Bush Artist Fellows Bush Artist Fellows Program East 900 First National Bank Building 332 Minnesota Street St. Paul, Minnesota 55101 Bush Artist Fellows
Bush Artist Fellows
CHOREOGRAPHY MULTIMEDIA PERFORMANCE ART
Djola Branner Tony Brown Joanie Smith Robin Stiehm Morgan Thorson Marcus Young
VISUAL ARTS: THREE DIMENSIONAL
Norman A. Andersen Harriet Bart William Gorcica Ana Lois-Borzi
VISUAL ARTS: TWO DIMENSIONAL
Judale Carr Bruce Charlesworth Stacey Davidson Michael Kareken Cy Thao
2 Bush Artist Fellowships
stablished in 1976, the purpose of the Bush Artist Fellowships is to provide artists with significant E financial support that enables them to further their work and their contributions to their communi- ties. An artist may use the fellowship in many ways: to engage in solitary work or reflection, for collabo- rative or community projects, or for travel or research. No two fellowships are exactly alike. Eligible artists reside in Minnesota, North and South Dakota, and western Wisconsin. Artists may apply in any of these categories:
VISUAL ARTS: TWO DIMENSIONAL
VISUAL ARTS: THREE DIMENSIONAL
LITERATURE Poetry, Fiction, Creative Nonfiction
CHOREOGRAPHY • MULTIMEDIA PERFORMANCE ART
SCRIPTWORKS Playwriting and Screenwriting
MUSIC COMPOSITION
FILM • VIDEO
Applications for all disciplines will be considered in alternating years.
3 Panels
PRELIMINARY PANEL Margo Sawyer FINAL PANEL CHOREOGRAPHY Artist and Associate Professor MULTIMEDIA University of Texas at Austin Margaret Archuleta PERFORMANCE ART Austin, Texas Curator of Fine Art The Heard Museum Loris Bradley PRELIMINARY PANEL Phoenix, Arizona Managing/Performing Arts Director VISUAL ARTS: DiverseWorks TWO DIMENSIONAL Loris Bradley Houston, Texas Managing/Performing Arts Director Margaret Archuleta DiverseWorks Robbie McCauley Curator of Fine Art Houston, Texas Performance and theater artist The Heard Museum Professor, Trinity College Phoenix, Arizona Guy Goodwin West Hartford, Connecticut Artist and professor Kerry James Marshall Ohio University William Whitener Artist and professor Athens, Ohio Choreographer and Artistic Director University of Illinois Kansas City Ballet Chicago, Illinois Douglas Hollis Kansas City, Missouri Artist Jason Pollen San Francisco, California PRELIMINARY PANEL Chair of Fiber Department VISUAL ARTS: Kansas City Art Institute Jawole Willa Jo Zollar THREE DIMENSIONAL President of Surface Design Artistic Director Association Urban Bush Women Kansas City, Missouri New York, New York Douglas Hollis Professor of Dance Artist Christopher Rauschenberg Florida State University San Francisco, California Photographer and Co-director Tallahassee, Florida Blue Sky Gallery Luis Jimenez Portland, Oregon Artist Hondo, New Mexico
Karen Karnes Ceramic artist Morgan, Vermont
4 Perspectives
or the past 25 years, artists throughout the her community? FBush Foundation’s region have received grants Through an examination of past fellows in the amount of “time.” Most artists applying reports, interviews conducted with former fel- for and receiving support through the Bush lows, potential fellows, and panel members, and Artist Fellows program have described this artists living in other parts of the United States, financial grant in these terms. “The BAF buys time is described in a variety of ways. people time — time to step off the treadmill,” is Renewal. “This award could not have come the way one choreographer described the fellow- at a better time for me, for its arrival followed an ship. Whether it is a composer or painter living overextended and extremely busy time. I in Minnesota or a choreographer or writer living absolutely needed to take some time off for recu- in Massachusetts, individual artists of all kinds peration, and the fellowship allowed me to do living in all places require time to create — often exactly that,” wrote a composer in her final described as a precious commodity. report. It also assisted her with other more tan- Interestingly enough, in the description of gible things: resources to develop new work, the purpose of the BAF, time is not mentioned: travel, and create a rehearsal studio and office “to provide artists with significant financial sup- space in her home. port that enables them to further their work and “This quiet time was punctuated with their contributions to their communities.” Yet numerous performances, of short duration, of nearly all applicants discuss their need for time old work, and of new ideas that existed once or in the written proposal. And most fellows refer twice before the public,” wrote another fellow. to the “gift of time” in their final reports. What “These forays on the stage reminded me of how exactly does “time” mean and how does it help important it is to my spirit to perform. At the an artist to further her work and contribute to end of my Fellowship I began a flurry of build-
5 ing, which reminded me how important it is for lowship, “The BAF allowed my project to grow my hands and mind to make things. I also from a disjointed heap of emotion, opinion, hot allowed myself brief passages of time to just be tempers, and hundreds of thousands of docu- fallow. To search, meditate, and attempt some ments, into a well-organized book with a defi- deep clarity. To take the time to allow the old to nite end in sight. Since the grant entered my dissolve and the new to precipitate.” Renewal life, I was able to immerse myself in the work. for this performance artist came from multiple Finally able to explore completely the multi- avenues — time to create, time to work, time to faceted, multi-layered story, I recognized weak- reflect. nesses in my original outlines and attempted Focus. While some describe the need to chapters.” stop and think, others, like this visual artist, have Exploration. “I find myself moving in used the fellowship as an opportunity to lead a directions I hadn’t considered, working in ways more directed period of work. “The BAF that I hadn’t imagined,” wrote a videomaker in allowed me to go to the studio and work unin- one of her quarterly interim reports. Sometimes terrupted without the pressure of an end-prod- the desire to explore is purposeful, but just as uct, an exhibition, or commission. The BAF often exploration can be a surprise. Time to allowed me to spend time with my family. It was “play” within one’s métier often leads to stronger a human and humane and creative experience. creative directions and new discoveries. The BAF gave me R&D time — a chance to Personal and Professional Development. “It stretch and expand.” is vitally important that artists develop an infra- A sense of focus can also come about structure to support themselves. I am trying to through total immersion. According to a South put energy into activities that will have an effect Dakota writer who had a specific goal for her fel- after the grant period. It’s like starting a busi-
6 ness. Artists will gain freedom by controlling the what I may be trying to say through music as a means of their production and building an infra- composer.” In a 1995 evaluation of the Bush structure to support themselves. Some artists, Artist Fellows Program, most fellows who were like myself, will take over every opportunity interviewed for the study mentioned the boost (and every bit of grant money) to create this of affirmation and self-confidence repeatedly as kind of environment for themselves no matter a benefit of the program. what.” Artists by their very nature are entrepre- While an artist’s self-confidence can be neurs. Some face this potential within them- strengthened by recognition by his peers, the selves in a very direct, “practical” way by creating deepest and most important boost of personal long-term infrastructure, as is the case with this assurance must come from within. That may choreographer and performance artist. Others not come until day-to-day pressures are reduced invest in skills development and as many sup- and the artist has the time to reflect on his port their promotional efforts. accomplishments and understand his work more Self Confidence. “When I entered the fel- completely. This kind of insight often frees the lowship period I was questioning my work as a artist to strengthen his work by challenging and composer, questioning my style, and question- testing what feels comfortable. ing my method of operation. When I finished “As my confidence grows so does my will- my fellowship I found I have, for the most part, ingness to realize my personal aesthetic. I have answered many of the questions that initially come to realize that, largely without my knowl- plagued me. I am much more confident of the edge, I have become a leader in my field over the direction that I’m going as a composer, and am past five years. I know that my experience as a beginning to see my work, not simply as this Bush Fellow has added immeasurably in this project, but more as a body of works, a gestalt of respect. It has given me the time to think deeply
7 about what I am doing and this has made me This announcement of the 2000 fellows marks the Bush Artist Fellowship’s 25th anniversary. In that time the program has aware of my own potential.” granted 324 fellowships to 293 different artists. Initially visual Resources in the amount of time, money, and literary artists were invited to apply; today the categories have increased to also include film and video makers, com- and material items do not usually significantly posers, playwrights and screenwriters, choreographers, perfor- change a life or a career, but they might alter the mance artists, and multimedia artists. The 15 fellows for 2000 will each receive $40,000 for a 12- to 18-month period, up way an artist works, sees herself, and approaches from the $12,000 combined stipend and production fund that her life and career. And those small changes can six artists received in 1976. Altogether in the past 25 years, the Bush Foundation has distributed $9,198,900 through its artist in turn influence his work and the ways in which fellowship program. it affects his communities. As one performance artist shared in his final report, “Artistically I feel some odd maturation has occurred during the course of this fellowship, as if some internal gear made a clunk and moved forward, just a wee bit.”
