Bush Artist 2003Fellows

2003 Bush Artist Fellows

LITERATURE POETRY, FICTION, CREATIVE NONFICTION

Mai Neng Moua Lee Ann Roripaugh David Treuer Ka Vang Wang Ping

SCRIPTWORKS PLAYWRITING AND SCREENWRITING

Vincent Delaney Adelaide MacKenzie Fuss Kevin Kling

FILM • VIDEO

Liza Davitch Jenny Lion David Ryan

MUSIC COMPOSITION

Philip Blackburn Tellef Johnson Michelle Kinney J.D. Steele

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/STORYTELLING

SCRIPTWORKS Playwriting and Screenwriting

MUSIC COMPOSITION

FILM • VIDEO

TRADITIONAL AND FOLK ARTS

Applications for all disciplines will be considered in alternating years.

3 2003 Panels

PRELIMINARY PANEL PRELIMINARY PANEL FINAL PANEL FILM • VIDEO MUSIC COMPOSITION Anthony Davis Judy Irving Anthony Davis Composer and Professor of Music Documentary filmmaker Composer and Professor of Music University of California–San Diego San Francisco, California University of California–San Diego San Diego, California San Diego, California Laurence Kardish Erik Ehn Senior Curator, Department of Film Janice Giteck Playwright and theater faculty and Media Composer and Professor of Music California Institute of the Arts Museum of Modern Art Cornish College of the Arts Greenbrae, California New York, New York Seattle, Washington Boo Froebel Yvonne Rainer Elizabeth Schulze Artistic Director, Galapagos Art Space Film/videomaker and choreographer Music Director and Conductor Producer, Performance on 42nd at the New York, New York Maryland Symphony Orchestra Whitney Museum of American Art Williamsport, Maryland at Altria New York, New York PRELIMINARY PANEL LITERATURE PRELIMINARY PANEL Yvonne Rainer SCRIPTWORKS Film/videomaker and choreographer Kimiko Hahn New York, New York Poet and Professor of English Kathleen Dimmick Queens College/CUNY Dramaturg and director Shawn Wong Flushing, New York New York, New York Fiction writer and Professor of English University of Washington Judith Kitchen Erik Ehn Seattle, Washington Fiction and nonfiction writer Playwright and theater faculty Writer-In-Residence California Institute of the Arts SUNY Brockport Greenbrae, California Brockport, New York Elizabeth Wong Shawn Wong Playwright, screenwriter, and lecturer Fiction writer and Professor of English University of California University of Washington –Santa Barbara Seattle, Washington Monterey Park, California

4 Bush Artist Fellowships

ush Artist Fellowships support artists of demon- Grants are made through a two-part selection Bstrated ability who reflect any of the region’s process. Separate preliminary panels for each cate- many cultural, geographic, racial, and aesthetic vari- gory review applications and work samples to select ations, both its rural and urban character. Among finalists. An interdisciplinary final panel then the qualities the program seeks in an artist are strong reviews the pool of finalists and chooses those who vision, creative energy, and perseverance. Artists receive fellowships. The final panel includes one must be 25 or older to apply and may be at any stage member from each preliminary panel plus one or of career development, from emerging through two additional panelists. Panelists serve for one year. established. Up to 15 grants are made each year. All panel members are working artists, curators, or There is no requirement as to the number of fellow- critics living outside Minnesota, North Dakota, ships to be made in each discipline, and therefore South Dakota, and Wisconsin. that number may change annually. This catalog introduces the 2003 Bush Artist Grants consist of stipends of $44,000 for a 12- Fellows and their work. We are very proud of them to 18-month period. In 2003, 15 artists were select- and wish them great satisfaction in pursuing their ed to receive 15 Bush Artist Fellowships. They were individual visions. chosen from a total of 475 applicants. Julie Gordon Dalgleish, Program Director Kathi Polley, Program Assistant

5 Perspectives

Grace “…Really beautiful works of art are examples of ensembles in which independent factors occur, in a manner impossible to understand, so as to form a unique thing of beauty.” — Simone Weil, The Needs of the Soul

Time for supper. then our charge is dangerously weak. When people are widely scattered (ethically) so It’s common sense (the sense that counts). that they depend, at root, on the vehicle of appropri- ation, when folks are dependent on that which The Bush Foundation fulfills its mission with reduces them, and when their dependence is a money ideas and money but most germanely through the machine for the concentrated few… first poetry, next breaking of bread. [For the past ten years the Bush language in general, then memory, then intellect, Artist Fellows program has convened on a quarterly basis then will, and then the soul itself decays. all active fellows for informal social gatherings where Then the soul refuses to disappear. Where the they talk about issues, share work, or simply enjoy each many are taken from and distributed to (the market others company.] scaffolded up as the only apparent reality), a bur- nished insistence shows up when all else wears away: And an impulse among the scattered many to gather pur- pose from themselves, sometimes at the expense of Distributive Culture marks the end of empire. the few. Empires always end. Popular will assembles itself, recognizes and remembers itself, reprises and Ronald Rolheiser laments the atrophy of con- expands its language, and perfects its language in templation in Shattered Lantern; he cites narcissism, poetry (all art being poetry). People in command of pragmatism and unbridled restlessness as interlocked their poetry are revolutionary. causes. If prayer (variously defined as knowledge, Right now, culturally, something is very bleak. thoughtfulness, awareness) is the battery that powers And the bleak reveals a brilliance. The Global is the coherence of a people and directs it to the future, increasingly monolithic, and the local is under siege;

6 the radical return to poetry is almost invisible— The advance guard of poetry can’t retreat from because so out of scale in its opposition to uniformi- eschatology, can’t fear growing old, needs to resist the ty. Hope is secure in small gatherings, in the retrieval trap of generating the next without taking care of the of careful conversation, in the shyness and assertion last. of the face-to-face. Through slow rituals of communion, integrated (In the next sweep of the cycle, art/conversation as habits over time and outside the market, we will be is commodified then priced out of reach of the mass able to memorize, refine and deepen each other’s of people. We are made and kept lonely so that our work and lives. humanity itself can be sold back to us.) To prevent the obliteration of coherence, we The computer age is madly distributive and anti- must literally and figuratively break bread together— nuance (metaphors broken down and resold for more aptly, we must break together, break into each parts). The commercial applications and absolute other, find wholeness in common courtesies, com- devaluation of text have emerged with amazing swift- mon sense, in the common. We do well to convene, ness. Resistance is also rising. A brilliant bulletin in the flesh, honest about the requirements of our board, the Net is increasingly understood as a means humanity (food, shelter). And somehow we’ll have to to a live end. The artist gatherings sponsored by the do more than expose or advertise our work to each Bush Foundation share in that end and are part of a other; we will have to need it, mutually, and to make very great good. room in process for mutual need (writing for and Namely—supper: what we hold in common, with each other; performing, painting in response to alive and in shared space. The sacramental asks for one another, in one another’s spaces/faces). faith in incarnation—the premise that beyond corpo- In this way a bunch of art that happens to be rate illusion (fictive, superior personalities) there is good, a bunch of artists who are madly talented at the the sacred (the just, the loving, the impersonal –S. same time, coalesce to a movement. As long as art’s Weil). We can break through to reunite with what dialogue with itself and its community respects its survives of justice in our flesh and blood humanity. privacy, honesty and urgency more than its broader

7 success—then the work will participate in the evacu- ings are modest and informal, the modesty, the chat, ation of the old and the installation of the new. We the form and non-form are well founded and operate need to succeed at the level and speed of small gath- in the light of a significant shift back to soul, which erings, building out from an integrity of purpose. It is leads to an improvement of the will, then the intel- too soon to talk about being loud enough to out- lect, then memory, then language, then poetry. shout the market. We resist by creating more listen- ing, by showing how sanely we are intimate, human. The next great wave in art is not a matter of style Erik Ehn’s work includes The Saint Plays, Heavenly Shades of or personality. It is a matter of hospitality. Night Are Falling, No Time Like the Present, Wolf at the Door, “Fellowship” = community. The Bush Foundation, Tailings, Beginner, Ideas of Good and Evil, and an adaptation through its deepening custom of gathering artists of Faulkner’s The Sound and the Fury. He is an artistic associ- ate at San Francisco’s Theatre of Yugen, most recently writing together for the sake of gathering artists together, Crazy Horse for them, which combined Noh forms with Native helps restore the radical sense of fellowship. American music and dance. His plays have been produced in I’m not much good at hospitality, myself, in the San Francisco (Intersection, Thick Description, Yugen), Seattle personal sense. I’m private at best and selfish at worst, (Annex, Empty Space), Austin (Frontera), New York (BACA, Whitney Museum), San Diego (Sledgehammer), Chicago (Red get discombobulated at public gatherings, blurt Moon), and elsewhere; he has a longstanding collaborative enthusiasms that I don’t have emotional resources to relationship with the Undermain Theatre in Dallas. He is co- back. But I’m talking here about a professional or founder and co-artistic director of the Tenderloin Opera Company in San Francisco (with Lisa Bielawa). He is a gradu- impersonal friendship. ate of New Dramatists, and is currently a visiting fellow teach- While on one level the Bush Foundation gather- ing playwriting at Princeton University.

8 I want to move out and live with my college roommate. My want to be a burden to my family. I don’t want them to worry mother says, “Ua cas es yuav xav mus ua tej yam qias neeg thag about who’s going to take care of me, the sick one. I don’t have npauv!” the Hmong words for these thoughts, and so I say nothing. “What ‘dirty’ things would I do, niam?” I ask her. Besides, they’ve already made up their minds. No explanation will She thinks I’m going to invite all the men I know over and be good enough for them anyway. I have no defenses. have wild parties. She’s worried that other Hmong people would say bad things about me, an unmarried Hmong woman living “by her- ❧ self.” “Twb mob npaum es tseem yuav mus dab tsi nas?” she asks. She Last night, I called my mom to tell her I was coming in for doesn’t understand why I, a sick person, would want to move out surgery—to take out the old PD catheter because it was infected on my own. and making me sick. I have to put in a new permanent catheter “Nyob no es kuv mam take care koj nas,” she tells me. She’s in my shoulder so I could do hemodialysis instead of peritoneal afraid that I won’t have enough money to pay rent, buy food and dialysis. pay bills. My mom said, “It’s up to you. Whatever you want to do...” When I ask my older brother about it, he says, “Why do that What did I expect her to say? “Don’t do it. I know a better to mom? After all she’s been through, isn’t it time we took care of way....?” Shouldn’t I have been glad she gave me permission to do her?” what I wanted? All my life, it seems, I’ve been fighting for this At a family gathering, my aunt, who had heard the news exact thing. But then I think, “Please care. Tell me what to do. from my mother, tells everyone that I want to move out. One of my Don’t say, ‘It’s up to you.’” Sometimes when she says this, I feel uncles asks why I want to live by myself. like she’s punishing me. An irritated, “Well, you chose this path, “There is no room for me,” I tell them. “I want to go to grad so why are you asking me what to do?” An angry, “Well, you did- school. I need a quiet place to study. I don’t want to study at the n’t listen to me. See what happens?!” kitchen table with all the dishes.” My mother thinks that because I have end-stage renal dis- My explanations are no good. I am bombarded with suspi- ease, I am disabled. She sees me as a loss to her, to the family, to cion. the Hmong community, to society in general. I mean, I can still “Don’t you love your family?” work but I won’t be able to do it as fast, as well, as hard, or as “Didn’t you hear about that Vang girl that was living by her- much. self? Don’t you know what people say about her?” She says, “A disabled person like you...who would want to “You can’t do that. We won’t let you.” marry you? A good daughter-in-law gets up early and cooks for “Stay home.” the family. You won’t be able to do that...” It’s true. The two-bedroom apartment is too small for my She’s right. I won’t. mom, my two grown brothers, and me. It’s true that I want to go to graduate school. What I cannot tell them is that I need to move out Excerpt from “Endstage,” Bamboo Among the Oaks: Contemporary on my own because I want to know how to balance school, work Writing by Hmong Americans, 2002 and dialysis. I need to know that I can pay my own bills. I don’t

9 Mai Neng Moua

It’s essential for communities of color, such as the Hmong, to write our own stories and to create our own images of ourselves. When we don’t do this, others write our stories for us, and we’re in danger of accepting the images they’ve painted of us. Without written text, Hmong voices are overlooked or nonexistent. I write to remind myself that I am alive, and my individual voice matters.

