Bush Artist Fellows

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Bush Artist Fellows AY 1-55 1/14/03 10:07 AM Page 1 AY 1-55 1/14/03 10:07 AM Page 2

 Bush Artist Fellows

CHOREOGRAPHY MULTIMEDIA PERFORMANCE ART STORYTELLING

M. Cochise Anderson Ananya Chatterjea Ceil Anne Clement Aparna Ramaswamy James Sewell Kristin Van Loon and Arwen Wilder

VISUAL ARTS: THREE DIMENSIONAL

Davora Lindner Charles Matson Lume

VISUAL ARTS: TWO DIMENSIONAL

Arthur Amiotte Bounxou Chanthraphone David Lefkowitz Jeff Millikan Melba Price Paul Shambroom Carolyn Swiszcz

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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/STORYTELLING

SCRIPTWORKS Playwriting and Screenwriting

MUSIC COMPOSITION

FILM • VIDEO

Applications for all disciplines will be considered in alternating years.

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 Panels

PRELIMINARY PANEL Annette DiMeo Carlozzi Catherine Wagner CHOREOGRAPHY Curator of American and Artist and photographer MULTIMEDIA Contemporary Art Professor of Art PERFORMANCE ART Blanton Museum of Art Mills College STORYTELLING Austin, Texas Oakland, California

Joe Goode Arturo Lindsay FINAL PANEL Choreographer and writer Artist and scholar Artistic Director Associate Professor of Art Joe Goode Performance Group and Art History Beliz Brother San Francisco, California Spelman College Visual artist Atlanta, Georgia Seattle, Washington Louise Smith Actor and writer Joe Goode PRELIMINARY PANEL Chair, Antioch College Choreographer and writer VISUAL ARTS: Theatre Department Artistic Director TWO DIMENSIONAL Yellow Springs, Ohio Joe Goode Performance Group San Francisco, California Gus Solomons, jr. Carrie Przybilla Choreographer, teacher, and writer Curator of Modern and Arturo Lindsay Artistic Director Contemporary Art Artist and scholar Solomons Company/Dance High Museum of Art Associate Professor of Art Master Teacher of Dance Atlanta, Georgia and Art History Tisch School of the Arts Spelman College New York University Arturo Alonzo Sandoval Atlanta, Georgia New York, New York Fiber artist Professor, Department of Art Roger Shimomura University of Kentucky Painter, printmaker, and PRELIMINARY PANEL Lexington, Kentucky performance artist VISUAL ARTS: Professor, Department of Art Roger Shimomura School of Fine Arts THREE DIMENSIONAL Painter, printmaker, and University of Kansas performance artist Lawrence, Kansas Alice Aycock Professor, Department of Art Visual artist School of Fine Arts Elizabeth Woody New York, New York University of Kansas Poet and multimedia artist Lawrence, Kansas Portland, Oregon Robert Brady Visual artist Berkeley, California 4 AY 1-55 1/14/03 10:07 AM Page 5

Bush Artist Fellowships

ush Artist Fellowships support artists of demon- chosen from a total of 474 applicants. Bstrated ability who reflect any of the region’s Grants are made through a two-part selection many cultural, geographic, racial, and aesthetic vari- process. Separate preliminary panels for each cate- ations, both its rural and urban character. Among gory review applications and work samples to select the qualities the program seeks in an artist are strong finalists. An interdisciplinary final panel then vision, creative energy, and perseverance. Artists reviews the pool of finalists and chooses those who must be 25 or older to apply and may be at any stage receive fellowships. The final panel includes one of career development, from emerging through member from each preliminary panel plus one or established. Up to 15 grants are made each year. two additional panelists. Panelists serve for one year. There is no requirement as to the number of fellow- All panel members are working artists, curators, or ships to be made in each discipline, and therefore critics living outside Minnesota, North Dakota, that number may change annually. South Dakota, and Wisconsin. Grants consist of stipends of $44,000 for a 12- This catalog introduces the 2002 Bush Artist to18-month period. In 2002, 16 artists were select- Fellows and their work. We are very proud of them ed to receive 15 Bush Artist Fellowships, which and wish them great satisfaction in pursuing their included a team of two choreographers. They were individual visions.

Julie Gordon Dalgleish, Program Director Kathi Polley, Program Assistant

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Perspectives

uarded by soldiers, we opened the barbed- food, clothing, alcohol, pottery, toys, and candy. At G wire gates and went to the River. the stroke of midnight, an enormous bell ushered in the new Millennium of Peace and Reunification. The With a strong syncopated beat, the Shaman dance exuberant energy of the performers soared out over and chant began. the DMZ, and the birds that inhabit that space, . understanding nothing about political boundaries, Barefooted on this frigid night, I walked to the responded with their soulful cry. River…the River that divides the North from the The powerful significance of this performance South of Korea. We were in the De-Militarized event could not have been contained within the walls Zone (DMZ)—the first civilians to walk on this of a traditional theater. Nor would it have attracted divided ground in nearly 50 years. the farmers and families from rural South Korea who gathered with performers from around the world to It was the eve of the new Millennium, and I was enact this moment in time. The serendipitous and participating in a performance—a prayer for unpredictible synergy generated from such perfor- Peace and Reunification. mances drives my work, whether it is of the epic scope of the DMZ experience or the tiny proportions Five of us knelt on the icy grass to raise paper-cut fig- of the suitcase show that performs in living rooms. ures from the River to enact The Cleansing of the I am fortunate to be part of a larger wave of per- Agonies of the Souls who perished from the hatred of formers, dancers, visual artists, and musicians who war. This was a performance ritual that could and produce their work outside the walls of formal per- would happen only in this place, at this time. formance or exhibition halls. This great company of artists is presenting work in laundromats and city This Millennium performance event continued parks, at river’s edge, bus stops and schools, in pas- for eight hours in a huge tent erected on a parking lot tures, and on street corners. Perhaps this seems new, at the South Korean side of the barbed-wire bound- but it harkens back to a time when art was intrinsi- ary. Outside, a joyful marketplace unfolded with cally woven into the society, deepening the everyday

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life and marking lifes’ seasonal passages. These new and rehearsing outdoors when they could not afford artists are aligned with the ancient practice of per- studio rent. As their work became shaped by the con- forming in the middle of the marketplace, or around text of the outdoor rehearsals, their decision to per- the community fire. form outdoors followed quite logically. Today’s artists forge their way according to a Wing Young Huie (1996 BAF fellow) pho- unique set of circumstances, yet there are some com- tographed people in the Frogtown neighborhood of mon characteristics. This genre of work defies label- St. Paul and then, with a stroke of brilliant common- ing and confounds marketing. Financial security is sense, he exhibited the photos on an open lot in difficult. Most artists rely on grants, teaching, or sec- Frogtown so that the people in the neighborhood ond jobs to support their work. Some begin with a would attend the exhibit and see themselves. This deliberate path; others are led by intuitive impulse. makes common sense, yet at the time of Wing’s bril- The artists are driven by self-sacrificing passion, liant exhibit, no one had experienced such a thing, which carries them through economic and situation- and it drew crowds from far and wide to this al complications. Artists who work in odd places are Frogtown corner. inherently ruled by the “Jester of Chance.” A dog Puppeteer Soozin Hirschmugl created a show for suddenly jumps on stage. A car alarm goes off. A bus her local laundromat, performing for the busy fami- pulls up and half of the audience exits. The clouds lies and friends she had met during her weekly laun- release a stunning deluge. Such unpredictability dry visits. Musician and storyteller Cochise Anderson forges performers with a skillful flexibility and a (2002 BAF fellow) continues to perform primarily in respectful delight for the twists and turns of life itself. schools, realizing that his Native American audiences The most obvious characteristic of work enacted would probably not attend performances in a formal “out-of-the-box” is its accessibility to populations theater space. other than the audience that frequents formal the- The choice of a specific place determines the aters and museums. This choice is usually intention- scope and character of a performance and surrepti- al although often it emerges out of the process of cre- tiously brings an honored notice to the location itself. ating the work. Arwen Wilder and Kristin Van Loon The lake in Powderhorn Park allows In the Heart of of Hijack (2002 BAF fellows) began choreographing the Beast Puppet and Mask Theatre to grandly usher