Julie Gordon Dalgleish Program Director Bush Artist Fellowships
8 BEAUTY
was sprawled and what was Beauty all over cupping in her king-sized the aisle a the bus crotch? when i first caught a glimmer he/she of her/ was truly an anomaly an imitation legs in stove pipe a life britches i thought bangles on every inch a ashy ankle til the bus lurched to a halt and elbow and Beauty lost in slumber as gracious oblivious as she was gangly to the pendulum wiped the spit a spit dangling from her five o’clock face from her lower lip and sauntered to the door the dreadlock where to my utter surprise smearing her mascara she smiled
girlfriend and spoke had surely missed her stop her makeup call — as quiet as it’s kept wit five gold fish sweetheart/ the sky hanging from her gnarly neck belongs to us too. fifteen from her septum/ 1992
9 Djola Branner
My work is a collage of movement, text and melody, imagined and remembered images, conversations, dreams with aunts, uncles, grand, great-grand, and greater grandparents. It is an attempt to reveal, deconstruct, and transform my own understanding of the world and its inhabitants.
Shortly after the company he co-founded, While he engages the audience through music, POMO AFRO HOMOS performed their text, and dance, “Music is at the root of every- groundbreaking theater piece, Fierce Love: Stories thing. My writing and choreography are lyrical of Black Gay Life, at the Walker Art Center, and rhythmic.” Djola Branner relocated from San His current project, Mighty Francisco to Minnesota. His subse- Real, chronicles the life and times of quent solo work has extended the Sylvester, a legendary disco singer bold voice first heard in Fierce Love. and “an openly gay, black man in the “One of our missions in POMO time of Anita Bryant, Ronald AFRO HOMOS was to deconstruct Reagan, and AIDS. One of the chal- myths about black, gay men and lenging things for me was that he was construct realistic portraits of our very androgynous. Even in a three- lives. I am still compelled to create piece suit, he was in full make-up, work which has historically been absent from the flowing between male and female, flirting with theater, particularly stories about African- both,” says Branner of Sylvester. Americans, if only to witness images of myself.” “A recurrent theme in my work has been Branner began as a writer and continues the plight of the underdog. What compels me is to write and publish poetry. A new project the resiliency of the human spirit. I am interest- whose subject is love, A House is Not a Home, is ed in the compromises we make to reconcile our structured primarily around music and poetry. personal paths with societal expectations.”
10 Tony Brown and Kari Margolis in a scene from Vidpires! 1998 Photo by Ruby Levesque
11 Tony Brown
My larger collaborative works inform my individual works and vice versa. Through my art, I seek to reflect on life rather than imitate it, and continue to explore innovative ways to express concerns about modern dilemmas while remaining entertaining and thought provoking. I consider my media work “low tech-high tech” in that the imagery I create often has a human quality and is technically simpler than what meets the eye.
Growing up in Oklahoma, Tony Brown the life of Galileo. Now he is deeply engaged in made his own monster movies after his father creating his first solo full-length performance brought home a camera and projector. “GI Joes work in which he acts, sings, writes, composes, is with clay faces,” he recalls. “I only had about an a cowboy, a singing robot, a diva. The show, hour before they would melt.” As American Safari, contains glimpses of co-founder and artistic director of American cultural icons as seen Margolis Brown Theater Company, through the eyes of his “Everyman” “a modern theater of spectacle,” he character, Arthur A. Peterson, as he brings a mix of technology and cre- drives through the cultural landscape ative problem-solving to multimedia of America. pieces that combine text, imagery, Brown cites as his primary song, video, and live performances. influence the “physical vocabulary” he “The human genetics system is our received from training with the biggest high-tech element. What makes people French master of mime, Decroux. “Dramaturgy feel like our work is technological is actually us, is about tension. You learn how to choreograph the actors.” yourself to create that tension as would a mari- Established in New York in 1984, the onettist, even in moments when you’re at rest.” company relocated to the Twin Cities nine years Animated, excitement charging his words, he later. In spring 2000, Brown made his debut as a says, “I started as a performer. I haven’t had a composer for Starry Messenger, a work based on chance like this to hone my skills in a long while.”
12 Joanie Smith and Danial Shapiro in George and Betty’s House 1987 Photo by Tom Caravaglia
13 Joanie Smith
A painter friend once pointed out that you need to get in trouble with a work of art. It’s the finding your way out — problem solving — that gets interesting. The environment I choose for creating is chaos. I fill the room with as many collaborators as possible and get lost with them in a dance with no space, a solo for fingers, card games without cards, and investigations of fragility or limits.
“The movement starts it, then Scott gets us know.” The dancers first performed together as music, we get him videotape, we go back and children in the Minnesota Dance Theatre and forth almost moment by moment.” Joanie had distinguished international careers before Smith is speaking of her collaboration with returning to Minnesota. “The subject is not age writer David Greenspan, composer but time. All three of them are danc- Scott Killian, and her partner Danial ing beautifully and fiercely.” In Shapiro, a process involving long- addition, she’s developing a solo term relationships and long-distance piece to be danced without music to logistics. Five years ago Smith and a contemporary text overlaying the Shapiro relocated their company to revenge speech from Medea. Minnesota from New York, where Smith has been a part of a Smith began the collaborative rela- movement to introduce elements of tionships that still define her work. theater — narrative and character — “Working alone — nothing really comes to me into dance. That said, her latest work Last Night — but when you work in collaboration there’s Before Autumn is “purely about music, abstract.” energy, ideas, and vitality. It’s about steamrolling In some sense, this piece can be seen as a return right through the problems.” to an earlier approach, but is in fact something Smith describes her current project new, the imagery has gained complexity; the ges- When We Last Spoke as “tributes to some of the tures can be read in a more recognizable way. most talented and sophisticated dancers I “Synthesis takes real time.”
14 Say Slow, Go Fast 2000 Photo by Carrie Agnew
15 Robin Stiehm
I’m intrigued by contrast: nature and society, man and woman, fast and slow, together and apart, good and bad, you name it. I think we define our human “beingness” by the path we pick through the either/or. I make dances about that path, and sometimes about the destination.
Choreographer Robin Stiehm’s decision to “Right now,” she says, “I’m interested in relocate to a small town on the Kettle River, an the idea of decay. As human beings, we try so hour and a half north of Minneapolis, brought hard to preserve things in stasis. But in the mid- the classic creative challenge: turning problems dle of the woods, when a tree falls down, anoth- into progress. The extended work er grows in its place.” Contrast also periods that became necessary for defines a piece she’s developing in dancers making the long trip have collaboration with composer Annie grown into cohesiveness with her Gosfield. “I’m working with con- dancers that she likens to the work- trasting flavors: physical speed, an ing atmosphere of a tour. This introspective and outward perfor- intensified relationship mirrors her mance style. The music is evolving own priorities as a choreographer, in response to those notions.” which center on the importance of While her vocabulary is firm- that relationship. ly rooted in dance with strong influences from Her company, Dancing People, contin- ballet and contact improvisation, her latest ues to tour worldwide, but the shift in opera- work, including the full-length City, uses more tions has affected both the process and content theatrical elements. “With each piece I try to do of their work. Stiehm has always been interest- something that looks different from what I’ve ed in contrast, in “creating conflicts that are not done before,” she says, her love of contrast easily resolved.” extending even to define her body of work.
16 Toe the White Line 2001 Photo by Mark Wojahn
17 Morgan Thorson
My current obsession is rhythm. Exploring its impact on endurance, perception and representations of the body, I create a process where the dancer navigates from one physical state to another, expressing physical textures and patterns in a dense landscape of cause and effect. The viewers experience the rhythmic landscape, their kinesthetic perceptions shaped by their own history. The collaboration between creation and perception exposes coincidence, humor and tension, revealing many momentary and often contradictory truths.
“If you put on a waltz, everyone feels its soothing we make assumptions based on that viewpoint. circular motion. I’m interested in creating I’m interested in the dissonance that happens rhythms where the viewer will be sucked in when the denial of privilege shatters.” kinesthetically and have an immediate emotion- Everyday movements — and personal al response through the combining experience — inspire and shape her of set and improvised movement.” aesthetic. Simple actions, such as Morgan Thorson began her training kneeling, are abstracted and collaged with ballet, but her evolution as a into phrases. In Bottom Heavy, a choreographer was shaped in impro- piece that grew out of “unwritten visation and collaboration with the dance floor contracts and house musicians and dancers of the music,” she uses a live DJ to sponta- Concrete Farm Dance Collective. neously choose music for each per- Thorson’s choreography formance. Her study of Skinner veers away from obvious virtuosity. “There are Release Technique, an approach to dance judgments and biases that are made in the phys- through poetic imagery and improvisation, has ical representation of the body. My work reflects given her a vehicle to “get to the true essence of real, everyday people and the problems that they movement, to pare down to the authentic face.” Her newest work Toe the White Line looks response. Improvisation is the spontaneous pur- at white-skin and economic privilege. “Social suit of form. The energy and texture of the body cues tell us what our place is in the world, and can’t be duplicated in set choreography.”