“My mother is ready to tell her stories generation of Hmong-American writers. She and I am ready to hear them.” Writer Mai plans to write a memoir, based on the stories Neng Moua will travel to Laos and Thailand her trips to Laos and Thailand will generate. “I with her mother, seeking to know the country feel this is a critical time for my community to she left as a child. “When you think be intentional about what we keep about the Hmong experience, there to pass on to future generations. I is so much trauma. But people lived, want to make the oral traditions of loved, argued with their neighbors. the elders accessible. Without What was life like, what did the understanding that, I don’t under- women do? I’m curious about stand the Hmong community in where I’m from in order to under- America.” stand the now of my community.” Moua will also remain involved Moua has spent years serving with the Hmong American Institute the Hmong-American community, co-found- for Learning to transition Paj Ntaub Voice into ing Paj Ntaub Voice, a Hmong literary arts a publisher of Hmong literature. “I want to journal, and editing Bamboo Among the Oaks, give writing my full attention, want to show the first Hmong-American anthology. She what is possible. This is the next step. We write began her education in nursing, took a writing the truth, and we ask hard questions, and we course on a whim, and became part of the first are honest with ourselves and our community.”

10 WISTFUL THINGS Rain-drenched heads of peonies salaam all for the small consolations darkness brings – the way down to ephemeral the ground, broad-planed leaves sequined by fractured semaphore of fireflies sparking brief gold glinting bits of moments into rain that spill off one by one all morning the night, ambered shellac of cockroaches as the foliage gleaming dull red slowly turns its green palms upward to track in moonlight as they scuttle mindlessly the simmering back and forth, cloud path of the sun. Underneath, the ribbed husk of tiny insects exploding against a cicada the brilliant heat left behind, translucent, filled with water of a streetlamp. How courageous they are. from the gaping How bravely they hole, like a wide-mouthed Mason jar, through which blaze into ash in the bright yellow heart a singing winged of their desire

thing plotted the violent trajectory all night long while I go inside and wash of its escape. my hair with your The flash of a ladybug’s wing twinkles shampoo, purchased with the surreptitious against asphalt discretion of like an orange, Jolly Rancher candy an alcoholic, so that when morning’s and all day long bright blade slices my left ovary fizzes, sizzles, burns – open my sleep, at least there will still be a radio- the scent of your active Alka Seltzer. Ambivalence hair, like ripe sunburnt apples, infusing is my longest my cool pillow.

and most familiar companion, and we 2001 wait together

11 Lee Ann Roripaugh

I suppose that I would like for readers to be able to make some sort of empathetic connection to my poems— either emotionally or intellectually. That they would be capable of being drawn into the psychic landscape of the poem, look the poem straight in the eye, let the poem look right back at them, and then say, “Oh.”

“Writing was my first impulse.” Poet Lee The Woman Who Loves Insects: A Pillow Book, con- Ann Roripaugh is an accomplished concert pianist siders the construction of gender roles through the who grew up in a house full of books. Daughter of lens of court life chronicled by Heian-period a writer, she came to writing after seriously pursu- women writers. While researching both the litera- ing the study of music. “Music still ture of the time and the insect world, informs my writing,” she says. “The she is again investigating identity. way words feel in your mouth—lines “What constituted femininity and in poems feel like phrases of music. I masculinity was open. Men were val- rely on musical instincts to manage ued for being beautiful and sensitive. the rhythm.” The colors of a person’s robe and the Her first collection, Beyond arrangement of flowers mattered.” Heart Mountain, is a groundbreaking Roripaugh is also writing short series of monologues in the voices of stories stemming from her experience Japanese-Americans interned at Heart Mountain as a concert pianist and music school student. Relocation Camp in Wyoming, near where she “Writing is like having permission to be a dilet- grew up. Year of the Snake takes inspiration from tante. If I become obsessed with cephalopods for traditional Japanese myths and fairy tales and uses an entire month, ultimately it becomes produc- images of her mother’s garden to look at the tive. I love the luxury to give myself over to what- Japanese diaspora in America. Her current work, ever captures my fancy.”

12 1. He looks up from the manuscript in front of him on the library table and realizes that he has discovered a document that can change his life forever. At the same time it occurs to him that he has never been in love. The second realization, the realization about love, will have to wait. After all, it has been waiting for forty-three years. A few more minutes, a couple of hours, even a day or two will make no difference. He has never loved, and now that he knows this, it cannot be forgotten. As for what he has just read, that demands his attention. That which comes from outside us, that presents itself at a certain moment, or on a certain day, can be so easily lost. As lost as the years, as fugitive as time. Already the words on the crumbling manuscript page, that shy paper, are beginning to swirl, mix, and change. The words don’t fade in his mind, as dreams do. Rather, they have burst from the cover of obscurity that has hidden them for so long and have begun to hide in the lush foliage of what he already knows—other languages, other landscapes, other stories. But it isn’t the manuscript or the words written in syllabics that are moving. The treasures of his mind are being rearranged and reordered, along with the habits of his heart.

excerpt from The Translation of Dr. Apelles, a work in progress

13 David Treuer

I want to explore the idea of cultural longing that, in large part, informs Native American fiction. A novel is a wonderful chance to hold up a mirror to our fantasies, and to challenge how we see the much larger world that lies outside our direct experience. Novels, though great imitators of it, are not life. Rather, they are passers-by standing in the rain looking in on the human family sitting around the dinner table, at the glow of life and light within.

In novelist David Treuer’s current work, The is one of three Native American languages pro- Translation of Dr. Apelles, an expert in Native jected to remain viable in this century. “When American languages discovers a manuscript he I’m away from home, I sometimes feel a sense of alone can translate, and simultaneously falls in isolation and loneliness to realize that no one love. The novel raises ethical ques- can understand the language that tions about both his work and the defines where I’m from. I want to nature of love. Is love something capture that essence, that feeling.” that occurs naturally, or is it invent- Son of a writer, brother of a pre- ed? If the translation is not faithful, eminent translator of Ojibwe, Treuer who will know the difference? began writing in college, somewhat In Little and The Hiawatha, on a dare, an inclination that inten- Treuer created Native American sified when he read Louise Erdrich. characters whose complexity includ- “I was 20 years old when I read ed the forces of cultural dissolution, but who Tracks. I did not leave my room for two days. I were motivated by universal desires and fears. found a sensibility that I recognized, and it Treuer has put language and culture at the cen- changed me in a lot of ways. Writing fiction is ter of his new work. Drawing on his knowledge an unmitigated pleasure, a way of feeling I can of linguistics and fluency in Ojibwe, he plans to make the world better by using what’s here to invent an entire language for the novel. Ojibwe see what’s not yet here.”

14 Soon the village heard stories of Hmong men and boys, soldiers who kidnapped Hmong girls and discarded their some of them as young as I, killed because the Uncle sent bodies in the Mekong River after raping them. them into the jungle to find the Communist. Instead the I staggered to the stream. The lazy stream turned fierce Communist found them. for a short time after the long monsoon. Touching it for the I didn’t need to see death to know terror. I was born first time, the water felt colder than anything in Laos. with a twin: violence. It lived with me, wore my clothes, Scooping a handful of water, I splashed it on my face and swallowed my food. body. The chill pulled me back to reality. My father said the I saw my Grandfather hit his three wives, my uncles hit stream came from the mountaintop where the white mist hid their wives and my father beat my mother. Violence like its source. But my mother said it flowed from the belly of a farming was a circle in my family uninterrupted by the war. mighty dragon. The dragon shed its scales, which became the A small oil lamp lit the dim one-room bamboo hut. colorful rocks and pebbles that lined the stream’s bottom. Pretending to be asleep on a hard bamboo cot, I watched my I wobbled down the stream, collecting stones— father’s shadow choking my mother. He took her dirty turquoise, red, jade—following its twists, turns and sudden scarf—the one she used as a head wrap farming beneath the falls. I wondered where did the stream like our village road merciless sun—and stuffed it in her mouth. Her lips were end? When my foot grew sore that even my pinky toe stretched into an exaggerated O. Like a hen getting her feath- throbbed, I found a spot among the lush green grass next to ers plucked, my mother’s arms flailed about as she gasped for the stream and stared at a band of stratocumulus clouds. air. The oil lamp knocked over. Darkness. I saw nothing, but The cloud’s anvil-like top plume parted and a shim- heard mother’s crying. Yet, her sheer terror crept like a King mering dragon emerged. Its scales reflected the color stones in Cobra throughout the room. It slithered around my throat my pocket. Like a soaring rainbow, the dragon headed and penetrated right into my cells, violence flowing through straight towards me. With flaming coal eyes, leather claws my veins like burning venom. like those of chicken, the creature swooped me up. I was not So much pain, but there was no way to rid of it. Bottled afraid. I flew and looking down I saw the mountains become up inside, all inside, there was no lid to flip for release. as small as ant hills. Away—I burst out of the bamboo hut—escaping to the humid green canopy. I prefer the tigers lurking in the dense excerpt from The Dragon’s Orphan Daughter, 2002 jungle to the serpentine terror. I was not afraid of Vietcong

15 Ka Vang

I'm part of the first generation of Hmong writers writing creatively in any language for the first time in history. I write using the techniques of traditional Hmong storytellers, focusing on themes of identity and homeland. Torn between two cultures prompted me to write to better understand my own feelings and needs. My stories build bridges between Hmong and American communities to see the incredible wealth of stories we share.

