass Project, a Twin Cities arts

organization which he co-founded in 1995. In 1996, Huss was

commissioned by Minnesota Governor Arne Carlson and First

Lady Susan Carlson to create a cobalt blue glass vase as the

official gift for the visiting King and Queen of Sweden. Huss is

known for his elegant, classically shaped vessels with

sandblasted surfaces.

Huss’s work is in corporate, museum, and private collections in

Japan, Germany, and France, and in the Art Institute of Chicago,

the Corning Glass Museum, and the St. Louis Art Museum as well

as many other collections throughout the United States. He has

been a glass blower for thirty-three years.

DICK HUSSLot #10

SUSAN FENTONBala Cynwyn, Pennsylvania

Star Crown, APHand-painted with oils, toned gelatin silver print

16 x 16 inches, 1994

Range $1200-1400

Susan Fenton credits her teaching and professional career for her

extensive foreign travel and living opportunities. Fenton received

a MFA at Rutgers University, New Brunswick, New Jersey, in

1980, and from 1991 through 1994 she lived in Tokyo while

teaching at Temple University, Japan. In her photographs, Fenton

assembles visual metaphors that she hopes will address the quiet

strength of the Japanese people as well as the fetishistic and

ritualistic iconography of their culture, both traditional and

contemporary.

Fenton's images involve a shallow and tightly composed space

with solitary models who remain anonymous. Appropriated

headgear, body treatment or props are her own creations, made

solely for the sake of the photograph with primary concern for

composition and esthetic impact. Fenton's photographs are

printed on fiber-based paper. They are then brown-toned and

finally hand-painted with photographic oil pigments.

Fenton has exhibited in galleries throughout the country

including an exhibition in 1999 at the North Dakota Museum of

Art. Her work is in many collections, national and international,

including the Chicago Art Institute Photography Collection, Bryn

Mawr College, The Philadelphia Museum of Art, the Federal

Reserve Bank, and the North Dakota Museum of Art.

VICKIE ARNDTBrooklyn, New York

1 Potato 2Mixed media on paper and linen

43/4 x 5 1/2 inches, 2000

Range $400-600

Vickie Arndt, born in Grand Forks, North Dakota, now lives and

works in New York City where she serves as Director of

Installations at the Dia center for the arts. Arndt received her

degrees from Wayne State University, Detroit, Michigan, and

State University of New York at Stony Brook, Stony Brook, New

York, where she was on a full scholarship and teaching

assistantship.

SUSAN FENTONLot #12

VICKIE ARNDTLot #11

She recently had her second solo exhibition at the Jay Grimm

Gallery in New York City. According to Jay Grimm, “Arndt sets up

a tension between natural forms and synthetic materials in her

work which juggles fragility and danger. Sometimes menacing,

sometimes humorous, the work contains formal solutions that

link them to surrealist traditions. Arndt also makes wall

sculptures about which critic Lauri Firstenberg says: “The works

comprised of debris are manipulated into biomorphic forms

which signal the bodily and scatological in a Benglisian way.” In

both her sculpture and her drawings, Arndt’s work encourages a

dialectic between the natural and the artificial via her

materiological experiments.” At a recent exhibit, Peep Show:

Erotic Fact and Fantasy, Arndt exhibited alongside some of her

most admired artists such as Gregory Gillespie, David Salle, and

Henri Matisse at the Luise Ross Gallery, New York.

JIM DOWBelmont, Massachusetts

Deer Carcasses Outside Motel, U.S #2, Bemidji, MinnesotaColor print from 8 X 10 color negative, #2, edition of 25

16 x 20 inches, 2000

Range $1100-1300

Jim Dow's interest in photography is, as he says, “in its capacity

for exact description.” His rule of thumb is to photograph things

that have been created for reasons more perfunctory than

esthetics. Dow, with his strange, funky eye, searches for the

vernacular and the unusual in everyday existence. His work is

collected by many institutions including the Museum of Modern

Art in New York City.

Dow received a BFA in Graphic Design (1965) and a BFA and an

MFA in photography (1968) from the Rhode Island School of

Design where he studied under Harry Callahan. After leaving

RISD he landed a job as a printer for Walker Evans and the

Museum of Modern Art. Over a two-year period, he made prints

for both the Museum’s 1972 Evans retrospective and the

monograph that accompanied the show.