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in the huge puppet sun with a flotilla of canoes for the artist holds the deep responsibility of witnessing, the Annual Mayday Ceremony. The winding paths defining, and midwifing the exquisite process of of Minnehaha Park encourage the theatricalized sta- transformation. tions of the journey between life and death for the All art that emerges in unexpected venues has a Annual Barebones Halloween Extravaganza. The similar effect. It jars our sense of what is ordinary. It partakers of these events drink in the sensory ele- makes us notice specific local details. It draws up ments inherent in these locations. On Mayday, the energy from the ground of its enactment. It gathers audience is blessed by the fresh green of the park people together. It turns us inside out, freshens our newly dressed for spring, and on Halloween, all are perspectives, upsets our sedentary patterns. The chilled to the bone by the night woods on the cusp of artists who hold this work in their arms are the mod- winter. ern fools and shamans, celebrants of local communi- Sometimes performances unfold to bring partic- ty, instigators of social inquiry. Their work is as ipants through a particular moment in time, or in unpredictable as wind, as common as blood, as essen- response to a specific incident. For example, visual tial as water. They stir the embers of our cultural installations often rise on the site of violent tragedy in souls. attempt to process deep anger and grief. Ceremonial performances celebrate anniversaries or accomplish- ments. Participatory processions of Mardi Gras, Sandy Spieler is a founder and artistic director of the Minneapolis-based In the Heart of the Beast Puppet and Mask Mayday, and street protests transport people through Theatre. She is a 1986 recipient of a Bush Artist Fellowship and acts of revelry or dissent. For such ritualized events, a 2002 Bush Leadership Fellow.

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LOVE YOURSELF/RESPECT YOURSELF Stage is three-quarters dark as YOUNG MAN in full regalia with a blind- YOUNG MAN: I want to be loved fold circles stage as Wewoka Chant fades up. SPIRIT character is a voice- over. SPIRIT: Instead of loving?

YOUNG MAN: I don’t know where I am going— YOUNG MAN: I wanted to get

SPIRIT: I am here SPIRIT: Instead of giving?

YOUNG MAN: What do I become? YOUNG MAN: I wanted to live

SPIRIT: Here I am SPIRIT: Instead of living?

YOUNG MAN: I’m lost, stolen from my ancestors! So what’s the story? Do you know where you are going? SPIRIT: I don’t believe it! Do you understand? YOUNG MAN: I am Here

YOUNG MAN: I don’t believe myself, do you understand? hands outreached pleading Hell, I know It’s just believing. SPIRIT: And what will you become?

Wewoka Chant fades out YOUNG MAN pulls off blindfold

See, I can do anything… YOUNG MAN: HERE I AM!!!

SPIRIT: But have you chosen? Traditional Pow Wow song is played as the YOUNG MAN dances more No ground to stand on: oppression of the self and more intense until…

YOUNG MAN: Man, I got it all. excerpt from The Only Good Poet is a Read Poet 2000

SPIRIT: Time only tells what it’s all about.

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M. Cochise Anderson

By weaving poetic voices of the past and present along with music, movement, and images— both contemporary and historical—the viewer participates in a new ceremony that reveals the Native American continuum where time is the only division between Here and Now.

“There’s a difference between impression and Native American students he encountered. The expression. My job is to give the audience an result is a passion for “creating an army of experience of the immediate impression that directors and writers and actors who know that made me want to write in the first place.” Mark their stories and traditional stories can be Cochise Anderson confronts audi- heard.” Bringing his performance ences with the complexities of con- work into both native and non- temporary Native American life native schools, he trains students to with conviction, humor, and the practice and understand the oral energy of the quick-change artist. tradition. “Our ancestors were great A storyteller with training as actor, speakers. They had to command dancer, vocalist, and playwright, people to war and commit them to Anderson surrounds his dramatic peace.” monologues with music and visuals Anderson’s current work-in- to create layered performances embracing shifts progress continues his interest in shifting audi- in time and culture. ence perspective by setting the contemporary Born and raised on the West Coast, he head- and the historical in visible contrast. Events ed for New York after college—“the next illog- from America’s past—the Massacre at Sand ical move”—where he founded a theater com- Creek and the Trail of Tears—and the calami- pany, and stumbled into storytelling. A com- ties of the present collide, raising the question, mission from the Playwrights’ Center brought “If we’d had CNN in the 19th century, how him to Minnesota, and his work to the urban would America have viewed its past?”

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Making Rain premiere Habitat Center, Delhi, India, July 31, 2002 photo by Erik Saulitis

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Ananya Chatterjea

As a South Asian dancer and choreographer interested in creating political theater I study the diverse deep roots of artistic and cultural practices in my community. My work is embedded in classical Indian movement forms, street theater created and performed by women’s groups in India, and other popular political-artistic forums. Interweaving my politics and aesthetics I seek to create strong images of feminine empowerment rooted in my cultural context.

“Political theater is my tradition. I learned about from me the possibility of unreflecting pleasure in the women’s movement in India, and in my work the classical dance, which celebrates divine love." I am consciously opposing the exoticization and Trained in Indian classical and folk dance commercialization of traditional Indian dance.” forms, Chatterjea drew on her study of the move- Ananya Chatterjea’s dance perfor- ment forms Chhau and Yoga to vital- mances have been described as ize the tradition for modern audi- “activist theater…a beautiful perfor- ences. She continues to deepen the mance coupled with difficult subject development of contemporary Indian matter.” On a recent trip to India, she dance by blending classical dance danced a trio of pieces, Dancing from forms with the breath release of Shadows, that explore women’s resis- Kalarippayattu and the expressive tance to domestic violence, the vio- vocabulary of Kathakali. lence of disappeared children, and In 1999, Chatterjea brought her institutionalized violence. company to Minneapolis from New York. She is Her current work is sparked off by the differ- currently researching images of the feminine in ent levels and forms of violence disrupting indigenous Indian culture, re-framing the notion women's lives all across the world, particularly in of the goddess. Through gesture, image, and the South Asia. Chatterjea’s choreography explores collage of moving bodies, Chatterjea’s work both the effects of and resistance against such vio- embodies her conviction that “in spite of multiple lence. "Daily assaults against women, the increas- struggles, we find ways to assert life and energy.” ing controls on their self-actualization, took away

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Ceil Anne Clement—storytelling moment 2002 photo by Wing Young Huie

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Ceil Anne Clement

I was a listener of stories long before I was a teller of stories; tales told around Grandma’s kitchen table by family elders. The more stories I hear and the more stories I tell about the land—this windy, Western prairie that I love— the more I feel connected to it.

“I can tell when I’ve gone too long without retired from teaching, Clement will travel her telling a story; it’s a real connection to others.” state looking for stories stored in archives both During her career as a fifth grade teacher in written and living, returning them to the com- Western North Dakota, Ceil Anne Clement munities from which they came. “Someone developed her storytelling skills and once said—every time an old person her gift for holding an audience dies, it’s like a library burning down. spellbound. “You know when you’re Communities who keep their stories with it. You watch the students’ stay strong.” eyes, and they are absolutely alive.” While Clement is committed to Previously drawing on other cul- the place she loves— “I lived in tures for her material, Clement is Missoula once, but the wind didn’t poised to become a regional story- blow”—she is eager to keep compa- teller. A third-generation resident of ny with the nationwide community a land where the wind is always blowing, she of storytellers, to study and develop her perfor- intends to begin with the weather. “Death, mance abilities. “I’m not sure where the story- destruction, survival, rebuilding, and tri- telling path will lead or what I will find in the umph…blizzard stories range from savage to next few years as I look for weather stories— heartwarming to humorous,” she says. Recently that’s the mystery and excitement of it.”

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Aparna Ramaswamy and Toni Pierce-Sands in Chaaya 2002 co-choreographed with Uri Sands photo by Mary Hansmeyer 15 AY 1-55 1/14/03 10:07 AM Page 16

Aparna Ramaswamy

I feel as though my dance form is an ancient, refined machine with thousands of parts of different sizes and shapes. I have become obsessed with taking this machine apart and putting it back together in a hundred different ways. With each new discovery I seek to stretch the boundaries of my form while staying true to it, and strive to infuse the process with the abstract qualities of strength, clarity, and spirituality.