K a Vang is a Hmong-American writer, an magical if you have never seen it.” accomplishment in itself since the Hmong did Vang’s mother told stories and told them not have a written language until the 1950s. Her straight. “There were no happy endings. This got particular interest is to incorporate the oral tradi- me interested in how they were being disseminat- tion, using the magic realism of ed in the culture.” As the oldest of Rushdie, Amado and Márquez, into eight children, she wanted to tell sto- stories where the historical and the ries to her siblings, a difficult task fabulous meet. without mastering English. Vang This summer, she traveled to became a journalist, the first Hmong Midwestern Hmong communities to news reporter in America, as a way to collect the folklore that will serve as a “validate my curiosity. No one would basis for her stories. “The same tales think it was impolite.” are being told,” she says. “But there “The elders are passing away,” are regional differences in stories from different says Vang, “there’s so much trauma from the war, parts of Laos. The endings change; the seasons and they’re not talking. The work I’m doing is change; the moral stays the same. I’m adding my going to be passed on to my children and to the own spin, setting them in St. Paul. The goal is to community. I feel like I’m working on a project make the fantastic seem real. Ice in the jungle is larger than myself.”

16 HEART AND LIVER This morning I heard my son murmuring “my sweetheart” to I never gave it a second thought until I came to the United his black Hot Wheel. I burst out laughing. I rarely use such States. I got used to spelling it out for Americans as soon as I endearments around the house, except when I’m upset about said my name, letter by letter, to avoid being mistaken for Pig, something and become sarcastic. How did he get it right? And Pin, Pink, or Tin, Ting, Thing. I enjoy making them laugh by where? Growing up, I heard my neighbors call their children imitating the sound of playing ping-pong or golf. When too “heart and liver,” a Chinese endearment for “sweetie” and “pre- many people asked me what my name meant exactly, I opened cious.” My parents called us by our full names. Straightforward. a dictionary and found the following items: screen, shield, shel- No prefix or suffix attached, like most Chinese do, to reveal any ter, barrier, hold breath... Index finger between the pages, it blood relationship or sentiment. They believed that a bad name dawned on me that this was how my parents had chosen to could evoke evil spirits, and had taken great pains to pick ours. love, by calling my full name—family first, individual second. My most beautiful sister got “Sea Cloud,” our only brother The name of our father and mother stood at the front of the “Tiger,” and our youngest sister who grew up with her grand- battlefield—an ancient king ( =wang=king) shielding his sol- parents in Shanghai, “Swallow.” For me, their oldest daughter, diers with his body. It was their way of showing “heart and they gave a name which has the most common sound, and liver,” in a time of violence and betrayal. which can be written with different characters: level, even, safe, flat, dull, ordinary, average, calm, apple, evidence, bottle, duck- I put my hand on my son’s nape. He stopped breathing for a weed… Most Chinese write my name as apple or duckweed second, then his body relaxed totally. Sprawling on the couch, unless I correct them and spell out the two parts of the character he rolled up his shirt to allow my fingers to knead into his back stroke by stroke: 1) a body, a cadaver; 2) things that tend to from neck to tailbone, vertebra by vertebra. Two years old, he merge and combine. The first sprawls over the second like a knows how to love, how to be loved, in the absence of words. A bomb shelter. gift still unconditioned, still on the wing.

2002

17 Wang Ping

I write about pain, how we live with it every day in our lives, every minute in our days, and how it haunts us like a ghost if we run away from it. But if we face it, talk to it, and embrace it, it will show us something, like wisdom and courage, and it will become our bridge to joy. I write about joy, the joy for music, words, living, and how it teaches us to hope, to love.

“Ialways loved to read, but it was hard for me to Wang has been writing a novel and collecting get my hands on books. That increased my pas- stories of first generation immigrants for an sion.” Born in a middle-class family in Shanghai, anthology of work about the immigrant experi- writer Wang Ping spent three years doing farm ence in American culture. Her tough-minded labor for the “re-education” required poems about love, betrayal and pain in post-Cultural Revolution China. brought her a request from Still- “It really shaped me. There was water prison to teach a series of writ- despair that you would never get out, ing workshops. “They come from like living in paradise and hell, and poverty and hard struggle and that you cannot move between them.” felt very natural, very connected to After coming to New York to study me. The content is tough, but there English literature, she mistakenly is a spark of hope for them in their walked into a writing class where the ability to express it.” stories she had always told her younger sisters to “My doubt sustains me,” she says. “I’m con- amuse them found form. “The wheel has kept stantly questioning myself, and my writing is a turning since then.” form of challenge. You have to have backbone Since the publication of The Magic Whip, and have some belief. Otherwise we can shut our her fourth book and second collection of poetry, eyes and hearts to the other side of things.”

18 A briefing hall in the Middle East. The year is 1991. Sound of a slide. A longer pause. CATHERINE enters, on her cell phone. MARTHA: Some of you have named this a highway of CATHERINE: Yes I love you. I miss you. I think about death. We object to that phrase. There is no such thing. you all the time. Yes. I do. I do. It’s terrible here. We sleep Unless you mean the Jersey Turnpike. We prefer the term, in tents. On the ground. All the sand, it gets everywhere. highway of retribution. It’s not romantic, it’s grit, it gets in your teeth. Anyway, how are you? Oh, I saw a battle. A big one. It was great, we CATHERINE: Is that…that looks like a little boy. won. They let you watch from inside tanks, it’s so—no. No, there isn’t. Sweetie. It’s a war, there isn’t time for— MARTHA: That was an unlawful combatant. besides, they’re all grunts and dykes. They smell awful. That does not turn me on. I love you. I want to be with CATHERINE: It looks like a kid. you. How’s your painting? I love you, there’s a briefing, I have to go. Kisses. I love you. The war is totally awesome, I MARTHA: Next slide. mean, you know, we’re winning. Bye. CATHERINE: That was a little boy. That was a kid. MARTHA enters to her podium, in full uniform. CATHERINE sits in the audience. MARTHA: I asked for the next slide. May I have the next slide, please? MARTHA: There is nothing more deadly than a retreat- ing enemy. To retreat—to run, to turn tail, to panic—is a Slide changes, we don’t see. Silence. They stare at the picture. highly aggressive action. When an opponent panics, he knows what he’s doing. That’s the point of panic. MARTHA: We ask you to keep an open mind. That is all Militarily. First slide, please. we ask.

Sound of a slide. She looks at a picture. We don’t see. A beat. CATHERINE: Wow.

MARTHA: All right, it looks bad. Yes, they were retreat- Lights fade. ing. In their station wagons and bread trucks and bicycles. Every one of those vehicles can be used as a weapon. We excerpt from Kuwait, 2003 had a moral responsibility to stop their aggressive panic. Second slide.

19 Vincent Delaney

There are pitfalls in trying to write political theater. The worst, ironically, is letting your own politics get in the way. I try to write from the point of view of people I might not care to meet in real life: senators, soldiers, media figures. Strange things happen when we humanize such people: they become real. And that changes political theater into something intimate, personal, and dangerous.

“I’ve tried to forge a style which draws upon his- into your head as well.” tory, especially recent American history, and then Delaney’s new work continues to fuse the transmutes it into something intimate.” personal and political, but for the first time he is Playwright Vincent Delaney seeks imagination’s developing a play from primary sources. His intersection with documented histo- research concerns the nearly invisible ry. Two recent plays are based on fact that 10,000 German prisoners of declassified FBI files. MLK concerns war were housed in camps in south- an African-American FBI agent ern Minnesota during WWII. caught up in J. Edgar Hoover’s obses- Delaney, who is fluent in German, sion with Martin Luther King. In plans a trip to Germany to interview The Robeson Tapes, a surveillance tape former prisoners. In addition, he will surfaces from a family’s past and dis- draw on conversations with some of rupts the present. the American guards and the nearby Trained first as an actor, Delaney was never- farmers who employed the POWs during and theless always writing. As a playwright, he is after the war. “I’m interested in how these sur- sparked by “the thrill of the moment of perfor- vivors see the world today. I’m anticipating that mance. A play is a blueprint. To get a play done, this play will examine an intense, difficult time you have to get a whole group of people to buy through the lens of memory, which is often into your vision, and then they are going to get imperfect.”

20 Spotlight on Mary. Pause.

She stands downstage center in a strong pool of All I ever wanted was a reason to be here. light. Now I’ve got one. The Bigness of it all. She wears a sweet gingham prairie dress. What I need now is a good strong cup of coffee. Hair done up. Because I’ve got a lot of work to do. Lipstick. I’ve got to go talk to the entire world. She looks ready for the world today. I have something Big to say. I have something Everybody needs to hear. MARY: Oh you meet somebody She smiles brightly to the world. And suddenly— Your life will never be the same. Lights out.

Pause. excerpt from High, Tall Prairie Grass, 2000 Originally commissioned by the Mark Taper Forum The sky is turning dark again. I see this storm moving fast. Close. Chronic low thunder. Cottonwoods bending to the earth. Prairie grass catching the hot, thick water. Here she comes. Here comes the rain.

21 Adelaide MacKenzie Fuss

I search for and find Beauty, Brilliance and Compassion in every single person I meet. My job is to show it to you.

Steinbeck’s Of Mice and Men made play- mission of electricity, imagined a system that wright Adelaide MacKenzie Fuss a writer. A would provide a source of free energy. Fuss’s char- young dancer on her way to a professional career, acter, a physicist, has a nervous breakdown and she was struck by the power of words, and the retreats to a cabin in the Black Hills, where a belief that she had access to that strange group converges to change power. “It’s the way I stand up in the his life. “The story is in the way pro- world. As a woman, you are told to jections of energy alter and disrupt shut-up a lot. I see the world a cer- frequencies; the way people who have tain way. I’m honest when I’m writ- huge hearts do the same. Love is a ing a play. Art is a medicine.” mutable energy.” A long association with the “I saw myself clearly as a writer Mark Taper Forum gave Fuss an when I was twelve. I thought: If I opportunity to work with accom- work hard, I can fulfill my vision plished actors and to see her plays in develop- which is to tell a beautiful story that people won’t ment. She is now interested in writing a novel ever forget, that remains in people’s hearts. When and a new play based on the science of Nikola I write, I think, ‘This is the one sentence you get Tesla. Tesla, the inventor of the wireless trans- to speak. Is this what you want to say?’”

22 GULLIVER star it’s a short hop to the next and in no time I’m on the road of the gods, hunting with Orion and his hounds, cart- My earliest recollection places me on my father's knee. He wheeling with Cassiopeia, trafficking with heroes, drinking is pointing to the night sky. their wine, eating their meat. Get me to that star, father, and I’ll never come home. Gaa" "Look there Lemuel," he says, "do you see that Star?"

I open my hand to the star and say, "Gaa." GULLIVER’S WIFE "You want to hold it?" I'll send you kisses like birds "Gaa." Hoping they'll migrate to you I'll send you kisses because by keeping them at home I "Let’s leave it there, my boy, one day you may need its might tame them position to navigate the world. You see that star can take you to places, far away shores. That star will guide you I'll send you tears like jewels safely and most importantly bring you home again." Hoping they will become lost I'll send you tears because by keeping them at home they Had I the ability to communicate I could have informed might tame me him, "No father, I do not want to hold it and I certainly do not want to use it to calculate a vector. The universe I'll send you love like warm wind on your back isn’t simply a machine, the universe is a brain, a creator. Hoping you'll turn and breathe me in That’s why our lives are stories, not syllogisms. That star holds a story and I want to go there. If I can get to that excerpt from Gulliver; a Swift Journey, 2001

23 Kevin Kling

Art doesn’t spring from complacency. One day a person discovers there lives in you a need to create. Try what you may it will build and grow searching for an out, the weakest gasket. Then you burst. And how it enters the world determines the type of artist you are. You soon begin to know how to coax, explore and entertain these outbursts and this is called craft.