18 “Phases,” from Small All Spring Fall 1999
19 Marcus Young
“...This is another moment. As you look at me now, light bouncing off my body onto your eyes, you see me lit, a split, a small split second after I am here. Here. Are we here in the same moment then? Are we in the same moment when we kiss? And what is the speed of light? What really is the speed of light beyond the number?...” -excerpt from Small All Spring Fall 1999
Marcus Young believes that his wandering brutal, land-rushed frontier. His solo perfor- across artistic disciplines has been urged by his mance work also investigates the dilemmas of search for home. For him, America is incom- American identity. In Small All Spring Fall, he plete, and China is an imagined place. “I feel delved into the powerful inconsistencies between most comfortable artistically and his traditional Chinese reverence for culturally on the edge of new cre- the moon and his American “pride” ation, the space that alludes to in having conquered it with space America and China but does not travel. rely solely on one or the other.” To In 2001, Young will make his work in this never-never land, the first trip to China. He plans to stay cusp of new Asian American arts, is a full year, learning to read and write his endeavor. Chinese and aiming to counterbal- “I am mostly just a song ance the weight of a Western art edu- and dance man,” he says, referring to his back- cation. “I believe in the answers of our post- ground in opera and musical theater. With the modern times — when perspective, culture, his- eye and heart of an outsider, he staged tory, and identity are all mutable and fluid. Yet, Oklahoma!, typically an innocent story about a with this, I still need to find where I belong,” new America, to include an awareness of the Young reflects.
20 Captivating Speech 1994 bass drum, wood kalimba (mbira), bell, horn with free reeds, bamboo pipes, animal calls, bird cages, chair, hardwood, motors and electrical components 8’H x 13’W x 6’ D
21 Norman A. Andersen
Because I assemble, I constantly wrestle with relationships between parts: visual, mechanical, aural, contextual. . . It often feels like I work more between things than with them. And when that rare moment occurs and the balance is just right, I find real joy in the interaction of the parts, the new whole of the connection. This is the fertile ground of simultaneous conflict and resolution, harmony and discord, clarity and ambiguity.
Norman Andersen grew up in Chicago — Minneapolis, evokes the stone arch bridge over building things: go-carts, Christmas light dis- the Mississippi River and generates a range of plays, an elevator in a cherry tree, a beeping con- musical sounds. Yet the direction of his future traption to communicate with Mars. And he work is predicated on his growing interest in studied piano, played rock-and-roll outdoor constructions, where natur- and jazz. “My relationship with al forces contribute to sound, move- technology is long-standing and ment, and unpredictability. comfortable. I love surplus stores, Much of this new work is musical instruments, and sound. I based, on “whirl-i-gig” technology. have always felt driven to build He hopes to evolve this technology things.” Using acoustic sound into pieces that have the sophistica- sources and electro-mechanical sys- tion of his indoor work while retain- tems, he creates performing objects ing the simplicity of assembling that synthesize sound, sculpture, and technolo- found objects, metal, and wind. “There are a lot gy. Motor and mechanical sounds become a of beautiful things about these pieces — motion, vital part of the composition — gears grinding, shadow, interactions of simple shapes and forms. doors opening, windmills revolving — along They recompose themselves all the time. All my with intentional sound-making elements. previous works have been electrically-powered. I Andersen’s latest work, a commission worked very hard to create unpredictability in for Ibaraki City, Japan, sister city of those pieces — and here — it’s free.”
22 Anthology 2000 Photo by Rik Sferra
23 Harriet Bart
For more than twenty years I have made and continue to make work that explores my deep interest in the personal and cultural expression of memory. Using bronze and stone, wood and paper, books and words, everyday and found objects, I seek to signify a site, mark an event, and otherwise draw attention to imprints of the past as they live in the present.
Harriet Bart cites her father’s love of books for the moment. Her work derives its emotion- and her mother’s respect for the traditional arts al power from the visual richness from her mate- and crafts of women as influences still visible in rial choices and their juxtapositions, and has her work today — work that ranges from studio been described as “contemplative, intellectual, installations to public art. “My and beautiful.” Her current studio work came to light in the 1970s, work continues her interest in “fields during the early years of the of objects,” transformed by their women’s movement in art. I moved association and context. from the isolation of my home stu- “Human beings hunger to be dio into the tumultuous activities of remembered. It’s not always about the Minnesota art collective loss; the commemorative can also be WARM.” In 1990, she created her about celebration.” As she investi- first public art project, a bronze gates new forms of memorial, Bart sculpture for a municipal library in Japan. This hopes to travel to Berlin and to the Middle East. initiated an intense and productive decade of “Nobody did commemorative work better than commissioned sculptures and installations. the Egyptians,” but she is equally intrigued by Bart’s recent work has once again moved acts of memory expressed in ritual and activity. inward. She is eager for the quiet, open mystery “The constancy in my work is the pull I have to of studio work, designed not for permanence but the subject, the poetry of memory.”
24 Composite image on CD Clockwise starting at upper left: filmstrip & still image from digital video loop entitled BWCA Paddler #44, designed for projection onto sculpture Bark Arc, 2000; Images from Eyes and Ears, installation, digital prints on acetate, 1999; Zippered Stumps, digital prints on vellum, wood, wire, zippers, 2000
25 William Gorcica
The Appalachian Trail Corridor, Banff National Park, the Boundary Waters Canoe Area — wilderness places such as these together with the people in my life provide inspiration for my art.
William Gorcica’s move to central of cultivated nature — those places we have Minnesota meant an immersion in a rural envi- altered to meet human expectations or images of ronment, and a deepening of his interest in the wilderness. His travels to American wilderness relationship between humanity, nature, and areas — the Boundary Waters Canoe Area, the technology. That kind of immer- Appalachian Trail, Yellowstone sion, is the key to his work — sculp- National Park — have given him an tural installations that use technolo- extensive collection of digital audio gy to recreate and represent nature and video. He has begun to see ele- in relationship to human desires. ments of park architecture — stairs, “One important concern is paths, trail markers — as frames for to create relationships between the wilderness view. In his work, hands-on art making and electronic their counterparts in indoor exercise new media.” Gorcica fills his instal- facilities — swimming pools, stain- lations with the tactile and experiential, while less steel, corkboards — take their place in the altering the context through use of computer- negative spaces of natural scenes. processed imagery and sound. Recently, he has Of his future direction, he mentions the combined his moving images with computer possibility of introducing, very carefully, the printouts of individual frames, using that mate- human form, an element generally missing from rial to build sculptural components. his work, though in every way it is predicated on His recent work investigates the theme the imprint of the human on the wild.
26 Comparsa 1999 installation view, acrylic and oil on canvas, light fixtures, wire, thread, paper, rubber and glue 9’ x 41’ x 40’ Photo by Warwick Green
27 Ana Lois-Borzi
The representation of denial: our machinations, our inner circus. The irony of having to coat obvious statements in a mantle of air. A hurtful insight twisted with truth. . . A trap, like sugar to flies. Deceiving, an innocent tramp.
“When you enter one of my spaces, I want toward installation was “very slow, very shy,” and you to be trapped by images, colors, and she still perceives herself as an artist who draws. enchanted territory. And if you decide to look “I draw in space — sometimes with sculpture, closely, you might notice that the sensual beauty sometimes with lights and shadows, or with that first enticed you is now trans- found objects, but always I am draw- formed.” By altering the frame of ing, drawing.” reference, Ana Lois-Borzi creates Born in Argentina, Lois-Borzi installations that reassign value to has lived in the United States for ten overlooked or discarded cultural years. “Much of my work is charged products and plunge the viewer into by the fact that it’s so easy to forget a spatial confrontation with identity about the majority of the world. and desire. Of her work-in- Even though I am a willing partici- progress, Sonámbulos, she says, “I’m pant, I am looking at this culture interested in the space where our vision of our from the outside.” Speculating on the evolution projected self meets someone else’s vision. We of her installations, she mentions the virtual all have a need to feel good about ourselves. But environment, introducing the questions of race how do we assign value to that and decide what and culture to the Web. “Right now they’re like or who is worthy of fame?” James Bond movies, you always know how Trained as a painter, her movement they’re going to end.”
28 untitled 2000 oil and collage on canvas 7’ x 5’
29 Judale Carr
Ideally, I hope to reflect my inner essence. The picture must have power, substance and be associated with qualities of nobility, dignity, conviction, and total commitment.
“Isearch for the uncanny, the unreal, and perhaps the Art Institute of Chicago. that which is insane and illogical,” says Judale In his present work, he is dedicated to Carr, and yet his work is firmly grounded in his- “representing stories about the untold truths in torical truth. His images are derived from prim- America’s history.” In particular, he has pursued itive and pop culture. “I borrow the stories and images that bring to characteristics from African masks, light the role which African- headpieces, and other functional Americans have played in the mili- objects. At the same time, I am visu- tary and in early American history. ally attracted to information from He plans a series of paintings of billboards, newspapers, television, Revolutionary War battles — the and pop icons such as John Wayne Boston Massacre and the battles of and Dorothy from the Wizard of the Buffalo Soldiers — where these Oz. I want both of these sources to concerns can be portrayed through function provocatively and express spiritual humor and irony. He anticipates an extensive power.” journey of research to libraries and museums, as Carr grew up in Houston, and after well as to sources for oral history, hoping to leaving high school, worked widely — in meat- “speak my findings for audiences to wonder over packing, livestock, and x-ray technology before and question these historical allegories, or turning his attention to art, studying painting at unknown truths.”
30 Accident 1996 cibachrome print 23” x 23”
31 Bruce Charlesworth
I want the viewers of my work to be drawn in by its beauty and humor, then notice a disturbance inside that can’t be identified. I mean for them to feel personally implicated by what my scenarios signify, to come to a vague sense of emotional recognition and to continue puzzling out the meaning of my work after they leave.