“Every time I practice and every time I perform, Alarmel Valli, India’s foremost exponent of I find inspiration in the music and the move- Bharatanatyam. Recent collaborations with ment. That’s why I do what I do, for that feeling dancers and choreographers have extended her of expression and synchronicity.” Aparna abilities to blend the form in which she continues Ramaswamy choreographs out of the to train with elements of her own 2000-year-old South Indian style design. Drawing on the lives and called Bharatanatyam, which blends work of two female saint-poets, Andal rhythmic dance and the narrative and Hildegard of Bingen, her current dance of gesture and facial expres- project involves a collaboration with sion. “My goal is to take this ancient composers/vocalists Ruth MacKenzie style and show the creative capacity and Nirmala Rajasekar in both the within it.” Incorporating music from Western medieval and South Indian throughout the world and taking the classical vocal traditions. elements of the style out of its classical context, For Ramaswamy “the transcendental power of Ramaswamy has evolved a highly physical, dance comes from a spiritual place, from the vibrant vocabulary of her own. “I will always depths of the music. This inspires the joy that is love performing, but I choreograph to challenge expressed through the movement; this is the the dancer in me. How difficult can I make this?” inspiration and the culmination. Why do it if you By the age of eight, Ramaswamy was living in can't move somebody, and if you aren't going to India for four months of each year to study with be moved yourself?”

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James Sewell Ballet photo by Erik Saulitis

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James Sewell

I seek to create a seamless blend of movement ranging from contact improvisation through classical ballet partnering, combining the spontaneity of improvisation with the security of set choreography. The common ground between creating improvised and choreographed dances—especially polyrhythmic coordinations— seems to be about “brain power” and the relationship between thinking and dancing.

James Sewell Ballet has been moving—in seem- would accommodate his previous obsessions— ingly contradictory directions—thanks to chore- violin, oboe, gymnastics, magic, skateboard- ographer James Sewell. “Being at the frontier of ing—when he encountered ballet at The movement where there’s room for growth within Children’s Theatre School in Minneapolis. After the art form fascinates me. I love a career dancing with companies feeling like a beginner again, that including the New York City Ballet new energy, like a first kiss.” Sewell’s and Feld Ballets/New York, Sewell work incorporates polyrhythms, founded his own company in 1990 found in jazz and African dance, and moved it home to Minnesota which require rigorous training to three years later. perform the simultaneous move- Sewell plans to travel to observe ments in contrasting rhythms. On the work of other choreographers the other hand, he’s introduced the working with improvisation. “There techniques of contact improvisation into compa- are many places where innovative dance is occur- ny performances. “When you ask ballet dancers ring. I need to know enough about the interna- to improvise they look at you like you’re crazy. tional community to understand exactly what Ballet is a tremendous language with which to our place is.” In addition, Sewell hopes to study explore improvisational dance, but traditional leadership models that enhance a choreograph- training does not facilitate it.” er’s ability to inspire a company. “My job is nur- A child who pursued varied interests in turing people as artists. It’s a responsibility. “manic phases,” he found the discipline that Dancers are giving you their careers.”

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Arwen Wilder and Kristin Van Loon in At best, relationships are marginal. 1995 photo by Bill Starr

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Kristin Van Loon and Arwen Wilder

Hijack is the confluence and clash of two compositional/kinesthetic impulses. Our dances embrace juxtaposition. We ask "how can two different or contradictory elements (people/values) exist together?" It’s our idealistic belief that they can. We ask “what is the wrong thing to be doing at this time in this place?”

“We keep layering toward the impossible. our work comments on dance and the conven- We’re trying to invent Martian Movement—not tions of the theater. We don’t take watchability for simply re-ordering moves, but creating a new granted.” vocabulary.” Kristin Van Loon and Arwen Wilder A conversation with Hijack proceeds by a are the co-founders, performers, and rapid layering of their individual choreographers of Hijack, the first thoughts. “We recently realized that creative team to be awarded a Bush our work is American; we assume cul- Artist Fellowship. After choreograph- tural references. We read a lot and pull ing for one another, they began a col- inspiration from other art forms. The laboration whose aim was the “clash more far-fetched the better. For exam- and confluence of two independent ple, we came across a treatise on punc- impulses.” Working for evenness tuation by Gertrude Stein. How do you rather than balance, they dance in make that a dance?” dialogue and opposition, practicing “natural An opportunity to perform in Russia and a compositional” and concocting “impossible” series of collaborations with other choreographers tasks for the other, energizing the stage. is fueling a recent process of rigorously examining Fond of performing in non-traditional spaces their “nearly telepathic creative intimacy.” —private homes, shopping malls, out-of-doors— according to Van Loon. This year, Hijack will Hijack has built an evolving venue-specific reper- move toward building a national audience, toire from such appearances. “We don’t assume approaching that process with the same personal, that people are hungry to watch modern dance— grassroots spirit that fuels their art.

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Outdoor Scene 2001 (detail) raku, glazes, and mixed media 22” x 34” x 31”

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Davora Lindner

Making sculpture transforms my everyday reality into a place of glamour or mystery, a place where I am less concerned with the dreary aspects of life like grocery shopping. Creation has a terrifying beauty. When I make a little installation that I don't want to take down, a place where I would like to spend time, I feel better about myself and less alone.

“When I feel a doll has been successful, it is making free-sculpted hollow dolls that she as though, through power of will, the figure has glazed, fired, and strung together with active attained an independent identity and animistic joints. When the dolls are posed in the sets quality, and is softly breathing in repose.” Davora Lindner constructs from handmade and found Lindner’s small scale installations ask objects, they are both challenging the viewer to encounter her sad-eyed and highly accessible, testimonies to people, looking lost or disaffected, the tenderness and pain below the wearing heels or a harness, without surface of the presented self. eyes, pig-snouted, among a porcelain Her new work revives her interest forest, ambiguous. She describes this in video, allowing her to animate the series as “self-portraits in the service dolls, giving them dialogue and of depicting my fear and dread.” movement, “breathing some life into “I’ve always been interested in them, heightening the tension of the costume and fashion and how it intersects with narrative.” Working for the first time with molds gender. Artifice attracts me, the application of and a larger kiln, she plans to construct a series of layers to the self and the transformation of the crudely glazed statuettes for a work about the self.” Lindner’s early work involved elaborate cos- inculcation of gender, as well as a piece using tumes and performance work shot on video. “male dolls who occupy or embody a third-gen- After taking a hand-building course, she began dered space.”

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“…he shut his eyes, he opened his eyes.” (for Flannery O’Connor) 2000 mirrors, glass lenses, fiber optics, latex paint, gas can, and Christmas lights 12’ x 14’ x 6’

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Charles Matson Lume

Wallflowers sometimes make the best dance partners, if only asked.

“I’m after the nearly-not.” Drawing with light and is visible to the viewer. Researching new forms shadow, Charles Matson Lume draws viewers and patterns from nature, and investigating ways into his delicate and shifting installations, into a to use light itself as a sculptural element represent dialogue between the surface and the environ- Lume’s current preoccupations. While moving ment, and leaves them in wonder. toward larger-scale installations and Unexpected shadows play an essen- increasing his ability to orchestrate tial element in his pieces. “Viewers space and light, he maintains, “my see the two-dimensional image first, body defines the limit of my work. then ask what’s making it. After Physical limitation seems to invite an understanding the physics happen- illusive quiet into the work.” ing in the work, they return to its After school systems weaned him visual phenomenon and linger.” from a childhood love of drawing, Seeing “the possible, the lyrical” in Lume drifted toward psychology common objects, his installations often display until he discovered the college art department magnifying lenses, twist-ties, plastic lids, rubber where “people cared about what they were doing bands, fiber optic thread, and mirrors. Through and loved the work.” An early mentor, poet careful manipulation of objects, light, and wall, Gustaf Sobin, helped shape his view that “art is a the installations engage and occasionally baffle— verb—not a noun,” and “the loveliest sounds as in a fiber optic thread so thin only its shadow arise out of the deepest silences.”

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Defender of the Faith 2001 acrylic collage 24” x 26”

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Arthur Amiotte

In four generations, 1859-2002, my family has experienced the transition from a buffalo hunting warrior society to contemporary reservation dwellers. We have adapted to a farming-ranching economy and lifestyle, English, Christianity, and ultimately 21st century modes of education, subsistence, technology, and cultural expression. Through the art of collage I attempt to document and present these changes using historical family photographs, period advertisements, and copies of previously painted images by myself and ancestors.