“I proudly consider myself a regional writer. As tures disabled actors; a play based on the writings the uncertain nature of our times unfolds, there of Cervantes; an allegory of the West’s relation- is sanctuary in a story well told. I want to do ship with the Arab world centered around an that, in this community.” Storyteller, playwright, Irish knight searching for a lost white bear; a performer, Kevin Kling is a commu- script involving a picnic in heaven nity voice with an international where biblical lives parallel the events audience. His stories of growing up in a Smokey Mountain community. in Minnesota, scripts studded with Kling attributes his develop- the icehouses, Yule logs, and Mid- ment as one of his generation’s pitch- western eccentrics, resonate far perfect storytellers to a childhood beyond his hometown. among people who loved to laugh While recovering from a serious and tell stories. That same connec- motorcycle accident, Kling translat- tion to community sustains his work ed his performance pieces to written text, and has in the theater. “I always hoped that theater was recently returned to writing and performing. His integral to people’s lives. One of the gifts of my projects are dizzying in their variety: appearing in accident was that I got to see that was true. an updated version of Aristophanes’ The Birds People regard us as part of the fabric of their lives. with Interact, a Minneapolis company that fea- We aren’t the outsiders we always wished we were.”

24 still from Victory Square, 2002

25 Liza Davitch

I am constantly trying to reconcile the inherent exploitation in documentary with my love of the form. The responsibility of capturing a living person in real time, and the risk it poses to their lives, is too great to ever be at ease. For me, this means calling my next work what it has always been—fiction.

Enraptured early by Hollywood films, Liza drama of narrative film. “I immerse myself into Davitch made a slide show documentary about another culture or individual as a sort of leech her grandmother while studying clothing design and confidante at the same time. I’m always in college. “I saw her in a different way by mak- aware of the intrusion, and I feel blessed to know ing a film about her. When I someone on the intimate level I do screened it for my family, I was for- when I’m making these films.” ever changed by the power of that Her current project, a black medium as a communication tool.” comedy about the wild brand of cap- Drawn to the Eastern European italism taking shape in the former approach to documentaries as “con- Soviet Union, is her first feature- structed pieces of art and selective length narrative script. Davitch sees reality,” Davitch first traveled to this film, though scripted, as a more Belarus and made a film about personal documentary, one that can Chernobyl. She returned to make a second film serve as a kind of elegy for her experiences in that focuses on a family whose tangled relation- Russia. While her work has always combined “a ships complicate and unfold in her feature-length premeditated sensibility with self-reflexive and video, Victory Square. For five years, Davitch lived candid storytelling,” this project places her on the for long stretches with the mother and daughter other side of the shadowy line between the docu- whose passions charge her documentary with the mented and the imagined.

26 still from Flies, a work in progress

27 Jenny Lion

I like to generate connections between disparate things— for example, right now it’s Bauhaus architecture, Kleenex boxes, and weaponized bacterial agents. But sometimes all that’s necessary is to provide witness, or to show someone else how to use a video camera. Each piece needs its own approach, and has its own internal logic (or illogic).

Jenny Lion’s work often functions as social sive? It’s a process of being very self-aware but action, propaganda or advocacy, and insists on a not self-conscious. And I tend to get most inter- social process. Lion acts as collaborator, facilitat- ested when the interactions that develop during ing representations of situations she believes shooting are meaningful, and might even make demand witness. In an early piece, the footage itself irrelevant.” she spent three months living with A different approach is visible homeless veterans occupying a in her work-in-progress, Failing, a vacant city building, teaching them 16mm assemblage film using found to use videocameras, and document- footage and a fictionalized narrator. ing daily life, from card games to Here, Lion focuses on writing, the arrests by police. During the Gulf inventive possibilities of editing, and War, she worked with imprisoned fictional forms, embracing the ideas military resisters, generating what of a non-collaborative process, and a she alternately describes as video letter, historical carefully finished object. “Perhaps where I inte- document, legal defense strategy, and art piece. grate these seemingly divergent modes most is in A professional dancer before working in curating,” she speculates. She approaches curat- video and film, Lion relates that training to her ing as an art-making process, and with her book focus on process. The video projects are often project Magnetic North, Lion was able to both performative, interactive, and improvisational. realize a vision and enable contributors to con- “How do I show up in a way that’s most respon- struct their own.

28 still from Haptic Nerve, 2001

29 David Ryan

I believe that time-based media are uniquely suited to explore the full shape of human thought. My work focuses on the border zones of conscious experience—from preconscious perceptual function on the one hand to the dim reaches of the subconscious on the other. I have been especially interested in passages across these zones: how one thought becomes possible, how another loses its viability and sinks out of reach.

Eye plus river equals tears. Eisenstein’s defini- potential between sound and image, and uses the tion of montage informs David Ryan’s lush layered rhythm of sound itself to build a piece. “Sounds films, work built on associations and “the are more specific than visual images—closer to the unknowable mechanics of seeing, hearing, touch- unmediated experience.” He plans a series of works, ing.” Ryan employs a weave of tech- each focused on a central sonic image nology—super 8, 16 mm, analog and —a siren, a message from a soldier, a digital video—and the textures of child reading. All will concern family varied mediums to produce short relationships in frightening times. works that both concern and engage “I remember my father bringing a viewer’s perceptual habits. In Haptic a reel-to-reel tape recorder home,” Nerve, the flow of sound and image says Ryan of the beginning of his accumulate around the development interest in filmmaking. “I used video and loss of the sense of touch; Lapse before the digital revolution when it explores the onset of unconsciousness. “I’m inter- wasn’t cool, but the sound quality of video was ested in the way that poetry and dreams make better than the optical tracks of 16mm film.” In meaning,” says Ryan. “And in the way we trust addition, he is creating installation works them as a way of knowing.” designed for a small network of computers, as His new work focuses on the associative might be found in an ordinary computer lab.

30 Philip Blackburn with Skullphone and Hentracks on Eternity, 2002 photo by Preston Wright

31 Philip Blackburn

For thousands of years, architecture has been described as “frozen music.” I want to melt those edges and reinvigorate the use of sound in public art; to make musique concrète with a mixer and trowel; to further the practice of listening; to make a camera obscura for the mind’s ear—by subtly activating the acoustic environment and building magical resonant spaces: chirping stairs, fluttering walls, singing wires, throbbing sewers… Music with some assembly required.

“It’s amazing how orderly the universe is when you as King Alfred’s blowing stone whose sound listen to it.” Sound sculptor, performer and com- echoed off the natural amphitheater of the hills, “a poser Philip Blackburn suggests the title “ritual magical pre-historical instrument with a legend designer” to describe the environments and associated to it.” This sonic enchantment lies instruments he creates to enable his behind Blackburn’s ambition to build interactive compositions. Working a sound park in the high jungle of from the subtle energies of a specific Belize to be used as an artist’s retreat, a site, he adds improvisation, collabo- space for listening practice and deep rations between the wind and a meditation. Blackburn envisions an choir, the harmonics of a storm avenue of bamboo trees generating sewer, or the musical possibilities of sound and natural spaces designed fishing gear. His study of the archives with the sensitivity to acoustic princi- of innovative composer Harry Partch ples that the Maya knew. “If you clap brought Partch’s work to a wider audience and at the foot of a certain stepped pyramid, there’s a connected Blackburn to a musical forerunner. chirped echo that produces the sound of the quet- More recently he has worked with the surviving zal, their sacred bird.” For Blackburn, “The over- instruments of eccentric inventor Arthur Ferris, riding mantra is ‘better living through listening.’ including an eight-foot whispering harp. We usually practice the art of not listening and Growing up in Oxfordshire, England, that allows the noise pollution to just pile up until Blackburn was drawn to a limestone rock known we are numb.”

32 33 Tellef Johnson

When at work, I am in constant pursuit of the thrill. Attaining it is my singular goal in the creative process.

“Iconsider myself a romantic composer drawing and Borges. Johnson describes his work as “unre- on eclectic, multicultural influences. I’m a max- lenting, aggressive, violent, sexy, action-packed. imalist. My music wears its heart on its sleeve.” It would be rated X if it were a film. Orchestral Tellef Johnson composes for symphony orches- pieces are my favorite. You can create a huge roar tra, rock band, steel drum ensemble with 100 people playing together.” and moving images. “I’m trying to Recently, his interest in film (“I move an audience—like the great came of age in the video revolution”) composers of the nineteenth centu- led him to add images, sound effects ry—through expressing powerful and dialogue to his orchestral work, human emotions. But I use a bag of creating a “video opera.” He plans a tricks that are of my time. I think second film for which he will write, Liszt would have loved the electric direct and compose the soundtrack, guitar had he been alive today.” this time using a crew and increasing Johnson began reading books at two and the production values. “We can’t keep music in a playing the piano at five. He performed his first bottle in the 21st century. It needs to get out and piano composition at nine. He now finds him- breed with all other forms of media. That way self inspired by written texts of his own or, as in we can guarantee something new and powerful

his current projects, by the work of Nabokov that will last in these troubled times.” v

34 35 Michelle Kinney

Passionately absorbed elsewhere on the planet, Jazz’s vast diaspora has spawned fascinating hybrids with the music of a variety of cultures and genres. By sheer luck, I heard our uniquely American music during my formative years as a musician… though even at the conservatory, its study was only elective, not required. How can we better value this American language, loved around the world? Can patriotism be extended to music appreciation?

A t the foundation of Michelle Kinney’s musi- years in New York City. There she composed for cal influences is a love of and identification with film, theater and dance, working with “musicians the music of African-American innovation. Her from around the world who were there against all work resonates with this influence, in particular the odds, truly serving something bigger than them- through-line of improvisation. The selves. I get a lot of inspiration and lov- merging of African music with the ing friendship from my colleagues. At Western Classical tradition has taken some point, music’s not just a part of all kinds of shapes. “All of those forms your life, it is your life.” are of interest to me. It’s our own Working with a vocalist who spe- American music, and it is our connec- cializes in harmonic singing, she is tion with the rest of the world.” A cel- composing a series of improvisational list, Kinney sought the skills for com- art songs from the poetry of W.S. position as a means to an end, a way Merwin and others, including Wang to express herself, and often writes a part for herself Ping who is also a 2003 Bush Artist Fellow. in her compositions. In the pursuit of vehicles for Hoping to acquire some new technical skills and her work she co-founded a rock band, led several “finally graduate beyond the pencil,” Kinney will small new music groups, and co-founded IMP also devote time to learning music notation soft- ORK, a 21-piece improvising orchestra. ware, and exploring interactive computer programs She recently returned to Minnesota after 12 that produce special effects in live performance.

36 The Steele’s photo by Jennifer Bong

37 J.D. Steele

I have an absolute love for creating melodies inside of foreign musical formats. It can be a self created musical idiom or a collaborative format in which I can thrive and challenge myself artistically. Artistic pleasure and fulfillment can come when an idea transforms into reality and the body of work is residuously transferred to the next generation of young artists who develop their own expressions within the various art forms.