In 1981, the North Dakota Museum of Art received a large grant

from Target Stores to permit Dow to photograph environmental

folk art in North Dakota. Dow spent three months in the state

completing that commission, which was exhibited at the North

Dakota Museum of Art. He returned in 2000 and fell in love with

the project all over again but wished to expand its scope. Over

the course of the next year Dow will return during all four

seasons to photograph throughout the State and in northwestern

Minnesota. The Museum will publish a book of over 100 Dow

photographs in 2003.

He has photographed works in series for twenty years including

the sports places of the United States, England, and Argentina.

“Whether it’s a domed major-league stadium or a ragged sandlot,

a playing field engages the imagination. The bigger, fancier

stadiums,” says Dow, “are the places where the dreamers gather

to watch their fantasies played out in front of them. The little ones

are where the dreamers gather to play.” He has photographed

numerous sports places in North Dakota on his various visits.

Dow has returned to Argentina a dozen times, photographing

vernacular architecture. Other series include: Court Houses for

Seagram’s Bicentennial project, The County Court House; soccer

stadiums of England; and the 1984 Los Angeles Olympics sites

for the Los Angeles Olympic Arts Festival and the L.A. Museum

of Contemporary Art.

Dow teaches at the School of the Museum of Fine Arts in

Boston, Tuffs University, and at Harvard. He has won numerous

grants and prizes including two National Endowment for the

Arts fellowships and a Guggenheim.

North Dakota Museum of Art Director, Laurel Reuter, acquired a

copy of this year’s Auction photograph believing it to echo larger

themes of crucifixion.

JIM DOWLot #13

SHARON LINNEHANDickinson, North Dakota

Morning SunlightMonotype

33 1/2 x 23 inches, 2000

Range $700-800

Sharon Linnehan's prints celebrate hopefulness and

encouragement. “These non-objective monotypes are meant to

uplift one's spirit and allude to the way we deal with events in

our lives over which we have no control,” she says. Linnehan,

formerly of Grand Forks, now teaches at Dickinson State

University where she is also director of the college art gallery.

This monotype was part of Midwinter Night’s Dream, shown at

the Northern Lights Art Gallery in Mayville, North Dakota, in

January and February, 2001. Her print exhibition toured

Minnesota and North Dakota beginning in August, 2000, and

continued into 2001.

NANCY FRIESECranston, Rhode Island

River of the NorthWatercolor

38 x 49 inches, 2001

Range $3000-3200

Nancy Friese was born in Fargo, North Dakota. This past summer,

she was selected as one of two Studioscape Artists-in-Residence

at the World Trade Center's World Views Residency programs. In

August and September she was making paintings on the 91st

floor of the World Trade Center. Also in 2001, she had her fourth

one-person show at the Pepper Gallery in Boston. Cate McQuaid

of the Boston Globe writes: “Freise's work is so fluid, so dancerly,

it looks like spontaneous play.” In truth, the artist returns to the

site she is painting a half-dozen times before she finishes each

painting, adding new layers of watercolor, anchoring all the

dreamy, delirious color with lanky, dark lines.

River of the North was started the summer of 2000 when Nancy

returned to North Dakota for a month of painting. She sat atop

the flood walls behind the golf course along the Grand Forks

residential area that was flooded in 1997. The scene looks across

the Red River to the opposite hillsides and fields. “It was very

placid weather,” says Friese, “with billowing clouds and heat. The

cottonwoods lined each side of the riverbank.” The scene, for

Friese, “shows the gentleness and power of this locale that is

memorable to me.” Since the mid-1980s Freise's paintings and

prints have been exhibited in more than twenty solo shows and

100 national and international group shows. She teaches at the

Rhode Island School of Art and Design.

SHARON LINNEHANLot #14

PRESLEY LA FOUNTAINSanta Fe, New Mexico

Santa Fe Whispers on a Yellow MoonUtah alabaster

27 x 13 inches, 2001

Range $4000-5000

Influenced by the dichotomy of the traditional lifestyle and his

1960s Indian Boarding School experience in North Dakota,

Presley La Fountain creates sculpture using rhythm, movement,

and shadows to capture the essence of emotion. “I carve

deliberately without detail . . . I want to interpret a whole spectrum

of emotions.”

In 1986, La Fountain received the Wheelwright Museum Award in

Santa Fe for the Most Promising Young Sculptor and Carver, and in

1979 he received the Governor's Award in the First Annual

American Indian Art Show, Bismarck, North Dakota. A member of

the Turtle Mountain Band of Chippewa, Belcourt, North Dakota, La

Fountain worked, in the late 1970s, as an apprentice to Doug

Hyde, a sculptor in Santa Fe. This followed his art education at the

University of North Dakota and the Institute of American Indian

and Alaskan Native Arts, Santa Fe.