“The automobile in my work is the symbolic vehi- old practice of my people and one all people need cle of social and cultural change my people have to do at this time.” The collages continue his por- had to ride to survive in a world driven by change trayal of the saga of the modern American Indian, and progress.” A 38-year retrospective of Arthur the challenge of adapting to reservation and Amiotte’s work currently on tour American life and values while exhibits his paintings, textiles, and attempting to retain indigenous ways. most recent work—collages in which As a young artist, Amiotte studied antique automobiles look modern with Oscar Howe, the highly regard- amidst images of turn-of-the-century ed and influential Yanktonai painter American Indian life. The series who encouraged him to use his explores the experience of Sioux Lakota culture in his work. He credits Indians who traveled in Europe as growing up on the Pine Ridge Indian performers in Buffalo Bill’s Wild Reservation as the wellspring of his West Show. His great-grandfather, Standing Bear, subject matter, though he was discouraged initial- illustrator of Black Elk Speaks, was among them. ly from incorporating that material into his work. Overpainting unites the photographs, histori- Presently, Amiotte lectures on American Indian cal documents, period advertisements, hand- history, culture, and spirituality while continuing drawn copies of drawings by his great-grandfa- to create collages and to pursue the documenta- ther, letters, and narratives by Amiotte. “In retro- tion of his work currently in public and private spect, all of this is also an exercise in recycling, an collections throughout North America.

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detail from Symbols of Peace & Prosperity 2001 Met-mee (Ikat) process, hand-spun silk/cotton 22” x 44” 27 AY 1-55 1/14/03 10:08 AM Page 28

Bounxou Chanthraphone

A Lao traditional weaver, I am true to my belief that, “There is no life without arts and no arts without life.” As a weaver, I use hand, eye, history, myth, lore, and wisdom to tell stories of family and friends, special celebrations, journeys, and life that may begin at the beginning or go well beyond the now. My weaving provides a complete synthesis of experience, moment, and mind.

Bounxou Chanthraphone knows the cen- picture that I saw in the war or someplace else, turies-old tradition of Laotian weaving, and she then I put it in the pattern and name it. When I knows the reality of change. One of the few Lao complete the fabric, the pattern is from a story women in America to pursue fine art weaving, or idea from the past and experience.” she is clear why she has persisted. “I Chanthraphone’s fellowship plans love to weave. I want to preserve this include travel to Laos to obtain silk art for the young generation. They and dye and to research the architec- may wear a Lao skirt, but they don’t ture of a sixteenth-century stupa in know where it came from.” Vientiane, and a Buddhist temple in Working with natural dyes and Thailand. She dreams of establishing silk, her fabrics dazzle with brilliant an academy for Lao arts in the color, the meticulous, mathematical United States and a school in Laos. precision of their pattern, the sur- “Life is hard right now after the war. prise of their design. While her work is ground- Weaving takes time. We know the traditional ed in patterns taught by her mother and grand- way, but we need to do more that fits into the mother and her formal study of Lao technique, new life.” With her family grown, she is devot- Chanthraphone innovates, a process she ing herself to her dreams. “I like to share the describes as embracing change. “I look at every beautiful art to all.”

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Redoubt 2002 colored pencil on cardboard 92" x 150”

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David Lefkowitz

A big chunk of my work reflects an effort to embody some basic contradictions. I combine the presentation of objects or materials like lumber, cardboard, and sheetrock, with representation, imagery depicted in oil paint or other media, to draw attention to the paradoxes we live with everyday—between the real and the ideal, nature and culture, fragmentation and wholeness, abstraction and representation.

“Paintings are the first virtual reality.” David by representation—what gets left out by a map. A Lefkowitz cites his simultaneous attraction to the geologic and a road map of the same piece of land work of Marcel Duchamp and Thomas Eakins as are completely different. It’s a choice about how a contradiction that underlies his own work. to look at the world, and that determines our Duchamp’s iconoclasm and interest behavior and interaction with it.” in context and Eakins’ devotion to Essential to the content of his craft and painterly hard work propel paintings is the relationship between Lefkowitz to harness the ambivalence materials and image, and Lefkowitz between them. The result is a body of often uses the non-traditional—card- work whose range includes painting, board boxes drawn on cardboard, a drawing, and installation. All spring wooden village settled atop a tree from his interest in the human rela- stump, topiary on raw plywood. tionship to nature as well as the rela- Humorous and deceptively accessible tionship between the ideal and the real in repre- —a skinny rambler painted on a two by four— sentation. his work has the distilled impact of a koan or Lefkowitz seeks out “places where there is an haiku. “I’m following the continuing permuta- intersection of content and association”—scenic tions of a question about our tendency to roman- overlooks, parking ramps, forts. “I’m fascinated ticize nature but still use its resources.”

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Nature Made Her Feel Claustrophobic 2001 Fujichrome 28” x 21” 31 AY 1-55 1/14/03 10:08 AM Page 32

Jeff Millikan

The themes in my work have always revolved around darker aspects of the human condition and our relationship with nature. These new images continue my Taming Nature series, examining our futile efforts as a species to control and subvert the natural forces around us. While critiquing culture, I hope the work manages to reflect my awe and appreciation for nature and its exquisite capacity to regenerate despite our efforts to destroy it.

In luminous colors of honey and old wood, constructed dioramas from animal heads, skins, framed like a Cornell box but constructed by and bodies. They both recall the natural history 10,000 bees, photographer Jeff Millikan makes museum display and are a visceral confrontation photographs of the bees’ project—wax sculpted with that view. “I’m interested in making the on window screens. An extension of most difficult things as beautiful and his long interest in “the convergence haunting as I possibly can.” of natural and unnatural history,” Millikan cites Robert Rauschenberg Millikan collaborates with his sub- and Jasper Johns as early influences, jects, cutting, melting, and shaping signaling the possibilities in mixing their wax, allowing the bees to mediums. “I was raised in the photo- respond, and photographing the graphic tradition that said you accept results. The large one-of-a-kind what the camera provides. I wanted a prints are created by the room-sized painterly process.” He laughs at the camera obscura Millikan built to produce them, irony, his use of the camera obscura propelling enabling lush detail and immediacy. his work straight into the heart of photography’s “The older you get, the more your art becomes origins. Nevertheless, it is the process of crafting a synthesis of your beliefs. My work became the images Millikan photographs that he finds about the environment and our efforts to control consistently compelling. “I love the process of it.” Drawn to the potential of the installation to making things. I love the friction between surround and further implicate the viewer, he beauty and ugliness.”

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Duke 2002 charcoal and gouache on paper 50” x 38” 33 AY 1-55 1/14/03 10:08 AM Page 34

Melba Price

I’m trying to generate a picture that conveys an intense physical presence with an equally ardent emotional existence. In so much as one’s work is a reflection of the souI, suppose these paintings become self-portraits. In the midst of their resplendence, vulnerability, and flaws I hope to better understand the consequences that follow life’s choices.

“There’s a profundity in everyday occurrence that genders. Her women are rendered with tender- I’m interested in.” Melba Price has been painting ness, often emanating sadness or exhaustion, the human figure for fifteen years, after initially always portrayed in beauty, in luscious super-sat- working in sculpture. “You make art in regard to urated watercolor. Her surfaces are flat, evoking the art you respond to. You can’t the Indian miniature, but the figures deny the emotional content of hav- are sculptural, infusing the stillness ing a real human figure in front of of the moment with tension and you.” Her large canvases present a dynamism. Speaking of the women single figure prominent against in- in her paintings, she is both intimate terior and exterior landscapes. and objective. “There seems to be an Working from memory, pho- intense ability for them to love. I see tographs, and the imagination, the them caught in a moment of truth. figure comes first, eventually sug- It’s why I try to make them as beau- gesting the window, garden, room, or decorated tiful as I can.” surface in which the figure belongs. Price recently moved to a larger studio to Best known for her paintings of women, she begin a pair of large-scale paintings of a man and is nevertheless “interested in other aspects of the a woman. She hopes to expand the visibility of human experience” and evokes in her work her work as well, working in the coming year to moments of private dignity with figures of both reach audiences outside the Midwest.