J.D. Steele is renowned as a member of The formed on a program with Mahalia Jackson in his Steeles, the jazz/gospel/pop group he formed with hometown of Gary, Indiana. “My father was a his brothers and sisters and whose work in The musician; my grandfather, mother and uncle did Gospel at Colonus brought international recogni- vaudeville. I’m in the first generation to pursue tion. These days he is passionately music professionally. There’s no composing for the stage: a musical greater fun to be had than when we for his sister, Jevetta and a collabora- all get on the stage together.” tive gospel/flamenco piece—a script Steele plans a summer music that imagines the likely meeting of institute for young musicians and Paul Robeson and Federico Garcia technicians to include a practical edu- Lorca at the Harlem venue, Small’s cation in the business of music pro- Paradise. His method is to sing. “I duction and performance. “A lot of write music in my head. I hear com- kids want to be rappers because it plete arrangements. I’m able to translate my looks exciting on video. They say, ‘I don’t need an music to musicians through an ability to sing all education because I can flow.’ I pull out a con- the harmonies and instrumental parts.” tract and read paragraph 64 2A and see if anyone Music and family are completely entwined can explain it. I want to pass on some of the for Steele. As part of the Steele Children, he per- knowledge that I’ve gained.”

38 Artist Biographies

PHILIP BLACKBURN 2002 1998 2207 Edgebrook Avenue Hentracks on Eternity, Burning Man, Travel and Study Grant supported Saint Paul, MN 55119 Black Rock Desert, NV by the Dayton Hudson Foundation 651-714-4963 on behalf of Target Stores, Dayton’s [email protected] 2001 and Mervyn’s, the General Mills No Nutritional Value (for junk food Foundation and the Jerome Born 1962, Cambridge, England ensemble), Minnesota Public Radio Foundation booth, Minnesota State Fair Education 1997 1989, 1987 CEC International Partners, Ph.D. and M.A., Music LIZA DAVITCH ArtsLink Collaborative Projects Composition, University of Iowa, 18606 Clearview Drive Grant Iowa City, IA Minnetonka, MN 55345 612-384-0104 1996 1989, 1985 [email protected] Institute of International Education, M.A. and B.A. (Honors), Music, J. William Fulbright Foreign Clare College, Cambridge Born 1969, Minneapolis, MN Scholarship for Independent Study University, England in Poland Education Selected Awards 1995 1995 2000 B.F.A., Minneapolis College of Art Minneapolis College of Art and Saint Paul STAR grant for Phalen and Design, Minneapolis, MN Design, Independent Semester Poetry Park marimba benches, Study Grant through the East Side Arts Council Selected Grants/Awards/Honors 2003 1994 1998 Minnesota State Arts Board, Minneapolis College of Art and ASCAP/Deems Taylor Award for Career Opportunity Grant Design, Media Arts Merit Enclosures: Harry Partch Scholarship 2002 FORECAST Public Artworks City Pages, Artists of the Year Selected Films/Screenings R&D stipend for Sonic Playground 2002 development Jerome Foundation, Building Victory Square, BetaSp, 92 minutes, Administrative Capacity Grant director, producer, photographer, 1995 editor: Minneapolis/Saint Paul Jerome Foundation/Dayton Hudson 2001 International Film Festival-Best Travel and Study Grant to Australia Minnesota State Arts Board, Documentary, Women In The to research sound sculpture Artist Fellowship Director’s Chair, Walker Art Center, Montreal World Film Festival, Selected Performances Jerome Foundation, Rhode Island International Film 2003 Media Arts Grant Festival, New York Independent Cannon River Eddies, International Film Festival, Festival Northfield, MN of International Audiovisual Programs (FIPA), Biarritz, France

39 Artist Biographies

1997 Education Selected Productions Krysia & Marysia, BetaSp, 50 min- 1990 2003 utes, director, producer, editor M.F.A., Playwriting, University of Kuwait, Fresh Ink Festival, Illusion California, Davis, CA Theater, Minneapolis, MN 1995 Tokens: The Enduring Marks of 1987 The Robeson Tape, Southern Writers Chernobyl, 16mm, 26 minutes, B.A., English Literature, Reed Project, Alabama Shakespeare director, producer, editor: College, Portland, OR Festival, Montgomery, AL Chicago International Film Festival- Certificate of Merit, Walker Art 1984 Life With Madeline, Educational Center, University Film Society, Professional Acting Conservatory, Tour, Illusion Theater, Minsk International Women’s Film Cornish Institute, Seattle, WA Minneapolis, MN Festival, Belarus State Television Awards Never Cry Sheep and Too Many 1993 2003 Cooks, Pillsbury House Theatre, Mother Logic, 16mm, 26 minutes, First Prize, Lamia Ink! One Page Minneapolis, MN director, producer, editor: Walker Play Contest, for Acceleration Red Art Center, University Film Society, 2002 Red Eye Theater Best Full Length Play, Sonoma Kuwait, The Drilling Company, County Rep New Play Competition, New York, NY 1992 for Kuwait Curve of A Woman, 16mm, 6 min- Squeeze Play, Great American utes, director, producer, cinematog- Honorable Mention, Mill Mountain History Theatre, Saint Paul, MN rapher, editor: 20th Annual Student New Play Competition, for The Academy Awards, Art Institute of Robeson Tape The War Party, Jungle Theater’s New Chicago Play Festival, Minneapolis, MN 2000 Gifts I Take, 16mm, 3 minutes, ForePlay Commission, Woolly 2000 director, producer, cinematographer, Mammoth Theatre, for MLK and the MLK and the FBI, Woolly editor: 20th Annual Student FBI Mammoth Theatre, Academy Awards, Art Institute of Washington, D.C. Chicago FirstAct Commission Grant, A Contemporary Theatre, Seattle, for 1997 The Robeson Tape Inside Harold, Belltown Theatre Center, Seattle, WA VINCENT DELANEY Seattle Artists Grant, Seattle Arts c/o The Playwrights’ Center Commission Herbert Loves Georgie, Open Circle 2301 Franklin Avenue East Theater, Seattle, WA Minneapolis, MN 55406-1099 1990 612-781-2033 New Play Award, ACTF Regional Publications [email protected] Festival, for Inside Harold 1996 A New Season at the Rep, edited by Born 1963, Eureka, CA Mark Lutwak, Seattle, WA: Rain City Projects 40 Artist Biographies

1995 1992 Milton In Paradise, edited by Mark Town and Country, Theatre/Theatre, Lutwak, Seattle, WA: Rain City Los Angeles, CA Projects Commissions 1995 Mark Taper Forum, Los Angeles, CA ADELAIDE MACKENZIE FUSS 2300 West Sunkist Road 1992 Tucson, AZ 85742 Joseph Papp Public Theater, 520-572-9540 New York, NY

Born 1965, Los Angeles, CA Publications 1994 Education Great Monologues of the Mark Taper 1989 Forum, New York, NY: Smith and B.A., English/Theatre, University of Kraus Publishing California, Los Angeles, CA

Productions 1998 TELLEF JOHNSON The Fading Day, Mark Taper Forum New Works Festival, Los Angeles, CA

1997 The Distance of You, Synchronicity Theatre, New York, NY

1994 Fractured, screenplay for Showtime/10 DB Productions, Zalman King, Director/Producer, Los Angeles, CA

1993 The Distance of You, Royal Court Theatre and A.S.K. Theatre Projects New Play Festival, London, England

41 Artist Biographies

Born 1959, Minneapolis, MN 2001 Stroke the Boo, voice and ensemble, Education Roulette Intermedium, 1994 New York, NY M.A., Performance Studies, New York University, New York, NY 1999-1998 007, dance score for cello and elec- 1981 tronics, choreographer Cyrus B.A., Music (jazz/ethnomusicology), Khambatta, University of Caracas, Northwestern University, Caracas, Venezuela Chicago, IL 1996-1994 Selected Awards Channels, dance score for choreogra- 2002, 1986 pher Mark Tomkins, co-composed Composers Commissioning with Fast Forward and Ikue Mori, Program, Jerome Foundation several performances in France and through the American Composers Germany Forum 1994 1998, 1992 Co-ordinated Universal Time, featur- Harvestworks/Studio Pass, Artist in ing vocalist Shi-Zheng Chen, New Residence, New York, NY Victory Theater, New York, NY

1996 2003-1996 The Jerome Foundation, Individual Several new music/jazz festivals as a Artists Grant performer: Montreal Jazz, Saalfeden, The North Sea, Viennes, Verona, in 1990, 1987 NYC: What is Jazz?, JVC/Knitting The McKnight Foundation, Factory, Lincoln Center Out of Composer Fellowship Doors

1988 Selected Recordings Minnesota State Arts Board, 2002 Individual Artist Grant Mississippi Peace, funded by The Jerome Foundation – to be released Selected Performances MICHELLE KINNEY 2003 1997 329 Edgewood Avenue North Broken Word, poetry and improvisa- Live at the Walker, IMP ORK compi- Golden Valley, MN 55427 tional music, Walker Art Center, lation, Minneapolis, MN 612-703-7175 Minneapolis, MN [email protected]

42 Artist Biographies

1993 1995 1996 Jewel Box, Harvestwork/Studio Pass The Education of Walter Kauffmann, Minnesota State Arts Board Grant compilation, New York, NY directed by Michael Sommers, Denver Center Theatre, Denver, 1993 1990 CO; 1997 directed by Wendy Knox, Whiting Writer’s Award, Mrs. Giles Building Higher Nests, American Frank Theatre, Minneapolis, MN Whiting Foundation, New York, NY Composers Forum’s Innova label, compilation, Minneapolis, MN 1992 1990 The Ice Fishing Play, directed by National Endowment for the Arts Michael Sommers, Actors Theatre of Fellowship Louisville, Louisville, KY and KEVIN KLING 1993 The Jungle Theater 1988 www.kevinkling.com Minneapolis, MN Bush Artist Fellowship

Born 1957, Brookfield, MO 1991 1986 Home and Away, directed by Ken Heideman Award for Best Short Education Washington, Seattle Repertory, Play, Actors Theatre of Louisville, 1979 Seattle, WA; directed by David Louisville, KY B.A., Theater, Gustavus Adolphus Esbjornson, Second Stage Theatre, College, St. Peter, MN Off–Broadway, New York, NY 1983 Jerome Playwright-in-Residence Playwrights’ Center member 1988 Fellowship, Minneapolis, MN since 1983 Lloyd’s Prayer, directed by Ken Washington, Actors Theatre of Plays Louisville, Louisville, KY; 1989 2001 directed by Steven Dietz, Illusion JENNY LION In Darkness, directed by Marcela Theater, Minneapolis, MN 255 East Kellogg Boulevard #304 Lorca, Guthrie Theater, Saint Paul, MN 55101 Minneapolis, MN The Seven Dwarfs, directed by [email protected] Michael Sommers, Theatre de la Gulliver’s Travels, directed by Jeune Lune, Minneapolis, MN Born 1966, New York, NY Dominique Serrand, Theatre de la Jeune Lune, Minneapolis, MN 1985 Education 21A, directed by Steven Dietz, 2000 Mississippi Panorama, directed by Quicksilver Stage, M.F.A., Visual Art Department, Michael Sommers and Peter Brosius, Minneapolis, MN University of California, The Children’s Theatre Company, San Diego, CA Minneapolis, MN Awards 1999, 1990 1992 McKnight Fellowship, B.A., Hampshire College, Minneapolis, MN Amherst, MA