With over twenty years of sculpting experience, La Fountain

continues to refine his personal vision “to keep my own personal

integrity in harmony with my art.” His work is in the collection of

the Smithsonian Institution, Washington, D.C.; the Institute of

American Indian Arts Museum, Santa Fe, New Mexico; the

Wheelwright Museum, Denver Public Libraries; the Heard

Museum; and the Museum of Northern Arizona. His exhibitions

have spanned numerous museums and galleries in the southwest

and midwest.

NANCY FRIESELot #15

PRESLEY LA FOUNTAINLot #16

MACHIKO AGANO

Kyoto, Japan

Wall hanging #2Kozo, pulp, sisal, manila hemp, soil, bamboo

47 1/4 x 9 3/4 inches each row, depth variable, 1991

Range $1500-1800 each row (three rows to be auctioned)

Machiko Agano, born in Kobe, Japan, is attracted by the

mysterious shapes of nature such as the designs made by the

desert sands, the ocean on coastal rocks, and by clouds driven

across the autumn sky. She sees these designs of nature as

without intention, but feels in them the power of something

unseen and all-encompassing of which she is a part. “So,” she

says, “I am searching to express the fundamentals of nature; this

is my art.”

Agano has shown her work in group exhibitions in England,

Holland, Denmark, Belgium, China, Australia, Japan, and the

United Kingdom. In 1994, she was one of several Japanese artists

in Light and Shadow: Japanese Artists in Space, at the North

Dakota Museum of Art. The spring of 2001, Agano showed her

work in Textural Space, an exhibition by thirteen leading

Japanese textile artists in the Museum & Art Gallery and Fabrica

Gallery in Brighton, United Kingdom. She completed post-

graduate work at Kyoto University of Arts in 1979 and began

teaching at Kyoto Seika University, Kyoto, Japan, in 1995 where

she still serves on the faculty.

SHELLY RUSENWinnipeg, Manitoba

Aerial View IIIAcrylic, tin, graphite, paper on plywood

16 x 24 inches, 1999

Range $700-900

Shelly Rusen enjoys traveling throughout rural Manitoba and is

always keenly aware of the flat land that surrounds her. For the

past several years, Rusen's method is to use aerial photography to

begin a work. “From a small aircraft,” Rusen says, “one is able to

see the beautiful patterns and color which appear at various

times of the year, all of which reflect the uniqueness of the

different seasons and the working of the land.”

Rusen received her BFA from the University of Manitoba. She has

exhibited in numerous group shows; her most recent solo

exhibition was in Main Access Gallery, Winnipeg, in 1998. Her

work from this exhibit was selected to tour Manitoba as part of

an established Provincial Touring Program which highlights

SHELLY RUSENLot #17

MACHIKO AGANO

Lot #18

Manitoba artists. Rusen’s work is in many private collections as

well as the Manitoba Visual Arts Bank.

GRETCHEN BEDERMANMandan, North Dakota

Looking OverMixed media drawing

12 x 36 inches, 2000

Range $450-600

Horses and women with horses are subjects of interest to

Gretchen Bederman. According to the artist, these images

symbolize and visually animate the elements of earth and its

relationship to fire, air, and water. She combines memories of

actual places with a mixture of reality, myth, and dream. She uses

the figure in both human and animal form to tell the story of

these nearly abstract seasonal landscapes.

Bederman has been in twenty-seven group shows and twenty

solo exhibitions in North Dakota and Minnesota since 1992. She

recently completed a five-month residency at the Jamestown Arts

Center and taught figure drawing this past summer at Bismarck

State College. Bederman grew up in Houston, Texas, and settled

in North Dakota after a 1980 visit. She completed her

undergraduate work at Minnesota State University Moorhead and

received her MFA in painting from the University of North

Dakota in 1996. While in Grand Forks, she served as a docent for

the North Dakota Museum of Art and worked as an Artist-in-

Residence at Lake Agassiz Elementary School.

DYAN REYGrand Forks, North Dakota

In My Garden, #3Oil on paper

30 x 22 inches, 2001

Range $950-1200

Dyan Rey is known for her uplifting, expressionistic, and colorful

paintings and drawings that grace the walls of Lola's and

Sanders,1997 restaurants in Grand Forks. She has exhibited her

works nationally and internationally and most recently at the

Empire Theater in Grand Forks and The Spirit Room in Fargo. She

has been an Artist-In-Residence concentrating on painting and

printmaking in Massachusetts, Washington, and Colorado, and

she is currently a lecturer in visual arts at the University of North

Dakota. Rey received her BFA in painting from The University of

Oregon and her MFA from the University of North Dakota.