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Sedgwick, Arkansas (population 112), Board of Aldermen, May 13, 2002. (L to R): Wilma Britton (Recorder/Treasurer), Stanley Debon, Frankie Britton (Mayor), Clara Manus (citizen), Beverly Fowler, Ezra Pierce (city policeman), Homer Harper, Charles Petty, Tommie Pierce (citizen). 2002 color photograph, archival pigmented ink-jet on canvas with varnish 33” x 66”

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Paul Shambroom

My recent photographs of local government meetings are part of my ongoing exploration of power and grew out of my curiosity about what motivates a private individual to seek public office—is it self-interest, altruism, or a combination of both? I hope this look at the face of democracy’s smallest local increment offers a new perspective on the complexities of power at all levels.

Paul Shambroom spent years negotiating to pho- I found that sense of disconnection and hopeless- tograph the unseen operations of the nuclear ness so troubling and fascinating.” weapons establishment, the results of which will Shambroom originally intended to photograph be published as a book in 2003. Shambroom’s the epicenters of national power—corporate current work on power takes as its boardrooms and Capitol Hill. But subject another hidden locus—the when he walked into “the smallest of local government meeting, the idio- the small”—a town meeting in syncratic rooms where democracy Minnesota’s St. Croix River valley— takes shape. The large-scale images he found his focus. “This was where I are printed directly on canvas, var- wanted to be. It seemed essential— nished and stretched like paintings, people making decisions that affect referencing the portraits of religious one another so directly and with a and historical groupings that these passionate involvement.” In pho- photographs bring to mind. The result is a tographing more than 130 meetings in 35 states, warmth and intimacy reflective of Shambroom’s Shambroom has been by and large welcomed by respect for his subjects. his small town hosts. “It’s the equivalent of walk- “I started thinking about participatory ing into their living rooms,” he says. The resulting democracy in the 90s. Right-wing conspiracy the- images, made with available light, speak through orists were demonstrating what struck me as a gesture, posture, and intention of the drama in reflexive and deep-seated mistrust of government. moments of stillness surrounding acts of power.

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Twins Motor Inn, St. Paul 2002 acrylic and pencil on paper 21” x 29”

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Carolyn Swiszcz

I work from an ambiguous zone where my repulsion for lackluster places meets my affection for them. Finding inspiration in structures built chiefly for commerce is an attempt to provide them with a soul. Surprise comes through the use of unusual colors, patterns, and textures; I hope that these dynamics will entice viewers and, ideally, encourage them to reconsider their surroundings.

When Kodak declared Fargo, North Swiszcz began work on a multi-painting panora- Dakota “the most un-photogenic town in ma of the town’s main drag. “I’m interested in America,” painter Carolyn Swiszcz headed places and things that are usually passed over, the straight for it. Having completed a series of mixed banal details that comprise the better part of our media drawings of Miami Beach, lives. Art trains us to recognize the “places where the glory days are poetry in real time, day-to-day life, gone,” she turned her eye to the no matter how stale the view.” deserted drive-ins, roadside phone Working outside, she started forty booths, pop machines, and cinder- paintings this summer and a visual block apartment buildings of Fargo, log of what occurred to her in the producing a series that has been process, inspired by the whaling logs described as “both dispassionate and in the town’s historical museum. “It’s intimate…a detached yet oddly sym- the end of the day, and it’s all pouring pathetic rendering.” Her process includes mono- out,” she says in a rush of pleasure. As a child, she print techniques to purposefully ruin a work and copied album covers, “taking painting very seri- “encourage happy accidents.” ously at an early age,” but now is enveloped by Drawn back to her hometown of New Bedford, the process. “I’m happy when I’m making things. Massachusetts, a whaling community in decline, I have to force myself not to paint.”

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Artist Biographies

ARTHUR D. AMIOTTE  Whitney Gallery of Western Art, P.O. Box 471 Bush Leadership Fellowship for Cody, WY Custer, SD 57730 advanced study in Native American Haffenraffer Museum, Bristol, RI 605-673-4373 sacred traditions and Native art Museum of Natural History, history Smithsonian Institution, Born 1942, Pine Ridge, SD Washington, D.C. South Dakota Governor’s Award, Education biennial award for outstanding  creative achievement in the arts M. COCHISE ANDERSON M.A., Interdisciplinary Studies in 2202 22nd Street East Anthropology, Religion, and Art, Selected Exhibitions Minneapolis, MN 55404 University of Montana,  612-423-0350 Missoula, MT “Arthur Amiotte—Retrospective [email protected] Exhibition: Continuity and  Diversity,” South Dakota and Born 1965, Los Angeles, CA B.S., Education with composite Northern Plains Region Touring major in Art Education and Exhibition Education Commercial Art, Northern State  University, Aberdeen, SD  M.A. - Theatre “Red River Crossings: American Musical and Dramatic Selected Awards Contemporary Native Artists Academy, New York, NY  Respond to Peter Rindisbacher Honor Award for Advancement of (1806-1834).” The Swiss Institute,  Native American Art as Artist and New York, NY B.A., Theatre Arts & Philosophy Scholar, Native American Art Portland State University, Studies Association, Victoria, “Gifts of the Spirit,” Peabody Essex Portland, OR British Columbia Museum, Salem, MA Selected Awards    Arts International, Lila Wallace “This Path We Travel,” fifteen per- Minnesota State Arts Board Readers Digest Artists at Giverny son show for Inaugural Exhibition, Cultural Collaborations Grant - Fellowship National Museum of the American Storytelling & Performance, Indian, New York, NY St. David’s Early Childhood  Program, Minnetonka, MN Co-recipient, Getty Foundation “Indian Time,” nine-person show, Grant for Art History Research Kunsthallen Brandts Klaedefabrik, - Odense, Denmark Playwrights’ Center - Jerome  Fellowship for Playwriting, One of 25 artists selected for Selected Collections The Education of Benjamin Franklin, opening exhibition of the National Joslyn Art Museum, Omaha, NE Minneapolis, MN Museum of the American Indian, Minneapolis Institute of Arts, George Gustave Heye Center, Minneapolis, MN Smithsonian Institution, Denver Art Museum, Denver, CO New York, NY 39 AY 1-55 1/14/03 10:08 AM Page 40

Artist Biographies

 Education Selected Exhibitions and Minnesota State Arts Board  Demonstrations Cultural Collaborations Grant - A.A., NEI College of Technologies,  Storytelling, Grand Rapids County Columbia Heights, MN Lao Weaving Demonstration and Fair, Grand Rapids, MN Interviews, “Folk Life: Cultural  Crossroad,” Festival of Iowa,  Teaching License, Dongdok Waterloo, IA Playwrights’ Center - Jones Award University, Vientiane, Laos Commission, The Only Good Poet is  a Read Poet, Minneapolis, MN Instructed in the fundamentals of Lao Weaving Demonstration and traditional Lao weaving by mother Interviews, Lisner Auditorium,  and grandmother at an early age; Georgetown University, Cummings Foundation Award, continued with formal study in the Washington, D.C. Playwrighting with Chuka Lokoli three Lao weaving techniques, “bro- (Community) Native American cade,” continuous supplementary  Theatre Ensemble, In The Spirit, weft, “chok,” discontinuous supple- Lao Weaving Demonstration and Ensemble Studio Theatre, mentary weft, and “mut-mee,” Ikat Lecture, “Cloth of Many Colors,” New York, NY tie-dyeing, and design. Textile Center of Minnesota, St. Paul, MN Selected Commissions Selected Grants, Awards and - Fellowships Collections National Museum of the  Soyphao, Ikat tie-dyeing technique, American Indian - Artist Fellowship, Minnesota State Minnesota Historical Society, Playwrighting & Performance Arts Board St. Paul, MN Jim Thorpe: Everybody’s All-Native American, New York, NY  Flower Shawl, continuous supple- National Heritage Fellowship in the mentary weft & discontinuous sup-  Folk and Traditional Arts, National plementary weft techniques, Bloomington Arts Center - Endowment for the Arts Minnesota Historical Society, Playwriting, Braided Lives, St. Paul, MN Bloomington, MN  Minnesota Folk Art Apprenticeship Minnesota State Arts Board ANANYA CHATTERJEA BOUNXOU CHANTHRAPHONE Department of Theater Arts 7601 Colorado Avenue North  and Dance Brooklyn Park, MN 55443 Asian-Pacific Heritage Award, University of Minnesota 763-561-3972 Council on Asian Pacific Barker Center for Dance, #203 [email protected] Minnesotans 500 21st Avenue Minneapolis, MN 55455 Born 1947, Savannakhet, Laos 612-626-2280 [email protected]