43 Artist Biographies

1997-1990 1997 MAI NENG MOUA Studies: modern dance, contact Screening Whiteness—Revealing and 2654 Logan Avenue North improvisation, performance, move- Concealing Privilege in Experimental Minneapolis, MN 55411 ment analysis and traditional hula Film/Video, Visual Art Facility, 612-588-1534 L’ecole danse Jo Lechay, University of California [email protected] Montréal, Québec San Diego, La Jolla, CA North Carolina School of the Arts, Born 1974, Laos Winston-Salem, NC Film/Videography Linda Rabin studio, Failing, 16mm, color, approx 40 Education Montréal, Québec minutes, in progress 1999 The School for Body-Mind Completed coursework for a M.A. at Centering, Amherst, MA 1996 the Hubert H. Humphrey Institute The Martha Graham School, The Sky and its Exacting Protocol/Le of Public Affairs, Minneapolis, MN New York City, NY ciel et les exigences de son protocole, Halau Hula O Mililani, BetaSp, English version: 28 minutes, 1995 Wai’anae, HI French: 29 minutes, with Steven B.A., Sociology & Anthropology, St. Matheson Olaf College, Northfield, MN Publications 2000 1994 Awards Magnetic North—Canadian Peter and Margaret, 16mm, black & 2003 Experimental Video, Minneapolis, white, 11 minutes Travel & Study Grant supported by MN: University of Minnesota Press, the General Mills, HRK and Jerome with the Walker Art Center & 1991-1990 Foundations Video Pool The Military Resister Tapes, DVCAM, 4 hours, recut & mastered 2002 Selected Curatorial Projects 2002 The Loft Literary Center’s Red 2000 Lights & Poetry Tribute Series Lies, Death & Prison: American The Gulf Crisis TV Project, series 1 Artists’ Video, PRIM Centres d'arts and 2, 1", ten 28-minute programs, Readings médiatiques, Montréal, Québec collaborative production 2003 Wisconsin Book Festival, Chippewa 2000 1991 Valley Museum, Eau Claire, WI Magnetic North, touring series of 6 Hands Off, 3/4”, 30 minutes programs/40 works of Canadian University of Wisconsin experimental video 1990 Milwaukee, WI Walker Art Center, Minneapolis, No Prob, 3/4”, 40 minutes October 2000, (U.S. premiere) Health Partners, Bloomington, MN Plug In, Winnipeg, November 2000, The No Homes Inn Tapes, Hi8, (Canada premiere) 36 hours Hamline Midway Branch, Saint Paul De Balie, Amsterdam, The Public Library, Saint Paul, MN Netherlands, (Europe premiere) Huashan Arts District, Taipei, Taiwan, May 2002, (Asia premiere)

44 Artist Biographies

2002 1989 DAVID RYAN Bowdoin College, Brunswick, ME M.M., Musicology, Indiana 1194 Spruce Court University, Bloomington, IN Northfield, MN 55057 Good Thunder Reading Series, 507-663-1504 Minnesota State University, 1987 [email protected] Mankato, MN B.M., Piano Performance, Indiana University, Bloomington, IN Born 1960, Burlington, IA Bamboo Among the Oaks: Contemporary Writing by Hmong Selected Awards Education Americans, Frederick R. Weisman 2003 1987 Art Museum, Minneapolis, MN Second Prize, Crab Orchard Review M.F.A., Film, Ohio University, Contemporary Poetry Series Athens, OH Publications Competition 2003 Selected Awards "Endstage," Healing by Heart: 2001 2001 Clinical and Ethical Case Stories of Frederick Manfred Award for Best Second Prize, Black Maria Film and Hmong Families and Western Creative Writing, Western Literature Video Festival, US Tour Providers, Nashville, TN: Vanderbilt Association University Press First Prize, Big Muddy Film Festival, 1998 Carbondale, IL 2002 National Poetry Series Award Bamboo Among the Oaks: Best Experimental, Nashville Film Contemporary Writing by Hmong 1995 Festival, Nashville, TN Americans, Saint Paul, MN: Randall Jarrell International Borealis Books Poetry Award Minnesota State Arts Board, Artist Assistance Fellowship Selected Publications/Books 2004 Honorable Mention, Media City 7 LEE ANN RORIPAUGH Year of the Snake, Carbondale, IL: Festival, Windsor, Canada 209 Willow Street, Apartment #1 Southern Illinois University Press Vermillion, SD 57069 2000 605-638-8109 1999 Pennsylvania Council on the Arts [email protected] Beyond Heart Mountain, New York, Fellowship NY: Penguin Putnam Born 1965, Laramie, WY 1998 Second Prize, Locarno Video Art Education Festival, Locarno, Switzerland 1996 M.F.A., Creative Writing, Indiana University, Bloomington, IN

45 Artist Biographies

Selected Exhibitions Education 1988 2001 1983-Present The Gospel at Colonus, New York Video Festival at Lincoln Self-taught Lunt-Fontaine Theater, Broadway Center, New York, NY Music production and performance debut, New York, NY Music composition for theater and “Waste,” Experimenta, recording 1987 Melbourne, Australia The Gospel at Colonus, Guthrie 1970-1974 Theater, Minneapolis, MN Locarno Video Art Festival, Marketing and Management, Purdue Locarno, Switzerland University, West Lafayette, IN 1986 Lulu Noire, Spoleto Festival, Media City 7 Festival, Selected Performances Charleston, SC Windsor, Canada 2003 Zorongo Flamenco Dance Selected Awards Black Maria Film and Video Company, Southern Theater, 2003 Festival, U.S. Tour Minneapolis, MN Minnesota State Arts Board Cultural Collaboration Grant 2000 2003, 2002 “The American Century,” Whitney The Steeles, Ordway Center for the 1994-2000 Museum of American Art, Performing Arts, Saint Paul, MN NARAS Platinum and Gold Records New York, NY for collaborations with Prince, Jonny 2001 Lang, and The Steeles 1999 The Steeles, AmBev International, In Vid Mostra Internazionale del Bahia, Brazil 1983-1995 Video d’Arte, Milan, Italy Minnesota Music Awards for 2000 Best Gospel Artist Publications The Gospel at Colonus, Chˆatelet 2002 Theatre, Paris, France 1989 Haptic Nerve reviewed in “Video Emmy Nomination for PBS Haptics and Erotics,” in Touch: 1999 Production of The Gospel at Colonus Sensuous Theory and Multisensory The Gospel at Colonus, Moscow Media, by Laura U. Marks, Theatre, Moscow, Russia Minneapolis, MN: University DAVID TREUER of Minnesota 1998 c/o Gary Morris Prince and NPG Tour, Wembley David Black Literary Agency Arena, London, England 157 Fifth Avenue, #608 J.D. STEELE New York, NY 10010 2303 Kennedy Street N.E. 1997 212-242-5090 Minneapolis, MN 55413 Children of the Dance, African and [email protected] 612-414-1009 American, Center for Cultural [email protected] Exchange, Portland, ME Born 1970, Washington, D.C.

Born 1952, Gary, IN

46 Artist Biographies

Education KA VANG Publications 2000 595 Grotto Street North 2003 Ph.D., University of Michigan, Ann Saint Paul, MN 55104 “Undiscovered Country,” Paj Ntaub Arbor, MI 651-224-2401 Voice, Hmong Literary Journal [email protected] 1990 2002 B.A., Princeton University, Born 1975, Long Cheng, Laos “Disconnect,” Bamboo Among the Princeton, NJ Oaks: Contemporary Writing by Education Hmong Americans, Saint Paul, MN: Selected Awards 1996 Minnesota Historical Society Press 2000 B.A., Political Science, University of Penn West Finalist Minnesota, Minneapolis, MN 2001 “Extraordinary Hmong,” “REM & Minnesota Book Award Finalist Selected Awards Dab & Neeg & Dab Neeg,” and 2002 “REM & ARM,” 1996 Minnesota State Arts Board Paj Ntaub Voice, Hmong Literary Minnesota Book Award Artist Fellowship in Prose Journal

Pushcart Prize Travel & Study Grant supported by 2001 the General Mills, HRK and Jerome “The Color of My Skin,” Paj Ntaub Quality Paperback Book Club’s Foundations Voice, Hmong Literary Journal New Voices/New Visions Award Asian American Renaissance/Jerome 2000 Publications Foundation’s Artist Career “Twinkie,” Paj Ntaub Voice, Hmong 2004 Development Grant Literary Journal Ready Go End Earth, nonfiction, publication pending 2002, 2001 1995 Many Voices Artist In Residence, “Hair and Color,” and “The Secret 2000 Playwrights’ Center, War,” A Woman’s Place, women’s The Hiawatha, novel, Minneapolis, MN literary journal New York, NY: Picador USA 1995 1994 1995 University of Minnesota’s Minnesota “A Woman’s Touch,” and “Off the Little, novel, Saint Paul, MN: Daily Short Story of the Year Boat,” Sojourner, women’s journal Greywolf Press and New York, NY: and zine Picador USA Society of Professional Journalists Mark of Excellence Award for Plays Feature Writing 2002 From Shadows to Light, performed at the Mixed Blood Theater, Theatre Mu’s New Eye Festival, Minneapolis, MN, commissioned by Theatre Mu

47 Artist Biographies

2001 Selected Awards 2000 Dead Calling, writer, producer and 2003 Aching For Beauty: Footbinding in director: performed at Intermedia Loft Career Initiative Grant China, Minneapolis, MN: University Arts and Playwrights’ Center, Many of Minnesota Press Voices Festival, Minneapolis, MN 2000 Minnesota State Arts Board 1999 DISCONNECT, performed at Fellowship New Generation: Poems From China Playwrights’ Center, Theatre Mu’s Today, Brooklyn, NY: Hanging New Eye Festival, Minneapolis, MN 1994 Loose Press National Endowment for the Arts Fellowship 1998 WANG PING Of Flesh and Spirit, poetry, 2118 Hendon Avenue Publications Minneapolis, MN: Saint Paul, MN 55108 2003 Coffee House Press 651-696-6512 The Magic Whip, poetry, [email protected] Minneapolis, MN: 1996 Coffee House Press Foreign Devil, novel, Born 1957, Shanghai, China Minneapolis, MN: 2002 Coffee House Press Selected Education Aching For Beauty: Footbinding in 1999 China, paperback, New York, NY: 1994 Ph.D., Comparative Department, Random House American Visa, short stories, New York University, New York, NY Minneapolis, MN: Coffee House Press