GRETCHEN BEDERMAN

Lot #19

DYAN REYLot #20

WILL MACLEANTayport, Scotland

Coast Watchers CollageLithograph

18 x 11 3/4 inches, 1993

Range $500-650

Will Maclean is one of the leading artists of his generation in

Scotland. He was born in Inverness, the son of the harbormaster,

and spent his childhood between Inverness and Skye. Raised in

a family of fishermen, Maclean went to sea at an early age,

spending years on fishing boats and in the Merchant Marine. His

art is rooted in his knowledge of the Highlands, the Highland

people, and their history both on land and sea. In 1968 he

returned to sea as a herring fisherman, happily working a six-man

boat with members of his own family. In all of Maclean's work,

the sea is the ultimate agent of human destiny.

Maclean's solo exhibition, Cardinal Points, opened at the North

Dakota Museum of Art in 1998. It later toured in Canada. A

catalog, Will Maclean: Cardinal Points, was published by the

North Dakota Museum of Art in 2001. Maclean’s work is in a

multitude of collections, among them the British Museum,

London; the Scottish National Gallery of Modern Art, Edinburgh;

the Yale Centre for British Art, New Haven, Connecticut; and the

North Dakota Museum of Art.

JAY PFEIFERFargo, North Dakota

Untitled LandscapeMixed media

25 X 25 inches, 2000

Range $950-1000

Jay Pfeifer presents an interesting and personal interpretation of

the Dakota landscape. As a native of Buffalo, North Dakota,

Pfeifer has deep roots in his subject matter. Land, sky, and

horizon dominate the Red River Valley environment where he

grew up. He creates images of plowed fields, wind rows, and

undisturbed land that chart the personal history of his

relationship with the land. The artist feels himself inseparable

from the land’s history and witness to its change. Pfeifer, a

graduate of the North Dakota State University at Fargo, has

always imagined the land before it was worked by the first

settlers, before roads, shelter belts, and cities. In the 1990s,

Pfeifer received several awards, the most notable from the Plains

Art Museum in Fargo where he received the juror's Choice Award

in 1998 at the Spring Gala, and again in 1999 for a Regional

Exhibition juried by Laurel Reuter, Director of the North Dakota

Museum of Art. Pfeifer had a solo show, Crossroads, at GK

Gallery in Cooperstown, North Dakota, that same year.

WILL MACLEANLot #21

JAY PFEIFERLot #22

CLAIRE VAN VLIET Newark, Vermont

Kilclooney Dolmen – County Donegal Boxed portfolio of seven matted digital/vitreographs

Published by Littleton Studio, edition of 40

15 x 19 inches each, 1999

Range $2000-2500

Claire Van Vliet, a MacArthur Prize Fellow, is the founder of one

of the most prestigious small presses on the continent, Janus

Press. A five-year MacArthur prize allowed her to travel to New

Zealand and Ireland, and subsequently move from the format of

small books and modest-sized prints to the large-scale, multi-

sheet images seen in the North Dakota Museum of Art in the

summer of 2000. The show and accompanying book, In Blackand White: Landscape Prints by Claire Van Vliet, was organized

and published by Bates College in Maine.

Van Vliet invites viewers into her landscapes. She wants the sense

of the ground to continue under the viewers’ feet as they move

into the space of the landscape, a place they must complete in

their imagination.

Van Vliet was born in Ottawa, Canada, in 1933. She was

educated in California at San Diego State University and

Claremont Graduate School in Vermont. Her exhibition record is

extensive and international, as are her collectors, which include

the Victoria and Albert Museum in London, the Museum of

Modern Art in New York, Harvard University, and almost every

other important collector of rare books.

CLAIRE VAN VLIETLot # 23 (four of seven images)

ANTHONY PESSLERPhoenix, Arizona

TrinityGraphite on panel

15 1/8 x 15 1/8 inches, 2001

Range $1800-2200

Born in Pittsburgh, Pennsylvania, Anthony Pessler moved with his

family to North Dakota, first to Walhalla, then to Grafton where

he lived until he completed high school. Pessler is currently an

Associate Professor of Art at Arizona State University, Tempe,

Arizona, though he considers himself a student, and painting or

drawing his teacher.