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Artist Biographies

Education Publications    B.A., Education, University of Ed.D., Department of Dance and “Remembering Jouneys, a project of Montana, Missoula, MT Dance Education, Temple memories,” The Open Page, A University, Philadelphia, PA Journal of Women and Theater, Storytelling Residencies Denmark, January  Awards Bismarck-Mandan Libraries,  “Chandralekha: Negotiating the Bismarck, ND Career Opportunity Grant, female body…” (In) Ann Dils & Minnesota State Arts Board Ann Cooper Albright (eds.) Moving  history/Dancing cultures, CT: Dahl Fine Arts Center,  Wesleyan University Press Rapid City, SD Metropolitan Regional Arts Council, Arts Activities Grant, Minnesota  ,  “Jawole Willa Jo Zollar and Womb Eden Prairie Public Schools, McKnight Special Event Grant, Wars,” Dance Research Journal, Eden Prairie, MN Minnesota September Selected Storytelling Performances    BUILD Grant for company infra- “Dancing Death by Fire.” Women State Library Conference, structure, New York Foundation on and Performance, 11:1, #21, 81-102, Williston, ND the Arts January  Cultural Collaborations Grant,  Governor’s Council on Aging, Minnesota State Arts Board (with “Comin’ On Over: The Legacies of Mandan, ND Meena Natarajan) the Urban Bush Women.” Hyperessay, Walker Arts Center ,  Selected Performances http://www.walkerart.org/pa/ubw/ Linda McGuire Storytelling Festival,  Fargo, ND Solo concert (repertoire), National Center for Performing Arts, CEIL ANNE CLEMENT  Mumbai, India Box 1 Farm Bureau Conference, Hettinger, ND 58639 Mandan, ND Solo concerts (repertoire), Habitat 701-567-4218 Center, Delhi, India  Born 1946, Miles City, MT Regional IRA Conference, Solo concerts (repertoire), Sutra Bismarck, ND Dance Theater, Kuala Lampur, Education Malaysia   M.Ed., Storytelling/Reading, East United Tribes Technical College, Solo concert (repertoire), Nehru Tennessee State University, Bismarck, ND Center, London, England Johnson City, TN

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Artist Biographies

  2000- University Galleries, Illinois Regional Toastmasters’ Convention, “Natural Curiosities,” Sarratt State University, Normal IL, Winnipeg, Manitoba, Canada Gallery, Vanderbilt University, Alexandria Museum of Art, Nashville, TN Alexandria, LA, Tarble Art Center,  Charleston, IL, Chicago Cultural Eastern Montana State Teacher’s “Resourcerer,” Thomas Barry Fine Center, Chicago, IL, University of Convention, Sidney, MT Arts, Minneapolis, MN Delaware, Newark, DE)  “Pictures of Common Detritus,” North Dakota Heritage Center, Northwestern College, St. Paul, MN  Tellabration, Bismarck, ND “10,000 Lincoln Cheese Logs,”  Wriston Art Center, Appleton, WI  “Wood By-Products,” Rochester Art (traveling 1998- Hyde Park Art North Dakota Professional Center, Rochester, MN Center, Chicago, IL, Carleton Communicator’s Convention, College Gallery, Northfield, MN) Dickinson, ND  “Nature World,” Minneapolis  Institute of Arts, Minneapolis, MN “Watershed,” Minnesota Museum of DAVID LEFKOWITZ American Art, St. Paul, MN 1671 Watson Avenue  St. Paul, MN 55116 “Small and Medium Paintings,”  651-698-8217 Center for Contemporary Art, “Landscapes 1993,” Condeso Lawler [email protected] Chicago, IL Gallery, New York, NY

Born 1962, Hinsdale, IL Selected Group Exhibitions   “Housewares on Level 6,” Randolph Education “Ingrained,” Evanston Art Center, Street Gallery, Chicago, IL  Evanston, IL M.F.A., Painting, University of Illinois at Chicago, Chicago, IL  DAVORA LINDNER “Amused,” Carrie Secrist Gallery, 4002 Grand Avenue South  Chicago, IL Minneapolis, MN 55409 B.A., Studio Art, Carleton College, 612-825-6286 Northfield, MN “Minnesota Art with a Twist,” Weisman Art Museum, Born 1970, Seward, NE Selected Solo Exhibitions Minneapolis, MN  Education “The Surrounding Area,” No Name   Gallery at the Soap Factory, “Botanica,” Tweed Museum of Art, B.F.A., Minneapolis College of Art Minneapolis, MN Duluth, MN (traveling 1999- Plains and Design, Minneapolis, MN Art Museum, Fargo, ND

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Artist Biographies

Awards Publications Blacklock Nature Sanctuary Artist   Residency Program, One Month Northern Clay Center, Jerome Johnson, J. P., "Ephemera Residency, Moose Lake, MN Project Grant Melancholia @ Radiator Gallery," Pulse, December 18, 2001   Artists of the Year, City Pages, Minnesota State Arts Board, Artist Sawyer, Sarah, "Welcome to the December 26, 2001 Assistance Fellowship Dollhouse," City Pages, August 1, 2001, pp. 27-28 , , *  Poster Contest Winner, Western Intermedia Arts, Art in Space XIII, Avenue Elementary School, Geneva, Installation Grant CHARLES MATSON LUME IL, (*denotes grand-prize winner 955 James Avenue from four school districts) Solo Exhibitions St. Paul, MN 55102  [email protected] Selected Exhibitions “Serious Matters,” (a series of 12  installments) Channel 32, Born 1967, Geneva, IL “of desire,” Miami University, Minneapolis, MN Oxford, OH Education   &  “Minnesota Biennial: Sculpture & “Home is a Place,” Shoestring M.F.A. & M.A., University of Installation,” Minnesota Museum of Gallery, Lincoln, NE Wisconsin-Madison, Madison, WI American Art, St. Paul, MN

Selected Group Exhibitions  “Texas National,” Stephen F. Austin  B.A., Psychology, Wheaton College, State University, Juror - Sandy “Ephemera Melancholia,” Radiator, Wheaton, IL Skoglund, Nacogdoches, TX Minneapolis, MN (Received Honorable Mention  Award)  Lacoste School of the Arts, “Kid's Stuff,” Longwood Arts Lacoste, France “Collage/Assemblage/Montage,” Project, Bronx, NY Pennsylvania School of Art & Selected Awards Design, Lancaster, PA “Discard your Heart,” Gus Lucky's  Gallery, Minneapolis, MN Irish Museum of Modern Art,  Artists’ Work Programme, Four “Art in Space XIV: Inside/Outside,” “Alchemy, Amulets, and Altars,” Month Residency, Dublin, Ireland Intermedia Arts, Minneapolis, MN The Phipps Center for the Arts, Hudson, WI  “What We Know in Part,” Minnesota State Arts Board Artist University of Pittsburgh,  Assistance Fellowship Pittsburgh, PA “Women in the Director’s Chair,” Walker Art Center, “Nothing,” The Waiting Room Minneapolis, MN Gallery, Minneapolis, MN