48 Bush Artist Fellows 1976-2002

C-Choreography 1978 1980 CMP-Choreography/Multimedia/ Aiken, Joe (VA) Bly, Carol (L) Performance Art - Storytelling St. Cloud, MN Madison, MN F/V-Film/Video Bly, Robert (L) Breckenridge, Jill (L) L-Literature Madison, MN St. Paul, MN MC-Music Composition Cardona-Hine, Alvaro (L) Bundy, Peter (VA) S-Scriptworks St. Paul, MN Northfield, MN VA-Visual Arts Fiene, Susan (VA) Byrne, James R. (VA) VA2D-Visual Arts: Two Dimensional Minneapolis, MN Wayzata, MN VA3D-Visual Arts: Three Harrison, Keith E. (L) Drewes, Jennifer (Link) (VA) Dimensional Northfield, MN Minneapolis, MN 1976 Klosky, Linda R. (VA) Greenberg, Alvin D. (L) Minneapolis, MN St. Paul, MN Fisher, Carole G. (VA) Minneapolis, MN Ogle, Philip B. (VA) Kearney, Robert P. (L) St. Paul, MN Minneapolis, MN Greenberg, Alvin D. (L) St. Paul, MN Weise, Richard W. (VA) Klipper, Stuart D. (VA) Minneapolis, MN Minneapolis, MN Hallman, Gary (VA) Minneapolis, MN White, James L. (L) Rylander, Edith (L) Minneapolis, MN Grey Eagle, MN McGrath, Thomas M. (L) Moorhead, MN 1979 Walker, Mary K. (VA) Minneapolis, MN Moore, James (L) Brush, Leif (VA) St. Paul, MN Duluth, MN Waterman, Charles K. (L) LeCenter, MN Torbert, Stephanie B. (VA) Celender, Donald D. (VA) Minneapolis, MN St. Paul, MN 1981 1977 Gohlke, Frank W. (VA) Akagawa, Kinji A. (VA) Minneapolis, MN St. Paul, MN Breidel, Joseph M. (VA) Minneapolis, MN Hampl, Patricia (L) Browne, Michael Dennis (L) St. Paul, MN Benedict, MN Dacey, Philip H. (L) Cottonwood, MN Jenkins, Louis B. (L) Chamberlain, Marisha A. (L) Duluth, MN St. Paul, MN Leicester, Andrew (VA) Minneapolis, MN Millman, Lawrence B. (L) Charlesworth, Bruce (VA) Minneapolis, MN Minneapolis, MN Marcheschi, Louis R. (Cork) (VA) Minneapolis, MN Rose, Thomas A. (VA) Cole, Richard D. (L) Minneapolis, MN Minneapolis, MN Martini, Galen (L) St. Joseph, MN Sorman, Steven R. (VA) Goldes, David (VA) Minneapolis, MN Minneapolis, MN Nielsen, Stuart A. (VA) Minneapolis, MN Whipple, Barbara E. (L) Jacoby, Roger S. (VA) Plainview, MN Minneapolis, MN Waterman, Cary A. (L) LeCenter, MN Jankofsky, Kay Kurt (VA) Duluth, MN 49 Bush Artist Fellows 1976-2002

McGrath, Thomas M. (L) Leicester, Andrew (VA) Wilson, Edward W. (L) Moorhead, MN Minneapolis, MN Bloomington, MN Mura, David (L) Rockcastle, Mary F. (L) 1985 Minneapolis, MN Minneapolis, MN Bly, Robert (L) Solien, T.L. (VA) Verburg, JoAnn (VA) Moose Lake, MN Minneapolis, MN Minneapolis, MN Cheng, Maria (C) 1982 Waterman, Cary A. (L) Minneapolis, MN Mankato, MN Alden, Paulette Bates (L) Delattre, Pierre H. (L) Minneapolis, MN Wilson, August (L) Stillwater, MN St. Paul, MN Beyer, Steven J. (VA) Feingold, Ken (VA) St. Paul, MN 1984 Minneapolis, MN Goldberg, Natalie R. (L) Burns, Alan (L) Francisco, Patricia Weaver (L) Minneapolis, MN Minneapolis, MN Minneapolis, MN Holm, Bill (L) Callahan, James P. (MC) Hanson, Phebe D. (L) Minneota, MN St. Paul, MN St. Paul, MN Levine, Edward (VA) Fisher, Carole G. (VA) Howerton, Walter H. (L) Minneapolis, MN Minneapolis, MN St. Paul, MN Minczeski, John M. (L) Gaard, Frank L. (VA) Kielkopf, Jacqueline K. (VA) St. Paul, MN Minneapolis, MN St. Paul, MN Moore, James M. (L) Gammell, Linda K. (VA) Le Sueur, Meridel (L) St. Paul, MN Minneapolis, MN St. Paul, MN Schwartz, Robert A. (VA) Hovda, Eleanor J. (MC) Lynch, Harry M. (Mike), (VA) Minneapolis, MN Duluth, MN Minneapolis, MN Sprengnether, Madelon S. (L) Jenkins, Louis B. (L) Maguire, Charlie (MC) Minneapolis, MN Duluth, MN Minneapolis, MN Welch, Susan (L) Kiland, Lance E. (VA) Olson, Wendy M. (VA) Minneapolis, MN Minneapolis, MN Minneapolis, MN 1983 Paske, Richard C. (MC) Stokes, Eric N. (MC) St. Paul, MN Minneapolis, MN Blaw, Laura A. (VA) St. Paul, MN Rhodes, Phillip C. (MC) Tracy, Colleen J. (L) Northfield, MN Kasota, MN Boesing, Martha (L) Minneapolis, MN Schlesinger, John A. (VA) Van Wieren, Laurie S. (C) Minneapolis, MN Minneapolis, MN Brush, Gloria DeFilipps (VA) Duluth, MN Shapiro, Linda J. (C) 1986 Minneapolis, MN Duckwall, Kristi W. (L) Big Bear, Frank (VA) St. Paul, MN Swanson, Susan Marie (L) Minneapolis, MN St. Paul, MN Green, Kate (L) Blessing, Lee (L) St. Paul, MN Visscher, Jantje (VA) Minneapolis, MN Minneapolis, MN

50 Bush Artist Fellows 1976-2002

Campopiano, Remo (VA) LaChapelle, Mary (L) Mura, David (L) Minneapolis, MN Minneapolis, MN St. Paul, MN Easter, Mary (C) Lambrecht, Homer G. (MC) Olive, John (L) Northfield, MN Lauderdale, MN Minneapolis, MN Hemingway Jones, Kathy (VA) Madzo, David (VA) Tittle, Jim (VA) Minneapolis, MN St. Paul, MN Minneapolis, MN Keenan, Deborah (L) Schoenfield, Paul (MC) 1989 St. Paul, MN St. Paul, MN Brewer, Richard T. (VA) Massey, Rod (VA) Schwartz, Rosalyn D. (VA) Minneapolis, MN Minneapolis, MN Minneapolis, MN Brooks, Jeffrey E. (MC) Olsen, David John (MC) Sullivan, Chris (VA) Minneapolis, MN St. Paul, MN Minneapolis, MN Caddy, John (L) Pejsa, Jane (L) Weaver, Will (L) Minneapolis, MN Minneapolis, MN Bemidji, MN Charlesworth, Bruce (VA) Snyder, John (VA) 1988 Minneapolis, MN Minneapolis, MN Argue, Doug (VA) Childs, Mary Ellen (MC) Spieler, Sandra (VA) Minneapolis, MN St. Paul, MN Minneapolis, MN Bombardier, Bradley A. (MC) DeMichiel, Helen (VA) Stephens, Georgia (C) Duluth, MN Minneapolis, MN Minneapolis, MN Coskran, Kathleen (L) Edwards, JonMarc (VA) Vandervelde, Janika (MC) Minneapolis, MN Minneapolis, MN St. Paul, MN Dell, Irve (VA) Jacobson, Jean Alice (L) White, J.P. (L) Minneapolis, MN Duluth, MN Minneapolis, MN Field, Barbara (L) Kaplow, Shana (VA) Woodward, Steven (VA) Minneapolis, MN St. Paul, MN St. Paul, MN Kilgore, Davida (L) Larsen, Libby (MC) 1987 St. Paul, MN Minneapolis, MN Andersen, Norman A. (VA) Kling, Kevin (L) Maitland, Margaret Todd (L) Minneapolis, MN Minneapolis, MN St. Paul, MN Brady, Timothy (L) Kosch, Michael (MC) Meek, Jay (L) St. Paul, MN Minneapolis, MN Grand Forks, ND Engman, John (L) Krueger, Kent (L) Mickelson, Monty (L) Minneapolis, MN St. Paul, MN Bloomington, MN Hampl, Patricia (L) Locke, Kevin (C) Smith, Gregory Blake (L) St. Paul, MN Wakpala, SD Northfield, MN Hribal, C.J. (L) Means, David (MC) Sutter, Barton (L) Minneapolis, MN Minneapolis, MN Duluth, MN Klein, Jon (L) Morris, Wendy (C) Minneapolis, MN Minneapolis, MN

51 Bush Artist Fellows 1976-2002

1990 Hawkins, Christie (VA) Laughlin, Kathleen (VA) Cutler, Bruce (L) Kasota, MN Minneapolis, MN St. Paul, MN Katz, Judith (L) Pickett, Keri (VA) Dahl, Stephen M. (VA) Minneapolis, MN Minneapolis, MN Minneapolis, MN Kreilkamp, Ben (S) Pitt, Suzan (VA) Di Palma, Susana (C) Minneapolis, MN Fountain City, WI Minneapolis, MN Lease, Ellen (MC) Rathman, David (VA) Evans, David Allan (L) Minneapolis, MN Minneapolis, MN Brookings, SD Leo, Vince (VA) Scully, Patrick (VA) Green, Gregory (VA) Minneapolis, MN Minneapolis, MN St. Paul, MN Miles, Margaret (L) Shambroom, Paul (VA) Kirkpatrick, Patricia (L) Minneapolis, MN Minneapolis, MN St. Paul, MN Moroni, Aldo L., Jr. (VA) Spotted Eagle, Chris (VA) Kittelson, Vesna (VA) Avon, MN Minneapolis, MN Minneapolis, MN Mueller, Eric West (VA) Whiteman, Ernest (VA) Laidlaw, Brett (L) Richfield, MN St. Paul, MN Minneapolis, MN Rylander, Edith (L) 1993 Leicester, Andrew (VA) Grey Eagle, MN Becknell, John M. (L) Minneapolis, MN Sturm, Daniel K. (MC) Minnetonka, MN Louis, Adrian C. (L) St. Paul, MN Cinque, Chris (S) Pine Ridge, SD Tretbar, Eric (S) Minneapolis, MN Mann, Paula (C) Minneapolis, MN Cypis, Dorit (VA) Minneapolis, MN Wirth, Karen M. (VA) Minneapolis, MN McGuire, Judy (VA) St. Paul, MN Dick, David (VA) Minneapolis, MN 1992 Minneapolis, MN Seals, David (VA) Aiken, Ta-coumba (VA) Goldes, David (VA) near Bear Butte, SD St. Paul, MN Minneapolis, MN Simonett, Bill (VA) Bowker, Sarah (VA) Holmes, Janet A. (L) Minnetonka, MN Menomonie, WI St. Paul, MN Solien, T. L. (VA) Fiene, Susan (VA) Hovda, Eleanor (MC) Pelican Rapids, MN Minneapolis, MN St. Paul, MN Sommers, Michael (VA) Green, Kate (L) James, Stewart (L) Minneapolis, MN St. Paul, MN Stillwater, MN 1991 Henkel, James (VA) McClinton, Marion (S) Dennehy, Dan (VA) Minneapolis, MN St. Paul, MN Minneapolis, MN Herrmann, Marianne (L) Mead, Stuart (VA) Dwyer, David (L) St. Louis Park, MN St. Paul, MN Lemmon, SD Jones, Seitu (VA) Norris, Kathleen (L) Geesaman, Lynn (VA) St. Paul, MN Lemmon, SD Minneapolis, MN 52 Bush Artist Fellows 1976-2002