“Paradox is essential,” says Bruce Charlesworth. this simplicity, his sensibility, heightened by “My process is a mixture of calculation and years of making art, makes it unlikely that he chaos. I don’t know what the new work will be will simply return to the provocative image. like.” Charlesworth’s work in photography, film, He plans “to experiment as sponta- and installation has received the neously and viscerally as I can,” and kind of critical attention that makes expects to work both with installa- him an artist of influence. His artis- tion and photography. His recent tic concerns remain consistent: work, using objects identified as color, light, scale, image, narrative. “confiscated,” is the starting point for For years his photographic a new museum-like installation that work has been intensive and includes photographs, objects and detailed in its production. video. He is also completing a fea- Disturbing subject matter is often ture film Private Enemy Public Eye. set against physically appealing imagery that can After describing the formal and aesthetic con- take up to a month to create. “The work I was cerns of the film, structured in alternating sec- doing in the beginning of my career was sponta- tions of black-and-white and color and designed neous. Often, at the expense of content, I to challenge conventional approaches to charac- focused on formally elegant poses or gestures.” ter and narrative structure, he says with a laugh, While he is once again powerfully attracted to “It’s about terrorists and actors.”
32 Rising and Falling (The Waters of March) 1998 oil on canvas with cloth and composition doll 60” x 48” Photo by Kurt Koefod
33 Stacey Davidson
I’m interested in what is present when I look at someone, and in what is there between us: their history meeting mine — many things I can’t know but can sense. The presence of what lies between me and the person posing sets off speculations in the drawing elements of my paintings and in the sculpted doll figures. The dolls also come out into the viewer’s space: I want the painting’s insides to meet yours.
Working in oil and painting from life, make plaster molds and cast doll parts in paper Stacey Davidson began exploring her interest in pulp.” This body of work has moveable parts. physiognomy through traditional portraiture. A The dolls sit or stand by themselves; in fact, they persistent tendency to “wonder about the private can be posed. With each step toward three- psychic realms” of her subjects led dimensionality, Davidson’s work her on the journey toward three- moves closer to the realm of imagi- dimensionality. Initially layering nation where “models are used as her paintings with drawings done on actors, portraits turn into dolls, and and around the portraits, she even- paintings become prosceniums for tually made these layers leap off the the actor-dolls.” wall by becoming a student of doll Given her restless imagina-
making. Wire and papier machév tion, it’s not surprising that dolls, some with hand-crafted wigs, Davidson’s work is about to evolve embroidered clothes, tiny shoes, hang in front of again. “I’m really missing painting. I want to see her portraits — creating an atmosphere that is how these latest developments will fold back “both thrilling and scary,” in the words of a into painting. I’m doing drawings now — I recent viewer. want to keep my mind open, my heart open.” From there, Davidson “left painting for For Davidson this next chapter begins in mys- over a year to pursue sculpture, learning how to tery and in the challenge of inviting possibility.
34 Figure/Shower Curtain 1999 charcoal on paper 30” x 22”
35 Michael Kareken
My best ideas usually happen somewhere in the middle of the working process. I begin a piece with no set image in mind, trusting that in the making of the work the image will articulate itself to me. The completed piece is constructed from a variety of sources — models, sketches, photographs, imagination. It is the distillation of a feeling or idea rather than the record of a specific place or scene.
When Michael Kareken moved to and prints of domestic interiors: single figures Minnesota after ten years in New York City, he and couples in everyday surroundings during stopped painting, moved to the simplicity of moments of vulnerability and intimacy, scenes charcoal, studied and pursued the textural qual- that struck him as “beautiful and uncontrived.” ities of printmaking, and began to Designed to implicate the viewer produce images of the wide land- into the picture as participant, the scape around him: the quiet neigh- faces are concealed and the lines of borhoods, the tornadoes and fire of the work draw the reader toward the the Midwestern landscape. “The sky center of the frame. His work is like a world unto itself here,” he reveals an almost cinematic orienta- says, and his large-scale charcoals tion toward point of view and space. full of foreboding and dignity say it “Since I was a kid, I’ve always had as well. Throughout this period he these weird spatially-distorted expe- maintained a formal dialogue between the char- riences — Hitchcock understands that so well.” coal works and smaller scale intaglio prints. Before his move to the Midwest and the Presently, he is ready to return to oils, both for retreat from color, Kareken was working with color and because it may allow him to combine “big, invented, fragmented material.” He senses “the fluidity and directness of charcoal with the a move back toward that material as he returns layering inherent in printmaking.” to oil, a move that will reconfigure his darkly His latest work is a series of drawings evocative way with space.
36 The Village 1997 oil on canvas 30” x 36”
37 Cy Thao
I get my imagination from stories told to me by storytellers, grandmothers, and professors. Sometimes these stories are horrific, happy or just ordinary everyday events. Now I must pass the story along for others to see. Instead of using words, I use paint and canvas.
Politics, life, and art merged early in Cy Thao’s not afraid to back down. That’s what art is. You life and weave a continuous pattern. Born in put a piece out there and you stand up for that Laos, he lived for six years in refugee camps in piece.” Thailand before coming to America. In college, His paintings resemble Hmong tapes- Thao pursued art for himself and tries in which disparate moments political science for his future. But appear to occur simultaneously, yet not long after, he chose art for his tell a sequential story. He also draws future, a path that led him to help from the tradition of religious paint- found the Center for Hmong Arts ing: a central figure dominates the and Talent and to begin a 20-paint- foreground, out of proportion with ing cycle depicting Hmong history. the surrounding images. Recently, politics, life, and art Thao recently traveled to entwined again when Thao became Laos, Thailand, and China to a candidate for state representative. acquaint himself with the land he left as a child, As for the effect of politics on his art, “It and to study an ancient technique of wax paint- has already crossed over. My work is not a pret- ing, related to batik, which exists today only ty picture on the wall. It comments on social among the Chinese Hmong. “The Hmong have issues, tensions between people. Artists have a always used art as a daily routine. It’s only here sense of what’s right and what’s wrong. They are where art is separate from life.”
38 Artist Biographies