Since 1990, Pessler’s subject has been landscape. His drawings

are worked on wood panels prepared with gesso, wet-sanded to

an eggshell finish. He covers the panel with graphite, then rubs

the surface with a soft cloth moistened with mineral spirits to

establish a somewhat uniform dark metallic gray. Pessler says,

"There’s just not much for me to paint about but love . . . it’s there

to remind us that we are all just light, searching for something or

someone to illuminate."

Pessler’s MFA degree is from the University of Wisconsin,

Madison, 1991, and his BFA from St. Cloud State University, St.

Cloud, Minnesota, 1989. He attended the University of North

Dakota from 1980-1983. In 2000 he was awarded an individual

Visual Arts Fellowship from the Arizona Commission on the Arts,

and in 1996 and 1997, his work was awarded Best of Show in the

Arizona State University Faculty Exhibition. In 2001, Pessler had

solo exhibitions in Scottsdale, Arizona, at Vanier Galleries on

Main. He has shown in solo and group exhibitions throughout

the United States, and his work is in the collections of the Tucson

Museum of Art, the Madison Art Center, Rayovac Corporation,

and the Chicago Center for the Print.

TOM KERRIGAN Tucson, Arizona

Desert Flora IIIEarthenware with stain, glaze, and metal

36 x 23 x 6 inches, 2000

Range $1200-1300

Tom Kerrigan is a ceramic artist whose career has spanned a

quarter of a century. He has exhibited sculptures and vessels all

over the world. He retired in 1999 as head of ceramics in the

Department of Art at the University of Minnesota-Duluth where

he began teaching in 1975. He is noted for his experimentation

with clay bodies, expressly his use of taconite from the Iron

Range of northeastern Minnesota.

Currently, Kerrigan is inspired by the southwest desert where he

lives. Since retiring to Tucson, the shapes and textures of cacti

and other desert plants are evident in his ceramics. Kerrigan's

work is in numerous collections, including those of the Los

Angeles County Museum, the American Craft Museum, and the

Pushkin Museum in Moscow. His art has been the subject of

articles in most major art and craft magazines, including

Ceramics Monthly. Kerrigan has traveled extensively throughout

the world as an artist and teacher.

ANTHONY PESSLER

Lot #24

TOM KERRIGAN Lot # 26

BARTON BENESNew York, New York

ReliquariumMixed media

32 x 40 inches (mounted), 2001

Range $4000-5000

Barton Lidice Benes was born in Westwood, New Jersey, and

educated in the early 1960s at the Pratt Institute in Brooklyn,

New York. Benes became internationally known in the 1980s as

the "money artist,” a period when he used recycled currency as

a collage medium on sculptural and flat forms.

More recently, Barton began making “Museum Pieces,” displays

of collectible objects (often belonging to well-known

personalities) and relics which he mounts, labels, and places in

museum-like containers. The North Dakota Museum of Art’s

Donor Wall, created by Barton, exemplifies this style. Another

similar work, Ebb Tide, resulted from a commission by the North

Dakota Museum of Art for its recent nationally known and

award-winning flood exhibition. The work remains in the

Museum's permanent collection.

Benes has an extensive exhibition history. In the past decade he

has shown his work in Sweden, Canada, New Mexico, the Czech

Republic, Portugal, Sweden, Russia, New York, and the North

Dakota Museum of Art. Last year alone he exhibited at the State

Tretyakov Gallery, Moscow; the Aldrich Museum, Ridgefield, CT;

and the Senior Shopmaker Gallery, New York City. Barton's work

has been collected by the National Museum of Art in

Washington, D.C., the Chicago Art Institute, the Bibliotheque

Nationale in Paris, and Chase Manhattan Bank in New York,

among others. He is represented by Lennon Weinberg Gallery of

New York City.

In September 2002 Abrams will publish Curiosa, a book about

Benes’ “museums.” John Berendt, author of Midnight in theGarden of Good and Evil, is writing the introduction.

BARTON BENESLot # 25

FATHER JEROME TUPA, O.S.B.Collegeville, Minnesota

Shadow Cycle IIGouache on paper

26 x 31 inches, 1995

Range $800-1000

Father Jerome Tupa, O.S.B., took vows as a monk in the Order of

St. Benedict at St. John's Abbey, Collegeville, Minnesota, where

he still lives and teaches French and Italian. Tupa, also a priest,

was born in Rollette, North Dakota.