Stokes, Eric (MC) 1995 Grandell, Steven (CMP) Minneapolis, MN Bloch, Ricardo (VA) Minneapolis, MN Taylor, Bruce (L) St. Paul, MN Huie, Wing Young (VA2D) Eau Claire, WI Faust, Christopher (VA) Minneapolis, MN Thomas, Carei F. (MC) St. Paul, MN Lauterbach, Michael (VA3D) Minneapolis, MN Francisco, Patricia Weaver (L) Minneapolis, MN Verburg, JoAnn (VA) Minneapolis, MN Lukkas, Lynn T. (CMP) St. Paul, MN Golfus, Billy (S) Minneapolis, MN 1994 Minneapolis, MN McGibbon, Bridget (VA2D) Green, Rafala (VA) Keystone, SD Accola, Hans (VA) St. Paul, MN Minneapolis, MN Mojsilov, Zoran (VA3D) Holm, Bill (L) Minneapolis, MN Carter, Emily (L) Minneota, MN Minneapolis, MN Ramaswamy, Ranee (CMP) Keenan, Deborah (L) Burnsville, MN Chvala, Joe (C) St. Paul, MN Minneapolis, MN Sveda-Uncapher, Susan (VA2D) Klipper, Stuart (VA) Eau Claire, WI Garten, Cliff (VA) Minneapolis, MN St. Paul, MN Wood, Ann (VA3D) Long, Larry (MC) St. Paul, MN Greene, Lori (VA) Minneapolis, MN Mahtomedi, MN 1997 O'Reilley, Mary Rose (L) Hildebrand, John (L) Borich, Barrie Jean (L) St. Paul, MN Eau Claire, WI Minneapolis, MN Solly, Richard (L) Johnson, Catherine L. (VA) Donnan, Kristin (S) St. Paul, MN Wayzata, MN Hill City, SD Turczan, Katherine (VA) Kaniess, Daniel (VA) Ewart, Douglas (MC) Minneapolis, MN St. Paul, MN Minneapolis, MN Williams, Jeffrey Scott (S) Kimm, Barry (VA) Gwiazda, Henry (MC) Minneapolis, MN Minneapolis, MN Fargo, ND Williams, Marie Sheppard (L) Kunz, Natalie (L) Hedin, Robert (L) Minneapolis, MN St. Paul, MN Frontenac, MN Yuzna, Susan (L) Lawrence, Robert (VA) Hines, Kim (S) Albert Lea, MN Minneapolis, MN Minneapolis, MN Price, Melba (VA) 1996 Kilstofte, Anne (MC) St. Paul, MN Arneson, Heidi (CMP) Bloomington, MN Robeson, Susan (VA) Minneapolis, MN Oeur, U Sam (L) Minneapolis, MN Damon, Betsy (VA3D) Eagan, MN Williams, Garret (VA) St. Paul, MN Olive, John (S) Minneapolis, MN Gaiter, Colette (VA2D) Minneapolis, MN Zontelli, Patricia (L) St. Paul, MN Penman, Sarah (F/V) Menomonie, WI Minneapolis, MN

53 Bush Artist Fellows 1976-2002

Rossini, Clare (L) Zoltners, Mara (CMP) Branner, Djola (CMP) Northfield, MN Minneapolis, MN Minneapolis, MN Schroeder, Tom (F/V) 1999 Brown, Tony (CMP) Minneapolis, MN Minneapolis, MN Benitez, Sandra (L) Tang, Mark Kwok-Wah (F/V) Edina, MN Carr, Judale (VA2D) Minneapolis, MN Worthington, MN Childs, Mary Ellen (MC) Vandervelde, Janika (MC) Minneapolis, MN Charlesworth, Bruce (VA2D) St. Paul, MN Minneapolis, MN Daum, Ann (L) Zhang, Ying (MC) Okaton, SD Davidson, Stacey (VA2D) Minneapolis, MN St. Paul, MN Day, Cathy (L) 1998 Mankato, MN Gorcica, William (VA3D) St. Cloud, MN Aiken, Chris (CMP) Frey, Sayer (F/V) Minneapolis, MN Minneapolis, MN Kareken, Michael (VA2D) Minneapolis, MN Big Bear, Frank (VA2D) Garland, Max (L) Minneapolis, MN Eau Claire, WI Lois-Borzi, Ana (VA3D) Golden Valley, MN Bogren Swift, Vernal (VA2D) Heideman, Kathleen (L) Bovey, MN Minneapolis, MN Smith, Joanie (CMP) Minneapolis, MN Carroll, Mary (VA3D) Hill, Edie (MC) Minneapolis, MN Minneapolis, MN Stiehm, Robin (CMP) Sandstone, MN Day, Julia Anne (VA3D) Kelby, N.M. (L) Vermillion, SD St. Paul, MN Thao, Cy (VA2D) St. Paul, MN Esch, Mary (VA2D) Lloyd, Roseann (L) St. Paul, MN St. Paul, MN Thorson, Morgan (CMP) Minneapolis, MN Fischer, Robert (VA3D) Maiolo, Joseph (L) Minneapolis, MN Duluth, MN Young, Marcus (CMP) Minneapolis, MN Johnston, Randy J. (VA3D) Maitland, Margaret Todd (L) River Falls, WI St. Paul, MN 2001 Larson, Chris (VA3D) Obolensky, Kira (S) Ainsworth, Shelli (F/V) St. Paul, MN Minneapolis, MN Minneapolis, MN McConneloug, Shawn (CMP) Simenson, William (MC) Brannen, Jonathan (L) Minneapolis, MN St. Paul, MN St. Paul, MN Morgan, Clarence (VA2D) Vadja, Deborah L. (L) Davids, Brent Michael (MC) Minneapolis, MN St. Paul, MN Minneapolis, MN Onofrio, Judy (VA3D) 2000 Fox, Sarah (L) Rochester, MN Minneapolis, MN Andersen, Norman A. (VA3D) Gatto, Anthony (MC) Rathbun, Mike (VA3D) Minneapolis, MN Minneapolis, MN Minneapolis, MN Bart, Harriet (VA3D) Gibbon, Maureen (L) Sommers, Michael (CMP) Minneapolis, MN Minneapolis, MN Plymouth, MN

54 Bush Artist Fellows 1976-2002

Hancock, W. David (SW) 2002 Lume, Charles Matson (VA3D) St. Peter, MN Stillwater, MN Amiotte, Arthur (VA2D) Louis, Adrian (L) Custer, SD Millikan, Jeff (VA2D) Minneota, MN Minneapolis, MN Anderson, M. Cochise (CMP) Matheson, Steven (F/V) Minneapolis, MN Price, Melba (VA2D) St. Paul, MN St. Paul, MN Chanthraphone, Bounxou (VA2D) McColley, Kevin (L) Brooklyn Park, MN Ramaswamy, Aparna (CMP) Pinewood, MN Minneapolis, MN Chatterjea, Ananya (CMP) O'Brien, Dan (L) Minneapolis, MN Sewell, James (CMP) Whitewood, SD Minneapolis, MN Clement, Ceil Anne (CMP) O'Connor, Sheila (L) Hettinger, ND Shambroom, Paul (VA2D) Minneapolis, MN St. Paul, MN Lefkowitz, David (VA2D) Ostroushko, Peter (MC) St. Paul, MN Swiszcz, Carolyn (VA2D) Minneapolis, MN West St. Paul, MN Lindner, Davora (VA3D) Vogelweide, Bertrand (L) Minneapolis, MN Van Loon, Kristin (CMP) Richardton, ND Wilder, Arwen Minneapolis, MN Williams, Garret (F/V) Minneapolis, MN

PROGRAM OFFICER DESIGN/PRODUCTION Bush Artist Fellows Program Nancy Fushan Nancy H. Teufert, East 900 River West Design First National Bank Building 332 Minnesota Street BUSH ARTIST FELLOWS Hall Kelley Saint Paul, Minnesota 55101 PROGRAM DIRECTOR 651-227-0891 Julie Gordon Dalgleish PHOTO CREDITS 800-605-7315 Portraits by Wing Young Huie www.bushfoundation.org PROGRAM ASSISTANT except Telleff Johnson by Stuart Melby, Kathi Polley Jenny Lion by Linda Van Deursen, and Printed on recycled paper. Lee Ann Roripaugh—self portrait. For promotional use only. Not for resale or broadcast. Copyright 2004 Bush Artist ARTIST PROFILES Fellows Program, Bush Foundation, Patricia Weaver Francisco Saint Paul, Minnesota.

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 insti- tutions in education, arts and cullture, health and human services, and ecolological health, primarily in Minnesota, North Dakota, and South Dakota, and supports historically black private colleges and universities, and fully accredited tribally con- trolled 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 Saint Paul, Minnesota 55101

Composers - Work Samples on CD

J.D. Steele 7. Concerto for Steel Drums and Orchestra 1. African Chant & The Warrior (2000) excerpt 3:37 (2000) 4:53 Tellef Johnson Ensemble J.D. Steele 8. Execution for baritone singer, string 2. You Will Know (1999) 5:18 trio and rock trio (1997) excerpt 1:44 The Steeles Tellef Johnson Ensemble Michelle Kinney 9. Polyphony from Etudes for Alto Sax and 3. Joy May (1999) 5:02 Piano (1999) excerpt 2:01 Michelle Kinney, Jason Kao Hwang and Tellef Johnson Ensemble Stomu Takeishi Kevin Kling 4. Frank On The Highway (1986) 5:52 10. Valentine from his album Stories Off Michelle Kinney, Jason Kao Hwang, the Shallow End (2001) 4:44 Stomu Takeishi and Brandon Ross Also on this disk: 5. To The Sorrow String (2001) 4:18 Philip Blackburn with Preston Wright Lyrics by W.S. Merwin Hentracks on Eternity-sound sculpture/ Michelle Kinney, Hanan Alattar, performance (2002) 10:23 Brandon Ross, Timothy Hill, Julianne A 3D “QuickTime” movie—viewing Klopotik and Michael Bellar this material requires a computer with Tellef Johnson “QuickTime” and accompanying 3D 6. Sonata For Violoncello and Piano glasses (red lens to the left eye) (1996) excerpt 9:52 For promotional use only. Not for resale Tellef Johnson Ensemble or broadcast. Copyright 2004 Bush Artist Fellows Program, Bush Foundation, Saint Paul, Minnesota