NORMAN A. ANDERSEN 3220 Park Avenue “For Pity’s Sake,” Het Apollohuis, Southeast Como Neighborhood Minneapolis, MN 55407 Eindhoven, The Netherlands Gateway Project, Minneapolis Arts 612-823-6454 Commission Born 1954, Evanston, IL “Contraptions,” Plains Art Museum, Moorhead, MN Siren, fountain and sound sculpture, Education Duluth Water & Gas, Duluth, MN M.A., Liberal Studies, Hamline “Playing by Ear,” The Minneapolis University, St. Paul, MN Institute of Arts, Minneapolis, MN HARRIET BART 250 Third Avenue North, #308 Minneapolis, MN 55401 B.F.A., Minneapolis College of Art The Electric Gallery, Toronto, 612-375-1598 and Design, Minneapolis, MN Ontario, Canada Born 1941, Duluth, MN Selected Awards Selected Group Exhibitions , Education Minnesota State Arts Board, “Artistic Accumulation,” Lokaal 01, Individual Artists Fellowship Breda, The Netherlands B.A., University of Minnesota, Minneapolis, MN “The Instrument as Object,” Travel and Study Grant supported South Bend Regional Art Center, Selected Awards by the Dayton Hudson Foundation South Bend, IN on behalf of Target Stores, Dayton’s Minneapolis College of Art and and Mervyn’s, the General Mills Design/McKnight Foundation Foundation, and the Jerome “Automatic Music,” Logos Fellowship for Visual Artists, Foundation Foundation, Gent, Belgium Minneapolis, MN
Bush Artist Fellowship “Sound Seen,” New Music America, Frederick R. Weisman Art Museum Washington Project for the Arts, Sculpture Plaza Commission Project, Selected Solo Exhibitions Washington, D.C. funded by the Jerome Foundation and the R.C. Lilly Foundation, Kinetic sound installation for “Not Suitable for Framing,” Minneapolis, MN St. Paul Winter Carnival, The Art Gallery at Harbourfront, Rice Park, St. Paul, MN Toronto, Ontario, Canada Arts Midwest/National Endowment Selected Public Commissions for the Arts Regional Visual Artists Norm on Edge, performance, Fellowship, Minneapolis, MN Hamline University, St. Paul, MN Clocked sound sculpture for Minneapolis sister city Ibaraki, Japan
39 Artist Biographies
St. Thomas University Science and MacDowell Residency Fellowship, Technology Center, St. Paul, MN Jerome Foundation, Metropolitan Peterborough, NH Doubleday Book and Music Clubs, Regional Arts Council, Many Voices Garden City, NY Multicultural Collaboration— Selected Solo Exhibitions Ibaraki Municipal Library, Homos in the House Ibaraki, Osaka, Japan “Without Words: A Reading Room,” Laumeier Sculpture Park Selected Collections Diverse Visions Regional Grant- and Museum, St. Louis, MO The Jewish Museum, New York, NY NEA, Jones Commission— Frederick R. Weisman Art Museum, The House that Crack Built University of Minnesota, “Harvest,” Frederick R. Weisman Minneapolis, MN Art Museum, University of The Minneapolis Institute of Arts, Many Voices Residency, Minnesota, Minneapolis, MN Minneapolis, MN Homos in the House
Selected Group Exhibitions Many Voices Multicultural DJOLA BRANNER Collaboration, Forever Hold “New Work, MCAD/McKnight 3010 Hennepin Avenue South, #165 Your Piece Artists,” Minneapolis College of Art Minneapolis, MN 55408 and Design, Minneapolis, MN 612-823-6683 [email protected] “Bessie Award,” Outstanding Performance Group, Pomo Franconia Sculpture Park, Born 1957, Los Angeles, CA Afro Homos Shafer, MN Education Selected Performances “Legible Forms: Contemporary M.A., Creative Arts, Mighty Real: A Tribute to Sylvester, Sculptural Books,” traveling exhibi- Interdisciplinary Studies, San premiered at Intermedia Arts, tion organized by the International Francisco State University, CA Minneapolis, MN Sculpture Center and curated by Carla Hanzal, Contemporary Art Selected Awards Center of Virginia, Homos in the House, co-commis- Virginia Beach, VA McKnight Fellowship, sioned by Intermedia Arts Interdisciplinary Artist and Walker Art Center, Minneapolis, MN “Dialogue: Alchemy of the Word,” Creative Capital Foundation, Harriet Bart and Helmut Lohr, Mighty Real: A Tribute to Sylvester Galerie Horst Dietrich, The House that Crack Built and Berlin, Germany Forever Hold Your Piece, premiered at Jerome Fellowship, Playwright Patrick’s Cabaret, Minneapolis, MN Selected Commissions Federal Reserve Bank, Ninth Jerome Foundation, Metropolitan District, Minneapolis, MN Regional Arts Council, Minnesota Sweet Sadie, premiered at Patrick’s State Arts Board, Philanthrofund— Cabaret, Minneapolis, MN Mighty Real: A Tribute to Sylvester 40 Artist Biographies
Selected Performances JUDALE CARR Dark Fruit, premiered at Public 1218 Fourth Avenue Theater, New York, NY Vidpires!, Little Theatre, Worthington, MN 56187 Minneapolis, MN 507-376-3533 [email protected] Fierce Love: Stories of Black Gay Life, premiered at Josie’s Cabaret, The Bed Experiment II, Movement Born 1967, Houston, TX San Francisco, CA Theater Center, Minneapolis, MN Education TONY BROWN 3112 17th Avenue South Vanishing Point, premiered at M.F.A., The School of the Art Minneapolis, MN 55407 Southern Theater, Minneapolis, MN Institute of Chicago, Chicago, IL 612-724-9961 and toured to Singapore [email protected] www.margolisbrown.org B.F.A., University of South Dakota, Koppelvision and Other Digital Vermillion, SD Born 1951, Broken Arrow, OK Deities, premiered at St. Clements Church, New York, NY and Fellowships and Awards Selected Awards toured nationally Southwest Minnesota Arts and Minnesota State Arts Board Humanities Artist Career Grant, Theater Arts Fellowship Suite Sixteen, BACA Downtown, Midwest Arts Council, Brooklyn, NY Marshall, MN McKnight Foundation/Intermedia Arts Interdisciplinary Fellowship Decodance, BACA Downtown, Sara Lee Fellowship, Artist Brooklyn, NY Residency, Ragdale Foundation, - Lake Forest, IL Six National Endowment for the Arts, Theater Fellowships Autobahn, premiered at BACA Downtown, Brooklyn, NY and Jurors Award, “Summer Arts XVII,” toured nationally and Warren Lee Center for the Arts, “Bessie,” New York Dance and internationally Vermillion, SD Performance Award Selected Commissions Exhibitions New York Foundation for the Arts Starry Messenger, The Children’s University of South Dakota Alumni Performance Art Fellowship Theatre Company, Exhibition, Warren Lee Center for Minneapolis, MN the Arts, Vermillion, SD Exhibitions “2005,” Intermedia Arts, “Symbolic Perspectives,” Minneapolis, MN Nobles County Art Center, Worthington, MN 41 Artist Biographies
“Revealing the Soul,” Gallery 2, National Endowment for the Arts “Eddie Glove,” Walker Art Center, Chicago, IL Film Production Grant Minneapolis, MN
“Textuality,” Gallery 2, Chicago, IL , Selected Group Exhibitions Bush Artist Fellowship Miscellaneous Biography “Inside These Walls,” Museum of - Fine Arts, Houston, TX Associate Professor, Minnesota West Louis Comfort Tiffany Community and Technical College, Foundation Award Worthington, MN “Pleasures and Terrors of Domestic Comfort,” Museum of Modern Art, National Endowment for the Arts New York, NY, traveling exhibition Lead artist in community mural Visual Arts Fellowship project, Rural Arts Initiative, Worthington, MN Selected Solo Exhibitions “Cross References: Sculpture into Photography,” Walker Art Center, “Bruce Charlesworth,” S.K. Minneapolis, MN, traveling Assistant project manager in Josefsberg Gallery, Portland, OR exhibition community mural project, Gallery 37, Chicago, IL “Cyclops,” Motel Fine Arts “Biennial Exhibition,” Whitney Exhibitions, New York, NY Museum of American Art, BRUCE CHARLESWORTH New York, NY 1500 Jackson Street NE, Suite 308 Minneapolis, MN 55413 “Bruce Charlesworth,” Modulo Selected Publications 612-788-2427 Centro Difusor de Arte, Lisbon and [email protected] Oporto, Portugal Private Enemy-Public Eye: The Work of Bruce Charlesworth, short fiction Born 1950, Davenport, IA by Bruce Charlesworth, essay by “Strangers Index: Works of Bruce Charles Hagen, Aperture Education Charlesworth,” The Photographers’ Foundation and the International Gallery, London, England Center of Photography, M.F.A., Painting, University of Iowa, New York, NY Iowa City, IA “Private Enemy-Public Eye: The Work of Bruce Charlesworth,” STACY DAVIDSON B.A., Art, University of Northern International Center of Photography 1966 James Avenue Iowa, Cedar Falls, IA MIDTOWN, New York, NY St. Paul, MN 55105 651-698-6828 Selected Awards [email protected] , , “Wrong Adventures,” The Capp McKnight Foundation Artist Street Project, San Francisco, CA Born 1961, Detroit, MI Fellowship 42 Artist Biographies