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Artist Biographies

“Art on the Plains,” Plains Art  MELBA J. PRICE Museum, Fargo, ND Minneapolis Institute of Arts, 1076 Laurel Avenue Minneapolis, MN St. Paul, Minnesota 55104  651-225-9091 “Pittsburgh Biennial,” Pittsburgh  [email protected] Center for the Arts, Pittsburgh, PA Laurence Miller Gallery, New York, NY Born 1955, San Benito, TX “15XXX: An Exhibition of New Art from Pittsburgh,” University of  Education Akron, Akron, OH Walker Art Center, 1983 Minneapolis, MN M.F.A., Montana State University, Bozeman, MT JEFF MILLIKAN Selected Group Exhibitions 1604 Tenth Avenue South  Selected Exhibitions Minneapolis, MN 55404 Bell Museum of Natural History,  612-332-9028 Minneapolis, MN “Recent Paintings,” Hill Gallery, [email protected] Birmingham, MI  Born 1952, Rochester, MN “Out of Context,” Bloomington Art  Center, Bloomington, MN “Double Dutch,” The Waiting Education Room Gallery, Minneapolis, MN  Minneapolis Institute of Arts, M.F.A., Printmaking, University of Minneapolis, MN  Minnesota, Minneapolis, MN “Yuanfei Hotel,” Minneapolis No Name Gallery, Minneapolis, MN Institute of Arts, Minneapolis, MN Selected Awards , , , , ,    McKnight Artists Fellowships John Michael Kohler Arts Center, “Melba Price & Bruce Tapola Sheboygan, WI Drawings and Paintings,” University , ,  of Nebraska, UNO Gallery, Minnesota State Arts Board  Omaha, NE Fellowships G. Ray Hawkins Gallery, Los Angeles, CA “Material/Immaterial,” No Name  Exhibitions, Minneapolis, MN Polaroid 20” x 24” Residency “New Surrealism,” Catskill Center for Photography, NY   “Love Nest,” Ewing Gallery, Jerome Artists Fellowship  University of Tennessee, “Signs of the Real,” White Columns, Knoxville, TN Selected Solo Exhibitions New York, NY , , ,  “Lucky,” Nash Gallery, University of Thomas Barry Fine Arts, Minnesota, Minneapolis, MN Minneapolis, MN

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Artist Biographies

  Travel and Study Grant supported “Drawings Midwest,” Minnesota Arts Midwest National Endowment by Target Stores, Dayton’s, and Museum of American Art, for the Arts Visual Arts Fellowship Mervyn’s California with support St. Paul, MN “Works on Paper” from the Target Foundation, General Mills Foundation, and Jerome “Friends of Mike,” CSPS, Cedar Publications Foundation Rapids, IA New American Paintings, Book 29 – 2000 Midwestern Edition, juried Asian American Renaissance Artist  exhibition in print, Boston, MA: Development Grant “Six McKnight Artists,” Open Studios Press Minneapolis College of Art and  Design, Minneapolis, MN McKnight Artist Fellowship for APARNA RAMASWAMY Dancers  2300 Girard Avenue South “I Wuv You,” Minneapolis Institute Minneapolis, MN 55405 Selected Performances* of Arts, Minneapolis, MN 612-827-2775  612-306-4727 Bhakti, Southern Theater, “Centennial Celebration Alumni [email protected] Minneapolis, MN Invitational,” Montana State University, Bozeman, MT Born 1975, Chandanagore, Srishti, Southern Theater, West Bengal, India Minneapolis, MN  “Recent Paintings,” Sushi Education Kanon Contemporary Dance Performance and Visual Arts Center,  Festival, St. Petersburg, Russia San Diego, CA B.A., International Relations, Carleton College,  Grants and Fellowships Northfield, MN Miao-Li International Mask Festival,  Miao-Li, Taiwan Minnesota State Arts Board Career  to present Opportunity Grant Intensive training with master  dancer/choreographer Alarmel Valli, New Jersey Performing Arts Center,  Chennai, India Newark, NJ Minnesota State Arts Board Fellowship Selected Awards Samarpanam, Southern Theater,  Minneapolis, MN  Arts and Religion in the Twin Cities McKnight Foundation Artist  Fellowship  From Temple to Theater, City of Minneapolis Grant O’Shaughnessy Women of Bush Artist Fellowship Substance Series, St. Paul, MN  McKnight Artist Fellowship for Choreographers

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Artist Biographies

  PAUL SHAMBROOM Chaturam, O’Shaughnessy Women Minnesota Orchestra, choreographic 3825 Washburn Avenue South of Substance Series, St. Paul, MN commission for Nutcracker: The Minneapolis, MN 55410 Untold Story video 612-922-3224 * With Ragamala Music and Dance [email protected] Theater  www.paulshambroomart.com Ballet Pacifica, choreographic com- mission for Opera Moves Born 1956, Teaneck, NJ JAMES SEWELL 2609 Burnham Road  Education Minneapolis, MN 55416 School of American Ballet, choreo-  612-285-7071 graphic commission for Bach Fantasy B.F.A., Minneapolis College of Art [email protected] & Design, Minneapolis, MN  Born 1961, Minneapolis, MN Feld Ballets/NY and New York State - Council on the Arts, choreographic Liberal arts, Macalester College, Education commission for Independence in St. Paul, MN - Dependence David Howard Dance Center,  New York, NY Selected Companies Creative Capital Foundation Grant -Present - James Sewell Ballet, James Sewell, , , ,  School of American Ballet, artistic director: presented premieres McKnight Foundation Artist New York, NY of more than 45 original ballets in Fellowship 40 Minnesota communities, 25  states, Bermuda , ,  American Ballet Theatre School, Minnesota State Arts Board, Artist New York, NY  Assistance Fellowship New York City Ballet, Peter Martins, - ballet master-in-chief: guest artist  The Children’s Theatre Company Bush Artist Fellowship School, Minneapolis, MN - Feld Ballets/NY, Eliot Feld, artistic  Selected Commissions director: principal dancer Jerome Foundation Visual Arts  Fellowship New York Choreographic Institute,  Peter Martins, ballet master-in-chief Eglevsky Ballet, Edward Villella, Selected Solo Exhibitions artistic director: guest artist   “Paul Shambroom,” Museum of Minnesota Opera, choreographic - Contemporary Photography, commission for Aida New York City Opera, Beverly Sills, Chicago, IL artistic director: guest artist

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Artist Biographies

 Los Angeles County Museum of Art, Solo Exhibitions “Paul Shambroom: Meetings," Julie Los Angeles, CA  Saul Gallery, New York, NY Museum of Modern Art, ArtWorks! at Dover Street, New New York, NY Bedford, MA  Walker Art Center, “Paul Shambroom: Meetings,” Minneapolis, MN  Franklin ArtWorks, Minneapolis Institute of Arts, "Signs and Wonders," Plains Art Minneapolis, MN Minneapolis, MN Museum, Fargo, ND Museum of Fine Arts, Houston, TX  Milwaukee Art Museum, "Street Level," Ambrosino Gallery, “Paul Shambroom,” Tanya Bonakdar Milwaukee, WI Miami, FL Gallery, New York, NY Museum of Contemporary Photography, Chicago, IL   "Dime Tours," NFA Space, “Paul Shambroom: Hidden Places of Chicago, IL Power,” Walker Art Center, CAROLYN SWISZCZ Minneapolis, MN 238 Annapolis Street West Selected Group Exhibitions West St. Paul, MN 55118  Selected Group Exhibits 612-205-0213 "Shangri-La," Islip Art Museum,  [email protected] Islip, NY “ExtraOrdinary: American Place in Recent Photography,” Madison Art Born 1972, New Bedford, MA  Center, Madison, WI "Selections Winter 2001," Drawing Education Center, New York, NY   “Whitney Biennial,” Whitney B.F.A., Minneapolis College of Art  Museum of American Art, and Design, Minneapolis, MN "National Foundation for New York, NY Advancement in the Arts, Awards Fellowships in the Publications - Visual Arts Exhibition," Corcoran  National Foundation for Gallery of Art, Washington, D.C. Face to Face With the Bomb: Nuclear Advancement in the Arts Fellowship Reality After the Cold War, in the Visual Arts, Miami, FL "Quality Control," Minneapolis photographs and text by Paul Institute of Arts, Minneapolis, MN Shambroom, introduction by  Richard Rhodes, Baltimore, MD: Minnesota State Arts Board Artist Collections Johns Hopkins University Press Assistance Fellowship Microsoft Corporation, Seattle, WA Minnesota Historical Society, Selected Collections - St. Paul, MN Whitney Museum of American Art, Minneapolis College of Art and New York, NY Design/Jerome Foundation San Francisco Museum of Modern Fellowship Art, San Francisco, CA