Tupa, a self-taught painter, has painted for more than twenty

years. He often works in series, Shadow Cycle II being from a

group of sixty paintings made while on sabbatical in southern

France. The abstractions, all gouache on paper, contain the

essence of the Mediterranean landscape. Tupa is making three

painting-pilgrimages: to Italy; along the travels of St. Paul; and to

Compostella, Spain. Each of the three pilgrimages will be made

into books, two of which are already completed. In 2001,

Marshall Field’s of Chicago sponsored "California Missions: Los

Angeles, California" at the Public Library, Getty Gallery. The

North Dakota Museum of Art published a catalog of Tupa’s work,

In Quest of the Spirit, in 1996 in conjunction with his solo

exhibition at the Museum. His art has been widely collected by

museums in the United States and Europe.

EMILY LUNDEGrand Forks, North Dakota

Feeding the GeeseOil on canvas

16 x 20 inches, c. 1990

Range $200-300

Emily Wilhelmina Dufke Lunde was born in northern Minnesota

and, as she says, "with a handle like that you had to have a sense

of humor." She moved to Grand Forks as a young girl to find work

as a domestic. She was almost sixty years old before she began

to paint. As both an artist and author, Lunde has recorded the life

of Scandinavian immigrants settling the prairies and small towns

of the Red River Valley during the early 20th century. The North

Dakota Museum of Art owns a complete set of thirty-two

paintings from Lunde's Immigrant Series, as does the United

States Art in Embassies Program. Failing health has confined

Lunde in a nursing home the past several years. Her humor and

good spirits are still with her, even though she is no longer able

to paint.

EMILY LUNDELot #28

FATHER JEROME TUPA, O.S.B.Lot #27

VIRGINIA BRADLEYAND

PAUL CLIFFORDLot #29 (2 images)

VIRGINIA BRADLEY AND PAUL CLIFFORDClear Lake, Minnesota

Angels on the RadarMixed media cyanotypes

36 1/2 x 28 inches, 1998

Range $2000-2200 for the pair

These works are a collaborative effort by Virginia Bradley and

Paul Clifford who began working together in 1986 after meeting

on a plane bound for New York City. Angels on the Radar was

spawned by the pair's discovery of trainee nurses at Patterson

General Hospital, Patterson, New Jersey, in the 1943 yearbook

Virginia inherited from her Aunt Sabina Landis. Virginia's Aunt

Sabina, a World War I nurse in the armed forces, was faculty

advisor for the class of 1943. In this work, Bradley and Clifford

attempt to examine the personalities of these young nurses whose

lives would soon be touched by war. In reclaiming women's

history, Bradley and Clifford believe the contribution of nurses in

World War II is frequently overlooked. More than 200 Army

nurses lost their lives during the war. Bradley, born in Reading,

Pennsylvania, now lives along the Mississippi River and is a full

professor at St. Cloud State University, St. Cloud, Minnesota.

Clifford, born in Scarborough, England, was a Fulbright Visiting

Artist at State University, Long Beach, California, in 1994-95 and

at the Minneapolis College of Art and Design in 1985-86. In

1995, Bradley and Clifford exhibited collaborative work at the

Freedman Gallery Center for the Arts, Albright College, in

Reading, Pennsylvania.

SARAH SUHBinghamton, New York

SeedMixed media, oil-wax crayon

20 3/4 x 14 3/4 inches, 2001

Range $1500-2000

Sarah Suh closely observes nature, focusing on what is often

ignored, overlooked, or neglected. In her Seed series, Suh began

to see the important relationship between the symbol of a seed

and human life. Suh sees all seeds as equally important and

individually unique. They all have the capacity to become what

they possess within. This is the truth Suh sees as a hope for

humanity. Educated in New York, she studied pottery and

photography as well as drawing and painting. For the past two

years Suh has participated in Art on the Plains, a juried

competition at the Plains Art Museum in Fargo. She has also

exhibited her art in Minnesota, New York, Arizona, and

Colorado. Her work will be in a solo exhibition at Binghamton,

New York, this year.

SARAH SUHLot #30

SHINDO HIROYUKIKyoto, Japan

Indigo Space A Handwoven hemp, natural indigo dye

88 1/2 x 35 1/2 inches, 1999

Range $1400-1600

Shindo Hiroyuki was introduced to North Dakota through Light

& Shadow: Japanese Artists in Space, an exhibition at the North

Dakota Museum of Art in 1993. His linen hangings reflect the

SHINDO HIROYUKILot #31

SIGNE STUARTSanta Fe, New Mexico

EchoMixed media (plexiglass, silica, acrylic) on canvas

25 x 60 inches, 1990

Range $3000-3500

Signe Stuart is a constructivist painter who was born in New

London, Connecticut. She lived in Brookings, South Dakota

during the 1980s while on faculty at South Dakota State

University, and has since retired to Santa Fe, New Mexico. In

Laurel Reuter's essay, “Signe Stuart Paintings, 1989,” Reuter

writes: “Stuart is known for her superb instinct for color, for her

predilection for spareness . . . though it seems she does not

creative spirit of Japan — spare and refined, abstract, ethereal,

spiritual. Born in Tokyo, Japan, Shindo received a MFA in Kyoto

City University of Fine Arts in 1967. It was then he became

interested in aizome, a traditional Japanese indigo-dyeing

method handed down from generation to generation for over a

thousand years.