Education “MCAD/McKnight Artists,” WILLIAM GORCICA Minneapolis College of Art and 212 14th Avenue South M.F.A., Painting, University of Design, Minneapolis, MN St. Cloud, MN 56301-4108 Cincinnati, OH 320-656-9165 [email protected] “Davidson, Gatson, Sklar, Kennedy,” www.stcloudstate.edu/~wgorcica/art B.F.A., Painting, Maryland Institute, No Name Exhibitions, The Soap Baltimore, MD Factory, Minneapolis, MN Born 1960, Passaic, NJ
Selected Awards Education “Still Life: Three Ohio Artists,” Minnesota State Arts Board Artist Denison University Gallery, M.F.A., Visual Arts, Rutgers Assistance Fellowship Granville, OH University, Mason Gross School of the Arts, New Brunswick, NJ Minneapolis College of Art and “Ohio Selections X,” Cleveland Design/McKnight Foundation Center for Contemporary Art, M.A., Painting/Sculpture, Fellowship for Visual Artists, Cleveland, OH Montclair State University, Minneapolis, MN Upper Montclair, NJ , “Image/Identity: Self-Portraits of Ohio Arts Council Individual Artist Maryland Artists,” Maryland Art B.S., Biology, Virginia Tech, Fellowship Place, Baltimore, MD Blacksburg, VA
Selected Solo Exhibitions Selected Awards Selected Awards Gallery 2, P.P.O.W., Inc., Minnesota State Arts Board Artist Arts in Space Grant, Intermedia Arts New York, NY Assistance Fellowship Exhibition space, sponsored by the Jerome Foundation , The Carnegie Arts Center, Minneapolis College of Art and Travel and Study Grant supported Covington, KY Design/McKnight Foundation by the Dayton Hudson Foundation Fellowship on behalf of Target Stores, Dayton’s Selected Group Exhibitions and Mervyn’s, the General Mills , Foundation, and the Jerome “The Figure: Another Side of Ohio Arts Council Individual Foundation in media arts for a self- Modernism,” Newhouse Center of Artist Fellowship directed creative residency in visual Contemporary Art, Snug Harbor art, Banff Art Centre Cultural Center, Staten Island, NY Collections The Mercantile Library, “I’m Not Here: Construction Cincinnati, OH Identity at the Turn of the Century,” Susquehanna Art Museum, Harrisburg, PA 43 Artist Biographies
“Recycle-Record-Reflection,” Virginia Center for the Creative Milwaukee Institute for the Arts, Louise Nevelson Award, American Arts Fellowship Outreach Project, Layton East Wing Gallery, Academy of Arts and Letters New Genres/Alternative Art, Milwaukee, WI funded by the National Endowment for the Arts “Eyes and Ears,” Collaborative Arts Midwest Artist Fellowship Earth Day Installation with Scott Miller (electronic musician), Fulbright Scholarship, Painting and St. Cloud, MN New York Foundation for the Arts Graphic Arts, ten-month residency Artist Fellowship in Kraków, Poland “Art in Space XII - Part One,” Selected Solo Exhibitions New Jersey State Council on the Intermedia Arts, Minneapolis, MN , Arts Fellowship Award for Graphic Groveland Gallery, Arts, printmaking Minneapolis, MN “Faxes and Video,” Cultural Club Binney and Smith Purchase Award Gallery, Kraków, Poland for Artistic Excellence, work repro- First Street Gallery, New York, NY duced in June 1992 issue of “Art in America” “Repetition/Replication,” Spring Selected Group Exhibitions Gallery, New York, NY “175th Annual Exhibition,” Full Fellowship, Skowhegan School National Academy Museum, of Painting and Sculpture, MICHAEL KAREKEN New York, NY Skowhegan, Maine 3215 Humbolt Avenue South Minneapolis, MN 55408 Selected Exhibitions 612-823-4417 “Minnesota National Print [email protected] Biennial,” Katherine E. Nash “Canadian Rockies/Wallachian Gallery, University of Minnesota, Beehives,” Galerie v Oknech, Born 1961, Washington, D.C. Minneapolis, MN Olomouc, Czech Republic Education “The Playing Cards Project “Invitational Exhibition of Painting Exhibition,” No Name Exhibition Skowhegan School of Painting and Sculpture,” American Academy Space, Minneapolis, MN and Sculpture of Arts and Letters, New York, NY
“Sonic Circuits VII: Festival of M.F.A., Brooklyn College (CUNY), “Drawings Midwest,” Minnesota Electronic Music and Art,” juried Brooklyn, NY Museum of American Art, event, Landmark Center, St. Paul, MN St. Paul, MN Selected Awards , Minnesota State Arts Board Artist Fellowship 44 Artist Biographies
Selected Collections Selected Grants and Awards The Minneapolis Institute of Arts, “Entredós,” Otter Gallery, University Minneapolis, MN Minnesota State Arts Board of Southhampton, Chichester, Walker Art Center, Visual Arts Fellowship West Sussex, England Minneapolis, MN Minnesota Museum of American “Comparsa,” Kiehle Gallery, St. Art, St. Paul, MN Best of Show Award, “Stateline Cloud State University, Minnesota Historical Society, Vicinity Exhibition,” regional juried, St. Cloud, MN St. Paul, MN Rockford Art Museum, Rockford, IL, juror, Lynne Warren, curator, ANA LOIS-BORZI Special Projects, Museum of “Pésame,” Gallery One, St. John’s 224 Traffic Zone Center Contemporary Art, Chicago, IL University, Collegeville, MN for Visual Art 250 Third Avenue North Best of Show Award, “ANA 27,” Minneapolis, MN 55401 national juried, Holter Museum of “Córpora,” The Galleries, Phipps 612-343-0821 Art, Helena, MT, juror, Peter Frank, Center for the Arts, Hudson, WI [email protected] critic for the “L.A. Weekly,” and edi- tor of “Visions,” art quarterly, Los JOANIE SMITH Born 1967, Buenos Aires, Argentina Angeles, CA 121 West Franklin Avenue Minneapolis, MN 55404 Education 612-870-9565 Travel and Study Grant supported [email protected] M.F.A., Drawing and Painting, by the Dayton Hudson Foundation University of Minnesota, on behalf of Target Stores, Dayton's Born 1951, Johnstown, PA Minneapolis, MN and Mervyn's, the General Mills Foundation, and the Jerome Education Foundation M.A., with Honors, Painting, M.A., Choreography, UCLA, Purdue University, Professional Growth and Los Angeles, CA West Lafayette, IN Development Grant, St. Cloud State University, St. Cloud, MN B.A., University of Maryland, B.F.A., with Highest Distinction, Jerome Installation Art Commission College Park, MD Painting, University of Kansas, 1997-98, Intermedia Arts, Lawrence, KS Minneapolis, MN Awards Selected Solo Exhibitions McKnight Choreographer’s B.A., Drawing, Escuela Nacional de Fellowship Bellas Artes Manuel Belgrano, “Delicias: Part and Parcel,” Gus Buenos Aires, Argentina Lucky’s Gallery, Minneapolis, MN Choreographer’s Fellowship, National Endowment for the Arts *
45 Artist Biographies
Selected Awards American Choreographer Award, , , Mussorgsky Theatre, St. Petersburg, National Corporate Fund for Jerome Foundation, General Russia Dance* Operating Grant Japan International Dance Festival, , , , , , , , Nagoya, Japan Choreographer’s Fellowship, New McKnight Foundation/Minnesota York Foundation for the Arts * Dance Alliance Choreographer Fellowship International Festival of Dance on the Volga, Yaroslavl, Russia Fulbright Senior Lectureship , , Minnesota State Arts Board, Artist Akiyoshidai International Art Selected Performances * Assistance Fellowship Village, Yamaguchi, Japan Shtick, Southern Theater, , , Minneapolis, MN Jerome Foundation, Dancer Pool International Dance Festival, Grant (administered by the Lublin, Poland Minnesota Dance Alliance) Notes From A Seance, The Joyce Theater, New York, NY Commissions International Festival of Contemporary Dance, Ballet Pacifica, Irvine, CA Bytom, Poland Piano, The Joyce Theater, New York, NY , , Zenon Dance Company, Concerts presented by Minnesota Minneapolis, MN Dance Alliance, Minneapolis, MN What Dark/Falling Into Light, Dance Theater Workshop, New York, NY , CY THAO New Dance Performance Lab, 990 Aurora Avenue Minneapolis, MN St. Paul, MN 55104 Fathers & Sons, Alvin Ailey 651-645-9094 American Dance Theater, City , , , [email protected] Center, New York, NY Ballet Arts Minnesota, Minneapolis, MN Born 1972, Laos * With Danial Shapiro Selected Performances by Education ROBIN STIEHM Dancing People Company PO Box 600 Ancient China History, Xiantiang Sandstone, MN 55072 City, Southern Theater, University, Xiantiang, China 320-384-6994 Minneapolis, MN [email protected] B.A., Studio Art, Political Science, Born 1961, Minneapolis, MN University of Minnesota-Morris, Morris, MN 46 Artist Biographies