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Artist Biographies

KRISTIN VAN LOON AND ,  Selected Performances ARWEN WILDER McKnight Artist Fellowship for  Hijack Choreographers "9 Permanent Emotions," Festival of [email protected] Movement and Dance on The Volga,  Yaroslavl, Russia Kristin Van Loon FORECAST PublicArtWorks 10 East 15th Street, #202 Research and Development Grant  Minneapolis, MN 55403 "It took great luck for you to be a 612-813-1223  winner," Momentum Series, Blacklock Nature Sanctuary Artist Southern Theater, Minneapolis and Born 1971, Washington D.C. Residency outdoor summer tour, Minneapolis, Chicago, Duluth Arwen Wilder Selected Commissions 3140 Columbus Avenue South -  Minneapolis, MN 55407 Carleton College, Northfield, MN "Hijack's Tax Return, and, from 612-821-9581 Barebones Puppet Collective, Chicago, Sheldon B. Smith," Minneapolis, MN SpaceSpace, Minneapolis, MN Born 1971, Boulder, CO 3-Legged Race, Minneapolis, MN Smokebrush Theater, "Ornate Rituals for Absurd Worlds," Education Colorado Springs, CO (with S.B. Smith), Links Hall, Kristin Van Loon Psycick Slutz, Minneapolis, MN Chicago, IL  Walker Art Center (Dyke Night), B.A., Geology, Colorado College, Minneapolis, MN  Colorado Springs, CO Macalester College, St. Paul, MN "The Common Enemy of Carrots and Women," Arwen Wilder - Minneapolis outdoor summer tour  Bedlam Theatre, Minneapolis, MN B.A., Drama/Dance, Colorado Links Hall, Chicago, IL  College, Colorado Springs, CO Ballet Arts Minnesota, "Take Me to Cuba," Bryant-Lake Minneapolis, MN Bowl, Minneapolis, MN Selected Awards University of Minnesota (Cowles ,  Chairs), Minneapolis, MN Jerome Fellowship No Name Exhibitions, Minneapolis, MN ,  Barebones Puppet Collective, Minnesota State Arts Board Career Minneapolis, MN Opportunity Grant Young Dance, Minneapolis, MN

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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 Leicester, Andrew (VA) Hampl, Patricia (L) Akagawa, Kinji A. (VA) Minneapolis, MN St. Paul, MN St. Paul, MN Marcheschi, Louis R. (Cork), (VA) Jenkins, Louis B. (L) Browne, Michael Dennis (L) Minneapolis, MN Duluth, MN Benedict, MN Martini, Galen (L) Millman, Lawrence B. (L) Chamberlain, Marisha A. (L) St. Joseph, MN Minneapolis, MN St. Paul, MN Charlesworth, Bruce (VA) Minneapolis, MN

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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 Weaver (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

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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

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Bush Artist Fellows -

DeMichiel, Helen (VA) Louis, Adrian C. (L) Sturm, Daniel K. (MC) Minneapolis, MN Pine Ridge, SD St. Paul, MN Edwards, JonMarc (VA) Mann, Paula (C) Tretbar, Eric (S) Minneapolis, MN Minneapolis, MN Minneapolis, MN Jacobson, Jean Alice (L) McGuire, Judy (VA) Wirth, Karen M. (VA) Duluth, MN Minneapolis, MN St. Paul, MN Kaplow, Shana (VA) Seals, David (VA)  St. Paul, MN near Bear Butte, SD Larsen, Libby (MC) Simonett, Bill (VA) Aiken, Ta-coumba (VA) Minneapolis, MN Minnetonka, MN St. Paul, MN Maitland, Margaret Todd (L) Solien, T. L. (VA) Bowker, Sarah (VA) St. Paul, MN Pelican Rapids, MN Menomonie, WI Meek, Jay (L) Sommers, Michael (VA) Fiene, Susan (VA) Grand Forks, ND Minneapolis, MN Minneapolis, MN Green, Kate (L) Mickelson, Monty (L)  Bloomington, MN St. Paul, MN Smith, Gregory Blake (L) Dennehy, Dan (VA) Henkel, James (VA) Northfield, MN Minneapolis, MN Minneapolis, MN Sutter, Barton (L) Dwyer, David (L) Herrmann, Marianne (L) Duluth, MN Lemmon, SD St. Louis Park, MN Geesaman, Lynn (VA) Jones, Seitu (VA)  Minneapolis, MN St. Paul, MN Cutler, Bruce (L) Hawkins, Christie (VA) Laughlin, Kathleen (VA) St. Paul, MN Kasota, MN Minneapolis, MN Dahl, Stephen M. (VA) Katz, Judith (L) Pickett, Keri (VA) Minneapolis, MN Minneapolis, MN Minneapolis, MN Di Palma, Susana (C) Kreilkamp, Ben (S) Pitt, Suzan (VA) Minneapolis, MN Minneapolis, MN Fountain City, WI Evans, David Allan (L) Lease, Ellen (MC) Rathman, David (VA) Brookings, SD Minneapolis, MN Minneapolis, MN Green, Gregory (VA) Leo, Vince (VA) Scully, Patrick (VA) St. Paul, MN Minneapolis, MN Minneapolis, MN Kirkpatrick, Patricia (L) Miles, Margaret (L) Shambroom, Paul (VA) St. Paul, MN Minneapolis, MN Minneapolis, MN Kittelson, Vesna (VA) Moroni, Aldo L., Jr. (VA) Spotted Eagle, Chris (VA) Minneapolis, MN Avon, MN Minneapolis, MN Laidlaw, Brett (L) Mueller, Eric West (VA) Whiteman, Ernest (VA) Minneapolis, MN Richfield, MN St. Paul, MN Leicester, Andrew (VA) Rylander, Edith (L) Minneapolis, MN Grey Eagle, MN 52 AY 1-55 1/14/03 10:08 AM Page 53

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 AY 1-55 1/14/03 10:08 AM Page 54

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

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 Smith, Joanie (CMP) Minneapolis, MN Gibbon, Maureen (L) Andersen, Norman (VA3D) Plymouth, MN Stiehm, Robin (CMP) Minneapolis, MN Sandstone, MN Hancock, W. David (SW) Bart, Harriet (VA3D) St. Peter, MN Thao, Cy (VA2D) Minneapolis, MN St. Paul, MN Louis, Adrian (L) Branner, Djola (CMP) Minneota, MN Thorson, Morgan (CMP) Minneapolis, MN Minneapolis, MN Matheson, Steven (FV) Brown, Tony (CMP) St. Paul, MN Young, Marcus (CMP) Minneapolis, MN Minneapolis, MN McColley, Kevin (L) Carr, Judale (VA2D) Pinewood, MN Worthington, MN  O'Brien, Dan (L) Charlesworth, Bruce (VA2D) Whitewood, SD Minneapolis, MN Ainsworth, Shelli (FV) O'Connor, Sheila (L) Davidson, Stacey (VA2D) Minneapolis, MN Minneapolis, MN St. Paul, MN Brannen, Jonathan (L) Ostroushko, Peter (MC) Gorcica, William (VA3D) St. Paul, MN Minneapolis, MN St. Cloud, MN Davids, Brent Michael (MC) Vogelweide, Bertrand (L) Kareken, Michael (VA2D) Minneapolis, MN Richardton, ND Minneapolis, MN Fox, Sarah (L) Williams, Garret (FV) Minneapolis, MN Lois-Borzi, Ana (VA3D) Minneapolis, MN Golden Valley, MN Gatto, Anthony (MC) Minneapolis, MN

PROGRAM OFFICER ARTIST PROFILES Bush Artist Fellows Program East 900 Nancy Fushan Patricia Weaver Francisco First National Bank Building 332 Minnesota Street BUSH ARTIST FELLOWS DESIGN/PRODUCTION St. Paul, Minnesota 55101 PROGRAM DIRECTOR Nancy H. Teufert, River West Design 651-227-0891 Julie Gordon Dalgleish 800-605-7315 Hall Kelley www.bushfoundation.org PROGRAM ASSISTANT Printed on recycled paper. Kathi Polley PHOTO CREDITS Portraits by Wing Young Huie Copyright 2003 except Arthur Amiotte by John Moler

The Bush Foundation is a private, grantmaking foundation with charitable purposes. Archibald Granville Bush, sales and general manager of the 3M Company, and his wife Edyth created the Bush Foundation in 1953. The Foundation makes grants to institu- tions in education, humanities and the arts, human services, and health, primarily in Minnesota, North Dakota, and South Dakota, and supports historically black private colleges and fully accredited tribally controlled colleges throughout the United States. It also offers three fellowship programs for individuals.

Bush Artist Fellows Program East 900 First National Bank Building 332 Minnesota Street St. Paul, Minnesota 55101