Today Shindo works the natural indigo-dyeing process in his

large countryside studio where he lives with his wife Chikako

who is a potter. He delights in the process in which he uses slow-

burning fires of charcoal or rice-chaff in fire-pits to heat his dye-

pots. Happiness comes as he watches the indigo dye drawn

slowly into the fabric laid on stones in dye troughs. Shindo's

works have been collected by museums in the United States

including the North Dakota Museum of Art, and the American

Craft Museum, New York, as well as museums in Paris, Jerusalem,

and Amsterdam. To produce his contemporary textiles with

traditional techniques, Shindo relies on a kind of “sixth sense” or

highly developed intuition to guide him; he “puts his trust in

Aizen Shin, the God of Indigo.”

categorize herself as a minimalist, unless minimalist means to go

after the maximum of impact with the minimum of material.” For

the most part, Stuart is concerned only with making paintings

that are beautiful because she believes “that ‘the Beautiful’ elicits

feelings of wholeness and ‘at-one-ment.’”

She has exhibited solo and in groups at numerous galleries

throughout the Midwest and Southwest, and is the recipient of

two National Endowment for the Arts Painting Fellowships. Her

work is in collections of the Tacoma Art Museum, Tacoma,

Washington, Blanden Art Museum, Fort Dodge, Iowa, and the

North Dakota Museum of Art. She received her art education at

the University of Connecticut, Yale-Norfolk Summer Art School,

Norfolk, Connecticut, and the University of New Mexico.

SIGNE STUARTLot #32

PAULA SANTIAGO

Zapopan, Jalisco, Mexico

AEM (a&b)Rice paper and Indian handmade paper, human hair

and blood in glass showcase & marble base

Glass case is 22 3/4 x 17 3/4 x 7 3/4 inches, 2000

Range $4900–5000

Paula Santiago has presented a complex process of internal

journeys grounded in a series of tri-dimensional works.

AEM (a&b) is a work from the CH'ULEL Series completed in the

year 2000, and exhibited in the Galeria Arte Actual Mexican in

Monterey, Mexico. Through her art, Santiago exchanges a whole

cultural experience including her ideas and values enriched with

a full layer of memories. In the process of making her art, she

seeks to know a broader range of self. Santiago received her art

training in Mexico and has exhibited solo in Italy, throughout

Mexico, the United States in Milwaukee, San Antonio, Los

PAULA SANTIAGO

Lot #33

Angeles, and at the North Dakota Museum of Art. Santiago's

group exhibitions include France, New York, New Zealand, Baja

California, and Mumbai, India. Her work is in permanent

collections in the San Francisco Museum of Art, the Los Angeles

County Museum of Art in California, and the North Dakota

Museum of Art.

PHILIP KOCHBaltimore, Maryland

Spring EquinoxOil on canvas

30 x 20 inches, 2001

Range $3500-3600-

Philip Koch’s work exhibits a humanist vision inextricably linked

with a painterly realism. The end result is a sensation, or tug of

memory, that says to all of us “we know that place, have been in

that landscape.”

Koch's paintings are in corporate collections such as Dupont

Corporation, Black and Decker, and the Bank of Boston. His solo

exhibitions from 1983-1999 have been in major cities of the

eastern and midwestern states. As a student, Koch knew artists

were “supposed to be contemporary,” but he was drawn to the

work of 19th Century painters of the Hudson River School. “Their

canvases,” he says, “often too dark and sentimental, whole-

heartedly embraced nature’s power.” Over time, Koch has

learned that contemporary art must remain true to an artist’s

deepest insights, and that the artist who paints true to his psyche

is contemporary in the best sense of the word.

Koch is a professor at the Maryland Institute, College of Art,

where he has taught since 1973. He teaches only two classes in

order to allow himself more studio time. Koch recalls that Grand

Forks has always been a part of his family’s lore, given the fact

that his grandfather—a long time ago—taught English at the

University of North Dakota. Philip Koch's father was raised in

Grand Forks until age four when the family moved to Chapel

Hill, North Carolina.