Awards Hmong Tapestry Tour, First Stage, Travel and Study Grant supported St. Paul Companies Leadership Milwaukee, WI by the Dayton Hudson Foundation Initiative in Neighborhoods, Arts on behalf of Target Stores, Dayton’s and Mervyn’s, the General Mills The Garden of the Soul, Pom Siab Foundation, and the Jerome Travel and Study Grant supported Hmoob Theatre, Minneapolis, MN Foundation by the Dayton Hudson Foundation on behalf of Target Stores, Dayton’s , and Mervyn’s, the General Mills The Orphan Boy and Dragon Princess, Minnesota Dance Alliance Dancer Foundation, and the Jerome Pom Siab Hmoob Theatre, Pool Grant Foundation Minneapolis, MN Asian American Renaissance MORGAN THORSON Walker Art Center Emerging Artist Award 3112 10th Avenue South Composer/Choreographer Minneapolis, MN 55407 Interdisciplinary Award Solo Exhibitions 612-825-8445 [email protected] Intermedia Arts Diverse The Great American History Visions Grant Theatre, St. Paul, MN Born 1963, New York, NY Selected Commissions Black Bear Cafe, St. Paul, MN Education Carleton College Young Dance B.A., Barnard College, The Minneapolis Theatre Garage, New York, NY Minneapolis, MN Gustavus Adolphus College Training in Skinner Releasing Group Exhibition Technique, Certification in 2001 Selected Performances “Rivers Emerging,” Katherine E. Ten years of dedicated study, Toe the White Line, Three Legged Nash Gallery, University of practice and performance in Race, Nancy Hauser Studio, Minnesota, Minneapolis, MN improvisation Minneapolis, MN
Performances Selected Awards Dyke Entertainment, Walker Art Center, Minneapolis, MN Song of the Pipa, Theatre Mu, Forecast Public Art Works Research Minneapolis, MN and Development Grant Tank Girl, Memory Project, Orpheum Theater, St. Paul, MN , Hmong! The CIA’s Secret Army, The Jerome Foundation Project and Great American History Theatre, Commission Grant Scout, Concrete Farm Dance St. Paul MN Collective, Southern Theater, Minneapolis, MN
47 Artist Biographies
Ponytail Syndrome, American College Travel and Study Grant supported Thought, Southern Theater, Dance Festival, Dekalb, IL by Target Stores, Dayton’s, and Minneapolis, MN Mervyn’s California with support from the Target Foundation, Video Bottom Heavy, Discover Series General Mills Foundation, and presented by Walker Art Center Jerome Foundation Phases, 4 minutes and Northrop Auditorium, Selected screenings: Taos Talking Minneapolis, MN , , Pictures; Atlanta Film & Video Minnesota State Arts Board Festival; The New Festival, New Snap Dogs, PS 122, New York, NY Cultural Collaboration and Career York City; MNTV; and Not Still Opportunity Grants Art Exhibition Collar & Elbow Tie Up, Isolated Acts Series, Red Eye Collaboration, Selected Biography Minneapolis, MN Lincoln Center Theatre, Lincoln Chinese American Association of Center Directors’ Lab, Minnesota (CAAM) Dance Theater, New York , NY Managing Director, 1997-2001 MARCUS YOUNG [email protected] The Drama League, Special Projects Candide, Livent Productions, Award, New York, NY Apprentice to Harold Prince, 1997 Born 1970, Hong Kong , CRISIS POINT: theater of danger Education Intermedia Arts, Winner, and opportunity, Founding member, Performance Art Slams University of Minnesota, 1994 M.F.A., Theater, University of Minneapolis, MN Minnesota, Minneapolis, MN Selected Performances B.A., Music, Carleton College, Small All Spring Fall, Jerome Northfield, MN Performance Arts Commission, Intermedia Arts, Minneapolis, MN Selected Awards Franklin Furnace Archive Inc., The Cut Sleeve, Intermedia Arts, The Future of the Present 2001, Minneapolis, MN residency at Parson’s School of Design I Wish I Could Hear the Mississippi, Arts Bank Festival, Minneapolis, MN
48 Bush Artist Fellows -
C-Choreography Nielsen, Stuart A. (VA) Rose, Thomas A. (VA) CMP-Choreography/Multimedia/ Minneapolis, MN Minneapolis, MN Performance Art Waterman, Cary A. (L) Sorman, Steven R. (VA) F/V-Film/Video LeCenter, MN Minneapolis, MN L-Literature Whipple, Barbara E. (L) Plainview, MN MC-Music Composition Aiken, Joe (VA) S-Scriptworks St. Cloud, MN VA-Visual Arts Bly, Robert (L) Bly, Carol (L) VA2D-Visual Arts: Two Dimensional Madison, MN Madison, MN VA3D-Visual Arts: Three Cardona-Hine, Alvaro (L) Breckenridge, Jill (L) Dimensional St. Paul, MN St. Paul, MN Fiene, Susan (VA) Bundy, Peter (VA) Minneapolis, MN Northfield, MN
Fisher, Carole G. ( VA) Harrison, Keith E. (L) Byrne, James R. (VA) Minneapolis, MN Northfield, MN Wayzata, MN Greenberg, Alvin D. (L) Klosky, Linda R. (VA) Drewes, Jennifer (Link) (VA) St. Paul, MN Minneapolis, MN Minneapolis, MN Hallman, Gary (VA) Ogle, Philip B. (VA) Greenberg, Alvin D. (L) Minneapolis, MN St. Paul, MN St. Paul, MN McGrath, Thomas M. (L) Weise, Richard W. (VA) Kearney, Robert P. (L) Moorhead, MN Minneapolis, MN Minneapolis, MN Moore, James (L) White, James L. (L) Klipper, Stuart D. (VA) St. Paul, MN Minneapolis, MN Minneapolis, MN Torbert, Stephanie B. (VA) Rylander, Edith (L) Minneapolis, MN Grey Eagle, MN Brush, Leif (VA) Walker, Mary K. (VA) Duluth, MN Minneapolis, MN Breidel, Joseph M. (VA) Celender, Donald D. (VA) Waterman, Charles K. (L) Minneapolis, MN St. Paul, MN LeCenter, MN Gohlke, Frank W. (VA) Dacey, Philip H. (L) Cottonwood, MN Minneapolis, MN Akagawa, Kinji A. (VA) Leicester, Andrew (VA) Hampl, Patricia (L) St. Paul, MN Minneapolis, MN St. Paul, MN Browne, Michael Dennis (L) Marcheschi, Louis R. (Cork), (VA) Jenkins, Louis B. (L) Benedict, MN Minneapolis, MN Duluth, MN Chamberlain, Marisha A. (L) Martini, Galen (L) Millman, Lawrence B. (L) St. Paul, MN St. Joseph, MN Minneapolis, MN Charlesworth, Bruce (VA) Minneapolis, MN
49 Bush Artist Fellows -
Cole, Richard D. (L) Paske, Richard C. (MC) Minneapolis, MN St. Paul, MN Blaw, Laura A. (VA) Goldes, David (VA) St. Paul, MN Rhodes, Phillip C. (MC) Minneapolis, MN Northfield, MN Boesing, Martha (L) Jacoby, Roger S. (VA) Minneapolis, MN Schlesinger, John A. (VA) Minneapolis, MN Minneapolis, MN Brush, Gloria DeFilipps (VA) Jankofsky, Kay Kurt (VA) Duluth, MN Shapiro, Linda J. (C) Duluth, MN Minneapolis, MN Duckwall, Kristi W. (L) McGrath, Thomas M. (L) St. Paul, MN Swanson, Susan Marie (L) Moorhead, MN St. Paul, MN Green, Kate (L) Mura, David (L) St. Paul, MN Visscher, Jantje (VA) Minneapolis, MN Minneapolis, MN Leicester, Andrew (VA) Solien, T.L. (VA) Minneapolis, MN Wilson, Edward W. (L) Minneapolis, MN Bloomington, MN Rockcastle, Mary F. (L) Minneapolis, MN Verburg, JoAnn (VA) Alden, Paulette Bates (L) Bly, Robert (L) Minneapolis, MN Minneapolis, MN Moose Lake, MN Waterman, Cary A. (L) Beyer, Steven J. (VA) Cheng, Maria (C) Mankato, MN St. Paul, MN Minneapolis, MN Wilson, August (L) Goldberg, Natalie R. (L) Delattre, Pierre H. (L) St. Paul, MN Minneapolis, MN Stillwater, MN Holm, Bill (L) Feingold, Ken (VA) Minneota, MN Minneapolis, MN Burns, Alan (L) Levine, Edward (VA) Minneapolis, MN Francisco, Patricia W. (L) Minneapolis, MN Minneapolis, MN Callahan, James P. (MC) Minczeski, John M. (L) St. Paul, MN Hanson, Phebe D. (L) St. Paul, MN St. Paul, MN Fisher, Carole G. (VA) Moore, James M. (L) Minneapolis, MN Howerton, Walter H. (L) St. Paul, MN St. Paul, MN Gaard, Frank L. (VA) Schwartz, Robert A. (VA) Minneapolis, MN Kielkopf, Jacqueline K. (VA) Minneapolis, MN St. Paul, MN Gammell, Linda K. (VA) Sprengnether, Madelon S. (L) Minneapolis, MN Le Sueur, Meridel (L) Minneapolis, MN St. Paul, MN Hovda, Eleanor J. (MC) Welch, Susan (L) Duluth, MN Lynch, Harry M. (Mike), (VA) Minneapolis, MN Minneapolis, MN Jenkins, Louis B. (L) Duluth, MN Kiland, Lance E. (VA) Minneapolis, MN
50 Bush Artist Fellows -