BRIAN PAULSEN

Grand Forks, North Dakota

Floor Tiles with Circles Prismacolor

25 x 19 inches, 1997

Range $700-900

One of the most consistent award-winning-artists in the region is

Brian Paulsen who also teaches drawing, lettering, painting, and

design at the University of North Dakota. He has served as a

faculty member in the Visual Arts Department for more than

twenty-five years. Paulsen lost his basement studio in the flood of

1997, but it is now fully rebuilt, and he is experimenting with

new images in his art. For years Paulsen has hand-painted

exhibition signage—almost a lost art—on the walls of the North

Dakota Museum of Art.

Brian PaulsenLot #35

PHILIP KOCHLot #34

LOIS PETERSONSt. Peter, Minnesota

Storm Warnings #4Mixed media

20 x 20 inches, 2000

Range $200-300

A house form is common in Lois Peterson's work. For years, she

avoided the often used house image, but her desire for it was so

strong she finally indulged the calling. “Humans place personal

significance on houses,” Peterson says: “. . . the house is a good

icon for the human experience.” In the Storm Warnings series,

viewers are reminded of the tornado that devastated St. Peter in

the spring of 1998.

Peterson chairs the Department of Art and Art History at Gustavus

Adolpus College in St. Peter where she has been a Professor of

Art since 1989. She also serves as a lecturer and curator. Peterson

has had solo exhibitions in galleries in Wisconsin, Michigan,

Oregon, Minnesota, Washington, and Texas; and has been a part

of numerous group exhibitions throughout the United States.

Peterson has received many grants and awards for her work over

the years, and she has written a number of reviews and articles

on the subject of ceramics and teaching. Her work is in the

collections of the Tacoma Art Museum, Pacific Lutheran

University Collection, and Gustavus Adolpus College.

WALTER PIEHLMinot, North Dakota

Hot Spot: Sweetheart Series Acrylic on canvas

40 x 36 inches, 2000

Range $1700-2500

Walter Piehl, one of North Dakota's most highly regarded artists,

studied at Concordia College in Moorhead, the University of

North Dakota (MFA), and 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 a horse. Over the years Piehl

has participated in the arena in both roping and riding events.

While teaching at Minot State University, he continues to call at

rodeos and to follow the careers of his rodeo-riding sons. Piehl

has won numerous artistic awards, and he shows throughout the

West including at such venerable institutions as the Cowboy Hall

of Fame in Oklahoma City, Oklahoma, and the C. M. Russell

Museum in Great Falls, Montana.

WALTER PIEHLLot #37

LOIS PETERSONLot # 36

North Dakota Museum of ArtBoard of Trustees

North Dakota Museum of ArtFoundation

Board of Directors

Corinne Alphson, emeritus

David Blehm

Julie Blehm

Ann Brown

Virginia Dunnigan, emeritus

John Ettling

Joann Ewen

Betty Gard, Secretary

Bruce Gjovig, Chairman

David Hasbargen

James O. Hawley

Jean Dean Holland

Connie Horn

Dan Jones

Cynthia Kaldor

Sandy Kaul

Rachel Kopp

Barb Lander, emeritus

Darrell E. Larson

Jean Larson

Robert Lewis, emeritus

Lisa Lewis-Spicer

Mary Loyland, treasurer

Ellen McKinnon, emeritus

Doug McPhail, emeritus

Barb Melby

Chester Nelson, Jr.

Gary Peterson

Laurel Reuter, President

Annette Rorvig

Sanny Ryan, emeritus

Gerald Skogley, emeritus

Anthony Thein, emeritus

Rex Wiederanders, emeritus

Karen Bohn

Merlin Dewing

Richard Larsen

Darrell E. Larson

Fern Letnes

Lynn Luckow

Laurel Reuter

Sanny Ryan

Gerald Skogley, Chairman

North Dakota Museum of Art Staff

Madelyn Camrud

Barbara Crow

Hillary Davis

Ellen Gagnon

Amy Hovde

Kathy Kendle

Alison Lewis

Brian Lofthus

Heidi Marwitz

Christine Nelson

Emily Owings

Laurel Reuter, Director

Juliana Sanchez

Jessi Schmaltz

Bonnie Sobolik

Liz Stempinski

Greg Vettel

Jen Winkler

and over sixty volunteers

North Dakota Museum of Art, Post Office Box 7305, Grand Forks, North Dakota 58202-7305 USA

Phone: 701.777.4195 Fax: 701.777.4425 E-mail: ndmuseum@infi.net www.ndmoa.com