Maguire, Charlie (MC) White, J.P. (L) Coskran, Kathleen (L) Minneapolis, MN Minneapolis, MN Minneapolis, MN Olson, Wendy M. (VA) Woodward, Steven (VA) Dell, Irve (VA) Minneapolis, MN St. Paul, MN Minneapolis, MN Stokes, Eric N. (MC) Field, Barbara (L) Minneapolis, MN Minneapolis, MN Tracy, Colleen J. (L) Andersen, Norman A. (VA) Kilgore, Davida (L) Kasota, MN Minneapolis, MN St. Paul, MN Van Wieren, Laurie S. (C) Brady, Timothy (L) Kling, Kevin (L) Minneapolis, MN St. Paul, MN Minneapolis, MN Engman, John (L) Kosch, Michael (MC) Minneapolis, MN Minneapolis, MN Big Bear, Frank (VA) Hampl, Patricia (L) Krueger, Kent (L) Minneapolis, MN St. Paul, MN St. Paul, MN Blessing, Lee (L) Hribal, C.J. (L) Locke, Kevin (C) Minneapolis, MN Minneapolis, MN Wakpala, SD Campopiano, Remo (VA) Klein, Jon (L) Means, David (MC) Minneapolis, MN Minneapolis, MN Minneapolis, MN Easter, Mary (C) LaChapelle, Mary (L) Morris, Wendy (C) Northfield, MN Minneapolis, MN Minneapolis, MN Hemingway Jones, Kathy (VA) Lambrecht, Homer G. (MC) Mura, David (L) Minneapolis, MN Lauderdale, MN St. Paul, MN Keenan, Deborah (L) Madzo, David (VA) Olive, John (L) St. Paul, MN St. Paul, MN Minneapolis, MN Massey, Rod (VA) Schoenfield, Paul (MC) Tittle, Jim (VA) Minneapolis, MN St. Paul, MN Minneapolis, MN Olsen, David John (MC) Schwartz, Rosalyn D. (VA) St. Paul, MN Minneapolis, MN Pejsa, Jane (L) Sullivan, Chris (VA) Brewer, Richard T. (VA) Minneapolis, MN Minneapolis, MN Minneapolis, MN Snyder, John (VA) Weaver, Will (L) Brooks, Jeffrey E. (MC) Minneapolis, MN Bemidji, MN Minneapolis, MN Spieler, Sandra (VA) Caddy, John (L) Minneapolis, MN Minneapolis, MN Stephens, Georgia (C) Argue, Doug (VA) Charlesworth, Bruce (VA) Minneapolis, MN Minneapolis, MN Minneapolis, MN Vandervelde, Janika (MC) Bombardier, Bradley A. (MC) Childs, Mary Ellen (MC) St. Paul, MN Duluth, MN St. Paul, MN
51 Bush Artist Fellows -
DeMichiel, Helen (VA) Louis, Adrian C. (L) Rylander, Edith (L) Minneapolis, MN Pine Ridge, SD Grey Eagle, MN Edwards, JonMarc (VA) Mann, Paula (C) Sturm, Daniel K. (MC) Minneapolis, MN Minneapolis, MN St. Paul, MN Jacobson, Jean Alice (L) McGuire, Judy (VA) Tretbar, Eric (S) Duluth, MN Minneapolis, MN Minneapolis, MN Kaplow, Shana (VA) Seals, David (VA) Wirth, Karen M. (VA) St. Paul, MN near Bear Butte, SD St. Paul, MN Larsen, Libby (MC) Simonett, Bill (VA) Minneapolis, MN Minnetonka, MN Maitland, Margaret Todd (L) Solien, T. L. (VA) Aiken, Ta-coumba (VA) St. Paul, MN Pelican Rapids, MN St. Paul, MN Meek, Jay (L) Sommers, Michael (VA) Bowker, Sarah (VA) Grand Forks, ND Minneapolis, MN Menomonie, WI Mickelson, Monty (L) Fiene, Susan (VA) Bloomington, MN Minneapolis, MN Smith, Gregory Blake (L) Green, Kate (L) Dennehy, Dan (VA) St. Paul, MN Northfield, MN Minneapolis, MN Sutter, Barton (L) Henkel, James (VA) Dwyer, David (L) Minneapolis, MN Duluth, MN Lemmon, SD Herrmann, Marianne (L) Geesaman, Lynn (VA) St. Louis Park, MN Minneapolis, MN Cutler, Bruce (L) Jones, Seitu (VA) St. Paul, MN Hawkins, Christie (VA) St. Paul, MN Kasota, MN Dahl, Stephen M. (VA) Laughlin, Kathleen (VA) Minneapolis, MN Katz, Judith (L) Minneapolis, MN Minneapolis, MN Di Palma, Susana (C) Pickett, Keri (VA) Minneapolis, MN Kreilkamp, Ben (S) Minneapolis, MN Minneapolis, MN Evans, David Allan (L) Pitt, Suzan (VA) Brookings, SD Lease, Ellen (MC) Fountain City, WI Minneapolis, MN Green, Gregory (VA) Rathman, David (VA) St. Paul, MN Leo, Vince (VA) Minneapolis, MN Minneapolis, MN Kirkpatrick, Patricia (L) Scully, Patrick (VA) St. Paul, MN Miles, Margaret (L) Minneapolis, MN Minneapolis, MN Kittelson, Vesna (VA) Shambroom, Paul (VA) Minneapolis, MN Moroni, Aldo L., Jr. (VA) Minneapolis, MN Avon, MN Laidlaw, Brett (L) Spotted Eagle, Chris (VA) Minneapolis, MN Mueller, Eric West (VA) Minneapolis, MN Richfield, MN Leicester, Andrew (VA) Whiteman, Ernest (VA) Minneapolis, MN St. Paul, MN 52 Bush Artist Fellows -
Garten, Cliff (VA) Klipper, Stuart (VA) St. Paul, MN Minneapolis, MN Becknell, John M. (L) Minnetonka, MN Greene, Lori (VA) Long, Larry (MC) Mahtomedi, MN Minneapolis, MN Cinque, Chris (S) Minneapolis, MN Hildebrand, John (L) O'Reilley, Mary Rose (L) Eau Claire, WI St. Paul, MN Cypis, Dorit (VA) Minneapolis, MN Johnson, Catherine L. (VA) Solly, Richard (L) Wayzata, MN St. Paul, MN Dick, David (VA) Minneapolis, MN Kaniess, Daniel (VA) Turczan, Katherine (VA) St. Paul, MN Minneapolis, MN Goldes, David (VA) Minneapolis, MN Kimm, Barry (VA) Williams, Jeffrey Scott (S) Minneapolis, MN Minneapolis, MN Holmes, Janet A. (L) St. Paul, MN Kunz, Natalie (L) Williams, Marie Sheppard (L) St. Paul, MN Minneapolis, MN Hovda, Eleanor (MC) St. Paul, MN Lawrence, Robert (VA) Yuzna, Susan (L) Minneapolis, MN Albert Lea, MN James, Stewart (L) Stillwater, MN Price, Melba (VA) St. Paul, MN McClinton, Marion (S) Arneson, Heidi (CMP) St. Paul, MN Robeson, Susan (VA) Minneapolis, MN Minneapolis, MN Mead, Stuart (VA) Damon, Betsy (VA3D) St. Paul, MN Williams, Garret (VA) Minneapolis, MN St. Paul, MN Norris, Kathleen (L) Gaiter, Colette (VA2D) Lemmon, SD Zontelli, Patricia (L) Menomonie, WI St. Paul, MN Stokes, Eric (MC) Grandell, Steven (CMP) Minneapolis, MN Minneapolis, MN Taylor, Bruce (L) Bloch, Ricardo (VA) Huie, Wing Young (VA2D) Eau Claire, WI St. Paul, MN Minneapolis, MN Thomas, Carei F. (MC) Faust, Christopher (VA) Lauterbach, Michael (VA3D) Minneapolis, MN St. Paul, MN Minneapolis, MN Verburg, JoAnn (VA) Francisco, Patricia Weaver (L) Lukkas, Lynn T. (CMP) St. Paul, MN Minneapolis, MN Minneapolis, MN Golfus, Billy (S) McGibbon, Bridget (VA2D) Minneapolis, MN Keystone, SD Accola, Hans (VA) Minneapolis, MN Green, Rafala (VA) Mojsilov, Zoran (VA3D) St. Paul, MN Minneapolis, MN Carter, Emily (L) Minneapolis, MN Holm, Bill (L) Ramaswamy, Ranee (CMP) Minneota, MN Burnsville, MN Chvala, Joe (C) Minneapolis, MN Keenan, Deborah (L) St. Paul, MN 53 Bush Artist Fellows -
Sveda-Uncapher, Susan (VA2D) Eau Claire, WI Aiken, Chris (CMP) Benitez, Sandra (L) Wood, Ann (VA3D) Minneapolis, MN Edina, MN St. Paul, MN Big Bear, Frank (VA2D) Childs, Mary Ellen (MC) Minneapolis, MN Minneapolis, MN Bogren Swift, Vernal (VA2D) Daum, Ann (L) Borich, Barrie Jean (L) Bovey, MN Okaton, SD Minneapolis, MN Carroll, Mary (VA3D) Day, Cathy (L) Donnan, Kristin (S) Minneapolis, MN Mankato, MN Hill City, SD Day, Julia Anne (VA3D) Frey, Sayer (F/V) Ewart, Douglas (MC) Vermillion, SD Minneapolis, MN Minneapolis, MN Esch, Mary (VA2D) Garland, Max (L) Gwiazda, Henry (MC) St. Paul, MN Eau Claire, WI Fargo, ND Fischer, Robert (VA3D) Heideman, Kathleen (L) Hedin, Robert (L) Minneapolis, MN Minneapolis, MN Frontenac, MN Johnston, Randy J. (VA3D) Hill, Edie (MC) Hines, Kim (S) River Falls, WI Minneapolis, MN Minneapolis, MN Larson, Chris (VA3D) Kelby, N.M. (L) Kilstofte, Anne (MC) St. Paul, MN St. Paul, MN Bloomington, MN McConneloug, Shawn (CMP) Lloyd, Roseann (L) Oeur, U Sam (L) Minneapolis, MN St. Paul, MN Eagan, MN Morgan, Clarence (VA2D) Maiolo, Joseph (L) Olive, John (S) Minneapolis, MN Duluth, MN Minneapolis, MN Onofrio, Judy (VA3D) Maitland, Margaret Todd (L) Penman, Sarah (F/V) Rochester, MN St. Paul, MN Minneapolis, MN Rathbun, Mike (VA3D) Obolensky, Kira (S) Rossini, Clare (L) Minneapolis, MN Minneapolis, MN Northfield, MN Sommers, Michael (CMP) Simenson, William (MC) Schroeder, Tom (F/V) Minneapolis, MN St. Paul, MN Minneapolis, MN Zoltners, Mara (CMP) Vadja, Deborah L. (L) Tang, Mark Kwok-Wah (F/V) Minneapolis, MN St. Paul, MN Minneapolis, MN Vandervelde, Janika (MC) St. Paul, MN Zhang, Ying (MC) Minneapolis, MN
54 Bush Foundation
PROGRAM OFFICER The Bush Foundation is a private, Bush Artist Fellows Program grant-making foundation with charita- East 900 Nancy Fushan ble purposes. Archibald Granville Bush, First National Bank Building sales and general manager of the 3M 332 Minnesota Street Company, and his wife Edyth created St. Paul, Minnesota 55101 BUSH ARTIST FELLOWS the Bush Foundation in 1953. The PROGRAM DIRECTOR Foundation makes grants to institutions 651-227-0891 Julie Gordon Dalgleish in education, humanities and the arts, 800-605-7315 human services, and health, primarily in www.bushfoundation.org Minnesota, North Dakota, and South PROGRAM ASSISTANT Dakota, and supports historically black Printed on recycled paper. private colleges and fully accredited trib- Kathi Polley ally controlled colleges throughout the United States. It also offers three fellow- WRITER ship programs for individuals.
Patricia Weaver Francisco Copyright 2001 DESIGN/PRODUCTION Nancy H. Teufert, River West Design Hall Kelley
PHOTO CREDITS Portraits by Wing Young Huie except Bruce Charlesworth, self-portrait
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